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- 2023 Edition - Pressed on Clear Red Wax - LP housed in an expanded Stoughton tip-on gatefold jacket - Includes fold-out poster, sticker and insert, along with a download card for full album, non-album single B-side "The Cowboy Song" and an unedited October 1978 BBC audio interview with John Lydon // Reissue of the pioneering group's debut album First Issue. In 1976 Johnny Rotten and the Sex Pistols set the agenda for punk's year zero with 'Anarchy In The UK', a song that summed up the spirit, sound and attitude of the band in one shocking package. Two years later, the Sex Pistols were in tatters, but Rotten was as unsentimental as you'd hope. He reverted to his real name - John Lydon - and set about forming a band whose very identity kicked against press and media manipulation. Featuring bassist Jah Wobble, drummer Jim Walker and guitarist Keith Levene, his new group were Public Image Limited. The public image would be limited. PiL were a very distinct prospect from the Pistols, founded with a greater thought for rhythm, and with a sound that turned the page from snarling punk to a more experimental sound fusing rock, dance, folk, ballet, pop and dub. But that's not to say Lydon's new outfit lacked vitriol. 'Public Image' hits out against the notorious British tabloid press, who never gave Lydon an easy ride, and against his own Sex Pistols public image - "You only saw me for the clothes I wore". The debut single (and the album that followed) operated as a theme song and a manifesto: "_my entrance/My own creation/My grand finale/My goodbye," as the lyrics had it. It is, essentially, the sound of four people letting loose in a studio - and not caring what anyone else thought. The album was never officially released in the USA back in the day, its sound considered too un-commercial by major-labels for an American release. First Issue has been lovingly reproduced from the original UK 1978 release and this special reissue also comes with a clutch of post-punk era treasures. The 2023 LP edition includes an expanded gatefold jacket, an archive replica fold-out poster, a PiL sticker, insert, and Download Card for the album, the archival BBC interview, and "The Cowboy Song." All of which were approved and coordinated with John Lydon and his personal management.

Magna Pia, a.k.a seasoned producer, DJ, and composer Hüseyin Evirgen, announces his second full-length album, ‘QUT’, arriving on Inland’s Counterchange label in March on double vinyl.

After 2 steamrolling EPs of club tracks on the label - now entering its tenth year of action - Magna Pia presents his most complete and advanced body of work to date, weaving a dense narrative of drone, figurative synthesis, bass-heavy electronica, and abstract techno.

Over eight tracks each referencing his rich cultural and musical background, we are treated to a unique overview of a producer at the crest of his art. The word ‘Qut’ is an ancient positive affirmation, in one short word encompassing all that is scared, pure and good. The Old Turkic term meaning not only ‘good fortune’ and ‘joy’, but in shamanic circles, the ‘wonder of the heavens’, permeates the roots of Evirgen’s multi-heritage history.

That Evirgen expresses his interpretation of this central theme through the marriage of bewitching melodies with atonal, experimental and rumbling electronics is a conscious comment on the distortions and mutations of our Modern Era. We now exist in the digital age of the Technosphere for better or worse, and must seek beauty where-ever possible.

The opening ‘Prologue’ invites the listener into a futuristic yet organic sound world, where lush stereo processing goes hand in hand with rumbling bass and subtly detuned drone languages. From the echoes of traditional Uyghur folk music, translated via synthesizers into a glistening slow-diving opus (‘Qizil’), to churning dub-techno adorned with a symphony of evolving sine-waves (‘Venus M’), Evirgen then deploys ‘X’ - a haunting experimental piece composed predominantly with his voice and electronic processing.

The interweaving synth lines of ‘Gudanna’ pierce the fog with a radiant and transcendent club-techno bounce before the ode to the ancient Bronze Age goddess ‘Astarte’ unfolds its snare-driven broken-beat formations. The title track ‘Qut’ embodies by far the heaviest club track of the album, in a deadly, stripped-back moment of future-techno hypnotism. Dancing flames of purple-tongued synthesis are held (just) in line by a wonderfully tough throb of drums.

With his ‘Epilogue’, Magna Pia allows the spectral ideas and concepts laid out across the LP to connect and travel full circle, confirming our suspicions that this could be one of the most coherent and exciting works to emerge in the brave new field of introspective, and sensitive techno-electronic language.

French electronic producer Blutch is back with another supremely trippy EP “Condate” on home label Astropolis Records, featuring a remix from Azo.

This Brittany native has a broad, borderless sound that mixes up electronica, breakbeat, house and IDM with stirring emotional undercurrents that range from nostalgia to melancholy. Last year he served up his superb ‘Terre Promise’ album on the label, and once again, it combined a raft of different sounds on one majestic record. He again shows off his ability to layer captivating melodies over compelling rhythms on this fresh new EP which extends his LP released last year with a more dancefloor suite. "Condate" is the original name of the city of Rennes in Brittany, France, where he lives. A city he loves passionately. The tracks featured in this EP are mainly taken from his live act "Terre Promise". The cover artwork also comes from the audiovisual live act: a motion design work made by Romain Navier, mixing landscapes from Brittany and hallucinated 3D creations, dressing Blutch's stage with a fabulous work around the album's theme. These tracks represent the more festive part of the live show, just as Blutch's love for Rennes is also linked to its festive character.

First single ‘Condate’ is a physical cut driven by a slick breakbeat. Melodic rain falls down the face of the track as booming bass roots you to the dance floor, and once again, the whole track is doused in heavenly synth work and subtle waves of euphoria.

‘Condate’ is a perfectly impactful EP, both physically and emotionally. The EP drops on the 24th March (vinyl/digital).

Nach der Veröffentlichung der 2CD-Version des Albums Moonage Daydream im letzten Jahr, wird der Soundtrack nun am 31. März als 3LP Vinyl veröffentlicht.

