Aho Ssan ist der Künstlername von Désiré Niamké, einem in Paris lebenden Komponisten und Elektronikmusiker, der sich im Laufe des letzten Jahrzehnts als zentrale Figur an der Schnittstelle zwischen experimenteller Elektronikmusik, Klangforschung und zeitgenössischer Komposition etabliert hat. Zu seiner Diskografie gehören ,Simulacrum" (Subtext, 2020), ,Limen" mit KMRU (2022) und ,Rhizomes" (Other People, 2023) mit Moor Mother, Angel Bat Dawid und clipping. Er trat bereits im Lincoln Center (NYC), im Muziekgebouw (Amsterdam), in der Krakauer Philharmonie, bei Atonal Berlin, CTM, Rewire und Sonic Acts auf - und war Support von Autechre im Le Trianon (Paris, 2024). Aho Ssans künstlerisches Schaffen lässt sich als hochpräzise Klangskulptur beschreiben, in der gewaltige Ströme digitaler Klänge in rohe Texturen zerfallen, um die Themen Identität und Chaos zu erforschen. The Sun Turned Black basiert auf field recordings, die während einer Reise nach Ghana, der angestammten Heimat von Aho Ssan, gemacht wurden. Aufgebaut um einen klanglichen Dialog mit der international gefeierten Geigerin ASIA, wobei alle perkussiven Elemente bewusst weggelassen wurden, nimmt das Album einen einzigartigen Platz zwischen Ambient, Noise und elektroakustischer Musik ein. Das Projekt wurde ursprünglich von der Maison de la Radio für das Hyperweekend-Festival in Paris in Auftrag gegeben, das Album in Coop mit Subtext Recordings aus Bristol veröffentlicht.
Das Rock-Trio Dogstar aus Los Angeles meldet sich mit „All In Now“ zurück, dem vierten Studioalbum der Band und Nachfolger von „Somewhere Between the Power Lines and Palm Trees“ aus dem Jahr 2023. Produziert von Nick Launay (IDLES, Amyl and the Sniffers, Nick Cave & the Bad Seeds), läutet „All In Now“ eine neue Ära für Dogstar ein, mit vielschichtigen Gitarrenriffs und schweren Bässen, inspiriert von ihrer Zeit auf Tour.
Guitarist/composer Cole Berliner"s writing, arranging and playing highlights an album of rich-grained, acoustic, west coast parlor music and modern electro-acoustic instrumentals in the challenger tradition of Bert Jansch"s Avocet, Marc Ribot"s Saints and Jim O"Rourke"s Bad Timing. Initially conceived as solo acoustic guitar tunes, Cole"s songs demanded the dynamics of an acoustic ensemble - a departure from his work with Kamikaze Palm Tree and Sharpie Smile. His arrangements form intricate passages for acoustic, electric and lap steel guitars, acoustic/electric bass, piano, drums, percussion, violin, viola, horns, woodwinds and synthesizers; Cole himself is on guitar and lap steel (plus synths and percussion on a few songs), mixing and co-producing alongside Cesar Maria.
What"s new for the first time in over a decade? Squirrel Bait"s self-titled 12" EP and Skag Heaven in the black. In "85-"87, their screamin" teenage psycho dilemmas stood way out in the emerging field of metal damaged hardcore punk. "Kid Dynamite" would ring in your head like a #1 single that had just unseated "Sun God" from the vaunted top spot. Every week. Anthems for the freaks! It happened fast. After a couple of records, guitarists David Grubbs and Brian McMahan split for Bastro and Slint (and Gastr del Sol and The For Carnation, respectively) With Grubbs went bassist Clark Johnson, original Bait batterie mate Britt Walford joined McMahan in Slint. Leaving only the stuff of legend: records eternally exploding with youthful feels through all the endless winters and summers of hearts and minds. Repressed, Squirrel Bait can now continue to dialogue with the young in the creation of new useful and unforgettable experiences. For the children of tomorrow as well as your own damn selves, get copies now.
Celebrating three decades of geek-rock history, Nerf Herder returns with Nerf Herder redux, an acoustic reimagining of their seminal 1996 self-titled debut originally released on Arista Records. Produced by the legendary Joey Cape (Lagwagon), this 30th-anniversary collection breathes new life into fan favorites, featuring stripped-back versions of the hit single "Van Halen" and the streaming powerhouse "Sorry." With a tracklistbolstered by refreshed takes on "Golfshirt," "Diana," and "Nosering Girl," the album serves as both a nostalgic deep-dive for longtime fans and a fresh entry point for the band's massive digital audience. Nerf Herder's enduring cultural footprint_from composing the iconic Buffy the Vampire Slayer theme to lead singer Parry Gripp's Emmy-winning career and 2 million YouTube subscribers_ensures a multi-generational appeal. Having shared stages with titans like Weezer, Circle Jerks, and Reel Big Fish, the band maintains a loyal, active fanbase. This release arrives ahead on their European 30th Anniversary Tour in late May and early June.
Iqnovara is a band to watch: their debut album, Onderstroom (2024), was immediately picked up and praised by Belgian public radio broadcast Klara. On May 29th, their follow-up album, O Innocent Heart, will be released by W.E.R.F. records. This album explores the boundaries between jazz and North Indian classical music. For three years, they refined this music in close collaboration with Pakistani sarod maestro Asad Qizilbash. Bandleader, guitarist, and composer Haroun Iqbal deepened his understanding of the North Indian tradition during this period, including a study trip to New Delhi to learn from Shubhendra Rao, aprotégé of Ravi Shankar. O Innocent Heart connects both musical worlds in each piece in its own way, always seeking how each musician can shine.
