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A retrospective double LP compilation of the work of dutch producer Aad De Mooy. Specifically focusing on the first half of the 90's with his aliases as Interface, Time Warp and Paradise 3001 on ESP Records. This compilation attempts to encapsulate and expose the masterful prowess of Aad's work as a producer with a focus on maximum dancefloor efficiency. This double LP consists of 10 tracks ranging from downtempo acidic breaky chuggers to full on floor activators channeling tribal and early progressive trance inducing elements perfectly arranged in highly effective compositions. Can't go wrong – all killer no filler is all one can say about Aad's meticulous productions. Compiled by Castro & Nemo and re-mastered for vinyl at manmade mastering.

"Seven years after the release of their last album “Eternal”, Stratovarius once more prove their status as symphonic metal flagship and come back with a big bang.

Not only musically the band is once more at the pulse of time. The environment and humanity’s future has always been an important and reoccurring theme in Stratovarius’ music and so the title of the new album “Survive” as well as the accompanying artwork doesn’t surprise - especially in the view of the current global situation.
The new album brings a total number of 11 brand new tracks"

"Seven years after the release of their last album “Eternal”, Stratovarius once more prove their status as symphonic metal flagship and come back with a big bang.

Not only musically the band is once more at the pulse of time. The environment and humanity’s future has always been an important and reoccurring theme in Stratovarius’ music and so the title of the new album “Survive” as well as the accompanying artwork doesn’t surprise - especially in the view of the current global situation.
The new album brings a total number of 11 brand new tracks"

"Seven years after the release of their last album “Eternal”, Stratovarius once more prove their status as symphonic metal flagship and come back with a big bang.

Not only musically the band is once more at the pulse of time. The environment and humanity’s future has always been an important and reoccurring theme in Stratovarius’ music and so the title of the new album “Survive” as well as the accompanying artwork doesn’t surprise - especially in the view of the current global situation.
The new album brings a total number of 11 brand new tracks"

"Seven years after the release of their last album “Eternal”, Stratovarius once more prove their status as symphonic metal flagship and come back with a big bang.

Not only musically the band is once more at the pulse of time. The environment and humanity’s future has always been an important and reoccurring theme in Stratovarius’ music and so the title of the new album “Survive” as well as the accompanying artwork doesn’t surprise - especially in the view of the current global situation.
The new album brings a total number of 11 brand new tracks"

Originally released in 1995, this reissue edition is becoming available as
180g Double 12" Black Vinyl LP, along with a Limited Collector's Edition
on Heavyweight Red Double Vinyl
Both editions are mastered for vinyl, reissued with the original cover design,
specially enhanced artwork, including a 16-pages LP booklet with extensive liner
notes by Clay Marshall and carry an exclusive, previously unreleased live bonustrack. Exclusive to the Limited Collector's Edition is a 1996 European Tour Poster
Replica.
LP Red LP Tracks: Overture / Sarajevo / This Is The Time (1990) / I Am /
Starlight / Doesn't Matter Anyway / This Isn't What We Meant / Mozart And
Madness / Memory (Dead Winter Dead Intro) / Dead Winter Dead / One Child /
Christmas Eve (Sarajevo 12/14) / Not What You See / The Storm - This Is The
Time (Live in Neu Isenburg 1997) (Bonus Track)
LP Tracks: Overture / Sarajevo / This Is The Time (1990) / I Am / Starlight /
Doesn't Matter Anyway / This Isn't What We Meant / Mozart And Madness /
Memory (Dead Winter Dead Intro) / Dead Winter Dead / One Child / Christmas
Eve (Sarajevo 12/14) / Not What You See / The Storm - This Is The Time (Live in
Neu Isenburg 1997) (Bonus Track)

Originally released in 1995, this reissue edition is becoming available as
180g Double 12" Black Vinyl LP, along with a Limited Collector's Edition
on Heavyweight Red Double Vinyl
Both editions are mastered for vinyl, reissued with the original cover design,
specially enhanced artwork, including a 16-pages LP booklet with extensive liner
notes by Clay Marshall and carry an exclusive, previously unreleased live bonustrack. Exclusive to the Limited Collector's Edition is a 1996 European Tour Poster
Replica.
LP Red LP Tracks: Overture / Sarajevo / This Is The Time (1990) / I Am /
Starlight / Doesn't Matter Anyway / This Isn't What We Meant / Mozart And
Madness / Memory (Dead Winter Dead Intro) / Dead Winter Dead / One Child /
Christmas Eve (Sarajevo 12/14) / Not What You See / The Storm - This Is The
Time (Live in Neu Isenburg 1997) (Bonus Track)
LP Tracks: Overture / Sarajevo / This Is The Time (1990) / I Am / Starlight /
Doesn't Matter Anyway / This Isn't What We Meant / Mozart And Madness /
Memory (Dead Winter Dead Intro) / Dead Winter Dead / One Child / Christmas
Eve (Sarajevo 12/14) / Not What You See / The Storm - This Is The Time (Live in
Neu Isenburg 1997) (Bonus Track)

In Memory of Chris Broderick of the Singing Loins, who passed away earlier this year. We proudly present a vinyl reissue of this Medway folk classic! A re-issue of one of our favourite early releases and a rather overlooked classic album, a one off collaboration between Billy Childish and legendary Medway folkies The Singing Loins. This was recorded in 1993 when Billy was in Thee Headcoats and The Singing Loins were in their first incarnation. The Singing Loins formed in late 1990, a two piece band playing “Authentic raw folk from the Medway Delta”. They were Chris Broderick on vocals/stick and Chris ‘Arfur’ Allen on guitar. They had recorded two classic albums before this both of which were released on Billy’s own Hangman records. The album features a few Childish classics reworked including ‘You Make Me Die’ and ‘Every Bit Of Me’ as well as 4 tracks written by Billy & The Loins especially for this album. TRACKLISTING 1. The Bitter Cup 2. Pocahontas Was Her Name 3. The Hanged Man's Dance 4. You Make Me Die 5. I Don't Like The Man That I Am 6. The Double Axe 7. At The Bridge 8. Every Bit Of Me 9. Somebody Else 10. The Ferry Man (Zeebrugge) 11. One Day You Die 12. Brimfull of Hate 13. Dragging Through This 14. One More Bottle to Drink

Orthogonal Eigenstates is the title of the new full-length album by Quantum Collapse aka Eduardo de La Calle where the author definitively moves away from dance music and starts a new period of exploration strongly influenced by the English Glicht IDM trends from early 90's and styles that goes from Soundtrack to Experimental Jazz ,Cinematic Electronica or Abstract Hiphop

Perpetual Doom is proud to present a special double-LP from Mountain Brews. Spearheaded by Jake Longstreth, Los Angeles-based painter and co-host of Apple Music’s Time Crisis with Ezra Koenig, Mountain Brews was founded around a vital American tradition: sippin’ cold ones to the “tasteful palette of seventies rock.” Full of warm melodies and guitars that evoke a Mojave glow, Mountain Brews occupy the sunny spot right between the studio-slick hits of early Eagles and the laidback jams of the Grateful Dead. And now that their four previous EPS are available in a single package, there’s nothing left to do but grab a seat, turn up the music, and crack one open.

Mountain Brews are pros at keeping things loose and light. Recorded by the same group of old pals that make up a LA based Grateful Dead cover band, Richard Pictures—including Longstreth, Aaron Olson, Ryan Adlaf, and John Nixon—these seventeen tracks celebrate the early seventies’ spirit of easy-going collaboration. You can hear it when a guitar slide greets the opening strum on the title track, an assuming ode to the pleasures of drinking and hiking: “As we get to the top of the mountain, there’s a view,” Longstreth sings. “Take a load off and crack a few mountain brews.” And while the song boasts virtuoso playing worthy of Desperado, the vibe is less barstool machismo than six-pack camaraderie.

It’s a self-aware R&R mindset that pulses through tracks like “You Eagled,” which ponders both a great golf score and the trials of becoming “classic,” and “It’s My Masterpiece,” with its tightly coiled licks and breezy nonchalance with regards to inevitable civilizational demise. Sure, the Brews know there’s a down for every up. “Raised in a Place” and “Big Bummer Hotel” acknowledge that even the chillest California cowboys get the middle-aged blues, resurrecting the heartland synthesizers of late eighties Don Henley and Bruce Hornsby to find a little meaning in the madness. And Ezra Koenig and Danielle Haim contribute vocals to help “The Worst Margarita of My Life” go down just a little easier.

These four EPs were recorded between 2019 and 2021 in various bedrooms and studios across California. “Uphill From Here” brings it all back around as guitarist Aaron “Bobby” Olson sings about meeting Jake on the trail once again: “And it’s all uphill from here,” he sings. “We may have to stop and down these beers.” But whether it’s uphill or down, Mountain Brews makes it clear—the journey is better with company.

Ali Farka Touré trekked the world, bringing his beloved Malian music to the masses. Dubbed "the African John Lee Hooker," one could hear strong connections between the two; both employed a bluesy style of play with gritty textures that elicit calm and fury in equal measure. While the influence of Black blues music prevailed, Touré created a West African blend of 'desert blues' that garnered Grammy awards and widespread reverence. Though he transcended in 2006, Ali's musical legacy lives on through his son, Vieux aka "the Hendrix of the Sahara," an accomplished guitarist and champion of Malian music in his own right. On Ali, his collaborative album with Khruangbin, Vieux pays homage to his father by recreating some of his most resonant work, putting new twists on it while maintaining the original's integrity. The result is a rightful ode to a legend. Ali isn't just a greatest hits compilation. It's a lullaby, a remembrance of Ali's life through known highlights and B-sides from his catalog. It is a testament to what happens when creativity is approached through open arms and open hearts. "To me, music is magic, it is spontaneous, it is the energy between people," Vieux says. "I think Khruangbin understands this very well." The genesis of the album dates back to 2019, when Khruangbin, coming off their breakthrough album Con Todo el Mundo, was beginning to playto bigger crowds. The record was finished in 2021, as a global pandemic shuttered businesses and forced us to take stock of what Earth was becoming. Indirectly, Ali captures this as a moment of peace within a raging storm, a conversation between past and present without allegiance to suffering. Now, given Khruangbin's reach as a unit with legions of fans (including the likes of Jay-Z and Paul McCartney), they're poised to bring Malian music to broader groups of listeners. Ali is a masterful work in which the love surrounding it is just as vital as the music itself, driving it to unforeseen places; Vieux and Khruangbin are spreading the good word to a completely new generation. "I hope it takes them somewhere new, or puts them in a place they haven't felt or heard," Lee says. "It is about the love of new friendship and making something beautiful together," Vieux continues. "It is about pouring your love into something old to make it new again. In the end and in a word it is love, that's all."

Ali Farka Touré trekked the world, bringing his beloved Malian music to the masses. Dubbed "the African John Lee Hooker," one could hear strong connections between the two; both employed a bluesy style of play with gritty textures that elicit calm and fury in equal measure. While the influence of Black blues music prevailed, Touré created a West African blend of 'desert blues' that garnered Grammy awards and widespread reverence. Though he transcended in 2006, Ali's musical legacy lives on through his son, Vieux aka "the Hendrix of the Sahara," an accomplished guitarist and champion of Malian music in his own right. On Ali, his collaborative album with Khruangbin, Vieux pays homage to his father by recreating some of his most resonant work, putting new twists on it while maintaining the original's integrity. The result is a rightful ode to a legend. Ali isn't just a greatest hits compilation. It's a lullaby, a remembrance of Ali's life through known highlights and B-sides from his catalog. It is a testament to what happens when creativity is approached through open arms and open hearts. "To me, music is magic, it is spontaneous, it is the energy between people," Vieux says. "I think Khruangbin understands this very well." The genesis of the album dates back to 2019, when Khruangbin, coming off their breakthrough album Con Todo el Mundo, was beginning to playto bigger crowds. The record was finished in 2021, as a global pandemic shuttered businesses and forced us to take stock of what Earth was becoming. Indirectly, Ali captures this as a moment of peace within a raging storm, a conversation between past and present without allegiance to suffering. Now, given Khruangbin's reach as a unit with legions of fans (including the likes of Jay-Z and Paul McCartney), they're poised to bring Malian music to broader groups of listeners. Ali is a masterful work in which the love surrounding it is just as vital as the music itself, driving it to unforeseen places; Vieux and Khruangbin are spreading the good word to a completely new generation. "I hope it takes them somewhere new, or puts them in a place they haven't felt or heard," Lee says. "It is about the love of new friendship and making something beautiful together," Vieux continues. "It is about pouring your love into something old to make it new again. In the end and in a word it is love, that's all."

Ghent based psych jazz collective Compro Oro, are set to release new album 'Buy The Dip' on the 2nd September via the groove-obsessed Sdban Ultra label. Having received critical acclaim for their 2020 album 'Simurg' - a collaboration with Murat Ertel, co-founder and frontman of Istanbul's cult psychedelic folk band BaBa ZuLa and his singer partner Esma Ertel - the band's fifth album is less ethno- and more techno-logy, both on a musical and conceptual level.

With tastemaker fans including BBC 6 Music's Gilles Peterson and Stuart Maconie alongside Jazz FM's Jez Nelson, the band's spontaneous quest for psychedelic sounds and jazz grooves has not stopped expanding since their formation in 2014.

After imaginative musical trips to Havana, Mogadishu and Istanbul for previous releases, Compro Oro went looking for sounds and inspirations from other corners of the globe for 'Buy The Dip'. Synthesizers and electronic effects spice up Compro Oro's distinctive musical marriage of vibraphones, electric guitars, jazzfunk rhythms, exotic percussions and dubby bass patterns. Band leader and composer Wim Segers created these new compositions often on piano or vibes in a more analogue way, leaving enough room for his band mates to colour each track when fine tuning the song.

Segers was inspired by the world of crypto markets and the specific concept of 'buying the dip': bitcoin diggers who play the markets at specific 'low' moments to gain higher profits when prices go up again. Are we all reduced to consuming creatures, seeking for nothing more than the thrill of pointless spending and endless profits? It's a fairly philosophical question - especially for an instrumental album - but it's key for the punchy and eclectic sounds on 'Ben Hur' and 'Bitcoins'.

