Search:ha lo

Much has changed for Ilan Pdahtzur since the release of his Night City Life compilation six years ago. Back then, he was a little-known record collector who shared obscure, synth-heavy music that “captured the night-time glow” of the city he calls home, London, via a dedicated Instagram page. Fast forward to 2025 and Ilan is now a respected member of the international digger-selector community, having delivered must-check mixes for the likes of Bordello A Parigi, Bayete, Hunee’s Lifetones and Sound Metaphors.

It seems a fitting time, then, for Spacetalk to unleash Night City Life II, a second deep dive into Ilan’s distinctive, neon-lit sound world – a place where European synth-pop rarities, Italo-dance treats, dancefloor-focused post-boogie instrumentals soundtrack strolls around shuttered skyscrapers, dockside housing estates and wharf-side warehouse conversions.

In the six years that have passed since the release of Night City Life, Ilan has uncovered many more rarities, private-press gems and slept-on treats, with 14 of these featuring on the dusty-fingered crate-digger’s sublime sequel. As with its predecessor, much effort has been made to track down the artists behind the synth-heavy songs on show, with the vinyl edition featuring extended liner notes where some tell the story of their track in detail. Musically, there’s much to set the pulse racing within Ilan’s superb selections, from the slow-motion shuffle of Playground’s self-released 1984 B-side ‘Rainy Day Woman’ and the brilliance of Shamor’s 1985 South African synth-pop special ‘Close To You (Bwela Pafupi)’, to Sharon & Tracy’s ‘The Sheik’ – a belly-dancing inspired slab of TB-303 bass-driven house – and the kaleidoscopic, piano-rich 1992 Euro-house brilliance of ‘Come Into My Life’ by Jennifer.

Dive deeper into the collection and more under-appreciated musical masterpieces make their presence felt. There’s Sicilian musician Claudio D’Ignoti’s lesser-known boogie-era single ‘Anche Per Noi’, where rubbery bass guitar, Nile Rodgers style disco guitar licks and spacey synths dominate the sound space, Lena’s fashion circuit-inspired, early Pet Shop Boys-esque ‘Embrasse-Moi (Strumentale)’ – one that members of Milan’s Paninaro movement would surely have enjoyed – and a sublime, spaced-out and effects laden dancefloor dub of ‘Rescue Me (Imagination)’ by Jimmy D, a genuinely sought-after jam originally released on a now impossible-to-find seven-inch single. Offering another genuinely distinctive, carefully curated collection of lesser-known musical treats, Night City Life II is another essential, immersive and synthesizer-powered journey through Ilan’s unique sonic world.

Wairunga finds the Freddy juggernaut digging deep to debut five songs and revisit two classics captured in an outdoor performance sans audience but with wild weather elements playing an important creative role in producing this unique live album.

Recorded in Wairunga, high above Waimarama Beach in New Zealand, it is place etched into the DNA of Fat Freddy’s Drop who’ve roamed here for over 20 years; to party, relax between tours, make a song Wairunga Blues in its honour and even to get married. Farmed by the Parker family for a century, Wairunga is an oasis of green pasture and native tree filled valleys that fall away to the ocean below.

In inimitable Freddy's fashion the new tunes run a gamut of genre busting styles. Coffee Black is layered with cosmic hot buttered soul and cinematic wigged out psyche-blues while Shady continues Freddy's Afro-Acid adventures with Fitchie’s beat-making tapping into a South African township brand of techno Freddys experienced on tour.

Bush Telegraph is a reggae classic featuring MC Slave aka Mark Williams on the mic with freshly minted yum char spiced rhymes of hope. The other new tracks Leave Your Window Open and Dig Deep are loose rhythmic experiments that the band have been working on for a long time. Versions were developed, rehearsed, but then set aside – dismissed, demonised - only to be revived with new energy in some future moment of creative cohesion. The results are loose-limbed; broken and bruised beats smashing into subterranean bass and twisted up melodies.

Bones and Wairunga Blues are the two classics from Freddy's vast back catalogue. Off the Blackbird album, Bones has aged beautifully - like a fine wine - the song’s component parts matured and melded together in harmony and balance. DJ Fitchie rates this 2021 vintage superior to the 2013 original. Wairunga Blues has been a work-in-progress since it was released on Bays in 2015. Kuki dials up some appropriately off-kilter keys to match the wonky-funk laid down by Fitchie’s bass line and the horns. It’s a mighty comeback – and a fitting tribute to this magical place.

Sealed ! MINT from Label Stock.

This is as well YB70 number 16, the vinyl edition of the YB70 12 CD. Fat cutting and loud sound, for a superb record... Meet these Techno Indus, downtempo dark hardbreak, Breakcore Dub and others jewelry coming straigth from the Parazit/YB70 selector. Enjoy the 12th anniversary from SEPPUKU/PARAZIT parties in west France, where all these artists played melting the Industrial scene to the techno crowd... Notice the super sleeve. A sealed record... Important release !

Punching our ticket for the tenth trip on the Drum Chums line, we rattle past the control centre, where Approach Release delivers another masterclass in genre-blurring brilliance.
Darting through emotional New Beat, psychedelic soul, stomping Afro-disco and coastal cosmic, AR keeps things right on track and perfectly off the rails.

'So Wrong' starts the party with a growl and a gurn, all gnarly sequences and robotic drums until that mournful vocal moves us into a land of Lynchian longing. Teardrops on the dance floor, clouds in your coffee, it's, it's, Goth Italo folks.

Shifting tone like McCrae shifted gears, Approach Release moves on from Main-Room Gloom into the smooth and sensual soul of 'LuvLuvLuv'. Low-slung, lilting, loose and lysergic, this versatile version-excursion works wonders as warm up and rub down, its brilliant bedroom vocals floating atop the synthetic and psychedelic groove.

Over on the B-side, 'E-Killa' bursts out the speakers with about 100,00 volts of Afro-disco energy, each one perfectly harnessed to whip a crowd into a grinning frenzy. Armed with an unstoppable arrangement, vital vocals and a stomping rhythm section, this delicious drink of tropical pop just keeps on fizzing.

For an encore, Approach Release drops the deeply dramatic 'Lou Cee', a full-hearted bit of Balearique-brilliance stacked with enough synth strings, faux-accordion and earnest outpourings to give Chris Rea a run in the anthem stakes.

