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Storyville Records is proud to present Michel Petrucciani – Solo in
Denmark

This album features French piano prodigy Michel Petrucciani in a solo recording
from Silkeborg Church, 1990. MP was one of the most popular pianists in the
1990’s due to his extraordinary technique, his astounding musical outlook and
extremely dynamic playing style. His music is simply timeless and magical,
seemingly coming straight from his soul. As he is often quoted: “I’m not playing
to your head, but to your soul. When I play, I’m like a bird flying over the landscape,
and I can land anywhere.” Recorded on June 23, 1990 at the Riverboat Jazz
Festival in Silkeborg, Denmark, this album is a tour de force that leads the listener
through a series of the most iconic motifs in jazz, all of which are deconstructed
and transformed by an outstanding craftsman and embellished along the way by
a true master. And he also allows himself to insert unexpected twists and turns
that are guaranteed to make the listener smile. Pay special attention to his small
rhythmic and melodic tags, little hints for the well- trained ear. They reveal a
musician who never grows complacent or takes himself too seriously. Here, the
totality of MP’s talents are exhibited in an intimate setting, where he stuns the
crowd with his inventive and blindingly rapid playing. The music emanating from
the man simply grabs everybody’s attention. Arrangements by jazz legends like
Duke Ellington, Thelonious Monk and Miles Davis gets the cheeky Petrucciani
treatment with his rather audacious approach to ‘established’ jazz standards. MP
had the ability to effortlessly travel through the history of jazz on his piano,
fascinating his audience in the process. This church concert clearly displays why
MP quickly developed into a truly exceptional member of the international jazz
scene. For MP, joyful playing with the music was a necessity of life. He lived and
breathed for the opportunity to show it his love and respect. And all we have to do
is open our ears, mind and soul and accept the gems from a musical individualist,
who has made an indelible impression on millions of jazz listeners around the
world. Solo in Denmark is simply another chapter in the remarkable story of a
man, who perceived himself as a servant of the music. BIOGRAPHY Michel
Petrucciani was a highly charismatic and high- spirited character, despite being
hindered by a genetic disease called osteogenesis imperfecta or brittle bone
disease. He was extremely short, standing at three feet. Luckily, his hands were
perfectly normal, but he had special modifications to reach the piano’s pedals. He
started playing in the family band with his guitarist father and bassist brother. At
the age of 15, he had the opportunity to play with Kenny Clarke and Clark Terry,
and at 17 he made his first recording. MP moved to the US in 1982, where he
convinced Charles Lloyd to get out on the road again, and tour with his quartet.
Behind the grand piano, MP was a giant with h

Leatherette are, by their own description, “five shy guys who sometimes get off the stage and punch people,” a quintet whose car-crash of jagged noise, twisted love and dark, anguished melody has delivered a remarkable – and eminently combustible – debut album. The group are based in Bologna, but all hail from different towns in Italy. These five young men – singer/guitarist Michele, bassist Marco, drummer Francesco, guitarist Andrea and saxophonist Jacopo – are united by a profound need to make music, to express themselves naturally and honestly. The group bonded over wildly differing influences – everything from midwestern emo gods American Football, to Berlin-era Bowie, to James Chance & The Contortions, to rap and electronic music – to create a dense, passionate, articulate sound of their own. You can file them near fiery post-punk kindreds like Shame and Squid, or unhinged 90s noisers like Unwound or Hoover, or squalling No Wavers like James Chance, but the truth is there are few bands like Leatherette that walk this Earth. Their first full-length, Fiesta follows an EP, Mixed Waste, recorded during lockdown. The songs on Fiesta precede the Covid era, though the group spent the pandemic rewriting and overhauling their maiden batch of songs at leisure. The result is an astonishing and remarkable debut: poetic, caterwauling, broken and beautiful. The album title is “a reference to the bullfights in Pamplona,” the group say. It’s no empty metaphor. “Bullfight is a strange ritual,” they elaborate. “And we’re against bullfights, but they’re fascinating in an iconographic way. And also metaphorically, violence flows on both sides, but in a feastful way. It’s similar to a concert, really – you’re expressing violent things, in a physical way. And people react to that, which is wonderful, which is fantastic.”

12 track vinyl LP and 18 track CD including bonus single and demo recordings. The Daggermen all went to Rede Secondary School in Medway, Kent. It was a school for those that failed their 11 plus, or who passed it but decided to go there anyway (as Jon pretends). Being in some of the same classes we became friends and found we liked the same music; The Who, The Small Faces, The Kinks, The Beatles and The Jimi Hendrix Experience. We started going to Carnaby Street, wearing Beatle boots and generally being a bit Moddy. Dave’s older brother, James Taylor, played organ in The Prisoners and we’d listen to cassette tapes of them along with other local band, The Milkshakes as we bounced on the trampoline during P.E. After watching both bands play live in local venues such as the M.I.C. club in Chatham we formed The Daggermen, working out who was going to play which instrument as we stood next to the now demolished school sports hall. No one can quite remember who thought of the name, The Daggermen (it was me) or how comes Jon was playing bass on a guitar in the band at the very start and then Terry took over when we started gigging (it was because he had a real bass guitar and a car). But the next thing was that we were supporting The Prisoners both in Medway and places such as the 100 Club in Oxford Street. Then, one sunny day at around the age of 17, I bumped into Billy Childish walking across a field. I formally introduced myself and told him that he should definitely come and see our band that night because we were “fucking brilliant”. He did turn up and bought us a tray of whiskies whilst we were on stage, a sure sign that he had liked it. This led to him and Russ Wilkins, bass player in The Milkshakes alongside Billy, asking us if we wanted to record an E.P. for Russ’s label, Empire Records. This was our first ever recording called Introducing The Daggermen which was made in a brick arch under Rochester bridge that we rented for £2 a week to rehearse in and lovingly referred to as ‘The Hole’. We got ourselves a “manager” (our mate, Vic Templar) and started playing up and down England, drinking as much as possible in the van on the way to each gig, often paralytic by the time we went on stage. Our musical style was a sort of mixture of punk and mod and we played covers such as ‘Heatwave’ (The Who’s version) and ‘Get Ready’ by the Temptations, along with Dave and Terry’s originals. Then came a change of line up when Jon resumed his position as bass player and Terry left for America. We started wearing military jackets thanks to Jimi Hendrix and made our first long player, Dagger In My Mind (I got the title off an episode of Star Trek, although I remembered it wrong and it should have been ‘Dagger Of The Mind’). The album was produced by James Taylor and Allan Crockford of The Prisoners at Woolly Studios on the Isle of Sheppey in 1986. This line-up played together for a couple of years up and down the country (also with a few gigs in France) before we called it a day and sailed off into the future in bands such as The James Taylor Quartet, The Kravin’ “A”s, The Solarflares and Billy Childish and The Buff Medways. As energetic youths we had a lot of fun and I am very proud to have been part of The Daggermen. We hope you enjoy these recordings, now all gathered together for the first time. Sincerely yours, Wolf Howard, Cafe Mozart, Chatham CD TRACKLISTING 1 – It’s You I See 2 – What Do I Do For You 3 – There’s No Escaping 4 – I’ve Been Hurt 5 – I Have Lost Heart 6 – You Were Meant To Be 7 – Every Moment 8 – Dagger In My Mind 9 – That Girl 10 – D’you Think Of Me 11 – I Feel The Regret 12 – I’ve Been Searching 13 – Now It’s You I Need 14 – Ivor 15 – One More Letter 16 – I Wish You Were Mine 17 – Bundle 18 – No Reason LP TRACKLISTING 1 – It’s You I See 2 – What Do I Do For You 3 – There’s No Escaping 4 – I’ve Been Hurt 5 – I Have Lost Heart 6 – You Were Meant To Be 7 – Every Moment 8 – Dagger In My Mind 9 – That Girl 10 – D’you Think Of Me 11 – I Feel The Regret 12 – I’ve Been Searching

Remastered reissue of the eponymous debut album by legendary genre scramblers, Cerberus Shoal. Available on vinyl for the first time in over 25 years. Limited edition Toasted Peach colored vinyl, 500 only pressed. The long out-of-print, eponymous debut album by the prescient, genre-scrambling collective, Cerberus Shoal, showcases their humble beginnings as a progressive punk band with extraordinary promise. Recorded in 1994 and originally released the following year, Cerberus Shoal disTRR024LPC1 is an Indie Retail Exclusive on Rouge Colored Vinyl, 500 only while supplies last. The long out-of-print breakthrough third album by the forever forward-thinking New England collective, Cerberus Shoal, is rightfully considered a high-water mark for the band, and a quintessential example of what would eventually be commonly defined as “post-rock.” The first studio album to feature the members of fellow local experimental rock troupe, Tarpigh, Homb exemplifies the transitional magic and mystery that marked Cerberus Shoal’s brilliant early era. Unraveling their various influences – early 90s post-hardcore, shoegaze, avant-rock, psych-folk, early New Age – and weaving them into something uniquely rich and resonant seemed almost effortless to Cerberus Shoal, and perhaps no album epitomized that more than the lush tapestry of Homb. Finally available on vinyl for the first time ever, Homb Anniversary Edition is packaged in restored artwork with extensive new liner notes written by the band. The record has been newly mastered for vinyl by Bob Weston at Chicago Mastering Service, and pressed onto audiophile-grade vinyl. “It’s another milestone for the always intriguing Cerberus Shoal.” Pitchfork // “Formed in the early 90s, this six-piece collective has steadily gained a name for themselves as one of the most interesting and original bands coming out of the North American indie scene today.” tilled the band’s earliest creative and philosophical influences – the rhythmic post-hardcore of Dischord Records; the disarming histrionics of Ebullition and Gravity Records; and the ominous, patient dynamics of Slint and Moss Icon – into a concise six-song document that is as much a snapshot of an era as a blueprint for much that followed. Cerberus Shoal Anniversary Edition is packaged in restored artwork with extensive new liner notes and newly uncovered photos from the earliest era of the band. The record has been newly mastered for vinyl by Bob Weston at Chicago Mastering Service, and pressed onto audiophile-grade vinyl. The enclosed digital download coupon includes a massive 30-minute instrumental bonus track not available on the LP. Track Listing 1. Rain (2:44) 2. Daddy As Seen From Bar Harbor (11:25) 3. Elena (4:56) 4. Change (7:31) 5. Breakaway Terminal Cable (6:24) 6. Rain (Reprise) (5:34)

As three souls plunge down from the heavens, death and destruction can be felt hanging in the air like a foul stench. Red clouds swirl around a black sun that never sets and an erratic clock ticks off-tempo, moving faster and slower before rewinding and starting anew.

