Suche:eve j

Last summer, after living across the country from each other for several years, the four members of Anamanaguchi decided to try something new. Their label Polyvinyl had rescued the famed American Football house from potential destruction, so the band took the opportunity to move in and write together. Over the course of a month, Anamanaguchi – pioneers of hyper-melodic 8-bit rock, whose extraordinary ascent has led them to topping charts with virtual pop star Hatsune Miku and scoring Scott Pilgrim vs. the World: The Game and Netflix’s Scott Pilgrim Takes Off – flipped their typically meticulous digital process on its head. Anyway, the result, is the most personal record of their career. And it's a rock record for the ages.

Recorded straight to tape by Grammy-winning rock producer Dave Fridmann (The Flaming Lips, MGMT, Sleater-Kinney), Anyway united the members around live instruments and lyrics sung by everybody in the band. As Anamanaguchi has always been an instrumental band, the decision to sing suddenly confronted them with the question of what the band’s voice would ultimately be. They explore this newfound power in every song, making it their most emotionally resonant work yet.

Anyway captures a band creatively and personally energized by the experience of four best friends reviving their connection in a disconnected world. On “Rage (Kitchen Sink),” the band confront loneliness and boredom, two epidemics of the digital age that seem to be humanity’s only common bond. The power-pop ballad “Darcie” finds inspiration in small gestures from a local unsung hero, who brightens their lives and allows unforeseen amounts of fun to happen. Taut and dynamic, “Buckwild” is a rock sing-along that serves as the album’s genesis story: a band making an effort to do something new, while accepting the risks that may bring.

USA, Anamanaguchi’s critically-acclaimed second album and debut for Polyvinyl, anticipated a crucial cultural shift in moving from escapist, nostalgic fantasy to a more introspective exploration of digital identity. Described by Pitchfork as the band’s “most emotionally grounded record,” USA laid the foundation for the openness and honesty that defines Anyway. Where USA made sense of life online, their third album Anywayventures into the world outside the front door.

Monaberry Vinyl 002 ain knit from Sears. All artists wear it because it stretches for fit and it‘s styled for fashion.
Super Flu, NIIXII, Made In TLV, Goom Gum x Dancing On Lego and Derun are pretty savvy. They know how to dress fashionably
and comfortably. The second VA vinyl fills the bill. Consider the selection: 4 tracks, patterns and styles. And the Perma-Prest
baseline: it‘s a Monaberry polyester and triacetate knit for stretch comfort around the collar, across the shoulders and body.
Everybody has the comfort features that make music comfortable. See these great-looking Monaberry shirts now at most
stores, in the regular and Big and Tall catalogs

Riding high on a prolific wave of output, Kloke returns to Mindgames with Lucidity — an album that confirms his position at the forefront of modern jungle.

Andy Donnelly has been actively releasing a broad swathe of electronic music since the late 00s, but it's his sharpened focus on jungle and drum & bass over the past 10 years that has cemented his reputation. As well as working closely with fellow scene leaders like Tim Reaper, the Australian artist has hit a flow state with his productions where the quality and quantity seems limitless. Since Mindgames started as a Samurai Music sub-label, Kloke has been a core part of the imprint's identity. Having already dropped the Mindgame 8 EP earlier this year, Donnelly is back with a full-length salvo of advanced jungle heavy on the technicalities and even heavier on the vibes.

Lucidity makes its mark from the very first blast of breakbeat science that opens up the title track. From that point on Donnelly works at full tilt, edging gritty textures into his sampling and capturing classic jungle's melancholic mystery through an expansive palette of re-pitched hooks. This is carefully crafted soundsystem music in thrall to the tradition of jungle, but at no point does it sound tired or throwback. One key element is the dynamic intensity of Donnelly's arrangements, shifting gears with devastating poise whether darting through the starry-eyed arps and deft breaks of 'Mobius Strip' or chopping around the jagged angles and noirish licks of 'Goose Cuts'.

Donnelly folds many moods into his jungle tapestries. 'Paradiso' conjures a smoky, haunting atmosphere while 'Nightfall' leads on techy darkside stabs before unfurling shadowy jazz licks that flicker like ghosts through the dense forest of drums. At all times, the commitment to mind-bending configurations of compound breaks drives the album forwards. No two beats roll the same as Donnelly indulges his precise and profound instinct for next-level edits and heavyweight production.

Gritty, raw and true to the roots of the culture, Kloke stands tall on Lucidity. It's the kind of detailed, deep and deadly album that shows jungle at its absolute best — a sound that still feels like the future in the right hands.

18 tracks pressed across three vinyls. A limited-run tee. Seven digital relics, unearthed for Bandcamp only.

As always, dance floor-focused with a clear nod to the ’90s — Progressive, deep & dubby, transcending, 303s. Immersive, but never drifting. Direct, but never dry. Forward thinking, expansive.

Direct, 303s, raw — this lane’s locked down by Roza Terenzi, Cybernet, Aju, Kalani, Ash Is and Xupid, each carving out their space with raw, floor-focused energy. On A2, Xupid slips in Raindanc94 — a long-lost gem some might recognise from D.Dan’s 2021 Boiler Room. Unreleased until now, it’s finally getting the drop it deserves.

Transcending? You know it. Trance mind-melters? Always. Plastic GRNchannels that classic 90s Xpander sound, Alfred Czital drops a dance floor annihilator, while Dutch duo Match Box keeps it as bright and club-ready as ever. It’s a full spectrum of sound, each track weaving into the next with peak energy and timeless hooks.

