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HOO - master builders of woozy dynamics, songs unfurl with a mysterious, hooky logic all their own to create deeply emotive, chaotic, cinematic and - surprisingly, with this album ‘III’ - indie pop tunes! Songs clocking in just over 2 or 3 minutes, driven by heavy grunge guitars & potty Moog magic, opening out at times during the breathtaking prog Ov Violence/ Evil Weeks and the epic gothy final track Method Papers. ‘III’ has been 10 years in the making and features friends Simon Rowe (Chapterhouse, Mojave 3), Ian McCutcheon (Mojave 3, Slowdive), Paul Blewett (Moon Attendant), Lee Lavender & long-time collaborator & award-winning folk artist Jackie Oates. The themes and feel of the songs meant they had to lay in wait in HOO’s church-like studio, patiently growing & spawning like a 70's Dr WHO monster. Newer songs like the almost indie disco Snake & Myself When I Am Real finally gave the album foundation. HOO songwriter Nick Holton explains “All my music, including stuff in the past with Coley Park & Neil Halstead (Slowdive), is made at home in my own studio ‘Oaki Room’, so they blend into one another and my broader life. This is why musicians like Paul Blewett, Ian McCutcheon and Simon Rowe are always in the band or on my records - because they are part of my life. I have always made music this way and intended to. Jackie’s beautiful lead on England Theme, a high for me, was a simple idea. A mirror, as is so much of what I write about, here pride and disappointment in your world. Politics, religion, conflict, human frailty & alien tentacles, the collapsing environment all feature heavily and inspire. Despite this, we aim to make these dark songs engaging & endearing, skipping about you at volume in a psychedelic fug.” “I cannot and will not explain what is going on, but ‘III’ definitely closes a door and feels the most complete work of my life” Holton concludes. ’III’ is playful, eccentric, explosive and shamelessly takes itself seriously. Finished and mastered by Heba Kadry (Beach House, Bjork, Slowdive). We hope you now enjoy HOO’s third album. “Highly recommended to those who dig cinematic dream pop & Krautrock.” Echoes & Dust “50s sci-fi meets peak Reading shoegaze. It’s an ideal soundtrack for the new normal” Mojo “Shoegaze guitars, space-folk synths, otherworldly drones & krautrock drums into soundscapes immersive, possibly hallucinogenic.” Uncut “Textural & cinematic guitar driven epic” Shindig “A place where you see shadows of ghosts and echoes of your imagination” HiFi World Highlights “50s sci-fi meets peak Reading shoegaze. It’s an ideal soundtrack for the new normal” Mojo feat ex-Slowdive & Coley Park

Since first bonding over Slowdive at a Texas karaoke bar six years ago, musicians Uriel Avila and Jonathan Perez have grown trauma ray into Fort Worth's foremost flag bearer of crushing shoegaze. A five-piece rounded out by bassist Darren Baun, drummer Nicholas Bobotas, and guitarist Coleman Pruitt, the band's debut album, Chameleon, captures their evolving sound at an apex of majestic devastation. A fusion of downer hooks, gauzy melancholia, and bulldozer riffs, the album heaves and crashes across 50 minutes of stacked amplifier alchemy. Lyrically the songs trace similarly lofty and brooding terrain; Avila says "The theme is death. And a chameleon, like death, can shape-shift in and out our lives in different forms." Chameleon opens with "Ember," dreamy and distant, alternately anthemic and apocalyptic, defeated and deafening. Lead single "Bishop" perfectly encapsulates trauma ray's depth and dimension, ripping out of the gate with "the biggest, baddest, saddest wall of sound." Lyrics about being burnt at the stake and "tossed in the flame" float above a stop-start assault of precision distortion, eventually expanding into a lush, heavy, sorrowful end coda. "Spectre" is a mysterious, introspective dirge, envisioned as a "mellow, slowcore, Duster-thing," all feeling and heavy fuzz chords (with no lead guitar). Avila wrote it, "to be a hymnal" from the perspective of someone who won't let go - a ghost, an ex, a shadow self. Although the album is rich with subtleties, graceful lulls, and "breaths of air," the band's three guitar attack is its defining force, a power flexed to its peak on "Bardo." Perez's intentions were blunt: "I wanted to write a riff that was hard as fuck." The result is alternately mean and eerie, veering between noisy one string bends and surging headbang, mapping a middle ground between Unwound and early-Deftones. One of trauma ray's greatest gifts is their ability to make doomy, sledgehammer heaviness sound like an earworm, without production tricks or gimmicks: "Riff, verse, chorus, three guitar parts - that's all you need." This quality is particularly apparent on the title track, a churning slab of amplifier worship, swirling chords, and heavenly, defeated vocals about not belonging, shape-shifting, and death ("A twisted face / Void of attention / An empty space / In your reflection"). "U.S.D.D.O.S" closes the album, swaying across seven minutes of grey skied guitar and haunted voice, subtly thickening as it deepens. Feedback and shrapnel gradually begin raining down, like a satellite disintegrating in the atmosphere. Titled as an acronym after a poem by Chilean writer Roberto Bolaño that loosely translates to "a dream within a dream," the melody softens, smears, and then disappears, slowly swallowed by the gravity of eternal descent. Chameleon is a masterpiece of craft, balance, melody, lyricism, and gravity, flexing a fresh vision of loud-quiet-loud architectures and the vertigo depths of blasted harmonics. From Slowdive to Nothing, to Hum and beyond, the band absorb and expand on their influences into a rare and dedicated alchemy. trauma ray's cinematic tempest is a gathering storm only just taking flight.

