quête:the hackney

Sampha kündigt mit "LAHAI" sein mit Spannung erwartetes zweites Album an, das am 20. Oktober auf Young erscheint. Nach dem Namen seines Großvaters väterlicherseits benannt, der gleichzeitig auch Samphas zweiter Vorname ist, fließt die Musik auf "LAHAI" zwischen der Ehrfurcht vor dem Leben und der Magie der weltlichen Existenz und beschreibt das Chaos, das man erlebt, wenn man sich dem Kreislauf des Lebens und dem Jenseits stellt. Auf den 14 Tracks hat Sampha enge Freunde und Kollegen zusammengerufen - darunter fantastische Künstler wie Yaeji, Léa Sen, Sheila Maurice Grey (Kokoroko), Ibeyi, Morgan Simpson (Black Midi), Yussef Dayes, Laura Groves und Kwake Bass. Im Gegensatz zum Vorgänger "Process" ist "LAHAI" ein eher kollaboratives Album. Die neueste Single "Only", die von einem Musikvideo von Dexter Navy in Zusammenarbeit mit Sampha begleitet wird und auf dem Vorab Track "Spirit 2.0" folgt, zeigt einen extrem lebendigen Sampha, der melodisch über einen fragmentierten Hip-Hop-Beat mit Co-Produktion von spanischen Musiker El Guincho singt. Im Juni kehrte Sampha zum ersten Mal seit fünf Jahren für seine Satellite Business Residencies in London und New York auf die Bühne zurück. Das einzigartige Setup, bei dem Sampha und seine Band in der Mitte des Raums auftraten, ermöglichte den Fans einen intimen Zugang zu der improvisierten Performance neuer, unveröffentlichter Musik und alternativer Arrangements von Samphas Katalog, die das Publikum "wie gebannt" (Pitchfork) zurückließ. In diesem Herbst wird Sampha eine größere Version der Satellite Business Live-Show auf Tournee mitnehmen. Den Anfang machen mehrere Abende in London in der St. Johns at Hackney Church im Oktober, bevor er nach Nordamerika zurückkehrt, um in großen Städten aufzutreten: Los Angeles, Toronto, New York City, Chicago, San Francisco, Washington D.C., Philadelphia und Atlanta. Anfang Dezember kehrt er nach Europa zurück und spielt in Berlin, Amsterdam und Paris. Wie sein Schöpfer lässt sich auch "LAHAI" nicht in eine Schublade stecken. Das neue Album ist eine Mischung aus Jazz, Soul, Rap, Dance, Jungle und westafrikanischer Musik, mit der Sampha seine produktionstechnischen und stimmlichen Ambitionen auf ein neues Niveau hebt. Als begnadeter Sänger , Songwriter und Produzent ist es kein Wunder, dass Künstler wie Kendrick Lamar, Stormzy, Travis Scott und früher auch Drake, Solange, Frank Ocean, Beyoncé, Lil Wayne und Alicia Keys ihn für seine unnachahmliche Stimme sowie seine Beiträge zum Songwriting und zur Produktion ihrer Musik um Unterstützung baten. Zu seinen früheren kreativen Partnerschaften gehören die Modedesignerin Grace Wales Bonner, das Shy Light Zine mit Durimel (der auch das LAHAI-Artwork gedreht hat), sein Process-Film mit dem Regisseur Kahlil Joseph und kürzlich die Zusammenarbeit mit Jonny Lu, mit dem Sampha das Artwork für sein LAHAI-Album und sein neues Logo entwickelt hat. Wenn "Process", Samphas 2017 mit dem Mercury-Preis ausgezeichnetes Debütalbum, einen Künstler zeigte, der seinen eigenen Platz in der Welt suchte und schließlich auch fand, ist "LAHAI" eine Übung in der radikalen Akzeptanz und Freude am Leben und der Schönheit der Reise bis hierhin. Willkommen zu Samphas nächstem musikalischen Kapitel: LAHAI.

The elusive Hackney basement dweller Alpha Delta colloquially known as Alpha D drops his debutsingle “The Moat” as the very first 12” output on the mysterious new hybrid Berlin++Sydney based label Delphic Iris Records. The headline single inspired by a faithful rave session in Croatia whereAlpha D was simultaneously emotionally touched, scarred and sonically pummelled by kick drums ata wild and stormy Dimensions Festival.
This dark techno beast was the aggressive, distorted acid offspring of that faithful night ravingbetween the mud and tears of the crowd at the formidable Moat stage at Punta Christo. His OG Mixis classic 132bpm heavy pounding acid techno at its moodiest. In the Remix department we have support from the entire Delphic Iris Records crew on this one. Afitting introduction to the labels sound. Sydney based Drox of Analog Cabin fame has a low end electro bass bin rattler for us that delvesinto melancholic and psychedelic 303 territory, deep, minimal and functional a perfect mid setgroover in our opinion. Critical Automator takes us on a deep and elegant techno journey transcending both murky seasand lush hazy skies in his dub mix. Definitely dialled back from the OG mix but there is no shortage ofkick drum energy in this one. 16 Faces cooks up complex drum work and funk driven baselines in a hybrid 146 bpm number that’sa just a touch rave, grime and idm in his 5am mix. The off beat stabs and euphoric strings areplentiful, more than enough to get your through any wobbly kneed sunrise.

2023 Repress

One Night In Hackney remixes.
At last, the long waited and anticipated remixes of acid techno's biggest anthem has finally arrived on vinyl. Featuring hard to the core remixes from Pet Duo, D.A.V.E. The Drummer, Chris Liberator & Sterling Moss. This a.must have release for the collection. Dedicated to all free.party members across the world.

Chain Of Flowers return with their lofty and long-simmering sophomore full-length, rich with reckonings, reverb, and redemption: Never Ending Space. Despite some of the songs dating back a few years, the record first began materialising in earnest during the pandemic, by which point most of the band had relocated from Cardiff to London.

Reunited and rejuvenated, they picked up where they left off, booking two multi-day sessions at Hackney hub Total Refreshment Centre with producer Jonah Falco. In this time they successfully channelled their kinetic chemistry into 10 full-blooded anthems of torn dreams, poetic delirium, and “hope stretched too far.” Musically, Never Ending Space skews notably more maximal than the group’s previous work, fleshed out with trumpets, saxophone, synth, percussion boxes, and spoken word. (Smith jokingly calls them The Chain Of Flowers Orchestra).

Yet the songs still swing and soar with a charged heart, ripe with hooks, drama and ragged melody. Opener “Fire (In The Heart Of Hearts)” stirs to life on a tide of wiry guitar and defiant horns, facing down the embers of love that still glow in the wake of pain: “Peace came tumbling like a shower of bricks / The mind twists slowly till everything fits.”

A tense energy ripples throughout – from the nocturnal rush of “Serving Purpose” and “Amphetamine Luck” to the bruised battle cries of “Torcalon” and “Old Human Material.” Outliers like “Praying Hands, Turtle Doves” hint at proggy possible futures, while instrumental vignette “Anomia” offers an intriguing glimpse at a lesser heard facet of the band: swaying, shadowy, subdued. The album’s title track is also its closing cut, a stomping, sparkling ode to “the wrong side of the night, where time goes to die.” Smith describes the scene: “Everyone’s talking, screaming, trauma bonding, but no one’s listening. Broken dialogue. Shouting over each other. You want to switch off, but everyone’s too fucked.” The guitars spiral and slide towards the oblivion of dawn, the chance to crash and do it all again.

