Search:do the du

Being Dead knows how to make an entrance - within the first several seconds of EELS, the duo's new record, the bright, hard-strummed guitar line on "Godzilla Rises" conjures cinematic immediacy, a creature emerging from the depths of the ocean in campy, freaky stop motion, fittingly so. Being Dead's records are mosaics, technicolor incantations, each song its own self-contained little universe. And while the dreamlike EELS probes further into the depths of the duo Being Dead's psyche, it is, most importantly, in the year of our lord 2024, a 16-track record that is genuinely unpredictable from one track to the next: a joyous and unexpected trip helmed by two true-blue freak bitch besties holed up in a lil' house in the heart of Austin, Texas. They decamped to Los Angeles for two weeks to record with GRAMMY-winning producer John Congleton, writing songs for the record until days before they left. The radical shift in process was welcome - a good balance and a challenge, Congleton helping them find new ways to work and helping peel back the layers on the core of their songwriting. Being Dead has grown from a duo to a trio live, including bassist Ricky Motto (who is immortalized finally on record here, particularly in the giggles on "Rock n' Roll Hurts") The resulting EELS is a darker record, tapped more into the devilishness within, but it's also a more raucous, rougher ride sonically. There's heartbreak, excitement, enchantment, dancing - we move through it all at a high-octane pace. Falcon Bitch and Smoofy never want to do the same thing twice on any song, and they don't. From the pummeling garage rock distortion of "Firefighters" to "Dragons II," which appears in its demo form taped on a hand recorder, it's unexpected but intuitive, and, most importantly, singularly Being Dead. Like its animal namesake suggests, the songs on EELS are malleable, the record like slithering through murky waters or strange half dreams, mysterious and beautiful in how it moves, reflective in a wavering sheen. Dipping into each song feels like uncovering a new cavern, plunging into depths unknown but fully open to what will be revealed. On the album artwork, an illustration by the artist Julia Soboleva, there are some weird disparate spectral creatures, a stark glimmer against a cloudy darkness. It's a fitting encapsulation of Being Dead, exuding a welcoming, playful energy even if something foreboding lurks just beyond the pale - more out of frame that's left to uncover, no path unexplored, strange and beautiful in the light.

Purple Tree Fog Vinyl. Being Dead knows how to make an entrance - within the first several seconds of EELS, the duo's new record, the bright, hard-strummed guitar line on "Godzilla Rises" conjures cinematic immediacy, a creature emerging from the depths of the ocean in campy, freaky stop motion, fittingly so. Being Dead's records are mosaics, technicolor incantations, each song its own self-contained little universe. And while the dreamlike EELS probes further into the depths of the duo Being Dead's psyche, it is, most importantly, in the year of our lord 2024, a 16-track record that is genuinely unpredictable from one track to the next: a joyous and unexpected trip helmed by two true-blue freak bitch besties holed up in a lil' house in the heart of Austin, Texas. They decamped to Los Angeles for two weeks to record with GRAMMY-winning producer John Congleton, writing songs for the record until days before they left. The radical shift in process was welcome - a good balance and a challenge, Congleton helping them find new ways to work and helping peel back the layers on the core of their songwriting. Being Dead has grown from a duo to a trio live, including bassist Ricky Motto (who is immortalized finally on record here, particularly in the giggles on "Rock n' Roll Hurts") The resulting EELS is a darker record, tapped more into the devilishness within, but it's also a more raucous, rougher ride sonically. There's heartbreak, excitement, enchantment, dancing - we move through it all at a high-octane pace. Falcon Bitch and Smoofy never want to do the same thing twice on any song, and they don't. From the pummeling garage rock distortion of "Firefighters" to "Dragons II," which appears in its demo form taped on a hand recorder, it's unexpected but intuitive, and, most importantly, singularly Being Dead. Like its animal namesake suggests, the songs on EELS are malleable, the record like slithering through murky waters or strange half dreams, mysterious and beautiful in how it moves, reflective in a wavering sheen. Dipping into each song feels like uncovering a new cavern, plunging into depths unknown but fully open to what will be revealed. On the album artwork, an illustration by the artist Julia Soboleva, there are some weird disparate spectral creatures, a stark glimmer against a cloudy darkness. It's a fitting encapsulation of Being Dead, exuding a welcoming, playful energy even if something foreboding lurks just beyond the pale - more out of frame that's left to uncover, no path unexplored, strange and beautiful in the light.

This heavy roots reggae cut comes courtesy of The Viceroys, legendary harmony group from the stables of the world renowned studio 1. First recording for the venerable Mr Dodd in 1967 The Viceroys were instrumental in moving the sound from rocksteady to reggae with early hits like “Ya Ho” and “Love & Unity” .

The A side of this weighty 45 is a revisited vocal from the early days of the group, a haunting, smokey rendition of Maga Down. Drawing musical influence from Ethiopian and Cuban music as well as its obvious early reggae basis this record sounds fresh whilst simultaneously transporting you back to the golden era with its warm nostalgic themes.

The flip side is an ethereal dub mix from the Bristol based Yakka, an almost psychedelic journey into the mixing board bringing out the best of the vintage sound pellet.

This is the third release from Bristol label Poor Man's Friend Records, produced in the Poor Man's Friend studio and voiced in Jamaica only 300 copies of this smoked out ode to the golden era are available for purchase.

Superior Viaduct and our new artist label, W.25TH, are proud to continue to be the home for Cindy Lee with the physical release of the celebrated album Diamond Jubilee. Universally praised, shortlisted for the 2024 Polaris Music Prize, and already hailed by Pitchfork as the 3rd best album of the 2020s, anticipation and conversation around the record has been high.

Cindy Lee is the performance and songwriting vehicle of Patrick Flegel (who previously fronted influential indie group Women). Over several albums, Flegel has combined delicate melodies and sheer beauty with moments of experimentation. With Diamond Jubilee, Flegel’s undeniable songcraft comes to the foreground, embracing a more instant connection and accessibility. Timeless tales of love and longing, surrounded by sticky hooks, take the listener on an unforgettable journey. Diamond Jubilee was written and recorded over several years by Patrick Flegel in Toronto, Durham, Calgary and Montreal at Realis- tik Studios. The album was mixed by Steven Lind, who also contrib- utes to several tracks and co-wrote “Baby Blue,” and was mastered by Joshua Stevenson.

Triple LP on black vinyl comes with 24” x 36” poster.

