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British Folk-Rock Post-Punk duo, The Waeve, return with their latest guitar driven romp, City Lights. Graham Coxon (blur) + Rose Elinor Dougall return with the follow-up to last year's acclaimed eponymous debut (Top 30 UK OCC). Produced by James Ford (Fontaines DC, Arctic Monkeys), the record features both artists on vocal duties in addition to playing a host of instruments including saxophone, keyboards and drums. The WAEVE have established themselves as a songwriting partnership to watch and with City Lights they further push the boundaries of their collaborative creativity, using this album to chronicle the evolution of their relationship and forays into parenthood. City Lights is presented in a beautiful gatefold sleeve designed by Matt de Jong (Blur, Arlo Parks). The title track was released in May and added to the 6Music playlist, as well as garnering coverage on NME, DIY, Stereogum, Under The Radar + more. At this point the band were main support to Elbow across a full UK arena tour, in addition to their own sold-out headline show at London's Hoxton Hall. This summer sees them play large scale shows with Noel Gallagher, Breeders plus Green Man Festival and their own headline show at Village Underground on 29.10, with a full album tour to follow in the spring.

For as much as Sammy Rae & The Friends may be a band, this collective of dreamers and artists considers themselves a family first. That all-for-one and one-for-all camaraderie ignites their unforgettable and can’t-miss live shows, which serve as a catharsis for both the musicians and their fervent audience. Fronted by singer/songwriter Sammy Rae and honed through years of touring, the group is capable of flourishing in any spotlight thanks to its signature blend of palpable chemistry, deft virtuosity, and vocal fireworks.

Their sound, which has attracted new fans by the thousands in the past few years, is a unique mélange of Sammy’s influences: classic rock, folk and funk and sprinkled with soul and jazz. Rae has been building toward this moment since moving to NYC from Connecticut in her early 20s. Finding herself without a built-in peer group, she simply built it herself: the literal and proverbial Friends. When she started playing shows, she made sure the audience was part of the family too. Everything that’s happened since, from the EPs The Good Life (2018) and Let’s Throw a Party (2021) to sold-out shows in major markets and secondary markets alike across North America and the UK & Europe, to high-profile festival sets around the world, including Bonnaroo’s main stage, Sound on Sound and more, has been based on friends telling friends. As they prepare for the release of their long-awaited debut full-length album in 2024, Something for Everybody, Sammy Rae & The Friends have come to represent more than just a band: they are a full-on movement being adopted with a refreshingly diverse clientele.

"A Singular Blend of Dynamic Post-Pop & Electronic Production Featuring The Vibraphonist’s Remarkable Quartet Special Guests Gerald Clayton and Marquis Hill Named One Of Downbeat's 25 For The Future

“His music is fresh, it speaks to everyone. Never heard anyone play vibes like that before.” -Herbie Hancock

“Best vibes player I’ve heard...” -Quincy Jones

In discussing Elements of Light, his fifth album as a leader, the vibraphonist-composer Simon Moullier often returns to a specific term: unfolding.

“This is an important word — the unfolding of a song,” says Moullier, who was born in France and lives in New York. “It’s something I’m very attached to, and something I’m always working on.” As he explains, many of his essential influences —Wayne Shorter, Milton Nascimento, Toninho Horta, Radiohead’s Thom Yorke, Ravel, — have been masterful unfolders in their writing. Moullier admires the movement and design in their music and harmony, the way one section of a tune leads into the next, everything flowing in a natural, beautiful, inviting way. Even the most serious intellectual musical concepts are rendered with a directness, a simplicity that can captivate a general audience. “For me, no matter how complex an idea can get,” he says, “clarity is always key.”

That’s a mature, evolved outlook for a millennial jazz musician to embrace, and it’s shared among Moullier’s youthful quartet featuring pianist Lex Korten, bassist Rick Rosato and drummer Jongkuk “JK” Kim. What’s more, these musicians of astonishing technical facility interact with the selflessness and good taste that Moullier’s song-focused music requires; to say it another way, they use their virtuosity to make the bandleader’s compositions sound as human and affecting as possible — never to preen."

Frederik Valentin is a Danish musician, writer and producer. He has been active since the early 2000’s, playing a key role in the Danish rock, electronic and pop scenes. Having collaborated with landmark labels like Posh Isolation and produced each of Yung Lean’s “Jonatan Leandoer96” projects, Valentin has reinvented himself over and over again. ROCK N ROLL WILL NEVER DIE is his latest solo LP, a collection of rock-inflected dance music that calls to mind the scandi alt-pop of the Tough Alliance and JJ.

From Quinteros’ early rockabilly singles to his San Fran folk rock with the Au-Go Go’s, this collection highlights his Brent singles along with unissued material, acetates, demos & outtakes! Includes a booklet with liner notes & an interview with Eddie!

Eddie Quinteros was one precocious kid. Before he was old enough to drive, he was singing on live TV and flying to Hawai’i to rock out at stadium gigs. When his contemporaries were still in high school, he was hitting the charts with a tune he wrote himself, playing on an Alan Freed package tour, and making multiple appearances on American Bandstand. And before the San Francisco singer/guitarist was out of his teens, he’d already been screwed over by a shifty manager and sworn off the music business.

Along the way, Quinteros cut a handful of jumping singles showing that if he’d had the right breaks, he could have altered history. Ritchie Valens wouldn’t have been the era’s only Chicano rock ‘n’ roll hero. Quinteros’ Southern rockabilly influences are audible in his early singles, but they’re filtered through the more citified point of view of a San Francisco teen. And in the mid ‘60s, he reinvented himself as the frontman for the Au Go-Go’s, turning out a chiming, folk-rock flavored sound more in line with labelmates and fellow S.F.’ers the Beau Brummels.

All of Ed’s recorded output only amounted to a handful of 45s, but this collection sets things straight for posterity, featuring demos, unreleased tracks, live recordings, and acetates.

