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Announcing Dion Lunadon's (of A Place To Bury Strangers / The D4) debut solo album, on Agitated Records. The album was recorded over a three-month period in Brooklyn, NY and features Robi Gonzalez (APTBS) on drums and Blaze Bateh from Bambara on select tracks including 'Fire'. "With 'Fire' I wanted wild and heavy guitars with heavy sentiment in the first vocal line to match. Something that grabs you and demands attention. Not background music," Lunadon explains of the track. The album also features mixing by Chris Woodhouse (Mayyors, Ty Segall, The Intelligence, Thee Oh Sees) on select tracks including 'Com/Broke'. From cutting his teeth back home in New Zealand as a member of The D4 to his current role as bassist of Brooklyn-based A Place to Bury Strangers, Dion Lunadon has played in some form of a rock & roll band his entire life. During a short break in touring with APTBS, Lunadon had a rush of inspiration in the form of a Dion Lunadon creative spasm — a neurotic impulse to make a batch of songs and do it right then and right there. What resulted is quite a jump away from his work in APTBS and draws more influence from bands like Toy Love and The Gun Club, as well as New Zealand unknowns such as Gestalt and Supercar. 500 only pressed / black vinyl theres 200 for UK/EU only

The Maltese machine funk specialist himself Keith Farrugia is back once more with yet more of his impeccable electro business as Sound Synthesis. This time the prolific producer is shoring up on Burnski's Infiltrate label with four cool and deadly cuts which build on his previous drops for 20:20 Vision, Furthur Electronix, Orbital Mechanics and more besides. From the nervy sci-fi flex of 'Motor Space Maps' to the playful fun n' games of 'Back In Time', Farrugia knows exactly what he's doing within the electro blueprint, and his tracks are reliably punchy warm - a true master at work.

Tape

Fathersong is Rick Bull's eighth album release under his Deepchild moniker, arriving 10 years after the former Berliner's Neukölln Burning album (Thoughtless Music). Exploring a shimmering post-dub vista, rich in granular textures, Fathersong draws influence and inspiration from contemporaries like Fennesz, Tim Hecker, Burial and Vladislav Delay. Unshackled from the percussive undertow of previous albums, the album's palette nonetheless displays the familiar, sensual pulse of Bull's musical aesthetic.

Available on vinyl for the first time in 10 years, with new cover design by Tim Rutilli Califone's earliest roots lie in the band Red Red Meat, from whence came Califone's founding members Tim Rutili and Ben Massarella and its longtime producer Brian Deck. The band's first release was a self-titled EP on Flydaddy in 1998, followed later by the full-length debut, Roomsound, in 2001 (later reissued on Thrill Jockey) and eventually the band's Thrill Jockey debut, Quicksand/ Cradlesnakes in 2003. After touring for the release of Roomsound, Califone had little time off to take in the impact of the music they were creating. In three years, they recorded four albums (two instrumental, two song-based including Heron King Blues) and toured heavily in between with Wilco, Modest Mouse, The Sea and Cake and others. After the tour for Heron King Blues in 2004, Califone finally took a breath and came back together in late 2005 to begin recordings. They worked on it in chunks at 4Deuces Studio in Chicago with Brian Deck, in Long Beach and Phoenix with Michael Krassner, and at home in Los Angeles and Chicago until May 2006. The time away and each member's individual work naturally brought new elements into the sound of Califone's music. Both Rutili's and Becker's soundtrack work are more atmospheric, however the challenge of enhancing a scene of film without cluttering it or overwhelming it informed their approach to the new recording. Similarly, the burglary of Califone's equipment during the band's last tour (including guitars, banjo, a 1917 violin, bells and more) altered the sound as they had to find new gear on a tight budget. The instruments are new partners, new sounds that forced them to stretch in new directions. Limitations, obstructions and darkness, and the new possibilities they illuminate; roots and crowns. "In that way", says Rutili, "this album is a conscious and resolved thing. It fully realizes ideas we touched on in the past and where we come from as a band, and takes us into our next phase of life."

