Buscar:t time

For as long as they've been a band, teen suicide's catalog has been as alluring as it has been elusive. Now the first time, two of the band's most sought after early EPs, dc snuff film and waste yrself, will be available together across all formats via Run For Cover Records this winter. These 18 tracks have been remastered to provide the best sound quality possible while still retaining the noisy, lo-fi sound that is an integral part of the teen suicide's essence. This collection will feature brand new artwork, including never-before seen photos & a lyric sheet for both EPs in one volume.

Interesting Decisions is the new album from Into It. Over It., the brainchild of Chicago, IL musician Evan Weiss . Considered to be one of the artists at the forefront of the 2010 emo revival, this is his eagerly awaited fifth studio album, after 2020's Figure. Into It. Over It. is an indie rock powerhouse that has been enchanting audiences since its inception in 2007. The band's emotionally charged lyrics and dynamic sound have garnered critical acclaim and a dedicated global following and their current formation includes Adam Beck on drums, Matthew Frank on bass, and Joe George on guitar.

Type steps up to the plate next, with the 'Deeper Still EP' - his first solo release on Rupture.

Setting the dance alight with his Jupiter debut last year with the long awaited 'Hummer', he comes correct with a full EP in 2024. This time led by another heavily demanded Rupture dub - the mighty 'SK85'.

Much-anticipated debut album from Leeds post-punk power-trio and 6Music favourites Objections. Optimistic Sizing is comprised of ten kitchen-sink dramas, ten miniature worlds to lose yourself in. The key topics are covered: performative royal mourning, ill-suited sexual relationships, coastal gentrification, motormouth bigots and - of course - snogging. Objections formed in the post-lockdown period after drummer Neil and guitarist Joe's former band (and cult favourites) Bilge Pump slowed to an amicable halt. They wanted to continue the musical dialogue they had built up over decades and turned to Claire Adams (Nape Neck, Beards) to start something new and Objections was born. The 3 members have also played in/with: Polaris, Yann Tiersen, HiM, Enablers, Felix and Damo Suzuki (among others). Objections released their debut 7" - BSA Day/Better Luck Next Time on Wrong Speed in 2023 and have recorded two Marc Riley / Gideon Coe BBC 6Music sessions. At Wrong Speed we are not fond of genres, we are here to release music we love not tell you how to file it. But Optimistic Sizing is genuinely post-punk in the literal sense of the term. Objections take the freedom and anyone-can-do-it promise of punk and run somewhere new and adventurous with it, creating a vibrant and living musical language with which to communicate their own unique world view. As a result, Optimistic Sizing is not only a classic debut album but a timeless one. "We like to think we know what we're talking about....believe us when we say, Objections are a band to watch" - Louder Than War

The Red Clay Strays haben in acht Tagen zwölf Songs aufgenommen, die ihre Americana-Seele besser präsentieren als alles zuvor.
In einer digitalen Welt, die auf Perfektion ausgerichtet ist und in der Autotune und elektronische Instrumente in den Studios überhand nehmen, kann es schwierig sein, in der heutigen Zeit noch Authentizität in der Musik zu finden. Die Ära der Alben, die als echte Hörerlebnisse gestaltet wurden, ist auf der Strecke geblieben, doch die Red Clay Strays haben sie mit ihrem Debütalbum Moment of Truth kunstvoll wieder aufleben lassen. Das Ergebnis ist in mehrfacher Hinsicht ihr Moment der Wahrheit.

UMR/Mercury are pressing phase two of Metallica’s studio album back catalogue on limited edition custom coloured vinyl, for the first time for World ex North America; following the 2021 Walmart exclusive coloured vinyl series in the US. Phase one saw their first 5 albums releasing one a month from November 2023 – March 2024. Phase two includes Garage Inc., St. Anger, Death Magnetic, and Hardwired…To Self-Destruct, releasing April – July 2024. Metallica’s ninth album, St. Anger (2003), will be pressed on 140g ‘Some Kind Of Orange’ limited edition coloured vinyl.

