Search:key to life

There is NO LIGHT at the end of this tunnel! BROWN ACID: The Nineteenth Trip fires ten more savage nails deep into the coffin of ‘60s psychedelic idealism. This series is THE premier top dog journey into the rarest and most wasted early local eruptions of heavy rock, unleashed at a time when harsh reality, human nature and disillusionment drove prevailing underground rock glimpses of a ‘better’ world into ever darker selfabsorbed comedowns. Mind expanding ’60s love energies transform into toxic aggression right before your ears! The great thing is that these moves are totally justified, ‘we are all one’ is cosmically good in theory but ‘get it while you can’ ends up perhaps better advice in the light of human history. Both of those angles of awareness can coexist, some of these bands deliver unrelenting sideways positive energy but they aren’t over-thinking it, they are youthfully driven by hunger for life and satisfying the undeniable urges their DNA thrusts upon them. Sonically, the results in the BROWN ACID series never fail to breathe hot and heavy, the guitars kill it every time, the variety of approaches these tracks take keep the scenery shifting into new places. The key element that makes this stuff so potent is that THEY (the bands) are in control. Captured genuinely with no compromise, right out of the gate. No doubt they had ambition with high hopes for the future when they laid down these primal efforts, the fact that they captured their energy so vividly at a moment in time when the only direction imaginable was UP creates a hard hitting life affirming subtext to the proceedings. That is the core energy of blues and rock and roll, dealing with the struggles of existence by flipping a gigantic ‘what the fuck’ high energy bird right in the face of the moronic defective reality these bands were born into. If you take this stuff too ‘seriously’ you are utterly missing the point, it is beyond analysis, it is life itself! No amount of thinking will get you there quicker! BROWN ACID: The Nineteenth Trip is scary... the bottomless pit of deranged vintage heavy rock the series presents continually expands over time... one deadly dose too many and you might be trapped in the bad trip loop forever... enjoy it or lose your mind!

“For fans old and new, they can expect to be reintroduced to some raw, authentic, classic Detroit Hip-Hop from beginning to end.”-Phat Kat on the Deluxe Edition re-release of “Carte Blanche”.

Phat Kat’s phenomenal sophomore solo LP, “Carte Blanche”, first released in ’07 via Look Records, is the sound of Detroit. It’s gritty, soulful, and raw, three key ingredients in bringing the blue-collar city’s vibe to life in music form. It’s also a modern classic that is getting the deluxe edition re-release it deserves, Below System Records is adding two rare bonus tracks produced by late Detroit legend, J Dilla.

Anyone familiar with Kat or Dilla’s work knows the two shared a special bond. In fact, Dilla would often go to the gruff-voiced emcee whenever he was looking to create a particularly tough track. This friendship led to them forming the group 1st Down, and this re-release’s two bonus cuts, “World Premiere” and “It Don’t Get No Liver Than This (feat. La Peace),” which were recording in 1996 and ’97, respectively. Despite 1st Down never taking off due to label issues, Kat and Dilla remained close and recorded a number of underground classics. Those include several joints off “Carte Blanche”, such as the stirring “Don’t Nobody Care About Us”, “Game Time”, and the Elzhi-featured “Cold Steel”. It’s actually that last track that Kat picks as his favorite cut off the record.

“If I gotta choose one, it would have to be ‘Cold Steel’ because it makes you wanna wild out as soon as the beat drops”, he says, adding that this was the first time he got to choose a Dilla beat to rap over. “He would never let me rock over beat tape beats-he use to say ‘Nah Kat, just write to them cause I’m gonna make all ya shit from scratch.’ ”

The album also boasts collaborations with other Detroit rap heavy-hitters, such as Black Milk, Guilty Simpson, Nick Speed, and T3 & Young RJ (of Slum Village). With Kat as their host, they were able to not only capture the sound of the Motor city in 2007 (when the album was originally released), but also cement its place in the greater canon of hip-hop as we know it today.

Ltd Silver Vinyl, DL card. From a long-forgotten trunk; two extended jams, twin slabs, circa 1989. Continuing Fire Records' series of classic remastered albums from Royal Trux, 'Hand Of Glory' is released on silver vinyl. This bad-ass black, white and blue magic is a kind of Burial Dub_ or so preached the sleeve of 'Hand Of Glory' on its original release in 2002. Legend has it, the two sides of this 40-minute gem were recorded between 1985 and 1989. The resultant mountain of creativity from where they hail were inevitably left under a scuzzy sofa as life and a career that ebbed and flowed over nine albums. Royal Trux became an inspirational tipping point for everyone from Pavement & Sonic Youth to the Black Keys, Kurt Cobain, The Avalanches & Hot Chip's Alexis Taylor. "I urge and encourage you to enter the harmolodic multiverse of their music." Alexis Taylor, Hot Chip. 'Hand Of Glory' is not like their other albums but then again none of their albums are alike, it's a two-faced masterpiece. Side one's 'Domo Des Burros'/'Two Sticks' is on par with Beefheart's sprawling 'Trout Mask Replica'. It plays out in 19 minutes, sounding like it was laid down on Warhol's sofa in The Factory; like Dylan's sprawling 'Desolation Row' with, background squalls, interruptions and both Neil Hagerty and Jennifer Herrema's overlayed stream of consciousness peeping through a multi-layered backdrop. It's just staggering. "Royal Trux were nothing if not fearless." Pitchfork. Side two's 'The Boxing Story', a loose homage to William Burroughs, moulds and morphs from tape to tape, a multi-speed soundtrack, while the dynamic duo press pause, guitars ring, occasional melodic lines arrive and evaporate. Lou Reed's pastoral 'Metal Machine Music' could perhaps be recognized as an older and perhaps less challenging sibling. A two-sided masterpiece featuring two wayward pieces of creative genius.

Opaque yellow vinyl in reverse board jacket.
A full four years after Chicago organ maestro Jimmy Lacy’s legendary maiden voyage as SiP, Leos Naturals, he returns with its lush, layered, long-awaited sequel: Leos Ultras.

Conceived and recorded in a corner of a large floorplan warehouse-turned-sound lab called Homan Gardens, the album radiates a rare joy and colour, projected through a technicolor slideshow of cosmic keys, clarinet, kalimba, sax, melodica, flute, tambourine, and drumbox. The songs feel warm and weathered, like familiar garments treasured through passing seasons.

Many seasons did pass while these songs took shape, spiked with seismic changes – Lacy’s first daughter was born, followed 17 months by a second. Daily routines grew denser, but he never lost faith in the melodies simmering in the periphery of his thoughts: “I knew the music would be there whenever I had the time. It felt good to stay calm about it.” Patience paid off; Leos Ultras is indeed the ultimate SiP statement to date, rich with detail, discovery, beauty, lofted improvisation, and shades of spiritual jazz. It’s music both casual and cosmic, playful and poignant, channelled from long shadows and wordless hours in celebration of life, love, and Leo.

After his fulminant debut ep on RAWAX, we are happy to present
you a new beautiful and positive record by this high rising artist - right on time for last Summer days of the year.

Scored by the legendary Italian film composer Armando Sciascia, Sea Fantasy is a conceptual suite of twelve exotic themes evoking the many moods and dramas of life under the sea. Recorded in 1972 for Sciascia's own Vedette label, the album is a key recording within the micro-genre of Italian underwater library music. A mosaic of evocative modern classical, flamenco textures and a surge of raw analogue synthesizers. Mysterious aquatic music that sits comfortably alongside other Italian Soundtrack and Library recordings including the lush bossa of Daniele Patucchi's Men Of The Sea (CAM) as well as the experimental electronics of Biologia Marina by Amedeo Tommasi & Alessandro Alessandroni (Rhombus). With several cues used for the English-version soundtrack to Harald Reinl's 1976 (Erich von Däniken inspired) mondo-documentary Mysteries Of The Gods, Sea Fantasy is reminiscent of the exotic mood-music scored for Folco Quilici's documentary Oceano composed by Ennio Morricone as well as Luigi Scattina's legendary tropical sexploitation film Il Corpo composed by Piero Umiliani. This new 2019 edition has been newly remastered and expanded with additional liner notes and photos.

Remastered and expanded edition.
Legendary Italian underwater Library recording
Replica vinyl reissue of the rare 1972 LP
Mysterious aquatic mood music

No one has lived a life quite like Marcos Valle. He became an overnight international sensation, fled a military dictatorship, dodged the Vietnam war draft, had his music sung by Homer Simpson, made enemies with Marlon Brando, and became an unsuspecting fitness guru for multiple generations. But to truly understand the great Brazilian composer, arranger, singer and multi instrumentalist, one must listen to his music.

Lead Single (Life Is What It Is) : Between the release of his first album in 1962 and today, Marcos Valle has released twenty-two studio albums traversing definitive bossa nova, classic samba, iconic disco pop, psychedelic rock, nineties dance and orchestral music. He has also had his songs recorded by some of the all time greats, including Frank Sinatra, Sarah Vaughn, Sergio Mendes, Elis Regina, and (last but not least), Emma Button of the Spice Girls. He has also had his music sampled by Jay-Z, Kanye West, Pusha T and many more.


With his twenty-third studio album Túnel Acustico, Valle set out to bring it all together.

“I believe my music is many things. It goes in different directions. I have many different ways of writing music, sometimes it’s melodies and harmony, sometimes the groove is the focus. But all the music I have made over my sixty year career is unified. It is all natural and it is all sincere. And this is what I wanted to bring to my new album.”

A prominent feature of Valle’s career has been his dual residence between Brazil and the USA. Originally moving over in the mid-sixties on the back of bossa nova’s international proliferation, Valle toured with Sergio Mendes and became hugely in demand as a composer and arranger. But the Vietnam War loomed and the threat of being drafted saw him return to Brazil. He spent the following years in Rio writing music for TV and film, as well as four cult favourite albums in collaboration with some of Brazil’s most groundbreaking musicians including Milton Nascimento, Azymuth, Som Imaginario and O Terco.

