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It is a monster album which unites the who's who of the modern blues and rock scene and took Krissy one year to produce! Friends on the album include rap metal giants Clawfinger, the god of hellfire Arthur Brown, the voice Chris Farlowe, Germany's soul queen Inga Rumpf, legendary singer songwriter Stoppok, the iconic Hamburg Blues Band, elite drummers Dennis Chambers & Curt Cress, Blues singing dynamite Big Daddy Wilson and many more. The album includes 24 songs and is almost 3 hours long with a mix of Krissy's original material and his favourite cover songs. "It was a long time in the making and I managed to get it done. I started the pre-production in November 2022 and went in the studio to begin the meat and potatoes process in January 2023. I wanted to get all my favourite musicians together that I have met on the road in my career. They are not all here by any means, but a good handful are! I did not want this album to have a box, so there are many different genres from metal to blues and jazz to rock'n'roll. But in the end, it is a Krissy Matthews record."

Pressed on limited edition purple rain vinyl. Wrote and produced by Colemine label owner, Terry Cole. Band consists of two members from The Jive Turkeys. The last recordings made at the basement Regent Drive studio in Middletown, OH finally making it to a dirty 45! The Tee See Connection is comprised of members of The Jive Turkeys (Rob Houk - drums, Matt Amburgy - keys, Terry Cole - bass). The A-side, "Skyline Chili Churner" is an organ burner with funky bass and blown out breakbeat style drums while the B-side is straight up boom bap with Matt Amburgy cookin' hard on the keys. Drums and all parts ripe for sampling!

The title of the Lau Nau's 10th album, Aphrilis, derives from the Latin word aperire, meaning "to open." A fitting verb for the month of the year it is closely associated with — April. And while the images of plants and blossoms coming back to colorful life after a long, cold winter feels appropriate when listening to the rich and lustrous bloom of music on Aphrilis, another definition of open feels even more apt. For under the abundance lies the memory of times of austerity, the friction of hard choices, the acceptance that nothing is fixed and the future is unknown. This literal and metaphorical exploration of complexity and contradiction makes Aphrilis a multi-dimensional antidote for our troubled times, one that emphasizes the quiet and communal over noise and spectacle. Laura Naukkarinen, the Finnish artist behind this project, has long kept her mind and spirit open to whatever sounds and creative ideas felt appropriate for the moment. For the past six years that has meant primarily working with modular synthesis — learning how to build modules and releasing acclaimed work centered on its sounds like 5x4 (2023) or Puutarhassa (2022). Running parallel to this work, however, has been a continued exploration of acoustic instruments and group performances with her trio Lau Nau ja Seitsemäs Taivas. Aphrilis arrives then like fresh growth in a creative season cycle. A companion to her brilliant 2017 release Poseidon, the album, says Naukkarinen, "felt like a needed moment to embrace songs with lyrics again." And through the creation of this work, she remained open not only to her own creative muse, but also the input of her chosen collaborators. Each player on Aphrilis — Matti Bye on celesta and synths, Pekko Käppi on jouhikko, Hermanni Yli-Tepsa on violin and contrabass, Topias Tiheäsalo on electric guitar, Samuli Kosminen (Múm) on various instruments — was given free reign to arrange their own parts to accompany Naukkarinen's compositions. Kosminen’s lush fingerprint can also be heard in the mixing and production of the album, as with Poseidon six years ago. The moniker of this project may be taken from Naukkarinen’s own name, but Lau Nau feels more like a band than ever before. The delicacy and softness of the music is reflected in Naukkarinen’s lyrics. Each song is rife with imagery and creatures from the natural world. The spiders in the forest. The animals that keep a young woman company in her refuge in the woods. Wet grass. The feeling of the music is almost tactile, as if listening to the album will leave a bit of dew or sap on your fingers. The theme of this material, says Naukkarinen, runs even deeper. “The songs tell about cracks and changes of direction in different histories: personal, societal, planetary,” she says. “About moments when a yes can become a no and vice versa. The album wants to propose that at the moment of a crisis there is a possibility to influence the histories by our choices.” That may feel like a lot for such a fragile sounding collection of songs to bear. But Aphrilis is an album of surprising strength and resilience

Tulsa, Oklahoma's Unwed Sailor have been on a tear over the past few years. Following a quiet phase through much of the 2010s, they reëmerged with the aptly titled Heavy Age (2019), and two more full-lengths, Truth Or Consequences (2021) and Mute The Charm (2023), that chart a remarkable evolution of their bass-led, pop-leaning post rock. On Underwater Over There - their ninth LP overall - a current of 80s goth and jangle-pop runs beneath a litany of memorable hooks and compositional left turns, creating a propulsive and intricate world of sound. The band worked collectively on all elements of mixing and production to craft a meticulously layered environment, while maintaining an air of spontaneity and experimentation across the set. Early standout, "Final Feather", drifts through varying landscapes of airiness and haze on a high-neck bass hook, while the hum of voices adds a contrast of angelic comfort. Bearing influence from New Order and The Cure in particular, its balance of gravitas and shimmer is the result of founding member Johnathon Ford's intuitive writing method: the lead bass line comes first, followed by supporting melodies, drums, guitars, keys, and final detailing. "Dusty" is a prime example of this process, as Ford's powerful, low-end groove anchors a full-spectrum array of guitars, bells, and arpeggiations along with Matt Putman's energetic drum section. Its fluid pacing provides a perfect establishing shot, with shifting moods that gather into a coda guided by David Swatzell's harmonized, glittering guitar riffs - a sunrise after a moonless night. In quick succession, "Blue Tangier" widens the aperture with a pounding percussive refrain, vibrant bass tone and an unforgettable, fuzzed-out melodic motif. Sprawling centerpiece, "Junko", is a loose callback to 2003's The Marionette and The Music Box, its deliberate stride and interwoven melodies evoking the hands of a mechanical clock, and the anticipation of something long-awaited but nebulous. It drifts effortlessly from innocence to intrigue, expands into a mesmerizing howl, and vanishes abruptly into mist. While honoring their forebears in winks and nods, Unwed Sailor remain totally inimitable in their approach and style, twenty-five years into an acclaimed career. The band's clear vision for Underwater Over There has yielded some of their most indelible work, and their inventive, passionate approach gives a strong sense of plenty more beyond the horizon.

Two individuals from faraway journeyed the world together, and were given many tiny gifts from the surroundings. Then the music came out as a matter of course, as if a thing was being put in its right place.

After the great response to the launch with Deer Jade and David Hasert/Niconé, our lively split EP format is going into the next round. Always true to the motto: Only killers, no fillers!

Brazilian born come Berlin resident Joyce Muniz teams up with Algerian born come Rome resident DJ producer Sara Bluma for their phenomenal Kompakt debut “Beats & Lines”, an uplifting electro disco affair with plenty of pop appeal. “I met Sara Bluma a year ago, when she booked me to play at one of her parties in Rome. We connected straight away. It was a matter of time that we decided to make some music together. I had this idea for a while, so I sent it to Sara and asked her if she would like to do some vocals. She came up with this great fun text. This tune interprets the energy from both of us. Which is supposed to be fun!“. Mission accomplished… The good vibes between Sara and Joyce are definitely contagious!

