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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.

Quantity: 6000
Release type: RSD Exclusive Release

Previously unissued live radio broadcast from September 20, 1968. Including rare performances of “Mack The Knife,” “Love Street,” and “You’re Lost Little Girl.” It’s a great sounding recording of a great performance of The Doors at their peak

45th anniversary of cult classic solo album from Little Feat founder Lowell George, released weeks before his untimely death in 1979. Includes original album cut AAA from original master tape and bonus album including previously unreleased alternate versions and outtakes from recording sessions.

Hot off the press, Danny James’ debut full length album “Heatwave” is hitting the shelves on February 9th and warming our hearts with groovy neo-soul and r&b that we all need in our lives. Co-produced with long time friend and collaborator Es-k, a legendary beat maker in his own right, the two have delivered an album that’s a breath of fresh air; a revelation in the weight of lightness. Split equally between instrumental grooves and the buttery vocals of James and his friends Maari and Stephanie Wilson. Sprinkle on top a little extra sweetness with ultra smooth guitar licks by Max Bronstein-Paritz (aka Steen) and soulful trumpet by John Culbreth. The whole crew showed up on “Heatwave”, a debut album baked to perfection.

On the heels of her showstopping Met Gala appearance & the release of new single “Lipstick Lover”, Janelle Monáe announced her hugely anticipated new album, The Age Of Pleasure, due out June 9th.



THE AGE OF PLEASURE also includes the acclaimed new single, “Float (Feat. Seun Kuti + Egypt 80).” Hailed by Pitchfork as “swaggering, brass-heavy…the sound of a top-tier talent doing a little victory dance,” the track is joined by an official dance video



To celebrate the launch of this new era, Monáe graced the March cover of EBONY Magazine, which stated, “the singer-songwriter returns to music as their fullest self…we’re perhaps witnessing the queerest, and by association, the Blackest, of Monáe’s eras yet…”



“Float” – which Monáe initially teased on her hugely popular Instagram – was first heard late last year as the official anthem of ABC/ESPN’s NBA Saturday Primetime campaign, with Janelle contributing voiceover narration to promo spots highlighting the biggest matchups and stars in the league. The track was used extensively throughout all NBA coverage through mid-March, spanning promos, Primetime matchups, in-game placement, social media, and more. In addition, “Float” was featured in an animated piece marking Los Angeles Lakers superstar LeBron James surpassing Kareem Abdul-Jabbar for the #1 spot on the NBA’s all-time regular-season scoring list, shared across ESPN’s socials and James’ Instagram to reach more than 275M combined followers.



Janelle Monáe is without question one of the most celebrated artists of the modern era, an 8x GRAMMY® Award-nominated singer, songwriter, producer, performer, and fashion icon known worldwide for her inimitable style and visionary sound. With multiple celebrated albums, THE ARCHANDROID (2010), THE ELECTRIC LADY (2013), and DIRTY COMPUTER (2018), numerous critically-acclaimed theatrical and television performances, and her unwavering activism for social justice and the LGBTQIA+ community, Monáe continues to be one of the most compelling and important artists of this generation.

Little Creatures are long running Japanese band formed in 1987 while still in high school by Takuji Aoyagi (Vo/G), Masato Suzuki (Bass/Key), and Tsutom Kurihara (Dr/Per). They gained popularity while performing street shows centered around Shinjuku and Shibuya and debuted with a single in 1990 “things TO Hide”. 2020 marks their 30th anniversary from their debut. In January of 2021, they released their 8th album, “30”, a masterpiece packed with advanced minimal pop music that can only be made by the current Little Creatures, which boasts overwhelming musicianship and career.

„V I N C E N T“ ist FKJs zweites Album. Es markiert den Beginn eines neuen Kapitels für FKJ, der damit nach seinen Arbeiten als gefragter Produzent und zentrale Remix-Adresse für andere Künstler:innen wie PinkPantheress und Moses Sumney das nächste künstlerische Solo-Statement macht – nachdem er zuletzt schon ausverkaufte Konzerte in aller Welt mit seinen gefeierten „One-man-Shows“ verbuchen konnte. Kombiniert liegt auch die Zahl seiner Streams inzwischen im Milliardenbereich.

Das Konzept des „V I N C E N T“-Albums entstand während eines Soloabstechers nach Los Angeles, den er schon vor dem Jahr 2020 antrat. „Ich wohnte dort dann ganz allein in so einem Haus … und schaltete auch mein Telefon ab, um wirklich runterzukommen. Ich brauchte einfach etwas Abstand und Zeit für mich, weil ich herausfinden wollte, was ich eigentlich als nächstes machen wollte.“ Schon bald wurde ihm klar, dass er demjenigen Freiheitsgefühl nachspüren wollte, das man als Teenager hin und wieder spürt. „Damals habe ich einfach nur gespielt, es ging beim Musikmachen um nichts anderes. Ich hab über nichts nachgedacht“, so FKJ. Genau dieses Gefühl kommt schon im Eröffnungs- und dem Abschlusstitel der neuen LP durch: einerseits der Future Jazz von „Way Out“ – eigentlich ein verspielter Mini-Soundtrack: eine anmutige Pianomelodie, unterfüttert mit wilden Trap-Beats und ruhigen Streichern – und das fast wie ein Schlaflied wirkende „Stay A Child“. „Ich wollte einen Teil von dieser verlorenen Unschuld zurückholen … diesen Augenblick, wenn man einfach nur aus purem Vergnügen Musik macht.“

Wieder zurück im eigenen Home Studio auf den Philippinen angekommen, dort sogar ohne Wlan und zunehmend abgeriegelt durch internationale Lockdown-Maßnahmen, war FKJ nun tatsächlich abgeschnitten vom Rest der Welt. Was auch bedeutete: noch weniger Ablenkungen. Es war die ideale Gelegenheit, um ganz allein die endlosen Möglichkeiten der Musik zu erkunden. „Manchmal habe ich die ganze Nacht durch an den Songs gesessen und bin erst ins Bett gegangen, als schon wieder die Sonne aufging.“ Dieser unbefangene Ansatz war entscheidend: Basierend auf dieser Freiheit ist ein expressionistisches, wirklich berührendes Album entstanden, das man unmöglich einordnen kann. Auch versteckt sich FKJ nicht mehr hinter irgendwelchen grünen Zweigen, wie er es auf dem Cover seines Solodebüts getan hatte: Mit „V I N C E N T“ tritt FKJ heraus aus dem Schatten und zeigt sich, seine Stimme als Musiker, seinen Sound. Indem er Saxophon und Klavier aus Late Night Jazz-Sessions mit geerdetem Flüstergesang (à la Bon Ivers Frühwerk) und Gitarren à la Santana zusammenbringt, gibt er sogar dem schwierigen Begriff Chillout Music eine ganz neue Bedeutung.

