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(*Previously unreleased)

Telling a tale of house music’s early days or roots without mentioning Tony Humphries as a club DJ, remixer and radio disc jockey would make it an incomplete, forged and most of all a bit of a yawn.
Born in Brooklyn in 1957, Humphries’ musical journey is synonymous with New York City’s dance music history and the evolution from uptempo soul music to house: from being a dancer at David Mancuso’s infamous Loft parties to becoming a mobile DJ and getting the call from Shep Pettibone to become his right hand at
the then new Kiss FM radio station, followed by countless remix offers and a legendary residency at Newark’s Club Zanzibar. Next to that one, is was especially his work as a radio disc jockey for said station during most of the 1980s until 1994 that gave him majestic clout. Breaking new records week in, week out,
putting New Jersey acts like Adeva and Jomanda or countless up-and-coming producers from there on the musical map, while simultaneously playing the hottest imports from Europe, trax from Chicago, dance classics and all things straight from New York’s music factory that never seemed to stop.
Going to his vast and almost complete archive of radio shows from way back when he graced those airwaves, we at Running Back Records have pickedNew Release Information original recordings that symbolize his importance as an industry giant and ambassador of this style of music.
„But one thing I would like to point out is that, as a DJ, the music I play is not my music. I want to make it perfectly clear that it is music that is released, and it’s everyone’s music. I do not take any other credit than being the middle person exposing this music.“
(Tony Humphries in: What Kind of House Party Is This?, Jonathan Fleming, 1996)

(*Previously unreleased)

Telling a tale of house music’s early days or roots without mentioning Tony Humphries as a club DJ, remixer and radio disc jockey would make it an incomplete, forged and most of all a bit of a yawn.
Born in Brooklyn in 1957, Humphries’ musical journey is synonymous with New York City’s dance music history and the evolution from uptempo soul music to house: from being a dancer at David Mancuso’s infamous Loft parties to becoming a mobile DJ and getting the call from Shep Pettibone to become his right hand at
the then new Kiss FM radio station, followed by countless remix offers and a legendary residency at Newark’s Club Zanzibar. Next to that one, is was especially his work as a radio disc jockey for said station during most of the 1980s until 1994 that gave him majestic clout. Breaking new records week in, week out,
putting New Jersey acts like Adeva and Jomanda or countless up-and-coming producers from there on the musical map, while simultaneously playing the hottest imports from Europe, trax from Chicago, dance classics and all things straight from New York’s music factory that never seemed to stop.
Going to his vast and almost complete archive of radio shows from way back when he graced those airwaves, we at Running Back Records have pickedNew Release Information original recordings that symbolize his importance as an industry giant and ambassador of this style of music.
„But one thing I would like to point out is that, as a DJ, the music I play is not my music. I want to make it perfectly clear that it is music that is released, and it’s everyone’s music. I do not take any other credit than being the middle person exposing this music.“
(Tony Humphries in: What Kind of House Party Is This?, Jonathan Fleming, 1996)

(*Previously unreleased)

Telling a tale of house music’s early days or roots without mentioning Tony Humphries as a club DJ, remixer and radio disc jockey would make it an incomplete, forged and most of all a bit of a yawn.
Born in Brooklyn in 1957, Humphries’ musical journey is synonymous with New York City’s dance music history and the evolution from uptempo soul music to house: from being a dancer at David Mancuso’s infamous Loft parties to becoming a mobile DJ and getting the call from Shep Pettibone to become his right hand at
the then new Kiss FM radio station, followed by countless remix offers and a legendary residency at Newark’s Club Zanzibar. Next to that one, is was especially his work as a radio disc jockey for said station during most of the 1980s until 1994 that gave him majestic clout. Breaking new records week in, week out,
putting New Jersey acts like Adeva and Jomanda or countless up-and-coming producers from there on the musical map, while simultaneously playing the hottest imports from Europe, trax from Chicago, dance classics and all things straight from New York’s music factory that never seemed to stop.
Going to his vast and almost complete archive of radio shows from way back when he graced those airwaves, we at Running Back Records have pickedNew Release Information original recordings that symbolize his importance as an industry giant and ambassador of this style of music.
„But one thing I would like to point out is that, as a DJ, the music I play is not my music. I want to make it perfectly clear that it is music that is released, and it’s everyone’s music. I do not take any other credit than being the middle person exposing this music.“
(Tony Humphries in: What Kind of House Party Is This?, Jonathan Fleming, 1996)

The mighty Channel One Studios,Kingston, Jamaica, has its place set in Reggae's Musical History.Its distinctive sound the studio created on opening its doors in 1972 to its closure in the early 1980's made it the Producers, Singers and Musicians studio of choice during this furtive period. Achieving that vibe and clarity, separated it from the other Kingston establishments.

Run by the Hookim Family's four sons, Jo Jo the eldest followed by Paulie, Ernest and Kenneth. Their father originally came from China and married a Chinese Jamaican lady and settled in the St Andrews district before moving to Kingston Town itself. The family business was built on jukeboxes and one armed bandit machines in and around Kingston. A lucrative venture until the gaming laws changed in 1970, outlawing the gaming machines. So the music side of the business would have to be expanded. So it was decided to open a studio to make the music to supply their already established Jukebox enterprise. The four brothers opened Channel One Recording Studios in 1972 at 29 Maxfield Avenue, Kingston 13. Initially as we stated the purpose of the studio was for the brothers use only, but this would soon change when the various Producers all looking for that Channel One sound came asking for studio time.

The brothers had used the services of Bill Garnet a renowned and well respected technical engineer on setting up the studio. They spent a lot of time laying out the space to get the right acoustics and picking the right quipment. They went with a four track API desk and the best quality microphones such as Neuman, Sony and AKG, vital in obtaining the quality sound and track separation that would prove so worthwhile after the music was recorded to give the best flexibility on the final mix downs. Jo Jo would take over the production duties after the initial hiring of Syd Bucknor a producer who had worked closely with Coxonne Dodds Studio 1 stable. The first release on the Channel One label would be 'Don't Give Up The Fight' by Stranger Cole and Gladstone 'Gladdy' Anderson.The initial two thousand run being swallowed up by their Jukebox interests and so the steady flow of hits would run up to the brake through hit of 1975 'Right Time' by  the Mighty Diamonds.

