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Pressing Info: 180g black vinyl double LP, etched D-side, hand-numbered gatefold sleeve, limited to 500, download card included. Porto-based trio 10 000 Russos will release their new 'Live In Berlin' double LP on March 24th 2023 via Rubber Duck, a new live album imprint by Fuzz Club Records. The record captures the band storming through their subterranean motorik psych-drone live at Berlin's Astra Kulturhaus on October 16th 2021. Recorded whilst out on a European tour, 'Live In Berlin' finds 10 000 Russos performing their 2021 'Superinertia' LP in full the album's five songs expanded and taken to even more transfixing and hedonistic heights in a live setting. These shows were 10 000 Russos' first with the new, more-electronic line-up and sound, with newly-recruited synth player Nils Meisel making his debut on the 'Superinertia' LP and completing the line-up alongside founding members Joao Pimenta (drums/vocals) and Pedro Pestana (guitar). Across the hour-long set, Pimenta's deadpan sprechgesang vocal and machine-like percussion, Pestana cascading psych guitar-loops and Meisel's repetitive synth basslines all combine on a performance that will pull you into a trance at times and get you on your feet at others.

Working with Bat For Lashes producer David Kosten (aka Faultline), the recording of Man Alive was completed mainly in a chapel in North Wales. The album sounded unique. Nothing dates like the future, yet Man Alive sounds dateless, placeless, and as a result, stands up perfectly many years later.

Man Alive was only the beginning of the group's adventures in – to use their words – 'Mismatched styles of music mashed together.' The result is often exhilarating; there are Brazilian drums and a prog guitar breakdown in Schoolin', classical influences, as well. Its subject matter is often way outside the realms of conventional songwriting; MY KZ, UR BF explored the different Americas: the cosy self-centred domesticity of programmes such as Friends versus a foreign policy
based on killing; Qwerty Finger examines imperialism. Anglo Saxon guilt is also present.

The album's artwork was striking – a photograph of a fox by Swiss photographer, Laurent Geslin, reflecting the track Tin (The Manhole) which deals with the theme of depression, through, as the band said in 2010, "the story of an urban fox that ingests all our pollution and grows massively in a sort of dream sequence. We chose photos of an urban fox for this reason, but we partly attacked the code of the digital image to create a glitch distortion . . . a reference to digital manipulation and chaos as well as our modern lives online".

Released in August 2010, Man Alive made the UK Top 20 and was well reviewed.

For example, BBC Music commented that the group "know more than most how to craft a song, how to make an album. They know how to give it depth, light and dark, and they - crucially - know when to stop." Man Alive was shortlisted for the 20th Mercury Music Prize in 2011.

The original LP edition of the album is super- scarce, released before the 'vinyl revival' kicked in, hence the original pressing now selling in the high three figures.

This re-issue is presented with scrupulous attention to the detail of the original UK first pressing, complete with gatefold sleeve, poster and 8 page booklet. It is pressed on 140gm vinyl.

Each song has its own story, which the duo has reimagined in their own unique way, covering topics such as love, heartbreak, and friendship - with tradition with emotions nestled underneath.Nominated for Best Vocalist at the Scottish Jazz Awards in 2022, vocalist and songwriter Louise Dodds released her self-penned album The Story Needs an Ending in 2022, subsequently touring the album around the UK. The album was selected as one of three notable jazz releases of 2022 by The Scotsman. Prior to this, 2020 saw Louise having the honour of opening for Norma Winstone MBE.

Elchin Shirinov is a jazz pianist, composer, and arranger, originally from Azerbaijan. Most recently he was included in All About Jazz's December 2022 poll of the Top 200 favourite living pianists in the world. From 2018 to 2022 he was a member of the famous jazz double bassist Avishai Cohen's trio, during which time he recorded three albums and toured internationally as a member of the trio.

Recorded at Channel One and Randy's with a mix done at King Tubby's. 'Love Train' highlights The Revolutionaries 'rockers' sound and is a 'showcase' album which means the corresponding dub follows each vocal track. The album contains the original vocal cut of West Man Rock which was dee-jay'ed over by Ken Quatty under the same title, plus some outstanding Revolutionaries dubs of Jerry's vocal tracks. 'Love Train', was originally issued by Burning Sounds' sublabel Burning Rockers on red vinyl in 1979. Burning Sounds have on this re-issue album kept the original colour and label.

The sessions with Walla (Death Cab for Cutie, Tegan and Sara, Foxing) struck the perfect balance between preparation and experimentation, injecting new life into the band's style of soft- hearted Midwestern indie rock with an ever so subtle Americana twist. The solidified Ratboys lineup stretched and expanded their vision in the studio, adding unexpected elements and instruments like rototoms, talkboxes, and fiddles. The result is Ratboys' most sonically diverse record, shifting wildly from track to track. It flexes everything from fuzzy power pop choruses on "Crossed That Line" and "It's Alive!" to a warm country twang on "Morning Zoo" to mournful folk on the titular track. After more than ten years and four studio albums, The Window finally captures Ratboys as they were always meant to be heard--expansive while still intimate, audacious while still tender--the
sound of four friends operating as a single, cohesive unit.

Like a nervous amalgam of Death Grips' blown out bass frequencies, This Heat's jittery spasms, and Young Widows' imposing oratory, DITZ have created a sound that's equally suited for degraded dance floor gyrations and forward- thinking hardcore shows. At times a blurry tirade against invasive social media and at other times a celebration of cheap rolling tobacco, "Riverstone" was crafted while the band was on tour and deep in the delirium of road fatigue as an ode to the
hallucinatory spirit of their exhaustion. "Riverstone" by DITZ is available today on all digital platforms.

DITZ singer Cal Francis explains, "We wrote this track on a day off on our July tour. Caleb had recently bought this sub phatty and had taken it with him so we were trying to find anyway to make it fit in a track. I think we were listening to lots of Death Grips and hardcore that week. The lyrics were related to whatever we were talking shit about that day. Dirt cheap baccy and annoying invasive TikToks.
It's hard to recall."

Birthed amidst a vibrant artistic community fragmented and dislocated through the pandemic, tds bem Global is a message in the bottle blasting from a streetparty sub- woofer encouraging others to make their art. FFO: Rosalia, Tokischa, Major Lazer.

A.R. Kive collates the three most astonishing works from that most miraculous of duos - A.R. Kane - comprising the ‘Up Home’ EP from 1988 that signified the band’s dawning realisation of their own powers and possibilities, their legendary debut LP ‘sixty nine’ (1988) and its kaleidoscopic, prophetic double-LP follow up ‘i’ (1989).