London’s Hardt Antoine is back to the mothership with a bang! “I Will” is a sensual, percussion-driven house anthem for those morning hours, when spirits are high and the sense of unity is palpable. “La Mosca” is taking a more hypnotic approach, putting a joyous chant of unknown origin to good use. Something tells us that 2024 will become a banner year for Antoine!

The female-led discodelic soul band Say She She, named as a silent nod to NileRodgers (C'est chi-chi!: It's Chic!"), release their sophomore album `Silver' on theheels of an epic break-out year that grows brighter by the day. The three strong voices of Piya Malik (El Michels Affair staple feature, and formerbacking singer for Chicano Batman), Sabrina Mileo Cunningham and Nya GazelleBrown front the band. This harmonizing trio was formed in a classic New York taleof friends that met by following the music: the downtown dancefloors, through theLower East Side floorboards and up to the rooftops of Harlem. `Silver' was entirely written and recorded live to tape at Killion Sound studio inNorth Hollywood earlier this year and produced by Sergio Rios (of Orgone). Whilethese analog recording techniques help root Say She She's sound in a bedrock oftonal warmth that only tape can achieve, it is also their process of cutting the trackin the moment and capturing the magic of communal creativity that has seen theirsound described as "a glorious overload of joyful elation and spiritualelevation" (MOJO) and "infused with the wonky post-disco spirit of early'80s NYC" (The Guardian). Silver, the element, is known as the metal of self-confidence and the mirror of thesoul. With that, the 16-song double-LP projects not only their growth in writingwith confidence, but also reflects a deeper exploration into their punk-chic, femme-forward sensibility. Ultimately, `Silver' oozes with quirk and adventure and embraces themultifaceted nature of what it means to be a modern femme. The She She'sfully embrace their role as beauticians, actively reminding people of the inherentbeauty in the world. They skillfully employ double entendres and humor toencourage open dialogue and fearlessly address important matters that demandattention.

Incorporating metal's classic elements with the paramount components of modern extreme death metal, EXHUMED has delivered the ultimate death sentence with Anatomy Is Destiny. More involved and intricate than past efforts - with slower and heavier sections blended into the band's patented gore metal - EXHUMED proves to be the masters of their trade. Death-defying production by Neil Kernon (Judas Priest, Cannibal Corpse, Nevermore).

Elevating, uplifting and beautifully arranged. Jasmine Myra's sophomore album Rising builds on the success of her

breakthrough album Horizons to deliver a major statement from one of UK Jazz's rising stars. Produced by Matthew Halsall and mixed by Greg Freeman (Hania Rani, Matthew Halsall, Portico Quartet), Rising delivers a confident and vibrant follow up that joins the musical dots between Myra’s influences Kenny Wheeler, Bonobo and Shabaka Hutchings while delivering something unique, beautiful and profound.

Rising is also the sound of a composer and performer growing in stature and adding extra layers of confidence and poise to both her playing and composing. Aided and abetted by Matthew Halsall who once again lends his production skills, Rising is fuller, richer and deeper as Myra develops her uniquely uplifting sound.



Much like my first album, Rising is a reflection of a period of my life. It is a continuation from Horizons, which was all about my experience during lockdown, and entailed overcoming my struggles with mental health. Following on from that experience, I set out to continue building my self-confidence. This album has an uplifting and spiritual sound, drawing influence from artists such as Makaya McCraven, Bonobo and Shabaka Hutchings.



Rising features the same core of musicians as Myra’s debut album Horizons (Gondwana records GOND052): guitarist Ben Haskins, drummer George Hall pianist Jasper Green, harpist Alice Roberts (who both also perform with Matthew Halsall) and bassist Sam Quintana who collectively bring a deft understating of the subtle textures of Myra’s music and perform with a collective empathy and drive that really pushes the music on a radiant journey. And a string quartet add gently elevating textures to Still Waters, Knowingness, From Embers and How Tall The Mountains.

'AODVA' Series - a Various Artists formula which for the first release will forcus on some artists who are relatively new to releasing music:

AODVA1 - VA - Normal Gets You Nowhere EP

Log_In - Antivirus
Landed - Anaesthetic
Matthew Hartshorn - Computers
Jamie Dodger - Yes Yes Release The Stres

It took Krissy a year to produce his new 24-song album - a nearly 3-hour mix of original material and favorite cover songs - and it brings together a who's who of the modern blues and rock scene. "I wanted to bring all my favorite musicians together (and) didn't want this album to be pigeonholed, so there are different genres from metal to blues to jazz to rock 'n' roll. But at the end of the day, it's a Krissy Matthews record."

Warehouse Find! Test Pressing!

Simbad makes a welcome return to Freerange following last year’s brilliant Take My Hand EP featuring South African vocalist Brian Temba. Now based predominantly in Cape Town, the French Londoner producer and DJ is one of the most prolific artists in the scene having notched up countless EP’s, remixes and production work for labels like Apron, G.A.M.M. Faces, Hyperdub, Atjazz, BBE & Brownswood. His association with Gilles Peterson and Worldwide runs deep, hosting regular shows on WWFM as well as traversing the globe delivering his unique and eclectic sets from Africa
to Asia and beyond.

Peaceful Revolution is one of those special house tracks which transcends boundaries, encapsulating an outernational sound in a way that Simbad excels in. Featuring South African upcoming producer Zito Mowa & vocalist Lwandile Zulu who brings a raw and impassioned energy to the deep and soulful mood, this tune was recorded in support of the troubled events from the past few months (Black Lives Matter movement).

Next up we have a track entitled Let Go which could quite easily be the lead track of the EP if they weren’t all as good as each other! This is late night emotive house music at its most sublime. Drop this at the right time and watch the floor come together in collective bliss.

Flip over for SMBD’s Shaolin Dub remix of Peaceful Revolution which pushes the original to the outer limits of the audio spectrum. Sub-sonic low end rumbles sitting in contrast to the ghost like whispers, glitches and industrial noises that pierce the ethereal pads.

Closing out this special release we find the unassumingly titled Soulful Jam, a low-slung groove which sees Simbad going heavy on fizzing analogue synths with a serene synth solo takin centre stage amongst the lush chords.

