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Deluxe reissue of their 1989 sophomore album pressed on pale blue colour vinyl.
Presented in a gloss laminated gatefold sleeve, which features the original LP plus a bonus disc with all the A and B sides, some compilation tracks and an outtake, plus a 12-page booklet containing previously unpublished lyrics and tons of contemporary reviews and photos.
Completely remastered for your listening pleasure.
In 1989, while the musical world was fêting serial-killer worshipping noise bands, white boys with dreadlocks and the first glimmers of techno, one band – The Wolfhounds – was describing the times and the country exactly as they were. Or at least as they saw it.
Well, not exactly. The privations of finding enough money to live on, a semi-permanent roof over your head and perhaps the hope of real change were all there in the lyrics along with the multitudinous shards of ideas in the music, both raging and reflective – but there was also a sense of magical realism and authentic personal circumstance imbued in it all.
Formed as a frantic noisy fusion of sixties garage and independent post-punk in Romford in 1984, by 1986 it was the band’s misfortunate to be corralled with the jangly and quirky bands of the era-defining C86 tape, given away free with the NME that year. The frustration of being lumped with the lumpen was already spilling over into a heightened creativity that would see the band release three LPs in 18 months, the first and perhaps most fully realised of which was Bright & Guilty.
The band’s sense of melody saw three singles taken off it, and all received plentiful radio play that resulted in enthusiastic audience responses when the band toured with My Bloody Valentine and the House of Love shortly after the LP came out. This renewed attention also saw them being threatened with legal action by the food company satirically targeted by one of the singles – Happy Shopper.
The band’s magpie listening habits also saw the first glimmers of an interest in sampling with the track Cottonmouth, hip hop in the drum rhythms of Invisible People and Son of Nothing, discordant post- hardcore in Non-specific Song and even percussive hints of Tom Waits’ Rain Dogs in Charterhouse.
The album’s lyrical themes have sustained the relevance of these 30-something year-old songs. The dictatorship of the class system over the economy is touched on in Charterhouse, the unfairness of housing policy in Rent Act and Red Tape Red Light, the desperation of not having enough money to even seek employment in Useless Second Cousin. But there is contemplation and mystery, too: Rope Swing’s nostalgia for pre-teen childhood, Invisible People’s detailing of intangible weaknesses.
Of all their peers, The Wolfhounds post-C86 output stands up straight and proud, and you’ll find echoes of their sound in Fontaines DC, Idles and many others – but not performed with the brashness, vigour and uniqueness of the originals.

First time ever on vinyl for the band's fourth album, from 2007, released on CD by RCA and here presented as a deluxe double LP!

Es war eine aufregende 40-jährige Reise für Voivod , dem Quartett aus Jonquière, Quebec, das im Laufe der Jahre allen Widrigkeiten getrotzt, sich Tragödien gestellt und ihren Bandsound, im Vergleich zu viel anderen, stets weiterentwickelt hat, was sie zu vielen Ehrungen und
Auszeichnungen führte. Das Voivod -Album "The Wake" aus dem Jahr 2018 brachte der Band einen Juno Award als Heavy-Metal-Album des Jahres ein, während Away im Vorjahr den Visionary Award bei den Progressive Music Awards in London erhalten hatte.

Die in diesem Set enthaltene Musik beweist, dass Voivod Pioniere des Sounds waren, da ihre eigene Musik raffinierter und experimenteller wurde. Auf den drei enthaltenen Alben (Rrröööaarrr, Killing Technology & Dimension Hatröss) hört man die Entwicklung des
typischen Voivod Sounds. In den fünf Jahren vom 1984er "War And Pain"-Debüt bis zum 1989er "Nothingface" schmiedeten Voivod einen trotzigen Progressive-Metal-Sound, den sie mit späteren Alben ausbauten und damit bis heute zu den aufregendsten Metal-Bands zählen. "Forgotten In Space" feiert insbesondere Voivods Noise Records Diskographie und ist die ultimative Sammlung ihrer aufgenommenen Werke, welche zusätzlich seltenes und bisher unveröffentlichtes Material enthält.

Super Deluxe

In diesem Sommer zelebrieren Little Feat das 45-jährige Jubiläum ihres Live-Album "Waiting For Columbus" nicht nur live, sondern auch mit einer hochwertigen Veröffentlichung.

Die 8CD Super Deluxe Edition enthält neben dem remastered Original Albun gleich drei unveröffentliche Konzerte aus Summer Tour in 1977 - Manchester at Manchester City Hall (7/29/77), London at The Rainbow (8/2/77), and Washington D.C. at Lisner Auditorium
(8/10/77).

Darüber hinaus erscheint das remastered Original Album
noch als 2LP Edition.!

Circles ist LÉONs drittes Studioalbum nach Apart (2020) und erscheint jetzt endlich auch als Vinyl-Version. Von PopMatters wurde es als "deutlich persönlicher als ihr bisheriges Werk" beschrieben, während American Songwriter die Platte als "fruchtbaren Schritt vorwärts in
ihrer Beziehung zu den Fans, selbst aus den entferntesten Ecken der Welt" bezeichnete.

