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Auf ,Reflections Vol. 3: Water Poems" bringen Félicia Atkinson und Christina Vantzou ihre Freundschaft und ihre atmosphärische Kunstfertigkeit in einem feierlichen Fokus zusammen. Gesprochene Worte und orchestrale Fantasie fließen wie Nebenflüsse in einen einheitlichen Strom und ergeben eine Sammlung traumhafter Lieder und Klanglandschaften, die im Meer, im Himmel und in den Steinen verankert sind. Mit elektroakustischen Instrumenten, Gesang und Umgebungsgeräuschen lädt Water Poems die Zuhörer in einen unbewussten Raum ein, irgendwo zwischen alltäglicher Intimität und dem Geheimnis des Ozeans, aus dem alles Leben entsteht. Atkinson und Vantzou haben sich 2009 kennengelernt und seitdem immer mal wieder zusammengearbeitet, aber ein Konzert 2019 in der Philharmonie in Paris hat dieses Projekt richtig in Gang gebracht. Da beide jetzt an der Küste leben (Félicia am Ärmelkanal, Christina am Mittelmeer), wurde das Meer natürlich zu ihrer Muse. ,Das Meer wurde nicht als monolithische Postkarte betrachtet", erklärt Atkinson, ,sondern eher als eine Person an sich; eine Energie, ein Geheimnis, ein komplexer Charakter, dem wir als Menschen, die am Meer leben, jeden Tag begegnen." Im Dialog mit dem Land und der Küste nahmen ihre Sprache und ihre Klänge einen sakramentalen Charakter an. ,Ein feierliches Gefühl, ein Gefühl des Dienens, zieht sich tief durch dieses Album", bemerkt Vantzou, ,ich habe das schon einmal gespürt, aber hier, in der Zusammenarbeit mit Félicia, ist es stärker." Stimme, Atem und wässrige Texturen prägen den Ton des maritimen Mysteriums von Water Poems. Neu in Vantzous Praxis und seit langem ein prägendes Merkmal von Atkinsons Werk, gewinnen ihre gesprochenen Worte hier an relationaler Intimität, indem sie sich gegenseitig und die Uferpromenade ansprechen. Die Texte wurden über zwei Jahre hinweg gemeinsam zusammengestellt. Mit radikaler Unschuld lenken sie das Bewusstsein auf die verborgene Auftriebskraft und die unbewussten Strömungen, die durch das Leben fließen: ,Wie kann ein Boot schwimmen? Wie kann ein Flugzeug fliegen? Wie kann ein Körper schwimmen? Wie kann ein Mensch träumen?" Was mit nah aufgenommenen Stimmen und Feldaufnahmen begann, wurde um Synthesizer, Gongs und Metallophone, Klavier, Vibraphon, Rhodes, Gitarren und Mellotron erweitert. Das Gezeitenklavier des Eröffnungstracks ,Film Still / The Sea" zieht uns in die unbewussten Gewässer des Albums. Enthalten sind Feldaufnahmen, die Vantzou in Delphi in der Nähe des legendären Orakels von Pythia aufgenommen hat - ihr griechisches Erbe verleiht diesem Ort der Vorfahren eine zusätzliche Dimension. Dieser Track und ,Water Poems" als Ganzes sind Ausdruck unseres geologischen Erbes und rufen zum Schutz der Küsten und zu einer Vertiefung unserer Beziehung zu unseren Küsten auf. Ein Teil der Einnahmen aus dem Album geht an Arion, ein gemeinnütziges Naturschutzprogramm für das griechische Mittelmeer. Der langjährige Freund und Mitstreiter John Also Bennett hat bei ,Scorpio Purple Skies", dem kosmischen Finale des Albums, mit E-Gitarre, Lap-Steel-Gitarre und Gesang mitgewirkt. Diese üppige Instrumentierung passt super zu den Science-Fiction-Visionen und der feierlichen Atmosphäre des Albums. Water Poems wurde in The Old Carpet Factory, einem Herrenhaus aus dem 18. Jahrhundert auf der griechischen Insel Hydra, in der Villa Medici aus dem 16. Jahrhundert in Rom und in Les Dunes, Atkinsons Heimstudio in der Normandie, aufgenommen. Mehr als das historische Prestige dieser Orte war es die spürbare Geschichte ihrer Landschaft, die die Musik geprägt hat. Atkinson sagt, dass sie sich zu ,Orten mit seltsamer Anziehungskraft" hingezogen fühlten. In der Villa Medici ,haben Steine und Mineralien das gesprochene Wort beeinflusst", bemerkt sie. ,Wir beide legen Wert auf Gefühl, Atmosphäre und Klang", fügt Vantzou hinzu, ,was er hervorruft und was er bewirkt. In unserem Fall konzentrieren wir uns auf die grundlegenden Elemente: Wasser, Luft, Fels, Kosmos - allesamt lebenswichtig.» Von der Insel Kreta aus arbeitete Vantzou den finalen Mix fertig und tauschte dabei Dateien mit Atkinson aus. Immer noch mit der Küste verbunden, verlief der Mixing-Prozess geduldig und wurde von wichtigen Pausen geprägt. Water Poems spiegelt wider, was die Meeresbiologin Rachel Carson uns in Erinnerung ruft: ,Am Rande des Meeres zu stehen bedeutet, Wissen über Dinge zu haben, die so nahezu ewig sind, wie es das irdische Leben nur sein kann." Es zelebriert rituell dieses ozeanische Gefühl als wichtige Quelle der Gelassenheit und Intelligenz. In einer Welt, die von hitzigen Meinungen und ökologischer Vernachlässigung geprägt ist, lenkt Water Poems unsere Aufmerksamkeit auf ,die Quellen der Quellen". Damit schafft es Raum, um uns wieder mit unseren elementaren, animalischen Instinkten zu verbinden und uns auf tiefere Strömungen einzustimmen. Water Poems von Félicia Atkinson und Christina Vantzou ist der dritte Band von Reflections, einer Reihe zeitgenössischer Kollaborationen von RVNG Intl..

Hey Mercedes, formed from members of Chicago's emo band Braid, included Bob Nanna, Todd Bell, Mark Dawursk, and Damon Atkinson. They debuted with a self-titled EP (Polyvinyl Records) in 2000 and followed up with extensive touring and two full-length albums: Everynight Fire Works (Vagrant Records) in 2001 and Loses Control (Vagrant Records) in 2003 along with two more EP's: The Weekend EP (Vagrant Records) in 2002 and Unorchestrated (Grand Theft Autumn) in 2004. Dawursk left at the end of 2001 and was replaced by Mike Shumaker. After 359 shows and several releases, the band disbanded in April 2005.They played a reunion show in 2007 and celebrated the 15th anniversary of Everynight Fire Works in 2016 with a remastered re-release and select live performances. In 2025, the band made their live comeback at Las Vegas's second annual Best Friends Forever Festival and will continue to play more shows in 2026. In March 2026, Polyvinyl Records will reissue the complete Hey Mercedes catalog. With several EPs and albums currently out of print, this release will provide Hey Mercedes fans with the opportunity to obtain every Hey Mercedes title on vinyl.

