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JE Liquide by Ruppert Pupkin is a new journey with 11 imaginative landscapes.Roadtrip inside an intimate or collective memory. Each song is available on a postcard that invites us to live a pop experience with unique sounds: acoustic ballad, electronic music, coldwave, folk loops, synthetic dives.Songs in French and English in this new album which oscillates between lightness and abysses. It dances, it bumps, it floats, it always bounces. Liquidate. Moving.Je Liquide is an ode to the freedom to say everything and embody everything. To the life that flows and overflows. Be multiple and let yourself go to the dance.

Drum-machine soul, funk, disco and boogie from Buffalo, NY. Rare 7" singles and previously unreleased tracks presented as a complete album. In the early 70s, Jessie Key and Sylvester Cleary - two passionate idealists living in Buffalo, New York - formed a close friendship based on a mutual mission to better their city. The Attica State Prison Riot of 1971 was a burning memory, and the Arthur vs. Nyquist lawsuit - brought against the City of Buffalo for creating and maintaining a racially segregated school system - was on the docket. Key was once a cotton-laborer in Mississippi, who journeyed north for school where he met his kindred spirit, Cleary. The two struck up an intense friendship, bought a drum machine and recorded their first 45, "A Man," a paean to self-actualization and Black American empowerment, which they custom pressed and issued privately. Dozens of recordings followed over a decade long span, issued on local labels and warehoused on cassette tapes. Perennial optimists, Key & Cleary tried any - perhaps every! - path they could demarcate in hopes of forwarding their agenda of self-effected, positive change. They formed Buffalo’s first minority-owned construction company, opened a health food restaurant in a building previously occupied by a fast food chain, and even concocted a candy bar called "The Buffalo Treat," which they manufactured and sold locally. Eventually they started their own label, Buffalo’s Reflection. On it they released their masterpiece, "What It Takes To Live," a sought-after disco and Northern Soul classic, which previously appeared on Now-Again”s Soul Cal anthology. This album collates the breadth of Key & Cleary’s recordings from 1970 until the mid 1980s, both with songs issued on rare 7" singles and previously unreleased. It presents a conjoined musical vision and tells the story of a duo years ahead of their time, both musically and culturally. Love Is The Way was their ethos - their goal was to enlighten humanity and to bend history in a more loving direction through communion.

The Songs of Bacharach & Costello, compiled by Elvis Costello, brings together all of the published songs that Costello has written with Burt Bacharach and celebrates the three decade songwriting partnership between them. The 2LP set includes the newly remastered album, Painted From Memory and six songs from Taken From Life, of which three are newly recorded compositions. The LPs are pressed on 140g vinyl and audio was remastered by Bob Ludwig from the original tapes.

This version contains an exclusive lithograph.

Irgendwo zwischen Planet Punk, Milchstraße Retro-Pop, Mikrokosmos New Wave und Hinterwelt Thüringen be

Flowers’ is an homage to the journey of my first love, the patience it requires, and the pivotal moment I met my wife. It reflects on our memories and tells the story of the comfort I feel in that relationship.” This new single from Jordan Rakei showcases his affecting vocal and ability to reveal his truest feelings, wrapped in his captivating production.

Bristol’s four-piece outfit Quade's debut album.

The first single ‘Of The Source’ will be released 4th October, alongside the album announce. ‘Of The Source’ opens in familiar territory for Quade, with distant drones and searching violin, before breaking down into perhaps the album’s most experimental track.

‘Nacre’ is the culmination of three years of work from the band, the blueprints of their songwriting and sound firmly established in the sprawling, haunting and yet hopeful record. Traipsing between gothic expansiveness and cosmic psychedelia, the record cannot be pinned down into one recognisable place. By the album’s close, the listener may be left wondering whether it was all a memory or a dream.

The recording and production of the record was collaborative, with the band drawing upon the services of Jack Ogbourne and Larry ‘Bruce’ McCarthy - two divergent pillars of Bristol’s music community - for engineering and mixing respectively.

