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Originally conceived as an extremely limited noise tape collaboration with his cousin Ernesto Mercado between rehearsals with their band Anonymous Inc., the project slowly mutated into something much larger : an accidental blueprint for the genre-defying path that would later define Ceschi's work, the formation of Fake Four Inc., and a decades-long career moving between punk basements, Project Blowed cyphers, folk confessionals, and stages around the world. Initially released in 2004 through Beyond Space Entertainment, the songs on Fake Flowers grew an underground following in the earliest 2000s by being traded on tapes, burned CDs, AIM instant messenger, and message boards. 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Always and Forever is part of the broader soul repertoire associated with Heatwave. The album closes with Bluesette, one of the defining compositions in the jazz harmonica tradition, also by Toots Thielemans, and a natural reference point for Heise's instrument.Mathias Heise has established himself internationally as one of the most original voices on the chromatic harmonica. In 2013, he won the Chromatic Harmonica World Championship, followed by the Danish Crown Prince Couple's Stardust Award in 2016 and the Ben Webster Prize in 2017. He was the first musician admitted to the Rhythmic Music Conservatory with chromatic harmonica as his main instrument, and has since released a series of critically acclaimed albums, including his 2023 Storyville quintet album, Mouth Games. Heise is a true virtuoso with a harmonic curiosity and stylistic openness. He can play anything!Guitarist Pelle von Bulow is an established figure on the Danish jazz scene. 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In the whirlwind first few years of the band, there had been breakups, new love affairs, and yearning all while Wishy stormed the indie scene as an instantly beloved new act. That revelation by way of pep-talk arrives in the chorus of \"Sensational.\" Originating through Krauter's experimentation with drum loops, the song is what should be an unholy fusion of sugary grunge and dream-pop. Yet Wishy's latest jubilant remix of the past bears all their trademarks: zany lyrics transfiguring melancholia into freedom, an instant classic chorus that already feels like an old friend. It's all quintessentially Wishy, and yet unlike any Wishy song you've yet heard-which made it the perfect song to give their vibrant sophomore album 'Nature's Pill' it's name. Wishy's origins go way back, to when Krauter and Pitchkites met in high school in Indianapolis. Some years and a few projects later, they joined forces to form Wishy, rounding out the lineup with guitarist Dimitri Morris, bassist Mitch Collins, and drummer Conner Host. The group's musical synergy was intense from the jump and the beginning of their career has been a prolific burst: the 'Mana' and 'Paradise' EPs in 2023, debut LP 'Triple Seven' in 2024, and a follow-up EP 'Planet Popstar' in 2025. After those releases met acclaim and the band's stature rose, the conception of 'Nature's Pill' was fundamentally different. The entire project was a more collaborative effort. After writing separately for all of their debut, Krauter and Pitchkites sat down to write together as much as solo; Morris and Collins contributed to the writing process. The group reconvened with 'Triple Seven' co-producer Ben Lumsdaine in Los Angeles, where the quintet packed into a tiny studio and tracked half the songs live in the room, imbuing the album with the immediate energy of a band in sync after heavy touring. It gave them the ability to synthesize an even greater array of touchstones this time around, with the '90s dream-pop and alt-rock of 'Triple Seven' fusing with '80s college rock and '00s indie. \"We were getting a bit more twee with it, embracing the young hipster headspace we had in high school,\" Krauter says. Just as their sound is often a swirl of various alternative and indie traditions, Wishy's new songs collide the highs, pitfalls, and banal detritus of human experience alike. 'Nature's Pill' re-examines some of Wishy's favored themes under new lights, jumping off from breakup songs to more abstract meditations on forlornness, romantic intention, lust. \"We take that stuff and almost write in a fictional, hypothetical frame of mind,\" Krauter explains. \"The songs capture romantic frustration and neurotic desire and the melodrama that ensues from simply being a person with emotions experiencing relationships and inner turmoil. 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In the whirlwind first few years of the band, there had been breakups, new love affairs, and yearning all while Wishy stormed the indie scene as an instantly beloved new act. That revelation by way of pep-talk arrives in the chorus of \"Sensational.