By 1975, Brazil's military dictatorship was at its most oppressive, making living and working increasingly difficult. Valle moved back to the US where he would reside in LA, writing songs for, and collaborating with the likes of Eumir Deodato, Airto Moreira, Chicago, Sarah Vaughn and Leon Ware, amongst others.

Túnel Acústico features two songs originally conceived during Valle’s time on the West Coast: “Feels So Good”, a stirring two-step soul triumph written in 1979 with soul icon Leon Ware, and the sublime AOR disco track “Life Is What It Is”, composed around the same time, with percussionist Laudir De Oliveira from the group Chicago.

Built around an unfinished demo Marcos found on a shelf in his house 44 years after it was made, the “Feels So Good” demo was restored with the help of producer Daniel Maunick, who also utilised AI stem-separation to remove the placeholder vocal ad-libs. Valle added Portuguese lyrics to sit alongside Ware’s vocal hook, as well as extra keyboards and percussion.

Also written in late seventies LA, “Life Is What Is It” was co-penned by Laudir De Oliveira from the band Chicago and first released on the bands’ Chicago 13 album with lyrics by Robert Lamb. Another nod to his good times in LA, Valle recorded his own version for Túnel Acústico, upping the tempo and deepening the groove for a blast of irresistible summer soul.

On Túnel Acústico, Valle's core band features two members of the renowned Brazilian jazz-funk group Azymuth: Alex Malheiros on bass and Renato Massa on drums. The rhythm section is completed by percussionist Ian Moreira, with additional contributions from guitarist Paulinho Guitarra and trumpeter Jesse Sadoc.

The contemporarily composed music on Túnel Acústico features an impressive lineup of guest lyricists, including renowned Brazilian artists: Joyce Moreno (Bora Meu Vem), Céu (Nao Sei), and Moreno Veloso (Palavras Tão Gentis) as well as Valle's brother Paulo Sergio Valle (Tem Que Ser Feliz).

The album closes with "Thank You Burt (For Bacharach)", a tribute to the legendary composer who passed away in 2023.

Túnel Acústico will be released on 20th September 2024 via Far Out Recordings. Valle is set to tour Europe and America in support of the album.

No stranger to the Spatial family following the release of his excellent Age of Awareness EP back in 2023, Eusebeia brings his eclectic breakbeat driven vibes to sister label
Curvature for an EP spanning a variety of energies with a free-spirited approach to drum patterns and atmosphere you wont want to miss.

A1 Set In Motion
Shimmering melodic keys and light hi hats quietly introduce Set In Motion, as Eusebeia takes a laid back opening approach to his Curvature debut. Clean, wandering breaks enter the mix and develop continually, as a subtly used, luscious female vocal greets the listener with a curiously soothing vibe. Following the breakdown, a deep, pounding bassline punctuates skillful synthwork riddled with intrigue and atmosphere to round off
a unique, eclectic track.

A2 In Perpetuum
Stepping things up with a doggedly breakbeat focus, In Perpetuum is an energetic piece with an opening backdrop akin to an aging printer being coaxed back to life,
before an echoed vocal welcomes hyperactive, rasping breaks, edited and chopped with the scintillating talent we have come to expect from Eusebeia. The latter half of the
track changes up the vibe slightly with inquisitive padwork gliding above the omnipresent edits.

B1 Flow State
Subtle cowbell style cymbals and gentle melodies introduce Flow State, before an inimitable duality of old school atmospheric breaks pass the baton repeatedly through the track in typically impactful style from Eusebeia. The melodies and an understated bassline wrapped around kickdrums continues through the various phrases before the beats depart, leaving the listener to reflect on a truly captivating track just as the title
suggests.

B2 The Cure For What Ails You Reverberating percussion and classic whale sounds instantly grasp your attention
before ominous 808 bass ushers in a thunderous helping of pure amen pleasure sent straight from the old school - edited and programmed to perfection by Eusebeia with a
finesse seldom seen in modern production. Dense kickdrums vibe perfectly with the highs and mids of a track destined to headline many an atmospheric junglists set.

Dive into the soul-stirring depths of Snowgoose's latest album, "Descendant."
"Descendant" is crafted with their exquisite blend of folk and psych. Featuring the guitar of Raymond McGinley (Teenage Fanclub) the keys of Chris Geddes (Belle and Sebastian), the bass of Stevie Jones (Arab Strap), the pedal steel of Tim Davidson (Tracyanne & Danny), and the drums of Stuart Kidd (BMX Bandits) and Adam Stearns (Trembling Bells), this album is a testament to the collaborative spirit of Scottish indie royalty.
Following their acclaimed psych folk albums "Harmony Springs" and "The Making of You," Snowgoose continues to enchant with narratives of love, loss and the ephemeral beauty of life.
Praised for their "spellbinding" sound (Uncut Magazine) and vocals that evoke "the spirit of Sandy Denny" (The Scotsman),

Weval (consisting of Harm Coolen and Merijn Scholte Albers) are an Amsterdam-based duo who have established a solid reputation across the globe for crafting highly textured and sophisticated electronic music. They announce a new EP called ‘Night Versions’ which contains brand new, club-focused alternatives to key tracks from their recent critically acclaimed album, ‘Remember’. ‘Night Versions’ is set to release on Ninja Tune imprint Technicolour on 4th October. With the announcement Weval share a Night Version reimagining for title track “Remember".

Speaking about these new versions, Weval say, "It was so much fun to return to the material and make some bold moves. Just to see how far we could push the tracks with the dance floor in mind. We've been road-testing a few of these in our DJ sets lately, and it's so rewarding to watch people dance and hear the tracks blasting on the dance floor. It's addictively fun to experience and see the second life of the songs from the LP."

‘Remember’ embarked on a high energy journey of nostalgic memories and euphoric emotions, with elements of pop, dance and every genre in between being thrown in and whittled down to make an intense, spontaneous and substantial work. PopMatters noted the album as "a kaleidoscopic, gut-turning, jaw-dropping wondrous journey" while it received additional support from the likes of Cool Hunting, Clash Magazine and Stereogum among others.

The Post-Punk Synth Alchemists return with new album ‘Strange Loops’. With blistering rhythms and searing bass, AK/DK return with their highly anticipated fourth album, ‘Strange Loops’. It builds on the momentum of their previous release; Shared Particles, which sold out of the Dinked edition even before its release and achieved no. 7 in the Indie Record Store charts. Known for their trademark motorik energy and riotous joy, AK/DK are back, and for the first time, they’ve introduced guest vocalists into the fray. This new release sees the drum and synth duo collaborate with three exciting artists: the musician TVAM, punk poet - Thick Richard, and I Am Fya; sound artist. The angular guitars and spaced-out vocals of TVAM intertwine with the duo’s driving beats and convulsing synths, resulting in the pulsating Devo-esque powerhouse of ‘Square Route’. The two bands have been crossing paths on festival line ups for a while now and it seemed inevitable that they should join forces. I Am Fya’s usual experimental textures and sound-collage is temporarily put to one side on ‘Pull Up’. For this deep and heavy sub-rattling cut; I Am Fya and AK/DK lean heavily into sound system bass and dancehall style. Her febrile and powerful vocals interweave with tectonic sub bass and stuttering rhythms, sounding like Missy Elliot jamming with a modular synth. Manchester’s very own Thick Richard adds his lyrical, jet-black humour to the track ‘Nobody Shouts’. Their collaboration began when the band invited the punk poet up for an impromptu improvisation during their set at Beatherder festival 2020. It went down so well that they had to record it; learning the track from fan footage online. This is nothing new for AK/DK, creating powerful improvised moments for those lucky enough to be in the audience. Strange Loops presents two distinct halves of music. The A side offers sure-fire bangers that will linger in your ears and have you pounding the dance floor, while the B side delves into more experimental and ambient territories with completely live takes from the studio, reflecting the duo’s love of ‘70s German Kosmische bands. “We always had more ambient experimental tracks on our records, and wanted to give them a spotlight on this release” says the band’s Gee Sowerby. Their previous releases have earned accolades such as BBC 6 Music’s ‘Album Of The Day’ and impressed judges on Steve Lamacq’s Roundtable, solidifying their reputation as pioneers in their genre. It’s on stage where AK/DK truly come to life. Their electrifying performances, characterised by joyous live-looping of keyboards, drums, and distorted whoops, have made them a fervent fan favourite for over a decade. They’ve left an indelible mark on audiences at festivals like End Of The Road, Blue Dot, and Green Man, winning over new audiences wherever they play. With Strange Loops, AK/DK continue to push boundaries and defy expectations, reinforcing their status as one of the most dynamic and innovative acts in the scene

The Leeds jazz scene is the gift that keeps on giving. From the dub-leaning ambience of Submotion Orchestra through to the afro-jazz fusion of Nubiyan Twist and TC & The Groove Family, a multi-generational lineage has emerged. Adding yet another page to the eclectic story of jazz from the city, emerging punk-jazz upstarts Plantfood announce the imminent arrival of their debut album ‘Carnivores’ on Friday 4th October via Bridge The Gap.

Consisting of JJ Petrie (percussion), Ruben Maric (keyboards), Joe van der Meulen (tenor saxophone), Woolley (baritone saxophone), Finn Hamilton (drums) and Woody Hayden (bass), Plantfood began in the throes of lockdown, during which all the members lived together. The group spent day after day sharing their eclectic music tastes, ranging from the electronic punk of The Prodigy and art-rock of Black Country New Road, through to the jazz dance of Steam Down and The Comet Is Coming. Taking these influences, they crafted their own sound, but without live shows, their only audience was the plants in their rehearsal room:

“We called the band Plantfood because we were writing and rehearsing in one of our bedrooms which was full of house plants. The plants kind of became our only audience, so it was like the music was food for the plants.”

