Cerca:brain inc

Dream in Dream Cornelius Vinyl Release Sales Sheet BIO Cornelius is the brainchild of Japanese multi-instrumentalist Keigo Oyamada; the genre-defying producer and multi-instrumentalist. Last year Cornelius released the highly anticipated seventh studio album, 'Dream in Dream’ via Like Ltd, which marks the first full-length album since the critically acclaimed 'Mellow Waves' in 2017. What can only be described as breezy and sun-drenched ambiance, 'Dream in Dream' seamlessly merges elements of avant-garde jazz, soulful R&B, and psychedelic acoustic electronics, resulting in a genre-blending masterpiece that pushes the boundaries of musical innovation.

With his breakthrough album Fantasma, Cornelius gained international recognition for his cut and paste style reminiscent of American counterparts Beck and The Beastie Boys and was released internationally by Matador Records.

Being called a "modern day Brian Wilson" for his orchestral-style arrangements and production techniques, Cornelius subsequently became one of the most sought after producer/remixers in the world, working with a wide range of artists including Blur, Beck, Bloc Party, MGMT, and James Brown. 'Dream in Dream,' Cornelius expands his sonic universe, incorporating angular guitars and lush synthesizer interplay that dance around syncopated drums throughout the album.

"Bright and poppy while inviting an air of contemplation, this track takes notes from ‘00s indie rock, alt-pop, and a touch of electro to form a solid comeback.

Dream in Dream Cornelius Vinyl Release Sales Sheet BIO Cornelius is the brainchild of Japanese multi-instrumentalist Keigo Oyamada; the genre-defying producer and multi-instrumentalist. Last year Cornelius released the highly anticipated seventh studio album, 'Dream in Dream’ via Like Ltd, which marks the first full-length album since the critically acclaimed 'Mellow Waves' in 2017. What can only be described as breezy and sun-drenched ambiance, 'Dream in Dream' seamlessly merges elements of avant-garde jazz, soulful R&B, and psychedelic acoustic electronics, resulting in a genre-blending masterpiece that pushes the boundaries of musical innovation.

With his breakthrough album Fantasma, Cornelius gained international recognition for his cut and paste style reminiscent of American counterparts Beck and The Beastie Boys and was released internationally by Matador Records.

Being called a "modern day Brian Wilson" for his orchestral-style arrangements and production techniques, Cornelius subsequently became one of the most sought after producer/remixers in the world, working with a wide range of artists including Blur, Beck, Bloc Party, MGMT, and James Brown. 'Dream in Dream,' Cornelius expands his sonic universe, incorporating angular guitars and lush synthesizer interplay that dance around syncopated drums throughout the album.

"Bright and poppy while inviting an air of contemplation, this track takes notes from ‘00s indie rock, alt-pop, and a touch of electro to form a solid comeback.

Limited pressing of 300 LPs ! 180gm VINYL LPS w/ INSERT & DOWNLOAD FILE UNDER : GARAGE ROCK / PUB ROCK "I wanted to make a very NOW album, our past was fantastic at the time but it was exactly that.the past. We've learned a lot since then and with the combination of influences and personal tastes we've concocted a combination of Raw Power guitar grunt, a touch of The Cars' pop sensibilities and Bad Seeds brood." Dave Butterworth Veteran rockers The Double Agents return with their third album New Motion a powerful new recording evoking directness and immediacy and marking their first release of new material in nearly two decades. The Double Agents' initial incarnation circa 2000 saw the fiercely independent quintet rise from humble stages to becoming one of Melbourne's most revered pub rock bands. They twice toured Europe and eventually shared the stage with iconic luminaries Dead Moon, Mudhoney, The Dirtbombs, Celibate Rifles, The White Stripes and The Black Keys before an amicable hiatus in 2008. New Motion is a modern Australian rock record and marks a departure from their garage rock roots, as best exemplified in their self released 2023 anthology compilation Best Bits. So Far spanning their first three releases. The familiar twin vocals remain, Kim and Dave summoning that deep Dead Moon energy, as does Ryan Tandy's singular lead guitar playing and the rock solid backbeat of Myles Gallagher, but the band's scope seems to have widened on this record, with the inclusion of longtime cohort Mick Stylianou (Saint Jude) adding style and harmonic punch on bass guitar and backing vocals. ..The New Motion sessions were tracked to analog tape by Finn Keane at Head Gap and Julian McKenzie at Newmarket with vocal post production by Dave Larkin (Dallas Crane), mixing by Callum Barter (Courtney Barnett, Kurt Vile), mastering by Mikey Young. Dave Butterworth also produced the album.

"It’s hard to believe it’s been 15 years, give or take a few, since we tried our hand out at writing, recording, and playing our songs. We had a wild ride and feel privileged, but mostly grateful, to pursue music in the way that we did. A lot of life happened during our tenure as a band and that didn’t stop since our last show or record.

The people and places the band introduced us to continue to serve as the most incredible memories and to add to that, Kingfisher is turning 10 years old. The nostalgia is real. We had been toying around with the idea of reuniting for quite some time, so there seemed no better time to do it than now.

Having Topshelf in our corner as we began preparing to do this was a no brainer. After talking to Kev and the TSR crew of our plans, it was like no time had passed as they’ve always been great friends and a support system to us. Topshelf repressing Kingfisher in its original intended format, as a double LP, feels like a very monumental way to commemorate a record that means so much to us.

We can’t wait to get back out there to commemorate 15 years of Prawn and Kingfisher’s 10th Birthday. We will be having original members (welcome back Vilchez) to help celebrate with a run of shows that we feel very fortunate to do. Cheers to the last 15 years and all of you reading this for being part of our journey. Let’s see what the next 15 hold in store!

All our love,

Prawn"

During autumn 2018, after moving to Germany, Aron Ottignon met Senegalese musician and percussionist Bakane Seck, founder and leader of the Jeri JeriBand, in his Berlin studio. This first meeting gave rise to a special connection between their instruments and the start of a musical adventurethat transcends borders, an instrumental conversation of profound simplicity nourished by the richness of jazz, electronic music and Wolof tradition. The brainchild of composer and producer Aron Ottignon and percussionist Sabar Bakane Seck, Aron & The Jeri Jeri Band (A&TJJB) was born at the crossroads between Berlin and Dakar and oscillates between the frenetic rhythm of mbalax, the strength of afrobeat, the warmth of afro funk and the eï¬Çervescence of jazz. Born in New Zealand, the pianist released a series of critically acclaimed jazz albums in the 2000s. As a composer, Aron Ottignonhas collaborated with Stromae, toured the world with Woodkid and worked with a host of artists including Electric Wire Hustle, Louane,Broken Back, Empire Of the Sun and Myele Manzanza. Senegalese musician and griot Bakane Seck"s mastery of the Sabar - "percussion instrument" in Wolof - has taken him all over the world alongsideAfrican music icons such asYoussou N"Dour and Baaba Maal.

In 1995, English rock band Ned’s Atomic Dustbin released their third and final studio album with their original lineup; Brainbloodvolume. It spawned two singles: “All I Ask Of Myself Is That I Hold Together” and “Stuck”. The album embraces a variety of styles, stepping beyond their straight-up thrash/pop roots and creating an exciting new sound. In 1995, after an extensive US tour in support of the new album, Ned’s Atomic Dustbin split up in New York City following what would be their final show. Brainbloodvolume is available on vinyl as a limited edition of 1500 individually numbered copies on silver & black vinyl and includes an insert.

Inhaler is the third studio album by American rock band TAD, originally released on October 19, 1993. It was the band's major label debut after two albums and an EP released by Sub Pop, and it was also their first album with drummer Josh Sinder, formerly of The Accüsed. Producer J. Mascis (Dinosaur Jr.) gave TAD a more focused and driven sound on this record. He can be heard playing the piano on ""Luminol"". The song ""Grease Box"" was played during the end credits of the 1994 movie Brainscan. Inhaler is easily their best and most consistent album to date and obtained positive critical reception upon release. Fortunately, the group has lost none of the grit that marked them as the grungiest of the Seattle scene. In promotion of Inhaler, TAD toured with Soundgarden. Inhaler is available as a limited edition of 1000 individually numbered copies on magenta coloured vinyl and includes an insert.

Filipovich is one of a kind. The Belarus-born, Paris-based artist works in a multitude of media - found footage films, painting, silkscreening and performance to name a few. It's her musical output that has caught the attention of late, though, with Filipovich dropping a run of releases in recent years which began with 2021's Magnificat on Time Released Sound. Filipovich takes as much of a novel approach to her music-making as she does with her other artistic endeavours - Magnificat was centred around treated samples of Sergei Rachmaninov's All-Night Vigil, and she's also combined classical composition with contemporary electronic techniques on her subsequent drops.

For Idealized, Filipovich's debut on Sheffield's Central Processing Unit, she maintains the gothic air which characterised her previous releases and applies it to a record of widescreen contemporary techno joints. These tracks represent something of a gear shift for CPU, a label which has long made its name by delivering top-quality electro and machine-funk jams, but such is the quality of Idealized that these superbly-executed techno productions are sure to win over label fans both old and new.

Idealized is very much schooled in the German tradition of minimal/dub techno. Tracks like 'Physical', 'Wave' and 'Dance Minor' all anchor themselves on single, steady drum pulses and delay-drenched single-chord loops. Filipovich generally lets the central idea of these tracks play out across several minutes while introducing increasingly disorientating elements into the rest of the mix - wiccan atmospherics, clashing chords, spiralling delays and so forth. It's an approach at once respectful of Filipovich's predecessors - Basic Channel, Deepchord, Ellen Allien and so on - but also full of idiosyncrasies and individuality.

Many of the club cuts here hardwire us into the moody, murky environs of the darkest Berlin Basements. 'Ultra Red' rides forward on a crisp drum machine snap, a menacing burble of bassline and an eerie single-note synth whistle in the upper end of the mix; 'Dance Minor' shows off a bit of KiNK in the brain-bending modular loop that waxes and wanes at its centre; the second-half run from 'Wave' to closer 'Small Cave' travels ever-further out into deep space - the kick drums remain insistent, yet the textural elements are delivered with an edge and flair that evidences Filipovich's ability to think outside the box.

