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High Hopes - New album from the Mole.
High Hopes is 17 songs across 40 minutes on one slice of wax that, as advertised, sounds nothing like last month’s Ep, High Dreams. Here, rather than the long form dance form, is a continuation of the beat tape pacing from the last album, a collection of moments posing as ideas posing as a narrative stuffed with oddities and surprises that reward the close listen.
What’s heard on High Hopes is the Mole’s exploration of a love letter, from one person to a family, from the northern Pacific to the southern Atlantic, from a boy to a painted bird. Vancouver Island to Manantiales. The songs range from ambient sound bath and hip hop sludge, up to micro boogie and almost House before tumbling back down and forth again. Bubbling synths, MPCs swung out, samples chopped and chewed, bass and violins from Rick and Sophie, field recordings of birds and frogs and beaches, friends and family and fiestas. Did we mention the love ?! This album has got it all! Original collages from Antonio Carrau envelope this wax: jacket, sleeve and cookie. Antonio’s work is typified by playful combinations and bold statements about living in a embrace of analog and digital health. His co lages marry the corporeal world with an updated, digitalized age of reproduction, inducing feelings of gratitude for the simple everyday scenes we sometimes lose touch with when we forget to slow down. Good living, like breathing, requires inhaling as well as exhaling.
We can’t always produce content, make art, we must also pause, and listen. And enjoy. The Mole is joined by friends and colleagues on several songs included on High Hopes. Rick May plays bass on both Que Rico and album stand out GoinF4er. Sophie Trudeau (Godspeed You Black Emperor) plays and arranges violins on GoinF4er and Danuel Tate (Cobblestone Jazz) and Julz Chaz (Wagon Repair) both play Vibes and Emaxx throughout the album. Working with these incredible talents not only enriched this album, but fulfilled a long standing goal of the Mole’s; to work again with the musicians from whom he learned so much. People who helped inform the shape of Mole to come.
The Mole who was As High As The Sky. The Mole has been ‘recognized’ by the ‘global underground’ since his critically celebrated premiere album, As High As The Sky, but his earlier Eps (Wagon Repair, Philpot, Musique Risquee) got the attention of Top DJs, clubs, and festivals around the world first. His sound remains unique, fresh and deep: enjoying plays in a wide variety of spaces and places.
High Hopes is the Mole’s 5th solo album and his 2nd album for Circus Company (The River Widens) who have also proudly released two eps of Mole magic (Little Sunshine, High Dreams).
*Isn’t that too much time for one record? Short answer - No. Long answer - depends on the material. Due to the many quiet passages in the album, the groove spacing can be modulated and the needle can slow it’s progress towards the center/end resulting in longer sides with continued high gain and low distortion.

The dark lord of the dance returns to Sneaker with the 'No Favours' EP, another ominous set of non-conformist shellers rough-cut from obsidian and set in steel.

We first broadcast our love of Christoph de Babalon's distinctively destructive, hard-boiled hardcore via the Evident Ware compilation back in 2020, but a longer release has been an ambition of ours ever since. From his early years on Digital Hardcore through his prolific return in the 2010s across a broad tapestry of underground operators, de Babalon has left a fascinating trail of albums, EPs and scattershot tracks behind him that feed into the cult fervour around his music.

As this EP demonstrates in reliably gritty fashion, the magic in the German producer's music lies in his ability to take the tropes of jungle and hardcore and subvert them through signal chains which owe more to noise and industrial than dance music. The structure of his tracks is equally maverick, pushing and pulling according to its own whims rather than following the dancer-centric energetic flow of a standard club record. Somewhere in this alchemy between classic ingredients and confrontational experimentation, he evokes the original chaotic spirit of hardcore when it seemed anything was possible within the music.

'For Nothing' is the perfect example — a tunnelling odyssey of ferrous atmospheres, roundhouse drums and bass bloated into the red on a force-fed diet of saturation. 'Total Deceit' turns up the pressure on the break chopping science de Babalon is capable of, teasing gamelan flurries and elegiac swirls that hit at the emotional depth he can wrench amidst such bludgeoning material. 'Jaded Memory' funnels Mentasm bass into a strange new form amidst staggering, tightly clipped drumfunk, leaving enough space for haunting ballroom reveries stretching out across the mid-section. That leaves it to 'Dearth Mill' to mop up with gloriously creepy detuned piano notes slopping over each other in between the most ferocious blasts of drums on the whole record.

You didn't expect something straight-forward, did you?

Opeth are one of the biggest acts in the Prog Metal genre with numerous top 10 albums worldwide, ”The Last Will and Testament” is their new album set for release November 22. Guest vocals by Joey Tempest (Europe), and guest flute by Ian Anderson (Jethro Tull). “A restless musical journey in a way mirroring my own relationship with music as a consumer of it," narrates band leader Mikael Åkerfeldt. "I pick up something here, dismiss something there. I worship and I hate music at the same time. This ambivalence leads me down some type of creative path of my own and then, all of a sudden, a collection of songs has been written. Best case scenario, these songs are good enough to impress the band. Good enough for the ”powers that be” in terms of the industry. Good enough for ”you”?! I love this record. I have to say it (write it). Maybe I’m proud even? There are some familiar ingredients in there I suppose. Most of our music has sprung from the same source, so I guess it’s not much of a shocker if it’s going to sound like ”us”. I’m a bit in awe of what we did with ”The Last Will and Testament”. It feels like a dream. There is some ”coherence" and ” songwriting skills” I hope, but what do I know? I tend to favour the ”strange” over the ”obvious”, but I feel like I’m in the minority, and that’s fine. So…fair warning! Don’t expect an instant rush (as per usual), but if you do ”get it” (have you got it yet?) right away, that’s ok too!"

In 2006, Danger Mouse is King Midas of the music world. He has an uncanny knack for creating jagged, dense, frenzied beats and odd, eerie, vivid soundscapes that never compromise the music's natural flow. Meanwhile, rapper and singer Cee-Lo, a veteran of Atlanta's Dirty South scene, has never been one to be constrained by hip-hop conventions, and is a willing partner in adventure. The result is an intrepid psychedelic blend of pop, hip-hop, soul, and rock that consistently challenges and delights. It's no wonder that "Crazy," with its modest riff, irresistible hook, and disarming opening line ("I remember when, I remember, I remember when I lost my mind") became a worldwide Internet sensation a full six months before the official release of St. Elsewhere. But that relatively simple soul-pop gem is the tamest track on this wide-ranging, often dark and introspective collaboration. (In fact, the duo considers Gnarls Barkley to be a wholly new creation, as opposed to a collaboration of existing artists.) "Everybody is somebody, but nobody wants to be themselves," Cee-Lo croons on "Who Cares?" He and Danger Mouse try very hard not to be their old selves as they creatively and confidently break down boundaries, but the brilliant cores of their musical personae--Cee-Lo's eccentric spiritual soul man and Danger's bold sonic explorer--remain. --Marc Greilsamer

The work of GMM carries the echo of folk wedding melodies inspired by Oskar Kolberg's collections, interpreted in modern arrangements with electrifying sound.The trio, consisting of Michał Górczyński, Michał Marecki and Patryk "TikTak" Matela, explores the roots of the Mazovian tradition, translating them into the language of contemporary music. Oskar Kolberg's descriptions and a collection of melodies specific to the Polish region of Mazovia give the GMM band a foundation for creative existence in this old world and transferring it to the modern world.The freshly recorded album opens the traditional wedding gates in an unexpected way, where folk nostalgia meets contemporary avant-garde. The contrabass clarinet weaves deep, warm sounds into the compositions, adding them mystery, while the spinet boldly carries a note of baroque sophistication, creating a pleasantly contrasting texture. The modernity of synthesizers and dynamic beatbox balancing between stillness and dense, dirty tones, gives the whole mix a modern touch.In this characteristic journey full of rhythmic complexity and harmonic discoveries, you will find depth, a cynical smile and plenty of room for your own reflections.Michał Górczyński - specializes in playing the double bass clarinet, in 2004 he graduated from the clarinet class at the Fryderyk Chopin University of Music in Warsaw. Composer, soloist and chamber musician. Co-founder of Kwartludium - a band specializing in performing contemporary music. Member of the band Bastarda. Author of music for theatre performances.Michał Marecki - instrumentalist, producer, composer. Collector of electronic and electroacoustic instruments. Associated with the bands Warsaw Village Band & Bassałyki, Mamadou & Sama Yoon, T.Love, Sidney Polak, among others. He is interested in creativity in artistic processes. Master of social sciences.Patryk TikTak Matela - beatboxer and beatbox activist. For over 20 years he has been giving concerts and teaching the art of vocal percussion. He conducts workshops for preschoolers, students, young people from orphanages and community centers. Author of the first book in Poland about beatbox (Human Beatbox -Personal Instrument!), organizer of the Polish Beatbox Championships, promoter and musician in film and theater. Creator of advertising and reportage films, megafan of Lego Technic.