Available on vinyl for the first time in 10 years, with new cover design by Tim Rutilli Califone's earliest roots lie in the band Red Red Meat, from whence came Califone's founding members Tim Rutili and Ben Massarella and its longtime producer Brian Deck. The band's first release was a self-titled EP on Flydaddy in 1998, followed later by the full-length debut, Roomsound, in 2001 (later reissued on Thrill Jockey) and eventually the band's Thrill Jockey debut, Quicksand/ Cradlesnakes in 2003. After touring for the release of Roomsound, Califone had little time off to take in the impact of the music they were creating. In three years, they recorded four albums (two instrumental, two song-based including Heron King Blues) and toured heavily in between with Wilco, Modest Mouse, The Sea and Cake and others. After the tour for Heron King Blues in 2004, Califone finally took a breath and came back together in late 2005 to begin recordings. They worked on it in chunks at 4Deuces Studio in Chicago with Brian Deck, in Long Beach and Phoenix with Michael Krassner, and at home in Los Angeles and Chicago until May 2006. The time away and each member's individual work naturally brought new elements into the sound of Califone's music. Both Rutili's and Becker's soundtrack work are more atmospheric, however the challenge of enhancing a scene of film without cluttering it or overwhelming it informed their approach to the new recording. Similarly, the burglary of Califone's equipment during the band's last tour (including guitars, banjo, a 1917 violin, bells and more) altered the sound as they had to find new gear on a tight budget. The instruments are new partners, new sounds that forced them to stretch in new directions. Limitations, obstructions and darkness, and the new possibilities they illuminate; roots and crowns. "In that way", says Rutili, "this album is a conscious and resolved thing. It fully realizes ideas we touched on in the past and where we come from as a band, and takes us into our next phase of life."

Australia’s Nicolas Cage Fighter are coming out swinging. Combining ruthless hardcore, late 90s metal and death metal influences, the band deftly weave a sound that is as burly as it is brutal, pummeling all those that get in their way. Formed in Ballarat, Victoria in 2011, the band have worked slowly and steadily to build their profile, dropping singles and EPs and sharing stages with the likes of Attila, Thy Art Is Murder, Thick As Blood and Deez Nuts, building a devoted fan base. With The Bones That Grew From Pain now primed to be unleashed they are hoping for the opportunity to tour it internationally, bringing their merciless performances to stages around the world and engaging with the new army of fans that are sure to connect with their no-bullshit stance and killer material.

Acid Rooster were described by ‘Le Guess Who Festival’ as a ‘wet dream for heads who cram their record collection with Amon Düül, Spacemen 3, Wooden Shjips, Tangerine Dream’ – a statement we wholeheartedly endorse.

Ad Astra was recorded live in July 2020 in a private garden with a field recorder in front of a small audience of friends during the lockdown in the middle of the corona pandemic. The two long jams were the opening and the closing track of a completely improvised concert and are a spontaneous snapshot of Acid Roosters approach to free floating consciousness expanding psychedelic music.
So 2 tracks and 46 minutes of Acid Rooster digging deep into the well of far-out psychedelic rock that is one mind-expanding journey to the innermost limits of your mind.

Zu den Sternen was the intro and is a slow-burn trip where you ride wave upon wave of ecstatic highs until you eventually hit the peak in freak out territory as Acid Rooster merge with the cosmos and then ride the golden afterglow home into an eternal locked groove.

Phasenschieber rides that afterglow of galactic intensity – a place where you can just let go as the music created drifts and pulses away. It is a Beautiful, hypnotic, spaced out, blissful state where Acid Rooster takes you beyond the Astral Planes.
Released by Cardinal Fuzz (UK), Sunhair Music (EU) and Little Cloud Records (US) in an edition of 600 (300 x Galaxy and 300 x Black)
Artwork by our beloved Chris Kröber

Organic sounds, eclectic compositions and infinite grooves – we’re proud to present our very first label compilation BEATS LIKE SUMMER, Vol. 1. Composed of 17 instrumental tracks that circle HipHop, Jazz, RnB and Soul, this project is a journey through different soundscapes. It unites some of the finest beat makers and instrumentalists from around the world, including Kiefer, K, Le Maestro, DAO, Saltyyyy V, Shuko, agajon and many more. Artwork by GABE and Alex Plesovskich. Creative Direction by Robert Winter.

Limited edition LP release with inside out sleeve, main artwork embossed, sticker on the back!