Filipovich's unusual methods, and the influence of sound art and electroacoustic composition on her music, are drawn out further when Idealized steps away from the dancefloor. 'Hydra' comes off like a more gothic version of Pole - its central pulse draws from dub techno but never quite settles into a danceable groove, and this beat is combined with the kind of unnerving keyboard work that would make John Carpenter proud. Although closer 'Small Cave' eventually locks into another dark-room techno roller, the opening section of the track delivers a weightless soundscape of bright, tinny chords and a scene-setting field recording.

Idealized, the first drop on Central Processing Unit from Paris-based Belarusian Lina Filpovich, broadens the label's horizons with a selection of finely crafted minimal/dub techno joints.

RIYL: Andy Stott, Deepchord, Ellen Allien, Moritz von Oswald

YESYESPEAKERSYES is the first vinyl release of the remarkable collaboration between Chicago foot-work founder Kavain Wayne Space (aka RPBoo) and London duo experiment XT (drummer Paul Abbott and saxophonist Seymour Wright). The trio’s synthesis of rhythms, sounds, strategies, technologies and traditions collapse genre, distance, boundaries and preconceptions into a total, and totally unique, brain-body music.

Its two 15-minute vinyl sides are cut from a 60-minute live set at Cafe OTO, London on Friday 8th October, 2021 also available as digital download. This was the fourth meeting of the trio followed, instead of being followed by*, an RPBoo DJ set.

Each time the trio play it pushes further into new technical, emotional and creative space. The collaboration needs ears, instruments, imaginations and bodies to be used in new ways. This need is transformative. Together they – and we – learn. This unique trio combination is rooted in deep conceptual foundations, that push into real and imaginary spaces of innovation and learning in a creative practice of 'interruption' far beyond genres or what is supposed to be. And what emerges each time is a trio technology - a total dance technology for any and all bodies.

Kavain, Paul and Seymour share a fascination with the musical history of Chicago – a source of which is of continual nourishment to their ongoing practice. While Kavain’s pioneering footwork work develops the rhythmic structures of Chicago house and the samples, grooves and melodies of 60’s/70’s Chicago soul, disco and R&B, Seymour and Paul share a fascination with these musics, and bring to this lineage a long-term engagement with Chicago’s jazz traditions, from Baby Dodds to the AACM through their unique prism of club, dance, free-jazz and improvised club structures, technologies and musics.

The LP was expertly mixed by Billy Steiger and mastered by Amir Shoat. Every purchase comes with a bonus download of the full, unedited live set from Cafe OTO.

The album includes artwork by Benedict Drew and text by Edward George.

Sonor Music Editions presents this restored issue of Maestro Sandro Brugnolini's Overground. This elusive masterpiece in library music captures the most impressive work, alongside Underground (1970), of the Italian composer and alto sax player.

Sandro Brugnolini was a prominent member of the Modern Jazz Gang, a famous Italian jazz group, during the 1950s and 60s, which also included Amedeo Tommasi, Cicci Santucci, and Enzo Scoppa. The group was active from 1956 to 1965 and produced some remarkable albums such as Miles Before And After (1960) and the original soundtrack from Gli Arcangeli (1962), which featured the renowned American jazz singer, Helen Merrill. Subsequently, he recorded many of the genre's most iconic releases, including Feelings (1974), albeit uncredited, and ventured into Psychedelic Lounge Funk and Progressive Jazz Beat tunes.

Overground was released on Sincro Edizioni Musicali in 1970 as the soundtrack to Enrico Moscatelli and Mario Rigoni's documentary Persuasione, commissioned by Ente Provinciale Per Il Turismo Di Trento, a local tourism board in Italy, with music composed by Sandro Brugnolini and Luigi Malatesta featuring some of the best musicians in Italy at the time like Angelo Baroncini and Silvano Chimento on guitars, Giorgio Carnini on piano and organ, Enzo Restuccia on drums, and Giovanni Tommaso on bass and effects. The music spans from underground Psychedelic Prog. Rock with swirling organs, trippy effects, and distorted fuzz guitars to sophisticated Lounge grooves with Avant-garde orchestrations.

The music has been transferred and remastered from the original master tapes. It has been lacquer cut in stereo by Jukka Sarapää at Timmion Cutting and packed in a thick cardboard sleeve featuring a fully restored painting by Umberto Mastroianni licensed by Centro Studi dell’Opera di Umberto Mastroianni

Facta returns home to his own Wisdom Teeth imprint with ‘So is the sun’ - a bold EP of artful club reductions that distill his unique and playful approach into some of his most assured and direct works to date. As ever with Facta’s output, there is a moreish push-pull between functionality and creativity on display here. Infectious hooks are sculpted out of warping, plasticine sounds, whilst melodic splashes of colour are painted in broad, bright brushstrokes. Bleeping FM synths fizz into shot before oozing out of frame again, dripping splashes of neon colour over the record’s skipping, nimble rhythms as they go. There are a few key reference points at play here - in particular the light-footed grooves of early 00’s minimal house and the space-age synths of artists like DBX and S-Max - but these influences are totally refracted and subverted to create something fresh, contemporary and of its own. Produced and honed across a year, the tracks took shape slowly alongside regular club play from the label crew and a clutch of trusted DJs who road tested the tunes at various demo stages. The result is one of Facta’s most decisive and focused club records so far. The EP marks the Londoner’s first solo outing in over a year, following on from his acclaimed 2023 EP, ‘Emeline’, which was released on Anthony Naples and DJ’J’s Incienso imprint. It forms part of Wisdom Teeth’s busy schedule of 10 year celebrations, which includes a string of releases from new and existing label members, merch drops, and a global run of live showcase events.

The 12-track project delivers more of the signature no-gimmick, undeniably Country sound fans have come to know, love and obsess over from the star and includes his current Top 20-and-climbing single with his former tourmate on “Different ‘Round Here (featuring Luke Combs).” The music and lyrics, both heavily influenced by blue-collar roots, small town life and slower way of life, exemplify Green’s homage to his experiences, beliefs, passions and love of family. The title bares its name from a poignant track on the album, “My Last Rodeo,” which Green wrote solo following one of the final conversations he had with his late Grandaddy Buford Green near the end of his life. Buford was the brains behind converting Riley’s great-grandparents' home into the Golden Saw Music Hall and is credited for Riley’s musical appreciation, education and inspiration, while his Granddaddy Lyndon can be attributed for Riley’s love of the outdoors.

Marco Beltrami and Buck Sanders' score to the zom-rom-com Warm Bodies faced a tall order: their music had to balance genuinely scary moments, romantic moments, bits of comic relief, and convey the quiet despair of a post-apocalyptic world. The duo delivers on all counts: highlights include the quirky, wittily named "Music for Airports," the strangely poignant "Zombie Bros," tense cues such as "Run for It," and hopeful tracks like "I Wanna Hold Your Hand." Elsewhere, "Admission to Dream" and "Looking for Julie/Balcony Serenade" add more depth and atmosphere to the proceedings . Marco Beltrami and Buck Sanders have collaborated in creating numerous soundtracks, including that of The Hurt Locker, for which they received an Oscar nomination for the best soundtrack in 2010.

Repress! No one is raising the standard in the underground as high as Black Milk and Danny Brown. After their collaborative track "Black and Brown" from Black's LP Album of the Year became a fan favorite, the two decided to record an entire EP together, fittingly titled Black and Brown. While the aforementioned track appears on the EP, the remainder of Black And Brown sees Danny Brown exclusively handling mic duties, with Black Milk showcasing his masterful production.
Black Milk’s Album of the Year dropped in September 2010 to strong reviews and an impressive showing on the Billboard charts, and his stock has continued to rise ever since. Performing with a live band for over 80 shows on a worldwide tour in support of the album, he has established himself as one of rap’s best live performers. He also
became the first rap artist to record and release music with rock superstar Jack White, who co-produced and played on the much-publicized “Brain” 7-inch single on White’s label Third Man Records. Never straying from his hip hop roots, Black Milk also serves as a member of the group Random Axe (with Sean Price and Guilty
Simpson), and entirely produced their successful self-titled 2011 full-length release.
Danny Brown first gained wide recognition with the release of his album The Hybrid as a free download in March 2010. Since the release, he’s emerged as one of rap’s most distinct new voices. The shock value of his drug-fueled and sex-laden rhyming has been frequently compared to the early works of Eminem, and his ear for
progressive beats as well as his unique fashion sense has made him a favorite with critics. His latest project XXX was released as a free download in August 2011, and was instantly hailed as one of the top rap albums of the year by artists and fans alike, while receiving heavy coverage from media outlets like Pitchfork, MTV, and The Fader.

