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There are few rock guitarists on this planet who have had such a lasting influence on so many renowned musicians as Michael Schenker. With his outstandingly fluid style, inexhaustible wealth of ideas and instinctive feel for hooks and melodies, Michael Schenker is a living legend who, despite his longstanding and distinguished history, still impresses with his unflagging energy and drive. The blond axeman from Sarstedt began his international career in the early 1970s with the Scorpions, achieved worldwide fame after joining British rock group UFO and then seamlessly continued his exceptional global success story under his own name, as well as with acts such as Michael Schenker Group (MSG for short), Temple Of Rock and Michael Schenker Fest. Schenker and his career, which has spanned more than fifty years, are absolute exceptions in the otherwise short-lived music industry.

There are few rock guitarists on this planet who have had such a lasting influence on so many renowned musicians as Michael Schenker. With his outstandingly fluid style, inexhaustible wealth of ideas and instinctive feel for hooks and melodies, Michael Schenker is a living legend who, despite his longstanding and distinguished history, still impresses with his unflagging energy and drive. The blond axeman from Sarstedt began his international career in the early 1970s with the Scorpions, achieved worldwide fame after joining British rock group UFO and then seamlessly continued his exceptional global success story under his own name, as well as with acts such as Michael Schenker Group (MSG for short), Temple Of Rock and Michael Schenker Fest. Schenker and his career, which has spanned more than fifty years, are absolute exceptions in the otherwise short-lived music industry.

After releasing their 'Kerrang Top 50 Album of 2020' & seething debut
album 'Paradise', Scotland's Rock'n'Roll 3-piece Cold Years were about to
reap the fruits of their labour touring the world spreading their 'fist in the
air' punk rock anthems when the world came to a holt
While for many this kind of obstacle would have stopped them in their tracks but
not Cold Years, the time for pissing & moaning is done.
With singer/guitarist Ross Gordon relocating to Glasgow, never making any secret
of his frustrations with feeling trapped in the suffocating environs of his native
Aberdeen, inspiration for album 2 'Goodbye To Misery' was born.
Written remotely throughout the first 3 months of 2021, Cold Years found a fresh
approach to create using daily Zoom sessions to write emailing ideas back and to
throughout the second lockdown. With a change of scenery and this fresh
approach to writing, 'Goodbye To Misery' is 12 tracks born out of the want for a
more positive future rather than the self-destruction & misery of 2020's 'Paradise'.
Recorded in May 2021 the band yet again travelled south to The Ranch Studios in
Southampton to work with long-time collaborator Neil Kennedy (Creeper, Boston
Manor, Milk Teeth).
"This record is us saying you can break away from those things that are bringing
you down. It's about standing up for yourself and not letting anybody tell you what
you should or shouldn't be doing. It's a defiant statement."
Press ads in Visions, Classic Rock, Piranha (POS), Start (POS), Slam, Rocks,
Eclisped Covermount tracks in Classic Rock, Visions, Rocks Press features in
Visions, Classic Rock, Piranha, Start, Slam, Rocks, Eclipsed Radio: #6 German
Rock Charts for Home (single)

Fractal head rearrangement from Keith Fullerton Whitman on his first vinyl release in what feels like years, here blessing Japan’s NAKID label with a new instalment in his forever-evolving Generators project, arcing from bleeping post-Kosmische sounds into completely unexpected drum mutations in footwork and grime modes. It’s properly head melting gear that links the algorithmic mind-fukkery of Laurie Spiegel with the floor-bending rhythmic experimentation of Mark Fell, Rian Treanor or Jana Rush, and the first in a three part series that offers some of the strongest gear we’ve heard from one of the very best in the game.

Modular synth scientist, critic and historian Keith Fullerton Whitman first debuted his »Generators« set in 2009, using a modular setup to create non-repeating melodic patterns that basically came close to generating themselves. Over the course of hundreds of live shows (and a handful of releases on Root Strata, Editions Mego and other labels), Whitman glacially honed his process and allowed the concept to slither down different avenues, mutating as it picked energy from the various venues it was situated in. His rigorous method meant ‘Generators’ was never played out the same way twice, veering from psychedelic Kosmische experimentation to obliterated, off-grid Techno.

In 2019, on the tenth anniversary of the project, Whitman was invited by the GRM in Paris to set up in Studio C, where he avoided the arsenal of pristine, museum-worthy modular synthesizers and instead reprogrammed his classic ‘Generators’ patch. Recorded in a single take using luxe analog- to-digital convertors, the result is a 45-minute durational piece, split into two distinct sides for this release.“Very little manual interaction happened,” Whitman explains. The music is, as its title suggests, generative, and at this point basically sounds as if it reached its most advanced, final form. The first few minutes of the opening side mine the original theme, with clocked LFO shapes triggering oscillator blips in mind-expanding non-looping patterns. Soon, percussion enters the matrix, at first wrong-footing us with a 4/4 fake-out - possibly nodding to the piece’s 2010 Root Strata iteration - before splitting into staccato polyrhythmic abstractions of the most loose- limbed and deadly variety.

General MIDI drums can sound almost hilariously boxed-in, but handled by Whitman they show off a plastic cultural sheen to piercing effect, deployed in a way that re-draws the rhythmic bass music of someone like Jlin while nodding to Mark Fell and Rian Treanor’s quasi-generative dance explorations. These comparisons take on even more weight on the second side, where Whitman opens up his filters to allow the synth bleeps to sing even more loudly, introducing that all- important clap/hat interplay that dialogues with Atlanta and Chicago simultaneously.

 Rumours about death metal band To The Gallows
have already existed in the (Dutch) metal
underground for some years now, but an official
release has never seen the light. Until now.
 In 2013, the ‘underground super group’ To The
Gallows was formed by Swedish metalwundermaster Rogga Johansson (Heir Corpse
One, Paganizer, Stygian Dark, Massacre, Blood
Gut, Dead Sun, Megascavenger, Ribspreader,
Putrevore, Revolting), Eric Daniels (Asphyx,
Soulburn, Grand Supreme Blood Court), Bob
Bagchus (Soulburn, Asphyx, Infidel Reich, Siege
Of Power) and Henri Sattler (God Dethroned).
Master plans ended when Daniels and Bagchus
re-started their career with Soulburn. The ‘match
made in Hell’ duo Johansson and Sattler continued
with To The Gallows and ‘Fury Of The Netherworld’
is their debut-album.
 Brutal blackened death metal for fans of
Dissection, Zyklon, Belphegor, Hate, Necrophobic,
Archgoat and God Dethroned.

 Rumours about death metal band To The Gallows
have already existed in the (Dutch) metal
underground for some years now, but an official
release has never seen the light. Until now.
 In 2013, the ‘underground super group’ To The
Gallows was formed by Swedish metalwundermaster Rogga Johansson (Heir Corpse
One, Paganizer, Stygian Dark, Massacre, Blood
Gut, Dead Sun, Megascavenger, Ribspreader,
Putrevore, Revolting), Eric Daniels (Asphyx,
Soulburn, Grand Supreme Blood Court), Bob
Bagchus (Soulburn, Asphyx, Infidel Reich, Siege
Of Power) and Henri Sattler (God Dethroned).
Master plans ended when Daniels and Bagchus
re-started their career with Soulburn. The ‘match
made in Hell’ duo Johansson and Sattler continued
with To The Gallows and ‘Fury Of The Netherworld’
is their debut-album.
 Brutal blackened death metal for fans of
Dissection, Zyklon, Belphegor, Hate, Necrophobic,
Archgoat and God Dethroned.