Die von der Kritik gefeierte schwedische Künstlerin, die 2019 ihr selbstbetiteltes Debütalbum veröffentlicht, hat sich seit der Veröffentlichung ihrer Debütsingle im Jahr 2015 eine treue Fangemeinde erarbeitet. Mit jeder Veröffentlichung stellt LÉON ihr Talent für gefühlvolle, zarte und unvergessliche Popsongs unter Beweis. Neben ihrem Debüt im Spätfernsehen in der Late Late Show mit James Corden hat sie weltweit ausverkaufte Headline-Shows und Auftritte auf US-Festivals wie Coachella, Bonnaroo und Lollapalooza bestritten.

Kula Shaker's most inspired album in years, 1st Congregational Church Of Eternal Love and Free Hugs is a firebrand double-album, energised with an assured display of vehemence and songcraft that spills over with 15 blazing songs of cross-genre sonics and a renewed super confidence. The album will be available on double vinyl, CD and digital formats.

Throughout Grace After a Party we hear Jemima Coulter reaching beyond themselves toward a tender yet magical universality. What results is a pastiche of remembered, dreamed and imagined fragments, a debut album that feels as visual as it does auditory. “I created somewhere I could escape to,” says Coulter. “I imagined people in my mind, had conversations I’d never had. It seems to have created an album that’s a hallucination where I’m half me, half someone else.” But there’s a sense of coming full-circle in these songs, a reminder that as much as we try to reach beyond, we remain invariably ourselves. “They were all stories I was telling myself,” Coulter says, “and then I realized that there was something I needed to say, that it wasn’t just a story, but something about me as well.” Grace After a Party will be released 29th July via Hand In Hive.







[g] 7. [flowers]

On a base level, the term ‘blood harmony’ is simple—it describes the specific sound two siblings make when they sing together. Given that Dave Hause has been writing and recording songs with his younger brother Tim for a while now, it made sense to use that phrase as the title for his fifth solo record. But this being a Dave Hause album also means there’s much more to it than that. Beneath the surface of Blood Harmony, in fact, are multiple layers of meaning relating to Hause’s role as a musician, a brother, a husband, a son and—having become a father to twins a few months before the release of 2019’s Kick—a dad. As such, Blood Harmony is a reassertion of what family means to him..

Debut release from David J (Bauhaus, Love And Rockets), Victor DeLorenzo (Violent Femmes) and multi-instrumentalist Darwin Meiners Recorded worldwide during the pandemic Available January 21, 2022 on CD and Digital with LP coming later in 2022 Iconic and foundational bands in the history of alternative music certainly include Bauhaus, Love And Rockets, and Violent Femmes. San Francisco born artist Darwin Meiners was a fan of all three. A chance meeting 13 years ago with David J (Bauhaus, Love & Rockets) grew into a friendship, and Darwin not only became a bandmate, but David J’s manager. After reaching out to Victor DeLorenzo through e-mail, Darwin met the Violent Femmes drummer after the Femmes’ Coachella set in 2013. Soon after the three collaborated on Darwin’s 2014 release Souvenir. As the pandemic took hold, Darwin was looking for a new project to occupy the lock-down time and approached Victor, who was keen to proceed and suggested that David join as well. The musical trust established between these three was immediate and Night Crickets were born. Within weeks a global process was initiated between them, the recordings eventually forming the album, A Free Society. To say this is something of a dream come true for music fans would be entirely accurate. (The band’s name came from one of many Zoom meetings between the three members. After addressing various pressing musical issues the conversation rambled somewhat and turned to the subject of David Lynch, with David J telling an anecdote which was told to him by Lynch’s sound designer, John Neff. Lynch had asked Neff to obtain a field recording of crickets chirping at night for inclusion in Mulholland Drive. When Neff played him the tape, the director immediately recognized the sound that the insects make when it is light which is apparently a little different to their nocturnal chirp. “No! No! No! These are day crickets, John! I want my night crickets!” Victor, Darwin, and David then shared a look of mutual realization and instantly agreed that the project now had a name!) In Night Crickets’ own words: Night Crickets, a long distance groove affair conducted during the drawn out days of lockdown and beyond.

In association with DJ Amir’s 180 Proof Records, BBE Music continues its exploration of rare gems from the Strata Records catalogue, with previously unreleased Sam Sanders album ‘Mirror Mirror’. A collector’s dream come true, this is musical treasure is so rare that the recordings on this album have never before seen a proper release and even the cover art had to be created from scratch. An almost unbelievable fact, given that it ranks as one of the strongest releases in the already air-tight era of Strata’s Detroit. Although he’s been compared to John Coltrane, Ornette Coleman and Joe Henderson, saxophonist Sam Sanders stands out as one of the most unique phenomena to come from the Motor City. Sanders’ approach to life was so 'out there' that one might say his relative obscurity was a personal choice. Sanders caught glimpses of fame early on performing with several internationally known acts and subsequently, he also learned a bit about what the Record Industry’s primary goals were. Realizing that he did not share them, Sanders chose instead to walk his own path. This drive for artistic freedom turned out to be a double-edged sword: while it allowed Sanders to produce some of the most electric jazz, funk, and soul to come from Detroit, it also meant that most of his recordings were never widely released, if they were released at all. Drawing on his experience with Motown acts like Stevie Wonder and Smokey Robinson, Sanders incorporated a fresh soul sound into recordings that would have otherwise been categorised as jazz. As such, 'Mirror Mirror' moves seamlessly between spirit and style: The album starts on the street with “Inner City Player,” a superfly breakdown of a Detroit hustler’s life, before moving into distinctly abstract territory with the melancholy “Face At My Window.” The experience is held together by a no-nonsense rhythm section featuring the aggressive drumming of Jimmy Allen and the intensely focused bass playing of Ed Pickens. Perhaps the most straightforward jazz song on the album, “Lover’s Gain” showcases Sanders at his freewheelin’ best. And if there was to be any doubt that 'Mirror Mirror' can get funky as hell, look no further than the wah-wah guitar and early synth sounds of “Funk’ed Up,” easily the greasiest cut on the album. 'Mirror Mirror' is remastered from the original reel to reel master tapes.

