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High Hopes - New album from the Mole.
High Hopes is 17 songs across 40 minutes on one slice of wax that, as advertised, sounds nothing like last month’s Ep, High Dreams. Here, rather than the long form dance form, is a continuation of the beat tape pacing from the last album, a collection of moments posing as ideas posing as a narrative stuffed with oddities and surprises that reward the close listen.
What’s heard on High Hopes is the Mole’s exploration of a love letter, from one person to a family, from the northern Pacific to the southern Atlantic, from a boy to a painted bird. Vancouver Island to Manantiales. The songs range from ambient sound bath and hip hop sludge, up to micro boogie and almost House before tumbling back down and forth again. Bubbling synths, MPCs swung out, samples chopped and chewed, bass and violins from Rick and Sophie, field recordings of birds and frogs and beaches, friends and family and fiestas. Did we mention the love ?! This album has got it all! Original collages from Antonio Carrau envelope this wax: jacket, sleeve and cookie. Antonio’s work is typified by playful combinations and bold statements about living in a embrace of analog and digital health. His co lages marry the corporeal world with an updated, digitalized age of reproduction, inducing feelings of gratitude for the simple everyday scenes we sometimes lose touch with when we forget to slow down. Good living, like breathing, requires inhaling as well as exhaling.
We can’t always produce content, make art, we must also pause, and listen. And enjoy. The Mole is joined by friends and colleagues on several songs included on High Hopes. Rick May plays bass on both Que Rico and album stand out GoinF4er. Sophie Trudeau (Godspeed You Black Emperor) plays and arranges violins on GoinF4er and Danuel Tate (Cobblestone Jazz) and Julz Chaz (Wagon Repair) both play Vibes and Emaxx throughout the album. Working with these incredible talents not only enriched this album, but fulfilled a long standing goal of the Mole’s; to work again with the musicians from whom he learned so much. People who helped inform the shape of Mole to come.
The Mole who was As High As The Sky. The Mole has been ‘recognized’ by the ‘global underground’ since his critically celebrated premiere album, As High As The Sky, but his earlier Eps (Wagon Repair, Philpot, Musique Risquee) got the attention of Top DJs, clubs, and festivals around the world first. His sound remains unique, fresh and deep: enjoying plays in a wide variety of spaces and places.
High Hopes is the Mole’s 5th solo album and his 2nd album for Circus Company (The River Widens) who have also proudly released two eps of Mole magic (Little Sunshine, High Dreams).
*Isn’t that too much time for one record? Short answer - No. Long answer - depends on the material. Due to the many quiet passages in the album, the groove spacing can be modulated and the needle can slow it’s progress towards the center/end resulting in longer sides with continued high gain and low distortion.

Two years ago, after Covid sent the industry into a tailspin I made the sad decision to stop pressing Holding Hands records to vinyl. This was gutting as the label had been putting records out from the first release and it had always felt like an integral part of the label’s identity.

It sucked but I always hoped that in the future I would be able to feel confident in pressing records again and I am so happy to say that the time has finally come again!


Earth Trax popped into my inbox with some demos and I instantly knew there was something special here. The tracks are absolutely timeless and will do the business on any dancefloor from now until the end of time.

The A sides have more of loopy club quality that you could listen to all night. The sort of thing that you just lose yourself to when it comes on in the club. You aren’t sure exactly when it came on but you suddenly realise that you’ve been gurning with your eyes closed for some indeterminate amount of time. Basically, they’re very chewy loops (note to self: potential cereal idea).

The B sides have more of a...for lack of a better word, B side quality to them. They’re both broken and they make me want to move my body from side to side in a sort of jagged cool 80’s way. Ones to make you move and think at the same time.

OK enough of my blather. Go and listen to the damn things yourself and decide if you like them, rather than trying to work it out from reading a bloody press release you weirdos.

All four tracks are produced and sculpted for the club. They want big sound systems and dark rooms.

Close your eyes, hold hands and experience transcendental space flight...

In den acht Jahren, seit sich Amyl and The Sniffers in Melbournes brodelnder Musikszene zusammengefunden haben, hat es die Band perfektioniert, Verspieltheit und rohe Wucht zu kombinieren. Mit den zwei bisher erschienenen, einhellig gefeierten Alben (dem selbstbetitelten Debüt von 2019 und "Comfort To Me" von 2021), haben Sängerin Amy Taylor, Gitarrist Declan Mehrtens, Bassist Gus Romer und Drummer Bryce Wilson ihren einzigartigen Stil etabliert. Seit dem Release von "Comfort To Me" haben sich die Perspektiven für die Band in jeder Hinsicht exponentiell erweitert. Größer, klarer, smarter, schärfer, das ist es, was nun auch das dritte Album der Band antreibt. "Cartoon Darkness" hat die Band zusammen mit Nick Launay im 606 Studio der Foo Fighters in Los Angeles aufgenommen, am gleichen Pult, an dem schon Fleetwood Macs "Rumours" und Nirvanas "Nevermind" entstanden. Es ist ein überraschend abwechslungsreiches Album und reicht von klassischem Punk über den strotzenden Glam der Single "U Should Not Be Doing That" bis zur ausgelassenen Balladenhaftigkeit von "Big Dreams". Auf "Cartoon Darkness" geht es um Krieg, die Klimakrise und künstliche Intelligenz, um Politik und das Gefühl, online eine Stimme zu haben, während wir am Ende doch einfach nur das Daten-Biest Big Tech speisen, unseren Gott der Gegenwart. Es geht darum, wie unsere Generation mit Informationen vollgestopft wird, wie wir wirken wie Erwachsene und dabei doch für immer Kinder bleiben, abgeschirmt wie in einem Kokon und dabei all die Ablenkungen verschlingend, die uns nicht einmal Wohlbefinden oder Freude bereiten, sondern einfach nur Taubheit. "Cartoon Darkness" rennt mit dem Kopf durch die Wand ins Unbekannte, in die heranziehende Ahnung einer Zukunft, ein kindliches Dunkel, das sich schrecklich anfühlt, aber noch gar nicht existiert - ein großer rauer Spaß.

