Suche:fierce

Endless Boogie re-joins with its fifth proper studio album. It contains and is called ADMONITIONS. Seven tracks of unrefined wisdom, mostly put to tape in improvised fashion with little to no warning. Recorded over two years and two sessions - at the pastoral tranquility of the Stockholm inland archipelago in 2018, and in the dank, cramped basement of a Fort Greene, Brooklyn studio in February 2020. Eklow on crude direction, Sweeney on stealth glamour, the obscurantist clarity of Paul Major is, as always, as ever, on full display, the fierce reality of Mike Bones is crucial, and the stoic solidity of The Harry Druzd lays beneath it all. Old pal Kurt Vile hovers over COUNTERFEITER. Full grease, delivered with ease. It is the band’s humble wish that you immerse yourself and this offering. Endless Boogie emerge from fugue state with a new double LP. Admonitions was conceived a recorded via timewarp between NYC, TX & the Stockholm archipelago. Major growls, Eklow riffs, Sweeney flavors. Mystery players appear as specters in the mirror. 100% guaranteed to drown out paranoid inner dialogue. Onward and inward. . This one goes down swinging.

Xenia Rubinos, is a New York City based artist who's been revered for her innovative voice and maze-like knack for melody. Una Rosa is Rubinos' third album , her second on Anti- Records, following up her critically acclaimed Black Terry Cat (2016). Xenia Rubinos dips in and out of genre and structure to create movingly powerful songs. Her powerhouse vocals stem from a combination of R&B, Hip-Hop and Jazz influences, all delivered with a soulful punk aura. Pitchfork has lauded the radiant singer as "a unique new pop personality" while The New Yorker described her work as "rhythmically fierce, vocally generous music that slips through the net of any known genre." Having previously collaborated and toured with acts as diverse as Battles, Deerhoof, Man Man and Tune-Yards, Rubinos' energetic live show echoes some of the larger than life icons she admired as a child like Nina Simone and Erykah Badu, while wielding a space in music that is utterly her own. "I think my sound is a collage of different music coming together on a visceral level, connecting the dots with my voice and imagination," she said. Una Rosa is produced by Rubinos along with her longtime collaborator and drummer Marco Buccelli, and is full of color- drawing much of its multichromatic sound from the bright colors of pop art, which Xenia was immersed in during the writing process.

With the release of their new single ‘R&B’, the ever-exciting
English Teacher prove they could be your new favourite band.
 As far as Northern cities go, Leeds probably isn’t the first place
you’d think of as a burgeoning hotbed of fiercely independent
and DIY bands. Often overshadowed by its neighbours further
along the M62, it’s precisely because of this that Leeds’ music
scene is as vehemently independent and self-sufficient as it is.
 The latest band to emerge from the city are four-piece English
Teacher. Keeping Leeds’ longstanding tradition of
uncompromising post-punk alive, the quartet’s latest single
‘R&B’ is three minutes of clattering bass and crisp percussion,
sporadic guitar occasionally punctuating the tension as
frontwoman Lily Fontaine explores ideas of imposter syndrome
and lethargy throughout the creative process.
 Lethargic is one thing ‘R&B’ isn’t, however. Fraught and frantic
perhaps. Imbued with a dry wit and self-awareness certainly,
but no one’s about to level any accusations of indifference at
English Teacher. The band explain, “the song is about the
cyclical, productivity-diminishing paradox of low self-esteem and
imposter syndrome-induced writer’s block that then fuels low
self-esteem and imposter syndrome. It’s also about racial
identity and putting the love that you have to offer a potential
romantic partner back into yourself.”
 Harbouring a cloying sense of paranoia that only increases as
the track progresses, there are elements of bands such as Slint
and Sonic Youth at play. Rather than feel like a ‘90s throwback,
however, ‘R&B’ succeeds feeling not just contemporary but vital.
Providing both a short, sharp gut punch and insight into Leeds’
ever-growing indie scene.
 Recently supported Sports Team on tour.
 Dan Carey is set to produce a forthcoming album and also
plans to release a single on Speedy Wundergound.

Margo Cilker is a woman who drinks deeply of life, and her debut record Pohorylle, (out on Loose) is brimming with it. For the last seven years, the Eastern Oregon songwriter has split her time between the road and various outposts across the world—Enterprise, Montana, the Basque Country of Spain—forging a path that is at once deeply rooted and ever changing. As Pohorylle traverses through the geography of Cilker’s memories—the touring musician’s tapestry of dive bars and breathtaking natural beauty—love is apparent, as is its inevitable partner: loss. For what bigger heartbreak is there to be a fierce lover who must always keep moving? Cilker seems keenly aware of the precarious footing upon which love stands, and at many turns the record carries the desperation of being in the presence of something that is staggeringly beautiful, and slipping away.

Mystery Jets announce that their sixth studio album ‘A Billion Heartbeats’ will be released on 27th September on Caroline International. The band also release ‘Screwdriver’, the first single to be taken from the album.

Screwdriver is an uncompromising look at the rise of the rebranded alt-right in the UK, built around a powerfully positive message: "Fight them with love / then the world will be ours".

Lead singer Blaine Harrison says of the song, “Screwdriver is about the mechanics of intolerance. Looking back at times of economic instability in history, we see how easily deep chasms grow in society and the population seeks change wherever it is most convincingly promised. Conflict arises as cultures and belief systems clash, unwilling to accept one another’s place in society, because we are fed the rhetoric that our neighbours are those responsible for our problems: then inevitably nationalism once more raises its ugly head above the parapet. But whereas political agendas fuel divisiveness, music unites and reminds us of all that we have in common. The message of Screwdriver is not a pessimistic one - because perhaps faced with confrontation we can find understanding, and even maybe learn how to listen to, and love one another.”

Each room of the house in the video is a metaphor for the different sections of society in the UK. It wraps around the narrative of the song, that in order to overcome adversity, you have to “Fight Them With Love”. The visual showcases the song’s inherent message, clashing aggressiveness with tenderness, and culminates in showing after anger, we can always come together through love.
All great albums start from a unique perspective. But try a window on the Strand, in an abandoned office block, overlooking the kind of political upheaval London hasn’t seen in a generation. Blaine Harrison was living as a property guardian right around the corner from Trafalgar Square when he found himself witness to an entire year of protests. Every weekend from January 2017 on, people were marching for a different cause: "In the space of six months it was Black Lives Matter, the huge ‘Our NHS’ march, Unite for Europe," he recalls. "Then the solidarity sleep-out organised by Help Refugees, where we slept in Whitehall for the night... The protestors would wake me up in the morning. I’d just walk down and join in.”

Over the course of that year, Mystery Jets' sixth long-player, A Billion Heartbeats, was born. "This album wasn’t about making pointed opinions,” says Blaine. “It was about being a mirror for what’s going on, reflecting back the way people are feeling.” By turns tender and fierce, abstract and full of classic rock energy, A Billion Heartbeats achieves a balance of passion, fear and hope. Amid the colourful cavalcade of rich harmonies, heavy guitars and rallying cries, the album’s essential message - about personal responsibility, and the power in becoming engaged. In a sense, it's not just their "state of the nation” record but their “state of a generation” record too.

We increasingly hear from musicians that music should be an escape these days - that there’s enough suffering in the world, enough misery on the news, without writings songs about it too. A Billion Heartbeats makes all that sound like a bit of a cop-out. These are songs of protest that get the heart racing in joy; high on hope, and serious in their message. Proof, basically, that music speaks louder than words.

