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Reissue of both EPs on one single vinyl: "Ruiner." on side A, "Clean." on side B. * Gatefold: cover of "Ruiner" is on the front, cover of "Clean" is on the back. Since their inception in 2010, Whores. has laid waste to both presumption and audial functioning. Beginning with 2011's Ruiner EP, Whores.brought a welcomed new vision to the often-tired "extreme music" scene. Two years later saw the release of the Clean. EP, a six-track musical display of visceral rancor and songwriting brilliance. Highly anticipated by critics and fans alike. For Whores.,the cavalcade of anticipation provides no pressure or expectation as Lembach states: "We don't just want to fill in the blanks." The only pressure here is to maintain authenticity, and to that end, Whores. are the quintessential example of genuine malice. "You have to bring a sense of realness to the music, otherwise it's fake, and it sounds fake. You have to be honest about it, and it's about getting to the really ugly stuff inside of you, and that's what we do." Classic black vinyl, pn: split cover that is the main product image here is just a mockup (original front showing the Ruiner.cover art)

Kindred Spirits is a covers album by American Roots Rock Band Larkin Poe. Featuring covers of songs by Lenny Kravitz, Neil Young, Phil Collins and Elvis Prestley to name a few. Originally released in 2020.

TOTEMIC MODULATIONS, UNEARTHED FROM WIND AND WORDS

“The album Chênes mainly brings together songs. These songs are narratives of scenes that unfold in the forest, or in the city but with animal and plant protagonists. One song also tells the story of a solitary walk in the mountains. They are like zoomed-in snapshots of the world of insects, amphibians, birds, and mammals. They are also celebrations of growing life, and the pleasure and joy it brings.

Composed over the course of about two or three years, it was a deliberate choice to bring them together for this album, even though they were not initially connected to one another. One of them is an exception and is more of a collection of vocalizations and cries without actual words, composed in a language incomprehensible to humans because it is nonverbal.

This collection of imitated chants and sung songs had to be illustrated by the collages of my friend Fen. Even though the stories describe real species and elements, they are indeed imagined tales. Her collages are, too. There’s also the violin that adds a wandering touch to the pieces, and other instruments that shape the environment and setting of these stories. Bells, bird calls, whistles, flutes, jaw harp, harmonica — all imitate more or less imaginary species. Each has its role and its life, down to the horsehair of the bow that rubs the strings of my violin to bring forth the sound.

Chênes is a title that pays homage to trees I love so much, though without preference over others. They have embodied several giants that I’ve often come across, greeted, and embraced” ~ Roxane Métayer

A faithful police dog and his human police officer owner are injured together on the job, triggering a harebrained but life-saving surgery that fuses the two of them together,

and Dog Man is born. DreamWorks Animation’s adaptation of Dav Pilkey’s New York Times bestselling literary phenomenon is directed by Emmy winner Peter Hastings

(The Epic Tales of Captain Underpants, Kung Fu Panda: Legends of Awesomeness), and stars the voice talents of Pete Davidson, Lil Rel Howery, Isla Fisher, Poppy Liu,

Emmy nominee Stephen Root, Billy Boyd and Emmy and Golden Globe winner Ricky Gervais.



Dog Man composer Tom Howe has scored over 100 projects for film and television, including Ted Lasso, Shrinking, Daisy Jones and the Six, and The Great British Bake-Off.

“Because Dog Man doesn’t talk and I wanted to capture his high energy, I incorporated hand-clapping percussion, vocal layering of dog pants and mouth trumpets.

I recorded all of these mad mouth sounds myself in the studio. And as a contrast to Dog Man, the police chief and action cues are accompanied by wah-wah guitars, sax and afro flute.

