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Arbes’ long-awaited debut album, "Counterways", exists on the cusp between the ethereal and the more attention-seeking concerns of pop. The record invites listeners into an unusual sonic world of atmospheric depth. Comparisons can be drawn to New York post-punk of a more colourful bent, running Blondie all the way through to Gang Gang Dance. The album's dream-pop dimension brings to mind Cocteau Twins, while its grittier, art-rock moments, coloured with ambience feels akin to Deerhunter. Glimmering flashes of psychedelia channels the likes of Melody's Echo Chamber.

The ten track album explores romantic dreaming and the struggle to (not) understand and to be understood. It memorialises glimmers of connection, discontentment and longing. Front woman Jess Zanoni’s soulful, oracular voice is anchored by the earthbound brambles of prickly guitar and brushstroke percussion, where all is tethered to a surface of unearthly detail and resonance. Written and recorded over a five year period (2017-2022), Arbes eke out every possible ounce of emotionality from their songs. Not to sedate, but to guide listeners somewhere unexpected, at the song or album's conclusion.

Brain Thrust Mastery, the second album by Californian art rockers We Are Scientists was originally released on Virgin Records in March 2008, its heady brew of retro futurism, indie and sparkling shiny power pop make it sound thoroughly contemporary - Working in conjunction with the band, this 2LP version of the album adds B-sides and tracks recorded live at London's Union Chapel and is pressed onto high-quality 180g vinyl. Named after founder members Keith Murray and Chris Cain's dress sense led a truck rental supervisor to surmise that they had to be academics, We Are Scientists were formed in Berkeley, California around the turn of the century. Their first 'proper' album, 2005's With Love And Squalor, became an underground hit as the band toured Britain, where they gained a substantial fanbase before the album was released in America the following year. Material for Brain Thrust Mastery was debuted on an early 2007 UK tour, before the band returned to the studio with producer Ariel Rechtshaid (who would go on to win Grammys with Vampire Weekend). We Are Scientists maintain a strong sense of theatre and comedy in their live performance - at this time, the group acted as their own support, offering seminars in self improvement called 'Brain Thrust Mastery'. The album is full of well-written pop songs, rich in hooks and melody. Lead single After Hours reached No 15 in March 2008, and after the release of the album the same month, it was followed by further hit singles Chick Lit and Impatience. A summer of touring, including performances at Glastonbury, T In The Park and Reading and Leeds underlined the group's popularity.

Brain Thrust Mastery, the second album by Californian art rockers We Are Scientists was originally released on Virgin Records in March 2008, its heady brew of retro futurism, indie and sparkling shiny power pop make it sound thoroughly contemporary - Working in conjunction with the band, this 2LP version of the album adds B-sides and tracks recorded live at London's Union Chapel and is pressed onto high-quality 180g vinyl. Named after founder members Keith Murray and Chris Cain's dress sense led a truck rental supervisor to surmise that they had to be academics, We Are Scientists were formed in Berkeley, California around the turn of the century. Their first 'proper' album, 2005's With Love And Squalor, became an underground hit as the band toured Britain, where they gained a substantial fanbase before the album was released in America the following year. Material for Brain Thrust Mastery was debuted on an early 2007 UK tour, before the band returned to the studio with producer Ariel Rechtshaid (who would go on to win Grammys with Vampire Weekend). We Are Scientists maintain a strong sense of theatre and comedy in their live performance - at this time, the group acted as their own support, offering seminars in self improvement called 'Brain Thrust Mastery'. The album is full of well-written pop songs, rich in hooks and melody. Lead single After Hours reached No 15 in March 2008, and after the release of the album the same month, it was followed by further hit singles Chick Lit and Impatience. A summer of touring, including performances at Glastonbury, T In The Park and Reading and Leeds underlined the group's popularity.

Songs of Joy and Peace is a Christmas music album by cellist Yo-Yo Ma, originally released in 2008. The album features collaborations with many other artists, including vocalists Diana Krall & Alison Krauss, James Taylor, Dave Brubeck, Chris Botti a.o. This holiday disc doesn't exclusively stick to traditional Christmas songs, but covers a wide scope of material in a very ambitious manner. Ma opens with a lovely take of the traditional favorite “Dona Nobis Pacem (Give Us Peace)”, playing both the melody and counterpoint via overdubbing. Jazz pianist/vocalist Diana Krall is superb in a swinging rendition of Jerome Kern's unjustly obscure ""You Couldn't Be Cuter"", adding bassist John Clayton. An arrangement of “Joy To The World” features pianist Dave Brubeck and cellist Matt Brubeck (his son). Chris Botti has never sounded better in the warm arrangement of “My Favorite Things”, playing both open and muted trumpet. James Taylor is featured on vocals on the Beatles cover “Here Comes The Sun”. Songs of Joy & Peace is a limited edition of 500 copies on translucent green coloured vinyl.

Just under a year after their acclaimed self-titled debut, dreampop duo deary release a brand new six-track EP – Aurelia – via Sonic Cathedral on November 1. It includes the singles ‘The Moth’, ‘Selene’ and ‘The Drift’ and features Slowdive drummer Simon Scott playing on three songs. It will be available on three different vinyl variants, a CD with three bonus tracks and digitally. It’s a stunning record, which displays a new-found maturity in terms of production as well as musically and lyrically. The band – singer Rebecca ‘Dottie’ Cockram and guitarist/producer Ben Easton – have had to grow up in public since the release of their debut single at the start of 2023, supporting legends such as Slowdive and Cranes and TikTok sensations like Wisp along the way. An aurelian is a rare old term for a lepidopterist – someone who studies and collects moths – derived from the Latin aurelia, meaning chrysalis. The perfect title for an EP which is based around the theme of metamorphosis and change. “It leans on the natural world, the human body, the earth and sky as well as human emotion,” says Ben of how the EP represents physical and metaphysical growth. “Change can be daunting but equally exciting, which is something we’ve come to learn.” “While writing the EP, I found a letter I had written to myself when I was 22,” adds Dottie. “I was fresh out of university and had moved back in with my parents as Covid was in full force. I was uninspired and lost and reaching out to my future self for some hope. It was a physical representation of what can happen in a few years; how much can change and how you never know what’s coming next. “I found it interesting that – at the age of 26 – here I was looking back to my younger self for hope or just some comfort in the fact that things will and do move on. It was important to me to bring both of these versions of myself into the new songs.” “Personally, I had noticed a change in myself; a new level of social anxiety, a strange disassociation to things that once brought me joy as well as negative repetitions in my daily life,” reveals Ben. “I began the year sober which allowed me to finish the writing process as a letter of care to my own mental health. There are motifs throughout the EP – for example the riffs in ‘The Moth’ and ‘The Drift’ being reminiscent of each other – which are like musical reflections of these repeated cycles.” It’s musically where the change deary have undergone is most obvious. ‘The Moth’ mixes howling guitars atop a strident breakbeat making it more Curve than Cocteaus; ‘Selene’ is a slow-building wall of noise; ‘The Drift’ combines a perfect pop melody with an incredible sense of urgency. These three singles are balanced by the brief but beautiful ‘Where You Are’ which leads into the Portishead-style trip-hop of ‘Dream Of Me’. The title track has been a staple of their live sets for about a year as ‘Can’t Sleep Tonight’, but its mix of The Cure circa Disintegration and Mezzanine Massive Attack has grown and evolved so much that they renamed it ‘Aurelia’ as the embodiment of the change they have been through. “We’ve allowed deary to naturally grow over the past year, we didn’t want to force it to take a certain shape or sound,” explains Dottie of the duo’s slow and steady approach. “A lot of the last EP was written by sending ideas back and forth over WhatsApp, but this time we were able to sit in the same room and I think that really shows. We know each other a lot better now as we have experienced this journey together and that benefits the writing process as we are more open with each other and can be vulnerable.” “Aurelia definitely feels a lot more collaborative, more personal and more fully realised than the first EP,” concludes Ben. “It feels like a real document of what has been a very important time in both of our lives. Ironically, the band has changed and matured even more since the recording, so we’re both excited to document the next stage

In 1997 a CD compilation called Calambre Techno was released in Spain which included a track called Utopia. Its producers were two Spanish brothers who had been making electronic music since 1991 under the name INTRO. The track of the compilation was a remix of the original included in the Ep Intro - @Utopia from 1994. @UtopiaRemix is a simple but perfect Techno-Trance anthem, Retro-Psychedelic but futuristic, one of those timeless tracks that always sound original despite its 30 years. Now UFC is proud to re-issue this techno-trance gem on vinyl as its eighth release accompanied by remixes from current producers of different visions.

