Cerca:soon

Anything goes, everything is OK,’ is New Cool Collective’s free and easy creed. These eight jazz players are continually reinventing themselves, finding new inspiration and inspiring others. Brilliant as ever under a new spotlight, New Cool Collective excels on their 25th album Everything is OK, released by Dox Records this autumn on 25 October 2024.

Earlier this year, the band celebrated its thirtieth anniversary with a pocket-sized ode to their prolific past: 30 Years Live. Having played and partied, the group turned their attention to the future: what next for an ensemble that thrives on musical experiment and collaboration? Where to now? Which way to go to rekindle that creative spark and foster that flame?

New Cool Collective has met the challenge head-on, determined to surprise their audience, and themselves too. They spent a little time reflecting, considering suggestions, weighing up options – eight creative artists exploring, coalescing. Soon their ideas gelled into something special. They laid down a series of tracks that both build on the band’s thirty-year history and feed on a newfound freedom to simply be New Cool Collective. Everything is OK embodies that sense of a group which knows how to surpass expectations, to make music from the heart, to go back to their roots, back to the essence of those early years.

Anything goes, everything is okay on a record that features extensive brass arrangements and orchestral elements. There’s something magnificent about those seductively intimate tracks, something way beyond the traditional orchestral big band sound. New Cool love to experiment with alternative production techniques, developing the final mix themselves to create a unique, unmistakably recognizable sound – however surprising or unusual the music, you know you’re listening to New Cool Collective – like you’re there and the band is playing just for you.

Everything is OK is brimming with ideas, surprise and humour. The music is contemplative, yet it also leads straight to the dance floor: it gets you moving – body and soul. This is music for the intellect, to take you out of your comfort zone and to show you subtly, ironically: is everything really ok?

Rome’s very own Electro-Psych outfit, Big Mountain County, is set to release their third LP ‘Deep Drives’ on November 29th via Sister 9 Recordings. After unveiling their latest EP, ‘Klaus’, at the New Colossus Festival in New York and SXSW in Austin, the band took a year-long studio break, honing and redefining a distinctive sound that bridges primitive Garage Rock and Neopsychedelia with Electroclash, Kraut and Disco. Stay tuned for updates as we’ll reveal more details and the release date in the coming weeks. Big Mountain County was formed in Rome in 2013 after four southern boys, two from the slopes of Mount Etna and two from the Adriatic Coast, came together. They instantly bonded over their mutual love for The Stooges, MC5, The Velvet Underground, and Joe Spencer, leading to the release of a 7-inch record brimming with raw Garage Rock & Roll. This debut propelled them into an exciting tour across Eastern Europe, hitting countries such as Hungary, Serbia, Croatia, and Bosnia-Herzegovina. They soon moved beyond Garage Rock to immerse themselves in the European Neopsychedelic resurgence and spent the following years carving out a reputation in the vibrant continental live scene. They dropped two LPs—Breaking Sound (Gas Vintage Records, 2015) and Somewhere Else (Porto Records, 2020)—along with two live albums. After relentlessly touring across Europe and the UK and opening the Italian tour for the U.S. band Cloud Nothings in 2019, they finally hit the US in 2023, gracing six different venues at SXSW and sharing stages with Osees and Os Mutantes. By the time they returned to Italy, they had secured summer opening slots for the likes of Brian Jonestown Massacre and La Femme. That year’s EP ‘Klaus’ marked a bold new chapter, showcasing a thrilling shift, diving into a more dance-driven and electronic sound. Featuring collaborations with electronic psych producer and LEVITATION DJ in residence Al Lover, along with the distinguished Roman producer Hugo Sanchez, the making of ‘Klaus’ provided the band with a revitalizing spark, steering them into a new musical direction

In the week that Billy Reeves second LP sells out, we are delighted to announce LP 3. When Lord God Almighty Reads The News will be released on CD and Lossless download in November 2024. (Limited Edition Vinyl will follow shortly thereafter)

Vinyl will be strictly limited - as was the case for Steve. The first 50 copies will be include a signed insert print and individually numbered.

We are manufacturing a mere 200 units, thus we urge you to grab one soon if you wish to add this album to your collection.

Introducing Wishy, a brand new band from celebrated Indiana songwriters Kevin Krauter and Nina Pitchkites. Wishy came to life as a musical partnership between the two Indianapolis musicians when Pitchkites moved back home from Philadelphia in 2021. The two bonded over their love for 90s alternative bands like The Sundays and My Bloody Valentine and soon began crafting their own brand of swirling pop-rock with an introspective, grungy flair. By day Krauter works as a music teacher, giving drum and guitar lessons to students, while Pitchkites is a seamstress by trade and often makes embroidered merch for the band. While Krauter spent the better part of the last decade cementing his place as a torchbearer of Midwestern dream pop with 2018's Toss Up and 2020's Full Hand, Pitchkites delved into her own indie electro-pop project Push Pop, writing songs like "Spinning" that would later be reworked for Wishy. To round out the live band, Pitchkites and Krauter enlisted guitarist Dimitri Morris, bassist Mitch Collins, and drummer Conner Host. Across two trips to Los Angeles in late 2022 and early 2023, Krauter and Pitchkites linked up with friend and producer Ben Lumsdaine, who had some spare time between Durand Jones tours to record the pair's newly written songs. The result of their fruitful time in sunny California is the aptly named Paradise, a breezy and melodic EP that puts on full display the songwriter's musical fluency. Tastefully blending shoegaze, dreampop, and alt-rock into a heavenly haze, Wishy delivers a strong 5-song introduction that's dense with melodic earworms and stirring sentiment. Wishy's debut single for new label home Winspear, the driving and distorted "Donut," showcases Pitchkites' hypnotic vocal and Krauter's melancholic wash of guitars. Written after a period when Pitchkites was driving on a spare, "Donut" laments the cynical capitalism of Midwest living and the reliance on a car to get around. Of the song Pitchkites says "When you've got the possibility of the open road plus the limitations of your shitty car-and you're stuck driving on a donut spare tire- it's a Catch 22." Throughout Paradise, the band laments on American loneliness and idealism as it relates to our everyday lives. Across the EP's five tracks, Pitchkites and Krauter trade bittersweet reflections on love and self actualization over vast, scrappy guitar chords. The whole thing feels equally indebted to early aughts alt-rock and '90s jangle pop. Wishy's music is cathartic, yet underlined by a subtle brooding energy-sitting nicely alongside the work of their contemporaries like Momma or Tanukichan, both of whom Wishy will have shared the stage with. Wishy will be touring this Fall supporting Tanukichan, and the band will make their first festival appearance at LEVITATION in Austin, TX. After that, they have their eyes set on finishing their debut album, slated for release via Winspear in 2024

Support from: Dave Lee ZR, Birdee, Mousse T, Da Lukas, Dr Packer, John Morales, Terry Farley, Horse Meat Disco, Basement Jaxx, Oliver Dollar, Yuksek, Bill Brewster, Bibi Seck, Chloe Callait, Glenn Underground, Nick The Record, Mark Brickman, Jimpster, Damian Lazarus, NTS Radio, BBC Radio 1, Joey Chicago & many more..

Full steam ahead! Put on your dancing shoes and jump aboard The Disco Express as the much loved London label unveils its hugely anticipated Best of 2024 compilation.

Pressed on special edition purple neon vinyl, this electrifying compilation showcases the wider breadth of the label's sound. Best of 2024 ventures into a multitude of styles: Soul, Disco, Italo and House, all made with cutting-edge production.

A brilliant fusion of established and emerging artists, the compilation boasts a stacked line up of talent; celebrating the vibrant spirit of The Disco Express whilst perfectly infusing modern twists, optimised for contemporary dance floors.

This is original house & disco for 21st century dance floors and this train ain't slowing down anytime soon...

Two years ago, after Covid sent the industry into a tailspin I made the sad decision to stop pressing Holding Hands records to vinyl. This was gutting as the label had been putting records out from the first release and it had always felt like an integral part of the label’s identity.

It sucked but I always hoped that in the future I would be able to feel confident in pressing records again and I am so happy to say that the time has finally come again!


