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The space between every love is filled with vigilance in preparation for future threat. This threat is not so much pain as failure and, above all, fatigue. Even the beginnings, when love seems at its most accessible, are disturbing. In spite of this we advance into the turmoil because we are inebriated with love.

Dominik Suchy's third album admits all this as a quality of love. Disembodied and denied to be gloom or bliss, love is revealed to be a raw process at full length. This makes for emotionally hypercharged music that is more inevitable than tense. The record unfolds, for all its ruptures and weight, as familiar. It is a music of pathos, because it benefits from the emotional knowledge that already resides in you.

The universality of this angle allows for compositions that are less than opulent. A focus on the mass of sound // verticality leads to a bareness that sets "Every Love..." apart from Suchy's previous works. At times sonically overwhelming and rhythmically ambiguous, it should be approached as free jazz rather than post-club.

Every Love Is an Exercise in Depersonalisation on a Body Without Organs Yet to Be Formed does not submit to the weariness of love // Weltschmerzen does not submit to the weariness of the world.

“In places harrowing and emotionally charged, in other places quite inconspicuous, you feel that you are standing in front of something big, transcending everything, which you observe with sacred reverence. Maybe it's the eye of the storm or that love which is the origin of everything.”
Peter Dolnik, 34.sk —

“One of the most distinct electronic artists in our geographical area.'”
Roberta Tothova, Pravda.sk —

“Everything happens with deep apprehension, the atmosphere and its variations are executed on a masterly level””
Richard Kutej, Fullmoon Zine —

“An album full of incessant soundscapes, undulations and sound-design based portrayals of magnificence.”
Mikulas Hamerla, Alterecho.cz —

Original soundtrack of the acclaimed anime, printed on red vinyl.

Thus begins the story of the man who would become the greatest thief of all time...While Tokyo is experiencing tremendous economic growth, a young schoolboy leads a boring life. One day, he catches a guy pointing a gun at a delinquent. When he meets up with this person again a little later, something happens that leads them to team up...

Recorded and produced by Pink Floyd engineer Andy Jackson, the audio is via analogue transfer to 96khz/24 bit by John Dent at Loud, with vinyl mastering by Geoff Pesche at Abbey Road. Formed in 1984, Fields of the Nephilim is the creation of vocalist and front man Carl McCoy. Highly influential, especially in the world of goth, but also within the metal and electronic genres, their legacy endures to this day. You can hear their influence on bands like Swans, Godspeed! You Black Emperor, Explosions In The Sky, Wolves in The Throne Room, Behemoth and more. The band"s unique sound, an apocalyptic fusion of Victorian underworld meets Sergio Leone Spaghetti Western, had an appearance to match (wide-brimmed hats, long duster coats and cowboy boots, usually black and smothered in white flour as a substitute for dust), and set them apart from their contemporaries. Elizium is one of their most beautiful albums and considered by many to be their best. As The Quietus wrote, "it was both their most accessible and their most experimental work, concluding and consolidating the Nephilim"s five-year shamanic journey. Lead-off single and opening track "For Her Light" featured a lengthy mid-section that anticipated the apocalyptic post-rock of Godspeed! You Black Emperor (unsurprisingly, it failed to chart), and the album featured some of the band"s hardest rock in the wah-overload of "Submission," as well as further incorporating dance elements - more successfully and organically than many of their peers, it must be said - on second single "Sumerland"." Louder Sound also called "Sumerland" their "greatest ever track".

We are very happy to announce our brand-new full-length album, "Supersonic Megafauna Collision"! This product of impenetrable evil is coming out on April 5th by Heavy Psych Sounds Records! Get ready to be overtaken by a storm of pachyderm guitar riffs, wooly bass, explosive drumming, and witchy vocals! "Supersonic Megafauna Collision" is an unholy celebration of all things heavy, and as the album progresses it just keeps getting doomier! It is an evil and explosive album, with 666% fuzz! Recorded, mixed & mastered at Descent Studio. Drums recorded at Ritual Studios. Artwork by Branca Studio.

We are very happy to announce our brand-new full-length album, "Supersonic Megafauna Collision"! This product of impenetrable evil is coming out on April 5th by Heavy Psych Sounds Records! Get ready to be overtaken by a storm of pachyderm guitar riffs, wooly bass, explosive drumming, and witchy vocals! "Supersonic Megafauna Collision" is an unholy celebration of all things heavy, and as the album progresses it just keeps getting doomier! It is an evil and explosive album, with 666% fuzz! Recorded, mixed & mastered at Descent Studio. Drums recorded at Ritual Studios. Artwork by Branca Studio.

"Psychedelic rock from Minneapolis psych madmen Jokers Wild! Includes all of their rare singles, plus 15 more originally unreleased mind-melting cuts - complete with slide whistle!

When looking through the amount of outta-this-world acid-tinged, garage and psychedelic rock that came out of Minneapolis during the 1960s, it wouldn’t be too far-fetched to assume that there was something in the water. Their sound was unlike any other Minneapolis ‘60s band – a true feat during that time.

Though the band began playing more local gigs during the early part of 1967, it wasn’t until May that they recorded their slide-flute-farfisa-organ infused psych wonderment, “All I See Is You "Psychedelic rock from Minneapolis psych madmen Jokers Wild! Includes all of their rare singles, plus 15 more originally unreleased mind-melting cuts - complete with slide whistle!

When looking through the amount of outta-this-world acid-tinged, garage and psychedelic rock that came out of Minneapolis during the 1960s, it wouldn’t be too far-fetched to assume that there was something in the water. Their sound was unlike any other Minneapolis ‘60s band – a true feat during that time.

Though the band began playing more local gigs during the early part of 1967, it wasn’t until May that they recorded their slide-flute-farfisa-organ infused psych wonderment, “All I See Is You / I Just Can’t Explain It.” The single was recorded at the famed Kay Bank Studios (where groups like The Trashmen, Vaqueros, Readymen, Castaways and many, many more laid down tracks) but received very little airplay. Their second single featured “Echo” as the A-side, and it’s equally as fun, bringing a ? and The Mysterians-esque farfisa beat behind a driving, delightfully fuzzy bass and guitar. Like their first single, it didn’t go anywhere. The lack of budget really hurt the band, and with too many bills to pay, they weren’t able to recoup on recording costs. Poof… it ended up sitting on the shelf.

The remnants of their unfinished album can be heard here, along with unreleased material, a cover of the Hollies’ “Have You Ever Loved Somebody,” and three of their limited release singles, “All I See Is You/I Just Can’t Explain It,” “Peace Man/Tomorrow,” and “Because I’m Free/Sunshine.” Catchy yet complex, tune out and turn on to this unsung Twin Cities garage-psych treasure and prepare to Step Outside Your Mind."

Rethink human's dominion in "The Invincible": a story-driven adventure set in a hard sci-fi world by Stanis?aw Lem. Discover planet Regis III as scientist Yasna, use atompunk tools looking for a missing crew and face unforeseen threats. Make choices in a philosophical story that's driven by science. A major part of the brand-new video game hit "The Invincible" is the unique atmosphere. Apart from the outstanding visual effort, created by Starward Industries, there's also the capturing soundtrack by Brunon Lubas that draws the player into the game. Lubas describes his contribution to this journey into space the following: "Inspired equally by the early pioneers of electronic music, minimalism, lo-fi and modern experimental music, the soundtrack for 'The Invincible' consists of 13 diverse tracks. Digging deep into the emotional part of the game's narrative, it accommodates the feelings of melancholy, mystery, loss and hope all glued together with a distinct and consistent take on aural aesthetic and harmony."

