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Die dunkle, schäbige Unterwelt von New York City taucht wieder auf, wenn das Stadtbild durch Abwässer, Crackrauch und den Handel mit Fleisch verdorben ist. Die Straßen, die einst voller Leben waren, sind von dem grotesken und schmutzigen Chaos vergangener Zeiten durchdrungen. Inmitten dieser rauen Wirklichkeit, in den Mauern der schwach beleuchteten Gassen, stinkt es nach Körperflüssigkeiten und Rattenkot.

Auf den Bahnsteigen der U-Bahn verüben verzweifelte Seelen wegen ein paar mickriger Dollar wahllos Gewalttaten aneinander. Der East River fließt in einem kränklichen Grün, und der Farbton der Stadt spiegelt die Schatten wider, die diese illegalen Unternehmungen werfen. Inmitten dieser beunruhigenden, düsteren Realität ist nun eine Klanglandschaft entstanden, die das Grauen einfängt - in Form des zweiten Albums von Gravesend.

Das neue Album "Gowanus Death Stomp" verdichtet die Grausamkeit, die auf dem Debüt "Methods of Human Disposal" von 2021 zu hören war, zu einem noch düstereren und ursprünglicheren Trommelfeuer der Gewalt. An der Kreuzung von krimineller Verkommenheit und urbanem Unwohlsein bedienen sich Gravesend vieler Werkzeuge des Handwerks. Black / Death / Grind / War Metal verschmelzen nahtlos zu einer Teergrube aus beißendem Hinterhof-Sadismus und Acid-Zungen-Gesang.

Wie eine frisch geborgeneLeiche unten am Hafen weht der Geruch von Verwesung aus jedem Track auf 'Gowanus Death Stomp'. Und wie bei NYCs Underground-Legenden von Cro-Mags über Swans bis Type O Negative verkörpert Gravesend den Puls der Stadt, selbst wenn dieser Puls auf dem Beton ausblutet.

Die dunkle, schäbige Unterwelt von New York City taucht wieder auf, wenn das Stadtbild durch Abwässer, Crackrauch und den Handel mit Fleisch verdorben ist. Die Straßen, die einst voller Leben waren, sind von dem grotesken und schmutzigen Chaos vergangener Zeiten durchdrungen. Inmitten dieser rauen Wirklichkeit, in den Mauern der schwach beleuchteten Gassen, stinkt es nach Körperflüssigkeiten und Rattenkot.

Auf den Bahnsteigen der U-Bahn verüben verzweifelte Seelen wegen ein paar mickriger Dollar wahllos Gewalttaten aneinander. Der East River fließt in einem kränklichen Grün, und der Farbton der Stadt spiegelt die Schatten wider, die diese illegalen Unternehmungen werfen. Inmitten dieser beunruhigenden, düsteren Realität ist nun eine Klanglandschaft entstanden, die das Grauen einfängt - in Form des zweiten Albums von Gravesend.

Das neue Album "Gowanus Death Stomp" verdichtet die Grausamkeit, die auf dem Debüt "Methods of Human Disposal" von 2021 zu hören war, zu einem noch düstereren und ursprünglicheren Trommelfeuer der Gewalt. An der Kreuzung von krimineller Verkommenheit und urbanem Unwohlsein bedienen sich Gravesend vieler Werkzeuge des Handwerks. Black / Death / Grind / War Metal verschmelzen nahtlos zu einer Teergrube aus beißendem Hinterhof-Sadismus und Acid-Zungen-Gesang.

Wie eine frisch geborgeneLeiche unten am Hafen weht der Geruch von Verwesung aus jedem Track auf 'Gowanus Death Stomp'. Und wie bei NYCs Underground-Legenden von Cro-Mags über Swans bis Type O Negative verkörpert Gravesend den Puls der Stadt, selbst wenn dieser Puls auf dem Beton ausblutet.

The first Latin soul collection featuring a mix of chart-topping hits and deeper cuts from the crown jewel of the mambo era Tico Records, celebrating the iconic imprint’s 75th Anniversary. The 2-LP set includes 26 tracks from trailblazers Tito Puente, Ray Barretto, Joe Cuba, Celia Cruz, Eddie Palmieri, La Lupe, Willie Bobo and more. New liner notes by DJ Dean Rudland that tell the story of the New York City label that launched the careers of some of the most revered names in Latin music.

Modernists loved the latest R&B, blues and soul sounds coming from US cities such as Chicago, Memphis and Detroit and when British groups started playing their own interpretations in clubs and dancehalls they gained their own mod followings, their music remaining popular on the mod scene today.

Side 1 of this bespoke collection spotlights the British R&B scene and features a founding father of British blues Alexis Korner with the rare ‘Taboo Man’ alongside ace mod tracks from The Bo Street Runners, The Others, Mickey Finn and The Blue Men (featuring a youthful Jimmy Page on harmonica) and more.

Side 2 starts with British R&B groups developing their own sound by turning up their guitars, employing distortion, feedback and fuzz pedals to take the music in a new direction. Highlights include the Joe Meek produced ‘Crawdaddy Simone’ by The Syndicats (described as proto punk because of its ferocity), The In Crowd’s snarling ‘Things She Says’ and The Artwoods’ fuzz drenched mod favourite ‘I Take What I Want’ featuring future Deep Purple organist Jon Lord on organ.

Denny Laine (later of Wings) sings with The Moody Blues calming things down with some soulful beat.

Side 3 focuses on UK soul music - Rod ‘the mod’ Stewart backed by The Brian Auger Trinity takes on Sam Cooke’s ‘Shake’, the godfather of ska Laurel Aitken proves he’s also a natural soul man with his floor filling version of The Mar-Keys’ ‘Last Night’ and the amazing Barry St. John sings the funky ‘Gotta Brand New Man’. Popular club acts Lucas & The Mike Cotton Sound and Carl Douglas & The Big Stampede would regularly bring the house down at mod clubs and also feature.

Side 4 includes mod club dancefloor smashes from The Spencer Davis Group and Rupert’s People (AKA mod group Fleur De Lys) while mod heroes The Action go psychedelic with ‘Look At The View’. A moonlighting Jeff Beck of The Yardbirds plays on John’s Children’s ‘But She’s Mine’ and there are brilliant singles revered by freakbeat and psych collectors such as Double Feature’s ‘Baby Get Your Head Screwed On’ and The Drag Set’s ‘Day And Night’.

Rarities from The Trendbender Band and The Union (featuring Elmer Gantry) appear on vinyl for the first time.

Founded and curated by DJ and producer Samantha Togni, Boudica is a platform that aims to give visibility to women, trans* and non-binary artists. Since the platform was first launched in 2019, Boudica has evolved into a series of club events in London at venues like The Pickle Factory, Fold and E1, a radio show, a music conference and a record label.

Boudica's mission is to promote greater gender equality within the music industry. By showcasing diverse role models from marginalised communities across the music industry, they aim to engage and inspire young and upcoming artists to pursue music careers irrespective of their background and experience within the field.

