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Somewhere Between: Mutant Pop, Electronic Minimalism & Shadow Sounds of Japan 1980–1988 hovers vibe–wise between two distinct poles within Light In The Attic’s acclaimed Japan Archival Series—Kankyō Ongaku: Japanese Ambient, Environmental & New Age Music 1980–1990 and Pacific Breeze: Japanese City Pop, AOR & Boogie 1976–1986. All three albums showcase recordings produced during Japan’s soaring bubble economy of the 1980s, an era in which aesthetic visions and consumerism merged. Music echoed the nation’s prosperity and with financial abundance came the luxury to dream.

Sonically, Somewhere Between mines the midpoint between Kankyō Ongaku’s sparkling atmospherics and Pacific Breeze’s metropolitan boogie. The compilation encompasses ambient pop, underground electronics, liminal minimalism and shadow sounds—all descriptors emphasizing the hazy nature of the nebula. Out–of–focus rhythms wear ethereal accoutrements, ballads are shrouded in static, and angular drums snake skyward on transcendent tones. From the Avant–minimalism of Mkwaju Ensemble and Yoshio Ojima, to the leftfield techno-pop of Mishio Ogawa and Noriko Miyamoto (featuring members of YMO), and highlights from the groundbreaking Osaka underground label Vanity Records, these are blurry constellations defying collective categorization.

These tracks also exist in a space of transition when the major label grip on the Japanese recording market began to give way to the escalation of independents. Thanks to the idyllic economic climate and innovations in domestically–manufactured music gear, creators on the edges were empowered to focus on satisfying their artistic visions in the open headspace of home studios. While labels like Warner Music and Nippon Columbia explored new sounds through traditional channels, it was possible for Vanity, Balcony and other indie labels, not to mention self–released artists like Ojima and Naoki Asai, to publish their work via affordable media such as cassettes, 7" vinyl, and flexi–discs.

Expertly curated by Yosuke Kitazawa and Mark “Frosty” McNeill (dublab), Somewhere Between is a collection of music, much of it released for the first time outside Japan, that is bound more by energetic vibration than shared history, genre or scene. They are the sounds of transition and searching—a celebration of the freedom found in floating.

Note: The track “Days Man” by Yoshio Ojima is only available on the LP and Cassette versions.

Record Kicks drops "Solid Ground", the explosive debut album by US band The Grease Traps, recorded at Kelly Finnigan' Transistor Sounds and mixed by Orgone's Sergio Rios.

Recorded between Kelly Finningn's Transistor Sound in San Francisco and Fifty Filth Studio in Oakland and mixed by Orgone' producer Sergio Rios and Kevin O' Dea, Record Kicks is proud to finally present Solid Ground, the long-awaited debut album by US very finest deep funk & soul outfit The Grease Traps. The album is set for worldwide release on November 5 on vinyl, CD and digital format. The band, based in Oakland, CA, is the latest addition to Milan-based Record Kicks roster. Active since 2002, with a 45 released on well-respected funk/soul label, Colemine Records, now, after six years spent working on the album's recording and mixing, they are ready to present their first full-length release Solid Ground on Record Kicks. The album is anticipated by the two killer funk singles "Bird of Paradise" and "More and More" on limited edition 45 vinyl.

As avid record collectors and fans of that old school analog sound, Solid Ground was recorded straight to 8-track tape on a Tascam 388, which also graces the cover art. Half of the tracks were recorded live at Transistor Sound Studio by soul crooner, Kelly Finnigan, and Ian McDonald where both Kelly and their band, Monophonics, have recorded their last few albums. The other half of the tunes were recorded by Kevin and Aaron at Fifty Filth Studio in Oakland, CA where the band also rehearses and mixed by analog-obsessive Orgone producer Sergio Rios. The album's original tunes draw from the Traps' various soul influences ranging from gritty funk ("Bird of Paradise" and "Hungry") to fuzzed-out psychedelic ("Residue") to sweet lowrider soul ("More and More"). The lyrics by lead singer The Gata also don't shy away from pressing issues of the day such as racism in America ("Roots") and finding hope in a world that seems pitted against you (the JB's style "Solid Ground"). The rare funk covers from the album provide a taste of the raw energy one would experience at a Grease Traps live show. The Traps also supplemented their sound with special guests including the Monophonics horns, background vocals from seasoned Bay Area vocalists, Sally Green and Bryan Dyer, as well as strings organized by Kansas City master viola player, Alyssa Bell.

The seed of The Grease Traps formed back in 2000 when keyboardist, Aaron Julin, answered an ad put out by guitarist, Kevin O'Dea, searching for players who were hip to the rare grooves laid down by Blue Note artists such as Grant Green and Lou Donaldson. They quickly formed Groovement, covering those same artists along with other jazz-funk staples. When their sax player and frontman moved away, they switched gears to form the band, Brown Baggin, getting into the harder funk of the JB's, the Meters, Kool & the Gang, and lesser known acts such as Mickey & the Soul Generation. They also started digging into the rare funk compilations put out by Keb Darge, Jazzman Gerald,and labels like Harmless, Ubiquity, Soul Jazz, and Now-Again. Modern day soul and funk outfits such as Breakestra, the Whitefield Brothers, and the Daptone/Soul Fire crews provided additional inspiration.

In 2005, while still playing with Brown Baggin yet fed up with juggling the schedules of seven band members, Aaron and Kevin put out an ad to find a bassist and drummer to jam with as a quartet. The first two cats to show up were bassist, Goopy Rossi, and drummer, Dave Brick. It was clear from the get-go that this rhythm section had great chemistry. Originally intended as a fun side project, the Traps quickly took priority as Brown Baggin dissolved. Performing as an instrumental quartet for a number of years, they eventually expanded their repertoire to include horns as well as that sharp-dressing soul brother, The Gata, on lead vocals. Over the years, they've shared the stage with acts such as Shuggie Otis, Robert Walter, Durand Jones, Monophonics, Neal Francis, and Jungle Fire.

