Buscar:dr no

Robbie Williams hat die Veröffentlichung seines kommenden Albums "XXV" angekündet, das am 9. September 2022 erscheinen wird. Das Album feiert 25 Jahre Robbie Williams als Solokünstler und enthält unzählige Nummer-1-Singles und Fan-Favoriten. Die Titel wurden von Jules Buckley, Guy Chambers und Steve Sidwell neu orchestriert und mit dem renommierten Metropole Orkest in den Niederlanden neu aufgenommen. In seiner bisherigen Musikkarriere hat Robbie insgesamt 17 Alben in den Charts platziert, sowohl als Solokünstler als auch mit Take That. Damit gehört er zu den drei Künstlern mit den meisten Nummer-1-Alben aller Zeiten im Katalog.Robbie Williams a annoncé la sortie de son prochain album «XXV» pour le 9 septembre 2022. Cet opus célèbre les 25 ans de Robbie Williams en tant qu'artiste solo et contient d'innombrables tubes dont le légendaire «Angels» qui a catapulté Robbie vers une renommée internationale et qui reste son single le plus vendu à ce jour. Les titres ont été réorchestrés par Jules Buckley, Guy Chambers et Steve Sidwell et réenregistrés aux Pays-Bas avec le célèbre Metropole Orkest. Au cours de sa carrière musicale, Robbie a classé au total 17 albums dans les hit-parades en tant qu'artiste solo ou encore avec Take That. Il fait ainsi partie des trois artistes dont le catalogue compte le plus d'albums numéro 1 de tous les temps.

Rund 135 Jahre umspannt das Repertoire von Igor Levits neuem Album "Tristan": die Zeit von etwa 1837 bis 1973. Ganz unterschiedliche Genres treffen aufeinander; nur eines der Werke wurde ursprünglich für Soloklavier geschrieben. Levits Annäherungen an existenzielle Grenzerfahrungen - den Tod in "Life" (2018), die Begegnung mit dem Spirituellen in "Encounter" (2020) und jetzt, in "Tristan", die Verbindung von Liebe, Tod und Erlösungsbedürftigkeit - bringen es mit sich, dass wiederum nicht allein Meisterwerke für sein Instrument im Mittelpunkt stehen, sondern vor allem Kompositionen, in denen gewisse thematische Assoziationen eine möglichst persönliche Gestaltung finden. Dabei kreisen Levits eigene Gedanken bei "Tristan" weniger um die Liebes- und Todesthematik als solche, sondern vielmehr um Erlebnisse der Nacht und des Nächtlichen - als dunkle Gegenwelt zum bewussten Handeln bei Tage. Psychische Ausnahmezustände geben den Ton vor: "Die Nacht hat so viele Gesichter. Sie kann Zuflucht und Kontrollverlust bedeuten, sie steht für Liebe und Tod, und sie ist die Zone tiefer Ängste", sagt Levit. "Im Adagio von Mahlers Zehnter Sinfonie gibt es den berühmten Aufschrei des dissonanten Schmerzensakkords, und Wagners 'Tristan und Isolde' inszeniert geradezu eine Art emotionale Kernschmelze. Alle wesentlichen Geschehnisse des Stücks spielen sich in der Nacht ab. Auch Hans Werner Henze spricht in seinen Erinnerungen an die Entstehungszeit von 'Tristan' von Alpträumen und traumartigen Halluzinationen." Henzes "Tristan - Préludes für Klavier, Tonbänder und Orchester" - ein schwärmerisch-raffinierter Hybrid aus Soloklavier, Elektronik, Konzert und Sinfonie - bildet das Herzstück des Albums. Es ist die erste Orchesterproduktion Levits überhaupt. Unter der Leitung von Franz Welser-Möst hatte Levit das suggestive Werk, von dem bisher nur die kompromissbehaftete Aufnahme unter Leitung des Komponisten greifbar war, bei den Salzburger Festspielen als auch mit dem Gewandhausorchester in Leipzig aufgeführt; im Zusammenhang mit den Leipziger Konzerten entstand 2019 die vorliegende Aufnahme.Franz Liszts dritter Liebestraum ist heute als sentimentaler Show-Stopper aller Klavierpoeten bekannt. Dabei ist auch dieses Nocturne in As-Dur durchaus tragisch grundiert. Zurück geht es auf ein Kunstlied Liszts auf Verse von Ferdinand Freiligrath (1810-1876). Der Beginn des Gedichts lautet: "O lieb', so lang du lieben kannst!, O lieb', so lang du lieben magst!, Die Stunde kommt, die Stunde kommt, wo du an Gräbern stehst und klagst!"Nächtlich Verzweifeltes auch bei Mahler: Ende Juli 1910, mitten an der Arbeit am ersten Satz seiner Zehnten, erfuhr der Komponist von einer Affäre seiner Frau. Igor Levit spielt dieses Adagio in einer wenig bekannten Klaviertranskription des schottischen Komponisten Ronald Stevenson, für dessen große "Passacaglia on DSCH" er sich zuletzt so stark eingesetzt hat. Erst in "Harmonies du Soir", der elften der 12 "Études d'exécution transcendante" von Franz Liszt, scheint, bei aller Verdichtung pianistischer Majestät, eine Versöhnung auf. Die am Ende des Programms erklingenden "Abendklänge" bilden das friedliche Gegenstück zu den Ekstasen und Alpträumen, die den Nachtgeweihten bei Wagner oder Mahler widerfahren.

Der Klassiker "Muswell Hillbillies" von The Kinks aus dem Jahr 1971 wurde anlässlich des 50-jährigen Jubiläums des Albums von den Originalspuren neu gemastert und wird am 9. September als heavyweight Vinyl und Digipak-CD veröffentlicht. "Muswell Hillbillies" ist das erste Kinks-Album aus dem Jahrzehnt und für viele ihr bestes überhaupt. Es warf einen Blick zurück auf die Londoner Wurzeln von Ray und Dave Davies und erzählte Geschichten von Arbeiterfamilien, die aus der vom Krieg zerstörten und vom Wiederaufbau verwüsteten
Innenstadt in die seltsamen, grünen Vororte von Nord-London zogen. Das Artwork wurde hochwertig aufbereitet und auf ein Gatefold-Sleeve übertragen. Alle Songs wurden von Ray Davies produziert und von dem Kinks-Experten Tony Cousins in den Metropolis-Studios neu gemastert. Die 1CD-Version enthält drei neue Ray Davies Remixe: '20th Century Man', 'Acute Schizophrenia Paranoia Blues' & 'Travelling With My Band', sowie neue Sleeve Note mit Bandzitaten und Fotos.

Der Klassiker "Muswell Hillbillies" von The Kinks aus dem Jahr 1971 wurde anlässlich des 50-jährigen Jubiläums des Albums von den Originalspuren neu gemastert und wird am 9. September als heavyweight Vinyl und Digipak-CD veröffentlicht. "Muswell Hillbillies" ist das erste Kinks-Album aus dem Jahrzehnt und für viele ihr bestes überhaupt. Es warf einen Blick zurück auf die Londoner Wurzeln von Ray und Dave Davies und erzählte Geschichten von Arbeiterfamilien, die aus der vom Krieg zerstörten und vom Wiederaufbau verwüsteten
Innenstadt in die seltsamen, grünen Vororte von Nord-London zogen. Das Artwork wurde hochwertig aufbereitet und auf ein Gatefold-Sleeve übertragen. Alle Songs wurden von Ray Davies produziert und von dem Kinks-Experten Tony Cousins in den Metropolis-Studios neu gemastert. Die 1CD-Version enthält drei neue Ray Davies Remixe: '20th Century Man', 'Acute Schizophrenia Paranoia Blues' & 'Travelling With My Band', sowie neue Sleeve Note mit Bandzitaten und Fotos.

Der Grammy-nominierte Julian Lennon hatte nicht vor, nach seiner 2011 erschienenen LP Everything Changes ein weiteres Album zu machen, aber mit der Zeit hat sich etwas verändert. Der Künstler erinnerte sich an Songs, die er vor 30 Jahren geschrieben und aufgenommen hatte, und beschloss, die Produktion zu aktualisieren, um die Tracks für die heutige Welt relevanter zu machen. Der kreative Prozess brachte auch neue Musik hervor. Diese Songs aus den letzten drei Jahrzehnten haben sich zu Julians siebtem Studioalbum JUDE entwickelt.

Der Titel des Albums ist eine Anspielung auf den kultigen Beatles-Song "Hey Jude", den Paul McCartney schrieb, um den fünfjährigen Julian nach der Trennung seiner Eltern aufzumuntern. Das Albumcover, ein Foto des jüngeren Ichs des Musikers, begleitet von
McCartneys handgeschriebenem Titel und dem Arrangement des Songs, zeigt, wie Julian sich mit seinerVergangenheit arrangiert hat, während er in die Zukunft blickt. "...wir alle beschäftigen uns immer noch mit einigen der gleichen Fragen, die wir uns vor über 30 Jahren
gestellt haben, bis heute. JUDE zu machen war wirklich eine Reise durch mein Leben und durch all die Fragen, die ich hatte - nicht nur für die Welt, sondern auch für mich selbst. Es ist fast so, als würde ich all diese Jahre später in einen Spiegel schauen."

Flogging Molly ist weniger eine Band als vielmehr eine transatlantische, keltische Punk-Institution. Über den Verlauf von 25 Jahren und nach tausenden von Konzerten auf der ganzen Welt hat Flogging Molly die Grenzen zwischen den Genres überschritten. Sie ist zu einer der wenigen Bands geworden, die buchstäblich an einem Tag mit The Chieftains und am nächsten Tag mit Motörhead die Bühne teilen. Für Flogging Mollys siebtes Album "Anthem" beschloss die Band um das Ehepaar Dave King (Gesang, Gitarre, Bodhrán) und Bridget Regan (Geige, Blechflöte, Backing Vocals), zu ihren Wurzeln zurückzukehren. Die Band nahm 14 Songs in 14 Tagen mit Steve Albini (Nirvana, Pixies) im Electrical Audio Studio in Chicago auf. Letztlich gibt es keine andere Band wie Flogging Molly, die so mühelos zwischen Punk und Folk wechseln kann. Die Tatsache, dass mittlerweile mehrere Generationen von Fans zu den Konzerten der Band kommen, ist ein Beweis für ihre anhaltende Relevanz. Damit schließt sich der Kreis zurück zu "Anthem". "Mit dieser Platte sind wir auf eine Art und Weise zu den Grundlagen zurückgekehrt, wie wir es nicht hätten tun können, wenn wir nicht schon seit 20 Jahren zusammen gespielt hätten", fasst King zusammen. Die Band und die Welt haben in den letzten Jahren viel durchgemacht. "Anthem" handelt von dem kollektiven Geist, den wir alle besitzen und der es uns erlaubt, in die Zukunft zu blicken.

Power/Progressive-Metal-Band, die von 1989 bis 1997 aktiv war. Sie haben sich 2018 wiedervereinigt und sind seitdem aktiv auf Tour und veröffentlichen neue Musik.

Dank der Integration von Flamenco-Elementen durch den Gitarristen Tore Østby und dem opernhaften Gesang des Sängers Roy Khan hat die Band einen einzigartigen Sound in ihrem Genre kreiert. Ihr drittes Studioalbum, In Your Multitude, wurde 1995 veröffentlicht und wird nun erstmals auf Vinyl wiederveröffentlicht. Alle Titel wurden
neu gemastert und erscheinen auf gelbem Doppelvinyl
und als CD mit unveröffentlichten Bonustracks.

With their album "B-3 Vol.1" the Hanoverian Lutz "Hammond" Krajenski aka krajenski. on the B-3 organ, Ben Kraef from Berlin on the saxophone and Peter Gall from southern Germany on the drums break new ground even if the old path of the Hammond-infected Blue Note refinement always remains in view.

This is the third set in our Soul Slabs sets, which compiles tracks from our diverse 45 releases showcasing artists big and small. It's a great way for folks to discover some of our lesser known artists or just discover our label's sound. Record shops have previously described our compilations as their RSD soundtrack! Our previous compilations have always sold out the day of (nearly) and maintained demand even upon the black vinyl represses.

As a collective thought, Spice's Self-Titled debut album offers a deliberate isolation of pain as interpreted through different vehicles. Less than 30-minutes in length, the record diverts from a singular mood, tempo, or delivery, instead focusing on orchestrating emotional drain as single impulses_fast, slow, driving, simple, and layered_that coalesce in their machinations. At its core, Spice's SelfTitled album is wired together by brawny and brittle guitars, lock-groove rhythms, and vocals announce each moment and mood. Formed in 2018 and based across California, each members' roots are in the North Bay of San Francisco. Comprised of Ross Farrar (vocals) and Jake Casarotti (drums), both of Ceremony, along with Cody Sullivan (bass), Ian Simpson (guitar), and Victoria Skudlarek (violin), Spice's sound pulls from the sense of melody and drive inherent to Bay Area pedigree, peppered with modernity and awash with an anthemic haze. The hook is in the connection as much as melody, with each song building its inner narrative and exploration of affliction. Traversing guitar-driven indie-pop and call-to-action impulse, Spice balances their urgency by interspersing violin melodies and layers, creating depth without oversaturating the heart of each song. Building complexity with laser focus, Spice shares the authoritative drive of Jawbreaker, J Church, The Horrors, and Fugazi, set in their own world of unrest. The treatment of each song is a statement that informs the whole - anecdotes that can bleed slowly or swirl quickly. In a sense, the Self-Titled album itself is an entire song, with each track becoming the verses, choruses, and interludes that narrate its intent. Ending with the final track they workshopped for the album titled "I Don't Wanna Die in New York," the album ends with a punch before winding back into meditation. Honed over late nights at Panda Studios in Fremont, California with producer Sam Pura (Basement, The Story So Far, Self Defense Family), Spice spent hours tweaking it until it became a little world formed by what they refer to as "the power of groupthink." Sprinkled with field recordings_audio snapshots from the member's every-day-lives_the record offers an intimate twist that builds on its theme of a single thread that connects everything with continuity, making it a single organism with as many depths as questions.