Since first bonding over Slowdive at a Texas karaoke bar six years ago, musicians Uriel Avila and Jonathan Perez have grown trauma ray into Fort Worth's foremost flag bearer of crushing shoegaze. A five-piece rounded out by bassist Darren Baun, drummer Nicholas Bobotas, and guitarist Coleman Pruitt, the band's debut album, Chameleon, captures their evolving sound at an apex of majestic devastation. A fusion of downer hooks, gauzy melancholia, and bulldozer riffs, the album heaves and crashes across 50 minutes of stacked amplifier alchemy. Lyrically the songs trace similarly lofty and brooding terrain; Avila says "The theme is death. And a chameleon, like death, can shape-shift in and out our lives in different forms." Chameleon opens with "Ember," dreamy and distant, alternately anthemic and apocalyptic, defeated and deafening. Lead single "Bishop" perfectly encapsulates trauma ray's depth and dimension, ripping out of the gate with "the biggest, baddest, saddest wall of sound." Lyrics about being burnt at the stake and "tossed in the flame" float above a stop-start assault of precision distortion, eventually expanding into a lush, heavy, sorrowful end coda. "Spectre" is a mysterious, introspective dirge, envisioned as a "mellow, slowcore, Duster-thing," all feeling and heavy fuzz chords (with no lead guitar). Avila wrote it, "to be a hymnal" from the perspective of someone who won't let go - a ghost, an ex, a shadow self. Although the album is rich with subtleties, graceful lulls, and "breaths of air," the band's three guitar attack is its defining force, a power flexed to its peak on "Bardo." Perez's intentions were blunt: "I wanted to write a riff that was hard as fuck." The result is alternately mean and eerie, veering between noisy one string bends and surging headbang, mapping a middle ground between Unwound and early-Deftones. One of trauma ray's greatest gifts is their ability to make doomy, sledgehammer heaviness sound like an earworm, without production tricks or gimmicks: "Riff, verse, chorus, three guitar parts - that's all you need." This quality is particularly apparent on the title track, a churning slab of amplifier worship, swirling chords, and heavenly, defeated vocals about not belonging, shape-shifting, and death ("A twisted face / Void of attention / An empty space / In your reflection"). "U.S.D.D.O.S" closes the album, swaying across seven minutes of grey skied guitar and haunted voice, subtly thickening as it deepens. Feedback and shrapnel gradually begin raining down, like a satellite disintegrating in the atmosphere. Titled as an acronym after a poem by Chilean writer Roberto Bolaño that loosely translates to "a dream within a dream," the melody softens, smears, and then disappears, slowly swallowed by the gravity of eternal descent. Chameleon is a masterpiece of craft, balance, melody, lyricism, and gravity, flexing a fresh vision of loud-quiet-loud architectures and the vertigo depths of blasted harmonics. From Slowdive to Nothing, to Hum and beyond, the band absorb and expand on their influences into a rare and dedicated alchemy. trauma ray's cinematic tempest is a gathering storm only just taking flight.

