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Wie zwei Zeitlinien, die zusammenlaufen, kommen ELEPHANT TREE und LOWRIDER zusammen, um ihr gemeinsames Album ,The Long Forever" zu präsentieren, eine der am sehnlichsten erwarteten Split-Veröffentlichungen in der Geschichte des Heavy Rock.Nach zwei bahnbrechenden Veröffentlichungen im Jahr 2020 haben Elephant Tree und Lowrider die Gelegenheit ergriffen, neu zu definieren, wer sie sind und zu erklären, wohin ihre musikalische Reise mit dem gemeinsamen Album ,The Long Forever" als nächstes gehen wird. Mit The Long Forever befinden sich beide Bands an einem kritischen Punkt: Beide haben einen weitreichenden und wachsenden Einfluss, beide werden auf der Bühne und abseits davon verehrt, und beide bringen ihre erste richtige neue Veröffentlichung seit vier Jahren heraus, die mit großer Spannung erwartet wird.Diese Bands auf eine gemeinsame Platte zu bringen, wäre unabhängig von den Begleitumständen ein Ereignis, aber die Bedeutung dieses Albums ist noch größer. Der Titel des Albums stammt von dem Spitznamen für das mehrwöchige Koma, in dem sich Elephant Tree-Sänger/Gitarrist Jack Townley aus medizinischen Gründen nach einem beinahe tödlichen Fahrradunfall Anfang 2023 befand. Er träumte, ohne aufzuwachen, und verlor jegliches Zeitgefühl, während sein Geist versuchte, mit der Tortur fertig zu werden - diese lyrische Beschreibung deutet das Ausmaß von Jacks Erfahrung nur an.In dem darauf folgenden Jahr manifestierte sich eine musikalische Freiheit in den jeweiligen Ansätzen beider Bands: Elephant Tree wählten während Jacks allmählicher Rückkehr zum Spielen einen rohen, aufbauenden Ansatz, während Lowrider komplexer und ausdrucksstärker wurden, um Songs für das 2020 erschienene Album ,Refractions" zu entwickeln, das von allen Seiten bewundert wurde.,The Long Forever" ist das Vehikel, durch das sich die Bands begegnen, das die Erwartungen an sie untergräbt und übertrifft, mit einem traumatischen Nexus als Gravitationssingularität, um die die gesamte LP kreist und jede Note, die nach außen dringt, verbiegt und formt.Beharrlichkeit, Heilung und hartnäckige Leidenschaft haben The Long Forever zu einer Realität gemacht, und Fans von Elephant Tree und Lowrider werden sich über das überragende Ergebnis freuen! Like two timelines converging, ELEPHANT TREE and LOWRIDER come together to present the collaborative album "The Long Forever," easily one of the most eagerly awaited split releases in the history of heavy rock. In the wake of two landmark 2020 releases, Elephant Tree and Lowrider have seized the opportunity to redefine who they are and declare where their musical voyages will go next with the collaborative album The Long Forever. The Long Forever finds both bands at critical junctures: each has a broad and expanding influence, each is revered onstage and off, and each is delivering its first proper new release in four years to tremendous anticipation. Bringing these bands onto a shared collaborative platter would be an event regardless of the surrounding circumstances, but the significance of this album is even greater. The album's title comes from the nickname for the multi-week coma that Elephant Tree singer/guitarist Jack Townley was in for medical reasons after a near-fatal biking accident in early 2023. Dreaming without waking and losing all sense of time as his mind attempted to cope with the ordeal, that lyrical description only hints at the enormity of Jack's experience. The year or so that followed manifested a musical freedom in both bands' respective approaches, Elephant Tree choosing a raw, set-up-the-mics-and-go approach during Jack's gradual return to playing, while Lowrider grew more complex and expressive in building songs to follow up their massively adored 2020 album "Refractions." "The Long Forever" is the vehicle through which the bands meet, subverting and superseding the expectations on them, with a traumatic nexus as the gravitational singularity around which the entire LP orbits, bending and shaping every note that escapes forth. Perseverance, healing and stubbornness of passion made The Long Forever a reality, and fans of both Elephant Tree and Lowrider are certain to rejoice at the towering result!

Das neue Soloalbum der einen Hälfte des Duos WILDBIRDS & PEACEDRUMS, MARIAM THE BELIEVER, vermittelt uns richtig zu Atmen (und genau Zuzuhören)! Es gibt einen Hauch von Jazz, einen Hauch von Soul, die Empfänglichkeit und den Zauber spiritueller Musik und den großen Reichtum der Improvisation. Der Sound auf "Breathing Techniques" ist dicht und doch atmosphärisch, eine musikalische Landschaft, die sich im Laufe der Musik durch subtile Progressionen, Wiederholungen und manchmal scheinbar sporadische Arrangements entfaltet. Ein Setting, das an ein modernisiertes klassisches Kammerorchester erinnert, mit Mariams Gesang an der Spitze. Das Album lässt Einflüsse von Frauen in der Musik der Vergangenheit und der Gegenwart anklingen. Es gibt einen Hauch von ALICE COLTRANEs zurückhaltenden spirituellen Aufnahmen, den rhythmischen Improvisationen VON MEREDITH MONK, der Leichtigkeit von STINA NORDENSTAM und den erforschenden stimmlichen Qualitäten von SHEILA CHANDRA und GAL COSTA. Das neue Album folgt auf die beiden von der Kritik hochgelobten Vorgängeralben von MARIAM THE BELIEVER: "Love Everything" von 2017 und das Debütalbum "Blood Donation" von 2013.

