quête:eve 6

Emerging from their subterranean recording studio The House of Vibes, The Grip Weeds have delivered a tour-de-force with Soul Bender, their ninth full-length studio album and their first newly-recorded original tracks since 2019's Trip Around The Sun. This astonishing record finds the band pushing their recording, arranging and songwriting skills into new and evocative territory. On Soul Bender, The Grip Weeds continue to expand: Musical and sonic experimentation abounds, resulting in a record that is bigger and more dramatic than ever; melodically inventive, yet accessible with lyrical imagery and hooks firing at you from all directions. Most impressive of all is that The Grip Weeds are entirely self-contained: From production, engineering, mixing and artwork, Soul Bender represents a complete and total vision of intent. If you like the fearless bold intensity of rock from the classic era yet reimagined for the 21st Century, Soul Bender is for you. Heard on Sirius XM's The Underground Garage, The Beatles Channel and indie/commercial radio worldwide.

After making their mark with their debut album, The Risen Dread returns with their highly anticipated second studio album. Produced, recorded, mixed, and mastered by Marco Mastrobuono at Bloom Studios in Guidonia, Rome, Italy. This new record showcases the band's evolution, delivering an even heavier, darker, and more intense sonic experience.
While not a concept album, death looms large as the central theme, weaving through the lyrics with raw emotion and unsettling storytelling. From existential dread to violent ends, each track explores different facets of mortality, drawing the listener into a visceral journey through the inevitable.
The music delivers heavy riffs, dynamic drumming, and a mix of intensity and melody, further refining the band’s identity while pushing their sound forward.
Set for release on June 13, 2025, via Time to Kill Records, the album builds on the band's signature sound with a balance of aggression, atmosphere, and storytelling.

‘Mormaço Queima’ is where it all began for Ana Frango Eléctrico. Raw, quirky and lo-fi, it’s a debut album brimming with attitude and youthful energy, characteristics that would go on to define their sound. Previously released digitally in Brazil in 2018, with a private press CD version in 2020 and later a Brazilian vinyl version in 2022, here at Mr Bongo we felt it deserved a much-needed worldwide edition for all of us to savour.

A charming, idiosyncratic blend of MPB, Tropicália, and indie from a talented singer-songwriter, multi-instrumentalist and producer who would later become one of Brazil’s brightest international stars. ‘Mormaço Queima’ has a cool, laidback, swagger channelling ‘90s bands such as Pavement. The arrangements feel loose and easy, the opener, 'Farelos' (Crumbs), seems to ebb and flow on a razor's edge before the percussion and Antonio Neves' trombone draws the song into a structure. Another highlight is 'No Bico Do Mamilo', which has a free-flowing vibe, Ana pushing, pulling, and playing with the song's energy, keeping listeners constantly on their toes. Tracks such as 'Roxo' lean more into a punk attitude, with the pendulum swinging from easy-going to frenetic. The longest song on the album 'Picles', continues to sway the pendulum this time moving from DIY punk-funk into a psychedelic workout

Co-produced by friends and fellow future collaborators Guilherme Lirio, Gustavo Benjão, Marcelo Callado, and Thiago Nassif, ‘Mormaço Queima’ is a playful showcase of Ana Frango Eléctrico’s distinctive style. Plotting Ana's musical career, it's clear they are not one to be pigeon-holed, nor to be confined to a single genre. Instead, they are ever evolving and this captivating debut album was the building block for a career that has already seen them gain multiple Latin-Grammy awards and tour the world with their music.

Dance reinterpretation of the late 90s hit that has become a pop-rock-alternative classic.

Extended Mix suitable for every dancefloor on the A side; on the other side, an afro-house version with balearic groove and percussions intended for the most refined DJ sets where it will be difficult to stay still

After offering the label a beautiful closing composition on its various artists compilation Reflection EP, Rotterdam live act, producer, and DJ Mata Disk returns to Polychrome Audio with LFH-Proxy EP. Featuring two original club tracks and their interpretations by producers Eversines and Jopie, this project further cements Julian Determann’s singular musical identity while opening it up to new dimensions and patterns.

A1. Life Force Harmonizer (“LFH”) opens the dance by capturing the sweet nostalgia experienced during club morning hours. Mata Disk’s sound palette is here in full display, the energy carried by sharp drum design and a propulsive bassline is lifted by melodious pads offering the track its tenderness. On the B1, Rotterdam producer Jopie creatively re-imagined these feelings, stripping down and reshaping LFH onto a track flirting with breaks and IDM progressions.

With Proxy, Mata Disk dims the light slightly, with a drum workout track to keep the dance alive. The very progressive and low-end focused build-up paired with a tension-building synthesized lead offers the A2 track a smooth build-up. De Lichting member Eversines elegantly switches the sound narrative, transforming Proxy into a dark electro-leaning tech house track carrying the same tension. Adding emotion into the mix with an anthemic melodic lead, Eversines’ Proxy Ziggo Mix serves as a perfect closer.

Format Details: 12” matte jacket, orange & blue side A/B effect colour vinyl, dust sleeve & marketing sticker.

Originally released in 2002, Daylight EP was the follow-up to Aesop Rock’s critically-acclaimed Labor Days album, a cult classic released only six months prior. The EP was built around its titular opening song, “Daylight,” one of the standout tracks from Labor Days, and continued expanding upon the range and depth of Aesop’s multi-talented gifts for writing and producing. In addition to the title track, Daylight EP also included its counterpoint, “Night Light,” an alternate version in concept whose paraphrased lyrics simultaneously refer back to– and stand in stark opposition to– the original's, over darker, more menacing production. The tracklist for Daylight EP boasted seven songs plus a hidden track for a total of eight, and collectively featured production by Blockhead, El-P, Blueprint and Aesop Rock himself, as well as guest appearances from Vast Aire (Cannibal Ox) and Blueprint.
At the time of its initial release, Daylight EP was only offered in CD and digital formats, while the vinyl was stripped back, available only as a three-song 12” single. Now, Rhymesayers Entertainment is pleased to present the complete EP on vinyl for the first time ever, pressed on two-color side A/B effect orange & blue vinyl to complement the original artwork. Finally, fans and vinyl collectors everywhere can own this integral piece of Aesop Rock’s legacy and enjoy the genius behind this project.