First collaboration between NC Hip Hop group Kooley High & ATL-bred producer Tuamie. Kooley High has recently worked with 9th Wonder, Rapsody, Statik Selektah, Skyzoo & more. Tuamie has produced for Fly Anakin, Koncept Jackson & has been showcased by Street Corner Music. Pressed on purple colored vinyl. Dive into the timeless realm of ‘All Infinite’, the new album from NC Hip Hop collective Kooley High & ATL-bred Producer Tuamie. Head-knocking drums and superb flows come together to create a lush soundscape filled with tight scratches, vocal soundbites & more. Sit back and take it all in. This album is a sonic journey that explores the boundless nature of energy and the concept of infinity. Kooley High & Tuamie bring forth a fusion of soulful beats and insightful lyrics that are all their own. While beginning as a one-track collaboration, the instant sonic chemistry of Kooley High & Tuamie has blossomed into a full-length album. Each track resonates with the essence of classic Hip-Hop, echoing the roots of the genre while pushing the boundaries of contemporary sound. ‘All Infinite’ is poised to be a testament to the enduring power of music. The dynamic blend of retrospective and prospective lyrics seeks to impact each listener on a personal level. Two passionate creative forces have been united. Kooley High & Tuamie’s mission is clear – to spread good vibrations through the universal language of sound waves. Join them on this musical odyssey where the energy is boundless, and the rhythms are eternal.

, Old fat furry cat-puss , Wake up and look at this thing that I bring, Wake up, be bright , Be golden and light , Bagpuss, Oh hear what I sing. 12th of February, 1974, and for an audience of small children at 1:45pm, a life irrevocably coloured by the wayward wonderings of one saggy cloth cat. Some 44 years later and Earth Recordings opens the door to Bagpuss & Co. once again, revealing for the first time the original music in all its newly-mastered splendour. The 32 tracks that make up the main body of the compositions are – like all good folk music – a patchwork of traditional pieces, half-remembered tunes and pure improvisation. It's testament to Sandra Kerr and John Faulkner's musicianship that the recordings work so well, not only within the context of the television episodes, but as an album in its own right. Of the recording, Oliver Postgate (in his exquisite autobiography 'Seeing Things') says: "Between them Sandra and John could play every sort of instrument from a mountain dulcimer to an Irish fiddle. They knew and could sing every tune in the world and didn't bother with written music, except as a last resort. They were exactly suited to Gabriel the Toad and Madeleine the Rag Doll and in those roles were happy to play whatever music and sing whatever songs would be needed." Those songs manifested themselves as reworkings of familiar tunes ('I Saw A Ship'; 'Row Your Boat'; 'Bucket's Burning'), takes on traditional ballads ('Brian O'Lynn'; 'The Frog Princess'; 'Weaving Song'; 'The Old Woman Tossed Up in a Basket') and delicious flights of fancy ('The Bony King of Nowhere'; 'Turtle Calypso'; 'Uncle Feedle'). The counterpart to Madeleine and Gabriel's more polished ditties are the interludes from the mice; a raggle-taggle chorus that accompanies the creatures' efforts of help (with the mice once famously going on strike when they were not permitted sang as they worked). Again, Postgate muses: "Once I had worked out a few episodes I would make a very rough list of the bits where I though music would be appropriate. I would send it to Sandra and John to think about. Then we would borrow a fairly silent room in a remote house and, taking the various articles that we intended to celebrate with us, would spend a happy day with a tape recorder, thinking up and recording whatever songs and tunes came to mind." The outtakes provide an intimate – and often very humourous – insight into the trio's work ethic, if it can be called such a thing. (By all accounts they sound as though they're having a very jolly time indeed.) Highlights include alternative opening words and end music, as well as Postgate sound-checking in character as Bagpuss. This never-before heard audio provides a real treat for fans (and indeed those new to the Smallfilms stable) – affirmation again to the enduring quality of these special recordings, and the beloved programme that inspired them. "An accidental classic of the folk-roots underground that we never dared hope we’d hear with such clarity."Stewart Lee

Pressed On Coke Bottle Clear Vinyl! Ridin' Dirty is the third studio album by dirty south legends Bun B and Pimp C - together known as UGK. It is easily considered one of the greatest southern hip hop albums ever made, but let's drop all the labels this is just pure good rap music, for any region. It's all right there, everything that people have come to expect from Houston rap: candy-painted cars, wood-grained steering wheels, flashy jewelry, late-night odes to lean and weed, passing references to DJ Screw tapes, those warm funk synthesizers that sound like radio oldies. All of Ridin' Dirty feels iconic now— among other reasons, because so many of its lyrics have since been cribbed by everyone from Slim Thug to Jay Z. There's the laid-back badassery of "Diamonds and Wood," the zoned-out celebration of "3 in the Morning," the ridiculous boasting of "Fuck My Car." Everything here is essential. Ridin' Dirty was produced entirely by Pimp C and features start to finish bangers such as One Day', Murder', Hi Lif' and of course the title track Ridin' Dirty.' Pimp C's makes use of perfectly chosen Soul, Funk and Gospel samples to create a perfect soundscape for he and Bun B to trade verse over. Despite there being no singles or videos released from the album, the set went on to be a pivotal moment in southern hip hop as well as UGK's best-selling and most critically acclaimed release.

For Thee Sacred Souls, the first time is often the charm. The band’s first club dates led to a record deal with the revered Daptone label; their first singles racked up more than ten million streams in a year and garnered attention from Billboard, Rolling Stone, and KCRW; and their first fans included the likes of Gary Clark Jr., The Black Pumas, Princess Nokia, and Timbaland. Now, the breakout San Diego trio is ready to deliver yet another landmark first with the release of their self-titled debut on Daptone Records.

“Every step of the way has just been so organic,” says drummer Alex Garcia. “Things just seem to happen naturally when the three of us get together.”

Indeed, there’s something inevitable about the sound of Thee Sacred Souls, as if Garcia and his bandmates—bassist Sal Samano and singer Josh Lane—have been playing together for a lifetime already. Produced by Bosco Mann (aka Daptone co-founder Gabriel Roth), Thee Sacred Souls is a warm and textured record, mixing the easygoing grace of sweet ’60s soul with the grit and groove of early ’70s R&B, and the performances are utterly intoxicating, with Lane’s weightless vocals anchored by the rhythm section’s deep pocket and infectious chemistry.

Hints of Chicano, Philly, Chicago, Memphis, and even Panama soul turn up here, and while it’s tempting to toss around labels like “retro” with a deliberately analog collection like this, there’s also something distinctly modern about the band that defies easy categorization, a rawness and a sincerity that transcends time and place.

The Cover Ups vinyl edition is a double LP consisting of the first Cover Ups (digital only release 2016) and the new Cover Ups 2 (released April 2023).

Recorded mostly on Flunk's annual Christmas parties, "julebord" in Norwegian, with a big dinner and plenty of drinks, rounding off with an acoustic recording of a favourite cover version.

Cover Ups / LP1 consists of coversongs from New Order, Yazoo, Depeche Mode and Fink.

Cover Ups 2 / LP2 consists of coversongs from Rod Stewart / Everything But The Girl, Simon & Gafunkel, Jesus and Mary Chain, The Stranglers, Soft Cell and Radiohead, and some new acoustic versions of old Flunk-songs.

The acoustic downbeat version of Yazoo's "Only You" was featured on the Designated Survivor TV-series.

repressed !

