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Classically trained on piano in Ukraine as a child, Eduard embarked on a career in metallurgy and business before a crisis drove him to find more meaning and purpose in life. He started exploring the deep world of Kabbalah and science, and published his Amazon bestseller 'From Infinity to Man: The Fundamental Ideas of Kabbalah Within the Framework of Information Theory and Quantum Physics'. Some years later, he returned to playing music, and his radically changed mindset, research and life experience have now culminated in Shyfrin Alliance - his first ever album of intoxicating rock, blues and romantic balladry, composed entirely by Eduard himself.

Sophie Lloyd is one of the most prolific guitarists on the world wide web, a trailblazer who is redefining the concept of a "bedroom" guitarist. A talented composer and accomplished musician, Sophie graduated from the prestigious BIMM in 2018 with a First Class Honours BMus in Popular Music Performance, honing and refining a talent she has nurtured since childhood. Since then, she has amassed the kind of following that even the guitar gods she grew up idolizing would be envious of, with a reach surpassing 3 million followers across her social channels, built through a steady stream of sharing her talent via guitar "shredleys", covers and her own original material. In addition to her own content, Sophie's talent and popularity has led to collaborations with brands such as Amazon Prime, Hard Rock Cafe, LiveNation and Harley Davidson, her own Guitar course on Truefire and a stunning performance at Paris Fashion Week for Redemption Brand Clothing. She has also released her own signature guitar, becoming the first female artist to do so for exclusive Californian Guitar maker KIESEL.

Most recently, Sophie could be seen shredding on stage as guitarist for multi-platinum recording artist Machine Gun Kelly on his recent Mainstream Sellout World Tour, which included sold out shows at legendary venues such Madison Square Garden in New York and Wembley Arena in London.

At 27 Years Old, Sophie Lloyd is just getting started, with the upcoming release of her debut solo album. The first few songs have already been released to rapturous reception, including "Fall Of Man (Feat. Matthew K Heafy)", "Do Or Die (Feat. Nathan James)", "Lost (Feat. Cole Rolland)" and "Runaway (Feat. Michael Starr)" with some more exciting names including Lzzy Hale (Halestorm), Chris Robertson (Black Stone Cherry), Tyler Connolly (Theory Of A Deadman) and Brandon Saller (Atreyu) all appearing.

Born in Rio de Janeiro, Elizete Cardoso (1920-1990) was one of the best-known voices of Bossa Nova, enjoying considerable success and popularity in both Brazil and the entire Americas. In 1958, Vinicius de Moraes invited Cardoso to sing on an album featuring compositions he co- wrote with Antonio Carlos Jobim. The result, Cancao do Amor Demais, in its entirety - , one of her biggest selling albums and the earliest authentic Bossa Nova LP.

The new album addresses issues that have felt all too close to home in recent years; fragility of existence, what family means to him and striking out on his own to make his mark under his own steam.

Born from a will to connect with people and get out in to the world again, 'Out of the Rain' will be Blair's first studio album since his 2018 release. Produced by Jim Moray (Jackie Oates, Wheeler Street, James Raynard) the record is more positive than his previous work. A celebration of spring, newness, and freedom. Songs of metamorphosis and widescreen road trips prevail. "It's been 5 years since my last record, comfortably my longest gap between releases, so it feels really good to be able to put this out in the world.

The band emerged in the late 70s punk scene in Glasgow and released a handful of singles in the 80s but not a debut album until 2014. This highly anticipated follow up is a must have for fans for unique, honest rock n roll. It's a truthful, painful and raw document of The Lonewolves at the height of their powers

Svart Records are proud to release the long-awaited full length album "SÁLA" by Kati Rán in May 2024

If the most profound treasures are often the most deeply buried, the journey to uncover them is vital process of discovery. Five years after the 15-minute single “Blodbylgje” signaled the birth of a new, more primordial, and immersive vision after the dissolution of her band L.E.A.F., Nordic dark folk artist Kati Rán has expanded on its oceanic theme for her long-awaited full-length album, “SÁLA”. Embarking on a far-reaching musical and personal travelogue, it’s a reawakening of both the feminine narratives submerged and fragmented within Norse mythology, and the enduring, healing powers held within.

Named after the Old Norse word for ‘soul’ and ‘sea’, “SÁLA” is an act of ‘soul retrieval’, the shamanic art of trauma recovery, be it illness, death, heartbreak or loss, and the reintegration of a splintered self. Across its 13, wide-ranging, elegantly unfolding tracks, the album is an embodiment of different feminine voices and perspectives – from the Norse nine daughters of the sea, or ‘billow maidens’, through various historical and fictional figures to the late-night voices we hear in our most liminal states – all with tales to tell, riddles to solve, challenges to be accepted and guidance to offer. It’s a multiplicity that, like the ocean itself, belongs to a vast, restless dynamic: a matrix of mysteries, unfathomable depths and ever-shifting currents, accumulating into an elemental, regenerative source of power.

Recorded in a barn in Húsafell, Iceland – home to glacier ice caves and a rare lava stone marimba rediscovered for the track “Stone Pillars” – as well as Finland, Norway and at home in Kati’s native Netherlands, “SÁLA” is as much chronicle of Kati’s own perspective-shifting recording process as it as a pilgrimage through different viewpoints and internal states. That itinerate urge is also reflected in the use of different languages, ranging across Norwegian, Old Norse, Icelandic, and, for the first time, English, her combination of ancient texts, historical reimagining’s and unguarded personal reflection backed up by deep research into the most resonant recesses of Nordic lore.

Spun throughout every thread of “SÁLA” is a sense of communion - with the power of stories to offer moral guidance and the thrill of the unknown; with the element of water, recreated across the album both in field recordings and the agelessly organic nature of the music itself; with the archetypes whose qualities we are called upon to embody at our most critical moments; and with the internal hidden realms forever whispering at us from the far edges of our consciousness.

Appropriately, it’s a collaborative venture too. As well as working closely together with Finnish producer Jaani Peuhu, there are contributions from across the musical spectrum, including extreme metal vocalist extraordinaire Gaahl, the Icelandic female choir Umbra Ensemble, renowned Norwegian jazz musician Karl Seglem, Björk and Brian Eno contrabassist Borgar Magnason, members of pagan folk acts Völuspá, Gealdýr, Heilung and Theodor Bastard and even Napalm Death’s Mitch Harris on vocals.

For all the many sources “SÁLA” draws from, the result is a singular, intimately transformative rite of passage, and a retuning of the heart to the reverent continuity of the sacred. It will take you from the opening title track’s chest-pounding rhythmic pulse emerging from a traditional Norwegian bukkehorn (recorded by Karl Seglem), a galloping horse-rider and Kati’s glacial, velveteen chant, through “Kólga’s” recounting of female persecution through the ages borne on the most gossamer-light yet unbreakable of timbres and “Stone Pillar’s” gently percolating, deep wells of abandonment and incantations to recovery. “SÁLA” closes with the track “Sátta” - Old Norse for ‘peace’ and ‘reconciliation’ – ending the album as it began with the bukkehorn, as it weaves rich drones and experience-stamped poems and prayers, Kati’s vocals the most sensitively tuned of emotional barometers. An album made in dedication, and in thrall to, its own sense of destiny, “SÁLA” is, as all quests must ultimately be, a homecoming.

Album introduction written by Jonathan Selzer.

Svart Records are proud to release the long-awaited full length album "SÁLA" by Kati Rán in May 2024

If the most profound treasures are often the most deeply buried, the journey to uncover them is vital process of discovery. Five years after the 15-minute single “Blodbylgje” signaled the birth of a new, more primordial, and immersive vision after the dissolution of her band L.E.A.F., Nordic dark folk artist Kati Rán has expanded on its oceanic theme for her long-awaited full-length album, “SÁLA”. Embarking on a far-reaching musical and personal travelogue, it’s a reawakening of both the feminine narratives submerged and fragmented within Norse mythology, and the enduring, healing powers held within.

Named after the Old Norse word for ‘soul’ and ‘sea’, “SÁLA” is an act of ‘soul retrieval’, the shamanic art of trauma recovery, be it illness, death, heartbreak or loss, and the reintegration of a splintered self. Across its 13, wide-ranging, elegantly unfolding tracks, the album is an embodiment of different feminine voices and perspectives – from the Norse nine daughters of the sea, or ‘billow maidens’, through various historical and fictional figures to the late-night voices we hear in our most liminal states – all with tales to tell, riddles to solve, challenges to be accepted and guidance to offer. It’s a multiplicity that, like the ocean itself, belongs to a vast, restless dynamic: a matrix of mysteries, unfathomable depths and ever-shifting currents, accumulating into an elemental, regenerative source of power.