Vinyl Best of album Recorded Live at the Coronet, London 29th August 2004 Charged GBH: Colin Abrahall: Vocals / Jock Blyth: Guitar / Ross Lomas: Bass / Scott Preece: Drums Also available on CD+DVD Cat No. SECDP134 ‘City Baby Attacked By Rats’.
Full mailout to relevant music press and radio. Full promotion across social media platforms Advertising in Record Collector, Viva le Rock, Shindig
'Honesty Flowers' is the fourth studio album from Italian multi-instrumentalist Alessio Ferarri under the Upupayāma moniker. An epic double album set due for release May 29th 2026 on Fuzz Club, 'Honesty Flowers' finds Upupayāma's ever mind-blowing brew of organic psychedelic rock meets global grooves at its most percussive, lively and distorted. Equally hedonistic and heady, it courses through rhythmic funk grooves, doubled-down scorched fuzz riffing, winding motorik jams, tranquil drones and pastoral acid-folk across its seventy minute run time. A six-piece band live, where things take a more ever-evolving improvisation-based approach (see their recent 'Live At Fuzz Club Festival '25' LP), on the recordings Ferarri writes, plays and records everything himself – guitars, keys, flute, sitar, and an arsenal of percussion all feature. Never not working on new music, Ferarri started laying down these new tracks in his home barn studio in a small mountain village overlooking the city of Parma before its 2024 predecessor 'Mount Elephant' even hit the racks. The result was mixed by Chris Smith at Kluster Sounds (Kikagaku Moyo, Wax Machine) and mastered by Joseph Carra (King Gizzard, Babe Rainbow, ORB) On the new record, Ferarri says: "Honesty Flowers was born from listening to lots of funk music from all over the world, lots and lots of African music, and from listening to myself as I spent whole nights playing all kinds of percussion instruments. I would fall into a sort of trance and play the same rhythm for hours on congas or on a djembe. It's an album that was born above all from the beauty of being able to narrate the unknown and recognise yourself in it, which could translate into telling stories and bringing them to life.
For the first time since their epic 2019 album, Hiding Places, billy woods teams with Kenny Segal (producer) to bring us, Maps, billy woods' most accessible album to date. A-list features include: Danny Brown, Sam Herring (Future Islands), Aesop Rock, Elucid, Benjamin Booker, and more. Fat Possum is partnering with Backwoodz Studioz to provide global marketing and distribution resources. In 2022, billy woods released 2 solo albums to wide acclaim: "aethiopes" and "church". Both albums made Pitchfork's Best Albums of 2022 list, and FADER named "aethiopes" their #1 AOTY.
For well over a decade, MONOLORD have caused mass riff hypnosis with longform epics steeped in repetition, volume, and heaviness. One of heavy music’s most consistent and beloved bands, MONOLORD are gearing up for their next chapter with a new album titled Neverending. In looking for a new take on the genre, MONOLORD approached the legendary producer Sylvia Massy, known for her work with Tool, System of a Down, and Johnny Cash, among many more. The payoff from this new process is undeniable. Neverending feels like the culmination of 13 years of heavy, molten music, with a keen eye towards creating a sharper album. “The recording of this album is an example of the spirit of MONOLORD’s camaraderie,” says bassist Mika Häkki. “We’ve looked back and seen for the first time how much we have done as a band collectively, and realized what an intense 13 years it has been.” "The lyrics on this album are more personal than before because I went through some major life changes in the last couple of years,” guitarist/vocalist Thomas Jäger says. “I usually write about religion and how people are superstitious, but this record is more about relationships between people. But it’s not all about me. Sometimes I’m writing from another person’s perspective.” Neverending’s lead single “You Bastard” offers listeners a sharp contrast: A propulsive groove offset by lyrics about suicide. There’s two sides to suicide,” Jäger points out. “There’s the person who commits suicide and the people who gets left behind...The choruses represent the person left behind, and that person is calling the other a bastard—but it’s not pointing fingers or saying, ‘You suck.’ It’s more like, ‘You left me here with all the bullshit.’ It’s an understanding that life is not easy." Though it might not be immediately obvious, album opener “Iodine” was inspired by 70's rock epics like Lynyrd Skynyrd’s “Free Bird,” The Eagles’ “Hotel California,” and Led Zeppelin’s “No Quarter." Elsewhere, album closer “It’s Neverending” is the first MONOLORD song that Jäger doesn’t sing on. Instead, the death-metal style vocals are performed by former Entombed bassist Jörgen Sandström, (also of Grave, Domedagen and Firespawn.) 13 years on, MONOLORD’s path takes a new turn, and Neverending becomes the band’s most befitting album title. “It's been a wild ride and still is,” says drummer Esben Willems. “I've spent a quarter of my life in this band. Looking back, I'm incredibly proud of what we've accomplished along the way, and in many ways, this album feels like the essence of everything we've done so far. My mindset is the same it's always been, to be the absolute best the three of us can be.”
ounded in 1992 by the larger than life, Scottish punk-rock poet laureate, Mr Paul McKenzie, this merry band of miscreants has spent more than three decades circumnavigating the globe to bring the McKenzies gospel to an ever-expanding throng of rebels, scallywags and ne'er do wells. There's not many bands that can boast of a 30+ year career as staggeringly adventurous, wildly tempestuous and utterly death-defying as The Real McKenzies. It would be a serious mistake to write them off as just another Celtic punk band (they’ve been around longer than the Dropkick Murphys after all). They are an unstoppable juggernaut of touring mayhem. A ferocious troupe of insanely talented minstrels, storytellers and entertainers melding traditional acoustic and electric instruments to create a sound like no other. Their list of accolades is long. From sharing the stage with the likes of NOFX, Rancid, Flogging Molly, Metallica and Shane McGowan to appearing in film, books and video games to early releases with the almighty Fat Wreck Chords, their legendary status only continues to grow. On Yer Bike is an absolute beast of an album. A newly revitalized and laser-focused Paul McKenzie has never sounded better and his longtime bandmates have never been tighter. Boasting thirteen epic tracks, including the Sawney Bean trilogy (a trio of songs about Scotland's most infamous cannibal highwayman), the songs rage across topics including but not limited to love, literacy, historical sagas, eating sardines with your mother and, of course, cannibalism. Soaring bagpipes, heart pounding percussion and ultra melodic shoutalong Celtic punk rock are the orders of the day and are delivered piping hot from one of the most respected and adored pioneers of the genre.