\" Originating through Krauter's experimentation with drum loops, the song is what should be an unholy fusion of sugary grunge and dream-pop. Yet Wishy's latest jubilant remix of the past bears all their trademarks: zany lyrics transfiguring melancholia into freedom, an instant classic chorus that already feels like an old friend. It's all quintessentially Wishy, and yet unlike any Wishy song you've yet heard-which made it the perfect song to give their vibrant sophomore album 'Nature's Pill' it's name. Wishy's origins go way back, to when Krauter and Pitchkites met in high school in Indianapolis. Some years and a few projects later, they joined forces to form Wishy, rounding out the lineup with guitarist Dimitri Morris, bassist Mitch Collins, and drummer Conner Host. The group's musical synergy was intense from the jump and the beginning of their career has been a prolific burst: the 'Mana' and 'Paradise' EPs in 2023, debut LP 'Triple Seven' in 2024, and a follow-up EP 'Planet Popstar' in 2025. After those releases met acclaim and the band's stature rose, the conception of 'Nature's Pill' was fundamentally different. The entire project was a more collaborative effort. After writing separately for all of their debut, Krauter and Pitchkites sat down to write together as much as solo; Morris and Collins contributed to the writing process. The group reconvened with 'Triple Seven' co-producer Ben Lumsdaine in Los Angeles, where the quintet packed into a tiny studio and tracked half the songs live in the room, imbuing the album with the immediate energy of a band in sync after heavy touring. It gave them the ability to synthesize an even greater array of touchstones this time around, with the '90s dream-pop and alt-rock of 'Triple Seven' fusing with '80s college rock and '00s indie. \"We were getting a bit more twee with it, embracing the young hipster headspace we had in high school,\" Krauter says. Just as their sound is often a swirl of various alternative and indie traditions, Wishy's new songs collide the highs, pitfalls, and banal detritus of human experience alike. 'Nature's Pill' re-examines some of Wishy's favored themes under new lights, jumping off from breakup songs to more abstract meditations on forlornness, romantic intention, lust. \"We take that stuff and almost write in a fictional, hypothetical frame of mind,\" Krauter explains. \"The songs capture romantic frustration and neurotic desire and the melodrama that ensues from simply being a person with emotions experiencing relationships and inner turmoil. But it's embellished-nothing we do is overly confessional.\" \"It's historical fiction,\" Pitchkites quips.\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eAll the Rage\u003c\/li\u003e\n\u003cli\u003eCovergirl\u003c\/li\u003e\n\u003cli\u003eSensational\u003c\/li\u003e\n\u003cli\u003eShift\u003c\/li\u003e\n\u003cli\u003eYou're Not Serious\u003c\/li\u003e\n\u003cli\u003eMona Lisa\u003c\/li\u003e\n\u003cli\u003eLovesickfreak 99\u003c\/li\u003e\n\u003cli\u003eHeadscratcher\u003c\/li\u003e\n\u003cli\u003eBlitz\u003c\/li\u003e\n\u003cli\u003eKiss Kiss Kiss\u003c\/li\u003e\n\u003cli\u003eParty World\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 606638765276\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Winspear\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 10.2.26\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e Cassette\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Winspear","offers":[{"title":"Default Title","offer_id":47881521627362,"sku":"230612186","price":14.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0533\/0298\/4864\/files\/4521394-3616830.jpg?v=1781109862"},{"product_id":"pre-order-various-artists-30-years-of-freerange-vol-3-12-vinyl","title":"Various Artists - 30 Years of Freerange Vol. 3 [12\" Vinyl]","description":"\u003cp\u003eThirty years deep, Freerange continues to evolve. '30 Years Of Freerange' assembles 30 tracks from 30 artists, released across five EPs in a measured rollout that leads to a lovingly curated box set built for lasting impact beyond the churn of trends and algorithms. With Volume 3, the project draws together key figures from the label's past alongside a new generation reshaping it's future direction, stitching together the signature Freerange energy: soul-rooted electronics, future-facing rhythms, and grooves that pull you in.Atjazz steps up for his debut original production for the label and it feels like the perfect fit. 'Love You Day One' is pure, unmistakable Atjazz - warm chords, fluid basslines, and that rolling, emotionally-charged groove that hits somewhere between the heart and the hips.Next up we have new blood and serious weight. Blue Method channels Swiss precision and Cameroonian rhythm into 'Agora' - a deep, emotive burner with a powerful lift that will ignite South African floors. Hypnotic, elegant, and quietly explosive.With her London roots and Lisbon energy, Megatronic continues her ascent with 'Questions' featuring Belgian Mona Lee's smoky, introspective vocal weaving through textured drums and late-night synth work. Soulful but searching - a track that lingers long after the lights come up.Flipping over we welcome back Andre Lodemann with a track entitled 'For Those Who Care'. Lodemann delivers one of his most reflective pieces to date - stripped emotion, deep atmospheres, and a groove that breathes. Electronic music with genuine soul, for those tuned in.Another lead figure in Freerange's history, Manuel Tur locks into a lean, synth-driven rhythm track that speaks in low frequencies and late hours. 'Key Race Alert' is minimal but loaded and built for heads-down moments - the kind of cut you might catch Ben UFO or Gerd Janson dropping in their sets.Manchester producer James Kumo closes the EP with an expansive, dub-tinged journey entitled 'Jazz Dimensions'. Loose, expressive, and deeply rooted in the lineage of Ron Trent-style house. Improvisational energy meets dancefloor intent.\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eA\u003c\/li\u003e\n\u003cli\u003eAtjazz - Love You Day One\u003c\/li\u003e\n\u003cli\u003eA\u003c\/li\u003e\n\u003cli\u003eBlue Method - Agora\u003c\/li\u003e\n\u003cli\u003eA\u003c\/li\u003e\n\u003cli\u003eMegatronic Ft. 