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- Limited Repress in White Splatter Vinyl

Three chopped & pumpin' disco edits.
Get ready to gonna ring in the summer big time oof!

Voice Magnetic by Hainbach is the enigmatic Berlin based artist’s sonic diary of 2022. On his sixth release on Seil Records, Stefan Goetsch collages the sounds he made and the ones that surrounded him over the course of twelve months into a powerfully intimate ambient experience.

In his studio or on travels — Hainbach always is working on new material and allows the locations he records his tracks in to find their way into the music. Consequently, on many tracks you can can hear the outside bleeding in — seagulls and waves on "Izmir", the voices of his children while record the piano or the sirens of Neukölln’s police cars in background.

The connecting threads between these pieces are magnetic tape and the human voice — hiss and breath. The result are 15 immersive ambient pieces that make up Voice Magnetic. Often short like the moments that spark them. Fading and intricate, honest and pure.

Based out of Berlin, Germany, electro-acoustic music composer and performer Hainbach creates shifting audio landscapes, using esoteric synthesizers, nuclear test equipment, magnetic tape and a collection of idiophones. Hainbach has become known for his immersive live shows and an unique sound that is both abstract yet very much a corporal experience. Otherworldly and intimate, raw and heartfelt. On his wildly popular YouTube channel, Hainbach shares his love for experimental music techniques and his passion for forgotten machines with a wide audience. Inspiring over one hundred thousand each week to explore synthesis, electronics - and to leave beaten paths.

French electronic pionner, ADN’ Ckrystall, became a legend in the Minimal-Synth scene when his first album
« Jazz’Mad » (from 1982) was rediscovered and re-edited via the two biggest labels in the genre : Minimal Wave (circa 2005) and Dark Entries (circa 2012). Following this new interest, a bunch of unreleased materials reappeared and went out mostly directly through Erick (ADN)’s control, under compilations, coffrets (V.O.D.) or albums that never had the chance to come out before... But one piece was still missing, the album just following « Jazz’Mad » called « Frankraut » and here comes the story... During the covid year of 2021, Erick finally found the tapes forgotten somewhere at his parents house since 1984. After relistening to it he decided to bring them back to life. « Frankraut was a project born from the reflexion about the concept of marrying (and not the opposite) the romantico-poetico side : naive melodies flirting with research and experimentations in the electronic music « à la française » like illustration, « bilbliothèque sonore » (library) or music for film... and the « cold », mechanic, motorik, hypnotic, psychedelic free explosive and creative side of the Krautrock. »

Summer 2022, during the Braille Satelite festival (Lithuania) Sacha (label boss) and Erick met and became friends. Few weeks later Erick was sending the demos of Frankraut on a burned CD (‘à l’ancienne’) by the post to Sacha. This is how ‘the 40 years old never released before project’ is finally coming out has a mini-LP on the 10inch format on Macadam Mambo !

London’s own Trev appeared on our first release, Body Music Vol 1, as well as other key releases on CoOp Presents and Local Talk. We’ve been fans from the start and, after Trev joined the family, his music went from strength to strength. It was already out-of-this-world production, with serious attention to detail, and this EP is nothing short of excellent! He told us 'there’s no hiding that this EP is, in essence, a long love letter to Brazil', but that it’s also written to 'Iran, London, Lisbon, Japan, probably more - too many to remember!'. Trev described his process as 'listening, learning, combining my favourite elements of all this music that has brought me so much joy over the years'. Right on!

This EP is fresh, different and sonically on point. It’s Bruk, it’s Brazilian, it’s Bass, it’s… all-round-really-good dance music! Trev is a real modern musician, an awesome keys player as well as a producer. He understands the importance of musicality and originality, together with weighty beats and bass, working just as well on the dance floor as they do at a house party… or dinner party, for that matter!

'Nightjar', the title track, draws you in with hypnotic plucks like crickets on a hot summer’s night. Eerie pads float in building tension before the beat drops - Pandeiro and Caxixi serving broken-beat with the kick - pumping the sonic palette and pumping the dancefloor. Deep sinister chords pulse in and out, percussive melodies bring love from the middle east, and we reach a beautiful jazz-harmony break - then it’s straight back to the body movement - this time letting loose with the cowbells and the shakers. Think Brazil, think Persia, think Jazz, think dance-floor, it’s all in there!

'Late Flip' pulls us into a more ethereal intro, with the Koto and skate sounds laying our dream scene. Morphing out of flutes, modular synth plucks pay tribute to the sounds of Lisbon as we drop - a rolling broken beat punch, playful Rhodes and distant vocal chops ring out with the Koto dripping in warm echoes. A truly amazing composition and arrangement that leaves you wanting more!

'Beijo' is one of our faves on this EP. We’re straight in with a kiss - MWAH! - a classic Baile rhythm gets a warm Bruk embrace. It’s passionate and dark and tells a story as old as history. Get lost in the movements between drums and percussion, in the flutes and cicadas, until the organ bass calls it - time to get moving. This really is Trev’s signature dance floor style. A banger with a naughty-yet-subtle bassline, and its own game of perspective - feel this rhythm in more ways than one. Vocal chops and Tamborim place São Paulo’s influence front and centre.

'Grey' takes us on a dusty House/Bruk journey with filtering chords that grow patiently until the beat drops - getting your feet moving and neck bopping! Burning slow, Trev is playful with the harmony, keeping the fun with a roller of a bassline that pulls it all together. It’s a six-and-a-half-minute rich musical journey that feels more like half that time!?

Complete your Dance Regular Vinyl collection with this absolute killer EP from the one called Trev.

Paul Seul joins the Never Sleep fold with 3 incredible tracks for the lovers waiting for the new dawn. The single Amoureuse is nothing short of an instant dancefloor classic. Showcasing Pauls emotional side and love for French pop with a huge vocal, stadium friendly arrangement and a BIG heart. A true force of nature and is guaranteed to start any party.

Clear Vinyl

For polymath artist Wesley Joseph, writing a song is like shooting a film. He sees in terms of scenes and colors, lighting the proper mood, drawing the right emotional arc_far beyond just getting a catchy melody down on tape. Music and filmmaking are Joseph's two great loves. Film came first_he started making DIY videos at age 12 to entertain himself and his friends growing up in a small UK community_but when he moved to London to study it, the energy he discovered in the city demanded to be captured in song, resulting in his 2021 debut ULTRAMARINE, a distinctly cinematic collection of avant-R&B and soulful future-pop shot through with moments of surprising aggression and an intriguingly complex postmillennial aura. Since collaborating with the likes of Jorja Smith and Loyle Carner, he returns with GLOW, eight more songs of love, loss, anxiety, and joy about coming of age at a time of unprecedented change. Showcasing his range across songwriting, performing, and production_not to mention his flawless transitions between singing and rapping, between character studies and raw emotional honesty_it's a stunningly beautiful work that makes it clear Joseph's on the path to becoming a worldchanging talent. As on previous projects, Joseph is providing his own visual accompaniments for GLOW, creative directing its artwork and directing its first video. "COLD SUMMER" finds Joseph singing from a supervillain's perspective over woozy film-score strings, and the concept bleeds over into its video accompaniment, a cryptic post-post-Tarantino gangster comedy shot in Kazakhstan. It's usually hyperbole to call an artist as young and new as Joseph "visionary," but it's undeniable that he has a vision, one that transcends old ideas of genre and medium, one that seems to get bigger and richer every time he steps into a studio or behind a camera. GLOW is one of the deepest and most satisfyingly cinematic listening experiences of the year_and Wesley Joseph is just getting started.

