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Emilie Levienaise-Farrouch’s dark, throbbing score to
Prano Bailey-Bond’s horror debut ‘Censor’ is out now on
vinyl, after previously being released on digital platforms.
 The vinyl is pressed on clear vinyl with black smoke effect
and comes housed in a deluxe spined sleeve with double
sided printed insert featuring beautiful imagery from the
film.
 Emilie Levienaise-Farrouch manages to inhabit a space
between Ennio Morricone, Goblin and John Carpenter in
her stunning score to ‘Censor’.
 “I wanted the original score to focus on two different
elements of the film’s storytelling which slowly intertwine
as the movie progresses,” Emilie told Booklyn Vegan.
 “One sound palette represents the trauma of our lead
character Enid, with a use of manipulated vocals and
synthesisers, slow moving, almost suspended, and at
times disorientating cues, with short melodic motives, little
lullabies Enid might softly sing to herself to sooth her
anxiety and guilt of having lost her sister. The other palette
is much more anchored in the time period (1980s) and
genre the film explores.” She calls that second sound
palette a “love letter to classic Carpenter and Goblin
soundtracks, using vintage synths, rare Japanese
instruments and choirs to bring us deep into the fun,
surreal, and meta elements of the film.”
 ‘Censor’ received critical acclaim upon its release,
including a 5-star review in The Guardian, and is available
to watch now.

‘Gather Up’ is the culmination of ten years on Acid Jazz for Matt Berry.
 ‘Gather Up’ comes as a beautifully packaged 4CD hardback book set with 28 pages of
illustrations and notes or a 5LP box set with a 64-page booklet and certificate of
authenticity signed by Matt.
 ‘Gather Up’ is also available as a standalone 21-track ‘Best Of’ on gatefold CD and red
coloured vinyl double LP.
 The 55 tracks on the 4CD / 5LP sets are split between an anthology compilation that
tracks the very best tracks from his eight albums and associated singles for the label over
the last decade, an album of unreleased tracks and rarities, a demo version of his 2020
album ‘Phantom Birds’ (titled ‘Phantom First’) and the previously unreleased ‘Live At A
Festival’ album, which showcases Matt and his band The Maypoles in full flight.
 The book included in both formats has an extended essay by Chris Catchpole which
reviews Matt’s musical career and an exclusive set of photo images culled from the
archive of Matt’s long time photographic collaborator Ben Meadows.
 Following the huge acclaim earlier this year for Matt Berry’s eighth studio album, ‘The
Blue Elephant’, Acid Jazz release ‘Gather Up’, a compilation album encompassing the
singular musical adventures this extraordinary musician has taken over the past decade,
offering a revelatory and fascinating insight into the working process of a genuine musical
maverick and sonic explorer.
 Over 10 years with Acid Jazz, Berry has released nine incredibly diverse albums
(including one live album). From the tangled-folk rock thickets of ‘Witchazel’ and ‘Kill The
Wolf’ (which features the song from which this release gets its name), to the out-there
explorations of ‘Music For Insomniacs’ or ‘TV Themes’’ retro-kitsch delights, through the
soul power in ‘Matt Berry & The Maypoles Live’ or the twilight grooves of ‘The Small
Hours’ to the classic pedal-steel songwriting of ‘Phantom Birds’ and the smorgasbord of
psychedelic sounds on ‘The Blue Elephant’, Berry’s journey has produced a feast for the
ears that twists and turns down more unexpected avenues than most artists could
manage over several careers.
 ‘Gather Up’ pulls together an excellent career spanning collection expertly compiled by
Berry, including non-album tracks such as ‘Snuff Box Theme’. No easy achievement
considering the sheer breadth, diversity and volume of his exceptional musical output.
















p 16 Music for insomniacs [Part 4]

Paul Gilbert have announced the release of a new seasonal offering titled 'TWAS. Gilbert’s 17th solo album features a dozen recordings, two of which are new, original compositions.

Gilbert shares, “Many will agree that in recent times, challenging events have been pouring down upon our heads like an Exploding Waterfall of Molasses. At least it sometimes feels like that to me. But while I was jamming Christmas songs with my friends, playing an assortment of red, green, and white Ibanez electric guitars, I felt like life was THE BEST. I hope that this music can put a smile on your face as well. Merry Christmas to all. And to all, a good night.”

The track listing features “Let It Snow! Let It Snow! Let It Snow!,” “Frosty The Snowman,” “Hark! The Herald Angels Sing,” “The Christmas Song,” “Rudolph the Red-Nosed Reindeer,” “I Saw Three Ships,” “Every Christmas Has Love” (original), “Three Stings For Christmas” (original), “Have Yourself a Merry Little Christmas,” “We Wish You a Merry Christmas,” “Silver Bells,” and “Winter Wonderland.” On the Japanese release of ‘Twas The Guitar Before Christmas, there will be a bonus track titled “Down the Chimney Blues” (original).

Gilbert offers, “Ten of the songs are classics. I was inspired by the Christmas recordings of Nat King Cole, Loretta Lynn, Stevie Wonder, Barbra Streisand, Johnny Mathis, Ella Fitzgerald, and The Ventures. And of course, inspiration came from my guitar heroes, Eddie Van Halen, Alex Lifeson, Johnny Winter, Robin Trower, Frank Marino, Pat Travers, Jimi Hendrix, and Jimmy Page, to name a few. I also wrote some of my own new Christmas songs. As I have been doing recently, I begin with lyrics and a melody. Then I let my guitar take over, as it sings better than I do.”

Beppe Loda and 'was resident DJ at the disco Bisbi
Pavone Mella (BS) in 1980 and semi-resident until 1992,
the year of final closure of the club, in this double
collection, have been selected the most significant
songs of the musical journey started by Loda in that
period.

Frank Zappa’s “200 Motels” was a miraculous feat, a cinematic collision of the venerated musician and composer’s kaleidoscopic musical and visual worlds that brought together Zappa and his band, The Mothers, Ringo Starr as Zappa – as “a large dwarf” – Keith Moon as a perverted nun, Pamela Des Barres in her acting debut, noted thespian Theodore Bikel, the Royal Philharmonic Orchestra, and an incredible assortment of characters (both on screen and off) for a “surrealistic documentary” about the bizarre life of a touring musician. In celebration of “200 Motels” golden anniversary, Zappa Records, UMC and MGM have assembled a definitive Super Deluxe six-disc box set of the beloved, yet hard to find, soundtrack for release on November 19. Fully authorized by the Zappa Trust and produced by Ahmet Zappa and Zappa Vaultmeister Joe Travers, the monstrous 200 Motels 50th Anniversary Edition brings together the original soundtrack, newly remastered by Bernie Grundman at Bernie Grundman Mastering, along with a staggering amount of unreleased and rare material unearthed from FZ’s Vault, including original demos, studio outtakes, work mixes, interviews and movie ads, along with newly discovered dialog reels, revealing an early audio edit of the film. Also included is a wealth of never-before-heard audio documentary material surrounding the project. The six-disc set will be housed in a 64-page hardcover book in a handsome 12” x 12” slipcase. The packaging replicates the original booklet updated with revealing new liner notes from Pamela Des Barres, Ruth Underwood and Joe Travers, as well as Patrick Pending’s essay from the 1997 reissue, and is chock full of motion picture artwork, stills and images, from the film and its making, many which have never been seen before. This must-have collector’s release will also include a custom “200 Motels” keychain and Do-No-Disturb motel door hanger and a full-size replica of the original movie poster. Years in the making, all the audio was meticulously identified and transferred over several years as Travers dug through the Vault to create a new high resolution 96K/24B digital patchwork stereo master from the original analog tapes. The Vault material was mastered by John Polito in 2021. The remastered 200 Motels soundtrack will also be reissued on vinyl as a 2LP pressed on 180-gram black vinyl and on a 2CD format - both will include a smaller version of the movie poster.

Beautiful reissue of the 2000 album on FBWL, guitar ballads about Day, Evening, Night and Dawn. Remastered in 2014 by Taylor Deupree at 12k.

Songs touch on loss, flaws, hiding places, love. Deep connections to the Bay Area, and
the North Coast, with its unique moods of solitude, beauty, and isolation—a place described and transformed by the chaos and power of river-mouth, wild maritime storms, columns of mist that rise up unexpectedly on the road at night. Portions were recorded on Mount
Tamalpais during a self-made residency years back, other pieces made longer ago in Portland, while the rest were tracked during more recent sessions in Astoria.
Throughout, Harris threads a hidden radiant language of voice, disquiet, and guitar, framed by open space and the sense of being far away.
Echoing a lighthouse, burying the faults of being human / Into things that we project upon the sky at night.

No other pairing in the history of Darkwave ever matched the unfettered creativity, resolve, and DIY attitude from the collaboration between the two creative minds that compromise Lebanon Hanover.

The meeting of the Swiss musician Larissa Georgiou, aka Larissa Iceglass and British artist William Maybelline a decade ago in the latter’s hometown of Sunderland in the UK, was a monumental occasion, reverberating throughout the European music scene and even across the Atlantic.

