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Yes! Tommy Guerrero’s revered Return Of The Bastard gets its first ever vinyl reissue. Endearingly simple but beautifully beguiling, it's lo-fi dusty break business with the most elegant guitars this side of Vini Reilly and Gabor Szabo. Tommy's breezy drum-machine guitar-soul should be prescribed to soothe an aching world. By rights, he should also be a Balearic god. Here's 14 tracks of drop-dead laconic beauty, all of them combining to create this unheralded masterpiece. Working with Tommy directly, the LP has been fully remastered and sounds as dazzlingly, heartbreakingly beautiful as it did back in 2007.

Coolly opening the album, "And The Folklore Continues" can be said to be both a titular and actual nod to his past work. As ever, there's heavenly Latin guitar stylings that make you swoon and the melancholic vibe is accentuated by the addition of some melodic wordless vocals from Tommy. Just divine. The sparkling "La Califas Perdido" follows, all dreamy melodic guitars and twinkling vibes over dusty drums and a fine bassline. The shuffling, conga-assisted "I Would Go With You" is a gentle, romantic gem whilst the brief but beautiful "No Time For Time" feels in a hurry to let us know that Tommy can work with more propulsive rhythms. In this case, they underpin Tommy's gorgeous, shimmering guitars wonderfully well.

The head-nod funk of "Calling For Ya!" (get it?) features Curumin delivering the clever title as a hypnotic vocal refrain peppered throughout, all hung around some buried spoken word vocals and gorgeous cello work from Lenny Gonzalez. "Bloodinthemud" is a low-down gritty funk workout whilst "Zapata's Boots" is a total low-key groover, all Latin percussion and Morricone muscle aided by a whistled Spaghetti Western melody. The startling instrumental "Mosaic Man" closes out the side with a lean slice of mellifluous, virtuoso guitar bliss.

The reflective "What Have I Been Doing Since I Was Gone?" opens the B-side in glorious fashion, the type of melancholic melodic head music that should soundtrack a bright walk on a cold winter's day. The hypnotic groover "Paper Switchblade" is a razor-sharp fuzz-funk whilst the beautifully downbeat "Never Forget To Remember" is a kaleidoscopic kalimba-koolout. Galloping cop-funk breaks workout "Run With The Hunted" is a rollicking ride and it's followed by the fresh chiming guitar funk of "New Terrain".

The upbeat and bright "40 Summers", featuring congas from Alfredo Ortiz, is as clean and poppy as Tommy gets and it really is a look he wears incredibly well. Just straight up guitar pop. "The Simple Man" a gorgeous, melancholic ballad, closes out the record with deeply yearning vocals from Tommy, a rarity and a treasured one at that.

Meticulously remastered and cut by both Simon Francis and Cicely Balston respectively, it has been pressed to the highest possibly quality at Record Industry in Holland. The original and iconic sleeve, designed by Natas Kaupas, has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.

Empires rise and fall every day in the human heart, and riding these cycles--stories with no beginning or end, only transformation--churns us through the reckless, ridiculous, rueful, redemptive. A founding member of Lake Street Dive and writer of some of their most enduring songs, Iowa-born and Brooklyn-based Bridget Kearney is known for writing smart, unexpected lyrics and melodies built for a heart-baring dance or an introspective drive. Kearney writes music as if filtered through a camera lens. Her stories, steeped in nostalgia and joy, construct a bittersweet framework around the memories that make us human, and shape who we are. As the absurdity of life abounds, Kearney can hold these fragile snapshots and rolling reruns with evident notes of levity, and compassion for a past self. On her new album Comeback Kid, produced by Dan Molad (Lucius, Buck Meek), there are reminders to cherish the moments that make up the collage of what we see in the mirror, but to also plant our feet firmly in the present, for those are the times that will come to form the future. The tracks hop through time, from the relentless, obsessive romanticization of the past, to unrestrained lust for a different future, all inherit the spirit of resilience needed for any move forward, whether it's to dive back in, walk away, or wrestle with the memory itself. In moments, our Comeback Kid wishes to encase a night in amber to revive it at will, like the old man in Jurassic Park, but ultimately is hip to the bittersweet truth that it will never be the same when you return. Kearney began making Comeback Kid back in 2021, in between her work with Lake Street Dive, and a new position as a songwriting teacher at Princeton University. During the process of Comeback Kid, Kearney took inspiration from her Princeton students, as well as her peers when she embarked on a song-a-day workshop. As she found herself surrounded by the thoughts and processes of others, she was able to pinpoint what it is about songwriting that she truly cherishes: namely, the textures and flourishes that come to form the mood of each creation. Comeback Kid is soaked in vintage synths, Kearney's soughing vocals and delicate-yet-driving percussion that ushers in a bright and serene tenor. "If you're driving, baby I wanna go," she soothes on opener "If You're Driving," welcoming us to the LP with windows down, eyes closed, air rushing through our fingers. It's a celebration of staying in the moment, of saying "yes," even though you know it won't last forever. With references to real psychological games, like Rorschach tests and the phenomenon of Ironic Process Theory, they help build the theme of the mind bending nature of obsession, memory, and perspective. Just like the acrobatic brain games we play in relationships, Kearney plays with language and references, with multiple meanings of "comebacks and coming back," and nods that run the gamut from Samuel Barber's mid-20th century masterpiece Adagio for Strings to Jerry Seinfeld's late-20th century masterpiece Seinfeld. The single "Security Camera" captures the carefree liminal space of reminiscence, as Kearney collects those significant, special moments of a past love. There is no animosity or even sorrow here but rather a warm, propulsive rush of gratitude and awe. "You have these really wonderful, blissful times in your life that are fleeting," she explains. "It's an attempt to keep loving the moments in your past, to carry them with you." These moments are carried with care throughout Comeback Kid, but with an eye on the farcicality of simply existing. Kearney is both sincere and silly, somber yet spirited, expertly gathering the iridescent spectrum of what it means to be alive.

REISSUED ON GLACIAL BLUE VINYL! Papercuts' You Can Have What You Want is the third phase in Jason Quever's ongoing pop investigations. The relatively earthbound happy/sad pop of Mockingbird and Can't Go Back has been launched into the vault of the skies. Here, Quever delves further into epic dream-pop using mostly vintage organs, pulsing bass, and Kraut-via-Ringo-inspired drum rhythms. Intact from those earlier efforts is Quever's sense of arrangement and drama, as well as his soaring vocals, draped in reverb gauze. The words reveal a fascination with mortality and things cosmic, while sonically the voice acts as another instrument. This obsessively all-analog effort (no computer processing here whatsoever!) cuts across several eras of dreamy sound: '80s/'90s Creation and 4AD Records, The Zombies, '60s French pop, even Can's Future Days--and then there's the inevitable connection to former tourmates Beach House and Grizzly Bear. Indeed, Beach House's Alex Scally helped with some of the arrangements, though You Can Have What You Want is its own strain of addictive pop. For many, it will be the blissful/melancholy jam of the spring and summer. Quever was raised on a commune in Humboldt County, orphaned, and moved up and down the West Coast before calling San Francisco home and starting Papercuts, initially as a four-track recording project. When not performing with his own band, he can often be found recording others in his studio and filling in when needed as a multi-instrumentalist in friends' groups. "It takes a few seconds of Papercuts' second album, Can't Go Back, to think that maybe you've stumbled upon something special, a delicate mood piece made to slice through the din and chaos of modern life." --Pitckfork (8.3 rating

NT is Nail aka Neil Holliday, one half of Bent and a master of UK tech house. But here he shows a different side across six majestically Balearic groovers. That draw on everything he has done before to send you out to sea on gentle waves of shining synth goodness, downtempo bliss and dreamy, chubby, soft focus drums. 'Beside Boa Linn' is a soothing summer sound to kick off then 'Going Out To Feel It' is a spiritual house cut for sundown, and 'Don't Hide Away' is slow motion disco brilliance. The trip continues with the star-gazing 'Evening Fixture', Eddie C style guitar licks of 'Walk In Romance' and romantic lullaby 'Dreams On Hold.'

