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"Live in Oberhausen", das zweite Live-Album von KANONENFIEBER, wurde während ihrer bis dato größten Headliner-Show in Oberhausen aufgenommen. 1.800 Zuschauer füllten die ausverkaufte Turbinenhalle II, um Teil der "Die Urkatastrophe"-Tour zu werden. Sechzehn der insgesamt zwanzig europaweiten Konzerte waren bereits Monate vor dem Beginn der Tour ausverkauft. Damit konnte die Band, die nur 2,5 Jahre zuvor ihre erste Liveshow gespielt hat, einen weiteren Meilenstein in ihrer Karriere setzen.In der Setlist finden sich nicht nur beliebte Songs des Debütalbums- "Menschenmühle" und der darauffolgenden EPs, sondern auch acht Tracks aus ihrer neuesten Veröffentlichung "Die Urkatastrophe".KANONENFIEBER über das Konzept von "Die Urkatastrophe": "Der Erste Weltkrieg beschleunigte den Weg in die Moderne und gilt als die "Urkatastrophe" des 20. Jahrhunderts, das von Kriegen, Gewalt und Vertreibungen geprägt war. Etwa 17 Millionen Menschen, Soldaten und Zivilisten, verloren ihr Leben, große Teile Europas wurden zerstört und ungelöste Probleme hinterlas-sen, die zu weiteren gewaltsamen Konflikten führten. Dieses Album soll die Opfer des Ersten Weltkrieges dem Vergessen entrei-ßen. Mögen ihre Schicksale auch nach über 100 Jahren Mahnung sein für die nachfolgenden Generationen," erklärt Noise.Der Black und Death Metal von KANONENFIEBER soll nicht nur unterhalten, sondern anregen, sich weiterzubilden und das Bewusstsein gegen die Verherrlichung des Krieges schärfen. Denn im Krieg gibt es keine Gewinner. Alle verlieren - ihr Leben, ihre Seelen, ihre Menschlichkeit. Der Krieg wird oft abstrakt und anhand von trockenen Zahlen und Statistiken dargestellt. KA-NONENFIEBER wollen die Geschichten der Namenlosen und Gesichtslosen erzählen, um einen kleinen Einblick in ihre persön-lichen Schrecken und damit in das größte Grauen für die Menschheit als Ganzes zu gewähren. Krieg.Das Album erscheint in den folgenden Formaten: Ltd. CD+Blu-ray Digipak, Gatefold 2LP and Digital Album.

Hermon Mehari and Tony Tixier first met in 2010, in their early twenties, in a club on Paris's Rue des Lombards for a concert with saxophonist Rodolphe Lauretta. Over the next decade, the two musicians took opposite paths, while continuing to collaborate on two continents. The American trumpeter moved to France to discover European culture and the world cultures that coexist there, while the Parisian pianist of Martinican origin spent several years in the USA, immersing himself in the roots of jazz and Afro-American music.



In June 2024, the two musicians, who had been working for fifteen years on numerous albums and collaborations, and whose musical understanding had continued to be forged in clubs, festivals, and on recordings, met again for a duet at the TOC-TOC festival in the Puisaye region, where Antoine Rajon was a collaborator. Enthusiastic about the idea, the artistic director of the KOMOS label invited them back to his home in this corner of Burgundy to record this Fender Rhodes/trumpet formula. He called on sound engineer Christian Hierro, who traveled with his mobile studio for the album recording, then mixed and produced the master in his studio in Lyon, using the best analog equipment and his expert ear.



At dusk on November 12, 2024, the duo played eight tracks in a single, direct take on a 33-minute magnetic tape.



Four unusual cover versions were carefully chosen. "Maimoun" is a composition emblematic of pianist Stanley Cowell's style, also recorded by Marion Brown. George Duke's "The Black Messiah" was captured live by Cannonball Adderley's band on an album of the same name but has never been released as a studio version. "Hello To The Wind" was created by Bobby Hutcherson in 1969, sung by Eugene McDaniels. Finally, "Laini," dedicated by the great Martinican pianist Marius Cultier to one of his daughters, is a mazurka dear to Tony's heart.



Each of the musicians also contributed a composition: Hermon with "This Is Our Fantasy," written especially for the session, and Tony with "Poem For The Oppressed," a moving composition with an explicit title. Lastly, the duo improvised two tracks, without repetition, in mutual symbiosis and echo.

SOUL SONG captures a moment without enhancement, transformation, or additives, far removed from contemporary virtual technologies.

The Guatemalan project Nublo Roboten is exploring and experimenting with modular synthesizers. Mechanical beats, raw and instinctive sounds, made to dance.

Remastered Reissue von Lucianos Album "Moving Up" (1993), das im gleichen Jahr wie sein Debüt "Shake It Up Tonight" erschien und den jungen Künstler direkt in den Mainstream katapultierte. Produziert von Philipp "Fatis" Burrell (XTERMINATOR), wartete "Moving Up" mit einer erstklassigen Besetzung mit u.a. Dean Frazer, Winston-Bo Pee Bowen, Christopher "Lurch" Birch, Fire House Crew, Michael Fletcher und Sly & Robbie auf. Wie alle neu aufgelegten Klassikeralben des RAS-Katalogs wurden auch diese LP/CD-Formate remastert, um diese ersten Neuauflagen seit 1993 zu einem echten Leckerbissen für alle Reggae-Fans zu machen. Die Original-LP erschien damals nur auf Jamaika und war extrem rar.

We are honoured to present Domingo Dark Vinyl's first solo vinyl as Kaxtelian.

An EP with 6 tracks plus 2 bonus tracks in digital, that oscillates between the powerful breaks of Electro, UK Hardcore and Techno, to the influences of Belgian origin and the genuine sound of Valencia.

Sounds created directly between the ghettos of Albacete and Badalona that perfectly define his eclectic vision of the dancefloors.

Fly Anakin is a rapper and producer who approaches his craft in a way few contemporaries can. Vigilant yet unorthodox, DIY-minded yet prolific, the Richmond, Virginia multihyphenate’s razor-sharp lyrics, ear for soulful production, and collaborative synergy are the result of over a decade of fundamental mastery. Described by Madlib as “one of the illest MCs,” the Mutant Academy cofounder was in his pocket well ahead of his acclaimed solo debut, Frank (2022). After years of consistent releases with his collective, Anakin broke major ground in 2020 with his and Pink Siifu’s joint project FlySiifu’s, followed by their $mokebreak EP in 2021. A student of the East Coast’s golden age, Anakin transmutes its spirit into music that’s both classicist and pioneering, having worked with the likes of Freddie Gibbs, redveil, BbyMutha, and MAVI. With the release of a Mutant Academy debut album completed, and his solo album (The) Forever Dream imminent, Anakin has cemented his place as a leader in rap’s underground Renaissance.(The) Forever Dream commemorates a new era of freedom for Anakin, who rarely approaches bodies of work without a preconceived concept. Executive produced by Quelle Chris, the project, which features the likes of Denmark Vessey, The Alchemist, BbyMutha, and Pink Siifu, includes songs that Anakin believes are some of his most experimental and ambitious. “The album is me and Quelle kicking it, smoking, learning each other, and playing video games,” he says of the project’s inspiration and recording process. “It was time to make some mindless music, to tackle production I would’ve otherwise picked up.” The long anticipated project comes after years of Anakin and Quelle developing a strong rapport, stemming back to 2019. “Quelle is one of the best collaborators ever—he’s not biased but he knows what he likes, open minded but stubborn at the right times,” Anakin says of his collaborative relationship with the Grammy nominated producer. “On the low we just alike but polar opposites, we can do no wrong together.”