Multi-talented artist Poppy Ajudha will be announcing her sophomore album, titled ‘Poppy’, which will be released 22nd November 2024. This follows Poppy’s triumphant return to releasing music this year with the release of 'My Future', following a two year hiatus. ‘Poppy’ was created alongside Mike Malchicoff (Kanye West/King Princess) with contributions from the likes of producers Maestro (Rihanna), Fred Ball (Alicia Keys/Raye/Mariah Carey), Grades, (Kali Uchis, Dua Lipa, Britney Spears), and Travis Sayles (Ariana Grande).

Poppy says: “I can’t believe I’m writing this, but my sophomore album is finally coming out! After numerous trips back and forth from London to LA, millions of revisions to perfect each song and a lot of moving the track listing around, I’ve made an album I’m so in love with, with people who I felt truly seen by, who I respected and found a natural synergy with. I really put everything into this album, it is a reflection of my growth over the last 2 years, an outward pouring of my raw vulnerability, the inner workings of my chaotic brain and the deep desire I have to challenge myself with everything I do. I’m really proud of what we made, and I hope that when you hear it, it means something to you too.
Thank so much to all the special people who contributed to the making of this project, the producers, engineers, musicians, visual creatives, the friends who listened to me while I processed my life in order to write it down, I wouldn’t have been able to manifest this dream without you.”

Alongside the announcement of her upcoming album, Poppy has also released new single ‘Lean On Me’, a bold pop banger about the importance of community and showing support for each other even during challenging moments. ‘Lean On Me’ was written by Poppy with production from Wesley Singerman (Kendrick Lamar/Anderson Paak).

On ‘Lean On Me’, Poppy says: “We realise true friendship in the moments we are most vulnerable with each other. When I wrote ‘Lean On Me’ I was going through a breakup and struggling to make sense of my world. My friend who was experiencing their own kind of grieving found the time to give me the advice I needed, and the next day I wrote this song about the power of friendship, community, unconditional love and showing up for each other through our hardest times.”

Wewantsounds is delighted to announce the release of the sought-after soundtrack for cult 1980 French film "Clara Et Les Chics Types," featuring Isabelle Adjani, Daniel Auteuil and the Splendid troupe actors. The Jazz-Funk soundtrack, composed by Michel Jonasz and featuring Manu Katché and Sylvin Marc has never been reissued since 1980. Remastered from with original master tapes, the release includes two never-released bonus tracks and a 4-page booklet with liner notes by French music expert and musician Guido Minisky (also a member of Acid Arab) who interviewed Michel Jonasz and actor Christophe Bourseiller for the occasion.

A collaboration between Duncan Bellamy (Portico Quartet) and Belinda Zhawi (MA.MOYO), Jump Ship, Sit Lean, Be Still, Stand Tall is a collection of sonic-poetry that sets Zhawi’s illuminating, elliptical words in dialogue with diffuse, explorative music and sound by Bellamy. Fluctuating between expansive contemporary classical arrangements and intimate layered vocal experiments, together they render these disparate forms into something distinct, melancholic and luminous.

Belinda Zhawi is a literary & sound artist based in London & Marseille, author of Small Inheritances (ignitionpress, 2018), & experiments with sound/text performance as MA.MOYO. Her work explores African diaspora research and narratives, and how art and education can be used as intersectional tools. Her literary & sound works have been featured on various platforms including The White Review, Vogue, NTS, Boiler Room & BBC Radio. She’s held residencies with Triangle-Asterides, France; Cove Park, Scotland; Serpentine Galleries; ICA London and was a Brixton House Associate Artist 2022 - 24. Belinda’s the co-founder of literary arts platform, BORN::FREE. She is working on her first full poetry collection.

Duncan Bellamy (b. Cambridge, UK, 1986) is a multidisciplinary artist based in London. His diverse practice encompasses painting, silkscreen, photography, sound and music. His work examines the shape of time, loss and our relationship to the past and present in a period of compressed transformation. He is a founding member of Mercury Prize nominated Portico Quartet, and has contributed sound work to the artist Hannah Collins audio-visual installation I Will Make Up A Song. Bellamy is working on a debut exhibition and new music.

Originally released in 1997, 'Unfuckwithable' by Kent, Ohio's basement noise art punks was a mid 90s classic. Out of print for over 25 years, this repress has been remixed and remastered from the original tapes and comes with enhanced artwork and a new 12" x 36" insert on colored vinyl.

Originally released in 1997, 'Unfuckwithable' by Kent, Ohio's basement noise art punks was a mid 90s classic. Out of print for over 25 years, this repress has been remixed and remastered from the original tapes and comes with enhanced artwork and a new 12" x 36" insert on colored vinyl.

"Entitled Silêncio, the new album is due in September and will arrive as a natural continuation of the first, featuring songs that had been left out as well as those that were part of Nigro's shows with the band. ""The songs have come to life. Today I feel more confident about doing my own thing, more assured. I want to propose this listening to silence, to the hidden subtleties that are revealed in existence"", he concludes.

Recording the first album was a personal adventure with an uncertain destination. Apocalip Se embodies this feeling of conducting an internal investigation, a rediscovery from the inside out. On the new album, the image on the cover is about being open, with your hands absorbing the outside, feeling the power of nature reflected in its greatness,"" Nigro reflects.

""I always woke up at 4 a.m. to the sound of a variety of birdsongs, and I kept thinking 'what are these birds saying? Do they even think about us?'"". The artist then composed the instrumental part with his guitar and sent it to the poet Eveline Sin suggesting this theme, and she responded years later, at the time of the recording of Apocalip Se. The song was formed in several movements, also bringing together pianist and partner Dustan Gallas, with a new arrangement featuring more than 20 musicians, taking the new version to another level of interpretation. As for the construction of the melodies, Nigro reflects: ""I think the voice is an instrument, a fascinating harmonic instrument"". In addition to producing for numerous well-known artists, such as Russo Passapusso, Francisco el Hombre, Curumin, and Anelis Assumpção, onalbums that have marked the history of independent Brazilian music, Zé Nigro has used his role as a singer as a long experiment in self-knowledge."

Ghostly 25 Year Anniversary Edition. Thus far, Zach Saginaw's releases as Shigeto have been fragments, albeit singularly satisfying fragments -- EP-length glimpses into the Detroit producer's creative psyche. After filling two EPs on Ghostly International, Shigeto's lush, sumptuous take on instrumental hip-hop has fully materialized. Full Circle, the artist's first full-length album, completes the journey begun with Shigeto's Semi-Circle EP, synthesizing the drummer/producer's signature themes of family, continuity, and musical boundary-pushing into a vibrant, fully unified artistic statement.The sounds on Full Circle come from four years of obsessive field recording and collaboration. Saginaw brought his Tascam mini-recorder with him everywhere, capturing the "glasses, chains, breathing, children, family meals, monks singing in cathedrals, walks in the south of France, and good friends offering their musical skill" that would all find homes in the record's compositional nooks and crannies. As a result of Saginaw's constant documentation, the songs on Full Circle play like chapters in an ongoing story--as in "Escape from the Incubator", whose initial rhythmic claustrophobia opens up into a boom-clap nocturnal chase, or "French Kiss Power Up", whose romantic digital strut gives way to discord and fragmentation as the waves of synthesizer give way to a shaky, neurotic coda. Full Circle is framed by the "Ann Arbor" diptych, a pair of beat suites named after Saginaw's hometown (one featuring a sample of Detroit MC SelfSays), all double-thick synths and triple-strength kick drums. Saginaw plays the majority of his rhythms by hand, and Full Circle's consistently deep pocket is the record's secret weapon, thumping and breathing like a living being.Having set the stage with Semi-Circle and What We Held On To EPs--twin treatises on Saginaw's Japanese grandmother's escape from a US internment camp--Shigeto is clearly ready to draw the tale to a close and take center stage. "This release represents the end of the beginning--or perhaps that there is no end and no beginning at all," says Saginaw. Regardless, Full Circle is the start of something great.