Lebanon Hanover would emerge from the peak of the world-wide minimal wave revival, with their 2011 split 7-inch record with La Fete Triste issued as the catalog debut of Europe’s most ubiquitous Techno-Industrial EBM labels, Aufnahme + Wiedergabe

With Berlin as their new physical home, William and Larissa would soon, however, join the Fabrika Records family. From here, they would go on to release two full-length albums through the Athens based label, starting in early 2012 with their winter debut LP The World Is Getting Colder, and it’s All Hallows Eve follow up Why Not Just Be Solo.

It was Lebanon Hanover’s 2013 third studio outing Tomb for Two that would go on to cement the duo’s legacy, with the album’s single “Gallow Dance” becoming a post-punk anthem for the times, with artwork became the band’s defacto logo. Not only that, the song “Sadness is Rebellion”, also featured on the album, became the band’s official Mantra.

Two years would pass before the release of 2015’s critically acclaimed fourth record, “Besides the Abyss”. In the intervening years, William and Larissa, initially a couple, would find other partners, and relocate to Athens.

Meanwhile, Lebanon Hanover as a live act would expand rapidly in popularity, exceeding capacity during their performances at Wave Gotik Treffen in Leipzig, and performing sold-out shows across Europe and the UK.

With the playful Babes of the 80s maxi-single released in the interim, three years would pass before the next record from Lebanon Hanover, with 2018’s Let Them Be Alien, the band’s fifth studio album.

At the dawn of the global pandemic, where dystopian nightmares that were only ever seen before within the pages of books and flashes of silver screen celluloid, has become a daily reality, a new kind of darkness envelops the world. It was at this Lebanon Hanover returned, sharing a glimmer of hope with the single “The Last Thing,” the duo’s first song from their forthcoming sixth studio album Sci-Fi Sky.

Spanning an epic journey across ten tracks that wander through industrial landscapes, and ascend beyond the atmospheric aether, Sci Fi Sky is Lebanon Hanover’s most cohesive artistic statement to date. With their icy hearts on their sleeves, this is the culmination of a decade’s worth of musical creativity radiating from the minds of both Iceglass and Maybelline, and altogether an otherworldly beacon of hope in a time of sheer darkness.

Get yo ass in the house, robot-- you cyber-spectre, you outhouse prime minister, you hard-headed mirror ninja, snapping selfies, living in the pixelated seams between bursts the of flashing images, birthed in a pool of TV static and Tik Tok dust. BLACK ENCYCLOPEDIA OF THE AIR is here, not to save but to drown you. Heads better learn how to swim cause listen, this record is beat soup, hearty yet still minimal, a sonic mirage of prophetic soul that drop kicks your "chill beats to study to" Youtube playlist and hyper-intellectual rap podcasts into a hadron collider; it's only black matter on the other side-- 13 mesmerizing tracks about memory and imprinting and the future, all of them wafting through untouched space like the ghostly cinders of a world on fire, unbound and uncharted, vast and stretching across the universe. Moor Mother is a holographic figment of an Afrotopian dream, all at once goddess and warrior, mystic and cyborg, griot and future time traveller, etching noisy pieces of reverie into our consciousness for decades now. But check it: on BLACK ENCYCLOPEDIA she's joined by a wide-range of friends, collaborators and co-conspirators on a trip through the murky cosmos, navigating the black universe with stardust as currency. In these times, they'll say, as they click and mash their way through the same inter-webs that seek to strangle them, BLACK ENCYCLOPEDIA OF THE AIR is just what we need: a post-everything, 12:01 on the doomsday clock, anti-trip hop type of situation. "We ain't gotta fight no more," they'll say; the rest of us, we'll put this record on and imagine again that it's real.

New Universe 4 tracks sampler with finest house cuts. This essential record bag filler, is a fresh jacking groove that the artists packs in this amazing production. What a bunch of absolute slammers!

Psychemagik are the renowned duo of Daniel McLewin and Thomas Coveney hailing from the UK, best known for their carefully crafted DJ sets and distinctive edits.

In 2019 they released their long lost LP ‘I Feel How This Night Should Look’ featuring for the most part a collection of unreleased material written and recorded over a decade ago. Two of the tracks had made it out ahead of the album with a life of their own; a self released EP that featured ‘Above the Clouds’ and the 10th Anniversary of Phonica which included ‘Triumph of the Gods’.

Here Psychemagik revisit the latter with brand new remixes from Prins Thomas and Richard Norris. Thomas stays true to form with a percussive, glacial take that vibrates around the existing arrangement composed by Richard Chester at the infamous Air Studios. Whilst Norris ups the psychedelia pulling on Renate Staal Nygard’s stunningly melodic vocal accompaniment.

Driven by support from the likes of Gilles Peterson, Quantic, Nightmares On Wax, The Nextmen, Lauren Laverne, Danny Krivit and most prominently Craig Charles, Sam Redmore has built a name for himself over the last few years for crafting soul-drenched remixes and reworks of both solidified classics and lesser-known material.

Having spent so much time re-working the classics it is no surprise that production values are high when it comes to his own original music.

At the start of 2021 Sam signed to Jalapeno Records, giving everyone involved cause for celebration after a difficult year and his debut album is slated for May 22.

Many of the album tracks were purpose-built for inclusion in his DJ sets - which can range from cumbia, afrobeat, samba, funk and reggae through to house, broken beat, disco and everything in between…

On The One will be the first single to drop from the album and features the inimitable vocals of poet and rapper Mr. Auden Allen as well as the soul drenched horns of Renegade Brass Band. Debuted on BBC 6 Music when Sam performed a guest mix in April this year, it seemed the perfect track to debut from Sam's new record.

● 180g heavy vinyl pressing, comes with a 4p insert including an interview with Leonardo Marques, artists biographies and exclusive pics.

● Multi-talented musician, singer songwriter, music producer, and sound engineer Leonardo Marques selects ten musical gems recorded at his Ilha Do Corvo studio in Belo Horizonte, Brazil. The studio is equipped with vintage instruments and gear from various decades which creates a unique sonic landscape and sound signature in each record it produces. Ilha do Corvo is also an indispensable creative hub for the inimitable Belo Horizonte and Minas Gerais musical scene. This compilation highlights some of the best works recorded at Ilha Do Corvo over the past few years and features some of the brightest talent to record in the studio, with music by Bernardo Bauer, Moons, Giovanni Leão, Douglas Scalioni Domingues, Gui Hargreaves, Arthur Melo, Rodrigo Damati, Invisível and Leonardo Marques himself. This is essential Brazilian music at its best!

This year marks 25 years since Oasis’ two iconic record breaking live concerts at Knebworth Park in Hertfordshire on the 10th and 11th August 1996. The shows were both the pinnacle of the band’s success and a landmark gathering for a generation of young people. Released alongside the cinema debut of the feature length documentary film of the event, ‘Oasis Knebworth 1996’ is the definitive live recording featuring a setlist packed with stone cold classics album taken from across both nights of the concert, from the opening salvoes of ‘Columbia’ and ‘Acquiesce’, to ‘Champagne Supernova’, ‘Don’t Look Back In Anger’, ‘Live Forever’, an orchestra backed ‘I Am The Walrus’, and ‘Wonderwall’ the first song from the 1990’s to reach over one billion streams on Spotify and universally loved anthem.

Third Man Records is proud to announce the 20th anniversary expanded edition of Kelley Stoltz’s defining album Antique Glow, due November 19, 2021. The announcement is heralded by the release of bonus track "Too Beck". Limited-edition "rainy nights" UK exclusive vinyl will be available on release day.

Originally self-released in minuscule vinyl-only quantities in 2001, Antique Glow has served not only as a template for the length of Kelley Stoltz’s twenty-plus year career, but has also served as a compass for other Anglophile, TASCAM 388 home recording acolytes. Original copies featured Stoltz’s clever, wry and fanciful hand-painted adornments overtop reclaimed thrift store LP jackets, Third Man’s release here utilizes some of those original unused images for a die-cut sleeve that ultimately gives the listener six different possible album covers.

The songs are by-and-large masterpieces of bedroom pop magic. From the whispering “Here Comes the Sun”-adjacent acoustic underpinnings of album opener “Perpetual Night” through the fuzz-threaded leads of “Are You Electric?” Stoltz’s inspirations are impeccable and clear. Sixties Davies British Invasion through 80’s British Bunnymen post-punk, with appropriate off-shoots into West Coast American pop-psych, Velvets-indebted hooliganism and Drake/CSNY acoustic attenuations, the end result is pure joy.

On the expanded version, standout tracks previously relegated to an Australian tour-only CD (like the breathlessly cinematic “Old Pictures”) see their first-ever vinyl and digital release while there’s an additional 10 songs from the Antique Glow-era seeing their first ever release in any format. The cutting room floor quality here is second-to-none, Stoltz clearly gifted with the curse of writing too many indelible songs, so the newly released “Too Beck” (originally cast off by Kelley because he thought “it sounded too much like Beck”) and “Umbrella” stand firm as some of the best, most timeless music Stoltz has ever released... a full two decades after he recorded them!

THERION have always been a band that have challenged themselves to explore new paths, while remaining true to their musical core values. For their 17th studio album, mastermind Christofer Johnsson and his collaborator Thomas Vikström have created something that has been previously unthinkable to the guitarist and the singer. "We have done the only thing that was left of all the different angles to explore", explains Christofer. "We have decided to give the people what they kept asking for. 'Leviathan' is the first album that we have deliberately packed with THERION hit songs."

