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, Old fat furry cat-puss , Wake up and look at this thing that I bring, Wake up, be bright , Be golden and light , Bagpuss, Oh hear what I sing. 12th of February, 1974, and for an audience of small children at 1:45pm, a life irrevocably coloured by the wayward wonderings of one saggy cloth cat. Some 44 years later and Earth Recordings opens the door to Bagpuss & Co. once again, revealing for the first time the original music in all its newly-mastered splendour. The 32 tracks that make up the main body of the compositions are – like all good folk music – a patchwork of traditional pieces, half-remembered tunes and pure improvisation. It's testament to Sandra Kerr and John Faulkner's musicianship that the recordings work so well, not only within the context of the television episodes, but as an album in its own right. Of the recording, Oliver Postgate (in his exquisite autobiography 'Seeing Things') says: "Between them Sandra and John could play every sort of instrument from a mountain dulcimer to an Irish fiddle. They knew and could sing every tune in the world and didn't bother with written music, except as a last resort. They were exactly suited to Gabriel the Toad and Madeleine the Rag Doll and in those roles were happy to play whatever music and sing whatever songs would be needed." Those songs manifested themselves as reworkings of familiar tunes ('I Saw A Ship'; 'Row Your Boat'; 'Bucket's Burning'), takes on traditional ballads ('Brian O'Lynn'; 'The Frog Princess'; 'Weaving Song'; 'The Old Woman Tossed Up in a Basket') and delicious flights of fancy ('The Bony King of Nowhere'; 'Turtle Calypso'; 'Uncle Feedle'). The counterpart to Madeleine and Gabriel's more polished ditties are the interludes from the mice; a raggle-taggle chorus that accompanies the creatures' efforts of help (with the mice once famously going on strike when they were not permitted sang as they worked). Again, Postgate muses: "Once I had worked out a few episodes I would make a very rough list of the bits where I though music would be appropriate. I would send it to Sandra and John to think about. Then we would borrow a fairly silent room in a remote house and, taking the various articles that we intended to celebrate with us, would spend a happy day with a tape recorder, thinking up and recording whatever songs and tunes came to mind." The outtakes provide an intimate – and often very humourous – insight into the trio's work ethic, if it can be called such a thing. (By all accounts they sound as though they're having a very jolly time indeed.) Highlights include alternative opening words and end music, as well as Postgate sound-checking in character as Bagpuss. This never-before heard audio provides a real treat for fans (and indeed those new to the Smallfilms stable) – affirmation again to the enduring quality of these special recordings, and the beloved programme that inspired them. "An accidental classic of the folk-roots underground that we never dared hope we’d hear with such clarity."Stewart Lee

Nachdem das Alternative Rock Trio LOST ZONE aus Norditalien mit ihrem Debütalbum „Reslilience“ & der Deluxe Version „Resilience – Full Circle“ schon einen ersten kleinen Achtungserfolg landen konnte, kommt mit "Ordinary Misery" ein ein neuer Longplayer, dass sich mit seinen Elementen aus Moder-Metal & Alternative-Rock, nahtlos an die Vorgänger anschließt.
"Ordinary Misery" ist mehr als nur Musik; LOST ZONE fassen die „alltäglichen Bad News“ mit denen sich jeder von uns leider oft kommentarlos auseinandersetzt und einfach hinnimmt, zusammen und nehmen den Zuhörer mit in diese Stimmungen und Gedanken. Von aggressiven Shouts und Moshparts, bis hin zu ruhigeren Klängen zeigen LOST ZONE, wie moderne Rockmusik klingen kann!
Darüber hinaus verleihen die einzigartigen Gastfeatures dem Album eine zusätzliche Dimension, die es von anderen abhebt. Ob mit dem Berliner Crossover Act BLUTHUND oder Philip Wilhelm von Post-Hardcore Act FROM FALL TO SPRING.
"Ordinary Misery" ist erhältlich als CD, limitierte Vinyl für Sammler und natürlich als digitales Erlebnis für unterwegs.

The Diggin' in the Crates Crew, commonly abbreviated as D.I.T.C., is a hip hop collective from New York City. It was founded by Diamond D and Showbiz and its name is from the art of digging for records to sample for production. The members have achieved substantial and consistent recognition in the music industry and Hip Hop circles.

They have collaborated with underground and commercial artists from around the world. All of the members are from the Bronx, with the exception of the late Big L from Harlem, and O.C. from Brooklyn. D.I.T.C., “The Official” Version is an alternative version of D.I.T.C.'s self-titled album D.I.T.C. which was not officially available on vinyl upon its initial release via Tommy Boy when it became apparent that group maintained vinyl rights of the album.

The Official Version has a different track listing with many of the songs being totally different versions than the ones appearing on the first album and also 2 tracks that weren't on D.I.T.C. at all - "All Love" and "We Known For That" (which is actually a remix of the 12" single "Internationally Known"). The album is executively produced by Show and re-released on D.I.T.C. Records with distribution by Fat Beats Distribution -20 years after its initial limited pressing.

Many of the songs appear in remixed forms that had yet to be released, some remixes and some original versions. Highlights include "Where Ya At"; the Big Pun/Milano collaboration but here, instead set over a slamming DJ Premier remix. Likewise, the "Way Of Life" features a totally different Buckwild beat, that is actually the original version of the track, that stands in stark contrast to the B-Boy anthem heard on the Tommy Boy album.

a A1. Thick Rockwilder Mix
b A2. Way Of Life Buckwild's OG Mix (Ft. additional Lord Finesse verse]
[c] A3. Get Yours [Show Remix]
[d] A4. Where Ya At [DJ Premier Remix] (w. Big Pun & Milano)
[e] A5. We Known For That (Internationally Known) [Show Remix]


[h] B1. Ebonics [DJ Premier Remix]

"I Oughtta Give You a Shot in the Head for Making Me Live in This Dump is the debut studio album by American alternative rock band Shivaree. The album was originally released in 1999 and featured their big hit “Goodnight Moon”, which featured in the tv-series Dawson’s Creek and the films Kill Bill: Volume 2 and Silver Linings Playbook. The album spawned a second single, “Bossa Nova”. I Oughtta Give You a Shot in the Head for Making Me Live in This Dump celebrates its 25th anniversary and is therefore available on vinyl for the first time and includes an insert. "

I Oughtta Give You A Shot In The Head For Making Me Live In This Dump by Shivaree, released 29 March 2024, includes the following tracks: "Daring Lousy Guy", "Oh, No", "Goodnight Moon", "Pimp" and more.