 Rumours about death metal band To The Gallows
have already existed in the (Dutch) metal
underground for some years now, but an official
release has never seen the light. Until now.
 In 2013, the ‘underground super group’ To The
Gallows was formed by Swedish metalwundermaster Rogga Johansson (Heir Corpse
One, Paganizer, Stygian Dark, Massacre, Blood
Gut, Dead Sun, Megascavenger, Ribspreader,
Putrevore, Revolting), Eric Daniels (Asphyx,
Soulburn, Grand Supreme Blood Court), Bob
Bagchus (Soulburn, Asphyx, Infidel Reich, Siege
Of Power) and Henri Sattler (God Dethroned).
Master plans ended when Daniels and Bagchus
re-started their career with Soulburn. The ‘match
made in Hell’ duo Johansson and Sattler continued
with To The Gallows and ‘Fury Of The Netherworld’
is their debut-album.
 Brutal blackened death metal for fans of
Dissection, Zyklon, Belphegor, Hate, Necrophobic,
Archgoat and God Dethroned.

The second LP by California rock n roll unit SPICE expands their palette of damaged anthems and addiction poetics with a more bristling, visceral sound, distilled from years in the trenches of bands, break-ups, and breakdowns. Singer Ross Farrar explains their chemistry succinctly: "We all got in a room and this is what came out." Viv is named for a precursor project of bassist Cody Sullivan and violinist Victoria Skudlarek, but also alludes to broader notions of vividness, sonic, visual, and otherwise. Engineered by Jack Shirley and mixed/mastered by Sam Pura in Oakland, the mix achieves that rare balance of every element being elevated but distinct, with voices, strings, and drums each given space to blaze parallel paths. Opener "Recovery" captures SPICE at their stormy, weathered best, booming drums and East Bay riffs skidding out in a rockslide of rapture, regret, and bruised melody ("You sacrifice perfect days to laugh through the night / you have to get out of bed / and it's hard / and it's hard / it's so hard to admit"), peaking in Ian Simpson's poignant single-note vibrato guitar solo; Farrar agrees: "The guitar says what we cannot." Other tracks embrace the group's shredded pop potential ("Any Day Now," "Dining Out," "Live Scene") and their speedway ripper mode ("Threnody"), with detours into oblique instrumentals ("Melody Drive") and orchestral balladeering ("Ashes In The Birdbath"). But what unites and ignites these songs across different energies and arrangements is their specific sense of emotion. Rawness refined into reckonings, approaching truth, born of cold mornings, bad luck, and too many wrong turns. Waking up where you're not supposed to be, living a life you don't recognize. The album ends with no end to its narrative, still fighting, still slipping. Farrar calls "Climbing Down The Ladder" a "relapse song - telling people you're okay but you're still fucking up." Heartbeat drums march under heartbroken guitars in an elegant downward spiral of defeat, delusion, and desperate hope, dreamed more than believed: "I said it was the last time / but I was up so high / 100 miles / 1000 miles / no me in sight / I saw into the next life / I wasn't dead / I felt so vivid in the next life."

The second LP by California rock n roll unit SPICE expands their palette of damaged anthems and addiction poetics with a more bristling, visceral sound, distilled from years in the trenches of bands, break-ups, and breakdowns. Singer Ross Farrar explains their chemistry succinctly: "We all got in a room and this is what came out." Viv is named for a precursor project of bassist Cody Sullivan and violinist Victoria Skudlarek, but also alludes to broader notions of vividness, sonic, visual, and otherwise. Engineered by Jack Shirley and mixed/mastered by Sam Pura in Oakland, the mix achieves that rare balance of every element being elevated but distinct, with voices, strings, and drums each given space to blaze parallel paths. Opener "Recovery" captures SPICE at their stormy, weathered best, booming drums and East Bay riffs skidding out in a rockslide of rapture, regret, and bruised melody ("You sacrifice perfect days to laugh through the night / you have to get out of bed / and it's hard / and it's hard / it's so hard to admit"), peaking in Ian Simpson's poignant single-note vibrato guitar solo; Farrar agrees: "The guitar says what we cannot." Other tracks embrace the group's shredded pop potential ("Any Day Now," "Dining Out," "Live Scene") and their speedway ripper mode ("Threnody"), with detours into oblique instrumentals ("Melody Drive") and orchestral balladeering ("Ashes In The Birdbath"). But what unites and ignites these songs across different energies and arrangements is their specific sense of emotion. Rawness refined into reckonings, approaching truth, born of cold mornings, bad luck, and too many wrong turns. Waking up where you're not supposed to be, living a life you don't recognize. The album ends with no end to its narrative, still fighting, still slipping. Farrar calls "Climbing Down The Ladder" a "relapse song - telling people you're okay but you're still fucking up." Heartbeat drums march under heartbroken guitars in an elegant downward spiral of defeat, delusion, and desperate hope, dreamed more than believed: "I said it was the last time / but I was up so high / 100 miles / 1000 miles / no me in sight / I saw into the next life / I wasn't dead / I felt so vivid in the next life."

There is a way a voice can cut through the fascia of reality, cleaving through habit into the raw nerve of experience. Nika Roza Danilova, the singer, songwriter, and producer who since 2009 has released music as Zola Jesus, wields a voice that does that. When you hear it, it is like you are being summoned to a place that’s already wrapped inside you but obscured from conscious experience. This place has been buried because it tends to hold pain, but it’s also a gift, because once it’s opened, once you’re inside of it, it can show you the truth. Zola Jesus’s new album, Arkhon, finds new ways of loosing this submerged, stalled pain.

There is a way a voice can cut through the fascia of reality, cleaving through habit into the raw nerve of experience. Nika Roza Danilova, the singer, songwriter, and producer who since 2009 has released music as Zola Jesus, wields a voice that does that. When you hear it, it is like you are being summoned to a place that’s already wrapped inside you but obscured from conscious experience. This place has been buried because it tends to hold pain, but it’s also a gift, because once it’s opened, once you’re inside of it, it can show you the truth. Zola Jesus’s new album, Arkhon, finds new ways of loosing this submerged, stalled pain.

A 28 track 2LP release to be released on 20th May longside the 2CD set. This is not the first 10cc Hits collection, but it is definitely the most comprehensive TV Ad package. The CD set has aready been sold in. Promo will feature TV This Morning interview and performance, Radio R2 Johnnie Walker Sound of the 70's, , R4 Front Row, SaturdayLive, Gold, Greatest Hits Radio and a major BBC local radio campaign, plus features in Taboids and Broadsheets (We have already confirmed The Telegraph feature The Story Behind 'I'm Not in Love'). All this will be backed by a National TV campaign.

Gongs have played an integral role in the mythogeography of Asia. This is not music that aligns with national borders or ideas of homogenous populations, let alone racial stereotypes and exotic clichés. What connects all of these tracks is a simultaneous feeling of entrancement and social cohesion. Communal and collaborative, its form is hypnotically repetitious, melodies and rhythms spread out among the players using the technique of hocketing in which a flowing line is distributed among all the musicians. The effect is mesmerising, immediately intoxicating to anybody who loves Chicago footwork, free improvisation, Sun Ra or young hip hop producer Jetsonmade. The music is simple yet mysterious and enveloping, a sound world in which to disappear. A theory exists but this is not explained. - David Toop (extracts from the liner notes)

This project, Massif and Archipelago, is a field recording project initiated by Japanese sound artist Yasuhiro Morinaga, documenting traditional gong music by different Southeast Asian ethnic groups. The project aimed to examine the impact of the natural and social environment on the gong music culture of Southeast Asia. During the project, he visited over 50 different ethnic groups and made hundreds of recordings. This album presents a selection of the unique gong music from different ethnic minorities. The selected music has been divided into two broad sections: one focussing on the music from the Massif, i.e. mainland Southeast Asia (Central Highland of Vietnam and Northeast Cambodia), the other on music from the Archipelago, maritime Southeast Asia (the Luzon Islands of the Philippines, Borneo, Sulawesi, and the Flores Islands of Indonesia).