In founder-member Rudy Tambala’s new remastering, the music on these pivotal transmissions from the birth of dream pop, have been reinvigorated and re-infused with a new power, a new depth and intimacy, a new height and immensity. Vivid, timeless and yet always timely whenever they’re recalled, these records still force any listener to realise that despite the habits of retrospective myth-making and the
safe neutering effects of ‘genre’, thirty years have in no way dimmed how resistant and dissident to critical habits of categorisation A.R. Kane always were. Never quite ‘avant-pop’ or ‘shoegaze’ or ‘post-rock’ or any of those sobriquets designed to file and categorise, A.R. Kive is a reminder that those genres had to be coined, had to be invented precisely to contain the astonishing sound of A.R. Kane, because
previous formulations couldn’t come close to their sui generis sound and suggestiveness. This is music that pointed towards futures which a whole generation of artists and sonic explorers would map out. Now beautifully repackaged, remastered and fleshed out with extensive sleeve notes and accompanying materials, ‘A.R. Kive’ reveals that 35 years on it’s still a struggle to defuse the revolutionary and inspirational possibility of A.R. Kane’s music.

A.R. Kane were formed in 1986 by Rudy Tambala and Alex Ayuli, two second-generation immigrants who grew up together in Stratford, East London. From the off the pair were outsiders in the culturally mixed (cockney/Irish/West Indian/Asian) milieu of the East End, with Alex and Rudy’s folks first generation immigrants from Nigeria and Malawi, respectively. The two of them quickly developed and fostered an innate and near-telepathic mutual understanding forged in musical, literary and artistic exploration. Like a lot of second-generation immigrants, they were ferocious autodidacts in all kinds of areas, especially around music and literature. Diving deep into the music of afro-futurist luminaries such as Sun Ra, Miles Davis, Lee Perry and
Hendrix, as well as devouring the explorations of lysergic noise and feedback from contemporaries like Sonic Youth and Butthole Surfers, they also thoroughly immersed themselves in the alternate literary realities of sci-fi and ancient history (the fascination with the arcane that gave the band their name), all to feed their voracious cultural thirsts and intellectual curiosity.

It was seeing the Cocteau Twins performing on Channel 4 show the Tube that spurred A.R. Kane into being - “They had no drummer. They used tapes and technology and Liz Fraser looked completely otherworldly with those big eyes. And the noise coming out of Robin’s guitar! That was the ‘Fuck! We could do that! We could express ourselves like that!’ moment”, recalls Tambala - and through a mix of
confidence, chutzpah, ad hoc almost-mythical live shows and sheer innocent will the duo debuted with the astonishing ‘When You’re Sad’ single for One Little Indian in 1986. Immediately dubbed a ‘black Jesus & Mary Chain’ by a press unsure of WHERE to put a black band clearly immersed in feedback and noise, what was immediately apparent for listeners was just how much more was going on here - a
tapping of dub’s stealth and guile, a resonant umbilicus back to fusion and jazz, the music less a conjuration of past highs than a re-summoning of lost spirits.
The run of singles and EPs that followed picked up increasingly rapt reviews in the press, but it was the ‘Up Home EP’ released in 1988 on their new home, Rough Trade that really suggested something immense was about to break. Simon Reynolds noted the EP was: Their most concentrated slab of iridescent awesomeness and a true pinnacle of an era that abounded with astounding landmarks of guitar-reinvention, A.R. Kane at their most elixir-like.

If anything, the remastered ‘Up Home’ that forms the first part of ‘A.R. Kive’ is even more dazzling, even more startling than it was when it first emerged, and listening now you again wonder not just about how many bands christened ‘shoegaze’ tried to emulate it, but how all of them fell so far short of its lambent, pellucid wonder. This remains intrinsically experimental music but with none of the frowning orthodoxy those words imply. A.R. Kane, thanks to that second generation auto-didacticism were always supremely aware about the interstices of music and magic, but at the same time gloriously free in the way they explored that connection within their own sound, fascinated always with the creation of ‘perfect mistakes’ and the possibilities inherent in informed play.

‘sixty nine’ the group’s debut LP that emerged in 1988 had
critics and listeners struggling to fit language around A.R. Kane’s sound. As a title it was telling - the year of ‘Bitches Brew’, the year of ‘In A Silent Way’, the erotic möbius between two lovers - and as originally coined by the band themselves, ‘dream pop’ (before it became a free-floating signifier of vague import) was entirely apposite for the music A.R. Kane were making. Crafted in a dark small basement studio in which Tambala recalls the duo had “complete freedom - We wanted to go as far out as we could, and in doing so we discovered the point where it stops being music”. There was an irresistibly dreamy, somnambulant, sensual and almost surreal flow to ‘sixty nine’s sound, but also real darkness/dankness, the ruptures of the primordial and the reverberations of the subconscious, within the grooves of remarkable songs like ‘Dizzy’ and ‘Crazy Blue’. Alex’s plangent vocals floated and surged amidst exquisite peals of refracted feedback but crucially there was BASS here, lugubrious and funky and full of dread, sonic pleasure and sonic disturbance crushed together to make music with a center so deep it felt subcutaneous, music constructed from both the accidental and the deliberate, generous enough to dance with both serendipity and chaos. ‘sixty nine’ remains - especially in this remastered iteration - ravishing, revolutionary.

The final part of this ‘A.R. Kive’ contains 1989’s astonishing double-LP ‘i’ which followed up on ‘sixty nine’s promise and saw the duo fully unleash their experimental pop sensibilities over 26 tracks, plunging the A.R. Kane sound into a dazzlingly kaleidoscopic vision of pop experiment and play. Suffused with new digital technologies and combining searingly sweet and danceable pop with perhaps the duo’s strangest and boundary-pushing compositions, the album did exactly what a great double-set should do - indulge the artists sprawling pursuit of their own imaginations but always with a concision and an ear for those moments where pop both transcends and toys with the listeners expectations. Jason Ankeny has noted that “In retrospect, ‘i’ now seems like a crystal ball prophesying virtually every major musical development of the 1990s; from the shimmering techno of ‘A Love from Outer Space’ to the liquid dub of ‘What’s All This Then?’, from the alien drone-pop of ‘Conundrum’ to the sinister shoegazer miasma of ‘Supervixens’ — it’s all here, an underground road map for countless bands to follow.” Perhaps the most overwhelmingly all-encompassing transmission from A.R. Kane, ‘i’ bookended a three year period in which the duo had made some of the most prophetic and revelatory music of the entire decade.

After ‘i’ the duo’s output became more sporadic with Tambala and Ayuli moving in different directions both geographically and musically, with only 1994’s ‘New Clear Child’ a crystalline re-fraction of future and past echoes of jazz, folk and soul, before the duo went their separate ways. Since then, A.R. Kane’s music has endured, not thanks to the usual sepia’d false memories that seem to maintain interest in so much of the musical past, but because those who hear A.R. Kane music and are changed irrevocably, have to share that universe which A.R. Kane opened up, with anyone else who will listen. Far more than other lauded documents of the late 80s it still sounds astonishingly fresh, astonishingly livid and vivid and necessary and NOW.

