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For the upcoming release on KNTXT, label boss Charlotte de Witte announces a dual EP release. “The Selected EP and Pressure EP, to me, are the perfect reflection of the music I have been playing over the years.” says Charlotte de Witte. “On the Selected EP people will find the straightforward Techno sound with the Acid twist, that I love to bring to the floor when I’m touring.”
“It’s counterpart, the Pressure Ep, is an extension of the mixes that I assemble for my BBC Residency.

A more ambient approach, that’s rougher around the edges.” “Both releases can be seen as an ode to the techno I love and cherish.” concludes de Witte. On the subject of the dual release Charlotte says “For me this duality is essential to explore my interests both as a producer and DJ. Therefore it also made sense to me to release them simultaneously, as we also combine our label releases with events and our weekly radio show.”

My Proud Mountain is proud to announce third volume of the series "Songs of Townes Van Zandt", that was started in 2012 and features various artists covering Townes Van Zandt songs. Songs of Townes Van Zandt Vol. III featuring Amenra, Cave In & Marissa Nadler and will be released on April 22, 2022. Steve Brodsky of Cave In about being part of the record: "In the winter of 2010, I did a solo tour with Scott Kelly of Neurosis and Bob Wayne. It was the 3 of us and Ansgar Glade traveling in Bob's "green machine" van around the UK and Ireland. At every show, Scott played the song "Caroline" and each time I heard it, I found myself enraptured. This was my introduction to Townes Van Zandt. Pretty cool that 10 years later, Ansgar has given me and Cave In this great opportunity to show our love for TVZ's music." Lennart Bossu of Amenra says: "Being Belgians, the very American folk and country of Townes Van Zandt is not exactly the music we grew up listening to, but upon discovering his songs in our early twenties, they immediately struck a chord with us. Even people who do not understand the lyrics can probably tell that they are listening to someone who has lived and suffered, and, oddly enough, at the same time find deep comfort in his soothing voice. It is the kind of comfort that often defines great music or art in general, and it made the prospect of trying our own hand at a few of his songs no less daunting. Nonetheless, when we were asked to be part of this collection of Townes Van Zandt cover songs, we felt excited and compelled to be part of it, as, in a way, it offered us a chance to do something in return for the great songs he has given us, and also be a part of a series of albums that are almost exclusively comprised of artists we deeply respect." Marissa Nadler about Townes Van Zandt: "I've been a fan of Townes Van Zandt's music for nearly as long as I've been writing songs. When I was starting out, a friend introduced me to Townes's music and I pretty much instantly fell in love with both the rawness of his songs as well as the intense sense of longing expressed within them. His lyrics are haunting and evocative and have inspired me endlessly. These melodies will linger with you, year after year, and hopefully keep you company along the way." Ltd red vinyl LP!

Available on ltd edition white vinyl, only 300 pressed. Includes extended album download.

Ivan The Tolerable is the alter ego solo project of Middlesbrough based musical wizard Oli Heffernan. Aside from his solo work as ITT, Oli has played in numerous bands over the years including Year Of Birds, King Champion Sounds with members of the Ex, Detective Instinct, and Shrug, and has collaborated with icons like Mike Watts of the Minutemen, and J Mascis of Dinosaur Jr.

On Black Water/Brown Earth, Heff called in the help of his Dutch friends Mees and Elsa in King Champion Sounds again and wrote the album in a long-distance session. The album feels like an excursion in nature, featuring bird song, flowing water, pots and pans percussion, and a genuine feel of wandering about and experiencing the outside world with eyes and ears wide open. It is a band effort too, with organic sounding drums, the characteristic saxophone, and droning synths.

‘Elsewhere, gentle intonations of morning with almost childlike embellishments and rhythmic beats, and more flute, might lull and comfort but nothing ever sits exactly in time which might make this Ivan The Tolerable’s most frustrating album at times but also one of his most interesting to really delve into aurally. ‘Sawdust’ is another sonic interlude, little more than a purge of effects and ideas but in a place where effects and ideas are plentiful. However, it’s centrepieces ‘Seaweed’ and ‘Signs’ that provide the pulsing, grooving dual that makes the second half of Black Water/Brown Earth a sheer delight. The former being simply kind of folky with a bit of sitar but utterly immersive, the latter oddly upbeat with eastern vibes and tubular rhythms, combined it is nearly twenty minutes of serene experimentalism.
The shorter tracks are perhaps designed to temper the mood or counter and reflect the passage of time on an album of mostly structured improvisation, and it may only be closer ‘Memory’ that is truly free to roam musically, its long jazzy segments skipping off into the farthest corners of the left field’.

The latest suite by composer (and Stars Of The Lid co-founder) Adam Wiltzie took shape following a move north from Brussels into the Flemish countryside, although it was initially inspired by a recurring dream wherein “if someone listened to the music I created, then they would die.”
The album uniquely evokes and evades the allure of oblivion, keening between beauty and ruin, forever unresolved. Wiltzie cites the barbiturate of the title as both muse and sacred escape: “When you are sitting face forward on the daily emotional meat grinder of life, I always wished I could have some, so I could just fall asleep automatically and the feeling would not be there anymore.”
Recorded at Wilzie’s home studio, with strings added in Budapest at the old Hungarian National radio facility (Magyar Radio), the tracks feel simultaneously intimate and infinite, unfolding vistas glimpsed in an inner space.
Robert Hampson of English drone rock icons Loop mixed the album, further lending the music a sense of cinematic expanse and oblique hypnosis.
These are fugue states as much as fugues in a literal classical music sense—smeared epiphanies of uncertain memory and spatial dislocation, coaxed from the unconscious and set aloft.

Over the last couple of decades, Charlie Parr has crisscrossed the world on tour more times than one can count. He also has released over a dozen albums of his songs, acclaimed for their poetic simplicity. Little Sun, his most ambitious album to date, was recorded with Tucker Martine (The Decemberists, Sufjan Stevens, My Morning Jacket) and features Parr augmenting his raw and affecting songs with stunning full-band arrangements. The remarkable backing band here includes Marisa Anderson, Victor Krummenacher, Andrew Borger, and Asher Fulero. Masterfully channeling the philosophical and transcendental qualities of the blues, Parr takes us on a journey through the winding streets of his imagination.