Während weite Teile von „V I N C E N T“ vor allem romantisch klingen, geht’s ab und zu auch richtig sexy zu, dann wieder verträumt, den Kopf hoch oben in den Wolken – wie etwa bei „Us“, den er seiner Frau June widmet. „ihm“ kommt mit Nineties-Hip-Hop-Einschlag daher, wobei er jedoch immer weiter das Tempo drosselt und das Licht dimmt. Genau genommen doch nicht 100% solo eingespielt, hilft ((( O ))) schließlich beim Song „Brass Necklace“ aus – was ähnlich eindringlich klingt wie The Internet oder die Keys, wenn Stevie Wonder sie spielt. Zusammen mit Toro Y Moi setzt er für die Leadsingle „A Moment of Mystery“ auf astreine Space-Trip-Vibes, die tatsächlich aus nicht ganz nüchternen Parallelwelten stammen: Während der Arbeit in San Francisco tranken FKJ, Toro und dessen Keyboarder Tony eine Flüssigkeit, die Tony als „heiliges Wässerchen“ bezeichnete … „Wir teilten uns dann die ganze Flasche, was in einen ziemlichen Trip mündete“, erzählt FKJ und lacht. Zurück in der Realität, ist das Ergebnis dieses Trips eine sanfte Electro-Ode auf dauerhaftes Liebesglück. Vor allem ist es ein Track, der in Sachen Eingängigkeit und dezentem Prog-Faktor selbst Tame Impala in nichts nachsteht.

Auch Yukimi Nagano (Little Dragon) ist am Mikrofon zu hören – auf dem umwerfenden „Can’t Stop“ –, und mit „Let’s Live“, einem treibenden Technopop-Song, in dem Handclaps, Klavier und Vocals perfekt miteinander verschmelzen, besinnt sich FKJ noch einmal auf seine Anfangstage zurück, als seine Produktionen noch größtenteils ins Dance-Genre passten. Obwohl er immer wieder Kategorien aufsprengt und seine Stücke kontinuierlich mit neuen Ideen erweitert, wirken die Tracks nie aufgeblasen, nie zu dick aufgetragen. Trotz der Vielschichtigkeit wird einem nie schwindelig.

Insgesamt ist „V I N C E N T“ ein kleines Wunder. Es ist der Beweis, welche Magie entstehen kann, wenn man nur tief genug gräbt, Inspirationen lange genug reifen lässt. „Das war schon eine echte Herausforderung, diese Platte aufzunehmen“, sagt er abschließend. „Ich bin nun mal eigentlich ein Perfektionist – und das kann man nicht einfach so abschalten. Als ich es dann jedoch geschafft hatte und die Musik selbst tonangebend war, fühlte ich mich mit einem Mal vollkommen frei.“

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."

The 10th studio album by Bjork on limited lime green vinyl will be in stock again in a few months.

each album always starts with a feeling
that i try to shape into sound
the feeling was landing
( after my last album utopia which was all island in the clouds element air and no bass )
on the earth and digging my feet into the ground
it was also woven into how i experienced the "now"
this time around 7 billion of us did it together
nesting in our homes quarantining
being long enough in one place that we shot down roots
my new album "fossora" is about that
it is a word i made up
it is the feminine of fossore ( digger, delver, ditcher )
so in short it means "she who digs" ( into the ground )
so sonically it is about bass , heavy bottom-end ,
we have 6 bass clarinets and punchy sub
i would like to especially thank bergur þórisson and heba kadry
and side project , el guincho , hamrahlíð choir , soraya nayyar , clarinet sextet murmuri , siggi string quartet ensemble , emilie nicolas , serpentwithfeet
viibra and last but not least : sindri and dóa .
visuals were made by viðar logi , james merry , m/m , nick knight , andy huang , edda , isshehungry , tomi , sayaka , sunna , sara and heimir
and my ever so loyal and magnificent team : derek , rosamary , catherine , chiara , hilma and móa

The new album by “kiss the gambler,” a gifted pop music maker with a voice that combines the innocence of a child and the depth of an adult, is now available as analog 12"! Many musicians participated in the arrangement, including Masayuki Ishii (tica), Shingo Suzuki (Ovall), Masato Suzuki (little Creatures), and Yosuke Sato. The natural-born pop maker sends us a pop world that seems to be everywhere and nowhere, as if we have moved into an exotic apartment.

Last chance, last repress.

Sault - 5 is the debut album by the mysterious collective Sault, released in May 2019. It was the first in a series of albums that would establish the group's signature blend of genres, including funk, soul, R&B, post-punk, Afrobeat, and electronic influences. The album received critical acclaim for its fresh sound, combining socially conscious themes with infectious grooves and rhythms.

The album features minimalist yet impactful production, with prominent basslines, funky guitar riffs, and layered vocal harmonies. The vocals are often delivered with a cool, detached style, which contrasts with the emotional and sometimes politically charged lyrics. Themes of identity, love, power dynamics, and the Black experience are present throughout the album.

Sault's 5 also stands out for its stripped-down approach to instrumentation, emphasizing rhythm over complexity, and allowing space for the vocals to shine. The tracks have a raw, DIY aesthetic, reminiscent of post-punk and underground soul movements, yet they feel timeless and modern.

Key Tracks:
“Up All Night” – One of the most well-known songs from the album, it’s a funky, high-energy track with danceable grooves and infectious hooks.
“Don’t Waste My Time” – A song that encapsulates the band’s ability to blend catchy melodies with a gritty, almost industrial sound.
“Why Why Why Why Why” – This track combines soulful vocals with a driving rhythm and contemplative lyrics about the struggles of life.
“Let Me Go” – A standout song about freedom and independence, with minimalist production that places focus on the emotional delivery of the vocals.
Mystery Around Sault: At the time of this release, very little was known about the members of Sault, which only added to the intrigue. The group has kept a low profile, eschewing traditional promotion and rarely giving interviews or detailed credits for their music. It’s widely believed that the producer Inflo is a central figure in the collective, with vocal contributions from artists like Cleo Sol and Kid Sister, though these have not always been officially confirmed.

Sault - 5 marks the beginning of the collective’s prolific output, which would continue to evolve with subsequent albums like 7 (2019), Untitled (Black Is) (2020), and more.

Upon first listen, two things about Honey are immediately clear: First, it is an entirely new kind of Caribou record. Second, in being an entirely new kind of Caribou record, it is in keeping with Dan Snaith’s discography, each new album marked by radical thematic and sonic shifts. Honey is not a departure from the Caribou we’ve known up to this point but rather the product of a lifetime spent listening to and crafting immaculate pop music. After two intensely personal Caribou albums (Suddenly and the Grammy-nominated Our Love), Snaith now pulls himself away a little in search of music that isn’t about any one person and is relatable to everybody. It also brings Snaith’s two personas, Caribou and Daphni, closer together than ever before. On Honey, Snaith fuses their strengths into a record that grabs you and moves you like Daphni before it uplifts you like Caribou. Huge dancefloor tracks twinkle and surprise in a way only Snaith’s productions can, with a freshness that defines an artist who is too excited by music-making to ever truly settle into any one sound.

Limited to 1000 copies on curacao colored vinyl. Exclusive to HHV customers.

Vacation. Not only in Italy.

A backpack trip through Australia, a campfire in the allotment.

In the car with friends through the Lunenburg Heath or just a short holiday in your head, during the rainy lunch break or with a glass of spritzer on the balcony. And that includes music, music, music! Grooves that roll into the distance like an Intercity, Rhodes chords soft as the sand on the beach and synthesizers that sparkle like the reflections on the ocean. Music as colorful as a Hawaiian shirt and as warming as the morning sun. Welcome to Erobique's second album: "Erobique No.2"

Here, even the song titles are in holiday mood:

"Ahoj!" greets the young "Springinsfeld". The "Mantas" glide elegantly around the "Acquamarina". "Salut les Copines!" we call to the neighboring boat. "Come along to the 'Ravedave!'" it echoes back happily. "Riding Low" is the motto, and the "Arpeggiator" condenses the "Synaesthesia" of the foggy senses in a wonderful way. The "Italotape" in the cassette deck plays the "Hit Song of Both of Us".