"Moonage Daydream" beleuchtet das Leben und Genie von David Bowie, einem der produktivsten und einflussreichsten Künstler der jüngeren Musikgeschichte.
Auf Spielfilmlänge nimmt uns Brett Morgen mit in die Welt Bowies, erforscht anhand von großartigem, vielfältigem und nie zuvor gesehenem Filmmaterial, Live-Auftritten und Musik (Morgen sichtete vier Jahre die Archive des David Bowie Estates) seine kreative, musikalische und spirituelle Reise.
Durch den Film führt uns dabei die Erzählerstimme von David Bowie selbst.
Das Begleitalbum zu "Moonage Dream" enthält Songs aus Bowies gesamter Karriere, darunter bisher ungehörtes Material, speziell für den Film und dieses Album angefertigte Mixe und Gesprächspassagen Bowies.

Zu den Highlights des Tracklistings zählen ein bisher unveröffentlichtes Live-Medley von "The Jean Genie / Love Me Do / The Jean Genie", aufgenommen beim berühmt-berüchtigten letzten Ziggy-Stardust-Konzert im Londoner Hammersmith Odeon 1973 und mit Jeff Beck an der Gitarre. Weitere Raritäten sind eine frühe Version
des Hunky-Dory-Favoriten "Quicksand" und eine bisher unveröffentlichte Live-Version von "Rock 'n' Roll With Me", mitgeschnitten bei der legendären "Soul Tour" 1974.

On the heels of his already critically acclaimed (yes, already!) retrospective, World Spirituality Classics 3: The Muslim Highlife of Alhaji Waziri Oshomah, Alhaji Waziri Oshomah — the Oyoyo King, the Godfather of Afemai Music, the Etsako Super Star, Mr. Please Please Please, Mr. Dynamite — returns with Vol. 2.
Along with the other four volumes of the series, Vol. 2 is now available—for the very first time!—as part of a complete set (in a box): Vol 1 - 5 (1978 - 1985) (November 4, 2022).
Waziri hails from a small part of Edo State in southern Nigeria called Afemailand, known for being a harmonious region where Muslims and Christians live—and dance—together. And there, as a devout Muslim and an exemplar of religious piety in his community, Waziri’s music fuses Etsako/Afemai folk styles with pan-Nigerian highlife and pop to create a sublime vehicle for his Islamic philosophy that gets everyone—Muslims, Christians, whoever—on the dancefloor.
Vol. 2 focuses on Waziri’s illustrious mid-career output—the music he created during the years leading up to and after he performed his first hajj. Every song here (one of which you might recognize from The Muslim Highlife) strikes his signature balance of traditional music, highlife, and funk, as he entreats you to stay on the straight and narrow, though there’s nothing straight about his beat.
On and off the record…
This is the second of the five-part Volume Series, which was recently compiled for the first time in the limited-edition box set, Vol. 1 - 5 (1978 - 1984) (November 4, 2022).
This release follows World Spirituality Classics 3: The Muslim Highlife of Alhaji Waziri Oshomah (September 23, 2022).
The Muslim Highlife of Alhaji Waziri Oshomah, received an 8/10 from Uncut, ★★★★ from MOJO, and has been called “therapy, worship, ecstasy” by Pitchfork (7.2).
Release supported by archival and new video content.
Alhaji Waziri Oshomah will play select shows—along with his wife and musical collaborator Madam Hassanah Waziri—in the U.S. and Europe throughout 2023. l He can perform sets as long as 3-4 hours! (Depending on the financial strength of the village).
Sings in English and local languages and is regarded as #1 Singer in all of Edo State.

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.

40th Anniversary Edition - newly remastered from the master tapes, with an additional bonus LP of instrumentals and the previously unreleased "Narration Theme."
Daytime Viewing (1979-80) is an extended narrative song, based on a casual analysis of daytime television drama and the audience phenomena such programming addresses. The piece explores the use of fantasy as a survival mechanism against loneliness, illustrating the human compulsion to inflate the mundane to mythological proportions. A central female character weaves tales, using threads of personal experience and the idea of TV as friend, as mantra, and as transformational window between imagined spectacle and the pedestrian plane.
Originally released as a private cassette edition recorded, 1982; Chez Hum-Boom release, 1983 documenting the collaborative performance piece of the same name by Jacqueline Humbert g David Rosenboom. This heady, thoroughly enjoyable work was first made available on CD and LP in 2013 by Unseen Worlds. Jacqueline Humbert (aka J. Jasmine) is a songwriter of brains and wit on
par with Robert Ashley, with whom she's worked extensively. David Rosenboom's complex, harmonic electronic arrangements are accentuated brilliantly by percussion from William Winant. Daytime Viewing can happily be added.

The axolotl is a species of salamander native to Mexico, living in a state of larva and having the capacity to regenerate damaged organs. This brief introduction doesn’t tell us if the axolotl sings. But, for the one that concerns us here: yes indeed.

In Paris, at the end of the 1970s, Etienne Brunet and Marc Dufourd would improvise regularly, inspired by some other saxophone-guitar duos: Claude Bernard-Raymond Boni firstly, then Evan Parker-Derek Bailey. When Jacques Oger (a saxophonist whom Brunet had met at a workshop given by Steve Lacy at the Châteauvallon festival in 1977) joined the duo Brunet-Dufourd, Axolotl was born.

Iconoclastic, the trio was bound to please Jac Berrocal, and he proposed to record their first album on the label ‘D’avantage’. In spring 1981 three days were just enough for Oger (tenor and barytone saxophones), Brunet (alto saxophone, bass clarinet and ‘things’) and Dufourd (electric guitar) to complete Axolotl, the first album by a group which would record ... two.

