Cerca:ter

"JUJU" drops on May 17th (WERF Records) and is programmed at Gent Jazz Festival (July 11th)



Juju continues the work done on the second album half, with the Terre Sol Four quartet: Willems' voice, drums, percussion objects, keyboards and field recordings accompanied by the saxes of Marc De Maeseneer, Vincent Brijs and John Snauwaert.Juju fits perfectly in Willems' output. Also: in the coherent oeuvre it has become, it is perhaps her most consistent release yet. It's infectious as hell, carefully crafted, packs a punch and more accessible than ever before.



Everything is connected. Not just in the grand scheme of things - politically, culturally, socially,... - but also in the colourful universe of Karen Willems. A lifelong quest for profound experiences through organizing sound led to the crucial Terre Sol-series, four tapes released in 2020. Out of that fertile well, Grichte (2022) was born. A double LP that presented Willems as an original explorer as well as a committed bandleader, it was her boldest statement to date.

While the first (solo) album halfalready received a follow-up in K A A P M I J (2023), another tape release that suggested there's still a lot of ground left to uncover, Juju continues the work done on the second album half, with the Terre Sol Four quartet: Willems' voice, drums, percussion objects, keyboards and field recordings accompanied by the saxes of Marc De Maeseneer, Vincent Brijs and John Snauwaert. It was already something to behold on Grichte, swerving from introspective exploration to expressionist riff rock and semi-Dadaist avant-garde.

On Juju, the four-piece digs even deeper and the results are utterly spellbinding. One of the many attractions of Willems' recent work is that it combines relentless artistic experimentation with a commitment to broader socio-political issues. In essence, the artist tries to set up a discussion with her surroundings, sending out musical invitations to connect and participate, reminding ourselves of responsibilities that are too easily forgotten in these hectic, self-centered times. The refugee crisis is one, ecology awareness another, and it's hard not to consider "Voor De Stranden Verdrinken" ("Before The Beaches Drown") a caustic warning. Things need to change.

As said earlier, the music on Juju remains as adventurous as before, but this time around, the playing feels even more confident, diverse and punchy. If the album opener accentuates its urgency with a throbbing pulse and reed sirens, "Tako Deli" continues with rich vocal arrangements, roaring saxes and sweeping melodies. What follows strikes with vigor and consistency: "Nuuki" is as dense as it is infectious, while "Fuzzy Williams" manages to combine Ellingtonian abundance with Swans-like preaching.

And there's more, much more. Eccentricity and playfulness ("The Woo Woo Room, Dance Back In Style", "In Open Veld") go hand in hand with smoldering exercises in tension and release ("Koortsdromen") and a ridiculously infectious call for connection in antisocial times ("Come Vai"). Guest contributions by Nabou Claerhout, Kapinga Gysel, Esther Lybeert and Filip Wauters enrich the band's sound considerably. By the time you reach album closer "When Daytime Lands", Willems takes you on a short trip through that eerie soundscape-land she previously explored.

In short: Juju fits perfectly in Willems' output. Also: in the coherent oeuvre it has become, it is perhaps her most consistent release yet. It's infectious as hell, carefully crafted, packs a punch and more accessible than ever before. It's the sound of an artist at the peak of her powers, not just expanding her range, but digging deeper with obvious glee. It's not just intriguing; it's inspiring to witness..

If you're reading this you will probably already know that this Cruise Music series has been full of gold over the previous instalments. Whoever is in charge for curation has pulled it off again with four more funky and disco infused house gems. Keller's opener is a classy mix of filtered vocals and drum loops with an aching soul edge. Mark Funk offers a more party starting disco bumper with classic vocal hooks and Danny Cruz takes things onto a summer terrace with glorious horns and uplifting grooves. Makito shuts down with the dusty deep house shuffles and party atmospheres of 'Jackin With Millie.'

The Deepshakerz return to Crosstown Rebelswith a new three-track EP, ‘Give It 2 U’. The Italian duo deliver a trio of original productions as they make their second appearance on the label. Italian pairing The Deepshakerz make their long-awaited return to Damian Lazarus’ iconic Crosstown Rebels imprint with their latest EP ‘Give It 2 U’, set to open May in style. The three-track offering signals an exciting return to the label for the Bari-born artists, who have become known for their percussive, groove-led sound across acclaimed releases on Moon Harbour, Knee Deep In Sound, and Glasgow Underground - following on from their label debut ‘Fire’ with Aaron Pfeiffer on the label in 2023. Their ‘Give It 2 U’ EP features three tracks that exemplify the pair’s ever-evolving sound, taking in influences from afrohouse to early Chicago house. The title track ‘Give It 2 U’ kicks things offwith infectious percussion and a driving groove, setting the tone for the entire release. On the flip side, ‘The Beginning Groove’ explores deeper, hypnotic territories with further rolling rhythms and hooky stabs, while ‘Green Light’ featuring Dennis Wonder switches up proceedings, bringing a no-nonsense dancefloor groove with a blend of punchy, skippy drums, uplifting melodies and smooth vocals.

Kindred spirits Passepartout Duo and Inoyama Land embody the essence of play - charting a new chapter and reinvigorating the environmental music and electronic landscape.

Passepartout Duo is formed of Nicoletta Favari (IT) and Christopher Salvito (IT/US), who since 2015 have been on a continuous journey travelling the world's corners, engaged in a creative process they term "slow music". Having been guests of many notable artist residencies and with live performances in cultural spaces and institutions, their evocative music escapes categorisation. With no fixed abode their musical pilgrimage brought them to Japan first in 2019, which prompted a deep connection to Kanky? Ongaku 'environmental music', a genre in which Inoyama Land is often associated with, soundtracking the duo's first immersive experience. In 2023 the duo revisited Japan and set out to reconnect in particular with the music of Inoyama Land, performed by Makoto Inoue and Yasushi Yamashita. The highly revered album 'Danzindan-Pojidon' (1983) produced by Haruomi Hosono amongst other well publicized and acclaimed reissues (Light in The Attic Records' Grammy-nominated compilation 'Kanky? Ongaku'), produced a global resurgence and admiration of the environmental music movement. Nicoletta took the lead to seek out Inoyama Land and in making contact successfully their intrigue and eagerness to meet was warmly reciprocated, and the group scheduled to meet in the form of a spontaneous improvisation session. "We're deeply concerned with what it means to be a duo, and what it means for people to connect through music."

Radio Yugawara is a unique one-off transmission from a specific place and point in time, unlikely to ever occur again. The respective duo's approach can really be described as "tuning in", a tuning into each other, to themselves, and to the surrounding nature of Yugawara. Like waves that travel off-world, sounds travel through the universe and can be lost forever if we don't seek them out. In finding a harmonic affinity within their instruments and a spiritual kinship in their interwoven performance, Radio Yugawara at its core is an interpretation of feeling, of close human interaction and the true essence of discovery.

"The album is both a transmission from a location, but also a tuning into the surroundings and to each other. Music in this kind of ephemeral moment is much less about active creation and more about discovering something which is already there in the air."

Heavily supported by Flight for years, we’re extremely excited to at last welcome the inimitable Quartz to p:m, who serves up a sublime 4-tracker for our 10th single. Deeper and more emotionally reflective than previous Quartz releases, this is transcendental music that takes you to outer space and beyond…

Tracklist:
A1. W.Y.N: cosmic pads, jungle-y breaks, and a colossal bassline evoke images of Jupiter and molten lava, while a seductive vocal riff you’ll hum for days weaves in and out. A dance floor favourite.

A2. Taking Me Down: tight rolling beats, sparkly vox, filtered fx, and bass snarls sound like a tug of war between Venus and Mars. Straight up D&B produced alongside Quartz’s childhood friend, Pennygiles.

B1. Trauma Response: diving further into Techno- and Autonomic-inspired territory, this title track is best described by Paul Woolford aka Special Request “Man this tune is f***ing nuts. Reminds me of Black Dog and half of Detroit but through our UK lens, but totally NOW.”

B2. What Is Real Love: an orchestral intro replete with timpani and violins gives way to the big question - what is real love? - almighty bass weight, and a healing, warm golden sun feel. Simply majestic.

Teal’s debut LP, Original Watercolour, is an album that feels like a canvas come to life. A sonic blend of street-soul, digi-dub, and downtempo. Original Watercolour explores the complexities of love, oneness, and intuition — themes that resonate deeply within the context of the history women have shared with what was once known as the “ladies’ medium.”

