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Francesco Anselmo, also known as Lee Selmoco, Dorsey Dodd, Alex Brown, Arsenio Bracco or Tommy Ruff, is an Italian keyboardist that covered the role of of artistic director for Vedette Records, historical Italian imprint founded by director and violinist Armando Sciascia, and also recorded for its notorious Phase 6 Super Stereo, its sub-label focused on instrumental records and production music.

"Mosaico (Le Tastiere Di Lee Selmoco)" is an incredible display of his creative and composing skills, featuring 14 tracks of what could be classified as "happy music", with killer electric organ and rhythms alternating with fuzzy guitars and spacey / psychedelic hints thrown in for good measures, written alongside Guido Baggiani, alias Ruscigan. We are very happy to start a series of reissues from the Vedette Records catalog with the first ever reissue of this title after 50 years from its original release, and since the original pressing did not feature the correct track listing, it is reissued here for the first time in its correct version!

goat (JP) are renowned for two albums released in 2013 and 2015 that took Kraftwerk’s man-machine concept back to its roots with swingeing, inch-tight drums, bass and guitar patterns that needed to be heard to be believed. For their long-in-the-making new album ‘Joy In Fear’, band leader Koshiro Hino (YPY, KAKUHAN) describes the process as “90 percent pain” - and we can well believe it - few other records we can think of transmute DAW-composed rhythmic precision into such an expressive instrumental performance. It really is a feat of determination, skill and execution that seems to defy human dexterity.

Make no mistake - an academic exercise it ain’t - in the most visceral sense, goat (JP) make BODY music, for dancing, flailing, for losing yourself in completely. As usual, Hino plays guitar, backed by bassist Atsumi Tagami, while Akihiko Ando joins on saxophone, while Takafumi Okada and Rai Tateishi step in to handle percussion, with the latter moonlighting on flute. Every sound is sculpted into a fragment of cadence: guitar and bass prangs alternately echo and dance between the drums, and Ando's sax is mutated into a respiratory slobber of guttural smacks and phantom breaths.

In some respects, it's tempting to label it jazz, but the kind of jazz that Miles Davis spearheaded on the game-changing 'On The Corner', the blueprint for so much post-punk, electronic music and avant rock. goat (JP) take that raw alloy and sharpen it like a blade, mangling the template with the knotty metrics of Autechre or Ryoji Ikeda. The accuracy is galvanic; it's almost impossible to comprehend each player keeping a mental note of the mathematical time signatures, and yet they floss them out with trills and icy stutters that seem to evaporate around the thick, taiko-like thuds.

They practically get our teeth gnashing with the bruxist rictus chatter of ‘III I IIII III’ , before ‘Cold Heat’ introduces subtly harmonised, new aspects to their sound with slivers of Hassellian flute and ringing overtones of their percussion, while the winding sensuality of ‘Warped’ slips down very nicely. Their links to OG no-wavers like Glenn Branca & Wharton Tiers’ Theoretical Girls - is manifest in the 8 mins of chipping stop/start pulse and parry to ‘Modal Flower’, while a total left turn into Mark Fell-meets-Ligeti-esque messed up metronomics in ‘GMF’ ties it off with a properly beguiling flourish.

The second LP by Tokyo ambient conceptualists UNKNOWN ME began as a commission for historic Japanese cosmetic conglomerate Shiseido, conjuring audio approximations of seasons and scents, but soon flowered into its own refracted and rarefied environment: Bitokagaku. Translated as “beauty and science,” the album is the foursome’s first composed solely with software, reflecting the collection’s utopian, laboratorial muse. 
From levitational electronica (“A Rainbow in Meditative Air”) and vaporous downtempo (“Dancing Leaves”) to planetarium reverie (“Kitsune No Yomeiri”) and AI IDM (“Retreat Beats”), the music moves like weather patterns in a bio-dome: dazzling, microcosmic, and delicately calibrated. Percolating synths crossfade with field recordings from Shiseido’s research division; the sound of streams and distant birds blur into a processed haze; clinical voices read lists of precious stones. It’s a vision of new age as soft robotics, of serenity streamlined by sentient systems.
UM’s team of engineers (Yakenohara, P-RUFF, H. Takahashi, and Osawa Yudai) cite an eclectic swath of inspirations behind Bitokagaku – molecules, stars, Kenji Miyazawa, Akira Kurosawa, even “the sparkle of rainbows” – but their guiding artistic principle is as ancient as it is eternal: “beauty.”