Teho Teardo & Blixa Bargeld are back with their third album, nearly eight years after "Nerissimo", but time collapses and expands like an accordion. Especially those two stolen years that have disappeared from our accounts without a trace during the pandemic. The new album is titled "Christian & Mauro" and their real names on the header hint to a more personal landscape who allows them to go through elements of the past like "Bisogna Morire", an incredible passacaglia, a dance of death from 1600 that"s been reinvented from a contemporary perspective. Since their musical roots belongs also to the future, another consideration comes after a book by astrophysicist Carlo Rovelli, it opens up for a different look at the universe. It"s not always possible to discover new territories without consenting to lose sight of the shore for quite a good amount of time, so across these new ten songs Teho and Blixa allow themselves various detours playing a large array of instruments, using a mythological keyboard who can play with ciphers, letters, characters, sounds and noises. Using sounds transversely provides the cue to new possibilities to move forward in music. The album has been produced by Teho Teardo, Blixa Bargeld and Boris Wilsdorf both in Roma at Basement Recordings and at andereBaustelle in Berlin. This music joins again the sky between Roma and Berlin and the tour that will follow its release will take place from November 19th right in Roma and will take them all over Europe. Teho and Blixa will tour with Laura Bisceglia on cello and Gabriele Coen on bass clarinet, there will be on stage also a string quartet on each show.

“Friends, they are my ticket out of this place I am in… feels like nothing more than a dirt bike vacation stop between Phoenix and San Diego.” Dirt Bike Vacation—for Worried Songs Records—explores the sonic world of the late amateur guitar player, Charles ‘Poppy Bob’ Walker, through a captivating set of instrumental songs made in the mid-1980s. Recorded on a single-track, Marantz field recorder, the project is a transportive document of Walker’s days spent as a meatpacking employee in Yuma, Arizona and the dailiness of that existence: driving to work, sitting in his backyard, walking around drunkenly, unwinding on the couch with a friend. These sketches, showing an experimental tendency, are surprisingly ahead of their time; some exhibit ad hoc tape delay (“Granite Bluffs,” “Goodbye YMCA”), while others make use of primitive overdubbing (“Continuation to Moon Doctor”). Not dissimilar to works such as Bruce Langhorne’s The Hired Hand soundtrack, Walker’s guitar playing is melodic, texturally rich and beautifully sober. On a musical tour from Nashville to Los Angeles, musician-archivist, Cameron Knowler, uncovered these songs from a series of dusty cassette tapes housed at a branch of the Yuma County Library. Originally tipped off by cryptic metadata entries found through an online finding aid, Knowler requested a sound sample and was immediately drawn in by their eerie, yet hopeful nature: “I didn’t care what they sounded like at first, but once I heard just a few seconds, I had to find out everything I could about Charles, who he was, and if he was still alive.” As it turns out, the two had miraculously crossed paths over 20 years prior when Cameron was a young boy accompanying his mother, a gem trader, on a biyearly sojourn to Quartzsite, a town 80 miles north of Yuma: “Charles, sitting down and smoking in a recliner, withdrawn, held what I now understand to be a mid-1990s Martin D-28 guitar. Unlike other old-timers, his instrument was sharply tuned and had a nice sound, even to my young and uncalibrated ears. Though his left hand showed signs of highly developed arthritis, his musical ideas were animated by a palpably deep understanding of fretboard anatomy, arrangement and harmony.” Sorting through the index cards associated with these tapes, Knowler was able to gain a detailed sense of most recording’s provenance, whereabouts and time: Walker’s Datsun pickup truck chugging along boiling hot Interstate 80, the Marine Corps Air Station parking lot, the Eastern Wetlands on the banks of the Colorado River, a fishing trip to Martinez Lake. Trying to reduce the amount of his own subjectivities coloring the work, Cameron constructed titles and track sequences by borrowing information gleaned from Charles’ handwritten notes: “I tried to organize everything by time of day, giving the listener the sense of how a Yuma day might sound and feel like, and each song title—even the record itself—is borrowed from his own words.” This proved no small task, as many notecards had to be deciphered and then coupled with their native tapes which needed extensive restoration treatments. The result is a project very much out of the blue, and one that is intensely personal to Knowler, having grown up in the same town under similar circumstances. “It feels like a part of my own journey as a guitarist reckoning with the defining marks of a gothic border town,” he remarks. “At the time I would’ve met Walker, I didn’t have much outside influence, but he has been in there all the while.” In their current form, the tracks combine to create a sonic journey that boldly contributes to the traditions of acoustic guitar soli, archival digs and field recordings all the same; most importantly, it is a creative document which shows a day-in-the-life of a man grappling with the human experience under a ubiquitous Yuma sun.