1977 saw Jo Jo extending his stays in New York to a semipermanent status, returning mainly to oversee recording sessions and then taking the results back to America for worldwide distribution. His brother Paulies senseless killing in that year also added to Jo Jo's decision to spend more time with his Hit Bound Manufacturing set up in New York. The Channel One studio would be upgraded in 1979 to sixteen tracks and although Jo Jo and Ernest still covered the mixing and engineering duties Kenneth would now supervise sessions. An often untold part of Channel Ones history is the involvement of Producer Niney The Observer. The mid to late 1970's were heavy times both musically and politically and Maxfield Avenue was in the heart of this crossfire. Some artists and musicians were weary of using the establishment especially when sessions ended late at night and exiting the studio at these times could be somewhat dangerous. But Niney’s fearlessness seen him over running and in many cases running the all night sessions with his trusted set of musicians loosely called The Soul Syndicate. Having the run of the mighty Channel One studio's allowed Niney to build up and work on a stockpile of rhythms that he still has yet to unleash on the world. We have been lucky to select a bunch of material from Niney's vaults for this release. Some great unreleased rhythms and some different cuts to some tracks you might already know. Niney's work with Dennis Brown and his own distinctive heavy roots style productions have been documented and indeed his work on Channel Ones Yellowman releases stand tall also. We hope this fine set of Niney Productions set inside the hollowed walls of Channel One will sit beside them as they so richly deserve.

Erased Tapes are proud to re-issue The Red Book by Penguin Cafe, with an expanded vinyl track list which now includes the CD and digital-only “And Yet…” plus two tracks from the limited-edition Umbrella EP. This new edition will be available on limited translucent vinyl and CD, both with updated art from Studio Torsten Posselt utilising the original drawing from renowned British sculptor and Simon Jeffes’ partner Emily Young.

Penguin Cafe was founded by Arthur Jeffes in 2009, bringing together a talented and disparate group of musicians initially to perform his father Simon Jeffes’ legacy of world-renowned Penguin Cafe Orchestra music, ten years after his untimely death in 1997. Following the release of A Matter of Life shortly after founding, The Red Book was released in 2014 to critical and fan acclaim.

“The name The Red Book comes from the book by Karl Jung of the same name. The book is about, among other things, the way our subconscious interacts with and intrudes into our daily lives. I thought this fitted what we were trying to achieve with the second album quite neatly — namely, exploring musical worlds that are at once both familiar and strange. There is another meaning which is that the main mastered disc you end up with, the one from which all other copies will be made, is called the Red Book Master — so somewhere at some point there will be a disc on which will be written “The Red Book — Red Book Master.”

The tracks on the album all fall on some point along a scale going from gently Apollonian at the one end to perhaps a bit more Dionysian at the other. For our purposes this would be the ‘spacey’ end — with tunes like 1420 and Aurora, and the ‘imaginary folk’ end — with tracks like Odeon, Radio Bemba and Black Hibiscus. The tracks between these extremes are, perhaps with Silent Sun in particular, an attempt to blend these two parts.”

2026 Repress

This 4 tracker is the 2nd outing on the now legendary Evasive Records imprint out of Croydon, South London in the late 90’s and early Noughties. Pyramids sees Evasive label boss Rob Pearson team up with Leonora Epremian (AKA Autonomy) and his regular production partner Lee Humphreys.

Lee Humphreys had set up his new recording studio in Thanham a remote part of the German countryside just under 2 hours outside Munich and was outputting some amazing tracks in his new creative space Tofu Studios. Meanwhile back in London, UK, Rob quickly snapped up 3 of Lee’s tracks for this EP, ‘Rendered’, 'A Big Issue’ and’4 Faze’. At the same time Rob and Lenonora Epremian were working on multiple music projects at Evasive headquarters Online Studios in Croydon and the cut ‘Future Drift’ saw their styles combine to give us the 4th track of this mixed artist EP. Evasive was starting to shape and create its early South London Tech House sound, something that can be heard clearly emanating throughout this 4 track release.

Evolution can be ugly and beautiful, painful and euphoric. An Undying Love For A Burning World is the first new release from Neurosis in a decade, and a potent statement of intent and rebirth - one that marks the first new steps of resolve and resilience.

An Undying Love For A Burning World is an epic album of colossal hypnotism - beautiful, fearsome and utterly compelling in a way that only Neurosis can be. Aaron Turner (Sumac, Isis) joins the band on vocals and guitar, a name whose legacy is intertwined with the band’s own and a true kindred spirit.

“From the moment I first heard Neurosis over 30 years ago, I felt this was the music my heart and mind had been seeking but not yet heard. Now after many years travelling along various musical paths of my own, the singular sound and spirit embodied by Neurosis continues to speak to the depths of my being. It is an honor and a true pleasure to have been welcomed so warmly into a band that not only shaped my perspective on the limitless possibilities of music - but has lived and exemplified the necessity of upholding creative integrity and camaraderie above all else.” - AARON TURNER

Neurosis have never been afraid of change, and here they embrace endless regeneration, surrendering to the emotional exorcism through heaviness and distortion that their music incites. Just as the universe tends towards balance, Neurosis’cacophony of noise, rhythm and dissonance always resolves towards moments of beauty. The addition of Turner's powerful vocals and wildly creative and unhinged approach to guitar proves to be a vital force as Neurosis find themselves again at the mercy of evolution and expression.

On every song in the band’s history, Neurosis shifts restlessly between tension and relief, invoking a feeling both feral and transcendent in listeners. The band describe their songwriting process as an inescapable impulse to create with each other - a need rather than a choice. Indeed, the band insist that their return is “not a reunion - we never broke up.”

The album was recorded by Scott Evans (Kowloon Walled City, Sumac, and Great Falls) at Studio Litho in Seattle during three weekends this winter, and mixed in three days just six weeks before release at Evan's Antisleep Audio in Oakland.

Neurosis will play their first show in seven years on the traditional lands of the Blackfeet Nation in Montana as part of Fire in the Mountains festival by special invitation of Firekeeper Alliance, a non-profit dedicated to reducing youth suicide in Indian Country.

FITM, is a unique festival known for bringing epic music to epic landscapes with the intent of reconnecting and immersing oneself with the natural world, and strengthening our ancestral roots as human beings - an aim which aligns directly with Neurosis’ deep-rooted power.