Finnish-born producer and pianist Idealism (800K Spotify Monthly Listeners) and French transplant Lucid Green (175k SML) are no strangers to each other’s subtle, yet potent productions. Having worked together on „Untold“ their Sophomore, fully collaborative LP “Unsaid” is a natural journey into the beautiful ambient, downtempo, lo-fi worlds they’ve each created. Through visits to Lucid’s flat in Paris and ideas being exchanged remotely, the duo experimented with different sounds, instruments and aural environments, in the process crafting a natural partnership that sits in a comfortable, melancholic pocket.

With lulling guitar and poignant piano progressions that provide a pillow to rest your ears, and downtempo percussions that keeps you ebbing and flowing along on a subtle current, unsure where one wave ends and the next begins, only the albums progressions dictate the head-nod. The album soars, reminiscent of life’s simple, yet wholly memorable moments.

As with all 823 releases, the project is a visual one as much as it is a musical project. The first singles visualizers are a fusion of Hopes & Dreams Club & 823’s design aesthetics with personal super8 footage captured by Idealism & Lucid Green, beautifully expressed from Hopes & Dreams Club membersi. Each visualizer and single art will easily stand on its own, transporting you to worlds familiar, yet undeniably groovy and sonically comfortable.

823 is a multifaceted Perth-based record label, fashion brand, and artistic community, founded by Australian producer and all-around creative, Ta-ku (630 SML). With an astute attention to detail and an ethos that appreciates the everyday things in life, 823 doesn’t stick to any particular genre. Past 823 releases include “So Far To Go” EP via Cabu (500k SML), Ta-ku and matt mcwaters’s duo project “Black and White,” featuring Masego collaboration “Flight 99” (38mil streams on Spotify), the “All Things Considered” compilations, a curated, collaborative series featuring both budding and well-established artists around the world and have included Idealism, Wun Two, pastels, L.Dre, Flobama, SwuM, Jinsang, Tenderlonious, among a host of others, as well as multiple sold out clothing capsules.

Linea Aspera is the London duo of Ryan Ambridge (Synths/Programming) and Alison Lewis (Vocals/Synths). They began the project in November 2011, technically drawing inspiration from electronic music from the early 1980s. Within the duo, Alison writes and performs all vocal elements, while Ryan is responsible for the writing and performing of the electronics, as well as recording and mixing of the final recordings. For their debut album they utilized small, simple analog synthesizer set up: Roland SH-09, Roland Juno 6, Vermona DRM MKiii, Korg Poly 800 and Analogue Solutions Semblance. Linea Aspera's sound includes clear influences from early electronic body music, classic synth-pop and, in some instances, industrial and noise. Lyrically the band incorporates the sciences of osteology, neuroscience, and anthropology weaving a new medical language around themes of desire, despair and renewal. Linea Aspera serve up an icebox of dark doom riding on Alison's powerful vocals with a soft but sharp touch.

Prolific Norwegian trumpeter and ECM veteran Arve Henriksen returns with Estonian guitarist/composer Robert Jürjendal in tow, matching his idiosyncratic shakuhachi-style melodic condensations with Jürjendal's glassy electro-acoustic soundscapes and sonorous percussion.

Henriksen releases a lot but is remarkably reliable; his playing is so versatile that hearing it dematerialise into different ensembles and individual methodologies is always a treat. Jürjendal is a veteran guitarist, but doesn't approach his instrument from a purely classical standpoint, taking a Fripp-inspired path towards texture, processing and looping his sounds until they're barely recognisable. The duo share a similar love for Hassell's Fourth World ambience, and here inject new life into that mood.

Jürjendal's percussion is impressive: he offsets cascades of oddly-tuned electronics on 'Tuonela' with booming, ritualistic tom hits that punctuate Henriksen's melancholy phrases; and on the brilliant 'Ancient Bells', plays a set of gongs and gamelan-style instruments, creating swirling hammered tonal clusters that quiver beneath Henriksen's echoed-out, spirited improvisations. It's not always that corporeal, either; on 'A Remarkable Flow', he loops guitar phrases, creating gentle vibrations that rumble in the background while he mirrors Henriksen's pitchy zig-zags with high-pitched oscillator vamps.

Even on the peaceable 'Miraculous Lake', discreet kalimba loops set a celestial tempo that anchors the duo's gaseous soundscapes. And although they veer towards end-credits loveliness on the Göttsching-influenced 'Reunion Hymn', it’s balanced by the album's darker passages, like 'Rebirth' and 'Another Me'. On the latter, Henriksen's trumpet is transformed into a voice-like warble, while Jürjendal replies with glacial E-bowed drones that resonate creepily alongside his lysergic FM pads.

LA-based band ASHRR picked up plenty of new fans with their recent Sunshine Low album and now they're back with the sixth single from it and it comes with some seriously heavyweight names on the remix. Chicago house pioneer Ron Trent does his thing to 'Please Don't Stop The Rain' by going super deep, spine tingling and heady with some lush arps and distant guitar twangs adding a Balearic feel. Dub treatments come from the Prescription boss himself, while ASHRR's alter ego, ASHRR Soundsystem, offer up an instrumental and a remix that lay down dubby house drums and lush chord work. This one keeps the summer vibes going well into winter.

High Roller Records, aqua blue/ black galaxy effect vinyl, ltd 100, HRR mailorder exclusive, 425gsm heavy cardboard cover, insert, download code

High Roller Records, aqua blue/ black galaxy effect vinyl, ltd 100, HRR mailorder exclusive, 425gsm heavy cardboard cover, insert, download code

A special ‘Submerge” 12” EP featuring a bunch of reworks of this pivotal track from Apta's forthcoming ‘The Pool’ album on Castles in Space.

Kicking things off, Apta's own rework of the original sees the shadowy textures and droning wall-of-sound backdrop turned into a static-strewn dreamland of a piece, underpinned by a flickering guitar riff, cracked snare drums and fuzzed-out Odyssey strokes before launching into the euphoric half-time vocal refrain.

The follow-up sees Clay Pipe boss, illustrator and musician step into her Hardy Tree guise for a beautifully hypnotic waft of wistful folk-tinged electronics and shimmering ambient textures. It's warmly nostalgic, and packed full of all the feel of a lovely Clay Pipe release.

Following on from that, modular wizard Polypores takes pieces of the original and stretches them into an organic swell of texture and movement, warping the low basses and flickering modular plinks (and / or plonks) into a beautiful, undulating wall.

