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Toko's in-house all-star Si Brad brings forth three fresh jams for the long running UK institution, ensuring record bags are festival fit and nightclub-ready for party season.

Opening with a glitzy, contemporary disco jam, 'Doublestar' provides wide-screen glitterball action with a dazzling instrumental track, busy with key changes and chord progressions that'd make Patrick Adams blush. Sure to have fellow peers like Another Taste and Perpetual Singers checking their wing mirrors, the track is rich with musical decadence - orchestral strings, punchy synth licks and frenetic live bass all shining through this highly dynamic arrangement.

'Compress' moves swiftly into beefy house territory; Si's patented full fat, cushion soft bottom end providing just the low frequency support for a wide array of warehouse-ready bleeps, vocal snips and rave motifs set to cause a whole manner of chaos and confusion come 2AM in the club. A master of functional intricacy, Brad's multi-layered compositions thread together more elements than other producers would care to consider, manifesting almost effortless and involuntary body movement which belies the complexity of the track and is sure to have the dancefloor in a spin.

Concluding with a beautiful piece of Balearic-boogie-beatdown, and with Attaboy muscling in on proceedings; 'Faro Sunset's dreamy and expansive moods cascade over a loose, conga-laden groove glued to the spot with a rugged b-line. Instantly conjuring memories of grilled calamari and poolside play, and sure to garner repeat plays across the familiar party paradises of the Adriatics and beyond; it finds the crew dialling into a deliciously languid vibe that's in contrast to the immediate urgency of the preceding tracks yet retains, assuredly, the sonic trademarks of the producer's hand.

Another unmissable addition to Toko's storied catalogue!

It's spring of 2023 in the North Carolina Piedmont, and songwriter and singer M.C. Taylor - leader of the band Hiss Golden Messenger - is feeling alive. Joyful. Eternal, he might say. For the Grammy-nominated musician, whose albums have traced an internal path through adulthood, fatherhood, spirituality, and depression for well over a decade, this is something new. "The tunes on Jump for Joy were composed in free moments throughout 2022, a year during which Hiss was on the road more or less constantly," explains Taylor. "And perhaps because the post-pandemic energy out in the world felt so chaotic and uncertain, I found myself thinking a lot about the role that music has played in my life and how exactly I ended up in the rarefied position of leading a band and crew all over the globe through dingy graffiti-scrawled green rooms, venerated music halls, dust-blown roadside motels.

Sometimes playing in front of 5,000; sometimes 200. Sleeping sitting up. Laughing until my stomach hurts. Not being able to fall asleep at 3 a.m. in some anonymous bed because my mind is spinning with anxiety or depression or adrenaline, or because my ears are still ringing. Robbing Peter to pay Paul, then robbing Paul to pay Peter back. Over and over again. It's an outlaw life but one, I'm coming to realize, that makes me happy." The songs that make up Jump for Joy - the sharpest and most autobiographical that Taylor has written under the Hiss name - read as a sort of epistolary, postcards between the present-day songwriter and his alias Michael Crow, a teenaged dreamer very much like Taylor himself, who trips his way through the 14 tunes that make up the record. In this way, Jump for Joy is a meditation on a life lived with art, and the ways that our hopes and dreams and decisions bump up against_ and, with a little bit of luck, occasionally merge with real life. "Creating this character became the way that I could explore these vulnerable, tender moments that were so decisive in my life, even if I didn't know it at the time," explains Taylor.

Produced by Taylor and engineered by longtime Hiss compatriot Scott Hirsch over two weeks in the late fall of 2022 at the fabled Sonic Ranch studio in Tornillo, TX, just a short walk from the Mexican border, Jump for Joy dances with joyful, spontaneous energy that feels like a fresh chapter in the Hiss Golden Messenger oeuvre. Taylor is accompanied throughout the album by his crack live band: guitarist Chris Boerner, bassist Alex Bingham, keyboardist Sam Fribush, and drummer Nick Falk, a collection of musicians that have helped make Hiss Golden Messenger's live performances legendary affairs

Italian cinematic funk legends Calibro 35 continue their journey into the world of cinematic jazz-funk. "Exploration" marks their return to independent label Record Kicks after their last studio album "Nouvelle Aventures" released on Universal Music in 2023. The band picks up from their latest EP, "Jazzploitation," released on Record Kicks last October. "Exploration" is a deep dive into the universe of cinematic jazz-funk, showcasing both the band's reinterpretations of timeless classics such as Roy Ayers' "Coffy" or Bob James "Nautilus" and original compositions by the band such us the lead single "Reptile Strut", the jazz-funk stormer "The Twang" and the soulful cinematic number "Pied De Poule". An exploration and a new journey for the Milanese combo that a long its way pays homage to artists such as Lalo Schifrin (Mission Impossible), Italian Maestro Piero Umiliani (Discomania and Gassman Blues) and Herbie Hancock (Chamelon). Described by Rolling Stone as "the most fascinating, retro-maniac and genuine thing that has happened to Italy in the past few years," Milan-based Calibro 35 enjoy a worldwide reputation as one of the coolest independent bands around. Active since 2007, during their long career, they have been sampled by Dr. Dre on Compton ("One Shot One Kill" feat. Snoop Dogg), Jay-Z ("Picasso Baby"), The Child of Lov & Damon Albarn ("One Day"), and Demigodz ("The Summer Of Sam"). They have played major venues and festivals all over Europe, and as unique musicians, they have collaborated with, among others, PJ Harvey, Mike Patton, John Parish, Stewart Copeland, and Rokia Traoré. FOR FANS OF... Piero Umiliani, El Michels Affair, Idris Muhammad, Surprise Chef, Nu Genea, Khruangbin, Snarky Puppy, The Cinematic Orchestra, Comet is Coming, Kamasi Washington

Limited Edition of 200 copies incl. Dolphins Remix (DALO, Benedikt Frey and Menqui).

Hot seducers. Two of them. On one 7inch. A/B Side business, hard to choose a fav, as both so fab. The A-Side is called "Happen". It comes from prolific Tokyo based DJ and producer Hoshina Anniversary. A simple drum machine groove, a manic melody, witching siren sounds, psychedelic voices, some soft chords, and soulful high-pitched singing, somewhere between Dam-Funk coolness and Ian Svenonius-The-Make-Up sixties pop longing. One for warm sexy nights under neon lights. Out there in psychic realms. The flip brings a Dolphins interpretation. Yes, that feverish trio behind R.i.O., consisting of Nadia D'Alò, Benedikt Frey and Menqui. Their freshly recorded version comes with haunting nonchalant singing, displaying the tunes core melody as a more prominent actor of the play. Michael-Mann-Pop-Nostalgia with a baroque touch, that waves dark-ish. Even some Jon Hassle feeling is in there. Hoshina Anniversary disclosed, that the original song is inspired by jazz musicians like Chet Baker, Miles Davis, Sonny Rollins, Chick Corea, Herbie Hancock, Jaco Pastorius and Keith Jarrett. None of them is directly stylistically audible. But their kind of blue is all over. On the A as well as on the B. Twice soul music for the free.

Two years after their formation, the English power pop band The Only Ones released their self-titled debut album in 1978.
The Only Ones played not-so-fast guitar rock that sounded deeply indebted to the New York Dolls and other mid-70s proto-punks.
Their debut album The Only Ones is regarded as a classic of the first wave of UK punk and features the brilliant hit

“Another Girl, Another Planet”, which is their most successful track and has since been covered by many other performers.
Since the Nineties, the album has appeared on several all-time greatest albums lists, including the book 1001 Albums
You Must Hear Before You Die in 2006. This edition of The Only Ones features remastered audio and is available on black vinyl.