The band’s debut album ‘Carnivores’, plays on this theme, referring to the plants as carnivores for consuming the bands music, whilst also reflecting the apocalyptic palette of sounds and chaos found within the record. However, mirroring the dynamism of a Plantfood live show, the album is anything but one-dimensional. The group expertly balance moments of serenity and vulnerability with cataclysmic urgency, all brought together under the guidance of producer David Haynes (TC & The Groove Family, Nubiyan Twist). The group share:

“The album’s moments of vulnerability and hope are intended as the depiction of a return-to- earth theme (circle of life, growth and decay), reflecting that the cycle of nature is not simply destructive.”

The project’s lead single ‘Y.U.S.’ drew praise from tastemakers including Jamz Supernova on BBC Radio 6, with the track featuring the talents of UK-Palestinian MC Yung Yusuf, a serial collaborator who also appears on album closer ‘Monstera’. Both tracks channel Plantfood’s explosive live energy into a blend of afro-latin rhythms and broken grooves, with the distinctive blend of tenor and baritone saxophone weaving in and out of grime-leaning, poetic exchanges with Yusuf.

Elsewhere, the second single from the project ‘Birdgang Pt. II’ is a fresh take on the band’s contemporary jazz sound, blending jazz, Balkan folk and Moroccan rhythms with a punk edge. The album’s title track resets the balance, soothing the soul through a swirling approach to spiritual jazz that wouldn’t be amiss amongst the Gondwana Records catalogue.

"“There are times in life when you’re so present, so fully immersed in the moment that you can catch a glimpse of another universe, of a realm beyond our own,” says Louisa Stancioff. “It might last for a second or an hour, it might come in the midst of bliss or sadness, you might be alone or with a lover, but when it happens, there’s nothing quite like it.”

When We Were Looking, Stancioff’s stunning Yep Roc debut, is full of those moments. Written and recorded through a period of deep heartbreak and uncertainty, the collection is the raw and unflinching work of a nomadic soul who spent stints living in Alaska, California, New York, and North Carolina before returning home to her native Maine, one that holds nothing back in its bittersweet reckonings with pain, healing, acceptance, and growth. Stancioff writes with a cinematic eye here, conjuring up richly detailed stagings for her emotionally-charged character studies, and the guitar-and-synth-focused arrangements are immersive and nuanced to match, thanks in part to the evocative sonic landscaping of producer/keyboardist Sam Kassirer (Josh Ritter, Craig Finn), who proves to be an ideal creative foil on the record. Add it all up and you’ve got a dreamy, nostalgic Polaroid of an album that blurs the lines between indie stoicism and folk sincerity, a lush, cathartic work that hints at everything from Phoebe Bridgers and Arlo Parks to Big Thief and Waxahatchee as it learns to find the beauty in grief and rebirth."

Bassline veteran and all-round soundsystem sorcerer Marcel Deptford lands on Sneaker Social Club with two ruff-n'-tuff rave-n'-b re-flips that run as a prelude to big things to come.

This is the first time you will have heard a record under the name Marcel Deptford, but he's got serious skin in the game with an imposing history in the legendary bassline scene from the late-00s. His records as DS1 are the stuff of legend for anyone keyed into the Niche-centric sound, but more recently he's put out some serious heat as Haider running his own Breaker Breaker label and popping up on Aus and the like.

If you're a fan of millennial RnB there's every chance you'll recognise the vocals that breathe life into Deptford's two tracks for this Sneaker release. Moving beyond simple edit territory, the voices are bedded deep down into gritty rave productions that boast the kind of dirt bag sonics that call straight back to the OG days of breakbeat hardcore. 'Rock The Boat' has bloated bass pushing into the red, clattering breaks chopped up with a rugged swagger and a dreamy, haunted dose of dub poured all over the vocals.

'Make It Hot' has a lighter, swung feel which nods to garage, but there's still plenty of weight on the low end. Once the lead vocal sample steps back to open up the space, Deptford's knack for strong melodic hooks comes through in a blown out arp line which the bassline dutifully follows.

Hitting every sweet spot from the low-down dirty rave receptors via moody head-nodding restraint on to iconic vocals, Marcel Deptford shows exactly what he's capable on this release ahead of a more extensive dive into his legacy, due further down the line.

The album is Frost* at its most ambitious, offering nearly 90 minutes of music over 14 exquisite tracks. The album is the brainchild of Godfrey who was inspired to create the conceptual world for the album based on the group’s previous release Day and Age (2021).

Fans of the band’s masterful debut album Milliontown (2006) will enjoy the band revisiting the style that made that debut album one of the most successful prog rock albums of the last 20 years, a fact that was not lost on Godfrey as he was writing this new record. “With Day and Age, we made it a very specific point: we're not doing any solos, we'll do clever arrangements. And we enjoyed that discipline, but this time I thought it might be good to row back on that position a bit. Plus I wanted to have a little bit of a nod to Milliontown with this album, because it's been nearly 20 years since Milliontown came out and I’m still proud of it. The 15-minute title track has a few of those Milliontown moments in it which were great fun to do again.”
Mitwirkende
wird veröffentlicht am 18. Oktober 2024

Line-Up:
Jem Godfrey – Keyboards, guitar, vocals
Nathan King – Bass, vocals
John Mitchell – Guitars, vocals
Craig Blundell - drums

"Jede Prog-Band, die etwas auf sich hält, sollte eigentlich ein Doppelalbum machen, oder?", fragt Frost*-Frontmann Jem Godfrey. Das war eine der ersten Ideen, als der Songwriter/Keyboarder/Sänger der Band die Arbeit an Frost*s 5. Studioalbum "Life in the Wires" in Angriff nahm. Das Album ist Frost*s ehrgeizigstes Werk und bietet fast 90 Minuten Musik auf 14 exquisiten Tracks. Das Album ist das Geistesprodukt von Godfrey, der von der vorherigen Veröffentlichung "Day and Age" (2021) der Gruppe inspiriert wurde, die konzeptionelle Welt für das Album zu erschaffen. Fans des meisterhaften Debütalbums "Milliontown" (2006) werden sich freuen, dass die Band den Stil wieder aufgreift, der das Debütalbum zu einem der erfolgreichsten Prog-Rock-Alben der letzten 20 Jahre gemacht hat - eine Tatsache, die Godfrey nicht entgangen ist, als er das neue Album schrieb. "Bei Day and Age haben wir es sehr genau genommen: Wir machen keine Soli, wir machen clevere Arrangements. Und wir haben diese Disziplin genossen, aber dieses Mal dachte ich, es wäre gut, in dieser Position ein wenig zurückzurudern. Außerdem wollte ich mit diesem Album eine kleine Anspielung auf Milliontown machen, denn es ist schon fast 20 Jahre her, dass Milliontown herauskam, und ich bin immer noch stolz darauf. Der 15-minütige Titeltrack enthält ein paar dieser Milliontown-Momente, die zu wiederholen mir großen Spaß gemacht hat." "Life in the Wires" wird als limitierte 2CD Edition, als Gatefold 2LP und als Digitales Album erhältlich sein, mit atemberaubendem Artwork von Carl Glover (Steven Wilson).

Nothing But Net presents “Perceptions”, the debut LP from Los Angeles producer/beat maker Jamma-Dee aka Dyami O’Brien. Jamma-Dee has been a figure in the west coast modern funk and boogie scene, both as an accomplished DJ and music producer, having released records under his own name and producing for the likes of Joyce Wrice, Mndsgn and others.

From a musical upbringing in Los Angeles, Dyami’s adolescent obsession with record digging and beatmaking eventually led him to Dam-Funk’s renown Funkmosphere parties where he built friendships with key players in the LA funk scene and began to make a name for himself as a DJ and producer. In the second half of the 2010’s he released a series of EPs on Arcane and hosted the legendary Soul In Paradise show on NTS radio.

His first full-length, “Perceptions” is a long time in the making. Beginning with studio experiments nearly a decade ago, a version of the album found its way to producer and Nothing But Net label boss Onra, who helped guide the project to completion. The album artwork was created by outsider soul music conceptualist and painter, Mingering Mike, whom O’Brien felt compelled to reach out to after discovering his work years earlier. Thematically, the artwork, record, and its title touch on very modern themes: the alienation of life in a world of instant-gratification, an overly-connected society of masks, distorted realities and shifting identities.

Musically, “Perceptions” is the culmination of a life lived under the groove. Featuring a long list of collaborators, including Benedek, Mndsgn, Koreatown Oddity, the legendary Craig T. Cooper and fellow NBN labelmate, Devin Morrison, the double album touches on all of O’Brien’s musical influences. Album opener “Up N Down” sets the scene with it’s syrupy g-funk impressionism, before “Jamma’s Jam” bounces out of the speakers through an auburn-colored sunset haze of lush Rhodes chords and sparkling vibraphones. “It Takes A Freak” and “Datafile Groove” shuffle westward, re-imagining New Jack Swing grooves through a distinctly Californian lens. Elsewhere, the album touches on classic deep house rhythms (“Tic Toc” and “Silly”) and crystalline, downtempo R&B and UK street soul (“Joy”, “Saturday”).“U.R.” features legendary L.A. guitarist Craig T. Cooper laying down a network of stunning, silken guitar lines with absolute class.

Over the course of these 15 tracks, Jamma Dee consolidates, renovates and perpetuates the sound of his influences. “Perceptions” is a masterclass in modern funk and soul production.