keiyaA ist eine in New York lebende Singer-Songwriterin, Produzentin und Multiinstrumentalistin. Aufgewachsen in Chicagos South Side, verbindet keiyaA ihre Jazz-Ausbildung, ihre R&B-Sensibilität und ihre Hip-Hop-Erziehung, um neue Soul-Sounds zu kreieren, die von ihrer kraftvollen, schwülen Stimme und ihrer dichten Lyrik überflutet werden. Ihr Ziel ist es, die Erzählung und den Intellekt der schwarzen Frau in der spätkapitalistischen Welt in den Mittelpunkt zu stellen. Forever, Ya Girl" fand großen Anklang und landete auf mehreren Best of the Year"-Listen, was sie an die kulturelle Spitze katapultierte und ihr das Lob von Künstlern wie Solange, Jay-Z, Earl Sweatshirt, Blood Orange und Moses Sumney einbrachte und die Aufmerksamkeit von Marken wie Apple, Nike und Chanel erregte, die alle in Kampagnen auf keiyaA und ihre Arbeit aufmerksam machten. Seit ihrer Veröffentlichung ist keiyaA zu einer gefragten Kollaborateurin geworden und hat mit MIKE, Armand Hammer, Loraine James, Nilüfer Yanya, Bartees Strange, Nick Hakim, Mount Kimbie, Nubya Garcia und vielen anderen zusammengearbeitet.

Biomes are little worlds of organic relationships, full of struggles, symbiosis, and sheer obsolete noise. In "De Silenti Natura," Henrique Vaz is meticulously crafting synthetic auditory biomes, sprouting from their own fuzzy logic. Unfolding across two distinct acts, the Brazilian artist interprets and replicates the complex, often ambiguous sounds of (un)natural environments, creating imaginary systems to inhabit over two sides of tape. The soundscape of the first side and title track is entirely algorithmically synthesized, with no samples used, leveraging Supercollider for real-time sound generation. The environment thus built is a flourishing one, seemingly unable to escape its own grandeur as insect-like buzzing and crackles expands into mountain ranges and forests of erupting sonorous drama. The second side introduces 'hydrophone' water synthesizers, submerged in a goldfish bowl to interface with the unfurling waves of electronic chords, creating a unique blend of damp and unwieldy sloshing movements, prismatically scattered into a luscious soundscape, and resembling everything from the bridge of a starship to the echoed drip-drip of stalactites.

Both sides of the album slowly unwrap and uncrinkle, revealing layers of hisses, distant digital choirs, warm enveloping chords, and juddering bleeps. Despite their unwieldy and strange nature, myriad elements convey a familiar sense of environment, flitting between the blossoming of new (manmade) life and the doom and destruction of the (real) world.

As the ringing of bells (fully synthetic; no samples were used) hove into view during the closing movement of side one, a simulacrum cacophony of voices is ushered in. It’s a reminder of the holy nature of sound itself, beamed into our heads intangibly. The flipside’s water ritual, frantically dunking ‘water synthesizers’ to birth swooping melodies and yawning tones, is jabbing at sleeping giants. It’s pushing and pulling the stars in the night sky into place. It’s both a simple act of beautiful creation, and a storm in a teacup.