100% Drum Fun Guaranteed. .

Only the first plate of the LP. (AB side)

New Zealand drum & bass titans The Upbeats have galvanized the global turbulence and turmoil during COVID to create their most explorative and emotionally heavy album to date "Not Forever". Featuring the likes of Fat Freddys Drop frontman Joe Dukie, Jordan Dennis, Levine Lale, Sylvee, Syrene Favero and US MC don Armanni Reign, "Not Forever" is unlike anything the duo has released before. Written in a different way, approached from another perspective, created with a newfound love for the creative process and the scene at large; It's a whole new side to the duo who have continually pushed themselves and their sound into the unknown...

Again Mysteries delivers 3 exellent long dark atmospheric tracks upholding the established label philosophy. Mastered by Pozek. Artwork by Darkam.
The tribal triumvirate of C. Ysme, Kbyl and Yukai supply fuel for the nomadic war machine. Relentlessly driving, pushing forward at 150 bpm, only stopping for the next gathering in pirate utopia. A maelstrom swirling, drawing you in to the centre of the dance.
Darkness merchants and veterans Too Old Boyz team up with Kaoslog and descend into the catacombs to deal with the fear factor. In the blackness a synth melody shines like a greenish light. Amply named Adrenaline this track urges to keep on moving and confront the monsters. 150 bpm, epic and hard as nails.
After Mysteries #6, #10 and VC 27 Keflat 23 is back and ups the pace going 170 beats full on pumping tribalistic yet subtle in line with the spirit of Mysteries, carefully laying out a mental map of realms and conzepts unknown. Immer geradeaus but when you see the rabbit ask it for directions.
This release includes a 2 side poster, digital download code and artwork sticker.

Lynn White hails from Mobile, AL and started singing at the age of six in her local church. She worked in Ike Darby’s record store where she would sing along to the sounds that were playing, and it wasn’t long before the owner decided to record her on his local label Darby Records in 1978 at the age of 25. Three singles and the highly collectable album “Am I Too Much Woman For You” ensued, but they didn’t bring much success to the label, which folded shortly afterwards. They did get married though.

Her sultry bluesy Darby-penned/produced “I Don't Ever Wanna See Your Face Again” was released in 1982 on another local label, Sho-Me Records, and it quickly came to the attention of Willie Mitchell, who signed her immediately to his Waylo imprint. A fruitful period followed with 7 albums and 12 singles released for the Memphis-based label during the rest of that decade. Her mid-paced “See You Later Bye” was a huge favourite with the modern soul scenes in Europe, and it was a pleasure to see White as part of Waylo’s A Memphis Soul Night - Live In Europe in 1990 when she appeared with Otis Clay, Ann Peebles and David Hudson, performing in Amsterdam, Rotterdam, Berlin and London; each artist doing a solo spot then all four joining together for some rousing soul medleys.

By now a Memphis resident, she switched to S.O.H. Distributions in 1990, which gave her more control of her output, and these two sides are from that period; “I Don’t Know Why” (1993), clearly her most popular track was only available as a 12” single, and featured the amazing but uncredited vocals of Farris Lanier Jr., who was lead singer of another Waylo act, Lanier & Co. Now very hard to find, this will be an eagerly awaited release as a 7” single. The flip is a gorgeous stepper written by George Jackson (previously recorded by Otis Clay) and from her CD only album The New Me (1990). White’s version just oozes with soul and makes for an essential double-sider.

In 2022, Osàre! Editions founder Elena Colombi approached artists and musicians with a prompt: Every body, everyone needs love to flourish. In her book The Will to Change, the eminent author and social activist, Bell Hooks, invites men to excavate their innermost selves, challenging the way that patriarchal society limits their capacity for intimacy, tenderness, care and emotion. As hooks lays out, feminist thought and work requires the collective participation of all genders in order to realise a liberated world. How can we imagine cross-gender solidarity through music and art? And how can we tell sonic stories that facilitate our full potential as desiring beings? These are the questions that The Male Body Will Be Next starts out from.

The title of the record draws connections between hooks' writing, a film by Rebecca Salvadori and Peter de Potter's stunning photo series of the same name. In de Potter and Salvadori's depictions, men's bodies appear as vulnerable, naked and exposed.

Divided into two parts, the first instalment of The Male Body Will Be Next hinges on colliding energies – the melding of club dance floors and haunting ambient textures, agile techno and noisy experimentation.

'The sun on my skin… it’s so warm and gentle,’ speak-sings Olivia Salvadori on ‘Su Di Te M’Infrango’, visualising utopias. Laurel Halo crafts a dreamscape spun from golden threads of synth and strings. Pensive and reflective, Ben Bertrand’s bass clarinet roams searchingly, its piercing tonality full of longing. Yet, in between these lucid, cinematic passages and spoken word, The Male Body Will Be Next finds space to dance together. Moving in fervent, rhythmic patterns, Sepehr’s ‘Divooneh’ pivots between tension and release. Filmmaker unleashes a wave of energy and The Spy delivers a potent take on vintage electro, the track title hinting at the double-bind of gendered expectations. Propelled between these eclectic styles, the record encapsulates the full spectrum of sonic expression.

The project by Jens-Uwe Beyer and Thomas Venker boasts a remarkable origin story. In 2017, Venker, co-founder and co-editor-in-chief of Cologne’s Kaput magazine, hosted a gathering at Beyer's house, bringing together journalists, creatives, and musicians. To mark the occasion, the pair decided to join forces for an impromptu ambient-electronic performance, presenting themselves as a two-man band. That evening, donned in special costumes designed by artist Sarah Szczesny and fuelled by a generous amount of Japanese whisky, Hasan Poppu was born. Over the course of the pandemic, the duo thought about creating a record based on the live recording of their premiere show. However, the synergy of their collaborative creative energies led them in entirely novel directions. Their self-titled, double-sided album traverses a wild and raucous terrain, moving swiftly from hybrid noise-techno to giddy party ecstasy, to strange and shadowy atmospheres.