An unheard production unit entirely geared towards hi-octane live explosiveness and spine-tingling studio hustle-and-bustle, Hysteria Temple Foundation step up with their anticipated debut platter, "Atrahasis EP" - a four-track EP by way of manifesto, due out for release on September 13 / 21.

Elusive and haunting by nature, skirting Shackleton-esque dub meanders, polyrhythmic folk instrumentation and further left-of-centre sonic divagations, the sound of Hysteria Temple Foundation is one that sheds skins when you expect it least. Scanning out a baroque timeline where no-holds-barred floor traction wildly clashes along deeper sound investigations, "Atrahasis" ushers us into a twirly pit of tribal drums and bow echoes.

Summoning the spirits of Muslimgauze and African Headcharge for a hectic ride in a sandstorm-caught bazaar of processed darbukkahs and further steely industrial tropes, "Annunaki" gets the ball rolling in sheer immersive fashion. Cranking the heat up a notch, "Gamesh" rushes us headlong into ruthless rapids of accelerated ritual drums and mind-expanding acid onslaughts breathing in some squelchy spaciousness into its intricately-woven web of sound.

Flip sides and here's the proper grime-steppish number "Ziuziu" taking over your brainwaves with a fierce unloading of harnessed machine rage and dystopian cybernetics turned into some club-optimised weaponry. Back to a dubby kind of vibe, "Chmanze" raises an army of louder-than-loud kicks, FX-laden percs, sizzling spurts and ankle-snapping breaks, all fit to breeze across the bulkiest sound systems with utmost sangfroid and nonpareil trenchancy.

In Paris, it’s hard to miss Mayflo and his positive and soothing aura. The lad is all around, both through his fierce Radio presence with his residencies at Rinse, Le Mellotron and Station Station, and behind the decks across the Parisian nightlife spectrum, under his name, with his ravy duo Les Déménageurs Bresson, or with his collective ItinéraireBis. He never seems to struggle, to tire out or to force himself, and it is this energy, this fluidity and ease to navigate vast Sonic universes that make this project so special. On paper, combining the fury of Bristol banging breaks with those of Baltimore Club into a singular positive unity, with solar and dreamy overtones inspired by the warmth of House is no easy task. Yet, Mayflo lays it all there through his 5 tracks with an unsettling ease, drawing the outlines of this Solar Club Continuum in question: driven by a club energy, but never outrageous, 100% intimate and sensible. This makes it a one of a kind disc in the contemporary Dance landscape.

EVERY TIME I DIE is a loud rock institution committed to leaving an outpouring of chaotic passion and blissful malcontent all over their records and on the stage. With boiling charisma and unrelenting energy to spare, the Buffalo, NY band manages not one but two near-impossible tasks. They've survived two decades as an underground entity cherished for coloring outside the lines, and contrary to most career arcs, continually improving with each successive album as they charge ahead. EVERY TIME I DIE makes a glorious hardcore-punk noise. Alchemized by a swampy summoning of Southern rock and coarse poetry, the music swirls beneath sardonic and clever wordplay, cementing them as leaders, not followers. The band's ninth studio album, Radical, is 16 tracks of peak-EVERY TIME I DIE, including raucous new anthems. They deliver what you have come to know and love and then diverge into new paths. To say that "All This And War" featuring guest vocals by Josh Scogins from The '68 is absolute brutal heaviness is an understatement. It's an addictive punch in the face, you'll want on repeat. The boys then run off to explore the dark haunted woods of a more somber and melodic side in the track "Thing With Feathers" featuring Andy Hull from Manchester Orchestra. Radical proves with every track that it is a distillation of the strengths of their past, injected with their unyielding revelry and signature sarcasm while cognizant - and fiercely combative - of the present state of world affairs.

EVERY TIME I DIE is a loud rock institution committed to leaving an outpouring of chaotic passion and blissful malcontent all over their records and on the stage. With boiling charisma and unrelenting energy to spare, the Buffalo, NY band manages not one but two near-impossible tasks. They've survived two decades as an underground entity cherished for coloring outside the lines, and contrary to most career arcs, continually improving with each successive album as they charge ahead. EVERY TIME I DIE makes a glorious hardcore-punk noise. Alchemized by a swampy summoning of Southern rock and coarse poetry, the music swirls beneath sardonic and clever wordplay, cementing them as leaders, not followers. The band's ninth studio album, Radical, is 16 tracks of peak-EVERY TIME I DIE, including raucous new anthems. They deliver what you have come to know and love and then diverge into new paths. To say that "All This And War" featuring guest vocals by Josh Scogins from The '68 is absolute brutal heaviness is an understatement. It's an addictive punch in the face, you'll want on repeat. The boys then run off to explore the dark haunted woods of a more somber and melodic side in the track "Thing With Feathers" featuring Andy Hull from Manchester Orchestra. Radical proves with every track that it is a distillation of the strengths of their past, injected with their unyielding revelry and signature sarcasm while cognizant - and fiercely combative - of the present state of world affairs.

Raven returns to Rekids with ‘Mania’ this September.

Born in Canada and now based in Berlin, having spent time in Los Angeles, Chicago, Barcelona, Toronto, and Mexico City and more in between, Raven is a singular artist distilling influences ranging from Techno, Electro, R&B and more into her own genre-spanning, vocal-driven productions. Following her debut EP ‘Flames’ on Rekids in 2020, which picked up support from the likes of Joy Orbison, Deetron, and many more, as well as an appearance on Amelie Lens’ Exhale imprint earlier this year, Berlin-based DJ/producer Raven returns to Radio Slave’s imprint once again with the fierce ‘Mania’ 12”.

With ‘Flames’ featuring five original tracks, Raven narrows her focus on ‘Mania’, turning in two killer techno cuts backed with alternative mixes of each. Leading the A side is ‘Nobody’, a hypnotic late-night affair peppered with emotive vocal hooks and trippy synth leads, followed by the ‘Sudden Urges’ mix, which sees the track stripped of its pulsing 4/4 and replaced with haunting atmospherics, breakbeats, and additional synth work.

On the flip, ‘Cold Sweat’ returns to the club with a dose of speaker-rattling kicks, mind-bending leads, and siren-esque effects before the ‘Comedown Mix’ brings a subtler approach, with electro-flecked drum patterns, dense ambience, and spacious reverberations rounding out a standout second release from Raven for Matt Edwards’ Rekids.

Gazelle Twin’s incredible electronic score to horror
film ‘Nocturne’, released as part of Amazon’s
‘Welcome To The Blumhouse’ series.
 The score is pressed on clear vinyl and housed in
a deluxe spined sleeve with digital download card
included.
 “The director wanted there to be a strong
appearance of feminine rage featuring heavily in
the score, building around the classical pieces,”
says Gazelle Twin. “She wanted to use some of
my existing tracks, ‘Unflesh’ and ‘Belly Of The
Beast’, in a couple of scenes, so I took leave from
the vocal style of ‘Unflesh’, which has a lot of
strong chest singing inspired by Bulgarian
Folksong.
 “It became a motif that the music editor, Shie
Rozow, weaved throughout the film for those
especially fierce moments. Then there’s the ‘dread
drones’ that haunt the whole score, getting more
and more intense.”