Wie zwei Zeitlinien, die zusammenlaufen, kommen ELEPHANT TREE und LOWRIDER zusammen, um ihr gemeinsames Album ,The Long Forever" zu präsentieren, eine der am sehnlichsten erwarteten Split-Veröffentlichungen in der Geschichte des Heavy Rock.Nach zwei bahnbrechenden Veröffentlichungen im Jahr 2020 haben Elephant Tree und Lowrider die Gelegenheit ergriffen, neu zu definieren, wer sie sind und zu erklären, wohin ihre musikalische Reise mit dem gemeinsamen Album ,The Long Forever" als nächstes gehen wird. Mit The Long Forever befinden sich beide Bands an einem kritischen Punkt: Beide haben einen weitreichenden und wachsenden Einfluss, beide werden auf der Bühne und abseits davon verehrt, und beide bringen ihre erste richtige neue Veröffentlichung seit vier Jahren heraus, die mit großer Spannung erwartet wird.Diese Bands auf eine gemeinsame Platte zu bringen, wäre unabhängig von den Begleitumständen ein Ereignis, aber die Bedeutung dieses Albums ist noch größer. Der Titel des Albums stammt von dem Spitznamen für das mehrwöchige Koma, in dem sich Elephant Tree-Sänger/Gitarrist Jack Townley aus medizinischen Gründen nach einem beinahe tödlichen Fahrradunfall Anfang 2023 befand. Er träumte, ohne aufzuwachen, und verlor jegliches Zeitgefühl, während sein Geist versuchte, mit der Tortur fertig zu werden - diese lyrische Beschreibung deutet das Ausmaß von Jacks Erfahrung nur an.In dem darauf folgenden Jahr manifestierte sich eine musikalische Freiheit in den jeweiligen Ansätzen beider Bands: Elephant Tree wählten während Jacks allmählicher Rückkehr zum Spielen einen rohen, aufbauenden Ansatz, während Lowrider komplexer und ausdrucksstärker wurden, um Songs für das 2020 erschienene Album ,Refractions" zu entwickeln, das von allen Seiten bewundert wurde.,The Long Forever" ist das Vehikel, durch das sich die Bands begegnen, das die Erwartungen an sie untergräbt und übertrifft, mit einem traumatischen Nexus als Gravitationssingularität, um die die gesamte LP kreist und jede Note, die nach außen dringt, verbiegt und formt.Beharrlichkeit, Heilung und hartnäckige Leidenschaft haben The Long Forever zu einer Realität gemacht, und Fans von Elephant Tree und Lowrider werden sich über das überragende Ergebnis freuen! Like two timelines converging, ELEPHANT TREE and LOWRIDER come together to present the collaborative album "The Long Forever," easily one of the most eagerly awaited split releases in the history of heavy rock. In the wake of two landmark 2020 releases, Elephant Tree and Lowrider have seized the opportunity to redefine who they are and declare where their musical voyages will go next with the collaborative album The Long Forever. The Long Forever finds both bands at critical junctures: each has a broad and expanding influence, each is revered onstage and off, and each is delivering its first proper new release in four years to tremendous anticipation. Bringing these bands onto a shared collaborative platter would be an event regardless of the surrounding circumstances, but the significance of this album is even greater. The album's title comes from the nickname for the multi-week coma that Elephant Tree singer/guitarist Jack Townley was in for medical reasons after a near-fatal biking accident in early 2023. Dreaming without waking and losing all sense of time as his mind attempted to cope with the ordeal, that lyrical description only hints at the enormity of Jack's experience. The year or so that followed manifested a musical freedom in both bands' respective approaches, Elephant Tree choosing a raw, set-up-the-mics-and-go approach during Jack's gradual return to playing, while Lowrider grew more complex and expressive in building songs to follow up their massively adored 2020 album "Refractions." "The Long Forever" is the vehicle through which the bands meet, subverting and superseding the expectations on them, with a traumatic nexus as the gravitational singularity around which the entire LP orbits, bending and shaping every note that escapes forth. Perseverance, healing and stubbornness of passion made The Long Forever a reality, and fans of both Elephant Tree and Lowrider are certain to rejoice at the towering result!

A hard rock mash up - Bandleader Paul Ngozi's split album with his drummer and co-vocalist Chrissy Zebby Tembo. The set includes an oversized 8 page booklet detailing Ngozi’s arc, rare photographs, discography and annotations.

"Zambia’s Zamrock movement that exploded in the 1970s...provided young musicians access to European and American music, and created a unique sound. At its root, Zamrock melded fuzz-toned psychedelia, chugging garage rock and roiling funk with a broad mix of African cadences and beats...enlivening a scene that included bands like Musi-O-Tunya, Amanaz and the Ngozi Family” - New York Times

Zamrock was a bona-fide rock scene: on the African continent, only Nigeria can claim one so comprehensive, and Nigeria’s was largely catalyzed and funded by subsidiaries of the European major labels. Zamrock was as independent as the newly-named country, formerly known as Northern Rhodesia. Zamrock is starting in its completeness, especially for a scene that emerged, unfurled and disappeared so quickly. From Musi-O-Tunyaís fusion of Fela’s Afro-beat, Hendrix’s rock, South African jazz and traditional Zambian melodies and rhythms to Salty Dog’s acid folk/rock, Zambia’s rock scene contained all of rock’s subgenres. Zamrock was much more than an imitation of American and European rock music: it quickly became a uniquely Zambian movement, befitting of its name. WITCH, Paul Ngozi and Amanaz sound nothing like other rock music from the African continent - or elsewhere. Zamrock came from a nation's youth carrying forth the momentum of a political and social revolution with a musical revolution that maintained the fiery power of early rock - in the mid-to late-70s. From that era, Zamrockís energy is matched only by the punk and hip hop scenes of England and America.

Frequent collaborators V Don & Ransom team up yet again to bring you their new album Chaos Is My Ladder 2 - this time tapping in with Griselda’s Conway The Machine. Ransom and Conway each bring their A-game, lacing each of the 10 tracks with their signature bars and flawless lyricism. V Don sets the scene with his gritty production that will leave you nodding your head to each beat. Lloyd Banks rounds out the new drop as the sole feature and does not disappoint. This album is already being heralded as an Album of the Year contender, and after one listen you will know why

Beehive Beach sees Euros’ melodic and lyrical flair undimmed on this, his 20th solo album.
The album features a stellar band: Stephen Black (aka Sweet Baboo) on bass & clarinet, Stuart Kidd on drums & vocals and Georgia Ruth on vocals & recorder. Recorded at Studiowz in Pembrokeshire by Owain Fleetwood Jenkins.
Euros’ previous four albums have been wholly solo affairs, but Beehive Beach sees Euros taking a different approach - playing and singing live in the studio with a band. “There's something special about capturing a song live in the studio,” says Euros, “it sets the song in a time and place, like capturing an image. It's also a lot of fun”.
Richly melodic, with an undercurrent of melancholia running throughout, Beehive Beach features ruminations on childhood - Black & White Dinner, Ursula's Crow - an ode to 1950s T.V & radio personality Isobell Barnett - Isobell – and celebrations of music and creativity - My Companion, Elspeth on the Shore - as well as self-reflection - A Different Kind of Blue, See-Saw.

"Ukraine's most beloved and enduring band Okean Elzy will release their first-ever English-language studio album, Lighthouse, on October 11 via Elektra. The group herald the record’s announcement with the title track and new single ‘Lighthouse’ featuring John Rzeznik of Goo Goo Dolls. Produced by John Feldmann (Blink 182, Avril Lavigne, 5 Seconds of Summer), and co-written by Slava, Feldmann and Eva Arnby Busacker (5 Seconds of Summer, Landon Barker), the track also features Travis Barker on drums. A portion of the proceeds from the song will be donated to United24, an initiative launched by the president of Ukraine in support of the country during the ongoing war. The song is accompanied by a cinematic music video – available to stream on the band’s You Tube Channel
Okean Elzy’s lead vocalist Sviastoslav ‘Slava’ Vakarchuk says, ""The creative process was a unique experience for me. Working alongside Feldy and Evey was both fun and inspirational. The song came together in a matter of minutes. Having Travis on drums took the vibe up to a whole other level, and is yet another example of how special the human camaraderie and support is on this track.""
""Lighthouse is a very powerful metaphor for me,"" Slava continues. ""As a Ukrainian I couldn't think of a better metaphor to express our hope for the future, which is part of why the song and album bear that name.""
Okean Elzy radiate luminous energy through ‘Lighthouse’. Anchored to a steady beat, warm guitars ebb and flow beneath a heartfelt promise, “Take my hand, I’ll get you through the storm.” The momentum builds as the song climaxes on an uplifting chorus, “Tonight, I’ll be your lighthouse, shining on.” Meanwhile, Vakarchuk and Rzeznik lock into a bold and bright back-and-forth. The music video seamlessly translates this energy to the screen, capturing the chemistry between the frontmen.
With their upcoming album, Okean Elzy aims to transcend borders and share the rich tapestry of Ukrainian culture with audiences around the world. The album will include collaborations from Travis Barker (Blink-182), Paul O'Duffy and Diane Warren.
In support of Lighthouse, a portion of their North American tour’s proceeds will be donated to Open Eyes Fund, specifically supporting their Drive For Life initiative, whose goal is to deliver 30 ambulances, along with essential medical equipment to the frontlines where urgent medical assistance is required. These efforts will be in addition to the 242 ambulances already delivered to Ukraine and 36,000 lives saved previously by Open Eyes. Following their North American tour, Okean Elzy are set to headline the O2 Academy Brixton in London on December 4. Check out the full confirmed itinerary below. General on-sale begins today at 10am local time.
Consistently selling-out stadium shows, winning multiple YUNA Awards (the nation’s equivalent to the Grammys or the BRITs), and topping airplay charts, Okean Elzy are undoubtedly Ukraine’s biggest band."