In 2023, underscores released her highly anticipated sophomore album Wallsocket via Mom+Pop, a 12-track narrative body of work that delves into the lives of the citizens who occupy Wallsocket, Michigan. Surrounding the campaign, she immersed fans in an alternate reality game (ARG) which led players through various local-business websites to unlock unreleased music and giveaways. Wallsocket quickly gained the attention of critics with rave reviews coming from NME, The Atlantic, The Guardian, Line of the Best Fit, and Anthony Fontano of The Needle Drop. The development of underscores’ live shows have been equally as remarkable as her recorded work. Following the Gecs tour, she hasn’t stopped touring with multiple sold out headline shows in New York, Los Angeles, Chicago, San Francisco, and London, and several festival appearances including the main stage at Lollapalooza, Electric Forest, FVDED in the Park, Capitol Hill Block Party, Meow Wolf’s Vortex Festival, and most recently Corona Capital CDMX and Governors Ball NYC. She embarked on her first worldwide headline tour selling out shows in the US, Canada, Japan, Australia, the UK, and Europe, and she’s slated to perform at Outside Lands and Reading & Leeds Festival this summer 2024. She was recently announced as direct support to her label-mate Porter Robinson on the Europe/UK leg of his worldwide tour in February 2025. To put a cap on the “Wallsocket era” underscores is releasing and extended version titled Wallsocket (Director’s Cut) which includes “four deleted scenes” from the Wallsocket story.

Few bands are as primed to capture their ecstatic live energy in masterful sonic detail like Terry Gross. Composed of three renowned engineer/producers (recording artists like Wooden Shjips, Moon Duo, Earthless, Big Business, and more) whose studio doubles as their jam spot and communal gathering place, the trio"s penchant for longform psychedelic escapades is able to be recorded with granular precision. The potency of the fellowship formed by drummer Phil Becker (Lower Forty-Eight, Peace Creeps, Pins of Light), bassist Donny Newenhouse, and guitarist Phil Manley (Trans Am, Oneida, Life Coach) lies in their ability to utilize their prowess as both players and record engineers to translate feeling with immaculate clarity. On Huge Improvement, Terry Gross embody a complex web of emotion with songs as ferocious and precise as they are agile and care-free, delighting in the catharsis of excising tension alongside one"s most trusted peers. Huge Improvement"s tongue-in-cheek title is rightfully earned. Like their debut Soft Opening, the pieces on Huge Improvement began as improvised studio jam sessions without expectations. The trio"s ability to plug in, play and have each experiment thoroughly documented opens up unparalleled avenues for further exploration and honing. The four mammoth slabs that make up Huge Improvement are driving, unrelenting excursions into the unknown. Whether burning white-hot or smoldering in plumes of smoke, the pieces stretch as much inwardly as they do cosmically, embracing every surprising turn. Terry Gross"s Huge Improvement morphs the trio"s search for communal connection and reprieve into a transcendent respite, a burst of focused energy to be enveloped in while facing the senselessness around us with a smile.

Defined by a riveting array of Caribbean rhythms, Etienne Charles's first album featuring his big band arrangements is a personal triumph, but Creole Orchestra is also part of a much larger Story. Drawing on material from several different commissions and projects, the album encompasses the key players from Charles's band Creole Soul and features special guest vocalists Rene Marie and Brandon Rose, plus DJ Logic (turntables).

By the time Chick Corea - the venerated 27-time Grammy winner and National Endowment for the Arts Jazz Master - went into Mad Hatter Studios in Los Angeles to record the third album with his Elektric Band, the lineup had been solidified through constant touring the previous year. Dedicated to his father Armando, a trumpeter who led a Dixieland band in Boston in the 1930s and 1940s, Eye of the Beholder reflected a tightening of the ensemble playing and a greater showcasing of the individual solo prowess of these consummate musicians.

With this fresh sounding five-star recording, it is clear that Corea was more open to showcasing this band’s collective muscle and individual virtuosity. The group rips, in no uncertain terms, on showcases like “Cascade, Part II,” “Trance Dance,” and the staggering “Amnesia.” There are experimental excursions into the kind of atmospheric, ambient music realms that Brian Eno pioneered on “Cascade, Part 1” and may be the most profound musical statement of the collection, on par with past Corea high points, “Beauty.”

Originally released on GRP Records in 1988, the album is a high-water mark for Corea and his Elektric Bandmates.

Rhetoric & Terror is Berlin-based Hemphill’s second album since leaving Liars back in 2016.

No stranger to reinventing his approach towards composition, Rhetoric & Terror feels like we are – perhaps for the first time – opening a doorway into Hemphill’s personal life, to his disparate sonic influences, his wide-ranging journeys through philosophy, and his own reflections on his role as an artist.

Like different thoughts and feelings emerging in a state of meditation, Hemphill invites you to pause on one ‘scene’ for a moment before moving onto the next. There’s space to get lost here – both emotionally and in the colour of the album’s wide-ranging textures.

With his wife Angelika Kaswalder on vocals throughout the album and multi-instrumentalist Morgan Henderson – a longtime friend of Hemphill’s since Henderson’s time in the post- hardcore band The Blood Brothers - adding woodwind, Nonpareils is no longer simply a solo project – and it’s apparent in this openness.

The name of the album – Rhetoric & Terror – describes this split that Hemphill is making from the conceptual nature of his first solo album (2018’s Scented Pictures), and the new direction that he – perhaps – hopes to continue taking. The title comes from a chapter in Giorgio Agamben’s book, “The Man Without Content”, where he describes the concepts of rhetoric and terror to describe two different types of writers: the rhetorician and the terrorist. The terrorist is a misologist who is only into the feeling; the rhetorician is committed to logic and form.

“With Rhetoric & Terror, I wanted to start with emotions and feeling. I was playing with my kids, listening to Cocteau Twins, I have a wonderful partner, and it seemed very contrary to any sort of growth to sequester myself from this life in order to get into character as a musician. Instead, I tried to remove the boundaries between my creative life and my. responsibilities and have it all be one fluid thing. All things at all times, and trust that this will guide my music rather than more intellectual concepts or limitations.”

Despite its catalysts being in philosophy and conceptual art, Hemphill has created an album that’s deeply “emotionally available”. It’s also helped him take a new stance on life that combines his life as a partner and parent in a kind of unity with his role as the artist. It’s plain to hear as a listener – Rhetoric & Terror, despite its intimidating name, is welcoming
and playful, even during its most intense moments.

"Highlights:

 Available for the first time on Double 180g Black Vinyl.
 Fully remastered at Abbey Road.
 Includes 7 rarities chosen by Johnny.
 Brand new art direction.
Released in 2003, Boomslang was Johnny Marr’s first solo studio album. After his departure from The Smith in 1987, Marr spent a number of years with the likes of The Pretenders before recruiting Zak Starkey (drums), Alonza Bevan (Bass) and more to form The Healers in 2000. Recorded at Clear Studios in Manchester, with James Spencer (New Order, The Charlatans), Boomslang comprised of eleven tracks that combined his signature guitar playing with heavy psychedelic rhythms."