The 2nd tasty release in our series ‘The Swedish Hard Rock Underground - A
Smorgasbord of Heavy Sounds!’ with the best, but previously unknown and
undocumented jaw dropping Swedish hard rock/heavy psych bands from the
totally stoned 1970s.
Let us introduce you to the tale of this unique heavy band from southern Sweden. The fierce dudes that earned the moniker: ‘Northern Europe’s most violent band!’ from their wild live shows.
The band recorded and released two private press singles in 1975 and 1976 respectively. Both were done in micro pressings of 100 copies each making them
very rare and sought after. We follow the band from their first incarnation as a
killer heavy power trio and then expanding in to a massive 5-piece powerhouse
and until the military draft put an end to their teenage hard rock dreams

Due for release October 8th on Fuzz Club Records, 'Ungrateful Heart' is the fourth album from Milan-based group The Gluts. Whilst their previous releases traded in an explosive psychedelic noise-rock, 'Ungrateful Heart' sees the Italian four-piece hone in a more post-punk-indebted sound. Although no less abrasive and confrontational in its utlising of ear-piercing feedback and hard-hitting riffs, the band say that the songs here primarily take cues from the likes of Fugazi, Gang of Four, the PiL-Pistols canon and the Campana brothers' long adoration of Italian and American hardcore punk. The album arrives off the back of 2019's 'Dengue Fever Hypnotic Trip' LP and tours and festival dates around the UK, Europe and South Africa. Laid down over a tireless week living side by side and working in the studio around the clock, The Gluts - comprised of Claudia Cesana (bass/vocals), Dario Bassi (drums) and Nicolò and Marco Campana (vocals/synths and guitar, respectively) - recorded 'Ungrateful Heart' with Dutch producer and close collaborator Bob de Wit (A Place To Bury Strangers, Gnod, The Sonics). On the sessions, the intensity of which is mirrored in the fierce uncompromising attitude of the music itself, the band said: "Bob's contribution to this album was essential. He pushed us beyond our limits. It was difficult, we can't hide it, but it really was worth it." Although the album is still shot through with moments of lacerating noise-rock ('Mashilla' and 'Eat Acid See God'), songs like 'Love Me Do Again' and 'Bye Bye Boy' deal in a timeless hedonistic punk sound. Elsewhere, the politically charged 'Breath' and 'FYBBD' see The Gluts turn their sonic belligerence towards fascists and systemic racial violence to rallying effect. Standard LP is on Ultra-clear vinyl, standard sleeve

Those well-acquainted with Los Angeles-based DJ and producer Wheez-ie can attest to his masterful dexterity both behind the decks and in the studio. For the uninitiated, his forthcoming release serves as another testament to the timely-yet-timeless quality his productions have since become championed for. Finding common ground through an emphasis on genre hybridization, Wheez-ie's latest offering, Horizons, benevolently marks the next entry in the rapidly growing catalog of John Frusciante and Aura T-09's Evar Records.

Set for release on October 1st, this 4-track collection has already received advance support from the likes of Nina Kraviz, Sherelle (with the track "Shut the Door" being featured as part of her official BBC Radio 1 Essential Mix), VTSS, Cera Khin and fellow Evar signee Kilbourne, exemplifying how Wheez-ie's tunes are not only certifiably rave-ready but can find a happy home in DJ sets of all styles.

Drawing influence from techno, industrial metal, darkcore jungle and big beat, Horizons culminates in a fierce exploration of sounds that efficaciously capture the essence of early 90s-era rave through a modern lens that is both perceptive and prophetic. While working from a referential or nostalgic place can be cheugy if not executed properly, the Texas-born producer is at his best when pulling from his encyclopedic knowledge of electronic dance music to provide that 2AM banger the dance floor didn't quite know it needed until the cathartic moment it explodes out of the speakers.

As exemplified by the depth of his discography, including recent additions courtesy of London's THEM imprint (2020's Negative Zone EP) and Perth, Scotland's Craigie Knowes (2020's ONLY HUMAN / WEAPONIZED), Wheez-ie has been fiercely applying pressure and challenging genre tropes from the very onset of his career, and doing so with immense care and understanding of nuanced cultural codes. Prioritizing feeling above genre, Wheez-ie's Horizons brilliantly showcases his multifaceted nature, with each track offering a different side of his dynamic arsenal as a producer and DJ.

The core of the album is seven songs she wrote in the late 1980s and early ‘90s —“One Way Out,” “As Cool As You Try,” “I’m No Angel Myself,” “For the Last Time,” “Save Myself,” “That Would Be Me” and. “Wild Wild Wild.” Rounding out the set are two other previously unreleased songs, “You Have No Idea” and “Life Goes On,” recorded at an intimate and boisterous 2002 concert at the Roxy in West Hollywood.

These songs bristle with energy and emotion, a rock ’n’ roll edge and personal depth as sharp as anything in her canon. The first seven come from a time in which she was finding her first measures of fame with bolstered confidence and ambition. But it was also before she was ready to be fully open about herself. These songs show her finding her voice, but when it came to it she wasn’t ready yet to say it in public.

“It was an emotional space, a tender sort of place that I was reluctant to go to before I came out,” she says. “So yeah, I did hold back on that sort of thing. And now it was really fun to just step forward and fearlessly present these songs and play them. You know, really being set free.”

In 2013, while working on a proposed box set of archival recordings, Etheridge came across these songs again and found that they spoke to her anew with fresh vantage. A lot had happened in the intervening years. Etheridge had come out, become a parent, risen to status of multi-platinum album sales and top concert headliner, was diagnosed and recovered from breast cancer, won an Academy Award (for her song “I Need to Wake Up” from Al Gore’s climate change documentary An Inconvenient Truth, gotten married, taken on activist roles on various fronts and had continued to record and tour at as fierce a pace as always. With all of that, these songs needed to be given new voice, new settings.

HIGHLIGHTS: Two head-nodding psych anthems from Peru mixing surf guitars with fuzz effects, fierce Latin percussion_ making them sound as if Hendrix and Santana would have joined a cumbia combo! Another exciting dig into the hidden musical treasures of late '60s Peru. DESCRIPTION: Los Sideral's were a Peruvian band founded in 1967. Their first recordings are heavily influenced by the surf intrumentals and tropical sounds, mastering the cumbia guitar like few others. At the edge of the new decade, psychedelic and funk ingredients were also incorporated. 'Dongoh' is the result of this musical journey, as if Hendrix and Santana would have joined a cumbia combo, mixing surf guitars with fuzz effects, fierce Latin percussion_ 'Vírgenes del Sol' is a surf-guitar driven dancefloor anthem that became their most popular song. Both recordings see now their reissue on a 7" vinyl for the first time. Another exciting dig into the hidden musical treasures of late '60s Peru.

Un Singe En Hiver (“A Monkey in Winter”) starred the greatest name of the
time in French Cinema, Jean Gabin and a “rising newcomer”,
Jean-Paul Belmondo.
This is popular early 60s mainstream French cinema, with a certain ‘quality’
that would not be to the taste of the nouvelle vague aficionados. In fact this
film is nothing less than the reflection of a certain Gaullist spirit of rebellion,
fiercely individualistic and disabused of all ideologies.
The music of Michel Magne outlines the nostalgic wanders of Albert Quentin
(Jean Gabin) who after an adventurous youth on the Yang-Tse-Kiang now lives
a quiet life with Suzanne (Suzanne Flon) whom he met at the Bourboule and
manages the Stella hotel at Tigreville (actually Villerville in the Normand Calvados) and takes care of Gabriel Fouquet (Jean-Paul Belmondo), a young adman
whose heart was broken in Madrid.
The genius of Magne is found in his evocations of Spain and China not as they
were at the time but as the two main characters picture them with the help
of not just a few drinks. Here is a jolly good record you will want to go back to
every time the right-minded ones try to mess with your basic rights.