Black vinyl back in for the first time in a while, note new price. Produced by Leon Michels. Toured with Chicano Batman. Planned touring with Lee Fields & The Expressions. What is Buck? Buck is a state of mind, a way of life, a demeanor that gets you through the good times and the bad. If you ask Brainstory, It is also the energy that permeates their debut album. Kevin, Tony, and Eric are a trio of brothers bounded by blood, fate, and a small town with nothing to do. Their story begins in the long lost lands of the San Bernardino Valley, in the twilight zone known as Rialto, California: An arid wasteland of boredom and empty lots. Through punk rock and skateboarding they found temporary liberation from the local monotony. However, it wouldn’t be long before a hunger for more led them to explore musical realms beyond that of the hardcore punk they admired. After stints at music school and steady disappointment trying to navigate their local jazz scene they moved to Los Angeles and Brainstory was born. Through a introduction from Chicano Batman’s bassist, Brainstory caught the ears of Big Crown head honchos Danny Akalepse and Leon Michels. Shortly thereafter they were on their way to Queens, to record at The Legendary Diamond Mine with Michels at the helm. An instant chemistry yielded 10 songs in 10 days and now Brainstory has gifted the world with one hell of an introduction to all things Buck. Highlights include the sublime slow burner, “Dead End” which was the A-side to their first 45 on Big Crown that sold out in a matter of days. With Kevin’s sublime falsetto floating atop Tony and Eric’s unflappable and unmistakable backbeat, this tune has become a favorite with the ballad heads, the low-riders, and the slowie collectors. “Breathe” showcases another side of their sound taking a page out of the Shuggie Otis playbook and flipping the script with some stoned out west coast swag. Kev and Tony’s father, Big Tone, an accomplished performer himself, steps in on “Peter Pan” to sing lead vocals over a chorus of friends and family. Bassist extraordinaire, Tony, takes over lead vocal duties on “Sorry”, a smoked out, G Funk groove that is just waiting to be sampled. These guys have come a long way from their self released EPs and opening tours with Chicano Batman. Their musical growth is undeniable, and taking their California sunshine vibes and mixing them with Michels’ NYC aesthetic has proven to be an amazing combination. It’s a debut record that pulls influences from so many genres seamlessly it’s hard to nail down. Call it Funk, call it Rock, call it Soul, but over here at Big Crown HQ, we’ve decided to call it BUCK.

Announcing the debut album from one of London’s most electrifying acts, New Regency Orchestra. An 18-piece Afro-Cuban big band, inspired by the musical melting pot of NYC in the 1950s, but with the punch and power of a whole host of London’s best Latin and jazz musicians. Blowing new life into these compositions, the album is a reimagining of some of the finest music from that golden era. From early 1950s René Hernandez and Tito Puente, through to the 1970s salsa of Rafael Labasta and Orlando Marin, produced and performed with fresh fire.

NRO is the brainchild of its artistic director, and the man behind Total Refreshment Centre and Church of Sound, Lex Blondin. Through a long-held passion for jazz, Lex discovered the explosive Afro-Cuban rhythms of mid-1940s NYC via the godfather of Afro-Cuban jazz, Mario Bauzá. A time when two musical worlds collided in a fusion of creativity and energy, jazz luminaries like Dizzy Gillespie and Charlie Parker joining forces with Cuban greats like Machito and Chano Pozo. This vibrant sound was music to dance to and found a home at The New York Palladium, a formative space of freedom and expression that was key to the scene’s development.

Although dance-focussed in their makeup, those early recordings are not often heard in modern club environments and Lex dreamt of retelling their story with a contemporary dynamism. A slice of serendipity followed, as a slot at a new festival opened up and Lex jumped at the chance to make this idea a reality, an 18-piece big band breathing new life into these beloved songs.

Enlisting the expertise of some of the capital’s finest talent, Lex and co-captain Andy Wood, of Como No fame, put together a world-class line-up of talent. Bringing in Eliane Correa as musical director and bandleader, a fluid and interchanging 18-piece band was formed.

The album itself is a hand-picked selection of timeless Afro-Cuban jazz classics, reimagined with NRO’s unbridled energy. It contains ten incredible instrumental tracks including 'Pregon' with its anthemic horn stabs and the addictive head nod bounce of 'Mambo Rama', alongside two scorching vocal numbers in 'Papa Boco' and 'Labasta Llego'. Coupling a heavyweight rhythm section with a wall of horns, they provide a fresh spin on songs from Tito Puente and Chico O'Farrill, René Hernandez through to Rafael Labasta.

“Some of the tunes like Tito Puente’s ‘Mambo Rama’ and ‘Scarlet Mambo’ might sound like they went to a gym as extra drums and bass synth were added to them whilst the tune ‘Sahib & Tito’ is a mix of Tito’s ‘Mambo Buda’ and Sahib Shihab’s ‘Nus’. Our intention is to be both respectful to the innovators and inventors of this incredible music and to pay our dues, but also to add something special from London where the city’s new jazz scene connects with its Latin American musicians and the musical influences around us.”

This pure collective joy, shared experience and music you can’t help but move to.

Horo proudly presents the long-awaited fourth studio album, Forces of Consciousness, by Ancestral Voices.

Following Liams first venture, 'Night of Visions,' a diary of a physical and life-changing journey to South America, he took a trip into seismic, dark, and heavy frequencies with his second LP, 'Divination,' which plunges into the notion of ritual. The third LP delved into the cosmic, devising custom tuning systems for the meditative 'Navagraha'.

Liam continues this conceptual approach that threads his work together with Forces of Consciousness - an exploratory dive into metaphysics, how consciousness creates reality, and how sound exists to bind and sustain our thoughtforms in harmony.

"I am fascinated by the intricate workings and unexplained phenomena beyond the physical. This has become a journey as I seek to understand the interconnectedness of all things. The threads that bind us to this experience.

Everything is consciousness; all things in existence are inherently conscious, including living and non-living entities. Consciousness is not merely a product of our brains and bodies but a fundamental universal aspect.

Consciousness creates reality; our consciousness shapes our perception of the world. Our thoughts and beliefs play a significant role in shaping the reality we experience.

While intangible thoughts cannot be measured physically, they shape our reality tremendously. Our thoughts significantly impact the world around us.

We are waveforms, and everything around us is sound. Sound plays a vital role in maintaining balance, whether the sound of a chirping bird, the whistles of dunes, or the resonance of the Earth.

As a collective, we make up chords that continuously merge and try to find a harmonious balance that sustains our consciousness. In essence, thought forms coexist to create harmonic structures, a lattice of electrical current that manifests as the lives we live every day."

The patterns change with the observer.
Matter is a limitation of consciousness.
That which was first was the immeasurable.
The harmonies remain.

"In the wake of SQUID PISSER’s “Vaporize A Neighbor” EP and Comic Book Set and “Vaporize A Tadpole” Collection comes “Dreams of Puke”, the band’s second full length album. Weighing in at a meaty 12 songs and cut at a lean 45 revolutions per minute, “Dreams of Puke” refuses to let up or let down - emitting climax after scintillating climax - a bounteous bouquet of dayglow viscera and tumor-filled sonic snot.

“Dreams of Puke” is the face ripping, dolphin-loving, anthropomorphized mountain of nuclear sludge intravenously injected with methamphetamines that listeners have been clamoring for. Tommy Meehan's use of effects pedals and sonic textures create a dense soundscape of intestinal debris, mortared with a grout of pus, goo, gummy candy and pure, unadulterated insanity. Meanwhile, Seth Carolina's all out, rage-fueled and categorically pummeling approach to slamming the beats down lays out a visceral scene of absolute intensity - a great white shark attack on The Mall of America.

Tommy explains “The writing sessions for this album resulted in about 100 songs... Demos, seedlings, and scraps were strewn about everywhere. Then Seth and I assembled them into a viable and tangible fruition. I tracked all of the guitars, bass, and vocals myself at Los Angeles’ Castle Barf Studios. The drums we did at Sea Horse Sound downtown”.

“Dreams Of Puke” is an aural DMT trip that will leave brains boggled. Its atonal anthems of slime are a kaleidoscope of brilliant, bespeckled rage that, in the end, will scalp the world & mutate the throne.

Glass Mastered Compact Disc includes Mystery Matrix Message and comes packaged in a Six Panel Tri-Fold Jacket with corresponding Fold-Over Lyric Insert. LP and CD formats each sport unique, subliminally different cover art by painter Gregory Jacobsen of the band Lovely Little Girls. Parental Advisory: Explicit content"

The Telescopes Radio Sessions collects together the essence of three live session recordings in 3 different countries over a three year period between 2016-2019. This is the third in a series of radio session releases from Tapete Records that have so far included The Monochrome Set and Comet Gain. More session releases are being lined up for the rest of the year and beyond - enjoy the sonics and stay tuned. Over the years I have read a lot on people’s impressions of The Telescopes. Some folk think it’s a collective, others imagine it used to be a band and feel nostalgia towards what they consider to be the original line-up (even though many had come before, during and since) and some people refer to it as currently a solo career. In a way this is all true and none of it is. When faced with these kind of questions, along with questions about the style of music that The Telescopes make I often say The Telescopes house has many rooms, which explains things perfectly for me but for people on the outside looking in it only serves to increase their confusion. For me, confusion isn’t such a bad thing. Everything is born into confusion, the sense we try and make of that chaos is interesting and excites me. The universe often disorientates, it sends me a jumble of thoughts and impressions coupled with a feeling of something I need to express… if I could only decipher the encryption. This is how The Telescopes music comes to be and it is also how The Telescopes came to me. I regard The Telescopes as an entity of it’s own that introduced itself in my darkest hour and I was chosen as its vessel. From the second it arrived I was obsessed to the point where there was nothing else. A bit like having an imaginary friend. As the obsession grew it began to infect others, everybody loved my imaginary friend and wanted a piece of it. As its success grew however, so did the corruption, until one day the entity fell silent. The silence lasted for years, I tried everything to reconnect but it was having none of it. I had been a bad caretaker, I had let the house become infested and I had lost my way. This epiphany served to remind me of simpler times when anything felt possible with this entity by my side. It had trusted me with something so simplistically profound and I had let it down. The realisation of this was a eureka moment. I am not The Telescopes, I never was and never will be, I am the caretaker, the lighthouse keeper and if a job is worth doing it is worth doing well. With this dawning, I felt a crack open up in the cosmic egg and a familiar confusion in my head. The entity had returned. It was time to start untangling its tangled threads once more, to make sense of what it was saying, this time without corruption. It’s all about listening. I listen to what my cosmic friend sends me and channel this expression into what you hear through your speakers. It may take one person to achieve this, it may take more. There is no set line up or instrumentation that can hold The Telescopes. Whatever it takes to hit the zone, whatever is available, absolute focus is imperative. Sometimes it takes sabotage to keep that line of vision intact, there is no room for preconceptions or complacency in making the music. The Telescopes music is the now