Apart from those synths and fx, a fair bunch of neo-noir western vibes sprout up on this album as well - think detuned piano's, flamenco-like guitars, rattling snare drums, and imminent whistles. Add to that some laid back sunny pop sounds ('Kayak'), off-hook and swaying Turkish psychedelica ('Karsilama') and even some haunted, kraut-ish vocal parts ('Dungeon'), it's evident Compro Oro has a musical voice without any equal in Belgium and beyond.

Compro Oro released their first album 'Transatlantic' in 2015, an ode to jazz vibraphonist Cal Tjader, an icon of the 1950's Latin jazz movement. The release received critical acclaim back home, lauded in the press as a drunken mix of Buena Vista Social Club and guitarist Marc Ribot's, Cubanos Postizos. Subsequent live shows have been called a celebration for the hips, the ear and the soul.

2017 saw the release of 'Bombarda', a bold EP that sailed South and East of Cuba, incorporating different ethnic rhythms and melodies in elaborate jams. No palm trees and cocktails in Havana this time, but instead dingy basements and LSD in West African cities. The critically acclaimed 'Suburban Exotica' followed in 2019 with 'Simurg', released in 2020, earning the band global success.

Scissor Kick delivers careful introspection, experimentation, and rich conceptual development. The beatless interludes and expansive sound worlds that stuck out their heads on earlier releases are embraced in full here. It’s claustrophobic, but space is found in the right areas; tension and release to the nth degree, never becoming a trope. Percussion remains, but slowed to a crawl.

After the success of HSW001, we thought it was about time to announce the second stage of our exciting unknown artist vinyl series. HSW002

Early
support from ; Priku, Cosmjn, Barac, Vlad Arapasu, Costin Rp, Rossi, Iuly.B, Rich Nxt, Olivian Nour, SUAT, Mikhu, Dragutesku, Mariano Mateljan, Kirik, Rhadow, Pascal Benjamin, XXX Culture, Lee Hasty & more

Limited Edition (500) (No Repress)
Multi colour 180g Vinyl
White Label
Hand Stamped & Signed with love
Specially designed outer sleeve artwork

When Irish DJ and producer Pineal Navigation set up Awareness System in 2020, he intended to use the label as an outlet for music, specifically Techno & Electro, that told an evocative story. As the world went into lockdown, Niall, aka Pineal Navigation, decided to hone in on a sound that produced a positive frequency and dismantle the negative energy that started to seep into everyday life. Two years on, the Dublin-based artist launches Awareness System with a split EP called ‘Combination 1’. Swedish producer Daniel Andréasson contributes two tracks to the release, adding another layer of intensity that aligns with the label’s aesthetic. Andréasson is an artist who approaches music with a no-frills attitude, which inspired Niall to invite his long-time friend into the fold of Awareness System. On ‘Sensory Open’, Pineal Navigation creates an eerie atmosphere with swirling synths and gnarly basslines — a response to the chaos unfolding in the modern world. Daniel Andréasson cranks up the pace on ‘Enable’ with wonky drum patterns and distorted FX, veering into the darker textures of techno. The flip-side opens with Daniel Andréasson’s ‘Money Is A Motivator’ where he mutates bleeps and crackling percussion, luring the listener into a dystopian soundscape. Pineal Navigation closes the EP with ‘Off The Earth’, a stomping blend of rumbling bass and stabby percussion. A potent club-orientated track to mark the first chapter in the story of Awareness System.

Albert van Abbe & Jochem Paap join forces for General Audio.

Recorded at Willem Twee studios in Den Bosch, General Audio explores a unique and esoteric approach to sound creation. Using test and measure equipment from the 1950’s, originally designed for the maintenance of various audio and radio transmitters, van Abbe and Paap create otherworldly walls of sound and dense rhythmic abstractions with an early form of synthesis. Rudimentary signals are combined and processed before being committed to tape via mic’s set up to capture the Willem Twee studio’s unique acoustics. The equipment itself predates the invention of the analog, modular synthesizers developed in the 70’s that are now commonplace in many studios.

The record opens with 220Lock-in, a gently undulating drone composition. Effervescent at the top end and fathoms deep at the bottom, it shifts ominously with ring modulated tones that build and then give way to thick washes of white noise. A single synth flourish provides a surprising final moment. The record continues with WZ-1Wobbel Zusatz, a low-sunk percussive piece with an off-kilter rhythm and wet spring reverb doing the bulk of the sonic heavy lifting. Deep in the mix, delicate shifts in pitch and tone deliver a kind of arcane musicality, and as the recording approaches its final moments the piece descends into an exhilarating chaos, with sonic components falling slowly by the wayside. Pegelmesser riffs on a similar reverb characteristic, but this time a driven, arp-like lead propels the work forward. Crisp shifts in colour and distortion arrive unexpectedly, providing a curious musical sensation once more – and harsher moments of feedback break up the recording in its later stages. On Rel 3L 212c LC-pi the pair strip things back, with more present percussive components and subtle distortion lines, before Wandel ups the ante with a corrosive dirge broken up by sporadic submerged synth hits. The penultimate recording SR 250 Boxcar Averager shows off impressive pitch modulation, resulting in a variety of intriguing sensations. Cinematic and remarkably visual, it charts a strange and affecting course, the synth lead underpinned by a repetitive percussive motif and all manner of sends delivering fascinating details. Nim Bin closes the record and once more van Abbe and Paap invite that subtle musicality into the recording. A tight VCO modulation drives the piece while various percussive synth strikes provide a kind of rhythmic component, though they remain untethered to any time signature – a neat conclusion to an intriguing and exploratory record.

Written and Produced by Albert Van Abbe & Jochem Paap

Cristi Cons lands with his debut on Adam's Bite, serving up two pristine cuts of electronic wizardry. The label has previously meddled in strong 90ies aesthetics, delivering starry-eyed homages to days long gone. With the eternal wunderkind at the controls, things get kicked up another notch: following efforts from his peers, he's unearthing, deconstructing, and reassembling some of Frankfurt's halcyon days' most essential sonics.

Drop the needle on the A side to access „Black Swan”, a contemporary house burner perfectly imagining the early trance experiments heard in the dark womb of dance music history. Sprawling across the flipside, „Ahead of the Curve” finds Cristi Cons exploring the psychedelic side of this sound, revealing delicate details to lose your mind in – and a playful bassline keeping bodies earthbound and flowing. Zipping and zapping from Goa to Mainlandia via Bucharest, there's plenty to fall in love with here. Over and over again.

Dial's label boss Sten aka Lawrence presents his long awaited third album on the ever-classic Berlin based Sushitech Records. Earthshine is an extended journey of 12 tracks written and produced by Peter Kersten over the last 5 years. Atmospheric Ambient to deep Techno and everything in between put together by a true master of the craft.

The Blackploid resurgence of recent years continues to gather steam. After laying dormant for some time, Martin Matiske's project roared back into life in 2021 with a pair of EPs for Central Processing Unit. It doesn't look like he'll be taking his foot off the gas any time soon - not only does the new Blackploid collectionPlanetary Sciencecomplete Matiske's hat-trick for the Sheffield label, but it also serves as a prelude to the full-length album which Blackploid will deliver on CPU in 2023.

If that LP is as good as the tracks we get here, then it's safe to say that we're on to a winner. This EP contains a quartet of top-tier machine-funk productions, the kind of crisp post-Drexciya joints we've come to know and love Blackploid for. Each track onPlanetary Sciencemakes good on the record's title by delivering club tackle flecked with FX which sound distinctly like spaceships blasting off into the cosmos.

There is also progression acrossPlanetary Science. While it still aims for the dancefloor,Planetary Scienceis a somewhat more textured listen than eitherStrange StarsorCosmic Traveler, Blackploid's previous CPU drops. Most notable is the increased use of synth pads, with Matiske draping chord progressions over all of these tracks in order to give his music a newfound depth.

Blackploid's subtle evolution is clear from the opening track. 'Dimension Unknown' may begin with a precision-engineered groove reminiscent of an early Legowelt joint, but things soon soften with the introduction of some rich keyboard chords. A few well-chosen bleeps and bloops flit in and out of the mix, but whereas some would use these to scuff up the track further here they are warm and playful.

The more confrontational stance of following cut 'Magnetron' makes it a yin to 'Dimension Unknown's yang. Blackploid works with similar tools here - machine-gun beat programming, chords playing off boinging bass - but there is a tension and buzz to the track which isn't apparent on its predecessor. The synths have a slight Eighties deep space thriller vibe about them, and the FX cut through the mix with more bite.

'Magnetron's energy carries through to 'Wire', the first track on thePlanetary ScienceB-side. Here a big, brutish bassline takes centre stage from the off, a chunk squarewave equal-parts Dopplereffekt and early Eskibeat. Around this swirls a queasy brew of synthesised tones, with the component parts all arranged in order to channel 'Magnetron's sense of unease.

Planetary Sciencecloses out with 'Neurotransmitter'. On this cut, Blackploid returns somewhat to where we started off, finding a midpoint between 'Dimension Unknown's more spacious feel and the livewire flavour of 'Magnetron' and 'Wire'. Tension remains, particularly when Matiske serves up one of the EP's snakiest basslines, but there's also a deftness to the synth pads here which makes 'Neurotransmitter' a little softer around the edges.

Blackploid limbers up for a forthcoming full-length on Central Processing Unit withPlanetary Science, an EP of stargazing electro joints that quietly expand the project's sonic world.

RIYL:Drexciya, Dopplereffekt, DMX Krew, I-F, Annie Hall

Black vinyl LP with DL.

Note - Sleeve says contains a bonus CD, these represses do not have a bonus CD, they have a download card.

Hate Your Friends is the 1987 debut album by the Lemonheads, one of only three full-length releases to feature the original band line- up of Evan Dando, Ben Deily, and Jesse Peretz. The album showcases a hardcore-punk-to-pop-rock sound and sensibility as playfully fierce as it is surprising…especially to listeners who know the band only from their better-known major label recordings of the 1990s. The roots of Hate Your Friends begin with the genesis of the band itself: when high school friends Ben Deily and Evan Dando—inspired by a shared love of the 70’s absurdist comedy troupe the Firesign Theatre, literature, and punk rock—began playing their own songs together in 1985. Dando and Deily first started out as a two-piece ensemble: swapping back and forth between a shared Guild guitar (and a crappy amp) and vocal mic, and pounding a drum kit “borrowed” from the high school jazz band. With the addition of classmate and friend Jesse Peretz on bass, the two-man outfit quickly became a power trio. With a handful of original songs, a passionate love for their favourite bands—from Husker-Du, the Replacements, Black Flag and the Germs, to the Saints, Wire and ‘77 UK punk—and a tiny recording budget, the Lemonheads set about their first studio session within days of their high school graduation in June of 1986. During that summer, a significant amount of what would become the band’s debut album was recorded in Brookline, Massachusetts, with Deily and Dando sharing vocal, guitar and drumming duties. Above and beyond bass, Jesse proved pivotal as the band’s manager, booker and tireless promoter—helping arrange for the Lemonheads self-released debut EP, Laughing all the way to the cleaners, later that summer, and shortly thereafter helping establish the relationship with Curtis Casella of TAANG! records that paved the way to full-length LP Hate Your Friends. Finally, with the addition of full-time (and fairly short-lived) drummer Doug Trachten, the last songs of Hate Your Friends were recorded in the winter of 1986-7. BONUS TRACKS: This Fire Records re-issue features bonus tracks including 12 never-before-released live tracks from a 1987 radio session, rare tracks from the early compilation Crawling From Within, and additional tracks not included on the original release of Hate Your Friends (“Buried Alive” and “Gotta Stop”).

Sounding simultaneously from the past, the present, and the future, the debut album 'MLDE' by Marxist Love Disco Ensemble seeks to eradicate both the trite from disco and the sobriety from political music. Half poetic, half tongue-in-cheek, this stunning compact eight-track album is influenced by Eastern European and Mediterranean 70s disco records. In the words of band member Paolo, ''it was written in response to hearing 'I love America' by Patrick Juvet. The song prompted the question: why does disco, a genre originally created by oppressed minorities, eventually become synonymous with American capitalist excess?" MLDE seeks to break this connection.

Merging disco, post-disco 80s pop, and boogie into the fold, 'MLDE' was recorded using only analogue instruments, giving it warmth and space. Recorded on cassette, ¼ and ½ inch tape, this gives moments of lo-fi abstraction between the beats of an aggressive, tight drum kit. Instruments used for this recording range from saxophone, trumpet, harpsichord, guitar, and rare analogue synthesisers. The bass sound is shaped by early 80s boogie records, whilst the influence of artists such as Hamlet Minassian can be heard in some of MLDE's more driving-disco outings, such as 'Hues of Red'. In the tradition of Soviet vocal group records, which the band has studied, some songs are sung by a vocal quartet in homage to this tradition.

Tracks such as '1905' and 'Brumaire' have a greater pop aesthetic, with Paolo's vocal style on these more pop-driven songs evoking early 80s bands such as Orange Juice and Chas Jankel.

The format and message of pop and disco are commonly viewed just to entertain and move bodies around a dancefloor; however, lyrically, the subjects range from dialectical and historical materialism, class struggle, Marxist theory and praxis, as well as the concept of Marxist disco music.

Adding the icing to the cake, mastering don Joker aka Liam McLean dusted the album with his magic, giving the songs space where the room is needed, as well as the kick and punch demanded by the modern dancefloor.

Yes, this is a press release, and they are always full of hype, but we were blown away when we heard this album, and we hope it enriches you too.

With releases already under their belt from Bilal and Deyayu and a split 12" from Alex Dima and Cristian Sarde, London's Obscura is shaping up to be one of those destined to take up position towards the top of tech house shopping lists everywhere. That said, the four tracks from Arnic have a cheekier, mor sprightly vibe than a lot of tech-house, the likes of 'Night Children' and their tribute to the Glasgow clubbing institution that is the 'Sub Club' drawing on disco and early Chicago house influences, all within the economic and stripped down framework that put a big smile on a DJ's face when they're in the mix.

repressed in Clear Orange Marbled Vinyl


Splendid re-issue of this sought after Dutch ambient techno classic from the early 90's. Produced by the same team behind the It's Thinking project: Gerd, Dirk & Mark. Originally released through Deviate from Utrecht. Now manufactured by the self titled Marvo Genetic imprint, a one-off subsidiary to Gerd's own Frame Of Mind. Including a previously unreleased track called The Reprise found on the original session tapes. Tip!