Fly Anakin is a rapper and producer who approaches his craft in a way few contemporaries can. Vigilant yet unorthodox, DIY-minded yet prolific, the Richmond, Virginia multihyphenate’s razor-sharp lyrics, ear for soulful production, and collaborative synergy are the result of over a decade of fundamental mastery. Described by Madlib as “one of the illest MCs,” the Mutant Academy cofounder was in his pocket well ahead of his acclaimed solo debut, Frank (2022). After years of consistent releases with his collective, Anakin broke major ground in 2020 with his and Pink Siifu’s joint project FlySiifu’s, followed by their $mokebreak EP in 2021. A student of the East Coast’s golden age, Anakin transmutes its spirit into music that’s both classicist and pioneering, having worked with the likes of Freddie Gibbs, redveil, BbyMutha, and MAVI. With the release of a Mutant Academy debut album completed, and his solo album (The) Forever Dream imminent, Anakin has cemented his place as a leader in rap’s underground Renaissance.(The) Forever Dream commemorates a new era of freedom for Anakin, who rarely approaches bodies of work without a preconceived concept. Executive produced by Quelle Chris, the project, which features the likes of Denmark Vessey, The Alchemist, BbyMutha, and Pink Siifu, includes songs that Anakin believes are some of his most experimental and ambitious. “The album is me and Quelle kicking it, smoking, learning each other, and playing video games,” he says of the project’s inspiration and recording process. “It was time to make some mindless music, to tackle production I would’ve otherwise picked up.” The long anticipated project comes after years of Anakin and Quelle developing a strong rapport, stemming back to 2019. “Quelle is one of the best collaborators ever—he’s not biased but he knows what he likes, open minded but stubborn at the right times,” Anakin says of his collaborative relationship with the Grammy nominated producer. “On the low we just alike but polar opposites, we can do no wrong together.”

Fly Anakin is a rapper and producer who approaches his craft in a way few contemporaries can. Vigilant yet unorthodox, DIY-minded yet prolific, the Richmond, Virginia multihyphenate’s razor-sharp lyrics, ear for soulful production, and collaborative synergy are the result of over a decade of fundamental mastery. Described by Madlib as “one of the illest MCs,” the Mutant Academy cofounder was in his pocket well ahead of his acclaimed solo debut, Frank (2022). After years of consistent releases with his collective, Anakin broke major ground in 2020 with his and Pink Siifu’s joint project FlySiifu’s, followed by their $mokebreak EP in 2021. A student of the East Coast’s golden age, Anakin transmutes its spirit into music that’s both classicist and pioneering, having worked with the likes of Freddie Gibbs, redveil, BbyMutha, and MAVI. With the release of a Mutant Academy debut album completed, and his solo album (The) Forever Dream imminent, Anakin has cemented his place as a leader in rap’s underground Renaissance.(The) Forever Dream commemorates a new era of freedom for Anakin, who rarely approaches bodies of work without a preconceived concept. Executive produced by Quelle Chris, the project, which features the likes of Denmark Vessey, The Alchemist, BbyMutha, and Pink Siifu, includes songs that Anakin believes are some of his most experimental and ambitious. “The album is me and Quelle kicking it, smoking, learning each other, and playing video games,” he says of the project’s inspiration and recording process. “It was time to make some mindless music, to tackle production I would’ve otherwise picked up.” The long anticipated project comes after years of Anakin and Quelle developing a strong rapport, stemming back to 2019. “Quelle is one of the best collaborators ever—he’s not biased but he knows what he likes, open minded but stubborn at the right times,” Anakin says of his collaborative relationship with the Grammy nominated producer. “On the low we just alike but polar opposites, we can do no wrong together.”

Vilhelm Hasselgren is a Gothenburg-based producer and DJ with a focus on Jungle and productions that move between 160-170 bpm. Vilhelm focuses a lot on complex rhythms and ambient soundscapes and takes inspiration from both older and modern Jungle, as well as other electronic acts such as Basic Channel, Mala, Skee Mask and Arkajo. Vilhelm tries to create soundscapes that move between different musical starting points.
He has previously released on Rezonant Body, Canape Records, Bukva Sound and Of Paradise Records. Also has an upcoming EP releasing on Bukva as well as a V.A on Western Lore. In 2025, Vilhelm also has a residency at London-based Subtle Radio.

Vilhelms words:
Central Line EP is an EP that I'd myself consider to be my debut EP. The tracks were created within a two-and a half year span, with some tracks being re-worked and replaced. Later ending up with the final track-list, which I am very happy in how it ended up in the end. One of the tracks that were later added onto the EP being 1000 a co-production with my brother Einar (Local Arms), which we spontaneously recorded at our parents house over a weekend.

I mostly start from percussion, onto bass and later melody in my productions. The title track "Central Line" was started when I lived in Brighton for half a year, together with Theo Soderlund (Theomega). The Eski sample is a bit tricky one, but wanted to experiment with it, further I chopped an Amen and a Think break with an idea to create a pretty simple rhythm that could leave the riff to speak for itself. Even though the tracks were created within a pretty long span of time, I feel like they portray a sound that I want to further explore and produce at this point. Also Arcne adding a monster remix of Central Line that has been getting lot of love. Could not be happier to release it on Bukva Sound which prior releases I think really captivate a sound that has been really inspiring throughout the process.

Life In Patterns returns with Symmetry of Chaos, a six-track EP by SLV. This EP embodies the Paris based label's signature aesthetic-where dub-chord depth, organic textures, and high-impact rhythms converge into a hypnotic, immersive club experience.
SLV crafts a sonic narrative that balances atmospheric tension with raw, driving energy. Deep, resonant chords intertwine with pulsating low-end grooves, while intricate percussions and evolving textures create a sense of controlled chaos on the dancefloor. Designed for both peak-time intensity and deeper explorations, Symmetry of Chaos is a bold statement in contemporary techno.

Lunchbox's legendary lost album "Evolver" is lost no more! Sparklingly remastered for the album’s twentieth (and a few!) anniversary and available on CD, cassette and (for the first time) vinyl, this psychedelic masterpiece fills a crucial hole in the band's discography. Recorded in the couple's 1990s Oakland basement between stays in Berlin, tour dates in London, and dreamy sojourns up the rugged Mendocino coastline, "Evolver" fuses jangle and jungle, ambient and dub into a striking pop statement.

Marrying refined songcraft to the serendipitous magic hidden in half-broken reel-to-reel tape decks and vintage synthesizers, the "Evolver" plants its pop flag on the terrain of magic and mystery. Dreamy jangle pop gems emerge seamlessly out of a sea of loops, drones, and dubbed-out horn fanfares, cascades of tape echo feedback and whispers from outer space providing a trance-inducing backdrop to the pop sensibility for which Lunchbox is well-known. Hook-filled and hypnotic, "Evolver" is a sublime slice of post-pop psychedelia that you won't want to miss.