Costantino Luca Rolando Kiriakos, an influential figure in Athens' electronic scene since the 80s, showcased his diverse talents as a composer, sound engineer, and installation artist under his Coti K. alias on this EP from back in 1994. The five tracks he offered up all explore Balearic-ambient bliss-scapes and now get reissued on Dark Entries complete with their smooth breaks, cosmic pads, and lush pianos. Reflecting his Hellenic roots, track titles like 'Argonauts' and 'Theros' bring global ambient vibes and spoken word by Konstantinos Bhta and cello by Nikos Veliotis all help add their magic to this nostalgic journey with a Mediterranean twist.

The space between every love is filled with vigilance in preparation for future threat. This threat is not so much pain as failure and, above all, fatigue. Even the beginnings, when love seems at its most accessible, are disturbing. In spite of this we advance into the turmoil because we are inebriated with love.

Dominik Suchy's third album admits all this as a quality of love. Disembodied and denied to be gloom or bliss, love is revealed to be a raw process at full length. This makes for emotionally hypercharged music that is more inevitable than tense. The record unfolds, for all its ruptures and weight, as familiar. It is a music of pathos, because it benefits from the emotional knowledge that already resides in you.

The universality of this angle allows for compositions that are less than opulent. A focus on the mass of sound // verticality leads to a bareness that sets "Every Love..." apart from Suchy's previous works. At times sonically overwhelming and rhythmically ambiguous, it should be approached as free jazz rather than post-club.

Every Love Is an Exercise in Depersonalisation on a Body Without Organs Yet to Be Formed does not submit to the weariness of love // Weltschmerzen does not submit to the weariness of the world.

“In places harrowing and emotionally charged, in other places quite inconspicuous, you feel that you are standing in front of something big, transcending everything, which you observe with sacred reverence. Maybe it's the eye of the storm or that love which is the origin of everything.”
Peter Dolnik, 34.sk —

“One of the most distinct electronic artists in our geographical area.'”
Roberta Tothova, Pravda.sk —

“Everything happens with deep apprehension, the atmosphere and its variations are executed on a masterly level””
Richard Kutej, Fullmoon Zine —

“An album full of incessant soundscapes, undulations and sound-design based portrayals of magnificence.”
Mikulas Hamerla, Alterecho.cz —

Repress

Needing no introduction, The Chemical Brothers make a very special appearance on Phantasy with a limited-edition vinyl pressing of Erol Alkan’s triumphant remix of ‘Goodbye’, a highlight from their recent, Grammy-nominated album, ‘For That Beautiful Feeling’.

Masterfully bridging soulful vocals and widescreen techno with their typical psychedelic edge, Alkan’s interpretation demonstrates his unique brotherhood with Tom Rowlands and Ed Simons. Across a near ten-minute journey, Alkan pushes the Brothers’ irresistible synth line further into dissonant analogue bliss, which coupled with celestial breakdowns, already counts as a personal favourite in the London DJ and producer’s diverse, enviable back catalogue of reworks. The other side of the record includes Alkan's previously unreleased instrumental.

A quietly influential figure among electronic and experimental circles since the late 90s, Berlin based sound artist Hanno Leichtmann has been developing a sprawling and idiosyncratic vision both as a creator and curator.

With a keen sense for charting new territories, Leichtmann's work spawns a multitude of languages that go from deli-cate ambient excursions to techno explorations or abstract sceneries on numerous sound installations, releases on such esteemed labels like Entr'acte or The Tapeworm and collaborations with artists like Valerio Tricoli or Jan Jelinek. A reflection of his keen sense of discovery.

Centered around the Villa Aurora Organ, an intriguing and mostly unknown instrument built in 1928/29 by the Artcraft Organ Company in Santa Monica, California, 'Outerlands' presents a deeply personal approach to the instrument's particular properties, very much in line with Discrepant's ethos. Consisting of a pipe organ, a wall mounted marimba and a two octave tubular bells/chimes ensemble, remotely controllable by MIDI, the Villa Aurora Organ's rich palette of sounds is translated into 12 short tracks capable of conveying the mesmerising spirits of minimalism, exotica and de-votional music.

Starting with the ecstatic sound of the pipe organ, 'Lucero' sets up the hypnotic mood for 'Outerland's excursions through moments of spiralling repetition - 'Tramonto' -, blissful contemplation - 'Sunset' or 'Notteargenta' - or underly-ing tension - ‘Coperto’. 'Espera' amps up the unease, with queasy organ tones lurking beneath marimba harmonic motifs that wouldn't sound out of of place on some survival horror movie, while 'Miramar' or 'Revello' bring an uncanny sense of familiarity through its repetitive melodies.

Drifting seamlessly through a variety of moods that somehow feel connected - the outerlands are within you, if you allow yourself to let go.

Los Angeles dream merchants return with a re-release of classic tracks initially from the 1994 debut “Nearfield”. This new interpretation entitled “Dissolve” includes different mixes and a never-before-heard track, “Skywards”. Closedown stand out as one of the most curiously overlooked. This four-piece from Los Angeles was one of America’s earliest shoegaze bands; some even say they were the first. Emerging from currents of drenching spectral etherealism, Closedown pin you down permanently with swelling whirlpools of brilliant sounds. The comparison to other bliss-rock bands is inevitable, yet such analogies overlook the uniqueness of Closedown’s musical conception.

High Llamas present Hey Panda - a modern pop music/deep listening experience that could only issue forth from their personal quadrant of the galaxy. Hey Panda projects soulfully through an enervating abstract of today"s popular music; the sound of the Llamas" stately melodies and expressive ditties laid open - blissfully shattered - with drums and vocals hitting different, burning sounds and contemporary production twists pulling the ear at every turn. For the past few decades, High Llamas have trafficked in contemporary pop sounds directed toward the avant end of the spectrum as much as not. But here the message was clear. Llamas" composer-in-residence Sean O"Hagan was determined to let go. Hey Panda does just that, with a set of tunes reflecting on multiple levels how definitions change over the course of a lifetime, radiating an optimism derived from the diverse conundrums of today. Eight years since their last release, the pop musical Here Come The Rattling Trees, High Llamas have reinvented themselves again, mixing their peerless harmonic voice with what Sean regards as the "extraordinarily good" production sounds of today on Hey Panda. Choosing not to look backward to former golden ages celebrated in earlier Llamas eras, Sean"s instead found himself opened up by the sounds of music brought into the house by his adult children and the sounds encountered at sessions for which he"s recently written arrangements. In addition to the more traditional contributions he made to The Coral"s Sea of Mirrors album, plus his score for the Safdie brothers" 2022 film production, Funny Pages, Sean"s drawn great inspiration through working with Fryars, Rae Morris, King Krule, Pearl and The Oyster, while also soaking up the work of Tierra Whack and Chicago"s Pivot Gang, and being cheered on from a distance by longtime admirer Tyler The Creator. Thus, Sean"s producer procedural has evolved again, with upgrades first detected in his 2019 solo effort, Radum Calls, Radum Calls. With a cover of Billie Eilish"s "Wish You Were Gay" arranged for Bill Callahan and Bonnie Prince Billy"s Blind Date Party, along with his COVID-era solo single, "The Wild Are Welcome", Sean has leveled up again and again, leading to the delirious revelations of Hey Panda. Hey Panda"s wide reach is aided by two co-writes from Bonnie "Prince" Billy, (who bonded with Sean over a shared love of gospel soul during writing sessions), guest vocals from Rae Morris and Sean"s daughter Livvy, production twists from Fryars and the stalwart, flexible presence of High Llamas. For all of its sense of departure, Hey Panda is a movement in the High Llamas oeuvre that"s been a long time in development. Aspects of soul music were addressed at the time of Can Cladders; similarly, aspects of electronic dance music were in the mix in the late 90s, around the time of Cold and Bouncy. But nothing up to now has refocused the music of High Llamas so completely. Sharing the impulse of late-period Miles Davis and Quincy Jones, with further inspiration from Steve Lacy, SZA, Sault, No Name and Ezra Collective, among many others, Sean O"Hagan and High Llamas are living joyfully in the new and the now, with Hey Panda.