The Morning Papers Have Given Us the Vapours was made with the black watch bandmates and producers/engineers Rob Campanella (Brian Jonestown Massacre, The Tyde, The Warlocks) and Andy Creighton (The World Record, Parson Red Heads). Ben Eshbach, formerly of The Sugarplastic, arranged the strings. Kesha Rose guests on lead vocals on the second single, Oh Do Shut Up. And the great Lindsay Murray once again lends her beautiful backing vox to a number of tracks.

the black watch songwriter/frontman John Andrew Fredrick wrote the ten songs on this, his Los Angeles-based band's latest album, entirely unselfconsciously, with no set goal in mind other than to revel in the joy of songwriting, and, eventually, the luxury of recording his music with his more-than-accomplished band. The Morning Papers Have Given Us the Vapours, produced separately and together by Rob Campanella and Andy Creighton evinces the black watch's often stunning ability to, as Andy Gill once observed in The Independent, "find chaos in the calm, melody in the miasma."

Fredrick, who has also published four comedic novels and a book on the early films of Wes Anderson, jovially describes himself as "a recovering Anglophile--one who'll never, one hopes, fully recover." From his home studio in the Angeleno Heights district of L.A., he waxes eloquent about how being branded, as it were, as a too-ardent lover of British music, film, and literature has left him as bemused as has the tag "prolific" that is often affixed to reviews of his work.

"I just don't think it's all that interesting to note that we've made so many records. Looked at one way, it's a sort of deflection from talking about the timbre if not the quality of the individual songs. Though I know it can be intimidating for fans who've just discovered us--a sort of 'My goodness, where do I start with this band that has put out LPs since 1988?' I get it. I do. I picture someone standing at our slot at a bin at a record store becoming overwhelmed at the prospect of picking the 'wrong' title. And then walking away and not picking up anything from us!" Fredrick laughs. "What can you do indeed?"

He started his career as a songwriter as a result of an American Football injury that left him bedridden in the home he grew up in in Santa Barbara, California. The year The Beatles immortal double-album came out at Christmastime he broke his leg so badly that he had to be home-schooled for an entire year. His parents, ex-teachers themselves, refused to let him watch telly for more than an hour a day. He propped a Silvertone acoustic on top of the massive cast that screamed all the way up to his thigh from his toes, and began to write little melodies and lyrics that, doubtless, did not in the least mask his love for the Fabs, The White Album in especial.

And he read and read and read--histories of the American Revolution and Civil War, mostly, and as many Dickens novels as his mum and dad could bring him. "That year," Fredrick observes, "surely made me who I am today. Proof that intensely unfortunate-seeming events can prove most fortunate. As a sport-mad kid, it made me absolutely mental that I was exiled from the activities I loved most and the school teams I played on. What a blessing undisguised that injury was! Not that I'd like to experience anything like it ever again, mind you."

Fredrick can even recall a few of the melodies he wrote as boy ("Utterly trite, of course, completely jejune"); and in a way, The Morning Papers Have Given Us the Vapours showcases a kind of get-back-to-where-you-once-belonged sensibility. "I didn't intend, this time, to make an album per se. I write both songs and fiction in order to find out what happens, to find out what I might want to say," he notes. "Rob often asks me what a particular song is about; and I often reply that I either don't know, or would prefer that others say. Same thing goes for when people ask me where they should start with our discography. I never know what to say. Our LP from 2011, Led Zeppelin Five (remastered in 2021 for its tenth anniversary), has been our best seller, I think--but that may be because some stoned Zepheads thought their gods had perhaps put out a record they'd missed!"

Despite being deadly serious about music-making, TBW's been known to either whimsically or perversely title their albums. Examples: Jiggery-Pokery (an allusion to John Lennon assessing George Martin's productions), After the Gold Room (a pun on the Neil Young classic plus a local eastside L.A. watering hole), Sugarplum Fairy, Sugarplum Fairy (echoing Lennon's famous count-off to A Day in the Life), Fromthing Somethat (a garbled spoonerism/lyric while doing a vocal), Brilliant Failures (the 2020 release that, along with Fromthing Somethat, was named Album of the Year by venerable indie rock magazine The Big Takeover), and the aforementioned LZ5.

For the new LP, the band recruited longtime friends and allies Ben Eshbach (the Emmy-Award-winning frontman of The Sugarplastic) and Lindsay Murray (Gretchens Wheel) to compose and arrange strings and sing heaps of lovely backing vocals, respectively.

And the result? A collection of songs that Fredrick, in his quite-but-not-quite self-deprecatory way, might call another set of brilliant failures. "Every song, every LP we do, is a failure of sorts--no matter how powerful or beautiful or pleasing-to-us it turns out," John concludes. "I have often said that my aim is to write songs as good as anything on The Beatles... and I will never achieve my goal. And thus I'll have to keep at it, keep trying. And chin-chin to that!"

And now your attention's been brought to a band (or you've heard of them or heard a track or two down the years) that has been pegged by The L.A. Weekly as "a national treasure" as well as "the most criminally-neglected indie pop group imaginable."

So here's to the prospect of that ostensible neglect becoming as much of a thing of the past as John Andrew Fredrick's year-long stint in bed.

Das erste offizielle Album von Jean Yves Tola nach der Auflösung von 16 Horsepower anno 2005. Als Gründungsmitglied der Alternative Country Band aus Denver waren Tolas Arrangements, Ideen und sein Einfluss innerhalb der Band immer präsent. Jetzt kommt endlich seine ganz eigene musikalische Vision auf "Feathers" zum Vorschein und präsentiert dabei zehn wunderschöne, dunkle Folk Songs. Als Gastmusiker:innen sind hier Chantal Acda, Calvin Dover (Dover Brothers), Steve Taylor (ex-16 Horsepower) und Theo Hakola (Orchestre Rouge, Passion Fodder) zu hören.

Melcure presents its eleventh release. Designed and produced by the head behind many aliases. We refer to Felipe Valenzuela and the thousand sonorous paths that the label's creator has taken lately.

