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In Flight, BNL's eighteenth studio album, retains the dry wit and keen observation we expect from vocalist/ guitarist Ed Robertson, bassist Jim Creeggan, keyboardist/guitarist Kevin Hearn and drummer Tyler Stewart, but adds a strong sense of maturing and lessons learned.

There is also a sense of joy (which is exemplified in the first single, "Lovin' Life) and appreciation. On the new single, "One Night", BNL honor "...the magical connection that happens between a whole audience and a band." Songwriter Robertson, says, "When it goes right - which it almost always does - for that 'One Night', it's a very intense connection."

In addition to the eight songs written/ co- written by Ed Robertson, the album features four songs from Kevin Hearn, (two of which are love letters to Toronto - "See the Tower" and "The Peace Lady") and two from Jim Creeggan (including "Wake Up", a co-write with the Arkells' Max Kerman). Produced by Grammy and Award-Winning producer Eric Ratz, In Flight is ready for takeoff.

Sara Dobbs and Jenny Shore used to work summer stock theater in St. Louis, Missouri. They'd do the hand jive with TV stars past and future; they'd get coldly corrected by the ancient, legendary choreographer Gemze de Lappe. Sara went on to Broadway, including a run as Anybodys in West Side Story. Jenny went on to choreograph in the independent dance scene of early 2000s Chicago. Julie Shore is Jenny's sister. She's always made music_playing Chopin, writing songs, making bands with her friends. She's had the archetypal Millennial journey of entering adulthood in the '08 financial crisis and figuring out what stupid series of jobs you have to take to pay rent while keeping an artistic life alive. Miles Francis grew up in New York City with Backstreet Boys posters covering their walls. An extraordinary drummer since youth, Miles thrives in collaboration_ whether producing artists in their West Village studio, performing with artists like Angelique Kidjo, or powering protests with a big marching drum. These four_Miles, Julie, Jenny, and Sara_are Sister Squares. What made them a musical unit was working with Grammy winner and Oscar nominee Will Butler. They've all just finished a new record together: Will Butler + Sister Squares. "After Generations, I considered making a weird solo record. Me alone in the basement, etc., etc. Mostly I realized that what I wanted was the opposite," says Will. He increasingly turned to the band for feedback on lyrics and song structures. He asked Miles if they'd produce the record. The band played a run of shows in August 2022, airing out studio ideas in live rooms. After coming home, the band regrouped at Figure 8 Studios in Brooklyn. "I had quit my band Arcade Fire very recently, after 20 years_maybe the most complex decision of my life. I had spent the preceding two years at home with my three children. I was 39 years old. I was waking up every morning and reading Emily Dickinson, until I had read every Emily Dickinson poem. I was listening to Morrissey, to Shostakovich, to the Spotify top 50. I had unformed questions with inchoate answers," says Will. "But, honestly, I was feeling great about the record." The album projects widescreen emotional landscapes. Lead-off single "Long Grass" is like a Harry Styles song with 20 more years of life behind it. Standout track "Saturday Night" has a beat, according to Miles, "with that robot-alien-dancing-at-a-haunted- dive-bar feeling that we were going for." The back half of the album is a danceable, weird choral record with harmonies both beautiful and dissonant. Closing song "The Window" is the comedown after the party_Julie playing a Chopin Nocturne on a three-years-out-of-tune piano, slowed to half-speed on tape with Will singing over it in a voice exactly as tired as he was. It's a record with a warm, humane soul.