Flip over and It's none other than the brilliant Pye Corner Audio, providing an organically blooming suite of saturated percussion and woozy drifting oscillators, in peak PCA fashion. There are few artists that can do as much as with little as Martin Jenkins can, and hearing his audio sunshine underpinning the vocal line is breathtaking.

It's good to get the ears nice and soothed too before the aural assault and hypnotic spirit-cleansing heft of the legendary Gnod. Dubby throbbing bass and cavernous reverb tear the original into shards and piece it together as a churning, industrial powerhouse before shooting the rest into the endless reaches of space.

Closing things out on a space theme is the ideal way to do things too, with Field Lines Cartographer's remix taking things waaay into the outer reaches. Grounding bass churns and stellar synth sweeps float below the modulated vocal line, resulting in a perfectly crafted drone, rich in melody but untethered to the earth.

The new label engorn celebrates its second catalog release, once again featuring gustav krach and taschendrachen. The A side kicks off with two dreamy deep house tracks by taschendrachen. The first track, the meaning, blends lush congas and bongos with smooth pads. dont forget us stands out with its warped bassline, while both tracks feature lovely, haunting vocals. The side is rounded off by a sweeping ambient
breakbeat track from gustav krach, closing it with atmospheric depth.

On the B side, taschendrachen showcases his passion for
chords, creating a drive infused cut with tell me do and crafting a dub influenced soundscape with tides, where the chords form a vast sonic backdrop. The release closes with gustav krachs atmospheric ambient track, offering a fitting, introspective conclusion to the journey.

Auf der Basis von Drone, Doom, Sludge, Noise und Postrock erschafft die Band um Markus E. Lipka (EISENVATER, ROSSBURGER REPORT), Johann Victor Wientjes (MELTING PALMS) und Teresa Matilda Curtens (MELTING PALMS) monolithische und hypnotisierende Tracks, die 2023 komplett in Eigenregie aufgenommen wurden und es tatsächlich schaffen, eigentlich so unversöhnliche Stile wie Sludge Doom und DreamPop zusammenzubringen. Vielleicht liegt es an der familiären Konstellation: Markus und Johann sind Vater und Sohn, Teresa Ehefrau von Johann und damit Schwiegertochter von Markus. Die Beats und Riffs tonnenschwer, der Gesang glockenhell, fragil und eindringlich. KARLA KVLTs Musik ist dicht, immersiv aber auch schön - wie eine Pflanze, die sich selbst durch eine Betondecke kämpft, wie die Gezeiten, die präzise und unaufhaltbar dem immer gleichen Rhythmus folgen und dabei ebenso zerstörerisch sein können, wie sie im nächsten Moment Schönheit offenbaren und den Blick auf Neues freigeben. Während EISENVATER in den Neunziger Jahren ähnlich wie MELVINS, SWANS, LIVE SKULL oder UNSANE und lange vor z.B. BORIS, SUNN0))) oder MONOLORD die Grenzen von Hörgewohnheiten hinterfragten, sind MELTING PALMS die Antithese zur musikalischen Zerrissenheit, thematisch aber artverwandter als es auf den ersten Blick scheinen mag. Beide Entwürfe fügen sich bei KARLA KVLT in brutaler Schönheit zusammen. Exile On Mainstream ist überglücklich mit Thunderhunter das erste Album der neuen Band zu veröffentlichen.

‘4th DIMENSION’ is the last and probably greatest album ever recorded by Italian piano Maestro Mario Rusca. This monumental music produc"on features tracks in Nonet, Quintet and Trio. Along with the faithful rhythm sec"on composed by Riccardo Fioravan" on bass and Maxx Furian on drums, on this slamming cinema"c jazz album Mario Rusca teamed up with two extraordinary wind players: legendary Flavio Boltro (of Michel Petrucciani Quintet fame) on trumpet and Gabriele Comeglio on sax alto.

As far as the choruses are concerned, Nicole4a Tiberini, Mar"na Rossi and Alice Macchi, from Maestro Rusca’s ensemble music courses at the Civica di Jazz School, provide inspired and swinging backing vocals. The cherry on the cake, the element that gives to ‘4th DIMENSION’ a pulsa"ng and swinging’ drive, is the par"cipa"on on the album of Marco Fadda, one of Italy’s leading percussion players.

This heterogeneous ensemble has shaped, during 5 days of intense studio recordings, an absolute masterpiece full of swinging rhythms along with a few magical in"mate moments. In his 65 years career, Italian piano legend Mario Rusca has shared the stage and recording studios with luminaries such as Chet Baker, Cur"s Fuller, Gerry Mulligan, Lou Donaldson, Art Farmer, Lee Konitz, Dusko Gojkovic, Enrico Rava, Tullio De Piscopo, Kenny Clarke, Stan Getz, Toots Thielemans, Gianni Basso, Pepper Adams, Steve Lacy and Tony Sco4 (with whom he formed an indissoluble partnership).

Being accompanied in this album by extraordinary musicians, Rusca chooses to flow in a repertoire that, like in his most recent records for Mono Jazz, bridges between original pieces and revisited standards from the American Jazz Songbook, approached with unprecedented sensi"vity and depth.

The journey of ‘4th DIMENSION’ is an extraordinary cinema"c musical voyage across various styles ranging from Bop, Hard Bop, Cool, Funk and La"n Jazz. ‘4th DIMENSION’ is a perfect follow up to the interna"onally acclaimed Easy Tempo legacy! In these 13 tracks, “il Maestro” embraces and enhances a ‘cinema"c’ component in his music - an a4ribute he has long cul"vated through original soundtracks and library albums recorded for diverse cult Italian labels.

This, as we were saying, is achieved through the addi"on of percussionist Marco Fadda, who introduces a series of rhythmic nuances across several tracks, and of the extraordinary female vocal trio reminiscent of I Cantori Moderni of Alessandro Alessandroni & Edda Dell'Orso, used in the tradi"on of Italian composers of ‘60s and ‘70s film music.

This natural progression reflects Italy's history, where jazz musicians have long been involved in soundtracks and film scoring since the late ‘50s. Italian jazz has integrated this approach into its composi"on and arranging styles, as demonstrated in the first 10 volumes of the Easy Tempo series. A spirit and tradi"on that Rusca's ‘4th DIMENSION’ record con"nues. Listening to some of the tracks on the record evokes the legendary works created for cinema by Piero Umiliani, Piero Piccioni, Lelio Lu4azzi, Armando Trovajoli, Gianni Ferrio and others.