Hey Mercedes, formed from members of Chicago's emo band Braid, included Bob Nanna, Todd Bell, Mark Dawursk, and Damon Atkinson. They debuted with a self-titled EP (Polyvinyl Records) in 2000 and followed up with extensive touring and two full-length albums: Everynight Fire Works (Vagrant Records) in 2001 and Loses Control (Vagrant Records) in 2003 along with two more EP's: The Weekend EP (Vagrant Records) in 2002 and Unorchestrated (Grand Theft Autumn) in 2004. Dawursk left at the end of 2001 and was replaced by Mike Shumaker. After 359 shows and several releases, the band disbanded in April 2005.They played a reunion show in 2007 and celebrated the 15th anniversary of Everynight Fire Works in 2016 with a remastered re-release and select live performances. In 2025, the band made their live comeback at Las Vegas's second annual Best Friends Forever Festival and will continue to play more shows in 2026. In March 2026, Polyvinyl Records will reissue the complete Hey Mercedes catalog. With several EPs and albums currently out of print, this release will provide Hey Mercedes fans with the opportunity to obtain every Hey Mercedes title on vinyl. LP FORMAT DETAILS: Clear blue vinyl with download card in a gatefold jacket.

Hey Mercedes, formed from members of Chicago's emo band Braid, included Bob Nanna, Todd Bell, Mark Dawursk, and Damon Atkinson. They debuted with a self-titled EP (Polyvinyl Records) in 2000 and followed up with extensive touring and two full-length albums: Everynight Fire Works (Vagrant Records) in 2001 and Loses Control (Vagrant Records) in 2003 along with two more EP's: The Weekend EP (Vagrant Records) in 2002 and Unorchestrated (Grand Theft Autumn) in 2004. Dawursk left at the end of 2001 and was replaced by Mike Shumaker. After 359 shows and several releases, the band disbanded in April 2005. They played a reunion show in 2007 and celebrated the 15th anniversary of Everynight Fire Works in 2016 with a remastered re-release and select live performances. In 2025, the band made their live comeback at Las Vegas's second annual Best Friends Forever Festival and will continue to play more shows in 2026. In March 2026, Polyvinyl Records will reissue the complete Hey Mercedes catalog. With several EPs and albums currently out of print, this release will provide Hey Mercedes fans with the opportunity to obtain every Hey Mercedes title on vinyl.

A journey into the raw and visceral origins: from the demo sessions mixed by Steve Albini to the night of the very first secret show on December 20th, 1988. In the heart of Chicago, Geordie and Martin Atkins turned frustration and distance into pure creative energy, recording the now-legendary "Black Cassette" demos at Albini"s house. Distorted, menacing bass lines, unruly oscillators, and Albini running endlessly up and down the stairs between the basement drum room and the pantry control room defined a sound that was brutally direct and uncompromising. The first interactions with the Yamaha drum machine foreshadowed elements that would later shape parts of the album. Those sessions sparked essential ideas, while the future studio - purchased from Steve and moved to Wabash Ave - would soon become the core of Invisible Records and Killing Joke"s operations. On the other side, a truly rare document: excerpts from Atkins"s very first show with the band, at Burberries in Birmingham on December 20th, 1988. In a small, mirror-lined club filled with tension, adrenaline, and inevitable collisions with the walls, Extremities, The Fanatic, Intravenous, and The Beautiful Dead were performed publicly for the first time. It was the night when everything ignited: the blast beat still in its embryonic stage, the controlled fury Geordie demanded - "can you go a bit more Moonie on it?" - and above all Jaz"s theatrical yet strikingly genuine laughter. Not just joy, but a declaration: a giant "fuck off" to the doubters and a prelude of what was about to come. A raw, essential, indispensable testimony: the birth of an era.

A journey into the raw and visceral origins: from the demo sessions mixed by Steve Albini to the night of the very first secret show on December 20th, 1988. In the heart of Chicago, Geordie and Martin Atkins turned frustration and distance into pure creative energy, recording the now-legendary "Black Cassette" demos at Albini"s house. Distorted, menacing bass lines, unruly oscillators, and Albini running endlessly up and down the stairs between the basement drum room and the pantry control room defined a sound that was brutally direct and uncompromising. The first interactions with the Yamaha drum machine foreshadowed elements that would later shape parts of the album. Those sessions sparked essential ideas, while the future studio - purchased from Steve and moved to Wabash Ave - would soon become the core of Invisible Records and Killing Joke"s operations. On the other side, a truly rare document: excerpts from Atkins"s very first show with the band, at Burberries in Birmingham on December 20th, 1988. In a small, mirror-lined club filled with tension, adrenaline, and inevitable collisions with the walls, Extremities, The Fanatic, Intravenous, and The Beautiful Dead were performed publicly for the first time. It was the night when everything ignited: the blast beat still in its embryonic stage, the controlled fury Geordie demanded - "can you go a bit more Moonie on it?" - and above all Jaz"s theatrical yet strikingly genuine laughter. Not just joy, but a declaration: a giant "fuck off" to the doubters and a prelude of what was about to come. A raw, essential, indispensable testimony: the birth of an era.

The follow-up to 2024’s "Perpetual Eden" sees Bloody Head stretch out and capture the cosmic sprawl of their live gigs on record. Available on limited-edition LP with spot-varnished sleeve.
After finding their Perpetual Eden and then seeing it violently retrograde, Bloody Head return with a new transmission devoted to the pendulum’s swing and the big wheel’s turn.
The big wheel turns and the seasons turn and we turn and it all just keeps on spinning away… elliptic, off kilter, centres not holding, the whole merry-go-round whirling and dissolving and coagulating, perpetually.
The CHILDREN OF THE DUSK and the sundry weirdoes and creeps depicted on the cover painting, channelled by Danny Roberts 777, all spinning and singing and sinning as they rattle along… in some sort of strange, discordant VIBRATORY AFFINITY with themselves/each other/it all.
Stay a while and take the time to BEND DOWN AND KISS THE GROUND/smell the roses/find your Eden, in and amongst the nooks and cracks and crannies and in the thin, strange places.
TIME AS VEILED ETERNITY is a microcosm of the whole merry Shambala, pushing and pulling and coming together and falling apar
Recorded, mixed and mastered by James Atkinson at the Stationhouse, Leeds. The session almost kiboshed by Storm Éowyn. A sprawling mass/mess which oozes and lurches from bloody minded heaviness to meditative reflection to unsettling delirium and back again, ending in total sonic breakdown. More focused and restrained, more reckless and chaotic. There is No time, to every season some sort of purpose.