Los Angeles-based Fabiano Do Nascimento is a multi-string guitarist and songwriter who melds the traditional idioms of his native Brazil (i.e., samba, choro) with the more contemporary and experimental strains of jazz, pop, and electronic music. Das Nuvens (“The Clouds”), out July 2023 on Leaving Records, is a crisp, frequently blissful, and deceptively groove-oriented showcase from a consummate musician — a rich and varied collection of songs, all of which seem to prioritize, and thrive in, the soft and intentional spaces between notes.

Das Nuvens constitutes the free-form, exploratory work of a musician who, having mastered a distinct musical language, seeks to apply his skill towards broader, more experimental modes of expression. Fittingly, track one — built around a contemplative, pointillistic refrain— is titled “Babel,” a reference to the legend of man’s attempt to build a tower to heaven, and how God thwarted this alleged act of hubris by shattering man’s shared language, sowing chaos and confusion. Though a stern parable on its face, it is a myth that enshrines our world’s dizzying array of languages (of modes of being), and the subsequent beauty of cultural exchange through art. In this regard, it is a fitting opening statement for an album that collapses and collages not only contemporary and classical Brazilian and pop idioms, but also the diverse range of indigenous music that Nascimento has encountered and studied in his travels as a touring musician.

Turnend Tapes first vinyl offering beyond the realms of the club emerges Peculiar Glow Vol.1. An EP of radiant atmospherics from multiple artists prescribing sonic esoterism.

Shell Company introduce the record with ‘Pearl’, an exhibition of their indelible sound, nurtured by the Manchester underground; inducing intoxication through twang of guitar and stunning spoken word whilst grimy, glitched-out soundscapes modulate and vaporise.

Sailingwing follows with ‘Splendid Isolation’. A kaleidoscopic dream sequence sounding like a distant relative to Talk Talk’s Spirit of Eden. One that is voltaic and woozy drifting with spectral timbre.

Bringing side A to a close with their track ‘I Might’ is Infant, another artist flourishing in Manchester’s fertile scene. A soft and hopeful slice of blissed out synth pop showcasing Infant’s mesmerising instrumentation, voice and lyricism.

Das Wettbüro’s ‘Abendtarif’ opens side B with an auditory bath of cool electronics intersecting the styles of different eras and geographies. Ultra kinetic and slick, the group make a visionary contribution to the rich lineage of Krautrock before it.

Zoe Couppe & sigh nova offer up a sublime composition of glistening electronics and granular field recordings that mirror the spoken musings of aquatic motion amongst other abstractions. With mythic air, ‘Memoria Fluida’ guides this collection of music to its conclusion.

Peculiar Glow’s first volume is a touchstone for endeavours to follow under this project and we are delighted to share the result of what has been a lengthy but exceptionally rewarding process.

Damian Lazarus’ Crosstown Rebels imprint announces, ‘Portrait of the Obscure’, the stunning new album from Oceanvs Orientalis.

Following three superb singles on the label across the past four months, the nine-track LP offers a comprehensive exploration of the Instanbul-based talent’s rich, globally-infused and captivating sound, with the project set for release on 26th April 2024.

Safak Oz Kutle, known as Oceanvs Orientalis, is a producer and live performer based in Istanbul. His musical style intricately weaves together diverse sonic tapestries of wide-spanning genres and cultures, and through his creative fusion of these influences, he crafts an immersive world that takes you far away from the usual club music references. His music serves as a celebration of his musical heritage, and this has never been truer than on his superb new album ‘Portrait of the Obscure’, which again pushes traditional boundaries within the electronic sphere. Set for release on 26th April via Damian Lazarus’ renowned and celebrated Crosstown Rebels imprint, the nine-track LP project features a showcase of solo and collaborative material alongside close friends such as Tooker, Idil Mese and Tilahun Gessesse, delivering a journey into the creative mind of one of
the scene’s most intriguing talents.

The bold and riveting project kicks off with the captivating synthscapes, fluttering strings and plucked bass of the gorgeous ‘Pulse Antique’, before ‘Ministry Of Midnight’ cuts loose on more jumbled rhythms and intricate organic lines warmed with wordless vocals. Next up are two of the lead
singles - the tense and intricate house sonics of ‘Neutrality’ and the haunting atmospheres and ethereal synth lines of ‘IL Lupo’ featuring Tooker, while ‘Conritmo’ continues to bring exotic new string sounds, leftfield melodies and warped bass to this most vibrant exploration of candle-lit house sounds. ‘Soul of Calypso’ blisses out on far-sighted cosmic chords with sonorous bells and late-night spoken word musings that add all-new character to the innovative grooves. Then comes the laid-back, jazz-infused house of ‘Heart Pieces’ feat. Idil Mese, a deep and jazzy jungle shuffler
in ‘Mercury’ and the playful horns and lumpy, dub-wise swagger of ‘Lanchi Biye’.

An album project encompassing its title perfectly, ‘Portrait of the Obscure’ is just that - a magnificent snapshot of the unique musical mind of Oceanvs Orientalis.

Serving up eleven tracks of rhythmic garage-psych goodness, ‘Boots N Cats’ is the third full-length from Melbourne outfit Beans and the first of two albums set for release in 2024. The long-awaited follow-up to 2018’s ‘Babble’ and 2020’s ‘All Together Now’, it’s a record that finds Beans frontman (and The Murlocs drummer) Matt Blach putting percussion at centre-stage. “I’ve always wanted to make a drum-based album, dedicated around the beat first and then everything else follows”, Blach says, explaining his desire to explore “different production approaches, like hip-hop and crunched drums, and show an admiration and appreciation for the likes of The Meters, Wu-Tang and James Brown” as much as the acid-soaked 60s/70s rock you’d expect. What emerges from the beat-first approach on ‘Boots N Cats’ charts mutant garage-rock boogies ('Groove', 'Silhouette') and festival tent psychedelia ('Haunted', 'Dreaming Daisy'), by way of blissed-out funk instrumentals ('One To Four', 'Siamese Blundstone'). The line is constantly skirted between a loose, carefree vibe and interesting, meticulous musicianship – never falling into the trap of taking itself too seriously. It’s a sunny kaleidoscope of chugging guitars, driving basslines, soaring organs and warm, echo-soaked vocals – driven always by the tightly-wound rhythms and grooves that Blach has been in pursuit of since he was a kid: “The title of the album comes from me learning drums from my dad. He had a background of German heritage and during lessons would jokingly say ‘nein, boot’n’cats’n’ like a simple 1,2,3,4

Skylax Records Proudly Presents the Arrival of Riccardo Teri A.k.a. Quasar, Hailing Straight From Firenze, Italy! Introducing "Tyrrhenian Dream" - an Enchanting Vinyl Ep That Embraces the Captivating Spirit of Early '90s Italian Dream House. This 12-Inch Masterpiece Showcases Four Mesmerizing Tracks: "Tyrrhenian Dream," a Melodic Opus That Transports You to Heavenly Realms; "Joyful Town," a Vibrant and Uplifting Anthem That Resonates With Pure Bliss; "Velathri Pipers," a Hypnotic Groove Pulsating With Irresistible Rhythms; and "Aithalia," a Dreamlike Exploration of Ethereal Melodies. Immerse Yourself in Quasar's Musical Wizardry as He Pays Homage to the Timeless Allure of Italy's Euphoric Dream House Legacy. Let Your Turntable Transport You Back in Time With "Tyrrhenian Dream," Embarking on a Sonic Journey That Captures the Very Essence of That Golden Era. It Stands as a Testament to the Unparalleled Charm and Magic of Italy's Dream House Phenomenon, Unlocking a World of Sonic Enchantment....