"‘A virtuoso guitarist with a galvanising charm that electrifies her audience.’ - Guardian

Molly Tuttle & Golden Highway release a new six-song EP, Into the Wild, via Nonesuch Records. The EP, a follow-up to their Grammy-winning and critically acclaimed 2023 album, City of Gold, includes three new songs as well as previously released covers of Jefferson Airplane’s ‘White Rabbit’ and Olivia Rodrigo’s ‘good 4 u’, and an alternate version of the City of Gold track ‘Stranger Things’.

In addition to the band’s previously scheduled US tour dates, which include a performance at the Ryman in Nashville in September, they have announced a new batch of US dates in November, including stops in North Carolina, Virginia, Maryland, upstate New York, Massachusetts, and more.
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Of the new release, Tuttle says: “With this new EP we invite you to come on a journey with us Into the Wild. I wrote the title track with Ketch Secor after a week spent in the redwoods. This song is about getting lost in the wilderness even if it’s just in the forest of your mind. ‘Getaway Girl’ was an unfinished song I had started writing for our last LP City of Gold. It’s about a whirlwind romance set in New York City, kind of like Carrie Bradshaw meets bluegrass. In addition to these two new original songs, we included some of our favorite covers that we’ve woven into the live show, ‘White Rabbit’ by Jefferson Airplane and ‘good 4 u’ by Olivia Rodrigo.”

She continues: “We paid tribute to one of my favorite California songwriters Kate Wolf with a new version of her song ‘Here in California’ which features my dad, Jack Tuttle, and longtime friend AJ Lee singing with me. I used to play this one with my family band back in the day! On ‘Stranger Things’ (Down the Rabbit Hole Version) I wanted to go for a stripped back ethereal version of this song originally played by the full band on City of Gold. It features a trio with Dominick Leslie on mandolin, and Nathaniel Smith on cello and synth. I hope you enjoy trekking deeper into the woods with us as we pick up where we left off on City of Gold and explore new territory as a band.”

Earlier this year, Tuttle and the band—fiddler Bronwyn Keith-Hynes, mandolinist Dominick Leslie, bass player Shelby Means, and banjo player Kyle Tuttle—earned their second consecutive GRAMMY win for Best Bluegrass album for City of Gold, released last year on Nonesuch Records. Earlier this month, the band was nominated for eight IBMA Bluegrass Music Awards: Tuttle and the band are up for Entertainer of the Year, Vocal Group of the Year, Instrumental Group of the Year, and Album of the Year for City of Gold. Tuttle is nominated for both Female Vocalist of the Year and Guitar Player of the Year, and Bronwyn Keith-Hynes for Fiddle Player of the Year and New Artist of the Year. Additionally, Jerry Douglas, who produced City of Gold with Tuttle and is up for Resophonic Guitar Player of the Year, will be inducted into the Bluegrass Hall of Fame.

Raised in Northern California, Tuttle moved to Nashville in 2015. In the years since, she has received many accolades; in addition to the two GRAMMY wins she was also nominated for Best New Artist. She has earned three wins at the 2023 IBMA Bluegrass Music Awards and Tuttle won Album of the Year at the 2023 International Folk Music Awards. Additionally, she has earned Instrumentalist of the Year at the 2018 Americana Music Awards, and Guitar Player of the Year at the IBMAs in both 2017 and 2018. Tuttle has performed around the world, including shows with Billy Strings, Béla Fleck, Hiss Golden Messenger, Jason Isbell, Old Crow Medicine Show, and Dwight Yoakam, as well as at several major festivals including Newport Folk Festival and Pilgrimage."

ROEL SPANJERS presents: BIRDCATCHER II. With the release of his new solo album
Birdcatcher II, keyboardist/singer Roel Spanjers fulfills a long-awaited promise: the
successor to the obscure masterpiece Birdcatcher (2006).
Pianist and soulful Hammond player Spanjers is a sought-after live and studio (session)
musician in the European rhythm & blues, soul and roots/Americana scene. He toured
with such diverse artists as Luther Allison, Terry Evans, Normal, Frédérique Spigt, JW
Roy, Dayna Kurtz, Curtis Salgado, Smokey Wilson, Roscoe Chenier and many others.
Birdcatcher II will be released in September 2024 by Suburban Records and contains
ten new 'roots noir' songs. Recorded with guitarist/multi-instrumentalist Eric van
Dijsseldonk, drummer/producer Gabriel Peeters and some guests, including soul singer
Malford Milligan from Texas. The album was mastered by Kevin Reeves in Nashville.
Wander through a rich musical landscape that sounds familiar but fortunately leaves a
lot to the imagination. You hear echoes of Bobby Charles, Hi Records Soul from
Memphis, Americana à la The Band and the New Orleans of Allen Toussaint.
Truly an album full of varied songs that are strongly connected musically, thematically
and atmospherically and in which tradition is honored in a fresh and personal way.

ROEL SPANJERS presents: BIRDCATCHER II. With the release of his new solo album
Birdcatcher II, keyboardist/singer Roel Spanjers fulfills a long-awaited promise: the
successor to the obscure masterpiece Birdcatcher (2006).
Pianist and soulful Hammond player Spanjers is a sought-after live and studio (session)
musician in the European rhythm & blues, soul and roots/Americana scene. He toured
with such diverse artists as Luther Allison, Terry Evans, Normal, Frédérique Spigt, JW
Roy, Dayna Kurtz, Curtis Salgado, Smokey Wilson, Roscoe Chenier and many others.
Birdcatcher II will be released in September 2024 by Suburban Records and contains
ten new 'roots noir' songs. Recorded with guitarist/multi-instrumentalist Eric van
Dijsseldonk, drummer/producer Gabriel Peeters and some guests, including soul singer
Malford Milligan from Texas. The album was mastered by Kevin Reeves in Nashville.
Wander through a rich musical landscape that sounds familiar but fortunately leaves a
lot to the imagination. You hear echoes of Bobby Charles, Hi Records Soul from
Memphis, Americana à la The Band and the New Orleans of Allen Toussaint.
Truly an album full of varied songs that are strongly connected musically, thematically
and atmospherically and in which tradition is honored in a fresh and personal way.