Scriabin · Scarlatti creates a dreamlike meditation in which the boundaries between pieces, eras and states of mind fade away. Asal’s full performance of the Sonata is framed by a selection of Scriabin’s etudes and preludes, six sonatas by Scarlatti and two improvisatory Transitions by the pianist himself. Julius Asal chose two different Steinways for the recording, one for its sumptuous dark sonorities, the other for its clear, crisp sound. “These miniatures by Scriabin and Scarlatti are like mythical creatures from another dimension, with their own character, their own life, their own past, present and future.” Everything’s possible in a dream”, says the 27-year-old artist, who has a rare talent for innovative programme curation. “Even seemingly different materials from different times and with different densities can merge and create a new substance that’s never existed before.

"Two Sevens Clash" became a huge hit in reggae circles both in Jamaica and abroad. The prophecies mentioned in the song's lyrics so captured people's imaginations that on July 7, 1977 - the day the sevens clash completely (seventh day, seventh month, seventy-seventh year) - a silence fell over Kingston; many people did not go outside, stores were closed, an atmosphere of foreboding and expectation pervaded the city. The song begins with a plaintive, harmonious refrain. Culture sang a new kind of hymn with sublime melodies, prophetic lyrics that connected great historical events to present suffering, complex, driving rhythms that made the hymns danceable, and wonderfully subtle arrangements that transformed the timeless simplicity of the hymn-like melodies into sophisticated statements. Two Sevens Clash, Culture's first LP, set a new standard for reggae music, indeed for pop music the world over. Culture went on to record a series of outstanding albums that are remarkable in their consistency, but Two Sevens Clash remains their masterpiece - an inspired work of enduring power.

This star-studded soundtrack to the acclaimed 2013 indie film Winter In The Blood is out for the first time on a deluxe limited edition 2-record, white vinyl set. The original score is written and performed by indie darlings Heartless Bastards, and the song list includes tracks by Robert Plant & Patty Griffin, Cass McCombs, Sonny & The Sunsets, Sallie Ford & The Sound Outside, Them Savages, Alemayehu Eshete, Cowboy & Indian, and Youth & Valor.

King Midas is a Norwegian band, playing a unique mix of art pop, electronica, lounge-jazz, blues and psychedelia. They started in 1994 in Oslo, Norway and gained some commercial success a decade later after signing with Universal Music, touring and also getting airplay for several singles. «The Jaguars» their fourth album was originally released in 2005, and is now available on vinyl for the first time

Legendary Swiss punk band from the late 70s - "You can't dispute Liliput's status as pioneers of feminist art-punk - Along with fellow travelers like the Slits and the Raincoats, this (mostly) female Swiss group took advantage of punk's anything-goes attitude and created jittery, spirited pop that was both in step with the times and completely singular. The early material is a riot of exuberant energy, taking stylistic cues from peers like Gang of Four and Wire-- propulsive bass, skittering pop rhythms, slashing guitars-- and adding distinctive overlapping vocal patterns, which are sung, shrieked, and hiccupped in three languages and made- up dadaistic slang. More than 20 years on, it still sounds fresh." - Lisa Gidley

Steph Richards has already made quite a name for herself in the worlds of avant garde music and creative jazz - She has recorded for Relative Pitch and Northern Spy, worked with Laurie Anderson, Anthony Braxton and Ravi Coltrane and studied with Wadada Leo Smith - As co-producer of the FONT Music Festival, Richards worked for years alongside fellow trumpeter Dave Douglas. Her records have been praised for displaying her evident virtuosity and inventiveness, the New York Times calling Richards "boldly inventive." NPR's Nate Chinen says Richards is "ingenious" and Downbeat insisted that she is "the latest figure of note" in jazz while All About Jazz cuts to the chase, saying simply, that Richards "kicks ass." It's an impressive history and litany of praise for a young trumpeter, but with her latest full-length for Northern Spy, Power Vibe, Richards pushes even further, marrying avant garde and cinematic moods with a kind of infectious and patently pleasing tunefulness that is certain to expand her dedicated audience even further. The addition of "sensory electronics" -- subtle but compelling textures and tactile rhythms which are physically triggered by drum-mounted sensors -- compels fascination here, interweaving a kind of aural hyper-lucidity throughout the record. Though boldly original, this music strides surefootedly alongside the work of contemporaries like Nicole Mitchell and Rob Mazurek and the late jaimie branch