Kloke joins the Run it Red label for a stunning 4 track jungle ep. Fresh from dropping several excellent releases on Future Retro, !K7 and several other labels as well as collaborations with Tim Reaper, Kloke brings the 93 darkside style into the year 2023 for Echo Chamber Sound's sub label.

These tracks have the perfect balance of rawness and intricacy that Kloke is known for and could be mistaken for lost dubs played at Rage or the Bluenote sessions with only a cassette recording to tell the tale. Luckily they are brand new tunes, crisply mastered at The Exchange and pressed on a 4 track 12inch. Label owner LQ reworks the title tune Dark Knight with signature low end power and dubwise sonic manipulation.

RAWAX welcomes Nacho Marco to the artist Family!
We are very happy to present cou "the 909 Files" on CHIWAX 40!
This fantastic retrospective of the 90's sound will be available in November!
Highy recommended!

Limited reissue of the classic Exaltics 2011 release on Creme Eclipse aka The Living Planet. Housed in a full sleeve with fantastic previously unreleased artwork by Godspill. Dont miss this masterclass in brooding and dark electronix tech-fi. It may sound scary at first but lucky for you it all ends in a crop circle rave!

When Bob Vylan won the first MOBO award for Best Alternative Music Act in 2022, the punk-grime duo took to the stage and used the platform to speak about how they managed to achieve the impossible as independent artists in a genre-defying space. “We released an album this year that we produced entirely, mixed entirely, recorded entirely, all from my bedroom…so everybody that’s here, bigging up Atlantic and bigging up Warner, fuck that, us man did it ourselves”.

It was an acceptance speech that rattled the room and built anticipation for their next projects.

Humble as the Sun, the forthcoming album from Bob Vylan continues with much of the rage and urgency that they have come to be known and loved for, but this latest project shows that they are now stronger and wiser, bolstered by the wins and learnings that they have fought hard for along the way. The resulting tracklist aims to leave the listener feeling power alongside their anger, and brings a fresh and compelling blend of punk, rock, grime and rap together in an experimental way.

Following on from the last album, Bob Vylan Presents the Price of Life, the message woven throughout Humble as the Sun remains dark in places but is high-energy, defiant and unapologetic in its critique of a broken social and political system that so many have fallen victim to, but feel powerless against.

This album is for the underdogs, the ones who come out swinging and those who refuse to be defeated in the face of injustice, and aims to remind listeners that anger is a fire that can be harnessed and put to use. The album creation started from a conversation with the sun, which is, after all, a big ball of fire that sustains life.

From masculinity to myths about the G Spot, the themes and topics explored on Humble As The Sun make for an often humorously empowering celebration of the peoples ability to endure, overcome and bring about change.

The lyricism on this album is even more layered than their previous projects, still darkly humorous, anti-establishment and unforgiving but at times pauses to deliver much-needed words of afrmation to listeners, “You are loved. You are not alone. You are going through hell but keep going.” Bobby assures the listener, ofering an antidote to the state of the world, aiming to give some power and agency to those who hear it. At a time when so little trust or faith exists between the people and the powers that be, Bob Vylan ofers out a hand in the despondent darkness that has overwhelmed so many in the shadow of a burning planet. They guides the listener to a place where they can see some light and feel empowered to do something, to fight back, to continue pushing forwards despite the challenges faced along the way.

Mixing all of the best quintessentially British - and Jamaican - musical elements from punk to drum and bass, grime and rock, Bob Vylan creates a sound that reflects the state of the nation, at once voicing the frustrations that normal people have, while also highlighting one’s ability to persevere, overcome hardship and to change.

Skylax Record Is Proud to Welcome One of Our Most Prolific Artist, the Great Signal St With "Teenage Catalog". a Sophisticated 12 Inch Deeply Influenced by the Sounds of Dj Sprinkles and the Classic Vibes of Dial (Carsten Jost, Lawrence, and Panta Du Prince). Known for His Chic and Elegant Style, Signal St Previously Delivered the Critically Acclaimed Album "Zapoi and Other Dysfunctional Love Stories" in 2021 on Our Beloved Label, Which Garnered Praise From Industry Heavyweights Like Ben Ufo, Jimpster, Peach, and Levon Vincent. on This New Ep, Featuring Five Mesmerizing Tracks, Signal St Continues to Explore His Signature Sound. Experience the Captivating Journey of "Going Home," the Silky Allure of "Stayin Around," the Mysterious Embrace of "R2d2 Secret Lover," the Ethereal Beauty of "First Drift (Park Mix)," and the Mesmerizing Rhythm of "Genau." as a Digital Bonus, Prepare to Be Transported by the Ambient and Trippy Masterpiece, "LFO/Instant Endorphine." "Teenage Catalog" Serves as a Reflection of Signal St's Formative Years as a Producer, Showcasing His Undeniable Talent and Delivering an Extraordinary Sonic Experience. Prepare Yourself for a Remarkable Musical Encounter With This Timeless Record. Stay Underground It Pays. ...

Laced Records, id Software and Bethesda proudly present the music of seminal 1997 first-person shooter Quake II on vinyl.

19 specially remastered tracks by Sonic Mayhem and Jer Sypult will be pressed onto heavyweight discs. Sleeve artwork is by id Software, with Jason Williford providing character illustrations.

The bulk of the soundtrack was created by Sascha Dikiciyan aka Sonic Mayhem — his first game project among an enviably long credits list. Having caught id Software’s ear with an unofficial Quake album (alongside production partner Dave Valencia), Sonic Mayhem and id Software went on to develop Quake II’s trademark aggro-industrial metal sound, inspired in part by Metallica. The killer riffs, repeated for effect, urge players forward through the Strogg city and beyond, a trail of gibs in their wake. Jer Sypult’s “Climb” complements the selection with its driving industrial groove.

Demon Music are happy to present – Electribe 101 - ‘Electribal Memories’, this stunning half-speed master vinyl edition cut from the original tapes by Barry Grint at Air Studios. Formed when Hamburg-born / London-based, sometimes S’ Express member Billie Ray Martin hooked up with four musician / producers from Birmingham, Electribe 101 instantly hit upon a sound heavily influenced by the de rigueur deep house sounds of Chicago and Detroit but with a distinctive European twist. With Billie Ray up front, with a voice like ice on fire and looking as if she’d stepped forward in time from a circa-1966 Mary Quant catwalk, the band were instantly snapped up by Mercury Records, and taken under the wing of Pet Shop Boys manager Tom Watkins. The band released five singles in the UK, and all featured on their debut album ‘Electribal Memories’ – ‘Tell Me When The Fever Ended’, ‘Talking With Myself’, ‘You’re Walking’, ‘Lipstick On My Lover’ and an incredible cover of Odyssey’s deep soul classic ‘Inside Out’. When the album arrived in 1990, it was an instant hit with critics – immaculately produced, poised, luxurious and soulful, it was difficult to believe it was a debut record at all. After ‘Electribal Memories’, Electribe 101 called it a day. Since then, the album’s reputation has grown in stature and many of its’ singles’ attendant remixes have become sought-after rarities. The cultural earthquake prompted by the late-1980s arrival on these shores of house, acid and rave prompted many a legendary club night and a generation of superstar DJ / producers. While there were a myriad of great club tracks produced in that heady period between 1988-1991, classic albums from the scene were rather more of a rarity. One towering exception was the debut by Electribe 101…