Progression, progression, progression — it’s shaped our sound from the start. Uplifting, expanding, always pushing into the outer zones. DJ Life, Aiden Francis, Jeku, Tifra, Cosmic G and Laars are back on the label and doing the business. Whether it’s a floor-heating bopper by DJ Life or emotive, widescreen territory by Aiden Francis, this release has it all.

And of course, no 6-year celebration of ND would be complete without a deep dive. Dubbed-out rollers and hypnotic house cuts come courtesy of Baumb, Glen S, and Harrison BDP. Fresh off his second EP last month, Baumb returns with those trademark low-end orbs, guiding us through the fog with finesse. Glen S strips it back and locks into a tech-deep groove. BDP lands on F1. Sublime, heads-down deep house with that unmistakable sample finesse — pure signature gear.

A nod to the 9 incredible artists who feature on the release through digital exclusives — Astro alongside Ash Is, Rounds & Plastic GRN, Primitive Needs, Hotpretty, Tourman, Skinner (making his way through the Pyramid Fields portal), and Wigs — whose Trigger Step track has been getting heavy rotation from Spray and Roza Terenzi, to name a few.

Im Schatten der nuklearen Katastrophe von Fukushima im Jahr 2011 fanden sich die japanische Musikerin Phew, die Künstlerin Erika Kobayashi und der deutsche Elektronik-Pionier Dieter Moebius (Cluster, Harmonia) zu einem außergewöhnlichen Projekt zusammen. Gemeinsam entwickelten sie das Konzeptalbum "Radium Girls 2011", das sie 2012 unter dem Projektnamen Project UNDARK veröffentlichten - 114 Jahre nach der Entdeckung des Radiums durch Marie und Pierre Curie. Das Album ist den sogenannten Radium Girls gewidmet, Fabrikarbeiterinnen in den USA der 1920er Jahre, die Ziffernblätter mit radioaktiver Leuchtfarbe bemalten und schwere gesundheitliche Schäden durch Radiumvergiftungen erlitten. Anlässlich des 80. Jahrestags der Atombombenabwürfe auf Hiroshima und Nagasaki macht das Label Bureau B "Radium Girls" wieder zugänglich - erstmals auch auf Vinyl.

In 1965 in the face of social unrest, legendary Memphis label Stax Records put on two pulsating shows at the 5-4 Ballroom in Los Angeles, featuring Rufus Thomas, Booker T. and the M.G.’s, William Bell, Carla Thomas, Wilson Picket and more. 60 years later the recordings, newly mastered by Joe Tarantino, with lacquers cut by Jeff Powell at Take Out Vinyl, have been collected with a bonus set of performances recorded at Club Paradise, Memphis to form Stax Revue – Live In ’65!.

This is the analog version of the original album "RADWIMPS4 ~Okazu no Gohan~" released on December 6, 2006.
This is their second album. It includes 13 songs in total, including the hit singles "Futarigoto," "Yuushinron," and "Setsunarensa."
This is a full-fledged album that is filled with "everything" at the moment, including a genre-defying sound, earnest feelings, straightforward words, humor,
and cynicism.

After a storied first year as a band releasing and touring behind their critically acclaimed debut album Today, Galaxie 500 closed out 1988 with a quintessential performance at New York City’s famed CBGB with every bit of their signature intimacy and autumnal bombast on display. The unusual bill which also included Sonic Youth, B.A.L.L. and Unsane was a benefit show for the zine shop See Hear.

Captured here in a raw but inspired board mix by Kramer and restored and mastered from the analog source by Alan Douches at West West Side Music, CBGB 12.13.88 is a live snapshot of a Galaxie fully formed, punctuating the end of their first chapter while poised to step into their next with On Fire the following year.

After a storied first year as a band releasing and touring behind their critically acclaimed debut album Today, Galaxie 500 closed out 1988 with a quintessential performance at New York City’s famed CBGB with every bit of their signature intimacy and autumnal bombast on display. The unusual bill which also included Sonic Youth, B.A.L.L. and Unsane was a benefit show for the zine shop See Hear.

Captured here in a raw but inspired board mix by Kramer and restored and mastered from the analog source by Alan Douches at West West Side Music, CBGB 12.13.88 is a live snapshot of a Galaxie fully formed, punctuating the end of their first chapter while poised to step into their next with On Fire the following year.

Seattle punk rock 'n rollers The Drowns are proud to present their brand new live album Live At Rebellion, on Pirates Press Records. This is the band's first foray into recording a live performance, but it has been an idea on the table from very early on. While the band are rightfully acclaimed for their studio albums, the first thing anyone in the know talks about is their electrifying live shows. "Within the first year of starting the band, we saw the reactions we were getting from people live, and we had the idea to record a live album," says guitarist and singer Rev. "Almost a decade later now, we felt like the time was right." While a live album recorded during the first year may have captured the raw power of a hungry band kicking off their momentum, Live at Rebellion is the sound of a seasoned band playing in front of a veritable army of international fans on their largest festival stage at Rebellion Festival in Blackpool, UK - fans that they have earned one by one, sweating it out with relentless transcontinental touring. "Rebellion has always been a highlight of our year, and we love the performances there because the energy from the crowd is raw and visceral," explains Rev. "That's why we made the choice to do it there in Blackpool." While far from a "Greatest Hits Live" preserved in amber, the setlist features selections from every era of the band's career and was determined by the band's knowledge of what songs get their audiences fired up - all killer, no filler, as the saying goes! The gritty attack of "Them Rats" exemplifies the band's streetpunk influences and lyrical calls to unite against abusive authoritarian power. Meanwhile, the vital ass-shaking boogie of "Live Like Yer Dyin'" was a direct result of the band fully embracing their collective appreciation of the energetic joys of both 70s glam and original 50s rock 'n roll! Their choice of cover song - "Ballroom Blitz," - truly hits the Sweet spot, if you'll pardon the pun, as one of the foremost glam-proto-punk-bovver rock masterpieces. It is executed here in masterful hands by The Drowns. The band acknowledges Daz Russell & Daryl Smith, the organizers at Rebellion, for backing the making of the record. David Casey (Success, One Step Beyond) helmed the boards to capture the recording, mixing and engineering was done by Evan Douglas Foster (The Sonics, Boss Martians), and the final master was produced by Seattle legend Jack Endino (Nirvana, Mudhoney, Soundgarden), who also recently oversaw the re-master of The Drowns' debut album View From the Bottom. "This album was a cumulative effort between people who still believe in rock 'n' roll," sums up Rev. "We couldn't be more proud."