The sessions with Walla (Death Cab for Cutie, Tegan and Sara, Foxing) struck the perfect balance between preparation and experimentation, injecting new life into the band's style of soft- hearted Midwestern indie rock with an ever so subtle Americana twist. The solidified Ratboys lineup stretched and expanded their vision in the studio, adding unexpected elements and instruments like rototoms, talkboxes, and fiddles. The result is Ratboys' most sonically diverse record, shifting wildly from track to track. It flexes everything from fuzzy power pop choruses on "Crossed That Line" and "It's Alive!" to a warm country twang on "Morning Zoo" to mournful folk on the titular track. After more than ten years and four studio albums, The Window finally captures Ratboys as they were always meant to be heard--expansive while still intimate, audacious while still tender--the
sound of four friends operating as a single, cohesive unit.

Love Love Records are honoured to present two interstellar remixes from the recent album from HENGE, ‘ExoKosm’ which was self-released last year by the band during the pandemic. Acid pioneers and Madchester legends 808 State rework the track ‘Exo’ in their signature ‘acid-house meets rave-hardcore’ big band sound that fits seamlessly amongst their own back catalogue. The second is a heavily clubbed up twist of ‘Goldilocks’ from Brain Rays & Quiet, a spacey slab of sub-slung broken power-house with a sleazy groove like an alien abduction straight to the engine room of the UFO.

Eight years after its original release in 2015, and sold out upon release, Umor Rex finally presents a vinyl repress of Sirens, by Kara-Lis Coverdale and LXV. This new edition is limited to 500 copies and comes with revised artwork.

Inspired by the link between seduction and violence, Sirens comprises a series of timbrally vast anamorphic pieces that poise the voice as a newly imagined tool of multiplicity. Processes of sample manipulation, signal processing, routing, and source design inform instrumental writing and performance in feedback until intertwined, flickering between states of conflict and consonance. Apparitions of the schizophrenic voice are at one moment fractured and cold and at the next full of warmth and vivaciousness, embodying velvet rituals of romanticism in the digital age.

Ultimately, Sirens is music for ambitious dreamers: surreal sound portraits sound like the warmth of the world laid over an ice cold virtual altar. LXV’s vocal truncations and fleshy sound palettes depict the archivation of the breath and aural fantasies of the flesh which Coverdale sets amongst a vast and unconfined landscape of deeper and unknown force. Harmonically active and dynamic orchestrations underpin post-sacred tonalities while brooding pipe organs, sphinx flutes, and hailstorms of metallic percussion characterize uniquely disjointed discussions between disparate compositional ontologies. At times violent and at others serenely peaceful and seductive, these pieces, at their most powerful moments illuminate a felt space between cybernetic energy and the body.

Composed and recorded by Kara-Lis Coverdale and David Sutton. Mastered by John Tejada. Cover photograph by Cody Cobb. Layout by Daniel Castrejón.

Germany's DJ bwin returns to First Second Label with a sub heavy offering of experimentational dubstep, bass, techno and trap for the dark smoke filled room in your brain. Moritz Paul aka Leibniz and Alex Hoppe aka CIO known for their label Hundert (alongside Felix Paul) has seen them pushing the boundaries of these sounds and Cell Phone pushes their sound even further with 3 tracks that would give any system a heavy workout.

Accompanied by a blissed out vibration filled remix from Berlin residing Cork born power house ELLLL this puts the icing on the cake for this already wobble heavy 12". The artwork, a combination of photography, paint and textiles is an extract from a cloth print by Irish artist and designer Shauna McGowan.

A new EP by The Untouchables is always a treat to be savoured, but the opening track of their latest for DNO is so deliciously tense, so foaming at the mouth with anticipation, that it’s hard not to gulp down the whole release in one go. A minute and a half of sinister notes trying to jab their way through a thick filter and there’s no doubting ‘Emu’ is gonna be one hell of a ride — and it doesn’t disappoint, revealing the stabs in all their gritty darkcore glory, and unleashing a torrent of system-shaking subs.

As per, the Belgian duo present a masterclass in merging dub’s unparalleled spaciousness with techno’s unrelenting drive, and delivering it all at a drum & bass tempo.
On ‘Punjab Chant’, a South Asian vocal call and various wind and percussive instrumentation from the region are pulled apart, lashed with delay, and layered over rubbery subs, resulting in an intense intercontinental dubwise belter.

‘Ragga Ting’ goes full digi dancehall, maintaining pace while employing sultry dembow-style syncopation and a hefty droning bassline that seems to loop ad infinitum. It’s an innovative move and one that’s sure to get hips swinging in the dance.

And the final track on wax, ‘86 Dread’, is pure bass weight, its boxy drums almost swallowed up by the sullen low-end, with only crisp shakers and the odd sonic squiggle poking above the gloom.

Digital bonus track ‘Planetarium Space’ brings the tempo down, but fills the mix with the hurried tick of hi-hats and pattering congas, dollops of reverse bass that add slippery off-kilter movement, and a rogues’ gallery of ghostly organ and other haunted samples and synths that wouldn’t feel out of place in an ‘80s horror flick.

Always taking a leftfield route to rattle your ribcage, The Untouchables and DNO once again prove they’re a perfect pairing. Yum, yum.

Rhythms of postmodern realism at the very bottom of the DNO.

Last year Low End Activist mapped out the depth and breadth of his sound with the Hostile Utopia album on Sneaker Social Club and now he returns with a fresh payload of future shock-outs from the grimy depths of his sound well. Recent times have seen LEA releases tipping towards MC guest spots but on this EP he’s turning inward with three varied, mutant workouts for soundsystem immersion.

‘Sent West’ makes no bones about its inspiration from the tough, boxy end of early dubstep, but as ever the kink in the Activist’s sound comes from the detail around the rhythm and his embrace of off-centre textures. ‘Neurosis’ plumbs even further down in its dogged pursuit of infinite subs and dystopian atmospherics, offering the kind of subliminal, wayward stepper to tweak nervous minds to distraction. ‘Dry Chat, Wet Rag’ stretches out on the B side with a phantom dub pulled from rad-blasted wastelands, caked in slime and tough enough to withstand any fallout.

Calling to mind the introspective, evocative work on the likes of Engineers Origins EP, this is LEA using the hardcore continuum to tell his most murked-out tales.

FUSE head honcho Enzo Siragusa drops his first EP of 2023 with the long-awaited release of ‘Laughing Tones’, backed by a remix from Subsequent boss Voigtmann.

It’s safe to say that every time FUSE founder Enzo Siragusa steps out on his home label with fresh music, it’s an event that carries a lot of attention and for a good reason. His last EP on the label ‘Dreamscape’ celebrated the imprint’s 50th EP release, while stand-out releases and records dating back to his very first on the imprint back in 2011 have continued to shape and evolve the label’s core identity, pushing the sound forwards while still bringing that trademark ‘FUSE aesthetic’. Returning to the label for his first release of the year, mid-July sees the renowned selector and producer unveil his latest EP ‘Laughing Tones’ as he uncovers a pair of heavily-requested productions that showcase his diverse production range backed by a driving remix from Voigtmann.