"A year of fury" is the title he has decided for this EP. A special moment in his life, where time was relative, and hours were instances to discover the most neuralgic part of his sound design. During this period, and in a surrealistic context, Felipe recorded countless audios. This compilation is a small sample of what happened during this enigmatic stage of his life, and the final selection, a summary of what he considers most representative for him and Melcure.

sentiment is a meditation of the poignant emotional terrains of loneliness, nostalgia, sentimentality, guilt, and sex. The album"s narrative arc is guided by delicate musical gestures and artistic vulnerability, audaciously synthesizing disparate and unexpected influences. claire rousay is a singular artist, known for challenging conventions in experimental and ambient music forms. rousay masterfully incorporates textural found sounds, sumptuous drones and candid field recordings into music that celebrates the beauty in life"s banalities. Her music is curatorial and granular in detail, deftly shaped into emotionally affecting pieces. rousay"s vocals and guitar take center stage on sentiment. Her intimate, diaristic lyrics contrast with her mechanical-inflected vocal effects, emphasizing a powerful desire for connection, a deep yearning and a lingering sense of separation. The spare guitar playing and laconic tempo both drive the songs and exude a sense of resignation. Her delicate mastery of nuance draws on her explorative musical past that she, with sincerity and admiration, seamlessly interweaves into her adventurous textures and distinctive compositions. "I want to belong to the worlds and communities I look up to. Same as someone using a Fender guitar or dressing like Kurt Cobain. Emulate your heroes," says rousay. The album balances the poetic soul of her influences with a documentarian heart, rousay capturing moments of her life while living alone in houses across the country, learning to play guitar, and reconnecting with pop music. Her innate ability to conjure pure feeling from sound derives from her delightful embrace of pop forms, the vulnerability found in field recordings, minimalistic arrangements and innovative sound choices. sentiment is blissfully, achingly melancholic, and an undeniably sensual listening experience.

Medieval Steel wurden ursprünglich im Frühling 1982 in Memphis, Tennessee gegründet. Die Band trat in lokalen Clubs auf, bevor sie ihr eigenes Material zu schreiben begann (welches später mit Queensryche und Crimson Glory verglichen wurde).

"Sobald wir unsere Besetzung gefestigt hatten, intesivierten wir unsere Live-Aktivitäten", erklärt Sänger Bobby Franklin heute."Außerdem war uns klar, dass wir als nächsten Schritt unser eigenes Material komponieren mussten, um in diesem Geschäft Fuß fassen zu können."

Zwei weitere Jahre dauerte es, bis mit "Medieval Steel", "Warlods", "Battle Beyond The Stars" und "Echoes" die vier Songs für ihre heute legendäre Debüt-EP gefunden waren. "Als ich das Material geschrieben und aufgenommen hatte, konnte ich noch nicht ahnen, dass es einmal ein Eigenleben annehmen würde", meint Bobby Franklin. Und weiter: "Ich glaube, wir konnten unter zehn oder elf Stücken auswählen. Aus finanzielen Gründen nahmen wir kein vollständiges Album auf. Die Recordings an sich gingen schnell und problemlos über die Bühne. Wir haben zwei Wochen lang drei oder vier Stunden am Tag geübt, um bestmöglich vorbereitet zu sein. Zu jener Zeit waren wir alle noch junge Burschen und hatten reguläre Jobs. Wir waren uns sicher, dass unsere Musik das gewisse Etwas besaß."

Die besagte EP erschien 1984 über das in Memphis ansässige Label SUR Records, das auch ein eigenes Studio betrieb: "Sie hatten keine Metal-Bands unter Vertrag und haben überwiegend Country und Blues gemacht. Es war ein wirklicher Schock für sie, als wir angekommen sind. Aber es waren nette Leute, die uns gut behandelt haben. Jack Holder war der Tontechniker und Co-Produzent. Er spielte in einer Band namens Cobra und hat danach entschieden, Tontechniker zu werden, worin er sehr gut war. Ich glaube mich zu erinnern, dass 3.000 Vinyl-Exemplare sowie 1.000 Kassetten gefertigt wurden. Sofort nachdem man in Europa von der EP Wind bekommen hatte, war sie im Nu ausverkauft."

Medieval Steel arbeiten zurzeit an einem brandneuen Studioalbum!

Medieval Steel wurden ursprünglich im Frühling 1982 in Memphis, Tennessee gegründet. Die Band trat in lokalen Clubs auf, bevor sie ihr eigenes Material zu schreiben begann (welches später mit Queensryche und Crimson Glory verglichen wurde).

"Sobald wir unsere Besetzung gefestigt hatten, intesivierten wir unsere Live-Aktivitäten", erklärt Sänger Bobby Franklin heute."Außerdem war uns klar, dass wir als nächsten Schritt unser eigenes Material komponieren mussten, um in diesem Geschäft Fuß fassen zu können."

Zwei weitere Jahre dauerte es, bis mit "Medieval Steel", "Warlods", "Battle Beyond The Stars" und "Echoes" die vier Songs für ihre heute legendäre Debüt-EP gefunden waren. "Als ich das Material geschrieben und aufgenommen hatte, konnte ich noch nicht ahnen, dass es einmal ein Eigenleben annehmen würde", meint Bobby Franklin. Und weiter: "Ich glaube, wir konnten unter zehn oder elf Stücken auswählen. Aus finanzielen Gründen nahmen wir kein vollständiges Album auf. Die Recordings an sich gingen schnell und problemlos über die Bühne. Wir haben zwei Wochen lang drei oder vier Stunden am Tag geübt, um bestmöglich vorbereitet zu sein. Zu jener Zeit waren wir alle noch junge Burschen und hatten reguläre Jobs. Wir waren uns sicher, dass unsere Musik das gewisse Etwas besaß."

Die besagte EP erschien 1984 über das in Memphis ansässige Label SUR Records, das auch ein eigenes Studio betrieb: "Sie hatten keine Metal-Bands unter Vertrag und haben überwiegend Country und Blues gemacht. Es war ein wirklicher Schock für sie, als wir angekommen sind. Aber es waren nette Leute, die uns gut behandelt haben. Jack Holder war der Tontechniker und Co-Produzent. Er spielte in einer Band namens Cobra und hat danach entschieden, Tontechniker zu werden, worin er sehr gut war. Ich glaube mich zu erinnern, dass 3.000 Vinyl-Exemplare sowie 1.000 Kassetten gefertigt wurden. Sofort nachdem man in Europa von der EP Wind bekommen hatte, war sie im Nu ausverkauft."

Medieval Steel arbeiten zurzeit an einem brandneuen Studioalbum!

Medieval Steel wurden ursprünglich im Frühling 1982 in Memphis, Tennessee gegründet. Die Band trat in lokalen Clubs auf, bevor sie ihr eigenes Material zu schreiben begann (welches später mit Queensryche und Crimson Glory verglichen wurde).

"Sobald wir unsere Besetzung gefestigt hatten, intesivierten wir unsere Live-Aktivitäten", erklärt Sänger Bobby Franklin heute."Außerdem war uns klar, dass wir als nächsten Schritt unser eigenes Material komponieren mussten, um in diesem Geschäft Fuß fassen zu können."