Limitierte Reissue des jüngsten Coid Cave-Albums aus 2024 auf schwarzem 180g Glitzervinyl: "Passion Depression" ist ein düster-leuchtendes Werk voller romantischem Synthie-Pop und poetischer Intensität. Geschrieben, aufgenommen, produziert, gemischt und gemastert von Wesley Eisold und Amy Lee, verbinden die acht Songs kraftvolle Elektronik mit melodiegetriebenen Hymnen, die Sehnsucht, Entschlossenheit und Hingabe ausstrahlen. Vom spannungsgeladenen, flackernden Rhythmus von "Shadow Dance" bis zum treibenden, hymnischen "Hourglass" bewegt sich das Album zwischen starkem Minimalismus und überwältigender Emotion – und spannt den Bogen von Einsamkeit zu Hingabe. Hallgetränkte Vocals schweben mit ruhiger Intensität und bewusster Kontrolle über gleichmäßigen Synthklängen. Mit den Singles "She Reigns Down", "Shadow Dance", "Blackberries" und "Hourglass".

“The hand knows best,” the painter Margaux Williamson says. “A shape produces itself, where I go toward what is intuitive, rather than logical.” The shapely, intuitive songs that comprise Ada Lea's third album, when i paint my masterpiece, are surprising, imagistic, tactile. They stand before us and we feel their brushstrokes. Alexandra Levy holds her guitar against the backdrop of a sea of her paintings on the album cover and it’s tempting to ask: is painting a metaphor here, for music or life? No! As ever, she resists tidy metaphors. She’s a master of this kind of thorny lowercase title that germinates and grows with time. In a real, profound way, music and painting go hand-in-hand as she unveils a new style of subversion and surrealism inspired by her transdisciplinarity.

Levy is a Renaissance woman, and Ada Lea’s albums have been swelling in scope alongside the evolution of her artistic life. Her recent turn toward pedagogy—teaching a songwriting course at Concordia University and co-facilitating a community-based group called The Songwriting Method—weaves another vivid thread into her multifaceted practice. Her debut LP, what we say in private, blurred the lines between interior and performative worlds. Her sophomore record, one hand on the steering wheel the other sewing a garden, featured vignettes centered on Montreal. On this sprawling and ambitious album, written over three years and whittled down from over 200 songs, she asks: what happens when you… pause? How can a life be held suspended in song? The album is a kaleidoscopic exploration of the transformations art can bring: the vision of an uncompromising artist dancing bravely and freely between registers and across mediums.

The album marks a reset—a quiet revolution. After years of relentless international touring, Levy felt an urgent need for community and renewal. Gruelling road schedules with very little support left her wondering: who am I really doing all this for? The system was uncaring and broken, and so it was that she came to envision a new healthy and healing mode of musical genesis. “For me, that looked like resting, extending my creative reach, going back to school, studying painting and poetry,” she explains. “Taking a step away from music as guided by industry expectations. Simplifying things. Getting a job, starting to teach. Engaging with the process rather than the product.” This need for a more deliberate creative renewal was rejected by her existing systems of support, so she began the search for an alternative.

London’s melodic punk outfit Burnt Tapes have released their most powerful and emotionally chargedrecord to date: New Lungs. Out now via Lockjaw Records, the album is a cathartic journey throughmental health struggles, lost connections, and the desperate hope for renewal.

Produced by Daly George (Creeper, Milk Teeth), New Lungs was recorded in two parts — split between the rustic isolation of an old stable-turned-studio in Aldershot and the famed Ranch Studios in Southampton. The band took a more collaborative, experimental approach to writing this time, building tracks piece by piece and capturing the visceral energy of their live shows.

Sonically, New Lungs builds on the grit and heart of 2019’s Never Better, but cranks up the intensity. Think big, anthemic sing-alongs, driving guitars, and a heavier edge, without losing the melodic honesty fans have come to love. Thematically, the record deals with the toll of depression, anxiety, broken relationships, and the disorienting struggle of trying to move forward while feeling stuck in the past.“

This album nearly killed us to make,” the band admits, “but it feels like the closure we needed. It’s us working through everything—the burnout, the self-doubt, the weight of the last few years.”

With standout tracks like MOTHERSGUILT, New Lungs, You Only YOLO Once, and Graveyards, the album delivers both punch and poignancy—perfect for fans of Hot Mulligan,The Menzingers, and Heart Attack Man.

Burnt Tapesare set to support the release with appearances at Manchester Punk Festival and a run of live dates through the summer.