That's all so nice "Verkackt", that sounds like "Future Music"!

Carsten Meyer released his debut album "Erosound" in 1998 under the name "Erobique". Exactly 25 years later, the now 50-year-old releases his second Erobique album on his own label A-sexy.

Thirteen varied tracks and songs between holiday disco and rhythm box rave, recorded and produced with many of his friends and companions.

25 years, that's pretty much how long it took disco to go from the legendary loft parties of pioneer David Mancuso to the awe-inspiring mass spectacles of Daft Punk performances.

Or from Meyer's birth to his first long-playing record. So why only now a second album as “Erobique”?

Meyer has been improvising performances in front of a dancing audience for years. Even his hits "Easy Mobeasy" and "Urlaub in Italien" aren't actually pop songs, but rather arose from spontaneous inspiration, in an adrenaline rush, in the middle of the party, right in the moment! Sang along and faded away again. Recorded live and released as is. Just don't repeat! Every Erobique concert is an attempt to turn the unforeseen, the unexpected and accidents into a unique moment of being there. "Mistakes are king" said the witty Knarf Rellöm once - and Carsten Meyer is the king of mistakes!

How are you supposed to conjure up such moments in the studio, without a party, without the energy that spills back onto the stage at a children's birthday party for adults?

Meyer remembered another Erobique hit and changed his title accordingly:

He collaborated with an overdose of joy!

Drummer Lucas Kochbeck (The KBCs, Bacao Rhythm & Steel Band) who now also supports Carsten at his live gigs as well as neighbor and buddy Christoph M. Kaiser (former bassist with the Jeremy Days, now film music and pop strategist) layed down the Groove foundation with glowing tiles, like at the Trinity, Hamburg's legendary 80s disco.

Sophia Kennedy came over from the neighboring studio to sing and Lieven Brunckhorst dragged the entire wind section of Jan Delay's big band Disco No1 in front of the microphone.

Meyer recorded harps, xylophones and violins in his music room at the Hamburger Fischmarkt or with Tobias Levin in his Electric Avenue studio with a view of the Fleet.

Carsten went to Berlin where he met his hero Siriusmo to put some ideas through the electronic grinder. Nicola Rost of Laing stopped by and left incredibly dense choirs and wonderful songs.

Finally, all tracks were brought to Swabian Ludwigsburg where the Freundskreis DJ and disco expert Martin Welzer aka DJ Friction screwed the whole madness into an incredibly warm and dancefloor-friendly overall sound.

Back to the drawing board, like all A-sexy releases, the cover art is painted and designed by Meyer himself, after all his original career aspiration was to be a school book illustrator.

In the course of one summer, a musical chocolate box was created that will not only enrich the holiday playlist of his fans and listeners, but also made his archive of ideas and sketches, which is several quantum bytes deep, a little bit thinner. Outside of his disco fairs up and down the country, Meyer has not remained idle in the last quarter of a century:

Between 1998 and 2006 he developed hypermodern electronic soul with DJ Koze and Cosmic DJ as an international pony. Together with Jacques Palminger and Chris Dietermann, he supervised amateur songwriters in the project "Songs for Joy" at the Maxim-Gorki-Theater Berlin when they made pop music, which is how the secret hit "Wann Strahlst Du?" was created in 2007 with the great text by Barbara Stützel. In general, theatre: For the theater director Herbert Fritsch he arranged the hits by Gino Paoli and Hugo Wolff for crazy evenings at the Schauspielhaus Zurich (2016) and at the Residenztheater Munich (2015), for Stefan Pucher he shot the fairy tales of Hans Christian Andersen through the home organ wolf ( 2010). For the colleagues from Studio Braun, he brought the "Dorfpunks" to life at the Hamburg Schauspielhaus, and immediately afterwards he developed the authentic Neue-Welle sound for their mockumentary "Fraktus", which was released in cinemas in 2012.

So there we are with film and television music. Here, too, Meyer had a lot to do in recent years. The soundtrack for the popular TV series "Der Tatortreinigung" with Bjarne Mädel in the title role was the best. Incidentally, the "jack of all trades" (quote Peter Bursch) also released a few albums on his own label A-sexy: Rumpel-Funk as "Babyman", the finest chanson pop with Palminger and Yvon Janssen for "Yvon im Kreis der Liebe" and warm, modern Hammond jazz with the "Hamburg Spinners".

And now finally his anniversary album, the silver wedding with himself.
25 years Carsten and Erobique, together forever and happier than ever!

To the next… stop no. We don't want to wait that long!

"Limited to 300 copies. Okayama's 8-bit hardcore punk band Yahho has released their 1LP, 45rpm, 39-track ""Yahho no Tanoshimikata"" on analog!

Okayama's Yahho, who has played numerous legendary live shows at the All Senses Festival hosted by Juusangetsu/GEZAN, Meteo Night hosted by Less Than TV, and more, will release their first album "" Yahho no Tanoshimikata "" (4-disc set: 3 CDs + 1 DVD)in August 2023. Despite not being distributed nationwide, they sold hundreds of copies through their own live merchandise and their own online shop. And one year after the release, "" Yahho no Tanoshimikata "" is finally being released on analog for nationwide distribution! The vinyl version also includes two new songs not yet released on CD! Limited to 300 copies pressed, so hurry up! ----------------------------------------------------------- We have received comments from everyone regarding the release of the vinyl version of YAHHO's "" Yahho no Tanoshimikata ""! ----------------------------------------------------------- (Yahho) That's why it's fun, and that's why it's lonely. (Together with someone) That's why it's fun, and that's why it's lonely.

Asano (wetnap, GAME&chips) ----------------------------------------------------------- My image of Yahho is him stumbling around on his own over 8-bit sounds, and he's also a friend who often invites me out. He recently performed overseas. I think he's an artist who doesn't fit into a box. It's great to archive his work! He makes me feel free. Yahho of the World

Moto Kawabe ----------------------------------------------------------- The first album by Yahho, the greatest punk rocker born at Kurashiki University of Science and the Arts, has finally been released on vinyl. Yahho is here to rewrite and update the view of Japanese punk history!

Kawakami Konosuke (Author of ""Punk no Keifugaku"") ----------------------------------------------------------- On ""How to Enjoy Yahho"" Hey, Yahho! Isn't this first album packed with the romanticism of Yahho, music, and love for friends? While laughing, I read the lyrics and it hits me hard, and there are various gradations of blue. Seriously, no matter what mood I'm in, Yahho always responds with the best Yahho at that time. He'll be stupid with me and get depressed with me. Yahho's Yahho is bottomless! Infinite! Look, just saying Yahho makes me feel like I'm floating. Then I hear Yahho! from far away. After that, I can jump really high. It's a dream to have this sound source become a record! Come a little closer, Yahho! Please keep shouting and letting us hear it to each other. I love you forever!

THE Guays Captain Ryosuke ----------------------------------------------------------- He may look ordinary, but he's a weirdo. I love Shintaro's way of life.

Goto(MASTERPEACE) ----------------------------------------------------------- Yahho Analog Record Release! I was asked to comment, but when I hear Yahho, it's just a nightmare.

