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Spider-Man is an established worldwide cultural phenomenon and this movie is already breaking records and exceeding all expectations - Spider-Man: No Way Home is set to be the film of 2021. The thrilling soundtrack by Oscar® and GRAMMY® winning composer, Michael Giacchino, contains the infamous Spider-Man theme, beloved of fans, alongside other popular melodies from the wide-ranging MCU/Spider-Man universe.

Dengue Fever on Vinyl! This Deluxe Reissue contains 5 bonus tracks not
availble on the original release / w download
Fronted by amazing vocalist Chhom Nimol, Dengue Fever has surprisingly
universal appeal - Chhom herself is already quite accustomed to seizing the
hearts of listeners (including the King and Queen of Cambodia), as she comes
from a family best considered as a Cambodia pop music dynasty– not unlike a
Cambodian version of the Jacksons. The rest of the band is no flake-fest either,
consisting of Zac Holtzman (Dieselhed) and his brother Ethan on Farfisa organ,
Senon Williams (Radar Brothers), David Ralicke (Beck) and seasoned drummer/
engineer Paul Smith. Their covers stay remarkably true to the crazy party music
spirit of the '60s- and '70s-era originals. But there are also original songs, some of
which veer off into the darkened corridors of lost love and ghostly noir
romanticism, dissolving sometimes into spaces of genuine bleakness and
tragedy — all in the Khmer tongue. Far from mere novelty or cheap Orientophile
thrill, Dengue Fever keeps listeners on their toes, dancing to their way-out tones.
The Deluxe Reissue contains 5 bonus tracks not availble on the original release.

- The complete 1967 Film Score by Akira Ifukube - "Element X" Radioactive Green Colored Vinyl - New artwork by Ross Murray - 12" x 12" Art Print - Heavyweight Gatefold Packaging with Matte Finish // Prepare to plunge into panic with Waxwork Records' release of KING KONG ESCAPES Original Motion Picture Score by Akira Ifukube (Godzilla, Mothra vs. Godzilla, War of the Gargantuas, & more) Directed by the king of kaiju, Ishiro Honda, KING KONG ESCAPES follows evil genius, Dr. Hu, on his mission to manipulate Kong into retrieving radioactive Element X from the North Pole. The film stars Rhodes Reason, Linda Miller, Mie Hama, & Akira Takarada. Waxwork Records is honored to release the complete original film score by Akira Ifukube (Godzilla 1954, Mothra Vs. Godzilla, Destroy All Monsters, and many others) as a deluxe vinyl album officially for the first time outside of Japan. Enjoy the dynamic orchestrations that range from tranquility to combat as King Kong fights monsters and the wicked influence of Dr. Hu. We are thrilled to present the official King Kong Escapes score with 180 gram "Element X" colored vinyl, deluxe packaging, new artwork by Ross Murray, heavyweight gatefold jackets with matte coating, a 12"x12" art print, and more!

Collaborating once again with legendary composer Yuzo Koshiro, Data Discs is thrilled to present one of the most revered and timeless soundtracks of the 16bit era: The Revenge of Shinobi. Composed in 1989, the music for the Mega Drive game (known as The Super Shinobi in Japan) blended Western dance music with Japanese overtones, to create something truly unlike anything else before. The soundtrack was Koshiro's first commissioned work for SEGA and served as a forerunner to his seminal Streets of Rage trilogy, where the concepts and styles he founded with Shinobi would be expanded upon to astonishing effect. Koshiro's work on The Revenge of Shinobi remains a testament to the ingenuity of early game composers who, when given enough creative freedom, found the means of drawing new and unexpected sounds from extremely limited hardware.

The Revenge of Shinobi is presented as a 180g bone coloured LP, cut at 45rpm and packaged in a 425gsm outer sleeve, with heavyweight inner sleeve and double-sided lithographic print, featuring original artwork sourced from the SEGA archives in Japan. The release also includes exclusive liner notes written by Koshiro himself.

Deadletter release their new 7” single, ‘Pop
Culture Connoisseur’. Hailing from Yorkshire, the
now South London rooted band channel the droll
fury of The Fall and the lopsided rhythms of Talking
Heads into a strain of danceable post-punk,
exploring the darker side of existence through a
ens of narrative-driven levity.



Previously supporting the likes of Squid, Viagra
Boys and Pip Blom, Deadletter have emerged as a
genuinely thrilling live prospect. Experts in the field
of intensity, the band seamlessly switch from
conversational verses into a mix of unadulterated
post-punk fury and irresistible rhythm, addressing
hemes such as bureaucracy, loss of personal
dentity and modern-day consumerism.

New single, ‘Pop Culture Connoisseur’, produced
by Theo Verney (TRAAMS, Lazarus Kane, FEET),
finds singer and frontman Zac Lawrence switching
from the overt politicism of previous releases into a
more tongue-in-cheek narrative centred around the
case of PC Read, a police officer fired for stealing
doughnuts through a self-service checkout. In
addition to providing a case study into the fashion
hose in positions of authority often consider
hemselves above the law, the track also aims to
comment at the manner modern morality so often
relates to PR optics, as the cultural trope of law
enforcement eating doughnuts is played out in real
ime.

Belgian Metal frontrunners EVIL INVADERS are ready to unleash their third album, Shattering Reflection, on April 1, 2022 via Napalm Records! It took the band almost five years to craft a new record and it has been undoubtably worth the wait. EVIL INVADERS have found the perfect balance between fast, mid and slow tempo songs focusing on strong choruses, touching lyrics and even some progressive touches that will grab every Heavy Metal fan by the throat and screaming for more! EVIL INVADERS’s Shattering Reflection is promising to be a game-changer for the Belgian 4-piece as the band seems to have found their own formula to turn Heavy Metal into another extreme direction. Shattering Reflection takes off with a fast Heavy Metal banger “Hissing in Crescendo”, followed by the epic anthem “Die For Me”, already destined to become an EVIL INVADERS’s all-time classic. A calmer side is explored on tracks like mid-tempo opus ”Forgotten Memories“, creating a dense, heavy wall of sound with piercing vocals and ditto lyrics underlined by guitar solo virtuosity. That thrilling epos stands in line with “In Deepest Black”, which showcases even more how the band has managed to craft a pure classic Heavy Metal anthem with melodic guitar lines and catchy choruses, creeping relentlessly into the listener’s head. It also proves how Joe has matured as his vocals have entered a whole new dimension, both in the high and the low ranges. On the contrary, ”Sledgehammer Justice“ is a furious outburst of classic Thrash/Speed Metal in which the Belgian quartet goes full throttle with hammering rhythms and guitar solo madness! Another album highlight is the dark opus ”The Circle“, creating a horrifying atmosphere with stomping drums and excellent guitar lines. Fans of King Diamond will definitely dig this one! Throughout the album the band manages to keep the balance between fast Extreme Heavy Metal with sharp shredding and mosh-worthy tracks, as well as very melodic, more intense and chorus-oriented midtempo anthems. Shattering Reflection has turned out to be a monster of an album that will prove that in a new generation of Metal bands, EVIL INVADERS have been able to develop and mature record after record, just like the great classics did in the good old days. You will want to hear this record and also find out how EVIL INVADERS will deliver this masterpiece live on stage! credits

