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Neil Hamburger presents a new work from the songwriting team of Gregg Turkington and Erik Paparozzi. Seasonal Depression Suite is an album-based musical, sung by an all-star cast whose voices embody various guests stuck in a perfectly average chain-hotel, wallowing in self-pity and paranoia, re-living personal catastrophes both real and imagined, or simply trying to use the hotel vending machine. Expert music played by an all-star band, to boot! To sing these parts, a once-in-a-lifetime all-star cast was assembled - including Neil Finn (Split Enz, Crowded House, Fleetwood Mac), Annabella Lwin (Bow Wow Wow), Alan Bishop (Sun City Girls), Bonnie Prince Billy, acclaimed singer/performance artist Puddles Pity Party, voice actress Natalie Peyser, J.P. Hasson (Pleaseeasaur), enigmatic vocalist (and Frank Sinatra"s granddaughter) A.J. Lambert, Paparozzi himself and, of course, Neil Hamburger. Among the many musicians accompanying the cast were Scarlet Rivera (Bob Dylan"s Rolling Thunder Revue), Danny Heifetz (Mr Bungle), Bär McKinnon (Mr Bungle), Prairie Prince (The Tubes), Atom Ellis (Dieselhed), Jason Schimmel (Secret Chiefs 3), and Alex Jules (The Monkees band) - an international assemblage whose talents give Seasonal Depression Suite its epic sweep. With all hands on board, Turkington and Paparozzi created their own kind of masterpiece, like Sinatra"s late-period concept album Watertown fused with the misfit comedy of Neil Hamburger - a work that looks at a cast of characters both ordinary and bizarre, as they make their way from one grievance to another, traveling from place to place, hoping to live, while waiting to die.

Get On Down is proud to announce a vinyl reissue of one of the West Coast's most revered, yet underrated, hip-hop classics and quite possibly one of the best hip-hop albums of all time: The D.O.C.'s No One Can Do It Better. Produced entirely by Dr. Dre and out of print on vinyl in the U.S. for several years, this limited edition colored LP features original album artwork and thirteen tracks of rap heaven. When his debut album hit in mid-1989, The D.O.C. was in the vortex of the biggest hip-hop happening on the planet: the rise and rule of N.W.A. The group’s breakout album Straight Outta Compton had hit one year prior and had created both controversy and worldwide critical acclaim. As rap history buffs and industry insiders know, The D.O.C. was a crucial behind-the-scenes member of the N.W.A. inner circle - his most important role in the early days of the group was writing many of Eazy-E's rhymes, including his hit 1988 single “We Want Eazy.” He would go on to write for Efli4zaggin, The Chronic and Doggystyle. But The D.O.C. wasn’t in N.W.A. and never wanted to be - he was his own man, with his own vision. And after Compton proceeded to blow up the next crew album was No One Can Do It Better. Significantly, it was the first album where Dr. Dre showed his greatness as a solo producer for one MC. Boasting four singles - “The D.O.C. & The Doctor,” “Mind Blowin’,” the smash “It's Funky Enough” and “The Formula” - the album is flawless from beginning to end. Of particular note beyond the singles is “The Grand Finale,” which was the last time that Ice Cube, M.C. Ren and Eazy-E would rhyme on a track together. The D.O.C. showed on this amazing record that he was one of hip-hops most talented MCs. He nearly died in a horrific car crash as the album was catching fire in the late summer of 1989 which damaged his vocal cords, but he survived and continues to make new music and act as a sounding board for Dr. Dre to this day. More recently a documentary covering D.O.C.'s life titled The DOC debuted at the Tribeca Film Festival with fans eagerly awaiting a wider release. This album is a must have for any Hip-Hop fan

Glen S debuts on Craigie Knowes with the Elation Station LP. 7 club-handy tracks shaped to elate minds and elevate dancefloors. A reflective trip glimmering with positivity and illumination.