Singles V1 is a 6 track, 12-inch beautiful marine blue coloured vinyl EP. It is also the first physical release by Low Girl. As the title suggests the EP is a collection of the band’s singles up to the end of 2023 which features Big Now, So Cool, Blessing, Bored, Uh-Oh and Pockets. If you haven’t yet heard of Low Girl, be in no doubt, you will do soon. The band are a four-piece fronted by singer songwriter Sarah Cosgrove with band mates Toby Morgan, Tom Cosgrove and Bradley Taylor and it is clear to see that their popularity has been steadily growing since the release of their first single Big Now in 2021. The band have featured on the BBC Introducing Stage at the Reading Festival and played at the Texas SXSW Festival at the invite of The British Music Embassy in 2022. They have also regularly toured and provided support for acts such as October Drift, Pale Blue Eyes, The Murder Capital, Dream Wife and most recently Dekker. Low Girl’s indie pop, lo/fi sound, attributable to its vulnerable lyrics, synth licks and guitar driven riffs, has attracted admirers and radio airplay on BBC Radio 1, Radio X and particularly at BBC Radio 6 music, who have play listed a number of the band’s singles. Indeed, their single ‘So Cool’ was one of BBC Radio 1 Introducing’s singles of the week in April 2022 and ‘Bored’, was featured on the Late in the Day program’s International Women’s Day 2023 edition alongside Arlo Parks, Bjork, Sade, Nina Simone and other premier female artists. Sarah Cosgrove has also joined the panellists on one of August’s editions of Steve Lamacq’s round table together with Felix White and Deadletter’s Zac.

Zweites Album der Art-Rock-Experimentalisten Drahla aus Leeds. Aufgenommen mit Matthew Benn und Jamie Lockhart im Jahr 2023, folgt angeltape dem von der Kritik gefeierten Debüt Useless Coordinates aus dem Jahr 2019 und ist ein avantgardistisches Dokument der Ereignisse, die sich in der fünfjährigen Pause zwischen den Alben entfaltet haben. Eine Vielzahl von Veränderungen - gute und schlechte - lenkten das berufliche und persönliche Leben der Bandmitglieder in unbekannte Bahnen. Doch anstatt sich den Widrigkeiten zu ergeben, tauchen Drahla mit angeltape wieder auf. Sängerin und Gitarristin Luciel Brown, Bassist Rob Riggs und Schlagzeuger Mike Ainsley erweiterten ihren Sound mit Gitarrist Ewan Barr und klingen nun wesentlich dunkler, komplexer und konzeptioneller. Drahla beschreiten neue klangliche Wege und experimentieren dabei mehr als je zuvor mit der Form der Musik. Das berauschende Zusammenspiel von treibenden Bass-Riffs und aufgeladenen Schlagzeugmustern bildet einen fesselnden Kontrast zu Browns melodischem Sprechgesang. Die einhüllende Atmosphäre, die von dem Quartett ausgeht, wird durch die eindringliche Saxophonbegleitung des langjährigen Mitstreiters Chris Duffin noch verstärkt. Die Band beschäftigt sich mit Themen wie Trauer und Trauma, während sie gleichzeitig Momente der Sentimentalität und Unterstützung in schwierigen Zeiten zelebriert. Eine unwiderstehliche und unerschütterliche Kraft durchzieht dieses meisterhafte zweite Album. angeltape ist eine herausfordernde, tröstliche und letztlich lohnende Platte für Künstler und Publikum.

French producer Panthera steps up to Melodize with a pair of Italo inspired cuts that come remixed by the legendary Lauer and Endrik Schroeder.

Panthera prefers to remain secretive about his identity, but his music has plenty of people talking. It has come out on labels such as Bordello A Parigi, Polaris and Correspondant so far and contains a distinct, synth-heavy, euphoric sound.

This is evident from the beginning with ‘Hustle’, a colourful and cosmic cut with rich melodies, occasional vocal touches and shimmering arps. They bring sugary rushes of joy to the mid-tempo nu-disco drums and will douse dance floors in subtle euphoria. Remixing this one is the underground stalwart Lauer, who always brings his retro style to his disco and house on labels such as Permanent Vacation and Running Back. His version is faster and more direct, though still packed with starry melodies and subtle synth motifs that bring it to life.

Panthera’s ‘Western Union’ then brings more raw percussion and slapping drums but again takes flight through the cosmos on sleek synth lines with hints of 80s nostalgia. It’s a track that is always on the rise and full of bright, irresistible melodic suspense. Remixer Endrik Schroeder also hails from France and is a fast-rising talent with credits on the taste-making Bordello A Parigi, Ritmo Fatale, and Roam Recordings. He flips the original into a more propulsive and urgent nu-disco weapon with crashing drums and synth loops spiralling around the track as extra melodies fall like stardust to light up the groove.

There is real quality as well as plenty of feel-good energy to these four shiny, synth-heavy tracks.

Anders als bei ihrem selbstproduzierten Debüt 'Refuge Cove' und dem Nachfolger 'Storm Queen' arbeitete Grace Cummings für ihr neues Album 'Ramona' mit Produzent Jonathan Wilson (Angel Olsen, Father John Misty) zusammen und schuf einen aufwändig orchestrierten Sound, der die Tiefe und den Umfang ihres stimmlichen Könnens voll zur Geltung bringt.

'Ramona', das am 5. April über ATO Records erscheinen wird, behandelt Trauer, Selbstzerstörung und emotionale Gewalt und verleiht Cummings Musik dabei eine neue Größe. “In the past I’ve been caught up in worrying about whether I’m being too emotional or over-the-top, but this time around I decided not to filter any of that out”, so Cummings. “My only intention was to be myself, which meant being extremely vulnerable in my writing and my vocal performance, without going back and editing myself later on.”

Das Album entstand in Zusammenarbeit mit einer Reihe von Gästen, darunter die Harfenistin Mary Lattimore und der Streicherarrangeur und Multiinstrumentalist Drew Erickson (Weyes Blood, Mitski, Lana Del Rey), mit Cummings an der Gitarre und am Klavier und Wilson an der Gitarre, dem Schlagzeug, dem Banjo und der Orgel. “I wanted everything and the kitchen sink on this record, to make it as big and dramatic as possible and show a whole range of colors.”

Just when you thought you had Kasper Bjørke figured out he comes back with another great musical surprise. His new album Puzzles, which will be released April 5th on hfn music, follows two recent collaborative EPs on Live at Robert Johnson and Mule Musiq as well as his second Kasper Bjørke Quartet neoclassical/ambient album Mother on Kompakt.
Puzzles is Kasper’s love letter to the sound of early 2000s New York - merged with his Scandinavian sense of producing songs that goes beyond conventional club music; combining disco tinged instrumentations mixed with elements of 80s funk, jazz and contemporary pop songwriting, creating something familiar yet, something very fresh and innovative at the same time.
The album includes collaborations with a wide range of musicians and vocalists. From California based indie-disco troubadour Woolfy (DFA, Rong, Permanent Vacation etc.) to the Icelandic dream-folk trio Systur aka Sísý Ey (who also featured on Kasper’s 2014 single Apart, where the Michael Mayer remix became a timeless club anthem), as well as other longtime collaborators and artist friends: Toby Ernest, Jacob Bellens, WhoMadeWho’s Tomas Høffding on bass, Posh Isolation affiliate Frederik Valentin on guitar and the young, rising jazz star Oilly Wallace on saxophone and flute. Essentially, the majority of Puzzles is played and recorded live, including the drums by Rasmus Littauer (School of X, MØ). Many of the songs emerged from chord progressions written during studio sessions between Kasper and Toby - which Kasper then produced into a colourful and effective album, rooted in an expressive live feeling far from programmed patterns.
Puzzles is a new step for Kasper as a producer and artist, showcasing his ability to move and flow freely between genres and expressions, however still deeply rooted in his love and affection for the classic disco groove - which is only natural after more than two decades as an active DJ.
Another piece has been added to the musical puzzle of Kasper Bjørke

A live act renowned for their free improvised performances, BIOS have markedly changed their approach since the debut release Fluorescent Minerals five years ago. To serve as a reliable basis for improvisation, the duo began to play with prearranged themes. Far from being limiting, on Powers of Ten these foundations become structures that are as full of change as they are playful. A single track can seem like a medley moving through sections of drama // reverie // fun without dwelling too long on either so as not to be at the expense of the whole. Fractured yet coherent, these emotions are professed in utmost seriousness and also half in jest.