Released on October 25th as a limited-edition double AA 7” on limited edition “Death Grey” vinyl, "Death Grip Kids" is The Lovely Eggs at their most punk rock. Kicking and screaming and stamping their way through three minutes of righteously pissed off fury. With more out of this world artwork by illustrator Casey Raymond, the Double AA features a re-release of their digital single “Memory Man” (which has not been previously available on 7” vinyl until now). ‘Memory Man’ shows the Eggs at their hypnotic, Can-like best. David’s drums lock into a flawless Krautrock inspired groove, whilst Holly’s vocals hang ethereally over the song’s swirling, mesmerising psychedelia. The strictly limited edition 7" also features one of the band’s first ever songs “True Grit” from 2005 which will not be available digitally and can only be heard by buying this vinyl. Both A-sides come from the band’s new album Eggsistentialism, released in May 2024. Recorded by the band at home in Lancaster with production work from Flaming Lips producer Dave Fridmann, the results are without doubt the most expansive, mind-melting ten songs the band have delivered yet. They head out on the final leg of their Eggsistentialism tour in October with support from Psych Poppers ‘British Birds’ as well as performance poet ‘Violet Malice’

Green Day’s seventh studio album American Idiot was released in September 2004 and has since sold over 23 million copies worldwide. The album is a punk rock opera masterpiece that won the Best Rock Album at the 2005 Grammy Awards©. Five hit singles were released from the album: “Boulevard of Broken Dreams”, “Holiday”, “Wake Me Up When September Ends”, “Jesus of Suburbia”, and the title track, “American Idiot”.

Limited Edition Super Deluxe Box Sets (vinyl and CD) will be released on October 25th, 2024, to celebrate the 20th Anniversary of this legendary album.

The CD Super Deluxe contains 4 CDs which feature the original album and also includes 15 unreleased demos, a 15-song 2004 concert from Irving Plaza, NYC (9 songs previously unreleased), and 14 tracks that were released as B-Sides and bonus tracks. The box set is completed with two Blu-rays that feature the film “Heart Like A Hand Grenade”, 35 minutes of Green Day live at the BBC, and a new, unreleased documentary: “20 Years of American Idiot” plus a 48-page book, an enamel pin set, sticker sheet, and cloth patch.

"Back in print, on purple nebula vinyl!

While the exuberance and joy of Stovall dealt with vocalist/guitarist Nathan Hardy’s wide-eyed wonder at a world previously obscured by a strict religious upbringing and his time as a Mormon missionary – songs of innocence, if you will – Much Love details the aftermath once that awestruck amazement has been dampened by the harsh realities of life.

These, then, are songs of experience, the sound of growing pains (with the emphasis very much on the pain), on the trials and tribulations that come after the euphoria of freedom. That’s not to say that the first album was devoid of drama, because it was full of it, but the ten tracks that make up Much Love certainly traverse darker, more unstable territory by confronting the very existence and notion of life as Hardy once knew it.

Recorded and produced, like Stovall, by Travis Hill, Much Love is a more abrasive, rawer set of songs than its predecessor, more The Devil And God Are Raging Inside Me than Deja Entendu. Yes, Microwave are very much still recognizable as the same band, but at the same time these songs are a conscious evolution of their sound."

2017 album now available at a cheaper price. Limited colour vinyl 12” (Marled colour) DL card included is for indie stores only. Standard LP + DL. CD digipack. Under license from Lakeshore Records. A Fire Records release. Back in 2006, Richard Linklater’s film adaptation of Philip K Dick’s sci-fi novel A Scanner Darkly was greeted with suspicion. No one had done justice to the “master” (Bladerunner, Minority Report, Total Recall, The Adjustment Bureau had or have all met with mixed reviews). And, movies attempting to conjure up the effects of drugs were met with derision from the stoned cognoscenti. How could a story of dependence on Substance D (“Death” for short) be created with multi-million dollar stars in the frame anyway? Linklater had a plan; He’d use rotoscoping (an effect that falls somewhere between Kiki Picasso’s sketches brought to life and Disney on ‘ludes). The celebrities would be shrouded in mystery, in fact Keanu Reeves’ skin suit would make him almost invisible at times, a mumbling wreck swaying centre stage. A waste of talent? A waste of money? To complete the experience, a left field musical score was needed to ensure that everything wasn’t as it seemed. The phone books are full of creative composers but Graham Reynolds And His Golden Arm Trio jumped off the page. The band name is from a Frank Sinatra film where he plays a drug-addled muso. Perfect. Graham Reynolds works in extremes, he’s collaborated with DJ Spooky, the Austin Symphony Orchestra and with live film collage creator Luke Savisky. More importantly his Golden Arm Trio are never three and never the same people twice. For the movie he created short sound bytes – a surf-like instrumental, a country-tinged breather, the sound of stuttering insects crawling through your hair. The resultant soundscape is itchy and scratchy, full of mood swings and musical metaphors, an ever changing and unpredictable set of highs littered with reflective undertones and occasional soft, almost super numb realities. THE SOUNDTRACK: “Strands of post-rock, electronica, jazz, and vintage rock are woven and recombined throughout the album for unusual juxtapositions.” All Musi // “A tactile, emotional resonance often missing in contemporary scoring.” Soundtrack.ne // The music in isolation is bold and uncompromising, shifting as it moves through genres and sounds. THE COMPOSER : Graham Reynolds works in extremes; Short take moments of sound – whether it be a surf-like instrumental, a country-tinged breather or the sound of stuttering insects crawling through your hair – are all in his tick box. The resultant soundscape is itchy and scratchy, full of mood swings and musical metaphors, an ever changing and unpredictable set of highs littered with reflective undertones and occasional soft, almost super numb realities.