As a collective thought, Spice's Self-Titled debut album offers a deliberate isolation of pain as interpreted through different vehicles. Less than 30-minutes in length, the record diverts from a singular mood, tempo, or delivery, instead focusing on orchestrating emotional drain as single impulses_fast, slow, driving, simple, and layered_that coalesce in their machinations. At its core, Spice's SelfTitled album is wired together by brawny and brittle guitars, lock-groove rhythms, and vocals announce each moment and mood. Formed in 2018 and based across California, each members' roots are in the North Bay of San Francisco. Comprised of Ross Farrar (vocals) and Jake Casarotti (drums), both of Ceremony, along with Cody Sullivan (bass), Ian Simpson (guitar), and Victoria Skudlarek (violin), Spice's sound pulls from the sense of melody and drive inherent to Bay Area pedigree, peppered with modernity and awash with an anthemic haze. The hook is in the connection as much as melody, with each song building its inner narrative and exploration of affliction. Traversing guitar-driven indie-pop and call-to-action impulse, Spice balances their urgency by interspersing violin melodies and layers, creating depth without oversaturating the heart of each song. Building complexity with laser focus, Spice shares the authoritative drive of Jawbreaker, J Church, The Horrors, and Fugazi, set in their own world of unrest. The treatment of each song is a statement that informs the whole - anecdotes that can bleed slowly or swirl quickly. In a sense, the Self-Titled album itself is an entire song, with each track becoming the verses, choruses, and interludes that narrate its intent. Ending with the final track they workshopped for the album titled "I Don't Wanna Die in New York," the album ends with a punch before winding back into meditation. Honed over late nights at Panda Studios in Fremont, California with producer Sam Pura (Basement, The Story So Far, Self Defense Family), Spice spent hours tweaking it until it became a little world formed by what they refer to as "the power of groupthink." Sprinkled with field recordings_audio snapshots from the member's every-day-lives_the record offers an intimate twist that builds on its theme of a single thread that connects everything with continuity, making it a single organism with as many depths as questions.

Das dritte Soloalbum von Sheku Kanneh-Mason, das von ihm persönlich kuratiert wurde, spiegelt die musikalische Bandbreite des Cellisten wider. „Song“ verbindet fantastische Stücke aus den Bereichen Klassik, Folk, Jazz sowie Pop: Shekus eigene Arrangements schöner Volkslieder, darunter „Myfanwy“; Werke von J. S. Bach, die Sheku zum ersten Mal für mehrere Celli arrangiert hat; Improvisationen über Jazzmelodien wie die weltberühmte Ballade „Cry me a river“; Shekus Solo-Pizzicato-Bearbeitung von Aretha Franklins „I Say a Little Prayer“; ein Satz aus Messiaens bewegendem „Quartett für das Ende der Zeit“ und ein neues Auftragswerk von Edmund Finnis, das speziell für Sheku geschrieben wurde. Das Album
enthält außerdem Stücke für Cello und Klavier von Beethoven und Mendelssohn, die Sheku zusammen mit seiner Schwester und Konzertpartnerin, Isata Kanneh-Mason, spielt. Neben seiner Schwester hat Sheku mit vielen Musikerfreund:innen zusammengearbeitet, darunter dem Jazzpianisten Harry Baker, der Sopranistin Pumeza Matshikiza und dem Sänger Zak Abel, mit dem Sheku einen neuen Popsong für dieses Album geschrieben hat.

Reduced with immediate effect from £16.99 to £8.99 while stocks last. Lightnesses Vol. I & II sees Doyle create what we might understand as true ambient music – that is, music intended for the background that wasn’t composed as such but allowed to blossom out of the setting of some rules and parameters, played by sounds he created and then resampled. The deceptively simple, droning pieces are unlike anything Doyle has made before or since. “During their creation I’d often take photographs of the light coming in through the windows of the two houses I lived in during their creation. I’d post these on social media and they became quite popular parts of my output. This music was intended to accompany those visuals. The first volume’s photo is a double exposure of the sun shining in on my notebook and my hand, whereas the photo for the second volume was taken in Joshua Tree Park, California as I saw our tail lights illuminate one of the trees.”

Opening with the buzz of a smartphone on vibrate, First Hate’s sophomore album Cotton Candy launches to life with “Someone New,” a synth-driven statement of intent. The Danish duo’s charged songs are rooted in a recognizable universe, but traverse a wide array of genre experiments and pop detours. Cotton Candy follows the quest of its protagonist stumbling through a crumbling world, winning and losing lovers, swinging from extreme highs to hopeless lows. The title alludes to transience and ecstasy, the surge of a sugar rush before nausea sets in, the way cotton candy dissolves into nothingness leaving only sticky fingers. Throughout, the productions glitter with synthetic detail and hypermodern finesse, effervescent but elusive. “Life is a rollercoaster and we’ve ridden the ups and downs.” During the recording sessions, a collage of Copenhagen musicians flowed through the studio. First Hate is a fixture of the city’s creative community, but ultimately exists in their own sphere, carving a niche as parallel universe pop stars, embracing sweet and bitter, risk and reward: “Sometimes the ones who love you most are the ones who hold you back.” Anton and Joakim grew up in Copenhagen and met when they were 15 through common friends on the street where they lived. “I didn’t enjoy being home so I used to stay at my friend Jakob's basement in an old church on Willemoesgade street,” says Wei. “His mom was the priest. She baptized Anton at age eight during his Jesus phase when he demanded a late baptism from his atheist parents. Jakob was friends with Elias who lived up in Anton’s end and they introduced us to each other. One summer my parents finally married after 20 years of dating. Joakim moved in for two weeks and we accidentally trashed the apartment while they were on their honeymoon. Later on Jakob, Elias, and two other friends, Dan and Johan, formed the band Iceage. Watching our friends’ growing success was a catalyst in creating our own project. At that point everybody in our friend group was making punk music, so the most punk thing we could think to do was start a pop duo.” The First Hate catalog comprises more than nine years of work, including their 2017 cult classic, A Prayer For The Unemployed, a collaborative album Dittes Bog, two EPs and several singles. All of the recordings are self-produced, until they are ready to be finished in the studio. “We have sort of a twin alliance. Like couples finishing each other’s spaghetti at restaurants, we finish each other’s music. Having people enter this sacred mix has been such a pleasure.” On stage Anton and Joakim embody the contrasting yet complimentary energies of yin and yang: Joakim pushing buttons, steering the ship, working synths and samplers with harmonious calm, while Anton’s body bullets around the stage, pounding out his kinetic dance moves. The name Anton means fragile flower, an apt metaphor for his stage presence. A fragile flower shooting through concrete. To behold a performer who consistently delivers such intense live performances is a rare pleasure. “Live means love. When everything is right. When we meet the audience heart to heart. Then the planet spins even faster.” First Hate has performed over a hundred shows across Europe, Asia, the U.S., and Russia, both as headliners and alongside fellow Copenhagen acts Iceage, Lust For Youth, Communions, Soho Rezanejad, Trentemøller and Grand Prix. “We are on a quest of love, yes it’s as cheesy as that.”

LA-based garage rock band The Paranoyds announce their sophomore LP, Talk, Talk, Talk, available for pre-order now, and due out September 9 via Third Man Records. The Paranoyds are Southern California DIY rock royalty. Fueled by the fiery energy of their live shows paired with raw lyricism and subtle societal commentary, The Paranoyds are unafraid and unapologetically in perpetual pursuit of a good time. The four-piece is made up of Laila Hashemi (keyboardist-vocals), Lexi Funston (guitars/vocals), Staz Lindes (bass/vocals) and David Ruiz (drums, vocals) who together masterfully blend light-hearted playfulness with sharp sincerity over fuzzy guitar, dreamy vocals and punchy, punky rock-n-roll. Talk, Talk, Talk, the sophomore album from The Paranoyds gives the band space to expand, evolve and above all, have fun. Over 11 tracks, the band experiments with sounds that span an eclectic array of genres–from jazz, to lo-fi punk-rock, to groovy R&B–that melt together showcasing the innovative range of The Paranoyds.

Primetime Entertainment’ is PET NEEDS’ second studio album and is produced by friend and fan Frank Turner. Simultaneously loud and quiet, raucous party anthems sit alongside thought-provoking personal songs; it’s the sound of a band stepping up a gear to match their catapult on the big stages across the world. Having already toured Europe supporting Frank Turner in the first half of 2022, including Germany, Netherlands, France and more – the touring continues joining Frank on his mammoth 50 States in 50 Days tour of the US throughout June and July and then finally across the UK in September and October. ‘Primetime Entertainment’ is released on 9th September and will be available on CD, LP, digital and cassette. Timeline: Track 1 – ‘Get On The Roof’ – released as a single on 24th June ‘22 "After a gruelling 8 hour drive from a gig in South Devon back to Essex, I was reunited with my wonderful partner Lorna. We threw an old mattress out of our bedroom window onto our roof and clambered out, armed with a rucksack full of the remainder of last night's rider. We listened to cinematic theme tunes as the sun set over the chimneys on the horizon. Come early morning, we rolled back into the house. I grabbed my acoustic guitar, pressed "record" on my phone and sung a dizzy, euphoric stream of consciousness to my voice notes. It felt good, but they always do at that time of night, haha. On second listen in the morning, I felt excited about the tune and started to refine it. As soon as it hit the practice room we turned it into a party banger!"

Charley Crockett will release his latest album The Man From Waco on September 9th via Son of Davy/Thirty Tigers. Crockett wrote or co-wrote all 14 songs on the album, and in many ways The Man From Waco is the purest distillation of his artistry to date. What started as a demo session with producer Bruce Robison at Robison’s studio The Bunker outside Austin, TX turned into the first album Crockett has ever made with his band The Blue Drifters backing him from start to finish. Mostly first takes with only a handful of overdubs, The Man From Waco finds Crockett refining his singular “Gulf & Western” sound which continues to captivate an ever-growing legion of fans. “I just wanted an honest partnership: do it at your place, live to tape, everybody in the room,” Crockett says of the recording experience, and Robison was happy to accommodate. “The magic is in the performances on that tape. That’s what Bruce wanted to do, that’s what I wanted to do. When we were done, I said ‘these are masters, not demos.’” Crockett won “Emerging Act of the Year” at the 2021 Americana Honors & Awards and made his Austin City Limits TV debut a month later. He received billboards in Times Square from Spotify and CMT, performed at several top tier festivals including Austin City Limits and Merlefest, and was featured in an exhibit at the Country Music Hall of Fame and Museum. 'Music City USA' released in Sept 2021, stayed at #1 on the Americana radio charts for six straight weeks and the album debuted on 14 different Billboard charts. Globally, Crockett’s music has been streamed over 190 million times, with 93 million streams coming in the past year. 'Lil' G.L. Presents Jukebox Charley', released in April 2022, was celebrated by press outlets such as Holler, Billboard, The Tennessean, Saving Country Music, Rolling Stone and more. Charley's success has caught the attention of CBS' Anthony Mason, who produced a CBS Mornings segment that was televised April '22.

Beauty School are an emo-infused alt rock band from Leeds signed to independent rock label Slam Dunk Records (ran by the same team behind the UK’s largest independent rock festival – Slam Dunk Festival) The band sold out their debut headline show at Leeds’ rock venue The Key Club in August 2021 (400 capacity) Beauty School have been confirmed to play Slam Dunk Festival 2022 and will be on the first festival announcement in November, alongside Alexisonfire, Rancid and The Story So Far. Their debut singles and album ‘Happiness’ have all been recorded and produced by James Kenosha (Dinosaur Pile-Up / Pulled Apart By Horses)

A radiography of the Spanish industrial universe as retold by one of its main protagonists.

Following up Andrea Benedetti's review of the Italian electro scene at the turn of the millenium, the second Vanishing Tape sees Dynamo and Dj Waje travelling to Spain and setting back the clock to the early 80s.

Andreas Noarbe AKA Dynamo was a crucial figure of the scene, managing the Esplendor Geometrico and Geometrik labels and founding Aviador Dro. Sequenced and mixed by Waje DJ, a stalwart of Madrid's booths for over 3 decades.

The dark reverse of the underground, the Spanish tape culture / DIY scene brought about a nihilistic, tenebrose, hellscape vision in stark contrast with the hedonistic excesses of the Movida.
An hour long excavation of drones, noises, skeletal rhythms, field recordings and the less pretty pages of the electronic scene.

Limited to 50 copies.

What is there to say about this album that hasn’t been said before? Multiple words could be used to describe this album: Timeless. Essential. Masterpiece. Definitive. Sickening. Yes, even sickening falls into this category, because believe it or not, back in 1996 when Cryptopsy released “None So Vile,” it was unlike anything else at the time. From the first drum hits and guitar riffs of “Crown Of Horns,” it would have been obvious, and still is to this day, that Cryptopsy improved on themselves since “Blasphemy Made Flesh.” But then you combine some of the most technical and speedy Death Metal to date with the sickening screams, snarls, growls, and grunts of vocalist Lord Worm, and I’m sure that 1996 was the year Death Metal changed forever. “None So Vile” is a testament to the Death Metal formula, and the odd thing is is that not many have tried to emulate it. I don’t know why. Maybe it might be because of how difficult it would be to emulate an album of this calibur. Cryptopsy is a massive influence upon Death Metal. Many factors contribute to the influence Cryptopsy struck upon Death Metal. One of them is absurdly seen from Flo Mounier’s maniacal drumming. As far as I’m concerned, two words can sum up this man: Speed Demon. But just because he’s speedy doesn’t mean he loses any shed of technicality. But Flo is not alone in making Cryptopsy. With the duo of Jon Levasseur and Eric Langlois on guitar and bass respectively, Cryptopsy was noted for their technical music playing. Just look at songs like “Slit Your Guts,” “Graves Of The Fathers,” and “Phobophile” to see how this duo completely tore apart everything that may have been considered a standard for Death Metal at that time. These two remade the standard by bringing shredding guitar and audible, crushing, and technical bass playing into the mix. The playing by these two is a testament to technical playing. But what truly makes Cryptopsy, and many would agree, is Lord Worm. This man is down right beastly. No true word in the English vernacular could describe what this man brings to Cryptopsy and what he did for Death Metal on “None So Vile.” At this point in time, I don’t think anyone could have anticipated vocals like this. He is downright in-fucking-human. His screams are vicious, his gutteral growls are putrid, and the longevity at which he can perform and hold these vocals is insane. But not only did Lord Worm bring a sickening unnatural vocal style, he brings

An iconic landmark album within Death Metal. “Testinomy of the Ancients” gets the well-deserved reissue! Two years after releasing one of the best death metal albums ever to surface from The Netherlands, Pestilence hit jackpot again with their 1991 album “Testimony Of The Ancients”. The biggest differences with their previous effort “Consuming Impulse” are simple: The production is more clean, short intermezzos between all the songs, the average pace is lower and Patrick Mameli has taken over lead vocals. Pestilence has had a well-deserved place in the first wave death metal elite, mentioned in one breath with the likes of Death, Sepultura, Cynic, Atheist and the likes. Rightly so, because their progression up untill this album is comparable to, say, Carcass. With every album they developed their sound so no release sounds alike but still stays Pestilence undeniably. Their previous album “Consuming Impulse” was unprecedented in brutality and morbidness. ‘Testimony of the Ancients” is less relentless, but it makes up for that with an onimous dose of morbid melodies, great lyrics and an all out Lovecraftian atmosphere. The highlight of this album is definately the guitars. Patrick Mameli and Patrick Uterwijk are a great tandem, combining melodic (twin) soloing with screeches and crashes of tremolo filled chaos. Take for example the song “Land Of Tears”. The guitar solo starts out very emotional, almost ballad like and then switches into high gear, so that all listeners who were dreaming away immediately abbandon all hope for solution of the saddening first guitar part. Noteworthy also are the supportive keyboard samples, never obnoxious, always morbid. Other album highlights are the title track (with truly frightening and insane lyrics), ‘Twisted Truth’ with its catchy dynamics, ‘Profetic Revelations’ (excellent chorus) and basically the whole album is perfect. Special attention to the final track (the album sticks together with samples, which are all great by the way) ‘Stigmatized’. This is death metal perfection, combining Slayer, Death and even Iron Maiden to create a masterpiece of metal.