24 Songs. A new project from The Wedding Present. A new 7” single every month throughout 2022. 24 Songs sees David Gedge writing with legendary Sleeper guitarist Jon Stewart for the first time, and a more perfect union could not have been predicted. The notion of a monthly 7” single is not new to The Wedding Present, but 24 Songs shows us that even classic concepts can be reinvented. The series also continues the band’s association with photographer Jessica McMillan, who has created stunning images and films as a visual accompaniment to the recordings.Explaining 24 Songs, David Gedge said: “In 1991, The Wedding Present were rehearsing in a studio in Yorkshire when we hit upon an idea that immediately thrilled us all. Our bass player Keith Gregory had been a member of the ‘Sub Pop Singles Club’ - a service that allowed subscribers to receive 7”s released by that Seattle label on a monthly basis. Keith wondered if we, as a band, could attempt a similar thing. In that instant, The Wedding Present’s Hit Parade series was born and, during 1992, we managed to release a brand new 7” single each and every month. “The Hit Parade went on to become something of a significant milestone in the history of the band and it’s a project about which I’m often asked. As its thirtieth anniversary approached, I began to wonder if we should celebrate it in some way. A ‘Hit Parade Part 2’ didn’t feel quite right, though. Then, someone said to me: “Other bands have released music in similar ways but there has been nothing like the Hit Parade.” And they were right! A 7” single a month seems, somehow, very ‘Wedding Present’. So, inspired by that little idea from three decades ago, we’ve embarked on this new project, 24 Songs. “Even though The Wedding Present have never been known for taking the easy route, the idea of recording 24 tracks and releasing them in this way could seem daunting to any band. However, I’ve been inspired by the music that has been written since Jon and Melanie joined the group. The thought of celebrating this exciting new line-up with an exciting new series has motivated us all… and I suppose we also didn’t want any of these songs to be hidden away in the middle of an album!”

Straight from the melting pot of Berlin, Luca Musto serves up a solid and fresh house dish in his first album on Moodfamily.

The songs stretch the imagination and touch the borders of hip hop and electronic beats. He intertwines his own musical journey with the sounds of his hometown. It is also the attempt at a new genre by blending hip hop elements with electronic music to create something unique.

This funky fusion expresses itself in three original tracks. “What We Witness” introduces us into the rhythmic exploration of the record. It adds some spicy P-Funk vibes and blurs your senses with drowsy horns, served on a velvet platter. "Toledo" - the first single of the EP - gives a thrilling continuation to the EP. This one is sure to cause a ruckus on the dance floor. Finally, “Keep Rollin” further defines the genre-blending character of this project, and gives a slight nod to the West coast of the US.


Xinobi (Lisbon, Portugal / Discotexas) and Mosley Jr. (Gent, Belgium / Moodfamily) deliver some exciting remixes to the EP, both with their unique signature spin.

- “This shit’s gonna break the rules.



Early support from Support Super Flu, Audiofly, Acid Pauli, Florian Rietze, Maxim Lany, Be Svendsen, Maga, Iorie, Stavroz, Paco Osuna, …

A masterful mix of timeless American soul with vintage 1970s African samples in a most rewarding way – musical traveler Eamon teams with production duo Likeminds for No Matter The Season, his second album for Now-Again. “I’ve been singing since I was a tike, promoters used to call me ‘the boy wonder’, but with this record it felt new, almost like I was singing every note as if my life depended on it,” says Eamon from his home in Southern California, a far cry from his native Staten Island, New York City. But you wouldn’t know his birthplace from the way he sings, especially on No Matter The Season, where Eamon put a new spin on vintage samples from the Now-Again catalog, crafting beats from various African rhythms such as Amanaz’s Zamrock, the Hygrades Nigerian funk, and Ayalew Mesfin’s Ethiopian tezetas. Shortly after the release of his last Now-Again project, Captive Thoughts, he began working with the production duo on two original compositions that appear on No Matter The Season. But as time went on, he came upon the idea of completing the album by sending the duo samples from the Now-Again catalog to work with. Which were expanded upon with a multitude of live instruments. “There was something special about combing through the African records at Now-Again,” Eamon reflects. “I had never heard the variety of funk and soul that existed in places like Lagos and Addis Ababa, it was like a history lesson in Rhythm & Blues. I was hearing the godfathers of the movement here in the US. I wanted to pay my respect to that lineage. Since singing in my father’s doo-wop group as a kid, I’ve always used music from the past to create and express something new in the present. But to be able to do that across continents and get back to the roots…that was really impactful for me.” Likeminds, helmed by Chris Soper and Jesse Singer, two East Coast transplants to LA who are as comfortable chopping up samples on an MPC as they are playing classic instruments, using vintage microphones, or recording to tape, offer up what could be described as a West Coast spin on the revivalist soul sound championed by Daptone Records. “For sure, the album is soaked in an old school feel, but to still tap into the depths of my soul today is always the end goal,” Eamon states. All but two tracks are based on Now-Again samples, using the classic rhythms as accompaniment to showcase Eamon’s emotional singing style that is still as honest and raw as when he was a 16, singing about heartbreak. The end result, No Matter the Season, is a celebration of the musical relationship between Africa and America and the thrilling soul music that relationship has spawned since the 60s and 70s. “My hope is people know that I’m not leaving anything on the table in this chapter of my career,” Eamon reflects. “Only thing I can do is pour my heart out on every single line. Even though I’m writing and screaming to the heavens about my joy, my pain, my love…these are songs for everyone, everywhere, anytime. You’re gonna walk away feeling something. This is why I titled the album No Matter The Season.”

Ben Ritz has released EPs on Sweat Equity and Merge Layers. He's not afraid of the high bpms, but this isn't all blender no tender. This is futuristic, hard yet funky techno that is undeniably for the freaks. Find him in NYC or on his vinyl debut right here.

A1 "Up And Down" opens up with an ear-worm, repetitive melody that bangs and jacks with the hard kick and hi-hats. Freakish manipulation of the melody, tasteful breakdown and build-up, and a good dose of space throughout the track make this an undeniable sweat-dripper, trippy chugger. A2 "Do Make Me Strange" has a similarly catchy diddy that undulates around the drums. Restraint is the key here. Hard but funky, with distorted and drippy acidic takes on the main simplistic melodic line--this is a cerebral come-up, cooling your sweaty skin and leading your body to the nooks and crannies of the Hyper Groove.

The title track "Easily Disturbed" opens up the B side by ushering in the mood of the later hours. This is titillating, popping, syncopated, subtle, but still raucous techno right here. Perfect for mid-peak and when you're in your head, sending forces of rave rhythm telepathically to the rest of the dance floor. "Crystalline" closes out the EP with a boom and bang. Hypnosis overcomes. The ego-death has won out against your anxieties. This is music for the thrill-seekers of metropolitan dystopias worldwide...executed with nuance and style.