El Michels Affair follows up the massive success of their full length Yeti Season with The Abominable EP. A collection of unreleased tracks, alternate takes, and instrumentals from the Yeti Season recording sessions. EMA's blending their signature cinematic soul sound with influences from Turkis Funk and the grittiest of Bollywood soundtracks yielded an instant classic The Fader calls "a carnival of dusty funk and soul". The EP starts off with the unreleased gem "Messy Grass" whose synth intro, peppered with distant yeti cries, gives way to a tremendous backing track that Tamer Pinarbasi's Qanun dances over. On "Cham Cham" EMA invites Piya Malik to the microphone again to share her styled storytelling vocals over the instrumental track from Yeti Season's "Perfect Harmony". Where some of the tunes on the EP have vocals added, some of them have them removed letting the band take center stage; "Poison Song", "Uncut Gem", "Smoked", and "Progress" are all instrumental here giving them a wholly different energy than the vocal versions. The EP is being released with two different covers, each one has two paintings from different Ghanaian mobile cinema artists commissioned through Chicago's Deadly Prey Gallery and are interpretations of the original album artwork. One version is paintings by Stoger and Heavy J, who also contributed cover paintings to the Return To The 37th Chamber album. The other version of the cover is two paintings by Teshie and Farkira.

Xenia Rubinos, is a New York City based artist who's been revered for her innovative voice and maze-like knack for melody. Una Rosa is Rubinos' third album , her second on Anti- Records, following up her critically acclaimed Black Terry Cat (2016). Xenia Rubinos dips in and out of genre and structure to create movingly powerful songs. Her powerhouse vocals stem from a combination of R&B, Hip-Hop and Jazz influences, all delivered with a soulful punk aura. Pitchfork has lauded the radiant singer as "a unique new pop personality" while The New Yorker described her work as "rhythmically fierce, vocally generous music that slips through the net of any known genre." Having previously collaborated and toured with acts as diverse as Battles, Deerhoof, Man Man and Tune-Yards, Rubinos' energetic live show echoes some of the larger than life icons she admired as a child like Nina Simone and Erykah Badu, while wielding a space in music that is utterly her own. "I think my sound is a collage of different music coming together on a visceral level, connecting the dots with my voice and imagination," she said. Una Rosa is produced by Rubinos along with her longtime collaborator and drummer Marco Buccelli, and is full of color- drawing much of its multichromatic sound from the bright colors of pop art, which Xenia was immersed in during the writing process.

absent origin’ reassembles and reimagines recordings and musical
scores composed by Mira Calix, globally, over the past decade. It’s a
collage album about edges and borders, cutting and tearing, and
composing new combinations that point to an audio visual manifesto for the 21st Century.

“Like Duchamp, I had started out wanting to make an album, or box, of approximately all the things I produced. In the end, I realised - as much as a collage is the coupling of two or more realities, it also offers the means to examine the materials and culture of an era, questioning and expanding its borders.” - Mira Calix

Every song on the album was created by applying a different collage
process relating to a different visual artist, spanning the history of collage to contemporaries of the practice. The sonic materials are subjected to a myriad of processes; layered, synthesised, constructed and assembled into electronic melodies, textures and complex, frisky dance rhythms that are constantly shifting in surprising ways. absent origin employs collage to make sense of the current moment of displaced voices, disjunction and political unrest.

Calix’s recording sessions from all over the world are the many
fragments we hear across the album; from India to Tasmania, Jordan to Belgium, China to Uganda, her former home of South Africa, to her
current home in Britain. Slicing into these are further recordings of
vocalists, percussionists, choirs, orchestras, quartets and soloists, never appearing in the form in which they were originally intended. The record is a polyphony of predominantly diverse female voices held together by pulsating baselines, haunting electronic sounds and orchestrated melodies and with them, we travel.

The album fizzes with a political energy and the interconnectedness of
everything. At this moment in time, there is an impossibility of separating one thing from another; the effect is strange and not exactly reassuring.

Collage suggests infinite possibilities and each track here is a singularly unique compositional combine, a dizzying hall of mirrors with its own unlikely harmony, its own distinctive rhythm. On ‘absent origin’, collage becomes the tool to make sense of a present that is often anything but.

2LP in printed inner sleeves with 5mm spine outer, printed insert and
digital download code.

It's back-to-back hits with the return of the Names You Can Trust split single series featuring two new emerging artists and record debuts.

After years on the local New York scene as DJs, collaborators and permanent fixtures amongst the brightest of musicians and artists, Raspadura has spent a long time brewing behind the curtain, tucked away in the musical minds of real life partners Josue Granados (Sonidero Mixteco, Los Taxis) and Dayan Silva (Dayansiiita). Their coming out party as recording artists is a perfect encapsulation of the duo's raucous but delightful energy. "Pa Que Gocen" is pure punkera, but seasoned with a deep musical appreciation that abounds in the timeless tropical music universe, and surely a precursor to further recording adventures, as this debut should warrant. The appeal is obvious as soon as the needle drops. Silva's enchanting vocals grab you immediately, with tales of sweets upon sweets. Pure visions of dulce, panela and miel are chanted over the rhythm of Granados' low down ska-beat and hypnotizing tres cubano. For Raspadura, dessert is first!

Come fly with Grupo Pernil in this ode to the timeless vibes of gypsy rumba, merengue and guaracha. Featuring an international all-star cast of musicians from travelling adventures and collaborations of recent years, "Danza de la Cabra" was originally conceived at home in the NYCT studio, and later brought to life with additional sessions inside Amsterdam's Heat Too Hot and Barcelona's Nación Funk studios. This one-off instrumental recording turned into a case of severe psicodelica, under the influence and improvisation of the group's talented players and percussion professionals, then amped and electrified for maximum effect with a touch of studio magic and a taste for local iberico. Featuring members of Greenwood Rhythm Coalition, Conjunto Papa Upa, Fundación Tony Manero and Los Fulanos.

* New from Innerground Records (co-founded by DJ Marky), also the home of Calibre, BassBrothers, Random Movement and Blade, comes the highly anticipated double vinyl LP from DJ Marky & others, ‘100’. Drawing inspiration from the past 18 years of Innerground’s vast history and impact on the Drum & Bass movement, and the signature latin influences of DJ Marky that have brought excitement and vitality to stages around the globe. This special collaboration between one of the most important figures in the genre, and a collection of some of the most highly respected producers and artists in the scene, creates a ground-breaking LP that marks the 100th release from Innerground Records.