It’s like Bullet meets Shaft, blending elements of Lalo Schifrin and Isaac Hayes. This thread of classic ̛60s and ̓70s crime thrillers is woven throughout the score.” Tom Howe

((( O ))) is unveiling her highly anticipated fifth studio album, ((( 5 ))), marking the latest milestone in her visionary series of releases. Continuing her tradition of fusing music with the rhythms of the universe, she has introduced the concept of 'MoondropDISABLEDs,' which are individual pieces of audio-visual art released every full moon. These 'MoondropDISABLEDs' are then compiled into an annual collection called 'Sundrops,' released on her birthday. ((( 5 ))) represents the fifth installment in this series, offering a mesmerizing blend of genres and sonic landscapes that reflect ((( O )))'s deep connection with nature and the cosmos. Each track is crafted to resonate with the energies of the lunar cycle during which it was created, offering listeners an otherworldly experience. Looking ahead, ((( O ))) aims to complete a full collection of 12 'Sundrops' by the year 2032, creating an unparalleled anthology of art that spans a decade and encapsulates the cycles of the moon. Her work continues to inspire a global audience with its innovative blend of music, visual art, and spiritual exploration.
In the words of ((( O ))): “Each 'Sundrop' is a reflection of my journey through life, intimately connected with the rhythms of nature. With ((( 5 ))) being my first fully-produced album, I invite listeners to join me in sitting with the moments in between, with the simplicity of instrumentals from sounds that I used from my journeys living in the Philippines, celebrating the beauty and power of our cosmic connection. I needed it to create space versus taking up more space in an already overwhelming world we live in now.

Has it really been seven years since the last The Number Ones record? Luckily for all the pop pickers in the world they are back with a two track 7", their first with new bassist Pete O'Hanlon. Both tracks have everything you’d want from The Number Ones - joyous and uptempo songs with hooks galore that get stuck in your head after one play.
’Sorry’ lasts just over two minutes and is a stonewall classic. It’s like a prime Buzzcocks 1979 7” single mixed with a rawer production from any number of the Good Vibrations label or Rip Off Records releases. The flip ‘Blind Spot’ (complete with a guest appearance from Al and Amy from Terry) has a more 60’s edge but still with the classic power pop sound you’d expect and love. This band should be a household name.

Micke & Lefty feat Chef - Live On Air - Live On Airis a double live album from
Micke & Lefty feat Chef, recorded in collaboration with Deutschlandfunk radio
- Volume One, a studio live session for DLF Radio's On Stageprogram, was
recorded during the 2020 pandemic - Volume Two captures a dynamic 2023
performance at the Blues Baltica Festival in Eutin, Germany
This double live album captures the trio's electrifying and intimate performances,
showcasing their mastery of acoustic blues. Featuring 25 tracks, including originals
and blues classics, from the band's live repertoire over the years. The album also
celebrates the trio's 25th anniversary."Reaching this milestone is incredible, specially
when this all started as a spin off of my main band. We wanted to share these
recordings as a tribute to our long journey and audience. This live album is a real deal,
raw performance as live as it can be with no overdubs" says Bjorklof."Original! Lively!
Entertaining! The trio's performance is as unique as it is high-quality. Bjorklof stomps
on an old suitcase instead of a bass drum, Lefty Leppanen wields his vintage guitar
with effortless mastery, and Mr. Chef's semi-acoustic bass adds depth. This Finnish
acoustic blues is dynamic, original, and captivating." - Deutschlandfunk
RadioReflecting on this dual release, Bjorklof states: "Blues has always been my
foundation, but I've explored it's many shades over the years. WithOuttakesandLive On
Air, I want to celebrate both the electric and acoustic sides of my musical journey. I
couldn't think of a better way to markmy 60th birthday than by sharing these two very
special albums with our fans

LP in printed inner sleeve. With De Wonderen, Donder returns once again to the essence of the trio. The result is a chaotic blend of abstract and melodic work featuring both solos, duos and trios, two covers of pop songs and some occasional whistling and Norwegian lyrics.



The album was recorded on a slow summer day in July 2023 in the old theatre hall of KC Nona in Mechelen. Besides the room's lively acoustics and the conscious choice for an upright piano, the recording is characterised by the usual unorthodox playing techniques and carefully documented imperfections.
In contrast to their previous record Het Verdriet, which emerged from a research project on Flemish (folk) music history, this time the premise was to compose and collect new material without any concepts or limitations. The result is a chaotic blend of abstract and melodic work featuring both solos, duos and trios, two covers of pop songs and some occasional whistling and Norwegian lyrics.

De Wonderen is a testament to the beauty found in the small wonders of everyday life. As Guy Peters writes in the liner notes: «With this album that bubbles with percussive ideas and unpredictable contrasts, you are once again reminded that beauty is more striking when you have to wait for it, or find it in unusual places."