Build Buildings is Brooklyn, New York, based Ben Tweel. He makes music with computers, instruments and household sounds. The sounds on “Ecotone” are sourced from acoustic guitars, lap harp, ukulele, mbira, and clarinet, and played through the gestural iPad program Samplr. He has released numerous albums since 2004, most recently 2022’s “Bring in the Lampstand and Light Its Lamps” on Audiobulb Records.

HUUUUGE lovers / dub repress of sought after 1980 CHA CHA 12”!

Cheersquad Records and Tapes are exhilarated to announce the forthcoming new album by Oz-punk tearaways the Hard-Ons, “I Like You A Lot Getting Older” I Like You A Lot Getting Older will be the third album by the band's current line-up of Blackie, Murray, Ray and Tim, and follows 2021's Australian top 5 debuting I'm Sorry Sir, That Riff's Been Taken and last year's the Australian Top 30 debuting Ripper '23. An exclusive limited edition green vinyl pressing (250 only, with different colour on the cover) will be available via the album's UK distributor Forte. The new album's release will precede the band's recently announced 40th Anniversary Australian tour (and coincide with their 40th Anniversary European tour), and the premiere of the feature length documentary on the band, The Most Australia Band Ever. Today's announcement follows the release of the new single and video "Buzz Buzz Buzz". It's the first single from the Punchbowl band's forthcoming long-player, their third album since co-opting You Am I's Tim Rogers in 2021. Guitarist Peter 'Blackie' Black describes the song as "Our best collaboration so far. When Tim said 'I wanna get a little left of centre with the melody on this,' I was BLOWN away (but not surprised :-))" The video was shot live last month as Hard-Ons opened for Radio Birdman by Jonathan J Sequeira, director of the Birdman documentary Descent Into The Maelstrom.

Rage Queen Delilah Bon is a force to be reckoned with blending elements of hip-hop, nu-metal, and riot grrrl ethos into her signature "Brat Punk" style. Her music serves as a fierce anthem for marginalized communities, particularly women, non-binary and the LGBTQ+ community. Her performance at the 2023 Glastonbury festival garnered acclaim from Kerrang!, who hailed her as a ‘standout voice in the rise of bold and bratty heavy music’. This recognition secured her a coveted spot on Kerrang!'s 'Sound of 2024' artist list and further recognition as ‘New Noise’ artist in Metal Hammer magazine and full feature in Clash Magazine. 2024 promises to be a monumental year for Delilah Bon, with a series of highly successful single and video releases to date and her highly anticipated album ‘Evil, hate Filled Female’ due for release in September. She’s also playing a host of Summer festivals including Download, Glastonbury, 2000 Trees and several European festivals including Rock For People in Czech Republic and Metropolis Festival in the Netherlands, with more to be announced! Her singles from the upcoming album, “Maverick” and "Finally See Me” have received widespread support from BBC Radio 1 and Kerrang! Radio, earning coveted spots as Track of the Week’ on Alyx Holcombe’s BBC Radio 1 Introducing Rock Show, ‘Future Flavour’ on Nels Hylton’s BBC Radio 1 Future Alternatives and ‘Track of the week’ on Kerrang! New Noise with Hope Lynes. She’s also had major editorial support from Spotify, Apple Music, Deezer and Amazon Music, including her 3rd Misfits 2.0 playlist Cover artist. Delilah Bon's international appeal was further solidified by her support slot on US artist Scene Queen's UK tour in 2023 and performances at sold-out arena shows in France earlier this year supporting French band Shaka Ponk. Notably, she made National television appearances on Le Late Show and Taratata TV in France, showcasing her magnetic stage presence to a global audience. With her bold persona, genre-defying sound, and unwavering commitment to amplifying marginalized voices, Delilah Bon continues to cement her status as a trailblazer in the music industry.

Jeffrey Lewis’s 2015 masterpiece ‘Manhattan’ in random-colour reground vinyl. “Lewis’s catchiest and finest album” - (Grade: A) Vice. Blang Records are thrilled to announce they’ll be bringing the wild streets of Manhattan to the UK and Europe this autumn with the vinyl re-release of Jeffrey Lewis’s 2015 masterpiece ‘Manhattan’. The LP sold out of its first pressing and has been impossible to buy anywhere for years…until now. Out on exclusive Random Mix Colour Reground EcoVinyl in record shops from 20th September. Blang Records and Jeffrey Lewis have history: before Blang was a label, it started life as a live night at the 12 Bar Club in Denmark Street, hosting many a set of the NY Antifolk artists over on UK shores, including Jeffrey Lewis. Now 20+ years since Jeffrey first played Blang, it feels fitting that tour support comes from UK antifolk linchpins, Blang Records mainstay, and arguably one of the UKs most criminally underrated bands, David Cronenberg’s Wife (“A mix of 80’s fall and the Velvet Underground” - NME). Native New Yorker Jeffrey Lewis is a comic book writer/artist and a musician. A cult hero birthed from the now infamous antifolk movement that sprung up on Manhattan’s Lower East Side in the 90s, Jeffrey has released dozens of albums showcasing his unique blend of bleakly witty observations, scratchy, lo-fi punk and croaky folk/anti-folk, all firmly rooted in a strong DIY sensibility. Jeffrey and his band have toured the world multiple times over, released albums on Rough Trade, Moshi Moshi and Don GIovanni Records, and have been featured by NPR, The History Channel, The NY Times and more. ‘Manhattan’ was mixed by John Agnello (Dinosaur Jr., Phosphorescent, War On Drugs) and recorded by Brian Speaker at SpeakerSonic Studios NY, produced by Brian Speaker and Jeffrey Lewis. “We’ve been fans of Jeffrey Lewis since seeing him at the Sidewalk Cafe in 2001, so we’re really really pleased to be really-re-releasing the excellent album ‘Manhattan’ just in time for his September UK Tour. This all started when Jeffrey asked for help looking after his merch after his UK tour finished last year and we said we’d help him press some records in Europe from a UK address as the postage costs from the US were way too much. This ultimately led to us re-releasing his classic album (and respectful nod to Lou Reed's New York) ‘Manhattan’. It's beyond a dream come true. Blang is the home of fantastic lyricists and that's exactly what Jeffrey is - this is a perfect fit.” - Blang Records. “Jeffrey Lewis is an amazing musician, and if you don’t know his songs you probably have a hole in your heart that can only be filled by his words… I did!” – Regina Spektor. “Jeffrey is the best pure songwriter I know of… ‘Sad Screaming Old Man’… is one of my favourite songs ever written.” – David Berman, Silver Jews. Tour Dates: Jeffrey Lewis & The Voltage, w/ support from David Cronenberg’s Wife - Aug 29th Hertford – Corn Exchange, 30th Coventry – The Tin Music & Arts, Sept 1st Stockton-on-Tees – Georgian Theatre, 2nd York – The Crescent, 3rd Stirling, Scotland – The Tolbooth, 4th Birkenhead – Future Yard, 5th !SOLD OUT! – Halifax – The Grayston Unity, 6th Norwich – Norwich Arts Centre, 7th Northampton – The Black Prince, 8th Carmarthen – CWRW, 9th Nottingham – The Old Cold Store, 10th Southampton – The Joiners Arms, 11th Hastings – The Pig // Jeffrey Lewis solo: 12th London – West Hampstead Arts Center, 13th London – West Hampstead Arts Center

