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Shen is a quartet from Tel Aviv, constantly switching between genres while searching for truth and patience in the process. After dealing with urban experiences on their first album back in 2018, Shen has matured and started to explore the power of nature and the dimension of time with their latest offering, recorded at Kibbutz HaOgen, which is located on a kibbutz near Kfar Yona, far from the big cities of Jerusalem and Tel Aviv.

Daniel O'Donnell's recording career has now spanned 35 years and he continues to delight fans around the world by his recording and touring activities. Daniel is the UK chart's most prolific and one of the most successful recording Artists. In 2021, he broke his own world record, by becoming the first recording artist to chart at least one new album every year in the Artist Albums Chart for 34 consecutive years. During his career, in the United Kingdom Daniel has amassed forty-seven Top 75 albums, including nineteen Top 10 albums, with seventeen of them this Century, a feat not achieved by any other recording Artist. After two albums with legendary international Producer Nigel Wright, Daniel retreated to Black Mountain Recording Studio, to work with home-grown local talent and record an album of new songs. The resulting album to be released in November is 'I WISH YOU WELL', which includes the up-tempo Bublé-esque 'Under A Spell Of Loving You' and 'Always There' written especially for Daniel by Brendan Graham and Rolf Loevland, who wrote 'You Raise Me Up'. As he looks back at his long and successful recording and touring career, for which he shows no signs of slowing down, Daniel can appreciate the pleasure that he has brought to millions of his adoring fans, his selfless philanthropy and receiving his Honorary MBE for services to the music industry and charity. With another stylish TV commercial to support the album's release, Daniel remains as relevant today, as when he charted his first album in the 1980s.

“I imagine this record to be just like a flea market, an ensemble of nostalgia, a collage of memories, of dreams, ideas, sounds, words, feelings, places, eras and styles. A unique sonic sound space that I’ve been trying to create for my own music. This is also a record about getting old, about the uneasiness of life, but also about how to embrace it and enjoy the ride. About taking a trip to a place and a time that we have never been to, but that we long for. “ - Leonardo Marques

A multi-talented musician, singer songwriter and record producer full of tales to tell, Leonardo Marques has released three solo records – Dia e Noite no Mesmo Céu in 2012, Curvas, Lados, Linhas Tortas, Sujas e Discretas in 2015, and Early Bird in 2018. All of Leonardo’s solo albums have been released in Japan by Disk Union and the latest one, Early Bird, has also been released worldwide on vinyl format by 180g x Disk Union.



Leonardo was the guitar player of Diesel (later called Udora), one of the main alternative rock bands in Brazil in the early 2000’s. The band was on the main line up of the Rock in Rio III Festival, playing for over 250,000 people as an opening act for the Red Hot Chili Peppers, Silverchair, and Deftones. Leonardo then moved to Los Angeles with the band and signed a record deal with Clive Davis (J Records / Rca) and worked with Matt Wallace (Maroon 5, Faith No More), Gavin Macklop (Goo Goo Dolls, Toad the Wet Sprocket), Camus (David Byrne, Arto Lindsay), Bob Marlette (Black Sabbath, Tracy Chapman, Alicce Cooper), and 16-time Grammy Award winner Thom Russo (Michael Jackson, Audioslave, Johnny Cash, Maná). Back to Brazil a few years later, Leonardo launched his Ilha do Corvo recording studio in Belo Horizonte, Minas Gerais, Brazil. The studio is equipped with vintage instruments and gear from various decades which creates a unique sonic landscape and sound signature in each record it produces.

With Flea Market Music, Leonardo Marques presents his long-awaited fourth solo effort and the follow up to the now classic Early Bird album, with a majestic and unique musical trip into nostalgia, dreamy textures and lo-fi flavors, entirely written and recorded at his Ilha Do Corvo studio. This is essential Brazilian contemporary music at its best!

Fresh and zesty with subtle tropical flavours, this is a delightfully listenable debut from Matthieu Beck on Growing Bin. Inspired by the lilting rhythms, jazzy instrumentation and slow listening gems found on his Love In The Afternoon radio show, the Frenchman has crafted a gorgeous collection of laid back sophisti-pop, perfect for long summer days or seasonally affected escapism. Any suggestion of sorrow in the album title is actually a mislead - this may be a solo LP, but Matthieu's surrounded himself with the musical friends he's made over the years, serving as composer and bandleader to a willing troop of collaborators. Longtime friend and former Metronomy bassist Gabriel Stebbing, Source Ensemble drummer Emmanuel Mario, and of course Laetitia Sadier herself, stepped in to lend their services and bring Matthieu's music to life, before Jérôme Caron (Blackjoy) expertly mixed it all down. Though the tracklist may read like a travelogue, these nine tracks all began at home with Matthieu sat behind a Fender Rhodes with a drum machine by his side. Soon live bass, saxophone and flute strolled into his unhurried arrangements, retaining the simplicity of his demos while expanding the emotion. Weighty synth drones and bubbling bass balance the airy elements of tracks like "California" or the dream-pop romance of "Rooftop Rome", while the mellow "Malika" and joyful "Retour De Plage" showcase the Frenchman's relationship with jazz. Elsewhere there's hints of digi-dub ("Island" and "Suede"), coastal boogie ("Tokyo Montana"), stripped back city pop ("California") and downtown nostalgia ("Dora"), before Beck arrives at the poetic, progressive but peaceful finale "Piano Fin", which recalls Air at their prettiest, without stepping outside Matthieu's well defined sound.