In collaboration with musicians and parody artists Auralnauts, Stumpy Frog Records has pressed the soundtrack to their ongoing series of ‘As Seen on TV’ parodies known as the ‘Infomercial Wars’. During an unspecified point in time, a faceless dystopian company pushes out products under the guise of improving the quality of life for humanity. The commercials have a sexy presentation to them, designed to lull the viewer into a hypnotic state and gloss over what is really being sold to them: enslavement to an evil entity. The true purpose of these products is clear to anyone with an iron will: to imprison your mind, strip away your humanity and weaponize what remains. Humanity’s only hope is a scrappy group of freedom fighters whose key to success is convincing you to buy their products instead of the enemy’s. May the best infomercial win. Beyond humanity. Beyond Copper. The parody series is made up of real life infomercials with complete audio makeovers. The products themselves vary from one commercial to the next, but a popular trend in these ads is the seemingly unlimited uses for copper, which is taken even further by the parody versions. The bubbly pitchman from the source material has been replaced by a soothing, yet vaguely threatening alien presence. This mysterious voice paints a picture of a world that would make David Cronenberg and James Cameron blush, and all of it is held together by a dystopian soundtrack that is perfect for ushering humanity into the next step of this forced evolution. Side A of the album contains six full length studio versions of the music featured in each ad. 1) 300% More Human 2) Techromancer 3) Full Body Copper System 4) Master of Reality 5) Final Boss (Sock Defense Grid) 6) Beyond Copper Side B features the ads themselves, presented faithfully as they appear on the Auralnauts Youtube channel.

* After the stunning success of their critically-acclaimed third album Sharpener, which reached number 3 in the jazz charts and number 14 in the independent music charts, London’s brass juggernauts Hackney Colliery Band blaze back onto the scene with their first collaborative album, ushering in a whole new era for the band.

* Featuring collaborations with a host of key names in jazz and world music including amongst others the father of Ethio-jazz Mulatu Astatke, British jazz funk legend James Taylor, trombonist Dennis Rollins, UK saxophonist Pete Wareham and Beninese singer-songwriter and Grammy Award-winner Angélique Kidjo, Hackney Colliery Band have effortlessly transformed their explosive live energy into 11 original recordings that push the groove and form in an accomplished manner.

*On ‘Collaborations: Volume One’, writers Steve Pretty, Olly Blackman and Luke Christie have between them penned the outfit's most dynamic material to date. ‘Mm Mm’ (feat. Angélique Kidjo and Roundhouse Choir) merges Beninese grooves with wah pedal trumpet textures, and the rousing call-and-response between Kidjo’s soaring vocal and the exhilarating choir adds a richness and depth to the composition.

*On ‘Snowfire’, innovative Norwegian pianist Bugge Wesseltoft brings a euro/nu-jazz feel to the album, while Dennis 'Funkybone' Rollins adds his trademark virtuoso trombone to the carnival-flavoured ‘Ricochet’.

*There’s an energy, respect for tradition and the exuberance of London in Hackney Colliery Band’s work, best exemplified in the evocative and downright thrilling James Taylor collaboration ‘Hypothetical’, with Taylor’s Hammond organ recalling the Acid Jazz era in which he made his name.
*New single ‘Netsanet’ (feat. Mulatu Astatke) is a deep exploration of Mulatu's trademark Ethio-jazz, while ‘Crushing Lactic’, composed by Tom Rogerson (fresh from a recent collaboration with Brian Eno) has a frenzied flow, with big horns and driving rhythm section.

*Elsewhere, Pete Wareham (stalwart of the London jazz revival) lends his free-flowing sax to ‘What’s Gone Before’, leading us into a powerful communion of jazz and brass as Mulatu Astatke’s ‘Derashe’ takes the listener down a vibrating rhythmic path while accompanied by blasts of horns and Mulatu’s trademark vibraphone.

*Two spoken word compositions (‘Why Yellow’ and ‘Climbing Up My Own Life Until I Die’) featuring York born writer and comedian Rob Auton lend an introspective voice to ‘Collaborations: Volume One’.

*A band never content to rest on its laurels, Hackney Colliery Band already have a number of collaborations in the works for ‘Volume Two’, and with further live shows planned for 2019, including the album launch at the famous Ronnie Scott’s Jazz Club, 2019 looks set to be HCB’s biggest year yet, both live and on record.

* Steve Pretty, the band’s frontman said: “It’s hard to believe that 2019 is our tenth anniversary, but now we’re ten years older it felt like the right time to get back to our jazz roots. It’s been such a privilege to work with so many of our musical inspirations both old and new on this record, and we’re super excited to be ushering in the next ten years with this new collaborative spirit: this is called ‘Volume One’ for a reason…”

After a near decade spent in obscurity, Peter Cat Recording Co. or PCRC, emerged from the toxic winter smog of Delhi to enter the global Krishna consciousness with the release of 2019's "Bismillah", the culmination of years of refining their unique vision of 21st century pop music. Seeking a transcultural sound, centered around the song writing of Suryakant Sawhney, PCRC's music mines ideas from both time and space, across centuries and continents, extracting and transforming them into modern hymns and timeless folk, something you could perhaps imagine hearing in the holo-deck of a ship from Star Trek. As the name suggests, Peter Cat Recording Co. is less a band and more of a self-sufficient factory of music and art. With 3 potent song writers in Suryakant, Dhruv & Kartik, the group is building a legacy informed and echoing the spirit of groups like The Velvet Underground and The Beatles. The next chapter of this entity began with the announcement of their new album, "BETA", a name inspired by the birth of Karan Singh's son. PCRC is Suryakant Sawhney on vocals and guitars, Karan Singh on drums, Dhruv Bhola on bass and samples, Rohit Gupta on keys, horns and woodwind, and Kartik Sundareshan on guitars, horns and woodwind.

NoLand sounds like a story already experienced. A series of lyrical landscapes infused with deviant pop sonorities.
In the second album on Knekelhuis, Reymour gives us the keys to three years of life's passages through mist and clearings, delving deep into their innermost selves and emotions.
By merging new inspirations with new encounters, they weave and unravel their tale.

To celebrate 40 years as a solo artist, Alison Moyet releases Key, a collection of 16 reworked singles and deep cuts, alongside two brand new tracks. Key is a blazing showcase of the depth and breadth of Moyet"s song writing ability that unlocks who she is as a creative artist. With nine studio solo albums to choose from to celebrate her fortieth year as a solo artist, Moyet wanted "to look at the trajectory of those decades and explore songs that, in their original form, were never fully realised or have had their relevance to me altered by time." The album distils 40 years of music making, presenting a cohesive overview of a long and dazzling journey.

To celebrate 40 years as a solo artist, Alison Moyet releases Key, a collection of 16 reworked singles and deep cuts, alongside two brand new tracks. Key is a blazing showcase of the depth and breadth of Moyet"s song writing ability that unlocks who she is as a creative artist. With nine studio solo albums to choose from to celebrate her fortieth year as a solo artist, Moyet wanted "to look at the trajectory of those decades and explore songs that, in their original form, were never fully realised or have had their relevance to me altered by time." The album distils 40 years of music making, presenting a cohesive overview of a long and dazzling journey.

First Word Records are very proud to present a brand new album from Kaidi Tatham!

'An Insight To All Minds' is Kaidi's 3rd solo album under his own name, following several EPs and two albums for First Word; 2018's acclaimed 'It's A World Before You' and the re-press of his seminal 2008 sophomore album 'In Search Of Hope' last year.

For those that don't know, Kaidi Tatham is a legendary multi-instrumentalist. Once dubbed "the UK's Herbie Hancock" by Benji B, he's a virtuoso on the keys and a true innovator in sound production as one of the original creators of the Broken Beat sound. Over the years his musical prowess has blessed numerous projects, initially with the likes of Bugz In The Attic and The Herbaliser, and more recently with DJ Jazzy Jeff (through the PLAYlist projects), Andrew Ashong (on the acclaimed 'Sankofa Season' EP last year) and with longtime accomplice, Dego. This in addition to session work for artists such as Mulatu Astatke, Slum Village, Amy Winehouse, Soul II Soul and Leroy Burgess, along with First Word label mates such as Eric Lau, Children of Zeus and Darkhouse Family. Kaidi is also a revered DJ known for rocking parties globally, whilst his solo catalogue spans tons of EPs and releases for labels such as 2000 Black, Eglo and Theo Parrish's Sound Signature.

On 'An Insight To All Minds', Kaidi says it's "not about a destination, but a process. It's about how you drive, not where you're going. Nothing in this world can torment you as much as your own thoughts… We are all going through it. We can all feel what the next person is feeling, believe it or not. It's learning how to tap into it".

The album is comprised of an assortment of Kaidi's unique flavours - uptempo jazz-funk bruk, laced with rhodes, flutes, live bass and delicious percussion. Using that blueprint he moves effortlessly through latin and samba, half-step, deep afro house and a sprinkle of curveballs, all presented in Kaidi's inimitable way.

'Intergalactic Relations' brings with it some 110bpm synthed-out spacey electro-breaks, 'Could It Be' sets off sounding like a Morricone film score, whilst 'Rodney' is some serious heads-down business; stark and punchy off-kilter broken beat and vocal stabs. There are a few guests too - 'Chungo' sees the return of Uhmeer (who previously appeared on 'Cupid' on the album 'It's A World Before You'); here the young Philly MC deftly rides a 9/4 time signature beat. Meanwhile 'Stro Kyat' invites in another supreme talent, Stro Elliot (The Roots), who provides a suitably crisp & crunchy riddim to accompany Kaidi's key play over a mind-bending 5/4 time signature.

With this new album, Kaidi Tatham adds further to his already impressive catalogue, a body of work that falls within the cracks of jazz and dance music, exemplifying modern British black brilliance once again; uncompromising, innovative, groundbreaking, intricately sophisticated and deeply funky. His fanbase expands on every release and it's no surprise that that fanbase includes peers such as Madlib ("ahead of his time"), Gilles Peterson ("a key part of an entire movement"), K15 ("a limitless source of inspiration"), Alexander Nut ("a true virtuoso") and Kyle Hall.