About the remixes; The duo The MFA give us their '94 On The Floor Remix', a perfect “hit” to hear at dawn where they perfectly combine IDM, Indie-House and Experimentalism. Spanish producer Promising/Youngster presents 'Electric Shock Remix', a titanic version of the original remix where powerful Electro rhythms collide with Experimental and Futuristic IDM.

In the case of Brassica we left the way free to experiment with the original remix and he gives us his 'Psytalo Remix', a perfect fusion of Techno, Breaks and Psychedelia, originality in its purest form as this producer has accustomed us to in all his productions. To close the Ep, we find 'FutureCosmicalAscension Mix' by R.I.P. Bestia, truly a different version that is difficult to include in a specific style where the main melody is progressively guided towards a state of euphoria.

Original Track Produced by Intro: Francisco & Nacho Sotomayor. Liscensed with permission of Absolute Ambient (ES) 1994

Expected late October/early November

Scott Gilmore’s Volume 01, an Analog Synth Gem, Makes Its Vinyl Debut - Pressed at 45RPM for maximum fidelity.

Recorded on a vintage Tascam 388, the LP version of Gilmore’s alluring, easy-going instrumental electronic record arrives in the physical world via In Sheep’s Clothing Hi-Fi Records.

Los Angeles, CA — When the Los Angeles electronic musician and multi-instrumentalist Scott Gilmore recalls the creation of the songs on Volume 01, he describes specific moments of spontaneous inspiration. “I remember sitting at the tape deck, watching the leaves outside the window as they flittered in the sunlight—a moment of stillness that became intertwined with the melody I was recording,” Gilmore recalls, speaking of the track “Song For Cate.”

This sense of simplicity and presence is at the heart of Volume 01, which was recorded entirely on a Tascam 388 using a carefully curated selection of instruments.

Volume 01, an intimate, instinctual album that mixes lo-fi digital rhythms, strummed guitar, and melodic synth layers, is a collection of songs that captures Gilmore’s magnetic fluidity and the spontaneity of his process. Initially released digitally and as a limited edition cassette, Volume 01 is set to be issued on vinyl for the first time by In Sheep’s Clothing Hi-Fi.

The Tascam 388 is a classic mid-1980s analog machine that combines an 8-track reel-to-reel tape recorder with a built-in mixing console. Volume 01 exudes the kind of hazy, nostalgic warmth that only such recorders can provide. For the nine-song album, Gilmore harnessed analog synths including the Arp Odyssey, Yamaha CS-01, Korg DW-8000, Hohner Pianet T, Roland TR 606, and Roland SH 101, as well as bamboo alto saxophone, clarinet, electric guitar, and electric bass.

The album is awash in brief, propellant pieces. At just over four minutes, the relatively epic “Horizon Line” is driven by a three-note snare pattern, a two-note cymbal tap, with a humble bass-line serving as the rudder; Gilmore’s improvised keyboard runs move with an intuitive, conversational glee. The pensive "Shade" sounds like it could be a Penguin Cafe Orchestra demo. Closing track “D. Hareem” runs on a wobbly time signature but with an insistent, determined rhythm that belies genre descriptives. “I prefer to not know what I’m making as I compose,” Gilmore says. “It’s when I can’t clearly define what the music is that it’s then something that I want to put out into the world.”

In hindsight, Volume 01 was a portent. After its 2016 cassette release, Gilmore connected with International Feel, the Balearic imprint run by Marc Barrot, to release the sublime Subtle Vertigo. In 2019, Gilmore’s music caught the attention of Marc Hollander, the experimental composer and founding member of Aksak Maboul, which led to a signing with the Belgian label Crammed Discs. That deal enabled the creation of Gilmore’s solo album Two Roomed Motel and Doctor Fluorescent, a retro-futuristic, Vocoder-heavy 2020 collaboration with Eddie Ruscha V, a.k.a. Secret Circuit). Across these projects, Gilmore’s work has been mentioned in the same sentences as Stereolab, Arthur Russell, Woo, Air, R. Stevie Moore, and others, all of whom have combined synths and non-synths to memorable effect.

With the upcoming vinyl release, Volume 01 will set into wax an enduring set of works, offering listeners the chance to experience analog artistry in its most authentic, tangible form. In Sheep’s Clothing Records is honored to bring Gilmore’s work to vinyl.

Plastic Estate is a contemporary synth-pop act from Wales, UK.

With an onus placed on atmosphere and refinement, the duo evoke a rich palette of romance and lustre with their polished marque of pop music.

They have garnered support from the likes of Simon Le Bon of Duran Duran, KEXP and BBC Radio, and played sold-out shows with the likes of LA Priest, Home Counties, and Real Lies, as well as playing at large regional festivals like Ritual Union and Sŵn Festival.

Having previously released a 7” and LP with Avant! Records, they are now releasing their second album on 11th October with new tracks gaining critical acclaim being added to BBC Radio Wales’s ‘Welsh A-List’.
Their sophomore album hails a new era for the act; moving away from darker sonic roots, their sound has progressed to a brighter, more polished aesthetic with fresh influences from the ‘Hi-Fi luxury’ of West Coast Sound, and the gloss of 2010s Chillwave.

What’s more, ‘Code d’Amour’ makes you wonder: What is Pop today?

For many years it has been synonymous with melody, harmony and emotions. These days it seems to be still about emotions but not very good ones, probably because the world is as ugly as it’s ever been, have you noticed?

But what about the fundamental role of popular music which is to represent and at the same time to celebrate and enforce the ties of social living? What about the good times?

Yes, there is a lot to be changed and to fight for but good vibes are not just for recreational use, they can literally build a sense of community among people. If you are looking for that kind of sound right now, you should look no further.

FFO: Talk Talk, Blue Nile, Spandau Ballet, Ian Broudie’s Care, Small Black, Alan Palomo of Neon Indian, Wild Nothing.

Nearly a decade after the release of his breakthrough debut album 'Sunday', Swedish producer HNNY (aka Johan Cederberg) returns with the album Light Shines Through, released independently via HNNY's own imprint.

For his first album in almost a decade, HNNY has returned to the electronic soundscapes that inspired his earliest releases. It's made for the quiet, brain-tingling moments of solitude at home and contains a consistent thread throughout, not just in the ambient sounds used, but also more conceptually with what the songs evoke and what they are about: the album lands at a particularly pivotal moment of HNNY's life after the birth of his two daughters which have given him a new perspective on life.

HNNY's melodies are a gentle alternative to the more complicated corners of dance music. Debuting on Studio Barnhus in 2011, HNNY aka Johan Cederberg quickly became one of house music's most talked about artists with a signature sample driven style. He has won a Swedish Grammy in the electronic music category, toured the world globally and created a following both in and outside of the dance music community for his bittersweet strain of dance music.
Shortly after the release of his critically acclaimed debut album Sunday, the producer stopped touring solely focusing on production. Since then, HNNY has racked up hundreds of millions of streams, released a number of singles and EPs on the likes of Let's Play House, Puss and Omena and he is now finally ready to return to the LP format for the first time in nearly a decade with the album Light Shines Through.