“Let me paint you a picture…” vocalist Mikey Arthur sings, welcoming listeners with a dramatic opening scene. It takes a skillful guide to navigate the darkest depths of hell. And, as The Gloom In The Corner depict in their second full-length album Trinity, death is merely the beginning of the series of chilling adventures

Purposefully aligning their song count with unlucky number thirteen – a reoccurring symbol in the ever-unfolding Gloom Cinematic Universe or GCU – it comes as little surprise to longtime fans that each of the Australian quartet’s enticing tracks intertwine to form an interlocking tale; this time centered around the appropriately labeled unholy trinity.

Comprised of previously deceased characters Rachel Barker, Ethan Hardy, and Clara Carne, the group’s bloody battle is woven throughout the album as the anti-heroes determinedly claw their way back to Earth from the Rabbit Hole dimension, slashing, shooting, and extinguishing anyone who dares to oppose their quest. Yet, for the Girl of Glass, Ronin, and Queen of Misanthropy, there is clearly more to the story than what can be contained within a single package.

Projecting a wide and complex web of lore, plot twists, and tongue and cheek humor, frontman Mikey Arthur, guitarist Matt Stevens, bassist Paul Musolino, and drummer Nic Haberle, have been producing highly detailed concept releases since their formation. And, consistently filling in more missing pieces of the puzzle with every body of work, the band equate each new record to a fresh season of The Umbrella Academy dropping on the streaming service of your choice. Because, just as a great TV series captivates viewers with its music and storytelling, the quartet’s work provides a complete experience designed to allow fans to check in with their favorite characters, all the while enjoying a cinematic new soundtrack.

For those just joining the GCU, as well as those looking for a quick refresh, 2016 debut album Fear Me introduced listeners to main protagonists Julian “Jay” Hardy, a Section 13 agent consumed by anger over his girlfriend Rachel’s death, and Jay’s gloom (later known as Sherlock Adaliah Bones), a demonic entity who at times takes over Jay’s body as a host vessel. 2017 EP Homecoming tells the tale of Jay’s brother Ethan, a war veteran suffering from PTSD, who upon discovering his brother’s struggle, kills himself as part of a Dante-style rescue mission to bring Rachel back to life. In 2019 EP Flesh and Bones, we’re introduced to Clara Carne, a past witness to one of Jay and Sherlock’s crimes, who instead of taking revenge, began a twisted love story with Sherlock, only to be murdered by his forced hand. And 2020’s Ultima Pluvia EP where we finally learn of Sherlock’s past as an ancient warlord under the tyrannical King Baphicho, and see Sherlock and Jay’s deaths ushered in by Section 13 opponent and New Order leader Elias DeGraver and his gloom Atticus Encey.

After 2016’s Fear Me, the band admit that their original intention was to jump straight into the events of Trinity before pivoting to create Homecoming, Flesh and Bones, and Ultima Pluvia. However, upon reflection, primary storywriter Mikey Arthur believes that pushing the timeline back actually provided greater opportunity for the group to properly flesh out the songs and plotlines for their sophomore studio record.

Indeed, while Trinity re-introduces the three central “heroes” of this new arc, it’s important to understand that while familiar, the characters are not carbon copies of who they were earlier in the story. And neither is the band who brought them to life.

Fully embracing the weird and whacky has never been a struggle for The Gloom In The Corner. Rather, it’s together with this attitude that the group come away with special moments such as the fascinating old and new dynamic between neighboring tracks “Red Clouds” – a song whose initial version predates the formation of The Gloom In The Corner as an official band – and “Gravity” in which a demo intended for future material was adjusted to fit the sonic drop.

Mirroring this evolution in the band’s musical approach, a sense of growth can also be seen projected in the characters and story that the quartet chronicle across the thirteen tracks.

Classifying their individual sound as an intricate form of “cinema or theater-core” due to the depth and breadth of their musical approach, features, samples, symphonic elements, and conceptual nature, The Gloom In The Corner continue to prove that they’re more than just a simple concept band.

In fact, similar to character theme music in movies and video games, the group seamlessly play off their diverse sonic story in a variety of ways. Continuing to breathe new life into older staples from their catalog, the quartet reworked their infamous “Oxymøron” breakdown from Fear Me into an impactful moment in Trinity’s “Nor Hell A Fury” and sprinkled audio easter eggs of this sort all throughout their new music for fans to discover.

Listeners are also brought further into the world of the GCU with the help of what The Gloom In The Corner call their “casting process.” Like picking actors for a musical, the band meticulously selected eleven different vocal features and several additional voice actors to bring the album and characters to life. Described as a 50/50 split between notable talents such as Ryo Kinoshita (Crystal Lake), Joe Badolato (Fit For An Autopsy), and Lauren Babic (Red Handed Denial), as well as talented friends and family like Elijah Witt (Cane Hill) and Mikey’s sister Amelia Duffield, each featured artist brought their own touch and realistic spark to the characters they portrayed.

For in the end, as much as Trinity and it’s cast live within the confines of their own supernatural worlds, themes such as falling out of love (Gatekeeper), battling depression (Obliteration Imminent), and standing behind women’s empowerment (Nor Hell A Fury), are ones that many can relate to or understand. And, while most individuals may avoid drowning their woes by way of transforming into full-on egotistical murderers like the Queen and King of Misanthropy and the gang, The Gloom In The Corner have illustrated that time and time again, life’s a little more fun when you can crack a smile. Taking a page from the trinity’s playbook: try to avoid the end of the world. But if you can’t…at least spend it with a killer soundtrack.

Gondwana Records announces Horizons the debut album from Jasmine Myra, produced by Matthew Halsall, it's an elevating debut record of understated beauty

Jasmine Myra is a Leeds-based saxophonist, composer and band leader Her original instrumental music has a euphoric and uplifting sound, influenced by artists as diverse as Kenny Wheeler, Bonobo and Olafur Arnalds and like Mammal Hands and Hania Rani her music has a special, emotive quality that draws the listener into her world. Matthew Halsall first heard Myra's music in 2019 shortly before the pandemic hit, signing her to Gondwana Records and producing her beautiful debut album, Horizons.

"I was immediately drawn to Jasmine's music. I could hear jazz, electronica in her music but with a deep, honest, emotional quality. I was really impressed with her skills as a composer and bandleader, that she is open and intelligent enough to bring all those influences together, to make something fresh and original. We were also delighted to work with a young artist from the North of England. London is often seen as the place to be, but cities like Manchester and Leeds are full of creative musicians too, and that sense of local community is at the heart of our values as a label."

Myra came-up through the bustling, creative Leeds music scene and her music draws on the sense of community that permeates life in the city and which is notable for a strong DIY ethos in its musical community. She attended Leeds Conservatoire and played with the Leeds based Abstract Orchestra, a jazz big-band, led by tutor Rob Mitchell that explores the synergy between jazz and hip-hop found in the recordings of Madlib, MF Doom of J Dilla. Indeed, Myra cites MF Doom and Soweto Kinch as early influences on her own music. It was in her last year at the conservatoire that Myra started to consider leading her own group and started to really think about what her own music might sound like and her first band featured guitarist Ben Haskins and drummer George Hall who both feature on Horizons and her band draws heavily on the Leeds community featuring rising stars such as pianist Jasper Green and harpist Alice Roberts.

Myra also mentions local legend, Dave Walker, who owns an instrument repair shop called 'All Brass and Woodwind' which is right next to the music college. She worked there while studying and he introduced her to a lot of local musicians. Walker also has his own line of saxophones (played by Shabaka Hutchins, Pete Wareham and Nubya Garcia), and gifted Myra the saxophone she plays on Horizons. It was Walker who encouraged Myra to apply for Jazz North Introduces, a scheme that supports emerging jazz artists in the North of England and Myra credits her winning a place, in 2018,with helping her grow in confidence.

" It gave me the opportunity to start gigging outside of Leeds, which I was very keen to do. I was quite surprised by people's reaction to the project and the support I was being shown, which helped me gain a lot of confidence. It became clear to me very quickly that being a solo artist was what I wanted to do and it was also apparent to me that mine was one of the only female-led instrumental bands on the Leeds scene, which encouraged me even more, as I wanted my project to inspire younger female musicians".

Horizons was produced by Matthew Halsall and mixed by Portico Quartet collaborator Greg Freeman, and much of the music was written during lockdown. It was a hard time for a lot of people, and initially Myra struggled mentally, deprived of shows and the connections of making music with her band and friends, but she also realised what she wanted as an artist and the result is heard on Horizons.

"I realised that my aim was to start writing music that made people feel happy and uplifted. Writing is one of my biggest passions, but I also love performing. Playing live and seeing the audience connect with my music and have a positive experience brings me so much joy".

This sense of elevation is at the heart of Horizons, together with the feeling of a journey, of reaching new ground. Prologue and Horizons were originally composed as one piece as they encapsulate Myra's own personal development as she worked on the album - taking the listener on a journey, especially Prologue; and then Horizons is that moment of release when you've reached the end goal. 1000 Miles takes inspiration from the music of Shabaka and the Ancestors. Whereas Words Left Unspoken was written after Myra's grandmother unexpectedly passed away in June, and due to Covid restrictions she was unable to visit her before she passed and say how much she loved her. Morningtide is a nod to Kenny Wheeler, particularly the track Opening from Sweet Time Suite on Music for Large and Small Ensembles but Myra also puts her own spin on it as she also does with Promise, another track influenced by Wheeler. Awakening has a calm and euphoric quality and represents that sense of problems lifting, or of reaching the other side, and New Beginnings finishes the album with a positive vibe and a sense of moving forward from darkness

This then is Horizons. A soulful, emotional and up-lifting debut from a major new voice. A snapshot of a young artist at the beginning of her journey - drawing on jazz and electronica influences to create something fresh and new. But also a celebration of her home town Leeds, and a record built on a sense of support and community before looking out to wider Horizons.