Sara Dobbs and Jenny Shore used to work summer stock theater in St. Louis, Missouri. They'd do the hand jive with TV stars past and future; they'd get coldly corrected by the ancient, legendary choreographer Gemze de Lappe. Sara went on to Broadway, including a run as Anybodys in West Side Story. Jenny went on to choreograph in the independent dance scene of early 2000s Chicago. Julie Shore is Jenny's sister. She's always made music_playing Chopin, writing songs, making bands with her friends. She's had the archetypal Millennial journey of entering adulthood in the '08 financial crisis and figuring out what stupid series of jobs you have to take to pay rent while keeping an artistic life alive. Miles Francis grew up in New York City with Backstreet Boys posters covering their walls. An extraordinary drummer since youth, Miles thrives in collaboration_ whether producing artists in their West Village studio, performing with artists like Angelique Kidjo, or powering protests with a big marching drum. These four_Miles, Julie, Jenny, and Sara_are Sister Squares. What made them a musical unit was working with Grammy winner and Oscar nominee Will Butler. They've all just finished a new record together: Will Butler + Sister Squares. "After Generations, I considered making a weird solo record. Me alone in the basement, etc., etc. Mostly I realized that what I wanted was the opposite," says Will. He increasingly turned to the band for feedback on lyrics and song structures. He asked Miles if they'd produce the record. The band played a run of shows in August 2022, airing out studio ideas in live rooms. After coming home, the band regrouped at Figure 8 Studios in Brooklyn. "I had quit my band Arcade Fire very recently, after 20 years_maybe the most complex decision of my life. I had spent the preceding two years at home with my three children. I was 39 years old. I was waking up every morning and reading Emily Dickinson, until I had read every Emily Dickinson poem. I was listening to Morrissey, to Shostakovich, to the Spotify top 50. I had unformed questions with inchoate answers," says Will. "But, honestly, I was feeling great about the record." The album projects widescreen emotional landscapes. Lead-off single "Long Grass" is like a Harry Styles song with 20 more years of life behind it. Standout track "Saturday Night" has a beat, according to Miles, "with that robot-alien-dancing-at-a-haunted- dive-bar feeling that we were going for." The back half of the album is a danceable, weird choral record with harmonies both beautiful and dissonant. Closing song "The Window" is the comedown after the party_Julie playing a Chopin Nocturne on a three-years-out-of-tune piano, slowed to half-speed on tape with Will singing over it in a voice exactly as tired as he was. It's a record with a warm, humane soul.

1998: Tortoise"s third studio album TNT is released. In and out of print over the past decade we are happy to finally give everyone what they have been asking for - TNT on vinyl again! Pressed on high quality virgin vinyl, the two LPs are packaged in a deluxe old-style tip-on gatefold jacket fully replicating the original artwork and includes a download coupon for the first time! Tortoise"s third full-length release, TNT, was written and recorded during a 10-month interval in 1997. This longer-than-usual writing/production schedule was purposefully undertaken by the group in the hopes of crafting an expansive, diverse, yet thematically coherent offering. TNT builds upon the spare, instrumental framework of the group"s first, self-titled album, and the extended edits, melodic adventures, and klangfarben of the subsequent full-length release, Millions Now Living Will Never Die. Further to this, Tortoise"s interest in the possibilities offered by the remixing of tracks was realized within the actual production of TNT; individual elements, sections, or sometimes whole compositions mutate within the album"s shifting framework. These techniques were suitably realized thanks in part to the use of non-linear digital recording and editing methods, the first example of such work for the group.

A cautiously redemptive portrait, any happy ending reflects the possibilities of fulfillment and stability, not the things themselves. In May 2021, months before the film's release, Courtney Barnett and collaborator Stella Mozgawa rendezvoused with Cohen in Melbourne to shape a score that fit that premise-- nothing too obvious or instructive, to tell the audience how they should feel. Barnett found she liked listening to what the duo had made, existing within its reflective gaze. She began sorting through those little instrumentals like amoebic puzzle pieces, figuring out how they fit into a full picture.

The result is a seamless series of 17 instrumental improvisations called End of the Day: Music from the Film 'Anonymous Club', soundtrack reimagined as impressionistic sound- art collage. Like Barnett's rock songs, they wordlessly ask hard questions of our
softest parts, wondering what it is we really find there.