Het Mierenlied and Vader Ademt were released as singles with accompanying video's by respectively 3D and motion designer Robbe Callewaert and visual artist and ceramist Juliette Pons. The full album will be released on W.E.R.F.-records November 22nd, on LP and digital platforms. The artwork was designed by Jelle Martens with photography by drummer Casper Van De Velde.

Casper Van De Velde - drums, percussion
Harrison Steingueldoir - piano
Stan Callewaert - double bass, percussion, voice

All tracks by Donder except for All I Want For Now (Genevieve Artadi) and Oh My Love (John Lennon and Yoko Ono)

Heady house label Courtesy Of Balance only releases music that you know will stand the test of time. It is informed by the classic schools of deepness but always with a modern touch and unique character, and next to carry that torch is Ostrich aka Nadir Agha. He's in charge of curation at Montreal's legendary Stereo Club and shows his class here with opener 'Snake Charmer' which is built on a dynamic groove foundation and embellished with wispy pads that take your mind on a wander. 'Promiscuous' is heavy, dubby house stripped back to the core essentials and perfectly executed. 'Buttered Up' is a little more mobile but embellished with nothing chords and smoky vocal soul and 'Broken Science' closes with a brilliant broken beat flourish that is full of jazzy invention.

Canadian bowed guitarist and multi-instrumentalist C. Diab announces his fifth album Imerro, out February 16th, and presents the trip-infused lead single 'Lunar Barge'.

(Real name) Caton Diab creates soundscapes that evoke the spectacular wilderness of his childhood home in northern Vancouver Island. Incorporating experimental textures, folk overtones and tape manipulations, C. Diab uniquely finds the unseen spaces in-between, and fittingly dubs his creations "post-classical grunge". Imerro explores new sonic realms and is the culmination of a sound world that Diab has built up since the critically acclaimed 'No Perfect Wave' (2016, Injazero) and subsequent releases 'Exit Rumination' (2018), 'White Whale' (2020) and 'In Love & Fracture' (2021). The Wire calls it "ambient music in the best sense - music for living, which can be both non-invasive and immersive...epic"

Imerro was recorded in late July and August of 2021 at Risque Disque Studio in Cedar, BC, during the summer's unprecedented second "heat dome", which saw temperatures soaring to over 40 degrees. Recorded with regular collaborator and engineer Jonathan Paul Stewart, the pair journeyed by boat to the studio to a place with minimal distraction with a plan of "simple ecstatic improvisation." Diab explains: "I wanted to place myself in a space for creation with little thematic pretence, with the belief that music 'shows its face' as you move along. I would pick up an instrument, whether I had experience playing it or not, and make a sound. If it wanted to be played, it would play."

Ezra Feinberg's third album Soft Power sees the composer-guitarist enlist an impressive array of fellow musicians including Mary Lattimore, David Moore (Bing & Ruth), Jefre Cantu-Ledesma, Robbie Lee and share the life affirming lead single 'Future Sand'.

Defined by its abundance of melodies, repeating figures and ecstatic improvisations, Soft Power exudes an enlightened and transformative spirit to empower the listener. Feinberg, a practising psychoanalyst and former founding member of the San Francisco psychedelic collective Citay (Dead Oceans / Important Records) resides in the artistic enclave of upstate New York's Hudson River valley. Initial recordings emerged in the late summer of 2020, before added synthesis with collaborator John Thayer (Arp, Sunwatchers) during early 2021. Soft Power follows previous albums 'Recumbent Speech' (2020) and 'Pentimento and Others' (2018).

Feinberg artfully transcends the listener to an enriched place, his compositions distinguished by the deep humanity that lies at their core, plugging the listener into a state of wide eyed being, open and alive. Soft Power then is Ezra's own mantra but also one of power giving - a colourful catharsis translated into music.

Feinberg's music always speaks to the listener, but Soft Power, in whispering, speaks loudest.