Powers of Ten also marks a change in sound >> a new prominence given to rhythm and melody. Both members of BIOS claim not to listen to dance music much, but incidentally what they achieve on their new record is a kind of evermoving anxious dub. Its energy endures even after the rhythms and motifs dissolve in distant soundscapes, so that those too seem genuinely kinetic.

If the listener decides to follow this movement, they will be led on a journey into the record, framed and imagined as a quest through parallel variations of one environment. Powers of Ten is a decidedly adventurous album >> a spatial and hypnotic work of music composed by graphic designer Jozef Tušan and visual artist Boris Sirka, and the eighth release by the label Weltschmerzen.

Ondrej Zajac doesn't practice. Neither does he play his guitar with as little as a hint of striking technical prowess. Despite this, he makes music with the confidence of a master instrumentalist who doesn't let their chops get in the way. This is because Ondrej Zajac understands that the point of playing an instrument is to transcend it.

Such principles have been the source of pride for the idioms of experimental and free music, but these suffer from the chronic peddling of artistic narcissism. Ondrej Zajac works in the confines of these genres, but impressively avoids all their pitfalls. His music is almost pure content, as straight as a line, and so immediate and so fucking honest it leaves you wondering.

I Will Be Forgotten offers plenty of opportunities for such wondering, regardless of whether the composition is sixteen minutes or sixty seconds long. The structure of the whole thing, the appreciation of all properties of sound without indulgence in any of them, the playfulness and composure beyond it all, not even the beautiful sonic grain of the guitar itself, none of this does dwarf the most remarkable accomplishment of this record // its utter artistic integrity.

Recorded live at Divadlo 29 in Pardubice and co-produced and mixed by Václav Šafka, I Will Be Forgotten is the second solo release by Ondrej Zajac (Banausoi, Data Koroptev) and the 19th release by the sincere label Weltschmerzen.

Having built a loyal local Antwerp following off of the success of their 2019 debut self released album, ‘Forgotten Kingdom’, and growing reputation for electrifying stage performances, Kolonel Djafaar achieved worldwide recognition in 2021 for the ‘Cold Heat’ EP on Batov Records, attracting praise from Music Is My Sanctuary (“triumphant), and support from Gideon Coe on BBC 6 Radio Music, and DJs across Worldwide FM, Soho Radio, Le Mellotron, and KEXP.

The group overcame busy schedules and frequent quarantine periods to hit the studio in February 2022 to lay down four tracks. However, the creative itch persisted, leading to an intense writing session in August, deep in the heart of a tranquil forest. From noon until midnight, the band immersed themselves in the creative process, embracing the freedom to make noise without restraint.

Fueled by hearty breakfasts, unwavering focus, and the ambient clucking of chickens roaming the studio, Kolonel Djafaar crafted the majority of ‘Getaway’. This period marked a pivotal shift as a number of new band members joined just in time for the August sessions.

Membership changes, including Emiel Lauryssen joining on trumpet, alongside guitarist Philip Matthhijnssens, the band's palette has broadened and new sounds are able to break through. From psychedelic rock and soul influence of the Daptone Records’ affiliated Budos Band, surf rock (“Urban Dweller”), Morricone Spaghetti Western guitar, and Afro Cuban (“Kelmendi”), alongside the brassy Afrobeat and Ethio jazz vibes the group have been known for.

The broader dynamics of ‘Getaway’, and the band’s more cinematic and experimental approach, is particularly apparent on "Siren’s Glitch" and "Phil’s First Tear". The latter, first conceived by drummer Anton Van Hove, features the lead guitar doubling up with the bass guitar for added impact. Whilst the origins of "Convoi Exceptionnel", a brass & synths stomper of a march, trace back to a jam session during the band's Hungarian tour, another vital period of prolonged time together, capturing the organic essence of their experiences on the road.

Each track on ‘Getaway’ holds a unique connection to at least one band member, and all benefit from a collaborative approach to songwriting. "Sparking Clover'', an Ethio-inspired psych & soul groover penned by tenor saxophonist Doyin Smith, carries a poignant undertone inspired by personal loss, while psych rock leaning tracks like "Apologies in Advance" showcase the band's evolution and increasing professionalism in crafting a distinct sonic experience.

The curious cover art depicts a lone individual heading down an empty city street towards a large mysterious glowing object, evoking the common emptiness and struggle of urban life, and the search for meaning or just something better. The band envision the object to represent this album, offering a beacon to like-minded listeners. Kolonel Djafaar invite music enthusiasts on an immersive journey, to ‘Getaway’ from the daily grind of life, on an album reflecting diverse influences and marking a new chapter in their musical exploration.

If 2022’s The Children Of Scorpio was the debut album that turned people onto the world of Project Gemini aka Paul Osborne, Colours & Light is the body of work that will be buried deep into their hearts. It is a majestic album, bringing together the worlds of folk rock, psych soundtracks and hazy cinematic funk.

A growing confidence and ease emanate from the writing and production of this sophomore LP, bolstered by the reception to his standout debut. “It’s a more layered and diverse record” Paul mentions, “with a more outward-looking, global sound, born out of the records I was listening to and the musicians I was lucky enough to collaborate with”. It feels relaxed yet self-assured, with a kaleidoscope of sounds that twist together in a mesmerising fashion.

The theme of the album developed naturally through the lyrics Paul began writing. A creative process both plagued and fed by insomnia, nourished by relationships, entwined in emotions, nights out, nights in and the after-effects on the human condition. Relatable themes yet seen through the prism of a soundscape that takes in many a different culture and scene. From acid folk to psych-funk, Francophile elements to Anatolian and Eastern inspirations, all interlocking and rotating as one.

Drawing inspiration from those he admires, Colours & Light radiates with collaborations. The title track, which tips its hat to a live 1973 TV version of Pentangle’s ‘Wedding Dress’, features the folk rock, guitar brilliance of Jack Sharp from Wolf People/Large Plants.

Elsewhere, two tracks are blessed by the sultry, smokey French vocals of Gloria’s Wendy Martinez, ‘Extra Nuit’ and ‘Entre chien et loup’. The former echoes Paul's love of classic French psych-pop from the late ’60s and early ’70s and artists such as Laurance Vanay, Calcium, Leonie, and Serge Gainsbourg. Martinez's sublime vocal work nestles perfectly within Paul's psych-folk-funk productions, as her Gloria partner, Alexis Morel (aka Kid Victrola) sprinkles a dose of entrancing guitar line magic on proceedings.

The list of collaborations extends further with Raz and Markey Funk, drummer Tony Coote and percussionist Paul Elliott all featuring. Regular collaborator and underground icon Barrie Cadogan (Little Barrie) returns along with Bert Page from The Cromagnon Band, who between them provide a hit of whacked-out, fuzzed-up country guitar and Moog madness respectively on ‘Lost In The Woods (Bacchanal)’.