Strut Records presents a brand new reissue of the 1975 Brian Auger’s Oblivion Express original album Reinforcements. A gem from the later years of the Oblivion Express band, Reinforcements sees Auger evolve from his early ‘70s jazz-rock fusions towards smoother jazz funk sophistication, continuing his journey from the previous year’s Straight Ahead.
With two former Oblivion Express drummers joining Average White Band, there are obvious comparisons to draw as several tracks lean into groove-driven arrangements and polished mid-’70s production.Never one to follow a predictable path, Auger crafts a steadfast, stylish album that captures the evolving sound of the era, offering a rich snapshot of mid-’70s British soul and jazz-funk.

A fan favourite, the album also marks the return of vocalist Alex Ligertwood (later of Santana), whose soulful delivery is a highlight of many Oblivion Express recordings.
He is joined by Jack Mills (guitar), Lennox Langton (percussion), Dave Dowle (drums), and new addition Clive Chaman (bass, flute) – a family affair with their various kids joining for the cover shoot, the full cast adorned in an array of fine mid-‘70s tank tops.

Album highlights include the heavy funk instrumental jam ‘Brain Damage,’ a dynamic, keyboard-driven showcase of Auger’s virtuosity alongside the burning latin jazz workout ‘Something Out of Nothing’ and soaring closer ‘Future Pilot’ taking us from our present day troubles to “thread the skies to a new location.”
‘Big Yin’ is a heartfelt tribute to former drummer Robbie McIntosh following his untimely death. As with all Auger albums, the energy is nothing but positive and soulful – his back cover quote states “May the love you bring to this world be reflected upon you.”
This new Strut reissue of Reinforcements is curated by Greg Boraman of Impressive Collective in collaboration with Brian and Karma Auger. Fully remastered from the original tapes by United Archiving’s Bill Smith, it is presented as a high-quality single LP replica edition.

At the beginning of the 1960s, at the Berklee College of Music, Byard Lancaster met some feisty friends: Sonny Sharrock, Dave Burrell and Ted Daniel. It is easy to see why he rapidly became involved in free jazz. Once he was settled in New York, he appeared on Sunny Murray Quintet, recorded under the leadership of the drum crazy colleague of Albert Ayler.

In 1968, the saxophonist and flutist recorded his first album under his own name: It’s Not Up To Us. The following year he came to Paris in the wake of... Sunny Murray. He would come back to France in 1971 (again with Murray) and in 1973 (without Murray for a change). This is when he met Jef Gilson, the pianist and producer who encouraged him to record under his own name again.

On Palm Records (Gilson’s label), he would release four albums: Us, Mother Africa, Exactement and Funny Funky Rib Crib.

“Funny Funky Rib Crib” is an unforgettable recording (made up of several sessions dating from the middle of 1974) of creative jazz overwhelmed by funk and soul.

If Lancaster had already made successful albums in the same genre – notably New Horizons, under the name Sounds Of Liberation which he co-led with Khan Jamal –, this one is an homage to James Brown and Sammy Davis enjoying the company of a host of guests including François Tusques (electric piano), Clint Jackson III (trumpet), François Nyombo (guitar), Joseph Traindl (trombone)...

Funny Funky Rib Crib’s cover is a three-quarter profile portrait of the saxophonist (who can also be heard on flute, piano and even vocals), however, on the record, it is the whole group, inspired and frenetic, that tests the melodies of “Just Test”, “Dogtown” or “Rib Crib” – the two versions of which display leader Lancaster’s art of nuance. On both sides of the album, the group also moves into a calmer groove, infused by blues and soul, “Work And Pray” and “Loving Kindness” are meditative tracks where listeners can lay back and relax before asking for more: Funny Funky Rib Crib

DYING VICTIMS PRODUCTIONS is proud to present Invoking Terror, the highly anticipated debut mini-album of Ireland’s CUTTHROAT, on CD and 12” vinyl formats. The island of Ireland may not appear often when it comes to underground bands…yet when it does, it strikes hard and swift! Witness CUTTHROAT, the goriest addition yet, who are now delivering their debut mini-album following two demos in 2023 and 2025, respectively. Aptly titled Invoking Terror, this five-song / 25-minute blast of filth & fury delivers violent, thrashing DEATH METAL that worships the underground’s forgotten days of old. For sure, CUTTHROAT may be “new,” but they definitely sound OLD here: think early / best Possessed, Morbid Angel, Merciless, and Necrovore and you’re within the power-trio’s wheelhouse. And no, they don’t intend to reinvent that wheel any time soon; the wheel that is Invoking Terror simply rolls over you – FAST – and the only recourse is to submit and headbang like a fucking maniac or summarily get flattened like the wimp that you are. The modern underground has yet to see such unbridled violence since the glory days of the aforementioned bands, and indeed is that CUTTHROAT’s aim on Invoking Terror. There is no story, no fashion, no trends – this is simply audial torture sent to invoke terror over all who listen

At the beginning of the 1960s, at the Berklee College of Music, Byard Lancaster met some feisty friends: Sonny Sharrock, Dave Burrell and Ted Daniel. It is easy to see why he rapidly became involved in free jazz. Once he was settled in New York, he appeared on Sunny Murray Quintet, recorded under the leadership of the drum crazy colleague of Albert Ayler.

In 1968, the saxophonist and flutist recorded his first album under his own name: It’s Not Up To Us. The following year he came to Paris in the wake of... Sunny Murray. He would come back to France in 1971 (again with Murray) and in 1973 (without Murray for a change). This is when he met Jef Gilson, the pianist and producer who encouraged him to record under his own name again. On Palm Records (Gilson’s label), he would release four albums: Us, Mother Africa, Exactement and Funny Funky Rib Crib.

The recording of “Exactement” required two sessions in the studio: February 1st and May 18th 1974 – in between the two dates, Lancaster recorded, alongside Clint Jackson, the excellent Mother Africa. Two names appear on the cover of “Exactement”: Lancaster (Byard) and Speller (Keno). Byard Lancaster wanted to be precise, moving regularly from one instrument to another: first on piano, which was the first instrument he learned. On “Sweet Evil Miss Kisianga”, his inspiration is first and foremost Coltrane (even if leaning more towards Alice than John), this announces the storm to follow.

It is Lancaster’s horn-playing which really stands out: on alto (the sound of which is transformed by an octavoice on one track, "Dr. Oliver W. Lancaster") or soprano saxophones, as well as on flute or bass clarinet, the musician walks a tightrope making the most of all the risks he takes. Using the full register of his instruments, he has fun with the possibilities.

Then, Lancaster invokes or evokes Ornette Coleman, Eric Dolphy and even Prokofiev, before going into a danse alongside Keno Speller on percussion. Above all, he has a unique sound. Byard Lancaster, on whatever instrument he plays and by continually seeking, always ends up hitting the right note... ends up by playing exactement the note he had to play.