Almost exactly one year after their debut album on Sdban Ultra (2023), the pan-European trio KAU continues their energetic trip with a double single release. This release, packed with intricate synthesizer arrangements, rapid drum patterns, and deep resonant basslines, is once again focused on capturing and translating their infectious live sound to tape.

Fully playing off their energetic band dynamics, the trio draws on elements of jazztronica, combined with familiar jam sounds from acts such as Yussef Dayes and corto.alto, transitioning into a groove atmosphere reminiscent of Flying Lotus. Imagine the fusion of British jazz with the innovative, vibrant 'Brussels sound'-that's where KAU sits.

"Kaugummi" (chewing gum) is the latest original track produced by the trio. The idea evolved by combining a 'dub' bassline with an intricate drum pattern. The melody is reminiscent of the EP's other side, "Mad Kau," as it uses similar unapologetic, richly diverse, and grooving elements. Both tracks culminate in highly energetic moments distinguished by aggressive arpeggiators and synths.

"Mad Kau" is a present-day remake of their previous 2022 release "Mad Max." It's a true representation of how the track is played by the trio on stage, with its iconic melody as the heartbeat of the song. It evokes moments of madness both within the musicians and the listener, hence the title.

After releasing my album 'ÖÐRUVÍSI,' which was a very personal and emotionally challenging project, I felt the need to make something weird and energetic for the club. I’m really into tunes that feel both slow and fast simultaneously.

The first track on the EP, 'Let’s be Havin u,' was initially hard to place genre-wise, i ended up sending it to Darren, who loved it and wanted to sign it. Releasing on Exit kinda feels like earning a black belt as a producer hah. I never imagined that a decade after buying Exit 12”s in 2014, I’d be releasing my own music on the label.

When I started making the EP, I had just begun performing again. I often saw people on the dance floor, too out of it to enjoy the music and often some of them having to be carried by their friends to backstage. This made me wanna make tunes for the dance floor as a bit of a statement on this. I first tested 'Let’s be Havin u' at Prikið in Reykjavik, sounded mad on the little old funktion one. The moment I knew that I was onto something with the EP was when I was Performing in Bristol at Thekla for my friend Boofy. It was wild, the ceiling started leaking during the show. I Love Bristol, feels like home to me.

Most of the percussion and hats on the EP are made with an Elektron Model Cycles, and the synths and pads are from a 80s Yamaha hybrid FM/sample synth I found at a thrift store. It doesn’t have MIDI, so I have to record perfect takes for chords and melodies. I often use pedals afterwards or resample the sounds for more tonal control.

I enjoy digging for records with unique breaks to sample, as I feel this is lacking nowadays. I usually make all my drums from scratch but when I use breaks I like it to be something I haven’t heard before. The alien percussion sound in the last track is actually me biting my teeth together, resampled repeatedly and ran through pedals and interfaces. I also recorded myself chewing gum for the second track to give it that hand on the hip feel. Most of the EP is made with hardware, outboard gear, or real-life recordings.

I’m not concerned about the EP fitting a specific genre or playlist. Too many artists play it safe by focusing on their Spotify stats and abandoning projects that don’t work instantly. I think also Obsessive nostalgia stifles innovation, keeping things stuck in a loop by replicating to the tee, tunes from 2 decades ago. I get it, but there has to be a middle ground sometimes.

Tallinn's OG mainstay Nikolajev hops back on Sad Fun camp to hand out two bass loyal dancefloor beasts. A side “Lego Dub” steps on it accurately with its beat all flanged up & pushed to the red of course. Arpeggiator carousels doing the rounds with Niko’s vocals sprayed left & right, front & back like bad hallucinations. Hihat chewing your ear off. Are we there yet? Nope. B side has the funk. And chaos. Let the acidic bass sink in & soundtrack your mid–summer madness. Trust Nikolajev to be your guide, always.

The self-titled debut album by Last Plane Out (S-Rock/Border) will be released worldwide on vinyl - The band: Last Plane Out is a duo consisting of Nils Erikson (music) and Anders Lundquist (lyrics) They describe their style as progressive pop: songs for those looking for some musical and lyrical chewing resistance, yet appealing to the casual listener.

Nils Erikson, based in Malmoo, Sweden, is a Swedish singer, composer and multi- instrumentalist. He has released a number of solo albums, one of which was nominated for two Swedish Grammys (Newcomer of the Year and Male Artist of the Year). He has also released several instrumental works that have been streamed millions of times.
In addition to that, Nils is the co-keyboardist and co-lead singer of the progressive rock band Karmakanic, led by longtime Steve Hackett bassist Jonas Reingold. Anders Lundquist, based in Stockholm, Sweden, is a lyricist, composer and bassist/guitarist, as well as a renowned music journalist. As the bassist and one of the two main songwriters of Swedish hard rock progsters band Future Elephants?, he released three acclaimed albums between 2016 and 2023.

Nice Swan Records is ecstatic to unveil the highly anticipated 2nd volume of "Nice Swan Introduces." This compilation, following in the footsteps of its predecessor, showcases the best releases from the past two years on the Nice Swan Records Label. Just like Volume I, this release comes alongside an exclusive limited run of only 250 vinyl records, ensuring you'll own a piece of Nice Swan history.

Prepare to be captivated once again by a diverse array of musical talents, reminiscent of the Volume I lineup. Featuring exceptional artists like Prima Queen, Deadletter, Chalk, Cowboyy, Human Interest, and a host of others who have graced the Nice Swan roster over the last few years.

Your collection won't be complete without this addition. Nice Swan Introduces Volume II continues the tradition of introducing new and exciting talent to the world, reinforcing Nice Swan's status as one of the UK's most reputable indie labels. Stay tuned for further signings and releases in the coming weeks, as we continue to fulfill our mission of discovering and nurturing emerging artists.