THE 4TH ALBUM BY ENGLISH FOLK ROCK SONGWRITER

A COMPLETELY UNINHIBITED PLAYGROUND WHERE PSYCH-FOLK DANCES WITH FREE JAZZ AND SOUL

English musician Nick Wheeldon has been on the starting blocks in Paris since 2012, churning out bands and albums at breakneck speed, from 39th and The Nortons, Os Noctambulos and The Necessary Separations to Sex Sux. In 2021, he got off to a flying start with his first solo LP, Communication Problems (2021) followed by Gift (2022) and Waiting For Piano To Fall (2024) just a few months ago. Today he brings you Make Art, his 4th solo album, a masterful, imposing work. For Nick Wheeldon aficionados, there's the same characteristic: always the same flickering, bright light. The tracks follow one another: tunnels, dead ends, nocturnal drifts. Days in the sun, lost paths, dark roads, all engraved on 4 sides of vinyl. Make Art offers a totally uninhibited and varied playground, where free jazz and soul dance together. Mixtures hitherto unknown to Nick Wheeldon. With Make Art, you're in the middle of a psychedelic-folk funfair. The musical avenues open to Nick Wheeldon widen and are likely to sweep away even the slowest and most resistant of you. Recorded with Julien Ledru, Thomas Carpentier and Paul Trigoulet.

Black vinyl 180g made only in 100 numbered copies.

This record is different. It is different from what might be expected of Jan Emil Mlynarski by those who know him, from sold-out shows and platinum albums of his bands – Jazz Band Młynarski – Masecki and Warsaw Dance Combo, as an old-timer, curator and reenactor of pre-World War II Warsaw's plush dancehalls and backyards folklore. Quite likely they may not recognize him until the last song, when he removes his shaman mask and bows down: Yeah, that's really me, folks, your good ol' Jan Emil, the entertainer. They might not have even known that he ever played drums because in his flagship bands, clad in a white tux in the former or in a Peaky Blinder hat in the latter, he sings and plays mandolin banjo. In fact, Młynarski has been a drummer for a lot longer than a singer. He stands clear of the jazz mainstream but is active on the progressive scene. A record he contributed to, trumpeter Tomasz Dąbrowski's 2022 release The Individual Beings, was recognized by Downbeat magazine as "excellent" and awarded the highest rating of five stars.

However, this is the first instrumental record to bear his name. As an album by a drummer, it stands out from other records, especially as it features drums as the principal content rather than the performance by a band with a drummer as the leader. It's all about drums, there is neither an articulate melody – because the melodies that are there are only micro-linesencased in ostinato modules – nor is harmony as an intentional chord progression – because whatever harmony-wise there is, is rather a product of the counterpoint of overlapping voices. All sounds other than the drums make only a riverbed through which runs a raging stream of rhythms. And indeed, this record took off just with this stream. At first all the drums were recorded live onto an analog tape, all at once, without overdubs or editing. After that, synthesizer riffs were added, and the record was ultimately assembled on tape without the use of computers or complex postproduction, which sets it apart from most releases today.

Młynarski the drummer acknowledges that he follows the trail beaten by Art Blakey, Max Roach, Roy Haynes, and Billy Higgins, but he walks it in his own strides. He treats the jazz drumming with specific reversed engineering by decompiling the jazz drum kit originally compiled by the pioneer jazz drummers from an array of instruments that had made their way from a jungle to New Orleans, first to Congo Square and then to street brass bands.

This takes him back to the jungle, his drums don't sound like jazz drums, the snare is rare, and the hi-hat and ride aren't there at all. Instead, there are drums and bells from Nigeria, Ghana, Burkina Faso, and Côte d'Ivoire. He doesn't sound like a jazz drummer either, but like a gang of drummers, each playing their own rhythm, and it's hard to believe that all this is the work of one man.

Not only his drumware comes from the jungle, but also the software – his approach to rhythm and time. Its essence is polyrhythm and ostinato. The polyrhythmic matters were unveiled to Młynarski and Piotr Zabrodzki, his creative partner in many projects and co-composer/producer of this album, by the legendary eccentric veteran-drummer Władysław Jagiełło, who introduced them, aged thirteen, to his concept and practice of "17 Latino rhythms at once". Ostinato, an obstinate repetition of a phrase or rhythm, "arrests" time, turning its linear course into cyclical in-place rotations. This is specific not only to African music but also to cultural music of other regions and differs from Western artistic music in that it does not "run" to fulfil an aesthetic intention but "stays" to provide the framework for recurrent routines of communal proceedings.

So, this record is different. And, if you are different too, this is the record for you.

"In Game of Thrones Season 5, nine noble families fight for control of the mythical land of Westeros. Political and sexual intrigue is pervasive. Robert Baratheon, King of Westeros, asks his old friend Eddard, Lord Stark, to serve as Hand of the King, or highest official. Secretly warned that the previous Hand was assassinated, Eddard accepts in order to investigate further. Meanwhile the Queen's family, the Lannisters, may be hatching a plot to take power. Across the sea, the last members of the previous and deposed ruling family, the Targaryens, are also scheming to regain the throne. The friction between the houses Stark, Lannister, Baratheon and Targaryen and with the remaining great houses Greyjoy, Tully, Arryn,Tyrell and Martell leads to a full-scale war. All while a very ancient evil awakens in the farthest north. Amidst the war and political confusion, a neglected military order of misfits, the Night's Watch, is all that stands between the realms of men and icy horrors beyond. Game of Thrones has always featured excellent music. The opening theme is practically iconic at this point, having been played and covered so many times. Composer Ramin Djawadi’s heavy, atmospheric tunes have always helped set the mood, no matter what tone the show is going for at any given time. Game of Thrones Season 5 (Music From The HBO® Series) is available as a limited edition of 750 numbered copies on translucent red coloured vinyl and includes an insert."

7A Records is proud to present our deluxe reissue of Robert Gordon's Rock Billy Boogie album. It has been remastered and expanded with four bonus tracks, features extensive liner notes and is pressed on 180g Pink Vinyl. Robert Gordon entered New York City's Plaza Sound Studio in April 1977 to record his first album. Four months later, Elvis Presley was found dead in his Memphis mansion, Graceland, at the age of 42. The media was anxious to anoint a successor to the late King of Rock and Roll, and Gordon-twelve years Presley's junior-was high atop many lists. Gordon's vocal resemblance to Elvis Presley was hard to ignore, although the singer never crossed the line into impersonation. He retained his originality and an attitude honed in New York's vibrant punk scene. In late 1978, Gordon was signed to Presley's longtime home of RCA Records. He inaugurated his label tenure with the early 1979 release of his third and perhaps finest album, Rock Billy Boogie. The power-packed LP would become a cornerstone of the so-called rockabilly revival. Four additional recordings round out this deluxe, expanded edition of Rock Billy Boogie: Gordon's 1980 cover of John Beveridge and Peter Oakman's "A Picture of You," a # 1 U.K. hit for entertainer Joe Brown in 1962; and three tracks looking back to his seminal partnership with Link Wray from the Private Stock years: "Lonesome Train (On a Lonesome Track)," "Summertime Blues," and "Red Cadillac and a Black Moustache."

Black Stone Cherry is the debut album by the American rock band Black Stone Cherry. Originally released in 2006, the self-titled album contained three singles - “Lonely Train”, “Hell And High Water” and “Rain Wizard”. Ever since the founding of the band back in 2001, the band has been receiving nothing but positive critics. Their powerful sound can be described as traditional southern rock combined with the likes of Led Zeppelin and Soundgarden.