Since first bonding over Slowdive at a Texas karaoke bar six years ago, musicians Uriel Avila and Jonathan Perez have grown trauma ray into Fort Worth's foremost flag bearer of crushing shoegaze. A five-piece rounded out by bassist Darren Baun, drummer Nicholas Bobotas, and guitarist Coleman Pruitt, the band's debut album, Chameleon, captures their evolving sound at an apex of majestic devastation. A fusion of downer hooks, gauzy melancholia, and bulldozer riffs, the album heaves and crashes across 50 minutes of stacked amplifier alchemy. Lyrically the songs trace similarly lofty and brooding terrain; Avila says "The theme is death. And a chameleon, like death, can shape-shift in and out our lives in different forms." Chameleon opens with "Ember," dreamy and distant, alternately anthemic and apocalyptic, defeated and deafening. Lead single "Bishop" perfectly encapsulates trauma ray's depth and dimension, ripping out of the gate with "the biggest, baddest, saddest wall of sound." Lyrics about being burnt at the stake and "tossed in the flame" float above a stop-start assault of precision distortion, eventually expanding into a lush, heavy, sorrowful end coda. "Spectre" is a mysterious, introspective dirge, envisioned as a "mellow, slowcore, Duster-thing," all feeling and heavy fuzz chords (with no lead guitar). Avila wrote it, "to be a hymnal" from the perspective of someone who won't let go - a ghost, an ex, a shadow self. Although the album is rich with subtleties, graceful lulls, and "breaths of air," the band's three guitar attack is its defining force, a power flexed to its peak on "Bardo." Perez's intentions were blunt: "I wanted to write a riff that was hard as fuck." The result is alternately mean and eerie, veering between noisy one string bends and surging headbang, mapping a middle ground between Unwound and early-Deftones. One of trauma ray's greatest gifts is their ability to make doomy, sledgehammer heaviness sound like an earworm, without production tricks or gimmicks: "Riff, verse, chorus, three guitar parts - that's all you need." This quality is particularly apparent on the title track, a churning slab of amplifier worship, swirling chords, and heavenly, defeated vocals about not belonging, shape-shifting, and death ("A twisted face / Void of attention / An empty space / In your reflection"). "U.S.D.D.O.S" closes the album, swaying across seven minutes of grey skied guitar and haunted voice, subtly thickening as it deepens. Feedback and shrapnel gradually begin raining down, like a satellite disintegrating in the atmosphere. Titled as an acronym after a poem by Chilean writer Roberto Bolaño that loosely translates to "a dream within a dream," the melody softens, smears, and then disappears, slowly swallowed by the gravity of eternal descent. Chameleon is a masterpiece of craft, balance, melody, lyricism, and gravity, flexing a fresh vision of loud-quiet-loud architectures and the vertigo depths of blasted harmonics. From Slowdive to Nothing, to Hum and beyond, the band absorb and expand on their influences into a rare and dedicated alchemy. trauma ray's cinematic tempest is a gathering storm only just taking flight.

Since first bonding over Slowdive at a Texas karaoke bar six years ago, musicians Uriel Avila and Jonathan Perez have grown trauma ray into Fort Worth's foremost flag bearer of crushing shoegaze. A five-piece rounded out by bassist Darren Baun, drummer Nicholas Bobotas, and guitarist Coleman Pruitt, the band's debut album, Chameleon, captures their evolving sound at an apex of majestic devastation. A fusion of downer hooks, gauzy melancholia, and bulldozer riffs, the album heaves and crashes across 50 minutes of stacked amplifier alchemy. Lyrically the songs trace similarly lofty and brooding terrain; Avila says "The theme is death. And a chameleon, like death, can shape-shift in and out our lives in different forms." Chameleon opens with "Ember," dreamy and distant, alternately anthemic and apocalyptic, defeated and deafening. Lead single "Bishop" perfectly encapsulates trauma ray's depth and dimension, ripping out of the gate with "the biggest, baddest, saddest wall of sound." Lyrics about being burnt at the stake and "tossed in the flame" float above a stop-start assault of precision distortion, eventually expanding into a lush, heavy, sorrowful end coda. "Spectre" is a mysterious, introspective dirge, envisioned as a "mellow, slowcore, Duster-thing," all feeling and heavy fuzz chords (with no lead guitar). Avila wrote it, "to be a hymnal" from the perspective of someone who won't let go - a ghost, an ex, a shadow self. Although the album is rich with subtleties, graceful lulls, and "breaths of air," the band's three guitar attack is its defining force, a power flexed to its peak on "Bardo." Perez's intentions were blunt: "I wanted to write a riff that was hard as fuck." The result is alternately mean and eerie, veering between noisy one string bends and surging headbang, mapping a middle ground between Unwound and early-Deftones. One of trauma ray's greatest gifts is their ability to make doomy, sledgehammer heaviness sound like an earworm, without production tricks or gimmicks: "Riff, verse, chorus, three guitar parts - that's all you need." This quality is particularly apparent on the title track, a churning slab of amplifier worship, swirling chords, and heavenly, defeated vocals about not belonging, shape-shifting, and death ("A twisted face / Void of attention / An empty space / In your reflection"). "U.S.D.D.O.S" closes the album, swaying across seven minutes of grey skied guitar and haunted voice, subtly thickening as it deepens. Feedback and shrapnel gradually begin raining down, like a satellite disintegrating in the atmosphere. Titled as an acronym after a poem by Chilean writer Roberto Bolaño that loosely translates to "a dream within a dream," the melody softens, smears, and then disappears, slowly swallowed by the gravity of eternal descent. Chameleon is a masterpiece of craft, balance, melody, lyricism, and gravity, flexing a fresh vision of loud-quiet-loud architectures and the vertigo depths of blasted harmonics. From Slowdive to Nothing, to Hum and beyond, the band absorb and expand on their influences into a rare and dedicated alchemy. trauma ray's cinematic tempest is a gathering storm only just taking flight.

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

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

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

Strange Power!, the fifth record from Durham, NC-based songwriter and poet Anne Malin Ringwalt, emerges from the darkest waters of the self into a world remade. Releasing in conjunction with her second book of poetry, What Floods (Inside the Castle, Oct. 2024), Strange Power! overflows with Ringwalt's teeming and sensuous personal symbolry: glowing lilacs and gentle queens, dolphins wild and girls who grew up brave _ T.S. Eliot sung by Cat Power, backed by Mount Eerie. She sings: "I rose up from water." Ringwalt writes and performs with the authority of a lifetime spent harnessing the alchemy of storytelling; her belief in the power of words to heal and transform is palpable in each achingly- delivered lyric. Made amidst profound inner and outer change, Strange Power! also sees Ringwalt taking up the role of self-producer for the first time, mirroring and supporting the record's Orphic quest by gathering contributions from a coterie of friends wielding an electric range of American instruments. Violins, vibraphones, drum machines, electric guitars dappled with spring reverb, wind-blown shells, and a host of other numinous sounds form an unfurling and shadowy world which was then carefully honed during the mixing process (shepherded by Michael Cormier-O'Leary and Lucas Knapp) _ settling the final record in an eerie meridian between spareness and verdancy. The result is a beguiling and darkly blooming realm: the sound of a personal cosmos being remade, piece by piece. Ringwalt is at the height of her spirit as both songwriter-poet and singer, her willowy voice by turns conjuring and keening as she reckons with her deep past and the stories told since. Opening track "The Pines" sets the stage for a record of truly life-long scope: "I was a child, now I hold her / I was asleep for many years." Some songs, like the gorgeous "North Carolina" and "The Saint," were written as early as 2013 but, Ringwalt says, "insisted upon being remembered" as the record took shape; in its final form, they serve as inciting moments of self-discovery before the journey to come. "The Visionary" recalls one of Ringwalt's earliest musical breakthroughs _ her re-rendering of an Emily Brontë poem into a song at age 15 _ and, she says, "`cites' the melody of that song in the context of this new one _ a holding of the past and present and every layer in between/beyond, in utter solitude _ a solitude that reflects certain aspects of abandon as a child and an adult..." This unusually lengthy time-scale lends Strange Power! a deeply moving sense of narrative fullness. Stretches of the record _ particularly the "Judgment Day" ? "River" ? "Lilac Bloom" trifecta that form the black heart of Side 1 _ may recall familiar wanderings of personal underworlds such as Mount Eerie's Lost Wisdom Pt. 2 or Neil Young's Ditch Trilogy. Yet this hollowed landscape is in turn exorcized by the a capella "I Know," in which Ringwalt sings "I won't be gutted by you / For giving and trying to heal / I won't be gutted, I am not a fool / I deserve a love that is new" before the song concludes with a piano passage that recalls hymnal music _ suggesting a faith in life itself to offer new beginnings. Side 2 features some of Ringwalt's most powerfully introspective writing to date, as the songwriter casts off myth after myth in her search for personal transformation. By the final song, "Stories," the energy that has been gathering all throughout the record breaks loose as Ringwalt reflects: "I wrote so many stories, not knowing what the end was." But at this stage in the journey, we know there is no such thing as an ending; if the healing process is never complete, the storyteller's strange power is what finally offers liberation.

