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Opaque pink vinyl LP. For fans of: Tirzah, Caroline Polachek, Erika de Casier, Oklou, Smerz. Between the ages of 2 and 18, Cora Gilroy-Ware lived in a haunted place. On the outside, this small edge of Connecticut coastline was a quintessential New England town. Yet beneath its quaint surface was a netherworld that got steadily darker over the course of those sixteen years. From a serious drug problem to environmental pollution leading to deadly illnesses, frequent suicides and an above average number of fatal accidents, something about this place was cursed. Amid this world Cora was an outsider, someone who preferred pop and RnB to the music of her peers, who mostly subscribed to the dregs of a Deadhead culture that was more nihilistic than utopian. Still, she found herself on weekends drinking in the woods with the rest of them, playing along until it was time to leave. Christmas breaks and summer months were spent across the Atlantic in a completely antithetical environment. In London, the city of her birth, Cora spent her teen years taking the bus home at dawn after raves under the railroad arches, or riding the tube to her cousin’s house in Camden. For a long time, Cora’s life was composed of these two strands—ghostly East Coast suburbia and inner-city London—which she was forced to fold in and out of one another like a two-strand French braid. She quickly learned to adapt and be whoever the particular moment demanded. Her outsider status was intensified by the fact that, being of mixed Afro-Caribbean and European descent, her family didn’t look like the others in Connecticut. In the 2000s, this meant Cora had to contend with a deeply ingrained kind of folk-racism, both conscious and unconsciously expressed. Nobody talked about these things back then, and she internalized a lot of shame. The ability to shape-shift became integral to Cora’s artistic practice. Her survival mechanism at school was to carve out her own worlds through visual art and dance. Music was less of a creative outlet than a way of life, something like a form of religion for her family, who all played instruments and saw music as the form to which all art aspires. She studied violin and learned enough guitar chords to write her first songs. Cora always wanted to be a performer, but, having moved around constantly, craved stability and independence. Eager to make her own way in the world, she began to write about painting and sculpture, which eventually led to time spent working in Naples, Italy and a day job teaching the History of Art at university level. It wasn’t until 2018 that Cora first shared her first songs with the wider world. Having collaborated and played live with Jam City (Jack Latham, who has co-produced each of her releases), she finally embarked on a solo career, which for her felt inevitable, only a matter of time. Following four acclaimed EPs—Toxic Femininity (2018), Lashes in a Landfill (2019), Dreamcatcher (2020) and Maiden No More (2021), this year will see the release of her debut album The Golden Ass. For her artist name she chose, “Fauness”: a play on the Latin faunus, a woodland god with the body of a man and the horns, ears, and legs of a goat. The feminine equivalent—fauness—is a modern invention, made up by rococo sculptors in 18th century France. Cora was drawn to this pseudonym because of its temporal layers and amalgamation of beauty and beast, which, for her, captures something of her complex personal story. an utterly individual voice in underground pop music" - The FADER // "a sparkling sweet pop ride" – NYLON // “It is hard to write a perfect pop song. It’s even harder to make it look as easy as London artist Fauness” - GUARDIAN GUIDE // Tracks 01. Lonely 02. Mystery 03. Peaches 04. Hours 05. Siena 06. Grape & Grain 07. Laura 08. High 09. Cinnamon 10. Girl In The Moon

XAM Duo – the Yorkshire-based pairing of Matthew Benn and Christopher Duffin – follow-up their The A-side features a reworking of the album’s closing track, ‘Cold Stones’, by legendary electronic artist and DJ, James Holden. In one of his first remixes for a number of years, he has taken the original’s calming, comedown energy and transformed it into an epic, 11-and-a-half-minute journey, which somewhere around the five-minute mark comes right back up. “It didn't turn out quite how I expected, but as they say the sculpture is already in the stone, we just have to find it,” says Holden. “It's like the most rave thing I’ve done for ages and also not rave at all, like a blurry dream about a rave?” Whatever it is, it’s incredible, as are the two further reworkings on the B-side. The Early Years resurface after another lengthy hiatus and reframe ‘LGOC’ as a divine astral jazz / krautrock crossover, while Richard Pike (of PVT and Deep Learning, among others) turns ‘Blue Comet’ into a glitchy and discordant soundtrack to the best 1980s computer game you never played. “It’s lovely to hear three different interpretations of songs that we already tend to keep quite loose and elastic,“ says Matthew Benn. “These remixes feel like a natural extension of the music on the album, like they're from the same world, but perhaps in a different language.” Praise for XAM Duo II: “Thirty minutes of top-quality retro techno ambience and high-tech jazz” – MOJO “An elegant swirl of MIDI exotica, digital wind chimes and health-spa tones... threading saxophone through Boards Of Canada-style funk” – Uncut “Simultaneously more eclectic and more concise, the album expands, refines and folds down the twosome’s electro-organic explorations” – Concrete Islands “XAM Duo’s layered electronics pivot between the meditative and the assertive” – Clash “Made up of sweet synths, precise beats and some piano and sax, they create an atmosphere that feels as if it’s designed to accompany times of concentration and calm” – Loud And Quiet A1 - Cold Stones (James Holden Remix) B1 - LGOC (The Early Years Remix)
B2 - Blue Comet (Richard Pike Remix)

Promise & Illusion is the first LP from Ecka Mordecai, following the release of her solo Critique + Prosper on Takuroku in 2020. Cello, voice, horsehair harp, violin and field recordings combine to spin narrative melody, rich intimacy and melancholic landscapes. Composed around an exploration of la charnière (from the French ‘hinge’), Promise & Illusion begins with the sound of footsteps and a door opening and closing repeatedly, unsure whether to let us into the mysterious interior beyond. We are reminded of the house of Penny Slinger in An Exorcism, an abandoned mansion of gothic hallways and inky corridors. “woe are we” twists violin and voice together into the sort of tension and high drama heard in “The Executioner” - Henning Christiansen’s soundtracks made for the films of his partner Ursula Reuter Christiansen in the 1970’s. Then things begin to soften, almost despite themselves. Distortion on ‘a unit has no unity’ can’t quite smother a rising tune on warped harp. The cello on ‘indigos’ - its voice pizzicato with a velvety sustain - brings comfort and clarity. Mordecai hums a line, feeling out the edges of a song in an intimate release of tension. We are across the threshold - into a romantic sort of nocturnal gloom that feels somewhat out of place in London’s experimental music scene. Trained on viola da gamba as part of a renaissance youth group in the historic midland town of Stafford, Mordecai went on to study performance art in Brighton, later graduating in sound art in London. She performed with David Toop and Rie Nakajima as part of Allan Kaprow’s Yard at the Hepworth Gallery, as well as performing scores by Yoko Ono and George Brecht solo at White Cube Gallery as part of Christian Marclay’s Liquids exhibition. Later, various moves across the north of England found her working with Andrew Chalk and Tom James Scott (forming the trio CIRCÆA), Miles Whittaker (of Demdike Stare) and performing alongside free improvisers. A myriad of influences have crossed her path, her work slowly taking shape across music concrète, improvisation and performance art. A more recent recording with Valerio Tricoli as ‘Mordecoli’ made during the development of Promise & Illusion found its final form as a cassette - a collage of sustained tones, ominous atmospheres and brief 4th wall dissolving vocal interaction. With both CIRCÆA and Mordecoli, Mordecai deals with landscapes - playing with the imaginary over the real and using improvisation as a useful way to dream. On Promise & Illusion, Mordecai sharpens her focus and pivots toward the interior over the exterior - the landscape becoming a personal, psychological one - both comforting and strange. Tracks 4, 5, 7 & 10 recorded and mixed by Adam Matschulat in December 2020. All others recorded and mixed by Ecka Mordecai. Mastered by Shaun Crook at Lockdown Studios, London. Artwork by Ecka Mordecai. Layout by Zofia Sobota.