Mit dem Label MPS wurde in Deutschland musikalisch Nachkriegsgeschichte geschrieben: edle Musikproduktionen mit vielen internationalen Größen kommen aus dem Schwarzwald. In dieser Tradition bewegt sich das sich das Villinger Label HGBSBlue mit Neu- und Archivaufnahmen auf hochwertigem Vinyl, teilweise aus dem MPS-Archiv. Was sind das für Klänge? Sie sind eigenwillig, machen fast süchtig. Sie sind mitreißend, wehmütig und lassen sich in keine der gängigen Schubladen stecken: Georgische Polyphonie gemischt mit Minimal Music, einer Prise Jazz und prickelndem Elektro Pop. Grenzen kennt diese Musik nicht. Gibt es Vergleichbares?? Kaum. Björk vielleicht. Es geht um Russudan Meipariani, eine Pianistin, Komponistin und Sängerin aus Tiflis, die seit gut 20 Jahren in Stuttgart lebt. Gemeinsam mit Schwester Natalie und Schwager Giga bilden sie das Russudan Meipariani Ensemble und spielen jenseits der üblichen musikalischen Grenzen. Dementsprechend auch der Titel ihres neuen Projekts: "Beyond The Boarders", welches im Oktober als Vinyl-Platte auf dem Schwarzwälder Label HGBSBlue herausgebracht wird. Die Polyphonie ihres Heimatlandes Georgien hat es der aus einer Musikerfamilie stammenden Komponistin Russudan Meipariani naturgemäß angetan. In den 1990 Jahren spielte sie mit Schwester Natalia (Geige) und Schwager Giga (Cello) als klassisches Trio zusammen und machten sich dann auf nach Deutschland. Hier setzten sie zunächst ihre Musikausbildung fort, um und dann als Musiker tätig werden. Russudan war sogar Studentin bei der Komponistenikone Wolfgang Rihm (1952-2024). Das neue Album des Russudan Meipariani Ensembles ist eine musikalische Besinnung auf Herkunft und Heimat, eine Musik über Sehnsucht und Erinnerung. Das Trio bringt Welten zusammen und schafft einen einmaligen Klangraum an der Schnittstelle von Klassik, Jazz, georgische Polyphonie, Postminimalismus und Improvisation. Die Musik steckt voller Sentimentalität und Weite, ist dann wieder mitreißend oder auch wehmütig. Viele ungewöhnliche Facetten tauchen auf, aber niemals Langeweile. "Diese Musik ihrer steckt voller erzählerischer Kraft und einer soghaften Poesie. Man möchte nicht aufhören, ihr zuzuhören", schreibt Julia Neupert, Redakteurin für Jazz und Neue Musik beim SWR in Stuttgart, die die Liner Notes zu dieser LP geschrieben hat. Ein ungewöhnliches Hörerlebnis!

On Still + Bright, her highly-anticipated follow up to, Wary + Strange, Amythyst Kiah shares a dozen songs that mark an evolution in her sound. Kiah says, “With this album, I’ve always been incredibly interested in stories and philosophy. Lots of the songs are inspired by the cosmos, space, meditation, and mindfulness. It’s a way to piece out what it means to be a human being in the modern world. It’s the general idea that we should all have the freedom to decide what path we want to choose.” Still + Bright is produced by Butch Walker (Fall Out Boy, Green Day, Weezer) and features special guests including SG Goodman, Avi Kaplan, and Billy Strings. All of the songs were brought to life by Kiah and co-writers, including Sean McConnell, Avi Kaplan, Sadler Vaden, and Tim Armstrong, among others. Still + Bright is set for release on October 25, 2024. “Years in the making, Still + Bright explores what it means to be a human being in the modern world. Songwriting is my way to marry big, overarching philosophical ideas and questions into a musical, more organized arrangement. Inspired by the cosmos, space, meditation, and mindfulness – this record directly challenges religious and political dogma, stating that we should all have the freedom to decide what path we want to choose.” Recently Kiah featured in Salon talking about her love of country and bluegrass music and was included in a New York Times T Magazine spotlight and documentary: The Next Generation of Black Folk Singers. Her episode of PBS’ The Express Way with Dulé Hill aired nationally on April 30, Kiah is featured in Episode 2: “Appalachia”. She recently appeared on a panel at the Television Critics Association Press Conference which was attended by over 200 television critics around the globe. This June she will be on the road opening for Iron & Wine.

"Critically acclaimed and the most-watched Netflix series during the week of 12th February 2024, One Day – adapted from the David Nicholls book – follows the lives and relationship of Emma and Dexter over the course of 20 years, presented through the lens of their annual encounters on the 15th of July.
The series has been a hit globally (number one in 80 countries) with a standout soundtrack, including The Cranberries ‘Dreams’, Joan Armatrading ‘Love And Affection’, Crowded House ‘Weather With You’, Soul II Soul ‘Back To Life (However Do You Want Me)’, Cameo ‘Candy’, Nick Drake ‘Northern Sky’.
This 2LP release curates twenty songs from across the twenty year period of the series’ soundtrack, as well as including two tracks from the score to close each disc in the set."

Atemberaubend, wie die zierliche Pianistin konzentriert Ton an Ton setzt, den zarten Klängen ausreichend
Raum und Zeit lässt. Souverän webt Gary Peacock seine Basslinien ein, und Paul Motian schafft jenseits
aller Beats einigende Strukturen. So gerät Amaryllis zu einem beeindruckenden Manifest musikalischer
Freiheiten: In blindem Verstehen entfaltet sich ein mild changierendes Feuerwerk brillanter Ideen, die bei
aller Ernsthaftigkeit doch herrlich unbeschwert erklingen. – Sven Thielmann, Stereoplay
Mit Amaryllis folgte die Rückkehr jenes großartigen amerikanischen Jazz-Trios, das 1997 mit Nothing Ever
Was, Anyway in Spitzenpositionen zahlreicher internationaler Jazz-Polls geführt worden war. Das Material
auf dem Album ist abwechselnd nachdenklich, berührend, ausgelassen und spannungsgeladen. Einige der
Stücke sind wohlbekannt – fast schon Klassiker des neuen Jazz –, darunter Crispells ”Rounds”, Peacocks
”Requiem” und ”December Wings“, Motians ”Conception Vessel”. Es gibt auch eine Reihe von inspirierten
frei improvisierten Balladen. Marilyn Crispell, die Bandleaderin, meint: ”Die Kommunikation ist profund
und von seltener Raffnesse.,” und die Interaktion zwischen den Musikern ist tatsächlich außergewöhnlich.
Das Magazin The Wire nannte die Gruppe in seiner Besprechung zum Album von 2001 „sicherlich eines
der großen Klaviertrios von heute.“ Amaryllis erscheint mit dieser Luminessence Reissue erstmals auf LP
und wird in einem 2-LP Tip-on Klappcover präsentiert.

