Cerca:millennium

Hugo Race (Dirtmusic, Fatalists, ex-Bad Seeds) and Michelangelo Russo (True Spirit), fuse rock, blues, ambient and electronic sounds on their raw, compelling new album "100 Years".
In 2017, the duo released John Lee Hooker's World Today (Glitterhouse/Gusstaff Records), a tribute to the blues legend's delta blues legacy reinvented in a swirling mix of analog grit and deep trance pulses.

100 Years showcases the duo's sonic chemistry against Race's stark songwriting. Inspired by the raw majesty of early blues recordings, the album was recorded in two days in a non-stop live Hugo Race & Michelangelo Russo - 100 Years session. Amplified harmonica, open-tuned guitars, smoky vocals and primal foot beat walk us through a landscape of dreamlike devastation, a hypnotic wall of sound suspended in time and space celebrating endurance and redemption, hand-made from ancient roots. "Tradition does not mean passing the ashes, but the fire."

100 Years. Recorded November 1 & 2, 2023.
Engineered by Andrew 'Idge' Hehir at Soundpark Studios, Melbourne.
Mastered by Giovanni Versari at La Maesta, Milano.
Published by Peermusic.

PRESS about former album:
Rock'n'Roll Monuments, Greece:
"Race and Russo's pioneering electronic atmospheres give the historical Blues something you never imagined possible."

Rolling Stone, Germany: 'Dark Eros and transcendental blues…'
Musikreviews.de, Germany: "A psychedelic ghost blues of a profound sort, a mature, sensitive interpretation of the music and lyrics of John Lee Hooker. (Race and Russo) have blown us away in slow motion, economically instrumented and with painfully beautiful intensity. "

Q, London: "A darkly singular experience then, and one of the best records (Race) has ever made..."

The Music, Australia: "A collection of bluesy, brooding songs from a talented singer-songwriter with three decades of musicianship under his belt."

Eclipsed, Germany: "Hypnotic rhythms and haunting guitars, this album tingles under your skin..."
Focus Kultur, Germany: "No one else makes music like this, and that in itself is an achievement..."

Rock and Folk, Paris: 'This traveler without borders advances through a menacing atmosphere of no-wave electro-acoustics. Here is the spirit, and he does not forget
the body and the soul ... '
Tom Tom Rock, Italy: "An almost epic attack, worthy of the soundtrack of an apocalyptic post-nuclear catastrophe film… a talking blues of the third millennium, filtered by years of psychedelia and industrial music - and the Berlin years of Hugo Race can certainly be felt - hypnotic and dark, but precisely for this reason enveloping and fascinating. A record in which the music of the legendary bluesman is completely transfigured, without, however, the fidelity to his "spirit" and his "message" being questioned in the slightest. In short, JLH is alive and fighting with us, if we find the strength to follow him."

Deejay-turned-produced Jah Thomas’ Midnight Rock helped shift roots reggae to dancehall in the late 1970s and Thomas continued producing in the new millennium, sometimes revamping Roots Radics tracks from Channel One, and alternately cutting fresh work at King Jammy’s, Black Scorpio, and Mixing Lab. Secret Tapes has stellar guests like roots messenger Luciano, dancehall don Super Cat, supreme crooner Courtney Melody, Jah Thomas himself, and a collab between Pinchers and Josie Wales; Tony Curtis, Ghost and Mitch are courtesy of a Buju Banton co-production. Special request to all dancehall fans!

Club music reduced to its essential elements, those elements then pushed to their limits! Dangerously malfunctioning DJ tools! The Feeling of Power!
All that and much more on this striking new record from the one and only Barnt, the great reductional absurdist finally appearing on Studio Barnhus, providing concrete proof of the secret, decade-long love-affair between artist and label, after a bunch of Barnt b2b Boman DJ sets over the years, Kornél Kovács’ legendary “disco edit” of classic Barnt track “Chappell”, endless “Studio Barnthus” jokes, etc.

Mount Athos, known as the «Holy Mountain,» is a monastic peninsula in northeastern Greece, central to Eastern Orthodox monasticism for over a millennium. Its twenty monasteries house around 2,000 monks dedicated to prayer and worship, which songs have echoed across the Aegean Sea for centuries, heard only by visiting pilgrims, isolated from conventional time and global events.

After several years of research, and several visits to the retired community, we are happy to present our new project «Athos : Echoes from the Holy Mountain» dedicated to this liturgic music and repertoire that seems to be evolving outside the usual boundaries of time and space. Rooted in Byzantine chant, this a cappella tradition essential to monastic life featuring intricate yet serene melodies designed to facilitate prayer and contemplation, using a system of modes and scales to create a meditative atmosphere.

Trans-disciplinary, this effort of documentation also comprehends an artistic re-interpretation aspect inviting contemporary Greek and foreign artists to reflect on the subject.

A musical compilation which captures original field recordings from the 1960s and from today capturing the essence of liturgical music on Mount Athos, but also new compositions inspired by them by artists such as Holy Tongue (UK), Jay Glass Dubs (GR), Prins Emanuel & Inre Kresten Grupp (SWE), Jimi Tenor (FI), Gilb’r (FR), Daniel Paleodimos (GR), Esma & Murat Ertel (TUR) and Organza Ray (GR/US).

A trilingual book in English, Greek and French, featuring essays, articles, photographs and artistic comissions reflecting around the theme giving a voice to contributors such as , Stratos Kalafatis, Theodore Psychoyos, Tefra90, Father Damaskinos Ulkinuora, Prof. Thomas Apostolopoulos, Makar Tereshin, Phaedra Douzina-Bakalaki, Michelangelo Paganopoulos and Alberto Cameroni.

The release of the book and the record will be followed by a cycle of exhibitions and conferences, deploying FLEE’s year-long research on Mount Athos, as well as its numerous commissioned artworks.

As the 21st century was born, so Kreator underwent what was nothing less than a seismic creative rebirth. By this time, the iconic German band had released nine studio albums in the 1980s and '90s, which had established them as one of the most important metal names of these decades.In the first period, they had helped to shape and pioneer the thrash scene through such releases as 'Pleasure To Kill' (1986), 'Terrible Certainty' ('87) and 'Extreme Aggression' ('89). During the following decade, the band had opened up exciting horizons of experimentation on albums like 'Coma Of Souls' (1990), 'Renewal' ('92) and 'Endorama' ('99).
Now, though, it was time to move into a fresh era, as vocalist/guitarist Mille Petrozza explains.
“During the 1990s, we were definitely experimenting with what the band were doing. But (drummer) Ventor and I decided that for this album – our first of the new millennium – we wanted to go back to the sort of sound that we had at the start of Kreator. In other words, to get back to the reason why we began the band in the first place.”

There was also new guitarist introduced, as Sami Yli-Sirniö (who had made his reputation with Finnish band Waltari) took over from Tommy Vetterli. The latter (also known as Tommy T. Baron) had joined in 1996 and played on the 'Oucast' (1997) and 'Endorama' albums.