The Fiddle and the Drum brings together 5x Grammy winning soprano Renée Fleming and 19x Grammy-winning banjo virtuoso Béla Fleck for a celebration of Appalachian folk music. Produced by Béla Fleck, the album mines a rich vein of America’s musical heritage, weaving the expressive depth of Fleming's voice with the brilliance of Fleck’s banjo, backed by an all-star bluegrass line up and special guests including Dolly Parton, Vince Gill, Mike Bub, Sam Bush, Jerry Douglas, Stuart Duncan, Sierra Hull, Sarah Jarosz, Aoife O’Donovan and Bryan Sutton. Through mountain songs, haunting ballads, and folk hymns, The Fiddle and the Drum honors the roots and emotional power of Appalachia, just in time for America’s 250th anniversary.
When funk music exploded onto the global pop scene in the late sixties, many of Jamaica's leading music-makers were inspired to incorporate elements of the exciting sound into their work. The result was the fascinating and compelling funky reggae style that proved immensely popular with record buyers on both sides of the Atlantic throughout the early ‘70s.
Pioneers of the sound included such celebrated producers as Lee ’Scratch’ Perry and Lloyd Charmers, whose recordings are heavily represented on both the CD and LP versions of this irresistible collection.
Collected here are some of the finest examples of the funky reggae, performed by some of reggae music’s most accomplished artists, from Ken Boothe and Lee Perry’s Upsetters to British-based acts, Greyhound and The Marvels.
Violet Grohl, eine der spannendsten Stimmen ihrer Generation, veröffentlicht ihr 1. Studioalbum ”Be Sweet
To Me”. Das Debüt, welches 11 einzigartige Titel umfasst, unter Anderem die zuvor veröffentlichten Singles
wie ”Thum”, ”Applefish” & ”595”, ist geprägt von ihrem unverkennbaren Indie-Alternative Stil, welcher
gespickt mit Heavy-Rock Einflüssen und ihrer selbstkreierten, als ”Farm Goth” bezeichneten, Ästethik ist.
Zwischen lauten, rohen und teilweise explosiven Klängen wiegt sich Violet Grohls besondere und berührende
Stimme auf eine träumerische und verspielte Art und Weise in die eher rauen Töne ein.
Das neue Projekt von Joe Lovano trägt den programmatischen Namen Paramount Quartet – und tatsächlich
versteht der Saxofonist diese Formation als künstlerischen Meilenstein. „Mit diesem Quartett sind wir an
einem einzigartigen Ort angekommen“, erklärt Lovano. „Es ist etwas ganz Besonderes, etwas Neues. Und
diese ‚cats‘, sie spielen mit einem globalen Bewusstsein.“ Zu diesen „cats“ zählen der Gitarrist Julian Lage,
der Bassist Asante Santi Debriano sowie der Schlagzeuger Will Calhoun, der auch durch seine Arbeit mit
der Rockband Living Colour bekannt wurde. Gemeinsam schlagen sie ein neues, abenteuerliches Kapitel
in Lovanos weit gespanntem Œuvre auf. Anlässlich der Tournee, die der Aufnahme vorausging, würdigte
die Financial Times das Konzert in London mit den Worten: „Lovanos jüngstes Projekt, das Paramount
Quartet, fügt einem modernistischen Kern Anklänge von Americana hinzu und erkundet dieses Terrain mit
Freiheit, Fokus und Feuer.“ Die klangliche Palette des Albums ist ebenso facettenreich wie die beteiligten
Musiker unterschiedlicher Generationen: kraftvoll und extrovertiert in manchen Momenten, intim und
zart in anderen. Neben Eigenkompositionen Lovanos finden sich eindrucksvolle Interpretationen von „Lady
Day“ – einer Hommage von Wayne Shorter an Billie Holiday – sowie von „First Song“ des Bassisten Charlie
Haden. Aufgenommen wurde das Album im Februar 2025 in Südfrankreich, produziert von Manfred Eicher.
Singer-Songwriter Kurt Vile meldet sich mit seinem zehnten Album zurück – dem dritten bei Verve Records.
Der Titel ist eine Liebeserklärung an seine Heimatstadt, in der er nach wie vor lebt und einen Großteil seiner
Musik aufnimmt. Stilistisch bewegt sich Vile zwischen Indie-Rock, Folk und psychedelisch angehauchtem
Lo-Fi. Bekannt wurde er zunächst als Mitglied von The War on Drugs, bevor er sich erfolgreich als Solokünstler etablierte. Seine Songs wirken oft wie lose Gedankensplitter, getragen von repetitiven Gitarrenfiguren
und seiner entspannt-nasalen Stimme.
