Search:inna

2024 repress and recut inna green transparent plate.

Excellent acid mental tribe EP from Winprod. A loud sick mental sound, full of good evolutions and uncomon efficient kicks. B side long tune kicks a 168 BPM, and on A side you get a 187 and a 177 BPM tunes.

Stock Found / Direct from the Label

Woody mc Bride is back with ARU and some french and spannish artists inna Acid Techno preformance... Notice Floxytek changed his name into a "Logic Oscar" for this particular Acidtek projekt.

Irlam's infamous upstarts DJ Absolutely Shit are at it again with four more tracks to rattle yer spines and rupture yer spleens.
Utilizing the classic approach of sourcing a sick sample, adding a rugged breakbeat, then tweaking out the buzz for maximum enjoyment, the pair deliver an explosive EP of global hypercoloured mayhem that burns hotter than an oz of 'Ells Angels sputnik.

'Bridge To Your Heart' grabs Sade by the hand, shoves two purple doves down her throat and queue-jumps to the front of Bowlers for an endorphin-rushing hardcore workout full of modern beat engineering and sample manipulation.

Switching approach, 'Bolivia' shuns the dreamy feminism for an altogether more masculine affair - roping in the Wu for an argy-bargy, elbows-out speaker shaker full of hi-definition laser stabs and destructive, land mine subs.

Hitting the accelerator, 'Rocking You Eternally' traverses the jungle boarders in a blacked out Nova, Ab Shit's flair and panache at drum programming and contemporary production chops beautifully on show throughout this big system roller with a carp-hunting vocal hook.

'Gong' closes off proceedings, merging moods inna more seductive flavour. E-soaked pianos and a gentle throb coaxing us to that end-of-night climax that'll have us humming the piano line all the way down the M65 home.

No jokes cru, this is some of the best tackle to emerge outta the DJ Absolutely Shit studio to date. One of two, vinyl-only EPs and ahead of their debut album that follows on C90 tape.

Boing boing boing, boing boing boing, boing boing!!

nit is the genius underdog of the current French chanson scene. After playing along with Sébastien Tellier or Juliette Armanet (a huge success in France), after remixing Phoenix, Myd, Dita Von Teese, Cola Boyy, Tony Allen or Jane Birkin, here he comes with his debut album. The balearic sound is always a big nit influence, feel good electronics & lush acoustic chords.

Spotted by French label Record Makers (Sébastien Tellier, Kavinsky, AIR, Cola Boyy) with his 2017 “Dessous de plage” first EP, nit has since grown from funky DIY library music to a lush and complex groovy sound. The magic of this debut album “Big Bang Puzzle” is a keen sense of composition and an innate affinity for 90’s European electronica.
It’s a playful album, the work of an artist at the peak of his craft, determined to twist styles and references (Daft Punk, Ennio Morricone, Robert Miles, Vangelis...) in order to give them a new form.

“Big Bang Puzzle” is a tangle of psychedelic and cartoon-esque pieces, an abstract modernist painting of sounds inspired by vintage pop music. The cover, created by Swiss artist Flora Mottini, offers a first glimpse of his brand new universe.

But it’s also by collaborating with French iconic design studio H5 that nit suddenly enters the French Touch genealogy. nit takes the shape of an n that grows legs and arms to become a cheeky cartoon character traveling through a real space-time continuum. Parisian H5 studio has been involved since the end of the ‘90s in the design of strong visual concepts for French Touch’s elite (Etienne de Crécy, AIR, Mirwais). French music at its best from which nit is a direct descendant. And one who expands and opens even further: pop, italo-disco, trip-hop impulses, Morriconian cavalcades, lo-fi aesthetics, Caribbean music. Producer and mixer Lucien Krampf (Oklou, Ascendant Vierge, Casual Gabberz, CRYSTALLMESS) was the person in charge of mixing this ambitious record.

nit is both a question and an answer, and a musical enigma that pushes us to explore the far reaches of our imagination…

Take a trip to Jamaïca with this selection of the finest tunes played by the masters of Reggae. A nice 5 LP vinyl boxsett with Bob Marley, Lee " Scratch " Perry, Max Romeo, Black Uhuru....

sentiment is a meditation of the poignant emotional terrains of loneliness, nostalgia, sentimentality, guilt, and sex. The album"s narrative arc is guided by delicate musical gestures and artistic vulnerability, audaciously synthesizing disparate and unexpected influences. claire rousay is a singular artist, known for challenging conventions in experimental and ambient music forms. rousay masterfully incorporates textural found sounds, sumptuous drones and candid field recordings into music that celebrates the beauty in life"s banalities. Her music is curatorial and granular in detail, deftly shaped into emotionally affecting pieces. rousay"s vocals and guitar take center stage on sentiment. Her intimate, diaristic lyrics contrast with her mechanical-inflected vocal effects, emphasizing a powerful desire for connection, a deep yearning and a lingering sense of separation. The spare guitar playing and laconic tempo both drive the songs and exude a sense of resignation. Her delicate mastery of nuance draws on her explorative musical past that she, with sincerity and admiration, seamlessly interweaves into her adventurous textures and distinctive compositions. "I want to belong to the worlds and communities I look up to. Same as someone using a Fender guitar or dressing like Kurt Cobain. Emulate your heroes," says rousay. The album balances the poetic soul of her influences with a documentarian heart, rousay capturing moments of her life while living alone in houses across the country, learning to play guitar, and reconnecting with pop music. Her innate ability to conjure pure feeling from sound derives from her delightful embrace of pop forms, the vulnerability found in field recordings, minimalistic arrangements and innovative sound choices. sentiment is blissfully, achingly melancholic, and an undeniably sensual listening experience.

sentiment is a meditation of the poignant emotional terrains of loneliness, nostalgia, sentimentality, guilt, and sex. The album"s narrative arc is guided by delicate musical gestures and artistic vulnerability, audaciously synthesizing disparate and unexpected influences. claire rousay is a singular artist, known for challenging conventions in experimental and ambient music forms. rousay masterfully incorporates textural found sounds, sumptuous drones and candid field recordings into music that celebrates the beauty in life"s banalities. Her music is curatorial and granular in detail, deftly shaped into emotionally affecting pieces. rousay"s vocals and guitar take center stage on sentiment. Her intimate, diaristic lyrics contrast with her mechanical-inflected vocal effects, emphasizing a powerful desire for connection, a deep yearning and a lingering sense of separation. The spare guitar playing and laconic tempo both drive the songs and exude a sense of resignation. Her delicate mastery of nuance draws on her explorative musical past that she, with sincerity and admiration, seamlessly interweaves into her adventurous textures and distinctive compositions. "I want to belong to the worlds and communities I look up to. Same as someone using a Fender guitar or dressing like Kurt Cobain. Emulate your heroes," says rousay. The album balances the poetic soul of her influences with a documentarian heart, rousay capturing moments of her life while living alone in houses across the country, learning to play guitar, and reconnecting with pop music. Her innate ability to conjure pure feeling from sound derives from her delightful embrace of pop forms, the vulnerability found in field recordings, minimalistic arrangements and innovative sound choices. sentiment is blissfully, achingly melancholic, and an undeniably sensual listening experience.

Next on deck, straight from Producer Dan Ubick’s Lions Den Studio, comes two more re-imagined soul classics from Los Angeles’ own Night Owls. First up, we have soul phenom Eli “Paperboy” Reed taking on Ray Charles’ classic “You Don’t Know Me” and Rocksteady champions Jr. Thomas & The Volcanos, laying their beautiful soul harmonies to Eddie Kendricks’ timeless “If You Let Me.”