Black vinyl available again, limited pressing. Born in 1981 in Detroit, MI, Negative Approach were the undisputed champs of Midwestern hardcore in the early to mid-'80s. Led by John Brannon's hoarse wail, with OP Moore on drums and brothers Rob and Graham McCulloch playing guitar and bass respectively, the band concocted an extreme sound devoid of frills. This was first documented on their 10 Song 7" released on Touch and Go Records in 1982. The band released the more metallic-sounding Tied Down in 1983. After disbanding Negative Approach in 1985, John Brannon went on to form Laughing Hyenas. For over three decades, Negative Approach's minimalist and aggressive brand of punk has inspired countless hardcore bands around the globe. Their classic LP, Tied Down, is still considered paramount by most hardcore fans new and old

Sdban Records is delighted to announce the reissue of this genre-defying jazz album originally released on library label Selection Records in 1972.

Delving into the story of the American pianist and composer Phil Raphaël reveals more questions than answers. He was born in New York where he played with Charlie Parker, Jon Eardley and Howard McGhee, but a 1951 recording with Red Rodney for Prestige Records is the single remaining trace of his bebop days. Raphaël appeared under unknown circumstances in Belgium in the 1960s, playing among others at the 1966 Jazz Bilzen festival, and he eventually settled in Brussels. A multifaceted musician, he did not limit himself to jazz and also worked in pop groups, directed the music for the spectacle Hair, and even had a brief residency at Pol's Jazz Club where he played the music of Johann Sebastian Bach four nights per week.

His album 'Stop, Look, Listen', which was recorded with the rhythm section of Babs Robert's group, consists of four long genre-defying tracks colored by the dreamlike vocals of opera singer Rose Thompson. A surreal blend of genres, hard to pin down. It's highly imaginative jazz, that much is sure. Raphaël shifts from serene late night piano jazz to more free or even spiritual passages, magnificently paired with the otherworldly vocals of Rose Thompson. The LP was put out by Selection Records, a label that primarily issued library music at the time, and thus went largely unnoticed upon release. The recording makes clear that Phil Raphaël was a highly gifted artist whose talent will forever remain undervalued, since it was his only effort as a leader. Raphaël's passage through the Belgian nightlife was just as mysterious as his music, and few people seem to remember him. Drummer Bruno Castellucci describes him as remarkable, both as a musician and as a person: "He was a hippie before there were hippies. He wasn't part of the system but he had a system of his own."

Uun returns to his imprint Ego Death for its 6th release, and its first full length album.

“For nearly two years our cities, which were once teeming with life, have become liminal spaces. Even Detroit, a place physically shaped by human departure, feels increasingly empty.

I can’t help being reminded of all the other liminal spaces that frame my early memories - the dusty hallways at school, an empty pool drained during a long winter, the doctor’s office waiting rooms that always smelled like anxiety. There’s a nauseating sense of the past echoing into the present, of the nostalgia and dread of childhood re-entering into the vacuum of our current lives.

This is a difficult feeling to turn into a “techno album”, as it has few obvious connotations. In my approach to the piece, I knew I couldn’t rely on melody, because the emotions it provokes are often too obvious to accurately capture this concept. The experience of liminality is intangible; there’s a sense of vague familiarity that is slightly out of reach. Instead, I incorporated field recordings and mangled sounds from the real world. It’s an album that relies on a sense of physical space, but a space you can’t quite put a name to. A space that feels familiar, but you’re not sure why.

The project is made whole by the evocative artwork of Ryote, who brings the themes together in a unique visual style. The beautifully printed vinyl sleeve represents the three aspects of liminality; physical, mental, and digital, and ties them together with the music contained within.”

Following releases with YAM, Tiff’s Joints, Dr Banana and Touching Bass, artist Romaal Kultan (Ollie Malin) now inaugurates his own record label, Personal Discs.

No Time Like The Future showcases Romaal Kultan’s finest productions, charting a distinct personal trajectory between hiphop, house and broken beat. Opener One Moment Please is a sassy boom bap affair, with an unexpected nod towards jungle. Music Room, made in collaboration with producer Cypriano, is a patient, moody chugger — a tapestry of piano, organic percussion and crackly vinyl samples laced with acid.

On the B-side, Personal Effects delivers a unique, hypnotic broken beat groove, where swelling synths and a twinkling Rhodes meditate together in careful arrangement. Finally, the intimate title track No Time Like the Future stomps off into the sunrise, carried along by a rolling, yearning dreaminess.

Each one of these tracks represents a special, all-too-rare moment of ecstasy in the studio. I hope that this feeling lives on in the music.

So far the record has received support from Alexander Nut, Mr Scruff, Lefto, Kai Alcé, Bradley Zero, Mary Anne Hobbes, K15, Dr Banana, Alex Attias, EVM128, Zakia, Shy One, Tereza, Alia, Earl Jeffers, Footshooter, K-Lone, Poison Zcora, Dean Chew, Marcia Carr, Leanne Wright, Dead Man’s Chest and more.

"This Is A Photograph", MORBYs siebtes Album, ist ein Loblied auf die Americana, das Leben und Tod und Blut auf der Leinwand zum Ausdruck bringt. Der kreativ gestärkte Songwriter hat es geschafft, seine besten Songs, seine besten Gesangsleistungen, seine prägnantesten Texte und seine üppigsten Arrangements auf "This Is A Photograph" zu vereinen. Dies ist zweifellos sein bisheriges Hauptwerk. Die Geschichte beginnt im Januar 2020, als MORBY im Keller seines Elternhauses in Kansas City geistesabwesend in einer Kiste mit alten Familienfotos blättert. Nur Stunden zuvor war sein Vater bei einem Familienessen vor seinen Augen zusammengebrochen und musste ins Krankenhaus gebracht werden. In dieser Nacht spürte MORBY noch immer den Schock und die Angst, die ihm in den Knochen steckten. Also sah er sich die Bilder an, bis ihm eines davon ins Auge sprang: sein Vater als junger Mann, stolz und stark und voller Selbstvertrauen, der mit freiem Oberkörper auf einer Wiese posiert. "In the photo he looks young and full of confidence, puffing his chest out at the camera as if he were looking for a fight," erklärt MORBY. "It was not lost on me that this was the same chest, just hours before, I had seen the ambulance put a stethoscope against as he lay on the kitchen floor of my sisters house." Während sein Vater wieder zu Kräften kam, grübelte er über diese Gedanken nach. Und dann machte er sich auf den Weg nach Memphis. Er zog in das Peabody Hotel und verbrachte seine Tage damit, den Träumern, die er bewunderte, Tribut zu zollen und sich vor ihnen zu verneigen; er ging hinunter zum Ufer des Mississippi, zu der Stelle, an der JEFF BUCKLEY sein Ende fand. Er schlenderte durch das Viertel, in dem JAY REATARD seinen letzten Tag verbrachte, und fuhr dann am Stax-Zelt vorbei, um seine Stimmung kurz aufzuheitern. Dann fuhr er an Graceland vorbei, bevor er den Highway 61 überquerte und die Geister zu sich rufen ließ, um seine eigenen Träume zu gestalten. Abends kehrte er in sein Zimmer zurück und hielt seine Ideen auf einem behelfsmäßigen Aufnahmegerät fest, das nur aus seiner Gitarre und einem Mikrofon bestand. Die schwermütigen Songs, die zu all dem passen, was er gesehen hatte, sprudelten nur so aus ihm heraus. Wiederum leitete Sam Cohen (der "Singing Saw" und "Oh My God" produziert hatte) das Projekt. Sie begannen in Cohens Studio im Bundesstaat New York, das sich noch im Bau befand, zusammen mit dem Schlagzeuger Nick Kinsey, und arbeiteten langsam an den Songs, da die Reise der Aufnahme der Start-Stopp-Qualität von 2021 selbst entsprach, mit magischen Momenten, die in die prekären Navigationen eingestreut waren. Mit der Zeit füllte sich die Besetzung. Der ehemalige Tournee-Pianist Oliver Hill sowie seine Mutter Meg und seine Schwester Charlotte sorgten für die Streicher. Die Tourneeleute Cochemea Gastelum (Saxophon), Jared Samuel (Orgel) und Alecia Chakour (Gesang, Tamburin) stießen zu den Sessions hinzu, ebenso wie Eric Johnson (Banjo). Und neue Mitstreiter*innen wie Schlagzeuger Josh Jaeger (Schlagzeug, Perkussion), Brandee Younger (Harfe), Makaya McCraven (Schlagzeug), Cassandra Jenkins (Gesang) und sogar Tim Heidecker und Alia Shawkat (die schrägen Lacher auf "Rock Bottom") fügten sich in das entstehende Bild ein. Und passenderweise fanden die letzten Sessions live in Memphis in Sam Philips Recording Co. statt, das von seinem Sohn Jerry Philips geleitet wird und das Erbe des ursprünglichen Sun Records Studios fortführt.