Bay Area DIY pop duo Loveshadow join up with Dark Entries to release II, their sophomore LP. Anya Prisk and Izaak Schlossman met in Oakland in 2016, bonded over their love of ‘80s sounds and immediately began building their musical world with lush synths, funky basslines, and irresistible hooks. The past is always in their palette, but Loveshadow’s nostalgia doesn’t trace to any single locus; it’s more like a cloud, and it’s through this haze that they breathe new life into the music they love. Their debut album was released in 2021 on Music from Memory to acclaim. II presents a more subtle and refined statement from the band - laser-focused on the vaporous expanse. Album opener “Last Room” saunters with the confidence of Sade, while “Earthen Track” feels like Kate Bush covering a forgotten city pop anthem. The album is largely focused on club-friendly material, but mellower pieces like “Winter’s Door” and “Mirage” are sophisticated stand-outs that would make Ryuchi Sakamoto proud. Italo funk groover “Power Melts Away” closes out the album by upping the energy into fist-pumping territory. Anya’s lyrics on II use the unreality of dreams as a lens to examine the realities of change and personal growth; illusions made material. Loveshadow elegantly smear the lines between past and present, pop and avant, immanent and transcendent.

A.R. Kive collates the three most astonishing works from that most miraculous of

duos - A.R. Kane - comprising the ‘Up Home' EP from 1988 that signified the

band's dawning realisation of their own powers and possibilities, their legendary

debut LP ‘sixty nine' (1988) and its kaleidoscopic, prophetic double-LP follow up ‘i'

(1989).

In founder-member Rudy Tambala's new remastering, the music on these pivotal

transmissions from the birth of dream pop, have been reinvigorated and re-infused

with a new power, a new depth and intimacy, a new height and immensity. Vivid,

timeless and yet always timely whenever they're recalled, these records still force

any listener to realise that despite the habits of retrospective myth-making and the

safe neutering effects of ‘genre', thirty years have in no way dimmed how resistant

and dissident to critical habits of categorisation A.R. Kane always were. Never quite

‘avant-pop' or ‘shoegaze' or ‘post-rock' or any of those sobriquets designed to file

and categorise, A.R. Kive is a reminder that those genres had to be coined, had to

be invented precisely to contain the astonishing sound of A.R. Kane, because

previous formulations couldn't come close to their sui generis sound and

suggestiveness. This is music that pointed towards futures which a whole generation

of artists and sonic explorers would map out. Now beautifully repackaged,

remastered and fleshed out with extensive sleeve notes and accompanying

materials, ‘A.R. Kive' reveals that 35 years on it's still a struggle to defuse the

revolutionary and inspirational possibility of A.R. Kane's music.

A.R. Kane were formed in 1986 by Rudy Tambala and Alex Ayuli, two second-

generation immigrants who grew up together in Stratford, East London. From the off

the pair were outsiders in the culturally mixed (cockney/Irish/West Indian/Asian)

milieu of the East End, with Alex and Rudy's folks first generation immigrants from

Nigeria and Malawi, respectively. The two of them quickly developed and fostered an

innate and near-telepathic mutual understanding forged in musical, literary and

artistic exploration. Like a lot of second-generation immigrants, they were ferocious

autodidacts in all kinds of areas, especially around music and literature. Diving deep

into the music of afro-futurist luminaries such as Sun Ra, Miles Davis, Lee Perry and

Hendrix, as well as devouring the explorations of lysergic noise and feedback from

contemporaries like Sonic Youth and Butthole Surfers, they also thoroughly

immersed themselves in the alternate literary realities of sci-fi and ancient history

(the fascination with the arcane that gave the band their name), all to feed their

voracious cultural thirsts and intellectual curiosity.