For Side A’s “You Don’t Know Me,” Ubick had a tough assignment - find someone who could bring his own innate soulfulness to a song sung by “The Genius” in his prime. The answer came from Massachusetts-bred Eli “Paperboy” Reed, who moved to Clarksdale, Mississippi at 18 to cut his teeth singing in juke joints all over the Delta. Then, moving on to spend a year as minister of music at Chicago’s Southside church of Soul legend Mitty Collier (Chess Records) and relocating back to the East Coast to record for Capitol Records, Warner Brothers, Colemine Records, and now Yep Roc, Dan had found his man. On “You Don’t Know Me,” Reed’s voice ranges from belted lows to soulful highs that perfectly sets the stage for this more upbeat and Roots Reggae-infused rendition. With a tip of the hat to Jamaican legend and producer Bunny “Striker” Lee, Night Owls take Charles’ classic soul and R&B standard to new territory. But that’s not all; Ubick also brought in Staten Island’s crown jewel, Eamon Doyle, who meticulously laid in all the vocal harmonies, faithful to Ray’s original. On Side B is Eddie Kendricks’ “If You Let Me” feat. Jr Thomas & The Volcanos (Colemine Records), re-done here with a nod to another legendary Jamaican singer, songwriter, and music producer, The Techniques’ own Winston Riley (Johnny Osbourne, Dave & Ansel Collins, Hortense Ellis, etc.). Originally debuted on Eddie Kendricks’ post-Temptations 1972 masterpiece People…Hold On (Tamla/Motown), Night Owls create a decidedly more moody and dubbed-out tone here, laying into a bass-heavy one-drop feel that perfectly sets the stage for Jr Thomas’ soulful lead and Volcanos members Alex Desért (Hepcat, The Lions) & John Butcher’s (The Expanders) spot on backing harmonies. While keeping much of the original harmonic language, Night Owls bring this much-loved classic to new heights, primed for the dance floor. It’s hard not to sway your hip and groove to this one!

Another step in setting his own musical imprint, after that he will be quoted as an influence
by a new generation of aspiring producers.

Das 25. Album von Giant Sand, das sie im 25.Jahr in ihrer Karriere aufgenommen haben, ist eine großartige und viel gefeierte Sammlung von perfekt ausgearbeiteten, persönlichen Songs von Howe Gelb. Mit Ausnahme von ein oder zwei wunderbar abrupten und perfekt platzierten Ausbrüchen ist es eine sanfte Achterbahnfahrt durch das innere Nachdenken über das Warum und Wozu von was auch immer, eine Meditation über Zeit und den Alterungsprozess.Howe Gelb erklärt zu dieser Platte: "Auf dieser LP zeige ich eine erworbene Wertschätzung für einfache Lyrik. Manchmal ist es eine Art Haiku, wie Flamenco-Verse oder der Blues. Ich kann mich mehr konzentrieren, da es offensichtlich ist, dass nur noch so viel Zeit übrig ist - das hat einen ganz eigenen Produktionswert."Diese Wiederveröffentlichung unterstreicht die eklektische und esoterische Karriere der Band und feiert ihre großartige, lange und kurvenreiche Laufbahn. Diese Deluxe-Wiederveröffentlichung enthält ein restauriertes Artwork und neu verfasste Liner Notes von Dave Henderson von MOJO.Giant Sand sind das wichtigste Ventil für die stilistischen Biegungen und die sonnengeschädigte Songkunst des Sängers und Songwriters Howe Gelb gewesen. In mehr als vier Jahrzehnten ist es ihm gelungen, Rock, Country, Blues, Punk, Garage, Lo-Fi, Jazz, Gospel, Avantgarde-Noise und Flamenco-Gypsy-Musik mit seinen impressionistischen Bildern und weitreichenden Beobachtungen der Welt neu zu erfinden. "An album full of heart, soul, and wit, this music confirms that no one does quite what Howe Gelb can do with such remarkably innate grace and feel" AllMusic Klassisch schwarzes Vinyl, original Coverart, Linernotes & DLC!

New material from The Disciples (UK). Very killer new roots dubs. TIP!

" Brand new hit from the UK’s greatest dubmaster Russ Disciples as a first release on Seafront International… Produced & mixed at the Backroom studio inna original 90’s style ‘n fashion. Three release-exclusive mixes on a crisp 10” for your musical pleasure.:"

"Jolifanto" takes its name from the first verse of "Karawane", a seminal Dadaist phonetic poem by Hugo Ball. When Ball first recited it in 1916 at the Cabaret Voltaire, both the author and the audience embraced a trance that left Ball exhausted, requiring assistance off the stage as the audience claimed the spotlight.

Over a century later, by a series of fortuitous events, "Jolifanto" is also the title of an album featuring two powerful musical entities. Artists stemming from diverse backgrounds converge with a shared experimental spirit, curiosity and passion for exploration in their music.

"Jolifanto" is an unexpected explosion propelled by (poly)rhythm, expanding into seemingly distant territories under the influence of flamenco. The Dadaist spirit permeates the work, where a constant tension between the improvised and the meticulously planned is evident. ZA! and Perrate together form an organism traveling from the roots to the rave, with nothing sounding out of place because the place is yet to be defined.

Perrate witnessed ZA!'s concert in a festival he attended as part of the audience. The Catalans surprised him with a proposal that he found radical and unclassifiable. Later, after being invited to prepare a collaboration for the Música y Museos season in Seville, Perrate decided to move off the beaten path, approaching ZA!, who quickly embraced the proposal. Exchanges of ideas and audio tracks ensued in a short time and they quickly  found out that they were in the same wavelength. A week before the concert, they met in the same physical space for the first time, dedicating a couple of days to composition and preparing the gig at La Mina Studios in Seville. The concert took place, hailed as "the best concert most attendees had experienced in a long time", as reported by the Diario de Sevilla. That energy needed to be captured, and so it was, at the Happy Place studio in Seville, where the album was recorded between March 6th and 9th, 2023.

The Catalan duo ZA!, "the duo that mash up terrace-chant mayhem with... everything else" (The Wire #384), has operated independently and self-managed since their inception in 2004. They overlap genres and amalgamate sounds that move, with intensity, between wild jazz, post-rock and avant-garde electronics, among other influences. In their acclaimed latest work, they have revived the Phoenician language, exploring Mediterranean sounds alongside MegaCobla and Tarta Relena.

Perrate, active since the late 90s, explores the outer edges of flamenco without forsaking its profound essence rooted in lineage and tradition, evident in every note of his voice. His latest work, "Tres golpes" (Lovemonk/El Volcán, 2022), named flamenco album of the year by Babelia/El País, and one of the albums of the year for BBC3's Late Junction, reflects an innate curiosity, possibly the seed of all the fortuitous events leading to this album.

The encounter between Perrate and ZA! is the result of serendipitous events interwoven with the narrative of artists dedicated to experimentation and radicalism in all its forms.

Hold Time is M. Ward's amazing follow-up to 2006's brilliant Post-War.Available on CD and LP, Hold Time is an eloquent and startlingly beautiful album. While past critics have compared him to everyone from John Fahey to Tom Waits to his old friend Howe Gelb, with Hold Time it's clear that M. Ward, with his brilliant guitar playing and innate sense of melody, is one of those rare and special talents who defy comparisons and compartmentalization.