A1 - Consensus Reality
JLM opens another stellar EP for Spatial with Consensus Reality, acheery, optimistic track which opens with lush keys, and filtered breaks. Soon we are treated to long synths brimming with optimism while melodies are formed from a slew of elements entangled in joyous harmony. This is a special track before we even mention the amazingly crisp apache breaks which are introduced and toyed with to the conclusion in JLM's inimitable style.

A2 - Salva Veritate
An eerie vibe immediately grips the listener for a remarkably intense atmospheric journey in the shape of Salva Veritate. Whooshing, reverberating synths punctuate a dense soundscape laced with tensionand intrigue. The hefty Hot Pants breaks drive the track perfectly with atuneful 808 rumbling below, as blippy sub-melodies and keys add further texture to the mix to complete an immensely memorable production from JLM.

AA1 - Hotspot
Mellow keys with a hint of jazz open Hotspot, as JLM adds further flex tohis repertoire in another impressively detailed journey through sumptuous atmospherics. The track quickly bursts into life in full flow with chunky breaks driven by juddering snares nestling over smooth 808 basslines andswathes of strings & pads that swoop across the mix to create a dreamy paradox of lively calm.

AA2 - Nova
A soothing way to close the EP as JLM opens Nova with long, relaxing synthwork before the delicate beat patterns begin with a symphony offiltered effects and soft notes punctuating the soundscape. Extended reverse cymbals and subtly used reverberating vocal samples add textureto proceedings as the cosmic breaks flow, as we have become accustomed to from JLM's exceptional output on Spatial.
Words by Chris Hayes (Spatial / Red Mist)

"OneDa's story is so clearly mirrored in her music: a sprightly flow preaching a message of empowerment, enveloped in a dark, raucous soundscape…interlacing vibrant, punchy lyrics with that classic drum & bass sound has given OneDa a new lease of life." – DJ MAG

“OneDa is solidifying her position as one of the UK’s most thrilling hip-hop artists. With poignant lyrics and charisma that is off the charts, she dives deep into the complexities of life, love, and liberation.” – DIVA

Manchester rapper and poet OneDa is set to soar with the release of her debut album, 'Formula OneDa', on October 4th via Heavenly Recordings. Featuring the singles 'Major Pay' and 'Set It Off.'

On the ethos behind the album, OneDa says:

“In early 2023, while listening to my mixtape demos, the line ‘had to step away, get the levels up fast, Formula OneDa never come last' from my song ‘Off My Light’ stood out. We decided to name my album 'Formula Oneda'. Coincidentally, I discovered that the F1 Academy had just started, aligning perfectly with my album’s vision. For the first time in over 30 years, Formula 1 has created a platform to inspire and support young girls and women. Previously indifferent to Formula 1, I am now excited by the progress these women are making in the male-dominated racing circuit. While becoming a racing driver was never my goal, the F1 Academy metaphor fits my journey from a backmarker to a leader. This year, I plan to support these inspiring women as they drive with Pussy Power to take pole position in motorsports.”

Having supported Kneecap and Baxter Dury, and with standout performances at The Great Escape, OneDa is establishing herself as one of the UK’s most dynamic hip-hop artists. Her music transcends genres, blending hip-hop, drum and bass, afro-trap, and afrobeats, reflecting her Nigerian heritage and Manchester roots. Known for her dexterous wordplay and poetic verses, OneDa's voice is a unique force in the evolving drum and bass scene. Her boundless linguistic talent and poetic verses set her apart. Named by The Face as a key MC in the drum ‘n’ bass renaissance, OneDa is dedicated to empowering others.
Her live performance credits include headlining with Angélique Kidjo at Aviva Studios' launch in Manchester and leading performances at Manchester Pride 2023. She continues to gain acclaim from BBC Radio 6, DJ Mag, The Face, NTS, Wonderland, UKF, and The Line of Best Fit.

Beyond her music, OneDa is dedicated to community initiatives, leading hip-hop therapy for Manchester youth and championing projects like Herchester, which amplifies marginalized voices in music. Her vision extends beyond chart success; she aims to establish a hip-hop therapy school for all ages, showcasing music's potential for positive change. Her drive and authenticity inspire others to embrace their true selves.

Citing 'empowerment' as her greatest inspiration, OneDa channels her struggle with acceptance of her queerness into her music, promoting a message of self-love and freedom: “When you truly love yourself, that overpowers anyone else’s opinion.” Although she only began producing music two years ago, OneDa’s debut LP showcases her mastery across multiple genres. Collaborations with artists like Sam Binga, Songer, Devilman, and Mr. Scruff highlight her versatility. Her standout verse on Vibe Chemistry’s 'Ballin’', with over 35 million streams, further cemented her reputation. Her first fully produced track, 'Rude Girl Flex', earned her a spot on the BBC 6 Music playlist and an appearance at the BBC 6 Music Festival.

Tamil Rogeon, the Melbourne based multifaceted jazz, classical and electronic violin & viola player firmly cemented his reputation with the critical success of his 2021 album Son Of Nyx which was released on Soul Bank Music, Impressive Collective head honcho Greg Boraman's previous label. Lauded as a modal and spiritual jazz fusion opus, Son Of Nyx found favour with Gilles Peterson, Laurent Garnier, Rebecca Vasmant, BBC6 Music's' Cerys Matthews and Deb Grant, was a Jazz FM’ Album of the Week. Building upon that highly original sound concept, Wave Theory draws from the jazz fusion movements of the 70s and 80s and conjures up textured soundscapes rich with cosmic synths, soaring vocals and deep jazz funk, and sees Tamil once again joining forces with Son of Nyx contributors Rita Satch and Daniel Mougerman, plus new collaborators and special guests including Lance Ferguson and celebrated trumpeter, friend Audrey Powne. Listeners can expect the same modal experiments, driving percussion and cosmic synths of Son of Nyx as well as new and exhilarating experiments in electric string instrumentation. Across all 6 tracks the highlights are numerous, but of particular note are the album opener "Ascend it!"; a fusion masterpiece that seamlessly blends psychedelic elements, funk grooves, intricate melodies, and improvisation. When "Doom Date" takes flight we are transported to Mahavishnu Orchestra-like territory, before finishing with an angular melody that is pure jazz-fusion inventiveness. The irresistibly funky 'Gift Of The Gab” is built upon a hypnotic bass line over drum and percussion. Laden with synth and retro keyboards reminiscent of the deep funk of Herbie Hancock’s late 70s period. "Mountain Bug' alternates between minor and major keys, a hallucinatory violin solo is followed by a dazzling trumpet improvisation. A restatement of the melody accompanied by the gunfire of the drum set and percussion. Tamil says of Wave Theory “Sometimes themes reveal themselves through creative encounters and through life experience. I wrote and recorded the album in six months. A lot happened to me and my friends during that time so, for me, ‘Wave Theory’ is like a musical snapshot of life’s relentless ebbs and flows. It’s about the sadness and thrills of endless transformation and the power of creative connection".

No one has lived a life quite like Marcos Valle. He became an overnight international sensation, fled a military dictatorship, dodged the Vietnam war draft, had his music sung by Homer Simpson, made enemies with Marlon Brando, and became an unsuspecting fitness guru for multiple generations. But to truly understand the great Brazilian composer, arranger, singer and multi instrumentalist, one must listen to his music.

Lead Single (Life Is What It Is) : Between the release of his first album in 1962 and today, Marcos Valle has released twenty-two studio albums traversing definitive bossa nova, classic samba, iconic disco pop, psychedelic rock, nineties dance and orchestral music. He has also had his songs recorded by some of the all time greats, including Frank Sinatra, Sarah Vaughn, Sergio Mendes, Elis Regina, and (last but not least), Emma Button of the Spice Girls. He has also had his music sampled by Jay-Z, Kanye West, Pusha T and many more.


With his twenty-third studio album Túnel Acustico, Valle set out to bring it all together.

“I believe my music is many things. It goes in different directions. I have many different ways of writing music, sometimes it’s melodies and harmony, sometimes the groove is the focus. But all the music I have made over my sixty year career is unified. It is all natural and it is all sincere. And this is what I wanted to bring to my new album.”

A prominent feature of Valle’s career has been his dual residence between Brazil and the USA. Originally moving over in the mid-sixties on the back of bossa nova’s international proliferation, Valle toured with Sergio Mendes and became hugely in demand as a composer and arranger. But the Vietnam War loomed and the threat of being drafted saw him return to Brazil. He spent the following years in Rio writing music for TV and film, as well as four cult favourite albums in collaboration with some of Brazil’s most groundbreaking musicians including Milton Nascimento, Azymuth, Som Imaginario and O Terco.

By 1975, Brazil's military dictatorship was at its most oppressive, making living and working increasingly difficult. Valle moved back to the US where he would reside in LA, writing songs for, and collaborating with the likes of Eumir Deodato, Airto Moreira, Chicago, Sarah Vaughn and Leon Ware, amongst others.

Túnel Acústico features two songs originally conceived during Valle’s time on the West Coast: “Feels So Good”, a stirring two-step soul triumph written in 1979 with soul icon Leon Ware, and the sublime AOR disco track “Life Is What It Is”, composed around the same time, with percussionist Laudir De Oliveira from the group Chicago.

Built around an unfinished demo Marcos found on a shelf in his house 44 years after it was made, the “Feels So Good” demo was restored with the help of producer Daniel Maunick, who also utilised AI stem-separation to remove the placeholder vocal ad-libs. Valle added Portuguese lyrics to sit alongside Ware’s vocal hook, as well as extra keyboards and percussion.

Also written in late seventies LA, “Life Is What Is It” was co-penned by Laudir De Oliveira from the band Chicago and first released on the bands’ Chicago 13 album with lyrics by Robert Lamb. Another nod to his good times in LA, Valle recorded his own version for Túnel Acústico, upping the tempo and deepening the groove for a blast of irresistible summer soul.