Earth Trax popped into my inbox with some demos and I instantly knew there was something special here. The tracks are absolutely timeless and will do the business on any dancefloor from now until the end of time.

The A sides have more of loopy club quality that you could listen to all night. The sort of thing that you just lose yourself to when it comes on in the club. You aren’t sure exactly when it came on but you suddenly realise that you’ve been gurning with your eyes closed for some indeterminate amount of time. Basically, they’re very chewy loops (note to self: potential cereal idea).

The B sides have more of a...for lack of a better word, B side quality to them. They’re both broken and they make me want to move my body from side to side in a sort of jagged cool 80’s way. Ones to make you move and think at the same time.

OK enough of my blather. Go and listen to the damn things yourself and decide if you like them, rather than trying to work it out from reading a bloody press release you weirdos.

All four tracks are produced and sculpted for the club. They want big sound systems and dark rooms.

Close your eyes, hold hands and experience transcendental space flight...

The making of a maiden album can be a capricious process. One moment of outright musical flow paired with another period of sustained creative struggle are feats experienced by seasoned producers the world over. So when Miraclis was forced to hole away in his makeshift studio - in the midst of a global pandemic - the stage was set for something magical. Now it will see the light of day for the very first time.

Having released two singles on Secret Teachings to critical acclaim already this year, Chilean talent Miraclis will accomplish a milestone achievement in July with the release of his debut album: Origin Of Truth.

Difficult experiences were fundamental to the creation of such work, as were Miraclis’ inherent musical interests. He explains: “Origin Of Truth had its birth during the pandemic. I created it as a way of communicating to myself the sensations and feelings that were spinning around my head at the time. I've always been inspired by Bristol trip hop, as well as classical rock, and these genres definitely contributed to the making of these melancholic tracks. In a way I wanted to fuse all the musical influences that were part of my childhood, up until this point now, so this album really means a lot to me. It was my way of communicating, when there was a lack of social contact and communication itself was hard to come by.”

It's this meditative quality that initially drew Damian Lazarus to the project. “It’s a record that has its roots in electronic music, but it’s a very alternative, very deep, melancholic album. I find it both soothing and stirring at the same time, and that’s a quite interesting juxtaposition in that it feels edgy but delicious at the same time,” says Lazarus. “The fact that this was written in this place surrounded by the most incredible desert landscapes makes this a very important piece of work to me. It doesn’t sit in any particular genre, which is why it feels right for a Secret Teachings release. It hints at so many genres that I as a DJ am quite into, and it feels like a first as it’s unique and unclassifiable. That mystical, esoteric, edgy feel makes this a perfect release for the label.”

Sonnet opens proceedings, with ghostly vocals residing next to raw instrumental elements throughout. Miraclis’ signature guitar riffs soon converge on saddened keys, paving the way for Scienter. It takes the form of an instrument-based, electronic-inspired cut, building slowly before reaching a crescendo midway through via an enrapturing acoustic solo.

Floating Child comes next, brimming with a darker intensity courtesy of broody synth pulses and rhythmic hi-hats, as Shiver arrives next. There’s a rock-leaning sensibility to the piece that gives way to earnest lyrical offerings, opening swiftly into the breakbeat-esque world of Perceptions. Hard-hitting drums act as the focal point, with electric chords adding depth and intrigue, whilst Bright continues in a similarly heartfelt vein.

Introspective pads leave us feeling pensive, ahead of Interstellar taking us on a celestial journey through warped bass tones. Acting as the LP’s penultimate number, it’s a four-and-a-half minute showcase of guitar-based musical goodness and one that perfectly sets the stage for Trapped, a closing saga of suitably emotive proportions.

Miraclis earned his stripes as a DJ under the name Max Clementi in his native Chile, as well as Spain after a stint at the Barcelona SAE Institute. Playing and writing music since his parents gave him his first guitar at age twelve, he found himself inspired by synth wave, electronic pop, trip hop, and psychedelic rock of the ‘80s and ‘90s, drenching himself in music by the likes of Massive Attack, Tricky, Depeche Mode, and Nine Inch Nails. However, it wasn’t until he had to move back to Pucón to take care of his father during the pandemic that he began working on what would become Origin Of Truth.

Serendipity seems to play a large part in Crosstown Rebels’ new label Secret Teachings. Just look at the story of how Damian met Miraclis in the first place. It involved a chance midnight encounter in Pucón, Chile at a woodland campfire after the DJ was locked out of his hotel room. This meeting of minds was the start of a remarkable friendship, where Miraclis invited Lazarus to stay at his house and break bread with his family. The two kept in touch, exchanging music and ideas as a result.

OUT SOON ON CHIWAX CLASSIC EDITION: CCE044 - VOICES - Give Me Your Body (12") Re-issue from 1990!!!

RAWAX proudly presents Ron Allen and Hayden Andrew Brown aka VOICES!

This dynamic duo released a monster ep back in the days on Blast Records in 1990, called "Give Me Your Body".

We have honor to re--release this beauty - 34 years later on CHIWAX CLASSIC EDITION!

Highly recommended!

Bruno Sanchioni releases "Capture EP 2" on Art Max Records. Bruno Sanchioni, a pioneer of electronic music and the mastermind behind legendary projects such as Age Of Love, BBE, and Bazz, returns with Capture EP 2, a follow-up that promises to make a lasting impact. Following the enthusiastic reception of the first installment, this new EP promises to be a unique sonic journey, where punchy acid sounds intertwine seamlessly with melodic and hypnotic atmospheres.

Capture EP 2 once again showcases Bruno Sanchioni's singular talent, as he skillfully blends boundless creativity with a deep respect for the roots of electronic music. Each track is crafted with his trademark originality, offering surprises at every turn while staying true to the spirit of his early works. The EP captures that timeless energy that has always been at the core of his musical approach.

This new EP, coming soon on Art Max Records, is much more than just a sequel. It is a brilliant showcase of Bruno Sanchioni's ability to innovate while remaining deeply rooted in a sonic tradition he masters to perfection. This EP stands as a must-have for those looking to rediscover the essence of an era, reimagined with the unique touch of one of the genre's true masters.

On this new LP Harry Bertoia shows why he may have been the first industrial musician. Bertoia often referred to his sound sculptures as a "collaboration with industry" and on this LP Bertoia is intentionally creating heavy, rhythmic music he described as "mechanized," "mechanical" and "factory like."

Recorded in 1971, percussion and repetition emulate the pounding rhythms of machinery on this unique pair of conceptual Bertoia compositions. Bertoia utilizes innovative performance techniques to create new sounds unheard in his ouevre. Even in the busy factory of Bertoia's mind, distant stillness rises up as Bertoia exhibits the massive amount of control he possesses over his many looming sculptures.

"Mechanization" is just one of the many sonic directions Bertoia took while composing and recording between the late 1950's and his death in 1978. He documented all of his ideas and directions in notes accompanying the hundreds of tapes discovered in his barn.

Bertoia's recordings are as much a celebration of sustained tones, intervallic relationships, healing vibrations, deep listening and shimmering harmonics as Indian Classical music, singing bowls, The Well Tuned Piano or Benjamin Franklin's glass armonica. Through these rich harmonics and pulsing pure tone, Bertoia was able to more clearly articulate his inner spirit than he could with sculpture alone – a point he made himself many times in interviews.

Harry Bertoia first came into artistic prominence in the late 1930s and his sculptural, ergonomic chairs, produced by Knoll Furniture beginning in 1952, were soon modernist furniture classics. Inspired by the resonant sounds emanating from metals as he worked them and encouraged by his brother Oreste, whose passion was music, Harry restored a fieldstone "Pennsylvania Dutch" barn as the home for this experiment in sounding sculptures which he had begun in the 1950s. Bertoia was an obsessive composer and relentless experimenter, often working late into the night and accumulating hundreds of tapes of his best performances; Oreste, too, would explore and record the sculptures' sounds during his annual visits to his brother's home in rural Pennsylvania.