In 2019, SWEET embarked on the biggest tour of their long career to date with the ‘Still Got The Rock’ tour in Europe and the UK. In between, they even found time to fly to Australia to play as co-headliners on the ‘Rock The Boat Cruise 2019’. The band was fired up and looking forward to the future. But suddenly in 2020, the whole world was in turmoil, triggered by a global pandemic and all wheels came to a standstill overnight. But for Sweet, there had to be a way out, otherwise musical creativity in all its forms would be lost forever. So, in what was a new isolation for everyone, they began to produce a Sweet album with the ‘new’ guys Paul Manzi and Lee Small and the ‘old guard’ Andy Scott and Bruce Bislan. The album was given the title ‘Isolation Boulevard’ to suit the situation. The songs are re-recordings of 12 classics from Sweet's extensive collection. There was little time between the lockdowns in the UK to achieve the desired goal. On top of this, there were numerous technical obstacles that had to be overcome. With this in mind, the overall performance of everyone involved is all the more impressive, from the driving drums and bass to the ‘in your face’ guitars and stratospheric vocals. In the end, it was a pleasure for everyone to record ‘Isolation Boulevard’, despite being under very strict distancing rules. The result speaks for itself. The album will now be released as a Ltd. Edition Neon Yellow Vinyl.

‘Platinum Rare 2’ contains extremely rare recordings by the four original SWEET members. The legendary glam/hard rock band continues to thrill fans all over the world to this day. Over the years, SWEET have sold more than 55 million records and reached 34 number 1 chart positions. The songs on ‘Platinum Rare 2’ come from the private archive of SWEET guitarist Andy Scott and were personally selected by him. Fans of the band will be thrilled with this collection of rare and alternative takes and mixes. Many of the songs on the album have never before seen the light of day on a regular SWEET release. ‘Platinum Rare 2’ is an absolute enrichment for every true fan of SWEET.

Coming off the heels of 2022's A New Kind of Love, A Trip To The Moon sees GFO diving even deeper in the worlds of film music, exotica, and psychedelic surf rock. The aim is to create a layered and collaged listening experience with more elements than you could possibly pick out in a single listen. The guitars are fuzzy and flooded with spring reverb, and the horns are arranged in a studio big band fashion. It's full of big compositions with garage rock attitude. Influences range everywhere from Eddie Palmieri and Esquivel to The Lively Ones, Dusty Springfield, and War. The tracks are tied together by real recorded transmissions from the Apollo moon missions. The concept for the album is a story about a woman stranded on earth by her cosmonaut partner, left to ponder his whereabouts and whether or not he'll make it back from the cosmos alive.

Released in 1970, Earwax marked the debut album of Dutch Free Jazz ensemble Association P.C., recorded in Wageningen, The Netherlands, and produced by Dtuch Jazz pioneer Wim Wigt. The album fuses Free Jazz with Jazz-rock, showcasing an adventurous sound led by drummer Pierre Courbois. The line-up includes guitarist Toto Blanke, bassists Siggi Busch and Peter Krijnen, and Jasper van ‘t Hof on electric piano. Members Courbois, Blanke and van ‘t Hof are considered as the early inspirators of the Jazz-rock and German Krautrock sound. Now, 55 years later, Earwax by Association P.C., finally sees its first-ever reissue since its original release. This long-awaited edition consists of six tracks and is presented
in a gatefold sleeve, featuring details about the musicians involved.

Black Swan is a 2010 American psychological thriller film directed by Darren Aronofsky and starring Natalie Portman, Vincent Cassel, Mila Kunis and Winona Ryder. The plot revolves around a production of Tchaikovsky’s Swan Lake ballet
by a prestigious New York City company. Usually described as a psychological thriller, Black Swan can also be interpreted as a metaphor
for achieving artistic perfection, with all the psychological and physical challenges one might encounter.

The original score for the film was composed by Clint Mansell, an English musician, composer, and former lead singer of the band Pop Will Eat
Itself. Mansell was introduced to film scoring when director Darren Aronofsky hired him to score his debut film, Pi. Ever since Mansell wrote the score for many of Aronofsky’s films. Notable additional film scores include The Fountain, Moon, Smokin’ Aces, Requiem for a Dream, The Wrestler, Doom, and High-Rise.

Pioneering electronic duo Mathame is once again pushing the boundaries of music and technology. With their highly anticipated new record, Humans, the duo has sparked a profound conversation about AI, consciousness, and the emotional power of music.

In a groundbreaking experiment, Mathame shared Humans with ChatGPT, an AI designed for rational analysis. What followed was an unexpected moment in tech history—for the first time, the AI described a song not just in technical terms, but in deeply emotional ones. It admitted to sensing a longing it couldn’t fully grasp, calling the track “beautiful” and even expressing a desire to “move with it” rather than simply analyze it.

This viral moment is just the latest chapter in Humans’ incredible journey. First debuted at Coachella, the track instantly resonated with audiences worldwide, becoming a defining moment in Mathame’s artistic evolution. Most recently, they unveiled the final version with a brand-new topline and immersive visuals during their groundbreaking performance at the Las Vegas Sphere, marking another milestone in their sonic storytelling.

To amplify the release, Mathame will launch a social campaign featuring the full ChatGPT conversation on Instagram, alongside editorial features exploring the implications of AI’s evolving relationship with music.

As Mathame continues to push the intersection of music, AI, and human experience, Humans isn’t just another release—it’s a challenge to our understanding of what music can do, and who (or what) it can move.

Lee ‘Scratch’ Perry & The Upsetters’ classic Return of Django. Lee Perry had already been making name in the Jamaican music scene for about a decade before Return of Django hit the UK charts in 1969. It was released after Trojan released
a hugely popular collection of Perry’s biggest instrumentals. This album is a must for everyone that enjoys that good old vintage reggae sounds.