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Bill Evans and Jim Hall had first recorded together in July of 1959, during the making of John Lewis’ LP Odds Against Tomorrow, and the two musicians also participated on Gunther Schuller’s Jazz Abstractions (recorded in December of 1960). However, those were big band albums and had no space at all for any real interaction between the pianist and guitarist. Undercurrent, presenting them as a duet, was their third studio encounter and one of their most rewarding collaborations. 180-GRAM BLUE COLORED VINYL - THE COMPLETE ALBUM + 2 BONUS TRACKS

Der Geiger Nils Økland und der Tastenmusiker Sigbjørn Apeland, seit dreißig Jahren musikalische Partner,
erforschen seit langem die Schnittstellen von traditioneller norwegischer Musik und Improvisation. Glimmer,
ein außergewöhnlich schönes Album, nimmt die Volksmusik der westnorwegischen Region Haugalandet als
Ausgangspunkt. Apelands Sammlung von Stücken lokaler Sänger, die dazu beigetragen haben, die Traditionen am Leben zu erhalten, bildet hier die Grundlage des Repertoires, zusammen mit Eigenkompositionen.
Letztere reichen von Stücken, die für einen Film über Lars Hertevig, den großen norwegischen Landschaftsmaler des 19. Jahrhunderts, geschrieben wurden, bis hin zu vom modernistischen Komponisten Fartein
Valen inspirierter Musik. Die Kombination aus Øklands Hardangerfiedel und Apelands Harmonium ist von
subtilen Klangfarben und einzigartigem Fluss geprägt

S A R R A M, the ambient and post-rock vessel of Sardinian solo artist Valerio Marras, announces the release of his fifth album "Pathei Mathos" on Subsound Records, and presents the captivating title track featuring revered multi-faceted artist Lili Refrain on vocals. S A R R A M is a dark ceremony inspired by the wild, ancient landscape of Sardinia A crushing but yet graceful composition where drone, electronica, doom, postrock blend to invite the listener to an intense sound journey. Dealing with learning through suffering as a central theme,"Pathei Mathos" -- which features appearances from renowned experimentalists Lili Refrain, Dalila Kayros, Tobias Vethake (Sicker Man) -- is a deep trip in the darkness surrounded by pulsating soundwaves, crushing droning layers, ethereal voices and floating cellos. About the album, S A R R A M says: "As every record, it describes a part of my living, my existence through sound and frequencies. It's something deep and authentic, something that can be felt, something real. The experience of my last two records "Silenzio" and "Albero" brought me to "Pathei Mathos": I needed to go further once again, pushing my borders even more and doing something I've never done before: composing. Nevertheless: sometimes it's just about floating together into huge waves of sound.

Nottingham indie sensations Divorce announce ‘Heady Metal’ EP, set for release November 17th via Gravity/EMI. Arriving hot on the heels of BBC 6 Music-playlisted lead track ‘Birds’ (alongside Arlo Parks, The Last Dinner Party & Miso Extra), the alt-country heavyweights are fast becoming a formidable presence throughout the emerging landscape, with an acclaimed summer festival run now under their belts (incl. Latitude, End Of The Road & Boardmasters), as well as highly-praised support dates with Self Esteem. Marshalled by songwriting duo Tiger Cohen-Towell and Felix Mackenzie-Barrow, the group’s forthcoming EP signals a closer collaboration than ever between the two bandmates, providing a striking portrayal of insecurity and questioning whether to trust oneself or your new surroundings. The character studies of debut EP ‘Get Mean’ are gone; in their place more vulnerable narratives about grappling with identity amid the new pressures they were experiencing following their phenomenal rise.

Since their formation in 1977 Mark Perry’s group Alternative TV have moved far away from their more direct punk rock beginnings into all manner of other areas of music that have sometimes themselves drawn from improvisation, free jazz, industrial and electronic music. On Direct Action, Alternative TV’s first studio album since Opposing Forces in 2015, we are presented with six instrumental tracks which steadily rip apart all expectations as they shed all allusions to rock music in favour of the kinda sonic mutilations that once helped 1979’s classic (and Nurse With Wound list endorsed) Vibing Up the Senile Man (Part One) stumble into weird and wonderful shapes. Direct Action marries guttural electronics to sounds most artists would consign to the bin and through Perry’s long perfected mastery of pulling together disparate strands to create something entirely alchemical and invigorating delivers a unique stamp to the ATV story. With the help of longtime collaborator Dave Morgan alongside the input of Gareth Matthews, Ruth Tidmarsh and Cos Chapman, abstract patterns of dishevelled sound rub alongside occasional percussion, disembodied plasma guitar strums and even what seems like an oboe groaning in a murky corner. Similar to its distant cousin of Vibing…, everything adds up to a whole that’s demanding yet completely rewarding as every listen prises open the dark scab of contemporary malaise to reveal something fresh. The front cover’s homage to an incredible album by a pioneering electronic group we are not going to name should in itself point to the unpredictable nature of the music here. If you are savvy enough to get that reference, then you’re on the right path to understanding where Direct Action resides. Easy listening this ain’t. Limited to 600