Learning by experimentation was common for Bertoia and he mastered the art of tape recording, turning the Sonambient barn into a sound studio with four overhead microphones hanging from the rafters in a square formation. He would experiment with overdubbing by performing along to previous recordings, sometimes backwards, constantly improving his methods while also honing his performance skills. Bertoia was a careful editor of his own work and only chosen recordings remained, each with a date and carefully considered observations written on a note included with each tape. Through these pieces of paper a greater logic can be uncovered, a careful approach to composition, ideas, feelings and forms. The story of Sonambient barn collection will slowly be told through the release of recordings from the archive as well as installations and performances built from Bertoia's own recordings, lectures and a book.

nobile, one half of the former Milanese duo Voronoi, presents a new series of recordings of ephemeral ambient soundscapes, organic throbs and broken rhythmic textures that sublimate the more instinctual and playful side of his poetics.


The project is haunted by cavernous sounds and an obsession with the 'netherworld' of the videogame Minecraft, and by Le Matin des Magiciens - the classic and revolutionary book that popularised occultism, alchemy and paranormal phenomena in the 1960s. "...FANTASTICO INTERIORE is" - as the artist puts it - "a fantastic journey inside the body, perhaps also a journey into the unconscious to understand my gastritis?"

The seven tracks traverse underworlds, infused with fantastic realism, where odd sounds materialise like poltergeists of digital folklore. Creepy voices emerge from the hell-like nether, intertwined with clusters of gelatinous percussive sounds that trudge to the surface. Earthy streams of crackling white noise carry volatile sonic particles that bounce off walls with short delays and reverberations, giving an almost visible form to the space.




But it is not always serious. As soon as you come across the curiously long titles of the tracks (which are rough translations of the Minecraft manual into Italian) a subtle irony emerges. The imagery appears to be harmless and eventually, as in a video game, you can switch to safe-mode and refill your health-bar along the way... 
No panic attacks in the soft-occultism of FANTASTICO INTERIORE ;)

Joni Mitchell Gets Jazzy, Counterbalances Love and Trust with Freedom and Confusion on Court and Spark


Mobile Fidelity's UltraDisc One-Step 180g 45RPM 2LP
Plays with Definitive Detail and Clarity: Pressed on MoFi SuperVinyl Strictly Limited to 5,000 Numbered Copies
Box Set Features New Liner Notes
1/4" / 15 IPS / Dolby A analogue master to DSD 256 to analogue console to lathe


Court and Spark, the most commercially successful album of Joni Mitchell's trailblazing career, arrived after a year in which she took some time to breathe and kept a low profile. The pause led to more breakthroughs for the singer-songwriter. Marking Mitchell's increasing drift toward jazz (and affinity for Miles Davis and John Coltrane), Court and Spark garnered four Grammy nominations, earned the Best Album of the Year vote in the prestigious Pazz & Jop poll, and ranks #110 on Rolling Stone’s list of the 500 Greatest Albums of All Time.

Sourced from the original analog master tapes, pressed at Fidelity Record Pressing on MoFi SuperVinyl, strictly limited to 5,000 numbered copies, and featuring new liner notes, Mobile Fidelity's UltraDisc One-Step 180g 45RPM 2LP box set presents the 1974 classic with definitive detail, tonality, and directness. Marking the first time the revered LP has received audiophile-quality treatment, it's one of six iconic 1970s Mitchell records Mobile Fidelity is reissuing on vinyl and SACD sets.

Benefitting from a virtually nonexistent noise floor, dead-quiet surfaces, and superior groove definition, this collectible edition reproduces without compromise the textures, details, and breathtaking craftsmanship that help make Court and Spark into what many fans believe is the Canadian native’s finest hour. Notes bloom and decay as they do amid an acoustic live environment. Soundstages extend far and deep, with black backgrounds and balanced tones adding to the uncanny realism.

The reference-grade presence and openness put in transparent view Mitchell’s incisive words and unique phrasing, as well as the contributions of her prized support musicians — including Tom Scott and the L.A. Express as well as guest turns by the likes of David Crosby, Graham Nash, Jose Feliciano, and Robbie Robertson. Mitchell, experimenting with the melodic parameters of guitar and piano, is rightly found at the center of it all. The jazz-rock rhythms of drummer John Guerin, slippery guitar lines of Larry Carlton, vibrant horns and reeds laid down by Scott — crucial to the songs’ shape-shifting arrangements — can now also be heard with fresh ears.

Visually and physically, the packaging of the Court and Spark UD1S set complements its distinguished status. Housed in a deluxe slipcase, both LPs come in foil-stamped jackets with faithful graphics that illuminate the splendor of the recording. This reissue is for listeners who desire to engage themselves in everything involved with the album, including Mitchell’s “The Mountain Loves the Sea” painting — a picture of waves embracing and receding away from a mountain, a metaphor for the record’s lyrical themes — on the cover art.

Pitching deceptively light compositions against underlying tensions, Court and Spark witnesses the singer-songwriter finding her footing with a group of top-shelf musicians who seemingly understand her visions as well as expanding her lyrical palette and venturing further into territory no artist had dared explore. Mitchell’s accessibly complex structures, beat-propelled rhythms, and spirited interplay with Scott & Co. both give the music a different identity than her prior efforts and point in the directions she soon headed.

Lyrically, Court and Spark matches the wit, integrity, originality, and intellect of anything in Mitchell’s oeuvre — no small feat. Offsetting positives with negatives, and considering circumstances from multiple angles, Mitchell explores issues connected to love and freedom, certainty and confusion, and trust and fear with unfettered boldness and introspective empathy. She teeters between surrender and retreat, and spends a majority of the record sussing out the complications and sacrifices involved with such actions.

Mitchell addresses the transactional nature of desire (the intimate title track, the upbeat “Raised on Robbery,” complete with rock ‘n’ roll pep from Robertson and zesty sax from Scott); anticipation and disappointment of romance (“Car on a Hill,” “”Down to You); fame and celebrity (“A Free Man in Paris,” “People’s Parties”); and sanity (the dark and stormy “Trouble Child,” a satirical cover of Annie Ross’ “Twisted”). Throughout, she sings with an emotionally penetrating beauty and devastating honesty that teaches about ourselves.

Or, as Mitchell relays on “People’s Parties”: “Laughing and crying/You know it’s the same release.”

Double black vinyl LP available for the first time via Cargo. Stories Don't End is the third studio album by American folk-rock band Dawes, originally released in 2013. At Rolling Stone, David Fricke proclaimed this release to be a "quietly gripping, deceptively gleaming record." Bud Scoppa of Uncut evoked that "the sound is glossier, beefier, less wistful" on the release because the change in producers. // Stories Don't End is a game changer for Dawes and one that's more than likely going to work. Don't be surprised if you find this album propping up the shelves of your local supermarket soon as they leave behind their indie roots for world domination. By the end of the year Dawes are going to be everyone's favourite new band”. Echoes And Dust.

Featuring radio sessions and B-sides, as well as the singles 'Heaven Knows I'm Miserable Now', 'How Soon is Now', ‘Please, Please, Please, Let Me Get What I Want' and ‘This Night Has Opened My Eyes’ which are all some of The Smiths’ biggest streaming and most popular tracks globally.

As with most things, this project started with a conversation in the pub between me and Martin.

As we discussed what J-Walk and BiD could do next we chatted about our mutual love of DIY, Post Punk, Reggae, Digital & Dub, how about using that feel as an initial jump off on the next thing and see how you get on? I suggested.
As is his way Martin considered the suggestion, then promptly disappeared, 6 weeks later something landed in my inbox, it was titled Broken Beauty and the music contained embraced all those symbiotic ideals and culture.
Nailed it!
Recorded entirely in Stockport using a mixed kit bag of cheap forgotten keyboards, guitar, bass and effects pedals, this LP takes the J-Walk aesthetic and applies the wider palette of these influences to create something unique, those past and present influences forged together to bring you something truly DIY - instructions below.
How To Make Such A Thing...

Deactivate social media. Ignore the internet, don't answer text messages, avoid other music, the telly and other people. This is a process where it's only you in the room with whatever's in your mind. You will be there for some time and the loneliness can hurt a little.