* It should come as no surprise that the double LP packs a punch, when looking at the combined experience of its contributors. ‘100’ begins as a bold statement from the main man DJ Marky, laying down the foundations of what’s yet to come from this veteran D’nB lineup. We’re taken on a ride through morphing tempos and enchanting vocals that hammer home what this immense centennial is all about - a special milestone in the genre that will be remembered in years to come.

TRACKLIST:

A1 : DJ Marky Feat. Lorna King – Changing Moods (LEAD SINGLE (SPECIALIST RADIO PLUGGING BY LISTEN UP)
The album launches with the warm Brazilian sunshine D&B that Innerground’s main man Marky is known for. Lorna King’s uplifting harmonies intertwine with playful melodies to shape not only a guaranteed party starter, but a track that will put a smile on your face. Shades of his legendary ‘LK’??!

A2 : Data 3 – String Theory
After the Brazilian sunshine comes the rain… We’re taken on a detour through a dark valley as spiralling synths ascend to a glitch filled break. Ominous chords reverberate around the onslaught of rattling hats and deep choral vocals.

B1 : Random Movement – Patty Melt
The American D&B veteran returns to Innerground, bringing a funky fast guitar filled banger. Rapid drums and airy synths balance over happy vocals and undulating groovy bass guitar to create a track you can’t help but move to. Potential (slow-burner) track of, ’Innerground : 100’, the album?

B2 : Melinki & D'Cypher - Listen To Everything
A dark bopper with swaying hats chiming over aggressive basslines. Vocal samples provide a short-lived breather from this menacing track’s all-consuming energy. This isn’t the first time Melinki & D’Cypher have linked up and we look forward to many more from these two!

C1 : Saikon - Guilty Pleasures
Anticipative strings and a steady break lead to snappy vocal chops, crescendos at a break that unfolds in to house-led bouncey stabs. You wouldn’t expect anything less from Saikon!

C2 : Carlito - About You
Fans know that this is far from Carlito’s first Innerground rodeo – he’s back with a track that balances male and female vocals over enchanting pads. Synths twinkle amongst racing breaks to make for a certified club heater.





D1: Collette Warren, DJ Marky & Tyler Daley - One Exception (Pola & Bryson Remix)
As the album draws towards its close, cinematic piano and vocals to make your hair stand on end craft a beautiful contemplation between Tyler Daley and Collette Warren. D&B household names Pola & Bryson show their take on the track originally produced by DJ Marky. If this song doesn’t move you, you’re made of stone!


D2: Fluidity & Loz Contreras - Back To You
The LP finishes with a bang. Fluidity & Loz Contreras pair up to transport us back to the sunshine that Marky initiated. Oceanic pads and wispy vocals merge seamlessly to craft a warm and groovy finale that will leave you craving more Innerground energy, as this incredible centennial LP boldly forges its place.

Clear History are a scorching post-punk trio from Berlin who make a big deal out of little things, sometimes vice versa.

Pressing of 500 copies worldwide on 180GM black vinyl.

Clear History’s debut mini-album is entitled 'bad advice good people' and will be released by Upset The Rhythm on November 5th. The six songs here cast a huge net across themes of raucous opposition, identity, closeness, gifting and exploding cars. They are a full-hearted call to arms from a stubborn Aries concerned with wasting time and energy. With such rapport for the touchstones of danceable post-punk (ESG, Kleenex, Gang of Four) Clear History are proud hi-hat botherers, bounding along with the plummy bassline, joining the dots whilst thinking to the beat. This debut documents the tantalising first sparks from a band intent on holding up a magnifying glass to the sun.

Their influences include correct grammar, Rihanna & ‘The Waiting Room’ by Fugazi. They make muscular songs about intimacy whilst dreaming of an extravagant breakfast the day after the rapture. What will the dance floors look like over there? What music will ring true and make the people move? Clear History are giving this their full atttention!

(DJ Tennis & Adiel remixes) Francesco Farfa has got his groove back, leading to Danza Tribale number 10. In recent times, the Italian DJ has found himself re-energised once again, back in love with electronic music and right back at the sharp end of the underground scene. A true digger and sound obsessive, Farfa comes armed with decades of experience and musical appreciation, but now with a fresh perspective.

Storming in with his newest slice of extraterrestrial swing-ology, Liquid Earth (alias Urulu under guise) returns to dish out the playful above all “Scope Zone” - a lush and bouncy gem primed for ecstatic workouts and bold galactic excursions, complete with a reshape from Scottish born, Berlin-based vibist, Youandewan. Flush with garage va-va-voom and low-end paranormal activity, “Scope Zone” indeed lacks no wide-screen power of crowd subjugation.

Taking us back to the 90s continuum with its astute mix of chopped-up vox, pong-like bleeps and propulsive buildup, Liquid Earth’s latest is a fun-loving ode to the kaleidoscopic sound of an era and its untamed flow of energy. True to his signature refined melodic touch and airy 4x4 architectonics, Youandewan’s version has us embarking for a proper deep, exhilarating ride across bumpy time warps and oddly familiar parallel universes.

Australia's biggest selling dance act and one of the most popular drum'n'bass acts of the early 21st century, Pendulum are an Australian group based in the United Kingdom. Formed in Perth in 2002, the group was originally comprised of producers Rob Swire and Gareth McGrillen, who worked in tandem with a local DJ named Paul "El Hornet" Harding. One of the team's initial releases, "Vault," became a sensation amid the drum'n'bass community in 2003, benefiting greatly from its high-profile placement at the beginning of J Majik's FabricLive mix album. In 2005, Pendulum made their full-length album debut, Hold Your Colour, featuring the singles "Tarantula" and "Slam."
Pendulum signed to Warner Music U.K. and made their major-label debut with 2007's "Granite," a Top 30 hit. Their second full-length album, In Silico (2008), spawned four singles, including U.K. Top Ten hit "Propane Nightmares". In Silico went on to reach platinum status in the U.K., as well as just missing out on the U.K. number one album chart spot. Their third album, Immersion, was released in 2010, and shot straight to the top of the U.K. albums chart. It featured collaborations with the Prodigy's Liam Howlett, Porcupine Tree's Steven Wilson, and Swedish metallers In Flames. In support of the album, Pendulum embarked on a world tour, playing two sold-out shows at London's Wembley Arena and headline slots at some of the U.K.'s largest festivals.
At the end of 2011, Pendulum took a break from live performing, with Rob Swire and Gareth McGrillen focusing their energy on their side project, Knife Party. In 2018, Pendulum returned from a seven-year hiatus, with Rob Swire, Gareth McGrillen and Paul Harding currently touring as Pendulum - Trinity.