For this special and long-overdue reissue we've raided the bands vaults for three previously unreleased tunes that add extra dimensions to the album's uniquely trippy flow. And for the vinyl heads we're pressing this as a double LP for maximum fidelity and playability, including a vinyl-only fourth side of beats, loops, interludes and puzzling aural ephemera, all taken directly from the original master tapes. Super cool!

Deerhoof haben sich schon vor langer Zeit als eine der großartigsten Rockgruppen des Planeten etabliert - wer das für übertrieben hält, hat noch nicht genug Zeit damit verbracht, Deerhoof zu hören - das wahnsinnig erfinderische Quartett behandelt jedes seiner neuen Alben als eine Gelegenheit zur kreativen Wiedergeburt. Und doch sind sie irgendwie auch zutiefst zuverlässig, eine seltsame, aber wahre Beschreibung für eine Band, die so kreativ rastlos ist. Man weiß nie, wie ein neues Deerhoof-Album klingen wird, außer dass es immer nach Deerhoof klingen wird. Die Band wird durch solche Paradoxien definiert, wie "Noble and Godlike in Ruin" erneut bestätigt. Ihr neuestes Album ist entweder ein Porträt einer Welt, die in monströsen Hass, Entmenschlichung und Dollarzeichen abgleitet, oder ein eindringliches Selbstporträt der Band als Monster: ein intelligentes, sensibles, hybrides Wesen, das unermüdlich von Liebe singt, sich aber zunehmend von dieser Welt entfremdet. Die Musik ist fröhlich und ahnungsvoll, kybernetisch und zutiefst menschlich, alles zugleich. Streicher, die an avantgardistische Kammermusik und klassische Horrorfilm-Soundtracks erinnern, prallen auf Gitarren- und Basslinien. Das Schlagzeug ist manchmal gefiltert und klingt fast elektronisch, aber kein Computer könnte einen so funkigen und dynamischen Rhythmus erzeugen, bei dem jede winzige Variation von einem Snare-Schlag zum nächsten Welten der Möglichkeiten vermittelt. An der Spitze steht die unnachahmliche Altstimme von Satomi Matsuzaki. Eine Stimme der Einsamkeit, deren schlichte Ruhe seltsam außerhalb des Mahlstroms der Band zu stehen scheint, zu dem sie mit ihren zackig-präzisen Bassläufen selbst beiträgt. Als Einwanderin der ersten Generation in den USA hat sie nie versucht, ihren japanischen Akzent oder ihre Karaoke-esken Vortrag zu verbergen. Auf "Noble und Godlike in Ruin" wirkt dies abwechselnd als Ausdruck von Einsamkeit und als kühle Provokation gegenüber Systemen der Unterdrückung und Kontrolle. ,Kindness is all I needed from you", singt sie auf dem epischen Albumabschluss ,Immigrant Songs`. ,But you think we're in your house." Nicht lange danach explodiert der Song, sein eng gewickelter Art-Pop macht Platz für mehrere Minuten heulenden Lärm. Auch wenn das Thema düster sein mag - wie könnte es anders sein - tragen die Songs trotzigen Optimismus in ihrer Weigerung, sich den Konventionen oder überlieferten Weisheiten zu beugen. Da ist diese berühmte Zeile von Dylan Thomas über das Wüten gegen das Sterben des Lichts: "Noble and Godlike in Ruin" fühlt sich ein wenig so an. Die Welt mag untergehen, aber Deerhoof gehen schwungvoll unter.

Rick 8 is Riccardo Falsini who, along with his brother Franco, ran the legendary label Italian label Interactive Test. This was a label that was instrumental in shaping the template of Trance, Techno and Progressive House as we understand it today whilst pushing it into new and unexplored realms. As a result, the Interactive Test banner serves as a mark of quality and, as can be heard in this early release from the label, was a vehicle for releasing music that serves as powerful club tools that also defy any standard and limiting sub-generic convention. These tracks will lead to transcendental dancefloor rites for spiritual growth and abundance with sonics beaming in through cyberspace. Sound Metaphors alumni Trent joins for remix of ‘C’Mon’ - what results is a progressive, powder keg and is a welcome addition to the package!

Emerging from the suburbs of North London in the early 1990s, Hulusi was an experimental electronic music collective formed by four friends of multi-ethnic origin: Cypriot, Caribbean, Indian and English heritage. Cultivating their musical practice within very specific parameters of time and space, Hulusi instills the essence and spirit of the acid house movement (and its aftermath) that had taken much of England by storm from 1988 onwards. The ‘Dream’ EP was the collective's first release of their self-funded and limited output, offering up a categorically elusive record that could soundtrack the most esoteric and life affirming club moments, whilst simultaneously satisfying the ears and obscure desires of those found dwelling in the heavily occupied ‘chill out’ rooms and nocturnal after parties. As the emerging UK rave scene aligned with newfound accessibility of music production, the late 80s and early 90s became a fertile ground for experimental electronic music, spawning a generation of bedroom and basement producers interacting with and creating music for often the very first time. Like many, Hulusi was a musical project that connected the dots between DIY spirit, technological advancements and the burgeoning cultural phenomenon of acid house. The project operated outside of the then perceived, traditional band conventions, instead developing their sound and exchanging ideas through the format of demo tapes and floppy disks, nurturing their work through individual bedroom studios and feedback sessions. Considered a crucial and possibly defining element of the record, is Hulusi’s unconscious exploration of the groups hybrid cultural identity. Rooted in a shared desire for self-invention, the Dream EPreflects Hulusi's response to a world of rapid musical and technological change. Each track on the record draws inspiration from both Western and Eastern musical frameworks, symbolized through the record’s structure. The ‘Western Side’, featuring "Dream," echoes the ambient techno and acid house influences of early rave culture and bands like 808 State and Orbital. In contrast, the ‘Eastern Side’ of the record is highly decorated with samples, yet stripped back, through its purposeful use of organic sounds, reflecting the group's fascination with blending Western modernism with imagined Eastern themes. Despite operating in near obscurity, Hulusi - The Dream EP acts as an audible catalyst to transport the listener to a different time and place, offering a lucid snapshot into the musical and cultural explorations of the past whilst simultaneously remaining a timeless piece of music.

In 2017, Grammy-nominated artist Joan Osborne released the critically acclaimed album,Songs of Bob Dylan. Her artistic and soulful reinterpretations of the selection of Dylan songs was an eye-opening moment in an already celebrated career. Eight years after milestone recording, Osborne will release the stunningDylanology Live . The captivating recording finds the gifted vocalist performing in front of a live audience, with special guests Amy Helm, Robert Randolph and Jackie Greene featured throughout. Songs include "Spanish Harlem Incident", "Buckets Of Rain" "Masters Of War", "Tonight I'll Be Staying Here With You" and "High Water (For Charley Patton)".