Including remixes by YPY, Hibotep, Lena Willikens, Efdemin and Barnt, the 11 tracks span a dizzying array of experimental dance-facing styles. 'Die-Biden' kicks off as a high-vibrational vocal experiment seemingly voiced by a sentient German vocoder. 'Kodō' follows, featuring Venker's playful mantra set against a stomping beat. Willikens' reimagining of 'Teiko' transports the track to obscure realms inhabited by strange creatures emitting ungodly sounds. Meanwhile, Efdemin's take on 'Ekusutashī' pulsates with a kinetic buzz. Flipping over to the B-side, 'Sakura' is a euphoric wall of drone punctuated by eerie whispers and mystical singing. Then, the second installment of 'Kodō' takes a fresh trajectory with a touch of Barnt’s electronic groove stylings. Finally, Hibotep's 'Shojo no yo ni flp' serves as the finsher – an unrepentant trance belter that disintegrates into sampled fragments. Loosely translating to "broken pop music," Hasan Poppu is informed by Beyer and Venker's shared love for Japan. The band takes their cues from the country’s rich sonic cultures while also drawing on Venker's wordsmith background and Beyer's flair for melding melodic tech-house with song-based synth-pop. Originally out on Beachcoma Recordings, Hasan Poppu’s debut album gets a new lease of life on Osàre! Editions with a digital and limited edition cassette tape release. Sarah Szczesny reprises her role in shaping the visual identity of Hasan Poppu by creating beautiful, painterly artwork for the record. words by Hannah Pezzack

For customers of the Rush Hour shop, this item ships for its may 23rd release date. Any items ordered along with this will ship then also

A classic returns. Mystery, one of The RAH Band’s most beloved albums, celebrates its 40th anniversary with this long-awaited reissue - the album's first time on vinyl since its original 1985 release.

The RAH Band, the brainchild of producer and arranger Richard Anthony Hewson, has been synthesizing jazz, funk, and electronic pop into out-of-this-world tracks since the late 1970s. Mystery marked an important moment in Richard's career, following on from The Crunch & Beyond (1978), RAH (1980), and Going Up (1983). With this album, Hewson took his pop songwriting and commercial success to new heights while never compromising his unique and unbound production style.

At the heart of the album are eight perfectly crafted pop songs, each standing strong on its own, with no filler in sight. The lead single, Are You Satisfied?, set the tone for the album’s jazz-funk evolution, but it was Clouds Across The Moon, with its futuristic narrative of love and longing across the cosmos, that became a chart-topping phenomenon, reaching #6 in the UK. The track’s space-age storytelling cemented its place in pop history, with many still recalling that 1985 Top of the Pops performance as the moment they fell in love with The RAH Band - if you know, you know.

From the dreamy synth-jazz of Float, a club and radio favourite to this day, to the smooth saxophone solo on Out On The Edge, recently featured on Steven Julien (aka Funkineven)'s DJ Kicks mix, Mystery remains an essential album four decades later - a testament to the genius of one of the most quietly influential songwriter-producer-arrangers of our time.

Dynamic, multi-limbed house outfit Girls of the Internet have collaborated with Athens of the North for a special, limited edition two track tour 12", with the remaining few copies now available. Sampling a mystery gem from the AOTN catalog, Girls of the Internet create a proper party record with A side 'Somewhere Someone'. Smiles on faces all round this summer. On the B, James Alexander Bright's 'Your Love' (from '24's amazing LP 'Cool Cool' Dynamic, multi-limbed house outfit Girls of the Internet have collaborated with Athens of the North for a special, limited edition two track tour 12", with the remaining few copies now available. Sampling a mystery gem from the AOTN catalog, Girls of the Internet create a proper party record with A side 'Somewhere Someone'. Smiles on faces all round this summer. On the B, James Alexander Bright's 'Your Love' (from '24's amazing 'Cool Cool' album) gets flipped into Gospel-tinged house track 'Where Is Your Love', a song that's been going down a storm on ts 'Your Love' (from '24's amazing 'Cool Cool' albumheir recent tour together.

Last month’s Eddie Parker ‘I’m Gone’ 45 release reused the Pied Piper backing track from the Hesitations album-only recording ‘That's What Love Is’. Both versions of this great 60s Detroit soul stomper are adored on the northern soul scene; to see it on our Pied Piper label will be quite a buzz.

We’ve plundered another of the group’s LP-only tracks for the B side. ‘Soul Superman #2’ has never been on a 45, though its brother ‘Soul Superman’ was one of the few Pied Piper chart hits. #2 has a similar macho theme with a different, though recognisable, Pied Piper track.

Mr Reggae Roast Adam Prescott returns to Lion Charge for the 7" vinyl series with 'Time & Space' b/w 'Time Longer Than Rope'

Available on hand stamped 7" vinyl with brown sleeve.

First studio album in 11 years for Normandy-based, English psychedelic folk
musician/painter, Mark Fry
When 19-year-old Mark Fry recorded his debut album 'Dreaming With Alice' for RCA
sublabel, "It" in Italy in 1971, little did he know that it would become a much-soughtafter, much -bootlegged "acid folk" classic three decades later, with millions of Spotify
plays. Fry, an acclaimed painter in the interim, returned to making music in 2008 and
has released three more acclaimed studio albums - this, 'Not On The Radar,' is the
fourth. These days, far less "acid" than in his youth, Fry still knows his way around a
beautiful melody. The new album, recorded with musician friends at his Normandy
home studio and produced by David Sheppard (Ellis Island Sound/ State River
Widening) is resplendent with love songs, the beauty of nature and the passing of
time.
Full press, radio, online PR campaign both in the UK and in the EU, handled by Big
Mouth Publicity. Mark plays a very rare London show, as an album launch, with full
band, on the day of release, at Stone Nest, Shaftsbury Avenue, London. He will also
perform at A Celebration Of The Incredible String Band, Southbank Centre, London on
20th Sept (alongside Sam Amidon, Junior Brother, Daisy Rickman and more.
Reviews in Mojo and Uncut (with interview) confirmed for month of release. News/
features online : Click Roll Boo, KLOF, Maximum Volume Music, Pipilo Pop, The Pop
Corporation, White Light/White Heat (Italy). Playlisted : Rockambula, Foxy Lady

On And the Wind (Live and Loose!), the Asheville-based Lenderman handles most of the playing, but with The Wind, it"s a multi-headed beast. This live album is culled from sold-out summer 2023 shows on a brief headline run during what some might call a wild-*ss couple of months. It captures a near-euphoric moment in time - dizzying and exhausting and, most of all, having some real true-blue f**king fun with your best friends. It"s 90s college rock meets Americana hootenanny, an electrifying piece of the MJ Lenderman lore that needs to be experienced live with a light beer in-hand - but in the interim, And the Wind (Live and Loose!) does its best to commit the scene to tape.