Amsterdam-based keyboardist, producer, arranger and DJ Soul Supreme reached out to NYC drummer Jay Mumford in 2021 to lay the down groove on his re-imagining of Q-Tip and J-Dilla's "Let's Ride". That paved the way for future collaborations: a cover of A Tribe Called Quest's "Award Tour (We Gettin' Down)" and two tunes on Soul Supreme's Poetic Justice LP. But when the pair began doing brief covers of their favorite funk, jazz and hip-hop tunes on Instagram just for fun, followers of both musicians - and often, the covered artists themselves - began to take note. Two of those 20+ covers were particularly well-received, and the duo decided to answer the peoples' call for a 7" release with the songs pushed to their full potential. Similar to "Award Tour" and "Let's Ride", a hip-hop classic and a fan favorite are pushed to their full potential here. This installment goes coast to coast and explores Digable Planets' "9th Wonder" (the "East" side) and People Under the Stairs' (PUTS) "Crown Ones" (the "West" side).

The iconic synth intro of "9th Wonder" makes way for Jay's thunderous ode to a slowed down Clyde Stubblefield groove. Sure to be a favorite with DJs, Jay eventually detours into a syncopated New Orleans funk break, before getting back to the groove for Soul Supreme's funky wah wah clavinet work. Throughout, the arrangement expands beyond both that of the original and all of its DNA. The addition of cascading horns (featuring a trumpet solo by Lourens van der Zwaag) and a second, more aggressive break from Jay bring it back full circle, completing a modern update of a classic that manages to pay homage to '70s jazz-funk, breakbeats and '90s hip-hop - all while staying both modern and raw.

Diehard PUTS fans will recognize Soul Supreme's catchy Rhodes line as soon as the needle drops, but Jay's heavy funk groove quickly separates it from the original and takes it from hip-hop cover to heavy funk tune. Soul Supreme's Rhodes solo pushes it far beyond the confines of instrumental funk as the groove intensifies, while his chops as an arranger are on full display: his horn parts - featuring van der Zwaag, trombonist Olav Schloorlemmer and Job Chajes' Contra-Alto Clarinet that channels The Headhunters - counter his synth melodies in a discussion that completes the record as a heavy slice of uncut jazz-funk.

Following "Shadow People" (2018) and "De Pelicula" (2021) done with Laurent Garnier , The Limiñanas are making their big comeback with their new album entitled "Faded" , whose first single is "Prisoner of Beauty" featuring Bobby Gillespie (Primal Scream), supporter of the band for years. The French psychedelic - garage duo has also gathered on " Faded" for duets artists such as Jon Spencer, Bertrand Belin, Rover, Penny, Anna Jean & Pascal Comelade.

Enxin/Onyx, the duo of Nicky Mao/Hiro Kone and Tot Onyx (formerly group A), joins Other People with their debut album "In Rupture," capturing the same mesmerizing energy for which their live sets have become known.

“In Rupture” is not painless but in rupture lies possibility. The elasticity of this time pitching us across unknown terrain, revealing new potentialities, eclipsing static being. Whether in breach, collision,shimmer or severance, Enxin/Onyx explores these as occasions for transformation. Peeling back the layers through discord and harmony, exciting the inversion of expectation, towing the listener to depths and back up again to illuminate the senses. At times metallic and feral, at others murky and sharp, each song serves as an offering for all that is in rupture; body, spirit, land, ecosystem.
The opening track “A Void” calls to mind some mutation in its mechanical ecstasy, but for what purpose remains unknown. Even in the near moments of stillness, “Needle Pierces the Threshold” breathes a forceful disquietude. Tommi’s vocals pulling the listener down into some subterranean
madness, to unravel upwards from all sides, flooding the once parched landscape. In “Embers Kissthe Eye”, all of time emerges in one moment, compelling the subject’s gaze towards a new horizon.
The album follows its subjects through exile, exhumation and discovery. Through this process plates shift, fissures are revealed and what once appeared to be indomitable absolutes crack, pointing towards their inevitable collapse. To be in rupture is regeneration, to be in rupture is to return.

Independent and Double Platinum ARIA-certified artist Ziggy Alberts' eagerly anticipated seventh studio record, New Love, set for release in February 2025, captures the essence of personal growth, reflection and adventure in a year defined by Alberts' return to the road. Written during his 2023 Rewind World Tour and completed in the beautiful Australian town of the Northern Rivers, this album is a return to simplicity, embracing magic and adventure amid life's chaos. With anthemic songs made for the stage and a deep, cohesive narrative, New Love stands as a spiritual sequel to Albert's 2018 album, Laps Around The Sun. Co-produced with Garrett Kato, the new record embraces the warmth of acoustic folk on Side A and the raw energy of rock and country on Side B. New Love is a testament to growth and resilience, choosing joy and doing good, and letting life's journey guide you back to the simple, meaningful moments. As part of the Artists’ commitment to sustainability, all physical albums are produced on 100% Recycled Stock. Main/Standard LPs use Eco-Mix Coloured Vinyls - which are created using recycled offcuts and colours from previous records. Where possible with manufacturers, environmentally conscious alternatives to plastic shrink-wrap will be used. A comprehensive global marketing campaign is in place to drive awareness from its announcement, on the 18th of September.

Kid Katana Records teamed up with SNK, Dotemu and Leikir Studio to release Metal Slug Tactics OST, a return of this iconic franchise renewed in a dynamic tactical RPG.

This edition includes:
→ 2x 12-inch orange vinyls featuring the 37 tracks in the game
→ exclusive gatefold designed with game-related graphics and glossy 90s finish

This OST was fully composed by Tee Lopes, the talent behind the music of TMNT: Shredder’s Revenge, Sonic Mania and Streets of Rage 4: Mr X’s Nightmare. He crafted a solid piece of music perfectly fitting the colorful and intense gameplay.

Our debut single with Senpolya was born out of desire to create some modern Russian pop infused with references to the 80s dance music. While making 80s-inspired tunes is popular nowadays, this decade means different things to different people: be it A-ha and Modern Talking or African boogie and Chicago house. But we ended up making neither one nor the other.