In 2023 Ace Records released the album “28 Little Bangers From Richard Hawley’s Jukebox” where the acclaimed Sheffield musician, singer and songwriter compiled together some of his favourite records. These were instrumentals and vocals records that he had collected over the years and found musically addictive. The album received fantastic reviews and allowed his
extensive fanbase to discover and enjoy tracks like Ronny Kae’s ‘Swinging Drums’ and King Curtis’ ‘Hot-Rod’ that were on the juke box in his home.

Now, three years later, Richard has lifted the lid, taken those 7” out and replaced them with another favoured selection. One again, this second version of “Little Bangers” is full of cracking records such as Chet Atkins ‘Boo Boo Stick Beat’, Frank Minion’s ‘Watermelon’, Johnny Todd’s ‘Pink Cadillac’, Sunshine Theatre’s ‘Mountain’, Jet Harris’ ‘Man From Nowhere’, Tracy Rogers ‘Baby’ and the Ventures ‘Fuzzy And Wild’.

A with the first album there are 28 tracks spread across two albums or shoehorned onto one CD. The extensive liner notes see Richard discussing each and every track and what the record or artist meant to him. As he states himself in the introduction, “the record you hold in your hand is the result of a lifetime obsession.”
Listen for yourself and you will discover that this was time well spent.

On her fourth full-length album as Shedir, Sardinian sound artist Martina Betti offers a profound meditation on what it means to be human on the threshold of uncertainty.

We Are All Strangers is a series of ambient tapes-tries shaped by duality and introspection, where sound becomes a space to explore the tension between identity and ambiguity, presence and disappearance, connection and solitude. Inspired by the idea that we are all strangers, however, first and foremost to ourselves, Betti crafts seven fluid, slow-burn compositions that inhabit a sociological liminal zone—what she comments as an “inner elsewhere.”

These aren’t songs in the traditional sense, but evolving sonic environments that feel like emotional states made audible. Environmental textures, submerged electronics, and deep low-end pulses coalesce into a dreamlike architecture of sound: immersive, fragile, and quietly transformative.

Rather than offering answers or closure, the album invites us to live in radical openness—to stop trying to define everything we see and feel, and instead bathe in what remains unnamed. In this sense, We Are All Strangers is an invitation: to sit with uncertainty, to embrace the unfinished, and to find resonance even in our collective disconnection.

For listeners drawn to the introspective frequencies of Rafael Anton Irisarri, Félicia Atkinson, or Lawrence English, Betti’s music offers a similarly haunting and immersive experience—one where strangeness is not a flaw, but a starting point. In her hands, ambient music becomes a kind of reflective shelter: a place to brush against each other in the dark and begin to learn, as she puts it, “the difficult art of closeness.”

SKYLAX RECORDS presents a monumental new release by two of France’s most revered electronic music icons: ARNAUD REBOTINI & ACID WASHED. This record marks the first chapter of a secretive 4-part project — each release forming a piece of a bigger picture — a bold and mysterious tribute to the roots and future of rave culture. Following in the footsteps of Rebotini’s landmark album "Musical Component", this new project feels like a natural evolution — deepening his vision while expanding it into new sonic territories. Without giving too much away, this is SKYLAX BLACK 2 (after the LAXBLACK 1 "Winter Sequences EP" which marked the collaboration between Rebotini & Skylax) and features a set of four stunning tracks. On the A-side, Redshifts to Blueshifts opens the EP with an epic and soulful Detroit-style journey, evoking the finest moments of Underground Resistance — militant yet emotional, full of futuristic melancholy. 99 Shakes follows with a more direct club-driven assault, propelled by massive synth riffs and machine-gun rhythms, pushing the boundaries of dancefloor energy. Flip to the B-side and discover Futur Race, a pure electro odyssey à la Juan Atkins and early Metroplex (think 1985 sci-fi transmissions), sharp, robotic, and ultra-funky. Closing the EP is Gen Mix, a powerful and cinematic slice of what can only be called Wagnerian techno — intense, dramatic, orchestral in scope, and unmistakably Rebotini. This release is a statement — timeless and forward-thinking. This release is the first in a series — a mysterious and powerful journey through sound, vision, and legacy. What’s next? You’ll find out… one piece at a time.

Audiotech is one of the many visionary aliases of Juan Atkins, the Detroit pioneer widely recognized as one of the originators of techno. Originally released in 1987 on Express Records, "I'm Your Audio Tech" captures a crucial moment in the evolution of electronic music -- when raw machine funk and futuristic minimalism merged to form the Detroit sound. Now, nearly four decades later, this classic returns newly remastered and presented for the first time on Metroplex, the label founded by Atkins himself. The reissue preserves the deep pulse and metallic warmth of the original, giving new clarity to its hypnotic basslines and mechanized rhythm patterns that defined an era of innovation. A timeless piece of Detroit's musical DNA -- meticulously restored for a new generation of listeners and collectors.

Out Friday 14th June, the renowned jazz and funk trumpeter Sefi Zisling presents his third album ‘The Librarian’, blending classic elements with psychedelic funk, soul, and spiritual jazz. ‘The Librarian’ is dedicated to all things close to Sefi’s heart. The album pays homage to his musical inspirations, his wife, friends, and Eyad, a Palestinian whose story moved Sefi.

"This album was made as an ode to the people I love, and I would like to dedicate this album to them." - Sefi Zisling

Sefi Zisling first started playing the trumpet at the mere age of ten, soon after enrolling in the prestigious art school Thelma Yellin. Performing in an array of bands since his early teens, Sefi has performed and recorded sessions with almost every key player of the jazz world in Israel. His debut album ‘Beyond The Thing I Know’, released on Tel Aviv’s leading collective Raw Tapes, propelled the trumpeter onto the world stage. Sefi then found his home on Tru Thoughts for his sophomore record ‘Expanse’, an album that captured the essence of the classic jazz session and transformed his role from instrumentalist to composer.

The cover art is a painting by the late Walid Abu Shakra, a member of the Abu Shakra family who have collectively played a pivotal role in the Palestinian-Israeli art scene and are respected worldwide. Walid aimed to highlight the expropriation of Palestinian land by the Israeli state and centred his artistic career on safeguarding a disappearing landscape through his monochromatic etchings.