With another week comes another gem to be let loose into
the world via Nice Swan. This time it’s the turn of Brighton
set Opus Kink, releasing their second offering of the year
in ‘Wild Bill’ / ‘This Train’.
 Having been recorded at the seminal Rockfield Studios in
Wales and produced by Tim Burgess, it’s every bit as
zealous and free as we’d expect and in discussing the
release, the group revealed: “‘This Train’ is a hell-forleather ride through humanity’s self-destructive tendencies
and futile battle against nature, flipping on its head the old
adage that ‘this train is bound for glory’.”
 A spooky intro converts to a fast-paced and frenetic sound
as trumpets and sax blare with feral delight. The single
comes to a screeching crescendo and we’re sonically
transported to what could easily be a pub parlour, perched
on the crimson material of a baby bar stool as beautifully
bedraggled chants echo out. They can’t remember how
they got there but are united in their message: “Don’t lose
yourself to everyone else; Don’t lose yourself to this train.”
 So far, Opus Kink have succeeded in turning listeners on
their head, leaving a simultaneous excitement and
perplexity as the struggle to brandish them with a ‘wemust-define-you’ handle ensues. With an underlying tone
likened to that of a Dickensian tale, they possess the edge
of a brooding petty criminal, the charm of a street urchin
and the philanthropic spirit of any good protagonist.
 The band have a flurry of nationwide gigs scheduled over
the coming months, including two Nice Swan showcases
alongside labelmates Malady, Mandrake Handshake and
Hallan. Taking the studio energy and general raucousness
into consideration, catching them live will be well worth a
look-in.

When you’re trying to make it through tough times, you need a little light to find your way. That light blazes brightly on the alchemical second album from Penelope Isles, an album forged amid emotional upheaval and band changes. Setting the uncertainties of twentysomething life to alt-rock and psychedelic songs brimming with life, colour and feeling, ‘Which Way to Happy’ emerges as a luminous victory for Jack and Lily Wolter, the siblings whose bond holds the
band tight at its core.

 Produced by Jack and mixed by US alt-rock legend Dave Fridmann, the result is an intoxicating leap forward for the Brighton-based band, following the calling-card DIY smarts of their 2019 debut, ‘Until the Tide Creeps In’. Sometimes it swoons, sometimes it soars. Sometimes it says it’s OK to not be OK. And sometimes it says it’s OK to look for the way to happy, too. Pitched between fertile coastal metaphors and winged melodies, intimate confessionals and expansive cosmic pop, deep sorrows and serene soul-pop pick-you-ups, it transforms ‘difficult second album’ clichés into a thing of glorious contrasts: a second-album surge of up-close, heartfelt intimacies and expansive, experimental vision.

 Field recordings were made during a stay at a small cottage in Cornwall, where Penelope Isles began work on the album. With romantic heartache already in the air, things swiftly got worse:
lockdown began, claustrophobia kicked in and emotions ran high. As Jack puts it, “We were there for about two or three months. It was a tiny cottage with four of us in and we all went a bit bonkers, and we drank far too much, and it spiralled a bit out of control. There were a lot of emotional evenings and realisations, which I think reflects in the songs.”

 At different points along the way, Jack Sowton and Becky Redford left the Isles. An old friend, multi-instrumentalist Henry Nicholson, stepped in swiftly - “A godsend after a low time,” says Lily. Another friend, Hannah Feenstra, contributed drum parts; now, Joe Taylor is the band’s drummer. After Cornwall, the band redid many of the rhythm tracks, recorded a little in Brighton, then recorded more in Cornwall at their parents’ house. “It was,” says Jack, “a proper
rollercoaster ride.”

 The ride continued with Fridmann, whose recent credits include Isles’ favourites Mogwai’s No 1 album, ‘As the Love Continues’. As Lily puts it, the process of sending Fridmann a mix, receiving it back in the morning and then having five hours to make decisions on it resulted first in stress, then in something sublime. “I love everything he’s touched - MGMT, Mogwai, Mercury Rev. He would turn our mix into this electric, fiery thing. There were some moments that were
initially hard, like on ‘Miss Moon’, where he took out the bass when it gets to the chorus. But now it’s my favourite bit on the record. He made everything so colourful. It’s an intensesounding record - a hot record. It was so refreshing to have that blast of energy from Dave - it’s like he framed our pictures.”

 Away from the confines of the cottage, the Wolters also opened the door to a collaboration with storied composer Fiona Brice, whose credits include John Grant, Lost Horizons and Placebo. A
“big bucket-list tick” for Jack and Lily, the team-up results in glorious arrangements across the album: for Lily, ‘11 11’ stood out. “I was in absolute tears when she sent back the strings for ‘11 11’. It was like, oh my goodness, she’s nailed it.”

 On its release, ‘Until the Tide Creeps In’ received rave reviews from Q, DIY, The Line of Best Fit and many others, while finding champions in Steve Lamacq and Shaun Keaveny. It also become part of a lifeline for music fans during the 2020 lockdown when the band participated in Tim Burgess’s Twitter Listening Party. Meanwhile, extensive touring saw the Isles develop into a formidable live force, with ‘Gnarbone’ emerging as a sure-fire showstopper.

 Now, the Isles have 11 more showstoppers to add to the mix. At the album’s heart, the band’s core traits have never been stronger: the bond between the Wolters, a sensitivity towards complex feelings, a desire to celebrate life in all its facets and an ambitious reach combine to create an album that feels utterly, emphatically present on every front, rich in depth and uplift.