Fogbank presents The Best of Joey Chicago, an intro collection to some of Joey's best work on the label since its inception in 2011.


DJ Feedback

Roy Davis Jr:
"The entire EP Bangs the floor! Especially J Paul Ghetto’s Remix, keep the heat coming!!!"

C. Da Afro:
"One of my fav disco house producers finally on my favorite format. Vinyl. 4 track ep for every dj who respects the dancefloor. Get your copies & rock the crowd."

Angelo Ferreri:
"All mixes are killer! Really nice funk!"

Nicky P (Johnick/Henry Street)::
"If you're a fan of Joey Chicago, this is for you!!!...obviously, "The Funk Hustle" is the worldwide monster smash here, but, my personal favorites would be "Remember The Way" and "Feels So Good", as they both have the sound of those 90's house tracks that we were making back then, in the jackin' style of today! Grab this entire collection, you won't be disappointed!!!"

Sean Biddle (Bid Muzik)::
"I have been a fan of Joey since his early days. This EP is classic Chicago at his best."

Deux Filles was not, in fact, two girls despite what the group name and its elaborate hoax of a backstory suggest. No, they were not Gemini Forque and Claudine Coule, French women who met as teenagers under tragic circumstances and became fast friends, recording two albums together before disappearing into the ether. In reality, Deux Filles was Simon Fisher Turner and Colin Lloyd Tucker, a UK duo who first worked together in an early incarnation of The The.

Straddling the line between experimental and pop, Turner was an actor and teen singing star who later composed soundtracks for the iconic queer filmmaker Derek Jarman while Tucker’s career began as an engineer for the famed UK library music studio, De Wolfe, before forming experimental wave group The Gadgets. In Deux Filles, the duo found an outlet for their least commercial tendencies, combining lo-fi proto-dream-pop instrumentals with samples, tape experiments, ambient textures, and drum machines. Even in the vibrant, seemingly endless well of UK DIY, Deux Filles stand out.

Silence & Wisdom – the duo’s 1982 debut – is a series of musical vignettes, like the score of an unrealized arthouse film. Blending processed guitars, sheets of synthesizers, echoey pianos, and washed-out vocal snippets to surprisingly varied effect, the album is recommended for fans of Durutti Column and Virginia Astley’s From Gardens Where We Feel Secure.

Recorded when Johnny Walker was touring Worldwide with Veteran Jazz Star Lionel Hampton in 1982 and originally released on his own Private Press label: Walk On Productions.

This neglected underground classic LP has been off the radar since then except for the appearance of "Dipping" on the Kev Beadle ‎– Private Collection (Independent Jazz Sounds From The Seventies And Eighties) compilation on BBE Records.

Almost unknown and unjustly negected, it's a funk drenched jazz journey with some crunchy fat beats laid down by the excellent rhythm section complementing Johnny Walkers cool horn stylings.

Reminiscent of the albums of that early Jazz Dance era by Tom Browne and Rahmlee but with less of a commercial edge and wholly instrumental this is Funky Jazz that has not dated and sounds like it was fresh out of the studio in 2022.

Funk all the way on "Dipping" and "Dirkie" while "Arrival" is one for the Jazz Dancers.

Heaven and earth are in motion with the debut album from composer and saxophonistGisle Røen Johansen (b. 1968) an active voice on the Norwegian jazz scene since the mid-nineties. Known for his expressive tone in groups like Element and Jazzmob, Kveldsragg is the first release under his own name.

The album features top players from the nordic jazz currents including members fromBushman’s Revenge and Element; Even Hermansen on guitars, Rune Nergaard on Electric Bass and Ingebrigt Håker Flaten on Acoustic Bass and ECM signed Gard Nilssen on drums. With special guests Bob Hoffnar on pedal steel, wordless vocals byMona Julsrud and vocals, lyrics by Harald Tusberg Jr.

The melodic tour-de-force of Kveldsragg that occupies the whole first side showcases Johansen’s post-bop background, in a multi-layered harmonical approach. While the B-side Morrasol is a new dawn, the album finishes with the haunting and beautiful voice of Harald Tusberg Jr. who’s lyrical tribute to the deciesed fellow musician Jon Klettewill leave you mesmerized.

2LP + 7'' 2022 Repress

This limited edition set contains the original LP plus a 10 track bonus LP and a bonus 7” with 2 previously unreleased tracks.
Remastered and pressed on colour vinyl with a reworked sleeve by original designer Andy Royston.
Including the singles Boy Meets Girl, So What; Should The Bible Be Banned; Keep An Open Mind Or Else & This Nelson Rockerfeller.
Originally released in 1989. The Enraged Will Inherit the Earth is a musical molotov cocktail that’s a mixture of power chords and virile, virtuous lyrics.
The songwriting is tightly forged and their knack for producing raw pop is at its finest here. The Enraged Will Inherit The Earth is a powerful weapon that didn’t get enough of a user base to make its intended impact. If the question was ever proposed, “can art be a weapon?” I think this album answers with a bold and resounding “yes.”

Ben Auld writes songs whose heartbreak and wonder reveal themselves
moments after the warmth of their beauty sinks in, like slipping into the
ocean on a bronzy morning
Whether he's singing about bookstores and porches or ghosts and space
stations, the Bristol, UK-based singer-songwriter imbues his straight-to-tape gems
with a radiant AM pop warmth. And on Lemongrass, due ia Earth Libraries, that
comfy songwriting crackles and pops somewhere between Roger McGuinn and
Gram Parsons. Auld's debut record brims with homespun charm, dazzling
melodies, and lyrics that burrow deep into the heart.
Throughout the album, the immaculately arranged compositions provide the
perfect frame for smooth and rosiny vocals. Utilizing a series of reel-to-reel tape
machines, Auld chose to meticulously stack his instrumentation rather than
simplify; some songs have dozens of instrumental tracks, all assembled on tape.
"I'd record three tracks, bounce that over, and then record another three. I did it
alone and it took a long time to figure out what was possible," he says. "I went
through two four- track recorders, an 8- track 1/2" reel- to- reel, and finished the
album on a TASCAM 388. One of the biggest challenges of the album was fixing
all the broken old gear."
With each new listen, Lemongrass becomes a fonder friend, Auld's heart-on-hissleeve lyricism and intimate songwriting building a deeper nest. "The time is
ours/ Our time is now," he insists on the psychedelic wonder of "Our Time Is
Now", more certain and wide-eyed than urgent. Through first love and heartbreak,
dawns and apocalypses, Lemongrass keeps turning, collecting flickers of astral
bliss with each rotation, Auld's thumping heartbeat at the core.

R.M.F.C. returns in 2022 with a brand new
single from the much-anticipated,
forthcoming LP, due early 2023.
“Access” is a short, sharp, straight to the
point piece that combines an anarcho
marching beat and Devo-style guitar riff
that leads into the driving rhythm section
R.M.F.C. is known and loved for. With the
permanent addition of 12-string guitar to
the band; it’s fuller, thicker and janglier
than ever before, but still retains the
R.M.F.C. sound. Formerly based in Ulladulla, and now
relocated to Sydney, R.M.F.C. is the baby of 21
year-old Buz Clatworthy, who writes and
performs all the groups recorded output
himself from his home studio (still based in
Ulladulla). Following up in the footsteps of
2020’s “Reader” 7”, R.M.F.C.’s sound has
grown as quickly as Buz has. Giant strides
forward since the first cassette, “Hive”, was
released in 2018 - and “Access” is only
further proof of this.
On the flip side we have a phenomenal cover
originally by The Lillettes, a UK based post
punk band that wrote this great tune “Air
Conditioning” in 1981.
These two ripping tracks complete the brand new R.M.F.C. 7”. “Access” is out
NOW via Anti Fade Records - stay tuned for the LP early next year!

Strut continue their Patrice Rushedn original album reissue series with the definitive edition of her influential classic ‘Now’ from 1984.

Released after the global success of ‘Straight From The Heart’ and the huge hit ‘Forget Me Nots’, ‘Now’ stripped back the arrangements and explored a new sonic palette, combining top level musicianship with the evolving studio technology of the mid-‘80s. “By this time, I had built a little home studio,” explains Patrice, “and the new synthesizers and drum machines opened a lot of possibilities. A lot of the pieces on ‘Now’ started off as demos based on these instruments and we just went with it quite naturally, adding guitar, bass and drums.”

The album continued Patrice’s unerring skill in fusing intricate jazz musicianship with infectious grooves. The solid boogie classic ‘Get Off (You Fascinate Me)’ lit up dancefloors and ‘Feels So Real’ became one of Patrice’s best loved songs, an effortless mid-tempo soul stepper. The album is also celebrated for the tender ‘Gotta Find It’ and one of Patrice’s most poignant ballads, the intricate and politically charged ‘To Each His Own’.

The album marked the end of Rushen’s tenure with Elektra before a move to Arista and remains a much-referenced part of her career. “I think it was a great representation of where we were at the time and it may have been a little bit ahead of its time”, she reflects. Famously, Jimmy Jam and Terry Lewis had become fans, attending her live shows, and, allegedly, the feel of Janet Jackson’s debut album ‘Control’ two years later was heavily influenced by Rushen’s approach on ‘Now’.

Vessels promise an escape from responsibilities towards the landscape, they facilitate our avoidance of conscientiously feeling our attachment to the mainland. The visual nothingness of deep water and clean horizons fools the brain and delivers a treacherous feeling of independence.

We ignore the truths expressed by landscapes, so we mould them into urban projects for our strange desires. We clean up the irrationalities by which nature constructs itself. Then we look up to the skies, where the abstractions we have to draw in our minds should reside and inspire us.

We peer into the various shades of blue above the waters, the emptiness guarantees possibilities of our abstractions becoming realities. The apathetic stare into neat, straight horizons transforms our ancestral landscape into dirt and danger, when looking back to it.

To be on a ship under quarantine, is an upside down experience, for the promised escape has turned into a forced paralysis. The Lima flag (? - ? ?, in morse code), presented on the outer sleeve of this record, indirectly demands of all passengers to stay aboard and contemplate their escape from the land they now desire to return to.

These four piano pieces could be considered as a classical sonata (allegroadagio-scherzo-rondo). In a recital they are accompanied by four video pieces by artist Karl Van Welden. We picked the videos out of his extensive archive, choosing images intuitively while listening to the piano music. The theme of ships relating to quarantine thus came unannounced but of course, we were in the middle of the pandemic at the time.

Solastalgia was already waiting as a title for the new album before march 2020. I first came across the word in Underland, a book by Robert Macfarlane (2019). He defines the word as "The unhappiness of people whose landscapes are being transformed about them by forces beyond their control". These forces and this unhappiness are, I believe, what constitutes the modern human. Solastalgia, about the music We haven't found them yet, the words to talk to each other about the worrying signs of climate change. Feeling worried when walking on autumn leaves in the beginning of August should be completely normal. But how do we communicate about it? We don't want to be just the next hysterical doomer.

With this music I try to focus on the climate pain itself, gently inviting the listener to investigate their latent feelings of unease and growing concerns about the environment. As in real life, we circumvent the real issues because they are just too big, there are no words, no expressions yet.

This album tries, in four different attempts, to carve out a path towards communicating about a deeper pain that eventually will connect us all. My general method is to start with a comforting melody, full of fake nostalgia, which, after changing gear to autodestruct mode, morphs into a painful question mark.

The first part sets off with an idyllic melody, accompanied by repeated notes, as a far, muted echo of an alarm. The melody starts to explain itself painfully into a dissonant whirlwind in the high register, sounding not unlike Ravel's Gaspard de la Nuit bravura. In the second piece a warm Beatles like melody (And I love her) gets confronted with the weird hippie mantra of a later Lennon song War is over, if you want it. Sentences get reduced to syllables and result in lonely notes that crash and shiver under the burden of too much meaning. Like Shostakovich's latest work, the Sonata for viola and piano.

The descending melody of Bach's Erbarme dich, Mein Gott is echoed in the upper and lower voicings of the third piece, juxtaposed to a typical, threatening Ennio Morricone Western dotted rhythm accompaniment. This rhythm eventually evolves into citing the 1972 Captain Beefheart early ecological warning song Blabber and Smoke (there's a big pane/pain in your window, it's gonna hang you all,... dangle you all). Towards the middle of the piece, the music explodes and the three layers get dispersed all over the keyboard in a virtuosic maelstrom towards another painful question mark. The bitter answer is going back to business with a barely noticeable citation of the first notes of the RZA's Liquid Swords album.

The final piece is some kind of mantra, the same 7/4 pulse all throughout the piece. The dampers of all A's and B's on the keyboard are released by the middle pedal, thus sustaining an ever present resonance. Melodic cells alternate in shifting quantifications with small, bell like percussive cluster playing. While composing this piece an image crept up: walking out of the church on Sunday morning, tolling bells enthusiastically moderating the churchgoers' small talk in the local dialect. Apparently I have tried to evoke this kind of conversation, but injecting it with fictitious alarming conversation topics, the contemporary.

Frederik Croene (August '22)

Recorded live in 10 days, with minimal overdubs, Shuttered Dreams is a blast of uncompromising truth reminding us to stay awake when the vultures are circling. The album was mixed by Sean Genockey (Shame, Richard Ashcroft, The Who, Black Crowes).

Margate in March 2021 was a time to test your resolve. If the wind howling round the closed down shops and cafes didn’t send you spinning out of control the out of season coastal melancholy could drag you down as surely as any dead eye mermaid. Add in a murderous virus and a frozen gig scene and it was a time to stay frosty and fight off the demons. Dan had some experience to draw on.

“Instead of baking banana bread or knitting, I decided to upgrade my home studio but after a couple of months of writing it was obvious that the songs needed to breathe as much as I did. They’re all about real people and raw feelings and I felt they wouldn’t get justice by being turned into zeroes and ones so early in life “.

It was decided to record the masters live with his new band featuring Dom Hall (drums), Henry Gabbott (bass) and Freya Warsi (vocals) and engineer friend, Harry Armstrong. Armed only with a Vox Marauder, a skeleton recording studio, and a pad of lyrics, Dan moved in with The Tenants to The Tom Thumb Theatre which like everywhere was closed for business but had just received Arts Council recovery funding and was offering residencies for artists.