Just as Volume I marked a significant milestone in our journey, Volume II is another step forward for the cult indie label. With acts from our roster gaining prominence on BBC Radio 1 and 6 Music airwaves, and receiving extensive tastemaker approval, this compilation couldn't be arriving at a better time.

In memory of the late Mark Edwards, a true nice swan.

The debut 6 track 7” from Fulmine - an international skinhead masterclass from some global drinking buddies. The five piece band featuring Luca, Sarny, Alex, Chubby Charles and Joe went into Fuzzbrain studio and cranked out 6 tracks in as many hours without a single rehearsal. The sound is very basic, rough and intense with lyrics that are very incendiary. This is proper old school mid paced Italian Oi! with the crunching bass and a vocalist who chews glass for that authentic gravel tone. Think BASTA, NABAT, DECIBELIOS and OCHO BOLAS. It’s so good it could have been released C.A.S Records in the 80’s.

repress !

Following acclaimed singles from Powell, Blood Music, Shit & Shine and Prostitutes, the next release from Diagonal is a landmark. It marks both the London label's first full-length album release, and the return of abrasive and furiously funky hip-hop deconstructionists Death Comet Crew, one of the most quietly influential underground acts to emerge from the creative melting pot of 1980s New York.

Ghost Among The Crew documents the group's return to studio operations for the first time since the 80s, as well as their first ever full-length studio album. It's a remarkable trip: a consolidation of their early feral disassemblies of hip-hop and electro, but also broader in scope, chewing up and spitting out fragments of soul, jazz fusion, punk and industrial music.
Death Comet Crew were founded in New York City in 1983 by Stuart Argabright, a founder member of post-punk/industrial mavericks Ike Yard and the mind behind Dominatrix and later Black Rain. Their sound, then as now, was a singular proposition: urban in mood, exploratory, often compellingly danceable, yet confrontational. It emerged from the interweaving talents of the group's varied members: guitarist Michael Diekmann (of Ike Yard), bassist Shinichi Shimokawa (later of Black Rain) and Nick Taylor aka DJ High Priest, frequently joined by the late, great hip hop artist and graffiti writer Rammellzee. Having recorded two studio EPs - 1985's At The Marble Bar (featuring Rammellzee) and its follow-up Mystic Eyes - the group disbanded barely a year after forming. They left behind a reputation for their incendiary live performances, several recordings from which were gathered on crucial 2004 compilation This Is Riphop.
The musical climate that first birthed Death Comet Crew was one of fertile cross-pollination of styles. In the late 1970s and early 1980s, the seeds of modern day urban musics - hip hop, punk and post-punk, no wave - were taking root in the streets of recession-struck New York City. Argabright recalls dancing at the downtown Mudd Club around 1980 to a bold mixture of styles, with DJs cutting from synth-pop and post-punk to funk, soul and early hip-hop: Bowie and James Brown next to Run DMC, Ultravox and Gary Numan. Indeed, the names of his New York contemporaries operating around the same time - the likes of Liquid Liquid, Run DMC, Afrika Bambaataa, Arthur Russell, ESG, Swans, Sonic Youth, Bill Laswell and more - have since been inscribed in modern music history.
With previous projects Dominatrix and Ike Yard having recently become inactive, in 1984 Argabright formed Death Comet Crew as a means of exploring new sonic avenues. He'd been experimenting with tape, recording and procesing the sounds of his surrounding environment and dialogue from films and TV. Joined by Shimokawa, Diekmann and Taylor, and using drum machines, turntables, spidery guitar and bass, the group assembled a scrambled collage of rhythms and sampled voices. Their live performances were, in Argabright's words, "aurally violent, sharp-edged, downright lacerating", hacking gleefully away at hip hop and electro's rhythmic frameworks. Rammellzee joined the group to vocal 1985 debut EP At The Marble Bar; his MC turn on highlight 'Exterior Street' is all the more remarkable for having been entirely freestyled in the studio. When Death Comet Crew reformed in 2003 for a string of live shows, he continued as an active member of the group, touring and working with them during the recording of Ghost Among The Crew, until he sadly passed away in 2010.
After reforming, Death Comet Crew began writing and recording new material. Now, following on from their just-released Galacticoast 12" through Citinite, Ghost Among The Crew - its title a homage to Rammellzee - hones the group's abrasive early experimentations while tripping into bold and astrally minded new territory. Alongside the core quartet of Argabright, Diekmann, Shimokawa and Taylor are new voices, including Rapscallion (a friend of Rammellzee's), Jessica 6/Hercules & Love Affair singer Nomi Ruiz, and Carolyn 'Honeychild' Coleman. Its eight tracks are steeped in the impulsive spirit of electric Miles and the deep space romances of Sun Ra, and possessed of an enigmatic yet undeniable pop edge. But equally they're pricked with urban paranoia and dread, traits that have long been hallmarks of Argabright's musical projects.
'Me Czar Of The Magyars' opens the album in a twist of tension like the turning of a ratchet. Its taut electroid shudder is paired with machine gunned cymbal hits and a voice telling of "wormwood and opium dens" - the sound of being teleported from everyday city streets into the astral plane, where every sensory input is heightened and the promise of danger or pleasure lurks unseen around every corner. Later, Coleman's lyrics pay tribute to Rammellzee on the sci-fi funk of 'Deep Space Woman'. 'Let The Clubs Ring' melts lounge bar organs and frazzled guitar into freakishly unstable shapes, while 'Drag Racing' matches its title, rocketing along frantically atop clattering drums. 'Moons On Titan's Seas' is halfway interlude pause for rest, like an exotic cocktail in a bar orbiting some as-yet-undiscovered new world. These varied strands are somehow all summarised in album closer 'Ignition Spark', which sets Ruiz's vocals alongside Taylor's and Argabright's. The zone the trio inhabit in this final track exists in perpetual push-pull between contemplation, memory, intrigue and violence, a decisive opening of a new chapter in Death Comet Crew's history.

