Latest release: 15 May 2026
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WOODEN SHJIPS - 'DOS'
Formats
HOLY144233377 - LP (COLOURED)
655035637716
Details
**REPRESSED ON SILVER VINYL** Here we have a Wooden Shjips record the world saw coming-not titled II, Sophomore, or Second, but Dos. The group maintains its strident pace like a silverfish rave in perfectly folded bedsheets, with more bounce per ounce as life goes jogging with bopping heads and digging heels. Five numbers whose style might fit as cozily at La Cave in 1968 as at Ibiza in 1988. Natural loops with just enough vocals take you where the khakis and the cut-offs play together. Dos sounds off as the inauguration speech of a group accepting the minimalist psych bop crown that once adorned the likes of Neu and Loop. If possible, their brand of whipping fuzz hooks have gotten groovier. "Motorbike" begins the program with an attack of bleeding organ and cicada chirps-a wiley, wheel-spinning cloud-kicker indeed. "For So Long" introduces the hip-swayed, shoulder-dropping dance steps of the album. At this point, the guitar delivers a concise Fogerty / Karoli vibe of stiff and loose kraut blues. Closing side one is the stop-motion go-go anthem "Down by the Sea." Imagine yourself in the back of a cigarette boat with Alan Vega and Takashi Mizutani circling Easter Island. Smile as you melt under the glare of their mirrored sunglasses staring your own face back at you. The needle drops on side two. Beyond the dawning of the age is "Aquarian Time," a dense number that demands more weed and less booger-sugar. A steady plink of keys blipping like bright satellites in dark space accents this track's blissed-out sludge. The hypnotic pop grace of "Fallin'," the soundtrack for the last log on the fire as Winter eternally breaks into Spring, will stick in your mind until the record is played again on speakers of any size. One of Forte's biggest hitters of 2009!!
Tracks
1. Motorbike
2. For So Long
3. Down by the Sea
4. Aquarian Time
5. Fallin?
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Audio & Video
FUZZ - 'S/T'
Formats
ITR254X - LP (COLOURED)
759718525410
Details
**REPRESSED ON CLEAR BLUE / BLACK SWIRL VINYL** Fuzz is Ty Segall (drums / vocals), Charlie Moothart (guitar / vocals) and Roland Cosio (bass). They’re heavy rock lifers—three Californiabred dudes who have been refining their riffs and getting weird together since high school (which wasn’t that long ago, actually). If you are not already aware of Segall, well, what’s up? He’s one of garage rock’s most prolific sons. He said he was going to take it easy this year, but by the time you finish reading this, the onesheet for his next record will have already arrived in your inbox. Moothart plays guitar in The Ty Segall Band and was also a member of The Moonhearts, which included Cosio on guitar. Way back in the early ’00s, all three played in the Epsilons. Fuzz was formed a couple years ago as a collaboration between Segall and Moothart, but only recently did the pair have sufficient time to guide the band out of side-project limbo and into a recording studio. Since then, they have released two singles, “This Time I Got a Reason” (Trouble In Mind) and “Sleigh Ride” (In The Red). Around the time of the latter, Cosio joined on bass. They are not dabblers or dilettantes. Fuzz flipped through used bins, hard drives and record collections of the world, seeking out the finest weirdo cuts. The band’s self-titled debut LP, which was recorded by Chris Woodhouse (Thee Oh Sees, The Intelligence), dives deep, drawing inspiration from the more esoteric reaches of heavy metal pre-history. There are Sabbath and Hendrix nods, obviously, but on “Sleigh Bells” you might also catch a whiff of UK progressive blues business like The Groundhogs, particularly when the song quits its 10/4-time intro and reboots into fullbore choogle. Maybe you’ll even glimpse the ghost of Australian guitar legend / sharpie guru Lobby Lloyde sniffing around “Raise.” The mood is not light. The songs project a state of perpetual paranoia and eroding mental health. And as it should be, you know? It’s a record for the burners.