 LP pressed on 180g clear vinyl with A4 print.

‘X’ is the first new music from Working Men’s Club
since their acclaimed self-titled debut was released
in the autumn of 2020. The album was the band’s
perfect statement of intent, ‘X’ is the delivery, the
message, the action.
 ‘X’ rides on a sustained attack and gives way to a
glorious synth heavy release of a chorus that’s just
biding its time for a summer of discontent and
dancing. This is the sound of your new favourite
band hitting their stride. Count the days ’til you can
see them in a field or in a club again.
 Self-produced by Syd Minsky and once again
mixed by Ross Orton, ‘Y’ is a synth heavy assault
which picks up where X left off before venturing off
into deeper acid-laced territory.
 Following the 7” release of ‘X’, the first new music
from Working Men’s Club since their acclaimed
self-titled debut was released in the autumn of
2020, the band share remixes from Paranoid
London and Minsky Rock.
 A side project of Syd from the band and producer
Ross Orton, the Minsky Rock remix channels the
energy of the primetime Detroit electro of Aux 88 or
Cybertron, while Paranoid London, the duo made
up of Quinn Whalley and Gerardo Delgardo, turn in
a bubbling 303 drenched acid workout.

CREATIVE CONTEXT ON SINGLE 1 - “Misery’s A Muse"
"I had a demo of a song Billy put together that he had no home for but decided to share with
me to get my thoughts on it. I happened to be in the studio with another band and took
advantage of some of the time I had blocked out to track vocals to this song idea for kicks.
What's interesting is the demo vocals is what made the cut on what would ultimately
become "Misery's A Muse". At this time there was no band, expectation or particular sound
we were going for. It's a snapshot of us accidentally becoming a band so we could have an
excuse to write more songs. It feels good to finally have an opportunity to share some of
these early workings, and lay the ground work for what we are doing next“ – Rick

CREATIVE CONTEXT ON SINGLE 2 - “Wedlock Waltz"
"Once the tone was set with the first demo, we pushed ourselves to make the most blistering
track we could with "Wedlock Waltz". I remember throwing three mics on my drums and
grinding a series of blast beats in odd meters to start the song. Brian (Sullivan) and I would
sit in my basement studio and pass the guitar back and forth until the we found the riff. We
wanted to keep it high energy and dissonant. Looking back I feel like this is the song that
really paved the way for where we were heading creatively." – Billy

Recorded direct to acetate - all live, no overdubs - ‘Capitol Cuts - Live from Studio A’ captures a powerful moment in time.
After months of cancelled shows Black Pumas went to Los Angeles and laid down eight explosive tracks at the famed Capitol Studios.
The recording brims with pent up energy, nearly bursting through the grooves on the expansive and mind-blowing seven minute rendition of ‘Colors’. A few weeks later the song would receive a Grammy
nomination for Record Of The Year. Red vinyl LP in throwback jacket with centre hole.

Compound X launch new limited edition vinyl label CX BLACK, with four innovative tracks that set an immediately high standard.

Compound X is DAR and DULUM, both progressive and dedicated journeymen, their visions melting psychedelic rock and deconstructed techno to deliver a forward-thinking take on electronica. Their innovative sound first debuted in April 2020 on Distopic Utopia Records, and a live debut is scheduled for Dark Mofo festival in Tasmania, Australia, this June. The act's dynamic range and genuine sound artistry are what set Compound X beyond the status quo, something that’s clearly displayed with this latest release.

The opener 'Sending Me Signals' is dark and thrilling techno. The blistering synths bring fizzing energy to the hammering kicks, while tortured voices add extra layers of eeriness. There is haunting paranoia to the unsettling voices that loop in the background of 'Gone 2 Far.' The drums are again brilliantly brutal, and the whole atmosphere is utterly arresting.

The synths on 'Asexual Orgasm' sound as if fired from a machine gun with caustic textures, scraping hits, and dehumanised vocals add up to a wall of intense techno noise that will disorientate all dance-floors. Finally, 'Ancient Sentient' is a slightly more spacious cut with buzzsaw synths, undulating rhythms, and distorted bass that makes for maximum impact.

This 3 track EP comes out from Limited E's vault called Retro Vol 5. Each of these tracks represents hardcore and merging of jungle breaks in the early developments of Jungle music from the early 90s. These tracks produced by Potential Badboy 1992-93' was the crossover from hardcore elements into the early breakthrough of Jungle.

Tracks by The Hacker, Darren J. Horgan, Digitek, Dvsnme, DJ Di'jital, Kind Human Being and Noise&Noise. The Time Capsule project, also known as 808 Box, is a project created by Fundamental Records. The six boxes released in recent years include 56 records with over 300 tracks from artists from every corner of the world. Some warehouse copies have surfaced of the 5th 808 Box, and these will be available individually. These are new copies in perfect condition, with the original sleeves printed with the classic Roland TR-808.

Mystery Jets announce that their sixth studio album ‘A Billion Heartbeats’ will be released on 27th September on Caroline International. The band also release ‘Screwdriver’, the first single to be taken from the album.

Screwdriver is an uncompromising look at the rise of the rebranded alt-right in the UK, built around a powerfully positive message: "Fight them with love / then the world will be ours".

Lead singer Blaine Harrison says of the song, “Screwdriver is about the mechanics of intolerance. Looking back at times of economic instability in history, we see how easily deep chasms grow in society and the population seeks change wherever it is most convincingly promised. Conflict arises as cultures and belief systems clash, unwilling to accept one another’s place in society, because we are fed the rhetoric that our neighbours are those responsible for our problems: then inevitably nationalism once more raises its ugly head above the parapet. But whereas political agendas fuel divisiveness, music unites and reminds us of all that we have in common. The message of Screwdriver is not a pessimistic one - because perhaps faced with confrontation we can find understanding, and even maybe learn how to listen to, and love one another.”