In Game of Thrones Season 5, nine noble families fight for control of the mythical land of Westeros. Political and sexual intrigue is pervasive. Robert Baratheon, King of Westeros, asks his old friend Eddard, Lord Stark, to serve as Hand of the King, or highest official. Secretly warned that the previous Hand was assassinated, Eddard accepts in order to investigate further.

Meanwhile the Queen’s family, the Lannisters, may be hatching a plot to take power. Across the sea, the last members of the previous and deposed ruling family, the Targaryens, are also scheming to regain the throne. The friction between the houses Stark, Lannister, Baratheon and Targaryen and with the remaining great houses Greyjoy, Tully, Arryn,Tyrell and Martell leads to a full-scale war.

All while a very ancient evil awakens in the farthest north. Amidst the war and political confusion, a neglected military order of misfits, the Night’s Watch, is all that stands between the realms of men and icy horrors beyond.

Game of Thrones has always featured excellent music. The opening theme is practically iconic at this point, having been played and covered so many times. Composer Ramin Djawadi’s heavy,
atmospheric tunes have always helped set the mood, no matter what tone the show is going for at any given time.

Game of Thrones Season 5 (Music From The HBO® Series) is available as a limited edition of 750 numbered copies on translucent red coloured vinyl and includes an insert.

If you are looking for a witty all-around club record – it’s arrived.
Tripmastaz shows class on #09 of his self-titled label. Four cuts built to smack dancefloor fiends to their knees.

Big boy peak-time business on ‘Madd Rippz’ has been road-tested this year by the man himself, crossing various capacity clubs and festivals. An au fait organ riff keeps you in the loop, with slappy Tripmastaz-brand beats delivering as expected.
‘Seqund Lite II’ gives you a more minimal yet funky approach. No more to add—just nod your head twice.

‘4eeba’ is a jacky early 2k number that was originally recorded more than 10 years ago but mixed to crunchy perfection.

And finally, ‘Rule 4080’ is a bumpy house track that sends off some sense to the ones who know what the title means.

The artwork side is covered with the handwriting of one of New York’s finest tattoo artists, Nobu Umezu.

Special loud cut by Mike Grinser @ Manmade and the dynamic force of Tripmastering wrap up this baby neatly.

I Can’t Stand Still has been remastered from the original analogue tapes and will be available on CD, 180-gram vinyl LP, and digitally. Cass County will be available as a deluxe, 16-track version on CD and as a double 180-gram vinyl set.

"Good Lovelies are proud to reissue their holiday classic EVERGREEN just in time for the upcoming holiday season. Originally released in 2019, this fifth anniversary limited edition of 500 has been pressed on beautiful peppermint green vinyl.

Caroline Brooks, Kerri Ough and Susan Passmore are a trio of songwriters, multi-instrumentalists, and gorgeous harmonizers known for their nostalgic sound during the holidays that crosses between folk-roots, old-time swing, soul and bluegrass. ""Evergreen"" includes three original songs that the band have added to the Christmas canon alongside their versions of songs like ""Little Saint Nick"", ""Christmas (Baby Please Come Home)"" and ""(Everybody’s Waiting For) The Man with the Bag"" to really get you in the mood for the season ahead.

The band’s annual Christmas tour hits the road again this December, bringing classic holiday songs, timeless winter selections, and original Good Lovelies material to the stage. A Good Lovelies holiday show is a guaranteed good time for the whole family.

“...while most festive albums are best experienced during the correct season, when it comes to the amazing talents of the Good Lovelies, the rule book can be tossed out.” - GREAT DARK WONDER -

“Some of the most gorgeous Christmas harmonies you’ll ever hear on an album jammed full of warmth and good cheer. Featuring a mix of fun favorites, lesser-heard gems and three truly fine originals, the trio strikes the perfect blend of smiles and sentiment...” - BOB MERSEREAU

Good Lovelies first came together in 2006 and have since recorded thirteen albums, including two Christmas collections. They have toured extensively across North America, Europe, the UK, and Australia, and have earned such accolades as a JUNO Award, a SOCAN #1 Single award, and four Canadian Folk Music Awards. Their latest album “We Will Never Be the Same” is in stores now."

I Can’t Stand Still has been remastered from the original analogue tapes and will be available on CD, 180-gram vinyl LP, and digitally. Cass County will be available as a deluxe, 16-track version on CD and as a double 180-gram vinyl set.

Pianist, Composer, Multi-Instrumentalist Eva Novoa Releases First Album from Her Newly Forged Trio with Sax Legend Daniel Carter and Beloved Drummer Francisco Mela

"It’s not a rumor. Brooklyn’s Eva Novoa has formed a new trio! Novoa / Carter / Mela Trio, Vol. 1 marks their first sparkling album together (which is also Eva’s third with 577 Records). The group performed live for the first time in Cambridge (Boston) in 2022 and at the NY Forward Festival in August 2024.

In an invigorating creative explosion recorded at New York City’s Sear Sound in 2021, the multi-talented instrumentalist unites with sax legend Daniel Carter and beloved drummer Francisco Mela. Prepare to be reawakened when you experience Novoa tickling the ivories, dominating the Fender Rhodes, and wowing with the electric harpsichord and Chinese gongs. Even her whistling will linger in your mind!

As captured in the electrifying tracks “Aire” and “Fuego", Novoa / Carter / Mela Trio, Vol. 1 is inspired by the four elements (earth, wind, fire, and water). “Hasta Mañana Vida Mia” weaves together Cuban tradition with soulful lyrics (sung by Francisco) and high-energy, rhythmic conversations with horns and drums. The musicians’ free interplay approach defines this eclectic trio and their sonic universe.

Born in Barcelona, Spain, Eva Novoa is a pianist and composer who’s been mastering her talents since childhood. Calling NYC home since 2012, she has rocked countless local venues with her thrilling performances and has played with many adored artists all over the globe.

Her new album drops on November 22, 2024, and will be available on vinyl, CD, and digital download. Don’t miss the stunning cover art by Novoa’s friend and collaborator, acclaimed street photographer Richard Sandler, and stay tuned for Volumes 2, 3, and 4!"

Piano, Fender Rhodes, Cinese gongs, percussion & whistling by Eva Novoa.
Tenor, alto & soprano saxophones, trumpet, flute, clarinets by Daniel Carter.
Frums & vocals by Francisco Mela.
Recorded April 18, 2021.
Recorded, mixed and mastered by Jeremy Loucas at Sear Sound, New York City.
Photography by Richard Sandler.
Graphic design by Sergio Vezzali.
Graphic support by Mark Smith.

Through emotive ambient textures, granular synths, and field recordings, rousay reimagines the Slovak animated fairy tale with a brand-new score. The Bloody Lady stands as a stunning masterpiece of Slovak animation.

A release show is scheduled in De Minard (Ghent, Belgium) on November 13.



Electroacoustic composer claire rousay (US) has announced her upcoming album, ‘The Bloody Lady’, featuring the reimagined score she wrote for Viktor Kubal's 1980 eponymous animated film. Kubal (1923-1997), a pioneering Slovak animator, is considered one of the most influential animation filmmakers of the 20th century.



Known as a singular artist who challenges conventions in experimental and ambient music forms, rousay crafted the score in her home studio immediately after moving to LA over the course of 2023.



The inaugural performance, a screening of the film accompanied by rousay performing the score live, took place at Videodroom / Film Fest Gent 2023 in Ghent, Belgium. The project has since been developed into an 11-track album with alternating themes that evoke the film’s atmosphere while standing on its own as a distinct sonic work.



‘The Bloody Lady’ is set to be released on November 8 via VIERNULVIER Records, the label known for its audiovisual collaborations with artists like Miaux, Hieroglyphic Being, and Mattias De Craene.



The record comes with an extensive booklet including liner notes.

Japanese ambient owes a great debt to Masahiro Sugaya, whose work has been re-assessed and taken on all the more importance in recent years. The now cult musician and composer released his The Long Living Things album in 1988 for the performing arts company he belonged to, Pappa Tarahumara. Though it was overlooked for many years, it is now in sharp focus and gets a deserving reissue on vinyl for the first time ever by P-Vine which he also belonged to, and has long been overlooked by all but a few enthusiastic music lovers. One track from it was Grammy-nominated and rich of the record is minimalistic, with soft interwoven sequences that keep you afloat amongst the warming pads.