Nach ihrem gefeierten Debütalbum „Heard It In A Past Life“ (2019) ist Maggie Rogers nicht aufzuhalten: Erst die GRAMMY-Nominierung als „Best New Artist“ mit ihrem Debüt, dieses Frühjahr ein umjubelter
Auftritt auf dem amerikanischen Coachella-Festival und jetzt veröffentlicht sie ihr erwartetes, zweites Studioalbum „Surrender“! Co-Produziert von Kid Harpoon (Florence + The Machine, Shawn Mendes, Harry Styles) öffnet die Performerin sich in zwölf intensiven Songs und erzählt von Selbsterlösung, Ehrlichkeit, Wut, der Freiheit loslassen zu können und emotionaler Transzendenz durch Intimität.
Im November diesen Jahres wird sie auf ihrer Europa-Tour drei Konzerte in Deutschland spielen - Berlin, Köln und Hamburg.

With their 1978 double concert album Waiting for Columbus, Little Feat staked their claim as one of the premier live bands of the 1970s. Recorded over a series of dates in London and Washington, D.C. over the summer of 1977, Waiting for Columbus vividly captures the L.A. sextet at a crossroads between its swampy mid-'70s fusion of blues, country, jazz and New Orleans R&B.

Little Feat originally released Waiting For Columbus LP on February 10, 1978. The platinum-certified double album cemented the band’s reputation as one of the premier live bands of the 1970s. When it was recorded, the group included: Lowell George (vocals, guitar), Paul Barrere (guitar, vocals), Bill Payne (keyboard, vocals), Richie Hayward (drums, vocals), Sam Clayton (percussion, vocals), and Kenny Gradney (bass).

Waiting For Columbus touches on songs from all six of the studio albums Little Feat released between 1971 and 1977. The dynamic performances showcase the sextet’s inimitable fusion of blues, country, jazz, and New Orleans R&B on signature tracks like “Fat Man In The Bathtub,” “Oh Atlanta,” and “Sailin’ Shoes.”

WAITING FOR COLUMBUS: SUPER DELUXE EDITION is the definitive edition of this classic. It includes unreleased live versions of songs that appeared on the original (“Rocket In My Pocket” and “Spanish Moon”), along with several that didn’t, like “Cold, Cold, Cold,” “Rock And Roll Doctor,” “Skin It Back” and a cover of Allen Toussaint’s “On Your Way Down.”

We all make mistakes. We all have regrets. We all look back on the loves and losses life brings and lament on how things might have been different. In these deeply personal moments of reflection our emotions can run wild as we contemplate our choices and come to terms with what’s next. Hindsight is a powerful and complex thing, and a phenomenon whose intricacies are explored in captivating fashion on The Greatest Mistake Of My Life, the second album from Cardiff’s Holding Absence.

Building on the excellent foundations laid down by the band’s eponymous debut record, released in 2019, and following standalone singles ‘Gravity’ and ‘Birdcage’, the four-piece have returned with a group of songs that, in the view of vocalist Lucas Woodland, are the truest representation of Holding Absence to date.

Inspired by a song of the same name that was recorded in the 1930s by actor and singer Dame Gracie Fields, The Greatest Mistake Of My Life is rooted in a time long before Holding Absence even existed. Lucas’ great uncle covered the song during the 1950s – something the frontman repeats on this album – and after finding this out from his grandmother, the singer decided the poignancy of its words were worthy of titling Holding Absence’s next record.

Holding Absence – the band completed by bassist James Joseph and drummer Ashley Green – carry the The Greatest Mistake Of My Life’s contemplative and thoughtful spirit throughout their second album. Whereas their debut was a concept record about the subject of love, The Greatest Mistake Of My Life’s inspirations are more complex, as Holding Absence stare down love in the face of death, all the while musing on the vast array of emotions we as humans experience throughout our lives.

Lead single ‘Beyond Belief’ is a soaring epic about the risk of loving someone forever, when their definition of ‘Forever’ might be different to yours, and a song that, Lucas says, argues how “love is something worth taking a risk on.” Holding Absence’s unique approach to romance is also present on atmospheric tracks like ‘Curse Me With Your Kiss’ and ‘Afterlife’, but for every display of affection, The Greatest Mistake Of My Life counters with despondency. ‘Die Alone (In Your Lover’s Arms)’ tells of the loneliness two people feel within a relationship long-turned sour, while ‘In Circles’ speaks to the monotony of everyday life and the crushing of dreams.

The Greatest Mistake Of My Life soundtracks the journey of our lives via all of its despair, elation, joy and pain, but never once tells the listener how they should be feeling.


Shedding their skins and emerging into a bright new phase for their band, with The Greatest Mistake Of My Life, Holding Absence are embracing change whilst holding onto the things that make them special. Aesthetic, for instance, remains important to Lucas and his bandmates, but as seen in the video for ‘Beyond Belief’, no longer do they exist in a world of purely black and white colour. Ushering in a colourful new era for Holding Absence, Lucas speaks of a desire “to bring warmth to people’s lives.”