Emilia Sisco returns with a stunning new vinyl single, "Your Girl" b/w "Too Late" featuring two captivating tracks written by Sisco herself and performed by the exceptional Cold Diamond & Mink studio band. On the A side, "Your Girl" introduces listeners to a breezy and mellow soul ballad that radiates warmth and optimism. This track showcases Sisco's ability to craft heartfelt lyrics paired with a soothing melody that effortlessly captures the essence of a perfect soul record. Flipping to the B side, "Too Late" offers a more somber and introspective ballad, characterized by its minor key mood. This track continues Sisco's tradition of delivering emotionally resonant music that speaks to the complexities of love and heartache. The subtle yet powerful arrangement by Cold Diamond & Mink provides the perfect backdrop for Sisco's poignant vocals, making it a standout addition to her growing discography on Timmion Records. With these two new songs, Emilia Sisco solidifies her place as a forceful creator in the contemporary soul scene. "Your Girl" and "Too Late" highlight her ability to convey deep emotion through her music and pave the way for more upcoming work together with the Timmion crew. Sisco's voice alone is starting to signify a stamp of quality that makes this record an essential addition to any soul buffs collection.

Red Vinyl. Remastered by Bob Weston at Chicago Mastering Studio from the original analog master tapes. "Slint formed in 1986 as an outlet and pastime for four friends from Louisville, Kentucky. Their music was strange, wholly their own, sparse and tight. What immediately set them apart was their economy and precision. Slint were that rare band willing to play just one or two notes at a time and sometimes nothing at all. 1989's "Tweez" LP hints at their genius." - Steve Albini (Melody Maker, 1991). From the original bio: It's almost always muddy in the lousy little shanty town by the river. All the children's toys are old and rusty, even the plastic ones. Jimmy and Mel fashioned their own toy out of a live chicken that they stole. A knot was tied around the bird's feet with a shoe lace. The two boys painted their plaything yellow and silver and swung it around like a lasso, screaming gibberish and laughing the whole time. Mel got so excited that he wet himself. So, Jimmy slugged him square in the eye. About five or eight miles south east of the shanty town all the fellows in SLINT were suffering from headaches, except the drummer, who only got them when the others didn't. SLINT is a band from Louisville, Kentucky. tweez was its first recording.

Love Is A Flame In The Dark is the debut album by experimental songwriter Karl D’Silva. A raw labour of love, a towering spire of twisted steel, tenderness and becoming, it’s a body of songs that belies the virtuoso talents of an artist whose reputation has been built on collaborating with various avant garde underground luminaries. Self-recorded at home in Rotherham and pulsing with the conviction of a true believer, these songs burst out of their self-consciousness to meet life head on, bristling with energy, 10 glimpses of the human spirit in the darkness.
Recorded throughout 2021 - 2023 and mixed in Leeds with engineer Ross Halden, D’Silva has constructed a Pop language for himself. Mutated songs that owe a small debt to the post-Industrial music of Cabaret Voltaire, Nine Inch Nails and Coil, they’re nonetheless powered by a vigorous tenderness, earnestness and D’Silva’s knack for melody. Each song is meticulously sound-designed, using synthesised sounds created from scratch married with D’Silva’s virtuoso playing on saxophone and guitar. The songs on Love Is A Flame In The Dark are unabashed, earnest love letters to living, requiems for a world fading away and small gestures of solidarity in the face of entropy.
Until now, D’Silva’s fingerprints could be found on live dates with Thurston Moore, Oren Ambarchi, Hardcore pioneers Siege and Rian Treanor as well as recordings by previous groups Trumpets Of Death and Drunk In Hell. Primarily associated with the alto saxophone in his improvisation work, Love Is A Flame In The Dark features a dizzying array of instrumentation, all played by D’Silva. D’Silva’s current membership of the group Vanishing may be a good touchstone for the dense, sonically thrilling world-building on the album but the most
striking instrument, perhaps, is D’Silva’s voice. With a soulful, rasping timbre resulting from prolonged intubation as a new-born, his vocal is both fearless and tender. On the soaring, electronic body mover Wild Kiss, thundering percussion is in service to Karl’s voice full of desire, arching up into a flayed falsetto. It’s a trick repeated on Flowers Start To Cry, where it’s deployed against the backdrop of layers of ripping alto and thudding drum programming that recall Nine Inch Nails’ visceral production, if they were covering a Prince hit. These songs capture the essence of 2024’s Karl D’Silva music; pure physicality
breaking down to reveal a shining, compassionate vulnerability.
The full breadth of Karl D’Silva’s instrumental prowess is in evidence from the off. On The Outside imagines blooming out of personal apocalypse with a soundscape of synth, saxophone worthy of any late 60s Free Jazz blower and crushing sound design. Entropy is planet-sized synth pop, Nowhere Left To Run uses midi-string orchestration to tell a story of light emerging from the dark. It’s a theme picked up
throughout the album: The Butcher is a political parable, the narrator holding power to account with grotesque, brutal imagery. It’s on a track
like Real Life that the true message emerges, however. D’Silva is peering through the layers of artifice, struggle and the fog of daily
living to find a life full of energy, connection and light. Each song here is a route into this light, out of the darkness.

Insanely good almost completely unreleased Jazz funk LP from Roland Haynes Jr. (They released just a single 45 included here from the tapes). Think undiscovered James Mason, and you'll be half way there, even by our high standards, this LP is HUGE.

Until now, that 1983 single has been the sole material trace of both band and artist. But like many dedicated musicians who follow their own path outside of the music industry, Haynes understood his musical worth, and the quality of his band. He had documented his work at key moments, laying down carefully worked out studio sessions and recording packed-out live gigs. The recordings that we present here are drawn from Haynes' personal archive of studio recordings that were for the most part unreleased.

Limited to 500 copies on gold vinyl, contains download also. The second of three groundbreaking albums by the ultimate power trio who morphed blues into hard rock and spawned punk. A much-loved opus with a side-long concept piece. A bona fide inspirational rock classic. “Tony McPhee has turned to anarchic paranoid battlegrounds of the mind for inspiration,” Melody Maker. And a second side that delivers the mighty ‘Cherry Red’, McPhee’s take on The Beatles’ ‘A Day In the Life’, a sideswipe at junk food and a glorious interpretation of John Lee Hooker’s ‘Groundhogs Blues’. “Both musically and lyrically, ’Split’ speaks for a lost time, a nomad time when ideals took to the hoof and musicians stayed on the road rather than confront the fact that the '60s 'war' had been lost.” Julian Cope // “Murky, fuzzy, and wisely esoteric.” AllMusic. // “Supercharged, fractured and raging.” MOJO // Remastered and packaged with bonus tracks on the download (out-takes from the original sessions that spawned this spontaneous monster).

Showcase A delivers a refined collection of four stylish tracks, each crafted by a different artist, yet unified by their high-quality production and distinctiveness.

