Vinyl, CD & Tape 3315 Items

Lucky For You is Bully's most close-to-the-bone album yet. It's an album that's searing and unmistakably marked by its creator's experiences, while still retaining the massive sound that Alicia Bognanno has become known for over the last decade. Her fourth album draws from personal pain and the universal struggle that is existing, learning, and moving on-and it's all soundtracked by Bognanno's rock-solid melodic sensibilities and a widescreen sound that's impossible to pin down when it comes to the textures explored. These ten songs are simply the most irresistible Bognanno's put to tape yet, making Lucky For You her greatest triumph to date in a career already packed with them. Work on Lucky For You began last year, when Bognanno brought some in-progress demos to producer J.T. Daly in his Nashville studio to see if they could strike creative kismet. "Authenticity is always on my mind, without even knowing it," she explains while discussing their recording process together. "It was great with J.T., because I could tell he was a genuine fan who wanted to emphasize what's actually good about my writing instead of changing it. I could tell how much he cared about the project, and it meant alot to me." The album came together over the course of seven months, the longest gestation process for a Bully record to date, but that time allowed inspiration to emerge in new ways. The result is a kaleidoscopic rock record spanning punk's grit, the crunchy bliss of shoegaze, explosive Britpop, and the type of classic anthems Bully has been known for. Lucky For You's thematic focus zooms in on grief and loss: The record is largely inspired by Bognanno's dog and best friend Mezzi passing away, at a time when her life already felt as if in metamorphosis. The oceanic first single "Days Move Slow" was written shortly after Mezzi's passing, reflecting the persistence of Bognanno's incisive wit in the face of adversity. "There was nothing I could do except sit down and write it, and it felt so good." And then there's the passionate opening track "All I Do," which kicks in the door with huge riffs atop her lyrical reflections on three years of sobriety. "Once I stopped drinking, I felt like I was still haunted by mistakes and things that had happened when I was drinking, and it's still taking me a long time to forget about that while existing in this house. How do I shed the skin from a path I've moved on from?" In that vein, Lucky For You is a document of perseverance in the face of the big and the small stuff. "I'm so overly emotional and sensitive, it's a blessing and a curse" she says with a laugh, but there's no downside to her expressions of vulnerability on this record; it's the latest bit of evidence that nothing can hold Bognanno back.

Indie Exclusive Black Vinyl Edition.

Stakes is High is the 4th studio album by De La Soul, released on July 2, 1996. Stakes is High was critically lauded for its music, lyricism, and its overall message concerning the artistic decline rap music began to face in the mid-90s. The title track and first single was produced by J Dilla and the album's second single, "Itzsoweezee (HOT)", with only Dave on vocals, was accompanied by a creative music video. The album spawned a third single "4 More", featuring Zhane. The album did provide a launching pad for future star rapper and actor Mos Def, who appeared on the track "Big Brother Beat" and Common who is featured on "The Bizness".

Don't forget to grab your Stakes Is High poster from our Bonus Coin section.

Limited pressing reissue of the 2008 Sub Pop single, the first OM recording featuring Emil Amos on drums. B-side features the band’s first dub version.

There's freedom to be found in consistency. Until recently, Juan Wauters may not have agreed with this statement. As a touring musician and multinational citizen, transience had always come naturally to him. Circumstance, however, recently prompted him to reconsider the benefits of staying in one place. His most introspective work to date, Wauters' sixth solo album Wandering Rebel finds the artist taking stock of how he's changed, how the world sees him, and what he wants out of life. Written mostly during an extended break from touring, the songs on Wandering Rebel are candid reflections on subjects like career ("Wandering Rebel"), romantic commitment ("Amor Amor"), mental health ("Nube Negra") and the personal toll of touring ("Let Loose"). On "Modus Operandi," he voices his frustration with New York's fairweather residents, who fled the city at the onset of the Covid-19 lockdown. Vocal contributions from fellow New Yorker Greta Kline (Frankie Cosmos) add to the chorus of playful disapproval. On the singalong-worthy "Millionaire," he turns his eye to the west coast: "It's hard to get around Los Angeles / If you don't have a car / I'm staying in a privileged part of town / It's suspicious for me to be walking." The clarity with which Wauters approaches these subjects lyrically is reflected in the music as well. His trademark eclecticism is still present (fans of Real Life Situations' spirited hip-hop should look to track 6, "Bolero"), but it's more refined this time, anchored in his signature Latin-influenced indie folk. Wandering Rebel is peppered with delicate additions that add depth throughout: rain sounds and hand drums on "Nube Negra," a strings section on "Modus Operandi," a gentle vibraphone on "Amor, Amor." Some of these are classic Wauters touches, but others are owed to outside influences, like production from Brooklyn-based Carlos Hernandez (Ava Luna, Carlos Truly) and Brazilian indie artist Sessa, as well as vocal contributions from Kline, Luz Elena Mendoza (Y La Bamba), Zoe Gotusso, and Super Willy K. Throughout Wandering Rebel, Wauters attempts to reconcile the stability he's come to enjoy with the nomadic restlessness that's characterized his life thus far. In the end, though, it's the interplay of both of these elements that makes the album so strong.

Closing Time foreshadows the distinctly lyrical storytelling and original blending of jazz, blues, and folk styles that would come to be associated with Waits. It is on this debut album that Waits performs enduring classics of his career “Ol’ 55” (famously covered by the Eagles), the heartbreaking “Martha” and the gentle acoustic folk of “I Hope That I Don’t Fall In Love With You”. Reissued for the first time as a double LP to commemorate the 50th anniversary of the landmark debut with newly half speed mastering at Abbey Road Studios.

Closing Time foreshadows the distinctly lyrical storytelling and original blending of jazz, blues, and folk styles that would come to be associated with Waits. It is on this debut album that Waits performs enduring classics of his career “Ol’ 55” (famously covered by the Eagles), the heartbreaking “Martha” and the gentle acoustic folk of “I Hope That I Don’t Fall In Love With You”. Reissued for the first time as a double LP to commemorate the 50th anniversary of the landmark debut with newly half speed mastering at Abbey Road Studios.