Jamie Cullum on BBC Radio 2 "...That's Jasmine Myra and 'New Beginnings', wonderful to hear new music from a new artists i've not heard before, a great new artist!"

Tom Ravenscroft on BBC 6 Music "Leeds-based saxophonist, composer and band leader Jasmine Myra. 'New Beginnings' on Gondwana Records. Compositions drawing influence by Kenny Wheeler, Bonobo, Ólafur Arnalds. Produced by Matthew Halsall"

A true love letter to house music, Larson presents his account of the ubiquitous dance music genre diving deep into its origins. Connecting the dots with some of the genre’s most beloved innovators such as Larry Heard, Boo Williams, Ron Trent, Chez Damier or Chris Brann, the Belgian producer pays tribute by adding his own emphases. Setting a bright mood, at times aiming for the dance floor, at others comforting the listener into a casual vibe, Larson is not seeking, but spontaneously drawing attention with his graceful sounds, stripped to the bone and built on an intuitive factor.

Larson hails from Liège, the South Belgian city known for its meat balls and the mighty river La Meuse, and works as a sound editor in movie production. Recognised by those-who-know as one of the most quintessential figures of Liège’s burgeoning underground nightlife scene, the time is now for Larson to step forward. His 2x12” debut release dubbed ‘Interlace Joy Motions’ is one for the house heads, shifting between 121 and 130 BPM and showcasing the diverse sounds the producer has in store.

Opening track Our Inner Sun has smiles written all over. A simple yet effective piano loop, warm strings and a delicately running acid baseline are all Larson needs to set the standard for the beauty that is yet to come. Effortlessly entertaining for close to seven minutes, here is the essence of timeless house music at work.

Pushing up the speed up to 129 BPM, A2 brings the brand new label’s title track, Larson’s take on the many meanings the name may represent. Designed for jubilant dance floor action, Hi Scores is punchy and elegant at the same time.

On the flip side, Slack Breeze is an eleven-minutes-long breezy electro trip paying homage to Detroit music pioneer Juan Atkins and offers two mixes, nicely manufactured as one auditive whole on the vinyl record with a useful visual marker in between. Be aware of the slight tempo drop between the bold Club mix and the more laid back Sensual mix.

In a cultured and charming manner, Lethal Dance opens the second 12”. Driven by a fab bassline and soft as silk string arrangements, here is a slow burner for moments lost track of time. High Jazz Travel on C2 continues this trip to lofty spaces, speeding up the pace but holding on to Larson’s well crafted dream universe, with its mellow aura almost turning into a debonair lullaby for grown-ups.

Adding another layer to the cake is Chris ‘Funk’ Ferreira, the C12 resident DJ and ½ Senga Ferreira. Also active as the mixing engineer of this double 12”, on the D1 the Brussels based producer takes up the role as remixer with his stomping and energy building ‘Magic Force’ version of Hi Scores, contributing the single vocal sample to the EP. Things come to an end with Souvenir d’Enfance, a playful and innocent conga driven house track, cherished as a safe and sound childhood memory, forever in our hearts just as this excellent debut by Larson.

Reissue of the breakthrough sophomore album by the rising Belarussian post-punk/synthpop band // The second LP by Belarussian trio Molchat Doma, Etazhi, meaning "Floors", was first released in 2018 on Berlin-based Detriti Records. It became a viral hit, garnering over one million views on YouTube and becoming a legitimate phenomenon on Bandcamp. The band may fly under the radar in their native Belarus, but they've reached huge audiences across Europe and beyond. Six separate vinyl pressings of the album have sold out in quick succession, and Sacred Bones Records is now thrilled to bring the record back in print for good. Molchat Doma (translated as "Houses Are Silent"), founded in 2017 in Minsk, Belarus, stands at the intersection of post-punk, new-wave and synth-pop. Dark yet danceable, and with a heavy dose of goth ethos, their music is reminiscent of the masters that predate them, but make no mistake: Molchat Doma creates a sound and meaning that is immediately recognizable as all their own. The band is comprised of Egor Shkutko, who sings the Russian lyrics in his deep monotone, Roman Komogortsev on guitar, synths, and drum machine, and Pavel Kozlov on bass and synths. RiYL: Depeche Mode, New Order, Drab Majesty, Black Marble

Up The Bracket arrived like a raging bull in a tired post-Britpop china shop and introduced the world to The Libertines, a new gang of London bohemians, whose ragged tunes, red military tunics, opiated poetry and "live now pay never" lifestyle came to define the millennial angst of the early noughties. At the heart of the band is the blood bond bromance between the ramshackle Music Hall Jagger/Richards, Peter Doherty and Carl Barat, ably assisted by the rock solid rhythm twins John Hassall and Gary Powell. Any bookie worth his salt would have given you short odds on this quartet surviving more than a month or two, given the teetering on the brink lifestyle they chose to lead, but here we are two decades later and our Byronic heroes, though older and wiser, are still fighting the good fight and making music every bit as vital as their debut. The belief, talent and fervour that Doherty spoke of in their earliest manifesto has stood them in good stead. Up The Bracket, justly considered one of the greatest albums of the noughties, was originally released on October 21st 2002 by Rough Trade Records. The album, a heady stew of indie rock, skiffle, blues, dub and English bucolic pop, was a huge shot in the arm to a largely redundant music scene and helped to inspire the rebirth of guitar music, going on to influence countless artists who followed in its wake. Up The Bracket, which was produced by Mick Jones of The Clash, takes you on a wondrously poetic journey into the band"s mythical world and their fevered dreams of Albion, a land of squalid glamour, liberty, equality, fraternity, gin palaces and chip shops. Quite simply Pete, Carl, Gary and John created a hugely compelling timeless British rock"n"roll classic debut as relevant now as it was upon its release.

Born for This Moment captures the true heart of Chicago at their full creative capacity. From the undeniable swing of the lead single "If This Is Goodbye" to the unbreakable bonds of "For the Love" to the deeply personal storytelling of "Safe Harbours," the patriarchal aspirations of "Make a Man Outta Me, " the romantic reveries of "If This Isn't Love," and the sultry flare of "Firecracker," it's quite clear the collective force of nature that is Chicago is indeed alive and well


Disc 1 - Side A
1. Born For This Moment / 2. If This Is Goodbye / 3. Firecracker / 4. Someone Needed Me The Most / 5. Safer Harbours
Disc 1 - Side B
1. Our New York Time / 2. Make A Man Outta Me / 3. Crazy Idea / 4. You've Got To Believe / 5. For The Love
Disc 2 - Side A
1. She's Right / 2. House On The Hill / 3. If This Isn't Love / 4. "The Mermaid" Sereia Do Mar

Hand Stamped, Hand numbered, Limited press, with insert.

An oddly familiar/familiarly odd entity floating about the relatively cohesive surface of contemporary electronic music, Belgium-via-Italy based duo Front De Cadeau has been knocking genres askew and blowing overused terminologies out of the water with unrelenting panache over the past decade. Championing a sound unmoored by vanishing trends and cross-pollinating approaches, F2C punch back in on Antinote with their anticipated debut album, “We Slowly Riot”, an 8-track mishmash of tunes previously released and not.

Bastardizing tried-and-tested rave tropes by slowing the tempo down to barely recognizable shapes and contours, Hugo Sanchez and Maurizio Ferrara dish out a new high in their ever expanding discography. Free-falling down the K-hole with no parachute on, “La Ketamine” burns slow but steady. A practically immersive dub filled with processed minutiae and vibrational drums out a mystic forest, it’s a helluva trippy post-industrial joint that unfolds, heady and empyreumatic to the bone. “We Slowly Rot” puts on offer a buggy script-like swing, adorned with F2C’s trademark blend of spoken word and jacuzzi-warm vibes, whereas “There is Something Wrong” steers us into further sizzling, syncopated groove territories through a fevered meshwork of sliced-and-diced vox samples, overheated machine talk and primitive percussions on a African Headcharge tip.

Draped in eerie, 8-bit-infused layers and Arabian Nights ambiences, “Slam is Slam” treats us to a spookily fun Oriental mix of hot-tempered darbukkahs and FX-soaked riffs. The outrageously sensual “Ouvre Ta Bouche” is a tactile invitation to get down in some dark alcove of sorts and more if you hit it off. A steely dub primed for post-party divagations, “Climate Change” slowly veers off into verbed-out industrial jazz as bars run by, while “Legal Illegal” cuts a path of acid-dipped dancehall from outer-space across the club. Last but not least, Jewish clarinets quietly move along waves of sedated bass on “Casa Gaza”, rounding it all off on a dreamy, cinematic note that serenely phases into a liquid-like roller over one solidly deeper-than-deep home stretch.

We are proud to present the official 40-year anniversary issue of Imagination's debut album Shake It. Remastered from original tapes, this deluxe edition is a double vinyl LP with gatefold sleeve, featuring a newly available lyric insert.

Shake It covers a diverse spectrum of styles and sounds, all combining to a unique soulful amalgam that ranges from sunshine AOR funk ("Mornin' Lights") and leftfield disco ("Strawberry Wine") to psychy, epic, downtempo, vocoder grooves ("Can't Stand Without You") and more. Originally released in 1980, it fast became one of Germany's most collectible privately-pressed LPs.

Shake It was the creation of young thoroughbreds working hard on becoming professional musicians, trying to take their next big step in the music business. Starting out as a pure jazz-rock combo in the mid '70s (as we hear on the recently released lost studio tapes, I'm Always Right (The WDR Tapes 1977)) Imagination left behind their instrumental roots, incorporating new musical trends and styles.

Uwe Ziss, their saxophonist and flutist, became one of two lead singers in Imagination. He would be joined by the younger Roger Mork, a student of original guitarist Willi Hövelmann, around 1979. Roger's voice would best be heard on the aforementioned "Mornin' Lights", one of the various standout tracks on Shake It. However, there is much more that this album offers.

There are brilliant soulful soft rock ballads like "Clouds Flee Before The Wind" and "Waitin for your Call" or the catchy "California" song that switches from a dreamy Westcoast sound (as the title implies) to danceable rhythm & blues with equal ease. Last but not least, we have unearthed three unissued bonus cuts. On one, the demo take of "Clouds Flee Before The Wind", we hear, for the first time ever, the original refrain of this song, which, for some strange reason, was taken out from the final mix on Shake It.

