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All Them Witches are an American rock band from Nashville,
Tennessee. The band consists of drummer Robby Staebler,
vocalist / multi-instrumentalist Charles Michael Parks Jr.,
guitarist Ben McLeod and keyboardist Allan Van Cleave.
 The band’s musical style incorporates elements from multiple
genres, such as hard rock, stoner rock, psychedelia, neopsychedelia, blues, folk and southern rock; however, Julian
Marszalek of The Quietus noted that: “... this isn’t blues of the
‘woke-up-this-morning’ variety but one of malaise, anxiety and
fear brought on a by world seemingly dead set on destruction;
nor is this an escapist variant of psychedelia wherein one form
of reality is jettisoned in favour of another for reasons of cheap
thrills.”

Bill Evans catapulted to the top of the jazz world in June 1961 after reeling off three straight masterpiece sessions at New York's Village Vanguard with his trio. Yet the emotional highs came to a screeching halt shortly thereafter when bassist Scott LaFaro died in a car accident. Devastated, Evans refrained from playing for nearly a year. If not for an inspirational collaboration of tremendous creative outpouring, one wonders what fate may have befallen Evans. Undercurrent, the outcome of two studio sessions with guitarist Jim Hall, is that project.

Mastered on Mobile Fidelity's world-renowned mastering system and pressed at RTI, this Silver Label LP edition bursts forth with brilliant textures, you-are-there realism, and extraordinary tonalities. No other version outside of this analogue copy brings you face-to-face with these two jazz giants' sonic communion, a kind of spiritual musical summit on which Evans' deft keyboard touches and Hall's reliably subtle phrasings seamlessly mesh and wonderfully dance, the compositions streaked with natural instrumental decay, full-frequency extensions, and poignant emotionalism that, on this LP, you can feel.

While Evans managed to sit down for a few one-off takes between LaFaro's passing and these April-May 1962 dates, he largely remained on hiatus and abstained from recording. Whether it owes to the intimate pairing, he and Hall's brotherly chemistry, or the exquisite selection of program material, the results consistently come across as the equivalent of a private meditation - such is the level of introspective depth and quietly shaded interplay throughout. For Evans, the duet clearly functions as therapy, a healing episode in which his partner patiently lays back, shadowing moves and suggesting others, neither musician interested in the spotlight but each striving for (and achieving) transcendent beauty.

In tackling standards such as Rodgers and Hart's "My Funny Valentine" and the Broadway classic "Darn That Dream," as well as the Hall original "Romain," the pair traverses complex harmonies with the astute elegance of a figure skater. At times, Evans and Hall go for broke on a hard-swinging romps, yet it's their implied melancholy and drifting, softly struck melodic refrains on waltzes and ballads that bestows Undercurrent with a nuanced romanticism and whispered atmosphere befitting the record's title.

Indeed, even the album's cover - an iconic photograph by Toni Frissell - exhibits the surreal, almost-hallucinogenic properties of the fare contained within.

“I can remember literally bolting across a busy warehouse party in the early 90's (I think it was actually DIY in Gloucester?) afterhearing a record come on which immediately stood out to me, hadn't heard it before.... A clear 303 single note bassline/hook with sublime strings and undeniable flavours of Detroit and Chicago in the drums and vibe. I needed to know what it was!!That record was "Northern Lights" by Caucasian Boy (AKA Crispin J Glover and David Jenkins, AKA DJ Shakra), and I have honestly been playing it ever since. Fast forward 28 years, and here we are releasing their new acid house monster, the Remote Control EP”Justin Harris Remote Control immediately puts youback in the warehouse or one of those dark, sweaty basement parties which have shaped manymusical educationsover the decades, you know, when things are just starting to get really involved! Beginning with a relentless 90's feel and withmore thana nod to early 90's Belgian Techno, Remote Control steers you through a perfect six and a half minutes of heads down warehouse acid groove, all culminating in a kick-ass gorgeous breakdown. And then there's Dystopia.A deep, dark 909 driven cut of excellence. You can hear in every bar that the purveyors of this track have a deep experience of and are driven to write for the dance floor. Once again, making perfect use of 303, 909 and 808 (amongst others) Dystopia pullsno punches and shamelessly leads you right into the middle of that sweaty dancefloor, and it's perfectly executed deliverykeeps you right there.

The Mighty Soulmates is a towering early 90s project from the legitimate super group of André Cymone (bass player with Prince), St. Paul Peterson (guitarist with The Family and Prince), Mic Murphy (of Sass and The System fame) and Gardner Cole (writer, producer and musician probably best known for his work with Madonna). The sound is a majestic blend of sophisticated funk, emotional R&B, New Jack Swing flava and slick deep soul.

These should-be legendary sessions have been almost a secret since they were recorded back in 1993. The first Be With knew about the project was whilst working with Mic on some Sass re-issues and he told us he had something else we might be interested in hearing.

Mic explained, “In the summer of 1993, Gardner Cole asked if I’d be interested in coming out to work with him, André, and St. Paul. So we all headed out to what can best be described as a fantasy music summer camp at Gardner’s house in Woodland Hills, California. We had all worked together in the past in some form or another so everyone was energized and enthused and excited to see what we could create together. St Paul and Andre had already begun some songwriting at Gardner’s well equipped home garage studio. The songs and ideas progressed quickly and some additional recording was completed at André Cymone’s studio in downtown LA. We ended up working on the project for about 6 months, off and on, until Gardner's house fell victim to the Northridge Earthquake in January 1994.”

There were some vague ideas at the time about turning the sessions into a finished record, but everyone went back to their day jobs and as St. Paul puts it: “for nearly 30 years it just sat there, marinating like a fine funk masterpiece. Everything has its right time and now just be the time”.

From all the tracks Mic sent over, we’ve cherry picked the absolute cream for a tight four track EP. In an alternate history all four for these would’ve been radio smashes. No doubt. But these songs never even reached a plugger. A mixture of beat ballads and uptempo non-hits, coming on like Al B Sure! or Babyface take on Shalamar or, dare we say it, The Purple One - maybe not so surprising given who’s playing!

The feel-good dancefloor dynamite of “I Wanna Be The One” is the explosive opening track. A piano-driven, groove-laden blast of yearning deep-pop, with perfectly delivered soulful vocals and an unmistakable “early 90s” sound. Indeed, fans of Eddie Chacon’s old group will dig this for days. “Back In The Day” has a timeless swing and swagger, the lyrics reminiscing about the halcyon streetlife of the Soulmates’ youth, about Curtis, Superfly and innocent days gone by, about hustling with friends. Yet more spine-tingling vocals over yet another perfectly produced musical backdrop. Stunning.

Opening side B, “Blue Tuesday” is the thrilling pinnacle of the EP, at least for us. It’s absolute soulful-pop perfection, and the one we’ve been asked about most after teasing this collection on our NTS show. A soaring beat ballad full of chiming guitars, gorgeous harmonising, falsetto “doo-doo-doo-doo do-do-do-do” backing vocals and a real steppers’ groove. Glide to this with your loved one at the next roller rink party.

Dramatic, purple-hued closer “Private Time” seems to predict the Timbaland-dominated sound of the mid-to-late 90s, all synthetic strings and squelchy, acidic-drum-machine soul. There’s even room for funky piano breaks, vocoder bridges and more cowbell than you can shake a cowbell at. You could just as easily hear Aaliyah vibing over this as much as Mic.