McKinley Dixon calls the late Toni Morrison the greatest rapper of all time; and the way he tackles topics like survival, violence, and religion within the expansive landscape of the Black experience, evokes her novels. It is from the title of Morrison’s Beloved trilogy where he finds the title of his new album with City Slang Records out June 2: Beloved! Paradise! Jazz!? Musically, his household was defined by “artists whose first name was Mary,” including Mary J. Blige and gospel duo Mary Mary. Discovering Outkast was formative for Dixon, deepening his love for hip-hop while he also grew curious about the more theatrical rock of groups of the day, bands like My Chemical Romance and Panic! At The Disco that his Maryland friends introduced him to. “Those groups also helped me with my sense of longing, since their music reflected a sense of longing,” he says. Eventually, he channeled these competing influences into a debut EP he released in 2013. With time, his music became his primary means of self-expression, whether discussing Blackness or his own relationship with healing. Across his next releases, his style evolved, and his confidence grew, especially when it came to live instrumentation. His 2021 debut album For My Mama and Anyone Who Look Like Her was a game changer, as Dixon set his sights on heartache and grief. “I was making these really dense and chaotic songs, stuffing whatever thought I had into five and a half minutes,” Dixon says of that project. Beloved! Paradise! Jazz?! is an attempt at channeling different impulses. Sometimes rough and other times delicate, this record is a journey into is a journey into the psyche of McKinley Dixon, with all the attendant peaks and valleys.

A transatlantic collaboration between five musicians from the UK jazz collective Steam Down (and DoomCannon) plus eight musicians from Colombia's folk, jazz, hip-hop, salsa and electronic scenes and groups such as Ondatropica, Frente Cumbiero and La Perla.
Radio support for first single Arroyo came from Jamz Supernova, Cerys Matthews, Huey Morgan and Jamie Cullum on BBC 6music, 1xtra and Radio 2 – with radio interviews and sessions now confirmed for these 3 shows.

The band's debut live shows are for the album release at London's Village Underground (7.5), Manchester's Band on the Wall (6.5) and Bristol's Beacon (5.5) plus two shows at Brighton's The Great Escape (10-11.5).
BBC Radio Features + Mixes BBC 6music – Cerys Matthews – Member to intro next single - TX March BBC Radio 2 – Jamie Cullum - 'Colombia' music guide from N. Hardem – TX May BBC 6music – Huey Morgan - Block Party Mix - TX May BBC 6music – Jamz Supernova - Live session to be recorded - TX May BBC World Service – Music Life - Member to take part in feature - TX May
BBC Radio Spot Plays 18.2 BBC Radio 1xtra – Jamz Supernova 'Arroyo' spot play 14.2 BBC Radio 2 – Jamie Cullum 'Arroyo' spot play 28.1 BBC 6music – Huey Morgan 'Arroyo' spot play 21.6 BBC 6music – Jamz Supernova 'Arroyo' spot play
Print/online Jazzwise Featured confirmed (May issue) DJ MAG Review confirmed Sounds AND Colours News story THE Prisma News story
Online Reprezent Radio 'Arroyo' spot play Jazz FM 'Arroyo' included on the Jazz FM playlist Music IS MY Sanctuary Mix confirmed
Mestizo is: UK musicians: Ahnansé (Steam Down) - tenor + soprano sax, vocals (UK music director) Shantéh (Steam Down) - vocals Benjamin Appiah (Steam Down) - drums DoomCannon - keyboards, synths, electric guitar Grifton Forbes-Amos (Steam Down) - trumpet
Colombian musicians: Jose Miguel Vega (Ondatropica) - trombone León Pardo (Ondatropica) - trumpet + gaita Diana Sanmiguel (La Perla) - percussion, vocals + gaita Marco Fajardo (Frente Cumbiero) - clarinet + tenor sax Daniel Michel (La Boa) - bass + synths (Colombian music director) Ronal Balanta (Chambimbe) - keyboards, synths, electric guitar + percussion Alejandro Cifuentes (Bandejas Espaciales) - drums + percussion Salomé Gómez Burbano - marimba + trumpet Luis Luque (La Boa) - euphonium N. Hardem - MC

M-high completes the catalog of the rutilance label with an EP composed by 4 tracks cut for the dancefloor. A remix by the talented Paolo Rocco completes this 27th opus.

First release of Paris Acid City on Freesome Records, vinyl only. A three tracks EP of solid, quality house music, sprinkled with Paradise Garage classics magic powder. Dub and acid versions on B side.First release of Paris Acid City on Freesome Records, vinyl only. A three tracks EP of solid, quality house music, sprinkled with Paradise Garage classics magic powder. Dub and acid versions on B side.

After branching off from The Royal Jesters in the mid-'60s, Dimas Garza attempted a solo career and reinvented himself as Dimas III. Dimas recorded three singles on the Jesters' own Clown label - all tracked at Abie Epstein's studio off General McMullen in San Antonio, TX. The first was "So Funny" b/w "I Won't Love You Again," which are almost impossible-to-find records. Garza never did manage to break beyond the Bexar County limits but left a rich legacy of recordings behind for lowrider enthusiasts and obsessed collectors alike.

After branching off from The Royal Jesters in the mid-'60s, Dimas Garza attempted a solo career and reinvented himself as Dimas III. Dimas recorded three singles on the Jesters' own Clown label - all tracked at Abie Epstein's studio off General McMullen in San Antonio, TX. The first was "So Funny" b/w "I Won't Love You Again," which are almost impossible-to-find records. Garza never did manage to break beyond the Bexar County limits but left a rich legacy of recordings behind for lowrider enthusiasts and obsessed collectors alike.

After Kepler’s Rm12016 release on R.A.N.D. Muzik, we welcome him to the sublabel for 4 tracks of club ready progressive and tech house.

Legendary Argentinian punk band with members from Rigidez Kadaverika. This 12" LP contains the "Hijos de Burgueses" demo (1989), plus two songs from the "Demo '87"! 14 studio tracks remastered by Daniel Husayn from North London Bomb Factory. Limited to 300 copies! Co-release with Sub-Discos and Discos Mugrientos. Contains an A3 poster with photos, lyrics and liner notes.

A beautiful and distorted dream of drum samples, jazz, swing, noise and bliss by Harsh Noise giant, Masami Akita (Merzbow), remastered for the first time since its original release in 2002. To celebrate the 20th anniversary of this incredible albu we are doing a limited second edition, gatefold, vinyl pressing on white/ pink colored vinyl limited to 300 copies worldwide. It includes updated artwork by the artist. Consider by many a landmark album and a turning point in Merzbow’s discography, Merzbeat serves as a powerful introduction to the world of experimental music.

Monterrey, México, based psych/doom band Los Mundos is releasing its first ever “live” album, limited to 300 copies on Bone White vinyl. The artwork comes in a dye cut cover with interchangeable covers and photos of the live session. Recorded in an abandon mine in Hidalgo, Nuevo Leon, “En Vivo Desde El Centro de la Tierra” celebrates the band’s 12 year run as one of the most important and celebrated bands currently in Latin America. A powerful, raw, and intimate show, that plays with the mine’s reverberation and energy.