incarnate and a state of total being is necessary to achieve. From the outside looking in... again, it’s all about listening. What comes through your speakers is the only thing that matters. The music either reaches you or it doesn’t. Everything else may seem interesting or confusing but ultimately it is corruption. So if you’ve bought the record, read the sleeve notes and bought a ticket to see a live show, don’t be surprised if the line-up is or isn’t the same as the recording. The only thing that is for sure is that The Telescopes as an entity is speaking to you in its own voice in every scenario.
Of course the difference between albums and live shows is that you can play the record over and over again to the point where you know every line and every note that was played. Whereas with live events you are left with an impression that can only be replayed in your mind. It can be frustrating at times. When you are touring with a great line-up and feel like something exciting is happening, you want everyone to hear it, not just the people at the shows but the people that couldn’t make it on the night as well. There is no guarantee that there will be the same line-up at a live show as there is on the album. This is why live sessions are important, they document a side of things that is often fleeting. Here we have three sessions, all different people transmitting The Telescopes sound on each. Some are regulars, some dip in and out and some were just passing through. In each case The Telescopes chose them as their vessel and as the lighthouse keeper I did everything I could to help them on that journey while trying to be a good caretaker to the house of many rooms. The Telescopes have been invited in for many sessions over the years, the first two were for John Peel on BBC Radio 1. We also recorded a session for Marc Riley and Mark Radcliffe before their
celebrity when they had a show on BBC Radio Manchester. We could have compiled this album from those sessions, it was certainly considered but Tapete and myself believe this selection gives an exciting glimpse into that fleeting side of The Telescopes in a constant state of flux that is left mostly to myth and imagination. For those who listen to the records but have never had the chance to take in the live experience, welcome to the other side. For those that follow us live, here’s a little reminder and a keepsake. Infinite suns. Stephen Lawrie February 2024.

We are incredibly excited to release Xena, KLE-KLE's debut EP. Although this is the first release from their new project, GWD and Spok are veterans of the electronic underground. Both have been active in production, as well as live shows and DJ performances for at least the past decade.

They come out guns blazing with music that is focused, mature, and irresistible. Blending breakneck IDM beats with elements of machine-dub and post-punk mutations, the EP maintains a captivating momentum, accentuated by dissonant washes and melodies that will tickle the reptilian part of your brain.

For the stellar remix work, they enlisted fellow scene veteran Dead Janitor, who delivers a glacial, splintered, data-poisoning piece, showcasing his junglist tendencies. Wrong Collective stalwart, Trauma, comes in with his hydraulic twerk monster, to close the EP.

Sounds Good ist ein Album, das, vereinfacht ausgedrückt, seinem Namen alle Ehre macht. Die aktuelle Single Hanging On folgt auf den Bombast-Track Nobody But You und Gift of Life mit Kevins Delfonics-artigem Gesang, der die Bandbreite der menschlichen Erfahrung thematisiert. Kevin und Tony Martin sind Brüder, Eric ist ihr Bruderund langjähriger Freund durch die Musik. Während die anfängliche Verbindung der Band auf der berauschenden Mischung aus Jazz-Performance-fokussierter Musikschule und der Plackerei lokaler Auftritte gründet, wurde ihre Bindung durch unzählige Stunden auf Tour und die Produktion von zwei Studioalben gestärkt – 2019 das Debütalbum Buck und 2021 die EP Ripe. "Being on the road, doing our own tours, and backing incredible people like Lady Wray, has sharpened our skills and really revved us up for this record", sagt Kevin."It's been four years since our last full length record, and with everything that's happened since, it's like we've been catching up to ourselves." Das ist eine Möglichkeit, Veränderungen zu beschreiben: sich selbst einzuholen. Jedes Mitglied von Brainstory hat Veränderungen durchgemacht, sowohl persönlich als auch musikalisch, und all das zieht sich durch diese Platte. Der Weg zur Weiterentwicklung ihrer Musik ist klarer denn je zuvor. Wenn es eine Sache gibt, die auf diesem Album überdeutlich wird, dann ist es, dass Brainstory sich entwickelt haben. Ein Teil ihrer Entwicklung ist zweifellos darauf zurückzuführen, dass sie ihr eigenes Studio in Long Beach haben und dort ständig arbeiten. Ein weiterer wichtiger Faktor ist, dass sich ihre Gemeinschaft erweitert hat. "I've been playing music with my brother all my life and now with Eric for a long time", erzählt uns Tony. "Leon, though, is like another brother I've just met." Aus der Freundschaft ist die Band entstanden, und jetzt trägt die erweiterte Gemeinschaft dazu bei, sie weiter voranzutreiben. Die Sterne stehen günstig, dass sie mit diesem neuen Album einen großen und wohlverdienten Schritt machen, und das hört man ihrer Musik an – music that just Sounds Good.

Special Guests on the record include: Mark Cisneros, Joe Lally, Derrick Decker, Bob Berberich, Clint Walsh, Dave Grohl, Onam Emmett, John Goetchius, Jerry Busher, Amy Pickering, Ian MacKaye, Amanda MacKaye, Brian Baker, Randy Austin, Martha Hull, Michael Reidy, Nate Bergman, Bobby Madden.

Scream formed in 1979. Drummer Kent Stacks, bassist Skeeter Enoch Thompson and the brothers Pete and Franz Stahl attended school together in Bailey’s Crossroads, Virginia, when they began to discover the punk and new wave scene in DC and the provocative power of making music.

Like most of the punk bands in DC, they were influenced by the Bad Brains, but their rock and roll sensibilities set them apart. In 1982, they went into Inner Ear Studio with Ian MacKaye and Eddie Janney to record Dischord's first full length album, Still Screaming.

Scream followed this with a second full length album, This Side Up, in 1984. The band toured throughout the US and were one of the first US hardcore bands to tour Europe and the UK. In 1987, they released Banging the Drum, which was recorded at both Southern Studios in London and Inner Ear. In 1988, No More Censorship was released on reggae label RAS records. Scream returned to Dischord to release Fumble in 1993.

They made a few line-up changes along the way, including the addition of their friend Harley Davidson on second guitar, and, when Kent Stacks (RIP) left the band to start a family, they asked a young local drummer, Dave Grohl, to take over. After a number of years with "the Scream team," Dave went on to join Nirvana and form The Foo Fighters.

In 1996, at a Christmas reunion show, Kent Stacks returned as Scream’s drummer; the show was recorded and released as the CD “Live at the Black Cat.” Over the next few years, everyone branched out in different directions – Franz joined the Foos for a short period and Pete played with Goatsnake and earthlings? The band returned as a unit, with Clint Walsh on second guitar, in 2011 to record the Complete Control Sessions, which was released as an EP on Side One Dummy and was, until now, the band’s most recent release.

Scream’s newest album, DC Special, will be released in the fall of 2023 on Dischord Records. For this record, Scream invited their extensive music community to help create a unique project that weaves the history of music in Washington DC into the story of the band. Recorded by Don Zientara just weeks before his studio was evicted from its longtime location, the record is rich with both the sounds of Inner Ear and those of friends and musicians who influenced Scream and who shaped DC music over the past six decades. DC Special embodies the same sense of community and politics that inspired Scream from the start and is a truly special collection of new music that speaks to the present and also tells the story of DC music, Scream, and the influences that shaped them.


Bonus Download Tracks
Faces
Politics is Entertainment
Black and White
Lifeline Redux
Smile and Bleed
I Saw Ya (Wanna Be Like Captain)

"Legend On Legend!

Eddy’s superb reverb-drenched renditions of Dylan’s biggest hits gives your ears a fresh take on these familiar favorites. Full of twang and gut bucket harmonica, this collection of 12 songs encapsulates the ‘60s in a way only Duane Eddy could.

Originally released in 1965, the album has remained one of the rarest and hard-to-get collectibles for Duane Eddy fans everywhere.

Produced by Lee Hazelwood, the album is completely instrumental and showcases Eddy’s individual stylings of the 1960s.

Eddy’s guitar romps and soars through Dylan’s brain waves – translated in this album into notes which build and explode into bar lines of enjoyable melodies. By instrumentally interpreting 12 of the significant songs of the 60’s, Eddy proves there is quality and richness in popular music, too often knocked down for its tendency toward shrillness and over-amplification.

What Bob Dylan is capable of saying with his magical way with words, Duane Eddy is capable of saying instrumentally. As you will undoubtedly hear, it’s a happy marriage."

"Duane Eddy Does Bob Dylan" includes the following tracks: "It Ain’t Me Babe", "She Belongs To Me", "Houston", "Mr. Tambourine Man" and more.

"Legend On Legend!

Eddy’s superb reverb-drenched renditions of Dylan’s biggest hits gives your ears a fresh take on these familiar favorites. Full of twang and gut bucket harmonica, this collection of 12 songs encapsulates the ‘60s in a way only Duane Eddy could.

Originally released in 1965, the album has remained one of the rarest and hard-to-get collectibles for Duane Eddy fans everywhere.

Produced by Lee Hazelwood, the album is completely instrumental and showcases Eddy’s individual stylings of the 1960s.

Eddy’s guitar romps and soars through Dylan’s brain waves – translated in this album into notes which build and explode into bar lines of enjoyable melodies. By instrumentally interpreting 12 of the significant songs of the 60’s, Eddy proves there is quality and richness in popular music, too often knocked down for its tendency toward shrillness and over-amplification.

What Bob Dylan is capable of saying with his magical way with words, Duane Eddy is capable of saying instrumentally. As you will undoubtedly hear, it’s a happy marriage."

"Duane Eddy Does Bob Dylan" includes the following tracks: "It Ain’t Me Babe", "She Belongs To Me", "Houston", "Mr. Tambourine Man" and more.

