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Let's get it straight: "This is" is THE album by Ghia. It catches the band at its peak and features 10 songs, including not only their impeccable hit, "What's Your Voodoo?" but a full arsenal of yet unheard, timeless, and soulful music without equal. The songs on the album, which were recorded between 1988 and 1991, could be considered forerunners of the downtempo genre, with one foot in the late 1980s street soul direction but sparkling with touches of synth pop and contemporary jazz-funk. Genre limitations aside, all that Ghia ever wanted to do was create music-good music-and you will hear this in the depth of the compositions.
The album starts with "Keep Your House In Disorder," which has yet again become another classic song from the band's catalog since it was featured as the B-side of the "What's Your Voodoo?" reissue. The song is about a relationship in which the woman has trouble adapting to her boyfriend's turn in life. He tells her to "keep your house in disorder," meaning don't take things too seriously, don't stand still, and you will do better to take the sideroads in life.

"This Is" continues with the downtempo numbers "Crystal Silence" and "Close to You." Both are deep, one-of-a-kind, and previously unissued street soul ballads. On these two tracks, you can still hear the band's roots in jazz-funk. Hence, as a follower of the band's output may have yet recognized, instrumentals of these two tracks can be found on their first LP, "Curaçao Blue." In fact, "Close to You" was one of the band's first compositions. Earlier recordings of the song exist with different singers and different vocals, but it wasn't perfect until Lisa laid down the final version and a choir was added. It's difficult for us to recall any late-80s soul tune as beautiful and intriguing as this one. The final section, which begins with "so much baby we can say," sounds ahead of its time, reminiscent of mid-90s contemporary R&B.

Next up is "Eskimo," an equally brilliant and soulful downtempo composition, but with more focus on synth sounds than the previous tracks. Once more, it showcases the creative lyricism of the song writers, Boberg and Simon, imagining a train ride during a rainy and cold night: "feeling like an Eskimo in an igloo in New York."

Eskimo leads to the aforementioned classic, "What's Your Voodoo?" Originally released in 1991 on the small Mikado label, it was reissued on our label in 2019. We already called this "one of the most wonderful and mystic slow motion synth pop tunes ever recorded"-and we still mean it! Let's face it: this was done before British bands like Massive Attack, Tricky, and Portishead laid the foundation of trip-hop. Dare we call Ghia's music "proto trip-hop"? As a special bonus, the digital version of the LP features a previously unreleased mix of the song, which includes added samples; this should clarify how close Ghia actually was to the sound of the mid-'90s.

"Angel On Your Shoulder" and "L O M E" are two more completely unissued and great tracks from the band's shelved works. Being a bit more uptempo than the rest of the album, they fall between contemporary soul/R&B and synthesized pop music. And of course, another downtempo hit needed to be featured on the album: "You Won't Sleep on My Pillow." It was the original A-side of their single release in 1991, and since then it has been featured on various compilations.

The album concludes with a really strong ballad entitled "I Haven't Got The Power." Here we hear only pianist and keyboardist Lutz Boberg with Lisa Ohm, without further instrumentation. Basically recorded in a live session, this showcases once more the talent and ingenuity within the Ghia project.

Whether you agree or not, "This is" may easily be considered one of the best German late 80s/early 90s soul pop and downtempo albums ever recorded. Cautiously, it may even be submitted as the missing link between mid/late 80s soul by bands such as Sade, and later trip-hop groups like Massive Attack. Let us celebrate Ghia and their music, which had been shelved for more than 30 years but has now finally been released on The Outer Edge.

A Wednesday song is a quilt. A short story collection, a half-memory, a patchwork of portraits of the American south, disparate moments that somehow make sense as a whole. Karly Hartzman, the songwriter/ vocalist/guitarist at the helm of the project, is a story collector as much as she is a storyteller: a scholar of people and one-liners. Rat Saw God, the Asheville quintet's new and best record, is ekphrastic but autobiographical and above all, deeply empathetic. Across the album's ten tracks Hartzman, guitarist MJ Lenderman, bassist Margo Shultz, drummer Alan Miller, and lap/pedal steel player Xandy Chelmis build a shrine to minutiae. Half-funny, half-tragic dispatches from North Carolina unfurling somewhere between the wailing skuzz of Nineties shoegaze and classic country twang, that distorted lap steel and Hartzman's voice slicing through the din. Rat Saw God is an album about riding a bike down a suburban stretch in Greensboro while listening to My Bloody Valentine for the first time on an iPod Nano, past a creek that runs through the neighborhood riddled with broken glass bottles and condoms, a front yard filled with broken and rusted car parts, a lonely and dilapidated house reclaimed by kudzu. Four Lokos and rodeo clowns and a kid who burns down a corn field. Roadside monuments, church marquees, poppers and vodka in a plastic water bottle, the shit you get away with at Jewish summer camp, strange sentimental family heirlooms at the thrift stores. The way the South hums alive all night in the summers and into fall, the sound of high school football games, the halo effect from the lights polluting the darkness. It's not really bright enough to see in front of you, but in that stretch of inky void - somehow - you see everything. The songs on Rat Saw God don't recount epics, just the everyday. They're true, they're real life, blurry and chaotic and strange - which is in-line with Hartzman's own ethos: "Everyone's story is worthy," she says, plainly. "Literally every life story is worth writing down, because people are so fascinating." But the thing about Rat Saw God - and about any Wednesday song, really - is you don't necessarily even need all the references to get it, the weirdly specific elation of a song that really hits. Yeah, it's all in the details - how fucked up you got or get, how you break a heart, how you fall in love, how you make yourself and others feel seen - but it's mostly the way those tiny moments add up into a song or album or a person.

Drumcode’s beloved A-Sides compilation makes a welcome return after a two-year absence, with a mammoth 25-track feast covering every shade of the techno spectrum split across seven, 12 inch parts. The project was devised in 2012 as a way of showcasing the wealth of strong material Adam Beyer receives each year, which due to Drumcode’s busy release schedule, might not otherwise find a home on the label. Since then, it’s grown to become an essential fixture on the techno release schedule and a marker for where the genre stands in any given year.

For part 1, Layton Giordani & HI-LO take you down the ‘Rabbit Hole’ on the A side, an epic synth storming techno workout that twists and turns as it pulls you in deeper. On the B, Charles D hits with ‘Traction’ a full-frontal powerhouse that expertly builds the tension before unleashing a gigantic drop ready made to do damage on the biggest systems out there.