“Musically I wanted to try to work within a strict palette of sound, using the same acoustic and electric guitars for every song, and Henry’s Wurlitzer and Mellotron to flesh things out a bit.” Dan explains, “We played all of the songs live, sometimes up to sixty or seventy times until we were happy with a take, we might then add a bit of extra electric, percussion or backing vocals, but what you hear on the record is pretty much what was happening in the room. That makes me feel proud, as all the records I love listening to were made in that way.”

Repress!

Note - Sleeve says contains a bonus CD, these represses do not have a bonus CD, they have a download card.

Fire Records will be reissuing the first 3 albums by the Lemonheads, Hate Your Friends (1987), Creator (1988) and Lick (1989), featuring copious bonus tracks and many never-before released rarities and live recordings on the download card. Together, these seminal albums showcase the band's early punk rock roots and trace the Lemonheads’ transformation towards becoming one of the most successful and influential bands in indie rock. Before the 90s. Before the internet. Before Nevermind. Back when something called “independent music” first began reaching a wider audience, through college radio, word-of-mouth, and that small “underground” record store you seem to find in every town…there was a band from Boston called Lemonheads. High school friends Ben Deily and Evan Dando, Lemonheads’ primary songwriters, co-guitarists and co-vocalists, first recorded together on 4-track cassette in the spring of 1985; by the end of the decade they—together with bass player Jesse Peretz, sometimes-guitarist Corey Brennan, and successive drummers Doug Trachten and John P. Strohm—had created a body of recordings which would see them on MTV’s fledgling “120 Minutes,” beating out the Grateful Dead on college radio charts, and entering the consciousness of a generation of music fans. Cited as influences by artists as varied as Billie Joe Armstrong and Ryan Adams, these fledgling Lemonheads recordings—part rock, part pop, part unique hybrid of the 80s punk styles beloved by the band members—mark the start of the trajectory that would eventually lead to “mainstream” success and stardom for a later version of the band. But they also represent a distinct, never-repeated phase of the band’s history: one that is finally receiving the attention it deserves. Lick is the third full-length album by the Lemonheads, and the last to feature founding member Ben Deily. It was the group's last independent label-released album before signing to major label Atlantic. An odd mixture of brand-new, and considerably older, sounds, 1989’s Lick brings together the output of several distinct recording sources: six brand new songs recorded with Minneapolis-based band friend and producer Terry Katzman, and a collection of older, B-side and never-released material originally overseen by producer and engineer Tom Hamilton. The difficulties of writing and creating a new full-length album every year (Hate Your Friends and Creator were released in 1987 and 1988, respectively) are clearly in evidence on Lick. While the newest material (“Mallo Cup,” “A Circle of One,” “7 Powers,” “Anyway”) hints at promising new song writing directions for both Deily and Dando, there’s an almost valedictory sense of the past in the inclusion of versions of “Glad I Don’t Know” and “I Am a Rabbit” (from the band’s first-ever, self-released EP), and the now-classic track “Ever,” a previously-unreleased tune from the original 1986 Hate Your Friends sessions. At moments, Lick almost sounds like an elegy for itself—or an elegy for a band that has reached the end of the beginning. Also audible in the heterogeneous songs are the tensions of line-up changes—and inchoate, growing frustrations. After various band break-ups or threatened break ups (such as Dando’s brief departure to play bass for Boston band the Blake Babies), the Lemonheads convened to record new material for Lick now featured Dando on drums, Peretz on bass, Deily on guitar (and “piano,” according to the album credits) along with the addition of long-time band friend—and former member of TAANG! labelmates Bullet LaVolta—Corey Loog Brennan on lead guitar. And yet the frenzied, quasi-ironic hammer-ons of Corey’s axe provide some of Lick’s most entertaining moments—like the unaccountably-translated-into-Italian paen to 70s detective Ironside, “Cazzo Di Ferro.” (The song’s music was originally composed by Brennan for his Italian punk band, Superfetazione.) After the album’s completion, Deily opted out of the subsequent European tour, before leaving the band permanently. Jesse Peretz stayed on to record their Atlantic records debut Lovey, but left after the supporting tour in '91. Since then, Dando has been the Lemonheads' sole permanent member. BONUS TRACKS: Features bonus tracks including several never-before-released live tracks from a 1987 radio session, live tracks and an interview from the 1989 European tour, and the 4 tracks of the Lemonheads self-released debut EP, Laughing all the way to the cleaners.

Tape

The third LP from the New Zealand quartet houses 12 jewels of tight, guitar-heavy songs that worm their way into your head, an incandescent collision of power-pop and skuzz. With Expert, The Beths wanted to make an album meant to be experienced live, for both the listeners and themselves. They wanted it to be fun -- to hear, to play -- in spite of the prickling anxiety throughout the lyrics, the fear of change and struggle to cope.

Most of Expert was recorded at guitarist Jonathan Pearce’s studio on Karangahape Road in Tāmaki Makaurau, Aotearoa (Auckland, New Zealand) -- and sometimes in the building's cavernous stairwell at 1am -- toward the end of 2021, until they were interrupted by a four-month national lockdown. They traded notes remotely for months, songwriting from afar and fleshing out the arrangements alone, the first time they’d written together in such a way. The following February, The Beths left the country for the first time in more than two years to tour across the US, and simultaneously finish mixing the album on the road. That latter half felt more collaborative, with everyone on-hand to trade notes in real time, until it all culminated in a chaotic three-day studio mad-dash in Los Angeles. There, Expert finally became the record they were hearing in their heads.

Expert is an extension of the same skuzzy palette the band has built across their catalog, pop hooks embedded in incisive indie rock. The album’s title track “Expert In A Dying Field” introduces the thesis for the record: “How does it feel to be an expert in a dying field? How do you know it’s over when you can’t let go?” Stokes asks. “Love is learned over time ‘til you’re an expert in a dying field.”

The rest is a capsule of The Beths’ most electrifying and exciting output, a sonic spectrum: “Your Side” is a forlorn and sincere love song, emotive; while “Silence is Golden,” with its propulsive drum line and stop-start staccato of a guitar line winding up and down, is one of the band’s sharpest and most driving. “When You Know You Know” skews a bit groovier, pure pop and a natural addition to the band’s live set. “Knees Deep” was written last minute, but yields one of the best guitar lines on Expert. There’s a certain chaos across the 12 tracks, the palpable joy of playing music with long-time friends colliding with the raw nerves of pain.

Stokes strings it all together through her singular songwriting lens, earnest and self-effacing, zeroing in on the granules of doubt and how they snowball. Did I do the wrong thing? Or did you? And are we still good people at the end of it? She isn’t interested in villains, but instead interested in just telling the story. That insecurity and thoughtfulness, translated into universality and understanding, has been the guiding light of The Beths’ output since 2016. In the face of pain, there’s no dwelling on internal anguish - instead, through The Beths’ musi

Finally it’s here! After many years, the repress arrived. This time how it was supposed to be. With new cover artwork and newly mixed songs. It's a rare but exhilarating occasion when you put on a new LP and are utterly blown away by what you hear. Every now and then, music makes you feel magically alive -- makes you want to jump around, pound your fist in the air, and shout "Oh, yeah!" Listening to Grand Fury, the second major release by Los Angeles quartet the Bellrays, is such an experience. Imagine the Funhouse-era Stooges fronted by a female R&B singer instead of Iggy Pop, and you'll have a vague understanding of what the Bellrays call "maximum rock 'n' soul". Although they've drawn comparisons to the Stooges or the MC5 fronted by Tina Turner, Etta James, or Aretha Franklin, the Bellrays rightly point out that soul was an important element in those Detroit-area punks' sounds. So, in some ways, the Bellrays are just bringing out an element of early punk music that was there all along. Nonetheless, the resulting sound is startlingly unique. Lead singer Lisa Kekaula has also sung jazz, and it's obvious she has technical skill, but she tears into these songs with a venom and passion that is pure rock 'n' roll. Bandmates Tony Fate, Bob Vennum, and Ray Chin provide a raw, blues-edged backing that is loose enough to allow Kekaula considerable room to go wild. And does she ever. With her raucous voice and the aggressive songs penned by guitarist Fate, Kekaula makes you believe she'd sooner spit in your face than look at you. "I'm stuck inside a moment / Can't find my way out / And time keeps draggin' on" she sings on "Fire on the Moon", but the confident way she spits out the words makes you believe she could claw her way out of anything. Likewise, Kekaula's indictment of "Stupid Fuckin' People" is so fierce it's almost scary. When she snarls, "Stupid fuckin' people always get in my way / Want to ruin my piece of the world" you know you'd better get out of her way. The only time this sonic assault slows down is on "Have a Little Faith in Me", a sexy soul number that Janis Joplin would have been proud to sing. While Kekaula's amazing voice and charisma are key to the Bellrays' sound, the rest of the band has to be commended for rocking so hard without drowning out that fierce set of pipes. With all the over-produced pap dominating the airwaves, hearing a band this raw and raucous is a dream come true.

It’s time to testify, brothers & sisters and it’s about time. It’s so about time to put this gem out on vinyl. Properly! It was released twice on small editions before, but – no offense – they both sounded terrible. Now the tapes been re-mastered by Jürgen Hendlmeier and put right on wax, brand new artwork included. In our eyes this is one of the best and most powerful and pure garage rock albums ever. You have to hear it to know what I’m talkin about. GET DOWN – OR GET OUT! …and listen to a fine collection of soulful, rocking collection of raw songs that make you move(, unless you’re dead). With this album the Sideburns became the Finnish leaders of the new wave of Scandinavian Rock’n’Roll (along with the Hellacopters from Sweden, Gleucifer & Turbonegro [both from Norway]). The Hellacopters covered „Ungrounded Confusion“ from this album! This collection of songs is well inspired by bands such as the Sonics or the Wailers. And in the 90s and early 2000s more than ever before, bands everywhere are claiming the MC5 as their primary influence. Most bands, however, don't really get the sound right, or somehow lose the spirit of the music in a '70s rock haze. What makes the Flaming Sideburns feel authentic is that they understand the grooves that make this type of music work, and there's a ton of real enthusiasm behind it all. Songs like "Testify" are obviously inspired by Tyner and Co. but have a fresh energy that makes this old sound worth listening to. The mid-fi production also keeps the music sounding exciting and hot, without getting too heavy. They reach back a little in time to the mid-'60s with covers of the Wailers' "Out Of Our Tree" and the Electras' "Action Woman." Also super rocking is the wild "Jaguar Girls" and the spasm inspiring "Rock N Roll Boogaloo." If you like Detroit-style rock'n'roll with an unpretentious '60s edge to it, the Flaming Sideburns are for you. Track listing: La Bruta; Crashing Down; Close To Disaster; Rock n’ Roll Boogaloo; Testify; Out Of Our Tree; The Witch; Jaguar Girls; Ungrounded Confusion; You Weren’t Using Your Head; Women; Sailin’ Thru Cloud Nine; Sugar Ain’t That Sweet; Action Woman

Tradition and experimentation are two familiar territories that C"mon Tigre, a duo who find their identity by working with musicians from all over the world, can balance between very well. As they did for their debut album (2014), they have put together a multicolored collective for their second record Racines (2019) and now their third album Scenario. Sailing from the Mediterranean basin and being guided by the fascination for Africa and the Middle East, C"mon Tigre give rise to a personal language, made up of mixtures with jazz, afrojazz, the rhythmics of hip hop, funk, club music. All without ever confining their songs to one style, but pushing the exploration as much as possible, into a dimension that every journey worthy of this name should encompass. With the musicians they work with, the exchange and experimentation continue till the end, the songs can take different directions at any time. The result is a mixed, cosmopolitan record, which escapes from any label for the affirmation of a free attitude. It led C"mon Tigre to seek a connection with dancefloor culture, even if considered only as an evocation to revisit in a personal way. This cinematic imagery pushed C"mon Tigre to translate their musical wandering into a visual form, as they already did in the past with animated videos made with the painter Gianluigi Toccafondo and 3d artist Sic Est for "Underground Lovers" and "Behold The Man", two tracks from the previous record. Now the will to merge music and images is even greater: Scenario is also released in a colored vinyl + book version, including a volume to browse through with a wide selection of photo taken by Paolo Pellegrin. Paolo has spent the last 30 years documenting the world. He lives and testifies to issues regarding living conditions, poverty, sufferance and violence, always implementing an anthropological approach. A subjective but detached gaze, which is both a reflection and an analysis, that coincides with an attitude of openness, respect, and interest in the times of history, an odyssey between human and inhuman. Scenario wants to tell about what defines us as human beings: joy, connection, anger, sense of belonging, pain, anguish, violence, dignity. These are tales of someone observing with stretched ears.

Tradition and experimentation are two familiar territories that C"mon Tigre, a duo who find their identity by working with musicians from all over the world, can balance between very well. As they did for their debut album (2014), they have put together a multicolored collective for their second record Racines (2019) and now their third album Scenario. Sailing from the Mediterranean basin and being guided by the fascination for Africa and the Middle East, C"mon Tigre give rise to a personal language, made up of mixtures with jazz, afrojazz, the rhythmics of hip hop, funk, club music. All without ever confining their songs to one style, but pushing the exploration as much as possible, into a dimension that every journey worthy of this name should encompass. With the musicians they work with, the exchange and experimentation continue till the end, the songs can take different directions at any time. The result is a mixed, cosmopolitan record, which escapes from any label for the affirmation of a free attitude. It led C"mon Tigre to seek a connection with dancefloor culture, even if considered only as an evocation to revisit in a personal way. This cinematic imagery pushed C"mon Tigre to translate their musical wandering into a visual form, as they already did in the past with animated videos made with the painter Gianluigi Toccafondo and 3d artist Sic Est for "Underground Lovers" and "Behold The Man", two tracks from the previous record. Now the will to merge music and images is even greater: Scenario is also released in a colored vinyl + book version, including a volume to browse through with a wide selection of photo taken by Paolo Pellegrin. Paolo has spent the last 30 years documenting the world. He lives and testifies to issues regarding living conditions, poverty, sufferance and violence, always implementing an anthropological approach. A subjective but detached gaze, which is both a reflection and an analysis, that coincides with an attitude of openness, respect, and interest in the times of history, an odyssey between human and inhuman. Scenario wants to tell about what defines us as human beings: joy, connection, anger, sense of belonging, pain, anguish, violence, dignity. These are tales of someone observing with stretched ears.