-3rd album from veteran rap duo Dillon & Batsauce. Dillon on the raps & scratches, Batsauce on the beats. ('On Their Way' - 2018, 'Self Medicated' - 2020).
-Produced entirely by Batsauce, guest features include Grand Puba, Kool Keith, Quelle Chris, Reef the Lost Cauze, Headkrack and Jay Myztroh of Stono Echo.
-Atlanta, GA + Jacksonville, FL album release parties booked for end of July + Northeast Tour Run scheduled for August.
-Batsauce has been producing hip hop and soul for 20+ years with multiple albums on labels BBE (Barely Breaking Even) producing for his wife, soul-singer, Lady Daisey + Galapagos4 where he produced multiple projects for Qwazaar of Typical Cats. He is 1/3 of the group, 'The Smile Rays' (which includes Lady Daisey and Paten Locke). He's also done extensive work with Akrobatik, Mr. Lif and even has multiple songs with George Clinton!
-Dillon is an Atlanta, GA based MC/DJ who has been releasing records for 20 years, 10 of those years was running FULL PLATE, the label he started in 2013 with Paten Locke (RIP). Dillon has worked with many of Hip-Hop's elite from the old school to the true school such as Chuck D, Diamond D, Count Bass D, Kool Keith, Greg Nice, Grand Puba, Homeboy Sandman, J-Live, Quelle Chris, Sadat X, Ras Kass, Stacy Epps, Planet Asia, eLZhi, Slimkid3 of The Pharcyde - and the list goes on!
-Classic black, standard weight vinyl in full-color jacket w/ matte finish. Includes Download Card.
Underground hip-hop veterans, Dillon and Batsauce have been making unorthodox rap music together for nearly 20 years with a simple formula: Batsauce makes the beats, Dillon writes the songs, and whatever happens, happens. After carving out their own lane with a catalog of EPs and LPs over the past 2 decades, the duo has finally slowed down enough to ask themselves, 'What Have We Done'?
Is the title of their latest effort rhetorical or meant to be an actual question? If so, Dillon and Batsauce probably don't want to know the answer. They probably don't want you, the listener, to think too much about it either. Instead, 'What Have We Done' is an invitation to experience the trials and tribulations, the small wins and the big losses of being aging independent artists in an increasingly cut-throat world for music makers.
But Dillon & Batsauce aren't the only ones on this joyride, we also hear from a well-curated crew of characters they've befriended along the way, from bonafide legends like Grand Puba and Kool Keith to modern day rap heroes, Quelle Chris & Reef the Lost Cauze. The end result is a collection of songs that runs the gamut from personal to aspirational to...delusional. Whether it's 'too much' or 'not enough', the answer to the question, 'What Have We Done' remains open to interpretation. Perhaps it’s not a question at all, but merely the naturally visceral reaction when career creators look back at a life lived on the edge.
Track Listing: 1. What Have We Done (Intro) 2. Mind Made 3. Quiet as a Library 4. Eddie Farah 5. Make History 6. Cannonball feat. Grand Puba 7. Banana Peels 8. Accolades feat. Reef the Lost Cauze & Jay Myztroh 9. Wakin' up Hungry feat. Headkrack 10. Goin' Viral 11. Ready on the Left feat. Kool Keith 12. What Are We Doing (Interlude) 13. Watercolors feat. Quelle Chris 14. Speak Easy 15. Isiah Thomas 16. Rock Bottom 17. Yoga Flame

2 Electro techno bassliner for the start on each side
And a Drum & Bass violent on a2 from NICO...
The records ends on a trippy electro techno killer !!!

SOLID EP !

Collaboration between Kilbey (The Church) and Kearns (Cactus World News), compiling before unfinished recordigs from late 1990s up to 2016. Initially issued as a 500 run CD available by mail order only in 2016, this is the very first time being released through global distribution, packaged in deluxe gatefold sleeve and containing two unreleased bonus tracks. Kilbey's The Church have returned to a high-profile status with both current albums 'The Hypnogogue' & "Ezra..." being critically acclaimed globally. The two new bonus songs are tracks 11 and 12, which were recorded in 2022. Kilbey and Kearns dive deep into atmospheric soundscapes and vocals and mysterious, yet revealing lyrics as Speed of the Stars. Easy Action will be issuing Steve Kilbey's solo and collaboration albums over the coming years.

Not everybody has not one, not two, but twelve producers attached to her debut release. Not everybody has her one and only album pranked by British artist Banksy (who substituted a topless photo for the cover). Nope, not everybody is Paris Hilton, who has lived in the public eye since, well, forever. She first announced plans to make an album in 2003, during her run on the reality TV series The Simple Life.

Originally entitled Screwed, and then Paris Is Burning, the record—finally simply entitled Paris—came out in 2006. And it was…uh… good? Yeah, for real. This record goes expensively pedicured cuticle to cuticle with anything Britney Spears, Jessica Simpson or any other pop culture chanteuse of the like ever put out, and the Paris the heiress displays some real savvy both in her taste of material and the Madonna-like manipulation of her sex symbol image. And her voice? Definitely respectable despite what the haters said. Indeed, the single “Stars Are Blind” went top 20, and the album itself went all the way up to #6, selling over 600,000 copies worldwide.

Since Paris has finally answered the pleas of her fans and made a second album, we thought the time was right for a revival of Paris, so we’ve taken the fetching photos from the CD package and given them plenty of acreage to show their stuff, with a gatefold jacket and 4-color printed inner sleeve. And for this release, we’re pressing Paris’ album in her favorite color, pink…and of course it’s hot! A pop culture keepsake from an enduring pop culture icon!