This version of I Oughtta Give You A Shot In The Head For Making Me Live In This Dump comes as a 1xLP. This release comes with (a) Insert(s).

Il Quadro di Troisi presents La Commedia
Everything changes, all things evolve: four years after their eponymous debut, Il Quadro di Troisi return with a new album and a new line-up.

The perfect circle traced by Eva Geist (aka Andrea Noce) and Donato Dozzy (aka Donato Scaramuzzi) becomes a triangle with the permanent addition of Pietro Micioni, who collaborated in the previous recordings and had been part of ll Quadro’s live set.
Nothing stays the same, and the world is a lot different from what it was in 2020. The global crisis generated by the constant escalation of conflict and by the pandemic was mirrored by a time of individual crisis and personal, often irreversible transformation that underscored the entire period of the album’s composition.
The influence of these turbulent times is felt in the writing: La Commedia is about turning a crisis into an opportunity and using change as a catalyst for rebirth. Much like the characters in classic Italian comedies, who are masters in using irony to face life’s hardships, Il Quadro di Troisi explores the vast and unpredictable terrain between the lighter and darker sides of the human experience, matching the magical with the mundane.

La Commedia is about the many facets of life: each song is named after an archetype (e.g. the truth, the night, the Earth, the prophet), as though our existence were a tarot deck and its reading an exercise in collective consciousness.

La Commedia marks the band’s embrace of a more traditional song form, shaped by a very personal and distinctive musical style. The distinguishing elements of Il Quadro di Troisi’s music – classic Italian songwriting with an electronic spin – meld into a unique mix that is both seductive and eerie, elegant and earthy, contemporary and timeless. La Commedia celebrates the band’s cultural roots while constantly moving into new territory, balancing nostalgia with a forward-thinking approach.

La Commedia is a rare gem that confirms Il Quadro di Troisi’s relevance in the international music scene, as demonstrated by the number of top-level artists featured on the album: from Suzanne Ciani, a legend and a pioneer of independent music with a career spanning five decades, to Aimee Portioli, aka Grand River, a Dutch-Italian musician, composer and sound designer based in Berlin, along with Francesca Colombo’s eclectic violin (the de facto “fourth angle” of Il Quadro di Troisi’s frame), Fiona Brice’s strings, cultural agitator and icon of the Roman underground scene Stefano Di Trapani (aka Demented Burrocacao and a member of Trapcoustic and System Hardware Abnormal, among other projects), Maestro Daniele Di Gregorio, an excellent musician and a longtime collaboration of songwriting legend Paolo Conte, and Tommaso Cappellato, whose professional description goes well beyond “drummer” and who has been working with artists like Rabih Beaini and Maurice Louca.
The cover of the album, as well as those of the singles, was designed by Francesco Messina, another icon of Italian music. Messina is a longtime Franco Battiato collaborator and co-author, a cult musician (his Prati Bagnati del Monte Analogo, made in collaboration with Roul Lovisoni, is considered a seminal record by the alternative Italian music scene), as well as a photographer, visual artist and the author of legendary record covers.

The norwegian group Boastein was founded by Are Storstein and Øistein Boassen in 1970. Boastein's debut album "Jeg har min egen luke" became something of a holy grail within alternative music in Norway. This is DIY rock from the anarchist basement with a sound and lyrics that was quite groundbraking when it came out. It was also one of the very first independent releases in Norway. The album can be described as free and progressive underground rock filled with dark humor, political sting and a good amount of weirdness. The record was first released in 399 copies in 1977.

The Japanese alternative band lead by OORUTAICHI Urichipangoon's 2nd Album on vinyl first time.

Original CD was released in 2008.

2LP Gatefold and incert.

They crossover Jazz, Brazilian, Afrobeat and folklore, and on unique Japanese poetry.

Feels as if we're stepping outside the known universe of Nigga Fox but simultaneously being invited in. It's not about being hermetic, shutting out followers of his trademark dance beats or making an experimental statement per se. All this music comes effortlessly during sessions such as any other, so don't throw away valuable time searching for a concept.

"Chá Preto" sounds revolutionary but not so much in his discography, accustomed as we are to game-changing compositional solutions in the afro musical continuum but - never forget - also in Dance Music taken as a broad genre. But is it Dance? Certainly a fair amount of suffering and introspection comes clear throughout the album, namely in the sequence made up of "Má Rotina" and "Mutadoree Leonor". "Mutadoree" is a free, alternative spelling of "much pain" and each listener can process the info as s(h)e pleases. The music is also strikingly beautiful, so there's really no final word on this.

Beats come sparse, a very personal phraseology, the dancefloor a memory. Or just something to keep in mind for a future night out. Presently there's no lack of adventure or excitement in these grooves, a uniquely themed one-person show of musical skills and bare emotion. It ends in a snap, not a trace of embellishment. Pragmatic and out of the loop. Rewind and feel it all over again. Any comparison in mind? Flip through History books and you won't find this chapter.

So I have a problem: I hate everyone and all music. Well, OK, not everyone. But c’mon - you know what people are like. Honestly, they’re the worst. And fair enough I might not really hate all music, but let’s be honest: have you ever actually heard any music? I mean, jeeez. If I’m gonna listen to a record, I’ll need something that matches this misanthropy; something that really gets the neurotransmitters firing on all cylinders and ready to obliterate the feelgood factor. Something like Cleveland band Cruelster, basically. Cruelster are made up of members of Knowso, Perverts Again, and a plethora of other Ohio noiseniks. If it seems like you’ve seen that name before, it’s highly probable - they released a demo back in 2012 and have been sporadically dropping bundles of rough-edged sonic snot ever since, thanks to labels like Lumpy (whose own Dumpers are at the very least sonically adjacent) and Turbine Piss. This singles collection compiles all the non-album tracks they’ve released since that early demo to make a thrillingly ‘orrible racket. Twelve years’ worth of punk rottenness and general stupidity contained in 29 tracks and 40 noisy minutes. It is, of course, fucking brilliant. From the gleefully melodic dumbness (and Booji Boy-flavoured additions) of ‘My Embarrassment’ to the malevolent rumble of ‘Double Trouble’, not to mention a fabulously energised cover of Icona Pop’s dance-pop smash ‘I Love It’, every track here is a winner. It’s the perfect tonic for your rage and the perfect foil to a cruel world where everyone else’s disdain seems more pronounced than your own. You owe it to yourself to complete your record shelves with this instantly classic comp - it’s punk rock par excellence. And as for that ‘hating all music thing’... ah, who cares, this is all gold. Listen immediately, you’ll be causing chaos to its raucous brilliance before you know it. Genre: Alternative / Punk