Anlässlich des 20-jährigen Jubiläums des Albums „The Very Best Of“, erscheinen dieses und seine drei Vorgänger „The Mass“ (2003), „ERA I“ (2002) und „Era II“ (2000) zum ersten Mal auf Vinyl. Die ERA-Alben umfassen einen Mix aus Gregorianischen Gesängen, Rock, Pop, elektronischen Klängen und klassischer Musik. Für die Lyrics verwendet Eric Lévi, der Künstler hinter dem Projekt „ERA“, eine
imaginäre Sprache, die Latein ähnelt.

Statt Strukturen, die durch Zeit oder Kultur auferlegt wurden, zu folgen, ist der Künstler auf der Suche nach starken Emotionen. In seinen Alben setzt er diese anschließend musikalisch um. Außerdem, verfasst
Eric Lévi die meisten seiner Lieder mit dem Gedanken Soundtracks für epische Filme zu erschaffen. Die außergewöhnliche Arbeit von ERA berührt die Herzen und Seelen von Millionen Menschen weltweit.
ERAs Alben haben sich millionenfach verkauft und wurden in mehr als 18 Ländern mit Multi-Platin ausgezeichnet.

Inkswel and Reggie B Unite for Full-Length EP "God's Way" on DJ Spinna's Wonder Wax Label.
Funk-infused Soul Meets Boom Bap Grooves in a Collaboration Decades in the Making.

Two forces in the music world, internationally renowned producer Inkswel and legendary singer, songwriter, and producer Reggie B, are set to make waves once again with their upcoming release, God’s Way. Released under the revered Wonder Wax label, helmed by iconic DJ Spinna, God’s Way is an eclectic fusion of hip-hop soul, P-funk, and a homage to the unmistakable Minneapolis sound, crafted as a love letter to timeless grooves and cutting-edge production.

There’s a lot of buzz going on around The Strumbellas. Performances on Jimmy Kimmel, The Late Show
with Stephen Colbert and Late Night with Seth Myers. Won the 2017 Best New Rock/Alternative Rock
Artist Award at the iHeartRadio Music Awards and also got nominated for Best New Artist and
Alternative Rock Artist of the Year! Orange and Yellow Splatter vinyl.

Hank Dogs – Andy Allan, his partner Piano and Lily, Andy’s daughter from a previous relationship - started out at folk clubs in London in the early 1990s before going worldwide in 1998 when legendary producer and late 60s Folk Rock guru, Joe Boyd declared them the first British act he'd loved in 30 years. Their debut album ‘Bareback’ saw them touring the US with Joan Baez and winning fans with their quiet, haunting sound featuring ethereal vocal harmonies, strong traces of blues and Celtic music and Allan’s fluid acoustic finger-picking recalling UK folk guitarists such as John Renbourn. Another part of their appeal, particularly in the States, was their ‘Carter Family’ image but then, when Andy and Piano split-up in real life, so did the band. A follow up album ‘Half Smile’ appeared in 2002 but this turned out to be their swansong. However, the story was not quite over yet.. a third unreleased album ‘Fiveways’ had been recorded before they went their separate ways and now it’s finally seeing the light of day on South London label Scratchy Records, plus the band are re-uniting for some long overdue gigs to celebrate the release. ‘Fiveways’ contains much of the Hank Dogs’ trademark English folk/US country-straddling sound. Piano’s voice bounces between early Suzanne Vega, Tracey Thorn and Mary Margaret O’Hara with occasional hints of Dolores Cranberry and Bridget St. John, while underneath the acoustic guitars run freeform tangled and Lily’s backing vocals add sky. Stand out track ‘Logic’ with its pensive lyrics and haunting guitar line recalls the way Suzanne Vega (her again) could sometimes make songs stand still in their tracks but it’s the dreamy ‘Nut’ that really captures the mood “You had me when I was sweet as a nut.. Not sweet enough” sings Piano. This is the sound of two ex-lovers still able to work together but unable to hide the odd dig here and there.. like a follow up album a couple of years later on from ‘Blood On The Tracks’. Andy sings a few songs too including the raggedy, swashbuckling ‘Gazetteer’ revolving around a ‘Pre-CBS Maple neck Sunburst bought off The Pretty Things’ and hinting at a whole lifetime of music biz escapades from watching his dad Elkan Allan produce 60s TV show ‘Ready Steady Go’ to a stint on bass in The Professionals along with Steve Jones and Paul Cook. Next year the story carries on with his long-running South East London ‘Easycome’ club night featuring in US TV queen Lena Dunham’s new Netflix series ‘Too Much’. Towards the end of the album an angelic setting of Dylan Thomas’s ‘Do Not Go Gentle Into That Good Night’ in the song ‘Nod’ recalls Christmas TOTP number ones from days gone by and captures Hank Dogs ability to transport the listener. This album is definitely one for the dreamers. FFO Pentangle, The Innocence Mission and William Blake

The debut recording from the duo of multi-award-winning Scottish author David Keenan and Bruce Russell, the guitarist from the greatest underground rock band of the late 20th century, New Zealand’s The Dead C, was recorded live in Christchurch, NZ, as part of the WORD festival in August 2023. A series of live improvised settings that pair readings from Keenan’s monolithic and critically-acclaimed modernist masterpiece, Monument Maker (White Rabbit 2021), with guitar and electronics from Russell, the music takes off on the kind of post-VU fantasy of punk-primitive free music posited by Russell in projects like A Handful of Dust while expanding on Russell’s no-technique blues w/scalpel sharp riffs and aformal blats of pure electricity that match the religious eroto-mania of the text. Keenan reads w/shamanistic intensity and with a sonorous, incantatory rhythm, while Russell conjures the very ghost of the book straight out of the air. Think the early Patti Smith/Lenny Kaye spoken word/guitar jams informed by religious painting, Bach cantatas, Pierre Reverdy, Goya, Charles Olson, Arthur Doyle and Rudolph Grey. Features full colour photography by musician and artist Heather Leigh taken in-situ during the writing of Monument Maker in France in 2018. Bruce Russell is a practitioner in sound, who for forty years has been a member of The Dead C and A Handful of Dust. He mixes rock, electro-acoustics, noise and improvisation in equal measures. Also directed two of New Zealand’s vanguard independent labels, Xpressway and Corpus Hermeticum. His solo guitar practice reconfigures the blues as a form of improvisational auto-destruction. He is also a writer and his next book is titled ‘Rock’n’roll: my part in its downfall’. David Keenan is the author of six novels; This is Memorial Device (Faber & Faber) which won the London Magazine Prize for Debut Fiction and was shortlisted for the Gordon Burn Prize; For the Good Times (Faber & Faber), which won the Gordon Burn Prize and was shortlisted for the Encore Award for Second Novels; Xstabeth (White Rabbit), which was shortlisted for the Dublin Literary Prize; The Towers The Fields The Transmitters (White Rabbit); Monument Maker (White Rabbit), which was a Rough Trade Book of the Year; and Industry of Magic & Light (White Rabbit). Edna O’Brien has said of him “I sometimes think David Keenan dreams aloud. His prose has the effortless, enigmatic, unsettling quality of dreams… reading him feels like being cut open to the accompanying sound of ecstatic music.”