Steve Gunn and David Moore's Let the Moon be a Planet is a volume of improvisatory exchanges between classical guitar and piano, and a meeting place where two artists become acquainted through instrumental dialogue without a single expectation distracting them from the joy and open field possibility of collaboration. A project enveloped by an aura of reciprocity, Let the Moon Be a Planet unfolded from an invitation to connect between two New York-based musicians who admired each other's work but had never intersected: guitarist and songwriter Steve Gunn, whose solo, duo, and ensemble recordings represent milestones of contemporary guitar-guided material, and pianist and composer David Moore, acclaimed for his minimalist ensemble music as the leader of Bing & Ruth. The exchange began remotely as Gunn and Moore responded to one another's solo improvisations, embarking on a synergistic progression of deep listening and connection through musical conversation. "We were both fans of each other's music and this was a chance to try a different process which was much more open," says Moore. "It felt like something I needed personally as an artist, to not be so controlling over the final output, and to truly collaborate with somebody else." Similarly for Gunn, who was exploring new pastures and passages in classical guitar when the dialogue began, the project was an invitation for pure conversation and exchange, creating space for him to revisit foundational forms with his playing: "I was trying to break out of what I was doing, to have something that just pulled away all the elements of usual structured things." Let the Moon Be a Planet intertwines the trajectories of two musicians acclaimed for pushing the boundaries of their instruments, unified by a shift away from what they recall as more "detail-oriented" approaches to composition. Fueled by the magnetism of their call and response exercise, Gunn and Moore set out on a nomadic songwriting venture without an intended destination. "We didn't know it was going to be an album," Gunn explains. "There was never pressure on us to complete or make something. It was interesting to start realizing that this could be an album and to take a step back_ to arrive at a project after the fact." Calibrating their focus to connect with a spectrum of inner and external emotional realities, the duo found their way into a world where the most subtle of gestures can eternally flow. Let the Moon be a Planet is an ode to experimentation over outcome; it holds a candle light to the corners of introspection and captures the patterns that flicker within. Cast across the compositions of the album is a gritty, filmic grain _ a quality that emerged partially from recording "without the greatest microphones" or their usual studio environments. For both artists, this lo-fi sensitivity felt integral to the record and its production, and they worked closely with engineer Nick Principe to preserve its otherworldly haze in the final mixes. Across the record's eight compositions, the rippling impulses of Gunn and Moore's inner worlds converge in the spirit of two strangers wandering the same path, engaged in a daydream state of natural back and forth. Melodic tableaux arise, drift and disperse across serene open spaces, painted in earthy hues of nylon string and balmy, undulating keys _ side by side, the duo converse in tessellating motifs and gestures of lucid introspection, cultivated by a shared desire for intuitive play. "This project was such a simple idea," says Gunn. "It got down to the very core of where I am or where I was, and where I'm trying to be as a musician. Making this record became a very beneficial ritual for me, almost a meditative process." As Moore recalls, "Our only motivation for making these tracks was that it felt good to make them and there was nothing else behind it_ I don't know that I've ever made a record that came about so naturally." While Let the Moon Be a Planet was envisioned through a deeply collaborative process, it uncovered a path for Gunn and Moore to respectively return home as musicians. Imbued with the forces of interconnection and balance, the record is an exploration of creative synergy while following the currents of inner experience _ of looking outwards to arrive at one's natural self. Steve Gunn and David Moore's Let the Moon Be a Planet will be released March 31, 2023 in LP, CD, and digital editions. The album represents the first volume of Reflections, a new series of contemporary collaborations orchestrated by RVNG Intl. A portion of the proceeds from this release will benefit St. John's Bread and Life, whose mission is to respect the dignity and rights of all persons by ensuring access to healthy, nutritious food and comprehensive human services resulting in self-sufficiency and stability.

Steve Gunn and David Moore’s Let the Moon be a Planet is a volume of improvisatory exchanges between classical guitar and piano, and a meeting place where two artists become acquainted through instrumental dialogue without a single expectation distracting them from the joy and open field possibility of collaboration.
A project enveloped by an aura of reciprocity, Let the Moon Be a Planet unfolded from an invitation to connect between two New York-based musicians who admired each other’s work but had never intersected: guitarist and songwriter Steve Gunn, whose solo, duo, and ensemble recordings represent milestones of contemporary guitar- guided material, and pianist and composer David Moore, acclaimed for his minimalist ensemble music as the leader of Bing & Ruth.
The exchange began remotely as Gunn and Moore responded to one another’s solo improvisations, embarking on a synergistic progression of deep listening and connection through musical conversation. “We were both fans of each other’s music and this was a chance to try a different process which was much more open,” says Moore. “It felt like something I needed personally as an artist, to not be so controlling over the final output, and to truly collaborate with somebody else.”
Similarly for Gunn, who was exploring new pastures and passages in classical guitar when the dialogue began, the project was an invitation for pure conversation and exchange, creating space for him to revisit foundational forms with his playing: “I was trying to break out of what I was doing, to have something that just pulled away all the elements of usual structured things.”
Let the Moon Be a Planet intertwines the trajectories of two musicians acclaimed for pushing the boundaries of their instruments, unified by a shift away from what they recall as more “detail- oriented” approaches to composition. Fueled by the magnetism of their call and response exercise, Gunn and Moore set out on a nomadic songwriting venture without an intended destination.
“We didn’t know it was going to be an album,” Gunn explains. “There was never pressure on us to complete or make something. It was interesting to start realizing that this could be an album and to take a step back... to arrive at a project after the fact.”

"Goldfish" Indie Store Exclusive Color Vinyl Brooklyn-based musician and producer Barrie Lindsay, known simply as Barrie, has a passion for creating left-of-center pop music. She spends her days writing songs and tinkering in Logic, stockpiling her creations in a vast archive of folders and hard drives. When it came time to select the songs for her sophomore LP, `Barbara,' she narrowed it down to sixteen tracks. As the record came together, it became clear that there would be two separate projects - the first being `Barbara,' an emotionally charged collection of songs dealing with the loss of a parent, the love of a new partner, and finding one's own identity. The remaining five tracks, which were more light-hearted and o the cu, were compiled into a new project titled `5K.' As an avid runner, Barrie named the EP after the common foot race. The aptly titled lead single, "Races," is a delightful synth-pop track in a unique 12/8 time, built around a bombastic drum kit and giddy key ris. "Nocturne Interlude" acts as a segue between `Barbara' and `5K,' showcasing a haunting melody amidst dark brass-like synths. Second half highlight "Ghost World" has a distorted guitar ri and classic drum pattern that evokes a forgotten 90's radio b-side. The song was recorded entirely by Barrie herself, serving as her own band on guitar, bass, keys, and drum kit. Even though most people would finish listening to the project front to back before finishing a 5k run, the short, sweet, and melodically rich EP begs to be replayed over and over. With `5K,' Barrie showcases her versatility as an artist, closing the loop between the sounds found on her debut LP `Happy To Be Here' and her follow-up `Barbara'.

Star Funeral is the full-band solo project of Nikki Es- posito. Stepping into the spot light from behind the bass in Secret Tapes, Esposito adds guitar and lead vocals to her list of duties while drums are handled by Ethan Kreidemaker. Sonically, Star Funeral walks a fine line between pleasant and somber tones- dreamy guitars splash through plodding bass and drums with Esposi- to’s vocals driving them forward through a flurry of aching longing and regret. This is indie rock at its finest and Star Funeral feel set to be a standard bearer for a long time. “In the Dark” came together in 2020 after urging from close friends and producer Billy Mannino (Bigger Better Sun, Oso Oso). Singer/multi-instrumentalist Nikki Es- posito built this solo project from the ground up, per- forming all instruments alongside Ethan Kreidemaker’s studio percussion. It’s a lightning bolt of intensity and harrowing growth set to honor and expand upon her primary influences, a flash of self-understanding while re-entering a lightless era. Star Funeral’s debut is a potent discovery of new ways to shoulder old wounds, such as the murmurs of body dysmorphia trailing be- hind double-jaw surgery (“Mouth Bleeder”), the lack of closure in lost friendships (“Outgrow”), and the anxiety of letting others in after these hurdles (“Breather”).