The bi-coastal family trio—Ashleigh and Melissa Ball, better known as the Ball Sisters, alongside producer N1_SOUND—bring a fresh, genre-defying sound to the table with their latest 6-track album. Running just under 30 minutes, this immersive collection weaves together skipping beats, addictive bass lines, three-dimensional flute textures & emotional vocal melodies. This musical portrait is as ethereal as it is powerful, inviting the listener to get lost in its depths while celebrating the beauty of self-expression.

The opening track, “Original Watercolour,” takes you on a psychedelic trip-hop journey. From the first reverberous snare hit, you’re whisked away to a sonic wetland — lush and euphoric. The soft yet poignant soundscapes set the tone for the album, inviting us into a world where the boundaries between earth and music, reality and imagination, automatically seem to blur.

“Locked In 2 Love” offers a boogie-fueled bassline that pushes Teal into dance-floor territory with soaring flutes and rhythmic intricacies that make it impossible not to move — it’s a track that exemplifies the magic of Teal’s ability to craft both intimate and expansive musical landscapes. And then, there’s the hypnotic flow of “One In The Same,” where stacked vocal harmonies and mantra-esque lyrics transport you to a place that could easily be mistaken for a lost Soulquarians demo. It’s gentle yet unrelenting in its depth.

The second side of the album opens with “Sleep on It,” a track that immediately grabs attention with its dancehall-driven rhythm. Ashleigh Ball's vocals set the stage for a song that’s both introspective and emotionally charged, yet unmistakably rooted in groove. The phased-out bassline creates an almost hypnotic atmosphere. Pulling the listener into a mood of contemplation—matching the restless, sleepless night that Ball describes. As the song progresses, this groove builds in intensity, culminating in an explosive ending that mirrors the emotional release of a long-held frustration.

Original Watercolour is more than just an album — it’s a meditation on the interconnectedness of life and art. “Frog Kingdom,” the longest and only instrumental track creates a contemplative space that builds upon the themes introduced earlier. It feels like a sequel to their earlier work, Frog Legacy from their debut Bluish Green 2024 12”, expanding on the familiar sound with even more complex layers.

Yet the real emotional power of the record lies in its closing track, “Can’t Shake the Feeling.” Simple in structure but profound in impact, this song captures a deep yearning and understanding — that everything, from the ecosystems we inhabit to the relationships we nurture and the art we create, is fundamentally interconnected. As the track crescendos in a falsetto peak, it becomes clear that the album is a reflection of both the world around us and the personal journey each member of the band has embarked upon to get to this point.

Just as the medium of watercolor has been traditionally linked to women artists, Teal carries this legacy into the modern musical landscape, blending the richness of history with a unique forward-thinking perspective. The album feels like both a celebration of the past and a bold declaration of a path forward — one that welcomes anyone ready to join in and shape the future of the art form.

The beauty of Teal’s work is that it feels familiar, while simultaneously offering something new and refreshing. Original Watercolour doesn’t just push musical boundaries; it redefines them, offering a lush and textured soundtrack for those willing to listen closely.

In a world that often feels over-saturated, Original Watercolour stands as a reminder of the power of simplicity, intuition, and connection. Teal’s debut album invites you to experience something both deeply personal and universally understood. The landscapes they create are vivid, yet soft, grounding yet expansive. With each track, Teal’s music reflects the interconnectedness of all things — a truly unique piece of work in the world of experimental soul and dub adjacent electronic music.

Rising and falling. We all live in the same pond. Peace to all.

Tone Def were one of the original batch of artists to sign to Moving Shadow back in 1991, who brought there early demos into the studio with label head honcho Rob Playford, releasing 4 records on the label between 91-92. At the same time Rog from the band was also building speakers and installing club and free party sound systems. His skills were unchallenged and he soon went on to be one of the top speaker/system makers in the UK, if not the world with his company Void Acoustics.

But not all the band’s music from back then ended up on Moving Shadow … some of it was lost to ¼” tape and forgotten about until 2019 when Vinyl Fanatiks reached out to the band, being that we are all Bournemouth based. Rog dug out the tapes and went through them, finding many tracks which have been released on Vinyl Fanatiks and sister label Acid Boom.

This is the final chapter of the lost tapes – two tracks written in 1992, finally getting a release after 31 years!

Big Love for Big Music!

The Rose Island presents its third release, diving deep into uncharted sonic territory. On this occasion, the talented artist Verlake takes us on an immersive journey through deep, mesmerizing sounds and captivating atmospheres. To elevate the experience even further, Ben Kaczor delivers a powerful remix of the track 'The Future', making this release a must-listen.

Berlin-based French-Irish multimedia artist Zoe Mc Pherson levels up on their third full-length "Pitch Blender", mangling years of experience DJing and performing live into a tight set of cybernetic soundsystem experiments that flicker between the rave and the art space.

Cast your mind back to February 2020 for a moment, when Mc Pherson released their last album "States of Fugue". The world seemed less tangled somehow, and yet Mc Pherson's precision-engineered fusion of exploratory sound design and visceral club pressure seemed to hint at a cataclysmic event none of us were really expecting. Only a few weeks after its release the world changed forever, and the majority of us were grounded - forced to consider our lives and the movement (or lack thereof) surrounding us. The philosophy of this extended time period is welded into the bones of "Pitch Blender", Mc Pherson's supple third album. They have learned plenty in the last two years, and infuse all of that anxiety and spiky emotionality into a spread of tracks that sound as powerful in headphones as they do over a well-tweaked soundsystem, soldering vocals, environmental recordings and instrumental flourishes to unpredictably pneumatic, cybernetic beats.

Anyone that's caught one of Mc Pherson's energetic live performances over the last few months will have an idea of what "Pitch Blender" is made of. They're an artist who's somehow able to match the raw energy of post-punk and no-wave music with the brain-altering potential of the best experimental club tracks, vocalizing an incongruous post-lockdown reality over beats that sound as if they're in a permanent state of flux. 'On Fire' splutters to life in a frenetic patter of drums that blur into oddly soothing hoover sounds, snaking lysergically towards a drop that's teased constantly, and never comes. We're forced to wait until 'The Spark' for that, fighting through choppy, pitch-mangled guitar and rolling beats until a gruesome kick drum forces its way through the psilocybin mists and heaving Bristol-inspired bass clonks. Backed up with just the inverted traces of recognizable breaks, this vigorous pulse lies at the heart of "Pitch Blender", the driving force that powers Mc Pherson's sound even when it's only hinted at.

'Blender' is the moment where Mc Pherson show their full hand, using crackling sound effects, ghost vocals and uneven rhythms to build a textural landscape that's so evocative you can almost taste it. Squealing modular synth effects sound like gameshow buzzers being triggered in another dimension and propel the track forward - it's club music, just about, but Mc Pherson's motivation is world-building, and their world is colorful, abstract, and dizzyingly surreal. "Obsolete user," their voice echoes over driving airlock kicks. But they take a swift left turn with 'Lamella', reducing the kinetic club rhythms to a longing simmer and letting loose with powerful vocals, intoning with robotic, gender-fluxed intensity. On 'Wait', New York City's clacking crosswalk signal - already an effective club track on its own - is transformed into a reminder to slow down, juxtaposed with booming sub-heavy kicks, acidic synths and effervescent percussion that rattles in time with the vibrations. It's foley rave, built for pure psychedelic intensity to blur the line between real life and sonic fiction.

One of the album's most galvanic tracks, 'Power Dynamics' curves a double-time rhythm around breathless HQ sound design squiggles until it hits a polyrhythmic crescendo, striking a queasy balance between rave hedonism and ritualistic hand drum energy. It all builds towards eerie closing track 'Outside' that acts as an important wind down, spotlighting Mc Pherson's ability to operate outside of the rhythmic spectrum, using cinematic scrapes and flickering neon synths to create music that's tense but never terrifying. The track feels like the end credits of a particularly bewildering movie - something between the cyberpunk dystopia of "Ghost in the Shell" and the vivid, sky-scraping beauty of "Koyaanisqatsi". Mc Pherson has managed something special with "Pitch Blender": mashing together genres with rare focus, and sharpening their engineering skills to a fine point, they've concocted an antidote to contemporary malaise - a wakeup call that's begging us to loosen our limbs and move.