Track list: 1 la charnière I 2 woe are we 3 a unit has no unity 4 indigos 5 study of a flame 6 la charnière II 7 promise & illusion 8 hush now you say 9 tempera 10 mistakes & continue

Chris Crack is back with a brand new album called Growthfully Developed. Fans and critics alike are already calling it the Westside Chicago native’s best album in the last few years. Pitchfork said “Crack’s latest album is a delicate balance of fresh and familiar from one of the funniest and most thoughtful rappers working today.” With song titles like “Pussy Better When You Eat It First” and “Shitting With The Door Open,” it’s no wonder why he’s said to have the best song titles in the game. Whether it’s heavy hitting 808’s, soul loops or head nodding boom bap Chris laces up the variety of beats with style and finesse. Praised by media outlets such as Billboard and Rolling Stone as well as by iconic hip hop artists such as Earl Sweatshirt and Madlib. Like the album title suggests, Chris has fully grown and developed to reach this point in his career and critics will believe that Growthfully Developed be looked back upon as a pivotal album in his prolific career. The 18 track effort is set to drop on vinyl this fall via Chong Wizard Records in partnership with Fat Beats. TRACKLIST: 1. I The Buck They Couldn’t Break 2. Chicago Don’t Make Industry Plants 3. Therapy Don’t Work, Try Drugs 4. Jordan Never Did That Move 5. Pussy Better When You Eat it First 6. Whoa Dair 7. Celebrate Everything Until Further Notice 8. Uknowwhereihadderat 9. Ate Ball in My Sock 10. Illuminati Phone Numbers 11. Shitting with the Door Open 12. Nine 2 Fives Make You Fake 13. Beer Just Bread in a Can 14. A Blunt Forced This Trauma 15. That Hate Us Because We’re Magic 16. Air Mattresses and Machine Guns 17. Weed is an Expensive Habit 18 . No Shortcut to Enlightenment

Here it is finally, the third and latest album by New York City band Five Dollar Priest. Continuing the sounds and style of their previous albums, on Eyes Injected with Love Five Dollar Priest stamp their personalities on a base of Lower East Side free-jazz, no wave and dirty, very dirty rock. But they go deeper and deeper into it this time, with songs about hard times and low life in the New York City streets, which they know perfectly well. These definitely aren't easy sounds and this is not music for the masses or the newbies -- this is top-class weird and sick melodies and lyrics which Bang! Records are truly proud to release. Five Dollar Priest include, among others, great musicians: Ron Ward (Speedball Baby, Wobbly Organ); Grasshopper (Mercury Rev); Christina Campanella (Speedball Baby); Norman Westberg (Swans).

Experimental post-punk outfit GIRLS IN SYNTHESIS are set to release the eagerly anticipated follow-up to 2020’s incendiary debut, ‘Now Here’s An Echo From Your Future’. Entitled ‘The Rest Is Distraction’ and available this coming October 14th via the band’s own label Own It/Cargo Records, its mix of fractured guitar, crushing drums and bass, intense vocals and lyrical content - create as challenging a record as you will hear this year. Formed in 2016, GIRLS IN SYNTHESIS are John Linger (bass / vocals), Jim Cubitt (guitar / keys) and Nicole Pinto (drums). The trio’s double a-sided debut single ‘The Mound’/’Disappear’ came out in the early part of 2017, and since then they have established themselves as the most forward thinking, viscerally challenging band around with unmissable live shows that continue to excite and astound in equal measure. Recorded last year amidst the uncertainty of continuous lockdowns as a result of the global Covid-19 pandemic, ‘The Rest Is Distraction’ is far darker in content than its predecessor. Mainly exploring internal and mental struggles as opposed to external current affairs, it focuses on the claustrophobia of emotional anguish and continues to bravely delve into previously un-ventured topics. Featuring frequent collaborators funkcutter and Stanley Bad on horns and violin, respectively, two songs also see Eleni Poulou, ex-The Fall, on keyboards. The album was mixed by long-term collaborator Max Walker and features stunning landscape photography by Bea Dewhurst. The album was mastered in France by Ayumu Matsuo. Sonically atramentous and less one dimensional than the band’s debut, ‘The Rest Is Distraction’ takes its cues from ‘Join Hands’ era Siouxsie & The Banshees, Brainiac and Crass’ ‘Christ The Album’, among others. From the first crackle of electricity on the opening track, to the heart wrenching taped voice-recording on the final outro, this LP triumphantly retains every ounce of intensity and vitality that makes Girls In Synthesis the most captivating band to emerge from the UK DIY underground in recent years. Listeners will find ‘The Rest Is Distraction’ a challenging, yet ultimately cathartic listen. Prepare yourselves for a sonic cleansing, Girls In Synthesis style. Side A 1- It’s All Beginning To Change 2- Watch With Mother 3- Total Control 4- Swallowed Pill 5- Screaming
6- My Husband Side B 1- Cottage Industry 2- Not As I Do 3- Lacking Bite 4- Your Prayers Have Changed 5- To A Fault

Experimental post-punk outfit GIRLS IN SYNTHESIS are set to release the eagerly anticipated follow-up to 2020’s incendiary debut, ‘Now Here’s An Echo From Your Future’. Entitled ‘The Rest Is Distraction’ and available this coming October 14th via the band’s own label Own It/Cargo Records, its mix of fractured guitar, crushing drums and bass, intense vocals and lyrical content - create as challenging a record as you will hear this year. Formed in 2016, GIRLS IN SYNTHESIS are John Linger (bass / vocals), Jim Cubitt (guitar / keys) and Nicole Pinto (drums). The trio’s double a-sided debut single ‘The Mound’/’Disappear’ came out in the early part of 2017, and since then they have established themselves as the most forward thinking, viscerally challenging band around with unmissable live shows that continue to excite and astound in equal measure. Recorded last year amidst the uncertainty of continuous lockdowns as a result of the global Covid-19 pandemic, ‘The Rest Is Distraction’ is far darker in content than its predecessor. Mainly exploring internal and mental struggles as opposed to external current affairs, it focuses on the claustrophobia of emotional anguish and continues to bravely delve into previously un-ventured topics. Featuring frequent collaborators funkcutter and Stanley Bad on horns and violin, respectively, two songs also see Eleni Poulou, ex-The Fall, on keyboards. The album was mixed by long-term collaborator Max Walker and features stunning landscape photography by Bea Dewhurst. The album was mastered in France by Ayumu Matsuo. Sonically atramentous and less one dimensional than the band’s debut, ‘The Rest Is Distraction’ takes its cues from ‘Join Hands’ era Siouxsie & The Banshees, Brainiac and Crass’ ‘Christ The Album’, among others. From the first crackle of electricity on the opening track, to the heart wrenching taped voice-recording on the final outro, this LP triumphantly retains every ounce of intensity and vitality that makes Girls In Synthesis the most captivating band to emerge from the UK DIY underground in recent years. Listeners will find ‘The Rest Is Distraction’ a challenging, yet ultimately cathartic listen. Prepare yourselves for a sonic cleansing, Girls In Synthesis style. Side A 1- It’s All Beginning To Change 2- Watch With Mother 3- Total Control 4- Swallowed Pill 5- Screaming
6- My Husband Side B 1- Cottage Industry 2- Not As I Do 3- Lacking Bite 4- Your Prayers Have Changed 5- To A Fault