REPRESS

The second LP compendium of Emahoy Tsege Mariam Gebru's early solo piano works, recorded throughout the 1960s - finally available again. Emahoy Tsege Mariam Gebru is a true original - her compositions and unique playing style live somewhere between Erik Satie, Debussy, liturgical music of the Coptic Ethiopian Church, and Ethiopian traditional music. It is some of the most moving piano music you will ever hear! These original compositions, performed by Emahoy Tsege Mariam Gebru herself on solo piano, were originally self-released in Germany in small editions as fundraisers for orphanages, support organizations for widows of war victims, and other philanthropic causes. We are humbled and proud to present this album in collaboration with the EMAHOY TSEGE MARIAM MUSIC PUBLISHER and Foundation, and to assist in continuing her life-long mission of using music as a vessel to care for those who have been abandoned by society, or harmed by strife. Black vinyl LP comes in black inner-sleeves and heavy cardstock jacket with color printing and gold-foil stamping, and song notes by the composer herself. Restored and remastered by Timothy Stollenwerk.

Ever been hit in the face with a wooden plank stuffed with rusty nails? Me neither, but I imagine the effect would be something like the sensation of having Montreal five-piece Puffer blasted into your eardrums. Put simply, this is the midpoint between hardcore and dirty ol’ rock’n’roll - part Poison Idea going dumpster-diving outside the garages of Melbourne’s punk scene, part Fucked Up playing their X records on a rotary sander. They’re equally at home with a pacy blur of riffs as they are going for a four-to-the-floor stomp; either way, the ragged larynx sits perfectly astride the roar, while the guitars go full Bob Stinson at his too-drunk-to-fuck-up best. You can practically hear the leather jackets creaking between phrases. This is music to move to. So what better place to start with this band than an LP compiling their must-have demo from 2022 and the remarkably excellent self-titled EP that followed in 2023? Originally released by New York’s increasingly-essential hc label Roachleg Records, these two highly digestible bursts of punk’n’roll complement each other perfectly. Whether you get your giddy thrills from the raw-as-hell likes of opener ‘Suffering’, or from the non-more-anthemic, holy-shit-I-need-to-bang-my-skull-against-the-wall double whammy of ‘Sister Marie’ and ‘Hard Way To Go’, you are guaranteed to find something to love here. You could always try hitting yourself with that plank, but you’ll probably find you return to this more often. Drunken Sailor delivers the goods again. Get the fuck involved.

The band was originally the solo project of multi-instrumentalist musician, songwriter and a Föllakzoid founder Juan Pablo Rodríguez, formed in 2011 and used as a vehicle to explore instrumental active ambient and space rock music with the following equipment: Roland JD800, Roland SPX404 and Samick guitar. Their debut album, the eponymously titled Special Cases has received critical acclaim since 2020, with The Quietus’ Brian Coney praising its place in neo psychedelic music and the legacy of Föllakzoid, "As a whole, though, Special Cases spills over with low-key majesty and purpose. From the vantage point of the future where his band have cornered a niche within modern psychedelia, it evinces JPR as a rare shaman of kosmiche savvy." Since late 2020, Special Cases has developed into a fully fledged live band centred around Rodríguez with songwriting and performance geared towards alternative and psychedelic rock. As a live act, they have performed at numerous venues and festivals across Chile, captivating audiences with their dynamic stage presence and infectious energy. Visual Artists Tomás Olivos and Martin Line have contributed album art on various records. The band has physical releases on cassette, CD and vinyl spread across the following record labels: Blow Your Mind, Weisskalt and ETCS Records. Their 6th album '6' was recorded in two days at Estudio Lautaro and mastered in BYM Records, it features the stable trio from 'No Mind' plus painter and guitarist Chiri, driving the sound to a more 'indie' vibe with long ambient songs, laid back and energetic tracks. The album cover was made by painter Diego Hernandez (which played in 'Album Name') and it's going to be available in colour vinyl.

Volume Two in the Electro Sampler Series of Nijmegen's finest Shipwrec. Another compelling electro V/A with tracks by Konerytmi and Ian Martin, amongst others. SES1 set out what quality electro means for Shipwrec. The first in the series brought together six musicians from far and wide, musicians who journey through the colder edge of their analogue instruments with a clear ear for the floor. SES2 starts where its predecessor left off. The genre bending Ian Martin opens with the frigid funk of "Metaphysical Travellers." Stripped back, the track is bare in terms of its elements. Despite such meagre ingredients, Martin concocts an engaging and rich work of darkened grooves and sinister undercurrents. o-0._.0-o is the playful pseudonym of acid freetekno enthusiast Owen. His contribution, "Acidrobotik", releases a free and wandering 303 lines that forges a bubbling path through crisp percussion. The flip brings an artist better known for his work in techno. Cliche Morph delves into the clinical side of his palette and emerges with the stunning "Placebo." Balancing alienated and arctic blasts with a thawing warmth, the outcome is pure classic electro. A rising star of machine music follows, Fleck E.S.C. A dirty bassline is further sullied by layers of gritty distortion and glitched vocals in this re-wired work of ghetto. A legend of electronics closes, Kirill Junolainen. Under his lauded Konerytmi moniker, this synthesiser shapeshifter delivers "Kuva Alkio." Stuttering bass and tight drums are the foundation from which sci-fi inspirations take hold, sailing strings tethered by a terse snare as SES2 is brought to a triumphal close.