2024 Repress

From an avid record collector in his home of Brazil to an artist now championing an undisputable position in the upper echelon of D&B's global hierarchy, DJ Marky's 'The Time Is Right' LP sees one of underground music's biggest success stories serve up an incredibly significant album that represents his unwavering passion for both drum and bass culture and his own growth as an artist.

19 years on from the release of his debut album ‘In Rotation’ with XRS, the internationally revered DJ, producer, and label head has found a home for this greatly-awaited album on Shogun Audio, traversing an extensive and beguiling selection of sonic soundscapes across fifteen of the most refined tracks that you'll hear this year.

Capturing both his signature sound and pristine personality in an energetic, bubbly, and vibrant amalgamation of soon-to-be drum and bass anthems, 'The Time Is Right' is an immaculate 175BPM fuelled offering that celebrates one of the scene's most passionate, charismatic, and loved mainstays of the past two decades.

Teaming up with a selection of hugely talented collaborators, including the likes of Pola & Bryson, MC GQ, Makoto, Charli Brix, SOLAH, and many more, 'The Time Is Right' sees DJ Marky serve up a heartfelt, vigorous, and personal sonic journey that undoubtedly presents his most meaningful and complete body of work to date.

As a love letter to his peers, fans, collaborators, and the D&B scene as a whole, this latest album from one of D&B's biggest icons captures the brilliance of his innate ability to intertwine different cultures and music in a mesmerisingly effortless manner.

Through the deeply-personal and emotive feels of 'Colours Of My Mind ft. Pola & Bryson', future anthems such as 'Natural Feeling ft. Charli Brix & Alibi' and 'Back & Forth ft. Melinki, D'Cypher, Harry Shotta & GQ', certified club hits like 'Wrong Hands ft. L-Side, and many other gems embedded throughout the album, DJ Marky further cements his reputation as one of the most unique, talented, and iconic artists to ever grace the drum and bass scene.

Dire Straits never made a big to-do about its final run. In classic understated British fashion, the band simply let its music speak for itself. And how. Originally released in September 1991, On Every Street became the group's swan song – a lasting testament to the influence, musicianship, and integrity of an ensemble whose merit has never been tainted by cash-grab reunions or farewell treks. It remains an essential part of the Dire Straits catalog and a blueprint of the distinctive U.K. roots rock the collective played for its 15-year career.

Sourced from the original master tapes, housed in gatefold packaging, and pressed at RTI, Mobile Fidelity's 180g 45RPM 2LP set of On Every Street presents the album like it has always been meant to be experienced: in reference-grade audiophile sound. Recorded at AIR Studios in London and produced by Dire Straits leader Mark Knopfler, it features all of the band's sonic hallmarks – wide instrumental separation, visceral textures, seemingly limitless air, broad soundstages, atmospherics that you can almost reach out and feel. Each element is made more vibrant, physical, and lifelike on this collectible reissue, which marks the first time this 60-minute work has been available at 45RPM speed.

Afforded generous groove space and black backgrounds, the songs from On Every Street burst with nuanced details and vibrant colors. Dire Straits' playing appears to float, their intricate performances organized amid hypnotic, fluid, three-dimensional arrangements. Mobile Fidelity's definitive-sounding set also brings into transparent view Knopfler's finely sculpted guitar lines, expressive tones, and laid-back vocals – as well as the balanced accompaniment from his band mates. Here's a record on which you can hear the full blossom and decay of individual notes, and imagine the size and shape of the studio. It is in every regard a demonstration disc. And it happens to be filled with timeless fare.

Remarkably, On Every Street almost never came to light. Dire Straits initially dissolved in September 1988 after touring behind its blockbuster Brothers in Arms and suffering the departure of two members. At the time, Knopfler professed his desire to work on solo material; bassist John Illsley also explored side projects. But Knopfler's decision in 1989 to form the country-leaning Notting Hillbillies reignited a spark to reconvene his primary band and craft a fresh batch of songs. Six years removed from Brothers in Arms, Knopfler, Illsley, keyboardist Alan Clark, and keyboardist Guy Fletcher teamed with A-list session pros – steel guitarist Paul Franklin, percussionist Danny Cummings, saxophonist Chris White, guitarist Phil Palmer included – to create what still stands as an unforgettable farewell.

The platinum record brings the band full circle in that it returns Dire Straits to a quartet formation; finds the group refreshingly out of step with the era's prevailing trends; and sees Knopfler and Co. knocking out song after song with the deceptive ease of a punter tossing back a pint at a pub. That subtle cool, clever poise, and innate control – signature traits that no other band ever matched – dominate On Every Street. Knopfler's clean, virtuosic six-string escapades unfurl with dizzying melodicism and economical efficiency. Led by his winding fills and focused solos, Dire Straits traverse a hybrid landscape of rock, jazz, country, boogie, blues, and pop strains with near-faultless prowess.

More than any other entry in the group's oeuvre, On Every Street welcomes quick detours down back alleys and into the depths of human souls. What makes it more brilliant is its staunch refusal to cater to commercial expectations or take advantage of prior successes; every passage feels true, every measure echoed in the service of song. It's evident in the humorous satire of "Heavy Fuel," closeted desperation of the witty "Calling Elvis," and shake-and-bake bounce of "The Bug." It pours from the album's darker corners, as on the high-and-lonesome melancholy of the title track and bruised emotionalism of "When It Comes to You."

Hinting at the open-minded approaches and boundless curiosity he'd embrace as a solo artist, Knopfler doesn't limit himself when it comes to style or subject matter. Look no further than "You and Your Friend," a shuffle whose all-inclusive lyrics encourage an array of interpretative meanings. Another of the album's deep cuts, "Iron Hand," comes on as one of the band's most memorable moments – the narrative addressing the abuses of power at the 1984 Battle of Orgreave during the U.K. miners' strike. Given cinematic heft by the expert production, the true-fiction account puts into perspective the richness, poetry, and depth of On Every Street.

"Every victory has a taste that's bittersweet," sings Knopfler on the title track. At least that bittersweetness seldom sounded so damn good on record.

The Second House Crew Box Set contains a full set of absolute classics. Including the enormous hits "Euphoria (Ninos Dream) and "Super Hero" alongside epic remixes from The Criminal Minds, Nookie, Isotonik and three brand new House Crew tracks, this box set is an essential for every old skool and jungle vinyl addict!

More Than Ten Years Since He First Emerged On Skull Disco, Appleblim Presents His Debut Album. The Label He Co-founded With Shackleton Was The First The World Heard Of His Productions, But Laurie Osborne's Innate Relationship With Electronic Music Culture Reaches Back Much Further Than Those Groundbreaking Early Days Of Dubstep. Early Days Spent Soaking Up Hardcore, Jungle, Techno And Plenty More Besides Were Fundamental Foundations From Which To Spring Into The Then-unknown Realms Of Sub-low Half-step Club Music. At That Time Fwd>> And Dmz Were The Church For This Ritualistic Sound, And Appleblim Was A Regular Fixture At Both.

As Dubstep Matured, Magnified, Mutated And Meandered, So Appleblim Moved Beyond Skull Disco To Explore Different Avenues Of Expression In The New Many- Layered Club Music Landscape. His Own Apple Pips Imprint Was A Natural Vessel On Which To Explore The Emergent Fusions Of Hardcore-derived Sounds And The Us-born House, Techno And Electro, While Labels Such As Aus Music Equally Provided A Home For His Work (often Alongside Komonazmuk). Meanwhile Long-standing Collaborations With Alec Storey (al Tourettes / Second Storey) Finally Manifested In The Hyper-modern Mind-twist Of Also, Captured As An Album On Legendary Rave Label R&s.