Contrary to Hamai's appearance, Yahho's charm is its over-the-top performance and sound, but when they visited Miyazaki Prefecture on a live tour, this caused a disaster, and they were banned from both the live house they performed at and the bar where they had their after-party. Rumors about their performance and sound spread to the Chamber of Commerce, and they were banned from all live houses and bars in Miyazaki Prefecture, and on top of that, all the bands they played with that night were also banned, which was a nightmare-like bonus. The rumor spread like wildfire among the prefecture's residents, and if a hiker shouts ""Yahho"" at the top of a mountain, they are looked at with disdain and spat on, and they can't stand it anymore and rush down the mountain... It has developed into a situation like this.

Yahho, congratulations on the release of the analog record!

Hiroaki Sakai ----------------------------------------------------------- 「Don't Forget Youth Memories,Forever.」

Boredom is the reason why I'm constantly irritated. Boredom is also the reason why I'm constantly spacing out.

Of course, boredom is also the reason why any mathematical formula, no matter how important, slips in one ear and out the other. That winter when I was 16 years old. I wanted something to destroy the saturated negative emotions. And I found it. It was undoubtedly the music of ""Yahho"".

Loud 8-bit sound and booming guitar. Screaming vocals writhing on the rough waves of that sound. In ""Extra Yahho"", the 8-bit sound is transformed into a hardcore band sound, with blast beats and screaming vocals exploding. What follows are unique raps and acoustic pop masterpieces. A fast-paced legend of 47 songs and 40 minutes. (*These comments are based on the CD version. The LP version contains 39 songs.) From the day I pressed the play button on my player, ""Yahho"" music became a part of my life.

When I listen to ""Yahho"" music, I feel the urge to scream. I'm sure I'm not the only one who feels that way. ""Ya-ho"" shouts out the boredom and frustration we've been holding inside, using it as a springboard. The poetic, yet endlessly straightforward lyrics really bring that home.

I pack all my boredom and endlessly overflowing frustration into a backpack and start running. I don't need to decide where to go. Just look ahead. This album gives me the push I need. I hate it. No, I'm totally against it. It's okay if you're bad at it, just keep going. I'm convinced that becoming an adult isn't that hard. "" Yahho no Tanoshimikata"" taught me everything.

It was a winter when I was 16, not sure if I was an adult or a child. Alone in my messy room, I pumped my fist into the air and said, ""I hope this album will help me become an adult.""

Shokudou (door TO Door) ----------------------------------------------------------- Hitting your forehead on the strap. Earphones and sighs leaking out as the train moves slowly. The music that plays when you take that first step to transfer from one crowded train to the next.

Nishioka (Peoples) ----------------------------------------------------------- How to enjoy Yahho I said out loud, ""This is the ultimate Famicom hardcore punk!!!!!!!!!!!!!!""＼(^o^)／ I love how the song ends so quickly＼(^o^)／ I love how it's gentle and tenacious＼(^o^)／ More than anything, I love how it's fun＼(^o^)／ In the end, I was lucky to be able to listen to a variety of music＼(^o^)／

Nozawa Dive Kinshi (Niji no Tasogare) ----------------------------------------------------------- For the vinyl release of Yahho's ""How to Enjoy Yahho"", I asked people around Yahho who are close to me and have always looked after me for comments, and they all replied promptly and readily agreed, which really made me realize how charming Yahho is and how charismatic he is as an artist. *From the beginning, Yahho said he felt bad about asking for comments from everyone, so I took the initiative and did it on my own.

It wasn't easy to get to the point where we decided to release it, but I was driven by a mysterious sense of mission that even Yahho himself probably didn't want, that made me reach this project. Yahho released a CD last year and sold hundreds of copies individually without national distribution, so I took a selfish action that even he didn't want at all, in order to put him in a more interesting situation. Yahho has already established a solid position in the underground, but we approached Yahho with the idea of releasing this album with the sole desire that more people listen to their music, that they come to their live shows and get excited and laugh, and that we want them to become a part of everyone's lives.

This is a wonderful album that you should listen to and experience for yourself if something isn't going right every day and you're struggling and wondering if things are okay. Once you've listened to it, all that's left to do is gather in the mosh pit at the live venue.

Thank you Yahho!

Hiracchi (manga Shock) ----------------------------------------------------------- I think if you listen to this album on vinyl you'll want to run out the door as fast as you can. Awesome!! Mikuru (ANORAK!) ----------------------------------------------------------- To Hamai Congratulations on the release! The three of us used to go to coffee shops together Do you remember? Don't you remember? I hope we can go again someday

Y.I.M. Omiru Asu chan ----------------------------------------------------------- That packs a punch!

Watson (Dotsuitarunen) -----------------------------------------------------------"

Sebastian Montesi is a prolific artist, probably best known for his endeavors in Mitochondrion and for being one of the founding members of Auroch. With Saturn’s Cross, the Canadian took a very different path, delving into cold wave territories, which little have to share with the bands he is usually associated to. Yet, when we listened to what Sebastian crafted, we had no doubt, and we gladly welcomed this new project to our roster.

Continuing the tradition on from her multi-Grammy Award, record-breaking debut album When WE ALL GO TO Sleep, Where DO WE GO?, Happier Than Ever features no outside songwriters or producers, and was written by 19-year-old Billie Eilish and her brother Finneas who produced the album in Los Angeles.

Billie Eilish has also teased her forthcoming single is coming this Thursday, April 29 at 9AM PT.

Billie Eilish has fast become one of the biggest stars to emerge since the release of her debut single “ocean eyes,” and continues to shatter the ceiling of music with her genre-defying sound. Fast forward from her humble breakout in 2015, Billie’s album When WE ALL Fall ASleep, Where DO WE GO? debuted at No. 1 on the Billboard 200 in the U.S as well as 17 additional countries around the world upon release, and was the most streamed album of 2019. When WE ALL Fall ASleep, Where DO WE GO? was written, produced and recorded entirely by Billie Eilish and brother Finneas in their childhood home of Los Angeles. Billie Eilish went on to make history as the youngest artist to receive nominations and win in all the major categories, at the 62nd Grammy® Awards, receiving an award for Best New Artist, Album of the Year, Record of the Year, Song of the Year, and Best Pop Vocal Album. Billie Eilish is also the youngest artist to write and record an official James Bond theme song, ‘No Time To Die.’ Most recently, Billie Eilish was nominated for four additional awards at the 63rd Annual Grammy Awards in 2021, and took home both Record of the Year for 'everything i wanted,' and Best Song Written For Visual Media for 'No Time To Die.'

An enlightened Vacationer returns with a collection of radiant original tracks —10 sonic meditations on the virtues of warm devotion and ritual tenderness. "Cherish" is being released in conjunction with a documentary about the making of the record. Mastered for vinyl by Kelly Hibbert at Almachrome. (J Dilla, Madlib, Little Dragon, David Axelrod, Flying Lotus, Hiatus Kaiyote, Q-Tip, Knxwledge, MF Doom)

Limited to 100 copies.

Coming-of-age heartbreak madness in 90s indie rock style from the Ruhr area! Here come EAT THEM, ladies and gentlemen. Behind it is the musician Johannes Hofmann, who has recorded more than 20 albums single-handedly to date. And don't worry, Johannes is only in his mid-20s, he just started recording music at the age of 14, which he then burned onto CDs for his grandma to play. A little later: The own Bandcamp account.
Now a kind of best-of collection from the first 10 years of his creative work will be released at the end of June: EAT THEM ALL!