As with all Diagonal releases, the initial vinyl pressing will be packaged in unique, specially designed artwork.

Cherry Red Vinyl, limitiert auf 1000 Exemplare. Die Punk-Veteranen von Hot Water Music freuen sich, die Veröffentlichung ihren brandneuen Albums Vows anzukündigen, welches am 10.05.2024 via End Hits Records erscheint. Unter der Leitung des erfahrenen Produzenten Brian McTernan gibt es auf Vows hochkarätige Gastauftritte von Thrice, Dallas Green (City and Colour // Alexisonfire), The Interrupters, Daniel Fang und Brendan Yates (Turnstile) und Popeye Vogelsang (Calling Hours // ex-Farside). Drei Jahrzehnte, 10 Alben und immer noch ein fester Pfeiler des amerikanischen Punks - Hot Water Music sind nach wie vor eine Quelle des Einflusses und der Inspiration für Bands auf der ganzen Welt. Auf dem kommenden Album Vows bleibt das Ziel der Band dasselbe wie immer: kontinuierliche Weiterentwicklung mit einem scharfen Blick in die Zukunft. "Das Thema, das während der Arbeit an diesem Album immer wieder auftauchte, war das Wachstum - wie das Schreiben eines Songs, die Aufnahme eines Albums oder das Dasein in einer Band so ist, als würde man einen Samen pflanzen und ihm beim Wachsen helfen", so die Band. "Wir denken, dass das viel damit zu tun hat, dass wir zurückblicken und erkennen, dass wir es in 30 Jahren geschafft haben, etwas Besonderes zu schaffen, das wir alle wirklich lieben" Darüber hinaus markiert "Vows" ein weiteres brillantes Kapitel in der fortgesetzten Zusammenarbeit mit dem gefeierten Produzenten und Hardcore-Legende Brian McTernan, der mit der Band an "A Flight And A Crash" (2001), "Caution" (2002) und "The New What Next" (2004) gearbeitet hat, die oft als Hot Water Music-Klassiker bezeichnet werden. Ohne zu wissen, wie es weitergeht, begann die Band mit dem Schreiben der neuen Songs mit der einfachen Absicht, Musik zu veröffentlichen, um diesen hart erarbeiteten Meilenstein zu feiern, sei es eine Single, eine EP oder ein ganzes Album. Sie waren sich jedoch absolut sicher, dass sie keine neue Platte nur um der Sache willen machen wollten; diese Platte musste aufregend, unerbittlich und vor allem notwendig sein. "Jeder hat viel Zeit damit verbracht, über die Reise nachzudenken, die uns hierher gebracht hat, und darüber nachzudenken, was wir von nun an tun wollen, während wir dieses Album machen", fasst die Band zusammen. "Wir hoffen, dass sich dieses Album für jeden, der es hört, wie eine Feier unserer Geschichte und Zukunft anfühlt. Das ist es definitiv und so fühlt es sich für uns an."

Cherry Red Vinyl, limitiert auf 1000 Exemplare. Die Punk-Veteranen von Hot Water Music freuen sich, die Veröffentlichung ihren brandneuen Albums Vows anzukündigen, welches am 10.05.2024 via End Hits Records erscheint. Unter der Leitung des erfahrenen Produzenten Brian McTernan gibt es auf Vows hochkarätige Gastauftritte von Thrice, Dallas Green (City and Colour // Alexisonfire), The Interrupters, Daniel Fang und Brendan Yates (Turnstile) und Popeye Vogelsang (Calling Hours // ex-Farside). Drei Jahrzehnte, 10 Alben und immer noch ein fester Pfeiler des amerikanischen Punks - Hot Water Music sind nach wie vor eine Quelle des Einflusses und der Inspiration für Bands auf der ganzen Welt. Auf dem kommenden Album Vows bleibt das Ziel der Band dasselbe wie immer: kontinuierliche Weiterentwicklung mit einem scharfen Blick in die Zukunft. "Das Thema, das während der Arbeit an diesem Album immer wieder auftauchte, war das Wachstum - wie das Schreiben eines Songs, die Aufnahme eines Albums oder das Dasein in einer Band so ist, als würde man einen Samen pflanzen und ihm beim Wachsen helfen", so die Band. "Wir denken, dass das viel damit zu tun hat, dass wir zurückblicken und erkennen, dass wir es in 30 Jahren geschafft haben, etwas Besonderes zu schaffen, das wir alle wirklich lieben" Darüber hinaus markiert "Vows" ein weiteres brillantes Kapitel in der fortgesetzten Zusammenarbeit mit dem gefeierten Produzenten und Hardcore-Legende Brian McTernan, der mit der Band an "A Flight And A Crash" (2001), "Caution" (2002) und "The New What Next" (2004) gearbeitet hat, die oft als Hot Water Music-Klassiker bezeichnet werden. Ohne zu wissen, wie es weitergeht, begann die Band mit dem Schreiben der neuen Songs mit der einfachen Absicht, Musik zu veröffentlichen, um diesen hart erarbeiteten Meilenstein zu feiern, sei es eine Single, eine EP oder ein ganzes Album. Sie waren sich jedoch absolut sicher, dass sie keine neue Platte nur um der Sache willen machen wollten; diese Platte musste aufregend, unerbittlich und vor allem notwendig sein. "Jeder hat viel Zeit damit verbracht, über die Reise nachzudenken, die uns hierher gebracht hat, und darüber nachzudenken, was wir von nun an tun wollen, während wir dieses Album machen", fasst die Band zusammen. "Wir hoffen, dass sich dieses Album für jeden, der es hört, wie eine Feier unserer Geschichte und Zukunft anfühlt. Das ist es definitiv und so fühlt es sich für uns an."

Warehouse Find! - Test Pressing!