Once again it is an incredible honour to license music from Soul Blues legend Roy Roberts, the picks on offer this time are LOVE ON THE LINE, which was recorded last year - this
one hits the Southern Soul sweet spot for us and we are naturally thrilled to present it on vinyl.

On the flip is dreamy stepper YOU AND ME TOGETHER, taken from the revered LP ‘Country Star’ which also gained a 7” release on Roy’s House of Roton label in 1977.

Limited Edition of 300 copies.

With ‘Love on My Mind’ - the six-song mini-album, mixed by Claudius
Mittendorfer (Tennis, Parquet Courts, Johnny Marr) - Bambara condense all the energy and darkness that have made them so compelling and rearrange it into something defiantly new.

Opening track, ‘Slither in the Rain’, all hissing high-hat and spectral
synthlines, is a true statement of intent. It’s minimal and atmospheric,
foregrounding Bateh’s raw vocals as he introduces one of ‘Love on My Mind’s main characters years after the events of the album are over, a lonely man who throws bottles at airplanes and dances a two-step in the pattern of a figure-8. While Bateh has always been adept at character sketches, tracks like ‘Slither’ introduce a newfound vulnerability that runs true through the entire album and cause the songs to hit on a more human level.

Similarly, ‘Point And Shoot’ - in which each stanza describes the louche, lawless scenes of “rooftop girls / standing shoulder-to-shoulder, naked figures with their hips / cocked,” busted up jaws, and couches full of burnholes captured by the snapshots of ‘Love on My Mind’s female lead - displays an autobiographical intimacy that is not as apparent in Bambara’s previous releases. This tenderness is echoed on ‘Birds’, a rare love song (from which the EP’s title is derived), and album closer ‘Little Wars’, a gripping finale of loneliness and isolation.

But while these songs may display a softer side of Bambara, it’s important to note that they haven’t lost the thrill of what attracted so many people to them in the first place. ‘Mythic Love’ (featuring vocals from Bria Salmena), with its driving bassline and ricocheting guitar lines, brings to mind past rave-ups like ‘Serafina’ and ‘Sunbleached Skulls’ but obliterates them in the process, while ‘Feelin’ Like A Funeral’ - a dangerously oscillating tale of a city knifing - is probably the most thrillingly anthemic song the band have ever recorded.

Taken together, ‘Love on My Mind’ amounts to another massive step forward for Bambara - the boldest thing they’ve ever done - and the sound of yet another breakthrough.
“Engrossing, dark and irresistible… an adventurous group, who just keep getting better all the time.” - CLASH
“Never anything less than captivating.” - Upset
“What Athens, Georgia bunch Bambara do, they do very well… the trio’s commitment to the dark side is never in question.” - DIY
“Bambara are ice cold and sharp as a knife’s edge.” - Loud & Quiet
“Brooklyn based doom-mongers delight… the trio go further than most in their quest to rattle.” - Q (4/5)
For fans of Daughters, Protomartyr, IDLES, King Krule, Ice Age.

First vinyl pressing is Limited to 1500 copies in 2 Colour variants. Transparent Aquamarine and green twisted stripe and transparent blue and cherry twisted stripe vinyl (Indies Only). Gatefold sleeve. Full download included as well. CD package is a 4 panel digipack, with a 4 page booklet. New Heavy Sounds is proud to present the new album by Mammoth Weed Wizard Bastard. now known simply as MWWB. There has been some speculation amongst fan circles that the final part of the trilogy of albums that preceded this, marked the end of Mammoth Weed Wizard Bastard’s five-year mission. Not so. We can categorically confirm that having officially slimmed their name down to the acronym, MWWB are continuing their voyage through the far reaches of the galaxy. The first phase of that journey is their new album ‘The Harvest’. ‘The Harvest’ is the band’s fourth album, and of course it is a record shot through with the trademark heavy MWWB sound, and their unique blend of metal and shoegaze. However it also sees the band adding more experimentation, a progressive approach, and going a bit more left field conceptually. To some extent, it shares similarities with Pink Floyd’s ‘Dark Side Of The Moon’. Not only by having the mix of experimentation and melodicism as that seminal record, but also in the way that it has been engineered and constructed as a seamless piece. Nine tracks flowing into one another. Space age riff monsters segueing into shorter musical interludes, where John Carpenter, rubs shoulders with Pink Floyd and a maelstrom of moog and mellotron. There are surprises, and of course a bucketload of heavy shit. With ‘The Harvest’ MWWB have refined and honed their sound, it’s a carefully crafted distillation of ideas, written, conceived and sequenced to be listened to in its entirety (preferably in one sitting). MWWB have always loved film scores and this new album is in many ways, the soundtrack to a film. MWWB provides the musical narrative (the song titles also provide a pointer) and the listener's imagination does the rest. ‘Oblok Magellana’ and its spooky atmospherics set the scene. before things really kick in with the riffs of title track ‘The Harvest’. A grooving Sabbathian chug intro’s Jessica Ball, who at the top of her game throughout. Her voice simultaneously sweet yet dark; almost neofolk; which when put against those riffs, is always a startling juxtaposition, nevertheless it perfectly crystallises MWWB’s distinctive dynamic. ‘Interstellar Wrecking’ is a succinctly crafted nugget of John Carpenter-esque drama, you can imagine the thundering mothership forging its way through the universe on some nameless quest before encountering ‘Logic Bomb’ and its fat fuzzed-up ride through light and shade guitar/vocal interplay. Ball’s voice soaring and shimmering throughout. ‘Betrayal’ gives a nod to Pink Floyd’s ‘On The Run’ but with its freaky spoken word and four on the floor kick it’s almost a dance track, yet there’s no incongruity here. ‘Altamira’ is epic MWWB, adding large doses of psych into a melodic concoction of dreampop and metal. Ball’s vocals here are many layered and textured effortlessly gliding through the weight of the backing. ‘Let’s Send The Bastards Whence They Came’ is another little gem. A plaintive repeating synth figure that builds with bass, drums, mellotrons and synths into ‘Strontium’ which rounds off the album’s ‘heavy’ numbers, a blend of monster grooves, and Ball’s swooning vocals. Finally, and outstandingly, Jessica strips things back to a distorted guitar and voice on ‘Moonrise’. Shorn of the layers of fuzz, it is a simple, beautiful and fitting catharsis to an epic voyage. MWWB are a thrilling proposition. They demonstrate that you can seamlessly mix crushing power, experimentation and delicate vulnerability into something that transcends any genre. MWWB are Jessica Ball, vocals and synths. Paul Michael Davies, guitar and synths. Stuart Sinclair, bass and Dom McCready, drums.