This EP represents the sound of four incredibly soulful, talented, and influential (soul)mates jamming together over one long hot summer and weaving pure sonic magic. André Cymone loved the “kinda pop, experimental exploration of sound and music. I think these songs make a statement. Not just because of the collection of talented musicians involved but the idea of musically branching out and experimenting; which is what I loved about the project and for people to hear and hopefully appreciate the artistic adventure this music takes, I think it’s a much needed breath of fresh air.” As Mic recalls, “it had the feeling of recovery in a circle with my dudes making music sitting around catching up on life - it felt like living a second childhood. We just wrote what we felt. I don’t remember ‘aiming’ at anything but a great song, melding all our different influences from throughout our lives. We had no restraints. For me personally, it was a time to make music and regroup. I call it the ‘Soulmate Experience’ because in many ways we are kindred souls as a band. We did have an amazing time making the record and so much fun together. Probably my best summer ever”.

The Mighty Soulmates EP has been mastered for vinyl by Simon Francis, cut by Pete Norman at Finyl Tweek and pressed at Record Industry. That early 90s gloss sounds spectacular, if we do say so ourselves.

And such a special record needed some truly almighty artwork, so thanks go to DJ Ruby Savage for directing us to London-based illustrator and designer River Cousin. This music needed something elegant and indulgent yet soulful and striking and something as simultaneously tongue-in-check and deadly-serious as the group’s name. The end result is as modern yet timeless as the music itself.

And these are just our four picks. There’s plenty more where this came from and Mic tells us he’s even picked the album title: “Earthquake Summer”.

VALHALLA was a Long Island, NY based band comprised of Don KRANTZ (guitar,some bass), Rick AMBROSE (bass,vocals), Eddie LIVINGSTON (drums), Bob HULING (percussion,vocals) and leader Mark MANGOLD (keyboards,vocals) that played a combination of heavy psychedelic blues with powerful symphonic arrangements. The band released their eponymous and only album in 1969, a wildly eclectic affair that at times recalls DEEP PURPLE, PROCOL HARUM, CREAM, ELP, and fellow symph-psych outfits as ROOM. Although the band swings from sixties folk-pop to jazz and the addition of an orchestra lends a pompous, almost cinematic feel to the album, Valhalla was always a psych-blues band, and this influence can be felt across the record. Sadly, Valhalla would not have time to mature their sound and they shortly broke up. However, Mark MANGOLD's love of the organ (among other symphonic keyboards) would continue in his later AOR, heavy keyboard experiments, including the mid-70s group AMERICAN TEARS. VALHALLA is recommended for fans of Deep Purple, as well as fans of the 60s-meets-70s prog-edelic sound.

Maenad Veyl returns to his namesake label along with The Sarcasm Ensemble for the new album, 'Comfort in Misery'. Made up of ten compositions exploring sparse beats, cinematic textures and mind altering experimentations, this is an offering of thought provoking pieces which perhaps make the perfect accompaniment to the modern world. As the name implies, 'Comfort in Misery' seeks to find ways of dealing with perpetual shifts and agonizing circumstances.
The opener, 'Weak & Weary', acts an almost rude awakening, while simultaneously cleansing the palette for the forthcoming journey. 'Harsh Whispers' quickly takes hold and feels like a fragmented dream you may or may not remember while then moving to the more minous, 'Life Expectancy'. From the sparkling tones of 'Deep Ruby' to the uncomfortable bliss of 'Always Worse', the project touches on the most known yet unknown of moods, emotions and states of being.
Winding down with 'Irreconcilable Differences' before concluding with the satisfying chaos of 'Shred', 'Comfort in Misery' cannot be pinpointed or married to any one sound or status. While tackling a seeming insurmountable subject, Veyl & The Sarcasm Ensemble provide a perfect solution for the everlasting pain.
Or do they?

After the success of critically acclaimed debut, SOS Music Volume 1 (praised by The Wire - ‘There isn’t a weak link’, RA, Gilles Peterson, Maryann Hobbs, Rough Trade, Love Injection, Mixmag, DJ mag, Basndcamp, Vinyl Factory etc.), the cutting edge Los Angeles electronic label are back with their sophomore release, another explosive compilation comprised of brand new female and female identifying talent.
The release, available on beautiful clear vinyl and digital features 7 of the most exciting emerging names in global dance music; Aura T-09, Closet Yi, Regular Fantasy + Yazzus to name a few. As dance floors open, SOS co-founders Maddy Maia and Tottie wanted to curate something positive, uplifting and reflective of sweaty summer dance floors, whilst retaining the edge that permeated their debut.
The release will be accompanied by an SOS tour North American + Europe at some of the most iconic global clubs - and expect mainly female, female identifying and non-binary artists on the bill.
Though only founded in 2020, SOS Music has been making waves in the independent dance community, and has helped to highlight the global underground dance scene growing rapidly in Los Angeles. The release made end of year lists including Bandcamp’s Best of Electronic and Rough Trade NY compilation of the year. SOS Music also hold a residency on Worldwide Fm, which continues to highlight ground breaking electronic talent with a female focus.

At only eighteen years old, Paris DJ and producer u.r.trax has a C.V that would make most seasoned selectors blush. Blending the innocence of youth with a ferocious production palette, the emerging techno star has already played Concrete, Dehors Brut, and La Toilette, and has released on Hector Oaks Kaos label, having become infatuated with the sound at a young age - even visiting Tresor at just fourteen!

From death comes rebirth, and on ‘Dying Generation' u.r.trax flies the flag for future-gazing doof with its twisting, left-field turns and throbbing noise. An instant Berlin classic. The glitch and suspense of ‘What Was On Their Mind’ melts into the raver’s core; alarm bells ring, heartbeats race and eyes widen on its six-minute journey.

The headsy vibes on ‘You Are Your Own Distraction’ is a welcome switch-up, its punchy kicks and bouncy aesthetic inviting the listener to dance as weird as they want, before the techno tradition is dropped in favour of a hefty cut of electro flavour, molding the artists own vocals with her production for a “Miss Kitten 2.0” vibe.

Galaxial atmospherics, horror-synths and anxious energy bow us out on ‘Race Against Time’, completing the package with a furious digi-only rework from MRD.

Son d’Étroit boss Boran Ece reveals label’s second release ‘Reprise’, backed by a remix from Mihai Popoviciu.
Following the label’s first release, founder Boran Ece returns to Son d’Étroit with the imprint’s second offering this December. First drop ‘Relance’ set the tone for the label, featuring in Spotify’s Lo-Fi House playlist, picking up support from John Digweed, Alexi Delano and Guy J, and selling out on vinyl within a few weeks.
Hot on its heels, the Basel-based DJ and producer now steps up to deliver his latest single, ‘Reprise’ - accompanied by a remix from Romanian favourite, Mihai Popoviciu.
Ece’s original showcases a vibrant medley of dynamic vocals amongst refined melodies, punchy kicks and subtle dubby chords throughout to offer a hypnotic and heady house cut. Next, Mihai Popoviciu’s slick take on the track introduces a skipping, snaking groove guided by swinging percussion, resonant stabs and tripped out vocal snippets.

10Questions is a record label by Dam Swindle’s Lars Dales and graphic designer Bas Koopmans. After two prolific first releases, 10Questions drops another EP, this time by long time friend and synth wizard Lorenz Rhode. Lorenz finds himself exploring the depths of 80’s inspired Italo disco with a modern touch. Just how we like it.

The ‘Le Noir EP’ is spearheaded by two A sides of which title track ‘Le Noir’ is the first one. “Le Noir’ features the sensual vocals of ‘Margerita’ and is one of those tracks that we love instantly because of it’s strong theme and even stronger execution. Italo drama in optima forma. The chord progression on this track gets you hooked and never seems to end; a perfect example of why we call Lorenz the ‘synth wizard’.

The second A side ‘Yayoi’ is a track with a big nod to Lorenz’ memories of 8bit games and early days music programming. This track pulls you in from the start with an emotional theme but with the drop into bassline and percussion it’s clear this theme is not one to linger on. The addition of both claps and stabs add loads of energy on top making this track a wolf in sheep’s clothing.