12 tracks on vinyl with a small art zine included. Everything designed by Johannes Hofmann himself.

All songs remastered by Norman Nietzsche. Lo-Fi becomes Hi-Fi Lo-Fi in no time!

The LP is intended as an introduction to the inexhaustible EAT THEM multiverse. Because there is about as much to discover here as on the legendary Shimmy Disc label or the Guided By Voices: indie rock, lo-fi pop, shoegaze, krautrock, math rock, punk rock or heartbreaking power ballads! In the meantime, Johannes has found two colleagues to bring EAT THEM live on stage. Please don't miss this!

As (Tocotronic discoverer) Myriam Brüger recently said so beautifully after the first EAT THEM show in Berlin: “Finally a really uncool band again!” That was actually meant as a big compliment!

In keeping with the holistic aspect of the project - and complementing the band name - titled "ALL", the album covers the full spectrum: from drum machine and sonic youth guitar melange, nervous post-funk to anthemic lo-fi indie -Rock, everything an indie heart desires can be found here.

The first single released today is “Do You Love Me When I’m Dead?”, a catchy song that takes place sonically where it is most beautiful in the rich history of suburban pop: in the garage. The piece reflected the live line-up, which was expanded to include bass and drums. The beat clatters happily and the open guitar chords flow! However, Hofmann transcends the suburbs with reverberated singing about an emotional urge to move and flies into the city, the disco or even through clouds and the landscape.

Symphonic, vast, and emotionally stirring, ‘The Last Goodbye’ is the duo’s most ambitious album to date. Nostalgic yet rooted in the present, it serves as a sweeping sonic experience that speaks to themes of connection and reminiscence. Interwoven with both the new and the old, the album is interspersed with personal audio clips from home video footage, hypnotherapy sessions and even the voices of the duo’s parents, plus features The Knocks, Bettye LaVette, Maro, Låpsley, Ólafur Arnalds, Julianna Barwick, Izzy Bizu and Charlie Houston. These collaborations follow previous high-profile musical partnerships with the likes of Leon Bridges, Little Dragon, Regina Spektor, RY X, Naomi Wild, and more.

If 2022’s The Children Of Scorpio was the debut album that turned people onto the world of Project Gemini aka Paul Osborne, Colours & Light is the body of work that will be buried deep into their hearts. It is a majestic album, bringing together the worlds of folk rock, psych soundtracks and hazy cinematic funk. A growing confidence and ease emanate from the writing and production of this sophomore LP, bolstered by the reception to his standout debut. “It’s a more layered and diverse record” Paul mentions, “with a more outward-looking, global sound, born out of the records I was listening to and the musicians I was lucky enough to collaborate with”. It feels relaxed yet self-assured, with a kaleidoscope of sounds that twist together in a mesmerising fashion. The theme of the album developed naturally through the lyrics Paul began writing. A creative process both plagued and fed by insomnia, nourished by relationships, entwined in emotions, nights out, nights in and the after-effects on the human condition. Relatable themes yet seen through the prism of a soundscape that takes in many a different culture and scene. From acid folk to psych-funk, Francophile elements to Anatolian and Eastern inspirations, all interlocking and rotating as one. Drawing inspiration from those he admires, Colours & Light radiates with collaborations. The title track, which tips its hat to a live 1973 TV version of Pentangle’s ‘Wedding Dress’, features the folk rock, guitar brilliance of Jack Sharp from Wolf People/Large Plants. Elsewhere, two tracks are blessed by the sultry, smokey French vocals of Gloria’s Wendy Martinez, ‘Extra Nuit’ and ‘Entre chien et loup’. The former echoes Paul's love of classic French psych-pop from the late ’60s and early ’70s and artists such as Laurance Vanay, Calcium, Leonie, and Serge Gainsbourg. Martinez's sublime vocal work nestles perfectly within Paul's psych-folk-funk productions, as her Gloria partner, Alexis Morel (aka Kid Victrola) sprinkles a dose of entrancing guitar line magic on proceedings. The list of collaborations extends further with Raz and Markey Funk, drummer Tony Coote and percussionist Paul Elliott all featuring. Regular collaborator and underground icon Barrie Cadogan (Little Barrie) returns along with Bert Page from The Cromagnon Band, who between them provide a hit of whacked-out, fuzzed-up country guitar and Moog madness respectively on ‘Lost In The Woods (Bacchanal)’. Rounding off the record Paul’s daughter, Olivia Osborne, supplies the keyboard intro on the penultimate track ‘Twilight’. Dorian Conway from The Soundcarriers (whose bandmate Paul Isherwood returns on mixing duties) then layers echoing heavy flute parts to magically capture the psychedelic sunrise images brought to mind. Balancing light and shade on this record, there is beauty and tension all wrapped up in Paul’s vivid and visceral, storytelling gift.

Limited edition incl. Artprint.

Symphonic, vast, and emotionally stirring, ‘The Last Goodbye’ is the duo’s most ambitious album to date. Nostalgic yet rooted in the present, it serves as a sweeping sonic experience that speaks to themes of connection and reminiscence. Interwoven with both the new and the old, the album is interspersed with personal audio clips from home video footage, hypnotherapy sessions and even the voices of the duo’s parents, plus features The Knocks, Bettye LaVette, Maro, Låpsley, Ólafur Arnalds, Julianna Barwick, Izzy Bizu and Charlie Houston. These collaborations follow previous high-profile musical partnerships with the likes of Leon Bridges, Little Dragon, Regina Spektor, RY X, Naomi Wild, and more.

Baby Buddha is David Javelosa and musical partner Charles Hornaday playing instruments and providing their own whacked-out vocals. Baby Buddha really was less of a band than a project; a side project in fact, for some members of another group, Los Microwaves. Baby Buddha would eventually record and release an album, 1981’s provocatively-titled Music for Teenage Sex on Robbie Fields’ L.A.-based Posh Boy label. Happily, the project’s guiding creative light, David Javelosa has recently seen to a vinyl reissue of the now-40-year-old record, mystifyingly retitled Music for Teenage Sects. Definitely among the stranger releases of the new wave era, Music for Teenage Sex/Sects could perhaps only have been created when and where it was made. But on the occasion of its 40th anniversary, the music sounds as weirdly wonderful as ever. "We Are Not” sounds like Human League stuck in a car with The Residents. And their cover of “All Shook Up” sounds like a musical kin to those inscrutable eyeball guys too; it wouldn’t be out of place on Meet the Residents. “Little Things” is a house-of-mirrors, scary track, with spoken-word vocals by Los Microwaves’ Meg Brazill and label head Fields. The album cover is slightly different as well: it displays a bedroom scene like the original LP, but with the young female model absent. The new release (on Javelosa’s own Hyperspace Communications label) is pressed on beautiful translucent blue vinyl and comes in a gatefold sleeve with a lively collage of photos, buttons, gig posters. Limited to 500 copies.

‘San Vito’ is the new album from the Ivor Novello award-winning & multi-platinum selling UK indie-pop band The Feeling.

The album was written and recorded in Southern Italy and saw the band decamp there to self-produce the record as a band together. What began as a short writing trip, turned into a full album project with the Italian sun, food and culture seeping through into the sounds on the record. The band brought in local brass, strings and pizzica / tarantella percussion players – the result being very much an album by The Feeling but with a subtle Salento flavour mixed-in.