Mermaid Chunky. It's all in a name, sometimes. The danceable, costumed, curiosity rich duo of artists Freya Tate and Moina Moin are as imaginative as they profess. Or, to get more to the point, as we all need them to be. Freya and Moina are two visual artists and musicians from Stroud and South London, places where they importantly found communities (Stroud's SVA and the capital's Total Refreshment Centre) of like minded people just as willing to chase down an idea to its possibly illogical conclusion. And it is in the collective and the idea of participation that Mermaid Chunky really clicks. This is a party, a collective dance, made all the better with more: people, ideas, layers, kick drums, recorders, saxophones, frogs. To wit, the album's first track and first single, "Céilí," named after a traditional Scottish or Irish social gathering and dance, which builds from a simple recorder line into a swelling, warm burst of major chord dance music. Goosebumps or check your pulse. Further down the rabbit hole, "Chaperone" is almost boardwalk electro, like Fischerspooner on a ferris wheel; "Frogsporn" and "Nature Girl" are mucky, trippy dirges filled with stalactites of synth and squelch; "Tiny Gymnast" is a kaleidoscopic waltz into the night. Hold onto your seats, ladies and gentlemen. You might be wondering how we, DFA Records, all the way over in cynical Brooklyn, entered the picture. There was a day a few years ago, sun shining in full Springtime splendor, when James heard something while waiting for a coffee down the street from the office. It sounded simple yet deceptively complex: a dance track, but one where the one - that anchoring first beat in a measure - could be heard a thousand different ways. Frustrated and interested, he Shazamd the song, playing at the shop from an episode of Zakia's Questing show on NTS, and brought it back to the office, where we all listened to it about fifty times. (The song was "Friends," from Mermaid Chunky's VEST EP, released in 2020. It led to an invitation to open for LCD at Brixton Academy in 2022. Mermaid Chunky has also played live alongside The Comet Is Coming, Alabastair Deplume, Snapped Ankles, and many others.) Thus began our search for Mermaid Chunky. A quest it has been and a quest it will always be.

Axces Recordings presents the debut EP by CX, the producer alias of label affiliate Søren Kinch. The tracks on this release evoke a sense of melancholy and ethereal beauty, with a refined approach that complements the sound of modern club music.


The three tracks—Formula, Cobra, and Plethora—share a common structure of fast-paced grooves with a patient progression throughout. However, while Formula and Plethora both create an airy and hypnotic atmosphere, Cobra stands out by combining soft vocals with a harsher sound reminiscent of Robert Leiner. 

As a teenager, Søren met Torsten aka Helmuth Kool (1976-2015), a beloved figure and promoter from Aarhus who profoundly influenced his approach to music and raves. They often traveled to Berghain in Helmuth's old Saab 900 with only 4 gears. On this EP, Søren has dedicated the final track to Helmuth, who sadly passed away way too young—A playful and soaring track that Helmuth would dance to at his afterparty in heaven. 



Søren has been a part of the former Vektor crew and co-founded the renowned, though now defunct, club 'Et Andet Sted' in Copenhagen before joining Axces Recordings—a label that focuses on releasing club music and hosting intimate dance parties. It’s run by Alfredo92, A. Waze, Kasper Marott, Martin Gilleshøj, Matilde Gomes, and Popmix."


Mark Templeton is a Canadian media artist and the founder of Graphical, an audiovisual label dedicated to publishing his own musical and image based experiments. Mark’s audio compositions are constructed from reel-to-reel tape loops and sampled cassettes that are contrasted with contemporary sound techniques. In his published photobooks, he incorporates his own 35mm pictures and found images, focusing on intangible fantasies and realities. During his audiovisual performances, he utilizes digital instruments while projecting his own photographs, VHS footage, Super 8 film, and other sampled video.


Mark Templeton’s reinterpretation of outdated media as musical instruments makes him a compelling artist for the Faitiche label roster. For his debut on Faitiche, he browsed his old hard drives and invited Andrew Pekler to listen through and co-produce a selection of Mark’s unreleased works. The compositions act as a series of snapshots: a look back at a decade of archived sounds, re-envisioned and re-imaged for Faitiche.
The album contains nine tracks that follow an AB song structure. Each piece begins with verse A, transitions into verse B, and then ends. This simple formula creates a dichotomy that is also present in Mark’s diptych photographs, featured in the artwork. Throughout the album, both juxtaposition and inherent connections are simultaneously at play. One way or another, Two Verses provides a beginner’s guide to Mark Templeton's highly idiosyncratic catalog.

Shlomi Aber & Kashpitzky join forces once again to make their Blueprint Records debut with four formidable techno tracks on the "Sonic Underworld EP".



Barcelona-based Shlomi Aber brings over two decades of production and DJing experience to his music, drawing inspiration from Jazz, Funk, Acid and the old-school Detroit Techno scene. With releases on Cocoon, Ovum, R&S, Figure, CLR, Drumcode, BPitch, Renaissance and his own Be as One Imprint, along with his dynamic mixing technique, has gained him global success while headlining clubs, festivals and venues worldwide.



Growing up, Kashpitzky began his musical path playing guitar in a metal-core band, before trading amps for drum machines. After relocating to Berlin, he graduated from the SAE Institute. A DJ who's hard to pigeonhole, he has a track for every occasion. His definition of techno is best exemplified by his energetic, yet deep and groovy productions, often combining broken beats with organic textures via releases on the likes of MindTrip, Monnom Black and of course, Shlomi's Be As One.

It’s 2024 and Egyptian-born artist of South Sudanese origin Sam Alfred has had a monstrous 12 months. A new year means stepping in a new zone with new tunes. This is Forward Step.

First is the title track “Forward Step (Journey Mix)”, an epic cow-bell-laden house hammer that blooms into a euphoric flower. Running with a 90’s club flavour, Sam lays airy synths over punchy piano and rave stabs while an all-powerful speech plays out, celebrating the idea that we’re all in control of writing our futures. There’s a bubbling over of excitement on this one as it builds and builds and builds!

Up next is “Care 4 U” – a crunchy drum club roller paired with fuzzy bass tones and a super hooky vocal loop. A section that’s been lodged in our brains from the moment we heard it. Toss in airy pads and a key melody that’s also impossible to forget and this track’s got you hook, line and sinker. In true Sam Alfred style, “Care 4 U” is yet more proof that this lad is a wizard at writing jacked-up club cuts, each full of fizz.

Third in line comes “Keep It” a relentless hypnotic piece of techno. Outer space synths drone while shuddering percussion rumbles beneath. It’s here where the EP takes a darker turn. The curtain closer and focus track for the EP drop is “Distance” – an acidic house track to seriously lock and load to. Characterised by sharp hi-hats and lively keys, as its name suggests this one goes and goes and goes.