Armed with a stellar new album and an unflinching belief in their craft, this new incarnation of Holding Absence promises to excite and impress like never before. An enthralling collection of songs and stories that tell of love, life, death and everything in between, The Greatest Mistake Of My Life is a thrilling record, and one its creators were born to make.

As Holding Absence have proved, the greatest mistakes can sometimes open the door to even greater triumphs.

On her new album No Regular Dog, singer/songwriter/guitarist Kelsey Waldon shares a gritty and glorious portrait of living in devotion to your deepest dreams: the brutal self-doubt and unending sacrifice, hard-won wisdom and sudden moments of unimaginable transcendence. Revealing her supreme gift for spinning harsh truths into songs that soothe and brighten the soul, the Kentucky-bred artist ultimately makes an unassailable case for boldly following your heart—a sentiment perfectly encapsulated in No Regular Dog’s raw and radiant title track.

Will Stewart's new full length 'Slow Life' is a collection of songs that
capture his unique blend of varied styles and interpretations
From Montgomery's river region, up through west Alabama and over to
Birmingham, a brief stint in Tennessee and tumbling back over Red Mountain to
settle back in east Birmingham. You might call Will Stewart's sound "Central
Alabama Music." A little south of Nashville, some might say. In our current rapid
fire consumer culture of "brands" and "influencers," Slow Life invites people to
take a seat and relax for a while.
While past releases County Seat (2018) and Way Gone (2020) drew from a more
internal and reflective mood, 'Slow Life' approaches the music in a more
immediate and whimsical spirit.
Armed with his core band, Ross Parker (bass) and Tyler McGuire (drums) and
Janet Simpson (vocals) and help from Daniel Raine (keys), Stewart churns
through 10 songs of guitar driven folk rock. Recorded in the heart of east
Birmingham and engineered by Brad Timko, it's a sound that is uniquely central
Alabama.

Limited edition classic LP, reissued on 180g vinyl, audiophile pressing
This quintessential collector's vinyl edition includes Etta James' sensational
debut LP, At Last!, first released by the Chess Records subsidiary label Argo in
1960.
The original ten tracks from the album are akin to a greatest hits collection, with
signature gems like "At Last", "All I Could Do Was Cry", "Anything to Say You're
Mine", "I Just Want to Make Love to You", and "Sunday Kind of Love", among
others. In addition to this original masterpiece, 4 bonus tracks from the same
period are also included.

Top roots outing from the mellow canary on this dreadlocks man 1979 classic, backed by the Roots Radics in full effect on the big showdown Scientist dub. Both tracks produced by Henry "Junjo" Lawes and recorded at Channel One studio. Limited one-time press only, 7-inch-single with Jah Guidance label prints in a grey/white sleeve with Barrington Levy and "Junjo" images. European pressing.

All-time classic alert. Blissful, bumping, euphoric garage house in the form of ‘Do You Want Me Baby’ from the mind of Victor Simonelli as Cloud 9, celebrates its 30th year tingling spines with a fresh remastered reissue containing all four of the mixes from the ’92 original. A record that never ever fails to bring a reaction…many a memory has been made listening to these delectably deep grooves.

Repress !

Dream team collaboration from 2 of the finest Drum & Bass artists in the scene.

Belgian instrumentalists Glass Museum have found the perfect balance between piano and drums, where jazz and electronics collide, uniting the surgical precision of the best contemporary jazz, à la Gogo Penguin and Badbadnotgood, with the electronic influences of Jon Hopkins or Floating Points.

In motion since 2016, the duo consisting of keyboardist Antoine Flipo and drummer Martin Grégoire, have a rich history written around a powerful connection to duality. From the initial impact of the 'Deux' EP in 2018, to the synthetic and organic textures of the critically acclaimed 2020 album 'Reykjavik', Glass Museum has found its balance in symmetry.

Released 29th April via the groove-obsessed Sdban Ultra label, 'Reflet' was born out of a desire for freedom, a wish to innovate and travel differently. This new piece stands out as an artistic climax crafted at the crossroads of time and genres, an electronic proposition wrought by two brave hearts, tempered by the organic reflections delivered through computer free melodies. An album which places the human at the core of its compositions and in order to return to a more instinctive and instantaneous means of creation, the duo retreated to a secret location in one of the most remote parts of the Ardennes. It's there, in the shade of spruces, that the album was first born.

Extremely cinematographic, 'Reflet' delivers a panoramic view point: jazz, breakbeat, minimal techno and deep house, collide on neo classical grounds. From the dynamic instrumentation of album opener 'Caillebotis' to the absorbing oscillations of 'Shiitake' and grand gestures of the album title track, 'Reflet' is an odyssey running through troubled times, an ode to night time, to life, dreams and to all rhythms that convey emotions beyond words. Like its immersive creative process, the album offers a counterpoint and, above all, endless perspectives. Elsewhere, the pulsing, melodic 'Auburn' and entrancing electronic textures of 'Opal Sequences' continue the exploration before the strutting 'Kendama' showcases the electronic sensibilities that are buried within their productions.

Shining as a true instrumental tour de force, 'Reflet' also takes inspiration from the progress of the Ohme Collective. At the crossroads of art disciplines, science, new technologies and societal challenges, this creative community draws the future of visual arts and created the album artwork for this resolutely futuristic album.