Rounding off the record Paul’s daughter, Olivia Osborne, supplies the keyboard intro on the penultimate track ‘Twilight’. Dorian Conway from The Soundcarriers (whose bandmate Paul Isherwood returns on mixing duties) then layers echoing heavy flute parts to magically capture the psychedelic sunrise images brought to mind.

Balancing light and shade on this record, there is beauty and tension all wrapped up in Paul’s vivid and visceral, storytelling gift.

If 2022’s The Children Of Scorpio was the debut album that turned people onto the world of Project Gemini aka Paul Osborne, Colours & Light is the body of work that will be buried deep into their hearts. It is a majestic album, bringing together the worlds of folk rock, psych soundtracks and hazy cinematic funk.

A growing confidence and ease emanate from the writing and production of this sophomore LP, bolstered by the reception to his standout debut. “It’s a more layered and diverse record” Paul mentions, “with a more outward-looking, global sound, born out of the records I was listening to and the musicians I was lucky enough to collaborate with”. It feels relaxed yet self-assured, with a kaleidoscope of sounds that twist together in a mesmerising fashion.

The theme of the album developed naturally through the lyrics Paul began writing. A creative process both plagued and fed by insomnia, nourished by relationships, entwined in emotions, nights out, nights in and the after-effects on the human condition. Relatable themes yet seen through the prism of a soundscape that takes in many a different culture and scene. From acid folk to psych-funk, Francophile elements to Anatolian and Eastern inspirations, all interlocking and rotating as one.

Drawing inspiration from those he admires, Colours & Light radiates with collaborations. The title track, which tips its hat to a live 1973 TV version of Pentangle’s ‘Wedding Dress’, features the folk rock, guitar brilliance of Jack Sharp from Wolf People/Large Plants.

Elsewhere, two tracks are blessed by the sultry, smokey French vocals of Gloria’s Wendy Martinez, ‘Extra Nuit’ and ‘Entre chien et loup’. The former echoes Paul's love of classic French psych-pop from the late ’60s and early ’70s and artists such as Laurance Vanay, Calcium, Leonie, and Serge Gainsbourg. Martinez's sublime vocal work nestles perfectly within Paul's psych-folk-funk productions, as her Gloria partner, Alexis Morel (aka Kid Victrola) sprinkles a dose of entrancing guitar line magic on proceedings.

The list of collaborations extends further with Raz and Markey Funk, drummer Tony Coote and percussionist Paul Elliott all featuring. Regular collaborator and underground icon Barrie Cadogan (Little Barrie) returns along with Bert Page from The Cromagnon Band, who between them provide a hit of whacked-out, fuzzed-up country guitar and Moog madness respectively on ‘Lost In The Woods (Bacchanal)’.

Rounding off the record Paul’s daughter, Olivia Osborne, supplies the keyboard intro on the penultimate track ‘Twilight’. Dorian Conway from The Soundcarriers (whose bandmate Paul Isherwood returns on mixing duties) then layers echoing heavy flute parts to magically capture the psychedelic sunrise images brought to mind.

Balancing light and shade on this record, there is beauty and tension all wrapped up in Paul’s vivid and visceral, storytelling gift.

Ltd. Edition Vinyl: limitiertes gelbes 180g Doppel-Vinyl, Cover mit Prägung und Durchnummerierung, bedruckte Innenhüllen, Poster und Fotos der Bandmitglieder

Einstürzende Neubauten präsentieren ihr neues Album. Sie suchen nach neuen Formen. Nach dem unentdeckten Ton und dem noch unausgesprochenen Wort. Seit ihrer Gründung am 1. April 1980 verschieben die Einstürzenden Neubauten die Parameter von Mainstream und Subkultur, um das Unhörbare hörbar zu machen. Und vielleicht auch das Unerhörte. Ein sich über vier Dekaden erstreckender Feldforschungsversuch, der nun ins nächste Stadium tritt. In ihrem 44. Bestehensjahr geht die Formation weit zurück zu ihren Wurzeln, um sich gleichzeitig neu zu definieren. Ein verändertes Selbstverständnis, für das das Berliner Quintett plus eins 2024 sein eigenes Genre kreiert hat: apm - alien pop music. Ständige Weiterentwicklung - so könnte man das Schaffen der Einstürzenden Neubauten kurz und knapp zusammenfassen. Eine musikalische Evolution, die beim 1981 veröffentlichten Albumdebüt "Kollaps" beginnt und sich nun auf dem im April 24 erscheinenden Album "Rampen - apm: alien pop music" manifestiert, auf diesem präsentieren sich Blixa Bargeld, N.U. Unruh, Alexander Hacke, Jochen Arbeit, Rudolph Moser und Felix Gebhard nun von ihrer unberechenbarsten und eigenwilligsten Seite. Auf ihrem neuen Album setzen die Neubauten nun allen Sound-Spekulationen ein - wenn auch spätes - Ende. Schon seit Mitte der 1980er-Jahre experimentieren die Einstürzenden Neubauten auf der Bühne mit sogenannten Rampen: Öffentliche Improvisationen mit offener Entwicklung und Ausgang; Abschussrampen ins noch Unerforschte, die die Band im Jahr 2022 auf ihrer letzten "Alles in Allem"-Tournee im Zugabenteil performte und deren Mitschnitte als Basis für das neue Album dienen. "Rampen - apm: alien pop music" ist Popmusik für Paralleluniversen und Zwischenwelten. Für Hyperräume und Interzonen. Mikrokosmisch und intergalaktisch zugleich. Eine demimondäne Behauptung außerhalb aller physikalischen Gesetze, mit der die Einstürzenden Neubauten ein stilistisches Niemandsland zwischen Vergangenheit und Zukunft betreten. Rückkehr zu den Wurzeln einerseits, andererseits entsteht aus lärmgewaltigen Kracheruptionen, auf kryptische, oftmals fragmentarische Lyrics treffend, eine neue Kunstform: Populäre Musik für Aliens und Außenseiter. Aus Anti-Pop ist Alien Pop geworden. Fremdartig. Kokonhaft versponnen. Ungehört. Sonus inauditus. Nicht ganz unabsichtlich erinnert das reduzierte Coverartwork an das ikonische Layout des "Weißen Albums" von den Beatles. "Ausgehend von der Idee, dass die Einstürzenden Neubauten in einem anderen Sonnensystem ebenso berühmt sind wie die Beatles in unserer Welt", so Blixa Bargeld über die Gratwanderung zwischen Avantgarde und Augenzwinkern, Provokation und popkultureller Diskontinuität. Womit auch direkt das zentrale Thema vorgegeben wäre, das sich wie ein roter Faden durch alle Songs zieht: Veränderung, utopische Gedankenspiele und Vergänglichkeit. "Ich habe auf der Platte ein paar Lösungen gefunden und Dinge formuliert, wie ich sie vorher noch nicht formuliert habe, weil sie mir noch nicht so klar waren. Ich bin jemand, der denkt, durch Musik Erkenntnisse zu gewinnen. Das war schon immer so. Die Überzeugung, in der Musik etwas zu finden, was ich vorher nicht wusste. Und etwas zu singen, was ich vorher nicht wusste. Etwas, was sich dann als Wahrheit herausstellt. Oder zumindest als sinnvoll, wenn man es ein wenig kleiner halten will." Dieses Album repräsentiert die nächste Stufe der Evolution, auf der man die bekannte Sprache schließlich hinter sich gelassen hat. Und die Eröffnung weiterer, unendlicher Möglichkeiten: alien pop music.

One of the greatest, heaviest, and most sought-after guitar records from 1970s West Africa, available on vinyl for the first time in over a decade!!!