Originally released on Ben Chasny's own Pavilion imprint in 2011.

"I was invited by the Incubate Festival and the city of Tilburg to participate in an artist residency where I would explore the region’s unique chapels built for the Virgin Mary. After writing the music for about six months by drawing on memories of the encounters with the chapels and using techniques inspired by Gaston Bachelard’s Poetics Of Reverie, I flew back to Tilburg to perform the music at the Incubate Festival. We recorded the evening and I released the result on my Pavilion label. Each cover was hand painted white on white in the old Pavilion style. I created a stencil and used graphite powder to make the design that is inspired by the sun imagery in Athanasius Kircher diagrams."

Roadside chapels express the identity of the inhabitants of North Brabant, a Dutch province, bordering on Belgium. Roman Catholicism has been the dominant religion in this southern part of the Netherlands since the eighth century. For about a century and a half this religion was strongly suppressed. Only when the French revolutionaries preached freedom of belief around 1800 could the people of North Brabant exercise their faith again. This was the start of a very strong emancipatory development from which a special form of the Roman Catholic faith arose that fully determined everyday life of the people here. This faith was the determining factor in life and the measure of all things. After the second Vatican Council (1962-1965) the reins of the catholic faith in Brabant were loosened as well. This was the start of a revolutionary process of secularisation. Within a decade hardly anything was left of the almighty influence of the Roman Catholic Church and this situation has lasted up to the present day.

In spite of the almightiness of the official, Vatican ruled, Roman Catholic faith, North Brabant has always and perhaps notoriously fostered an undercurrent of popular belief as well. This is a kind of belief in which elements of the official faith and age-old pre-Christian traditions are combined. Worshipping relics, holding pilgrimages and processions, the use of water from holy wells, popular art, recitations and songs, festivals, rituals, folk traditions, superstition and the like are all examples of popular devotion. These matters have strongly influenced and formed the identity of the present-day population of North Brabant. It is part of their immaterial heritage.

An obvious and still very much visible form of popular devotion are the roadside chapels. In Brabant some 400 can be found, most of which have been devoted to Mary. Chapels are small buildings in which Mary or other saints are worshipped. They can be found within villages or towns or in natural surroundings. Always at the finest spots! The beauty of the environment adds a primary religious or mystical feeling to the visitor. Local people attach great value to their chapels. In spite of the overall secularisation in society they are still at the centre of cultural and social life. Where people in North Brabant can hardly be found in the churches nowadays, this doesn’t mean at all they are no longer religious. On the contrary, religious feelings are perhaps stronger than ever, but now people have to find their own expression of them. That’s why they fall back on the age-old popular belief in which chapels play an important role. We can even witness new forms of popular belief with chapels as their focal point. An example of this is the scattering of ashes of people who have been cremated. Chapels clearly also play a role in the lives of young people. On an average five new chapels are added every year.

I have studied the popular culture and belief and the identity of the inhabitants of North Brabant for over thirty years. I have published over forty books on these subjects. In 2010 I was approached by the organisation of the Incubate Festival in the North Brabant town of Tilburg. Their request was for me to lead the American composer and guitarist Ben Chasny around a number of chapels in the province devoted to Mary. He had been invited to North Brabant to write some new compositions. Ben Chasny then chose to be inspired by these chapels and that’s how we met. I was especially curious how an American would react to something as specific and small as a roadside chapel in North Brabant, since we tend to think here of (people in) America in terms of ‘big-bigger-biggest’. Would an inhabitant of this enormous country with this prevailing culture be able to grasp and respect the identity of some 2.5 million people in North Brabant with their chapels? The answer to this question lies hidden in the compositions he made and that can be listened to on this album. Yes, Ben Chasny has been able to convert the phenomenon of a simple chapel devoted to Mary into music. The physical and the spiritual have found each other. What a beautiful world…just listen! - Paul Spapens

'Atmospheric death metal'. Three simple words to describe one's music, chosen by JADE mainman J. himself, although they don't seem to quite pay justice to the gigantic scope of their music. Because ever since the release of their debut demo back in 2018 they've proven again and again to be more. Much more. Historically speaking, the word 'jade' referred to a rare but valuable mineral in ancient times all over the world. From Mesoamerican cultures to Chinese and Southern Asian ones, the greenstone was conferred with deep spiritual symbolism and used to connect the earthly level to the unknown. The history of countless traditions, legends and cults remain as an endless source of topics in terms of lyrics for the band, with a rich historical narrative also poetized. JADE's music is described by J. as "a tribute to the timeless obscure metal language, from early death/doom manifestations to later atmospheric black acts, in a really heavy, intense and epic form which transcends ages, as the greenstone cult has endured." The sophomore album, and second full-length after last year split LP with SANCTUARIUM, Mysteries Of A Flowery Dream carries an ominous wave of darkness, redefining heaviness with new levels of musical production and arrangements, compared by J. to "a journey into the dialogue between conscious and subconscious dreaming states and the mysteries around." The album's lyrics are in direct line of those themes, echoing the celestial world and how it can help us overcoming ominous times ("The Stars' Shelter"), how dreams can be interpreted as omens ("Light's Blood") and how they allow us to travel the Mayan cosmovision and its various worlds for guidance, healing and messages ("Shores Of Otherness"), among others. You can even find on the cover artwork elements of the ancient Mesoamerican cosmovision, mainly the powerful moon goddess Ixchel, a creative yet destructive entity, portrayed here as the Spider and threading human fate like an umbilical cord, determined to give life but also to destroy it if needed. A frightening, fragile yet utterly fascinating balance perfectly illustrated by Mysteries Of A Flowery Dream.

How many albums virtually upend a genre? And how many erstwhile bluegrass bands top a contemporary jazz chart?! The answer to these questions, is, one, very few, and two, only Béla Fleck & the Flecktones! Their second album, 1991’s fancifully entitled Flight of the Cosmic Hippo, did indeed top Billboard’s contemporary jazz albums chart and scored a couple of Grammy noms. But more importantly, this record really made explicit the Flecktones’ bebop leanings, as they devised the term “Blu-Bop” to describe their unique fusion of bluegrass and jazz. Stylistic whiplash has never felt so good or sounded so sweet; check out their warm, instrumental wizardry on chestnuts like “Michelle” and “The Star Spangled Banner”…and don’t miss Béla’s banjo power chords on “Turtle Rock!” We had Mike Milchner at Sonic Vision remaster this classic for vinyl for maximum fidelity, and gave it a repress in cobalt blue vinyl limited to just 900 copies. Essential!

“Underground” is a relative term. One could argue that all the ‘60s San Francisco psychedelic bands were underground, because the music they made was so far removed from the pop and rock sounds that came before them. But of all the bands in the scene, Lamb was perhaps the most underground of them all. It wasn’t just that their blend of rock, folk, classical, country, blues, and gospel was as hard to classify as any of the era. It was also their vibe. Along with classically trained guitarist and songwriting partner Bob Swanson, Barbara Mauritz’s versatile vocals paced material often imbued with a haunting, mystical aura. Yet they could also be earthy and rootsy, occasionally drifting into spacey psychedelia with hints of raga-rock. Released in the early ‘70s, Lamb’s first two albums, A Sign of Change and Cross Between, did indeed offer some of the most intriguing and eclectic music of any San Francisco rock band on the psychedelic scene. But Lamb’s history predated the release of those records by a good couple of years or so. So prolific were Mauritz and Swanson that quite a few of their original compositions didn’t make it onto their albums, though these were often on par with the songs that did find official release. Unlike many bands of the time who had a bounty of surplus quality tunes, Lamb often taped these in studios and studio-like rehearsal conditions, as well as making some professional tapes of their live performances. Fortunately, many of those tapes survive, including a good number of songs that didn’t find a place on their LPs, as well as substantially different versions of some that did. The best of these from the late 1960s find release for the first time on An Extension of Now: Unreleased Recordings 1968-1969. This collection not only rounds out our picture of one of San Francisco rock’s finest underappreciated acts, but also serves as a first-class document of Lamb as they made their transition from a more standard rock outfit to a group not easily comparable to any other in the region, or indeed any other anywhere. Our black vinyl and CD (with extra tracks, limited to 500) releases feature liner notes by Richie Unterberger drawn from an interview with Bob Swanson, who has also contributed photos and memorabilia from his private archive. Produced by noted Bay Area archivist Alec Palao…if you’re a fan of late-‘60s S.F. psych, you have to hear this!