In 1980, Genesis P-Orridge and Peter 'Sleazy' Christopherson (then of Throbbing Gristle renown) travelled to New York City to meet up at the fortified apartment, known as The Bunker, of famed beat writer and cultural pioneer William S. Burroughs and his executor James Grauerholz to starting the daunting task to compile the experimental sounds works of Burroughs, which, up until that point, had never been heard. During those visits, Burroughs would play back his tape recorder experiments featuring his spoken word 'cut-ups', collaged field recordings from his travels and his flirtations with EVP recording techniques, pioneered by Latvian intellectual Konstantins Raudive. Throughout the next year, P-Orridge, Christopherson and Grauerholz would spent countless hours compiling various edits, each collection showcasing Burroughs sensitive ear and keen experimental prowess for audio anomaly within technical limitations. By the time 1981 came through, Burroughs had relocated to Lawrence, KS in which to escape the violence and mania of New York City life. It is in Lawrence that P-Orridge and Christopherson put the finishing touches on the record that would be known as 'Nothing Here Now but the Recordings'. The album would come out in the Spring of 1981 as the final release for the shuttering Industrial Records, brought about by the dissolution of Throbbing Gristle. The album remained out of print until 1998 when John Giorno and the Giorno Poetry Systems included the album on a multi-disc retrospective CD box set compiling the majority of Burroughs seminal recordings.

In 1980, Genesis P-Orridge and Peter 'Sleazy' Christopherson (then of Throbbing Gristle renown) travelled to New York City to meet up at the fortified apartment, known as The Bunker, of famed beat writer and cultural pioneer William S. Burroughs and his executor James Grauerholz to starting the daunting task to compile the experimental sounds works of Burroughs, which, up until that point, had never been heard. During those visits, Burroughs would play back his tape recorder experiments featuring his spoken word 'cut-ups', collaged field recordings from his travels and his flirtations with EVP recording techniques, pioneered by Latvian intellectual Konstantins Raudive. Throughout the next year, P-Orridge, Christopherson and Grauerholz would spent countless hours compiling various edits, each collection showcasing Burroughs sensitive ear and keen experimental prowess for audio anomaly within technical limitations. By the time 1981 came through, Burroughs had relocated to Lawrence, KS in which to escape the violence and mania of New York City life. It is in Lawrence that P-Orridge and Christopherson put the finishing touches on the record that would be known as 'Nothing Here Now but the Recordings'. The album would come out in the Spring of 1981 as the final release for the shuttering Industrial Records, brought about by the dissolution of Throbbing Gristle. The album remained out of print until 1998 when John Giorno and the Giorno Poetry Systems included the album on a multi-disc retrospective CD box set compiling the majority of Burroughs seminal recordings.

Los Angeles based pianist, producer, and songwriter John Carroll Kirby traveled to Pietrasanta, Italy in the summer of 2018 on a self-imposed writing trip. During his stay he composed Tuscany, a two side-long solo piano exploration of this particular geographical envelope, a place where nature is shaped into form.

Kirby would cycle 12 kilometers each day to Cascata di Malbacco, a waterfall with jade pools and silver stone, and the inspiration for Side A of Tuscany. His own Cascata di Malbacco tumbles and shimmers along the piano as a gorgeous eighteen-minute-long improvised piece, some of it polished and some moments left raw.

On a ride to Sant’Anna, twenty-something kilometers away, Kirby took a wrong turn and got lost among the hills, where he encountered several monuments memorializing the victims of the Sant’Anna di Stazzema massacre. The dark history of an abandoned mill house served as the inspiration for the album’s haunting Side B, a eulogy for all of those forgotten by time.

Although Side A is inspired by the natural beauty of a waterfall, and Side B by the cruelty that people can inflict upon others, both pieces revolve around the same seven-note bassline. The idea Kirby is iterating on is the realization that darkness exists inside light, and vice versa; Tuscany is an inquiry into this duality and its consequences.

John Carroll Kirby has recently released records on Leaving Records, Outside Insight and Pinchy & Friends. In the studio and on the road, he’s produced and/or played with Connan Mockasin, Blood Orange, Sebastian Tellier, Shabazz Palaces and Solange.
He recently signed to Stones Throw Records.

Patience is a new outlet for exploring further beyond the break than usual. Inspired by the music perpetually on rotation at HQ – with E2-E4 representing the format’s high tide mark – each release will be one artist’s deep dive down one inspirational wormhole spread across two sides of vinyl, or two side-long sojourns making full use of a round 12” piece of plastic. Set and forget, zone out to tune in.

Demon Records presents a new collection of 23 classic alternative anthems, brought
together on vinyl for the first time, exploring a golden era for American guitar music

Across the two 140g vinyl, highlights include tracks such as - Sonic Youth ‘Teen Age Riot’, R.E.M. ‘The One I Love’, Soundgarden ‘Black Hole Sun’, Pixies ‘Debaser’, The Flaming Lips ‘She Don’t Use Jelly’, and many more huge tracks.

Pressed on two 140g vinyl, housed in printed inner sleeves.

An essential collection for any alternative music fan!

Dial D for Digitalism. The return of Hamburg’s most prolific and bewitching production duo is a two-sided one. Back To Haus is their second outing for Running Back after Reality 2 in 2020. And on top of that, it does what it says on the tin. Based on the roots of house, which was the sound that Ismail Tuefekci and Jens Moelle started their DJ careers with, their modern day interpretation of it is far from nostalgic, boring or conservative.

Take the title track for instance. Now a track-id favorite, it was meant to be a sound test. It’s recipe is as simple as it is infectious. Mix some Roland drum machines with a few piano chords and expertly arrange the rest with a marathon intro and a corresponding break down. Voilá! Patience might be bitter, but its fruits are sweet.

Chicagostrasse is not only an existing street in the warehouse district of Hamburg’s harbor, but also a nod to all-time heroes Johnny D and Nicky P of Henry Street fame and their samplers-and-beats approach. Heavy hypno house.

4TH Floor sees the duo sampling themselves (again) for a fast paced and open-airy party jam the references one of their favorite New York labels, when they met at Hamburg’s late house music record store institution Underground Solution beginning of this millennium. Happiness is just a state of mind.

Closing it all off, but not winding it down is Warehaus and its convoying beat tool Empty Warehaus. Like Todd Terry visiting a Summer of Love rave in the UK. Descriptive and positively destructive. All in all, a worthy double, a DJ’s delight and a dancer’s delight.