Aurora Central Records is proud to present for the first time on vinyl, one of the most important releases in Masami Akita's 40 year plus career, Amlux. To celebrate 20 years of this album we are releasing it on a limited edition of 300 copies worldwide that includes new artwork by the artist, 4 new never before released tracks on 2xLP silver colored vinyl. Remastered by Masami Akita, this is the definitive version of this album, it's how it was meant to be listened to all along. A raw and beautiful journey to the unknown that seeks to redefine the boundaries of experimentation and dadaism within music.

(Whirring Marvels In) Consensus Reality is the new album by Eluvium - the renowned moniker of prolific modern composer, Matthew Robert Cooper . Taking initial inspirations from T.S. Eliot 's The Waste Land and Richard Brautigan 's All Watched Over By Machines Of Loving Grace , (Whirring Marvels) inherently deals both with humankind's need for meaning, and the emergence of algorithms reflecting the feedback loops of humankind's interactions with machines themselves. This complicated relationship that we have with technology, automations, and algorithms - and the influence they in turn have on shaping our image of the world - is the mechanized heart and soul of an album that almost instantly establishes itself as a peak in Eluvium 's inimitable catalog. During the writing process for (Whirring Marvels In) Consensus Reality , Cooper began experiencing shoulder and arm pain that rendered his left arm increasingly debilitated. This inspired new compositional methods that blended varying degrees of electronic automations with traditional songwriting. Lyrical themes were built using algorithms to cull content from a notebook filled with years of scribbled thoughts, poems, considerations, conspiracies, scientific notions, and notes on the spirit of existence. Employing musicians from all around the world - including members of the American Contemporary Music Ensemble ( Acme ), Golden Retriever , and the entire Budapest Scoring Orchestra - much of the music was conducted and recorded remotely via teleconference during the global Covid lockdowns of 2020 and 2021. This approach to composing served as an unintended but serendipitous challenge for an album inspired by the complicated convenience of technology. (Whirring Marvels In) Consensus Reality blends an ornate combination of ingredients to construct a narrative of our dynamic invention; technological advancement; loneliness and isolationism; and unchecked idealism in a world of never-ending growth. The resulting hope that somehow emerges is itself a marvel of innovation and inspiration.

(Whirring Marvels In) Consensus Reality is the new album by Eluvium - the renowned moniker of prolific modern composer, Matthew Robert Cooper . Taking initial inspirations from T.S. Eliot 's The Waste Land and Richard Brautigan 's All Watched Over By Machines Of Loving Grace , (Whirring Marvels) inherently deals both with humankind's need for meaning, and the emergence of algorithms reflecting the feedback loops of humankind's interactions with machines themselves. This complicated relationship that we have with technology, automations, and algorithms - and the influence they in turn have on shaping our image of the world - is the mechanized heart and soul of an album that almost instantly establishes itself as a peak in Eluvium 's inimitable catalog. During the writing process for (Whirring Marvels In) Consensus Reality , Cooper began experiencing shoulder and arm pain that rendered his left arm increasingly debilitated. This inspired new compositional methods that blended varying degrees of electronic automations with traditional songwriting. Lyrical themes were built using algorithms to cull content from a notebook filled with years of scribbled thoughts, poems, considerations, conspiracies, scientific notions, and notes on the spirit of existence. Employing musicians from all around the world - including members of the American Contemporary Music Ensemble ( Acme ), Golden Retriever , and the entire Budapest Scoring Orchestra - much of the music was conducted and recorded remotely via teleconference during the global Covid lockdowns of 2020 and 2021. This approach to composing served as an unintended but serendipitous challenge for an album inspired by the complicated convenience of technology. (Whirring Marvels In) Consensus Reality blends an ornate combination of ingredients to construct a narrative of our dynamic invention; technological advancement; loneliness and isolationism; and unchecked idealism in a world of never-ending growth. The resulting hope that somehow emerges is itself a marvel of innovation and inspiration.

To celebrate the 10th anniversary of the band's first full-length studio album, The Oh Hellos present a special re-mastered reissue of Through The Deep, Dark Valley as a limited Deluxe Edition vinyl.Remastered for the occasion, the reissue offers fans a chance to hear the music in a new light, and refresh their relationship with the album.The Deluxe Edition houses the album in a stunning, one-of-a-kind "pop-up jacket" designed by Alan Hynes, on 180g orange galaxy vinyl, presented in a windowed lift-off box displaying the layered artwork inside.Through The Deep, Dark Valley is a self-contained concept album, so for best results should be listened to in its entirety, in order, in one sitting."When we first wrote Through the Deep, Dark Valley, we wanted the album to flow like a narrative," says Tyler Heath. "Ever since, it's been a pattern we've found ourselves leaning into more and more with every record. To celebrate that original narrative spirit a decade later, we wanted this anniversary reissue to feel a little like a pop-up storybook that draws you in for the journey. We also enlisted the talented Charlie Kramsky to shine up our old recordings into a new Ten Year Anniversary Remaster."

Leipzig-based musician, engineer, and producer Friedrich Brückner most recently figured as part of the German-American band White Wine, playing the bassoon and bass, but has also, as either musician, producer or sound designer, toured internationally with the likes of Yoko Ono, Get Well Soon, Modeselektor, or Dear Reader. On his debut LP Brückner puts his considerable musical chops to use, in the service of a rollercoaster of an album that truly eschews categorization, being, as its title suggests, a work of being multiform. While the sound takes wide ranging cues from jazz, new age, dub, electronics to post punk, Brückner’s compositions never feel accidental in the slightest.

Acid Klaus, the new collaborative solo project from songwriter-producer and Northern England cult leg-end, Adrian Flanagan (The Moonlandingz, International Teachers of Pop, Eccentronic Research Council & lots more) announces his debut concept album co-produced with his music partner in the ERC, Dean Honer titled Step On My Travelator: The Imagined Career Trajectory of Superstar DJ & Dance-Pop Producer, Melvin Harris which will be released on Yard Act's ZEN F.C. label. The album features contributions from Adrian's long-time collaborators and friends including actress, Maxine Peake, US musician and video director, Charlotte Kemp Muhl (Ghost of a Sabertooth Tiger), Maria Uzor from Sink Ya Teeth and the Bradford-born pop-noir singer (currently singing in The Specials), Hannah Hu who is joined on lap steel guitar on a track by Richard Hawley. The album is completed by a whole host of fresh and exciting artists (as well as the aforementioned Lieselot Elzinga) - there's the enigmatic Queen Bee of the Calder Valley, solo artist, Bianca Eddleston who goes under the name Soft Focus and finally from South Wales (and the current talk of the South London scene), the incredible welsh language singer-songwriter, Cat Rin.

Trailblazing Spanish techno DJ and producer Indira Paganotto inaugurates her new label Artcore with a vigorous EP. Spanning a distinctive fusion of techno, psytrance and flamenco, the imprint’s stellar debut showcases Indira’s free spiritedness and open-minded approach to making music.