On Túnel Acústico, Valle's core band features two members of the renowned Brazilian jazz-funk group Azymuth: Alex Malheiros on bass and Renato Massa on drums. The rhythm section is completed by percussionist Ian Moreira, with additional contributions from guitarist Paulinho Guitarra and trumpeter Jesse Sadoc.

The contemporarily composed music on Túnel Acústico features an impressive lineup of guest lyricists, including renowned Brazilian artists: Joyce Moreno (Bora Meu Vem), Céu (Nao Sei), and Moreno Veloso (Palavras Tão Gentis) as well as Valle's brother Paulo Sergio Valle (Tem Que Ser Feliz).

The album closes with "Thank You Burt (For Bacharach)", a tribute to the legendary composer who passed away in 2023.

Túnel Acústico will be released on 20th September 2024 via Far Out Recordings. Valle is set to tour Europe and America in support of the album.

Continuing his fruitful relationship with Discrepant after the third volume of his ongoing Organic Music Tape Series on Sucata Tapes, Tiago Sousa returns with two longform pieces for organ with 'A Thousand Strings'. A self-explanatory title in itself, 'A Thousand Strings' drifts fluidly into a celestial realm of cascading melodies and cycling patterns that never feel forced or strict throughout its two hypnotic tracks. Pulsating with life and ecstatic abandon.

Taking cues from the tradition of American minimalists like Steve Reich and, particularly, Terry Riley, the Portuguese composer's work flows with a life of his own, that, while acknowledging those influences, transcends them into his own signature. On the A side, 'A Thousand Strings' goes seamlessly from intertwining crepuscular harmonies to ascending keyboard runs in the manner of 'Persian Surgery Dervishes' finishing with a coda of rhythmic marimba-like pulses. On the flipside, 'The Things Passed' creates this maze-like tapestry of melodies that seem to drift apart only to converge back again into its internal process before setting on sustained tones infused with a sense of longing. For all things passed. For what is yet to come.

Skinshape (aka Will Dorey) releases his ninth studio album titled Another Side Of Skinshape on 27th September via Lewis Recordings. As the album title suggests, Dorey’s latest body of work is somewhat unlike anything in his prior discography. However, there is always a consistent Skinshape thread which pulsates throughout all of his music - a kind of sonic dreamscape which echoes a mystical nostalgia for a sun dappled afternoon.

Taking inspiration from childhood memories, Ethiopian rhythms, and even calls to prayer, Another Side Of Skinshape gained access to the most esoteric corners of Dorey’s mind. Whilst ‘It’s About Time’ and ‘Ananda’ display a slightly more synthesised palette than we typically hear of a Skinshape tune, singles ‘Stornoway’ and ‘Lady Sun’ (which features the hazy soul vocals of West London’s Hollie Cook) replicate the same lifeblood heard on albums Nostalgia, or Craterellus Tubaeformis.

Speaking on the album, Dorey says “Some songs pay homage to the 90s whilst others the 60s and 70s. Yet you may not perceive all of these in the form that they are presented. In any case I hope that the album is enjoyable and will fit casually into the flow of your day.”

Whilst making this album, Dorey experimented with various keyboards and drum machines, which are at times layered over the excellent drumming of Thomas Blunt, who played live onto tape. Blunt is well versed in the Skinshape vernacular, also being part of Dorey’s live band. Indeed, Another Side Of Skinshape is due for release just before a run of UK and US live dates, which will be the first time the band has ever hit the open road.

Dorey is a former member of the band Palace, has played Glastonbury, BBC Maida Vale and Shepherd’s Bush Empire to name a few. Skinshape’s ‘I Didn’t Know’ has streamed over 50 million times. He is proudly from Swanage, Dorest.

Limited pressing of 300 LPs ! 180gm VINYL LPS w/ INSERT & DOWNLOAD FILE UNDER : GARAGE ROCK / PUB ROCK "I wanted to make a very NOW album, our past was fantastic at the time but it was exactly that.the past. We've learned a lot since then and with the combination of influences and personal tastes we've concocted a combination of Raw Power guitar grunt, a touch of The Cars' pop sensibilities and Bad Seeds brood." Dave Butterworth Veteran rockers The Double Agents return with their third album New Motion a powerful new recording evoking directness and immediacy and marking their first release of new material in nearly two decades. The Double Agents' initial incarnation circa 2000 saw the fiercely independent quintet rise from humble stages to becoming one of Melbourne's most revered pub rock bands. They twice toured Europe and eventually shared the stage with iconic luminaries Dead Moon, Mudhoney, The Dirtbombs, Celibate Rifles, The White Stripes and The Black Keys before an amicable hiatus in 2008. New Motion is a modern Australian rock record and marks a departure from their garage rock roots, as best exemplified in their self released 2023 anthology compilation Best Bits. So Far spanning their first three releases. The familiar twin vocals remain, Kim and Dave summoning that deep Dead Moon energy, as does Ryan Tandy's singular lead guitar playing and the rock solid backbeat of Myles Gallagher, but the band's scope seems to have widened on this record, with the inclusion of longtime cohort Mick Stylianou (Saint Jude) adding style and harmonic punch on bass guitar and backing vocals. ..The New Motion sessions were tracked to analog tape by Finn Keane at Head Gap and Julian McKenzie at Newmarket with vocal post production by Dave Larkin (Dallas Crane), mixing by Callum Barter (Courtney Barnett, Kurt Vile), mastering by Mikey Young. Dave Butterworth also produced the album.

No one has lived a life quite like Marcos Valle. He became an overnight international sensation, fled a military dictatorship, dodged the Vietnam war draft, had his music sung by Homer Simpson, made enemies with Marlon Brando, and became an unsuspecting fitness guru for multiple generations. But to truly understand the great Brazilian composer, arranger, singer and multi instrumentalist, one must listen to his music.

Lead Single (Life Is What It Is) : Between the release of his first album in 1962 and today, Marcos Valle has released twenty-two studio albums traversing definitive bossa nova, classic samba, iconic disco pop, psychedelic rock, nineties dance and orchestral music. He has also had his songs recorded by some of the all time greats, including Frank Sinatra, Sarah Vaughn, Sergio Mendes, Elis Regina, and (last but not least), Emma Button of the Spice Girls. He has also had his music sampled by Jay-Z, Kanye West, Pusha T and many more.


With his twenty-third studio album Túnel Acustico, Valle set out to bring it all together.

“I believe my music is many things. It goes in different directions. I have many different ways of writing music, sometimes it’s melodies and harmony, sometimes the groove is the focus. But all the music I have made over my sixty year career is unified. It is all natural and it is all sincere. And this is what I wanted to bring to my new album.”

A prominent feature of Valle’s career has been his dual residence between Brazil and the USA. Originally moving over in the mid-sixties on the back of bossa nova’s international proliferation, Valle toured with Sergio Mendes and became hugely in demand as a composer and arranger. But the Vietnam War loomed and the threat of being drafted saw him return to Brazil. He spent the following years in Rio writing music for TV and film, as well as four cult favourite albums in collaboration with some of Brazil’s most groundbreaking musicians including Milton Nascimento, Azymuth, Som Imaginario and O Terco.

By 1975, Brazil's military dictatorship was at its most oppressive, making living and working increasingly difficult. Valle moved back to the US where he would reside in LA, writing songs for, and collaborating with the likes of Eumir Deodato, Airto Moreira, Chicago, Sarah Vaughn and Leon Ware, amongst others.

Túnel Acústico features two songs originally conceived during Valle’s time on the West Coast: “Feels So Good”, a stirring two-step soul triumph written in 1979 with soul icon Leon Ware, and the sublime AOR disco track “Life Is What It Is”, composed around the same time, with percussionist Laudir De Oliveira from the group Chicago.

Built around an unfinished demo Marcos found on a shelf in his house 44 years after it was made, the “Feels So Good” demo was restored with the help of producer Daniel Maunick, who also utilised AI stem-separation to remove the placeholder vocal ad-libs. Valle added Portuguese lyrics to sit alongside Ware’s vocal hook, as well as extra keyboards and percussion.

Also written in late seventies LA, “Life Is What Is It” was co-penned by Laudir De Oliveira from the band Chicago and first released on the bands’ Chicago 13 album with lyrics by Robert Lamb. Another nod to his good times in LA, Valle recorded his own version for Túnel Acústico, upping the tempo and deepening the groove for a blast of irresistible summer soul.

On Túnel Acústico, Valle's core band features two members of the renowned Brazilian jazz-funk group Azymuth: Alex Malheiros on bass and Renato Massa on drums. The rhythm section is completed by percussionist Ian Moreira, with additional contributions from guitarist Paulinho Guitarra and trumpeter Jesse Sadoc.

The contemporarily composed music on Túnel Acústico features an impressive lineup of guest lyricists, including renowned Brazilian artists: Joyce Moreno (Bora Meu Vem), Céu (Nao Sei), and Moreno Veloso (Palavras Tão Gentis) as well as Valle's brother Paulo Sergio Valle (Tem Que Ser Feliz).

The album closes with "Thank You Burt (For Bacharach)", a tribute to the legendary composer who passed away in 2023.

Túnel Acústico will be released on 20th September 2024 via Far Out Recordings. Valle is set to tour Europe and America in support of the album.