More Recently It's Been Possible To Hear Appleblim Delve Into Electro-acoustic And Ambient Production Alongside Bassweight Sounds On Tempa, One Of The Original Bastions Of Dubstep Culture. As The Existing Boundaries Between Genres, Cultures, Eras And Scenes Continue To Dissolve, On His Debut Album Appleblim Offers Up A Fresh Approach That Brings Some Of The Foundational Sound Ethics Of Rave Culture Into A Modern Framework.

Hardcore Breaks Are Still A Regular Sound Source In Contemporary Club Tracks, But On Life In A Laser It's Instantly Apparent That Appleblim Has Moved Beyond Choosing Popular Drum Samples To Truly Tap Into The Elusive Feeling Engendered By The Music Of The Era. It's A Tricky Feat To Manage, But In The Pie-eyed Chords Of ignite', The Subby 808 Tom Basslines On nci' Or The Mr. Fingers Synth Flex On manta Key' The Sonic Finish Sports The Same Understated Grit And Grime That Made Those Early Records So Timeless. There's Still Space For Modernism, Not Least On Snaking 2-step Killer i Think We'll Let The Gas Sort This One Out', But It's Offset By A Layer Of Dust, Not To Mention An Inherent Moodiness That Can't Be Faked.

This Fine Balance Of Rave Romanticism And Future-minded Approaches Binds Together In A Cohesive Conceptual Statement. First And Foremost It's Appleblim's Personal Reflection On The Music That Has Moved Him On Countless Dancefloors Since His First Flirtations With Soundsystem Culture. At The Same Time The Canny Influx Of Modern Ideas Into The Soundworld Of The 90s Genuinely Results In A New Proposition, Making For A Perfect Fit On The Modern-day 'ardcore Fetishists Label Of Choice, Sneaker Social Club. Many May Claim To Draw On Old-skool Influences In Their Modern Trax, But Take One Listen To flows From Within' And You'll Feel The Same Time-slipping Surge Of Future-shock As The Ravers At Lost, Dreamscape, The Dungeons, Clink Street, Blue Note And All Those Other Iconic Spots.

The Total Space sees Boa Morte edge deeper into the woods of ambient, drone and synthesised sound with little to guide them but their innate melodic compass and instinct for unorthodox song. Daniel Presley, the perma-nomadic Texan producer, flew in to safeguard the Boa Morte fundamentals: emotive yet unsentimental vocals; a disquieting ease with space and silence; percussive interventions on drum-shell, tom-rim and cymbal-cup; an aversion to rhythm guitar; harmonies that add rather than dilute personality, and a bloody-minded patience when it comes to pacing.

Straddling the elusive boundary between the corporeal and the transcendent, Montreal-based psych-pop band Elephant Stone has cemented its reputation as a band deeply invested in probing the contours of dreams and consciousness. Over a 14-year odyssey, their sonic tapestry has evolved into a rich and intricate form of art, capable of capturing the boundless terrain of human emotion and cognition. Set for release on February 23rd 2024, their upcoming album, ‘Back Into the Dream’, serves as the ultimate culmination of this musical evolution, offering listeners an entrancing passage through realms of introspection and wonder. The band's driving force, Rishi Dhir, has an innate ability to bare his soul through music, plumbing the depths of his vulnerabilities and musings. "I'm often caught in the web of intense, recurring dreams, which I think reflect my ongoing quest for identity and a sense of belonging," Rishi divulges. Centred on the enigma of dreams—whether they're subconscious murmurings or portals to parallel universes—’Back Into the Dream’ encapsulates the eternal cycle of waking and dreaming. “We're perpetually oscillating between two realms, trying to comprehend each," says Rishi. "If our music can serve as a bridge between these worlds, then we've accomplished our mission

Felix Machtelinckx is a singer, composer, producer and lyricist from Belgium. Featuring an array of film scores, dance soundtracks, pop, folk and electronic music, Felix's music resonates with a familiar, almost nostalgic patina, applied with a distinctly crooked touch. Through artistic collaboration, coaching and production, Felix has cut a dash in the pop and indie cult scenes of Belgium, especially with his band Tin Fingers, who are feted as one of the most promising indie acts of the moment. Night Scenes, Felix’s solo debut is, in contrast to his other work, more humble and less traditional, roughly hewn from a series of ambient soundscapes, earthy textures and playful structures. Felix’s voice, normally the flagship of his music, becomes more of a distant memory, an indistinct emotion feathered throughout the music. Many lyrics are improvised, sometimes unintelligible, conjuring haunted, uncertain undertones. Similarly, the album is innately peripatetic to the core, being created, written and recorded in Lithuania, Belgium, France, mastered in the US, and finally released in the UK. In the first instance, some of the tracks were created for the contemporary dance piece Doggy Rugburn by Brandon Lagaert of Kaiho and Peeping Tom; others were created enigmatically for a film that never surfaced; while the remainder are the product of more personal work and research. As Felix began to collect and review these disparate parts, the concept of a unified album began to evolve. With 'night' featuring as a suitably dark leitmotif, or backdrop to a series of emotionally fraught 'scenes', each track depicts a form of trauma, locked within the confines of the mind. Felix observes: "Imagine yourself in a dusty old room unable to sleep. Emotions, fears and other demons haunt your mind. This in-between state makes your mind reach for other worlds. This is Night Scenes." For the most part, Night Scenes was created using a variety of old, and rare, analogue equipment. With almost no digital editing, the record was primarily mixed through a vintage cassette desk, giving it a nostalgic character with a noisy undertone. Felix fully embraced the synergy of his emotional themes and retrograde gear, enthusing: "A lot of textures were created on an old Soviet synthesizer that causes a blackout when you hit the lowest note on the keyboard. The dysfunctionality of the synths was often used to create rhythm and texture." This unnerving ability Night Scenes has to comfort and confound the listener is summed up by Jordan Hudson, House Of Media producer, and music podcaster, when he concludes: "Some songs on the album have this sort of fleeting comfort and tonality, which dissolves into a subtle rhythmic/structural or modulated disarray the moment I settle into them - this really fits with my experience of the night .. This record is a winner, and will be something I'll listen to a lot from here on

Post-War: the fifth M. Ward album. Its songs unravel their world-wearied tales of life, love, and human kindness with an innate and special grace, helped in part by the very talented friends who join him on this record, such as Neko Case and Mike Mogis, as well as old Monsters of Folk touring buddy Jim James (My Morning Jacket

Consisting of 12 stunning tracks, A Wasteland Companion was made with 18 musicians and recorded in eight different studios in Portland, Omaha, New York City, Los Angeles, Austin and Bristol (UK). Ward's honey-soaked vocals, deft finger-picking, innate sense of melody and beguiling lyrics have already cemented his reputation as one of America's true musical treasures and A Wasteland Companion features some of the finest songwriting and most striking delivery of his career. With each and every recording Ward finds new ways to make the colors of his songwriting palate sparkle and his dexterous skills as producer, arranger, guitarist and singer seem to burst into even brighter bloom on each release.