'A Handful Of Memories' is the result of an appreciation upon reflection of Adam's
past experiences, trips with his family, his touring families and friends in some
places that hold special memories for him.
To reflect the personal, minimalist nature of the tracks, no effort was made to
remove any of the pedal noises or enhance the tracks in any way, as Adam
wanted them as exposed and natural as they can be.
The pandemic had a hand in Adam's return to modern classical piano after 25
years. As a highly sought- after touring pianist, Adam played extensively with
Black Sabbath, Ozzy Osbourne, Travis and many others. When the pandemic
started, and the music world paused, he was halfway through a South American
tour with Martin Barre on his 50th Anniversary Tour of Jethro Tull. Forced to leave
his gear in Peru and hurry home before the airports closed, a period of reflection
had started and this album is a result of that.

Miles Davis' 20-year association as an artist at impresario George Wein's renowned Newport Jazz Festival is a thriving tradition that is celebrated with the release of Miles Davis At Newport 1955-1975: The Bootleg Series Vol. 4.

The 8-LP box set, comprised of live performances by Miles' stellar band lineups in 1955, 1958, 1966, 1967, 1969, 1971, 1973, and 1975, in Newport, Rhode Island, New York City, Berlin, and Switzerland.

The 4th entry in the critically-acclaimed Miles Davis Bootleg Series, contains hours of previously unreleased material. From Miles' debut performance at NJF in 1955 (a hastily arranged jam session featuring Thelonious Monk and Gerry Mulligan, that immediately led to the trumpeter's Columbia signing), to his final public performance of the '70s in 1975, the box set traces the ascendance of Miles' music as the Jazz superstar he has become known to be.

The full-length concert performances alone of Miles' famed ""Kind Of Blue"" Sextet (with Cannonball Adderley, John Coltrane, Bill Evans, Paul Chambers, and Jimmy Cobb), and second great quintet in '66 and '67 (with Wayne Shorter, Herbie Hancock, Ron Carter, and Tony Williams) represent templates that reverberate in jazz and popular music to this day.

2024 Reissue

EQ is a legend in the game of hardcore and rave. The former in-house engineer for Formation Records and DJ SS and the head honcho at F-Project Records, this guy has been involved in so much of the scene’s history. But around 1994 he stopped producing under the name EQ and moved onto other things. That is until now. He is back once again and reinvigorated by the popularity of the rave repress culture and has started to write new material… but in the style of the early 90’s, using lots of old skool hardware to produce his music to keep that authentic UK sound.

His first EP for nearly 30 years takes us right back to the raves of the Midlands, the music of an era. Creative sample usage, rolling breaks, kick drums… melodies and rave stabs! This EP has something for all. Not only that, he has completed his follow up EP already which is due out in 2023 and is as equally impressive.

Back again, the renegade master!

2024 Repress

Performed by Nicolas Horvath.


Discover all the beauty of the music from Hayao Miyazaki and Isao Takahata's Studio Ghibli films in this new original production for solo piano!

Based on the official piano scores of the original composer of the Studio Ghibli films, Joe Hisaishi, this album is an initiatory and virtuoso journey into the worlds of Miyazaki and Takahata, performed by pianist Nicolas Horvath, Steinway and Sons Artist, famous for being a first-class interpreter of composers such as Philip Glass, Franz Liszt, Claude Debussy and Eric Satie.

The album contains tracks from all Studio Ghibli films composed by Joe Hisaishi, a complete horizon of the immortal work of the cult animation studio.

The vinyl edition includes 24 tracks on two discs inserted in a sumptuous gatefold sleeve.

2024 Repress

Harri Pierson bangs the box with his new EP for Duca Bianco, a full thrill mix of disco and house sounds that want to get the party going. 'Instant Message' has a dense mix of raw drum sounds and squelchy synths with interesting melodic designs and steamy female coos. 'Techno Native' is laced up with piano stabs and a hint of old school energy then 'Trippy Too' cuts loose with a head-twisting mix of drums and whistles and bass and pads. 'Young Australians' then brings some big guitar licks to a Balearic beat that is for dancing under the stars. All four of these cuts are unique and compelling.

What eventually became Buzz, the third studio album by singer-songwriter NIKI, started with an urgent quake from the innermost core of her being. Her songwriting remains as intimate as ever and Buzz
reverberates with the hard-earned wisdom of a young woman who charges dauntlessly towards her dreams — but can still spare a laugh if she stumbles.

Vibes player Johnny Lytle was one of the heroes of the early acid jazz club circuit, with his cut 'Selim' being an anthem of the scene.