C-50 Cassette Tape. 100 Copies only.

dispari introduces you to Hanoi-based Vietnamese artist Trần Uy Đức. Carried by large curiosity, urgency and delight, their sonic expression can be grasped as a self-exploration which is touchingly intimate, fragile, rebellious and cociliating. In their own words:

„It's my desire to escape into this person I don't know.
Die, orphaned kite flutes.
Watch me escape the orphaned kite flutes.
If you beat it up many times.
Don’t, don't, he predict thunder.
Who asked me tonight to explain one, two, two miracles.
Same problem.
C-c-c-fuck
I'm singing for my body.“

Trần Uy Đức

Available again this first pressing of this reissue is on neon yellow vinyl. Chapter Music presents a vinyl reissue of Australian post-punk icon David Chesworth's mutant punk-funk second album, 1981's Layer On Layer. After his revered 1979 debut 50 Synthesizer Greats (reissued by Chapter in 2017), David swapped the solo home-recorded synths for something very different - infectious, percussive art-funk weirdness. Aged 21, David recorded nights and weekends at the studio in his university's music department, building Layer On Layer from the ground up, using non-instruments like telephone directories, cardboard boxes and car parts. He created an art-damaged sound world, driven by irresistible rhythms but emphasizing chance and experimentation. Robert Goodge, Chesworth's bandmate in the celebrated Essendon Airport, contributes his trademark cyclical guitar, with Tsk Tsk Tsk's Ralph Traviato on sax and other Tsk members Philip Brophy, Jayne Stevenson and Maria Kozic on backing vocals. Layer On Layer was the beginning of David's investigations into rhythm, and remains one of his most striking works. His 70s/80s records and productions have become sought-after collectors' items and DJ holy grails. Chesworth is now a renowned composer sound artist. For digital bonus tracks, David has revisited Layer On Layer tracks to create mutant DJ versions. Also Available From David Chesworth: 50 Synthesizer Greats LP

Call Me By Your Name, the film by Luca Guadagnino, is a sensual and transcendent tale of first love, based on the acclaimed novel by André Aciman.

Summer of 1983, Northern Italy. An American Italian is enamored by an American student who comes to study and live with his family. Together they share an unforgettable summer full of music, food, and romance that will forever change them.

The film received widespread critical acclaim, particularly for Chalamet, Hammer and Stuhlbarg's performances, Guadagnino's direction, and the screenplay. Call Me By Your Name won a variety of awards, including an Academy Award, BAFTA, GLAAD and the 23rd Critics' Choice Award amongst others. Sufjan Stevens' song "Mystery of Love" was also nominated for the Academy Award for Best Original Song.

Luca Guadagnino wanted the film's music to be connected to Elio, a young pianist who likes to transcribe and adapt pieces to get close to Oliver. The music is used to reflect the time, the characters' family, level of education and "the kind of canon they would be a part of."

Guadagnino found himself resonating with Sufjan Stevens' lyricism through his work and initially asked Stevens to record an original song. Eventually, Stevens contributed three songs to the soundtrack: "Visions of Gideon", which was used at the end of the film, "Mystery of Love," which was featured in the film's first trailer, and a new rendition of "Futile Devices" with piano. Stevens penned the songs by using the script, the book, and the conversations with the director about the characters. It marks Sufjan Stevens' first soundtrack for a feature film.

Call Me By Your Name is available as a limited edition of 15.000 copies on "Velvet Purple" coloured vinyl. The 2LP is housed in a deluxe gatefold sleeve with rainbow laminate finish and includes printed innersleeves, an insert with movie stills, and a poster.

Call Me By Your Name, the film by Luca Guadagnino, is a sensual and transcendent tale of first love, based on the acclaimed novel by André Aciman.

Summer of 1983, Northern Italy. An American Italian is enamored by an American student who comes to study and live with his family. Together they share an unforgettable summer full of music, food, and romance that will forever change them.

The film received widespread critical acclaim, particularly for Chalamet, Hammer and Stuhlbarg's performances, Guadagnino's direction, and the screenplay. Call Me By Your Name won a variety of awards, including an Academy Award, BAFTA, GLAAD and the 23rd Critics' Choice Award amongst others. Sufjan Stevens' song "Mystery of Love" was also nominated for the Academy Award for Best Original Song.