“While many people know about the influences I draw from jungle and hardcore, my sound has always been routed within house music. The inspiration behind ‘Laughing Tones’ comes from the house music from the late 90s; Mood II Swing, Inland Knights, the dubs and those deeper b-sides.. this record is a bit of a modern twist on that influential sound” - Enzo Siragusa.

A production drenched in rich melodies, title cut ‘Laughing Tones’ is a bright and lively production as the vibrant, sweeping leads and delicate chords meet a zigzagging, engrossing bassline and skippy percussion arrangements for a deep and bubbly trip through all hours of the night. Next, ‘Blossom’ enters the fray built around killer breaks and subtle low-end evolutions, all accented by jazzy tones and hazy textures, before Voigtmann’s vinyl-only remix of the title cut takes things into more off-kilter territories as eerie interludes, sharp hats, and cosmic tones take hold of things and dive deep into the early hours.

Balearia returns with an incredible collection of remixes for the always good Dj Fede. Alex Neri, Francesco Farfa and Rahaan for this sublime wax. Tip!

Disco re-edit master Moplen sprinkles his magic on the golden grooves of Jackie Moore’s classic, ‘Holding Back’ for the third release on A’s and Bees backed with the original Breakdown and Chin-Mental mixes from the mighty John Morales and Sergio Munzabai (M&M).

Continuing their run of heavyweight pressings that marry remastered originals with new interpretations of those prized cuts, A’s and Bees look to ’83 with this sensuous slice of disco heat, blending beefy slap bass with a soaring string section and Jackie’s soulful vocal tones. A cover of David Simmons’ 1979 classic ‘Holdin' Back’ penned by Gregg Diamond and Steve Love, Moore’s interpretation is a high energy disco hit from across the Atlantic.

Opening up the release, re-work whiz Moplen was graced with the stems to the original recording, tweaking, finessing and squeezing out all the best bits of the original building the tension across 7 sublime minutes, that balances deftness with full frontal power. Taking the A2, the original vocal mix in all its glory, produced and arranged by MFSB’s Bobby Eli.

On the B side two masterful M&M mixes from the legendary duo of John Morales and Sergio Munzabai in the form of the Breakdown and Chin-Mental versions.

50% of the profits from this release will be donated towards the British Beekeepers Association.

The White Series continues after a little pit stop. Tankwart is at the start with four tracks of wave, triphop and kraut and leads us into a cosmic slipstream. As one half of Dâdalus & Bikarus he is already known to us and now shows a more danceable side of his productions. Tankwart is known around here for his versatile DJ sets, which always surprise us with a pinch of the unexpected. We also find this in his music – Tankwart gives the supposedly familiar a new and sparkling twist.

Indies Only LP is opaque green vinyl. Both LPs come with a download. The moment the needle drops on Bite, the new A Giant Dog record, one’s conception of what an A Giant Dog record sounds like bends like space and time around a starship running at lightspeed. The biggest point of departure is that Bite is a concept album, concerning characters who find themselves moving in and out of a virtual reality called Avalonia. A Giant Dog’s first album of original songs since 2017’s Toy, Bite finds the band Sabrina Ellis, Andrew Cashen, Danny Blanchard, Graham Low, and Andy Bauer at their peak as musicians, challenging themselves with more complex arrangements and subject matter that forced them out of their heads and into those of the characters who occupy this supposed paradise. “We had to find ourselves within, or project ourselves into, the principal characters. We developed them, got to know their minds, emotions, and motivations, and then expressed those in nine songs,” Ellis explains. Themes of addiction, gender fluidity, living ethically in a capitalist society, physical autonomy, avarice, grief, and consent bubble beneath the promised happiness of Avalonia. This is evident in songs like “Different Than,” where Ellis sings, “My body can’t explain the things my mind don’t comprehend” as if societal gender pressure is squeezing its protagonist out of their skin. The songs on Bite are full of bombast, at turns calling to mind the spacefaring operatic rock of Electric Light Orchestra and the high drama of an Ennio Morricone film score. The album’s narrative sweep is epic in scope, its characters facing impossible odds and certain doom, existing as comfortably with the sci-fi grandiosity of Thin Lizzy’s Jailbreak as it does with the high fantasy of Dio and Iron Maiden. Appropriately, A Giant Dog came to this narrative armed to the teeth with new ideas, unleashing synthesizers and string sections to create what Ellis describes as orchestral, symphonic, futuristic punk. To achieve this, they left their home turf of Austin, Texas, for La Cuve Studio, just outside of Angers, France. Living in the French countryside, A Giant Dog laid down their vision of the future against a decidedly pastoral backdrop. On walks from Angers to La Cuve, Ellis says that they “would see many things, and also nothing at all. Swans on the river. Romani people living in little trailers, with a side hut built for their dog. A juggler on a unicycle—not fucking with you.” “We thought we wouldn’t be allowed back in France after this trip, to be honest,” they continued. “Five loud, stomping, clapping, rowdy Americans who ran through the streets of Angers for three weeks in November 2022.” The experience capped two years of planning and writing, fleshing out the universe of Avalonia beyond the bounds of most concept albums. The resulting nine songs do not merely occupy this space: They’ve lived in it, and they want out.

Boy Harsher, Portishead, Thom Yorke, Radiohead, Beak>, ERAAS, SUUNS. Over the past seven years, Public Memory's distinctive use of analog synthesizers, electronic beats mixed with organic percussion, lo-fi sound design, and gritty ambience has created a singularly eerie and shadowy world. The first seconds of Public Memory's new record, Elegiac Beat, thrust us immediately into that world. We are in media res, with a feeling of sudden movement from a sensible point A to B. Given some time however, we realize that there is something askew–a bit of brightness here, some shadows pushed aside, some jazz and funk amongst the dub and Krautrock. This is an unfamiliar, ambiguous mood that pushes Public Memory towards new ground. We still drift past the clouded lights and hollowed out buildings of previous albums, but with an occasional bounce in our step now, a bit of golden haze around the edges. First single "Savage Grin" cements this clearly. The track has a jazzy, trip-hop flavor, albeit filtered through Public Memory's narcotic, hazy lens. We could be in a hotel lounge in the alps somewhere on holiday, or out of time in a majestic, sparkling ballroom. But we still have the feeling of being haunted, or perhaps even hunted in some way. This feeling intensifies and comes to a head towards the ever-darkening end of the track, leading directly into "Afterimage", in which someone almost imperceptibly sings "I hear them coming" in a twisted, auto-tuned flail. Second single "7 Floor" begins with flanged drums and damaged synthesizer stabs, evoking a kind of apparition floating towards us in the mist. As the track moves on there is, similarly to "Savage Grin", a contrast in feeling between a cold exterior roaming and an interior, warmer, human place. This time however, we move from the colder to the warmer as the synths from the track's beginning make way for a Rhodes-style organ and backing string synth, infusing an unexpected sense of peace. But like "Savage Grin", the track moves to its end through an in-between place beyond the haze. Faded and distant synthesizers meld with voices–human, or perhaps otherwise–that beckon us, or perhaps warn us. We can't be sure which. Third single "Far End Of The Courtyard" brings us closest to classic Public Memory territory with hip-hop beats, chopped and screwed samples, lo-fi ambience, and ghostly electric pianos complementing the vocals. There is darkness, perhaps more here than in the previous two singles, but with a crucial moment of uplifting lightness so subtle it may be missed upon first listen. As an inverse to both "Savage Grin" and "7 Floor" we end with brightness, the jazzier side of the record pushed to the forefront as the track fades away on that golden haze. In the end though, the haze may be just that: a vapor, a mist, a slight dusting of some other world on top of the degraded one Public Memory so effectively portrays. Elegiac Beat is between two places, and as it straddles the line between the two, we are uncertain if the light it brings shines directly from the sun, or if it is dimly reflected through that majestic ballroom world. For fans of 1990s Bristol trip hop, coldwave, and Thom Yorke's The Eraser