This album presents two multichannel works recorded at the seminal INA GRM Studio in Paris and ZKM Institute in Karlsruhe respectively, mixed to stereo at the composer's Cellule 75 Studio in Hamburg with excellent mastering by Rashad Becker. While his releases under the Black To Comm moniker often touched the fringes of acousmatic techniques and Musique Concrete this is Richter's first foray into a more abstract spatial music.

Recorded in the week leading up to the Paris terror attacks at the GRM studio, "Diode, Triode" (21:57) is loosely based on a reading of (and, in parts, a failure to understand) "Le Parasite" (1980) by Michel Serres, a philosophic metaphor about human interaction and communication (which can also be interpreted as a lyrical essay on capitalism; part confusion, part enlightenment).

As core elements Richter is using speech synthesis and the transformation and distortion of concrete sounds, instruments, voices and breathing. Abstract incognisable sounds are combined with strings, reeds and percussion while dismembered musical fragments emerge and vanish rapidly. Chunks of interfering noise are followed by long periods of silence; chaos and order are alternating. Choirs of synthetic and processed human voices are recounting stock market values, seemingly random sequences of numbers and inscrutable lyrics while parasitic sounds are trying to crack, collapse and fractionise the compositional stream and sonic interactions. Finally, a haunting piano chord is wrestling with a broken Publison machine. Like the book, it's part confusing, part enlightening - and a radical piece of sonic art.

"We are buried within ourselves; we send out signals, gestures, and sounds indefinitely and uselessly. No one listens to anyone else. Everyone speaks; no one hears; direct or reciprocal communication is blocked." (Le Parasite)

"Diode, Triode" was premiered on the Acousmonium at INA GRM's Akousma Festival in Paris, January 22, 2016 alongside new works by François Bayle, Robert Hampson, Leo Kupper and Ragnar Grippe.

The second piece "Spiral Organ of Corti" (17:00) has been composed in 2014 for the 47-speaker Klangdom concert hall at ZKM Karlsruhe at the foot of the Black Forest (where Richter was born and raised).

How does one listen with closed ears? Sine tones, alienated human voices and breathing noises build a labyrinthine puzzle alternating between the natural and the artificial. Human sounds merge with winds and strings, sine tones morph into metal sounds. Acoustic illusions confuse the listener, and dense noise-clouds slowly emerge from deceptive silence. Deep base sounds define space. Temporary focus glides into chaos. "Spiral Organ of Corti" is yet another extended composition that proves Richter is on a path of his very own.

"Spiral Organ of Corti" is dedicated to the late Gary Todd.

"Tongues that came from wind and noise. To speak in tongues after the fire." (Le Parasite)

Marc Richter records as Black To Comm for Thrill Jockey, Type and Dekorder and under the Mouchoir Ètanche and Jemh Circs monikers for his own Cellule 75 imprint. He collaborated with visual artists such as Ho Tzu Nyen, Jan van Hasselt and Mike Kelley. Under his own name he is composing for film and installations.

Anita Clark’s new Motte album, »Cold + Liquid«, builds glacial atmospheres, frozen moods and isolated impressions. Portraying New Zealand through socio-geological sound, breathing in Christchurch cultures and locales, the album embodies an artistic simulation of the Kiwi environment. Motte borrows from an array of sound sources to create an immense entity, with each piece situated precisely along the path. »Cold + Liquid« offers this rich sensory experience, transporting the listener into a world of Clark’s imagination.

As a master violinist, Clark is a favorite of the NZ music scene. She’s been employed by Nadia Reid, Marlon Williams, Lawrence Arabia and Maryrose Crook of The Renderers for her skills. Currently, she plays with The Phoenix Foundation, Luke Buda and Don McGlashan and The Others. Her skillful reach across genres fuels her popularity both with the rock under and overground, and she has also built a rich CV of film soundtracks and contemporary dance compositions.

With such a powerful musical force behind it, Cold + Liquid germinated as a result of a prolonged silence. Clark was suffering from vocal cord paralysis, leaving her with a culminating sense of frustration which could only be released through songwriting . The album’s early life was purely instrumental. But as she prepared for the studio and was searching old voice memos hoping to find vocal tracks, her voice returned. A fervent week followed, where she reimagined the entire album, now with singing. She aimed to make something colossal, and set about finding the right textures to add. A friend who works at Oamaru Freezing Works gave her field recordings of the temperature control room, a vast cold space of isolated machinery, where ice grows and dissolves in ever-evolving sculptures. Getting her hands on shortwave/longwave radios, she incorporated frequency sweeps. Another friend provided her with the mechanical drones underneath the deck of a cement cargo ship, as it lay docked in Lyttelton Harbor. Still more sources came from Sign of the Bellbird, an historic environmental site in South Christchurch, where Clark and Thomas Lambert recorded bellbirds, rolling boulders, snapping sticks, thrown dirt and the papery sound of the native harakeke plant.

While violin dominates the first Motte album, Clark sought to expand instrumentation. She was gifted a handmade Pūrerehua puoro, a traditional Māori instrument that sounds similar to the whirling and hovering of a moth (which is “motte” in German). A reacquaintance to the guitar occurred after developing an alter ego project entitled 'Sex Den,' with sleazy noir-esque guitar riffs in response to a failed rumour from a local drug-addled dive bar. Guitar and synth allowed for a broader songwriting palette along with a sometimes Dadaist approach to lyric writing. These new tools accent the extreme ambiences of »Cold + Liquid«, while additional work was provided by Ben Woods on synth and bowed guitar.

Introducing - The Mellons finds that balance somewhere in pages of the
Beach Boys book of psych pop.Jepson and Beck unlocked the expansive
potential of their songwriting when they found their match in another pair
of collaborators
Multi- instrumentalist and producer Dennis Fuller and percussionist Ian Francis
had worked together in a handful of bands, and Jepson and Beck enlisted them to
join The Mellons and round out their sound. "All of these pieces of songs that Rob
and I had swirling around in our heads started to magically come together," Beck
says. Though the resultant tracks are jampacked with everything from clarinets
and violins to sleigh bells and trumpets, the layers never overpower the intimate
harmonies and honeyed lyrical emotionality at the songs' core. "I wanna get
closer/ I wanna go deeper/ I wanna know it all," they sigh on opener "So Much to
Say", surrounded by twirling guitar riffs and glimmering bells. The Mellons play a
symphony's worth of instruments, and self-producing the record largely at Fuller's
No. 9 Studios in Salt Lake City allowed them to chase that stratified sweetness to
its heartfelt extreme. "Writing, arranging, and composing everything ourselves
gives us the freedom to really get the exact sound we're all interested in," Fuller
says. Always focused on the power of a taut hook, The Mellons made sure that
freedom was used for a purpose. "We stay true to the musical stylings of the midto late-'60s while still creating room for the vogue," Francis says. "It's all about
finding that balance." The nostalgic vibe to the psychedelia doesn't end at the
music, as the quartet opt for paisley or matching turtlenecks as well as vintage
collage. A trained illustrator and designer, Beck funnels visual influences into The
Mellons' vibe. Pressed on Yellow color vinyl.

For fans of Rush, Evanescence and Progressive Metal! The synergistic sound and seemingly telepathic energy behind Dianthus can be traced to their beginnings in the heart of Riverside, California. Inspired by the well-known perennial flower, twin sisters (Jackie and Jessica Parry) bring forth delicate, yet dominant voices to the metal scene. An early upbringing in classical piano led them to begin creating music together at a young age. Not long after, they were captivated by the heavier genres in metal. The two enhanced their musical palettes with the addition of drums and electric guitar. Since forming, Dianthus has gained the likes of well-respected musicians such as Matt Sorum (Guns ‘N Roses / Velvet Revolver / Hollywood Vampires / The Cult) and Jeremy ‘Jinxx’ Ferguson (Black Veil Brides) who produced their debut CD. The twin metal duo are now ready to release their brand new album “Realms” which was produced by Steve Evetts (The Dillinger Escape Plan, Symphony X, Butcher Babies, etc.). They had previewed the tracks “Realms” and “Creeping In” during the height of the pandemic in 2020 and now have finally been able to get in the studio and finish up their much-anticipated sophomore release. “Dianthus just released their new single "Realms" and it's probably going to get stuck in your head. The duo employs soaring guitar melodies, perfectly grounded drums, and excellent vocal hooks through the track for an overall killer experience.” – Metal Injection

Track listing: Realms; My First Breath Don't Change Creeping In The Quest for Nessie Spines Side B A Space in the Silence The Returning Lonicera Heart's Ease Nora's Finding; Secrets & Promises

Grey Marbled Vinyl

Clear water hits the surface of a grainy ball. The stream slowly dissolves and flows down the spherical structure until it finally drops on a candle. The flame extinguishes; fragile streaks of smoke ascend until they hit the rough surface of the colossal globe again.
The cover art to Marble Arch, the second long-player of Vienna- and Berlin-based artists Oberst & Buchner, depicts masterly the dramatic juxtapositions the musicians have always been reflecting in their musical outcome.
The massive density of a giant sound wall is contrasted by spacious openness. Fragile sonic details are sparkling out of colossal pitch-black clouds. The songs are filled with gentle warmth and cold roughness, bright digital clarity and deep analogue crackle, ranging in style from pulsating dark-disco over classic pop to experimental ambient.
The duo's two-week artist residency in a 250-year-old house, located in the mystic landscape of the Bavarian woods set this specific mood for the 10-track album which became a mixture of electronic synthesis, organic instrumentals and field recordings. Heavy-weight basslines in combination with bitter-sweet orchestral instrumentation and the minutiae of precise percussion recordings and drum programming are the characteristics that formed the sound of Marble Arch.
Oberst & Buchner's way to deal with tension is in how they compose their song structures as extreme arcs of suspense in a near classical manner. Their intense dynamic arrangements always alternate between rise and explosion or implosion and fall. This way the compositions pick up the motive of creation and destruction throughout the long-player in the same way as the cover-art.
Taken together, all these fragments form the duo`s signature cinematic articulation of dramatic slowed down club music and moments of surprise.

BIO
Oberst & Buchner are two friends and musicians living in Vienna and Berlin. They look back on a mutual musical journey that is as rich in variety as it is more then 15 years long. For one thing, countless high-energy DJ sets in clubs and at festivals all over Europe in recent years have earned them a reputation as a dynamic duo infernale. At the same time, their own productions draw from the full palette of moods and emotions.
Boiled down to the very essence, there's one common denominator running through the duo's musical works: colossally massive elements are masterfully set against a shimmering backdrop of incredibly detailed layers. Each so full of subtle suspense that they feel like the first raindrops before a monstrous thunderstorm. You can literally hear the calm before the storm in every break they build up, then feel the force of the wind in your face when it hits you.
Ranging from pulsating electronica over slow organic sounds derived from both nature and acoustic instruments to deep dance pop ballads, their songs are full of suspense and packed with drama. In their productions, the two friends conjure up soundscapes that are extremely dense and at the same time infinitely open and spacious. Within this framework, they play with stark contrasts of antithetic elements: repetition and improvisation, functionality and emotions, emptiness and overload, clarity and crackling.

Things are looking up for The Harlem Gospel Travelers, who return here with a new album, a new lineup, and a new lease on life. Produced by Eli Paperboy Reed, Look Up! marks the group's first full-length release as a trio, as well as their first collection of totally original material, and it couldn't have come at a more vital moment. The music still draws deeply on the gospel quartet tradition of the '50s and '60s, of course, but there's a distinctly modern edge to the record, an unmistakable reflection of the tumultuous past few years of pandemic anxiety, political chaos, and social unrest. The songs are bold and resilient, facing down doubt and despair with faith and perseverance, and the performances are explosive and ecstatic, fueled by dazzling vocal arrangements punctuated with gritty bursts of guitar and crunchy rhythm breaks. Born out of an non-profit music education program led by Reed, The Harlem Gospel Travelers_singers Thomas Gatling, George Marage, and Dennis Bailey_released their debut LP, He's On Time, to rave reviews in 2019, with Pop Matters hailing the album's "musical transcendence" and AllMusic praising it as "dreamlike and joyous." The record charted on Billboard, earned the Travelers high profile fans like Elton John (who invited them to appear on his Rocket Hour radio show on Apple Music), and landed them festival slots everywhere from Pilgrimage to Telluride Jazz.

For Fans Of: The Flying Stars Of Brooklyn NY, Durand Jones & The Indications, Como Mamas, Eli Paperboy Reed, Naomi Shelton & The Gospel Queens. Things are looking up for The Harlem Gospel Travelers, who return here with a new album, a new lineup, and a new lease on life. Produced by Eli Paperboy Reed, Look Up! marks the group’s first full-length release as a trio, as well as their first collection of totally original material, and it couldn’t have come at a more vital moment. The music still draws deeply on the gospel quartet tradition of the ’50s and ’60s, of course, but there’s a distinctly modern edge to the record, an unmistakable reflection of the tumultuous past few years of pandemic anxiety, political chaos, and social unrest. The songs are bold and resilient, facing down doubt and despair with faith and perseverance, and the performances are explosive and ecstatic, fueled by dazzling vocal arrangements punctuated with gritty bursts of guitar and crunchy rhythm breaks. Born out of an non-profit music education program led by Reed, The Harlem Gospel Travelers singers Thomas Gatling, George Marage, and Dennis Bailey released their debut LP, He’s On Time, to rave reviews in 2019, with Pop Matters hailing the album’s “musical transcendence” and AllMusic praising it as “dreamlike and joyous.” The record charted on Billboard, earned the Travelers high profile fans like Elton John (who invited them to appear on his Rocket Hour radio show on Apple Music), and landed them festival slots everywhere from Pilgrimage to Telluride Jazz. Tracks: 1. Look Up! 2. Hold On (Joy Is Coming) 3. God's in Control 4. Help Me To Understand 5. Nothing but His Love 6. Fight On! 7. Hold Your Head Up 8. That's the Reason 9. Let Me Tell You 10. God Will Take Care of You 11. I'm Grateful

Dark-folk songwriter Chantal Acda and beyond drums-percussion musician extraordinaire Eric Thielemans propose a new score for Koyaanisqatsi, re-actualising the incredibly beautiful, raw, rhythmic and touching images of this 80-ties cinematographic masterpiece. Slow deep electric waves, lonely synths in sonic desert landscapes, rhythmic pulses, transporting drums and bells, and deeply longing sounds and voices make up the audible fundamentals of this imagined, neo shamanic, ritualistic music to accompany the Earth as it keeps on supporting our post human frenetics even today. This release contains a selection of the musical material scored for a live performance together with the screening of the movie. The live performance premiered on Film Festival Gent and Vooruit in the fall of 2022.