Opening with Fedo's 'Tunisian Rex', it immediately strikes you with a sophisticated fusion of house and techno. The track's smooth, polished sound is anchored by a key bassline, effortlessly guiding the listener through its very enjoyable flow. Following this, Andrey Djackonda & Ovil bring a lively energy with 'Lui Lui'. This song blends upbeat house vibes with playful jazz elements, creating an atmosphere of fun and positive spirit that's impossible to resist. On the second side, Legit Trip's 'Skripi Daddy' introduces a deeper, more minimal groove. The track's busy tech rhythm is skillfully layered with just enough room to then include a melody to elevate it further. Closing the album, Firesc's 'Left Or Right' offers a techy sound infused with eastern samples. The track's bouncy bassline and snapping percussion give it a unique, vibrant character that leaves a lasting impression.

"In the mood for love"
A bohemian atmosphere caught between Paris and Rio. Melodies and Harmonics that have a french taste and rhythms rooted in Brazil. Laura Fedele the time stopping voice.

"Take 4"
Up tempo track characterized by a soprano sax that swirls out melodies making you feel like you have travel back to the 70's. The jazzy guitar riffs opposed to flutes makes the picture complete; all weaved by S-tone inc. 's hand.

"Rendez-vous à minuit"
A Bossa Lounge motif with Wes Montgomery guitar riffs combined to scat voices all packed in relaxin' cruise formation.

"Vai Ser Bom"
Dedicated to Iemanjà, Brazilian sea god. A dreamy rhythmic atmosphere sweatened by the tender voice of Adi Souza and acoustic guitars inpired to Baden Powell.

"La Boca del Rio"
The acoustic bass distinguishes this up tempo track that creates great ambience. The acoustic piano duets the keyboards enriched by strings. The rhythms falling between house and bossa nova.

"Limbe"
A scent of India in a down tempo track, a bit psychedelic with sitars and tablas making the background for a French melody. Velvet voice of Laura Fedele gives the track that extra dimension.

"Memphis Freeway"
Funky track with a 70's taste starting with the flute that plays the theme with horns 'Temptations' style. The beat is a straight 4/4 kick with a groovy bass.

"Entre o Ceus e a Terra"
Like the dualism in the title, the track is divided between the tension of the spoken riff and the solarity of the melody both moved by a "bossy" up tempo base.

"Effetto Notte"
A cinematic feel for a soothing chill out theme on the keyboard alternating with dreamy orchestrations.

Slow paced drums with offbeats softly phased with the guitar, misty takeoffs from the synthesizer: a hazy idyll is starting off on the road to the rocket festival (bun bang fai). Answering each other on the responsive mode of the lam soeng, Sothipong engages in a flirt but Oulay Vanh is not ready to trifle with just anybody.

As a stylistic variation of a popular Lao musical genre, the lam soeng was the source of several themes among which the “bang fai” - which is part of the Lao conciliatory festivities preceding the rainy season - remains one of the most renowned.

However, the producer and composer of these songs, Sothy, created an unusual arrangement: the instrumental introduction separates from the sang canon, the synthetic mix is stripped down of the traditional organology - everything here becomes unsettling for a listener familiar with the genre.

Everything comes with a reason: the record was edited in 1981 under the title Sothy Productions yet produced in France by the Parisian label Oxygène (famously known for its unforgettable first French punk compilation 125 grammes de 33 1/3 tours). Chansons Laotiennes still remains hard to classify.

And then who’s Sothy? Along with the unverifiable identity of the seemingly Laotian singers, skepticism gains ground concerning the man behind the pseudonym. Is he an escaped musician from one of the first Cambodian rock bands of the 1960s? A surviving producer from the 1980s Paris? Or a composer in transit in one of the many places of the Laotian diaspora? Sothy eludes any researches and disappears behind his numerous homonyms.

The second track is just as enigmatic: a beat box, a lightly reverberated voice as well as a guitar solo and a small synthesizer break, “Tuei” or “Tawai” offering (as the writing on the record suggests) makes way to dancing step and a truly joyful melody. Twisted and lively steps on a romantic background tune turn this second track into a genuine paslop - a program recommended by therapists to relieve muscular pains due to seated positions: you will unlock your pelvis with some synchronized Laotian choreographies.

For their first edits, Akuphone called on a young Parisian producer. Shelter, aka Alan Briand, mingles his own mixes and electro productions with a large variety of influences and styles: krautrock, disco, traditional music, psychedelic, synth pop, ambient, bossa nova, Japanese funk. He produces both original compositions and remix.

My Life, Americana trailblazer Iris DeMent’s sophomore album, cemented her legacy as one of the nation’s greatest living songwriters. Dedicated to her father, Patrick Shaw DeMent, who died in 1992, the album illustrates DeMent’s razorsharp songwriting on originals like “Sweet Is the Melody,” “No Time to Cry” and the title track. The songs “are jewels of universal longing” (Chicago Tribune) and “it is nearly impossible to exaggerate the beauty of these recordings.” (AllMusic). The album is being officially reissued for the first time for its 30th anniversary, pressed on maroon color vinyl and remastered by Mike Westbrook of MW Audio. The lacquer is cut by renowned mastering engineer Kevin Gray and is pressed at the state-of-the-art audiophile facilities at Citizen Vinyl in Asheville, North Carolina. This pressing is limited to 2,000 copies worldwide.

Ricky Razu is one of Belgium's new breeds of rising house producers who come from a vast background of jazz, boogie, hip-hop and disco and through the amalgamation of these various styles, he is quickly making a name for himself.

Ricky's swing is quite unique, he has been putting his own twist and interpretation on the regular house track by joining the dots between yesterday’s golden era classics and today’s club bangers. As one of Houseum's mainstays, he has also built up a solid presence behind the decks, becoming a regular player in the Belgian and international house scene. During the past years, Ricky’s prolific output has also allowed his sounds to propagate all over the globe, which culminated in a worldwide repertoire of gigs from Europe to the US, South America and Asia. The man has also garnered support from the likes of Jeremy Underground, Bellaire and Subjoi, to name a few, and with his new projects in the pipeline, the future is looking bright for him.

Get transported to a parallel dimension with the title track of Ricky Razu’s new EP ‘Cosmic Waves’. This spacey yet club-oriented track blends floaty arpeggios with a dark rumbling bass. But what truly sets "Cosmic Waves" apart is its sharp and distinct lead melody, guaranteed to linger in your head long after the first listen. In Ricky’s known style, the arrangement sounds complete yet never over-loaded, resulting in a track that is effective and easy to love.

Coming together as Raz & Afla, Raz Olsher and Afla Sackey converge worlds through their dynamic fusion of electronic and traditional African rhythms, forging a path that is as bold as it is innovative. Rooted in their deep-seated passion for music and cultural exploration, they seamlessly blend their distinct musical backgrounds to create a unique sonic landscape that captivates audiences worldwide.

Raz Olsher is a visionary producer and composer known for his boundary-pushing electronic soundscapes, bringing his expertise in blending diverse musical elements to the duo. His meticulous attention to detail and penchant for experimentation form the foundation upon which Raz & Afla's sound thrives.

Already part of the Wah Wah 45s family with his band Afrik Bawantu, Afla Sackey is an esteemed percussionist and vocalist with roots tracing back to Ghana. He infuses the duo's music with rich traditional African rhythms and melodies. Afla's virtuosity on percussion instruments and his soulful vocals add a visceral, organic dimension to their compositions, creating a mesmerising auditory experience that transcends cultural boundaries.

Together, Raz & Afla defy genre limitations, seamlessly weaving together electronic beats, Afrobeat grooves, and intricate percussive textures. Their music resonates with a deep sense of cultural authenticity and a forward-thinking approach that pushes the boundaries of contemporary music.

Following on from their critically acclaimed full length debut The Cycle, and its subsequent remix project, their sophomore LP, Echoes Of Resistance, finds the duo remaining committed to exploring new sonic territories and creating music that speaks to the universal language of rhythm and melody. Once again, they invite listeners on a journey that celebrates the beauty of cultural exchange and the power of music to inspire and unite.