Bamako, Mali, 1973: Rail Band, the official orchestra of the Malian state railway, drops their self-titled LP. It’s a relentlessly soulful and hypnotic blend of American funk, jazz horns, and Afro-Cuban music, reflected through centuries-old Mandé tradition and blasted at top volume by some of the continent’s greatest artists.

Led by legendary trumpet and saxman Tidiani Koné and held aloft by the intricate web of Djelimady Tounkara’s rumbling, reverb-soaked guitar, Rail Band’s sprawling compositions embody West African storytelling traditions while exulting in the technology and modernity of a newly independent Mali. Vocalists Salif Keita and Mory Kanté, two heroes of African music who would achieve global fame as soloists, are endlessly emotive, oscillating between silky ballads and funk screams. The band’s sound is filled out by layers of percussion, rolling guitars, and melodic horns filtered through the Caribbean.

Starting in 1970, Rail Band played five nights a week, from 2 pm til the early hours, at the Buffet Hotel de la Gare. Their audience was an international array of businessmen, young partiers, and people of the Bamako night. The band was incredibly versatile, switching genres, rhythms, and styles to meet their crowd. It was a volatile mix, one that would fall apart soon after these recordings were made, with Salif Keita’s departure to start the rival Les Ambassadeurs. Though Rail Band continued in many distinguished forms, the eight songs on this album reveal one of the greatest bands to ever exist, at the height of their creative powers.

On “Duga”, a composition dating back to the 13th century and passed on through oral tradition by the jelis (griots), the Rail Band replace balafon with the interplay of Cheick Tidiane’s speaker-rattling bass and Alfred Coulibaly’s tasteful organ. “Marabayasa,” with its iconic sax intro and Mory Kanté channeling James Brown, is a deep-cut favorite of DJs around the world. Part of a long and regal lineage of Malian guitar orchestras initially tasked with translating the region’s traditional music to modern instrumentation, Rail Band morphed and reenvisioned those traditions with a style and energy that has never been matched.

Caleb Landry Jones ist vielleicht am besten bekannt für seine prominenten Rollen in gefeierten Fernsehserien und Filmen wie „Get Out“, „Twin Peaks: The Return“ und „X-Men: First Class“. Aber seine Talente als Musiker blühen auch abseits der Leinwand. Heute kündigt Jones sein viertes Album "Hey Gary, Hey Dawn" an, das am 5. April 2024 bei seinem langjährigen Label Sacred Bones erscheint. Mit einer Mischung aus Intensität, Verletzlichkeit und musikalischer Virtuosität lädt Jones den Hörer ein, sich auf eine Reise zu begeben, die ein eindringliches Erlebnis verspricht, das noch lange nach der letzten Note nachhallt. Die Musik ist Jones' bisher stärkste, und obwohl er sich oft mit direkten Einflüssen zurückhält und sich gegen Kategorisierungen sträubt, webt er einen Klangteppich, der innerhalb seiner charakteristischen kaleidoskopischen Symphonien auf Punk- und Grunge-Elemente anspielt, dabei aber eine unverwechselbare und unbeschreibliche Qualität bewahrt Mehr als 20 talentierte Musiker, darunter ein Streicher-Quartett, haben zu diesem Album beigetragen und dieser dynamischen Sammlung von Songs, die nahtlos eine Vielzahl von Genres durchqueren, mehr Tiefe und Komplexität verliehen. „Hey Gary, Hey Dawn“ ist ein Beweis für die atemberaubende künstlerische Entwicklung von Caleb Landry Jones. Auf der ersten Single "Corn Mine" erkundet er die theatralische, bedrohliche Seite seines Sounds. Vier Minuten lang singt Jones mit beschwingter Stimme auf einen psychedelischen Garagenrock-Walzer. Der Song wird natürlich von einem gespenstischen Video begleitet…

'starsdust' is an ambient album composed from the fragments of Runnner's 2023 album 'like dying stars, we're reaching out.' singles 'ten' and 'eleven' are glitchy, colorful moments of reflection stretched across a few meditative minutes. Runnner's noah weinman says on the creation of this release: "I made one rule for myself while making this record and it was that I wasn't allowed to record any new audio. Every sound on this album is a repurposed stem from Like Dying Stars, We're Reaching Out. I was allowed to pitch, flip, stretch, and chop anything I wanted, but everything had to begin from something already recorded for the last album. It started out as something fun to do in transit (and to alleviate my flight anxiety). I was doing a lot of solo touring at the time and my affinity for cheap Southwest Airlines flights meant a lot of layovers. I think I made the first three or four sketches either in the air or at the airport. I made the rest of the album during the spring of 2023 when I was mostly stuck in bed recovering from tearing my achilles tendon and the subsequent surgery. A project that seemed to perfectly fit my constraints. The initial process of making these songs was an attempt to remove myself from the process a bit. I'd (sort of) randomly choose stems from songs, like the bass from one track, the drums from another, and maybe find a banjo or piano loop from a third, and then throw them together. It usually made something chaotic at first, but the joy of the album was sifting through that initial cacophony and finding the kernel of the song to keep pursuing. Many attempts were abandoned, but the twelve featured here I consider to be my most fruitful endeavors. It was very exciting, scary, and rewarding to step outside of my wheelhouse on this record and I hope you ennnjoy it."

The latest in a prolific string of solo and collaborative releases by James Rushford, Turzets collects a pair of new works primarily created and recorded last year while the Australian composer-performer was in residence at La Becque, an art center on Lake Geneva in Switzerland. The side-length piece "Fallaway Whisk" explores hesitation in its many forms_reticence of speech, sonic restraint_using live, abstracted translations of text from English to German against a lush and swelling soundscape. On the flip side, "Quire" is a work in ten movements influenced by the composer's study of late medieval repertoire on portative organ, weaving the instrument's woodsy interlocking melodies with angelic Yamaha CS-80 synth sweeps and stuttering glitches. The combined effort is somewhat a departure for Rushford, working in traces of Klaus Schulze, concrete poetry, and ars subtilior into a precise and ever-unfolding tapestry. Rushford's work draws from a wide range of collagist and improvisatory musical languages, staking out an idiosyncratic stylistic space that has been variously described as "electro-acoustic experimentation with a beating heart" (Boomkat) and "haunted Jacobean ASMR" (The Wire). Investigating the creases, cracks, and folds in traditions ranging from early music to New Age, Rushford's work subtly exaggerates seemingly liminal aspects such as atmosphere and the bodily presence of the performer until these take on a weight equal to musical elements such as pitch, rhythm, and timbre. In recent years, Rushford's solo work has been guided by his theorization of sonic images, particularly the shadow, which has inspired pieces as diverse as an hour-long companion to Federico Mompou's 1959-67 piano cycle Música Callada (2016) and a sumptuous translation of the play of light across flat surfaces into synthetic sound (The Lake from the Louvers, Shelter Press, 2021). His long-standing performance practice for piano, portative organ, synthesizers, and electroacoustic devices, is constantly infused with a delicacy of touch and a harmonic sensibility in which unorthodox tunings coexist with influences from fin de siècle Impressionism, the twentieth century avant-garde, and popular musical structures. He has worked with a vast range artists including Klaus Lang, Annea Lockwood, David Behrman, Tashi Wada, Haroon Mirza, Dennis Cooper, Ora Clementi, crys cole, Oren Ambarchi, Kassel Jaeger, Will Guthrie, and Graham Lambkin. He has performed as Golden Fur (with Sam Dunscombe and Judith Hamann) and Food Court (with Joe Talia and Francis Plagne).