"The Lost EP" is back on vinyl for the first time in almost four decades, a cornerstone of New Zealand's 'Dunedin Sound' of the 1980s. Faithfully restored with original artwork and insert, the EP is pressed on single yellow vinyl, still running at 45rpm and features six tracks of sublime pop from the pen of The Chills' mainstay Martin Phillipps. "The songwriter that helped kick off indie rock as we know it." NPR. Originally released in 1985, after the master tapes had been mislaid for 12 months, "The "Lost" EP' is the perfect mix of Phillipps' pop sensibilities and his often-dark lyrics. Doffing a cap to dream pop, garage punk, psychedelic whimsey and old school indie along the way, it's a band truly finding themselves. "Even at his most cynical, the tone of Phillipps' voice and the major-chord bounce of the music makes him sound in love with the world." The Guardian. 1000 copies worldwide

"The recordings Contained herein are contained here after many years on the shelf..." So begin Michael Hurley's notes to these unbelievably great recordings from 1964...never before heard. Recorded by Fred Ramsey as part of the same sessions that resulted in Michael's First Songs LP on Folkways. Side A starts with What'llya Do, What'llya Say?, a pretty psychedelic classic that can very well put you into some kinda trance. After that we hear The Blues Had Gone Away - a sad drifty little tune, then Pretty Girl On Rollerskates, with a rare Hurley harmonica solo & hallucinatory lyrics worthy of some examination, and then a beautiful alternate take on one of Michael's all time greats - The Tea Song. Side B starts up with yet more alternate takes of songs from the Folkways LP - this time of Intersoular Blues & I Like My Wine. After that we get to hear two great compositions for the first time, & man oh man are they pretty - Hey Hey Hey Hey & I Love You Babe. Real great stuff all around that we recommend for deep into it Hurley fans & newcomers to his art alike. Michael Hurley is a great American song writer with his own unique way of seeing the world & this LP is a great testament to his vision. Co-release with our friends Nero's Neptune.

Following the departure of Wire's drummer Robert Grey in 1990 WIR had risen phoenix like from the ashes of the acclaimed UK post-punk band after and were created to fulfil the final phase of Wire's Mute Records contract. With a more sequence based sound, WIR saw the band breaking all their own rules by creating a new sparse electronic music with Graham Lewis singing most of the vocals and even cannibalising their own catalogue by sometimes sampling their own older material. WIR was, however, not a long-term project and besides completing their only album, The First Letter, their only other activities were a very small number of gigs and two multi-artist "conceptual happenings" under the name I Saw You. One of these was in Clapham in April 1992 on election night and the other in Vienna in Feb 1993. On that Vienna trip, in addition to playing the gig, the band recorded a radio session for the Austrian national broadcaster ORF which was organised by Peter Rehberg - later the person behind MEGO & sadly no longer with us. This was released in 1996 by Touch on CD and consisted of two long tracks with a running time of almost 25 minutes. Once the short run of CDs had sold out, the rights technically fell to the band, and pinkflag released it - digital only - in 2007 and now released on vinyl for the first time. The remastered 2025 vinyl / CD / digital edition adds a newly recorded, Taylor Swift style re-recording of what is undoubtedly WIR's most pop moment, the dark brooding shadows of So and Slow. The version released here is based on how the band played it live, so, inspite of being instantly recognisable, it does not follow the arrangement of any previously released version.

15th Anniversary Edition. Lime Green Vinyl. When Dinosaur Jr. reunited, more than 20 years after their formation and legendary dissolution, the worry was that these guys were just flogging the back catalog, taking the old show on the road as a marketing gimmick. But the 2007 release of Beyond gave a hearty Marshall-driven "F**K YOU!" answer to those inquiring ears. Restoring the sound established by the unassailable hat-trick gambit of their first three albums -- Dinosaur, You're Living All Over Me, and Bug -- Beyond continued the band's march into rock greatness by making old ears smile and new ears bleed afresh. And then came Farm, the 9th full length record by the original line-up: J Mascis, Lou Barlow, and Murph. If Beyond was Dinosaur Jr.'s return to form, Farm is proof that Dinosaur Jr. could (and still do, to this day!) deliver timeless, exhilarating rock music. Farm encompasses Dinosaur Jr.'s signature palette: soaring and distorted guitar, unshakable hooks, honey-rich melodies. At times wholly 70's guitar-epic, at times perfect for sitting by a babbling brook with Joni and Neil, these songs get into your head and stay there, bouncing happily around. The ear-catching "Plans" is nearly seven minutes of classic whipped-topping rock dessert, while "I Don't Wanna Go There" is a meat-and-potatoes main dish, mixing unapologetic lead guitar with straight-ahead delivery a la James Gang or Humble Pie. This expanded deluxe edition of Farm features four songs never pressed to vinyl and never given worldwide release:"Houses", "Whenever You're Ready" (The Zombies Cover), "Creepies" (Instrumental), and "Show". "Whenever You're Ready", a cover of classic pop-rockers The Zombies, is impossibly good for a hidden gem; Murph stomps in with a sledgehammer to the kit, J and Lou layer low-end and fuzz like two halves of one brain, and right when things feel biggest, airy and colossal, there's J with a lightning bolt of a guitar solo. Pure electricity and melody like only he can make. Recorded in J Mascis' Bisquiteen studio in Amherst, Massachusetts, Farm was produced by Mascis himself, and delivers the singular, unique energy of one of America's greatest living rock bands.

Limited edition test pressing, featuring Reggae legends...

Based in São Paulo and formed in 2017, TaguaTaguais lead by songwriter and producer FelipePuperi. Felipe, having fronted space groove rock band WannabeJalvafor several years, has an extensive indie resume. Having played at Lollapalooza Brazil, supported shows for Pearl Jam and Jack White. He's also been featured on KCRW, NY Times, Stereogum, Brooklyn Vegan and WFUV.