True to the Swede's words, the album opens with the catchy and swift tune 'The Leaf Of The Oak Of Far' featuring female and male antiphonal singing as well as a choir that seems to have evolved straight out of THERION's breakthrough full-length "Theli" (1996). This is immediately followed by the obvious highlight 'Tuonela', in which Christofer cleverly underscores this hit-track's Finnish vibe by employing NIGHTWISH’s "metal voice" Marko Hietala. Next up in this parade of future fan-favourites is the title track 'Leviathan' that offers classic THERION material with operatic female vocals and a massive choir.

Christofer Johnsson's passion for classic voices, choirs, and orchestral elements as well as his penchant for epic melodies in combination with rock and metal shines clearly through the following sing-along ballad 'Die Wellen Der Zeit', which indicates another nod to German romantic composer Richard Wagner. "Ever since 'Theli', Wagner has been and will always be at the core of THERION", emphasises Christofer. "When we started to combine metal and opera, it was something new and original. Today, symphonic metal has long been a firmly established genre." When THERION came into being in 1988 by changing name from the already existing band BLITZKRIEG, which was founded a year earlier, Christofer had rather taken inspiration from SLAYER's "Reign In Blood" among other classic metal albums.

At the beginning, the Swedes were firmly rooted in death metal, a genre which they helped to define, as witnessed by their debut album "Of Darkness...." (1991). Yet even back then, there were hints of "something else" lurking beneath the rough surface. The use of female vocals is another core ingredient of THERION today, which developed gradually. CELTIC FROST had basically introduced the female element to extreme metal on "To Mega Therion" in 1985. THERION began with both a female and male vocalist emulating a church like choir already in their sophomore full-length 'Beyond Sanctorum' (1992). With Symphony "Masses: Ho Drakon Ho Megas" (1993) and "Lepaca Kliffoth" (1995), Christofer continued to developed his trademark sound by gradually drifting towards cleaner vocals and more keyboards.

With "Theli", the Swedes had firmly established a reputation of pushing the boundaries of metal in the 90s –among such acts as their compatriots TIAMAT, THE GATHERING, and MOONSPELL that were often referred to as "gothic metal" at the time. THERION continued to break new ground leaving inspiration for others to follow in their wake: On "A'arab Zaraq -Lucid Dreaming" (1997), Christofer further explored the use of Near Eastern music in metal which he had already begun in 1992, while "Secret Of The Runes" (2001) dared to have Swedish lyrics in some songs.

While critics were left confused and fans challenged, THERION were often ahead of their times and vindicated in hindsight. Even the band's 25th anniversary excursion "Les Fleurs Du Mal" has by now overcome the initial shock the album caused and is only beaten in terms of streaming by the classic "Vovin" (1998). When Christofer faced the question of where to go next after the dramatic "Beloved Antichrist" (2018) had finally fulfilled his musical mission, his answer is "Leviathan" named after a giant sea monster from Judeo-Christian myth that has roots in Babylonic lore: THERION have created a giant hit album –and for the first time in the history of the Swedes, their fans are not asked to explore something new, but simply to lean back and enjoy the best from their band!

By way of some cosmic miracle, only one Total Hell pops up
when the band moniker is searched on Discogs. And that would
be the band responsible for the five-song blast of heavy metal
sounds at hand. Now active for about two years plus change
and exported from the very metal and punk fertile New Orleans,
Total Hell is DD Deth (aka Drew Owen—Sick Thoughts
wheelman, Trampoline Team etc) on drums / vocals, Henry
Hell (John Henry of Static Static, Heavy Lids) on bass / vocals,
and guitarists Jason “Panzer” Craft (Persuaders, Tirefire) and
Michael Maniac (Michael He-man of Trampoline Team).
If self-deprecation is beyond the listener’s processing skills,
then please know that as self-described purveyors of the “New
Wave of Shitty Heavy Metal”, Total Hell’s big-boy debut is
not “shitty” in any manner whatsoever. These four recordings
(“Desecrate”, “Clones From Hell”, “Violator”, and “Disfigured”)
are melodic monstrosities that hit with a wall-to-wall, floorto-
ceiling hugeness, while doing so in an economical manner.
There will be no mistaking this for Broken Bones screeching out
of an iPhone inside the vegan squat. On the flip, this is no Bob
Rock joint. DD Deth elaborates: “Recorded on a Tascam 8-track
cassette live at home (aka “The Parkway”) by Michael He-Man
and the process was a nightmare. Original tape crapped out on us
back in early 2020 so we had to redo the whole thing. Intros and
interludes were done last minute by me with the cheapest midi
keyboard on the net.” Well, color Goner Records impressed.
One might get momentarily lost in the cavernous drums that
introduce opener “Desecrate”, but soon the buzzsaw-riff-wall
will crush one into a smudge on the bathroom floor. Without
rocking some safety goggles and diving headfirst down a
terminology rabbithole, this is punk jumping into the sack
with metal and leaving black boots on the bedroom floor rather
than white hightops. Xmas came early for fans of Anti-Cimex,
Celtic Frost, pre-shit Discharge, Motörhead, Blitz, Midnight,
Venom, Broken Bones and...one gets the picture.

Germany-based metal band OBSCURA launch trilogy concept on stunning new album “A Valediction”. The group’s first (sixth overall) album for Nuclear Blast pivots on many fronts. Advanced, elegant, and yet refreshing, “A Valediction” sums up past endeavors effortlessly as it gazes with purpose and conviction into the future. OBSCURA are fan-renowned and critically acclaimed for challenging and then expanding upon norms. From “Cosmogenesis” (2009) through “Diluvium” (2018), the band flourished and made significant progress in a musical genre unprepared for a creative shot of German invention. “A Valediction” spearheads OBSCURA into a new era of extreme metal.

Guitarist/vocalist Steffen Kummerer founded OBSCURA in 2002. Early on, he set out to improve, redefine, and push forward. Under his self-label creation, the Bavarian released debut album “Retribution” (2006), followed by heavy touring throughout Europe. Word quickly spread that a brand-new band from the south of Germany was on the rise. Buzz lead to a deal with U.S.-based Relapse Records. The first record out was “Cosmogenesis”. In Europe, Metal Hammer Germany awarded the album 6/7 while in the U.S., “Cosmogenesis” hit the Billboard charts at #71. The cross-continental praise and fevered momentum landed OBSCURA on high-profile tours in Europe, North America, and Japan.

When follow-up “Omnivium” arrived in 2011, they upped their chart success (Billboard #11; Media Control #14), received more accolades from publications like Terrorizer, Rock Hard, and Decibel, had another massive round-world tour cycle, while enhancing and making progress on their clever brutality. OBSCURA further developed their sound on “Akróasis” (2016). Moored by jaw-dropping tracks like ‘Sermon of the Seven Suns,’ ‘Ode to the Sun,’ and the title track, “Akróasis” elevated OBSCURA to the highest levels of international renown, having climbed up the Billboard charts (#5) as well as earning top marks in Rock Hard (8.5/10), Metal Hammer Germany (6/7), and Revolver (4/5). The Germans toured the world yet again, playing over 100 shows in support of “Akróasis”.

OBSCURA’s most significant accomplishment was, however, just around the corner. The final part of a tetralogy, “Diluvium” (2018), fiercely pursued OBSCURA’s multi-album transformation into musical innovators and metal powerhouses. Music videos for the title track, ‘Emergent Evolution’ and ‘Mortification of the Vulgar Sun,’ in concert with a substantial interest in virtuosic, forward-thinking metal, posited OBSCURA in the good graces (yet again) of the worldwide press in addition to rocketing up, for the very first time, the official album charts in Germany (#58) and Switzerland (#93). The Germans also topped out at #3 on the Billboard Heatseekers chart with “Diluvium”.

OBSCURA‘s stats have been impressive: Twenty years active; six highly prized albums; over 600 shows on four continents. Worldwide fan and press engagement—the videos for ‘The Anticosmic Overload,’ ‘Akróasis,’ and ‘Diluvium’ have over 4.5 million views—is only getting stronger the longer OBSCURA continue to offer up and interact with (via play-throughs and member/gear spotlights) their very captive audience. This is only the tip of Kummerer’s custom ESP guitar, however. A Valediction finds OBSCURA turning the page to a new chapter in the band’s evolution. A year in the works, the songwriting sessions followed a new approach, where the framework was relaxed, allowing new inspirations, imagining, and opportunities to arise. Songs like the opening epic ‘Forsaken,’ the '80s-tinted ‘When Stars Collide’ (featuring Soilwork/The Night Flight Orchestra frontman Björn Strid), the brutal groove of ‘Devoured Usurper,’ the ethereal artistry of ‘Heritage,’ and the fleet-fingered title track benefitted compositionally (refined structures) and aesthetically (more dynamism) from OBSCURA’s restyled songwriting stratagem.

OBSCURA wrote, recorded, and finalized “A Valediction” during the pandemic. The stipulations of working during this time allowed OBSCURA to work cross-country, tracking each respective part—drums, guitar, and bass—in national studios across The Netherlands, Austria, and Germany. Once the pieces were completed, the recordings were shipped off to award-winning producer Fredrik Nordström and Studio Fredman (In Flames, Architects) in Gothenburg, Sweden, where Kummerer and Münzner completed vocals and acoustic guitars using custom-built ENGL amps. Nordström was also tapped to mix and master. The final result is a deeper, heavier, yet more rounded production.