In 2020, they launched the inaugural Boudica Music Conference at Freemasons' Hall. The full day included educational panels, workshops and live music designed to encourage more artists from marginalised genders to pursue careers in the music industry. In 2022, Boudica not only held London's edition of the conference at the same venue, but they also expanded to Europe. In partnership with Pioneer DJ, they held their first edition of the conference abroad in Bologna at the Museum of Modern Art. Boudica Music Conference is touring in Europe in 2023, featuring talks, workshops alongside Pioneer DJ and club nights.

Last year, they launched the Boudica label, to support and celebrate female, trans+ and non-binary producers. Supported by Arts Council England, the label features artists such as Feminyst, Nur Jaber, Wanton Witch, OCD, Infinity Dreams, Peachlyfe, Yazzus and founder Samantha Togni. Their previous releases have garnered support from major music publications such as RA and Mixmag, resulting in a third VA release.

The third vinyl, 'Dark As It Gets', is a reflection of Boudica's continual musical evolution. The release marks a first for the platform, as they issued a callout for trans+ producers across the world to send in a track to be included on the vinyl. 'Dark As It Gets' by MIIIA was selected, and the title not only encapsulates the EP's energy but also Boudica's drive to support upcoming artists in the electronic music space.

The third vinyl commences with Rotterdam-based duo Animistic Beliefs' 'Vu Sua La Gi?'. The atmospheric track begins with menacing synths that are soon after enmeshed with vogue, gqom and percussive vocal chops that build towards a rewarding, melodic breakbeat cadence at its close.

New York-based Jasmine Infiniti's 'Top Shop' is the second track on the release. Skittish breaks and warped vocals skip across brooding, muted chords that eventually dissipate to reveal a hypnotic synth melody.

The vinyl's B-side begins with Metaraph's 'Emotional Intelligence'. The track marries pummelling kick drums, heady chords and transcendent melodies, all of which serve to guide the listener from triplet hard bass to trance bliss.

Finally, the title track, 'Dark As It Gets', produced by competition winner MIIIA, delivers a powerful sonic ending to the vinyl. In her own words, the track's relentless momentum and intricate incorporation of sampling leads listeners on a 'hypnotic, sassy and intense' techno journey from beginning to end. The uncompromising track's fierce groove emblematizes Boudica's third vinyl commitment to forward-thinking, idiosyncratic production.

The third vinyl concludes the initial Boudica trilogy, depicting members of the Boudica community as contemporary royalty, drawing inspiration from the queen herself.

Zum 10. Todestag von Lou Reed veröffentlichen DIE BUBEN IM PELZ ihr neues Album "Verwandler" (Konkord) auf welchem sie sich den Songs von Lou Reed widmen und diese in den Wiener Dialekt übersetzen. Als 2015 das selbstbetitelte Debütalbum (Konkord) von DIE BUBEN IM PELZ erschien, wirbelten sie damit viel Staub auf. Denn die beiden Gründungsmitglieder David Pfister und Christian Fuchs (beide vom Radiosender FM4) wagten etwas Riskantes. Die Buben übersetzten das ikonische Debütalbum von Velvet Underground komplett ins Wienerische. Wechselten die legendäre Andy Warhol-Banane auf dem Cover mit einer Wurst aus - und übertrugen die Atmosphäre des New York von 1967 in das Wien von 2015. Düstere Parallelen wurden ausgelotet. Flirrende Gitarren zum Klingen gebracht. Spirituelle Verwandtschaften mit Lou Reed, John Cale und Nico zelebriert. Die Platte wurde inzwischen zu einem viel beachteten Klassiker der deutschsprachigen, alternativen Popmusik. Für die deutsche Tageszeitung ,Die Zeit" beispielsweise ein Album des Jahres 2015. Ebenso erfuhr das Artwork der LP von Dieter Oitzinger große Aufmerksamkeit. Die Erstauflage auf Vinyl mit einer abziehbaren Wurst statt einer Banane ist inzwischen ein begehrtes Sammlerobjekt. 2017 und 2019 erschienen zwei weitere Platten auf dem Wiener Label Noise Appeal, zuletzt ,Geisterbahn" produziert von Alexander Hacke von den Einstürzenden Neubauten und Alexander Lausch. Neben Pfister und Fuchs bestehen DIE BUBEN IM PELZ auch noch aus dem Bassisten Christof Baumgartner (Black Palms Orchestra), Bernd Supper (Scarabeus Dream), Markus Reiter (Destroyed But Not Defeated) und Gernot Scheithauer (Liger). Brutalität und Zärtlichkeit Zum 10. Todestag von Lou Reed am 27. Oktober veröffentlichen Die Buben Im Pelz ihr neues Album ,Verwandler" (Konkord), auf dem sie sich erneut ausschließlich den Songs von Lou Reed und Velvet Underground widmen. Auch wenn Titel und Artwork auf den Klassiker ,Transformer" von Lou Reed anspielen, übersetzten die Buben dieses Mal kein komplettes Album, sondern eine Auswahl von Reed-Songs mit Blick auf sein gesamtes Schaffen. Und auch dieses Mal zeigt sich: Die Klassiker von Lou Reed, zwischen textlicher Brutalität und Zärtlichkeit, funktionieren auch in unserer seltsamen Zeit perfekt als tröstende Ventile. Egal ob in persönlichster Identitätssuche oder beim großen Blick auf die Welt. Black Vinyl!

Zum 10. Todestag von Lou Reed veröffentlichen DIE BUBEN IM PELZ ihr neues Album "Verwandler" (Konkord) auf welchem sie sich den Songs von Lou Reed widmen und diese in den Wiener Dialekt übersetzen. Als 2015 das selbstbetitelte Debütalbum (Konkord) von DIE BUBEN IM PELZ erschien, wirbelten sie damit viel Staub auf. Denn die beiden Gründungsmitglieder David Pfister und Christian Fuchs (beide vom Radiosender FM4) wagten etwas Riskantes. Die Buben übersetzten das ikonische Debütalbum von Velvet Underground komplett ins Wienerische. Wechselten die legendäre Andy Warhol-Banane auf dem Cover mit einer Wurst aus - und übertrugen die Atmosphäre des New York von 1967 in das Wien von 2015. Düstere Parallelen wurden ausgelotet. Flirrende Gitarren zum Klingen gebracht. Spirituelle Verwandtschaften mit Lou Reed, John Cale und Nico zelebriert. Die Platte wurde inzwischen zu einem viel beachteten Klassiker der deutschsprachigen, alternativen Popmusik. Für die deutsche Tageszeitung ,Die Zeit" beispielsweise ein Album des Jahres 2015. Ebenso erfuhr das Artwork der LP von Dieter Oitzinger große Aufmerksamkeit. Die Erstauflage auf Vinyl mit einer abziehbaren Wurst statt einer Banane ist inzwischen ein begehrtes Sammlerobjekt. 2017 und 2019 erschienen zwei weitere Platten auf dem Wiener Label Noise Appeal, zuletzt ,Geisterbahn" produziert von Alexander Hacke von den Einstürzenden Neubauten und Alexander Lausch. Neben Pfister und Fuchs bestehen DIE BUBEN IM PELZ auch noch aus dem Bassisten Christof Baumgartner (Black Palms Orchestra), Bernd Supper (Scarabeus Dream), Markus Reiter (Destroyed But Not Defeated) und Gernot Scheithauer (Liger). Brutalität und Zärtlichkeit Zum 10. Todestag von Lou Reed am 27. Oktober veröffentlichen Die Buben Im Pelz ihr neues Album ,Verwandler" (Konkord), auf dem sie sich erneut ausschließlich den Songs von Lou Reed und Velvet Underground widmen. Auch wenn Titel und Artwork auf den Klassiker ,Transformer" von Lou Reed anspielen, übersetzten die Buben dieses Mal kein komplettes Album, sondern eine Auswahl von Reed-Songs mit Blick auf sein gesamtes Schaffen. Und auch dieses Mal zeigt sich: Die Klassiker von Lou Reed, zwischen textlicher Brutalität und Zärtlichkeit, funktionieren auch in unserer seltsamen Zeit perfekt als tröstende Ventile. Egal ob in persönlichster Identitätssuche oder beim großen Blick auf die Welt. Black Vinyl!