Apocalypse 91... The Enemy Strikes Black by Public Enemy, released 25 April 2025, includes the following tracks: "Nighttrain", "I Don't Wanna be Called Yo Niga", "By the Time I Get to Arizona" and more.

This version of Apocalypse 91... The Enemy Strikes Black comes as a 2xLP.

The vinyl is pressed as a translucent, green disc. Another vinyl is pressed as a translucent, green disc.

Blues Music Award-winning, GRAMMY-nominated, Memphis-based family band plays original, modern soul and roots music that is uplifting and timeless. The first single "Found A Friend In You," was released last September and charted at Triple A radio, seeing ads at format stalwarts like WFUV/New York, . The release of the track coincided with a 9-date run on the Bob Dylan/Willie Nelson headlined Outlaw Music Festival. In addition to the excellent exposure these shows afforded Southern Avenue, Willie was knocked out by the Jackson sisters' singing and had them sing backup during his set. Not only that, Bob watched their performance from the side of the stage and consented to have his photograph taken with them. On "Family," their fourth album and first for Alligator, the band unleashes one musically memorable performance after another, all delivered with soul-healing power. From triumphant opener Long Is The Road to the emotionally resonant Found A Friend In You to the raucous Rum Boogie, the music is a vibrant blend of Memphis soul and blues, warm sister harmonies, and positive messages reminiscent of The Staple Singers. From the irresistible Upside to the fierce determination of Flying to the closing, ruminative We Are, Family unveils hard-hitting, universal truths about the unshakable power of togetherness.

Beverly Kills reinvent themselves on their second studio album Wishing Well. Bursting with energetic indie rock, soaring anthemic guitars, and a touch of British post-punk revival, it captures the bands' entire discography with nuance and edge. The album blends KEXP-style indie pop with poetic storytelling, capturing moments of heartbreak, euphoria, and the bittersweet ache of Swedish angst. A must-hear for fans of the raw, the cathartic and the painfully real.

With Horror Spectrum, Bunnies plunges headfirst into the shadowy abyss of their art-rock multiverse, unearthing sounds that slither, shimmer, and scream.

Equal parts psychedelic hallucination, krautrock ritual, and noise rock exorcism, this record feels like the sonic aftermath of mad scientists summoning ghosts through an analog synthesizer they excavated from a cursed tomb. It's less an album and more an experiment gone deliciously wrong—a séance that channels the chaotic energies of dimensions better left untouched.

From the extraterrestrial pulsations of “Eyer of Ire” to the technicolor bliss of “That Evil Ghoul,” Horror Spectrum is a seven-track odyssey that detonates the boundaries of Bunnies’ already unhinged catalog. These tracks drag you by the ankles into realms where sound has teeth, time melts into warped rainbows, and the music feels like it’s plotting something sinister. Few bands dare to tread where Bunnies boldly hop, but here they are, mapping out mythical soundscapes with the glee of cartographers lost in their own creation.

This freakish entity of a record is profoundly unsettling and weirdly exhilarating. Horror Spectrum is the sound of a band digging deep into their subconscious and inviting you to get lost in the labyrinth.

Will you find your way out?

And if it sounds this good, why not just stay?

"No sign of Rotten Leaves" is Selma French's second album and draws inspiration from life's paradoxes.

Selma French is a songwriter and musician renowned and revered within the Norwegian folk scene. She grew up with traditional music and has played and created music all her life. Her musical inspirations include Linda Perhacs, Nick Drake, Judee Sill, Frøkedal, Sundfør and Sandy Denny.

Her debut album Changes Like the Weather in the Mountain was released in 2022 to critical acclaim and was ranked among the top Norwegian albums of 2022 by notable Norwegian newspapers such as Dagsavisen and Aftenposten. In the fall of 2024, she did a lot of touring in the UK together with Euros Childs (Gorky’s Zygotic Mynci / Teenage Fanclub).

Selma has also toured extensively throughout Scandinavia and is a member of the bands such as Masåva, Frøkedal & Familien - (with whom she toured in the UK as special guests of Teenage Fanclub), Sondre Lerche and Norwegian Grammy award winners Morgonrode. Her music is widely recognized in her native country and has recently featured as the theme song in the hit Viaplay T.V series Furia.

Her music reflects an admiration for Norwegian and English folk music and is infused with an airy, enigmatic energy. Her rich landscape of guitars, wurlitzer, fiddles and high pitched choir voices manages to convey a roar of frustration, obscure portraits of the present and a gathering force of hope.

"Los Pepes is a dynamic band known for their energetic blend of punk rock and power pop. They have been active since the early 2010s, delivering high-octane performances and catchy tunes. Their music is characterized by infectious melodies, driving rhythms, and a raw, unpolished sound that appeals to fans of classic punk and garage rock. In January 2022, Los Pepes released ""The Happiness Program,"" their fifth studio album. This album received positive reviews for its mix of high-energy punk rock bangers and quintessential punk/pop tracks. The album features tracks like ""Small Time,"" ""I Want You Back,"" and the title track ""The Happiness Program."" Los Pepes are known for their energetic live performances. They have toured extensively, there upcoming a tour in Japan in March 2025, with dates in cities such as Kobe, Tokyo, and Kyoto."

"Oh! Gunquit Are a British band known for their energetic blend of rock, surf, and garage music, with a touch of psychobilly and punk influences. Formed in the mid-2010s, the band is recognized for their vibrant, high-octane performances and a distinctive sound that mixes vintage rock 'n' roll with modern edge. Their music typically features catchy melodies, reverb-drenched guitars, and a retro aesthetic that appeals to fans of both classic and contemporary garage rock.

The band's lineup has changed over time, but the central core of the group created by Tina Swasey (Vocals) & Simon Wild (Guitar) have remained a constant & they've maintained a reputation for being a fun and electrifying act on stage. Their tracks often tell stories with a quirky, humorous touch while keeping a raw, rebellious vibe. Their most notable releases include songs like ""Dance like F*ck"" and ""So Long Sucker"", and they’ve earned a solid following for their ability to merge catchy pop hooks with a gritty, lo-fi sound. Oh! Gunquit has performed in various venues, European Tours and major Festivals, building a loyal fan base in the UK, Europe and beyond."

Justin Sullivan has been living something of an artistic double life for the last 8 years. He’s been playing drums in Los Angeles’ Flat Worms and getting back together with his NYC bandmates in The Babies, but he’s also been crafting his own songs under the name Night Shop. Under this moniker, Sullivan has released two LPs and two 12” EPs and toured supporting, Widowspeak, Shannon Lay and Waxahatchee.

Waxahatchee’s Katie Crutchfield once described Sullivan as “a well-read modern day Buddy Holly” and on his new record, The Beloved Returns, he raises the bar of both the literary allusions and the rock’n’roll. The record’s title track was inspired by Thomas Manns’s 1939 fictionalized biography of Goethe titled Lotte in Weimar: The Beloved Returns and themes of desire, obsession and the places they send you are all over the record. On the sonic end, the record is louder and faster than any Night Shop record before, a result of Sullivan’s collaboration with the Summer Cannibals’ Jessica Bourdeaux who produced the record, with songs like the opener “Ode To Joy II” coming fast out of the gate quickly followed by “Let Me Be the Lamb.”