Luca Guadagnino wanted the film's music to be connected to Elio, a young pianist who likes to transcribe and adapt pieces to get close to Oliver. The music is used to reflect the time, the characters' family, level of education and "the kind of canon they would be a part of."

Guadagnino found himself resonating with Sufjan Stevens' lyricism through his work and initially asked Stevens to record an original song. Eventually, Stevens contributed three songs to the soundtrack: "Visions of Gideon", which was used at the end of the film, "Mystery of Love," which was featured in the film's first trailer, and a new rendition of "Futile Devices" with piano. Stevens penned the songs by using the script, the book, and the conversations with the director about the characters. It marks Sufjan Stevens' first soundtrack for a feature film.

Call Me By Your Name is available as a limited edition of 15.000 copies on "Velvet Purple" coloured vinyl. The 2LP is housed in a deluxe gatefold sleeve with rainbow laminate finish and includes printed innersleeves, an insert with movie stills, and a poster.

The Faithful Brothers

Soul and R&B from Tel Aviv

"It's so difficult to produce the feel and the excitement of the classic northern sound, but The Faithful Brothers were born to do it and they do it so well." Craig Charles, The Craig Charles Funk & Soul Show, BBC Radio 6 Music.

Is there a Northern Soul scene in Tel Aviv? The surprising answer is – yes, there is. If you're a soulie and in town, look for the Tel Aviv Soul Club, and you might find yourself swaying across a talcum-powder covered floor to Tel Aviv's own unique blend of classic Northern Soul 45s and early 1960s R&B sounds.

Chances are that those 45s will come out of the record boxes of one of the brothers Neeman, Johnnie and Bin. Sons of an Israeli diplomat, they travelled abroad extensively as children, in the 1960s and 1970s, discovering the wonderful world of rare soul music on the way. Tel Aviv Soul Club, aka TASC, is the brainchild of Yashiv Cohen, a DJ who, in 2006, lured the brothers Neeman, whose massive soul collections been hitherto confined to their respective living rooms, into playing their records to the Tel Aviv public. Yashiv is also the lead singer of Men of North Country (MONC), a Tel Aviv band with a distinct sound, blending rock, British pop and soul, that has recorded two albums for the London based label Acid Jazz Records, and toured Europe numerous times.

Since Neeman means Faithful in Hebrew, Yashiv woke up one morning with the crystallization that MONC must create a spin-off, a more puristic soul band, called the Faithful Brothers. There the biological Neeman/Faithful brothers would be joined by some of the members of MONC and a few more musical brothers from Tel Aviv to create new, original soul and R&B music. With a nod to the Northern Soul slogan "Keep The Faith", the name seemed too perfect to waste. The fact that the Neeman brothers were collectors, and not musicians, did not bother a man of vision like Yashiv. One day, he sent Johnnie some lyrics he wrote, asking him to compose music for it. Well, Johnnie called Bin, and they met in Johnnie's record room. With Johnnie playing some of the few chords he knew on his dusty old acoustic guitar, out came Teenage Frost, the first-ever musical composition of the Neeman brothers, recorded by MONC.

It took a few more years, but gradually the brothers succumbed to their fate, to continue their musical progression, from collectors to DJs to musicians. Johnnie took his guitar, Bin took to the piano, and the brothers began pouring out some of their influences, creating new songs. It is finally all coming together. The Faithful Brothers – now an eight-piece band, complete with a mighty brass section – release their first album "The Faithful Brothers".