City Of Light was recorded in Banaras, India, and mixed in Greenpoint, NY. It is about Banaras, a city older than history, tradition, and legends. It is Shiva's land, founded at the dawn of creation. It is India's oldest and most fabled city. The Hindus call it Kashi, the luminous... The City of Light. Music composed by Bill Laswell + Coil, Trilok Gurtu, Tetsu Inoue, and features texts and vocals from Lori Carson and an historical introduction by Hakim Bay. First time ever on vinyl, re-released in our Sub Rosa Blackcore series. City of Light is the sixth solo album by American composer Bill Laswell, released on July 29, 1997. While it may appear an anachronism in his catalog, fans of Bill Laswell will find City of Light an extension of ideas he has explored throughout his career. His strong interest in Eastern music and religion resulted in this 1997 collaboration with Janet Rienstra. Part sacred, spoken word, part meditative soundscape, City of Light takes as its inspiration the holy region of Banaras, India. Said to belong to Shiva, Banarasalso contains the Ganges river: a place sought by Hindus for their cremation. Surrounding the texts is some of the most compelling music this genre has produced featuring Trilok Gurtu on tablas, Coil (Peter Christopherson + John Balance) on electronic, Tetsu Inoue at sound collages and Lori Carson at vocals. Track Listing LP side 1 01 Nothing 13'03 02 Kashi 7'19 side 2 03 Kala 13'06 04 Above the Earth 11'19

Debut album from Cardiff indie-pop collective Live, Do Nothing (ex-members of Rosehip Teahouse/Deadlines). Hiraeth & Loathing explores feeling disconnected from your childhood self. The record questions if there is value in re-discovering this inner child, or if we’re better off eschewing the trappings of nostalgia and living for our current reality instead. Since their debut Ep, 2018’s “Oh Dear”, a collection of scrappy indie-punk songs from the original four-piece line-up, the band has doubled in size (and is still growing!). Countless numbers of new instruments have been added to the mix, including: vibraphone, toy piano, violin, flute and saxophone. Recorded by Thomas V. Westgård at Sail Loft Studios, mixed by Bob Cooper at Chairworks Studios and mastered by Leon West at After Life Studios. Track listing: The Hardest Band In Cardiff Presents...; The Real Animals Of...; Mouse Death; All Wax No Honey; Novelty is the Best Policy; A Legendary Run; Hopelash; Delusions Of Ganja; Oso Jugoso; Too Late In The Day; Chromatic Delight

Hear angel trumpets and devil trombones on the first instalment of the long awaited ‘Plastic Legacy pt II’ from transcontinental punk trash band Pale Angels. The album boasts soaring melodies and tortured guitar tones anchored by a fuzz bass guitar that sings uniquely yet thumps rhythmically. ‘Plastic Legacy pt II’ sees Pale Angels’ Jamie Morrison and Michael Santostefano joined by Jerome Westerkamp (songwriter for Cincinnati, Ohio’s Vacation) on drums. Returning after 6 years to longtime friend and producer Benjamin Greenberg (uniform, Christfucker, danny elfman) to create a masterpiece of gut-wrenching sincerity and sensitivity. Track listing: Killer; Casper; 21 Days; Must Be Love; Halloween; Thorn; Little Lover; Rahway

Neil Diamond veröffentlicht am 28. Oktober das Album „A Neil Diamond Christmas“, welches die besten
Weihnachtssongs von ihm vereint.
Das Album enthält Songs aus Neils vier beliebten und meistverkauften Weihnachtsalben – „The Christmas
Album“, „The Christmas Album Volume II“, „A Cherry Cherry Christmas“ und „Acoustic Christmas“. Alle
Tracks wurde von Neils Toningenieur Bernie Becker neu gemastert und zusammen haben sie zusätzlich
einen atemberaubenden neuen Mix von ”O Holy Night” erstellt, welcher ursprünglich auf „The Christmas
Album“ veröffentlicht wurde.
Das Album wird als 1CD, 2CD und 2LP veröffentlicht.

Party-starter Chrissy joins the Shall Not Fade family with a 4-track serotonin hit which draws on influences from his San Franciscan heritage, as well as those closer to home in the UK.

'You Don't Have To Worry' encompasses this fusion, with anthemic piano chords and uplifting vocals that enliven a swung breaks instrumental. 'Assure Us There's A Heaven' and 'If I Could' also come with plenty of swing, borrowing tropes from UK Funky to show house at its most danceable, whilst 'All These Dreams' is a modern take on old school vocal house.

auf Opaque Gold Vinyl, (Limited Edition)

Ursprünglich 1998 veröffentlicht, enthält "These Are Special Times" ein Duett mit Andrea Bocelli. Celine singt mit ihrer Familie "Feliz Navidad" und "Les cloches du hameau".Limitierte farbige Doppel-Vinyl-Neuauflage von Celine Dions Weihnachtsalbum "These Are Special Times" in "goldfarbenem" Vinyl. Hervorzuheben ist der Bonustrack "I Met an Angel (on Christmas Day)". Enthält zudem: "O Holy Night", "Blue Christmas", "Ave Maria", "Happy XMas (War is Over)" etc.

Best-Of-Album mit allen 18 Singles in chronologischer Reihenfolge, die die Smoke Fairies seit ihrer Debüt-7" 'Living With Ghosts' 2008 veröffentlicht haben. Ein ganz besonderer Bonus sind die beiden von Jack White produzierten und an Schlagzeug und Gitarre begleiteten Songraritäten 'Gastown' & 'River Song', die 2009 exklusiv als limitierte, doppelseitige 7" in Third Man Records' berüchtigter Blue Series erschienen und jetzt erstmals auf einem Album erhältlich werden.

The renowned trio of Keiji Haino, Jim O’Rourke and Oren Ambarchi return to Black Truffle with their 11th release, “Caught in the dilemma of being made to choose” This makes the modesty which should never been closed off itself Continue to ask itself: “Ready or not?” Demonstrating once again their commitment to continual experimentation in instrumentation and approach, the record begins with a long-distance collaboration made in response to a commission from New York’s Issue Project Room in 2021 during widespread lockdowns and travel limitations. A unique piece in the trio’s extensive body of work, this side-long epic finds Haino performing on metal percussion, O’Rourke on electronics and Ambarchi on gongs and bells. Initially dominated by rapid patterns on resonant, high-pitched tuned percussion, the piece sets Haino’s dynamic and dramatic performance against a calm backdrop of cycling electronics, thrumming gong strikes and hanging bell tones. The performance develops a heightened, intensely concentrated atmosphere reminiscent of Haino’s classic Tenshi No Ginjinka or his Nijiumu project; when Haino moves to clashing hand cymbals in its second half, the piece’s ritualistic energy suggests aspects of the music of Tibetan Buddhism.

The remainder of the double LP documents the trio live at Tokyo’s SuperDeluxe (the location of all but their very first recording) in a wide-ranging set recorded in December 2017. The concert opens, in another first for the trio, with Haino on drums, O’Rourke on Hammond organ and Ambarchi on his signature Leslie cabinet guitar tones. Haino’s explosively untutored approach to the drumkit will be familiar to some listeners from the radical duo iteration of Fushitsusha heard on Origin’s Hesitation. Setting flurries of rapid activity against moments of silence, his drumming here at times suggests Milford Graves in its tumbling toms and thudding kick-drum propulsion. Accompanied by O’Rourke’s organ and Ambarchi’s guitar, which in their shared use of long tones and shifting modulation speeds almost blend into a single voice, the opening sections of this performance are some of the most magical music the trio has committed to tape thus far.