The Best Old School Death Metal album from the Netherlands gets a well-deserved re-issue! Crushing, aggressive, abrasive, pounding, bone crunching... In an age when blast speed drums were still mostly used by grindcore acts (and some pioneers such as Morbid Angel) and now classic bands such as Cannibal Corpse, Suffocation, Deicide were still tiny demo acts, Dutch masters Pestilence released one of the best old school Dutch death metal classics ever to be unleashed upon mankind, the album that made a huge impact upon its release. “Consuming Impulse” is one intense album. one could say this album is definitely up there with classic death metal albums such as Death’s “Leprosy”, Obituary’s “Slowly We Rot”, and Morbid Angel’s “Altars of Madness”. With “Consuming Impulse”, Pestilence created their greatest, most complete album, successfully marrying the primitive brutality of their previous effort ‘Maleus Maleficarum’ with the technicality of their later releases. Whereas their debut album “Malleus Maleficarum” had some hints of thrash metal, this was gone on “Consuming Impulse” although the up tempo beat was still of course very much present. The production was heavy yet remarkably transparent. The riffs of Patrick Mameli on “Consuming Impulse” are simply mind-blowing. Even though quite simple at times they still prove extremely deadly. Try the main riffs in the verses of ‘Process of Suffocation’ and ‘The Trauma’ for starters. Speed monsters like ‘Dehydrated’ and ‘Reduced To Ashes’ were simple compositions but the intensity of this material just oozes out of your speakers. The presence of these straight forward raging death metal tracks was perfect to balance the dynamics and variety of the album. Songs such as ‘Chronic Infection’ and the classic ‘Out Of The Body’ incorporated some great interacting differentiating guitars and much more diversity in pace and riffing.

Hailing from the vermin-saturated remains of upstate South Carolina, SLUGCRUST are preparing to release their debut full length, Ecocide, via Prosthetic Records this summer. Featuring members of WVRM, SLUGCRUST embodies true Southern grind in all its grimy, punishing glory. With two ferocious EPs already under their belts, the breakneck speed with which SLUGCRUST operate gives a fair indicator of their approach. However, their focus isn’t compromised by their accelerated work ethic. Drawing from various literary inspirations the political issues at the heart of SLUGCRUST’s output is given a darkly poetic twist. SLUGCRUST seeks to bring political issues to light in a way that galvanises action and activism. The title derives from the process of destroying environmental structures or ecosystems, either via natural means or - as is more pertinent in the case of this album - deliberate human actions. Depravity is a recurring theme throughout the lyrics; emotional and physical immorality and degeneracy permeates the twelve tracks that make up Ecocide.

ercussive Maintenance is an initiative by drummer Simon Popp and Squama aimed at forming new ties through improvisation. For the monthly events at ZIRKA in Munich, Simon invites fellow artists to engage in an open-format collaboration.
The second episode featured Embryo's Marja Burchard on vibraphone and the recording is now available on tape in a limited edition.

The music on this long-awaited solo vinyl album by legendary tape artist Jérôme Noetinger was recorded live in the studio with no overdubs. Signals were sent through tube broadcast monitors and picked up with room microphones. Produced by Tobias Levin. Cover by Meeuw.

Long-time touchstone of international experimental music presents his monolithic (and first) solo vinyl »Sur Quelques Mondes Étranges« on Felix Kubin’s Gagarin Records. Jérôme Noetinger is known to most for the audio-visual trio Cellule d’Intervention Metamkine, alongside his countless recorded & live collaborations, compositions for radio & stage, and breathtaking multi-channel diffusions in the acousmatic tradition.

Discovering the ReVox B77 tape machine as his tool for live electro-acoustic music in 1987, Noetinger has doggedly investigated his instrument over 35 years, establishing him as a vital contemporary composer/performer of the medium. His work is radical and interrogatory, using a pan-historical array of analogue devices to construct soundworlds which sidestep digital monochrome, landing in a galaxy of simmering malfunction, dynamic physicality & rhythmic debris. Programming Le 102 in Grenoble for over a decade, as well as directing Metamkine distribution for over three, his encyclopaedic knowledge of manifold sonic traditions is on display here; unified by a staunch discipline, impressive dedication and flat rejection of empty trends.

The results synthesise his tireless timbral research into 11 striking sonic investigations which combine modern studio possibilities with years of performance experience worldwide. An ominous malaise hovers over proceedings; yet it never feels nihilistic, presenting solutions which electrify the listener with ecstatic discovery. The perceptual orchestration therein - from throwing our ears right against the body of the tape machine to flinging them into cavernous space alive with the aurally strange - is both delirious & calming. Noetinger is all too aware things are bad, but his drive for discovery and joyous belief in music somehow coruscates brilliantly through contemporary gloom.

Meticulously recorded & produced with Tobias Levin in Hamburg, Sur quelques mondes étranges presents a detailed & rich vocabulary both real & unreal: gesture & repetition, structure & collapse, familiar & uncanny all dance with each in the most pumping discothèque concrète in this universe. This is a powerful and exacting statement from an elegant composer & extraordinary musician who has humbly dedicated his life to his practice.

– Anthony Pateras

Flogging Molly ist weniger eine Band als vielmehr eine transatlantische, keltische Punk-Institution. Über den Verlauf von 25 Jahren und nach tausenden von Konzerten auf der ganzen Welt hat Flogging Molly die Grenzen zwischen den Genres überschritten. Sie ist zu einer der wenigen Bands geworden, die buchstäblich an einem Tag mit The Chieftains und am nächsten Tag mit Motörhead die Bühne teilen. Für Flogging Mollys siebtes Album "Anthem" beschloss die Band um das Ehepaar Dave King (Gesang, Gitarre, Bodhrán) und Bridget Regan (Geige, Blechflöte, Backing Vocals), zu ihren Wurzeln zurückzukehren. Die Band nahm 14 Songs in 14 Tagen mit Steve Albini (Nirvana, Pixies) im Electrical Audio Studio in Chicago auf. Letztlich gibt es keine andere Band wie Flogging Molly, die so mühelos zwischen Punk und Folk wechseln kann. Die Tatsache, dass mittlerweile mehrere Generationen von Fans zu den Konzerten der Band kommen, ist ein Beweis für ihre anhaltende Relevanz. Damit schließt sich der Kreis zurück zu "Anthem". "Mit dieser Platte sind wir auf eine Art und Weise zu den Grundlagen zurückgekehrt, wie wir es nicht hätten tun können, wenn wir nicht schon seit 20 Jahren zusammen gespielt hätten", fasst King zusammen. Die Band und die Welt haben in den letzten Jahren viel durchgemacht. "Anthem" handelt von dem kollektiven Geist, den wir alle besitzen und der es uns erlaubt, in die Zukunft zu blicken.

Austin native indie rock band Why Bonnie will release their debut album 90 In November on Keeled Scales on August 19th, 2022. 90 in November, the first full-length LP from Texas quintet Why Bonnie, crashes into existence with a squeal of feedback and a burst of distorted guitar. It’s a dynamic introduction to a more raw-edged indie sound from a band who have matured from bedroom dream pop into a sophisticated rock act, their evolving sound a reflection of the journey undertaken by songwriter Blair Howerton on this vividly rendered collection of songs. The songs for 90 in November were mostly written in Brooklyn, New York, where Howerton moved from Austin in 2019. Already in the midst of a major life change, Howerton’s feeling of being between worlds was compounded when quarantine hit and she found herself, like so many others, stuck in her apartment—about as far away from the wide-open spaces of Texas as one can possibly get. It was in this environment that she began to write songs parsing out the complicated, mixed emotions associated with building a new home while attempting to make sense of the one she had left behind

Austin native indie rock band Why Bonnie will release their debut album 90 In November on Keeled Scales on August 19th, 2022. 90 in November, the first full-length LP from Texas quintet Why Bonnie, crashes into existence with a squeal of feedback and a burst of distorted guitar. It’s a dynamic introduction to a more raw-edged indie sound from a band who have matured from bedroom dream pop into a sophisticated rock act, their evolving sound a reflection of the journey undertaken by songwriter Blair Howerton on this vividly rendered collection of songs. The songs for 90 in November were mostly written in Brooklyn, New York, where Howerton moved from Austin in 2019. Already in the midst of a major life change, Howerton’s feeling of being between worlds was compounded when quarantine hit and she found herself, like so many others, stuck in her apartment—about as far away from the wide-open spaces of Texas as one can possibly get. It was in this environment that she began to write songs parsing out the complicated, mixed emotions associated with building a new home while attempting to make sense of the one she had left behind

Next Cosmic Rhythm's release sees label head honcho Cosmic Garden at the controls with a new EP. Expect no fillers. No-nonsense house music and deepness at their best!

Peggy Gou’s Gudu Records steps into 2022 with Brain De Palma’s second EP for the label, Purple Brain.

Although this is only his second release under the Brain De Palma name, Alexei Versino has been honing his sound for the best part of a decade, both solo (as Panama Keys) and as one half of the duo Stump Valley, previously releasing on labels like Dekmantel, Soul Clap and Off Minor. Born in Ukraine but settling as a child in Turin, he’s currently based in Berlin and makes up a key part of the Gudu stable.

Coming straight out the gate with an instantly impactful bassline, opening track ‘IQarus’ sets the tone for the rest of Purple Brain: bold melodies and basslines shot in high-definition, full of detail and idiosyncrasies. As with his last EP for Gudu, cinema is a key reference for Brain de Palma: ‘IQarus’ is a reference to his directorial namesake’s first film, while later in the EP, ‘(O.W.D.) Once Were Dancers’ nods to the 1994 drama Once Were Warriors, “dedicated to all the ravers, DJs, aficionados who had to go through the lockdowns … a shout out to people who keep on fighting for the underground culture!”

Elsewhere on the EP, ‘Purple Brain’ pairs an unforgettable arpeggio with stargazing stabs and a marching cowbell beat, while the Netherlands’ Deniro takes ‘IQarus’ into the depths of the night with a cosmic remix that grabs hold of a groove and refuses to let go.

Limited edition of 7500 picture disc copies. Spirituals is Santigold's first full-length album since 2016's 99¢, and was mostly recorded during the 2020 lockdown. "All of a sudden there I was with three small children out of school_just-turned-two-year-old twins and a six-year-old_I was cooking, cleaning, doing laundry and changing diapers from morning to night, with three little kids coming in and out of my bed throughout each night like musical chairs. I was losing touch with the artist me, stuck in a part of myself that was too small. I felt the other parts of me were shrinking, disappearing." Santigold struggled but succeeded in defining a space in which she could center herself and collaborate virtually with producers and contributors: Rostam, Boys Noize, Dre Skull, P2J, Nick Zinner, SBTRKT, JakeOne, Illangelo, Doc McKinney, Psymun, Ricky Blaze, Lido, Ray Brady, and Ryan Olson. "Recording this album was a way back to myself after being stuck in survival mode. It wasn't until I made the space to create that I realized I wasn't only creating music but a lifeline," she says. California was on fire, we were hiding from a plague, the social justice protests were unfolding. "I'd never written lyrics faster in my life. After having total writer's block, they started pouring out. I decided to create the future, to look towards where we are going, to create beauty and pull towards that beauty. I need that for myself, but it's also there for whoever else needs it."

4 LP set is for Indies only until further notice. Unravelled: 1981–2002 shines a loving light on lo-fi pioneers Tall Dwarfs, the prized New Zealand duo of Chris Knox and Alec Bathgate. The collection, available as a 4-LP or 2-CD box set, compiles songs from Tall Dwarfs' two decades of recordings. The vinyl edition includes a 20-page collector's booklet of photos, comics, posters, and other ephemera. The songs on Unravelled: 1981–2002 were curated by Alec Bathgate, who also designed the box set packaging; Chris Knox suffered a debilitating stroke in 2009 just as they had started work on a new album. The collection captures the different sides of the Tall Dwarfs in 55 songs. Though the band was an excuse for two good friends who lived in different cities to get together, drink beer, watch shitty old movies, and do some recording and drawing, Tall Dwarfs created music unlike anyone else. Capturing the initial excitement of creation and taking pride in what they did, Knox and Bathgate showed a whole generation of musicians what could be done at home on a 4-track and what magic could be made if you mixed pop melodies and hooks galore with homemade sounds. After a failed flirtation with success in their previous band Toy Love, Knox and Bathgate formed Tall Dwarfs in 1981, opting to record themselves on a 4-track reel-to-reel. New Zealand’s AudioCulture wrote of the duo’s project: “Early live performances were a ramshackle work in progress. Knox described them in an interview with American magazine Forced Exposure as ‘two minutes of song followed by five minutes of fucking around,’ and they dismayed many Toy Love fans—but the pair had no interest in a career spent in pubs cranking out ‘Pull Down the Shades.’” Tall Dwarfs was meant to be a one-off, but after the founding of their New Zealand label Flying Nun, they continued to record music for the next 21 years, releasing seven EPs and six albums. Their process was spontaneous, with songs being recorded as they were written. Typically, Bathgate would work up something on guitar while Knox provided vocals, lyrics, and tape loops. Then they added any sounds that seemed necessary to finish a song, using whatever was lying around: pans, chairs, baby rattles. Though Tall Dwarfs could be weird, they were never too experimental; Knox and Bathgate both loved melody too much (“Beatlesque” appeared more often than any other adjective in their reviews).

The Outer Edge (formerly known as The Artless Cuckoo) is proud to present a second vinyl release by Ghia. The first single is sold out for a while and already became a collectible item. Now, we present a piece from Ghia's past - a very limited 7" with two unreleased recordings from 1985: "Down At The Hilton" on side A and the equally fantastic tune "Curacao Blue" on the flip side. This is just the beginning of a series of more unissued songs by the band. Two albums are currently in the works - and there will be more material to follow.