** Comes with download code **

Compiled from over 250 tracks created between 2017 and 2024, Juxtapose is Windu’s first ever release — a freeform, shapeshifting snapshot of sound. It is released by adventurous electronic music label topo2 on March 14, 2025.

The record is pressed on 180 grams of ICCS-certified bio-vinyl, housed in a heavy full-colour sleeve, and comes with a download-code to the full release and five digital-only tracks.

Mastering is done by Isabel Schröer at Scape Mastering and artwork by courtesy of Kees de Klein. Mixing is done by our dear friend Pascal Pinkert and Poetry by equally dear friend Eelco Couvreur.

Black Hole Superette, the latest album from Aesop Rock, delves into the invisible forces that shape our lives and psyches. It's about the small, often overlooked moments_the everyday experiences that blur the lines between the real and the unreal, waking and sleeping. Aesop's signature gift for transforming the mundane into something dreamlike gives the album a surreal quality, leaving listeners questioning what's truly real as they navigate its vivid, half-remembered imagery. Entirely self-produced, Black Hole Superette is one of Aesop Rock's most technically accomplished works to date. The album's intricate beats and complex structures provide the perfect backdrop for his expansive lyricism, balancing cerebral exploration with emotional depth. From the reflective 'Movie Night' and the eccentric 'Send Help' to the wistful 'Black Plums,' Aesop channels the spirit of a mad scientist, experimenting with sound and concept in ways that defy the ordinary. With a stellar lineup of collaborators that includes Lupe Fiasco, Armand Hammer, Hanni El Khatib, Open Mike Eagle and Homeboy Sandman, Black Hole Superette is dense and kinetic, an album that deftly navigates between complexity and instinct. It's clear this project stands as one of Aesop Rock's most multifaceted and ambitious works yet.

Composed, performed and produced by Cosey Fanni Tutti, the 9-track album moves between propulsive beat constructions and expansive electronic explorations, continuing themes from 2019’s acclaimed album TUTTI. It is a personal reflection; a sonic realisation of her life, drawing on her powerful inner resolve and expressing it through music. The album finds Cosey making sense of some very tough years, dealing with personal bereavements alongside swingeing world events that have impacted us all. Centring on her own strength and self will, the album’s two distinct sides – one rhythmic, one more meditative – are connected by an overwhelmingly positive mood.

She explains, “My overtone chanting on the track ‘Stound’ was part of that, tapping into the inner self, to the core of your being, emotionally, physically, allowing the sounds to permeate and soothe as well as create a sense of power, resistance and resilience to what we face.” Even in the more melancholic moments, there’s a lightness that she explains is an “acknowledgement that it’s alright to be sad, that’s part of life, but there is so much joy too in our memories of people we lose and in the moments we share with each other. Joy is our resistance.”

There are also threads from her most recent projects running through 2t2. Her latest book RE-SISTERS and the score she wrote for Caroline Catz’s film Delia Derbyshire: The Myths and Legendary Tapes are acknowledged, most directly on ‘Threnody’ which is dedicated to Delia Derbyshire and Andy Christian, an artist friend of Delia’s. He sent Cosey an abstract drawing of the same name, created one night from an improvised evening where he drew while Derbyshire intoned and sang softly as she looked at the drawings, as if reading a score expressing how they made her feel. Cosey’s process and the different strands that make up her work form a totality of vision.

She goes on to say, “Once you get creating and listening, weaving, collaging sound it’s a wonderfully fulfilling feeling that takes you both out of yourself at the same time as essentially deep within.” The artwork reflects this idea that the album is a “sound cameo”, reflecting the light within the music, and the buzz of life that exists within all of Cosey’s work. Musician, artist and author Cosey Fanni Tutti has continually challenged boundaries and conventions through her work. As a founding member of the hugely influential avant-garde band Throbbing Gristle, one half of electronic pioneers Chris and Cosey, and as an artist channelling her experience in pornographic modelling and striptease, her work on the margins has reshaped the mainstream. Her first solo album, Time To Tell (1983) was followed by 2019’s Tutti and 2022’s Delia Derbyshire: The Myths and the Legendary Tapes. Her debut book, the Penderyn Music Book Prize shortlisted Art Sex Music, was published in 2017, followed by RE-SISTERS in 2022 (both Faber), which will soon get a Spanish edition.

Proper Monday Number is an electronic duo from Brighton, UK featuring Suzi Horn of cult DFA act Prinzhorn Dance School and producer Christoph Boseley. Their Deep clean your house EP is a sure shot of cynicism-defying DIY dance-pop spanning five tracks in 15 minutes, not a second or minute wasted. The ingredients may be familiar - mid-2000s electro and bassline, 90s house, those shitty, overused speakers in your teenage bedroom - but the attitude is ever forward. Fun with a purpose.

Far Out Recordings continues its reissue campaign of the late Argentinian guitarist Agustin Pereyra Lucena's work with the first-ever vinyl reissue of his singular 1988 private press album, Puertos De Alternativa, now his most sought-after LP. The album features some of Agustin’s most uniquely beautiful compositions, including “Luces de Valeria” and “Preparativos Maritimos,” alongside Baden Powell's “Pequeño Vals” and “O Cego Aderaldo (Nordeste...),” and “Tema Barroco” by his longtime collaborator, Guilhermo Reuter.

By 1988, Agustín had established himself as one of Argentina’s foremost interpreters of Brazilian music. The seventies saw success with his group Candeias, and he gained recognition in Brazil, forming friendships and collaborations with luminaries such as Vinicius de Moraes, Baden Powell, Dorival Caymmi, Toquinho, and Maria Bethania. Following the era of dictatorship in South America, Agustín spent the late seventies and early eighties, living and touring in Norway as part of his European travels with his group Agustín Pereyra Lucena quartet.