If there was a collective of iconoclasts, the trio would be there with some relatives: Alterations, Fred Frith, John Zorn, the ROVA Saxophone Quartet... and then because we mention a collective, Axolotl steps (considerably) beyond the domain of free improvisation to lean towards jazz (“Illusion”, “Paris, froissé”), No Wave (“Ombre pilée”, “Trottoirs défunts”), contemporary (“Oreiller”, “D’autres seuls”), and even what we could call ... acid fun (“Dehors”).

Above all, Axolotl wanted to really get to grips with sound via an expression as direct as it was liberating, as can be heard on “Ozone, flocon, torsion”, producing a noise that, even today pierces the brain. All we can hope is that now, thanks to this wonderful reissue, listeners will be able, like the axolotl, of regeneration.

Three-time Grammy Award nominee, songwriter, actor and model Natalie Imbruglia released Male back in 2015 as her fifth studio album. The album is a collection of famous songs by male artists, including Cat Stevens, Damien Rice, Tom Petty, Pete Townsend, and Zac Brown amongst others. The album is produced by Billy Mann, who has also worked with Pink, John Legend, Celine Dion, Martina McBride, and Sting.

The album features the single "Instant Crush", which was her first single in six years and was originally recorded by Daft Punk and Julian Casablancas (The Strokes).

Male is available as a limited edition of 1500 individually numbered copies on translucent magenta coloured vinyl and includes a 4-page booklet.

Neuauflage des Debütalbums der amerikanischen Experimental-Rock-Band Tomahawk von 2001.

Das Album wurde nach einem Treffen zwischen Sänger Mike Patton und Gitarrist Duane Denison aufgenommen. An dem Album waren Mitglieder von Faith No More, The Jesus Lizard, Helmet und Melvins beteiligt.

- Ltd. Col. LP: (Opaque Brown Vinyl)

Mit einer Mischung aus zeitgenössischem AOR, melodischem Rock und Djent präsentieren BLACK ORCHID EMPIRE einen progressiven Sound, der ebenso ausgefeilt wie technisch, ebenso frisch wie vertraut und ebenso melodisch wie knallhart ist. Seit ihrem Debüt im Jahr 2016 ist das Londoner Trio auf dem aufsteigenden Ast, da sie den aktiven Rockmarkt in Großbritannien aufmischen. Mit "Tempus Veritas" ist die Band nun bereit, die nächste Stufe zu erreichen. Vom Konzept her ist das Album eine Sammlung von Geschichten, die nach fesselnden imaginären Erzählungen suchen, die in der Geschichte, wie wir sie kennen, versteckt sind. Wenn der Vorgänger "Semaphore" ein Sci-Fi-Album war, ist dies ein Hi-Fi-Album.

Mit einer Mischung aus zeitgenössischem AOR, melodischem Rock und Djent präsentieren BLACK ORCHID EMPIRE einen progressiven Sound, der ebenso ausgefeilt wie technisch, ebenso frisch wie vertraut und ebenso melodisch wie knallhart ist. Seit ihrem Debüt im Jahr 2016 ist das Londoner Trio auf dem aufsteigenden Ast, da sie den aktiven Rockmarkt in Großbritannien aufmischen. Mit "Tempus Veritas" ist die Band nun bereit, die nächste Stufe zu erreichen. Vom Konzept her ist das Album eine Sammlung von Geschichten, die nach fesselnden imaginären Erzählungen suchen, die in der Geschichte, wie wir sie kennen, versteckt sind. Wenn der Vorgänger "Semaphore" ein Sci-Fi-Album war, ist dies ein Hi-Fi-Album.

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.

Angel numbers: a series of recurring numerical patterns or sequences which those who believe in such things invest with cosmic significance.

Also, the name of the forthcoming album by Hamish Hawk – an apt title for an artist who bounces between scepticism and wonder, who alchemises the quotidian, who is engaged in a constant quest to outwit and outflank the ordinary. With the release of Heavy Elevator in September 2021, Edinburgh-based Hawk established himself as a writer of heartfelt, headstrong, unashamedly literate songs to stimulate both pulse and psyche. Heavy Elevator offered words to savour and tunes to relish. The songs were filmic and romantic, blending wit, wisdom, resignation and beauty with a kind of sceptical joie de vivre, delivered in a rich baritone that has drawn comparisons to everyone from Jarvis Cocker to Scott Walker. A singer of style and guile peddling accessible intelligence: what’s

not to love? Heavy Elevator established a powerful artistic imprimatur which nonetheless felt neither defining nor confining. While the album has been justly lauded, Hawk’s next steps have moved the story considerably further forward. Angel Numbers meets growing expectations head on, with panache and aplomb.

From A Birds Eye View sees Cordae collaborating with heavyweight names across a variety of genres such as Stevie Wonder, Lil Wayne, Freddie Gibbs, Eminem, H.E.R., Lil Durk, Gunna, Ant Clemons and Roddy Ricch.

Deeply inspired by a life-changing trip to Africa, enduring the loss of a friend gone too soon, and evolving as an artist and a man, From A Birds Eye View sees Cordae telling these stories and more through technicolor imagery, nimble rhymes, and fast evolving wisdom.

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.

On the heels of his already critically acclaimed (yes, already!) retrospective, World Spirituality Classics 3: The Muslim Highlife of Alhaji Waziri Oshomah, Alhaji Waziri Oshomah — the Oyoyo King, the Godfather of Afemai Music, the Etsako Super Star, Mr. Please Please Please, Mr. Dynamite — returns with Vol. 3.

Along with the other four volumes of the series, Vol. 3 is now available—for the very first time!—as part of a complete set (in a box): Vol 1 - 5 (1978 - 1985) (November 4, 2022).