Tagua Tagua's 3rd full length LP and 3rd release on Wonderwheel following 2024's Todo Tempo EP and 2023's Tanto LP

Upcoming tour plans include SXSW and Lollapalooza Brasil in March 2025

Lead singleLado a Ladofeatures James Petralli frontman of the Austin, TX based rock band White Denim

White Denim were founded in 2008 and have shifted through genres like post-punk, soul, garage, and psychedelic rock and have released music on labels such as Bella Union, City Slang, and Downtown

2024 was a big year at radio as Tagua Tagua filmed and recorded a live sessions for NPR's World Cafe (US) and Gilles Peterson's Brownswood Basement on Worldwide FM (UK)

Embarked on a 10 date Brazilian tour in Spring of 2024 playing to capacity crowds each night in 400-500 cap rooms

Recent tour history includes two stints in the US for New Colossus Festival in NYC and SXSW March 2024 and November of 2024 in Miami, New York, and Philadelphia as well as a headline tour throughout Europe in September and October of 2024

Significant press coverage from publications like NPR Alt Latino, Remezcla, FIP, Bandcamp, and Sounds & Colours to name a few

Huge worldwide radio support from stations like KEXP, KCRW, KUTX (US) Inter, FIP, Nova (FR), RinseFM, Soho Radio, Worldwide FM (UK), 3RRR, 2SER, RTR (AU), RTP Antena 3, TSF Rádio Notícias, Rádio Oxigénio (PT) iCat, Radio 3 (ES) RBB Radioeins (DE) and many more

Rama Parwata and Adam Halliwell unite together with their love of the freer sides of jazz and improvised music, alla Peter Brötzmann and Ganelin Trio to the more funk laden music of Bitches Brew and Herbie Hancock"s Mwandishi. It"s when musicians find a synergy together, be it through sound conversations, be it through mouth conversation s, or be it through the love of what other musicians have said before them, then they can go forth and collaborate freely. As is the case for this duo. Rama and Adam play from different worlds but find a synergy amongst the humanity of sound.

Three LPs packed in a trifold jacket. Pressed on Deep Ocean Pearl, Gold & Dark Green Vinyl. Take up your sword, channel your magic or board your Mech. Chained Echoes is a 16-bit style RPG set in a fantasy world where dragons are as common as piloted mechanical suits. The game is set on the continent of Valandis during the time of a multi-generational war between three kingdoms, Taryn, Gravos and Escanya. After a great catastrophe caused by Grand Grimoire shakes the continent, the kingdoms agree to sign a peace treaty. One year later, an unknown force strives to begin a new war. A group of unlikely heroes joins forces and eventually becomes the clan of Crimson Wings in order to stop it. The outstanding soundtrack for Chained Echoes was passionately composed, arranged and recorded over four years by Eddie Marianukroh as well as many other musicians who worked under his direction. It includes 50 tracks at two hours in length. Even the game has been out for a while, Marianukroh's admiration and enthusiasm for the game and his addition to it remain undiminished: "It has been over two years now since the release of Chained Echoes, which is rather difficult for me to believe. Time really flies, and it's honestly a bit frightening when I think about it. But, despite that, when I listen to the music I've written for this game, I still very much remain proud of what I composed. I really did give my all for this soundtrack. I will forever be grateful to Matthias for trusting me with the music for his game. I can vividly remember how I felt when I first came across his project, and how I nervously reached out to him about the composer position. I truly, truly cannot thank him enough for giving me this memorable experience that I will always hold dear. Thank you, my friend."

The East Sussex three piece take a sidestep to their country punk debut. The revamped sound is gritty and raw, with basslines that rumble with unfiltered intensity and drums that drive each track with pounding, relentless energy. The dark twang elements have not disappeared but if you break the surface you will find a restless undercurrent of electronic rhythms, adding complexity and tension. Andrew J Davies’ baritone vocals help answer the question you never knew you needed to ask. What would Lee Hazlewood guesting on a Leftfield track sound like?

Sometimes records reflect life with an unsettling precision, your own breath sticking to a mirror, confounding or transforming reality. J.H. Guraj, real name Dominique Vaccaro, is back with ‘The Flip Side’, an accomplished work of grace and sprawling elegance documenting struggle and a near-death experience that summons ghosts of Western primitive masters, rollicking free folk, minimalist orchestrations, weeping guitars and smooth psychedelics.

Time stopped for J.H. Guraj in 2021 following a brush with mortality, extensive forced recovery and subsequent hints of depression after an almost fatal bike crash, leaving our wandering soul, once again, at the edges. While his previous record ‘Introspection / Migration’ hinted at Middle-Eastern influences and merged the artists’ Arbëreshë upbringing with stoic ecstasis, free-form structures and guitar wizardry under sepia tone curtains, ‘The Flip Side’ twists, turns, falls down and rises to new heights, the widescreen breadth of Dominique Vaccaro’s cinematic vision projects new colours, a stark contrast of pastoral emerald green and pitch black asphalt, urban decay and mercurial mystery.

Like passages from some archaic songbook what astonishes is how detailed the new compositions are, a warm embrace like ‘Way To Long Goodbye’, counterpoint pianos leading the way down a Gershwin avenue; ‘You Got It All Wrong So Did I’ with its Van Dyke Parks arrangement; the 9 minute epic ‘Us As Ghosts’ a haunting ballad that resolves into kosmische landscapes; the muted symphony of ‘Fake Af’ and the spectral disorientation of ‘Nothing I Can Do But Flow’. Gentle drumming from collaborator Gianluca Panici augment the eeriness of ‘The Flip Side’, motions that create a sense of suspension and yearning.

Nachdem er im April 1960 als Sideman auf Jimmy Smiths Soul-Jazz-Zwillingsklassikern “Midnight Special” und “Back At The Chicken Shack” einen starken Eindruck hinterlassen hatte, gab Blue-Note-Chef Alfred Lion Stanley Turrentine im Juni die Chance, sein erstes Album als Leader für das Label aufzunehmen. “Look Out!” verkündete die Ankunft eines zutiefst gefühlvollen neuen Saxofonisten, der sein Herz und seine Seele in jede gespielte Note goss.