Nina Ryser's music has always inhabited its own world; a singular and cohesive collection of Keyboard-centric home recordings that marry her undeniable pop sensibilities with a truly bizarre dreamlike aesthetic. With a solo career spanning 7 releases as well as her work in the highly influential art-punk trio Palberta, Nina's artistic voice has been a staple in the American underground for over a decade, her distinctive and consistent sound earning a cult following. Her latest effort Water Giants signifies a departure in both sound and artistic practice - her first solo release recorded outside of her home studio, with a myriad of first time collaborators, it's Nina's most lavish and expansive offering to date, honing in on the heartfelt songwriting at the core of her work. After completing her usual process of demoing the songs for Water Giants, Nina felt that she wanted to try something new, escaping the confines of her minimal studio setup and the limitations of working alone. At the recommendation of several friends, she began working with Lucas Knapp, a Philly based producer who has contributed work to many Dear Life releases (including Florry's The Holey Bible, Hour's Ease the Work, and Joey Nebulous's Joey Spumoni Creamy Dreamy Party All the Time ). Lucas and Nina's recording sensibilities aligned quite seamlessly, breathing new energy into the songs in what she describes as an "effortless collaboration". The result is some of her most pristine experimental pop offerings to date, centering Nina as a dynamic performer and lyricist without foregoing the surreal qualities of her previous work. The album features contributions from many of her peers in the Philly music community, including Jill Ryan (Great Time), Victoria Rose and Nino Soberon (@, Brittle Brian), Eli Kleinsmith (The Knee Jerk Reaction), and her husband Gabe Adels, whom she frequently collaborates with in the synth-pop duo Data. Even the cover art is a departure for Nina, who has previously crafted it herself or with longtime friend/visual artist Izzy Kross, this time assembling a collage of photographs taken by Eve Alpert (Palm) fit for the album's newfound dimensionality. Lyrically, Water Giants stands as Nina's most personal work to date. Taking a cue from her previous release, I Miss My Dog, which was written as Nina was processing the imminent loss of her and Gabe's dog Billy, Nina approached the writing process with unbridled honesty and chose not to edit or overthink her words as she had in the past. The result is a number of candid, heartfelt reflections on love, illness, addiction, anxiety, and the beautiful absurdity of a trash pile on the street. Interspersed throughout the album are Nina's signature woozy instrumentals, which add some escapism to the grounded nature of the material. By putting faith in a newfound collaboration without straying from her natural instincts, Nina has crafted the most dynamic album in her discography, an exciting testament to her songwriting prowess and what can be accomplished by stepping out of your comfort zone as an artist.

What an unbelievable record. From the wild cover to the iconic breakbeats, Roots from Ian Carr’s Nucleus is one of the dopest albums we know. This is seriously thick, funky-prog jazz-rock heaven. Originally released on Vertigo in 1973, other than a couple of versions at the time for other territories, Roots was never re-pressed since so it’s gone on to become another one of those impossible to find records.

Maybe it was a little too out there for the time, but it’s aged very, very well indeed and this Be With re-issue, re-mastered from the original analogue tapes, shows off just why this deserves to be back in press.

Genius trumpeter and visionary composer Ian Carr was one of the most respected British musicians of his era. He was a true pioneer and saw the potential in fusing the worlds of jazz with rock, just as Miles Davis and The Tony Williams Lifetime did in the US. In late 1969, following the demise of the Rendell-Carr quintet, and tiring of British jazz, Carr assembled the legendary Nucleus. Regarding music as a continuous process, Nucleus refused to “recognise rigid boundaries” and worked on delivering what they saw as a “total musical experience”. We can get behind that.

Under bandleader Carr, Nucleus existed as a fluid line-up of inventive, skilled musicians. This constant evolution and revolution was all part of the continuous musical exploration and discovery that took jazz to new levels.

Working together with producer Fritz Fryer and engineer Roger Wake, the seven compositions by Carr, Brian Smith and Dave MacRae that make up Roots flirt with perfection, and Nucleus at that time made up of the cream of 1970s UK jazz with Brian Smith on tenor saxophones and flutes, Dave MacRae on piano and electric piano, Jocelyn Pitchen on guitar, Roger Sutton on bass, both Clive Thacker and Aureo De Souza on drums and percussion, Joy Yates delivering the vocals and of course Carr on trumpet.

The spellbinding title track immediately renders the album indispensable. Riding the illest of loping breakbeats, “Roots” is low-slung, doped-out heist-funk. An absolute monster. If it sounds familiar then that’s likely down to it being sampled by Madlib for Lootpack and Quasimoto’s “Loop Digga”, as well as by a whole host of beat manipulators. “Roots” conjures prime instrumental hip-hop / beat music, only 20 years ahead of its time. Truly, these are the roots. Through sinuous bass, twinkling keys and a hypnotic guitar riff, a smoky brass motif weaves its way into a gloriously deep haze around Carr’s solos. “Roots” is over 9 minutes long, but there’s not a single wasted second, not surprising given that this is a condensed version of an originally 40 minute long commissioned composition.

The soothing vocal fusion delight of “Images” follows. Meticulously constructed, with gorgeous flute work from Brian Smith, with Joy Yates’ silky vocals and Dave MacRae’s Rhodes never sounding better. The cool, driving “Caliban” closes out the first side. Originally the third movement in a four part commission to celebrate Shakespeare’s birthday it stands up on its own, all robust rhythms and blended brass. Keyboard colour and Carr’s trumpet are splashed across the funk drums and basslines (and there’s even some bamboo flute). This really is fusion: the elements of jazz and rock coming together in beautifully synthesis.

Side two opens in riotous fashion with the short, thrilling samba of “Wapatiti”. Next up, “Capricorn” forms a smoothed-out, jazzy constellation. Mellow and dreamy, its twinkling percussion and languid horns slowly build the vibe before head-nod drums and a killer bassline enter the fray. With a distinct heaviness that Black Sabbath would’ve envied, “Odokamona” is a venomous slice of riff-soaked jazz metal (yes, you read that right), elevated by Carr’s wah-wah horns.

The album closes with MacRae’s exceptionally cosmic “Southern Roots and Celebration”. Very much in conversation with Weather Report, it opens as a languorous, spiritual jazz of chiming keys and serene guitar that turns slowly, gorgeously into a mid-paced, brass-laced banger. It’s another sure-fire party starter and the sound of the band having a righteous blast, building an ecstatic chaos that ends with Yates screaming.

And of course we need to talk about Keith Davis’ cover for Roots. Perhaps the coolest record cover of all time? Certainly one of the most bonkers. Just your run-of-the-mill high-gloss, acid-tinged airbrush dystopian/utopian living-room party scene. Consider this your chemical flashback trigger warning.

Front-and-centre the hip-to-death green robot holds court with their giant ball of yellow barbwire wool, hooked up to… something(?) being teased out from under the stairs (probably best not to ask). A thoroughly zoned-out, long-legged Pop Art party-goer lounges half-plugged in to the painting behind her as a pair of legs flail into shot from the the top of the stairs opposite. We won’t even begin to guess what the chap’s up to in the middle, but the view out of the windows is rather nice, and someone’s already got the hoover out ready to tidy up. All of the Nucleus sleeves are something special, but this particular one? Crikey.

This Be With edition of Roots has been re-mastered from the original Vertigo master tapes, Simon Francis’ mastering working together with Pete Norman’s cut to weave their usual magic with these wonderful recordings. The crazy cover has been restored at Be With HQ as the finishing touch to this long overdue re-issue.

Born in Aldershot on 11 September 1947, Catley's family moved to the Tile Cross area of Birmingham when he was young. He went on to attend the nearby Central Grammar School for Boys (Birmingham) and left to start an apprenticeship at the GPO before deciding on a musical career shortly after meeting similarly minded individuals at college. Whilst at college he joined several bands, such as The Smokestacks (Jeff Clark-guitar, Ron Savage-guitar, Derek Danks-bass & Brian Worrell-drums, Life and Clearwater). His first professional band was when he joined local outfit The Capitol Systems. The initial line-up was Bob Catley (vocals) Paul Sargent (guitar) Paul Whitehouse (bass), Dave Bailey (keyboards) and Bob Moore (drums). Shortly afterward they changed their name to Paradox, inspired by a science-fiction novel. A one-off deal was arranged with Mercury after Paradox had come to the attention of Francis Rossi and Rick Parfitt. The tracks were "Ever Since I Can Remember", backed with "Goodbye Mary". In addition, they recorded "Mary Colinto" and "Somebody Save Me". All of these songs were written by Dave Morgan. Paradox played festivals in the Netherlands and Italy before splitting up upon their return to the UK in 1970. Formed in 1972, Magnum throughout the next 16 years consisted mainly of Bob Catley on vocals and Tony Clarkin on guitar. Magnum began as the house band at Birmingham's famous Rum Runner night club (later the home of Duran Duran). They began to develop their own style by playing Clarkin's songs at a residency at The Railway Inn, in Birmingham's Curzon Street, in 1976. Joining Clarkin and Catley were drummer Kex Gorin and bassist Dave Morgan (later a member of ELO). Their most notable success during these early years was the Jeff Glixman produced Chase The Dragon (1982) which reached No. 17 in the UK, and included several songs that would be mainstays of the band's live set, notably ‘Soldier of the Line’, ‘Sacred Hour’ and ‘The Spirit’. Their breakthrough album came in 1985 with On a Storyteller's Night which featured the single ‘Just Like an Arrow’. This success continued in the following years with the Roger Taylor (Queen) produced Vigilante in 1986, the top 5 album Wings of Heaven in 1988, and the Keith Olsen produced Goodnight L.A. reaching No. 9 in the UK album charts in 1990. Subsequently, Clarkin decided to maintain a tighter control, and after their initial mainstream success, the band lost their major label backing and returned to a more personal level of production. This finally found the band splitting and the formation of Hard Rain in 1995, which saw Clarkin pursue a more Pop orientated direction with a band that included Sue McCloskey on lead vocals. This new direction didn’t sit well with Catley, and after a headline performance at The Gods in the late 90s, a conversation with Bruce Mee of Now & Then Records saw Catley agree with a decision which eventually led to his debut solo album, ‘The Tower’. This release was completely written by Gary Hughes of Ten, with the writing completely decided to be in the vein of classic Magnum. The album itself was recorded by various members of Ten, including the amazing Vinny Burns (Dare) on guitar. On release, the many positive reviews concluded that the release of ‘The Tower’ had succeeded beyond its wildest imagination…..and Bob Catley’s solo career had been launched with amazing success!! With a lyrical intricacy and majestic pomp, songs like ‘Far Away, ‘Fear of the Dark, ‘Madrigal’ and ‘Deep Winter’ take you back to that glorious period of Magnum between ‘Chase The Dragon’ and ‘Wings Of Heaven’ whilst hard melodic rockers such as ‘Scream’, ‘Dreams’ and title track ‘The Tower’ show just what Magnum would have sounded like if they’d gone a little bit harder. Another absolutely brilliant album that totally deserves to be filed alongside those mid-period Magnum classics.