Belgian saxophonist, composer, and producer Mattias De Craene (Nordmann, MDCIII) announces a new solo album, ‘A House Where I Dream,’ on VIERNULVIER Records. On his second album, he delivers a highly personal and healing journey, presented as an alternative soundtrack to the 1973 cult film ‘The Holy Mountain.’

The record will be released on October 11 on vinyl LP and through all digital platforms.

"The Holy Mountain" is a surreal Mexican film from 1973 directed, written, and produced by Alejandro Jodorowsky, who also stars in the film. The film holds a prominent place in avant-garde cinema and explores themes such as spirituality, mysticism, and the quest for enlightenment. It is in this vein that ‘A House Where I Dream’ is crafted.

“My mind and soul - and thus my music - come home to this motion picture” - Mattias De Craene

The album will be presented live with the film on October 16 at Videodroom during Film Fest Gent.

ABOUT THE ALBUM
With hypnotic tape loops, grainy textures, and mesmerizing saxophone, Mattias De Craene creates possible worlds that herald a spiritual transformation. From the Scottish Highlands and desolate mountains to the deepest recesses of the soul, this music has the power to create cinematic landscapes that transcend time and space. The sound of these 8 tracks is closely related to the minimalist compositions of Terry Riley, but the work of contemporary artists like KMRU or William Basinski is also drawn from the same material.

Above all, this album is a deeply personal journey and unintentionally serves as a metaphor for De Craene's ascent of his own mountain. For the Videodroom festival by Arts Center VIERNULVIER, the saxophonist began working on a new soundtrack for the film ‘The Holy Mountain’ in 2023, but his body and mind abruptly called him to a halt, forcing him to take a professional break. However, this project never left him, leading to an honest and raw quest to find himself as both a person and an artist, with Jodorowsky as a companion de route and music as an anchor. It initiated a long process of dismantling, searching, healing and back again. The album not only provides a sanctuary for dreaming to all who listen, but for its creator it also serves as both an outcry of despair and a source of comfort during challenging times.

All the tracks on 'A House Where I Dream' share an unfiltered grain of life, as one can almost feel the damp breath of the saxophone blowing.

The album opens with the three-part strong 'Transcention,' where the hypnotic interplay between soprano sax and lo-fi tape loops leads to higher realms of the mind and soul.
Alternating between deep frequencies and farout folk modalities, this mantra-like triptych acquires an alchemical character and ultimately transcends time and space.

In the ethereal 'Away,' one can peer into an abyss of resonance while a saturated tenor sax lends guidance in the spirit of Terry Riley's productions. 'You and Me' also bathes in a similar atmosphere, albeit in the vein of healing 90s ambient as granular sax tones converge with celestial chants. 'Gazing Upwards Towards The Sky,' offers different shades of blue as a slumbering tenor sax is juxtaposed to swift sax patterns. On 'A Stranger That Moved Me,' beauty lands in a soft and subtle manner, while the closing track 'Shepherd's Glow' drifts like a mountain wind flaring up at the darkest hour of the night.

The artwork is created by Gent-based artist Sam Timmerman, who portrays the world of 'A House Where I Dream' with playful repetition and mystique.

After working within various collectives, rapper Davodka is celebrating his ten-year solo career with the album "Heritage." With a myriad of concerts in France and Europe, 6 solo albums, and features with the entire French independent rap scene (Demi Portion, Melan, Dooz Kawa, 3ème Œil, Swift Guad...), Davodka is known for his incisive words and the speed of his flow, making him one of the leading lyricists.