Following two stunning EP’s earlier this year, Federico Albanese now releases his debut album on MercuryKX. Featuring collaborations with Marika Hackman and Ghostpoet, the project centres itself around memory: “ We have the power to change the way we recollect moments of our lives. I like the idea of being able to craft my own memory the way I wanted to remember it. Music is the vehicle I use to find these moments, hold them in time. It allows me to remember something from a very special perspective, creating different possibilities” - Federico Albanese.

“La pluie d'été” by Kaltès is the first EP on Ætna Records.

Field recordings and sound design are at the center of this release that includes an epic Lakker Remix.
It is “something about summer, something about rain and kisses under the trees”.

Aetna Records is Kaltès newly formed label. Aetna, in Ancient Greek: Αἴτνη, Aítnē. The word Etna(aithō), meaning "I burn".

Aetna was in Greek and Roman mythology a Sicilian nymph. She acted as arbitrator between Hephaestus and Demeter respecting the possession of Sicily. Mount Etna in Sicily was believed to have derived its name from her. The mountain itself was believed to be the place in which Hephaestus and the Cyclopes made the thunderbolts for Zeus. Mount Etna is one of the world's most active volcanoes.

The choice of this name for her label is a tribute to burning hearts, and the love Kaltès has for Sicily, where she originates.

Kaltès is a musician and dj. She has a background in jazz music and studied improvisation in Brussels, before giving in to Berlin’s darkest shade of techno.

She is a Tresor Club resident and released music on prominent labels such as Eotrax and MORD.

Over the course of a 19-year career, Marshall Watson has released all manner of musical treats for a similarly wide array of labels, yet it’s the effortless beauty of his downtempo works – and particularly his ambient and Balearic excursions – that have often left a lasting impression.

It certainly caught the attention of NuNorthern Soul founder Phil Cooper, who brought the West Coast producer to the label in the summer of 2021. That EP, Sunsets on Larkin Parts 1 & 2, was undeniably special. The same can be said about his belated return to the label, Foothills, an EP packed to the rafters with slow-burn melodies, sustained chords, becalmed textures and gently unwinding grooves.

Watson’s distinctive take on Balearic naturally comes to the fore on EP opener ‘High Desert’, a soft-focus delight where languid electric guitars, starry electric piano lines, echoing chords and gently pulsing electronics stretch out across a shuffling groove. While tailor-made for watching the sun set off his beloved Pacific Coast – and over the Mediterranean Sea – ‘High Desert’ offers a dose of hazy sonic sunshine that can brighten up even the greyest of days.

Fittingly, the accompanying remix comes from long-time friends of the label Seahawks, whose textured, layered and atmospheric productions similarly blur boundaries between Balearic, ambient, pitched-down dancefloor grooves and glassy-eyed psychedelia. Employing opaque, shape-shifting pads, effects-laden guitars, subtle spoken word snippets and yearning, almost melancholic chords – all atop a crunchy, head-nodding beat and toasty bassline – the duo deliver a remix that’s as emotive and sonically stunning as Watson’s original mix.

The EP’s three other tracks amply demonstrate the subtle variety within Watson’s downtempo output. Vocalist Julie Childe makes her mark on ‘Sweet Sounds’, a brilliant blend of warming deep house and laidback Balearic nu-disco that sports subtle hints to his work as one half of synthwave duo Causeway, while ‘Open Sky’ brilliantly wraps undulating TB-303 acid lines and echoing Spanish guitars around a hypnotic, locked-in dancefloor groove.

Then there’s ‘The Landscape’, a deliciously saucer-eyed slab of breakbeat-powered, TB-303-sporting genius that evokes the immersive, early morning waviness of the ambient house era, the beach party psychedelia of San Francisco’s free party movement, and the bleeping wonder of turn-of-the-90s UK dance music. Like the rest of the EP, it’s an enveloping, head-soothing and mind-expanding treat.





e B2 High Desert Seahawks High Sky Remix

First release on the new french label Disques de la Spirale, featuring an experimental motorik-kraut-dub infused, semi-improvised live act built by Tamara Goukassova, Axel Larsen & Théo Delaunay (Panoptique, Succhiamo, Violent Quand on Aime, Radiante Pourpre..) from Simple Music Experience ; featuring Maoupa Mazzocchetti, Fiesta en el Vacío, Ventre de Biche, Kyle Knapp (Deliluh) …
For fans of Faust, Tomaga, Tony Conrad...


French non-jazz trio overflowed by Simple Music Experience’s funders Tamara Goukassova, Théo Delaunay & Alexandre Larcier, offering a 40mn of non-simple music madness, and navigating between a dozen of etiquettes from undecided space rock to motorik-infused-dub, medieval folk, cartoon trance; everything under the seal of psychedelia and half-improvisation.
Built from drums, violin, springs, samples, reiterations, overdubs, trumpets, synths, distortions; and the appearances of L. Cedrón (Fiesta en el Vacío), L. Retraite (Ventre de Biche), K. Knapp (Deliluh), F. Mazzocchetti (Maoupa Mazzocchetti).

Chimera embraced by three members of the Simple Music Experience label, also (co-) liable at one point for the acts of Axel Larsen, (The) Simplists, Violent Quand On Aime, Constance Chlore, T. Goukassova, Radiante Pourpre, Succhiamo or Panoptique; Parasite Jazz emerged in 2016 in the smoke of a suspicious performance on Simple Music TV. An improvised and protean artifact at birth, the project settled down at the end of 2020 as a trio (Axel Larsen, Constance Chlore, Tamara Goukassova) in Marseille, then as a sextet during the Illusio festival in the summer of 2021. A series of concerts with a shifting line-up followed - Kyle Knapp, Luca Retraite and Luna Cedrón sometimes appeared and with them, spontaneous incandescences. This first series of collective hallucinations took the form of an album during a perilous recording at Grrrnd Zero (Lyon) in October 2021, and is completed by live recordings gleaned over the course of the summer episodes.

All tracks are composed and performed by Parasite Jazz:
Alexandre Larcier: bands, FX, springs
Tamara Goukassova: violin
Théo Delaunay: drums, percussion, synthesizer, tapes

Florent Mazzocchetti: trumpet on "Carton Jazz" and "Alarm Twist" (sampled)
Luca Retraite: bass on “Terciopelo” and guitar on “Alarm Twist”
Luna Cedron: vocals on “Terciopelo”
Kyle Knapp: lap steel on “Terciopelo” and “Untitled live at Gigors”
Around Function: Sketches, band lettering

Recorded and mixed by Théo Delaunay at Grrrnd Zero (Lyon) and l'Embobineuse (Marseille) except "Terciopelo" recorded at Illusio (Pradelles) and "Untitled live at Gigors" at La Sye Electric (Gigors-et-Lozeron).

Mastering: Rupert Clerveaux
Cover: Diane Malatesta
Design: Alan Briand
Parasite Jazz thanks: Quentin Mosko, the Groovedge/Illusio crew, Théo & Clyde, Maoupa Mazzocchetti, the 3 jokers Luna Luca and Kyle, Grrrnd & the Embobineuse.