Forget any predetermined ideas. Forget everything you've ever done before. This is an opportunity to start from scratch, but with years of accumulated knowledge and craftsmanship. Trust yourself.
Be scared. Be excited about not knowing what will happen and what will result.

Don't use midi sequencing, virtual instruments or samples. Just plug a toy instrument into an amp, press a rhythm and play around to see what happens. If it sounds good and fresh then record it. Plug a bass in to jam around and you'll soon hear and feel what sits in the pocket of the beat. Record it as it is. Dirty is real and good. Cleanliness equals sterility. Loop the bassline. Plug a guitar in and do the same.

Don't think when doing any of this. Just experiment with interest and curiosity and the music will take care of itself. You will now have a groove which is also about half a song minimum. Play some keys from the toys on top of what you have. Put 'em through effects pedals. Again, don't overthink it and don't try to get it clean. Add sound effects in right and random places.

There you go. Something you've never made before. But more importantly, it's something you've never heard before.

You don't have to die to be reincarnated.

BROKEN BEAUTY...You can't be either without also having been the other.

In a world of division, BEÃTFÓØT’s delayed second album is as an invitation to unite at a utopian celebration of life. Originally scheduled for release in October 2023 but postponed due to the ongoing Israel/Palestine war, the intrinsically-political ‘TOO CUTE’ has taken on more prominence than the Tel Aviv duo of Udi Naor and Adi Bronicki could have imagined.
“It's more urgent than ever for us to share this now, even though the album has been ready for a while,” says producer Naor. “BEÃTFÓØT are against any war, and believe that people should talk and not use violence - never,” he adds vehemently. “We feel the pain of Palestinians and Israeli loss of life, and are devastated by it. We hope the war will be finished soon and that peace and prosperity will come soon for both sides.”
While both Naor and vocalist Bronicki have been active in protests, charity work and community efforts over the past year - explicitly against the current government in Israel - such values of peace, acceptance, coexistence, inclusiveness and anti-hate from all sides are further instilled in the songs that form ‘TOO CUTE’.
“We're really trying to highlight that there are people here working tirelessly for a brighter future for our ill kids and our neighbour’s kids,” adds Naor, who is also co-founder of techno duo Red Axes. Having had to flee the country with his family, it’s through music that Naor and Bronicki have found hope.
In light of such conflict, the multi-layered yet sonically-bonkers record also enables escapism, which is needed more now than ever. Following their self-titled 2021 debut (released on DJ Tennis’ label Life and Death), ‘TOO CUTE’ is a refreshingly-ridiculous dark-rave rollercoaster which careers between hard-dance, big-beat, post-punk, techno, hyperpop, country and everything in between.
Things blast off at breakneck speed with the chaotic title track’s hyperpop snares, instantly-catchy lyrics (which feel ominously striking considering the war) and a stadium-ready chorus that erupts into rolling breakbeats, punishing EDM and even a nod to The Bloodhound Gang’s ‘The Magic Touch’. Somehow, we’re just three minutes into the record.
The tongue-in-cheek ‘HEART OF LEAD (TAKE IT OFF)’ still bangs despite its silliness, like if Kero Kero Bonito got in the studio with will.i.am. Later, ‘LEO’S SONG (THE SOCIAL MEDIA GUY)’s wittily satirical one-liners - “I just wanna get high with AI” - come thick and fast amid a barrage of glitches and guitars. ‘SUKC MY DIKC !!!’, meanwhile, pairs flute with pulsing hardstyle beats.
While their first record’s experimental explosion captured the pure carnage and energy of the BEÃTFÓØT universe in a conceptual fashion (though remaining polished in its own way), album two is primed to connect with a bigger audience thanks to its pop melodies, structures and songwriting.

Much of ‘TOO CUTE’ was written while the duo toured Europe for the first time, with rough sketches of tracks created in the moment during their incendiary live shows, and then recorded in planes and cars.
If their first record was a case of testing the vibes, album two is more assured and confident within their sonic world. “In the first album, we stepped into the club, metaphorically, and started making eye contact with everyone to figure out the energy,” Bronicki says. “But, this time round, I already had an idea of the story that I wanted to tell to these random people.”
And what is that story? “Radical silliness, or radical fun – that’s the essence of BEÃTFÓØT,” Naor confirms. “What we really want to do is goof around and have fun, and that brings out something very profound and honest,” he explains. A sense of nostalgic freedom is also at the album’s core, thanks to the removal of adult predetermined social constructs that decide how people should behave or look. “There’s a very honest and positive energy in holding onto your childlike wonder and trying to explore that with others,” Bronicki suggests, adding that “the adult world can be so wrong and angering”.
She feels this relates to both the album’s lyrics and the artistic state of mind that the duo always work to: “the goal is to feed a really thought-out and profound idea, but through a playful spoon,” she says. With this in mind, the recurring theme of ‘TOO CUTE’ stems from the duo’s “radical and lived experience of existing in a place that holds a lot of guilt and fear – because death is so imminent and prevalent in a very confronting way”. This is clearly represented on ‘FOOTYLICIOU$’, on which Bronicki screams “someone’s gonna die tonight!” before emphatically shouting “NOT ME!”
The album title is BEÃTFÓØT’s response to that: “We want to be a celebration of life, and that applies to all lives, of all backgrounds, including animals… that’s our guiding light,” Bronicki says.
“We create in the context of living in a country where the current government’s anti-democratic measures are limiting who is included in the celebration of life. Because different people are always being pushed out and excluded: whether it’s queers, Palestinians or people from different religions.”
BEÃTFÓØT - who have found a home among the LGBTQIA+ community - are fighting back against oppression. “We want everybody to come to the party and celebrate life together,” says Naor, setting out his and Bronicki’s mission… “and our goal is to widen that party as wide as it can go.”




c MANIAC ft. Princess Rani

e WHERE HAVE I BEEN ALL MY LIFE ft. Bugle Boy



c MANIAC ft. Princess Rani

[e] WHERE HAVE I BEEN ALL MY LIFE [ft. Bugle Boy]



[c] MANIAC [ft. Princess Rani]

[e] WHERE HAVE I BEEN ALL MY LIFE [ft. Bugle Boy]

Remastered Deluxe-Format zum 25-jährigen Jubiläum des legendären Debütalbums der US-Indie-Band American Football. Die Band brillierte mit einem Slowcore-Sound zwischen Math- und Post-Rock, löste sich aber kurz danach auf, um sich mit einer Reissue dieser LP 2014 wieder zu vereinen. Im Zuge der zweiten Emo-Welle entfaltete das Album eine ungeahnte Wirkung: Für Pitchfork "beste Neuauflage" und "einflussreichstes Album des Genres", für den Rolling Stone #6 der "40 besten Emo-Alben aller Zeiten". Das neue Format ist remastert und erscheint auf silberfarbigem Doppelvinyl mit 24-seitigem Booklet und Download-Card im Gatefold-Sleeve mit neuem Artwork in Silberfolienprägung.

The Outer Edge is excited to announce the release of an intense and previously undiscovered funk rap / boogie single, featuring two tracks recorded in 1986.

While researching for his book on 80s funk music in Germany, DJ Scientist explored bands from Bavaria that collaborated with GIs. One of these bands is Grand Slam, a group that remains active to this day. The band’s leader, Toby Mayerl, lived near a US Army base in Amberg, where he fell in love with funk after hearing Roger Troutman and Zapp. He soon became part of two groups: Total Control and Grand Slam.

Originally led by guitarist Harry Zawrel, Grand Slam had a “European” funk sound similar to Talking Heads or Level 42. However, in 1985, Mayerl took over the band and merged it with Total Control, a mixed group that included African-American soldiers. From that point on, they shifted towards a heavier funk and soul sound, continuing to work with musicians from the GI community. By late 1986, they had enough material to record their debut album, Make My Day. Although published by the independent label Kerston, the album was only available on cassette, primarily sold at their concerts in early 1987.