First ever vinyl edition of this one off collaboration between Philippe Poirier (Kat Onoma) and Stefan Schneider (to rococo rot / Tal) which was initiated by La Batie - Festival de Geneve, in 2002. The original recordings of the album took place the same year at Bleibeil Studios, Berlin. Engineered by Bernd Jestram. Restauration and mastering by Detlef Funder at Paraschall, Düsseldorf in 2022.

"19 or 20 years, what difference does it make if the beautiful things in life are able to transport us back to Year Zero - again and again. The moment when this album was created. It is the timeless horizon that motivates the artist. “Dad, what’s the line doing there ?” - a good start for a story. Philippe Poirier and Stefan Schneider recount tales of slow travel, far beyond the known continents. The adventures of a certain Corto Maltese, mysterious love stories in long forgotten harbours. A love that creates its own time, just like a chess game, an ocean liner or propeller airoplanes. The enthusiasm for cartography which Philippe Poirier and Stefan Schneider share, time and again, similar to dream. The dream of an idea, of exploration, of finding. The first lines of a drawing that become the great painting. The sequences and the words which design a world in its own right. A tremendous reservoir and my old friend knows that there is an ideal companion for every journey. This time Philippe Poirier is a narrator who finds a sound like sand flowing through fingers and who knows how deep each object accompanies each love. Les Choses de la Vie." Detlef Weinrich (tolouse low tax), Paris 2021

With his recent release with Monju still fresh in our minds, Issugi is following up with his killer ninth album. With DJ Scratch Nice back from New York to produce, features from KID Fresino, Monju crewmates Senninshou and Mr.PUG, and members of Doruneko Mansion and Scars, this album is sure to be the hottest thing in Japan’s bustling hip-hop scene!

Leyona's gentle soulful voice blends into the American roots sound in the background while bringing the song back alive sounding as superb as its original. Produced by Miton Usui, who has recently been active as the main DJ of TBS Radio's “Kinyo Voice Log” and continues to work extensively as a musician and producer. The song “Tokai”, which continues to fascinate ears of all ages not only in Japan but also overseas, is now available on 7” vinyl with a whole new appeal. Also features a song “Baby Itʼs You” from the album “Wasurechauyo”.

Fredrik Saroea is best known as the frontman of Norway's bizarre, global pisco punk sensation – Datarock. After years touring the world with alternative bangers such as "Fa-Fa-Fa" he now presents an entirely different side to his songwriting: As Covid-19 shut down live music, Saroea started recording in their label YAP Records' studio –yap HQ in Bergen (Norway) – with Datarock drummer Øyvind Solheim helping out engineering & co-producing. The 12 songs jammed in on the 28 minute long album was also mixed by Solheim & Saroea at YAP HQ, and then shipped to UK's legend Mike Marsh (Björk, Massive Attack, Oasis, Datarock) for mastering. The solo album Rona Diaries was inspired by everything from post-rock (like The Sea and Cake) via hard-core (like Fugazi), noise-rock (like U.S. Maple), space-rock (like Flying Saucer Attack), art-rock (like Blonde Redhead) to Morrissey's indie-classics, Sun Kil Moon's lyrical songwriting, John Martyn's etheric "Small Hours" and Scott Walker's ballads. The Release concert took place on May 28th 2021 with an internationally streamed concert in Norway's stately Grieg Hall – famous for the most iconic true Norwegian black metal recordings. Here, Saroea was backed by award-winning string quartet Bit20 Ensemble (Martin Shultz on violin, Liene Klava on viola, Agnese Rugevica on cello, Johannes Wik on harp with arrangements by Bjørn Morten Christophersen), merging his contemplative indie rock with the exquisite air of a chamber orchestra. Thus, the tracks from Rona Diaries were premiered to an unsuspecting public who were more familiar with his former band’s rhythmic brand of dance music. Featured in "Best Of" lists from Rolling Stone to NME and headlining festivals from Coachella, Lollapalooza, Reading and Leeds, Saroea's band Datarock impacted music scenes worldwide while also infiltrating both the videogame market with inclusion in Fifa and Sims and the commercial environ with ads for Apple, Google, Microsoft, Samsung and Coca Cola. While their singles including the smash "Fa-Fa-Fa" cemented them as dance sensations, Saroea moonlighted as a restaurateur by opening world famous and Michelin-rated restaurants Lysverket and Hoggorm in Norway. Rona Diaries: The Chamber Versions Live At The Grieg Hall, Bergen includes chamber versions of the Rona Diaries tracks plus two exclusive tracks. It was recorded by Kings of Convenience' sound engineer – André Luciano Trebbi – and mixed in Los Angeles by the two-time Grammy® winner Mark Rankin (Adele, Weezer, Florence and the Machine, Harry Styles) and mastered by Mike Marsh in the UK. The album artwork was created by renowned artist Magnus Voll Mathiassen who worked on Rihanna’s Unapologetic and 2021’s Oscars.