Musikalisch knüpft “Philadelphia’s been good to me“ an Viles charakteristischen Sound an: klirrende
Gitarren, hypnotische Passagen und Texte, die zwischen rau und melancholisch pendeln. Dabei zeigt sich
ein Künstler, der sich trotz langjähriger Karriere eine bemerkenswerte Eigenständigkeit bewahrt hat. Vile
selbst versteht das Album als Rückbesinnung – entstanden größtenteils im eigenen Studio und geprägt von
einem warmen, unmittelbaren Klangbild.
Recycled purple cassette tape The monster-collecting open-world RPG "Cassette Beasts" is delivering a furious 80's synth rock meets British indie soundtrack composed by Joel Baylis and featuring shooting star Shelby Harvey on vocals. This soundtrack is taking you on a journey across the mysterious island of New Wirral - from lo-fi acoustic ballads to all-out headbangers! By the way, welcome to New Wirral, a remote island inhabited by strange creatures you've only dreamed of, nightmares you hopefully haven't, and a cast of brave folks who use cassette tapes to transform for battle. To find a way home you'll need to explore every inch of the island, and record monsters to your trusty cassette tapes to gain their abilities!
Non-sensical, un-user friendly, at times half finished. Camper Van Beethoven"s second album II & III saw the folk-punk of the band"s debut LP morphing into an even wider melting pot of stylistic influences and (un)ironic contradictions, all rolled up into a coherently incoherent collection of some of the band"s most defining songs. Originally released in 1986, the follow up to Telephone Free Landslide Victory did much to develop an already iconoclastic Camper Van Beethoven idiom. II & III ranges from alt-country ballads ("Sad Lovers" Waltz") to call-backs to the European folk instrumentals of the debut ("No Krugerrands For David", "4 Year Plan"). Also featured is the band"s bluegrass-Americana take on Sonic Youth"s "I Love Her All the Time", feeding their appetite for cover songs. This deluxe double CD set brings together the original II & III album with a 17 track live album of material from Camper Van Beethoven shows supporting REM on their Life"s Rich Pageant tour. This audio was mostly recorded at the Lincoln, Nebraska show from October 10th, 1986, but is supplemented with audio from other shows of the tour. The Teal Vinyl re-issue features a newly revisited collage version of the artwork, plus a reproduced 11"x11" insert, designed by Victor Krummenacher using original photos, lithograph prints, lyrics and leaflets.
Crystal Clear Vinyl. Incendiary Device (I.D.) was born from the ever-burgeoning hardcore and punk scene in New York City. Founded by NYHC journeyman, documentarian, and filmmaker Drew Stone (vocals), and Tristan D'Graves (bass), Incendiary Device's music is steeped in early hardcore and classic punk while inescapably maintaining the edge and grit of their New York roots. Produced once again by the band and Neal "Zum" Ostberg (Fryette and Sound City amplification) and mixed by Dan Korneff (My Chemical Romance, Lamb of God, The Devil Wears Prada).
Underneath his mysterious metal mask, MF DOOM hides the cachet underground legends are made of. After his first group KMD’s sophomore album Black Bastards was shelved by Elektra in 1994, and his blood brother Subroc — one half of the sibling rap duo — passed away, surviving frontman Zev Love X slowly mutated into the supervillain MC known as MF DOOM, and the rap world is better for it.
The 1999 release of Operation: Doomsday marked MF DOOM’s official debut, reintroducing a mysterious figure who would soon become one of underground rap’s greatest voices. Within its 19 tracks, Operation: Doomsday reveals the confluence of DOOM’s tragic past, personal interests and daring creativity. His clever rhymes and remarkable schemes stood out against the landscape, and every sound he touched — from cartoon theme songs, to ‘80s soul, to rap classics and more — got reinterpreted into something brand new and surreal.
Decades later, MF DOOM is still celebrated for all facets of his work and influence. In the face of tragedy, DOOM re-infiltrated the rap game on his own terms, and crafted an instant cult classic. Operation: Doomsday stands as a testament to the power of betting on yourself against all odds.
Reissued! Transcendence through repetition beamed via an aesthetic vision steeped in mystery: welcome to the world of Newcastle-Upon-Tyne's Smote, an entity opening up uncanny new psychic pathways. `Genog' - the outfit's second release on Rocket Recordings following 2021's eerie transmission `Drommon' - shows that Smote's elliptical casting of bleak magick is only growing more powerful as it gathers momentum. The brainchild of Daniel Foggin, Smote has evolved seemingly of its own volition. "I had the idea for years" he relates, "I love Pärson Sound, Träd, Gräs Och Stenar, Traditional Irish Folk and all sorts of different Drone and Folk music. It was simply finding the opportunity to sit down and get recording. A very heavy influence that affects Smote is fantasy as a genre, and the atmosphere that can be created via story-telling." The musical approach of Smote may have started out as a resolutely DIY one, yet from the humble origins of bedroom and rehearsal room recordings, the band has now become a full-fledged and powerful live band, whose appearances at festivals like Roadburn, Le Guess Who and Brave Exhibitions have already caused a considerable stir.The five vivid extrapolations on Genog conjure differing spiritual realms, yet combine and coalesce to offer one unified vision, building furious momentum in a manner that unites the pastoral with the arcane and otherworldy. Earthy, ritualistic and richly cinematic in aspect, Genog is an avatar guiding the listener to dark and beguiling imaginary landscapes. 2026 bone colour vinyl repress
The epitome of a modern artist, Jana Bahrich does most things herself, no matter how painstaking - writing, producing, directing, often hand painting t-shirts the day of shows when the band have run out of merch. This has helped give her band Francis of Delirium a unique identity, with her rock confessionals breathing a new life in to the genre and her paintings creating a striking design aesthetic. Released as she was finishing high school, 2020’s single 'Quit Fucking Around’ was a great introduction and it remains one of her most enduring songs.