It is to the detriment of our understanding of musicality that we mostly measure it by the capacity to produce, and much less by the capacity to receive some sort of acoustic information or event. The virtuosity of listening, of understanding the sonic situation and its potential, is, however, that which defines one's capacity to interact – with other musicians, with the audience, and with the environment. This could also be taken to mean that an ethical act is implied in the situation of listening – the decision to relate, to be attentive to, to actively position oneself in relation to what is heard.

Rarely is this capacity so thoroughly pronounced and ethically conscious as in the case of Manja Ristić, the Belgrade-born and Royal Academy of Music-schooled musician, composer, sound and multimedia artist (the list could go on), who currently lives on the island of Korčula in the Croatian part of the Adriatic. Ristić’s recent, field recording-based work, is indeed all about attentiveness, most of all towards the environment and the acoustic traces of the endangered ecological layers of her old-new Mediterranean surroundings. With that in mind, it is indeed no wonder that her newest album draws from Milton’s Paradise Lost, which could easily be the anti-slogan of the endangered Croatian coast, eaten up by the pressures of touristification and the usurpation and privatization of once common space. More precisely, the album is inspired by one of the fifty Gustave Doré illustrations of Milton’s epic, Him, fast sleeping, soon he found, In labyrinth of many a round, self-rolled, from which it draws its title. The verses and the scene are from Book IX, and depict the moment Satan inhabits the Serpent, the beginning of his subversion of God’s autocratic rule, as some interpretations would have it.

For Ristić, the actual Paradise she introduces us to is in a state of imbalance – the idyllic soundscapes of her island surroundings overlain with sonic anxiety, such as on the album’s first track, The Flies, with its unrelenting, nervous buzzing evoking the ominous Biblical entity of Beelzebub, or The Lord of the Flies. The next track, Whales, which beautifully utilizes archival whale recordings, could also be taken to establish an intertextual relation to Milton through Melville, whose Moby Dick was strongly influenced by Paradise Lost. The middle track of the album, dedicated to the Croatian-American painter and muralist Maksimilijan Vanka, uses to great, unsettling effect what to my ears sounds like a buried hydrophone, a technique often employed by Ristić in her work, giving us a rough, grinding impression of water beating the pebbles over a high-pitched drone. But perhaps the most ominous, pessimistic image is painted in The Flag Pole, in which the symbol of revolutionary victory (I’m thinking of the Yugoslav modernist Tin Ujević and his proto-avant-garde sonnet Farewell from 1914) becomes a source of terrifying sonic unease, as we are listening to the incessant sound of its rope hitting the metal pole. However, with Dlana Night comes relief – the drones become airier, calmer; there is a distant notion of people, dogs, everyday life, all shrouded in the calming sound of the crickets on the island of Silba. Ristić, ultimately, serves us some hope on this wonderful new album, showing us that something has been lost, but that something can also be gained through the thoughtful attention with which she listens to the world around her.

„My recording techniques all boil down to one thing – intuition. I do not use expensive or highly sensitive equipment nor do I employ special techniques. On the contrary, I believe that the information regarding a space or an object can be recorded well enough on an average device. My personal guideline when recording sound is the positioning of myself as the listening medium, active and with the intention of establishing a connection that is sometimes intellectual, sometimes conceptual, and sometimes phenomenological.” - Manja Ristić, in an interview for Kulturpunkt.hr