First vinyl pressing is Limited to 1500 copies in 2 Colour variants. Transparent Aquamarine and green twisted stripe and transparent blue and cherry twisted stripe vinyl (Indies Only). Gatefold sleeve. Full download included as well. CD package is a 4 panel digipack, with a 4 page booklet. New Heavy Sounds is proud to present the new album by Mammoth Weed Wizard Bastard. now known simply as MWWB. There has been some speculation amongst fan circles that the final part of the trilogy of albums that preceded this, marked the end of Mammoth Weed Wizard Bastard’s five-year mission. Not so. We can categorically confirm that having officially slimmed their name down to the acronym, MWWB are continuing their voyage through the far reaches of the galaxy. The first phase of that journey is their new album ‘The Harvest’. ‘The Harvest’ is the band’s fourth album, and of course it is a record shot through with the trademark heavy MWWB sound, and their unique blend of metal and shoegaze. However it also sees the band adding more experimentation, a progressive approach, and going a bit more left field conceptually. To some extent, it shares similarities with Pink Floyd’s ‘Dark Side Of The Moon’. Not only by having the mix of experimentation and melodicism as that seminal record, but also in the way that it has been engineered and constructed as a seamless piece. Nine tracks flowing into one another. Space age riff monsters segueing into shorter musical interludes, where John Carpenter, rubs shoulders with Pink Floyd and a maelstrom of moog and mellotron. There are surprises, and of course a bucketload of heavy shit. With ‘The Harvest’ MWWB have refined and honed their sound, it’s a carefully crafted distillation of ideas, written, conceived and sequenced to be listened to in its entirety (preferably in one sitting). MWWB have always loved film scores and this new album is in many ways, the soundtrack to a film. MWWB provides the musical narrative (the song titles also provide a pointer) and the listener's imagination does the rest. ‘Oblok Magellana’ and its spooky atmospherics set the scene. before things really kick in with the riffs of title track ‘The Harvest’. A grooving Sabbathian chug intro’s Jessica Ball, who at the top of her game throughout. Her voice simultaneously sweet yet dark; almost neofolk; which when put against those riffs, is always a startling juxtaposition, nevertheless it perfectly crystallises MWWB’s distinctive dynamic. ‘Interstellar Wrecking’ is a succinctly crafted nugget of John Carpenter-esque drama, you can imagine the thundering mothership forging its way through the universe on some nameless quest before encountering ‘Logic Bomb’ and its fat fuzzed-up ride through light and shade guitar/vocal interplay. Ball’s voice soaring and shimmering throughout. ‘Betrayal’ gives a nod to Pink Floyd’s ‘On The Run’ but with its freaky spoken word and four on the floor kick it’s almost a dance track, yet there’s no incongruity here. ‘Altamira’ is epic MWWB, adding large doses of psych into a melodic concoction of dreampop and metal. Ball’s vocals here are many layered and textured effortlessly gliding through the weight of the backing. ‘Let’s Send The Bastards Whence They Came’ is another little gem. A plaintive repeating synth figure that builds with bass, drums, mellotrons and synths into ‘Strontium’ which rounds off the album’s ‘heavy’ numbers, a blend of monster grooves, and Ball’s swooning vocals. Finally, and outstandingly, Jessica strips things back to a distorted guitar and voice on ‘Moonrise’. Shorn of the layers of fuzz, it is a simple, beautiful and fitting catharsis to an epic voyage. MWWB are a thrilling proposition. They demonstrate that you can seamlessly mix crushing power, experimentation and delicate vulnerability into something that transcends any genre. MWWB are Jessica Ball, vocals and synths. Paul Michael Davies, guitar and synths. Stuart Sinclair, bass and Dom McCready, drums.

Purple with Black Smoke vinyl / New EP from Exeter's Soot Sprite! 6 songs on a one sided 12", purple smoke vinyl limited to 500 copies. The rising trio have seen Soot Sprite grow from a one-woman lo-fi bedroom pop project to a fully-fledged touring alt-indie shoegaze outfit, championed by BBC6 Music’s Steve Lamacq, Gideon Coe and more. After signing with Specialist Subject for their previous EP Sharp Tongue just before the pandemic, they’re set to continue where they left off, with tour dates in the works and a collection of heartfelt songs that see lead singer Elise Cook learn how to find self-acceptance and belief. She says; “I wrote these songs up until and during lockdown, about turbulent relationships with others, how they affected my relationship with myself, and eventually when they broke down; just being able to accept myself, move on, and celebrate the accomplishments I’d made in my life regardless of others.” A vein of hopefulness runs right through the middle of Poltergeists, though encased within an ocean of murky thoughts, fears and doubts; the lack of a sense of self that many of us experience in relationships is balanced thoughtfully by an epiphany that led Elise Cook to find self-love and a newfound joy for life. Within her beautifully personal lyrics, Cook perfectly exemplifies the confusion and anxiety that often accompanies growing into adulthood. Throughout the tracks, Cook consistently calls herself into question, yet thankfully resolves her insecurities with a profound maturity. Soot Sprite may only be at the start of their exciting journey, but their achingly poignant music is already winning them new audiences far and wide, and their relatability clearly resonates with new listeners and fans alike.

Somehow out of the blue they have returned with a killer new single called ‘Uzi’. Built around the constant Blurt groove, a thrilling and catchy incessant guitar line and Milton’s jazz sax that oozes Uzi elixir and his free form beat poetry it’s a stunning and brilliant single. Still fronted by the charismatic Ted Milton the band are on fire and suddenly in the right place at the right time. The deserved fuss about the likes of the brilliant Colin Stetson and Shabaka Hutchins taking the sax into new places lets not forget Blurt were there first and are still there now….time for this genius band to get some love…

Very much at the forefront of the UK electronic scene, since 2001, Shelley Parker has innovated and thrilled with live performances, DJ sets, sound installations, and scores for contemporary dance.

Parker's recorded output is just a small part of her musical orbit. That said, a debut album 'Spurn Point' in 2014 and various singles, remixes and EPs for Hessle Audio, One Little Indie, Honest Jon's, Houndstooth, Structure Recordings and OOH-sounds have whet the appetite for more.

'Wisteria' lands on Hypercolour, and succinctly encapsulates Parker's layered and dense production aesthetic, as a myriad of concrete rhythms, breakbeat science, inner city ambience and industrial strength bass unfurl over eight uncompromising compositions.

‘Wisteria’ by Shelley Parker is available on 2LP/Digital from 25th March 2022 on Hypercolour.

We are thrilled to have DEMUIR on Selections once again, after his appearance on last year's 'Movement EP' This time he has dropped 'The Persistence Of Hope EP' - and it's exactly what you'd expect from his stellar output. Starting off on the A side is the title track 'The Persistence Of Hope' - a super deep slice of house music with a spoken word repeating "The System" and "Hopeless" over 90's style keys - then at around 3 minutes the punchy bassline drops. Starting out on the flip we get down chi town style with 'Life Is Simple' Shuffling high hats over a spoken word with a killer bassline. Rounding up we have 'Unto Thee' - another prime example of that DEMUIR groove.

In an era where technology is increasingly shaping music, 'The Garden Of Eve explores the opposite: it's an organic album, made by real musicians recording simultaneously, giving it a live mood while at the same time having wonderfully brilliant sound. It has been a long time since a contemporary artist has made such a beautiful homage to the blues.