Selling Points
Sefi Zisling's sophomore album "Expanse" sold out on vinyl in the first few months
The cover art is a painting by the late Walid Abu Shakra, a member of the Abu Shakra family who have collectively played a pivotal role in the Palestinian-Israeli art scene
Praise from Jazz FM (Playlisting), FIP, Jamie Cullum (BBC Radio 2), Jazz Times, Jazziz, Tom Ravenscroft, Huey Morgan, Cerys Matthews (BBC 6Music), Musica Macondo, Music Is My Sanctuary, Bandcamp Weekly, Wax Poetics and much more.
Recorded intimately and live with a five-piece ensemble
The LP features a spellbinding version of Mall Waldron's jazz standard 'All Alone'
Mixed by renowned engineer George Atkins (80 Hertz Studios)

Legendary Metal Band STRYPER Announces Long-Awaited Christmas Album 'The Greatest Gift Of All' out November 21 via Frontiers Music Srl Iconic and long-running Christian metal band STRYPER is set to release their long-anticipated Christmas album, The Greatest Gift Of All, on November 21st via Frontiers Music Srl. Fans have been requesting a holiday record for years—and now, the wait is finally over. The celebration begins this July with the release of the first single, "Still the Light". STRYPER's current lineup features original members Michael Sweet, Robert Sweet, and Oz Fox, alongside bassist Perry Richardson. Together, they continue to craft what they believe is some of the most powerful and inspiring music of their career. The band recently wrapped up a successful world tour in support of their latest studio album, When We Were Kings. The tour spanned the USA, Europe, and South America, and marked the band’s 40th anniversary—a milestone celebrated with a dynamic setlist featuring classic hits, fan favorites from the newer era, outfit changes, and an upgraded stage production. As STRYPER continues to evolve, they remain a cornerstone of Christian rock and metal, blending faith and heavy music for four decades. Looking ahead, the band is also working on a Kickstarter-funded documentary directed by Chris Atkins, offering a behind-the-scenes look at their remarkable journey. With over 10 million albums sold worldwide and several Billboard Top 40 hits, STRYPER shows no signs of slowing down as they continue to write, record, and perform for their global fanbase.

Recital releases The Holy Restaurant, the new full-length album by Derek Baron, and their first solo LP since Curtain (Recital, 2020).

The album is built from years of miniature transcriptions of improvisations, functioning in many ways as a sister to Curtain. Half-thoughts and mistakes are revisited, gilded, and illuminated. The floorboards of the album are laid with piano, organ, string pads, while serrated accruements (distortions, flourishes, and recording interferences) step and drop overhead. The resulting conflux, as Baron notes in the accompanying booklet “becomes the point and the problem to explore.”

The second track “Oven Girls” opens with us galloping on a horse in some video-game meadow on a bed of MIDI strings. Abruptly, a helicopter soars over us and we transition to a latticed guitar and woodwind exploration. The album rolls on in this fashion, juxtaposing musical half-sentences within a museum of sounds rag-picked from history and daily life. Emotional interviews with Midwestern friars who build and sell caskets are set against gothic piano and guitar duets. On “Music in the Casket,” A disorienting and hilariously epic guitar solo erupts. The penultimate titular piece, “The Holy Restaurant,” sets a text written by Baron’s grandfather. A small chorus voices his words, echoing the humanistic storytelling of “Blue” Gene Tyranny’s A Letter From Home. Under sunlit piano progressions, a fleet of smokey trumpets emerges.

Running throughout the album is a series of “traces”: short melodic phrases painted over again and again with different real and MIDI instrumentation. The “luxurious asceticism of doubling” as Baron puts it. They explain, “Part of the allure for me is that the ‘original’ material is itself kind of thin, sketchy, meaningless, maybe calling attention to itself only by way of a felicitous mistake. Hearing, transcribing, and learning what was basically only ever played first on accident becomes the guiding concern.”

The album’s shifting, variegated forms and voices pass quickly; the record feels both comforting and elusive, suitable for any hour of the day.

The Holy Restaurant features guest players Ed Atkins, Lucy Liyou, Quentin Moore, Emily Martin, Dominic Frigo, Jacob Wick, and several of Baron’s family members. It is released in a limited edition vinyl pressing of 200 copies, accompanied by a booklet of effusive program notes by the composer, alongside an assemblage of photographs, scores, and artwork.

A well-timed remastered version of this killer jacking electro cut from Aaron Carl on the legendary Metroplex label, featuring none other than Juan "The Man" Atkins. The release includes four versions. Dirty, essential Detroit electro.

First time release on vinyl of the breathtaking songs Patty Waters recorded with engineer Steve Atkins in 1970 at the Coast Recordings studio, together with the unreleased single 'My One And Only Love' and a recorded live session at Lone Mountain College in 1974.

The album 'You Loved Me' is the missing link between her two groundbreaking pioneering and highly acclaimed ESP-Disk records from the end of the 60's and her post 90's releases. The missing link between the radical ingenue of the 1960s and her late 90's songs wherein she expressed the resolution of all of her life's moments through mature readings of traditional songs and jazz standards. This collection aims to provide that missing link and to finally complete the picture of her storied recording career.

In what would have been her third LP, the 'You Loved Me' album serves as the inverse of Patty's debut. While her debut "Sings" concerned itself with themes of heartbreak, loneliness and yearning, there's an abundance of love, joy and togetherness on "You Loved Me".

Or in Patty's own words:

"I was a young girl alone at age 19, I was longing for love and dreaming of how wonderful love could be"

On 'You Loved Me' Patty Waters velvet voice captures this longing for love, straight from her soul to your heart. Crossing the border of the avant garde jazz entering a strange zone, somewhere between spiritual jazz, early folk vibes on the songs on the A-sides while the 14 minute composition 'Touched By Rodin In A Paris Museum' on the B-side is (dixit David Stubbs for Uncut in 2004) a brilliant extended showcase for the uneasy Cageian minimalism of her piano playing.

'You Loved Me' proves also again why Albert Ayler introduced her to ESP-Disk president Bernard Stollman, impressed Miles Davis, Pharoah Sanders and Henry Grimes with her concerts and can count Patti Smith and Yoko Ono (to name a few) amongst her fans.

A stone-cold Detroit classic returns: Reel By Real’s ‘Surkit’ is back, remixed, remastered, and ready for a new generation of dancers.

Originally dropped in 1990 on Juan Atkins’ Interface imprint, it’s since become a cult touchstone far beyond techno.

Now, over 30 years on, Surkit – Remixed & Remastered

Always one to command your attention with his multi layered grooves, this EP features an old Juan Atkins sample ''Buy some shit from Detroit'' that has been part of Beroshima's live sets for years. Excellent opener 'Encounter' reflects a recent idea Jeff Mills and Muller had to produce tracks together for a not yet produced sci-fi movie. It is an eight-minute astral techno trip with smooth, driving drums and plenty of intergalactic synth lines. 'The Passion of Lovers' transfers the organic Beroshima style into 2018 and shows off Frank's passion for spaced out electronica. It's a brilliantly bumping cut with lithe synths and melodies adding that soul and colour as it races through the galaxies. Limited quantities!