Gilbert O’Sullivan, one of the greatest singer-songwriters of his generation will return in 2022 with his new studio album, following the release of his Ethan Johns-produced, self-titled 2018 album which was awarded four-stars in MOJO and Q Magazine as well as rave notices in Uncut and the Sunday Times.
Gilbert’s twentieth studio album finds him working with a new producer, the revered Andy Wright (Simple Minds, Simply Red, Eurythmics and Jeff Beck) recording with a full band at London’s famous RAK Studios. The direction of the album is an organic and raw affair, featuring a mix of ballads as well as upbeat songs, all written by an inimitable master craftsman. In a unique addition to this new album, Gilbert O’Sullivan has collaborated on duets with Mick Hucknall (Simply Red) and KT Tunstall.
Gilbert O’Sullivan’s unique blend of melodic craftsmanship, witty wordplay, topical acuity and surrealist humour has given him an enduring and endearing career. His song writing knack has outlived and transcended fashion, global million-sellers, critical acclaim, and an occasional tendency to reclusiveness. Now recognised as one of our great singer-songwriters, he’s been championed in recent years by everyone from Paul Weller, Nina Simone, Mick Hucknall, Squeeze’s Difford & Tilbrook, Neil Diamond to Gary Barlow (whose Crooner Sessions Gilbert duetted on earlier this year), Empire Of The Sun, Boy George and The Charlatans’ Tim Burgess whose acclaimed The Listening Party recently featured Gilbert’s Himself and Back To Front albums.
Gilbert O’Sullivan’s career has spanned 50 years. His first single success Nothing Rhymed was released in 1970 and almost overnight it achieved Top 10 status In the UK and Europe charts.
His debut album Himself was littered with the most perfect examples of his art and craftsmanship. His second 1972 “Back To Front” firmly cemented Gilbert amongst the world’s best. Top 10 singles and no. 1’s around the world including the classic “Alone Again (Naturally)” which topped the US charts for six weeks and earned him three Grammy nominations.
British recognition soon followed with the songs Clair and Get Down reaching the summit of the UK singles charts and his LP Back To Front topping the album charts. In the same year at the 18th Ivor Novello Awards Gilbert was named ‘Song Writer of the Year’. To date he has won three Ivor’s and in recent times performed alongside other artists at BBC Proms in the Park. He has also made three appearances at Glastonbury including the main stage, and toured extensively throughout the UK, Ireland, Europe, Japan and Australia.

Gilbert O’Sullivan, one of the greatest singer-songwriters of his generation will return in 2022 with his new studio album, following the release of his Ethan Johns-produced, self-titled 2018 album which was awarded four-stars in MOJO and Q Magazine as well as rave notices in Uncut and the Sunday Times.
Gilbert’s twentieth studio album finds him working with a new producer, the revered Andy Wright (Simple Minds, Simply Red, Eurythmics and Jeff Beck) recording with a full band at London’s famous RAK Studios. The direction of the album is an organic and raw affair, featuring a mix of ballads as well as upbeat songs, all written by an inimitable master craftsman. In a unique addition to this new album, Gilbert O’Sullivan has collaborated on duets with Mick Hucknall (Simply Red) and KT Tunstall.
Gilbert O’Sullivan’s unique blend of melodic craftsmanship, witty wordplay, topical acuity and surrealist humour has given him an enduring and endearing career. His song writing knack has outlived and transcended fashion, global million-sellers, critical acclaim, and an occasional tendency to reclusiveness. Now recognised as one of our great singer-songwriters, he’s been championed in recent years by everyone from Paul Weller, Nina Simone, Mick Hucknall, Squeeze’s Difford & Tilbrook, Neil Diamond to Gary Barlow (whose Crooner Sessions Gilbert duetted on earlier this year), Empire Of The Sun, Boy George and The Charlatans’ Tim Burgess whose acclaimed The Listening Party recently featured Gilbert’s Himself and Back To Front albums.
Gilbert O’Sullivan’s career has spanned 50 years. His first single success Nothing Rhymed was released in 1970 and almost overnight it achieved Top 10 status In the UK and Europe charts.
His debut album Himself was littered with the most perfect examples of his art and craftsmanship. His second 1972 “Back To Front” firmly cemented Gilbert amongst the world’s best. Top 10 singles and no. 1’s around the world including the classic “Alone Again (Naturally)” which topped the US charts for six weeks and earned him three Grammy nominations.
British recognition soon followed with the songs Clair and Get Down reaching the summit of the UK singles charts and his LP Back To Front topping the album charts. In the same year at the 18th Ivor Novello Awards Gilbert was named ‘Song Writer of the Year’. To date he has won three Ivor’s and in recent times performed alongside other artists at BBC Proms in the Park. He has also made three appearances at Glastonbury including the main stage, and toured extensively throughout the UK, Ireland, Europe, Japan and Australia.