First Word Records is very proud to welcome Ruby Wood to the label, with her debut solo EP 'Sincerely'.

Ruby is a vocalist & songwriter hailing from Huddersfield, West Yorkshire. Her soulful yet distinctive voice has enabled her to front numerous projects; perhaps best known as lead vocalist of the critically acclaimed Submotion Orchestra, since 2009.

She also toured as lead vocalist for Bonobo's live band, for Nubiyan Twist, and with hugely successful 1940's-esque vocal trio, The Sugar Sisters. There have also been features for dance outfits such as GLXY & Franky Wah, additionally to writing & recording for the likes of Krept & Konan, Alfa Mist, Roska, Hemai, Barney Artist and XOA, to name just a few.

In 2021, Ruby was awarded a DYCP Arts Council grant to fund her own creative project, which was taken as an opportunity to go back to the drawing board creatively, spending time working out how her own music would sound and what messages she wanted to convey.

After initial sketches on her Native Instruments Maschine, she began to work with fellow Submotion Orchestra member, Chris 'Fatty' Hargreaves; a long time friend and collaborator, and a revered musician in his own right, with his low-end theory science triumphantly stamped across his other projects, such as Pengshui and Outlook Orchestra. Ruby and Chris began bouncing ideas back and forth, and gradually this solo project started to take shape and form the bulk of this debut EP.

In Ruby's words "After years of working in big projects with lots of people, I often struggled to feel like my voice was being heard. Branching out on my own is an opportunity for me to make music that I would actually listen to myself! This process has been healing for me, and I'm so proud of myself for continuing to learn and develop my craft, whilst learning how to produce songs from scratch.


Becoming a mother also changed me for the better, and provided me with a wealth of experiences and challenges that have gone on to fuel my lyrics. I've grown a lot, and this EP gives a snippet of my life thus far".

'Sincerely' is comprised of five tracks, firmly based in the realms of hip hop soul and neo soul sonically, with an unashamedly '90s R&B vibe throughout. Throughout the EP, Ruby's story tells tales of motherhood, relationships, commitment, independence and inspirations. Further collaborations on the set come from vocalist Isaac Malibu (on 'Mr. Unavailable'), wind player Arran Kent (on 'My Favourite Song'), and assistance on a couple of beats from acclaimed hip hop producer, Pitch 92 and San Diego's Martel Howard, along with more Submotion alumni, Danny Templeman, Dom Howard and Bobby Beddoe and the debut performance from Ruby's daughter, Amber!

A truly triumphant body of work, this is just the start of a new chapter for Ruby Wood.

We’ve had a quieter start to 2021 than previous years, but that doesn’t mean we’ve not been busy. In fact, our next physical release marks the first in a run of 9 or more we’ve got booked and ready for the rest of the year... To kick off the first FKOFv release of 2021, we welcome an artist back to the roster we first worked with as FKOF Records in 2013. It’s been great watching Subreachers develop his sound and material over the last ~10yrs, and it’s wicked to have him on a record – with some incredible tunes as well! FKOFv005 also welcomes Congi to the label for the first time, with a sumptuous remix that we know you’ll love as much as we do...

Matching expansive ambience with environmental sound, Chihei Hatakeyama’s new album continues Field Records’ exploration of Japan and the Netherland’s shared approach to water management. As with Sugai Ken’s 2020 album Tone River, a specific project becomes Hatakeyama’s area of focus - in this case the Hachirōgata Lake in Akita Prefecture.

Previously the second largest body of water in Japan, the government ordered extensive drainage work of Hachirōgata Lake after the second world war with the help of Dutch engineers Pieter Jansen and Adriaan Volker. After the project was completed in 1977, reclaimed land took up eighty percent of Hachirōgata Lake’s total size. As a result, a new ecosystem was established as plants spread from surrounding areas, bringing with them a wider variety of birds and other wildlife.

Hatakeyama’s approach to this unique subject matter took in field recordings from particular locations around the lake - the drainage channels, the Ogata bridge, grassland conservation reserves and other key areas. The aquatic subject matter and sonic material is a natural fit for Hatakeyama’s accomplished sound, which has featured on numerous solo works for labels including Kranky, Room40 and his self-run White Paddy Mountain.

From the intimate intricacies of the sampled material to the glacial expanses of droning synthesis and languid guitar, Hatakeyama creates a tangible environment which at once reflects the settings around Hachirōgata Lake, while offering the listener any number of imagined scenes to observe in their mind’s eye.

Shall Not Fade sister imprint Lost Palms returns with another luscious cut of feel good, dusty house music from label mainstay Subjoi!

Rotary drops September 1st via Lost Palms.

2023 Repress Blue Vinyl

- Eagerly anticipated follow up to 2014 debut - number 7 in Mojo's best albums of the year.
- LP jacket is gloss laminate with front & back folds on the outside.The back panel is uncoated/matt varnish - 300 gsm card and 180g vinyl. Digital Download included.
- EU tour coming in April with Summer festivals later in 2017.

Sometimes it can take years to find your calling. Not so, for wanderer Julie Byrne, whose power of lyrical expression and melodic nous seems inborn. But often, what comes naturally demonstrates against speed. Julie's second album Not Even Happiness has taken time to evolve, but as it spans recollections of bustling roadside diners, the stars over the high desert, the aching weariness of change, the wildflowers on the coast of California and the irresolvable mysteries of love. Her new album archives a vivid world that would've otherwise been lost to the road and in doing so, Byrne exhibits her extraordinarily innate musicality.

In fact, some of the album's songs took two years of fine tuning to get where they needed to be. And if you were to ask her why the follow up to 2014's Rooms With Walls And Windows has taken so long, you'd only be greeted with a bemused smile as though it's the strangest question she's ever been asked, Writing comes from a natural process of change and growth. It took me up to this point to have the capacity to express my experience of the time in my life that these songs came from.'