Often touted as a "masterpiece of jazz-funk live albums," The Wooden Glass's 1972 live recording proves it's more than just hype. Featuring vibraphonist Billy Wooten who previously played with Grant Green, this record was recorded at Indianapolis' The 19th Hole club and captures the essence of fusion driven by soulful 60s influences. Wooten's gentle melodies contrast with the gritty, distorted sound of Harold Cardwell's powerful drumming and Emmanuel Riggins' Hammond organ while the energetic performance from the band, including guitarist William Roach, creates a tapestry of intensity and dreamlike vibes. It's raw, electrifying, high-energy jazz.

JUST. LIFE. is FDC's second endeavour after their 2022 debut 'Some Kind Of Wisdom'. The A-side draws inspiration from everyday life. Things that are often overlooked. Birds whistling. Just being somewhere spending time together. Whereas the first 4 tracks open up a can of playful jazz the B-side explores more heavy conceptualizations. Birth and love for a child & the passing of a friend. Life and death. The cyclicity of it all.

Fruit Distro Collective is a project by long-time friends Boris van der Hoff & Tristan Coco. Raised on boombap beats, schooled through Jazz composition and inspired by Afro & Latin styles. Pour some reel-to-reel tape sauce over it et voilá.

múm are returning with a new album on Morr Music. »History of Silence« is the first full body of work by the Icelandic collective since 2013's »Smilewound« and their seventh studio album to date—recorded, deconstructed, put back together again, refined and finished over the course of two years. Vibrantly oscillating around a carefully curated palette of electronic and analogue sounds, the eight new tracks reflect the group's continuous strive to explore sonic spaces through subtle yet gripping songwriting.

For a long time now, múm have been exploring the idea of distance in their music. In the beginning, this was born purely out of necessity. Founded in Iceland in the late 1990s, the members soon began embarking on journeys across the world—collectively while touring, but also individually, exploring new places to live and create. Settling in, moving on, catching up: The concept of distance soon became an integral part of the collective's process. »History of Silence« leans into this idea, with space and time becoming indispensable pillars of the arrangements. While being coherent and structured, they echo their origins from different seasons, cities, and spaces—neatly stitched together with unparalleled craftsmanship. They breathe an overall airy and intimate atmosphere, yet resonate with the structural heft of time.

On »History of Silence« time manifests in unexpected, liberating, and mesmerizing ways. It does not move reliably forward; it drifts, takes twists and turns, even disappears completely. Electronic textures blur into acoustic sounds, voices flicker and dissolve, melodies stumble and repeat. The arrangements often feel like they’re wandering, gently resisting direction. »Our Love is Distorting,« for instance, begins with a subtle piano motif, playing hide and seek with feedback noises, digital artefacts, and lush—yet very quiet—string arrangements, before gradually forming into a distinctive song. It's a perfect illustration of múm's general approach on this album. »Mild at Heart« turns this idea upside-down, flowing freely from start to finish with moments of silence sprinkled in—serving to emphasize the musical elements. The music on »History of Silence« moves like weather: unexpected, intimate, quietly detailed. Contrasted with vivid phrases, rhythmic shifts, and small hooks, the album offers a new angle of compositional clarity and vision.

Work on »History of Silence« began at Sudestudio in southern Italy. Additional recordings were made in Reykjavík, Berlin, Athens, Helsinki, New York, and Prague. The strings were recorded by Sinfonia Nord at the Hof concert hall, Akureyri, arranged and conducted by Ingi Garðar Erlendsson, who has worked with the band for many years. The orchestral elements don’t dominate the record—instead, they surface gently, adding depth and resonance to the songs without disturbing the songs' fragility.

Contrary to what the album title suggests, »History of Silence« is a collection of bold and colorful songs, no matter how muted they might sound at times. They tickle like a feather drifting through the wind, ending up in unexpected places, stimulating long-forgotten thoughts and feelings, intimate moments of introspection. The songs move through the echoes those moments leave behind: the emotional traces of things unsaid, the weight of stillness. Offering closeness by means of distance and much-needed support.

múm are returning with a new album on Morr Music. »History of Silence« is the first full body of work by the Icelandic collective since 2013's »Smilewound« and their seventh studio album to date—recorded, deconstructed, put back together again, refined and finished over the course of two years. Vibrantly oscillating around a carefully curated palette of electronic and analogue sounds, the eight new tracks reflect the group's continuous strive to explore sonic spaces through subtle yet gripping songwriting.

For a long time now, múm have been exploring the idea of distance in their music. In the beginning, this was born purely out of necessity. Founded in Iceland in the late 1990s, the members soon began embarking on journeys across the world—collectively while touring, but also individually, exploring new places to live and create. Settling in, moving on, catching up: The concept of distance soon became an integral part of the collective's process. »History of Silence« leans into this idea, with space and time becoming indispensable pillars of the arrangements. While being coherent and structured, they echo their origins from different seasons, cities, and spaces—neatly stitched together with unparalleled craftsmanship. They breathe an overall airy and intimate atmosphere, yet resonate with the structural heft of time.

On »History of Silence« time manifests in unexpected, liberating, and mesmerizing ways. It does not move reliably forward; it drifts, takes twists and turns, even disappears completely. Electronic textures blur into acoustic sounds, voices flicker and dissolve, melodies stumble and repeat. The arrangements often feel like they’re wandering, gently resisting direction. »Our Love is Distorting,« for instance, begins with a subtle piano motif, playing hide and seek with feedback noises, digital artefacts, and lush—yet very quiet—string arrangements, before gradually forming into a distinctive song. It's a perfect illustration of múm's general approach on this album. »Mild at Heart« turns this idea upside-down, flowing freely from start to finish with moments of silence sprinkled in—serving to emphasize the musical elements. The music on »History of Silence« moves like weather: unexpected, intimate, quietly detailed. Contrasted with vivid phrases, rhythmic shifts, and small hooks, the album offers a new angle of compositional clarity and vision.

Work on »History of Silence« began at Sudestudio in southern Italy. Additional recordings were made in Reykjavík, Berlin, Athens, Helsinki, New York, and Prague. The strings were recorded by Sinfonia Nord at the Hof concert hall, Akureyri, arranged and conducted by Ingi Garðar Erlendsson, who has worked with the band for many years. The orchestral elements don’t dominate the record—instead, they surface gently, adding depth and resonance to the songs without disturbing the songs' fragility.

Contrary to what the album title suggests, »History of Silence« is a collection of bold and colorful songs, no matter how muted they might sound at times. They tickle like a feather drifting through the wind, ending up in unexpected places, stimulating long-forgotten thoughts and feelings, intimate moments of introspection. The songs move through the echoes those moments leave behind: the emotional traces of things unsaid, the weight of stillness. Offering closeness by means of distance and much-needed support.

múm are returning with a new album on Morr Music. »History of Silence« is the first full body of work by the Icelandic collective since 2013's »Smilewound« and their seventh studio album to date—recorded, deconstructed, put back together again, refined and finished over the course of two years. Vibrantly oscillating around a carefully curated palette of electronic and analogue sounds, the eight new tracks reflect the group's continuous strive to explore sonic spaces through subtle yet gripping songwriting.

For a long time now, múm have been exploring the idea of distance in their music. In the beginning, this was born purely out of necessity. Founded in Iceland in the late 1990s, the members soon began embarking on journeys across the world—collectively while touring, but also individually, exploring new places to live and create. Settling in, moving on, catching up: The concept of distance soon became an integral part of the collective's process. »History of Silence« leans into this idea, with space and time becoming indispensable pillars of the arrangements. While being coherent and structured, they echo their origins from different seasons, cities, and spaces—neatly stitched together with unparalleled craftsmanship. They breathe an overall airy and intimate atmosphere, yet resonate with the structural heft of time.