Having initially won the opportunity to perform at the Dour Festival, Tournai back in 2016, Glass Museum have picked up a series of awards and distinctions back home in their homeland and they now find themselves dining at the top table of Europe's contemporary music scene. The international music scene opened itself to the band once again in 2019, with the duo performing at Elb Jazz in Hamburg, the legendary Ancienne Belgique in Brussels and the Iceland Airwaves Festival, Reykjavik.

In 2020, Glass Museum distinguished themselves by remixing a track for electronic artist, Rone. Having recently received a César Award for his soundtrack to the Jacques Audiard film, Les Olympiades, the French producer called on the Brussels duo's know-how - a mark of confidence which once again underlines the international reach of Glass Museum. Germany, Iceland, Turkey, Romania, Greece, France or Czech Republic have already approved Glass Museum's singular recipe.

Radio Slave & Dustin Zahn team up as Radio Zahn for ‘Berlin Sessions Vol. 1’.

Joining forces for the first time, Radio Slave and Dustin Zahn launch their collaborative works as Radio Zahn with a set of colourful, groove-laden techno tracks inspired by the sound of mid-90s New York on Rekids this May. Across all three mixes of ‘Twilo’ and ‘Power Muzik’, the duo deploys chunky, hard-hitting drums alongside building arrangements and masterful use of synths and dubbed-out FX, with the former featuring vocals by Toy Tonics member Kosmo Klint. A dream for fans of intricate, dancefloor-friendly techno, the release showcases why Radio Slave and Dustin Zahn are two of the most consistently exciting artist in dance music.

Responsible for some of the most recognisable tracks in the genre, including ‘Grindhouse’, ‘Don’t Stop No Sleep’, ‘Another Club’, and other timeless cuts, Radio Slave aka Matt Edwards’ work with Joel Martin as Quiet Village and solo work as Rekid has received critical acclaim, and he remains one of the most in-demand and consistent remixers around.

Since the late ’90s, Zahn’s hypnotic and driving techno has consistently caught the ears of top DJs and labels worldwide, best exemplified at his legendary marathon sets at Berghain. His vital work with Intellephunk includes the nearly two decades long running Communion after-hours events, cementing his invaluable contributions to the Minneapolis techno scene and beyond.

On July 22nd Mutant Joe unveils his debut release for Evar, 'Wrong Way Out', an EP that twists rap, electro and breaks out of shape with cool malice.

Since his arrival on the scene with a pair of 2019 releases for UK-based label Natural Sciences, the Brisbane-based producer's output has spanned underground trap,gabber, electro, jungle,breaks and various global club mutations, repackaged and delivered with a unique sense of impending threat and unhinged delight.

Mutant Joe repurposes mechanical SFX, stock horror movie samples, feedbacking hardware and crunching percussion to create a dark and theatrical soundworld. Building on his earlier work with underground trap artists like Freddie Dredd and TRiPPJONES, opener 'Bangin On' sees Joe revisit his love for dirty-south-indebted electro hybrids, combining fizzing bass and steely beats, plus rhymes courtesy of a close friend, Atlanta rapper Apoc Krysis. 'Static Effect' deploys similar Drexciyan influences, its overheating 808s colliding with aquatic machinery and disembodied vocal chops.

'Eyes Without a Face' presents a unique take on some classical rave combinations, with rolling, metallic jungle breaks, footwork-esque kicks and tightly layered, redlining hardware. The pace eases off on the ominous and aptly-named 'The Living Dead', a low slung, off-kilter breakbeat weapon. The EP closes with a pair of remixes: a twisted dungeon-rave tool by Ukrainian D&B specialist Limewax, and a tightly wound, detailed broken techno workout by EVAR regular Wheez-ie.

'Wrong Way Out' offers six wildly different approaches, united by Joe's mastery of gothic-horror sound design and unique ear for soundtracking end-of-night deviance. It's a cross-section of the sound Mutant Joe has so quickly made his own: unclassifiable, unrelenting and darkly euphoric.