Lyrically, “A Valediction” is layered in structure and meaning. The word ‘valediction,’ by definition, deals with goodbyes and farewells. In a way, this is auf wiedersehen to the four-part album series while also addressing complex topics of Kummerer’s personal life. Instead of obscuring issues of loss, death, and abandonment in metaphor and allusion, the German laid bare his torment across songs like ‘Forsaken,’ ‘Solaris,’ ‘In Unity,’ ‘The Neuromancer,’ and ‘In Adversity.’ But for every line of desperation, he also offers positivity. Indeed, new beginnings—physical, emotional, or environmental—can provide light in the darkness. Lauded artist Eliran Kantor (Testament, Helloween) was brought on board to visualize the leitmotif. The bronze-themed colourway Kantor used exemplifies OBSCURA’s resistance to individual and sonic corrosion.

In 2021, OBSCURA will lighthouse their musical prowess, thematic complexity, and lyrical ambition on “A Valediction”. The group continue to be a beacon for change. No doubt OBSCURA’s new stats will amaze, but what they’re focused on is the release of “A Valediction” and then taking it on the road. Several high-caliber tours of Europe, North America, and Asia are planned through to 2023, with routes are in the works for the band to visit Australia, South America, and beyond. Truly, there is no band quite like OBSCURA. “A Valediction” proves that persistence, perseverance, and enterprising minds can achieve anything. Welcome to the next level!

Sistrum ventures ever deeper into the cold, dark nights of winter, conjuring the hidden warmth that lies within each waveform. Genesis Tracks showcases a collection of deep techno talents who aren't afraid to stand their ground for purity of sound.
Track 1 - Modular One - Quasar
Chris Mitchell teams up with label boss, Patrice Scott for a lush, hypnotic groove of classic proportions. Warm square wave tones pulsate and crisp chord stabs shimmer as they punctuate the atmosphere. Sistrum sound, through and through.

Track 2 - Johannes Volk - Steam
Johannes Volk ups the tempo a bit to create a dirty, driving dancefloor number with Steam. Maintaining the Sistrum tradition of raw, no-nonsense techno music with depth, texture and soul, Johannes Volk makes his case eloquently through the use of rolling bass and slowly modulated chords.

Track 3 - Marco Zenker - Second Sight
Deeper yet we go, as Marco Zenker proceeds into the darkness with the booming, reverbed kicks of Second Sight. Slowly evolving synth textures rise and undulate, meshing with the rugged rhythm section to form a powerful groove that can only be defined as 'techno soul.'

Track 4 - Sharif Anderson - Future Acid Test
Closing the EP, Sharif Anderson offers his forward thinking take on the traditional acid motif. As the title implies, the sound is futuristic, but still retains the simple subtleties of yore. Give this track a proper sound system and watch it come alive before your ears.

James Blunt’s greatest hits album, 'The Stars Beneath My Feet (2004-2021)’ is out November 19th and celebrates songs spanning a stellar 17-year career that has spawned over 23 million album sales, a global smash hit with ‘You’re Beautiful’, two Brit Awards and two Ivor Novello Awards, as well as receiving five Grammy Award nominations.

Amongst the string of hit singles, 'The Stars Beneath My Feet (2004-2021)’ will also include four new songs (‘Love Under Pressure’, ‘Unstoppable’, ‘Adrenaline’ & ‘I Came For Love’), as well as four exclusive live performances from around the world, including the Glastonbury Festival. It also features stunning tracks from his latest Gold-selling album ‘Once Upon A Mind’, including ‘Cold’, and the heartbreaking ballad for his father, ‘Monster’.

James’ classic 2004 debut album ‘Back To Bedlam’, was recently named as one of the top ten best-selling albums of that decade, and with ‘Once Upon A Mind’, James Blunt reinforced his reputation for writing honest, emotional songs that people can easily relate to. The album marked a return to what James Blunt does best – writing classic songs that touch both the heart and the head. Another side of James - his wit and charm - have in recent times been showcased via his always engaging Twitter account. James has also announced a huge UK arena tour for 2022.

Since her debut onto the techno scene with the 2018 release of her EP 'Post-Traumatic Rave Syndrome' on Paula Temple's "Noise Manifesto" and a string of international festival and club appearances, Femanyst has gained a reputation for militant individuality. Akua Grant sets herself apart from the crowd with her aggressive & unrelenting industrial techno sets tinged with elements of Hardcore and Gabber. She has become known for her rebellious and innovative style in her adopted home of Berlin. Her self-assured approach to gripping and brawling techno tension sees her perform a fast paced and fervent flow on the dance floor. Femanyst continues to bring her unapologetically bold signature sound with her own techno imprint "Dark Carousel" as an extension to her much revered DJ sets of twisted and aggressive, high octane electronic music.


A2 Fluid - Post Industrial Transformation
Fluid is a queer DJ and producer based in Berlin. Supporting FLINTA* DJs, producers and party events are one of his priorities. His first release begun in January 2021 and he is still modelling his sound. His interest in electronic music goes from industrial techno to ebm to trance to hypnotic techno.

Post Industrial Transformation is a track which combines aggressive sounds and a lot of industrial elements. The transformation refers to Fluid's evolving own path. This evolution is similar to the tension that builds up all through the track. This track evokes change, modification, passage from one form to another.


B1 Hybral - Unheard Voices
Hybral is a Berlin-based non-binary DJ and producer drawn to eerie energetic industrial techno. They mix and produce haunting techno, EBM, and noisy-driven experimental sounds. Hybral's productions are made of dark atmospheric patterns linked with pushing percussions and basslines as well as heavily distorted kicks and harsh industrial noises. Mixing DJ sets the track selection is ranging from contemplative ambient to stern and fast techno - connecting vast influences from Hybral's personal experiences of spending days and nights on Berlin's dancefloors. They are founder of the queer label, podcast, and event series 'Subverted' which focuses on a distinct program aiming to lead dance music back to its roots of resistance and diversity.


B2 Marsch - Mrs. Jones
Marsch is a Berlin-based dj and producer from France, who initially began 8 years ago as a music curator and selector. She started to produce when she moved to Berlin, and has mostly been focusing on this for the past few years. She would define her music as a balance between melody, energy and texture, with a blend of minimalistic elements, rhythmic and percussions, and voices and futuristic synths.


DURCH BLN/TLV is a queer collective with a clear vision of solidarity and community building. DURCH operates in Tel Aviv and Berlin trying to bring queer people together, building a culture of inclusion, diversity and tolerance. In the tradition of original raves DURCH organizes solidarity events ranging from parties, to art and community events, with the strong belief that raves are a much needed place for people to come together, celebrate their diversity and learn to respect each other. Musically DURCH is eclectic inspired by hardcore, straight forward techno, ghetto and scouse house and 90s acid.

We proudly announce the release of our first vinyl record "dogged boldness". This is a long held dream by the entire crew. With Femanyst, Hybral, Marsch and Fluid we are happy to showcase four artists that are close and dear to DURCH BLN/TLV. The record is a compilation of four hard-hitting, inciting techno tracks. Rough, bold and aggravating, just the way we like it. We are proud that we are able to continuously work with queer artists and to be a platform to further queer artists visibility.


Disclaimer: The world needs more queer artist, more queer music, more queer techno, more queer perspectives, more queer love and more queer intimacy.
No place for any racist, sexist, trans- or homophobic shit.

Artwork by Rory Midhani
Mastering by Chlar

Over the course of the decade, Meatbodies’ Chad Ubovich has been
a perennial candidate for MVP of West Coast’s fertile rock scene. The
LA native could be seen peeling off guitar solos in Mikal Cronin’s
backing band, supplying the Sabbath-sized low end for Ty Segall and
Charlie Moothart as the bassist for Fuzz, and, of course, fronting his
own Meatbodies. Today the recently dormant experimental noise /
freak-rock outfit has announced their return with 333—a corrosive
stew of guitar scuzz, raw acoustic rave-ups, and primitive
electronics that charts Ubovich’s journey from drug-induced darkness
to clear-eyed sobriety. 333 simultaneously reflects on how the world
he re-entered was still pretty messed up—if not more so. “These lyrics
are dark, but I think these are things that a lot of people are feeling
and going through” he says. “Here in America, we’re watching the
fall of U.S. capitalism, and 333 is a cartoonish representation of that
decline.”
In mid to late 2019, the band—Ubovich and drummer Dylan
Fujioka—had a new album in the can, ready to be mixed. But
when COVID hit, like so many other artists, they put their release
on hold as they rode out the pandemic’s first wave. During that idle
time, Ubovich discovered a cache of demos that he and Fujioka had
recorded in a bedroom back in the summer of 2018, and he really liked
what he heard. In contrast to Meatbodies’ typical full-band attack, it
was deliriously disordered. “It sounded gross, like a scary Magical
Mystery Tour,” he recalls proudly. After subjecting them to some
mixing-board freakery, Ubovich fast-tracked the songs into becoming
this third release of theirs, 333. It proves Meatbodies have greatly
expanded their palette, opening new portals to explore. And for an
album that wasn’t supposed to exist, 333 is the ultimate testament to
Meatbodies’ renewed vitality.