Shortly after it’s release, she signed to artist-first indie Dalliance Recordings (Gia Margaret, HighSchool, lilo) and three EPs - All Change (2020), Wading (2021), The Funhouse (2022) and a striking debut album - Lighthouse (2024) - on and Jana has Francis of Delirium flying. While the EP’s fizzed with promise, her debut album Lighthouse landed its punches. Seeking a more vulnerable and open sonic palette, she wove in pop elements to create anthems that celebrated heartbreak and love. Lead singles ‘Real Love’ and ‘First Touch’ were the first tracks she made with an outsider - working with GRAMMY winning producer Catherine Marks (boygenius, The Killers, Wolf Alice) - while the rest of the album was produced by Jana herself and day one collaborator Chris Hewett. The critics were impressed too - “Bahrich’s choruses, almost every one, are lumpin-your-throat gorgeous.” NME; “Jana Bahrich seems too young for this tremendous debut’s ambitious anthems.” Uncut; “A rewarding experience that captures a talented, young artist at the crossroads between adolescence and adulthood." Paste. Live, Francis of Delirium are Jana (guitar and vocals), Jeff Hennico (bass) and Denis Schumacher (drums). Together, their brilliant quiet-loud dynamic and tight interplay only elevate her songs and over the last 5 years, they’ve toured across Europe and North America, playing headline shows, festivals and tours with the likes of Blondshell, Briston Maroney, The Districts, Horsegirl and Soccer Mommy. They’ve also supported The 1975, Alanis Morissette, DIIV and Wolf Alice.
Last summer saw a memorable UK tour with Bôa, the 90s band resurrected by a huge TikTok moment for their track ‘Duvet’. There was a real sense of excitement for these shows with young crowds snaking outside every venue hours before doors and bringing the sort of energy Jana thrives on, she road tested new material to an overwhelmingly positive response, giving her the impetus to go and finish album two. An artist who seeks to connect with her listener on a deeper level, it’s no surprise then that she’s made hope and inner strength central themes on her new album, Run, Run Pure Beauty. Jana says the title track is “an imagining of the world after it has been destroyed by humans and technology. Thrashing against what humans have left behind, ultimately the pure beauty of nature wins out.”
Wanting to bring different perspectives into her songwriting with this record - informed by both her travels and the tumultuous times we find ourselves in - she’s also brought about a progression in her sound with these new songs somehow sounding larger, with undeniable harmonies and more orchestration. Featuring the singles ‘Little Black Dress’ and ‘It’s a Beautiful Life’, Run, Run Pure Beauty serves as an excavation of hope in bleak times. Produced by Jana and Chris, and mixed by Nicolas Vernhes (Deerhunter, Dirty Projectors, Silver Jews, Wild Nothing), its eleven songs of discovery, despair and perseverance ultimately serve as a mirror on its creator and is a brilliant next installment in the Francis of Delirium arc.
Multi-instrumentalist Sarah Lipstate brings her innovative music to life under the name Noveller. Forming unexpected sonic routes, her songs are vivid and cinematic. Following several years spent collaborating with Iggy Pop, and touring the world as his guitarist, Lipstate returns with a new album of her own. I Am The Weather further expands her inventive explorations, creating what Pop once described to Jim Jarmusch as “symphonies for people that don’t have a lot of time.”
Sarah’s work as a composer, notably for the HBO Docuseries Breath Of Fire, as well as the Anthony Bourdain documentary Roadrunner, has greatly influenced her new constructions, incorporating piano, percussion and a new studio filled with excitement into her signature guitar sculpting. It is the baby grand at the center of her studio that welcomes you to the record on “Sunday in Copenhagen” before ceding to a celestial six string swell. The percussive rhythms of “Divining Dance” awaken a new morning in "The Way of Our Flood” and walk towards the bowed grace of “Otherside of Mountainside." Surging into the sky, “Portmerion” allows “Beyond the Fells” to glide back down to Earth, revealing the album’s biggest surprise - a vocal track!
It seems fitting given their past, that the first vocals on a Noveller record would be delivered by the legendary Iggy Pop. Written specifically for The Godfather of Punk, a noir-ish tale of a man over-matched by a femme fatale, “The Girl Who Was Death” builds with tension and release. Following their collaboration on the title track to Iggy’s album Free, (also used in a global campaign for PETA) and their interpretation of Dylan Thomas’ “Do Not Go Gently Into The Night”, Iggy was eagerly awaiting the opportunity to add vocals to another Lipstate composition. A scene set as if on opposite ends of a corner booth at the Double R Diner in Twin Peaks, he delivers each line with the weight of a thousand lives lived. The result is a song so vivid that you can see it projected ten feet tall on the walls all around you.
I Am The Weather is the first new release for the Experimentia label, which will soon be the home for the entire Noveller catalogue.
Following the tradition of Derek Bailey, Henry Kaiser and Sonny Sharrock albums on Celluloid Records, the label is releasing this abstract and mysterious instrumental album, made under a cryptic name:AA in Reverse, by nqthqn. Recorded shortly afterlast year"s Ghostbox Cowboy, released on Tailnia Records out of China, this new effort digs deeper into what critics describe as buzzards circling the half-dead body of Harry Dean Stanton in Paris, Texas. The project curiously explores what it might be like to create no-wave abstract guitar music by a campfire, as inaugurated by Arto Lindsay, Loren Connors or John Fahey. AA in Reverse was recorded and engineered by David Akerman (Robin Hitchcock, Dead Farmers) at Golden Retriever Studios (Parcels, Cate Le Bon, Courtney Barnett) in Marrickville. nqthqn will be touring Japan this April.