Each room of the house in the video is a metaphor for the different sections of society in the UK. It wraps around the narrative of the song, that in order to overcome adversity, you have to “Fight Them With Love”. The visual showcases the song’s inherent message, clashing aggressiveness with tenderness, and culminates in showing after anger, we can always come together through love.
All great albums start from a unique perspective. But try a window on the Strand, in an abandoned office block, overlooking the kind of political upheaval London hasn’t seen in a generation. Blaine Harrison was living as a property guardian right around the corner from Trafalgar Square when he found himself witness to an entire year of protests. Every weekend from January 2017 on, people were marching for a different cause: "In the space of six months it was Black Lives Matter, the huge ‘Our NHS’ march, Unite for Europe," he recalls. "Then the solidarity sleep-out organised by Help Refugees, where we slept in Whitehall for the night... The protestors would wake me up in the morning. I’d just walk down and join in.”

Over the course of that year, Mystery Jets' sixth long-player, A Billion Heartbeats, was born. "This album wasn’t about making pointed opinions,” says Blaine. “It was about being a mirror for what’s going on, reflecting back the way people are feeling.” By turns tender and fierce, abstract and full of classic rock energy, A Billion Heartbeats achieves a balance of passion, fear and hope. Amid the colourful cavalcade of rich harmonies, heavy guitars and rallying cries, the album’s essential message - about personal responsibility, and the power in becoming engaged. In a sense, it's not just their "state of the nation” record but their “state of a generation” record too.

We increasingly hear from musicians that music should be an escape these days - that there’s enough suffering in the world, enough misery on the news, without writings songs about it too. A Billion Heartbeats makes all that sound like a bit of a cop-out. These are songs of protest that get the heart racing in joy; high on hope, and serious in their message. Proof, basically, that music speaks louder than words.

xe m1 Karn Evil 9 1st Impression, Pt. 2 (Live at the Albert Hall) [2017 - Remaster]
[xf] m2 Tarkus (I. Eruption II. Stones of Years III. Iconoclast) [Live at the Albert Hall] [2017 - Remaster]
[xg] m3 Knife Edge (Live at the Albert Hall) [2017 - Remaster]
[xh] n1 Paper Blood (Live at the Albert Hall) [2017 - Remaster]
[xi] n2 Romeo and Juliet (Live at the Albert Hall) [2017 - Remaster]
[xj] n3 Creole Dance (Live at the Albert Hall) [2017 - Remaster]
[xk] n4 Still... You Turn Me on (Live at the Albert Hall) [2017 - Remaster]
[xl] n5 Lucky Man (Live at the Albert Hall) [2017 - Remaster]
[xm] o1 Black Moon (Live at the Albert Hall) [2017 - Remaster]
[xn] o2 Pirates (Live at the Albert Hall) [2017 - Remaster]
[xo] p1 Finale (Medley) [I. Fanfare for the Common Man II. America III. Rondo] [Live at the Albert Hall] [20

Following recent appearances on Permanent Vacation, Mute and Correspondant, Terr makes a triumphant return to Phantasy with a deeply dreamy new single, ‘Wings of Time’. Marking Terr's third appearance on the label, and her first since 2019, 'Wings of Time' is complimented by a momentous remix from Tornado
Wallace.

‘Wings Of Time’ serves to underscore Daniela Caldellas’ talents as both a producer and performer, a songwriter and a master of dancefloor atmosphere. Terr’s assured vocal performance once again takes front-and-centre, a warm beckoning light through a journey made of shimmering pads, wistful chords and
defined by a powerful sense of groove. An instrumental edition further highlights the arrangement, which resolves with rare, cosmic catharsis.

Tornado Wallace appears to stretch the time Terr sings of on his elastic, tunnelling remix, grinding out every inch of tension and detail from the blueprint, expanding minds and widening eyes in the process. While Terr’s original will likely send dancers to the heavens, Wallace reverses the energy source for an unexpectedly bass-heavy interpretation that generates a different, earthier pleasure.

Richard Ashcroft is set to release the new album ‘Acoustic Hymns Vol. 1’ on October 29th via RPA / BMG. The album features twelve newly recorded acoustic versions of classic songs from his back catalogue spanning both his solo career and his time with The Verve.



ABOUT



After lockdown was lifted, Richard decided to start the project as a way to reunite the community around him, bringing a selection of great musicians and old friends back together again. As the project took shape, they discovered just how varied their new approaches could be. Some of the arrangements proved to be timeless and remained similar to the originals, with years of experience and a new found passion that saw Richard’s vocals express a fresh empathy within their lyrics. Meanwhile, other songs took on a new shape in this stripped-back set-up.



The rebirth of the iconic ‘Bittersweet Symphony’ was an emotional moment for Richard. It felt particularly poignant re-recording a song that he had written almost twenty-five years ago, especially as it's now officially his composition after Mick Jagger and Keith Richards relinquished their writing credits to him.

Another big moment comes with the new version of ‘C’Mon People (We’re Making It Now)’, a duet with Richard’s old friend Liam Gallagher. The pair have often talked about recording or performing the song together since it was first released in 2000, and now it’s finally happened - the sheer energy and delight that they shared during the session is palpable as the new recording beams with a joyous feeling of optimism.



‘Velvet Morning’ is another track that has been transformed. The vocals on the original version, as featured on The Verve’s classic ‘Urban Hymns’, were sung via a megaphone that Richard had purchased from a car boot sale the day before the recording session. Now Richard’s vocal really shines as it unleashes the song’s full magnitude.



The biggest surprise on ‘Acoustic Hymns Vol. 1’ is the inclusion of ‘This Thing Called Life’, a song which Ashcroft has rarely played live. It was originally recorded with No I.D. in the USA as a highlight of his soul-tinged RPA & The United Nations Of Sound project. Now taken back to basics, the new arrangement reveals a song that feels perfectly at home alongside Richard’s most highly regarded work.



Produced by Richard with regular collaborator Chris Potter, the album features his regular live band boosted by some special collaborators. Wil Malone provides the string arrangements, which were recorded at Abbey Road Studios. In addition, Chuck Leavell (The Rolling Stones, The Allman Brothers) performs piano, Roddy Bloomfield leads the brass section, and Steve Wyreman (Leon Bridges, Vic Mensa) contributes acoustic guitar and backing vocals.