"Blues has always been dear to my heart: it's a cathartic experience, precious and profound, whether it's playing it or listen to it on the radio. When I first heard Billie Holiday sing 'Blue Moon', I could feel it with every cell of my body. She had such a powerful effect on me. Sentimental blues, originating from tragic situations, sometimes even reflecting my own experiences... No matter how bad family, friends, politics, lovers, governments or society might be, they can never destroy the forces for good in this world. And as time passes by, I more and more find the truth that is rooted in my soul. And I finally feel mature enough to understand this wonderful musical tradition - because blues means life."

And if blues means life, Malia is the energy that allows the blues to have a soul, a voice. Characterised by her unique timbre - that doesn't need any further explaining - Malia gives us a thrill throughout the 12 tracks of this album, that has everything to become a classic.

Nearly 24 years ago, on 7th July 1998, the first Hefner LP was released, it garnered some great reviews, ensured the band were to become one of Peel’s favourites (they had 5 entries in 1999’s festive 50!), and cemented their reputation as Britain's largest small band. NME - “truly independent, unassuming and painfully honest: the sound of thin, white indie dukes in spectacles.” Melody Maker - “heart-skeweringly astute” combination of “grimly sweet lyrics and delicate, tentative tunes.” Time Out - “awe-inspiring in their naked honesty” More recently, the album was number 25 in Pitchfork’s 50 greatest Britpop albums, above A Northern Soul (Verve), Fuzzy Logic (Super Furry Animals), Vauxhall and I (Morrissey) and Tellin’ Stories (the Charlatans) Breaking God’s Heart now gets the essential 20th anniversary vinyl re-issue, accompanied by some shows where Hefner frontman, Darren Hayman, will play the album in full Here’s what Darren has to say about the record now: Breaking God's Heart is an awkward, over confident start to my career. I have yet to get to grips with it again properly in preparation for these anniversary shows. It's so far away in my past that I have some difficulty in relating to the person who made it. Mostly when I hear it I'm just amazed at the confidence, and possibly arrogance, I had then. I insisted on mostly first takes being used, vocals being recorded live in the room with the instruments, a ban on any reverbs or ambience being used. It was like I was trying to sabotage my career at the first hurdle. Many of those decisions were based on half understood, interviews with my idols from the American Lo-Fi scene but I really didn't know what I was doing. It does make a bizarre and caustic record though, and I know there are plenty of people who think this is my best work and I never got back to the blunt energy of these recordings. I do see their point. Quotes - Hefner's is a bedsit world of spindly guitar and towering passions; of skewwhiff ideals and surprisingly smooth melodic surges; of awkward outbursts and slow-burning lo-fi for lovers… 'Breaking God's Heart' is all about sparkling melodies, twinkly-eyed poetry, intimate confessions, a thrillion knowing references to sex, soul and sadness and the sort of chipper attitude that says: 'This is a record you will relish for years to come'. So save yourself time, start treasuring it now. 8/10 NME // Hefner are running on the same rock-not-rock fuel as early Violent Femmes or The Modern Lovers, and like those groups are expert at building emotionally charged arrangements by adding or subtracting at precisely the right time. 8/10 Drowned In Sound

A holy grail of French classic new wave! Thierry Müller, who initiated the French RUTH project, is not at his first try when the album POLAROID/ROMAN/PHOTO including the eponymous title track is released in 1985, but already a known name in underground experimental/electronic music with ARCANE, ILITCH (albums "Periodmindtrouble", "10 Suicides") as well as the more punky RUTH M.ELLIYERI (cult track "Mescalito"). Together with Philippe Doray, quite a big name of French experimental music at the times, Müller started RUTH. As early as 1982, a first instrumental version of the track Polaroïd/Roman/Photo is out under the name of the project RUTH. "I wanted to write a piece to make the girls dance and make fun of the boys. I plugged a small handmade clock on my Farfisa organ as a sequencer. I had a small Roland synth-guitar, I put the organ in it and that's how it started." Next came Frédérique Lapierre, who contributed original vocals on the track in 1984 as well as wrote lyrics and sung two more album tracks. Thierry asks some friends to write texts for the album and then recording tracks with Phillipe as well as Frédérique. But when the sessions are over, both musicians are not too happy with the results of the Polaroïd/Roman/Photo version: according to them, it lacks "flamboyance". They decide then to record a new female voice with a professional singer (Frédérique Cambon), sound engineer Patrick Chevalot offers to mix the track "so that it blows out". The whole album was finally released in 1985 with Paris Album, a small independant label, barely selling 50 copies in 1985, despite its eponymous title as a potential success. A first limited CD version was issued in 2001 via Fractal, but In 2004, DJs Marc Colin and Ivan Smagghe discover the track Polaroïd/Roman/Photo and decide to exhume it from oblvion. They released it on a compilation called So Young but so cold (Tigersushi) and then with Born Bad records on the BIPPP compilation in 2008. Thanks to them, the track (remixed and released via Aufnahme & Wiedergabe) and the album (reissued in 2008 (CD) via Infrastition and 2010 (LP) via Angular) started a new life, now back in print via BORN BAD RECORDS! + 12 pages booklet (Iiner notes UK + french) + Download code RIYL: Cold, Minimal & New Wave, Dark Dance, Elektro

Nate Scheible's "work of gentle genius" – Fairfax – is arriving on vinyl & all digital services in February 2022. Remastered by Lawrence English and featuring brand new artwork, this edition uncovers a completely new side of the "dreamy and dramatic, meditative and somber" album by the American artist. ~~~

"Few albums have stuck with me like Nate Scheible's Fairfax. In fact, I feel lucky to have had my copy of the original tape to drop into over several years, some heartbreaks, a few streaks of loneliness; when I've not felt terribly well, or couldn't face reflecting for fear of noticing personal decay.

With fresh treatment from mastering maestro, Lawrence English, this new version has brought out fresh new colours in Scheible's elegant composition. The moments of icy isolation are sharper, while the embrace of the album's finale is warmer and heartier than ever. Scheible's found polaroids on the front of the package also fit so aptly that they barely even feel new. The album's allure and message of craving is more powerful than ever.

To anybody who hears this album, she's a great heroine of literature, the voice of Fairfax. Her frank admissions of longing and weakness are infectious cries of hope. She's a powerful woman, unashamed, the innermost voice of reason, grasping the world together selflessly. I wanted to tell her about the times when things weren't so good. I want to tell her now too, just how well things can turn out.