DJ Scientist managed to track down an original copy of this ultra-rare tape in the MUZ archive in Nuremberg. "What I heard blew my mind," he said. "The cassette featured seven raw, well-produced funk and soul jams with fantastic arrangements and vocals." As an old-school funk and disco rap collector, he was immediately captivated by the track "Goin' Out," which features GI rapper Calvin E. Flagg. This song evokes the energy of early recorded rap singles from labels like Enjoy or Sugar Hill Records.

On Side B, the second track from the unheard debut album, ‘Don’t Let You Down,’ offers another glimpse of what we've been missing. This uptempo boogie-funk track features lead vocals by Aletha Mcbryde, Calvin E. Flagg, and Oliver Allwardt, along with thrilling synths and a lively brass section - perfect for turning up the volume.
Both tracks have been remastered from the original master tapes, which Toby Mayerl fortunately still had in his archive. The artwork for the release is inspired by original band posters, with the Grand Slam logo taking cues from Bootsy's Rubber Band’s Body Slam! cover from 1982. This limited vinyl pressing is capped at just 350 copies.

“For fans old and new, they can expect to be reintroduced to some raw, authentic, classic Detroit Hip-Hop from beginning to end.”-Phat Kat on the Deluxe Edition re-release of “Carte Blanche”.

Phat Kat’s phenomenal sophomore solo LP, “Carte Blanche”, first released in ’07 via Look Records, is the sound of Detroit. It’s gritty, soulful, and raw, three key ingredients in bringing the blue-collar city’s vibe to life in music form. It’s also a modern classic that is getting the deluxe edition re-release it deserves, Below System Records is adding two rare bonus tracks produced by late Detroit legend, J Dilla.

Anyone familiar with Kat or Dilla’s work knows the two shared a special bond. In fact, Dilla would often go to the gruff-voiced emcee whenever he was looking to create a particularly tough track. This friendship led to them forming the group 1st Down, and this re-release’s two bonus cuts, “World Premiere” and “It Don’t Get No Liver Than This (feat. La Peace),” which were recording in 1996 and ’97, respectively. Despite 1st Down never taking off due to label issues, Kat and Dilla remained close and recorded a number of underground classics. Those include several joints off “Carte Blanche”, such as the stirring “Don’t Nobody Care About Us”, “Game Time”, and the Elzhi-featured “Cold Steel”. It’s actually that last track that Kat picks as his favorite cut off the record.

“If I gotta choose one, it would have to be ‘Cold Steel’ because it makes you wanna wild out as soon as the beat drops”, he says, adding that this was the first time he got to choose a Dilla beat to rap over. “He would never let me rock over beat tape beats-he use to say ‘Nah Kat, just write to them cause I’m gonna make all ya shit from scratch.’ ”

The album also boasts collaborations with other Detroit rap heavy-hitters, such as Black Milk, Guilty Simpson, Nick Speed, and T3 & Young RJ (of Slum Village). With Kat as their host, they were able to not only capture the sound of the Motor city in 2007 (when the album was originally released), but also cement its place in the greater canon of hip-hop as we know it today.

arottenbit is an electronic music project born in 2008 by Alessandro 'Otto' Galli (FOH Sound Engineer for Messa, Deafheaven, Pallbearer, Truckfighters, Bongzilla, Fuoco Fatuo). Playing solo with a 1989 NINTENDO GAME BOY or accompanied by hardcore punk drummer Guido Montanarini (PARADISE LOST, IMPLORE, THE SECRET), he soon found himself opening for some of his favorite bands like MELVINS, ATARI TEENAGE RIOT, THE BODY, MELT BANANA, AUTHOR & PUNISHER, FULL OF HELL and performing at major international festivals like ROADBURN 2022, HELLFEST 2022. "You Don't Know What Chiptune Is" is a bold exploration of the chiptune genre, pushing the boundaries of 8-bit music with an experimental and innovative approach. Each track on the album is a unique specimen, meticulously crafted to showcase the versatility and depth of chiptune sounds. The album is characterized by its inventive use of 8-bit sound chips, evoking the essence of vintage gaming consoles like Game Boy. arottenbit skillfully manipulates these sounds to create a wide range of textures and atmospheres. The lo-fi, raw quality of the 8-bit era is preserved, while contemporary production techniques enhance the overall listening experience.

"As I'm getting older, chip up on my shoulder..." is the opening line from Mac DeMarco's second full-length LP `Salad Days,' the follow up to 2012's lauded `Mac DeMarco 2.' Amongst that familiar croon and lilting guitar, that initial line from the title track sets the tone for an LP of a maturing singer/songwriter/producer. Someone strangely self-aware of the positives and negatives of their current situation at the ripe old age of 23. Written and recorded around a relentless tour schedule (which picked up all over again as soon as the LP was done), `Salad Days' gives the listener a very personal insight into what it's all about to be Mac amidst the craziness of a rising career in a very public format. The lead single, "Passing Out Pieces," set to huge overdriven organ chords, contains lines like "...never been reluctant to share, passing out pieces of me..." Clearly, this isn't the same record that breezily gave us "Dreamin," and "Ode to Viceroy" but the result of what comes from their success. "Chamber of Reflection," a track featuring icy synth stabs and soulful crooning, wouldn't be out of place on a fantasy Shuggie Otis and Prince collaboration. Standout tracks like these show Mac's widening sound, whether insights into future directions or even just welcome one-off forays into new territory. Still, this is musically, lyrically and melodically good old Mac DeMarco, through and through. The same crisp John Lennon / Phil Spector era homegrown lush production that could have walked out of Geoff Emerick's mixing board in 1972, but with that peculiar Mac touch that's completely of right now. "Brother," a complete future classic, is Mac at his most soulful and easygoing but with that distinct weirdness and bite that can only come from Mr. DeMarco. "Treat Her Better" is rife with "Mac-isms," heavily chorused slinky lead guitar, swooning vocal melodies, effortless chords that come along only after years of effort, and the other elements seriously lacking in independent music: sentiment and heartfelt sincerity. We're only at Part 2 and 1/2 (one EP and two LP's in) into Mac's career. As you read this and as you hear the album on April Fool's Day of this year, he'll probably be on tour, or preparing for one... or maybe already writing new music. A relentless work ethic is something to be admired in today's indie music scene, but when it's of the quality Mac is giving us time and time again, it starts to turn from admiration to awe.

Back in stock! As hip-hop’s online footprint began rapidly expanding in the early 2010s, acclaimed Los Angeles emcee Blu was a rising star who commanded attention. Just a few years removed from the breakthrough success of Below The Heavens and an appearance on the XXL Freshmen list, the talented wordsmith was navigating the major label system, dropping self-produced mixtapes, and working with artists like The Roots, Miguel, Flying Lotus, 9th Wonder, and more. In 2011, the mysterious album Jesus turned up on Bandcamp, uploaded by an artist calling himself “b.” Soon discovered to be the latest project from Blu, the unpolished but deeply soulful collection quickly made waves on blogs and social media. Just weeks later, Jesus improbably became one of Blu’s first official solo releases, and it remains a lo-fi masterpiece, with mesmerizing production by Alchemist, Madlib, Knxwledge, Hezekiah, and Blu himself. Now, this classic is receiving a long-overdue vinyl reissue, complete with the Jesus-era bonus track “Arrow & The Sparrow” featuring Jimetta Rose.

Having spent the last 10 years tinkering with his songwriting through his extensive catalog with folk/rock group Mapache, as well as his debut solo album ‘Off My Stars’, Sam works alongside co-producer Johnny Payne for his follow up sophomore solo album ‘Real Life Thing’ via Calico Discos.

Sam was born in Los Angeles in November 1994 and currently lives in Ojai, CA. Having had residence in Los Angeles, CA / Coahuila, MX / Orem, UT & New Orleans, LA - it’s safe to assume Sam will be on the move again soon and with more fresh energy to give of himself through his art. Determined to live by creation, Sam is the type of artist that is always creating something, maintaining a sort of inexhaustible hunger to make his music. Expressing himself through sound has now gone beyond joy and into being second nature and Sam’s real first language.