An album of originally unreleased Sun Ra, over 50 years after it was recorded, back in print on lightning yellow vinyl! Sun Ra is still trying to get our attention 50 years after dispatching this transmission. Humanity's path since then makes his message even more urgent today. Years after Herman Poole "LeSony'r Ra" Blount "left the planet" he's still trying to reach us, to wake us up and to change our destiny. Sun Ra and the Arkestra weren't a traditional studio band, and every star in the vast galaxy of their discography reflects this. The origins of these records can be hard to pinpoint at times, but when it comes to Thunder Of The Gods, it's a bit easier. "Calling Planet Earth - We'll Wait For You" was discovered on tapes from Ra's, Universe In Blue, believed to be recorded in '71. The raucous title track and "Moonshots Across the Sky" are unearthed from the '66 Strange Strings sessions. Modern Harmonic has once again paired Ra's sonic art with the visual art of "The Father of Modern Space Art," Chesley Bonestell, whose 1952 work "Formation of the Earth's Continents" spralls across the front and back covers

On a cold December's night, we packed the Paradiso in Amsterdam, ending our tour in glorious fashion. This night felt like a homecoming show, marking my seventh time headlining the "pop temple". The "creme de la crème" line up included one of my oldest friends Marnix. Slider returned on keys for this tour, having been a crucial member of our musical family for years. We brought out the big guns for these shows, having a crazy variety of classic keys on stage. These included an electric grand, clavinet, multiple synths and multiple electric pianos. Needless to say, the stage was pretty full! Willem being the powerhouse he is, raised the bar as usual. An amazing drummer and an amazing singer! Last but not least, returning to Paradiso with Xander felt incredible. Him and I have been doing this even before I descended down to earth and became Jett Rebel. All of us are friends and being on stage with these people is a privilege and a blessing. You'll be able to hear the crowd's excitement in the way we play. My primary goal was to make it feel like you were actually there. I live for this...

Liverpool's YOBS release their self-titled debut album on May 3rd 2024 via Fuzz Club, arriving off the back of their debut double single, 'Fortune Teller b/w Cemetery Man', which saw the four-piece burst on the scene n a gloriously scuzzy and hedonistic blaze. "All skullcrushing riffs and hallucinogenic effects", as Clash Magazine wrote, YOBS deal in primitive garage-punk/noise-rock salvos that race by with a bludgeoning intensity. Across the album's ten tracks and rapid 26-minute running time, the band revel in an abrasive, fun-ashell rock'n'roll that will leave your bones rattling just as much as your
speakers. INDIE ONLY! Splatter LP

The first Anubis Gate album celebrates its 20th anniversary this year, which is why it is available on vinyl for the first time especially for this occasion. In a limited edition of only 300 pieces, beautifully packaged
in gatefold sleeve and 180 gram vinyl.

Pieces of debris washed up on a coastline shrouded in mist. Gratification comes from an eternal search for solace. Locked away at the top of a lighthouse somewhere on an unnamed isle, Grady Steele broadcasts to those within the beacon’s reach. A soundsystem built of driftwood and salvaged car stereos is pieced together with precision and laboriously dragged to the top of the obelisk. A timeless fugue state spent playing arpeggios on a Spanish guitar, the PA system ebbing out phasing loops across benevolent waters. Layering, occasionally faulting, stopping, recording, starting again. The phosphorescent glow atop the obelisk is ever-present.

Perhaps the first release on Archaic Vaults to feature (at least prominent) use of the guitar, these six compositions feel sketch-like and yet burned into the retina, like that of a passing car’s headlights leaving an impressionistic imprint of the source material. To mention this is Grady Steele’s debut release is not to imply he is new to working with sound, having been the proprietor of one of London’s most important soundsystems for the last decade. An obsession with fidelity can be heard and and at times deliberately perverted amongst the body of work. The warm and melancholic tones of the Spanish guitar evident in almost all songs are juxtaposed with various collaged material, including what sounds like hastily captured iPhone recordings and drum machines neglected at the back of the studio, dragged out for one or two stubborn, lurching takes and then once more committed to storage. The 90s voice-imitator pads glowing with undulance are reminiscent of John T. Gast’s early studio takes, and the synergy and precision in guitar layering could lend a clue as to what Fuck Buttons would have sounded like had they sold off their studio equipment for a couple of wooden 12-stringers. Stare long enough at those Windows 95 screensaver-esque rolling hills, and one might witness some miniscule movement in the growth.