After an interlude of spoken vocals in both Japanese and English, Haino makes a dramatic entrance on guitar. Against O’Rourke and Ambarchi’s increasingly intense electronic backdrop, Haino unleashes a stunning passage of slowly moving chromatic melodies and sudden shrieking explosions bathed in distortion and reverb. By the time we reach the third side, the guitar/bass/drums power trio is established and lurches into a passage of massive, lumbering rock that threatens to fall apart at every beat, O’Rourke’s strummed chordal work on six string bass creating a harmonic density equivalent to a second guitar. An abrupt edit throws the listener in media res into a frantic locked groove grounded by fuzzed out bass patterns and caveman drums. As Haino moves through a variety of approaches, from massive edifices of stuttering fuzz to ominous swarms of feedback, the trio eventually stumble into a kind of Harmolodic military tattoo, Haino’s guitar weaving and slashing across the rhythm section’s irregular accents. Moving through an epic opening duet for O’Rourke on Hammond and Haino’s wailing guitar, the fourth side eventually ramps up into a frenetic finale of mad bass riffing, crackling snare hits and guitar squall.“Caught in the dilemma of being made to choose” This makes the modesty which should never been closed off itself Continue to ask itself: “Ready or not?” is a testament to the continuing power and invention of this trio, who continue to seek out new terrain after over a decade working together. 2LP set presented in a lavish gatefold sleeve on heavy stock along with inner sleeves containing live pics by Tsuyoshi Kamaike. Photography by Jim O’Rourke, design by Lasse Marhaug and translation by Alan Cummings.

blue marbled vinyl

Blissful atmospherics wash behind heavy amens on Spacewalk, tightly constructed old school style breaks thump along with subtle effects create a vibe that will take you to a world beyond ours.

A distinctive crisp unorthodox beat pattern opens Oceans and sets the tone for this beautiful composition of smooth pads and earthy bass-lines, a dreamy treat which builds the vibe as the track progresses.

Messages from Space opens with a mellow, eerie intro that washes in before the Spectrum breaks - heavy on the ride cymbals - take centre stage in this lunar-inspired composition.

Energetic rapid-fire break work punctuates Quiet Storm with drum funk vibes that sound immense at this BPM - playfully filtered, surrounded by delicate atmospherics and an understated vocal sample - a treat for the breaks fans.

Words by Chris Hayes (Spatial / Red Mist)

Waterloo Teeth is true demonstration of Sugar Horse's refusal to conform or sit still. A community-building, genre-hopping release, the EP sees Sugar Horse letting the good times roll. Recorded during the Christmas break at Small Pond studios, sleeping among the amps, the four-track record is the Bristol group's excuse to work with some of the coolest musicians on the planet.

“A weird and jagged record for weird and jagged times.” – The Quietus
"A sucker punch of sludge-punk"
"Bold, charismatic, and nuanced.” – Everything Is Noise
“An extraordinary act” – Noizze
“Expertly balance filth and ambience” – Metal Hammer 7/10
“SUGAR HORSE are definitely a band to look out for.” – Distorted Sound Mag
“they truly deserve to be massive.” – Echoes And Dust

Debut album re-issue on vinyl! Severe Torture’s die-hard classic! Severe Torture is the most brutal and sick band from the Netherlands, plain & simple. This album is all about fast passed drumming, catchy, technical fast picking riffs and deep vocals. This is brutal death metal at its very best, and is evenly balanced, full of god-hating, and gut-ripping. There is even melody, but nothing like the melody used in melodic Death Metal. It is enough to send any typical run-of-the-mill trendfaggot running for cover and praying for safety, which will not come, for his eardrums shall be split and liquified, and his brains thrashed to trash.

28th October 2022 sees the release of Pop-Up Dynamo! from PG Roxette, the new era of Roxette. Per Gessle continues the adventure he and Marie Fredriksson began, over 35 years ago. Together with members from the classic Roxette band and a sound echoing somewhere between "Look Sharp!" and "Joyride"; Gessle returns to the musical peak of his life with a new album.
Per Gessle gathered the classic Roxette band – Jonas Isacsson, Clarence Öfwerman, Magnus Börjeson, Christoffer Lundquist, Helena Josefsson and Dea Norberg with the aim to make a classic Roxette record. On the new album, Gessle says “When I started to write, my ambition was to try to create a sibling to “Look Sharp!" and "Joyride" – and that's actually exactly how it sounds. I've wanted to create a modern production, but with the typical Roxette trademarks”.
Per is joined by two other singers: Helena Josefsson and Dea Norberg. Both have been in the inner circle of Roxette for years.

28th October 2022 sees the release of Pop-Up Dynamo! from PG Roxette, the new era of Roxette. Per Gessle continues the adventure he and Marie Fredriksson began, over 35 years ago. Together with members from the classic Roxette band and a sound echoing somewhere between "Look Sharp!" and "Joyride"; Gessle returns to the musical peak of his life with a new album. This 1LP 140g gatefold white vinyl is accompanied by an 8-page booklet and exclusive photos.
Per Gessle gathered the classic Roxette band – Jonas Isacsson, Clarence Öfwerman, Magnus Börjeson, Christoffer Lundquist, Helena Josefsson and Dea Norberg with the aim to make a classic Roxette record. On the new album, Gessle says “When I started to write, my ambition was to try to create a sibling to “Look Sharp!" and "Joyride" – and that's actually exactly how it sounds. I've wanted to create a modern production, but with the typical Roxette trademarks”.
Per is joined by two other singers: Helena Josefsson and Dea Norberg. Both have been in the inner circle of Roxette for years.

As three souls plunge down from the heavens, death and destruction can be felt hanging in the air like a foul stench. Red clouds swirl around a black sun that never sets and an erratic clock ticks off-tempo, moving faster and slower before rewinding and starting anew.

“Let me paint you a picture…” vocalist Mikey Arthur sings, welcoming listeners with a dramatic opening scene. It takes a skillful guide to navigate the darkest depths of hell. And, as The Gloom In The Corner depict in their second full-length album Trinity, death is merely the beginning of the series of chilling adventures

Purposefully aligning their song count with unlucky number thirteen – a reoccurring symbol in the ever-unfolding Gloom Cinematic Universe or GCU – it comes as little surprise to longtime fans that each of the Australian quartet’s enticing tracks intertwine to form an interlocking tale; this time centered around the appropriately labeled unholy trinity.

Comprised of previously deceased characters Rachel Barker, Ethan Hardy, and Clara Carne, the group’s bloody battle is woven throughout the album as the anti-heroes determinedly claw their way back to Earth from the Rabbit Hole dimension, slashing, shooting, and extinguishing anyone who dares to oppose their quest. Yet, for the Girl of Glass, Ronin, and Queen of Misanthropy, there is clearly more to the story than what can be contained within a single package.

Projecting a wide and complex web of lore, plot twists, and tongue and cheek humor, frontman Mikey Arthur, guitarist Matt Stevens, bassist Paul Musolino, and drummer Nic Haberle, have been producing highly detailed concept releases since their formation. And, consistently filling in more missing pieces of the puzzle with every body of work, the band equate each new record to a fresh season of The Umbrella Academy dropping on the streaming service of your choice. Because, just as a great TV series captivates viewers with its music and storytelling, the quartet’s work provides a complete experience designed to allow fans to check in with their favorite characters, all the while enjoying a cinematic new soundtrack.