On »History of Silence« time manifests in unexpected, liberating, and mesmerizing ways. It does not move reliably forward; it drifts, takes twists and turns, even disappears completely. Electronic textures blur into acoustic sounds, voices flicker and dissolve, melodies stumble and repeat. The arrangements often feel like they’re wandering, gently resisting direction. »Our Love is Distorting,« for instance, begins with a subtle piano motif, playing hide and seek with feedback noises, digital artefacts, and lush—yet very quiet—string arrangements, before gradually forming into a distinctive song. It's a perfect illustration of múm's general approach on this album. »Mild at Heart« turns this idea upside-down, flowing freely from start to finish with moments of silence sprinkled in—serving to emphasize the musical elements. The music on »History of Silence« moves like weather: unexpected, intimate, quietly detailed. Contrasted with vivid phrases, rhythmic shifts, and small hooks, the album offers a new angle of compositional clarity and vision.

Work on »History of Silence« began at Sudestudio in southern Italy. Additional recordings were made in Reykjavík, Berlin, Athens, Helsinki, New York, and Prague. The strings were recorded by Sinfonia Nord at the Hof concert hall, Akureyri, arranged and conducted by Ingi Garðar Erlendsson, who has worked with the band for many years. The orchestral elements don’t dominate the record—instead, they surface gently, adding depth and resonance to the songs without disturbing the songs' fragility.

Contrary to what the album title suggests, »History of Silence« is a collection of bold and colorful songs, no matter how muted they might sound at times. They tickle like a feather drifting through the wind, ending up in unexpected places, stimulating long-forgotten thoughts and feelings, intimate moments of introspection. The songs move through the echoes those moments leave behind: the emotional traces of things unsaid, the weight of stillness. Offering closeness by means of distance and much-needed support.

Following the "rich jangle and big, well-developed songs" (Bandcamp) of 2023's Bananasugarfire, Edling sought to deconstruct his creative process by centering collaboration instead of a more solitary pursuit in songwriting, even as personal matters made isolation a more natural instinct. He describes taking time to make notes of the ways, timing and forms in which songs came to him in the process of demoing the record, and regularly questioning if his approach was like that of "watching a pot of water boil" or waiting for a bolt of light to appear in the sky. In many ways, Shooting Star is an appeal to the muse, a record of "songs about writing songs" born from Edling's desire to trust his instincts despite the posturings of inner demons and creative roadblocks, and to celebrate the little wins along the way. The result is a sprawling new work packed to the brim with playful eccentricities and dynamism, one that owes as much of its inspiration to mid-century folkies like Michael Hurley and Karen Dalton as it does to alt rock of the nineties like Yo La Tengo and Stereolab. Shooting Star is a constellation of influences, experiences, reckonings-with the state of the world, with others, with creativity, with oneself-with no two songs created in the same way. Instead of holing up in a recording studio, the creation of the record was formed by a patchwork of collaborations in a variety of recording locales, all which were later alchemized by mix engineer Matthew Schimelfenig. - RIYL Sparklehorse, John Cale, Yo La Tengo, Superviolet, Spirit of the Beehive, Horse Jumper of Love, Of Montreal

Ostinato as resistance: Rafael Anton Irisarri’s landmark work reimagined. Marking the tenth anniversary of the American composer’s critically acclaimed album 'A Fragile Geography', this new edition arrives renewed, both sonically and visually.

First released in 2015 (Room40) during a period of personal upheaval and creative reinvention, it endures as a testament to resilience, transformation, and the connection we hold with the places that shape us.

Written in the aftermath of a devastating theft, A Fragile Geography was born out of loss. Just days before a cross-country move to New York, Irisarri’s entire Seattle-based studio was wiped out. Instruments. Recordings. Archives. Gone without a trace. He arrived on the East Coast to an empty room and the daunting task of starting over.

“This album wasn’t just a record; it was a lifeline,” Irisarri reflects. “It became a way to process the emotional chaos that followed: uprooting, instability, and ultimately, the slow, intuitive rebuilding of a life.”

Composed and recorded in the rural woods of the Hudson Valley, the album took shape in seclusion, surrounded by nature, and through a process guided by improvisation. Embracing limitations, Irisarri wove textural layers of field recordings with half-remembered melodies from his Seattle years, piecing them together like fragments of memory. Tracks like “Displacement,” “Hiatus,” and “Persistence” juxtaposed haunting stillness with restless momentum, mapping an inner terrain of grief, catharsis, and rebirth.

Among its defining sounds is “Empire Systems,” a monumental centerpiece built around a simple four-chord progression, organ textures, and guitar drones. Gradually, the track expands into layers of immersive loops and thick, enveloping distortion that wash over the listener like a rolling wave. Often cited as the album’s most majestic passage, it captures Irisarri at his most sonically ambitious. With a harmonically saturated structure crafted from restraint and repetition, it remains one of his most recognizable compositions: an exercise in the art of maximal minimalism.

From the outset, “Reprisal” received praise from BBC’s Mary Anne Hobbs, who championed the track on her radio show. Her support played a key role in introducing Irisarri’s work to wider audiences and solidifying his place within the lineage of electronic, drone, and experimental sound artists. A slow-burning elegy, the piece emerges from a haze of distortion and sub-bass, with dense, unrelenting drones carrying a sense of mounting tension. Just as it seems to collapse under its own weight, flickers of guitar emerge like distant light through fog. It’s a meditation on dissonance, resolve, and the elusive possibility of release.

The closing track, “Secretly Wishing for Rain,” is steeped in saudade: a longing for Seattle’s dour grey skies, lush green landscapes, and desaturated sunsets. Through it, Irisarri mourns a vanished chapter of life bound to the city, a time documented in scattered mementos and cherished collections, now permanently gone. A reflection on what could never be recovered: an era lost to time. Julia Kent’s looped cello motifs added a melancholic warmth to the track, marking the first collaboration between the two artists and sparking a musical dialogue that would keep growing in the years that followed.

More than a career highlight, A Fragile Geography has laid the foundation for Black Knoll studio, which Irisarri rebuilt from the ground up. The studio has since grown into a creative hub for countless projects, with Irisarri engineering records for iconic music figures like Terry Riley, Ryuichi Sakamoto, William Basinski, MONO, Devendra Banhart, Grouper, Emeralds, Steve Hauschildt, Julianna Barwick, and many others. Carried by its lasting influence, the album has quietly captured the ear of a younger generation, its sound and emotional arc finding new listeners in unexpected corners.

The album’s new visual language was reimagined in collaboration with Mexico City–based designer Daniel Castrejón. Irisarri captured ghostly images at Gaztelugatxeko Doniene, a historic coastal site in Bermeo, Euskal Herria. Castrejón then treated the photographs with distressed textures and spectral overlays. The final artwork channels the rugged, elemental forces that shaped both the music and Irisarri’s aesthetic, renewing his ties to ancestral ground inspired by the Basque homeland of his bloodline.

Mastered by Stephan Mathieu with exceptional attention to detail, this anniversary edition uncovers every nuance in the sound design, enhancing clarity and presence. With each listen, new elements emerge, inviting discovery and reconnection.

“I don’t experience this album as a document of grief anymore,” says Irisarri. “I hear adaptation and I'm reminded that when everything falls apart, something meaningful, maybe even beautiful, can emerge.”

In 2022, Meral Polat released her debut album "Ez Ki Me" as a singer under the name Meral Polat Trio. "Ez Ki Me" roughly translates to "Who am I?". The album was a search by the singer for her Alevi Kurdish roots. In her lyrics, Meral incorporated many poems from her late father, Adi Ihsan Polat. The album received positive reviews and was nominated for a Music Award by Songlines.