LA/Joshua Tree based Sugar Candy Mountain deliver carefully built psychedelic odes in the style of Jacco Gardner and Tame Impala. Their breakout album 666 feels like something unearthed from a box of records found in your dad's garage, glowing wistfully with vintage inspired tones, rambling organs, fuzzed out guitars, shimmering keys and sprawling drums. Ash Reiter's woolly voice croons with the icy warmth of Francoise Hardy, while Will Halsey's tender Lennon-esque vocals uncoil with easy languor. Recorded with Jason Quever of Papercuts, the bands sophomore album sits comfortably between 60's Laurel Canyon bliss and more modern production of Dave Fridmann (Flaming Lips/Tame Impala). 666 is the band's first record after deciding to retire Ash Reiter's eponymous solo project to focus solely on Sugar Candy Mountain. With this shift Ash became more heavily invested in writing for the project. On 666 the band moves away from the grandiose production of their previous album, Mystic Hits, on which some songs featured over two hundred instrument tracks. The majority of basic tracking was done on Jason Quever's 16 track Ampex tape machine through a Neve console, and completed at the bands home studio. Under Quever's guiding hand, production on 666 is significantly simplified, favoring featuring strong melodies over the wildly playful orchestrations of Mystic Hits. Quever is also significantly featured on the record as a player, with his influence distinctly coloring the album.

Following the success of the "Out Of Luck" single, we're wrapping up the Ghia reworks chapter with "The Other Side" - a dynamic 12" vinyl loaded with three contemporary funk tracks and three instrumental cuts.

The release starts off with the title track on which we can hear another collaboration with vocalist Adriano Prestel. The song is built on the foundation of "Message From The Other Side," a synth-funk instrumental from last year's "Don't Stop" LP. Jim Dunloop has skillfully rebuilt the infectious grooves from scratch, and guitarist Lucy Liebe has contributed to the guitar elements. Interestingly, the 1985 original version contained vocals that were preserved on a demo tape. These original lyrics conveyed the idea that everyone should learn to listen to the other side. Adriano picked up this idea and wrote new verses and a new chorus, beautifully transforming the song into a soulful bliss. In today's world, the message remains relevant: without listening, understanding, and compromise, solutions are elusive.
Next up, DJ Friction takes "Out Of Luck" to new heights with a remix infused with electro-funk. The synth bass replaces the original, a punchier kick and a clap snare give it a classic boogie feel. Additional strings on the chorus and an extended build-up complete the transformation, making it a fantastic tune for any DJ set.

Marian Tone returns to remix "The Other Side" in the '85 rework, blending parts of the original song with replayed instruments from the studio sessions. He adds clav sounds and retains the original marimba keys by Ghia's Lutz Boberg. If you are into the 80s vibes, this rework will be your choice.
The flip side features instrumental versions that, even without vocals, are a special treat for all boogie and funk enthusiasts. Last but not least, the release includes the original mixdown of "Out Of Luck" from when the recording was finalized at Ed Longo's Soundrays studio - offering a different take from the instrumental version on the previously issued 45 single.

The 12" is presented in a full-picture sleeve designed by The Raincoatman, also known as label owner DJ Scientist.

On A Golden Shore arrives as The Hanging Stars reflect on a year of triumphs. With an Americana Music Association Bob Harris - sanctioned award and a Nashville sell-out in Third Man’s Blue Room with Jack White approvingly looking on, they’re a leading light in the UK Cosmic Americana cohort. Their standing has allowed them to pay less attention to any preconceptions of what they are ‘supposed to be’. On A Golden Shore - their fifth album and their second for the pioneering Loose Music, following 2022’s Hollow Heart - finds them definitively themselves and presents a set of disparate songs whose fundamental linkage is the band that made them. On A Golden Shore was recorded at Edwyn Collins’ Clashnarrow Studios with Sean Read producing. Singer/guitarist Richard Olson, drummer Paulie Cobra, multi-instrumentalist Patrick Ralla, plus freshman bassist Paul Milne – laid down the album’s backbone over eight days. Mostly recorded live, even the solos done as a piece. Much is first take because trying better, it never worked as well. Pedal-steel player Joe Harvey-Whyte created and added his parts at his London studio bringing ‘shimmery psychedelic goodness’. Smartly sequenced On A Golden Shore proceeds in clusters of songs; commencing with the free and easy choogle of ‘Let Me Dream Of You’, encompassing the sunny glam of ‘Sweet Light’, the baggy Balearic waft of ‘Happiness Is A Bird’, the pan pipes and bongos of the exotic ‘Golden Shore’, through to the rolling banjo of ‘No Way Spell’ and the celestial cascades of ‘Heart In A Box’. Fashioned instinctively On A Golden Shore is ultimately an album of sensation as much as thought, filled with fleeting moments of blissful excess, and stumbling, rushing flutters of sound; its evanescent psychedelia, divine choruses, and shards of strings combine into an infectious, compelling Cosmic Heartbreak Boogie.

Los Angeles duo crushed announce their signing to Ghostly International and the first vinyl pressing of their 2023 debut EP, extra life. A love letter to `90s radio, the first collaboration from musicians Bre Morell and Shaun Durkan finds them tuning a shared taste for maximalist dream pop. Open-hearted hooks and melodic riffs move through a haze of breakbeats, spliced sound design, and distortion. Faithful yet fluid in its channeling of golden age alt-rock, Britpop, trip-hop, and electronica, there's a refreshing freedom to the sound, which quickly resonated with fans and critics upon initial release. Pitchfork called it "effortless, widescreen dream pop that's serene without being sentimental," and NPR cited its "deep sense of place and time." The music also struck Ghostly, and the first measure for crushed and their new label home is to give extra life a wider physical release paired with remixes from band favorites Real Lies and DJ Python. The story of crushed is written across midnight transmissions. In the early 2010s, Morell, who fronts the band Temple of Angels (Run For Cover Records), hosted a graveyard shift college radio show and used to play music from Durkan's former band Weekend (Slumberland Records). In 2020, Durkan, having focused on production work (Tamaryn, Young Prisms) following Weekend's run as a formidable shoegaze act, hosted a late-night program on a community radio station in San Francisco. Driving one day, he heard Temple of Angels by chance and was immediately drawn to Morell's voice. He added a song that night to his on-air tracklist. Morell saw it and reached out to thank him and point to that connection made a decade earlier. The exchange sparked a long-distance project. First, they filled an audible moodboard with `90s classics from the likes of Natalie Imbruglia, Sneaker Pimps, and The Sundays. Songs that transported them back to places of comfort and discovery; Morell's memories of a metallic, lavender boombox that dispatched past sounds from a world beyond her Houston suburbia, and Durkan, in his mom's car on the way to band practice. These touchpoints provided a palette for crushed to experiment without expectations, purely for the fun of it. A creative intimacy emerged; stepping outside the reverb walls of her full band, Morell embraced more clarity and a range of emotions in her vocals, while Durkan looked inward as a producer, collaging fragments from their everyday lives: voice memos, piano recordings, even the panting of Morell's late dog on "milksugar." The wistful ballad embodies extra life's feeling as a whole. "I am home again," sings Morell; her refrain cycles above a drum machine beat as Durkan colors their universe with star-lit strums, synth swells, and the crackle of fireworks in the distance. Elsewhere, the duo's uptempo mode is equally effective, like the super-charged duet "coil" or the propulsive opener "waterlily," which sets a cinematic tone for the set. Bold, bright, and replayable, extra life presents crushed as a project of immense promise, two artists unlocking something special within themselves, a space to hold both melancholy and bliss. Durkan adds, "To me, extra life is true and pure - in a way I haven't felt about music in a really really long time."

Warehouse Find!