Founding work of minimalism, Music with Changing Parts is a piece with free instrumentation.The musicians choose which part to play among the 8 staves of the score. At each indicated cue, the musicians can change part, which produces an abrupt change of instrumentation. While the music is based on a melodic material limited to a few notes that are repeated in patterns that expand or contract, the changes in orchestration refresh the listening experience by producing sonic contrasts. These techniques at work
in Music with Changing Parts , written in 1970, will lead Philip Glass to renew his language and move from the monochromatic works that precede it to more dramatic works such as music in 12 parts and especially the opera Einstein on the Beach. When Philip Glass began rehearsing the piece, he was surprised to hear long notes when everything was written in eighth notes. After making sure that none of the musicians were playing held notes, he realized that the fact that the same notes were played by all the instruments in the ensemble produced, through a psycho-acoustic effect, a harmonic substrate of resonant frequencies. He then decided to add to
the score the possibility of playing long notes to reinforce this effect

His story is entangled in the story of America, and he's been tracing it's highways and
entertaining it's audiences, and those abroad, for nearly six decades.
So, it's fitting that his new record, is entitled Look Out Highway, and it's remarkable
that a man who has spent more days on the road than off still brings such spirit and
passion to the music and the lifestyle. Throughout his illustrious career Charlie
Musselwhite has received 13 Grammy nominations and 33 Blues Music Awards. In
2014 his collaboration with Ben Harper Get Up won a Grammy and in 2010 he was
inducted into the Blues Hall of Fame. In 2023, Musselwhite was cast in Martin
Scorsese's film Killers of the Flower Moon.Charlie has collaborated with an eclectic
list of incredible artists over the years, including Ben Harper, Cyndi Lauper, Eddie
Vedder, Tom Waits, Bonnie Raitt, Gov't Mule, INXS, George Thorogood, Eliades Ochoa,
Cat Stevens, Elvin Bishop and John Lee Hooker.More than any other harmonica player
of his generation, Charlie Musselwhite can rightfully lay claim to inheriting the mantle
of many of the great harp players that came before him with music as dark as
Mississippi mud and as uplifting as the blue skies of California.
In an era when the term legendary gets applied to auto-tuned pop stars, this singular
blues harp player, singer, songwriter, and guitarist has earned and deserves to be
honored as a true master of American classic vernacular music.

A fully licensed, analogue reissue -- sure, on cassette and not on vinyl, that's a
long story -- of the first Index LP, originally released in 1967
The "Black Album" is one of the all-time holy grails of psychedelia, with originals going
for more than $4,000. It is an album "with a really druggie sound, full of feedback and
fuzzy guitars. The vocals, when present, are not easily heard. The cover of 'Eight Miles
High' is very good, probably one of the best cover versions I have ever heard. The
original songs all follow a similar pattern as the covers, with hazy guitar riffs and loud
rhythms. The last track is particularly noisy and unstructured. Hidden in amongst the
echoing canyons of sound there's some really snotty punk attitude wrapped up in
trippy velvet fuzz."
This record is magnificent-- bizarre, atmospheric, amateurish (in the best of all
possible ways). It has a wonderful bleak sound, both droning and murky... the atonal
sound of 1960's rock that would leave the most lasting impression on what would
become future punk, post-punk and indie rock artists.
"Much has been written about this incredible band. Much of it isn't true. Index was
formed in the early spring of 1967 in Grosse Pointe, Michigan. I was 18 years old
when I met a chain-smoking 16-year-old named Gary Francis. Our conversation soon
got around to rock and roll. He told me that he and his friend, John Ford, were forming
a band. I told him that I played drums and we arranged a jam session at John's home
on Lakeshore Drive. Our first meeting was incredible. Our sound was full and
powerful. John's lead guitar techniques were fresh and innovative. After our first
sessions we knew we had something special. Index was born. Soon we hit the local
'sock hop' circuit, playing at high schools and teen clubs in the area. We poured our
unique sound out at The Hideout, Undercroft and G.P. War Memorial every weekend.
One afternoon John pulled out a new album he had been listening to. It was a new
band with a mind-shattering sound called 'The Jimi Hendrix Experience.' John played
some songs he had written inspired by this 'psychedelic' sound. Over the next few
days, 'Fire Eyes,' 'Shock Wave' and 'Feedback' were written. This album was recorded
in December of 1967 at the Ford estate. It is recorded in mono with literally one
microphone and with all instruments and vocals recorded at the same time. The cover
photo is of founders of a singing group John joined at Yale. The stiff, board- like
figures seem to characterize the exact opposite of this musical collection. This
reissue is taken from the original recordings. Nothing has been added and all songs
are in their original length. Over the years various bootleg copies of this album have
surfaced but this is the original work." --Jim Valice

'Test Driving The New Prius' is a 35 minute radio play (with sound effects) written and performed by Jim Fry (Earl Brutus, Pre New) and Luke Haines. (The Auteurs, Baader Meinhof a.o.). Just as that other modernist masterpiece Ulysses depicted a day in the life of Leopold Bloom, Test Driving The New Prius follows the life in a daze of Endgame Man. In this tale of derring-do our hero acts out a perilous adventure in the 400 yards between his home, his local pub and the off-licence. With nervous system reduced to a series of involuntary twitches and reality reduced to a background hum of decades of half absorbed mindless daytime TV wittering. Can Endgame Man get home and make it through to Wednesday with only his spirit familiars - an endless trail of 75cl bottles of Glen's vodka to guide him? With cameos from Jayne MacDonald, Brian Eno, Martin Degville /sigue Sigue Sputnik) and the cast of Blankety Blank (1980). Written and executed by Jim Fry and Luke Haines Originally Broadcast as a Radio Play in 2022, now a limited-edition 12-inch vinyl LP on berry red vinyl,exclusively released for RSD 2025