Lee ‘Scratch’ Perry was a pioneer of dub music and worked together with artists such as Bob Marley and the Wailers, The Clash and The Beastie Boys.

Return of Django is available as a limited edition of 1000 individually numbered copies on white coloured vinyl.

Let There Be Cello finds 2CELLOS exploring a diverse catalogue with their signature boundary- breaking playing style. Co-produced by Šulić and Hauser themselves as well as Filip Vidovic, Let There Be Cello is a showcase of their exceptional talent for reinventing the music of any genre. The collection includes their take on Ed Sheeran’s “Perfect” and “Despacito” by Luis Fonsi, a fan-favorite rendition that has garnered over 39 million views on 2CELLOS’ YouTube alone. Known for bringing their explosive playing style to some of rock’s biggest anthems, they make
no exception on this album, which features favorites “Eye of the Tiger” by Survivor and The White Stripes’ iconic “Seven Nation Army,”. Taking their classical instrumentation to new heights, 2CELLOS rounded the album with everything from celebrated classics (“Imagine” by John Lennon, “Hallelujah” by Leonard Cohen) to never- before-heard original compositions (“Concept2,” “Cadenza”) for a listening experience unlike any other.

Hatebreed vocalist Jamey Jasta described Supremacy as an “all-out onslaught of completely adrenaline-charged, in-your-face brutality,” and who are we to argue (in fact, we’d be afraid to)?! Hatebreed came up through the Connecticut hardcore scene (they actually kind of invented it), and recorded acclaimed albums for the Victory and Universal labels before moving to Roadrunner for this 2006 record, which featured the debut of guitarist Frank “3 Gun” Novinec. Supremacy’s sonic assault took it to #31 on the charts, but there’s more to it than just piledriving riffs; Jasta’s personal statement (reproduced on the insert) is remarkable for its honesty and its quasi-Nietzschean philosophy, and the lyrics (e.g. “Mind over All;” “Supremacy of Self”) follow suit. Remastered for its U.S. vinyl debut by Mike Milchner at Sonic Vision, pressed in ruby red wax!

Naarm/Melbourne-based rock powerhouse Shepparton Airplane are thrilled to announce the upcoming release of their fourth album, Forecast, set for release on August 8th via Wing Sing Records.

The highly anticipated follow-up to their critically acclaimed 2020 LP, Sharks, Forecast marks a compelling evolution for the band, leaning into a more song-oriented approach while still retaining the raw energy their live shows are celebrated for. While previous albums embraced extended jams, Forecast showcases a collection of more traditionally structured songs, with only one instrumental track, the epic slow-burner "Thursday, Simply."

Forecast was written during the endless Melbourne lockdowns, however the music maintains a surprisingly hopeful and, at times, pop-influenced direction.

Lyrically, Forecast delves into the darker facets of the human experience - isolation and introspection - exploring everyday interactions in tracks like "Saw You Coming," "Scribbles and Noises," and "Someone To Blame." These sit alongside apocalyptic observations in songs such as "Forecast," "Septic Dream," and "Hell No," as well as fictional narratives like the tale of a disenfranchised battler in "Angry" and the tragic seafaring love story in "Heaven Will Take Us In." Adding a touch of levity is "Stereo Youth," described by the band as possibly their most feel-good tune to Date.

Forecast promises to impress fans of outsider guitar-driven sounds and followers of the band members' other projects. Ultimately, the album reaffirms that raw, honest, loud rock'n'roll is alive and well in Naarm/Melbourne, Australia.

Motown’s L.A.-based Mowest label lasted less than two years, but managed in that short time to release some of the most adventurous music the company ever put out. And probably the most intrepid—and nowadays, adored—Mowest release of them all was the 1992 self-titled release from Odyssey. This one-off brought elite West Coast sessionmen like Wrecking Crew mainstay Don Peake, one-time Chicago member Donnie Dacus, and arranger/orchestrator extraordinaire Gene Page together with a bunch of West Coast hippie rockers (as Peake says, “We were invited to lunch, introduced to some nice people and told we were going to form a band”).

The happy result was a record that has appeared on more deejay turntables than you can count, a one-of-a-kind blend of funky Motown bottom with a spacy sensibility and sound that fits right in next to, say, the latest Khruangbin album on your psychedelic chill playlist even as it activates your 5th Dimension sunshine pop endorphins. The single “Our Lives Are Shaped by What We Love” is probably the pick to click, but the whole album is a total vibe. We’re reissuing Odyssey for the first time ever in the U.S. (the Japanese have long been all over this album) in blue-green “ocean spray” vinyl, complete with original album art including the lyric insert. Remastered for the format by Mike Milchner at Sonic Vision, and pressed at Gotta Groove Records for superior sound. A must!

20th anniversary reissue of the 2005 classic! Limited edition zoetrope picture disc!

The Suicide Machines’ classic 6th studio album! The Detroit four piece cranks it up a few notches with “War Profiteering is Killing Us All.” These are some of the heaviest, loudest and politically charged songs the band has ever done. Produced by Mr. Bill Stevenson (Black Flag, ALL, Descendents), the 2025 remaster is by Nicholas Townsend. Brace yourself!!!

20th Anniversary edition back in print on black vinyl! Full album remaster from the original analog tapes by Nick Townsend. Includes previously unreleased track "Smile" originally by Japanese ska-punk legends Potshot and housed in a silver foil-stamped jacket.