For now, here is what label founder Günter Stöppel a.k.a. John Raincoatman says about the project: "For the past three years I've been asking Ghia about further recordings. Lutz Boberg and Frank Simon, the two original band members who later joined with Lisa Ohm as a singer, always were communicative, friendly and interested in releasing more music. But at the same time nothing really happened. Accept for a bunch of newer demo tracks they offered on their Bandcamp page for a while, I never was able to hear anything more. Anyway, a few month ago, I suprisingly received a picture by email. A photo showing a box of 11 demo tapes by Ghia with basically all tracks they ever recorded. I couldn't believe my eyes! After a few complications the package with the cassettes arrived in Berlin. I didn't really know what to expect. Everything was taped chronologically, the first cassette included early recordings from 1984 and 1985. I put it in my tape deck and I couldn't believe what I heard. It started with a minimal electro funk track, the next song was '80s funk with rap vocals, and then came a track entitled "Down At The Hilton". This was EASILY the best Balearic jazz funk track I had ever heard. The warm sound, the melodies, the drum computer beats, the solos - everything was almost too unreal to believe. I really didn't understand why Boberg and Simon never considered that some of their early works could be of interest to other people. But they simply thought of it as some sort of learning curve remnants or simply forgot that the music existed."

The story goes on - but we are going to end it here for now. The vinyl single "At The Hilton" is now available. Once you hear the songs we are sure that you'll agree that the music by Ghia needs to be heard and shared with the world.

Very limited vinyl pressing, 500 copies in a full colour single outer sleeve and full colour printed lyric inner sleeve, housing a 2-colour blue and yellow cosmic swirl vinyl. Full download included as well. Blacklab are back. The self-proclaimed ‘Doom witch duo from Osaka’ are set to drop their 3rd album ‘In A Bizarre Dream’ this summer. Their debut ‘Under the Strawberry Moon 2.0’ saw them taking Sabbath inspired doom, mashing it with a Japanese sensibility and a fuzzed-up groove. It certainly caused a stir, but only hinted at their potential. Album two ‘Abyss’ added to the mix. A Stooges like squalor to the riffs, dollops of lo-fi hardcore punk and loose riffing, pointing the way towards a signature sound. So what of the ‘difficult’ third album? Not so difficult at all it seems. ‘In A Bizarre Dream’ ups the ante considerably, to let rip and define what Blacklab are about. The combined talents of Jun Morino on production and Wayne Adams (Big Lad, Green Lung, Pet Brick, John, Cold In Berlin) on the mix have conspired to produce a towering beast of a record. A real step forward for the ‘Doom Witch Duo’. The drums have a humungous ‘Fugazi’ like welly, and the guitars are a boiling maelstrom of fuzz dense riffola and warped psychedelics, with added synth. Yuko’s throat shredding snarls are as mean as a pissed off Satan, and melodious, often within the same song. This is doom meets hardcore punk, hooky melodies, and killer riffs, all cranked up to the max. Japan has always had a special take on ‘noise’ and ‘heavy’ and with ‘In A Bizarre Dream’ Blacklab add their own spin to that tradition. Gone is the lo-fi approach, here is Blacklab in full effect. ‘Cold Rain’ and ‘Abyss Woods’ (debuted at their storming set at London’s Desert Fest and appearing here in its full version) are two nuggets of epic fuzz heavy doom with added screamo and a neat and canny grasp of melody at its core. Very much a Blacklab trademark. ‘Dark Clouds’ is D-beat fuelled hardcore, fierce and ferocious, with Chia’s rolling thunder drumming underpinning the distorted guitar. It’s pretty exhilarating stuff that shifts the mood perfectly. ‘Evil I’ is just that, a riff as evil as it gets, morphing into a chugging punk wig out. Then followed by ‘Evil II’ a breather, almost mellow, melancholy, with layers of dark overdrive threatening to explode beneath a sweet yet menacing vocal. Then, the mid-point of the album drops a real surprise. Yuko has said before that the band’s name is a combination of her two favourite bands, Black Sabbath and Stereolab. Odd bedfellows to be sure, but if you want to know what that combination might sound like ... here it is. ‘Crows, Sparrows and Cats’ actually features Laetitia Sadier of Stereolab, no less, providing the lead vocal, adding a layer of cool over Blacklab’s Hawkwind meets krautrock sludge. It’s a stoner groove with pop at its heart ...Sludge Pop even, a surprising gem amongst the maelstrom of sound around it. The skewed, sludgecore of ‘Lost’ with its push-pull riffs and rolling thunder drumming, signals that it’s back to business as usual. And after the brief atmospheric instrumental interlude that gives the album its title, comes ‘Monochrome Rainbow’ a huge beast of a track so simple, yet so seductive, from its filtered bass intro to its massive ebb and flow groove and stomping ending. The vocals are all mystery and melody, and the music is kind of a Groundhogs meets Goatsnake ten-ton fuzz-fest, with a singalong, wave your arms in the air chorus. The new Japanese Doom-blues, and what could be the album’s defining moment. ‘In A Bizarre Dream’ closes with ‘Collapse’ verging on noise rock, complete with throat shredding vocals and a crushing wall of guitars, that switch from a stoner groove to full on punk assault, teetering on mayhem before finally ending with the sound of Yuko switching off her fuzz pedal. Perfect. Blacklab have negotiated that ‘difficult’ third album with aplomb and have created a sound that, despite their many influences, is all their own.

It’s nearing a decade since William Doyle released his Mercury Music Prize nominated debut album, Total Strife Forever, as East India Youth in 2014. A year later, he had toured the world and was releasing his second album, Culture of Volume, but it would be another four years before Doyle returned with his third full album, and the first official release under his own name. The dizzyingly ambitious Your Wilderness Revisited arrived in 2019 and was followed last year by the artpop masterpiece, Great Spans of Muddy Time. In the years between leaving the old project behind and re-emerging under his own name, Doyle self-released a string of ambient-leaning albums, The Dream Derealised, Lightnesses Vol I & II and Near Future Residence, which are now to receive a first vinyl pressing via Tough Love. The Dream Derealised is a collection of nine abstract, lo-fi pieces that were recorded during the summer of 2016, when focusing on creating them helped guide Doyle through a “difficult period of anxiety, panic and a regular dissociative feeling called derealisation.” At the time, doing something creative in a quick and immediate fashion felt vital to Doyle, carrying him to a new place: “I’m releasing them now as a cathartic measure, and as a message for others who may be going through difficult times themselves. What I told myself at the time, what I can tell you now: You are not in danger. You are not going insane. You are not alone.”

Sympathetic Magic is an ecstatic, delirious, and deeply touching piece of music; a towering new work in Kim Myhr’s increasingly substantial output as an artist and composer. Sympathetic Magic is the follow-up to Kim Myhr’s 2017 album You | me, which was widely praised and received an honorary mention at the 2018 Nordic Music Prize. While the immersive warmth of You | me is still present, Sympathetic Magic is more expansive than its predecessor. A band of eight musicians playing a wide variety of instruments including electric 12-string guitars, drum machines, vocals, synthesizers, organs and lots of drums and percussion, has created a work of a grander scale. The shimmering, oceanic waves of You | me has been traded for cosmic currents in Sympathetic Magic. Put simply, Sympathetic Magic is a collection of song-like structures that has expanded into symphonic proportions. “With You | me, I wanted to create an ocean of sound, where the listener is surrounded by a myriad of elements that has equal importance in the music. I wanted to challenge this a bit, to push certain elements forward. The result is a more song-like kind of music than what I’ve done before.” – Kim Myhr Just before starting working on Sympathetic Magic, Kim bought an old 70s Yamaha organ (the YC45d), after falling in love with the sound of it on different recordings. At first, he thought the organ would be a subtle element on the new record, but it ended up becoming a focal point: “It’s a brilliant in-your-face sound that brought an ecstatic quality to the music. Playing around with this instrument, along with an 80s Roland Juno synth and a new drum machine took the music in new directions.” – Kim Myhr. Thematically, Sympathetic Magic circles around a longing for collectivity and togetherness. While the world was locked down in 2021, thanks to a commission from Oslo Jazz Festival, Kim had the opportunity to delve deeply into this project, working with the members of the band, one at a time: “The music created a situation of unexpected positivity. It felt like a social project even if I spent most of the time on it alone. And all this positive, joyful energy felt quite magical, arriving like out of thin air in this otherwise grim situation. It all felt like a hallucination, which fed back into the music. Sympathetic Magic is like a dream within a dream.” – Kim Myhr The title of the record is a term coined by James Frazer in The Golden Bough. He writes: “things which have once been in contact with each other continue to act on each other at a distance after the physical contact has been severed”. “In a closed down world where all our connections with the outside suddenly are remote or absent, the line between the real and imaginary is blurred. I felt that the term perfectly summed up the thoughts, processes and sentiments that went into the making of this record”, says Myhr. “Kim Myhr is a master of slow-morphing rhythms and sun-dappled textures that seem to glow from the inside”. The Guardian 1/And I Thought These Are My People 2/Gifting Senselessly In Endless Lavishness 3/Move The Rolling Sky 4/Iridescent 5/Up To The Sun Shall Go Your Heartache 6/I Wonder If I Shall Fall Right Through The Earth 7/Heart Streams

Slyder Smith first swaggered onto the stage as lead guitarist with glam-tinged power popsters, Last Great Dreamers. After releasing four studio albums and one live album on Ray Records & having toured extensively throughout the UK & Europe with LGD, Slyder now takes centre stage leading Slyder Smith & The Oblivion Kids (Tim Emery, Bass and Rik Pratt, Drums) in an honest outpouring of grit, glamour and emotion. Stepping out of the shadows and into the spotlight, the self-confessed ‘frustrated lead singer’ has been forced to delve deep into his own psyche, to carefully craft lyrics and melodies that speak from the heart. Slyder’s emotive vocals are powerful, yet melancholic, the perfect balance of light and shade sitting effortlessly within the sonic landscape of his varied rhythm guitar sounds and highly melodic & anthemic lead lines. “This album has been a real labour of love for me, I’ve really put my heart & soul into it. Over the last year or so I’ve been working very hard developing my guitar playing, music & lyric writing pulling myself in all sorts of directions, really stretching myself. I feel I have accomplished what I set out to do, create songs from the heart in no specific genre & perform them to the best of my ability on the record. I guess for years I have been a frustrated lead singer so I have relished the opportunity to showcase what I can do vocally too.” – Slyder Smith - Stage left, Slyder is joined by Tim Emery, a towering enigma, whose stylish bass lines are the only thing to outshine his impeccable apparel and at the back sits the Oblivion Kids’ powerhouse and beat master, Welshman, Rik Pratt. A man of few words but whose presence is palpable in this rock steady rhythm section. But this is no ordinary guitar-based rock album; together with producer Pete Brown (George Harrison, Siouxsie & the Banshees, Marc Almond, The Smiths and Sam Brown), Slyder has allowed the songs to dictate the direction they have gone in; discovering melodies and hook lines along the way. Making use of Hammond organ and piano with the help of Neil Scully (Richard Davies & the Dissidents), a 1950s Phillicord organ, lap steel guitar & even a bit of banjo. A chocolate box of sonic sensations offering up a little something for everyone - from heavy riffage with walloping drums akin to the brothers Young to the anticipated sleaze rock shades of Hanoi Rocks. However, this band is not afraid to step away from their rock roots, instead, with nods to the likes of The Doors, Velvet Underground, The Stranglers and The Kinks from the past and the alternative rock sound of Manic Street Preachers, The Oblivion Kids have reimagined an 80s synth pop classic and mastered singalong pop, gothic, dark Americana, and dare I say it, funk rock?! There are a few firsts for Slyder on here too in the form of an instrumental track with a western feel and to a duet featuring the ethereal vocals of Nina Courson (Healthy Junkies). The result is an idiosyncratic 14 track album of outstanding versatility. A Charming debut, I’m sure you’ll agree.

Pinecone Moonshine’s Rhythm Section is breakbeat focused drum and bass with themes of jazz and funk. Rhythms range from steady rolling, drumfunk to bizarre syncopated patterns to techstep and techno-like rhythms.

“Just how much can a guitar band cram onto a 7” single? Quite a lot, actually, if our July single is anything to go by. On these two tracks there are all manner of guitar layers, clean and overdriven, traditional tunings and custom tunings, bottlenecks and effects pedals. Add a couple of samples from a 1938 radio play and a friend from Norway and you have a ‘Telemark’ – with a starkness which hints at dramatic fjords in Autumn – and ‘We Interrupt Our Programme’ which almost skips towards mid-1970s glam rock in its sparkly platforms.”

The second extended EP by London synth cyberneticians 3 Electro Knights is Rave One, which is human and machine in hot synergy. If Blixa Bargeld played the synthesizer he would probably come up with something like the crazed lead on Rave One. I Move In Another Dimension is a remix of very limited lathe cut single, which Rough Trade shops described as “Electro sqwonk and clatter meet Patti Smith style beat poetry’. This, the “Mandy” remix ups the psychedelic energy, with Mandy referring to the acid drenched Nicholas Cage starring film of the same name. The flip side track, I_tense, is a 14 trip into territory somewhere between Berlin School synth and early Aphex Twin driven by perhaps the greatest synthesizer ever made, the Roland System 100m, and was recorded in one take with no overdubs Very limited copies – 250 only – on white vinyl with orange swirl. The sleeve design is by acclaimed graphic designer Asif Khan. Destroy/Exist wrote of their cassette album Sketches For Another Future: “Through krautrock, psychedelic, synthpunk, and modern electronica passages, 3 Electro Knights fully realize their analog electronic sound, exposing their warm connection with their synths.” 3 Electro Knights are Daren Pickles (Supercharger, bushpilot), Nik Clifford (Jesus Licks, bushpilot) and Ross Holloway (bushpilot).

Aidan Baker is a classically-trained multi-instrumentalist using the electric guitar as his primary instrument. Using prepared and alternate methods of playing the guitar, along with various electronic effects, Baker creates music which generally falls within the ambient/experimental genre but draws on influences from rock, electronic, classical, and jazz. A highly prolific artist, Baker has released numerous recorded works, both solo and with various group projects - most notably the duo Nadja - on such independent labels as Karlrecords, Important Records, Southern Lord, and his own imprint, Broken Spine Productions. Baker is also the author of several books of poetry. A regular live performer, Baker has toured extensively around the world, including appearances at such international festivals as FIMAV, SXSW, Incubate, Unsound, and Mutek, among others. Originally from Toronto, Canada, Baker currently resides in Berlin, Germany. Recorded mid-pandemic, Songs of Undoing cannot help but have a sort of mid- or post-apocalyptic overlying concept, lyrically dealing with themes of exodus and travel / wandering, self-reliance, the weight of history...with pointed references to two post-apocalyptic, societal / environmental collapse novels, Octavia Butler's "Parables of The Sower" and Kate Wilhelm's "Where Late The Sweet Birds Sang." Musically, the songs move between minimal slowcore and a sort of textural noise-rock or what might be called deconstructed grunge, taking influence from artists like Lungfish, American Analog Set, PJ Harvey, and Stina Nordenstam.