On her new album MEYDAN, Meral primarily showcases her own voice, that of a woman exercising her right to live on her own terms, free from the oppressive interference of patriarchy. The album celebrates female strength, inspired by the philosophy of "JIN, JIYAN, AZADI" (WOMAN, LIFE, FREEDOM), a phrase originating from Kurdish-led women's movements. JIN, JIYAN, AZADI symbolise resistance to oppression and the fight for women's rights.

Musically, MEYDAN takes it a step further than the debut album. Meral welcomes drummer Jens Bouttery to the band, along with many inspiring guest musicians. The track "Cenek" features a determined choir of 26 women of various ages and cultural backgrounds. In "Çiya Icaro", Meral shares a duet with Bolivian artist Ibbelise Guarda Ferraguti.

On MEYDAN, Meral and her band continue their exploration of Anatolian and Mesopotamian music, particularly the Turkish psychedelic rock revolution of the 1970s and the ancient Kurdish Dengbej traditions. The band travelled to Istanbul to record with Murat Ertel from Baba Zula and trumpet player Can Omer Uygan. In addition to Anatolian music styles, influences from Mali Blues and Nigerian Afrobeat are embraced. Another notable guest is Senegalese musician Mola Sylla, who lent his voice and improvisational talent to the track "Govend".

While the drums, keyboards or guitar, and Polat's voice still form the core of the album, each track also contains its own collage of synthesisers, vocal harmonies, percussion, organ, piano, distorted guitars, and guest musicians. All tracks were mixed by the exceptional Belgian mixing engineer Pieterjan Coppejans, who added depth to their sound. All of this results in a particularly rich and uplifting album with a message.

Waxwork Records, in association with WaterTower Music, is proud to present BEETLEJUICE BEETLEJUICE Original Motion Picture Score by Danny Elfman!

Director Tim Burton once again teams up with composer Danny Elfman to create chaotic and fantastical music for the Ghost with the Most!
Though very few of his collaborations with Burton are sequels, Elfman jumped at the chance to revisit his work from the original Beetlejuice.

After 36 years, it was easy for him to get into the mindset he found in 1988. Speaking to Forbes, Elfman said that getting “the chance to jump

back into the same playground” with Beetlejuice Beetlejuice after all these years was “a real treat.”
Beetlejuice is back! Oscar-nominated, singular creative visionary Tim Burton and Oscar nominee and star Michael Keaton reunite for

Beetlejuice Beetlejuice, the long-awaited sequel to Burton’s award-winning Beetlejuice.
Waxwork Records is excited to present the debut vinyl release of BEETLEJUICE BEETLEJUICE Original Motion Picture Score by Danny Elfman as a

deluxe double LP featuring Pink and Violet Hand Poured colored vinyl, artwork by Ruiz Burgos courtesy of Bottleneck Gallery, heavyweight

reverse board packaging, and an 11"x11" art print insert.

MAN WITH A MISSION feierten im März 2025 mit der EP "XV e.p." ihre 15jähriges Band-Jubiläum. Die EP erschien digital (und in Japan auch physisch). Mit "XV e.p. Across the Globe" bringt die Band sie nun auch nach Europa, im Vorfeld ihrer Anfang Oktober startenden Headliner-Tour. Die EP enthält 14 Tracks auf CD und 8 Tracks auf Vinyl, darunter die neuesten Songs der Band: das schwere "Vertigo", das erhebende "Circles", die berührende Rockballade "Whispers of the Fake" und die Leadsingle "REACHING FOR THE SKY". Einen Vorgeschmack auf ihre mitreißenden Live-Auftritte geben die zusätzlichen Live-Tracks auf dem Album, die auf ihrer letzten "Kizuna no Kiseki"-Welttournee aufgenommen wurden. Die Live-Songs wurden 2024 im Pabellón Oeste del Palacio de los Deportes in Mexiko-Stadt mit Songs aus ihrem umfangreichen Katalog aus 15 Jahren Bandgeschichte aufge-nommen. Zusätzlich wird die CD zwei exklusive Live-Bonustracks enthalten, die bisher noch nicht veröffentlicht wurden: "REACHING FOR THE SKY" und "VERTIGO", die auf der "PLAY WHAT U WANT TOUR 2025" der Band in Japan in diesem Jahr aufgenommen wurden.

WRWTFWW Records is boiling with excitement: Pizza Hotline is back! The UK producer and DJ is following up the already classic Level Select with another liquid drum & bass with a video game music twist beauty: the Polygon Island album, available in a limited edition double LP with a majestic 45rpm cut (for louder, bigger, bolder, deeper earth-shaking bass), packaged in a heavyweight 350gsm gatefold sleeve.

Home of eight all new slices of delicious atmospheric drum & bass, Polygon Island is the perfect artificial paradise beach for Pizza Hotline to deepen his exploration of modern jungle music liquified through the lens of 90s /Y2K video game motifs and seasoned with the soundtrack essence of PS1, PS2, N64, Sega Saturn & Dreamcast adventures.

Bewitching and larger than life, Pizza Hotline’s perfect follow-up to Level Select takes listeners (players?) on an endless summer escapade filled with immaculate vibes, crispy beats, and refashioned homages to, once again, LTJ Bukem, Peshay, the Wipeout OST, and Soichi Terada's Ape Escape. It’s bouncy, it flows, it’s dreamy – something to dance to, something to reminisce to, something to chill to. Pizza Hotline is back and it feels so good.

Press start. Again.


Points of interests

For fans of liquid DNB, video games, ambient, late night vibes, computers and clubs, Soichi Terada's Ape Escape, LTJ Bukem, Peshay, Wipeout OST, Pizza Hotline’s Level Select, good music, good music on video games, playing video games all night and possibly all week. Do that again and again and again.

Super limited edition vinyl of Pizza Hotline’s Polygon Island album redefining liquid drum & bass with a Y2K video game twist again and again and again.

Blue House Rockin’ is the result of a unique collaboration between Soul Sugar and Dub Shepherds — two projects united by a shared love for roots reggae, vintage studio gear, and warm analog sound.

The album was recorded live over two intense days at Blue House Studio by Christophe “French kiss” Adam, using ribbon and tube microphones from the ’50s and ’60s from the ’50s and ’60s, a Hammond organ, upright piano, Fender bass and Gibson guitars, classic amps and preamps, along with drums, syndrums and percussion. The sessions were transferred to a 24-track tape machine, and final mixes were crafted the old-school way by the Dub Shepherds at their own Bat Records Studio, using analog consoles and hardware vintage effects.
The tracklist brings together deep cuts, timeless classics, and original compositions. Curtis Mayfield’s Give Me Your Love and Aaron Frazer’s My God Has a Telephone (Colemine Records) — two soul gems, one vintage, one modern — are reimagined in reggae style, both featuring the great Jolly Joseph on lead vocals, working wonders with his falsetto. He also shines on Hold My Hand, a sweet and mellow original composition with lovers rock flair, written on the spot during the session.
Other standout moments include the soulful fire of UK singer Shniece McMenamin, who lights up Family Affair (Mary J. Blige / Dr. Dre) — flipped into a fiery hip-hop-meets-reggae version packed with energy and attitude.

Instrumentals like Disco Jack, Choice of Music, and Drum Song — all originally composed by Jamaican organ legend Jackie Mittoo — bring Guillaume “Booker G” Metenier’s Hammond work to the front. The playful exchange between organ, guitar, and a rock-solid rhythm section is elevated by swirling spring reverb, dub echoes, and filter sweeps.
The album’s explosive title track — Blue House Rock — was composed and recorded on the spot at the end of the session. A raw, greasy groove that sounds like The Meters jamming at Studio One or a lost instrumental from a Beastie Boys B-side.
Blue House Rockin’ is a vibrant blend of soulful roots reggae and funk, wrapped in the deep, dusty tones of analog tape. A joyful and authentic studio experience, captured live — and played loud.