The full B side is reserved for ‘Pan Di Stelle’ and is the exact counterpart of ‘Yayoi’. It starts of with an Italo inspired bassline and with the percussion on top, it immediately dictates the energy. Only after the two minute mark the spacey theme comes lurking around the corner and fits perfectly in it’s own sonic pocket. This track is a another example of Lorenz’ expertise in utilising vintage synths and why he has been immensely popular for his production and playing skills.

10Questions is a label build on the concept that the record and record sleeve are an integral part of the full experience of an EP. The artist is given a questionnaire and depending on his/her answers the artwork is made. This way the music and art co-exist in the same creative universe, that of the artist and the label alike.

On the A side we have the original tracks starting with
Split Secs - Accept The Answer which is quite the slow burner, easy building up and keeping you in a state of bewilderment with weird synths, sounds and melancholic vocals floating around.

When you're still reminiscing about the first track, Franz Scala decides to up the game with his ‘Overflash’ that contains a kick that makes the walls of every room buzz. His familiar sound can be heard throughout the whole track and will for sure make every dancefloor move.

Moving over to the AA side, Split Secs has made an absolute stellar of a remix of Franz Scala unrecognizable but surely not less danceable original. Heavy bassline, dark and dreamy pads and funky percussion alternate each other in this remix which can be described in so many words, but is best to just start listening to.

Which is exactly what also should be done to the remix by Franz Scala. Taking the slow burner by Split Secs to another tempo and level by adding his familiar sound but what makes this track so special is the synths that have been perfectly applied and will bring some heat and sweat to the dancefloor.



c B1 Franz Scala - Overflash Split Secs Remix 6:02
Franz Scala Remix 8:03

Some people say it’s the hope that kills you, but statistically dreams are responsible for a lot more casualties. The second album from the Icelandic supergroup, not only acknowledges this but celebrates it. To dream is to slowly digest oneself from the inside.

In January 2021 the team was reunited and have since then been writing, recording and releasing a new song every last friday of each month, much like they did in 2018. Dream is Murder is the result a collection of all 12 songs on one album.

Sin Fang, Sóley and Örvar are all established performers, composers and producers in there own right, but their Team Dreams project is so much more than a sum of it’s parts. Even though each of their individual fingerprints can be found all over the album, the result has a distinctive sound of it’s own.

The first three songs on the album display the diverse nature of the project, Imaginary Love is a catchy pop tune, Calling for Your Touch a sprawling cinematic ballad with hints of both Top Gun and Twin Peaks, then there is Shame a gut wrenching tragedy of being born into decay. Where the Maps Run was specially recorded for Amnesty Inter-national in Iceland and given as a part of Amnesty’s 60 year anniversary.

Artwork for each of the songs was conjured up by the one and only Ingibjörg Birgisdóttir and is as much a part of the whole as the music. Each song was accompanied by a res-in sculpture with leftovers from dreams and daily life cast and preserved in with in it. The music takes up three sides of the 2xLP and the fourth and final side holds an exquisite etching by Ingibjörg, depicting the artifacts within.

During the mid-1970s, the Aggrovators could do no wrong. This ace team of session musicians that was forged as an off-shoot of the Soul Syndicate were responsible for some of the biggest hits of the decade, recorded with Bunny Lee's rising stars, such as Johnnie Clarke and his rival, Cornell Campbell. Following on from the great Shalom Dub set of 1975, Rasta Dub '76 is another truly magnificent dub set culled from Aggrovators hits (by Johnny Clarke, Cornell Campbell and others), this time, the entire album was given a scintillating mix-down at King Tubby's studio by the great Prince Jammy, and the sonic excellence has stood the test of time. Another must-have for all connoisseurs of dub.

repressed !

Biogen's a different kind of musician, always travelling the road less trodden. All law's broken - no chords, no build-ups and no traditional drum patterns. Instead Biogen offers listener's fragmented shredding's, constant irritations, glitches, imbalance—and enough creative ideas to supply a whole battalion of electronic musicians. His works are full of contrast. Occasionally soft and mellow - like a cloud in trousers - Biogen would call that 'sofa-trance'. Other times the music's harsh and uncompromising with uncomfortable, irrational beats and glitches - 'Weird-core' - a vast uncharted territory. Some might be tempted to connect the contrast and contradictions in his music to his long battle with manic-depressive disorder. But the disparity in his music is its strength, confounding and delighting the listener.
It's five years since Biogen passed away, but his influence is keenly felt among Icelandic electronic musicians. In the early '90s, Sigurbjörn 'Bjössi' .orgrímsson was a pioneer of the modern electronic scene as a member of the old skool hardcore band Ajax, who for a short time counted Goldie as vocalist, and cemented his reputation for pushing the limits under his Biogen pseudonym. His musical creations weren't made to serve the past or the present, but the future.
Each release and concert offered something different. Concerts were supposed to be challenging and engaging. His releases were not easy to come by and often he'd sell his music on Laugavegur - to unsuspecting tourists intrigued by his Viking-like appearance or mesmerised by his big blue eyes. He was a friend and a mentor to many; in 1995 he was a founding member of Thule Records, and in 2007 one of the leading forces in the Weird-core movement, a group of artists focusing on the unconventional. He'd encourage young artists to release their music into the cosmos - to make mistakes and learn from them - and that wouldn't be done while sitting in a basement. Many have memories of their first gig, watching a tall and comforting figure hovering above everyone else in the crowd. That was him, and it happened rarely that he wasn't there.
A fair amount of tracks on 'Halogen Continues' are previously unreleased, or self-released in very small amounts. The music moves from 'Irrelevant Information' where Biogen illuminates on 'Stabastab" a mysterious international institute he dreamt up, originally on the 'Mutilyn' LP that he handmade and sold himself. It was an anti-LP, a non-linear album of drones, crackles and weirdness. 'Bliss' is from the 1996 double CD compilation entitled "Icelandic Dance Sampler' that he helped compile. '303 Ambient' one of the recent works of the "Weird-core" era - also a regular event showcasing abstract electronica. He was the front man of the movement; regularly performing in Reykjavik with shows included lots of break-beats and 303's.
His creativity and freedom from tradition have seen Biogen gathering appreciation as an artist with the passing of time, and are hand in hand with the concept of . The artwork by Tombo is inspired by the idea of eternity and reverence after death. Nina compiled the tracks much like other album journeys on - 'I was in the car driving in the middle of nowhere in Iceland when I heard Biogen's music for the first time. Dramatic weather conditions outside probably influenced that instant emotional connection that I had with his music. Later navigating through a large archive of his recordings it took me some time until the album took form. I picked the most idiosyncratic cuts that show his creative approach most brightly. Some of them are short cuts ending obnoxiously with a lot of temper and others gorgeous atmospheric narratives - so deep and haunting that it feels like they are not familiar with a notion of time and dissolve slowly into the eternity. It's been an honour and felt exciting to have complied his work, a responsibility I feel keenly, and I hope he would like his music together in this album.'
Biogen's friend the Icelandic musician Ruxpin (Jonas Gudmundsson) who has worked to collect together Biogen's musical legacy through his DAT recordings and hard drives, and kindly granted Nina access to the files, provided much of the text for the press release. Following the album release of 'Halogen Continues', a further album of Biogen's ambient and experimental works will be released on GALAXIID later this year.