Now who would have thought? Pile are back with an experimental improv record that is pure bliss. Painting immense landscapes and mixing viola, cello an tape loops to create a beautiful ambient voyage through noise, emotional electronics, pulsating drones and kosmische atmospheres. Dive in.

Auf seinem dritten Album Stellar Drifting präsentiert George FitzGerald ein Album voller Staunen und Emotionen, voller glitzernder Melodien und schillernder Elektronik. Das Album ist ein echter Fortschritt in Bezug auf Umfang und Komposition und gilt als eines der größten Werke unserer Zeit im Bereich der atmosphärischen elektronischen Musik, das mit den Füßen auf dem Dancefloor steht, aber mit dem Herzen 1000 Meilen über der Erde selbst.

Stellar Drifting ist FitzGeralds Interpretation des Klangs völliger Freiheit, in der er das Bedürfnis anspricht, sich mit seiner inneren Welt zu konfrontieren und dem Gefühl der Begrenzung zu entkommen. Um dieses Gefühl des grenzenlosen Lebens zu erforschen, hat sich FitzGerald vom Weltraum inspirieren lassen und die Bausteine des Albums aus Weltraumbildern und Audioaufnahmen von Raumsonden zusammengesetzt. Auf dem Album sind auch einige der faszinierendsten Künstler und Songschreiber der Welt vertreten. Die für den Mercury nominierte irische Band SOAK leiht "Rainbows and Dreams" ihre Stimme, Animal Collective-Aushängeschild Panda Bear verleiht "Passed Tense" einen poetischen Schwung und London Grammar revanchiert sich mit "The Last Transmission" für FitzGeralds Arbeit an ihrem britischen #1-Album Californian Soil. George FitzGerald ist seit über einem Jahrzehnt eine herausragende Figur der elektronischen Musik, die mit einem Bein im Underground und mit dem anderen im Mainstream steht. Er war an der Spitze der britischen Szene, als er bei Londons kultigem Black Market Records arbeitete, und verbrachte dann ein Jahrzehnt in Berlin, wo er auf renommierten Labels wie Aus und Hotflush Recordings veröffentlichte, bevor er bei Domino unterschrieb und sich vom Club-Produzenten zum Albumkünstler wandelte. Es folgten zwei von der Kritik gefeierte Alben, Fading Love (2015) und All That Must Be (2018), auf denen er mit Künstlern wie Bonobo und Tracey Thorn zusammenarbeitete und seinen Sound zu einem atmosphärischen und weltweiten Status erhob.

Savage Grounds lands on She Lost Kontrol with a 7 track EP, Hidden by the Night. 

For the first time, the voice of Kleio Thomaïdes joins Savage Grounds members Florin Büchel (Synthesizers) and Daniele Cosmo (Drum Machines). The result is an attractive, intense record with some nuances that will surely make the old nostalgics of Krilian Camera and Simona Buja's voice squeak their eyes. 
 The record reminds us the heartbeat of Italian darkwave, the angularity of German basements, the youthful despair of French coldwave. But it’s more than that because it’s a very personal kind of darkness.
 The exasperated atmospheres seem to resonate on both sides of the record, with the due differences between the darker-wave elements of the record and the more proto-ebm ones.
 All these songs are almost ‘goth love protest songs’: they all have the gloominess of the pre-disappointed, of the already-disgusted, of the unrelentlessly bleak against a freezing, sparse, ethereal electronic landscape.
 The voice by Kleio Thomaïdes is so fascinating because... more credits released March 15, 2022 SLK016 Savage Grounds are Kleio Thomaïdes (Voice), Florin Büchel (Synthesizers) and Daniele Cosmo (Drum Machines). Recorded between Zürich and Geneva, 2020/2021 Composed and recorded by Savage Grounds. Lyrics by Kleio Thomaïdes and Daniele Cosmo. Mixed by Florin Büchel. Mastered by Andrea Merlini. Photography by Erika Marthins Artwork by dudegraph - Michelangelo Greco Executive producer: Giovanni Rispoli & Carmine Staiano

Sharon Jones & the Dap-Kings have developed an international reputation as the #1 group on today’s soul scene. Soul Time! is an exploration of the full range of their dynamic sound through twelve songs handpicked by the Daptone Records gang, each one a precious exclusive.

The needle drops on Genuine Pts. 1 & 2, a supercharged funk arrangement that evokes the late Godfather not only with the spirited syncopation of the Dap-Kings rhythms, but also with the raw power of Jones’ voice. It is performances such as these that have earned her the moniker “the Female James Brown.” Though it has long been one of their best-selling singles, it makes it’s album debut here. Longer and Stronger, written for her 50th birthday, is a deep mid-tempo soul celebration of the strength and determination with which Sharon Jones has earned her long overdue success. It is heard here for the first time, but will undoubtedly join other Sharon Jones & the Dap-Kings songs in the canon of great soul music. The theme of empowerment pushes on through “He Said I Can”, an energetic stomper belted over an arrangement reminiscent of the Isley Brothers early-seventies heyday, and “I’m Not Gonna Cry” brings us back to the raw funk intensity of Genuine with a squealing tenor solo and a fiery vocal. Side one wraps with a scorching studio performance of “When I Come Home”, long a highlight of the band’s live show but rearing its head on album here for the first time as well.

“What If We All Stopped Paying Taxes?” kicks the second side off with a bang. A strong anti-war message pours over a revolutionary mid-tempo groove, accentuated by the conga work of the legendary Johnny Griggs of JB’s fame, while Settling In is a greasy rhythm and blues grinder. And who says Christmas can’t be soulful? Jones et al. make it so over their sought after holiday exclusive, “Ain’t No Chimneys in the Projects.” Next is an energetic romp into Motown intensity with “New Shoes”, a walking-out-the door belter that picks up where These Boots Were Made For Walking left off. Without A Trace shows yet another dimension of the band, stretching a dreamy mid-tempo groove down the road to Memphis and back. The record winds up with a deep laid back cover of Shuggie Otis’ psychedelic soul jam “Inspiration Information.” From the first note to the last, Soul Time! confirms this band’s place at the head of the table as the world’s greatest funk and soul showband. Whether you’re a lifetime fan, or just getting turned on, Sharon Jones & the Dap-Kings’ have yet again made a record that will blow your mind. Get ready world, because It’s Soul Time!

Hudson Mohawke ist für viele ein Produzent, der neben Leuten wie Flying Lotus und Oneohtrix Point Never die moderne Ära von Warp definiert hat. Seine Talente als Klangkünstler und Clubagitator kommen auf 'Cry Sugar' voll zur Geltung, was sich wie das kompromisslose Hudson Mohawke-Album anfühlt, auf das wir alle gewartet haben, auf dem er seine Faszination der Verschmelzung von Hoch- und Trivialkultur auslebt. Schließlich ist er der Architekt der hochauflösenden Trap-Produktion, die sich in den 2010er Jahren zu einem Stil entwickelt hat, der überall - von mit Bierdosen übersäten College-Partys bis hin zu Arby's-Werbespots - Verwendung findet. Amerikanische Dekadenz wird so zu einer Bühne, auf der seine Musik gedeihen kann - der DJ-Pult wird für ihn zum Komponistenpodium, auf dem er das spannungsgeladene Drama zwischen Ausschweifung und Apokalypse inszeniert, die 'mise-en-scene' der Clubkultur 2022.

Berlin’s Pure Hate drop their 5th release ‘Chrome Horse Diplomat EP’ by Mickey Nox. Having previously remixed MDD on PH003, this time he takes both sides of the record and delivers 4 heavy hitting original signature hammer tracks. Mickey spawned out of the cracks of the Melbourne club scene in 2007. Which led to several residencies & festivals around Australia. In 2013 he launched his label & brand ‘Green Fetish Records’ which has since gone from strength to strength cementing its position in the Techno scene worldwide. Outside of Australia & GFR he has played clubs such as Tresor, Moog, Basis, Jaded to name a few and has released music on labels such as Perc Trax, Mind Cut Music & South London Analog Material, having been remixed by the likes of Ansome, Ayarcana, Myler & Manni Dee along the way. Mastering by Joe Farr. Artwork by Slave To Society.

Delroy Wilson’s rich vocal tones always added magic to any song put his way. The ‘Cool Operator’ as he was affectionately named, after he worked on a tune with the legendary Jamican producer Bunny Lee.

A match made in heaven that you will hear on the album where he was put against some of the finest rhythms made in what would be a high point in Reggae’s history.

Delroy Wilson (b.1948 Kingston, Jamaica) began his musical career at the school which was Coxonne Dodd’s Studio One label. His first release at the tender age of 13 was the Lee Perry produced ‘Joe Liges’. This Ska enhanced tune gave the young singer his first hit
and the follow up single ‘Spit in the Sky’ that also flew out the record store doors.

After a brief stop in 1969, Delroy began working for producer Sonia Pottinger’s Tip Top label which gave him more hits including ‘It Hurts’ and ‘Put Yourself in My Place’.

The 1970’s saw Delroy Wilson’s arrival at Bunny ‘Striker’ Lee’s door and what would turn into a winning formula, scoringhit after hit.
It is from this great period in Delroy’s career that we have compiled this selection of killer tracks, cut with drum and bass rhythm kings themselves Sly Dunbar and Robbie Shakespeare.

A great dub set mixed at the one and only King Tubby’s studio … We hope you enjoy the set …

823 is a multifaceted Perth-based record label, fashion brand, and artistic community, founded by Australian producer and all-around creative, Ta-ku (846k monthly listeners on Spotify). With an ethos of attention to detail and appreciation for the everyday things in life, 823 doesn’t stick to any particular genre. 823’s releases include Cabu’s (800k Monthly Listeners on Spotify) “So Far To Go” EP, Ta-ku and matt mcwaters’s duo project “Black and White,” which featured Masego collaboration “Flight 99” (14 million streams on Spotify), their debut release with Australian producer and instrumentalist Kuzich, and multiple sold out clothing capsules. “All Things Considered Vol. 1” set off a collaborative series of curated compilations, featuring both budding and well-established artists around the world including Idealism, Wun Two, pastels, SwuM, Jinsang, Saltyyyy V, and more. “All Things Considered Vol. 2” sees the continuation of this project, this time in partnership with fellow Perth-based powerhouse, Butter Goods.

Butter Goods is a Perth clothing brand rooted in skating culture and style, but drawing inspiration from hip-hop, jazz, and music at large. Butter Goods has been featured in major publications, including GQ, Complex, and HYPEBEAST. They’ve collaborated on releases with Peanuts and Puma, and have reached international levels of popularity. Butter Goods co-founder Garth Mariano’s deep love for and eclectic tastes in music drive his creativity, and are front and center in his partnership with Ta-ku and 823 on “All Things Considered Vol 2,” where the two team up to curate a wide-ranging compilation.

Arriving on September 2nd, 2022, “All Things Considered Vol. 2” is an exploration of Ta-ku’s and Mariano’s extensive and often overlapping musical palettes in two parts. The record pays homage to the love of instrumental music and hidden gems of new school jazz and funk that act as a source of inspiration and nostalgia for the both of them. The collaboration brings together over a dozen producers and instrumentalists from Sydney to Chicago, including Jadu Jadu, Gnarly, Tenderlonius, silentjay, and more. Side A is curated by Ta-ku and 823. It’s as much a love letter to the past as it is a nod to the future of beat-making. Featuring sample heavy, drum looped beats, sprinkled with the occasional ear candy for the attentive listener, it presents cruisy soundscapes & easy listening. Side B is curated by Garth and Butter Goods. It’s a raw and eclectic companion to Side A, leaning heavily into the texture and grit of multi-layered jazz and funk-driven beats.

As with any 823 release, the project is as visual as it is sonic. The artwork and visualizers are a celebration of Garth’s love of thrift culture and old nature documentaries, fused with 823’s design aesthetic of bringing everyday inspirations to the forefront. CRT style visuals are paired with 90’s spin, slide and fade away transitions. When partnered with the music, each visualizer could easily work as the intro for an episode of a VHS series of nature docos.

1st single, “senzu bean,” arrives on July 7th and kicks off Side A, showcasing Ta-ku’s hip-hop-centric tastes. Sydney producer Jadu Jadu teams up with UK-based TAMBALA, apltn, and Makzo for a vibrant instrumental. From a head-nodding bassline beneath fuzzy synths, to soft horn licks sprinkled over electronic drums, “senzu bean” is sonically rich and multilayered.

2nd single, “Too Much” by UK producer saaaz arrives July 20th. It’s a moody and low-tempo beat that builds itself up over time, complete with cryptic vocal samples and syrupy drums and bass. Also off of 823’s Side A, “Too Much” maintains a laid-back hip-hop theme but with saaaz’s signature and definitive lo-fi twist.

3rd single, “Goodmorning” from Baro Sura and silentjay of Melbourne arrives August 3rd, kicking off Butter Good’s Side B. The track is bright from start to finish and is a sun-filled track perfect for closing out the summer with. Final single, “Fool’s Gold” by Los Angeles producer L.Dre arrives August 17th. The infinitely creative beatmaker layers soft hums and the sounds of crashing waves over crisp drums and an infectious bassline. Together, it makes for a beat that sounds like it was made outside, under the sun, and is best enjoyed in the same way.

Focus track, “Seventh Wonder” by Tenderlonius, comes off of Side B, and is a window into the ideas and palettes on both sides of the compilation. The beat slowly fades in, one sound at a time, until it reaches a full-fledged groove, soaked in synths, bass, and horns, that’s impossible not to move to.

On the whole, “All Things Considered Vol. 2” is a forward-focused, sonic journey into the minds behind two of today’s great creative brands, and is as artistically eclectic and varied as those minds are, and a proud follow-up to its first volume.

LP contains A2 poster on uncoated stock.

LIMITED COPIES

Harlem Shuffle Records proudly presents the Symaryp's anthem covered by JUDGE DREAD: “SKINHEAD MOONSTOMP”!

4 minutes of madness for the very first time on vinyl and on 7inch single. Very much in demand.

On the flip, “Phoenix City”. This great instrumental was also never released on a 7inch single until now!

Noah grew up in Hokkaido. Japan's northernmost island, it's an idyllic, snowy place—and a wild, harsh one, too. But it wouldn't be long until, after a stint of living in Aichi Prefecture, found herself living in the tangle of urban centres that is Tokyo. Her production has always been experimental, everchanging, drawing influences from a wide range of styles resulting in a sound that is uniquely her own. Whether it's an R&B feel or the lo-fi magic of vaporwave, her tracks resound with energy and beauty. And, always, her voice weaves like a phantom, emotive, through these exciting soundscapes. Noire is Noah's latest full-length release since 2019's Thirty. Since her debut on FLAU, she has garnered praise from dozens of blogs and media outlets including Dazed & Confused, The Guardian and NYLON, to name just a few, and has worked with producers such as SELA. and kidkanevil.