Waziri hails from a small part of Edo State in southern Nigeria called Afemailand, known for being a harmonious region where Muslims and Christians live—and dance—together. And there, as a devout Muslim and an exemplar of religious piety in his community, Waziri’s music fuses Etsako/ Afemai folk styles with pan-Nigerian highlife and pop to create a sublime vehicle for his Islamic philosophy that gets everyone—Muslims, Christians, whoever—on the dancefloor.

Every song on Vol. 3 (one of which you might recognize from The Muslim Highlife) strikes his signature balance of traditional music, highlife, and funk, as he entreats you to stay on the straight and narrow, though there’s nothing straight about his beat.

Es ist mittlerweile längst kein Geheimnis mehr, dass die TrinkundSinggemeinschaft (TSG) aus dem Oxo86-Umfeld kommt! Sänger Willi und seine Bernauer Freunden schreiben Songs rund um Fußball, Stadion, Zusammenhalt und Anekdoten, die ein wahrer Fan so auf den Platz, davor und danach erlebt. Mit "Fußball & Blues" erscheint nun endlich der Nachfolger des legendären TSG-Debuts mit 12 neuen Folk-Punk-Akustik-Shanty Hymnen. Geschichten über "Abstiegskampf", "Liebe auf den ersten Blick" und weitere Liebesbekundungen für das "Mädchen aus der Kurve" oder "Unser Sportplatz - Unser Revier"! Sucht- und Ohrwurmgefahr garantiert.

Rootz Lions Band share the love for conscious roots reggae music & are dreadicated to taking the music forward in these times.

Bassplayer Carlos Silva is the founding member of the band. In 2016 he gathered some of the Dutch reggae scene's most experienced musicians, each of them having previously played with top local and international artists - most recently the band have performed with Army, Prince Jamo, Donovan Kingjay, Black Omolo, Iyiapo Tafari, Chezidek and more.

MLK is a singer from Sierra Leone, based in the Netherlands. He performs regularly live with bands and in 2018 released the acclaimed LP 'The World Is In Trouble' with The Breadwinners on the Bionic Dread label.

King Cooper (AKA King Kooper in the Jazz world) from Amsterdam has a long & fascinating career, playing reggae, jazz, funk & soul with the likes of Doe Maar, Sister Sledge, Coopertest & many, many more... proving himself as one the world's top saxophonists.

Hornsman Coyote from Belgrade, Serbia is one of the leading Trombonists in the modern reggae scene and works regularly with top producers & labels internationally, such as, Lee Perry, House Of Riddim, Rolling Lion, Jah Works, Earth Works, Jerry Lions to name but a few. His career started as the front-man for Belgrade Hard-Rock-reggae crossover band, Eyesburn & is a singer songwriter in his own right with a huge catalogue from over 20 years of continued performance & recording.

Plunder was recorded and mixed at Earth Works Studio, Amsterdam

Laszlo Umbreit's album Pas de Regrets combines electronic sounds with recorded memories and various materials to create a unique listening experience. The album features complex soundscapes and techniques of layering and editing, drawing on Umbreit's experience as a sound designer for films. Pas de Regrets is an immersive and rich listening experience, with a narrative quality that places it between prospective electronics and experimental radio.

Laszlo Umbreit (*1986) is a Belgian sound designer and musician based in Brussels. Laszlo's work is anchored in sound research yet usually dialogues with the moving image, whether as present or absent. His musical practice mixes improvisation on electronic instruments, field recordings and a long meticulous editing and mixing process of sonic materials.

Nachdem 2013 zum 10-jährigen Jubiläum die Deluxe Version veröffentlicht wurde, ist ,Give Up" nun wieder als einfache LP im Original Format zu haben. Man kann alle Zeit und alles Geld der Welt darauf verwenden, das perfekte Pop-Szenario zu erschaffen, aber manchmal müssen sich die Sterne von ganz allein in die richtige Position rücken. Und obwohl die Mitglieder von THE POSTAL SERVICE schon früh darüber Witze machten, dass ,Such Great Heights" der ,Hit" ihres Debüalbums ,Give Up" sei, konnte niemand ahnen, was für einen Einfluss diese Album haben sollte, das in Schlafzimmern des Mittleren Westens konzipiert wurde. Über zehn Jahre sind ins Land gegangen, seit das kleine Projekt aus Ben Gibbard von DEATH CAB FOR CUTIE und Jimmy Tamborello (DNTEL, FIGURINE) scheinbar aus dem Nirgendwo anrauschte und sich tief in die Ohren all derer eingrub, die in Kontakt mit dem ansteckenden Electropop von THE POSTAL SERVICE geraten waren. Natürlich war die Musik von THE POSTAL SERVICE zu jeder Zeit viel mehr als nur Electropop. Die Kraft, mit der Jimmy und Ben den Zeitgeist des Indie Rocks der frühen Nuller Jahre heraufbeschworen, machte sie zu einem derartigen Phänomen, dass Künstler wie BEN FOLDS, AMANDA PALMER, STREETLIGHT MANIFESTO und CONFIDE ,Such Great Heights" gecovert haben. Ein Zeugnis des zauberhaften Funken und der melodischen Kompaktheit des Songs. Der Sound der Band ist ein derartiger Meilenstein, dass der Terminus ,Postal Service-esque" ein akzeptiertes Adjektiv in der Musikwelt ist. Es war unmöglich, vorherzusagen, wie groß ,Give Up" werden würde, aber schon 2003 war klar, dass diese Herren etwas ganz Besonderes erschaffen hatten.