Red Vinyl

ASSASSINS did what many bands do: they grabbed a moment out of the air and slammed it onto tape machines and hard drives with relentlessness, cunning, and an attitude.
It was in Chicago, mid 2000’s, and though there was energy in the music scene, it wasn’t coalescing into anything you could use as a heading in the musical encyclopedia. Drag City, Thrill Jockey, Bloodshot, Tortoise, Andrew Bird, 90 Day Men – amazing labels and bands, but discrete and siloed and separated by boundaries that weren’t very real.
In the midst of that complicated morass, ASSASSINS generated a collection of songs that became the album YOU WILL CHANGED US. And it did.
There was confidence built into the fabric of the project: 5 members, 2 singers, massive synced video walls and samples streaming from laptops swirling in three dimensions around the stage. They could go from subtle atmospheric moments to a gargantuan wall of sound instantly. It was hard to do- months in cold practice rooms troubleshooting sections of songs or reworking synthesizer patches put the band through a self-imposed boot camp. And it brought them together as a sort of hive-mind focused on one thing: that these songs could connect. They could cut through the noise and share a state of mind with other human beings.
And it worked. Those early shows were mind bending. It was fun, loud, drunken, and rewarding- that time together, before the record deal, before the tragic let down of being traded and gobbled up by the major label system. The years after that got more difficult, more complicated, more human.
Leading us here: the musical journey of the Assassins has ended. With the up-coming release of their second and final album THE YEAR THAT NEVER CAME, we finally get to hear, and feel, the final statements of their inspiring chemistry.
In July of 2021, founding member, songwriter and singer Joe Cassidy unexpectedly passed away. THE YEAR THAT NEVER CAME is the culmination and end point of a collaboration that started in the early 2000’s with a chance meeting and excited conversation with Aaron Miller at a gig in Chicago. Quickly joined by David Golitko on keyboards, Merritt Lear on vocals and guitar, and Alex Kemp on bass.
It was Miller who saw Joe Cassidy’s song writing in a new context. Cassidy had been known for his beautiful, post- pop inflected BUTTERFLY CHILD, a thoughtful, regal project where Joe’s emotions could soar. Miller saw a different context for that voice- not dreamy, but immediate, not just hopeful, but demanding. He took Joe’s open hand and suggested that it could be a fist, raised in the air, with a crowd of other people doing the same.
At the time of his death legendary composer and songwriter Jimmy Webb (who wrote such hits as ‘Wichita Lineman and MacArthur Park) said Joe ‘was a creative and generous producer but, more importantly, he was a creative and generous friend.’
With the release of THE YEAR THAT NEVER CAME, this band, this relentless creative force, has to finally relent. No one in the band could see a future ASSASSINS that doesn’t include Cassidy. So in one last act of will, for the love of their friend, they did the rigorous work of finishing the songs that they had started together for the second album.
Assassin’s obsession with the notion of time, from YOU WILL CHANGED US to THE YEAR THAT NEVER CAME, flows from the most natural question we all have to ask ourselves: what do I do now? Because: how we react today to life’s unpredictability - that is the tomorrow we build for ourselves.

. Follow up EP to 2022s ‘Barbara’, which was praised by The New York Times, NPR Music, KEXP, KCRW, Stereogum, The Line Of Best Fit, Billboard, Consequence, Under The Radar, Clash and more. Fresh o­ff support tours with Alex G in the US and Japanese Breakfast in the UK. Barrie will be showcasing as an offcial artist at SXSW 2023. New EP expands on the sound of ‘Barbara’ while taking a fresh approach to songwriting and collaboration. Brooklyn-based musician and producer Barrie Lindsay, known simply as Barrie, has a passion for creating left-of-center pop music. She spends her days writing songs and tinkering in Logic, stockpiling her creations in a vast archive of folders and hard drives. When it came time to select the songs for her sophomore LP, ‘Barbara,’ she narrowed it down to sixteen tracks. As the record came together, it became clear that there would be two separate projects - the first being ‘Barbara,’ an emotionally charged collection of songs dealing with the loss of a parent, the love of a new partner, and finding one's own identity. The remaining five tracks, which were more light-hearted and o­ the cu­, were compiled into a new project titled ‘5K.’ As an avid runner, Barrie named the EP after the common foot race. The aptly titled lead single, "Races," is a delightful synth-pop track in a unique 12/8 time, built around a bombastic drum kit and giddy key ri­s. "Nocturne Interlude" acts as a segue between ‘Barbara’ and ‘5K,’ showcasing a haunting melody amidst dark brass-like synths. Second half highlight "Ghost World" has a distorted guitar ri­ and classic drum pattern that evokes a forgotten 90's radio b-side. The song was recorded entirely by Barrie herself, serving as her own band on guitar, bass, keys, and drum kit. Even though most people would finish listening to the project front to back before finishing a 5k run, the short, sweet, and melodically rich EP begs to be replayed over and over. With ‘5K,’ Barrie showcases her versatility as an artist, closing the loop between the sounds found on her debut LP ‘Happy To Be Here’ and her follow-up ‘Barbara’

Originally conceived as a standard EP, the remixes of The Human & Assets' original composition Jugem Jugem have proven to be an eclectic array of high-quality tracks, ranging from warm and rounded minimal sounds to rumbling low-end rigidness - and a few classic techno bombs to round things off.

The project turned into a two-disc collection of remixes, each giving the listener a specific and original flavour of electronica. Remix duties were masterfully executed by Japan's own Ko-ta, known by his sly releases on DJ Nobu's Bitta label; rising underground marvel and Edit Select Record's household name Linear System, with his hypnotic syncopations - and to finish the release off in massive style, French heavyweight Moteka (Skryptom) brings his colossal version of the original.

marbled vinyl in 3 different colours

Four years on from the release of Astral Projection, ASC's last LP for Horo, a re-listen reveals a body of work that still sounds prescient and current, mapping out a simmering landscape that stood proudly on it's own in the crowded world of electronica.

Hiding in Plain Sight takes the musical baton left by Astral Projection and expands the environment. The two opening tracks (No Mask, A Whisper In Your Ghost) are sumptuous palette cleansers that paint the walls with bliss. As we continue on, mesmerising waves of melancholy wash over Grey Area themed constructions, sometimes jagged (No Mask, Dying Star, Centrifuge, Galaxies), other times propulsive (Dreadnought, Surface Encounters). Pensive, frozen constructions that come off as soundtracks to movies only James has seen pepper the LP (Overscan, Dying Star, Mirrored Sequence) while the centrepiece of the LP soars unbound over stuttered, sculpted breaks (Orbiting Neptune).

ASC's great gift is his ability to create worlds of music that are densely layered and complex and yet project a sense of perfect effortlessness while they assimilate into your psyche.

Hiding In Plain Sight is not so much a journey, as a destination. A rich, full bodied alien planet intricately designed to envelop your senses.