Berlin vibes in full effect!
Eclipser Chaser hits release number 20 with a heavyweight lineup: Daniel Paul, Estimulo, Stenger, Phazer & Bass Cab deliver a deep, funky blend of disco-infused grooves and dubby house flavours. Warm, raw and playful - this is BIG FUN for lovers of characterful, analog-rooted dance music.

John Calvin Abney rises again from the Oklahoman prairies with his latest album Transparent Towns. The ten songs focus on how we remember, and ultimately accept, though he is not always certain the memories we carry adequately mark the moments that make us. "This record is wrapped around the passage of time, whether or not we can trust the memories that we swear on, how we forgive ourselves and others as seasons turn, and how we define what is important as we roll the boulder back up the hill," Abney says of Transparent Towns. "We build these routines and live our stories, we rely on our histories and our memories - spoken and recorded. Now, we're relying on copies of copies, memories of memories, all packed like sardines into our phones, and we're losing the ability to tell our own stories. I have to constantly remind myself, as well as redefine what matters at the end of a day." Transparent Towns is the seventh studio album for Abney, and his first since 2022's Tourist, which he crafted after spending the pandemic as an itinerant writer. In contrast Abney penned most of the album's 10 tracks during a period of introspection and convalescence while recovering from vocal cord surgery in 2023. The time to himself - "I didn't sing for nearly a year, and after surgery, I couldn't talk for a month, and couldn't sing for over three months," he says, left him contemplating how to trace his experiences in the silence. The album's title track is Abney's take on the inaccessible past, witnessing loss and grief through the years, damning the "days we let go left unsaid", and accepting the uncontrollable circumstances we are sometimes placed in. "The troubles and the joys exist vibrantly in your memory, but you're wondering if you remember correctly," Abney remarks. "I've sometimes had this sort of confusion between memory and dreams - you crafted this ideal in your head of how things were or might be, in order to soften the blow of a harsher reality." The places we inhabit dictate how our memories form, and for Abney, there is one place to which he is constantly drawn: Oklahoma. Although he was born in the biggest little city in America, Reno, Nevada, he grew up learning guitar and piano in Tulsa, playing bars and DIY spaces from Norman to Stillwater. His affinity for the land that raised him is evident in the production of Transparent Towns. Abney self-produced the record, tracking most of it at Cardinal Song outside of Oklahoma City, with Michael Trepagnier handling mixing and engineering. The band was comprised mostly of Sooner State musicians too, along with Lydia Loveless and John Moreland contributing harmony vocals. His signature vulnerable voice and lyrical handiwork comes through in each of the songs, along with his penchant for alternative pop melodies set against colorful chords and subtle soundscapes. Having toured for years backing up artists like Moreland, Wild Child, Ben Kweller, and S.G. Goodman, Abney embraces a lead role again, as he presses forward with the loving lament and defiant joy throughout Transparent Towns, calling us to leave behind the pressures we place on our ourselves and recognize that just because there is an ending, it doesn't mean it's the end.

The highly anticipated collaboration from Shawn Lee and Kelly Finnigan ishere. The A-side on this 45, Say It Again, features Kelly on vocals and piano. It's asmooth, soulful tune, pulling references from Bobby Caldwell and FM radio. Shawn says of the track "there has always been a mutual admiration societybetween myself & Kelly. Over the years I've had the pleasure of playing onboth the Monophonics & Kelly's solo records in the studio and live onstage. This is the first I've had Kelly on something that I've put together. Good thingscome to those who wait_and here it is!"The instrumental B, Harpsichord Rock, comes straight out of some sort oflost 1970's Italian movie. Entirely written and recorded by Lee, it's a hypnoticjam with a groove. The mood: funk.

Voyager is Mike Oldfield 17th album and was released in 1996. It is a Celtic-themed album with new pieces intertwined with covers of 20th century compositions and older traditional pieces. The music on this album is the most overtly Celtic music Mike Oldfield has produced. The album was originally recorded using only acoustic hand-played instruments. Later on Oldfield added synthesizers and more instruments to the album. His rendition of "Women of Ireland" was released as a single in 1997. "She Moves Through the Fair" is an traditional Irish song, the melody of which had been used by Simple Minds for "Belfast Child" in 1989 and "Celtic Rain" was sampled in 2008 by Snoop Dogg for his song "Why Did You Leave Me"

Yoyager is available as a limited edition of 1000 individually numbered copies on purple coloured vinyl.

On his new album All Cylinders, Yves Jarvis expresses a brazen songcraft and pure musicianship. 11 tracks he played himself, without a single additional contributor, transforming his now four-time-Polaris-nominated vision into the stuff of verses and choruses, hooks and hits, vibrating like a cosmic anthropology. Whereas once he had fetishized analog tape, now Jarvis appreciated the value of working without any such preciousness: much of All Cylinders was recorded on bare-bones Audacity, sans plugins, channeling the spirit of Paul McCartney’s II.

Jarvis is an omnivore, and All Cylinders smashes together a stunning array of influences: Serge Gainsbourg, Judee Sill, Sheryl Crow, Captain Beefheart, Jackson Browne, Throbbing Gristle, Ray Charles, Brian Eno, Fleetwood Mac… All distilled into tunes that feel like taking sips from a cup, or drags from a cigarette. Vivid and self-contained songs that are just two or three minutes long. “I feel like this is the least contrived thing I’ve ever done,” Jarvis declares. Lyrics that matter. Vocals up front, where people will actually hear them. “If something’s true to you,” he explains, “it’s probably true to a million other people.”

The first run of All Cylinders on limited edition vinyl sold out, leading to this highly anticipated second pressing. This edition includes 4 bonus tracks from the forthcoming deluxe release, making it an essential piece for fans and collectors alike. Originally released via In Real Life to critical acclaim from Pitchfork, Financial Times, NPR, Aquarium Drunkard, Far Out Magazine, New Noise, Out Front, KCRW, RANGE, Atwood Magazine, The Luna Collective, Billboard Canada, The Fader, Blamo! Podcast, Stereogum, and Guitar World.

A new Toy Tonics artist! Brazilian DJ, vinyl collector, party promoter, and style aficionado Martha Pinel has joined the Toy Tonics family.

Originally from Rio de Janeiro, where she is a well-established DJ and a prominent figure in the lifestyle scene, Martha also resides in Berlin, where she became friends with the Toy Tonics crew.

She is the creator of Assembleia, a celebrated party in Rio de Janeiro known for its laid-back and unpretentious atmosphere. Assembleia has also become a Carnival sensation, hosting unforgettable annual editions that are now a highlight of the season. In Brazil, she is also known as the co-founder of the Croma project, where fashion and music merged to revolutionize Rio de Janeiro's alternative scene. She has been featured on the cover of GQ Brazil, which named her one of the "13 artists giving voice to the generation that is changing the world."

Martha has been DJing worldwide at festivals such as KALA Festival, Paris Fashion Week, DGTL, and Boiler Room. She has made a name for herself in the diggers scene, sharing the stage with DJs such as Hunee, Antal, Yusu, Sam Ruffillo, Prins Thomas, and many others.

Martha is passionate about discovering music daily and crafts dynamic, non-linear sets that play with the audience's emotions. Known for her bold approach, her sets are always powerful and brimming with personality. They seamlessly blend ethnic musical influences with cutting-edge productions from Brazil and beyond, incorporating African and Middle Eastern sounds, space disco, Italo disco, Balearic beats, house, and its subgenres.