This new album is the heritage of the past ten years, where the artist takes a step back and captures the universe in which he has evolved, paying homage to it through music. The rapper's lyrics have never been more personal. He addresses rarely discussed topics in rap, such as his depression in the track "Arc en ciel," his relationship with his autistic child in "Enfant bulle," and his awareness of the difficulty in having completely selfless relationships as an artist in "On naît seul, on meurt seul."

"Heritage" attests to Davodka's undeniable place in conscious rap, notably with the track "Avec des mots," where he shares the mic with Sinik, an emblematic artist of the golden age of French rap. Although Sinik, a French artist with countless certifications, had announced the end of his career two years earlier, he makes an exception for Davodka and records a powerful track in homage to all those who come from the bottom.

Davodka, true to himself and his audience, primarily raps over boom bap and trap beats; however, he ventures into unknown territories, notably in "On naît seul, on meurt seul," where he adopts a ragga flow, and "Feuille froissée," with its auto-tuned chorus. He also takes the time to pay homage to the beginning of his career, when he was part of the MSD collective, by reprising a verse written at the time in the track "Les minots dorment – Remix."

Join him on October 25, 2024, to discover "Heritage," Davodka's 7th album. He will be touring throughout France, Switzerland, and Belgium, and in Paris at the Cabaret Sauvage on December 5, 2024, for the release party.

After a nine year hiatus SUN AND SAIL CLUB are back and they've come back swinging! This album is more aggressive than the previous album, as if that was even possible. Same line-up as before featuring Scott Reeder (FU MANCHU/SMILE) on drums, Scott Reeder (KYUSS/THE OBSESSED/FIREBALL MINISTRY) on bass, Bob Balch (FU MANCHU/SLOWER/BIG SCENIC NOWHERE/YAWNING BALCH) on guitar and Tony Adolescent (THE ADOLESCENTS) on vocals. The album starts with a mellow jazz guitar piece and then proceeds to rip your face off until the end of the album, which closes with another solo jazz guitar piece. "Shipwrecked" is their strongest album yet. Fully realized and to the point. Fast and dissonant. "This album is a compilation of riffs collected over a nine year period. Most of the songs were written last year but some of them have been floating around for a while. There is a general sense of unease throughout. I wanted to make an album that went one step further than "The Great White Dope." The songs are faster and more intense at times. It's basically the soundtrack of me beating the shit out of my guitar. Then you factor in Scott Reeder on drums, Scott Reeder on bass and Tony Adolescent on vocals and you've got something more than I could have imagined by myself. This album is raw and pummeling. If you're a glutton for punishment this might be your desert Island record." - Bob Balch Recorded at Jim Monroe's The Racket Room, Casa De Balch, and Scott Reeder's The Sanctuary

Red vinyl, limited to 300 copies. After a nine year hiatus SUN AND SAIL CLUB are back and they've come back swinging! This album is more aggressive than the previous album, as if that was even possible. Same line-up as before featuring Scott Reeder (FU MANCHU/SMILE) on drums, Scott Reeder (KYUSS/THE OBSESSED/FIREBALL MINISTRY) on bass, Bob Balch (FU MANCHU/SLOWER/BIG SCENIC NOWHERE/YAWNING BALCH) on guitar and Tony Adolescent (THE ADOLESCENTS) on vocals. The album starts with a mellow jazz guitar piece and then proceeds to rip your face off until the end of the album, which closes with another solo jazz guitar piece. "Shipwrecked" is their strongest album yet. Fully realized and to the point. Fast and dissonant. "This album is a compilation of riffs collected over a nine year period. Most of the songs were written last year but some of them have been floating around for a while. There is a general sense of unease throughout. I wanted to make an album that went one step further than "The Great White Dope." The songs are faster and more intense at times. It's basically the soundtrack of me beating the shit out of my guitar. Then you factor in Scott Reeder on drums, Scott Reeder on bass and Tony Adolescent on vocals and you've got something more than I could have imagined by myself. This album is raw and pummeling. If you're a glutton for punishment this might be your desert Island record." - Bob Balch Recorded at Jim Monroe's The Racket Room, Casa De Balch, and Scott Reeder's The Sanctuary

From London to Ibiza via Berlin, inspired by Chigago and Detroit, Ceri finds her truth in proper house music. ‘Can’t Pay My Bills’ EP provides a message of hope during uncertain times. Acknowledged as a “rising selector” by Crack Magazine, producer, label boss and record digger Ceri steps into 2024 with a brand-new EP ‘Can’t Pay My Bills” via her imprint “Find Your Own Records”.