Recorded on
10th March 1980 (Tracks 1, 3, 8, 9, 10)
16th March 1980 (Tracks 1, 2)
1st April 1980 (Tracks 2, 4, 5, 7, 9)

Produced: B.C. Gilbert : G. Lewis

Engineer: Eric Radcliffe.
Asst. Engineer: John Fryer
Recorded at Blackwing Studio

B.C. Gilbert: Voices, Guitars, Bass, Percussion, Tapes, Drums
G. Lewis: Voices, Guitars, Bass, Percussion, Tapes, Synthesiser
A.M.C.: Voice: Cruel When Complete

Floating-point re-master by Russell Haswell, August 2011
Cut at Dubplates & Mastering by Rashad Becker, August 2011

New artwork and layout: Dave Coppenhall

With the demise of the group Wire in 1980, founder members Bruce Gilbert and Graham Lewis joined forces to create Dome. With the assistance of engineer Eric Radcliffe and his Blackwing Studio Dome took the ethic of "using the studio as a compositional tool" and recorded and released three Dome albums on their own label in the space of 12 months: DOME (July 1980), DOME 2 (October 1980) and DOME 3 (October 1981). A final fourth album, WILL YOU SPEAK THIS WORD: DOME IV was released on the Norwegian Uniton label in May 1983.

These albums represent some of the most beautifuly stark and above all timeless exercises in studio experimentation from early 1980s alternative music scene.

Previously issued in the out of print DOME 1-4+5 box set in 2011. Now available as standalone LP with download card.

With the demise of the group Wire in 1980, founder members Bruce Gilbert and Graham Lewis joined forces to create Dome. With the assistance of engineer Eric Radcliffe and his Blackwing Studio Dome took the ethic of »using the studio as a compositional tool« and recorded and released three Dome albums on their own label in the space of 12 months: »Dome« (July 1980), »Dome 2« (October 1980) and »Dome 3« (October 1981). A final fourth album, »Will You Speak this World: Dome 4« was released on the Norwegian Uniton label in May 1983.

These albums represent some of the most beautifuly stark and above all timeless exercises in studio experimentation from early 1980s alternative music scene.

We are excited to present The Tony Slug Experience. To be released 22/03/2024 by Suburban Records, Wap Shoo Wap & Alternative Tentacles, the album is an adequate homage to the legend of Dutch punk pioneer Tony Slug (1963-2023). Featuring over 30 players/writers, including Jello Biafra (Dead Kennedys), Jennifer Finch (L7), Nicke Andersson (The Hellacopters), Jerry A. (Poison Idea), Happy Tom (Turbonegro), and many more!

“And this is what we know: Tony Slug is hands-down plain & simple the most bad-ass rock’n’roller to ever emerge from the European Continent” — Happy Tom, Turbonegro

We are excited to present The Tony Slug Experience. To be released 22/03/2024 by Suburban Records, Wap Shoo Wap & Alternative Tentacles, the album is an adequate homage to the legend of Dutch punk pioneer Tony Slug (1963-2023). Featuring over 30 players/writers, including Jello Biafra (Dead Kennedys), Jennifer Finch (L7), Nicke Andersson (The Hellacopters), Jerry A. (Poison Idea), Happy Tom (Turbonegro), and many more!

“And this is what we know: Tony Slug is hands-down plain & simple the most bad-ass rock’n’roller to ever emerge from the European Continent” — Happy Tom, Turbonegro

'Born Sandy Devotional' ist das zweite Album der Australischen Alternative-Rock-Band The Triffids und enthält mit 'Wide Open Road' einen ihrer erfolgreichsten Songs. Es erschien erstmals im März 1986 und wurde damals von Mark Angelo und Gil Norton (Pixies) produziert. Nun wieder als LP erhältlich!

Close Talker ist eine Indie-Rockband aus Saskatoon, Kanada. Die Band tourt durch Nordamerika und Europa und gewinnt die Aufmerksamkeit und Lob von namhaften Stimmen wie NPR, Billboard, Clash, Spin, Q Magazine und Consequence of Sound.

Nach der erfolgreichen Kampagne zu ihrem aktuellen Album 'How Do We Stay Here?' beenden sie ihre Tournee 2019 mit einem atemberaubenden Auftritt im Broadway Theater in Saskatoon, begleitet von einem klassischen Streicherensemble - eines ihrer langjährigen Ziele als Band. Der Kreis um 'How Do We Stay Here?' wird wunderschön geschlossen, als Close Talker bei den Saskatchewan Music Awards 2020 als Alternative Artist of the Year ausgezeichnet werden.

Was 2012 als Leidenschaft dreier Freunde beginnt, ist nach nunmehr einem Jahrzehnt integraler Bestandteil von allem, was die drei Mitglieder Will, Matthew und Chris tun. Close Talker ist der Gegensatz 'nurture vs. nature' in Echtzeit und zieht sich tief hinein in das tägliche Leben der heute Dreißigjährigen. In den kanadischen Prärien, einem Ort, an dem sich Veränderungen nur langsam vollziehen und die Nostalgie stark ist, verhandeln Close Talker diese Gegensätze auf ihrem neuen Album 'The Sprawl', das im März 2013 erscheinen wird.

Founded in 2012, the Kid Colling Cartel (named in reference to the Colombian origins of the frontman) consists of Kid Colling (vocals and guitar), Alex Logel (organ and keyboard), David Franco (bass), and Florian Pons (drums). Describing their style as "Alternative Rock Blues," the band primarily performs Colling"s compositions and draws inspiration from various genres such as groove, funk, and especially rock-never abandoning its blues roots. The harmony and musical camaraderie of the group on stage are undeniable, with Kid Colling, primarily a guitarist, standing out for his charisma and a recognizable voice that he can modulate at will. It is important to him not to confine the Cartel to a specific style but to address a broad audience that can easily appreciate their music without necessarily being devoted to pure blues. In 2017, the Kid Colling Cartel released its first album, "In the Devil"s Court," and the upcoming album titled "Living on the Wild Side" is scheduled for February 2023.