Die 1997 gegründeten Hard Oi!/Streetpunker Non Servium aus Madrid präsentieren eine komplett remasterte Best-Of in Form der neuen Vinyl-Compilation "Street Songs Since 1997", veröffentlicht auf Loikaemiess Fettfleck Records. Die aktuelle Besetzung der Band besteht aus Sänger Carlos und Gitarrist Snoker plus Ivi Bass, Gordo Gitarre und Niño Drums, wobei Carlos und Snoker während der gesamten Bandkarriere und auf allen Alben die Kernmitglieder waren. Der Sound von Non Servium ist Oi! oder "Brutal Oi!" mit Einflüssen aus Punk, Street Punk und deutlich Hardcore Punk. Ihre schnellen Schlagzeugrhythmen und starken Bass- und Gitarrenlinien sind ein charakteristisches Merkmal. Ihre Texte sind meist politisch verortet, obwohl auch Songs über Punk-, Skinhead- und Hooligan-Kultur dabei sind. Sie sind neben Bands wie Kaos Urbano und Núcleo Terco die größten Spanisch-singenden Vertreter von Oi! mit einem explizit antifaschistischen/antirassischtischen Haltung. Die Band hat bisher sieben richtige Studioalben veröffentlicht, wobei ein leichter Stilunterschied zwischen dem Debütalbum und den nachfolgenden Alben festzustellen ist, die sich durch einen kraftvolleren, dem Hardcore näheren Sound auszeichnen. Vor vier Jahren wurde eine ,Greatest Hits" auf CD veröffentlicht, aber diese neue Zusammenstellung ist nur auf Vinyl erhältlich, hat eine andere Tracklist und alle Titel wurden neu gemastert. LP klassisch schwarz!

Charlie Megira's self-reflexive final album found him far from his Beth She'an Valley home and surrounded by a new cast of Hillbillies. After spending 15 years toying with goth, sound collage, grunge, and dark wave, Boom Chaka Boom Boom is a sprawling mix of plunking country blues, Black Lodge terror, ambient montages, 17th century Lutheran hymns, and noodling spaghetti western kitsch. Deck his soul with gladness.

Full throttle from Vancouver, BC to wherever the open road takes them The Vicious Cycles are BACK with their new LP Get Wrecked on Pirates Press Records! Before you even get the shrink wrap off the gatefold jacket, you can guess what kind of party you're in for. "Our pal Shakey Deal is the cover model," says Cycles head honcho Billy Bones. "A tuff looking scrub on a minibike says a lot about who we are." And who is that exactly? "We play garage/punk rock and roll songs about motorcycles. We like to have a good time." The promise of debauchery carries over into song titles like "Naked On a Beach," and "On Fire in the Hot Tub." As rip-roaring, danceable party music goes, it's second to none, and rest assured there's plenty of bike enthusiast inside baseball, but the lyrics often go deeper than a superficial glance might indicate. For example, the lead single, "Hold On Tight," is about, as Billy puts it, "the physical feeling of riding with your favorite person on the back of your motorcycle - easily one of the best feelings a human can have." So, a classic biker anthem? "But also," he's quick to add, "a metaphor for life and relationships. We're gonna make it." Waxing philosophical with motorcycles as allegory over chrome-plated punk rock 'n roll? That's The Vicious Cycles' songwriting in a nutshell. Another album highlight, "Daddy Was a Gambler" references Billy's father - an ex-preacher who regularly hauled his kids to Circus Circus in his '57 Chevy - and his mother, a nurse and, as Billy puts it, "as close to an actual saint as anyone in the world. The song is an appreciation for the two of them, and how their differences made me who I am." "Naked On A Beach" sounds like a party, but Billy explains it's "a critique of capitalism and the tiny lives we're expected - and sometimes content - to live." Even the title track, "Get Wrecked," is more than just a statement of defiance; it's a message to Billy's son about dealing with the conformist naysayers of the world. Longtime fans & newcomers alike will be stoked for the straightaways, but stick around for the twists and turns, just like any good ride. The band brings in pals on strings & saxophone for a 60s Wall of Sound-inspired production on "Black Boots, Black Leather Jacket," and try their hands at their first murder ballad on "Pretty Hands." There's an instrumental tune ("Blowing Smoke") and hell, there's even a deep cut cover of "Trouble Again" - originally performed by Stewart Copeland of The Police - which only the biggest nerds of a certain age will recall as the theme song to the 80s Star Wars animated series Droids! In the end, no matter the detours, the band - along with Jesse Gander (Territories, Comeback Kid), & Mariessa McLeod at Rain City Recorders - kept their eyes on the prize: sing-along choruses, handclaps, and short songs that get the job done and don't overstay their welcome. "I didn't want us to write a record that you could dance to." quips Billy. "I wanted us to write a record that you couldn't not dance to."

Philadelphia's THE WONDER YEARS are set to release Burst & Decay Vol. III on May 9 via Hopeless Records. This third installment of their stripped-back series introduces a new track, "Junebug," written by vocalist Dan Campbell about his younger son and produced by Steve Evetts (SAVES THE DAY, LIFETIME). On the record, Campbell's personal narrative continues with "Wyatt's Song (Your Name)," a piece crafted for his older son that employs the actual recording of Wyatt's in-utero heartbeat as its metronome. Closing the album, "Doors I Painted Shut" delivers cinematic intensity through vibrant vocals and production led by guitarist Nick Steinborn, signaling a confident exploration into new sonic territory. Burst & Decay Vol. III also features collaborative reinterpretations of signature tracks. On "Came Out Swinging," Joe Taylor of KNUCKLE PUCK lends dynamic vocals, while Zayna Youssef of SWEET PILL amplifies the raw vulnerability on "Oldest Daughter." Ryland Heagy of ORIGAMI ANGEL offers a tender performance on "I Don't Like Who I Was Then." Over a career spanning more than a decade, THE WONDER YEARS have toured extensively_sharing stages with MY CHEMICAL ROMANCE, PARAMORE, DESCENDANTS, THURSDAY, BLEACHERS, and others_and built a community through their own label and the annual Loneliest Place On Earth festival, which has showcased acts such as HOT MULLIGAN, ORIGAMI ANGEL, and LAURA STEVENSON. Their previous album, The Hum Goes On Forever, debuted at #3 on the US Alternative Album Chart and earned recognition from Paste Magazine as one of the best records of the 2020s, while the track "Year of The Vulture" was chosen as the theme for WWE NXT's Stand and Deliver event.

Die Jazzwelt darf sich freuen, dass Blue Note Records das außergewöhnliche Talent von Trompeter Brandon Woody erkannt hat. Der junge, in Baltimore geborene und ansässige Künstler hat in den letzten Jahren in der US-Jazzwelt aufhorchen lassen. „Brandon ist einer der seltenen Künstler, der sowohl eine lebendige Vision als auch die Fähigkeit und das Wissen besitzt, diese umzusetzen“, sagt Blue-NotePräsident Don Was.

Der vielseitige Musiker hat trotz seiner jungen Jahre bereits einen ganz individuellen Sound zwischen Modern Jazz und souligen Elementen entwickelt, der an seinen großen Kollegen Freddie Hubbard erinnert. Um sich herum hat er eine herausragende Band versammelt und für sein Debütalbum sechs mitreißende Eigenkompositionen aufgenommen. „For The Love Of It All“ bezeichnet er als Hommage an die Kraft der Liebe. Die Besetzung besteht aus Troy Long (Klavier, Orgel, Rhodes, Keyboards), Quincy Phillips (Schlagzeug) und Michael Saunders (Bass), sowie den Special Guests Imani Grace (Gesang) und Vittorio Stropoli (Aux-Synthesizer).