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

“Friends, they are my ticket out of this place I am in… feels like nothing more than a dirt bike vacation stop between Phoenix and San Diego.” Dirt Bike Vacation—for Worried Songs Records—explores the sonic world of the late amateur guitar player, Charles ‘Poppy Bob’ Walker, through a captivating set of instrumental songs made in the mid-1980s. Recorded on a single-track, Marantz field recorder, the project is a transportive document of Walker’s days spent as a meatpacking employee in Yuma, Arizona and the dailiness of that existence: driving to work, sitting in his backyard, walking around drunkenly, unwinding on the couch with a friend. These sketches, showing an experimental tendency, are surprisingly ahead of their time; some exhibit ad hoc tape delay (“Granite Bluffs,” “Goodbye YMCA”), while others make use of primitive overdubbing (“Continuation to Moon Doctor”). Not dissimilar to works such as Bruce Langhorne’s The Hired Hand soundtrack, Walker’s guitar playing is melodic, texturally rich and beautifully sober. On a musical tour from Nashville to Los Angeles, musician-archivist, Cameron Knowler, uncovered these songs from a series of dusty cassette tapes housed at a branch of the Yuma County Library. Originally tipped off by cryptic metadata entries found through an online finding aid, Knowler requested a sound sample and was immediately drawn in by their eerie, yet hopeful nature: “I didn’t care what they sounded like at first, but once I heard just a few seconds, I had to find out everything I could about Charles, who he was, and if he was still alive.” As it turns out, the two had miraculously crossed paths over 20 years prior when Cameron was a young boy accompanying his mother, a gem trader, on a biyearly sojourn to Quartzsite, a town 80 miles north of Yuma: “Charles, sitting down and smoking in a recliner, withdrawn, held what I now understand to be a mid-1990s Martin D-28 guitar. Unlike other old-timers, his instrument was sharply tuned and had a nice sound, even to my young and uncalibrated ears. Though his left hand showed signs of highly developed arthritis, his musical ideas were animated by a palpably deep understanding of fretboard anatomy, arrangement and harmony.” Sorting through the index cards associated with these tapes, Knowler was able to gain a detailed sense of most recording’s provenance, whereabouts and time: Walker’s Datsun pickup truck chugging along boiling hot Interstate 80, the Marine Corps Air Station parking lot, the Eastern Wetlands on the banks of the Colorado River, a fishing trip to Martinez Lake. Trying to reduce the amount of his own subjectivities coloring the work, Cameron constructed titles and track sequences by borrowing information gleaned from Charles’ handwritten notes: “I tried to organize everything by time of day, giving the listener the sense of how a Yuma day might sound and feel like, and each song title—even the record itself—is borrowed from his own words.” This proved no small task, as many notecards had to be deciphered and then coupled with their native tapes which needed extensive restoration treatments. The result is a project very much out of the blue, and one that is intensely personal to Knowler, having grown up in the same town under similar circumstances. “It feels like a part of my own journey as a guitarist reckoning with the defining marks of a gothic border town,” he remarks. “At the time I would’ve met Walker, I didn’t have much outside influence, but he has been in there all the while.” In their current form, the tracks combine to create a sonic journey that boldly contributes to the traditions of acoustic guitar soli, archival digs and field recordings all the same; most importantly, it is a creative document which shows a day-in-the-life of a man grappling with the human experience under a ubiquitous Yuma sun.

Emerging from the same circle of musicians that spawned Squirrel Bait and Slint, Rodan formed in 1992 out of a failed high school rap project. Guitarists Jason Noble and Jeff Mueller enlisted Tara Jane O’Neil on bass and a couple drummers before Kevin Coultas came aboard permanently. After a couple 7”s and self-released cassettes, Quarterstick Records released the band’s first and only full-length Rusty in 1994. The band broke up at the end of the year, aiding their growing cult following. Jason went on to form Rachel's, Jeff started June of 44, and Tara began a solo career after recording with Retsin, and The Sonora Pine. Jason and Jeff later reunited in The Shipping News. Rodan was Quarterstick’s indie rock super group that spawned numerous other intriguing projects. “(Thirty years ago) a Louisville band called Rodan released the only record they’d make in their two year tenure. Rusty would become one of those records that launched a thousand very f**king good bands in the 90’s, an historical moment in real need of poets and punks and beautiful freaks who could render some sense and beauty out of the cultural grey water”. Joe Manning // “Whatever scene or geographical associations Rodan dealt with by being from Louisville, KY, in the early '90s, setting those aside and looking at the music straight up reveals one key fact: this was an amazing band, one with clear roots but also one with a sense of its own strong fusion… this is an album to readily get lost in”.

Artisjok Records is happy to present you the second EP on the label of 'Hyas' - a Lyon based DJ / Producer who knows no bounds in merging different influences. The release kicks off with "Level", a fusion of broken beat and dub techno that creates a deep, textured sound, setting the tone for the entire journey. "Yellow Zushi" follows with a jazzier approach, weaving broken beat drums with smooth, melodic elements. For footwork aficionados, "Dontgiveashit" delivers at 160 BPM, blending a funky, jazzy vibe that captures the producer's energetic yet laid-back style. "In Walked Dub" then introduces the bass-heavy wobble of dubstep, featuring a homemade bassline that will shake any sound system. Finally, "Exclusive" pays homage to the early days of Skream with raw, dubstep-inspired grooves that will resonate with fans of the genre.

Anlässlich des 20-jährigen Jubiläums des Albums „The Very Best Of“, erscheinen dieses und seine drei Vorgänger „The Mass“ (2003), „ERA I“ (2002) und „Era II“ (2000) zum ersten Mal auf Vinyl. Die ERA-Alben umfassen einen Mix aus Gregorianischen Gesängen, Rock, Pop, elektronischen Klängen und klassischer Musik. Für die Lyrics verwendet Eric Lévi, der Künstler hinter dem Projekt „ERA“, eine
imaginäre Sprache, die Latein ähnelt.

Statt Strukturen, die durch Zeit oder Kultur auferlegt wurden, zu folgen, ist der Künstler auf der Suche nach starken Emotionen. In seinen Alben setzt er diese anschließend musikalisch um. Außerdem, verfasst
Eric Lévi die meisten seiner Lieder mit dem Gedanken Soundtracks für epische Filme zu erschaffen. Die außergewöhnliche Arbeit von ERA berührt die Herzen und Seelen von Millionen Menschen weltweit.
ERAs Alben haben sich millionenfach verkauft und wurden in mehr als 18 Ländern mit Multi-Platin ausgezeichnet.