It was seeing the Cocteau Twins performing on Channel 4 show the Tube that

spurred A.R. Kane into being - “They had no drummer. They used tapes and

technology and Liz Fraser looked completely otherworldly with those big eyes. And

the noise coming out of Robin's guitar! That was the ‘Fuck! We could do that! We

could express ourselves like that!' moment”, recalls Tambala - and through a mix of

confidence, chutzpah, ad hoc almost-mythical live shows and sheer innocent will the

duo debuted with the astonishing ‘When You're Sad' single for One Little Indian in

1986. Immediately dubbed a ‘black Jesus & Mary Chain' by a press unsure of

Where to put a black band clearly immersed in feedback and noise, what was

immediately apparent for listeners was just how much more was going on here - a

tapping of dub's stealth and guile, a resonant umbilicus back to fusion and jazz, the

music less a conjuration of past highs than a re-summoning of lost spirits.

The run of singles and EPs that followed picked up increasingly rapt reviews in the

press, but it was the ‘Up Home EP' released in 1988 on their new home, Rough

Trade that really suggested something immense was about to break. Simon

Reynolds noted the EP was: Their most concentrated slab of iridescent

awesomeness and a true pinnacle of an era that abounded with astounding

landmarks of guitar-reinvention, A.R. Kane at their most elixir-like.

If anything, the remastered ‘Up Home' that forms the first part of ‘A.R. Kive' is even

more dazzling, even more startling than it was when it first emerged, and listening

now you again wonder not just about how many bands christened ‘shoegaze' tried to

emulate it, but how all of them fell so far short of its lambent, pellucid wonder. This

remains intrinsically experimental music but with none of the frowning orthodoxy

those words imply. A.R. Kane, thanks to that second generation auto-didacticism

were always supremely aware about the interstices of music and magic, but at the

same time gloriously free in the way they explored that connection within their own

sound, fascinated always with the creation of ‘perfect mistakes' and the possibilities

inherent in informed play.

‘sixty nine' the group's debut LP that emerged in 1988 had

critics and listeners struggling to fit language around A.R. Kane's sound. As a title it

was telling - the year of ‘Bitches Brew', the year of ‘In A Silent Way', the erotic

möbius between two lovers - and as originally coined by the band themselves,

‘dream pop' (before it became a free-floating signifier of vague import) was entirely

apposite for the music A.R. Kane were making. Crafted in a dark small basement

studio in which Tambala recalls the duo had “complete freedom - We wanted to go

as far out as we could, and in doing so we discovered the point where it stops being

music”. There was an irresistibly dreamy, somnambulant, sensual and almost surreal

flow to ‘sixty nine's sound, but also real darkness/dankness, the ruptures of the

primordial and the reverberations of the subconscious, within the grooves of

remarkable songs like ‘Dizzy' and ‘Crazy Blue'. Alex's plangent vocals floated and

surged amidst exquisite peals of refracted feedback but crucially there was Bass

here, lugubrious and funky and full of dread, sonic pleasure and sonic disturbance

crushed together to make music with a center so deep it felt subcutaneous, music

constructed from both the accidental and the deliberate, generous enough to dance

with both serendipity and chaos. ‘sixty nine' remains - especially in this remastered

iteration - ravishing, revolutionary.

The final part of this ‘A.R. Kive' contains 1989's astonishing double-LP ‘i' which

followed up on ‘sixty nine's promise and saw the duo fully unleash their experimental

pop sensibilities over 26 tracks, plunging the A.R. Kane sound into a dazzlingly

kaleidoscopic vision of pop experiment and play. Suffused with new digital

technologies and combining searingly sweet and danceable pop with perhaps the

duo's strangest and boundary-pushing compositions, the album did exactly what a

great double-set should do - indulge the artists sprawling pursuit of their own

imaginations but always with a concision and an ear for those moments where pop

both transcends and toys with the listeners expectations. Jason Ankeny has noted

that “In retrospect, ‘i' now seems like a crystal ball prophesying virtually every major

musical development of the 1990s; from the shimmering techno of ‘A Love from

Outer Space' to the liquid dub of ‘What's All This Then?', from the alien drone-pop of

‘Conundrum' to the sinister shoegazer miasma of ‘Supervixens' — it's all here, an

underground road map for countless bands to follow.” Perhaps the most

overwhelmingly all-encompassing transmission from A.R. Kane, ‘i' bookended a

three year period in which the duo had made some of the most prophetic and

revelatory music of the entire decade.