Martha Pinel's debut EP, Real Rio, was born during a moment of rediscovery in her hometown, Rio de Janeiro, after spending a long time abroad. This project is a celebration of that reconnection, capturing the city's most authentic and visceral aspects-a place where beauty and chaos coexist, with dramatic highs and lows.

In the track "Uber Moto," Martha reflects on the urban phenomenon of app-based motorcycles, which have become a symbol of the city.

"Espírito de Estado," on the other hand, is a track that embodies the spirit of the Carioca Carnival, the greatest party in the world.

Finally, "Assim" offers a personal reinterpretation of Marcos Valle's classic Estrelar. In this track, Martha and Gabto leave their mark on this Brazilian music icon, reflecting on the concept of Body Culture-it's often said that it's impossible to walk along Ipanema Beach without noticing the Carioca cult of the body.

D Stone debuts on Heist Recordings with a record that shows us why he's one of the hottest talents in house music right now

Chloe Caillet is in on it. Cinthie is in on it. SG lewis and Demi Riquísimo are in on it too. So are Folamour, Barry Can't Swim and, of course, Dam Swindle. In on what exactly?

In on the fact that D Stone might be the most exciting young producer and DJ you will find in the house scene right now. Oh, and he's also a great guy who says Heist was his dream label to release on. When we found out we were fans of on each other, it was only logical that we signed his 'Time Selection' EP; A 5-track record that shows us how cool and catchy underground house music can be if it's done well.

D Stone, born Daan Steenhuizen has had a meteoric rise in the scene in the past years and has only just finished his study at the Conservatory, where Lars was one of his mentors. His vinyl debut was on Cecille in 2023 with that absolute anthem 'Total unison'. He then released on Cinthie's 803 Crystal Grooves in 2024 and has a busy 2025 with releases on Chloe Caillet's label Smiile, Semi Delicious, a release planned for Barry Can't Swim's fresh label 'Earth's only paradise' and now, Heist. He's been touring relentlessly in between, already playing legendary places like Ibiza's Pikes, Amsterdam's Shelter and with big shows planned at Warehouse project and in Australia, you can just feel all the right things happening for him.

The 'Time Selection' EP kicks off with 'Yes I Am', an upbeat house track with plenty of hints of the old school, playful vocal chops and above all, some lovely piano work. It's stripped back, but full of energy, with driving 909 percussion, retro flutes and a rolling bass line. It's as much a pallet cleanser in a set as it is a teasing mid-set highlight.

'Move Over' features the vocals of ELY and sees D Stone dive deeper into vintage house territory, with a classic bassline and percussion that stays true to the core of the classic drum machines, hinting as much towards the electro-pop sound of New Order and the futurism of early Mr. Fingers releases. The vocal is daring and cute at the same time, and does a great job tapping into the nostalgia of the pop-house cross-over songs of the early 90s.

'Time Selection' is arguably the heaviest cut of the record, much in style of his breakthrough track 'Total Unison'. This track is built around a strong piano theme, supported by driving 909 drums, strings and cleverly placed disco bleeps to keep the track accessible and uplifting. Add to that a big breakdown, and you'll understand why we've been reaching for this track peak set for the past months.

On the flip, we've got 'One Thing', a subtle and introverted track built around a bumpy disco bassline with a hook that's silly on first listen but will end up being the one thing you'll keep humming for the rest of the day. In short, it's a banger in disguise.

The last track of the EP is 'Everything from the Organ', a track where D Stone is not afraid to show his love for throwback ravey elements. There's organ licks, horns and chopped vocals that propel you straight to the front-left of whichever dancefloor D Stone is reigning at that moment.

Don't sleep on the Heist debut of one of Amsterdam's biggest talents, cause this one will go like hot cakes! As always, enjoy the music and play it loud!

Yours, Maarten & Lars

A1 - The Moon On The Moors
ASC opens the EP with a distinctive, purposeful and dancefloor-friendly piece, driven by an intensely memorable drum pattern that will have your head nodding instantly - that's before the deep, earthy room-filling bassline quakes below. Filtered metallic breakbeats join the mix periodically along with string melodies and a plethora of sci-fi effects and classic micro samples. Absolutely essential stuff from the atmospheric wizard that is ASC.

A2 - Persuasion
A measured approach introduces Persuasion, with light hats and a subtle bleepy melody gradually pulling us toward a stunningly crisp slice of breakbeat heaven. Impossibly detailed rapidfire snares dominate the mix with incredible clarity that just has to be heard to be believed. Light bongos and airy synthwork nestle beautifully alongside trademark old school high pitched female vocal hits to cap off another stunner.

AA1 - Time and Again
Setting the tone immediately with thunderous, deep Hot Pants breaks - finely crafted as ever - Time and Again sees ASC explore an other-worldly setting with an uneasy intrigue to the echoing keys, while rousing strings provide a suitably nervy backdrop to the mix. A mellow yet tense breakdown is quickly nudged aside with the crunching breaks and darkly bassline, while echoed vocal hits add further texture.

AA2 - Severance
A wonderfully old school slice of breakbeat action quickly unfolds as Severance sees ASC playfully experiment with varied break patterns riddled with delicious little details you will pick out with each repeated listen. Sublime intent is present throughout with a heavy undertone bassline, not to mention the excellent sampled quote from the show of the same name - eventually we all have to accept reality. If this is our reality, bring it on.

Words by Chris Hayes (Spatial / Red Mist)

Here we are with the Earth perched on a thin tenuous wire. The neo-liberal order and its fascist mirror world burning through fossil fuels and the souls of vulnerable peoples the globe over. Conflict, warfare, climate degradation, misinformation. The time is nigh to break the spell with music.

Right on time comes IC007 – Four cuts of progressive elektro roots to shine a light on only four of the multitudinous hot spots of suffering while also inspiring a musical movement forward through the storm. Dedicated to the peoples of the Sudan, Palestine, Ukraine, and Taiwan this tune is another ITAL COUNSELOR sound system scorcher.

The message at its very core is to keep keeping on. Never give up. Forward through the storm like an ITAL WARRIOR! This RHYTHM SHOWER is a guideline toward a better tomorrow.

Delivering this message are some of ITAL COUNSELOR MUSIC’s stalwart players. Inyaki Basque Dub Foundation returns to the fold with yet another top-notch original rhythm – A drum and bass workout that harkens back to the best of Sly & Robbie’s Compass Point era science fiction dubwise and just a little bit of Aswad’s “To The Top” era progressive roots. Both raw and rhythmically complex, Inyaki makes the drum and bass hit hard with the mixing help of top studio man James Zugati. The dubwise cuts on side two are of course custom made to make bass bins rumble and weakheart drop.

Alas, we cannot forget Soothsayer horns – here as always proving that they are the best horn section out there. They feel it. They know it. They execute it in the hardest and sharpest of manors. Heavy heavy hornsman manners…

Progressive. Heavy. Horns. Elektro. Roots. Forward.

One Love and Guidance along the Way,
Andy G, IC

The Delines "Scenic Sessions" 10th anniversary Coke Bottle Green Colored LP reissue. Originally issued in 2015 as a Rough Trade and Tour exclusive The Delines album, Scenic Sessions sold out in a period of weeks with their End of the Road Festival appearance that Sept. It was time for a reissue as it is one of the fans favourites and never available outside of the UK at retail with only 1000 copies printed. The band always thinks of this one as The Delines at summer camp. We recorded it during a minor heat wave, it"s loose and a bit rawer than most of our other records, and there"s a no pressure easy going feel to the session that really comes across. It"s a band favorite, too, because while recording it I think we all knew we were becoming a real band.