Recorded after returning to his native Buenos Aires, Agustin Peyera Lucena’s Puertos de Alternativa emerged from this confluence of diverse experiences and influences, revealing an artist deeply connected to his environment. The album's title, meaning "Alternative Harbours," reflects Agustín's particular affinity for water. He observed that much of his favourite music originated from places with rivers and seas nearby, noting, "There is a flow near water that influences guitar playing for sure."

With a profound connection to both instrument and environment, Agustín’s music is often difficult to place. The album begins rooted deeply in South American soil, drawing clear inspiration from Brazilian guitar masters like Heitor Villa Lobos, Garoto and Baden Powell. But, as it progresses, a sense of journey unfolds, evoking new landscapes and horizons – from the crystalline beauty of glacial Norway to the gentle currents of the Rio de la Plata.

The ensemble on Puertos de Alternativa features notable Argentinian musicians, including drummer Osvaldo Avena, flautist Rubén Izarrualde, and saxophonist Bernardo Baraj.

Mastered by Stuart Hawkes at Metropolis Studios from the original master tapes which had been lovingly kept by Agustin’s nephew José Lucena Perreyra


Tracklist & Credits:

A1. Luces De Valeria (Agustin Pereyra Lucena)
Guitar, Vocals – Agustin Pereyra Lucena
Piano, Bass, Drums, Vocals – Guillermo Reuter
Tamboril – Julio Said

A2. Pequeña Valsa (Baden Powell)
Arranged By Flute – Lucho González
Drums – Osvaldo Avena
Flute – Alejandro Santos
Guitar – Agustin Pereyra Lucena
Tambora – Eduardo Avena

A3. Planicie (El Llano) (Agustin Pereyra Lucena)
Arranged By Flute – Lucho González
Flute – Rubén Izarrualde
Keyboards, Acoustic Bass, Percussion, Arranged By Keyboards – Guillermo Reuter
Guitar – Agustin Pereyra Lucena

A4. Tema Barroco (Guillermo Reuter)
Guitar – Agustin Pereyra Lucena
Percussion – Guillermo Reuter

A5. O Cego Aderaldo (Nordeste...) (Baden Powell)
Guitar – Agustin Pereyra Lucena

B1. Tres Que Quedaron (Agustin Pereyra Lucena, Andrés Laprida)
Drums – Osvaldo López
Flute – Rubén Izarrualde
Piano, Keyboards, Bass, Directed By – Guillermo Reuter
Soprano Saxophone – Bernardo Baraj
Electric Piano, Arranged By – Andrés Laprida
Guitar, Electric Guitar, Vocals – Agustin Pereyra Lucena

B2. Preparativos Maritimos (Andrés Laprida, Agustin Pereyra Lucena, Guillermo Reuter)
Guitar, Vocals – Agustin Pereyra Lucena
Keyboards, Acoustic Bass, Percussion, Arranged By – Guillermo Reuter

B3. Puertos De Alternativa (Agustin Pereyra Lucena)
Guitar, Effects – Agustin Pereyra Lucena

B4. Casi-Numbe (Luis González Cárpena, Agustin Pereyra Lucena)
Bass – Lucho González
Bass Flute – Rubén Izarrrualde
Berimbau – Horacio Veros
Keyboards, Piano, Vocals, Drums, Arranged By – Guillermo Reuter
Guitar, Vocals, Arranged By – Agustin Pereyra Lucena

Known for her delicate, subtly psychedelic approach to production - all subtlety is thrown out of the window on the opener, “Parents and God”. We are immediately confronted with a slamming Chicago house style beat in style of Mr Fingers at his most utilitarian. It slams, jerking in and out of tempo like Ron Hardy in beast mode.

Out of nowhere a soulful church organ arrives - at first for a brief respite - but then for an extended solo, which gives way to an 80s electro style breakdown before reverting back to form. It shouldn’t work, but somehow it does - to a dizzying extent - and heirin lies Mayurashka’s magic: a blatant disregard for norms and a deft touch that makes the unorthodox so compelling.

“Notango" takes another big left turn - sitting somewhere between tribal seance and rain dance, it’s mostly organic drums and otherworldly sound effects that combine to drag us deeper into the wormhole before “ Vat Murmur” takes us back into the light with its uptempo disco energy and giving way to heavy chugging bass. This one is equally for fans of idjut boys and Larry Levan.

The EP rounds off with the title track “ LSI dreaming” - to try and describe it is almost impossible, but let’s say it starts of with a mid 2000s Perlon-era tech house energy before things quickly escalate beyond all recognition and then just hover with lysergic intensity. If I ever closed panorama bar, this is the track I’d end with.

Presenting this limited edition 300 picture disc vinyl on Warehouse Manifesto from label boss GAMADON with the original hybrid broken-techno/electro Cyborg Samba with five formidable remixes by Umwelt, SOD-90, Jerome Hill, Kim Cosmik and Serge Geyzel. Expect everything from tough electro, to industrial breakbeat, old-school breakbeat, fast-paced IDM breaks and robo-funk to wrap up a truly diverse ep. This is part one of a three part series coming this year from GAMADON with remixes from some of the best in the business.

Gilles Peterson presents International Anthem is a compilation chronicling the legendary London-based radio host, DJ, label head, curator and cultural impresario"s long-standing affinity for and interaction with artists and music from the Chicago-born record label International Anthem. The tracks on this compilation were chosen by Peterson via an extensive review of track lists from his broadcasts on BBC Radio 6 Music, Worldwide FM, and various syndicated radio programs. The compilation also includes a previously unreleased track recorded live on the Peterson-founded online radio station Worldwide FM. This album is released via International Anthem as part of their "IA11" series of releases and events - where the label celebrates their eleventh year of existence by looking back on their first ten years while establishing new standards for the next ten years.