Rodeo Boys is what happens when the Miller High Life gets legs and starts walking around on its own. A rippin’ 4-piece from Lansing, MI is for queers and steers alike. Rodeo Boys shows up at your town, rolls up their sleeves, and gets to work to deliver their blue collar alt sound straight to your ears. They have been ripping rock n’ roll gigs since they formed in 2019 and After releasing their 2023 Album “Home Movies” on Don Giovanni Records, they have been steadily grinding away touring the US. They bring the nostalgia, twang, and punk rock rage of growing up in a small town to a city near you! This is how the Midwest was won.

All Bad, the latest album from Nick Shoulders, ultimately encapsulates everything that makes Shoulders’ inimitable form of country music so vital: a heady balance of dazzling musicianship and punk defiance, coupled with gritty eccentricity and a generational connection to the roots of the genre. With a singing style inherited from his family’s vocal lineage, Nick’s songs achieve the rare feat of imparting difficult truths while inciting a certain joyful abandon, balancing a sound forged by years of hard travel with a heartfelt reverence for the origins of country music. In the spirit of Hazel Dickens and Jimmy Driftwood, the incisive yet wildly jubilant All Bad vocally objects to the reckless destruction of the natural landscape and development run rampant, while still offering plenty of joy and dance-ready rhythms. Spanning a variety of early country styles, the album’s infectious harmonies shine alongside everything from jangling cajun waltzes to surf-rock infused bluesy ballads–all tied together by a voice seemingly out of place in this century, yet ever ready to speak up about its problems.

Released via Gar Hole Records (a label founded and co-owned by Shoulders), All Bad marks the first LP made with his longtime band, the Okay Crawdad, since 2019’s premier full-length Okay, Crawdad and their subsequent pandemic-imposed hiatus. After writing most of the album from the front seat of a tour van, the Fayetteville, AR-based musician and bandmates Grant D’Aubin (harmonies/bass), Cheech Moosekian (drums) and Jack Studer (lead guitar) recorded the album in a home studio on the banks of the mississippi river with New Orleans collaborators Ross Farbe and Sam Doores.

Wielding an ethereal croon and masterful whistle crafted from a lifetime chasing lizards through the Ozark hills, Nick Shoulders is a living link to roots of country music with a penchant for the absurd. Combining his family's deep ties to regional traditional singing with his years of playing to crowded street corners, Nick has sought to forge a hybridized form of raucously clever country music; born of forgotten rocky hollers and bred to confront the tensions of the 21st century South. As evidenced by his surreal album art and anachronistic songwriting, Nick’s creative output is steeped in the complicated history of his beloved home of rural Arkansas, but crafted as a conscious rebuke of country music’s blind allegiance to historical seats of power and repression. With a kind word and a mean yodel, Nick hopes to put the ‘Try’ in country.

A cry out against the withering void of listless Americana, Okay, Crawdad, is the fledgling full-length album from Nick Shoulders and company. A two-step laden dose of indignation, loss and profound elation, the album is inspired as much by the chaos and decadence of south Louisiana as it is the rural sounds of yesteryear from which it sprang. Despite a pandemic-inspired relocation to his home in the Natural State, New Orleans and its community helped meld the forces at play on the album; pitting an adherence to tradition and refusal to conform against each other with grand results. Embracing the mania of the podunk zeitgeist while seeking to enfranchise the meek, Nick Shoulders is here to stay.

'Sexy Tears' is a bold departure from Tristanne's (fka Tristan) critically acclaimed pop-jazz debut Wellif and lets you veer into uncharted territory, from the first tone, the bittersweet and haunting violin tones fade in on opener 'Steady Mouth'. In a split second, Tristanne lets you vanish in a dazzling matrix deep down a rabbit hole, a place where Piero Umiliani's 70s sleazy giallo era sensually resonates with Oneothrix Point Never goldwave frequencies. With a whisper of panting tension, her soothing voice and sonic subliminal temptation she unravels her own lush love secret domain, unlocking deeply hidden lost emotions and mutated feelings.

While mellifluous harp chords in 'If Only' set a scene for a tantalizing new world utopia the percussive clutter of 'Whordus' syncopes and mutate this future dream with a chiastic slide into a videodrome for a jilted generation.

With the help from her musician friends Elisabeth Klinck (violin), Indr? Jurgelevi?i?t? (kanklès), Kaat Vanstralen (flute) and Gert Malfliet (drums), Tristanne's 'Sexy Tears' will hit you straight in the heart, like a modern-day Cupido with a well aimed dazzling sonic arrow. Ready to stay there forever.

Under her stage name Tristanne (formerly known as Tristan), Isolde Van den Bulcke makes music she defines as sitting in a 'grey zone'. By valorizing self-reliance and learning as much as possible from the get-go, the musician and producer hasn't let hardship nor pursuing a niche genre hold her back. She studied jazz vocals for 8 years, released 2 ep's before her debut album 'Wellif' in 2022.

Recommended if you like Piero Umiliani on a Sunday morning, Broadcast on the beach, Oneohtrix Point Never in a romantic mood, Autechre on Ice, Ennio Morricone on LSD, and Pierro Piccioni popping perks.

LIMITED POSTER EDITION (stickers included)

The Acid Machines series is back with its third electrifying release! Dedicated to the darker side of acid techno, this VA compilation is primed to ignite dancefloors and leave a lasting impression on any rave.

Leading the charge, G303 returns with a gripping opener. Starting with an entrancing breakbeat, the track seamlessly transitions into a thunderous four-on-the-floor rhythm, underpinned by resonant basslines that drive its powerful energy forward.

Acidupdub follows with "Steampunk," a masterclass in atmospheric tension and energy. The track evolves from a deep, pulsating low-end into a relentless techno anthem, featuring hypnotic 303 sequences and immersive basslines that demand attention.

New to the Acid Machines family, Citric Acid makes a stunning debut as a resident artist with "Damage" This one-take analog acid experience is a whirlwind of raw, unfiltered energy and pure acid techno brilliance, showcasing Citric Acid's exceptional production skills.

Acid Machines Vol. 3 is a must-have for fans of dark acid techno. Out now on Zodiak Commune Records. Unleash the acid and let the machines take control!