Chet Is back! is the 1962 studio album by the undisputed master of the trumpet, Chet Baker. The album was recorded in Rome, Italy at RCA's studios. Chet is backed by a group of then up-and-coming European jazz musicians, which included Belgian saxophonist Bobby Jaspar, Belgian guitarist Rene Thomas, Italian pianist Amedeo Tommasi, French bassist Benoit Quersin, and Swiss drummer Daniel Humair

Chet Is Back! features compositions by Chet's contemporaries, like Thelonious Monk's "Well, You Needn't", Charlie Parker's "Barbados" and Sonny Rollins' "Pent Up House". The album also includes an original composition by Amedeo Tommasi entitled "Ballata in forma di blues". Although Chet's sweet and tragic vocals are not featured on this album, his soaring and lyrical trumpet playing makes up for it.

Chet Is Back! is available on audiophile black vinyl.

Anthony Hüseyin presents their new album O Geliyor (Making O), in which they return to the rediscovery of their gender, their childhood, and their attachment to Zeki Müren.

Müren is widely regarded as the most important queer exponent in the history of Turkish Art Music (Türk Sanat Müzigi). This genre of music was open to musical hybridism, and Müren himself also included elements of jazz and pop music.
Stylistically, O Geliyor (Making O) is a combination of contemporary discoid electro-pop music, based on Turkish Art Music by Zeki Müren. After successful current re-interpretations of Turkish music styles like neo-Anatolian pop and neo-Arabesk, this album provides a first take on neo-Turkish Art Music.

The album title is referring to the third genderless person pronoun in Turkish called "O", which encompasses all gender possibilities in one word. The album reflects on the memories that haunt us and the indescribable wounds of displacement. Set against the backdrop of Berlin, home to many immigrants and political and queer refugees, it exposes the profound emptiness in a metropolis wishing to imagine itself as a safe haven for the free-spirited, yet always reminding the Other that they don't belong. At the same time, it delivers anthems for the displaced, for the queer migrants who traverse internal and external landscapes in search of a place called home.

Anthony Hüseyin is a non-binary musician and performance artist of Kurdish-Turkish and Arabic descent who works with voice, text, film, dance, and installation. Raised in Urfa in Southeastern Turkey, where they learned traditional local music, they went on to study both classical and jazz singing in Istanbul and Rotterdam. Their works combine the personal and political to explore memory, identity, community, collective consciousness, and the body.

The Diary by Scarface returns to vinyl for the first time since 2014, now expanded to a 2xLP and featuring the never-before-released bonus track “Ease Up Now.” Newly remastered, this definitive edition includes the original 1994 artwork, carefully restored for vinyl by acclaimed designer Mr. Krum. Featuring fan favorites like “No Tears” and “I Seen a Man Die,” this platinum-certified classic is presented with upgraded audio and an expanded format, making it the most comprehensive edition to date.

The Diary by Scarface returns to vinyl for the first time since 2014, now expanded to a 2xLP for the very first time, including a previously unreleased B-Side!
Newly remastered, this definitive edition features the original 1994 artwork, carefully restored for vinyl by acclaimed designer Mr. Krum
Originally released October 18, 1994, The Diary debuted at No. 2 on the Billboard 200 albums chart, marking one of Scarface’s most commercially successful releases.

The Diary by Scarface returns to vinyl for the first time since 2014, now expanded to a 2xLP and featuring the never-before-released bonus track “Ease Up Now.” Newly remastered, this definitive edition includes the original 1994 artwork, carefully restored for vinyl by acclaimed designer Mr. Krum. Featuring fan favorites like “No Tears” and “I Seen a Man Die,” this platinum-certified classic is presented with upgraded audio and an expanded format, making it the most comprehensive edition to date.

The Diary by Scarface returns to vinyl for the first time since 2014, now expanded to a 2xLP for the very first time, including a previously unreleased B-Side!
Newly remastered, this definitive edition features the original 1994 artwork, carefully restored for vinyl by acclaimed designer Mr. Krum
Originally released October 18, 1994, The Diary debuted at No. 2 on the Billboard 200 albums chart, marking one of Scarface’s most commercially successful releases.

Indie Exclusive 2xLP on Opaque Red Vinyl with 8x10 Glossy Insert. Contains Bonus Track "Ease Up Now"

Around 1970, musician, music producer, and entrepreneur Fernando Arias founded the record label Discos Fernando Arias (Difa) in Lima, the capital of Peru. This label was crucial for the musical production, promotion, dissemination, and development of Peruvian tropical music; more specifically, the so-called “carretero style”, so named because it was rooted in the famous Central Highway (Carretera Central) of Peru, which crosses the country from west to east, from the coast to the jungle, through the Andes mountain range. This style is defined by sudden changes from ballad to fast and aggressive tropical music, with electric guitar lines drenched in fuzztone, reverb, and wah-wah. To this must be added the plaintive, melancholic vocal style characteristic of Andean Peruvian music.

Near the end of fifth grade, Eli Edwards’ mom gave him $20 and told him to go find a friend. His team had won its soccer game that day, so they were out celebrating at a local pizza parlor with games. But, more importantly, there had been one other Black kid that day on the pitch in Spanaway, WA, a Tacoma suburb and military-base town at the rainy northwest corner of the United States. That kid just happened to be Xayvien Young. An instant deep connection was formed between Edwards and Young—Eli and Xay, as they prefer to be called were inseparable— and now twelve years later they are the electrifying, boundary-skipping duo Casi.

Along the way, Eli had relocated to Los Angeles with the indie rock band Enumclaw he had helped found, but he found himself flying home maybe a little too much. He was ostensibly visiting his girlfriend, but he spent most of his time with Xay. They cut tracks in every bit of free time they found until they had an epiphany: Maybe this music they’d made together for a dozen years was actually something special. Casi’s 10-track, self-titled debut out on Carpark Records is the electrifying proof they needed.

On the record, they enthusiastically explore every musical interest they have ever had—explosive hip-hop and unbridled hardcore, high-gloss nü metal and a little bit of emo—as a pair. These songs don’t ignore genre lines; they delight in destroying them, in finding ways to slam hip-hop and hardcore, emo and nü metal together until it seems illogical that they were ever apart. Take “Jumper,” where heavy metal guitars and face-kicking drums stir the moshpit for rabid verses about crushing ICE and the lessons you learn riding the poverty line. And take closer “Bridges,” where the melodic imprint of Deftones meets the relentless confessions of Death Grips. Here are the hard, funny, and loud stories of two 23-year-olds, screaming about the world over a breathless composite of all the music they’ve ever loved.