The first-ever best of of Nim Vind is called Anthology 1 and is released by Sunny Bastards Records! This collection of audio medicinals created in a UFO vibrating in the Key of NV is guaranteed to blow your mind. Experience the energy and indulge in some Halloween candy with Nim Vind's 180-gram Vinyl album. This collection includes Nim Vind's most popular tracks from regular albums Fashion Of Fear, Stillness Illness & Saturday Night Seance Songs, along with some special versions or tracks that have never been released before. Nim Vind was introduced to Europe through Zillo Magazine and the Goth club "Pagan Love Songs". This led to the release of his first album, "Fashion of Fear", on Fiendforce Records Germany. The album was recognized by Metal Hammer UK, Maximum Rock n Roll and many other magazines that support underground artists. Rue Morgue Magazine (the world's biggest Horror Entertainment Print magazine) selected Nim's album "Saturday Night Seance Songs" as the Album of the Year. He has shared stages with the likes of Gary Numan, Filter, Blitzkid, The 69 Eyes, Todd Kerns (Slash with Miles Kennedy and the Conspirators), Peter Murphy of Bauhaus, and many more. The album kicks off with NV classic "Killing Saturday Night", which has garnered 1.7 million plays on Spotify and more than 330,000 views on YouTube. The collection attempts to showcase some of the songs that have been a part of his story, bringing us up-to-date with his current work. If you're a Horrorpunk, Goth, Post-Punk, Rock N Roll or Alternative collector, this collection is a must-have! Vinyl only compilation, for fans of MISFITS, JERRY ONLY, CHRIMSON GHOSTS, BLITZKID, THE OTHER.

Japanese alt-rock band BO NINGEN are delighted to announce they will be releasing an alternative soundtrack album to cult director Alejandro Jodorowsky's seminal film 'The Holy Mountain', set for release on 15th March 2024 via Alcopop! Records on double CD and a limited box set of triple vinyl, each in their own unique colour In partnership with Deeper Into Movies, the band will also be hosting a very special live performance of their alternative soundtrack at EartH, Hackney on 1st March 2024 --a 700 capacity tiered seated venue with original Art Deco features and state of the art L-ISA sound system, to provide the best possible experience of this must-see-and-hear event.


Commenting on the release, Kohhei Matsuda (guitar/synth) and Monchan Monna (drums) said: "We wanted to make something more than 'a band jamming to the film' live score. To do so, we tried to decipher the secret of Jodorowsky's alchemy to reach our own Holy Mountain, reflecting the underlying structure of the film-- which is delusional at sight, yet mystically logical throughout--in each stage of the music. It was quite an experience to work on the piece that way, diving deep into the director's vision where the border between the reality, delusion, the film, and real life blurs. Trying not to drown in it all, we had to find our own path back to our own version of reality. This is an aural representation of our own version of the film. We hope each of you find your own way to your own version of The Holy Mountain through reliving this mind-altering journey with us."
The band originally performed their alternative soundtrack to the film 'Holy Mountain' in July 2019 for 2 sold out nights at the Rio Cinema in Dalston, where it was nominated for 'Best Event Cinema Campaign Of The Year 2019'. During the brief latter periods of the pandemic when the band were allowed to travel internationally between London and Japan, BO NINGEN at last managed to reconvene as a unit in London to finally commit the soundtrack to record.

The Chronicles Of Father Robin ist eine norwegische Prog-Rock-Supergruppe, deren Mitglieder von den norwegischen Symphonie-Prog-Masters Wobbler, den immer undefinierbaren Tusmørke, den erfahrenen Post-Rockern The Samuel Jackson Five und dem schwer fassbaren Prog-Juwel Jordsjø stammen. 'The Songs & Tales Of Airoea', an dem seit 30 Jahren gearbeitet wird, ist ein zusammenhängendes Dreifach-Konzeptalbum mit insgesamt 18 Songs, die über einen Zeitraum von drei Jahrzehnten in einer alternativen archaischen Welt angesiedelt sind. Die erste beiden Alben, 'Book I' & 'Book II', erscheinen nun als CD und LP. Durch lange Jam-Sessions und fein abgestimmte Arrangements entwickelte die Band ein fortlaufendes System, in dem jeder Song mit den anderen verknüpft ist. Ganzheitliche Impulsivität und Ideen, altruistische Freundschaft, Musik, Fantasien und ein schlüssiges Konzept.
Beginnend mit dem sakralen und atmosphärischen Over Westwinds führt 'Book II' weiter auf eine dynamische musikalische Reise durch üppige und abwechslungsreiche Klanglandschaften, die Visionen der goldenen Ära des Progressive Rock hervorrufen. Mit dem geschmackvollen Einsatz verschiedener Instrumente wie Flöte, Mellotron und Glockenspiel und alles verpackt in einer dynamischen und organischen Produktion, sind beide Alben Juwelen, die es für jeden Fan von Progressive Rock zu entdecken gilt.
'Book III' erscheint hoffentlich zeitnah.

Das zweite Album der Alternative-Pop-Band MUNA wurde bei seinem Erscheinen 2019 nur in den USA als sehr limitierte farbige Vinyl-LP veröffentlicht, was es zu einer begehrten Rarität macht. Das Album «Saves The World» enthält auch ihren erfolgreichsten Track «Number One Fan» und erhielt bei seiner Veröffentlichung begeisterte Kritiken, u. a. 4 und 5 Sterne von Rolling Stone, The Independent und Pitchfork, und wurde in vielen Listen der besten Alben des Jahres 2019 aufgeführt, darunter Billboard und The Guardian. Die Band, bestehend aus Katie Gavin, Josette Maskin und Naomi McPherson, ist nun bei Phoebe Bridgers Label (Saddest Factory) unter Vertrag und tourt weiter, zuletzt als Support für Harry Styles, The 1975 und Taylor Swift, sowie als Headliner bei eigenen Konzerten in den USA und Europa.

The legendary Belgian label Antler is coming back to life! Pioneering in the 80' and 90's and an absolute spearhead in the world of post-punk, cold and new wave, EBM, electro...

a series of albums and compilations from the extensive Antler archives are now being released again. The first compilation 'Early Years Vol. 1” was received with great enthusiasm and flew out the door. Now there is already Vol. 2 with again carefully chosen gems from the rich Antler archives with early recordings of influential bands such as The Scabs, Arbeid Adelt!, Nacht und Nebel, A Split Second, Neon Judgment... a fascinating sample of the Belgian alternative scene in the 1980s.