An outpost exclusively for her own productions, the launch follows a string of releases via prominent techno labels Kntxt, Second State and Octopus Records. Driven to present her artistic evolution to the world, followers can expect to find Indira shrewdly combining her techno skills with more instrumentals, as well as unique genre clashes.

"For me, my music is a state of trance,” Indira explains. “Each track has to tell a lot of stories with sensitivity and romanticism while looking backwards to our roots and forwards to visions of the future. My Guns & Horses EP is a mixture of my 12-year career, my experiences in different countries, my love for Asian culture and respect for my Spanish roots - flamenco!!! It also speaks of my passion for psytrance, a gift inherited from my father who spent more than ten years in India and was the one who instilled this sound and lifestyle in me.”

Opening track 'Jambo', is a slick roller which sees techno meet flamenco and a Spanish gypsy essence. Rippling with sounds that reach across frenetic flamenco guitar playing and psychedelic basslines, it’s one of Indira’s most distinct works to date. 'Guns & Horses ' is an arresting affair, with psychedelic synths, breakneck beats and exhilarating female vocals set to take listeners to another dimension. 'Angara Bebesi', the darkest cut on the EP, goes for deep, sleek techno with high-octane basslines, while the decisive beats and unrelenting drums of ‘uzi’ cuts in to close the EP. Bringing through powerful vocals, unexpected animal calls and twisted psytrance-tinged melodies, it lands designed to mess with your mind.

3 monstruous tracks straight from the basement feat. one of the original house music creator RON Hardy. All the real djs were looking for those for years. Grab it before it's sold out, we have very few copies. A must have.

At three straight sold-out performances in Fort Worth (Monday night) and in Dallas (Tuesday and Wednesday nights) the world renowned 4-man rock band attracted 34,000 fans, which according to show promoters Concerts West, is an all-time gate record for an indoor rock show in this area.

Limited to 500 copies for 20th Anniversary of the classic album

Julian Isaacs aka Auntie Pus, made a bet with his childhood friend Chris Millar (Rat Scabies of The Damned) that one of them would have a top ten record within 3 years. He of course lost that bet in less than a year as The Damned took the world by storm. Isaacs carried on with his own brand of punk and Syd Barrett inspired songs, playing with the best of the first wave of UK punk bands, and becoming frequent tour partners of bands like The Damned and The Ruts. In 1978 he finally recorded a single, featuring Rat Scabies on drums, which was eventually released with some help from the Ruts management, and did make not just into the weekly top 10 in Sounds, but "Single of the Week", and in a top 10 in Record Mirror when the Damned were pulling the reigns that week. Since then, the single has become a staple of conversations covering under the radar 70s UK DIY punk and "messthetics" type singles. This 7" is a deluxe edition with an unreleased track, artwork faithful to the original, with an accompanying insert that includes an in depth interview which should be fascinating to any fan of 70s UK punk, or fans of the Damned, photos, and more.

Sandy Bull’s unorthodox approach to guitar was as unique as his personal circumstances. Son of jazz harpist Daphne Hellman and brother to the sitarist Daisy Paradis, Bull became part of the bourgeoning Greenwich Village folk circuit. A move to San Francisco in 1963 found him sharing an apartment with Nubian oud master, Hamza El Din, which had a profound effect on his playing, spurring early world music experiments. The previously unreleased Live In San Francisco features bluesy electric ‘Memphis, Tennessee’ and ‘Instrumental Blues,’ plus the abstract ‘Untitled Instrumental’ and ‘Solo Experimental,’ all classic morsels of Bull wizardry.

Classic Punk From Paris, Originally From 1985 - Reissue ON Narayan Records. Hard TO FIND.

Reissue for the debut LP by Torino's own melodic punk rock/OI! masters Bull Brigade. This is a limited splatter vinyl version, with improved sound and revised artwork, thanks to Motorcity records.

After an outstanding debut on Oddysee with Asphalt DJ, Tel Aviv’s, Gzardin presents his first solo record, an EP of 4 90’s inspired club drivers.

Continuing his exploration into the world of sound design, one of dance music’s most respected contemporary producers, Enrico Sangiuliano, announces the next conceptual study in Ninetozero’s transient reality. The forthcoming opus welcomes the irrefutable talents of Charlotte de Witte, marking the pair’s second collaboration to date and the third release in the label’s countdown. The 3-track “Reflection” EP is available to pre-order now and will be live across all streaming platforms on March 17th.

A luminary of musical storytelling, Enrico’s Ninetozero saga has seen the Emilia native explore the affinity between sound, time and space, all while presenting an alternative perspective on his palette as a producer. Now illustrating their understanding of ‘Reflection’ within noise and composition, Enrico and Charlotte analyse the rebounding of sound waves between different mediums. Tethered to their roots within the Techno community, the title track and its format present as DJ-oriented, marrying de Witte’s stripped-down sensibilities with Enrico’s flair for rapturous apex moments. A euphonious translation of the notion of ‘Reflection’, the refined techno cut has enjoyed heavy circulation across the underground scape and will no doubt follow in the footsteps of the pair’s ‘The Age Of Love’ remix - which subsequently rounded out the year as 2021’s Best Techno track.

‘Pulse Love/Heaven’s Passage' is the latest EP from Ireland’s Tommy Holohan and is a direct, personal insight into the personality and diversity of the Irish producer. Tommy Holohan joins forces with Kettama for the first time and sets a bold precedent for what is another scintillating project from the young heartthrob.

Following a massive 2022 which saw releases on three of Lee Burridge’s labels - All Day I Dream, TRYBESof and Tale & Tone - Jim Rider continues to build momentum, releasing his Two More Days EP. This EP showcases Jim’s expertise in crafting uplifting melodies across the four original tracks.

Inspired by a two day long train journey across the United States, the EP’s title track is a lengthy journey through multiple soundscapes. The track features dreamy synth notes, arps, and a wide variety of percussive elements- sounds which were staples of Jim’s DJ sets this past year.

Red Axes return to Crosstown Rebels with their absorbing new single ‘Relax Shiva’, featuring a remix from DJ Gregory.

An electronic duo at the forefront of house and techno, Tel-Aviv-based pairing Dori Sadovnik and Niv Arzi, aka Red Axes, continue to advance and develop their own ever-evolving eccentric and idiosyncratic sound. Informed by new wave and post-punk through to electronic genres across the spectrum, their releases on Erol Alkan’s Phantasy Sound, Jennifer Cardini’s Correspondant and Life and Death, coupled with recent material on Higher Ground and Shall Not Fade, have welcomed a plethora of varying soundscapes. This versatility and range is something they explore once again as they return to Damian Lazarus’ Crosstown Rebels - following on from 2015’s ‘Sabor’ - with their latest single, ‘Relax Shiva’.