When Eli was in Los Angeles, Xay missed his friend. But in his absence, he also felt the spark of inspiration. Music was something that had just been their childhood hobby, but now Eli was in a rock band that had press accolades and tours. He got serious about the craft. Eli would write about the dislocation and isolation he felt in California, while Xay would document the hardships of being a young Black man with a complicated family while working menial jobs in Spanaway.

This isn’t a coming-of-age album for Casi; it is, instead, a raw and riveting snapshot of that process, painful as it can be. “Eleven87” is a breakup song, a soul beat springing beneath arching emo vocals. And “Intrusive Thoughts” treats that topic like a punching bag, Eli and Xav fighting against the mental habits that keep them down. These 10 songs instantly close that gap.

Composer Vasco Mendonça presents his third album “Third Places”. The album brings together a collection of landmark performances and features some of the leading names in international contemporary music, including countertenor Iestyn Davies, mezzo-soprano Barbara Kozelj, the Porto Casa da Música Symphony Orchestra, the ensemble Het Muziek, and conductors Brad Lubman and Ernest Martínez Izquierdo.

More than just a record, “Third Places” stands as a space for artistic and political reflection on the present. Inspired by Ray Oldenburg’s concept of the ‘third place’ – a space beyond home and work where community life takes place – the album’s title refers to the venues where these works came to life, Casa da Música and the Muziekgebouw aan ’t IJ in Amsterdam: spaces for encounter, dialogue and cultural resistance. For Vasco Mendonça, these spaces symbolise “the ability to elevate the way we communicate with one another and to resist our most primitive and violent impulses”.

The voice lies at the heart of this work. The compositions explore the theatrical, intimate and political dimensions of vocal expression, drawing on texts of great social and emotional weight to create a shared space for listening and questioning the current state of the world.

One of the album’s central works stems from a profound contemporary concern. Inspired by the turbulent political climate in the United States following the 2016 elections and by his discovery of the poetry of Terrance Hayes and Tracy K. Smith, Vasco Mendonça composed a cycle of songs initially conceived for voice and percussion, later transposed for orchestra. The result is described by the composer as “a kind of imaginary American folklore”, where excess, transcendence, fascination and fear coexist.

The album also includes a reworking of material from the opera “Bosch Beach”, created in 2016 to mark the 500th anniversary of the death of Hieronymus Bosch, commissioned by the Dutch foundation Stichting Bosch 500. Based on a libretto by the writer Dimitri Verhulst, the work reflected on the European migration crisis through a scathing portrait of human indifference. In “Third Places”, Mendonça revisits some of this musical material to construct an incisive reflection on contemporary political discourse, transforming the opera’s numbers into archetypes of election campaigns, populism and performative communication.

Straddling contemplation and confrontation, lyricism and political tension, “Third Places” stands as one of the most ambitious recording projects in contemporary Portuguese music, offering an experience that is both aesthetic and critical, where music and thought intersect in a visceral way.

The digital version of the album will include a bonus track, “Marathon”, which explores the analogy between music and long-distance running, creating a piece in which time is transformed through breathing, the heartbeat and the ritualised repetition of movement and the body, in a constant tension between exhaustion and survival.

Orange Splatter vinyl. "Sermon of Mockery" by Pyrexia is not an album that tries to be accessible - it is built to be heavy, direct, and unsettling, and it delivers exactly that. Released in 1993, it sits right in the middle of a key moment when American death metal was evolving into something more technical and extreme. The sound is rooted in the New York scene: tight, compact riffing, constant stop-and-go structures, aggressive drumming, and deep guttural vocals with no room for melody. It's not about speed alone, but about control - everything feels deliberate, almost surgical in how the songs are constructed. Lyrically, the album revolves around a strongly blasphemous and anti-Christian theme. It's not just shock value; it's more like an inverted liturgy, where religious symbols are twisted into something dark and violent. This concept is consistent throughout the music, lyrics, and visuals, as you can see in the booklet. It may not be a mainstream landmark, but it played a key role in shaping the brutal death metal sound that followed. It influenced many underground bands and is still regarded today as a cult record. Listening to it now, the production may feel dated, but that's also part of its strength - it's raw, honest, and uncompromising. In short, it's a record that perfectly captures a specific era and mindset within the genre.

Lifeforce is the 1985 sci-fi horror cult film directed by Tobe Hooper, responsible for the 1974 horror classic The Texas Chain Saw Massacre. Based on Colin Wilson's 1976 novel The Space Vampires, the film is about the remnants of a race of intergalactic vampires who are brought to London, where they soon begin to infect its population.

Legendary composer Henry Mancini has soundtracked this apocalyptic descent into chaos. He is widely regarded as one of the greatest composers in film history exemplified by his impressive trophy wall: he won four Oscars, a Golden Globe, and twenty Grammy Awards, plus a posthumous Grammy Lifetime Achievement Award. He is most famous for "Moon River" performed by Audrey Hepburn in Breakfast at Tiffany's and of course The Pink Panther.

James Horner was first asked to compose the score, but Mancini was brought in instead and crafted a piece of music both bombastic and ambient (and sometimes even atonal), employing the London Symphony Orchestra. Sit back and feel the fear...

The soundtrack of Lifeforce is available as a limited edition of 500 individually numbered copies on purple marble vinyl, and includes a 4-page booklet containing an alternate cover, film stills, and a fold-out movie poster replica.

Precisely one year after Lézire, Crush of Souls is back with his third full-length album.

The musical endeavour of Charles Rowell – active in the indie/punk global scene since 2008 with bands like Crocodiles, Flowers of Evil, Issue – is just like its creator: always cooking up something. Relentlessly.

Now, as it was perceivable by the trajectory undertaken by after his previous LP, Captive Youth leaves goth rock and dark folk aside and head swiftly towards some old school 80’s EBM & 90’s Industrial dance vibe. After all, any album exploring themes of dystopia, politics and sexuality requires a strong rhythm. So how could this new chapter not mention seminal synth-pop and body music classics such as Technique by New Order, Belief by Nitzer Ebb, Towards Thee Infinite Beat by Psychic TV and Pressure Points by Anne Clark?