Das zweite Album der Alternative-Pop-Band MUNA wurde bei seinem Erscheinen 2019 nur in den USA als sehr limitierte farbige Vinyl-LP veröffentlicht, was es zu einer begehrten Rarität macht. Das Album «Saves The World» enthält auch ihren erfolgreichsten Track «Number One Fan» und erhielt bei seiner Veröffentlichung begeisterte Kritiken, u. a. 4 und 5 Sterne von Rolling Stone, The Independent und Pitchfork, und wurde in vielen Listen der besten Alben des Jahres 2019 aufgeführt, darunter Billboard und The Guardian. Die Band, bestehend aus Katie Gavin, Josette Maskin und Naomi McPherson, ist nun bei Phoebe Bridgers Label (Saddest Factory) unter Vertrag und tourt weiter, zuletzt als Support für Harry Styles, The 1975 und Taylor Swift, sowie als Headliner bei eigenen Konzerten in den USA und Europa.

Footballhead is a Chicago-based alternative rock band headed by singer/ songwriter Ryan Nolen - At its heart, the band is a vessel to toil forward through internal and external insecurity It also serves the unrelenting spirit of new- millennium Midwestern youth, with MTV and skatepark dreams in the core of their memories. By blending pop structures with alt and emo sounds, Footballhead channels the frantic, dramatic, and anthemic to map the pressure points of existence. It's outcast music, revitalized in search of a modern, blissful awakening. Nolen was a skate kid from the western Chicago suburbs; the one who only kicked it with older neighborhood kids. The punkish attitude of late-90s and earlyaughts alt- rock galvanized Nolen, from the infectiously fun music down to the fashion.

A teenage relocation to Palm Springs, CA coincided with Nolen inundating himself with all the music he could: Warped Tour, 411 videos, Limewire, and the like. The Footballhead ethos comes from this comfort zone of pop impulses and raucous energy, carried by a DIY spirit that grants Nolen the autonomy to facilitate honesty and reflection. Joined by Adam Siska, snow ellet, Liam Burns, and Robbie Kuntz, Footballhead crafts supercharged rock songs like brief, open secrets. However weathered one is from their struggles and mistakes, this music offers unbridled fun as a reprieve, and salves for the shaken. These are your old friends inviting you in to commiserate, elevate, and believe.

HJirok is a mythical figure, conceived as a fictional character by Iranian-born Kurdish singer and artist Hani Mojahedy. Together with versatile music producer And Toma of Mouse On Mars, she combined a variety of sounds collected during their joint travels to Iraqi Kurdistan and elsewhere with heavily processed recordings of Sufi drum rhythms and setar melodies. The result is a driving, dubbed-out, and deeply intricate soundscape that perfectly sets the stage for Mojahedy's extended, unconventional vocal techniques and polyglot lyrics. Both informed by tradition and rigorously forward-looking, »Hjirok« (with a lowercase J) is at once a profoundly personal album and a universal utopian promise. As a ghost from the past, HJirok draws on Mojtahedy's memories to mould a new future out of them.

The foundation for »Hjirok« was laid in the city of Erbil in the Kurdish part of Iraq. During one of their stays in the region, Mojahedy and Toma recorded the three percussionists Hadi Alizadeh, Jawad Salkhordeh and Serdar Saydan as well as setar player Ali Choolaei from Motahedy's backing band while they were playingthe rhythms and notes that she had grown up with in the house of her grandfather in the Iranian city of Sanandaj. Her memories of that place revolve around hypnotic Sufi music, dervishes in deep trance, and ecstatic singing. Much like this music seemed to open a portal to other dimensions, the inhabitants of the house lived in a sort of alternative reality: It provided them with a hideaway from political circumstances. Following the Iranian revolution in 1979, a Kurdish rebellion ensued but was met with the utmost brutality by the new regime, which resulted in the death of thousands.

It is no coincidence that the music on »Hirok« would draw on rhythmic patterns that were passed on from one generation to the next for hundreds of years. »The project is rooted in the figures of the Sufi dervishes and thus a culture that precedes today's political, social, cultural, and religious systems,« explains Mohtahedy. »The Sufi sound travelled around the entire world. I like to think of it as a dialogue between peoples-one based on the rhythms of the drums and the sound of their voices.« Toma adds that by electronically transforming the recordings and enriching them with field recordings from both rural and urban spaces, they were able to use the stories told by the drums and the setar to create an entirely new narrative.

The story told by these eight pieces is hence a deeply personal, but also inherently political one. Moitahedy herself left Iran in 2004 and relocated to Berlin in 2010. Having continued to use her art as a platform to tirelessly advocate for the rights of the Kurdish people and women under oppressive regimes, she has not been allowed to return to her country of origin ever since. »Hani is singing for equality and there are people who are afraid of that-her femininity, her strength.« Toma says. Much like earlier Hirok sound installations addressed human-made climate change and other systemic ills, also »Hjirok« can hardly be disconnected from far-reaching struggles for liberation and equality.

This is also true on a thematic and even linguistic level. »The lyrics are about a promise,« Mojahedy says, citing Kurdish writer Ebdulla Pesêw as an inspiration. »At their core, these are about that day on which violence and fear become a thing of the past; what they tell you is ot not give up, to keep hoping,« she adds. The promise embedded in them is an emancipatory one. These contents are mirrored on a linguistic level: The lyrics were written in both Kurdish and Farsi, blurring the lines between the two languages and thus, Kurdish and Persian cultures.

Mojahedy, or rather HJirok, conveys these philosophical themes with elegance. Herversatile vocal performance is only loosely basedo n established styles. »Of course everything started with traditional rhythms, but we kept pushing things further and further, so Idid the same with my voice,« Mojahedy explains. »There were no boundaries.« The same can be said of the field recordings that she and Toma used. Whether it's conversations between members of the Pesmerge, the Kurdish armed forces, having a chat in meadow full of bunnies or the humming and buzzing of metropolises like Tehran: »Hirok« paints a sonic picture that is quite literally autopian one; that of a non-place in which different soundscapes, cultures and ways of life coexist peacefully.