Restlessly awakening from the depths of a feverish slumber, doomed heavy metal masters KHEMMIS return to reveal their fourth full length studio album, DECEIVER, arriving via Nuclear Blast Records in November 2021. Six tracks of desolate, soul-awakening heaviness encapsulate a project that has been nearly three years in the making. With a title that reflects the internal struggles that many of us battle in our daily lives, DECEIVER is a ferociously honest and appetizingly raw piece of musical artistry.
The first single LIVING PYRE signifies far more than just the beginning of another musical endeavour for the band; it is a substantial benchmark for emotional struggle and growth. “When it comes to my own mental health, when I’m in a bad place, I can’t access the part of me that creates art. After reaching that understanding of myself, the bulk of this song came out in one sitting. I was feeling stable. I was feeling hopeful–even though so much outside in the world was not exactly inspiring. All of us needed a reason to feel a glimmer of hope,” recounts Hutcherson. With a big, quintessentially KHEMMIS chorus embellished by a swampy sorrow, this song incorporates familiar elements of the band’s sound with a touch of Swedish death metal in its latter half. “The reason that this was the song that came first lyrically was because I was juggling all the things that were happening with the inside and outside world intersecting. All the lyrics for me feel very ‘of the time.’ So much was happening in this world, and they were just my efforts to contend with it,” explains Pendergast. “Like Ben, this was a breakthrough moment for me. Once I got the song out, it allowed me to write other songs for the album. It’s less about the fire metaphor implied by the title than about the fact that in order to escape fire you have to find water. You find the deepest, darkest cavern…you just want to stay there forever. It slowly fills up and you eventually drown.”
HOUSE OF CADMUS was another deeply collaborative writing effort between all three members of KHEMMIS. “I thought the opening riff had this cool almost-swing to it...but evil,” recalls drummer Zach Coleman. “I was drawn to the atmosphere of that first riff, and it felt like it needed to be a song that was dark the whole way through. Ben and I discussed getting some New Orleans-style sounds somewhere on the album, and I think this is where we were able to sneak some in to tie together other aspects of the song.”
“I knew that I wanted the lead guitar line in the second half of the song to tie two very different parts together,” explains Hutcherson, “but the idea was all really abstract until we were in a room together. It wasn't until we jammed out that big funeral/death doom bridge and the slow, sad coda that we found out what we wanted that lead line to be: memorable and emotive. It was a very honest musical moment together.” The writing and recording processes of HOUSE OF CADMUS were so emotionally driven that even producer Dave Otero of Flatline Audio (Cephalic Carnage, Cattle Decapitation, Act Of Defiance) encountered his own deeply personal and intense connection with the song. “With the lyric turn at the end, I was inspired by Dave’s imagery,” says Pendergast. “This idea of a person leaving some important part of themselves behind as they float away and leave the thing they love on the shore. The sound of this song is like a lighthouse beam cutting through the fog in a dark night on the ocean.”
While the lyrical themes of DECEIVER;sorrow, pain, longing for hope, will no doubt be familiar to longtime fans, these six songs display a broader collection of musical influences than on any other KHEMMIS record to date. “It being our 4th album, especially after the transition between the last two albums, it felt really freeing. We felt that we could really do anything on this record,” explains Coleman. “There’s a lot here that we’ve never done before,” adds Pendergast. “In some areas it gets darkly psychedelic. I think we found a cool way to mutate things using transitions that feel really natural. There is a subtle symmetry between the first and last songs which is one of the things that makes listening to the full album a satisfying holistic experience. It builds from almost nothing, becomes very dark, and then you slowly crawl out of that lowest circle of hell.” KHEMMIS’s DECEIVER is a beautiful, musically ambitious journey from beginning to end drenched in impassioned melody and complex, unrestrained variations of sonic savagery adorned with chilling, intensely tragic cover art by frequent collaborator Sam Turner.

Restlessly awakening from the depths of a feverish slumber, doomed heavy metal masters KHEMMIS return to reveal their fourth full length studio album, DECEIVER, arriving via Nuclear Blast Records in November 2021. Six tracks of desolate, soul-awakening heaviness encapsulate a project that has been nearly three years in the making. With a title that reflects the internal struggles that many of us battle in our daily lives, DECEIVER is a ferociously honest and appetizingly raw piece of musical artistry.
The first single LIVING PYRE signifies far more than just the beginning of another musical endeavour for the band; it is a substantial benchmark for emotional struggle and growth. “When it comes to my own mental health, when I’m in a bad place, I can’t access the part of me that creates art. After reaching that understanding of myself, the bulk of this song came out in one sitting. I was feeling stable. I was feeling hopeful–even though so much outside in the world was not exactly inspiring. All of us needed a reason to feel a glimmer of hope,” recounts Hutcherson. With a big, quintessentially KHEMMIS chorus embellished by a swampy sorrow, this song incorporates familiar elements of the band’s sound with a touch of Swedish death metal in its latter half. “The reason that this was the song that came first lyrically was because I was juggling all the things that were happening with the inside and outside world intersecting. All the lyrics for me feel very ‘of the time.’ So much was happening in this world, and they were just my efforts to contend with it,” explains Pendergast. “Like Ben, this was a breakthrough moment for me. Once I got the song out, it allowed me to write other songs for the album. It’s less about the fire metaphor implied by the title than about the fact that in order to escape fire you have to find water. You find the deepest, darkest cavern…you just want to stay there forever. It slowly fills up and you eventually drown.”
HOUSE OF CADMUS was another deeply collaborative writing effort between all three members of KHEMMIS. “I thought the opening riff had this cool almost-swing to it...but evil,” recalls drummer Zach Coleman. “I was drawn to the atmosphere of that first riff, and it felt like it needed to be a song that was dark the whole way through. Ben and I discussed getting some New Orleans-style sounds somewhere on the album, and I think this is where we were able to sneak some in to tie together other aspects of the song.”
“I knew that I wanted the lead guitar line in the second half of the song to tie two very different parts together,” explains Hutcherson, “but the idea was all really abstract until we were in a room together. It wasn't until we jammed out that big funeral/death doom bridge and the slow, sad coda that we found out what we wanted that lead line to be: memorable and emotive. It was a very honest musical moment together.” The writing and recording processes of HOUSE OF CADMUS were so emotionally driven that even producer Dave Otero of Flatline Audio (Cephalic Carnage, Cattle Decapitation, Act Of Defiance) encountered his own deeply personal and intense connection with the song. “With the lyric turn at the end, I was inspired by Dave’s imagery,” says Pendergast. “This idea of a person leaving some important part of themselves behind as they float away and leave the thing they love on the shore. The sound of this song is like a lighthouse beam cutting through the fog in a dark night on the ocean.”
While the lyrical themes of DECEIVER;sorrow, pain, longing for hope, will no doubt be familiar to longtime fans, these six songs display a broader collection of musical influences than on any other KHEMMIS record to date. “It being our 4th album, especially after the transition between the last two albums, it felt really freeing. We felt that we could really do anything on this record,” explains Coleman. “There’s a lot here that we’ve never done before,” adds Pendergast. “In some areas it gets darkly psychedelic. I think we found a cool way to mutate things using transitions that feel really natural. There is a subtle symmetry between the first and last songs which is one of the things that makes listening to the full album a satisfying holistic experience. It builds from almost nothing, becomes very dark, and then you slowly crawl out of that lowest circle of hell.” KHEMMIS’s DECEIVER is a beautiful, musically ambitious journey from beginning to end drenched in impassioned melody and complex, unrestrained variations of sonic savagery adorned with chilling, intensely tragic cover art by frequent collaborator Sam Turner.

Flashes of light rarely burn for long. Bush Tetras exploded into
New York in 1979 and flamed out just a few years later. Yet
somehow this lightning-quick band have risen from their own
ashes again and again for four decades. The spark that ignited
Bush Tetras tapped into a deep grid of power, fuelled by
guitarist Pat Place, singer Cynthia Sley and drummer Dee Pop.
 That chemistry is palpable on ‘Rhythm and Paranoia: The Best
of Bush Tetras’, which features 30 tracks across 2CDs in a 4-
panel digipack / 29 songs across 3LPs pressed onto 180gram
vinyl in a rigid lift-off box with lift ribbon, remastered by Carl
Saff, plus a 40-page (2CD) / 46-page (3LP) book with neverbefore-seen photos, an original essay on the band by Marc
Masters and micro essays by Sonic Youth’s Thurston Moore,
R&B legend Nona Hendryx, The Clash’s Topper Headon and
more.
 From the band’s earliest recordings to their current, vital-asever incarnation, ‘Rhythm and Paranoia’ - for the first time ever
- showcases their unique, influential and body-shaking meld of
rock, punk, funk, reggae and more in one cohesive, immersive
and meticulously constructed box set.
 “Coupled with ‘Too Many Creeps’’ dancey arrangement, Sley’s
monotonous tone signaled that within the Tetras’ newly staked
safe space, misogyny wasn’t a threat: it was just a boring,
predictable damper on the party. Like the rest of their peers, this
band was over it.” - Pitchfork (The History of Feminist Punk in
33 Songs)
 “The Bush Tetras are a national treasure” - VICE
 “Renowned at the dawn of the eighties for pairing the disjoined
guitar skronk of the inaccessible No Wave scene with
irrepressible, funk-infused rhythms, the Bush Tetras were
remarkably influential without ever really receiving their due” -
The New Yorker
 “Bush Tetras bridge the gap between the Ramones and Sonic
Youth.” - NY Post