In most any Dungeons & Dragons adventure worth
completing, the hero must come face-to-face with
themselves in some form - a cursed, mystical mirror that
reveals all that our hero is and is not; a reflection in some
Blood River that displays for our hero the monster they
have become; a doppelganger that reveals how much our
hero has changed since the beginning of the adventure.
 So, as their year-long 25th Anniversary campaign enters
its final chapter, Jagjaguwar must also confront their
former self. They’re going all the way back to the
basement of the sushi joint in Charlottesville; all the way
back to when they were just a haphazardly made zine; all
the way back to the original mantra which served at
Jagjaguwar’s early guiding force. The Sentimental Noise
echoing through the caverns of self-discovery is tender
and deafening.
 The label have uncovered new and unreleased work from
some of their earliest friends like Drunk, Manishevitz and
Bevel. They’ve called upon necromancers like Norway’s
Jenny Hval, Jagjaguwar legends Wilderness and
Bloomington post-rock heroes Tammar. Mysterious noise
mongers like Canada’s Wold and Oslo’s Some Nerve have
delivered on their promise to absolutely split skulls open.
There are two loving tributes to Patron Saint of Jagjaguwar
John Prine. And they have unearthed two songs from
Atsushi Miura, who once upon a time allowed founder
Darius Van Arman to book shows in the basement of the
sushi restaurant he ran. He dedicates one song to Darius
and in the other, humorously lambasts the college town he
called home for all those years. Today Jagjaguwar dies;
tomorrow Jagjaguwar is reborn.
 Double LP on metallic silver vinyl.

No Bragging Rights are releasing a brand new self titled album. As a band we still felt we had more to say. Life took us all in different directions which made writing difficult. Anthony (Tron) joining the band was the spark and the resource we needed to start writing. Daniel would drive 2hrs to Tron’s studio in Tacoma to write and send the demo’d ideas. I was in my last year of undergrad so I would write lyrics/melodies over my Thanksgiving and Christmas breaks. We hit the studio in January which was the first time Martin had seen Daniel or Tron since our last show in 2016. We feel that we were able to bring new elements to our sound without sacrificing our identity as a band.

The wait is finally over. Today, multi-platinum Danish band Volbeat announce the release of their eighth studio album, Servant Of The Mind, coming via Universal Music on December 3rd. Volbeat are two decades deep into a career that has found them sharing stages with genre legends like Black Sabbath, Metallica, Motorhead, Slipknot, Megadeth, Anthrax and more. Not ones to rest on their laurels, their forthcoming album Servant of the Mind, which was written and recorded during the shutdown and quarantine necessitated by the COVID-19 pandemic, is introspective but pulls no punches and is no less raucous or driving than their previous efforts. The 2CD is a digipak release with 4 additional tracks. The 2LP is 2 x black heavyweight vinyl, gatefold sleeve, printed inners.

The wait is finally over. Today, multi-platinum Danish band Volbeat announce the release of their eighth studio album, Servant Of The Mind, coming via Universal Music on December 3rd. Volbeat are two decades deep into a career that has found them sharing stages with genre legends like Black Sabbath, Metallica, Motorhead, Slipknot, Megadeth, Anthrax and more. Not ones to rest on their laurels, their forthcoming album Servant of the Mind, which was written and recorded during the shutdown and quarantine necessitated by the COVID-19 pandemic, is introspective but pulls no punches and is no less raucous or driving than their previous efforts. The 2CD is a digipak release with 4 additional tracks. The 2LP is 2 x black heavyweight vinyl, gatefold sleeve, printed inners.

Humanoid strikes back on De:tuned with a remastered version of the pioneering 1988 crossover UK number 1 Dance Single "Stakker Humanoid". This major influential UK acid house cut has been breaking down UK culture barriers since its original release. Humanoid's music was also used in Stakker "Eurotechno", now housed in The Museum of Modern Art located in New York. De:tuned have invited personal favourites Autechre, Luke Vibert and Mike Dred to rework the new and uncompromising update "sT8818r" (previously released on DE:10.08) to complement the classic original. Prepare to have your mind blown once more!

The impeccable Ian Anderson at The Designers Republic created all the graphic work. Mastered by Matt Colton at Metropolis and pressed on 180 gr vinyl. Stay tuned!

clear magenta vinyl
Humanoid strikes back on De:tuned with a remastered version of the pioneering 1988 crossover UK number 1 Dance Single "Stakker Humanoid". This major influential UK acid house cut has been breaking down UK culture barriers since its original release. Humanoid's music was also used in Stakker "Eurotechno", now housed in The Museum of Modern Art located in New York. De:tuned have invited personal favourites Autechre, Luke Vibert and Mike Dred to rework the new and uncompromising update "sT8818r" (previously released on DE:10.08) to complement the classic original. Prepare to have your mind blown once more!

The impeccable Ian Anderson at The Designers Republic created all the graphic work. Mastered by Matt Colton at Metropolis and pressed on 180 gr vinyl. Stay tuned!

Breathe captures the Hammond B-3 organ legend Dr. Lonnie Smith during his 75th birthday run at the Jazz Standard in NYC in 2017, the same week he recorded his acclaimed trio album All In My Mind. On this night the good doctor took the stage with an expanded line-up featuring Jonathan Kreisberg on guitar, Johnathan Blake on drums, John Ellis on tenor saxophone, Jason Marshall on baritone saxophone, Sean Jones on trumpet, and Robin Eubanks on trombone. Two additional studio tracks that open and close the album present the unique collaboration between Doc and Iggy Pop including a sublime cover of Donovan’s 1966 hit “Sunshine Superman.”

During the course of quarantine, while doing multiple live streams to support Blue Note Tokyo and New York, Hiromi composed the 'Silver Lining Suite'. It is a piece for piano, two violins, viola, and cello which is separated into four movements: 1. Isolation 2. The Unknown 3. Drifters 4. Fortitude. In the past Hiromi has recorded all of her studio records in the US but given the pandemic and nature of this work, the 'Silver Lining Suite' is her first album recorded in Japan. The album was recorded by Mick M. Sawaguchi of Mick Sound Lab, mixed and mastered by Robert Friedrich at Five/Four Productions. In addition to the 'Silver Lining Suite' the album includes five other songs all composed by Hiromi, two of which are completed versions that originally where part of Hiromi's 'One Minute Portrait' video series that showcased one minute duets with artists such as: Avishai Cohen, Steve Smith, Simon Phillips, Robert Trujillo, and more.

 A fascinating thing about jazz is what can arise through force of
circumstance rather than the result of planning. The drummer
scheduled to appear in a trio with Jan Lundgren at the Ystad
Sweden Jazz Festival had to cancel because of the pandemic,
which forced Lundgren to rethink the gig. The pianist - who is
also artistic director of the festival - quickly realised that things
could also work without a drummer. Serendipitously, the name
of Emile Parisien came to his mind... and a new trio was born.
The three musicians had never played together in this
configuration before; so, after a single day of rehearsals, the
band took to the festival’s main stage on 1 August 2020.
 Jan Lundgren is one of those pioneers who gave European jazz
its distinct identity and freed it from American jazz. The Ystadbased pianist combines virtuosity, an acute sense of tonal
colour, awareness of form from European classical music and
his own folk music tradition. For him, to make music where
many different genres coalesce is both inevitable and natural.
 Lars Danielsson’s bass playing is unmistakably melodic and
lyrical. He is one of just a handful of bassists who stand out
both as creative composers and as distinguished band leaders.
Technical brilliance, outstanding musical imagination and an
almost telepathic understanding of his fellow musicians - his
presence is ideal in this trio.
 Soprano saxophonist Emile Parisien found his way into this
band practically out of nowhere. The vivacious Frenchman lives
jazz with body and soul and his honesty and authenticity ring
true in every note he plays. Parisien is a visionary of jazz,
aware of its legacy but always looking forward in an innovative
way.
 This unique performance leaves the listener begging for more.
Having started this new venture so auspiciously, Jan, Lars and
Emile are surely going to want to aim even higher.
 Recorded live in concert by Mattias Dalin (Eurosound AB) at
Ystad Sweden Jazz Festival, August 1, 2020. Mixed by Bo
Savik, Jan Lundgren and Lars Danielsson at Tia Dia Studios,
Mölnlycke, Sweden. Mastered by Bo Savik.