An intensely hypnotic and entrancing effort that slowly wanders and creeps between sounds and spheres covering all hours of the night, the warping ‘Relax Shiva’ utilises resounding and deep organic percussion alongside a spiralling deeply rooted acid line at its core to guide the trance-inducing vocal calls across a near-eight-minute trip. Providing the remix on the package, Parisian house legend DJ Gregory, aka Point G, harnesses the vocals while introducing crisp, rolling drums and winding melodies, a sure-fire remix Bomb!

UK mainstay Denney steps up to Rekids, backed with remixes by Nic Fanciulli and Frankey & Sandrino.

Denney's name is synonymous with quality, with previous productions landing on labels such as 8bit Records, Crosstown Rebels, and Nothing Else Matters. For his latest release, Denney teams up with London-based actress and singer Charlotte Riby to craft ‘Catch The Heat’ for Radio Slave’s Rekids, backed with two killer remixes from Nic Fanciulli and Frankey & Sandrino.

Across 'Catch The Heat' Riby's vocals bring a touch of old-school class to a warm and soulful House track, steeped in New York history with fresh production flourishes that are sure to make it an anthem this summer and beyond.

On the flip is Nic Fanciulli’s remix, the Saved Records boss, who turns the original into a more techno-leaning cut with the vocals taking on a gospel quality over pulsing drums. German duo Frankey & Sandrino’s interpretation rounds out the release with a dramatic trip dripping with elegance that will have the dance floor in raptures.

Jamie Jones and Lee Foss welcome Brazilian newcomer Cassi to Hot Creations as he unveils his two-track EP, ‘Request’.

A new name quickly catching a lot of attention within the tech house world, Brazilian DJ/producer Cassiano Salbego, aka Cassi, only released his debut record via Amine Edge & DANCE’s Cuff Records in August of last year. However, the months since have seen the exciting South American drop a sprinkling of follow-ups and downloads to begin to showcase his sound and style, with a growing list of supporters added by the day. Next up, he gets set for his biggest release to date, making his debut appearance on James Jones and Lee Foss’ internationally renowned label Hot Creations with two new originals across ‘Request’.

Opening with rolling drums, slinking bass groove and hooky warped vocals, arpeggiated lead synths soon take hold of ‘Request’ as the track builds into a cascading surge of energy, while ‘Nervousinha’ is a stripped back yet impactful cut that sees further vox snippers paired with trippy and resonant melodies.

Hailing from South America, Argentina, South Atoms delivers our seventh instalment with his 'El Mundo De Las Cosas’ EP, available on 12” and across all digital platforms.

French producer, musician and DJ, Thomas Arroyo aka Laroye has over the last couple of years been dropping musical releases in all the right places, Atjazz Record Company, Vision Recordings and Freerange Records to name a few, Local Talk are extremely proud to present 'Let It Go' to the world.

From his studio in Brighton where he resides nowadays, Laroye has produced four highly musical compositions that will appeal to a wide audience of house heads as well as the jazz, soul, and funk communities. The EP offers everything from vocal soul /boogie jams like 'Beauty in motion' and 'Grateful' to the deep vocal house of 'Let it go' and the jazz-funk with a strong rare groove feel on 'People out there'.

Just 100% quality all the way.

Another welcome addition to Four Flies 45s series, this 7” contains three uber-funky instrumentals taken from an unreleased soundtrack by Paolo Ormi, two of which previously included in Four Flies’ now almost impossible-to-find comps Esterno Notte and Esterno Giorno. Featuring wah-wah guitars, pulsating bass, drum breaks and pronounced horn section. One of the funkiest blaxploitation-inspired soundtracks ever made in Italy.

Taken from the soundtrack to an obscure 1975 Italian film, Elio Bartolini’s L’Altro Dio, these two killer disco-funk instrumentals might have remained in oblivion were it not that Four Flies rescued and included them in the comps Esterno Notte and Esterno Giorno, both of which sold out quickly and have become almost impossible to find. It seemed more than proper now to release them for the first time ever on 7”.

Hear the sound of my feet - title says it all, but it would be too easy to bring it back to his african roots only. Zulu explores his double identity, both ways, extrovert as well as introspective, and draw a go-between, from club hit Hooligan Break to the feverish eponymous title Hear The Sound Of My feet. Trance synth stabs, sharp percussions as well as ambient (!) reminisce of his DJ record (alongside Bruits de la Passion collective and on Lyl radio) and lead the narrative - back to the roots he wants to introduce you to.

the third and closing chapter of the „raum“ trilogy by an moku and stefan schmidt – „raum im raum“ serves f inely crafted ambient / soundscapes, and is the most intense and darkest album of the series. as written in the previous infosheets, the „raum“-trilogy (named after and inspired by a sentence from david foster wallace’s unconventional bestseller novel “infinite jest”) is a child of the recent pandemic: when public life more or less came to a hold, dominik grenzler aka an moku , a sound artist and bass player based in zurich, contacted stefan schmidt (guitarist, composer and improviser from baden-baden) with the idea of collaborating. It turned out a fruitful idea and within just a couple of weeks they not only managed to craft “raum” but indeed had so many ideas that it was impossible to put them all in just one album, a trilogy was the logical consequence. this series now sees its 3rd and final part with „raum im raum“, maybe the most intense and darkest chapter of the trilogy that deals with the abstraction of a possible space within a possible space. grenzler and schmidt continue their adventurous sonic trip into abstract voids, crafted by finely processed sounds of different origins like synthesizer or fretless guitar, field recordings and a vast array of electronic equipment – like they did before, but without simpy re-cooking the approved recipe, instead adding new spices like a kalimba or saz (schmidt being a vituoso on many stringed instruments). the atmosphere is dark and alien, with references to hauntology and musique concrète, and yet organic, and rich of details. „..soon, i loose the ability to distinguish between the two kinds of darkness. i can no longer tell if my eyes are open or closed. but as my eyes became used to the darkness, though, i began to pick out slight differences...“ - h. murakami

Whatever band Eric Clapton ran with, it inevitably became a 'supergroup'. His 1969 endeavours in Blind Faith and the Plastic Ono Band eventually gave rise to Derek and the Dominoes, but most importantly it also featured his fertile relationship with Delaney and Bonnie. Having sponsored a European tour for the band, Clapton was actively involved in the line-up himself alongside George Harrison and pals.