The Scream, Siouxsie & the Banshees' first album, was released late enough in the punk era to bear some claim as the first post-punk album, with only a minor traces of 'punk' (one lingering early song, "Carcass" comes to mind) and enough hints of what had come even earlier, Andy MacKay-like saxophone flourishes - to feel utterly new. Not to mention the effort producer Steve Lillywhite must have put into the album, his first fully-credited major label production. Siouxsie was clearly the focus of the band, with her unique vocal style and lyrics, but the real star, we've always known, was John McKay, who wrote most of the album's music (as well as singles like "Hong Kong Garden"), creating a wholly new guitar sound - harsh and brittle, yet melodically intoxicating . . . best articulated by a somewhat confounded Steve Albini years later ". . . only now people are trying to copy it, and even now nobody understands how that guitar player got all that pointless noise to stick together as songs". McKay's influence lives on; many of the most influential guitarists of the past four decades credit him as a major influence - Geordie from Killing Joke, Jim Reid of The Jesus And Mary Chain, U2's The Edge, Thurston Moore, Johnny Marr and even the two guitarists - The Cure's Robert Smith and Magazine's John McGeoch - who followed him in The Banshees. McKay's burgeoning status as the anti-guitar hero was halted when he and Banshees drummer Kenny Morris - at odds with Siouxsie and bassist Steve Severin - fled the band just after the start of a tour supporting the group's second album, Join Hands. It was a weekly music paper scandal, later the subject of a BBC documentary, and Siouxsie's vitriol working its way into the lyrics of a later Banshees b-side, "Drop Dead / Celebration". Aside from a solitary single on Marc Riley's In Tape label nearly a decade later, no music was heard from McKay again. So it comes as a major surprise to learn of a pile of excellent recordings made in the years just after he left The Banshees, unheard by all but a very few, some of which feature drummer Kenny Morris, plus Mick Allen from Rema Rema, Matthew Seligman of the Soft Boys and longer-term collaborator Graham Dowdall and John's wife Linda . . . the latter three of whom now all sadly deceased. Sixes And Sevens is an historic lost album. Brazenly genius and bearing fair claim as the lost treasure of the post-punk era, the album collects eleven studio tracks, carefully mastered from original tapes. It's a masterpiece which best speaks for itself.

Warner Classics will release in May and June 2025 two separate LPs devoted to the legendary Martha Argerich, the first being a best of her Concertos recordings, the second a best of her Solo piano & Chamber music albums (a day after her 84th anniversary).

The term ‘living legend’ is genuinely apt to Martha Argerich, whose dazzling amalgam of virtuosity, insight, eclecticism, generosity and mystery makes her a pianist of unrivalled fascination. Argentinian-born, Viennese-trained, and winner of the 1965 Chopin Competition, she became a sometimes elusive figure whose every appearance and recording aroused eager anticipation.

When we last heard from Bay Area producer DEAD PERRY, he was riding high on the critical success of "The Art Of Re-Animation" album. That album was a re-imagining of legendary Hieroglyphics crew emcee Casual's work from his "Big Head Science" album.

However on the forthcoming "Acoustic Shadows" album, as the title implies things get a bit dark. As he relays "when I made (The Art Of Reanimation) with Cas, I wanted to cater to the specific sound that Hieroglyphics has, but put my spin on it without making it too dark (though there are a couple of dark gems sprinkled throughout). I knew that my next album was going to be a solo LP and I wanted it to be something special. Dark and grimy has always been my style of beat making so I wanted to showcase that with this record."

However, the title also has a double meaning to the producer. "The term Acoustic Shadows comes from a Civil War phenomenon that refers to a sonic blind spot. Due to geographical obstructions disrupting sound waves you could think you are a great distance from the battlefield while you could already be in it. It also refers to my style keeping to the shadows and out of the limelight, when I only appear in photos wearing a mask, it's not because I'm on that post MF Doom craze, it's because I came from graffiti and graffiti artists let their art be their only face to the public."

That style is showcased throughout the forthcoming album, including his choice of collaborators include Casual, Daniel Son, Estee Nack, Al Divino, Raz Fresco, Ill Bill, Goretex, Hus Kingpin, Crimeapple, Planet Asia, Da Flyy Hooligan, Izrell, P-Dirt, J-Spliff and cuts from DJ Eclipse. Concepts also lent itself to the grime including the John Carpenter-esque synth laden "Call Me Snake" track, which inadvertently inspired the emcees. As DEAD PERRY relates "I give the beats a place-holder title until the track is done so this one was 'Die Kurt Russ.' P-Dirt chose to create the concept off the beat title. Crafting that song was a fun experience." It also has a full circle moment as DEAD PERRY and Casual expand their "White Crown" single from their previous project on this release enlisting Planet Asia to drop an additional Afro-Centric verse.

When we last heard from Bay Area producer DEAD PERRY, he was riding high on the critical success of "The Art Of Re-Animation" album. That album was a re-imagining of legendary Hieroglyphics crew emcee Casual's work from his "Big Head Science" album.

However on the forthcoming "Acoustic Shadows" album, as the title implies things get a bit dark. As he relays "when I made (The Art Of Reanimation) with Cas, I wanted to cater to the specific sound that Hieroglyphics has, but put my spin on it without making it too dark (though there are a couple of dark gems sprinkled throughout). I knew that my next album was going to be a solo LP and I wanted it to be something special. Dark and grimy has always been my style of beat making so I wanted to showcase that with this record."

However, the title also has a double meaning to the producer. "The term Acoustic Shadows comes from a Civil War phenomenon that refers to a sonic blind spot. Due to geographical obstructions disrupting sound waves you could think you are a great distance from the battlefield while you could already be in it. It also refers to my style keeping to the shadows and out of the limelight, when I only appear in photos wearing a mask, it's not because I'm on that post MF Doom craze, it's because I came from graffiti and graffiti artists let their art be their only face to the public."

That style is showcased throughout the forthcoming album, including his choice of collaborators include Casual, Daniel Son, Estee Nack, Al Divino, Raz Fresco, Ill Bill, Goretex, Hus Kingpin, Crimeapple, Planet Asia, Da Flyy Hooligan, Izrell, P-Dirt, J-Spliff and cuts from DJ Eclipse. Concepts also lent itself to the grime including the John Carpenter-esque synth laden "Call Me Snake" track, which inadvertently inspired the emcees. As DEAD PERRY relates "I give the beats a place-holder title until the track is done so this one was 'Die Kurt Russ.' P-Dirt chose to create the concept off the beat title. Crafting that song was a fun experience." It also has a full circle moment as DEAD PERRY and Casual expand their "White Crown" single from their previous project on this release enlisting Planet Asia to drop an additional Afro-Centric verse.

When we last heard from Bay Area producer DEAD PERRY, he was riding high on the critical success of "The Art Of Re-Animation" album. That album was a re-imagining of legendary Hieroglyphics crew emcee Casual's work from his "Big Head Science" album.

However on the forthcoming "Acoustic Shadows" album, as the title implies things get a bit dark. As he relays "when I made (The Art Of Reanimation) with Cas, I wanted to cater to the specific sound that Hieroglyphics has, but put my spin on it without making it too dark (though there are a couple of dark gems sprinkled throughout). I knew that my next album was going to be a solo LP and I wanted it to be something special. Dark and grimy has always been my style of beat making so I wanted to showcase that with this record."

However, the title also has a double meaning to the producer. "The term Acoustic Shadows comes from a Civil War phenomenon that refers to a sonic blind spot. Due to geographical obstructions disrupting sound waves you could think you are a great distance from the battlefield while you could already be in it. It also refers to my style keeping to the shadows and out of the limelight, when I only appear in photos wearing a mask, it's not because I'm on that post MF Doom craze, it's because I came from graffiti and graffiti artists let their art be their only face to the public."

That style is showcased throughout the forthcoming album, including his choice of collaborators include Casual, Daniel Son, Estee Nack, Al Divino, Raz Fresco, Ill Bill, Goretex, Hus Kingpin, Crimeapple, Planet Asia, Da Flyy Hooligan, Izrell, P-Dirt, J-Spliff and cuts from DJ Eclipse. Concepts also lent itself to the grime including the John Carpenter-esque synth laden "Call Me Snake" track, which inadvertently inspired the emcees. As DEAD PERRY relates "I give the beats a place-holder title until the track is done so this one was 'Die Kurt Russ.' P-Dirt chose to create the concept off the beat title. Crafting that song was a fun experience." It also has a full circle moment as DEAD PERRY and Casual expand their "White Crown" single from their previous project on this release enlisting Planet Asia to drop an additional Afro-Centric verse.