After ‘i' the duo's output became more sporadic with Tambala and Ayuli moving in

different directions both geographically and musically, with only 1994's ‘New Clear

Child' a crystalline re-fraction of future and past echoes of jazz, folk and soul, before

the duo went their separate ways. Since then, A.R. Kane's music has endured, not

thanks to the usual sepia'd false memories that seem to maintain interest in so much

of the musical past, but because those who hear A.R. Kane music and are changed

irrevocably, have to share that universe which A.R. Kane opened up, with anyone

else who will listen. Far more than other lauded documents of the late 80s it still

sounds astonishingly fresh, astonishingly livid and vivid and necessary and NOW.

Liverpool-based Trout (they/she) shares a new single and visualiser ‘in my room’ today alongside the announcement of their debut EP Colourpicker, out August 31st on Chess Club Records. The EP will also contain recent singles ‘gutter’ and ‘garden’, which introduced Trout’s masterful indie-rock brevity and magnetic self-production finesse, receiving widespread praise and early supporters including Steve Lamacq on BBC 6 Music. Following compelling early sets at The Great Escape in May, Trout is confirmed to play further upcoming festivals including Hackney’s Visions Festival this weekend and Manchester Psych Festival in September.

Trout is the creative alias of 23 year old Cesca - who spent their childhood years growing up in Copenhagen, born to an Iranian father and British mother. Their early musical memories are of sibling rivalries played out to the soundtracks of the Gipsy Kings and a worn out Suzanne Vega tape which emboldened their early love of songwriting. On turning nine however, they found themselves suddenly uprooted, relocating with their family to a country they’d never even heard of - Wales. The teething problems which hallmarked such a shift in Trout’s psychogeography were compounded further by the prospect of learning a third language. Arriving in a “particularly Welsh part of Wales,” they had to quickly learn the Welsh language - an ability Trout now carries proudly. With their adolescence framed by green hills in the East and the Irish Sea to the West, growing up in rural Wales nurtured Trout’s reverence for nature and water, an inextricable part of their identity which has manifested in their passion for sustainability, and is reflected back in their artist moniker.

Despite favouring the freedom of art class over the more rigid music syllabus at high school, after graduating Trout headed for the border, relocating to Liverpool to study music at Lipa.

«Opening Soon» is a culinary buddy movie with a background of gourmet grooves where body tricks at the turntables have been replaced by acrobatic pizza tricks. This album from Jean Tonique and Mi Man is a real tomato concentrate and ingredients cleverly dosed which abound in suave and feel good tracks. 11 tracks that we can imagine as the perfect soundtrack to accompany the dolce vita 2.0 of this great musical duo (between Mario Bros and Cheech & Chong). A tasty and pop cuisine that gives pride of place to a nostalgia that gathers behind the tiled counter («No One Really Knows», «Memories») or on the dancefloor («Running After Time», «The Music»). We let ourselves slide and be lulled by the smoothness of the arrangements as silky as an «Extra Virgin Olive Oil». Do The Right Thing, as they say, and it seems like those two found a way to celebrate a lifestyle full of friendly looks. Tonique, who had already accustomed us to the spiciness of his sharp guitars continues to demonstrate a knowledge all in funk and finesse. He is accompanied by Man, who brings his sweetness and harmony. They combine their strength on this project initiated with the title «Day & Night» and its languorous disco tinged with rhodes and percussions with Salsoul accents. If the tablecloths are white and red, we don't doubt that the inside of the delivery van is lined with silk and velvet of the most beautiful effect to "cruise" the night as in Brooklyn and East Harlem to the rhythm of «Never Get Old». Lightness and nonchalance for a songwriting full of coolness and analogical charisma boosted by a Moog which invokes the best of the 70/80's. Iconic and timeless, with or without a disco ball, wouldn't the key word be Pizza-Yolo?