Post-War: the fifth M. Ward album. Its songs unravel their world-wearied tales of life, love, and human kindness with an innate and special grace, helped in part by the very talented friends who join him on this record, such as Neko Case and Mike Mogis, as well as old Monsters of Folk touring buddy Jim James (My Morning Jacket

Bassmæssage is the heaviest and most consistent bass music night out of Leipzig, operating way over 30 low frequency terrapeutic events since 2007.

Hosting ventral vibrations by the likes of Mungo's Hifi, Moonshine, Rupture, Hardwax and the homies of Jahtari, maintaining strong relations within the local soundsystem culture like Zoumo and Plug Dub and pushing a ton of grass-roots DJs and visual artists, out of doubt it is a sure shot for all who like it low and want it vibrant.

2015 saw the release of the "Volume One" vinyl, blending all kinds of styles and tempi by artists who had played at a Bassmæssage. Dub met Dubstep, Footwork went along some Snailfunk Drum'n'Bass and even Skweee had a cameo. And all this happened on one plate with a warm vibe from start to finish.

It is about time to revive the label with a new vinyl compilation named "Second Drop", following the tradition of a nice roundup across various bass music tearitorries. One side pumps at uplifting 160 BPM, while the flipside is shifting down to relaxing 135 and even 120 speeds.


Nuphlo and Bukkha team up for the energetic modern halftime piece "Drip". Nuphlo might ring a bell as part of The Nasha Experience from London and Leeds, connecting asian roots with nowadays UK bass sounds. Bukkha is state-side born and has recently emigrated to Spain, from where this worldwide touring DJ machine is firing a plethora of bass music styles on renowned labels like Moonshine, System and Innamind.

DjBadshape passes the breakbeat driven torch with handsome melodies and subby kickbass on "Drift" to reflect Leipzig's well various scenes. While checking her tracks on Defrostatica and Human, one may also find artworks for Bassmæssage and more.

Sun People is closing the 160 side with the deep but dirty retro 90s jungle bit "Rise Up". Combining Techno, Footwork and UK Hardcore Breakbeats, the Graz based bass buab made it to releases on Exit, Rua and Alphacut.

Flipping sides, Dub Across Borders redefines steppers dub into the dreamy yet rolling "Bass Tree Dream". The project was found by a Copenhagen dubber when living in Colombia, fusing the rural folklore with soundsystem energy into a world-bass music. This can be heard on labels like Basscomesaveme, Translation and 45Seven and is best to be experienced in its live dubbing appearance which premiered at a Bassmæssage in 2015.

Paranoid One grabs these feelings and drops them a bit more sinister, "Glimp" manages to hide a playful 4 to the floor kick as well beyond its smooth soundscapes and percussions. As Paranoid Society these split personalities from Tallinn were delivering to Modern Urban Jazz and Alphacut already since a decade at least.

bhed finishes with the slow far-away dubsteppish "Minerva". Make sure to not only check the releases on Row and Trusik but also the freshly baked Neuburg based live act in between cosy ambient and lush bass music at the next Bassmæssage on 18th November in LeipZig!

Ashara is a deeply personal and generational body of work, showcasing Jason's innate aptitude for storytelling through poetic lyrics and beautiful imagery. The award- winning musician, who is renowned for his stellar vocals and inimitable skill on acoustic guitar and piano, brings together an exceptional lineup of musicians for this album. His band Ashara, after which the album is named, includes legendary Jamaican- Canadian guitarist Carl Harvey (Toots & The Maytals), woodwind specialist Marcus Ali, vocalist Laurel Tubman, drummer Vince Reel and bassist Michael Shapinko. The album also features the musical contributions of Scottish talents including Ross Ainslie and Ali Hutton on whistles, Jack Smedley on fiddle, and John Somerville on accordion.

Ashara was recorded over a ten- month period and captures the essence of the band's chemistry. The initial recordings took place at Toronto's renowned Canterbury Music Company, allowing them to capture the authentic magic of live performances. The contributions of the Scottish musicians were recorded in their own respective locations, adding another layer of diversity to the album's sonic tapestry. The album features predominantly original compositions by Jason, with notable exceptions being a heartfelt rendition of Roy Harper's "When an Old Cricketer Leaves the Crease" and an inspired musical interpretation of Alexander Montgomerie's sixteenth-century poem "The Night is Near Gone".

Cardinal Fuzz (UK) and Feeding Tube Records (USA) once again join forces to release this behemoth of an album! “Attack Of Sound” is an unapologetic swooning love letter to pop music. It’s the perfect album, where dissonant and harsh guitars are juxtaposed with almost bubblegum pop. Sheets of feedback over inept tribalism and sugared by amazingly sweet vocals. This album works brilliantly as Ajay & Holly show their innate love of classic 60s pop and psychedelia as much as the Stooges. The ghosts of Love and Phil Spector haunt the wasted grooves of "What The Girl Does" and "Damned And Drowned", while the lurching punk noise mayhem of "How We Made It Seem" resurrects the in-yer-face Detroit icons like the MC5. "Attack Of Sound" remains a touchstone for all the people who ever believed that rock was for waking you up....equal parts Beach Boys’ melody and Velvets’ minimalism. It still provides that visceral thrill…an attack of sound!

2001, Yorkshire, England. SUBDUB is in full strength shaking down Leeds' city walls with regular parties, community events & sound system sessions. Active since 1998, the devoted crew push UK Dub music forward, inviting key players of the scene to play at their events powered by the mighty Iration Steppas sound system. Session after session, the SUBDUB imprint nurtures a loyal community of skankers while building close ties top artists in the field. A solid reputation that resonates amongst dub-heads around the globe. After 3 years of existence and having already put out 3 singles on their Tandori Space Records label, the idea of putting out a SUBDUB compilation album sparks. Producers get involved and the ‘Digital Africa’ project takes shape! But when the test presses finally arrive, the difficult financial situation and bleak state of the vinyl market at the time force the project to get shelved…

22 years on, while on a pilgrimage to SUBDUB and stopover at the Tribe Records HQ, the Dubquake team see the dusty test presses emerge from the record store vaults and get a taste of the incredible music through the shop's speakers… Unreleased & exclusive tracks by Iration Steppas, Jah Warrior, D.BO General, Vibronics, The Disciples, Tena Stelin, Nucleus Roots, The Bush Chemists & Freedom Masses. 12 undiluted UK Dub cuts from the 90s pressed on to 2x12” vinyl discs, with a 13th bonus digital track. Pure sound system business, raw dubs inna vanguard style!

‘Digital Africa’ is finally coming out on Dubquake Records in time to celebrate SUBDUB’s 25th birthday. A forgotten compilation full of history, curated by Simon Scott & Mark Iration. Guaranteed to bring back sweet memories to veterans of the dance, a great piece of dub music education for the rest of us!

The 3rd album from Submechanical and the hardest, most forwards
and dense collection of audio devastation yet to be released. 10 tracks
of unrelenting driven beats, noise and bass with little space or respite.
Also included are 2 remixes of Submechanical tracks: “Mash – Up –
Inna – Speaker” by Shelley Parker and “Raw” by 3.14. Mastered:
Daniele Antezza / Dadub Written: Carl Jordan / Submechanical
Artwork: Darko Kolar

SOURCED FROM THE ORIGINAL MASTER TAPES: 2LP SET PRESENTS 1991 ALBUM IN 45RPM SPEED FOR FIRST TIME.

PCM Digital Master to Analog Console to Lathe.