A Ride is the new dark alt-country concept album on the road by Phill Reynolds, to be released on June 17th, 2022 by Bronson Recordings; Like all the best concept albums, A Ride takes you on a journey. This one concerns the last three days of an American runaway’s life. Part road-trip, part engrossing mystery, part search for redemption, it’s the fictional tale of a troubled man whose past comes back to haunt him. Via eleven intimate, chronologically-sequenced songs, we travel with him. There are epiphanies and dream sequences, drunken dive-bar nights and chats with Jesus and Lucifer. As the narrator battles with his dark side, it is ultimately we, the listeners, who must weigh-up and flesh-out his story. According to its creator Phill Reynolds, AKA Italian alt-country singer-songwriter Silva Martino Cantele, the key to The Ride’s mystery might lie within its fifth song, A Clockwork Dream. “That’s where we discover that, because of some kind of courtroom trial, the narrator has lost someone who was very important to him”, Reynolds explains. “But we never find out her name or her relationship to the main character. Is she a blood relative? Is she his wife or someone else?”. The origins of A Ride go back to 2015. On tour in the US, Reynolds took in the shifting landscapes, the people he met and their stories. All of this fed into the album he recorded at the all-analogue TUP Studio in Brescia, near Milan. Reynolds played almost all of the instruments himself and co-produced A Ride with long-term collaborator Bruno Barcella. If A Clockwork Dream features a full band arrangement – “I think of it as the kind of thing Neil Young & Crazy Horse might do on a Sunday morning”, says Reynolds – other songs are sparer, more intimate. Banjo, Fender Rhodes, harmonica and glistening slide guitar all feature as Reynolds delivers haunting confessionals such as Run, Run Away and The Fault Is Mine, songs likely to appeal to fans of artists such as Damien Jurado, Strand Of Oaks or For Emma, Forever Ago-era Bon Iver. Intricate, rapid-fire fingerpicking on the first single This Isn’t Me and The Call of The Dark demonstrates Reynolds’ dexterity, while his voice is a rich, fully-lived in instrument seasoned with the salt of experience,and strengthened by the 120 or so gigs a year he used to do before COVID took his one-man show off the road. Long an inhabitant of picturesque Italian towns in the Vicenza province, Phill Reynolds was born in Marostica and currently lives in Zugliano. He was only five when The Beach Boys’ Barbara Ann worked its magic upon him via the radio. Later a fan of ‘90s Californian punk bands, Reynolds was writing and performing in his own post-hardcore bands by 13, but didn’t make it to the nearest big city, Milan, until he was 19. Bands still matter deeply to him. But his love for folk music has deepened over the last decade or so, hence his solo act alter-ego. Where did the name Phill Reynolds come from? “Everybody asks me this,” he smiles. “Especially in the UK. The truth is I needed an alternative name for a gig I was doing, and at the time I was in love with the music of Phil Ochs and Malvina Reynolds. Malvina Ochs didn’t sound too good to me, so I became Phill Reynolds, and I like that, because it sounds like a normal person”. The esteemed Italian label Bronson Recordings will release his fourth solo album A Ride on June 17th, 2022, on CD, vinyl and digital. A Ride is the most ambitious and fully-realised Phill Reynolds album to date. He was assisted by Stefano Pilia (lead guitar on Dive Bar Oblivion), IOSONOUNCANE (backing vocals, synth, bass and field recordings on World On Fire), and C+C=Maxigross (bass, drums and backing vocals on In The Dark). The record’s story is a dark one, but not one without hope. “Every end is a new beginning”, says Reynolds. “One of the main themes here is that life can be a sort of trap unless you recognise your own demons and try to deal with him. So we must be prepared and try to live well”.

repress !

Detroit's own Patrice Scott debut on Neroli is the perfect match between the Neroli and Sistrum sounds, touching all the right spots and balancing soul and machine!!!

DJ Fucks Himself showcases his versatility on the "WEISSE WESTE EP": a nod to the producer's hi-vis getup when he gets up behind the decks.

The four-tracker kicks off with a Jungle-infused club tool: "Cafe del Mardcore", which combines a relaxing vocal with sweet synth harmonies for a zen-like rave atmosphere. "Ausgefallen" carries you further into the groove with its sublime sampling and eery vocals.

On the flip we have "Dream Team", where influences of Electro and Footwork can be heard combined with ethereal pads and sizzling percussion. B2's "Take It", which rounds out the release with a mystic 140 bpm roller, whose uplifting chords and infectious vocal make their way out of the club and into your heart.

Am 22. Juli veröffentlicht Paul Weller ”22 Dreams”, sein 9. Studioalbum, zum ersten Mal auf Vinyl!

Auf dem Album sind die Oasis-Stars Noel Gallagher und Gem Archer sowie Steve Cradock (Ocean Colour Scene) und Blur-Gitarrist Graham Coxon zu hören. Erstmals veröffentlicht im Jahr 2008 stieg das Album
direkt auf Platz 1 der britischen Albumcharts ein.

”22 Dreams” erscheint als 2LP Gatefold Sleeve und enthält ein 12ff x 36ff s/w-Poster mit gedruckten Lyrics, Tracklist und Credits auf der Rückseite, sowie ein 8-seitiges Booklet mit dem Titel ”The Missing Dream AKA Dream # 22” von Simon Armitage.

Acid Rooster were described by ‘Le Guess Who Festival’ as a ‘wet dream for heads who cram their record collection with Amon Düül, Spacemen 3, Wooden Shjips, Tangerine Dream’ – a statement we wholeheartedly endorse.

Ad Astra was recorded live in July 2020 in a private garden with a field recorder in front of a small audience of friends during the lockdown in the middle of the corona pandemic. The two long jams were the opening and the closing track of a completely improvised concert and are a spontaneous snapshot of Acid Roosters approach to free floating consciousness expanding psychedelic music.
So 2 tracks and 46 minutes of Acid Rooster digging deep into the well of far-out psychedelic rock that is one mind-expanding journey to the innermost limits of your mind.

Zu den Sternen was the intro and is a slow-burn trip where you ride wave upon wave of ecstatic highs until you eventually hit the peak in freak out territory as Acid Rooster merge with the cosmos and then ride the golden afterglow home into an eternal locked groove.