MC/Lyricist Raw Poetic (aka Jason Moore) announces Space Beyond The Solar System, his new album out December 9th on 22nd Century Sound, and presents its lead single, “A Mile In My Head,” featuring legendary saxophonist Archie Shepp. Although Space Beyond The Solar System could be considered a concept album by its outcome, its inception started from a string of experiments between Moore and frequent collaborator/producer Damu the Fudgemunk. These initial sessions had no specific direction but became the catalyst for what would become a prolific wave of Raw Poetic projects; five of which have been released since 2020.

It was these initial sessions and the demos they produced that convinced Shepp—who is also Raw Poetic’s uncle—to record what would eventually become 2020’s Ocean Bridges, a collaborative album from Raw, Damu, and Shepp, praised by The FADER as “modern masterpiece at the intersection of rap and jazz.” The trio’s collaboration continues on Space Beyond The Solar System, which boasts three tracks featuring the jazz legend, including today’s “A Mile In My Head,” a sprawling and thought-provoking album stand-out.

At two hours, absorbing Space Beyond in its entirety may be overwhelming for most, especially in the present day, but Raw and Damu are very aware of this. With a total of over 40-plus years of experience between the vocalist and producer, the two of them went down memory lane taking every influence and experience in their personal histories to extract ingredients for a groundbreaking statement. Space Beyond The Solar System is their most comprehensive environment to date.

The creation of Space Beyond sparked a conversation between Raw and Damu about their creative chemistry, with Raw likening their direction to a “space beyond the solar system.” His comment was a eureka moment for the two artists, giving their wandering efforts a sense of definition that was needed. “I think we’ve been exploring music beyond our limits for a few years,” says Raw Poetic. “It’s hard to tell where we’ll land, but we are constantly pushing our way out of the norm. Hence the title, ‘Space Beyond the Solar System.’ It’s just to say, this is new territory for us. Where the sky was once the limit, now it’s just the start.”

Melanie Martinez is set to release her new album ‘Portals on March 31st, with the first track off the album, ‘DEATH’ set to release alongside the official music video on March 17th.

Melanie Martinez's creative drive and talents have always distinguished her from other musicians. Her compelling music and visual art have created a rabid global fanbase with over 8.4 million followers on Instagram, 11.4 million subscribers on YouTube, 6.3 billion global streams, and 2.4 billion official YouTube views. After releasing her platinum-certified 2015 debut album, Cry Baby—which reached No. 1 on Billboard's alternative albums chart and has amassed over 3.5 billion streams worldwide —she conceived and directed a video for each song on the album. These mini-movies traced the traumas and insecurities experienced by the album's character, Cry Baby. As of 2020, every song on Cry Baby is RIAA certified Gold or higher, including the 2X Platinum “Dollhouse” and the Platinum “Pity Party,” “Carousel,” “Mad Hatter,” and “Soap.”

Melanie’s sophomore album and film, K-12, is another ambitious triumph with debuts at #3 on the Billboard 200 Chart, #1 on the Billboard Alternative Album Chart, #1 on the Billboard Soundtrack Chart, and a nomination for “Top Soundtrack” at the 2020 Billboard Music Awards. K-12's music is a vibrant and singular melting pot of low-key hip-hop, soulful pop and indie-leaning electro. K-12's universe is an expansion of the one introduced in Cry Baby. Using lyrics rich with metaphor, songs address the struggle to find a place to belong—including within friendships, the physical world and romantically—even when fitting into society feels like an uphill battle. Since releasing her K-12 album last September, Melanie has released 13 new music videos from the project which have now garnered over 100 million views collectively.

The "Punctual Problems" EP is the first solo release of Paul Prier, who has already accompanied artists such as Charlotte Gainsbourg, Christine & The Queen or Woodkid on stage or in the studio.

The record is in perpetual balance between a learned music, inspired harmonies and an impeccable production and the desire to propose a pop record accessible to all.

Ex-member of the electro-pop duo Toys and decisive stage man on the keyboard for Charlotte Gainsbourg, Christine & The Queens and Woodkid, Paul Prier is the brand new signature of the Research and Development house (Jacques, Miel de Montagne, PPJ). With his first EP "Punctual Problems", the Parisian finally presents himself alone, with the audacity to turn his phobias into strengths and the elegance to make them light.

We can better appreciate what Punctal Problems means - and what drives its engine. All the technique (his classical and jazz training), the hard work (an obsession with detail that is the lot of arrangers), the erudition (always ready to talk about harmonies with Stevie Wonder or choruses with Thundercat), are here only to serve the beauty of simple and limpid melodies, that we will hum everywhere. Inner dialogues, self-critical and tender at the same time, disguised as love songs so that everyone can project themselves into them. "It's harder to make a really good, sophisticated pop song that speaks to everyone than an ultra-codified jazz song reserved for a niche. In pop, anything goes, so it's all a matter of dosage. That's why Paul Prier can do a hundred versions of a song before he finds the right one... and too bad if it's the first.

ShitKid is the project of 24-year- old Åsa Söderqvist who made her debut last spring with a self-titled debut EP, which quickly propelled her into being one of the most talked about new acts in Sweden. The three-track ShitKid EP was released via the Stockholm based label PNKSLM Recordings in the spring of 2016 to great acclaim, reaching far beyond its lo-fi confines to find fans at the likes of The FADER, Pigeons & Planes and SPIN internationally, while her debut single "Oh Please Be A Cocky Cool Kid" appeared on national TV in Sweden the morning after it was released. An expanded version of the debut EP was released in the summer of 2016, which saw ShitKid playing several Swedish festivals before making her debut international appearances in the fall, alternating between playing to full houses in London and monthly shows in her new hometown Stockholm. Now ShitKid is ready to announce her long-awaited debut lp - titled "Fish" it's due for release on June 2 via PNKSLM Recordings on vinyl, cd and digitally. Recorded during the same sessions as "EP 2"it's another step on ShitKid's musical journey - offering up a sound that's clearer than the lo-fi murkiness of the debut EP but still very much the opposite to the slick pop dominating the musical landscape today. ShitKid will be doing select festival shows during the spring, leading up to a UK and EU tour around The Great Escape ahead of the album before spending the summer on the road with slots at ex Roskilde Festival announced already, with a lot more UK and EU dates TBA. Fish is written, recorded, performed and produced by Åsa Söderqvist and mixed by Simon Skeleton.

Requiem for Jazz is a 12-movement suite composed and arranged by Angel Bat Dawid, inspired in part by dialogue from Edward O. Bland’s 1959 film “The Cry of Jazz.”

The original form of the music was premiered at the 2019 edition of the Hyde Park Jazz Festival in Chicago, where Angel conducted a multigenerational fifteen-piece instrumental ensemble (all Black musicians from Chicago’s creative music community) alongside a four- person choir (featuring singers from Black Monument Ensemble), dancers, and visual artists in performance.

Angel mixed and post-produced recordings from the performance – adding interludes, vocals and additional sounds, as well as transcribing a piece from “The Cry of Jazz” film. The final movement of Requiem for Jazz features Marshall Allen and Knoel Scott of the Sun Ra Arkestra. Their contributions were recorded remotely at the historic Arkestral Institute of Sun Ra in Philadelphia in late 2020.