Dusted Angel is a band that likes to keep it in the family. Made up of a group of close friends that have known each since the early 80s, stemming from playing in various intertwined bands engraved in the extended Santa Cruz family of friends. Featuring Ed Gregor, guitar (hedgehog, no use for a name), Eric "Dog" Fieber, guitar (Mock, creature, fire sermon) Steve Ilse drums (creature, Herbert, Automatic Animal) Clifford Dinsmore vocals (Bl'ast!, Seized Up, Spaceboy) and Eliot Young (Lost in Line, Seance) on bass. Formed in 2009, Dusted Angel is a sleeping giant that awakens from time to time to enlighten people with their unique brand of heavy, heavy groove laden music. Now it's time for a new album via Heavy Psych Sounds Records!

Transparent orange vinyl, limited to 300 copies. Dusted Angel is a band that likes to keep it in the family. Made up of a group of close friends that have known each since the early 80s, stemming from playing in various intertwined bands engraved in the extended Santa Cruz family of friends. Featuring Ed Gregor, guitar (hedgehog, no use for a name), Eric "Dog" Fieber, guitar (Mock, creature, fire sermon) Steve Ilse drums (creature, Herbert, Automatic Animal) Clifford Dinsmore vocals (Bl'ast!, Seized Up, Spaceboy) and Eliot Young (Lost in Line, Seance) on bass. Formed in 2009, Dusted Angel is a sleeping giant that awakens from time to time to enlighten people with their unique brand of heavy, heavy groove laden music. Now it's time for a new album via Heavy Psych Sounds Records!

François and Sylvain Rabbath have turned six years of touring into a joint album that patiently and intensely distills a variety of musical flavors gathered from around the world.

Since the early 1960s, François Rabbath's double bass has resonated through enough landmark recordings to fill several shelves in a record collection. As an arranger, composer, and musician, his imprint on music goes far beyond his collaborations with Barbara, Paco Ibáñez, Charles Aznavour, or Édith Piaf. Aspiring double bassists owe him a groundbreaking method for learning the instrument. Born into a lush musical universe that quickly became his own, his son Sylvain first accompanied him on his travels before settling at the piano and sharing stages around the world at his side.

Those years of accumulating visas in their passports were put to good use by father and son. The continents, countries, and cities they passed through became a rich source of inspiration for composing Amall, the album by the Rabbath Electric Orchestra.

Long hours spent in the air or on the road, watching passing landscapes that never stayed the same, were transformed into compositions imbued with the atmospheres of the places they crossed or visited. Inspiration sometimes struck with force, like a green oasis appearing in a desert of stone—unexpectedly, as glowing red rocks suddenly dominated an otherwise open landscape with an endless horizon, while the mind wandered into a state between meditation and introspection.
Born from these travels, the pieces took on their final colors once brought into the studio, refined, and finally arranged to welcome the guitars of Keziah Jones and Matthieu Chedid, the piano of Laurent de Wilde, the bass of Victor Wooten, the saxophone of Raphaël Imbert, and the percussion of Minino Garay. Enhanced by the scale of the jazz-soul orchestrations, by the richness of arrangements bursting from strings, brass, rhythms, or keyboards, the epic breath of vast plains became ingrained. The urban tension of funk, echoing their movements, found its place—alongside more electric expressions or the ambience of a darkened room.
Melancholic and melodious, expressive and edgy, the bowed double bass—played in the high register where few dare to go—emerged as the musical guide. One that draws a path between Seville and Minneapolis, connects François Rabbath's native Syria to France, and bridges South America to Europe. It sets the tone to follow—the emotion that will carry the piece, and if not filled with light, will carry it there nonetheless.
Musical visions packed in luggage, transported in cargo holds, or imprinted in their minds just long enough to cover the distances to the next stop—father and son deepened their bond, beyond family and art. And their hands have never held each other more tightly.

François et Sylvain Rabbath ont fait fructifier six ans de tournées pour un album commun distillant patiemment et intensément la variété de parfums musicaux récoltés autour du monde.
Depuis le début des 60’s, la contrebasse de François Rabbath résonne dans assez de références pour combler plusieurs étagères d’une collection de disques. Arrangeur, compositeur, musicien, l'empreinte laissée dans la musique va bien au-delà de ses collaborations avec Barbara, Paco Ibanez, Charles Aznavour, ou Edith Piaf. C’est à lui que les
apprentis contrebassistes doivent une méthode novatrice pour apprendre l’instrument.

Né dans un univers musical luxuriant qui est vite devenu aussi le sien, c’est d’abord dans ses voyages que son fils Sylvain l’a accompagné, avant de s’installer au piano, et parcourir les scènes du monde à ses côtés. Ces années où les visas se sont entassés sur leurs passeports, père et fils les ont mises à profit. Continents, pays, et villes qui se sont succédés sont devenues un gisement pour composer Amall, l’album du Rabbath Electric Orchestra.

Les longs moments passés dans les airs ou sur la route à contempler un paysage qui défile sans pour autant rester le même, se sont convertis en compositions habitées par les ambiances de ces endroits traversés ou visités. Là où l’inspiration s’est imposée parfois brutalement, sous
la forme d’un oasis de verdure surgissant au milieu d’un désert de pierres. Au hasard d’imposantes roches rougeoyantes s’invitant dans un paysage jusqu’alors dégagé sur un horizon sans fin, quand l’esprit se laisse aller à un mélange de méditation et d'introspection.

Nés de ces pérégrinations, les titres ont pris leurs couleurs définitives une fois ramenés en studio, peaufinés puis, enfin, pensés pour y inviter les guitares de Keziah Jones et de Matthieu Chedid, le piano de Laurent de Wilde, la basse de Victor Wooten, le saxophone de Raphaël Imbert, les percussions de Minino Garay. Sublimé par la dimension des orchestrations jazz-soul, par la richesse des arrangements jaillissant des cordes, des cuivres, des rythmiques ou des claviers, le souffle épique des plaines immenses s’est imprimé.
La nervosité citadine du funk rythmant les déplacements a trouvé sa place, non loin d’une expression plus électrique ou d’une atmosphère de salle obscure.

Mélancolique et mélodieuse, expressive et nerveuse, la contrebasse jouée à l’archet, dans les notes hautes du manche où peu s’aventurent, s’est érigée en guide musical. Celui qui trace le chemin entre Séville et Minneapolis, relie la Syrie natale de François Rabbath à la France,
réduit la distance entre l’Amérique du Sud et l’Europe. Donne la note à suivre, l’émotion qui traversera le morceau qui, s’il n’est pas habité par la lumière, le portera néanmoins jusque là.

Visions musicales mises dans le coffre, transportées en soute ou imprimées dans l’esprit le temps de couvrir les distances qui les mèneront aux prochaines, c’est côte à côte que père et fils ont prolongé leur lien par delà des seules limites familiales et artistiques. Et leurs mains ne se sont jamais serrées aussi fort.
credits

Amotik's AMTK+ imprint welcomes two new names on the trend-setting split series. Berlin-based artist and Tresor New Faces host, Marsch, steps up first and takes care of the A-Side. She delivers two fierce and punchy kick drum rollers with hypnotic vocals. Her playful use of percussion creates a lively groove and sparkling energy. On the flip, Ibiza rising star Katnada brings the goods. Her powerful, functional techno feels like a perfect fit for the label. Two highly effective tools with emotion and tactically placed bleeps make this a vigorous trip that breathes passion for techno.