Tracks
1. Earthen Gates
2. Sleigh Ride
3. What's in My Head
4. HazeMaze
5. Loose Sutures
6. The Preacher
7. Raise
8. One
Press
Audio & Video
HANNAH LEW - 'S/T'
Formats
LSSN104 - LP
5061041821394
Details
“One foot out the door, another in the otherworld...” So begins Hannah Lew’s debut, self-titled solo record, soaked in imperious, wide-eyed pop songwriting and a girl-group/post punk aesthetic that belies the artist’s history in the U.S. underground. A towering, hook-laden album, it’s infused with an optimism and surrealism that conversely deals with the times we find ourselves in. Recorded at home in Richmond, CA and in The Best House studio with Maryam Qudus in Oakland CA, with the assistance of a crack team of West Coast musicians, this album sees Hannah Lew stepping out from behind the legacy of her two groups Grass Widow and Cold Beat. While musically bearing similarities with her previous work, “Hannah Lew” is a bold leap into direct pop territory, making ample use of a vocal style that teases out the inherent melancholy in her melodies. Mastered by Sarah Register, each song is a perfectly honed nugget that frequently pulls the heart in two directions at once. Themes of change, breaking up, shattering old ways of being are shot through the record. For the front cover, a photograph of the artist’s face was printed, ripped up and re-assembled, resembling the creative process embarked upon by Lew for her first “solo” material. The album feels instinctual, almost dream-like in its assemblage of sweeping synths and pulsating, propulsive drum machine beat patterns with Lew’s vocal performances sensitive and caressing over the top. Increasingly relying on the subconscious and dreams to guide her creative process, Hannah Lew frequently abandons literal interpretations or linear narratives, the songs seeming to exist in a swooning, effortless flow-state while remaining emotionally hard hitting. On an album where every song could be a single, there are kaleidoscopic shades and varying emotional tones in abundance. First single Another Twilight is carried along a pumping, Italo-disco-style 4/4 beat and mono-synth bass line, the low end pulling at the heart and body. Lew’s vocal melody teases the track before swan-diving into a gorgeous chorus as she sings “it’s all over baby and I don’t mind... in decline, I take my time...” The album is suffused with moments like this. On slow builder Damaged Melody, an arpeggiated synth elongates the verse before a cascading synth showers down melodic glitter. The stunning Replica uses dual swirling synth patterns before a driving, synthpop chorus for the ages carries Hannah Lew’s vocal into the stereo field, sailing in on a high register singed with the embers of a break up. In a departure from previous groups, her solo songs are guided by dreams and free association inspired by Dada and the Surrealist movement and sculpted afterwards. As such, the songs reveal themselves on repeated listens, revealing traces of heartbreak inspired by both personal and global elements - Hannah Lew regards the album “a wartime album.” On Move In Silence, Lew intones “there’s a war outside, just out of view,” revealing the dichotomy at play throughout. With the songs evolving naturally and in a flow state, the pressures and sadnesses of the modern age bleed through, mixed in with Lew’s inherent love, sensitivity and fractured-but-intact optimism. On the swooning, sublime Sunday layers of Numanoid synths open up for the commanding vocal performance pontificating on grief, love, pain as she “feels the ache on Sunday...” As the chorus builds and Lew’s call-and-response vocal adds to the emotional tension, it almost feels like too much to take. Elsewhere, there are echoes of Hannah Lew’s previous work. On Time Wasted a bass guitar comes in with a heavy, punk attack before the synths and vocal harmonies reminiscent of later Cold Beat elevate everything. The glassy, sweetly resigned closer The Clock sounds like so classic it could be cover, a sweetened Jesus & Mary Chain tune perhaps, before it erupts into volcanic chorus that could only come from Hannah Lew in 2026.