Directly helping Noah to hone the sound which eventually became 2019's Étoile, her most recent album Noire is a collection of past tracks created between 2015-2020. Through jazz-inflected piano loops and a lo-fi vaporwave sound, alongside carefully considered beats, Noah's latest album showcases the joy of finding freedom in staying up late into the night, and the introspection that comes with it.

This never-before-heard work from Noah is the sound of an artist finding themselves, a maturation. The minimalist tracks—a cocktail of late-night jazz meets Portishead—feature gorgeous space for Noah's crooning vocals to breathe among sprinklings of sampled piano, flute and saxophone. From the emotive line, "The things I've left behind…" on 'Shadow', to the sleepy, far-off sounds of opener 'Twirling', the album showcases a lightness and a sensitivity to self: the joy of night twinned with the inevitable introspection that comes with staying up while the world sleeps.

A chiming guitar, vibes on full and that heady
Motown / Ric Tic drumbeat with a falsetto vocal…
what’s not to love?
 Originally released on Kapp in 1966 and often
bootlegged, copies go for in excess of £100 for this
excellent, driving floorfiller.
 The Hesitations have a few Northern nuggets to
their credit - ‘Soul Superman’ is right up there with
the best.
 Backed with the super bluesy vocal of the
legendary Bobby Bland on an aching tale of loss
and regret.
 A slow smoochy groove with lyrics of genuine
heartache… and all this with a resilient slow
motion dance beat and some exquisite brass
breaks.
 Featuring a gorgeous vocal-only drop out, it’s a
triumphant return from the man who also released
the beautiful ‘Shoes’.
 Both sides remastered for sprung dancefloorshaking longevity.

Last time he brought his Emperor Machine project to Leng, via the seductive, call-to-the dancefloor that was ‘Dance Par Amour’, Andrew Meecham had vocalist Severine Mouletin in tow. On this welcome return to the label, Meecham has enlisted the help of another sublime singer: Bom Carrot 봄캐롯, lead vocalist with South Korean punk-pop outfit Tirikilatops.

Although the pair share a mutual friend, who had extolled the virtues of a potential collaboration to Meecham, it was only when Bom Carrot 봄캐롯 reached out on social media that the pair were finally connected. Meecham jumped at the opportunity to kick-start a collaboration, quickly firing over a track he’d been working on. A few months later, her vocals landed in his inbox and the rest, as they say, is history.

The resultant track, ‘춤춰 Chumchwo – Let’s Dance’, may feature many of the aural trademarks of Meecham’s Emperor Machine work – spiralling analogue electronics, vintage synth sounds, effects aplenty and infectious grooves inspired by New York’s no-wave movement of the early 1980s – but is somehow even more thrillingly wild, excitable, and exhilarating than you’d reasonably expect.

A big part of that, of course, is the inspired contributions of Bom Carrot 봄캐롯. Her freewheeling vocals – part sung, part spoken, and part improvised – are energetic, distinctive, and addictive, adding layers of post-punk abandon and a genuine sense of musical freedom. Combined with Meecham’s outrageously unpredictable backing track – there are twists and turns aplenty, as well as surprising percussive and musical touches that seemingly appear and disappear at will – the resultant song is like the unlikely sonic lovechild of Talking Heads, YMO, Pierre Henry and K-Punk.

As you’d expect given his track record of delivering freewheeling instrumental reworks, the vocal version comes backed with an extra-special Emperor Machine ‘Instrumental Dub’ version. Stripped back and percussive, with dropouts and breakdowns aplenty, this is no mere vocal-free take, but rather a reconstructed revision piled high with extra percussion, spacey electronics, echoing vocal snippets, bubbly bass and razor-sharp Tom Tom Club guitar licks –all arranged to rise, fall and rise again around Meecham’s killer groove. As the track’s title suggests: “Let’s Dance!”

Eric Dolphy's final studio album is hailed as one of the finest examples of mid-'60s post bop. Its reputation is purely one of backwards significance. Dolphy, having recorded the album in February 1964, was in Europe less than six weeks later and his all-too-brief life ended less than two months after that. Though likely he never held a copy in his hands or heard any critical opinion of it, it marked his last flurry of original compositions and is considered his apex. It is fascinating to consider whether he would had moved past or away from the album in 1965, had he lived.

Though Dolphy should not be considered an avant-garde musician by the term's most common definitions, most interpretations of Out To Lunch have been done by players working squarely in that area. So it is with this album, the most ambitious in its recreation of the five-tune disc (with one original added to the final "Straight Up and Down, extending the piece to almost thirty minutes). All five compositions from the original quintet LP are revisited in the same order, the record sleeve even duplicates the old album jacket, down to the typeface and black-and-blue color scheme, although a photo taken by Daidō Moriyama inside Tokyo's massive (and massively busy) Shinjuku railway station replaces the Dolphy's album's enigmatic "Will Be Back" sign, whose clock hands indicated no conventional time of expected return.

Otomo Yoshihide first came to international prominence in the 1990s as the leader of the experimental rock group Ground Zero, and has since worked in a variety of contexts, ranging from free improvisation to noise, jazz, avant-garde and contemporary classical. The always surprising and sometimes confounding turntablist, sound artist, onkyo improviser and now avant jazzer heading up a 15-piece aggregation of Japanese and European experimentalists. Who better to grapple with Dolphy's legacy -- so idiosyncratic in its day and yet so influential to creative improvisers who followed -- than a musician with his own singular take on how sounds can be organized in the jazz realm over 40 years later and half a world away? In other words don't expect the conventional from Otomo any more than you would from Dolphy himself. That's not to say that recognizable themes ("Hat and Beard," "Out to Lunch," "Straight Up and Down") don't appear, or that individual players -- including Alfred Harth on bass clarinet bursting into the mix and leaping across the instrument's tonal range in a way that recalls the master himself -- don't carry forward echoes from the past in the spirit of a sincere and heartfelt homage.

However, a good deal of the time all bets are off; in addition to the usual brass, reeds, bass, and drums (and of course a bit of vibraphone, here played by Takara Kumiko in far less prominent role than that of Bobby Hutcherson) are such sonic paraphernalia as sine waves, contact mike, no-input mixing board, and, of course, "computer." (Otomo himself plays skronky electric guitar.) From composition to composition and even during episodes within compositions, the band takes radically different approaches. There are blasts of free jazz energy not too far removed from the Peter Brötzmann Tentet, an impression reinforced by the presence of spluttering wildman Mats Gustafsson on baritone sax. Not surprisingly and often in contrast with the Dolphy original, the music is dense and filled to overflowing with sounds -- sometimes due to fundamental reworkings in structure rather than just the larger size of the ensemble. The middle section of "Something Sweet, Something Tender" somewhat belies the original's title with elongated howls and cries from the horns over slo-mo bass, drums, and electronic noise poised somewhere between dirge and drone, and the sudden explosion of punk-ish rock energy in the following "Gazzelloni" is a startling contrast.

At times, the feeling is that of listening to the original Out To Lunch while a séance is going on to contact Dolphy's ghost, with supernatural sounds swirling around the stereo. The effect is disconcerting, as is the post-apocalyptic cloud hanging over the arrangements, but it makes the effort more than an unnecessary tribute album. Instead, Dolphy is transported into the 21st Century and allowed to romp through modern developments in music. An inspiring concept and an album that will stretch the boundaries of anyone who comes into contact with it.

Ever since Tsuyoshi Hamada, better known as Dayzero dropped his now-sold-out first ZamZam “Orbit Dub” b/w “Theory Dub” in 2020 we’ve been eager to bless listeners and dancers with a next chapter of his unmistakable, menacing 140 dubs, and that Part 2 is finally here. In the two years since his first Zam he’s worked with Sentry, Vomitspit, Endz, and most recently branched out with an EP of leftfield styles & textures for Bristol’s legendary Livity Sound. Now he's back on 7" vinyl with a pair of stompers just the way we like them.

“Word sounds and power gonna mash them down” couldn’t be a more choice sample to lace “Pages” with, a skanking behemoth of 140 energy powered by swaggering kick & sub, reverb soaked snare, driving shaker, scratchy guitar licks, and mad delays twisting out at bewitching angles.

“Sen” counts off through a dodgy radio frequency, flying low and dropping into a ruff attack of dirty drums & bass, shifting, off-beat mid-range melodics, sleigh bell and percussion cutting through the hazy sonic miasma threatening to envelop the tune. At once eyes-down and hands-in-the-air, Dayzero strikes again with a guaranteed high score in the dance.

Strictly limited to 700 copies for the world. No digital, no repress. Art, design & two-color screen print by Polygon Press. Mastered at Precise, Pressed at Third Man.

repressed !

It's no understatement that London Grammar's forthcoming album is one of the most highly anticipated debuts this year. Confirmed for release on September 9, the album is a result of 18 painstaking months spent writing and recording. Each of the 11 tracks is testament to the trio's innate understanding of the roles that subtlety, contrast and restraint have played in the creation of memorable, timeless and transcendent music. 'That's how this all started,' says Dan, 'and it's always been our primary goal, to keep space in the music. The way that, say, the guitar and vocal interact is massively important to us.'

Heavily involved in every decision made on the album, the band handpicked their team, working closely with producers Tim Bran (The Verve, Richard Ashcroft, La Roux) and Roy Kerr AKA The Freelance Hellraiser. Drafting in Roc Nation's KD (Outkast, Beyoncé, Jay-Z) to mix the album, with Grammy-winning Tom Coyne (Adele's 21), joining them to master.
Tracks like If You Wait and Flickers possess that strange duality of lament and defiance, filled with textures, colours, shadings and interjections that are subtle yet deliver devastating power. The next single, Strong, out on September 1 is the final, killer blow. Building - as you would expect from London Grammar - from nothing, from the barest of bones, Hannah's soaring vocals propels the song to its crashing climax.
More than delivering on their promise, London Grammar's electrifying debut solidifies them as being one of the most exciting and innovative bands to emerge in 2013.

The Globeflower Masters Vol. 1 takes its inspiration from classic soundtrack and cinematic composers such as Axelrod, Morricone, Gainsbourg, Jean-Claude Vannier and Piero Umiliani. Created during Summer 2020, this album is the product of a fruitful collaboration between Brighton-based musicians Glenn Fallows (The Impellers / Andres y Xavi) and Mark Treffel (Blue States / The Soul Steppers). These seasoned performing and recording artists have put their abundance of experience and skilful musicianship into effect with aplomb on this album. This is as accomplished a debut release as you will ever hear, and dare we say, a future classic in the making.

The Globeflower Masters project was borne from an idea Glenn had to create an album that leant on the influence of soundtrack and library composers - particularly of the late 60s and early 70s. This rich sonic palette had previously been innate in his writing and composition but, for this album, the direct inspiration was placed front and centre. After penning several sketches, Glenn contacted Mark to fulfil the vision he had for a complete sound. Mark had an arsenal of vintage synths, pianos and other fun toys which could supplement the drums, guitars and bass that Glenn had been working on. As the album progressed, the pair worked increasingly collaboratively, with each of them starting and sharing ideas to curate the final eight finished tracks.

The results are an album of lush, warm, timeless productions that are drenched in strings and classical instrumentation. Awash with atmospheric excursions, it is a listening experience that moves you through moods whilst transporting you to a world of deeply evocative settings and imagined scenarios. The Globeflower Masters Vol. 1 resonates equally as well on a dark melancholic Winter's day as it does sound-tracking a halcyon Summer day. Though influenced by 60s and 70s productions the record is not a simple pastiche, feeling both simultaneously brand new as well as authentically retro.

- Stunning debut album filled with lush, warm, timeless productions.

- Taking inspiration from classic 60s and 70s soundtrack, and cinematic, composers such as Axelrod, Morricone and Gainsbourg

A tumultuous selection of recordings from Black Ark, Perry's legendary studio and hotbed of creation. Rare 12" versions, unreleased mixes and featuring a stellar line-up, including:

Drums: Mikey ‘Boo’ Richards, Lowell ‘Sly’ Dunbar

Bass: Boris Gardiner, Radcliffe ‘Dougie’ Bryan

Guitar: Earl ‘Chinna’ Smith, Ernest Ranglin, Robert ‘Billy’ Johnson, Lynford ‘Hux’ Brown

Keyboards: Winston Wright, Robbie Lynn, Keith Sterling

Percussion: Noel ‘Scully’ Simms, Lee Perry

A complete album masterpiece in every sense of the word, considered by many people to be one of the greatest ever made, regardless of genre.
Recorded at Studio Somil, Rio De Janeiro in 1972, the album was produced, arranged, directed by the self-taught, Arthur Verocai.

Previously he had worked on many records in various capacities, with artists including Jorge Ben, Ivan Lins and Celia, but this album gave him the chance to do his thing in it’s most pure form.

The 29 minute masterpiece, perfect in it’s arrangement and fusion of sonics, epitomises the sound of Brazil at the time; strings, guitars, pianos, break beats, bass lines, synthesizers, vocals from the wonderful Célia, Carlos Dafe and Oberdan (Banda Black Rio), plus percussion from Pedro Santos and Paulo Moura on sax. Bossa nova, samba, jazz, MPB, psychedelics and funk sit side by side effortlessly.

The album transcends the genre of Brazilian music, and infact all genres. Highlighted in part by the number of artists that have sampled from it; MF Doom, Ludacris & Common, Little Brother, Jneiro Jarel aka Dr Who Dat?, Dibiase and Action Bronson amongst others.

The original Continental version of the album now fetch around $2000. Our definitive re-issue is an exact replica of the gatefold original LP and the source master is taken from the Continental tapes, re-mastered in 2012 under Arthur’s supervision.

Glenn Astro and Hulk Hodn (to some known as mighty Hodini) release their new full-length record “Ghosts” via Kommerz Records on August 26th.
Producers Astro & Hodn‘s first joint album “Turquoise Tortoise” in 2018 combined uptempo beats, hiphop and spaced out lo-fi slow jams effortlessly. On “Ghosts” the duo develops their exploration of new
aesthetics even further through synthesized soundscapes and numerous collaborations with young talent from all over the world. Artists such as Danish neo soul discovery AGGi, King Krule collaborator Gal Go, Kamohelo from Studio Barnhus band Off The Meds, Berlin-based voice experimentalist Yosa Peit and many more deep dived into the collaboration and transformed the album into a sonic multiverse.
New Release Information
Glenn Astro and Hulk Hodn are connected through a long lasting musical friendship. With their Detroitinspired house releases they gained wider recognition by critics and listeners alike. Nevertheless,
they’ve never been one dimensional artists. Berlin-based Glenn Astro‘s diversified approach to production as showcased on labels such as Ninja Tune and Tartelet bridges the gaps between ambient, hip-hop, techno and bass.
Meanwhile Cologne‘s Hulk Hodn gained the status of a German underground hip-hop legend. Through his records and shows with rapper Retrogott he gathered a cult-like following besides dropping high quality projects with other beat makers such as Hubert Daviz and Twit One and rappers such as Eloquent. Most recently he dropped the instrumental LP “Sparklez” on Sichtexot sub Casual Low Grind.