2024 Repress

Imagine a held-up-in-traffic Wayne Shorter arriving late to a Weather Report studio session and Joe Zawinul, Victor Bailey, and Omar Hakim filling in the time by jamming on a grooving house cut. Had that happened, it might have sounded a little bit like “It Never Stops,” one of two ultra-fresh tracks on Kaidi Tatham's Yore debut. Jazz and house are obviously distinct genres, yet as this irresistible cut makes clear swing is common to both. The other track, the cerebrally titled “One for the Brain,” locates itself closer to house music proper but is no less appealing for doing so.
Given the jazzy vibe of “It Never Stops,” it's fitting that Benji B once deemed Tatham the "Herbie Hancock of the United Kingdom.” Regarded as one of the originators of the Broken Beat sound, the UK-based multi-instrumentalist has worked with many an artist, from Bugz In The Attic and The Herbaliser to DJ Jazzy Jeff, and his session work credits list Slum Village, Amy Winehouse, Soul II Soul, and others. His own discography includes EPs and releases for labels such as 2000 Black, First World Records, Theo Parrish's Sound Signature, Eglo Records, and now, of course, Yore.


“It Never Stops” rolls in on a wave of silky synthesizer textures and percolating precision with a tight, funky groove that instantly pulls you into its velvety world. Triangles, electric bass, and clavinet add collective radiance to the material as the tune struts its way into your psyche. As if to make the jazz connection even more explicit, Tatham works an acoustic piano solo into the cut's second half before shifting focus back to the groove for the coda. “One for the Brain,” by comparison, digs into its chugging house pulse with fervour whilst also sweetening the arrangement with painterly synth flourishes. This one charges with breathless determination and like “It Never Stops” nods in jazz's direction with the inclusion of a freewheeling piano solo. Every minute and second on this strictly limited 12“ release seem's meaningful. No Represses / Limited 200 Copies.

Interesting Decisions is the new album from Into It. Over It., the brainchild of Chicago, IL musician Evan Weiss . Considered to be one of the artists at the forefront of the 2010 emo revival, this is his eagerly awaited fifth studio album, after 2020's Figure. Into It. Over It. is an indie rock powerhouse that has been enchanting audiences since its inception in 2007. The band's emotionally charged lyrics and dynamic sound have garnered critical acclaim and a dedicated global following and their current formation includes Adam Beck on drums, Matthew Frank on bass, and Joe George on guitar.

If the Chateau Marmont could sing. This would be it. Loren Kramar's voice vibrates with the shameless hum of a room after a celebrity exits Ecstatic aspiration. Doubt. Proximity. Desire. The album "Glovemaker" is about the skins we craft to be seen by the world, and Loren reminds us that we are all in drag. All exposed. No matter what gloves we slip on. "I'm a slut for all my dreams", Loren Kramar sings with Patti Smith brashness, "I'm a whore for them, I've got more of them". Loren's lyrics move like tinsel, shimmering bravely, then just as quickly, curling, fragile under the spotlight. Loren has always been obsessed with fame. Not with famous people, but with the electricity that perverts attention - the crushing desire to be truly seen. And all of Loren, and this obsession, is in this album. He grew up in the Valley, forced to hide his Barbies from his father, so the closet was a gorgeous Spanish ranch house on a gilded cul-de-sac crawling with celebrities. Naturally this gay boy wanted to be a child star so his mother secretly shuttled him to tap and jazz and figure skating lessons. "I've got hands and feet to put in the concrete", Loren croons, in "Hollywood Blvd", a song which clangs with brawny bravado. But "Gay Angels" reminds us that Loren's infatuation with stardom is inextricably linked with his queerness and his own desire to live outside of fear. To be famous is to be out. To be known. To be himself. "Glovemaker has become a kind of code for art making itself. A glove as a covering or mask that follows the contours of the life beneath it. As a song and a symbol, this is an album about studying and tracing a life - and then sharing what's there," Loren says. And his desire to share truth feels urgent. To listen to Loren is to understand there is no choice; the songs must tear through the air right now. This very second. "I see myself tearing and splitting and becoming a trampoline", he belts in "No Man," breaking our hearts right alongside his. Part poet, part theatrical diva, Loren loops together the tragedy of breathing on this planet, because like Eartha Kitt or Cat Stevens, Loren is at his core - an incredible story teller. This whole album is a shrine, a mantle atop a blazing fire of life, spread with the memorabilia of Loren; all of the pain and lust dazzling on unabashed view. This is a songwriter's album. Loren's lyrics are all his, and you feel it with every bright, Maraschino-cherry-like word that falls from his lips. "Like a lover, You scream and I shatter, I hit like a hammer" Loren sings. And we get to feel what Loren feels We live in his brain, riding his genre bending emotions, on a wave of modern pop. And the songs lift, they are anthems of belief, "Hollywood Blvd", "I'm a Slut", "Euphemism", "Gay Angels", are all odes to triumphing over the corroding powers of fear and doubt. And on this ride, Loren's voice is the guard rail, ever eager to stretch and transform, belting, talk-singing, multiplying, keeping us safe. "Glovemaker" slaps and soars. The album is an ecstatic overture to love and loneliness, to dreams and promises, to everything Los Angeles dangles. Buckle up. Loren knows how to craft space, how to move us through darkened bars, strobing arenas, beige carpeted bungalows and yellow lit highways. "How do you like LA?" Loren asks. I hope you love it.

Red Vinyl

If the Chateau Marmont could sing. This would be it. Loren Kramar's voice vibrates with the shameless hum of a room after a celebrity exits Ecstatic aspiration. Doubt. Proximity. Desire. The album "Glovemaker" is about the skins we craft to be seen by the world, and Loren reminds us that we are all in drag. All exposed. No matter what gloves we slip on. "I'm a slut for all my dreams", Loren Kramar sings with Patti Smith brashness, "I'm a whore for them, I've got more of them". Loren's lyrics move like tinsel, shimmering bravely, then just as quickly, curling, fragile under the spotlight. Loren has always been obsessed with fame. Not with famous people, but with the electricity that perverts attention - the crushing desire to be truly seen. And all of Loren, and this obsession, is in this album. He grew up in the Valley, forced to hide his Barbies from his father, so the closet was a gorgeous Spanish ranch house on a gilded cul-de-sac crawling with celebrities. Naturally this gay boy wanted to be a child star so his mother secretly shuttled him to tap and jazz and figure skating lessons. "I've got hands and feet to put in the concrete", Loren croons, in "Hollywood Blvd", a song which clangs with brawny bravado. But "Gay Angels" reminds us that Loren's infatuation with stardom is inextricably linked with his queerness and his own desire to live outside of fear. To be famous is to be out. To be known. To be himself. "Glovemaker has become a kind of code for art making itself. A glove as a covering or mask that follows the contours of the life beneath it. As a song and a symbol, this is an album about studying and tracing a life - and then sharing what's there," Loren says. And his desire to share truth feels urgent. To listen to Loren is to understand there is no choice; the songs must tear through the air right now. This very second. "I see myself tearing and splitting and becoming a trampoline", he belts in "No Man," breaking our hearts right alongside his. Part poet, part theatrical diva, Loren loops together the tragedy of breathing on this planet, because like Eartha Kitt or Cat Stevens, Loren is at his core - an incredible story teller. This whole album is a shrine, a mantle atop a blazing fire of life, spread with the memorabilia of Loren; all of the pain and lust dazzling on unabashed view. This is a songwriter's album. Loren's lyrics are all his, and you feel it with every bright, Maraschino-cherry-like word that falls from his lips. "Like a lover, You scream and I shatter, I hit like a hammer" Loren sings. And we get to feel what Loren feels We live in his brain, riding his genre bending emotions, on a wave of modern pop. And the songs lift, they are anthems of belief, "Hollywood Blvd", "I'm a Slut", "Euphemism", "Gay Angels", are all odes to triumphing over the corroding powers of fear and doubt. And on this ride, Loren's voice is the guard rail, ever eager to stretch and transform, belting, talk-singing, multiplying, keeping us safe. "Glovemaker" slaps and soars. The album is an ecstatic overture to love and loneliness, to dreams and promises, to everything Los Angeles dangles. Buckle up. Loren knows how to craft space, how to move us through darkened bars, strobing arenas, beige carpeted bungalows and yellow lit highways. "How do you like LA?" Loren asks. I hope you love it.

Sounds Good ist ein Album, das, vereinfacht ausgedrückt, seinem Namen alle Ehre macht. Die aktuelle Single Hanging On folgt auf den Bombast-Track Nobody But You und Gift of Life mit Kevins Delfonics-artigem Gesang, der die Bandbreite der menschlichen Erfahrung thematisiert. Kevin und Tony Martin sind Brüder, Eric ist ihr Bruderund langjähriger Freund durch die Musik. Während die anfängliche Verbindung der Band auf der berauschenden Mischung aus Jazz-Performance-fokussierter Musikschule und der Plackerei lokaler Auftritte gründet, wurde ihre Bindung durch unzählige Stunden auf Tour und die Produktion von zwei Studioalben gestärkt – 2019 das Debütalbum Buck und 2021 die EP Ripe. "Being on the road, doing our own tours, and backing incredible people like Lady Wray, has sharpened our skills and really revved us up for this record", sagt Kevin."It's been four years since our last full length record, and with everything that's happened since, it's like we've been catching up to ourselves." Das ist eine Möglichkeit, Veränderungen zu beschreiben: sich selbst einzuholen. Jedes Mitglied von Brainstory hat Veränderungen durchgemacht, sowohl persönlich als auch musikalisch, und all das zieht sich durch diese Platte. Der Weg zur Weiterentwicklung ihrer Musik ist klarer denn je zuvor. Wenn es eine Sache gibt, die auf diesem Album überdeutlich wird, dann ist es, dass Brainstory sich entwickelt haben. Ein Teil ihrer Entwicklung ist zweifellos darauf zurückzuführen, dass sie ihr eigenes Studio in Long Beach haben und dort ständig arbeiten. Ein weiterer wichtiger Faktor ist, dass sich ihre Gemeinschaft erweitert hat. "I've been playing music with my brother all my life and now with Eric for a long time", erzählt uns Tony. "Leon, though, is like another brother I've just met." Aus der Freundschaft ist die Band entstanden, und jetzt trägt die erweiterte Gemeinschaft dazu bei, sie weiter voranzutreiben. Die Sterne stehen günstig, dass sie mit diesem neuen Album einen großen und wohlverdienten Schritt machen, und das hört man ihrer Musik an – music that just Sounds Good.