[e] 5 Cold Turkey [Live in London]










[p] 16 Mr. Lovesong [Alternate Version]













[xd] 30 Run Run Run [Live in San Francisco]

We used to enjoy presenting Chapelier Fou's work using the idea of music in the form of a treasure hunt. However, while the phrase in itself it still just as relevant today, we would never have imagined that it would become such an integral part of one of his albums. Or two of his albums to be perfectly exact - Méridiens and Parallèles. Two records with twelve songs each which answer each other back in the form of anagrams. They are like the two sides of the same planet - similar but simultaneously so different. They need to be discovered one after the other taking the time necessary to travel through the sound territories produced by his imagination. The starting point is a sombre night in Uqbar… Chapelier Fou's opening reference to Borgès was obviously not made by chance. He subsequently confided in us the objective of his diptych, namely to combine reality with fiction to question certainties and our relationships with the imaginary sphere. He has continued with his traditional classical-contemporary electronic approach which, although now known to a wide audience, has the advantage of opening up a whole range of possibilities right up to the infinite scale. Moving away from an "État Nain" (Dwarf State) to take refuge on an asteroid...Throughout Méridiens, each composition can be seen as a universe in itself or a specific landscape with its own temporality. Proof of this is the introduction to the chamber music format composed for and performed by only strings which can only be given the date we want to give it. This is "État Nain" in which violins are played like guitars. In some parts we find the spirit of the Penguin Cafe Orchestra and the idea of cheering up classical instruments and not taking everything too seriously. In other parts, we find something close to a mischievous and childish unplugged grunge anthem that could be from the French series Les Shadoks. This mischievous view of things is shown to full effect in Am Scharchtensee. The introduction shows Chapelier Fou's whole classical universe and mastery of orchestration in which "modular" electronics provide a subtle and discreet backdrop. Then, the record suddenly switches to a surrealist dialogue between these classical sounds and modular synthesizers with the flavour of the German pioneers Kluster/Harmonia to name but one example. Timelessness and imaginary places. La vie de cocagne confirms this choice of total freedom. It's traditional music with old sounds, a kind of forgotten bourrée (old French dance) in which electronic sounds disturb the established order and thus reach another musical dimension. Le méridien du Péricarde followed by Désert de Sonora push this idea of a trompe l'oreille and a hall of mirrors even further. The latter track ends almost like a catchy 80s melody and we can no longer find any logical meaning. We let ourselves be carried away by this profusion of madness and are a little amazed by this mastery of sound, composition and space. It sometimes all seems like a succession of conjuring tricks. Chapelier Fou takes not being serious very seriously indeed. The end song Everest trail is the perfect conclusion, a deadpan track in which the primary aspect of a totally classical melody in all its straightness is underpinned by a permanent exchange of electronic tweets which mocks the main musical posture. This impertinence harks back to Pierre Schaeffer who directed the ORTF's very serious experimental department in another era and allowed the development of Jacques Rouxel's series Les Shadoks thus introducing the general public to the notion of concrete music. This is also perhaps why Louis Warynski's stage name is French – because he has opted to use his French musical heritage. Thus the first singles selected from this album, Constantinople with its groovy and jazzy allure and Le Triangle des Bermudes evoke composers like Michel Magne or Michel Colombier both of whom have totally open minds and consider all music to have the same importance, namely that of sound. In absolutely all the tracks that make up Méridiens, you will find at least one detail - a pattern, melody, sometimes a simple sound - that will draw you back to explore it a little more. And the words are carefully weighed for sure. It's quite simple. This is undoubtedly his most hypnotizing and catchy album. Chapelier Fou has become a complete master of his own universe. He draws the start and finish lines himself and no one can follow him in a field that now belongs to him alone. Composed imaginary spheres, illustrated territories...Music is just as meaningful as the more visual arts. Therefore the artwork of Méridiens had to project each of the twelve tracks considered individually and not just the whole album as such. Chapelier Fou therefore asked his old friend the contemporary artist Corentin Grossman to create twelve windows to represent glimpses of the twelve worlds composed for the record. Windows or mirrors when it comes to that? You can never be sure of anything...Space OK. But what about time? The years go by and sometimes we forget that fact. But a simple glance back is often enough to gently touch the time that has passed. It is over 10 years since his first official record and he has been composing, recording and sharing his music for almost 20 years. 20 years is a long time. It makes some people look old while others fall into reassuring but sterile nostalgia. Chapelier Fou, on the other hand, has released his most ambitious project and tried to take a higher view of his discography that was itself nevertheless irreproachable. Although the journey is over we can see Parallèles universes on the horizon. Chapelier Fou has announced 12 additional tracks which are like echoes of the compositions on Méridiens' and will be released on the album Parallèles next spring. They are neither twins nor opposites – they are instead totally original new compositions which go further in exploring a universe which is already richly abundant.

Master sampler Fed Conti has a way of making grooves sound as light as a feather, elevating kraut and jazz phrases to dreamy realms where the imagination is tickled. To kick off the forthcoming debut PROGedia album, revered producer and remixer Charles Webster adds his inimitable touch to the single ‘We Are The Night’, expanding on Conti’s heartfelt arrangements, playing with beats and textures, as he travels smooth melodic lines.

PROGedia is the newest alias of the Italian producer Fed Conti, also known as Mahjong and Nardis. After having played his Hammond organ with several jazz deities, and produced samples for Coca Cola and Universal, he is finally unleashing his kinky musical imagination in the PROGedia album; ‘We Are The Night’ kicks off a mixture of kraut, psychedelic grooves and nu jazz, tied together through clever arrangements and a refined sampling process. ‘It’s an escape from modern decadence,’ says Fed, who adores the authentic and offbeat. It only makes sense, then, that the first track of his upcoming album is called ‘We Are The Night’; during the darkest hours PROGedia’s retro extravagance can claim a foothold, offering a warm breeding ground for quirkiness, infatuation, and musical liberation.

The renowned producer Charles Webster, too, is a real music fetishist; he got his first instruments at the age of 13 and went on to collaborate with the likes of Juan Atkins, Derrick May and Kevin Saunderson, founding his own Love From San Francisco project and following with two decades of classy and sophisticated music productions. For this occasion, he has added his unmistakable touch to the ‘We Are The Night’ title track, complementing PROGedia’s infectious grooves with poignant rhythms and motley textures.

The infinitive is the basic dictionary form of a verb when used
non-finitely. It is also the form chosen by Danieli and Purl
for the tracks of WHS 03: return to the basics, simplicity, pure nature distilled into music.
Pulsate starts with an ethereal soundscape, created to then open to a deeper underwater exploration. There´s a universe down there and the listener will be guided to appreciate its beauty: lanternfish giving the tempo of this journey, marine life to marvel at. We take a step back to observe and fill our eyes and ears. We come back to the surface, finding peace and calm.
Opening in a slow, thoughtful and majestic way, Compensate is a
hymn to balance. Since the very beginning, the listener will notice a contrast between gloomy atmospheres and lighter sounds, resulting in a chasing sensation that´s uncomfortable, yet fascinating. Desire to explore, together with acceptance, surrender to the things we simply can´t understand as humans.
The listener is then invited to explore darker, faster, more pounding atmospheres. Intimidate anticipate it all in its title : sounds, tempos, images, they all chase each other to create an atmosphere that's daunting and fascinating at the same time.
A track to accompany one's journey, be it real or spiritual, a trip where we let things happen as they come, accepting the flow of life.
Resonate closes the B side drawing with sounds the depth of our
natural state. Close your eyes and transport yourself in lost woods, alone in a tent at sunset, when the day is almost over and ready to make room for the night. The wood is speaking, the animals are awake, it's frightening but incredibly beautiful.
Crickets are singing their songs, frogs are bouncing from one pond to another, water connects with air, resonate with earth and with the smallnes of man in the face of nature.

New York United is an experimental group at the musical intersection of a classic New York avant-garde scene and forward-looking electronic production. Comprised of multi-instrumentalist and 577-cofounder Daniel Carter (Saxophone, Flute,Trumpet, Clarinet), electronic producer Tobias Wilner from Blue Foundation (Synthesizers, Percussion, Vocals, Piano, Guitar), Wu-Tang Clan bass playerDjibrilToure and 577’s Federico Ughi (Drums), their sound reflects their decades of collaboration. This second volume follows their celebrated debut, the eponymous New York United (2019), and matches its characteristically dreamlike effect, while maintaining a steady, rhythmic momentum. Like the first volume, this album was initially recorded in an improvised studio performance, and manipulated by Wilner in post-recording production, lending a uniquely ambient, electronic effect to otherwise spontaneous composition between musicians. Inescapably connected to its namesake city, the project is a testament to the transformative energy that sustains New York, dissolving individual boundaries into a collective sense of itself

Raised on the salted air and pebbled beaches amidst the faded seaside opulence of Brighton, Tigers & Flies spent much of their formative years building a friendship forged on a diet of the melodies and rhythms to be found deep within their parents’ wildly eclectic record collections. A worthy and noble pursuit for anyone, from those wonderfully endless hours, those bottomless cups of tea great ideas can flourish. Tigers and Flies are a great and flourishing idea.