Very limited pressing of 300 units only. Following on from the two sold out records together, Freschard and Stanley Brinks come together for 12 brand new tracks. Lion Heart is an irresistibly charming collection of late night tales, woozy ballads and uptempo sing-alongs. Clemence Freschard’s beautiful vocal tones lend this a rich, French indiepop/chanteuse vibe, complemented by Stan’s wistful timbre and characteristic warm instrumentation. Stanley Brinks is renowned for his unique anti-folk style: both playful and suggestive, insightful and entertaining. Brinks was born in Paris, France, in 1973. He studied a bit of biology and worked as a nurse for a while. Half Swedish, half Moroccan, strongly inclined to travel the world, he soon began spending most of his life on the road and developed a strong relationship with New York. By the late 90s he’d become a full time singer-songwriter – André Herman Düne – as part of three piece indie-rock band, Herman Düne. Several albums and Peel sessions later and after a decade of touring Europe, mostly with American songwriters such as Jeffrey Lewis, Calvin Johnson and early Arcade Fire he settled in Berlin. The early carnival music of Trinidad became a passion, and in the early 21st century he became the unquestioned master of European calypso, changing his name to Stanley Brinks. Under this moniker he has recorded more than 100 albums, collaborated with the New York Antifolk scene on several occasions, recorded and toured with traditional Norwegian musicians, and played a lot with The Wave Pictures. Freschard grew up in a farm in French Burgundy. Aged 18 she moved to Paris, where she baked pies and cakes in a cafe. There, a local musician and regular customer called Stanley Brinks wrote a few songs for her to sing. Homeless in Paris, she saved up just enough money to get herself a ticket to New York. There she found an old electric guitar and started writing her own songs. In 2004 she moved to Berlin, where she recorded her first LP, "Alien Duck". Her second album, "Click Click", recorded in 2006, features electric guitar by Stanley Brinks. On her third album, she plays the drums herself. On her fourth “Shh...” she also plays the flute, and she breaks out the washboard on her fifth “Boom Biddy Boom”. On Midnight Tequila, Freschard brings it back to just drums and vocals // “an absolute joy.” Q // “...a set that’s as wistful and charming as it is playful and self-concious.” Uncut // “quietly charming” Pitchfork

'You are Nowhere' is the epic metallic hardcore collaborative effort
between hardcore stalwart front man extraordinaire Rob Fusco (One King
Down, Most Precious Blood, Recon) and Rafe Holmes (Insvrgence)
Take Life is the focus of decades of metal/hardcore songwriting experience and
unbridled expression boasting the feral, frenetic musical energy of bands like Kiss
It Goodbye and Burnt By The Sun and the scathing lyrical content and emotive
vocal performances which have been Fusco's trademark.
'You are Nowhere' was produced, mixed, and mastered by legendary metalcore
mastermind Randy Leboeuf (The Acacia Strain)

An album of incredible music inspired by endangered birdsong
This is the third album from The Birdsong Project that challenges ten artists from
a certain region to make an original track using and inspired by the song of a
threatened bird. 100% of the profits from the project go to bird conservation
NGOs working on the ground. Following South America and Mexico, Central
America, & the Caribbean, this album moves to Western Africa. The album mixes
well- known names from the World or traditional music scene like Vieux Farka
Touré, alongside electronic music producers like Buruntuma. This record is also
pressed on the greenest record available via Green Vinyl Records with 100% PVCfree, 100% recycled cardboard and 70% less CO2 emissions.

Repress

‘Bad Neighbor’ is a collaborative studio album by rappers MED and Blu and producer Madlib. Originally released on October 30, 2015, the 13 track LP features guest appearances from the likes of the late MF DOOM, Aloe Blacc, Mayer Hawthorne, Jimetta Rose, Dâm-Funk, and Oh No. The album is undoubtedly an extension of all three artists’ signature sounds, but it simultaneously defies all precedents to reaffirm each individual’s position at the forefront of LA’s legendary hip-hop landscape.

For the first since it’s original release date, the album is set to be rereleased on vinyl in a special edition red and black color-in-color configuration equipped with two new mixes of the focus tracks, “The Strip (feat. Anderson .Paak)” and “Knock Knock (feat. MF DOOM).”

"Bad Neighbor is as if the Ruff Ryders albums were reimagined by this trio and all the avant heads get to party, but it is also worth mentioning that the often slept-on MED and Blu seem to steer this beast as much as the beloved Madlib." -AllMusic

From Kaytranada to The Souljazz Orchestra or The Bamboos go deep into one of the best sélection of Nu Funk.