Following the sold out Theo Parrish remix of Marcos Valle's '1985', here's the second in Far Out's Brazilika 12" with three scorching remixes from UK dance veteran Ashley Beedle. Three peak time excursions into percussive, soulful house on a stylish, cosmic Brazilian party tip.

Following the sold out Theo Parrish remix of Marcos Valle's '1985' back in April, the second release in Far Out's Brazilika 12' series features a highlight from Sabrina Malheiros' 2011 album 'Dreaming': the blissed-out, sun soaked samba classic 'Opara', which gets three scorching remixes from UK dance veteran Ashley Beedle.

Currently celebrating a decade since the release of her critically acclaimed debut album 'Equilibria', Sabrina Malheiros has remained at the forefront of modern, soul-infused Brazilian music. Growing up in Rio, the daughter of Alex Malheiros, bassist of Jazz-funk pioneers Azymuth, Sabrina has taken the legacy of samba and bossa nova and forged her own forward-thinking path, taking with her all the style and substance of the early days.

Produced under his Afrikanz On Marz moniker, Beedle's remix brings all the right elements of the original to the fore. The result is three peak time excursions into percussive, soulful house on a stylish, cosmic Brazilian party tip, infused with rich, warm rhodes, synth and flute throughout.

The vocal mix on the A side provides a spacious backdrop of twinkling keys and buoyant percussion to Malheiros' gently floating strains. The other mixes offer similarly floor-focused variations: the aptly titled 'Galactic Flute Remix' on the flip pairs the titular wind instrument with a deeper groove that retains the loose-limbed appeal of the original, plus a bonus instrumental to boot. A sure fire heat bringer and certainly one of the most colourful dance 12's we've heard this year.

The Brazilika 12' series is the new vinyl home to the previously unreleased dance exclusives taken from the Spiritual South mix on CD2 of Far Out's 20th anniversary double compilation, released in May 2015.

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

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

Dancefloor fire bombs from Kolt, a DJ and producer thus far mostly operating under the crew name Blacksea Não Maya (with Perigoso and Noronha). This is his first Retirement record. No quotation marks here, Kolt is actually stepping down from a fruitful decade-long career as DJ and producer.

Fat, techno-ish, idiosyncratic big room afro mind melt sounding like no other hyped or non-hyped dance cuts out there. Futuristic and decidedly non-European in structure, this set of 4 tracks carries a more synthetic DNA than previous material, if we exclude his quasi-gothic slow burners in BNM's "Máquina de Vénus" LP. But in "Verdadeiro" Kolt is all virtual open arms and bare chest, appearing to satirize this idea of the megastar DJ. But what comes across is distinctive and alive (consequently deadly on the club sound system), wiping out the floor of any zombie-preset-DJ vibes.

Take "Bateste" as an example: an evil bassline, wtf beeps, a vocal snippet prodding the dancers and a final blissful 30 seconds to ease you out. "Shaman" is the final track, its title just maybe nailing the atmosphere felt by people on the dancefloor. Shamelessly epic and in your face, a simulation of a throwback to a more clichéd clubland but just so left of centre that one can't find a complete correlation to fit the picture. Yes, we all go OMG.

Marius Circus is well known and loved for a signature analogue sound and once again that is laid out for us all to enjoy here on a new EP that comes with a remix from men of the moment Jazxing. First up is the deep, unhurried and dubbed out 'Lost On A Path To Nowhere,' a subtle late-night sound with wispy synths and a muted bassline that grows ever more prominent. The Jazxing Pathfinder remix is more tropical and steamy, and on the flip 'No Way Home' douses you in more blissed-out chords before the downbeat boogie of 'Space Crumbs Trail'. This is yet more essential summer goodness from Is It Balearic.

Bay area textural pop group Torrey delve deep into a translucent dreamworld on their self-titled sophomore album. Bending classic shoegaze, rainy day indie rock sounds, and 90s alt rock flair into more intricate forms, the band uses these guitar-forward songs to shapeshift between gentle drifting and noisy breakthroughs. The overall effect is blissful, but never losing sight of the sturdy tunes underneath the fuzz. Some touchstones might include Lush, Drop Nineteens, Cocteau Twins and The Breeders, but Torrey have a deft grasp of their craft and a forward-thinking studio approach that places them very much in the NOW. Singles like No Matter How, Bounce and Moving are pure 2024 and place Torrey firmly alongside like-minded groups like Seablite, Winter and Alvvays who are enlivening a similar set of inspirations.

"Torrey by Torrey" includes the following tracks: "Moving", "Hawaii", "Slow Blues", "July (And I'm)" and more.

Following his blissfully abstract, piano-based collaborations with Harold Budd and Ruben Garcia over the last 20 years, The Arcades Project is John Foxx’s first solo piano album, released on vinyl for the first time. This latest work has a fresh sense of wonder, as if returning to the instrument after the raging analogue noise of his last major work, 2020’s Howl (by John Foxx And The Maths) necessitated a further retreat into quiet, minimal music. Reviews for The Arcades Project: “Delicate evocation of the ambience of a city’s galleried passages.’ Mojo 4 ****. 'This exquisite and refined solo piano work is a fine addition to a body of work made by an artist always investigating memory and imagination.’ The Quietus Album of the Month for April 2023. 'His most evocative music.’ Uncut Magazine 8/10. ‘Delicate, drifting and hypnotic.’ Record Collector 4 ****. ‘Unmissable’ Electronic Sound Magazine. 'Its minimalism is moving; its restraint rich in reverie. Foxx's 21st-century body of work grows ever more absorbing.’ Prog magazine. ‘An album that has the potential to be a classic of modern times and a reference point for classical ambient for years to come.’ Louder Than War. ‘Awed wonder . . . and frequently beautiful.’ Classic Pop. 'Foxx has created 12 stunning pieces of music . . . sparse, minimalistic, and extremely moving . . . It goes a long way in demonstrating just how much of a genius he is' Spill Magazine.

For more than 30 years, singer-songwriter and guitar hero Mary Timony has cut a distinctive path through the world of independent music, most recently as vocalist and guitarist of acclaimed garage-pop power trio Ex Hex (Merge) but also as a member of seminal postpunk band Autoclave (Dischord), celebrated leader of the deeply influential Helium (Matador), multifaceted solo artist (Matador, Lookout!, Kill Rock Stars), and a co-founder of supergroup Wild Flag (Merge). Described by Sleater-Kinney's Carrie Brownstein as "Mary Shelley with a guitar" and dubbed "a trailblazer and an innovator" by Lindsey Jordan a.k.a. Snail Mail, Timony has distinguished herself as one of her generation's most influential. Although she has remained a cult hero and critical favorite since the early '90s, Timony's many triumphs have long been counterbalanced by crippling doubt and self-nullification. Her fifth solo album, Untame the Tiger, approaches these emotions head on. Her first solo release in 15 years is a startling document of an artist fully coming into her own power during the fourth decade of her career. It is the product of lessons learned during life-altering struggle. The mystical, acoustic-driven Untame the Tiger emerged after the dissolution of a long-term relationship and was bookended by the deaths of Timony's father and mother. The album was recorded during a two-year period during which she was the primary caregiver for her ailing parents. The tectonic psychic shift Mary experienced due to this loss informs many of her lyrics. Standout track "No Thirds" "is a song about losing everything and having to keep on going," says Timony. "I wanted the verses to sound like a wide-open barren space, like driving across a desert, because that is what the song is about - losing people and the feeling that your future is a giant, wide-open blank space." The stripped-back acoustic instrumentation of "The Guest" conjures Sweetheart-era Byrds. Timony describes it as a song sung directly to loneliness: "I was imagining loneliness as a house guest who keeps knocking on your door. I thought it would be funny to say loneliness is the only one who always comes back." Untame the Tiger does not eschew Timony's guitar hero reputation; in fact, "Summer" relishes in it, a straight-up banger that you'd be half tempted to call "no frills" until its initial garage rock stomp breaks into the unexpected bliss of a twin guitar solo conclusion. "I wanted the recording to have the energy of the Kinks, early Dio and Elf, or Rory Gallagher," she explains. "I was also listening to a lot of Gerry Rafferty's first solo album and was inspired to have two simultaneous guitar solos." Untame the Tiger picks up the thread woven through Timony's freak-folk-anticipating solo albums of the early '00s. Basic tracks were recorded at Studio 606 in Los Angeles, with Timony backed by Dave Mattacks, drummer of legendary British folk-rock band Fairport Convention. "Mattacks is a hero of mine and one of my favorite musicians of all time. He is a true legend. I never in a million years thought he'd agree to play on my record," says Timony. "Before the session, I had a panic attack and had to go sit alone in the parking lot_ Once we started playing together, it felt so great that the fear subsided and turned into excitement. His playing felt instantly familiar, which makes sense because it's the foundation of many of my favorite records." Untame the Tiger was produced by Mary Timony, Joe Wong, and Dennis Kane. The album was recorded over the course of two years at Studio 606, Magpie Cage, 38North, and in Mary's basement Additional engineering by J. Robbins (Jawbox, Burning Airlines). Musicians include Chad Molter (Faraquet, Medications), David Christian (Karen O, Hospitality), and Brian Betancourt (Cass McCombs, Devendra Banhart, Hospitality). The album was mixed by Dave Fridmann (MGMT, The Flaming Lips, Mercury Rev), Dennis Kane, and John Agnello (Dinosaur Jr., Kurt Vile, Waxahatchee).