From the bounce and sunny optimism of Orange Juice to the brutalist edge of Gang of Four. From XTC to Bacharach. Each listen offers more. A harmony appears where you’re convinced there wasn’t one before, or a rhythmic change you hadn’t noticed. A lyrical twist. Harmonies that seem to float in through an open window.

After more than a decade of heating up dancefloors at over 600 festivals and stages in 34 countries and 6 released albums, the nine-headed instrumental collective Jungle by Night melted their years of passion, friendship, and influences from krautrock, dance, jazz and techno together into a new analogue composition that will put us in a trance. > makes us revel in the human things around us and connect with each other like never before in times of rampant digital distractions.

Jungle by Night: ''In a world in which technology and its algorithms have become highly influential in our daily lives, we'd almost rather stare at our screens than look out for each other. With >, we pay a tribute to natural, spontaneous HUMAN rhythm as a counterpoint to the sophisticated intoxicating algorithms of the computer.''

With this new analogue album, nine-headed instrumental collective Jungle By Night bursts our bubble and reminds us to surrender to being human. The oddball ensemble exists within its own cosmos and serves us a danceable and thundering live act, connecting with crowds like no other, with beaming fun and energy along the way.

"Jungle By Night has been one of the best live bands in the Netherlands for years."
- The Independent (UK) -

" To top it all off, they turn the stiffest festival audience in the Netherlands into a football choir at the long end. Jungle by Night can simply do all the festivals for another year.
- VPRO, 3voor12 -

"They're undeniably cool, they've come from Amsterdam and they're killing it! We're talking about Jungle By Night, the young Dutchmen who have been acclaimed by Tony Allen and described as the "future of Afrobeat".
- Radio Nova (FR) -

Tracks>>
1.Scrolling in the Deep 2.Axolotl 3.Cookies 4.E17 Snack 5.Angelo Samsonite 6.Where Are We Going
7.Destination A2 8.Multi Beam 9.Force 10.Odyssey

anthéne, one of ambient drone’s most recognised names, presents ‘maritime’. A shift from his usual expansive, time-stretching soundscapes, maritime is something altogether more grounded, more present. It signals the call of the open ocean, of its vast possibilities and terrors, as a similitude for the night.

In both, one faces the peace, the limitlessness, the reverence, and the promise, while at the same time the uncertain, the uncontrollable, the danger and the fear of the unknown. In such a way, maritime is presented in two parts: Side A demonstrates the beauty and inspiration of ocean views and night time explorations, while Side B addresses the vulnerable nature of vast, boundless experience.
An artist with an astounding workrate, Brad Deschamps has worked with such artists as Ian Hawgood, James McDermid, Andrew Tasselmyer and Fossil Hunting Collective (as Still Harbours), and releases the likes of Hakobune, Moss Covered Technology and Forest Management on his own Polar Seas Recordings.
His patient style is clear throughout the album, shimmering guitar tones overlaying with warmth and stability, yet the addition of more troubled melodies and subtle vocal parts make for something far more poignant. The duality of awe and terror, of the two primary elements of the sublime, channel through as one in one of anthéne’s most thoughtful offerings to date.

The Eagles will take the stage once again this Sunday 22nd August at Madison Square Garden to resume their acclaimed “Hotel California” 2021 Tour. In celebration of the band being back on the road, Rhino will release LIVE AT THE FORUM ’76, featuring 10 songs recorded in the autumn of 1976, just prior to the release of Hotel California. LIVE AT THE FORUM ’76 will be available on 12th November as a 2LP set on 180-gram vinyl. The tracks will be making their vinyl debut, as they were previously only available on CD and digitally as part of 2017’s “40th Anniversary Edition” of Hotel California. The live music takes up three LP sides while the final one features an exclusive etching of the artwork.



LIVE AT THE FORUM ’76 was recorded during the band’s three-night run at the Los Angeles Forum in October 1976. The show took place as the group was putting the finishing touches on Hotel California, which would be released that December. The concert recording captures some of the very first live performances of “Hotel California” and “New Kid In Town.” During the show, the band also play hits from earlier albums with “Take It Easy” from the band’s 1972 self-titled debut; “Already Gone” from 1974’s On the Border; and the #1 title track from 1975’s One of These Nights. The concert also includes a raucous performance of “Funk #49,” a song originally recorded by Walsh’s James Gang.



The Forum concert presents a snapshot of the band right before Hotel California became a critical and commercial phenomenon. After its release, the album went on to become x6 platinum in the UK with the title track becoming one of the UK’s most loved classic rock anthems.

Featuring Squirrel Flower and Liam O’Neill (SUUNS). Recommended If You Like: Mount Eerie, Low, Richard Swift, the Weather Station, Lomelda, Fleet Foxes, Squirrel Flower, L’Rain. Cedric Noel is a songwriter, bassist, collaborator and producer currently based in Montréal, Québec. The newest longplayer from Tio'tiá:ke/Montreal staple Cedric Noel lands with a stunning sense of surety and self. Hang Time stands as a high water mark for a songwriter who's spent the past decade quietly expanding the borders of his music. Longtime fans will recognize the fluid elements of the album’s open-ended rock formations: reflective strumming, soaring choruses, searing guitar lines, subtle bass grooves; all occasionally dissolving into pools of pure ambience. New listeners will find surprises throughout: threads of folk pop, ambient and sound collage fasten the foundations of this expressive whole. However, what’s most striking on Hang Time is Noel’s newfound sense of voice, both literal and metaphorical. Written primarily in 2017-18 during an intense period of self-reflection, this collection of songs finds Noel wrestling profoundly with his sense of identity, self and place. The album’s material was captured faithfully at The Pines, a beloved downtown Montreal studio whose doors shuttered shortly after amidst the strain of the pandemic. Noel worked closely and patiently with friend and engineer Steve Newton, ensuring the songs had the time and space needed to come fully to fruition. Hang Time features subtle rhythm work from drummer Liam O’Neill (SUUNS) and guest spots from Brigitte Naggar (Common Holly) and Tim Crabtree (Paper Beat Scissors) among others. The album opens in mid-air with ‘Comuu’, a song that implores a becoming-more while hovering triumphantly. Then follows a suite of songs (‘Headspace’, ‘Keep’, ‘Stilling’) that recall the heart-rending power of y2k-era Low, albeit with a more vigorous beat. On ‘Bass Song’, an intimate duet with musician Ella Williams (Squirrel Flower) that explores the depths of interpersonal constriction. At the crux of the album sits ‘Born’, a deceptively pleasant-sounding song that explores the confounding emotionality of adoption before fading into a distended soundfield. Throughout the back half of the album, Noel double’s down on this commitment to his genuine, proud, Black self. The most confrontational track, ‘Allies’ finds him refraining “Are you on my side?” as a trailing guitar solo interweaves a Malcolm X soundbite, eventually engulfing the composition. Glorious lead single ‘Nighttime (Skin)’ traces the artist’s sense of ancestral dissociation through to a triumphant moment of pride in self-acceptance. Throughout Hang Time, Noel finds a way to ask hard questions (both of the listener and himself) in ways that are compassionate, open and honest. The ebb and flow of tension and tenderness that moves within these tracks helps to grow the heart and redefine what Black music can be in 2021.

"First Noel is a Christmas album including 25 of the greatest classics as well as three exclusive new tracks I composed especially for the very first Christmas of my son, and in honor of my grandma Odette's last one, past year. The Christmas memories I have are full of wonderful moments, so I insisted on recording this album staying true to the magic of these instants.

First thing, I surrounded myself with 3 great friends of mine and long-time collaborators: François Delporte (guitar), Frank Woeste (piano) and Sofi Jeannin (choirmaster). Sofi has selected 8 singers with celestial, sublime voices. We recorded in two magical places: the studio of my friend Armand Amar - where I had the chance to work on my first albums (Babel Studios in Montreuil) - and the Church of Saint-Julien-le-Pauvre. The latter being the most ancient church in Paris - only a few meters away from the Notre-Dame Cathedral - has always been at the center of significant moments in our family history in France. My father was a sacristan there in the '60s. It is in the sacristy that he elaborated and worked on his trumpeter career. My aunt Hind - whom I loved - also a pianist, and my beloved grandmother, Odette, both had their funeral in this church. It is also in this same church that I got engaged and married… So many milestones.

After recording many albums, I felt it was the right time for me to share my versions of those great Christmas classics, by giving them a much less childish dimension and a more musical, also spiritual one, but still preserving their subtle and necessary fragility, specific of children's music or of those great classics renowned and sang all over the world. I was hoping that First Noel would not be yet "another" Christmas album, with Frank Sinatra-like crooners and Hollywood-style arrangements. Instead, a simple, humble, instrumental album, in the original meaning, without lyrics, allowing the melody to be at the center of it all. Soothing music to dream, to reunite us, regardless of our mother tongue, our age, our culture and more importantly regardless of our religion.

That is how Odette viewed things, and this is also the way I wish Nael and Lily, my children, would listen to the world."