The final Requiem for Jazz work in album form is an immersive 24-track, double LP experience. The physical package is a deluxe, heavyweight gatefold jacket with liner notes by South African writer Nombuso Mathibela, artwork by Damon Locks, and a large fold out poster designed by Jeremiah Chiu, featuring poetry written by Angel Bat Dawid in dedication to all of her collaborators on the project. Additionally, there is a limited Thy Kingdom Come purple color vinyl edition of Requiem for Jazz available for the first pressing only.

Bongo Joe Records is pleased to announce the release of Yalla Miku's debut album. It is a new way of combining African, European, electronic, acoustic and electric music and cultures. The project was launched by Cyril Cyril duo, then joined by Simone Aubert and Vincent Bertholet from Hyperculte and three musicians with migrant backgrounds: the Moroccan Anouar Baouna, the Eritrean Samuel Ades and the Algerian Ali Bouchaki.

For its initiators, the idea was not to appropriate a non-European heritage and to interpret it in the company of musicians from these countries. They opted for a more radical approach: to propose a base of compositions on which the migrant musicians then worked with their instruments, which range from the derbouka to the guembri via the krar, the Eritrean lyre.

The album, nourished by these stage performances, was recorded in autumn 2021. The result is full of vibrations, unusual sounds and life experiences. Sung in Arabic, Tigrigna and French, the lyrics glide over throbbing rhythms, borrowing from gnawa, krautrock and electro trance. Their eponymous debut album sounds like a call to travel beyond the barriers of sound, a call to a horizon without a visa.

Nearly five years on from their acclaimed debut, Bennett Wilson Poole reveal the follow up. It's been a long time coming, but...

That eponymous first album was only ever intended as a one-off collaborative project — a serendipitous series of events which began with a late evening session where the trio wrote ‘Hate Won't Win’. A response to the murder of MP Jo Cox, it was something of a fresh take on Crosby Stills Nash and Young’s classic protest song ‘Ohio’. The release saw Bennett Wilson Poole embraced by the Americana community, playing live on the Andrew Marr show and crowned as ‘UK Artist of the Year’ at the 2019 UK Americana Awards, in front of a watching crowd including Graham Nash himself.

The new album came together in similar fashion; Robin (Bennett) and Danny (Wilson) started writing new songs late into the night whilst on tour to promote the first record — a tour which unfolded from a three-night residency in a London pub into a year-long odyssey culminating in a headline show in Hall One at King’s Place — and before they knew it, there were enough songs to begin recording an unplanned second album.

Where the first record drank deep from 70s US west coast folk-rock, the second has been heavily spiked with 1960s British psychedelia, even featuring a cover by legendary counterculture artist John Hurford (whose credits include 60s artwork for Oz Magazine and International Times).*

Tony Poole’s meticulous and inspired production has spun Robin and Danny’s fresh batch of songs into a delicate web of musical delight. Fans of the ‘spot the reference’ game Tony started on the first record won’t be disappointed this time either, as there are plenty more to be found here.


As with the first album, the lyrics don’t shy away from current affairs – by the end of that year of touring, the band were already playing “I Wanna Love You (But I Can’t Right Now)”, reflecting on the state of US politics, yet optimistic that the problems are only temporary.

Many of the tracks on the new album feature live rhythm section Fin Kenny (drums) and Joe Bennett (bass) for the first time on a BWP record.

The title of the album comes from the lyrics of ‘Help Me See My Way’, the first single, a prayer for strength in difficult times, the trippy animated video for which was originally issued during lockdown. The dreamy positivity of the line "I saw a star behind your eyes" is tempered with the plea "don't let it die away", a message which feels as important as ever two years on.

All three collaborators have had critical acclaim in their own right. Danny Wilson’s credentials go back to his days in Grand Drive with brother Julian, and his consistent high calibre output with his Champions of the World led them to sweeping the board at the first UK Americana Awards with Album, Artist and Song of the year awards richly deserved; Tony Poole’s Starry Eyed and Laughing were hailed as “the English Byrds” on the back of their two CBS-released albums in the mid-seventies and he has since built an enviable reputation as producer and engineer; Robin Bennett has been relentlessly turning out timeless songs from his Oxfordshire base in bands from Goldrush to The Dreaming Spires

Nowadays Records has never lost its taste for compilations. And after having released dozens of them to date, the label is planning to release new ones for the occasion, directly from the Club Nowadays' aerial nights, where artists from different scenes, lesser-known heads and label figures are mixed together, always with this key word: openness.

More than just a name for a party or a compilation, Club Nowadays is also becoming a real artists' collective.

On the 1st compilation "Club Nowadays, Vol. 1" released in June 2022, we found house and techno sounds in the Nowadays style by the artists Chien Méchant, Grand Soleil, La Fine Equipe, Fulgeance, Trifouille1er, Ténéré and Vect (who also signed the whole visual DA of the project).

Nowadays is back with "Club Nowadays, Vol. 2", with other artists such as Phantom Traffic, Le Bag, Jeff The Fool,... In a word, Nowadays gives us its definition of club music. It may not be universal, but it is unique and inseparable from the label's image.

The “Heaven” EP features producer-extraordinaire Leonard Charles at the helm, collaborating with prodigious artists from New Zealand (his home country) and the USA, to create an wildly eclectic E.P. project with the common underlying thread of basement funk knitting it together. This presentation of funk is truly a legitimate foundation for the heads that need it: built upon solid soul/jazz chord progressions and played on original musical equipment/gear from the 80’s and 90’s. The record features an exclusive remix of the song “Nine Lives” that he co-wrote with boogie/funk legend Leroy Burgess, and additionally features stellar collaborations with Guilty Simpson, Zyah Belle, Reality Jonez and A.C. Freezy. Jeremy ‘Leonard Charles’ Toy is a producer / artist / musician from Auckland New Zealand who has played on records for Mark De Clive Lowe, Recloose, Julien Dyne and Ladyhawke. He has performed music with Randy Crawford, Hugh Masakela, Kimbra, Maynard Ferguson, Ronald LaPread (the Commodores) and has collaborated with Grandmaster Caz, Guilty Simpson (The Leonard Simpson Duo), Georgia-Anne Muldrow, Dudley Perkins and Wildchild. He has released music on his own imprint, From The Crate Records and Jakarta Records, Hit + Run, Wonderful Noise, Hobo Camp and now CQQL Records.

Pressing Info: 180g clear blue vinyl, printed inner-sleeve. Based between Brussels and Berlin, Golden Hours is comprised of past and present members of Gang Of Four, The Brian Jonestown Massacre, Tricky, The Fuzztones and The Third Sound, to name just a few. A band with mileage and stories, they trade in rock'n'roll missives that are at times dark, tense and hypnotic, at others sweaty, relentless and danceable. Made up of Hákon Adalsteinsson (Guitar/Vocals), Rodrigo Fuentealba Palavacino (Guitar), Tobias Humble (Drums/Vocals) and Wim Janssens (Bass/Keys/Vocals), Golden Hours' self-titled debut album is due for release March 31st 2023 on Fuzz Club Records. Wim says of the project and its incoming debut: "The musical backgrounds of each member are pretty broad but somehow when we come together there's a pretty clear definition of what our music should sound like. There's a beautiful friction between the noise we produce and the love for melody that seems to overtake at just the right moment. There never seems to be a lack of ideas when we come together. In silent agreement, every idea gets tried and will be further developed into a song or skipped in a heartbeat. No time is wasted. It all happens pretty automatically."