Chain Of Flowers return with their lofty and long-simmering sophomore full-length, rich with reckonings, reverb, and redemption: Never Ending Space. Despite some of the songs dating back a few years, the record first began materialising in earnest during the pandemic, by which point most of the band had relocated from Cardiff to London.

Reunited and rejuvenated, they picked up where they left off, booking two multi-day sessions at Hackney hub Total Refreshment Centre with producer Jonah Falco. In this time they successfully channelled their kinetic chemistry into 10 full-blooded anthems of torn dreams, poetic delirium, and “hope stretched too far.” Musically, Never Ending Space skews notably more maximal than the group’s previous work, fleshed out with trumpets, saxophone, synth, percussion boxes, and spoken word. (Smith jokingly calls them The Chain Of Flowers Orchestra).

Yet the songs still swing and soar with a charged heart, ripe with hooks, drama and ragged melody. Opener “Fire (In The Heart Of Hearts)” stirs to life on a tide of wiry guitar and defiant horns, facing down the embers of love that still glow in the wake of pain: “Peace came tumbling like a shower of bricks / The mind twists slowly till everything fits.”

A tense energy ripples throughout – from the nocturnal rush of “Serving Purpose” and “Amphetamine Luck” to the bruised battle cries of “Torcalon” and “Old Human Material.” Outliers like “Praying Hands, Turtle Doves” hint at proggy possible futures, while instrumental vignette “Anomia” offers an intriguing glimpse at a lesser heard facet of the band: swaying, shadowy, subdued. The album’s title track is also its closing cut, a stomping, sparkling ode to “the wrong side of the night, where time goes to die.” Smith describes the scene: “Everyone’s talking, screaming, trauma bonding, but no one’s listening. Broken dialogue. Shouting over each other. You want to switch off, but everyone’s too fucked.” The guitars spiral and slide towards the oblivion of dawn, the chance to crash and do it all again.

2023 Repress

Gedacht als Community-Projekt, schafft The Silhouettes Project eine Plattform für aufstrebende Hip-Hop, Soul und Jazz Künstler aus UK. Im Total Refreshment Centre in Hackney, London bietet The Silhouettes Projekt mit Tonstudio und Live-Venue einen Open Space für MCs, Sänger, Musiker und Produzenten sich zu vernetzen und Musik zu machen. The Silhouettes Project wurde 2019 von den beiden Initiatoren/Künstlern Asher Korner (aka Kosher) und Jaden Osei-Bonsu (aka Eerf Evil) gegründet. Als die beiden uns das Projekt vorstellten und die erste Musik zeigten, waren wir sofort begeistert und beteiligen uns seither als Label Partner an dem Projekt. Für die gesamte Art Direction des Projekts ist der Designer und Illustrator Sergio “SagaUno” Alférez aus Medellín, Kolumbien verantworlich. Seit September veröffentlichen wir wöchentlich Donnerstags einen neuen Song aus dem Projekt von Künstlern wie Kofi Stone, Summers Sons, Enny, KeepVibesNear, Manik MC, Lex Amor, Louis The Hippie, Summer Pearl, Joe Beard und vielen mehr.

Sharing the spotlight along with the label owner Umwelt on this brand new split EP, Zeta Reticula the Slovenian born artist delivers two tracks of high intensity with distinct energy! Melodic "The Fate Of The Ship Unknown" opens A side with a pure robotic mayhem based upon synthetic strings, rushing leads and frantic arpeggiator flights over seductive vocals. Hostile and heading at the same. Progressive "Documented Contact", coming next, signs an intricate yet groovy electro sci-fi masterpiece made of rolling bassline, moody atmosphere and pounding beats. This is Zeta Reticula at its finest!

The Lord of Darkness treats the flipside with a more aggressive sound. As its title suggests, "Hyperspace" propels the listener at light speed through the depths of the universe thanks to a dystopian machinefunk atmosphere where hammering drums fuse with cold layers in Umwelt's typical trademark. Classical electro shaker "Earth To Unknown" concludes this uncompromising 12" with a luminous structure enhanced with a deeper and soulful approach.

Sharp, underground and always dancefloor oriented, this limited release comes packed in a colorful urban picture disc designed by the great CN6 aka Nexus 6!

Utter presents the extraordinary audio-visual project 'SuperEverything*' by multi-media artists The Light Surgeons.

'SuperEverything*' is a live cinema performance piece that explores identity, ritual and place in relation to Malaysia’s past, present and future. Commissioned by The British Council in 2011, it was created in collaboration with a group of Malaysian audio and visual artists. Over the past decade, the project has toured to various film and new media arts festivals internationally.

'SuperEverything*' is a fusion of music, field recordings, documentary filmmaking and real-time moving image manipulation that together transports its audiences through a series of universal narratives; exploring themes of tradition and modernity, globalisation and development, race and national identity, to consumer culture and belief.

'SuperEverything*' surveys our human condition to reveal what unites and divides us. It weaves together a rich kaleidoscope of stories, sounds, images and smells live on stage. It is a truly immersive, cross disciplinary performative artwork that reflects on how our complex identities are formed through ritual in relation to our rapidly evolving physical and psychological environments.

'SuperEverything*' poses many questions about how people form a sense of identity in a world increasingly dominated by information networks and fast changing social and economic landscapes.

This limited edition vinyl and digital album features the nine original tracks that make up the musical score to this groundbreaking live cinema project, fusing traditional South East Asian instruments with field recordings, electronica and western classical string instruments.

Accompanying the record is a 24 page full colour booklet and double-sided poster, housed in a gatefold sleeve. The booklet contains quotes from the narrative interviewees whose voices are interwoven throughout the performance. These quotes accompany images from the production and performances to help illustrate the musical journey and allow you to contemplate the themes and ideas explored in this work. The poster design features a collection of filmstrips taken from the video material in the show with a single striking album image photo on the reverse.

The release is also accompanied by a previously unavailable film of the full live cinema performance recorded at Hackney Empire in collaboration with The Barbican in 2013.

Somebody’s Child has quickly established himself as a voice at the forefront of the new music scene in Ireland. Early support slots in Dublin with the likes of Kodaline, Primal Scream, and Kaiser Chiefs, as well as national radio play and an appearance on the nation’s beloved Late Late Show all acted as vindication for Cian Godfrey holding back the unveiling of SC until the relatively late age of 23 - he had honed his craft and formulated a clear message ahead of time. Newly signed to cult label Frenchkiss Records, Godfrey now announces his self-titled debut album out 3rd February 2023 which has its roots in Godfrey’s formative years growing up in Dublin and the experiences that went with that. It was recorded at East London’s Hackney Road Studios with the producer Mikko Gordon (Arcade Fire, The Smile).

ACID BANGING HACKNEY WEAPON !

Born and raised in Hackney, Mychelle first picked up a guitar aged 10, but put it back down again shortly after, before returning to the instrument at 17, when she quickly began making a name for herself busking around the capital. In 2019 she was spotted by Idris Elba who invited her to his studio to write and sing on his Yardie Mixtape project, the soundtrack to his directorial film debut of the same name. 2021 saw Mychelle release her stunning debut EP, Closure. It was named BBC Radio 1Xtra host Jamz Supernova’s No. 5 EP of the year, which celebrates the world of future R&B, and she went on to perform an intimate rendition of ‘Life Isn’t’ on Tonight With Target. FAMM is a management company and label which independently releases music from award-winning recording artist Jorja Smith, Maverick Sabre and rising star ENNY.