Recorded in a barn in Húsafell, Iceland – home to glacier ice caves and a rare lava stone marimba rediscovered for the track “Stone Pillars” – as well as Finland, Norway and at home in Kati’s native Netherlands, “SÁLA” is as much chronicle of Kati’s own perspective-shifting recording process as it as a pilgrimage through different viewpoints and internal states. That itinerate urge is also reflected in the use of different languages, ranging across Norwegian, Old Norse, Icelandic, and, for the first time, English, her combination of ancient texts, historical reimagining’s and unguarded personal reflection backed up by deep research into the most resonant recesses of Nordic lore.

Spun throughout every thread of “SÁLA” is a sense of communion - with the power of stories to offer moral guidance and the thrill of the unknown; with the element of water, recreated across the album both in field recordings and the agelessly organic nature of the music itself; with the archetypes whose qualities we are called upon to embody at our most critical moments; and with the internal hidden realms forever whispering at us from the far edges of our consciousness.

Appropriately, it’s a collaborative venture too. As well as working closely together with Finnish producer Jaani Peuhu, there are contributions from across the musical spectrum, including extreme metal vocalist extraordinaire Gaahl, the Icelandic female choir Umbra Ensemble, renowned Norwegian jazz musician Karl Seglem, Björk and Brian Eno contrabassist Borgar Magnason, members of pagan folk acts Völuspá, Gealdýr, Heilung and Theodor Bastard and even Napalm Death’s Mitch Harris on vocals.

For all the many sources “SÁLA” draws from, the result is a singular, intimately transformative rite of passage, and a retuning of the heart to the reverent continuity of the sacred. It will take you from the opening title track’s chest-pounding rhythmic pulse emerging from a traditional Norwegian bukkehorn (recorded by Karl Seglem), a galloping horse-rider and Kati’s glacial, velveteen chant, through “Kólga’s” recounting of female persecution through the ages borne on the most gossamer-light yet unbreakable of timbres and “Stone Pillar’s” gently percolating, deep wells of abandonment and incantations to recovery. “SÁLA” closes with the track “Sátta” - Old Norse for ‘peace’ and ‘reconciliation’ – ending the album as it began with the bukkehorn, as it weaves rich drones and experience-stamped poems and prayers, Kati’s vocals the most sensitively tuned of emotional barometers. An album made in dedication, and in thrall to, its own sense of destiny, “SÁLA” is, as all quests must ultimately be, a homecoming.

Album introduction written by Jonathan Selzer.

The album will be released through Neurot Recordings in collaboration with Supernatural Cat, the record label of the rock ‘n’ roll graphic design collective Malleus, of which Poia and Urlo are part of.

Ufomammut formed in the late 90s by Poia (guitars, FXs) and Urlo (bass, vocals, FXs, synths), (rising from the ashes of past band Judy Corda), together with Vita (drums). With Levre taking over on drums in 2021, the band has undergone a rebirth, culminating in the release of the album Fenice and the Crookhead EP.

Over the course of 25 years, the band has developed a unique sound that combines heavy, dynamic riff worship with a deep understanding of psychedelic tradition in music.This has resulted in a cosmic, futuristic, and technicolor sound that fully immerses listeners.

The band has produced 10 records along with various other releases, such as compilations, EPs, and live albums.

Now, in 2024, as they celebrate their quarter-century milestone, the band is set to release their latest album, HIDDEN. This album marks a shift in the band’s musical composition, aiming for a more intense and heavy sound, and it’s the third release featuring Levre as the band’s new drummer.

The title, HIDDEN, reflects the concept of the presence of everything in our existence and the ability to bring to light what lies within us. With HIDDEN, Ufomammut delves into a sonic journey that traverses vast expanses of space and time.

From the crushing heaviness to the hauntingly melodies, from the textured compositions to the otherworldly atmospheres, HIDDEN testify the neverending evolution of Ufomammut and their mastery of creating immersive sonic experiences: a fitting celebration of their 25 years of sonic exploration and experimentation.

The album was recorded at Flat Scenario Studio in Piemonte, Italy, with Lorenzo Stecconi handling the mixing and mastering, and Luca Grossi overseeing vocal tracking.

Suffering can be a borderline experience, opening doors to the divine. Canadian black-metal-outfit GIVRE has dedicated its fourth album to this concept, well known throughout Christian history: On "Le Cloitre" (engl. "The Cloister") the band continues its exploration of the atoning side of pain and the austere aspects of faith through music that goes all the way from elegiac elegance to disturbing outbursts. Even the band deals with Christianity, through a historic lense, they should not be understood as religious band in any way!

The group was founded back in 2010 in Rouyn-Noranda by David Caron-Proulx (Composition, guitars, keys), Jean-Lou David (research, vocals), and Mathieu Garon (bass) when they were just 16 years old. They self-produced a demo album, then moved away from their hometowns. David is now a composer for film and mixed media and Jean-Lou is a writer and historian. In October 2020, ten years after their first collaborative endeavors, they reunited and recorded two more albums: "Le Pressoir mystique" and "Destin Messianique".

The creation of "Le Cloitre" was a lengthy process. While most recordings were made right after "Destin Messianique" in 2021, extensive work was done over an extended period of time to add layers and perfect the album's concept. Each of the six songs corresponds to a holy woman from Christian history. The lyrics are taken directly from their writings or hagiography (an idealized biography), delving into their connection to the divine through suffering. The words are sometimes rearranged, but they are all direct citations without anything new added to them, from the symbolic poetry of Hildegard Von Bingen (1098-1179) to the disturbing and factual depictions of Marthe Robin (1902-1981).

The compositions vary to reflect these different perspectives: sometimes dark and eerie, other times blissful or sorrowful. Therefore, a crucial addition to the album's atmosphere was the inclusion of female vocal performances. Additionally, samples from the French film "Le dialogue des Carmelites" from 1959 are incorporated. Excerpts of a piece by Hildegard von Bingen are used in the song dedicated to her. The album was recorded in the band members'home studios. Mixing and mastering were done by long-time-collaborator Gael Poisson-Lemay (Gris, Sombre Forets, Miserere Luminis), who also contributed guitars to the song about Marthe Robin. Vinyl mastering was done by Greg Chandler (Esoteric) at Priory Recording Studios.

"One year after the release of the critically acclaimed and commercially successful album Sing And Dance, Sophie Zelmani releases the album Love Affair. Zelmani creates another beautifully melancholic and nocturnal album. The atmosphere of the album is perfectly captured by the strikingly beautiful artwork by Anton Corbijn.

For the first time, the classic 2003 album is released on LP with an insert containing all the lyrics.

Love Affair is available as a limited edition of 1000 individually numbered copies on translucent purple vinyl."

Dexys are back! 11 years since the release of their last album of original music, the acclaimed One Day I'm Going to Soar, the band return with a stunning new record, The Feminine Divine, out July 28th on 100% Records.

The Feminine Divine’s arrival is heralded by today’s release of the glorious first single ‘I’m Going To Get Free’, soaked in horns and with a heavy dance-hall feel. "The character is optimistically breaking free from internalised trauma, depression and guilt," Kevin Rowland said of the track.

The Feminine Divine is Dexys’ fifth album of original material produced once again by Pete Schwier, along with acclaimed session musician and producer Toby Chapman. After taking some time out to refocus his energy, Kevin Rowland came back to music with a fresh perspective and new-found positivity. A personal, if not strictly autobiographical, record portraying a man whose views have evolved over time. Not just on women, but the whole concept of masculinity he had been raised with: an education and an un-learning that is traced across the arc of The Feminine Divine with dizzying effect.

With two tracks on the album with Goddess in the title in ‘My Goddess Is’ and ‘Goddess Rules’, it’s no surprise Kevin chose to use a painting inspired by Pele, the Hawaiian goddess of fire and volcanoes, for the artwork.

Dipping into the archives for a song he’d originally written in 1991, the album’s opener, ‘The One That Loves You’, is a tough-guy feint before he lifts the curtain on “what I really feel”, as announced by a classic bit of Kevin spoken word that leads into the second track, ‘It’s Alright Kevin (Manhood 2023)’.

The record’s first half is full of music hall-esque swagger, much of it written with original Dexys’ trombonist Big Jim Paterson. The second side of the record is like nothing Dexys have done before. A saucy, synth-heavy cabaret, written in collaboration with Sean Read and Mike Timothy. It’s steamy, fizzing and sultry, at times doom-laden and heavy and at other times raunchy and funky. Quite a heady mix.

Today the band is more of an “organic” assemblage – Kevin, Jim (a non-touring band member), Sean Read and Mike Timothy. “It’s always just natural with me,” says Kevin. “The inspiration comes first, I think about what I can do, what songs I’ve got, then approach the band.” He describes their current lineup as “very much the nucleus, these days.”