Die irische Musikerin Maria Somerville kündigt ihr zweites Album "Luster" für den 25. April an. Es ist zugleich ihr Debüt bei 4AD. Mit dem Announcement erscheint die Single "Garden". Der Track taucht ihre sirenenhaften Vocals in einen Sound aus schwirrendem Feedback, luftiger Percussion und nostalgischen Gitarren, der Erinnerungen an die klassische 4AD-Phase heraufbeschwört. Bereits im letzten Jahr war der hypnotische Shoegaze-Track "Projections" erschienen, mit dem Somerville eine erste Spur in Richtung des Sounds ihres kommenden Albums gelegt hatte. Somerville wuchs im ländlichen County Galway an der bergigen und rauen irischen Westküste auf. Sie zog später nach Dublin, wo sie an ihrem Signature-Sound arbeitete: atmosphärischem Dreampop, der von der Landschaft ihrer Jugend geprägt bleibt. Die ätherischen Gitarrenklänge, spärlichen Rhythmen und elektronischen Ambient-Sounds hielt sie erstmals auf dem 2019 selbst veröffentlichten Album "All My People" fest, einem Werk, das knietief in Nostalgie und Sehnsucht watet. Erst als sie nach Connemara zurückkehrte, in ein Haus nicht weit von dem, in dem sie aufwuchs - und von wo aus man einen der größten Seen des Landes, den Lough Corrib, überblicken konnte - begann Somerville mit der Arbeit an Musik, die schließlich zum neuen Album "Luster" werden sollte. Während ihr DIY-Debüt Erinnerungen und Melancholie in nebligen Slowcore hüllte, zeigen die zwölf neuen Tracks eine Künstlerin, die sich des Weges, den sie eingeschlagen hat, viel sicherer ist. "I can see more clearly than I could before. I know now what"s true for me", singt sie passend in "Trip". Gestärkt durch die neue, alte Umgebung und ermutigt durch ihre Community, entwickelte Somerville wieder kreative Energien. Der Boden erwies sich im wahrsten Sinne als fruchtbar, als sie in lockeren Wohnzimmer-Sessions erste Demos aufnahm, die später u. a. mit J. Colleran und Ian Lynch (Lankum) ausgearbeitet und schließlich vom New Yorker Engineer Gabriel Schuman (Oneohtrix Point Never, Princess Nokia, David Byrne) gemixt wurden. Eine gewisse Popularität erreichte Somerville auch durch ihre "Early Bird Show" auf NTS Radio, wo sie seit 2021 zwei Mal die Woche ein Morgenprogramm hostet, in dem sie Musik zwischen Shoegaze und traditionellem irischen Folk vorstellt. Im selben Jahr unterschrieb sie ihren Vertrag bei 4AD, wo sie bislang zwei Compilation-Beiträge veröffentlichte und mit ihren Labelmates Dry Cleaning auf Tour ging. 2025 wird sie mit Band Shows auf der ganzen Welt spielen, darunter auch Konzerte in Deutschland.

Following nearly 20 years of working together as a trio, and numerous cross-collaborations in different configuration between them, Ideologic Organ presents Placelessness, the debut full-length by Chris Abrahams, Oren Ambarchi, and Robbie Avenaim, comprising two long-form works at juncture of ambient music, minimalism, rigorous experimentalism and improvisation, and machine music. Having carved distinct pathways across a diverse number of musical idioms for decades, Chris Abrahams, Oren Ambarchi, and Robbie Avenaim are each, respectively, among the most noteworthy and groundbreaking figures to have emerged from Australia's thriving experimental music scene. Ambarchi and Avenaim first encountered Abrahams when seeing the Necks - the project that has served as the primary vehicle for his singular approach to the piano since its founding in 1987 - together during the late 1980s, not long after having met in Sydney's underground music community. The pair's collaborations date back more than 35 years, criss-crossing Ambarchi's pioneering solo and ensemble work for guitar and Avenaim's visionary efforts for SARPS (Semi Automated Robotic Percussion System), robotic and kinetic extensions to his drum kit. In 2004, fate brought the three together in a trio performance at the What Is Music? Festival, the annual touring showcase of experimental music founded and run by Ambarchi and Avenaim between 1994-2012. For the nearly two decades since, Abrahams, Ambarchi, and Avenaim have intermittently reformed in exclusively live contexts, in Australia and abroad, cultivating and refining the fertile ground first tilled in that early meeting. Placelessness is the first album to present this remarkable trio's efforts in recorded form. Placelessness is the joining of three highly individualised streams, working in perfect harmony; the point at which friendship, mutual respect, and decades of creative exploration produce a singular spectrum of sound. Featuring Abrahams on piano, Ambarchi on guitar, and Avenaim on drums, the album's two sides draw on each artist's enduring dedication to long-form composition. Its two pieces, Placelessness I and Placelessness II, initially began as a single, 40 minute work, before being divided and reworked into distinct, complimentary gestures for the corresponding sides of the LP. Beginning with restrained clusters of reverberant piano tones, Placelessness I progresses at an almost glacial pace, with Abrahams' interventions increasing met by sparse responses, darting within vast ambiences, on guitar and percussion by Ambarchi and Avenaim. Remarkably conversational within its convergences of tonal, rhythmic, and textural abstraction, over the work's duration a progressive sense of tension unfurls and contracts, refusing release, as each of the ensemble's members contribute to an increasingly tangled sense of density at its resolve.While an entirely autonomous work, Placelessness II rapidly realises a distillation of the energy hinted at across the length of its predecessor. Following a luring passage of harmonious calm, Abrahams' launches into shimmering lines of repeating arpeggios, complimented at each escalation of tempo by Avenaim's machine gun fire percussion work and Ambarchi's masterful delivery of tonality and texture, as the trio collectively generate dense sheets of pointillistic ambience within which individual identity is almost lost, before slowly unspooling into unexpected abstractions and dissonances that deftly intervene with the work's inner logic and calm. What could easily be termed a maximalist take on Minimalism, Placelessness is a masterstroke of contemporary, real time composition, that blurs the boundaries between ambient music, experimentalism, free improvisation, and machine music. Drawing on Chris Abrahams, Oren Ambarchi, and Robbie Avenaim's decades of respective solo and collaborative practice, and the culmination of nearly twenty years of working together as a trio, it's two durational pieces - Placelessness I and Placelessness II - take form with a startling sense of effortlessness and grace, neither shying away from explicit beauty or rigorously tension within their forms

Die New Wave-Legenden aus Düsseldorf um Meikel Clauss aka Micky Matschkopf sind mit neuem, tiefschwarzem Material zurück! 1980 noch kurz mit dem KFC den Ratinger Hof abgerockt, prägte NICHTS mit Sängerin Andrea M. und zwei erfolgreichen Alben in den frühen Achtzigern die Szene zwischen Punk, New Wave & NDW. Singlehit "Radio", "Licht Aus" sowie natürlich der zeitlose Top 20-Erfolg und Club-Klassiker "Tango 2000" gehören zur deutschen Musikgeschichte. 1983 fand noch ein drittes Album ohne Clauss statt, der lieber Belfegore ins Leben rief, aber 2009 die Band reanimierte und 2011 in neuer Besetzung das Album "Zeichen Auf Sturm" (Gesang: Sabine K.) über Unique/Electriqie Mud herausbrachte. Seitdem spielen Nichts live, veröffentlichen Deluxe-Ausgaben der drei 80er-Alben, kehrten in die Charts zurück und wurden zu Pandemie-Zeiten von DJ Hell mit einem Remix ihres Kulttracks "Eingeschlossen" bedacht. Mit der neuen Frontfrau Nina H. wurde seit 2022 an neuen Songs gearbeitet, was Ende 2024 zu "Nitroglycerin" führte und nun im fünften vollem Nichts-Werk Gestalt annimmt. Mit "Tiefschwarz" kehrt die Band zu den düstersten Wurzeln ihrer Klangwelten im Update zurück, schließt an Tracks wie "Eingeschlossen", "Tango 2000" und "Schwarze Gedanken" oder eben auch erwähnte Belfegore ("All That I Wanted") an. Ein Sound getragen vom charakteristischen Spiel Clauss' und seinen intensiven Gitarrenriffs, garniert mit hypnotischen Beats und donnernden Drums, gelegt auf ein Fundament aus Bass und Elektronik. Die Texte - mal direkt, mal poetisch, mal rau, mal sanft - zeichnen eine Reise durch die Schattenseiten des Lebens, melancholisch, kraftvoll und ungeschönt. Singles "Kugel durch den Kopf" und "Alien", der Opener "Maschine oder Mensch" sowie der abschließende Titeltrack sind nur vier von 10 starken, neuen Songs. Nichts entfalten eine klangliche Dichte, die sowohl bisherige Verehrer*innen wie auch neue Fans in den Bann ziehen wird. Das stringente musikalische Konzept wird durch das von Katharina Sieverding lizenzierte Artwork noch geadelt: die weltweit erfolgreiche bildende Künstlerin und Fotografin aus Düsseldorf gab für "Tiefschwarz" ein Bild aus ihrer Reihe "Die Sonne um Mitternacht schauen" frei, welches gänzlich und ohne überlagernde Schriften das Sleeve-Artwork ausmacht. Die CD kommt als 4-Panel Digipack mit 12seitigem Booklet, die LP im Klappcover mit bedruckter Innenhülle. Das klassisch schwarze Vinyl kommt in 180g, das transparent blaue Vinyl ist 140g.