"Much like everyday life, I wanted to convey these very plain, simple, tranquil, nearly quotidian aspects, but each piece contains this arc in which that form expands, is broken out of, so what starts out like a painting of flowers in a seaside motel turns into a riot of color and sound, or you feel slipped into a dream that feels like it could go on forever"

I’m Sad as Hell and I’m Not Going to Fake It Anymore is the best, sharpest, briefest, and fourth record from Paper Castles, the band fronted by Jericho, Vermont’s Paddy Reagan. In one way, it’s a simple and modest collection of nine fuzzy guitar-led pop songs. The title, a play on the iconic scene from Network (written by Paddy Chayefsky), can be clocked as nothing more than that at first glance, playful. But like the music behind it, Reagan thinks you can sit with the title if you want.

I'm Sad as Hell... was tracked by Benny Yurco (Michael Nau, Lily Seabird, Robber Robber) in a little over eight hours across two days, a testament to the quartet’s perfection of these songs on stage, and to Yurco’s comfortable Little Jamaica Recordings in Burlington.

Tompkins and Mangan lock into a wonderful foundation for Kitz’s lolling guitar lines on “Clean + Organized,” while on “Avalon,” the band sings harmony for the most ironic line in the waltz (“We don’t really want company”) before their instruments explode into technicolor. “Lying Here” showcases PC deftly navigating washed out verses and tight knit, twangy choruses, all in a tidy, under-three minute package.

Lyrically, Reagan is at his finest: playful and savage, biting and beautiful. Double entendres and clever wordplay abound—a line like “it's not the ideals but the high heels that’ll make you a man” from “Modern Myth” will make you wish John Prine was still around to hear it. On “Name Changer,” when Reagan sings “I’ll never change my name again / Got a real good handle and I don’t want to give it in,” what kind of “handle” is he referring to? I’d like to think Elvis Costello would smile at most lines in the Attractions rave-up “Content Creator.”

When we last heard from Bay Area producer DEAD PERRY, he was riding high on the critical success of "The Art Of Re-Animation" album. That album was a re-imagining of legendary Hieroglyphics crew emcee Casual's work from his "Big Head Science" album.

However on the forthcoming "Acoustic Shadows" album, as the title implies things get a bit dark. As he relays "when I made (The Art Of Reanimation) with Cas, I wanted to cater to the specific sound that Hieroglyphics has, but put my spin on it without making it too dark (though there are a couple of dark gems sprinkled throughout). I knew that my next album was going to be a solo LP and I wanted it to be something special. Dark and grimy has always been my style of beat making so I wanted to showcase that with this record."

However, the title also has a double meaning to the producer. "The term Acoustic Shadows comes from a Civil War phenomenon that refers to a sonic blind spot. Due to geographical obstructions disrupting sound waves you could think you are a great distance from the battlefield while you could already be in it. It also refers to my style keeping to the shadows and out of the limelight, when I only appear in photos wearing a mask, it's not because I'm on that post MF Doom craze, it's because I came from graffiti and graffiti artists let their art be their only face to the public."

That style is showcased throughout the forthcoming album, including his choice of collaborators include Casual, Daniel Son, Estee Nack, Al Divino, Raz Fresco, Ill Bill, Goretex, Hus Kingpin, Crimeapple, Planet Asia, Da Flyy Hooligan, Izrell, P-Dirt, J-Spliff and cuts from DJ Eclipse. Concepts also lent itself to the grime including the John Carpenter-esque synth laden "Call Me Snake" track, which inadvertently inspired the emcees. As DEAD PERRY relates "I give the beats a place-holder title until the track is done so this one was 'Die Kurt Russ.' P-Dirt chose to create the concept off the beat title. Crafting that song was a fun experience." It also has a full circle moment as DEAD PERRY and Casual expand their "White Crown" single from their previous project on this release enlisting Planet Asia to drop an additional Afro-Centric verse.

When we last heard from Bay Area producer DEAD PERRY, he was riding high on the critical success of "The Art Of Re-Animation" album. That album was a re-imagining of legendary Hieroglyphics crew emcee Casual's work from his "Big Head Science" album.

However on the forthcoming "Acoustic Shadows" album, as the title implies things get a bit dark. As he relays "when I made (The Art Of Reanimation) with Cas, I wanted to cater to the specific sound that Hieroglyphics has, but put my spin on it without making it too dark (though there are a couple of dark gems sprinkled throughout). I knew that my next album was going to be a solo LP and I wanted it to be something special. Dark and grimy has always been my style of beat making so I wanted to showcase that with this record."