With over a billion worldwide streams, three top 10 albums in the UK, two number 1 singles, a Brit Award and a multi-platinum selling album with their sophomore release Too-Rye-Ay (as Dexys Midnight Runners), Dexys are as vital and exciting today as ever. With live shows set to be announced shortly in support of the record, The Feminine Divine marks a new chapter in a book that just keeps getting better and better.

“I’ve been doing this a long time,” says Kevin. “But I feel I’ve got to it now.”

Dexys are back! 11 years since the release of their last album of original music, the acclaimed One Day I'm Going to Soar, the band return with a stunning new record, The Feminine Divine, out July 28th on 100% Records.

The Feminine Divine’s arrival is heralded by today’s release of the glorious first single ‘I’m Going To Get Free’, soaked in horns and with a heavy dance-hall feel. "The character is optimistically breaking free from internalised trauma, depression and guilt," Kevin Rowland said of the track.

The Feminine Divine is Dexys’ fifth album of original material produced once again by Pete Schwier, along with acclaimed session musician and producer Toby Chapman. After taking some time out to refocus his energy, Kevin Rowland came back to music with a fresh perspective and new-found positivity. A personal, if not strictly autobiographical, record portraying a man whose views have evolved over time. Not just on women, but the whole concept of masculinity he had been raised with: an education and an un-learning that is traced across the arc of The Feminine Divine with dizzying effect.

With two tracks on the album with Goddess in the title in ‘My Goddess Is’ and ‘Goddess Rules’, it’s no surprise Kevin chose to use a painting inspired by Pele, the Hawaiian goddess of fire and volcanoes, for the artwork.

Dipping into the archives for a song he’d originally written in 1991, the album’s opener, ‘The One That Loves You’, is a tough-guy feint before he lifts the curtain on “what I really feel”, as announced by a classic bit of Kevin spoken word that leads into the second track, ‘It’s Alright Kevin (Manhood 2023)’.

The record’s first half is full of music hall-esque swagger, much of it written with original Dexys’ trombonist Big Jim Paterson. The second side of the record is like nothing Dexys have done before. A saucy, synth-heavy cabaret, written in collaboration with Sean Read and Mike Timothy. It’s steamy, fizzing and sultry, at times doom-laden and heavy and at other times raunchy and funky. Quite a heady mix.

Today the band is more of an “organic” assemblage – Kevin, Jim (a non-touring band member), Sean Read and Mike Timothy. “It’s always just natural with me,” says Kevin. “The inspiration comes first, I think about what I can do, what songs I’ve got, then approach the band.” He describes their current lineup as “very much the nucleus, these days.”

With over a billion worldwide streams, three top 10 albums in the UK, two number 1 singles, a Brit Award and a multi-platinum selling album with their sophomore release Too-Rye-Ay (as Dexys Midnight Runners), Dexys are as vital and exciting today as ever. With live shows set to be announced shortly in support of the record, The Feminine Divine marks a new chapter in a book that just keeps getting better and better.

“I’ve been doing this a long time,” says Kevin. “But I feel I’ve got to it now.”

Look through any self respecting quality music publication or web site and peruse through a list of the most important and influential psychedelic albums of all time and you can be pretty sure to see KALEIDOSCOPE'S 'Tangerine Dream' ranked high up there, along with your 'Sgt Peppers', your 'Forever Changes' 'Satanic Majesties Request' 'Axis Bold As Love' 'Odyssey & Oracle' and 'The Psychedelic Sounds of the 13th Floor Elevators'........

This seminal album of quintessential English psychedelia is one of the most highly prized artifacts that define the psychedelic genre and like some of the most highly collected and prized albums from that time, mint copies can now go for way in excess of £1000.

Thus given the record`s rarity & collectability, matched to the recent explosive interest in all things psyche, garage & underground, you would be excused for thinking that this slice of perfect late 60's progressive underground pop would have been given the full reissue and remastering treatment already. Surprisingly though, you would very much be mistaken. But to those of you who know the checkered history of Kaleidoscope this will perhaps come as no surprise!!!

Thankfully after 3 years of painstaking detective work, chance encounters with Universal archivists, heavy negotiations with major label legal executives and some good fortune, we are delighted to announce that this record will finally not only get its first proper official reissue in over 5 decades, but thanks to a lot of pure persistence it can now be presented to its listeners in the manner in which it was supposed to have been heard, following the discovery of a batch of the original master tapes that were languishing in the vaults of Universal that have laid largely unheard for 50 years!

Furthermore following a couple of shared festival billings at Austin and Copenhagen Psyche Festival, with another legend of the scene, Mr Pete Kember aka SONIC BOOM of SPACEMEN 3 fame, Sonic has been holed up in his Lisbon studio, painstakingly remastering the album from the original ¼' tapes.

The remastering of these ¼' tapes though is only part of the story, as along with the discovery of these a significant number of ½' tapes and other material was also discovered which is penned for a future release when the band`s entire works will be presented in a definitive boxset of all four of their studio albums (including all their Fairfield Parlour recordings) plus BBC Sessions, live recordings, alternative takes, new mixes, unreleased tracks and material from the band`s own archive including pre-Kaleidoscope demos when they were known as both The Sidekicks and The Key.

For now though, this 50th Anniversary release comes with a flavor of what is to come, with the inclusion of two unreleased out-takes tracks from 1967 on a bonus 7' housed in a replica original paper thin Fontana sleeve which, includes an early version of the track that gave the band their name, the suitably titled: 'Kaleidoscope'. Whilst the flip presents an alternative earliest known recorded version of the album's follow-up single: Dream For Julie'.

The album itself, has been cut onto 180g heavyweight vinyl, housed in a deluxe high-end gatefold tip-on sleeve with the lyrics printed and new artwork. The first 1000 copies of the album will be hand numbered by the band & pressed on 'Tangerine' orange vinyl housed in an inner sleeve with attractive new artwork + download code.

In 2024, Vredehammer, the mighty force from the deepest North returns. Vredehammer explore the depths of darkness and despair, painting a chilling sonic landscape that captures the essence of true black metal. Vredehammers upcoming album "God Slayer" is poised to deliver nothing short of blackening excellence, Vredehammer continues to push the boundaries of extreme metal, seamlessly blending elements of blackened death metal, thrash, and melodic death metal to create a sound that is both relentless and captivating. With one of Scandinavia's finest BM drummers, Nils 'Dominator' Fjellström, on drums, combined with the unparalleled musical songwriting and guitar skills of Per Valla, this album is not to be missed. Vredehammer about the album: "With the Godslayer album I wanted to take a step back regarding tempo, not focusing so much on fast songs. There is definitely some fast stuff in there, but my main objective was to create memorable songs and guitar riffs with a lot of punch and power to them. This time Vredehammer had the pleasure of having Nils "Dominator" Fjellström doing drums for the album. Having played with Nils on other occasions, I was excited to see how he would perform when the music didn't just consist of fast black metal stuff, which is known to be his specialty. He definitely rose to the occasion and contributed with some great ideas for the drums."

The Baby Seals debut album, "Chaos," is a sonic exploration that blends heavy guitars, a pop edge, and a punk rock garage spirit with a heavy attack. The band, comprised of Amy "Amos" Devine on drums and backing vocals, Kate Shore on bass and backing vocals, and Kerry Devine on guitar and lead vocals, delivers a raw and energetic collection that captures the essence of their live performances. Recorded in March 2023 in Thaxted, just outside of Essex, "Chaos" embodies the DIY ethos that has defined The Baby Seals' approach to music. The decision to minimise post-production sets "Chaos" apart from previous recordings, reflecting the band's commitment to authenticity and a desire to showcase their growth and maturity. The album definitely is about how we feel and experience the world around us in our 30s and 40s. The Baby Seals have grown up? Does not mean sonically lame for sure. The album definitely has themes: inclusivity, gender inequality, the mental load, the motherload, power, body positivity, challenging taboos, liberation. The importance of what to take seriously and what not to take seriously. Title track, Chaos is one of the songs on the album written after a series of events including watching an interview with the late writer Benjamin Zephaniah who said the only way to liberation for all was to tear big governments down and to believe in your community. Further stand-outs are the funny "ID'd At Aldi" and the just classy "Vibrator" The cover artwork sums us up and hopefully gives you a feeling of what the album sounds like.

"Who am I to myself? Just one of my impressions" by F. Pessoa
The new album of the Polski Piach trio is titled Anomalia (Anomaly), and is the band's third album.
They play:
Piotr Mełech - bass clarinet
Piotr Domagalski - bassetl
Patryk Zakrocki - acoustic guitar, general vision and care of the band.

After Południe and Północ (South / Noon and North/Midnight - thematically referring to the time of day and night as well as geographical directions), the band recorded a fully acoustic album, raw but brighter than Północ. The songs contain the title anomalies and are narrative, even cinematic. They flow. The music of Polski Piach is a journey, both through the listener's imagination and musical styles.
The album was recorded live in Piotr Zabrodzki's analog studio. The music was recorded on tape and mixed in analogue way.
The cover was designed by Paweł Ryżko using drawings by Patryk Zakrocki.