Scheible's beds of oozing and luscious melodies, decaying on reels or tape, flinging out from plucked bass strings, or rising from a struck vibraphone, are a truly loving soundtrack to this mysterious voice found on a tape that came into the artist's possession. The audio letters reveal the woman's story of painful hope and self-gifted redemption, while the click of the saxophone and moan of Scheible's wobbly piano snippets, they sing her – no ~our~ – mood right back to us. Fairfax reminds us that, like the protagonist, we're all gonna do something, ~someday~."
– Tristan Bath

"So Happy It Hurts" is the brand new album from platinum selling, award-winning artist Bryan Adams.
Bryan Adams is one of the most exciting live musicians in the world and his energetic performance, effortless stage presence and incredible vocals are guaranteed to thrill and entertain. Adams’ influence extends 4 decades, over which time he has released 14 studio albums. His song writing has garnered him numerous awards and accolades including three Academy Award nominations, five Golden Globe nominations and a Grammy Award.
Of the new album Bryan says: “The pandemic and lockdown really brought home the truth that spontaneity can be taken away. Suddenly all touring stopped, no one could jump in the car and go,” says Adams. “The title song ‘So Happy It Hurts’ is about freedom, autonomy, spontaneity and the thrill of the open road. The album of the same name, touches on many of the ephemeral things in life are really the secret to happiness, most importantly, human connection.”

The album So Happy it Hurts, scheduled for release March 11, 2022, marks Bryan Adams’ 15th release and features 12 new songs co-written by him

"So Happy It Hurts" is the brand new album from platinum selling, award-winning artist Bryan Adams.
Bryan Adams is one of the most exciting live musicians in the world and his energetic performance, effortless stage presence and incredible vocals are guaranteed to thrill and entertain. Adams’ influence extends 4 decades, over which time he has released 14 studio albums. His song writing has garnered him numerous awards and accolades including three Academy Award nominations, five Golden Globe nominations and a Grammy Award.
Of the new album Bryan says: “The pandemic and lockdown really brought home the truth that spontaneity can be taken away. Suddenly all touring stopped, no one could jump in the car and go,” says Adams. “The title song ‘So Happy It Hurts’ is about freedom, autonomy, spontaneity and the thrill of the open road. The album of the same name, touches on many of the ephemeral things in life are really the secret to happiness, most importantly, human connection.”

The album So Happy it Hurts, scheduled for release March 11, 2022, marks Bryan Adams’ 15th release and features 12 new songs co-written by him

With the VOI 029 we are presenting the UK-based Mercy System, also known as Adam Crawford. Growing up in a small town on the outskirts of Manchester, he brings a dark, swung, early dubstep influence to his beats. With "Recognise" Crawford now lands his debut EP on Voitax, a personal project that represents his patiently accumulated skill set in sound design, as part of an excellently produced dystopian UK Bass four-tracker. This powerful package combines high-definition sample work with outstanding arrangements. With the right eye for voice shaping, crowned with beautifully placed drone delays, dense bass, and broken drum patterns, this EP also explores the realms of Dubstep nuanced with UK Garage, Grime, and Dancehall, while keeping its unique character. We are thrilled to hear more to come from this newbie among the UK ass producers.

It works in clubs. it works at after hours. Also, small bars vibrate meaningful on it: the music of Kuniyuki Takahashi enthralls everywhere and is made for heedful listeners, that love the thrill of little musical nuances, shifting in a deeply composed ocean of sound.

In terms of composition, melodic sensitivity, and subtle progression the music of japanese producer, Sound designer and dj stands out. Ambient, Future-Jazz, Deep House, Leftfield Elec-tronics: since more then 25 years the man from Sapporo expresses his emotions with a wide stylistic range.

As Kuniyuki or under pseudonyms like Koss or Newwave project, he released a body of work consisting of numerous albums and EP’s, that display his deep musical consciousness pro-foundly. Now his home label Mule Musiq drops “Remix Works “, an eighth tune strong compila-tion featuring for the second time since 2013 Kuniyuki Takahashi’s very own virtuosity of re-mixing.

A double vinyl that carries the full pallet of his skills – from yacht rock leaning synth-pop and balearic dreams to sweet wave signals and soulful Pop House.

It all starts with Kuniyuki’s Remix of “Plateau”, a tune by japanese Nu-Jazz / Post‐Rock band mouse on the keys, released in 2013 on the short living japanese retalk label. An epic, almost ten-minute-long house voyage, full of discreet acid shades and enlightening Jazz chords, that play spirited tricks on each other’s manic musical preaching.

Red Vinyl

In 2021 Bristol Hip-Hop duo Ree-Vo released two singles from their forthcoming album ‘All Welcome On Planet Ree-Vo’. The first was the Electro-Hop, LFO-surfing ‘Combat’ with a remix by SURGEON. The second -dropped as a digital double A-side in December - was the dark, submersive ‘Groove With It’ remixed by New Jersey’s legendary Dälek and ‘Protein’ remixed by The Bug (who released what many considered to be 2021’s album of the year ‘Fire’). smartURL.it/EDDA56

Ree-Vo begin 2022 in contrast with this their hookiest track on their album, a party throwing chorus spinning tipsy visitors around the intergalactic control booth of mission control.

“Lift off, blast off, shirt off, pants off, bra off, Dance off! Naked in the dance hall SPACE BOX!”
is the beamed mantra, rapper Relly transmitting to all occupants of the galaxy.
“We wanted to make a hedonistic and colourful dancehall track, a bold response to the suppressive circumstances of the last two years”.

Helping them on this seven’s mission are two remixes, one by NØISE (the musical collective of Joe Cassidy, Shepard Fairey, Merritt Lear and John Goff) and BATBIRDS (the duo of Joe Cassidy and Aaron Miller). Common to both of course is Joe Cassidy who recorded for Dell’Orso (as well as Rough Trade and Dedicated) as Butterfly Child. These mixes were made at the end of 2020, the record sent off to print in February 2021, five months before Joe’s incredibly sad departure from this planet, at least physically. So for all of us involved it’s a very bittersweet release, but another piece of art that Joe was undoubtedly thrilled to be involved with.

Hugo Massien is a synthesizer engineer at Novation with high profile singles on XL Recordings and a stellar 2021 album "Metamorphosis" which caught the ear of Claude VonStroke. He is a fixture in the sets of Roman Flugel, TEED, and Ben UFO to name a few. We are more than thrilled to welcome him to the Dirtybird white label series with “Fast Forward”.

Hugo delivers four vinyl gems from melodic break of "Fast Foward" to the dream state mood of “Dynamic Symmetry”, the lo-fi bass of “Quantum Mechanics”, and sublime “Astral State”.

Demon Records is proud to reissue this album as part of the Gary Crowley’s Lost 80s project. This Classic LP
reissue is presented on double 140g translucent blue vinyl.
Blue Rondo A La Turk were a lively 6 piece British latin/jazz/pop group, formed in 1981 by singer/lyricist Chris
Sullivan, and disbanded in 1984 when several members moved on to form the hit-making band Matt Bianco.
‘Chewing The Fat ‘ is the debut album, originally released in 1982 and includes the charting singles ‘Me And
Mr. Sanchez’ and ‘Klacto Vee Sedstein’
Included in the release is a bonus LP of official remixes on vinyl for the first time.
“If there was one band I wanted to be in back in 1982 it was Blue Rondo A La Turk. Named after the classic
Dave Brubeck song, they were a bunch of sharp suited hedonists with a philosophy straight out of Spinal Tap,
have a good time, all the time! Thinking about it though they probably would have left a lightweight like me
for dead in some Soho gutter after the first couple of drinks on a night out. Known and loved for their
infectious blend of salsa, funk, pop and cool bop and swing as well as their renowned live performances, why
they didn't break through to the nations charts remains one of pop's great conundrums. But those who
knew, knew and for energy and sonic pleasure this, their debut album "Chewing The Fat" takes some beating
and I'm thrilled it's available once again on vinyl under our GC Lost 80s moniker. It really is a wonderful
reminder of their collective talent that was sadly never given time to flourish.