Atlanta Based Band Rujen And their Album "Velvet Dream".
Velvet Dream is more than a collection of songs - it’s a cosmic nudge sent to remind you that your future begins with a choice. You close your eyes and a vision begins to form: a life just beyond your reach, patiently awaiting your arrival. It’s the version of yourself you imagine when you tune out the noise and tune in to the things that make you feel. With their Broc Recordz debut, Rujen aim to open doors through that very threshold with 11 tracks of 70s-tinged space rock that thoughtfully weave together lyrical themes of time, personal agency, and the pursuit of silencing self-doubt.

3XL’s first new release in 2025 by Italian trio Cortex of Light is a synapse-tickling dose of classic FSOL-era world-building that takes in gloopy trance cooked down with sub-heavy, vaporous dub, mutant acid, breakbeat rave, Artificial Intelligence and a Mark Fell-style algorithmic brainmelt.

You'll know if you've spent any time following Piezo's output that the Milan-based producer and Ansia boss has a knack for lysergically enhancing any club template he sets his sights on. With releases on Idle Hands, Wisdom Teeth, Loefah's 81 and most recently Dekmantel, Luca Mucci has blottered up dubstep, hard drum, 2-step and minimal techno, here re-convening with fellow Milanese journeymen Aitch and primordial OOze/xàr num as Cortex of Light to blur those edges even further

'ILLUMINOTECNICA' isn't the trio's first release, but it's their most substantial and easily most developed. If 2024's 'Aeon Is A Child At Play With Colored Balls' showed off their aptitude for threading their luminous soundscapes into a horizontal soundtrack, then this album is a proper chance for Cortex of Light to show off their versatility in a different setting, matching dancefloor hallucinations with expertly sculpted sound design.

Psilocybin-tainted soundscapes scrape into breathy flute sounds and chest-thumping bass drops on the opener, haunted by a vision of electronic music that's been contrived in back rooms, squats and outdoor raves for decades at this point. Like so much of the rest of the 3XL catalog, there's a drive and coherence here that comes from classic dub techno and chill-out room fodder (think The Black Dog or Pentatonik), but always infused with something that dates it to the present era, be it a tactile sliver of Visible Cloaks-style neo-new age ambience, or a sort of mescaline-dipped take on Photek's bass-heavy, meticulously hazed 'Solaris' period downtempo gear, chopped 'n screwed into the uncanny.

He's back !
With one long never give up old school track on the B side ... and 2 fresh on the A side.

enjoy !

First 2x12" record with UPR by Le Talium.
The tunes were too good not to press them all !!
LIMITED QUANTITIES.

A familly story... sound is as noise as clear, and ritch as minimal...
Industrial Hardcore (end speedcore) is the thema, Even if industrial could be the domain.

Hypnofreak : un bon speedcore mental, très fin, qui embarque dans des vagues acides longues en bouches, soutenues par un kick de moins en moins discret :)

Go HardCore : si je ne me trompe pas on dirait du vieux Epiteth, avec une petite pointe d'indus à la Test-Dep dans les sons.. (mais là faut chercher longtemps avant de tomber sur "Brith Gof Goddodin" ^^).

Last Chance : Le kick sec, sans reverbe, dur dur ! Hardcore encore :)

Digital Error : Allez, on y va dans le noiseux speed, marque de fabrique du Talium :) Et son gros kick qui vient vous récupérer après des drops glissants...

No Planet : Dédoublons les kicks et voyons ou ça nous mène :)

Non Conforme : Prenez un kick et mettez le dans shaker. enregistrez les bruits du moteur. Et vous obtiendrez un truc dans le genre.

Quad Grinder : Une fois encore, le dédoublement de kick est au centre de l'affaire, ce morceau me semble dans l'esprit du
01100010 de No Name sur Fischkopf 16).. Mais c'est un feeling de Deejay ^^

XB09-Part One : toujours dans l'esprit du shaker, avec de grosses nappes ambient qui posent grave... Un contraste qui peut faire penser à du Flashcore... mais ou est la part 2 ? ^^

En gros ce skeud est une balle, ça pourrait bien être un des meilleurs skeuds de speedcore indus depuis un sacré bail !

BIG UP UPR !

Sweet Free Association is back with new productions this time, an essential debut EP from London-based producer Convertible.
A three track 12inch that touches on all areas of house but stays driving and DEEP! TIP!

The label says:
"Every once in a while something special comes along and this is one of those moments!
Sensitively crafted over time, the result is lush and timeless electronic music that is full of emotion and depth and that invokes the highest feelings of ecstasy!
Teased over the last 6 months in clubs and on radio, the music is consistently the highlight of my set, with the reaction from both the floor and the amount of messages I have received about these ‘unknown’ being staggering. But try it for yourself and you will find out!

Support from Chaos in the CBD, Ryan Elliott, Alex Kassian, Kléo and Millos Kaiser."

All tracks written and produced by Convertible.
Mastered by Frank at The Carvery.
Like The Rain additional mixing by Brain Rays.
Comes in gradient-coloured sleeve.

First part of the Drexciya re-issue series! Drexciya might need an introduction for some, for others it is the most influential techno project ever. Part of the heritage of Detroit's Underground Resistance, Drexciya explored techno music like no-one else before. Raw and uncompromising music that reflects the harsh environment of the city where Drexciya was conceived. The aesthetics and the mythical approach combined with the unique music made this one of the biggest cult projects in techno music. Drexciya arguably stands for the darker side of techno and electro, music not only made for the club scene, but a further development of the music as an expression and extension of the mind. 20 years after the release of ''Deep Sea Dweller'' (their first release), and 10 years after ''Grava 4'' (their last), we present ''Journey Of The Deep Sea Dweller''. This series is an almost complete collection of their early works, and is remastered from the original master tapes. Since the original releases have such a strong character, appeal and stand on their own, this re-issue can never re-create the magic of those originals. So instead we stirred up the catalogue taking the tracks out of their original context, giving the 'in the know' listener a fresh experience and the new listener a document that is the best possible introduction to the aquatic world of Drexciya.

How would you like to hear it? This project is the brainchild of Andy Baxter, a multi-talented musician and multi-instrumentalist from London. His recording career began in 2018 when he released his first album, Green, on Village Live.