Zwei weitere Jahre dauerte es, bis mit "Medieval Steel", "Warlods", "Battle Beyond The Stars" und "Echoes" die vier Songs für ihre heute legendäre Debüt-EP gefunden waren. "Als ich das Material geschrieben und aufgenommen hatte, konnte ich noch nicht ahnen, dass es einmal ein Eigenleben annehmen würde", meint Bobby Franklin. Und weiter: "Ich glaube, wir konnten unter zehn oder elf Stücken auswählen. Aus finanzielen Gründen nahmen wir kein vollständiges Album auf. Die Recordings an sich gingen schnell und problemlos über die Bühne. Wir haben zwei Wochen lang drei oder vier Stunden am Tag geübt, um bestmöglich vorbereitet zu sein. Zu jener Zeit waren wir alle noch junge Burschen und hatten reguläre Jobs. Wir waren uns sicher, dass unsere Musik das gewisse Etwas besaß."

Die besagte EP erschien 1984 über das in Memphis ansässige Label SUR Records, das auch ein eigenes Studio betrieb: "Sie hatten keine Metal-Bands unter Vertrag und haben überwiegend Country und Blues gemacht. Es war ein wirklicher Schock für sie, als wir angekommen sind. Aber es waren nette Leute, die uns gut behandelt haben. Jack Holder war der Tontechniker und Co-Produzent. Er spielte in einer Band namens Cobra und hat danach entschieden, Tontechniker zu werden, worin er sehr gut war. Ich glaube mich zu erinnern, dass 3.000 Vinyl-Exemplare sowie 1.000 Kassetten gefertigt wurden. Sofort nachdem man in Europa von der EP Wind bekommen hatte, war sie im Nu ausverkauft."

Medieval Steel arbeiten zurzeit an einem brandneuen Studioalbum!

Joey Tempest is best known as the lead vocalist of the rock band Europe. His debut solo album A Place To Call Home was originally released in 1995 and features a guest appearance by his band member John Norum on guitar. The LP includes the singles ""Under The Influence"", ""A Place To Call Home"", ""Don't Go Changin' On Me"" and ""We Come Alive"". A Place To Call Home is available on vinyl for the first time and includes an insert with lyrics.

A Place To Call Home by Joey Tempest, released 19 April 2024, includes the following tracks: "A Place To Call Home", "Elsewhere", "Don't Go Changin' On Me", "Right To Respect" and more.

This version of A Place To Call Home comes as a 1xLP. This release comes with (a) Insert(s).

New Jackson marks his long awaited follow-up to 2017’s From Night To Night with its successor OOPS!... POP for long-time collaborators Permanent Vacation. A concise triumph in techno pop, its 9 tracks elevate his signature electronic sounds into anthemic new heights.
David Kitt is a prolific sonic polymath who’s enjoyed a colourful career making whatever he likes.
While releasing music under a vast array of aliases and collaborations for close to two and a half decades, New Jackson has remained his irregular home since 2011 for when ‘at one with the machines’. It offers a kaleidoscopic window into his love of dance music, and on his debut album under the alias From Night To Night (released in 2017 on Dublin’s All City label) he unfurled his singular vision; a dilated suite of nocturnal soul coaxed from his beloved electronic equipment with songwriter’s nous, sonically etched as blunted whispers coalesced from the dusky billows of Dublin bay. Further EPs and singles followed, alongside a beloved live show he toured globally, plus detours with his critically-lauded Garies duo (with Lumigraph) and a David Kitt solo album.
In the time since his New Jackson debut, he’s slowly distilled his studio methodology to help mine the true core of his musical self. Within this experimentation, he has stumbled upon the bounty that is OOPS!... POP, his most direct and euphoric body of work to date. Recorded across the span of five years and three different countries, Kitt has managed to transform his beloved alias into a leaner beast, tightening the screws around arrangements and songwriting to inspire an album sonically effortless in demeanour and spontaneously playful in structure and form. Aided by a stacked cast of collaborators including Rita Lynn, Donnacha Costello, Riche “Jape” Egan, Yenkee, Kean Kavanagh, Margie Jean Lewis, Meg Cronin and Fehdah, it bears the hallmarks of the studio albums of yesteryear in its dynamism and gratification while drawing on his rich bouquet of influences across a century of recorded music.
Opener SI SI SI lulls you in with its smothered vocoder’d croons and patient groove, BURNT DEEP next yields a surprising deep house turn, lit gently with casual hedonism. LIKE rewires the playbook entirely, shuffling along its minimal 80’s boogie groove with a cheeky grin, before lead single OUT OF REACH further mines the golden pastures with its glorious stuttering techno power-pop fit with that anthemic chorus. DAY IN SHOCK digi-dubs around the wonderful vocal turn of Fehdah in purest heads-down manner, then THE OK HOLE and STROBE both descend the psychedelic wormhole of anaesthetised breaks and electro with its entranced dancefloor gaze. I WANNA BE ADORED, the Madchester anthem from The Stone Roses, is then surprisingly reimagined as a lost kraut-pop robo sung classic while WITH THE NIGHT AT OUR FEET is our climactic conclusion, a mechanised symphony of dual proportions; a humane core of angelic harmonies chugging along in electro rhythm before soaring strings take us on our way.
New Jackson’s oeuvre, indeed David Kitt’s musical world, is vast; OOPS!... POP then might just be his opus across it all, a towering achievement of soaring catharsis in melody and song that soundtracks the most direct transmissions from his heart to yours

For The Bacon Brothers, music is all about exploration. The siblings have spent the better part of three decades creating their own mix of folk, rock, soul, and country music. They call that diverse sound "forosoco," and it's taken them around the world, from headlining gigs in Japan to American performances at iconic venues like Carnegie Hall, the Grand Ole Opry and Gruene Hall.

The exploration continues with the band's twelfth release,'The Ballad Of The Brothers'. It's a record that highlights not only the similarities between Kevin Bacon (known worldwide as an A-list Hollywood actor) and Michael Bacon (celebrated as an Emmy-winning composer), but the differences, too. The two siblings may be bound together by blood and a mutual love of American roots music, but they've grown into sharp songwriters and cinematic storytellers with their own distinct approaches.

Ballad of the Brothers by The Bacon Brothers, released 19 April 2024, includes the following tracks: "Put Your Hand Up", "Old Bronco", "We Belong", "Ballad Of The Brothers (The Willie Door)" and more.

This version of Ballad of the Brothers comes as a 1xLP.