Peggy Gou’s Gudu Records is proud to present the label’s first ever album, from someone who’s been part of the family since the start: Brain de Palma.

Born in Ukraine, settling as a child in Turin and spending three years in Egypt before settling in his current home of Berlin, Alexei Versino has one hell of a story.

Musically, he’s been around for a decade now, releasing his previous music (solo as Panama Keys, and also as one half of the duo Stump Valley) on labels like Dekmantel, Soul Clap and Off Minor, before settling on Gudu with his Brain de Palma alias. But personally, his relationship to music goes much deeper: as a young child growing up in the former Soviet Union, a lot of European music was banned, so he relied on his well-travelled uncle to bring him back smuggled cassettes of Italo Disco, Depeche Mode, Kraftwerk, Erasure and early DJ mixes – getting an illicit musical education behind closed doors as a child.

He still carries that underground mindset to this day: the press release for his last Gudu EP, Purple Brain, reads: “dedicated to all the ravers, DJs, aficionados who had to go through the lockdowns … a shout out to people who keep on fighting for the underground culture!”. The perfect candidate for Gudu’s first album, then.

Comprising eleven tracks made across the past year, Versino describes Rhythmption as “my redemption through rhythm”, and a tribute to “seeing people enjoying themselves on the dancefloor, that feeling of unity where people become one thing, regardless of their life path or social status.” Opening with the gorgeous ‘Thandolwami’ (featuring South African vocalist Sfiso Atomza), Rhythmption charts a path through sun-drenched Balearic house, stuttering drum work-outs, Italo-inspired synth romps, trancey house and even a touching tribute to his former home of Egypt, taking in every aspect of Versino’s journey to date. After all, it’s not all about the destination, it’s also the sights you see along the way.

qebrus (pronounced Ké-brusse) was a project by Thomas Denis, an enigmatic French musician and producer born in 1981 and based in Caen, France, before his untimely passing in February of 2018. His undefinable otherworldly compositions and internet glitch trickery turned many heads catching the attention and support of esteemed artists such as Aphex Twin, Four Tet and Venetian Snares. The appeal of his music to other forward-pushing producers was emblematic of the uniqueness of his productions and led to collaborations with the likes of Tom Middleton, Otto Von Schirach and Mr Bill. His only release on Love Love Records, 'ᐔ ᐌ ᐂ ᐍ ᐚ', proved to be one his furthest reaching, originally released on CD during a flurry of musical productivity during 2017. Those 6 tracks of intricate extraterrestrial electronics now get the vinyl treatment, having been lovingly remastered or this reissue and pressed on green coloured wax.

The qebrus guise was that of an alien stranded on Earth and this concept was consistent throughout. The project gained notoriety almost exclusively on the internet, with many people's first experiences of his persona coming from the use of chaotic ASCII syntax in track titles which at the time 'broke' many of the websites he used to host his music. This theme of incomprehensibility extended to the sonic qualities of his music, foregoing any shred of familiar sounds in favour of an entirely electronically synthesised sound palate resulting in jarring and frenetic works full of near-imperceptible micro-details.

qebrus rarely performed live with one of the few occurrences being at an after-party following the now legendary Day For Night Festival 2016 in Austin, Texas where Aphex Twin played some of Qebrus' music to a crowd of 20,000 as Thomas watched on in what was undoubtedly an otherworldly experience for him.

Despite his vision being entirely self-driven without a care for popularity or recognition, there were many people across the globe that connected with the sheer weirdness of it all. 7 years on 'ᐔ ᐌ ᐂ ᐍ ᐚ' still sounds wholly futuristic and will likely remain so for centuries to come. In a time where it seems everything has already been done before Thomas leaves behind a legacy of an artist who was truly 'doing their own thing'.

Thomas is survived by his two children who will be receiving his proceeds from sales of this release.

“really alien sounding music”
Aphex Twin —

“Did you know that guy, Qebrus? He was on his own shit, he was making some really out there music, his music was incredible”
Venetian Snares —

“Listening to intelligent dance music producer Qebrus feels a lot like entering another dimension, his music stumbling its way through electronic chaos, leaving the listener unsure over what just happened.”
Thomas Hobbs — Crack Magazine

The making of a maiden album can be a capricious process. One moment of outright musical flow paired with another period of sustained creative struggle are feats experienced by seasoned producers the world over. So when Miraclis was forced to hole away in his makeshift studio - in the midst of a global pandemic - the stage was set for something magical. Now it will see the light of day for the very first time.

Having released two singles on Secret Teachings to critical acclaim already this year, Chilean talent Miraclis will accomplish a milestone achievement in July with the release of his debut album: Origin Of Truth.

Difficult experiences were fundamental to the creation of such work, as were Miraclis’ inherent musical interests. He explains: “Origin Of Truth had its birth during the pandemic. I created it as a way of communicating to myself the sensations and feelings that were spinning around my head at the time. I've always been inspired by Bristol trip hop, as well as classical rock, and these genres definitely contributed to the making of these melancholic tracks. In a way I wanted to fuse all the musical influences that were part of my childhood, up until this point now, so this album really means a lot to me. It was my way of communicating, when there was a lack of social contact and communication itself was hard to come by.”

It's this meditative quality that initially drew Damian Lazarus to the project. “It’s a record that has its roots in electronic music, but it’s a very alternative, very deep, melancholic album. I find it both soothing and stirring at the same time, and that’s a quite interesting juxtaposition in that it feels edgy but delicious at the same time,” says Lazarus. “The fact that this was written in this place surrounded by the most incredible desert landscapes makes this a very important piece of work to me. It doesn’t sit in any particular genre, which is why it feels right for a Secret Teachings release. It hints at so many genres that I as a DJ am quite into, and it feels like a first as it’s unique and unclassifiable. That mystical, esoteric, edgy feel makes this a perfect release for the label.”

Sonnet opens proceedings, with ghostly vocals residing next to raw instrumental elements throughout. Miraclis’ signature guitar riffs soon converge on saddened keys, paving the way for Scienter. It takes the form of an instrument-based, electronic-inspired cut, building slowly before reaching a crescendo midway through via an enrapturing acoustic solo.

Floating Child comes next, brimming with a darker intensity courtesy of broody synth pulses and rhythmic hi-hats, as Shiver arrives next. There’s a rock-leaning sensibility to the piece that gives way to earnest lyrical offerings, opening swiftly into the breakbeat-esque world of Perceptions. Hard-hitting drums act as the focal point, with electric chords adding depth and intrigue, whilst Bright continues in a similarly heartfelt vein.

Introspective pads leave us feeling pensive, ahead of Interstellar taking us on a celestial journey through warped bass tones. Acting as the LP’s penultimate number, it’s a four-and-a-half minute showcase of guitar-based musical goodness and one that perfectly sets the stage for Trapped, a closing saga of suitably emotive proportions.

Miraclis earned his stripes as a DJ under the name Max Clementi in his native Chile, as well as Spain after a stint at the Barcelona SAE Institute. Playing and writing music since his parents gave him his first guitar at age twelve, he found himself inspired by synth wave, electronic pop, trip hop, and psychedelic rock of the ‘80s and ‘90s, drenching himself in music by the likes of Massive Attack, Tricky, Depeche Mode, and Nine Inch Nails. However, it wasn’t until he had to move back to Pucón to take care of his father during the pandemic that he began working on what would become Origin Of Truth.

Serendipity seems to play a large part in Crosstown Rebels’ new label Secret Teachings. Just look at the story of how Damian met Miraclis in the first place. It involved a chance midnight encounter in Pucón, Chile at a woodland campfire after the DJ was locked out of his hotel room. This meeting of minds was the start of a remarkable friendship, where Miraclis invited Lazarus to stay at his house and break bread with his family. The two kept in touch, exchanging music and ideas as a result.