Anlässlich des 20-jährigen Jubiläums des Albums „The Very Best Of“, erscheinen dieses und seine drei Vorgänger „The Mass“ (2003), „ERA I“ (2002) und „Era II“ (2000) zum ersten Mal auf Vinyl. Die ERA-Alben umfassen einen Mix aus Gregorianischen Gesängen, Rock, Pop, elektronischen Klängen und klassischer Musik. Für die Lyrics verwendet Eric Lévi, der Künstler hinter dem Projekt „ERA“, eine
imaginäre Sprache, die Latein ähnelt.

Statt Strukturen, die durch Zeit oder Kultur auferlegt wurden, zu folgen, ist der Künstler auf der Suche nach starken Emotionen. In seinen Alben setzt er diese anschließend musikalisch um. Außerdem, verfasst
Eric Lévi die meisten seiner Lieder mit dem Gedanken Soundtracks für epische Filme zu erschaffen. Die außergewöhnliche Arbeit von ERA berührt die Herzen und Seelen von Millionen Menschen weltweit.
ERAs Alben haben sich millionenfach verkauft und wurden in mehr als 18 Ländern mit Multi-Platin ausgezeichnet.

Anlässlich des 20-jährigen Jubiläums des Albums „The Very Best Of“, erscheinen dieses und seine drei Vorgänger „The Mass“ (2003), „ERA I“ (2002) und „Era II“ (2000) zum ersten Mal auf Vinyl. Die ERA-Alben umfassen einen Mix aus Gregorianischen Gesängen, Rock, Pop, elektronischen Klängen und klassischer Musik. Für die Lyrics verwendet Eric Lévi, der Künstler hinter dem Projekt „ERA“, eine
imaginäre Sprache, die Latein ähnelt.

Statt Strukturen, die durch Zeit oder Kultur auferlegt wurden, zu folgen, ist der Künstler auf der Suche nach starken Emotionen. In seinen Alben setzt er diese anschließend musikalisch um. Außerdem, verfasst
Eric Lévi die meisten seiner Lieder mit dem Gedanken Soundtracks für epische Filme zu erschaffen. Die außergewöhnliche Arbeit von ERA berührt die Herzen und Seelen von Millionen Menschen weltweit.
ERAs Alben haben sich millionenfach verkauft und wurden in mehr als 18 Ländern mit Multi-Platin ausgezeichnet.

Milk Crate Mondays bursts onto the scene with their inaugural vinyl release, delivering a potent blend of soulful vibes. DJ Abel's 'Doin' Tyme Edit' iinjects new energy into Long Beach band samples, a reimagining that's sure to win approval. The flip side, 'Shady Megamix,' offers gritty head-nodding heat perfect for big sound systems. A stellar debut that sets the bar high for Milk Crate Mondays' future releases.

Having established a legacy as one of the most highly regarded contemporary UK Jazz musicians of the past decade, Newham-based pianist Alfa Mist’s discography boasts such stone cold classics as ‘Antiphon’ ‘Bring Backs’ and ‘Nocturne’. Alfa is yet to be boxed into a specific genre as his music spans everything from hip-hop beat-making to producing for artists such as rapper Loyle Carner, composing neo-classical works for the London Contemporary Orchestra, and reworking tracks from composer Ólafur Arnalds and pioneering jazz label Blue Note, not to mention his collaborations with the likes of Jordan Rakei, Tom Misch and drummer Richard Spaven, producer Lester Duval and singer Emmavie.

Now unveiling his next offering, Alfa revisits his stellar 2024 performance with Manchester’s extraordinary string outfit Amika Quartet at heralded venue Kings Place (London), capturing the magic of the evening within this awe-inspiring live album. Featuring a handful of brand new, never-before-heard tracks (alongside a number of expansions of previous releases), ‘Recurring’ sees Alfa drawing inspiration from classic live Jazz recordings, capturing a unique moment in time that can never be replicated or replayed. Creating an authentic, unpolished and electric feel, feeding his long-running mission of real-time musical expressions that evolve with each performance. On the genesis of the record, Alfa says: ‘Some of my favourite albums are captured live performances. I came home from a long year of touring and decided to work on some music for Amika Quartet who I've been working with for years on a few different shows and projects. A lot of the music I release is recorded in whole takes, I think there's something nice about doing the best you can with the moments you have. I wanted to take that one step further by recording it as a live show and seeing what happens.'’

Due for release via Alfa’s own Sekito Records imprint, a potent, raw and spontaneous energy permeates the release. Marking his first project with a full string arrangement, the iconic Kings Place venue’s reputation for spectacular acoustics, as well as intimate setting made an ideal location for the live recording. The decision to record in a live venue rather than a studio was driven by Alfa’s desire to push beyond his comfort zone and explore new creative territories. On first single ‘Checkpoint’, Alfa also takes to the microphone, breaking away from his usual introspective lyrical style to make comments on the current state of the world. He explains: “ 'I've written lyrics before but this is the first time I've ever tried to write a poem and it ended up being about the double standards of violence we see in this world everyday”. This offering is a testament to Alfa’s continuous evolution as an artist, blending his introspective lyric with broader societal observations, all while maintaining the improvisational spirit of jazz.

Pink Martini’s illustrious “Little Orchestra” joins forces with Hollywood Legend, Mamie Van Doren, in an enchanting duo set of throwback singles. “I Told Ya I Love Ya Now Get Out” brings a buoyant beat to a shockingly delightful breakup track. Mamie revisits “Ich dich liebe” after first singing it in the 1964 Spaghetti Western film Freddy and the Song of the Prairie and somehow it’s as transporting now as it was then. Building on her already incredible legacy, Van Doren brings a fantastic energy to these tracks, which she recorded with Pink Martini in her early 90s, injecting her quintessential charm and verve into the vocals, which interweave perfectly into the rich and glamorous sound of Pink Martini.Ads and reviews in R" and London Macadam.

Ninetoes, the acclaimed DJ and producer behind the global hit “Finder,” is thrilled to announce the upcoming release of his debut album, ‘POV’ set to drop this October via his own label, Head To Toe. This highly anticipated album marks a significant milestone in Ninetoes' career, offering a fresh and personal take on the genres that have shaped his sound over the years.

‘POV’ is a definitive statement from Ninetoes, encapsulating his journey through the world of dance music. Fans can expect a diverse and dynamic album that traverses a spectrum of styles, including Afro House, Acid House, Techno, and Hip Hop. Each track from the collection reflects Ninetoes' deep connection to the roots of electronic music, reimagined through his unique creative lens.

“‘Having been involved in Dance Music a long time, the album touches on every genre that has shaped me since day one. So, I have recreated these styles with my POV‘.” - Ninetoes

The album features 10 tracks, including collaborations with a stellar lineup of artists such as A-Trak, Thomas Mapfumo, Davide Squillace, Mousse T., and Jazzy Jeff, among others. Each collaboration brings a unique flavor to the project, highlighting Ninetoes' versatility and passion for pushing musical boundaries.