After a year of releases exploring recent musics from the USA, Europe and the southern hemisphere the Horn of Plenty presents a survey of archival private, demo, and live tapes from local avant-anarcho-punks The Apostles. The tapes were (poorly) recorded in Islington & Hackney squats between 1981-1983 and they capture the fledgling band exploring various line-up’s, styles & techniques with limited means and ability. In 1983 The Apostles released their first vinyl EP and switched mainly to a more straight-ahead anarcho-punk style. They gained a strong following then called it a day in 1989. Their vinyl output is still regarded highly by fans and collectors and their ‘official’ demo tapes have become highly sought-after, particularly since being namechecked by Ty Segall in a 2014 interview. In a 2009 article charting the band’s history (frontman) Andy Martin gives these early tapes a mere footnote and states that, in his opinion, they are ‘Best Forgotten’. With respect Andy, I beg to differ. Best Forgotten shows the band grappling with the political, racial and cultural tensions of the time whilst exploring radical politics and issues around homosexuality and mental health. Their sympathies with The Angry Brigade’s ‘direct action’ ethos extended to their involvement with the squatted Centro Iberico and The Wapping Autonomy Centre where they worked closely with Crass, Poison Girls, Flux of Pink Indians and The Mob among others. Viewed retrospectively, it’s easy to draw comparisons with early Fall records, The Door and The Window etc… but also at their melodic best they echo 60’s beat groups and even 70’s blues-rock. A keen interest in tape collage (supplied here by Ian Rawes who later became established with his London Sound Survey project) and the avant garde also inform the mix. Highlights include a bleak reworking of Lemon Kittens’ Chalet D’Amour and a live version of Simon & Garfunkel's I Am A Rock segueing into their take on Alternative TV’s Splitting In Two recorded at The Recession Club in Ponsford Street, Hackney. The short-lived Recession Club, which The Apostles co-ran and where Andy Martin worked the door, also hosted the first ever Coil concert. On that night he refused entry to Death In June on account of their ‘inappropriate attire’. Best Forgotten comes in a hand stamped, stickered and assembled edition of 500 copies and includes an A3 poster and 32 page A4 zine collecting archival photos and images from The Apostles tapes & zines along with liner notes and reflections on the tracks written by Steve Underwood (Harbinger Sound), Chris Low (former Apostles drummer) and The Apostles frontman Andy Martin, who thought this whole thing was daft.

Am 14.Oktober erscheint Paul Wellers ”Modern Classics (The Greatest Hits)“ zum ersten Mal auf Vinyl! Ursprünglich 1998 veröffentlicht und bisher nicht auf Vinyl erhältlich – ”Modern Classics (The Greatest
Hits)“ ist ein Compilation-Album, welches viele der Paul Wellers Solo-Singles von 1991-1998 enthält.

Die Veröffentlichung erscheint als 2LP - Gatefold Sleeve und enthält eine Bonus Live LP, aufgenommen im Victoria Park, Hackney, London, am 8. August 1998

This is the BIG 30th release on RIOT Radio Records, our fiercely independent techno label based in Scotland.

Kaylah from Hackney, London is a forward thinking and driven artist who never fails to create or play the heaviest hitting big room destroyers with the most reaffirming explosive energy. Whether it’s his own music productions or when DJing, his tough captivating pace means he’s always ready for the rave.

Continuing with the ‘Limited As Fuck’ series of releases with some twisted screaming techno here that’s so perverted it departs from any usual or accepted standards of behaviour. All four tracks featured are bonified party stompers so full of debauchery and shamelessness you may be regarded as morally corrupt to persecute the dance floor into such a devout compunction of metamorphosis, transforming it into a stalkers paradise.

WARNING: CONDITION RED: HAS BEEN ACHIEVED, THE RIOT INVASION CAN COMMENCE

Das Londoner Duo Jockstrap (Georgia Ellery und Taylor Skye) wird sein lange erwartetes Debütalbum "I Love You Jennifer B" am 9. September via Rough Trade Records veröffentlichen. Jockstrap haben die bevorstehende Veröffentlichung bereits mit ihren Singles "50/50" und "Concrete Over Water" angedeutet. Beide wurden von BBC Radio 6 Music auf Rotation genommen und von der nationalen und internationalen Presse hoch gelobt. Das kosmische Begleitvideo zu "Concrete Over Water" wurde bei einer exklusiven Vorführung im The Castle Cinema, Hackney, uraufgeführt, gefolgt von einer weiteren von Jockstraps kultigen Partys im The Glove That Fits. Georgia Ellery und Taylor Skye von Jockstrap kommentierten die Albumveröffentlichung wie folgt: "I Love You Jennifer B ist eine Sammlung von Jockstrap-Tracks, die seit 3 Jahren in der Mache sind. Alles darauf klingt ziemlich einzigartig, also hoffen wir, dass für jeden ein Track dabei ist; also etwas, das dich anspricht und sagt "Ich bin ein Banger"." Skye fügte über "Glasgow" (ihre neue Single) hinzu: ""Glasgow" ist unser coming of age, moving forward, long-distance, travelling, beautiful bosk, wonderful thicket song." Und Ellery sagte über das Thema des Songs: "Glasgow ist eine tolle Stadt, vielleicht meine Lieblingsstadt in Großbritannien! Der einzige Nachteil ist, dass es die ganze Zeit so verdammt kalt ist." Wenn Georgia Ellery und Taylor Skye als Jockstrap Musik machen, gibt es für den Prozess und das Ergebnis nur eine Definition: pure moderne Pop-Alchemie. Mit ihrem Debütalbum"I Love You Jennifer B" werden sich Jockstrap als eine der vitalsten jungen Gruppen etablieren, die seit Jahren aus Londons Schmelztiegel der Musikkulturen hervorgegangen sind.

Das Londoner Duo Jockstrap (Georgia Ellery und Taylor Skye) wird sein lange erwartetes Debütalbum "I Love You Jennifer B" am 9. September via Rough Trade Records veröffentlichen. Jockstrap haben die bevorstehende Veröffentlichung bereits mit ihren Singles "50/50" und "Concrete Over Water" angedeutet. Beide wurden von BBC Radio 6 Music auf Rotation genommen und von der nationalen und internationalen Presse hoch gelobt. Das kosmische Begleitvideo zu "Concrete Over Water" wurde bei einer exklusiven Vorführung im The Castle Cinema, Hackney, uraufgeführt, gefolgt von einer weiteren von Jockstraps kultigen Partys im The Glove That Fits. Georgia Ellery und Taylor Skye von Jockstrap kommentierten die Albumveröffentlichung wie folgt: "I Love You Jennifer B ist eine Sammlung von Jockstrap-Tracks, die seit 3 Jahren in der Mache sind. Alles darauf klingt ziemlich einzigartig, also hoffen wir, dass für jeden ein Track dabei ist; also etwas, das dich anspricht und sagt "Ich bin ein Banger"." Skye fügte über "Glasgow" (ihre neue Single) hinzu: ""Glasgow" ist unser coming of age, moving forward, long-distance, travelling, beautiful bosk, wonderful thicket song." Und Ellery sagte über das Thema des Songs: "Glasgow ist eine tolle Stadt, vielleicht meine Lieblingsstadt in Großbritannien! Der einzige Nachteil ist, dass es die ganze Zeit so verdammt kalt ist." Wenn Georgia Ellery und Taylor Skye als Jockstrap Musik machen, gibt es für den Prozess und das Ergebnis nur eine Definition: pure moderne Pop-Alchemie. Mit ihrem Debütalbum"I Love You Jennifer B" werden sich Jockstrap als eine der vitalsten jungen Gruppen etablieren, die seit Jahren aus Londons Schmelztiegel der Musikkulturen hervorgegangen sind.