The Peace Chant compilation series is a Temple, a reliquary of sacred harmonious statements made by enlightened artists throughout time. With Tramp Records' latest offerings, "Peace Chant, Raw Deep and Spiritual Jazz volumes 5 & 6, deeper, darker, and even more remote chambers of this already exalted temple are brought to light. The team at Tramp, with their torch of love and with reverence for those builders who came before, have returned from their quest with musical treasures unfathomable. Indeed, some of these tracks sound as if they may have literally been plucked from the ancient hands of some towering golden idol. But this quest was no looting effort, no. The Gods, as well as the artists and their families were fairly compensated through Tramp Records' rigorous and historically conscious licensing efforts.

Volume 6 ululates with a rich flute and Fender Rhodes-rich microtonal fusion called "Cataracts" by Musica Orbis that even comes with some sparkling Afro-harping moments ala Dorothy Ashby; a 5/4 dreamscape conjured by the Fredric Rabold Crew called "Januschka" with enraptured wailing soprano; and a very interesting and likely heretofore unheard version of a tune that, in Dizzy's words, "... has withstood the vicissitudes of the contingent world and rocketed in an odyssey into the realm of the metaphysical...", A Night in Tunisia, with rich vocals and scatting.

Hybrid is a word used indiscriminately in our daily lives. This record isn't a hybrid; it's beyond hybrid, post-hybrid, so to speak. Does this phrase sound complicated to you, and are you never overly convinced by music theory and its caricatural aspect? Then forget what you’ve just read and listen to both sides of this record. You'll soon realise that these tracks are deliciously deft, drawing their essence from dub while leaving room for some skillful jazz writing. For those of you intrigued by melodies, the art of musique concrète or the exploration of dub music’s deviant angles, this record will easily find its place on your turntable.

The two sides of the record are cut with play, improvisation and effects, while leaving room for themes and ideas. If this record’s first chapter was born from a request to remix and pay homage to Jackie Mittoo, its themes tell another story. They have been declined and even reduced to an explosion point. The tracks are also driven by subtle details of musique concrète, giving the record the effect of an intimate musical production – but, above all, one of uncategorisable beauty.

In Androo’s case, this is hardly surprising. He is a craftsman who is unassailable in every respect, a poetic dynamiter and, for this reason, one of the most unpredictable musicians in Geneva (and beyond). His appetite for dynamite is perhaps an indication of his conception of music as, first and foremost, an experience. His highly personal and inventive tribute to figures from free jazz and contemporary music proves the point. But perhaps it is also an indication of his attachment to Jean-Luc Godard. You'd have to imagine Androo at his mixing desk without a pre-written script. The idea of editing infuses the record. The two sides are very much in this style and spirit: (un-)shot, meticulous, (ir-)reverent. In this respect, this record is a formidable proposition, and perhaps difficult to understand, but not striving to be understood.

Its combination of improvisation and composition is underpinned by a razor-sharp precision and dexterity that's hard to ignore, especially if you're curious about the art of sound mixing and the romantic accidents. It has a dexterity that transforms musical grids into romantic essays and sketches. A romanticism in which Androo takes us on a liberating musical experience that makes us forget the inertia of the ramping formatting of the record industry. In any case, this record is an invitation to (un-)think the category, and will delight any ear curious to wander into territories of intuition where the word hybrid no longer makes sense.

Text by Carl Åhnebrink

Founded in 2001, Minus the Bear have worked relentlessly over the past 12 years to build a large and devoted following worldwide via consistent releases and non-stop touring. The band has released five full length LPs (Highly Refined Pirates in 2002, Menos el Oso in 2005, Planet of Ice in 2007, OMNI in 2010, Infinity Overhead in 2012) along with various EPs. They have toured throughout the US, UK, Europe, Mexico, and Canada. They have played countless sold out venues throughout the world and have been invited to perform at festivals in the US and abroad. They have played as support to bands such as Foo Fighters, Soundgarden and Jimmy Eat World. In Winter 2008/2009, Minus the Bear released an EP called Acoustics featuring newly recorded acoustic versions of fan favorites from the quintet's prolific career along with one new track. Limited to 5000 copies of vinyl, Acoustics is now out of print. Acoustics II, the second volume in the acoustic series, is a full LP containing eight newly recorded and reinterpreted standout tracks in addition to two brand new songs: "The Storm" and "Riddles." Acoustics II is sure to please longtime fans and welcome new fans to this critically acclaimed rock band.

Late-night jams in their new studio sees Jazzbois return to their beat-tape roots on Still Blunted

Having established themselves as one of the leading live bands in Europe grooving in improvised jazz motifs and hip-hop beats, Budapest trio Jazzbois return with their fourth LP Still Blunted that sees them touch base with their beat-tape roots.

Now situated in the heart of Buda at their new studio above a club, the Hungarian trio of Bencze Molnár (Rhodes/synth), Viktor Sági (bass) and Tamás Czirják (drums) take a more considered approach to Still Blunted and offer a snapshot into the jams, sessions, and shows they have played over the past year. The new album comes after performing at the legendary Montreux Jazz Festival this summer and will be followed by a European tour in October.

Inspired by contemporaries Domi and JD Beck, Kiefer, Nala Sinephro, and the sounds of Radio Juicy, Jazzbois have been more critical of their track selection for the sequel to their Goes Blunt albums. They’ve ripped up their playbook of producing records in a matter of days and took their time to approach the record through reworking their favourite tracks recorded over the past year.

“We’re trying to keep the same formula but there was a lot of thought gone into the process of making an improvised jam sound like a song. It has to be good in the moment, and we chose the ones we felt were expressive and resonated the most with us musically. We focus on our feelings in the moment and have trust in our own taste and music visions.”

The trio’s new studio has offered them the space and time to get the best out of their creativity. “This new spot is a Jazzbois headquarters. It’s above this club, sometimes there's a DJ playing outside on the street – everyday there's something on and lots of people coming and going. We hang out for the whole day and just record anything or edit.”

Jazzbois are a part of the rich, underground jam scene in Budapest, and those improvised-led sessions have fed into Still Blunted. One of their late-night jams turned after-parties produced sketches for tracks they selected for the album.

“It was the end of a wild night celebrating getting the album done. We’re having a jam and we looked around while we were recording and there was twenty people smoking and drinking around us – half of them we didn't even know who they are. It turned into an open after-party where people were coming to ours from the club. It was very spontaneous and unexpectedly, we made five or six new songs we ended up using for the album.”

The ethos of those unplanned, open jams is something they carry through into their live shows, as they never rehearse so their music can develop freely. Their trusted fourth ‘live’ member DomBeats joins them on Still Blunted adding saxophone to some of the psychedelic-tinged beats, such as on singles Shangri La and Chrome. After recently digging back into 70s and 80s jazz, discovering more hip-hop sampled tracks, and absorbing the breaks and high-energy of footwork and juke, these influences come through strong across Still Blunted.

The footwork sound is replicated in the shuffling, busy drums of Shangri La, with the echoing guitar twang reminiscent of a sample you may hear on an MF Doom beat. “Shangri La was a catalyst for the new album. It reflects on our trip to America and SXSW. We played at this venue Shangri La. The Texan air and sun are in that track.”

Chrome takes on a much more furious style of playing that allows for the drums to cascade and flow along with the pulsating, chromatic bass line, with the synths and saxophone spiralling into an engrossing frenzy. The liquidy keys and synths glides over the bass on Flute Thang, creating a 70s jazz-funk vibe that stands out from the rest of the album.

With hundreds of thousands of monthly listeners across Spotify and Apple Music, they have become a playlist staple that has earned them millions of streams since their debut release Jazzbois Goes Blunt in 2019. As more live dates are booked for the Hungarian trio, Jazzbois continue to transform the traditional jazz trio sound into deep, groove-led beats on Still Blunted.

third album, "Magic Seeds". The record represents his most personal and collaborative work and blends live recordings and analogue synths to create an organic, rhythmic sound reminiscent of trip-hop and hip-hop.

"Magic Seeds" explores themes of growth and reconnection, featuring unexpected musical moments and influences from 90s electronic music to neoclassical. Tracks like "Smoke in the Air" and "Inner Child" highlight his ability to balance emotional peaks with deep, moody atmospheres. The album’s dynamic range and authenticity reflect James's commitment to musical freedom and societal reflection, making it a compelling sonic collage of his recent experiences.