For more than 30 years, singer-songwriter and guitar hero Mary Timony has cut a distinctive path through the world of independent music, most recently as vocalist and guitarist of acclaimed garage-pop power trio Ex Hex (Merge) but also as a member of seminal postpunk band Autoclave (Dischord), celebrated leader of the deeply influential Helium (Matador), multifaceted solo artist (Matador, Lookout!, Kill Rock Stars), and a co-founder of supergroup Wild Flag (Merge). Described by Sleater-Kinney's Carrie Brownstein as "Mary Shelley with a guitar" and dubbed "a trailblazer and an innovator" by Lindsey Jordan a.k.a. Snail Mail, Timony has distinguished herself as one of her generation's most influential. Although she has remained a cult hero and critical favorite since the early '90s, Timony's many triumphs have long been counterbalanced by crippling doubt and self-nullification. Her fifth solo album, Untame the Tiger, approaches these emotions head on. Her first solo release in 15 years is a startling document of an artist fully coming into her own power during the fourth decade of her career. It is the product of lessons learned during life-altering struggle. The mystical, acoustic-driven Untame the Tiger emerged after the dissolution of a long-term relationship and was bookended by the deaths of Timony's father and mother. The album was recorded during a two-year period during which she was the primary caregiver for her ailing parents. The tectonic psychic shift Mary experienced due to this loss informs many of her lyrics. Standout track "No Thirds" "is a song about losing everything and having to keep on going," says Timony. "I wanted the verses to sound like a wide-open barren space, like driving across a desert, because that is what the song is about - losing people and the feeling that your future is a giant, wide-open blank space." The stripped-back acoustic instrumentation of "The Guest" conjures Sweetheart-era Byrds. Timony describes it as a song sung directly to loneliness: "I was imagining loneliness as a house guest who keeps knocking on your door. I thought it would be funny to say loneliness is the only one who always comes back." Untame the Tiger does not eschew Timony's guitar hero reputation; in fact, "Summer" relishes in it, a straight-up banger that you'd be half tempted to call "no frills" until its initial garage rock stomp breaks into the unexpected bliss of a twin guitar solo conclusion. "I wanted the recording to have the energy of the Kinks, early Dio and Elf, or Rory Gallagher," she explains. "I was also listening to a lot of Gerry Rafferty's first solo album and was inspired to have two simultaneous guitar solos." Untame the Tiger picks up the thread woven through Timony's freak-folk-anticipating solo albums of the early '00s. Basic tracks were recorded at Studio 606 in Los Angeles, with Timony backed by Dave Mattacks, drummer of legendary British folk-rock band Fairport Convention. "Mattacks is a hero of mine and one of my favorite musicians of all time. He is a true legend. I never in a million years thought he'd agree to play on my record," says Timony. "Before the session, I had a panic attack and had to go sit alone in the parking lot_ Once we started playing together, it felt so great that the fear subsided and turned into excitement. His playing felt instantly familiar, which makes sense because it's the foundation of many of my favorite records." Untame the Tiger was produced by Mary Timony, Joe Wong, and Dennis Kane. The album was recorded over the course of two years at Studio 606, Magpie Cage, 38North, and in Mary's basement Additional engineering by J. Robbins (Jawbox, Burning Airlines). Musicians include Chad Molter (Faraquet, Medications), David Christian (Karen O, Hospitality), and Brian Betancourt (Cass McCombs, Devendra Banhart, Hospitality). The album was mixed by Dave Fridmann (MGMT, The Flaming Lips, Mercury Rev), Dennis Kane, and John Agnello (Dinosaur Jr., Kurt Vile, Waxahatchee).

In the early aughts, The Children"s Hour produced a genial, naive-adjacent, front-porch take on Josephine Foster"s celebrated solo music with the album SOS JFK, then disappeared from the face of the earth. The belated issue of their second album from 2003 furthers their arc delightfully. David Pajo"s Aerial-M-esque drums and bass elevates Josephine and Andy Bar"s shared vibe of love, pure and simple, to an apex of local band barroom bliss.

grey & green splatter vinyl

A1 - Spacewaves
Opening the EP in thunderous style, Aural Imbalance chops impeccable, clean amen breaks, rolling sublimely into a chorus of fluid, delicate keys. The track whisks the listener atop the crest of wavy edits before a quietly turbulent assortment of blips and notes punctuate a bass-heavy breakdown. The latter half combines the elements in surreal harmony for a triump hant crescendo, buoyed by the truly vibrant breaks.
A2 - Tranquil Sea
A masterclass in subsurface ambience introduces Tranquil Sea, glistening melodies cascade into punchy breakbeats, setting the pace. Brimming with sunken off-key 808 bass resonating unpredictably with the spirit of the ocean, Aural Imbalance gently builds the vibe with soothing waves of mesmerising soundscapes as the beats rumble on, inviting you to dance amidst the swirling currents of his inimitable sound.
AA1 - Concordia
Old school analogue breaks take center stage as Aural Imbalance rewinds the clock for a great dancefloor-friendly slice of history with a modern Spatial twist. Quiet plinky keys bubble underneath long, whooshing ripples of the sea, echoed hi hats and a distinctive classic bassline intertwine perfectly, carrying you to uncharted sonic territories that will linger in the recesses of your mind long after the needle is lifted.
AA2 - Fading Fields
Delicate cymbal work and stirring pads combine deliciously before the listener is lifted to blissful serenity with a sumptuous tapestry of synths and micro melodies set to an immense, head nodding break pattern. The noteworthy kickdrum delivers a classic analogue stomp while the drums joyously encircle them
in their droves, showcasing further the variety and density Aural Imbalance offers.

Inimitable post-rock outsiders A Burial At Sea return with `Close To Home', a soaring sonic love letter to the places and people that shaped them, the collective's first new music since the eponymous debut full-length in 2020, `Close To Home' is a breathtaking evolution of their unique, brass-led blend of shoegaze, math-metal and blissed out afro-jazz that draws inspiration, influence and insight from the rich Gaelic cultural heritage of their Irish homeland. First making waves in 2018 with unbridled bombastic creativity of `_And The Sum Of Its Parts' EP, A Burial At Sea turned the traditionally austere post-rock frown upside down. Quickly catching the attention of like-minded, international genre-benders And So I Watch You From Afar (ASIWYFA), This Will Destroy You ,Caspian and Some Become Hollow Tubes (Godspeed You! Black Emperor), the band subsequently spent months on tour in support, honing their incendiary craft and gaining a loyal fan base across Europe in the process. Despite being landlocked by forces outside of their control, A Burial At Sea continued their adventure by looking inwards to produce `Close To Home': a staggering refinement of the band's already singular instrumental sound. The confidence, experience and sheer musical assuredness behind this album renders any generic labels of post rock immediately obsolete. `Close To Home' proves without a doubt that A Burial At Sea are indeed more than the sum of their parts; positioning the band on the crest of a truly progressive wave of uplifting, anthemic post-rock. Everything you are NOT edition (single coloured vinyl)!