Forever a displaced soul, Charles’ album number three feels like a revision of Crush Of Souls and also a reanimation of his captive youth spent moving from town to town. The energy of the wandering worker poet. Warehouse basslines, artillery fire backbeats. Romance and melancholy wrapped in barbed wire. All this and more oozes from nine new tracks that inevitably deliver that blurry sexy urban vibe that’s become the project’s trademark.
Features collabo hit single Domination with Sade Sanchez from L.A. Witch.

Nobody knew. Not the crowd packed into Circolo Kessel that Sunday evening, not even the six musicians on stage. When Giardini di Mirò played on March 19, 2023, it was supposed to be just another homecoming show in Cavriago, the kind of night where you play for the people who’ve known you longest. Some were missing from the audience, though: “Our closest friends stayed home to watch the football match tonight,” Jukka quipped from the stage. “But that’s fine, we’ll deal with them tomorrow.” In hindsight, even Juventus fans who celebrated their 1–0 victory over Inter made the wrong choice.

Seventy minutes in, all the instruments converged into a one-chord riff, driven by the drums and punctuated by screaming guitars. A repetitive rhythm that paired brutal volume with hypnotic precision. Even those at the back of the room felt it: that trance-like state where sound becomes physical. Then the wall of sound collapsed. Guitar feedback lingered in the air for a few seconds before fading into nothing.

This was the last sound Giardini di Mirò made. They haven’t played since, and there are no plans to do so again. But in that moment, nobody knew.

The closing song that night was also the opener of their debut full-length, recorded more than two decades earlier. Its title, A New Start, carries an unintended irony the band would likely appreciate. It is also oddly fitting that their final show took place in the same building where they began. Circolo Kessel, previously known as Calamita, served as the band’s rehearsal space for many years. Yet since their rise to becoming one of Europe’s defining post-rock acts, they had never performed a concert there.

In a fortunate coincidence, Markus Mathis – a longtime fan who had recorded several of their shows before – also captured this final concert using two room microphones and a feed from the mixing desk.

Quasi Casa is the complete, unfiltered document of that night: an “official bootleg” spanning over 70 minutes of purely instrumental music, drawing on material from across their entire career, from the earliest releases to Del Tutto Illusorio. It captures, with striking clarity, the intensity that defined the band’s live performances.

Rather than simply uploading the recording and calling it a day, the band chose to assemble a physical release as a parting gift to their fans. The double LP includes a 16-page booklet with extensive liner notes and visual material.

2023 Repress

Dennis Brown has always been cited as Jamaica's favourite singer.
While Bob Marley set out to conquer the world, Dennis's popularity on the island grew with every year.
His most prolific period is said to be with producer Niney the Observer,who led the singer down a more Roots avenue.He put Dennis on some of his heaviest rhythms.
Throwing also into the pot the fact that these rhythms were also to be mixed by the Dubmaster himself King Tubby we are bound to get one of the best Dub albums around.
Here is where the Crown Prince of Reggae Meets Niney the Observer at King Tubbys.
It's from this period that we have focused on and it's these tracks that were taken to King Tubby's studio to produce this stunning album.
Hope you enjoy the set.......






G a7 | COME AGAIN DUB

J b2 | WOLF AND LEOPARDS DUB

As WARNING prepares to release Rituals of Shame - their first new music in twenty years,vocalist/guitarist Patrick Walker is self-effacing about what led to this moment. Over the last two decades he continued to write and release music, satisfied that he had achieved what he set out to do with WARNING. In those intervening years, interest in WARNING swelled, organically gathering an ardent fanbase. In particular, the 2006 album, Watching from a Distance, has gained a cult following. In response to a transformative period in his life, Walker turned towards writing new songs, and it soon became apparent that these belonged to WARNING. In early January 2025, he started with a completely blank canvas, and piece by piece, he started to fill it with ideas that evolved to become the songs that make up Rituals of Shame.

His immersion in the project became a full-time pursuit. After successfully demoing the five songs, Walker retreated to a remote house on a hill outside Florence, Italy, to refine the lyrics. Recording took place at The Arch Studio, a 140-year-old former church in Southport, UK. Chris Fullard (Idles, Sunn O))), Ulver) handled the recording and mixing. Walker's lifelong musical inspirations can be traced through Rituals of Shame. The ambitious structural arrangements harken to Marillion’s complex but soaring episodic songs. They retain a sparsity that is reminiscent of June Tabor’s economic arrangements; thick with melody but with a diaphanous air to them. Citing John Brenner of Revelation as an enduring inspiration, Patrick credits him with introducing the idea of how to infuse heavy music with significant emotional depth. Often reluctant to discuss the minutiae of his lyrics, Walker does acknowledge that making this album was a direct response to the immediate concerns of his current life period. Rituals of Shame also echoes the enduring themes and fixations that have marked most of his work: guilt, shame, personal failure, obsession, longing, and separation, but, most of all, he says, love. Short: WARNING return with Rituals of Shame - the pioneering Doom band's first new music in 20 years! FFO: My Dying Bride, Candlemass, YOB, Black Sabbath, 40 Watt Sun, Pallbearer, Pagan Altar

As WARNING prepares to release Rituals of Shame - their first new music in twenty years,vocalist/guitarist Patrick Walker is self-effacing about what led to this moment. Over the last two decades he continued to write and release music, satisfied that he had achieved what he set out to do with WARNING. In those intervening years, interest in WARNING swelled, organically gathering an ardent fanbase. In particular, the 2006 album, Watching from a Distance, has gained a cult following. In response to a transformative period in his life, Walker turned towards writing new songs, and it soon became apparent that these belonged to WARNING. In early January 2025, he started with a completely blank canvas, and piece by piece, he started to fill it with ideas that evolved to become the songs that make up Rituals of Shame.