Richard Ashcroft recently announced details of four special shows, each billed as “An acoustic evening of his classic songs.” After quickly selling out two nights at London’s Palladium, he subsequently added two bigger shows at the Royal Albert Hall and the M&S Bank Arena in Liverpool to fulfill huge public demand for tickets. He will play:

ORDER was founded in 2013 by Anders Odden, Rene Jansen, Kjetil Manheim and Billy Messiah, the group respectively responsible for early-stage Norwegian death metal (Cadaver) and the origin of the Norwegian Black metal (Mayhem). In 2014, Jansen sadly passed away, leaving the project unrealized. The remaining members decided to move forward despite the setback. In 2015 Stu Manx (f. Gluecifer) joined the band and set the band back on its quest to make unpolished raw black metal for the 21st century. To honor Jansen the band released the demo tape ‘Folly Grandeur’ - with rehearsal recordings the following year - and the debut album ‘Lex Amentiae’.
It has been four long years since then, and they are now finally ready to release their long-awaited second studio album, ‘The Gospel’. This time showing the world what strong recipe the current lineup represent. While the band was very satisfied with their debut album, according to the band The Gospel is on a totally different level. “This time we have arrived at a place where the creative flow truly feels unique and to the core of ORDER”, Kjetil Manheim says and continues. “In The Gospel you will meet us on a very personal level. In this record we open ourselves and invite you into our innermost, both musically and through the lyrics. If you ever wondered who we are, and where we come from musically this album is an answer.” Together again they made music that brought to life sounds from the early days, and with ‘The Gospel’ they have arrived in the energy field that fueled the early era where they first met; The Deathcrush era.

The beast is back in black! And it‘s ready to crush the known boundaries of melodic metal!

Beast In Black, the international battalion of ground-breaking melodic metallers, is ready to blow your mind with their third album ominously titled ‘Dark Connection‘.
If you're into melodic and atmospheric heavy metal with an insanely catchy twist, this is the album you're looking for. There's no other creature like this walking the earth. None other bears these sharp edged riffs or piercing choruses. Not with these epic sci-fi, fantasy and cyberpunk stories to tell. Beast In Black is a wholly unique form of heavy metal evolution.
Dark Connection is an album which gathers all the elements from past, present and future of Beast In Black leader, Anton Kabanen. The raw melodic energy of early Battle Beast remains, but now Beast In Black are crafting their own sound within the genre thanks to the utilisation of wildly melodic guitars and multilayered synthezisers.

Remember the glory days of 80's metal? When you could spend hours and hours staring at the cover art of a heavy metal album as you start to discover what all the lyrics are about? Beast In Black is right there with you.Dark Connection is a deeply intricate heavy metal record. As you start to invest time into the songs, you’ll realise that there's something interesting happening at every layer, from the music to the cover art and also the lyrics. It's all tied up into one, to ensure the ultimate audio-visual metal experience.
”It's not a concept album in the traditional sense, but there are a few ongoing themes on the album. One of them might be familiar for fans of Beast-albums from even earlier than Beast In Black”, Anton teases.

”What if I told you that we're back in the world of cyberpunk? Indeed, there are tracks like Highway to Mars and Moonlight Rendezvous, which will let you into the cyberpunk worlds of the Armitage III anime-series and even some Blade Runner themes. In that sense we're back into the themes of the early Battle Beast albums.”
”Cyberpunk is all over the place on Dark Connection. You will feel it in the mood of the album, it's right there in the cover art and we have even carefully prepared a huge music video for you which is visually pure cyberpunk.”
Anton also gives his praises to insanely talented Beast in Black singer Yannis Papadopoulos, who delivers the best vocal performance of his career on Dark Connection.
”It's always a privilege to work with Yannis. He‘s one of those rare singers who can do anything! If he hasn't tried out something before, he figures out the perfect technique to do it in no time.He is a very physical and dedicated singer. He is ready to try 30 different takes on a song if he feels like that's what a perfect result requires. He doesn't just do one or two takes. He does as many as it takes!”
Thirteen songs, a mountain of irresistible melodies and influences from the retro roots of music to a plethora of futuristic themes and atmospheres. Every single song from Dark Connection could be a single. Beast in Black could create a music video for every last track. That's just how much dedication and passion has been immortalised in these songs.

All these moments on Dark Connection won't be lost in time, like tears in rain. Beast is Black has created a lifetime heavy metal exprience. Are you ready to face this eternal beast?

The beast is back in black! And it‘s ready to crush the known boundaries of melodic metal!

Beast In Black, the international battalion of ground-breaking melodic metallers, is ready to blow your mind with their third album ominously titled ‘Dark Connection‘.
If you're into melodic and atmospheric heavy metal with an insanely catchy twist, this is the album you're looking for. There's no other creature like this walking the earth. None other bears these sharp edged riffs or piercing choruses. Not with these epic sci-fi, fantasy and cyberpunk stories to tell. Beast In Black is a wholly unique form of heavy metal evolution.
Dark Connection is an album which gathers all the elements from past, present and future of Beast In Black leader, Anton Kabanen. The raw melodic energy of early Battle Beast remains, but now Beast In Black are crafting their own sound within the genre thanks to the utilisation of wildly melodic guitars and multilayered synthezisers.

Remember the glory days of 80's metal? When you could spend hours and hours staring at the cover art of a heavy metal album as you start to discover what all the lyrics are about? Beast In Black is right there with you.Dark Connection is a deeply intricate heavy metal record. As you start to invest time into the songs, you’ll realise that there's something interesting happening at every layer, from the music to the cover art and also the lyrics. It's all tied up into one, to ensure the ultimate audio-visual metal experience.
”It's not a concept album in the traditional sense, but there are a few ongoing themes on the album. One of them might be familiar for fans of Beast-albums from even earlier than Beast In Black”, Anton teases.