The Ohio born player had made his name at Riverside where his 1965 album "The Village Caller" made him a star. When Riverside ceased trading, owner Orrin Keepnews collaborated with Lytle on two albums which came out on the Detroit label, Tuba

Ace reissued the first album “The Loop” last year (HIQLP 115). We are delighted to now put out the second, “New And Groovy”. The line-up features Milt Harris (organ) Wynton Kelly (piano), George Duvivier (bass) “Peppy” Hinnant or Jimmy Cobb (drums) Montego Joe (congas) and Lytle on vibes. The band power through a selection of original material such as ‘The Snapper’, ‘The Pulpit’ and ‘Screamin’ Loud’. The album also contains Lytle’s radical reworking of Miles Davis' 'Miles' which Lytle retitles 'Selim'. With poor distribution, “New And Groovy” barely made it to the shops back in 1967 and was ignored for twenty years until DJs such as Bob Jones and Gilles Peterson started playing it in the 80s making it a sought-after LP.

The popularity of “New And Groovy” has remained, and this is first time it has been legally reissued on vinyl. “Snapper one up…!”

Black Truffle is thrilled to announce a reissue of Chico Mello and Helinho Brandão’s self-titled release from 1984, the first return to vinyl of this classic of Brazilian experimental music with its original cover art and complete track listing. An under-recognised figure whose work inhabits a singular terrain where radical new music techniques and music theatre meet musica popular brasileira, Mello has lived and worked in Berlin since the late 1980s. A student of Dieter Schnebel, Mello played in the 90s iteration of Arnold Dreyblatt’s Orchestra of Excited Strings alongside compatriot Silvia Ocougne, with whom he produced a radical and hilarious deconstruction of MPB classics on Musica Brasileira De(s)composta (an early and rather atypical release on Edition Wandelweiser).

On this release, his only recording predating his move to Europe, Mello works with the alto saxophonist Helinho Brandão, who appears to be otherwise unknown outside Brazil. The record’s six tracks range from solo saxophone improvisation to densely layered ensemble works bridging minimalism, acoustic sound art and a plaintive melodic sensibility that calls up Edu Lobo or Milton Nascimento. Beginning with a dramatic, dissonant wind and string surge from which emerge ominously pounding piano chords, opener ‘Água’ slowly builds in intensity, a halo of clustered vocal harmonies gradually closing in on Brandão’s squealing sax until the piece opens up to reveal a gorgeous passage of melodic singing. The piano accompaniment reduces to tolling bass notes as the voice begins a repeated incantation, suggesting a ritualistic atmosphere reminiscent of parts of Xenakis’ setting of Oresteia. Dissonant, sawing tremolos on the strings climb to a crescendo before disappearing into the sounds of water being poured and splashed into metal vessels, presented not as a field recording but as a percussive element performed by the ensemble. A child’s voice then appears, singing to piano accompaniment the same melody heard earlier in the piece. After a brief solo alto improvisation from Brandão, working with the guttural pops and fleeting melodic gestures of Braxton or Roscoe Mitchell, the remainder of the first side is dedicated to the leisurely unfolding of ‘Baiando’ over the course of twelve minutes. A trio for Brandão on soprano saxophone, Mello on a very period-appropriate phased nylon string guitar and Edu Dequech on bongos, the performance eases its way hypnotically through subtle variations on a set of rhythmic and melodic patterns, almost derailed at points by Brandão’s wild forays into extended technique but held together by Mello’s droning guitar notes.

The second side opens with another multi-part epic for a larger ensemble, ‘Matraca’, which makes use of strings, electric guitars and a wide range of South American percussion instruments. Rasping violin harmonics hover as drum hits, repeated guitar notes and triangle accompany a slowly descending bass glissando. A sudden change in direction introduces a thrumming, incessantly repeated bowed bass tone, beginning a series of episodes of minimalist phasing and pattern variation, the combinations of electric guitars and orchestral instruments giving the ensemble an ad hoc charm like the early Penguin Café Orchestra but with more percussive drive. Eventually the piece is overrun by a cacophony of the titular matracas (a kind of ratchet/cog rattle). Following a lyrical trio improvisation by Mello, Brandão and Gerson Kornin on bass, the final ‘Danca’ focuses entirely on Mello’s layered acoustic guitars and vocals, using this restricted palette to build up a haunting piece of almost orchestral density, reminiscent of the 70s work of Egberto Gismonti in how it thickens a folkish ambience with harmonic sophistication.

Arriving in a starkly beautiful gatefold sleeve and sounding better than ever in its new remaster, one might call the stunning music contained on Chico Mello/Helinho Brandão ahead of its time. But what (other than some of Mello’s own work) produced in the years since its initial release has really touched the organic fusion of minimalism, free improvisation, radical instrumental technique and popular song achieved here? Forty years after its first release, Chico Mello/Helinho Brandão remains music of the future.