A guitar player, writer, producer, and composer, Stevie Salas has recorded on over 70 different albums with artists as diverse as George Clinton, Justin Timberlake, Buddy Miles, T.I., Mick Jagger, and Rod Stewart. Having sold over two million solo albums around the world, Stevie has been cited as one of the top 50 guitarists of all time. Dreaming of a career in music, Stevie left the small town of Oceanside, California in 1985. Eight months later he was discovered by funk music legend George Clinton as the lead guitarist for Clinton's albums. Stevie received his first major label producer credit with Was (Not Was) when he co-produced the UK hit "Out Come the Freaks" from the album "What up Dog?" Rolling Stone Magazine listed "What up Dog?" as one of the top 100 records of the decade. With an extensive solo career, Stevie has now teamed up with Deko Entertainment to reissue some of these albums starting with the 30th Anniversary of "Back From The Living (Deluxe Edition)"













k MUCH ADO ABOUT BUTTIN' [SUCKERMANGRUBBY MOUTH MIX]





[q] TELL YOUR STORY WALKIN' [MUG MASHER REMIX]
[r] CRACK KILLED APPLE JACK [GRAVY BOOTY REMIX)











[k] MUCH ADO ABOUT BUTTIN' [SUCKERMANGRUBBY MOUTH MIX]





[q] TELL YOUR STORY WALKIN' [MUG MASHER REMIX]
[r] CRACK KILLED APPLE JACK [GRAVY BOOTY REMIX)

If you're a serious music fan but not a native Kiwi, your first awareness of New Zealand's fab music scene may have come from the debut of The Chills' mesmerising Kaleidoscope World collection of early singles. Within a few years, a great number of NZ acts saw music released by various UK and US labels . . . generally to great praise and enthusiasm. That this occurred without any of these acts having to move abroad to further their chances was nearly as delightful a feat as the music itself. The exception to this was Dead Famous People, radical in a snap decision after a five-song 12" for Flying Nun, Lost Persons Area, to change hemispheres and make a go for it in London. It started well. Three London recordings were added to three from their Flying Nun EP and put out by Billy Bragg's Utility label - about as perfect a mini-album as there's ever been. Response was positive, more songs recorded, the group did a John Peel session and played out often, but the vaguely impoverished group began to fall apart. Singer and primary writer Dons Savage - determined to make it - had a near-miss at becoming Saint Etienne's singer on an early take of their 'Kiss And Make Up' cover, and there was a fine performance from her on The Chills' 'Heavenly Pop Hit' . . . but dismay had set in. Upon learning of her mum's passing back home, Dons returned to NZ and was quiet for decades. Most of their London recordings were later released later in minuscule quantities by very small labels, but these saw scant press or attention and enjoyed next-to-no sales. Their moment had passed, and the band has suffered the strange fate of being the least-known of the truly brilliant acts associated with Flying Nun. Listening to these `lost' songs, it seems unfathomable that they could have fallen by the wayside. No NZ songwriter comes as close to equalling Martin Phillipps' pop brilliance as Dons. Her superbly sweet vocals, delicious harmonies and sophisticated arrangements aside, the songs dealt perceptively with universal follies of youth and yearning in tandem with a then-unusual twist of lyrics dealing matter-of-factly with her sexuality at a time when `women's music' was seen as exclusionary (segregated into its own bin in shops, if it existed there at all), and the riot grrrl movement was years away, later breaking through due to its radical stance. Dons is a pioneer in myriad ways, the irony of her transcendent brilliance failing to propel a greater career may rest in the fact that she leapt to the head of the class too quickly for people to grasp it; a fate that's befallen so many musical geniuses acknowledged today but less in their time - something rather tragically acknowledged in old pal Martin Phillipps' song with The Chills, 'A Song For Randy Newman, Etc.' None of these thirteen songs fails to deliver something both immediate and unique. And we're proud to debut 'Vampirella"', a magical fantasy song of longing and intrigue - surely one of the most perfect tunes to ever sit around unreleased for decades! Dons is again busy conjuring new songs; in the meantime we're delighted to unveil these obscure gems from the past.

A unique sonic journey blending jazz, candombe, dub, hip-hop, and electronic music. Written, sequenced, and recorded by Ian Lampel (Uruguay), the album captures Montevideo's vibrant essence with innovative beats and deep roots. Embark on a sonic journey through the rich tapestry of Ian Lampel's multicultural heritage with his debut solo album, "The Parque Rodó Tapes." From the echoes of his grandparents' wartime exodus from Europe's tumultuous past to the rhythms of daily life in Parque Rodó, Lampel's artistic vision was shaped by a kaleidoscope of influences: Science fiction and fantasy books, graphic design annuals, comics, films, early computers and videogames as well as music; the haunting melodies of Russian and Polish classical composers hummed by his grandmother while cooking, the choir and hammond music of the synagogue, his early explorations in club music and dub or the syncopated drumming of candombe and carnaval echoing in the streets of Montevideo. The composer, producer and bass player, wrote, sequenced and recorded practically everything that is heard throughout the album. With meticulous attention to detail, he has crafted a sonic landscape that seamlessly blends elements of jazz and Uruguayan music with the innovative spirit of dub, hip-hop and electronica; from the infectious rhythms of candombe and the raw energy of murga, to breakbeats, moog's and samples. Drawing from a treasure trove of samples collected over two decades, "The Parque Rodó Tapes" weaves together a tapestry of sound that is both nostalgic and forward-thinking, from the haunting voice of Marosa Di Giorgio and the vibrant cacophony of a carnival field recording by Lauro Ayestaran, to the guest contributions from notable musicians including Lampel's wife, singer/songwriter Eco Lopez, multi-instrumentalist Luciana Giovinazzo on flute, and Ferna Nunez on repique drum. Each track is a testament to Lampel's eclectic vision. A debut album with a certain degree of melancholy that works as a soundtrack to the world in which the artist grew up, a world now gone, without cellphones or social networks, in which everything had to be proactively pursued "in the streets".

Disasternoon is an album of psychedelic melancholia, a carousel of dreams, otherworldly and fantastical, each song sculpted into an allegory, elegant, rich, textured and authentic. Crayola Lectern explore memories, separation, isolation and the times that changed us, with lyrics scattered sparingly throughout. Crayola Lectern is the project from Chris Anderson, often compared to the piano led jazz of Robert Wyatt, the psychedelic folk of Gorky's Zygotic Mynci, with echoes of Mercury Rev, or Flaming Lips, and experimentalism of Fred Frith. In 'Disasternoon' Chris Anderson performs on vocals, piano, mellotron, synths, organs, sax, guitars and bass, with Alistair Strachan on trumpet, cornet, glockenspiel and Damo Waters on drums and percussion. Bic Hayes performs electric guitar solos on Disasternoon and Coscoroba, and Maria Marzaioli plays violin in Coscoroba. The live show often also featuring the likes of Jon Poole (Cardiacs, Widhearts) heading-up electronics, gadgets, sounds and keyboard parts, Bob Leith (Cardiacs) on drums, and Bic Hayes (Cardiacs, Levitation) on guitar.

"Oh Snap features twelve very personal songs by Cécile McLorin Salvant - plus a cover of a verse from the Commodores’ 1977 hit “Brick House” - mostly recorded outside of a traditional studio environment and showcasing her genre-spanning tastes and influences. The album features longtime collaborators Sullivan Fortner, Yasushi Nakamura, and Kyle Poole, as well as cameos from singers June McDoom and Kate Davis. Salvant has US and international tour dates throughout the summer and autumn; find more details at nonesuch

The MacArthur Fellow and three-time Grammy-winning singer and composer wrote these short, intimate songs as part of a creative quest: to place spontaneity and joy at the center of her writing process. She originally recorded them alone, at home, never intending for them to be released, using digital tools and effects that she had never played with before, like GarageBand, Logic, AutoTune, Midi plugins, drum loops, vocal effects, reverb, and filters. The songs reflect Salvant’s wide-ranging musical influences from her 1990s childhood in Miami - from boy bands to grunge to classical to folk - and include party tracks with beats, samba grooves, and quiet folk songs.
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