GER Als Night Beats erschafft der in Texas geborene und in LA lebende Künstler Danny Lee Blackwell Musik, wie man ein Puzzle zusammensetzen könnte. Der psychedelische Autorenfilmer aus dem Westen baut sein Werk aus einem Moment, einer Initialzündung, auf, die bestimmte Kriterien erfüllen muss: Sie muss ihm Gänsehaut bereiten. Wenn dieses Gefühl eintritt, verfolgt Blackwell die Idee unermüdlich, bis er einen neuen Song hat; wenn nicht, geht er zum nächsten Moment über, immer auf der Suche nach dem perfekten Molekül eines Songs. Auf seinem sechsten Night Beats-Album "Rajan" zeigt sich der Songwriter von seiner besten Seite und erschafft Werke, die mit fesselnden Melodien und hypnotischen Rhythmen glänzen, aber auch durch subtile handwerkliche Entscheidungen unterstrichen werden, die nur nach unzähligen Stunden im Studio erreicht werden können. Blackwell erschafft ein Werk, das irgendwo zwischen Spaghetti-Western-Filmmusik und Psych-Pop-Opus angesiedelt ist, ein karrierebestimmendes Album, das viel über Danny Lee Blackwells künstlerische Philosophie verrät und gleichzeitig den so wichtigen Hauch des Geheimnisvollen bewahrt. Exklusiv für den Indie-Handel, todesrote LP, handnummeriert mit Poster und DLC.


ENG As Night Beats, Texas-born, LA-based artist Danny Lee Blackwell creates music like one might assemble a puzzle. The Western psychedelic auteur builds his work from one moment, an initial spark, that must fit a certain criteria: it must give him goosebumps. If that sensation arrives, Blackwell will pursue the idea relentlessly until he has a new song; if not, he moves onto the next moment, constantly looking for the perfect molecule of a song. On his sixth Night Beats album, 'Rajan', the songwriter is at his strongest, creating works that shine with captivating melodies and hypnotic rhythms, but are underscored by subtle choices of craftsmanship that can only be achieved after countless hours in the studio. Blackwell creates a work that lands somewhere between Spaghetti Western film score and psych-pop opus, a career-defining album that reveals much about Danny Lee Blackwell's artistic philosophy while keeping that ever crucial air of mystery intact. Indies only LP on 180g 'Dying Red Giant' coloured vinyl, limited to 350 hand-numbered copies, fold-out art poster, download card included.

Remedy, a dynamic and cutting-edge melodic rock metal band originating from the heart of Stockholm, Sweden, burst onto the music scene in 2022 with an unmistakable presence. Their debut album ‘Something That Your Eyes Won't See' charted in Sweden and had a massive impact, including truly incredible positive feedback from the Rock and Metal World. Now it's the time for the second album ‘Pleasure Beats the Pain', co- produced with the Swedish S-Rock Music Production, a huge sound journey between catchy melodies, powerful riffs, huge sound and mesmerising guitar solos. With these new songs, the band presents a sound even more personal, pushing boundaries even further. Drawing from the lively sounds of the 80s, but adding a modern twist, Remedy captivates listeners with their contagious energy.

Their magic is driven by energetic guitars, powerful vocals, and catchy hooks across Rock, Pop, and Metal genres, blending retro vibes with fresh innovation seamlessly. In line with the production of Remedy's debut album, ‘Pleasure Beats the Pain' is mixed and mastered by Erik Martensson (Eclipse) at Mass Destruction Production. “Fuelled by the success of our debut album, stepping back into the studio felt like the most natural progression for us. With 'Pleasure Beats the Pain,' we reached a defining moment in Remedy's journey, solidifying our sound. With a balance of light and dark, day and night, pleasure and pain, love and hate, our music mirrors life's complexities, melding melodic rock & metal into a harmonious blend. Through this, combined with a distinctive approach to instrumentality and songwriting, Remedy emerges”, Rolli concludes.

It’s burning, everything is catching fire, and Aquaserge are singing and dancing on the embers of a world contemplated in a rear-view mirror. A world which is hyper-connected, yet forgets its primary emotions.

This seventh album by the band is an ecological poem, where present and past collide. A resolutely rock-sounding album, laced with electronics, experimental pop songs and audio archives. Along the way, the listeners will encounter traces of Oulipo (the famous experimental French literary movement founded in the ’60st), Dada and free jazz. They will cross paths with the ghosts of Ennio Morricone, Walter Benjamin and Marguerite Duras, with the shadows of Kim Gordon and Brigitte Fontaine. And other audacious and exciting melanges, in the pure tradition of Aquaserge.

The album was arranged and produced by Benjamin Glibert, the band’s guitarist and main composer.

The recording took place in a house located in the french countryside (where Aquaserge’s mobile studio was installed). The mix was done at Studio St Guidon in Brussels, the album was mastered by the legendary Dominique Blanc-Francard at the Labomatic studio in Paris.

The members of the band’s current line-up all took part in the recording: Audrey Ginestet (vocals, bass, guitar, etc.), Benjamin Glibert (vocals, guitar, keyboards, etc.), Olivier Kelchtermans (saxophones, keyboards, vocals, etc.), Manon Glibert (clarinets, vocals, etc.) and Julien Chamla (drums, vocals, etc.).

The Road Is No Place For A Lady was Cass Elliot’s final studio
album. The album was signified with touches of swing music and gospel and was promoted with the single “(If You’re Gonna) Break Another Heart” written by Albert Hammond.
The Road Is No Place For A Lady is available as a limited edition of 1000 individually numbered copies on pink coloured vinyl. After its initial release, this is the first time in 50 years that the album has been reissued on LP. After its initial release, this is the first time in 50 years that the album has been reissued on LP.

Limited to 500 LPs and 500 CDs. New album from the most danceable post-punk pop band in the UK. It's like something has exploded! CRUMBS have been incubating this, their second album, for a few years now. Who knows how they kept all the energy in check. It must have been like sitting on a volcano. The songs burst out with pure pop fire, sending splinters of guitar, sharp lyrics and snatches of the catchiest backing vocals. The rhythm section (Jamie and Gem): it's like Delta 5 meeting Le Tigre in a dark alley in Leeds, fusing blindly and completely, and then forcing its way into the back entrance of a venue, sending volts through the limbs of the unwitting punters, forcing them to dance. This is TIGHT. And as the lights come on and the indie kids throw themselves around, Ruth's vocals sweetly assault their ears with anger, joy, political intelligence - and all around, Stuart's guitar, sometimes twangly-melodic like the B52s, sometimes sweet and ringing like a memory of Scars, sometimes furious and feeding back, keeps you alert and thirsty for more. These songs do NOT outstay their welcome. Starts and ends are cut hard: no pre-echo, no wistful, drawn-out regretful fade-outs. CRUMBS have imbibed the key lessons taught by The Gang Of Four and The Au Pairs: never let the energy dissipate. But there is more than anger here. The band have smuggled a pop sweetness into the disciplined shapes of their angular songs. You're Just Jealous has sharp edges, but it's generous too. The album will be available as a vinyl LP, CD, download and on streaming services. CRUMBS - a brief history. They are based in Leeds, where they are active movers in the DIY scene that currently thrives in the North of England. They recorded a Marc Riley session in 2016, released their first album (on Everything Sucks) in 2017, toured extensively in 2018 and 2019, playing at the Brudenell Social Club with Swearin' and Jeffrey Lewis, and at plenty of fests such as LaDIYfest and Specialist Subject's birthday all dayer in Bristol, A Real Cool Fest in Bradford, Mousetival in Stockton and the Cambridge Indie pop Alldayer. They spent the pandemic creating these new, tightly-wound, irresistible pop songs. These are the people in CRUMBS and these are their influences: Stuart (GUITAR) - Bauhaus, Gang of Four, Shop Assistants // Gem (DRUMS) - Beat Happening, The Raincoats, Antelope // Jamie (BASS, BACKING VOCALS) - Delta 5, ESG, Chic // Ruth (VOCALS) - The Go-Go's, Mika Miko, Paint It Black Collectively - 80s pop music

Following his debut EP ‘En clair-obscur’ and a series of singles earlier this year cementing his place as a rising name in the world of cinematic soul & funk, Hamburg’s finest cinematic soul artist ‘The Offline’ announces his debut album 'La couleur de la mer'.