Modern and grounded in 1960s hard-bop sensibility, the American pianist and composer Albert Dailey (1939 – 1984) had perfect control over his instrument. Since an early age he played with cutting-edge musicians, the likes of Art Blakey, Sarah Vaughan, Stan Getz, Charles Mingus and Lee Konitz to name just a few. But despite that, he was an underrated artist during his lifetime receiving deserved recognition only after his death. Renaissance 2 November 1977 is his second album, played by a bold group that includes the voice of Cheryl Alexander, Carter Jefferson on sax, Cecil McBee on bass and features both Cheryl Alexander and Adam Nussbaum on drums.

On the same year 1969 that marks their presence at Woodstock, the American rock/blues band Canned Heat released this astonishing live album recorded at the legendary Kaleidoscope, the psychedelic Los Angeles ballroom well known for its revolving stage. The original title Live at Topanga Corral was given apparently for right reasons, only some years after the location of the recordings was revealed. Featuring “Bullfrog Blues,” “Dust My Broom”, “I’d Rather Be The Devil”, “When Things Go Wrong”, “Wish You Would”, “Sweet Sixteen” the album reflects the deep blues and rock roots of the group.

The core membership of free jazz act The Trio ensured its output was captivating, comprised as it was of double-bassist Barre Phillips, who had played with Archie Shepp, Chris McGregor, and Gong; saxophonist John Surman, who had played with John McLaughlin, Lester Bowie, and Alexis Korner; and drummer Stu Martin, who had played with Count Basie, Donald Byrd and Herbie Hancock. On the gripping sophomore set Conflagration, guest players include Chick Corea and trumpeter Harry Beckett, ensuring their take on abstract jazz contains melody as well as jarring exchanges. Another great Trio free jazz set!

Known as ‘the Architect of Rock ‘n’ Roll,’ the flamboyant rhythm and blues extrovert, Little Richard, made an incredible impact with unorthodox piano playing and rasping, shouted vocals, yielding a series of pivotal hits in the mid-1950s, but he abandoned secular music for gospel following a tour of Australia in 1957. Lured back into rock by promoter Don Arden, his UK tour featuring The Beatles as support, Little Richard Is Back was his comeback set for Vee Jay, his voice now deeper and seasoned; the range of covers are tackled with plenty of pep, and original ‘Groovy Little Suzy’ was co-written by Harry Nillson. All hail the King!

She is beautiful. And in a world where so much can easily be possessed on a whim or for a promise, she is unpossessable. She has a clear, pure ring, a trueness, like an arrow that has hit an inner mark and can’t be wedged loose. Her voice and her manner, that stretch farther into the past than perhaps she realizes, may set the new style: an existential pop style that is as earthy as Mary Travers (Peter, Paul & Mary) yet more elegant, more solated. Her name is Nico. I don’t know where she was born, how old she is or anything about her life as a model in Paris, an actress in Rome, a beat in lbiza or a member of the Velvet Underground I could easily find out. But l’d rather not. All that was yesterday.

Big News! After 37 years, the first & only studio recordings of Brazilian post punk band Ida & Os Voltas, derived from their self-released cassette tape “Samambaias Voadoras” (Flying Ferns), have finally come to life in a superb joint 12’ vinyl release by Nausea Records and Nada Nada Discos! Formed at the end of 1985, Ida e Os Voltas would emerge in the iconoclastic Belo Horizonte’s post-punk scene, after punk artist Ida Feldman meets Bruno Verner, Aleca (A. de Alexandria), Frederico Pessoa and Bernardo Rennó; long-time friends who lived in the same tower block, at the bars Trincheira and Complexo B - two of the art punk strongholds of the city at the time. Part of the same post-punk scene of R. Mutt, Hosana Nas Alturas, Sexo Explícito, Divergência Socialista, O Último Número, Xiitas, Crime Ópera, Alma Ciborg, Os Contras amongst others; Ida e Os Voltas were often played on local station Radio Liberdade Fm 92,9 MHz, where two of their tracks “Jovens Raptados” and “Cadê A Embaixatriz/ Revolta” became underground micro-hits throughout 1987. The release also includes distinct moments from their candidly surrealistic Casio-driven repertoire in tracks such as “Deus Meus Fudeus”, “Todos Querem”, “Anti-Progresso” e “Samambaias Voadoras. Check them out! Ida & Os Voltas disbanded in 1988.

When THE Release OF Various Junk Shop Glam Compilations Created AN Ever Growing Demand FOR Those Great Lost Nuggets OF THE Glitter ERA IT Didn´t Come AS A BIG Surprise That IN THE Wake NEO Glam Bands Started TO Rise. Giuda Paved THE WAY, FAZ Waltz Come TO Mind BUT Then THE WAS Little More, WAS There? BUT Wait! Since THE Days OF Rodney Bingenheimers English Disco LOS Angeles HAS Always Been THE Epicentre OF Glam IN America. While Glam NEver Made IT BIG IN THE U.S., IT Nonetheless NEver Completely Disappeared. Glam Aficionados Kept ON Deejaying Their OWN Shows TO A Small Circle OF Committed Supporters. Enter Noah Wallace. TO SAY Noah Knows A BIT About Junk Shop Glam Would BE THE Understate-ment OF THE Year! Ever Since HE DiscoVERED THE Milk´n´cookies Album HE NOT Only Build UP THE Most Comprehensive Collection OF Junk Shop Glam Obscurities, HE Also HAS THE Deepest Understanding OF ALL Facets OF THE Genre, HE Lives IT, HE Breezes IT! SO Putting Together HIS OWN Band IN 2010 WAS A Logical Step. HE Named IT: Hammered Satin. IN 2012 Hammered Satin ReleaseD A Very Limited Tape Which Brought Them TO THE Attention OF Burger Records, AND 2014 Gave Birth TO Their Great First Album GlamORAMA. Oddly Enough THE Album – Which IS EN PAR With THE Very Best NEO Glam YOU CAN Think OF! – Failed TO Make AN Impact IN Europe. IT WAS NOT Distributed Here AND TO This Very DAY A Copy OF THE Original IS NOT Easy TO Locate. TOO Great TO BE Ignored I Came TO THE Decision That Europe Needed This Record! SO When Noah Agreed I Started TO Work ON A Reissue AND Finally… Here IT IS!!! Hammered Satin ARE Still Going Strong AND Have Added Ex-germs Drummer DON Bolles TO THE Line UP!