Inimitable post-rock outsiders A Burial At Sea return with `Close To Home', a soaring sonic love letter to the places and people that shaped them, the collective's first new music since the eponymous debut full-length in 2020, `Close To Home' is a breathtaking evolution of their unique, brass-led blend of shoegaze, math-metal and blissed out afro-jazz that draws inspiration, influence and insight from the rich Gaelic cultural heritage of their Irish homeland. First making waves in 2018 with unbridled bombastic creativity of `_And The Sum Of Its Parts' EP, A Burial At Sea turned the traditionally austere post-rock frown upside down. Quickly catching the attention of like-minded, international genre-benders And So I Watch You From Afar (ASIWYFA), This Will Destroy You ,Caspian and Some Become Hollow Tubes (Godspeed You! Black Emperor), the band subsequently spent months on tour in support, honing their incendiary craft and gaining a loyal fan base across Europe in the process. Despite being landlocked by forces outside of their control, A Burial At Sea continued their adventure by looking inwards to produce `Close To Home': a staggering refinement of the band's already singular instrumental sound. The confidence, experience and sheer musical assuredness behind this album renders any generic labels of post rock immediately obsolete. `Close To Home' proves without a doubt that A Burial At Sea are indeed more than the sum of their parts; positioning the band on the crest of a truly progressive wave of uplifting, anthemic post-rock. Everything you are NOT edition (single coloured vinyl)!

2023 Repress

Frank Maston’s Tulips is a sample-ready film score to the best 70s movie never made. Originally a super-limited self-release on his Phonoscope label in late 2017, Tulips has already become incredibly sought-after. Be With were introduced to Maston by mutual friends Aquarium Drunkard and it didn’t take long before we decided this modern classic deserved a reissue.

Inspired by the deep-grooving soundtracks of Italian cinema - think Morricone, Umiliani and Alessandroni - Maston conceived the entire Tulips project as a continuation of these revered works. Frank designed the artwork and made two 16mm films to accompany the music: “It wasn’t just the LP… it was kind of a whole vibe I was trying to create. Not really trying to emulate the things that influenced me but more trying to make something that could sit alongside those records on a shelf. I’m still very proud of the project.”

There’s a distinct library music feel too, with wiry organ, spacey keyboards and loping 60s guitar hinting at KPM and DeWolfe. Like the best library music, Tulips creates a cinematic universe through sound alone, evoking moving images in the listener’s technicolour imagination. It turns out that was accidentally on purpose: “I was discovering a lot of library music for the first time… listening to a composer’s entire catalog or finding all this obscure stuff. I wasn’t entirely conscious of the influence until I started making this music and realized I was channeling the vibe. That’s when I began focusing more on weaving melodic themes throughout the record to make it function more like a soundtrack”.

Tulips was recorded between 2015 and 2017 in a small studio in a village called Zwaag in Holland, during downtime from Frank’s touring duties with Jacco Gardner’s band. “Tulips” comes from the title of the very first demo he made in Holland, it was the first thing that came to mind. Makes sense.

Recording in Europe with some very European influences in mind, Frank wanted to eschew any American influences. But we can still feel the studio wizardry of the likes of Brian Wilson and Harry Nilsson in there somewhere. A psychedelic bedroom-pop song-cycle, full of hypnotic hooks and dusty drums, Tulips manages to sound charmingly homemade yet wholly widescreen.

Dreamy opener “Swans” is an exquisite soul instrumental and recalls the soft-psych of Koushik, which Be With loves of course. Tropicalia influences abound in the cool and breezy “New Danger” and the KPM-references are loud and proud on the lush organ pop of “Old Habits”. Fast-paced “Chase Theme No. 1” manages to be both tense and laid back, decorated by acid-drenched spaghetti Western guitars. The glorious Gainsbourg-esque melancholia of “Infinite Bliss” is all gauzy flutes and happy-sad vocalizing and the title is almost perfect: it’s bliss, no question; *if only* it went on forever. Side A closes with “Evening”, a subtle bossa nova beat thing. Gorgeous.

Side B opens with the heat-shimmer guitars of “Rain Dance”, evoking an unreleased Byrds or Buffalo Springfield backing track. Yes, it’s that good. “Sure Thing” is music to accompany an elevator ride you never want to end, but in a good way! The ornate “Garçon Manqué” is as beautiful as the instrumentals on Pet Sounds (think “Let’s Go Away For A While”) and the wistful “Turning In” starts like a stroll in the park before Maston introduces a scorched-Earth guitar solo that would startle if it wasn’t so pitch-perfect. “Chase Theme No. 2” is a briefer, more keening counterpart to what we hear on side A. The head-nod bass-drums-keys funk of “Hues” rounds out this staggeringly assured set; still opening each phrase with a plaintive strum, but using vibrato and heavy reverb to accent the electric organ melody. Sublime.

All these top drawer musical references might sound like just more of the usual release notes hyperbole, but there’s a reason that this still-young LP already changes hands for big money. It really is that good. Of course that first pressing didn’t hang around for long and Frank’s regularly been asked about a re-press pretty much ever since.

Re-issuing Tulips on Be With made sense to Frank “because the record would fit in so well with the catalogue”. Having already delved into the archives of KPM and Themes, and beginning to do the same with Coloursound and Selected Sounds, the collaboration “just makes sense and seems inevitable”. We agree.

Frank wasn’t sure a record of instrumentals with obscure soundtrack references would be an easy sell when it was originally released, and was surprised when Tulips turned out to be exactly what some people wanted to hear. We reckon its timeless beauty ensures that it’ll *always* have an audience.

The record was originally cut to be played at 45rpm, a technical quirk that grants the home listener the opportunity to go deeper, for longer. Played at 33rpm, the more languid unfurling of the tracks proves just as wonderful a trip. As a psilocybin-soaked case study from Aquarium Drunkard back in January of 2019 describes, some of the songs sound as if they were intended to be heard that way. The slower speed allowing the listener to step inside and perhaps even “crack the code” of the music’s meaning.

Mastered for this vinyl reissue by Simon Francis and featuring alternative burnt orange artwork from Maston himself, this Be With pressing is limited to just 500 copies. Hypnagogic it may be, but please don’t sleep.

Bella Brown & the Jealous Lovers Unveil "Soul Clap" LP: A Fusion of Retro Soul/Funk and Modern Grooves

Los Angeles-based retro soul/funk sensation Bella Brown & the Jealous Lovers are set to ignite the music scene with their highly anticipated LP, "Soul Clap." Born from the creative genius of Grammy Award-winning vocalist/songwriter Carol Hatchett, Bella Brown emerges as a diva with a fiery stage presence, drawing inspiration from the likes of Tina Turner and Sharon Jones, and channeling the empowered female leads of 70s Blaxploitation films. Led by producer/bassist/songwriter Daniel Pearson, The Jealous Lovers assemble an impressive ensemble of A-list musicians, boasting pedigrees that include names like Mick Jagger, Elton John, Whitney Houston, Prince, and Stevie Wonder. This musical collective is on a relentless quest to redefine the boundaries of music, infusing soul and funk with elements of jazz, rock, and Afro-Caribbean influences.

The essence of "Soul Clap" is derived from the cultural phenomena it is named after—a shared and improvised rhythm-making by a collective. The LP, spanning 40 minutes of pure musical bliss, invites the audience to immerse themselves in the groove and discover their individual truths in the music.