For those just joining the GCU, as well as those looking for a quick refresh, 2016 debut album Fear Me introduced listeners to main protagonists Julian “Jay” Hardy, a Section 13 agent consumed by anger over his girlfriend Rachel’s death, and Jay’s gloom (later known as Sherlock Adaliah Bones), a demonic entity who at times takes over Jay’s body as a host vessel. 2017 EP Homecoming tells the tale of Jay’s brother Ethan, a war veteran suffering from PTSD, who upon discovering his brother’s struggle, kills himself as part of a Dante-style rescue mission to bring Rachel back to life. In 2019 EP Flesh and Bones, we’re introduced to Clara Carne, a past witness to one of Jay and Sherlock’s crimes, who instead of taking revenge, began a twisted love story with Sherlock, only to be murdered by his forced hand. And 2020’s Ultima Pluvia EP where we finally learn of Sherlock’s past as an ancient warlord under the tyrannical King Baphicho, and see Sherlock and Jay’s deaths ushered in by Section 13 opponent and New Order leader Elias DeGraver and his gloom Atticus Encey.

After 2016’s Fear Me, the band admit that their original intention was to jump straight into the events of Trinity before pivoting to create Homecoming, Flesh and Bones, and Ultima Pluvia. However, upon reflection, primary storywriter Mikey Arthur believes that pushing the timeline back actually provided greater opportunity for the group to properly flesh out the songs and plotlines for their sophomore studio record.

Indeed, while Trinity re-introduces the three central “heroes” of this new arc, it’s important to understand that while familiar, the characters are not carbon copies of who they were earlier in the story. And neither is the band who brought them to life.

Fully embracing the weird and whacky has never been a struggle for The Gloom In The Corner. Rather, it’s together with this attitude that the group come away with special moments such as the fascinating old and new dynamic between neighboring tracks “Red Clouds” – a song whose initial version predates the formation of The Gloom In The Corner as an official band – and “Gravity” in which a demo intended for future material was adjusted to fit the sonic drop.

Mirroring this evolution in the band’s musical approach, a sense of growth can also be seen projected in the characters and story that the quartet chronicle across the thirteen tracks.

Classifying their individual sound as an intricate form of “cinema or theater-core” due to the depth and breadth of their musical approach, features, samples, symphonic elements, and conceptual nature, The Gloom In The Corner continue to prove that they’re more than just a simple concept band.

In fact, similar to character theme music in movies and video games, the group seamlessly play off their diverse sonic story in a variety of ways. Continuing to breathe new life into older staples from their catalog, the quartet reworked their infamous “Oxymøron” breakdown from Fear Me into an impactful moment in Trinity’s “Nor Hell A Fury” and sprinkled audio easter eggs of this sort all throughout their new music for fans to discover.

Listeners are also brought further into the world of the GCU with the help of what The Gloom In The Corner call their “casting process.” Like picking actors for a musical, the band meticulously selected eleven different vocal features and several additional voice actors to bring the album and characters to life. Described as a 50/50 split between notable talents such as Ryo Kinoshita (Crystal Lake), Joe Badolato (Fit For An Autopsy), and Lauren Babic (Red Handed Denial), as well as talented friends and family like Elijah Witt (Cane Hill) and Mikey’s sister Amelia Duffield, each featured artist brought their own touch and realistic spark to the characters they portrayed.

For in the end, as much as Trinity and it’s cast live within the confines of their own supernatural worlds, themes such as falling out of love (Gatekeeper), battling depression (Obliteration Imminent), and standing behind women’s empowerment (Nor Hell A Fury), are ones that many can relate to or understand. And, while most individuals may avoid drowning their woes by way of transforming into full-on egotistical murderers like the Queen and King of Misanthropy and the gang, The Gloom In The Corner have illustrated that time and time again, life’s a little more fun when you can crack a smile. Taking a page from the trinity’s playbook: try to avoid the end of the world. But if you can’t…at least spend it with a killer soundtrack.

THERION have always been a band that have challenged themselves to explore new paths, while remaining true to their musical core values. For their 17th studio album, mastermind Christofer Johnsson and his collaborator Thomas Vikström have created something that has been previously unthinkable to the guitarist and the singer. "We have done the only thing that was left of all the different angles to explore", explains Christofer. "We have decided to give the people what they kept asking for. 'Leviathan' is the first album that we have deliberately packed with THERION hit songs."

True to the Swede's words, the album opens with the catchy and swift tune 'The Leaf Of The Oak Of Far' featuring female and male antiphonal singing as well as a choir that seems to have evolved straight out of THERION's breakthrough full-length "Theli" (1996). This is immediately followed by the obvious highlight 'Tuonela', in which Christofer cleverly underscores this hit-track's Finnish vibe by employing NIGHTWISH’s "metal voice" Marko Hietala. Next up in this parade of future fan-favourites is the title track 'Leviathan' that offers classic THERION material with operatic female vocals and a massive choir.

Christofer Johnsson's passion for classic voices, choirs, and orchestral elements as well as his penchant for epic melodies in combination with rock and metal shines clearly through the following sing-along ballad 'Die Wellen Der Zeit', which indicates another nod to German romantic composer Richard Wagner. "Ever since 'Theli', Wagner has been and will always be at the core of THERION", emphasises Christofer. "When we started to combine metal and opera, it was something new and original. Today, symphonic metal has long been a firmly established genre." When THERION came into being in 1988 by changing name from the already existing band BLITZKRIEG, which was founded a year earlier, Christofer had rather taken inspiration from SLAYER's "Reign In Blood" among other classic metal albums.

At the beginning, the Swedes were firmly rooted in death metal, a genre which they helped to define, as witnessed by their debut album "Of Darkness...." (1991). Yet even back then, there were hints of "something else" lurking beneath the rough surface. The use of female vocals is another core ingredient of THERION today, which developed gradually. CELTIC FROST had basically introduced the female element to extreme metal on "To Mega Therion" in 1985. THERION began with both a female and male vocalist emulating a church like choir already in their sophomore full-length 'Beyond Sanctorum' (1992). With Symphony "Masses: Ho Drakon Ho Megas" (1993) and "Lepaca Kliffoth" (1995), Christofer continued to developed his trademark sound by gradually drifting towards cleaner vocals and more keyboards.

With "Theli", the Swedes had firmly established a reputation of pushing the boundaries of metal in the 90s –among such acts as their compatriots TIAMAT, THE GATHERING, and MOONSPELL that were often referred to as "gothic metal" at the time. THERION continued to break new ground leaving inspiration for others to follow in their wake: On "A'arab Zaraq -Lucid Dreaming" (1997), Christofer further explored the use of Near Eastern music in metal which he had already begun in 1992, while "Secret Of The Runes" (2001) dared to have Swedish lyrics in some songs.

While critics were left confused and fans challenged, THERION were often ahead of their times and vindicated in hindsight. Even the band's 25th anniversary excursion "Les Fleurs Du Mal" has by now overcome the initial shock the album caused and is only beaten in terms of streaming by the classic "Vovin" (1998). When Christofer faced the question of where to go next after the dramatic "Beloved Antichrist" (2018) had finally fulfilled his musical mission, his answer is "Leviathan" named after a giant sea monster from Judeo-Christian myth that has roots in Babylonic lore: THERION have created a giant hit album –and for the first time in the history of the Swedes, their fans are not asked to explore something new, but simply to lean back and enjoy the best from their band!

Clear Vinyl

Downwards’ deep bonds with NYC catalyse the debut LP by Jim Siegel’s Vivid Oblivion, a reveberating post-industrial salvo produced by adopted Brooklynite Karl O’Connor (Regis), and co-mixed by Anthony Child (Surgeon) and Simon Shreeve, who also mastered it. It’s a super deep, highly atmospheric beast somewhere between Valentina Magaletti’s most expressive percussion work, Bark Psychosis, and classic, moody 4AD, which is coincidentally referenced via the artwork, made by Chris Bigg - legendary graphic designer and longtime assistant to Vaughan Oliver.