"This Is A Photograph", MORBYs siebtes Album, ist ein Loblied auf die Americana, das Leben und Tod und Blut auf der Leinwand zum Ausdruck bringt. Der kreativ gestärkte Songwriter hat es geschafft, seine besten Songs, seine besten Gesangsleistungen, seine prägnantesten Texte und seine üppigsten Arrangements auf "This Is A Photograph" zu vereinen. Dies ist zweifellos sein bisheriges Hauptwerk. Die Geschichte beginnt im Januar 2020, als MORBY im Keller seines Elternhauses in Kansas City geistesabwesend in einer Kiste mit alten Familienfotos blättert. Nur Stunden zuvor war sein Vater bei einem Familienessen vor seinen Augen zusammengebrochen und musste ins Krankenhaus gebracht werden. In dieser Nacht spürte MORBY noch immer den Schock und die Angst, die ihm in den Knochen steckten. Also sah er sich die Bilder an, bis ihm eines davon ins Auge sprang: sein Vater als junger Mann, stolz und stark und voller Selbstvertrauen, der mit freiem Oberkörper auf einer Wiese posiert. "In the photo he looks young and full of confidence, puffing his chest out at the camera as if he were looking for a fight," erklärt MORBY. "It was not lost on me that this was the same chest, just hours before, I had seen the ambulance put a stethoscope against as he lay on the kitchen floor of my sisters house." Während sein Vater wieder zu Kräften kam, grübelte er über diese Gedanken nach. Und dann machte er sich auf den Weg nach Memphis. Er zog in das Peabody Hotel und verbrachte seine Tage damit, den Träumern, die er bewunderte, Tribut zu zollen und sich vor ihnen zu verneigen; er ging hinunter zum Ufer des Mississippi, zu der Stelle, an der JEFF BUCKLEY sein Ende fand. Er schlenderte durch das Viertel, in dem JAY REATARD seinen letzten Tag verbrachte, und fuhr dann am Stax-Zelt vorbei, um seine Stimmung kurz aufzuheitern. Dann fuhr er an Graceland vorbei, bevor er den Highway 61 überquerte und die Geister zu sich rufen ließ, um seine eigenen Träume zu gestalten. Abends kehrte er in sein Zimmer zurück und hielt seine Ideen auf einem behelfsmäßigen Aufnahmegerät fest, das nur aus seiner Gitarre und einem Mikrofon bestand. Die schwermütigen Songs, die zu all dem passen, was er gesehen hatte, sprudelten nur so aus ihm heraus. Wiederum leitete Sam Cohen (der "Singing Saw" und "Oh My God" produziert hatte) das Projekt. Sie begannen in Cohens Studio im Bundesstaat New York, das sich noch im Bau befand, zusammen mit dem Schlagzeuger Nick Kinsey, und arbeiteten langsam an den Songs, da die Reise der Aufnahme der Start-Stopp-Qualität von 2021 selbst entsprach, mit magischen Momenten, die in die prekären Navigationen eingestreut waren. Mit der Zeit füllte sich die Besetzung. Der ehemalige Tournee-Pianist Oliver Hill sowie seine Mutter Meg und seine Schwester Charlotte sorgten für die Streicher. Die Tourneeleute Cochemea Gastelum (Saxophon), Jared Samuel (Orgel) und Alecia Chakour (Gesang, Tamburin) stießen zu den Sessions hinzu, ebenso wie Eric Johnson (Banjo). Und neue Mitstreiter*innen wie Schlagzeuger Josh Jaeger (Schlagzeug, Perkussion), Brandee Younger (Harfe), Makaya McCraven (Schlagzeug), Cassandra Jenkins (Gesang) und sogar Tim Heidecker und Alia Shawkat (die schrägen Lacher auf "Rock Bottom") fügten sich in das entstehende Bild ein. Und passenderweise fanden die letzten Sessions live in Memphis in Sam Philips Recording Co. statt, das von seinem Sohn Jerry Philips geleitet wird und das Erbe des ursprünglichen Sun Records Studios fortführt.

'I've been obsessed with western swing since I was a kid, and it's always
been an influence, but my records in the past have ranged from bluegrass
to hard country to folk, So I've never fully explored it' - So says genrebusting Fargo-born, Austin- incubated, Nashville resident Brennen Leigh,
whose new collaboration with the kings of modern-day western swing,
Asleep at the Wheel, Obsessed With The West, is a showcase not just for
the Bob Wills fans, but for anyone who's ever curled up with Loretta Lynn,
Hank Sr, Cindy Walker, Billie Holiday, or Willie Nelson
On twelve all original songs, Leigh's supple winking voice and multi- instrument
fluency, her interplay with Ray Benson, and the undeniable chops of the Wheel
serve up a treat on Leigh's seventh album. With cameos from Emily Gimble and
Katie Shore, and all the players getting their moments in the sun, Leigh - a twotime winner of the Texas Music Awards Best Female Vocalist award -
demonstrates on the terrific jump 40's rhythm and blues, 'Comin' in Hot' and the
lonesome cowboy musing of 'Riding Off Onto Sunset Boulevard' why Rodney
Crowell and Lee Ann Womack have recorded her songs. Obsessed With The West
is a celebration of music for music's sake in 2022, not just an exercise in looking
back on times gone by.

New limited pressing on Zombie Green Vinyl. Suck My Shirt is the fourth studio album by the Atlanta-based all-female punk rock band The Coathangers. It was released in 2014. Mark Deming of AllMusic writes, 'their approach to songcraft has matured and tightened up quite a bit, and the departure of keyboard player Candice Jones has turned this group into a leaner and meaner three piece. "It's a balance between overthinking and just going for it," guitarist Crook Kid (Julia Kugel) says of their songwriting strategy. It's a duality immediately apparent with the album opener "Follow Me." It's a classic Coathangers tune with Stephanie Luke's raspy vocals belted out over their signature ragged garage-rock. . But the chorus opens into one of the most accessible hooks in the band's canon, just before segueing into the next verse with a squall of violent dissonant guitar.

LNDFK (aka Linda Feki) presents her ground-breaking debut album, "Kuni" on Brooklyn-based Bastard Jazz Recordings. Undeniably on the rise after her 2019 breakout performance at Primavera Sound, LNDFK has already caught the attention of Pitchfork, Rolling Stone, Clash Magazine, Noisey, and Brooklyn Vegan (among many others) while being championed by the likes of Gilles Peterson, Tom Ravenscroft, and Jamz Supernova & landing spots on tastemaker playlists like Spotify's "Pollen" and "Fresh Finds."