What the album conjures up from Mojahedy's memory is not only a very specific place during a unique time in history as experienced by a single person. It is also ametaphorical home open to anyone who wishes to enter - promise of a better, more egalitarian future for everyone. Hence, HJirok will bring it on tour, presenting the material as an audio-visual live show that makes use of the photo and video material that Mojahedy and Toma have collected during their travels through Kurdistan.ja

Meatbodies’ latest undertaking and borderline lost album, Flora Ocean Tiger Bloom, is their most varied and realized work to date. It’s a melodic, hook-filled rock epic in which frontman and lead guitarist Chad Ubovich faces the trials of sobriety, redemption, reinvention while literally learning to walk and play again. Resurrection not only accompanies the record, but its production as well, Flora Ocean Tiger Bloom examines themes surrounding love and loss, escapism, defeatism, hedonism, psychedelics and much more. By 2017, Ubovich had reached a crossroads. After years of increasingly insane shows playing to heaving crowds with an everevolving and rotating door of personnel, fatigue had taken its toll and he realized another change was on the horizon. Retreating to the seedy Los Angeles underbelly—in search of meaning and a reset—he escaped into that world, ignoring his own well being, trying to forget his successes. It was at this point that Flora Ocean Tiger Bloom began to take shape—a project built by a man searching for new beginnings and his own sense of self. After sobering up, sessions began with longtime collaborator Dylan Fujioka. However, due to discrepancies with the studio, tensions were high and the plug was pulled. And as the world took a back seat, so did the idea of Flora Ocean Tiger Bloom. Not wanting to sit still at home, Ubovich began to comb through his previous demos, and, with that, 333 was born, the now de facto third Meatbodies album. Yet Flora was never far from Ubovich’s mind. When restrictions started to lift, Ubovich headed to Gold Diggers Sound in Los Angeles, backed by engineer Ed McEntee and a team of colleagues and friends, and completed the final act to the album. It recalls the searing Blue Cheer-meets-Iggy Pop-with-psychedelia that permeated previous releases, but adds new elements of shoegaze, classic alternative, Britpop, drone, and hints of country. Simultaneously an ode to ’80s LA punk and the rise of indie / alternative music in the U.K., it plays like a radio station broadcasting from the void.

Mute celebrates the 25th Anniversary Edition of Looper’s debut 1999 album, Up A Tree, featuring never-before-released songs.

LOOPER Stuart and Karn David, originally recorded for the Sub Pop label in 1999, this anniversary edition include remixes, reworks, new sleeve notes and alternative artwork, and is out on transparent green vinyl (accompanied by a Flexi Disc), double CD, and digitally

Up A Tree was completed while Stuart was still working with Belle & Sebastian (the band he co-founded in 1995) and brought Looper instant acclaim (including an 8.1 review in Pitchfork, who credited the album with originating a new genre they dubbed Folk-Hop). It reached #21 on the UK Independent Album chart, and #79 on the Scottish Albums Chart, and brought in fans such as Ben Folds who recently called Up A Tree “… a gift of a record”.

The anniversary edition also features alternative artwork designed by Karn and includes new sleeve notes by Sub Pop’s Jenny Hayo, who recounts working with Looper on their first records and first US tour, alongside words from Stuart’s sister Karla Black, who takes us back to Glasgow School of Art in 1998, reminiscing about the first Looper show.

The vinyl edition of Up A Tree comes with a Flexi Disc of ‘Brilliant Paper’, an unreleased track by Looper and Sue Tompkins (Life Without Buildings) and the double CD includes a remix by Pulp (credited as The Chocolate layers).

Hakushi Hasegawa sind ein Musikerinnen aus Tokio, Japan, und die ersten japanische Künstler, welche beim Label Brainfeeder unter Vertrag stehen. Im Einklang mit dem Ethos von Brainfeeder, seit der Gründung des Labels im Jahr 2008 Künstler zu suchen, die außerhalb der Genregrenzen agieren, ist Hakushis Musik schwer zu kategorisieren, da they sich zwischen mehreren Genres bewegen: Alternative, Elektronik, Jazz, Pop/J-Pop. Manchmal ist sie hübsch, manchmal ist sie sehr intensiv und rasant. They veröffentlichen seit 2018 und haben sich in Japan mit einer Reihe von wunderbar wilden Veröffentlichungen bereits einen Namen gemacht und begonnen, international eine Kultanhängerschaft aufzubauen. Zu den bisherigen Kollabos gehören Kid Fresino, yuigot, TOKYO SKA PARADISE ORCHESTRA, Yukichikasaku/men und Eye from Boredoms. "Somoku Hodo" war Hakushis Debütveröffentlichung im Jahr 2018 als Teenager, mit den Fan-Favoriten 'Somoku' und 'Doku' - ein hyperspeed Junglist-Jazz-Workout, der frühes Squarepusher-Material positiv langweilig klingen lässt. Ihr Debütalbum "Air Ni Ni" folgte ein Jahr später im Jahr 2019 und festigte ihren Ruf als eine der aufregendsten und abenteuerlichsten Künstlerinnen Japans. Hakushi traten im Mai 2020 auf dem von Porter Robinson moderierten Online-Festival "Secret Sky" auf (4 Millionen Zuschauer) und zierten im September 2020 das Cover der einflussreichen Musikzeitschrift "MUSIC MAGAZINE".

Hakushi Hasegawa sind ein Musikerinnen aus Tokio, Japan, und die ersten japanische Künstler, welche beim Label Brainfeeder unter Vertrag stehen. Im Einklang mit dem Ethos von Brainfeeder, seit der Gründung des Labels im Jahr 2008 Künstler zu suchen, die außerhalb der Genregrenzen agieren, ist Hakushis Musik schwer zu kategorisieren, da they sich zwischen mehreren Genres bewegen: Alternative, Elektronik, Jazz, Pop/J-Pop. Manchmal ist sie hübsch, manchmal ist sie sehr intensiv und rasant. They veröffentlichen seit 2018 und haben sich in Japan mit einer Reihe von wunderbar wilden Veröffentlichungen bereits einen Namen gemacht und begonnen, international eine Kultanhängerschaft aufzubauen. Zu den bisherigen Kollabos gehören Kid Fresino, yuigot, TOKYO SKA PARADISE ORCHESTRA, Yukichikasaku/men und Eye from Boredoms. "Somoku Hodo" war Hakushis Debütveröffentlichung im Jahr 2018 als Teenager, mit den Fan-Favoriten 'Somoku' und 'Doku' - ein hyperspeed Junglist-Jazz-Workout, der frühes Squarepusher-Material positiv langweilig klingen lässt. Ihr Debütalbum "Air Ni Ni" folgte ein Jahr später im Jahr 2019 und festigte ihren Ruf als eine der aufregendsten und abenteuerlichsten Künstlerinnen Japans. Hakushi traten im Mai 2020 auf dem von Porter Robinson moderierten Online-Festival "Secret Sky" auf (4 Millionen Zuschauer) und zierten im September 2020 das Cover der einflussreichen Musikzeitschrift "MUSIC MAGAZINE".