Dire Straits never made a big to-do about its final run. In classic understated British fashion, the band simply let its music speak for itself. And how. Originally released in September 1991, On Every Street became the group’s swan song – a lasting testament to the influence, musicianship, and integrity of an ensemble whose merit has never been tainted by cash-grab reunions or farewell treks. It remains an essential part of the Dire Straits catalog and a blueprint of the distinctive U.K. roots rock the collective played for its 15-year career.

Sourced from the original master tapes, housed in gatefold packaging, and pressed at RTI, Mobile Fidelity’s 180g 45RPM 2LP set of On Every Street presents the album like it has always been meant to be experienced: in reference-grade audiophile sound. Recorded at AIR Studios in London and produced by Dire Straits leader Mark Knopfler, it features all of the band’s sonic hallmarks – wide instrumental separation, visceral textures, seemingly limitless air, broad soundstages, atmospherics that you can almost reach out and feel. Each element is made more vibrant, physical, and lifelike on this collectible reissue, which marks the first time this 60-minute work has been available at 45RPM speed.

Afforded generous groove space and black backgrounds, the songs from On Every Street burst with nuanced details and vibrant colors. Dire Straits’ playing appears to float, their intricate performances organized amid hypnotic, fluid, three-dimensional arrangements. Mobile Fidelity’s definitive-sounding set also brings into transparent view Knopfler’s finely sculpted guitar lines, expressive tones, and laid-back vocals – as well as the balanced accompaniment from his band mates. Here’s a record on which you can hear the full blossom and decay of individual notes, and imagine the size and shape of the studio. It is in every regard a demonstration disc. And it happens to be filled with timeless fare.

Remarkably, On Every Street almost never came to light. Dire Straits initially dissolved in September 1988 after touring behind its blockbuster Brothers in Arms and suffering the departure of two members. At the time, Knopfler professed his desire to work on solo material; bassist John Illsley also explored side projects. But Knopfler’s decision in 1989 to form the country-leaning Notting Hillbillies reignited a spark to reconvene his primary band and craft a fresh batch of songs. Six years removed from Brothers in Arms, Knopfler, Illsley, keyboardist Alan Clark, and keyboardist Guy Fletcher teamed with A-list session pros – steel guitarist Paul Franklin, percussionist Danny Cummings, saxophonist Chris White, guitarist Phil Palmer included – to create what still stands as an unforgettable farewell.

The platinum record brings the band full circle in that it returns Dire Straits to a quartet formation; finds the group refreshingly out of step with the era’s prevailing trends; and sees Knopfler and Co. knocking out song after song with the deceptive ease of a punter tossing back a pint at a pub. That subtle cool, clever poise, and innate control – signature traits that no other band ever matched – dominate On Every Street. Knopfler’s clean, virtuosic six-string escapades unfurl with dizzying melodicism and economical efficiency. Led by his winding fills and focused solos, Dire Straits traverse a hybrid landscape of rock, jazz, country, boogie, blues, and pop strains with near-faultless prowess.

More than any other entry in the group’s oeuvre, On Every Street welcomes quick detours down back alleys and into the depths of human souls. What makes it more brilliant is its staunch refusal to cater to commercial expectations or take advantage of prior successes; every passage feels true, every measure echoed in the service of song. It’s evident in the humorous satire of “Heavy Fuel,” closeted desperation of the witty “Calling Elvis,” and shake-and-bake bounce of “The Bug.” It pours from the album’s darker corners, as on the high-and-lonesome melancholy of the title track and bruised emotionalism of “When It Comes to You.”

Hinting at the open-minded approaches and boundless curiosity he’d embrace as a solo artist, Knopfler doesn’t limit himself when it comes to style or subject matter. Look no further than “You and Your Friend,” a shuffle whose all-inclusive lyrics encourage an array of interpretative meanings. Another of the album’s deep cuts, “Iron Hand,” comes on as one of the band’s most memorable moments – the narrative addressing the abuses of power at the 1984 Battle of Orgreave during the U.K. miners’ strike. Given cinematic heft by the expert production, the true-fiction account puts into perspective the richness, poetry, and depth of On Every Street.

“Every victory has a taste that’s bittersweet,” sings Knopfler on the title track. At least that bittersweetness seldom sounded so damn good on record.

repressed

Pioneering NYC house label Nu Groove Records is proud to unveil a four-track EP of originals from fellow NYC house legend Jovonn.

After nearly three decades without a release, the cult house label relaunched in 2021 spearheaded by none other than Jovonn with ‘Random / Get Over It’. Following his ‘Funn Houze EP’ released earlier in 2023, the Brooklyn native is back with his ‘Blaque Katt EP’, a masterful display of innate musicality combined with an affinity for roaring '90s-inspired club music.

For the lead, ‘The Piano Fix’, Jovonn creates a dichotomy between the delicate nature instrument and the heavy, sweaty feel of the dancefloor. This is followed by a harder pianistic technique in both ‘The Piano Fix Returns’ and ‘Let Me Tell You Somethin’, showcasing the producer’s flair for harmony and melody.

Closing the immersive collection is ‘Drop That Traxx’, a playful track featuring addictive, syncopated hooks over a pounding four-on-the-floor beat. Throughout the EP, Jovonn displays his talent for gritty, hard music made with tender care.

Sourced from the Original Master Tapes and Presented in Audiophile Sound for the First Time: Mobile Fidelity’s Numbered-Edition 180g SuperVinyl LP Plays with Riveting Detail
Three decades before he released The Philosophy of Modern Song — an insightful book devoted to 66 tunes that both impacted his career and the music world at large — Bob Dylan issued Good As I Been to You. The under-heralded 1992 album, Dylan’s first solo acoustic album in nearly 30 years and first all-covers effort in nearly 20 years, can be seen as a prophetic prelude to what has become the Nobel Laureate’s celebrated late-career arc. It’s also an absorbing continuation of the custom Dylan has embraced since he first picked up a guitar.


Sourced from the original master tapes, pressed at RTI, and housed in a Stoughton jacket, Mobile Fidelity's numbered-edition 180g SuperVinyl LP of Good As I Been to You reveals the immediacy, detail, and stripped-down nature of recording sessions that took place in Dylan’s garage studio in California. Simple, raw, and unplugged, the record presents Dylan in peak form — and showcases a diversity of vocal phrasing, soulful chording, harmonica accents, and close-up ambience that on this reissue emerge like never before. As the first-ever audiophile edition of this almost-lost classic, this LP also benefits from SuperVinyl’s extraordinary properties: a nearly inaudible noise floor, superb groove definition, and dead-quiet surfaces among them.

Recorded and mixed by Micajah Ryan, and supervised by Debbie Gold, Good As I Been to You took shape at Dylan’s home shortly after the singer-songwriter completed sessions in Chicago with a full band. Unaccompanied, he again gravitated to existing works — in this case, traditional folk music — and, with Gold serving as a trusted advisor, performed the songs in multiple keys and tempos until he arrived at what he desired. That careful, determined albeit loose, organic approach emanates from this reissue, on which each note, movement, and space come across more directly, fully, and immediately than on the original formats. It helps draw a through-line to Another Side of Bob Dylan (1964) as well as the similarly themed follow-up, World Gone Wrong (1993) and immersive old-world storytelling of Tempest (2012) and Rough and Rowdy Ways (2020).

Well before Dylan made those renowned 21st century LPs, however, he needed to find a way out of a funk that — save for his 1989 collaboration with Daniel Lanois, Oh Mercy — followed him for years. As author Clinton Heylin reported Dylan admitting in 1997: “My influences have not changed — and any time they have done, the music goes off to a wrong place. That’s why I recorded two LPs of old songs, so I could personally get back to the music that’s true for me.”