Nigerian electronic musician and violist Ibukun Sunday debuts on Phantom Limb with Harmony / Balance, a brooding, introspective take on Afro-ambient music that follows two acclaimed digital-only albums for Phantom Limb imprint Spirituals.


Based in Lagos, Ibukun Sunday has expertly positioned himself between the rarely-married cultures of ambient and West African musics. He entwines his compositions with field recordings from his native Nigeria and deeply considered philosophies of existence, humanity, and society. The themes of Harmony / Balance derive from Swami and Hare Krishna founder A. C. Bhaktivedanta and his work Bhagavad-Gita Eng: “As It Is”, a script on the duality of human nature. In Bhaktivedanta’s text, two cousins - warriors from the sacred Hindu text the Mahābhārata - and their armies are pitted against each other. The humility, self control, and devotion of one cousin against the arrogance, envy, and pursuit of power of the other. Bhaktivedanta writes that from this battle we see the necessity to cultivate and nurture our love and faith, but to simultaneously understand our selfishness and hubris. Appropriately, in Ibukun Sunday’s music, a heavy, apocalyptic dread contrasts fascinatingly with passages of light. The static-spiked, corrosive sound design of Harmony / Balance conjures darkness, but its skipping rhythmic patterns and melodic contours are made of beautifully vibrant colours.



Though Sunday excels in the kind of drawn-out elegance also found in the work of Kali Malone, William Basinski or Fennesz, and also in a magisterial repetition akin to Terry Riley or Manuel Göttsching, his unique practice, classical training, and core culture shine through in a pure and singular way. Scattered throughout Harmony / Balance are unexpected melodic antiphonies closely aligned with African music, interspersed between huge, spacious drones and field recordings.



Lead track “Arrayed On The Battlefield” evokes mythical and deific wars with hissing, buzzing synthesis that could be dystopian if not for a levitational, sunlit harmonic structure. It rolls and shimmers, transcendent frequencies alive with rhythm. Later, “Enemy Of My Enemy” employs shimmering, meditative chord pads and blissful negative space, while towards the end of the record, “To Fight With” could have been taken from a Denis Villeneuve sci-fi - the fizzing, fiery distortion at its peak gradually, carefully yields a rumbling, distant thunder as it closes. Throughout the record, Sunday’s education as a classical viola player is also evident. A honed musicality and developed ear for harmonic resonances lend the work a measured eloquence, even amidst deep, spiritual intuitiveness. This intensely personal and powerfully expressive creativity is key to the grace with which he crosses divides.


Ibukun Sunday is a solo electronic musician and violist based in Lagos, Nigeria. He has released two albums with Phantom Limb’s digital-only imprint Spirituals, which enjoyed rightful acclaim as unique and powerful works of experimental ambient music. He also performed at Phantom Limb’s 5th anniversary celebrations in 2023, playing alongside Richard Skelton at St. John’s on Bethnal Green in London, UK.

Frederik Valentin is a Danish musician, writer and producer. He has been active since the early 2000’s, playing a key role in the Danish rock, electronic and pop scenes. Having collaborated with landmark labels like Posh Isolation and produced each of Yung Lean’s “Jonatan Leandoer96” projects, Valentin has reinvented himself over and over again. ROCK N ROLL WILL NEVER DIE is his latest solo LP, a collection of rock-inflected dance music that calls to mind the scandi alt-pop of the Tough Alliance and JJ.

Secretsundaze marks a new chapter in the institution’s storied history with the foundation of imprint 9FINITY. Stemming from founder James Priestley’s daughter Ludo’s toddler-speak of ‘9FINITY’ to define something massive or huge, the label aims to run with this descriptor through no-nonsense, discerning dance records from artists at the vanguard of modern club music.

The label makes a statement with its maiden release, a V/A compiled with the considered curation synonymous with the Secretsundaze name.

9FINITY001 brings together the talents of Eoin DJ, DJ Life, Luca Attanasio, Coffintexts and E-Talking across 5 tracks and digital bonus that act as a distillation of the label’s sonic vision.

The EP kicks off with Eoin DJ’s ‘Red Rubber Roses’ (Rhythm Dub). A deep, yet driving affair that melds a subtle break with an organ bass line. Think Junior Vasquez meets Radiant Love and you’re getting close. Joining Eoin DJ on the A-side is Naarm production wizard DJ Life with ‘Aberration’. A true headspinner, Life pulls out all the stops on this one, brooding D n’ B style low end, his trademark psychedelic flourishes and a mid-track pace change for good measure. A statement of intent for the imprint on its opening stanza.

The flip opens with exciting newcomer Luca Attanasio’s ‘I Like You Mind’. Straight up intelligent modern house music to kick start the B-side with moody keys and sensual vocal samples juxtaposing a rising bassline that emphasizes groove. Next is Coffintexts’ percussive ‘Make U Sweat’. Doing exactly what is says on the tin, a bold club track with a heavy Latinx vibe that implores the listener to move. Last but certainly not least, E-Talking closes out an impressive opening outing for 9FINITY with the balearic tinged, progressive ‘Party’.

The EP also has an exclusive, Bandcamp only digital bonus with Coffintexts providing a dub wise, 140 version of ‘Make U Sweat’.

Few jazz funk classics have been as iconic as 'Life On Mars' by keyboard legend, songwriter, producer and architect of the 'Philly Sound' Dexter Wansel. First released in 1976 it became an immediate fixture on the dance floor and remains an evergreen to this day with a generation of disco, soul and jazz funkateers.

Now comes an extremely special exclusive release for Record Store Day. This is the first ever remix of the track, all parts taken from the original masters tapes and added to courtesy of remixer Paul Simpson (Paul Simpson Connection, Serious Intention, Adeva etc). Dexter Wansel himself contributes on an exclusive extended mix of 'Theme From The Planets' which includes an extra monologue section with the man himself telling the story of these tracks.

This 12' released on original Philadelphia International Records label artwork through Expansion.

Formed in 1995 in the small Swedish city of Mariestad by key players from Sweden's legendary hardcore scene, Wolfbrigade (known as Wolfpack until 1999) remain among Scandinavia's most respected, influential and reliable purveyors of real-world brute-force hullabaloo. On this eleventh album, the niftiest skills honed to a fine edge over 30 years are dispatched with greater style and intensity than ever.

Ginger Root ist das Projekt von Cameron Lew aus Südkalifornien. Seit seiner ersten Veröffentlichung 2017 vermischt der Multi-Instrumentalist, Produzent, Songwriter und visuelle Künstler handgemachten, aber makellos polierten Synth-Pop, Alt-Disco, Boogie und Soul zu einem Sound, den er selbst als "aggressiven Fahrstuhl-Soul" beschreibt. Durch seine Linse als asiatischer Amerikaner, der mit der Musik der 1970er und 80er Jahre aufgewachsen ist, nimmt eine Musik Gestalt an, die insbesondere den kreativen und kulturellen Dialog zwischen japanischem City Pop und seinen westlichen Gegenstücken von French Pop über Philly Soul bis hin zu McCartney der Ram-Ära hervorhebt. SHINBANGUMI ist seine dritte LP und die erste für sein neues Label Ghostly International. Lew zeigt sich auf SHINBANGUMI gelassener, eigenwilliger und bewusster denn je und bringt genau das zum Vorschein, wonach sich Ginger Root anhören und anfühlen sollte. Die Leadsingle "No Problems" fungiert mit singbaren Basslines, schwungvollen Gitarrenriffs und cleveren Keyboard-Hooks als Eröffnungssequenz und als Brücke zu neuem Terrain. Für Fans von L'Imperatrice, Toro y Moi, Unknown Mortal Orchestra, Thundercat, Crumb, Khruangbin. ENGStep inside the world of Ginger Root. Cameron Lew makes it easy to do so; every considered detail is his own manifestation, written, designed, and executed as an all-encompassing diorama of sound and sight. A multi-instrumentalist, producer, songwriter, and visual artist from Southern California, Lew has crafted his project steadily since 2017, inviting a fervent and growing legion of fans into storylines drawn across mediums: captivating albums with accompanying films and globe-spanning tours. The Ginger Root sound _ handmade yet immaculately polished synth-pop, alt-disco, boogie, and soul _ takes shape through Lew's lens as an Asian-American growing up enamored by 1970s and '80s music, specifically the creative and cultural dialogue between Japanese City Pop and its Western counterparts from French Pop to Philly Soul to Ram-era McCartney. He spins his retro-minded influences and proliferates savvily in the present, synthesizing a songwriter's wit, an editor's eye, and a producer's resource into something singular and modern. SHINBANGUMI, his long-awaited third LP, and Ghostly International debut set for physical release in 2024 with a visual album component, translates roughly to a new season of a show. It finds Lew more poised, idiosyncratic, and intentional than ever in a new chapter of life, unlocking "exactly what Ginger Root should sound and feel like," he says. "In terms of instrumentation and musicality, it's the first time that I felt very confident and comfortable with what everything should be comprised of. On the more personal side, I'm coming out of the last four years of writing, touring, and living as a different person; SHINBANGUMI is a platform to showcase my new self."