The title ‘San Vito’ is influenced by the name of the local town San Vito Dei Normanni where the band spent their time off from the studio soaking in the local culture, food and pizzica music. Highlights include lead single ‘The Right Wrong’ – a driving indie-pop anthem about freeing yourself from judgement, a gorgeous duet with US-based country singer Lucie Silvas & plenty of the flamboyant, upbeat 70s-inspired harmonised indie-pop that the band are adored for.

‘San Vito’ is the new album from the Ivor Novello award-winning & multi-platinum selling UK indie-pop band The Feeling.

The album was written and recorded in Southern Italy and saw the band decamp there to self-produce the record as a band together. What began as a short writing trip, turned into a full album project with the Italian sun, food and culture seeping through into the sounds on the record. The band brought in local brass, strings and pizzica / tarantella percussion players – the result being very much an album by The Feeling but with a subtle Salento flavour mixed-in.

The title ‘San Vito’ is influenced by the name of the local town San Vito Dei Normanni where the band spent their time off from the studio soaking in the local culture, food and pizzica music. Highlights include lead single ‘The Right Wrong’ – a driving indie-pop anthem about freeing yourself from judgement, a gorgeous duet with US-based country singer Lucie Silvas & plenty of the flamboyant, upbeat 70s-inspired harmonised indie-pop that the band are adored for.

Coming-of-age heartbreak madness in 90s indie rock style from the Ruhr area! Here come EAT THEM, ladies and gentlemen. Behind it is the musician Johannes Hofmann, who has recorded more than 20 albums single-handedly to date. And don't worry, Johannes is only in his mid-20s, he just started recording music at the age of 14, which he then burned onto CDs for his grandma to play. A little later: The own Bandcamp account.
Now a kind of best-of collection from the first 10 years of his creative work will be released at the end of June: EAT THEM ALL!

12 tracks on vinyl with a small art zine included. Everything designed by Johannes Hofmann himself.

All songs remastered by Norman Nietzsche. Lo-Fi becomes Hi-Fi Lo-Fi in no time!

The LP is intended as an introduction to the inexhaustible EAT THEM multiverse. Because there is about as much to discover here as on the legendary Shimmy Disc label or the Guided By Voices: indie rock, lo-fi pop, shoegaze, krautrock, math rock, punk rock or heartbreaking power ballads! In the meantime, Johannes has found two colleagues to bring EAT THEM live on stage. Please don't miss this!

As (Tocotronic discoverer) Myriam Brüger recently said so beautifully after the first EAT THEM show in Berlin: “Finally a really uncool band again!” That was actually meant as a big compliment!

In keeping with the holistic aspect of the project - and complementing the band name - titled "ALL", the album covers the full spectrum: from drum machine and sonic youth guitar melange, nervous post-funk to anthemic lo-fi indie -Rock, everything an indie heart desires can be found here.

The first single released today is “Do You Love Me When I’m Dead?”, a catchy song that takes place sonically where it is most beautiful in the rich history of suburban pop: in the garage. The piece reflected the live line-up, which was expanded to include bass and drums. The beat clatters happily and the open guitar chords flow! However, Hofmann transcends the suburbs with reverberated singing about an emotional urge to move and flies into the city, the disco or even through clouds and the landscape.

Pressed on double 180 gram virgin vinyl. Includes 30cm art print. Including download codes for the Jordan Rakai mix and full unmixed tracks as MP3 / FLAC / WAV.

“I wanted to try and showcase as many people as I knew on this mix. My idea of Late Night Tales was to distil a series of relaxing moments; the whole conceptual sonic of relaxation. So, I was trying to think of all the collaborators and friends that I knew, who’d recorded stuff with this horizontal vibe. Plus, I was also trying to help my friends' stuff get into the world. I know the story of Khruangbin blowing up after
appearing on the series (in fact, I think that's how I discovered
them). So, the main idea was to create a certain atmosphere, but also to help some of my favourite collaborators and buddies to give their songs a little push out into the world. Hope you like it” Jordan Rakei
Due for release on 9th April, Late Night Tales celebrate their 20th anniversary with the release of multi-instrumentalist, vocalist and producer Jordan Rakei’s majestic compilation. The 28-year-old modern soul icon effortlessly stamps his own jazz and hip-hop driven sound all over this gorgeous array of handpicked tracks. A beautifully layered blend that is mirrored in the music he’s made, it comes as no surprise that such a supremely gifted songwriter should deliver a mix that is all about the song. Rakei, born in New Zealand, but raised in Australia, moved to the UK in 2015; he released his debut album, Cloak, with Oz label Soul Has No Tempo, but his two subsequent LPs, Wallflower and Origin, came out on Ninja Tune, the former #2 in Album Of The Year for Gilles Peterson’s Worldwide poll, while Origin was nominated for Best Album at the AIM Awards. Jordan had this to say on his upcoming mix:
As Jordan says, there’s so much more to the song selection on Late Night Tales’ latest outing than a random collection of artists. Many have some sort of personal connection, so just as Bonobo provided a platform for the breakout of Khruangbin on a previous LNT, this may have the same effect for Rakei’s friends. After a soothing opener from Fink, good friend and big influence Alfa Mist (part of the Are We Live collective) delivers ‘Mulago.’ “I want to champion their sound and show the world how good he is, and I thought it’d be fitting to start the mix with family,” says Jordan. Next up is Charlotte Day Wilson with ‘Mountains,’ followed by ‘Count A Heart’ from Moreton, an exclusive collaboration with Jordan, who grew up on the same street in Brisbane, Australia. “She was the first artist I ever collaborated with, and one of the first artists to be involved in my career,” he explains. Elsewhere we hear Scottish producer and multi-instrumentalist C Duncan’s haunting ‘He Came from the Sun,’ Barcelona collective Oso Leone deliver a dreamy ‘Virtual U’ and Bill Lauren’s ‘Singularity,’ which evokes a striking sense of time and place. Snowpoet’s ethereal ‘Evitenity’ is a “long mediative narrative over a beautiful soundscape,” which at times seems chaotic, nicely juxtaposed with undeniable beauty, and Maro’s kooky songwriting shines on ‘Always And Forever.’
Long-time buddy Armon-Jones contributes ‘Idiom,’ and Jordan’s exclusive cover version is a two-for-one, Radiohead’s ‘Codex’ merging with ‘Lover, You Should’ve Come Home’ by Jeff Buckley and another exclusive, original composition by Jordan, ‘Imagination.’ The latter works as a piece with the spoken (Spanish) word voiced by movie director Alejandro González Iñárritu (Babel, Birdman, and The Revenant,) who is a big fan of Jordan’s. “He messaged me when I went to L.A and asked to come to my show. I was in such shock and we hung out after. I thought it would be nice to get him to do this in his native tongue, because I don’t think that’s been done yet on the series.” It certainly is a family affair. Not the blood is thicker than water kind, but certainly musical kindred spirits.

‘Animal’ was a word Laura Marling threw into a lyric simply to meet a rhythm. But it seemed to capture the mood of the new record, and of LUMP as a whole. “There’s a little bit of a theme of hedonism on the album, of desires running wild,” she says. “And also it fed into the idea we had from the start of thinking of LUMP as a kind of representation of instincts, and the world turned upside down.” It is something childlike and grotesque and filled with possibility, they say. “We created LUMP as a sort of persona and an idea and a creature,” says Mike Lindsay. “Through LUMP we find our inner animal, and through that animal we travel into a parallel universe.”