Music composed and arranged by Grady Steele Painting by Antoine Larrera Mastered by Owen Pratt Design by Severin Black

To celebrate Gene Clark"s landmark 1974 record, No Other, turning 50, 4AD are proud to be releasing the album"s session tracks for the first time on vinyl. Mixed from their original multi-track tapes and spread over two discs, these 18 alternative versions taken from No Other"s recording sessions at LA"s infamous Village Recorder studio offer a fascinating insight into the making of this timeless album. Housed in a mirror board, gatefold sleeve and containing photos from the 1974 recording sessions as well as comprehensive song notes, this special edition is being pressed on double black vinyl with the first disc containing the best / most interesting take of each track and the second disc being every first full take.

20 Years Of DevilDuck Records. Ltd Anniversary Compilation with 13 Special Tracks put together by the Hamburg based Indie Label.

Limited to 1000 copies for RSD 2024. The Flirtations are poised to release 'Still Sounds Like the Flirtations' - their first album of new material in 55 years. They are best known for their 1969 signature song, "Nothing But A Heartache", off their debut album 'Sounds Like the Flirtations'. That song spent 14 weeks on Billboard's Hot 100, and its success saw the group tour with Stevie Wonder, Tom Jones, The Four Tops and The Temptations. "Nothing But a Heartache" remains an undeniable Northern Soul classic; it has been streamed over 13 million times, and in 2022 was remixed by Tobtok and Oliver Nelson. On their forthcoming album, which was produced, engineered, mixed, and co-written by Ben Rice (Joan Osborne, Valerie June), Earnestine Pearce, Shirley Pearce, and Viola Billups aka Pearly Gates tell the stories of their lives. Drawing inspiration from the churn of personal, social, and political situations that they have lived through over the past five decades, they capture a timeless and well-earned perspective on love and life. The record, which features the Dap King horns, contains standout tracks, including the reflective call to action "Memories", co-written by Stevie Wonder; the hopeful love song "Ain't No Easy Way" and the instant dance floor hit "Didn't Anybody Tell You", both co-written by Grammy-nominated songwriter Gian Stone (John Legend, Meghan Trainor); the uplifting groover "Love Somebody"; and the roaring "Take It Back", co-written by Dave Sherman (Nick Cave & the Bad Seeds, Elle King). The recording process was a transatlantic adventure, with sessions at Abbey Road and Resident Studios in London, Degraw Sound in Brooklyn, and Creative Workshop in Nashville. Retaining the classic soul sound and melodic harmonies The Flirtations are known for, the album will not disappoint long-time fans, while also promising to bring their authentic, inimitable sound to a new generation of music.

1000 copies worldwide. Deluxe freshly remastered edition of Royal Trux's seminal debut album, originally released on their own Royal Records label in 1988. Fierce and uncompromising, this long overdue re-issue comes with rejuvenated artwork and brand-new liner notes. Formed in 1987 by Neil Hagerty (vocals, guitar), formerly of Pussy Galore, and his then girlfriend Jennifer Herrema (vocals), Royal Trux successfully dismantled alternative rock with a discordant guitar and time signatures akin to Miles Davis on an unholy mission circa 'Bitches Brew' or Manson strumming in his prison cell. Often described as a garage rock act, Royal Trux were far more complex, an unravelling surge of ideas, influences, mangled theories and out-there meandering, setting the blueprint for lo-fi indie amid their intricate reflections on their self-destructive lifestyle. "Their music was wild and their lives even wilder." The Guardian // "A chop-shop approach to pop history." Pitchfork

1000 LPs pressed for RSD. 20th Anniversary Release, and first time ever on vinyl LP, of Hayseed Dixie's "Let There Be Rockgrass" album. This is the original manifesto that started the entire Rockgrass genre. Containing many of the band's best know songs, "Let There Be Rockgrass" sold more than 100,000 CD copies in Europe alone in its year of original release. Never previously available in the USA. This vinyl LP edition is cut at 45rpm and spread across 2 12" LPs for the highest possible sound quality.