Phasenschieber rides that afterglow of galactic intensity – a place where you can just let go as the music created drifts and pulses away. It is a Beautiful, hypnotic, spaced out, blissful state where Acid Rooster takes you beyond the Astral Planes.
Released by Cardinal Fuzz (UK), Sunhair Music (EU) and Little Cloud Records (US) in an edition of 600 (300 x Galaxy and 300 x Black)
Artwork by our beloved Chris Kröber

The third instalment of the Best OF Various series sees Malta's Melchior Sultana return to Ten Lovers Music with an amazing new track called Spectres. Following that we have a special reprise of Secret Garden by Paul David Gillman Presents Red Earth Design, from England. The main mix of Secret Garden features on Paul's debut album (TLP004) of the same name, we thought this reprise was too good to remain unreleased. On to the AA side and we have two tracks back to back from Italy's ReeKee with his debut release on TLM, Here We Stay and Next To Me showcase his unique sound. We have been a fan for a while so great to have him on board. Finally someone who needs no introduction, from the USA, Detroit's very own Javonntte following up his TLM 7' release last month with this superb track called Satellites and Dreamers.

'Azur' is the fourth album from California's best kept secret, Triptdes - a marvellous pop band from
Bloomington, Indiana and now relocated in LA. Their shiny and hazy songs are perfect anthems for a
nascent summer. This ten-song collecton explores the full spectrum of sensatons you can go through
on a hot day - from laziness to happiness, 'Azur' is a trip to California without actually having to move
an inch. Sit down and relax, take a fresh soda and enjoy the sun.
'Sublime psychedelic 60s dream-pop with true warmth and vibrancy. Too damn good to be a mere
pastche.' - Norman Records - 9/10

REPRESS

Antonio aka Raw Ambassador is the next from the another perspective that presents us 4 tracks of Raw electro for dance floor and with their travel melodies.

The Konduko 7" series ends with the 4th and possibly best single with Noel Williams aka King Sporty's cover version of Bob Marley's Them Belly Full, here released as Dance To The Music.

First released on the Natty Dread album of 1974, it was Marley's first album working away from Peter Tosh and Bunny Wailer and was a spiritually charged political and social statement, also featuring classics No Women, No Cry, Lively Up Yourself and Rebel Music.

As an associate and friend from their Studio One days, William's version makes sense, in the tradition of covers throughout reggae's history. Appearing a year late, the 1975 single came in Jamaican and US pressings, a nod to Konduko's roots, having started in Kingston before the move to Miami in the earlier part of the decade.

A warning against allowing the poor to go hungry, with the prophetic "a hungry mob is an angry mob", the cover includes a lot of the Miami feel Sporty was incorporating. With instrumentation again from the Ocean Liners KC And Sunshine backing band), the horns and guitar raise the soul, with counter keys, Part 1 is a straight vocal, while Part 2 is close to a Version but more than an instrumental and in its title, shows its funk and soul background too. A perfect end to the series, the uplifting tracking belies the powerful message, bringing the Miami swing to the JA groove once more.

Before 2 drew the world’s eyes to Canadian crooner Mac DeMarco, the spark was heard sooner on the debut EP Rock and Roll Night Club.



Demarco has been the antithesis to the stereotypical singer-songwriter for the past decade. Disregarding the seriously sombre moments on Rock and Roll Night Club, he refuels throughout with whimsical moments and youthful spontaneity whilst retaining the endearing and subtle commentaries that exude his familiarity.



His most impressive trait is his undeniable and instinctual ability to compose magical pop jangles. His dusted jams have garnished him accolades that are ever increasing alongside his discography; his sound rendering wide comparisons, but in a nomadic fashion, alluding no distinct origin except for Mac himself.



The 10th anniversary pressing of Rock and Roll Night Club compiles all 12 original recordings - including bonus tracks “Only You” and “Me and Mine” - pressed on limited edition Night Club vinyl, with brand new liners written by DeMarco reflecting on his time writing and recording what would become the world’s introduction to one of indie’s most influential songwriters.

Zum 10-jährigen Bandbestehen schenken sich die Jungs des Turbo Rock Trios Balls Gone Wild selber ein Album mit 11 Songs voller Power, Melody und vor allem Hooks, Hooks, Hooks.

"Stay Wild“ heißt das neue Album des Turbo Rock Trios BALLS GONE WILD, das am 22.07.2022 das Licht der Welt erblicken wird. Zum 10-jährigen Bandbestehen schenken sich die Jungs selber ein Album mit 11 Songs voller Power, Melody und vor allem Hooks, Hooks, Hooks.Der Hörer merkt sofort, dass hier drei Jungs ans Werk gegangen sind, die wissen wie man sein Instrument hält. Spielfreude und gute Laune tropfen einem aus jeder Pore entgegen, wenn man die Songs auflegt und ordentlich aufdreht.
BALLS GONE WILD – Das ist der Punk und Hardrock Sound der 70er und 80er Jahre mit frischem Wind im Hier und Jetzt! Der Geruch von Bier liegt in der Luft und es klingt nach dem Resultat einer außerehelichen Liaison von Motörhead und AC/DC - Also… LAUT HÖREN!!!

Smokey Vinyl

Dynamic Reflection proudly presents a new vinyl release on their Limited Series (vinyl only) from a Saint Petersburg-based producer Aleksei Nikitin, better known as Nocow. In true Nocow's fashion, the album encapsulates an array of intertwined genres that goes beyond techno and results in a refreshing take on techno music.

Ambient drones, tribal undertones, UK garage influences and 90's aesthetics are among some of the impressions we've gotten from the project. On "ILES" he shows such a diverse spectrum of electronic music sub-genres is something that comes naturally for the artist, who is known for his versatility in music production. In the words of Nocow himself, this allows him to express his ideas to a higher degree of freedom.