“The title track is inspired by the current economic situation in the world, and also features a positive message that reflects the values and true origins of house music, reinforcing the belief that we can overcome our circumstances and improve our situation” - Ceri


The new four track EP drips with Chicago, New York and Detroit jackin’ house with garage influence, and a sprinkle of ripping UK breakbeat for good measure. The people’s producer D'Julz steps up, on remix duties, contributing not one but two remixes to the label’s ongoing message of artist authenticity and collaboration. The remixes will be vinyl only, and the originals will see a digital release later in the year.

“I have collected D'Julz music for many years, his label started around the same time I started DJing, and it was and still is, one of the few labels that I buy on sight. I know it will always be quality. Something I aspire to do with my label too.”– Ceri

As an artist led label 'Find Your Own Records’ has become a home for genuine house legends Mr G, Fred P, Alex Arnout, and has rightly gained support from Mixmag, Resident Advisor, BBC Radio 1, BB6Music and BBC1Xtra.

Support for the label so far comes from the likes of:

Midland, Ben UFO, Move D, K-HAND, Fumiya Tanaka, Fred P, Paranoid London, Steve O'Sullivan, Tristan Da Cunha, Ryan Elliot, Lakuti, DJ Deep, Kerri Chandler, Chloe Caillet, Fred P, Jeremy Underground, Cici, D’Julz, Chez Damier and more…


As a DJ Ceri has performed marathon sets at Fabric, Corsica Studios, Pikes Ibiza, Thisishaven, and recently made her debut at the legendary Panorama Bar/Berghain. Confidently sharing the booth with club favourites Ryan Elliot, Jeremy Underground, Paranoid London and Objekt it’s certain the next year of live shows will be ones to remember for the UK artist. Inspiring far beyond the dancefloor, Ceri also regularly steps up as a masterclass host / panelist on creativity, mental health, meditation and wellness with renowned platforms Beatport, ADE, RedBull, Point Blank and Native Instruments, earning her a distinctive reputation as a multifaceted artist and
thought leader.

Ceri – ‘Can’t Pay My Bils’ EP is out on Find Your Own Records. Vinyl end of Feb tbc. The remixes re vinyl only. And the originals will be released digitally in the summer.

Step right up, ⁢dear music aficionados! Welcome to the melodic adventure of Penny’s Big Breakaway, the long-awaited kinetic 3D-platformer developed by Evening Star and published by Private Division (Take-Two Interactive).

The composer team behind‌ Sonic Mania, led by Tee Lopes, present a new masterpiece, crafted ‌with love and finesse. This colorful soundtrack features various vibes, from funk to rock with even house and EDM accents. So sit ⁣back, and let the‍ groovy waves wash over you.

Pom Pom Squad’s sophomore LP, aptly titled Mirror Starts Moving Without Me, Berrin traverses the hall of mirrors to celebrate the true self at the heart.
The New York Times, Rolling Stone, Stereogum, and many more have lauded the pop-centric return of Brooklyn’s favorite rising post-grunge band, lead by frontperson Mia Berrin, for their refreshing new chapter. Berrin had a hand in the crafting of this darker and stronger sound, co-producing the record at the legendary Electric Lady Studios.

“…rarely does an artist land in a creative sweet spot like Berrin has, deftly matching sight and sound to illustrate the record's two sides - the saturated landscape where punk, glam and camp coexist, and the uncanny underbelly of Americana.” - NPR

Pom Pom Squad’s sophomore LP, aptly titled Mirror Starts Moving Without Me, Berrin traverses the hall of mirrors to celebrate the true self at the heart.
The New York Times, Rolling Stone, Stereogum, and many more have lauded the pop-centric return of Brooklyn’s favorite rising post-grunge band, lead by frontperson Mia Berrin, for their refreshing new chapter. Berrin had a hand in the crafting of this darker and stronger sound, co-producing the record at the legendary Electric Lady Studios.

“…rarely does an artist land in a creative sweet spot like Berrin has, deftly matching sight and sound to illustrate the record's two sides - the saturated landscape where punk, glam and camp coexist, and the uncanny underbelly of Americana.” - NPR

The LP was released during a fertile period in her early career, when she was also playing with the group The Marine Girls and just about to embark on a life-long musical and personal partnership with Ben Watt in Everything But The Girl.

Its stark minimalism made it stand out from the crowd, and the album remained on the Independent chart for many months. To this day, ‘A Distant Shore’ remains one of our proudest achievements here at Cherry Red Records. Fully supported by the artist, 'A Distant Shore' is now being represented with the addition of five hitherto unheard demo recordings, hand-picked by Tracey from her archive of cassettes. ‘Lucky Day’ was recorded during the same session as the album but somehow never made the grade; the other four tracks here were recorded during a later session but then set aside, to be re-recorded a while later with EBTG for their first album, Eden.