Demon Records is proud to reissue this album as part of the Gary Crowley’s Lost 80s project. This Classic LP
reissue is presented on 140g translucent green vinyl.
The Kane Gang’s 1985 debut album was originally released on Kitchenware Records, where their label-mates
included Prefab Sprout, Hurrah! and The Daintees. ‘The Bad And Lowdown World Of The Kane Gang’
reached #21 in the UK albums chart, and features 4 singles, including #12 charting ‘Closest Thing To Heaven’
and ‘Respect Yourself’ (#21).
Hailing from the North East, The Kane Gang consisted of vocalists Martin Brammer and Paul Woods, plus
multi-instrumentalist Dave Brewis. They made their recording album debut in 1985 with this, their poised,
stylish collection 'The Bad And Lowdown World Of The Kane Gang'.
“I am absolutely cock-a-hoop that it's being given a vinyl re-release under our GC Lost 80s umbrella because
it's an album that I return to regularly. Signed to the uber-cool Kitchenware label, they were an under-rated
band in my opinion whose distinctive sound saw them taking their cue from a raft of Soul Funk greats, and
you can clearly hear that love right across the album. Produced and crafted lovingly by Pete Wingfield and
featuring the likes of P. P. Arnold and Sam Brown on backing vocals, the album is chock-a-block with singles
including the impressive ‘Small Town Creed’ (chart placing No. 60), the sublime ‘Closest Thing To Heaven’
(No. 21), the moody ‘Gun Law’ (No. 53), as well as a delicious cover of the Staple Singers’ ‘Respect Yourself’
(No. 21). I love the entire album but there are also other songs that also stand out for me. The Chic guitar
driven joy of 'How Much Longer' and the dreamy, shimmering 'Crease In His Hat' being two cases in point.
The band would later go on to enjoy success on the American Black R&B chart (which must have thrilled
them personally to bits) and release an equally grand second album in 1987 in 'Miracle’.”

By All Means (Feat. Herbie Hancock, Freddie Hubbard,
Lee Ritenour, Seawind Horns)
Reissue of Alphonse Mouzon's killer 1981 album 'By All Means', featuring
Herbie Hancock, Freddie Hubbard and Lee Ritenour - the album is a
classic of the period, blending funk, disco, and improvisational creativity
At the time of his death in 2016 at the age of 68, drummer, composer and multiinstrumentalist Alphonse Mouzon had for decades been a major force within the
jazz, fusion, R&B and pop arenas. The early eighties was a time when Mouzon
toyed with disco and channelled funk. His musical amalgam was a far cry from
the Saturday Night Fever brand – he brought more funk, more soul, more
spontaneous creativity into the mix.
For 'By All Means', Mouzon brought together musicians who were masters in
virtually any musical style. The rhythm section belonged to the who's who of the
LA studio scene. Electric bassist Scott Edwards had worked with such stars as
Stevie Wonder, Smokey Robinson & Aretha Franklin. 21- year- old guitarist Paul
Jackson Jr. was just beginning his stellar career, had recorded with Aretha
Franklin and within a few years he would participate in Michael Jackson's Thriller
and Bad and would go on to work with the likes of Elton John, George Duke, Al
Jarreau, and Marcus Miller. Lee Ritenour began playing and recording with
Mouzon in 1974. At the age of 17, Ritenour first worked with Tony Bennett. He
was also brought in to put a little more rock in the rock 'n roll of a couple of takes
on Pink Floyd's seminal "The Wall". Over the years he has recorded with many of
the giants of pop, rock, and jazz, and his own recordings have had a slew of
Grammy nominations.
Herbie Hancock stands beside Mouzon as the other major presence on the
recording. Like Mouzon, at the beginning of the eighties he delved into disco,
adding danceable grooves to the mix. During this period Mouzon was Herbie's
drummer on four of Hancock's albums, so it seems appropriate that these two
like- minded musicians came together for this recording. The Seawind Horns
provide the last needed ingredient in this tasty musical concoction. Guesting on
the title track, trumpet great Freddie Hubbard's contributes a flashy solo.
By All Means, get out on your private dance floor and get up with it.

Limited Edition Turquoise/ Yellow &White Splatter Colour Vinyl 2LP Set. 1500 Units for UK.

Nina Simone’s story from the late sixties to the nineties can be told through her legendary performances in Montreux. Taking to the Montreux stage for the first time on 16 June 1968 for the festival’s second edition, Simone built a lasting relationship with Montreux Jazz Festival and its Creator and Founder Claude Nobs, which uniqueness, trust and electricity can be clearly felt on the recordings. Simone’s multi-faceted and radical story is laid bare on ‘Nina Simone: The Montreux Years’. From Nina’s glorious and emotional 1968 performance to her fiery and unpredictable concert in 1976, one of the festival’s most remarkable performances ever witnessed, the collection includes recordings from all of her five legendary Montreux concerts – 1968, 1976, 1981, 1987 and 1990.

Featuring rare and previously unreleased material from Claude Nobs’ private collection, Nina Simone devotees worldwide will be thrilled by the inclusion of the powerful I Wish I Knew How It Would Feel To Be Free, poignant and fearless Four Women and Simone’s hauntingly beautiful performance of Ne Me Quitte Pas. A spine-tingling version of Janis Ian’s searing and potent Stars, which Simone covered for the very first time during her 1976 Montreux performance, sits alongside her bold and electrifying re-imagine of Bob Marley’s ballad No Women No Cry in 1990. The collection closes with the encore of Nina Simone’s final Montreux Jazz Festival concert and one of Simone’s most-loved and best-known recordings, the exuberant My Baby Just Cares For Me, showcasing the deep and multidimensional facets of Simone’s life and music.

Sticking to the galactic theme of his ‘Apollo’ series, ‘Neptune’ sees Shadow Child deliver a Techno-touched cut steeped in nostalgia. With classic-sounding synths wreaking havoc over a rumbling bassline, this track is a peak-time floor-thriller of planetary proportions.

Reimagining the 1997 offering of Belgian pair Hand’s Burn, Shadow Child turns ‘Good Shot’ into a track that resonates with his theme of worlds beyond. Helmed by an authentic bassline that synergizes perfectly with the perpetual arpeggios and cosmic chords, ‘Good Shot (Mercury)’ has fans throwing their hands to the stars from start to finish.