Exceptionally talented keyboardist, DJ and producer Moon Boots (Peter Dougherty) has revealed his third studio album ‘Ride Away’. The ten-track LP will land on March 17th on Anjunadeep. The first single, ‘Hot Minute’ featuring Black Gatsby, is out today. Written and produced over a nearly two-year period beginning in early 2021, ‘Ride Away’ contains themes of love, companionship, and personal exploration. Hauling in a crate’s worth of musical influences, Moon Boots has imbued ‘Ride Away’ with his characteristic blend of soul, disco, and house music, whilst also introducing the sounds of synthpop, breakbeats, and psychedelica. Marrying these eclectic styles is part and parcel of Moon Boots idiosyncratic sensibility, honed through years of living and DJing in Chicago, the birthplace of house music, and in the musical melting pot of Brooklyn. ‘Hot Minute’ is the first single and features the vocals of longtime collaborator Black Gatsby. With a sassy chorus that echoes Anderson Paak and Sylvester with a gospel-inflected breakdown, ‘Hot Minute’ shows off the full range of Black Gatsby’s talents and his unique musical rapport with Moon Boots. This bop is a tantalising taste of what Dougherty has been up to in the studio. ‘Hot Minute’ follows the recent release of ‘Come Back Around’ which featured indie darling Cherry Glazerr. The summer anthem was supported by the likes of KCRW, Triple J, and SiriusXM. ‘Ride Away’ follows in the footsteps of Moon Boots’s debut ‘First Landing’ (2017) and sophomore album ‘Bimini Road’ (2019). With an impressive catalogue atypical of the dance world, Dougherty’s third album represents both his tenacity and evolution as a producer and songwriter.

Featuring a swathe of colourful vocalists including the likes of Cherry Glazerr, Dope Earth Alien, and Nic Hanson, ‘Ride Away’ celebrates Dougherty’s longstanding affinity for collaboration, fun effervescent songwriting, and dance-focused production. Other international artists on the album include French singer Praa and Norwegian band Ora The Molecule, whilst longtime collaborators Ross Clark (St. Lucia) and Steven Klavier feature as writers and instrumentalists on the record, rounding out a global ensemble of incredible talent. Having accrued well over 100 million streams on Spotify alone, and having been championed by the likes of Annie Mac, Diplo, Danny Howard, and The Blessed Madonna, Moon Boots has established himself as a trailblazer of R&B-infused dance music.

Limited Vinyl

Polly Records, the new Hamburg based music imprint kicks of with a 2 Track 7'' record added by 3 digital jams called "Bumpers". On this release, producer Speckman captures a part of his 2020 outlet, which includes a heavy UK influence, driven sound-textures as well as fast and shaking beats. At some point it might feel like you would touch the power supply with wet fingers. The producer and Golden Pudel Club resident Speckman also happens to be a member and co-founder of the Polly Records Crew. Accompanied by his fellows and partners Natalie Andruszkiewicz and Malte von der Lancken, who both are heavily involved in the Hamburg club and art scene, they built the group behind the promissing new label. Andruszkiewicz, graphic-designer and artist, known for her exquisite and unique style in colors, forms and typography evolved in a surrounding of bands and musicians, her talent and high demand led into works such as Booklets, Party-Flyers and Album-Covers for bands like Aroma or Pool. Malte von der Lancken, does bookings for the highly reputed club Uebel & Gefährlich and is responsible for tons of great parties that clearly pushed the landscape of electronic dance music around the city of Hamburg since years.

With forced powers the trio is now setting up Polly Records, a label that is willing to push boundaries and provide a platform to artists that really try to outbreak specific genres or styles, visually and audio vise. Aware of a long-lasting tradition of great hamburg based institutions such as Smallville Records, Dial or the Golden Pudel Club, Polly will certainly continue that road but perhaps in another vehicle for example a sportscar with butterfly doors.

After Speckman's "Bumpers" EP which is going to be released in late summer, the label wants to introduce another hamburg based talent, that been kept hidden for too long. Stay tuned.

Vinyl Only

Uk Hip Hop legendary group The Mouse Outfit for the first time on 7”inches vinyl with the trademark head-nodding beats, jazz influences, and smooth, stoner sonics to soundtrack summer - this time with new talent and multi-instrumentalist One Only.
Flip it for a deep liquid Drum and Bass version by Shift Ops Edition of 500 copies!

Red Vinyl
Vinyl Only


Uk Hip Hop legendary group The Mouse Outfit for the first time on 7”inches vinyl with the trademark head-nodding beats, jazz influences, and smooth, stoner sonics to soundtrack summer - this time with new talent and multi-instrumentalist One Only.
Flip it for a deep liquid Drum and Bass version by Shift Ops Edition of 500 copies!

For polymath artist Wesley Joseph, writing a song is like shooting a film - he sees in terms of scenes and colors, lighting the proper mood, drawing the right emotional arc. Music and filmmaking are Joseph’s two great loves. Film came first—he started making DIY videos at age 12 to entertain himself and his friends growing up in a small town in the UK. “There wasn’t really much happening,” he remembers, “and from a young age it created this mindset that doing everything myself was the only way to do it.”

But when he moved to London to study as a filmmaker, he discovered something in the freedom and independence of city life that demanded to be captured in song, and found a crew of collaborators—including A.K. Paul, Dave Okumu, Joy Orbison, Leon Vynehall, Lexxx, Loyle Carner and his childhood friend Jorja Smith—to help him do it. The result was his breakthrough single ‘Ghostin’’ and the 2021 debut ULTRAMARINE - released on his own imprint EEVILTWINN - a deeply textured collection of avant-R&B and soulful future-pop that stretched from psychedelic ballads to hard hip-hop bars (often in the span of a single track) and crystallized the mood of a young cohort trying to find love and live their dreams while the world is falling apart. Whilst his collaboration with Loyle Carner on single ‘Blood On My Nikes’ lead to him featuring on the artist’s critically acclaimed - and #3 charting album - earlier this year.

Now the nascent auteur returns with his Secretly Canadian debut GLOW, eight more songs of love, loss, anxiety, and joy about coming of age at a time of unprecedented change. Showcasing his range across songwriting, performing, and production—not to mention his flawless transitions between singing and rapping, between character studies and raw emotional honesty—it’s a stunningly beautiful work that makes it clear Joseph’s on the path to becoming a world-changing talent.

GLOW opens with the title track’s warm analog synths and cascading vocals that channel the harmonious Northern soul Joseph’s dad raised him on, a shimmering bed of clouds for the project’s opening credits. But like any good director, he quickly deepens the mood, drawing together disparate influences and emotions to build a unique sonic world spilling over with synchronicities and juxtapositions. “MONSOON” conjures nocturnal hedonism at the same time as it contemplates grief.

As on previous projects, Joseph is providing his own visual accompaniments for GLOW, creative directing its artwork and adding to his growing filmography as a director—he’s repped by the renowned production company Stink—with its first video. “COLD SUMMER” finds Joseph singing from a supervillain’s perspective over woozy film-score strings, and the concept bleeds over into its video accompaniment, a cryptic post-post-Tarantino film shot in Kazakhstan.