Reminiscent of film scores from the 60s and 70s, The Offline worked with co-producer Tim Liztenberger to channel the influence of film composers such as Francois de Roubaix and Brian Bennet, creating his own soundtrack on ‘La couleur de la mer’. Inducing images of manorial, fog-swept villas at the sea's edge, silhouetted sailing boats and cigar-chomping villains attempting to thwart the mission of an imaginary hero, the record is a masterfully composed sonic journey. Experimenting with themes and atypical song structures, the music moves from dramatic cues to fragile romanticism. It incorporates psychedelic spaciness, retro soul and hip-hop sensibilities informed by The Offline’s extensive record collection and crate-digger status.

“Ever since I was a child, I was fascinated by the soundtracks from the 60s and 70s, and I always wanted to make an album in the film score direction. I wrote about 30 demos, kicked half of it and stuck to the ones that felt right in the dramaturgical structure of the ‘movie'. Interestingly the main theme was set early on while writing the album, which made the writing process much easier.”

Aptly named, ‘Thème de la couleur de la mer’ opens proceedings, establishing the core motifs of the record. Haunting flutes and xylophones lead the way into Khruangbin-esque guitar lines, which sit against a hip-hop canvas that returns on boom-bap head boppers like ‘Quelque chose reste’. Retro soul revival takes precedence on deep cuts like ‘Un bout de chemin’, with wah-gated guitars interacting with emotive cello lines and symphonic string & horn sections.

The Offline came to life when composer and photographer Felix Müller travelled the Atlantic coastline in the south of France with his analogue camera, capturing beach life on film. After coming back to Hamburg, he started writing songs as the sonic counterpart to the analogue visuals. His Debut EP ‘En Clair-Obscur’ includes five tracks that capture the essence of his journey and the feeling of a cool summer soundtrack.

In one sense, it's easy for artists-songwriters, specifically-to express their feelings in their work. After all, that's what the lyrics are for! But it's much harder to convey emotional energy in how you play, slash at the guitar, and the structure of the music itself. That's precisely why Girl and Girl's Sub Pop debut, Call A Doctor, feels like such a vital, electrifying shock to the senses. Not since the early work of Car Seat Headrest or Conor Oberst's widescreen emotional brutality as Bright Eyes has indie rock managed to come across as this intimate and grandiose, as the Australian quartet led by Kai James lay a lifetime's worth of woes-mental health, the human race's planned obsolescence if you've been living on this cursed rock you know what we're getting at-across a canvas of indie rock that feels both timeless and in-the-moment. An audacious and aggressively tuneful blast of a record, Call A Doctor is an unforgettable first bow from Girl and Girl, whose origins lie in James and guitarist Jayden Williams jamming in his mother's garage in the afternoon after school. One afternoon, James' Aunty Liss headed down to their practice space after walking her dog and asked if she could sit in on drums. "It sounded really great," James recalls. "We begged her to stay, and she said, 'I'll stay until you find another drummer.' We wore her down, and she eventually became a permanent member." After bassist Fraser Bell joined to round things out, Girl and Girl hit the road and began to make a name for themselves beyond the Australian bush, eventually signing to Sub Pop off the strength of word of mouth. Call A Doctor came together quickly soon after, largely recorded in marathon sessions in a two-story industrial complex over the course of two weeks. "That added to the intensity of the album," James says about the frenzied creative process overseen by producer Burke Reid. "I can hear the stress in the record, which is good because that's what it's about-being tense, tied up, and in your own head." Call A Doctor's eleven songs-spanning sweeping guitar epics and wry acoustic shuffles to spiky punk maneuvers and the type of raw, adoringly unvarnished indie-pop associated with legendary PacNW label K Records-are literally plucked from James' personal history, as he reworked older recordings with newer lyrics reflecting his past struggles as well as new anxieties that emerged prior to the album's recording. "I've struggled with mental health for a lot of my life," he explains, "and I went through a particularly difficult patch when we were making the album; the band had started to get some attention, and I felt an enormous amount of pressure to live up to it." "This record is about an individual who's too far in their head, trying to get out," James continues while discussing Call A Doctor's overall outlook-specifically the snapshot it offers of its creator. But even though this record deals with uneasy topics we all know well from within ourselves, it's important to emphasize how teeming with life Girl and Girl's music is. There's a brazen, bold sense of humor to this stuff, an undeniable brightness to the darkness that makes it impossible not to be drawn in as a listener. Feeling down never sounded so goddamn good.

Deluxe 180g vinyl. Art Edition LP includes set of six 12”x12” art cards.



The follow-up to Kee Avil's acclaimed 2022 debut Crease: "A stunning debut" (The Quietus); "A whiplash style of uninhibited exploration" (The Wire); "Kee Avil's debut is a force" (Foxy Digitalis); "A work of Frankensteinian wonder" (Electronic Sound); "A tightly coiled, finely wrought vision of avant-pop" (Exclaim); "A debut of fiendish creativity" (Bandcamp Album Of The Day / Albums Of The Year) Kee Avil's music is both adventurous and intimate, intellectually challenging and emotionally resonant. The Montréal guitarist and producer's 2022 debut LP Crease garnered plaudits from outlets like The Wire, The Quietus, Mojo and Foxy Digitalis, picking up a Canadian Juno Award nomination and Bandcamp Album Of The Day and Albums Of The Year along the way. Its intricate construction, unnerving atmospheres, and knife-edge take on avant-pop prompted comparisons to early PJ Harvey, This Heat, and Gazelle Twin. A remix EP with work by claire rousay, Ami Dang, Cecile Believe, and Pelada brought collaborative perspectives to four Crease tracks, offering new pathways within those songs. With Spine, Kee Avil strips back her heavily textured compositions, opening up a much rawer sound. She calls it folk… and while traditionalists might scoff, this is urgent music that reflects the precarity of modern life, as well as the jarring mixture of electronic and real-world interactions that have become the fabric of our day-to-day experiences. There's a hypnotic post-punk somnambulance to it all, using the repetition and fracturing of melodic phrases interwoven with delicate electronics to create curious and persistent hooks. While not a concept album, themes of time's passage, remembrance, and decay crop up across multiple tracks. Each track intentionally only has four elements - guitar, electronics, and two other instruments, with Kee's voice and guitar pushed to the front. Within this minimalist framework, the juxtaposition of beauty and discomfort that is key to the Kee Avil sound stands out in skin-prickling relief. "We're shaped by many versions of ourselves," says Avil. "I was looking back at these versions of myself and what could have been, what didn't end up being and what did end up being, and going back like that through time. Seeing the future, the past." Spine was written in Kee Avil's home studio after a lapse in writing while touring Crease and working on other projects. She is a well-known and respected member of the Montréal experimental scene, and formerly ran Concrete Sound Studio with Zach Scholes, who continues to work with her as a producer on Spine. Compared to the three years that went into making her debut, Spine emerged in a matter of months - a process that may also be a factor in its intensity and sharpness: "This record was much harder, like it was really discovering everything from scratch." In her desire to not simply replicate or extend the sound of Crease, she felt she had to rip up the rule book, write in a different way, and pare back songs against her usual instincts. Sometimes, when we work against our ingrained habits, we get to the core of who we really are. Spine is an exercise in that process. Without over-intellectualizing or being didactic, it hits immediately and emotionally, especially if you are a person who has spent much time in the process of self-examination. Kee's voice hisses, whispers, and chants; her guitar bends and rings; electronics skitter and crackle; violin creaks like a door in the wind. There is something so evocative about the atmospheres she creates that it's easy to overlay one's own feelings onto her work, but to do that wholly would be to overlook one of the most important things about Spine: Kee Avil's clear and thoughtful vision. This isn't just the next step forward in her artistic trajectory; it's a stunner of a record that stands on its own, a bracing and thrilling listen that has much to reveal about the contradictions inherent in being human. - jj skolnik

Vier Jahre ist es her, dass die amerikanische Thrash-Metal-Band EvilDead ihr Comeback-Album ‚United States Of Anarchy‘ veröffentlicht hat und damit Fans wie Medien gleichermaßen begeisterte. Vier Jahre, in denen sich die Welt stärker denn je verändert hat, während EvilDead – wie ein Fels in der Brandung – an ihren charakteristischen Stärken festgehalten und ihren dynamischen Stil zwar kontrolliert, aber gezielt weiterentwickelt haben. Das Ergebnis nennt sich ‚Toxic Grace‘ und wird am 24. Mai 2024 über Steamhammer/SPV als CD, LP und digitaler Download veröffentlicht. Um die Zeit bis zum Album-Release für die Fans erträglicher zu gestalten, werden bereits vorab mit ‚Raising Fresh Hell‘ und "Subjugated Souls" zwei Singles inklusive Videos ausgekoppelt. Es sind die schwermetallischen Statements einer Band, die über große Erfahrungen verfügt und zugleich den Enthusiasmus und die Energie ihrer Anfangsjahre nie eingebüßt hat. Sänger Phil Flores beschreibt ‚Toxic Grace‘ als ein „Album mit einer Vielzahl verschiedener Stile und Sounds, von Doom bis Melodic Metal, von traditionellem Heavy Metal bis zu unserem signifikanten Old-School-Thrash-Stil.“ Gitarrist Juan Garcia fügt hinzu: „Wir haben uns bewusst auf die Tempi und den durchgängigen Fluss aller Parts und Riffs konzentriert. Wir wollten,
dass die neuen Songs kraftvoll sind, und schnell nicht nur der Schnelligkeit wegen. Ich bin sehr stolz auf das neue Material.“