However, the title also has a double meaning to the producer. "The term Acoustic Shadows comes from a Civil War phenomenon that refers to a sonic blind spot. Due to geographical obstructions disrupting sound waves you could think you are a great distance from the battlefield while you could already be in it. It also refers to my style keeping to the shadows and out of the limelight, when I only appear in photos wearing a mask, it's not because I'm on that post MF Doom craze, it's because I came from graffiti and graffiti artists let their art be their only face to the public."

That style is showcased throughout the forthcoming album, including his choice of collaborators include Casual, Daniel Son, Estee Nack, Al Divino, Raz Fresco, Ill Bill, Goretex, Hus Kingpin, Crimeapple, Planet Asia, Da Flyy Hooligan, Izrell, P-Dirt, J-Spliff and cuts from DJ Eclipse. Concepts also lent itself to the grime including the John Carpenter-esque synth laden "Call Me Snake" track, which inadvertently inspired the emcees. As DEAD PERRY relates "I give the beats a place-holder title until the track is done so this one was 'Die Kurt Russ.' P-Dirt chose to create the concept off the beat title. Crafting that song was a fun experience." It also has a full circle moment as DEAD PERRY and Casual expand their "White Crown" single from their previous project on this release enlisting Planet Asia to drop an additional Afro-Centric verse.

When we last heard from Bay Area producer DEAD PERRY, he was riding high on the critical success of "The Art Of Re-Animation" album. That album was a re-imagining of legendary Hieroglyphics crew emcee Casual's work from his "Big Head Science" album.

However on the forthcoming "Acoustic Shadows" album, as the title implies things get a bit dark. As he relays "when I made (The Art Of Reanimation) with Cas, I wanted to cater to the specific sound that Hieroglyphics has, but put my spin on it without making it too dark (though there are a couple of dark gems sprinkled throughout). I knew that my next album was going to be a solo LP and I wanted it to be something special. Dark and grimy has always been my style of beat making so I wanted to showcase that with this record."

However, the title also has a double meaning to the producer. "The term Acoustic Shadows comes from a Civil War phenomenon that refers to a sonic blind spot. Due to geographical obstructions disrupting sound waves you could think you are a great distance from the battlefield while you could already be in it. It also refers to my style keeping to the shadows and out of the limelight, when I only appear in photos wearing a mask, it's not because I'm on that post MF Doom craze, it's because I came from graffiti and graffiti artists let their art be their only face to the public."

That style is showcased throughout the forthcoming album, including his choice of collaborators include Casual, Daniel Son, Estee Nack, Al Divino, Raz Fresco, Ill Bill, Goretex, Hus Kingpin, Crimeapple, Planet Asia, Da Flyy Hooligan, Izrell, P-Dirt, J-Spliff and cuts from DJ Eclipse. Concepts also lent itself to the grime including the John Carpenter-esque synth laden "Call Me Snake" track, which inadvertently inspired the emcees. As DEAD PERRY relates "I give the beats a place-holder title until the track is done so this one was 'Die Kurt Russ.' P-Dirt chose to create the concept off the beat title. Crafting that song was a fun experience." It also has a full circle moment as DEAD PERRY and Casual expand their "White Crown" single from their previous project on this release enlisting Planet Asia to drop an additional Afro-Centric verse.