Kee Avil's music is both adventurous and intimate, intellectually challenging and emotionally resonant. The Montréal guitarist and producer's 2022 debut LP Crease garnered plaudits from outlets like The Wire, The Quietus, Mojo and Foxy Digitalis, picking up a Canadian Juno Award nomination and Bandcamp Album Of The Day and Albums Of The Year along the way. Its intricate construction, unnerving atmospheres, and knife-edge take on avant-pop prompted comparisons to early PJ Harvey, This Heat, and Gazelle Twin. A remix EP with work by claire rousay, Ami Dang, Cecile Believe, and Pelada brought collaborative perspectives to four Crease tracks, offering new pathways within those songs. With Spine, Kee Avil strips back her heavily textured compositions, opening up a much rawer sound. She calls it folk—and while traditionalists might scoff, this is urgent music that reflects the precarity of modern life, as well as the jarring mixture of electronic and real-world interactions that have become the fabric of our day-to-day experiences. There's a hypnotic post-punk somnambulance to it all, using the repetition and fracturing of melodic phrases interwoven with delicate electronics to create curious and persistent hooks. While not a concept album, themes of time's passage, remembrance, and decay crop up across multiple tracks. Each track intentionally only has four elements—guitar, electronics, and two other instruments, with Kee's voice and guitar pushed to the front. Within this minimalist framework, the juxtaposition of beauty and discomfort that is key to the Kee Avil sound stands out in skin-prickling relief. "We're shaped by many versions of ourselves," says Avil. "I was looking back at these versions of myself and what could have been, what didn't end up being and what did end up being, and going back like that through time. Seeing the future, the past." Spine was written in Kee Avil's home studio after a lapse in writing while touring Crease and working on other projects. She is a well-known and respected member of the Montréal experimental scene, and formerly ran Concrete Sound Studio with Zach Scholes, who continues to work with her as a producer on Spine. Compared to the three years that went into making her debut, Spine emerged in a matter of months—a process that may also be a factor in its intensity and sharpness: "This record was much harder, like it was really discovering everything from scratch." In her desire to not simply replicate or extend the sound of Crease, she felt she had to rip up the rule book, write in a different way, and pare back songs against her usual instincts. Sometimes, when we work against our ingrained habits, we get to the core of who we really are. Spine is an exercise in that process. Without over-intellectualizing or being didactic, it hits immediately and emotionally, especially if you are a person who has spent much time in the process of self-examination. Kee's voice hisses, whispers, and chants; her guitar bends and rings; electronics skitter and crackle; violin creaks like a door in the wind. There is something so evocative about the atmospheres she creates that it's easy to overlay one's own feelings onto her work, but to do that wholly would be to overlook one of the most important things about Spine: Kee Avil's clear and thoughtful vision. This isn't just the next step forward in her artistic trajectory; it's a stunner of a record that stands on its own, a bracing and thrilling listen that has much to reveal about the contradictions inherent in being human. — jj skolnik.

Elevating, uplifting and beautifully arranged. Jasmine Myra's sophomore album Rising builds on the success of her

breakthrough album Horizons to deliver a major statement from one of UK Jazz's rising stars. Produced by Matthew Halsall and mixed by Greg Freeman (Hania Rani, Matthew Halsall, Portico Quartet), Rising delivers a confident and vibrant follow up that joins the musical dots between Myra’s influences Kenny Wheeler, Bonobo and Shabaka Hutchings while delivering something unique, beautiful and profound.

Rising is also the sound of a composer and performer growing in stature and adding extra layers of confidence and poise to both her playing and composing. Aided and abetted by Matthew Halsall who once again lends his production skills, Rising is fuller, richer and deeper as Myra develops her uniquely uplifting sound.



Much like my first album, Rising is a reflection of a period of my life. It is a continuation from Horizons, which was all about my experience during lockdown, and entailed overcoming my struggles with mental health. Following on from that experience, I set out to continue building my self-confidence. This album has an uplifting and spiritual sound, drawing influence from artists such as Makaya McCraven, Bonobo and Shabaka Hutchings.



Rising features the same core of musicians as Myra’s debut album Horizons (Gondwana records GOND052): guitarist Ben Haskins, drummer George Hall pianist Jasper Green, harpist Alice Roberts (who both also perform with Matthew Halsall) and bassist Sam Quintana who collectively bring a deft understating of the subtle textures of Myra’s music and perform with a collective empathy and drive that really pushes the music on a radiant journey. And a string quartet add gently elevating textures to Still Waters, Knowingness, From Embers and How Tall The Mountains.

Pull the Rope, the new record by Ibibio Sound Machine, casts the Eno Williams and Max Grunhard-led outfit in a new light. The hope, joy, and sexiness of their music remain, but, further honing the edge of their acclaimed 2022 album Electricity, the connection they aim to foster has shifted venues from the sunny buoyancy of a sunlit festival to a sweat-soaked, all-night dance club. Williams and Grunhard attribute this shift to a matter of collaborators, recording Pull the Rope with Sheffield-based producer Ross Orton (Arctic Monkeys, M.I.A.) over the course of two weeks. The way the pair wrote songs changed significantly_rather than Eno penning lyrics to music generated by Max and company's jamming, Orton started with Eno and Max writing together before adding the band. With less time in the studio and a new way of considering how they built songs, the duo found making decisions about Pull the Rope's sound quicker and more instinctual than before. "Ross is from Sheffield, which has an edgier, more industrial vibe than London," Grunhard explains. "He hears things differently than us, is more grounded in rave and grungier sounds, and knew when to add drums or push the instrumentation more. It was very different for us, but it lends itself to where Ibibio Sound Machine is going." In melding their songwriting process, Grunhard and Williams have, impossibly, pulled the trick of making Ibibio Sound Machine a tighter band than ever before, building out from their core in a way that highlights the electrifying group of musicians they play with. Rather than recording with the full band in the room, Pull the Rope was sculpted, elements added and shaped by Grunhard, Williams, and Orton along the way. As a result, Pull the Rope is a nimble, sleek machine that's thrilling from the first note of the opening title track, Eno's otherworldly voice and PK Ambrose's throbbing bass driving through a kaleidoscopic array of house, post-punk, funk, Afrobeat and disco, bangers and ballads, making an argument for unity that begins on the dancefloor. "We are the places we grew up, the places we've been, and the people we've met along the way," Williams says. "Hopping around the globe, we've found that people are fundamentally the same_they're people. Opposing sides push and pull, but there is an alternative to war, violence, and suffering." Lead single "Got to Be Who U Are" literally globetrots, name checking locales across the world that would feel disparate were it not for how well-traveled they are. Eno growing up in the musical melting pot of the Ibibio region of Nigeria and Max being a conservatory-trained musician from Australia, one could call their meeting in London and formation of Ibibio Sound Machine predestined. "Mama Say" and "Let My Yes Be Yes" touch themes of female empowerment. They're indicative of the band's depth as they push further into the electronic; "Mama Say" hits notes of electropop while "Let My Yes Be Yes" fuses electro to Afrobeat. Ibibio Sound Machine have always imbued their music with political consciousness, and the light that shines through in Williams' vocals and voice has never felt more necessary. The sound of Pull the Rope, then, is hope in darkness, bliss in spite of bleakness. Once again, Ibibio Sound Machine are here to provide the soundtrack to the best night of your life, and the better world to come.

Limited edition silver vinyl anniversary reissue of the Magnetic Fields' classic 1999 rumination on, of course, love. Funny, smart, dark, memorable, and a lifetime's worth of listening. Stephin Merritt solidifies his songwriting genius on his "most ambitious and fully realized work". (AMG) This vinyl reissue is remastered for vinyl and beautifully packaged in a 10" slipcase box with three double gatefold sleeves and a 24 page booklet!