The release of ‘POV’ will be celebrated with a worldwide tour, where Ninetoes will bring his distinct perspective on house music to dance floors across the globe. Fans can look forward to an immersive experience, blending his dynamic DJ sets with the innovative soundscapes of his debut album.

Derwin Daniels, Soprano Sax player and composer, made this little R&B 45 in 1989. Recorded with vocals by the unfortunately passed away La Donna Wells who brings a Mary J Level performance 3 years before "What's The 411" hit the streets. Slick, deep R&B that's soulful enough for modern soul and disco sets, what's not to love. Flipped with some Jazz Bizznes from Derwin, utter gold!

“Nigh/T\mare’s” debut album on kontralamakina begins with an intense emotional journey through desolate landscapes of a distant world and rhythms that break everything that appears in its path. Industrial/experimental techno of the highest sphere. Titled ‘The oblivion of time’, this set of 5 original tracks + 1 remix by the legendary canadian duo techno “Orphx”

Proper old skool rave vibes all over this epic debut EP from The Break Doctor and Fibzy. 4 slammin breakbeat workouts, with pianos and vocals all over the place, sounding like unreleased material from late 1994, this EP is a dead cert for any proper old skool rave heads...pure vibes!

DJ support from Soul Clap, Walla P (Voyage Funktastique), Dam Funk

The original version of 'Serious' was included on Kazzey's 2022 album Voyage. The collaboration between him & LA modern funk mainstay XL Middleton became a favorite in the street dance scene, soon becoming used in innumerable videos & dance battles internationally. It also found its way into heavy club rotation thanks to forward-thinking DJ's who include the modern funk sound in their sets, from the west coast of the US, to Japan, and back to Kazzey's native France. Now, the track is finally being pressed on vinyl and included on the b-side is a bonus remix (the 'Midnight Drift Remix') bringing a silkier, late-night edge to this certifiable dance floor filler.

Music video premiering 2 October 2024.

Included on Spotify's 'Nu-Funk' playlist, garnering nearly 700,000 streams on Spotify alone

Mystic Bill’s deep house favourite ‘U Won’t C Me’ receives a four-track vinyl package on Nu Groove, including the latest remix from German electronic innovator Stefan Braatz. Originally released on the legendary Strictly Rhythm and acquired by Luke Solomon’s Classic Music Company in 2015, this seminal deep house record remains a firm favourite of house heads in the know and is a shining example of the genre. This four-track wax features the original ‘U Won’t C Me’ alongside Jake’s Savage Acid Re-Dub from the mind of NYC’s Jake Reif, as well as the original B-Side ‘Like A Dream In The Night’. Joining these seminal tracks is the new Panic Remix from Stefan Braatz, incorporating his reverence for the deep house genre into a striking club-ready remix that ups the tempo and bewilders with thoughtful synthwork at every turn.

In demand record on Discogs, with an original copy setting you back at least £30+. Reissued and remastered for the first time since 2015 with brand new remixes. Killer package!

2024 Repress

All in that stark contrast between ethereal spaciousness and steely, martial rhythms out the industrial spectrum, 'Far Field' takes us on a voyage across the board, from breaks-heavy machine stunts to washed-out tapestries, via EBM-laced detours and junglistic maneuvers. Investigating the nexus zone between dance functionality and limitless escapology, it extrapolates both artists' blends to further immersive, hypnotic effect. Taking over the A side, .VRIL gets the ball rolling with 'Lost Together', which sets the tone on a low-slung, nostalgia-drenched note; combining the syncopated swagger of downtempo techno with ambient-oid stasis and static-filled opacity. Like watching an all-metal sun sinking past the blazing skyline. Revving up the engines, 'Fnord' feat. RAeYN conjures up a way more muscular arsenal of big-room-ready wares, from aggro snare salvos to anthemic synth kinetics, through that replicant-hunting kinda vibe. One to have the Saturn rings go hula hoop, with all woofers and brains in the vicinity melting in XTC. Shutting the A side off, 'We Believe' returns to a lighter, more vaporous mindset but sure implements that signature heavy swing of .VRIL, flush with textured kicks and FX-soaked arps. True monster prog swell. Flip it over and there's HVL dishing out a textbook example of his vortical electronic furls with the title-track, 'Far Field' - an oneiric drift that slowly rises from its heavy-lidded slumber, ascending towards bleepin' n bloopin' experimental effervescence as bars fly by. A number bound to hack your body and mind into two distinct facets, and while one dances its way frantically across the ever buzzing space/time continuum, the other shall reach a state of healing calm and transcending ubiquity. Smoothly shuttling us off to the upper layers of the ionosphere, 'Lancet Mxi' clenches it on a trippy note, taxiing us midway zero-G UK bass territories and eerie ambient abstraction. HVL's total, widescreen vision at its most unhindered, all set at expanding your mind to yet uncharted horizons of sound and closing the gap between two distant, estranged galaxies. A fractured headspace to both dance and dream to. *Dressed in a fine piece of artwork courtesy of Daniel M. Diaz, 'RYCL021' comes pressed on 180g audiophile black vinyl for optimal playing and listening experience.

Portuguese producer Mardel debuts on Carpet’s Circuits series with a tight set of modular jams. Precise, at times introspective but with a driving motor pulse underneath, the three electro tracks touch on acid and bass as they launch into space. For its part, the ten-minute lead track, ‘Ducks In A Pond’, is a dreamy dubby epic, full of surprising textures and watery flourishes.

Making his debut on Gated, Bristol-based Wiles brings the breaks across four tough but emotive tracks.
Wiles is a professional sound engineer who came up in the Norfolk electro and free party scene in the 2000s. During the lockdowns in 2020 he crystalised a live hardware setup that eventually became an EP for Batrachian.
But with Yellow Light he takes his sound even further, with washes of spaced out melodicism underpinned by punches of sub-bass and classic rave breaks, intricately programmed and devastating on a dancefloor at the right moment.
It’s atmospheric stuff for sure, with one eye on the future but rooted in the timeless dancefloor expressions of the past.

After the success of volume 1, Stereophonk unveils the long-awaited sequel with Bunch Of Funk Vol.2. This album features 18 unreleased tracks, available for the first time on vinyl, including two never-before-released tracks created in collaboration with the talented Medline (My Bags).

DJ Marrrtin, an iconic figure in the breakdance scene, delivers a powerful and organic sound that celebrates the heritage of breakdance while reinventing it for future generations. His tracks, played at the biggest battles, competitions, and break events around the world, are a true ode to dance.

Whether solo or with his group Funky Bijou, Marrrtin drops hard-hitting breaks that set the dance floor on fire. Each track is an invitation to let loose, express your style, and showcase your best moves.

Get ready to feel the contagious energy of Bunch Of Funk Vol.2 and dance without restraint!