Over the past few years, Leifur James has steadily built a reputation as a vital new voice in electronic music on both sides of the Atlantic. He’s played prestigious London venues like the Barbican and Village Underground in London and toured Europe, as well as being named Pitchfork and KCRW’s ‘best new music’ in the US, and his music has been championed by the likes of tastemakers Gilles Peterson, Mary Anne Hobbs, Bradley Zero and actor Cillian Murphy, and from BBC 6Music to NTS via KCRW and RMC Italia. James has also enjoyed further flagship press support from Consequence of Sound, Clash, CRACK, Passion of the Weiss, XLR8R, Complex, MixMag, DJ Mag, The Vinyl Factory, and more

London-based DJ and producer Steven Julien’s career has always been about contrasts. Across a decade of releases on labels including Eglo and his own Apron Records, as well as club sets around the world, he’s consistently mixed light and dark, soft and heavy, yin and yang. From rough-edged house and techno to laid-back soul and boogie, or meditations on his familial and musical heritage with 2018’s Bloodline LP Julien’s music has always moved between moods, styles and emotions.

That eclecticism also defines Julien’s upcoming instalment in !K7’s iconic DJ-Kicks mix series. Featuring a broad spectrum of artists including Ryuichi Sakamoto, DāM-FunK and Todd Edwards, alongside a selection of his own exclusive productions, Julien takes us on an imagined journey from day to night: from a bucolic afternoon in nature to heady domestic vibes before a big night out, and finally the euphoric embrace of the dancefloor itself.

Julien describes his creative approach to DJing in general, and this mix in particular, as letting his energy and intuition guide him - it’s only on listening back to the finished session that he realised how often he mixes tracks in key, creating smooth transitions from one moment to the next.

That instinctive approach, where seamless mixing becomes second nature, speaks to Julien’s decade of appearances in DJ booths around the world: he cites sets at Ormside Projects in London, Doka and De School in Amsterdam, or Mitsuki in Tokyo as specific inspirations for this mix. Julien describes the feeling he’s tried to capture on tape as an out-of-body energy: just letting loose, and being yourself. “When you get in that position of doing what’s true to you, playing what’s true to you” he says, “people just resonate with that.”

Continuing our quest to get all of the classic early AMT albums released on vinyl, we turn to 2004’s 'Mantra Of Love’, and with the help of Makoto Kawabata’s studio wizardry, we’ve made it possible.

This latest instalment in the ‘Acid Mothers Temple Vinyl Archives - First Time On Vinyl’ series (as with the three previous SOLD OUT releases in the series) have all been meticulously put together with the help of Makoto Kawabata with the original CD artwork recreated for these vinyl editions from archive photos stored in the vaults at the Acid Mothers Temple in Osaka, Japan and the original audio remastered by James Plotkin.

Here’s what others had to say upon it’s original CD only release back in 2004 …

“Acid Mothers are strong folk. You'd think they'd tire quickly, all tucked away on their island, strewn about on tree roots while baking their lungs and throats to a knotty green tinge. But instead of waltzing through life like hippies, they manage to not only tour and put out records every year, but also to fill those albums with 30-minute jams and assorted freakouts. And while evil jam bands would fill that space with guitar work taken from the Classic Rock Manual of Clichés, Makoto Kawabata and company assault listeners with frighteningly dense walls of white noise, psychedelic swirl effects and, yes, even guitar solos-- albeit ones that are more Merzbow or Keiji Haino than Gary Rossington. Truly, AMT's endurance and threshold for cosmic lashings are both worthy of admiration.

But how much AMT can you take in one sitting? If there's anything this band has taught us-- via records such as 2002's Electric Heavyland and the ferocious Acid Mothers Temple & the Melting Paraiso U.F.O-- it's that they're not afraid to reach for the upper regions of consciousness. On Mantra of Love, they offer two titles over the course of one hour, never faltering along the way, and it's as if we listeners are just brief visitors passing through a never-ending, spontaneous group trip. For all I know, Kawabata has hundreds of hours of this stuff on his hard drive-- at any single moment, this record's sheer volume of sound is a clamor to behold. However, if you aren't dialed into that the particular space AMT inhabits (for me, it's the mystical fire-baptism standby), you might not hear their glorious noise for all the, well, glorious noise.

"La Le Lo" begins as a lengthy psychedelic ballad sung by Cotton Casino (who doubles on "beer & cigarettes"), who is accompanied by her own ghostly backing vocals. The band is playing a mantra as Casino waxes earth-mother stylings to the moon. The serenity is broken by a patented AMT rave led by Kawabata's electric sitar (!) solo. Ace rhythm section Tsuyama Atsushi ("monster bass") and Koizumi Hajime hold things together, as does the generally decent recording quality (not a given for these guys), but the real money is in effects-- lots and lots effects. Much like France's Richard Pinhas or AMT's countrymen in Les Rallizes Denudes and High Rise, the band understands the collaborative power of solo + overdriven Moog sirens and screams. And, also like those artists, Acid Mothers can go on all night if need be. About 25 minutes into this piece, any hell that hadn't already broken loose gets its due, and the band speeds to a fiery climax before winding down into glimmering astro-ambience.

The second track, "L'Ambition dans le Miroir", also begins as a minor ballad featuring Casino's haunting solo vocal. The Mothers set her up with a faux-blues drag and a thick buffer of synth-rays; when Casino actually enters, she fights for airtime with an array of falling stars and cosmic dust. However, this time there is no overwhelming solo to power the comedown. Casino intermittently coos in the background while droning horns keep the auxiliary pixie haze from evaporating. As they showed on In C and La Novia, AMT are more than adept at creating calmer storms-- listeners just have to catch them in the right light. Mantra of Love doesn't necessarily capture the most inspired moments in their canon but as usual with this band's records, it's rarely at a loss for moments of horror or grandeur.”

Acid Mothers Temple & The Melting Paraiso U.F.O. : Cotton Casino - Vocal, Beer & Cigarettes - Tsuyama Atsushi - Monster Bass, Vocal, Cosmic Joker - Higashi Hiroshi - Synthesizer, Dancin' King - Koizumi Hajime - Drums, Percussion, Sleeping Monk - Kawabata Makoto - Guitar, Bouzouki, Electric Sitar, Violin, Hammond Organ, Speed Guru

DJ Marky, Makoto & Nookie reboot Adam F’s revisited rework of 1997 hit, ‘Music In My Mind’

Adam F enlists jungle royalty to modernise his 1997 track, ‘Music In My Mind’, from his anticipated forthcoming rework album, ‘Colours Revisited’

Legendary drum ‘n’ bass producer Adam F announces the ‘Music In My Mind Revisited Reboots’ EP, out digitally on 20th September via 181 Recordings, featuring reworks of his acclaimed 1997 track by DJ Marky & Makoto and Nookie.

Further launching this underground dance classic into new dimensions is Brazil’s DJ Marky and expertly selected Japanese producer Makoto. Together, they effortlessly bring the jazz-infused track to the attention of today’s ravers with re-jigged, amplified drums. Certified 90s jungle veteran Nookie goes more liquid with his version, heightening the vibes and setting the scene with immense violin strings.

‘Music In My Mind’ was originally featured on Adam F’s 1997 album, ‘Colours’. Now, as part of the Liverpool-born producer’s much-anticipated ‘Colours Revisited’ album, out in 2025, the jazzy, vocoder-loaded track inspired by Bob James, Lalo Schifrin and Chick Corea, has been given a modern reshape. 

“‘Music In My Mind’ speaks to the power of music to transport, heal, and uplift our spirits,” says Adam F. “This song resonates with those who find solace and freedom in the melodies and rhythms that exist in their own minds and bring back memories of a time when I felt an overwhelming connection to music.”

“This song holds a special place in my heart, and I believe it carries a deeper meaning that resonates with anyone who can relate to finding consolation and liberation in the power of music.”

There’s no better time to keep an eye on Adam F, as he uncovers yet more gold from his elegant and timeless back catalogue. Adam F is as fertile and contemporary as ever with more new production ready to launch unto the legions of listeners hungry for great music as his creativity flows brighter than ever.