180g clear vinyl. This is for Indies only. Milan/London experimental band Throw Down Bones are returning with their new album 'Three' on February 24th. A towering body of work that feels both apocalyptic and jubilant, 'Three' is Throw Down Bones' eagerly-awaited return following 2018's 'Two' and the tragic passing of founding member Dave Cocks in a motorcycle accident in 2019. Choosing to continue the band in honour of Cocks, in February 2020, surviving co-founder Francesco Vanni returned to London's New River Studios with long-term collaborator and producer James Aparicio (Spiritualized, Nick Cave) and a new band in tow, made up of bassist Marion Andrau and drummer Raphael Mura. Working in the studio with the new band for the first time, several hours of improvised recordings were captured over the course of those early New River sessions, which were then expanded and pieced together between Aparicio in London and Vanni in Milan. Ready to lacerate eardrums and send into a trance once more, the result is a 9-track album spanning feedback-blasted industrial psychedelia, heavy electronics, krautrock and dark ambient. Overcoming huge psychological and practical difficulties, 'Three' is a powerful and moving record in more ways than one - a post-industrial triumph that's at once hedonistic, cathartic and poignant. Describing 'Three' and its intentions, Vanni says: "This album tries to reverse the usual band-listener interaction. We hold no truth and we're not willing to serve any universal answers to anything. Instead, we question the listener who, according to their experiences and sensitivity, will find a reply for themselves. That's the role of instrumental music and why we love it so much. It brings the listener to the centre of the project, giving them an active role in translating music into meaning. Every single note in this album is dedicated to our brother Dave Cocks."

Winston Surfshirt's album Sponge Cake is a critically acclaimed and highly anticipated body of work that showcases the Australian singer-songwriter's unique blend of soul, funk, and hip-hop. The album, which was released in 2017, has been widely praised for its catchy hooks, intricate production, and thought-provoking lyrics. Now, fans of Winston Surfshirt and vinyl enthusiasts alike can purchase a physical copy of Sponge Cake on vinyl. Whether you're a longtime fan or discovering Winston Surfshirt for the first time, Sponge Cake on vinyl is an album you won't want to miss.

Featuring “Christine F,” “Nostalgia” and “All Is Lost.” First Time Available on Vinyl since 2017. Surf Curse has over 8 million monthly listeners on Spofity. Expanding on the signature surf/garage rock sounds from their debut album Buds, Surf Curse emerge on Nothing Yet retaining the same infectious formula, but with more wisdom and finesse. Trading the angst for self-reflection, and sprinkling in flourishes of synthesizer and other slick production choices, the sophomore album sees the band truly finding their voice as songwriters and instrumentalists. Upbeat tracks like The Strange and the Kind will deliver the same wistful heart pounding choruses Surf Curse fans love, while album closer Falling Apart is new territory for the band. Forgoing drums for a sparse guitar ballad with backing harmonies and haunting synth pads, it’s a hint of the versatility the group would come to display on future projects.

First time available on cassette. Gap Girls led by Jacob Rubeck of Surf Curse. Gap Girls is the synth-pop project of Los Angeles DIY scene mainstay Jacob Rubeck. As half of the electrifying indie rock duo Surf Curse, Rubeck is no stranger to a good hook, but when he trades jangly guitars for synths, an entire new world opens up. On his new album Forever Love, Forever After, that world is one of love, hope, and welcomeness. In contrast to the shadowy wistful sounds of Gap Girls’ previous effort ‘Street Desires,’ ‘Forever Love, Forever After’ sounds like an uplifting triumph of love, in all its mysterious shapes and forms. With punchy drum machines, shimmering synths, and chest-rumbling bass, these songs are pure synth-pop bliss for letting love in.

Based between Brussels and Berlin, Golden Hours is comprised of past and present members of Gang Of Four, The Brian Jonestown Massacre, Tricky, The Fuzztones and The Third Sound, to name just a few. A band with mileage and stories, they trade in rock’n’roll missives that are at times dark, tense and hypnotic, at others sweaty, relentless and danceable. Made up of Hákon Adalsteinsson (Guitar/Vocals), Rodrigo Fuentealba Palavacino (Guitar), Tobias Humble (Drums/Vocals) and Wim Janssens (Bass/Keys/Vocals), Golden Hours’ self-titled debut album is due for release March 31st 2023 on Fuzz Club Records. Wim says of the project and its incoming debut: “The musical backgrounds of each member are pretty broad but somehow when we come together there’s a pretty clear definition of what our music should sound like. There’s a beautiful friction between the noise we produce and the love for melody that seems to overtake at just the right moment. There never seems to be a lack of ideas when we come together. In silent agreement, every idea gets tried and will be further developed into a song or skipped in a heartbeat. No time is wasted. It all happens pretty automatically

Circassian-Turkish Producer Sine Buyuka debuts new solo project Sinemis with lush, graceful album ‘Dua’, gently combining the ancestral Sufi music of her homeland with sophisticated techno-inflected ambient. Dua’s life began with a life-threatening illness. “I started feeling unwell last year and no one could figure out the reason,” Sine writes. “It was a scary time, not knowing and trying to manage symptoms while they slowly worsened. In late 2021, while I was visiting my family in Turkey during the Christmas break, I was taken into A&E. After more tests, I had a diagnosis and had surgery in January.” Following this, within the healing process - highly emotional as well as physical - Sine was drawn to the traditional Sufi music of Turkey and the Middle East. Ritualistic music to accompany ancient sema ceremonies, in which whirling dervishes enter a transcendental consciousness through ecstatic movement and repetition. With this influence at heart, Sine began work on ‘Dua’, with a newly-formed artist name to signify new, unfamiliar music from a celebrated electronic producer. For her, the album marks a significant step in her recovery. But it is also a potent marriage of contemporary and ancestral trancestates, interweaving sci-fi synthesis and floor shaking bass tones with mystic imagery, textures and timbres. A meditative, spiritual balm that melds field recordings, found sounds, ambient soundscapes, electronics and acoustic instrumentation to celebrate life and survival in challenging circumstances. The breathy, cinematic tones of album opener ‘Dua’ hover and shiver in preparatory stasis as broken-machine punctuation begins to dot rhythmically through the space. A yearning, repeated vocal sample - a living, beating heart inside the machine - characterises a crucial theme for the album: the marriage of digital instrumentation with the analogue, the human and the organic. Later, ‘Elegy’ reflects its title with heartbreaking chordal shifts and glitching birdsong, conjuring a sound world somewhere between KMRU and Max Richter. Key track ‘Gazel’ moves in glacial slo-mo, like whirling dervishes frozen in time at the peak of their trance. Euphoric ceremony made haunting and poignant without losing a mote of power…Across the album, the timbres of Sufi ritual are often captured by the otherworldly presence of the historic ney flute, said to be as old as the Holy Books. “Sufi music can be created using several different instruments but the ney flute is at the heart of it. The sounds emanating from this fascinating instrument kept capturing my imagination,” Sine tells us. Working both with samples and with Turkish musician Omar Faruk Tekbilek, Sine achieves a rare balance of reverence and recontextualisation for such a time-honoured instrument, here performed by a lifelong student of its intricacies and mysteries. In Sinemis’ hands, the processing and sonic treatment of the ney even sometimes renders it indistinguishable from Dua’s synthesis and sound-design