5 Year Anniversary Repress of the seminal debut album, on Black Ice vinyl with special Black Foil Gatefold packaging. Original Sales Text Below: The new project from The Dillinger Escape Plan's Greg Puciato, Telefon Tel Aviv/Nine Inch Nails's Josh Eustis and programmer Steven Alexander, The Black Queen have announced details of their debut album. 'Fever Daydream' will be released on 5th Feb, supported by a couple of new live dates: one on the day at Complex LA in Glendale, California and one on 5th February at Oslo in Hackney, London. The band have also unveiled a video for featured track 'Maybe We Should' Setting down somewhere between goth soaked synth pop, shoegaze and the neon bathed desolation of the Blade Runner soundtrack, Fever Daydream showcases frontman Greg Puciato's unquaestionable artistic talent. An album of Raw Nerves, dense textures and confessional fervour for fans of Depeche Mode, Nine Inch Nails and Joy Divison. The ten song Fever Daydream was written, recorded and produced by the band themselves, with Justin Meldal-Johnsen (Beck, M83, The Naked and Famous) executive producing and offering insight along the way. With the level of talent, innovation, and the air of mystery that surrounds the band, it is an unexpected journey through sound merging the past and laying groundwork for a hauntingly beautiful future. Band Members: Greg Puciato Josh Eustis Steven Alexander

Acid Trascore at 150 BPM, A kicker between Hackney Road style and French Harder stuff... A rare style from surrounding the Molekül Familly !

Don't miss : future legend !

Musically, Hackney-based female trio deep tan draw on the brooding, melodic indie of early FOALS and Warpaint, their sound is always seductive, but also underpinned with an edge of darkness. An undercurrent of post-punk in the vein of contemporaries Dry Cleaning, Drahla and black midi – in addition to multiple comparisons with post-punk pioneers Television – mean their sets never stray far from the shadows. In the past year and a half deep tan have been the darlings of indie tastemaker press such as So Young, DIY, NOTION, Dork, CLASH, had a 3 page spread in Loud & Quiet December 2019 issue and have been selected as NME 100 and for the Green Man Rising competition. Their tracks have had plays on BBC Radio 6, BBC Whales, Apples Beats 1 and Radio X, as well as Apple Music’s ‘Breaking alternative' in the US.

Second Sub Pop album by acclaimed UK act TV Priest finds them building on the
post-punk of their early material and maturing into a powerhouse of tense, politically
caustic, and thoughtful rock music.
Without a brutal evaluation of their own becoming, TV Priest might have never made
their second album. Heralded as the next big thing in post-punk, they were
established as a bolshy, sharp-witted outfit, the kind that starts movements with their
political ire. There was of course truth in that, but it was a suit that quickly felt heavy
on its wearer’s shoulders, leaving little room for true vulnerability. “A lot of it did feel
like I was being really careful and a bit at arm's length,” says vocalist Charlie
Drinkwater. “I think maybe I was not fully aware of the role I was taking. I had to take
a step back and realize that what we were presenting was quite far away from the
opinion of myself that I had. Now, I just want to be honest.”
Having made music together since their teenage years, the London four-piece piqued
press attention in late 2019 with their first gig as a newly solidified group, a raucous
outing in the warehouse district of Hackney Wick. Debut single ‘House of York’
followed with a blistering critique of monarchist patriotism, and they were signed to
Sub Pop for their debut album. When ‘Uppers’ arrived in the height of a global
pandemic, it reaped praise from critics and fans alike for its “dystopian doublespeak,”
but the band - Drinkwater, guitarist Alex Sprogis, producer, bass and keys player Nic
Bueth and drummer Ed Kelland - were at home like the rest of us, drinking cups of
tea and marking time via government-sanctioned daily exercise. As such, the
personal and professional landmark of its release felt “both colossal and minuscule”
dampened by the inability to share it live. “It was a real gratification and really
cathartic, but on the other hand, it was really strange, and not great for my mental
health,” admits Drinkwater. “I wasn’t prepared, and I hadn’t necessarily expected it to
reach as many people as it did.”
As such, ‘My Other People’ maintains a strong sense of earth-rooted emotion, taking
advantage of the opportunity to physically connect. Using ‘Saintless’ (the closing
song from ‘Uppers’) as something of a starting point, Drinkwater set about crafting
lyrics that allowed him to articulate a deeper sense of personal truth, using music as
a vessel to communicate with his bandmates about his depleting mental health.
“Speaking very candidly, it was written at a time and a place where I was not, I would
say, particularly well,” he says. “There was a lot of things that had happened to
myself and my family that were quite troubling moments. Despite that I do think the
record has our most hopeful moments too; a lot of me trying to set myself reminders
for living, just everyday sentiments to try and get myself out of the space I was in.”
“It was a bit of a moment for all of us where we realised that we can make something
that, to us at least, feels truly beautiful,” agrees Bueth. “Brutality and frustration are
only a part of that puzzle, and despite a lot of us feeling quite disconnected at the
time, overwhelmingly beautiful things were also still happening.”
This tension between existential fear born from the constant uncertainties of life, and
an affirmative, cathartic urge to seize the moment, is central to ‘My Other People’, a
record that heals by providing space for recognition, a ground zero in which you’re
welcome to stay awhile but which ultimately only leads up and out. For TV Priest, it is
a follow-up that feels truly, properly them; free of bravado, unnecessary bluster or
any audience pressure to commit solely to their original sound.

Without a brutal evaluation of their own becoming, TV Priest might have never made their second album. Heralded as the next big thing in post-punk, they were established as a bolshy, sharp-witted outfit, the kind that starts movements with their political ire. There was of course truth in that, but it was a suit that quickly felt heavy on its wearer's shoulders, leaving little room for true vulnerability. "A lot of it did feel like I was being really careful and a bit at arm's length," says vocalist Charlie Drinkwater. "I think maybe I was not fully aware of the role I was taking. I had to take a step back and realize that what we were presenting was quite far away from the opinion of myself that I had. Now, I just want to be honest." Having made music together since their teenage years, the London four-piece piqued press attention in late 2019 with their first gig as a newly solidified group, a raucous outing in the warehouse district of Hackney Wick. Debut single "House of York" followed with a blistering critique of monarchist patriotism, and they were signed to Sub Pop for their debut album. When Uppers arrived in the height of a global pandemic, it reaped praise from critics and fans alike for its "dystopian doublespeak," but the band - Drinkwater, guitarist Alex Sprogis, producer, bass and keys player Nic Bueth and drummer Ed Kelland - were at home like the rest of us, drinking cups of tea and marking time via government-sanctioned daily exercise. As such, the personal and professional landmark of its release felt "both colossal and minuscule" dampened by the inability to share it live. "It was a real gratification and really cathartic, but on the other hand, it was really strange, and not great for my mental health" admits Drinkwater. "I wasn't prepared, and I hadn't necessarily expected it to reach as many people as it did." As such, My Other People maintains a strong sense of earth-rooted emotion, taking advantage of the opportunity to physically connect. Using "Saintless" (the closing song from Uppers) as something of a starting point, Drinkwater set about crafting lyrics that allowed him to articulate a deeper sense of personal truth, using music as a vessel to communicate with his bandmates about his depleting mental health. "Speaking very candidly, it was written at a time and a place where I was not, I would say, particularly well," he says. "There was a lot of things that had happened to myself and my family that were quite troubling moments.Despite that I do think the record has our most hopeful moments too; a lot of me trying to set myself reminders for living, just everyday sentiments to try and get myself out of the space I was in." "It was a bit of a moment for all of us where we realised that we can make something that, to us at least, feels truly beautiful," agrees Bueth. "Brutality and frustration are only a part of that puzzle, and despite a lot of us feeling quite disconnected at the time, overwhelmingly beautiful things were also still happening." This tension between existential fear born from the constant uncertainties of life, and an affirmative, cathartic urge to seize the moment, is central to My Other People, a record that heals by providing space for recognition, a ground zero in which you're welcome to stay awhile but which ultimately only leads up and out. For TV Priest, it is a follow-up that feels truly, properly them; free of bravado, unnecessary bluster or any audience pressure to commit solely to their original sound.