The funky French duo is back with a new 7 inch!
Once again, DjeuhDjoah & Lieutenant Nicholson push the boundaries of the traditional "French song" to make the world dance. Two funky electronic flow, ready to electrify clubs worldwide. Our two
"chansonniers" are the leaders of "Afropeanité" and the Creolity.
The song "Pas si vite" champions deceleration and positivity during our complex period.
"Caipirinha" is a soft tribute to Bossa Nova, the dream of hot and sweet destination in a cold winter.
Recorded at « Le Triangle des Bermudes » the home studio of Lieutenant Nicholson, produced and mixed by him with a electro analog sound dear to them. Horns, live drums, percussions and vocal choir were recorded at Bastille village at the label basement, even during the pandemic…

It's time to present in Umor Rex a new collaboration between two great exponents of contemporary music who have been part of the electronic and experimental avant-garde for the last three decades. On the one hand, we have the Berlin-based musician, composer, and video artist Frank Bretschneider, recognized for precise sound placement, complex, interwoven rhythm structures, and his minimal, flowing approach. On the other hand, Giorgio Li Calzi, the Italian trumpeter, composer, producer, and performing director based in Turin, whose work is known for electronic/effects improvisation combined with the trumpet.

The creation process of Zero Mambo started when Giorgio and Frank met in Chamois, the Italian Alps, in 2018. A year later, Bretschneider sent to a few drafts in the form of audio files, loops, and sequences, and Li Calzi used this material quasi as a framework to create new compositions on it. At that time, in the pandemic, with the unprecedented intervention in lives and rituals, the situation led to ideal conditions to reflect and produce music, a snapshot of the weird times. Li Calzi and Bretschneider offer in Zero Mambo a fascinating album between electronic and jazz. It is clear that it is elegant, clean, and minimal, but we have to say, Zero Mambo is also exuberant and cheerful. A fantastic Berlin-Turin music connection.

New Zealand-based, award-winning duo TRUTH are champions of contemporary dubstep. Back with their first studio album in over 4 years, TRUTH unveil the second and final single taken from Acceptance. The mystical title track from the LP “Acceptance” is due for release Friday, July 2 via Deep Dark & Dangerous.

Following a long, quarantined year and a string of heavily-trafficked Twitch streams, TRUTH is now back in full effect with ‘Acceptance’ - their 5th album. Combining their razor sharp synchronization and innovative flair, this 13-track opus is a dreamlike journey through lush basslines, eerie rhythms, and vintage synths. At the heels of “Pages,” the widely-celebrated lead single from the album, TRUTH unveils the album’s namesake and title track “Acceptance.” A brilliant follow up to its predecessor, “Acceptance” is at once technical, ethereal, and deeply affecting. A psychedelic musing that encompasses the kaleidoscope fractals of sound that make up the album, “Acceptance” is a cornerstone of the project it belongs to.

Boogie Angst is proud to announce Boogie Beats Volume 3; the third installment in their critically acclaimed,club-orientatedcompilation series. Known for showcasing fresh new talent as well as industry titans, Boogie Beats has become a well-lovedshowcasefor both dance floors and home playlists alike.

Kraak & Smaak - Fittipaldi

Opening track Fittipaldi is the previously released Euro heater by label heads Kraak & Smaak. Magnificent Clavinet parts sway hand-in-hand against the diced wall of electronic goodness. Classic sounds brought into the present-day. Named after the famous Brazilian 70s F1 driver, Fittipaldi is a nostalgic, nu-disco groover ready to bridge the classic-to-modern gap in any club this summer.

Steven Kimber - I Wanna Be The One (Drop Out Orchestra Remix)

Next up is a Steven Kimber song, by way of a gorgeous Drop Out Orchestra remix. Drop Out Orchestra are the reigning edit kings of the soulful disco scene. Taking on the Birmingham-based vocalist and producer Steven Kimber's I Wanna Be The One,they managed to turn it into a brilliant yacht-house infused bouncer. Beach-proof from the get go, we wouldn't be surprised to hear this one tear up some island clubs this summer.

King Mutapa - Gimme That Funk

Third in line for Boogie Beats Volume 3 is South-African producer King Mutapa with the ever so shiny Gimme That Funk. Heavily influenced by 70s Disco, Funk and Boom Bap, King Mutapa expertly sprinkles funk chops over the shiniest groove we've heard in ages. Moving through several parts of the song, it's clear to hear that Mutapa's the King of bounce and will steadily continue this trajectory into his fresh career.

Pontchartrain - Cheap Plants

Detroit-based producer Pontchartrain (of Kolours LTD., Delusions of Grandeur, Whiskey Disco, Toy-Tonics and Razor-n-Tape fame a.o.) rain steps up to the plate with Cheap Plants; a bouncy and classy house number which could only have come out of the Motor City. Exuberating percussion parts sway ear-to-ear, whilst the mesmerizing piano stabs stay ever present, providing a steady backbone for the menagerie of lively synth swirls.

FUTVRST - The Feeling

New, mysterious Californian indie-vibed and post-disco duo FUTVRST light up the night with The Feeling. Swirling disco chops under laid with an infectious bassline, all dancing around an irresistible arpeggio sequence. FUTVRST takes us back to the blog house days with this one, and we can't wait to hear what's next for them.

The five songs are rounded off with the longer, original mix of Fittipaldi, plus an extended version of the I Wanna Be The One remix—all set to suit your DJ needs.

Listening through the featured tracks it's clear to hear that the compilations are always a brilliant indicator of the label's variety and broad scope in the electronic music scene, whilst always being undeniably funky and danceable. With exciting times ahead for the Netherlands-based label, the Boogie Beats series always feel like a little homecoming.

'Various Artists – Boogie Beats Vol. 3' is out via Boogie Angst on all digital platforms on April 8, with a limited edition vinyl 12" coming soon after.

VINYL REPRESS FINALLY ON THE WAY..

*Since the release of 2011’s award winning debut, 'No Time for Dreaming', Charles Bradley has transformed from a rising star in the Daptone galaxy into a bona-fide headliner, now affectionately known across the globe as "The Screaming Eagle of Soul."

*The popularity of 'No Time For Dreaming' resulted in an appearance on 'Later With Jools Holland' in 2012 and such glowing reviews as:

-LEAD 4/5 BOXED REVIEW IN MOJO : “THE GRIT AND GUSTO OF OTIS REDDING, THE RAW POWER OF JAMES BROWN, THE SMOULDER AND SHUDDER OF JAMES CARR, TOGETHER THEY MAKE AN INTOXICATING SOUND.
-LEAD 4/5 REVIEW IN Q MAGAZINE : “THERE'S A NEW/OLD SOUL MAN ON THE BLOCK. 'NO TIME FOR DREAMING' HAS THE GRITTY FEEL OF THE REAL THING, A MAN WHO HAS KNOWN MOSTLY HARD TIMES AND TELLS IT WITH A PLEADING, THROATY ROAR AND BLOOD-CURDLING SCREAM WORTHY OF JAMES BROWN . A REAL FIND.”

*The raw emotion and soulfulness of Bradley's voice lifts him up among the greats of the golden age of Soul - Otis, JB, Wilson Pickett, and Darrell Banks. Anyone who has had the privilege of hearing him sing has experienced how Bradley can captivate an entire audience with a simple "Ooooo..."

*Bradley and writer/producer/multi-instrumentalist Thomas “TNT” Brenneck returned to Dunham studios and recorded the most exciting Daptone release to date, Victim of Love. On this album, Bradley moves past his "Heartaches and Pain" to the great promise of hope and love. Though quite at home among the music that has affirmed Daptone as the world’s #1 authority on Soul Music, Victim of Love proves to be a genre-bending masterpiece, picking up where the early 70’s Temptations left off and edging boldly forward into psychedelic soul exploration.

Black Truffle is thrilled to announce Drumming Up Trouble, the first release of previously unissued music by Alvin Curran on the label. Collecting works recorded between 2018-2021 and a side-long epic dating back to the early 80s, as the title suggests, Drumming Up Trouble focuses on a hitherto almost unknown aspect of Curran’s encyclopaedic and omnivorous musical world: his experiments with sampled and synthesised percussion. As Curran’s wonderful, wildly sweeping liner notes make clear, his fascination with drumming belongs to the radical investigation of music’s fundamental elements that has marked his output since the beginnings of MEV, who aimed (as he says in a recent interview) to return ‘in some collective way to a non-existent start time in the history of human music’. Whatever kind of music our proto-human ancestors played, he writes, ‘drums were front and centre in the mix. Drums rule!’

In a paradox typical of Curran’s approach, Drumming Up Trouble interrogates this most ancient dimension of music with contemporary technology. On the first side, we hear recent pieces performed using the sampling software and full-size MIDI keyboard setup Curran has refined since the 1980s. Two of them are wild real-time improvisations, primarily utilising an enormous bank of hip-hop samples. Building from polyrhythmic layers of drum machine fragments to wild cacophonies of clashing vocal samples, scratching, and frantic pitch shifting, these energetic and at times hilarious pieces occupy a space somewhere between John Oswald’s Plunderphonics, Pat Thomas and Matt Wand in the Tony Oxley Quartet, and the propulsive Kudoro/Grime fusion of Lisbon’s Príncipe label. They are improvisations are accompanied by two austere, minimal compositions realised in collaboration with Angelo Maria Fallo: ‘End Zone’ for orchestral bass drum and high oscillator, and ‘Rollings’, where a snare roll is gradually stretched and filtered by digital means into ‘floating electronic gossamer’.

The incredible breadth of Curran’s output makes it pretty unlikely that a listener familiar with his work would be surprised to find it branching out in a new direction. But no degree of familiarity with his work can really prepare for side B’s epic and bizarre ‘Field it More’. It’s perhaps best to let the maestro describe this unhinged and infectious offering in his own words: ‘It features an 8 bar funky minimal riff à la James Brown, played on synth and an-out-of-tune piano, synced to a pre-paid patch on the Roland drum machine. Over this is laid a heavily processed track of the voices of dancer Yoshiko Chuma and movie-maker Jacob Burckhardt discussing an upcoming performance of theirs at the Venice film festival, capped by a track of my playing an increasingly out of control blues over the top of all of the above’. Only Pekka Airaksinen’s Buddhas of the Golden Light comes to mind as a reference point that might even vaguely compare to this wild home-brew of drum-machine funk, mad improvisation and squelching electronics, which eventually dissolved into a massive, layered cluster. Ancient and modern, synthetic and human, hysterical and rigorous, Drumming up Trouble is 100% Curran.

Im heutigen Progressive Rock scheint es, als gäbe es jede Woche eine neue Supergroup. Aber lange bevor das die Norm wurde, und bevor Musiker regelmäßig in mehr als einer Band involviert waren, gab es Liquid Tension Experiment. 1997 vereinten Mike Portnoy (Transatlantic, Sons of Apollo), John Petrucci (Dream Theater), Jordan Rudess (Dream Theater) und Tony Levin (King Crimson, Peter Gabriel) ihre Kräfte und erschufen Liquid Tension Experiment. Das Quartett veröffentlichte 1998 ihr legendäres, selbst-betiteltes Debütalbum und 1999 dann direkt das beeindruckende Nachfolgeralbum 'LTE2'. Dabei kreierten sie einen dynamischen, wilden und erfinderischen Sound, der bis heute einmalig ist. Die unglaubliche Kreativität dieses Kollektivs führte dazu, dass Petrucci und Portnoy Rudess einluden, Dream Theater beizutreten, was das Ende dieses Seitenprojekts bedeuten sollte. 22 Jahre lang passierte nichts, obwohl kaum eine Reunion gefragter war als diese. Doch wenn die Welt sich im Lockdown befindet und sich die Kalender dieser vier Ausmahmemusiker unerwarteterweise als leer erwiesen, ist das Undenkbare passiert... LTE3.Die acht Songs auf LTE3 sind ein Mix aus vier vollständig komponierten Tracks, zwei Duetten, einem spontanen Jam und einem akribisch arrangierten Cover. 'Wir haben vier Songs komponiert. Wir realisierten, dass es das Gleiche war wie bei den ersten beiden Alben.', erklärt Portnoy. Jordan Rudess stimmt zu, 'Es fühlt sich wie eine Fortsetzung an. So als hätten wir LTE2 aufgenommen und wären eine Woche später wiedergekommen, um LTE3 zu machen. Ich weiß, es ist unglaublich, aber die Zeit verging wie im Flug und die Chemie ist genau die gleiche. Es war damals großartig und das ist es auch heute.' Petrucci kommentiert: 'Wer hätte gedacht, dass eine Gruppe Typen in unserem Alter so spielen würden? Es ist unerbittlich. Es ist definitiv ein Statement, du weißt, wir sind zurück. Es ist wie immer, wenn du 'play' drückst, walzt es dich nieder.