The producer for this album was Andy Sneap, who was now making a name for himself as one of the pre-eminent masters of this art in the modern metal world.“I had known and liked Andy since the days he had been the guitarist in Sabbat, as they were signed to Noise Records as Kreator were on that label. He was our first choice to work on this new project. I liked what he'd done for Testament on their album 'The Gathering' (released in 1999). He had given them a sound they'd never had before, and that really was what we were after. It was natural and organic, and also very modern. I remember phoning him at his Backstage Studios in England (Ripley in Derbyshire). And Warrel Dane, the vocalist in Nevermore, answered. Andy was producing their new album at the time ('Dead Heart In A Dead World', 2000). And when I heard this, again I was very impressed. So, I was delighted when he agreed to produce the new Kreator album.”

The album title came from something Petrozza had read. “In a book I came across a comment that John F. Kennedy said (in 1962). This was: "Those who make peaceful revolution impossible will make violent revolution inevitable”. I thought 'Violent Revolution' would make a good title for an album. So, I kept it in my mind for this record. I think 'Violent Revolution' is a title that makes a real impact.”

One interesting aspect of the track listing was that the 52 second instrumental 'The Patriarch' actually came after the opening song 'Reconquering The Throne'. Fans might have been expected that it would have opened the album. But for Petrozza, there was a logical reason for this not to happen. “We really wanted to lead off with a thrashing track, to show everyone what we were now doing musically. After 'Endorama', it was important that everyone should recognise this was a new era for Kreator.”

'Violent Revolution' is without question an excellent album. While in some ways it does hark back to the glories of the band's earlier days, nonetheless it does not sound at all nostalgic. The performances and production values are very much part of the contemporary era, and the strength of the compositions themselves are of the highest values. Rising to the challenge offered by a new generation of ambitious metal bands, Kreator proved they were far from being a spent force. Unlike so many of their peers, here was a band who still had so much creativity to offer, and were also clearly excited themselves by what they were doing. And when you hear the band themselves enjoying the entire process, then you know this is a bona fide revitalisation.

Zur Feier des 25-jährigen Jubiläums erscheint der 1999er Klassiker von The Get Up Kids in einer Deluxe-Neuauflage auf silberfarbigem Doppelvinyl im Gatefold samt Download-Code, sorgfältig von den Originalbändern remastert und mit einer Menge Bonusmaterial versehen, darunter seltenen Demoversionen und unveröffentlichten Raritäten. "Something To Write Home About" lieferte mit seiner elektrisierend-kämpferischen Konvergenz von Power Pop, Alternative Rock und Punk die Parameter für die im Mittleren Westen angesiedelte zweite Emo-Welle und wurde zum wichtigen Rock'n'Roll-Dokument des späten Millenniums.

2024 Repress

Somniac One's fourth EP for PRSPCT XTRM is a love song to hardcore of yore, featuring two nostalgic original tracks and a hellfire remix of Party In My Head anthem 'Kill Everyone' by the one and only Deathmachine.

Somniac One's intense atmospheres and sledgehammer kicks get a euphoric lick on 'The Grand Awokening', a tribute to the millennium hardcore sound this industrial warrior was raised on. 'Hard Synths '92' meanwhile takes cues from even further back down the timeline, marrying early rave stabs and sentiment with Somniac One's thoroughly modern sound design and identifiable signature.

Technically skilled and hard as nails, Deathmachine then breaks the back of Somniac One's much loved 2018 banger 'Kill Everyone', delivering a crossbreed mutant remix that's gonna slay dance floors all over again.

The music of Brigitte Calls Me Baby is equal parts elegant time warp and up-close exploration of our modern-day neuroses. The Chicago-based five-piece emerged in early 2023 and soon scored a breakout hit with “Impressively Average”—a sublimely shimmering anthem, setting the band on a swift rise that’s recently included embarking on a headline tour with sold-out dates across the US. Having opened for The Strokes, Last Dinner Party and Muse, the band has been featured in the Sunday Times “Breaking Act” and NME’s Radar Spotlight series. Now, with their debut LP The Future Is Our Way Out, Brigitte Calls Me Baby share a body of work that ingeniously spans genres and eras, merging the lavish romanticism of mid-century pop with the frenetic energy and spiky intensity of early-millennium indie-rock. Centered on lead singer Wes Leavins’ hypnotically crooning vocal work, the result is a rare convergence of sophistication and style and unabashed sincerity.

“Come my lady/Come-Come my lady/ You’re my butterfly, sugar baby”…If there was a song-track to the turn of the millennium, Crazy Town’s “Butterfly” was it, starting with its appearance on the 1999 album Gift of Game and winding up with its reign at #1 in the charts in February 2001. Anchored by a sample of Red Hot Chili Peppers’ “Pretty Little Ditty,” it forever defined the term “nu-metal power ballad,” and was a rare-for-the-genre love song to boot! But the album from whence it came didn’t fly as high as it did, with over 2.5 million copies sold, just because of “Butterfly.” The Gift of Game brings the noise with an all-out alternative metal assault, and the band’s rappers—bolstered by guest appearances from KRS-One and Mad Lion—are markedly better than their rap/metal contemporaries. And then there’s the album art, created by member Shifty Shellshock’s father and uncle, which lends a vivid rendering to the fantasies of every teenage boy listening to “Lollipop Porn.” In short, this was a freakin’ HUGE record that somehow…somehow!...has NEVER been on vinyl. So how to handle its momentous debut on its 25th anniversary? Well, first, we’ve created an inner sleeve with all of the lyrics (and there are a lot of ‘em). Our sources also tell us that the very explicit hidden bonus track on the CD release has mysteriously made it on here. But when it comes to the vinyl, given what we anticipate is going to be, ahem, crazy demand, we have pressed the record in two different colors, one in “Red Devil Velvet” vinyl and the other in “Yellow Butterfly” vinyl. Come dance with us and Crazy Town…twice!

In the history of Black American soul music many recording artists have been called “Legends” some deservedly and perhaps some not so deserving of this current over used accolade? I might be a tad biased here, perhaps? but in my book one James Howard McCelland a.k.a Jesse James has surely earned the right to be called a “Legend” this octogenarian performer has weathered many storms and shifts in musical trends and styles over the years but like the trouper that he is albeit in lower keys these days he still manages time and time again to come up with the goods! “Back On Top Again” is Jesse James latest production album, a project filled with recent and current recordings in a southern soul style that has likened in passing by several respected soul scribes to the Malaco Sound I’ll let the record buying public make their own minds up on that one, I’m sure veteran DJ Bob Jones won’t mind me using his quote below:

The album also features two of Jesse’s friend’s with Donnie McKisic providing the rapping and additional backing vocals on the upbeat “I Lost My Baby On Face Book” and Shirley Diamond who you may recall from Soul Junction’s recent 45 release “You Don’t Know Who You Sleeping With” (SJ1021) returning with another excellent Diamond & James duet “Another Love Lay Over” as a further foot note the featured song “I’d Be A Fool 2 Fool Around On You” is an excellent cover version of what was a previously unissued Harvey Scales song until Soul Junction released it as the flipside their thirteenth 45 single release way back in 2011.