Chapter number twenty-seven of the Mental Disorder missile catalogue arrives. This new chapter is signed by Helki Torsnum, who is none other than the living legend: Inigo Kennedy, who decided 25 years ago to compose an EP for the now-defunct British label, Sheer Records. We wanted to rescue this lost gem called "Events that occur" because it perfectly defines the minimalist and raw sound of 90s techno, which occupied the entire frequency spectrum in its purest form.
Three powerful tracks that destroyed the dance floors in the mid nineties.

Repress! We at Now-Again unearthed so much information about the bands that recorded the definitive disco and modern soul contained in our recently launched Soul Cal anthology that we decided we had no choice but to release an album and a book at the same time. Well, following that line, the music contained on Loving On The Flip Side music is too damn good to be anonymously relaunched, decades after musical visionaries blended the best of heavy funk and sweet soul into a unified whole. And simply telling the stories of these vocalists and bands without allowing their lovelorn pleas to be heard again wasn’t an option. Thus, Loving On The Flip Side again offers the enthused a chance to listen to, read about and reflect on another great burst of black American creativity: the creation of the sublime
genre we like to call “sweet funk.”
It seems laughable to skip past Thomas East’s “Slipping Around” 7” for the cheesy funk of ‘Just A Trip,” or to listen obsessively to Lou Ragland’s instrumental funk on the Hot Chocolate LP and ignore his indolent-yet-stirring “We Had True Love.” Yet we did just that, until we first heard the Darling Dears and Funky Heavy’s beautiful
two-sider nearly ten years back. This was the record that set Loving On The Flip Side in motion, as the Darling Dears and Funky Heavy’s two songs precipitated the sweet funk genre: the dichotomy of Funky Heavy’s skull snapping rhythm section and the teenage Dears’ angelic harmonies didn’t sound like anything we’d heard before. That discovery set off a decade long search for the band and culminated in their discovery, the documenting of their stories, the emergence of their master tapes and the inclusion of their songs on Loving On The Flip Side.
The excitement we felt while listening to the Darling Dears and Funky Heavy’s masterworks forced us back into the field, in search of other sweet funk swooners and beat-heavy ballads to round out this anthology. The opportunity to present anew such wondrous soul music made the exhaustive process that produced Loving On The
Flip Side worthwhile, and allowed us to collect one-offs that escaped prior investigations into the deep funk and sweet soul genres.

This two-time Grammy nominee’s career has taken Cidny from singing back-up on tour with Elton John, working with Bob Dylan, Rod Stewart, and singing three lead vocals on the “Grease” movie
soundtrack to having nine critically acclaimed solo albums, including the award winning Somewhere Between Heaven and Earth. Cid’s friends on the albums include friends Bonnie Raitt, Lucinda
Williams, Steve Earle, Bryan Adams, Emmylou Harris, Delbert McClinton, and Sir Elton John himself.

Cidny has also co-written many Country songs in Nashville, including Radney Foster’s hit “Hammer and Nails”. Since 2007, Cidny has been one-third of “super-group”, The Refugees with Wendy Waldman and Deborah Holland. In 2011, Cidny made the difficult and daunting decision to start transitioning from female to male, from Cindy to Cidny. He has written and has been performing his one-person theatrical show Somewhere Between: Not An Ordinary Life all over the U.S. An award-winning documentary short about his life called The Gender Line screened at major film festivals around the world from 2019-2022. Cid will be releasing his first album as “Cidny Bullens” Little Pieces in the fall of 2023. Cid’s memoir, TransElectric: My Life as a Cosmic Rock Star, with foreword by Sir Elton John was released on June 6, 2023, and is now available for purchase at all major bookstore sites.

Composer, singer, producer, and multi-instrumentalist Laufey continues her story by writing and recording Bewitched, her second album. Inspired by jazz greats and classical masters while possessing a point of view that could only be conveyed by a 21st-century twentysomething, Bewitched represents an expansion of Laufey’s sonic palette.

Tracks like the breezy bossa nova cut “From The Start” and the smoldering string-assisted ballad “Promise” have classic songcraft and intricate arrangements that make them feel instantly timeless, while Laufey’s conversational lyrics give her music a relataility to the next generation of jazz, pop, and classical aficionados.

For those who still believe prog is a four-letter word, Caravan remain a mystery - More fool them, for they are missing out on some of the sweetest and most tuneful melodies in 70s rock, whether it be the jazz- inflected vaudeville of the title track of If I Could Do It All Over Again, I'd Do It All Over You, the gentle celebration of Virgin On The Ridiculous from Caravan & The New Symphonia or the funky ambition of The Dabsong Conshirtoe on Cunning Stunts. Formed, like Soft Machine, from the group The Wilde Flowers, Caravan have much in common with UK 70s prog, punning titles, gatefold sleeves, many songs well over 10 minutes long, frequent line- up shifts, but they always had an innate accessibility – partly due to guitarist and lead vocalist Julian 'Pye' Hastings' easy- on-the-ear singing style. Recorded at Tollington Park Studios (Decca 4) in North London, Cunning Stunts was Caravan's final studio album for Decca; with a tweak in line-up, it produced some of the group's most mature, fluid music, especially in the 18- minute The Dabsong Conshirtoe. 'Have you heard our story, a mystery it seems, gather round come listen, see the spectacle within,' the group state on the album's opening track The Show Of Our Lives. Had the group not been called Caravan and the album Cunning Stunts, Lover could have been a Top 10 single. This re-issue faithfully replicates the original 1975 Decca Records UK release and is pressed onto high quality 180g vinyl

For those who still believe prog is a four-letter word, Caravan remain a mystery - More fool them, for they are missing out on some of the sweetest and most tuneful melodies in 70s rock, whether it be the
jazz-inflected vaudeville of the title track of If I Could Do It All Over Again, I'd Do It All Over You, the gentle celebration of Virgin On The Ridiculous from Caravan & The New Symphonia or the funky
ambition of The Dabsong Conshirtoe on Cunning Stunts.