When THE Release OF Various Junk Shop Glam Compilations Created AN Ever Growing Demand FOR Those Great Lost Nuggets OF THE Glitter ERA IT Didn´t Come AS A BIG Surprise That IN THE Wake NEO Glam Bands Started TO Rise. Giuda Paved THE WAY, FAZ Waltz Come TO Mind BUT Then THE WAS Little More, WAS There? BUT Wait! Since THE Days OF Rodney Bingenheimers English Disco LOS Angeles HAS Always Been THE Epicentre OF Glam IN America. While Glam NEver Made IT BIG IN THE U.S., IT Nonetheless NEver Completely Disappeared. Glam Aficionados Kept ON Deejaying Their OWN Shows TO A Small Circle OF Committed Supporters. Enter Noah Wallace. TO SAY Noah Knows A BIT About Junk Shop Glam Would BE THE Understate-ment OF THE Year! Ever Since HE DiscoVERED THE Milk´n´cookies Album HE NOT Only Build UP THE Most Comprehensive Collection OF Junk Shop Glam Obscurities, HE Also HAS THE Deepest Understanding OF ALL Facets OF THE Genre, HE Lives IT, HE Breezes IT! SO Putting Together HIS OWN Band IN 2010 WAS A Logical Step. HE Named IT: Hammered Satin. IN 2012 Hammered Satin ReleaseD A Very Limited Tape Which Brought Them TO THE Attention OF Burger Records, AND 2014 Gave Birth TO Their Great First Album GlamORAMA. Oddly Enough THE Album – Which IS EN PAR With THE Very Best NEO Glam YOU CAN Think OF! – Failed TO Make AN Impact IN Europe. IT WAS NOT Distributed Here AND TO This Very DAY A Copy OF THE Original IS NOT Easy TO Locate. TOO Great TO BE Ignored I Came TO THE Decision That Europe Needed This Record! SO When Noah Agreed I Started TO Work ON A Reissue AND Finally… Here IT IS!!! Hammered Satin ARE Still Going Strong AND Have Added Ex-germs Drummer DON Bolles TO THE Line UP!

Get ready for the return of The Noise of Art, with their highly anticipated new album 'The Retrospective.' This concept album features 12 brand new tracks from legendary Suburban Base illustrator, Dave Nodz, under his Noise of Art pseudonym. As the man responsible for so many iconic record sleeves and imagery that built Rave to DnB, Nodz is a true pioneer of the electronic music scene.

To give fans a taste of what's to come, we're excited to present a special four-track album sampler, available on a very limited vinyl release. These tracks showcase Nodz's unparalleled creativity and skill, and provide the perfect introduction to an album that crosses styles and eras, taking listeners on an unforgettable journey through music. With 'The Retrospective,' The Noise of Art has once again pushed the boundaries of what's possible in electronic music. Keep an eye out for the album, forthcoming on the Subbase Progression label, and be prepared for a truly unforgettable experience.

While the full album will be digital-only this limited EP is your only opportunity to experience these tracks on vinyl. Don't miss out on this unique and collectible release from one of electronic music's true artists and pioneers.

Introducing the highly anticipated EP from the legendary Aston, of the Freestylers, Blapps Posse, and Rap & Aston. This time, he has teamed up with the talented DJ Quicklung to create four brand new tracks, each showcasing Aston's impeccable production skills and style.

The EP opens with "Raggamuffin Soldiers," a hard-hitting D&B track with classic influences that has already gained significant support across clubs and radio. Next up is "Moving On," a lively club roller that clearly showcases Aston's foundations and rave pedigree.

On the flip side, "Galactica" takes things in a darker direction with moody D&B vibes that pay homage to classic Suburban Base and Boogie Times, but with a fresh twist that's unmistakably 2023. Finally, "The Hangman" closes out the EP with a stunning breakbeat masterpiece that will leave listeners wanting more.

With its diverse range of sounds and styles, this EP is a testament to Aston's enduring talent and influence in the world of electronic music. Don't miss out on this incredible release!

Hngwy is a Scottish producer known for his unique blend of IDM, jungle and bass music with constant nods to his dub, techno and ambient influences. His music is often characterized by intricate drum patterns, experimental soundscapes and glitchy textures, all of which come together to create an atmosphere that is both frenetic and cerebral.

The Decibels are almost cicada-like in that when you think you've heard the last of them with a release that came out a few years ago, out of nowhere another Decibels record appears out of thin air. Work on "When Red Lights Flash" actually started at the very end of 2019, and then March of 2020 happened and turned the whole world upside down for the next couple of years. When the guys got together again in 2022 to resume work on the record, like everyone, they had changed-not in ways that you can easily define or even put a finger on, but you can hear it on the record. While they are still up to their trademark sound with big chords, big beats, and catchy melodies inspired by all the best guitar-based pop music from the last 60 years, there is an underlying current in this record that wasn't there before. The only way to describe it is if "Scene Not Herd" was the Decibels in 1965, then "When Red Lights Flash" would be the Decibels in 1967. It's a record that reflects where we've all been and grapples to make sense of where we are now and what lies ahead. "When Red Lights Flash" is the kind of record that will travel well with you the rest of your days. They still channel their own brand of moddish guitar power-pop (elements of THE BEAT, THE ROMANTICS, THE PLIMSOULS, the mod-era WHO with a pinch of the JAM, but squeezed through their own filter that gives them their own sound) with the same fire and intensity that they've always had. This just might be their "All Mod Cons". As we get older and realize that nothing is promised, it's good to have another Decibels LP as a small reminder to appreciate the now.

Connecticut-based quartet Goose _ Rick Mitarotonda [vocals, guitar], Peter Anspach [vocals, keys, guitar], Trevor Weekz [bass], and Ben Atkind [drums] _ shimmy through the cracks between jam, funk, alternative, and rock with head-spinning hooks, technical fireworks, and the kind of chemistry only possible among small-town and long-time friends. After selling out theaters coast-to-coast and a series of seismic festival performances, the musicians welcome everybody to this place on their 2021 second full-length, Shenanigans Nite Club. "In many ways, Goose is a conglomeration of music from the town we grew up in, and the songs are a collection of many different experiences and influences," observes Rick. "Where we come from has inevitably informed and enabled our music. We get these four defined seasons in rural Connecticut, and there's a powerful stillness.""Our area is a very reflective place," agrees Peter. "We're in the woods, and we all find peace from the setting. Being in the sticks positively affected what we're trying to do.""While we've been touring, the record has been happening in the background," says Rick. "We've done our fair share of sweating it out and paying our dues on the road. There was a natural progression until we really got on the same page creatively. It's been a long, weird trip. At times, it was tumultuous. The record is a companion to those growing pains."Goose introduce the record with "So Ready" and it's counterpart "(s?tellite)." Just shy of ten minutes together, the tracks twist and turn through synthesizer "emitting hilariously sexual vibes," jazz-y bass, and a chantable hook."Labyrinth" dives down "a deeper rabbit hole" as warm guitar wraps around shimmering piano originally culled from Rick's school days."`Labyrinth' is one of the only pieces I wrote in my latter high school days," he recalls. "It's got this thematic relevance with the weird sense of humor, rambunctiousness, and partying from back in the day."As the first proper Goose song, "Spirit of the Dark Horse" originated after a "twelve-minute meditation" between Rick and Trevor back in 2015. It unfurls as a captivating trip in and of itself and "holds a lot of meaning." The same could be said of the album title. As legend has it, Shenanigans Nite Club really popped off in the eighties. Rick's uncle worked as a bouncer and manager for the iconic haunt and shared all manner of wild stories with his nephew. He even gave Rick a sign from the original club, which overlooks the basement where the boys jam."Shenanigans has always been around," Rick elaborates. "It became the idea of the record. It celebrates this element of nostalgia and good memories as we move forward."In the end, Goose chart their own course and ultimately encourage everyone else to do the same."In the end, our dream is to inspire people to step off the beaten path," Rick leaves off. "There are a lot of voices that tell you to play it safe. I think the coolest thing in the world is when someone breaks free and goes for whatever weird shit they dream of doing."