From more politically conscious cuts like the singles What's Going On? and We Taya, and On Da Phone, which deals with addiction to social media, to dealing with more personal and social issues on songs like ENo Be Me and Ano Be Mumu, Raz & Afla's music is something for the mind, body and spirit, as well as the feet.

There are moments of pure euphoria and unadulterated joy too though, as tracks like Mon Ni Fere, Voodoo Zeezee and Baby Moo inspire elated, tribal dance floor pleasure, and there's still time for a little, good old fashioned loving as Shikor Shikor conjures up the raw emotions of care and affection whilst delivering a hypnotic beat and instantly irresistible vocals from Afla Sackey.

With a growing discography that includes critically acclaimed releases and collaborations with musicians from around the globe, Raz & Afla continue to carve out their place in the international music scene. Their electrifying live performances are celebrated for their energy and the profound connection they forge with audiences, making every show a vibrant celebration of musical diversity and harmony.

"Among the great British bands celebrated during National Album Day, cult Liverpudlian act The La’s are in a league of their own: unlike all the other groups they share shelf space with this year, they are the sole group to have released only one album. Issued in October 1990, their self-titled debut has been hailed as one of the greatest albums of all time by NME, and was also placed at No.13 in Rolling Stone’s 2021 run-down of the 40 greatest “one-album wonders”.

Selling 300,000 copies in the US and 500,000 copies at home, The La’s has become an indie touchstone.

No shortage of that reputation rests on the single ‘There She Goes’, a reissue of which hit No.13 in the UK, on its way towards racking up double-platinum sales figures. With their album now making a return on “coke-bottle green” wax, The La’s have more than secured their place in British music history.




"

'Whiplash' is the first album recorded by bôa in over twenty years, following the incredible reemergence of 'Duvet'. The album is a collection of melody-driven narratives, leaning into the emotive and relatable lyricism which resonates so well with fans. “Whiplash” is very human and uniquely universal — reflecting on the tides of time and relationships, which can refer to past entanglements, deep-rooted friendships, or even the abruptness of social change around us today. Newer fans craving more of the timeless warmth that has made “Duvet” an enduring hit will find that in abundance here, while decades-long fans will feel as if they’re welcoming an old friend back into the fold.

When the world — and his previous band Star Tropics — crumbled in the early days of the pandemic, Chicago's Loren Vanderbilt began rebuilding himself through song. Daydreaming to the chime of IRS-era R.E.M., Felt, The Railway Children, New Order, and 90's staples like Ride, Pale Saints and Slowdive, he fell backwards in time through records as a means of escape. To break away from the present and embrace the nostalgia of musical eras gone by, Loren formed Humdrum — a band built around his favorite elements of dream-pop, indiepop, shoegaze, and new wave. On his debut album, "Every Heaven," Loren establishes himself as a talented songwriter and master of melody across 10 tracks brimming with jangly guitars and lovelorn vocals—all punctuated by the pulse of a driving beat. A deeper listen reveals a juxtaposition between the album's carefree melodies, and its sobering truths about the life, loss, and the questions of being a queer 30-something artist. With "Every Heaven" Humdrum has presented 10 songs that speak to life's dynamic moments. And they can't wait for you to hear them.

Norwegian pianist Eyolf Dale’s lateral approach to composition is given full range on his beautiful new album. Featuring his trio with the Norwegian Radio Orchestra, conducted by Edition Records artist Japanese maestro Miho Hazama, The Space Between Two Notes is a nuanced investigation of sound and space.

Eyolf Dale, the renowned Norwegian pianist and composer, releases his latest album, The Space Between Two Notes, his 7th album released under Edition Records. This new album elegantly reimagines selections from Dale's celebrated trio albums, Beingand The Wayfarers, with rich orchestral arrangements featuring the Norwegian Radio Orchestra, conducted by fellow Edition artist, Miho Hazama.

The Space Between Two Notes explores a mesmerising blend of jazz and classical music, harmoniously integrating the intimatedynamics of a trio with the grandeur of an orchestra.

The album is an exploration of musical intervals—the nuanced spaces between notes—which shape the auditory landscapes of Dale’s compositions. This approach sets it apart from traditional jazztropes, which often emphasize vertical structures, like chords and melodies. Dale, however, crafts his music horizontally, focusing on the relationships and distances between sounds.

Eyolf Dale’s approach to music is profoundly influenced by his rich musical upbringing and an early fascination with the varied textures of sound: from the intricate works of Pat Methany to the vibrant tones of Norwegian jazz. This diverse background informs his unique musical language, which is not confined by genre but instead resides in the intriguing liminal space between established musical traditions.

The album features not only Dale's pianistic finesse but also the empathetic interplay of his trio, including Audun Kleive on drums,whose sensitive accompaniment ensures the music's purity of expression. As Eyolf points out "One of the most challenging aspects, in my opinion, of blending classical and jazz elements lies in the delicate balance of the drummer's cymbals.” Together,they achieve a unity of sound that transcends the sum of its parts, further enriched by the poised bass playing of Per Zanussi andthe orchestral collaboration. This synergy allows the music to unfold naturally, each note and silence carefully articulated to communicate more than mere melody.

Limited Edition Orange Coloured Vinyl.

Emotive and raw, British (St. Albans) punk band returns with fourth album “Heaven Can
Wait.” With “Heaven Can Wait.”, the band effortlessly blend punk rock and post-hardcore;
shining melody and searing lyricism. New album includes features from Eric Vanlerberghe
of I Prevail on single “Be Someone” & Kenta Koie of Crossfaith on single
“filthy//RIGHTEOUS”.

Boudica is proud to present their first record of 2024, featuring an artist who holds a special place within the platform - none other than DJ and producer Wallis.
DJ, live-act and former mastering engineer, Wallis speaks for a generation searching for novelty and emotion in the electronic music realm.
Sharp engineering skills coupled with a unique approach to sound design allowed her to develop a trademark sound. Using an array of synthesisers, effects units, and experimental studio techniques, Wallis produces melancholic electronic music rapidly shifting between different patterns and atmospheres.
She tours as a DJ and Live Act around the world, having played large festivals such as DGTL or renowned clubs like Berghain, and will happily play at a large stage one day but at a small intimate sweaty basement the next.
In 2024, she started producing music for fashion shows and debuted that project by creating the music for the entire Natasha Zinko runway show at London Fashion Week February 2024.
The EP's opening track, "Hell is a Girl from Before (Rainy Summer Mix)," introduces a stirring blend of emotions. Starting with an emotional melody, accompanied by synths and a plucked instrument, it swiftly transitions into energetic segments driven by the drums. Vocals emerge, their words almost imperceptible, adding an intimate layer to the experience. The track maintains a steady pace, evoking the ambience of a rainy summer day. This creates a melancholic yet hopeful mood, transporting listeners through a journey of introspection.
As "Protect Me From My Friends" unfolds, it feels like being whisked away to a new dimension, greeted by otherworldly, robotic sounds. The introspective journey of the previous track mutates into raw emotions, driven forward by a relentless bassline. Clear vocals take the forefront, guiding the listener through the sonic landscape, only to be interrupted by the commanding presence of the bassline, which assumes the main character role.

In "Sleeping Pills Are Gone," an atmospheric and gloomy introduction is abruptly interrupted by an acid and hefty bassline that dynamically evolves throughout the track, plunging the listener into an eyes-open dream born of a sleepless night. The vocals echo the track's title, creating a haunting repetition. Wallis strategically grants brief breaks, constructing a powerful crescendo that heightens the experience. These are momentary escapes before immersing the listener once more into the hypnotic trance induced by the solid four-to-the-floor march.
Closing the EP with a striking finale, "Teenage Apocalypse" introduces a clunky melody that encapsulates the signature sound of the record. Characteristic vocals weave throughout, guiding the listener towards the track's crescendo. Driven by a flawless fusion of drums, the song transitions seamlessly into a powerful breakbeat moment, accompanied by yet another impeccable bassline. True to its title, it evokes the intensity of a day of judgment, leaving a lasting impact as the EP draws to a close.
This EP is a testament to Wallis's growth as a producer and her fantastic storytelling ability through sound.
In the artist's words: "Sometimes life takes a weird turn. Angry, confused and dealing with moral: this EP targets the pain and absurdity of attachment and strongly themes Gregg Araki's teenage apocalypse trilogy. The artwork poem plastered on the wall was written by wallis."