"If you can imagine a love child between MAC DEMARCO and SPAR-KLEHORSE, then this would be what you're left with." - SO YOUNG MAGA-ZINE
Raised in North Queensland, Australia, Jarrod Mahon is not one to shy away from bold new endeavors. Once parting ways with his previous record label in 2019, Mahon chose to go fully independent, relocating to Berlin in 2019 (where he still resides), despite having no contacts at all in the country. What’s more, having recorded/performed under the pseudonym Emerson Snowe for over a decade - during which time he home-recorded five albums and 13 EP’s, toured with the likes of King Krule or Ariel Pink, played showcases SXSW and the Great Escape, the works - Mahon took that brave, most uncommercial decision to release under his own name and start almost totally anew.
“There was never really a concept to that name Emerson Snowe other than having some kind of separation from who I was as a person,” Mahon explains, “using a moniker gave me that confidence to push myself further mentally and to give myself some kind of a freedom”. And through the process of creating what would become his debut album, Mahon saw that he had outgrown the need for this protective persona. ‘Everything Has A Life’ was meant to be the debut Snowe album”, he admits, “but after I finished mixing it with Syd Kemp, co-producer I realized that I had actually grown a lot and was much more comfort-able with who I am and what my personal beliefs are.”
The choice of ‘Everything Has A Life’ as the album title, pulled from beauteous opening track ‘All I Know’, neatly summarizes this new outlook: moving on from ‘self-pity’ of the past-self by becoming present for the loved ones around you, improving understanding of one’s own self, via the wider world at large.
That track marks the first written during a lockdown stint in LA where Mahon wrote and recorded every day for 2 months, produced nigh on 250 demos and birthed the bulk of the record. It also brought Mahon back to his all-time favorite, Sufjan Stevens’ Ilinois and its blend of widescreen orchestral landscapes and more candid, naked acoustic-leaning variations - an important influence for the album's stylistic contrasts. Another key inspiration for the record too brought Mahon back to his roots - those full-bloom strains of his Mum’s Beloved Neil Diamond, an annual Christmas irritant to Mahon as a child, yet an artist he’s come to respect in adulthood. “Whatever the reason, with age I came to love the big show band sounds,” he says, “the idea of a performer on stage with a mas-sive orchestra with strings was amazing to me.”
With the help of producer Syd Kemp (Ulrika Spacek, Vanishing Twin), such grand designs could be met. - “When we first met, he asked me if I would like real strings on it. I said of course.” Enter Magda Mclean on violin (Caroline/the Umlauts), and Gamaliel Rendle Traynor on Cello (Sweat, Fat White Family), whose strings helped lift the record to romantic new heights.
He continues: “I said to Syd that the only thing I wanted to achieve with this rec-ord was that I wanted it to make me cry at one point. And we got there eventual-ly.” The final culmination of all these strands, ’Everything Has A Life’ is indeed a treasure trove of emotive riches. Locking into that bittersweet, quintessentially ‘pop’ combination of triumphant rhythms and confessional, stream-of-consciousness lyrics plucked straight from the heart, Mahon faces up to years of substance abuse with a series of gorgeous, blushing melodies: “I was using, I was drinking, I was lying to my friends, I was messing up again, I was hiding from myself”, he joyously chants on ‘The Growing’.
A banquet fit for an indie king, Everything Has A Life is loaded with psych-pop lusciousness (‘All I Know’) and anthemic glam fuzz (‘Death Of The Ladies Man’, ‘Deadstar’, or ‘Sonny is my Best Friend’); recalling that foundational Sufjan Ste-vens influence too with shambling flecks of country (‘Charly (Romantic Heart)’). There’s also those lo-fi crepitations of ‘My Man’ and ‘I can’t’ harking back home-recorded demos that lie at the core of Mahon’s creative process.

Wegene is now available in a limited edition metallic grey pressing. Ayalew Mesfin stands aside the likes of Mulatu Astake, Mahmoud Ahmed, Hailu Mergia and Alemayehu Eshete as a legend of 1970s Ethiopia. Mesfin’s music is some of the funkiest to arise from this unconquerable East African nation. Mesfin’s recording career, captured in nearly two dozen 7” singles and numerous reel-to-reel tapes, shows the strata of the most fertile decade in Ethiopia’s 20th century recording industry, when records were pressed constantly by both independent upstarts and corporate behemoths, even if they were only distributed within the confines of this East African nation. Though Mesfin was forced underground by the Derg regime that took control of Ethiopia in 1974, he has returned almost 50 years later with this triumphant set albums – the first time that his music has been presented in this form. These albums give us a chance to discover a rare and beautiful moment in music history, in anthologies built from Mesfin’s uber-rare 7” single releases and from previously unreleased recordings taken from master tapes. Wegene gives us a chance to discover a rare & beautiful moment in music history, in an anthology built from his uber-rare 7” single releases. Contains an oversized 11” x 11” 16 page book that tells the story of modern Ethiopian music and Mesfin’s role within it.