High Roller Records, reissue 2024, black vinyl, ltd 150, gatefold, lyric sheet, Hitten formierten sich im Jahre 2011 in Murcia, einer Stadt im Südosten Spaniens (nahe Alicante). Im selben Jahr erschien ihr erstes Demo namens »Darkness Queen«. Zwei EPs sowie das vollständige Album »First Strike With The Devil« (2014) folgten, bevor Hitten für die Vinyl-Veröffentlichung ihres Zweitlings »State Of Shock« einen Vertrag mit High Roller Records unterzeichneten.Mit mitreißenden Nummern wie “Don’t Be Late”, “Endless Race” und “Eternal Force” war »State Of Shock« eine klare Steigerung gegenüber dem naiven Erstling. Gitarrist und Bandgründer Dani Meseguer gibt Accept, Iron Maiden, Judas Priest und Saxon als Hittens musikalische Inspirationsquellen an, genauso wie US-Metal-Legenden der Kategorie Fifth Angel, Crimson Glory, Shok Paris und Metal Church.“Wir sind sehr zufrieden damit, wie »State Of Shock« aufgenommen worden ist”, erklärt Dani Meseguer. “Wir haben ein paar coole Festivals gespielt, sind in Europa auf Tour gewesen und sogar in Japan wollte man uns sehen.” Dennoch, die Zeit zwischen »State Of Shock« und dem brandneuen Album »Twist Of Fate« hielt für Hitten auch einen Tiefschlag bereit. Im September 2017 absolvierte Sänger Aitor seinen letzten Auftritt für die Band. Mit Alexx Panza stand aber sofort Ersatz parat. Dani Meseguer: “Alexx ist ein Geschenk des Himmels. Für uns war es einfach perfektes Timing.” “Wir sind mehr als glücklich mit dem Endresultat von »Twist Of Fate«”, fährt Dani Meseguer fort. “Vom Cover-Artwork bis zu den einzelnen Songs erfüllt die Scheibe höchste Qualitätsansprüche. Ich bin der festen Überzeugung, dass die Fans »Twist Of Fate« noch mehr mögen werden als »State Of Shock«. Der Mix (von Javi Félez) und das Mastering (Patrick W. Engel) sind einfach unglaublich. Die Platte hat alles, was ein gutes Metal-Album haben muss: verrückte Twin-Gitarren, emotionale Solos, spitze Schreie, schöne Gesangsharmonien und einen machtvollen Background-Gesang. Alexx als Sänger hat einen fantastischen Job abgeliefert. Seine stimmliche Bandbreite ist einfach enorm. Er ist in den tiefen Tonlagen extrem sicher aber beherrscht auf der anderen Seite auch diese high-pitched Screams, die wir alle so lieben.”

High Roller Records, reissue 2024, black vinyl, ltd 150, gatefold, lyric sheet, Hitten formierten sich im Jahre 2011 in Murcia, einer Stadt im Südosten Spaniens (nahe Alicante). Im selben Jahr erschien ihr erstes Demo namens »Darkness Queen«. Zwei EPs sowie das vollständige Album »First Strike With The Devil« (2014) folgten, bevor Hitten für die Vinyl-Veröffentlichung ihres Zweitlings »State Of Shock« einen Vertrag mit High Roller Records unterzeichneten.Mit mitreißenden Nummern wie “Don’t Be Late”, “Endless Race” und “Eternal Force” war »State Of Shock« eine klare Steigerung gegenüber dem naiven Erstling. Gitarrist und Bandgründer Dani Meseguer gibt Accept, Iron Maiden, Judas Priest und Saxon als Hittens musikalische Inspirationsquellen an, genauso wie US-Metal-Legenden der Kategorie Fifth Angel, Crimson Glory, Shok Paris und Metal Church.“Wir sind sehr zufrieden damit, wie »State Of Shock« aufgenommen worden ist”, erklärt Dani Meseguer. “Wir haben ein paar coole Festivals gespielt, sind in Europa auf Tour gewesen und sogar in Japan wollte man uns sehen.” Dennoch, die Zeit zwischen »State Of Shock« und dem brandneuen Album »Twist Of Fate« hielt für Hitten auch einen Tiefschlag bereit. Im September 2017 absolvierte Sänger Aitor seinen letzten Auftritt für die Band. Mit Alexx Panza stand aber sofort Ersatz parat. Dani Meseguer: “Alexx ist ein Geschenk des Himmels. Für uns war es einfach perfektes Timing.” “Wir sind mehr als glücklich mit dem Endresultat von »Twist Of Fate«”, fährt Dani Meseguer fort. “Vom Cover-Artwork bis zu den einzelnen Songs erfüllt die Scheibe höchste Qualitätsansprüche. Ich bin der festen Überzeugung, dass die Fans »Twist Of Fate« noch mehr mögen werden als »State Of Shock«. Der Mix (von Javi Félez) und das Mastering (Patrick W. Engel) sind einfach unglaublich. Die Platte hat alles, was ein gutes Metal-Album haben muss: verrückte Twin-Gitarren, emotionale Solos, spitze Schreie, schöne Gesangsharmonien und einen machtvollen Background-Gesang. Alexx als Sänger hat einen fantastischen Job abgeliefert. Seine stimmliche Bandbreite ist einfach enorm. Er ist in den tiefen Tonlagen extrem sicher aber beherrscht auf der anderen Seite auch diese high-pitched Screams, die wir alle so lieben.”

With Lucifer, Kompakt presents an album of rare beauty from two masters of modern music. A family affair, it’s a collaboration between the Italian father-and-son duo of Luciano Michelini and Lorenzo Dada, whose combined histories bring to Lucifer a depth of experience alongside clarity of vision and a finely tuned, neatly developed combined compositional voice. A lovely, beguiling suite of music that combines the electronic and the acoustic, the urban and the pastoral, its gorgeous night-eye vision and tender melancholy sits neatly within the Kompakt universe, while offering the curious listener some rich new perspectives.

There is already plenty to know both artists by. Lorenzo Dada creates across multiple fields – a techno producer and DJ who has already worked with the likes of Jay Haze, Fete, Leo Benassi, and Der, he’s released a small clutch of stylish, smartly designed EPs, and a solo album, Second Life (2018). His complementary background in classical music and composition informs his ensemble project, Tears Of Blue (who appear on Lucifer), where Dada paints with neo-classical tones for a quartet of violin, viola, cello and grand piano, supplemented by electronics for live performance.

Luciano Michelini’s history is yet richer. He may be best known, to many, for his piece “Frolic”, the theme to Larry David’s Curb Your Enthusiasm series; it was also sampled by Snoop Dogg for 2022’s “Crip Ya Enthusiasm”. But there’s much more to Michelini’s story. A successful soundtrack composer, Michelini both studied and taught at the Conservatoro di Santa Cecilia, and worked for RCA from the sixties to the eighties; his soundtracks from this period are gorgeous examples of the form, particularly his work for Il Decamerone Nero (1972), L’Isola Degli Uomini Pesce (1979), and the devastatingly gorgeous Dimensione Donna (1977).

In the eighties, Michelini and his wife Anna Gutling founded the Electronic Music Division studio and academy in Rome, which is where the majority of Lucifer was recorded. Dada reflects on the experience: “We never worked together before, so it was all new for both of us,” with Michelini adding, “I truly love this experience with my son. He’s a talented pianist and composer. I am not very familiar with electronic music nowadays, but we did it fluently.” There’s certainly a familial energy at play through Lucifer, and you can hear how Dada and Michelini, through exploration and experiment, find a shared language, balancing Dada’s tendency toward minimalism, and Michelini’s composerly voice.

Lucifer flows as a suite that interweaves electronic music with acoustic instruments: the lonely sigh of saxophone; Michelini’s lush, verdant piano; the weeping strings of Tears Of Blue (recorded at the studio of Michelini’s friend, the late Maestro, Ennio Morricone). These multiple voices are located within the electronic sighs and swarms from Dada’s kit; there are moments of propulsion, and passages of lambent drift, where the album revels in its tonal sweetness. If it flows so effortlessly, that’s because Lucifer was designed that way, as a suite or a sonata of sorts.