Spirituals is Santigold's first full-length album since 2016's 99¢, and was mostly recorded during the 2020 lockdown. "All of a sudden there I was with three small children out of school_just-turned-two-year-old twins and a six-year-old_I was cooking, cleaning, doing laundry and changing diapers from morning to night, with three little kids coming in and out of my bed throughout each night like musical chairs. I was losing touch with the artist me, stuck in a part of myself that was too small. I felt the other parts of me were shrinking, disappearing." Santigold struggled but succeeded in defining a space in which she could center herself and collaborate virtually with producers and contributors: Rostam, Boys Noize, Dre Skull, P2J, Nick Zinner, Sbtrkt, JakeOne, Illangelo, Doc McKinney, Psymun, Ricky Blaze, Lido, Ray Brady, and Ryan Olson. "Recording this album was a way back to myself after being stuck in survival mode. It wasn't until I made the space to create that I realized I wasn't only creating music but a lifeline," she says. California was on fire, we were hiding from a plague, the social justice protests were unfolding. "I'd never written lyrics faster in my life. After having total writer's block, they started pouring out. I decided to create the future, to look towards where we are going, to create beauty and pull towards that beauty. I need that for myself, but it's also there for whoever else needs it."

Eighteen sacred psychedelic suppositories from the laboratory of Mad Scientist and scalpel happy pop mutilator Jean-Pierre Massiera. Including the rarest and most sought after fuzz funk, spooked surf and interplanetary prog from “The French Joe Meek” and all his schizoid split-personalities and freakish friends - The Maledictus Sound, Chico Magnetic Band, Visitors, Human Egg, The Pirhana Sound and Jesus himself.

Let us introduce you to some old friends of ours... Charlie Mike Sierra, Jean-Pierre Areisam, JPM and Co. Erik, The Horrific Child, Jesus, Les Maledictus Sound, Human Egg... This might sound like we’re flicking through the imaginary LP racks in the record shop from A Clockwork Orange or perhaps congratulating the runners up in a Halloweeen fancy dress competition but for the previously uninitiated you have just been ordained into the congregation of the many split personalities of one Mr. Jean-Pierre Bernard Massiera. Bow down to the nine headed monster as he mutates and shape-shifts back through time to his humble beginnings in a Buenos Aireian province ravaging and pillaging the music of the European people for his own twisted benediction along the way.

This might, as intended, sound a little bit dramatic but if there is one single ingredient that gives the eccentric JPM his distinct flavour it’s a large dollop of drama. Add sprinklings of szichophrenia, shock, myrth and macabre and you are on the way to a B-movie broth with an acquired taste, that has, like all the best cheese, taken over thirty years to mature to perfection. Like all the best monsters, from the Centaur to the Minotaur to Dr. Jeckyl and Mr. Hyde his split personality is the key to his infamy and the secret of his blood sucking success!

This is why Jean-Pierre Massiera is (un)commonly known for two key periods in his career which, like a worm, can be split down the middle and thrive and flourish independently. To cut a long story short Massiera is, above all, a lover and purveyor of musique fantastique, and is willing and able to hijack whichever stylistic vehicle that passes him buy in order to do feed his lust. In the earlier part of his career he honed his sordid craft amongst psychedelic circles in Nice and Quebec. From late 1972 onwards he moved to Antibes and started a disco revolution and became an in demand cosmic record producer... For years prog rock obsessives and disco aficionados have wondered if there was two unrelated freak merchants called Jean-Pierre Massiera, but, in this rare instance, exploito-maniacs from both sides of the cosmic coin are united by the work of this singular, single handed monstrous music manufactory!