LUMP is the product of Brit Award-winning Laura Marling and Mercury Prize-winning Mike Lindsay. LUMP's second album 'Animal' will be released on 30th July 2021 on Chrysalis Records & Partisan Records."

A:The Little Prince Who is the little prince? What happened to the fox he speaks of, to the rose? Upon every rereading, I am faced with a world without answers. I hope that this unknowable universe remains a mystery forever, a place where grown-ups who have lost their childlike hearts can seek what matters most, just as the author wished. B: Blue Bird As the saying goes, happiness is within reach, just like the blue bird—the dove—by your side. Yet even so, we cannot help but yearn for greater joy than the present. And with happiness comes the fear of its loss… Oh, what a tiresome cycle. If nothing more, I wish for you a life where each morning upon opening your eyes, you can pray, “May today be an even better day.”

Their focus on the natural sounds of vocals and piano created a simple and sincere sound that was enhanced by the mastering expertise of Mr. Seigen Ono and Mr. Kamada Takehiko. Limited transparent edition.

Bitchcraft was born in a move from New York City, where Bitch had lived for 15 years, to a log cabin in the woods. There was all the time in the world to make art, and it was there, in the cabin, that Bitch began to write some of the songs that would appear on Bitchcraft. “It gave me space to think about the biggest version of myself that I could be,” she says of those early days in the cabin. The songs she wrote were a departure from anything she’d ever written before, and she began to craft huge pop tracks with the help of her trusty violin. Then, she moved to LA and Bitchcraft began to shapeshift again. In the time that followed, Bitch assembled a coven to complete it. She called on Anne Preven (Beyonce, Madonna, Demi Lovato) and God-des who helped her crystalize her vision in terms of writing and production. She called on Roma Baran (Laurie Anderson) to produce the violins on “Polar Bear.” She called on Melissa York (Team Dresch, The Butchies) and Faith Soloway (Transparent) to co-write a couple of the songs. The resulting record is one that is full of glorious pop tracks that go in unexpected directions. Bitchcraft is like Joni Mitchell set to a click track, it’s queer Cyndi Lauper. It’s neon pink, in your face, ready to hex you with its brilliance. It’s an unbelievably fun record that is extremely capable of breaking your heart a little bit. It also makes you think: about the state of the world, about evil politicians, about what it means to exist as a woman, and how to find joy along the way.

Multi-platinum indie pop band, The Feeling, return with their latest record, ‘Live in London’, recorded live in concert at the legendary Shepherd’s Bush Empire, in October 2022. This album brings a raw energy to the band's greatest hits, encapsulating the breadth of their widespread appeal and includes live versions of ‘Fill My Little World’, ‘Love It When You Call’, ‘Never Be Lonely’ & ‘Sewn’ from their multi-platinum selling album ‘Twelve Stops and Home’.

‘Animal’ was a word Laura Marling threw into a lyric simply to meet a rhythm. But it seemed to capture the mood of the new record, and of LUMP as a whole. “There’s a little bit of a theme of hedonism on the album, of desires running wild,” she says. “And also it fed into the idea we had from the start of thinking of LUMP as a kind of representation of instincts, and the world turned upside down.” It is something childlike and grotesque and filled with possibility, they say. “We created LUMP as a sort of persona and an idea and a creature,” says Mike Lindsay. “Through LUMP we find our inner animal, and through that animal we travel into a parallel universe.”

LUMP is the product of Brit Award-winning Laura Marling and Mercury Prize-winning Mike Lindsay. LUMP's second album 'Animal' will be released on 30th July 2021 on Chrysalis Records & Partisan Records."

Public Possession proudly presents Aiden Ayers debut album „Venus Copper Rose“. A few words by the artist himself: „ Venus Copper Rose came to me in a dream. The three words are all the same thing, symbols of beauty and material formations of love. Together they are a VCR (videocassette recorder) - a memory machine, a portal into fantasy and myth + a transcriber of dreams. The songs on the album represent the past five years of my life. The oldest of them were written and first recorded in 2017 and the youngest barely made it to the mastering session on time. I am always writing and recording, travelling to and fro, on little islands off the coast of BC, down to the California desert, or in makeshift basement studios throughout Vancouver. Every song has grown up and been captured in a different way - the album is a wild garden of misfits, flowers and weeds. I hope that people feel nourished by this album - I believe that is the ultimate role of music, like another kind of food, light, or love. I hope these songs and this album can help people see the beauty and poetry that flows through their own lives.“

If 2022’s The Children Of Scorpio was the debut album that turned people onto the world of Project Gemini aka Paul Osborne, Colours & Light is the body of work that will be buried deep into their hearts. It is a majestic album, bringing together the worlds of folk rock, psych soundtracks and hazy cinematic funk. A growing confidence and ease emanate from the writing and production of this sophomore LP, bolstered by the reception to his standout debut. “It’s a more layered and diverse record” Paul mentions, “with a more outward-looking, global sound, born out of the records I was listening to and the musicians I was lucky enough to collaborate with”. It feels relaxed yet self-assured, with a kaleidoscope of sounds that twist together in a mesmerising fashion. The theme of the album developed naturally through the lyrics Paul began writing. A creative process both plagued and fed by insomnia, nourished by relationships, entwined in emotions, nights out, nights in and the after-effects on the human condition. Relatable themes yet seen through the prism of a soundscape that takes in many a different culture and scene. From acid folk to psych-funk, Francophile elements to Anatolian and Eastern inspirations, all interlocking and rotating as one. Drawing inspiration from those he admires, Colours & Light radiates with collaborations. The title track, which tips its hat to a live 1973 TV version of Pentangle’s ‘Wedding Dress’, features the folk rock, guitar brilliance of Jack Sharp from Wolf People/Large Plants. Elsewhere, two tracks are blessed by the sultry, smokey French vocals of Gloria’s Wendy Martinez, ‘Extra Nuit’ and ‘Entre chien et loup’. The former echoes Paul's love of classic French psych-pop from the late ’60s and early ’70s and artists such as Laurance Vanay, Calcium, Leonie, and Serge Gainsbourg. Martinez's sublime vocal work nestles perfectly within Paul's psych-folk-funk productions, as her Gloria partner, Alexis Morel (aka Kid Victrola) sprinkles a dose of entrancing guitar line magic on proceedings. The list of collaborations extends further with Raz and Markey Funk, drummer Tony Coote and percussionist Paul Elliott all featuring. Regular collaborator and underground icon Barrie Cadogan (Little Barrie) returns along with Bert Page from The Cromagnon Band, who between them provide a hit of whacked-out, fuzzed-up country guitar and Moog madness respectively on ‘Lost In The Woods (Bacchanal)’. Rounding off the record Paul’s daughter, Olivia Osborne, supplies the keyboard intro on the penultimate track ‘Twilight’. Dorian Conway from The Soundcarriers (whose bandmate Paul Isherwood returns on mixing duties) then layers echoing heavy flute parts to magically capture the psychedelic sunrise images brought to mind. Balancing light and shade on this record, there is beauty and tension all wrapped up in Paul’s vivid and visceral, storytelling gift.

First release of the band Joel, 12 original tracks with numerous influences: funk, soul, rock, pop, folk… Kind of like David Crosby rubbing elbows with The Meters, like a jam session between the Alabama Shakes and Pink Floyd, or the Black Keys having a beer with Joe Cocker. All carried by a charismatic voice.Joel is a little bit of all this at once.