Santa Maria Electronics is a new label born in Italy. In the first EP, Giulio Gastaldello, the mind behind the project, tried to best express the key concepts of the label: eclecBcism, alchemy and freedom. These elements are not only present in the musical production, but can be also found in the party series by Santa Maria. The desire to merge various genres of electronic music to achieve a new sonic experience is a formula that has been happily welcomed.
We firmly believe that an artist's vision should always be as broad as possible, and this is why in our future releases, as in this one, we will consistently try to push ourself into having an open mind in order to achieve the best outcome for the listeners, besides the genre.
In more depth, side A of this Ep is opened by a DnB pitched down beat combined with an ethereal techno pad. A2 is instead a fusion of house and trancy elements.
Side B1 track, ‘Collapse’, consists of 2 basslines, synth lines, pads and stabs that come and go for the whole length of the track. B2, by contrast, is a more clubber tune with acid elements, groovy kick-sub combination and a catchy vocal.

2024 Repress

at mule musiq, we've focused on shining light on the many aspects of what electronic music can be, putting out house, techno and ambient releases on our main label, while releasing alternative-leaning dance music through our endless flight imprint. but with the launch of our new label, studio mule, we are stepping away from electronic club music for a bit. the label will not be tied to a specific genre, as we will instead focus on releasing any kind of music that we feel is a little bit different and interesting, but somehow make sense in this day and age. for our first batch of releases, we will be focusing on japanese music.
to be honest, i have been watching the recent rise of global interest in japanese music with a skeptical eye, not sure of how to feel about all these labels overseas licensing great albums that were birthed in our country. but then, i was told by somebody i greatly respect that i should do something similar with mule, and put our own spin on it, which sounded like a good idea to me. after a period of procrastination, i finally got around to doing it. we are starting things off with a compilation of japanese disco, boogie and soul music that we selected from a modern dance music perspective — the kind of songs that we feel would intrigue music fans across the world.
at first, i started seeking authentic-sounding disco that sound like it could have been recorded in the states, but after struggling to get licensing rights for many of those tracks, i started to wonder if that was really the direction we should be going in. when we start new labels or projects, we often come up with the title or artwork first, before deciding on the actual music. we came up with the title midnight in tokyo first, which dictated that we needed to find music that would be a perfect soundtrack to listen to at night in tokyo. we ended up compiling a selection of tracks that you could both listen to at home, and play in clubs at certain time slots. the compilation also ended up sounding a lot more pop than we initially imagined...
during the selection process, we did not care whether the tracks have been reissued already or not, and how rare the original copies of the records were. our sole purpose was to gather a handful of songs from across labels, major or otherwise, that we felt could be listened to for many years to come — even after this whole japanese music trend dies down. although we put together this release mainly for listeners outside of japan, the compilation can also be a chance for japanese music lovers to rediscover the greatness of domestic music, as we did during the process.
the compilation starts off with the afro disco classic 'mi mi africa' by harmonica player nobuo yagi, which was also included in the compilation mastercuts.
'silver top' is a jazzy fusion disco taken from composer, arranger and multi-instrumentalist nobuyuki shimizu's first album, which he released when he was 19. the track features singer epo, whom he worked with many times over the years as an arranger.
'samba night' is by vocalist keisuke yamamoto and his band piper, from their masterpiece second album summer breeze. a delightful city pop number that should appeal to tatsuro yamashita fans.
'akogareno sundown' is a japanese soul classic, sang by singer haruko kuwana (the sister of well-known musi-cian masahiro kuwana). recorded in hawaii and produced by mackey feary band, known for the soulful classic 'a million stars.'
'koiwa saiko (i'm in love)' is a mellow and groovy track by singer aru takamura, the great-grandchild of sculptor kouun takamura, whose son kotaro takamura is a famed poet and sculptor. can be thought of as japan's answer to cheryl lynn's 'got to be real.'
'what the magic is to try' is a cult electropop track by honma express, a project helmed by producer kanji honma. hailed as japan's trevor horn, he is also known as the producer of legendary techno pop band tpo.
'colored music' is a song by colored music, a duo of pianist ichiko hashimoto and her partner atsuo fujimoto, who have gone on tour with ymo. taken from colored music's sole album, the japanese rare groove treasure is a mesh of new wave, synth pop and jazz influences.
the dubby electronic new wave disco 'electric city' is a b side of pop idol group shohjo-tai's debut 12' single, but the girls aren't actually singing on it, making the instrumental one of japan's greatest '80s dance tracks.
'love is the competition' is a breezy disco jam by okinawa-born bilingual artist hitomi tohyama. featured on her album next door, the song's melody seems like an interpolation of the whispers' 'it's a love thing.'
taken from mariah project's diva yumi murata's first album, 'krishna' is a funky and soulful rockin' disco cut.reminiscent of chaka khan's 'i know you, i live you,' 'live hard, live free' is a song by jazz vocalist eri ohno who is known for her work with dj krush and singing on the soundtrack to anime rupin the third.
'rocket 88' is a melancholic disco number by singer minnie. though the track was released through sapporo's independent label paradise records, the superb production quality suggests otherwise.
closing out the 13-track compilation is japanese disco staple 'tokyo melody,' sang by half african and half swedish american singer shoody and backed by tetsuji hayashi's disco band the eastern gang.

Eighties jazzfunk with electronic edge - TIP!

Rare 1985 session from guitarist Eddie Fisher, the East St. Louis native whose best known for the jazz/funk albums “The Next One Hundred Years” and “The Third Cup”. Fisher, who died in 2007, never really achieved major stardom, but has become a cult figure over the last years, thanks in large part to DJs and crate diggers who discovered his music and spread the word.

Perhaps the most obscure item in his catalog, “The Promise” was issued only on vinyl in 1985 on Fisher's own Nentu label and has been out of print for years . Boogie Jazz Funk at its best.

lim. to 200 180Gr Vinyl!

Schnieke is rich and fruitful, yet carries a sadness within. A 5-string violin charts its melodious journey from Istanbul to Belin, accompanied by electronics, breakbeats, live drums and percussions. An authentic oriental funky mood keeps you in a trance or gets your body moving tribally…

This is Schnieke, a.k.a. Özgür Akgül, with his first studio album Hediye, or Gift. The album is intended as a gift to Özgür's grandmother, Hadiye, who was very important to him and to whom he dedicates a song. But his debut album will also come as a gift to anyone interested in how a sophisticated musical sensibility brings together electronic elements with stringed instruments of all kinds. Özgür plays the violins himself, as well as the analogue synths and drum machines. Guest musicians include Hasan Gözetlik (trumpet and trombone), Göksun Çavdar (saxophone), Korhan Erol (electric guitar and bass), Burhan Hasdemir and Baris Güney (live percussion), Zafer Tunç Resuloglu (live drums), John Gürtler (church organ) and the Istanbul Strings, Turkey’s most vibrant string ensemble.

Their diverse influences create a wide emotional range on Hediye - sometimes dark and melancholic, sometimes wild, groovy and danceable, somewhere between jazz, dub and electro, each song surprising in its own way. Despite the variety of the individual songs, a captivating pulse runs like a thread through Schnieke's first album. Incidentally, Özgür came up with the band name during a night out in a bar, when a friend explained to him what Berlin slang he absolutely had to know. He liked the sound of the word ‘schnieke’ – it means something approximating ‘snazzy’ - and perhaps he secretly also wanted to flatter himself a little! Well, shouldn't we all do that much more often?

Hediye consists of eight tracks, three of which are traditional: Aman Doktor comes from Istanbul, Özgür's birthplace, and is a homage to his own origins. Kadioglu comes from the Aegean region and features the zeybek dance form which, despite its ‘standardisation’ in recent times, still summons up the ecstasy, inspired improvisation and musical finesse of its historical roots. The other five tracks are Özgür's own compositions, with Pasali providing the soundtrack for the 2010 Turkish feature film Memleket Meselesi. Creating compositions for film has been Özgür’s primary passion since his time as a student at the Filmakademie Baden-Württemberg. You can hear that in his music, because on his debut album Özgür does completely without vocal support, the instrumental depth stands for itself, and, in the style of The Cinematic Orchestra, space is created for us to develop our own images while listening – it is a soundtrack for the film we want to make of it.