'Trá Pháidín are an Irish nine piece collective from Conamara, Galway, a wild coastal region of West Ireland where Gaeilge remains the first language. The group are currently lighting up Ireland's underground with their joyful noise, a unique and unpredictable blend of traditional Irish folk, post-rock, jazz, and Dadaist absurdity. The glorious album An 424 takes us on a psychogeographical journey along the 424 bus route which follows this remote stretch of coastline, introducing us to the landscapes and the characters who depend on the buses. Expect wild improvisational flights filled with brass, woodwinds, harp and fiddles alongside relentless grooves.

Here's what the band themselves have to say about the album:

Psychogeography is a funny aul term......the effect geography and landscape of a certain area has on the psychology, identity and nature of the local people...........I suppose

Notoriously, Conamara is famous place for psychogeoraphy due to the work of the great Tom Robinson. He walked every coastline in every area contemplating the geography, culture, history, Gaelic language, English language and folklore of the area while he was drawing it's best map with great depth and detail.

Right, so I've given context, a few buzzwords and some interesting names, now it's time for the absurd stuff....

"Bóthar Chois Fharraige" (the R336 and whatever anglicized name they call it) is well known by everyone in the South Conamara Gaeltacht (Gaeltacht is an area where Irish/Gaeilge is the dominant language, there aren't many because we were colonized by the British and our government doesn't care about its own language). The people of Conamara travel this road almost every day by car, by bike, on Peadar Óg's buses or of course, through the medium of the 424 (the bus service provided by Bus Éireann, Ireland's public-private bus company). From Bearna to Carna (maybe sometimes a detour in Casla going as far back as an Cheathrú Rua and/or Leitir Mealláin)

Every passenger is well versed of gorgeous views of the landscape that is on offer on this journey. Included are Cuan na Gaillimhe/Galway Bay, An Bhoirinn/the Burren, na hOileáin Árann/the Arann Islands,Aillte an Mhothair/the Cliffs of Moher, Portach Mhaigh Cuilinn/the bogs of Maigh Cuilinn, Bóthar Loch an Iolra/Eagle lake road, Cuan Casla/Casla Harbour, Cuan an Fhir Mhóir/Greatman's Bay, Cnoc Mordáin/Mordáin hill, Sléibhte Mhám Toirc/the Maamturk Mountains and Na Beanna Beola/the twelve pins. Passengers would also be well used the unique character of the bus. Depending on the day, you will get a unique perspective of the "complicated identity" of the Gaels as the bus travels from the Gaeltacht into anglophone Ireland, or maybe going the other way.

This is a topic you could write a PhD about (and maybe someone already has). But, if you are someone who grew up or lives in this region, you have a particular understanding at this stage of how complicated Gaelic psyche is and the kind of spectrum of identity along bóthar Choise Fharraige. With the landscape in mind, this bus journey is a great meditation of the various topics of life.

‘Bhfuil tionchar ag an mbus ar nádúr na ndaoine?
Nó an bhfuil tionchar ag na daoine ar nádúr an bhus?'

'Does the bus effect the nature of the people?
Or do the people affect the nature of the bus?'

Le gach dea-ghuí,
TP.

(translated from Gaeilge by Peadar-Tom Mercier)'

The Scream, Siouxsie & the Banshees' first album, was released late enough in the punk era to bear some claim as the first post-punk album, with only a minor traces of 'punk' (one lingering early song, "Carcass" comes to mind) and enough hints of what had come even earlier, Andy MacKay-like saxophone flourishes - to feel utterly new. Not to mention the effort producer Steve Lillywhite must have put into the album, his first fully-credited major label production.
Siouxsie was clearly the focus of the band, with her unique vocal style and lyrics, but the real star, we've always known, was John McKay, who wrote most of the album's music (as well as singles like "Hong Kong Garden"), creating a wholly new guitar sound - harsh and brittle, yet melodically intoxicating . . . best articulated by a somewhat confounded Steve Albini years later ". . . only now people are trying to copy it, and even now nobody understands how that guitar player got all that pointless noise to stick together as songs". McKay's influence lives on; many of the most influential guitarists of the past four decades credit him as a major influence - Geordie from Killing Joke, Jim Reid of The Jesus And Mary Chain, U2's The Edge, Thurston Moore, Johnny Marr and even the two guitarists - The Cure's Robert Smith and Magazine's John McGeoch - who followed him in The Banshees.
McKay's burgeoning status as the anti-guitar hero was halted when he and Banshees drummer Kenny Morris - at odds with Siouxsie and bassist Steve Severin - fled the band just after the start of a tour supporting the group's second album, Join Hands. It was a weekly music paper scandal, later the subject of a BBC documentary, and Siouxsie's vitriol working its way into the lyrics of a later Banshees b-side, "Drop Dead / Celebration". Aside from a solitary single on Marc Riley's In Tape label nearly a decade later, no music was heard from McKay again. So it comes as a major surprise to learn of a pile of excellent recordings made in the years just after he left The Banshees, unheard by all but a very few, some of which feature drummer Kenny Morris, plus Mick Allen from Rema Rema, Matthew Seligman of the Soft Boys and longer-term collaborator Graham Dowdall and John's wife Linda . . . the latter three of whom now all sadly deceased.
Sixes And Sevens is an historic lost album. Brazenly genius and bearing fair claim as the lost treasure of the post-punk era, the album collects eleven studio tracks, carefully mastered from original tapes. It's a masterpiece which best speaks for itself. John McKay will be made available for a limited number of interviews . . . and yes, there are surprises in store.

Conflict formed in 1981 in Eltham, Southeast London, when frontman Colin Jerwood, inspired by early encounters with the Pistols 'Spunk' bootleg and following The Clash on tour, struck up a friendship with Crass and set about crafting a whole new kind of punk that totally upped the ante in terms anger and confrontation. Crass, the renowned anarchist punk collective, having got Conflict started by releasing their debut single 'The House That Man Bult' in 1982 on Crass Records, ended in 1984 as they had always intended. Now it was up to Conflict to pick up the baton and run with it. And they did, charging into the battle lines of authority.

The years that followed saw Conflict go from strength to strength, peaking on the 18th of April in 1987 at the London Brixton Academy for the 'Gathering of the 5,000' concert. A climax and explosion of rage and rebellion that inevitably ended up in a police provoked full-scale riot with police injuries, arrests, and with the band hopelessly in debt and banned from the majority of major London and UK venues.

Undeterred, Conflict continued into the 90s with their acclaimed 'Conclusion' album and remained a mainstay of the live punk circuit throughout. However, after more than two decades since the release of their (2003) 'There's No Power Without Control' album, the band are back with 'This Much Remains'. Featuring sixteen brand new Conflict creations, the album sees the band keeping one eye on their eventful past, and the other firmly on moving forward, both musically and politically. Animal Rights are still at the forefront of Conflict’s collective minds, giving a voice to the voiceless on songs such as 'A Mother's Milk' and 'Shut The Fuck Up', whilst their anger at world governments will never dissipate.

Also featuring an appearance by the late Benjamin Zephaniah on the track 'Cut The Crap', 'This Much Remains' is the sound of a band that continues to surprise and progress, decades after it first began. Conflict are Colin Jerwood - vocals; Fiona Friel - vocals; Gav King - guitars, melodica & Hammond; Fran Fearon - bass; Stoo Meadows - drums. With Benjamin Zephaniah - vocals on 'Cut The Crap'; Mitsuko Sonoda - voice on 'The Impossible Soul'.

“Lift off! Full throttle!! Bounce off!!! Interstellar ballistic mode!!!!!

Earth has gone crazy again, so set course to imaginary -M-E-L-M-A-K- nebula and its planetary, two-suns system – the refuge for sanity…

Since their last release in 2004 the duo Prarhamansah remained somewhat active in local underground but haven’t released anything officially. This is their first official 12” single release for years and is featuring remixes from friends – fellow artists – who also gravitate around the provincial Bulgaria’s homemade electronica dealers from -M-E-L-M-A-K-.

Have your seat on a trip where small-community-artists demonstrate their own versions of various propulsion technologies imagined by mankind.

fabric Records has enlisted Turkish-Italian DJ and producer Carlita for the next instalment of its prestigious mix compilation series, ‘fabric presents’. Set for full release on April 11, fabric presents Carlita will showcase her meticulous curation, featuring two new original tracks.

The double vinyl sampler features eight full length tracks taken from Carlita’s mix. Her two exclusives ‘Raf’ and ‘Stop Now’ are cut to A1 and C1 respectively.
The two black vinyl plates are 140g and are packaged in black inners, inside a matt printed reverse board printed sleeve. The vinyl package accompanies the CD, digital download and streaming of fabric presents Carlita mixed compilation across all major platforms on 11th April 2025.