Tracks
1. Time Wasted 2. Sunday 3. Another Twilight 4. Siloed 5. Replica 6. Damaged Melody 7. Move In Silence 8. Distance Of The Moon 9. The Clock
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Audio & Video
MRS MAGICIAN - 'SPIRITUAL HANGOVER'
Formats
SWA168 - LP (COLOURED)
769152436111
Details
**ON YELLOW & RED MARBLED SWIRL VINYL**San Diego’s Mrs. Magician has always bent surf music and punk into something delightfully off-kilter — sun-soaked, hook-heavy power pop with a lyrical fixation on life’s darker undercurrents. Their 2012 debut, Strange Heaven, was a nihilistic pop statement that grew into a cult classic. The 2016 follow-up, Bermuda, sharpened the edges with punchy, nervy songwriting. Both records were produced by John Reis (Rocket From The Crypt, Hot Snakes, Drive Like Jehu), cementing the band’s place in Southern California’s underground lineage. Now, in 2026, Mrs. Magician reemerges with their long-awaited third LP, Spiritual Hangover. Recorded at Dave Grohl’s Studio 606 and Singing Serpent Studios with producer Christian Cummings, Spiritual Hangover finds songwriter Jacob Turnbloom trading youthful nihilism for something more reflective. Where earlier records wrestled with existential dread through anthemic defiance, this new collection embraces uncertainty — an admission of ignorance in the face of the human condition, paired with a genuine longing for connection and understanding. The humor remains. The hooks are sharper than ever. But the perspective has shifted. These songs feel less like a declaration of dominance and more like a celebration of fragility — an acknowledgment that life is fleeting, confusing, and still worth enjoying. The album features Andrew Montoya (drums) and Mark Rivera (bass) of The Sess, Ian Fowles (guitar) of The Aquabats, and John Reis (guitar). Spiritual Hangover channels the bright urgency of late-’70s power pop through a distinctly Californian lens — warm, melodic, and irresistibly alive. “Super fun, well crafted, with great melodies. It gives me that late ’70s power pop energy I loved so much as a kid. Every track has something joyous to grab onto. In a world full of bleak news, Spiritual Hangover is a warming blast of California sunshine.” — Walter Schreifels (Gorilla Biscuits/Quicksand)
Tracks
1. Die In Cleveland 2. High Resolution 3. Don?t Wear Me Out 4. Fear Of The Living 5. Sanctuary 6. Dead Alive 7. Public Meltdown 8. Depression Song 9. One And Only Girl 10. Pill 11. The World Doesn?t Need Your Jive
Press
Audio & Video
SULTANS - 'GHOST SHIP'
Formats
SWA169 - LP
769152437019
Details
**ON WHITE OPAQUE VINYL** Sultans Ghost Ship LP was originally released on Sympathy For The Record Industry in 2000. While RFTC looked for a new drummer, Speedo (armed with an 8 track tape machine and 3 microphones) devised yet another alias as “Slasher” and concocted this primordial ooze of moped scuzz, punk rock and roll. Ghost Ship was met with enthusiasm by those seeking blistering relief from the weak, whiny, wretched and wimpy wannabes du jour. The sound is full on, straight ahead with only starting gates and finish lines between songs. The band played some shows around California and would slightly evolve on their second LP Shipwrecked. Ghost Ship is Sultans at their most thuggish and hairiest. Taking inspiration from Australia’s Chosen Few, Ramones bootlegs, Misfits bootlegs and then challenging themselves to be as thrifty and impatient as possible, the songs are intentionally brief, similar and burly. After this was recorded these tapes lay dormant in a shed for over 20 years. When the tapes were recently unearthed it revealed unreleased songs recorded after Ghost Ship yet before the band’s follow up LP Shipwrecked. Some of these songs would later be absorbed by RFTC and re-recorded. These songs are included here as bonus tracks and offer no relief to the record’s unrelenting pace.
Tracks
1 Just a Fool (That's Down) 2 Hold You Down 3 Heartbreaker 4 Shakedown 5 Put Up a Fight 6 Trust No One 7 It's Over 8 My Sights Are Low 9 Chances Are 10 (This Ain't No) Solid State 11 Your Mouth Is Open and Your Eyes Are Shut 12 The Year of Regret 13 All City Warning 14 Running Far From Home 15. Don't Hurry (To Come Back To Me) 16. Despise 17. Out Of Control 18. No Way At All 19. Pictures Of Lenny 20. On The Prowl 21. Come On Everybody
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Audio & Video
VARIOUS - 'BROWN ACID: THE TWENTY-SECOND TRIP'
Formats
EZRDR217LPX - LP (COLOURED)
N/AEZRDR217LP - LP
679065076833EZRDR217CD - CD
679065076840
Details