Sometimes, the best place to begin is at the end. If you really want to dig deep into Illusory Walls, the fourth album by THE WORLD IS A BEAUTIFUL PLACE & I AM NO LONGER AFRAID TO DIE, it definitely helps to do that. That's because epic closer "Fewer Afraid" -all 19 minutes, 44 seconds of it-doesn't just revisit the themes and ideas on the ten songs that precede it, but also offers a self-aware summary of the Connecticut band's entire history. It's the conclusion of all the stories within the record as well as a nod to all the lives that helped make them-little glimpses of everything that's come before, on both a micro, immediate level, and a more universal one. "That song is a higher level look at my whole life and the whole world," explains vocalist/guitarist David F. Bello, "as well as the album, our band and our discography. It places the band in the context of the rest of the world, as if we're listening to everything that came before. It touches on all the themes of the previous songs, but there are also callbacks to songs from earlier in our career. But in this song, they're the object, not the subject-I'm talking about a world in which these things happen, not talking about these things happening." Due to the coronavirus pandemic, the band-completed by Steven K. Buttery (drums and percussion), Joshua Cyr (bass/vocals) and Katie Dvorak (vocals/synth)-had nothing but time to realize the full extent of their musical and thematic aspirations. And so, four years on from lauded third album Always Foreign, they were able to make what is undoubtedly the band's most ambitious and epic record to date. Written and recorded remotely-a first for the band-Illusory Walls takes on the weight of human existence while it's buckling under the pressure of today's near-dystopian society. Personal anxieties and political struggles collide with a series of portentous, apocalyptic and dramatic tunes, resulting in some of the darkest music the band has made since forming in 2009.

The original soundtrack from the 1960 comedy-drama, La Dolce Vita, directed and co-written by Federico Fellini.

Minimal Wave presents a reissue of the seminal first album from Swiss Wavers, Guyer's Connection. Tibor Csébits and Philippe Alioth formed Guyer''s Connection in Basel, Switzerland when they were only 14 and 15 years old. At the time they were in a new wave rock band called 'Kurtzschluss' which they decided to break from in order to make purely electronic music. They began with two synthesizers, a drum machine, a 4-track tape recorder and a multitude of ideas. They channeled their unique and humorous vision into their first album, entitled Portrait which they produced themselves and self-released in 1983. Over the years, the album became a highly sought after minimal synth cult classic. It stands alone as one of the strongest examples of Swiss Minimal Wave, and probably the only one that is in Baseldytsch.

This collection of 12 luk thung* songs from the 1960s-70s, all produced by Surin Phaksiri, is a superb showcase of cross-genre/multi-national fertilization, with Latin, jazz, western pop, Indian and Japanese music seamlessly melding with the musical culture of Isan (northeast Thailand), which is strongly rooted in Laotian culture; indeed, the Isan language, as featured in these songs, is a form of Laotian. Esteemed producer Surin Phaksiri, an Isan icon, always strove to drive Thai music forward, with innovative techniques and open ears, introducing international elements as well as Lao influences, including the use of the khaen. Many of the singers here, all famed and respected, have Lao roots, and it is predominantly through music that the Isan Lao-Thai culture has entered the Thai national consciousness. These lovely and joyous songs are, for the most part, previously unavailable outside of Thailand; more than half are first-time reissues. The wide range of songs here includes covers of Japanese folk and pop songs, a paean to marijuana, proto-Thai funk, a ramwong-style** dance tune, a cover of a Bollywood classic, some straight-ahead luk thung, a unique Indian-style luk thung, and a gorgeous answer song to a movie hit. An array of gems, available on vinyl and CD, with English translations of the lyrics and Soi48’s liner notes. Cover art by Shinsuke Takagi (Soi48)

* Lukthung: A musical genre whose name means ‘country person’s song’ or ‘children of the field’. The name became established in the latter half of the 1960s and now has the status of a national genre of popular song unique to Thailand. The lyrics of luk thung songs deal mainly with the rural idyll, comparisons between the city and the countryside, life in the big city and current affairs. There are certain typical traits to the music, but no official musical form.

** Ramwong: A unique form of Thai dance music, fostered as a means of promoting national pride and unity. Similar to Japanese Bon Odori, participants form a circle and dance together. The term can refer to the particular style of music, or the actual dance.

After the worldwide success of their first album Puzzle (1999), which sold over 200,000 copies and went gold in Japan, Xavier Boyer (vocals, guitars), Pedro Resende (bass), Médéric Gontier (guitars) & Sylvain Marchand (drums) reunited with producer Andy Chase to record the follow-up, Wallpaper for the Soul, in New York City. Starting in November 2001 at Stratosphere Sound, the prolific sessions gave birth to twenty tracks, twelve of which appeared on the original tracklist. The eight outtakes were compiled on the mini albums A Piece of Sunshine (2003) & Extra Pieces of Sunshine (2004). This new vinyl edition will be the first time all these songs appear together.

Almost 20 years on, WFTS is a tour de force of contemporary songwriting with obvious nods to the past somehow revisited in a timeless fashion. Tahiti 80’s second effort can also be seen as an alternative and more sophisticated snapshot of an era often associated with the rebirth of rock (The White Stripes, The Strokes…). This set of songs also established them as stalwarts of the Post French Touch cannon, showcasing both their ability to write catchy songs and their knack for mélanges & experimentation. 1,000 Times or The Train are unique examples of blue-eyed soul augmented with French flair (« Prefab Sprout as produced by Thomas Bangalter » suggested Uncut which listed WFTS in their Top Ten’s albums of 2003). Listen to Don’t Look Below today, and ask yourself who was mixing Destiny’s Child with My Bloody Valentine in 2001? Delicate numbers like Open Book or live favorite Better Days Will Come both demonstrate T80’s songwriting skills and their innate sense of melancholia.

Listening back to WFTS today, one cannot help but think of it as an album recorded in a state-of-the-art fashion. All four members would typically perform together in the same room. Basic takes were printed on a 24-track analog tape machine and then bounced onto a computer for editing. A fine example of this method is the title track itself. Originally written on acoustic guitar, Wallpaper … is the result of three eight minutes synthesizer jams pieced together. The Frenchmen were keen to try out multitude of ideas and had developed a taste for experimentation. The sessions also coincide with a rich outburst of creativity from a band on top of their game after several months of touring around the world.

Another typical WFTS characteristic is Richard Hewson’s orchestration. Veteran string arranger, famous for arranging The Beatles’ The Long And Winding Road or writing RAH Band’s ‘80s classic Clouds Across The Moon Hewson gave the songs a sweeping orchestral touch. Strings, Horns & woodwinds were all performed at the now defunct Olympic Studios in London. Urban Soul Orchestra, a 24-piece ensemble who played on Oasis’ or Spice Girls’ hits can be heard on five songs: the opening trilogy Wallpaper…, 1,000 Times and The Other Side, then on the Northern Soul revival Soul Deep and lastly on the album’s closer Memories Of The Past.

Rouen’s most famous four-piece, now relocated in a house on France’s North West Coast, in the quiet seaside town of Étretat, added more bells & whistles and resumed production on the songs. With one last transatlantic leap during the summer of 2002, the boys flew to Portland, Oregon to attend the mixing sessions held by sound wizard Tony Lash (Elliott Smith, The Dandy Warhols…). Suggested by Sub Pop’s craftsman Eric Matthews, also a guest on trumpet and keyboards, Lash would later become a major collaborator on Tahiti 80’s subsequent albums.

In the meantime, Laurent Fétis, the designer behind Puzzle’s iconic artwork, had started working with artist Elisabeth Arkhipoff on a set of nostalgic photographs transfigured with a soft air-bush technique. Those visuals, like their predecessors, have since become an inseparable companion to Tahiti 80’s music.