Recommended If You Like: Boredoms, OOIOO, Blonde Redhead, Guerilla Toss, Rolling Stones, Liars, Marnie Stern, Yoko Ono, Battles. Cover by acclaimed photographer and artist Kunie Sugar White Vinyl / White Cassette available while stocks last. Did you know that miracles happen every day? We don’t always see it that way. We look at the state of the world and think, “It’ll be a miracle if we make it out alive.” But miracles are what humans do. We’re Earth’s most inventive and unpredictable species, when we’re allowed to be. Also the most destructive. Miracle-Level is Deerhoof’s mystical manifesto on creativity and trust. It celebrates the infinite small wonders of existence that spontaneously present themselves, when not obstructed by our death-driven masters. Musically, Miracle-Level is vulnerable, brave, and brimming with spicy surprises. Deerhoof’s 19th album is also their their first to be recorded and mixed in a recording studio. Production was entrusted to Mike Bridavsky, at No Fun Club in Winnipeg, Manitoba. This is also their first album written entirely in Satomi’s native language. Deerhoof once again speak in a secret code that only their fans understand, in which hooks abound, and genre is nonexistent.

All of us carry a piece of where we’re from with us, but these parcels of fallow land often in a uniquely mysterious way become the prey that nourishes our aspirations. Agnès Gayraud a refined thinker by day that transforms into la Féline at night left Tarbes many years ago in search of greener pastures. After making a name for herself with Adieu l’Enfance (2014), Triomphe (2017), and Vie Future (2019), the author and musician has evolved once again. Her latest release Tarbes reinvents the circle of life and challenges our preconceived notions. She welcomes us to her hometown with sweet and clear melodies over the backdrop of an electronic hum, reminiscent of Mark Twain classic Tom Sawyer. Tarbes is no more than a listen away. Physically prevented from returning to her hometown by the viral threat we all know all too well, Agnès found her way back with a small Electone home organ. The constraints of off-peak hours that called for some DIY savvy, slowly but surely, roused her spirit. With a drum machine, a bass and a guitar, she succeeded in making the young girl inside her smile again. With 13 songs and just as many adventures Tarbes is a concept album that tells the story of a young woman’s formative years, as spent in her hometown. The returning hymn doesn’t only imprint nostalgia, it paints the full emotional portrait of a town. Because for Agnès, Tarbes is not just her theater, but her whole world, showing how fiercely protective she is of her hometown in the song Solazur. Under a magnifying glass of emotion, and with the sentimental testimony that is La Panthère des Pyrénées, the artiste shows us the skeletons in our own closets. Tarbes, more than a brief stopover in a rail journey to the coast, broaches issues that touch on abandonment, desertification, aging and redevelopment that many French towns and cities face today. Alexandre Guirkinger’s photographs serve as album art that illustrates this strangely unique singularity. While fine-tuning this collection of stories, in an oh-so-intimate album where solitude rips away the mask of confidence, Agnès found solace in uniting with other spirits. For 3 songs Tarbes, Jeanne d’Albret and Fum, inspired by an Occitan poem of Louisa Paulin (1888-1944), she invited the young voices of Conservatoire Henri Duparc a building she knows intimately, despite never feeling allowed to enter as a child to breathe the energy of their adolescence into this record. She also collaborated with Lyon’s own François Virot to imbue his delicate rhythms into her work, as well as Belgian guitarist Mocke Depret. Lastly, La Féline entrusted the last production stages to her eternal partner in music, Xavier Thiry, with Stéphane “Alf” Briat on the mixing board. The final piece has a complex tranquility, surrounded by non-verbality, with Jeanne d’Albret, Louisa Paulin and the Pyrénées safeguarding Agnes’ secrets. With the calm reassurance of her metamorphoses, La Féline delivers a slice of silence to her town, serving as both her cradle and theater. Tarbes’ Théâtre des Nouveautés is where Agnès Gayraud, La Féline, has decided to present Tarbes to its residents on October 14, 2022. While “nouveautés” evokes newness, this theater is reminiscent of a future which is already outdated, where modernity is only vague and fictional, carrying reminders of French haute-kitsch accordionist Yvette Horner, whose parents were the caretakers of what was then called the Cani Eldorado a bastion of virtue through the 30s, with its lineup of Catholic films. However, by the 60s, it would have become a temple of pornographic cinema. Tarbes, “Les Nouveautés”, end card. In the mid 90s, then 16 years old, Agnès discovered the volatile dust and the ghosts of the past that were hidden in this apostate theater. This phantom bequeathed song the teenager with the gift of her undeniable talent at her first appearance on stage a high school performance of a guitar-laden ballad sung in Spanish, a language her Andalusian mother has infused her with. On October 14, 2022, Agnès returns to the stage, bass in hand and joined by François Virot (drums), Mocke Depret (guitar), Léa Moreau (keyboard) and the Conservatoire de Tarbes singers to perform the album in its entirety

The undisputed kings of garage rock are back! It’s been 22 years since the last Headcoats album, but now Billy, Bruce, and Johnny return with a brand-new studio album!

Recorded last year at Ranscombe Studios in Rochester. Billy, Bruce, and Johnny kindly answered some pertinent questions…You got back together recently as Thee Headcoats Sect to make the ‘Tribute to Don Craine’ EP. What was it like working with each other again after all this time? BILLY: It was 'fab' and 'gear.' BRUCE: The weirdest thing for me was how weird it wasn't.

It was like time compressed, but to the 'good old days', early on. I was wary that it 'wouldn't be like Thee Headcoats', but it was. JOHNNY: I'm with Bruce and Billy on that one. I think we were all surprised how it all just worked. If I remember correctly, we kicked off role playing like we detested each other. Then we got started and well, you can hear the result.

What were the first songs you ran through when you got in the studio? BILLY: That’s a very good question. No idea. BRUCE: I can't remember. They all sound the same to me. JOHNNY: Bill had stuff on his phone that went “KSSHHCCCKSSHHHH”! So, we did that first. You’ve also paid tribute to Don with a track on the Irregularis album – ‘Oh Leader We Do Dig Thee’.