Sounds Good ist ein Album, das, vereinfacht ausgedrückt, seinem Namen alle Ehre macht. Die aktuelle Single Hanging On folgt auf den Bombast-Track Nobody But You und Gift of Life mit Kevins Delfonics-artigem Gesang, der die Bandbreite der menschlichen Erfahrung thematisiert. Kevin und Tony Martin sind Brüder, Eric ist ihr Bruderund langjähriger Freund durch die Musik. Während die anfängliche Verbindung der Band auf der berauschenden Mischung aus Jazz-Performance-fokussierter Musikschule und der Plackerei lokaler Auftritte gründet, wurde ihre Bindung durch unzählige Stunden auf Tour und die Produktion von zwei Studioalben gestärkt – 2019 das Debütalbum Buck und 2021 die EP Ripe. "Being on the road, doing our own tours, and backing incredible people like Lady Wray, has sharpened our skills and really revved us up for this record", sagt Kevin."It's been four years since our last full length record, and with everything that's happened since, it's like we've been catching up to ourselves." Das ist eine Möglichkeit, Veränderungen zu beschreiben: sich selbst einzuholen. Jedes Mitglied von Brainstory hat Veränderungen durchgemacht, sowohl persönlich als auch musikalisch, und all das zieht sich durch diese Platte. Der Weg zur Weiterentwicklung ihrer Musik ist klarer denn je zuvor. Wenn es eine Sache gibt, die auf diesem Album überdeutlich wird, dann ist es, dass Brainstory sich entwickelt haben. Ein Teil ihrer Entwicklung ist zweifellos darauf zurückzuführen, dass sie ihr eigenes Studio in Long Beach haben und dort ständig arbeiten. Ein weiterer wichtiger Faktor ist, dass sich ihre Gemeinschaft erweitert hat. "I've been playing music with my brother all my life and now with Eric for a long time", erzählt uns Tony. "Leon, though, is like another brother I've just met." Aus der Freundschaft ist die Band entstanden, und jetzt trägt die erweiterte Gemeinschaft dazu bei, sie weiter voranzutreiben. Die Sterne stehen günstig, dass sie mit diesem neuen Album einen großen und wohlverdienten Schritt machen, und das hört man ihrer Musik an – music that just Sounds Good.

The incendiary proto hard rock and ambitious epic journeys this album delivers are all the more uncanny and devastating when you realize Gary Del Vecchio was a mere 16 years old when the title track Buzzin was unleashed! Even more astonishing is how far he travelled over the next five years, documented in this brilliant selection of nine tracks from the classic daze of early 1970s underground rock. Ohio was a hotbed for hard rock at the time with bands like the James Gang, Glass Harp, Poobah, Left End, Damnation Of Adam Blessing… what you get here matches the style any of those bands laid down. Gary's music grabs you immediately and grows over time. Grabber and Grower… best of both worlds style! It makes sense that Gary later owned a recording studio, right out of the gate he was laser focussed on all the aspects involved in making music that stands the test of time. The guitar action is incredible, shards of sound flying free yet hitting the bullseye continuously, vocals confident with none of the macho posturing that ages poorly in much early hard rock. These tracks are all vividly recorded and meticulously mixed in a way that balances fiery performance and intelligent structure to maximum effect. The bass and drumming here are phenomenally inventive and propulsive, the several players involved across the album nail it in their support of Gary's vision. This is rock music born in the 'anything is possible' life affirming energy of the late '60s right on time with where the most enduring artists of the early '70s took it. Had he scored the major label deal he pursued with labels like Mercury or London at the time I am confident we'd be hearing his music on classic rock radio today! The music on this album is both uncompromising and accessible. In particular, the two long tracks Wasted King and Starman have all the moves needed to grab fans of Pink Floyd, Led Zeppelin and the likes by the throat and brain in the extended progressive epic department! RidingEasy Records sets a high bar when it comes to unleashing the best vintage hard rock you never heard… take my tip people, the ride this one takes you on is definitely an 11 on a scale of 1 to 10… Gary Del Vecchio really knows how to do it!

EIGHTEEN AND I LIKE IT… (MISC. COLOURED VINYL))if you survived trips 1-17 with one tiny speck of psychedelic sunshine intact, Brown Acid The 18th Trip will be your coming of age nightmare. Vintage underground '70s hard rock, coming at you from bizarre angles, local scene wasteland America when everybody was out for themselves and the drugs went bleak. The guitars kill, the attitude is twisted, even the sex is headed down the wrong road. Real people, no compromise, pure and potent. Get stoked, take the 18th Trip and know that the artists will get paid for pulverizing your soul! "People… are you ready?, 'cause the music now is getting so heavy"… Back Jack out of St. Louis, Missouri in 1974 launch our trip with "Bridge Waters Dynamite". It's an invocation to rock flashing on Mark Farner whooping up a Grand Funk crowd, then getting to the point quickly with berserk guitar assaults. Heavy riff with power chord stalks beneath as you take their advice… get loose and blow up the past. Smokin' Buku Band dropped my jaw with the audacious track "Hot Love" coming on like some fractured fever dream burlesque of Led Zep moves out of Hollywood in 1980. Swooping elongated vocals above, a total Zep chord move at the end of each verse. Writer/producer Steve Shauger aka Shag Stevens gets a brilliantly messed up sound quality here, the ideal polar opposite of slick. The extended guitar break is an epitome of serendipitously crude virtuosity, simply outrageous! Coming at you from way outta left field is "Moby Shark" by Atlantis, a hilarious and strange Baltimore pre-punk vibed dose of D.I.Y. meets hard rock. Lon Talbot is the mastermind, the flip side of this impossibly rare Mekon Records label single was featured in an obscure 1978 B-movie titled "The Alien Factor". Follow the lyrics closely, when the ominous jaws jaws jaws start coming after you you you… the song's big hook is so preposterously catchy the shark attack feels like good news. Inquiring minds should know that the band formerly known as Atlantis can now be found by searching for the Lon Talbot Group! Tommy Stuart and the Rubberband's "Peeking Through Your Window" from 1970 opens with a spooky organ riff, slips into a gushy fuzz/organ groove akin to "Mustache In Your Face” by Pretty. The singer creates downright creepy vibes, a stalker peeking through the girl's mind like a peeping Tom at the window up to no good. The lyrics evoke a disturbing scenario. Tommy Stuart also made a strange LP titled Hound Dog Man in 1977 and some terrific rare garage singles under the names Magnificent Seven and The Omen & Their Love in the mid '60s. Nothing better than an angry two chord guitar attack with cowbell to set the stage for this rant about getting "Ripped Off" by love. Taken from their rare 1977 LP on Dynamite Records, Chicago Triangle was Marvey Esparza, Dave Guereca, Jose 'Tarr' Perez and Robert Aguilera. They unleash such strong brain-scrubbing wah wah frenzy in the guitar break here that it seems to perversely mock it's own intensity! Like I said, Brown Acid the 18th Trip comes at you from all kinds of uncanny angles. Damnation of Adam Blessing out of Cleveland, Ohio unleashed a stone killer psychedelic hard rock classic "Cookbook" in the late '60s, this track "Nightmare" from 1973 has them cooking again at full power. A different singer, name change to Damnation and then Glory, unleashing a deadly dose of dark progressive heavy rock drama peaking when spooky 'oooo-wa-oooo' background vocals emerge during a bizarre spoken bit. It unfolds like a mini-epic and includes some remarkably brutal guitar and turbulent organ, too. "Swing your sword, all aboard… bid farewell to the dreamer" Dalquist exclaims. Cynical view of human nature, idealism is over, war is coming, it always does. Opens with a cold menacing riff and atmosphere reminiscent of "Synthezoid Heartbreak" by Maya. Mournful despondent vocals ride an insistent churning groove, gnarly guitar break moves into free noise territory. This rare track is from a local various artists benefit album titled Kangaroo Jam issued for the Waco Family Abuse Center in Texas circa 1980. The Pawnbrokers "Realize" is prime proto heavy rock emerging out of psychedelic garage roots in 1968 Fargo, North Dakota. Unusual arrangement, terrific sustain guitar tones like on the first Blue Cheer LP, even a rip on Hendrix "Manic Depression" with unison voice and guitar ascent near the end. They made three 45s and were active from '65 to '69. Hats off to Blake English, Kent Richey, Paul Rogne and Steve Harrison, you nailed it in just a hair over two minutes! As pure and creative as the original psychedelic garage hard rock gets. Parchment Farm from Union, Missouri gigged with the likes of ZZ Top and Foghat back in the day and unleashed the amazing "Songs Of The Dead" in 1971. Primitive riff/chord pattern dosed with some funky prog moves, sky turning black, 'is this heaven or hell' type disoriented confusion… may as well grab your guitar and sing songs to the dead. Robert 'Ace' Williams on bass, Paul Cockrum on guitar, Gary Reed on keys and Micky Waterman on drums, replacing Mike Dulany (R.I.P.) Cool that they use the Blue Cheer misspelling from Vincebus Eruptum for the band name! Ominous organ, thick minimalist fuzz riff, funky psychedelic wah wah flashes and freaky sex combine in one twisted dance titled "Rockin' Chair" by Brothers Of The Ghetto. Out of Chicago in 1975 with some Santana atmospherics and a delicious fuzz wah screamin' guitar break, the groove is highlighted by an off the wall vocal which sounds eerily detached in a subtly sleazy way. Rene Maxwell is the writer of this hard-rock boogie-down hybrid straight out of the twilight zone. It was issued on Ghetto, a subsidiary of the peculiar Kiderian label that released the Creme Soda LP. Now that your head is totally skewered, go Back Jack and play side one again! (Words by Paul Major)