"Kuni" is a spellbinding exploration of dichotomies: Love & Death (Eros & Thanatos), Flower & Fire, Delicacy & Violence, Poetry & Realism, Purification & Destruction. These opposites are reified in the 10-track LPs multifarious and multifaceted sounds, elegantly meandering through a variety of styles and genres, spearheaded by Linda and features the production wizardry of Darrio Bassolino who co-wrote the album.

"Kuni" opens with "Hana-bi," an ambient instrumental piece that sets the tone for the album. Inspired by the Takeshi Kitano 1997 film of the same name – particularly Joe Hisaishi's stunning soundtrack, as well as Kitano's paintings which appear in the film. "Hana-bi" expresses the dialoguing opposites of flowers and fire, the first of many dichotomous representations throughout the album. "Takeshi" acts as an extension and to "Hana-bi," albeit one of opposing sound, with its driving, highly syncopated drums (which reappear throughout "Kuni") – à la Karriem Riggins, Questlove, or Yussef Dayes – frenetic bass line, and jazz chords. Linda's sultry voice is interspersed, initially jumping around in scat fashion, being triggered as if a sample, before her lyrics come in; her vocals are used like an additional instrument, adding to the song's rich texture. "Kuni" truly hits its stride with the next song, "Smoke – a moon or a button" (its title lifted from the 1959 book by Ruth Krauss and Remy Charlip), which is structured like a jazz standard yet flows into neo-soul territory sonically with those prodigious drums a highlight once again.

LNDFK touches on experimental hip hop in two songs on the record (both of which were released as singles in 2021): "Don't Know I'm Dead or Not (feat. Chester Watson)" – track #4 – and "How Do We Know We're Alive (feat. Pink Siifu)" – track #9. Although they embrace a more hip hop-leaning sound, these songs by no means shy away from the exploratory theme, and feature two of the alt-rap scenes rising stars with Chester Watson and Pink Siifu who offer provocatively impressing verses, combining dense word play with unconventional flows. While these tracks may first appear to be outliers on the album, they are undeniably in tune with "Kuni's" message and sonic palette, acting as testaments to LNDFK's willingness to explore and experiment.

Meanwhile, "Ku" – the third and last single before the album release – furthers the pre-established future soul sound while meandering through nu jazz and left-field electronic. Inspired by the graphic novel and film, "Sin City," and its female assassin protagonist Miho, "Ku" is a musical interpretation of Miho's story, incorporating both her beauty – the first half of the song – and murderous tendencies – the second half – to create a stunning juxtaposition, culminating in an ambient finale that suggests the character's vulnerability and inner peace. The song gracefully bridges the gap between Hiatus Kaiyote-esque songwriting, Dilla's rhythmic syncopation, and Thundercat's instrumental prowess (LNDFK has shared a stage Brainfeeder labelmate Kamasi Washington).

Mixed in throughout "Kuni" are a series of instrumental pieces that function as something akin to an interlude. The aforementioned intro, "Hana-bi," and the album closer "se mi stacco da te, mi strappo tutto:" act as bookends, while "Om" indicates the half-way mark, and "Ktm" sees Jason Lindner add his sound the album. These tracks are the ambient foundation of "Kuni," representing the thematic duality of the work. Clocking in at only 24 minutes, "Kuni" packs an astonishingly diverse array of sounds, styles, and themes, all while showcasing virtuosic musicianship and instrumental prowess.

Appearing on "Hana-bi" and "Ktm," renowned international artists Asa-Chang and Jason Lindner add an additional perspective to "Kuni": Asa-Chang on "Hana-bi," and Jason Lindner on "Ktm." Asa-Chang - famously of the Japanese avant-garde group Asa-Chang & Junray - provides vocals and percussion to an alternate version of the instrumental opener, while the acclaimed keyboardist Jason Lindner offers his synth expertise on "Ktm." These features highlight the spirit of collaboration found in LNDFK's music, always willing to try out new ways of working.

LNDFK is a singer and songwriter, born of two cultures – an Italian mother and Arab father. She grew up in Naples, away from her father, the Sahara, her homeland and traditions, which has helped nourish the desire to rediscover – through art – an engagement to her roots. Her music melts with jazz, neo-soul and hip-hop influences, filtered through her experiences and sensibility.

Her first EP, "Lust Blue," was composed with the artistic production of Dario Bass and released by Feelin' Music; after that she released several singles that saw international radio support (BBC, NTS, Wordwide FM) and gained a massive audience on digital platforms. Together with her band, she toured around Europe, performing alongside such notable artists as Kamasi Washington and Mndsgn, among others. Most recently she toured Italy, and performed at Primavera Sound Festival 2019 in Barcelona.

"Kuni," is due out on NYC label Bastard Jazz Recordings in February, 2022, while the vinyl LP will follow shortly after.

Halestorm's last album was 2018's Vicious, and since then the chart topping, hard rocking band has been working keenly on a follow up. It was proceeded by the title single with a morbid looking video fearing band member Lzzy Hale in a bodybag, and then a run of sold out gigs in club and festivals all around the UK. The full album follows up in fine style and will not disappoint fans. It was produced by Nick Raskulinecz of Foo Fighters and Alice in Chains association with co-production by Scott Stevens and showcases great songwriter laden with mental health, redemption and survival themes.

Painting is a new Berlin-based band featuring former Soft Grid members Theresa Stroetges and Christian Hohenbild as well as saxophonist Sophia Trollmann. Drawing on a broad palette ranging from experimental rock, electronic avant-garde sounds, unconventional pop and jazz, their debut album "Painting Is Dead" is a veritable kaleidoscope of sounds that ties in with a virtual room installation by Paula Reissig and a hybrid live show.

Just over a decade ago, Japanese indie-pop duo Tenniscoats recorded »Papa's Ear« (2012) and »Tan-Tan Therapy« (2007), two albums made with musical and production help from Swedish post-rock/folk trio Tape. Originally released on Häpna, they are beautiful documents of the exploratory music made by a close-knit collective of musicians, fully at ease with each other, playing songs written by Tenniscoats and arranging them in gentle and generous ways. Released during a particularly productive time for Tenniscoats – during the late ‘00s and early ‘10s, they would also collaborate with Jad Fair, The Pastels, Secai and Pastacas – they have, however, never been available on vinyl. In collaboration with Alien Transistor, Morr Music is now reissuing these albums both digitally and on double vinyl, with extra tracks.

This reissue mini-series starts with »Papa’s Ear«. The second album from this expanded line-up of Tenniscoats, you can hear the musicians are immediately comfortable in each other’s presence, and they’ve almost intuitively understood what they can offer to one another. Saya and Ueno of Tenniscoats bring their magical, gentle folk-pop sensibility, and their winning way with straightforward, yet lush melodies. Johan Berthling, along with fellow Tape member Tomas Hallonsten, plus guests Fredrik Ljungkvist, Lars Skoglund, Andreas Söderstrom and Andreas Werlin, all generous and creative presences in the Swedish jazz underground, shades in the songs with endlessly inventive arrangements, highlighting the warmth and curiosity at the core of the Tenniscoats’ aesthetic – sometimes taking the songs in unexpected directions, other times pillowing the melodies with the softest of brushstrokes and the kindest of tones.