It seems like ages since we last had Roberto Rodriguez on the label with his excellent Be Somebody back in 2008, so we're plenty happy to welcome him back for a long overdue follow up. Roberto clearly hasn't just been sitting on his arse the last 4 years however, having established the Serenades label which released his own LP Dawn last year, as well as putting out the killer Thinking Of You release on Fina plus numerous remixes for rock solid labels such as Let's Play House, On The Prowl, Moodmusic and 2020 Vision. Those familiar with Roberto's productions and credentials will know he has a fine ear for disco and 90's house born out of years collecting records and DJing in the best clubs in his native Helsinki.
Kicking off with Dance Like Nobody's Watching, we see Roberto tread confidently into pure, unadulterated retro house territory with NJ organ stabs, swinging 909 drum groove and choice vocal hits.
Oxymoron keeps things a little deeper with tracky filtering chords and driving drums resulting in a garage-influenced feel with bucket loads of raw attitude.
Finally we have The Black Madonna on board for a remix of the title track. The Chicago producer impressed us recently with her brilliant disco-infused tracks on Stripped & Chewed and Home Taping labels and thought her the perfect choice to contribute to the release. Here she delivers a lesson in stripped back Chicago warehouse vibes keeping everything to a bare minimum for maximum club bump. Kick, claps and piano stabs form the basic groove as she confidently develops the arrangement slowly and surely.

180g Hyperspace Coloured Vinyl
2-LP Holland
Popular / Original Soundtrack
High Quality, Gatefold Sleeve, Insert, Coloured Vinyl

"Star Wars Stories is a collection of the most famous melodies & fan favourite tracks from the recent Star Wars Universe including The Mandalorian, Solo: A Star Wars Story and Rogue One. This compilation features main themes, epic orchestral tracks and emotional songs, paying tribute to the originals John Williams, Ludwig Göransson, John Powell, Anthony Williams & Michael Giacchino. This project is a follow-up to the 2019 release Music From The Star Wars Saga – the essential collection, a compilation of music from the Star Wars films. Included are the most famous melodies & fan favourite tracks from the hugely popular tv series, paying tribute to Ludwig Göranssons’ work. This includes musical highlights from the series ranging from the infamous main theme to epic orchestral tracks & character pieces for Boba Fett & Luke Skywalker. From Solo: A Star Wars Story, this tribute to John Williams & John Powell’s 2018 album features action-loaded orchestral musical highlights from the film and themes for the beloved characters Han Solo and Chewbacca. Star Wars Stories is available as a limited edition of 1000 individually numbered copies on ""Hyperspace"" coloured vinyl. This 2LP-set is housed in a gatefold sleeve, includes an insert, and features secret inscriptions in the run-out grooves.
"

Star Wars Stories by Various Artists, released 2 May 2024, includes the following tracks: "Luke Skywalker Hallway Theme", "End Theme", "Flying With Chewie", "The Adventures Of Han" and more.

This version of Star Wars Stories comes as a 2xLP in a(n) Gatefold Sleeve packaging. This release comes with (a) Insert(s).

The vinyl is pressed as a marble, blue & white & black disc. Another vinyl is pressed as a marble, blue & white & black disc.

Cardiff's Buzzard Buzzard Buzzard returns with Skinwalker - a garage- rock romp and follow-up to their Welsh Music Prize nominated debut album Backhand Deals.

Taking raw rock 'n' roll cues from tracks frontman Thomas Rees produced for emerging talent - such as Panic Shack, Do Nothing and The Bug Club - and teased by recently released singles "Chew" and "Therapy", the record marks the band's move towards a heavier and disquieting sound, inspired by Rees' revitalised devotion to acts such as Ty Segall, Thee Oh Sees and Black Sabbath.

Mutant präsentiert den OST zur Roadmovie-Komödie DRIVE-AWAY DOLLS (2024), Ethan Coens erstem "Solo"-Film (ohne seinen Bruder). Mit einem exzellenten Score des EMMY-preisgekrönten Komponisten Carter Burwell und Songs von Le Tigre über Linda Ronstadt bis Lizzie Mercier Descloux passt er sehr gut in das beeindruckende Erbe der jahrzehntelangen Zusammenarbeit Burwells mit den Coen-Brüdern. Es ist das perfekte Mixtape für diesen Roadtrip, ein bisschen Country, ein bisschen Rock'n'Roll, ein bisschen Disco und ein bisschen Queer. Carter Burwell ergänzt: "Wenn Sie die übliche lesbische Roadtrip-Krimi-Sex-Comedy-Musik erwarten, werden Sie nicht enttäuscht sein."

On Gut Buster, Yosa Peit spawns fleshy sonic escapades, a swarm of vigorously processed vocals and soulful bass, set to a backdrop of visceral percussive structures. Full of roguish curiosity, the record is cast with an air of lo-fi experimentation, but with a platinum glint of pop sensibility. Peit's second album grapples with the destructive force of modern consumption, Gut Buster is an anti-capitalist battle cry that syntheses intimacy and hostility; a surrealist-punk affirmation and a testament to Peit's singular vision and unique approach. The free-ranging sound of Yosa Peit recalls the intense arrangements of a cyber-era Prince with the surrealist tones of Arthur Russell and early Björk. At the album's core, "World Eaters" unleashes scorching guitars in search of humankind's end, "I was born on a planet, I got hungry and I ate it." Even in the face of planetary doom and personal obstacles, Yosa evokes our propensity for mischief, humor and pleasure. "bb moon" processes sound solely from her bass into wicked oblivion. "CALL ME," a song about friendship, chews up it's anthemic melody into a gnarled strut worthy of an A$AP Rocky production, while "HAD3S" urges us to find balance, nodding to the mystical fuzz of Prince. Yosa's work has been called "personal, punk, poignant, deep" yet her genre-defying production, as textured as it is catchy, escapes definition. Gut Buster takes that collective playground for creation to planetary reaches, congregating friends from Berlin, Cologne, and New York's fuzzy musical underbelly: Employee, Funkycan, Gerry Franke, Glenn Astro, Nauker, Paingel, Tbz, and UCC Harlo. The record was mixed by Brainfeeder affiliate Benjamin Vukelic in Portland and Jan Brauer in Berlin. "Glitchy yet supple, the broken beats and warped abstractions are wholly unpredictable yet deliciously odd, like an esoteric mashup of Bjork, Aphex and Laurie Anderson" Electronic Sound Classic Black Vinyl, Gloss Laminated Sleeve, Printed inner "Gut" sleeve plus DL card.