EIGHTEEN AND I LIKE IT… (MISC. COLOURED VINYL))if you survived trips 1-17 with one tiny speck of psychedelic sunshine intact, Brown Acid The 18th Trip will be your coming of age nightmare. Vintage underground '70s hard rock, coming at you from bizarre angles, local scene wasteland America when everybody was out for themselves and the drugs went bleak. The guitars kill, the attitude is twisted, even the sex is headed down the wrong road. Real people, no compromise, pure and potent. Get stoked, take the 18th Trip and know that the artists will get paid for pulverizing your soul! "People… are you ready?, 'cause the music now is getting so heavy"… Back Jack out of St. Louis, Missouri in 1974 launch our trip with "Bridge Waters Dynamite". It's an invocation to rock flashing on Mark Farner whooping up a Grand Funk crowd, then getting to the point quickly with berserk guitar assaults. Heavy riff with power chord stalks beneath as you take their advice… get loose and blow up the past. Smokin' Buku Band dropped my jaw with the audacious track "Hot Love" coming on like some fractured fever dream burlesque of Led Zep moves out of Hollywood in 1980. Swooping elongated vocals above, a total Zep chord move at the end of each verse. Writer/producer Steve Shauger aka Shag Stevens gets a brilliantly messed up sound quality here, the ideal polar opposite of slick. The extended guitar break is an epitome of serendipitously crude virtuosity, simply outrageous! Coming at you from way outta left field is "Moby Shark" by Atlantis, a hilarious and strange Baltimore pre-punk vibed dose of D.I.Y. meets hard rock. Lon Talbot is the mastermind, the flip side of this impossibly rare Mekon Records label single was featured in an obscure 1978 B-movie titled "The Alien Factor". Follow the lyrics closely, when the ominous jaws jaws jaws start coming after you you you… the song's big hook is so preposterously catchy the shark attack feels like good news. Inquiring minds should know that the band formerly known as Atlantis can now be found by searching for the Lon Talbot Group! Tommy Stuart and the Rubberband's "Peeking Through Your Window" from 1970 opens with a spooky organ riff, slips into a gushy fuzz/organ groove akin to "Mustache In Your Face” by Pretty. The singer creates downright creepy vibes, a stalker peeking through the girl's mind like a peeping Tom at the window up to no good. The lyrics evoke a disturbing scenario. Tommy Stuart also made a strange LP titled Hound Dog Man in 1977 and some terrific rare garage singles under the names Magnificent Seven and The Omen & Their Love in the mid '60s. Nothing better than an angry two chord guitar attack with cowbell to set the stage for this rant about getting "Ripped Off" by love. Taken from their rare 1977 LP on Dynamite Records, Chicago Triangle was Marvey Esparza, Dave Guereca, Jose 'Tarr' Perez and Robert Aguilera. They unleash such strong brain-scrubbing wah wah frenzy in the guitar break here that it seems to perversely mock it's own intensity! Like I said, Brown Acid the 18th Trip comes at you from all kinds of uncanny angles. Damnation of Adam Blessing out of Cleveland, Ohio unleashed a stone killer psychedelic hard rock classic "Cookbook" in the late '60s, this track "Nightmare" from 1973 has them cooking again at full power. A different singer, name change to Damnation and then Glory, unleashing a deadly dose of dark progressive heavy rock drama peaking when spooky 'oooo-wa-oooo' background vocals emerge during a bizarre spoken bit. It unfolds like a mini-epic and includes some remarkably brutal guitar and turbulent organ, too. "Swing your sword, all aboard… bid farewell to the dreamer" Dalquist exclaims. Cynical view of human nature, idealism is over, war is coming, it always does. Opens with a cold menacing riff and atmosphere reminiscent of "Synthezoid Heartbreak" by Maya. Mournful despondent vocals ride an insistent churning groove, gnarly guitar break moves into free noise territory. This rare track is from a local various artists benefit album titled Kangaroo Jam issued for the Waco Family Abuse Center in Texas circa 1980. The Pawnbrokers "Realize" is prime proto heavy rock emerging out of psychedelic garage roots in 1968 Fargo, North Dakota. Unusual arrangement, terrific sustain guitar tones like on the first Blue Cheer LP, even a rip on Hendrix "Manic Depression" with unison voice and guitar ascent near the end. They made three 45s and were active from '65 to '69. Hats off to Blake English, Kent Richey, Paul Rogne and Steve Harrison, you nailed it in just a hair over two minutes! As pure and creative as the original psychedelic garage hard rock gets. Parchment Farm from Union, Missouri gigged with the likes of ZZ Top and Foghat back in the day and unleashed the amazing "Songs Of The Dead" in 1971. Primitive riff/chord pattern dosed with some funky prog moves, sky turning black, 'is this heaven or hell' type disoriented confusion… may as well grab your guitar and sing songs to the dead. Robert 'Ace' Williams on bass, Paul Cockrum on guitar, Gary Reed on keys and Micky Waterman on drums, replacing Mike Dulany (R.I.P.) Cool that they use the Blue Cheer misspelling from Vincebus Eruptum for the band name! Ominous organ, thick minimalist fuzz riff, funky psychedelic wah wah flashes and freaky sex combine in one twisted dance titled "Rockin' Chair" by Brothers Of The Ghetto. Out of Chicago in 1975 with some Santana atmospherics and a delicious fuzz wah screamin' guitar break, the groove is highlighted by an off the wall vocal which sounds eerily detached in a subtly sleazy way. Rene Maxwell is the writer of this hard-rock boogie-down hybrid straight out of the twilight zone. It was issued on Ghetto, a subsidiary of the peculiar Kiderian label that released the Creme Soda LP. Now that your head is totally skewered, go Back Jack and play side one again! (Words by Paul Major)

To record "Ease the Work", Hour traveled via ferry with an entire studio’s worth of equipment to an old off-Broadway theater on Peaks Island in Maine, months before the first tourists would show up. The week-long session started with an island-wide power outage that halted recording on the first day, and ended with twelve songs that walk steadily between longing and contentment, sentimentality and subtlety, the lift of harmony and the compulsion of a melody you wish would play forever. Hour’s music cuts a broad pathway, and remains hard to classify or compare. Perhaps most at home beside work from Bill Frisell, Eiko Ishibashi, ECM Records, or the Louisville experimental chamber group Rachel’s, Ease the Work shows us life on the boundary of composition and improvisation. It reaches for the sweeping gestures and inspired pacing of classic film scores, Frank Sinatra ballads, and Scott Walker’s pop orchestra. It also retains the arresting intimacy of the band’s early work. Strings swell and harmonize in counterpoint with electric guitar, clarinet, and piano, while drums, synth pads, and field recordings complete the aural world.

"Ease the Work" by Hour includes the following tracks: "Stoner", "Brain Scrub", "Dying of Laughter", "The Most Gorgeous Day in History" and more.

This release comes with a Download Code.

If the setting is right, magic will happen. And so, this record came into being. Sunburned Hand of the Man, three decades into their one of a kind run, still possess the ability to amaze, stupefy and astound - even themselves. Recorded over a week at Big Blue, Adam Langellotti’s (Kurt Vile & The Violators) studio/house, "Nimbus" sees the band's amorphous lineup produce results such as high-test workouts, cryptic readings & a choice cover (Sun City Girls). A record that this band could only produce in 2024 and the required next step for the devoted fan base and or those interested in doing some self-work in an unconventional setting.

"Nimbus" by Sunburned Hand Of The Man includes the following tracks: "Ishkabibble Magoo", "Lily Thin", "Walker Talker" and more.

If the setting is right, magic will happen. And so, this record came into being. Sunburned Hand of the Man, three decades into their one of a kind run, still possess the ability to amaze, stupefy and astound - even themselves. Recorded over a week at Big Blue, Adam Langellotti’s (Kurt Vile & The Violators) studio/house, "Nimbus" sees the band's amorphous lineup produce results such as high-test workouts, cryptic readings & a choice cover (Sun City Girls). A record that this band could only produce in 2024 and the required next step for the devoted fan base and or those interested in doing some self-work in an unconventional setting.

"Nimbus" by Sunburned Hand Of The Man includes the following tracks: "Ishkabibble Magoo", "Lily Thin", "Walker Talker" and more.

Utter presents 'The Ritual EP' by Frank Rodas.

Frank Rodas is the elusive creator of 2019's 'The Sellout EP' (Optimo Music) and one of the brains behind the excellent 'Out The Flat' label. While his previous release deftly dipped into Electro, Industrial and EBM sonics, 'The Ritual EP' sees the versatile producer travel in another direction, taking the listener on an ethereal, acid-tinged Tribal voyage.

The visuals also complement the EP's cohesive deeper sound. Decadence comics co-founder Lando's immersive artwork draws us further into this imagined far-future world, with a vast flooded landscape dominating the front cover, any remnant of civilisation succumbing to nature. A large 50x70cm panoramic poster is included with every copy of the record.

'The Ritual EP' is available on recycled vinyl and digital formats.

Mastered & cut by Anne Taegert at D&M.

DJ Support: Laurent Garnier, Danny Krivit, Chrissy T, Mousse T, Lenny Fontana, Danism & Train, Mr V, Quentin Harris, Natasha Kitty Kat, Eric Kupper DJ Pope, Danism + Train, Saison, Sean McCabe

Physical Education make their debut on SoSure Music with the ‘Sweet Talk EP'. Now based in Barcelona and Prague, Physical Education is the brainchild of Luke Scheybeler and David Philips. The duo’s production alias is synonymous with a soulful, jazzy, sample-heavy sound, meticulously crafted at their studio in the Pyrenees mountains. With a musical history than spans almost thirty years, Physical Education are producing music with a strong focus on musicianship and hardware-based production. Title track ’Sweet Talk’ is a smooth and superbly produced slice of jazz-influenced deep house while ‘Work On That Soon’, ‘Oscar’ and ‘Dreamsville’ (a vinyl only exclusive) are also included here and fully compliment this release to complete a standout debut EP.