“I've never really seen them separately,” Joseph says of music and film. “They kind of just constantly drift into each other. And when they come together, it's like it was meant to be in my head the whole time.
It’s usually hyperbole to call an artist as young and new as Joseph “visionary,” but it’s undeniable that he has a vision, one that transcends old ideas of genre and medium, one that seems to get bigger and richer every time he steps into a studio or behind a camera. GLOW is one of the deepest and most satisfyingly cinematic listening experiences of the year—and Wesley Joseph is just getting started.

Oceans flow through the center of Cinder Well's music and 'Cadence', the
new album from Amelia Baker's experimental folk project,drifts between
two far-flung seas: the hazy California coast where she grew up, and the
wind-torn swells of Western Ireland that she's come to love
Written soon after the release of 2020's acclaimed 'No Summer', Baker returned
to her hometown in central California to record at Harlan Steinberger's nearby
Hen House Studios in Venice Beach. Inspired by this new setting, Baker expanded
Cinder Well's sound to include percussion, provided by her old friend Phillip
Rogers (Haley Heynderickx), as well as trance electric guitar and expansive string
parts courtesy of Cormac MacDiarmada (Lankum). The doom folk and traditional
Irish influences of 'No Summer' are still present but often give way to a more
optimistic and relaxed atmosphere that nods to LA's mythical Laurel Canyon
years. Across nine epic tracks, Baker treads a sonic and lyrical path between the
two coastal towns she calls home, her transcendental voice given new wings by
the record's sweeping arrangements. "Overgrown" is the first major key Cinder
Well song in nearly a decade while the uneasy and pulsating title track is a love
letter to the self for our darkest days. Fittingly, Baker opens 'Cadence' with a song
about selkies-- seals that turn human on land. More than just a bit of folklore,
shapeshifting selkies are a metaphor for Baker herself: a songwriter tied to the
ebb and flow of the ocean (and humanity's) currents, whether they be half a world
away or a few steps from home.

10 Year anniversary reissue of Citizen's debut fan-favorite LP on "Evergreen" vinyl including updated deluxe artwork with die-cut slip-case o-card and new gatefold cover. To celebrate 10 years of YOUTH, Citizen and Run For Cover Records have teamed up to completely update the band's debut LP. Since it's initial release in 2013, the songs that make up Youth's tracklist have been staples in mixtapes, playlists and record collections for listeners chasing what felt like a long-lost feeling in alternative music. YOUTH takes notes from the headbanging tempo of grunge, the hazy reverb of shoegaze, and the catharsis of emo together to make something deeply personal and profound. Songs like opener "Roam the Room" and the anthemic sing-a-long "The Summer" have been soundtracked a thousand stagedives at live shows, while pensive and moody songs like "Figure You Out" and "Sleep" offer brief, downtempo respites with blissful melodies. YOUTH also features Citizen's two most popular songs: "The Night I Drove Alone" builds from a quiet, isolated guitar strum into vocalist & lyricist Mat Kerekes' diary-like confessional, exploding mid-song into a full-band barrage, while "How Does It Feel?" incorporates dreamy shoegaze elements into a somber mid-tempo wall of sound. New additions to the vinyl packaging include a die-cut slip-case cover to hold a new rendition of the album's classic flower text done by artist Mike Adams. Packaging also includes an updated printed inner sleeve with photos from the era as well as lyrics and updated liner notes. This updated version of Citizen's first record pays homage to a landmark record for the band and re-contextualizes it alongside their ever-growing catalog.

On Garden Party, Rose City Band"s country psychedelic rock evokes the wide-open spaces of the American west and free spirits who call it home. Led by acclaimed guitarist and vocalist Ripley Johnson, Rose City Band are some of the best players in contemporary rock: pedal steel guitarist Barry Walker, keyboardist Paul Hasenberg, bassist Dewey Mahood (aka Plankton Wat), drummer Dustin Dybvig, and features Sanae Yamada of Moon Duo on Synthesizer. Garden Party is both a celebration of summer and all it brings: friends gathering at backyard BBQs, cold beers on a hot porch, 12-foot sunflowers, and an exaltation of the value and respite of a moment of calm; the pleasures of time in the garden to appreciate the beauty of a contorted carrot, or a morning on a stoop watching a hummingbird. Freedom, contentment, and joy were the sources for the songs; they certainly bring the listener right there. From the soaring guitar solos to the driving rhythms, the elegant pedal steel lines to the organ grooves, Garden Party has a live band"s energy captured in exquisite detail. Garden Party is an invitation, a welcoming hand extended, and a joyous ride. Like all great music, the album taps into the listeners" emotional center and takes them to their happy place - their sunny spot. Recorded at Center for Sound, Light, and Color Therapy in Portland and mixed by John McEntire, the band"s sounds surround and embrace you. Garden Party"s last two tracks feature special guest Sanae Yamada (Moon Duo) who added some synth magic to the final two tracks. Ripley says it best "I always like when an album starts in one place and ends in another" What a beautiful journey it is!

On Garden Party, Rose City Band"s country psychedelic rock evokes the wide-open spaces of the American west and free spirits who call it home. Led by acclaimed guitarist and vocalist Ripley Johnson, Rose City Band are some of the best players in contemporary rock: pedal steel guitarist Barry Walker, keyboardist Paul Hasenberg, bassist Dewey Mahood (aka Plankton Wat), drummer Dustin Dybvig, and features Sanae Yamada of Moon Duo on Synthesizer. Garden Party is both a celebration of summer and all it brings: friends gathering at backyard BBQs, cold beers on a hot porch, 12-foot sunflowers, and an exaltation of the value and respite of a moment of calm; the pleasures of time in the garden to appreciate the beauty of a contorted carrot, or a morning on a stoop watching a hummingbird. Freedom, contentment, and joy were the sources for the songs; they certainly bring the listener right there. From the soaring guitar solos to the driving rhythms, the elegant pedal steel lines to the organ grooves, Garden Party has a live band"s energy captured in exquisite detail. Garden Party is an invitation, a welcoming hand extended, and a joyous ride. Like all great music, the album taps into the listeners" emotional center and takes them to their happy place - their sunny spot. Recorded at Center for Sound, Light, and Color Therapy in Portland and mixed by John McEntire, the band"s sounds surround and embrace you. Garden Party"s last two tracks feature special guest Sanae Yamada (Moon Duo) who added some synth magic to the final two tracks. Ripley says it best "I always like when an album starts in one place and ends in another" What a beautiful journey it is!

BZN (Band Zonder Naam, a.k.a. Band Without A Name) started out as a pop-rock band, based in Volendam in 1966. Switching from hard rock to pop, the band went through several changes in line-up and scored their first commercial success with “Mon Amour” in 1976. This first success led to a string of hits, charting in the Netherlands, Germany, Belgium, and even South Africa. After 42 years, their career came to an end in 2007 with a final concert at Ahoy Rotterdam

This double album features their biggest hits, including “Mon Amour”, “Don’t Say Goodbye”, “Yeppa”, “Pearlydumm”, “Chanson D’Amour”, “Just An Illusion”, and “Lady McCorey” amongst others. The Very Best Of BZN includes an insert.