Formed, like Soft Machine, from the group The Wilde Flowers, Caravan have much in common with UK 70s prog, punning titles, gatefold sleeves, many songs well over 10 minutes long, frequent line-up shifts, but they always had an innate accessibility – partly due to guitarist and lead vocalist Julian 'Pye' Hastings' easy-on-the-ear singing style.

Recorded at Tollington Park Studios (Decca 4) in North London, Cunning Stunts was Caravan's final studio album for Decca; with a tweak in line-up, it produced some of the group's most mature, fluid
music, especially in the 18-minute The Dabsong Conshirtoe. 'Have you heard our story, a mystery it seems, gather round come listen, see the spectale within,' the group state on the album's opening
track The Show Of Our Lives. Had the group not been called Caravan and the album Cunning Stunts, Lover could have been a Top 10 single.

This re-issue faithfully replicates the original 1975 Decca Records UK release and is pressed onto
high quality 180g vinyl.

Bill Seaman is a musician, media artist and media researcher int the field of interactive and generative music (he calls this recombinant music). He has been working on a series of works that combine elements of ambient, noise, experimental, new classical and more. He describes these works as being alt.genre. He has recorded five solo albums (on Eilean Rec. and Fluid Audio) and a numerous of collaborative albums with some music artists such as Craig Tattersall, John Supko, Offthesky, Rutger Zuydervelt, Stephen Vitiello, between others. Seaman has also often created video works to accompany a number of his solo and collaborative pieces. Seaman is self-taught as a musician and composer, and is a Professor in the Music Department at Duke as well as Art, Arth History & Visual Studies.

Since releasing a track on the RND034873349921 compilation on the Pause_2 label in 2001, Tim Diagram has released over thirty-five albums as a solo artist or as part of collaboration projects. he has appeared on many well-respected labels, such as; False Industries, Static Caravan, Nomadic Kids Republic, Fluid Audio, Time Released Sound, Chemical Tapes – to name but a few. Tim runs the Handstitched* label in the UK which specialises in bespoke, handmade packaging for the more electro-acoustic and drone-like elements of his and other artists work, and he is involved in audio-visual commissions, including art gallery installations and music videos for a global clothing brand. As well as Maps and Diagrams, Tim also records music under the Atlantis name and works in collaboration with Genoveva Kachurkova as Bluhm, with Charles Sage as Hessien, alongside Rob Lyon as Somme & with Arbee under the name Emba.

Stephen Spera is a New York based artist working in sound, photography, and plastic arts. His works have been released on some labels such as Handstitched, Tesselate, and Editions Vaché. In 2020 he began a series of collaborations with Bill Seaman, as the two artists admired each other’s work and found much in common. Their work together was graced with an ease which kept them composing an album- “Architectures of Light” -which was released on Britain’s Handstitched label. The project was very well-received. The two stay in touch and kept working, joined now by Tim Martin whose work as Maps and Diagrams was long-admired by Stephen and Bill. They too found instant understanding of each other’s work, and “ The World was turning Before” is the result of their collaboration. The three artists possess an almost uncanny communication that enables them to work whilst still enjoying each other’s individual voice, and this trio has come together so well that, in Spera’s words, “We no longer know who played what…”

It’s mid- to late-1975, what remained of Big Star is no longer, Third/Sister Lovers was sitting on a shelf and Alex Chilton was in Memphis at a very low point. Chris Bell spent a large part of the year in London trying to get a solo record deal, but turned up empty and flew home to visit family in late summer. While at home, Bell was cutting more solo tracks at Ardent, one of which, “You And Your Sister” needed a harmony vocal, so he called in Alex.

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AhGeeBe is the stage name of Welsh songwriter, pedal-steel player and general all-round multi- instrumentalist, Rhodri Gwyn Brooks. Through the past decade performing and recording with various artists (Melin Melyn, Gia Margaret, Novo Amor, Georgia Ruth & Ivan Moult to name a few), Rhodri has drawn on inspiration from artists such as George Harrison, Wilco and Neil Young, to produce his distinct brand of country Americana.
Through Bubblewrap, Rhodri has released lo-fi home
recordings and a couple of EP’s under his own name, as well as a Welsh Music Prize nominated album ‘Pontvane’, alongside Eugene Capper. Now, a decade in the making, AhGeeBe’s debut album ‘Chin Up, Chief‘ drops on November 3rd, through Bubblewrap Collective.
Rhodri shares some of his thoughts and processes...
Over the years I’ve come to realise that I much prefer playing for other artists, and collaborating with people, more than writing and releasing my own music with all the ffaff and headspace it takes up. But here we are.
The name of the record comes from a line in TV show Fargo, where police officer Molly tries to cheer up the police Chief. It stuck with me and seemed all too fitting a title for the songs as a whole.
Musically I wanted to make an album with all the sounds and feel I really love from artists like George Harrison, Wilco, Neil Young etc with piano and acoustic guitar, interupted by spikey electric guitars or mad fuzz solos with a solid slight funk to the rhythm section - my attempt to sound like a David Axelrod record. I got a pedal steel guitar around 3 years ago so there’s a veriety of bottleneck slide, lapsteel, and pedal steel guitar on the record. And then on the flip side, have moments of calm and sparsity, with room to woozily meander around.

Leave Me Alone is the debut album of Nick Oliveri's Uncontrollable, a solo project created by Nick Oliveri (Kyuss, Queens of the Stone Age, Dwarves, Mondo Generator) released in 2014 on Schnitzel Records. It was recorded in 2013 at Thunder Underground Studios in Palm Springs, California by Harper Hug & Trevor Whatever. Nick Oliveri performs all of the instruments (vocals, guitar, bass & drums) on the album as well as all of the production & writing of the songs. He also recruited guest performers in such as Blag Dahlia of The Dwarves & Motörhead's Phil Campbell. The album is dedicated to deceased Eyehategod drummer Joey LaCaze. Heavy Psych Sounds is releasing a brand new REPRESS with new coloured vinyl.

Magenta coloured vinyl, limited to 300 copies. Leave Me Alone is the debut album of Nick Oliveri's Uncontrollable, a solo project created by Nick Oliveri (Kyuss, Queens of the Stone Age, Dwarves, Mondo Generator) released in 2014 on Schnitzel Records. It was recorded in 2013 at Thunder Underground Studios in Palm Springs, California by Harper Hug & Trevor Whatever. Nick Oliveri performs all of the instruments (vocals, guitar, bass & drums) on the album as well as all of the production & writing of the songs. He also recruited guest performers in such as Blag Dahlia of The Dwarves & Motörhead's Phil Campbell. The album is dedicated to deceased Eyehategod drummer Joey LaCaze. Heavy Psych Sounds is releasing a brand new REPRESS with new coloured vinyl.