. All vinyl comes with a DL card. Seminal third album from one the greatest UK punk bands, Leatherface's 'Mush' is back on wax with brand new colour vinyl editions. Lovingly repressed, the album comes with extensive liner notes and includes 4 bonus tracks via download; a unique cover of ‘Message in a bottle’ and ‘Trenchfoot’ from the Not Superstitious 7” & ‘You Are My Sunshine’ and ‘Dreaming’ from the I Want the Moon 7” // "One of the most intense records of the '90s" AllMusic // "The truly perfect album" The Guardian // Teaming up with engineer Paul Tipler (who also worked on Stereolab and Chapterhouse), ‘Mush’ was recorded in Greenhouse Studios in North London (owned by Pat Collier of The Vibrators). Following praise from the music press, they soon found themselves doing John Peel and Mark Radcliffe sessions. Fully re-mastered, this collection includes extensive liner notes featuring interviews with Frankie, as scribed by The Big Takeover’s Jack Rabid, leaving no stone unturned. The release includes remastered bonus material via download, including a unique cover of ‘Message in a bottle’ and ‘Trenchfoot’ from the Not Superstitious 7” and ‘You Are My Sunshine’ and ‘Dreaming’ from the I Want the Moon 7”. Track listing Side A: A1 I Want The Moon A2 How Lonely A3 I Don't Want To Be The One To Say It A4 Pandora's Box A5 Not A Day Goes By A6 Not Superstitious Side B: B1 Springtime B2 Winning B3 In The Real World B4 Baked Potato B5 Bowl Of Flies B6 Dead Industrial Atmosphere…. Bonus tracks on LP DL & CD: Message in a Bottle (Not Superstitious 7"), Trenchfoot (Not Superstitious 7"), You Are My Sunshine (I Want The Moon 7"), Dreaming (I Want The Moon 7")

(Cargo Collective Title) RIYL: Silver Mt Zion, Rachel’s, Grails & Do Make Say Think. 180g LP, custom window-cut letterpress jacket with artworked 300gsm inner + DL. Esmerine presents Everything Was Forever Until It Was No More, its first album in five years, following a celebrated run of Juno Award winning and nominated records throughout the preceding decade. Founded by ex-Godspeed You! Black Emperor percussionist Bruce Cawdron and cellist Rebecca Foon (Saltland, Silver Mt Zion, Set Fire To Flames), the acclaimed instrumental music ensemble and has long embroidered emotive chamber works using threads of post-classical, post-rock, Minimalism, neo-Baroque, jazz, pop and a wide array of folk traditions. Esmerine conjures a distinctive and immediately identifiable sound that consistently defies the trappings of “fusion”, forging emotive cinematic soundtracks under the overriding sonic sensibilities of postpunk grit, Wall-of-Sound, drone and dark ambient. Recorded by longtime co-producer Jace Lasek (The Besnard Lakes), the new album manifestly carries on in this fine tradition. Everything Was Forever Until It Was No More completes Esmerine’s “Anthropocene” triptych: a series of album-length meditations that began in 2015. The album title itself has minor meme status in eco-artistic circles, appropriated from its original context Alex Yurchak’s 2005 book about the collapse of Soviet Russia by several exhibitions and works interrogating artistic production in the age of environmental crisis. (Foon is also well-known for her climate activism as co-founder of Pathway To Paris.) The album grapples with existential tensions between atmosphere and airlessness, seclusion and claustrophobia, forbearance and satiation, scarcity and abundance; it is one of Esmerine’s most restrained and wistful works. Instrumental densities ebb and flow, melding into each other with gauzy timbral warmth, sometimes tracing fleeting tendrils outwards, but always rotating around the saturnine gravitational force of a darkly glowing sonic center. Everything Was Forever Until It Was No More is like a somber forest lit by a closely-orbiting opalescent planet; it could be the alternate score to Von Trier’s Melancholia or Cormac McCarthy’s The Road.Esmerine planted these compositional seeds before pandemic rooted everyone in place, under the auspices of a grant from the Canada Council for the Arts and a 2019 residency at Le Château de Monthelon in France. Lasek then began documenting the band between lockdowns in various stripped-down configurations with spartan remote equipment at the rural Québec homesteads of Cawdron and Foon, culminating in final sessions at Foon’s converted barn in summer/fall 2021, notably with extensive use of the barn’s resonant acoustic piano. Brian Sanderson appears on his fourth Esmerine album since joining in 2012, continuing to expand the ensemble’s ethnomusicological sensibility and melodic sound palette with guitars, ngoni, ekonting, hulusi, and brass horns of all sorts. Everything Was Forever… also signals the full integration of bassist Philippe Charbonneau, who joined Esmerine as a touring member pre-pandemic and plays throughout the new album, along with sound design contributions via synth, tape echo and other processing. Everything Was Forever Until It Was No More features the pandemic collage artwork of Maciek Sczcerbowksi, in a second Esmerine album art collaboration following their Juno award for Album Package of the Year for Lost Voices in 2015.

Josh Hughes (Cub\cub) returns for his second album of a long hot summer, Radiant Crush. Following the glimmering enchantments of his previous outing, Nothing New Under The Sun, this latest chapter brings things to a dizzying climax. While Josh's palette champions the lo-fi, it's his ability to unveil rich melody, seemingly spilling through ever shifting sliding doors, that leads the listener on a merry dance of intangible delights. As Radiant Crush continues to build, we increasingly discern hazy voices coming through the divide: Through a Narrow Window resonates like a lost gem from This Mortal Coil; until Drift finally breaks through with Louisa Osborn's blissful vocal performance, pulling everything into focus to stand as the album's glorious centre piece. While Radiant Crush is very capable of speaking for itself, when pressed Josh describes his work as "music for an incurably ambiguous world", and we can see how nothing is quite what it seems when he goes on to describe this latest album in similarly evasive terms: "Radiant crush is a series of nebulous concepts designed to make the listener think about the way in which we as human beings can idealise a past that never existed. The album focuses on the fragility of the human brain and the power emotions have over recollection through tracks that leave you with a feeling of longing, for something you can’t quite put your finger on. I think more than any other work I’ve made, this album feels the most human. Vocals feature quite prominently throughout the record, most of them are distorted, veiled or fragmented in keeping with the theme of a loss of connection and meaning. Drift is the only track on the album with intelligible vocals, this was intentional as it honestly and tenderly deals with the theme of living in an incurably ambiguous world." Radiant Crush will be released on 2nd September, via digital platforms and limited edition pressed vinyl. Genre: Electronic / Ambient

Deluxe 180gram vinyl edition comes in a foil-embossed and die-cut cardstock jacket with printed inner sleeve and additional 12x12 art cards featuring the collages of Maciek Szczerbowski. All the art interacts with the die-cut jacket framing. Edition of 300. Rooted in a distinct and immediately identifiable sound_with the cello of Rebecca Foon (Saltland, Set Fire To Flames, Thee Silver Mt Zion) and the marimba of ex-Godspeed You! Black Emperor percussionist Bruce Cawdron at its core_Esmerine has long embroidered emotive chamber works using threads of post-classical, post-rock, Minimalism, neo-Baroque, jazz, pop and a wide array of folk traditions. Multi-instrumentalist Brian Sanderson, who joined the group in 2012, has furthered Esmerine's melodic and ethnomusicological sensibility ever since, expanding the ensemble's palette as its third core member with guitars, ngoni, ekonting, hulusi, brass horns of all sorts, and more. Since 2003, six stately and filmic instrumental albums have inscribed compositional landscapes through epigrammatic miniatures, longform multi-movement chronicles, and all manner of evocative musical prosody between. Marked by an inimitably turbid yet tempered pastoralism, alternately lit by dappled dawn and disquieted dusk, Esmerine's musical narratives balance asceticism and romanticism, melancholy and hope, stillness and wanderlust. Esmerine now shares Everything Was Forever Until It Was No More, its seventh full-length album and first in five years. The band surprise-dropped the full album digitally on 06 May 2022, with the CD and Deluxe 180gram LP editions hitting stores on official release date 26 August 2022. Following an acclaimed run of mid-career records on Constellation through the 2010s_the last three of which have all been finalists or winners of Juno Awards for Instrumental Album of the Year and/or Album Packaging of the Year_Esmerine began working on new music at decade's end. Under the auspices of a grant from the Canada Council for the Arts, and a summer 2019 residency at Le Château de Monthelon (an artist commune in France where the band has cherished long-standing spiritual, creative, and personal connections), compositional seeds were planted_and then pandemic rooted everyone in place. In between lockdown waves, at the respective rural Québec homesteads of Cawdron and Foon, longtime co-producer Jace Lasek (The Bernard Lakes) began capturing the band in various stripped-down configurations with spartan remote equipment. More fulsome arrangement and overdub sessions at Foon's converted barn during the summer of 2021 brought the album to full fruition_where a notable increase in the use of acoustic piano also poured forth, with just about every band member having a go. The record also signals the definitive integration of bassist Philippe Charbonneau_having joined Esmerine as a touring member pre-pandemic, he plays throughout the album on upright and electric bass, with turns on piano and synth, as well as sound design contributions via tape echo and other processing. Everything Was Forever Until It Was No More grapples with the existential tensions between atmosphere and airlessness, seclusion and claustrophobia, forbearance and coalescence. In many ways it is one of Esmerine's most restrained records. Only a few passages are driven by full percussion. There is palpably less Sturm and Drang or overt crescendos compared to its recent predecessors. The new album roils with a different sort of dynamic intensity, where instrumental densities ebb and flow within an overtonal centre, melding into each other with gauzy timbral warmth, sometimes tracing fleeting tendrils outwards, but always rotating around a saturnine gravitational force. Everything Was Forever Until It Was No More is like a dark forest lit by a closely-orbiting opalescent planet; it could be the alternate score to Von Trier's Melancholia or Cormac McCarthy's The Road.

Baton Rouge sludge band Thou have released over a dozen LPs worth of music, collaborated with divergent artists like Emma Ruth Rundle and The Body and released covers that run the full gamut of genres. Continuing their practice of bucking typical metal tradition, their latest record, a split release with composer Gewgawly I, is a soundtrack created for the highly anticipated new video game NORCO.

Gewgawly I has created a master work of ambiance, not only reminiscent of some of the best game soundtracks from the 80s and 90s but also a stunning work of contemporary experimental music pushing the genre forward in exciting ways. Thou have rounded out the game’s grit with a wash of downtuned doom and drone. The band has previously been described as “For fans of: alienation, absurdity, boredom, futility, decay, the tyranny of history, the vulgarities of change, awareness as agony, reason as disease,” and these themes
come to life vividly in Thou’s collaboration with the richly illustrated world of NORCO.

“Thou represents an aspect of Louisiana that’s close to my heart. The members know the suburbs of New Orleans and Baton Rouge well. They capture a kind of strange irreverence in their sound and visuals that’s specific to the region and has influenced the game NORCO,” says Yuts from Geography of Robots. ”We’ve been trying to collaborate for a while, and I’m just stoked it’s finally happening!”

Baton Rouge sludge band Thou have released over a dozen LPs worth of music, collaborated with divergent artists like Emma Ruth Rundle and The Body and released covers that run the full gamut of genres. Continuing their practice of bucking typical metal tradition, their latest record, a split release with composer Gewgawly I, is a soundtrack created for the highly anticipated new video game NORCO.

Gewgawly I has created a master work of ambiance, not only reminiscent of some of the best game soundtracks from the 80s and 90s but also a stunning work of contemporary experimental music pushing the genre forward in exciting ways. Thou have rounded out the game’s grit with a wash of downtuned doom and drone. The band has previously been described as “For fans of: alienation, absurdity, boredom, futility, decay, the tyranny of history, the vulgarities of change, awareness as agony, reason as disease,” and these themes
come to life vividly in Thou’s collaboration with the richly illustrated world of NORCO.

“Thou represents an aspect of Louisiana that’s close to my heart. The members know the suburbs of New Orleans and Baton Rouge well. They capture a kind of strange irreverence in their sound and visuals that’s specific to the region and has influenced the game NORCO,” says Yuts from Geography of Robots. ”We’ve been trying to collaborate for a while, and I’m just stoked it’s finally happening!”

In the gutter lie sun dried leaves, scraps of paper, burnt matches and cigarette butts. It is early morning; the sun rises with warm grace. you've come to the right party... you see, the body of a young man sitting by a pool, nobody important, really. Just a movie writer with a couple of "b" pictures to his credit. He always wanted a pool. Well, in the end he got himself a pool, but let's go back some time and find the day when it all started in “Hollywood,” the place where they pay a thousand dollars for a kiss and fifty cents for your soul.

Three years after he celebrated “Sketch of Japan” EP, Superpitcher returns to Mule Musiq, bringing an epic super-pitched 40 minutes trip named “Hollywood”, that perfectly works as the score for the above remixed opening scene of a famous movie on the trances of Hollywood, the cage, that catch our dreams. It’s a slow grower, incorporating some of core elements of the city of celluloid dreams: action, drama, romance - all epic noir and yet so flooded by light. As ever the producer and DJ from Paris garnished his long building up and going down voyage with se-ducing melodies, glamorous pop, and psychic rhythms, creating the hippy dance ambiences he is famed for. Even though the twelve inch comes in accustomed a/b chapters, “Hollywood” should be perceived in one go to feel the depth of Superpitcher’s tropical leaning story arc, that stretches the idea of a track into a dream of satin teardrops on flickering velvet lights. It paints sonic celluloid pictures of ghostly creatures, while a female/male voice is the music’s constant melodic companion, injection Janus-faced longing dream pop spheres on the overall tripping house melancholy. A heroic electronic drama, elegant as Tamara de Lempicka painting. It asks for endless rides on the Hollywood freeways. in the back the sun – a big orange ball – sinking slowly below the horizon.

You've come to the right party... you see, the body of a young man sitting by a pool, in the back a long, graceful bar, bathed in soft light, filled with elegant customers. There's nothing else, just us and the music and those wonderful people out there in the dark, ready for a divine dance in closeup.

Nach 'The Burden of Restlessness' und 'Acheron' aus dem Jahr 2021 folgt mit 'Regenerator' der dritte Teil von King Buffalos "Pandemie-Trilogie". Geschrieben und aufgenommen von der Band mit Mixing und Engineering von Gitarrist / Sänger Sean McVay und Mastering von Bernie Matthews.
Das 7-Track-Album ist nun also die dritte Verschmelzung progressiver Rhythmen, treibende Atmosphären zu einem spannenden Psychedelic Rock-Schmelztiegel.
Das sehr melodische Highlight 'Mammut' - mit McVays selbstbewusstester Stimme schimmert vor verzweifelter Hoffnung, auf 'Hours', entfalten sie klassischen Space Rock und die das abschließende 'Firmament' dient als Zusammenfassung aller drei Alben, die das Finale markieren von einer Trilogie, die wesentlicher Eckpfeiler von King Buffalo's Arbeit ist. 'Regenerator' ist auf CD sowie 180. Gr. LP erhältlich. Weißes Vinyl (inklusive Download).

VISIONS schrieb zum Vorgänger:

"…Umso schöner dann die Nachricht Anfang März, dass das Trio aus Rochester, New York in diesem Jahr drei Alben veröffentlichen will. Das passiert also, wenn man Ideen und - virusbedingt - Zeit hat. (…) Darunter pulsiert ein dichter Groove zwischen Psych und Prog. Tatsächlich sind King Buffalo nicht mehr weit von Tool entfernt. Der Klang von "The Burden Of Restlessness" ist unglaublich. Die Verstärker brummen und grummeln, die verzerrten Schichten sind transparent, der Bass groovt viril und transparent darunter und das Schlagzeug liefert ein sattes Fundament. Aufgenommen, produziert und gemixt hat die Band das Album selbst, was die Sache noch eindrucksvoller macht. "The Burden Of Restlessness" ist ein faszinierender, stimmungsvoller Trip, eine in sich bemerkenswert geschlossene Platte. Dessen aggressivere Ausbrüche sorgen meist ab Mitte und gegen Ende der massiven, mäandernden Songs für Höhepunkte." (VISIONS Juni 2021)