English indie-pop act BANNERS (a.k.a. Michael Joseph Nelson) is known for his effervescent melodies and immensely relatable lyrics about the human condition. With Nelson’s latest full-length, All Back to Mine, it’s safe to say he owns a market share in feel-good anthems streamlined to soundtrack your best life. Written and recorded over nine months, primarily in Liverpool and on the breathtaking Scottish isle of Lewis, the title, All Back to Mine, refers to an exuberant, long-awaited return to his hometown of Liverpool. Rich in romance and optimism, it’s as positively infectious as you’d expect. “I put my heartstrings all over this album,” Nelson says. “You want to fill your life with experiences, don't you? And the more of them, the better. I can't judge what's good and what isn't anymore. All I can do is try to make something that matters.”

BANNERS with a viral TikTok moment for his song “Someone to You” earning over 1.5 billion streams. The song went Platinum and Gold in multiple countries and led to an appearance on American Idol and Jimmy Kimmel Live!

"All Back To Mine" by Banners includes the following tracks: "Anywhere for You", "There Goes My Girl ", "The Best View in Liverpool", "Broken Hearted" and more.

There’s a profound tenderness that imbues The Butterfly Myth, the debut album from Toronto artist Caitlin Woelfle-O’Brien. Each of the nine songs, unreserved in their beauty, contain strength and softness in equal measure; a delicate balance that invites the listener to feel themselves held and reflected. Steeped in the lowkey balladry of 90s alt-rock soul searching, propelled by timeless r&b undercurrents and tinged with a few country flourishes, The Butterfly Myth manages to speak of grief in a way that feels warm and nourishing.

"The Butterfly Myth" by Blunt Chunks includes the following tracks: "High Hopes", "Every Day", "Breathe", "Can't Be The End" and more.

Tellusalie is a four-piece band from Fredrikstad, Norway. Their third album «The Man Across The Fountain» originally released in 2009, was produced by Knut Schreiner (Turbonegro, Euroboys) and contains no less than 18 timeless folk/country rock tunes. The press compared them to artists like Grizzly Bear and Neil Young, wich should also give a good sense on where to place Tellusalie musically.

"The Man Across The Fountain" by Tellusalie includes the following tracks: "Mistress M.", "Good Man", "Inside You", "If I'm Hazy" and more.

sentiment is a meditation of the poignant emotional terrains of loneliness, nostalgia, sentimentality, guilt, and sex. The album"s narrative arc is guided by delicate musical gestures and artistic vulnerability, audaciously synthesizing disparate and unexpected influences. claire rousay is a singular artist, known for challenging conventions in experimental and ambient music forms. rousay masterfully incorporates textural found sounds, sumptuous drones and candid field recordings into music that celebrates the beauty in life"s banalities. Her music is curatorial and granular in detail, deftly shaped into emotionally affecting pieces. rousay"s vocals and guitar take center stage on sentiment. Her intimate, diaristic lyrics contrast with her mechanical-inflected vocal effects, emphasizing a powerful desire for connection, a deep yearning and a lingering sense of separation. The spare guitar playing and laconic tempo both drive the songs and exude a sense of resignation. Her delicate mastery of nuance draws on her explorative musical past that she, with sincerity and admiration, seamlessly interweaves into her adventurous textures and distinctive compositions. "I want to belong to the worlds and communities I look up to. Same as someone using a Fender guitar or dressing like Kurt Cobain. Emulate your heroes," says rousay. The album balances the poetic soul of her influences with a documentarian heart, rousay capturing moments of her life while living alone in houses across the country, learning to play guitar, and reconnecting with pop music. Her innate ability to conjure pure feeling from sound derives from her delightful embrace of pop forms, the vulnerability found in field recordings, minimalistic arrangements and innovative sound choices. sentiment is blissfully, achingly melancholic, and an undeniably sensual listening experience.

Memories are, to say the least, complex. They can weigh us down like stones or be treasured in their unresolved ambivalence. In Ciro Vitiello’s debut album, they take on a dynamic and elusive nature, both bouncy and tricky, moving away when approached and dipping into the haze of the subconscious. Dreams, in turn, find their shape through memory itself. The Island Of Bouncy Memories is, for Vitiello, a place populated by reveries and hypnagogic impressions, interwoven with the imprints of childhood experiences—a threshold between the comforting embrace of nostalgia and the acceptance of adulthood.

The album's inception traces back to a collection of toy recordings initially amassed by Vitiello as a backdrop for his wide-weave synthetic fabric. Evolving these initial sketches, the Naples-born artist intended the 13 tracks to form a continuous flux of undeciphered impressions. Repeating motifs phase in and out of the cloudy ambience, punctuating the inevitable waves of melancholy with delicate melodic structures.

Crucial to the album's development were contributions from vocalist Zimmy, vocalist/guitarist CRÆBABE and guitarist Attilio Novellino. Their input not only expanded the sonic palette but also cultivated themes and poetic scenarios through intense and sincere exchanges of personal experiences, recurring dreams, and childhood remembrances. CRÆBABE’s lyrics, in particular, provide an adult counterpoint to the album's more childlike elements—a map of murmured relics and epiphanies as she sits in conversation with herself.

The music's emotional depth envelops Vitiello's Island in an ocean of pure sensitivity, its tides drifting through apparitions of talking animals, reminiscent of those in his recurring dreams. At other times, it reflects the tragic echoes of Nisida—an island off the coast of Naples, infamous for hosting a youth detention center.

The Island of Bouncy Memories is a meditative reconnection with the past, a puzzling journey through pain and acceptance. Notably it marks the first-ever co-production between Hundebiss and Haunter Records, uniting two main players in the Italian electronic and experimental scene in an unprecedented collaboration.

Renowned Kurdish singer Hasan Zirak was mesmerising listeners with his songs, first as a young boy, nicknamed Zirak for being ‘a clever boy’, then later at work, or entertaining gatherings and parties. His rich, sensual melodies and heart-warming vocals resonated with generations of Kurdish listeners and inspired other singers, resulting in numerous covers over the years. Zirak was born in the countryside of the Iranian Kurdish town of Bokan in 1921. At age fifteen, he moved to Tabriz, soon he moved again, this time to Baghdad, where after being spotted singing at a hotel, Zirak was introduced to the Kurdish
broadcasting of Radio Baghdad, and thus began his professional singing career in 1953

"Three albums in three years indicates a serious work ethic, for their new album Name Your Sorrow they stuck to a strict schedule. They showed up every day from 9-5, in a windowless Dublin room to just play, swap instruments and experiment. From there, they decamped to a rural retreat in County Clare along the Atlantic coastline of Ireland, to immerse themselves further.“ The palpable shift in sound and tone is possibly the result of working with a new producer, Collin Pastore from Nashville, who has produced boygenius, Lucy Dacus and Illuminati Hotties. UK tour in June. ""Pillow Queens make the kind of noise that tends to flourish live, roared back by the faithful: burnished heartland euphoria, defiant lyricism bolstered by ragged harmonies, lashings of pride, and an unabashed love of crescendos."" - Ptichfork
""A joyful, raucous celebration of queer love""’ – The Guardian"

Scottish Techno wizard Astro joins PIFF Records on their landmark tenth release, with 5 cosmic and groovy belters.