Having counted Buffalo, Pittsburgh, Pennsylvania, Northampton, Massachusetts, Chicago, Illinois, Seattle, New Orleans as her home in recent years. For now, Julie has settled in New York City where she moonlights as a seasonal urban park ranger in Manhattan. Whether witnessing the Pacific Northwest for the first time ('Melting Grid'), the morning sky in Colorado after staying up through the night at a house party in the mountains of Boulder ('Natural Blue'), recording the passage of freight trains on the outskirts of Buffalo, New York ('Interlude'), or a journey fragrant with rose water, reading Frank O'Hara aloud from the passengers seat during a drive through the desert of Utah into the rainforest of Washington State ('All The Land Glimmered Beneath'), Not Even Happiness is Julie's beguilingly ode to the fringes of life.

Self-taught on the guitar after picking it up when her father became ill and could no longer play the instrument himself, Julie readily admits she can't read music and doesn't even listen to it all that much - the first vinyl she owned was indeed, her own. Recorded with producer Eric Littmann (Phantom Posse), Julie laid down the new album in her childhood home in western New York state and offers an altogether bigger picture to its predecessor through a wider, yet subtle, exploration of instruments and atmospherics, Not Even Happiness reveals an artist who has grown in confidence over time.

Byrne's debut album was released back in January 2014 on Chicago based DIY label Orindal after initially being as two separate cassettes releases. Rooms With Walls and Windows went onto become a true modern-day word of mouth success story (it would have to be for an artist who shuns all forms of social media) and ended the year being voted number 7 in Mojo magazine's best albums of the year, with the Huffington Post calling it "2014's Great American Album". A collection of hushed intimate front porch psych-folk songs, that unknowingly recalled the greats, but felt very much for our time. It saw her travel to Europe over two summers playing the Green Man festival and End Of The Road, as well as lesser trodden tour paths around Europe.

Julie Byrne will take the songs from Not Even Happiness (the first release on a new record label Basin Rock, based in the Lancashire / Yorkshire border town of Todmorden) on the road throughout 2017.

YMO DRUMMER YUKIHIRO TAKAHASHI'S SOPHISTICATED CITY FUNK CLASSIC FROM 1978 CO-PRODUCED BY RYUICHI SAKAMOTO AND FEATURING HARUOMI HOSONO, MINAKO YOSHIDA AND TATSURO YAMASHITA. RELEASED FOR THE FIRST TIME OUTSIDE OF JAPAN - WITH REMASTERED AUDIO, LP COMES WITH OBI AND FOUR PAGE INSERT

Wewantsounds is delighted to announce the release of Yukihiro Takahashi's debut solo album 'Saravah!'. One of the key Japanese albums of the 70s, it was released in 1978 at a key time when, following his tenure with Sadistic Mika Band, Takahashi had just joined the nascent line up of Yellow Magic Orchestra. A sophisticated mix of Disco Funk, synth Pop, Ambient, French Exotica and Bossa Nova, the album has the stylish feel of a night out clubbing in Paris circa 1978. It’s the missing link between the City Pop scene of the late 70s and the synth sound of YMO which was about to revolutionise the world. Newly remastered by renowned engineer Mitsuo Koike, the LP features original artwork with photos by Masayoshi Sukita (David Bowie's Heroes), a 4-page insert and a new Introduction by Benjamin Barouh (Saravah records).
The month before recording the YMO debut album that would help alter the course of music, Yukihiro Takahashi entered the studio with his fellow band-members Ryuichi Sakamoto and Haruomi Hosono to record 'Saravah!' together with the cream of the Japanese scene. He drew his inspiration from globe-trotting French musician Pierre Barouh who had introduced Bossa Nova in France in 1966 with "Samba Saravah" (featured in soundtrack the Oscar Winner A Man And A Woman which he co-wrote) and subsequently launched Saravah Records.
'Saravah' starts off with a couple of French and Italian exotica classics ('Volare' and 'C'est Si Bon') with delicious touches of synth while 'Saravah!' a nod to Pierre Barouh, is a languid Bossa Nova with beautiful soulful strings arranged by Ryuichi Sakamoto. The album gets hotter with 'La Rosa' a superb mid tempo ambient funk featuring Takahashi's beat backed by Haruomi Hosono's bumping bass line, Sakamoto's Hammond Organ and Shigeru Suzuki's fluid guitar.
The first side ends with an amazing exotica-synth version of the standard 'Mood Indigo', announcing the midi revolution that was to come before things get funkier on Side Two starting with Ryuichi Sakamoto's superb up-tempo Disco instrumental ‘Elastic Dummy’ featuring soulful strings and horns with solos by Sakamoto and guitarist Tsunehide Matsuki. The album then moves on to the ambient synth pop of ‘Sunset’ before switching back to Disco Funk with 'Back Street Midnight Queen’ which. like 'Elastic Dummy' has become a dancefloor cult classic over the years.' Saravah! ends on a perfect note with the beautiful 'Present' a perfectly crafted pop song which Takahashi wanted to do in a City Pop mode, featuring a superb melody and high-class arrangements. The perfect soundtrack to an early morning stroll in the Paris streets as illustrated by Masayoshi Sukita's photos featured on the album cover.
A sophisticated album full of glitz and fun, 'Saravah!' gives a unique insight into the versatility the YMO musicians and how funky they could play under Yukihiro Takahashi's influence. This was a key time when the three musicians were just transitioning to a sound that would be dominated by synthesizers and 'Saravah' catch them just at that fascinating moment.

The contributions of the late Detroit producer James DeWitt Yancey -better known to the world as J Dilla- to the world of hip-hop can't be overstated, and nowhere is his legacy more apparent than his work as a member of Slum Village. A founding member of the trio, (Alongside rappers T3 and Baatin) Dilla provided the group's distinctly esoteric, free-wheeling sound, built around winding basslines, quirky drumbeats, subtle low-end frequencies, and classic jazz & soul samples. Against the backdrop of Dilla's rich production, T3 and Baatin's free-flowing style of rhyming would also earn wide critical praise, leading to comparisons as the successors to A Tribe Called Quest. (A label they themselves have rejected.) After the success of Slum's 1997 studio debut, Fan-Tas-Tic Vol. 1, the group went to work on their follow up. Though the project was completed in '98, label turmoil kept the project on ice until 2000. By the time Fantastic Volume II hit Dilla was well on his way to his status as a hip hop legend having produced cuts for Common, Busta Rhymes, Erykah Badu, A Tribe Called Quest and many more. Later works from Slum Village may have had more of an impact sales-wise (in the immediate) but Fantastic Vol. 2 had fans and many critics saying that Slum Village, and Dilla in particular, may single-handedly save rap music.' Perhaps that statement is hyperbole but many consider Fantastic Volume II to be Slum Village's finest work ever to this day. Ne'Astra Media Group now presents the album reissued on vinyl, for the first time in several years. Every wobbling bass note of J Dilla's production has been preserved to maintain the legacy of this hip hop rap classic and maintain the legend of one of hip-hop's greatest beatsmiths.