Many musical fashions and flavors of the month have come and gone, but twenty years after its release, WFTS still sounds fresh and relevant. And always forward-looking, Tahiti 80 is currently wrapping up the recording of their eighth album, to be released in early 2022.

Westbound 1976 Funk classic - Featuring an all-star Parliament/Funkadelic line-up - Limited 180g TANGERINE COLOR Vinyl Edition (400 copies) - Comes in Deluxe Gatefold Jacket with Obi Strip - Comes with liner notes // A co-founder of the P-Funk movement, Clarence Eugene "Fuzzy" Haskins was born in West Virginia in 1941 and started as a singer in the doo-wop vocal group The Parliaments, led by George Clinton in the late 1950s. He was a founding member of the groundbreaking and influential 1970s funk bands PARLIAMENT-FUNKADELIC. Fuzzy Haskins toured and appeared on P-Funk albums as a singer, and occasionally as a guitarist, throughout the 1970s. He is a member of the Rock and Roll Hall of Fame, inducted in 1997. Despite the success of Mothership Connection, Fuzzy Haskins was growing frustrated that his songs were no longer being featured on albums by Funkadelic and Parliament. He also watched as Bootsy Collins, a relative newcomer to the family, embarked upon a solo career. This added to Haskins' frustration and at the height of P-Funk's popularity, Fuzzy left the ensemble to pursue a solo career. Fuzzy Haskins released his first solo album, A WHOLE NOTHER THANG, in 1976. The album features funk `all-stars' from the likes of Bernie Worrell, Donald Austin and Bootsy Collins. Haskins wrote eight of the nine songs and served as producer, singer, songwriter, guitarist and even drummer. The result was an album that oozed quality. With his brand of earthy and heavyweight funk, Fuzzy Haskins' solo work fits right in with many of the other great P-Funk side projects. Also featured on the album is the track "Cookie Jar", which was later recorded by Prince. Despite the quality of music, the album didn't sell in vast quantities and didn't find the audience it deserved. `A Whole Nother Thang' is a true gem to funk fans, mint vinyl copies are hard to find and pricey these days. If you are a Funkateer_this one's for you. Originally released on Westbound Records in 1976, now back available as a limited deluxe 180g TANGERINE COLORED vinyl edition packaged in a gatefold jacket featuring the original artwork and liner notes.

UK label Wisdom Teeth returns with its third long-form offering - Sculpturegardening: a new LP by Mexico City-based artist and producer, Tristan Arp. Incorporating elements of ambient, glitch, microhouse and downtempo, it’s an otherworldly record populated by knotty modular textures, blossoming floral melodies, tight pointillist rhythms and glossy acoustic instrumentation. The record was born from a process of “collaborating with machines”: using modular synthesisers to generate probabilistic melodies and rhythms, with the artist taking on the role of sculptor and curator. Throughout, the boundaries between the organic and digital are playfully blurred: we hear synthesisers played by guitars; emotive and distinctly human melodies generated by modular circuits; digital percussion drummed by hand; and live cello processed with a digital finish. The results sometimes recall Roman Flügel at his most colourful, or Benge’s meandering synth workouts, and even at times echo the dubbed-out cello experiments of Arthur Russell.But really sculpturegardening occupies a sonic world of its own, born from a unique web of happy accidents and incidental arrangements. The record’s bright colours and subtle rhythms make it a fitting follow-up to K-LONE’s 2020 LP Cape Cira and Facta’s 2021 LP Blush, and place it neatly alongside the work of label mates Duckett, Benoit B, Steevio and Iglew.
“With sculpturegardening, my concept was to approach music like gardening. I collaborated with machines inspired by the way a gardener collaborates with the earth. A gardener creates the conditions for the plants to come to life and develop on their own. In a similar way, I created a set of conditions and probabilities for the music to make itself. Who is making the music here? “A sculpture garden to me can be a really beautiful environment of balance between randomness and order––between nature and human interaction. Things that are either extremely organized or completely random tend to not resonate with us. On the other hand, something very interesting happens when a balance between the randomness and organization is struck. I invented this verb sculpturegardening to represent creating with the aim of this balance, and the with the aim of building a world in which each piece is a zone, or a sculpture in a garden.” The record will be twinned with a physical iteration - a sound installation at an exhibition curated by Tristan Arp titled Nada Se Pierde; Todo Se Transforma. The show opens on 9th October in Mexico City at Avant.dev. The physical sculpture garden will be a collaboration with Mexican sculptor Pablo Arellano. The sound installation will centre around a 4-channel audio system that gives voice to different sculptures and allows visitors to create a mix of the sounds depending on their position in the garden.

Fine Place is a new duo comprising Frankie Rose (Vivian Girls, Crystal Stilts, Dum Dum Girls) and Matthew Hord (Running, Pop. 1280, Brandy). Based in Brooklyn, NYC together they’ve crafted a crystalline full length of nocturnal, electronic pop music that charts a way out the post-global, cyberpunk dystopian environment it was crafted in. Their debut album This New Heaven drenches minimalist song structures in post-industrial washes of sixstring delay and gothic post-punk synths. Presiding over it is the most evocative, emotive vocal performance Frankie
Rose has committed to tape to date.

Following Hord’s relocation from Chicago, the pair wanted to explore new avenues apart from their respective bands or solo projects. “The sound we were going for was an attempt to capture the dystopian feel of New York during a period of desertion by the wealthy. It was produced in a time-frame saturated in both uncertainty and serenity, and the soundscapes we created felt fitting and almost organic as a response to our surroundings. The title also reflects this in an arguably literal, maybe even satirical way.” Sonically, Fine Place references the pioneering mid-to-late 80s pioneers of icy melodrama The Cure and Cocteau Twins, while reflecting both the individuals’; music trajectories thus far. Modular synthesis triggers rhythm boxes and fluttery arps chirp around clanging 808-patterning as Rose’s reverb-laden vocal layering envelops the remaining headroom. The result is massive; a towering, shadowy music that embraces darkness while offering Rose’s bright vocal as chinks of light in the cracks; the production filling the head space of the beholder with preternatural imagery and emotional resonances that are real but not quite defined.

The title song propels forth out of the fog, scintillating with delayed guitar before the reverb-immersed vocal injects the human drama. The chorus constantly teases a big release but holds back creating a taut, dynamic tension. Cover Blind’s slow march makes full use of Rose’s layered vocal sinking and emerging from Hord’s bank of synths. Stand out It’s Your House is pure honey pouring from the speaker on a bank of of arps and near-hymnal vocal layering, a syrupy light offering in the mist. It’s an emotive highlight that only increases as the album progresses; Impressions Of Me is the Lynchian ballad that glides onward into the sunset. The album finishes on a choice re-interpretation of the 1989 track The Party Is Over by Belgian group Adult Fantasies, one of the great over-looked ballads of the era given an almost ecclesiastical makeover by Matthew Hord and Frankie Rose in 2021.

Says Hord: “This record was an incredibly challenging endeavor to make, as I had just come home from a European tour with another music project and wanted to invest into and focus on this collaboration with Frankie. I essentially reimagined how to approach writing basic sequences with the synthesizers I had been rehearsing and performing with for months prior to make something more accessible and pop- like for Frankie to build upon. Frankie is an unsung hero when it comes to mixing, and she was constantly mixing down and processing elements of the tracks to create different atmospheres as we forged forward with every song.”

This New Heaven is an ecstasy of sorts, a half-dream in the border between sleep and daylight.