HO, HO, HOWDY! Cowboys also celebrate Christmas! The biggest country stars present the most beautiful Christmas songs in country style, of course. A treat for all country fans, as well as for lovers of cozy Christmas atmosphere in the style of American Nashville romance. With punch and turkey, banjo and harmonica, fiddle and mandolin, Santa Claus can set off in a good mood. If you‘ve always wan- ted to spend the most wonderful time of the year with Johnny Cash, Marty Robbins, Chet Atkins and many other country greats, The Country Christmas Album will fulfill your Christmas wish

Metroplex Records welcomes Pascal Hetzel to the label. The Berlin-based producer and DJ (who is also half of the duo CYRK) delivers something a little different for Juan Atkins' label institution. The EP serves four slices of funky, dub-infused and chord-driven techno, aimed squarely at the dance floor that pay tribute to the Motor City legacy while carving out their own euphoric permutation of classic Detroit techno tropes. Four tracks to heat up dance floors worldwide!

Wytch Hazel's stellar 2016 debut Prelude confirmed these Lancastrian apprentice wizards to be Britain's most promising new hard rock band. Two years on, that promise comes to abundant fruition on II: Sojourn, an album that moves Wytch Hazel on from the innocence and exuberance of the debut to a darker, more profound and complex place, carefully wrought into optimum shape by the band's singer, guitarist, songwriter and mastermind Colin Hendra. "I'm really into the idea of an album," notes Colin. "I don't do mix-tapes, I don't listen to singles, I'm interested in albums. I want to make a good, listenable, cohesive work, that is the whole thing." Asked what inspirations were brought to bear this time, Colin has good news, and even better taste: "I was listening to plenty of Judas Priest, Thin Lizzy and Wishbone Ash last year," remarks the frontman. "This seems to be more of a hard rock album, where the last one was more rock-folk. It's definitely more rock than folk!" The most crucial influence fully expresses itself via Les Paul guitars in sweet twin harmony through cranked Super Lead Marshalls - "Exactly the same type of amp that Thin Lizzy would have used," beams Colin - a benefit of working in James Atkinson's Hand Of Law Studio, a converted gaolhouse in Leeds. "We knew there would be a lot more great gear, more amps, more options," enthuses Colin of this productive new work environment. "We were more prepared, we planned better. I had a lot more vocals to record on this album, pretty much every song has at least three harmonies, but James is a really chilled out guy, he made it easy for us. I had a very clear idea of how I wanted each song to sound, I thought about every single aspect. I probably over-prepared for this album, and it paid off!" Wytch Hazel's proud, avowed Protestant Christianity continues to set them apart from the occult hocus-pocus of their peers, and the very title Sojourn has a Biblical inspiration: "It's used a lot in the Old Testament, people would travel somewhere to stay for a short period of time," explains Colin, comparing the idea to Wytch Hazel's development since Prelude. "We're going to reside here with this sound for a while, and the next album might not sound the same. Come and have a listen to this aspect of Wytch Hazel - it's a temporary stay. We'll be here for a while, then there will be something else. I'm always writing, it's a constant stream, but I'm always trying to raise the bar, because I don't want the next album to be not as good as the other ones!"

Rock’n’roll revivalists Split Dogs are not here to make 15 second viral videos, they’re not here to sell you a lifestyle, they’re here to destroy. Born from the frustration of seeing music become commodified and soulless, vocalist Harry Atkins and guitarist Mil Martinez had the idea to form a band as far back as 2015, with the name ‘Split Dogs’ pulled from the classic zombie film ‘Return of the Living Dead’.
In South London, a young Martinez would hear Status Quo, Bachman Turner Overdrive and Dire Straits on the car radio while his father drove him to school. At home he would invade his older brothers’ record collection which leaned towards the harder sounds of punk and heavy metal. Meanwhile in the Black Country, Harry’s mother instilled a love of Northern Soul, Slade and rock’n’roll, with stories of nights out at Club Lafayette and family singalongs at home. According to Martinez, “Our sound is a culmination of all those early influences and, to be honest, it really shows.”
It wasn’t until 2022 that Split Dogs officially arrived on the scene with bass player Suez Boyle joining the band in 2023. Already a prominent figure in the queer punk scene, Suez played the first ever Rebellion Festival at the tender age of 16 with her band The Walking Abortions. Up until that point, drummer Chris Hugall, an old friend of Martinez and former member of ska punks Mouthwash (signed to Rancid’s label Hellcat back in the day), was only on hand to help design artwork. It wasn’t until 2024 Hugall joined the band full time, cementing the current line-up.
The raucous live shows and infectious lyrics saw the four-piece make a name for themselves among the punks of Bristol, a scene that has always welcomed LGBTQ+ and marginalised people. As word spread, so did the gigging, and soon enough Split Dogs were playing to sold out rooms in mainland Europe, eventually grabbing the attention of UK label Venn Records (Gallows, Bob Vylan, High Vis). ‘Here to Destroy’ was recorded over three days at Middle Farm Studios by producer Peter Miles. All tracks were laid straight to a 16 track reel-to-reel tape machine, no autotune, no effects pedals, no computers. To add to the music’s authenticity, the album was recorded live, with Harry singing along in a vocal booth. No cutting and pasting, just nailing takes. According to Martinez, “It was a blast! We fully immersed ourselves, sleeping in a small apartment below the studio, cooking meals and listening to Pete’s extensive record collection”. While the final result is a step away from Split Dogs early punk sound, the attitude is still there in droves. “We wanted the album to have a raw bones feel,” Martinez tells us, “real 1970s rock’n’roll!”. Harry channels the spirit of Motörhead’s Lemmy Kilmister as they tear through hook after hook, singing about the Northern Soul clubs their mother once frequented (‘Lafayette’), the Orwellian nightmare we’re heading for (“Stay Tuned”) and a touching homage to British working class culture (“And What?”). As the album title makes clear, Split Dogs are here to destroy, but they’re also here to rebuild and remind us of music’s essence. “We’re not beholden to the digital age, we don’t want to get famous on social media, we just want to show the world that rock’n’roll is alive and well”.

Annie A, the one-off collaborative project between Félicia Atkinson, Time is Away, Christina Petrie and Maxine Funke, arrives on A Colourful Storm with an inquisitive, exploratory composition evoking questions of inconstancy and reconciliation, vastness and finitude and the sometimes cruel deception of human perception. Who will conduct our dreams if we never wake?

It is a geographically diverse yet like-minded ensemble whose seeds were sown during an A Colourful Storm show in London, where time on stage was shared by Atkinson, Time is Away and Petrie. Atkinson had previously found solace in Time is Away's Ballads (ACOLOUR041), Funke's Seance (ACOLOUR035) and particularly the voice of poet Petrie, whose delivery drifts from a wide-eyed stream of consciousness to crystalline sensory expression. It is the perfect accompaniment to Atkinson's hushed tones, spoken sensitively like a mother to a resting child.