Multi award-winning film Sideways was the surprise box office hit of 2004 and its story of two disillusioned forty-somethings on a wine infused road trip around California still holds a unique mixture of comedy and pathos. Rolfe Kent's jazz inflected soundtrack accompanies them on their journey, its subtle lightness of touch the perfect accompaniment to their mid-life crises.
'Tickles the palate like a crisp Chablis in June' - Mojo
'The seduction, making midlife seem funky, is slow, shy and as narcotic as it is nostalgic' - Uncut
Sideways will be screened with pre-performance wine tasting and live music from the soundtrack on 30th September
The second release from the legendary Celluloid label since its rebirth after 35 years of silence, Honk Gong is a brand-new trip-hop / no wave duo built around the wild, dreamlike sampling of Paul Ramon(Pleasure Principle, Bryan"s Magic Tears) and the contagiously laid-back flow of the San Francisco"s MC & Producer,Robin Jiro Margerin (Salopecia, There"s Ifs, Marginal Tow). Conceived as the diary of a chemical wreck, Dissociate drifts somewhere between the intelligence of an A Tribe Called Quest track and a YouTubecollage. Recorded by Paul Rannaud (Fat White Family, Insecure Men)and mixed by Maxime Maurel (Departure Kids,Ventre de Biche), this debut track kicks off a series of concerts and showcases ahead of the release of a first album, "Eau de Low", due in spring 2026. "Dissociate" is released in partnership with agnès b.
The Beths occupy a warm, energetic sonic space between joyful hooks, sun-soaked harmonies, and acerbic lyrics. Their debut album Future Me Hates Me, forthcoming on Carpark Records, delivers an astonishment of roadtrip-ready pleasures, each song hitting your ears with an exhilarating endorphin rush like the first time you heard Slanted and Enchanted or 'Cannonball.'
Front and center on these ten infectious tracks is lead singer and primary songwriter Elizabeth Stokes. Stokes has previously worked in other genres within Auckland's rich and varied music scene, recently playing in a folk outfit, but it was in exploring the angst-ridden sounds of her youth that she found her place. 'Fronting this kind of band was a new experience for me,' says Stokes. 'I never thought I had the right voice for it.'
From the irresistible title track to future singles 'Happy Unhappy' and 'You Wouldn't Like Me,' Stokes commands a vocal range that spans from the brash confidence of Joan Jett to the disarming vulnerability of Jenny Lewis. Further honeying Future Me Hates Me's dark lyrics that explore complex topics like being newly alone and the self-defeating anticipation of impending regret, ecstatic vocal harmonies bubble up like in the greatest pop and R+B of the '60s, while inverting the trope of the 'sad dude singer accompanied by a homogenous girl-sound.'
All four members of The Beths studied jazz at university, resulting in a toolkit of deft instrumental chops and tricked-out arrangements that operate on a level rarely found in guitar-pop. Beths guitarist and studio guru Jonathan Pearce (whose other acts as producer include recent Captured Tracks signing Wax Chattels) brings it all home with an approach that's equal parts seasoned perfectionist and D.I.Y.
'There's a lot of sad sincerity in the lyrics,' she continues, 'that relies on the music having a light heart and sense of humor to keep it from being too earnest.' Channeling their stew of personal-canon heroes while drawing inspiration from contemporaries like Alvvays and Courtney Barnett, The Beths serve up deeply emotional lyrics packaged within heavenly sounds that delight in probing the limits of the pop form. 'That's another New Zealand thing,' Stokes concludes with a laugh. 'We're putting our hearts on our sleeves—and then apologizing for it.'
Miles Davis's Kind of Blue was the number-one jazz album in history. It totaled five songs. There are four more songs from that same historic group, recorded in the same time period and at the same studio. And here they are. These songs deserve to stand on their own with artwork to highlight the quality of the music and that matches the time period of the recording. This is a rare opportunity to have a smash follow-up to what many consider the greatest jazz record ever!
Through the years, these four remarkable performances — all from a single recording session in 1958 and all exemplary of the sound of Miles Davis' legend-loaded sextet of that year — have not been served well. They have been largely treated as add-ons for other compilations. Now, for the first time, Analogue Productions, the audiophile in-house reissue label of Acoustic Sounds, Inc., together with Quality Record Prssings, has deservedly given these tracks a stellar stand-alone release for jazz fans to savor!
The once-in-a-generation lineup that recorded these tunes is the very same that would be immortalized for the enduring classic they would record almost a year later, Kind of Blue. Davis played trumpet sublime with his ensemble sextet featuring pianist Bill Evans, drummer Jimmy Cobb, bassist Paul Chambers, and saxophonists John Coltrane and Julian "Cannonball" Adderley.
Undervalued since their recording, the tunes on this album reflect historial and musical significance. They offer early glimpses into the modal jazz that Kind of Blue would bring to the forefront. Using modes common in modern classical music, rather than the chords of popular songs, Miles had begun to experiment with the new approach on the Milestones recording sessions previously.
Analogue Productions is proud to present Birth of the Blue in an exclusive first-of-its-kind stand-alone release that reflects our reputation for meticulous production, capturing authentic sound with clarity, depth and fidelity that exceeds the audiophile standard. 180-gram 45 RPM double LP pressed at Quality Record Pressings.
Features:
• Pioneering Ensemble: Captured the same rare and short-lived alignment of jazz legends including Miles Davis, John Coltrane, Cannonball Adderley, Bill Evans, Paul Chambers, and Jimmy Cobb, as heard on the historic Kind of Blue.
• Innovative Sound: The session represented a crucial transition in jazz, blending elements of hard bop with early modal jazz influences, showcasing the ensemble's experimentation and forward-thinking approach.