In My Sleep is the debut vinyl release from French producer Margee. Having gained a loyal following last summer with a remix for Tommy Guerrero, released on Music For Dreams, this EP showcases his natural ability at creating low-slung, densely layered productions, perfectly aimed at the dancefloor.

The release also features two heavyweight remixes. The first of these comes courtesy of underground House legend DJ Nature, who takes the title track and gives it a completely new twist with his inimitable ‘ruff disco’ stylings. Hailing from Bristol (via New York), recent years have seen Nature release on Futureboogie, Golf Channel and Jazzy Sport.

The second remix on the release comes from Hardway Bros (AKA Sean Johnson). Having been an early champion of Margee’s work on his regular ALFOS streaming marathons, Sean took the second track on the release, Wrong Dream, and went into heavy-dub mode. The resulting remix clocks in at just over 11 minutes and is everything you’d expect from him, and more…

Margee said of the release ‘In My Sleep started while taking a shower. The bassline popped up in my mind and I ran out as quickly as possible to record it. From there, I got pulled into a deep emotional trip with groovy tones and dirty sounds. Wrong Dream is actually a lost project that I had to start over again. It turned out to be more fierce than the first one, experimenting with arps and fuzzy synths, while keeping a certain groove that was easier to reproduce.’

In My Sleep is the second release from London based label Other Goodness, following on from Bawrut’s ‘Divergent Emotions’ EP last year, which quickly became a mainstay of the live-streams and a DJs favourite.

New York City 4-piece deliver a modern blues rock masterclass on their feisty debut album.

“A timeless classic rock sound that revels in lean riffs and raw emotion.” – Afropunk

In an age where artistic merit is awarded to those who shout the loudest, Dakota Jones pride themselves on an unwavering ability to leave a lasting impression. Spearheaded by Tristan Carter-Jones fierce and unashamedly uncensored songwriting, the band’s fast-growing reputation as formidable live act has stamped Dakota Jones with the hell-hath-no-fury power of Chaka Khan, the wild spontaneity of Janis Joplin, and the honey-dripping sensuality of Marvin Gaye. Their debut album’s message of proud black heritage and triumphant queerness manifests itself in Carter-Jones’ ability to challenge norms of adulthood and femininity as she takes a deep dive into some of life’s most visceral emotions.

Tristan Carter-Jones: “I’m a black, queer woman expressing myself through love and music. Some folks still find that to be a transgressive act in and of itself. I work to fight that idea. I write a lot about my
Continued over…
sexuality and the ways in which I express it. Songs about sex and love bounce back and forth between songs about heartache, hangovers and self-medication, and the pleasure and pain of truly finding yourself. I don’t think we get to hear these things from a woman’s mouth as often as we should.”

Serving as an instant tone setter, the album opens with the line "Stretch marks from growing pains" with Carter-Jones lamenting the woes of adjusting to adulthood on lead single ‘Did It To Myself’ - her husky and commanding vocal instantly asserting its place in the spotlight. The atmosphere soon turns steamy on the flirtatious title track ‘Blacklight,’ whilst fantasising over a modern-day Bonnie & Clyde love affair the funk-laden ‘We Playin Bad Games’ packs a punch with its tale of free spirits entwined in a haze of late-night revelry.

Elsewhere, stories of caustic heartache twist the knife into wounded blues guitar riffs on ‘Like That’ and ‘Black Magic (That Power)’, in which Carter-Jones’s stoical voice never once faulters as she mourns the memories of a previous flame. Personal prayer ‘Lord Please’ recites empowered words of reassurance, and solidarity in the face of injustice erupts into a rallying cry for change on the classic sounding ‘Noise’ – written as a reaction to the 2016 US election. “I woke up after the election feeling pure panic and fear in my body,” remembers Tristan. “I wanted people in a place of privilege to stand up for what I was feeling, stand up for injustice, stand up for all of the things we need to change as a country. I wanted their rage, and I wanted their noise.”

Finally, the band’s tender tropes of togetherness eventually boil into gritty, guitar-slung balladry on hidden bonus track, ‘California,’ where, knees buckling under the weight of past trials and tribulations, Carter-Jones sets out on one final journey of self-discovery, hastily pulling out from reality and leaving only a dust cloud in her wake.

Production comes courtesy of the Grammy-winning John Wooler, ex Virgin Records A+R and founder of the Blues label Pointblank who has worked with everyone from John Lee Hooker and John Hammond to Isaac Hayes and Van Morrison. The album also features a wealth of hugely talented and accomplished musicians, including backing vocalist Kudisan Kai, former backing vocalist for the likes of Elton John, Chaka Khan, Anita Baker, Natalie Cole, Beck, Sting, Mary J. Blige and Jill Scott. Also present; Grammy winning keyboardist Jon Gilutin, who has spent years working with some of the industry’s most respected and iconic artists including Linda Ronstadt, James Taylor, Lady Gaga, Willie Nelson, Aretha Franklin, Diana Ross, Jackson Browne, Celine Dion, Bonnie Rait and Carole King. You’ll also hear the talents of acclaimed guitarist Michael Toles. Most well-known for being a part of the Stax Records group The Bar Kays, and for his contributions on famous records by Issac Hayes, Al Green, BB King, Johnny Taylor, Rufus Thomas, Albert King to name just a few.

Dakota Jones are a rising funk, soul and blues rock band from Brooklyn, New York City. Comprising of Tristan Carter-Jones (vocals), Scott Kramp (bass) Steve Ross (drums), and acclaimed musician Randy Jacobs (guitar) - former member of Was(Not Was) who has recorded for Seal, Bonnie Raitt, Tears for Fears, Elton John and many others. Though Carter-Jones and Ross first met in 1999 whilst at primary school, the band formed years later following a series of home jam sessions in 2016. The band’s collective alias originates from Carter-Jones’s middle name, ‘Dakota’. Dakota Jones have since released a string of acclaimed singles and EPs as well as received international attention for their track, ‘Have Mercy’ after it featured on Netflix’s 2019 film, Always Be My Maybe starring Ali Wong and Randall Park – and now after years of hard work and determination, the band are finally set to reveal their long awaited debut album. “We’d been regularly releasing EPs, waiting for our chance to come, and wondering what that would look like,” says Carter-Jones. “We didn’t realise until we started making this record that we needed to stop waiting for some break to come along, and just do it ourselves, independently.”

“Black Light really dives into a place of funk soul and everything that comes with it. There’s joy and dancing, sleek guitar licks and funky bass slaps. There’s pain and longing, and there’s the feeling of relief when you come out of that place and find your joy and purpose again. Black Light is my story.”