The duo WILDES from the south of Germany, consisting of Jana Pantha and Jenny Tulipa, presents a musical mix of electro-synth-pop, post-punk and dark disco influences. After the release of their first EP “RAWWR” in 2021, their debut album entitled “KLISCHEE” will be released on 3 February 2023. Released via the Kommando 84 label, the album features 11 songs and a musical re-interpretation of German-language Neue Deutsche Welle sounds. The songs combine spoken word passages in which the singers combine a certain irony with word-playful rhymes. In addition to world-political, social issues, the songs revolve around the complexity of the new romance in love - between cosmos and stereo. The strong and experimentally avant-garde lyrics accompany the danceable pulse of the drum computer, melodic synth waves and the shimmering solos of the lead guitar.

The album “Klischee” begins with an electro-pop track that combines consistent grooves with atmo- spheric sound arrangements and a lead guitar that accompanies our journey to the moon. With the chorus’ high-pitched words, „Konsum - leg mich auf den Moon“ (“Consumption - put me on the Moon”), WILDES dryly yet humorously allude to a society that couldn’t fly “higher”.

The following cheeky song Leger in Schwarz combines impeccable post punk with influences from the NNDW scene. A short love story led by the electronic beat of the synthesizer makes the hearts of the night beat faster. With casual reduction, a guitar riff leads through the song. The guitar solo finally rounds off the plea about the longing for a good flirt.

Italo disco shimmers and pulsates on the driving song Capri. With lyrics like “Pack the boats - Vai a bordo”, Capri is a homage to the tried and tested Italo feeling with a cappucino on the terrazza, or indeed on the yacht with a view of the rocky walls of the island. An electric charge of sequencers and synth tracks acts here as a lightness of being in contrast to the porosity of the rock.

An electrifying electric guitar solo kicks off the fourth track with a mysterious invitation to Steig ein translated, get in. Hypnotised by the lights of the road, dazzled in the side mirror, a clearly repeating rhythm leads into the chorus and through the coming verses. English spoken-word lyrics add to the stoicism of the German language. The song’s great power ends with the line Lost in the dark, holding open the finale of the “Night Drive” encounter.

Digital and stereo on all channels, the distinctly tight and robust rhythm sounds in the song Apparat. A clear and simple synth melody is heard as a contrast and the electric bass gives the balance of the machine at points. Hiddenly, WILDES points here to the superior power that can control human action beyond all limits. A piece as a laudation to all the science fiction novels that play with the switching of the individual parts.

Side One of the vinyl is finalised by a song called La Grande Bellezza that motivates to dance and sing along. The punky pop craft lives through the recurring beat of the rhythm guitar. Here the focus is on the woman in all her facets. The great beauty, una donna, who can do everything as well as wanting everything and nothing...a strong woman who, however, also staggers and wants to jump off the cliff. Clearly and distinctly, the musical accompaniment of the drum machine and the accompanying synth melody reflect hidden parallel worlds and the ambiguity of character - of life? We get a desire for more and turn the round record.

The B side starts with a powerful guitar riff, complemented by a catchy and strong bassline that runs through the song. In this work, WILDES provocatively describes the West’s lust for the much-cov- eted Schwarzes Gold black gold. The song is reminiscent of the works of the band D.A.F. and thus ties in with the electronic punk sound spate.

The driving guitar riff joins in with the reduced synth bass sequence - the electro-pop song with the title Hitze (Heat) came onto the digital music market as the first single from the LP in the summer of 2022. Pulsatingly, the drum computer lets the beats vibrate to the rhythm of heated air. The duo po- etically describes heat with supercooled voices, a clarity in the sky that makes everything flow, that makes the breath dry. The work ends with a melodic synth solo.

Ich lad dich ein, I invite you - we have all said or heard this sentence before. A chance meeting of two people later leads to the altar in love. A far-reaching question that more or less arises in many love relationships at some point “Do you dare?” positions itself in lyrical contrast to the simple ques- tion in the refrain “Do you need sugar?”. WILDES plays with laconic poetry and, full of irony, makes the listeners think about living together. Krautrock contours are skilfully used in this piece. Reduced to the essentials, the chorus immediately sticks in the ear. A cheerful mix of steel drums and infec- tious solo.

Toccami - touch me! We sit on padded leather chairs - “you’re a rocket! Peng Puff Peng” - this song by the band WILDES joins experimental art-punk-pop, electronically with flowing synth waves we take off immediately. Melodically sung, lyrical layers of lyrics dance loosely light and gracefully in the ears of the viewer. The rhythmic beat visualises the feeling of floating in a spaceship. It’s love in the universe - “I love you, my darling” sounds tipsy in the beat-heavy disco refrain.

Hypnotically, WILDES launches into the final song of the entire LP. The title Zone takes us on a journey through time. Inspired by the film Stalker, we find ourselves in a science fiction setting that couldn’t be more present in today’s European events. The musicality of the electric guitar riffs ac- companied by simple new wave drums drives the listener into unknown realms.

Repetition and electronic synth sounds play a compositional role alongside rocking guitar riffs like their forerunners in the NDW scene. Lyrically, each song varies between pop-romantic and politically critical passages. Listeners start pondering about hedonistic life and its consequences. Sometimes it feels like listening to a Tarantino soundtrack in German, other times it feels like listening to an 80s track by a James Bond. Science fiction fantasies and reality add up in dadaistic theatricality to spir- ited synthpunk of the New German Wave from the South. Discoid beats and driving drums in digital are included.

Matt Duncan is one of the biggest artists you have not heard of yet. This particular album, "Soft Times" has almost 20 MILLION STREAMS on Spotify alone. You might not know Matt Duncan, but you have definitely heard his music. His music has been on "The Vampire Diaries," "Private Practice," and HBO's "Bored To Death." Most recently Matt was a featured performer in the Tony Award winning Broadway musical, "Hedwig and The Angry Inch." The album art was created by Robert Beatty, who has recently done art for Tame Impala, Flaming Lips, and more! Matt Duncan creates music that would have fit in perfectly on your Dad's AM Radio in the 1970's. Touches of Blue Eyed Soul await you on this LP. This album showcases the strength of Matt's arranging. Strings, horns, layered vocals all make this perfect mix of Motown and Bacharach. There is a track for any ear on this LP.

Also available from Matt Duncan: Beacon LP. Album has 20M Streams on Spotify. Artist was part of Tony Award Winning Cast of Hedwig & The Angry Inch. Artist has tracks featured on HBO, Showtime, ABC, and MTV networks.

Soave Records dusts off the psych/synth album by Doctor Steven T. Birchall recorded in 1973 in Indiana, U.S.A. with the following equipment: VCS-3 (The Putney) by EMS, Ampex MM-1000 16 trk, dbx noise reduction, SpectrasSonics Console, Studer A80 Recorder, Eventide Clockworks, Instant Phaser, Cooper Time Cube, EMT Reverb. The absolutely penetrating high tones of the opening track 'Music Of The Spheres' announce us that we are on board, passengers in the hands, or perhaps better to say in the mind, of Birchall who aims to go beyond those "normal" boundaries that we call reality. It is a new world of music that still amazes after half a century. A higher stage of truth projected into the cosmos. Cover art by Earl. E. Hokens.