»Papa’s Ear« includes some of Tenniscoats’ most memorable songs. »Papaya« is a lustrous dreamland of a song, with the Swedish musicians singing ‘pa-pa-ya’ as an enchanted tattoo, while Saya’s piano and melodica clank and huff out, further expanding the song’s horizon. It’s followed by the spindly and mysterious »Sappolondon«, where drums and double-bass shuffle and pulse under weeping accordion and bittersweet clarinet. Saya’s voice sighs into the frame while the musicians breathe lungfuls of sweet drones and flick glittering countermelodies across the song’s surface. It reminds a little of the wild kindness of Movietone, or the regal charm of Carla Bley’s compositions.

Elsewhere, you can hear Tape and their friends embracing the freedom offered by the songs of Tenniscoats: see, for example, the glistening electronics in »På floden«, like a keyboard conducting a music box on a distant planet; or the descending phrase for winds on »Sabaku«, dovetailing beautifully into a creek of moon-lit texturology. The double-LP ends with two extra tracks, drawn from the 2008 Tenniscoats/Tape split single, also released by Häpna., »Lutie Lutie« is a sweet delight, driven by a clacking drum machine, the Tenniscoats duo joined by Hallonsten on glockenspiel and synthesizer, and special guest, Japanese indie-pop legend Kazumi Nikaido, as choir. »Come Maddalena« rounds off the set, a brooding cover of an Ennio Morricone tune, the music by Tape, the vocals by Tenniscoats and Nikaido. Open-hearted and full of puckish spirit, »Papa’s Ear« is an album of great tenderness and warm friendship.

4 Of A Kind is the fourth studio album by the American crossover thrash metal band D.R.I. (Dirty Rotten Imbeciles), which consisted of Spike Cassidy, Josh Pappe, Felix Friffin and Kurt Brech. The album was produced by Bill Metoyer, who has recorded with Slayer, Morbid Angel and Hirax amongst others. D.R.I is fast as a Porsche and brutal as Thrash should be when it meets the roughness of Punk. 4 Of A Kind originally came out in 1988, only six years after the formation of D.R.I., and includes the track “Suit And Tie Guy”, which was the first track to get a music video.

4 OfAKind is available as a limited edition of 1500 individually numbered
copies on red & black marbled vinyl and includes an insert.

THE DEBUT STUDIO ALBUM OF EERIE DEATH/DOOM METAL DEPRAVITY
FROM GREG WILKINSON & CHRIS REIFERT OF US GORELORDS,
AUTOPSY
Static Abyss is the new mouthpiece for a rotten age consisting of the duo of Greg
Wilkinson (Guitars/ bass) & Chris Reifert (drums/ vocals), both members of
legendary American masters of sickness Autopsy, with Greg (also of cult act
Deathgrave) recently welcomed as new bass player for the long-running US act's
next studio opus & beyond.
Static Abyss' debut studio album, 'Labyrinth of Veins', presents an unnerving,
multi-layered eerie concoction of dirty doom & death, including themes exploring
the echoes of insanity manifested through human existence. The result, a sinister
onslaught of at times slow & bludgeoning brutal metal whilst at others whipped
into a storm of chaotic vile hysterics. The spirit of Autopsy is at times present in
the truly titanic riffs swathed in chilling atmospheric guitar leads, whilst Chris'
seemingly bottomless pit of morbid inspiration from the dark & twisted corners of
life permeate the release with his highly distinguishable delivery to further the
descent into madness.
'Labyrinth of Veins' was recorded at Earhammer Studios in Oakland, CA, & Great
American Music Hall, with engineering, mixing & mastering overseen by Greg
himself. Cover art appears courtesy of All Things Rotten.

Shadow Kingdom Records is proud to present Tyrant 'Too Late To Pray on
Bloody Grave colored vinyl
In the 80's they were on the classic Metal Blade Records!
Released two years after "Legions of the Dead", this album is Tyrant's second full
length. Bursting of brilliant, heavy/ power metal riffs, mixed with some slower
cuts; it has a totally unique sound that will draw you back again and again.
Highlights of the record are the fist- pumping heavy metal anthems such as
""Valley of Death"" and the crushing ""Eve of Destruction"". With Glen May's cryptic
screams and Rocky Rockwell's heavy Sabbath influences, you too will be drawn in
this epic heavy metal gem!"

Architect by day and musician by night, Jaime Tellado picks up as Skygaze, and returns to the fold of Flumo Recordings with his brand new 12”, the ‘Astral Trip’ EP; combining his knowledge of architecture with a love for sound to construct and merge acid house, broken beat and atmospheric melodicism.

The 'Astral Trip' EP follows releases on Guayaba records, Riverette and Thirty Three Circular. And remixes for Ed is Dead and Contours & Yadava, earning support/plaudits from the likes of Mr. Scruff, Simbad, k15, Andrew Jervis, Gilles Peterson, amongst others.

The common denominator throughout the release is the balance and combination of various elements, exploring a multifaceted contemporary dance sound whilst paying homage to the foundations of the sounds that we listen to today.

‘Minor Mood’ pays tribute to Chicago and Detroit with its high paced house rhythm, acid synths, and piano lines, whilst ‘City Cathedratics’ slows the tempo down to lay the groundwork for a dreamy synth-laden soundscape.

Whilst the majority of the project is a solo exploration in dance music and its multi-layered context and history, the contributions of vocalist Ruben Ondina lift the high-paced, synth house grooves of ‘Gimme Five’ to another level. Meanwhile, the broken beat influence of London is keenly felt on ‘Nigh Heat’ and ‘Wagwan’, their rhythms emphasised further by harmonic and melodic exploration via atmospheric synths, melodic improvisation and irresistible synth bass lines.

Skygaze reconstructs the rhythms and synths into his own fresh and unique package to paint a picture of spiritual wonder, richness and excitement.


DJ Support:

Severino / Horse Meat Disco
Ashley Beedle
Fouk
Just Her
John Digweed
Oliver Dollar


DJ Feedback:

Ashley Beedle - Fantastic EP and difficult to pick one track! 'Wagwan' will be ft. on my April 'Heavy Disco Spectacular' radio show on Worldwide FM.

Michel De Hey - Very nice release

Diynamic / Connaisseur - Very nice cosmic vibes!

Xinobi - serious knowledge of groove on this release.

Lex Ludlow - Super nice!!!

Joshua James - Groove on this...

Just Her - Gimme five is really nice

Fouk - Loving this!

Tom Simpson - some good stuff ....summer is coming.

Junior Simba - peng !

Willie Rosado - nice soulful sound

Die Record Store Day-Veröffentlichung "The King Is Dead" von den Cutthroat Brothers und Mike Watt war ein solcher Erfolg, dass das Album am 29.4.2022 in einer Vinyl-Neuauflage erscheint.
The Cutthroat Brothers sind ein Duo aus echten Barbieren, die Sweeney Todds des Rock. Jason Cutthroat an Gesang & Gitarre und Donny Paycheck am Schlagzeug. Für das Album "The King Is Dead" holte sich das Duo eine weitere Punkrock-Ikone ins Boot, Mike Watt. Jack Endino (Mudhoney, The Sonics, Screaming Trees, L7, Soundgarden) produzierte, mischte und masterte diese LP. Das Album hat den North Pacific-Sound in sich. Ihre Songs handeln von Blut, Tod, Drogen, Sex, schwarzer Magie und schlechten Beziehungen, wenn auch nicht unbedingt in dieser Reihenfolge.

Few would dispute that the title of Trower's latest album – No More
Worlds To Conquer – is a fair summary of the thumbprint he has left on the musical universe


But as he reminds us, it should not be misinterpreted as his mission being accomplished. "I definitely feel like I'm still reaching," he considers, "with the guitar, and the songs, and everything else."
Turning once again to his trusty toolkit of Fender Stratocaster and Marshall amp, Trower's guitar work is ageless, whether that's the tough chop of Ball Of Fire, Losing You and Cloud Across The Sun, or the slower-burn wah squalls of the title track and Deadly Kiss.
On Waiting For The Rain To Fall, Trower's playing is crystalline as a dew drop, while the aching finale, I Will Always Be Your Shelter, offers a solo whose masterful touch is compelling as anything in his catalogue.