Album Sleeve Notes:

At the dawn of the 1960’s a young aspiring soul singer from Richmond, California by the name of James H. McClelland was honing his performing skills in several local nightclubs. At one particular show the compere struggled to pronounce the young performer’s surname and to hide his embarrassment he hurriedly introduced him as ‘Jesse James’, which became Jesse’s Stage name to the present day.

Jesse’s big break came through his aunt who at that time just happened to be dating West Coast Blues and R&B Legend Jimmy McCracklin. The aunt suggested to McCracklin the he should take a listen to her talented nephew, suitably impressed McCracklin produced Jesse on a song he’d written “I Will Go” for the local Shirley label. The release is credited to Jesse James & The Royal Aces a bunch of local musicians that Jesse had grown up with which included Slyvester Stewart a.k.a Mr “Dance To The Music” himself Sly Stone” on guitar. “I Will Go” was quite a popular record locally and led to a further four Jesse James releases on Shirley culminating in Jesse’s most sought-after record the delightful “Are You Gonna Leave Me”in 1966. The following year Jesse recorded the minor hit “Believe In Me Baby” released by the local ‘Hit’ label before being picked up by 20th Century for national distribution. While signed to 20th Century Jesse recorded a self-titled album and three other 45 singles before leaving the label.

Following a solitary 45 release for the Uni Label in 1969 Jesse formed his own Production and Publishing company ‘South Richmond Music’ releasing 45’s on his own label logo’s Zea and Zay before returning to 20th Century for a second time during 1974, releasing two 45 singles of which the sublime “If You Want A Love Affair” reaching #92 in the Billboard R&B charts in 1975, a song that would later receive worldwide acclaimed and is now regarded as Jesse’s signature tune. Ron Carson had been the producer on the later 20th Century releases and it was he that placed one of Jesse’s songs “The Same Thing Happens” on the Happy Fox label’s blaxploitation album “Black Fist”.

Into the 1980’s Jesse leased some of his songs for release on the Atlanta Georgia, Midtown label, a solitary release on the Moonlite Hope Music label (a lead single for a proposed album that never materialised) followed before Jesse joined Max Kidd’s Washington based TTED label. The TTED imprint was to yield Jesse’s biggest hit record “I Can Do Bad By Myself” reaching #61 in the R&B Charts. Following TTED Jesse formed Gunsmoke records releasing “Love On The Side” in 1988, from there on Jesse has continued to regularly release numerous studio albums though the 90’s into the new millennium and on to the present day.

Now well into his seventh decade as a performer this most resilient and enduring performer, has never been one to let the grass grow under his feet. He still performs live shows and is actively writing, producing and recording fresh new material. Soul Junction have now gathered together some of Jesse’s most recent and new recordings to form this album project which is aptly titled “Back On Top Again” Ride on Jesse James!

Blue vinyl. Since forming in Western New York in 2016, Feeley and his musical partner Matt Cox have blurred the line between absurdism and existentialism, swirling ‘90s melodicism, new-millennium pop-punk energy, and heartfelt emo into a wry, smirking rock sound. Now, on their third album, Gangster of Love, the duo let their melting pot sonic palette go further than ever, exploring the outer edges of their musical spectrums. Produced by Sam Guaiana (Neck Deep, Bayside), Gangster of Love follows

2021’s SUP and 2018’s Tequila Sunrise and found the duo fleeing Buffalo for Los Angeles, where the push and pull between the two songwriters – the real magic at the heart of Super American – was allowed to flourish and grow in a brand-new environment

Introducing "The Architecture of Oppression Part 2" - the highly anticipated follow-up to Jake Ferguson's critically acclaimed debut album - Part 1. Ferguson is recognised as the ‘other half’ of The Heliocentrics, producing his solo work under the moniker, The Brkn Record. Effortlessly merging the realms of music and activism, he has created a groundbreaking album, which is set to be one of the most important bodies of work that illustrate ongoing systemic racism this side of the millennium. Ferguson takes the listener to a world where artistry and social consciousness intersect. Crafting an array of captivating soundscapes and themes. This album showcases the vocal talents of both established artists and hidden gems discovered through Ferguson's day-job as a former charity CEO and community activist. While Part 1 served as a rallying cry to dismantle oppressive systems, Part 2 offers a compelling soundtrack of a Pro-Black world reclaiming its destiny. This thought-provoking art piece invites listeners to envision alternative paths while avoiding the pitfalls of past paradigms. Unlike a broken record, this The Brkn Record album keeps pushing boundaries— By enlisting the voices of The Global Majority, The Brkn Record creates a platform for genuine expression through sound. Renowned for his production skills, Ferguson has captured the admiration of industry heavyweights including Nas, Madlib and Kanye West. However, rather than seeking popular features, he chooses to amplify the authentic perspectives of the talented youth he collaborates with in Hackney. One such initiative supported by Ferguson, Account Hackney, introduced him to two gifted artists showcased on this album – Great Okosun and Yolanda Lear. ‘This album serves as a visceral demonstration of my anger at the racially founded status quo in this country and globally. The continued oppression of people on the basis of their race is beyond evil, its common place and needs to end. Simple as.’ The album also sees Ferguson joining forces with award winning laureate Anthony Joseph and legendary hip-hop MC Percee P - their dynamic and thought-provoking lyrics seamlessly intertwine with expertly produced musical landscapes. "The Architecture of Oppression Part 2" is not just an album; it is a transformative journey that challenges the listener and wants you to ‘feel’. It’s Art. A musical experience that inspires, compels, and empowers. Over to you!

(Jam El Mar Remix) DJ Ghost and Robert Armani resurrect their hugely popular turn-of-the-millennium collaboration with the superb ‘Hit Hard Baby (WTF)



DJ Ghost and Robert Armani resurrect their hugely popular turn-of-the-millennium collaboration with the superb ‘Hit Hard Baby (WTF)’. A formidable duo when it comes to churning out mind bending techno and hard-edged grooves, these guys first got together in 2001 delivering the bouncy vibes of ‘Hard One’ followed by ‘Airport’ and ‘Funk That’, all of which got included on a raft of compilations and enjoyed by many around the world. Individually they are accomplished in their own right. Ghost is an iconic figure in Belgium and a stalwart within the Bonzai family. Robert Armani needs no introduction, ‘Circus Bells’, ‘Ambulance’, ‘Hit Hard’ anyone? Since the mid-eighties he’s been right up there with DJ greats, and in 1992 he started releasing his own brand of house, acid house and techno. Legend is an understatement when it comes to both these guys and we’re delighted to see them back at it in the studio once again.