Buoyed by this initial recognition by his peers, he quickly released a second self-produced opus the following year, entitled Dusk. But it was his third LP, Shapes, released by KingUnderground, that took him to the next level.

Conceived during the first period of confinement, Andy played almost every instrument on the album (a few musicians joined in here and there): drums first and foremost, his instrument of choice, but also bass, guitar, keyboards and even the flute, which he had just learnt at the time of the album's creation. Largely inspired by the library music of the 70s, including some of his mentors such as Piero Umilani, David Axelrod and Brian Bennett, the album is nonetheless resolutely modern. But there's no denying the cinematic atmosphere that emanates from his compositions.

From the opening track "We're From Nowhere", with its heavy, funky bass, you get the impression of being plunged into the Harlem blaxploitation of the heyday, and you can't help but see a musical nod to Roy Ayers' "We live in Brooklyn, baby". But you soon realise that far from being a nostalgic musician, Baxter also listens to his contemporaries like Khruangbin and BadBadNotGood, as can be heard on tracks like 'Leaves', 'Odysea' and 'Ikigai', with their atmospheric guitars and Fransesca Uberti's haunting backing vocals, which instantly invite you to travel and escape! But there are times when the mood gets a little tense, like on the more angst-ridden 'Villains', with its almost free jazz flights of fancy. Finally, his drumming also comes to the fore on the last track, 'Stay Free', with its Afrobeat rhythm reminiscent of a certain Tony Allen and evoking creative freedom as a common thread running through his values.

In nine tracks, Shapes takes us on a neo jazz journey that once again demonstrates the vitality of the English scene in this field for several years now! At the start of 2022, Robohands released their latest album, Violet, on the same label, confirming all the good things we thought about them! By allowing a number of musicians to join him on this new opus, Andy Baxter has shown a willingness to work with more accomplished collaborators.

Repress!

In the mid-1970s, a force of nature swept across the continental United States, cutting across all strata of race and class, rooting in our minds, our homes, our culture. It wasn’t The Exorcist, Goodbye Yellow Brick Road, or even bell-bottoms, but instead a book called The Secret Life of Plants. The work of occultist/former OSS agent Peter Tompkins and former CIA agent/dowsing enthusiast Christopher Bird, the books shot up the bestseller charts and spread like kudzu across the landscape, becoming a phenomenon. Seemingly overnight, the indoor plant business was in full bloom and photosynthetic eukaryotes of every genus were hanging off walls, lording over bookshelves, and basking on sunny window ledges. The science behind Secret Life was specious: plants can hear our prayers, they’re lie detectors, they’re telepathic, able to predict natural disasters and receive signals from distant galaxies. But that didn’t stop millions from buying and nurturing their new plants.



Perhaps the craziest claim of the book was that plants also dug music. And whether you purchased a snake plant, asparagus fern, peace lily, or what have you from Mother Earth on Melrose Avenue in Los Angeles (or bought a Simmons mattress from Sears), you also took home Plantasia, an album recorded especially for them. Subtitled “warm earth music for plants…and the people that love them,” it was full of bucolic, charming, stoner-friendly, decidedly unscientific tunes enacted on the new-fangled device called the Moog. Plants date back from the dawn of time, but apparently they loved the Moog, never mind that the synthesizer had been on the market for just a few years. Most of all, the plants loved the ditties made by composer Mort Garson.



Few characters in early electronic music can be both fearless pioneers and cheesy trend-chasers, but Garson embraced both extremes, and has been unheralded as a result. When one writer rhetorically asked: “How was Garson’s music so ubiquitous while the man remained so under the radar?” the answer was simple. Well before Brian Eno did it, Garson was making discreet music, both the man and his music as inconspicuous as a Chlorophytumcomosum. Julliard-educated and active as a session player in the post-war era, Garson wrote lounge hits, scored plush arrangements for Doris Day, and garlanded weeping countrypolitan strings around Glen Campbell’s “By the Time I Get to Phoenix.” He could render the Beatles and Simon & Garfunkel alike into easy listening and also dreamed up his own ditties. “An idear” as Garson himself would drawl it out. “I live with it, I walk it, I sing it.”



But as his daughter Day Darmet recalls: “When my dad found the synthesizer, he realized he didn’t want to do pop music anymore.” Garson encountered Robert Moog and his new device at the Audio Engineering Society’s West Coast convention in 1967 and immediately began tinkering with the device. With the Moog, those idears could be transformed. “He constantly had a song he was humming,” Darmet says. “At the table he was constantly tapping.” Which is to say that Mort pulled his melodies out of thin air, just like any household plant would.



The Plantae kingdom grew to its height by 1976, from DC Comics’ mossy superhero Swamp Thing to Stevie Wonder’s own herbal meditation, Journey Through the Secret Life of Plants. Nefarious manifestations of human-plant interaction also abounded, be it the grotesque pods in Invasion of the Body Snatchers or the pothead paranoia of the US Government spraying Mexican marijuana fields with the herbicide paraquat (which led to the rise in homegrown pot by the 1980s). And then there’s the warm, leafy embrace of Plantasia itself.



“My mom had a lot of plants,” Darmet says. “She didn’t believe in organized religion, she believed the earth was the best thing in the whole world. Whatever created us was incredible.” And she also knew when her husband had a good song, shouting from another room when she heard him humming a good idear. Novel as it might seem, Plantasia is simply full of good tunes.



Garson may have given the album away to new plant and bed owners, but a decade later a new generation could hear his music in another surreptitious way. Millions of kids bought The Legend of Zelda for their Nintendo Entertainment System back in 1986 and one distinct 8-bit tune bears more than a passing resemblance to album highlight “Concerto for Philodendron and Pothos.” Garson was never properly credited for it, but he nevertheless subliminally slipped into a new generations’ head, helping kids and plants alike grow.