• Undervalued Legacy: Despite its historical and musical significance, the session's recordings have been historically overlooked, often relegated to being add-ons in compilations rather than recognized as standalone masterpieces.
• Modal Jazz Precursor: Offered early glimpses into the modal jazz that would later be fully realized in Davis's groundbreaking album "Kind of Blue," laying the groundwork for future jazz innovation.
• Impact on Artists: Served as a critical point of development and confidence for the musicians involved, particularly Bill Evans, who noted the significant impact of this experience on his own identity and style.
• Historical Context: Occurred at a peak moment in Miles Davis's career, following his signing with Columbia Records and his critical and commercial successes with albums such as ‘Round About Midnight and Miles Ahead.
Obsidian rock is igneous, frequently dark, yet opaque. Hard edged and brittle, it’s often been used both for weaponry and alchemical pursuits. Therefore when Lorena Quintanilla – the Mexican-based artist from the group ‘Lorelle Meets The Obsolete’ and also known as J. Zunz – was searching for psychic inspiration for her next musical venture, she need have looked no further. “Once I chose the title, everything I read, saw, listened to, and thought about began to interconnect” she relates. “Obsidian became like a magnetic field.”
“In Mesoamerican cultures, it was used in many different ways – obsidian mirrors, for example, were tools for divination and spiritual vision". Thereafter, Lorena set about creating an album entirely on her own terms. Driven by both the ghost and the heart of the machine, ‘Obsidiana’ open up a portal whereby forbidding drone, ethereal ambience and insistent repetition intertwine elegantly to form a seamless whole.
A study in balance, its emotional charge remains strong and intact whether on the eerie, almost Radiophonic ambience of ‘Imago’ or the dancefloor-adjacent, Chris & Cosey-esque ‘Osiris’. Lyrically meanwhile, ‘Obsidiana’ intersects deep personal explorations with the conflicts and contradictions of life in the unforgiving realm of 2026 – as Lorena says; “he process behind ‘Obsidiana’ was very abstract, yet I wanted the lyrics to stay grounded in the present and in reality".
Ultimately however, ‘Obsidiana’, in all its sharp yet amorphous glory, is catharsis manifest. “Each song carries a clear and deliberate intention” Lorena emphasises. “To conjure, to exorcise, to strip away fear, to rediscover myself, to heal inherited sadness, and to reclaim the night that was taken from us.”
A unique collaboration between Industrial Breakbeat pioneers Meat Beat Manifesto (Jack Dangers) and the undisputed king of Japanese noise, Merzbow (Masami Akita). "We may not speak the same language, but in the vortex of sound, there's a raw, primal understanding that transcends words. Noise can be art, a visual representation could maybe be Jackson Pollock's No 5, a plexus of chaos redefining what music can and could be. Pushing boundaries with Masami wasn't just a musical adventure, it was a masterclass in sonic anarchy"
(Jack Dangers, January 2024). 'Extinct' sees the duo take listeners on a transcendental journey, focusing on the dismantling of beat and structure and recycling the result through layers of beautifully crafted noise and feedback loops, giving birth to new rhythms buried deep in the dirt. The 20 minute opener 'FLAKKA' takes constantly evolving breakbeats which are gradually broken down over time, driven through a filter of harsh noise, destroying the old to give birth to the new. Raw and unforgiving, the track is a behemoth that blends mutant forms of broken beats and hints of dub, creating rhythmic noise of the highest calibre in the process. 'Burner' takes the record to its ultimate conclusion, the initial drum beat broken down so that it is barely recognisable. Pulsating distortion and high end audio fragments bleed into each other as the track lumbers forth and destroys everything in its path before slowly unravelling, degrading and falling apart. A harrowing yet somewhat cathartic trip through walls of harsh industrial noise and audio degradation, 'Extinct' is a masterful pairing of artists who have delivered something truly unique yet totally relevant. Don't sleep on this one! (Todd Robinson / Subunit) Composed, recorded and produced November 2023 - January 2024 by Jack Dangers and Masami Akita.
That musical vision comes fully into focus on Gypsy Blue Revue, a collaborative project with acclaimed violinist, vocalist, and songwriter Anne Harris (Keb Mo & Taj Mahal, Otis Taylor, Cracker): a blend of songwriting styles and instrumental chops, set to a backdrop of Southern soul, roadhouse blues and rock, and eclectic folk music, recorded "all in one room, playing together. We just wanted it to sound like we do live."
Mastered by Paul McGeechan and manufactured at Seabass Vinyl, Finished Business marks a powerful new chapter for a band whose story has always been defined by unfinished potential. Formed from the embers of original UK country pioneers Evangeline, OneDay40 released their critically acclaimed debut album Unfinished Business in 2007, earning the BCMA Award for Best Album. Early momentum followed, including a Nashville record deal and an offer of a US tour. But as life intervened, the four members gradually drifted apart, placing the band on an extended, unplanned hiatus. Two decades later, lead songwriters John Naismith and Billy Matthews, after whom the band is named (being born just 364 days apart) reconnected in 2022 to compare notes. What began as a casual reconnection quickly evolved into the concept for a new album. Original members George Adams (vocals) and Andy Holmes (drums) soon rejoined the fold, completing the writing team and reigniting the band's creative spark.
Cementing his status as a tried- and- true family man, the hitmaker offers relatable odes to marriage and parenting as he details small town life with wife Rose Falcon and his three sons. Additionally, the 12-song collection delivers the ultimate southern soundtrack with Atkins' rural upbringing at the forefront of his cleverly crafted lyrics.