It was the summer of 1996 in London. Rat Scabies had his studio 'The Arch' underneath Kew Bridge, in which various projects were recorded. At some point, Rat (The Damned), Derwood Andrews (Generation X) and Glen Matlock (Sex Pistols) drifted in to rehearse and write songs to record an album. Pretty soon they were ready to start recording, but they didn't have a singer. They called upon an old friend Gary Twinn (20 Flight Rockers), who flew in on the red eye from Los Angeles and immediately started recording. It may have been a good idea to give Gary time to get over the jet lag, and write some more songs. But Gary's lyrics were working well and it was sounding so good they started laying down the tracks. A day or so later, Martin Lee Stephenson, a young hot mixer came down to the Arches and mixed the seven tracks that were recorded. The plan was to do a few more songs and have a finished album. Gary went back to the west coast and started booking shows. It was all looking good, and it was fun. Then Glen called to say the Pistols had offered him to reform with a world tour called Filthy Lucre, and he'd be doing that for the next six months at least. So, Dead Horse was truly dead, and the whole idea was abandoned. These tapes have been on the shelf for almost 30 years. These tapes are being released in the interest of music history, and the fact that they were never quite finished shouldn't matter to anyone. The quality of the people involved shines through.

Packaging: 2LP | printed inner sleeve / liner notes

transparent yellow Vinyl

The Path is the latest album from Belbury Poly (aka Ghost Box records founder Jim Jupp). This time round Jupp has recruited a full band roster to expand his own unique electronica. He is joined by occasional Belbury Poly collaborator Christopher Budd on Bass and Guitar, Jesse Chandler (of Midlake, Mercury Rev & Pneumatic Tubes) on flute, clarinet and keyboards, Max Saidi on drums plus narration from author and poet, Justin Hopper.

Musically it takes as its starting point a particular moment of early 1970s British film soundtracks by the likes of Roy Budd and Roger Webb; a soundworld of easy-going jazz and funky rhythms gently coloured with pastoral strings and flutes. The Path, however, is unmoored from time or place thanks to Hopper’s narrative style, Chandler’s rustic flutes and keys, Budd’s soulful psychedelic guitars and Jupp’s production and electronics. The co-writers were all chosen for their unique abilities and an
intuitive understanding of the ongoing Belbury Poly project. The spoken word elements form a loose, open-ended narrative; very much an album with spoken word rather than a spoken word album.

The Band and Album Recording:
Christopher Budd: Electric Bass, Double Bass, Guitars, Electric Sitar
Jesse Chandler: Piano, Synths, Mellotron, Flute, Clarinet
Justin Hopper: Narration
Jim Jupp: Electric Piano, Synths, Mellotron, Percussion, Sound Effects
Max Saidi: Drums, Percussion

The project came together over two years, beginning with a conversation between Hopper and Jupp during a walk on the Sussex South Downs. Originally, it was to tell the tale of an American academic unravelling while adrift in an alienating English landscape. From the beginning, the pair wanted on a narration integrated lyrically into the piece, rather than dropped on top. The words gradually became more film-noir and open to interpretation; occasionally a little tongue-in-cheek. The final
texts explore a folklore of alienation; the way we impact the landscape and it impacts us.

Belbury Poly:
Jim Jupp has released EPs, singles and seven albums on Ghost Box as Belbury Poly. It’s generally a solo project, but he calls on a floating roster of like-minded musicians to extend the sound beyond studio based electronica. He is also one half of The Belbury Circle along with Cate Brooks (of The Advisory Circle) - occasional collaborators with John Foxx. He has recorded library tracks for KPM, BMG and Lo-Editions. He’s remixed tracks for several artists including Beautify Junkyards,
John Foxx and Bill Ryder-Jones (The Coral) and co-written a song with Paul Weller for his 2020 album On Sunset.

The music of Large Plants could be characterised as psych rock, with this outing having a folkier, proggier and more fantastic feel than the heavier biker-rock of the 2022 debut, The Carrier. The tracks on The Thorn also weave synths into the traditional four-piece sound palette.

The Thorn was partly recorded at the same time as the The Carrier, with more songs added subsequently. However, all tracks for both albums were recorded and performed entirely by Jack Sharp in a barn, since demolished. “It was a dirty, rusty, metal shack with no insulation or sound treatment, and it was full of junk, but it sounded weirdly great, and I loved it.” Sharp told Shindig magazine.

B2 Recordings keeps it classy with another new deep house offering from label head Bengoa. It comes hot on the heels of his last outing here in December but this time all three tracks are straight-up solo cuts with no featured guests. 'Hustler's Convention' is an emotionally intense humid, steamy cut even though the grooves are warm and hypnotic.