Invoking the density, vertiginous scale, and dark grimy nooks of NYC, ‘The Graphic Cabinet’ was realised by Jim Siegel - hardcore legend and occasional/regular drummer with everyone from Raspberry Bulbs to Damo Suzuki and Boredoms, made in close collaboration with Karl O’Connor aka Regis during 2021.

Stemming from intently deep listening sessions immersed in LPs by Viennese aktionist Hermann Nitsch and the myriad eras of Killing Joke, while also absorbing the atmospheres of classic Tarkovsky flicks, the album began life as gonzo field recordings of Siegel smashing the f*ck out of his drum kit, zither, scrap metal and gongs in an array of abandoned warehouse spaces. The recordings formed the basis of Karl’s compound productions, which add depth charge bass and sonorous metallic atmospheres to the mix, along with birdsong and gibbon hoots, plus guitar textures by Nick Forté (Raspberry Bulbs, Rorschach) for a dread-lusting jag deep in the belly of the Big Apple.

With a palpable tang of rust and blood in the air and grime under the fingernails, the seven tracks evoke a resoundingly brutalist portrait of space and place. Siegel’s nervy percussive discipline is framed in alternating barometric and light settings from cut to cut, variously snaking from the poltergeist clang and haunted resonance of ‘Converging and Dissolving’ to slamming motorik thrum in ‘Oblivion’ via imaginative descent into cyberpunk simulacra of the city as jungle-at-night in ‘Remnant Corridor’, replete with animalistic atmospheres that recall Organum.

While the raw attack and devilish swerve of the rhythms are utterly fundamental to the record, Karl’s atmospheric content and the animist mixing magick of Anthony Child and Simon Shreeve most potently give flesh to its bones. Patently evident on the stepping pulse and searching zither that keens into detuned orchestration on ‘Immediate Possession’, the zoned-out klang of ‘Stand Aside’ or in the flooded warehouse chaos of ‘Test For Traps’. The attention to spatial, textural and proprioceptive detail is tightened throughout, peaking with ‘Bargemaster’, a dense slab of tension that sounds like Jon Mueller’s Silo recordings fed through The Caretaker’s fogged machinery.

It’s one of the most impressive records on Downwards for a long while, bound to gnaw and spark the nerves of experimental rock and post-industrial’s greats, anything from The New Blockaders to Faust, Flying Saucer Attack and into iconic Blackest Ever Black releases in the modern era.

A Breath of Fresh Air is the triumphant, inspiring new album from Bread of Kaliwild, a longtime staple of the underground rap scene who continues to grow and shine as an emcee. And while he certainly made waves with the release of his solo debut, Daily Bread in 2019, Bread is on another level with the ten tracks on this project. It’s all part of his plan to capture the sound he loves and holds so dearly, all while pushing himself as a lyricist.

Specifically, the L.A. rap staple calls out “What Love Is” as one of his favorite lyrical moments, and it’s easy to see why when you hear it. During the third verse, he shows love to his children in a creative and heartfelt way like only he can. “What Love Is” is also one of several collaborations between Bread and living producer legend Nottz, one of the emcee’s go-to producers. The two linked for Daily Bread and kept creating magic for their tracks together on this record. Whether it’s on the politically charged “Eye 4 Eye” or on the moving Guru tribute “Nice Like That” (feat. Big Shug), Bread and Nottz are a force.

The Kaliwild rapper’s ear for production doesn’t stop there, either. His two other collaborators—beatsmiths Noah Ayala and Therealasethic—provide a wealth of warm, head-nodding instrumentals for Bread and his guests. Just listen to “Godz Return,” a funky West Coast banger produced by Ayala that also features Planet Asia. Or head to the Bay Area on “Feels So Good,” which boasts Therealasethic’s shimmering production and guest vocals from Keak da Sneak, URG7, and Gemini.

There’s so much to love about A Breath of Fresh Air, though the most remarkable aspect may just be Bread’s passion.

a 1 Let Us Begin (Intro) feat. DJ Romes

Set for release on 28th October, the deluxe edition of Lady Blackbird’s debut album ‘Black Acid Soul’ comes with a staggering 11 additional songs, encompassing brand new material such as stunning single ‘Feel It Comin’ and remixes commissioned by the likes of electronic, jazz, funk luminaries Emma-Jean Thackray, Colleen 'Cosmo' Murphy and Greg Foat.

Originally released in 2021, ‘Black Acid Soul’ received enormous critical acclaim; The Sunday Times named her their Breaking Act, stating that she “brings a singing voice of extraordinary nuance and immaculate phrasing to a selection of covers/reworkings and pindrop originals” in a 4* review. The Guardian awarded the album a 5* review, remarking that Blackbird “finds her calling with an extraordinary collection of songs and performances that burn deep into you”.

As Anomalie, the shape- shifting production project he unveiled in 2016, Dupuis has channeled his musical upbringing (his mother, a piano teacher; his father, a host on Radio- Canada), formal schooling, and stage- seasoned chops into two companion EPs — Metropole and Metropole II — the Chromeo collaboration Bend the Rules, and a series of singles lighting a pathway to his upcoming long-form debut, Galerie.
Galerie’s forward-facing approach may call to mind a timeless phrase familiar to any jazzhead: The Shape of Jazz to Come. Ornette Coleman’s 1959 opus reconfigured traditional notions of harmonic structure, its title and content serving as both a blueprint and open question for progressive music’s future. With Dupuis’ reverent but revolutionary project, that answer is no longer in the past or on the horizon; it’s here.

A true love letter to house music, Larson presents his account of the ubiquitous dance music genre diving deep into its origins. Connecting the dots with some of the genre’s most beloved innovators such as Larry Heard, Boo Williams, Ron Trent, Chez Damier or Chris Brann, the Belgian producer pays tribute by adding his own emphases. Setting a bright mood, at times aiming for the dance floor, at others comforting the listener into a casual vibe, Larson is not seeking, but spontaneously drawing attention with his graceful sounds, stripped to the bone and built on an intuitive factor.

Larson hails from Liège, the South Belgian city known for its meat balls and the mighty river La Meuse, and works as a sound editor in movie production. Recognised by those-who-know as one of the most quintessential figures of Liège’s burgeoning underground nightlife scene, the time is now for Larson to step forward. His 2x12” debut release dubbed ‘Interlace Joy Motions’ is one for the house heads, shifting between 121 and 130 BPM and showcasing the diverse sounds the producer has in store.

Opening track Our Inner Sun has smiles written all over. A simple yet effective piano loop, warm strings and a delicately running acid baseline are all Larson needs to set the standard for the beauty that is yet to come. Effortlessly entertaining for close to seven minutes, here is the essence of timeless house music at work.

Pushing up the speed up to 129 BPM, A2 brings the brand new label’s title track, Larson’s take on the many meanings the name may represent. Designed for jubilant dance floor action, Hi Scores is punchy and elegant at the same time.

On the flip side, Slack Breeze is an eleven-minutes-long breezy electro trip paying homage to Detroit music pioneer Juan Atkins and offers two mixes, nicely manufactured as one auditive whole on the vinyl record with a useful visual marker in between. Be aware of the slight tempo drop between the bold Club mix and the more laid back Sensual mix.

In a cultured and charming manner, Lethal Dance opens the second 12”. Driven by a fab bassline and soft as silk string arrangements, here is a slow burner for moments lost track of time. High Jazz Travel on C2 continues this trip to lofty spaces, speeding up the pace but holding on to Larson’s well crafted dream universe, with its mellow aura almost turning into a debonair lullaby for grown-ups.