Having recently found success with his own Neptune Discs imprint and regularly performing up and down the country, Astro has firmly established himself as one to watch in the techno sphere.
Opening with the title track, Astro combines a relentless bassline with dubbed-out chords and spacey leads. Echoing space-age soundscapes and futuristic sounds of 70s kosmische musik and 90s techno, Astro makes good on the aesthetic promised by his artist name.

Astro brings down the tempo for the hypnotic Cloned Substance. A mesmerising hat pattern combines with delay-drenched leads and a bouncy bassline to create a track intent on capturing the listener in a state of trance.

Thunderstorm adheres to the tried-and-tested Astro combination of a thick bassline, spacey stabs, and continuously evolving drums. As to be expected, the results are spectacular. Irresistible grooves and rich soundscapes are the order of the day as Astro delivers once again.

A haunting and proggy FM-lead acts as the foundation for Pluto, underpinned by a sub-heavy kick and tranquil chords. The meditative ebb and flow of various elements masterfully expresses the solitude of the track’s namesake.

Planetary Blitz closes the EP as a digital bonus track. Expanding on the spaced-out motifs of the previous track (as reflected in the track title), Astro substitutes chord stabs and warm basslines for a driving blend of punchy kicks and a subtle glittery guitar.

The latest by UK rave reanimator Low End Activist is a nine-track suite of skeletal hardcore, pointillist drum n bass, and deprivation chamber dub, chopped and brewed in homage to the countryside sites of golden age dance gatherings: Airdrop. From Waterstock to Yarnton Road to White Horse Hill, England’s early 90’s dance summits loomed large in LEA's familial and artistic landscape as a youth, trading tapes and pumping tunes across long weekend afternoons: “Fast music to soundtrack slow days.”

An atomized stew of stabby samples, bubbling bass, airhorns, echo, and blitzed BPMs, the cuts take cues from key heroes of the “where were you in ‘92” set – Tango & DJ Ratty, Top Buzz, DJ SS, DJ Seduction, Dr. S Gachet – then fling them to the four corners. Skittery, stripped, and elevated, this is mad scientist music of voltage, vision, and rewired brains, scraped to its raw genetic essence and deployed for peak kinetic liberation.

The Undisputed Kings of Cowpunk and purveyors of the hardest and finest banjo/fiddle action you'll ever come across. Pronghorn have been kicking around since 1992, and this summer the band celebrates 30 years of playing home-grown cowpunk, drinking warm cans of Stella, late night garage food and meeting a whole host of nutters, and ne'er-do-wells along the way.

Lunaria Records is pleased to announce that we will be releasing the band's latest album, 'Welcome to Pronghorn County'. Available on CD and limited edition vinyl, you can now pre-order your copy!

Produced By Donovan Germain, recorded at Channel One and Harry J's, backed by The Roots Radics & The Taxi Gang, originally released in 1982. A pre-digital taste of what was to come.

Official repress of Japanese left-field wave/experimental album produced by Yasuaki Shimizu. comes with Obi.

Released in July 1994 by Atlantic Records, Cracked Rear View is Hootie & the Blowfish's most successful album, reaching No. 1 on the Billboard 200 five times during the course of 1995. It was also the best-selling album of 1995 in the United States, selling 7 million copies, and since then has gone on to sell more than 10.2 million copies, making it one of the best-selling albums of all time.

AllMusic's Stephen Thomas Erlewine says Hootie & the Blowfish, on Cracked Rear View, "...deliver the goods, turning out an album of solid, rootsy folk-rock songs that have simple, powerful hooks."

The album played a pivotal role in shaping the career of its lead vocalist, Darius Rucker, who transitioned to country music in the mid-2000s as a solo artist. Cracked Rear View was an instant sensation, with chart-topping hits such as "Hold My Hand," "Let Her Cry," and "Only Wanna Be with You." The album has a distinctive sound, blending rock, pop, and a hint of folk, using Rucker's soulful, raspy baritone as its emotional core, and his heartfelt delivery to win over audiences.

This Analogue Productions (Atlantic Series) reissue of Cracked Rear View has the essential elements that make it a standout for your collection. We turned to Ryan K. Smith at Sterling Sound in Nashville for an exemplary cut direct from the master tape. Pressing on 180-gram vinyl is by Quality Record Pressings, and the album is housed in tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing.

Cracked Rear View's emotional depth and Rucker's distinctive voice left an indelible mark on the music industry, making Hootie & the Blowfish's debut album a timeless piece of musical history.

"Message From The Country was the fourth and final studio album by The Move, a British rock band that consisted of Roy Wood, Jeff Lynne, and Bev Bevan. After the release of this final studio album, the trio went on and founded Electric Light Orchestra. The influence of The Beatles runs through most of the songs stylistically, while still sounding like the first ELO album, which was recorded during the same lengthy recording sessions as Message From The Country. The Move generated what was, song for song, their most complex and challenging album. Message From The Country is available as a limited edition of 1000 individually numbered copies on white coloured vinyl. "

Message From The Country by The Move, released 12 April 2024, includes the following tracks: "No Time", "Until Your Moma's Gone", "The Minister", "The Words Of Aaron" and more.

This version of Message From The Country comes as a 1xLP.

The vinyl is pressed as a white disc.

"My Black Country: The Songs of Alice Randall" is the companion album to Alice Randall's new book "My Black Country," which offers a lyrical, introspective, and unforgettable account of her past, her search for the first family of Black country music, and the radical joy in realizing the power of Black influence on American culture. The album is a powerful compilation of Black female country artists re-recording the greatest songs of Alice's catalog, bringing to life the Black characters and portraits of the Black west embedded in her songs. The album is produced by Ebonie Smith (engineer of 'Hamilton', founder and president of Gender Amplified, and the in-house producer for the Atlantic Records studio in New York). Alice Randall is a New York Times bestselling novelist, award-winning songwriter, and educator. She is widely recognized as one of the most significant voices in modern Black fiction and has emerged as an innovative food activist committed to reforms that support healthy bodies and healthy communities. She lives in Nashville where she writes country songs.