The release opens with ‘Hit Hard Baby (WTF)’, introing with dark kick drums and raspy hi hats. Classic techno percussions weave intricate patterns as tension mounts, taking us to the break where hypnotic notes build alongside a snare roll to the drop and back to full-on dark mode for the duration. ‘The Underground’ is up next, combining sick techno grooves with massive rave stabs and murky acid lines. Powered by a solid drum arrangement that packs a punch, this one is destined for peak time greatness. The first of two versions of ‘H.O.H’ begins with the Original Mix. Keeping with darker tones of the release, this one goes straight for the jugular as chunky kicks and pulsating, mesmeric basses combine along with clangy percussions and a classic vocal hook that will destroy the dancefloor. Another legend joins us to round out the release with Jam El Mar stepping up for remix duties on ‘H.O.H’. Hailed as a pioneer of trance alongside the late great Mark Spoon, Jam El Mar remains a much-revered name on the scene and we know amazing things happen when he’s let loose in the studio. Ramping up the energy on this one Jame El Mar whips up a frenzy to get the crowd moving. Heavy hitting kicks with layers of rhythmic percussions get the toes tapping while gnarly techno basses and electrifying synths combine alongside that instantly recognisable vocal. A monster tune that is not to be missed.

Backward Futura, exploring the sounds and vibes of 80’s and 90’s electronica thru the lenses of the new Millennium.

Third release courtesy of Rifeño.

Cinematic breaks and tropical bleep, the soundtrack for the Axel Foley of the new millennium.

R'n'Cs is the contraction of "Rem and the Courbarians". made up of Rem (drums - Vox) and the Courbarians brothers, Saïd (Guitar - Vox) and Gui (Bass Guitar - Vox). they were formed in the Orléans region at the dawn of the second millennium, combining Punk / Hard Core with overdriven Garage Punk'n'Roll. giving birth to a Rock'n'Roll speed all their own! The years go by. but the cadence remains the same. they are and remain definitively addicted to feedback and BPMs. Their Rock'n'Roll remains fast and furious. You'd think the teats they feasted on from an early age were loaded with nitroglycerine! And these R'n'R aficionados never tire of it! Class, delicacy and refinement have nothing to do with it. even if some music lovers will enjoy it! Their music isn't a poem, it's an ode to sex, drugs and rock'n'roll. all at breakneck speed! Hang on to the handlebars, because no one escapes this infernal spiral that grabs you and sends you straight to the devil's entrails! They became a national benchmark for speed rock'n'roll. and were repeatedly asked to play with bands such as Nashville Pussy, Supersuckers, Discharge, GBH, Unseen, Guitar Wolf, New Bomb Turks, The Cellophane Suckers, The Butchers, Burning Heads, Etc.. Over the years, R'n'Cs has always been backed, produced and supported by labels such as 442ème Rue, Beast Records, Guerilla Vinyl and of course Trauma Social. Their 7th Opus "Flytrap in the Murderhouse" released on Beast Records / Fly House Records (Trauma Social for the CD) saw the light of day in Spring 2024 and still remains in the tradition of Zeke, Peter Pan Speedrock, Mötorhead. This incendiary bomb will not differ from previous productions. Still in sweat, flames and Rock'n'Roll!!!! Hell Yeah!

From the early ‘90s to the turn of the millennium, Gabrielle was one of the UK’s most successful and beloved artists. With two unforgettable #1 smashes (‘Dreams’ and ‘Rise’), a back catalogue full of Top 10 hits, two albums which reached 4 x Platinum status, two BRIT Awards, two MOBOs and an Ivor Novello, everything she touched seemed to turn to gold. In recent times, Gabrielle has enjoyed a remarkable resurgence, one that proves that timeless, empowering songwriting and a distinctive voice that is the very definition of soul will never go out of fashion.
The first single from the album, "A Place in Your Heart" will be released on the 18th January (9:30am timed release), and will be premiered on BBC Radio 2 - Zoe Ball that morning. The new single retains Gabrielle's signature sound, opening with her instantly recognisable vocal and provides an anthemic hook fans will no doubt sing along to.
A big part of that resurgence comes from the love shown to her by the current wave of iconic artists. Adele recalls being inspired by the lyric “Dreams can come true” as a child and has been a life-long fan of Gabrielle since, saying, “I remember being mesmerised by her, so pure and so delicate and gentle with her voice and in the way she moved.” And when Adele’s own dreams came true, she returned to her first inspiration and invited Gabrielle to join the bill for her two rapidly sold-out Hyde Park shows in the summer of 2022. The result was a sea of faces - some older fans, but many more who would’ve been too young to remember her the first time around - singing Gabrielle’s songs back to her.
Another high-profile supporter emerged that same year. Stormzy invited Gabrielle to cameo in his ambitious video for ‘Mel Made Me Do It’, where she joined a host of artists including Dave, Little Simz, Headie One and Jazzie B. She was also referenced in its midpoint monologue, when ‘Black Panther: Wakanda Forever’ star Michaela Coel narrated Wretch 32’s words: “Gabrielle once told us dreams can come true, and that sentence emancipated the minds of our pioneers.”
2018’s ‘Under My Skin’ in 2018 was heralded as “a heartfelt comeback” by The Guardian on its way to the Top
10. It wasn’t long before she was discovered by a brand new audience too, winning fans with a memorable stint as Harlequin in ‘The Masked Singer’ in 2021.and followed by ‘Do It Again’, an album of which mixed original songs, new takes on all-time classics, and her interpretations of more modern pop favourites from the likes of Billie Eilish, Harry Styles and Rihanna. It shot to #4 on the Official Album Chart - Gabrielle’s highest chart position in twenty years.

With Gabrielle’s star again in ascendance and her high profile live presence, 2024 seems the perfect time to release a new album. She’s consolidated her original audience and found a whole new one.
Autumn / Winter 2023 saw Gabrielle embark upon the ‘30 Years of Dreaming’ headline tour which was extended to a phenomenal 33 dates following overwhelming public demand. Many shows sold-out more than six months in advance, including London’s prestigious Royal Albert Hall.

Kulku return to Phase Group with the release of their new album ‘Reset To Be’.

Formed in Berlin at the turn of the millennium, Kulku have evolved as a highly unique and free-formed collective of musicians that make trance-inducing, jazz-entwined, percussive and soulful (mostly) acoustic music that takes cues from the rhythmic propulsion of Jaki Leibezeit’s Can, the street-folk of Moondog, the minimalism of Steve Reich, and the droning rock n’ roll of the Velvet Underground, forming a sound that they themselves have coined ‘No-Age Krautrock’.

Following on from last year’s sold out debut LP ‘Fahren’, ‘Reset To Be’ offers 5 new songs across 2 sides of vinyl. This is a record that perfectly showcases the unique identity the band have been developing over the past 20 years, a sound crafted through experimentation and innovation with primarily acoustic instruments; droning harmoniums, repetitive and phasing xylophones, timpani, cello, scrap metal and woodwind reeds, all sitting alongside soulful saxophone and the voice of frontman Andreas Riska, singing in both German and English.

‘Reset To Be’ is a truly special offering that we’re proud to be able to share with you on Phase Group. The album will be available on April 30th 2024 on vinyl and digital, with distribution via Bordello A Parigi.