Midwestless is the fifth and newest album from St. Louis, Missouri rock failures The Conformists. Once again recorded with Steve Albini at the majestic Electrical Audio, this album marks their first recorded output as a trio. Formed in November of 1996 deep within a basement bedroom somewhere between the corn fields and strip malls of Southern Illinois, The Conformists began as four teenagers with a desire to create Ugly Rock Music. Eventually, they grew up and now dabble in moments which could even be described as quite beautiful and melodic. Elsewhere, elements of insistent repetition with an initial appearance of stasis reveal — with multiple listens — intricate details under the surface.

Gothenburg Electro City 3 (Stilleben Records063) is a V/A compilation with producers only from the Gothenburg region. It's three generations of Scandinavian electro sound on this record and I'm very happy with the result. Everybody knows It's More Fun to Compute. Gothenburg is the capital of Vastra Gotaland county in Sweden, it's also the capital of electro in Sweden. Enjoy! Best regards, label head Luke Eargoggle.

We’re hugely excited to announce the brand new album from Dee C. Lee - ‘Just Something’, out 22 March on Acid Jazz. It follows the incredible response to the new single ‘Walk Away’ and last year’s double-sider ‘Don’t Forget About Love’ / ‘Be There In The Morning’, marking the return of one of the UK’s most revered soul singers. Dee is known for her work with The Style Council, Wham!, Slam Slam and Animal Nightlife, and an illustrious solo career (including the Top 3 hit ‘See The Day’). ‘Just Something’ is her first new record since 1998, and her debut for Acid Jazz. Available on LP and CD, all pre-orders from the Acid Jazz Store will be signed by Dee.

‘Just Something’ features 11 songs: nine originals co-written by Dee, a song penned by her daughter Leah Weller, a successful singer/songwriter in her own right, and two inspired covers. Produced by Sir Tristan Longworth, the album is a soulful collection that frames her instantly recognisable vocals in luxurious horns, percussion and keys, and heritage soul with a disco backdrop. While making the record has been a collaborative process, ‘Just Something’ is nevertheless the sound of a singer in charge of her own style and direction. Her vocal delivery and phrasing steal the show throughout, bright and lilting one moment, passionate and ringing the next. She cites Chaka Khan and Jean Carn as major influences, but Lee’s voice is resolutely her own, the product of a life lived.

Inspired by classic Motown, current single ‘Walk Away’ was written by Dee with one of her ‘brothers from another mother’, former fellow Style Council member Mick Talbot, and features Talbot’s distinctive piano and Wulitzer playing on the track. Talbot also plays on another of the album’s many standouts, the Leah Weller-penned ‘Everyday Summer’.

Three of the album’s songs, opener ‘Back In Time’, first single ‘Don’t Forget About Love’ and ‘How To Love’ were co-written with Michael McEvoy and Ernest McKone, whom Dee wrote with back in the 1980s. All three songs channel her musical past, from the thrill and excitement of those early Wham! days, going out and partying, to The Style Council’s trademark jazzy soul, and expressive balladry and killer choruses, which places Lee in the lineage of classic soul singers.

Elsewhere, on ‘Anything’, co-written with Paul Barry, Dee sings her heart out on a song full of optimism and hope for the future, while ‘For Once In My Life’, the oldest song here dates back to 1998, is effortlessly commercial and has hit written all over it, with Lee empowered and regal sounding over a warm blanket of bassy funk.

The album’s two covers, meanwhile, were both suggested to Lee by Acid Jazz’s Eddie Piller. In Lee’s hands, Renee Geyer’s ‘Be There In The Morning’ is pure celebration, taking its cue from the Norman Connors version from 1979. ‘I Love You’, written by Don Blackman and recorded by Weldon Irvine in 1976, could have been written with Lee in mind. A big club tune, Dee recalls hearing it everywhere she went and I wanted to keep as close to the original vibe as she could.

Dee’s relationship with Acid Jazz the goes back to The Style Council days, and it was the 2019 documentary ‘Long Hot Summers’ that renewed Dee’s friendship with label founder Ed Piller and director Dean Rudland. We’re honoured to release this record and be a part of Dee’s return to the forefront of UK soul music.

Baba Stiltz has written and produced the award winning soundtrack for the Swedish Movie „Shame On Dry Land (Syndabocken)“. Awarded the „Guldbagge“ price for best feature film soundtrack in 2024, the music is dense, at times oppressive, than again light-mediterranean, all perfectly accompanying the stories vibe. The score is now available on vinyl and digitally for the first time.
Baba Stiltz moving between Stockholm & LA. A myth, a young legend. Writing music since the tender age of 13, not bound by genres or expectations. Used to do Skweee before he defined his own sound of Tech House - skipped that (temporarily?). Now moving on to more folkloristic styles: country, rock, indie… you name it. Good Musik.

"A Vision of Misery is the third full-length album by Californian metal band Sadus and was originally released in 1992. Originally a quartet, the band's sound fuses thrash metal with death metal, featuring highly technical musicianship. They are known for the unique death growl of vocalist Darren Travis, and bassist Steve Di Giorgio mind-boggling bass licks and impossible tricks. After two albums straddling the stylistic transition between thrash and death metal, Sadus pretty much committed to the latter with this record. A Vision of Misery with compositions such as ""Through the Eyes of Greed,"" ""Machines,"" and ""Echoes of Forever"" epitomizing technical death metal. For fans of Sadus' habitually inventive arrangements and sharp dynamic shifts, there's plenty on offer here. A Vision of Misery is available as a limited edition of 750 individually numbered copies on gold coloured vinyl and includes an insert. "

A Vision Of Misery by Sadus, released 4 April 2024, includes the following tracks: "Machines ", "Throwing Away the Day ", "Deceptive Perceptions ", "Echoes of Forever " and more.

This version of A Vision Of Misery comes as a 1xLP. This release comes with (a) Insert(s).

The vinyl is pressed as a gold disc.

Second Compilation Of New Music By Ex-Sarah Records Bands! Under The Bridge 2 is the sequel to the celebrated 2022 compilation album that reunited groups and songwriters who had once recorded for cult label Sarah Records. The new album showcases the continuing creativity of a special group of musicians who have never rested on their laurels. Bigger and more expansive than the first album, Under the Bridge 2 is a double LP, containing twenty brand new tracks. There is a huge range of material here, from intense, dark chamber pop to dense shoegaze to out-and-out indiepop. Exciting new groups are unveiled: The Gentle Spring (a new project by Michael Hiscock of The Field Mice); Vetchinsky Settings (a collaboration between Mark Tranmer and James Hackett of The Orchids); and Mystic Village (which features new songs by Robert Cooksey of The Sea Urchins). You will also see familiar starry names like Even As We Speak, The Orchids and Secret Shine - bands whose line-ups have remained mostly unchanged since the 1990s. And there are established bands who didn't appear on the first album but are now represented - bands like Action Painting! and The Hit Parade. Most of the tracks are exclusive and unreleased: there's the first new song from The Catenary Wires since 2021, a brand new fizzbomb from Jetstream Pony, a haunting instrumental from GNAC. The emphasis of Under The Bridge is on the new. The bands' shared history means they have a shared aesthetic, even a shared ethos - they all believe that the future is more important than the past. They are as independent and as uncompromising as ever, but they are still uncynical - and still excited about what Pop Music can be. Under The Bridge 2 is available as ltd vinyl double LP, CD and digital download. It will not be on streaming sites. CDs and LPs include a 12 respectively 24-page illustrated colour booklet.