Freshly mastered at Abbey Road Studios with new sleeve-notes written by Tracey, this 2024 edition is available on both vinyl and CD, a beautifully presented reminder of the album’s elemental beauty.

6 years after their last album, fav favourite Kites, Submotion Orchestra make their long-awaited return with the remarkable Five Points EP. Recorded over a period of two months at band member Taz Modi's new studio in the Sussex countryside, it sees the band plough a path through electronica, jazz, soul and ambient in their own singular way. After a period of time spent looking back at their oeuvre, with the release of two Unplugged collections as well as classic debut album Finest Hour on vinyl for the first time, the refreshed, slightly older and wiser band set their sights firmly ahead, and the result is music that sounds like nothing they've done before.

Whilst featuring the uniquely fragile voice of Ruby Wood and the live instrumentation that has been their calling card in the electronic world for so long, the EP also delves into rhythms, soundscapes and effects that push their recognisable sound as far as it can go, and acts as the perfect taster for the forthcoming album that the band are currently recording.

Created as a seamless listening experience, the EP opens with the evocative and atmospheric 'Start Point', as dreamlike synths and brass mix with wordless harmonies straight from the heavens. 'Hope' continues the mood, warm analogue synth patterns combining with fragmented vocals on a persistent build-up to an emotional climax. Lead single 'Side One' cheekily nods to Submotion classic 'All Yours', before moving into newer territory, where Ruby Wood's vocals slowly become distorted and twisted, the perfect backdrop for this story about the loss of hope. Flowing joinlessly into its mirror image 'Side Two', we see the instrumental prowess of Submotion Orchestra which has so long been their defining characteristic in full flow. Finally, 'End Point' brings the EP to a moving and wistful climax, telling a tale of the wisdom that can only come after bitter experience.

In 2007 an Italian film festival invites Mouse on Mars to score a film of their choice. The organizers claim to be able to clear the rights for any movie the band chooses. Werner Herzog’s fictional documentary Fata Morgana, which merges footage of several desert explorations by Herzog and his team into one continuous association, has long been a band’s favorite. The film comes with a soundtrack by Mozart, Leonard Cohen, Third Ear Band and field recordings. Andi Toma and Jan St. Werner are sent a DVD to Düsseldorf and start working. The idea is to score the film in real time so instrumentation has to be readily at hand: guitar, percussion, electronics, mouth harp, pedals, software, tapes, samplers. Once the arrangement for the three-part film is sorted Mouse on Mars bring their score to stage. Herzog Sessions is performed twice: first when the band still thought the rights had been cleared, and a second time at London’s Southbank Center knowing that Herzog would have never approved a new score.

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Mouse On Mars – London Queen Elizabeth Hall soundtracking Werner Herzog.
By Mike Diver, 24.04.2009

Filmed in 1971, Fata Morgana is perhaps not one of Herzog’s best-known works (think Grizzly Man, Rescue Dawn, et cetera…), but then Mouse on Mars have never been ones to embrace the mainstream, quietly letting their modern, experimental take on krautrock do the talking over the years, thus producing some quietly brilliant electronica that far outweighs their modest profile.

The film itself is not altogether dissimilar to the wonderful, Phillip Glass-scored Koyaanisqatsi, with sweeping landscape shots and no obvious plot or narrative, though Fata is concentrated purely in one place – in and around the Sahara Desert, switching from images of barren wasteland to desert tribes and dead, skeletal cattle.

The obvious thing to do when soundtracking such powerful imagery is to vie for dreamy electronic soundscapes which can be sustained for a long period, and whilst this ambient shoegaze approach was present and correct (also carefully constructed and highly effective), Mouse on Mars added a human element to the performance, incorporating a live dimension by using and looping guitars, harmonicas, processed vocals and even a live horn player (quite possibly a flugelhorn. Look it up if you don’t believe me) for the final section of the film.

Some of the most interesting points arose when the duo suddenly switched from solemn, ambient tones to glitchy, bouncing electro (reminiscent of their more upbeat work) whilst on the same film shot – causing the audience mood to flick from tripped-out bliss to attentive semi-wired, utterly subverting any idea of a narrative the film may have possessed. Clever stuff.

Ranging from sinister to surreal to humorous, all the moods portrayed in Fata Morgana were successfully matched by Mouse on Mars’ live rescore – no mean feat. The duo also went above and beyond the call of duty with their own soundtrack, adding a fascinating personal signature to an already unique film.