Without a brutal evaluation of their own becoming, TV Priest might have never made their second album. Heralded as the next big thing in post-punk, they were established as a bolshy, sharp-witted outfit, the kind that starts movements with their political ire. There was of course truth in that, but it was a suit that quickly felt heavy on its wearer's shoulders, leaving little room for true vulnerability. "A lot of it did feel like I was being really careful and a bit at arm's length," says vocalist Charlie Drinkwater. "I think maybe I was not fully aware of the role I was taking. I had to take a step back and realize that what we were presenting was quite far away from the opinion of myself that I had. Now, I just want to be honest." Having made music together since their teenage years, the London four-piece piqued press attention in late 2019 with their first gig as a newly solidified group, a raucous outing in the warehouse district of Hackney Wick. Debut single "House of York" followed with a blistering critique of monarchist patriotism, and they were signed to Sub Pop for their debut album. When Uppers arrived in the height of a global pandemic, it reaped praise from critics and fans alike for its "dystopian doublespeak," but the band - Drinkwater, guitarist Alex Sprogis, producer, bass and keys player Nic Bueth and drummer Ed Kelland - were at home like the rest of us, drinking cups of tea and marking time via government-sanctioned daily exercise. As such, the personal and professional landmark of its release felt "both colossal and minuscule" dampened by the inability to share it live. "It was a real gratification and really cathartic, but on the other hand, it was really strange, and not great for my mental health" admits Drinkwater. "I wasn't prepared, and I hadn't necessarily expected it to reach as many people as it did." As such, My Other People maintains a strong sense of earth-rooted emotion, taking advantage of the opportunity to physically connect. Using "Saintless" (the closing song from Uppers) as something of a starting point, Drinkwater set about crafting lyrics that allowed him to articulate a deeper sense of personal truth, using music as a vessel to communicate with his bandmates about his depleting mental health. "Speaking very candidly, it was written at a time and a place where I was not, I would say, particularly well," he says. "There was a lot of things that had happened to myself and my family that were quite troubling moments.Despite that I do think the record has our most hopeful moments too; a lot of me trying to set myself reminders for living, just everyday sentiments to try and get myself out of the space I was in." "It was a bit of a moment for all of us where we realised that we can make something that, to us at least, feels truly beautiful," agrees Bueth. "Brutality and frustration are only a part of that puzzle, and despite a lot of us feeling quite disconnected at the time, overwhelmingly beautiful things were also still happening." This tension between existential fear born from the constant uncertainties of life, and an affirmative, cathartic urge to seize the moment, is central to My Other People, a record that heals by providing space for recognition, a ground zero in which you're welcome to stay awhile but which ultimately only leads up and out. For TV Priest, it is a follow-up that feels truly, properly them; free of bravado, unnecessary bluster or any audience pressure to commit solely to their original sound.

Single includes download. “Virginia Wing are not from the sedate school of dream-pop escapism…a hazy subversion of the traditional monochrome evocations of post-punk, a photo negative of an established form.” - The Quietus // “South London three-piece ally buzz and drone with sweetness and light” Guardian – New Band Of The Week // "A piece of noir-pop majesty that consistently pushes its own boundaries and frequently shatters the listeners’ sense of expectation" Loud and Quiet // "They possess a rare ability to dive deep beneath the skin.. a ghostly mix that flirts hard and fast with the avant garde while retaining a sly pop lustre" Mojo 4* // Following the 2015 release of their acclaimed debut album ‘Measures Of Joy’ on Fire Records, Camberwell based outfit Virginia Wing return with a striking new single. ‘Rhonda’, released for Record Store Day on 12” vinyl with a disco cut sleeve featuring artwork from longtime collaborator Florian Brooks. Recorded at Hackney-based Holy Mountain Studios with Misha Hering, ‘Rhonda’ sees the band expand the deep and varied sonic palette displayed on their debut ‘Measures Of Joy’. Featuring guest musician Koichi Yamanoha of Grimm Grimm, the single unfolds slowly as meditative incantations give way to a sprawling piece of experimental pop for the dance floor. The ambitious A-side flirts with disco beats and draws influence from a variety of schools of contemporary dance music whilst still remaining, at heart, a pop song. This is pop music with texture, depth and nuance; a daring and progressive piece. The B-side includes two new tracks: ‘Sisterly Love’ and ‘Daughter Of The Mind’ which further hint at the deviations we can expect on their second LP. Field recordings, ambient mediations and rhythmic experimentation abound; the new material sees Virginia Wing refining and reworking the sound conjured on their debut, a masterful workout.

RATA NEGRA from Madrid deliver twelve songs of dark, crude and moody punk on their debut LP. Formed of members from JUANITA Y LOS FEOS and LA URSS this power trio have distilled the negativity and uncertainly of the young Spanish generation and transformed it into perfectly crafted punk songs. Sharply turning snaps of daily life into melodic anthems for a doomed generation, musically RATA NEGRA fence between dark melodic OC punk a la RIKK AGNEW solo debut album and Spanish Punk ’83 via KGB/ VULPESS. Imagine the non keyboard tracks of Yugoslavian KAOS mixed with LA’S X melody, add to it a layer of distortion and a dose of vital desperation and you get close to RATA NEGRA’s sound. Oído Absoluto comes housed in a reverse board sleeve with printed inner. Both designed by guitarist Fa of Croke Studio and it is released as a collaboration between Beat Generation in Madrid and La Vida Es Un Mus Discos in Hackney.

South London based producer and multi-instrumentalist Neue Grafik announces his new EP 'Foulden Road Part II' from his Neue Grafik Ensemble band, released 25th March on Total Refreshment Centre. The sequel to their impressive 2019 release 'Foulden Road', Neue Grafik continues to incorporate 100% live takes with the ensemble, as well as solo productions that reflect Neue Grafik's past work with both the Rhythm Section and 22a labels.

Neue Grafik explains, "This EP is a reflection of the social context which surrounds me" – created in a year of much social isolation as well as political unrest, 'Foulden Road II' explores the complex feelings that he found himself battling. He adds "In 2019, we released 'Foulden Road Part I', which was a transitional album, exploring a new culture and navigating between two worlds: Paris and London. 'Part II' is a bit darker, closer to realness with a sprinkle of hope. I couldn't have predicted that I'd finish it encased in my flat, between four walls, in December 2020 after a year of lockdown, Brexit, George Floyd protests, and without London's brilliant culture mesmerising my mind. Everything was sad and closed. Hills were difficult to climb. But it also gave me the time to work hard and deliver this second part of Foulden Road, pushing it forward".