Atkinson's evocative sonic landscapes are formed from keyboard, voice and organic materials collected from life on the dramatic coast of Normandy, as well as field recordings from places far and wide. She breathes life into liminal spaces, the sound of wind, whispers and the distant clatter of rocks conjuring visions of places both beautiful and eerily familiar. Time is Away delicately arranges the field of sounds, their weaving and layering likened to the assembly of an Anni Albers textile. The spirit of Albers guides the piece, Petrie's recounting of her loom and thread a symbol of her endurance, vitality and seeking wonder in intricacies. The piece also features an exclusive concluding track by Maxine Funke, whose meditation on vulnerability confronts and surrenders herself to the enchanting natural world.

Golden Ratio are Simon Stoll & Gary Clegg

It all started as a lockdown project in 2020 with Gary and myself exchanging ideas down the ether which grew into a body of work that we were excited to take further. We continued with the online process and enlisted some musicians we knew to fill in the gaps. Initially, this featured Jake Telford on sax and flute who is also credited with co-writing Morphology and Natural Law and Andre Espeut vocalist also credited with co-writing Stand Up & Fight, One Family and Wake Up To The Day. As restrictions lifted we were able to get some drummers into the studio: Filippo Galli (tracks 1 & 2) and George Addison-Atkinson (tracks 3-9). Other musicians featured are Kevin Davy, trumpet on Breaking Through Time, Gianluca Chiarella guitar solo on Morphology and Mohammed Nazam guitar on One Family.

In terms of previous experience, Simon was a member of Mamas Gun in their very early days before concentrating on a business career but has actively played with musicians from the north London music scene since the late 90’s. Gary played on the dance mix of Lazy by David Byrne produced by DJ Mark Wilkinson, played for Funkshy (Tansay Omar project), played in Charlotte Kelly’s band (from Soul II Soul) and was resident bassist at the Iceni club in the 90’s.

It’s long been our dream to have our own project featuring original compositions and dedicated to the style of music we love, our routes being the jazz funk and acid jazz scenes from the 70’s, 80’s and 90’s. We now have the opportunity to try and realise this dream and feel your label would be a perfect fit for us as it echoes and promotes those same musical influences.

Black Vinyl

“Sometimes They Come Back” is not just the title of a horror movie based on a macabre tale by Stephen King, it is also a summary of what happened to UK death etal veterans BENEDICTION, yet you might ke to add a “better than ever before”. While never officially disbanded, 2020’s Scriptures, the group’s eighth studio album achieved what is usually not an easy feat. It connected well with classics like Transcend the Rubicon (1993) and its immediate and memorable songwriting, the heavy-as-a-brick Grind Bastard (1998), and also saw legendary vocalist Dave Ingram return with his merciless roar and knack for morbid, twisted lyrics. After two albums with Dave Hunt on vocals, Scriptures was BENEDICTION’s first record in over a decade impressing with aggressive up-tempo attacks like ‘Iterations of I’ and ‘Rabid Carnality’ or the neck-breaking mid-tempo barrage of ‘Stormcrow’, songs that became live staples alongside ‘evergreens’ such as ‘I Bow to None’, ‘Magnificat’, ‘Subconscious Terror’ or ‘Vision in the Shroud’ in no time. With Scriptures, BENEDICTION even almost cracked Germany’s top ten by entering at a phenomenal #11 of the Official German Charts showing that the death metal veterans founded 1989 in Birmingham, England, offered an extremely well received sonic catharsis when due to the pandemic, people were locked down and pissed off.
When the shroud of Covid-19 lifted, the quintet finally could start to promote the album onstage with numerous festival gigs including Summer Breeze (DE), Copenhell (DK), Mystic Festival (PL), UK Deathfest, Alcatraz (BE), Party.San (DE), Obscene Extreme (CZ), Eindhoven Metal Meeting (NL) and Rock Hard (DE) to name but a few, played triumphant shows in South and Middle America as well as in their home country and all over Europe.
Kicking in the door without further warning, fast paced opener ‘A Carrion Harvest’ that mounts in a vicious Slayer-style break, starts with Ingram growling ‘Brace for impact, go!’ giving an unmistakable hint at what to expect during the following 47 minutes and 11 songs. With tremolo riffs and hammering grooves in spades, tracks like ‘Engines of War’, ‘Genesis Chamber’, ‘Crawling over Corpses’, ‘In the Dread of the Night’, and ‘Psychosister’ show a remarkable consistency and Scott Atkins, who produced the record at Grindstone Studio once again, ensures with a crisp and massive sound that the aforementioned impact leaves no bone unshattered. Garnered with artwork by Wolven Claws Artist, Ravage Of Empires continues BENEDICTION’s flawless discography on Premier League level and promises to become one of 2025’s undisputable old school death metal highlights!
With their brilliant new record in tow, founding members and guitarists Darren Brookes and Peter Rew, longtime vocalist Dave Ingram, drummer Giovanni Durst, and Nik Sampson (bass) will travel far and wide once more. Already confirmed are the Tales of the Triple Death Tour with Jungle Rot and Master kicking off on album release date as well as confirmed appearances at Wacken Open Air and Maryland Deathfest. More to be announced soon!

Petrol Green Vinyl

“Sometimes They Come Back” is not just the title of a horror movie based on a macabre tale by Stephen King, it is also a summary of what happened to UK death etal veterans BENEDICTION, yet you might ke to add a “better than ever before”. While never officially disbanded, 2020’s Scriptures, the group’s eighth studio album achieved what is usually not an easy feat. It connected well with classics like Transcend the Rubicon (1993) and its immediate and memorable songwriting, the heavy-as-a-brick Grind Bastard (1998), and also saw legendary vocalist Dave Ingram return with his merciless roar and knack for morbid, twisted lyrics. After two albums with Dave Hunt on vocals, Scriptures was BENEDICTION’s first record in over a decade impressing with aggressive up-tempo attacks like ‘Iterations of I’ and ‘Rabid Carnality’ or the neck-breaking mid-tempo barrage of ‘Stormcrow’, songs that became live staples alongside ‘evergreens’ such as ‘I Bow to None’, ‘Magnificat’, ‘Subconscious Terror’ or ‘Vision in the Shroud’ in no time. With Scriptures, BENEDICTION even almost cracked Germany’s top ten by entering at a phenomenal #11 of the Official German Charts showing that the death metal veterans founded 1989 in Birmingham, England, offered an extremely well received sonic catharsis when due to the pandemic, people were locked down and pissed off.
When the shroud of Covid-19 lifted, the quintet finally could start to promote the album onstage with numerous festival gigs including Summer Breeze (DE), Copenhell (DK), Mystic Festival (PL), UK Deathfest, Alcatraz (BE), Party.San (DE), Obscene Extreme (CZ), Eindhoven Metal Meeting (NL) and Rock Hard (DE) to name but a few, played triumphant shows in South and Middle America as well as in their home country and all over Europe.
Kicking in the door without further warning, fast paced opener ‘A Carrion Harvest’ that mounts in a vicious Slayer-style break, starts with Ingram growling ‘Brace for impact, go!’ giving an unmistakable hint at what to expect during the following 47 minutes and 11 songs. With tremolo riffs and hammering grooves in spades, tracks like ‘Engines of War’, ‘Genesis Chamber’, ‘Crawling over Corpses’, ‘In the Dread of the Night’, and ‘Psychosister’ show a remarkable consistency and Scott Atkins, who produced the record at Grindstone Studio once again, ensures with a crisp and massive sound that the aforementioned impact leaves no bone unshattered. Garnered with artwork by Wolven Claws Artist, Ravage Of Empires continues BENEDICTION’s flawless discography on Premier League level and promises to become one of 2025’s undisputable old school death metal highlights!
With their brilliant new record in tow, founding members and guitarists Darren Brookes and Peter Rew, longtime vocalist Dave Ingram, drummer Giovanni Durst, and Nik Sampson (bass) will travel far and wide once more. Already confirmed are the Tales of the Triple Death Tour with Jungle Rot and Master kicking off on album release date as well as confirmed appearances at Wacken Open Air and Maryland Deathfest. More to be announced soon!