Format: Limitierte Erstauflage des Klassikers auf durchscheinendem grünem Vinyl inklusive dem bisher unveröffentlichten Track 'Doku (SCREWED) und MP3 Download Code. Illustration von Momoka Aiso. Gestaltung von Takeaki Emori.

Closure/Continuation Live dokumentiert eindrucksvoll die triumphale Rückkehr von Porcupine Tree auf die Bühne. Der Live-Mitschnitt, der am 7. November 2022 im 17.000 Zuschauer fassenden Ziggo Dome in Amsterdam aufgenommen wurde, versetzt den Zuhörer/Zuschauer für die Dauer der Show mitten auf die Bühne, wo psychotrope Visuals hinter der Band explodieren. Porcupine Tree spielen indes ein Set von Songs der Superlative, das - um Steven Wilsons Worte zu verwenden - "keine Hits" enthält, und doch wird jeder wie eine Hymne aus einem alternativen Universum aufgenommen wird. Closure/Continuation Live enthält Live-Aufnahmen eines Großteils des Reunion-Albums von 2022 (einschließlich der Singles „Harridan“ und „Of The New Day“) sowie Klassiker wie „Trains“, „Fear Of A Blank Planet“ und „Anesthetize“.

Alternative pop duo, YOVA release their brand new album ‘Dreamcatchers’ on 1st March 2024. Featuring nine tracks the album was written over a nine year period stretching from the duo’s inception in 2014 through to 2022. The album was recorded and mixed 2021-23 between home studios in Dorset and London. Discussing the themes behind the record YOVA explain: “The lyrics of the songs delve deeply into our lost and unrealised dreams and ideals, whether from a personal perspective or within a more global context. The tracks relate to how our dreams are caught then nurtured, realised, abandoned or destroyed. This can apply to our personal lives, but it equally informs our helplessness and on-going quest for self-identity at a time of deep geopolitical and ecological uncertainty.” Produced by YOVA in collaboration with Rob Ellis, Alex Thomas and Martin McDougall, the record features the duo’s earlier singles “Dreamcatchers”, “Hurt Like No Hurt” and “Feel Your Fear” alongside six brand-new tracks. YOVA assembled a collective of like-minded musicians to create the sonic tapestry of Dreamcatchers including Terry Edwards (NIck Cave, Gallon Drunk, The Jesus & Mary Chain), James Sedwards (The Thurston Moore Group/ And This Is Not This Heat), Rob Ellis ( PJ Harvey, Marianne Faithfull), Daniel O’Sullivan ( Grumbling Fur, Tim Burgess), and Alex Thomas (John Cale, Anna Calvi). YOVA are Jova Radevska and Mark Vernon. With Vernon a seasoned veteran of the alternative music scene who has managed and recorded with John Cale and co-produced tracks on PJ Harvey’s debut album ‘Dry’, a chance encounter with Macedonian vocalist and songwriter Jova paved the way for their bewitching collaborative project. Their debut album ‘Nine Lives’ was released in late 2021 to praise from the likes of Louder Than War, Electronic Sound and MOJO, with the latter hailing the album as “a beguiling debut from a duo of sonic adventurers” in their four star review

Neue 4-Track-EP des in Brighton ansässigen, mit Punk infiltrierten Alternative-Rock-Trios SNAYX, das sich dank wilder Live-Sets und knallharter Bassriffs schnell zu einer der angesagtesten und hochgelobtesten neuen Bands des Vereinigten Königreichs entwickelt hat.

Mannequin Pussy"s music feels like a resilient and galvanizing shout that demands to be heard. Across four albums, the Philadelphia rock band that consists of Colins "Bear" Regisford (bass, vocals), Kaleen Reading (drums, percussion), Maxine Steen (guitar, synths), and Marisa Dabice (guitar, vocals) has made cathartic tunes about despairing times. "There"s just so much constantly going on that feels intentionally evil that trying to make something beautiful feels like a radical act ," says Dabice. "The ethos of this band has always been to bring people together." Their new album, I Got Heaven, which is out March 1 via Epitaph Records, is the band"s most fully realized recording yet. Over ten ambitious tracks which abruptly turn from searing punk to inviting alternative pop, the album is deeply concerned with desire, the power in being alone, and how to live in an unfeeling and unkind world. It"s a document of a band doubling down on their unshakable bond to make something furious, thrilling, and wholly alive. Following the 2019 release of their critically acclaimed third album Patience, Mannequin Pussy returned in 2021 for their EP Perfect. They toured that release relentlessly and added guitarist Maxine Steen to the band"s official lineup. The band changed their entire creative formula, choosing to write together in the studio in Los Angeles with producer John Congleton , over slowly crafting tracks at home. "Everyone felt empowered to speak up about their own ideas to make this thing the best it could possibly be," says Regisford.

Mannequin Pussy"s music feels like a resilient and galvanizing shout that demands to be heard. Across four albums, the Philadelphia rock band that consists of Colins "Bear" Regisford (bass, vocals), Kaleen Reading (drums, percussion), Maxine Steen (guitar, synths), and Marisa Dabice (guitar, vocals) has made cathartic tunes about despairing times. "There"s just so much constantly going on that feels intentionally evil that trying to make something beautiful feels like a radical act ," says Dabice. "The ethos of this band has always been to bring people together." Their new album, I Got Heaven, which is out March 1 via Epitaph Records, is the band"s most fully realized recording yet. Over ten ambitious tracks which abruptly turn from searing punk to inviting alternative pop, the album is deeply concerned with desire, the power in being alone, and how to live in an unfeeling and unkind world. It"s a document of a band doubling down on their unshakable bond to make something furious, thrilling, and wholly alive. Following the 2019 release of their critically acclaimed third album Patience, Mannequin Pussy returned in 2021 for their EP Perfect. They toured that release relentlessly and added guitarist Maxine Steen to the band"s official lineup. The band changed their entire creative formula, choosing to write together in the studio in Los Angeles with producer John Congleton , over slowly crafting tracks at home. "Everyone felt empowered to speak up about their own ideas to make this thing the best it could possibly be," says Regisford.