His immersion in the project became a full-time pursuit. After successfully demoing the five songs, Walker retreated to a remote house on a hill outside Florence, Italy, to refine the lyrics. Recording took place at The Arch Studio, a 140-year-old former church in Southport, UK. Chris Fullard (Idles, Sunn O))), Ulver) handled the recording and mixing. Walker's lifelong musical inspirations can be traced through Rituals of Shame. The ambitious structural arrangements harken to Marillion’s complex but soaring episodic songs. They retain a sparsity that is reminiscent of June Tabor’s economic arrangements; thick with melody but with a diaphanous air to them. Citing John Brenner of Revelation as an enduring inspiration, Patrick credits him with introducing the idea of how to infuse heavy music with significant emotional depth. Often reluctant to discuss the minutiae of his lyrics, Walker does acknowledge that making this album was a direct response to the immediate concerns of his current life period. Rituals of Shame also echoes the enduring themes and fixations that have marked most of his work: guilt, shame, personal failure, obsession, longing, and separation, but, most of all, he says, love. Short: WARNING return with Rituals of Shame - the pioneering Doom band's first new music in 20 years! FFO: My Dying Bride, Candlemass, YOB, Black Sabbath, 40 Watt Sun, Pallbearer, Pagan Altar

DYING VICTIMS PRODUCTIONS is proud to present the much-needed reissue of BAPTHOMET’S BLOOD’s sophomore album, Second Strike, on vinyl LP and - for the first time - CD formats. Originally released in 2008, the Italians definitely continued in the same vein: rough speeding heavy metal hailing the old goods of NWOBHM and 80s speed metal. Beer drinkers and hell raisers though and through, this one is for the backwards leaning blue-collar metal maniacs. 8 tracks + a cover of German heavy metal cult act Tyrant finished of this Second Strike

Música para Plátanos takes its name — and much of its inspiration — from the group’s recording studio, situated in the heart of a banana plantation on the humid north shore of Tenerife, Canary Islands. The ever-present sight of the green, sun-drenched fields surrounding their weekly sessions seeped directly into the music: improvised jams that are playful, layered, and deeply connected to place.
This release gathers a distilled selection from those sessions — a kind of “greatest rotten hits” distinct from their ongoing Imaginary Island Music volumes.
The album functions as a living archive bringing together a distilled selection of recordings spanning more than five years: from dusty, long-forgotten sessions to evolving tunes that have become staples of the band's live sets but have never before been committed to record. These long-form sessions served as a petri dish for the Lagoss sound, allowing their experiments to putrefy into their chaotic signature strain of cyber-exotica, unstable kosmische or heavily-corroded dub.
The title obvs nods to Brian Eno’s Music for Airports, but the logic is inverted. Instead of clean, ambient drift, the record inhabits a dense and fertile environment: polyrhythmic structures, Latin-infused electronics, and shifting counter-tempos that feel weighted by the local humidity.
Ultimately, Música para Plátanos is as much about the process as it is the place. Like the plantation outside, the music is subject to the elements; the tracks change shape depending on the heat of the day, what we drank, what we ate. It’s an unstable, honest harvest of sound—shaped by the weather and the state(s) of mind alike.

Zero Idea makes a resounding debut on AnalyticTrail with The Rush, a sprawling six-track EP (plus digital bonus) that captures the high-velocity spirit of the modern underground. Following in the footsteps of the label's Neapolitan heritage, this release is a masterclass in tension and groove, blending raw analog energy with sophisticated, peak-time precision.

As AnalyticTrail continues its relentless evolution, The Rush serves as a bridge between the classic warehouse aesthetic and the future of the genre. Zero Idea delivers a versatile toolkit for the dancefloor, further bolstered by two high-profile reinterpretations that elevate the EP into an essential piece of wax for the 2026 season.

The A-side opens with the title track, The Rush, a driving, percussion-led anthem designed for maximum impact. Italian duo Fireground take the reins for the A2, injecting their signature soulful yet industrial flair into a masterful rework, followed by the syncopated, high-energy rhythms of Funk Is Back.
On the flip, On Sight plunges into deeper, hypnotic territory before Mezer The Architect provides a sophisticated, architectural remix that reconstructs the original into a brooding, late-night weapon. The vinyl journey concludes with Body Language, a rhythmic workout of sharp hi-hats and undulating bass, while the digital-exclusive Go Higher offers a final, soaring peak-time moment.

A comprehensive exploration of modern techno, The Rush is a definitive statement from Zero Idea and a powerful addition to the AnalyticTrail legacy.

A standout drummer in the Japanese jazz scene of the 1950s and 1960s, Hideo Shiraki recorded this album in Berlin in 1965. The album, featuring a new arrangement of the classic "Matsuri no Genzo" and the original composition "Alone, Alone and Alone" by the young Terumasa Hino, is now set to be reissued in the "Spin This Now!" series.

Hideo Shiraki (ds)
Terumasa Hino (tp)
Takeshi Muraoka (ts)
Yuzuru Sera (p)
Hachiro Kurita (b)
Kinuko Shirane (koto)
Keiko Nosaka (koto)
Sachiko Miyamoto (koto)

Originally released in 2008 on Ezekiel Honig’s own Anticipate Recordings, Surfaces of a Broken Marching Band finds the artist refining a compositional language rooted in the methodologies of musique concrete, ambient, and beat research. Working from a palette of environmental recordings, instrumental fragments, and soft electronic treatments, Honig pushes the source material into an array of sympathetic forms ranging from pillow-soft, lowercase ambient to diffuse downtempo and minimal house. For its reissue on Keplar, the album has been remastered by Kassian Troyer (D&M), bringing a new clarity to its intricate, low-lit architectures.

Throughout the record, serving almost as audiographic guideposts, are faint but insistent gestures toward propulsion, an abiding and recurrent 4/4 pulse that guides the music laterally and instantiates a slow negotiation between its various elements. This music invites close listening precisely by not revealing itself all at once, allowing small collisions of timbre and subtle shifts in emphasis to carry the weight. The traces of lived environments that remain embedded in the mix - distant crowds, sounds of transit, the indistinct acoustics of interiors in flux - expand the frame without breaking its intimacy, creating a potent dislocation between the nearness of the sound and the scale of its sources.

Rather than foregrounding any single voice, this is music that distributes attention equally across its materials, allowing background details to assert their presence as much as melody or rhythm. Honig presents listeners with an astute practice that’s concerned less with building from the ground up than with uncovering what happens when disparate textures and structures are brought into close contact with one another. (Alex Cobb, 2026)

Daybreakers head to Chicago for this one, bringing back How Bad I Want Ya from Soul Element, aka Stacy Kidd, alongside Peven Everett. This record is a true representation of the city — Stacy’s deep approach to house music and Peven’s unmistakable voice up front. It carries that raw, direct energy that defines a lot of their best work.

How Bad I Want Ya has been around for a while now, one of those records that stayed in bags and never really disappeared. It’s a proper slice of deep house with a vocal that stays in your head.

The original keeps things direct and deep. No excess, just a track that does what it needs to do on the floor.

On the B side, Glenn Underground steps in with the Peak True Time Mix, stretching things out and adds some percussion and an infectious bassline. It’s a proper GU remix — longer and patient, while keeping that Chicago swing intact.