Repress! Limited to 100 copies

Part 2 Of The As One Series, This Time With One Of Electro's Most Respected Producers, E.r.p. Aka Convextion, Reinterpreting Another 90s Classic By The Veteran Uk Producer. "mihara" And "shambala" Were Originally Included In The As One's First Album "reflections", Released On 1994 On New Electronica. "destination Other" Was Featured In His Lp "the Art Of Prophecy", Released On Shield Records In 1997. Our Goal With These Two As One Releases Was, Not To Make Another Reissue, But To Recompile Tracks From His Discography Into Something New, Also Providing The Reinterpretation By Two Legendary Artists Like Juan Atkins And E.r.p..
We Hope You Enjoyed The Ride.

Divergence and Declaration is the second album by San Francisco Bay Area Darkwave duo Vague Lanes. The album features their signature two-bass configuration, with Mike Cadoo (Gridlock) handling the melodic six-string duties. At the same time, Badger McInnes (Here We Burn) propels the music forward with his low-end four-string.
The album opener, "Heptahedron", also features drums by Martin Atkins (P.I.L., Ministry, Killing Joke). The album's title eludes to the refinement and solidification of Vague Lane's manifesto, and by utilizing a more expanded pallet than their debut album Foundation and Divergence, the duo displays confidence in their creative trajectory and the overall substance of their musical voice.

f11 FLRNTN, Benjamin Duchenne - "Last Man Standing" (feat Sivan) (1:08)
f12 Nicholas Gunn & Harshil Kamdar - "Here I Am" (feat Alina Renae - Richard Durand remix) (1:08)
f13 DJ TH X TH3 ONE X Sue McLaren - "Everything To Me" (1:08)
f14 Matty Ralph - "Te Adoro" (1:08)
f15 Armin Van Buuren & Vini Vici - "Sarabande" (feat Anna Timofei) (1:08)
f16 Lilly Palmer - "Hare Ram" (1:08)
f17 David Forbes - "Techno Is My Only Drug" (1:08)
f18 Armin Van Buuren - "Blah Blah Blah" (Lilly Palmer remix) (1:08)
f19 Armin Van Buuren - "The Road To Your Destination" (A State Of Trance Year mix 2024 outro) (1:14)

As soon as Martin Circus was born in 1969, the band laid foundations for the French "Pop Musique" genre, deliberately turning its back on both French yéyés and rock'n'roll to better embrace psychedelia and the French language. In 1971, they were a pioneering, innovative group moving as fast as a speeding train, building upon everything they found on the way. However, faced with band members changing often, management issues and music evolution, Martin Circus ended up trying to fit in every style: soul, R&B, glam rock, disco, new wave, 80s mainstream music. To follow their journey is to listen to the world shifting along music charts. Behind the scenes, since the very first days of the band, one man had been pulling all the strings. Manager and artistic director Gérard Hugé used to work for both the band and the label - this has never been good news. What he cared about the most was getting records out, no matter who played on them. In the mid-70s, he registered the Martin Circus name, granting himself full power over the band. Deciding that it no longer had either a lyricist or a composer, he made the remaining musicians embark on a series of American 60s hits adaptations. As a result, they made tons of money : "Marylène" was a huge hit and gave them a new impulse. The Martins adopted a new look by wearing shiny Courrèges-style suits and platform boots, and on stage they performed dance moves choreographed by the eccentric Amadeo. They completely fit into the disco craze which was about to take over. Still, their music blended doo-wop and rockabilly with glam rock and funk music. They eventually hit disco with a soundtrack in the mannerof French disco groups such as Space and Voyage. Effortlessly, they released the epic 14- minute "Disco Circus", a track which was to become a real underground gem. DJ and remixer François Kevorkian then released it on the American Prelude label in a self-edited version, shortened to 7 minutes while retaining all the dazzling passages of the original track. It came to be a hit in the clubs of New York and Chicago, making a lasting impression on everyone who heard it. It got sampled on at least 40 tracks over the following decades and featured in dozens of bootlegs and prestigious compilations - by Laurent Garnier, Carl Craig, Juan Atkins, Joey Negro, The Beatnuts, The Rapture, and by Danny Krivit in the DJ culture film Maestro. As the 80s arrived, Martin Circus once again changed the way they looked and their style. Inspired by Devo and their cold dance music, by Buggles' synthpop and Plastic Bertand's postpunk. Throughout their career full of ups and downs, Martin Circus nonetheless managed to keep up with one stable element: contrary to what they seemed, the musicians never took the easy way out. Their playing and arrangements were consistently flawless and polished, they relentlessly dedicated themselves to playing quality music and this can only compel admiration. As Coco Chanel once said, "Fashion goes out of fashion, style never does."

When The World Was One is something of a companion piece to Matthew Halsall’s 2012 album Fletcher Moss Park (much of the music was written at the same time) but draws more explicitly on Halsall’s love of spiritual jazz and Eastern music as well as his own studies in meditation and travels in Japan. Beautifully recorded at Hasall’s favourite studio, 80 Hertz in Manchester, and engineered by Brendan Williams and George Atkins it features the recording debut of Halsall’s large ensemble, The Gondwana Orchestra, which utilises the exotic flavours of harp, koto and bansuri flute and Eastern scales to create a global palate for Halsall’s life-affirming sounds.