When all eight original songs were recorded and mastered in June, at the well-equipped West Aix-La-Chapelle studio, the stage was set for Imagination's long-desired career push. They'd initially press about 2500 copies of Shake It selling it mainly, locally, directly to their hometown fanbase in Düsseldorf. Meanwhile, their manager would attempt to arrange a record deal with a music label. Unfortunately, this became more difficult than expected. Negotiations with a smaller publishing company were made by Imagination, and Shake It was repressed on Nash Records in 1981 without their consent, under the false promises of a nationwide promotional tour which would never come to fruition. At the same time, the group would face a UK band under the same name achieving mainstream success, making it difficult (not to say entirely impossible) to perform as "Imagination". Though the band would remain active after Shake It, they'd split shortly after Nash's duplicitous reissue hit store shelves.

Luckily, through time, Shake It itself has remained worthwhile, creatively, for those who stumbled upon it and financially, too, becoming quite the sought after gem in record collecting circles. This deluxe anniversary double vinyl issue makes the LP available once again at a far more reasonable price, featuring the original, illustrious, eye-catching, Roy Lichtenstein-influenced banana art, as well as previously unavailable press pictures and more.

Initially started as a a solo project until Deacon D. was joined by guitarist Åskväder in September 1999. After an hiatus HETROERTZEN resurfaced in Sweden in 2009 with the release of ‘Exaltation Of Wisdom’ issued on their own imprint Lamech Records. That album put forward the band’s early interest in the occult, Gnosticism and Illumination. 2016 saw the release of their critically acclaimed ' Uprising of the Fallen' previous album, HETROERTZEN are now releasing their brand new album entitled ' Phosphorus Vol 1' for a late Spring release on Listenable HETROERTZEN comment about ‘Phosphorus Vol 1' : " A new day has come to pass. A new ray pierces the veil of darkness and confusion. A new gem feeds the astonished sight and yet we walk through times of uncertainty before facing the switching Era… After five years of silence and lots of work, Hetroertzen finally give you the first Volume of ‘Phosphorus', which is the crown for our latest Opus or the new Sephira in our artistic/spiritual development. This is in fact a strong title, taken from the Vampiric-eucharistic ritual of the “Ecclesia Gnosticae” (Gnostic Church) which inspired the “Libation” passage in the Order of the Knight Templars; and even in the Catholic Mass later on. “Unless You Eat the Flesh of the Son of Man and Drink His Blood You Have No Life In You” The Royal Art or the Dragon’s Arts are present more or less in any occult teaching as Alchemy aims to conjoin separated ways into the quintessence of “Holy Marriage”. As one church focused on the feminine esoteric aspect of Communion and the other on the masculine; We use both sides unified as a more accurate representation of “unity” and “oneness”. (The One). 'Phosphorus Vol 1' consists of eight tracks plus one bonus track available on the CD version. They harvest the very soul of Wisdom and Salvation or Salvation through Wisdom as we see it. Each title encloses a key or “Clavicula” which reveals different passages to the Adept. Once more, the term “Eyes to see and Ears to hear” is fundamental when it comes to the listening experience to its fullest. As all of the previous works, this is a unique piece which complements our experimental / conceptual aura into its own mystic tree. Time will tell when the second volume faces the waves of turbulence. Certainly, it shall swallow the soul of the sleepers and haunt the dreams of those who knock at our door… Through plague and war, we survive the hand of destiny by the laws of cosmic thought and the bliss of this endless journey. Light of all Lights, blessed be ! "

Drawing the night in around his private, unnerving vigil, Ellis Swan returns to Quindi Records with an album of cracked beauty and haunted balladry. The Chicago-based singer-songwriter debuted on the label last year with a collaborative project called Dead Bandit, a vividly produced instrumental set in thrall to the badlands and a laconic, languid Americana.

Under his own name, Swan records intimate, poetic songs in a stark fashion, so fragile they might disintegrate in between your fingers were you to pick them up. He draws the microphone close to pick up every whisper and drags the music through layer upon layer of tape fuzz, leaving room for atmospheric impressions which loom out of the walls like the ghosts of past misdeeds. These pieces play on the natural distortion and delirium which occurs at the farthest end of the night - the hour before dawn might hope to break the veil of darkness.

Swan's is a hauntological sound, but like the late Israeli rockabilly icon Charlie Megira his process strikes a spooked tone past revivalism and out of time or place. The only anchor which places Swan anywhere is the subtle presence of Katherine Swan providing lyrics to '3am' and lyrics and backing vocals to 'It Could Be Worse'.

The impression cast is of one man and his guitar, but there are other textures tucked into the music - the muffled murmur of a drum machine or a low frequency organ hum, some desolate piano, other treated percussive impulses which might well have been the work of incidental sprites while the four-track was rolling.

There are fuller cuts like 'Evening Sun' and the title track '3am' which play with structural dynamics and creep out of the shadows a touch, while passages of plaintive, instrumental unease such as the hypnotic, mantra-like 'Chinatown' protract the space between songs. 'Swing' lolls between moments of bottomless silence and a discernible, rickety funk, and 'Puppeteers Tears' teases out a buried drama. But primarily, it's the light touch of 'Horses Bones' and tin can tenderness of 'She's My Sweet Summer Storm' which spell out the spellbinding character of 3am; a singular creation fusing the best qualities of folk, blues and Americana with a fearlessly experimental sound palette.

“I think it’s a mistake to equate ‘perfection’ with flawlessness. To be human is to be perfectly flawed,” Johanna Warren observes while describing the joys of analog recording. Her new LP Lessons for Mutants was tracked live with a band to two inch tape—a revelatory new way of working for Warren. “Tape forces you to commit to a performance, eccentricities and all. The little glitches and anomalies that we’re tempted to ‘correct’ are often what make a thing magical.”

Lessons for Mutants is the prolific songwriter’s sixth solo LP and her second for Wax Nine/Carpark Records. The album’s running theme of metamorphosis (the title of the closing track, “Involvulus,” is Latin for “caterpillar”) reflects major changes in Warren’s personal life: after a decade of relentless touring, as the world was closing its borders, the American multi-instrumentalist unexpectedly found herself quarantining in rural Wales, where she’s now permanently homesteading.

Though tracking for the new album began in New York in 2018 in tandem with the sessions for 2020’s Chaotic Good, the majority of Lessons for Mutants was recorded in the UK surrounded by sheep, cows and a forager’s paradise of wild edible plants—a far cry from the urban jungle of LA that Warren had most recently called home. The body of work that emerged from this dramatic about-face is Warren’s most dynamic to date, shapeshifting seamlessly from searing punk screams to sparkly psych-folk soundscapes, from the bootleg ambivalence of Dylan’s Basement Tapes to cosmic stoner grooves reminiscent of Black Sabbath’s acoustic moments.

“Sometimes I can relate to myself/ I disassociate more than I’d like to, but what can you do?” Warren croons in “Tooth for a Tooth,” a wistful piano ballad that conjures the grainy romance of some smoke-filled 1940s jazz club. This kind of to-the-bone lyrical honesty has always been one of Warren’s strong suits, but these latest reflections are especially unflinching. Being forced to stop touring brought no shortage of self-examination for Warren, who quickly came to view her history on the road as an addiction from which she’s been detoxing. This sentiment dances through opening track “I’d Be Orange,” a drum-driven indie rock number replete with Beatles-esque male backing vocals: “Thirst for power, hunger for fame/ Always was a junkie for pain,” Warren confesses. This exploration of masochistic ambition and artistic martyrdom overflows into grunge anthem “Piscean Lover”: “It’s alright, we’re not ok/ We burn out not to fade away.”

“There’s this unspoken rule in modern music—modern life, really—that everything needs to be Auto-Tuned and ‘on the grid,’” Warren concludes. “This record is an act of resistance against that. There’s beauty and power in our aberrations, if we can embrace them.”

* = Vinyl only track

Washington DC resident Bartees Leon Cox Jr. aka Bartees
Strange, announces his new album and 4AD debut, ‘Farm To
Table’, which also includes recent single ‘Heavy Heart’. Where
his 2020 debut record, ‘Live Forever’, introduced the
experiences and places that shaped Bartees (Flagey Brussels,
Mustang Oklahoma), ‘Farm To Table’ zeros in on the people -
specifically his family - and those closest to him on his journey
so far.
 With his career firmly on the ascent, ‘Farm To Table’ examines
Bartees’ constantly shapeshifting relationship with life post-‘Live
Forever’. It also speaks to a deeper lore that says, don’t forget
where you came from, and this album is why. Always
remembering where he came from, across 10 songs Bartees is
celebrating the past, moving towards the future, and fully
appreciating the present.
 An unapologetic and braggadocious indie-trap banger, new
single ‘Cosigns’ celebrates Bartees’ peers, collaborators and
friends; name-checking the likes of Bon Iver, Phoebe Bridgers,
Courtney Barnett and Lucy Dacus, through a genre-defying
outpouring somewhere between swaggering hip-hop and
euphoric alt rock. The song ends on a poem he wrote in his
early 20s, “I don’t know how to be full, it’s the hardest to know, I
keep consuming I can’t give it up, It’s never enough.” ‘Cosigns’
is also a moment for Bartees to acknowledge himself, giving
himself credence and unashamedly basking in that glow. Its
accompanying official video was directed by Pooneh Ghana.
 Born in Ipswich, England, to a military father and opera-singer
mother, Bartees had a peripatetic early childhood before
eventually settling in Mustang, Oklahoma. Later, Bartees cut his
teeth playing in hardcore bands in Washington DC and Brooklyn
whilst working in the Barack Obama administration and
(eventually) the environmental movement. Since charting a path
as a solo artist, Bartees Strange has released two records in
quick succession: an EP reimagining songs by The National
(‘Say Goodbye To Pretty Boy’, 2020) and his debut album
proper, ‘Live Forever’.

In response to the current political and ecological turmoil, the famous Malian quintet BKO appeals to the magical spirit of the djinn with Djine Bora (the appearance of the genie). An explosive and mystical third album, embodied by a music of resistance, the fruit of their unique experimentation with Mandingo music and their extraordinary history

The three letters B.K.O. are the code for Bamako airport. It is in the Malian capital that the group has been rehearsing since 2012. In the same year that Mali declared a state of emergency, no one could have imagined that these musicians would be responsible for three albums and over 450 concerts in 25 different countries. BKO fights, does not fail, unifies and looks like no one else.