Two sides of the same city, done properly.

House that was always deep.

Buy or cry.

Repress

A certified deep house classic makes a comeback! Originally released in 2002, this significant collaboration between Lo.Motion (Gavin Belton of The Littlemen) and Jay Cowley (Toka Project) is finally available again on vinyl. With releases on Drop Music and Tilted Music, this duo provides a masterclass in timeless production that remains relevant and fresh 24 years later. Original copies are highly sought after and in limited supply, so don't miss out—grab a new copy while you can.

Hayter steps up on Hilltown Disco with a razor-sharp vinyl release steeped in acid-tinged electro-wave. A core member of the Clear Memory crew, Hayter has left marks on KRI Records, Clear Memory and a run of self-released EPs, plus a standout contribution to Hilltown Disco’s charity compilation.

This record delivers six original tracks driven by icy electro vocals, machine-funk rhythms and a distinctly intelligent, shadow-leaning mood. Dark, forward-thinking and unapologetic —this is electro for the future.

Mastered by Alden Tyrell.

Limited to 300 vinyl.

Stereoblaster launches its journey with a powerful Various Artists release.

More than a compilation, this project defines the sonic identity of the label — blending deep, minimal and acid influences into a cohesive club-driven experience.

Each artist brings a unique perspective, contributing to a shared vision rooted in underground culture and forward momentum.

This is Stereoblaster.
A sound explosion.

Sam Cooke, inventor and true King of Soul, recorded Mr. Soul in 1963, the same year as Night Beat, and seems to be its more adult counterpart, with soulful ballads taking up most of the album. A laidback tempo and rich arrangements lay the foundation for Sam's somewhat melancholy voice floats, creating an uplifting spirit that can mend anyone's broken heart.

With standards such as "Willow Weep For Me", "I Wish You Love", and "For Sentimental Reasons", Cooke shows a quiet emotive side of himself without losing his keen sense of melody, using the strength of his voice without overpowering the listener. Had Sam Cooke lived longer, we might have had more music of this rare quality. As it stands, we must make do with the treasures he left behind.

Mr. Soul is available as a limited edition of 1000 individually numbered copies on orange vinyl.

Originally released in 1981 on the New Jersey-based Debbie Label, Sweet Magic is the one and only album by Lee McDonald. Produced by Ron Foster -
best known as a member of Ecstasy, Passion & Pain—the album is widely regarded as a standout modern soul classic, covering everything from uplifting
Philly-style dancers to sweet and mellow slow jams.

The album also features superb arrangements that update well-known classics into vibrant Philly soul, including The Carpenters’ smash hit “We’ve Only Just
Begun” and Ecstasy, Passion & Pain’s “I’ll Do Anything For You.” This reissue is pressed on limited yellow-colored vinyl inspired by the album’s iconic
illustrated sleeve, long cherished by rare groove collectors.

Die vollständigen originalen Studioaufnahmen des aus San Diego stammenden, über Boston geformten Alternative-Trios - remastert, restauriert und in einem opulenten Boxset vereint. Wait A Lifetime versammelt die unvergleichlichen Alben der Band Junk und This Afternoon Malady sowie R.I.P., erweitert um ihr unvollendetes drittes Album, Singles, Split-Veröffentlichungen und Beiträge zu Compilations. Das begleitende 68-seitige Booklet zeichnet die gesamte Geschichte anhand eines Essays von Nina Cocoran und Dutzender zeitgenössischer Fotos nach. Alles ist untergebracht in einer beeindruckenden, kaschierten und lackierten Box. Sink in die Erde - und flieg.

Die vollständigen originalen Studioaufnahmen des aus San Diego stammenden, über Boston geformten Alternative-Trios - remastert, restauriert und in einem opulenten Boxset vereint. Wait A Lifetime versammelt die unvergleichlichen Alben der Band Junk und This Afternoon Malady sowie R.I.P., erweitert um ihr unvollendetes drittes Album, Singles, Split-Veröffentlichungen und Beiträge zu Compilations.Das begleitende 68-seitige Booklet zeichnet die gesamte Geschichte anhand eines Essays von Nina Cocoran und Dutzender zeitgenössischer Fotos nach. Alles ist untergebracht in einer beeindruckenden, kaschierten und lackierten Box.Sink in die Erde - und flieg.

Strut presents the second studio album from Brian Auger’s Oblivion Express and a firm favourite with Auger aficionados, the “little known masterpiece” A Better Land from 1971. Marking a clear evolution from their more jazz-rock leaning debut, the band shifts into a mellower direction on these tracks, echoing the feel of Befour released in the Trinity's later years. A Better Land embraces warmer, more melodic and understated compositions, primarily written by guitarist Jim Mullen. With its languid and spacious approach, the album brings an grounded message to make the most of the simple pleasures in life with a hopeful, but wary, eye to the future. Musically, Auger brings acoustic guitars, country rock melodies and three-part vocal harmonies into his musical palette. Key tracks include the groove-driven title track ‘A Better Land’, the sparse ‘Dawn of Another Day,’ (sampled by Air and Black Milk among others) while ‘Fill Your Head With Laughter’ returns to Auger's trademark driving Hammond-led sound, akin to early Traffic.

The record features the Brian Auger’s unique sound on organ and electric piano, joined by Jim Mullen on guitar, Barry Dean on bass and Robbie McIntosh on drums and percussion, with Auger, Mullen and Dean all contributing vocals. Mullen co-wrote seven of the album’s nine tracks, with additional contributions from Alan Gorrie (later of Average White Band). These songwriters should take immense pride in their work as Auger’s favourite singer of all time, Sarah Vaughan, recognised the quality of these compositions by covering three of them; ‘Trouble’, ‘On “Thinking It Over’, and ‘Tomorrow City’ for her 1972 album A Time in My Life. This new official Strut reissue is curated by Greg Boraman of Impressive Collective in collaboration with Brian and Karma Auger. Fully remastered by Cosmic Audio, it is presented as a high-quality single LP replica edition.

Tum Tum Tum is the eighth album from London-based Brazilian artist Marcelo Frota aka MOMO., featuring guest appearances from Brazilian bossa nova legend Marcos Valle and Smoke City's Nina Miranda as well as UK jazz trombonist Rosie Turton and his tight-knit band, all recorded in South London This is a free-flowing, warm, expansive and fully assured album, and exudes a playfulness and a sense of someone who is truly in their element and at peace when writing and recording.