Another way to dissect the Histoire De JPM would read like a fantastic comic book. He started off as a musical scientist who was affected by chemical fallout in World War Two - he spoke to Jesus, went crazy and became a mad scientist. He then created a strain of mutant piranha fish which gave birth to a world of horrific monsters who assisted him in his murderous merriment. In the end he finds a giant egg and finally makes contact with aliens… That would be the end of chapter one and this is the era that we will focus on for this compendium In the worldly, derelict, laboratory of Dr. Jean-Pierre Massiera we are surrounded by decaying fish fins, test tubes, fuzz pedals, echoplex units

As the internet grew increasingly prevalent, many bands adopted it out of necessity. Sayonara Ponytail were born in it, molded by it. Despite their many studio albums and decade of experience, they’ve never done a live concert, operating primarily through social media and the internet. In fact, nothing is known about the members of the band, besides their aliases and their voices.This 7” single pairs “Curious Girl”, a song calling back to old school hip-hop, with “Crazy Boy”, a more subdued track with A.O.R influences. With beautiful artwork depicting a pop-culture dystopia, this is Sayonara Ponytail’s first release since signing with P-vine. Don’t miss the beginning of what is sure to be a beautiful relationship between Sayonara Ponytail and P-vine.

Canadian songwriter and producer Jeremy Haywood-Smith needed an escape from his state of mourning when he began working on Slingshot, his most recent LP as JayWood. After the loss of his mother in 2019, and a global standstill with multiple social crises throughout 2020, Haywood-Smith yearned for some forward momentum. "The idea of looking back to go forward became a really big thing for me _ hence the title, Slingshot." Feeling disconnected from his past and ancestry after the death of a parent, Haywood-Smith made a conscious effort to better understand his identity and unique Black experience living in the predominantly white province of Manitoba. Merging fantasy scenarios, personal anecdotes, and infectious pop and dance instrumentals, Slingshot is a self-portrait of JayWood at his surface and his depths. Musically, Slingshot reaches into sounds and styles Haywood-Smith has continued to explore throughout his catalog. "I think I made a really big deal to not pigeonhole myself," he explains. "Whatever is inspiring me at one point will work it's way into whatever I'm creating." Slingshot is an amalgamation of Haywood-Smith's many musical sensibilities, achieved with help from a crew of talented peers. Haywood-Smith wrote and performed a bulk of the track's instrumentations, but the LP has notable appearances from Canadian contemporaries Ami Cheon (on "Just Sayin") and Mckinley Dixon (on "Shine.") The album's penultimate track, "Thank You," was co-produced with Jacob Portrait of Unknown Mortal Orchestra. The song brings JayWood's sound full circle, offering something reminiscent of Haywood-Smith's earliest recordings, while flaunting that "The best is yet to come."

A classic catchy Pogo Pops gem! For more than 30 years, Pogo Pops has inspired us with catchy quality pop. With newfound spark, the three members of the band, Frank Hammersland, Nicolai Hamre and Viggo Krüger, are once again ready for a new chapter. They are back with their 8th album “Daylight”.

Welcome to Uffie’s new album Sunshine Factory – an alternate reality that is only accessible to those yearning for escape. A nod to the ballroom scene, it is a place where you can be your most authentic self. Inside this trippy wonderland, you’ll meet Uffie, dancing amongst the lights of your hallucinations. Sunshine Factory is a wonderfully restless record. It’s a joyride through the club, hurtling into the forest, and crowd surfing into the arms of a lover… and yet it’s also the sound of waking up to a heap of champagne soaked jeans, the bass of your heart still throbbing along to last night’s melodies. A decade after her first record, which included–debatably–the internet’s first viral hit, the electro smash “Pop The Glock,” Uffie “the French-American singer/rapper/DJ/fashion designer who took the internet by storm” (Brooklyn Vegan) is most definitely back. Raised between Florida and Hong Kong before moving to Paris with her British father, the now Los Angeles-based Uffie is undeniably a “child of the world;” unsurprisingly, the making of this record clocked up a few air miles as well. Birthing what would become the Sunshine Factory in Fonte da Telha, Portugal collaborating with Norwegian savant Lasse Lokøy, Uffie soon found a home for these songs back in California with Chaz Bear of Toro y Moi–who co-produced several of the tracks–and his Oakland-based label, Company Records. The resulting album is one of intricate production, sonic experimentation, and subtle poetic brilliance amongst a few Fleabag glances to the camera. Amidst double entendres galore, her record exists in a curious space between punk and pop, which can be heard in the ska-meets-fashion week “dominoes.” Contrarily, “sophia” – which marked the advent of Uffie and Chaz’s creative partnership several years ago – poises Sunshine Factory as an otherworldly dance record one would hear in Berlin’s famous Berghain nightclub. She is the party girl who is at her most vulnerable in the chaotic “where does the party go?” where she reckons with facing who she truly is when she’s all alone. It’s in these dualities and juxtapositions that the joy of Uffie writhes. The album also has a cameo or three, including the one and only Peaches. And after finding kinship and admiration in the genre-defying Nnamdï, she tapped him for the record’s sole feature on “month of mondays.” It is at this point in the record that the beloved je ne sais quoi that Uffie has always possessed really emerges. When the comedown begins and the insatiable few remain on the dancefloor, “a month of mondays” is the knowing nod to a stranger signaling the night’s shift in course. With Sunshine Factory, it’s a pop-up party wherever you can find some speakers.