Through their relentless hard work, non-stop touring and critically acclaimed/chart-topping releases gaining them over 250 million cross-platform streams/views – JINJER are inarguably one of modern metal's hottest and most exciting bands active today. The band has become synonymous with doing things their own way and breaking every rule in the heavy metal handbook, which is keenly evident on their highly anticipated fourth studio album and follow up to the groundbreaking Macro album, Wallflowers. The new album not only presents a methodical and premeditated next step in the band's already imposing career, but moreover, it mirrors the personal adversities they’ve faced due to the worldwide events over the last year. Wallflowers is not only an upgrade to the progressive groove metal sound that all JINJER fans crave, but also a sonic pressure cooker of technical musicianship, emotional fury and an intense soundtrack befitting the harrowing state of the world today. Hailing from the conflict-ridden Ukrainian region of Donetsk but now calling Kiev their home base, JINJER truly do not mince words – or riffs – on Wallflowers. Their exceptional precision of modern metal paired with tough as nails attitude has earned them a fiercely loyal, rabid fanbase and massive critical acclaim, making JINJER one of the most talked about bands today and garnering them many sold out performances across the globe. With nearly all of JINJER’s releases composed between vans, backstage rooms and constant touring, Wallflowers continues where its predecessor Macro left off, only this time with less distraction and more time to focus on songwriting.

The United States vs. Billie Holiday, in which Andra makes her feature-acting debut staring as Billie Holiday, will shed light on the innovative vocalist's embattled years as a target of the Federal Bureau of Narcotics--the unit sought to imprison Holiday on drug charges, a retaliatory action given her dedication to singing highly politicized songs like "Strange Fruit" and her efforts to integrate her audiences. In the upcoming film, directed by Lee Daniels and written by Suzan-Lori Parks, Andra stars alongside Moonlight lead, Trevante Rhodes.

Andra's iteration of the jazz-infused recording adheres to the cool, sultry stylings of Holiday's original. By stepping into her predecessor's persona, Andra brings the past to the present, adopting a vocal approach and musical sensibility that's nothing short of a classic.

The legendary Billie Holiday, one of the greatest jazz musicians of all time, spent much of her career being adored by fans across the globe. Beginning in the 1940's in New York City, the federal government targeted Holiday in a growing effort to escalate and racialize the war on drugs, ultimately aiming to stop her from singing her controversial and heart-wrenching ballad, "Strange Fruit."

Led by Oscar® nominated director Lee Daniels and introducing Grammy® nominated singer-songwriter Andra Day, The United States vs. Billie Holiday unapologetically presents the icon's complicated, irrepressible life. Screenplay writer Suzan-Lori Parks, the first African American woman to win a Pulitzer Prize for Drama, pens this intimate tale of a fierce trailblazer whose defiance through music helped usher in the civil rights movement. NAACP Image Award® Nominee Trevante Rhodes and Emmy® Nominee Natasha Lyonne co-star along with Garrett Hedlund, Miss Lawrence, Rob Morgan, Da'Vine Joy Randolph, Evan Ross, Tyler James Williams, Tone Bell, and Erik LaRay Harvey.

Plush is back honey! We begged for more & they listened. The Plush Managements™️ sophomore serve comes fully loaded with the party-starting dance kindling. 6 tracks that come with an official warning; HIGHLY FLAMMABLE. An audio smoke machine, juiced and ready2haze an event near you. Expect Regfant and D.Tiff’s Signature sass. Norty but nice jacked up edits that make you question if the originals even existed. The record touches on something old, something new, something borrowed and FREE BRITNEY too. Undeniable straight up bass in your face 4/4. It’s positively unethical to imagine a world without that precious Plush touch, gentle but firmly fierce! rawr xx :p

Robert Hood returns to Rekids with ‘The Blueprint EP’ this July.

Following 2020’s ‘Mirror Man’ LP on Radio Slave’s Rekids, Detroit pioneer Robert Hood returns to the label with a four-track EP of his trailblazing minimal techno. Leading the release, ‘Chroma Light’ opens with cinematic pads and pounding 4/4 patterns as twisted synthesis modulates throughout for a striking start. Followed by ‘The Majestic (Deeper Edit)’, with rattling percussion and fiercely relentless stabs, Hood shows his intent in creating propulsive, dancefloor focussed cuts across the EP.

On the flip, ‘The Majestic’ takes the B1 spot, expanding on the previous track with wild synths and his signature machine-like drums before ‘Ultrasonic Room’ closes out the release with eerie atmospherics and an underlying hypnotic pulse taking centre stage.

A founding member of Underground Resistance alongside Mad Mike Banks and Jeff Mills, Robert Hood is one of techno’s originators, with his decorated career spanning three decades across labels like Tresor, Peacefrog, Music Man Records, and of course, his own M-Plant.

The classic 1991 album remastered and expanded with rare and previously
unreleased tracks. Extensive liner notes by band biographer Keith Cameron.
A landmark of the grunge era.
By going back to basics with ‘Every Good Boy Deserves Fudge’, Mudhoney
flipped conventional wisdom. Not for the first time - or the last - they would be
vindicated. A month after release in July 1991, the album entered the UK
album chart at Number 34 (five weeks later, Nirvana’s ‘Nevermind’ entered
at 36) and went on to sell 75,000 copies worldwide. A more meaningful
measure of success, however, lay in its revitalisation of the band, casting a
touchstone for the future. The record is a major chapter in Mudhoney’s
ongoing story, the moral of which has to be: when in doubt, fudge it.
The album began at Music Source Studio, a large space equipped with a 24-
track mixing board - downright futuristic, compared to the 8-track setup that
birthed the band’s catalytic 1988 debut, ‘Touch Me I’m Sick’. The Music
Source session quickly turned into a false start when the results, in guitarist
Steve Turner’s words, “sounded a little too fancy, too clean.” Lesson learned,
the band went primitive and got to work at Conrad Uno’s 8-track setup at Egg
Studio. Named after the cartons pasted on the walls in an optimistic attempt
at sound-proofing, Egg boasted a 1960s vintage 8-track Spectra Sonics
recording console, originally built for Stax in Memphis.
So it was that, in the spring of 1991, Mudhoney made ‘Every Good Boy
Deserves Fudge’. The resulting album is a whirlwind of the band’s influences
at the time: the fierce ‘60s garage rock of their Pacific Northwest
predecessors The Sonics and The Lollipop Shoppe, the gnashing posthardcore of Drunks With Guns, the heavy guitar moods of Neil Young, the
lysergic workouts of Spacemen 3 and Hawkwind, the gloomy existentialism
of Zounds and the satirical ferocity of ‘80s hardcore punk. The quartet’s
special alchemy meant these fond homages never slid into pastiche.
Ultimately, ‘Every Good Boy Deserves Fudge’ epitomised the best of
Mudhoney: here was a band reconnecting with its purest instincts and, in the
process, reinventing itself.
This 30th Anniversary edition, remastered by Bob Weston at Chicago
Mastering Service, stands as testimony to the creative surge that drove them
in this period. The album sessions yielded a clutch of material that would
subsequently appear on B-sides, compilations, and split-singles. This edition
includes all those tracks and a slew of previously unreleased songs,
including the entire five-track Music Source session.

Libby Weitnauer’s first solo release is a contemporary exploration of two
traditional ballads.
One tells of a fierce fight against a male attacker, the other of heartbreak and
abandonment. Together with producer Mike Robinson, Weitnauer creates a
new soundscape for the tales and trials of women told in old songs.
This 45rpm 7” vinyl allows the listener to hear the stories unfold in their living
rooms much like they have been told for centuries.

More dancefloor dynamite from Benin's almighty Orchestre Poly-Rythmo de Cotonou Dahomey, this time in the form of 'Gbeti Ma Djro'. Confusingly described on the centre label of the 1971 original issue as ’Soul’, this is in fact a prime slice of Afro-psych-funk complete with wails and grunts over fierce drums and picked guitar. 'Angelina II’ is a much warmer affair that rides a shuffling mid-tempo pachanga groove. Both tracks were transferred, restored and mastered from the original 1/4 inch tape.