Legendary Swedish progressive folk-fusion-rockband KAIPA returns in April 2022 with their 14th studio album “Urskog” and a new drummer. Urskog takes the listener on a breathtaking journey through the Swedish wilderness and the changing seasons. Hans Lundin's six new compositions draw influences from the landscapes he witnesses during his solitary countryside biking treks as well as from a less known part of his own vast song catalogue. Lean back, relax and immerse yourself in the sonic forest of Urskog, or better yet use it as the soundtrack for your own wilderness excursion! “Urskog” will be available as Limited CD Digipak, Gatefold 180g 2LP + CD & as digital album.

Italy’s up and coming power rock trio Cripta Blue were
formed in 2019 by members of bands like Desert
Wizard, Rising Dark and Talismanstone.

 Being no strangers to the heavy music scene, the trio
skilfully play an enthralling and vibrant blend of dark
though funky and fuzzy psych rock, jamming heavy
power blues and a remarkable primordial sound of
NWOBHM doom.

 Cripta Blues‘ debut full-album has the psychedelic
mood you can’t help but to dive into, with gloomy lyrics
and the hint of a cult horror classic. The baritone
vocals of frontman and bassist Andrea Giuliani are
shrouded by acid and fuzz rock soundscapes, full of
power blues and with the soul of doom.
 Andrea Giuliani says: “Our dark creature is finally
alive. Our personal blend of doom and psych rock
looks back on the past. On the exciting wild end 60’s
and the dark early 70’s with their proto type of heavy
rock and doom metal. We use no occult lyrics, but
instead distorted and horrible metaphors of what it
means to taste life and to live it sinking deep,
surrounded by the living dead.”

 ‘Tombstone’ features Witchwood-vocalist Ricky Dal
Pane.

 For fans of Blue Cheer, Witchfinder General, Budgie,
Cream, The Stooges, Saint Vitus, Black Sabbath,
MC5, Iron Claw, Motorhead, Vanilla Fudge, May Blitz,
Mountain, Pentagram, The Obsessed.

 LP pressed on red vinyl

Toro y Moi’s seventh studio album, ‘MAHAL’, is the boldest and most fascinating journey yet
from musical mastermind Chaz Bear. The record spans genre and sound - encompassing the
shaggy psychedelic rock of the 1960s and ‘70s, and the airy sounds of 1990s mod-post-rock -
taking listeners on an auditory expedition, as if they’re riding in the back of Bear’s Filipino
jeepney that adorns the album’s cover. But ‘MAHAL’ is also an unmistakably Toro y Moi
experience, calling back to previous works while charting a new path forward in a way that only
Bear can do.
 ‘MAHAL’ is the latest in an accomplished career for Bear, who’s undoubtedly one of the
decade’s most influential musicians. Since the release of the electronic pop landmark ‘Causers
of This’ in 2009, subsequent records as Toro y Moi have repeatedly shifted the idea of what his
sound can be. But there’s little in Bear’s catalogue that will prepare you for the deep-groove
excursions on ‘MAHAL’, his most eclectic record to date.
 The second the album begins we’re immediately transported into the passenger seat, jeep
sounds and all, ready for the ride Chaz and company have concocted for us. Seeds of some of
‘MAHAL’s 13 songs date back to the more explicitly rock-oriented ‘What For?’ from 2015.
 ‘MAHAL’ was mostly completed last year in Bear’s Oakland studio with the involvement of a
host of collaborators, Sofie Royer and Unknown Mortal Orchestra’s Ruban Neilson to Neon
Indian’s Alan Palomo and the Mattson 2.
 “I wanted to make a record that featured more musicians on it than any other record of mine,”
he explains. “To have them live on that record feels grounded, bringing a communal
perspective to the table.” As a result, ‘MAHAL’ is lush and surprising at every turn, from the
cool-handed ‘The Loop’, which recalls Sly and the Family Stone, to the elastic psych rock of
‘Foreplay’ and the dizzying Mulatu Astatke-recalling of ‘Last Year’.
 Lyrically, the album zooms in on generational concerns, picking up where the ‘Outer Peace’
standout ‘Freelance’ effectively left off. Bear seems to be surveying the ways in which we
connect with technology, media, each other, and what disappears as a result. Cuts like the
squishy ‘Postman’ and ‘Magazine’ take a deep dive into our relationship with media in a
changing digital world. “It’s interesting to see how we adapt to this new age. We’re so
connected, but we’re still missing out on things,” Bear ruminates while discussing the album’s
themes.
 It’s not all introspection. Bear cools things down near the album’s end with the Mattson 2-
featuring ‘Millennium’, a laid-back jam with tricky guitar licks about ringing in new times even
when everything else seems upside down. “It’s about enjoying the new year, even when it’s
been shitty,” Bear explains. “There’s nothing else to do.”
 Finding a sense of joy in the face of adversity is embedded in ‘MAHAL’s DNA, right down to the
jeepney that literally and figuratively brings the music out into the community. “We know that
touring is messed up for now, and large gatherings are a fluke,” he explains. “It’s about the
notion of us going out to the people and bringing the record to them.” And with the wide-open
atmosphere of ‘MAHAL’, Toro y Moi stands to connect with more listeners than ever before.

Toro y Moi siebtes Studioalbum MAHAL ist die bisher wohl kühnste und faszinierendste Reise des musikalischen Masterminds Chaz Bear. Mit einer weiten Spannbreite zwischen Genres und Sounds - vom zotteligen Psychedelic Rock der 1960er & 1970er hin zum luftigen Sound des Mod-Post-Punks der 90er-Jahre - nimmt das Album die Hörer*innen mit auf eine musikalische Expedition, in der sie im Rücksitz von Bears philippinischen Jeepney, der auch das Albumcover ziert, Platz nehmen können. So ist MAHAL ein unverwechselbares Toro y Moi-Erlebnis, welches in Verbindung zu seinen vorigen Werken steht und dennoch einen ganz neuen Weg einschlägt, wie es nur Bear tun kann. Seit der Veröffentlichung des bahnbrechenden Electronic Pop-Albums Causers Of This 2009, hat Toro y Mois Alben stets die Idee, was sein Sound sein könnte, weiterentwickelt. Dennoch findet sich in Bears Backkatalog nur wenig, das einen auf die Deep Groove-Exkursion auf seinem bisher vielfältigsten Album MAHAL vorbereiten könnte. Mit den ersten Tönen des Albums werden wir direkt in den Beifahrersitz gesetzt, umgeben von den Motorengeräuschen des Jeeps und bereit für die Fahrt, die Chaz und seine Gefährten für uns geplant haben. Einige der 13 Tracks auf MAHAL - das Wort für Liebe in der auf den Philippinen gesprochenen Sprache Tagalog - finden ihre Anfänge in der Zeit um das deutlich rockigere What For? aus dem Jahr 2015. So liefert das neue Album eine ganz klare Antwort und spannt den Bogen: What For? - For Love. MAHAL wurde größtenteils letztes Jahr in Bears Studio in Oakland in Kollaboration mit Künstler*innen wie Sofie Royer, Unknown Mortal Orchestras Ruban Neilson, Alan Palomeo von Neon Indian sowie The Mattson 2 fertiggestellt. "I wanted to make a record that featured more musicians on it than any other record of mine," erklärt Bear. "To have them live on that record feels grounded, bringing a communal perspective to the table." Im Resultat ist MAHAL üppig und voller Überraschungen - sei es durch das locker lässige "The Loop", das an Sly and The Family Stones erinnern lässt oder dem elastischen Psych-Rock bei "Foreplay" sowie der schwindelerregenden Mulatu Astatke-Anlehnung bei "Last Year".