Fünf Jahre nach Jessica Pratt's 2019 erschienenen Durchbruch-Album "Quiet Signs", taucht sie mit neuen Ambitionen und neuen Parametern für ihre Musik wieder auf. Für ihr neues, viertes Album "Here in the Pitch" arbeitete sie erneut in Gary's Electric Studio in Brooklyn und mit ihrem bewährten Team: Multi-Instrumentalist/Engineer Al Carlson und Keyboarder Matt McDermott.

Zusätzlich holte sie sich das Rhythmus-Duo Spencer Zahn und Mauro Refosco (David Byrne, Atoms for Peace) an die Seite, weitere Beiträge auf dem Album kommen von Ryley Walker, Peter Mudge (Mac Miller, Kendrick Lamar) und Alex Goldberg. Die Musik ist intim und emotional, wie es die Fans erwarten und die Texte sind ein impressionistischer Lobgesang auf die Unwägbarkeiten des Ehrgeizes. In den letzten 12 Jahren hat sich die verehrte Künstlerin aus Los Angeles zu einer der einzigartigsten Songwriterinnen ihrer Generation entwickelt. Vor allem durch die mystische, schwer fassbare Mischung aus ihrer zarten Akustikgitarre und ihrem atemberaubenden Gesang. Für "Here in the Pitch" schwebte Jessica Pratt eine größere Bandbreite an Einflüssen vor - große Panoramaklänge, die an den Ozean und Kalifornien denken lassen - und in diesen neun Songs werden Pauken, Glockenspiel, Baritonsaxophon und Flöte mit robusten Gesangsarrangements überlagert, die eine triumphale Stimmung erzeugen, selbst wenn die Texte auf Verwüstung hindeuten. Diese breitere Produktionspalette wird sofort beim eindringlichen Album-Opener und der ersten Single "Life Is" deutlich. Ein Schlagzeugwirbel erinnert an den großen, orchestralen Stil von 60er-Jahre-Pop-Hits wie "The Sun Ain't Gonna Shine Anymore" von den Walker Brothers.

Join Zombierella, Guitaracula & (introducing) Signor Mattia on their latest adventure to the "Dark Side of Paradise" - the all-new studio album from your favorite spooky-surf combo Messer Chups!

Nuron continues to make his mark on De:tuned with the long-awaited new 3-track EP 'Blanchimont'. Nurmad Jusat aka Nuron, one of the key figures from the golden era of 90s electronic music and UK techno, extends his legacy by swinging back into gear. On 'Blanchimont' Nuron combines his signature drum programming with uniquely lush and highly emotional synth arrangements. Futuristic aesthetics and mystic sounds to take over your senses. New and essential material!

Ian Anderson at The Designers Republic created all the graphic work. Mastered by Matt Colton at Metropolis. A separate digital release will also be available at the usual digital shops. Stay tuned!

Nuron continues to make his mark on De:tuned with the long-awaited new 3-track EP 'Blanchimont'. Nurmad Jusat aka Nuron, one of the key figures from the golden era of 90s electronic music and UK techno, extends his legacy by swinging back into gear. On 'Blanchimont' Nuron combines his signature drum programming with uniquely lush and highly emotional synth arrangements. Futuristic aesthetics and mystic sounds to take over your senses. New and essential material!

Ian Anderson at The Designers Republic created all the graphic work. Mastered by Matt Colton at Metropolis. A separate digital release will also be available at the usual digital shops. Stay tuned!

Interesting Decisions is the new album from Into It. Over It., the brainchild of Chicago, IL musician Evan Weiss . Considered to be one of the artists at the forefront of the 2010 emo revival, this is his eagerly awaited fifth studio album, after 2020's Figure. Into It. Over It. is an indie rock powerhouse that has been enchanting audiences since its inception in 2007. The band's emotionally charged lyrics and dynamic sound have garnered critical acclaim and a dedicated global following and their current formation includes Adam Beck on drums, Matthew Frank on bass, and Joe George on guitar.

"In a small room, tilt’s sound rings out like one big voice. Composed of vocalist Isabel Crespo Pardo, vocalist/bassist Carmen Quill, and trombonist/vocalist Kalia Vandever, the Brooklyn-based group writes intricate, viscerally affecting art-pop compositions that blend carefully interwoven motifs with improvisation. Their melodies are chiseled at extremes, vacillating between the angular and the achingly lyrical. All three members are accomplished artists and composers in their own right, coming from strong backgrounds in the jazz world, and featured alongside artists such as Harry Styles, Mary Halvorson, Dave Douglas, Matthew Barney and more. Their stunning debut LP "Something We Once Knew" is in its own class—a record that teaches us how to listen to it as it progresses. Recorded live in the studio without overdubs, its songs chart troubled and surreal journeys toward understanding or acceptance, passing through mystical corners of its members’ singular musical vocabularies. In these pieces, Quill and Vandever move fluidly between handling melodies with their voices and their instruments, harmonizing closely with Pardo’s melismatic lines. Though the band often works in carefully coordinated group gestures, some of the sharpest moments of catharsis on the record come during virtuosic passages highlighting individual members. Often, Crespo steps into the foreground of pieces, their unfettered vocal phrasing and unorthodox technical approaches investing the lyrics with additional layers of meaning. The music on "Something We Once Knew" might be most readily categorized as jazz, but it is hard to focus on anything but its sui generis aspects and its emotional charge."

It was the summer of 1996 in London. Rat Scabies had his studio 'The Arch' underneath Kew Bridge, in which various projects were recorded. At some point, Rat (The Damned), Derwood Andrews (Generation X) and Glen Matlock (Sex Pistols) drifted in to rehearse and write songs to record an album. Pretty soon they were ready to start recording, but they didn't have a singer. They called upon an old friend Gary Twinn (20 Flight Rockers), who flew in on the red eye from Los Angeles and immediately started recording. It may have been a good idea to give Gary time to get over the jet lag, and write some more songs. But Gary's lyrics were working well and it was sounding so good they started laying down the tracks. A day or so later, Martin Lee Stephenson, a young hot mixer came down to the Arches and mixed the seven tracks that were recorded. The plan was to do a few more songs and have a finished album. Gary went back to the west coast and started booking shows. It was all looking good, and it was fun. Then Glen called to say the Pistols had offered him to reform with a world tour called Filthy Lucre, and he'd be doing that for the next six months at least. So, Dead Horse was truly dead, and the whole idea was abandoned. These tapes have been on the shelf for almost 30 years. These tapes are being released in the interest of music history, and the fact that they were never quite finished shouldn't matter to anyone. The quality of the people involved shines through.

Dream team trio Better Corners – Valentina Magaletti, Sarah Register and Matthew Simms – have completed a staggering new album Continuous Miracles: Vol. 2 for state51 Conspiracy, and where their debut LP joyfully opened the door to a brand new room, this one strides purposefully inside.

Renowned drummer/percussionist Magaletti (Holy Tongue, Vanishing Twin, Moin), avant rock musician and in demand mastering engineer Register (Kim Gordon, Talk Normal) and multi-instrumentalist and modular obsessed Simms (Wire, MEMORIALS) inject an all-too-rare sense of childlike wonder and joy into their own inimitable collage of experimental rock, wonky dream pop, analog ambient, tape experimentation, avant percussion, modular electronics and noise music.