Orange Marble Vinyl. Middle of the Road was formed by original lead singer Sally Carr, drummer Ken Andrew, guitarist Ian McCredie and his bassist brother Eric McCredie on 1 April 1970 in Glasgow, Scotland. They had already played together under the name Part Four since 1967 and later in Latin American style under the name Los Caracas. Under the name Los Caracas they won the UK TV talent show Opportunity Knocks. They moved to Italy in 1970 because they had not found success in the United Kingdom. There they met the Italian music producer Giacomo Tosti, who gave the band their distinctive sound and gave them their international break.

Orange Vinyl. Middle of the Road was formed by original lead singer Sally Carr, drummer Ken Andrew, guitarist Ian McCredie and his bassist brother Eric McCredie on 1 April 1970 in Glasgow, Scotland. They had already played together under the name Part Four since 1967 and later in Latin American style under the name Los Caracas. Under the name Los Caracas they won the UK TV talent show Opportunity Knocks. They moved to Italy in 1970 because they had not found success in the United Kingdom. There they met the Italian music producer Giacomo Tosti, who gave the band their distinctive sound and gave them their international break.

-Domino is a spooky, bittersweet collection of cinematic soul cuts influenced by 1970’s ‘Giallo’ film scores layered with luminous vocals.
-Ella Thompson's first solo LP release since Janus (2015).
-Ella is the vocalist from the electro duo GL and formerly frontwoman of The Bamboos.
-Music by Karate Boogaloo aka The Frollen Music Library.
-She will be opening for Lee Fields on his Australian dates in December.
-For fans of Kadhja Bonet, Cleo Sol, Nancy Sinatra, Lady Wray.
Ella Thompson’s Domino is a spooky, bittersweet collection of cinematic soul cuts influenced by 1970s Italian 'Giallo' film scores, with luminous vocals that draw a line between 60s icons like Nancy Sinatra and contemporary soul artists like Kadhja Bonet. Ella’s effortless singing and haunting lyrics paint angular pictures in the moody darkness.
The sparse production is intentionally cinematic, deeply influenced by the music of Italian ‘Giallo’ film scores of the 1970s, particularly by composers like Piero Piccioni but comparable to current artists like Adrian Younge or Bad Bad Not Good in a meditative mood. Minimal but propulsive bass and drums know when to hang back, as they do in the title track and when to step forward as they do in the chugging, deep and funky rhythm section work on the single Never Fight The Way You Feel.
All the instrumentation used in Domino was created by Frollen Music Library, a library music project by the musicians behind Karate Boogaloo, Henry Jenkins, Hudson Whitlock and Darvid Thor, all long-term collaborators and friends of Ella’s.
Ella returned to making music under her own name in 2023 after years of releasing music with her electro-pop duo GL and cult indie band Dorsal Fins. One of Australia’s truly accomplished singers, Ella’s range ranges from art music to cinematic soul, jazz, and pop. In addition to her solo project and bands, she has been a featured artist for numerous acts, most notably deep funk pioneers The Bamboos and Mark Ronson.