Mike Paradinas, veteran producer and Planet Mu label owner has written a new album called 'Grush' and it's full of weird bangers that reclaim the 'dance' part of the woeful term IDM. A back-to-first-principles record, inspired in part by the group of artists IDM was coined for; melodic dance music that didn't come out of urban scenes, but interpreted them from a distance. The tracks on 'Grush' are all road-tested live favorites developed with feedback from Mike's touring partner and visuals guy Mora (Jan Moravec). It's a detailed and energetic journey which replicates the flow of a live gig. A lot of the tracks have been made in hotel rooms in response to shows, 'Imperial Crescent' is named after a Japanese Hotel, as is 'Belvedere' in Prague, while some tracks such as 'Hyper Daddy' were created specifically to play live. Drums are confidently at the fore here and the album feels like it traces Mike's musical history and interests neatly around his sweetly nostalgic melodies, with atmospheres and structures which twist and turn with a charming softness which contrasts with the tension in the drums. Take 'Hyper Daddy's' spiralling notes and twinkling piano which remind one of early Black Dog or Omni Trio rushing alongside splashy jungle drums, or the aquatic acid footwork of the title track with its drums softly bubbling and kicking. Elsewhere there's territory which harks back to his Tusken Raiders pseudonym, like the heads down Drexciyan funk of 'Windsor Safari Park,' which transforms from moody electro into a sunny hardcore track midway. The album is interspersed with Reticulum A, B and C at the start middle and end of the album which suggest a theme which carries across the music in an effortless and joyful way. 'Grush' is a strong album that works both for listening and DJing and a great snapshot of where Mike Paradinas musical head is at in 2024.Tracklist Vinyl A: 1/Reticulum A 2/Hyper Daddy 3/Fogou B: 1/Magic Pony Ride (Pt.4) 2/Imperial Crescent 3/Reticulum B 4/Grush C: 1/Belvedere 2/Raver 3/Windsor Safari Park 4/Hastings D: 1/Manscape 2/Metaphonk 3/Reticulum C

After Prince Istari finished the Dub Encounter with Erik Satie, he
immediately set to work on expelling the evil curse of artificial intelligence. While the encounter with Satie was guided by the original
compositions, this album delves deeper into dub science.

The opening track is "Curse Of Machine Learning," a grinding cumbia dub track that sucks you into the curse of machine learning. It's followed by "Artificial Neural Network," arguably the album's most nerve-wracking track, with wild snare rolls colliding with offbeat echoed riddim sections. "Large Language Models" offers a more relaxed, arabesque one-drop riddim with speech synthesis vocals. "Fake Image" closes the first side with a full trombone solo contributed by Eugene Rosebud.

Side B starts with the one-drop killer tune "Haunted By Delusion,"
featuring an organ solo by Prince Istari. Drum and bass in your face.
"Evil Forces," on the other hand, is a fusion of jazz and dub; after the
brass section breakdown, it rolls into a crazy synth solo. Then next „I
Want Your Data" pulls your data into the AI's guts with a vibraphone.
This is maybe the ambitious tune on the record speaking of chord
progressions. The final track sees Eugene Rosebud return with a double trombone solo in "Transhuman Feedback Rock" assisted by a saz cooling the blues pattern with a hookline. Here we have beautifull springreverb and harmonizer dub effects on the snare twirrling around the trombone solos.

All tunes composed, arranged, conducted and engineered by Prince Istari and played by his house band The Virtualistics. Trombone Solos by Eugene Rosebud. Packaged in a nice cover drawn by Markus Schäfer and frequency shift and cut by LXC.

DJ Support: DJ Sabo, Gordon Invisible Inc, Ground Chill Mountain, Roe Deers, Thomas Von Party, Vidis

Multi Culti serve up a full-length treat from Peruvian artist Aristidez. Cofounder of Lima-based party collective Casa Locasa and the non-profit label Behua Icara (translated as Healing Rhythms), in support of indigenous culture, Aristidez has recently relocated to Berlin. With releases on Calypso, Disque-Discos, and Kebrada, as well as remixes for Amplio Espectro, Ida Sound, Discos Aquelarre, Rotten City Files, and Playground Records, Aristidez has quietly made a name for himself with a growing catalog of low-key dance tracks that have been championed by the likes of Matias Aguayo, Andrew Weatherall (RIP), and Inigo Vontier, to name a few. With an emphasis on the hypnotic power of rhythm, Aristidez channels indigenous influences in subtle fashion, alluding to visionary experience without resorting to pastiche or obvious tropes. There are freaky tribal rhythms but no shaman samples, just expertly produced tracks than reveal an expansive set of electronic influences that range across tempos and decades, from breaky 90s rave, 80s proto-trance, cult dub, downtempo and more. It’s listenable, danceable, heady and kaleidoscopic stuff that should stand the test of time.

Will Butler, known for his work with Arcade Fire, has composed the original score for the Broadway play Stereophonic. The play, set in the 1970s, explores the dynamics of a rock band on the brink of success or collapse. Butler’s score authentically captures the era, using period-specific instruments and recording techniques to evoke the raw energy of 1970s rock. His compositions range from high-energy anthems to introspective pieces, enhancing the emotional depth of the narrative. Critics have praised Butler’s work for its authenticity and emotional impact, noting how it drives the story and deepens audience connection. He recorded the parts with the original cast from Stereophonic, including Will Brill, Andrew R. Butler, Juliana Canfield, Eli Gelb, Tom Pecinka, Sarah Pidgeon, and Chris Stack. The production received acclaim from critics and no less than 13 nominations at the 77th Tony Awards, taking home five, including Best New Play. Stereophonic now holds the record for the most Tony nominations by a play. Stereophonic is available as a limited edition of 750 copies on crystal clear vinyl and includes an insert.

Roberta Flack's "Now Playing" spans soulful and emotive tracks like "Compared To What" and heartfelt renditions such as "The First Time Ever I Saw Your Face."

Collaborations with artists like Donny Hathaway in songs like "Where Is The Love" highlight her ability to create magic through duets.

Iconic hits like "Killing Me Softly with His Song" and "Feel Like Makin' Love" resonate worldwide, showcasing Flack's enduring talent and musical legacy.