Afro-Cuban star Daymé Arocena has announced her new album 'Al-Kemi' which will be released on February 23 via Brownswood Recordings. It is her first album since 'Sonocardiogram' in 2019.



Dayme's new single "American Boy" accompanies her album announcement. No other song on the album embodies Arocena’s artistic liberation like “American Boy” - an exhilarating, futuristic slice of progressive pop. “I wrote it ten years ago, but thought it was too much of a pop song,” Dayme reflects. “In an indirect way, the music industry had shown me that I wasn’t welcome in that world. There isn’t a Black woman like me who enjoys the kind of success usually reserved for Rosalía or KAROL G. The image of music genres like salsa or bachata has been painfully distorted throughout the years. You are supposed to clone and fuse yourself in order to conceal your Black or indigenous side. They told me I didn’t fit in that world, but I’m going to prove them wrong.”



When Daymé decided to switch gears and record her fourth studio album in Puerto Rico with the iconic producer Eduardo Cabra (Calle 13), she never imagined that she would end up moving there.



“From the moment I stepped foot on the island, I realized that I never wanted to leave,” says the 31 year-old Cuban singer/songwriter with a hearty laugh. “At the time, I had spent three years away from Cuba, living in Canada with my husband. I called and asked him to come over to Puerto Rico, and to please bring all my stuff. It wasn’t a conscious decision on my part. It was simply love at first sight.”



Relying on instinct and intuition is how Daymé has managed her career since she burst on the international scene with 'Nueva Era,' her prodigious debut album, in 2015. Now, she has fully reinvented her sound with 'Al-Kemi,' a revolutionary – and transformative – fusion of neo soul singing, Afro-Caribbean beats and slick new millennium pop.



The album is titled 'Al-Kemi' with the Yoruba word for alchemy. "It means the cosmovision of transformation," she explains. "It is mixing all the elements to achieve an unbeatable result, full of shine and light, like gold springing from the skin."



From the cosmopolitan smoothness of lead single “Suave y Pegao” – an effortless fusion of jazz, bossa nova and urbano stylings with reggaeton star Rafa Pabön on guest vocals – to the smoldering neo-soul of “A Fuego Lento,” with Dominican singer Vicente García, Daymé’s latest album relies on sacred formats of the past but rearranges them in a conscious quest to redraw the very definition of what Latin pop is supposed to sound like.



“It was definitely a team effort,” she reflects from her new home in San Juan. “Flexibility may well be my biggest virtue. I’m always open to every possible suggestion when it comes to making things better. My piano player, Jorge Luis "Yoyi" Lagarza, and I worked on the demos with the rest of my band. Then with Eduardo Cabra’s direction, we enlisted musicians from all over the Caribbean – Cuba, Puerto Rico, the Dominican Republic. Everybody added their energy and coloring.”



It was Daymé’s piano player who originally suggested she contact Eduardo Cabra known for combining commercial aptitude with a refined sense of craftsmanship. Not only did Cabra accept the singer’s offer, but he also invited her to stay at his home during the four months when they recorded 'Al-Kemi' in his Puerto Rico studio.



“I had no idea that he was familiar with my music,” she enthuses. “Eduardo has been in the industry for a long time, and he comes from a world that is more global and commercial than mine. He was the ideal candidate for this project, but I initially didn’t know if he would understand the social, psychological and personal complexities of the message that I wanted to express.”



“Daymé is one of the most talented musicians that I’ve ever worked with,” says Cabra. “Working together was a joy, because she knew exactly the kind of fusion that she was going for: a cross between her Afro-Cuban roots – which clearly are strong on this album – with the more contemporary vein of analogue synths, samples and a bit of electronica. We wanted both worlds to communicate, to be both respectful and disrespectful to the ancestral colors. I feel comfortable with both, and even Calle 13 walked the two paths. This is also the album where Daymé opened up to the Caribbean at large. Her understanding of harmony and her performance skills are out of this world.”



Born in Havana in 1992, Daymé grew up immersed in Afro-Cuban folk, but also listening to cassette tapes of Sade Adu, her father’s favorite singer. She was identified as a prodigious



talent at only 8 years old and soon started studying music. After studying at the prestigious Amadeo Roldán conservatory, she became co-founder and band member of the Cuban-Canadian jazz collective Maqueque in 2017. With the collective, she launched several international tours and earned a GRAMMY nomination.



“In Cuba, the emphasis on technique is exacerbated,” Daymé explains. "At the same time, opportunities are scarce on the island. A career in music provides a potential for escape, which is why the competitiveness is off the charts.”

Zoo Min Sha is the solo project of Ryo Konishi, who also performs with the jazz-pop band CRCK/LCKS. 2 songs released in 2023, featuring AAAMYYYY, Ema, and Sara Yoshida (Mononkvl), and themed on parting with people, are now available in analog!

In addition to presiding over CRCK/LCKS, Ryo Konishi has participated in works by Chara and millennium parade, produced music for Amazon Prime Video's "More Than Words", produced music for the opening ceremony of the 2020 Paralympics, and has a growing presence in a wide range of other areas. This is his third analog work. Side A is "Glittering," which features AAAMYYYY as a guest performer and has a magnificent and beautiful sound centered on her clear voice and string quartet. Side B is "I Hear That Song", which features the beautiful ensemble of winds and strings and the gentle, enveloping harmonies of Mononkvl member Sara Yoshida and musical actor/jazz singer Ema. This is a piece as beautiful as a clear sky and a gem of pieces by the splendid members.

Veteran producer Blende debuts on Studio Barnhus, the Athens-based Swede delivering 3 cuts full of force and rich in detail, perfectly straddling that line between weirdo pop and freaky dance that the Stockholm label loves to explore. Vocal contributions from Belgian rock experimentalist Mickael Karkousse and Los Angeles-based singer-DJ sensation Smiles Davis complete the package, along with a trippy and menacing cover by graphic wizard Stefan Fält. An essential Studio Barnhus dance record!
Johan Blende is a Swedish music producer, song writer and DJ. For the biggest part of this side of the millennium he’s been weaving together modern dance music elements with retro sounds of the ‘70s and ‘80s.

Death Songbook is an exquisite and unique collaboration between Suede’s Brett Anderson, Charles Hazlewood and Paraorchestra featuring special guests Nadine Shah and Gwenno. The album features delicate new interpretations of iconic songs by the likes of Echo & The Bunnymen, Suede, Depeche Mode, Mercury Rev and Japan tackling themes of death, the death of love, anxiety, loss and transcendence. Paraorchestra is the world's first large-scale virtuoso ensemble of professional disabled and non-disabled musicians. The CD and LP packages feature beautiful photography from the original recordings at Wales Millennium Centre, Cardiff.