Currently based in Belgium, Dutch-born Chantal Acda (b. 1978) has worked under the Sleepingdog moniker since 2006, making three acclaimed albums that closed on the 'With Our Heads in the Clouds and Our Hearts in the Fields' (2010) album for which she collaborated with Adam Wiltzie (Stars of the Lid, A Winged Victory For The Sullen). They toured the UK and Benelux with Low in 2011. After all this, it was time for her first real solo record. Playing in various formations (Isbells, True Bypass, Marble Sounds) had made her conscious of the patterns that we all, as humans, share in. So, she sought out kindred spirits with whom she might record an album filled with freedom and intensity, and who were conscious of the patterns we so often fall back on. Nils Frahm was the first of these to cross her path. The inventive German pianist and producer is an intense and adventurous performer and was a perfect match for it. Acda also experienced a direct bond with Peter Broderick, a multi-instrumentalist known from his solo work (on labels such as Bella Union and Erased Tapes) and from his work with, among others, Efterklang. Cellist extraordinaire Gyda Valtysdottir from Icelandic group Múm had previously worked with Chantal as a member of the Sleepingdog live band. And lastly, Shahzad Ismaily stumbled into this picture by chance, but when Acda and he found themselves in the same room they formed an instant rapport. After this first record, 3 other solorecords followed. Chantal kept on searching for a deeper connection with the outside world and recorded "The Sparkle In Our Flaws" (2015) and "Bounce Back" (2017). She also released some live recordings with her band and also Bill Frisell, a highly respected jazz guitarist.(2018). These records were released on the German label Glitterhouse. Chantal and her band toured with these records in Europe. In 2019 Chantal created her first music/theatre performance P_wawau for Oerol Festival, The Netherlands. She worked with Valgeir Sigurdson (Björk, Bonnie Prince Billy,...) and singers from Het Nederlands Kamerkoor. As a result of this, she released the recorded music: Puwawau (2019). In 2021 Chantal released her most recent album Saturday Moon. (2021) For this album she worked with her band (Eric Thielemans, Alan Gevaert, Gaetan Vandewoude and Niels Van Heertum) but also with Bill Frisell, Shahzad Ismaily and Mimi and Alan Sparhawk (Low). Saturday Moon was very well received, internationally, by the press.

Eric Thielemans is a drummer and percussionist. Travelling across music scenes and disciplines, Thielemans navigates by means of his own compass. Most known for his resonant solo works like a Snare is a Bell, Sprang, Aural Mist and Bata Baba Loka and many collaborations with musicians in the experimental music scene, as well as the Jazz scene, and indie folk/pop/rock scenes Thielemans keeps on pushing the borders and expanding conscious aural spaces and territories. Recently, Thielemans has collaborated with PVT - a trio together with Mika Vainio & Charlemagne Palestine (album released April 2020) , PAT - a new trio together with Oren Ambarchi and Charlemagne Palestine, A new duo together with Oren Ambarchi, Billy Hart ("Talking about the Weather"), Chantal Acda ("The Sparkle in our Flaws", "Bounce Back", "Puwawau", "Saturday Moon"), Marshall Allen (Sun Ra), Tape Cuts Tape, Distance Light & Sky, Jozef Dumoulin, Trevor Dunn, Shahzad Ismaily, Vaast Colson, Nico Dockx, and many more. Currently Thielemans is working on r-e-s-o-n-a-n-c-e , a culminative work that encompasses and brings to the surface the underlying currents within his life in and with music. Withing r-e-s-o-n-a-n-c-e he investigates the everyday magic through conversations, writing and score writing to invite as many souls as possible to experience and co create the magic in the everyday.

For Fans Of: The Flying Stars Of Brooklyn NY, Durand Jones & The Indications, Como Mamas, Eli Paperboy Reed, Naomi Shelton & The Gospel Queens. Things are looking up for The Harlem Gospel Travelers, who return here with a new album, a new lineup, and a new lease on life. Produced by Eli Paperboy Reed, Look Up! marks the group’s first full-length release as a trio, as well as their first collection of totally original material, and it couldn’t have come at a more vital moment. The music still draws deeply on the gospel quartet tradition of the ’50s and ’60s, of course, but there’s a distinctly modern edge to the record, an unmistakable reflection of the tumultuous past few years of pandemic anxiety, political chaos, and social unrest. The songs are bold and resilient, facing down doubt and despair with faith and perseverance, and the performances are explosive and ecstatic, fueled by dazzling vocal arrangements punctuated with gritty bursts of guitar and crunchy rhythm breaks. Born out of an non-profit music education program led by Reed, The Harlem Gospel Travelers singers Thomas Gatling, George Marage, and Dennis Bailey released their debut LP, He’s On Time, to rave reviews in 2019, with Pop Matters hailing the album’s “musical transcendence” and AllMusic praising it as “dreamlike and joyous.” The record charted on Billboard, earned the Travelers high profile fans like Elton John (who invited them to appear on his Rocket Hour radio show on Apple Music), and landed them festival slots everywhere from Pilgrimage to Telluride Jazz. Tracks: 1. Look Up! 2. Hold On (Joy Is Coming) 3. God's in Control 4. Help Me To Understand 5. Nothing but His Love 6. Fight On! 7. Hold Your Head Up 8. That's the Reason 9. Let Me Tell You 10. God Will Take Care of You 11. I'm Grateful

"It's the same as it ever was," Disco Doom sing on the opening - and title -
track of their brand new album Mt Surreal – but it's a lyric that never quite
rings true
While there's definitely a path from these eight new songs to the hearts and
minds of those waiting to hear them, it's never linear, never as straightforward as
just putting one foot in front of the other. Disco Doom is, as always, led by the
band's core of Anita Rufer and Gabriele De Mario, and the pair began working on a
new album back in 2018, with the final version we hear today worked on from
2019 until late 2021, the story taking many twists and turns along the way.
Releasing music together for some twenty years, such longevity has earned the
band a legendary status in Switzerland, as well as a reputation for making
incredibly forward- thinking rock music. Since the release of 2014's "Numerals",
the Zurich- based band have toured the EU/ UK with both Built To Spill and The
Breeders, had their music featured in the end credits of HBO's Animals, and have
also released a critically acclaimed album under their J&L Defer alter-ego.
True to its name, Mt. Surreal is truly that – a strange and peculiar journey that'll
wrap you up deep inside its intoxicating world, where lyrics leap out at odd
moments, where a hook grabs just when the whole thing threatens to combust.
"Mt. Surreal is a feeling we can't describe properly and one that's constantly
changing. It is a longing for what we can not yet describe," the band say of the
new album.

) Mark Peters releases a second solo album Red Sunset Dreams on September 16. The follow-up to his hugely acclaimed debut Innerland, which was one of Rough Trade’s albums of the year when it came out in 2018, it features a number of guest musicians, including former One Dove singer and songwriter Dot Allison and pedal steel legend BJ Cole. Like its predecessor, Red Sunset Dreams is an album about an imaginary landscape. Whereas Innerland was an introspective psychogeographic trip inspired by Mark’s move back to his hometown of Wigan and the memories it stirred up, Red Sunset Dreams looks outwards, across the Atlantic to the United States of America, but very much through a UK prism; a representation of the subconscious Americana that’s buried deep in our collective psyches. The result is an incredibly evocative trip through the landscapes of old Western movies, exploring their links with the North West of England while touching on wider themes such as isolation, freedom and dementia. Sonically, it builds on the palette of the previous record with instrumentation equally inspired by the ascendant ambient Americana movement and classic country-rock. As a result it ends up somewhere between Acetone’s peerless I Guess I Would, Diamond Head-era Phil Manzanera and the dusty instrumentals on the second disc of David Sylvian’s 1986 classic Gone To Earth.Mark has spent the four years since Innerland recording and releasing Destiny Waiving, his third collaboration with Ulrich Schnauss, and recently followed up 2020’s new Engineers recordings (the ambient perambulations of Pictobug) with a reissue series of the band’s much sought after early albums. He has recently put a brand new band together and will be playing a series of live shows following the release of Red Sunset Dreams.

Pizzazz is the fifth album by American Jazz singer Patrice Rushen. Pizzazz was her second highest charting album, reaching #39 in 1979. It features the hit single "Haven't You Heard". The single soared to the top of R&B radio play lists and remains among Rushen's biggest hits.

When Patrice Rushen was being lambasted by Jazz fans for making the switch from Jazz instrumentalist to R&B/ Pop singer, she was also winning over a quite a few people: R&B fans loved her singing. Her profile in the R&B world continued to increase with Pizzazz.

The whole album is excellent, drawing on influences as Earth, Wind & Fire, Minnie Riperton and Stevie Wonder. Pizzazz might have received some negativity from Jazz critics, but from an R&B/Pop perspective, it's among Rushen's most rewarding and essential albums.

Morgan Geist and Kelley Polar present their debut album as Au Suisse which features contributions from Dan Snaith (a.k.a. Caribou / Daphni). A streamlined mixture of funk, synthpop and disco for fans of Hot Chip.

Born from the collective mind of producer Morgan Geist (Storm Queen, Metro Area) and songwriter/multi-instrumentalist Kelley Polar, AU SUISSE is a new project that promises to stake a milestone in both its members' already storied careers. Crafting immersive soundscapes using a patchwork of electro, synthpop, funk and disco, AU SUISSE's self-titled debut album evokes both a post-rave comedown on a tropical beach and a weekend alone icy chalet, ruminating on life and love. Guest players include friends and labelmates Dan Snaith (Caribou) and Jeremy Greenspan (Junior Boys).

Having met in college in the early '90s and continued to forge a close friendship throughout the years, AU SUISSE is the first time Geist and Polar have set out to gel their creative relationship into its own musical project. But this is no bashed-together collection of random tunes — this is a band, through and through, and Geist and Polar's shared expertise give the album its own indelible identity.

Ltd weiße 140G Vinyl mit bedruckter Innenhülle und Artwork/Design von Trevor JacksonMorgan Geist and Kelley Polar present their debut album as Au Suisse which features contributions from Dan Snaith (a.k.a. Caribou / Daphni). A streamlined mixture of funk, synthpop and disco for fans of Hot Chip.



Born from the collective mind of producer Morgan Geist (Storm Queen, Metro Area) and songwriter/multi-instrumentalist Kelley Polar, AU SUISSE is a new project that promises to stake a milestone in both its members' already storied careers. Crafting immersive soundscapes using a patchwork of electro, synthpop, funk and disco, AU SUISSE's self-titled debut album evokes both a post-rave comedown on a tropical beach and a weekend alone icy chalet, ruminating on life and love. Guest players include friends and labelmates Dan Snaith (Caribou) and Jeremy Greenspan (Junior Boys).



Having met in college in the early '90s and continued to forge a close friendship throughout the years, AU SUISSE is the first time Geist and Polar have set out to gel their creative relationship into its own musical project. But this is no bashed-together collection of random tunes — this is a band, through and through, and Geist and Polar's shared expertise give the album its own indelible identity.

Limited to 300 physical copies

Our label is back and it’s back with a bang! For the first time ever featuring 6 tracks on one release, we’re delighted to present Azemad’s “Afriki“ EP. Showcasing his broad scope of influences and massive talent for melodic arrangements, the Berlin-based Egyptian producer and vocalist offers a record that is as wide ranging in style as it is evocative and emotionally intelligent.

Festive tribal drums meet moody rap verses, fat bouncy bass lines and dubbed out chords on this wonderful musical melting pot on wax. Whether you’re in a Mahragan or Mawal spirit, Azemad caters for all needs and occasions, last but not least with the friendly help and assistance of J.Wiltshire’s beautiful, aquatic bubbler of a remix on the flip.

AWK004 intends to surface on September 16th 2022, so keep your eyes and ears peeled. Thanks and much luv for the support as always!

Gold Vinyl

10 brand new recordings from the legendary Jamaican singer and longtime Massive Attack collaborator, Horace Andy, produced by Adrian Sherwood.

Midnight Rocker has been approached in a similar fashion to the late-career quality that Sherwood coaxed out of Lee "Scratch" Perry with the Rainford and Heavy Rain albums, assembling a crack team of players and spending many months perfecting performance, arrangements and mixing. The result is a remarkable suite of tracks that sparkle with superb musicianship, carefully crafted production and Horace’s beautiful vocals.

The material includes revisiting and updating a few classic Horace Andy songs such as “Mr. Bassie”, but the bulk of the tracks are brand new compositions with contemporary messages, such as “Watch Over Them” and “Materialist”. The pair have also versioned “Safe From Harm”, a much-loved early single by the group that Andy is most associated with – Massive Attack.

“On-U Sound are very proud to present a truly wonderful album with one of the all-time great singer-songwriters in the rich history of Jamaican music, Horace Andy. This is a true gold star performance, and I’m very proud of it.” Adrian Sherwood.

Screaming suburban blues straight from the pages of HeartattaCk magazine, Current exploded out of the early-’90s Midwestern emo scene in a fit of D.C. hardcore-inspired rage. Spread across three LPs, Yesterday’s Tomorrow Is Not Today compiles the quartet’s lone album, two EPs, split 7”s with Indian Summer and Chino Horde, miscellaneous compilation debris, and nine previously unissued alternates, including the infamous KLXU radio show. Remixed and mastered from the original tapes, Current’s complete discography is annotated in Leor Galil’s exhaustive survey, illustrated with period photos, flyers, and cut-n-paste sleeve art across 24 pages.