"The first album to take UB40 to the top of the UK charts, 1983’s Labour of Love followed a stunning run
that had seen the group’s previous three albums go Top 5 alongside eight UK Top 40 singles. With their
cover of Neil Diamond’s ‘Red Red Wine’ making the No.1 spot ahead of the album’s release, the group
had perfectly set the stage for their first-ever collection of cover versions.
Spawning a further three UK hits in the shape of ‘Please Don’t Make Me Cry’ (UK No.10), ‘Many Rivers to
Cross’ (UK No.16) and ‘Cherry Oh Baby’ (UK No.12), Labour of Love also inspired four sequels: 1989’s
Labour of Love II (UK No.3), 1998’s Labour of Love III (UK No.8), 2010’s Labour of Love IV (UK No.24) and
2018’s A Real Labour of Love (UK No.2), the latter of which was credited to UB40 Featuring Ali, Astro &
Mickey. A crucial part of British reggae history, the original Labour of Love saw all the hard work pay off
for this much-loved outfit, and it now returns to vinyl in an exclusive blue pressing.

"

"One of the most iconic groups of the late 20th century, Dire Straits established their timeless sound from the
moment they first appeared on the London gig circuit, in 1977. With faultless musicianship and memorable songs
that quickly connected with music lovers, it was clear the group would set their own path, proving that, even amid
the new-wave era, classic songwriting would never go out of fashion.
After three years of relentless hard work, touring, writing and recording their music, the group entered the 1980s
well on their way to becoming the biggest-selling band in the world. That year’s Making Movies album would also
make its presence felt on the silver screen, thanks to the inclusion of the UK No.8 single ‘Romeo And Juliet’ – later
used in films such as Empire Records, Hot Fuzz and I, Tonya – and live favourite ‘Tunnel Of Love’, which featured in
the 1982 Richard Gere film, An Officer and a Gentleman. Dire Straits’ frontman, Mark Knopfler, would later explain
to The Times how satisfying it was to write ‘Tunnel Of Love’: “It’s the moment when you know you’re really on to
something,” he said. “There’s a certain part of the song that I call the breakdown and when I got there I could feel
the drums, the piano, all the things that I wanted all the instruments to do. When you get to that state, there’s a
strange sense of one thing following another, of elements falling into place quite naturally.”
Paying extra attention to those elements, this half-speed master of Making Movies has been overseen by Miles
Showell at Abbey Road Studios, in London, resulting in a cut that has a superior high-frequency response (treble)
and very solid and stable stereo images. Pressed on 180g vinyl, it comes with alternative artwork that swaps the
red and the blue of the original album sleeve, plus a printed inner sleeve, a “Half-Speed Master”-branded obi-strip
and an Abbey Road certificate of authenticity.
"

"Mike + The Mechanics best-selling, Grammy-nominated sophomore album ‘Living Years’ is set to be reissued on colour vinyl for National Albums Day 2024. The original album, which charted at number 2 in the UK album chart, went on to achieve Gold certification in the UK. The seminal 1988 album features the Ivor Novello® Award-winning global hit single ‘The Living Years, ’ plus tracks 'Nobody Knows,' 'Seeing Is Believing' and 'Nobody’s Perfect.' It will be pressed on a limited edition black / grey marble effect, 180gram colour vinyl. Released for NAD ahead of Mike + The Mechanics 2025 UK tour ‘Looking Back – Living The Years.

“A huge thing for this record was to make it feel as close to our live show as possible,” says Tom Sharkett of W.H. Lung’s latest album. “We didn’t want it to sound live but we wanted to capture the excitement of the live performances.”

This is something that has become paramount to the group in recent years as they have undeniably blossomed into one of the most joyous and arresting live bands in the country. “The reason I’m in a band is to play live music,” says singer Joe Evans. “For me, music is live music. That’s what it’s for, to be played with people.”

The five-piece band, also featuring Chris Mulligan, Hannah Peace, and Alex Mercer-Main, decided to try something new on their third album after two incredibly successful collaborations with previous producer Matt Peel. In order to capture the energy, spirit and dynamism of their live shows, they relocated to Sheffield to work with Ross Orton (MIA, Arctic Monkeys, Working Men’s Club) who was able to harness this side of the band to remarkable effect. “Ross is the Sheffield Steve Albini,” says Evans. “He’s the king of not overthinking it and trusting the process of the art of recording songs. He was always there to stop us fucking around with cerebral stuff and get it down.” Sharkett echoes this too: “He was the exact producer we needed without us even realising. His productions and mixes are bombastic, lively and in your face and that’s exactly what we wanted.”

However, while this album is rooted in a sense of capturing a moment and a sparky liveness, that’s not to say it’s a raw or ragged record. It is still a meticulously composed, delicately layered and pristinely produced piece of work that, in true W.H. Lung style, runs the gauntlet from dance to pop to indie while still capturing that distinctly unique quality that is unquestionably their own. “It was a really big thing for me to realise what made us sound like us on this record,” says Sharkett. “I think the album sounds a lot more confident and self assured because of it. Some songs sound just so much like Lung and I’m really proud of that. I’m not sure we’ve done that as consistently across the other records.”

While the band have drilled deeper into finding their own singular identity, it’s not a record resting on its laurels. It’s a significant leap forward, expanding on their solid foundations while also breaking new ground. “The big difference with this record is its directness in every sense,” says Sharkett. “The songwriting is more upfront. Previously we’d focused a lot on vibe and production as opposed to just writing songs. The overall mission here was to revert to a classic songwriting structure and for the production to come afterwards.” And so what you have on this record are deeply considered and well-crafted songs, then recorded with blistering intensity in the moment, and then given a touch of experimentation afterwards. Then throw in Orton’s contributions to the band and it’s proven to be a real winning formula. “He brought a real dose of magic to the songs we’d written,” says Sharkett. “And brought an extra bit of wonk and quirkiness each time.”

The band’s ability to write more traditional and conventional songs is clearly a skill they’ve taken to with ease, at times there’s an almost Springsteen-like quality – but if he'd ever had an ecstasy period – to tracks such as ‘Thinner Wine’ and ‘Bloom and Fade’. While ‘How to Walk’ was constructed with one thing only in mind: that it would absolutely slay on stage. “I can’t wait to play this live,” says Evans. “We wanted a song to represent our live set, a new big one, and this is it.” Once again it leans towards the anthemic, with its driving, propulsive charge complete with incandescent synths and vocal melodies so irresistible you can already hear them being sung in unison by a crowd.

It’s an incredibly difficult feat to pull off a record that is more rooted in traditional songcraft while also capturing the power of a live performance, as well as pushing sonics into experimental new directions while working with a brand new collaborator. But here the band has managed to do just that. And the album’s closing song ‘I Will Set Fire To The House’ is a perfect example of such a thing. It’s a song that feels immaculately constructed but also very much alive and of the moment as its radiating synths engulf from the off, and Evans’ vocal is silky but powerful and in perfect symbiosis with Peace’s. It’s a song that captures the endless joys of music playing long into the night. “It may be a bit of a bloody bombastic way to end an album saying ‘and we’ll dance into the sunrise’,” says Evans. “But fuck it.”

MORE PRESS ON ‘VANITIES’ (MELO131)

"Vanities artily refines an exhilarating brand of up-front electro-dance" MOJO ⅘

'Idiosyncratic yet euphoric electronic pop on triumphant second LP' 9/10 Uncut

''One of the most effective alternative pop albums of the year'' 4/5 Record Collector
'Dance music for the modern age' - The Times (4*)