TO THE LIMIT ist eine durchdachte Zusammenstellung von 51 Songs aus den Studioalben und Live-Aufnahmen, die die Eagles zwischen 1972 und 2020 veröffentlichten. Die bekanntesten Titel der Band sind hier vertreten, darunter die Nummer-1-Hits "New Kid In Town", "One Of These Nights", "Best Of My Love", "Hotel California" und "Heartache Tonight". Mit Songs wie "Desperado", "Victim Of Love" und "In The City" enthält das Set auch viele Fan-Favoriten. Außerhalb des Studios beleuchtet TO THE LIMIT das beeindruckende Tournee-Erbe der Eagles mit mehr als einem Dutzend elektrisierender Live-Tracks. Dazu gehören Ausschnitte aus Eagles Live (1980) - darunter der Top-40-Hit "Seven Bridges Road" - sowie Songs aus Hell Freezes Over (1994), The Millennium Concert (2000), Live At The Forum '76 (2017) und Live From The Forum MMXVIII (2020).

TO THE LIMIT ist eine durchdachte Zusammenstellung von 51 Songs aus den Studioalben und Live-Aufnahmen, die die Eagles zwischen 1972 und 2020 veröffentlichten. Die bekanntesten Titel der Band sind hier vertreten, darunter die Nummer-1-Hits "New Kid In Town", "One Of These Nights", "Best Of My Love", "Hotel California" und "Heartache Tonight". Mit Songs wie "Desperado", "Victim Of Love" und "In The City" enthält das Set auch viele Fan-Favoriten. Außerhalb des Studios beleuchtet TO THE LIMIT das beeindruckende Tournee-Erbe der Eagles mit mehr als einem Dutzend elektrisierender Live-Tracks. Dazu gehören Ausschnitte aus Eagles Live (1980) - darunter der Top-40-Hit "Seven Bridges Road" - sowie Songs aus Hell Freezes Over (1994), The Millennium Concert (2000), Live At The Forum '76 (2017) und Live From The Forum MMXVIII (2020).

"Direct from Sandy’s tape archive, these DIY bedroom demos feature his layered harmonies, harpsichord and guitar - all recorded during his time with the Millennium. Though unreleased and hidden away at the time they were recorded, these demos finally get their due on coloured vinyl! Includes new liner notes & photos! The CD has 7 bonus tracks!

Sandy seemed to be in the eye of the kaleidoscopic tornado that was swirling and twirling around L.A. … so why didn’t these songs surface all those years ago? It certainly wasn’t for lack of talent, nor was it disinterest. In fact, it was quite the opposite. While in the Millennium, Sandy continued to write and record his own songs. After signing a publishing deal with Four Star Music, his new publisher did place a few of his songs - “Rag Doll Boy,” recorded by Thee Prophets and The Naked Truth; Terry Black recorded a version of “Wishing Star,” and “These Are The Children” and “Goodbye Yesterday” made an appearance on Tommy Roe’s sixth album, Phantasy.

But for all of the songs he composed and recorded on his reel-to-reel tape machine in his small, Sunset Strip apartment, it seemed as if Four Star Music wasn’t truly interested in promoting his songs. But in truth, it was an under-the-table handshake between Curt Boettcher and Four Star Music that squashed all hope of other artists hearing and recording Sandy’s songs.

The songs on this album are a few of many compositions Sandy wrote and recorded between 1966 and 1968. With only one or two exceptions, every instrument, lead vocal and layered harmony is his, and as you will hear, it’s really no wonder that Curt had them hidden away. Taken from the original reel-to-reel tapes, dive into Sandy Salisbury’s sparkling world of sunshine pop."

Footballhead is a Chicago-based alternative rock band headed by singer/ songwriter Ryan Nolen - At its heart, the band is a vessel to toil forward through internal and external insecurity It also serves the unrelenting spirit of new- millennium Midwestern youth, with MTV and skatepark dreams in the core of their memories. By blending pop structures with alt and emo sounds, Footballhead channels the frantic, dramatic, and anthemic to map the pressure points of existence. It's outcast music, revitalized in search of a modern, blissful awakening. Nolen was a skate kid from the western Chicago suburbs; the one who only kicked it with older neighborhood kids. The punkish attitude of late-90s and earlyaughts alt- rock galvanized Nolen, from the infectiously fun music down to the fashion.

A teenage relocation to Palm Springs, CA coincided with Nolen inundating himself with all the music he could: Warped Tour, 411 videos, Limewire, and the like. The Footballhead ethos comes from this comfort zone of pop impulses and raucous energy, carried by a DIY spirit that grants Nolen the autonomy to facilitate honesty and reflection. Joined by Adam Siska, snow ellet, Liam Burns, and Robbie Kuntz, Footballhead crafts supercharged rock songs like brief, open secrets. However weathered one is from their struggles and mistakes, this music offers unbridled fun as a reprieve, and salves for the shaken. These are your old friends inviting you in to commiserate, elevate, and believe.

6-track EP compilation with Terada's work for the Ape Escape games, tip!

Outside of the international house underground, where his early ‘90s works for the Far East Recording label he co-founded with Shinichiro Yokota are rightly celebrated as bona-fide classics, Soichi Terada is best-known for his work composing music for video games. Yet until now, few of his productions for video games have been released outside of Japan, especially on vinyl.

Apes In The Net, a six-track EP featuring music composed for the popular PlayStation 1 series Ape Escape, sets the record straight. It not only showcases Terada’s quality as a composer and producer, but also his versatility. Like much of Terada’s work on the Ape Escape series, the tracks featured don’t explore deep, New York and New Jersey influenced house sounds, but rather his lesser-celebrated love of jungle and drum & bass – a sound he fully explored on 1996 album Sumo Jungle.

“The producer of the Ape Escape games heard that and got in touch,” Soichi remembers. “They asked me to make the soundtrack, and then work on the music for the sequels after that. I used to love making music with AKAI hardware samplers, synthesisers, and computers, so I played and recorded the tracks using almost the same methods as I did when I made house music. Using breakbeats and audio samples with a sampler was the most useful way to make the soundtracks.”

The six tracks on show, which were originally recorded in the ‘90s but reconstructed and remastered for Japan-only CD and digital releases over a decade ago, mix elements of Terada’s familiar deep house style – think warming chords and pads, memorable melodies, and emotive musical motifs – with blistering D&B breakbeats, 16-bit synth sounds, electronic bleeps and undeniably weighty basslines. They’ve stood the test of time and arguably sound just as fresh now as they did at the turn of the millennium.

For proof, check the soaring, spellbinding ‘Spectors Castle’, where uplifting lead lines and sumptuous chords dance atop punchy beats and growling bass, the jazzy and saucer-eyed rush of ‘Mount Amazing’ (all twinkling piano motifs, alien synth sounds, squelchy bass and skittish drums) and the intergalactic, liquid D&B excellence of ‘Time Station’, whose whistling melodies and stargazing chords are undeniably alluring.

There are plenty of other delights to be found across the EP, too, from the bustling, race-to-the-finish breathlessness of D&B/bleep techno fusion workout ‘Spectors Factory In’, and the rumbling sub-bass, creepy pads and suspenseful melodies of ‘Haunted House’, to the bombastic, all-out-assault on the senses that is ‘Coaster’, the set’s most “purist” jungle workout – albeit one that also doffs a cap to the pulsating world of big room techno.