“Pure psychotropic madness.” A screaming head on fire penetrated my chest, jolting me from the universal plane back to earth.” Guitarist/Singer/Sonic Alchemist Dave W’s vivid fever dream ignited The Revenge of Heads on Fire, WHITE HILLS’ latest release, which harnesses the energy of ferocious, hedonistic rock with blissful passages of dark ambience. Exploring themes of mortality, transformation and rebirth, the band reveals a spiritual depth unparalleled in previous works. The roar of fire, swirling of oceans and hallucinogenic visions can be heard throughout the 75-minute journey. From the intrepid prelude “The Instrumental Head” to the closing punk blaze of “Eternity”, the album ebbs and flows, smouldering and seething in the middle with the 21- minute mammoth opus “Don’t Be Afraid”. “’Don't Be Afraid’ alone makes this an essential listen for fans of contemporary psychedelia.” -All Music The Revenge of Heads on Fire consummates Dave W’s prototype for the 2007 release on Rocket Recordings, Heads on Fire, later picked up by Thrill Jockey. Six rediscovered songs accompany re-mixed versions of the original material, fulfilling the master arch of the pyre lit long ago. Recorded during the band’s tumultuous early years, the music vibrates with the energy and volatility of a sonic boom. The album will be released on Heads on Fire Industries, distributed worldwide via Cargo Records.

“Pure psychotropic madness.” A screaming head on fire penetrated my chest, jolting me from the universal plane back to earth.” Guitarist/Singer/Sonic Alchemist Dave W’s vivid fever dream ignited The Revenge of Heads on Fire, WHITE HILLS’ latest release, which harnesses the energy of ferocious, hedonistic rock with blissful passages of dark ambience. Exploring themes of mortality, transformation and rebirth, the band reveals a spiritual depth unparalleled in previous works. The roar of fire, swirling of oceans and hallucinogenic visions can be heard throughout the 75-minute journey. From the intrepid prelude “The Instrumental Head” to the closing punk blaze of “Eternity”, the album ebbs and flows, smouldering and seething in the middle with the 21- minute mammoth opus “Don’t Be Afraid”. “’Don't Be Afraid’ alone makes this an essential listen for fans of contemporary psychedelia.” -All Music The Revenge of Heads on Fire consummates Dave W’s prototype for the 2007 release on Rocket Recordings, Heads on Fire, later picked up by Thrill Jockey. Six rediscovered songs accompany re-mixed versions of the original material, fulfilling the master arch of the pyre lit long ago. Recorded during the band’s tumultuous early years, the music vibrates with the energy and volatility of a sonic boom. The album will be released on Heads on Fire Industries, distributed worldwide via Cargo Records.

3rd album of kaleidoscopic 60s psych pop from Glasgow quartet, feat. members of The Wharves, Nightshift and Current Affairs. Now in their 5th year of existence, Order of the Toad forge onwards with 12 frenetic new compositions, pulled together throughout windows of opportunity during the covid era. Recently a four piece (new guitarist Fionnan joining the Order just before the lockdowns began), Gemma Fleet (Current Affairs/ ex- The Wharves/Kasms) remains the spiritual lynchpin and main energy conductor from which Chris Taylor (Personality Toilet/Open Face), Andrew Doig (Robert Sotelo/Nightshift) and of course now Fionnan (Open Face) are powered. With added twin guitar dimensionality, the band flirt with an 80s new wave sound at times on Spirit Man, garnishing their regular sound with new hues of blue and purple atop the amphibious green of previous efforts. ‘Subterranean’ which opens the set is evidence of a B52s style composite, Doig’s now familiar faux organ guitar franken-sound holding steady beneath the wild and youthful six string movement that Fionnan brings to the toadstool. Elsewhere Taylor takes the lead Vox on ‘Salt of the Earth’, ‘Upstairs Downstairs’ and ‘The Dumbening’, all further progressions of the ensemble’s sound. Song structure and chord elements subtly mutate away from the 60’s nucleus of yore, Taylor bringing a Kevin Ayers meets Bill Callahan vocal approach to his cleverly assembled lyrical narratives, the band weaving about tempos with eccentric colour around him. Of course Fleet’s voice is central throughout, always simultaneous with her precise elasticity on the 4 string bass guitar, providing the likes of ‘Golden Rod’ with a sweeping Grace Slick meets Dolly Parton wail, a hollering Kate Bush style octave leap during the kinetic ‘Fog Horn’ and the fast paced crescendo of hollers at the back end of ‘Beyond the Pale’, a breathless 4 chord slammer. Her graceful and acute vocalisms paint the world of Order of the Toad and never before as vibrantly.

"Train of Thought, the third full length release by Kamloops, British
Columbia based psych quartet Mother Sun is a 12 song day trip through
an overstimulated frame of mind
Using 60's and 70's psych pop, garage rock, jazz and soul as a jumping off point,
the band refines their modern eclectic storytelling through lush and adventurous
arrangements, highlighted by abstract hooks, velvety strings and triumphant
horns."
"Train of Thought captures the moment as it happened, as natural as possible,"
explains drummer Jared Wilman. But judging from the way the ribbony loops of
Alex Ward's bass weave through the crystal shards of Jared Doherty's and Emilio
Pagnotta's guitars, the in-the-room reality experienced by Mother Sun may be a bit
more warped than average. "Posing a question, falling asleep/ Glued to a fish eye,
blind in the ocean/ Water resistance, growing webbed feet," Doherty sings on
"Webbed Feet", as a pulse of retro soundtrack horns and bombast drums propel
his bleary-eyed vocals into an endless psychedelic expanse.
That track's blend of riotous complexity and souped up devolution digs at the
thesis of the album as it teeters at the edge. "It's all about the way our thoughts
control us and we control them," Doherty says. "Being anxious about mind control,
noticing your surroundings, caring for your mental health, being mindful of others,
and not letting your train of thought run away due to complacency."

Sunrise On Slaughter Beach is Clutch’s thirteenth studio album – a slamming summary of everything that makes the band great and another giant leap forward into career longevity.

New bangers like “Red Alert (Boss Metal Zone),” “Nosferatu Madre,” “Skeletons on Mars,” “Jackhammer Our Names,” and “Mercy Brown” take their rightful place alongside Clutch classics. Sunrise On Slaughter Beach is the natural culmination of what Clutch began as teenagers in the early ‘90s.

Recorded at the The Magpie Cage Recording Studio, Baltimore, MD, the album was produced and mixed by Grammy nominated Tom Dalgety (Ghost, Royal Blood, Pixies) with additional engineering by J Robbins (Jawbreaker, Against Me!, The Sword).

Sunrise On Slaughter Beach is Clutch’s thirteenth studio album – a slamming summary of everything that makes the band great and another giant leap forward into career longevity.

New bangers like “Red Alert (Boss Metal Zone),” “Nosferatu Madre,” “Skeletons on Mars,” “Jackhammer Our Names,” and “Mercy Brown” take their rightful place alongside Clutch classics. Sunrise On Slaughter Beach is the natural culmination of what Clutch began as teenagers in the early ‘90s.

Recorded at the The Magpie Cage Recording Studio, Baltimore, MD, the album was produced and mixed by Grammy nominated Tom Dalgety (Ghost, Royal Blood, Pixies) with additional engineering by J Robbins (Jawbreaker, Against Me!, The Sword).

Sunrise On Slaughter Beach is Clutch’s thirteenth studio album – a slamming summary of everything that makes the band great and another giant leap forward into career longevity.

New bangers like “Red Alert (Boss Metal Zone),” “Nosferatu Madre,” “Skeletons on Mars,” “Jackhammer Our Names,” and “Mercy Brown” take their rightful place alongside Clutch classics. Sunrise On Slaughter Beach is the natural culmination of what Clutch began as teenagers in the early ‘90s.

Recorded at the The Magpie Cage Recording Studio, Baltimore, MD, the album was produced and mixed by Grammy nominated Tom Dalgety (Ghost, Royal Blood, Pixies) with additional engineering by J Robbins (Jawbreaker, Against Me!, The Sword).

Sunrise On Slaughter Beach is Clutch’s thirteenth studio album – a slamming summary of everything that makes the band great and another giant leap forward into career longevity.

New bangers like “Red Alert (Boss Metal Zone),” “Nosferatu Madre,” “Skeletons on Mars,” “Jackhammer Our Names,” and “Mercy Brown” take their rightful place alongside Clutch classics. Sunrise On Slaughter Beach is the natural culmination of what Clutch began as teenagers in the early ‘90s.

Recorded at the The Magpie Cage Recording Studio, Baltimore, MD, the album was produced and mixed by Grammy nominated Tom Dalgety (Ghost, Royal Blood, Pixies) with additional engineering by J Robbins (Jawbreaker, Against Me!, The Sword).

PWNT, the LA-based dream-pop project of Kosta Galanopoulos, is to release his debut album, Days in the Summer via the Nashville-based label, Acrophase Records (Ginger Root, Harriette). Seamlessly fusing the worlds of 60s psychedelia, 90s Britpop, and the sounds of 2010-era acts such as Passion Pit and MGMT together, the debut album will follow a run of early singles for PWNT – an acronym of "Play What's Not There", which comes inspired by a Miles Davis quote.

TRACKLIST: 1. Intro 2. Falling Down 3. Days in the Summer 4. Sunday Runaway 5. Funny 6. Composers 7. Feeling in the Air 8. Goodbye 9. Sing Me a Song 10. Red Reflections 11. All I Want 12. Shortcuts 13. Real Thing 14. All I Want is a Good Ending

Hailing from Los Angeles with an arsenal of songs as varied as the
American landscape itself, PJ Western creates music of contradictions
His tripped out pop- rock psychedelia evokes a haze of 60’s AM radio as heard
emanating from someone else’s car window.
Here I Go, Western’s debut album, recorded during the lockdown we all endured,
was written in dreams. In visions. Wild but refined, classic but modern. The album
is a lot like the man who wrote it: complex, celebratory, grateful. Recorded in LA
with the help of some of the finest musicians the city has to offer, Here I Go
offers a perspective of the city as heard through the ears of a precocious outsider
– someone who may call the city home, but also can’t quite shake the suspicion
he might not belong in the Hollywood Hills surrounding him.
Packaging:CD Digiwallet, 16-page booklet, marketing sticker

Roman Flügel’s pioneering Tracks On Delivery series returns for a new EP on Rekids.

In the early 00’s, Roman Flugel’s ‘Tracks On Delivery’ releases saw the producer put out four records on Ongaku Music that helped defined an era of oddball minimal techno. Returning to the concept in 2022, the Frankfurt-based electronic music luminary delivers four idiosyncratic techno tracks for Radio Slave’s imprint.

Active since the 90s, Flügel has been at the forefront of electronic music for decades. Founding the labels Ongaku, Klang Elektronik, and Playhouse, Flügel also boasts a storied discography across labels such as Running Back, ESP Institute, Dial and many more, as well as having contributed to both Live at Robert Johnson and fabric’s iconic mix series.

Cypherphunk debuts on Dance Trax with an incredible 4 machine jack track 12 that draws inspiration from the minimal techno blueprint created by artists like Daniel Bell & Todd Sines back in the early 1990s . Deeply mechanical “body house” cuts set for dance floor annihilation!

Synthetic Music From Yugoslavia 1980-1989

"The galloping technical progress in the second half of the last century dominated all spheres of daily life, art and culture. In the music industry machines took over the role of classical instruments and did not stop at RnR, punk nor industrial music. No one could resist the challenge, but also the prevailing trends in the 80s. The music industry was influenced by the electronic virus globally, not sparing even the remotest corners of the planet, producing bands like Depeche Mode, New Order, Soft Cell or lesser known ones like Liquid Liquid, Section 25, The Wake as well as the pioneers of the electronic music Silver Apples, Pierre Henry,etc .
What was going on in the music industry of former Yugoslavia and at Jugoton, the biggest YU music label at that time? The all over answer is given by a new release of Everland Music: Electronic Jugoton - Synthetic music from Yugoslavia 1964. - 1989. Vol. 1

Electronic Jugoton is the first part of two double albums, where the second part will even go back to pre-electronic music from 1964. Both double albums were initially released by Croatia Records (ex-Jugoton) in 2014 on a 2CD set with no less than two and a half hours of material (47 songs, 35 performers), showing the contemporary trend of Jugoton at that time towards avant-garde and provocative directions in electronic music. This untimely compilation is released for the first time on vinyl now on two double LPs, housed in gatefold sleeves by Everland Music, where part 2 will be released in 2023.
The brave and insightful creators of the compilation Electronic Jugoton, veteran crate diggers Višeslav Laboš and Zeljko Luketić, have excelled at reconstructing the musical past of electronic music in Yugoslavia from 1964 – 1989. Jugoton's extensive research included the most exciting and progressive moments of pop and disco music, early rap, electronic responses of new wave, RnR, post punk and industrial bands to the current trend of the 80s, but also pioneers of avant-garde electronic music.

Electronic Jugoton part 1 is officially opened by the band Laboratorija with the song Devica 69, which opens a window to a completely new and experimental world in former Yugoslavia.Laboš and Luketić have boldly chosen the material without reservations, suggesting that for the first time in one place we have a section of forgotten, unique underground bands like Beograd, Data, Brazil, The Master Scratch band, DU DU A and beyond.
Besides the excellent underground bands, we find popular performers of the time performing less well-known songs: Denis & Denis, Oliver Mandić, Slađana & Neutral Design.

Electronic Jugoton part 2 is partly dedicated to unique electronic music in the performance of important Yugoslav punk, new wave, RnR and industrial bands: Zana, Pekinška patka, Električni orgazam and Borghesia, while the second part of the material is focused on avant-garde early electronic music in Yugoslavia, where the works of composers Igor Savin, Branimir Sakac, Igor Kuljerić and Miroslav Miletić were presented. Luketić and Laboš rescued the obscure electronic tune Elektra by Zdenka Kovačiček, who was at that time Jugoslovska Soul and funk diva.

The uniqueness and quality of this compilation are also audio stories for children, which were extremely fertile ground for an experimentation with electronic sounds, as they should be highly imaginative to attract the attention of the childrens. Electronic Jugoton is also the first compilation in which the listener will find fragments of interviews with actors from the time gave for Jugoton Express. This was a series of promo vinyls printed in extremely small quantities in the 80's and intended to be exclusively for radio stations. An average of 30 minutes of promotion material and interviews with musicians were available for the first time through this compilation.