The music on "ILES" serves as a language of subconscious that simultaneously brings out thoughtful reverie and the feeling of saudade. It is an emotional experience that connects the sense of nature's mysticism with the notion of human self, which allows for the listener's inner dialogue in a moment of reflection.

Nocow's music solidified him as a prominent artist within the contemporary techno scene and his new album is yet another proof of it. We are fascinated by the project and feel certain you will be mesmerized by the sonic world of "ILES" as well. We hope you enjoy this as much as we do.

Love,

Paul & Dave

Two years after the release of their last album "Wolves Among The Ashes", Svart Crown comes back with a sixth and new opus. The EP, called "Les Terres Brûlées" will be released as a coproduction between the band's label Nova Lux Production and Les Acteurs de l'Ombre Productions.

Just like a return to the basics, the five tracks that compose this EP form up a sulfuric halo between rage and transcendance. Recorded in several Southern France places and once again mixed by Francis Caste at Saint-Marthe studio, the organic, made for live production gives a suffocating warmth to the album's five pieces. Like a kind of epitaph, "Les Terres Brûlées" is a true abstract of
the band's 18 years of experience.

The first track to be revealed, "Digitalis Purpurea" is an astral journey through the inconscience limbo. A chaotic vision of its own death warrant, between dream and reality, where fire, opiates and sulfur smell coexist.

John Moreland doesn’t have the answers, and he’s not sure anyone does. But he’s still curious, basking in the comfort of a question, and along the way, those of us listening feel moved to ask our own. “I don’t ever want to sound like I have answers, because I don’t,” he says. “These songs are all questions. Everything I write is just trying to figure stuff out.” Moreland is discussing his new album Birds in the Ceiling, a nine-song collection that offers the most comprehensive insight into the thoughts and sounds swimming around in his head to date. A compelling blend of acoustic folk and avant-garde pop playfulness, Birds in the Ceiling lives confidently in a space of its own, enriched by tradition but never encumbered by it. The songwriting that has stunned fans and critics alike since 2015’s High on Tulsa Heat remains potent, while the sonic evolution that unfolds on the record feels like a natural expansion of 2020’s acclaimed LP5. The New Yorker, Pitchfork, Fresh Air, Paste, GQ, and others have embraced Moreland’s meditative songs, while performances on The Late Show with Stephen Colbert, CBS This Morning, NPR Tiny Desk Concert, and more have introduced Moreland to millions. And yet, while the Tulsa-based Moreland is grateful for the respect and musical conversation he’s now having with people around the world, he is also more focused on the idea of just talking to one person––or even himself. “Through the years, I’ve felt like I’m increasingly talking to myself in my songs, more and more,” he says. “Maybe in the past, I wasn’t aware of it, but now, I am. I think doing that has helped me be less hard on myself, which makes you more generous and compassionate in general.” That helps explain why even if Moreland is reaching out to someone else, there is no judgment. “I’m in the same boat with whoever I’m talking to,” Moreland says. Moreland’s songs do feel intimate––like overheard conversations or solitary meditations. “I want to talk one-on-one to someone in a song,” he says. “I don’t want to address a group, really, because I think that’s when it’s easy to start pontificating––and it gets less honest.” Letting things just be what they are is a powerful guiding force for Moreland, determining not just how he interacts with others, but how he treats himself. “When you remove boundaries and instead of holding back parts of yourself––when you say, ‘Okay, I’m going to put all of me into this,’” Moreland says, "You end up making music that nobody else could make.”

Nearly 20 years ago, Karl Sanders – the founder, principal songwriter, and driving creative force behind the exotic, devastatingly heavy stylings of American extreme death metal icons Nile – forayed from his metallic leanings to serve listeners with a transfixing dose of the cinematic, meditative, world music-driven Saurian Meditation (2004). The album explores highly original compositions of hypnotizing, primarily Middle Eastern inspired music, featuring the unique inclusion of instruments such as the balagma saz (Turkish lute) and Glissentar, often blended with dark electronic ambience and deft electric guitar work. Saurian Meditation marked the beginning of Sanders’ Saurian journey, being the first of now three Saurian releases. From the haunting first notes of “Awaiting the Vultures”, which dreamily conjures images of traversing through the dark, mysterious halls of an abandoned ancient temple, to the slithering, percussion-driven pulses and searing electric solos on the ominous album closer “Beckon the Sick Winds of Pestilence” – Saurian Meditation provides a diverse escape for both fans of Nile and the outer realms beyond. Thematically centered around its acoustically-driven, spellbinding seventh track, “Dreaming Through the Eyes of Serpents”, the album ebbs and flows from a higher, rhythmic consciousness to a darker, hypnotic inner balance, achieving a Reptilian Theta State of deep meditation. Saurian Meditation launches the multi-dimensional Saurian universe – witness the very first, transcendental solo output by Karl Sanders, available for the very first time on vinyl, as well as in CD and digital formats, via Napalm Records!

The following quote from Placebo frontman Brian Molko will surely endure: "if the song serves to irritate the squares and the uptight, so gleefully be it." Such a statement pairs neatly with its originator's new album; 'Never Let Me Go' is a folky and alternative indie tirade against political tyranny, climate catastrophe and overhyped new tech. With Molko making the album after discovering that his "neighbours were spying on me on behalf of parties with a nefarious agenda", we can be sure this one'll feel a little more transgressive than the band's former dreamier output, 'Sleeping With Ghosts' springing to mind.