In this album, the band delivers an abrasive music where tradition is tinged with rock, polyphonies, distortions and shrill breaks. They invoke ancestral spiritualities by marrying for the first time in Mali
two diametrically opposed traditions.

In the course of the ten tracks of Djine Bora, BKO propels the traditions within a powerful and hybrid universe, just like Bamako. In this bewitching atmosphere, crackling concrete and ritual ceremonies
meet. The group has released one of its most accomplished albums, tinged with trance, enigmatic melodies (Ntiaro's Peulh prayer) and unifying messages (Maya, Bamako, Toumaro).

Carlita’s meteoric rise through the electronic music space continues with her impressive new ‘Bon Trip’ EP and also marks her first-ever vinyl release.

The EP kicks off with the title track, a spacey slice of progressive house drenched with a classic-era piano line - it’s exactly what you want to be listening to when the sun rises and sets at your favorite outdoor party. Next, ‘Run Run Run’ immediately kicks into high gear with an irresistible bassline that offsets Duddha’s spiritual, leftfield vocals which help make the track quite the trip. The package is rounded out by two remixes - Krystal Klear offers a punchy, electro-interpretation of the title track while Red Axes dips ‘Run Run Run’ into a vat of acid for their 303-inspired version of the song.

The “Bon Trip EP” comes on the heels of Carlita and DJ Tennis’ incredible remix of Diplo feat. Jungle “Don’t Be Afraid”.

Diamond Head are of seminal importance to heavy metal music, and their debut album Lightning To The Nations is a key influence on the genre. Silver Lining Music is therefore proud to present Lightning To The Nations (The White Album) Remastered 2021, the ultimate version of this ultimate album, featuring not only the original album from ¼ inch master tapes discovered in founder Brian Tatler’s archives, but also alternative mixes of classic cuts “Lightning To The Nations”, “The Prince”, “Sucking My Love” , “Am I Evil?” and “Sweet And Innocent” never publicly released (or heard) before. There is also brand-new cover artwork based on an idea Brian Tatler had to show a character referred to as ‘The Lightning God’.

The original tapes were first quite literally baked (a process which allows degraded tape to be returned to playable quality), then restored and digitized before Diamond Head frontman Rasmus ‘Ras’ Bom Andersen remastered the tracks, ending up with a pristine edition of the original recordings. The alternative mixes, pure treasure for all fans of both Diamond Head and the New Wave of British Heavy Metal, are supplemented by a set of bonus tracks originally recorded in 1980s, and rounding-out this ultimate edition are a set of deep and detailed notes on both the era and each song by Brian Tatler.

Lightning To The Nations (The White Album) [Remastered 2021], will be released as a double CD, a deluxe 180 gms gatefold triple-vinyl edition containing the original album remastered, the lost mixes and the bonus tracks. There will also be a single vinyl edition of just the remastered album, also on 180 gms.

“We wrote instinctively,” says Brian Tatler in his notes, “we had an undeniably unique sound. Four young lads, each with an element that, when combined, produced an alloy that was our own heavy metal sound.” Lighting To The Nations (The White Album) remains an indispensable alloy for any set of self-respecting

Diamond Head are of seminal importance to heavy metal music, and their debut album Lightning To The Nations is a key influence on the genre. Silver Lining Music is therefore proud to present Lightning To The Nations (The White Album) Remastered 2021, the ultimate version of this ultimate album, featuring not only the original album from ¼ inch master tapes discovered in founder Brian Tatler’s archives, but also alternative mixes of classic cuts “Lightning To The Nations”, “The Prince”, “Sucking My Love” , “Am I Evil?” and “Sweet And Innocent” never publicly released (or heard) before. There is also brand-new cover artwork based on an idea Brian Tatler had to show a character referred to as ‘The Lightning God’.

The original tapes were first quite literally baked (a process which allows degraded tape to be returned to playable quality), then restored and digitized before Diamond Head frontman Rasmus ‘Ras’ Bom Andersen remastered the tracks, ending up with a pristine edition of the original recordings. The alternative mixes, pure treasure for all fans of both Diamond Head and the New Wave of British Heavy Metal, are supplemented by a set of bonus tracks originally recorded in 1980s, and rounding-out this ultimate edition are a set of deep and detailed notes on both the era and each song by Brian Tatler.

Lightning To The Nations (The White Album) Remastered 2021, will be released as a double CD, a deluxe 180 gms gatefold triple-vinyl edition containing the original album remastered, the lost mixes and the bonus tracks. There will also be a single vinyl edition of just the remastered album, also on 180 gms.

“We wrote instinctively,” says Brian Tatler in his notes, “we had an undeniably unique sound. Four young lads, each with an element that, when combined, produced an alloy that was our own heavy metal sound.” Lighting To The Nations (The White Album) remains an indispensable alloy for any set of self-respecting

Re-Release des Debutalbums 'Garden Of Death' (2016) der schwedischen Melodic-Death-Metal-Formation This Ending. Klingt wie Hypocrisy, At the gates, A canorous quintet, Amon Amarth oder Wolfheart!

Black vinyl LP with DL.

Note - Sleeve says contains a bonus CD, these represses do not have a bonus CD, they have a download card.

Hate Your Friends is the 1987 debut album by the Lemonheads, one of only three full-length releases to feature the original band line- up of Evan Dando, Ben Deily, and Jesse Peretz. The album showcases a hardcore-punk-to-pop-rock sound and sensibility as playfully fierce as it is surprising…especially to listeners who know the band only from their better-known major label recordings of the 1990s. The roots of Hate Your Friends begin with the genesis of the band itself: when high school friends Ben Deily and Evan Dando—inspired by a shared love of the 70’s absurdist comedy troupe the Firesign Theatre, literature, and punk rock—began playing their own songs together in 1985. Dando and Deily first started out as a two-piece ensemble: swapping back and forth between a shared Guild guitar (and a crappy amp) and vocal mic, and pounding a drum kit “borrowed” from the high school jazz band. With the addition of classmate and friend Jesse Peretz on bass, the two-man outfit quickly became a power trio. With a handful of original songs, a passionate love for their favourite bands—from Husker-Du, the Replacements, Black Flag and the Germs, to the Saints, Wire and ‘77 UK punk—and a tiny recording budget, the Lemonheads set about their first studio session within days of their high school graduation in June of 1986. During that summer, a significant amount of what would become the band’s debut album was recorded in Brookline, Massachusetts, with Deily and Dando sharing vocal, guitar and drumming duties. Above and beyond bass, Jesse proved pivotal as the band’s manager, booker and tireless promoter—helping arrange for the Lemonheads self-released debut EP, Laughing all the way to the cleaners, later that summer, and shortly thereafter helping establish the relationship with Curtis Casella of TAANG! records that paved the way to full-length LP Hate Your Friends. Finally, with the addition of full-time (and fairly short-lived) drummer Doug Trachten, the last songs of Hate Your Friends were recorded in the winter of 1986-7. BONUS TRACKS: This Fire Records re-issue features bonus tracks including 12 never-before-released live tracks from a 1987 radio session, rare tracks from the early compilation Crawling From Within, and additional tracks not included on the original release of Hate Your Friends (“Buried Alive” and “Gotta Stop”).

Toronto-based musician and producer David Psutka aka ACT! (fka Egyptrixx / Anamai / Ceramic TL) will release his latest project ‘Strange Bounty / About Life’ for his own Halocline Trance imprint.

‘Strange Bounty / About Life’ is Psutka’s debut album proper as ACT! following the release of the “sonic mixtape” ‘Universalist’ in 2018 and the augmented reality soundtrack ‘Grey Matter AR’ in 2021; a series of Snapchat filters created by artist Karen Vanderborght and soundtracked by ACT! which explored the poetic and existential potential of AR and social media.

The new album represents a refinement of aesthetic and compositional ideas that exist across Psutka’s various projects and collaborations. It is a bold blend of new psychedelia braided with ecstatic groove. It’s a collage of physical sound, composition and freeform electronics that is simultaneously original, bold, and balmy whilst retaining a certain timeless familiarity and the obvious, indelible hallmarks of Psutka’s creative vision.

“‘Strange Bounty / About Life’ is in some ways my most refined record. The previous period of solo material was quite experimental and spontaneous, whereas this was written slowly and with more intentionality, and as a result, feels very clarified. Robin Dann of Bernice, and Alanna Stuart of Bonjay both contributed lovely vocal work to the record and it was written and performed primarily on guitar. I think it is fair to call this an 'experimental guitar record'.” David Psutka (ACT!)

On opener ‘Oblivion Shuffle’ synths trickle and squelch beneath vintage arcade bleeps, an off-kilter rhythm and mournful vocals. The palette of faintly dystopian electronics, unnerving ambience and scorched, wonky rhythmic pulses reoccur across the album on tracks like ‘Separation Code Is Togetherness Meta’, ’50 Million Motives For Making’, ‘Peace Javelin Heaven Bound’ and ‘Street Racer’.

Elsewhere on the record the guitar is more obviously prominent, and its presence allows the thematic subtleties of ACT’s music to flourish. It becomes clear after numerous listens that there is a push and pull at play across the whole project; one of optimism vs existentialism, of anxiety vs hope - a consistent theme of Psutka’s back catalogue. The track titles themselves even begin to reveal juxtaposition contained within and a deeper inspection of the lyrics reveals more.

‘Lotto’ and ‘Rebuild Your Body’ and title track, ‘Strange Bounty / About Life’ all feature slick classic soul hooks, silky vocals and smooth Balearic guitar licks over the idiosyncratic beats and distinctive electronic instrumentation. A perfect melding of the two seemingly disparate stylistic directions on the album. A real testament to the refinement promised by Psutka on this project.

In addition to ACT!, Psutka has released music with numerous projects including Anamai, Egyptrixx and Ceramic TL, he has collaborated widely with artists such as Junior Boys, Ipek Gorgun, and Kuedo as well as Jessy Lanza (2016) and an official remix for Massive Attack’s ‘Hymn of the Big Wheel (2012). The contributions on this album, from Robin Dann and Alanna Stuart, reflect the deeply collaborative nature of the Halocline Trance label and the Toronto creative scene more broadly.