Combining an array of influences — from London, to Paris via New York, Nigeria and Cameroon — with well-measured confidence, ' Foulden Road II' allows you to reflect on the complexities of the last year, whilst braced with energy and hope to move forward positively. Heavy horns and hypnotic poetry form the backbone record, which will ignite any room. 'Foulden Road II' begins with the grounding poetry of MA.MOYO on 'Black Bodies'. The EP is dedicated to Adama Traoré, a black man who died in police custody in Paris. Neue Grafik explains "His name is not well known outside of France. I was shocked, devastated even, to learn that his story didn't cross the Channel". 'Queen Assa' is a heavily percussive dancefloor-hitter which honours French activist Assa Traoré, (Adama's sister) her family, and her struggle to support all families hurt by police brutality. Broken beat elements flow through the horn accompanied 'Officer, Let Me Go To School', while West London rapper Lord Apex offers an unapologetic and poignantly personal perspective on 'Step To It'.

Released on the Total Refreshment Centre label, based out of Stoke Newington's Foulden Road, the EP is a testament to his versatility as an ever-shifting figurehead. Engineered by Capitol K, recorded at Total Refreshment Centre, mixed by Marcus Linon at Greasy Records and mastered by Guy Davie at Electric Mastering – a significant pillar in Neue Grafik's musical career. Having played a DJ set there in 2017, he was convinced by TRC founder Lex Blondin to start a band after he was heard playing some compositions on the communal piano. After spending a couple of sleepless nights on the living room couch, his first gig was booked in the venue space downstairs a week later. The ensemble was established and he has remained in London ever since.

Neue Grafik Ensemble's musicians include; Matt Gedrych, Benjamin 'The Chief' Appiah, Jack Banjo Courtney, Chelsea Carmichael, Dougal Taylor, Yahael Camara-Onono, Xvngo, Rebekah Reid, Dan-Iulian Drutac, Jamie-lee Glinsman and Zara Hudson-Kozdój.

Neue Grafik hosts The Orii Jam Sessions, an energising weekly jam night at Hackney Wick's Colour Factory, which has become a pivotal weekly gathering, inspired by the likes of Unit 31 and Steam Down.

Memorial are a duo, Jack and Ollie. Neither are in any great hurry, with their songwriting process originally found spent solo, several hundred miles apart in Brighton and Manchester. Voice memos zipped across the internet, all half thoughts and feelings seeking the other's encouragement.

Headline shows in London and Brighton and supports in 2021: Bess Atwell, Chartreuse, Richard Thompson, Courtney Marie Andrews, Amber Run, Samantha Crain. Nominated for AMA's 'UK song of the year', award ceremony in January at Hackney Empire.RADIO:
Sessions on BBC Radio Wales with Janice Long Interview with Robert Elms on BBC Radio London Chosen as John Kennedy's Hot Ones and X-Posure Big One on Radio X Consistent radio plays on Radio 1's Chillest Show with Sian Eleri, Chris Hawkins on BBC 6Music and on Amazing Radio Further spot plays from Elton John on Beats, Roddy Hart on BBC Radio Scotland, Soho Radio and more.

The Brkn Record is a new project led and produced by Jake Ferguson, the co-founder and bass player for the UK's foundational deep jazz outfit the Heliocentrics. With fellow Heliocentrics co-founder and legendary drummer Malcolm Catto, Ferguson has been a regular collaborator with globally recognised artists including Archie Shepp, Mulatu Astatke, Melvin Van Peebles, Orlando Julius and many others. The Architecture of Oppression Part 1 represents Ferguson's debut as a bandleader and orchestrator, and manifests as a committed and soulful response to ongoing and systemic anti-black racism, social oppression and state violence both at home in London and across the globe. Combining poetry, testimony and song with rich and cinematic backdrops, Ferguson has produced a sui generis sound that conjures flavours of Arthur Verocai, Ennio Morricone, classic library productions, Madlib-style deep-jazz beat science, and psychedelic soul. With bandmate Malcolm Catto on drums, Ferguson draws on their long years of collaborative experience in the Heliocentrics to build an album of striking texture and depth.

The Brkn Record is a new project led and produced by Jake Ferguson, the co-founder and bass player for the UK's foundational deep jazz outfit the Heliocentrics. With fellow Heliocentrics co-founder and legendary drummer Malcolm Catto, Ferguson has been a regular collaborator with globally recognised artists including Archie Shepp, Mulatu Astatke, Melvin Van Peebles, Orlando Julius and many others. The Architecture of Oppression Part 1 represents Ferguson's debut as a bandleader and orchestrator, and manifests as a committed and soulful response to ongoing and systemic anti-black racism, social oppression and state violence both at home in London and across the globe. Combining poetry, testimony and song with rich and cinematic backdrops, Ferguson has produced a sui generis sound that conjures flavours of Arthur Verocai, Ennio Morricone, classic library productions, Madlib-style deep-jazz beat science, and psychedelic soul. With bandmate Malcolm Catto on drums, Ferguson draws on their long years of collaborative experience in the Heliocentrics to build an album of striking texture and depth.

Blue States, aka Andy Dragazis, returns with his sixth album, titled
‘World Contact Day’, released via Memphis Industries and named
after the day each year on which UFO society International Flying
Saucer Bureau tries to contact alien lifeforms.
 ‘World Contact Day’ arrives six years after the previous Blue States
album, written and recorded partly at Dragazis’ Lightwell Recordings
studio in Hackney and featuring a combination of instrumental
soundscapes and vocal songs that draw from influences as diverse
as world as Morricone, Vangelis, Beak, Broadcast and the
Carpenters.
 Songs on the new record feature guest vocals from the likes of
Giampaolo Speziale and Federica Caiozzo of the Italian band
Malihini, English folk-musician Rachael Dadd and Miami-based
Allison May-Brice (The 18th Day Of May, Lake Ruth).
 Written under the backdrop of claustrophobic uncertainty and grief,
Dragazis wanted to make an album of expansive escapism whilst
also grounding musically in a more live approach than previous
albums.
 ‘World Contact Day’ opens with ‘Plain Sight’, the first of the Rachael
Dadd-featuring songs, thematically about escape and setting
Rachael’s Sandy Denny-a-like vocals to a baroque pop backing. It’s
followed by an instrumental ode to the humble wire in a world of
wireless connectivity (“I trust wires and I understand them,” says
Dragazis). The second Rachael Dadd track is ‘Tides Confusion’, a
song about how waves of grief can come like tides, grounded on a
pulsating electronic loop that evolves into live drums, horns and
backing vocals representing the rising water. Next up is ‘Warning
Signs’, featuring Giampaolo and Federica of Malihini, a track about
looking after yourself because if you don’t, how can you look after
anyone else?
 Two brilliant songs with Allison-May Brice light up side two of ‘World
Contact Day’, the urgent, sparkling electronic pop of ‘Alarms’ and the
epic, velvety torch song album closer ‘Science or Fiction?’, about the
paleoanthropological fraudster Charles Dawson and the Piltdown
Man hoax.
 LP pressed on cream vinyl.