2024 Repress

Dark Entries is honored to finally present the first ever official vinyl reissue of Space Museum by Solid Space. Solid Space was the British duo of Dan Goldstein (keyboards, vocals) and Matthew 'Maf' Vosburgh (guitar, bass, keyboards, vocals) formed in 1980. Dan and Matthew met at the age of 11 while attending school in north London. In late 1978 at at the age of 14, they formed Exhibit 'A' with Paul Platypus' and Andrew Lunchbox' Bynghall. They recorded two EPs in 1979 and 1980, self-released on Irrelevant Wombat Records and appeared on 'The Thing From The Crypt' compilation. After the dissolution of the group, Mathew started taking his guitar over to Dan's house where he'd play his Casio MT-30 and they would record songs. Eventually a second hand drum machine and Wasp synthesizer were acquired from classified ads in Melody Maker and the Solid Space sound was born. By this time they were just turning 18 and finally found the freedom to make the music they'd had in their heads. Over the course of the next two years the band assembled eleven bedroom recordings that would become one of the most cherished DIY obscurities of its kind. Their debut album 'Space Museum' was released in 1982 on cassette by In Phaze Records. All of the songs were mixed by label boss Pat Bermingham on 8-track tape at The Shed, in Ilford, which was literally a garden shed. The band's music and lyrics were heavily indebted to science fiction, in particular the 1960s television series Doctor Who. 'Space Museum' is an unveiling of atmospheric, minimalist post punk supported by bright melodies. The music combines drum machines and synths with acoustic guitar and toy drums whilst also experimenting with samples between tracks. Lyrics deal with space travel and a general sense of dejection. Representing a bubbling spirit within the underground, they foreshadowed an entire world of independent music which would emerge across the 80's and well into the 90's. For this reissue we've included two bonus tracks from the band's archive, Platform 6' originally released on the B-side of the second single by Exhibit 'A', this song features only Dan and Matthew and is the first Solid Space track ever recorded. Tutti Lo Sanno' is a cover of In Phaze label mates Marine Girls, though the lyrics have been changed to suit the gender of the new singer.Each song has been carefully remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The record is sleeved in a replica of the cassette artwork featuring the Cybermen and Jamie from the Doctor Who episode "The Wheel in Space". Every copy includes a double sided 11x11 insert with lyrics, notes and never before seen photographs of the band taken by Maf as well as a postcard featuring an original advert for the cassette.

Xylitol is the alias of Catherine Backhouse, producer and DJ under the name DJ Bunnyhausen. She was a resident DJ at Kosmische, the now dormant Krautrock club and is a fan of jungle and hardcore. She currently co-hosts the radio show Slav To The Rhythm, which focuses on vintage central and eastern European pop and electronica and she's also co-writing a book on Yugoslavian pop culture. 'Anemones' is a total project from the cover to the music. Backhouse is fascinated by early botanical illustrations of anemones and other aquatic fauna, and how the act of taxonomy reveals as much about human psychology, desire and sublimation as it does about the organic specimen as a thing in itself. Each track is a microcosm of this 'other life', an allegory for the extraordinary potential latent within bodies that the dancefloor has the power to activate. Using early jungle and garage as starting points to connect dots and open up contrasts between dance music and vintage electronics, Backhouse finds a sweet spot which, in her words "feels like something that's simultaneously still and ancient yet propulsive and ecstatic." Not afraid of letting the the hiss and flutter of the music show, 'Anemones' holds attention with ancient bubbling synths and gracefully drifting arpeggiations, occasionally brought to heel by charming melodies, all accompanied by breakbeats that explode like fireworks. 'Anemones' has a lively and unpolished aesthetic that's a kindred spirit to Nondi_'s 2023 album of smeary, water-damaged footwork, 'Flood City Trax'. 'Moebius' pits the spaced out neon chords of the track's namesake against absolutely tearing breaks, allowing time for this almost overwhelming combination to become near enough transcendental, while the bleeping melody and sad slavic chorus motif in 'Okko' feels like an artifact from an alternative future. The Drexciya meets 2-step garage of 'Dobro Jutro' creates a welcome respite at the album's midpoint before the flow builds up again to 'Daša' with its glassy sounds from a lost radiophonic workshop miniature meeting bruising kicks and snares. Meanwhile 'Iskria' has purring synth chords and 8-bit melodies evoking the cosmonaut age. The subliminal influence of the Yugo era is felt in DIY synthesis and Mitteleuropean melody and seen in song titles such as 'Jelena', 'Miha', 'Daša' (named after novelist Daša Drndič) and 'Iskria' (taken from the fictitious Balkan region in Ottessa Moshfegh's bleak fable 'Lapvona'). 'Anemones' very effectively folds experimental genres from different times and places into a very enjoyable new sound.

Stepping outside his usual sphere, Blue Hour delves into dub-infused atmospheres with his latest EP, ‘Duality’. The EP kicks off with ‘Trekia’, a chord-driven techno track evolving slowly with blissful pads and a dreamy melody. ‘Orisus’ follows a similar palette, adding more funk to the drums and introducing drama with an unexpected string variation.
On the B-side, ‘Atoll’ delivers a more rolling, percussive groove, with subtle riffs breaking through the repetition. The final track, ‘Triton’, takes a deeper, moodier turn, featuring melancholic bell like tones and a wandering arpeggio. Followers of Blue Hour will find echoes of his earlier work here, but ‘Duality’ brings a breath of fresh air and sense of refinement, making it the perfect home on Arsenik Records.

After recent explorations into ambient and pop under his full name, Sacha Renkas switches back to his Antenna moniker for ALT013. The Kiev-born, longtime Rotterdam-based artist uses a rough-around-the-edges, hiss-laden palette to construct his intricate, pensive club tracks. Often recording on the fly, he embraces the limitations and quirks of the hardware he works with, curating the happy accidents that come with them and that help make his music feel as alive as it does. It is emotional and imaginative in spirit, yet raw, almost instinctive in its rendering. Renkas cites the new wave and synth-pop from his youth and the sounds coming from Chicago and Detroit, as well as the Dutch West Coast he encountered later on, as inspirations. The sensitivity and hands-on approach associated with these are also tenets throughout his work. The ''Another Wave EP,'' a selection of tracks created over nearly a decade, further substantiates this approach. Made on multiple MPCs, Juno synthesizers, and an Akai S900, and mixed on a Mackie 16-channel mixer, it blends, among others, elements of first-wave techno and European proto-trance. Opener ''Alisa'' stacks angular sine melodies and formant basslines one upon another yet flows like silk, its balance immaculately kept in check. On ''Everyone M1,'' the bass organ patch from which the track derives its title finds itself amidst a lo-fi flux of capricious arpeggiators, ethereal pads, and decocted drums. ''Another Wave'' is a carefully sculpted slow burner, collected in its unfolding. Wisps of melody, gated pads, and whisper seem to wind between its drum patterns; the tension looming beneath this patchwork never entirely reveals itself. ''Quasar'' blends signature dramatic chords and off-rhythm bells with a creeping acid bassline and more kaleidoscopic drum patterns. It closes an EP distilled in its form, confident in its intent, and nowhere too bothered by genre boundaries or other formal constraints.

A1 - Deep Sea
Hefty jungle breaks shudder and thud as Aural Imbalance chartsa path through the depths with a shimmering backdrop of glorious synths and padwork that dance gleefully around asymphony of gentle rhythms. An over-arching earworm melody develops and rises above the mix, intersecting with the break pattern which gradually adds to its own character and texture with muffled breaks beneath, all combining to create this superb EP opener.