A download code is included.

‘Jim, I’m Still Here’ is the second album from James Righton under his own name; produced by David & Stephen Dewaele of Soulwax and released on their label DEEWEE, the album follows The Performer released in 2020. James’ musical past is well documented; as the frontman of the genre inventing Klaxons, he helped create a revolution in British music and spawned a youth subculture. ‘Jim, I’m Still Here’ is a captivating meditation on the artists experience of the pandemic as James looks to conceptualize the myriad of emotions and events into a fascinating third person narrative. One of the album tracks features Benny Andersson from Swedish pop legendary band ABBA, with whom James has been working on putting together their new live band.

"I wrote this record during the first few months of the pandemic. At the time I wasn’t intending to make any music. I’d just released ‘The Performer’ on what turned out to be the first week of lockdown. The outside world shut down and I was busy being Dad. Then. I started making notes on my phone. Just words. In moments stolen from family life I’d head downstairs to my garage studio and put the words to music. When I was happy with a song I’d send it to Dave and Stef. Demos and Pro Tools sessions were passed back and forth between my home studio and the Deewee studio in Ghent. I was nervous about their response to the music I was making. It was personal, raw: unlike anything I’d ever written before. A conversation with the outside world during these times of isolation. For the most part my life was centred on the domestic. Getting to spend so much time with my family was a blessing. Making music was my play time. Isolation opened me to memories and allowed me to dream of the future. As the outside world tried to adapt to the pandemic I was asked more and more to promote ‘The Performer’ in live stream concerts on various platforms. As the pandemic went on, demands on production increased (more camera angles, better lighting, higher quality audio recordings). It became a one man show. I’d head downstairs to my garage, put on my Gucci suit, comb my hair and become someone else. Jim. Jim the deluded rock star, living out his fantasies from the confines of his garage. A lonely stardom. And yet, Jim was part me. He made me feel like I still existed. Jim became the centre of the new album. Dave, Stef and I worked into the sessions over the following months. It was always exciting to see where they would take my initial demos. The working method and the restrictions of making music together but in separate spaces, separate countries shaped the sound and feel of the record.
I won’t make another record like this again”.James/Jim

In March 2020, Tahiti 80 had a plan to start recording their new album in the studio. That plan, of course, along with everything else in the world, got derailed. But the five-piece group was resilient and resourceful. They quickly shifted to a socially distanced plan B that included file swapping and virtual sessions, all refereed by producer Julien Vignon. The result, due for release in March 2022, is the buoyant Here With You, a collection of eleven upbeat songs that unfold like a prescription for a post-pandemic panacea.

“When lockdown in France happened, we said, 'We're not going to stay at home not doing anything,'” says singer-guitarist Xavier Boyer. “And our new plan became a hopeful thing, waking up every morning and seeing what the other guys had worked on. It wasn't always easy, but this new method allowed a freer approach where we could really go all the way with an idea without being influenced by each other’s suggestions. It must've been overwhelming for Julien, who ended up selecting all our arrangements. But he stayed positive all the way through.”

To help stay inspired and focused during their time in isolation, the band created a mood board, with the centerpiece a photo of an early '90s rave in the UK.

Boyer says, “Whenever you see pictures from this era, people seem very innocent. There are no cell phones and everybody is in to what they are experiencing. We kept that picture in mind as a kind of mantra that would help everyone feel connected to this idea of people celebrating, gathering and just having fun. We were missing the connection with people, and thought it would be great if we could create music that would inspire that kind of emotion.”

Indeed, the songs on Here With You are brimming the feeling of communion that we've all been missing over the past two years. It's there in the catchy opener Lost in the Sound, which walks the walk with Chic guitar flicks, urban nightfall sparkles and an inviting chorus (“Your heart grooves like a thousand 808s on the right time”). It's there in the Jackson 5-style syncopated bounce of “Vintage Creem,” the lush, dreamy “Breakfast in L.A.” and the panoramic sweep of “UFO.” And it's there in the first single “Hot,” which matches an irresistible groove with a neon-lit, percolating arrangement that evokes the disco clubs of 1979.

What's remarkable is that though Tahiti 80 displays a clear affection for sounds of the past, from bubble gum to '70s soul, they never trade in mere pastiche. Their take is more a slightly warped and playful carnival mirror mash-up of classic pop styles, given depth through Boyer's hang-gliding, coolly emotive vocals and lyrics that often rub against the euphoric grain of the music.

“I like to think of songs as a three-minute drama,” says Boyer. “This concept of drama definitely adds different levels to our music. There's the melody, the lyrics, then the production that can maybe emphasize or counterbalance the interaction between the yin and yang in a song.