Cauthen first earned his reputation as a fire-breathing truth teller with the acclaimed roots rock band Sons of Fathers, but it wasn’t until the 2016 release of his solo debut, ‘My Gospel,’ that he truly tapped into the full depth of his prodigious talents. Rolling Stone called the album “a triple-barreled blast of Texas country, soul and holy-roller rockabilly delivered by a big-voiced crooner,” while Vice Noisey dubbed it “a somber reminder of how lucky we are to be alive,” and Texas Monthly raved that Cauthen “sounds like the Highwaymen all rolled into one: he’s got Willie’s phrasing, Johnny’s haggard quiver, Kristofferson’s knack for storytelling, and Waylon’s baritone.” The album landed on a slew of Best Of lists at the year’s end and earned Cauthen dates with Elle King, Margo Price, Billy Joe Shaver, and Cody Jinks, along with festival appearances from Austin City Limits and Pickathon to Stagecoach.

"Room 41" by Paul Cauthen iincludes the following tracks: "Cocaine Country Dancing", "Big Velvet", "Freak", "Give 'em Peace" and more.

This version of Room 41 is pressedon swirl, orange vinyl.

With base notes of Texas country, full bodied Americana and flutters of rim-shot percussion, Elliott BROOD infuse their own experiences into the 1970s hit. Transformed into a true country ripper, “Bluebird Wine” chirps and hops along with a peppy verve. True to form, Elliott BROOD layer on their signature stomp and clap sound and their unique blend of vocal tones, creating an elixir of lifestyle, a feeling to imbibe that brings joy and fullness.

"'Hey Babe' sounds like classic Trummors – their voices a perfect match for one another, Dan Horne’s lingering pedal steel adorning the piece like chapparal, just an ambling walk through life together." - Petal Motel "Is there a scientific formula for creating the perfect country rock record? If there is, the Taos, NM duo of Anne Cunningham and David Lerner — AKA Trummors — have cracked it." - Aquarium Drunkard "Trummors capture a classic country sound — flirting with the heavy-hearted, but formative voices that lent credence to the ‘70s crossover out of psychedelic troupes." - Raven Sings The Blues Trummors are excited to announce their new album 5 out April 12 on Ernest Jenning Record Co.

Datashader emerges from the shadows with a striking breaks- and bass-heavy debut release that challenges the fabric of our digital existence. Replete with a Dopplereffekt remix, it nods to the legacy of revered anonymous acts such as Scopex, Drexciya and Underground Resistance, pushing the boundaries of both electronic music exploration and its conceptual underpinnings. As a critique of the erosion of genuine human connection in the digital age, Datashader delivers a barrage of billowing subs, infectious electro, recontextualized jungle, and techno, serving as a poignant counterbalance to current dance floor-centric norms. It’s a contemporary anti-soundtrack that offers a haunting mirror to the societal costs of technological convenience.
In a world engulfed by the digital realm, where social media platforms thrive and dominate every aspect of our lives, the enigmatic project known as Datashader was founded to reflect on the pervasive erosion of authentic human connection through various virtual realities. Artistically, Datashader seeks to critique the impact of technology on human identity and relationships, breaking with an archetype of digital conformity and expressing a profound disillusionment with the superficiality of online interactions through music. Genuine human connection and art cannot be quantified by likes, comments, or followers but rather thrives in the visceral realm of shared sonic experience and human emotion. This idea is at the core idea of Datashader, whose artistic expression ranges from avant-garde composition and electronic experimentations to art, installation, film and more.
Expressed within the varied contexts of diverse artistic mediums, Datashader explores the concept of “technological gentrification”, which describes the gradual displacement of human interaction by technology. Just as gentrification alters the urban landscape, driving out communities and cultures, digital gentrification transforms the social landscape, replacing genuine connection with curated online personas.
Musically, Datashader’s practice confronts this dystopian reality, highlighting the alarming consequence of people becoming mere nodes in a network, reduced to a collection of data points. This is manifested sonically by a blistering assault of breaks, recontextualized IDM, abstract electronics and otherworldly synthscapes, conceived as the aesthetic counterbalance to much of contemporary electronic music’s dancefloor focus.
Datashader dives deep into genres and influences which stand for a form of sonic resistance: A contemporary anti- soundtrack – a sonic mirror of the price we pay for convenience and instant gratification. A self-image in constant flux. No false technological idols.

Welcome to the sweet-but-savory, suspiciously sticky, and slightly sinful world of old-school movie theater intermission messages. It’s where big-band jazz, psychedelic rock, sequin-bedecked disco, virgin vanilla orchestrated pop, and more are pressed into service, with your satisfaction as the solitary goal! Features CD only bonus tracks!

Hey Folks! It's Intermission Time! by Something Weird includes the following tracks: "Popcorn And Candy, Yum Yum", "Lots Of Pretty Pickles", "Oh The Time Is Now, The Time Is Here", "James River Smithfield BBQ" and more.

This version comes as a 1LP on brown vinyl.

repressed !

Regular Offcial Authorised Vinyl Version, Original Soundtrack, 350g Sleeve, Black Inner, Sticker, 12 140g Vinyl - The first ever OFFICIAL vinyl release of the soundtrack for Mamoru Oshii's legendary science fiction anime film GHOST IN THE SHELL (1995). - LP cut from the original master reels at Emil Berliner Studios, official Ghost in the Shell artwork

We Release Whatever The Fuck We Want Records is thrilled and honored to announce the first ever official vinyl pressing of the soundtrack for Mamoru Oshii's critically acclaimed and all around legendary science fiction anime film GHOST IN THE SHELL (1995), adapted from Masamune Shirow's groundbreaking manga series of the same name. Cut from the original master reels at Emil Berliner Studios (formerly the in-house recording department of renowned classical record label Deutsche Grammophon), the album comes as a LP accompanied by a bonus one-sided 7 housed in official Ghost in the Shell artwork sleeve with silver gilt printing and a Japanese obi, and contains extensive 24-page liner notes. The haunting score is composed by Kenji Kawai, one of Japan's most celebrated soundtrack composers, alongside Joe Hisaishi and Ryichi Sakamoto, whose work includes Hideo Nakata's Ring (1998) and Ring 2 (1999), Death Note (2006), Hong Kong films Seven Swords by Tsui Hark (2005) and Ip Man by Wilson Yip (2008), and countless others. Kawai's compositions see ancient harmonies and percussions uncannily mesh with synthesized sounds of the modern world to convey a sumptuous balance between folklore tradition and futuristic outlook. For its iconic main theme 'Making of Cyborg", Kawai had a choir chant a wedding song in ancient Japanese following Bulgarian folk harmonies, setting the standard for a time