What if Japanese city pop met no wave? Neither in your wildest dream such occurrence could be real, but let’s make things clear. Frank Chickens could have been possibly forerunners for several famous alternative bands, Cibo Matto on top of all, but sure had a development on their own. Our history began in London, early eighties, art duo Frank Chickens is the original creation of Japanese performers Kazuko Hohki and Kazumi Taguchi. All of a sudden the band debuts with a pair of singles and a full length on Kaz Records, it’s 1984, but could have been easily 1994. Backed by the likes of Steve Beresford (Alterations, The Slits, General Strike, London Improvisers Orchestra), Annie Whitehead (Penguin Cafe Orchestra, Robert Wyatt), Lol Coxhill, Tony Coe and Clive Bell (the top of the cream of the English avantgarde) the band soon became a case in history. Now we have the pleasure – 37 years after its original release – to reissue their second album: Get Chickenized!

The record came out in 1987 on the british label Flying Lecords and showed a different side of the project, with a major focus on the so-called synth wave counterculture, still maintaining a certain avant feel. With original conspirator Steve Beresford still on board, the band was propelled in the studio by another key figure of the London underground: journalist, composer and producer David Toop. Being John Peel’s favorite for a while, the band built a cult following retaining some absurd live performances, well known for their idiosyncratic choreography. Later revamped in the year 2000 - thanks to cult label Ninja Tune – the band enjoyed a second wave of success, with a remix album featuring the likes of Pizzicato 5, Fink and Neotropic. With a cover embellished by the labor of Pere Ubu David Thomas, this second influential album is finally available for your listening pleasure. Here’s your chance to dive deep into this exotic pop extravaganza.

On How It Ends (?), slinky melodies snake through nocturnal atmospherics, drawing you into a world built on poetic, painterly lyricism. Night Crickets, a long-distance groove affair that materialized during the drawn-out days of lockdown, has emerged once again to soundtrack our waking dreams.

David J (Bauhaus, Love & Rockets), Victor DeLorenzo (Violent Femmes) and multi-instrumentalist Darwin Meiners spearhead a loose collective of like-minded creative souls whom, through sheer tenacity and a burning desire to collaborate and create, transcend the restrictions of space and time. Audio files shared from Los Angeles to Milwaukee, from London to the San Francisco Bay, and the ghosts of Candlestick Park shimmer through the fog, coalescing in a glorious ‘gesamtkunstwerk’ that draws from the past, the present and the imagined future.

Declaring Bauhaus, Love And Rockets, and Violent Femmes iconic, foundational bands in the history of alternative music would receive little pushback from those in the know. San Francisco born artist Darwin Meiners is a fan of all three. A chance meeting with David J grew into a friendship, and Darwin not only became a bandmate, but his manager. After reaching out to Victor DeLorenzo through e-mail, Darwin met the Violent Femmes drummer after their set at Coachella. Soon, after the three collaborated on Darwin’s 2014 release Souvenir.

As the pandemic took hold, Darwin was looking for a new project to occupy the lock down time and approached Victor, who was keen to proceed and suggested that David join as well. The musical trust established between these three was immediate and Night Crickets were born. Within weeks a global process was initiated between them, the recordings eventually forming the album, A Free Society.

Following that release, inspired by how well – and quickly – they all worked together, the trio kept up their collaboration. “We are each free to discover musical connections that could only exist in an ideal creative setting” explains Victor. “We are very lucky to have three musicians who write, sing and play various instruments in one trio… our egos seem to melt into one when we face musical decisions, so our expeditions are always filled with pure discovery, humor and drive!”

How It Ends (?) was crafted with the same collaborative spirit as A Free Society. Each member contributed contributed unique elements to spur their collective creativity—whether a drum pattern, a lyrical concept, or a musical idea—and together, they expanded these initial sparks into the finished work. True to their approach, much of what you hear was captured in the first take, reflecting a genuine, unfiltered moment.

The music on the How It Ends (?) is a true evolution of the debut album. It is deeper and darker. Having said that, the dark tone is alleviated by a healthy measure of the buoyant, bouncy and melodic. “Much of the new material is very psychedelic and the contrast between this heavy, dark psychedelia and the more uplifting pop elements puts me in mind of The Beatles’ ‘Revolver’ album to some degree,” tells David J. “The recording process for the new album was exactly the same as the first in that we all recorded remotely, taking turns to share files and reacting spontaneously to the previous track, overdubbing then passing on once again until we all felt that the track was done.”

“While we didn’t start with a specific theme, the album emerged as a contemplative exploration of endings” says Darwin. “It touches on the loss of individuals, the shifting of ideas, and the fragility of systems. Beneath this sense of darkness and finality, however, there are threads of beauty and glimpses of hope. We invite you to immerse yourself in the album and experience the journey we’ve embarked upon.”

A Day in the Life' was released in 1967 and reached #1 on the Billboard Jazz Albums chart.

From the early 1960s to the late '80s, A&M was one of the most eclectic and powerful independent record labels in the world. The roster of artists who recorded there includes The Carpenters, Captain Beefheart, The Police, Joe Cocker, Suzanne Vega, Procol Harum and Janet Jackson, among others. Founded as an independent company by Herb Alpert and Jerry Moss in 1962, soon the label garnered interest and success, and was acquired by PolyGram in 1989. Throughout its operations, A&M housed well-known acts such as Sting, Sergio Mendes, Supertramp, Bryan Adams, Burt Bacharach, Liza Minnelli, Paul Williams, Quincy Jones, Cat Stevens, Peter Frampton, Carole King, Extreme, Joan Baez, the Human League, Soundgarden, Duffy, and Sheryl Crow, among others. Reissue of the debut album on A&M Records by jazz guitarist Wes Montgomery, released in 1967. It reached #1 on the Billboard Jazz album chart and #2 on the R&B chart. Considered by far the best of his three albums on A&M (in partnership with Creed Taylor’s CTI Records), A Day in the Life features a plethora of star sidemen, such as Herbie Hancock, Ron Carter, Ray Barretto and Grady Tate, among others, as well as superb arrangements by Don Sebesky.

Sly Dunbar and Robbie Shakespeare or Sly and Robbie as they are affectionately known are the drum and bass backbone of Reggae Music, they have played on, produced, invented, reinvented more records then many of their contemporaries put together.

Sly Dunbar born Lowell Charles Dunbar on 10 May 1952, Kingston, Jamaica, drummed his first session for Mr Lee Perry which included a Jamaican hit ,a track called 'Night Doctor', before moving on to the group Skin, Flesh & Bones who had a residency at Kingston's famous 'Tit for Tat' club. This band would evolve into the Channel One house band The Revolutionaries where Sly named after his fondness of the band Sly and the Family Stone would begin to play alongside a bass player who would become his long standing partner in music, namely one Robbie Shakespeare.

Robbie Shakespeare born 27 September 1953, Kingston, Jamaica, had worked his way through session bands including the legendary Aggrovators before uniting with Sly Dunbar in The Revolutionaries. Both musicians had worked with other respective bass / drum players including such figures as Lloyd Parks bass, Carlton 'Santa' Davis drums, but everything seemed to fall into place when they worked together.

They also both had a quest to push the boundaries of reggae music, which they would do throughout their careers, over many sessions to numerous to mention. But highlights would include the groundbreaking Mighty Diamonds 1976 set 'Right Time' with its fresh rockers rhythms which lead the way in the 1970's. Also their work with the bands Culture and Black Uhuru the later of which they toured extensively with, spreading the reggae vibes across Europe and America. Not to forget to mention their Taxi label / productions which are always inventitive whether its in the reggae field or outside where their playing / production skills are much in demand.