“There's a difference between the very upbeat, sunshine-y soft rock and the lyrics, even on our past albums,” he continues. “Not dark, but a little more melancholy, and also looking for some kind of motivation, talking to yourself. Like with a lot of Motown songs, you get that feeling where you body’s dancing while your mind’s reflecting, reminiscing.”

That alluring blend of happy-sad has been a signature part of the Tahiti 80 sound from the time Boyer and bassist Pedro Resende formed the group in 1993, as students at the University of Rouen. Taking their name from a souvenir t-shirt given to Boyer's father in 1980, the duo recruited guitarist Mederic Gontier in 1994, and with the addition of drummer Sylvain Marchand a year later, the lineup was complete. The foursome released a self-produced and self-financed EP, 20 Minutes, in 1996, which resulted a record deal with French label Atmospheriques in 1998. Their full-length debut Puzzle, produced with Ivy's Andy Chase and mixed by Tore Johansson, went gold and featured the international hit “Heartbeat” that established the band throughout Europe and Asia.

In the years since, Tahiti 80 – with the additions of Raphaël Léger on drums and Hadrien Grange on keys - has released eight acclaimed albums. The band has fused what Mojo called a “glorious entente of old and new technology” (including singles like “Yellow Butterfly,” “1000 Times,” “Sound Museum,” “Crush!” and “Big Day,” which was featured on a Fifa video game soundtrack), while collaborating with such producers and arrangers as Richard Swift, Tony Lash and Richard Anthony Hewson, who famously arranged The Beatles' “Long and Winding Road.” Boyer has also put out two solo albums, the first under the anagram Axe Riverboy and the second under his name. In 2019, the band released Fear of an Acoustic Planet, a stripped-down reimagining of some of their best-loved tracks from the previous twenty years. It served not only as a look back but a reminder of their formidable songwriting skills.

Boyer is definitely a student of the timeless three-minute pop song format pioneered by '60s artists like The Beatles and The Beach Boys. He says, “I see it as kind of a frame for a painting. Most of the songs on this album, I wrote a verse, pre-chorus and chorus. There aren't many middle eights. I wanted it to be very concise. I feel like people have less attention. There's so much music. It's too easy to switch off or skip to another track, so I want to hook the listener. The three-minute song is kind of an easy code to crack, but at the same time you have to figure out a new way to tell the stories that we've heard before.”

And the stories on Here With You are very much about the longing for connection. Of the album title, Boyer says, “In the world right now, that can mean a lot of different things. Like missing our fans, missing going to concerts. In a way, it can be a statement of what happened last year, and a wish of 'I want to be here with you again.' It's our ninth album. We've had some had some very open, conceptual titles like Puzzle, Activity Center. Sometimes they were more specific like Fosbury orWallpaper for the Soul. Here with You, seems more personal, more engaging in terms of relationships. When I suggested that title, everyone in the band said, 'Yeah, that's it.'”

Until Tahiti 80 can resume a full tour schedule, Boyer says he hopes the new record will make that personal connection. “If I see from the point of view as a music fan, sometimes I see albums I like as companions throughout my life. So if we can be a part of people's existence, even if it's a song that reminds them of the time they were driving with the windows open and it was sunny. Or a sad song that resonates with them after a breakup. That's what we're all looking for when we're making music. You do this very personal thing and you want it to touch as many people as possible.”

A1. Tahiti 80 - Lost In The Sound A2. Tahiti 80 - Vintage Creem A3. Tahiti 80 - Telling Myself A4. Tahiti 80 - Hot A5. Tahiti 80 - Breakfast In LA

B1. Tahiti 80 - Cameo B2. Tahiti 80 - UFO B3. Tahiti 80 - Riddles & Rhymes B4. Tahiti 80 - Zoo B5. Tahiti 80 - Wicked Wicked B6. Tahiti 80 - Let's Get Started

Dean Honer and Kevin Pearce present a beautifully designed original soundtrack of songs taken from a science show for children and adults alike. Dean Honer is a Sheffield based musician, producer and founding member of many iconic electronic music bands including The All Seeing I, I Monster, The Moonlandingz and The Eccentronic Research Council. He has worked as a producer for bands such as The Human League, Add N to X and Roisin Murphy. Kevin Pearce is a songwriter from Essex. He has received plaudits for his work from The Independent, The Guardian and Mojo magazine. His music has been used on HBO programmes in the USA as well as BBC TV shows in the UK. Castles in Space is proud to present The Sound of Science. Dean explains the background and inspiration for the album: “The idea for The Sound of Science had been in my head for a number of years. “Being a parent of young kids I endured a lot of very cliched and awful children's songs that were attempting to combine education and entertainment. These quickly became a form of torture to me, something that the CIA might use in covert operations to flush out a drug cartel from their hideout. It became apparent that there was a desperate need for informative songs and music that were appealing and bearable for both children and their parents. “I recruited my friend Kevin Pearce, (who I have produced and collaborated with on various projects over the years), to bounce ideas off and who could put together a nice series of chords and could sing! Which helps when writing songs. Kevin is from an acoustic folk background and I'm more of a one finger synth player in the Human League tradition. I thought it would be interesting to mix the folk and electronic element together for children’s songs. Something that harks back to both the BBC Radiophonic Workshop in the 60's and 70's and also the folk songs of TV programmes like Play Away, public information films and music from various weird and oddball kids TV from that era.