As a band, Taryn and Austin’s journey happened both unexpectedly and fortuitously. At the start of the COVID pandemic, Austin and his wife moved back into his parents’ house, where Taryn was also living at the time. Faced with nothing but time, he got back to songwriting, regularly asking Taryn for input — or as the two playfully put it, “Gen Z quality control.” The immediate result of their musical partnership was the pop-punk/alternative anthem “Who’s Laughing Now,” which leads with wry, tongue-in-cheek lyrics about the futility of young adulthood in 2023. After posting an unfinished version of “Who’s Laughing Now” on TikTok, it swiftly took off, galvanizing thousands of viewers who shared their coming-of-age frustrations. Clearly, the song’s sentiments - which land somewhere between a shrug and a clenched fist - resonated with millions of listeners, and today Durry have recorded a fully fleshed-out version of “Who’s Laughing Now,” which is set to appear on their riveting, perfectly sardonic debut LP, Suburban Legend. Whether Suburban Legend is tackling romantic love, late-stage capitalism, mental health woes, or teen nostalgia, the thread tying it all together is its utter relatability. Regardless of where you are in life — city or suburbs, school or work, or pursuing a creative dream of your own — Durry will meet you there with a wink and a high five.

Queer tweemo from the pop fringe of Little Rock, Arkansas's thriving '90s DIY scene. Paper Airplanes, Paper Hearts gathers Everyone Asked About You's complete recorded works, including the Let's Be Enemies LP and their two and a half 7"s released between 1997-2000. Remastered from the original DATs for maximum nostalgic crunch, this deluxe 2xLP is housed in a gatefold tip on sleeve and includes a 20-page book crammed with flyers, photos, lyrics, and an extensive essay on this crucial missing link between midwest emo and the Moog synthesizer.

Queer tweemo from the pop fringe of Little Rock, Arkansas's thriving '90s DIY scene. Paper Airplanes, Paper Hearts gathers Everyone Asked About You's complete recorded works, including the Let's Be Enemies LP and their two and a half 7"s released between 1997-2000. Remastered from the original DATs for maximum nostalgic crunch, this deluxe 2xLP is housed in a gatefold tip on sleeve and includes a 20-page book crammed with flyers, photos, lyrics, and an extensive essay on this crucial missing link between midwest emo and the Moog synthesizer.

Queer tweemo from the pop fringe of Little Rock, Arkansas's thriving '90s DIY scene. Paper Airplanes, Paper Hearts gathers Everyone Asked About You's complete recorded works, including the Let's Be Enemies LP and their two and a half 7"s released between 1997-2000. Remastered from the original DATs for maximum nostalgic crunch, this deluxe 2xLP is housed in a gatefold tip on sleeve and includes a 20-page book crammed with flyers, photos, lyrics, and an extensive essay on this crucial missing link between midwest emo and the Moog synthesizer.

You can't get Deeper if you're standing still. That's intentional, says the Chicago quartet's Nic Gohl. "Does it feel good when you're listening to this song? Does your body want to move with it?" These are the questions he asked himself as he and bandmates Shiraz Bhatti, Drew McBride, and Kevin Fairbairn were writing and recording Careful!, their third record and Sub Pop debut. "I wanted these to be interesting songs, but in a way where a two-year-old would vibe out to it," Gohl adds.

"It's pop music, basically." That "basically" qualifier is working pretty hard, as fans of 2020's Auto-Pain might suppose. On Careful!, they're not reimagining their sound so much as testing its limits. If you want to, you can hear echoes of David Bowie's Low in the snapping rhythm and gray-sky synths of "Tele," but you can also hear a bit of Auto-Pain in the nailed-in, stippling lines being spit out by Bhatti's drum programming and McBride's synthesizer.