Zum 30-jährigem Jubiläum erweiterte Neuauflage des nächsten Klassikers der Lemonheads aus dem Jahr 1993, inklusive neuem Cover-Artwork. Die bahnbrechende Platte, die auf It's A Shame About Ray und "Mrs. Robinson" folgte, den amerikanischen Alt-Rock weltweit bekannt machte und Evan Dando in die Herzen einer ganzen Generation katapultierte. Mit einer Fülle von unveröffentlichten Demos, alternativen Versionen und Raritäten - darunter Coverversionen von Victoria Williams, Buddy Holly und den Flying Burrito Brothers sowie The Lemonheads' Interpretation des Cole Porter-Standards "Miss Otis Regrets". In den 90er Jahren produzierten Evan's Lemonheads einen Alternative-Hit nach dem anderen, eine Reihe von wirklich guten Singles: 'Big Gay Heart', 'Into Your Arms', 'It's About Time' und 'The Great Big NO'. Pures Genie, das über's Radio ging und die Indie-Herzen eroberte. Heute ist Evan immer noch ein Meister des Songwritings und 'Come On Feel The Lemonheads' klingt nebenbei noch so frisch wie eh und je. Inmitten der Hits der Originalplatte findet sich aber für noch mehr magische Musik, und diese Deluxe-Edition fügt nun eine zweite Disc mit Demos und Akustikversionen hinzu, sowie eine Vielzahl von Tracks aus Sessions und von Compilations, die dem Mythos und seiner Entstehung weitere Farbe verleihen. So covert die Band liebevoll Victoria Williams' "Frying Pan" von ihrem "Sweet Relief"-Album. Dazu gesellen sich eine Reihe von Flipsides und Out-Takes, wie ihre Version des Garagen-Punk-Knüllers "Little Black Egg" von The Nightcrawlers, Evans Hommage an Gram Parsons "Streets Of Baltimore" und Buddy Hollys melancholisches "Learning The Game". Evan erkennt einen guten Song, wenn er ihn hört, und wie 'Come On Feel The Lemonheads' beweist, kann er auch selbst gar keine schlechten schreiben. Unabhängig davon, dass der Vorgänger ,It's A Shame About Ray" als der Klassiker der LEMONHEADS dargestellt wird, hat der Nachfolger ... seine ganz eigene Geschichte. Erneut gab Juliana Hatfield mit den Ton an, ... auch wenn auf diesem Album Nic Dalton hauptsächlich den Bass einspielte. Es geht insgesamt ruhiger zur Sache, orientiert man sich nur an den Singleauskopplungen ,Into your arms", ,The great big no", ,It's about time" oder ,Big gay heart"." - OX 2015 "Dabei hat Evan Dando seine musikalische Palette wieder erweitert: Neben reinen Country-Songs mit Slide-Gitarre und den poppigen Parts, blitzen plötzlich doch wieder nach vorne treibende punkige Tracks auf. Und diese Mischung passt so gut, dass selbst Pop-Göttin Belinda Carlisle (!) mal singen und auch Punk-Ikone Rick James seinen Part beisteuern darf." - Visions 1993

Orange vinyl. Time is supposed to mellow us, but for Petrol Girls it has distilled their feminist politics into an ever more potent cocktail. Fitting, given that their logo from day one has been a flaming molotov. Since their formation in 2012, the band has been known for playing fast-paced, chaotic punk that takes aim at everything from sexual violence to immigration policy, but over the last few years their sound has evolved in a more nuanced direction. Their 2016 debut album Talk of Violence was a blast of pure political rage, while 2019's Cut & Stitch saw vocalist Ren Aldridge exploring familiar themes from a more personal perspective. Now their latest offering, Baby - to be released through the London-based independent label Hassle on June 24th - sees the band turn another new corner. This time, by embracing irreverence. "We wanted this album to be less epic and less preachy from day one," Aldridge says. "I hate sanctimoniousness. Like, really fucking hate it. But I also know that I have been mega preachy, and felt very pressured to be sanctimonious, because we've always played in a very political punk scene. I lost my fun side, and I really needed to come back to that." Recorded with Pete Miles at Middle Farm Studios in Devon, Baby embraces a more playful sound. A focus on groove and repetition - driven by guitarist Joe York, drummer Zock and bassist Robin Gatt - give the songs a Talking Heads feel, while retaining the band's formative post-punk energy. The lyrics, too, are a departure for Aldridge. While she continues to address heavy topics like burn out, femicide and police violence, the lyrics balance directed anger with tongue-in-cheek humour where appropriate. Angular opener "Preachers" puts the self-aggrandising nature of call-out culture on blast with lyrics like "feeling dead important in the comments", while lead single "Baby, I Had An Abortion" is intentionally puerile from title to finish. On the flip side, tracks like "Violent By Design" see the band kicking back against carceral feminism in the wake of a news cycle dominated by Black Lives Matter protests and PC Wayne Cousins' brutal murder of Sarah Everard. Similarly, "Fight For Our Lives" - a harsh, borderline industrial song - was lyrically co-written by activist and vocalist Janey Starling. Aldridge deliberately wrote the verses to sound like a manifesto, and the lyrics reference Starling's Dignity For Dead Women Campaign with Level Up, which successfully called for the UK media to change the way it reports on fatal incidents of domestic violence. Baby saw Petrol Girls working in new ways - scrapping entire songs rather than trying to force things that didn't feel right, recording to tape for the first time, and deliberately leaving in imperfections. It was a more carefree process, which Aldridge - having gone through a particularly bad period of mental ill-health at the start of 2021 - welcomed. "Our whole thing for a long time, and a big focus of the last record, was making political struggle sustainable," Aldridge says. "And I think having a good time where possible, and things being not totally serious all the time, is really essential."