The announcement of Carlita’s mix arrives alongside the release of the first single, “Raf,” a collaboration with Toronto producer Andre Zimmer, out now via fabric Records. “Raf” is a high-energy fusion of classic house and rave influences, crafted with the dancefloor in mind. The track pairs infectious, soulful vocal elements with punchy synth stabs and rolling breakbeats, all anchored by a deep, groovy tech-house bassline. “Raf,” along with an additional original from Carlita, “Stop Now,” is nestled among storied house and techno juggernauts such as Butch, Alex Metric, and Paco Osuna, as well as rising underground producers Prunk, Toman, Alinka, and more.

Beyond the club and festival circuit, Carlita is a leading figure at the intersection of music and fashion. She’s been featured in British Vogue and on the cover of Vogue Italia, performed at exclusive events for Louis Vuitton, Versace, and Fendi, and curated performances featuring The Blessed Madonna and Heron Preston at her own multi-sensory Senza Fine parties. Most recently, she collaborated with Audemars Piguet to mark the release of her debut album, Sentimental.

Carlita (real name Carla Frayman) comes from a background of musical mastery, having played classical cello for the Royal Academy of Music in London in her earlier years (after learning to play piano at age 3). Since her earliest memories, Frayman has never stopped developing her musical talent, picking up more instruments, learning music theory, and after university, saving up enough money to pursue it full time. She hasn’t stopped chasing her dreams and is now playing high-profile DJ slots (check out her Cercle set at Cinecittà in Rome), and has quickly risen as a producer with her phenomenal debut album Sentimental on Ninja Tune last year, as well as remixes for Disclosure and RÜFÜS DU SOL.

Coming up, Carlita be performing at festivals and clubs in Puerto Rico, Switzerland, Germany, and many more. On April 12, celebrating her fabric presents release, Carlita will be taking over Room 2 at fabric alongside Jennifer Loveless, Tommy Gold, and Pedrose.

It's been a long time between drinks for German band Bambi Davidson. "Brunswick", their first outing on Claremont 56, is their first recorded output for 15 years.
It's something of a triumphant return, too. Last time we heard
from them, back in 2000, they were a 'post minimal rock'
duo comprising of guitarist/vocalist Robin van Velzen and
drummer Hans Christian Fuss. A decade and a half of live
improvisation and a multitude of collaborations later, they
return as a Balearic rock four-piece. The band's newest
members, former Mountaineer man Frank Mollena and Sofia
Fuss, were asked to join following a particularly successful
series of live collaborations and improvisational jams.
"Brunswick", the first track from their soon-to-be-released sophomore set, is particularly special. It´s a 13-minute shuffle
through Balearic post-rock territory, with Van Velzen's weary,
emotional vocals riding a wave of vibrant colours, backwards
Hazy, intoxicating and evocative, it sounds like a horizontal
anthem in the making.
One sided, hand numbered, limited to 500

Cie embarks on a new sonic expedition with "Adventures II," the successor to the original journey, continuing the musical quest with great intensity and energy.
As the music begins, “Reichenstein” rises on the horizon like a majestic mountain peak, growing ever more imposing as you draw closer. Upon arrival, the towering presence of the castle welcomes you with its raw power. The beat pulses like a force of nature, its multi-layered rhythms and vibrant sounds pulling every dance enthusiast into its depths, much like an adventurer scaling the heights of the mountain itself.
The journey continues through the mystic halls of the castle, leading to "Der Turm".
Here, hypnotic synths scale the tower's heights, while deep pulsating basses push against every wall.
From there, the mountain “Stenzelberg” comes into view, casting its groovy shadows ahead as the next stop on the adventure. Upon reaching the summit, you are immediately drawn into the mountain’s spell by the power of its percussive sounds.
But the journey doesn't end there - deep within the winding gorges, Mar io awaits, leading you through hidden corners and secret paths of the mountain with his powerful remix, finally releasing the soul of the mountain. Four electrifying tracks - perfect companions for any club adventure - are ready to carry you on your own journey. Vinyl only.

Grammy-nominated Canadian ensemble BADBADNOTGOOD present the latest edition of Mr Bongo’s iconic Brazil 45 boxset series.
Hailing from Toronto, the band, which now consists of Alexander Sowinski, Chester Hansen and Leland Whitty, made its name by crossing genres and developing a distinctive amalgamation of jazz, hip hop and psychedelic grooves. Their rise to the forefront of their scene has led to collaborations with icons such as Tyler, The Creator, Kendrick Lamar, MF Doom, Samuel T. Herring (Future Islands) and Ghostface Killah. With a penchant for an earworm hook, their sound takes cues from across the globe, both past and present, not least from the wealth of music that has emanated out of Brazil over the last 70 years.

Beatmakers, musicians and record collectors at their core, the influence of Brazilian music on BADBADNOTGOOD’s productions is clear to see, with previous collaborators including Arthur Verocai and Tim Bernardes. It seemed only right then, to hand them the reins for the next edition of our signature boxset series. As ever, the brief was simple, compile a selection of your favourite Brazilian cuts from the country’s rich musical makeup. A captivating collection of sought-after tracks crossing genres, decades and tempos, offering a glimpse into BADBADNOTGOOD’s eclectic tastes, whilst exploring ever further the richness of Brazil’s musical history.

With ‘Child Of A Shooting Star’ Tom Furse has created four distinct trips into other worlds. His world’s are complex and multi faceted, full of surprising inventions and unusual terrain. Furse has a peculiar disregard for genres, whilst remaining absolutely coherent, and whether the listener wants to label it future exotica, kosmiche funk or world drifter music is up to them. The most important thing is that the listener close their eyes, open their minds and let the music transport them to Furse’s alternate realities. This is music not just to be listened to, but also to be experienced.

Irish rock band The Murder Capital Return with their third studio album ‘Blindness’ recorded in Los Angeles earlier this year with producer John Congelton (St Vincent, Angel Olsen, Sharon Van Etten) and featuring the recently released single ‘Can’t Pretend To Know’ and coming single ‘Words Lost Meaning’. ‘Blindness’ is the vividly realised, clear-sightedly ambitious new album from The Murder Capital. A record that’s both momentous and charged with momentum. That’s intimate and simultaneously expansive. Eleven songs that don’t hang about in terms of grabbing the listener.

Lael Neale's minimalist drone pop draws inspiration from the Transcendentalists, the alienation of modern life, and a rich array of musical influences-ranging from Dionne Warwick and John Lennon to primitive American gospel and Spacemen 3. Her expansive new record, Altogether Stranger, due May 2, was written and recorded in the early morning quiet of Los Angeles. Clocking in at just 32 minutes, the 9-song LP covers an unexpected breadth of musical and lyrical terrain-from garage rock nursery rhymes and creation myths to Motorik dance dirges and solitary Omnichord meditations. A brilliant lyricist, Neale has a unique ability to uncover the extraordinary within the mundane, tackling themes of polarity that recur throughout her work-country vs. city, humanity vs. technology, isolation vs. society. This album is her third collaboration with producer Guy Blakeslee who helps expand the tonal palette while staying true to Neale's commitment to the raw immediacy and hand-made intimacy of home recording. Altogether Stranger - a stunning album filled with dreamlike reverie, Neale's crystalline voice, and echoes of the Velvet Underground - was conceived after four years of oscillating between rural solitude and urban chaos. It finds Neale perched at the piano in a hilltop bungalow, looking down on a rare curve of Sunset Blvd. Here, in this daily ritual of writing, singing, and painting-what David Lynch referred to as "the Art Life"-she creates the space for her most adventurous work to date. Born and raised in Virginia's idyllic countryside, Neale brought the high-lonesome sound of her home state with her when she moved to California to pursue music. After years of writing songs on guitar and playing small venues in Los Angeles, she discovered the Omnichord in 2019, which sparked a new creative direction. This led to her 2021 Sub Pop debut album, Acquainted With Night. That album's 2023 follow-up, Star Eaters Delight, deepened the collaboration with Blakeslee, infusing minimalist soundscapes with a heightened electric energy. The album found a devoted audience, and Neale's subsequent tour included sold-out shows in Los Angeles, New York City, London, and Paris, multiple trips across Europe, and a West Coast run supporting kindred spirit Weyes Blood. This marked yet another return to Los Angeles. Indeed, Los Angeles is not just the backdrop of Altogether Stranger but a lead character. The album's accompanying film - created with Neale's faithful Sony Handycam - builds on her ongoing series of videos, telling the story of Neale as an alien in a suit of mirrors stranded on Earth. Wandering through modern-day LA, she finds both absurdity and beauty in our fragile, untenable way of life. Over the long year it took to write Altogether Stranger, Neale vacillated between childlike optimism and existential melancholy. While she may not have been able to reconcile these opposing states, Altogether Stranger represents an ambitious breakthrough for this singular, self-sufficient artist.