“Great Doubt” is the third full length LP by Danish composer Astrid Sonne. Throughout her acclaimed discography, Astrid Sonne has been carefully crafting different moods through electronic and acoustic instrumental endeavours. On “Great Doubt” this skill is refined, now with the distinct addition of the composer's own vocal in front. The tone of each track is unmistakably Sonne’s, structured around contrasts through an impeccable sense of timing. Lyrics on the album are sparse, merely highlighting different scenes or emotional states of being, leaving the music to fill in the blanks. Yet they also form a pattern of ambiguity, consolidated through the album title, searching for answers through looking at how and what you are asking, questions for the world, questions of love. The viola, a trusted companion since Astrid Sonne’s youth, appears effortlessly throughout the album, fully integrated into the sonic universe; through a pizzicato driven arrangement in the poignant track “Almost” or along with booms and claps in mutated cinematic stabs during “Give my all”, paraphrasing Mariah Carey's 1997 ballad. Yet the string section also gives way to explorations of woodwinds, counterbalancing the bowed movements with digital brass and airy flutes. Finally, beats and detuned piano are fresh additions to the soundscape, cementing how Sonne’s practice is always evolving into new territories. In fall 2022, Astrid Sonne relocated from Copenhagen with its peers of artists such as ML Buch, Erika de Casier and Smerz, to live in London, where musicians of the South-East London scene like Coby Sey, Lolina, Still House Plants and Mica Levi provide a new inspirational framework. “Great Doubt” bears witness to both of those geographical locations, yet finds itself in its own unique space, in many ways due to the presence of Sonne's voice throughout. A voice that has always been present in her work, but never fully explored as a solo instrument before now. Astrid Sonne elaborates on the wish to work more in depth with the voice: “I come from a tradition of choir singing where I’ve used my voice as a way of creating unity with other voices. I’ve disciplined my voice in a certain way and this album is an exploration of me trying to find my own voice as an instrument, as a communicator, as a new way of being honest.” Questions take up a central role throughout the album. The doubt is both a blessing and a curse, always lying in-between, acting as both what holds back and drives forward. A metamorphosis not going anywhere. The great doubt takes place in a space of courage, chances, love, loss, gifts and surprises. Genre: Electronic / Experimental

Yuval Havkin, also known as Rejoicer, is one of the foremost exponents of downtempo music, inspired by the fusion of jazz and hip-hop. His new album thus draws on his early influences while exploring the world of calm, melodic electronic music that borders on ambient.

This Is Reasonable has a chill-out feel to it, a record filled with melodies and atmospheres that, throughout its eleven tracks, conveys a sense of calm and floating, akin to ambient music. Stripped of the clichés of the genre, the album is built around subtle melodies and rich harmonies from keyboards and synths, which borrow as much from the spirit of jazz as from the inventions of electronica, whilst being supported by a gentle groove. This equilibrium is perfectly captured by Rejoicer's moniker, a term that evokes both the idleness of artificial paradises and a soft, caring form of spirituality.

Musical path
Yuval Havkin was born in Israel in 1985, and grew up in England before returning to his homeland. He began studying classical piano as a child, but was put off by such conservative teaching and turned to hip-hop and beatmaking in his teens. Throughout the 2000s, he learned his skills "on the job", working with musicians he met in Tel Aviv, a local scene that nurtured a sense of community and emulation. Back then, he was particularly impressed by the grooves and electronic inventions of Detroit producer Dabrye, who had a revelatory effect on him, before he discovered legendary musicians Madlib and Jay Dee aka J Dilla, who led him down the path of beatmaking.

Yuval Havkin's music career got off to a more serious start in the late 2000s with the creation of his own label, Raw Tapes, both based in Tel Aviv. Blending jazz, funk and hip hop, whilst still embracing pop influences, the label's productions showcased the richness of the new Israeli scene combining cool, elegance, playfulness, and a degree of research and inventiveness, thanks to the talent of artists and bands such as Duo Brothers, Maya Dunietz, iogi, Nitai Hershkovits, the Buttering Trio and Rejoicer, the artist's most personal project.

In 2018, Rejoicer's warm and engaging sounds caught the attention of the prestigious Los Angeles label Stones Throw, renowned for having signed his idols Madlib and J Dilla, not to mention Aloe Blacc and Peanut Butter Wolf (its founder). Two albums followed, Energy Dreams (2018) and Spiritual Sleaze (2020), both of which demonstrate his instrumental mastery, jazz culture and lush orchestrations. Both albums are on a par with more renown sampling prodigies of the beat scene, and gave him his first international recognition.

Now based between Los Angeles and Savyon, near Tel Aviv, this hyperactive and instinctive artist simultaneously pursues a career as a composer, musician and label owner, member of numerous bands and collective projects (Apifera, PlayDead, collaborations with Jimi Prasad and Avishai Cohen) while also offering his studios and production skills to other artists.

“Fela Kuti meets Aphex Twin”
This new Rejoicer album, which follows three earlier jazz-tinged records, marks a new and more personal musical direction for an artist who previously favored group work and collaborations. Following his meeting with Mathias Duchemin, founder of the Circus Company record label and a keen enthusiast of the new Israeli jazz scene, Yuval chose to delve into a more electronic and sequenced style of music, playing Prophet 6 and 8 synths, a Juno 60, a Minimoog and his Fender Rhodes keyboard, in contrast with the more organic sounds of his previous albums.

While a few tracks on this new album may sound like a laid-back version of some of the Warp label's early electronic classics by Aphex Twin or Boards of Canada, Yuval Havkin claims to have also been inspired by the great Fela Kuti, particularly in his search for harmonies between bass, keyboards and percussion, and by his elder trumpet-playing friend Avishai Cohen, a musician he particularly admires.

Beyond these various influences, This Is Reasonable is an album of compelling and bewitching melodies. The moods, peacefulness and sheer beauty of This Is Reasonable are, indeed, quite paradoxical, in stark contrast to the country's tragedies (the title explicitly refers to recent political disputes in Israel) and the war currently raging less than a hundred miles from his studio. A paradox fully embraced by the artist, who views his music as a response to the violence of our times.