En pakt med naturen is Tusmorke's first ever live album, recorded live at Oslo's biggest independent record store Big Dipper, as part of their 25th anniversary celebration last October. "We knew we had to do something special with Tusmorke. Benediktator and Krizla have since the early 2000s been building their record collections and releasing their own music simultaneously. We like to think the records we sold them in our store somewhat influenced their musical output, at least we know that the albums they released had a huge impact on us!" (Andreas Leine Jakobsen, Gerenal Manager, Big Dipper Musikk & Hi-Fi "Is this Folk Horror? Silly question, perhaps, but we need you to mutter certain phrases while listening: Bucoloc, acoustic, ancient, uncanny; acid, pagan, peasant, occult; wildness, wilderness, wildestness, Wicker Man. Ever since the start of Tusmorke, we've wanted to make an acoustic album. In Skien, Telemark in the 90s, we wanted to record in an ancient loghouse with an open hearth (årestue) in the local folk museum Brekkeparken. Years passed and line-ups changed. Then, when we supported Ved Buens Ende at Blå in the Autumn of 2021, we were joined by Åsa and Dauinghorn. They played some of the arrangements that we finally managed to record here, after several attempts to find a suitable time and place to make it happen. Again, time had passed and line-ups had changed, but the spirit of Folk Horror remained. We ask you to close your eyes and picture yourself in a windowless low dwelling, open to the sky through a hole in the roof. Acrid smoke curls upward and occasional sparks fly from the smoldering fire. Music wafts through the gloom in this serene scene of timeless primitivism. There is no electricity. There are no synthesizers. I won't even mention digital things, because they don't exist. There is only Folk Horror and you are in League with Nature." (Benediktator)

Originally released in 1969, the concept for Dusty In Memphis was to take England's reigning female soul queen to the home of the music which had inspired her. Produced by Atlantic's Jerry Wexler and Arif Mardin and engineered by Tom Dowd, the record's highlights include "Son Of A Preacher Man," "So Much Love," "Breakfast In Bed," "Just One Smile," "I Don't Want To Hear It Anymore" and "Just A Little Lovin'".

Springfield is backed by a crack band that had previously worked with Aretha Franklin, Wilson Pickett, King Curtis and Elvis Presley among others. The musicians — collectively known as the Memphis Cats — include guitarist Reggie Young, bassist Tommy Cogbill, drummer Gene Chrismann, pianist Bobby Wood and Bobby Emmons on organ and electric piano. Songwriting contributions came from, among others, Randy Newman, Carole King, Gerry Goffin, Barry Mann and Cynthia Weil. Dusty Springfield is one of the finest white soul singers of her era, and this is the undisputed proof.

Analogue Production's reissue here is perfection. Mastered by Kevin Gray from the original analog master tape. Double LP cut at 45 RPM, pressed on 180-gram vinyl at Quality Record Pressings, and housed in a Stoughton Printing tip-on old style gatefold jacket.

Das Debütalbum des britischen DJs, Produzenten und Multiinstrumentalisten Lawrence Hart.

Harts Stil verbindet seine technisch versierten Fähigkeiten mit emotionalen Vibes und Dancefloor-Treibstoff und schafft so einen Sound, der sowohl für den Club als auch für das Eintauchen in die eigenen vier Wände geeignet ist. Das 12-Track-Album ist emotional ein Garagenalbum, euphorisch und therapeutisch. Es ist eine Reise durch cineastische Melancholie, schwebende Synthies und Momente der Zerbrechlichkeit, gespickt mit Sprachsamples. Tech-Wizard Lawrence Hart, der allein schon durch seinen Großvater, den berühmten Computerpionier Geoff Tootill, eine wissenschaftliche DNA hat, wurde schon als Kind zum klassischen Musiker ausgebildet. Bereits mit 15 Jahren sprach er an einigen der renommiertesten Musikschulen New Yorks vor und studierte dann Jazztrompete am SUNY Purchase College bei berühmten VertreterInnen des Fachs. Er spielte an der Seite von Größen wie Bob Mover (einem ehemaligen Kollegen von Charlie Mingus und Chet Baker) auf den Bühnen der Jazzclubs New Yorks. Bald entdeckte Hart die elektronische Musik und das Clubbing für sich.Seine Fähigkeiten als Produzent entwickelte er während der Zusammenarbeit mit dem Double Six/Domino-Künstler George FitzGerald, mit dem ihn eine langjährige musikalische Beziehung verbindet. Bis heute hat Hart Solo-Singles, EPs und Remixe auf Hotflush, Attack Decay Sweet Release, LG105 und seinem eigenen Label SSEM veröffentlicht.

For The First Time On Vinyl!

Slime Season is the seventh self-released mixtape by American rapper Young Thug, released on September 16, 2015. It features production from a range of artists, including London on da Track, Metro Boomin, Ricky Racks, Wheezy, and WondaGurl, and guest appearances from Migos, Gucci Mane, Peewee Longway, and Lil Wayne.