**RANDOM COLOUR VINYL & CD SHIPPING** Just as you were getting your head straight coming off the 21st Trip … Brown Acid dose # 22 drops, continuing to fry your mind in a revolving trap-door Twilight Zone alternate world of early hard rock… populated by real life characters so far out they can look like a cheesy wedding band but sound like Blue Cheer! Uncanny! This music comes at you from many angles. Teens in a garage colliding with booze, drugs and girls for the first time, lounge lizard hustlers with snazzy stage clothes and fuzz boxes… gnarly backwoods troublemakers meet blow dried glam rock wannabes here, seamlessly clobbering your head with sound rather than each other! An electric post-psychedelic bar brawl for your mind awaits, unfasten your seat belt, crank it up and fly! Sounds Synonymous "Babylon" out of Flint, Michigan 1969 rip the devastating Blue Cheer classic a new one, immediately swarming you with organ swells and distortion before collapsing into a tuff funk groove, a psychedelic James Brown vibe shot through with dirty howling fuzz guitar, vocals nailing the messed up but confident relaxed sneering attitude of the original Cheer eruption. The Bumps "Shining" from Seattle 1969 resides right at the transition of ‘60s psych into early prog, well constructed, no diluting things artsy fartsy style, a compelling heavy riff, spacious vocal harmony hook floating above a turbulent take on getting your shit together and shining like a star. Fat chance, but you can dream, the band did and their dreams kick ass across time to right now or you wouldn’t be here. Coulda been a hit back then, definitely a hit now. Riverside "Farmer" explodes out of Austin, Texas 1974, economical but brilliantly structured riffs and power chords, intense dynamic tension/release, fantastic screaming leads over shifting angles of attack during the middle break… it’s all here with a detached confidence in the vocal that swaggers back in time to the late ‘60s in its proto-heavy psych adjacent assault. Cincinnati Joe & Mad Lydia "Get It Together" for real in Cincinnati, Ohio 1970. The song says everything you need to know: “You may think that you’re the very best, miles and miles ahead of the rest, but be sure when you’re put to the test you get it together!” These words are deployed in a manner similar to Peter Green’s “Oh Well”, intermittently stated between killer gnarly guitar and gushy organ attacks. Bar band heaven and hell rolled up into one big ball, the vocals get all the way out there! Straight Up "Fire" takes the monster 1968 Crazy World Of Arthur Brown hit into faithfully executed but surreally minimalist territory, Minneapolis, Minnesota 1974. Genius version of a key song that presciently cuts to the chase regarding Brown Acid’s incinerations of psychedelic idealism, you’re gonna burn, burn, burn… as that moment climaxes you can gawk at their preposterous flashy lounge band stage outfits and realize side one must end because everything is totally scorched into eternity. Scrap Iron "Poopsie" is a primitive two chord stomper with spiraling fuzz and organ riffs, singer marking his territory caveman style. “Poopsie, you’re my woman” he commands, but gets weirdly insecure she’ll blow him off at the altar by the end of each verse. Snarly wah-wah ices this toxic cake out of Carteret, New Jersey 1973. Focused delivery so single-mindedly crude it creates an inescapable instant brain-worm. Lady "Live Show Tigers" is amongst the most potently life affirming trash rockers you’ll ever hear, one outrageously triumphant but fiercely sloppy anthem about living it up like a star, strutting the stage glammed up New York Dolls drag style but with a Dictators sense of humor. Tasty slightly off kilter guitar leads all through, going serendipitously berserk on the fade. Picture disc single out of L.A. 1980. Fantastic fun rock star rock at a very raw local street level where any time is party time. Killer Frog "Hard Times" on Masochist Records from Chicago, Illinois 1972 takes less than two minutes, an action packed James Gang style bar band rocker with a bit of punky sneer in the face of misfortune. These guys never even heard of flower power. They are killer frogs. Good Humore "Killer" does kill in stripped down hard rock trio style, Warren, Michigan 1976. No frills guitar, bass and drums groove tight, snaky primordial riff, snarly licks. “She’s a killer of a woman, knows just what she’s doing…” The singer knows she’s a femme-fatale roadhouse predator but she’s so hot the inevitable wreckage seems a bargain. Ride it out like the extended jam on the fade knowing she’ll be back for more! Sarawest "Space Rider" winds up the 22nd Trip lost in a twisted two chord space adventure from the point of view of an alien visiting our planet seeking knowledge but finding out we are stupidly destroying ourselves, so he gotta split sneering back at us like we wasted his time “I got no time for loving… I wanna be a space rider, space rider”. Toronto, Canada 1974, a vibe lurking in some strange but funny void between late ‘60s outsider garage psychedelic rock complete with reverb-y acid guitar leads and late ‘70s retro-futuristic D.I.Y wisecracking from inner space… taking the piss out of outer space!