A2 - Echoes In Time
Flexing his breakbeat skillset in style, Aural Imbalance cuts andchops fine analogue jungle breaks effortlessly as Echoes In Time showcases his ever evolving production talents on Spatial.Wisps of airy pads are floated in the mix that slowly rise around the listener, somber in tone with delicate keys, bells and micro-melodies that build the atmosphere with a wondrous clarity feware capable of achieving.

AA1 - Sense of Space
A DJ-friendly intro opens with a plinky melody and hi hats asserene pads slowly usher in rumbling, weighty amen breaks, edited to perfection as is fast becoming trademark for Aural Imbalance's breakwork on the label. As the soundscape develops, a softly, hopeful xylophone melody innocently shuffles around subtle keys and synths to cap off a tale of two vibes effortlessly moulded into another sublime atmospheric collage.

AA2 - Regolith
Closing the EP with a stunning analogue break-laden workout, Regolith sees Aural Imbalance delve deeper still into the oldschool brand new vibes of Spatial with a beat pattern that immediately makes an impression. Scattered and flecked across the mix, the edits juggle restless snares and hats with a dense kickdrum and subtle 808 bass, while a tranquil blend of ambient atmospherics circle inquisitively above.
Words by Chris Hayes (Spatial / Red Mist)

Tamil Rogeon, the Melbourne based multifaceted jazz, classical and electronic violin & viola player firmly cemented his reputation with the critical success of his 2021 album Son Of Nyx which was released on Soul Bank Music, Impressive Collective head honcho Greg Boraman's previous label. Lauded as a modal and spiritual jazz fusion opus, Son Of Nyx found favour with Gilles Peterson, Laurent Garnier, Rebecca Vasmant, BBC6 Music's' Cerys Matthews and Deb Grant, was a Jazz FM’ Album of the Week. Building upon that highly original sound concept, Wave Theory draws from the jazz fusion movements of the 70s and 80s and conjures up textured soundscapes rich with cosmic synths, soaring vocals and deep jazz funk, and sees Tamil once again joining forces with Son of Nyx contributors Rita Satch and Daniel Mougerman, plus new collaborators and special guests including Lance Ferguson and celebrated trumpeter, friend Audrey Powne. Listeners can expect the same modal experiments, driving percussion and cosmic synths of Son of Nyx as well as new and exhilarating experiments in electric string instrumentation. Across all 6 tracks the highlights are numerous, but of particular note are the album opener "Ascend it!"; a fusion masterpiece that seamlessly blends psychedelic elements, funk grooves, intricate melodies, and improvisation. When "Doom Date" takes flight we are transported to Mahavishnu Orchestra-like territory, before finishing with an angular melody that is pure jazz-fusion inventiveness. The irresistibly funky 'Gift Of The Gab” is built upon a hypnotic bass line over drum and percussion. Laden with synth and retro keyboards reminiscent of the deep funk of Herbie Hancock’s late 70s period. "Mountain Bug' alternates between minor and major keys, a hallucinatory violin solo is followed by a dazzling trumpet improvisation. A restatement of the melody accompanied by the gunfire of the drum set and percussion. Tamil says of Wave Theory “Sometimes themes reveal themselves through creative encounters and through life experience. I wrote and recorded the album in six months. A lot happened to me and my friends during that time so, for me, ‘Wave Theory’ is like a musical snapshot of life’s relentless ebbs and flows. It’s about the sadness and thrills of endless transformation and the power of creative connection".

With the debut album "Mechanical Spin Phenomena", MNEMIC introduced themselves to the metal world impressively: Their music, made of heavy Thrash riffs, Progressive elements, modern synthesizers and electronic samples created both a hard and spacy atmosphere – therefore the band decided to describe their sound as Fusion Future Metal. Crushing songs like 'Ghost' and 'Liquid' got stuck in your head so easily and the comparisons to bands like FEAR FACTORY, MESHUGGAH or STRAPPING YOUNG LAD were drawn soon. But MNEMIC are not a simple copy of those acts – they are a band with their own ideas and self-contained style. "The Audio Injected Soul" shows MNEMIC grown and more mature. Less complex than "Mechanical Spin Phenomena", the band worked a lot with melodies and set a high value on creating catchy refrains. The result is amazing songs like 'Dreamstate Emergency', 'Door 2.12' or 'Deathbox' groove like hell and unify brutality with melody. Finalized by a dynamic cover version of DURAN DURAN's 'Wild Boys', "The Audio Injected Soul" is all in all a perfect package of ten punishing Modern Metal songs that will catapult MNEMIC to the major league of the genre! Tue Madsen, who again took care of the producing in his Antfarm Studios in Aarhus/Denmark, additionally provided the album with a clear and explosive sound that displays the effect of each track fully.

A1 - Desire
Opening the EP in quietly epic fashion, Desire begins with a delightful beat pattern with adistinctive cymbal hit set over warm bass tones and whale song samples. A smooth, thoughtful bass melody is introduced which joyfully intersects with gorgeous piano keys while swirling strings and atmospheric vibes layer and recede like tides of the ocean, creating a truly unique journey of a track that will linger anywhere it may be heard.

A2 - Voidscaping
Instantly setting the scene with crisp, striking breaks, Voidscaping is an atmospheric treatfor the senses with serene throwback pads reminiscent of the halcyon days of Good Looking. Bringing the piece up to date for the Spatial era is the typically intricate blending of reflection and intrigue ASC conjures with his sampling and reverb work, effortlessly thickening the soundscape with memories old and new.

AA1 - Let Go
Opening with the vibrant sounds of twilight nature and metallic bongos, ASC sparinglydeploys a glorious choral vocal before the breaks take off with an energetic pattern drivenby constant, playful hi hats. As the track develops, questions are asked of the listener bythe curious atmosphere, gradually unraveling with strings, synths and trademark vocalusage, offering a new perspective with each listen.

AA2 - Meltdown
A darkly, anxious undertone floods the mix as Meltdown grips the listener from the first barwith skillfully sequenced minimal breaks, hi hats that whoosh in and out like evening crickets you can't quite track, and intense ambient padwork. A longing female vocal occasionally yearns over the various melodies which enter at will, discreetly developing the mood with purpose, unfurling a stream of aural consciousness from this incredible producer.
Words by Chris Hayes (Spatial / Red Mist)

Limitiert auf 500 Exemplare ww. Spearmint kehren 2023 mit This Candle Is For You zurück, um nach dem hochgelobten ,Holland Park" von 2021 mit großartigen neuen Album nachzulegen. Spearmint machen nun schon seit ein paar Jahrzehnten großartige Platten: dies wird ihr zehntes Album sein. Das Line-up ist immer noch dasselbe: Shirley Lee (Gesang, Gitarre), Simon Calnan (Gesang, Keyboards), James Parsons (Gitarre, Bass) und Ronan Larvor (Schlagzeug). Dieses Album wird die 60. Veröffentlichung auf ihrem eigenen hitBACK-Label sein. Bislang verpasst? Das neue Album ist der perfekte Startpunkt! Das schwindelerregende Multiversum des Albums deckt eine breite Palette von Themen ab, darunter die Suche nach einer vermissten Schwester, die Art und Weise, wie wir uns an verlorene geliebte Menschen erinnern, die Begegnungen von Prince mit Joni Mitchell, die Geschichte von John Gavin, dem James-Bond-Star, der nie einen Film drehen durfte, nächtliches Trinken in Soho, die Freuden von B-Movies & Video Nasties, die sich ändernde Einstellung zu psychischer Gesundheit, die Not und das Wunder älterer Katzen, die Reaktion auf den Tod von Sarah Everard und das Leben nach dem Tod. Die Band hat sich wieder mit dem Produzenten Rhodri Marsden (Scritti Politti) zusammengetan und ist der Meinung, dass dieses Album ihr bisher bestes ist. Sänger Shirley erklärt: ,Am Anfang wollten wir einfach nur ein Album machen, das neben unserem letzten Album ,Holland Park` bestehen würde, aber am Ende hat es uns überrascht - wir lieben es!"