Truth: Few, if any, concepts better encapsulate Good As I Been to You. It resonates with the same originality, honesty, resolve, and age- and time-defying relevance as the seminal Anthology of American Folk Music that fired Dylan’s imagination as a kid in small-town Minnesota and, later, per Greil Marcus’ That Old Weird America book, informed Dylan and the Band’s Basement Tapes sessions. This record also contains the type of music Dylan was playing during his acoustic sets at his period Never Ending Tour shows; within a year of the record’s release, Dylan would play half the album’s songs live.

As for those songs: Rife with strange mystery, common circumstance, and epic adventure, the stories appeal to our base instincts. Their themes — jealousy, temptation, sacrifice, love, revenge, identity, opportunity — operate on a fundamentally human level immune to trends, generations, or eras. They’re ancient and modern, serious and comical, open and disguised, simple and multi-layered. They talk of vengeance and justice (“Frankie & Albert”; “Jim Jones”), romance and tenderness (“Tomorrow Night,” “Froggie Went a Courtin’”), the troubled and trouble-free (“Hard Times,” “Sittin’ on Top of the World”). They lend voice to lovers scorned and freed (“Blackjack Davey”), the used and users (“Diamond Joe”), the powerful and powerless (“Arthur McBride,” “Canadee-I-O”), the followed and followers (“Little Maggie”). And akin to much of Dylan’s finest output, things are not always what they appear to be.

Spanning country, folk, sea shanty, bluegrass, and blues motifs, Good As I Been to You re-confirms Dylan’s position as an elite interpreter and sculptor — not of just structure but emotion. Dylan delivers the tunes as if he’s known them forever. He plays with a subtle sense of mischievousness and retains a largely upbeat demeanour; his eyes seemingly twinkle as he sings and picks. His guitar serves as the guidepost for shuffles, boogies, ballads, and mess-arounds while his innate feel for each specific arrangement and melody helps inform pacing, tone, attack.

Like a great author, he understands the importance of adhering to concision, luring an audience, holding their attention, and maximizing the impact of details, actions, and unexpected turns. Though already coarse and ragged, his voice feels ideal for the subject matter and his phrasing — from the clever ways he stretches syllables to underline meanings on the surprise twists of “Canadee-I-O” to the sheer delight he gets from singing “rowdy-dow-dow” on the protest song “Arthur McBride” — outstanding.

Temple, Bassey, MacLaine and now, Hurt; in a world of Shirleys, the name Sophia Ruby Katz has chosen for her music is perhaps prophetic as it captures her stunningly emotive vocal approach. And whilst Shirley Hurt might be the perfect nom de plume for the creative Toronto-based artist, it’s her self-titled debut album which positions her as protagonist of her own universe.

Traversing sonic landscapes, Shirley Hurt’s vocals ebb and flow like lyrical Ley lines tracking the contours of her own well-travelled map. By the age of 18, Hurt had travelled extensively, having lived in upwards of 20 different apartments and houses, as a result never really feeling “at home” anywhere. At this age was when Hurt found herself in New York, dipping her toes into various scenes and musical realms. The first and only place she ever felt at home, and a partial home-base for her, she travelled between Toronto and New York until the age of 26.When the project she was working on in New York reached a dead-end she returned West, moving in with musicians Harrison Forman (Hieronymus Harry, Zones) and Patrick Lefler (Roy, Possum). Being surrounded by their improvising at all hours, a new approach emerged. “Harrison is a virtuosic guitar player, and I hadn't picked up a guitar in any serious way since I was 16,” she says, “by osmosis I started playing again for fun.” Without agenda, the process grew organically from there.

Hurt and Forman decided to travel across the US and Canada in a trailer for half a year, with the entire album written in the final months of their trip. Hurt had been writing loose ideas here and there but felt blocked creatively. When the pair reached Berkley, they wound up house-sitting for a tuned-in friend who recommended she pray, in a very direct way, to remove the block. “I took her advice and to my surprise it worked. The album was conceptualized and finished within a couple of months.” Shapeshifting in tone and phrasing, Hurt’s music alchemizes the furthest corners of experimental indie folk, pop, and country into a singular sound with elegant unpredictability.

Whilst Shirley Hurt’s lyrical and structural ideas may have emerged on the road, the album was self-produced and recorded at Joseph Shabason (The War on Drugs)’s Aytche studio in Toronto’s West End. It was engineered by Nathan Vanderwielen and Chris Shannon (Bart), and Hurt enlisted collaborators Jason Bhattacharya, Nick Dourado, Patrick Lefler, and Harrison Forman to hone her vision. “I wasn’t sure what was going to happen with the songs until we returned to Toronto,” she recalls. “Joseph and I had been talking about working together after sending across some demos and Jason happened to recommend his studio at the exact same time, so everything came together naturally at that point.”

Whilst her most recent adventures may have seen Shirley Hurt bound for Texas as an official SXSW artist (hand-picked by Gorilla Vs Bear to perform at their own showcase), she currently resides in her native Canada, more specifically rural Ontario, close to friends and family, and is already working on her second album. The ties to lineage are interwoven in the fabric of the music. Hurt’s mother, artist Leala Hewak, instilled a lust for life and innate value of creativity in her from a young age as she explored the role of gallery owner, vintage jewellery show host, mid-century modern furniture expert, real estate agent, painter. Hurt’s father, a civil litigation lawyer and new-wave obsessed music lover with an extensive vinyl collection, introduced Hurt to a wide-range of artists at a young age such as Nina Hagen, Laurie Anderson, Tom Tom Club, and endless others.

In her video for ‘Problem Child’ Hurt’s grandmother walks her through a generationally revered pie-making process. One would be tempted to hear this, and other songs, as autobiographical. Yet, Hurt’s lyrics are rarely pulled from her relationships or personal history––at least not consciously. Rather, they arise from somewhere less tangible or defined. “Lyrics tend to come to me when I am doing non-musical things - washing dishes, brushing my dogs, walking to the grocery store. I have a lot of voice memos on my phone and half-filled notebooks and when I hear something, I have to stop what I'm doing to get the idea down. Usually it’s bits and pieces. It's rare a full song comes to me in one go, but it's great when they do, and those are often my favourites.”

Carving out a space of her own in an all-encompassing universe, Shirley Hurt is the introduction to a long artistic story, and if the journey so far is anything to go by, it will be stippled with evermore unpredictable chapters.

Recorded on the island of Aruba, Farmer Marcus joins Fontoyard for this special dedication to the Healing Of The Nation. Originally off of the "Farmer Marcus Inna Yard Diversity" album, this meditative, cautious & jumpy style of a riddim is now available for distribution on 7". You've got to feel this strain!

Vocals by: Farmer Marcus (M.Tromp)
Mixed by Fontoyard (T.Gibbs)
Mastered at: Earth Works Amsterdam (B.King)

Pumpin south Tribe sound... Old school pumping inna tribal gallop !

cataclop cataclop...

Pumpin south Tribe sound... Old school pumping inna tribal gallop !

cataclop cataclop...