The scarlet plague, the temple quarantined, the foundation upholding the pestilence, the betrayal, the market without vendor, the shrine without idol.

Originally released on limited 4 x cassette, this proper 2LP version presented on vinyl for the first time has been mixed and remastered in proper form while still holding dear the decay of the original cassettes. Like the difference of opening a dusty cabinet in the kitchen of your grandparents to find a shelf full of expired foods. Now, this version is like opening the door to the cellar and being overwhelmed with thick dusty air, the planes of lights pouring through the cracks and draping you like temple veils at night.

Morbid esoteric ancient ambient brought to life on the ancient CD format, a relic from times now past and times of erotic glory.

Assembled and executed by JM Mroz for Lussuria in 10 days of October with modifications made 6 months later at Merchant House, Southampton, Long Island - New York.

Sources on this recording consisted of: chant bowls, crystals, clocks, disintegrated tapes, dry ice, fire, found recordings, kangling, guitars, piano, skull damaru, time lapse field recordings, voice, water. Synth presets were not used on this recording.

Dedicated to Z.M.

Following a decorated career with Philly rock group Superheaven, singer and guitarist Taylor Madison meanders into newly-refined songwriter territory with the inception of Webbed Wing in 2018. Joined by Jake Clarke (drums) and Mike Paulshock (bass), the band fully realizes their innate genre-blending musicality. Webbed Wing's somewhat simplistic approach to songwriting explores what it means to birth a sad song without fully killing a mood, paired with a soundscape laden with nostalgia and a tasteful pop-rock resurgence. Taking notes from the likes of The Lemonheads and Teenage Fanclub, Webbed Wing encapsulates everything lyrically gripping about indie and everything vibrant about modern pop. While also expertly intertwining the heaviness of metal and the earnesty of country, the band blends all these different aspects of their craft into something highly palatable and new.

My Back Was A Bridge For You To Cross, Anohni’s sixth studio album, expresses a world view by shape-shifting through a broad range of subject matter. Through a personal lens, Anohni addresses loss of loved ones, inequality, alienation, acceptance, cruelty, ecocide, devastation wrought by Abrahamic theologies, Future Feminism, and the possibility that we might yet transform our ways of thinking, our spiritual ideas, our societal structures, and our relationships with the rest of nature. On her first full album since 2016’s Hopelessness, she explains the creative process was painstaking, yet also inspired, joyful, and intimate, a renewal and a renaming of her response to the world as she sees it. “Some of these songs respond to global and environmental concerns first voiced in popular music over 50 years ago.” Anohni’s approach since her last record has shifted from someone tasked with challenging global denial, to an artist seeking to support others on the front lines. “I learned with Hopelessness that I can provide a soundtrack that might fortify people in their work, in their activism, in their dreaming and decision-making. I can sing of an awareness that makes others feel less alone, people for whom the frank articulation of these frightening times is not a source of discomfort but a cause for identification and relief. On “It Must Change,” Anohni soulfully describes systems in collapse with a note of compassion for humanity: “The truth is I always thought you were beautiful in your own way // That’s why this is so sad.” Anohni’s voice is sensual and smoothed, selectively reaching to the edges of what it can contain. “We’re not getting out of here // No one’s getting out of here // This is our world,” she murmurs. A portrait of legendary human rights activist Marsha P. Johnson taken by Alvin Baltrop features on the cover, reflecting a 25-year relationship with the memory of Johnson that Anohni has held space for in the presentation of her own work. Elsewhere, the album artwork states ”it’s Time TO Feel What’s Really Happening”. In some ways it feels as if she is reaching across her life’s expression, and has found a moment of unique composure, wearing her long exploration of disarming intensity, with the maturity of a painter carefully choosing her colors. “I want the work to be useful, to help others move through these conversations we are now facing, to move with dignity and resilience through this bitter dawning.”