As part of Subtext's 20th anniversary, Subtext presents the debut album from bela as a co-release with Unsound.

bela was based in Seoul when they began to develop the framework for 'Noise and Cries (굉음과울음)'.Chewed up by a society that's slow to embrace those who exist on the margins, they and their close friends became fixated on the concept of death. "I wanted to cry, I Wanted to die," they recall. "The precariousness of living in South Korea hits different. I thought, let's share what is killing us." bela refused to lose hope, so they inventoried the sounds, experiences and emotions that had formulated their identity and wondered how this might form a different sort of South Korean musical expression. They considered the guttural death metal growls and industrial music they heard when they began to interface with Western culture as a teenager, the idiosyncratic folk rhythms that rattled away in the background of state events, the evocative, euphoric drones that had offered them solace, and the heady, cybernetic maximalism that's come to define contemporary queer club music.If this was going to be an album about death, bela knew wouldn't it be preoccupied with loss, but rooted in a deep desire to regain the will to live.

'Noise and Cries (굉음과울음)' is the first time bela has recorded their voice, and they metamorphose it from moment to moment, embracing a precarious vulnerability. Opener 'The Sage' references Jungtaryeong, two well-known arias from the Korean Pansori tradition - a folk form that is usually performed by a drummer and a singer. Screaming, whispering and rasping, bela twists borrowed words from the original arias, repurposing them to highlight the hypocrisy and brutality of patriarchal wisdom.

These bellowed phrases contrast with an abrasive rhythm that bela based on the eatmore jangdan, an irregular, traditional beat that's been remoulded into a jerky, electro-acoustic call to action. Even if the gargled Korean wordplay can't be fully understood, the mood translate flawlessly. On 'Death Will I', they reassemble the damaged relationship between a queer child and their

Reissued on vinyl for the first time since its original release in 2011.

Detroit underground hip hop heroes Black Milk and Guilty Simpson joined forces with Brownsville's finest Sean Price on this 2011 supergroup effort, with hard beats, harder rhymes, and A-list guest appearances including Danny Brown, Roc Marciano, and more.

MESS is the next instalment of the Liars' recycled coloured vinyl reissue series, released alongside the album’s 10th anniversary.

Originally released in 2014, MESS was the sound of Liars not only facing their fears but also chewing them up and spitting them back out in all their technicolor glory. Written and recorded by Angus Andrew and Aaron Hemphill, produced by Angus and mixed by Timothy "Q" Wiles, this record was less concerned with place compared to previous albums, and saw the band back in their own studio in LA.

Angus explained at the time of release, "We go from one extreme to the other. Working on the last record was really doubtful and paranoid, and that's fine, but it just meant that when work started on this one, it was the exact opposite. It was way more instinctual, fun, and confident.”

Liars’ recycled vinyl series so far has included Liars' 2001 debut, They Threw Us All in a Trench and Stuck a Monument on Top; their concept album about witchcraft on The Brocken mountains, They Were Wrong, So We Drowned (2004); 2006’s acclaimed follow-up, Drum’s Not Dead; 2007’s LA-recorded self-titled fourth album, Liars; 2010’s Sisterworld; and 2012’s acclaimed WIXIW.

Includes unlimited streaming of Mess via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.

2LP. In celebration of the album's 20th anniversary, it is now available on vinyl for the first time!Including the classics 'Scared Of Yourself', 'Goodbye', and 'Believe In Me'.

Swart Waling Koolhaas is the new album by jazz pianist Joost Swart, drummer Bjorn Waling and producer Jesse Koolhaas. The music is the result of a two-day session where improvisations were recorded and several well-known guest musicians from the Dutch Jazz scene were invited, like Reinier Baas, Joris Roelofs and Jeroen Vierdag. The recorded improvisations on grand piano, drums, and other instruments, combined with the sounds from Jesse Koolhaas’ vintage synthesizer collection fuses into a type of music you can’t really put your finger on. Straight forward jazz, or electronic music. It is both and neither.

Teakup continues his own white label series with 002, exploring ambient and dub techno realms, tactile and chewy percussions, and beat abstractions. The blissed out, dissociative atmospheres return with a more driving pulse. Music made for healing the mind and body in tumultuous times.

Repress!

Rebirth's talent Corrado Bucci gets a full single release,exciting us again with his eclectic music.

Since the previous works 'Brooklyn' and 'Chewing Bubble' Corrado has being gaining a great support in the electronic scene.

With influences from jazz to funk, he explored new musical territories and started to play real instruments, refining his artistic expression ! Already hammered by Gilles Peterson, Jazzanova and Moodymann, and n.1 as most charted track on RA, 'Open Your Eyes' is an effective track with strong breakdowns, a warm house groove and old school vocals. Detroit's Andrés (Mahogani Music / Slum Village) delivers his signature vibe and smooths it out even further into a soulful neo-disco-house interpretation ! On the B Side Bostro Pesopeo follows his releases on Permanent Vacation with a tasty hypnotic dreamy version of '23 Years Old'. Super limited and extra hot Ep !