Co-produced with Metronomy's Joseph Mount, electro-pop artist Tatyana's debut album is a careful fusion of her classical harp training with her keen sense for pop production and songwriting. Inspired by late-2000s indie pop and Swedish pop auteurs, Treat Me Right is a sparkling, catchy collection of `80s synths and futuristic auto-tuned vocals. Tatyana has lived in Holland, Russia, Singapore, and Boston - where she attended Berklee College of Music on a full scholarship - before settling back in her hometown of London in 2018. The transient nature of her upbringing has certainly informed her music: from underground raves to viral YouTube covers to playing harp on tour with Neneh Cherry, there seems to be no scene that she doesn't thrive in. Last year, she released her thrilling debut EP Shadow On The Wall via Sinderlyn. The self-produced collection was met with praise from tastemaker outlets like Nylon, Fader, Office, Bandcamp, Line of Best Fit, and Crack, as well as an exclusive vinyl pressing with Vinyl Me, Please's Rising program. Treat Me Right is the irresistible product of these impressive first steps, the kind of precisely produced, impossibly catchy pop that takes other artists their entire careers to nail.

Limited 2022 repress on apple green vinyl + insert.

Three years after the release of his magnum opus 'Sciencing', Tim Vanhamel is back with new album 'Applz Not Applz'. Sly & the Family Stone, Marvin Gaye, Curtis Mayfield, Public Enemy, Jimi Hendrix... Consider this a tribute to those kinds of records, with a tongue in cheek nod and celebratory flavour.

Superorganism return with their second album World Wide Pop in July, their first new music since 2018’s self-titled debut.

Blasting back with thirteen tracks that explore the infinite versus the intimate, taking in friendship, time, connectedness, and the universe; World Wide Pop contemplates the contradiction of being hopeful and curious when faced with relentless consumerism and overwhelming noise. However choosing optimism, Superorganism believe in the power of pop music and all the things it can do. World Wide Pop bridges the personal and existential whilst delivering a bag full of tunes laced with deadpan humour.

World Wide Pop also brings in an international set of collaborators including Stephen Malkmus, Chai, Pi Ja Ma, Dylan Cartlidge & legendary musician and actor Gen Hoshino.

Superorganism return with their second album World Wide Pop in July, their first new music since 2018’s self-titled debut.

Blasting back with thirteen tracks that explore the infinite versus the intimate, taking in friendship, time, connectedness, and the universe; World Wide Pop contemplates the contradiction of being hopeful and curious when faced with relentless consumerism and overwhelming noise. However choosing optimism, Superorganism believe in the power of pop music and all the things it can do. World Wide Pop bridges the personal and existential whilst delivering a bag full of tunes laced with deadpan humour.

World Wide Pop also brings in an international set of collaborators including Stephen Malkmus, CHAI, Pi Ja Ma, Dylan Cartlidge & legendary musician and actor Gen Hoshino.

Superorganism return with their second album World Wide Pop in July, their first new music since 2018’s self-titled debut.

Blasting back with thirteen tracks that explore the infinite versus the intimate, taking in friendship, time, connectedness, and the universe; World Wide Pop contemplates the contradiction of being hopeful and curious when faced with relentless consumerism and overwhelming noise. However choosing optimism, Superorganism believe in the power of pop music and all the things it can do. World Wide Pop bridges the personal and existential whilst delivering a bag full of tunes laced with deadpan humour.

World Wide Pop also brings in an international set of collaborators including Stephen Malkmus, CHAI, Pi Ja Ma, Dylan Cartlidge & legendary musician and actor Gen Hoshino.

"Feels like I'm made of glass," Carlyn Bezic sings over a tumbling, harmonic guitar riff on "Pummelled Into Sand," the closing song of Faster Than I Can Take. "Like I could cut you, or you could break me in half." It's a double-edged statement about the power that comes from inhabiting your vulnerability, a complicated truth expressed so beautifully it seems almost simple.

Making the impossible look easy has always been Bezic's musical M.O. Faster Than I Can Take is her sophomore album as Jane Inc., a solo project forged after years of building her bona fides in the Toronto music scene with groups like U.S. Girls, Darlene Shrugg and acclaimed dance-pop duo Ice Cream. Pitchfork called Jane Inc's first album, 2020's Number One, "dazzling... [Bezic] proves herself a musical Swiss Army knife, capable of anything and revelling in her multiplicity." On Faster Than I Can Take, she uses all the tools at her disposal - a Prince-like ability to shred harmonic guitar riffs over deep, danceable grooves, an eagerness to experiment with form, and lyricism that seamlessly links the personal and the political - to focus the multifaceted energy of Number One into something completely singular. A disco-inflected, danceable meditation on the permeable boundaries between our interior and exterior worlds, Faster Than I Can Take is an album that you can listen to at a party or alone in your apartment - but no matter where you listen, it will make you dance.