The crowd who contributed to this release is absolutely legendary. Each time I listen to it and think of them, a new dimension opens up in my mind, adding up some deeper layers of context Ive immersed myself in over the past few years.

An italian producer and bass player Marco Boccamazzo created the first remix. By adding bass guitar and strings, he took the track back by another ten years.

DJ Popinjay, an alter ego of a tropical disco master who wishes to remain anonymous, provided the second rework.

The third remix or more like an essentially an entirely new track, comes from Sonestrose, a duo consisting of Andrey Algorithmic, an art director of Moscow Powerhouse, and Alexander Basian, the studio's sound engineer.

Ignat Akimov, also known as DJ Pecan and an art director of Esthetic Joys Embassy, crafted the fourth hallucinogenic remix, which spans from acid house with Indian drums to cool jazz sound.

Lipelis and Scruscru help me in making some key decisions about the tracks structure, arrangement, and mixing.

Ilya Varankin made a photo of us (on film!) and Nikita Demin designed the cover picture inspired by Daptone Records.

At last, I want to thank my wife, Masha Dostoewskaya, without whose love and patience I wouldn't have been able to see this project to an end.

After four EPs of skeletal kraut-punk and slimmed down post-motorik alienage Milan’s Tv Dust are back with an entirely different beast, their proper debut ‘Transition’, an incredible collection of no-jazz, breakneck rhythms, mutant-wave, trance-funk, shredded sax jags and furious, yet mysterious assaults.

Tv Dust run a tight ship, they jam econo, with the album strongly based around the incredible interplay of drums (Sergio Tringali), bass (Filippo Aloisi) and sax/synth (newest member Gaetano Pappalardo). Shedding the use of vocals has completely freed the band up into a mutating beast, wild horses racing beside a volcano eruption, improv bursts that perfectly soundtrack the ruins of a city facing the inhuman consequences of wild expansion and dumb economics.

Transition is a no-jazz, no-panic, no-border album, born between a small bar and a basement, reworking some ideas from the first Tv Dust sessions with a new mindset, with improvisation becoming an important tool in the trio's new path that already sees releases on Occult Punk Gang, My Own Private Records, Sentiero Futuro and Maple Death.

Transition like the transformation of the group, you still get the original package of furious hypnotic grooves, shortwave radio alien funk, devo-id convulsions, jittery no-wave and Italo post-punk tradition alongside dada-jazz and freeform freakouts.

Red Marbled Vinyl. Play Dirty is the fourth studio album by British heavy metal band Girlschool released in 1983 and produced by Noddy Holder and Jim Lea from the hard rock band Slade. It has very polished sound, filled with keyboards, choruses andmelodies, containing covers of the Slade songs ,High & Dry" and ,Burning in the Heat" and of T.Rex's ,20th Century Boy". Drummer Denise Dufort rated the album as her favourite of all the band`s career saying it had a more mature sound to it and comparing it to Def Leppard. Girlschool are thelongest-running all-female rock band, still active after more than 40 years. During their career they travelled the world, playing in many rock and metal festivals and co-headlining or supporting important heavy metal bands. They maintain a worldwide cult following, and are an inspiration for many female rock musicians.

Red Vinyl. Play Dirty is the fourth studio album by British heavy metal band Girlschool released in 1983 and produced by Noddy Holder and Jim Lea from the hard rock band Slade. It has very polished sound, filled with keyboards, choruses andmelodies, containing covers of the Slade songs ,High & Dry" and ,Burning in the Heat" and of T.Rex's ,20th Century Boy". Drummer Denise Dufort rated the album as her favourite of all the band`s career saying it had a more mature sound to it and comparing it to Def Leppard. Girlschool are thelongest-running all-female rock band, still active after more than 40 years. During their career they travelled the world, playing in many rock and metal festivals and co-headlining or supporting important heavy metal bands. They maintain a worldwide cult following, and are an inspiration for many female rock musicians.

Recorded during a residency in Tenerife powered by Keroxen Festival and Discrepant back in 2020 - amidst the pandemic, no less -, the duo of Carlos Godinho and Mestre André return after their 'Mãe D'Água' debut on Sucata Tapes and an entry on Keroxen's Aquapelago Series through a split with tropical druids Lagoss. Mostly captured in performance through a quadraphonic system placed inside a huge disused fuel tank, with a few tracks recorded out in the open throughout the island, 'Lava Love' evokes the tectonic shifts and motions inherent in their title in 13 tracks.

Based around Godinho's percussive arsenal, from found objects to instruments from all sorts of cartographies, and André's electronic processing, each of these expositions is a point in a map that is created between the island's concrete and fictional existence, discarding any superficial overdubs and crescendos, to focus on the balming and transporting properties of sound itself. From stripped down vignettes like 'Bajamar I' & 'II', 'Chacho' or 'Tangana I' to hypnotic tapestries that confuse the real and imagined like 'Haha No!' or 'La Gomera', Banha da Cobra conjure a collective dream of the island.

All tracks performed and recorded by Banha da Cobra in a quadraphonic system inside an enormous fuel tank (Espacio Cultural El Tanque, Santa Cruz de Tenerife),except Bajamar I and II (recorded outdoors at cantonera de Bajamar, with Lagoss), Taganana I and II (recorded outdoors at Playa de Almáciga) and El Guachinche de Los Realejos (recorded outdoors at Playa de Castro, with Lagoss).

"This album is a superb collection of Frank and friends from a part of Frank’s career that’s long been underrated. Here, Sinatra scales the jazz summit with Louis Armstrong on “Birth Of The Blues” and does three electrifying collaborations with one of his favorites, Ella Fitzgerald. Ella’s voice is at her best in each. Rival Elvis Presley gets the Chairman’s respect on a wonderfully playful meeting-of-the-icons medley of “Witchcraft”/”Love Me Tender.” The tunes are bright and lively and many benefit from Nelson Riddle’s arranging genius. Frank and Dean are great, improvising and playing off one another as always. But wait until you hear “Together” in which Bing joins Dino and Frank for a happy, hilarious threesome.

"‘man oh man !’ is the sophomore 11 track album from indie singer-songwriter Martin Luke Brown.

Marking a significant new era in both his personal and musical life, Martin tackles a myriad of themes; self-awareness and personal growth, treasured friendships, swept-off-your-feet romance and gut wrenching heartbreak - all with a laidback, indie singer-songwriter sound that naturally shapes the album into three linear phases: the end of a relationship, new beginnings and the consequential feeling of accepting change.