The vanguard of the Polish psychedelic heavy rock scene returns
with a brand new album! Continuing to defy expectations and
challenge what it means to be a “stoner” band, Weedpecker have
crafted a new masterpiece. After several fundamental lineup
changes in the past years, fans of
Weedpecker were left wondering
what might become of the band’s
newest incarnation. “III”, their
last outing from 2018, was the
final one with longtime bandmates
Bartek Dobry, Robert Kulakowski
and Grzegorz Pawlowski (the first
of whom is remaining founding
member Piotr Dobry’s brother).
In 2019, the band gave a very brief
glimpse into their new lineup featuring
members of Dopelord, Major
Kong and Belzebong while on
a short tour. The most surprising
change was the switch from dual
guitars to a full-time keyboardist.
So much for history, where does
this take us to now with the new
album?
“IV” is a deep, vividly textured IV” is a deep, vividly textured psychedelic
rock record with tons of
layers begging to be picked apart
upon multiple spins. Beginning
with the driving opener “No Heartbeat
Collective”, the song immediately
beings new elements into
the mix. Etherial keys and twisting
guitar lines meld in harmony,
giving way to chunky riffs. Moving
forward, “IV” continues to surprise
with mellow psychedelic gems
reminiscent of early Tame Impala,
blistering Oh Sees-esque rock
bursts and of course the trademark
melodic heavy riffage.
Former co-lead guitarist Bartek
has teamed up with the band
in the position of engineer and
producer, while also lending his
arrangement skills. This combination
of new input and experimentation
has led to the most radical
Weedpecker record thus far, a
killer album which will doubtless
make a late entry for 2021’s album
of the year.
Available on 180gr. transparent
yellow LP including download card
and on CD.

Turquoise Vinyl

The "Tetragonal EP" marks the fourth and final release of the Stone Techno series for this year. Together with the Ruhr Museum foundation we were able to create a very unique concept which refers to the notable history of the Ruhr Area. The collaboration with each artist was a great pleasure and experience for us and as you might already know if you're following this project since the first release: all of the results that reached us were impressively various and ingenious.

On the "Tetragonal" EP you will find a nicely curated mixture of artists and tracks, which takes you on a mesmerizing journey. In the beginning our dear friend Dax J delivers a straightforward 6-minute banger that he's known for. Followed by an anthemic and yet percussive piece of Hadone which reminds us of the long raving nights we all have missed so much.

On the B-side Colin Benders ennobles mineralogy with a carefully composed arrangement which drives you deep into modular synthesis, while Felix Fleer takes you on a late night trip with oscillating tones and harmonies.

We hope you enjoy our last Stone Techno release for this year and don't worry: there's a lot more to come in 2022 with a new sample library as well. Stay tuned!

Each release is limited to 300 copies (180gr marbled 12" Vinyl, Full Cover Print).

For many years now, the comparative of epic has simply been EPICA. Since their formation in 2002 and their quick ascension to stalwarts of symphonic metal noblesse with trailblazing masterpieces “The Divine Conspiracy” (2007) or “Requiem for the Indifferent” (2012), Dutch metal titans only knew one way: Up. Especially with their last three releases “The Quantum Enigma”, “The Holographic Principle” and this years’ “Ωmega”, forming a metaphysical trilogy that’s both alpha and omega of all things symphonic metal, EPICA became rightful monarchs of a genre they themselves helped made become a global phenomenon.

Yet, as every other band, EPICA couldn’t take their latest installment of breathtaking cinematic grandeur to the seven corners of the world as they would have normally done. You know why. Thus, plans have been made and visions fulfilled to produce a once-in-a-lifetime event that couldn’t be further away from yet another streaming show. What EPICA unleashed upon the world on Saturday, June 12th, 2021, was a monument to their music, their career, and their enduring legacy as forebears of a whole genre. Now finally being released on Blu-ray and DVD and various audio formats, “Ωmega Alive” is the EPICA show of your wildest dreams, brought to life by blood, sweat, tears and a healthy dose of megalomania. Think Marvel meeting Cirque de Soleil in a Tim Burton universe.

Celebrating the release of their gargantuan new opus magnum, „Ωmega“, the streaming event saw fans from over a 100 countries flock to the screens to witness a show that has proven to be the defining moment in EPICA‘s concert history. A show that’s nothing short of the band’s most explosive performance to date, brought to life with an enormous production on an ever-evolving stage setting that’s full of visual surprises. For the first time ever, EPICA performed songs like ‘The Skeleton Key’ or the insanely monumental “Kingdom of Heaven Part 3” from “Ωmega”, alongside the band’s most popular songs, rare songs, fan favorites and huge surprises. “What started as a basic idea to do an online release show for “Ωmega” quickly spiraled out of control and became our most ambitious project to date,” creative director and keyboard wizard Coen Janssen says. “As usual, we wanted to push the boundaries, explore the limits, and think outside the box. We found ourselves back in our happy place. This concert film, our ray of light for you in the dark times that we have all been living in.”

For half a year, the band worked tirelessly on a show that’s been setting a new standard for concert films and streaming events. “What we wanted to do was the ultimate EPICA show where we could fulfill every dream we ever had, where there was room for all the ideas, effects and props that are just too big to be taken on tour.” Far from your usual streaming concert, the band developed a trademark feature called a “living backdrop.” Coen explains: “We built another stage right behind our stage where lots of things were going on the whole time. And we meant that very literally,” he laughs. “Every song got something extra, something unique that was fitting its world.”

He can say that again: Elaborate visuals, tailor-made videos and graphic effects, fire, and flames on a Nibelungen level, dancers and actors, artistic performances or fire performers all add to the aura of symbolism and cinematic splendor, setting the stage for a band that can’t be happier to finally bring their new album to life, harmonizing wonderfully and giving their A game for a show to remember. “It was so great finally playing with the band again, actually standing on stage with them. Boy, did we miss this,” Coen emphasizes and adds: “We also built a pretty cool new stage with some fire-breathing snakes and lots of rotating elements. Good thing is, we might also take it on the road when we can finally tour again.”

Until then, “Ωmega Alive” will be a more than efficient remedy against no-concerteritis – for bands, fans, and crew alike who all look back on an extra-long dry spell. Divided into five acts as there are letters in EPICA and “Ωmega”, each part gets a different theme, look, and feel, complemented with references to the history of EPICA, the symbolism of the band and the videos they did. It’s, in short, the best show they ever did, a two-hour spectacle spanning their storied career up to their latest endeavors and graced by Simone Simons’ breathtaking a-cappella rendition of ‘Rivers’ from “Ωmega” complete with choir, easily the most emotional and achingly beautiful moment in their entire career. Frankly, you don’t see this on a normal tour.

What EPICA brought to life here with the help of 75 artists and crew members is a testimony to their burning will to take their band ever higher – even now, in the darkest of times we ever had to endure. Let “Ωmega Alive” be your ray of light as it was theirs, a journey into the heart, body and soul of one of the most passionate and visionary metal bands alive today.

Nach dem immensen Erfolg des ersten Live Albums von CAN (Live in Stuttgart 1975) aus dem Mai 2021 wird die Reihe nun am 3. Dezember 2021 fortgesetzt mit der Veröffentlichung von CAN Live in Brighton 1975 als schicke 3LP auf goldfarbenem Vinyl und als Doppel-CD jeweils im Klappcover mit umfangreichem Booklet.