'Apollo' has more raw percussion and scratchy drum textures overlaid with trippy vocals and last of all is 'Fanatic,' which pairs leggy bass and drums with more swirling vocal samples and interesting broken beat patterns. Another fine outing from Bengoa then.

Pull the Rope, the new record by Ibibio Sound Machine, casts the Eno Williams and Max Grunhard-led outfit in a new light. The hope, joy, and sexiness of their music remain, but, further honing the edge of their acclaimed 2022 album Electricity, the connection they aim to foster has shifted venues from the sunny buoyancy of a sunlit festival to a sweat-soaked, all-night dance club. Williams and Grunhard attribute this shift to a matter of collaborators, recording Pull the Rope with Sheffield-based producer Ross Orton (Arctic Monkeys, M.I.A.) over the course of two weeks. The way the pair wrote songs changed significantly_rather than Eno penning lyrics to music generated by Max and company's jamming, Orton started with Eno and Max writing together before adding the band. With less time in the studio and a new way of considering how they built songs, the duo found making decisions about Pull the Rope's sound quicker and more instinctual than before. "Ross is from Sheffield, which has an edgier, more industrial vibe than London," Grunhard explains. "He hears things differently than us, is more grounded in rave and grungier sounds, and knew when to add drums or push the instrumentation more. It was very different for us, but it lends itself to where Ibibio Sound Machine is going." In melding their songwriting process, Grunhard and Williams have, impossibly, pulled the trick of making Ibibio Sound Machine a tighter band than ever before, building out from their core in a way that highlights the electrifying group of musicians they play with. Rather than recording with the full band in the room, Pull the Rope was sculpted, elements added and shaped by Grunhard, Williams, and Orton along the way. As a result, Pull the Rope is a nimble, sleek machine that's thrilling from the first note of the opening title track, Eno's otherworldly voice and PK Ambrose's throbbing bass driving through a kaleidoscopic array of house, post-punk, funk, Afrobeat and disco, bangers and ballads, making an argument for unity that begins on the dancefloor. "We are the places we grew up, the places we've been, and the people we've met along the way," Williams says. "Hopping around the globe, we've found that people are fundamentally the same_they're people. Opposing sides push and pull, but there is an alternative to war, violence, and suffering." Lead single "Got to Be Who U Are" literally globetrots, name checking locales across the world that would feel disparate were it not for how well-traveled they are. Eno growing up in the musical melting pot of the Ibibio region of Nigeria and Max being a conservatory-trained musician from Australia, one could call their meeting in London and formation of Ibibio Sound Machine predestined. "Mama Say" and "Let My Yes Be Yes" touch themes of female empowerment. They're indicative of the band's depth as they push further into the electronic; "Mama Say" hits notes of electropop while "Let My Yes Be Yes" fuses electro to Afrobeat. Ibibio Sound Machine have always imbued their music with political consciousness, and the light that shines through in Williams' vocals and voice has never felt more necessary. The sound of Pull the Rope, then, is hope in darkness, bliss in spite of bleakness. Once again, Ibibio Sound Machine are here to provide the soundtrack to the best night of your life, and the better world to come.

Fernando Pulichino's slinky, syrupy dance floor records - all of which sit in a triple frontier death zone between rock, funk, and electronic sounds - have been cycling through DFA DJ bags for years, so it was only a matter of time until he made an official appearance on company letterhead. The original version of "I Got, She's Got," which appears here on B2, is a romping, scuzzed-out, howl-at-the-moon burner, but it's the remix (a little more clarity of purpose, a lot more arpeggios) that really goes and notched the A1 placement cut at 45RPM. Sandwiched between the two is another innocuous bomb, "She's Playing With Fire." Three tracks, all weapons, trust us. Written, produced, and performed by Fernando Pulichino in Buenos Aires. Saxophone on "She's Playing With Fire" by Gustavo Buchiniz. Mastered and cut by Bob Weston at Chicago Mastering Service. Pressed by Furnace Record Pressing in Alexandria, VA.

BELFAST PARTY THE NIGHT INSTITUTE LAUNCHES NEW ELECTRONIC MUSIC LABEL

The Night Institute, the legendary cult club night at the forefront of Belfast's thriving electronic music scene, announces eponymous new record label.