It is this sense of fun that led to one of the band’s “uncovers”: ‘Modulating De Niro’ began with a solo piano version of Bananarama’s ‘Robert De Niro’s Waiting’ which was then sent on a very long journey through modular synth patches and FX chains until it became the unrecognisable to the original and the majestic beast it is now. The album centres round the colossal 16- minute-long ‘Career Test’, a dynamic trip through glitch-enhanced noise, machine dub and the ambience of amplified rock music, to a transcendent, mind-expanding modern raga.

Like an industrial Gamelan played by a future civilisation who have never heard it, only read about it in ancient books, the song is formed from bowed treated guitars, hypnotic hand drums, water bowl and bells. It also has a suitably macabre genesis, as Register reveals: “I was visiting my aunt's house and slept in her bedroom. In the headboard of her bed are places for curiosities and heirlooms. In these spaces she had box after box of the ashes of pets of hers that I had known over the years…”

Pull the Rope, the new record by Ibibio Sound Machine, casts the Eno Williams and Max Grunhard-led outfit in a new light. The hope, joy, and sexiness of their music remain, but, further honing the edge of their acclaimed 2022 album Electricity, the connection they aim to foster has shifted venues from the sunny buoyancy of a sunlit festival to a sweat-soaked, all-night dance club. Williams and Grunhard attribute this shift to a matter of collaborators, recording Pull the Rope with Sheffield-based producer Ross Orton (Arctic Monkeys, M.I.A.) over the course of two weeks. The way the pair wrote songs changed significantly_rather than Eno penning lyrics to music generated by Max and company's jamming, Orton started with Eno and Max writing together before adding the band. With less time in the studio and a new way of considering how they built songs, the duo found making decisions about Pull the Rope's sound quicker and more instinctual than before. "Ross is from Sheffield, which has an edgier, more industrial vibe than London," Grunhard explains. "He hears things differently than us, is more grounded in rave and grungier sounds, and knew when to add drums or push the instrumentation more. It was very different for us, but it lends itself to where Ibibio Sound Machine is going." In melding their songwriting process, Grunhard and Williams have, impossibly, pulled the trick of making Ibibio Sound Machine a tighter band than ever before, building out from their core in a way that highlights the electrifying group of musicians they play with. Rather than recording with the full band in the room, Pull the Rope was sculpted, elements added and shaped by Grunhard, Williams, and Orton along the way. As a result, Pull the Rope is a nimble, sleek machine that's thrilling from the first note of the opening title track, Eno's otherworldly voice and PK Ambrose's throbbing bass driving through a kaleidoscopic array of house, post-punk, funk, Afrobeat and disco, bangers and ballads, making an argument for unity that begins on the dancefloor. "We are the places we grew up, the places we've been, and the people we've met along the way," Williams says. "Hopping around the globe, we've found that people are fundamentally the same_they're people. Opposing sides push and pull, but there is an alternative to war, violence, and suffering." Lead single "Got to Be Who U Are" literally globetrots, name checking locales across the world that would feel disparate were it not for how well-traveled they are. Eno growing up in the musical melting pot of the Ibibio region of Nigeria and Max being a conservatory-trained musician from Australia, one could call their meeting in London and formation of Ibibio Sound Machine predestined. "Mama Say" and "Let My Yes Be Yes" touch themes of female empowerment. They're indicative of the band's depth as they push further into the electronic; "Mama Say" hits notes of electropop while "Let My Yes Be Yes" fuses electro to Afrobeat. Ibibio Sound Machine have always imbued their music with political consciousness, and the light that shines through in Williams' vocals and voice has never felt more necessary. The sound of Pull the Rope, then, is hope in darkness, bliss in spite of bleakness. Once again, Ibibio Sound Machine are here to provide the soundtrack to the best night of your life, and the better world to come.

Fernando Pulichino's slinky, syrupy dance floor records - all of which sit in a triple frontier death zone between rock, funk, and electronic sounds - have been cycling through DFA DJ bags for years, so it was only a matter of time until he made an official appearance on company letterhead. The original version of "I Got, She's Got," which appears here on B2, is a romping, scuzzed-out, howl-at-the-moon burner, but it's the remix (a little more clarity of purpose, a lot more arpeggios) that really goes and notched the A1 placement cut at 45RPM. Sandwiched between the two is another innocuous bomb, "She's Playing With Fire." Three tracks, all weapons, trust us. Written, produced, and performed by Fernando Pulichino in Buenos Aires. Saxophone on "She's Playing With Fire" by Gustavo Buchiniz. Mastered and cut by Bob Weston at Chicago Mastering Service. Pressed by Furnace Record Pressing in Alexandria, VA.

Four years and one pandemic after his latest Dreams Of A Dark Building EP, the herald of dungeon synth pop is finally back from his shallow grave.

Life has not been gentle with Seattle-based solo producer Parker Lautenschlager over the past few years, imposing its unpredictability and forcing him to channel all the feelings that come with it into Profit Prison’s music.

It’s no surprise that his first full-length album Gilt marks one futher step towards the dark corners of italo / hi-nrg body music. Typical Profit Prison’s vocals and melodies, reminiscent of OG synth masters Kraftwerk, Giorgio Moroder and Orchestral Manoeuvres in the Dark, are still here, buried in the mix and waiting to haunt the listeners and drag them down in one sulfurous dancing spiral.

Lead single Sophia juxtaposes some weirdly camouflaged vocals with one heavenly chorus that seems willing to revive your fortunes while instead it literally sings “But I lost it all”. A Matter Of Tact displays pop escapism over some throbbing minimal synth tension, Seven Words sounds like a throwback to 70’s italo filtered through the eyes of a 21st century punk rocker. Katalina has a rampant synth à la Carpenter climbing over a story of loss and Katalina, An Ascetic is a solo ramble reaching for the inner light on a carpet of cold keys.

What’s more, tracks got longer in Parker’s recent songwriting, with most of the songs being now five minute long and reaching peaks of seven minutes with the closing, almost progressive disco jam of A.R.P. (Amphetamine Research Project), nothing short of a lucid dream on the floor of Studio 54.

Last but not least, the artwork by French artist Robin Roche delivers medieval-yet-punk graphic vibes to match just perfectly the sounds on this record.

The infamous and legendary "Jah Life in Dub" LP, finally released. Originally slated for release in late '80/early '81, this was to be Jah Life's first dub LP, featuring all exclusive mixes to now-classic Barrington Levy tunes. For one reason or another, the LP was never released. To confuse matters, a couple years later, some of the unused jackets were given to Germain to house an untitled dub LP of his productions. Naturally, we needed to rectify this situation. So here it is, finally released 34 years later! Featuring ten killer dubs to Barrington Levy tunes, ALL MIXED BY SCIENTIST AT KING TUBBY'S. Six out of the ten tracks are previously unreleased mixes, including a dub to the song "Jah Life" which has never been available anywhere before. As an added bonus, the first pressing of this LP will come housed in the original jackets from 1980, which features killer artwork by Oneil Nanco.

Four years and one pandemic after his latest Dreams Of A Dark Building EP, the herald of dungeon synth pop is finally back from his shallow grave.