30 Jahre Voodoo Rhythm Records wird mit 15 komplett verrückten Bands gefeiert, 15 empörende, ohrenbetäubende Stücke aus aktuellen oder kommenden VVR-Alben auf einer schick animierten Picture Disc oder als Digipack-CD mit Booklet! Flamenco und Blues Trash trifft auf Exotica Space Cumbia und wilden Rock'n'Roll Garage Chainsaw Punk plus Neanderthal Synth... Voodoo Rhythm Records wurde 1992 in Bern Schweiz gegründet, um eine Plattform für unkontrollierten Nicht-Mainstream-Rock'n'Roll zu sein: Voodoo Rhythm steht für eine Hirnexplosion und befasst sich mit den inneren Teufeln (voodoo), um sie mit den Teufeln in deiner Umgebung mit Rock'n'Roll (Rhythm) zu konfrontieren. Und das tun die 15 Bands auf dieser Kompilation alle auf ihre eigene Weise: The Monsters aus Bern in der Schweiz mit einem Song von ihrem kommenden Album 'You're class, I'm trash' oder Degurutieni aus Japan mit seiner Hi Exotic Hymne 'Acme am Nachmittag' und unser brandneuer Stier im Haus Nestter Donuts aus Spanien mit seiner unglaublichen Flamenco Trash One Man Band!!!! und viele viele mehr. Das Label ist nicht nur gegründet worden, um irgendwas zu veröffentlichen, wir wollen etwas anderes, neues kreieren und arbeiten zu 100% an allen Veröffentlichungen mit: vom Artwork bis zu den Aufnahmen usw. Auch bei diesem fünften Sampler hier ist die Moving Picture-Disc vom rumänischen Künstler Andy ,sinboy' Luke (Bad Decisions), der auch für andere großartige Artworks verantwortlich ist, gestaltet worden, das Mastering stammt von Lo Spider aus dem Swamp Land Studio in Toulouse Frankreich. (STILL) SONGS TO RUIN ANY PARTY, AGAIN!

Bachman has a dedicated fan base who is tightly focused on his next steps. While he has always been restless with his art, his stylistic changes in 2020's "Axacan" demonstrated - and excited - many within that fan base as to how transformative his work and vision can be for "traditional" music in these modern times. This fresh work continued with 2022's "Almanac Behind". "When The Roses Come Again" is a perfect next step to this trendline, a synthesis of tradition and abstraction. In other words, it is yet another vivid reimagining of what a "traditional" album can be in modern times. On this LP Bachman takes acoustic guitar, banjo, fiddle and mouth harp alongside oscillators, drum apps and more to construct one-man string band compositions. Integrating technology as a tool for collage, as well as acoustic instruments that pre-date all of us, Bachman excitingly creates an album that has as much to do with Terry Riley, Laraaji, Eno’s late 70’s ambient albums, and 75 Dollar Bill, as it does the Carter Family, Stanley Brothers, and Hobart Smith. "When The Roses Come Again" is destined to thrill those who have been so enamored with Bachman's past exciting turns as well as pull new folks into the folks who are excited by new sounds.

Alleviated Records is proud to present the Spoken-Word vibes of Sharpsburg, NC's PICCOLO JT and Chicago's RIO LOVE to some lush Larry Heard grooves. 1969: "recollections about the

NYC social & black music/party scenes on top of a driving afro-tribal groove.."