Tracks
Tracklist:
Side A:
Sounds Synonymous ? Babylon
Flint, Michigan ? 1969
The Bumps ? Shining
Seattle, Washington ? 1969
Riverside ? Farmer
Austin, Texas ? 1974
Cincinnati Joe and Mad Lydia ? Get It Together
Cincinnati, Ohio ? 1970
Straight Up ? Fire
Minneapolis, Minnesota ? 1974
Side B:
Scrap Iron ? Poopsie
Carteret, New Jersey ? 1973
Lady ? Live Show Tigers
Los Angeles, California ? 1980
Killer Frog ? Hard Times
Chicago, Illinois ? 1972
Good Humore ? Killer
Warren, Michigan ? 1976
Sarawest ? Space Rider
Toronto, Ontario ? 1974
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Audio & Video
BUG EYE - 'THE SHAPE OF THINGS'
Formats
INH005LP - LP
5063720110256INH005CD - CD
5063720110263
Details
BUGEYE are a queer electro art rock band hailing from the concrete shores of Croydon. Formed in 2018, their sound fuses dirty guitars, disco-driven beats, sizzling synths, and explosive bass riffs that collide into irresistibly catchy hooks — the kind that demand the dancefloor. Founders of CroCroLand Festival — a celebration of Croydon’s place as the birthplace of UK punk and gender equality — BUGEYE continue to embody the spirit of rebellion, reinvention, and raw energy in everything they do. They joined the INH Records roster in 2024 to release new album The Shape Of Things in May. The Shape Of Things follows last year's first single ‘This Ain’t A Love Song' and 2023’s singles ‘Dancing Out In The Dark’, 2022’s ‘Signs & Exits’ and ‘Summer In The City’, with the band’s 2020 debut album READY STEADY BANG gaining critical acclaim during the pandemic. Front women and BUGEYE songwriter, Angela Martin formed the band with school friend and bass player Paula Snow and recently joined forces with Kat Pihl, Lex Giggs. With lyrics touching on subjects from the mundanity of modern city life, to global issues such as racism and climate change, tunes come wrapped in a riotous optimism that demands you to dance. While BUGEYE have one foot in pop's past - they are stalwartly forward thinking and future positive, a vibrant blend of 70s dance floor channeled via noughties optimism with shards of post punk energy. BUGEYE’s 2020 debut album READY STEADY BANG was included on Louder Than War Top 50 Albums of The Year, and features in a long list of indie publications with rave reviews. The band have become favourites on BBC Introducing, John Kennedy on Radio X, Amy Lame on 6 Music and have claimed the people's vote on the Audition Poll on Amazing Radio. With sold out shows across the UK and an impressive string of support slots, the band has played stages such as Camden’s Koko, Norwich Epic Studios, Brighton’s Concorde 2, as well as festival slots at Isle of Wight Festival, Smithdown Road and Pride. Founder Angela Martin is also the brains behind CroCro Land Festival Croydon’s Inner City Music showcase and the world’s first gender equal music festival that debuted in 2019 paused during COVID and triumphantly returned in April 24.
Tracks
1 Comfortably Numb 2 The Best 3 This Is What I Want 4 A Little Void 5 This Ain?t A Love Song 6 These Wall WIll Fall 7 Are We Still Breathing 8 Dirty Feds And Robbers 9 VIP 10 WelcomeTo The Team 11 Model Behaviour
Press
"This one, well if not bang in the middle at least on the edge of dance floor" - Steve Lamacq, BBC 6Music
"...fabulous band who are making Croydon great again!!!!" Amy Lame, BBC 6 Music
Audio & Video
NOVELLER - 'I AM THE WEATHER'
Formats
EXP001 - LP
850051035052
Details
Multi-instrumentalist Sarah Lipstate brings her innovative music to life under the name Noveller. Forming unexpected sonic routes, her songs are vivid and cinematic. Following several years spent collaborating with Iggy Pop, and touring the world as his guitarist, Lipstate returns with a new album of her own. I Am The Weather further expands her inventive explorations, creating what Pop once described to Jim Jarmusch as “symphonies for people that don’t have a lot of time.” Sarah’s work as a composer, notably for the HBO Docuseries Breath Of Fire, as well as the Anthony Bourdain documentary Roadrunner, has greatly influenced her new constructions, incorporating piano, percussion and a new studio filled with excitement into her signature guitar sculpting. It is the baby grand at the center of her studio that welcomes you to the record on “Sunday in Copenhagen” before ceding to a celestial six string swell. The percussive rhythms of “Divining Dance” awaken a new morning in “The Way of Our Flood” and walk towards the bowed grace of “Otherside of Mountainside.” Surging into the sky, “Portmerion” allows “Beyond the Fells” to glide back down to Earth, revealing the