• Hailing from Heston in West London, The Bluetones (Scott Morriss – bass, Eds Chesters – drums, Adam Devlin –
guitars, and Mark Morriss – vocals) arrived on the scene in 1995 with their debut single “Are You Blue Or Are
You Blind?”. They followed this up with “Bluetonic” and then “Slight Return”, which reached # 2 on the UK
singles chart. The debut album “Expecting To Fly” was released in February 1996, and went straight to # 1.
• This 3 LP box set contains the original 1996 album, a 12 track LP of non-album A- and B-sides, as well as the
collection of pre-fame demos “The Early Garage Years”. The box also contains the 12 x 12 booklet from the
original limited edition sleeve, as well as a note by 6Music DJ Steve Lamacq.
• The three LPs are pressed on 180 gram blue vinyl.
























[x] e1. Are You Blue Or Are You Blind? [demo]
[y] e2. Talking To Clarry [demo]
[z] e3. Carnt Be Trusted [demo]
[xa] e4. Slight Return [limited edition UK/Japan 7" single]
[xb] e5. No. 11 (Bluetonic) [from the Fierce Panda "Return To Splendour" EP]
[xc] f1. The Fountainhead [demo]
[xd] f2. Time & Again [demo]
[xe] f3. Cut Some Rug [homemade 4-track recording]
[xf] f4. Talking To Clarry [homemade 8-track recording]
[xg] f5. Are You Blue Or Are You Blind? [homemade 8-track recording]

“We’re proud to announce the release of our debut EP ‘Reporting
Live From The Living Room Floor’ via Nice Swan Records. A
prologue chapter within the world we call Hallan, ‘Reporting Live
From The Living Room Floor’ introduces the 21st Century to the
Gumshoe Boy. The boy is always the man for the job. He’s the man
on the inside. He’s the Agency’s number one frontman and he’s
armed with a tape provided by an anonymous source. An undercover
operative in a satirical, Orwellian world, ‘Reporting Live From The
Living Room Floor’ paints a semi-abstract but tangible image of the
new decade, holding a mirror up to not only our modern society but
our individual selves. The time is now right. From the corner of his
bleak bedroom the boy plans his plan, and from the corner of ours we
do the same.” - Hallan
The EP draws influence from everyday observation, mainstream pop
culture and laughable tabloid fiction. ‘Reporting Live From The Living
Room Floor’ paints an semi-abstract but tangible image of the new
decade, holding a mirror up to not only modern society but
individuals.
Frontman Conor speaks on the track: “Our sound changes depending
on our agenda at any time, finding a different stride with every step.
With ‘Hands Up’ we found ourselves dropped into a Western rerun
armed with a fiercely cowboyish twang on our six string shooter. We
wanted to forth a thematic, semi abstract prose, attacking
businessmen and penny pinchers in a flurry of suitably delirious
criticisms.”
While struggling to find a studio which didn’t just place Hallan in the
cogs of a much larger machine, the band found Rob Quickenden of
Ford Lane studios for their last single, ‘Modern England’. Returning to
the rural depths of Yapton, Hallan once again join forces with
Quickenden on their debut EP. In a studio setting where no ideas
were out of the question and experimentation and exploration were
the words of the day, expect ‘Reporting Live From The Living Room
Floor’ to be a no-holds-barred exploration into the minds of Hallan.
Back in the far forgotten world of live events, Hallan supported the
likes of Sports Team and Porridge Radio. Yet 2021 sees the band
carve their own path all together. Backed by Nice Swan Records
(Sports Team, Courting, Sprints) Hallan are finally ready to release
their latest imaginings to the world.

Following up on their debut release of Herron’s ‘Lowflow’ EP, New York’s Club Night Club are back. For their second release as a label they have teamed up with mysterious Parisian producer Design Default to present a formidable club-centric four tracker. The ‘P.H.A.N.E.S’ EP represents the producer’s first official foray into club productions and does not disappoint. Consisting of three jagged peak time club joints plus a remix on the flip, the record is characterized by its playful balance of synthetic, futurist sound design alongside fierce percussive rhythms. The fusion results in a frenetic and at times punishing batch of club steamers. Across the three original tracks, the listener is delicately maneuvered through segments of pure textural chaos, masterfully teased out by the music’s creator. To round things off label co-founder Significant Other pulls out a sleazy remix for the B2. An 8pm, breakbeat riddled chugger which closes out the record in true CNC style

Fantas is the epic opening track on Caterina Barbieri’s acclaimed 2019 release Ecstatic Computation. The original Fantas laid out a magical path of patterns leading the listener on a journey into the sound itself. Fantas Variations maps out eight new potentials sprung from this initial path as constructed by a diverse mix of artists lending to a wide spectrum of new works extrapolated from the original work. For this project Barbieri invited friends and long time collaborators from a variety of musical backgrounds to create a more sustainable and inclusive landscape in terms of stylistic, geographical, gender and generational balance. The results are a diverse array of approaches and instrumentation which blur the boundaries between the acoustic and electronic.

Fantas Variations embraces a platform for mutual exchange and support between like-minded artists, where active and collective re-imagination is prioritised over the traditional model of remixes, which is often strategic, functional and more passive.

Longtime friend and collaborator Kali Malone rearranged Fantas to a slowed-down, austere and eerie version for two Organs. Evelyn Saylor created a piece for a vocal ensemble consisting of her, Lyra Pramuk, Stine Janvin and Annie Garlid, joining forces to express the choral, psychedelic and vitalistic nature of the piece. Barbieri’s former guitar professor at the Conservatory in Bologna, Walter Zanetti, composes Fantas for electric guitar, by translating every single gesture of the original electronic piece into a personal, nuanced and detailed interpretation. Bendik Giske’s reinterpretation for Saxophone and Voice captures the atmospheric essence of Fantas and its psychic meteorology. Longtime collaborator and along with Barbieri the other half of the outfit Punctum, Carlo Maria, resynthesizes Fantas for TR808 and MC202, bringing a more club-oriented dimension of the piece to life whilst unveiling the sonic continuum between rhythm and pitch through a sensitive timbral approach. Jay Mitta’s Singeli reinterpretation of Fantas transpires with pitched-up percussion and turbo-fast polyrhythmic patterns unleashing the frenetic, shifting, transformative matter within the piece to a higher plain of euphoric dance. Baseck’s variation is a rave fantasia, where the prismatic trance of the original is channeled into fierce, uncompromising hardcore, whilst Kara-Lis Coverdale’s take is a phantasmagoria for piano that gently, yet inexorably, captures the relentlessness chimerical qualities of the original, unveiling its spectral backbone.

Evelyn Saylor (feat. Lyra Pramuk, Annie Garlid & Stine Janvin) - Fantas Variation for Voices (7’38’’)
Composed by Evelyn Saylor. Performed by Evelyn Saylor, Lyra Pramuk, Stine Janvin and Annie Garlid. Recording, mix and additional production by Bridget Ferrill at Real Surreal Studio, Berlin 2021.

Bendik Giske - Fantas for Saxophone and Voice (7'31'')
Adapted and performed by Bendik Giske. Recorded, mixed, and produced by Bendik Giske in Funkhaus, Berlin 2020.

Kali Malone - Fantas for two Organs (10'21'')
Arranged for The Utopa Baroque Organ, The Sauer Organ and tuned sine waves. Recorded by Benny Nilsen at Orgelpark, Amsterdam 2020.