Peace Okezie, das Genie hinter Master Peace, nimmt kein Blatt vor den Mund. Er muss die Dinge aussprechen und verkörpert den Satz: "Wenn du es sagen willst, dann sag es einfach." Obwohl er nie unvorsichtig oder unsympathisch mit seinen Worten umgeht, ist dieser Satz eine Bestätigung, die ihn antreibt.

Seine Energie ist auf Augenhöhe mit der eigenwilligen, überschäumenden und vor allem extrem guten Musik, die er macht. Bei Master Peace geht es darum, die Menschen in seine verrückte, wunderbare und kakophonische Welt einzuladen. Er zieht Hörer an, die sich nach Rebellion und Abweichung von der Norm sehnen. Mit seinem Debütalbum "How To Make A Master Peace" verschiebt Master Peace die Parameter des Genres mehr denn je. Peace lässt seine Inspirationen spielen, indem er die Generationen der britischen Musik, die ihn groß gemacht haben, in seinen Sound integriert. "I Might Be Fake" hat die Dringlichkeit von "Giddy Stratospheres" von den Long Blondes aus dem Jahr 2005, gemischt mit der Spacigkeit des Klaxons-Katalogs der späten Nullerjahre. "Shangaladang" ist eine Ode an Peace' Black-Music-Inspirationen, mit einer Anspielung auf Skepta; hier passt er den Text "I've got my hood mates and white niggas" aus dem 2016er Song "Man" des Rappers an seine rauere, The Clash-artige Melodie an.



Der raue Künstler wird bereits als neue Stimme des britischen Indie gefeiert und war bei den AIM Awards 2023 als "One To Watch" nominiert. Das 11-Track-Album ist eine Mischung aus der alternativen Musik, mit der der Brite aufgewachsen ist, von Arctic Monkeys & Friendly Fires bis hin zu Gorillaz.

GRILLMASTER FLASH - Vollfunktionsentertainer und Singer/Songwriter aus Bremen-Nord - zeigte sich auf seinen drei bisherigen Alben bereits gewitzt wandlungswillig. So mäanderte er in den vergangenen acht Jahren entlang Alternative- und Classic Rock, Power Pop und ähnlichen Genres, bis hin zu einer Punk-EP. Insgesamt mit allgemein starkem 80er-Jahre-Einschlag. Nun hat Grilli, nur knapp ein Jahr nach der Veröffentlichung des letzten Albums "Komplett Ready" (2022), ein Heavy Metal-Album aufgenommen. Ganz richtig gelesen - Und es ist wirklich ernst gemeint! Die 9 neuen Songs auf "Flash Metal" bedienen sich den verschiedensten Spielarten des Metals und huldigen dem abwechslungsreichen Genre. Stilsicher, eloquent, mit viel Hingabe zur Musik: "Flash Metal" ist ein Liebesbrief an den Metal. DIE ÄRZTE-Bassist Rodrigo González hat die Leadgitarre und Gitarrensoli der ersten Single "Der letzte Metalhead"eingespielt. Und damit ist der nicht das einzige DÄ-Mitglied auf dem Album... Herausgekommen ist ein deutschsprachiges Heavy Metal-Album, das Spaß macht. Eine Verbeugung und eigenwillige Interpretation in Einem.

Known for his range of style and skilled songwriting, KxllSwxtch has become a household name in the underground community, and has become even more well-known in recent years by openly sharing his bouts with anxiety, depression, and bipolar disorder, in hopes of helping others who can relate. An enigmatic and genre-bending artist, blending elements rap, heavy metal, emo and grunge, KxllSwxtch first exploded onto the scene with a number of singles in 2017, followed by his debut album, KILL!, in 2020. His sophomore album, DISORDER, was released the following year in 2021, and included the viral hit song, “WASTE,” a dark and alternative driven sound inspired by a recent breakup. “WASTE” continues to remain a force, generating hundred of thousands of streams daily and remaining in the viral charts at TikTok. In celebration of it’s 2 year anniversary, DISORDER is finally getting the vinyl treatment. The album includes additional singles, “LIGHTS OUT,” & “CRYING IN THE CLUB,” as well as several other standout tracks such as “YASOPP,” & “BLACK LAGOON.” Pressed on Black & White Smash Vinyl and housed in a gatefold jacket, this first run anniversary pressing is limited to 500 copies.

Little Anns "Who Are You Trying To Fool" war unbekannt, bis Ace Ende der 90er Jahre die Kassetten von Dave Hamilton erwarb. Seitdem waren zwei Kent 45-Releases ausverkauft und aufgrund der Nachfrage von Ace nochmals als 7inch verfügbar gemacht. Als Alternative hat man den wunderschönen Midtempo-Track 'The Smile On Your Face' als B-Seite gewählt.

"The Blinders make their return today with ‘Brakelights’, the first track to be taken from their forthcoming third album, Beholder, which is released on Friday 1st March 2024 via Funhouse Recordings/ EMI.
The perfect introduction to their new album ‘Brakelights’ drips with a dark atmospheric intensity which equally lurks across the albums other 9 tracks. The Blinders are an English alternative rock band originally from Doncaster, now based in Manchester, England. Beholder shares a frenetic energy with their previous albums but there’s a new depth both lyrically and musically to the album. With a visceral urgency live to more than match the likes of contemporaries IDLES or Fontaines DC, The Blinders take their brooding and intense live show, which recalls the dark atmospherics of The Bad Seeds or peak-period Bunnymen around the UK in March"

Recorded in London in September 1979 with Jean Paul Florens on guitar, Henri Florens on piano, Jim Richardson on bass and Tony Mann on drums, this album features the only studio version of Round' Midnight by Chet Baker. It also includes 2 alternative versions of My Funny Valentine, entirely instrumental and very intimate. The version of "All Blues" (Miles Davis) features Rachel Gould on vocals. Hardly available since 1979, this vinyl edition, mastered in Paris at MB Mastering for sumptuous listening

When not knocking it out of the park with his garage alias Instinct, James Burnham is somehow also managing to find time to revert to his original Burnski moniker and the minimal and tech sounds with which he first made his name. On this latest 12" via his own Constant Sound label, 'Boom' is a rude boy jam for sure - the filthy bass and low-end wobble are accompanied by ragga vocals up top.

'Toxic' is a more straight-up tech pumper with slinky hi-hat designs, smart filters and bass-driven drums. As always with this powerhouse, the subtle production details really elevate this one into a standout cut.