40th ANNIVERSARY PRESSING ~ REST IN POWER DANAN POTTS

DETROIT 1983: You might know Danan from his first release in 1982 under the alias Superlife. At that time Danan was hanging around the Recording Institute of Detroit where Juan Atkins was training in production. Danan was interested in Atkin's style of dance music and quickly recorded "Go Bananas" (soon the be re-released on PPU records). Bananas was released locally on Southern Sun Records in hyper limited quantity, it is today one of the most sought after underground detroit techno recordings of all time. Only a year later Danan would find himself back at the Recording Institute working with Orlando Cash on his second release "Psycho For Your Love". Productions in this style were given the artist name "Westwood" or "Clint Westwood". Danan was working close to 100 hours a week next to George Clinton, and certainly some p-funk had rubbed off on Danan. Peoples Potential Unlimited PPU-025 features both original versions of the infamous second release from Danan Potts aka Westwood/Cash "Psycho For Your Love" and "Work Those Joints", there are also two brand new PPU edited versions of both tracks! This record is dedicated to the late Danan Potts and his family.

Model 500's "Deep Space," released in 1995, is a landmark album in electronic and techno music, crafted by Detroit pioneer Juan Atkins. This work seamlessly combines atmospheric textures with pulsating beats, reflecting the innovative spirit of the Detroit techno scene. With tracks like "The Chase" and "No UFOs," "Deep Space" captivates listeners through its hypnotic melodies and complex rhythms, creating an immersive experience that feels both expansive and futuristic. The album is revered for its groundbreaking sound and continues to inspire artists and fans alike in the electronic music landscape. This new pressing has been carefully remastered and re-cut from original sources to achieve The best sonic experience possible.

What is Country Soul? This brief period hapened in Country Music(1968/1973) history when Cowpokes gave a try to LSD and pot, and so transformed their own music into something less formatted, opened to many others influences has funk and Soul or Psychadelism. Drum n" Bass are groovy and the Cow-Boy is cooking!

Brunson debuts on Rekids Special Projects with ‘Intimacy Between Friends’. Discovered in a Mike Banks interview by Benji B, ‘Intimacy Between Friends’ releases on RSPX 18th October.

Brunson’s ‘Intimacy Between Friends’ EP on Rekids Special Projects kicks off with 'Aminal'. Originally discovered via a 2017 BBC Radio 1 interview between Benji B and Underground Resistance co-founder Mike Banks, ‘Aminal’ was played on the show and subsequently sought out by Matt Edwards for release on RSPX in 2024 as part of the ‘Intimacy Between Friends’ EP.

‘Aminal’ by Brunson is a ten-minute odyssey into atmospheric deep techno. Wiggling acidic synth motifs and warm, radiant pads bring the soul to a tight groove, constantly evolving and allowing you to sink ever deeper into majestic chords which wash over you like rays of sunlight. Brunson’s 'My Friend Ryan' is another classic Detroit sound with machine warmth and energetic drum programming, which all work together to make you move your body while your heart is enriched by its vibrant soundscape.

Brunson released his first EP in 2023 via Berlin’s Tresor Recordings but has been active for a number of years before this as a Midwest American and Motor City producer while being the VJ behind Juan Atkins’ Model 500 shows. He now releases the ‘Intimacy Between Friends’ on Radio Slave’s Rekids Special Projects, already supported by artists such as Luke Slater, Laurent Garnier, and Jerome Sydenham.

Co-founder and ever-present member of The Chesterfields, Simon Chesterfield's first solo album "Simon Chesterfield" features the results of a year long project re-imagining six of his own compositons as an orchestral performance. Co-produced by Ben Scott Turner, Rob Ellis (PJ Harvey) and Simon Chesterfield, the album was orchestrated by Charles Harrison. An imaginative video of lead track "Something" available on Youtube will accompany this release.

An ensemble of Wessex musicians were gathered together for this project, several of whom have now signed up for some Simon Chesterfield live adventures, including a launch party for the album on Friday 11th October at the wonderful Lyric Theatre in Bridport, Dorset. The players are: Joe Atkinson, Matt Barge, Jenny Bliss, Simon Chesterfield, Rob Ellis, Charles Harrison, Emma Kingston, Seiko Nemoto, Nick Squires, Helen Stickland, James Thornton, and Ben Scott Turner.

Mara MacDonald is a musician and performer from Melbourne, Australia. She released her debut album 'I'm just One Person' as Marara on JPEG Artefacts in January 2023. She has also self-released two EP's, has received the Signal Sound Commission grant for young artists, and is known for her chaotic, confessional live performances. Brad Rose of Foxy Digitales said of her debut: "it feels like I've uncovered some kind of hidden treasure… each word, each sound echoes into forever."

August and June will be available on streaming platforms and limited-edition cassette tape on 27/09/24. Guests include pillar of the Australian noise scene, Uboa, and prolific Portland producer, Kaho Matsui. For fans of: Claire Rousay, More Eaze, Katie Dey, Felicia Atkinson, Elaine Radigue.

Jon Spencer teams up with Kendall Wind and Macky Spider Bowman - the rhythm section from Woodstock NY punk rock wunderkind The Bobby Lees - to chew bubblegum and kick ass. Two years after “Spencer Gets It Lit” (Marc Riley’s BBC6 Music Album of the Year, “hugely entertaining” MOJO, “a sonic witchdoctor who’ll blow your mind” UNCUT) there is still more work to be done saving rock'n'roll music. “Sick of Being Sick!” will be released on limited clear 45rpm Super-Stereo cut LP. Jon Spencer has been innovative force in the independent music scene since the mid-80s. An acclaimed live performer, he has toured all the continents except Antarctica and has amassed a dizzying discography as the leader of Pussy Galore, The Jon Spencer Blues Explosion, Heavy Trash, and Jon Spencer & the HITmakers, as well as with Boss Hog, The Honeymoon Killers, The Gibson Brothers, and Taxi Girls. His collaborations include (but are not limited to) working with Steve Albini, Add N To X, Nicole Atkins, Beastie Boys, Beck, Bomb The Bass, R.L. Burnside, James Chance, Coldcut, Chuck D, Dan The Automator, Jim Dickinson, DJ Shadow, Einsturzende Neubauten, Guitar Wolf, GZA, David Holmes, Japanese Popstars, Dr. John, Calvin Johnson, Steve Jordan, Khan, Moby, Money Mark, The Muffs, The North Mississippi All Stars, Princess Superstar, Puffy AmiYumi, The Sadies, Nancy Sinatra, Solex, Solomon Burke, Speedball Baby, Rufus Thomas, UNKLE, Unloved, Andre Williams, and Bernie Worrell. His production credits include: Cheater Slicks, Demolition Doll Rods, Experimental Tropic Blues Band, Perrosky, Mike Edison, Jesper Munk, Sunshine & The Rain, The Bobby Lees, and Samantha Fish & Jesse Dayton.