Adding another layer to the cake is Chris ‘Funk’ Ferreira, the C12 resident DJ and ½ Senga Ferreira. Also active as the mixing engineer of this double 12”, on the D1 the Brussels based producer takes up the role as remixer with his stomping and energy building ‘Magic Force’ version of Hi Scores, contributing the single vocal sample to the EP. Things come to an end with Souvenir d’Enfance, a playful and innocent conga driven house track, cherished as a safe and sound childhood memory, forever in our hearts just as this excellent debut by Larson.

The Others (Lustmord Deconstructed) is a celebration of the fearless attitude of being different and the expression of unique ideas which have never existed before. Over 13 years after the release of O T H E R , Pelagic Records has gathered 16 bands and solo artists to record their own unique takes on tracks from the Other-sessions. The result is an album that is more than a compilation, and more than the sum of its parts; covering a wide range of musical niches and directions, but sharing the same underlying mood and vibe defined by Lustmord's timeless soundscapes: from the ambient solo performances provided by IHSAHN, ENSLAVED or JONAS RENKSE to the subdued voice of ZOLA JESUS woven into Lustmord's sombre fabric to the industrial carnage that is GODFLESH's version of `Ashen'. LUSTMORD is the artistic moniker of Brian Williams. Born in North Wales, he started his musical career in 1980 and soon became a pioneer in the early industrial music scene in the UK. He was a former member of SPK during arguably their most crucial era, and went on to work with THROBBING GRISTLE members Chris & Cosey as well as appearing on early albums by CURRENT 93, NURSE WITH WOUND and others. After relocating to Los Angeles in 1993, Williams worked on dozens of motion picture soundtracks including The Crow, Underworld and Paul Schrader's First Reformed. Additionally he created several video game soundtracks, television scores and solo albums, as well as collaborating with artists as varied as THE MELVINS, CLOCK DVA, JARBOE, John Balance of COIL, Paul Haslinger (TANGERINE DREAM), PUSCIFER, Wes Borland and more, including Grammy Award-winners TOOL on their much acclaimed effort Fear Inoculum. To this day, Lustmord is actively recording and releasing music, his latest release being the collaborative album Alter with Karin Park of A°RABROT, and he is considered to be the founding father of the dark ambient music genre. The original O T H E R was released by independent record label Hydra Head Records, founded by ISIS frontman Aaron Turner and former home of bands such as CONVERGE, PELICAN, JESU, SUN O))) or BORIS. As one journalist put it at the time, O T H E R is a "grim example of a consummate artist who is working frmly within the parameters that he has laid out for himself over the years." This album shows Lustmord at his most characteristic, and the icy, ominous guitar playing of Jones, Turner and Ozborne resonates perfectly within the deep soundscapes that make up this frightening yet inspiring journey. What demonstrates the profound influence of Lustmord on this contemporary music underground showcased here is that artists from disparate ends of the sonic spectrum all feel inspired to explore the essence of his idiosyncratic sounds within their own realm: experimental electronica icons ULVER excel on a stunning, hazy rendition of `Godeater', while Japanese post-rock act MONO deliver a crushing version of `Er Eb Os', and THE OCEAN take us on a cathartically heavy mindtrip back to our `Primal State of Being'. In the end, each of these 16 artists delivers an interpretation that pays the deepest respect to this pivotal artist, while also standing out as a new track of its own.

After the release of their critically acclaimed first album « Bluestaeb & S. Fidelity Present Underground Canopy » (MENACE - 2020), Underground Canopy (UC) was able to take time, due to the unforeseen period of doubt in 2020, to craft new compositions with a fresh approach. Throughout this forced period of introspection, the Parisian band experimented with more refined musical codes and colorful sounds.

Following the new additions of Raphaël Henry on drums and Christopher Johnson on electric guitar, UC was able to record and film a live rendition of four original pieces at the end of 2020, thanks to an invitation by the Centre des Arts d’Enghien-les-Bains’s artistic program and SENSE. These music videos, each filmed in one shot by Romain Lalire, capture UC’s musical digressions away from their mainly hip-hop and groove-infused jams and into new territory.

The resulting new EP «Séquences : Live Session» celebrates cinematic aesthetics and the suspension of time. It stands as an audiovisual testimonial to the band’s continued progression. In this era marked by uncertainty but full of hope, what will come next?

More solid UK boogie & brit-funk courtesy of Freestyle Records - this time giving the 12" reissue treatment to short-lived group Cool Runners' 1982 single Checking Out, backed up with sought-after High on a Feeling.

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As Cool Runners' Paul Tattersall recalls, "this single was a follow-up to the "Play The Game (So You Think It Funny) / Hawaiian Dream" 12" which we believe got to around number 60 in the national charts, and was at the time heavily played on the radio by DJ Greg Edwards who sadly passed away earlier this year..." Recorded mixed and mastered then licensed for release to MCA, this initial single also relased in 1982 was voiced by Tony Jackson, then part of Paul Young's backing band as his career took off in the charts. Tony formed part of a string of funk groups throughout the 70s and early 80s - Sweet Dreams, Midnight, Ritz & Indigo - and later went on to be successful as lead singer in Rage.

These tracks "Checking Out" and "High on a Feeling" on the other hand features the vocal talents of Rush Winters, who would go on to record with the likes of Carmel, Yello, D.C.Lee and others. "It received little in the way of promotion by the record company at the time", Tattersall continues "so it has produced a cult following and has become rather sought-after, as few copies were actually released at that time."

After release, Cool Runners' Paul Tattersall and Chris Rodel then played with several different bands, with Chris moving onto double bass. He still plays professionally today as an accomplished jazz bass player. Paul has run a successful musical hire company in North London, with a specialism on synths and keyboards, since the eighties - and continues to this day.

RAW SPACE" is rooted in chaos and chance, sensuality and intensity - it's an album that's able to sound alarmingly freeform and tightly controlled simultaneously. Already established as a genre-disrupting DJ, and even dubbed "demon of the Nile" by Ugandan politicians after an exuberant performance at Nyege Nyege festival in September 2019, Kampala-based sonic hypnotist Authentically Plastic brings a digger's literacy, an activist's intent, and an artist's playfulness to their jagged debut album. As both a DJ and a producer, Authentically Plastic is drawn to the idea of chance as a creative tool - to push against the idea of the all-knowing genius, and approach artistry instead as a facilitator, unraveling parallel mismatched rhythmic events. Their musical process is to start with chaos, then attempt to mold those fleshy structures into polyrhythmic mutations, pulling influence from East Africa's innovative musical landscape and augmenting it with an exploratory sense of surrealism. On opening track 'Aesthetic Terrorism', rough-hewn industrial rhythms chug mechanically against course, dissonant synth blasts and acidic arpeggios. There's a faint sparkle of Detroit's chrome-plated Afro-futurism, but bathed in neon light, reflecting Africa's contemporary electronic revolution. Authentically Plastic's productions have a sense of thematic coherence, but their myriad influences are torched into cinders, leaving inverse impressions and ghost rhythms: the tuned overdriven clatter of 'Anti-Fun' echoes Ugandan kadodi modes, yet simultaneously mirrors the rugged out-zone grit of Container or Speaker Music; standout centerpiece 'Buul Okyelo' meanwhile is as rhythmically cross-eyed as Slikback or Nazar, but juxtaposes kinetic dancefloor thumps with chaotic microtonal ritual cycles. Writing "RAW SPACE", Authentically Plastic found themselves fascinated by sonic flatness. They realized that in Western art, there's an obsession with depth of field that carries into music, robbing it of intensity. The album is an example of the power that can be reclaimed when you let go of depth, letting sounds rub together carnally and spawn something fresh and unexpected.