On lead single "Contortionists," Bezic's voice floats over a landscape of spare, warping synths and ethereal backing vocals from Dorothea Paas (U.S. Girls, Badge Epoque Ensemble), seeming at first to sketch out a familiar pandemic scene: "The laws of time have changed / months pass in minutes, hours feel like days." But as the melody begins to swirl and bend back over itself, a deeper theme creeps in. “At first I thought I was making a record about time," Bezic explains, "but I was actually making a record about how, in moments of intense anxiety, you're living in the past, present and future at the same time. A million moments existing at once, real and imagined." By the time the song drops into a ticking groove, you know exactly what she means.

Many of the songs on Faster Than I Can Take work this way - taking concepts that feel intimately interior and expanding them into something universal. Songs like the moody, bass-heavy title track, or the bright, searing "Pummelled Into Sand," where a Hendrix-like guitar solo runs under Bezic's voice like a third rail, deal with what Bezic calls "the pain of change and growth." "Human Being" and "Dancing With You" (whose bridge features the catchiest meditation break you've ever heard in a dance-pop song), explore the psychedelic melding of individual and collective worlds that can come from fantasizing about performance while alone in your house, or connecting to a group of strangers through your computer screen.

In "An Ordinary Thing," Bezic contemplates the complexities of wanting to create anything - art, or even a family - against the backdrop of the Anthropocene. "Someone please take this from me / this feeling, this need," she sings, the tension audible in her voice. But in the next track, the irresistibly danceable "2120," that anxiety turns into powerful resolve: "I'll pour my grief into this plastic crucible / Forge a new infinite fuel made of anger, and hope, and refusal," she sings against a driving, determined beat.

That determination is what makes Faster Than I Can Take unlike anything else you've heard this year - a work of art that refuses to either wallow in the difficulties of contemporary life or ignore them in favour of escapist fantasy. As Jane Inc., Bezic takes on the complexities of living in the world - alone, and with others - with playfulness, honesty, openness and love, and turns all that complication into something that will move you.

Originally released in 2005, the fourth album Trace by the indie-pop band Spangle Call Lilli Line is being reissued on felicity Records for the first time on LP format with a limited colour disc. As they go from strength to strength with their eleventh album Remember released in 2021, and a number of future singles in the works, the reissued Trace grants listeners the opportunity to look back on a career defining album that solidified their playful dances at the boundaries of downtempo, post rock and dream pop.

The artist now known as Danz CM has a strong following in Japan, and P-vine has for a long time heralded her synth-lab experiments in pop having released her debut Scientific Experience back in 2012. On this limited 7” release is a chance to take a trip down memory lane with two pulsating cuts from the electro-wired cybernetic record. On the a-side is “Running,” a hypnotic track that would later power the engine of a Lexus global ad campaign, and on the b-side is “Grand Junction,” a throwback to 80s new wave records through the lens of sci-fi machinery.

„Sybilline“, „unique“ and „peerless“. These are some of the adjectives that were used to describe Everyone Is A Door – Panoram’s first full-length on Edinburgh’s Firecracker Recordings. Since then, the elusive producer, founded his own label Wandering Eye, produced automated piano music in Los Angeles (Thom Yorke Sonos playlist approved), composed synth lines underwater for Amen Dunes Freedom and toured two years with the band as well being involved in their collaboration with Sleaford Mods Feel Nothing and their upcoming album on SubPop. But Panoram can also hold its own very well. His debut on Running Back’s Incantations series lets you hear and experience that after the first few bars already. Acrobatic Thoughts is surreal, abstract, puzzling and urgent, yet filled with beautiful, slow-moving melodies and emotional passages. Eccentric humor meets serious soundscapes, acrobatic thoughts evolve around abstract key notes, while an out-of-time and out-place atmosphere surrounds a microcosmos that seems to be otherworldly and very natural at the same time. Panoram manages to build a house that can be as much of a home for ambient record collectors as for futuristic pop fans and all the ones in-between those poles. Or to describe it one sentence while quoting two titles of this enigmatic record: Seabrains controlled by beautiful engines. Short: Seabrains controlled by beautiful engines. Panoram’s new record Acrobatic Thoughts and his debut on Running Back is surreal, abstract, puzzling and urgent, yet filled with beautiful, slow-moving melodies and emotional passages. Eccentric humor meets serious soundscapes, acrobatic thoughts evolve around abstract key notes. One LP to make millions happy.