The third piece of this jigsaw is the mighty Mr Bunny 'Striker' Lee who brought these legends together. Born Edward O'Sullivan Lee 23 August 1941, he must be one of reggae's most underrated producers. Leading the way in the 1970's especially in the dub field and being one of the early exponents of a King Tubby remix ,which would see nearly all his 7'' releases carrying a Tubby reworking on its flip side. Bunny started his musical career in 1962 working for Duke Reid's Treasure Isle label and soon moved into the world of production gaining his first hit in 1967 with 'Musical Field' by Roy Shirley for the WIRL label. The 1970's was a very productive time for Bunny Lee and saw the launch of his LEE'S label which was producing hits in Jamaica. Not having a studio of his own and renting studio time from the existing establishments like Randy's Studio 17 and Channel One he had to have a crack team of session players to carry out this task, fast and efficiently. This happened firstly under the guise of THE AGGROVATORS see The Aggrovators dubbing it studio 1 style JRCD005 and then with the group of musicians THE REVOLUTIONARIES[ see The Revolutionaries at Channel 1 dub plate specials JRCDOO3]. It’s here in the latter of these groups that Bunny matched Sly and Robbie together for the first time and it’s this match made in heaven that these tracks on this release are culled from. Sessions that Bunny Lee produced with Sly and Robbie during this magical 70's period. These rare dubs are taken from the original master tapes, you may have heard the tune before but not these versions. So sit back and enjoy Reggae Musical History in the making....

‘You Are Not A Stranger Here,’ the long-awaited new album by Danny & the Champions of the World, is the sound of a band exploring new and surprising musical terrain. Their seventh studio release and first since 2017’s ‘Brilliant Light,’ it’s produced by Champs keyboard player Thomas Collison and features frontman Danny George Wilson’s most compelling songs to date, including soon-to-be live anthems such as ‘Sooner Or Later’ and ‘The Robot Cries.’

Oakland's Naked Roommate have been slinking around the Bay Area lighting up stages, shaking asses & confounding listeners since 2018, when the group - originally just the duo of real-life partners Andy Jordan & Amber Sermeno (both formerly of The World) - self-released a cassette of demos (2018's "Naked Roommate"). Members Michael "Mig" Zamora & Alejandra Alcala (Blues Lawyer) joined soon after to augment the sound & live band with their proper full-length album "Do The Duvet", co-released in September of 2020 via UK label Upset! The Rhythm & Trouble In Mind. 2024 finds the lineup expanded even further to incorporate the horn section of Geoff Saba & Jeanne Oss on tenor & alto saxophones as well as percussion & marimba as the band readies their sophomore effort, the dizzyingly ecstatic "Pass The Loofah" Recorded by members Andy Jordan & Mig Zamora from 2021-2023 as time & restrictions allowed, "Pass The Loofah" retains the wild energy of their debut, but leans into the rhythmic throbs perpetuated by forbears like Kid Creole & The Coconuts, Lizzy Mercier Descloux & ESG; the signature sound of UK's On-U Sound & NYC's 99 Records, but with a decidedly West Coast irreverence & a knack for absurdist exposition. Make no mistake, this is music designed to make your body MOVE & Naked Roommate won't stop until they 've made sure every ass is shook. The band freely incorporates elements of the dancier side of post-punk (think A Certain Ratio or Liquid Liquid) as well as disco, funk, & house music. However, the group's uplifting melodicism belies a deeper subtext, understanding the importance of the sense of community of dance music & the culture surrounding it and leaning into a Neo-socialist lyrical context. Shit is fucked, & we get thru it by helping one another & acknowledging & addressing the failures of disaster Capitalism & tech-bro hegemony (a state the band is all-too familiar with, living in The Bay Area) Take the first single "Bus"; a four-on-the-floor banger & salutary paeon to the ups & downs of the people's transport that throbs & pulses with a late-night sashay (and a bridge that launches the tune into the stratosphere). Elsewhere, "Fight Flight "s funky horn stabs and Sermeno's slinky vocals swoon over Numan-esque synth squiggles that are fortified & funkified toward the dance floor. "Broken Whisper " edges into new territor y for the group, adding a Caribbean flavor a'la Kid Creole or The Specials that punctuates the persistent & synthetic beats underneath. Meanwhile instrumental interludes like "Ducky & Viv", "G-Y pt. 1" & "G-Y pt. 2" oscillate into zones of sci-fi meets soap opera soundtracks, sounding not unlike the electronic experiments of UK industrial pioneers Chris & Cosey. Album closer "I Can't Be Found" might be the album's secret weapon; It 's swooning synth melody & processed vocals recall early Daft Punk or MGMT by way of Derrick Carter & The Au Pairs. It 's a beautiful song; perfect for the late night (or early morning) car ride home from the club. "Pass The Loofah" is released worldwide on October 25th, 2024 via Trouble In Mind Records digitally via most DSPs & on black vinyl & limited "disco ball " silver vinyl.

Limited metallic silver/white "disco ball" splatter vinyl available while supplies last.

Oakland's Naked Roommate have been slinking around the Bay Area lighting up stages, shaking asses & confounding listeners since 2018, when the group - originally just the duo of real-life partners Andy Jordan & Amber Sermeno (both formerly of The World) - self-released a cassette of demos (2018's "Naked Roommate"). Members Michael "Mig" Zamora & Alejandra Alcala (Blues Lawyer) joined soon after to augment the sound & live band with their proper full-length album "Do The Duvet", co-released in September of 2020 via UK label Upset! The Rhythm & Trouble In Mind. 2024 finds the lineup expanded even further to incorporate the horn section of Geoff Saba & Jeanne Oss on tenor & alto saxophones as well as percussion & marimba as the band readies their sophomore effort, the dizzyingly ecstatic "Pass The Loofah" Recorded by members Andy Jordan & Mig Zamora from 2021-2023 as time & restrictions allowed, "Pass The Loofah" retains the wild energy of their debut, but leans into the rhythmic throbs perpetuated by forbears like Kid Creole & The Coconuts, Lizzy Mercier Descloux & ESG; the signature sound of UK's On-U Sound & NYC's 99 Records, but with a decidedly West Coast irreverence & a knack for absurdist exposition. Make no mistake, this is music designed to make your body MOVE & Naked Roommate won't stop until they 've made sure every ass is shook. The band freely incorporates elements of the dancier side of post-punk (think A Certain Ratio or Liquid Liquid) as well as disco, funk, & house music. However, the group's uplifting melodicism belies a deeper subtext, understanding the importance of the sense of community of dance music & the culture surrounding it and leaning into a Neo-socialist lyrical context. Shit is fucked, & we get thru it by helping one another & acknowledging & addressing the failures of disaster Capitalism & tech-bro hegemony (a state the band is all-too familiar with, living in The Bay Area) Take the first single "Bus"; a four-on-the-floor banger & salutary paeon to the ups & downs of the people's transport that throbs & pulses with a late-night sashay (and a bridge that launches the tune into the stratosphere). Elsewhere, "Fight Flight "s funky horn stabs and Sermeno's slinky vocals swoon over Numan-esque synth squiggles that are fortified & funkified toward the dance floor. "Broken Whisper " edges into new territor y for the group, adding a Caribbean flavor a'la Kid Creole or The Specials that punctuates the persistent & synthetic beats underneath. Meanwhile instrumental interludes like "Ducky & Viv", "G-Y pt. 1" & "G-Y pt. 2" oscillate into zones of sci-fi meets soap opera soundtracks, sounding not unlike the electronic experiments of UK industrial pioneers Chris & Cosey. Album closer "I Can't Be Found" might be the album's secret weapon; It 's swooning synth melody & processed vocals recall early Daft Punk or MGMT by way of Derrick Carter & The Au Pairs. It 's a beautiful song; perfect for the late night (or early morning) car ride home from the club. "Pass The Loofah" is released worldwide on October 25th, 2024 via Trouble In Mind Records digitally via most DSPs & on black vinyl & limited "disco ball " silver vinyl.

Green Day’s seventh studio album American Idiot was released in September 2004 and has since sold over 23 million copies worldwide. The album is a punk rock opera masterpiece that won the Best Rock Album at the 2005 Grammy Awards©. Five hit singles were released from the album: “Boulevard of Broken Dreams”, “Holiday”, “Wake Me Up When September Ends”, “Jesus of Suburbia”, and the title track, “American Idiot”.

Limited Edition Super Deluxe Box Sets (vinyl and CD) will be released on October 25th, 2024, to celebrate the 20th Anniversary of this legendary album.