Standard version on black vinyl in gatefold sleeve.13 years and two more successful albums 'Little Heavy Burdens' (2014) and 'Exhale' (2017), the unbreakable foursome is ready to start the next chapter in the career of Intergalactic Lovers.

Heiko Voss has earned near mythical status as a torchbearer for the emotional, deeply felt and quietly radical style of electronic music. The blissed-out radiance of his Kompakt Pop single, “I Think About You” remains one of the label catalog highlights and a stellar run of collaborative singles as Schaeben & Voss; others might know him for his stewardship of the excellent, much-underrated Firm imprint. But with his new album, 3:30 Minutes To Live, released by Michael Mayer’s label Imara, Voss returns after a long silence with a beautiful collection of songs that hymn heartbreak with a lusciously melodic touch.

There is something definitive and newly confident in 3:30 Minutes To Live that has it feeling like a real statement of intent if compared to his earlier releases. “Although it’s not, 3:30 Minutes To Live feels like my debut album,” Voss reflects. “All releases before were more song sketches or electronic dance tracks.” Bunkering down in Teary Eyes Studio, Voss worked up somewhere between thirty and forty sketches of songs, which he whittled down to the twelve collected here, all of them situated in a unique space, but very much in accord with Voss’s defining aesthetic, which he describes as “indie pop music with a lot of guitar, electronic elements and a great love for melancholic ‘80s synth-lines.”

Voss is sensitive to both variety and consistency – 3:30 Minutes To Live sits together as an assured, vibrant collection of pop songs, but it’s marked by all kinds of surprising incident, like the guitar solo that erupts out of “This Is My Life”, or the acoustic guitar-led melancholy of the closing “This Summer”. It’s all borne of the alchemy of the studio process and the intimate romance of music-making. “If you constantly feel a little bit like you’re in love while writing and producing your music – simply because of the sound of the synth flowing warmly and gently through the room, or because the sequence of notes awakens something in you, or even a randomly arising groove in the loop of a guitar lick makes you shout, ‘Ha!!’ – then it usually becomes a beautiful song,” Voss nods. “Those moments make me happy.”

There’s also a delicious tension between the push of the music, its melodic lushness and gliding, ballerina-like movement, and the darker currents that pull through Voss’s lyrics, inspired by a “short, dramatic and toxic love affair.” This may read like familiar terrain for a pop album, but the way Voss weaves language through both the extra-linguistic joys of music and the inarticulate speech of the heart somehow allows for direct communication that is simultaneously plain-spoken and deeply profound. “Say It” is a simple, devastatingly effective plaint of alienation; “She Wasn’t Lonely” a simple portrait of everyday living set to chiming, clacking guitars, the music in the bridge taking astral flight as the titular character ‘lets herself go.’

A smart and sharp collection of songs that captures you with its gorgeous melodicism just as it blindsides you with its aching heart, 3:30 Minutes To Live is Heiko Voss at his most assured and open-hearted best.

Bitchcraft was born in a move from New York City, where Bitch had lived for 15 years, to a log cabin in the woods. There was all the time in the world to make art, and it was there, in the cabin, that Bitch began to write some of the songs that would appear on Bitchcraft. 'It gave me space to think about the biggest version of myself that I could be,' she says of those early days in the cabin. The songs she wrote were a departure from anything she'd ever written before, and she began to craft huge pop tracks with the help of her trusty violin. Then, she moved to LA and Bitchcraft began to shapeshift again.

In the time that followed, Bitch assembled a coven to complete it. She called on Anne Preven (Beyonce, Madonna, Demi Lovato) and God-des who helped her crystalize her vision in terms of writing and production. She called on Roma Baran (Laurie Anderson) to produce the violins on 'Polar Bear.' She called on Melissa York (Team Dresch, The Butchies) and Faith Soloway (Transparent) to co-write a couple of the songs.

The resulting record is one that is full of glorious pop tracks that go in unexpected directions. Bitchcraft is like Joni Mitchell set to a click track, it's queer Cyndi Lauper. It's neon pink, in your face, ready to hex you with its brilliance. It's an unbelievably fun record that is extremely capable of breaking your heart a little bit. It also makes you think: about the state of the world, about evil politicians, about what it means to exist as a woman, and how to find joy along the way.

Valerie June announced her first new album in four years The Moon and Stars: Prescriptions For Dreamers, out March 12th, 2021 via Fantasy Records. Produced by Jack Splash (Kendrick Lamar, Alicia Keys, John Legend) and Valerie June, the new album is sweeping and ambitious with earthy R&B production and a touch of psychedelia amidst its astral folk-pop orchestration, the pair arrived at a sound that is elegant and endlessly surprising. At the center is June’s spellbinding vocals and infectious sense of wonder that finds the Brooklyn-via-Memphis artist narrating the often-precarious journey to joyful possibility.

The album’s first official single "Call Me A Fool,” is a marvelous preview of her upcoming LP, a delicious slice of Memphis soul that features Stax legend Carla Thomas on background vocals. Valerie

shared the song’s sensuous day-dreamy video today with joint support across BET, CMT and MTV, including a broadcast premiere via CMT, watch it: Here.

Valerie June on “Call Me A Fool”:

“Have you ever been a fool for a dream? It might have been a little dream like a kiss from a lover or a big one like the dream of peace that Dr. King, John Lennon, and so many others have had for humanity. No matter how big or how small your dream may be, keep believing, and let the world call you a fool!”

Working at Fresh Young Minds in L.A. and Hit Factory Criteria in Miami June found an ideal collaborator in Splash, who shares her tendency toward childlike adventuring in the artistic process. “For this album I wanted to see how we could bring some modern elements into that band-in-the-room approach I’ve taken with my records in the past,” says June. In bringing the album to life, the pair utilized reference points ranging from the Afrobeat of Fela Kuti to the grandiose string arrangements of Bowie producer Tony Visconti as the eclectic lineup of esteemed musicians absorbed themselves in free-flowing experimentation.

From the delicate whispered epiphany of “Fallin” and the sagebrush soul of “Two Roads” to

the joyful determination of “Smile” and the prayerful invocation of “Home Inside,” the shapeshifting textures of The Moon and Stars: Prescriptions for Dreamers prove infinitely mesmerizing.

Commenting on the new album, June says:

“With this record, it finally became clear why I have this dream of making music. It’s not for earthly reasons of wanting to be awarded or to win anybody’s love—it’s because dreaming keeps me inquisitive and keeps me on that path of learning what I have to share with the world. When we allow ourselves to dream like we did when we were kids, it ignites the light that we all have within us and helps us to have a sort of magic about the way we live.”

Late last year, Valerie released “Stay” / “Meditation” / “You and I,” a rhapsodic, three-song suite that Rolling Stone affirmed, "If early previews like [this] are any indication, June’s next record should be a career-making statement." In addition, Essence called the tracks "well worth the wait" and the New York Times named “You and I” one of the Best Songs Of 2020. Listen to them Here.

The follow-up to her 2013 breakthrough, Pushin’ Against A Stone, and the widely adored The Order of Time—a 2017 effort that earned the admiration of Bob Dylan and landed on best-of-the-year lists—The Moon and Stars: Prescriptions For Dreamers is a transportive, deeply affecting work - a potent catalyst for those foolish enough to dream.

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