Hearing Plantasia in the 21st century, it seems less an ode to our photosynthesizing friends by Garson and more an homage to his wife, the one with the green thumb that made everything flower around him. “My dad would be totally pleased to know that people are really interested in this music that had no popularity at the time,” Darmet says of Plantasia’snew renaissance. “He would be fascinated by the fact that people are finally understanding and appreciating this part of his musical career that he got no admiration for back then.” Garson seems to be everywhere again, even if he’s not really noticed, just like a houseplant.

Originally released in November 1970 by Epic Records, this is a 12 song hits collection from US funk/soul legends. Standard black vinyl with download code insert. Marketing

Originally released in 2005, Street Education is the explosive debut from Street Life - longtime Wu-Tang Clan affiliate and Method Man’s onstage partner-in-rhyme. Executive produced by Method Man, the album delivers raw street wisdom, classic East Coast grit and features production from Rockwilder, Allah Mathematics, Inspectah Deck and Fantom of the Beats. Tracks like “Can’t Stop, Won’t Stop,” “A Star Is Born,” and “What’s Up”
showcase Street Life’s sharp lyricism and his undeniable chemistry with Method Man.

THIS SPECIAL 20TH ANNIVERSARY EDITION ARRIVES IN
TANDEM WITH THE WU-TANG CLAN’S ENTER THE FINAL CHAMBER FAREWELL TOUR, A GLOBAL EVENT
CELEBRATING THE LEGACY OF ONE OF HIP-HOP’S GREATEST COLLECTIVES.

Originally released in 2005, Street Education is the explosive debut from Street Life - longtime Wu-Tang Clan affiliate and Method Man’s onstage partner-in-rhyme. Executive produced by Method Man, the album delivers raw street wisdom, classic East Coast grit and features production from Rockwilder, Allah Mathematics, Inspectah Deck and Fantom of the Beats. Tracks like “Can’t Stop, Won’t Stop,” “A Star Is Born,” and “What’s Up”
showcase Street Life’s sharp lyricism and his undeniable chemistry with Method Man.

THIS SPECIAL 20TH ANNIVERSARY EDITION ARRIVES IN
TANDEM WITH THE WU-TANG CLAN’S ENTER THE FINAL CHAMBER FAREWELL TOUR, A GLOBAL EVENT
CELEBRATING THE LEGACY OF ONE OF HIP-HOP’S GREATEST COLLECTIVES.

Originally released in 2005, Street Education is the explosive debut from Street Life - longtime Wu-Tang Clan affiliate and Method Man’s onstage partner-in-rhyme. Executive produced by Method Man, the album delivers raw street wisdom, classic East Coast grit and features production from Rockwilder, Allah Mathematics, Inspectah Deck and Fantom of the Beats. Tracks like “Can’t Stop, Won’t Stop,” “A Star Is Born,” and “What’s Up”
showcase Street Life’s sharp lyricism and his undeniable chemistry with Method Man.

THIS SPECIAL 20TH ANNIVERSARY EDITION ARRIVES IN
TANDEM WITH THE WU-TANG CLAN’S ENTER THE FINAL CHAMBER FAREWELL TOUR, A GLOBAL EVENT
CELEBRATING THE LEGACY OF ONE OF HIP-HOP’S GREATEST COLLECTIVES.

How could H.C. be any worse? " - It could be a hell of a lot worse than this ! Side 1 contains a dozen thrashers by Asocial that absolutely rip. Then side 2 kicks in with the Bedrovlers who if anything, are even more intense. Killer Swedish hardcore ! review by Tim Yohannon, from Max R&R 15, July 1984.

Probably the first experiment in mixing hardcore attitude with OI! songwriting ever made within the UK punk movement, Attak were born as a four piece in New Mills in l98l, but immediately reversed to a trio when their singer left for school commitments and released two incredible singles on the No Future label in this form, right before recruiting a new guitarist and record “Zombies”, that came out in l983 on the same label. Known for featuring Mackie from BLITZ’s sister on drums, (and sounding a lot like his band!), Attak definitely split up in late 1983. This criminally underrated classic gets reissued on vinyl with his original artwork and fully remastered. Limited to 500 copies on Color Vinyl, complete with big 60x40 cm folded poster!

Following on from last year's acclaimed ‘R.O.I.’ album, Manchester’s favourite sons Aerial Salad are set to return to the fray with a brand new 5-track EP titled ‘Roi de l’herb’ to be released June 27th via Venn Records.
Having released their ‘Dirt Mall’ album during lockdown, which was a pretty grim time to put an album out, the release still eventually opened up some exciting doors for the band and captured Aerial Salad at their most Aerial Salad; loud, brash, silly and emotive.
This led swiftly to 2024’s ‘R.O.I.’ album that marked a real evolution in the band’s sound and songwriting.

“R.O.I. is a concept album but rather than being about a band, it’s from the perspective of an individual pushed to the brink of insanity by the ever-present quest from commercial success,” explains singer and guitarist Jamie Munro. “The idea came from my job; I’ve been working in the tech industry in ‘sales’. ‘Return on investment’ was probably my most uttered phrase for a few years, I was sick of it, sick of having no positive impact on the world and sick of the tech bro, double espresso, thirsty thursdays, work hard - play hard bollocks culture that comes with it. ‘R.O.I.’ is me saying ‘know what, you can actually earn a lot of money in life, even without the fallacy of educational infrastructure and financial privilege, however, it comes at the cost of your soul, time and energy. ‘R.O.I.’ is called such because it’s in the opposite pursuit, it’s not about a return on a financial investment, it’s about doing something with your life that’s enjoyable.”
This brings us crashing into 2025, no longer in the same line of spirit destroying work, with some seriously exciting gigs on the horizon, Aerial Salad wanted to kick off the next era of the band with a short, fast and hard EP and have served up 5 absolute bangers that sit somewhere between ‘Dirt Mall’ and ‘R.O.I.’ The EP is called ‘Roi de l’herb’ because of the track ‘King Of The Grass’: “We tour and play a lot in France, we’ve played most of our “best” gigs in France, so out of curiosity I wanted to see if the title would translate well, naturally, when the translation contained both “ROI” and l’herbe” - I though, fuck it, that’s about as spot on a title for this EP as we can possibly muster.”
‘King of The Grass’ is about the band’s bassist Mike Wimbo who works for Rochdale council on the greens team, which means he spends his life in the pouring rain chopping down overgrown hedges and mowing lawns. Elsewhere on the EP, ‘Inject Your Blood’ is another romantic love song inspired by the TV series ‘True Blood’ (“I’d inject your blood, into mine just to feel you close”), ‘Wires’ rages against the world of AI and GPT, whilst the EP’s opening track ‘My Girl’ is a chaotic, high energy catchy punk song, nothing profound, nothing complicated. It’s a punk song as god intended, a few chords and a load of shouting.
“The EP is like the teaser for what’s next,” summarises Jamie. “The overall hook for this EP is one of hope, that by sticking to what you believe in you can do anything.”