He was, along with the other members of Downliners Sect, a big inspiration to Thee Headcoats. When did you first become aware of his music and what was he like to work with? BRUCE: We were given (or possibly lent) a reissue of the Sect's first LP around 1977, marketed as 'Punk From The Vaults', which certainly floated our boats and definitely popped our corks, due to the somewhat aggressive yet carefree nature of the tunes and sound in general. Ollie, our old bassist, found an ad in a trade magazine for them with a contact number for a Michael O'Donnell, which I excitedly called almost immediately.

T'was none other than Don his'self and we managed to convince him into venturing down to Rochester to record some tunes with us which became the first Headcoat Sect EP. We were fairly starstruck and presented him with a brand new 'dearstalker' (or 'Headcoat', as they were now known). He was very accommodating and a great laugh and spent the evening with us, regaling us with tales of yore. I recorded a lot of it on cassette, which I may still have somewhere. Gawd bless Don

. 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’

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.

Pääkallo's mission is to bring surf guitars, Finnish melancholy, and macabre lyrics skills all together. The band includes members of Deathchain, Jess and The Ancient Ones and ex-Cosmo Jones Beat Machine, from occult rock fame through swamp blues to death metal. New selftitled album comes out in March 2023.

Sunergy brings together synthesists Kaitlyn Aurelia Smith and Suzanne Ciani for the thirteenth installment of FRKWYS, RVNG Intl.'s intergenerational collaboration series. For this edition, a panorama of the Pacific Coast provides the place and head space for a musical appreciation and consideration of a life-giving form vast and volatile with change. Fortuitously (as is the freaky way), Smith and Ciani were discovered to be neighbors in the small coastal community of Bolinas, California. The two had become close friends, bonding over their experience as woman musicians and, more unusually, their shared passion for the Buchla synthesizer. The music of Sunergy embraces this kinship, with Ciani and Smith respectively performing on the Buchla 200 E and the Buchla Music Easel, two modern configurations of the innovative instrument developed in the '60s by Don Buchla.
Sunergy was recorded in the Bolinas home where Ciani has lived for the last twenty-four years. Her living room overlooks the Pacific Ocean from a cliffside perch, creating an idyllic, inspired setting for music making. Setting up their synths side-by-side, Ciani and Smith took turns keeping time and freely improvising for the album sessions. As a complete piece, Sunergy is shaped by slow, pulsing forms and sinuous, melodic sequences that conjure both an oceanic world and the unlimited sound made possible by modular processing.For her part, Ciani has long been a Buchla voyager. Suzanne proselytized the potential of Don's synthesizer instruments in the '60s and '70s, performing her own compositions before introducing synthesized jingles and sound effects to household audiences. Ciani then achieved wide recognition for her debut album Seven Waves, a collection of colorful, classical song-like melodies fluidly working with harmonic textures and sounds of the ocean shore. Since its 1982 release, Seven Waves has become an important chapter of the ambient canon within which contemporary artists like Smith have developed their own synth syntax. Smith was born just a few years after the appearance of Seven Waves, growing up in Orcas Island, Washington. A place of profound natural beauty, the islands would inform Tides, her first instrumental collection from 2014. Smith composed Tides as an accompaniment for Yoga classes, ultimately freeing her from conventional songwriting into the exploratory, synth-based compositions demonstrated in ecstatic variety on 2016's Ears. Despite the serene setting where Sunergy was realized, the album does not romanticize a complete oneness with nature. Smith and Ciani use their collaborative ground to reflect on the unstable forces at play across the Bolinas horizon. Sunergy takes stock of Bolinas in the 21st century, a once-thriving artist's refuge now vulnerable to real estate pressure extending from affluent San Francisco, and more irreparably, the specter of climate change erasing its many waterfront habitats.
A diametric dynamic is present in Sunergy, a somber meditation amidst the intense cultural and solar forces transforming the landscape, and a hopeful assertion of the surviving creative culture of Bolinas. Far from rehashing the gentle grace of the artists' seminal works, Sunergy instead seeks to awaken and bear witness, employing the Buchla waveforms to mirror the infinite rhythms of the ocean and our essential relationship to it.
Kaitlyn Aurelia Smith and Suzanne Ciani's Sunergy will be released on September 16, 2016 on LP, CD, and digital formats. An accompanying documentary by Sean Hellfritsch will be offered in tandem.

Animalia's exploration of the lesser known artists of Melbourne continues with the launch of new sublabel, Cirrus, focusing on non-club, downtempo, ambient and otherworldly sounds from local Australian artists. The first release comprises of dreamy, non-linear modular improvised soundscapes from Melbourne/Naarm local The Soulscaper, a sideproject of Eugene Pascal, member of Animalia's electronic trio Menage. The Inside Voices LP offers a sentimental, familiar musical journey, evocative of the distinctive charms of life in Australia's south-eastern hub. All produced in the northern suburbs of Melbourne/ Naarm, the tracks provide an open window into the studios of the city's deeper side. The LP is a poignant follow on from the musical outputs of Animalia, staying true to the label's deep, cinematic and melodic style.

Valencian producer Pépe's love of iridescent melodies, velvety pads and complex rhythms has seen him skilfully combine house, bass music and breakbeat in recent years. His music is globally reaching, having garnered attention from top artists including Ben UFO, Peggy Gou, Shanti Celeste, Moxie, Mount Kimbie and Disclosure.

His heartfelt, mercurial and emotive sound is ever present on his new album for Lapsus, which also incorporates a lush sonic forest, resplendent in detail and jam packed with influences. The album 'Reclaim' opens the door to experimentation and sound design, while embracing the braindance and hyperpop sphere with surprising maturity. It is an amalgamation of electronic sounds and pulsating structures in which orchestral sounds, folk music, ambient textures and an strong vocal presence, both synthetic and authentic, sparkle.