"Ritualised choral chants and skronky electric guitar add textures and lustre, subverting possible expectations of an album whose principal instrument is the humble accordion. It may be called Avant Folk but it's so much more than that." - Sid Smith, Prog Magazine

Featured musicians on this are some of Norway's finest from the creative music field: Frode Haltli on accordion, Oddrun Lilja and Juhani Silvola on guitars, fiddlers Erlend Apneseth and Hans P. Kjorstad, horn players Rolf- Erik Nystrom and Hildegunn Oiseth, wizard Stale Storlokken (Supersilent) on Hammond, bassist Fredrik Luhr Dietrichson (Moskus), drummer Per Oddvar Johansen of The Source and multiple legendary Norwegian bands, as well as the up- and- coming traditional musician Helga Myhr on vocals.

On 'A Little Longer', Leavy's first major solo artistic statement, she deftly explores nostalgia and melancholy over ten tracks that wash over the listener like a gentle ocean tide. Indeed, the record's sound harkens to an era when the SoCal sound dominated the FM dial. Now a resident of Lafayette, LA, this collection of songs was written while Leavy was living in Boston and New York. However, it's clear that growing up on California's central coast was foundational to Leavy's songwriting. Lush mid-1970s production courtesy of Robin MacMillian shows up in the horns on "Cigarettes and Coffee" or the pedal steel on "I Have Been Trying."

Expansive vocal harmonies permeate "Please Don't Ask Me To Be Friends" or "I Won't Be Dreaming Anymore" which reference everything from Motown to The Beach Boys. Experienced as a whole, 'A Little Longer' is startlingly cohesive and masterful in tone and writing. Take note because this young artist has arrived as a songwriting force.

Videos for the two singles to follow

Aesthetically, Hometown Vampire provides a guided tour through 50 years of guitar music, calling out to greats like a prayer, asking for the songs we love to act as guidance through the trouble around us. The characters labeled here as vampires refer to any of the lowlifes we see around us or in ourselves; the punisher at the bar, the chronic failure who's always got a new scheme, the kinds of people who live in the past and stew in bitterness. Hometown Vampire is a farewell to all the good and bad of music scene chicanery, late night shit-talking, and all the failed romances before.

For fans of:
The Beatles, Girls, The Lemonheads, Pavement, Real Estate, Death Cab for Cutie, Hovvdy, Mac Demarco, Vampire Weekend, Billy Joel

Formed in 1984, Fields of the Nephilim is the creation of vocalist and front man Carl McCoy. Highly influential, especially in the world of goth, but also within the metal and electronic genres, their legacy endures to this day. You can hear their influence on bands like Swans, Godspeed! You Black Emperor, Explosions In The Sky, Wolves in The Throne Room, Behemoth and more. The Nephilim was recorded in a former courthouse in the Somerset countryside where defendants who were sentenced to death were hung. "Moonchild" is the band"s best known song due to it reaching #28 in the UK single charts, and LouderSound called it a classic and said that it "perfectly encapsulates this era of the band: it has some nifty guitar work, great bass lines from Tony Pettitt, Nod"s stellar drumming and McCoy"s distinctive vocals." The song is named after a novel by Aleister Crowley, and there are several other nods to Crowley throughout The Nephilim. In a 2013 remembrance of the album, PopMatters said "The band"s sophomore effort, regarded not only as its best work but also as one of the UK goth scene"s masterpieces, is a seamless, hour-long trek into a surreal land populated by chiming guitars, hypnotic bass, found samples, and McCoy"s storytelling."

2023 Black Vinyl Repress

Drexciya presents Grava 4. Earth has finally discovered Utopia. (Drexciya Home Universe) Earth scientist discovered the home planet of Drexciya on 2-14-2002. Within moments Dr. Blowfin was given the orders to initiate the seven dimensional cloaking-spheres to hide the other three planets from earths view. The star chart is authentic; you will be able to find the star by using the coordinations on the star chart. The planet Drexciya can be found in the international star vault in Switzerland & recorded in the astronomical compendium.

Following up on last year's acclaimed Integration 12", Robbert Heynen unlocks his incredible back catalogue for four acidic reinterpretations from Greek maestro Anatlolian Weapons.

Proceeds of the record will be donated to Legacy of Hope foundation, an Indigenous led charitable association which educates and raises awareness about the history and on-going impacts of Canada's residential school system.

Early 90s' UK club oriented project comprised by "two young lads that made a record", as innocently described by Mark Lloyd, one half of Deep Pearl together with Mark Robertson. Originally released on mysterious private press label called "Big Apple" based in Croydon (South London).

A dancefloor oriented production that seems to transition from earlier acid sounds into more hypnotic early progressive directions, propelled by an established Mediterranean appreciation of its epoch combined with a somewhat naive rawness and energy in the studio, keeping it simple and effective at upper 130's BPM. Clearly the work of someone with veteran status in rave mileage. A-side features dreamy female vocals (courtesy of two other young lads from Germany, at the time, also known as "Air Liquide"), easy to imagine being played over a dusky horizon in Ibiza or an airfield in Suffolk. B-side mix is another peak dancefloor torpedo armed with heavy breakbeat shrapnel, hard to miss - if you know you know - newly re-issued with new artwork channeling Sean Connery memorabilia in acid mode "Hunt for Tie-dye October".

Following on from the “Nightingale Floor” EP back in 2021, Colchester-native Concealed Identity returns to Repertoire reinforcing his unique take on the drum and bass genre.

A lush mixture of dark and light moods, just as much as home on the dancefloor as at home, Concealed Identity uses his full range of live instrumentation and sampled breakbeat wizardry to create a varied but cohesive extended play.

Vimana and Faultline build and build from meditative, calming intros into trademark grandiose, emotive D&B. Whilst Hold On explores dub and tribal influences, before rising UK jazz and soul vocalist B-ahwe joins Concealed Identity for his first original, full-vocal track on the blissed out Stay.




d b2. Stay ft/ Bahwe

Rico Friebe is back with the album "Faces Meet" after his recent debut "Word Value" and delivers his personal "deer in the headlight"-moment. What once appeared sparely uncertain and questioning, equalling the fragile try to overcome a state of darkness and forsakenness, now forms into a frenzy of confrontational flashes on "Faces Meet".

Like reflecting on the uncertainties presented on "Word Value", "Faces Meet" reveals some genuinely harrowing findings, creating a wholesome musical moment in time that might never happen like this again.
Besides the uncompromising statements as to find in the opener "Look At Me", refined perceptions in "Nowhere To Run" or "Fifty-One", open-hearted calls in "Do More" and "Let Go", Rico's pivotal confrontation with the irrevocable truth and emotional dissection peaks in his heartbreaking story on "The Best Talk" which marks the crucial lynchpin of the whole album.

Like faces (and therefore people) are constantly meeting everywhere, being faced with the decision how honest and open to meet at all, "Faces Meet" happens to be an even more involved metaphor about surrendering to your true inner self in a mirror-like situation.
Deeply rooted in the seeds of his debut album "Word Value", Rico follows a highly natural and severely plain musical language while implementing new and further ideas and elements throughout his sonic landscape.