For over 30 years Richard Adams has been quietly documenting his own particular corner of the English countryside both with Hood, the post-rock band he formed with his brother in 1991, and since 2007 with The Declining Winter. Recorded over a five year period and inspired by rustic English alternatives such as Talk Talk and Robert Wyatt, The Declining Winter’s latest work ‘Really Early, Really Late’ is a collection of beautiful songs, immersed in a richer sonic spectrum incorporating strings, horns and lush electronic textures, alongside Adams’ own unique guitar tones and characteristic dubby bass. Though it retains the homespun scratchiness of previous The Declining Winter records, ‘Really Early, Really Late’ is also their most ornate. A remotely collaborative effort, the record is scattered with decorative embellishments from violinist Sarah Kemp (Brave Timbers), cellist Peter Hollo (Tangents), and guitarist Ben Holton (epic45), among many others. Adams’ distorted whisper of a voice has never been more exposed leading to a brutally emotive and intensely personal song-suite, both raw and beautiful in equal measure. The storybook curiosity of Mark Hollis’ work is a particular influence. Like Hollis, this music is imbued with magical realism: beholden to nature, it hints at the mysteries lurking in mundane local landscapes and the more remote Yorkshire moors and valleys. A record to hold close to your heart, ‘Really Early, Really Late’ sees Adams and his collaborators emerge from the shadows with their most complete work to date. Home Assembly are proud to present the album on lush crystal clear, double vinyl, bundled with a CD housed in an oversized vinyl-style sleeve.

Both broadening and defying the sounds of their first two 7” releases, Delivery continue their claim for the title of hardest and fastest working band in town on their debut full length LP ‘Forever Giving Handshakes’. Collecting songs written over the Melbourne five-piece’s two year lifespan and following on from the band’s bedroom project origins of ‘Yes We Do’ and the expanded one-two punch of ‘Personal Effects/The Topic’, ‘Forever Giving Handshakes’ captures Delivery at full force for the first time, leaning into the fully-realised live sound they’ve been quite actively working on since their first show in March 2021. Here the band collate a 12-track garage-punk opus, their five distinct voices simultaneously pulling songs in different directions while an undeniable chemistry reveals a combined hive mind ascending on a clear group mission… to rock. If you didn’t have the Delivery phenomenon yet, you’re about to. Marking the beginning of a victory lap for Delivery, the album rounds out a sprint of unrelenting live shows, impressive support slots and two stellar 7”s, all within a tidy 18 months. ‘Forever Giving Handshakes’ is a statement from Delivery and one of the strongest Australian punk debut albums of the past decade.

Anish Kumar shares “Bollywood Super Hits!”, a five-track compendium of pulsating Bollywood turned house-and-disco cuts that have been turbo-charging Kumar’s recent DJ sets.

The introductory “Asha” bursts open the doors to the project with thumping four-to-the-floor rhythms and the saunter of sampled electric guitar melodies. Followed swiftly by “Sadhana”, a stomping, effervescent jaunt that’s received widespread club-support from the likes of industry stalwarts Daphni and Four Tet. “Nazia” is delightfully percussive and steeped in analog warmth, a soon-to-be disco anthem that yearns for peak time warehouse usage. The penultimate track, “Ananda”, is laced with wandering basslines and hair-raising vocal sampling, leading steadily into the project's conclusory cut “Lata”. Nocturnal and pressurised, the final track rises like a crescendo of razor-sharp techno synthesis and sheer vocal prowess.

“'Bollywood Super Hits!' is a compilation of 5 Bollywood flips I've been playing out in my sets. Classic Bollywood is a genre that holds great importance to me as I grew up listening to many of the hits from that era. It's been amazing to see faces in the crowd light up when they recognise, for instance, a hook from a track that is commonly played at Indian weddings, or the haunting vocal of an old

"When you cut into the present, the future leaks out" William S. Burroughs. Third Ear are proud and excited to release a new Brendon Moeller project exclusive to Third Ear... Ultra Random Analog Orchestra. The project kicks off with 13 tracks released on vinyl over 3 individually released 12" and a digital album with 16 tracks. The music ranges from deep, wide-screen Techno to Ambient and beatless, that pushes the limits of the sonic palette. Artwork by The Designers Republic. Brendon says, "the ability to sculpt an audio collage in realtime employing techniques of randomness is one of my favorite pursuits using a Eurorack modular system.

Before MF DOOM donned his mask and became one of the most prolific MC-producers of modern Hip-Hop, he was a member of KMD, an early ‘90s rap group whose work still goes criminally under-appreciated to this day.

Following their 1991 debut album, Mr. Hood, the former trio shed one member leaving only two remaining – Subroc and his brother, Zev Love X (better known today as MF DOOM). Originally scheduled for release in 1994, their sophomore album Black Bastards showed clear progression from their debut. It was a truly amazing record, both sonically and lyrically, full of youthful creativity and tinged with the stresses of growing up as Black men in urban America. Songs like the lead single “What A N*gga Know”, the slippery, bass-driven “Get U Now”, and the album’s title track explore Black consciousness viewed through young-but-experienced eyes. Musically alternating between bouncy and raw – many times both, concurrently – the tracks gave the MC’s the springboard they needed to express themselves clearly.

Sadly, Subroc would face a sudden and untimely death in 1993, just as the duo were finishing the album. Grief-stricken, his brother Zev Love X – now the sole remaining member of the group – was determined to carry the legacy of KMD onward, but Elektra Records unceremoniously shelved the project in the eleventh hour, due to controversy surrounding the album’s provocative cover art. Following the fallout with Elektra, Zev tried for years to release the album on other labels, but he was continually met with dead ends. Struggling through the pain of losing his brother, coupled with the inability to release their final project together, a discouraged Zev Love X quietly withdrew from the scene and began quietly plotting his revenge on an industry that had broken him spiritually. Thus, in order to understand the true origin story of the super-villain, MF DOOM, one must recognize and appreciate the evolution of his former group, KMD, and the backstory of their pivotal album, Black Bastards.

This long-awaited inaugural release from DJ Fred Spider's Voom Voom Records visits an iteration of the legendary South African jazz funk ensemble of the 20th century. Spirits Rejoice recorded two incredible jazz fusion albums in the late 70’s with amble lashings of funk and soul. As the currents of popular music shifted in the 1980s, the group got behind a modern dance side project led by guitarist Paul Petersen and produced by the genius Patric Van Blerk.
The result was Doctor Rhythm and an album entitled I Feel It Rising from 1981. Based out of Cape Town's premier vintage vinyl emporium, Voom Voom presents the album's sultry slow-burner "I'm So Strong Now" (paired with a modern remix) and well as two versions of the disco-boogie swinger "Hook It Up" written by the pianist Mervyn Africa (the original track alongside a Fred Spider & Simbad edit and a crisp rework by DJ Turmix from NY to boot). The result is an essential dancefloor release documenting what is surely South Africa's best take on band-driven New York boogie from the disco years. Calum MacNaughton (Sharp-Flat Records/As-Shams-The Sun)

On behalf of re:discovery records, it is with great excitement that we announce the 3rd and last EP of the set highlighting the music of 1990's Norwegian electronic act Neural Network. Part 3 hones in on their unreleased album that was never formely named. The band and those in the industry who heard it felt it was their best music yet. There were label suitors for this album including a top tier Belgian label but sadly things did not work out as that label folded. And this project was left on DAT's.