And the title? Dada reflects, “Lucifer was an angel who decided not to be one anymore. The miracle of life is that we can decide what we want to be, even if we are born as angels or vice versa.” This feels somehow apposite: there’s certainly something of the transformative, and the transportive, in Lucifer, a unique family collaboration of rare poetry and sensitivity, where two generations meet in the modern crucible that is the electronic music studio.

Drunk Uncle isolated themselves into a cabin on an East Texas farm to write and record the follow up to their debut Look Up in 2022. The result "O, brittle weather!" is a thoughtful, probing album that explores a cacophony of sounds in a playful and whimsical way. The album feels like a telling of a great story- songs like pages colored with splashes of acoustic and electric guitars, floating bass, keys, horns, and percussion that ranges from a whole kit to a single tambourine that succinctly cues up the next chapter. Narrated by melodic vocals belting out emotional poetry, "O, brittle weather!" seems to plead with you to keep listening until the last word. Then, it begs you to listen again. Most bands are content to just collect a handful of songs and group them together as an album. Drunk Uncle strived to make something bigger than themselves. And wouldn't you know it, they succeeded.

In 2009, American metalcore band Atreyu released their fifth studio album Congregation of the Damned. For this album, the band returned to their "heavy hardcore" roots, following 2007's Lead Sails Paper Anchor, while also wanting to "move forward", which resulted in a more melodic approach. It was produced by Bob Marlette (Ozzy Osbourne, Airbourne) and mixed by Rich Costey (The Mars Volta, System of a Down).

Three tracks were released as singles: “Storm To Pass”, “Lonely”, and “Gallows”. The album debuted at #18 on the Billboard 200, selling 26.000 copies in its first week of release.

Congregation of the Damned is available as a limited edition of 1500 individually numbered copies on gold coloured vinyl, housed in a gatefold sleeve and includes an insert. This vinyl edition features the original artwork for the first time.

Grammy-nominated Kim Richey returns with her first album of new music in six years. The album's 10 tracks share a common thread of nostalgia and longing for times gone by. The album, except for one song, was produced by Doug Lancio in Nashville. Piano, flugel horn, pipe organ and acoustic guitars elevate these songs to a place that defies genre, but live somewhere in the folk, country, rock universe and illustrate what an incredible songwriter and singer Kim Richey is.

"Bloom is the 1997 album by Crustation, who were formed by Ian Dark, Stig Manley and Mark Tayler. All three were quiet connected in the fertile Bristol trip hop community - they played in bands with Portishead's Adrian Utley during the Eighties and regularly hung out with Massive Attack and Smith & Mighty. With just one album, their debut full-length record Bloom, Crustation became a legendary secret in the galaxy of trip hop music. The charming female voice of Bronagh Slevin, spacey, dreamy atmospheres, sleepy beats: all we love in downtempo music. The album features artwork co-designed by Stanley Donwood, who has created all the artwork designs for Radiohead with Tom Yorke. For the first time since its original release, Bloom is being reissued and is available as a limited edition of 750 copies on translucent purple coloured vinyl. The vinyl package includes an insert."

Bloom by Crustation With Bronagh Slevin, released 23 May 2024, includes the following tracks: "Close My Eyes ", "Reverie ", "Falling ", "Life As One " and more.

This version of Bloom comes as a 1xLP in a(n) Deluxe Sleeve packaging. This release comes with (a) Insert(s).

'empathogen' ist WILLOWs sechstes Studioalbum. Mit dieser Veröffentlichung schlägt WILLOW nach ihrem vielbeachteten Album 'Coping Mechanism' aus dem Jahr 2022 eine neue, alternative und jazzige Richtung ein. Das Album enthält Beiträge von Jon Batiste und St. Vincent. Die Album-Kampagne umfasst Auftritte bei Jimmy Fallon, NPR Tiny Desk (weitere werden noch bekannt gegeben) sowie Titel-geschichten in Allure, Flaunt und Pop.

Bill MacKay and Drag City are delirious with pride to announce the discovery of a new territory: Locust Land, a record which seeks to reflect the nerve-shredding consciousness run amok in our world today - and somehow allay it with sound. Bill"s music is a visceral crackling where it meets the air, and Locust Land can"t help but reflect its era more than any other in his discography. It"s been five years since the release of Fountain Fire - but in the interim, Bill has barely stopped moving, collaborating with artists across the spectrum, including cellist Katinka Kleijn, banjo player Nathan Bowles and keyboardist Cooper Crain. He"s also contributed to recordings by Steve Gunn, Ryley Walker, Bill Callahan & Bonnie Prince Billy (Blind Date Party), and Black Duck (on their self-titled record featuring Douglas McCombs and Charles Rumback). Forget five years - how"d he even get Locust Land squeezed out of his temporal lobes? Bill"s sense of music as art is constantly modulating - lifting off from where it is found and naturally migrating to some other place. Sometimes, that"s elsewhere - others, it"s simply to be found deeper inside the starting point. And so, the action of moving on informs the landscape of Locust Land. This manifests in several different ways. A restless energy and urgency is repeatedly felt - in the driving momentum of "Keeping in Time," "Glow Drift," and "When I Was Here" - while a dogged persistence radiates from the tone colors and percussion of "Oh, Pearl." Mating a dirge-like desolation with sparkling guitars, "Radiator" adds darkness and depth. The sense of searching, displacement and longing in vocal tracks "Keeping in Time," "Half of You," and "When I Was Here" speak literally to the tumult of current vibrations. Within the arrangements, there"s also departure from previous norms - in addition to the brilliant guitar work for which he is known, Bill plays a variety of keyboards, from piano to organ to synth, extending his music with the available voicings, while enriching the sound field without abandoning his signature brevity. For fans of his singing, and following in the recent tradition of Fountain Fire as well as his collaboration with Nathan Bowles, Keys, Locust Land expresses with an increased vocal presence - and heightened engagement, with Bill"s words and melodies drawing us closer. Also different: on his previous solo recordings, Bill played every sound. Here, he has invited other illustrious Chicagoans to join him: Sam Wagster (The Father Costume, Mute Duo) plays bass on three songs, two of which feature the percussion playing of Mikel Patrick Avery (Natural Information Society, Jeff Parker, etc.). Additionally, Janet Beveridge Bean (Eleventh Dream Day, Freakwater) adds otherworldly vocal textures to the elegiac "Neil"s Field." Whether played alone or with companions, this music projects the strength of a universal collective. Even with a piece that might earlier have passed for blissful pastorale, Bill displays some declamatory motives. The reverie which opens the album, "Phantasmic Fairy," embodies both transcendent and desperate moods, with Bill"s ineffable slide guitar playing afloat, with organs and synths, in a dream state suffused with a sense of foreboding - a requiem, perhaps for the days of unencumbered bandwidth? On the other side of the album, the strength to continue to hope appears in the lifting melodicism/exoticism of the album-closing title track, leaving the listener with the sense of having achieved a hard-won space - a place of personal contemplation and dissent, one that everyone on the planet deserves to visit every single day on earth. With cover art also by Bill MacKay (the third of his albums on Drag City to feature his work), Locust Land stands as a thoroughly personal statement from Bill to everyone everywhere.

Black/White Swirl Vinyl, limited to 200 copies. Hannover based band RESOLUTIONS is back with their sophomore album "Monster Mirror" out May 24th, 2024 via End Hits Records, marking their 10th year as a band and the newest addition to the End Hits Records roster. Starting in 2013 and after releasing their demo, several 7"s and 2016's "Weightless" album while playing hundreds of shows across Europe, RESOLUTIONS return with 10 catchy songs combining elements of alternative and melodic punk rock bands from the 90s and 2000s. Growing through discomfort while aiming on keeping their sound true to songs and records they love, the five piece band created 10 highly energetic songs that formed a uniquely sounding album with lyrics focussing on the aspect of self-reflection and the lacking urge of constant 24/7 self-optimization in the world's current living pace. This very same discomfort pushed RESOLUTIONS to step out of their to date comfort zone of the genre's almost stereotypical trusty three chords and gruffy vocals to perform on a clean but powerful recording which was done by Alex Sickel at Tiny Pond Studios, who worked with the band already on their first LP - "Weightless".? "Monster Mirror" calls for fans of bands with somewhat dark and (over-) thoughtful lyrics, yet accessible and driving melodies like HOT WATER MUSIC, ALKALINE TRIO and JIMMY EAT WORLD.