Der Soundtrack zur HBO-Serie "The Last of Us" basiert auf der beliebten Musik und Klangwelt des gleichnamigen Videospiels. Geschrieben wurde der Soundtrack vom mit einem Academy Award ausgezeichneten Komponisten Gustavo Santaolalla und von David Fleming.Die intime, gitarrenbetonte Klanglandschaft spiegelt die Emotionalität der Serie wider und nimmt die Hörer mit auf die ungewisse Reise durch die USA in einer postapokalyptischen Welt, zwanzig Jahre nach der Zerstörung der modernen Zivilisation durch eine, von einem Pilz verursachte Epidemie.

Based on the critically acclaimed video game of the same name developed by Naughty Dog for the PlayStation® platforms, The Last of Us is written and executive produced by co-creators Craig Mazin (Emmy® Award-winning creator of HBO’s “Chernobyl”) and Neil Druckmann (creator and writer of the award-winning “The Last of Us” franchise and Naughty Dog Co-President).


The Last of Us takes place twenty years after modern civilization
has been destroyed by a viral outbreak. Joel, a hardened survivor, is hired to smuggle Ellie, a 14-year-old girl, out of an oppressive quarantine zone. What starts as a small job soon becomes a brutal, heartbreaking journey, as they both must traverse the U.S. and depend on each other for survival.

The vinyl release to the acclaimed series contains soundtrack
highlights from the show. Featured are score tracks by composer Gustavo Santaolalla, with additional music by David Fleming as well as songs by Depeche Mode, Pearl Jam, Jessica Mazin & Nick Offerman.


The package contains 2x vinyl, standard weight at 140g, 1x green and 1x clear, a double-sided poster of the show’s key art, spot gloss and soft touch on the gatefold and an insert featuring liner notes by Neil Druckmann, Craig Mazin, Gustavo Santaolalla & David Fleming and images from the show.

Ocela can be a dance album if you want it to be, but above that, it is an album about dancing. The second instalment in a planned trilogy, it regards dance as a form of pathmaking, a physical chronology of a journey. Its voyager is the eponymous Ocela // an invented feminine form of the word steel // who wields both strength and brittleness. While the first album (Spojky Čiary) focused on Ocela's inception and youth, here she is mature // on a resolute trajectory between birth and passing away.

Ocela is not a concept album // unless you want it to be // but it is an album built around beats. While there is a loose precedent for rhythms in the two-piece project Jamka, the trilogy also marks Daniel Kordik's solo return to melodical composition. On this record, Ocela dances on her orbits in patterns that are harmonious but always slightly elliptic. Each song on the album travels with its own varying velocity, before it abruptly finds itself at the subjective beginning. Then it goes through further revolutions, with determination bordering on a lack of choice.

Recorded live onto a 4-track before mixing, Ocela is unlike its predecessor in that it shuns any form of field recording, and was instead made using only hardware (Elektron Octatrack MK1, Elektron Digitone, Jomox Mbase01).

Daniel Kordik, also known as Iskra, is one half of Jamka, member of the Urbsounds Collective, co-founder of Earshots Recordings and Ocela is his second release on the melodramatic label Weltschmerzen.

Black Truffle is pleased to announce The Leisure Principle, a new solo LP from London-based bassist and sound artist Otto Willberg. A key player in the London underground, Willberg is often heard on acoustic and electric bass in free improv settings and bands with Laurie Tompkins (Yes Indeed) and Charles Hayward (Abstract Concrete), as well as the fractured No Wave unit Historically Fucked. His previous solo releases have ranged from extended technique double bass to explorations of the acoustics of a 19th century artillery fort. But nothing Willberg has committed to wax so far prepares a listener for The Leisure Principle, six unashamedly melodic improvisational workouts created almost entirely with heavily filtered bass harmonica and electric bass. On the opening ‘Reap What Thou Sow’, a single-note bass harmonica loop pulses along underneath a roaming bass solo, the side-chained envelope filtering (where the dynamic behaviour of the bass determines the filter for both bass and harmonica) fusing the two instruments into a single stream of burbling shifts in resonance. After several minutes of patient exploration of this low-end landscape, the music suddenly opens up in widescreen with the entrance of Sam Andreae’s graceful melodica chords, spreading out across the stereo field. From this epic opener, each of the remaining pieces goes on to explore a slightly different aspect of the terrain. On ‘Shadow Came into the Eyes as Earth Turned on its Axis’, a similarly buoyant harmonica bass line provides the foundation, but this time playing a soulful descending riff, its almost R&B feel abstracted and half-obscured by the filtering. On ‘Mollusk’, echoed bass arpeggios skitter between elegiac chords somewhat reminiscent of the opening of John Abercrombie’s ‘Timeless’, before settling into a hypnotic groove. On the record’s second half, Willberg pushes further into the possibilities of his idiosyncratic instrumentation. On ‘Wetter’, bass and harmonica come together into a monstrous, growling jaw harp; on ‘Had we but world enough and more time’, the subtly shifting pulsating patterns start to feel almost like a kind of evaporated, drum-less dub techno until an eruption of wheezing bass harmonica gives the piece a comically folkish turn. Willberg’s melodically inventive and virtuosic bass performance calls to mind any number of fusion touchstones, from Jaco Pastorius to Mark Egan’s singing tone in the early Pat Metheny Group—even Anthony Jackson’s work with Steve Kahn. But with its radically reduced instrumentation, The Leisure Principle is also an exercise in minimalism, and the absence of percussion gives even its funkiest moments a strangely abstracted quality. At times, its uncanny blend of the abstruse and the immediate suggests the fried pop experiments of David Rosenboom or the skewed but deeply musical DIY of 80s underground groups like De Fabriek. Both easy on the ear and profoundly strange, The Leisure Principle proudly takes its place among the most eccentric offerings on the Black Truffle menu.

Als nächstes erscheint bei BPitch eine neue 4-Track EP mit ungefiltertem Techno und tadellosem Sounddesign des Turiner Duos Boston 168. Nach drei Veröffentlichungen auf dem Label und einem Beitrag auf dem vielversprechenden Sublabel UFO Inc im Jahr 2019 begibt sich das Duo mit der EP Gigantia, die am 14.07.23 digital veröffentlicht wird, in industrielle Gefilde und in lebhafte psychedelische Trips. Sergio Pace und Vincenzo Ferramosca, die seit 2014 gemeinsam Musik produzieren, haben sich mit einer besonders räumlichen Form von Techno einen Namen gemacht, der ihnen bis heute eine illustre Karriere beschert hat. Auf "Gigantia" greift das Duo auf die industriellen Wurzeln ihrer Heimatstadt zurück und verschmilzt eine Reihe von Einflüssen mit einer ausgesprochen melodischen Version von Acid Techno.