The American singer-songwriter tradition has always been tethered to a rustic austerity, the sort of front-porch authenticity that suggests an age where home electronics are still considered luxury items. But there's also the ongoing influence of Bob Dylan and The Band's Basement Tapes-that strange and beloved document of the magic that happens when private experiments with the folk template flourish into layered and lush songs-and its genesis through informal recording sessions. In our modern age, these kinds of casual DIY constructions are perhaps the more honest contribution to the Americana lineage-the true homespun artform. When Michael Nau and Whitney McGraw struck out on their own in the wake of the dissolution of their beloved indie-folk outfit Page France, they continued their songwriting practice with a new project called Cotton Jones Basket Ride. As legend has it, Nau and McGraw were working on the material for their debut full-length Paranoid Cocoon (2009) when they realized they had an entire album's worth of odds-and-ends from various recording sessions. The resultant album - The River Strumming - was released in 2008 on St. Ives in a batch of 300 unique hand-packaged LPs. As the label advertised it back in the day, the band "initially set out to make a cohesive record, and made just the opposite." Like The Basement Tapes, The River Strumming is a document of a band exploring possibilities without the weight of expectation. The band would eventually condense their name to Cotton Jones and make a name for themselves in the indie world for their fusion of dreamy folk and psychedelic baroque pop. But in the beginning, there was this weird and wonderful collection of songs made by musicians who were enjoying the private process of finding their path. Suicide Squeeze is proud to present a 15th-anniversary vinyl reissue of this long out-of-print classic with updated artwork by Kayleigh Montgomery-Morris.

Unseen Worlds presents new recordings of solo piano pieces by Ethiopian composer Girma Yifrashewa, the first release of Yifrashewa's music outside of Africa. Born in Addis Ababa in 1967, Girma Yifrashewa is a worthy new torchbearer of African pianism. His highly personalized approach to the piano likens him to Ethiopian composer Emahoy Tsege Mariam, while his use of Ethiopian pentatonic scale within the Western Art Music format places his compositions in conversation with more academically minded work. Traditionally Ethiopian in melody, cinematic in vision, and deep in beauty, his compositions occupy a lyrical middle ground between classical and jazz that is supremely listenable yet defies easy classification.

Originally released in 1997 on Vapor Records. Acetone (Full Album) was the bands most identifiable record. New West Records is proud to present this reissue with an expanded audio format pressed across two LPs and packaged in a full color gatefold.

Miyuki Omura's "Thats Me" EP is one serious piece of work!

A heavy dose of Industrial Hardcore Techno that sucks you in, chews you to bits, spits you out and leaves you craving for even more sonic abuse.
"That's me" is a 3 track EP filled to the rim with emotional distorted sound design heavily influenced by Miyuki's deep love for traditional Dutch industrial hardcore,
while also heavily flirting with schranz techno and UK infused breakbeat culture.
She perfectly blends the power of industrial hardcore with the grooves, textures, and functionality of "Techno" to her tracks.

"That's Me EP" by Tokyo based artist Miyuki Omura is sophisticated, diverse, creative.. But most importantly.. Hard As Nails!
An impressive PRSPCT debut by an impressive lady!

It is always our pleasure to have new talents in the house, and we've been following Notzing's development since long ago. His approach to techno is absolutely personal and complex, hard and intrincated, mental and physical.

Protae is the first missile in this box full of weapons, a super busy techno exercise with compacted drums, drilling synth lines and random metallic hits breaking the monotony. The effect on the floor is devastating and has been tested extensively in dancefloors worldwide by label owner Oscar Mulero in the past months. 7 minutes of pure dancefloor mayhem.

Fagus continues with the sickness, with hysterical synth washe repeating an hypnotic chant, adding layers of sound as the groove goes by. Repetition is here the key to proper trance, not exactly with pleasant tones but by aggression.

Ekaterin is gummy and elastic with formant synth sounds chewing frequencies and changing constantly in shape. Another mental mantra with a physical drive.

Molniya slows down the pace and dives into profound sound scapes full of unnatural underwater sounds and washes providing a feeling of scuba diving.

To end this sonic odyssey, Emision goes completely beatless, growing from the profound sub bass frequencies to crispy and crunchy surface noises, creating the soundtrack of floating in outer space with no gravity. Please beware of the super intense bass tones when playing on a big sound system.
The perfect combination of experimentation and punchiness, keep an eye on this guy, is gonna make some proper noise in the coming years.

Named after a Kate Bush deep-cut, James And The Cold Gun are dubbed "South Wales' Loudest" group from Cardiff, Wales UK. Earlier this year, Loosegroove Records (a Seattle-based label owned by Stone Gossard (Pearl Jam) discovered the band on KEXP Seattle w/Kevin Cole and immediately signed them. Their most recent single Chewing Glass was met with rave reviews from NME, Apple Music's Rockstars of 2023 Predictions, a recent sync in Rookie:Feds on ABC, and dozens of DSP playlist features across Spotify, Amazon, Apple, Deezer, and more.

Second album from West London, singer-songwriter, producer and multi-instrumentalist, Oscar Lang. A split from his childhood sweetheart sent Lang spiralling, dramatically changing the course of the follow-up to the psychedelic-tinged fuzzy-rock of his 2021 debut Chew The Scenery at the same time as driving Lang into the most creatively fruitful period of his short career. The diversion has resulted in Look Now, an astounding record that makes Lang’s previous output sound like he was just testing the waters. Chew The Scenery and three melodically-breezy EPs that preceded it introduced Lang as a songwriter of rare talents but here is where he really lays down a marker, emerging with an album that takes in playful hooks, poignant lyricism, orchestral swells, ba-roque-pop instrumentation, a record that’s expansive but never overblown, intimate at the same time as being epic. It is his definitive artistic statement. Formats; CD, LP

Formed in 2015, The Cold Blooded Hearts are fronted by
QPR’s former player and current manager Gareth
Ainsworth (formerly of Wimbledon and Wycombe
Wanderers) along with guitarist and songwriter Lee-Van
Sergeant, drummer Luke ‘Chalky’ Sergeant and bass
guitarist Ron Campbell.
Gareth Ainsworth has been into music since he was a boy
and recently released a storming cover of Dion’s hit
classic ‘The Wanderer’. The single was dedicated to the
success of Wycombe Wanderers and became an unofficial
anthem for the club.
Lee and Gareth have been in bands together for twenty
years. They formed Dog Chewed The Handle back in
2004, after which Luke then joined as the drummer. Now
known as The Cold Blooded Hearts, they have released
their first ever album, summarising their many years of
writing together.
This vinyl edition of ‘The Cold Light Of Day’ features 9
cuts of pure rock and was produced by Yes
keyboardist, Geoff Downes – now that’s rock ‘n’ roll
football.