Escape Music are pleased to announce the release date for long awaited Turkish Delight studio album titled “Volume 1" with 500 limited edition double Vinyl “Side A+B Snowy White colour and side C+D Skull Gold colour” all will be numbered 1-500! ‘Turkish Delights Volume One’ celebrates the absolute joy that Escape Music co-owner Khalil Turk has for the kind of music he loves so much and has spent the last thirty and then some years championing. Indeed, his enthusiasm for a new band or a new song today is no different from when I first met him in the mid ‘80’s. I lost count of the number of phone calls he made to me when I was working for ‘Kerrang!’ magazine, where he would excitedly tell me ‘Dave, you just have to listen to this! It’s brilliant! You’ll love it!’ before playing me something over the phone – new and often obscure - he had picked up on his international record buying trips. Nine and a half times out of ten he’d be right!! Khalil’s quality control has been such that the record label he co-founded with fellow melodic rock enthusiast Barrie Kirtley in 1995 remains reliably and solidly in place all these years later. Escape continues to deliver monthly doses of quality hard rock, melodic rock and AOR to a very devoted following. Khalil had first entered the music business in the early ‘90’s, effectively as a talent scout for the German owned Long Island label. However, after the company folded, Turk felt that, rather than look at opportunities with other labels, he had the enthusiasm and now had rather more knowledge of the inner workings of the music business to put something together himself alongside the equally enthusiastic and astute Kirtley. We’ve seen hundreds of solid album releases from a huge variety of acts (including AXE, Steve Walsh (Kansas), John Elefante (Kansas), Lonerider, Shadowman, Alliance, Pinnacle Point, Mass, Heartland, Grand Illusion, Overland, Last Autumn’s Dream, Punky Meadows, ColdSpell, Chris Ousey, Ozone and Touch, to name just a few) as well as reissues (from Aviator, Sugarcreek, Jon Butcher Axis, Franke And The Knockouts, FM, Tantrum and Surrender, Zon, Hanover Fist etc) ever since. So here we are, over twenty-five years since that first Escape Music album appeared hot off the presses (Heartland’s ‘III’ album in November 1995, if you’re asking) and this collection of songs, personally chosen by Khalil, reiterates that pure joy he still possesses for the music he is utterly immersed by. With material from the pens of Steve Overland (FM), Chris Ousey (Heartland), Steve Morris (Export/Ian Gillan/Heartland), Mick Devine (Seven), Steve Newman (Newman/Compass) and Tommy Denander (Radioactive) there’s also a list of musicians culled from Khalil’s contact book that, quite frankly, is VERY impressive. Just a few names appearing on ‘Turkish Delights’ to throw at you include Ronnie Platt (Kansas), Billy Greer (Streets/Kansas), Billy Sheehan (Talas/David Lee Roth/Mr Big), Gary Pihl (Sammy Hagar/Boston/Alliance), Gene Black (Device), Jeff Pilson (Dokken), Jeff Scott Soto, Chris Childs (Thunder), Mike Slamer (City Boy/ Streets/Seventh Keys/ Steelhouse Lane) Joel Hoekstra (Whitesnake/Joel Hoekstra’s 13), Mark Mangold (American Tears/Touch/ Drive, She Said), Mark Stanway (Magnum), Mat Sinner (Sinner), Marco Mendoza (Thin Lizzy/Whitesnake/Journey), Ricky Phillips (The Babys/Bad English/Styx), Robin Beck, Robin Mc Auley (Grand Prix/MSG), James Christian (House Of Lords) Steve Overland (FM), Jerome Mazza (Pinnacle Point/solo), Terry Brock (Strangeways) and Vince DiCola (‘Transformers’/Thread/Storming Heaven). This is a cast of thousands. Well, it at least appears that way! It’s a very interesting package and, as Khalil would surely say, you’ll love it! - Dave Reynolds / August 2022. Produced by Khalil Turk for Turkish Delight Productions / Mixed and Mastered by Stephen DeAcutis at Sound Spa Studio, New Jersey, USA / *Mixed by Andy Zukerman / *Mastered by Fredrik Folkare / **Mixed and Mastered by Brian J Anthony (Vinyl Only) - Artwork Design by Hugh Syme (Rush/Bad English/Elton John) - Turkish Delights: The Musicians are: Ronnie Platt: Lead vocals (Kansas) / Billy Greer: Lead vocals (Kansas/Seventh Keys/Streets) / Jeff Scott Soto: Lead and backing vocals (Talisman/Yngwie Malmsteen/Trans-Siberian Orchestra) / Robin McAuley: Lead and backing vocals (Michael Schenker Group/Grand Prix/solo artist) / Chris Ousey: Lead vocals and Backing vocals (Heartland/Ousey-Mann/Virginia Wolf/Ozone)/ Jerome Mazza: vocals (Pinnacle Point/Steve Walsh) / James Christian: Lead and backing vocals (House Of Lords)Terry Brock: Lead vocals (Strangeways/Kansas) / Lee Small: Lead and backing vocals (Phenomena/Lionheart/Shy) / Mick Devine: Lead and Backing vocals (Devine Intervention/7/solo artist) / Ronnie Romero: Lead and backing vocals (Rainbow/Michael Schenker Group) / Tony Harnell: Lead vocals and backing vocals (TNT/Westworld/Starbreaker/Morning Wood) / Steve Overland: Lead and backing vocals (Lonerider/FM/Shadowman/solo artist) / Robin Beck: Backing vocals (solo artist) / Matt Sinner: Bass (Primal Fear/Sinner) / Joel Hoekstra: Guitars (Whitesnake/Trans-Siberian Orchestra/13) / Mike Slamer: Guitars (City Boy/Streets/Seventh Key/Steelhouse Lane) / Jeff Pilson: Bass (Foreigner/Dokken) / Gary Pihl: Guitars (Sammy Hagar/Boston) / Steve Morris: Guitars and Keyboards (Heartland/Lonerider/Ian Gillan Band/Shadowman) / Gene Black: Lead Guitars (Tina Turner/Rod Stewart/Device) / Billy Sheehan: Bass (Mr Big/The Flood/Talas) / Tracy Ferrie: Bass (Stryper/Boston) / Ricky Phillips: Bass (Baby’s/Styx/Bad English) / Rocky Newton: Bass (Michael Schenker Group/Lionheart) / Josh Devine: Drums (One Direction/Levara/Devine Intervention) / Takeaki Itoh: Bass (Pinnacle Point) / Jim Kirkpatrick: Slide guitar (FM/The Flood/Bernie Marsden Band) / Chris Childs: Bass (Thunder/Lonerider) / Steve Mann: Keyboards (Michael Schenker Group/Lionheart/Ousey/Mann) / Vince DiCola: Keyboards (Rocky4/Staying Alive/Transformers/Storming Heaven/Thread) / Mark Mangold: Keyboards (Touch/American Tears/Drive She Said) / Alessandro Del Vecchio: Keyboards (Revolution Saints/Edge Of Forever/Hardline) / Stevie D: Lead guitar / Marco Mendoza: Bass (Whitesnake/Thin Lizzy/Journey) / Jimmy Nicholas: B3 (Faith Hill/Kenny Loggins/Van Zant/Jim Peterik/Juice Newton) / Tommy Denander: Guitars and keyboards (Radioactive/Steve Walsh/Robert Hart)) / Brain J Anthony: Bass (Steve Walsh/Lonerider/Robert Heart/Robbie LeBlanc) / Brian Tichy: Drums (Whitesnake/Dead Daisies/ Foreigner) / Mark Stanway: Keyboards (Magnum/Grand Slam) / Robin Beck: Backing vocals (solo artist) / Nikolo Kotzev: Lead guitars (Brazen Abbot/Robin Gibb) / Fredrik Folkare: Guitars (Unleashed/Heartwind) / Mikael Rosengren: Keyboards (Heartwind) / Steve Newman: Guitars/keys/backing vocals (Newman/Compass) / Eric Ragno: Keyboards (Baby’s/Joe LynnTurner) / Fredrik Bergh: Keyboards (Talk Of Town/BloodBound) - CD Track listing: Intro; Live Again; Crazy Days; Bad Enough; Never Will Forget; Harder They Fall; Get Out Of Here; Believe; Hangman Blues; State Of Mind; Belly Of The Beast*; Holy Water; Sweet Serenity; Take It Away; Bad To Good. Vinyl Track listing: Intro; Live Again; Crazy Days; Bad Enough; Never Will Forget; Harder They Fall; Get Out Of Here; Believe; Hangman Blues; State Of Mind; Belly Of The Beast*; Holy Water; Sweet Serenity; Take It Away; Bad To Good; The Year 2000; Frozen Rose

Omit’s in/Sec is “new,” but not new. Recorded in 2013, the masters lost in the label’s murky somewheresville that always shows up when moving. For those who don’t know, Omit is an experimental electronics artist from New Zealand’s south island who, since 1990, has released thirty-some xerographed cassettes and CDrs in the Dead C orbit for those who do. It’s not enough to say that in/Sec is an ambient masterpiece bringing to mind a John Carpenter soundtrack performed by the Hub because listening to it engineers new species. The infectious and corrupting sounds synthesize new life forms in your brain's enzymes. If you specialize in a niche too much, you are prey to predators outside, but Omit never goes for low-hanging fruit and isn't simulating anything. I can vomit a better looking face than the ones on these little fuckers eating my brain right now. In this century that flatters itself to be of drinking age, it is a queer thing we haven’t come face to face with aliens. There is a time for everything and they're all intermixed. Besides the xenobiological effects, Omit constructs your sentiment through timbral concepts that repeat and shift with minimal reference to harmony, melody, key, or mode. Streams jump and skitter, knitting tightly high and low in a dense rattling driven to the long and most plaintive tones amongst the countless gizmos (that’s including you, but not “you”). This one is for big fans of Anode/Cathode, Ikue Mori, Papa Srapa, Fronte Violeta, and Insignia refrigerators.