Los Angeles rapper Earl Sweatshirt releases his new project SICK!, out now via Tan Cressida / Warner Records. The new 10-track project includes previously released singles "2010," "Tabula Rasa (feat. Armand Hammer)," and "Titanic" and features collaborative contributions from artists and producers Zelooperz, Nak-el Smith, Armand Hammer, Black Noi$e, and The Alchemist.

Speaking about the new project, Earl says:

"SICK! is my humble offering of 10 songs recorded in the wake of the worldwide coronavirus pandemic and its subsequent lockdowns. Before the virus I had been working on an album I named after a book I used to read with my mother ('The People Could Fly'). Once the lockdowns hit, people couldn't fly anymore. A wise man said art imitates life.

People were sick. The People were angry and isolated and restless. I leaned into the

chaos cause it was apparent that it wasn't going anywhere. these songs are what happened when I would come up for air. Peace and love to Zelooperz the enigma, The Armand Hammer, and my good friends Alchemist and Black Noi$e. Peace and love to u."



Following the project's release, Earl Sweatshirt will embark on his North American 2022 NBA Leather Tour later this month with Action Bronson, and The Alchemist with Boldy James. The 19-date run will see stops in Los Angeles, Chicago, and New York City before wrapping up in Austin in February. Tickets are available here.



Listen to SICK! above and find full album details and upcoming live dates below. Stay tuned for more from Earl Sweatshirt coming soon.

'Ain't Ever Easy' is the best example to date. The muscular, chooglin' beat of the country funk heater "Can't Take Back" opens Ryan Curtis' sophomore album 'Ain't Ever Easy.' Like a steam train gliding into some high desert station, it bears the strong vintage machinery of Curtis' "alt-country from the high country" sound. The song lopes in on oozing guitar and keys over a backbeat that pulses sexier than a
breakup song has the right to be. Regret has rarely sounded this happy, but Curtis is capable of turning love and loss into dripping hot, powerful songs. Over the last decade the various styles of country have become Curtis' stock-in-trade. With a gravelly growl he paints cinematic pictures of picaresque people from the Midwest and the badlands; down and out townies, bar room drifters, forlorn lovers, and resilient loners fill his visionary tales, mournful subject matter he turns into country gold.

The album title is an ancient alchemic motto which means "Walk within yourself'' in Latin.
Recorded only and exclusively with electric guitar, the musician explores the threshold of subconscious with heavy drones, fragile soundscapes and haunting melodies, realizing a work between ambient and high-volume drone music. ''Ambula ab intra is an oneiric travel into the depths of the psyche, experiencing the inner path into Self. The outcome is an ethereal work of heavy ambient guitar soundscapes.

A pop record for tired times. Sugared with bits of shatterproof glass to put more crack in your strap. At long last, verse / chorus. A weathered thesaurus. This is OSEES bookend sound. Early grade garage pop meets protosynth punk suicide-repellant. Have a whack at the grass or listen while flat on your ass. Heaps of electronic whirling accelerants to gum up your cheapskate broadband. Social media toilet scrapers unite! Allow your 24-hour news cycle eyes to squint at this smiling abattoir doorman. You can find your place here at long last. All are welcome from the get go to the finale…a distant crackling transmission of 80s synth last-dance-of-the-night tune for your lost loves. Suffering from Politic amnesia? Bored of AI-generated pop slop? Then this one is for you, our friends. Wasteland wanderer, stick around. Love y’all. For fans of Teutonic synth punk and Thee Oh Sees (who the fuck are they?)” — John Dwyer

A pop record for tired times. Sugared with bits of shatterproof glass to put more crack in your strap. At long last, verse / chorus. A weathered thesaurus. This is OSEES bookend sound. Early grade garage pop meets protosynth punk suicide-repellant. Have a whack at the grass or listen while flat on your ass. Heaps of electronic whirling accelerants to gum up your cheapskate broadband. Social media toilet scrapers unite! Allow your 24-hour news cycle eyes to squint at this smiling abattoir doorman. You can find your place here at long last. All are welcome from the get go to the finale…a distant crackling transmission of 80s synth last-dance-of-the-night tune for your lost loves. Suffering from Politic amnesia? Bored of AI-generated pop slop? Then this one is for you, our friends. Wasteland wanderer, stick around. Love y’all. For fans of Teutonic synth punk and Thee Oh Sees (who the fuck are they?)” — John Dwyer

Alternative rock, or abbreviated to just simply alternative, first came to present in the early ‘70s as independent underground music and gradually developed into the ‘90s as a reaction to the mainstream pop music from that era. Alternative music was represented by bands who were signed to independent labels, but major labels also picked up on the trend, which led to commercial success in the international music charts. The 2LP 90’s Alternative Collected highlights songs by bands such as Faith No More, Nick Cave & The Bad Seeds, Kula Shaker, Eels, R.E.M., Oasis, Live, Soundgarden, Fun Lovin’ Criminals, Smash Mouth, and many others

100% Analogue 33RPM 180g 1LP
Remastered from the Original Analogue Stereo Masters for the First Time!

Hear this album as it was meant to be heard! Absolutely Stunning!
The greatest assembly of musical talent ever on one album! Features Performances by John Coltrane, Miles Davis, Bill Evans, Ben Webster & 27 More Jazz Greats!



In 1958, a young, successful French composer-arranger with a major infatuation on American jazz, worked his way to New York and convinced the very best players of the time to record an album of largely jazz standards. Michel Legrand would go on to win numerous prizes and accolades (3 Oscars, 5 Grammies, 2 Palmes D'or, etc.), but little of what followed matched the sheer brilliance of Legrand Jazz.

Miles Davis, John Coltrane, Bill Evans, Ben Webster, Phil Woods and practically every other session man in town signed up for sessions with Legrand to record his idiosyncratic arrangements of standards ("Django", "Don’t Get Around Much Anymore", "Night in Tunisia", etc.). Instead of regurgitating then current bop styles, he reinvented the very nature of orchestral jazz band repertoire to make a unique and forward-looking statement on the genre.

The sound of Impex's all-analogue LP preserves the wide soundstage of late 50’s Columbia recordings while creating intimate spaces between players on the stage for maximum definition. This rare, highly-praised recording has never sounded as good as it does now. Go big with Legrand Jazz.

Legrand Jazz was greeted by an enthusiastic review in the magazine Down Beat. Dom Cerulli awarded it five stars out of a possible five.

The meticulously recreated outer jacket is packaged in a gatefold with an original photo montage inside honoring Michel Legrand's masterpiece of reinvention and sublime fan-boy enthusiasm.

"The music is luscious and this just may be one of the best-sounding records you'll ever hear." - Ken Kessler, Hi Fi News, Rated 95/100 Sound Quality!

Starting in 2019, Fairytale have carved out a unique sound that is both ethereal and chaotic, beautiful and terrifying. This New York City band are back with their debut LP, Shooting Star. Wretched soaked guitars and a rhythm section that sounds like a horde of demons are blended together with dynamic vocals that meander between gruff and choral, at times reminding one of Tozibabe. We dare you not to have the disc on a loop as each listen reveals more and more layers.