Heated compilation of 81-1990 rarities.

"Club Méduse’s Charles Bals joins forces with Norman Gervais of Bayetë fame to deliver a 10-track melange of languorous seaside serenades and beach-kissed AOR slow burners/bangers.

Each song evokes wave glimmer and synthetic textures on this first drop by Beirut-via-Saint Tropez label Pocket of Light, one for the listener that’s crossed the last frontier of the registry and needs just a little more.

Is it the Baleares or the Caribbean? Is it hopeful anguish or mature happiness? And with captains like this, does it matter at all…?”

CAJU, THE SECOND ALBUM BY BRAZIL'S UPCOMING STAR - LINIKER

A SEAMLESS BLEND OF POP, SAMBA, JAZZ, R&B, AND HOUSE, FEAT. LULU SANTOS, PABLLO VITTAR, TROPKILLAZ, MELLY, PRISCILA SENNA, BAIANASYSTEM, AMARO FREITAS & ANAVITÓRIA

LIVE - JUNE 14 - ELECTRIC BRIXTON

VINYL IS A 2LP GATEFOLD with a 4Page Booklet

+ OBI & PRINTED INNER SLEEVES

BorninAraraquara/SãoPaulo,Liniker is a multitalented artist - singer, songwriter, music producer, and actress - whose passion for the arts began in childhood. Influenced by her mother and uncles, who were active in samba rock circles, Liniker's early musical experiences planted the seeds for her future career. Today she is one of the most exciting Brazilian artists. In 2022, she won the Best Brazilian Album category at the Latin Grammy Awards with Indigo Borboleta Anil. In 2023, Liniker became immortalized by the Brazilian Academy of Culture, taking the seat once held by Elza Soares, the eternal Brazilian singer. Liniker's sophomore album CAJU, released in August 2024, has quickly become a classic in Brazilian popular music. The album's 14 tracks—some extending beyond 7 minutes—demonstrate Liniker's commitment to artistic expression over commercial constraints. Liniker showcases versatility and artistic growth through a seamless blend of pop, samba, jazz, R&B, and house. Songs like "Veludo Marrom", "Tudo" and "Ao Teu Lado" shine for their musical complexity and emotional depth. Its success led to multiple wins at 2024 Multishow Brazilian Music Awards, including Artist and Album of the Year. The album features Lulu Santos, Pabllo Vittar, Tropkillaz, Priscila Senna, Melly, BaianaSystem, Amaro Freitas and ANAVITÓRIA.

Two years after releasing the acclaimed Crash Recoil, Anthony Child aka Surgeon returns to Tresor with new LP, Shell~Wave. Retaining the minimal equipment list and studio-version-of-live-show-sets approach of the previous album in order to focus on the work itself, Shell~Wave is a deeply personal document of both where Surgeon is and has been, converging three decades of experience with a continued curiosity in the untested.
“To make this project, I had to dig really deep in terms of what my relationship was to techno; I’ve been involved with it for a really long time and there’s a lot about it I feel dislocated from, so I had to really think hard about what techno is to me. I often get asked “what is techno to you?” but I can’t answer that with words; this album is the answer.” From the complex, twisting track Infinite Eye to the caustic Soul Fire, the eight tracks that make up the body of the album are single-take explorations of the vast, hard yet minimal techno Child is synonymous with.
Neatly dividing the record in two, the emotional centre of the record comes in the form of Dying, a vibrating, beatless piece that with a mantra-like vocal loop steeped in reverberating effects. Further echoes of dub production appear throughout the record as tracks like Divine Shadow, and Empty Cloud have an almost ever-present mist of reverberation, driven by the appearance of a new delay unit in the equipment list; while much of the philosophy of Crash Recoil’s creation is present, the process and the instruments have changed as Child again switches up his approach to studio work.
This insistence on trying novel techniques doesn’t preclude returning to old ones, as this use of modern digital machines with live, hands-on takes that are as inspired by 60s producer Joe Meek and 70s reggae as they are by this year’s synthesiser expos.
“For me, it’s an interesting experience returning to old techniques again after 30 years. I’m always exploring and finding myself back at the beginning. Connecting the present with the past.”
This philosophy of ‘time travel’ is inherent to the music itself as the synchronised loops repeat while the delay and effects branch out, forming unique eddies; distinct quantum moments within the circular whole; the future leaking through the spaces between the sounds. All of the concepts on the album are perfectly communicated through the painting by Taiwanese artist Jazz Szu-Ying Chen which suggests the movement of water, sound waves, and the chitinous shells of sea creatures.

»Carpet Of Fallen Leaves« is an introduction to the folk-pop world of Eddie Marcon. It follows in the footsteps of other collections of Japanese artists on Morr Music, such as yumbo, Andersens, and the »Minna Miteru« compilations. »Carpet Of Fallen Leaves« draws together songs from Eddie Marcon’s twenty-two-year history, including fragile, yet rich in melody material, collected from a prodigious run of limited edition, self-released CD-Rs.

Eddie Marcon is the project of Eddie Corman and Jules Marcon, who met through their involvement in Japan’s underground music scene. Eddie was a member of noise-rock duo Coa, while both Eddie and Marcon were part of psych-rock collective LSD-March. Forming in 2001, Eddie Marcon’s sound is markedly different from these groups, though they do, at times, share a sense of psychedelic dislocation, through the gentle, limpid pace of their songs. But with Eddie Marcon, melody and gentleness is at the music’s core.

They’ve long marked out their own, unique territory within a worldwide community of psych-folk and folk-pop artists; sharing their music through a subterranean network of colleagues and friends, they count groups like The Pastels and The Notwist as their fans, and Eddie has collaborated with the likes of Shintaro Sakamoto, and Aki Tsuyuko (in Tondekebana, and with Marcon and Ippei Matsui in the quartet Wasurerogusa). Eddie Marcon have also recently worked with drummer Ikuro Takahashi, who’s played with groups such as Fushitsusha, Maher Shalal Hash Baz, and Nagisa Ni Te.

Across the songs on »Carpet Of Fallen Leaves«, Eddie Marcon’s songs are performed by Eddie on guitar, organ and vocals, and Marcon on bass; they’re variously joined by Takahashi, Yojiro Tatekawa (drums), Tomoko Kageyama (vibraphone), Yasuhisa Mizutani (flute), Madoka Asakura (vocals), and Ztom Motoyama (pedal steel). The arrangements are pared back to best serve the core of each song, and the playing is gorgeous – fluent but not showy; capable of great intricacy, but aware that simplicity is key to direct communication.

Songs like »Mayonaka No Ongaku« stretch their limbs languidly, the music shivering with beauty as guitar and cymbal drift across Eddie’s poised vocal delivery. »Tora To Lion« began as an improvisation, but it’s become a firm favourite of the group’s fans: as Eddie says, »it has become a very important song for us, to the extent that it can be said to be our representative song.«

Perhaps the most moving thing about »Carpet Of Fallen Leaves«, though, is the way it captures the subtle yet significant moments of everydayness that ask for our attention. »Shoujo«, a song for a beloved cat who passed away, possesses rare emotional resonance. »At the end of the song,« Eddie remembers, »I wanted to have her throat rumbling endlessly.« When the song was cut, a television voice appeared behind the purring, saying ›thank you‹. »For us, it felt like words from Poco-chan, and tears came to our eyes.«

The last grade of the elementary Riddim Dub School. If you like it hot you go for Mwendoskasi and so Prince Istari did for the first side on the 6th Grade. Brass driven hot stepper dub on this one with a killer bass line as allways. Flipside ‚I Dub Further‘ dives in deeper territory of percussion solos and fans of organ licks and brass sections have their treat on this heavy dub rocker.