Alex "Omar" Smith has never been one for modesty, so we shouldn't be too surprised that he's called his latest full-length - his fifth in total - The Best. To be fair, he is rather good at producing high-grade deep house, and here unveils another eleven gems. Interestingly, he's recruited an impressive cast-list of collaborators and guests, including Norman Talley, Kyle Hall, OB Ignitt and, most surprisingly of all, Bristol-based Tom Bug. Highlights are plentiful, from the dusty afro and blues influences of the tribal "Chama Piru's", and hazy, Rhodes-heavy vocal cut "AhRevolution", to the hip-wigglin' disco-house influences of "Seen Was Set", and retro-futurist, Inner City style Divinity hook-up "On Your Way".

One of Japan’s most riveting artists follows that KAKUHAN mindmelt from last year (our number 5 album, 2022) with an engrossing suite of wild field recordings and polymetric percussion featuring a whole raft of additional players weaving drums, wind and brass instruments, cello and electronics into a bewildering Acousmatic matrix. Highly recommended listening if you’re into Marginal Consort, Beatrice Dillon, Will Guthrie, Mark Fell, François Bayle.

Having made his mark on these pages over the last few years with appearances as part of Japan’s cult entities Goat and YPY, Koshiro Hino’s turn last year as KAKUHAN took things to a whole other level with an album that felt like some alchemical mix of elements borrowed from Autechre, Photek, Arthur Russell and Mica Levi - a complete stylistic futureshock that worked as well in the club as it did fuelling extended flights of the imagination.

For 2023, Hino takes us into a completely different headspace, assembling a cast of 11 players - the mighty Joe Talia and KAKUHAN’s other half Yuki Nakagawa among them - for a suite of untamed field recordings, clanging percussion, brass and synthesis that are about as far removed from the diaristic ambient de jour as you could possibly imagine. Instead, the ensemble conjure vibrant sound ecologies teeming with detail, mirroring the natural world and communal traditions to form shapeshifting, organismic soundworlds.

‘Geist II’ was written for 20 speakers, referencing François Bayle’s acousmatic music and David Tudor’s electro-acoustic environments. It paints a richly detailed scene of a nocturnal rainforest, replete with avian hoots and a skin-crawling patina of insectoid chatter that moves around the soundfield, stealthily growing in density with a more “musical” presence of super low end drone and drums converging form the peripheries to a ritualistic climax. In the second part, focus shifts to remarkably pure percussion-like tropical rain, invaded by swarms of scuttling and winged invertebrates that give way to a water music-like polymetric slosh, resolving to ringing tones and more mellifluous gestures that hark back to GRM’s most poetic, romantic urges.

It's a deeply psychedelic experience that harmonises tiny electronic fluctuations with bird calls and scraped, resonant drones that phase in-and-out of the mix. It's sound you can practically chew, and another crucial despatch from the contemporary Japanese avant-garde.

The Big G is back, but has Godzilla bitten off more than it can chew? 1992's GODZILLA VS MOTHRA is a triple threat treasure, with Godzilla battling the legendary Mothra and its dark doppelganger Battra, unleashed by a meteorite and is intent on destroying Mothra and, subsequently, the world. Throw in a rogue archaeologist, his ex-wife, and a multinational company exploiting the minute Mothra Cosmos twins, and you have a thrilling kaiju adventure with a stunning score by the original Godzilla composer, the brilliant Akira Ifukube. GODZILLA VS MOTHRA is undoubtedly one of Ifukube's most outstanding scores, bringing together the traditional booming brass and bass that accompanies Godzilla and Battra with a more ethereal sensibility for Mothra and her mission to save the Earth. Godzilla's theme is stomping in the foreground, and Battra gets similar material with a gigantic doom-laden motif for his destructive power. But the "Sacred Springs" theme for Mothra is a match for any of them, with Ifukube using it in minor and major modes, with a gorgeous rendition with a female chorus at the climax of the score, illustrating once again that when it comes to the music of Godzilla, Akira Ifukube is the master.

Emotional Rescue is at it again with another fully licensed and remastered offering, this time bringing to wax Mataya's Golddigger with a previously digital-only 'tape Mix.' Zimbabwe-born and later London-based Mataya "Clifford" Chewaluza was a core part of the vibrant West London music scene, using his songwriting, production and multi-instrumentalist skills on albums for RCA and Virgin. He also dropped a few 12"s and this one was released in 1988. It's a cult curio with crashing 80s production, disco-tinged grooves and plenty of subtle African rhythm which includes a standout dub mix from Jura Soundsystem.

Yves Tumor - Praise A Lord Who Chews But Which Does Not Consume; (Or Simply, Hot Between Worlds)

"Yves Tumor redefines Rock Stardom." - The New York Times

"Tumor's idiosyncratic and even intimidating aesthetic choices are precisely what gives the work its glowing modernity." - The Nation

"The quintessential performer, Tumor exudes Prince's androgyny flare, D’Angelo’s tender masculinity, Iggy Pop's freakazoid mania, and Grace Jones' magnetic mystique." - The Austin Chronicle

Yves Tumor - Praise A Lord Who Chews But Which Does Not Consume; (Or Simply, Hot Between Worlds)

"Yves Tumor redefines Rock Stardom." - The New York Times

"Tumor's idiosyncratic and even intimidating aesthetic choices are precisely what gives the work its glowing modernity." - The Nation

"The quintessential performer, Tumor exudes Prince's androgyny flare, D’Angelo’s tender masculinity, Iggy Pop's freakazoid mania, and Grace Jones' magnetic mystique." - The Austin Chronicle