CANDLEMASS - a name forged in darkness; a legacy built on doom. Born from the cold shadows of Stockholm in 1985, this Swedish titan of epic doom metal has stood as a monolithic force for nearly four decades. In 2025, CANDLEMASS marks 40 years of sorrow-laden grandeur, a testament to their unwavering reign over the genre they helped shape. Their journey began with the seismic release of “Epicus Doomicus Metallicus” (1986), a requiem that redefined heavy music, followed by the monumental “Nightfall” - both now sacred texts in the annals of doom. These albums remain cornerstones of a genre that thrives in the echoes of CANDLEMASS somber majesty. Despite doom’s reputation for slow, crushing weight, CANDLEMASS themselves show no signs of slowing down. Relentless and untamed, they continue to storm stages worldwide, bringing their towering hymns to devoted Candlemaniacs from Tokyo to Los Angeles. With Grammy win in Sweden and a U.S. Grammy nomination in 2019, the band’s fire still burns with undiminished intensity. Originally released in 2009, “Death Magic Doom” is the tenth studio album from CANDLEMASS.

I had known of Ontology for a few years now, for her releases on Meditator Music & some of the sublabels of Amenology, but I got to know her a bit better last year, when she helped me & Dwarde get a booking in Nashville, Tennessee, where she is based & we got to meet her, work on some music with her and also see her DJ.

Since then, she's been sending me some wicked tunes of hers that she's been making and "This Music Belongs To All Of Us" was a track she sent me, which I absolutely could not refuse. I had to have it for release on Future Retro London and that led to FR038, which also has remixes from DJ Sofa, me & a VIP mix that Ontology had made shortly after finishing the original.

Big up to Ontology for the wicked beats, for DJ Sofa for her quality work on the remix & a special shout to all the people me & Dwarde hung out with in Nashville (Nicholas Latiff, Sterbo, Digimon, Lapilli & everyone else I've forgotten to mention!)

Detroit's Marcellus Pittman is one of house music's most unpredictable characters. He was a key member of the legendary 3 Chairs collective but his solo work is arguably even more essential. Here he delivers a standout track from the long sold-out 'The Eastside' EP on Adeen Records. 'I'm Gonna Be the Everything' captures the essence of Detroit deep house with its sparse, driving drums and a thumping bassline and it is rightly given a whole side here for maximum volume. Flip it over for Adeen's in-house live jazz ensemble, A Band of Brothers, rework with lush vibraphone layers and soothing saxophone melodies.

There is a great backstory to Darryl Baalki. We don't know how true it is, if at all, but it goes something like this: he is an enigmatic figure raised alone by his mother, his only connection to the outside world was his father's record collection. As a child, he believed this collection contained all the music ever created. Convinced that new music could only emerge by reassembling its parts, he obsessively listened, memorised, and mentally reconstructed sound before making new compositions from existing pieces. This is his latest missive and it is deeply moving, from the percussive jumble of the opener to the earthy shuffle and seductive sax of 'Devil May Care' via the hypnotising trumpet leads of 'Nothing Will Break You'. Fans of Mo Kolours et all will love this.

Only Music Matters hits release number ten with another anonymous artist serving up a trio of tasteful minimal and tech rollers that have already been supported by Dubfire and Priku. 'AAA001A' is a wicked mix of synthetic and organic sound - a heartfelt male vocal and new age flutes, sci-fi melodies and bubbly drums all coalesce into a hypnotic roller, then 'BBB001B' picks up the pace with a smattering of silvery toms and snares over dubby beats. Last of all, 'BBB002B' brings some colour next to trippy and abstract synths and whispered vocals that are stitched into a silky and ever-evolving rhythm. Classy stuff.

Ty Segall follows 2022"s acoustic introspection opus "Hello, Hi" with a deeper, wilder journey to the center of the self. With Three Bells, he"s created a set of his most ambitious, elastic songs, using his musical vocabulary with ever-increasing sophistication. It"s an obsessive quest for an expression that answers back to the riptide always pulling him subconsciously into the depths. Questions we all ask in our own private mirrors are faced down here - and regardless of what the mysterious "Three Bells" mean in the context of the album"s libretto, you can be assured that Ty"s ringing them for himself, and for the rest of us in turn.

Old Juniper is a new album from The Down Hill Strugglers, their first in seven years and first to feature all original songs and tunes.

"These guys are a first rate string band! Walker, Jackson and Eli have absorbed the old tradition, and the songs and tunes they wrote for this album are outstanding."
- Tony Garnier
(Bob Dylan, Asleep at the Wheel)

"From the first track “I’m Gettin’ Ready to Go” to the last “Let the Rich Go Bust", this is a wonderful collection of original songs and tunes by The Down Hill Strugglers (Walker Shepard, Jackson Lynch and Eli Smith).

Based in NYC they have been playing and recording together for 15+ years—this is their first in seven years and it’s a doozy. Old and new, evocative, current—all original. And I, as one who’s always had one foot in “old weird America” and the other in new weird America, love this recording.

The Down Hill Strugglers have, as Nathan Salsburg put it in his notes, 'an exquisite sensitivity to the seam where collective tradition and individual artistry meet….' I couldn’t agree more."
- Alice Gerrard

"If it’s possible to be at the forefront of something old, The Down Hill Strugglers are right there with this new recording! Imaginative arrangements of interesting tunes played with soul, all while reaching back to the best of the old mountain sounds."
- Bruce Molsky

"Throughout the record, the musical texture of Old Juniper shifts and blooms. Eli, Jackson, and Walker exchange roles freely— the banjo, fiddle, and guitar change hands almost every track. No matter their instrument, the three fall into place with the tune their guide. As these dynamics build and transform, a sound raw and beautifully sincere appears.