Described by Martin as a ‘time capsule’, each track on the album was written and recorded in one day, making for a raw and honest snapshot of Martin’s life experiences at the time. Instrumentation is simple and recorded with producer and friend Matt Zara using almost exclusively analog technology – tape machines and vintage mics, a messiness that the duo embraced from the get go.

Martin has released over 100 songs as either a co-writer or a producer, with BTS, Dylan, Jacob Banks, Gavin James, Sam Tompkins,James Smith, Sody andJack Kane. He has also seen a wealth of success as part of pop supergroup FIZZ alongside Orla Gartland, dodie, and Greta Isaac, earning widespread praise from the likes of Rolling Stone UK, Dork, DIY, Clash & more."

Compton’s Most Wanted’s 1991 album Straight Checkn ‘Em is a classic in West Coast gangsta rap, delivering hard-hitting lyrics and gritty beats that capture the essence of early 90s Los Angeles street life. Led by MC Eiht, the group’s sophomore album, features standout tracks like “Growin’ Up in the Hood” and “They Still Gafflin’,” which offer raw commentary on urban struggles and survival. With its deep basslines, funky grooves, and unflinching storytelling, Straight Checkn ‘Em solidified Compton’s Most Wanted’s place in the gangsta rap movement alongside pioneers like N.W.A. Known for its realism and authenticity, the album is a must-listen for fans of West Coast rap history. Explore Straight Checkn ‘Em for a raw, unapologetic glimpse into the streets of Compton during a pivotal era in hip-hop.

Straight Checkn’ Em is a limited edition of 1000 individually numbered copies on yellow coloured vinyl.

Named after a Kate Bush deep-cut, James And The Cold Gun are dubbed "South Wales' Loudest" group from Cardiff, Wales UK. Earlier this year, Loosegroove Records (a Seattle-based label owned by Stone Gossard (Pearl Jam) discovered the band on KEXP Seattle w/Kevin Cole and immediately signed them. Their most recent single Chewing Glass was met with rave reviews from NME, Apple Music's Rockstars of 2023 Predictions, a recent sync in Rookie:Feds on ABC, and dozens of DSP playlist features across Spotify, Amazon, Apple, Deezer, and more.

Hardly Cricket sees the band truly lean into their rock tendencies. Those who have enjoyed their past forays into 70s style dual guitar leads will find much to latch onto here. Explosive, high energy tunes like “New Music” and “Sacred Heart” are instantly infectious and truly set the tone with high flying guitar action from all the players. However, as always, Shirese keeps it varied. With songwriting duties being more evenly spread throughout the group this time around, listeners will find 60s garage, country, and even doo-wop inflected songs as well. Matt Paolilo’s ever present vocals and tongue-and-cheek lyrics keep listeners on their toes. While the occasional descent into tape spliced experimental madness still finds its place in the grooves. Shirese continues to evolve as their lineup continues to cement. Gone are the days of a revolving cast of characters, and in its place we find a group of friends who mesh tightly, pushing beyond their perceived limits to true rock’n’roll glory! A Grapefruit Records and C/Site Recordings co-release. Limited to 300 copies.

Inspired by "slow and quiet life on the southern coasts of England", the debut from CVOIA - a new collaboration between producers and Captured Visions label founders Adam O'Hara and Tom Parker - offers gorgeously lolloping, lazy beats and expansive, cinematic orchestration. There's the brittle, slow motion breakbeats and woozy instrumentation of the duo's original, then remixes from four of their favourite acts: Awakened Souls, Inhmost, Jack Lever and Synkro. All the tracks are about as strenuous as an afternoon on the beach, and equally nourishing, with Synkro's rich, synth-soaked near-ambient mix a dramatic, undisputed highlight. Jack Never's Northern Mix, meanwhile, wouldn't sound out of place nestled somewhere in Mo'Wax's first dozen or so releases. High praise indeed, but much deserved.

Der Einstieg in die Musik von Q Lazzarus erfolgte für fast alle über „Goodbye Horses“. Der Song tauchte erstmals 1988 in Jonathan Demmes „Married to the Mob“ auf, aber er sollte sich erst dann vollständig im Bewusstsein der Menschen verankern, als er 1991 in Demmes „The Silence of the Lambs“ wieder auftauchte. „Goodbye Horses“ fühlte sich an wie ein in sich geschlossenes Universum - traumhaft und völlig ungewöhnlich, ein sofortiger Klassiker, der die Zuhörer fesselte und neugierig auf die geheimnisvolle Stimme dahinter machte. Diese Stimme gehörte Diane Luckey, einer einzigartig talentierten Künstlerin, deren Musik ihrer Zeit voraus war und die letztlich zu Lebzeiten weitgehend unerkannt bleiben sollte. In Verbindung mit der Veröffentlichung des Dokumentarfilms „Goodbye Horses: The Many Lives of Q Lazzarus“ von Aridjis Fuentes veröffentlicht Sacred Bones eine Sammlung von Songs, die die gesamte Karriere von Q abdecken und die verschiedenen Epochen ihres Schaffens und die ganze Bandbreite ihrer Persönlichkeit zeigen. „Goodbye Horses“ ist die erste Musiksammlung, die den Segen von Qs verbliebener Familie erhalten hat, und hat die Besonderheit, ihre erste und einzige Albumveröffentlichung in voller Länge zu sein. Aufgenommen zwischen 1985 und 1995, spiegelt diese Fundgrube bisher unveröffentlichter Musik einige der interessantesten Facetten der Popmusik der letzten vier Jahrzehnte auf eine Weise wider, die sowohl versiert als auch wild eklektisch wirkt Das titelgebende „Goodbye Horses“ bleibt ein einzigartiges Stück gespenstischer New-Wave-Perfektion, und man könnte sich ein ganzes Q-Lazzarus-Album vorstellen, das sich um diese Ästhetik dreht, aber ähnlich den Gesangsikonen Alison Moyet, Annie Lennox oder Lisa Gerrard eignet sich Qs chamäleonhafte Stimme perfekt für eine Vielzahl von Stilen und Settings. Ihre Coverversion von Talking aHeads' „Heaven“ verwandelt den Song in eine aus voller Kehle gesungene Power-Ballade mit klimpernden Klavierverzierungen, während ihre Interpretation von Gershwins „Summertime“ wie eine dubbige Club-Reduktion klingt, die zu einem Grace Jones Stück der Nightclubbing-Ära hätte passen können. Tracks wie „My Mistake“ und „Hellfire“ flirten mit House-Musik und zeigen, wie frech und glockig Qs Stimme sein kann, wenn sie sich richtig austobt, während „Don't Let Go“ wie eine bombastische Radiosingle klingt, die Cher vor einigen Jahrzehnten hätte veröffentlichen können. Andere Songs wie „Bang Bang“ und „I See Your Eyes“ sind von einer gitarrenbetonten Alt-Rock-Sensibilität, die in einem Paralleluniversum auch auf MTVs 120 Minutes Show hätte laufen können. „Goodbye Horses“ verkörpert das Potenzial für so viele verschiedene Arten von Karrieren, die, aus welchen Gründen auch immer, nie vollständig verwirklicht wurden. Dass wir jetzt diese Songs in der Welt haben und ein klareres Bild von der Person dahinter, ist nichts weniger als ein Segen.