Walter Zanetti - Fantas for Electric Guitar (7'27'')
Recorded by Walter Zanetti, Bologna 2020.

Jay Mitta - Singeli Fantas (12'03'')
Recorded by Jay Mitta in Sisso Studios, Dar Es Salaam 2020.

Baseck - Fantas Hardcore (4'44'')
Mixed by Anthony Baldino, Los Angeles 2020.

Carlo Maria - Fantas resynthesized for 808 and 202 (4'29'')
Recorded by Carlo Maria, Milano 2020.

Kara-Lis Coverdale - Fantas Morbida (3'04'')
Performed, recorded and mixed at The Shop in Valens, Ontario by Kara-Lis Coverdale, January 2021. Engineering assistance from Robert Coverdale and Adam Feingold.

DJ Sotofett and LNS have teamed up with Tresor Records for Sputters. The double-vinyl album with 15 cuts spans a hybrid of warped electro and psychedelic hypnosis, all the while remaining fixed in an unmistakable dance release. Recorded between 2017 – 2020, and bookmarked throughout by intros and interludes dug out from archival material, it's a deconstructed yet classic compound of techno-sonics.

LNS from Calgary, Canada, is rooted in braindance, electro and acid. Releasing 12inches on both her self-titled imprint LNS and Sotofett’s Wania - LNS, whilst in the studio, has often pointed out “the lacking blend of dub and electro in dance music”.
DJ Sotofett, hailing from Moss, Norway, is among a myriad of things commonly known for the extended work of his Sex Tags Mania and Wania labels, without forgetting his afro, dub and jazz releases on Honest Jon's London.
Together both artists give space to a guest appearance by E-GZR, a fellow Wania artist, to open the Sputters journey. The sinus bending drum stutter of K.O. by E-GZR collisions flanging basses and chronic-inducing synth pads to blueprint the technoid atmosphere to come. LNS & DJ Sotofett take control with El Dubbing, evoking an effect-heavy demeanour, typical of the Sex Tags Mania soundworld that DJ Sotofett is responsible for, this time rubbing up against solid electrified rhythms. The hypnotic moods carry over to Dúnn Dubbing's deep delays, freely running over a surprisingly minimal skeleton retaining a solid direction. Crafting a warmly emotive end of Side-A with sparse rhythms to perfection.
A meaner turn introduces Side-B. Hints of electro are scattered everywhere, fat basslines, ricocheting drums and synths that mourn and drift in and out of harmony. Vitri-Oil exposes a tumbling sound design, fog-lit chords of material fragility and nosedives - with an alive mix that wallows and grows in equal measures. The side closes with Shim, a classic drift between house and techno releasing sensual euphoria with the albums first big surprise – grand strings.

“LNS wanted to sell her TR-606, while my reply was for us to make a track with the 606 sounding so fresh that she'd never even think about selling it again” Sotofett states. Side-C proves the artists to be some of the most singular producers around with album centrepiece The 606. Clocking in over 10 minutes, it kicks off as a driving techno banger, chugging bass and big chords. Midway through everything falls away, and out of the void enter scattered drums and improv piano lines emerge, while twisted dubs lead us back in an enduringly warm groove.

Side-D sets the clock back to the original electroid foundation of the album, casting fires with alien vibrations. Synchronic Bass Blort is a hard-hitting electro track, steaming sonics and thrills, its melodic hook diving in subterranean motions. On Sputtering the duo raspily beams into outer space, with fizzy motives that disfigure and dazzle while the harmonies of the closing track is for yourself to experience.
DJ Sotofett and LNS deliver an album inhabiting a world full of sci-fi sonics and fierce groove. Their sound is free and live, simultaneously wondrous and sharp.

(part 2/3 featuring Sept, Raven, Frazi.er & Trym) Amelie Lens' EXHALE Records continues to deliver fiercely dynamic techno from the underground's most promising, rising and established artists with its second VA compilation.


Amelie Lens' EXHALE Records continues to deliver fiercely dynamic techno from the underground's most promising, rising and established artists with its second VA compilation.

Following EXHALE's first VA release in 2020, the party series turned label once again welcomes existing members, flourishing producers and blossoming new artists to the EXHALE family for its second various artists compilation.

Opening the second EXH002 vinyl is 'Bóg Jest w Techno' event boss Sept, who presents us with a stripped back cut layered with piercing synth keys and gentle electro elements in 'Beyond The Veil'. Acid stabs and a female voice echo the track title in Raven's trippy cut 'Metal On Metal', with light airy synths to close out that simulate euphoria. We're taken on a dark and weighteir expedition with Frazi.er in 'Systematic Ignorance' - a brooding bass drives the sound, with acid melodies adding texture throughout. Keeping up pace is 'Kendall' by Trym, a cinematic composition that utilises cymbals, hi-hats and synth notes to create a brighter melody over its dark percussion.

Our KORE Series is up for a new chapter!

We started with a fresh Sign series: First Sign EP (ZC-KORE004). This is the first one of this brand new series with a compilation of Oldschool Acidcore, Acidcore and Acid Tribe.

From the center of the Netherlands Procell emerged. His blend of oldschool kickdrums, powerful sweeps and lethal acid patterns will make you want to rave all night long!

To complete the release we received two fierce and rough cuts by veteran in the scene Jaquarius. Are you ready for some acid tribe and kore?

Design by OdS#23
Mastering by Stefan ZMK

Procell - Matrix Theory
Neo loves to dodge bullets. Can you dodge this high caliber ammunition?

Procell - Acid Mindset
A massive sweeping oscillator, hard broken beats and a perfect fitting 303. This will have impact on your mind(set)

Jaquarius - L'ombre du Volcan
Like a volcano, Jaquarius is a master at building the tension untill the hot lava erupts. Burning hot acidcore!

Jaquarius - Lunar Live Shoot #1
Transmitting directly from the moon. Sound flying through space and penetrating earth's atmosphere. This is what Acid Tribe is about!

My Morning Jacket’s ‘Evil Urges’ is now available as a
beautifully coloured 2-LP set, pressed on cream coloured vinyl
with a black blob and housed in a premium gatefold jacket. My
Morning Jacket’s Grammy-nominated ‘Evil Urges’ is the band’s
most ambitious and controversial album to date. On their fifth
studio album, an emboldened My Morning Jacket created a
fiercely uncompromising, highly eclectic and deeply personal
album that catapulted the band into public consciousness and
solidified their place as innovators and titans of indie rock

Dead Moon’s beloved third album, released in 1990, when some fellow Pacific Northwest underground rockers were getting ready to be flung head first into the mainstream. But DM remained defiantly underground!
Raw, primordial and true to their own style and fiercely DIY ethic. With classics “Dagger Moon” “Walking On My Grave” and “Johnny’s Got A Gun.” Remastered from the original tapes.

Exclusive premieres scheduled in Music is My Sanctuary and Les Yeux Orange and heavy dj support including Groove Armada's Tom Findlay, Blessed Madonna, Erol Alkan, Dino Soccio, Tricky Disco, Leo Zero and many more

"In The Dark", is the new release from Casbah 73. A sensual, sinuous disco affair dealing with touch, human contact and yearning. Three different versions, each a completely different dancefloor proposition and ranging from organic and soulful disco, to hands in the air, uplifting funky horns to searing club banger, all crashing pianos, fierce bass, deep Moog and wild, dubby vocals. It is, in a nutshell, what we need now.