Fabio & Grooverider have been at the forefront of UK dance music for over 3 decades. This is the roots of their story told through music. The 2 London DJ's are part of the DNA of the global Jungle / D&B movement and they have remained relevant, cutting edge, authoritative and essential to this truly underground art-form since it's inception. RAGE could arguably be the ground zero of Jungle. The party was started at London's cavernous Heaven club by Fabio & Grooverider in 1988, at the height of Acid House fever that was making it's way up and down the motorways, slip-roads, fields and warehouses of the M25 and further beyond every weekend, troubling the nation, the police, your parents and the press as it went. RAGE was a different beast, it certainly channelled some of that Acid energy but pitted it against the new and exciting sounds emanating from Belgium, Amsterdam, Detroit, Sheffield, Essex and Hackney and in turn created a new style, a new sonic attitude and energy in the process. Rumbling bass-lines, narcotic synth rushes and roughly chopped and sped-up breakbeats all merged into a style that we now know as Jungle. Nothing like this had been heard before, this was a brand new style and it was coming out of London's West End and Fabio & Grooverider were the people firmly behind it. RAGE is approaching its 30th anniversary. Its sonic and cultural legacy is still being felt today, Fabio & Groove are still shutting down raves and festivals every weekend all over the world with their superior DJ sets and musical knowledge guided by their pioneering spirit. This musical selection you hold in your hands, the first of 4 parts, sees them delve into their prodigious memories and record boxes to select a true musical representation of the very beginning of one of the UK's most unique and influential musical movements of the last 50 years. Across 4 x 2 x 12"s compilations we are taken on the journey through the sounds of RAGE, accompanied with track by track notes from Fabio & Groove themselves. This is the sound of the underground, from the inside out. This is a masterclass in the old-school. The roots. There is no filler here, it's simply ALL killer. Lovingly selected and programmed by the masters - 'The Living Shock' & 'The Ladies Choice'. Produced in conjunction with Above Board distribution and Fabio & Grooverider. All tracks mastered from original sources and fully licensed. Mastering by Optimum, Bristol. Artwork and design by Atelier Superplus. 2019

Fabio & Grooverider have been at the forefront of UK dance music for over 3 decades. This is the roots of their story told through music.

The 2 London DJ's are part of the DNA of the global Jungle / D&B movement and they have remained relevant, cutting edge, authoritative and essential to this truly underground art-form since it's inception. RAGE could arguably be the ground zero of Jungle. The party was started at London's cavernous Heaven club by Fabio & Grooverider in 1988, at the height of Acid House fever that was making it's way up and down the motorways, slip-roads, fields and warehouses of the M25 and further beyond every weekend, troubling the nation, the police, your parents and the press as it went. RAGE was a different beast, it certainly channelled some of that Acid energy but pitted it against the new and exciting sounds emanating from Belgium, Amsterdam, Detroit, Sheffield, Essex and Hackney and in turn created a new style, a new sonic attitude and energy in the process. Rumbling bass-lines, narcotic synth rushes and roughly chopped and sped-up breakbeats all merged into a style that we now know as Jungle. Nothing like this had been heard before, this was a brand new style and it was coming out of London's West End and Fabio & Grooverider were the people firmly behind it.

RAGE is approaching its 30th anniversary. Its sonic and cultural legacy is still being felt today, Fabio & Groove are still shutting down raves and festivals every weekend all over the world with their superior DJ sets and musical knowledge guided by their pioneering spirit. This musical selection you hold in your hands, the first of 4 parts, sees them delve into their prodigious memories and record boxes to select a true musical representation of the very beginning of one of the UK's most unique and influential musical movements of the last 50 years. Across 4 x 2 x 12"s compilations we are taken on the journey through the sounds of RAGE, accompanied with track by track notes from Fabio & Groove themselves. This is the sound of the underground, from the inside out.

This is a masterclass in the old-school. The roots. There is no filler here, it's simply ALL killer. Lovingly selected and programmed by the masters - 'The Living Shock' & 'The Ladies Choice'. Produced in conjunction with Above Board distribution and Fabio & Grooverider. All tracks mastered from original sources and fully licensed. Mastering by Optimum, Bristol. Artwork and design by Atelier Superplus. 2019

Miles Kane is back with brand new album 'Change the Show', set for release on 21st January 2022 via BMG.
Following a chance “no frills session” with psych-rock duo Sunglasses For Jaws at the band’s Hackney studio, Miles’ fourth solo album ‘Change the Show’ really began to take shape. “I saw myself in their energy, but also their taste and their knowledge of music,” Miles explains. “It was the first time I’d felt old!”
Opening with the honest soft croon of ‘Tears are Falling’, the album is a joyous ride from start to finish and features a surprising, but spectacular appearance from Grammy-nominated singer Corinne Bailey Rae for a duet on ‘Nothing’s Ever Gonna Be Good Enough’. ‘Don’t Let It Get You Down’, the first track released from the record, is Miles Kane at his very best: energetic, infectious and full of swagger, the track opening with a sample from fellow Wirral alumnus Paul O’Grady. It's an album that best represents Miles himself: charmingly authentic, and like nothing else you'll hear in pop music today.
“This album was born out of an intense period of self-reflection; having all this unexpected time on my hands,” Miles said of the last 18 months. “I wrote songs about big highs, big lows, daydreams, true friends and deep feelings. I learnt to let the future unfold of its own accord, while staying true to myself and that has led to what feels to me like a really uplifting album!”
A record for fans both new and old, ‘Change the Show’ is the Miles Kane album we’ve all been waiting for. The apotheosis of his previous works, incorporating those classic rock and glam influences, but focusing more closely on Motown, soul, and Fifties R&B.

Released via Sony CMG - the first time ever the original demos, which chart the birth of this iconic album, are being released in October 2021. Across 2 LP vinyl set, 'Demodelica' will take fans on the journey of the creation of the album, through demos and work in progress mixes, allowing them an insight into the creative process that went into the finished album. Will also be released on a 16 song CD (and digitally) and will feature liner notes from acclaimed British music journalist and cultural historian Jon Savage. Marketing activity across all media outlets.

For our 4th original release we have a meeting of minds between two of our very close friends, Subb-an and Thoma Bulwer!

Made deep in the green countryside of Devon’s hills, before being adeptly finished off at TB Studios in Hackney Wick, the Devon Hills EP pulls together influences from 90’s tech house and early breaks to bring four driving and groove-laden tracks, functional but with heaps of soul.

The A side comprises two late night Autobahn bangers, rubbery misbehaved basslines and precise chord rhythms made to hypnotise the dance. Devon Hills is the most outspoken of the pair, with a loud chiming hook and an earwigging bleep melody, while DV-07 prefers to remain composed in its rolling bassline and sharp drum programming.

On the flip things go a little deeper with DV8, a padded out and chunky tribal breakbeat track with a deliciously crunchy snare. Closing out the four-track EP, East Wick lightens the mood with a sporadic break and bouncy synth melody, great afters tackle.