Bob Balch here. When Gary Arce mentioned that Yawning Man was gonna record and we should do another round of Yawning Balch jams I was super stoked. I'll always jam with those guys. Once the invite was extended I knew I had to drop some money on new pedals. Haha. Not that I don't have enough already but jamming with Yawning Man means you have to build a massive pedal board and try to get the most "out there" sounds you can. At least that's what it means to me. Another aspect is once we start jamming I like to improvise riffs but keep them in mind so I can return to them throughout the jam. It was an honor to share a few hours playing with those dudes and I'm always surprised how much material we get out of it. Volumes 3 and 4 were recorded in one five hour session April 20th, 2024 in Joshua Tree, CA.

Transparent Blue Vinyl.Limited to 300 copies. Bob Balch here. When Gary Arce mentioned that Yawning Man was gonna record and we should do another round of Yawning Balch jams I was super stoked. I'll always jam with those guys. Once the invite was extended I knew I had to drop some money on new pedals. Haha. Not that I don't have enough already but jamming with Yawning Man means you have to build a massive pedal board and try to get the most "out there" sounds you can. At least that's what it means to me. Another aspect is once we start jamming I like to improvise riffs but keep them in mind so I can return to them throughout the jam. It was an honor to share a few hours playing with those dudes and I'm always surprised how much material we get out of it. Volumes 3 and 4 were recorded in one five hour session April 20th, 2024 in Joshua Tree, CA.

Dies ist die zweite Auflage von The Monsters "You're Class, I'm Trash", dem noch aktuellem Monsters-Album aus dem Jahre 2021 (erste Auflage war gelb und mit einer 7" Bonus-Single). Diese zweite Auflage hat ein neues pinkfarbendes Sleeve-Design, kommt als 180g Vinyl und mit einem zweiseitig bedrucktem Insert. HI-SPEED-BOOGIE-FUZZ-GARAGE-TRASH-ROCK-N-ROLL FROM LEGENDARY BERNESE GARAGE PUNKS PLAYED WITH A CHAINSAW-ON-STEEL 13 SPLATTER HITS INCLUDING SMALL HORROR OPERA BY SWISS FILM COMPOSER MARIO BATKOVIC The Monsters wurden 1986 in Bern der Schweiz gegründet, als Alternative zur damaligen populären Musik (z. B. Disco, Pop, Top 40 Rock). Sie nannten dies "Teenage Primitive Rock n' Roll Chainsaw Massacre Garage Trash Mix up Rockabilly mit Punkrock und Garage" und haben sich zu einer gefragten Garagen-Punkrockband gemausert, die auf Festivals, in Klubs und großen Hallen so weit gen Osten wie Japan, gen Süden wie Brasilien und gen Norden zu den Skandinavier resit und dort audspielt. Sogar im so Wilden Westen wie New York City in Amerika. Und dann öffnet 2020 die Türen, YAHOO!!! Die Welt wurde komplett abgeschottet und die Pläne aller änderten sich! Da es in naher Zukunft keine Tourneen gäbe, war es jetzt an der Zeit, ein neues Album zu machen. So widmete sich die Band zwei Wochen, um ihren Proberaum aufzuräumen und neue Musik zu schreiben, und 3 Tage im Berner Shirt Off Studio um diese aufzunehmen. Voila! Hier hast du Rosemary's Baby den Knüppel aus dem Sack: 13 raue, laute und spritzig klingende Tracks, die live ohne Overdubs (nur der Gesang/das Geschrei') aufgenommen wurden. Textlich ist das Album eine komplette Katastrophe mit nicht viel mehr als 120 Wörtern, welche aneinandergereiht meistenfalls keinen Sinn ergeben! Es ist eigentlich völliger Quatsch, aber THE MONSTERS lieben es! Das Cover stammt übrigens vom Berner Surrealisten Jerry Haenggli.

Apocalypse Orchestra ist eine schwedische Metalband, die mittelalterliche Melodien meisterhaft mit der überwältigenden Kraft des Doom Metal verbindet und so eine epische und atmosphärische Klanglandschaft schafft, die die Zuhörer in eine ferne Vergangenheit versetzt. Traditionelle Folkinstrumente wie Drehleier, Dudelsack und Mandolen verschmelzen mit schweren, verzerrten Gitarren und donnernden Trommeln. Mit ihrem Debüt "The End Is Nigh" (2017) etablierte sich die Band schnell als einzigartige Kraft in der Metalszene. Auf ihrer zweiten LP "A Plague Upon Thee" graben sie neue Geschichten aus der Vergangenheit aus, mit Erzählungen über eingemauerte Eiferer, Religion und Wissenschaft im Mittelalter und die Plünderung der Hölle.

The debut full-length album from Los Angeles duo Cash & Skye, following their successful 7” No More Candy (Third Man Records) in 2021. This alluring infusion of Americana and Rock and Roll, executed with a punk-rock ethos, documents the 7 year musical journey of songwriters Henri Cash and Sophia Skye de Reeder, and features players from Cash’s prolific and beloved band, Starcrawler.

‘Night Wobble’ is the sixth long-player from Saarbrücken, Germany duo Pretty Lightning and their
second instrumental record following 2022’s ‘Dust Moves’. It’s a set of downtempo, repetitive grooves
that course through dusty spaghetti-western psychedelia, Tuareg-derived desert-blues, library music
and '70s progressive. It’s always cinematic but shot through with trippy, off-kilter moments that bring a
sense of alien to the widescreen.