Formed in the bygone barren period for British rock music that were the nascent
2010s, The St Pierre Snake Invasion have consistently shown themselves to be
an unapologetically creative force.
The long gap between debut album, A Hundred Years A Day (October 31st 2015)
and the release of underground sophomore smash Caprice Enchanté (June 21st
2019) was something the five- piece were reticent to repeat, but circumstance
beyond the Bristolians' control dictates that third LP, Galore, comes to us in a
markedly different world than the one in which St Pierre were building their
reputation and acclaim.
Sayell himself has been adamant that this latest offering would not be a COVID
album. He did not want it to address the ubiquitous isolation of global lockdown.
It immediately would date the record to a fixed point in time and not allow its
ideas to flourish and find a receptive audience for a continued period. Instead, the
changes represented in Galore are so fundamentally powerful and relatable to the
human condition. It is an album centered around universally resonant themes of
growth.
The summer of 2021 saw the birth of Sayell's first child. The concurrent writing of
the band's third LP has, naturally, been greatly informed by the experience of
impending fatherhood. Wondering about one's own impact on a life that you have
been a part in creating, the anxieties of what will be passed down to another
generation, and reflections on garnered wisdom with age; these are the key
themes that bring us to the band's magnum opus to date.
Alongside these introspective lyrics, the band's sound has taken on new life.
Where Carprice Enchanté was primarily informed by the musicality of Every Time
I Die, The Chariot, Refused and Mclusky, Galore builds on this framework by
incorporating influences as disparate as LCD Soundsystem, Soulwax and
Meshuggah into a coherent and daring whole. A song like That There's Fighting
Talk sees seething aggression taken to a mathcore nightclub, while the title track
and Apex Prey see the band exploring looser, quieter melodicism alongside Sang
Froid's Aisling Whiting, who brings a stake dynamic counterpart to Sayell in a
beautiful and captivating performance.
There are still tracks reminiscent of the band's previous work, such as
Submechano and Sleep Well - the latter featuring a sterling guest appearance
from Sugar Horse's Ashley Tubb - in which we hear the brash punk attitude St
Pierre's ever-growing fanbase adore. But ultimately, from the opening syncopated
notes of Pete Reisner's percussion and Sayell's distinctive vocals on Kracked
Velvet, it's impossible not to hear the palpable shift to another echelon of artis

Repress!

Using an old door, 17 strings, chopsticks and combining them with phasers, echo units and amplification, the new device was to become his signature sound, mixing Irish folk influences with Asian and North African sounds in a mesmerising and soulful new way that brought him to the attention of the leading improvisers of his day - Alice Coltrane, Ravi Shankar, Don Cherry and more.

A logical follow up to AllChival's recent reissue of Stano's debut LP, Michael O'Shea's self titled LP was originally released on Wire's Dome Imprint in 1982.

The background to the album is as interesting and inspiring as the artist who created it - born in Northern Ireland but raised in the Republic, O'Shea was keen to travel and escape the troubles of his home.

Wandering throughout Europe and the Middle East, O'Shea found himself living and working as a relief aid in Bangladesh in the mid Seventies where he learned to play sitar while recovering from a bout of hepatitis. A later period spent busking in France accompanied on zelochord by Algerian musician Kris Hosylan Harp led to O'Shea's idea of combining both instruments as a homebuilt instrument - Mo Chara (Irish for "My Friend").

He later described the process on the back of the LP himself saying:

"Having sold my sitar in Germany and being desperate for money to travel to Turkey, I conceived of the idea of combining both sitar and zelochord. The first Mo Cara was born, taken from the middle of a door, which was rescued from a skip in Munchen"

A combination of dulcimer, zelochord and sitar, O Shea would play it with a pair of chopsticks, striking the strings softly using Irish folk rhythms mixed with the rich, nostalgic sounds of of the many Asian artists he'd encountered on his travels.

It was a pan cultural sound standing at an unusual crossroads of folk, traditional, rock, progressive, jazz, electronic and post-punk worlds without hesitation.

Perfecting the instrument on the streets, there were further spells spent busking in the underground stations and cafes of London's West End and Covent Garden during the heady days of the 1970s when they were full of eccentric street entertainers, jazz improvisers and musical pioneers.

His work with Rick Wakeman never saw the light of day but O'Shea's contact with the world of post-punk London ensured his name would live on.

Introduced to Wire's Bruce Gilbert and Graham Lewis via cartoonist Tom Johnston, O'Shea eventually acquiesced to an open invite to record at their studio. Turning up unannounced in the summer of 1981 the LP was recorded in a day in the legendary Blackwing Studios and released on Dome the year after.

The first side features the fifteen minute masterpiece "No Journeys End" with the B side featuring more input from Wire in processing the Mo Chara sound.

Lewis himself said years later of the forgotten masterpiece: 'I always said it was the best job we ever did.'

After an aborted LP with The The's Matt Johnson the following year, O'Shea quietly disappeared from the formal recording world and his brief but unique contribution to the music world came to a sad end in 1991 when O'Shea was struck by a post van and died a few days later in hospital in London.

This repress on All City's AllChival imprint has been remastered and reissued with the approval of both Dome and his surviving siblings.

Edition OF 500 copies, Comes with insert and download code.

An album that sounds like The Menahan Street Band playing in a tropical jungle, at dawn, right at the point when the first rays of sunlight penetrate the dark depths of the forest. During the 2022 summer of natural disasters, under an unprecedented heatwave, and haunted by news reports of ancient relics, sunken ships, and hunger stones resurfacing as rivers dried-up all-over Europe, Amsterdam based multi-instrumentalist producer Alex Figueira started to hear uncanny metallic vibrations And eerie melodies of untraceable origins, day and night. He recalls nightmares of winged creatures inside timeless structures of Escherian architectures playing cosmic instruments amidst tropical storms
and acid rains. As the visions came more often, his wife reported that he babbled during his sleep about South American demon Yurupari. Soon, Alex found himself in a sleepless state and decided to cleanse the studio, with hallowed rites and
the intense burning of Palo Santo. After almost burning the studio down, he turned to his neighbourhood’s most experienced psychic, seeking answers. He was told there were “cosmic entities” trying to manifest a message “too complex for us to understand in this dimension” and the only way he could find peace was to deliver those messages in a decipherable form. It was then he decided to transmute his hallucinations into music, an all-or-nothing cathartic solution.

Alex entered a feverish dream, fuelled by the kaleidoscopic motion of the cosmos, ancient meteor showers, and visions of forgotten interstellar South American gods. He remembers very little of the work, but the outcome is this record. Entirely composed, recorded, produced, and mixed in a frenetic nine-day studio stint.