Apes In The Net, then, celebrates Soichi Terada’s mastery as a video games composer and early Japanese junglist. Props are well and truly overdue.

Godzilla returns once more to face the combined might of Japan's most extraordinary scientists in the second picture of the Millennium-era: GODZILLA VS. MEGAGUIRUS. Looking for new ways to defeat the Big G, the JSDF invent an incredible new weapon called Dimension Tide, which creates a miniature black hole that will transport Godzilla far away from Earth. However, a byproduct of weapon testing leads to thousands of winged insects invading Tokyo and attacking Godzilla. The Big G fights back, but their new queen appears, now kaiju-sized due to Godzilla's atomic breath. A thrilling battle then occurs as Godzilla goes head-to-head with Megaguirus while the JSDF frantically works to disappear both monsters forever.

GODZILLA VS. MEGAGUIRUS saw the introduction of composer Michiru Oshima into the franchise with a fantastic score that built on previous Toho musical traditions with a view to the future. While using music composed by the great Akira Ifukube for two sequences, Oshima also unveiled her own theme for Godzilla. First heard in a slow and foreboding mode, it's quickly unleashed in gigantic low tones, as terrifying and inevitable as the Big G himself. Soaring heroic material represents the JSDF and their advanced Griffon aircraft, while powerful brass is used for the threat of Megaguirus. Cementing Oshima's reputation as a great composer, GODZILLA VS. MEGAGUIRUS is a classic of kaiju musical mayhem. - Charlie Brigden

Composed by Michiru Oshima
Artwork by Attack Peter
Manufactured in Czech Republic

How about some swag, hype, bouncing high energy and filthy bass? RLGN breaks in with Apollo 3023. The lyrics say it all: "smell of gasoline, burned tires, smell of a blunt, gin and codeine". This is high af and this is rave. THE DAWLESS continue to rip off side A completely with a devastating workout. ACG is your perfect soundtrack for hustling in Summer 2023. A deeply personal track by our own dance music queen Errortica is dedicated to Dima Nova, 1/3 of Cream Soda and 1/2 of Locked Club, who tragically died in March 2023. Tender vocals about "invisible connections between real friends on the dance-floor" are mixed into some advanced and masterfully crafted rhythms and textures, giving us also a teaser of upcoming solo EP by Errortica - stay tuned! SAKHA is a mysterious duo, affiliated with some most epic Monasterio line-ups. More investigations of the project lead to R-Label Group and to some seriously dangerous high pressure techno. Automatic is a driving, euphoric, millennium-vibe infected track, sounding just timeless. We are excited to have such a sound on our board here. BEREZA closes this chapter with a chase anthem, Cops and Horns, again delivering his own formula of bass music + blistering drum programming at it's very best. It is crazy, physical and original. Eight Years Of Love - Part 2 can be deconstructed into 5 singles, but if you unite them into one, you will get a perfect glimpse to the mood and vibe of our main floor. Highlighting the newest generation of DJ's, artists and producers, we never forget about the rave essence: peace, love, unity and respect!

Canadian artist Jay Tripwire delivers his new three-track EP ‘Gone Insane’ via Jamie Clarke’s Either imprint this February.

Vancouver, Canada’s Jay Tripwire has long been a beloved producer in the world of stripped back house and techno with releases dating back to the turn of the millennium on the likes of Steve Bug’s Pokerflat, D’Julz’ Bass Culture, Roger Gerressen’s Irenic and of course his own Witching Hour among many others. Here though, we see him joining the roster of Irish artist Jamie Clarke’s Either imprint which has played host to numerous releases from the label boss himself and featured remixes from Silverlining, Ryan Crosson, Barac and more.

Title track ‘Gone Insane’ opens the release and perfectly sets the tone with Tripwire’s signature murky atmospheric style, crisp driving rhythm, gritty bass and intricately programmed effects. ‘Workhorse’ follows next and diverges into haunting minimal realms with swirling synth textures, glitched out bass flutters and crunchy low-slung drums.

‘Still A Raver’ then rounds out the EP, shifting things back up a gear with bouncy, twitchy synth melodies, twisted vocal murmurs and pulsating subs all underpinned by heavily shuffled, raw percussion.

Lo-fi, low budget, and low key, The American Analog Set's suite of hypnotic, neo-psychedelic, Texas sloth-kraut LPs appeared briefly on Austin's Emperor Jones label and slunk quietly into the sprawling indie underground as the old millennium crested. Gathered here are "The Fun Of Watching Fireworks", "From Our Living Room To Yours", and "The Golden Band" albums, garnished with period b-sides, outtakes, and demos. Remastered from the original analog tapes,this early-career spanning 5xLP box includes lyrics, photos, and ephemera from the before times.

Lo-fi, low budget, and low key, The American Analog Set's suite of hypnotic, neo-psychedelic, Texas sloth-kraut LPs appeared briefly on Austin's Emperor Jones label and slunk quietly into the sprawling indie underground as the old millennium crested. Gathered here are "The Fun Of Watching Fireworks", "From Our Living Room To Yours", and "The Golden Band" albums, garnished with period b-sides, outtakes, and demos. Remastered from the original analog tapes,this early-career spanning 5xLP box includes lyrics, photos, and ephemera from the before times.

Few bands have burst quite so brilliantly onto the scene as Clap Your Hands Say Yeah. Fewer still can say their debut album defined a scene, a time, and marked a paradigm shift in the music industry. But the then five-piece, fronted by the enigmatic Alec Ounsworth, managed all this and more; no wonder their self-titled record is still considered one the finest, and most influential, indie releases of the 2000s.A heady blend of left-field pop and melodic, exuberant indie rock, the record repurposed a number of classic new wave references for a new generation of music fans. Fun-loving and quirky, the band achieved that rare alchemy - synthesising a dizzying array of styles and influences into something wholly their own. And that something was utterly glorious, full of buzzing synths, trebly guitars, bustling drums, and lilting, wailing vocals. The record's raw, ramshackle sound was an integral part of its appeal; time has merely magnified that charm. In `The Skin Of My Yellow Country Teeth' and `Upon This Tidal Wave Of Young Blood' Ounsworth wrote two of the most uplifting, celebratory tracks of this millennium, obvious highlights on an album of consistent excellence, and one rightly lauded for re-writing the rules of what indie bands could be.

Originally released on the seminal self-titled Nucleus Roots album at the turn of the millennium, Under De Kitchen is finally getting a well-deserved vinyl pressing with new dubs and remixes!

Vocals come courtesy of Manchester's Des Nia Lashimba, accompanied by Moses, Dub Dadda and Maria

Bristol's Sasha Steppa steps up on remix duties with her debut production, elevating the track even further with her trademark high-energy peak-time stepper style

Normandy via Glasgow dubber Stalawa strips everything back for his futuristic interpretation, channeling plenty of Rhythm & Sound inspiration

As usual, Dub Junction isn't doing things by halves, with three separate records being pressed to house all six mixes, all with their own unique two-colour marbled effect.