Life has not been gentle with Seattle-based solo producer Parker Lautenschlager over the past few years, imposing its unpredictability and forcing him to channel all the feelings that come with it into Profit Prison’s music.

It’s no surprise that his first full-length album Gilt marks one futher step towards the dark corners of italo / hi-nrg body music. Typical Profit Prison’s vocals and melodies, reminiscent of OG synth masters Kraftwerk, Giorgio Moroder and Orchestral Manoeuvres in the Dark, are still here, buried in the mix and waiting to haunt the listeners and drag them down in one sulfurous dancing spiral.

Lead single Sophia juxtaposes some weirdly camouflaged vocals with one heavenly chorus that seems willing to revive your fortunes while instead it literally sings “But I lost it all”. A Matter Of Tact displays pop escapism over some throbbing minimal synth tension, Seven Words sounds like a throwback to 70’s italo filtered through the eyes of a 21st century punk rocker. Katalina has a rampant synth à la Carpenter climbing over a story of loss and Katalina, An Ascetic is a solo ramble reaching for the inner light on a carpet of cold keys.

What’s more, tracks got longer in Parker’s recent songwriting, with most of the songs being now five minute long and reaching peaks of seven minutes with the closing, almost progressive disco jam of A.R.P. (Amphetamine Research Project), nothing short of a lucid dream on the floor of Studio 54.

Last but not least, the artwork by French artist Robin Roche delivers medieval-yet-punk graphic vibes to match just perfectly the sounds on this record.

Warehouse Find

As well as being able to introduce and push brilliant up and coming artists such as Ben Sun or Tornado Wallace, we're equally proud to bring you brand new material from a bona fide master of his trade here on Delusions Of Grandeur. Someone who has been releasing amazing music for almost two decades and a man whose integrity, ingenuity and raw talent have seen him rise to the upper echelons of underground dance music. With releases on esteemed labels such as Rush Hour, Peacefrog, Planet E and Sonar Kollektiv, Matt 'Recloose' Chicoine continues to impress ensuring he stays in demand whether it be as a DJ, live as Recloose or as part of Carl Craig's Innerzone Orchestra. On top of this he still manages to find time to provide the revered weekly radio show Hit It And Quit It on his home town of Auckland's George FM.

Falling somewhere between Soulside, Ignition, and The Chocolate Watchband, Vile Cherubs were a short-lived and puzzling band that for a brief window in 1986-88 managed to captivate, confuse, and annoy the D.C. punk scene. Consisting of high school classmates Tim Green, Jesse Quitlsund, and Ben Wides—along with Green’s childhood friend Seth Lorinczi—the Vile Cherubs were more focused on the then-forgotten sounds of ‘60s garage rock and psychedelia than on Minor Threat. Being minors themselves, they likely would’ve remained trapped in the school-dance circuit were it not for Geoff Turner (Gray Matter / 3), who took an interest in the band and recorded their two demos. That first tape caught the ear of d.c. space booker Cynthia Connolly, who despite her initial skepticism paired them with Didjits, Cynics, and other noteworthy bands. Rumors of a potential Dischord album built all through 1987, ending with mysterious suddenness after label co-owner Jeff Nelson dropped in on a rehearsal to find a miasma of LSD, alcohol, feedback, and vomit. Though the band released a posthumous LP in 1988, the original Geoff Turner demos explain why the D.C. scene briefly lost its shit over these teen ne’er-do-wells. Lovingly and exhaustively resuscitated by audio maestro Tim Green from the original multitrack tapes, “Lysergic Lamentations” is the Vile Cherubs at the height of their brief existence.

Following the force of their introductory singles 'Tabernacl' and 'St Agatha', the band return with an invitation to explore their landscape of violent poetry and gothic propulsion to the fullest extent yet. Prepare to be lulled under their spell once more with the slow-burn of forerunning single, 'Remoter Heaven'.

Produced by long-time collaborator Buzzard Buzzard Buzzard's Tom Rees. It begins in a dream state of hypnotic repetition that mounts in intensity, with vocalist Jack Shephard presiding over it all with his distinctive, poetic drawl. His protagonist is revisiting a memory of the pain inflicted by a thorn as a child; "I was awake with feeling", he confesses, before the song takes on the momentum that feels like a triumph over the numbness attendant to adulthood.

Of the track, Shephard shares: "I liked the idea of writing a very simple narrative to a big, epic song - something as modest as the story of a child playing in some flowers and then bursting into tears when a thorn pricks their leg. The words are an ode to that sensitivity we embrace when we are young. Then, when we become adults, we insist on subjugating all of that wonderful, absurd rage."

'Remoter Heaven' follows on from 'Tabernacl' and 'St Agatha' which earned Slate rave write-ups and support from publications including NME, CLASH, So Young, DIY, Buzz Magazine, The Most Radicalist and more, as well as early radio plays from the likes of Huw Stephens and Steve Lamacq on BBC 6Music, Matt Wilkinson on Apple Music 1, John Kennedy on Radio X and Jack Saunders on BBC Radio 1.

Radio Slave's 'Venti' is released on Rekids on May 17th and is a twelve-track celebration of Matt Edward's most prominent alias' history. Starting life as a series of singles that began in 2023, 'Venti' sees Edwards explore lower tempos, House, Disco, and the Pop reinterpretations that birthed the moniker back in 2001.

From Venti’s opening track onwards, a glistening piece of piano-led house that's become an anthem at Sean Johnston and the late Andrew Weatherall's lauded ALFOS parties, it is clear that Edwards is keen to celebrate the past but through the lens of now. A Radio Slave favourite, 'Wait A Minute', is updated to include a powerful vocal from Nez. Kylie's 'Can't Get You Out of My Head' - a track that kicked Radio Slave into the modern dance music consciousness is reinvented as an Italo-inspired cover featuring Michael Love Michael delivering glorious vocals. 'Wild Life' and 'Wake Up', another two tracks that, as singles, dominated house and disco sets of the great and good in 2023, feel simultaneously fresh while paying homage to the origins of House - message-heavy vocals and all. A cover of Audion's 'Mouth to Mouth' and Edwards' tribute to Terry Hall, the Fun Boy Three reimagining 'The Lunatics' are keen displays of Radio Slave's knack for taking on beloved tracks and making them his own. The lasers-set-to-stun cut-and-paste nu-disco of Radio Slave’s 'Jaws' is a muscular and timely reminder that the punch of a track lies in its feel rather than tempo, while Edward's command of dub aesthetics and unmatched ability to stretch grooves into a tension-filled journey shines through on 'New Balance' and the epic closer, 'Thirty-Six'. Never one to entirely give into the throes of the 4:4, the cinematic electro of 'Stranger In The Night' and Balearic Cagedbaby collab 'Amnesia' round out 'Venti' as the whole Radio Slave experience - as intense as it is subtle.

One of the most prolific and critically lauded electronic music artists of the past two and half decades, Matt Edwards was born in Catford, London, in the early 1970s. When acid house hit the city, Edwards was deep in the scene, and he's remained there since. Residencies at the groundbreaking Ministry of Sound and an 'unofficial' residency that has seen him become one of Panorama Bar's most booked DJs during his 15-year stint living in Berlin have provided the grounding for an enviable tour diary that continues today.