"Fame" seems to stumble together and nearly fall apart, the dialed-up noise making the beat feel maniacal and a little invincible, the whole thing a series of short, snipped, autonomous gestures that are by now Deeper's trademark. "Build a Bridge" pushes in the opposite direction, using a prickly guitar line to launch into big, smeary art-pop, its emotional palette clear, well-defined, and easy to latch onto.

On "Sub," Gohl sings above and below the melody like Ian McCulloch, bellowing and wondering and ruminating and rounding into swaggering confidence that the band rises to meet. It's festival headliner music that still feels like it was written in a garage. That fraternal interdependence is near the center of Deeper's music. The musical and lyrical devotion to mutuality makes this restlessly curious, stylistically broad album feels like the most coherent portrait of who Deeper is. Or, as McBride ultimately frames it, "Careful! is about looking out for one another."

You can't get Deeper if you're standing still. That's intentional, says the Chicago quartet's Nic Gohl. "Does it feel good when you're listening to this song? Does your body want to move with it?" These are the questions he asked himself as he and bandmates Shiraz Bhatti, Drew McBride, and Kevin Fairbairn were writing and recording Careful!, their third record and Sub Pop debut. "I wanted these to be interesting songs, but in a way where a two-year-old would vibe out to it," Gohl adds.

"It's pop music, basically." That "basically" qualifier is working pretty hard, as fans of 2020's Auto-Pain might suppose. On Careful!, they're not reimagining their sound so much as testing its limits. If you want to, you can hear echoes of David Bowie's Low in the snapping rhythm and gray-sky synths of "Tele," but you can also hear a bit of Auto-Pain in the nailed-in, stippling lines being spit out by Bhatti's drum programming and McBride's synthesizer.

"Fame" seems to stumble together and nearly fall apart, the dialed-up noise making the beat feel maniacal and a little invincible, the whole thing a series of short, snipped, autonomous gestures that are by now Deeper's trademark. "Build a Bridge" pushes in the opposite direction, using a prickly guitar line to launch into big, smeary art-pop, its emotional palette clear, well-defined, and easy to latch onto.

On "Sub," Gohl sings above and below the melody like Ian McCulloch, bellowing and wondering and ruminating and rounding into swaggering confidence that the band rises to meet. It's festival headliner music that still feels like it was written in a garage. That fraternal interdependence is near the center of Deeper's music. The musical and lyrical devotion to mutuality makes this restlessly curious, stylistically broad album feels like the most coherent portrait of who Deeper is. Or, as McBride ultimately frames it, "Careful! is about looking out for one another."

For over two decades Jonathan Katsav has used his Crave project to fray rap at its fringes, using Memphis and Houston's low-and-slow legacy to inform sounds that have as much in common with Merzbow as they do Tommy Wright III. Working under a variety of different monikers such as Lieu Noir, Sniper Bait and Soul Collector, the French producer is most prolific as Crave, and "Inner War Delirium" is a substantial and broadly cinematic addition to his canon. Katsav approaches each track as if it's a scene from a movie, using real life experiences to explore separate characters and contrasting emotions. Using different narrators and disparate vocal styles, he navigates grim, blown-out landscapes, driving neon drenched trap synths and horror choirs against overdriven kicks and waterlogged industrial atmospheres. Mangled field recordings, squealing static and gurgling synthesized bass opens 'PHYLLIS', goading the cautious with serrated, carnival synths and cacophonous vocals that sway lugubriously between rap and grindcore. The relationship between dark and light, death and rebirth, is at the heart of "Inner War Delirium", rippling through every track's oozing amalgamation of inebriated hip-hop and buzzsaw noise. Katsav's sounds are an attempt to subject us to the physicality of his own life's puzzle, and he cuts them into vignettes like a director. On the album's final track, listeners are swiped from in front of the speakers and bundled into the trunk of a car, rain rattling on the metal and the album playing on in the distance. It's a way for the producer to turn the camera back on the audience and ask them to consider their own complicated reality - it's Crave's story, but everyone's a part of it.