"Faces Meet" is an album of insight and self-awareness and the inevitably necessary foundation for his third double LP and magnum opus "Anthems For A Lost Generation" (set to be released in Spring 2024), accelerating a lately unstoppable story into unforeseeable pathways.

WRWTFWW Records is proud to announce the first ever release of the long-lost original motion picture soundtrack from the 1988 cult horror comedy sensation Ghoulies II by the incomparable Fuzzbee Morse. Digging deep to uncover a true gem of the VHS era, this limited-edition vinyl release (500 copies worldwide) marks history in the making as a piece of film score lore is resurrected from the depths of oblivion. The LP is packed with 39 tracks and features an exclusive artwork by French illustrator Pierre Thyss, as well an obi and composer notes.

The captivating melodies that once played hauntingly in the background of Ghoulies II were long believed to be lost forever. It took over 30 years and Fuzzbee Morse's unwavering determination to dig out the legendary recordings – and restore them for full audio pleasure!
The superb soundscape of Ghoulies II perfectly captures the chilling and wacky essence of the cult movie, as well as its creepy carnival setting. Morse, citing influences such as Bernard Hermann, Frank Zappa, and Igor Stravinsky, flexes his multi-instrumentalist skills, flowing with ease between magical fairground elements (with brilliant use of calliope, tuba, flutes and sparkly sounding synthesizers), dark atmospheres and frightening attacks (tribal percussion, strings, along with dissonant, atonal gongs, bowed cymbals), and goofy moods (bassoon, bass clarinet, glockenspiel, trumpet, clarinet). It’s big cinematic horror movie music with a lighter comedic touch – the 80s live again!

To complete this collector's edition, French illustrator Pierre Thyss (the man behind the WRWTFWW Records logo) lends his (immense) talent to provide awe-inspiring visuals that flawlessly encapsulate the juxtaposition of horror and comedy.

Ghoulies II follows the release of the full uncut soundtrack of Ghoulies (1985) which was released on vinyl for the first time ever by WRWTFWW Records in 2020 alongside soundtracks for other Richard Band-composed, Empire Pictures-produced classics: TerrorVision and Troll. All these 80s horror favorites are still available – complete the collection now!

Polish jazz rebels sneaky jesus are back with their second studio album For Chaching Taphed.The highly imaginative quartet out of Wroclaw comprising Maciej Forreiter (Guitar), Matylda Gerber (Saxophones), Ben Łasiewick i(Bass) and Filip Baczyński (Drums) have won fans around the world for their restless, quirky brand of jazz which takes in breakbeats, twisting chord progressions and improvisation as well as a wealth of musical influences.

The band have been touring their asses off ever since they surprised the world with their debut album For Joseph Riddle in 2021. From out of nowhere their debut LP of 500 copies sold out in a month and they quickly went on to sell close to 1,000 CDs of the album. Fast-forward to 2023 and the band are sharing stages with artists such as Ill Considered and Theon Cross.

For Chaching Taphed was created in complete isolation. The group locked itself in a barn at the Museum of Agricultural Technology in Piotrowice Świdnickie. It worked on its sophomore output surrounded by machinery, trucks and carriages. These new compositions mirror the abstract conversations which the group frequently has just for fun. Contrary to For Joseph Riddle, this album is simple and does not rely on ongoing grooves. This enabled the group to be much more experimental. The band was joined by friends Flautist Mariya Mavko on Piękno Niemożliwe (Impossible Beauty) and her playing is sampled in Hipotetyczny Taras (Hypothetical Terrace). Pięciu Pszczelarzy (Five Beekeepers) closes the album featuring EABS' Jakub Kurek on trumpet. His fiery solo is one of the most intense moments of the album.

Spacer Po Nadodrzu (A walk around Nadodrze) opens the album and is inspired by one of the districts of Wrocław. It is a sonic story depicting a walk through Nadodrze late at night. A steady bass rhythm imitates a careful pace and the responding sax line is a spooky theme that might pop to oneʼs head in a moment of uncertainty.

The album's first single Krztusiec (Whooping Cough) finds the group diving head first into their most recent influences. The trackstarts with drum improvisation, rolling into a solid hip-hop backbeat provided by Ben Łasiewicki on Bass and Drummer Filip Baczyński. Sax and Guitar weave steady but dissonant lines, written by Maciej Forreiter after many hours spent listening to the Ethiopian jazz greats. The track takes off right after that. Matylda Gerber delivers a fiery Sax solo, while the group picks up the tempo and quickens the groove. The essence is the middle section, a dubby collective improvisation. Forreiter, Gerber and Baczyński take turns playing both classic dub phrases and fierce avant grade lines. Łasiewicki keeps everybody in check with a steady bassline. The energy slows down until Baczyński's drum solo, which explores phrasing detached from the rest of the tune.

Second single Chiński Sprzedawca Smażonych Kasztanów (Chinese roasted chestnut seller) is a fusion of breakbeats, energized songo rhythms and motifs inspired by South African melodies. Presenting the group with spacious and rhythmic horn lines, guitarist Maciej Forreiter wrote a chord progression while Beniamin Łasiewicki and Filip Baczyński took care of the rhythm section. This first part of the track suddenly drops out and explodes into the dramatic main motif which includes double sax and fierce guitar playing in harmony, plus the rhythm section playing more and more jungle-esque. Powerful guitar and sax solos feature before we return to the main theme with a completely different rhythmic backdrop.

W Klatce z Bykiem (In a cage with a Bull), starts like a race. The music plays with an incredible nerve and when the theme is right on edge it suddenly stops. It is followed by an animalistic growl on the saxophone and a doom metal-esque bash of downtuned, distorted guitars and heavy drums. In this heavy fashion it slowly approaches the finishing line hitting one final metallic clang.

Piękno Niemożliwe (Impossible Beauty) features wonderful flute playing of Mariya Mavko (Kadabra Dyskety Kusaje). Her work in the opening motif evokes sounds of Polish and Ukrainian folklore. This brief mellow moment serves as a contrast to the usual frantic sounds of sneaky jesus. It is an appreciation of thepolish jazz music of the past, intrinsically-linked to folklore. The band took this idea and reworked it into their own unique style.

Hipotetyczny Taras (Hypothetical Terrace) is built on top of a lengthy vamp in an unusual 7/8 time-signature. The bass anchors the quartet in a simple line, while the rest of the quartet share an emotional conversation. This track is the most open of the whole project and it ends accordingly. The final burst is a call back to the basics ofspiritual jazzand the whole band shows every emotion simultaneously and gracefully fades out.

Pięciu Pszczelarzy (Five Beekeepers) is For Chaching Taphed's conclusion and is a non stop assault of heavy horn lines, punk rhythms and noise. The band is joined by the extraordinary trumpeter Jakub Kurek from EABS, who blends in perfectly with sax and guitar. His exchange of solos with Maciej Forreiter is a combination of classic jazz phrasing and discordant clatter. In the same fierce manner the whole group works within the motif, switching up accents and breaks.