How the experts describe it:

”Just when outernational vinyl vampires thought they had it all sewn up, the metronomic makeshift
magician known as Alex Figueira unravels the entire fabric of your record collection to expose a gaping
hole where PUNKUMBIA and Transplant-Tropicalia should be. Reducing an expansive palette of
influences to a recipe that tastes wildly exotic but comfortably over-familiar, Alex’s roles as both
scavenger and chef, bookend a whole ensemble of other highly adept musical personalities in between.
Discover this record NOW, or wait until all your friends (or enemies) recommend it to you later.”
Andy Votel (Finders Keepers)

“Incendiary, lysergic takes on South American and Caribbean music from one of the scene's truly
authentic and eccentric producers. You can always count on Venezuelan-born, Amsterdam-based,
multi-instrumentalist, music-fanatic Alex Figueira to surprise and innovate, whilst consistently keeping it
true and real. The former Fumaça Preta drummer & front-man's debut solo album does not disappoint!”
Miles Cleret (Soundway)

“The one man band Alex Figueira comes through with some major flavors on this one. Cumbia beats and
psychedelic elements with that Latin touch of soul & Funk!”
Kenny Dope (Masters at Work)

“I really respect Alex Figueira’s DIY ethos. From running his own little funky recordstore to running his
own label and making his own music by playing every instrument himself. I was already a fan of the song
“Aprende” which he released on 7 inch and with“Mentallogenic” he takes it a step further in that same
vibe. From songs like “La Culebra” making use of a vocoder in his typical latin sound to songs like
“Serious” playing with rhythmic changes and topping it off with some synth flavors. A lovely and fun
album”.
Antal (Rush Hour).

Formed by Alison Statton of much-loved Welsh avant-garde/indie pioneers the Young Marble Giants alongside guitarists Simon Booth and Spike, Weekend have been more than a cult band during their short career. La Varieté was their 1982 debut album a delicate collection of songs set against a jazz backdrop, switching across several musical settings including samba, cabaret, Afrobeat and truly original contemporary exotic pop. The album was originally released in 1982 on the Rough Trade label and still deserve the status of a masterpiece. It was revered by critics on release as a bold new departure from the prevailing post-punk ethos and served as a major influence on future indie stars as Saint Etienne and Belle And Sebastian.

Unseelie is celebrating the one year anniversary of goddexx by galen tipton, an Ohio-based electronic producer who continues to push boundries in the world of pop experimentalism.

Since releasing goddexx last year, galen has appeared as a guest on Rinse FM, contributed a mix to TANK Magazine, interviewed by PAPER, and featured on The Needledrop's Best of 2021 Spotify playlist as well as Anthony Fantano's official YouTube Channel.

goddexx was instantly met with positive reviews upon its release, with Our Culture magazine giving it 4/5 stars and saying "goddexx rightfully claims its own place in today's flourishing experimental music scene".

The EP was written by galen in her homestate of Ohio with cover art by Sam Rolfes. It was originally released on unseelie in Summer of 2020 and quickly became a best-selling release on Bandcamp.

The deluxe edition includes galen's second single on unseelie called pixie ring, and another song of hers called elf fetish that introduce the listener to the next chapter of the goddexx story. The remaining songs on side B are remixes by Orange Milk artists Seth Graham and Giant Claw (Keith Rankin) ft. Tamanaramen, as well as a dancefloor heater by Cologne-based DJ and producer Swan Meat.

GRAMMY® Award-winning, RIAA platinum-certified international icon Tiësto will release his highly anticipated album ‘DRIVE’ on the 21st April, with pre-order set to go live on the 6th March. The album is more than just an “album,” it’s an experience that showcases Tiësto’s unique style. “DRIVE” will take you on the ride of your life; featuring previously released Don’t Be Shy, The Motto, The Business, Hot in It & 10:35, which have all accumulated over 3.5B streams leading into its release.

Tiësto is a GRAMMY® Award-winning, RIAA platinum-certified, international icon. The DJ and producer is the only artist to ever hold the titles of “The Greatest DJ of All Time” courtesy of Mixmag, and “#1 DJ” according to Rolling Stone. From his underground dance floor bangers to his high profile Las Vegas residency and worldwide crossover success, Tiësto created the blueprint that defines what it means to be a superstar in today’s dance music world. With over 36 million albums sold, 10+ billion cumulative streams, and a social platform with an audience now exceeding 30 million fans around the globe, he continues to revolutionize the dance music landscape.

Tiësto’s first single upon signing with Atlantic Records, 2020’s “The Business,” has dominated airplay and charts worldwide since its September 2020 release, hitting #1 at US Dance radio while also garnering over 1.6 billion worldwide streams to date. A top 10 hit in 10 countries, as well as a Top 50 success on Spotify in 31 countries, “The Business” was honored with “Best Dance/Electronic Recording” nomination at the 64th Annual GRAMMY® Awards as well as 15 platinum certifications and eight gold certifications in countries around the world. “Don’t Be Shy” with Karol G followed in 2021, marking Karol G’s first-ever English language song and the first Latin Artist collaboration for Tiësto.

The historic track currently boasts over 867 million streams, over 1.2 million TikTok creates, and video views exceeding 290 million. The third single from Tiësto’s upcoming album on Atlantic Records, “The Motto” with Ava Max, proved another blockbuster, reaching the top 5 on Billboard’s “Dance/Electronic Songs” chart while earning more than 929 million worldwide streams to date. This summer saw “Hot In It” with Charli XCX reach the top 10 on Billboard’s “Hot Dance/Electronic Song” chart, fueled in part by over 200 million views across TikTok and IG Reels, and over 122 million streams to date.

Synth lovers rock at its best! Jamaican born and New-York based, Laury Webb is a singer, musician, producer, actor, former model and writer. He's been called both the Opera Dread and the Frank Sinatra of Reggae.
Laury's musical career began with a role as keyboardist and later backing vocalist with the reggae vocal group The Meditations (with whom he continues to perform).
Laury Webb posses a unique and eclectic vocal style. He has performed at some of New York city's premier musical venues, including Lincoln Center's Alice Tully Hall, The Village Gate, S.O.B.'s, The Ritz, The Lion's Den, Joe's Pub, Leopard Lounge, Kenny's Castaway, Central Park Summer Stage, The Baggot Inn and The Brooklyn Bowl.
After enjoying years of being a back-up musician, Laury launched a solo career with his Tigerbone Band. During that period he recorded and releases singles "Woman My Queen" and "It Seems The Same".
He was fresh out of college and touring with The Meditations, when he purchased a small organ for his girlfriend/mother of his two children for Christmas. By the time her birthday came around he was so broke and could not afford to purchase a birthday present for her so he gave her a writing pad and pen and told her to write down whatever came out of her mouth, and he sat at the keyboard and began playing and singing. “Woman My Queen”, was the result.
“It Seems The Same” was begun in America but I did not finish writing it till the music was recorded. My cousin, Barry Biggs, worked with me on this one. We both sang on the backing tracks.
Written, Composed & Arranged by Laury Webb
Artwork by Parade Studio
Woman My Queen:
Recorded at Quadrasonic Studio (New-York) in 1986
Backed by The Tiger Bone Band
Bass: Leroy Guy
Keyboard: Laury Webb
Drums: David Ranglin
Guitar: Royo
Mixed by Peter Lewis
It Seems The Same:
Recorded at Music Mountain Studio (Jamaica) in 1987
Keyboard & Drum Programming: Winston Wright
Backing Vocal: Laury Webb & Barry Biggs