Of the 9 tracks we chose, there were 4 we felt would most fit the vinyl medium and the theme of the first 2 EP's. These fit in with music like B12, Stasis and As One for some lofty comparisons and we think it fit's perfectly in that esteem company. The Detroit-esque beautifully somber 'Lambent' sounds almost 'Tedra' like from Kenny Larkin. 'Jetstream' is pure melodic robotic funk from the future. The side B track 'Floatation' coming in at just over 18 minutes and is a prime example of the sci-fi music they so wonderfully produced. This 3 record series is a great example of re:discovery records' mission to present the past for the future. All feature amazing artwork from UK's Grid Pattern complete with insert that features info on the music and their history. Bring back the Chill Out Rooms!

The fifth release on Canopy continues to up the ante and expand on the tropical Techni-colour palette already set out by the label.

Alafia was a studio project from the mid 80s in Paris. Masterminded and written by musical maverick Phil Han Mandounou and bringing together musicians from Benin, Cameroon and the French Antilles. The project is a superbly orchestrated and expertly delivered exploration of funk and afro off-beats with 80s synth leanings. Precise musicianship and forward leaning afro synth funk wizardry. Dextrous, extrovert, playful and masterful.

A1. Alafia – Assanssan (Original Mix) (33rpm)
Uplifting vocals are set against shimmering guitars and punctuated by triumphant horns. Growling and bouncing synth bass is underpinned by tight digital drums. Assanssan defies categorisation while encapsulating many vibrant genres and motifs. “A proper mind melting hybrid tropical beast of a tune”!
“Assanssan” refers to a type of quilted fabric popular in West Africa and is a metaphor for togetherness and blending cultures harmoniously. “
Assanssan hé hé hé, come and sing along, Assanssan hé hé hé, come and dance along.”

A2. Alafia – Assiove (Original Mix) (33rpm)
A powerful afro funk groove built around punchy off-beat digital drums and tightly syncopated guitar and bass-lines, augmented by searing synth arrangements and positive vocal passages. Assiove is a highly successful fusion of western and African influences.

B1. Alafia – Assanssan (Bosq Remix) (45rpm)
Bosq, the man with Midas touch, takes Assanssan and pours gasoline on the already raging flames, setting the whole funky situation alight! Swapping out the bass groove for an insistent and pulsing funk, he switches the track into overdrive while the original passages shine sublimely under his benediction.

Troekurovo Recordings is a production team made up of Toki Fuko, Vadim Basov and Evgeny Vorontsov and they have been hidden away deep in some enchanted Russian forests recording music. Now they are putting out the results on this superb double pack. This project started back in 2016 as a live experimental jam and is now an annual tradition made on loads of analogue gear on the banks of a canyon that was formed many years ago by a melting glacier. The locale provides inspiration - from the fresh country air to the meteor showers often visible overhead - for the music making which is strictly "no preparation, no pre-programming - hardware, friends and live improvisation only."

Aussie composer Cat Tyson Hughes is an experimental artist whose new album Crossing Water on Past Inside The Present marks her debut long player. It comes after she's been involved with several other projects and offers a fragile and delicate mix of subtle instrumentation and rich voice textures imbued with an array of lovely field recordings. These are superbly patient and slow-burn tracks that really have a cathartic effect as nature and natural sounds permeate each composition. The melodies take your mind away as the freely structured, minimal arrangements really make you take note.

Ahead of an interestingly cheeky release schedule in 2023 from Seven Davis Jr., collaborators and fellow associates on Secret Angels Records, we present to you “savedbythebell”.

Described as a vibey intermission project. Music you might hear on an elevator ride inside a massive mothership that’s traveling through multiple dimensions. Sounds from an 80s themed alternate timeline. There are no rules here. There are no one set descriptions and multiple meanings abound. Although this be more of an instrumental adventure with only one song (chorus and verses etc). Its all interdimensional vibes.

Featuring 5 fresh tracks produced within in the last 2 years by Sev. (who previously had the habit of releasing mixtures of older tracks/reworked
demos along with new songs).

And with all releases from Seven Davis Jr., this one picks up where the previous ended. Sev’s 2021 song based album “I See The Future” left us with an unpredictable track titled “New Life Who Dis”. This ep introduces us to forthcoming new sounds from that new life.

Not just for dance floors, also for “chillen” or lounging on a nice day, or disassociating in the depths of a wormhole, or at an after hours where everyone’s faces are on fire and no one ever sleeps!

We hope you enjoy and if you do, please play it, share it and reach out to let us know so we can be friends. Because we aren’t jerks, we swear. At least not in this timeline.

Drumcode’s beloved A-Sides compilation makes a welcome return after a two-year absence, with a mammoth 25-track feast covering every shade of the techno spectrum split across seven, 12 inch parts. The project was devised in 2012 as a way of showcasing the wealth of strong material Adam Beyer receives each year, which due to Drumcode’s busy release schedule, might not otherwise find a home on the label. Since then, it’s grown to become an essential fixture on the techno release schedule and a marker for where the genre stands in any given year.

For part four, Nicolas Taboada cranks the dial on ‘Circles’ melding breakbeats with modulated vocal samples and underlying techno power, as BEC hits with ‘Vibration’ a ferocious, siren signalling rocket.

On the flip, Avision’s ‘Find Myself’ leads listeners into a state of hypnosis with warped vocal refrains, storming kicks and rising synths. Closing out the EP Cosmic Boys unleash a robot wielding, trance flavoured whirlwind.

2023 Repress

* After three groundbreaking albums over the course of a decade, the internationally acclaimed electronica project Shpongle have returned from what fans feared was the end of the project when 'Nothing Lasts but Nothing is Lost', their third album, was released. Not prepared to leave us hanging, electronic music pioneers Simon Posford and Raja Ram have continued to push the envelope and break boundaries to create yet another sonic masterpiece: the much-awaited fourth Shpongle album, 'Ineffable Mysteries from Shpongleland'.
* There are languages here that Shpongle fans will know and love as much as their previous work, and yet there are some massive leaps forward in terms of production techniques, sonic trickery, structure, and direction compared to all of the previous outings to date. With influences drawn from anywhere from Steve Reich and Mike Oldfield to the Batman movies and beyond, this really is another 'over the top' record in terms of production skills, tonal textures, and original ideas from Shpongle. It is rich in detail and emotion, in worldly and otherworldly samples and inspiration, and in
harmonic and melodic construction.
* Shpongle continues to evolve and inspire and with two sell-out back to back shows at the Roundhouse in London (30th and 31st October) to celebrate the launch, Shpongle prove to be as popular as ever and this album is already in huge demand.