In the short space of two years, sneaky jesus has gone from ambitious upstart looking to break out from its home city playing spit and sawdust venues, to touring Europe as well as prestigious Jazz clubs such as Jassmine in Warsaw. In the process, it has delivered two full-length albums that don't stay in lane or pander to established jazz sub-genres as so many groups do. Some artists make the same record twice or even more than that, but not sneaky jesus. For Chaching Taphed shows the band as restless, experimental, fun, irreverent but purposeful as never before.

“A lot of over-hyped improv / jazz projects out there at the moment and Sneaky Jesus are genuinely excellent and out on their own. Drawing on the expansive atmospherics of a barn as the recording's setting, the album immediately pulls you in with the unsettling 'Spacer Po Nadodrzu' and lifts off on 'Krztusiec', effortlessly moving from angular, abrasive jazz to trippy dub and cinematic intrigue. Tempos shift and intensities shift naturally. The whole set warrants a deep listen from start to finish and watch out for two great guest features from flautist Mariya Mavko and Jakub Kurek bringing some mad fuzz licks to the boisterous closer. Brilliant album.”
Quinton Scott — Strut Records

Rico Friebe is back with the album "Faces Meet" after his recent debut "Word Value" and delivers his personal "deer in the headlight"-moment. What once appeared sparely uncertain and questioning, equalling the fragile try to overcome a state of darkness and forsakenness, now forms into a frenzy of confrontational flashes on "Faces Meet".

Like reflecting on the uncertainties presented on "Word Value", "Faces Meet" reveals some genuinely harrowing findings, creating a wholesome musical moment in time that might never happen like this again.
Besides the uncompromising statements as to find in the opener "Look At Me", refined perceptions in "Nowhere To Run" or "Fifty-One", open-hearted calls in "Do More" and "Let Go", Rico's pivotal confrontation with the irrevocable truth and emotional dissection peaks in his heartbreaking story on "The Best Talk" which marks the crucial lynchpin of the whole album.

Like faces (and therefore people) are constantly meeting everywhere, being faced with the decision how honest and open to meet at all, "Faces Meet" happens to be an even more involved metaphor about surrendering to your true inner self in a mirror-like situation.
Deeply rooted in the seeds of his debut album "Word Value", Rico follows a highly natural and severely plain musical language while implementing new and further ideas and elements throughout his sonic landscape.

"Faces Meet" is an album of insight and self-awareness and the inevitably necessary foundation for his third double LP and magnum opus "Anthems For A Lost Generation" (set to be released in Spring 2024), accelerating a lately unstoppable story into unforeseeable pathways.

Rico Friebe is back with the album "Faces Meet" after his recent debut "Word Value" and delivers his personal "deer in the headlight"-moment. What once appeared sparely uncertain and questioning, equalling the fragile try to overcome a state of darkness and forsakenness, now forms into a frenzy of confrontational flashes on "Faces Meet".

Like reflecting on the uncertainties presented on "Word Value", "Faces Meet" reveals some genuinely harrowing findings, creating a wholesome musical moment in time that might never happen like this again.
Besides the uncompromising statements as to find in the opener "Look At Me", refined perceptions in "Nowhere To Run" or "Fifty-One", open-hearted calls in "Do More" and "Let Go", Rico's pivotal confrontation with the irrevocable truth and emotional dissection peaks in his heartbreaking story on "The Best Talk" which marks the crucial lynchpin of the whole album.

Like faces (and therefore people) are constantly meeting everywhere, being faced with the decision how honest and open to meet at all, "Faces Meet" happens to be an even more involved metaphor about surrendering to your true inner self in a mirror-like situation.
Deeply rooted in the seeds of his debut album "Word Value", Rico follows a highly natural and severely plain musical language while implementing new and further ideas and elements throughout his sonic landscape.

"Faces Meet" is an album of insight and self-awareness and the inevitably necessary foundation for his third double LP and magnum opus "Anthems For A Lost Generation" (set to be released in Spring 2024), accelerating a lately unstoppable story into unforeseeable pathways.

2023 VINYL REPRESS.

IN HER OWN WORDS...

Ruins was made in Aljezur, Portugal in 2011 on a residency set up by Galeria Zé dos Bois. I recorded everything there except the last song, which I did at mother's house in 2004. Iʼm still surprised by what I wound up with.

It was the first time Iʼd sat still for a few years; processed a lot of political anger and
emotional garbage. Recorded pretty simply, with a portable 4-track ,Sony stereo mic and an upright piano. When I wasnʼt recording songs I was hiking several miles to the beach. The path wound through the ruins of several old estates and a small village.

The album is a document. A nod to that daily walk. Failed structures. Living in the remains of love. I left the songs the way they came (microwave beep from when power went out after a storm); I hope that the album bears some resemblance to the place that I was in.

We're proud to announce renewal of our near-ten year relationship with raw black power ambient ritualists Sutekh Hexen in announcing the band's colossal new 2LP "P:R:I:S:M", a full collaboration with Canadian nightmare-weaving enigma Funerary Call (AKA field recording and experimental soundscaping artist Harlow MacFarlane), to be released this summer in collaboration with our good dearest frequent co-conspirators from the US Sentien Ruin.
With "P:R:I:S:M", magisterial sonic-alchemists Sutekh Hexen and Funerary Call join forces to deliver a fully collaborative album of eight highly experimental tracks. Throughout this octonary journey, concepts and unseen source energies are refined into spectrums of deeper consciousness. The resulting narrative guides the listener through a vastness of (dis)charging energies, rebirth through dissolution, and harrowing harmonic passages in tremendous spaces. Inner-workings suspend transformations in time. Pushing their respective boundaries, Sutekh Hexen and Funerary Call initiate the listener with the crystalline, static miasma of the album’s opener 'Meridian غ', only to enshroud them in the manifesting psychosis of 'Infernal Folly'. The churning mysticism of 'Perilous Shade' offers temporal sanctuary, and 'Toward the Eastern Gate' calls forth tectonic-prophecies as the album's centerpiece, tipping the scale into 'Fractal: Void'—a blistering disarmament in a storm of guitars, scathing electronics, and the disembodied calls we all anticipate and fear. 'Æscend Obsidia' tests the preceding tension and overwhelms in shimmering radiance before declaring release in 'Pangæa Ultima² (Dread)'. Closing with 'Shores of Purgatory', thresholds are breached anew with hectic guitar feedback, spectral synthesis and meditative melodic embellishments. Where the mirror blinds, the "P:R:I:S:M" offers vision—refractions of new perspectives, dissolving the shadow-self.