EGO IN MIAMI 2025 comes to life by showcasing current music trends through the most hyped EGO
tracks of the moment. Not only: it represents the beginning of the annual series of compilations signed
EGO, as a tradition for ten years. Again this year, at the Miami Winter Music Conference, we have
selected several tracks that will count down with you, accompanying you to the start of one of the most
anticipated EDM events of the year. The MMW brings together thousands of professionals and
enthusiasts who will participate in a series of events in Miami, concluding with the iconic “Ultra Music
Festival”.

The selection presented this year reflects current musical trends. Established names like TR3NACRIA,
Cecilia Krull and Tommy Vee with the talented emerging Defreeze, Bohemoon and just a boy, the great
returns of Sapienza, Solarys and Bacon Popper. The energy of Berin, the good vibes of Roberto Tropea
and the euphoric productions of Ema Feud and B-Rain. The ensemble takes place through the extended
version braid that creates a collection usable by both EDM fans and professionals: DJs and producers.

Allen Toussaint’s debut as a solo artist, “The Wild Sound Of New Orleans” was released in 1958 under the name of Tousan. In the 60s, he established himself as a songwriter, producer and arranger for a number of labels and generated hits like ‘Working In The Coal Mine’ for Lee Dorsey that got to #8 in the Billboard Hot 100 in 1966. Other classic tracks that Toussaint either wrote, produced or arranged included ‘Fortune Teller’, Lipstick Traces’ and ‘Ooh Poo Pah Do’

It was only in 1970 that he found time to record another solo album, aptly entitled “Toussaint”. As well as serving up his own version Of ‘Working In The Coal Mine’, Toussaint recorded other originals like ‘From A Whisper To A Scream’ and ‘Everything I Do Is Gonna Be Funky’. There were also four instrumental tracks – ‘Pickles’, ‘Louie’, ‘Either’ and a sublime version of ‘Cast Your Fate To The Wind’ listed as ‘Allen Toussaint at the piano’.
The original version of Toussaint was released in 1970 on Scepter records and is now hailed as a soulful classic. Ace were delighted to first reissue it in 1985 as “From A Whisper To A Scream” with the addition of a bonus track and with a slightly different running order.
On “Toussaint” we present the original album as Allen Toussaint intended it to be heard. Remastered to perfection this is an essential purchase

The Reds, Pinks & Purples is a San Francisco indie band led by Glenn Donaldson (The Ivy Tree, Skygreen Leopards, Art Museums and Painted Shrine). For fans of_ Guided By Voices, The Chills, Teenage Fanclub, The Shins, The Replacements, Leonard Cohen, The Go-Betweens, Robert Wyatt. Having penned over 200 songs in the last six years, The Reds, Pinks and Purples release a collection of tracks previously unreleased on physical format that continues to romanticise the wonders and woes of the world. With song titles that read like chapter sub-heads for a post-Douglas Coupland novella, 'The Past Is A Garden I Never Fed' takes The Reds, Pinks and Purples central orator Glenn Donaldson through the turmoil of small talk and everyday water cooler moments with a fine sense of pathos and irony. Set to a soundtrack that swerves between the dark days of Television Personalities and Byrdsian twang to the Jarvis Cocker-styled rhetoric and vocal tenderness of 'Richard In the Age Of The Corporation' with hints of everything from Husker Du's fuzzed splendour to the chiming majesty of The Chameleons it's an empowering listen. The pathos and irony of the glorious track 'The World Doesn't Need Another Band' sets out the band's store, it's a measured and quietly outspoken rant at lacklustre opposition peppered with a gorgeous guitar break. Meanwhile, 'I Only Ever Wanted To See You Fail' rumbles with an Eddie And The Hot Rods pre-punk riff before dissolving into a tale of self-doubt and remorse, bemoaning others' good luck. 'Toxic Friend' is from the book of the TVP's Daniel Treacey with an upbeat chorus that smacks of all that was good in old school indie in a hail of fuzzy logic and guitars. From humble beginnings as a home recording project, The Reds, Pinks and Purples has blossomed into a sporadic live unit with tours on both sides of the Atlantic and appearances at Pitchfork Fest London and Woodsist Fest as well as support slots for indie legends such as Destroyer, Guided By Voices, and The Feelies. "Donaldson's best work hides allure within a bigger picture, like a jangle-pop egg hunt" Pitchfork.

Cody Currie & Kapote together in the studio! Delivering a 4 track EP that connect proto-disco, neo soul, Chicago house beats and jazz funk in a very spontaneous, super catchy way.
Cody, the London multi-talent musician and Kapote, the Berlin based creative head of Toy Tonics have a lot in common. Both come from studying jazz, knowing different instruments, having played in bands and at the same time being DJs with a huge passion and the skill to rock thousands of people every weekend at the Toy Tonics Jams with a wild mix of different music. They have what we call THE VIBE. Soulful, catchy, intense. When they play records at a party and when they work on tracks. Both play keyboards, bass, guitar and drums. Both sing. And both have funny nicknames that journalists gave them: Cody Currie was called "the Tom Misch of House music" and Kapote the "Wes Anderson of electronic music". Makes us laugh, but also fits well. And yes: Both are a bit crazy... like every extremely talented musician.