Many of Psutka’s releases have received critical acclaim from media outlets such as Pitchfork, Exclaim, The Quietus and Resident Advisor. As a live performer, he has toured extensively including performing at Sonar Festival, Roskilde, Mutek, MOMA PS1 Warm-UP and CTM Festival. He’s also presented sound installations at various institutions such as Galeria Civica Commune di Modena, and Art Gallery of Ontario (AGO).

In 2015, Psutka launched Halocline Trance as a home for his various sound projects, events and collaborations. Now a creative collective and label, it has grown to include a diverse array of artists including Casey MQ, Xuan Ye, Myst Milano, Colin Fisher and others. The label is described as “genre-agnostic” and conceptually open, supporting work across a wide spectrum of creative fields including soundtrack recording, AR design and traditional artist albums. Their impeccable roster also includes, theorist/improviser Eldritch Priest, and AR/VR artist Karen Vanderborght. In recent years, Halocline Trance has established itself as a platform that facilitates many of Canada’s most exciting creative music projects. Many of the releases have received critical acclaim from outlets including Pitchfork, Exclaim, Bandcamp and Resident Advisor.

"Kontakt Audio and Infinite Fog Productions proudly present the 25-th anniversary reissue of the one of most unique albums on avantgarde/neoclassic music – Ihor Tsymbrovsky – Come, Angel.

Recorded in 1995 in Ukraine and released in 1996 just as a small run on cassette on Polish label Koka Records, the album without any promotion little by little became legendary and madly wanted by many fans all around the world. And from the first seconds, you can hear why it is so. Pretty hard to explain what songs play Ihor, moreover that would be senseless. “Come, Angel” is one of those albums which are so unique that takes you in a vacuum of verbal forms in an attempt to describe the record. In a few words, this is definitely very intimate and deeply emotional music with an absolutely incredible voice. The first associations could forward you to Antony Hegarty from Antony And The Johnsons, Marc Almond, Arthur Russell, Baby Dee, Bjork. Experienced listener familiar with these great artist knows that all of them are inimitable and Ihor Tsymbrovsky is totally inimitable as well.

In 2016 well-known German label Offen Music published 3 tracks from the album “Come, Angel” which brought a lot of attention to Ihor’s music. This time we’re excited to announce the first full album reissue on CD, Double vinyl, and tapes. Beside the full version of the album, you’ll find an exclusive bonus song from the cult compilation “Music The World Does Not See” – Nefryt Records 2000.

~

“For me, music is a certain way of cultural survival. Here I do not set myself theoretical problems or experiments.
The connotations of life are important: rhythms, melodies, their connection with language, poetry, real life, virtual or imaginary space. It is very important to me how the recitation of work sounds, how consonant and vowel sounds dissolve in singing, how they combine musically. I understand sound space as a field of my interpretations, preferences, priorities, and I do not use direct imitation. If I hear a melody or a musical phrase, and it is fixed in my memory, later I extract it in my own interpretation, as already formed by this field. In art, the goal is in the work itself, not outside it. For me, the expression “To be is to create a new reality” is another winged reality.” – Ihor Tsymbrovsky

~~

“Tsymbrovsky – an architect, musician, a poet, an artist; one of the most underestimated musicians in Ukraine’s artistic world. Many critics pulled their hair out trying to get to the bottom of Tsymbrovsky’s music. It has been inspired by jazz, minimal, modern, ethnic, and meditation music. Tsymbrovsky is not a virtuoso, however, he creates whole worlds with his astonishing falsetto. Although Cymbrovsky’s music is simple it is made of many elements. Filled with magic and unusual sensitivity and warmth it can be therapeutic for the listener. This is that kind of music, which can be listened to many times – in a different way each time.” – Koka Records.

~~~

“Igor Tsymbrovsky’s only album “Come Angel” (1995) still remains perhaps the most bizarre phenomenon in Ukrainian music since independence. The story of its author is a vivid example of cultural amnesia. In the pre-Internet era, Tsymbrovsky was a prominent figure in the Ukrainian underground, performed on the “Red Route”, went on tour in Germany. However, he left a minimum of evidence of his activity and became a silent legend for a few. We talked to Igor to find out where he came from and where he was going.

The album “Come Angel” is eight compositions performed with a falsetto to the accompaniment of a piano. (Tsymbrovsky’s falsetto is a legacy of the Lviv Dudaryk choir, where he sang as a child.) It would seem that it could be easier. But, despite such ascetic tools, Tsymbrovsky managed to create a phenomenon unique to Ukrainian culture. Some people compare him to Benjamin Clementine and Anthony Hegarty, but no comparison will be exhaustive. The lyrics of the songs attract special attention: two of them were written by Tsymbrovsky himself, the others demonstrate his remarkable literary knowledge. Here and Guillaume Apollinaire, and Mikhaijl Semenko, and even less obvious poets, such as Mykola Vorobyov or Jozsef Attila.

The young performer’s first performance took place in 1987 in the club of the Forestry Institute. It is quite symbolic that this room used to be a Jesuit church because such a chamber environment suits his songs about angels much better than the noise of big festivals. However, there were also many festivals in Tsymbrovsky’s career: in 1989, Chorna Rada and Chervona Ruta, in 1991, Kharkiv’s Nova Scena and Ukrainian Nights in Gdansk, Alternativa in Lviv. Ihor calls his first performances musical performances and notes that they sounded completely different. Unfortunately, we will never know exactly how.” – Amnesia

~~~~

“The magicians at Dusseldorf’s Offen Music pluck a madly beguiling pearl of late-night songcraft by Ukraine’s Ihor Tsymbrovsky to follow their vital releases by Toresch and Rex Ilusivii. Come Angel was first recorded in Lviv, Ukraine, in 1995, and issued on cassette by Poland’s Koka Records in 1996. There appears to be no prior mention of the release or artist on the internet and quite how it came into of Offen Music possession is not disclosed, and that only ratchets the record’s enigma to astonishing degrees once you’ve heard the music. In a quivering, high register, androgynous trill, Ihor Tsymbrovsky beckons heavenly beings in the remarkable A-side Come, Angel against a swirling backdrop of phasing, subtly delayed organ. It was recorded in one take (this is the 2nd version), and, if we’re not mistaken, you can hear the keys being pressed rhythmically in the background, which seems to be the song’s only tangible connection to this mortal world as Ihor vaults octaves high and close-in-the-mix with the sort of alien, dreamlike vocal that requires pinching oneself to make sure you’re awake. Spellbinding is definitely the word. On the other side he (we’re assured it is a ‘he’ in the promo text) sets two poems by Mykola Vorobyov and Mykhal Semenko, respectively, to emphatic piano keys, this time more shy of FX save for some delay, placing that willowing, avian vocal at a dreamy arms reach in Roses for the Poet, and with a sort of liturgical dark jazz feel, sorta like Lewis repenting his sins as a castrato monk, in the spare atmosphere in By the Sea. This is gold-seal business, we tell ya. Clock the clips and clear some swooning room.” – Boomkat

credits:
Music By – Ihor Tsymbrovsky
Lyrics By: Ihor Tsymbrovsky (tracks: C2, D1)
Atilla Joszef (tracks: B1)
Mychajl Semenko (tracks: B2, C1,C3, D2)
Mykoła Worobjow (tracks: A1,A2)
Engineer – Edward Hryhorjew
Remastering – Ihor Tsymbrovsky"

Rhythm master Klaus Weiss knew he had a good thing going with NIAGARA. The first album was a gathering of every outstanding drummer and percussionist he could get hold of and despite the fact that there were only rhythm instruments featured , it became quite a memorable and unique record. Now for the second album “S.U.B.” he felt he had to go other ways, and recorded with a complete rock outfit plus the one or another brass instrument. ‘S.U.B.’ is definitely worth being traded for 180,00 Euros and more among collectors for a clean original and when the needle hits the groove you will realize why. There is a tightly woven web of rhythms from drums and percussions, as the solid and ever pulsating base with a laid back but really present bass guitar adding more depth and power to the beats and clean rhythm guitars with a nifty wah wah effect for the extra kick. From time to time the guitars fire off a memorable steaming riff on top of the rhythm pulse and the horns answer the call for arms. You really have to look at the backcover to find out that this is a German outfit instead of one of these utterly hot and hip US funk rock cult bands of the time. NIAGARA aka Klaus Weiss waive the vocals so it is an instrumental record you face with ‘S.U.B’, but then this band goes so wild in some of the compositions, that you will be left breathless on your knees by all these simmering performances. Each musician participating in this project is a professional, but they all let the music erupt into a climax of sound you can only achieve, when you put your whole heart and soul into it. A masterpiece of funky and utterly unleashed rock music from the early 70s.

Just because a planet may be tiny, doesn’t mean it isn’t abundant with life. With the fourth time around its orbit, Tiny Planet vol. 4 is all about teaming up and bonding in synergy; personal and unified collaborations specializing in hi-tech quioxic explorations of electronica. With an all new/all star cast of artists, materializing in four sleek and sexy tracks shaped for outer space indulgence.

Repress of the the debut album of synth-pop pioneers La Roux.

Originally released in very limited quantities on vinyl in 2009, the album, La Roux, contains the UK No. 1 single Bulletproof as well as Top 3 smash In For The Kill. La Roux was shortlisted for the 2009 Mercury Prize and won Best Electronic/Dance Album at the 53rd Annual Grammy Awards in 2011.

La Roux was a refreshing addition to the world of pop. Brixton-born Elly Jackson was inspired more by the music of Nick Drake and Neil Young than synth pop, and when Ben Langmaid first heard her, she was playing her songs on an acoustic guitar. Together, they updated the template for the synth duo, Langmaid resolutely in the background, while Jackson became the face and mouthpiece for the group.

Their debut single, Quicksand, was released on Kitsune Records in December 2008, and soon after Polydor signed them, and amid a flurry of press attention, In For The Kill came out in March 2009, rising to No. 2 in the UK. In June that year, Bulletproof topped the charts, paving the way for the album, which was received warmly in the UK and made huge inroads into the US charts.