Following on from his recent debut release on Defected/Glitterbox Records, Spanish/US DJ and producer Casbah 73 continues from strength to strength with this, his latest offering, out now on his spiritual home Lovemonk Records.

Recorded locally with a group of top flight musicians and featuring a stellar vocal performance from Angela Gooden.

What future? What futures? When fear substitutes truth / Misinformation obscures reality / And speculation prevails on experience / Brutality seems necessary / And empathy appears naïve.

One. Simple. Direct. Question. Quale Futuro? What Future? Obliterated by a tumultuous year with lingering anxiety, uncertainty and a city ready to break any strand of hope, Qlowski, resorted to what they know best, turning frustration into dreams, stockpiling possibilities, fabricating desire and simply, living. This is Quale Futuro? their debut LP for Maple Death Records



London based twee-punks Qlowski entered the studio in late January 2020, basically before everything. Crammed in a small studio room in Tottenham Hale with producer Lindsay A. Corstorphine (Sauna Youth, Cold Pumas, Middex) they created a striking, full blown manifesto, where their early post-punk nuances are heightened by an extremely poetic and compelling vision that encapsulates words, imagery and noise. Propulsive rhythms, a modern spin on kiwi-pop and a weird combination of dark punk, noise rock and flower pop are still the foundation of their sound but it’s the combination of bandleaders Mickey and Cecilia’s voices that creates an eerie effortless sense of familiarity. It’s no wonder they’ve known each other since they were young kids. ‘A Woman’ shines bright with Cecilia’s intimate and prismatic approach that unites Poly Styrene’s fierce delivery with the ethereal vocal melodramas produced by Joe Meek in the 60s. Mikey’s howl is confrontational and direct, moving from the motto-induced style of Italian new wave art-punks CCCP on ‘Lentil Soup’ to a deep commanding calm steadiness on ‘Lotta Continua’ and frenetic frenzy on ‘To Be True’. The stabilizing presence of Danny and Christian’s rhythm section has freed the band to develop and expand furious kraut-punk assaults like on deep cut ‘The Wanderer’. Les Miserable from London punks Italia 90 lends his snarl on the sci-fi 50s tinged romantic closer ‘In A Cab To Work’.

What future? What futures? When fear substitutes truth / Misinformation obscures reality / And speculation prevails on experience / Brutality seems necessary / And empathy appears naïve.

One. Simple. Direct. Question. Quale Futuro? What Future? Obliterated by a tumultuous year with lingering anxiety, uncertainty and a city ready to break any strand of hope, Qlowski, resorted to what they know best, turning frustration into dreams, stockpiling possibilities, fabricating desire and simply, living. This is Quale Futuro? their debut LP for Maple Death Records



London based twee-punks Qlowski entered the studio in late January 2020, basically before everything. Crammed in a small studio room in Tottenham Hale with producer Lindsay A. Corstorphine (Sauna Youth, Cold Pumas, Middex) they created a striking, full blown manifesto, where their early post-punk nuances are heightened by an extremely poetic and compelling vision that encapsulates words, imagery and noise. Propulsive rhythms, a modern spin on kiwi-pop and a weird combination of dark punk, noise rock and flower pop are still the foundation of their sound but it’s the combination of bandleaders Mickey and Cecilia’s voices that creates an eerie effortless sense of familiarity. It’s no wonder they’ve known each other since they were young kids. ‘A Woman’ shines bright with Cecilia’s intimate and prismatic approach that unites Poly Styrene’s fierce delivery with the ethereal vocal melodramas produced by Joe Meek in the 60s. Mikey’s howl is confrontational and direct, moving from the motto-induced style of Italian new wave art-punks CCCP on ‘Lentil Soup’ to a deep commanding calm steadiness on ‘Lotta Continua’ and frenetic frenzy on ‘To Be True’. The stabilizing presence of Danny and Christian’s rhythm section has freed the band to develop and expand furious kraut-punk assaults like on deep cut ‘The Wanderer’. Les Miserable from London punks Italia 90 lends his snarl on the sci-fi 50s tinged romantic closer ‘In A Cab To Work’.

Celebrating a determined and ambitious 15 year tenure as Yorkshire’s chief bastion of deep house music, Hudd Traxx enlist a who’s who from their gilded halls to contribute tunes for a special anniversary release. Split across two vinyl parts and an expansive digital release, it’s a pretty prestigious occasion featuring dance music legends Nightmares On Wax & Jovonn, long term label stalwarts Iron Curtis & JT Donaldson, a guest appearance from Mark Hawkins (FKA Marquis Hawkes) and a track from label head Eddie Leader. Adding to the already weighty credentials are Agnès (releasing his first material since 2013), Berlin-via-Italy producer Black Loops.

On Part Two longstanding Hudd Traxx veteran JT Donaldson drops “What I Got” - twisting and contorting throughout its duration, a serpentine roller rich with block party flavour and the very essence of deep house coursing through its veins.

Dixon Avenue Basement Jams’ Mark Hawkins does some moonlighting under his newly deed-polled alias with the epically beautifully “Chasing Paper”. No royalty credits heading north of the border here, just swathes of satisfied revellers and euphoric dancefloors guaranteed upon delivery.

Meanwhile, another Hudd Traxx regular, Iron Curtis, pays tribute to one of the scene’s greatest on “Kerri On (Chandelier Dub)”. A red-lit nocturnal jam that Mr. Chandler himself has rubber stamped, its ever-growing bassline, soaring strings and delicately placed keys taking us towards a seriously blissful conclusion.

Concluding part 2 is a track by Agnès - founder of Sthlmaudio Recordings. The stylish Swiss keeps true to his remit – deep, dubby, transcendent grooves that sway lushly with the midnight air. “Embryonic Connections” taking us right back to the roots of that tribal beat and a fitting end to this mammoth release and a perfect lead up to his forthcoming Hudd EP.

4 tracks which perfectly instil why Hudd started this label of love 15 years ago; to showcase fierce, uncompromising dancefloor workouts in as sincere and stylish manner as possible. The artists and tracks chosen show the adventurous routes and development the label keep as their main point of focus – to unearth the tantalizing new and exciting sounds of house music’s continuous evolution.

This release is dedicated to Richi Larkin & Yuriano x

‘Bad Time’ is the new EP from Peeping Drexels. The London based 5-piece, who have been together since they were sixteen, have to date released a series of singles on the Permanent Creeps and Fierce Panda labels. This is their first release on BY Records. They've previously received support from the likes of Steve Lamacq, DIY, So Young among others. They've also performed live with artists such as Shame, Goat Girl and Public Practice.

First single, High Heels, sees Peeping Drexels eulogise about white pills and night thrills - anxious overtones abound until the crescendo of guttural angst takes over. "High Heels is a dimly lit journey through the narrow corridors and backrooms of a twisted underground club, all whilst under the influence of an unknown substance. The song is the first taste of Peeping Drexels rebirth; experimental new sounds, broader instrumentation, yet pop music to the bone. A never ending loop of bad-trip fuelled excess, and there is no way to escape."

Prior to lockdown, Peeping Drexels played a Sold Out Parallel Lines headline show at London’s Bermondsey Social Club and ended it with a sold out main support slot for Fat White Family at EartH (Evolutionary Arts Hackney).

The project takes influences from a broad musical spectrum, from the dance vibes of Gary Numan and Mr. Fingers to the intensity of Tyler The Creators' synth-heavy Cherry Bomb and the maximalist work of Kanye West.