His Rekids imprint, a label that has platformed some of dance music's biggest names, has been regarded as a high benchmark for two decades with Matt as sole A&R. Collaborations with legendary artists such as DJ Hell and Robert Hood, releases for Running Back, R&S, Innervisions, Figure and more, and a remixography that simply couldn't be repeated in modern music show just how important Radio Slave is.

In 2012 we at Soul Junction were able to release two previously unissued songs on the Internationally renowned recording artist, Oliver Cheatham. The songs recorded in Detroit circa 1974/75 were cut under the supervision of Olivers cousin William R. Miller. “Don’t Pop The Question (If You Can’t Take The Answer)” went on to become Soul Junction’s biggest seller, selling in excess of over a thousand copies, but such is the enduring quality of the song that there hasn’t been a week gone by where we haven’t received a sales enquiry for a copy. So, after much deliberation we have decide to re-release the 45 again with a nifty 300 limited press run to hopefully satisfy this continuing demand. During the ensuing years the soulful sweet soul ballad b-side “Good Guys Don’t Make Good Lovers” has also grown in stature with collectors of this genre with many of the sales enquiries received coming from the direction of the West Coast’s lowrider scene.



Oliver Cheatham will forever be remembered for his timeless 1983 R & B hit “Get Down Saturday Night” on MCA records, which he co-wrote with fellow Detroit musician and ‘One Way’ group member Kevin McCord. Oliver’s own career began way back in the mid 1960’s when his future brother-in- law Allen Cocker invited Oliver to join his group the ‘Young Sirs’ to recorded the mellifluous “There’s Something The Matter (With Your Heart)” for Ernest and Barbara Burt’s Magic City label with Oliver now being the groups lead singer.

Into the 70’s the Young Sirs, briefly became ‘Butch & The Newports’ who under the auspices of George McGregor recorded “I’m Only A Man/Out Of My Mind” on the Black Rock label, with Butch being Oliver’s nickname. “I’m Only A man” was released for a second time on Marvin Higgin’s Grand Junction label, this time credited to ‘The Gaslight’ along with a further two releases. A subsequent Gaslight release “Just Because Of You/It’s Just Like Magic” reputedly came out on the local T.E.A.I label before being picked up for national distribution by Polydor Records. Under the guidance of influential Detroit radio DJ and record producer Al Perkins, Oliver firstly became the lead singer of the group Sins Of Satin later re-named Roundtrip and then following a further re-naming just becoming known as Oliver.



Following on from “Get Down Saturday Night” Oliver continued to score chart success with “SOS”, “Celebrate Our Love” followed by two duets with Jocelyn Brown “Turn Out The Lights” and “Mind Buster”. Further chart success came in 2003 when Oliver featured as a guest vocalist on Room 5’s UK No1 hit “Make Luv” which incidentally sampled Oliver’s “Get Down Saturday Night”. Oliver at this juncture was residing in England and had previously recorded a garage version of the old standard “Our Day Will Come” with the London based band, Native Soul. Sadly, Oliver passed away in November 2013.

Mattiu will release his new EP "Da Casa" on April 26, 2024, featuring lyrics in Romansh (the fourth official language of Switzerland), showcasing his expressive and characterful voice. He proves that he can deliver scenes and images with such overwhelming and captivating power that even without understanding the lyrics, listeners are guaranteed goosebumps. Translated from German, "da casa" means "at home" or "to home," describing a deep sense of gratitude and contentment that Mattiu associates with the feeling of being "at home." This emotion can be triggered by both a place and specific people. "Da Casa" lives up to Mattiu's debut. The Romansh artist once again uniquely showcases his mother tongue. With his extraordinary voice and knack for profound songwriting themes, he consistently manages to touch and inspire his listeners. Mattiu effortlessly translates his language and talent into tasteful, contemporary, yet emotional songs, promising him a bright future ahead. "Da Casa" features six new songs and will be available digitally, as a digipak, and on vinyl.

CNTS sind zurück!

Nach einem Wirbelsturm von Tragödien, sowohl global als auch persönlich, sind Gitarrist Mike Crain (Dead Cross, Retox, Festival Of Dead Deer), Schlagzeuger Kevin Avery (Retox, Planet B) und Sänger Matt Cronk (Qui) mit dem neuen Gitarristen Koko Arabian und Bassist Rico Adair zurück, um ihr zweites Album zu veröffentlichen.

Nach der Veröffentlichung ihres Debüts "Cunts" (2019) konnten CNTS eine kurze Tour einschieben, bevor die Welt auf Eis gelegt wurde. In der Pause wurden Aufnahmen gemacht und Pläne für die Zukunft geschmiedet. Alle Pläne wurden jedoch über den Haufen geworfen, als Matt Cronk bei einem Autounfall verletzt wurde, was zu einem chirurgischen Missgeschick führte und ihn mit einem gelähmten Stimmband zurückließ, unfähig zu sprechen, geschweige denn zu singen. CNTS gaben schweren Herzens ihr Ende bekannt. Bis zum Winter 2023 widmeten sich die Mitglieder von CNTS anderen Projekten, als Cronks verletztes Stimmband entgegen den Prognosen seiner Ärzte zu heilen begann und seine Stimme innerhalb von zwei Monaten zurückkehrte. Im März dann waren CNTS zuversichtlich, dass sie es noch einmal versuchen könnten.

Gestärkt durch Cronks Genesung und die neue Besetzung, verbrachten CNTS den Rest des Jahres mit der Arbeit an ihrem neuen Album Thoughts & Prayers, dessen Titel von der Banalität unserer kollektiven Reaktion auf Krisen inspiriert ist. Inspiriert von ihren jüngsten Herausforderungen haben CNTS mehrere Jahre der Frustration und des Elends in ein gut artikuliertes und aggressives Statement kanalisiert. Songs wie "Smart Mouth" und "Thoughts And Prayers" erzählen von Cronks Schmerz und Wut während seiner verschiedenen Verletzungen und der anschließenden Genesung. "I Don't Work For You" und Eating You Alive" handeln von der Ungerechtigkeit des modernen Lebens. "For A Good Time (Don't Call Her)" ist eine Wutrede auf das uralte Thema des Streits mit dem romantischen Partner.

Matthias Reim ist zweifellos ein großfühlender Mensch. Ein beneidenswert produktiver Zeitgenosse ist er sowieso. Vor bald 35 Jahren hinterließ der Vollblutmusiker und Songwriter einen Aphorismus von bleibendem Wert: "Verdammt, ich lieb' dich". Liedzeilen, die aus einer Laune heraus entstanden, formte der damals 32 Jahre junge Mann zu einem Mammut-Refrain, der zu einem Millionenseller gelangte. Er hat rund zwei Dutzend Studioeinspielungen veröffentlicht, etliche davon brachen in Gold- und Platin gegossen Verkaufsrekorde. Auf dem neuen Longplayer "Zeppelin" präsentiert Reim seine 16 neuen Songs so frühlingsfrisch und auf den Punkt gebracht wie ein tatendrängender Newcomer. Einer, der sich gleichzeitig eines enormen Musikmacher- und Lebenserfahrungsschatzes ermächtigen kann. Anders lässt sich die gesteigerte Wahrhaftigkeit in "Zeppelin" nicht erklären. Reims Rock klingt heute handgemacht-rockiger als je zuvor, die Refrains sind größer geworden und die Balladen balladesker. "Zeppelin" ist kurzum der beste Reim aller Zeiten.