JUKE JOINTS - LIQUOR HOUSES: "insights on early Southern social & black music/party scenes flowing on a moody deep-soulful music-bed.."

MY COUNTRY: "social questions/observations on a slammin' deep Future-Tech flavored vibe.."

I'M NOT TOUGH BUT I'M TIRED: "social questions/observations on a slammin' deep Future-Ragga/Tech flavored vibe.."

South African pianist Thandi Ntuli traveled to Los Angeles in 2019, where she recorded this album of bare, explorative piano and voice pieces at a Venice Beach studio with International Anthem artist Carlos Niño in the producer chair. An absolutely stunning, intimate listen, with Ntuli"s prowess as a pianist and singularity as a vocalist on vivid display as much as her fearlessness, vulnerability and adventurousness during occasional experiments with synthesizers and percussion. Niño colors open minimalist soundscapes with overdubbed percussion, cymbals and plants.

The earth rotates, seasons change_there is but one long day_ Time is a beguiling, indistinct entity_sometimes standing still, sometimes bending back upon itself with premonitions or memories of the future. Growing out of a pen pal style correspondence that took place over the course of a year, separated by the Atlantic Ocean, Gloria de Oliveira and Dean Hurley passed thoughts and music back and forth that would eventually form their collaborative album, Oceans of Time. The result is an aural tapestry of that exchange: woven from conceptual threads of the celestial within, mortality and the realm beyond stars. The duo's partnership is an effortless merge, yet it's the steady presence of de Oliveira's vocals that endows the record with its sense of potency. Throughout the album, there is an innate understanding of how a lyric across a chordal color can sharpen an emotional truth. Much like a sunbeam that pierces a spiderweb to reveal its intricacy, her lyric and melody are purposely aimed in order to illuminate the truths deep within oneself_a process that ties us all to the universal. The Danish philosopher Soren Kierkegaard, a professed influence, wrote about the truth as something that was inherently subjective, less about the concrete reality of what is believed and more about how it is experienced by the believer. Frequent David Lynch collaborator Dean Hurley sets the tonal and sonic landscape of each track on the album, lending a layered ether that envelops, frames and holds de Oliveira's vocals. With its impressionistic synths, shimmering guitars, and ethereal sonics, Oceans of Time at moments recalls the foundational dreampop of 4AD acts like Cocteau Twins and Lush. The album feels especially attuned to the connections between the physical and transcendental realms, and the best dreampop has a way of making the veil between two worlds feel just a little bit thinner. Oceans of Time is a key that has the power to release its listener from the handcuffs of reality, however briefly_

The earth rotates, seasons change_there is but one long day_ Time is a beguiling, indistinct entity_sometimes standing still, sometimes bending back upon itself with premonitions or memories of the future. Growing out of a pen pal style correspondence that took place over the course of a year, separated by the Atlantic Ocean, Gloria de Oliveira and Dean Hurley passed thoughts and music back and forth that would eventually form their collaborative album, Oceans of Time. The result is an aural tapestry of that exchange: woven from conceptual threads of the celestial within, mortality and the realm beyond stars. The duo's partnership is an effortless merge, yet it's the steady presence of de Oliveira's vocals that endows the record with its sense of potency. Throughout the album, there is an innate understanding of how a lyric across a chordal color can sharpen an emotional truth. Much like a sunbeam that pierces a spiderweb to reveal its intricacy, her lyric and melody are purposely aimed in order to illuminate the truths deep within oneself_a process that ties us all to the universal. The Danish philosopher Soren Kierkegaard, a professed influence, wrote about the truth as something that was inherently subjective, less about the concrete reality of what is believed and more about how it is experienced by the believer. Frequent David Lynch collaborator Dean Hurley sets the tonal and sonic landscape of each track on the album, lending a layered ether that envelops, frames and holds de Oliveira's vocals. With its impressionistic synths, shimmering guitars, and ethereal sonics, Oceans of Time at moments recalls the foundational dreampop of 4AD acts like Cocteau Twins and Lush. The album feels especially attuned to the connections between the physical and transcendental realms, and the best dreampop has a way of making the veil between two worlds feel just a little bit thinner. Oceans of Time is a key that has the power to release its listener from the handcuffs of reality, however briefly_