The new album by B.Visible is a distinctive studio work, which captures the state of mind of searching for something, without actually knowing what. The only thing you can make sense of is that you aren't currently satisfied, and you want a change in your life, even though you aren't exactly sure of where you belong. This music is a quest, a search for a greater range of self-expression. B.Visible captured this very thought-provoking concept by focusing on what really matters, musically, and conceptually alike. He stayed true to his feelings, regardless of judge-ment or other people's thoughts and opinions. In the end, it's all about fulfilling creativity and exploring feelings without boundaries.

"In Between Places", demonstrates his remarkable talent for extending varied elements across the whole spectrum, allowing a wide range of influences to inspire, entertain and captivate the audience in a very spe-cial way. What makes "In Between Places" stand out is the fact that it shows the artist's chops, without seeming to try to hard to do so. It's or-ganic and dynamic; technically accomplished, but also incredibly spon-taneous and one-of-a-kind in its execution. The instrumental is perfectly balanced, allowing B.Visible's expertly interwoven patterns of melody and rhythm to soar through the mix and come alive with raw and thrilling performance.

Ultimately, "In Between Places" is a truly special album, which is rich in terms of sound design and textures, tipping the hat off to artists such as Four Tet, Flying Lotus or Apparat, only to mention a few. This record is a musical journey with a unique twist.


Viennese producer B.Visible is always pushing his craft forward with each concept being an evolution. His music is mutating organically as each project brings novelty but always while blending sharp electronic components with dusty acoustic layers. That duality exists in every aspect of his creative journey with DJ sets revolving around second-hand records and modern-day productions but also his live project offering a whole new dimension and generosity to the audience. B.Visible melts the barrier between analog and digital in a such distinctive and elegant way that it feels natural.

With the new SERWED III on Flaty's promising ANWO RECORDS, Flaty and OL set out to explore and celebrate the altered visions of today's mundane futurism with a kind of keen aesthetic intuition that could only be enabled by the vast volume of their listening, production, and teaching experience.

Following the first two SERWED albums on Asyncro and West Mineral Ltd., the current fruits of the flourishing long-time collaboration between OL and Flaty comprise an oddly coherent kaleidoscopic set of free-wheeling journeys across varied pseudo-desolate soundscapes full of anomalies and sometimes thrills. Beyond the now seamless blending of the artists' individual styles, a whole bunch of other boundaries get blurred on the record, whether it be between the human and computer data processing algorithms, originality and referentiality, anxiety and euphoria, signal and noise.

SERWED III postmodern world is the one where the orbital space is just another littered parking lot, neural networks are appreciated mostly as a source of absurd imagery, and delivery drones are used as designer drug mules. The sonic collection is fittingly complemented by the visuals based on Regula Bochsler's The Rendering Eye, an art project capturing the "erroneous" yet "picturesque" renderings found in the 3D world of Apple Maps.

Spoon’s tenth album, ‘Lucifer On The Sofa’, is the
band’s purest rock ’n’ roll record to date. Texasmade, it is the first set of songs that the quintet has
put to tape in its hometown of Austin in more than
a decade.
 Written and recorded over the last two years - both
in and out of lockdown - these songs mark a shift
toward something louder, wilder and more fullcolour.
 From the detuned guitars anchoring ‘The Hardest
Cut’ to the urgency of ‘Wild’, to the band’s blownout cover of the Smog classic ‘Held’, ‘Lucifer On
The Sofa’ bottles the physical thrill of a band
tearing up a packed room.
 ‘Lucifer On The Sofa’ is an album of intensity and
intimacy, where the music’s harshest edges feel as
vivid as the directions quietly murmured into the
mic on the first-take. According to frontman Britt
Daniel, “It’s the sound of classic rock as written by
a guy who never did get Eric Clapton.”

Retro-futurist cinematic synth-fest from Supersilent keyboardist and composer. Just as radio drama is said to provide the best pictures, so some music can make for a perfect film soundtrack without the need for a film to exist at all. ’The Haze of Sleeplessness’ is a case in point: as the album starts to play, the listener’s imagination kicks in and does the rest, supplying the necessary plot, character and setting until a full-scale narrative unspools behind one’s eyes. A suite of seven movements whose common musical material is continuously recycled into new shapes and sounds, while recurring leitmotifs create a connecting thread of continuity, ’The Haze of Sleeplessness’ operates on several levels simultaneously. Most obviously, perhaps, it’s an unapologetic synth-fest; a love poem to old-school electronica and analogue sound whose squelches, bleeps and blurts can’t help but recall the heroic era of Wendy Carlos, Vangelis and Tangerine Dream. It’s also a remarkably original and successful attempt at using by now antique instruments to form a true orchestral palette, building a symphony of sound through combining monophonic sources and their new digital variants into a densely populated audio landscape that is captured with astonishing sonic fidelity. The super-saturated surface of the music fairly crackles with raw electricity, as if the over-amped distortion was about to short-circuit itself, with a wobbly jack plug connection flickering dangerously before finally cutting out. That many of these sounds and their treatment can’t help but suggest the retro-futurist setting of a dystopian sci-fi thriller might make the cinematic analogy inevitable, but it doesn’t lessen the music’s power or cheapen its effect.

“Da Qween can rap and sing with the best of them,” says Seattle radio station KEXP. “One listen to this album and you’ll experience freedom, rebellion, ingenuity, and unabashed self-love.” Da Qween is a self-described reefer-smoking, black, queer, non-binary, hard-femme, and "Renaissance Bitch" is their vinyl debut. This undefinable album from Seattle's queen of queer rap has been praised for both "quick wit bars that cut, and smooth soulful vocals that are sexy as fuck." Look no further than the second track, “When Worst Comes To Worst.” It's three-and-a-half minutes of unrelenting, baller versus that will bury your favorite rapper with nary a breath. Da Qween’s “Renaissance Bitch” is an expansive, ambitious, and theatrical listen, with anthems for the club, for playing Nintendo, and for celebrating 420. By the end of this record you too will be screaming, “All hail Da Qween!” Crane City Music is thrilled to release “Renaissance Bitch” on limited-edition, purple vinyl. Only 500 individually numbered copies have been pressed, with liner notes from Eva Walker of The Black Tones.

The Seattle Times declared “On The Quarner” as one of the best albums of 2020, saying that “Stas doesn’t so much rap over beats as aerate her misty tracks with the feeling of a dream you’re certain is real.” The title is a nod to "On The Corner," the 1972 jazz classic from trumpeter, bandleader, and composer Miles Davis. Stas chops up the source material, reimagining and recontextualizing it as a single 16-minute musical suite for these pandemic days indoors. Seattle radio station KEXP calls this record a “masterwork that warrants uninterrupted listens”, while describing the former THEESatisfaction member as "a sculpture artist, building statues out of every musical element possible, stacking rhyming sounds and pitch-shifted harmonies, unpacking complex thematic concepts, and rapping circles around even the best of her peers just for the hell of it.” Northwest underground hip-hop label Crane City Music is thrilled to release a deluxe vinyl edition of “On The Quarner” on red wax with an extra 22 minutes of exclusive instrumentals and bonus tracks. This deluxe edition also includes a full-color lyrics booklet and liner notes by Larry Mizell Jr. Only 500 individually numbered copies have been pressed.