Die New Wave-Legenden aus Düsseldorf um Meikel Clauss aka Micky Matschkopf sind mit neuem, tiefschwarzem Material zurück! 1980 noch kurz mit dem KFC den Ratinger Hof abgerockt, prägte NICHTS mit Sängerin Andrea M. und zwei erfolgreichen Alben in den frühen Achtzigern die Szene zwischen Punk, New Wave & NDW. Singlehit "Radio", "Licht Aus" sowie natürlich der zeitlose Top 20-Erfolg und Club-Klassiker "Tango 2000" gehören zur deutschen Musikgeschichte. 1983 fand noch ein drittes Album ohne Clauss statt, der lieber Belfegore ins Leben rief, aber 2009 die Band reanimierte und 2011 in neuer Besetzung das Album "Zeichen Auf Sturm" (Gesang: Sabine K.) über Unique/Electriqie Mud herausbrachte. Seitdem spielen Nichts live, veröffentlichen Deluxe-Ausgaben der drei 80er-Alben, kehrten in die Charts zurück und wurden zu Pandemie-Zeiten von DJ Hell mit einem Remix ihres Kulttracks "Eingeschlossen" bedacht. Mit der neuen Frontfrau Nina H. wurde seit 2022 an neuen Songs gearbeitet, was Ende 2024 zu "Nitroglycerin" führte und nun im fünften vollem Nichts-Werk Gestalt annimmt. Mit "Tiefschwarz" kehrt die Band zu den düstersten Wurzeln ihrer Klangwelten im Update zurück, schließt an Tracks wie "Eingeschlossen", "Tango 2000" und "Schwarze Gedanken" oder eben auch erwähnte Belfegore ("All That I Wanted") an. Ein Sound getragen vom charakteristischen Spiel Clauss' und seinen intensiven Gitarrenriffs, garniert mit hypnotischen Beats und donnernden Drums, gelegt auf ein Fundament aus Bass und Elektronik. Die Texte - mal direkt, mal poetisch, mal rau, mal sanft - zeichnen eine Reise durch die Schattenseiten des Lebens, melancholisch, kraftvoll und ungeschönt. Singles "Kugel durch den Kopf" und "Alien", der Opener "Maschine oder Mensch" sowie der abschließende Titeltrack sind nur vier von 10 starken, neuen Songs. Nichts entfalten eine klangliche Dichte, die sowohl bisherige Verehrer*innen wie auch neue Fans in den Bann ziehen wird. Das stringente musikalische Konzept wird durch das von Katharina Sieverding lizenzierte Artwork noch geadelt: die weltweit erfolgreiche bildende Künstlerin und Fotografin aus Düsseldorf gab für "Tiefschwarz" ein Bild aus ihrer Reihe "Die Sonne Um Mitternacht Schauen" frei, welches gänzlich und ohne überlagernde Schriften das Sleeve-Artwork ausmacht. Die CD kommt als 4-Panel Digipack mit 12seitigem Booklet, die LP im Klappcover mit bedruckter Innenhülle. Das klassisch schwarze Vinyl kommt in 180g, das transparent blaue Vinyl ist 140g.

Luke Titus is a Chicago-born drummer, songwriter, producer, and multi-instrumentalist known for his remarkable versatility and genre-spanning artistry. With deep roots in jazz and a knack for blending it seamlessly with experimental music, drum & bass, and beyond, Titus has earned a reputation as a world-class drummer and a dynamic force across the national musical landscape. Growing up in Chicago's vibrant music scene, Titus flourished alongside fellow young artists in the early 2010s. His work quickly positioned him as a key figure in the city's jazz, hip-hop, and R&B communities, leading to collaborations that propelled him to national recognition. Continue to follow the thread of Luke Titus' many contributions to jazz and alternative scenes across America, and what emerges is a singular weave between his roots in Chicago, LA and New York communities. From What Was Will Grow A Flower is the second LP from the prolific young songwriter and producer, codifying his many musical leanings into an emergent, nearly clairvoyant statement of musical intent. Blooming and innovative songwriting, effervescent vocal hooks, virtuosic instrumental passages, and meticulously studied production techniques abound. About the album, Titus says "This album is about spirituality and connectivity, both with the universe and the self, as told through my personal journey. It questions reality as a way to deepen one's connection to it. I dedicate this album not only to anyone who has been through hard times, but to anyone who relates to the cyclical nature of the human experience. And more than that, I dedicate this album to my mom." As a producer and songwriter, Titus' fingerprints can be found on numerous acclaimed projects, including Noname's Room 25, Luke Titus & Cisco Swank's Some Things Take Time, Orion Sun's Orion, and Ravyn Lenae's Hypnos. His co-production credits span across a roster of innovative talents like Steve Lacy, Monte Booker, Brian Sanborn, Teo Halm, Phoelix, Cisco Swank, Saba, Kiefer, Elijah Fox, and Itai Shapira. Titus has taken his talents to the global stage, performing at high-profile festivals and venues such as Lollapalooza, Coachella, Pitchfork, Blue Note NYC, North Sea Jazz Fest, Smoking Grooves, Fuji Rock Festival, Blue Note Tokyo, and NYC Winter Jazz Fest, amongst many others.