The value of this compilation is time and priceless. The only question is whether you will be fast enough to catch your copy of the limited double vinyl editions!"

"“The New Backwards” was conceived by Peter “Sleazy” Christopherson in 2007, revisiting stray tracks which hadn’t seemed to gel with the material he had chosen for the more somber “Ape of Naples” from 2005, COIL’s initial posthumous release, a sort of requiem and a kiss-goodbye to his then recently deceased partner John Balance.

Significantly different to its sister release, this album collects the brilliantly chaotic and outrageously rhythmic material from the original sessions for the album that was begun as early as 1993 and had originally been conceptualised as the follow-up to “Love’s Secret Domain”. These songs are as diverse and wild as the places they originated from, partly infamously spawned in Sharon Tate’s former home in the Hollywood Hills, the Nine Inch Nails home base in New Orleans and London’s Swanyard, remixed and restructured with the help of long-term friend Danny Hyde in Thailand, this collection has its own unique flow and an atmosphere not found on any other COIL release.

Both “AYOR” and “Backwards” had by the time the album was first released already become favourites in COIL’s manic live performances. Some of the other tracks had only leaked in demo versions and are here presented updated and polished as Christopherson and Hyde intended them to be heard. It is interesting to consider Balance’s vocal contributions, too. Whilst on the albums COIL did release at the time this material was first put aside (“Black Light District” and “ElpH”) his voice is all but absent, his vocal performances and his lyric writing here are arguably more closely indebted to the previous “Love’s Secret Domain” era, especially the epic “Copacaballa” is noteworthy in that respect.
The New Backwards” effectively became the final official COIL studio release of all new material whilst Peter was still alive and is here presented for the first time fully supervised by Danny Hyde, its co-creator.
The stunning cover uses a detail from artist Ian Johnstone’s “Cubic Raven” painting, licensed from the estate of IJ..

It is high time to rediscover this timeless album with the Infinite Fog release boasting eight further tracks of previously unheard material from the same sessions, rough working stages and surprising remixes which will surely delight the dedicated COIL archaeologists, as they shine yet another light on the creative process and on what could have been.

Recorded at Swanyard, London and at Nothing Studios, New Orleans, 1996.
Thanks to everyone there, especially Trent Reznor who made it all possible.
Written & Produced by Coil & Danny Hyde.
Remixed by Peter Christopherson & Danny Hyde, Bangkok 2007.
For that session Coil were: Peter Christopherson, Jhonn Balance & Drew McDowall.
Mastered by Jessica Thompson.
Front artwork by Ian Johnstone.
Artwork licensed from The Estate of Ian Johnstone.
Layout Cold Graves and Oleg Galay."

Rhythm master Klaus Weiss knew he had a good thing going with NIAGARA. The first album was a gathering of every outstanding drummer and percussionist he could get hold of and despite the fact that there were only rhythm instruments featured , it became quite a memorable and unique record. Now for the second album “S.U.B.” he felt he had to go other ways, and recorded with a complete rock outfit plus the one or another brass instrument. ‘S.U.B.’ is definitely worth being traded for 180,00 Euros and more among collectors for a clean original and when the needle hits the groove you will realize why. There is a tightly woven web of rhythms from drums and percussions, as the solid and ever pulsating base with a laid back but really present bass guitar adding more depth and power to the beats and clean rhythm guitars with a nifty wah wah effect for the extra kick. From time to time the guitars fire off a memorable steaming riff on top of the rhythm pulse and the horns answer the call for arms. You really have to look at the backcover to find out that this is a German outfit instead of one of these utterly hot and hip US funk rock cult bands of the time. NIAGARA aka Klaus Weiss waive the vocals so it is an instrumental record you face with ‘S.U.B’, but then this band goes so wild in some of the compositions, that you will be left breathless on your knees by all these simmering performances. Each musician participating in this project is a professional, but they all let the music erupt into a climax of sound you can only achieve, when you put your whole heart and soul into it. A masterpiece of funky and utterly unleashed rock music from the early 70s.

LP with Digital Download Card

"Honestly, this album from Sam Redmore is having it" - Craig Charles

"Very clever. Very Nice." – Fatboy Slim

"Totally loving this. It's been on repeat since I heard it." – Nemone

"Amazing. Where can I get all your stuff?" - Jazzy Jeff

Having established himself first as a DJ and then as a remixer, Sam Redmore is now very much making himself known as an original producer of quality global grooves that can light up any dancefloor, carnival or party.

After garnering early support for his remixes from the likes of Gilles Peterson, Quantic, Nightmares On Wax, The Nextmen, Lauren Laverne, Danny Krivit and Craig Charles, Sam has built a name for crafting soul-drenched remixes of the classics, with his army of fans eagerly awaiting every new re-work.

Signing to Jalapeno Records for his debut album of original material, Sam has kept the eclectic tastes of all his fans satisfied with a series of very different singles showcasing the wide range of styles he is known for - all picking up rave reviews and a very wide spread of radio support including Radio 1 / 6 Music / Radio 2 / Jazz FM / Worldwide FM in the UK as well as hitting Number 1 most added on US college radio charts (world).

The single Nagu in particular has become a mainstay on daytime 6 Music but each successive release has been finding new fans. From his killer cumbia covers (Tears / Just Be Good To Me) through to the afro-house exuberance of One More Time and leading neatly up to Just Can't Wait, an extremely soulful disco house floorfiller, this is an album with broad appeal both in the UK and overseas.

In the meantime, Sam has been honing his live shows throughout 2022, with festival bookers keen for a piece of the action. Boomtown, Wilderness, Green Man, Kendal Calling and a whole host of others have seen what the punters at Mostly Jazz, Funk & Soul Festival saw last summer, when Sam debuted his live show on the main stage of a key festival on the Saturday afternoon. Anyone who was there and saw the audacious 12-piece live ensemble playing their first show knew they were seeing something special.

Freestyle's run of reissues continues with the sought-after 1983 UK electro-funk of State of Grace's Touching the Times getting a freshly remastered 12" cut!

State of Grace were a trio formed at the start of the 80s, releasing a handful of singles between 1981 and '84. As SoG's David Inglesfield recalls, "in early 1982 we recorded 4-track demos of 'That's When We'll Be Free', 'Touching the Times' and a third song. When we played them to Mike Collier, who'd released our first single for his Flamingo label, he offered us a contract on the spot and licensed the finished tracks to for release on the PRT label"

Having released 'That's When We'll Be Free' in late 1982, 'Touching the Times' landed on 12" and 7" formats in early summer 1983. "For the demos, we'd used a TR-808 for the drums, and we kept the 808 for the final version of 'That's When We'll Be Free'", Inglesfield continues, "but for the full version of 'Touching the Times' we decided to use a Linn LM-1 for the drums. The keyboard sounds were from a Roland Jupiter 8, Roland SH-2 and Fender Rhodes"

Touching the Times was recorded at The Bridge studio near Putney Bridge, then mixed at The Sound Suite in Camden. "At the time, we were into the Sloane Ranger upper-class English look" says Inglesfield "and for the photo shoot for the original picture sleeve, we wanted an aristocratic type interior, and Broughton Castle in Oxfordshire was selected for this purpose."

The updated centre label image on our reissue shows State of Grace's Adrian & Pat Thomas, and David Inglesfield, in the Camden Mews outside The Sound Suite - located just a short walk from Freestyle's home in Kentish Town.

The members of Szun Waves may not have been collectively in the same country, let alone room, for over two years, but that hasn't prevented them from realising their third album, Earth Patterns. The trio - comprised of producer Luke Abbott, saxophonist Jack Wyllie (Portico Quartet) and drummer Laurence Pike (Triosk/PVT/Liars) - recorded the album sessions together at the tail end of their 2019 European tour, locking themselves away in the studio for three days of improvisation. They emerged with hours of music, some inspired by their live shows, most born fresh in the studio itself, ready to be moulded into the group's third album in five years.

Pablo Bozzi is a Berlin-based French producer also known under the alias of Lapse of Reason and as ½ of projects like Soft Crash, Infravision and Imperial Black Unit. Bozzi, who has been long recognized for his ability to omit electronic music conventions with remarkable ease, returns to BITE with his second solo EP on the imprint. BITE020 serves as a further exploration of his signature Italo Body Music style. In the best traditions of so-called Bozzi Music, the EP is a stylistic hybrid rich with nostalgic synth lines, electro and new beat influences, while this time leaning even more into the hard-hitting EBM territory. All while staying true Bozzi’s playful and euphoric spirit, which resonates with so many dancefloor enthusiasts. Artwork by Silent Editions and Simone Ling Design by Eloise Leigh Mastered by Gianmaria Dell’Aera

Guber is a blue-collar bass music producer from Paris. While you may think he’s newcomer in the local electronic scene, he has already released several records from Paris-based Beat X Changers, Bad Winners Records labels as well as several self-releases that has been heard all around Europe. His influences come from the 90’ metal scene to the UK Bass 2010 decade bangers, both following common paths of massive sub-frequencies shocks and obsessional drum loop. When Guber is self-releasing, his visual identity is heavily influenced by asset plants & machinery from the Energy Industry and enable to finally produce overall tracks with a universe deeply reflecting his own day-to-day work environment.

Wrong Ibiza EP follows 2 opposite dynamics from mental endothermic deployments to spontaneous exothermic loop deliveries. One face that is more uncertain, with bass lines densely packed with Brazilian-influenced drums, while the other is composed with tech-house cuts dimensioned and played around different rhythms and tempos. Guber shows in 'Wrong Ibiza' he is a savant in creating an engaging tapestry of sample loops, a sonic magic carpet ride of forgotten genres, a ride that does not lean on nostalgia to create magic but utilizing his uncompromising ears to weaves and waves decades of dance music sounds into a new end-product for the here and now.

The final remix from Ploy is overarching and consolidates the whole EP around sharp resequenced loops based on the main sample cuts. Diligent 148 bpm-remix, the track focuses on the development of hard cut vocals from the original mix, mechanically deployed among muddy atmospheric breaks. Side elements moving forward enhance the whole structure to deliver pure mental vibe construction.

Parallel Minds returns after a two-year hiatus with a dub-infested celestial dance debut from a promising Toronto-based producer, record-slinger, and long-time DIY scene mainstay, Ficilio

Ficilio, a.k.a. Will Gillespie and the Parallel Minds crew have enjoyed a long musical friendship. Having met at various underground raves in Toronto, it wasn't long before they found themselves on the same lineups and began trading tunes post-show. When label co-founder Ciel first heard the tunes that would eventually end up on Parallel Minds 003, she was mesmerised by the deep, misty grooves present throughout. 'Dangerous Goods' is the creation of an artist with a super dialed-in sound, whose attention to detail, cohesion, and sound design suggest experience wise-beyond-their-years.

‘Rush-V’ begins the release with a shimmery bang, propelled by infectious chord stabs that sound like they're sprinkled with alien fairy dust and grounded by a driving and subby drum groove. 'Fluid Form' continues in this trajectory, all spacey synths and dubbed out stabs propped up by tough and bouncy drums and a deep low sub. There is an unmistakable 90s influence on these tracks, halfway between old Swayzak and the early 90s output of Dutch label ESP Records. Ficilio is not afraid to flirt with dub techno AND trance influences, which is most discernible on the last track on the A-side, the sublime 'UAM'.

In comparison to the other side, the B-side is a more sub-loaded affair. The drums on this side are less driving and more broken, chopped, and staggered. They work spectacularly on the title track, its vocal chops complement the low-slung groove of the drums to a hypnotic head-nodding effect. 'Second Fold' intrigues immediately with its unusual tempo, fluttering along in a leisurely way until these enchanted synth stabs come in and the track blooms like a beautiful flower. The release comes to a Zen-like close on 'Frame (Amber Mix)', the heavy sub and sparse arpeggiated loops draw us deep within its cavernous interiors.

Limited Pressing.

Invisible City Editions returns with an official repress of a fantastic double-sided private press rarity from 1989 Detroit. Featuring two legendary Inner City alumni Producer/keyboardist Engineer Art Forest and Inner City background vocalist dancer/singer Shawn Pittman. On the A side a lush slow modern soul slow burner “Dreams'' features a deep,spatial throbbing bass line with glistening synths floating underneath cool angelic hypnotic vocals by Ms Pittman.” 'Dreams are only Dreams till you make it real' chants Shawn Pittman and we’re lead down a dazzling maze of mirrors. With “I'm Losing Control (Extended Bass-ment Club Mix)” on the flipside a wild late night warehouse dub remix features sci-fi vocal effects,fostex tape loops and ultra-heavy bass and driving drum machines. Minimal lush soul perfect for early mornings and the post-club world and a wild sci-fi house winner for late night club sessions. An IC fave! Remastered by Brandenberg/The Carvery (Note: we’ve also removed the drum machine going out of sync that was on the original press) Official Repress via Art Forest and his label Wildboy.Essential stuff!

Art Forest is an Electronic Engineer and production wizard from Detroit Michigan. He originally recorded 2 of Inner CItys’ Biggest Hits “Good Life” and “Big Fun” and continues to record to this day. Art Forest still finds and repairs equipment to add to his studio today. He also recorded for Paula Abdul “Straight Up” and Madonnas’ “Justify My Love” Shawn Pittman was a singer and dancer from Detroit who was a good friend of Inner City vocalist Paris Grey. Shawn Pittman sang backing vocals and harmonies on “Good Life” and “Big Fun”.

Strictly limited-edition 12” vinyl in full colour sleeve

Mercury Prize winner Roni Size is one of the true pioneers of the Drum & Bass / Jungle scene, and one of only a handful of names to transcend the genre to become a real household name. The Roni Size & Reprazent debut studio album 'New Forms' went platinum a staggering five times, which shined a huge spotlight onto what was an underground scene healthily bubbling under the surface.

”'Cold Front' was one of the many dubplates that Roni produced when he was on fire in the mid 90's. 'Locked Down' became an early 2000s Movement Anthem when we were in Bar Rumba, it was sought after by every Jump Up DJ at the time... everybody was trying to sign it." Bryan Gee

Both cuts are a snapshot of Roni's signature sound, a must-have for any fans. The seventh part in this vinyl series, with yet more legends waiting in the wings. These are an absolute essential for vinyl collectors.