The heralded Minneapolis-based band Barbaro forges an exhilarating
new musical path on 'About the Winter', their inaugural outing for
StorySound Records
Featuring guitarist Kyle Shelstad, bassist Jason Wells, and violinist Rachel
Calvert, the dynamic young group developed a strong following for their
modernist bluegrass sound on their 2020 debut, 'Dressed in Roses'. Their new
album, however, represents a "coming of age" for Barbaro, according to Shelstad,
as it more authentically reflects the band's adventurous musical evolution over
the past few years. All three band members point to the title tune, "Let's Talk
About the Winter" as the song that established the tone for the album. The song,
Wells explains, "fully captured the soundscape that now defines us as a band."
The ten tracks on 'About the Winter' provide a wonderful showcase for the unique
dynamic created from Shelstad's string band roots blending with Calvert's and
Wells' backgrounds in classical music. The album also finds Barbaro expanding
its sound by having Shelstad share vocal duties with Calvert for the first time,
along with weaving electric instrumentation into the group's acoustic- based
music. The bandmates all agree on the key contributions of producer Brian
Joseph (Bon Iver, Sufjan Stevens). "His production," Calvert revealed, "elevated
these tracks to an entirely different level." Together they have fashioned a
captivating pastoral Americana sound on 'About the Winter' that is both
traditional and progressive.
The new album adds to what has been already exciting time for Barbaro, who
were selected by the U.S. government to perform concerts and conduct music
workshops in Qatar, Turkey, and Bulgaria as part of its 2023 American Music
Abroad program.

‘Hey don’t touch that dial, good news Punk Rock Is Back!’ Mal-One

Mal-One’s new album starts with running through the radio dial, looking for some suitable music to listen to. These snippets are actually samples of songs from his previous album ‘It’s All Punk Rock’. Leading the listener nicely into a new set of songs to get their Punk Rock teeth into.

Songs that cover… the great New York punk scene of the 1970’s that grew out of a little bar in the Bowery District of New York City called CBGB’s ‘New York City Punk’. The Clash’s first album discussed in ‘When The Two 77’s Clashed’. The excitement of London’s Roxy Club revisited with its one line chant ‘Down The Roxy’. Those great ‘Punk Rock Fanzines‘, that kept us all so well informed. An early Sex Pistols gig at the Chelsea School of Art, ‘Machine Bubble Disco’. So named after what was to be the main event of that nights entertainment!!!.’45 Random Punk Memories’ sprang from Mal-One’s own reminisces. Talking of memories ‘Looking At The Decals On Steve Jones Guitar’, the recollection of Steve Jones, future guitarist of the Sex Pistols, stealing Mal-One’s bike when he was the tender age of seven years old. An incident that might have triggered this whole road of discovery in the first place.

A reflection on London’s harsh setting in those heady Punk times in ‘Corrugated London’ alongside a call and response to remember that ‘London’s Turning’ all the time for better or worse and that we can’t always pick and choose the bits we want to keep. The self-explanatory, ‘We Will All Lose Some Good Friends Along The Way’. ‘Shakespeare Meets Chuck Berry On Shepherds Bush Green’, a great story when Joe Strummer was asked by a reporter what he was up to and what he might call The Clash’s next album, which would turn out to be the timeless ‘London Calling’. Joe’s rather
tongue in cheek answer was “Shakespeare Meets Chuck Berry On Shepherds Bush Green’’.
A place close to Mal-One’s heart and a great title, that was crying out to be reused. Which Mal-One does via what he calls his Punk Art Poetry. Sometimes these lines are turned into lyrics and reworked into songs.

The album ends with such a call, ‘An Open Letter To…’ all those people who helped influence us all along the way. As the lyric states often without thought of financial gain, but done so, quiet simply because it had to be done.Maybe some young guns might in some small way, be inspired and find in Mal-One’s current efforts that ‘anything is possible’ and the true meaning of Punk was in fact, ‘Do It Yourself’.

The vinyl version of this release includes a poster that is part of Mal-Ones continuing Street Art project that involves putting up posters around London. This time declaring the news ‘Punk Rock Is Back!’. Included in the album packaging also is a signed and blind stamped limited print of one of Mal-One’s works ‘What Is It About Punk That’s So Different So Appealing’. A punk collage that just carries one word in among its multiple punk images and that word is PUNK. We hope you enjoy the indulgence.

Nach Veröffentlichung von drei Alben innerhalb von drei Jahren und einer anschließenden vierjährigen Pause sind Tomb Mold auf ihrem vierten Album "The Enduring Spirit" wiedergeboren worden, ein durch und durch unverfrorener Schritt in neue Gefilde. Doch bei all dem frenetischen Wagemut und kühner Erkundung ist "The Enduring Spirit" nie etwas anderes als unverkennbar TOMB MOLD!

Während neue Strukturen die TOMB MOLD Architektur um neue Einflüsse bereits auf dem im letzten Jahr selbst veröffentlichten Tape "Aperture of Body" erweiterten, insbesondere beim letzten Stück "Prestige of Rebirth", treten sie bei "The Enduring Spirit" deutlich in den Vordergrund. Die Zeit, in der Derrick Vella mit Dream Unending im Doom-Genre erschuf und ausbaute, ist zweifellos in Tomb Mold eingeflossen- ganz zu schweigen von Payson Power und Max Klebanoffs Erkundungen in ihrem eigenen Projekt, Daydream Plus.

Mit dem Album-Opener "The Perfect Memory (Phantasm of Aura)" kommt das kantige, Dimensionen verschiebende Riffing der Band sofort zum Vorschein, während der Track durch verschiedene Stufen des progressiven Death Metal und einige der bisher extremsten Stücke der Band wandert. "Will Of Whispers" beginnt mit einer jazzartigen Fantasiesequenz, bevor es in ein blendendes weißes Lichtfeuer, geschmackvolle Gitarrenleads und zurück in ein verträumtes Serpentinenmuster kippt, das in seiner fast 7-minütigen Laufzeit ganze Universen umspannt.

Die hintere Hälfte des Albums setzt die Reise in das fort, was innerhalb der Death Metal-Normen möglich ist, und erreicht den Höhepunkt mit dem über 11-minütigen Albumschlussstück "The Enduring Spirit Of Calamity", einer jenseitigen Reise in einen Strudel, in dem alle Dinge in Raum und Zeit zusammenlaufen und den Baum des Lebens durch eine leuchtende himmlische Komposition bildlich greifbar machen.

Nach vier Jahren Pause war es für eine Band mit grenzenloser kreativer Energie, wie Tomb Mold es sind, eine Selbstverständlichkeit, den Umfang ihrer Vision zu erweitern - auf "The Enduring Spirit" haben sie ein Album mit einer cineastischen Umgebung geschaffen, die unbegrenzte Möglichkeiten der Erforschung bietet, sowohl für sie selbst als auch für den Hörer.

- Tomb Mold werden auf dem November 2023 Cover des Decibel Magazins zu sehen sein (erscheint Ende September)
- Beide früheren Tomb Mold-Alben gehören zu den 20 Buck Spin-Bestsellern aller Zeiten
- Artwork von Jesse Jacobi, der auch das Artwork von Planetary Clairvoyance gestaltet hat
- Aufgenommen von Sean Pearson (Tomb Mold, Dream Unending) und gemischt und gemastert von Arthur Rizk (Tomb Mold, Dream Unending, Kommand, Gravesend, Power Trip)
- Die Vinyl-Version enthält ein 4-Panel-Insert und ein riesiges 36x24-Zoll-Poster.