On 9 August, 2024, Merge Records reissues David Kilgour's A Feather in the Engine, remastered and pressed on vinyl for the very first time. Originally released in 2002, A Feather in the Engine followed two full-band efforts_1997's David Kilgour & the Heavy Eights and The Clean's 2001 album Getaway_and is thus almost startling in its intimacy. Recorded at home and mostly alone (The Verlaines' Graeme Downes provides lush string arrangements), Kilgour once called A Feather in the Engine "the most solo LP I've made." Interpolating his genius for guitar pop through acoustic guitars and gorgeous instrumentals, its melodies unfold gently, suggesting that the 13 songs here, written over the course of four years, were searching Kilgour as much as he was searching them. The dichotomy between A Feather in the Engine's pop songs and instrumentals fascinates the ear, drawing the listener closer and closer to Kilgour's virtuosic guitar playing when his lyrics aren't imparting his breezy charm. The depth of style he achieves_the psych pop of "Today Is Gonna Be Mine," the Velvet Underground-esque churn of "All the Rest," the chamber folk of "The Perfect Watch"_is daunting; listening to it now, every song feels capable of generating a dozen playlists, or like the spawning point of a new microgenre. Perhaps anomalous upon release, it's A Feather in the Engine's instrumentals that feel weightiest in this regard now. "Sept. 98" and "Backwards Forwards," respectively the opening and closing tracks of the album, are elegant, pastoral epics that call out into the yawning expanse, presaging the simmering ambient country of William Tyler and SUSS, while "Instra 2" pushes out the boundaries of Eastern-influenced psychedelia. Lovingly remastered (and in some cases remixed) from the original tapes by Tom Bell at Port Chalmers Recording Services, the vinyl reissue of A Feather in the Engine is a crucial opportunity to rediscover one of David Kilgour's best records, a handcrafted gem that perfects guitar pop's past while pointing to its future, idiosyncratic in its making and tantalizing in its potential. There is good reason for David Kilgour to be your favorite musician's favorite musician. A Feather in the Engine is good reason for him to become yours.

Hardwood Vinyl. Narrow Head's highly anticipated new LP 12th House Rock arrives August 28th on Run For Cover Records. The Houston-based band's latest entry is the distillation of the greatest moments in 90's alternative and hard rock with a fresh set of ears, thirteen tracks of their signature brand of bludgeoning lullabies bursting at the seams with creative ideas, new directions and yes, massive, monolithic riffs. In between the sparkle and smash, open-hearted and emotionally naked songwriting showcases a core piece of the band's identity- showcasing 12th House Rock as one of the best releases of 2020.Delving into deep-seated themes of self loathing, desolation, self-medication, the loss of loved ones and hopeful redemption,12th House Rock is, as the title suggests, a rock-focused LP themed on transition- exploring the vast abyss of darkness just before the sun cracks upon the horizon. Using distorted guitars as their primary vehicle, Narrow Head's wall of riffs add stark contrast to their best quality- deceptively sweet pop melodies that channel the lessons of My Bloody Valentine, Cocteau Twins, Helmet, Deftones and Guided by Voices all at once.

Citrus Swirl Vinyl. honeybee table at the butterfly feast is the first album from the elusive Baltimore's band Teen Suicide in years. For over a decade, guitarist, vocalist and project runner Sam Ray has been sometimes quietly and sometimes very noisily setting standards in the indie scene by changing genres, live lineups and even band names, but the one constant has been an undeniable gift for songwriting. honeybee table sits at an interesting point in the teen suicide timeline, following years of relative quiet following the releases a whole fucking lifetime of this (2018) and fucking bliss (2019), both released under the short-lived alias American Pleasure Club. Lockdown times saw a viral moment for the song "haunt me (x3)", a cult-classic catalog track featured on the 2015 Run For Cover reissue of the band's two beloved EPs dc snuff film and waste yrself. Now the band returns with what could be their next classic record, 16 songs that oscillate between noisy garage-rock, intimate acoustic songs and even blistering powerviolence in the vein of 2016's ambitious double album it's the big joyous celebration, let's stir the honeypot. The album is as varied and captivating as the cover art of the record - a painting by Ray's mother - and is held together by his unique artistic vision, captured not only in the genius of his songwriting but the power of lyrics that turn his lived experience of the past few years into harrowing poetry.