Repress! Before he developed into a star composer and arranger, Tom Scott was an ambitious 19 year-old saxophonist looking for his big break in 1967. The opportunity came when legendary jazz label Impulse paired Scott with 9-piece vocal group The California Dreamers and allowed the young musician to take the helm as a band leader, with The Honeysuckle Breeze as the spectacular result. This rare and long out-of-print album features Scott leading a stellar lineup of sessions players—Bill Plummer (sitar), Glen Campbell (guitar) and Carol Kaye (bass) among them—through warm, smooth versions of songs by The Beatles (“She’s Leaving Home”), Donovan (“Mellow Yellow”), Joan Baez (“North”) and Jefferson Airplane (“Today”), which many will recognize from it’s sampling in the Pete Rock & CL Smooth classic “T.R.O.Y.” Resurrected, refurbished and remastered by the talented folks at Get On Down, Scott’s debut record sparkles with a high quality digital audio transfer from the original master tapes and is packaged in a gatefold paste-on case with a dust sleeve and obi strip. Don’t let this “Breeze” pass you by.

A selection of 24 Colombian cumbia bangers for the dance floor from the deep vaults of Discos Fuentes, the most emblematic and best remembered label in the golden age of the genre. An invitation to enjoy and be amazed, above and beyond ethnographic and academic concerns. Double LP. The historical origins of cumbia in Colombia are nebulous and imprecise. The mythology surrounding it suggests an ancient past when Amerindian, African and European musical sounds were mixed together. The main record companies in Colombia such as Discos Fuentes, Discos Tropical, Sonolux, Zeida-Codiscos, Silver, Ondina, Discos Atlantic, Vergara and Curro were created between Barranquilla, Medellín, Cartagena and Bogotá from 1936 to 1954. All of them, without exception, recorded Colombian tropical music that over the years was given different names such as porro, gaita, fandango, paseaito, merecumbé, mapalé, bullerengue or, of course, cumbia. This first volume in the series “Cumbia Cumbia Cumbia!!!” comprises 24 Colombian cumbia bangers for the dance floor from the deep vaults of Discos Fuentes, the most emblematic and best remembered label in the golden age of the genre. This is complemented by a selection of cumbias recorded by the label Discos Tropical, which sold most of its catalog to Discos Fuentes in 1990. Discos Fuentes concentrated on recording cumbias played on the accordion and by orchestras and ensembles. The label produced a prodigious number of albums devoted to cumbias between 1962 and 1979, which served to define ambiguous stereotypes, rooted as much in authenticity and modernity as in demure sensuality and joyful nostalgia. “Cumbia Cumbia Cumbia!!!” combines well-known classics and rarities that are difficult to find in their original formats. An invitation to enjoy and be amazed, above and beyond ethnographic and academic concerns.

The common thread throughout the album is the sitar. With this album Nicolas Mortelmans (Condor Gruppe, Leki, Merdan Taplak) builds a bridge between his love for Indian music and his roots in Western genres such as electronic, jazz and rock music.



On April 12, 2024, Nicolas Mortelmans (Condor Gruppe, Leki, Merdan Taplak) will release his long-awaited debut album MÁYÀ on WERF Records!


The common thread throughout the album is the sitar, an instrument that he learned in the traditional way from various sitar masters in India. Since 2017 he has been trained by the world-famous Anoushka Shankar. In every song he tries to approach this unique instrument in a different way.


With this album he builds a bridge between his love for Indian music and his roots in Western genres such as electronic, jazz and rock music. On the album guest musicians from all over the world are playing, such as Ravichandra Kulur from India (Anoushka/Ravi Shankar, John McLaughlin, Aka Moon,..), Benny Bettane (Australia/handpan) & Belgian friends like Roland van Campenhout, Tim Vanhamel and Stef Kamil Carlens.

Jade Hairpins waste no time fulfilling their second album's titular demand. From its harmony-drenched opening note to its baroque-anthemic conclusion, Get Me the Good Stuff is positively loaded with musical ideas, an absurdist buffet of sound and aesthetic that comes with one hell of a floorshow as the Hairpins stack those ideas higher and higher, almost daring them to crash to the floor. Instead, those elements - punksploitation, power pop, baggy, funk, and Italo disco are just some touchstones - are not only held aloft, they defy gravity and convention. These pyrotechnics are, in true Jade Hairpins fashion, something of a sleight of hand. While the music swaggers and gallops, Get Me the Good Stuff grapples with anxiety and self-doubt, obfuscating pain and alienation with sparkling wit and some straight-up ravers. Get Me the Good Stuff opens with one of those, "Let It Be Me," in which Jonah Falco shouts lyrics about being alone with one's shortcomings against guitars, synths, and harmonized vocals that are on the verge of closing in. The song is just over 90 seconds long, hitting with the gnarled-barb ferocity of punk and the gleeful insanity of theatrical art rock. It is, in other words, overwhelming. Or it would be if Jade Hairpins - Jonah Falco and Mike Haliechuk - weren't remarkably nimble in their ability to bring unity to sounds by placing them in competition against each other. When those sounds are adjacent, like the glam and disco that saturate "Drifting Superstition," the thrill of those universes colliding in the heat of an absolutely filthy clavichord line turns its lyrics, about the habit of solving personal problems by ignoring them, into a winner's anthem on the order of Bowie or Hot Chocolate. Get Me the Good Stuff arcs towards unequivocal joy as Falco, Jade Hairpins' primary lyricist, breaks these cycles and attempts to run away with his dreams. The arc is roughly analogous to how the album came to fruition. Four years removed from Harmony Avenue, an album of material that proved too strong to be contained within the narrative universe of Fucked Up's Dose Your Dreams, Jade Hairpins have gelled as a live act - with Tamsin M. Leach and Jack Goldstein centering them on stage - and planted their flag in the UK punk scene in which Falco has embedded himself. Working out new material live, Falco noticed that crowds were digging into his unfinished lyrics, and the album tightened around the anxieties of being in the spotlight, of being worthy of attention. At times, those songs are eager to please, like the album's title track in which a winking self-deprecation rubs up against the self-congratulatory bombast of Freddie Mercury, Falco simultaneously turning heads as a shooting star and a burning car. Elsewhere, as in "Better Here Than in Love," Jade Hairpins pitch themselves towards creating gorgeous soundscapes that exist nowhere else, channeling postpunk through the glimmering haze of '80s Japanese electronic music. Theatrical and personal, absurd and true-to-life, playful and serious, Get Me the Good Stuff is album of tremendous personal and artistic growth that signposts towards dozens of potential futures to come. It's not only worth the attention, it continuously rewards it.