Jackson's androgyny and the duo's musical style evoked the 80s, yet this was no mere pastiche. The songs had heart and soul and were delivered with matchless panache. "People don't just want R&B girls thrusting their groins at them," she told The Guardian. "It gave me hope. People bought the record even though it was fronted by this odd boy-looking ginger girl."

La Roux is presented with scrupulous attention to the detail of the original UK first pressing and available in audiophile 180gm vinyl. Whether replacing a much-loved original copy, or adding to a collection afresh, this is a superior way to enjoy such enduring and influential music.

The Best Old School Death Metal album from the Netherlands gets a well-deserved re-issue! Crushing, aggressive, abrasive, pounding, bone crunching... In an age when blast speed drums were still mostly used by grindcore acts (and some pioneers such as Morbid Angel) and now classic bands such as Cannibal Corpse, Suffocation, Deicide were still tiny demo acts, Dutch masters Pestilence released one of the best old school Dutch death metal classics ever to be unleashed upon mankind, the album that made a huge impact upon its release. “Consuming Impulse” is one intense album. one could say this album is definitely up there with classic death metal albums such as Death’s “Leprosy”, Obituary’s “Slowly We Rot”, and Morbid Angel’s “Altars of Madness”. With “Consuming Impulse”, Pestilence created their greatest, most complete album, successfully marrying the primitive brutality of their previous effort ‘Maleus Maleficarum’ with the technicality of their later releases. Whereas their debut album “Malleus Maleficarum” had some hints of thrash metal, this was gone on “Consuming Impulse” although the up tempo beat was still of course very much present. The production was heavy yet remarkably transparent. The riffs of Patrick Mameli on “Consuming Impulse” are simply mind-blowing. Even though quite simple at times they still prove extremely deadly. Try the main riffs in the verses of ‘Process of Suffocation’ and ‘The Trauma’ for starters. Speed monsters like ‘Dehydrated’ and ‘Reduced To Ashes’ were simple compositions but the intensity of this material just oozes out of your speakers. The presence of these straight forward raging death metal tracks was perfect to balance the dynamics and variety of the album. Songs such as ‘Chronic Infection’ and the classic ‘Out Of The Body’ incorporated some great interacting differentiating guitars and much more diversity in pace and riffing.

Unique and much lauded classic soulful blues-rock band XANDER AND THE PEACE PIRATES will release their hotly anticipated new album Order Out Of Chaos on 6th May. This is preceded by their explosive single “Leave The Light On” released 4th March with an amazing video giving a tantalising taster for the main course of songs to be unleashed on their upcoming album. Order Out Of Chaos is replete with heart-warming songs with soul-searching meanings. There’s also a tumultuous sea of sounds to be discovered on Leave The Light On that will send shockwaves through the ears of connoisseurs of classic rock music. And creating musical shockwaves is something that Xander And The Peace Pirates specialise in ever since brothers Keith and Stu Xander were discovered on YouTube by former Gibson Brands CEO Henry Juszkiewicz and quickly grabbed the attention of music industry figures such as Eddie Kramer (Jimi Hendrix, Led Zeppelin, Kiss, Rolling Stones) and Rick Allen (Def Leppard). After their 5-year tenure as the resident band at Liverpool’s iconic Cavern Club, they went on to support the likes of Joe Bonamassa, Joe Satriani, Manfred Mann’s Earth Band, The Temperance Movement, ex-Whitesnake’s Bernie Marsden and even Bon Jovi at Old Trafford Stadium to name but a few.

Austin native indie rock band Why Bonnie will release their debut album 90 In November on Keeled Scales on August 19th, 2022. 90 in November, the first full-length LP from Texas quintet Why Bonnie, crashes into existence with a squeal of feedback and a burst of distorted guitar. It’s a dynamic introduction to a more raw-edged indie sound from a band who have matured from bedroom dream pop into a sophisticated rock act, their evolving sound a reflection of the journey undertaken by songwriter Blair Howerton on this vividly rendered collection of songs. The songs for 90 in November were mostly written in Brooklyn, New York, where Howerton moved from Austin in 2019. Already in the midst of a major life change, Howerton’s feeling of being between worlds was compounded when quarantine hit and she found herself, like so many others, stuck in her apartment—about as far away from the wide-open spaces of Texas as one can possibly get. It was in this environment that she began to write songs parsing out the complicated, mixed emotions associated with building a new home while attempting to make sense of the one she had left behind

Austin native indie rock band Why Bonnie will release their debut album 90 In November on Keeled Scales on August 19th, 2022. 90 in November, the first full-length LP from Texas quintet Why Bonnie, crashes into existence with a squeal of feedback and a burst of distorted guitar. It’s a dynamic introduction to a more raw-edged indie sound from a band who have matured from bedroom dream pop into a sophisticated rock act, their evolving sound a reflection of the journey undertaken by songwriter Blair Howerton on this vividly rendered collection of songs. The songs for 90 in November were mostly written in Brooklyn, New York, where Howerton moved from Austin in 2019. Already in the midst of a major life change, Howerton’s feeling of being between worlds was compounded when quarantine hit and she found herself, like so many others, stuck in her apartment—about as far away from the wide-open spaces of Texas as one can possibly get. It was in this environment that she began to write songs parsing out the complicated, mixed emotions associated with building a new home while attempting to make sense of the one she had left behind

VINYL REPRESS FINALLY ON THE WAY..

*Since the release of 2011’s award winning debut, 'No Time for Dreaming', Charles Bradley has transformed from a rising star in the Daptone galaxy into a bona-fide headliner, now affectionately known across the globe as "The Screaming Eagle of Soul."

*The popularity of 'No Time For Dreaming' resulted in an appearance on 'Later With Jools Holland' in 2012 and such glowing reviews as:

-LEAD 4/5 BOXED REVIEW IN MOJO : “THE GRIT AND GUSTO OF OTIS REDDING, THE RAW POWER OF JAMES BROWN, THE SMOULDER AND SHUDDER OF JAMES CARR, TOGETHER THEY MAKE AN INTOXICATING SOUND.
-LEAD 4/5 REVIEW IN Q MAGAZINE : “THERE'S A NEW/OLD SOUL MAN ON THE BLOCK. 'NO TIME FOR DREAMING' HAS THE GRITTY FEEL OF THE REAL THING, A MAN WHO HAS KNOWN MOSTLY HARD TIMES AND TELLS IT WITH A PLEADING, THROATY ROAR AND BLOOD-CURDLING SCREAM WORTHY OF JAMES BROWN . A REAL FIND.”

*The raw emotion and soulfulness of Bradley's voice lifts him up among the greats of the golden age of Soul - Otis, JB, Wilson Pickett, and Darrell Banks. Anyone who has had the privilege of hearing him sing has experienced how Bradley can captivate an entire audience with a simple "Ooooo..."

*Bradley and writer/producer/multi-instrumentalist Thomas “TNT” Brenneck returned to Dunham studios and recorded the most exciting Daptone release to date, Victim of Love. On this album, Bradley moves past his "Heartaches and Pain" to the great promise of hope and love. Though quite at home among the music that has affirmed Daptone as the world’s #1 authority on Soul Music, Victim of Love proves to be a genre-bending masterpiece, picking up where the early 70’s Temptations left off and edging boldly forward into psychedelic soul exploration.

Note price increase and cat number change from last time around. In 1968, Don Cherry had already established himself as one of the leading voices of the avant-garde. Having pioneered free jazz as a member of Ornette Coleman's classic quartet, and with a high profile collaboration with John Coltrane under his belt, the globetrotting jazz trumpeter settled in Sweden with his partner Moki and her daughter Neneh. There, he assembled a group of Swedish musicians and led a series of weekly workshops at the ABF, or Workers' Educational Association, from February to April of 1968, with lessons on extended forms of improvisation including breathing, drones, Turkish rhythms, overtones, silence, natural voices, and Indian scales. That summer, saxophonist and recording engineer Göran Freese who later recorded Don's classic Organic Music Society and Eternal Now LPs invited Don, members of his two working bands, and a Turkish drummer to his summer house in Kummelnäs, just outside of Stockholm, for a series of rehearsals and jam sessions that put the prior months' workshops into practice. Long relegated to the status of a mysterious footnote in Don's sessionography, tapes from this session, as well as one professionally mixed tape intended for release, were recently found in the vaults of the Swedish Jazz Archive, and the lost Summer House Sessions are finally available over fifty years after they were recorded. On July 20, the musicians gathered at Freese's summer house included Bernt Rosengren (tenor saxophone, flutes, clarinet), Tommy Koverhult (tenor saxophone, flutes), Leif Wennerström (drums), and Torbjörn Hultcrantz (bass) from Don's Swedish group; Jacques Thollot (drums) and Kent Carter (bass) from his newly formed international band New York Total Music Company; Bülent Ates (hand drum, drums), who was visiting from Turkey; and Don (pocket trumpet, flutes, percussion) himself. Lacking a common language, the players used music as their common means of communication. In this way, these frenetic and freewheeling sessions anticipate Don's turn to more explicitly pan-ethnic expression, preceding his epochal Eternal Rhythm dates by four months. The octet, comprising musicians from America, France, Sweden, and Turkey, was a perfect vehicle for Don's budding pursuit of "collage music," a concept inspired in part by the shortwave radio on which Don listened to sounds from around the world. Using the collage metaphor, Don eliminated solos and the introduction of tunes, transforming a wealth of melodies, sounds, and rhythms into poetic suites of different moods and changing forms. The Summer House Sessions ensemble joyously layers manifold cultural idioms, traversing the airy peaks and serene valleys of Cherry's earthly vision. In the Swedish Jazz Archive quite a few other recordings from the same day were to be found. Some of the highlights are heard as bonus material on the CD edition of this album. The octet is augmented by producer and saxophone player Gunnar Lindqvist, who led the Swedish free jazz orchestra G.L. Unit on the album Orangutang, and drummer Sune Spångberg, who recorded with Albert Ayler in 1962. The bonus CD also includes a track without Cherry featuring Jacques Thollot joined by five Swedes including Lindqvist, Tommy Koverhult, Sune Spångberg, and others. With liner notes by Magnus Nygren and album art featuring a cover painting by Moki Cherry: Untitled, ca. 1967-68. Track list: 1. Summer House Sessions 2. Summer House Sessions.