Can Live in Brighton 1975 ist ein neuer Einblick in CANs einzigartige Live-Performance und auf dieser speziellen Veröffentlichung, die sich über sieben Abschnitte erstreckt, werden die Hörer eingeladen, sich ihrer interstellaren Reise anzuschließen: von einem seltenen und eindrucksvollen Gesangseinlage von Michael Karoli auf Brighton 75 Drei bis hin zu Jaki Liebezeits unglaublichem Drum-Lead, der durch einen Nebel von Publikumslärm auftaucht, um auf Brighton 75 Vier im Mittelpunkt zu stehen, bevor der letzte Track uns in einem unglaublichen Vitamin C - Jam entführt. Die Sleeve Notes für die Veröffentlichung wurden von Can-Biograf, Autor und Herausgeber Rob Young und dem britischen Journalisten Kris Needs geschrieben. Letzterer war zwischen 1973-1977 an mehreren Live-Can-Shows im Friars Club in Aylesbury beteiligt und seine Beschreibung einer dieser Auftritte lautet: 'Like a delirious astral roller coaster, launch-pad a distant speck within minutes as fleeting melodies, vocal lines or rhythms… loomed like iridescent ghosts then evaporated as the spirit took them somewhere else.'
Die Can Live-Serie bündelt das Beste aus den Bootlegger-Aufnahmen. Unter der Aufsicht von Gründungsmitglied Irmin Schmidt und Produzent / Ingenieur Rene Tinner wurden sie mit der Technologie des 21. Jahrhunderts verfeinert, um diese wichtigen historischen Dokumente in den bestmöglichen Qualitätsversionen zu bringen. In den späten 60er Jahren gegründet und etwas mehr als ein Jahrzehnt später aufgelöst, hat CANs beispiellose und kühne Verbindung von hypnotischen Grooves und avantgardistischen Instrumentaltexturen sie zu einer der wichtigsten und innovativsten Bands aller Zeiten gemacht, und diese Alben zeigen eine völlig andere Perspektive der Band. Sie hören vielleicht vertraute Themen, Riffs und Motive, die durch diese Jams auftauchen und plätschern, aber sie sind oft flüchtig erkannte Gesichter in einer wirbelnden Menge. An anderen Stellen werden Sie Musik hören, die es nicht in den offiziellen Albumkanon geschafft hat. In diesen Aufnahmen können Can in noch extremere Bereiche gehen als mit ihrer Studioarbeit: von sanftem Ambient-Drift-Rock bis zu den White-Dwarf-Sonic-Meltdown-Momenten, die sie "Godzillas" nannten. Und selbst wenn sie sich anpassen und dem Rhythmus von Minute zu Minute nachjagen, können Sie die außergewöhnliche musikalische Telepathie hören, die ihre Mitglieder teilten.

Geese are a band that begins and ends in Brooklyn, as a
project between friends to build a home studio out of a
basement.
 Their debut album, ‘Projector’ (from which this single is
taken), is born from the same ambition: make music by
any means necessary. The songs were recorded with
sneakers as mic stands and blankets draped over the
amps, all within the afternoon following a school day, up
until they ran the risk of noise complaints.
 As a result, ‘Projector’ is as much a moment in time as it is
an album. It represents five teenagers whose love of
music touches every part of their lives: their restless
anxiety about their futures, and their pent-up frustration
with their present - a perspective all too familiar in today’s
uncertain world. Perhaps then it only makes sense that the
figure on the album cover was born from a dream:
curiously alien, yet strangely familiar.
 Creative direction by Matt De Jong and Jamie JamesMedina (Fontaines D.C., Arlo Parks, Mura Masa, FKA
Twigs).
 Two sold out London shows at The Windmill and The
Sebright Arms. First time ever playing in the UK.
 7” features ‘Low Era’ on the A side and a never before
heard bonus track called ‘Smoke In Japan’ on the B side.

Geese are a band that begins and ends in Brooklyn, as a
project between friends to build a home studio out of a
basement.
 Their debut album, ‘Projector’ is born from the same
ambition: make music by any means necessary. The
songs were recorded with sneakers as mic stands and
blankets draped over the amps, all within the afternoon
following a school day, up until they ran the risk of noise
complaints.
 As a result, ‘Projector’ is as much a moment in time as it is
an album. It represents five teenagers whose love of
music touches every part of their lives: their restless
anxiety about their futures, and their pent-up frustration
with their present - a perspective all too familiar in today’s
uncertain world. Perhaps then it only makes sense that the
figure on the album cover was born from a dream:
curiously alien, yet strangely familiar.
 Creative direction by Matt De Jong and Jamie JamesMedina (Fontaines D.C., Arlo Parks, Mura Masa, FKA
Twigs).
 Two sold out London shows at The Windmill and The
Sebright Arms. First time ever playing in the UK

Geese are a band that begins and ends in Brooklyn, as a
project between friends to build a home studio out of a
basement.
 Their debut album, ‘Projector’ is born from the same
ambition: make music by any means necessary. The
songs were recorded with sneakers as mic stands and
blankets draped over the amps, all within the afternoon
following a school day, up until they ran the risk of noise
complaints.
 As a result, ‘Projector’ is as much a moment in time as it is
an album. It represents five teenagers whose love of
music touches every part of their lives: their restless
anxiety about their futures, and their pent-up frustration
with their present - a perspective all too familiar in today’s
uncertain world. Perhaps then it only makes sense that the
figure on the album cover was born from a dream:
curiously alien, yet strangely familiar.
 Creative direction by Matt De Jong and Jamie JamesMedina (Fontaines D.C., Arlo Parks, Mura Masa, FKA
Twigs).
 Two sold out London shows at The Windmill and The
Sebright Arms. First time ever playing in the UK

Capping off a busy year as producer, DJ and label owner, Rory Hamilton provides a quick follow up to October's ‘Think About Me’ EP with the third release on his Italo Hiits imprint.

Once again arriving on coloured 10” vinyl, ’Strangeness’ takes the label's twisted disco sound into new territories that draws on both the genre’s darker hedonistic side and its more nostalgic leanings. The two-tracker will arrive on opaque green 10” vinyl & digital formats in November 2021.

Renowned Finnish jazz innovator and band leader Iro Haarla takes a detour towards progressive rock Iro Haarla Electric Ensemble to release their debut album in October Known for her large number of works in the field of acoustic free jazz, Iro Haarla is a notable Finnish pianist, composer, arranger and band leader. Now, having inked a deal with Finnish cult label Svart Records, Haarla takes an eye-opening sidestep towards progressive rock. Her new band consisting of renowned Finnish musicians, Iro Haarla Electric Ensemble weaves a vastly colourful world of sound around Haarla’s peculiar melodies, and welcomes us to new sonic territory: a vibrant world where black music influenced rhythms, acoustic instruments, analog synthesizers and spacelike, valiant electric guitars converge. In her long career as one of the most distinctive creative powers in modern scandinavian jazz, Haarla’s history includes both the works with her past life partner Edward Vesala (d. 1999) and an extensive repertoire of her own innovative solo works, recorded for the renowned ECM Records. For What Will We Leave Behind - Images from Planet Earth Haarla has put together a band whose musical expression is strong and profound. The rhythm of the music lies in the dynamic hands of bass player Ulf Krokfors and drummer Aniida Vesala, and together with Sami Sippola’s (Hot Heroes) responsive tenor saxophone and Finnish rock legend Jukka Orma’s (Sielun Veljet) imaginative ability to dive into new dimensions with his electric guitar, What Will We Leave Behind grows into an unforgettable experience for both prog rock and jazz enthusiasts. Out on the 29th of October 2021, the Iro Haarla Electric Ensemble debut is a homage to nature - our common planet and home. Inspired by nature, the album is also a cry for help in the age of natural disasters and depletion of natural resources around us. “I admire nature’s grand beauty, which arises from extreme phenomena and the battle for survival. The thread of life is unbroken”, Haarla says. Each album track portrays a place on Earth: between the humane opening track The Song We Loaned From Our Children and the hopeful closing track What Will We Leave Behind? vibrates a variety of soundscapes from lakesides, oceans, glaciers and rainforests, all the way to the winds and rumbles of mountains and man-made cities. Adding even more depth to the musical themes and landscapes, the album’s cover art was picked up from environmental art pioneer Teuri Haarla’s photo collection.