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For the man born Che Jessamy, his rap moniker isn't some over-the-top rock star persona contrived for public consumption; it's just a name. What you hear on his records is really who he is: a heavy-tongued griot from East Flatbush, Brooklyn, with a gift for vivid stream-of-consciousness storytelling. His bars are imbued with the wisdom he's gained in his lifetime, especially in the 14 years since he first made his debut with the Pro Era collective in the 2010s. \"When I was younger I would always be looking forward to 'next year' or saying to myself, 'When I do this, it's going to be this'... blah blah blah,\" says Chuck, describing how his definition of success has evolved since then. \"But then, as I got older, I have just been more grateful for the gift that it is to even make music [professionally].\" The elaborate title of his new album, Glory Of The King's Hand, speaks to his gratitude for the hand that life's dealt him, which is a pretty good one. At age 34, he does what he loves professionally and does it on his own terms. That's something to be thankful for. Glory Of The King's Hand not only represents Chuck's matured attitude but also his matured sound. After a decade in the game, there's an emphasis on songcraft like never before: \"On this album, I made a lot of conscious [musical] decisions,\" he says. \"I made choruses, there's melodies, there's instrumentation... I really tried to just make better songs that people might want to hear again - that are more than just a good verse.\" Key to this refined approach was collaboration. Chuck is a proficient beatmaker in his own right, as evidenced by his production work for himself and artists like Joey Badass and Boldy James (see 2025's Token of Appreciation album), but this time around, he chose to be a producer in the Quincy Jones sense of the word, bringing together vocalists, producers, and musicians instead of handling all of the beats and rhymes himself: \"I only did one beat on the album [\"Everyday\"], which is the least amount of beats I ever did on any of my albums.\" The results of this collective approach are astounding. Take, for instance, \"Breaking Atoms,\" a track built on the improvised-on-the-spot music of production trio\/band Human Error Club. A hypnotic Fender-Rhodes and head-nod-inducing drums are the perfect complement for Chuck and woods' visual verses and give way to Zeroh's psychedelic sung vocals and his exclamation, \"We the main soooource!\" Multifaceted newcomer Obii Say - Chuck's current favorite rapper - appears on two songs (\"Everyday\" and \"Miracle Miles\") and produces a third. The list of contributing producers is a who's who of underground sound scientists, including The Alchemist, Animoss, Theravada, Kenny Segal, Preservation, Child Actor, and Morriarchi. And while... King's Hand is in some ways a sample of what this section of the underground looks like in 2026, what Chuck brings to the table is uniquely Chuck Strangers. \"I had to do my own thing!\" His resolve is in part due to the influence of his legendary mentors, like the late Ka and The Alchemist, who each carved out their own distinct lanes. \"There's a lot of Roc Marci's, there's a lot of Earl Sweatshirts and you've got many Alchemists out here, but I have to do my own thing that might look a little different from everybody else's shit... I can just be myself.\"\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003e\n\u003c\/li\u003e\n\u003cli\u003eTrack 1\u003c\/li\u003e\n\u003cli\u003e\n\u003c\/li\u003e\n\u003cli\u003eIntro\u003c\/li\u003e\n\u003cli\u003e\n\u003c\/li\u003e\n\u003cli\u003eEveryday feat. 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Recorded in early 2026 at ARDA Recorders in Porto and produced, mixed, and mastered by Jaime Arellano (Ghost, Ulver, Behemoth), TRAVO's third studio album marks a shift away from the fantasy themes of the band’s previous record, 2023’s ‘Astromorph God’, into something much more personal, palpable, and grounded in the anxieties of the present time.\u003c\/p\u003e\r\n\u003cp\u003eDue for release October 2nd 2026, ‘WASTELAND’ arrives off the back of three years spent touring heavily around Europe, with their notoriously face-melting live show captured on a blazing KEXP session filmed whilst on the road. Looking to keep riding that high, the band took advantage of a rare break in their touring schedule and headed straight for the studio with a newfound intensity and urgency: “The recording session was booked without any composed material, and the whole album ended up being written in a little over one intense month of rehearsals. The pressure of wanting to take a step forward with the next album started to creep in and caused some internal friction. This feeling of urgency naturally carried over into the songs and gave them a character they likely wouldn’t have had in a more relaxed writing environment.”\u003c\/p\u003e\r\n\u003cp\u003eAcross its seven tracks, ‘WASTELAND’ explores themes of “techno-anxiety, disconnection, dystopia, love, death, rebirth, and the search for collective spirituality”, note the band. Each song is loosely inspired by a different section of T.S. Eliot’s poem ‘The Waste Land’, “whose themes and motifs feel especially relevant today.” Musically, the album incorporates dark psychedelic and industrial influences, fusing them with the band’s more familiar elements: loud and corrosive fast-paced songs intertwined with crushing, slow-burning epics. The vocals range from catchy falsetto melodies to full-on growls and screams. The guitars interplay with each other, producing either beautiful harmonies or uncanny dissonances. The rhythm section is tight, potent, and hypnotic. It is also the band’s most synth-heavy album to date.\u003c\/p\u003e\r\n\u003cp\u003eAltogether, ‘WASTELAND’ is an aggressive, genre-bending rock record knocking on metal’s door while still managing to breathe through the chaos. 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