This previously unreleased album by the Horace Tapscott Quintet was unearthed from master tapes in the Flying Dutchman archives. Recorded in 1969 and was intended to be a follow-up album to the classic 'The Giant Is Awakened' which was released that year.

The iconic pianist and composer Horace Tapscott was one of the most unique and important figures in LA’s jazz world. This lost recording was produced by one of the pivotal figures in jazz, Bob Thiele, a leading behind-the-scenes star who worked with many of the greats in jazz, such as Quincy Jones, Duke Ellington, John Coltrane, Della Reese, Shirley Scott, Gil Scott-Heron, the list goes on. His name can be seen gracing, arguably the best, Impulse! releases and those released on his own Flying Dutchman imprint set up in 1969.

Joining Horace for this three-track, deep, heavy, avant-garde session is the same stellar cast featured on 'The Giant Is Awakened'; Arthur Blythe on Alto Sax, Everett Brown Jr on Drums, with David Bryant and Walter Savage Jr. on Bass. Kicking things off we have 'World Peace’, which starts with an almost baroque-esque melody, leading to an eruption in sound, it then ends in the same manner it began. The beautiful 'Your Child' is the jewel in the crown, skirting modal, deep jazz and introducing elements of free jazz. 'For Fats' with its bow bass and piano intro takes you on a journey, dropping into, at times dark, stormy melodies and developing a driving energy as the composition progresses.

After recording this album, Horace was said to be wary of the music industry, so he retreated and distanced himself from this world, recording only for the independent labels UGMAA, Interplay Records, and Nimbus West Records. He set up The Pan-Afrikan People’s Arkestra and reintroduced the pan-African-roots sound back into the heart of jazz. He also developed and promoted the art form through performances and recordings.

Thankfully, this session from these wonderful musical pioneers was preserved and finally has its time to shine.

Featuring brand-new artwork by the illustrious artist/designer/musician Raimund Wong (Total Refreshment / Floating World Pictures)

Squalls were a band who came from the same rich Athens, GA scene as
The B-52's, Pylon, REM., and Love Tractor, but played their own brand of
quirky pop with their own unique sound
Equal parts Lovin' Spoonful, Grateful Dead and Talking Heads, they got many a
person up on the dance floor. From 1981 to 1989, Squalls rocked Athens and
made several tours of the South, the Midwest, and East coast cities including
several shows at New York City clubs CBGB, Danceteria, and Peppermint Lounge.
They released 4 recordings and were included in the 1986 movie Athens, GA:
Inside/Out. The band also played at the legendary Athens 40 Watt Club 64 times
during their heyday.
Squalls Live from the 40 Watt is a collection of 24 tracks recorded by 40 Watt
Club soundman, T. Patton Biddle, and selected from five early 1980s shows.
Live from the 40 Watt is set for release on August 19, 2022 via Strolling Bones
Records.
Audio Link

The garage -psychedelic French duo The Liminanas straddles since 2009 the boundary between psychedelic ,shoegaze,garage & French yé-yé up to cool vocals . Quintessentially French but first known at the start in the US before hitting homeland France. 7 studio albums so far, 2 rare tracks compilations, many Eps,some OST, collabs such as L’Epée with Anton Newcombe & Emmanuelle Seigner : time for a first time Best of, and actually more than a Best of : Double Cd , Ltd Triple Vinyl& Digital editions offer 12 exclusive bonus tracks -new songs + rare songs when they called themselves les Bellas, before The Liminanas-.
“Electrified” also includes 23 classics songs , with featurings such as Peter Hook, Anton Newcombe and French pionners Laurent Garnier, Etienne Daho & Pascal Comelade.
Features liner notes written by Iggy Pop, Peter Hook & Keith Streng (Fleshtones) : because it’s only rock’n’roll.

CHICAMACOMICO is a record about loss. Over a six-month span at the end of 2019/beginning of 2020, I lost my grandmother, my mother and watched as the world fell into a 2+ year pandemic that decimated businesses, relationships and dreams. This is a record about dealing with those losses. My hope is these songs serve a salve for anyone else experiencing loss. A reminder that you are not the only one that lost a friend this year, or a parent, or a loved one. There's a special kind of hope that comes from that realization. I am not alone. I wrote this record in the February 2020 on the northern coast of Hatteras Island in a small beach town called Rodanthe. In the summer, this area is an extremely popular vacation destination packed with tourists, but in the winter, it was a desolate ghost town. The perfect backdrop for the record I was trying to write. Over the course of two weeks these songs would take shape and come to life, and it quickly became obvious that the overall theme would be dark. During my stay I realized that the town used to be named Chicamacomico until the locals changed it in the name of ease and progress. In that moment, I knew I had the name of my record. We enlisted Brad Cook (Bon Iver, Nathaniel Ratliffe, Waxahatchee) to produce the record and traveled to Sonic Ranch, a world-renowned recording complex tucked in the middle of a 1,700-acre pecan orchard, in the Texas border town of Tornillo. Over the course of ten days, we watched these songs go from simple folk ruminations into fully formed band arrangements. In my sixteen-year career I have never been prouder of a set of songs, lyrically or stylistically. The songs have weight, but they aren’t weighed down. It’s a sad record, that makes you feel good. It's a culmination of nearly two decades of work. Chicamacomico sounds like nothing we've ever done yet it sits comfortably amongst the rest of our catalog. My records are chronological observations and I feel like this record perfectly represents the highs and lows of the last few years. Themes: Loss, Death, Darkness, Suicide, Divorce, Losing A Child, Losing A Parent, Losing A Spouse, Addiction, Recovery

incl. mp3
A deepening sense of life, love, health, loss, and luck shaped the outlines of Tuttle’s fifth, and most collaborative album to date. Following a surprising exhilaration and exhaustion from the hitherto most innocuous of moments in mid-2020 - a half-hour drive to collect an online order, the furthest distance he’d traveled in months; Tuttle commenced working on new musical ideas loosely based around navigating the aftermaths and interregnums of a restless era. “I was thinking about what’s going on in the world and how localised it has become for so many of my friends in different places,” Tuttle explains. “Not in a negative way but more so focusing on how lovely it is when things are good.”
Thinking of musician friends and peers around the world – each confined to their own immediate surroundings – Tuttle’s generative and collaborative musical practice became a silvery through-line, connecting American innovators Steve Gunn, Chuck Johnson, Luke Schneider and Michael A. Muller (Balmorhea), to French/Swedish violinist Aurelie Ferriere and Spanish guitarist Conrado Isasa, back to Australian friends such as Voltfruit (aka Flora Wong and Luke Cuerel) and Darren Cross (Gerling) – among many others – each fitting seamlessly into Tuttle’s vibrant musical world.
Whilst previously a feature of Tuttle’s music, the exploration of space and texture found within Fleeting Adventure feels particularly vast and generous. The involvement of Chuck Johnson and Lawrence English mixing and mastering the album respectively, as with their work on Tuttle’s previous and breakthrough album Alexandra (Room40, 2020), inspired Andrew to develop songs that are as serene and patient as he’s ever sounded. Stripping elements back, the idea of pulling the songs apart somewhat, was just as important as adding the work of Andrew’s collaborators. “It is spacious through intent, process and assistance,” he confirms. "I thought carefully about what instruments - both what I played and what I asked others to provide based on my unadorned banjo track - would best work with what I was wanting to create.”
The road to Fleeting Adventure has been both long and short, but it sits as a tender and perhaps even vital reflection of an era in progress, in retrospect and in anticipation. A poignant contemplation on the many bonds that make up our lives from friends and family to the myriad places we inhabit and pass through along the way. The idea that an adventure doesn’t necessarily have to be a grand statement Andrew Tuttle has gathered up a number of his contemporaries and crafted something quietly spectacular, a new beginning to familiar habits.

“Tuttle’s plaintive banjo is encircled by an array of majestic sounds: serpentine electric guitar from Steve Gunn, enveloping electronics courtesy of Balmorhea’s Michael A Muller, violin swirls from Aurelie Ferriere , and the gentle saxophone of Joe Saxby. The result is a lush and unabashedly beautiful sonic landscape.’’ 8/10 UNCUT LEAD REVIEW
Andrew Tuttle's new single New Breakfast Habit is the perfect sonic condiment for the most important meal of the day. A banjo flecked ambient/cosmic journey with a psychedelic video courtesy of Matmos
His new album 'Fleeting Adventure' is the soundtrack of the world re-emerging and getting a release on Basin Rock (Julie Byrne, Aoife Nessa Frances, Johanna Samuels) this summer.

Germany exclusive edition on White & Blue Galaxy Vinyl. Sacred Bones celebrates its 15th year label anniversary with this repress of the haunting and monolithic May Our Chambers Be Full. "The juxtaposition of Rundle's long distance melodies and Bryan Funck of Thou dredging up his guts to scream into the sky shows two sides working together to create something surprising and new." - The Fader // "The whole LP would be a great release for either artist, but it's the brilliant convergence of sensibilities that sets it apart in the landscape of alternative metal... an excellent entry point for any would-be Thou fans, and a potential game-changer for Rundle ones." - Loud & Quiet

Stemming out of an offer from Roadburn Festival organizer Walter Hoeijmakers, mutual acquaintances, and a shared love of each other's output, May Our Chambers Be Full is the first recorded document of collaboration between Emma Ruth Rundle and Thou. While their solo material seems on its face to be quite disparate, both groups have spent their respective careers lurking at the outer boundaries of the heavy metal scene, the artists having more in common with DIY punk and its spiritual successor, grunge. May Our Chambers Be Full straddles a similar, very fine line both musically and thematically. While Emma Ruth Rundle's standard fare is a blend of post-rock-infused folk music, and Thou is typically known for its downtuned, doomy sludge, the conjoining of the two artists has created a record more in the vein of the early '90s Seattle sound and later '90s episodes of Alternative Nation, while still retaining much of the artists' core identities. Likewise, the lyrical content of the album is a marriage of mental trauma, existential crises, and the ecstatic tradition of the expressionist dance movement. "Excessive sorrow laughs. Excessive joy weeps." Melodic, melancholic, heavy, visceral. The visual art accompanying this work was created in collaboration with preeminent New Orleans photographer Craig Mulcahy. The faceless, genderless models are meant to emphasize this pervasive state of ambiguity and emotional vacillation, the images falling somewhere between modern high fashion and classical Renaissance.