The title track, "Soul Clap," and the infectious "Living Proof" serve as funky dance bangers, echoing the spirit of Bohannan and The Tramps. These tracks, punctuated with jazzy improvisations and soulful horn arrangements, are simple yet joyful expressions of shared humanity and self-love.

"Coming For You" is Bella's audacious response to the soul/funk classic Apache, boldly announcing her and The Jealous Lovers' arrival on the modern soul landscape. "I Found You" takes a northern soul love song approach, reminiscent of Gloria Jones with a touch of modern influence, giving it a distinct Amy Winehouse feel.

Bella Brown seamlessly weaves social commentary into her art. "Bang Bang Bang," an uptempo, funky Motown groove, cleverly uses Curtis Mayfield's sense of sarcasm to reflect on American gun culture. "Lady Time" takes a driving afrobeat groove, employing brassy horns and reggae-like echoes to address the issue of homelessness.

However, the album is not without its lighthearted moments. "Fast As Lightning" celebrates a cleaner future by imagining Jimi Hendrix joining Ike and Tina Turner's band to create a classic Chuck Berry car song. "There Is Love" blends horns, strings, and vocals reminiscent of The Stylistics over a Chi-Lites style rhythm section, to create a lush message of support to those among us that may find the world a bit overwhelming at moments. Finally, "What Will You Leave Behind," is a revamped version of the group's sold-out vinyl 45 release. This track serves as a powerful call to action for a better future, delivered over a straight-up Motown groove with a funky Sly Stone finish.

Bella Brown & the Jealous Lovers have crafted an album that transcends genres, embracing the roots of soul and funk while pushing musical boundaries.

"Soul Clap" is a celebration of individual truths, shared experiences, and the timeless power of music.

Rated 5/5 in UK Music Republic Magazine

Repress

Genres collide and combine with an unraveling of blissful layers on "Parabolas".

36's new album Reality Engine explores "the blossoming dynamics of artificial intelligence and the ever-changing definition of reality" on Past Inside The Present and does so with a continuation of his richly melodic sound while also evolving into new realms. The sheer beauty of these sounds is enough to uplift and energise, with chords ascending to the heavens on the opener 'Imagine The Truth' and then rolling out to infinite horizons on 'Axiom Haze'. 'Reality Engine' suspends you amongst the clouds and 'Beyond The Hyperreal' is a perfect marriage of immersive and organic sounds and hints of digital augmented reality engines. A sublime album, for sure.

Meltheads have been spreading wildfire on stages in Belgium and The Netherlands for a good while now, driven by the metronomically tight rhythm section of Tim Pensaert (bass) and Simon de Geus (drums), and fuelled by the razor-sharp and skilful guitar of Yunas de Proost. And then there’s frontman Sietse Willems, a man born to be on stage, like Morrison, Plant and Iggy Pop in one brutal and gnarly package. On 9 February they will be releasing the long-awaited debut album ‘Decent Sex’. The album kicks off with the title track, linking Stooges to The Doors, and not beating about the bush: it’s going to be at breakneck speed, and it’s going to be loud. Just 30 minutes later, once the final notes of fever dream Melvin have died out, ‘Decent Sex’ leaves you knocked out on the floor after an insane trip along blaring post punk, visceral noise, sweeping psych and good old rock ‘n’ roll. Part of the world is already turning its head, as renowned radio stations like KEXP and Radio X Manchester are picking up songs like I Want It All and Theodore, and fellow Antwerp based rock legends dEUS took them on tour, even as far as London’s Electric Brixton. Influential music magazines like Visions (DE), Clash and DIY (UK) dug up superlatives – and comparisons to The Birthday Party – for Theodore, a song about looking for (self) love, but also about the mess drug use can lead to. All not very uplifting, and most themes return in several songs, like the dark side to relationships and sex (White Lies, Decent Sex), or toxic masculinity (Vegan Leather Boots, Theodore again) and even politics (No One Is Innocent, Arbeit). Pretty heavy stuff, but wrapped in the highly infectious and piercing guitar rock Meltheads are serving, it’s going like a bomb. Decent Sex is out on 9 February, followed by release shows in Belgium, The Netherlands and Paris. At the end of January, Meltheads will vigorously kick off the year with a show at the highly influential ESNS showcase festival, where the part of the world that is still in blissful ignorance will get to know the brute force of Meltheads.

Decent Sex by Meltheads, released 9 February 2024, includes the following tracks: "Vegan Leather Boots ", "White Lies ", "No One Is Innocent ", "Gear " and more.

New Zealand’s jazz luminaries have assembled to form an allstar cluster: The Circling Sun.

Originally formed in mid 2000s, the New Zealand based jazz
collective, are set to release their debut LP Spirits, an eight
track collection that channels the greats of spiritual and
modal jazz and their own unique South Pacific spirit and
sensibility.

The group pay homage to Afro-American genre pioneers
such as Alice Coltrane, Yusef Lateef and Pharoah Sanders,
whilst incorporating a whole lot of love and appreciation
for a myriad of Afro, Latin and contemporary musical forms.
The choir used for the recording is made up of mostly
Pacific Island and Maori singers and artists, an important
acknowledgement of and reflection on their countries own
culture and heritage that seeps into all their work.

Teakup continues his own white label series with 002, exploring ambient and dub techno realms, tactile and chewy percussions, and beat abstractions. The blissed out, dissociative atmospheres return with a more driving pulse. Music made for healing the mind and body in tumultuous times.

“The Missing Boys” is a film born from the need to tell the story of the emergence and affirmation of a forgotten music scene, like much of the youth movement that spread in metropolitan areas as well as in the provinces more than forty years ago, dealing with the same critical issues of everywhere. It’s a story of mostly unknown bands, who from Sardinia, especially from Cagliari and Sassari, interrupt the blissful isolation of an island, only apparently distant from that revolution that ignited wherever there was a stage and a power socket. The birth of a path that began with punk and quickly transformed into a magmatic picture where research, experimentation, sound subversions and slivers of darkness, shape a multifaceted and unique scene in balance between affinities and divergences with its whole surroundings. The examined period between 1979 and 1989 marks a seminal decade, a ten years time-frame linked to an indelible generational transition, like an imaginary journey “from the ants to the clouds”, an invisible thread suspended between those kids and their great dream. This album contains music from a vibrant and uncompromising season, just like all that cannot be recognized as industrial product and maintains an independent spirit. (Davide Catinari)

WIREs COLIN NEWMAN reissued auf seinem SWIM Label das Soloalbum "Bastard" aus dem Jahr 1997. Damals von der Presse als richtungsweisendes und bahnbrechendes Album im Elektro/TripHop/Techno-Bereich hoch gelobt, klingt es über 25 Jahre später immer noch grandios und aktuell. Erstmals auf LP (eco vinyl) überhaupt, CD-Version jetzt mit zusätzlicher Disc expanded mit vielen Bonustracks. - Obwohl das Album (das den Titel Bastard trägt) eine große Bandbreite an Stilen aufweist - Deep, Techno, funky Beats, Drum'n'Bass - ist es auch, wenn überhaupt, eine Rückkehr zu Newmans "Rock"-Wurzeln, da mehrere der Tracks Schwaden von E-Gitarren enthalten, die die Rhythmen untermalen. Die Platte fasst Newmans Hör- (und Aufnahme-) Gewohnheiten in den letzten Jahren vor der Veröffentlichung und die eklektische Natur des Swim-Labels zusammen, das er mit seiner Frau Malka Spigel betreibt. Alle Stücke auf Bastard wurden von Colin Newman und Malka Spigel geschrieben und von Immersion produziert. - "The language of Bastard is house, techno, breakbeat, drum and bass, and doubtless post-rock." - Colin Newman 2023 * "A fascinating trip across the musical barriers!" (Modern Dance) *"Scattercore breaks with swathes of electric fuzz... spiritualised infected with the dance virus... droning, blissed out mantras..." (MixMag) -