'Reclaim' imagines a post-human future, where nature once again reclaims lost ground and is free to flourish and take root around manmade structures. Pépe exhibits his personal reverence for the work of Antonio Cortés Ferrando, the architect behind the Espai Verd building, which broke architectural and urban planning norms by using computation to create structures that promote the organic growth of foliage. It is a building designed for the future, where flora cultivates indefinitely.

In Pépe’s own words, "At a time when we have witnessed how nature strives to regain ground, once humans are removed from the streets, it is important to start thinking critically about new techniques in the creation of art and design, and imagining a future where posterity is embodied in the rejuvenation of a greener world".

Woke rhythms and high-spirited grooves from the vaults of two seminal Italian jazz labels, between the 70s and 80s. Intensely curated by Khalab.

Hyperituals is a philological investigation that deeply delves into the possibilities of sound, rhythm, remix, and endless sampling. Inspiring listening, interpretation, and reinterpretation.
This volume is dedicated to the catalogue of the Italian Black Saint. Thanks to a constant, cutting-edge, and meticulous commitment, Black Saint & Soul Note established themself as two of the most important imprints for international jazz. They always placed the artists, their visions, and their music at the centre, giving them total freedom of creative expression. By combining jazz tradition with the political vanguard sentiment of the time, the two labels were able to press and produce more than five hundred records, many of which are by some of the brightest names in creative jazz or the ‘avant-garde’ of the era.
Curated by Khalab, the selection - focused on rhythms, grooves, and Afrocentric traditions - blends moments in which the rhythmic aspect is powerfully explicit, with others in which the kinetic aspect dialogues on different levels with African American cultural contexts.

Es weihnachtet sehr in Rocky Beach: Auf der Suche nach den passenden Geschenken geraten die drei ??? in einen neuen Fall in 24 Kapiteln.Beim Einkaufsbummel im Kaufhaus Garcy's werden Justus, Peter und Bob Zeugen eines Überfalls. Kein geringerer als der Weihnachtsmann des Garcy´s wird angegriffen. Jemand hat es auf den Sack voller Geschenke abgesehen ... und dieser jemand ist ausgerechnet als Weihnachtself verkleidet. Die drei ??? heften sich an die Fersen des Diebes und finden heraus, auf welches Weihnachtsgeschenk es der Elf abgesehen hat ...Sprecher:innen & MitwirkendeErzähler Axel MilbergJustus Jonas, Erster Detektiv Oliver RohrbeckPeter Shaw, Zweiter Detektiv Jens WawrczeckBob Andrews, Recherchen und Archiv Andreas FröhlichTante Mathilda Karin LienewegOnkel Titus Erik SchäfflerSanta Claus Claus WilckeFotograf Stephan SchadSandy Angela StresemannMutter Pamela PuntiMr. Puckle Christian RudolfMrs. Hatchett Petra KleinertMatty Yoshua Rudolf 1.Security Patrick Berg2.Security Philipp Stumpp3.Security Max König4.Security Tony Curting Pater Achim Schülke Engel Theresa Underberg1.Polizist Patrick Baehr2.Polizist Alexander Mettin3.Polizist Douglas WelbatAngestellte Katrin DeckerLarry Jan LangerLuke Bigelow Harald EffenbergMolly Regine LamsterEmmett Reinhold KammererDurchsage Andrea LüdkeKrankenschwester Scarlett LubowskiMann Helge HalvéBandenchef Lars SchmidtkeBuch und Effekte: André MinningerRedaktion: Maike MüllerRegie und Produktion: Heikedine KörtingTitelmusik: Simon Bertling & Christian Hagitte (STIL)Musik: Constantin Stahlberg, Jens-Peter Morgenstern und Thomas KörtingCover-Illustration: Andreas RuchDesign: Atelier SchoedsackBasierend auf dem gleichnamigen Buch von Marco Sonnleitner, erschienen im Kosmos Verlag, Stuttgart. © 2021Mit freundlicher Genehmigung der Universität Michigan. Based on characters created by Robert Arthur.Die drei ??? © 2022 Franckh-Kosmos Verlags-GmbH & Co. KG(P) & © 2022 EUROPA a division of Sony Music Entertainment GmbH

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!

Club culture in France would have been different if not for Micky Milan (real name Milan Zdravkovic). He is one of the true trailblazers of what is known today as French Boogie.
It all started when he was the in-house DJ of the highly popular club L'échappatoire in the Parisian suburb of Clichy sous Bois. In those days, he was well connected with Champs Disques, back then, the hippest record shop located on the Champs Élysées and had privileged access to the best imported U.S. 12" thus making his club the undisputed stronghold of disco funk.
A significant fact is that he is one of the very few French artists signed on the legendary U.S. Salsoul record label with the song "Quand tu danses". Teaming up with funkateer and close friend François Feldman, the track was recorded with Feldman on keyboards along with the Gibson Brothers on percussions, drums and keyboards, a French group, originally hailing from Martinique and Kamil Rustam who later went on to work to the who&who of soul and funk music adding his powerful licks of funky guitar. The influence of Lamont Dozier of "Going back to my roots", fame is that of a tutelary god all over these tracks. The goal behind this EP is to highlight Micky Milan’s multifaceted musical talents, from disco funk to jazz and synth pop. The record contains two tracks never previously released on vinyl, the groovesque “Paris amour” built on guitar riffs carrying the sexy voice of Alexandra and the instrumental version of "Quand tu danses"; epitomizing the essence of funk and the power of a sound on par with the American productions of the time. Hail to the pioneer.