A descendant of the Hausa (a people from the Sahel) born in Riyadh in 1947, Ettab was a celebrated singer, actress and activist - and perhaps the only female artist of Saudi origin of her time to claim an international career. This album, produced in Lebanon in 1992 by brothers Mahmoud and Ahmed Moussa for the label Relax-In, is a perfect introduction to her work. Resolutely modern in its pop arrangements with a finesse worthy of Curtis Mayfield, it takes Eastern classical music to new horizons. Ettab's undeniably beautiful voice is characterized by its original accent, which she refused to hide despite her exile to Egypt in 1980. After 15 albums and a few film appearances, Ettab devoted her time to defending the women's rights in the music world until her death in 2007 in Cairo. She is now a leading female icon in the Arab world, especially in her native Saudi Arabia. A masterpiece of Arabic music, essential to any fan of the genre, her work should be urgently (re)discovered.

Autumn 1983: "Paris Latino" hits the radios. The hit was then ranked No. 1 in the Europe 1 and RTL charts, No. 1 in Spain, No. 2 in Germany, Italy and Switzerland, No. 3 in the famous Top 50 in France and No. 19 in Belgium. Very quickly, the Bandolero group sold 3 million records of this first single. With a rather funk-disco-pop sound, the title is taken over by the students of season 2 of Star Academy and finds itself ranked No. 1 in the Top 50! Bandolero then released four more singles. On the occasion of the 40th anniversary of "Paris Latino", Bandolero offers this compilation of 10 tracks containing several versions of their mega hit (remixes, foreign version...) but also of their other singles, for the first time on color vinyl. LIMITED EDITION AND REMASTERED TRACKS

Repro OF This 90's Crossover Classic. Features THE Infamous 'cop KILLER'!

Skeewiff have always idolised the trailblazers of library music, such as Keith Mansfield, Brian Bennett, and Alan Hawkshaw. In the mid-2000s, they founded Pedigree Cuts, which quickly gained success, giving the duo an avenue to showcase their creative expression and adoration for the art of library music.

They return to their spiritual home at Jalapeno Records for a series of exclusive releases, featuring revamped cover versions of some of their favourite library tracks.

First up is 'Spanish Flea,' a well-known earworm of a tune by Herb Alpert and his Tijuana Brass Band. Which comes paired with 'Exclusive Blend,' another legendary instrumental composition by the esteemed Keith Mansfield.

Skeewiff's funky interpretations of these classics is guaranteed to delight many.

Vladislav Delay presents the third EP in his "Hide Behind The Silence" series with five 10" releases coming throughout 2023. Intuitive and raw music, momentary and reflective, released on Ripatti's own label "Rajaton". -- Stillness is a myth. Consider concepts such as ”still water”, or ”still air” for that matter. Go to a restaurant, ask them for a glass of still water, hold it against the light and see where we’re at. Even though the water itself has been captured and imprisoned in the glass, it never stops breathing. It’s filled with tiny particles, dancing. Everything can be explained on a molecular level, but since we’re not scientists – and even if you happen to be – it’s the natural world of perception that moves me. Still air is very similar. A hot summer’s day with zero wind feels completely still. It’s the closest I have felt to complete stillness. Or for a more urban adaptation, imagine the same vibe inside a normal apartment. In those moments, revelations and mind- blowing experiences can be had with experiments in stillness. Try this: Just sit down for a minute on a sunny day, making sure there’s enough natural light. Do absolutely nothing. Try not to breathe for a bit. (If you need a mental anchor, you can play Cage’s 4’33” in your head but nothing else.) Watch the tiny dots of dust dancing :..’ ̈.:; ́ ́*°.,’:,. ̈ ̈ ̈ ̈:,.’ The movement is crazy, but the feeling of stillness comes from witnessing how subtle it is. In (perceived) complete stillness, every act of microscopic mobility seems to speak volumes. Yet, it feels both reassuring and oddly threatening that the stillness is never complete. What if we would need absolute stillness? Or is it just enough that we can perceive something as such? Extremes attract, so for both water and air, extraordinary movement is equally fascinating. That is also a luxury item of sorts. For us to enjoy a very ”loud” body of water or air, we need to be safe, in enough control of the situation. So when you are, it’s worthwhile to pay attention and take it all in. A rapid flowing free with extreme strength and just barely in control. Look at that water go! No still water on this one, only ”sparkling”. A windy day when birds seem surprised how hard it is to fly, but in the end they make it. Trees bend but don’t break. The wind shows you its movement but doesn’t hurt you. It feels friendly, like a big clumsy dog that doesn’t quite understand its size. It’s beautiful to be a guest of the elements, but not at the mercy of them. A new kind of dialogue forms.

A dynamic configuration of rhythms plus melodies, overlaid with musings on repetitive neverlands: R.i.O. welcomes KXB, aka Sam Gill and Wes Holland, a duo that, as they put it, “was born and baptised on the balcony at Robert Johnson in 2019, while Wes lived in London and Sam in Melbourne.” “Areas of Uncertainty” is their first musical outcome. It carries a rhythmic show bag, that circumnavigates streamlined track architecture. From Can-ish live drumming submitted by guest rhythmist Graeme Pogson to sequenced synth spheres, the three multilayered groove landscapes of the Australian duo punch severely arcane. Sometimes techno frankness messes with the big bad dub universe. Or Hacienda- Breakbeats cut tellingly through looped vocal waters, sanctified sung in by “Thrush”, one third of the Melbourne based Aussie/Deutsch swamp beat trio Concentration. Additionally, their buddy Richard Fearless added a remix for the premiere, fishing in dark dub zones, bringing in anxious cosmic tones. All recorded in a deeper shade of space somewhere in Melbourne, Berlin, and Fearless’ Metal Box studio in London, while diving into an avalanche of infinitely hyperlinked cadences.