"This album is about influence, inspiration, perception & reality. Every song was written in an outside environment, so that I could observe the subjects that would become my subject matter. All too often in Hip Hop, reality is limited to that of the artists own, actual experiences. People Hear What They See is my attempt to liberate the MC from those constraints & allow reality to be penned other than my own. Listening to congressmen & lawyers converse on the steps of the supreme court inspired 'American Greed', Watching a couple argue over the phone in a bar inspired 'Maybes'. By having a visual representation of my subject matter, my hopes are that the listener will see them through the worlds & melodies of my songs."

If the Chateau Marmont could sing. This would be it. Loren Kramar's voice vibrates with the shameless hum of a room after a celebrity exits Ecstatic aspiration. Doubt. Proximity. Desire. The album "Glovemaker" is about the skins we craft to be seen by the world, and Loren reminds us that we are all in drag. All exposed. No matter what gloves we slip on. "I'm a slut for all my dreams", Loren Kramar sings with Patti Smith brashness, "I'm a whore for them, I've got more of them". Loren's lyrics move like tinsel, shimmering bravely, then just as quickly, curling, fragile under the spotlight. Loren has always been obsessed with fame. Not with famous people, but with the electricity that perverts attention - the crushing desire to be truly seen. And all of Loren, and this obsession, is in this album. He grew up in the Valley, forced to hide his Barbies from his father, so the closet was a gorgeous Spanish ranch house on a gilded cul-de-sac crawling with celebrities. Naturally this gay boy wanted to be a child star so his mother secretly shuttled him to tap and jazz and figure skating lessons. "I've got hands and feet to put in the concrete", Loren croons, in "Hollywood Blvd", a song which clangs with brawny bravado. But "Gay Angels" reminds us that Loren's infatuation with stardom is inextricably linked with his queerness and his own desire to live outside of fear. To be famous is to be out. To be known. To be himself. "Glovemaker has become a kind of code for art making itself. A glove as a covering or mask that follows the contours of the life beneath it. As a song and a symbol, this is an album about studying and tracing a life - and then sharing what's there," Loren says. And his desire to share truth feels urgent. To listen to Loren is to understand there is no choice; the songs must tear through the air right now. This very second. "I see myself tearing and splitting and becoming a trampoline", he belts in "No Man," breaking our hearts right alongside his. Part poet, part theatrical diva, Loren loops together the tragedy of breathing on this planet, because like Eartha Kitt or Cat Stevens, Loren is at his core - an incredible story teller. This whole album is a shrine, a mantle atop a blazing fire of life, spread with the memorabilia of Loren; all of the pain and lust dazzling on unabashed view. This is a songwriter's album. Loren's lyrics are all his, and you feel it with every bright, Maraschino-cherry-like word that falls from his lips. "Like a lover, You scream and I shatter, I hit like a hammer" Loren sings. And we get to feel what Loren feels We live in his brain, riding his genre bending emotions, on a wave of modern pop. And the songs lift, they are anthems of belief, "Hollywood Blvd", "I'm a Slut", "Euphemism", "Gay Angels", are all odes to triumphing over the corroding powers of fear and doubt. And on this ride, Loren's voice is the guard rail, ever eager to stretch and transform, belting, talk-singing, multiplying, keeping us safe. "Glovemaker" slaps and soars. The album is an ecstatic overture to love and loneliness, to dreams and promises, to everything Los Angeles dangles. Buckle up. Loren knows how to craft space, how to move us through darkened bars, strobing arenas, beige carpeted bungalows and yellow lit highways. "How do you like LA?" Loren asks. I hope you love it.

Red Vinyl

If the Chateau Marmont could sing. This would be it. Loren Kramar's voice vibrates with the shameless hum of a room after a celebrity exits Ecstatic aspiration. Doubt. Proximity. Desire. The album "Glovemaker" is about the skins we craft to be seen by the world, and Loren reminds us that we are all in drag. All exposed. No matter what gloves we slip on. "I'm a slut for all my dreams", Loren Kramar sings with Patti Smith brashness, "I'm a whore for them, I've got more of them". Loren's lyrics move like tinsel, shimmering bravely, then just as quickly, curling, fragile under the spotlight. Loren has always been obsessed with fame. Not with famous people, but with the electricity that perverts attention - the crushing desire to be truly seen. And all of Loren, and this obsession, is in this album. He grew up in the Valley, forced to hide his Barbies from his father, so the closet was a gorgeous Spanish ranch house on a gilded cul-de-sac crawling with celebrities. Naturally this gay boy wanted to be a child star so his mother secretly shuttled him to tap and jazz and figure skating lessons. "I've got hands and feet to put in the concrete", Loren croons, in "Hollywood Blvd", a song which clangs with brawny bravado. But "Gay Angels" reminds us that Loren's infatuation with stardom is inextricably linked with his queerness and his own desire to live outside of fear. To be famous is to be out. To be known. To be himself. "Glovemaker has become a kind of code for art making itself. A glove as a covering or mask that follows the contours of the life beneath it. As a song and a symbol, this is an album about studying and tracing a life - and then sharing what's there," Loren says. And his desire to share truth feels urgent. To listen to Loren is to understand there is no choice; the songs must tear through the air right now. This very second. "I see myself tearing and splitting and becoming a trampoline", he belts in "No Man," breaking our hearts right alongside his. Part poet, part theatrical diva, Loren loops together the tragedy of breathing on this planet, because like Eartha Kitt or Cat Stevens, Loren is at his core - an incredible story teller. This whole album is a shrine, a mantle atop a blazing fire of life, spread with the memorabilia of Loren; all of the pain and lust dazzling on unabashed view. This is a songwriter's album. Loren's lyrics are all his, and you feel it with every bright, Maraschino-cherry-like word that falls from his lips. "Like a lover, You scream and I shatter, I hit like a hammer" Loren sings. And we get to feel what Loren feels We live in his brain, riding his genre bending emotions, on a wave of modern pop. And the songs lift, they are anthems of belief, "Hollywood Blvd", "I'm a Slut", "Euphemism", "Gay Angels", are all odes to triumphing over the corroding powers of fear and doubt. And on this ride, Loren's voice is the guard rail, ever eager to stretch and transform, belting, talk-singing, multiplying, keeping us safe. "Glovemaker" slaps and soars. The album is an ecstatic overture to love and loneliness, to dreams and promises, to everything Los Angeles dangles. Buckle up. Loren knows how to craft space, how to move us through darkened bars, strobing arenas, beige carpeted bungalows and yellow lit highways. "How do you like LA?" Loren asks. I hope you love it.