SLEEP THEORY"S meteoric rise since bursting onto the scene in 2023 has been nothing short of extraordinary. Their breakout single "Numb" smashed into the Top 10 on Active Rock Radio, introducing a sound that feels as polished as it is powerful-something most bands take years to master. Following that initial strike, tracks like "Fallout" and "Stuck in My Head" cemented their place as chart-topping heavyweights. But SLEEP THEORY isn"t just a studio phenomenon-they"ve cut their teeth on the road, delivering blistering performances alongside heavy hitters like Beartooth, Daughtry, and Falling in Reverse. From dominating festival stages at Welcome to Rockville and Sonic Temple to the electrifying chaos of Louder Than Life, their relentless touring schedule has forged a reputation for anthemic live shows that demand your attention. Now, 2025 is shaping up to be SLEEP THEORY"S defining year. Their highly anticipated debut album, Afterglow, drops May 16th, and it promises to be a revelation. Packed with razor-sharp songwriting, impeccable musicianship, and vocals that will leave you breathless, this is the record fans have been waiting for. With over 230 million streams and listeners devouring their music at a staggering 5 million streams weekly, Sleep Theory is on the verge of transcending rock"s boundaries to become one of the genre"s defining voices. Brace yourselves: Afterglow is more than just an album-it"s a statement of intent from a band destined to shake the foundations of modern rock.

Aus der griechischen Black-Metal-Bastion Athen kommen Eleventh Ray mit Klageliedern, die schon seit fast einem Jahrzehnt auf sich warten lassen. Die okkulten Darbietungen in der unheiligen Hülle von Reviving Tehom beschwören den Geist von Celtic Frost, Sodom, den 90er-Jahre-Taten des großen Magus Wampyr Daoloth (Necromantia, Rotting Christ, Thou Art Lord) und natürlich Therions 1993er Symphony Masses: Ho Drakon Ho Megas Album.
Die Saat für Eleventh Ray wurde von Material gesät, das einst für die Black-Metal-Kraft von Serpent Noir geschaffen wurde, deren wechselnde Tonalität Gitarrist Y.K. dazu veranlasste, das besagte Material für einen späteren Zweck zu vergraben. Eine Entscheidung, die erst 2022 durch ein verheerendes Probedemo Früchte trug, das das Interesse von Dark Descent Records weckte.
„Eleventh Ray ist eine völlig neue, autonome Einheit, für die wir mit voller Kraft arbeiten wollen, und KEIN einmaliges Projekt aus Serpent Noir-Überbleibseln“, erklärt Y.K. “Wie alle meine Projekte ist auch Eleventh Ray tief in der Dark Magic und der Typhonian Alchemy verwurzelt."

In 2012 Gruff Rhys embarked on a solo 'investigative concert tour' through the heart of America following the route taken by his distant relative John Evans. Every night he presented songs augmented by a power point presentation that detailed his relative's unbelievable history, along with any new piece of information that had come his way during the day. He was ultimately looking for Evans's lost unmarked grave. Along with many major cities, the tour took him to play shows at the Mandan and Omaha tribe reservations, a Missouri vineyard, villages that no longer exist and lay at the bottom the Mississippi river and a New Orleans bordello. What transpired from that ‘investigative concert tour’ was a 2014 album, American Interior, plus a book, film and exhaustive tour of the same name. With the aid of the dusted-off power point presentation, Gruff Rhys and a full band revisits the project in 2025 to perform the songs that formed both the album, and the soundtrack to the film.

Gruff says of the reissue -

“Revisiting American Interior 11 years later, feels very prescient. In following the unusual story of explorer John Evans (1770-1799) it becomes clear that faked narratives can have profound and unpredictable consequences in real life. His barely believable journey of verification in searching through continental scale wilderness for a fictitious Welsh speaking tribe believed to be living on the Great Plains of North America (an ancient folk tale perpetuated by the Elizabethan court following the subjugation of Wales, to make colonial claims on behalf of the British on the Americas) had a dramatic political effect on the fledgling USA and a devastating impact on himself and some of those who helped him on his way. I wrote an album of songs inspired by his life; American Interior, which also served as a soundtrack to a documentary film based on a book that detailed his journey, intertwined with my own investigative concert tour, all three of which I worked on simultaneously during a 2-year fever 2012-14. By far the most ambitious undertaking I’ve ever attempted. Living with one foot in the 18th century, wearing the same clothes (for cinematic continuity) for that entire period, left me pretty exhausted. (Imagine a cold extra from The Revenant movie). It took me a while to process the whole experience and its lessons and feel I owe it to my former self to take these songs back on the road for a couple of months and re-tell the story for a new decade. To celebrate it further Rough Trade will reissue a remastered version of the album with previously unreleased tracks.”

Aus der griechischen Black-Metal-Bastion Athen kommen Eleventh Ray mit Klageliedern, die schon seit fast einem Jahrzehnt auf sich warten lassen. Die okkulten Darbietungen in der unheiligen Hülle von Reviving Tehom beschwören den Geist von Celtic Frost, Sodom, den 90er-Jahre-Taten des großen Magus Wampyr Daoloth (Necromantia, Rotting Christ, Thou Art Lord) und natürlich Therions 1993er Symphony Masses: Ho Drakon Ho Megas Album.
Die Saat für Eleventh Ray wurde von Material gesät, das einst für die Black-Metal-Kraft von Serpent Noir geschaffen wurde, deren wechselnde Tonalität Gitarrist Y.K. dazu veranlasste, das besagte Material für einen späteren Zweck zu vergraben. Eine Entscheidung, die erst 2022 durch ein verheerendes Probedemo Früchte trug, das das Interesse von Dark Descent Records weckte.
„Eleventh Ray ist eine völlig neue, autonome Einheit, für die wir mit voller Kraft arbeiten wollen, und KEIN einmaliges Projekt aus Serpent Noir-Überbleibseln“, erklärt Y.K. “Wie alle meine Projekte ist auch Eleventh Ray tief in der Dark Magic und der Typhonian Alchemy verwurzelt."