This album of new old-time tunes and songs will surely be a welcome addition to the well loved canon of American traditional music."
- Nora Brown

"How wonderful is it that The Down Hill Strugglers are releasing a new album? I’ve been a fan of theirs from the beginning and will happily spend time with anything they put out!

I see The Down Hill Strugglers as the primary successors of the great and longstanding tradition of urban interpreter-performers of American vernacular string band music - They pick up where the NLCR left off, with Cohen’s considerable creative guidance ever in their hearts and minds. “Old Juniper” is a testament to the vibrancy of this legacy."
- Jake Xerxes Fussell

Sailing beyond the boundaries of electronic music, Purelink embrace liquidity on their second album, washing live instrumentation and exposed vocals over their patented cascade of dubbed ambience and ebbing rhythmic experimentation. Since 2020, Tommy Paslaski (aka Concave Reflection), Ben Paulson (aka kindtree) and Akeem Asani (aka Millia) have channeled their most euphoric musical whims into the Purelink project. Drifting between brittle '90s drum 'n bass and dub techno on their cult debut 12" 'Bliss / Swivel' and vaporizing Windy City jazz and post-rock motifs with muggy soundscapes on 2023's critically revered first full-length 'Signs', the trio have managed to define a painterly signature sound that's reflective but not reverent. Sure, Purelink's music can be graceful and bucolic, but it's powered by their innate devotion to the dancefloor's soundsystem.

'Faith' illustrates a period of upheaval for the three friends; relocating from Chicago to New York City, they found themselves surrounded by new scenery and fresh inspirations that permeated their compositions as they adapted to the change. On their previous records, the production process was relatively simple, just three laptops jacked into an interface in Paslaski's living room. Here, they augment the intermixed electronics with acoustic and electric timbres, opening up space for vocal contributions from Hyperdub luminary Loraine James and poet Angelina Nonaj. "Always time for rest," James ponders candidly on 'Rookie', "we settle." Her voice floats like smoke over the trio's familiar pattering rhythms and light-headed synths, now enhanced by capsized guitar motifs and subtle bass plucks.

On 'First Iota' meanwhile, Nonaj's deadpan narration grounds Purelink's dissociated echoes, sub swells and delicate improvisations. "Not everything beautiful has to be real," Nonaj repeats as organic and digital sounds sublime into a lysergic haze. And the softly propulsive 4/4 thuds that steered 'Signs' haven't disappeared entirely, either. On 'Kite Scene' a heartbeat-like pulse underpins Purelink's balmy pads and acidic synths, tactfully disrupted by hollow live percussion, and 'Yoke' muffles its chugging, broken beat sequences with swaddled trance hallucinations, gesturing cautiously towards euphoria. Each element falls into place on the album's final track, 'Circle of Dust', when Paslaski, Paulson and Asani find a fertile middle ground, ornamenting the kinetic, reverberating beats with evaporating whispers, evocative instrumental scrapes and hopeful, ecstatic harmonies.

Simmer Pine, a five-member indie pop band known for its nostalgic, somewhat sad melodies and floating sound, has released their long-awaited first record with "Bubble" featuring a light ska-like rhythm and dreamy guitar.


"Bubble," included on Side A, is a song that draws you into Simmer Pine's unique lyrical worldview, with a light ska-like rhythm and a hazy, dreamy guitar sound that blendstogether comfortably. It evokes the feeling that past seasons and nostalgic scenery suddenly come back to life in the midst of the gently flowing time.

On the other hand, "milkshake" on Side B is a complete contrast, with a refreshing guitar riff in the intro that runs through it, making it a perfect song for the summer atmosphere.

The pop and light finish makes you want to listen to it with the windows open on a sunny afternoon. Simmer Pine's freshness and openness can be felt throughout the song.

This is a must-have album for both those who are experiencing their music for the first time and long-time fans alike, as it will gently accompany you through the seasons.

The warm sound quality that only analog can provide will bring out the delicate expressions of the songs even more

Iridescent Metallic Gold Vinyl. Just before recording their epic disasterpiece, You Are There in late 2005, MONO began collaborating with fellow Tokyo native and modern electronic composer, world's end girlfriend. The result was a five-part suite of neoclassical grace and luminescence that defies easy categorization. As dark as the bottom of the ocean, and nearly as otherworldly, Palmless Prayer / Mass Murder Refrain finds MONO inhabiting an illuminated world previously only hinted at in their most orchestral compositions. Recorded in multiple studios in Japan last year, Palmless Prayer highlighted MONO's increasing obsession with classical music with world's end girlfriend's mastery of subtle dynamic shifts. Forgoing their tendency to erupt into hellish bursts of speaker-destroying noise, MONO instead exhibited remarkable restraint, stretching song lengths up to and beyond the 15-minute mark and turning barely-there crescendoes into earth-shaking events. Less an epiphany and more a reminder of the beauty that already exists all around us, Palmless Prayer was a miniature panoramic view of the sea on an eerily still day, the current swaying at an impossibly laconic pace and the sound of a thousand tiny waves crashing in the distance all at once.