"Girl Missing" ist das zweite Album von Albertine Sarges, der einzigartigen Berliner Künstlerin, die bereits mit Holly Herndon, Colin Self, Kat Frankie und B O D I E S zusammengearbeitet hat und Teil des italienischen Synthwave-Duos Ostia ist, und folgt auf Albertines gefeiertes Debüt von 2021, "The Sticky Fingers". "Girl Missing" lädt die Zuhörer zu einer intimen Erkundung der Schwesternschaft, der Widerstandsfähigkeit und der Überwindung von Trauer ein und geht dabei mit einer großen Portion Positivität und Ermutigung für das hervor, was vor uns liegt. Die Entstehung des Albums fand in einer Zeit persönlichen Verlusts statt. Als eine enge Freundin vermisst wurde, schrieb Albertine unveröffentlichte Skizzen, überarbeitete sie und baute langsam ein musikalisches Mosaik auf, das ihr Verständnis von Abwesenheit zum Ausdruck brachte. "Ich habe eine klingende Biografie der Liebe geschaffen", überlegt sie und verwebt dabei die Themen weiblicher Freundschaft. "Girl Missing" entstand zwischen ihrem Aufnahmestudio in Ostberlin und Margate und ist sowohl nachdenklich als auch verspielt, geprägt von Sarges' flinker Stimmakrobatik. Mit ihrem langjährigen Partner Lo Selbo beschäftigte sich Albertine mit komplizierten Klanglandschaften, arrangierte luftige Flötenstimmen und Chöre, "um Platz für Verletzlichkeit zu schaffen", und nahm dann Vintage-Orgeln und E-Pianos auf, um Wärme und Seelenfülle zu erzeugen, "um den Schmerz zu lindern". Albertines Arbeit wird von einem anhaltenden Gefühl der Sehnsucht angetrieben, einer Kraft, die ihrer Musik poetische Lebendigkeit und eine ansteckende Anziehungskraft verleiht. "Girl Missing" oszilliert zwischen dem Philosophischen und dem zutiefst Emotionalen und vermischt Launen mit Schatten. Das Album endet mit einer verspielten Note ("Wie nennt man einen Fisch ohne i? A fsh."), doch im Kern erzählt es eine lebendige, zutiefst menschliche Geschichte über monumentalen Verlust und die Hoffnung auf Erneuerung. Durch das Nebeneinander scheinbar widersprüchlicher Gefühle entsteht ein Hörerlebnis, das noch lange nachklingt, nachdem die Musik verklungen ist.

"For in My Way It Lies" ist nach geraumer Wartezeit endlich re-releaset. Das Debut-Album von Jesper Munk kommt punktgenau zur Yesterdaze-Tour die - der Titel verrät ist - die Versöhnung mit der eigenen Geschichte und Jugend feiert. "For In My Way it Lies" brachte in seinem Erscheinungsjahr 2013 den damals 21jährigen Musiker von ganz unten über Nacht nach ganz oben - Für Jesper Munk ist es das Album an dem er für immer gemessen wird; dem man alles verdankt und an dem man sich dann doch abarbeiten musste... Er nannte es einmal "im Auf und Ab des Lebens, das eine Dinge, dass ihn immer begleitetet hat und immer auf seiner Seite war"... Dieses unbedarfte Blues Album, das so jung wirkt, in manchem, und so alt in anderem, war der letzte Release des Künstlers auf einem Indie-Label, bevor Jesper Munk 2025 bei der Major Industrie signte. Seit 2024 ist Jesper Munk auf Glitterhouse Records - wir sind privilegiert, diesen wichtigen Re-Release von "For In My Way It Lies" machen zu dürfen!"

Seit der Veröffentlichung ihres gefeierten Debüts "Versions of Modern Performance" 2022 (u. a. mit Höchstwertung um US-Rolling Stone) hat sich vieles für Nora Cheng, Penelope Lowenstein und Gigi Reece verändert. Im Herbst desselben Jahres zog die junge Band von Chicago in die Ostküstenmetropole, wo Penelope und Nora an der New York University ihr Studium begannen und das erste Mal überhaupt Musik außerhalb des elterlichen Zuhauses schrieben. Der Einfluss der neuen Umgebung macht sich unmittelbar im Sound bemerkbar. Zugleich wendet sich der Blick in Zeiten beispielloser Veränderungen nach innen. Im Januar 2024 kehrten Horsegirl nach Chicago zurück, um die neuen Songs aufzunehmen. Im "The Loft" Studio stellten sich dort ein Fokus und eine Intimität ein, wie sie wohl nur entstehen können, wenn es schlicht zu kalt ist, das Gebäude zu verlassen. Cate Le Bon führte die Band derweil in neue, helle und klare Sound-Gefilde, die Raum und Textur gegenüber den dichten Soundflächen des Debüts in den Vordergrund rücken und das charakteristische Songwriting von Horsegirl betonen. Dazu zählt auch der erstmalige Einsatz von Violinen, Synths und Gamelan. Die Leadsingle "2468" ist ein Beispiel für die offenkundige Experimentierlust auf "Phonetics On and On". Mit seinen Raincoats-artigen Streichern und energischen Drums verdreht einem der Song in seinem fortlaufenden Crescendo immer mehr den Kopf. Das dazugehörige Video stammt von der Schriftstellerin und Regisseurin Eliza Callahan und wurde von Alexa West choreographiert. Es ist schwer vorstellbar, dass Songs wie die auf "Phonetics On and On" augenblicklich von irgendwem anderes stammen könnten als von diesem Trio bester Freundinnen. Nora, Penelope und Gigi schreiben mit ungefilterter Aufrichtigkeit über Szenen ihrer Jugend als Momentaufnahmen des Lebens. Die Liebe zueinander ist dabei in jedem Augenblick spürbar und resoniert durch und durch im Zusammenspiel auf ihrem zweiten Album. Horsegirl gründeten sich 2019 in der umtriebigen DIY-Szene Chicagos. Die damals 17- und 18-jährigen Schülerinnen zählen Yo La Tengo und Pavement zu ihren erklärten Vorbildern. Ihr Debüt, auf dem Steve Shelley und Lee Ranaldo als Gäste zu hören sind, nahm die Band in Steve Albinis Studio mit John Agnello (Sonic Youth, Dinosaur Jr.) auf. Zuletzt tourten Horsegirl u. a. mit The Breeders.