Luke Titus is a Chicago-born drummer, songwriter, producer, and multi-instrumentalist known for his remarkable versatility and genre-spanning artistry. With deep roots in jazz and a knack for blending it seamlessly with experimental music, drum & bass, and beyond, Titus has earned a reputation as a world-class drummer and a dynamic force across the national musical landscape. Growing up in Chicago's vibrant music scene, Titus flourished alongside fellow young artists in the early 2010s. His work quickly positioned him as a key figure in the city's jazz, hip-hop, and R&B communities, leading to collaborations that propelled him to national recognition. Continue to follow the thread of Luke Titus' many contributions to jazz and alternative scenes across America, and what emerges is a singular weave between his roots in Chicago, LA and New York communities. From What Was Will Grow A Flower is the second LP from the prolific young songwriter and producer, codifying his many musical leanings into an emergent, nearly clairvoyant statement of musical intent. Blooming and innovative songwriting, effervescent vocal hooks, virtuosic instrumental passages, and meticulously studied production techniques abound. About the album, Titus says "This album is about spirituality and connectivity, both with the universe and the self, as told through my personal journey. It questions reality as a way to deepen one's connection to it. I dedicate this album not only to anyone who has been through hard times, but to anyone who relates to the cyclical nature of the human experience. And more than that, I dedicate this album to my mom." As a producer and songwriter, Titus' fingerprints can be found on numerous acclaimed projects, including Noname's Room 25, Luke Titus & Cisco Swank's Some Things Take Time, Orion Sun's Orion, and Ravyn Lenae's Hypnos. His co-production credits span across a roster of innovative talents like Steve Lacy, Monte Booker, Brian Sanborn, Teo Halm, Phoelix, Cisco Swank, Saba, Kiefer, Elijah Fox, and Itai Shapira. Titus has taken his talents to the global stage, performing at high-profile festivals and venues such as Lollapalooza, Coachella, Pitchfork, Blue Note NYC, North Sea Jazz Fest, Smoking Grooves, Fuji Rock Festival, Blue Note Tokyo, and NYC Winter Jazz Fest, amongst many others.

Luke Titus is a Chicago-born drummer, songwriter, producer, and multi-instrumentalist known for his remarkable versatility and genre-spanning artistry. With deep roots in jazz and a knack for blending it seamlessly with experimental music, drum & bass, and beyond, Titus has earned a reputation as a world-class drummer and a dynamic force across the national musical landscape. Growing up in Chicago's vibrant music scene, Titus flourished alongside fellow young artists in the early 2010s. His work quickly positioned him as a key figure in the city's jazz, hip-hop, and R&B communities, leading to collaborations that propelled him to national recognition. Continue to follow the thread of Luke Titus' many contributions to jazz and alternative scenes across America, and what emerges is a singular weave between his roots in Chicago, LA and New York communities. From What Was Will Grow A Flower is the second LP from the prolific young songwriter and producer, codifying his many musical leanings into an emergent, nearly clairvoyant statement of musical intent. Blooming and innovative songwriting, effervescent vocal hooks, virtuosic instrumental passages, and meticulously studied production techniques abound. About the album, Titus says "This album is about spirituality and connectivity, both with the universe and the self, as told through my personal journey. It questions reality as a way to deepen one's connection to it. I dedicate this album not only to anyone who has been through hard times, but to anyone who relates to the cyclical nature of the human experience. And more than that, I dedicate this album to my mom." As a producer and songwriter, Titus' fingerprints can be found on numerous acclaimed projects, including Noname's Room 25, Luke Titus & Cisco Swank's Some Things Take Time, Orion Sun's Orion, and Ravyn Lenae's Hypnos. His co-production credits span across a roster of innovative talents like Steve Lacy, Monte Booker, Brian Sanborn, Teo Halm, Phoelix, Cisco Swank, Saba, Kiefer, Elijah Fox, and Itai Shapira. Titus has taken his talents to the global stage, performing at high-profile festivals and venues such as Lollapalooza, Coachella, Pitchfork, Blue Note NYC, North Sea Jazz Fest, Smoking Grooves, Fuji Rock Festival, Blue Note Tokyo, and NYC Winter Jazz Fest, amongst many others.

Unfiltered and raw, Basement's colourmeinkindness, cuts with the emotional honesty of a personal diary backed with a flawlessly representative soundtrack. Featuring the iconic Basement songs "Covet" and "Spoiled."

Compiled by Bob Stanley to document the acid folk scene, “Gather In The Mushrooms” was first issued in 2004 on Sanctuary as a CD-only release; it proved popular enough for a sequel entitled “Early Morning Hush” two years later.

This new edition of “Gather In The Mushrooms” contains the cream of both long-deleted compilations with a few additions – COB, Roy Harper, Fotheringay – that weren’t available to Sanctuary at the time. Though they aren’t traditional, these songs have an authenticity of their own, an autumnal atmosphere and a naivety which proved influential in the 00s neo-folk boom (Devendra Banhart, Joanna Newsom, Alasdair Roberts, Tuung et al) but impossible to replicate. For many of these acts at the end of the 60s, folk music and the hippy world that surrounded them was a way of life, a way of opting out from the Vietnam war, Angry Brigade and three-day-week early 70s. Anne Briggs lived in a caravan in Suffolk, Shelagh McDonald lived in a tent, Vashti Bunyan eschewed electricity; they weren’t part-timers. Listening to “Gather In The Mushrooms”, we are transported to a time when no one used the term post-modernist.

It may not have resonated with dyed-in-the wool political folkies, but over five decades later this music sounds very evocative of an England of yore – not necessarily one of poachers and pedlars, but one of long-haired youths in tie-dye T-shirts, bikers and hippies, acoustic guitars played in white stone cottages. Groups such as Stone Angel, Midwinter and Oberon made primitive, privately recorded folk albums; today they sound as distant and mystical as the field recordings of Alan Lomax. The sincerity and folk knowledge of a group like Forest becomes irrelevant once you hear something as eerie and evocative as ‘Graveyard’. Home-made, homely, warm as soup or chilling as a hoar frost, this is music of innocence and rare beauty.

Northern soul is in the news again, as once more this most resilient of dance floor cults is discovered by a new generation. For four decades now Ace Records has been a natural home for the music and using that experience we are bringing you our first ever all classics collection of some of the scene's greatest hits. All on one LP.

The recordings featured on this release are tried and tested, often in the hot forge of the scene's earliest day, when new discoveries were coming thick and fast, and only the strong survived. These did.

So we have 14 tracks which filled floors in Wigan, Blackpool, Cleethorpes, London's 100 Club and many other legendary venues. From West Coast Mirwood and Kent/ Modern label classics by Jackie Lee, Bobby Garrett, Mary Love and Danny Monday, to the big City Chicago soul of Darrow Fletcher via the super rare recordings by Rita & The Tiaras and Little Ann, which are now accepted standards of the scene.

This is an album for the beginner, those who want to know what all the fuss is about, or those older hands who just want to relive some exceptional memories.

This is a previously unheard, Kent Records exclusive release from the great singer/songwriter Valerie Simpson. ‘Look Away’ by the Shirelles on Sceptre was a big 100 Club play in the 80s. Now we have found the original version by the song’s writer - complete with a sensitive girl backing group, no doubt featuring some of those legendary NYC studio vocalists.

The flip is possibly even more relevant. There has never been a known US production of ‘It’s Just Love’ which is adored by collectors and dancers through the UK’s John Andrews’ super-rare and expensive 1966 Parlophone release. To have a female version by the song’s co-writer is exciting and advance DJ plays of this have already built big demand.