LEATHERWITCH is a new Heavy Metal band formed by vocalist and multiinstrumentalist Marta GabrielThe witch is dead, long live the witch! After disbanding CRYSTAL VIPER, Marta Gabriel - who also is a respected session musician, and toured and recorded with acts such as VADER, MANILLA ROAD or METALUCIFER - strikes back with her new band LEATHERWITCH presents new approach, new attitude, new quality and new energy. Debut single "Beast Inside", where fast headbanging rhythm, classic Speed Metal riffing, pounding rhythm section, shredding guitar solos and super catchy vocal lines, meet a classic gothic horror Werewolf tale, already reveal what to expect from the debut album, "First Spell
Neues, viertes, Solo-Album vom dänischen Psych-Rock-Zauberer Uffe Lorenzen aka Lorenzo Woodrose aka... Seit zehn Jahren interpretiert Uffe Lorenzen (bekannt von u.a Baby Woodrose und Spids Nogenhat) auf allen seinen Alben ein altes dänisches Lied. Das gilt für seine drei Soloalben und die beiden Alben seiner aktuellen Rockband Lydsyn. Auf seinem neuen Soloalbum Glemte Spor ("Vergessene Spuren") hat er ein komplettes Album mit 10 Interpretationen von Liedern aus den Jahren 1967 bis 1999 aufgenommen. Einige davon sind dänische Klassiker, andere sind eher unbekannte Lieder, die er sich zu eigen gemacht hat. Viele davon können als Protestsongs betrachtet werden oder haben einen anti-war Charakter. ,Ich habe festgestellt, dass ich die Herausforderung, Songs anderer Leute zu interpretieren und sie zu meinen eigenen zu machen, wirklich mag. Sie zu verändern, zu interpretieren und vielleicht sogar zu verbessern. Viele der Songs werden den meisten Menschen unbekannt sein, während andere dänische Klassiker sind. Was sie gemeinsam haben, ist, dass sie mich irgendwie zu dem gemacht haben, der ich bin", sagt Uffe Lorenzen. Das Album wurde zusammen mit Morten Hart Grabowski in einem kleinen Studio in Kopenhagen aufgenommen. In mehr als 20 Sessions haben sie zusammen eine Liste von 50 Songs auf die zehn reduziert, die schließlich auf dem Album gelandet sind. Laut Lorenzen fanden die Aufnahmen in einer sehr entspannten Atmosphäre statt: ,Wir haben etwas Gras geraucht und Rotwein getrunken, was den Prozess sehr entspannt gemacht hat, und ich glaube, das hört man dem Endergebnis auch an." Später übernahm Flemming Rasmussen den Mix und das Mastering in seinem berühmten Sweet Silence Studio. Glemte Spor erscheint am 24. April bei Bad Afro Records und die erste Auflage ist auf 1000 Exemplare auf schwarzem Vinyl limitiert.
Meet Me in the Garden is a richly textured exploration of love, loss, and renewal. Co-produced by Felix Bloxsom (SIA, Genesis Owusu), Daniel Mougerman (The Bamboos), and Rita Satch herself, and mixed by Grammy-winning engineer Ben Kane (D’Angelo, Emily King), the album features contributions from some of Naarm/Melbourne’s finest, alongside a sweeping 12-piece string orchestra.
Blending smooth soul, contemporary R&B, orchestral flourishes, and stacked harmonies reminiscent of D’Angelo and Bilal, the album unfolds with cinematic beauty and emotional depth. It opens with a stirring string prelude by Mougerman before transitioning into the dreamy title track. Standouts include the meditative Breathe, the funk-fuelled Joyride, and Warrior Princess - a heartfelt tribute to Satch’s late grandmothers that helped her process grief through song.
Rooted in personal loss and spiritual growth, the album draws from Satch’s Kabbalistic studies and her belief in reunion beyond this life. With its timeless soul and modern edge, Meet Me in the Garden is a bold, soul-stirring debut that leaves a lasting impression.
SCOTTISH TRUMPETER MALCOLM STRACHAN RETURNS WITH HIS MOST UPLIFTING AND GROOVE-DRIVEN ALBUM YET – “LOOK ON THE BRIGHT SIDE”
On Look On The Bright Side, Malcolm Strachan sounds more open than ever. His third solo album moves effortlessly between soul-jazz, Latin grooves and Afrobeat touches, anchored by the warm, cinematic feel of 1970s jazz but driven by a clear sense of forward motion.
Released on 22 May 2026 via Haggis Records, the album sees Strachan stepping further into his role as a composer and bandleader, drawing together the threads of a career spanning more than two decades at the heart of the UK’s jazz, funk and soul scene.
Where his debut About Time (2020) channelled the spirit of classic Blue Note recordings and Point Of No Return (2023) leaned into the groove-heavy CTI era, Look On The Bright Side feels broader in scope – still rooted in groove, but more open to outside influences and a more consciously uplifting tone.
“I wanted the music to feel upbeat and positive,” says Strachan. “I start at the piano, working through chord ideas until I find something that feels right. Once the harmony is there, the melodies tend to come naturally.” That approach gives the album its fluidity, with tracks evolving from feel as much as structure and arrangements that leave room for interplay and movement.
out of Stock
Last delivered 23 months ago available to reorder, subject to availability
In honor of the December full moon 2021, Luigi Tozzi finally invites us to yet another emotional journey, down into the depths of the Deep Blue.
The release comes in a limited edition, marbled 180-gram double vinyl, and an unlimited black edition. Sheathed inside a matte white sleeve of a high-quality carton with Hypnus signature, custom cut round corners. All adorned with a stunning artwork by Gabriella Holmstrom.
Early support from Brando Lupi, Svreca, Artefakt, and Eric Cloutier to name a few.
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