The CD Super Deluxe contains 4 CDs which feature the original album and also includes 15 unreleased demos, a 15-song 2004 concert from Irving Plaza, NYC (9 songs previously unreleased), and 14 tracks that were released as B-Sides and bonus tracks. The box set is completed with two Blu-rays that feature the film “Heart Like A Hand Grenade”, 35 minutes of Green Day live at the BBC, and a new, unreleased documentary: “20 Years of American Idiot” plus a 48-page book, an enamel pin set, sticker sheet, and cloth patch.

Dar Embarks, the hardware-based collaboration of Chicagoans Dan Jugle and Ken Zawacki, share four precious recordings of bouncing, highly-acidic machine funk and industrial ambiance. This is a posthumous release for Dan Jugle, who departed in 2018.

Dan was a multi-instrumentalist and a pillar of Chicago's techno scene who left an indelible mark on it with his distinctive sound. His infatuation with electronic music began in the mid-90s when he found his way to Midwest raves as soon as he was old enough to drive to them. He began working with analog gear to create his own expression of the music he heard there. Jugle, Zawacki, and Mike Broers started experimenting with a thrifted Roland TR-707, figuring out the controls through trial and error. They performed together as Ghost Arcade in the early 2000s.

Years later, Jugle and Zawacki reunited creatively, forming Dar Embarks and building the foundation for their project. Jugle gained a reputation for crafting washed-out, saturated club tracks as Juzer, a project formed with Beau Wanzer. Dar Embarks' debut EP Fleer (released on CLEAR USA) and Juzer's Horseplay (on Anthony Parasole's label The Corner) were both released in 2014, both elevated by Dan Jugle's live-action knob-twisting and button-pushing composition inspired by sci-fi and comic books. Despite his early passing, Jugle's legacy lives on through his work and his passion for Midwest techno that his friends and fans still remember and carry.

Lovingly wrapped up and presented to Acid Camp by Ken, these heaters are finally set free to move asses and minds.

"• 25th Anniversary expanded edition available on CD and for the first time on vinyl. • Contains five previously unissued tracks recorded live, November 14, 1999 on Mountain Stage. • Packaging contains lyrics, photos, and liner notes from Peter Blackstock (No Depression, Austin American-Statesman) While gigging in Austin, Texas, in the late 1980s, Kelly Willis developed a strong fan base. Among her fans were other Texas musicians like Lyle Lovett and Nanci Griffith. Griffith introduced her to producer Tony Brown who signed Willis to MCA Records. Soon, she would find herself in the films Thelma And Louise and Bob Roberts, as well as receiving a nomination as Top New Female Vocalist at 1993’s Academy of Country Music Awards. After three records on MCA, and an EP on A&M, Willis finished her fifth release and signed with Rykodisc, who released What I Deserve in 1999. Featuring originals by Willis, three co-writes with The Jayhawks’ Gary Louris, and songs by Paul Kelly, Paul Westerberg, Nick Drake, Dan Penn, and more—What I Deserve became her highest charting album to date, hitting #30 on the Country charts and #24 on Heatseekers Albums. It is also now revered as a landmark release in Alternative Country and Americana circles—with good reason. To celebrate its 25th Anniversary, What I Deserve returns—expanded with five previously unissued live performances of songs from the album recorded November 14, 1999 on Mountain Stage. In addition to an expanded CD reissue, the release sees its first appearance on vinyl as a double-LP! In addition to the 17 tracks (appearing on both formats), the packaging contains lyrics and new liner notes from Peter Blackstock (No Depression, Austin American-Statesman), all done with Kelly’s approval. What I Deserve has always deserved another look and listen for those who may have missed it the first time—what you deserve is to lose yourself in Kelly Willis’ incredible What I Deserve and celebrate 25 years of this landmark album.
"

The Best of The Wailers’ was the debut album proper by Bob Marley & The Wailers, recorded for Leslie Kong - Jamaica’s most successful record producer of all time. These tapes were restored by Nick Robbins in London and assessed against all previous ‘The Best of The Wailers’ releases on vinyl.

Onsloow burst onto the Norwegian indie scene in 2022 with their self-titled debut album. They quickly transitioned from obscurity to performing concerts nationwide, garnering rave reviews, playing at festivals, and receiving increasing radio play with each new single. As is the case for many passionate amateurs with families and day jobs, this couldn’t last indefinitely. Vocalist Johanne Rimul became busy with her master’s degree and growing family, Mathias Nylenna returned to his regular job at national radio, and drummer Morten Samdal and bassist Lasse Berg pursued their own musical projects. But Onsloow wasn’t finished. They soon returned to their practice space in Trondheim, working tirelessly on new songs for over two years. The result is their second album, aptly named Full Speed Anywhere Else.

With Rimul’s commitments making further band activity impossible, Onsloow had to search for someone who could continue the band's signature sound—distinctive, melodic vocals atop jangly pop guitars and driving drums. Fortunately, Helene Brunæs, frontwoman of the emo/pop-punk sensation Lille Venn, jumped on board without hesitation. Despite her busy schedule with regular releases, a US tour, and gigs alongside pop stars like Sigrid, she found time to join Onsloow's ambitious plans. Her warm, airy vocals perfectly match Onsloow's universe of catchy power pop, quirky indie rock, and energetic pop-punk. The new album even features hints of country and Americana. Over several sessions with producer Marius Ergo, the album took shape, with the band focusing more on details and arrangements than ever before. The goal was to elevate their music beyond their self-titled debut album.

Full Speed Anywhere Else’s ten meticulously crafted tracks form a cohesive unit, allowing the band to explore various directions, moods, and expressions without losing their essence: straightforward, catchy power pop that sticks, with plenty of nuances for those who appreciate the finer points.

'Hollywood' is Andreas Raser debut album. After their single releases 'Willow' 'Reignite' and 'Spent' the LA-Hamburg band will release their first vinyl on Polly Records.

Andreas Raser consists of Camille Clair, from Los Angeles, and Albert Dietrich, from Hamburg, who first started making music together in 2020 while studying art in Frankfurt am Main, Germany. Their debut album "Hollywood" was recorded in the school, and realized simultaneously with a collaborative visual arts practice. Andreas Raser is currently based in Vienna, Austria. They recently had their live debut opening 3 show for Bar Italia.

It s been 7 years since I introduced the first part of this series -Mis Hermanos Rumanos- with Sepp and later (Part 2) with Faster and Nu Zau. Seven years later the saga of Romanian brothers grows and continues, it is a pleasure to be able to bring together two good friends and talented artists from the great and already proliferating minimal scene of this country. In this third part we can find a darker and percussive sound, acoustic string instruments and at the same time maintaining the minimalist essence that characterizes Acmé. I hope you enjoy this third installment, we really appreciate your support with the purchase of this record, it is very important for us to be able to continue investing in this quality format. I hope to see you somewhere soon, With love, Alex Font.

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

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

Music video premiering 2 October 2024.

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

2024 Repress

Medical Records releases the first full length LP in 5 years by LA's Geneva Jacuzzi. To say Jacuzzi is a multifaceted artist would be an understatement. She is well known for her uncompromisingly obtuse synth-driven pop and one-of-a-kind performance art that is comprised of one time only spectacles and installations. Her works have been presented in famous art institutions such as the Museum of Contemporary Art, MOCA and numerous other venues across the globe. She has developed a very focused cult following in the art AND music scenes. She was originally well known for her multitude of self-released home recordings but also released a full length Lamaze in 2010 on the Vinyl International to much acclaim. Not to mention her track The Sleep Room featured on The Minimal Wave Tapes Vol 2. Technophelia is the culmination of a hybrid of DIY and professional studio recordings (with the help of esteemed producer Chris Coady) that resulted in this exquisite album. Features the soon-to-be-hits I'm A TV and Cannibal Babies. Lovers of unique and left-field wave such as Gina X, Ronny, and the like will be transfixed by the raw, oozing newness of it all. All tracks recorded/performed by Geneva Jacuzzi with additional production by Chris Coady at Sunset Sound Studios. Mastered by Josh Bonati. Presented on high-quality 180gram heavyweight white vinyl.