The PS7 label continues to impress a year after first launching with more soul-drenched sounds and lazy grooves. P Sol is again the NYC beat maker behind this 7" which kicks off with the deep, laid back swing of 'Trust'. A range of vocals, from backing tunes to r&b females and smoky males, all coalesce around a most organic groove with hooky pads. 'Harlem World (7" edit)' then has even more of a noodling funk bassline and deconstructed, slow motion groove full of hip-hop style conscious lyrics and serene string sweeps. Two real heart warmers which will likely sell out, just like all previous releases.

Dungen Meat duo Brawther and Tristan Da Cunha deal in heavyweight, no-nonsense house and that is embodied in their label Slabs, which focuses on the deeper side of things and now welcomes Dutch talent Job de Jong for a stylish brace of cuts. 'Like Dis' draws from all over - dubwise vocal samples, percussion from garage, kicks from house music and echo from dub. It's a physical, bouncy sound for energising the dance floor without ever resorting to gimmicks. On the flip, 'MB' pumps a garage-house vibe with dusty drum rotations and snares that flap in the wind. Add in bulbous organ lines and balmy pads and you have a nice neon heater.

Kesha’s sixth studio album, . (PERIOD) – yes, it's just a period. – is an unapologetic, unfiltered declaration of artistic freedom and fearless authenticity from the 2x GRAMMY® Award-nominated pop icon. Conceived, co-produced and co-written by Kesha, the 11-song collection transcends pop norms to create a raw, daring, and intensely personal sonic journey, a defiant act of self-expression that refuses to adhere to expectations or play it safe.
More than just a new album, . (PERIOD) is Kesha at her most powerful best, turning her experiences into vibrant, audacious art with a spiked heel at the neck of pop culture.
Among its many exhilarating highlights, . (PERIOD) includes 2024’s blockbuster hits “JOYRIDE” and “DELUSIONAL,” both available everywhere now. Currently boasting over 103M streams at Spotify alone, “JOYRIDE” proved a true sensation since its Independence Day release, reaching #6 on Billboard’s “Bubbling Under Hot 100 Singles” and “Hot Dance/Electronic Songs” along with the top 30 on “Pop Airplay” and chart success around the world from the UK to New Zealand. Produced by Zhone and co-written by Kesha, Zhone, and Madison Love, the track marked the triumphant first chapter of a milestone new era for Kesha, celebrating both her long overdue empowerment as an independent artist as well as a powerful sonic evolution following 2023’s critically acclaimed fifth studio album, Gag Order. Along with its popular achievement, “JOYRIDE” has been met by high-profile critical applause from the likes of Rolling Stone, Variety, and Vulture, to name only a few. Perhaps NYLON said it best: “Everything about ‘JOYRIDE’ is a trip…The original glitter-faced party animal of the 2010s is back with a fiery vengeance.”
“JOYRIDE” joined by an equally acclaimed official music video streaming now on YouTube.
Directed by Dimitri Basil (Kylie Minogue, Vance Joy), Cooper Roussel (Unknown Mortal Orchestra, Miami Horror), and Laura Gorun (Joywave, Kings of Leon), the high-octane visual received wide-ranging attention from major publications and top online outlets around the globe, including Billboard, Vulture, and Rolling Stone, the latter of which raved, ““Kesha is taking her foot off the brakes and going full-speed ahead on her new video for ‘JOYRIDE.’ The video sees Kesha racing through the desert in a hot red convertible while being chased by a helicopter, gun-toting assassins, and a shirtless dude hell-bent on catching up to the pop diva.”

Kesha’s sixth studio album, . (PERIOD) – yes, it's just a period. – is an unapologetic, unfiltered declaration of artistic freedom and fearless authenticity from the 2x GRAMMY® Award-nominated pop icon. Conceived, co-produced and co-written by Kesha, the 11-song collection transcends pop norms to create a raw, daring, and intensely personal sonic journey, a defiant act of self-expression that refuses to adhere to expectations or play it safe.
More than just a new album, . (PERIOD) is Kesha at her most powerful best, turning her experiences into vibrant, audacious art with a spiked heel at the neck of pop culture.
Among its many exhilarating highlights, . (PERIOD) includes 2024’s blockbuster hits “JOYRIDE” and “DELUSIONAL,” both available everywhere now. Currently boasting over 103M streams at Spotify alone, “JOYRIDE” proved a true sensation since its Independence Day release, reaching #6 on Billboard’s “Bubbling Under Hot 100 Singles” and “Hot Dance/Electronic Songs” along with the top 30 on “Pop Airplay” and chart success around the world from the UK to New Zealand. Produced by Zhone and co-written by Kesha, Zhone, and Madison Love, the track marked the triumphant first chapter of a milestone new era for Kesha, celebrating both her long overdue empowerment as an independent artist as well as a powerful sonic evolution following 2023’s critically acclaimed fifth studio album, Gag Order. Along with its popular achievement, “JOYRIDE” has been met by high-profile critical applause from the likes of Rolling Stone, Variety, and Vulture, to name only a few. Perhaps NYLON said it best: “Everything about ‘JOYRIDE’ is a trip…The original glitter-faced party animal of the 2010s is back with a fiery vengeance.”
“JOYRIDE” joined by an equally acclaimed official music video streaming now on YouTube.
Directed by Dimitri Basil (Kylie Minogue, Vance Joy), Cooper Roussel (Unknown Mortal Orchestra, Miami Horror), and Laura Gorun (Joywave, Kings of Leon), the high-octane visual received wide-ranging attention from major publications and top online outlets around the globe, including Billboard, Vulture, and Rolling Stone, the latter of which raved, ““Kesha is taking her foot off the brakes and going full-speed ahead on her new video for ‘JOYRIDE.’ The video sees Kesha racing through the desert in a hot red convertible while being chased by a helicopter, gun-toting assassins, and a shirtless dude hell-bent on catching up to the pop diva.”