The anniversary edition comes in a gatefold-sleeve on clear / golden marbled vinyl with an exclusive poster. It all started in Gothenburg, Sweden back in 2003. After various incarnations the band we've now come to know as EF hit their stride by opening up their heavy distorted guitar palet to a much richer, textural approach with haunting melodies and harmonies. The band started touring and built up a dedicated fanbase throughout the years. The experience and confidence gained from these 22 odd tours have taken them all over Europe and Asia. It has shaped them to become the explosive, energetic and cathartic live band they are now today. As it goes with age and experience also comes growth. Although the sound of the band has evolved away from the hardcore infused post-rock of their early days, EF have always kept their hardcore d.i.y. ethics alive. By running their own record label, And the Sound Records, and setting up their own worldwide distribution they sold thousands of records along the way. In 2010 EF started to collaborate with German label Kapitän Platte by releasing the third album "Mourning golden morning" on vinyl. Now 15 years later, especially as the record is long time out of print, it's time to celebrate this anniversary with a new edition of this album that reached in the meantime the status of a post-rock masterpiece, to name in a row with bands like Caspian, Mogwai or Explosions in the sky.

In 2012 Gruff Rhys embarked on a solo 'investigative concert tour' through the heart of America following the route taken by his distant relative John Evans. Every night he presented songs augmented by a power point presentation that detailed his relative's unbelievable history, along with any new piece of information that had come his way during the day. He was ultimately looking for Evans's lost unmarked grave. Along with many major cities, the tour took him to play shows at the Mandan and Omaha tribe reservations, a Missouri vineyard, villages that no longer exist and lay at the bottom the Mississippi river and a New Orleans bordello. What transpired from that ‘investigative concert tour’ was a 2014 album, American Interior, plus a book, film and exhaustive tour of the same name. With the aid of the dusted-off power point presentation, Gruff Rhys and a full band revisits the project in 2025 to perform the songs that formed both the album, and the soundtrack to the film.

Gruff says of the reissue -

“Revisiting American Interior 11 years later, feels very prescient. In following the unusual story of explorer John Evans (1770-1799) it becomes clear that faked narratives can have profound and unpredictable consequences in real life. His barely believable journey of verification in searching through continental scale wilderness for a fictitious Welsh speaking tribe believed to be living on the Great Plains of North America (an ancient folk tale perpetuated by the Elizabethan court following the subjugation of Wales, to make colonial claims on behalf of the British on the Americas) had a dramatic political effect on the fledgling USA and a devastating impact on himself and some of those who helped him on his way. I wrote an album of songs inspired by his life; American Interior, which also served as a soundtrack to a documentary film based on a book that detailed his journey, intertwined with my own investigative concert tour, all three of which I worked on simultaneously during a 2-year fever 2012-14. By far the most ambitious undertaking I’ve ever attempted. Living with one foot in the 18th century, wearing the same clothes (for cinematic continuity) for that entire period, left me pretty exhausted. (Imagine a cold extra from The Revenant movie). It took me a while to process the whole experience and its lessons and feel I owe it to my former self to take these songs back on the road for a couple of months and re-tell the story for a new decade. To celebrate it further Rough Trade will reissue a remastered version of the album with previously unreleased tracks.”

“In my category, I’m the one and only,” proclaimed Oakland legend Too $hort on his 1990 single “Short But Funky.” Few disagreed then, and even fewer would do so decades later. First appearing in the mid-1980s, slinging homemade tapes out of his car trunk, the man born Todd Shaw has always stayed true to himself. Although he is known more for the dirty side of his rap game, on “Short But Funky,” he also reminds listeners of an important fact: “There’s a serious side to everything I say.” Short Dog’s In The House, was $hort’s sixth studio album, and his second for the Jive label. By the time it hit, he was a West Coast legend, but his rep was growing Eastwards, as the rest of the country started opening its ears to new sounds. Peaking at #20 on the national Billboard 200 chart, the album was exactly what his dedicated fans expected funky, 70s drenched beats made for cars on the boulevard, and no nonsense lyrics that made more sense and dropped more knowledge than he was ever given credit for. For examples of his conscious side, look no further than the P-Funk fueled “It’s Your Life” or the album’s lead single, “The Ghetto.” The album’s second single “Short But Funky” landed somewhere in the middle of $hort and Todd Shaw, talking about where he was at as the new decade broke, and making it clear that he wasn’t going anywhere. His mortality was mainly on his mind after rumors had surfaced the year before that he had died in a crack house. He speaks directly to this crazy episode on “Dead Or Alive.” And although it’s mostly a solo affair, he brings in some heavy artillery and a lot of not for the kids profanity on “Ain’t Nothin’ But A Word To Me,” featuring none other than Ice Cube In between, $hort distributed plenty of tales and charisma for fans to eat up, continuing to build his legendary status as one of the rap trailblazers of the era. Get On Down has repressed this 1990 Bay Area classic album on Blue and Ruby Color-In-Color vinyl

Chicago label Future Rootz is a collective of mix media DJs who all play and rework global roots, tropical bass, world electronic and Latin house. Who better to do that than Detroit's Dez Andres, a deep-diving DJ, house head and producer with Cuban roots. He goes first here with 'El Trombone', which has a signature low-end thump with sunny Latin vocals, joyous horns and florid melodies. He then slows things down with one of his trademark remixes of AfroQbano's 'El Bucanero', which has noodling bass and poolside charm.

Deranged Records and Forward! Records will release Wildhoney's first LP, Sleep Through It. The group formed in late 2011, aiming to write pop songs with the energy and malcontent of hardcore punk, but without its entrenched masculinity. The five-piece has since become one of the loudest—and sweetest—bands in its hometown of Baltimore. Sleep Through It expands on two excellent 7-inches and one cassette EP, drawing influences from '60s girl groups, '80s post punk, indie pop, and shoegaze. New songs like first single "Fall In" showcase just how well Wildhoney combines wall-of-sound power with delicate passages and gorgeous vocal melodies. Older songs such as "Super Stupid" and "Seventeen" return on the LP, newly realized and sounding better than ever. Throughout the album, the group's blasts of distortion and use of dense textures are balanced with beautiful pop tunes and chiming guitar work. The swirl of noise surrounding singer Lauren Shusterich's voice is not unlike the best of the Cocteau Twins, or even Deerhunter, especially on the soaring title track. Sleep Through It was recorded at Beat Babies Studio in Woodstock, Md., with Chris Freeland (Lower Dens, Wye Oak). The album is Wildhoney's first with synthesizers and features liberal amp and pedal experimentation. The recording process was intense and fast, cramming lots of work into a small amount of time. That hectic schedule is impossible to hear on the LP, which unravels at its own dreamy pace.