Work of Art is the second album from Nigerian-born singer-songwriter and global superstar, Asake. Building on the sounds from his explosive debut, Mr. Money With The Vibe (which became Billboard’s highest-charting debut album from a Nigerian artist), the 14-track Work Of Art showcases Asake’s winning formula of fusing traditional and contemporary African music into something equally unique and celebratory. The release also marked Asake’s second straight debut on the Billboard 200, and clocked in Spotify chart debuts at number 2 on the Global Albums chart and number 5 on the US Top Albums chart. With standout singles such as “Amapiano,” “2:30,” “Basquiat,” & “Sunshine,” the album highlights Asake’s innate ability to cut through to global audiences, making him one of 2023’s most intriguing artists to watch. Pressed on Green/White/Green Tri-Color Stripe Vinyl.

Brueder Selke, a polyinstrumental composer duo originally from East Berlin, consistently enriches the repertoire of their two primary instruments: cello and piano. Their independent curator role shines through as they frequently host boutique concerts and happenings, featuring both established and emerging artists during their yearly Q3Ambientfest.

'Go East' marks a significant milestone in the long-term collaboration of Brueder Selke, two brothers who grew up on the socialist side of the Berlin Wall. The tracks are driven by the essential components of a restored Piano-Strings machine, along with two electronic organs named Sandy and the ET6-1, and a E-Piano, all manufactured by Vermona in the late 1970s and early 1980s.

Their innate sense of interplay, developed during their upbringing in GDR times, stems from a deep-rooted longing for connection and exchange with like-minded musicians and individuals. Through their music, they convey ideas that embrace a universal duality, showcasing how diverse elements harmoniously complement each other. The album encompasses a wide range of atmospheric moods, from intimate classical chamber music to expansive textural landscapes created by these now rarely intact socialist synthesizers, with their parameters mimicking strings and keyboard instruments. In this ironic and thoughtful manner, Sebastian and Daniel once again skilfully let their main instruments, cello and piano, merge into one another.

'Go East' aptly reflects the artist's profoundly experimental yet accessible approach, making it their 8th duo album. The 2x2 recordings were produced in their Klingenthal Studio in Potsdam in February 2022.

SOARS is the solo project of Kristian Karlsson, synth player in CULT OF LUNA and bass player/vocalist in PG.LOST - and yes, `Repeater', a truly epic instrumental rock album bustling with delay-drenched drama and joyful yet melancholic melodies will make every PG.LOST fan very, very happy. Why is it not a PG.LOST album then? "I got tired of discarding ideas I've written that didn't ft PG.LOST, but at the same time were too good for my ears to throw away. PG.LOST as a collective works at a relatively slow pace, while I by default write music all the time_ so eventually it became clear to me that I needed a new outlet for all those ideas". Karlsson released his debut solo album `Enfold' under the Soars moniker in 2021. Recorded and released all by the artist himself, `Enfold' made waves in the post rock world and the vinyl pressing sold out quickly. Repeater connects seamlessly with the debut album: propelled by the powerful drumming of Christian Augustin (Stiu Nu Stiu, live drummer of Cult of Luna) and Karlsson's charismatic synths melodies, these eight tracks share a distinct reference to the cinematic works of artists like Vangelis and Jean-Michelle Jarre, as well as post rock acts like God is An Astronaut, Caspian and Mogwai. "Soars is a personal journey and expression of a sound that has been developed over the years," explains Karlsson. And this long-term development of his artistry ensures that while painting with a familiar palette of tones and textures as the aforementioned artists, Karlsson always paints a picture that is very much his own. Title track «Repeater» comes saturated with orchestral grandeur and melancholy, and yet somehow exudes a sense of hopefulness which lingers throughout the album. Driven by layers of processed vocals and glorious melodies, «Uprise» literally gives rise to waves of exalted joy, while tracks like «The Waiting» or «Grow» demonstrate that Repeater shines through sheer strength of composition. Wrapping his retro synth sounds into a fat modern production, Repeater is stuffed with stunning dynamic arcs, catchy melodies and atmospheric density. The recording and mix are fawless and, in a sense, timeless. "The recording process was pretty simple," explains Karlsson matter-of-factly. "A lot of the ideas was formed at home in my kitchen and took its fnal form in the studio." With Soars, Karlsson is proving his innate ability to convert his blithe spirit into sound waves. Repeater is a manifestation of a man who lives and breathes music - an album that grabs you and carries you away.

The earth rotates, seasons change_there is but one long day_ Time is a beguiling, indistinct entity_sometimes standing still, sometimes bending back upon itself with premonitions or memories of the future. Growing out of a pen pal style correspondence that took place over the course of a year, separated by the Atlantic Ocean, Gloria de Oliveira and Dean Hurley passed thoughts and music back and forth that would eventually form their collaborative album, Oceans of Time. The result is an aural tapestry of that exchange: woven from conceptual threads of the celestial within, mortality and the realm beyond stars. The duo's partnership is an effortless merge, yet it's the steady presence of de Oliveira's vocals that endows the record with its sense of potency. Throughout the album, there is an innate understanding of how a lyric across a chordal color can sharpen an emotional truth. Much like a sunbeam that pierces a spiderweb to reveal its intricacy, her lyric and melody are purposely aimed in order to illuminate the truths deep within oneself_a process that ties us all to the universal. The Danish philosopher Soren Kierkegaard, a professed influence, wrote about the truth as something that was inherently subjective, less about the concrete reality of what is believed and more about how it is experienced by the believer. Frequent David Lynch collaborator Dean Hurley sets the tonal and sonic landscape of each track on the album, lending a layered ether that envelops, frames and holds de Oliveira's vocals. With its impressionistic synths, shimmering guitars, and ethereal sonics, Oceans of Time at moments recalls the foundational dreampop of 4AD acts like Cocteau Twins and Lush. The album feels especially attuned to the connections between the physical and transcendental realms, and the best dreampop has a way of making the veil between two worlds feel just a little bit thinner. Oceans of Time is a key that has the power to release its listener from the handcuffs of reality, however briefly_

The earth rotates, seasons change_there is but one long day_ Time is a beguiling, indistinct entity_sometimes standing still, sometimes bending back upon itself with premonitions or memories of the future. Growing out of a pen pal style correspondence that took place over the course of a year, separated by the Atlantic Ocean, Gloria de Oliveira and Dean Hurley passed thoughts and music back and forth that would eventually form their collaborative album, Oceans of Time. The result is an aural tapestry of that exchange: woven from conceptual threads of the celestial within, mortality and the realm beyond stars. The duo's partnership is an effortless merge, yet it's the steady presence of de Oliveira's vocals that endows the record with its sense of potency. Throughout the album, there is an innate understanding of how a lyric across a chordal color can sharpen an emotional truth. Much like a sunbeam that pierces a spiderweb to reveal its intricacy, her lyric and melody are purposely aimed in order to illuminate the truths deep within oneself_a process that ties us all to the universal. The Danish philosopher Soren Kierkegaard, a professed influence, wrote about the truth as something that was inherently subjective, less about the concrete reality of what is believed and more about how it is experienced by the believer. Frequent David Lynch collaborator Dean Hurley sets the tonal and sonic landscape of each track on the album, lending a layered ether that envelops, frames and holds de Oliveira's vocals. With its impressionistic synths, shimmering guitars, and ethereal sonics, Oceans of Time at moments recalls the foundational dreampop of 4AD acts like Cocteau Twins and Lush. The album feels especially attuned to the connections between the physical and transcendental realms, and the best dreampop has a way of making the veil between two worlds feel just a little bit thinner. Oceans of Time is a key that has the power to release its listener from the handcuffs of reality, however briefly_