album’s biggest surprise—a vocal track! It seems fitting given their past, that the first vocals on a Noveller record would be delivered by the legendary Iggy Pop. Written specifically for The Godfather of Punk, a noirish tale of a man over-matched by a femme fatale, “The Girl Who Was Death” builds with tension and release. Following their collaboration on the title track to Iggy’s album Free, (also used in a global campaign for PETA) and their interpretation of Dylan Thomas’ “Do Not Go Gently Into The Night”, Iggy was eagerly awaiting the opportunity to add vocals to another Lipstate composition. A scene set as if on opposite ends of a corner booth at the Double R Diner in Twin Peaks, he delivers each line with the weight of a thousand lives lived. The result is a song so vivid that you can see it projected ten feet tall on the walls all around you. I Am The Weather is the first new release for the Experimentia label, which will soon be the home for the entire Noveller catalogue. RIYL: Steve Hauschildt, Oneohtrix Point Never, Fennesz
Tracks
1. Sunday in Copenhagen 2. Rainy Day Prophet 3. Divining Dance 4. The Way of Our Flood 5. Otherside of Mountainside 6. Portmeirion 7. Beyond the Fells 8. The Girl Who Was Death 9. First Day
Press
Audio & Video
THE CRAMPS - 'SMELL OF FEMALE'
Formats
VEN670 - LP (COLOURED)
655035167015VEN670CD - CD
655035167022
Details
**LTD PRESSING ON RED VINYL** Released in 1983 after a lengthy court battle with IRS Records, Smell of Female originally contained just the first six songs. These, plus out-of-control ad-lib freakouts “Beautiful Gardens” and “She Said” (previously omitted due to legal restrictions) were recorded live at New Yorkʼs famous Peppermint Lounge. There is nothing like the sound of The Cramps, and this set distills that cross of swamp water, moonshine and nitro down to a dangerous and unstable musical substance, captured live like a crazed animal. They rocked like few others could. Additional bonus track “Surfinʼ Dead” was recorded at A&M Studios in Hollywood and originally appeared on the 1984 soundtrack for Return of the Living Dead—when asked to write a “pop song” for the movie, The Cramps (by then a three-piece) threw into their cauldron a mix of Link Wray, Jan & Dean, Davie Allen, The Righteous Brothers, bongos, Phil Spector and eye of newt.
Tracks
1. Thee Most Exalted Potentate Of Love
2. You Got Good Taste
3. Call of the Wighat
4. Faster Pussycat
5. I Ain't Nuthin' But a Gorehound
6. Psychotic Reaction
7. Beautiful Gardens
8. She Said
9. Surfin' Dead
Press
Audio & Video
HIRO AMA - 'BOOSTER PACK'
Formats
PRAH096 - 12"
5060918155211
Details
Japan-born, London-based composer-producer Hiro Ama releases his new EP Booster Pack, out now via PRAH Recordings. Where his previous record Music For Peace & Harmony explored spacious, meditative soundscapes, Booster Pack is an energetic, groove-driven statement, a deliberate move toward music designed to get the body moving while retaining the textural detail that defines his work. Opening track “Booster” sets the tone: a percussive, rhythm-first piece that builds into propulsive, rave-leaning momentum. It was the seed that shaped the rest of the EP, establishing a new direction rooted in groove, movement and physicality. On the EP, Hiro explains that “After releasing ‘Music for Peace and Harmony’ I wanted to create something completely opposite. Something dancy, something intense. A total 180-degree flip. The album was all about stillness, subtlety, and emotional resonance. This time I wanted to lean fully into energy, fast paced songs, and groove. Create something that I never created and something that could shake you awake rather than calm you down. “Instead of beginning with piano or harmonic ideas which is usually my starting point. I focused purely on beats and rhythms in the beginning. I didn't add any chords or melodies until I felt happy with the drums and groove layers. It was a new approach for me and it pushed me to think about music more physically and less emotionally.” The EP features earlier single “Lava”, a rave-inspired, rhythmically intense track built from pulsing bass and a siren-like synth, designed to create tension, energy and movement while keeping the groove at the forefront. Across the rest of the Booster Pack EP, Hiro leans into percussion, deceptive rhythmic patterns and taut bass to create forward drive; each track begins with groove before melodic elements arrive, resulting in a record that trades reflective stillness for kinetic urgency while maintaining his compositional precision.
Tracks
A1. Booster
A2. Cloud 9
B1. Lava
B2. Projection