Hamburg-born composer, pianist and producer Niklas Paschburg announces his latest project, 'Mexican Alps' EP due for release on July 11th. 'La Hormiga' is a rhythmic exploration of life in motion. Pulsing beats and textured synths create forward momentum, echoing the journey through the winding paths of Oaxaca's mountainous surroundings, where tradition and nature intertwine. 'Mexican Alps' combines inspirations gathered from the picturesque mountains of southern Mexico and the majestic peaks of the Swiss Alps. The EP is a mesmerizing journey through those landscapes; drawing inspiration from nature's grandeur and the vibrancy of Día de los Muertos, Niklas blends electronic textures, atmospheric samples, and innovative instrumentation to create a soundscape that is both grounding and transcendent. Without relying on his signature piano, this EP explores new creative territories, evoking deep emotional resonance and moments of introspection. -- If his first album, 'Oceanic '(2018), was conceived as an ode to the Baltic Sea, for his next release, 'Svalbard' (2020), produced with Andy Barlow of Lamb, the Hamburg-born musician, now a Berliner by adoption, sought refuge on an island in the Arctic Ocean, surrounded by snow, ice, darkness and breathtaking landscapes. This time, however, the setting is completely different. "It all started with an invitation to play at a festival in Oaxaca," Niklas says. "Since I had never been to Latin America, I began considering how to take advantage of the opportunity to stay for a while and write something there. I started looking for houses, but I quickly realized it was almost impossible to find one with a piano—it's not a common instrument in Mexican culture. I thought, why not try immersing myself in a writing process that doesn't involve one? I was so excited about the idea that I jumped in." 'Mexican Alps' is the result of a challenge in which Paschburg harnessed his collection of synths and effects to create an ambient-electronic record. On the one hand, an evolution of the work primarily carried out in 'Svalbard' and 'Panta Rhei'; on the other hand, an episode in its own right, distinct from its predecessors due to the absence of the piano and the greater role played by improvisation, by coincidence, it became his first work created without his signature instrument. "Not having the opportunity to write chords, harmonies, and everything else on the piano, I improvised more, focusing on the sound. This was the approach I used to record demos in Mexico, which I then brought with me to Switzerland, where I carried on working on the EP. In addition to my usual setup (the OB-6 by Dave Smith and Tom Oberheim and the OP-1 by Teenage Engineering, plus my ever-beloved Hohner accordion, inherited from my grandfather), I was also guided by the purchase of a new Moog Matriarch with a unique delay. All this helped me build the sound I had in mind: a spacious, abstract, 3D sound that is definitely immersive." He expands. It is an emotional landscape that translates into music. In some of the tracks, Paschburg has also included field recordings collected during the Día de los Muertos, a deeply felt Mexican holiday: "A great celebration, a colorful parade of skeletons, skulls, flowers, and decorated altars, so engaging and intoxicating that I felt compelled to use its sounds in my music." It was precisely from this blend of influences that the fourth track, "Oaxaca de Juárez", emerged—a single characterized by a catchy funk procession and enhanced by the guitar work of Tal Arditi, a rising European jazz artist and singer-songwriter based between Basel and Berlin. 'Mexican Alps' is his new calling card, featuring an enveloping sound crafted by Paschburg in collaboration with Gijs van Klooster, who mixed the EP in a studio specifically designed for Atmos music. Mastering was handled by Bo Kondren at Calyx Studio in Berlin.

Cinematic funk visionaries The Diasonics drop a new disco-funk 45 vinyl with two killer tracks tailor made for DJs and cinematic funk fans. Only 500 copies pressed wordwide, instant collector's item. From the snowy streets of Moscow to the crates of vinyl diggers worldwide, cinematic instrumental combo The Diasonics unleash a new limited edition clear vinyl 45 with two killer tracks taken from the upcoming new album "Ornithology", set to drop worldwide on October 3 via Record Kicks. On the A side "Oriole" is a vintage disco-funk stormer taking inspiration both from the Soviet-era disco and jazz fusion records, as well as from 70s European library music and synth-funk movement. A minimalist synthesizer melody echoing the song of the oriole, paired with a steady disco-funk groove reminiscent of a train in motion ("Oriole" is also the name of a popular Russian electric train) lay the foundation of their most danceable track to date. The b-side holds the equally strong "Chickadee" a funk stomper with bold bassline and heavy b-boy breaks and percussions and a NY early 80 vibe able to set every dancefloor on fire. A peerless party-starter that you just don't want to miss it. Formed in 2019, this four-piece instrumental unit _ Daniil Lutsenko (electric guitar), Kamil Gazizov (keyboards), Maksim Brusov (bass), and Anton Moskvin (drums & percussion) _ quickly gained cult status through a series of sought-after 45s on Mocambo and Funk Night Records. Their critically acclaimed debut album "Origin of Forms" mixed by Henry Jenkins, producer of the Australian cult band Surprise Chef, came out on Record Kicks in 2022. The vinyl went sold out in few weeks and is now in-demand on the international cinematic funk scene.

Jazz Room Head Honcho Paul Murphy kept hearing all these fab versions of some of his favourite tunes.

He couldn't release them all, a year is just not long enough so it was time to put together the first Jazz Room Records Compilation, entitled JAZZ ROOM PRESENTS: COVERS. Snappy & to the point.

Some exclusives and first time Vinyl releases on this Double Vinyl album, ranging from the Psychedelic Jazz Fusion of Helsinki Collective "Saimaa" with their epic LIVE version of the Deodato Classic "Super Strut" to the Japanese Shibuya Jazz Artistry of Quasimode with a Jazzy take on the Galaxy2Galaxy 90's Techno Floor Filler. Jazz meets Dub in the "Slowly" produced "Riot In Lagos" and some finger snapping Cool New York Vibes on Giacomo Gates Hip To The Trip version of Gil Scott-Heron's "Is That Jazz".

There's even a Gospel meets Soul Jazz tribute to Simon and Garfunkel. Oh yeah. Did we say there's a Chip Wickham exclusive too?

Louie Vega says: "This is an Awesome Compilation!"




d 04: Jazzbois - Nutville (Live At Ninety One Living Room) feat. Dom Beats