Spearheaded by scene stalwarts Timmy Stewart of Black Bones fame and Jordan Nocturne, known for his contributions to labels like Correspondent and Polari, this new venture aims to showcase Belfast's true independent club scene on a global scale.
The Night Institute has long been synonymous with cutting-edge music, providing a haven for the city's electronic music aficionados.
With the label, the vinyl and digital project features tracks by both resident artists as well as global artists who've played at the party.
The inaugural release boasts a stellar lineup.

Alongside Night Institute residents Timmy Stewart (Ft. Northern Irish vocalist Megan Sylvan) and Jordan Nocturne, the record showcases guest appearances by Justin Cudmore, resident of New York's renowned The Bunker and regular contributor to Phonica Records, and Hifi Sean, who has been making waves with his collaborative project alongside David McAlmond while working with icons like Ce Ce Peniston and Yoko Ono.

The label aims to capture the essence of Belfast's underground electronic music scene, while joining the dots with global collaborators across four tracks of acid, odd-ball house and dance floor electronics.

Good Vibes for Uncertain Times

Finnish deep techno maestro Kaspiann makes his Mantis debut with four densely packed depth charges of dancefloor meditation. The Helsinki-based artist has been entrenched in the city's underground scene for a long time, organising official and unofficial parties, DJing prolifically and performing live. Since establishing his VALA label in 2021 via a split release with regular collaborator Multicast Dynamics, his sound has refined towards an elegant, heads-down sound which is represented perfectly on this four-track excursion. From the even-tempered mantra of 'Satakieli' to the aqueous, lightly dubbed electro of 'Tuiskussa Langennut', the warm after hours synth bath of 'Havinavalssi' and the pensive percussive of 'Solina', Kaspiann demonstrates a keen balance between richly layered detail and an overall subtlety - heavyweight music that feels light on the ears.

Getting into an album by Cyril Cyril is being invited to a party where you thought you didn't know anyone, only to realize that this chap's gal is your bro's cuz, and leave with everyone's cell. Their music seems familiar because it's not deaf to its neighbors, in the broadest sense : Geneva, their lair, Europe, their playground as a duo, and the world, their grocery store. There's plenty in those two heads, but just the two of them on stage. For their third Born Bad album, they have invited two lads from Orchestre Tout Puissant Marcel Duchamp, Ines Mouzoune, multi-instrumentalist from Amami, and Violeta Garcia's cello on Le Futur ca marche pas. On the ruins of Switzerland, people dance hard but consciously, and won't complain about them having a go at the homeland - notably in " Sweetzerland Bunker Love ", where they claim it's time to "free the money from the banks". There's something rotten in the state, wherever it may be, and they prefer to put its fall to music. And they're not shy about it, either: this album features heavy guitar/drums text-driven ballads (beautiful "Mensonge" opens the album with a certain gravitas), polyrhythmic noisy drum splatter with crafty vocal knitting ("Plus rien a? faire"), deconstructed and harmonically ambitious compositions ("Les Phoenix de l'amour"), and latino frogs croaks, because yes, why not. Since their previous efforts "Certaine Ruines" and "Yallah Mickey Mouse", it turns out that the future isn't working out so badly for the two Cyrils. (Not so) Quietly sitting on crates of records, they patiently build their sound. Never tired of sick networks and never-ending struggles, Cyril Cyril is a rousing mess, shouting out the common spleen while still managing to have a good laugh.

Randy Wiper is only known for this highly sought-after 100% pure Italo-Disco song from 1984, but the reason why he hasn't published anything else is that the artist embarked on a career as a film actor immediately after. The beginning of the song "I'd Like To Know" could be divided into three, the pattern of which is repeated in the subsequent instrumental parts, the piece possesses the sidereal energy of space disco. When it seems that we will leave the planet on board a shuttle, the soloist's voice enters, full of personality, it is that of Marcello Arcangeli and has the gift of inflections that sometimes recall that of Roy Orbison, at other times that of David Bowie. What remains most imprinted on the listener is the romantic part of the ballad, highlighted by the piano and passion. Finally there is the chorus which sounds exclamatory, imploring, but at the same time casual and danceable. Through a unique theme, that of a rare piece like "I'd Like To Know", we explore space, the heart, the disco.

Lips & Rhythm sails into Summer 2024 with a fresh EP from Residentes Balearicos.