Bill MacKay and Drag City are delirious with pride to announce the discovery of a new territory: Locust Land, a record which seeks to reflect the nerve-shredding consciousness run amok in our world today - and somehow allay it with sound. Bill"s music is a visceral crackling where it meets the air, and Locust Land can"t help but reflect its era more than any other in his discography. It"s been five years since the release of Fountain Fire - but in the interim, Bill has barely stopped moving, collaborating with artists across the spectrum, including cellist Katinka Kleijn, banjo player Nathan Bowles and keyboardist Cooper Crain. He"s also contributed to recordings by Steve Gunn, Ryley Walker, Bill Callahan & Bonnie Prince Billy (Blind Date Party), and Black Duck (on their self-titled record featuring Douglas McCombs and Charles Rumback). Forget five years - how"d he even get Locust Land squeezed out of his temporal lobes? Bill"s sense of music as art is constantly modulating - lifting off from where it is found and naturally migrating to some other place. Sometimes, that"s elsewhere - others, it"s simply to be found deeper inside the starting point. And so, the action of moving on informs the landscape of Locust Land. This manifests in several different ways. A restless energy and urgency is repeatedly felt - in the driving momentum of "Keeping in Time," "Glow Drift," and "When I Was Here" - while a dogged persistence radiates from the tone colors and percussion of "Oh, Pearl." Mating a dirge-like desolation with sparkling guitars, "Radiator" adds darkness and depth. The sense of searching, displacement and longing in vocal tracks "Keeping in Time," "Half of You," and "When I Was Here" speak literally to the tumult of current vibrations. Within the arrangements, there"s also departure from previous norms - in addition to the brilliant guitar work for which he is known, Bill plays a variety of keyboards, from piano to organ to synth, extending his music with the available voicings, while enriching the sound field without abandoning his signature brevity. For fans of his singing, and following in the recent tradition of Fountain Fire as well as his collaboration with Nathan Bowles, Keys, Locust Land expresses with an increased vocal presence - and heightened engagement, with Bill"s words and melodies drawing us closer. Also different: on his previous solo recordings, Bill played every sound. Here, he has invited other illustrious Chicagoans to join him: Sam Wagster (The Father Costume, Mute Duo) plays bass on three songs, two of which feature the percussion playing of Mikel Patrick Avery (Natural Information Society, Jeff Parker, etc.). Additionally, Janet Beveridge Bean (Eleventh Dream Day, Freakwater) adds otherworldly vocal textures to the elegiac "Neil"s Field." Whether played alone or with companions, this music projects the strength of a universal collective. Even with a piece that might earlier have passed for blissful pastorale, Bill displays some declamatory motives. The reverie which opens the album, "Phantasmic Fairy," embodies both transcendent and desperate moods, with Bill"s ineffable slide guitar playing afloat, with organs and synths, in a dream state suffused with a sense of foreboding - a requiem, perhaps for the days of unencumbered bandwidth? On the other side of the album, the strength to continue to hope appears in the lifting melodicism/exoticism of the album-closing title track, leaving the listener with the sense of having achieved a hard-won space - a place of personal contemplation and dissent, one that everyone on the planet deserves to visit every single day on earth. With cover art also by Bill MacKay (the third of his albums on Drag City to feature his work), Locust Land stands as a thoroughly personal statement from Bill to everyone everywhere.

In one sense, it’s easy for artists—songwriters, specifically—to express their feelings in their work. After all, that’s what the lyrics are for! But it’s much harder to convey emotional energy in how you play, slash at the guitar, and the structure of the music itself. That’s precisely why Girl and Girl’s Sub Pop debut, Call A Doctor, feels like such a vital, electrifying shock to the senses. Not since the early work of Car Seat Headrest or Conor Oberst’s widescreen emotional brutality as Bright Eyes has indie rock managed to come across as this intimate and grandiose, as the Australian quartet led by Kai James lay a lifetime’s worth of woes—mental health, the human race’s planned obsolescence if you’ve been living on this cursed rock you know what we’re getting at—across a canvas of indie rock that feels both timeless and in-the-moment.

An audacious and aggressively tuneful blast of a record, Call A Doctor is an unforgettable first bow from Girl and Girl, whose origins lie in James and guitarist Jayden Williams jamming in his mother’s garage in the afternoon after school. One afternoon, James’ Aunty Liss headed down to their practice space after walking her dog and asked if she could sit in on drums. “It sounded really great,” James recalls. “We begged her to stay, and she said, ‘I’ll stay until you find another drummer.’ We wore her down, and she eventually became a permanent member.”

After bassist Fraser Bell joined to round things out, Girl and Girl hit the road and began to make a name for themselves beyond the Australian bush, eventually signing to Sub Pop off the strength of word of mouth. Call A Doctor came together quickly soon after, largely recorded in marathon sessions in a two-story industrial complex over the course of two weeks. “That added to the intensity of the album,” James says about the frenzied creative process overseen by producer Burke Reid. “I can hear the stress in the record, which is good because that’s what it’s about—being tense, tied up, and in your own head.”

Call A Doctor’s eleven songs—spanning sweeping guitar epics and wry acoustic shuffles to spiky punk maneuvers and the type of raw, adoringly unvarnished indie-pop associated with legendary PacNW label K Records—are literally plucked from James’ personal history, as he reworked older recordings with newer lyrics reflecting his past struggles as well as new anxieties that emerged prior to the album’s recording. “I’ve struggled with mental health for a lot of my life,” he explains, “and I went through a particularly difficult patch when we were making the album; the band had started to get some attention, and I felt an enormous amount of pressure to live up to it.”

Far from the sound of collapsing under pressure, Call A Doctor finds James and Co. stepping up with their entire collective chest. This is a record that’s so out-and-out alive that you nearly feel like you’re in the same room with Girl and Girl as you listen to it; lead single “Hello” practically bursts through the speakers, amplified by Aunty Liss’ unbelievable stickhandling duties. “‘Hello’ is all about romanticizing your own misery. Letting those deep, dark, dirty thoughts take over. Understanding that even if you could pull yourself out, you wouldn’t because the constant stress and worry is far too familiar and comfortable.”

“Mother” pogos on a spiky groove that’s reminiscent of the geographically close New Zealanders who make up the legendary Flying Nun label, while “Oh Boy” draws from the Shins’ own jangly sound, injected with James’ wonderfully nervy vocals. Then there’s Call A Doctor’s sorta-centerpiece “Maple Jean and the Anthropocene,” a five-minute epic offering a new perspective on climate change and the notion of what it means, in a personal sense, to suffer: “I live in the bushland, and I was driving home one night and hit and killed a wallaby with my car,” James recalls while discussing the song’s lyrical inspiration. “My first thought was, ‘What is the universe trying to tell me?’ No remorse, no guilt, just total self-centeredness. Which was like, Woah, you fucking psychopath! This wallaby wasn’t put on this earth to send you a message. That’s what the song is about, our egocentric species - thinking you’re the main character and that everything that happens is somehow about you.”

“This record is about an individual who’s too far in their head, trying to get out,” James continues while discussing Call A Doctor’s overall outlook—specifically the snapshot it offers of its creator. But even though this record deals with uneasy topics we all know well from within ourselves, it’s important to emphasize how teeming with life Girl and Girl’s music is. There’s a brazen, bold sense of humor to this stuff, an undeniable brightness to the darkness that makes it impossible not to be drawn in as a listener. Feeling down never sounded so goddamn good.

With the brand new single 'Solid Air' (featuring Rosie Frater-Taylor), we announce the eponymous album from 'The Modern Jazz & Folk Ensemble', out on 24 May on Acid Jazz. It follows the release of two singles ‘I’ve Got a Feeling’ (with Jacqui McShee) and the spellbinding version of Nick Drake’s ‘Parasite’ (featuring Kindelan),

Led by the trail blazing London based saxophonist Sean Khan, the album pays tribute to the sounds of the late ‘60s and early ‘70s folk revival, recast and reimagined in a jazz setting, with featured guest vocalists, including compositions by Pentangle, Sandy Denny, John Martyn and Nick Drake.

Featured singers include the legendary Pentangle lead singer Jacqui McShee, acclaimed singer-guitarist Rosie Frater-Taylor on the back of her recently released and critically acclaimed ‘Featherweight’ album on Cooking Vinyl, plus emerging artist Kindelan from vibrant Leeds folk and jazz scene.

Sean Khan is known as one of the UK’s premier saxophonists, driven by a serious work ethic and urge to create new sounds. The Modern Jazz and Folk Ensemble is his follow up to Supreme Love: A Journey Through John Coltrane released on BBE Records. His distinctive playing can be heard throughout, as he successfully connects the dots between Coltrane and Nick Drake

After her success with The Mamas & The Papas and two albums under the Mama Cass alias, the 1972 album Cass Elliot was her first record under her real name. After her success with The Mamas & The Papas and two albums under the Mama Cass alias, the 1972 album Cass Elliot was her first record under her real name. The album created the atmosphere of 1930’s Hollywood with a beautiful cover shot by George Hurrell. The music consisted of great songs written by Judee Sill, Bobby Darin, and Bruce Johnston of the Beach Boys. These perfectly showcase the amazing vocalist that Cass was.
Cass Elliot is available as a limited edition of 1000 individually numbered copies on silver coloured vinyl, housed in a gatefold sleeve.