Toro y Moi siebtes Studioalbum MAHAL ist die bisher wohl kühnste und faszinierendste Reise des musikalischen Masterminds Chaz Bear. Mit einer weiten Spannbreite zwischen Genres und Sounds - vom zotteligen Psychedelic Rock der 1960er & 1970er hin zum luftigen Sound des Mod-Post-Punks der 90er-Jahre - nimmt das Album die Hörer*innen mit auf eine musikalische Expedition, in der sie im Rücksitz von Bears philippinischen Jeepney, der auch das Albumcover ziert, Platz nehmen können. So ist MAHAL ein unverwechselbares Toro y Moi-Erlebnis, welches in Verbindung zu seinen vorigen Werken steht und dennoch einen ganz neuen Weg einschlägt, wie es nur Bear tun kann. Seit der Veröffentlichung des bahnbrechenden Electronic Pop-Albums Causers Of This 2009, hat Toro y Mois Alben stets die Idee, was sein Sound sein könnte, weiterentwickelt. Dennoch findet sich in Bears Backkatalog nur wenig, das einen auf die Deep Groove-Exkursion auf seinem bisher vielfältigsten Album MAHAL vorbereiten könnte. Mit den ersten Tönen des Albums werden wir direkt in den Beifahrersitz gesetzt, umgeben von den Motorengeräuschen des Jeeps und bereit für die Fahrt, die Chaz und seine Gefährten für uns geplant haben. Einige der 13 Tracks auf MAHAL - das Wort für Liebe in der auf den Philippinen gesprochenen Sprache Tagalog - finden ihre Anfänge in der Zeit um das deutlich rockigere What For? aus dem Jahr 2015. So liefert das neue Album eine ganz klare Antwort und spannt den Bogen: What For? - For Love. MAHAL wurde größtenteils letztes Jahr in Bears Studio in Oakland in Kollaboration mit Künstler*innen wie Sofie Royer, Unknown Mortal Orchestras Ruban Neilson, Alan Palomeo von Neon Indian sowie The Mattson 2 fertiggestellt. "I wanted to make a record that featured more musicians on it than any other record of mine," erklärt Bear. "To have them live on that record feels grounded, bringing a communal perspective to the table." Im Resultat ist MAHAL üppig und voller Überraschungen - sei es durch das locker lässige "The Loop", das an Sly and The Family Stones erinnern lässt oder dem elastischen Psych-Rock bei "Foreplay" sowie der schwindelerregenden Mulatu Astatke-Anlehnung bei "Last Year".

Heavy Machinery Records and Tee Pee Records are very excited to announce 'Tales of Torment', the new record from Melbourne horror rock juggernaut Rot TV, out February 18, 2022. The record is led by first single 'Ready To Die', a relentless, loud n' proud rock number with "just the right ratio of headbangery to boogie woogie".

Rot TV are lovers of all things freakish and gritty - be it a demented old Lovecraft tale, or a BÖC tune on full blast. Their debut vinyl release FDA/Transylvanian Nights was a hard n’ heavy double feature of howling, riff-crazy horror rock, and their brand new debut LP Tales of Torment delivers all this and more. Rot TV have described their forthcoming album as a delightful journey to hell and back dedicated to ALL maniacs - and that means YOU.
credits
released February 18, 2022

Harriet Hudson-Clise - lead vocals
Graham Clise - guitars, percussion & vocals
Robert Muiños - guitars, percussion & vocals
Zac Holly - bass, synthesizer & vocals
Lee Parker - drums, percussion & vocals

Recorded, mixed and produced by Robert Muiños at Sauna Studios, Collingwood in 2021
Mastered by John Davis at Metropolis Mastering
Front cover painting by Chris Grande
Logo & handwriting by Harriet Hudson-Clise
Design and collage by Luke Fraser at Grin Creative
Project coordination by Amber Arizono
Series curated and produced by Miles Brown

Dälek, “the subversive indie hip-hop outfit” (Pitchfork), release their eighth album, ‘Precipice’, via Ipecac Recordings.

 Forged in the fires of the East Coast underground music
scene of the late ‘90s, experimental hip-hop pioneers
Dälek have spent the past two decades carving out a
unique niche fusing hardcore hip-hop, noise and a
radical approach to sound. Their brutal sonic
temperament pushes rap music’s capacity for noise and
protest to exhilarating conclusion.

 Following in the footsteps of Public Enemy while drawing
influences from My Bloody Valentine and Faust, Dälek
have succeeded in adding completely new textural and
structural dimensions to rap music.

 Predominantly the work of Brooks and Manteca (aka
Mike Mare), ‘Precipice’ was recorded and mixed by the
two band members at their Deadverse Studios in Dälek’s
hometown of Union City, N.J.

 Tool’s Adam Jones guests (guitar / synth) on ‘A Heretic’s
Inheritance’. The band have supported Tool on tour
previously.

 The album’s cover was created by Paul Romano
(Mastodon, Withered) with interior packaging featuring
the art of Afrofuturist painter, Mikel Elam.

 The band have toured with and supported a wide range
of acts in the hip-hop, rock, metal and experimental
genres, including KRS One, Tomahawk, The Melvins,
Grandmaster Flash, Jesu, Dillinger Escape Plan,
Pharcyde, RJD2, De La Soul, Flying Lotus, The Bug,
Mastodon and Fantomas, among many others.

Honeyglaze are the South London-based, Haiku-loving trio comprised of vocalist and guitarist Anouska Sokolow, bassist Tim Curtis and Yuri Shibuichi on drums.

 Born out of lead songwriter Sokolow’s un-desire to be a solo act, the group met officially at their first ever rehearsal - just three days ahead of what was to become a near-residency, at their favoured Windmill in Brixton. Forming a mere eighteen-months ahead of a subsequent eighteen-months of mandatory solitude, a parallel that’s both aligned and universally un-timely, Honeyglaze, at first appearance, are a group who play with chance, time, and synergetic fate, in mannerisms few others are able to do.

 Pricking the ears of seminal producer Dan Carey and his team of merry tastemakers, the Speedy Wunderground / Honeyglaze partnership would manifest into a dynamic that, despite not having met prior, quite simply just worked.

 Much like the eponymously debuted statements of contemporary folk-singer Bedouine’s ‘Bedouine’, ‘Crosby, Stills and Nash’, or, dare we suggest Madonna’s ‘Madonna’, ‘Honeyglaze’ the album presents to the world an audibly picturesque documentation of soul-searching, in all its figment’s of reality; a proclamation of cultivated intent which in turn creates a subliminal safe-space between relatability and self-projection, and creative-comradery paired with introspective artistry.

 A self-described “opposite to a concept album” that sonically encapsulates the who, what, where and how of their individual circumstances coming together as one, Honeyglaze is a meticulously transformative feat of which, in their own eyes, is a “quite accurate” sonic encapsulation of who the trio believe to be.

 This is storytelling at its most soulful, and ‘Honeyglaze’ presents human instinct in a manner that accepts all of the insecurities that come from their present adolescence, whilst acknowledging the formative maturity that’s earned when we allow ourselves to embrace the unknown, of our futures ahead.

 “If someone is going to find you special - then you want to show what’s most special about yourself,” notes Curtis. “Then you can do what you want from there.”

 Mixing the personal with romanticised ideals in ways that are simultaneously heart-wrenching, and humorous to a dead pan effect, there is no one trajectory for Honeyglaze, whose greatest ability is finding ways to present what’s written in-between the lines, in moments of beautifully well-versed clarity.

 In their own words: “Hi we are Honeyglaze, and there’s no time to explain.”