"You ever wonder what Keith Morris does at the end of the day? Does he maintain that wide-eyed stare, the one that pins audiences to the floor with its very intensity, while he’s putting on his pyjamas? Does he continue spitting venom from that heroically ragged throat of his while he’s making his cocoa? Does he lay his head on his pillow with the same righteous fury that launched thousands upon thousands of moshpits? Hey, I’m just wondering. Y’see, all that intensity and venom and fury… it has to go somewhere while he’s otherwise occupied with mundane tasks like taking off his socks or brushing his teeth, right? And listening to the thrilling racket conjured up by Vancouver’s Chain Whip, you’d be forgiven for thinking that they have somehow become vessels for that energy. I mean, they’re Morris’ spiritual successors - if their 2019 debut ‘14 Lashes’ wasn’t enough of a clue, then this six-song blast of blink-and-you’ll-miss-it brilliance should leave you in no doubt. This is hardcore punk as it was originally conceived, and it slays. ‘But who are Chain Whip?’ I hear you ask. Well, they’re a bunch of dudes from British Columbia who’ve also served time in bands like The Jolts, Fashionism and Corner Boys (among others). They’re the ones who are gonna have you slashing the seats at your local cinema, or taking potshots at lines of empty bottles on street corners, cuz they make you feel so damn tuff. OK, I’m just goofing around here - whereas Chain Whip are serious business. No, really. I dare you to listen to the Germs-go-nuclear b(‘)last of ‘Laguna Bleach’, or the garage-slop-at-200-mph rush of ‘Fresh Paint And Philanthropy’, and not want to launch a stink bomb into your teacher’s car. Or, failing that, to bring about the extinction of global capitalism. If that fails, you’ll just end up wearing out the grooves of this very fine six-song EP while bouncing between walls like the DRI logo guy if he wore jet heels and spring-loaded shoulder pads. Jeez, imagine Keith finishing the night shift and giving these guys a handover. As if they’d even need to be told. Look, Chain Whip are the best straight-up old-skool punk band you’ll hear today. You know what to do. Trust your instincts. Dance that two-step to hell with ‘em. This. Is. The. Shit." Will Fitzpatrick.

blue vinyl

Subjoi has a long history with Shall Not Fade, an early addition to the Lost Palms series which now hits its 48th release. The Adelaide-based producer had two stunning EPs on the label in 2020, displaying his signature blends of eclectic dance music styles.

Compared to last year's Bias, Steadfast EP is a more understated affair, leaving space for Subjoi's production skill to shine. The title track pairs piano melodies and subtle breakbeat for an emotive sound easing into "Count It Off", where slow pads give way to a beat that takes influence from UK garage and jungle. By coupling this high-energy style with sombre chords, Subjoi makes a uniquely melancholy club track.

Yearning vocals and synth stabs build complexity in "Rapids", a forward late night number. The closing track keeps the
haunting atmosphere of the rest of the records, fading out as subtly as it began with an organic sound palette contrasting the stuttering 2-step beat.

A Paean to Wilson is still arguably Vini Reilly and the Durutti Column's most important and consistent piece of work since the demise of the original and seminal Factory Records in the early 1990's. On this release we have the ‘F4 Heaven Sent’ tracks released on vinyl for the first time. They first appeared in 2005 via Wilson's project F4, as being the fourth version of Factory Records. Originally it was download-only release, Heaven Sent (It Was Called Digital, It Was Heaven Sent). A six track CD of personal dedications by Vini ironically the last piece is titled Anthony. Originally this was commissioned for the MIF (Manchester International Festival) where it was premiered in July 2009. Vin had already composed pieces for Tony to listen to whilst he was ill in hospital and it was from here that the project developed. This release belatedly coincides with the new Paul Morley Biography ‘Manchester with Love: The Life and Opinions of Tony ...’Ever critical of Vini's voice, but ever a fierce champion of his talent, the late Tony Wilson would surely appreciate this instrumental tribute by The Durutti Column. ‘Near the beginning of the final night of the Durutti Column's 70-minute international festival tribute to Tony Wilson, A Paean to Wilson, guitarist Vini Reilly announced that he wouldn't be singing: "So you won't have to put up with my awful voice and schoolboy lyrics." If Wilson was with us, he would have chuckled. The Granada presenter-turned-Factory Records boss spent years urging his first signing to stop singing, and concentrate on the virtuosity that led Red Hot Chili Pepper John Frusciante to call Reilly "the greatest guitarist in the world". Two years after his death, Wilson got his way, one of many lovely touches in a very personal, emotional and often warmly funny musical tribute. Wilson signed Joy Division and Happy Mondays, yet never gave up on this cult band he adored, working with them even after his legendary label went bankrupt. A complex man, Wilson was an academic thinker who revelled in Steve Coogan's affectionate, Alan Partridge-style send-up of him. And this tribute was no different. At one point, Reilly known for melancholy launched into something resembling an Irish jig. "Tony loved to laugh," he explained. "He loved absurdities." After the humour came exquisitely mournful music. With Reilly and drummer Bruce Mitchell augmented by bass, keyboard, violin, electric piano, drum machine and trumpet, the band's beautiful pieces reflected Wilson's love of rock and classical. Reilly's plangent guitar work showed grief's emotional spectrum, from sadness to overdriven anger. As in life, Wilson had the last word, his recorded voice expounding thoughts on socialism with an eerie echo. Silence followed as Manchester pondered the loss of one of its truly larger-than-life characters. Then everybody cheered.' Dave Simpson The Guardian 20/7/09

Siv Disa, the Chinese-American New York singer currently residing in Iceland has announced her debut album, Dreamhouse on UK based label Trapped Animal. Dreamhouse is available on Sky Blue 180GSM vinyl with a printed inner sleeve including song lyrics. The outer sleeve is printed uncoated high-quality card. Also available on Digipak CD and via Digital streaming and DL. The artwork was conceived and built by Siv Disa. It features a dreamy hand-painted dollhouse—the front image is a photograph of a tangerine sherbet living-room-in-miniature, complete with a teacup table and a glowing salt shaker lamp. The artist herself is hanging on the wall ensconced in a gilded frame overlooking the tableau. The back cover explores the same dollhouse, from a distance: there’s a garden in the basement, a maze of threads in the gallery, and a small ocean in the bathroom. A callback to the intricate maximalism of 70’s psychedelia and Neo-art nouveau, there are layers of details embedded into each room for the viewer to discover. Dreamhouse is a wild journey through its creator's psyches. It moves from gentle break-up songs to dark nights out in the fluorescent haze of nighttime New York and Reykjavik city filled with deep hallucinogenic beats... before it finally closes on a song infused with the isolation of 2020. The first part of Dreamhouse was recorded in upstate New York with collaborator and producer Sam and the sea, they both chose to relocate when the pandemic hit the US – and regrouped at a studio cabin in the wilderness to complete Dreamhouse and take time to escape the ensuing storm we all faced. It’s important to understand, whilst a product finalised during lockdown – this album was largely conceived way before the lockdown or pandemic, this is Siv Disa’s debut album and it was always going to be luminous and otherworldly, as with its creators. Quotes : “psychedelic pop that converges the encompassing textures of Broadcasts with Joanna Newsom’s pleasantly off-kilter melodies” - Line Of Best Fit // “...a haunting feel, while her warm, soft voice invites the listener into even the darkest of stories…Fear is an embodiment of this distinct sound she’s mastered.” Audiofemme // “profound lyrics flow from an ethereal plane, it’s an utterly captivating offering” Get In Her Ears

Channeling her innermost depths, Oshana reveals her widest body of work to date, “Disciples of Dystopia;” a multi-faceted expression of the emotions, influences, and sounds that have guided her on her musical journey. The album aptly marks the fourth release on her very own, Psionic label, and is the first double 12” in the catalogue.

As you lift into orbit, “Disciples Of Dystopia”, seduces your senses with an ominous vocal of what lies ahead. The opening track simmers gently with a progressively rising atmosphere as the down tempo vibe flows inside you-Automatic connection. “Mind Over Matter” is a futuristic breaks experience, familiar nostalgic hip hop scratches flash in and out, winding into a spiraled synth labyrinth that introduces you to dimensions unknown. Slowing the pace down a notch is “Labor Of Love;” emotional chords and floaty melodies work their way around the steady and pitched down body of the track.

As we coast into the B side, “Embrace The Wave” offers some italo energy; clean disco kicks meld into retro synths; this one cruises on a loose, irresistible, and unrelenting groove. “Take Me Away” sweeps you right off your feet and includes a feature from long time collaborative partner, Anthea. Anthea’s transcending vocals set the tone for a harmonious quest, enriched with positive and imaginative energy; the type you want to absorb as the night concludes. However, the night is far from over.

As we coast into part two, we’re introduced to “Odyssey,” a slow rising track that takes you from the intergalactic ocean all the way to the techno tides. As the track progresses, all of the mechanical cogs converse in absolute harmony. Who doesn’t enjoy a “Heated Moment?” Crisp and punchy drums drive the track as a trance bassline ripples throughout, making an impression on the most discerning of dancefloors.

Riding a squelchy, arpeggiated acid line from the start is “Astral Flight”, a psychedelic club room charmer that revolves around warm and direct bass. The closing track of the LP “Automated Beats,” is a raw, animated affair structured around chunky 808 arrangements and hip hop percussion; playful with a pinch of ghetto booty charm for good measure.

“Disciples Of Dystopia” is more than just an LP; each of the tracks feed off of the next, and Oshana’s never-ending creative energy shines as she bends through genres with effortless ease.