Today, the electrifying Copenhagen-based DJ and producer, Anastasia Kristensen, has announced a new EP “Cordyceps Disco” out on 14th November 2023. This will be the first release on her new label absorb emit, marking a bold new chapter for Kristensen.

This new EP marks the next chapter in Kristensen's artistic development, stepping away from the close and personal nature of her previous work, instead reflecting a broader sentiment of the post-pandemic climate. “Cordyceps Disco” is set in a romanticised future, allowing listeners to come to the dancefloor and let go of their fears for the millennium to come; of climate anxiety and hypercapitalism. Lightly inspired by the sci-fi futures in Ray Bradbury and Isaac Asimov novels, and taking its name after the brain-eating fungi in the recent series The Last of Us, “Cordyceps Disco” imagines a future dancefloor where listeners can forget about reality and be completely immersed in a beautifully dark yet uplifting atmosphere.

There was definitely something in the Welsh water during the COVID lockdown! By the third lockdown Spencer was missing going out dancing at indie clubs He wanted to write an album to replace that feeling of being out all-night to jangly melodic pop. The influences on the album are the kind you'd see on any poster advertising an indie night including Teenage Fanclub, Belle and Sebastian, REM, The LA's The Cribs, The Strokes, Violent Femmes, Fleet Foxes, Suede, Pulp and Television, As a result of the honing down over two and half years of material, every track on the album could be a single and it is a bold claim from us, but we think it is possibly the best indie pop album of the new millennium. "You're a Lighthouse, I'm at Sea" contains the singles "And We Get Burned" and "Disco In Your Heart".

140 Gram White Vinyl Limited Edition Of 1500 worldwide. Includes full album download + 2 bonus download tracks from the out of print 1999 Suz EQ /to whom it may consume 7-inch. Originally released in 2000 as Enon burst on the scene to wide acclaim +++ Pitchfork called Enon lyricist / guitarist John Schmersal “one of indie rock’s most consistently compelling songwriters.” Long, long ago, at the beginning of the new millennium, the world begot Enon. It was before Willliamsburg was, like, totally over, before beards made you cool, and just at the cusp of all this modern computer recording tomfoolery. What a time, before innocence lost. From all this came a much beloved and oft-overlooked record – one Touch and go is damn proud to re-issue on vinyl today – Believo! This record makes a bridge between the 20th and 21st centuries – full of effects, samples, pop sensibilities, and a complete respect for and disregard of The Rules. In 2000, Enon was all Brooklyn style, comprised of John Schmersal of Brainiac and Rick Lee and Steve Calhoon of Skeleton Key. John and Rick bonded over a penchant for suitcases full of electronics and battery powered trickery – portable musical distractions capable of making tracks on the fly. That’s what this era was all about for Enon – the suitcases, and being in the moment wherever they were. Though the band would later evolve to 2007’s lineup of Schmersal, Toko Yasuda and Matt Schulz, you’ve got to know where you’re coming from to see how you got to where you are today. So, come along with us, please, to the re-birth of Believo!

Disco is back! From Paris to Melbourne, Berlin or Athens, a new blend of 70s inspired disco sound is currently taking the dancefloors by storm with artists like Monika, L'Impératrice or LeonxLeon, creating a stir on the international scene. Paying their dues to the pure form of Disco, these new artists, far from mimicking the clichés, are adding an unmistakable millennium twist to the genre. This is Disco 2.0

Bathed in a green haze, the crowd oozed to the mutant rock and roll roaring from the basement's dusty depths — everything and everyone was sweaty and sticky. But as Speedy Ortiz crammed into the back corner, their grins just inches away from ours, D.C.’s Dougout became a moshed-and-sloshed sauna of 20-somethings delirious on rock euphoria.

After spending much of the new millennium bored out of my skull by network soap indie, Speedy Ortiz — not to mention its pals in Pile, Ovlov, Grass is Green and the rest of New England’s burgeoning basement scene — was rock's wild howl. The songs were unpredictable, yet weirdly memorable, swaggering with a winky and wry sense of self. Riffs would twist with a topsy tenderness, then slam a ruptured discord. Sadie Dupuis' sphinxian-yet-sensitive lyrics were not only matched but accentuated by her coil-sprung vibrato. How could Speedy Ortiz not immediately become my new favorite band?

What began as a short-lived solo project recorded in Dupuis' off-hours as a rock camp counselor became a four-piece band in Northampton, Mass., by the end of 2011: Dupuis on guitar and vocals with drummer Mike Falcone, bassist Darl Ferm and guitarist Matt Robidoux. They made cool mixtapes, cracked inside jokes and gushed about teenagers that opened for them on tour. They freaked out (via LiveJournal) when they met the bassist from Polvo or Helium's Mary Timony, but also rolled their eyes at '90s indie-rock comparisons. The band's first single — the gender-bending got-laid grunge yowler "Taylor Swift'' — elicited that rare response of the simultaneous giggle and headbang. The Sports EP amped up the taut yet rubbery riffery.

Released July 9, 2013, Major Arcana is filled with wedding chapel exorcisms, oiled-down attractants and criminally twisted puny little villains — this is Dupuis' haunted lexicon as she scales the toxic Aggro Crag of a breakup. And while Dupuis wrote these songs, the band's convulsing arrangements and diverse influences sprawled the squigglier edges of feedbacked fuzz to mete out matters of the heart. Falcone — who, it's worth noting, has a knack for vocal harmony — swung as much as he smashed the drums. In easily tipoverable songs, Ferm's burly bass and percussive overdubs gave the unruly glee its momentum. Robidoux ripped skronky guitar solos and countered Dupuis' riffs with decorative splatter. Over a four-day marathon session at Sonelab in Easthampton, recording engineer Justin Pizzoferrato sparked the studio imagination of Speedy Ortiz — not only leaning into gritty tones but layer-caking dense dynamics that made these songs pop and pulverize.

For all her sweet-toothed seething, Dupuis was not easy on herself. Everyone's allowed the idiot growing pains of your 20s and the misery that follows, but I can only imagine the emotional exhaustion that playing these songs on the road, night after night, must have wrought. "But you left something on my lips: a mark so sick," she repeats over the doomy destruction that ends the album. Thinking back to the many Speedy Ortiz shows I caught in those early years, including an unofficial after-after party for my own wedding, "MKVI" often served as the noisy down-and-out closer — heads would bang in solidarity as the crowd became co-authors in the chaos, the biting phrase now a hex, Speedy Ortiz forever our coven. —Lars Gotrich

To celebrate the 10th Anniversary of Major Arcana, Speedy Ortiz release a remastered edition on Carpark Records.

"I call the album Late Jazz not only in honour of 'that jazz time of night' but also because, unlike all my other ASC releases, these are not historic recordings from the 1970s but new ones, often based around my One Man Show, in which most of them featured. So they're late-period Runswick. The compositions too are recent (except of course the standards), all but one written since the Millennium.

(Sulkin is from the 1990s.)”