The Ibiza-based duo of Alessandro Doretto and Luca Averna have been turning out sun-soaked dance music for several years now from their studio in the islands.

The title track 'Paraiso' is a timeless tune with just the right blend of slowed down Acid and Flamenco guitar + claps.

'Polvo Mineral' is a bit mysterious with ethereal pads, big drum fills and chanting.

'I Wanna Dance' harkens back to the beautiful Italian Dream House era from the early 90s with lush chimes and driving synth lines over pitched down vocals and uplifting backing harmonies.

The remix of 'Paraiso' is from Brazil-born, New York formed, Gaspar Muniz, who reworks the title track into a breaky electro number fit for a late night in Rio De Janeiro.

A summer record that's been dance-floor tested!

Available for the first time from Cargo. This album, Ward’s eighth solo affair, finds the artist picking up the tempo and volume a bit from his previous release, 2012’s A Wasteland Companion. Where that record introspectively looked in from the outside, More Rain finds Ward on the inside, gazing out. Imagined initially as a DIY doo-wop album that would feature Ward experimenting with layering his own voice, it soon branched out in different directions, a move that he credits largely to his collaborators here who include R.E.M.’s Peter Buck, Neko Case, k.d. lang, The Secret Sisters, and Joey Spampinato of NRBQ. The result is a collection of upbeat, sonically ambitious yet canonically familiar songs that both propel Ward’s reach and satisfy longtime fans.

'One Deep River' is Mark's sixth consecutive studio album to be recorded at his British Grove Studios and his first since 2018's 'Down The Road Wherever.' When Covid restrictions eased, Mark reconvened at BG with longtime band members and collaborators such as Guy Fletcher, Danny Cummings, Richard Bennett, Glenn Worf, Jim Cox and others, with the addition of first-time contributor Greg Leisz on pedal and lap steel and acoustic guitar.

Says Mark of the new album, which he co-produced with longtime confidant Fletcher: "It was back to the old-fashioned idea of a band making a record together in the room, which maybe in the more youth-oriented side of the industry has become quite rare, because everyone uses loads of technology. We do too, but what we do is we combine the old and the new. If it works, I use it.

"With these songs, you can see them coming together very quickly, with a band like this. You're in a game where you're making the thing and it's happening whether you like it or not. You could push the pace, but I try and give myself a little bit more breathing room. The fatal thing a lot of the time would be to want to rush everything. Something creative always happens by not panicking."

Of the track 'Ahead Of The Game,' Mark adds: "That all goes back to bands playing live. In some way, I was thinking about Nashville, because when I first went out there, it must have been in the early '80s and all the bands in the bars downtown were playing the hits. And that's fine. What I was trying to say is that's an achievement to actually get to a place where you've got employment, and you've got yourself a gig. I mean, statistically, what are the odds of making it? If you stopped to think about that, you'd hardly take a step further, would you?"

'One Deep River' is Mark's sixth consecutive studio album to be recorded at his British Grove Studios and his first since 2018's 'Down The Road Wherever.' When Covid restrictions eased, Mark reconvened at BG with longtime band members and collaborators such as Guy Fletcher, Danny Cummings, Richard Bennett, Glenn Worf, Jim Cox and others, with the addition of first-time contributor Greg Leisz on pedal and lap steel and acoustic guitar.

Says Mark of the new album, which he co-produced with longtime confidant Fletcher: "It was back to the old-fashioned idea of a band making a record together in the room, which maybe in the more youth-oriented side of the industry has become quite rare, because everyone uses loads of technology. We do too, but what we do is we combine the old and the new. If it works, I use it.

"With these songs, you can see them coming together very quickly, with a band like this. You're in a game where you're making the thing and it's happening whether you like it or not. You could push the pace, but I try and give myself a little bit more breathing room. The fatal thing a lot of the time would be to want to rush everything. Something creative always happens by not panicking."

Of the track 'Ahead Of The Game,' Mark adds: "That all goes back to bands playing live. In some way, I was thinking about Nashville, because when I first went out there, it must have been in the early '80s and all the bands in the bars downtown were playing the hits. And that's fine. What I was trying to say is that's an achievement to actually get to a place where you've got employment, and you've got yourself a gig. I mean, statistically, what are the odds of making it? If you stopped to think about that, you'd hardly take a step further, would you?"