TNT is the third full length studio album released by Tortoise in 1998 1998 : Tortoise"s third studio album TNT is released. In and out of print over the past decade we are happy to finally give everyone what they have been asking for - TNT on vinyl again! Pressed on high quality virgin vinyl, the two LPs are packaged in a deluxe old-style tip?on gatefold jacket fully replicating the original artwork and includes a download coupon for the first time! Tortoise"s third full-length release, TNT, was written and recorded during a 10-month interval in 1997. This longer-than-usual writing/production schedule was purposefully undertaken by the group in the hopes of crafting an expansive, diverse, yet thematically coherent offering. TNT builds upon the spare, instrumental framework of the group"s first, self-titled album, and the extended edits, melodic adventures, and klangfarben of the subsequent full-length release, Millions Now Living Will Never Die. Further to this, Tortoise"s interest in the possibilities offered by the remixing of tracks was realized within the actual production of TNT; individual elements, sections, or sometimes whole compositions mutate within the album"s shifting framework. These techniques were suitably realized thanks in part to the use of non-linear digital recording and editing methods, the first example of such work for the group

The Discomfort Of Evening is the incredible and original soundtrack by prolific Belgian composer Michiel de Malsche to 2020 International Booker Prize winner The Discomfort of Evening by Marieke Lucas Rijneveld. Visceral and virtuosic, Rijneveld's novel follows Jas, a girl growing up in a devout Christian family that runs a Dutch dairy farm, whose brother dies in an accident after she wishes he would die instead of her rabbit. Lost in grief, her family falls apart as she becomes consumed by increasingly dangerous fantasies.

Michiel de Malsche has captured the atmosphere and spirit of Rijneveld's book perfectly, moving through moments of confrontation and introspection, sinking into spirals of despair, stasis and subtle hope and change. Brooding ambient basslines, driven by droning murmurs, are offset with melismatic electro-acoustic pieces that embody the novel's haunting and dissonant world, whilst also incorporating manipulated field recordings such as animal sounds and a church service, allowing for a full manifestation of Jas’s world in a completely new way.

De Malsche achieves this by rallying an unusual combination of acoustic instruments (16 in total) played by top-of-their-field musicians, creating a truly unique sound world and tonal palette, including an Ondes Martenot, a 7-stringed Chinese instrument called a guqin, a marimba, a string 6-tet, a toy piano and a bass flute.

De Malsche always confronts all emotional levels of his source material head-on, making his soundtrack into much more than just a fever dream. It is a precise description of, and accompaniment to, a devastatingly impactful book.
Michiel De Malsche is a Belgian composer, multi-instrumentalist and sound designer. He studied classical composition at the conservatories of Rotterdam and Ghent. His music has been performed all over the world and he has composed and produced dozens of soundtracks for contemporary dance, theatre, movies and documentaries.

Besides his work as a contemporary classical composer, he is active as a studio musician and producer in the world of electronic music.

Eight years after their first collaboration, ‘The Compass Joint’, slipped out as an ultra-limited white label, Charlie Soul Clap and Tom Trago have reunited to bring us a similarly warming, sun-splashed sequel, ‘The Compass Jawn’.

Like its predecessor – a now near-mythical 12-minute epic recorded late one night in Tom’s former squat-turned-studio close to legendary Amsterdam venue Trouw, and subsequently championed by DJ Harvey – ‘The Compass Jawn’ was inspired by the pair’s mutual love of both Caribbean keyboardist and FM synthesis enthusiast Wally Badarou, and the 1980s output of Chris Blackwell’s legendary Compass Point studio in Nassau, the Bahamas.

As sequels go, ‘The Compass Jawn’ is a bit of a belter. During the recording in 2019, Tom and Charlie sought to subtly evolve the original’s memorable lead line, reaching the for Yamaha DX7’s percussion patch – something utilized many times by Badarou during the 1980s.

The resultant ‘Studio Version’ is, if anything, even more emotive and uplifting than its predecessor. Underpinned by a shuffling rhythm pattern, the track ebbs and flows brilliantly, with jaunty synth stabs, undulating melodies and sparkling keyboard riffs ushering in held-note chords and a gorgeously rushing, ever-rising lead line. Throw in some starry pads and sunset-ready synth motifs, and you have another gorgeous, life-affirming treat.

‘The Compass Jawn’ comes backed with two top-notch alternative mixes. First up is an ambient ‘Dub’ mix from Trago that strips back the beats and instead focuses on the track’s many key melodic elements. Pushed forwards by drum machine handclaps, it’s a bubbly, sun-bright revision full to bursting with twinkling electronic motifs, jammed-out motifs, hands-aloft riffs and a bleeping take on the fluid and kaleidoscopic lead line.

Rounding off the package is the duo’s original demo mix – a raw, tough, and slightly more sub-heavy affair that’s notably more percussive and sweat-soaked whilst still sporting the key lead lines and FM synth sounds that make the studio version such a memorable and mood-enhancing affair.

With selections ranging from Praetorius to Britten,
plus all-time favourites by J.S. Bach (The
Christmas Oratorio) and Handel (Messiah), this
album brings together some of the most beautiful
and justly famous musical settings of the Nativity
story.
Festive or intimate, exuberant or elegiac, these
highlights from iconic recordings in harmonia
mundi’s voluminous catalogue are an ideal
sampling of the Christmas magic across epochs
and styles.

French-Senegalese artist anaiis shares her debut album ‘this is no longer a dream’, out now via her own independent imprint Dream Sequence Recordings. The debut album explores themes of isolation and disillusionment and forms an inner conversation that flourishes from angst and neurosis to self-affirmation and hope. The project includes contributions from Chronixx, Topaz Jones, Sjava, Jay Prince, CKTRL, Onyx Collective, Jesse & Forever. The artwork was captured by iconic Brazilian photographer Raphael Pavarotti and phenomenal creative director Ib Kamara. Long Press Release here

GRAMMY-winning global superstar Kelly Clarkson has released When Christmas Comes Around…, her ninth studio album via Atlantic Records. The 15-track collection sees Clarkson reunite with long time collaborators Jason Halbert, Jesse Shatkin and more for a mix of new original songs and Christmas classics.

The album features a mix of new original songs and Christmas classics, alongside show-stopping collaborations with Ariana Grande (“Santa, Can’t You Hear Me”), Chris Stapleton (“Glow”) & Brett Eldredge (2020’s hit single “Under The Mistletoe”). When Christmas Comes Around… marks the latest album from Clarkson since 2017’s Meaning of Life and her second holiday offering following 2013’s Wrapped In Red.

Kelly Clarkson is among the most popular artists of this era with total worldwide sales of more than 25 million albums and 40 million singles. The Texas-born singer-songwriter first came to fame in 2002 as the winner of the inaugural season of American Idol. Clarkson’s debut single, “A Moment Like This,” followed and quickly went to #1 on Billboard’s Hot 100, ultimately ranking as the year’s best-selling single in the U.S. Further, Clarkson is one of pop’s top singles artists, with 19 singles boasting multi-platinum, platinum and gold certifications around the world, including such global favourites as “Miss Independent” and “Because of You.” Clarkson has released eight studio albums (Thankful, Breakaway, My December, All I Ever Wanted, Stronger, Wrapped In Red, Piece By Piece, Meaning of Life), one greatest hits album, and two children’s books (New York Times Top 10 best seller River Rose and the Magical Lullaby and the follow up River Rose and the Magical Christmas). She is the recipient of an array of awards including three GRAMMY Awards, four American Music Awards, three MTV Video Music Awards, two Academy of Country Music Awards, two American Country Awards, one Country Music Association Award, and two Daytime Emmy Awards. She is also the first artist to top each of Billboard’s pop, adult contemporary, country and dance charts.