Shabaka Hutchings debut release under his own name, Afrikan Culture, was released on Impulse! Records in May 2022. Known for his globally-acclaimed, groundbreaking groups (Sons of Kemet, The Comet Is Coming, Shabaka and The Ancestors), this release finds Shabaka at a quieter, more meditative space than the pulsing, driving material found in his other groups. The 7-track release is primarily made up of Shabaka on various wind instruments with other complimentary instrumentation sprinkled throughout

Relentless raver and emerging artist from the Rinse France roster of captivating talent, RONI launches her imprint Nehza Records with a five-track EP titled ‘Slowing’ by Bordeaux-based Neida . Marking the debut release on the label, Neida is the first producer to bring RONI’s fantasy-led vision to life.

‘Slowing’ is a cross-pollination of breaks, acid, jungle and bass which nods to the sound of the underground UK rave scene circa 1990. An era that RONI closely aligns with in terms of sound, art and the sense of liberation synonymous with 90s club culture, Neida nails this aesthetic throughout the EP. ‘Bull’ sets a powerful tone as the opening track, packed with punchy drums layered below an orchestral-like vocal before ‘DSO’ burbles through with squelchy synthwork over a 4/4 beat — a clear hint of that UK rave sound simmering under the surface. Garnering his appreciation for reggae and Rasta dialect, Neida’s rework of a vocal derived from reggae artist Don Carlos is masterfully blended into this 6-minute churner.

Over on the B-side, ‘Guess Who’ burns slowly with downtempo breaks and mesmerising chords; you can almost smell an imaginary forest as the track unravels, creating an image of tripping in nature. ‘WHT’ rumbles through with a mellow introduction before going full-whack into barreling drums and clap-heavy percussion, illustrating Neida’s ability to dip into experimental textures that nod to complex rhythm patterns rather than club-cut melodies. ‘For All The Time Sake’ closes the EP with an acid bassline and bright, crisp percussion ending the EP on a significantly vibrant note to mark the first stepping stone of RONI’s record label. ‘Slowing’ is a spiralling myriad of bright atmospheres and escapism, likely to be one of many sonic trademarks on Nehza Records.

Die färöische Folk-Singer/Songwriterin EIVOR bringt mit ,Slor" bereits ihr zweites Studioalbum innerhalb eines Jahres raus. ,Slor" ist eine Sammlung neu komponierter Songs, die EIVOR in ihrer Muttersprache - färöisch - eingesungen hat. Das Album ist der Nachfolger des englischsprachigen Albums ,Bridges". Und auch wenn es sich um zwei unterschiedliche Alben in unterschiedlichen Sprachen handelt, gibt es eine Verbindung der beiden Platten. Wo ,Bridges" leicht und vor allem sehnsüchtig war, klingt ,Slor" eher rau und reflektierter. ,Bridges" wurde von Freundschaft, Liebe und Heimweh inspiriert. Es thematisiert die Brücken zwischen uns, Beziehungen zwischen Menschen, Plätzen und auch Dingen, die uns berühren. ,Slor" hingegen gibt sich der Fernsucht hin, thematisiert Trennungen und die Suche nach Frieden. Ein Schleier kann ein Symbol für eine Grenze zwischen Gegenwart und Vergangenheit sein, doch ein Brautschleier hingegen repräsentiert vor allem Glück und Hingabe. EIVOR selbst erklärt den Prozess der Geschwisteralben: ,Als ich die Songs geschrieben haben, erfolgte das Songwriting erst auf Englisch und direkt danach kam es auf Färöisch in meinen Kopf - wie eine Art Spiegelbild." Somit handelt es sich nicht nur um zwei voneinander getrennte Werke, sondern auch um einen zusammengesetzten Moment im Songprozess.

Ever since the first white labels appeared at the end of Summer 2013, Emotional Especial has been putting out music that is slightly left of (club music) centre. Influenced as much by and including dub, electro, disco, proto-house, house and techno, guided more by a feeling than a sound.

This thinking has been that exemplified by every 10th release being a label sampler - a showcase of unreleased tracks or remixes of what has come before, plus the odd one off cut by an artist to watch. Some 4 years since the last Sampler, the label's 40th release presents new label heads Giraffi Dog, returning after their recent "live" Multiverse EPs, here teaming up with GF Rich for a breaks anthem. Sub bass rising, the persistent build leads to piano before drop and Acid mayhem ensues, highlight why G Dog are such a producer to watch.

Label mainstay Alphonse returns, with White Pepper from the "Stolen Sunrise EP", here remixed by House stalwart Toby Tobias. Having released for a who's who of labels including REKIDS, ESP Institute, Delusions Of Grandeur and Futureboogie, the illusion these past years of who is Alphonse can finally revealed as Toby himself. The remix of his alter ego takes the 'Balearics' of the original and adds breaks and 303, all retaining a laid back feeling for summers return.

On the flip, the label welcomes rising star, Remotif. With a series of EPs showcasing a growing talent, his recent Coymix release sealed the deal. Here, his comedically titled Beam Me Up Softwoiii belies a party anthem, where breaks and arps rise in unison before an Aphex sunrise burst, drops and heads down in pure dance.

Akio Nagase returns to close with another of his Japanese folk meets lilting 303 Acid House. An Okinawa traditional folk song, conveying a life lesson, here to Hosenka flower is laid across slo-mo acid bubbles to quirkily and perfectly complete another 10th release of the Especial path.

“… an album which shows that Carter Tutti are in a state of continuing evolution” – The Wire. 2007’s Feral Vapours of the Silver Ether will be available here for the first time on vinyl, and was the second release under the Carter Tutti name. On it, the electronic and the acoustic are merged in a seamless, crafted album that is awash with echoes of the sea, the moon, the open road, and flatlands.