My Back Was A Bridge For You To Cross, Anohni’s sixth studio album, expresses a world view by shape-shifting through a broad range of subject matter. Through a personal lens, Anohni addresses loss of loved ones, inequality, alienation, acceptance, cruelty, ecocide, devastation wrought by Abrahamic theologies, Future Feminism, and the possibility that we might yet transform our ways of thinking, our spiritual ideas, our societal structures, and our relationships with the rest of nature. On her first full album since 2016’s Hopelessness, she explains the creative process was painstaking, yet also inspired, joyful, and intimate, a renewal and a renaming of her response to the world as she sees it. “Some of these songs respond to global and environmental concerns first voiced in popular music over 50 years ago.” Anohni’s approach since her last record has shifted from someone tasked with challenging global denial, to an artist seeking to support others on the front lines. “I learned with Hopelessness that I can provide a soundtrack that might fortify people in their work, in their activism, in their dreaming and decision-making. I can sing of an awareness that makes others feel less alone, people for whom the frank articulation of these frightening times is not a source of discomfort but a cause for identification and relief. On “It Must Change,” Anohni soulfully describes systems in collapse with a note of compassion for humanity: “The truth is I always thought you were beautiful in your own way // That’s why this is so sad.” Anohni’s voice is sensual and smoothed, selectively reaching to the edges of what it can contain. “We’re not getting out of here // No one’s getting out of here // This is our world,” she murmurs. A portrait of legendary human rights activist Marsha P. Johnson taken by Alvin Baltrop features on the cover, reflecting a 25-year relationship with the memory of Johnson that Anohni has held space for in the presentation of her own work. Elsewhere, the album artwork states ”it’s Time TO Feel What’s Really Happening”. In some ways it feels as if she is reaching across her life’s expression, and has found a moment of unique composure, wearing her long exploration of disarming intensity, with the maturity of a painter carefully choosing her colors. “I want the work to be useful, to help others move through these conversations we are now facing, to move with dignity and resilience through this bitter dawning.”

My Back Was A Bridge For You To Cross, Anohni’s sixth studio album, expresses a world view by shape-shifting through a broad range of subject matter. Through a personal lens, Anohni addresses loss of loved ones, inequality, alienation, acceptance, cruelty, ecocide, devastation wrought by Abrahamic theologies, Future Feminism, and the possibility that we might yet transform our ways of thinking, our spiritual ideas, our societal structures, and our relationships with the rest of nature. On her first full album since 2016’s Hopelessness, she explains the creative process was painstaking, yet also inspired, joyful, and intimate, a renewal and a renaming of her response to the world as she sees it. “Some of these songs respond to global and environmental concerns first voiced in popular music over 50 years ago.” Anohni’s approach since her last record has shifted from someone tasked with challenging global denial, to an artist seeking to support others on the front lines. “I learned with Hopelessness that I can provide a soundtrack that might fortify people in their work, in their activism, in their dreaming and decision-making. I can sing of an awareness that makes others feel less alone, people for whom the frank articulation of these frightening times is not a source of discomfort but a cause for identification and relief. On “It Must Change,” Anohni soulfully describes systems in collapse with a note of compassion for humanity: “The truth is I always thought you were beautiful in your own way // That’s why this is so sad.” Anohni’s voice is sensual and smoothed, selectively reaching to the edges of what it can contain. “We’re not getting out of here // No one’s getting out of here // This is our world,” she murmurs. A portrait of legendary human rights activist Marsha P. Johnson taken by Alvin Baltrop features on the cover, reflecting a 25-year relationship with the memory of Johnson that Anohni has held space for in the presentation of her own work. Elsewhere, the album artwork states ”it’s Time TO Feel What’s Really Happening”. In some ways it feels as if she is reaching across her life’s expression, and has found a moment of unique composure, wearing her long exploration of disarming intensity, with the maturity of a painter carefully choosing her colors. “I want the work to be useful, to help others move through these conversations we are now facing, to move with dignity and resilience through this bitter dawning.”

A new standard that transcends time and generation. Good BYE APRIL's major label debut single produced by Tetsuji Hayashi for the Panam label is now available in 7inch analog format! The B-side features a cover of the classic "transit IN Summer", also composed and arranged by Tetsuji Hayashi.