In January 2019, at the invitation of fiddler Hans Kjorstad, Alasdair
Roberts travelled from his home in Glasgow, Scotland to Oslo,
Norway, where the two men convened with five additional
Scandinavian musicians at Riksscenen, Oslo’s centre for
Norwegian traditional arts and music. Thus newly-formed, the
group worked on arrangements of songs - self-written and
traditional - from Alasdair’s back catalogue, in preparation for
performances at Riksscenen as well as at ALICE in Copenhagen,
Denmark and the bucolic western Danish island of Fanø. The
group was named Völvur (The Seeresses), a reference to the
ancient Icelandic apocalyptic text Völuspa (The Prophecy of the
Seeress).
In January 2020, Völvur visited England and Scotland, to perform
with Alasdair Roberts at Cecil Sharp House, London and at
Platform, Glasgow, the latter as part of Celtic Connections festival.
The group had new material - freshly written songs by Alasdair
and several traditional Norwegian songs sung by Marthe Lea - and
over a couple days at Sam and Rachel’s Studio in Hackney, laid
down the music which now flows forth as ‘The Old Fabled River’.
The musicians who make up Völvur - Marthe Lea, saxophone,
clarinet and voice, Fredrik Rasten, guitars and voice, Andreas
Hoem Røysum, clarinet, Egil Kalman, bass and electronics, Jan
Martin Gismervik, drums, percussion and the aforementioned
initiator of the project, Hans Kjorstad on fiddle - are a busy and
artistically inquisitive group, involved in a diverse range of projects
with a wide variety of musical interests, from folk and jazz to free
music, modular synthesis, microtonality and beyond. They make
an ideal pairing for such voyages in the alchemical world as
Alasdair pursues in his own music.
On ‘The Old Fabled River’, Alasdair Roberts og Völvur meld their
worlds: fiddle and vocal styles formed in the Norwegian valleys
blending now with exploratory clarinet, saxophone and metallic
bowed guitar drones, now fashioned into baroque folk
arrangements. In one case, instrumental accompaniment is laid
aside, as three voices locate a questing fullness harmonizing
together.

With his debut release for Peckham club and label institution Rhythm Section International, Hackney-raised Jerome Thomas is declaring the dawning of a new age for British soul music.

Jerome’s school was a home filled with non-stop music; whether that was bootleg CDs of Rare Groove from East London’s Sunday markets to late 90s R&B on The Box or family favourites; Marvin Gaye, Curtis Mayfield, Al Green, Chico DeBarge, Jill Scott. He learnt his prodigious vocal craft of ad-libs and harmonies by listening to Brandy’s ‘98 LP ‘Never Say Never’ on repeat.

Working with a live 6 piece band of assorted ages and musical backgrounds from rock to classical jazz, Jerome’s sound is a 180 degree turn from the direction of travel of UK R&B which has trended towards producers tracks made inside the computer. Jerome composes the pieces, then allows space for interaction with his long term musical collaborators. The ‘organic decisions’ open up the scope of his music as they jam and record. The result is a sound that could been made in the 70s, the 90s or the 00s. He’s the new blood of the sophisticated British sound that traces back to artists like Mica Paris, Soul II Soul and Omar.

For Jerome, music has literally been a life saving vessel for self expression. Like 1% of the population, he has a stutter, which disrupts the fluent flow of his speech. The stutter disappears when he sings, freeing his voice as it’s transformed into an instrument. As an introverted, intuitive Pisces, the songwriting process lets him explore and express his internal cosmos; “a lot of my songs are like diary entries addressed to people I haven’t been able to talk to or speaking about desires I am too embarrassed to talk about”. Jerome describes his sound using the acronym FOE, standing for “Freedom of Expression” and “Fusion Of Everything”. His music is a space for him to dissolve boundaries and binaries.

“As soul beings we are all a mixture of masculine and feminine; a mixture of our Mum and our Dad”. His fine falsetto explores a register that can read as masculine or feminine. The romantic story that runs across the two vinyl sides of “That Secret Sauce” is told without specifying a gender point of view. As Jerome says “we all experience the same thing with romantic situations, so I didn’t want to pin it to one side”. Like many of the great soul records, a close listen to “That Secret Sauce” reveals its romantic narrative; from first meeting to sexual infatuation to the dissolution of the affair, the breaking up and the moving forward - keeping your energy clear. It’s a tale as old as time, retold.

‘Bad Time’ is the new EP from Peeping Drexels. The London based 5-piece, who have been together since they were sixteen, have to date released a series of singles on the Permanent Creeps and Fierce Panda labels. This is their first release on BY Records. They've previously received support from the likes of Steve Lamacq, DIY, So Young among others. They've also performed live with artists such as Shame, Goat Girl and Public Practice.

First single, High Heels, sees Peeping Drexels eulogise about white pills and night thrills - anxious overtones abound until the crescendo of guttural angst takes over. "High Heels is a dimly lit journey through the narrow corridors and backrooms of a twisted underground club, all whilst under the influence of an unknown substance. The song is the first taste of Peeping Drexels rebirth; experimental new sounds, broader instrumentation, yet pop music to the bone. A never ending loop of bad-trip fuelled excess, and there is no way to escape."

Prior to lockdown, Peeping Drexels played a Sold Out Parallel Lines headline show at London’s Bermondsey Social Club and ended it with a sold out main support slot for Fat White Family at EartH (Evolutionary Arts Hackney).

The project takes influences from a broad musical spectrum, from the dance vibes of Gary Numan and Mr. Fingers to the intensity of Tyler The Creators' synth-heavy Cherry Bomb and the maximalist work of Kanye West.

Joviale is a multidisciplinary artist from North London making otherworldly, immersive music that plays with “minimal textures, killer interjections and vocals that are equal parts restraint and rage.” (The Times) Looping these high vocals with heady, emotional chords, they weave a screen around the listener, pulling them into chaptered, strangely sweet variations of the artist, divided out across albums, and designed to generate a performative atmosphere, both on stage and through the recording.

For their forthcoming EP Hurricane Belle NEVER SEVEN, spring 2021, Joviale combines warm sensual exposure with a flash of teeth, as the fictional Hurricane Belle whirls onto the scene, an embodiment of the “sense of electric and spiralised chaos” erupting from the artist’s centre. Hurricane Belle is a Champion that was inspired by Peter Shenai’s “Hurricane Bell” experiment, in which he cast brass bells modelled on the five stages of Hurricane Katrina. Industrial, insatiable and metallic, Hurricane Belle is embedded in the album not only through sound, but also through sight; the first single of the project, Blow, will be accompanied by a self-directed video, reflecting Joviale’s increased interest in the visual arts, and in building multisensory experiences. As written in the accompanying prose for the album, “Let yourselves into my breath, my rhythm and my core. Take pleasure in the whiplash of this collection.”

2019 saw the release of the artist’s debut EP Crisis, in which Joviale wielded narrative and storytelling to build a dreamy, silk-wrapped universe across songs such as Dreamboat, and Taste of the Heavens. As with Hurricane Belle, Crisis was created in collaboration with the producer Bullion, and it has been widely supported by press, including interviews in The Face and Coeval, and features in Dazed, Line of Best Fit, Guardian, The Times, Fader, Crack and Clash, among others. The EP also merited radio support from Huw Stephens on BBC Radio 1, Jamz Supernova on BBC 1xtra, Selector FM, Matt Wilkinson on Beats 1, Tom Ravenscroft, Tom Robinson on BBC 6 Music, Dan Alani on Reprezent, and Worldwide FM, among others.
Joviale belongs to a generation of artists with a strong sense of collaborative, interdisciplinary practice. The artist leans into this skill-sharing, research-led community, valuing project-based work that allows for the development of concepts related to visual and sound culture. This is reflected in them having recently directed a video for Laura Groves, as well as running a bi-monthly radio show on NTS over a period of twelve months. They carry a deep interest in the connection between the arts, ecological sciences, and semi-fictive encounters, as well as the wider London scene. In 2019, The Face described Joviale’s sound and aesthetic as “building the London artist a loyal fan base”, an effect that encompasses their involvement in the city’s music circuit; Joviale built a reputation for their live shows before releasing any official music. They have played support shows for artists that include Celeste, Zsela, Kate Tempest, Nilufer Yanya, Babeheaven, Kindness, and Westerman, and, in 2019, Joviale sold out their first headline show at Folklore, Hackney.

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