”What if I told you that we're back in the world of cyberpunk? Indeed, there are tracks like Highway to Mars and Moonlight Rendezvous, which will let you into the cyberpunk worlds of the Armitage III anime-series and even some Blade Runner themes. In that sense we're back into the themes of the early Battle Beast albums.”
”Cyberpunk is all over the place on Dark Connection. You will feel it in the mood of the album, it's right there in the cover art and we have even carefully prepared a huge music video for you which is visually pure cyberpunk.”
Anton also gives his praises to insanely talented Beast in Black singer Yannis Papadopoulos, who delivers the best vocal performance of his career on Dark Connection.
”It's always a privilege to work with Yannis. He‘s one of those rare singers who can do anything! If he hasn't tried out something before, he figures out the perfect technique to do it in no time.He is a very physical and dedicated singer. He is ready to try 30 different takes on a song if he feels like that's what a perfect result requires. He doesn't just do one or two takes. He does as many as it takes!”
Thirteen songs, a mountain of irresistible melodies and influences from the retro roots of music to a plethora of futuristic themes and atmospheres. Every single song from Dark Connection could be a single. Beast in Black could create a music video for every last track. That's just how much dedication and passion has been immortalised in these songs.

All these moments on Dark Connection won't be lost in time, like tears in rain. Beast is Black has created a lifetime heavy metal exprience. Are you ready to face this eternal beast?

Diving into the archives of Alter Ego - the Italian experimental ensemble of Manuel Zurria, Paolo Ravaglia, Aldo Campagnari, Francesco Dillon, Oscar Pizzo, and Eugenio Vatta - Die Schachtel is thrilled to present Microwaves, a never before released body of recordings of works composed by Atli Ingólfsson, Giovanni Verrando, Yan Maresz, and Riccardo Nova, made with Pan Sonic (Mika Vainio and Ilpo Vaisanen) in 2005. Resting at the outer reaches of avant-garde chamber and electronic music, the LP’s blistering structures, tones, and textures - plowing forward with frenetic energy - remain radical and ahead of their time, more than 15 years after they were first laid to tape.

A modular chamber ensemble with a pointedly anti-academic approach to music, over the course of its activities - running roughly between 1990 and 2010 - Alter Ego developed a devoted following among some of the most forward thinking voices in experimental music, all the while collaborating widely with artists spanning a vast range of practices and disciplines, including Robin Rimbaud, Philip Jeck, Matmos, Gavin Bryars, Andrew Hooker, William Basinski, David Moss, Alvin Curran, Terry Riley, and near countless number of others.

Alter Ego’s diverse activities can be understood as interventions with the disposition toward formality within contemporary chamber music, often pairing themselves with artists working well beyond their own context as a means to develop highly original interpretations of a specific composer’s work. In 2004, this process led them to instigate a collaboration Pan Sonic, the Finnish duo of Mika Vainio and Ilpo Vaisanen, pioneers of a remarkably distinct form of rhythmic, experimental electronic music, and regarded by many as one of the most visionary and irreverent projects working in the field during the '90s and 2000s.

Initially conceived with Fausto Romitelli in 2004 before being sidelined by the composer’s untimely passing the following year, Microwaves acts, in part, a remembrance in sound, featuring four works by some of his closest friends, the composers Atli Ingólfsson, Giovanni Verrando, Yan Maresz, and Riccardo Nova. Each composition, Ingólfsson’s Snap, Verrando’s Harmonic Domains #3, Maresz’s Link, and Nova’s Thirteen13x8@Terror Generating Deity, have roots in a pallet of samples and fragments drawn by each composer from existing works by Pan Sonic. Upon completion, these compositions then entered into a collaborative process between Mika Vainio and Ilpo Vaisanen (Pan Sonic) and Alter Ego (Manuel Zurria, Paolo Ravaglia, Aldo Campagnari, Francesco Dillon, Oscar Pizzo, and Eugenio Vatta), and were performed collectively by both groups during an extensive tour that year.

Distinct and free-standing, while operating as a seamless whole, the four works encountered across the album’s two sides - built from the sounds of flute, clarinet, violin, cello, piano, electronics, and further treatments - present an engrossing intersection between electronic and acoustic sound that diverges from most standing conceptions of electroacoustic music. Each composer’s carefully rendered structures rise and fall within the startling, conversant interplay between the two groups, finding perfect balance - between the frenetic and restrained - in what can only be regarded as one of the most striking and singularly unique expressions of contemporary chamber music realized during the 2000s.

Vast in scope, visionary in concept and artistry, and sonically engrossing, Die Schachtel is thrilled to present these never before heard recordings from the archives of Alter Ego. Microwaves is available on black vinyl, in a limited edition of 350 copies.

Diving into the archives of Alter Ego - the experimental ensemble of Manuel Zurria, Paolo Ravaglia, Aldo Campagnari, Francesco Dillon, Oscar Pizzo, Fulvia Ricevuto, and Eugenio Vatta - Die Schachtel is thrilled to present Pranam - A(Round) Giacinto Scelsi, a never before released body of recordings interpreting the works of the legendary Italian composer Giacinto Scelsi, made with Matmos (Martin Schmidt and Drew Daniel) in 2005. Resting at the outer reaches of avant-garde chamber and electronic music - moving at a glacial pace of tightly wound energy - Pranam’s two sides radically rethink the terms electroacoustic music in ways that still feel radically ahead of their time, more than 15 years after they were first laid to tape.

A modular chamber ensemble with a pointedly anti-academic approach to music, over the course of its activities - running roughly between 1990 and 2010 - Alter Ego developed a devoted following among some of the most forward thinking voices in experimental music, all the while collaborating widely with artists spanning a vast range of practices and disciplines, including Robin Rimbaud, Philip Jeck, Pan Sonic, Matmos, Gavin Bryars, Andrew Hooker, William Basinski, David Moss, Alvin Curran, Terry Riley, and near countless number of others.

Alter Ego’s diverse activities can be understood as interventions with the disposition toward formality within contemporary chamber music, often pairing themselves with artists working well beyond their own context as a means to develop highly original interpretations of a specific composer’s work. In 2005, this process led them to invite Matmos, the American duo of Drew Daniel, Martin Schmidt - acclaimed for a body of visionary albums at the vanguard of electronic process and sampling - to collaborate on a series of interpretations of works by the legendary Italian composer Giacinto Scelsi.

Realized in collaboration with The Fondazione Isabella Scelsi, which holds Giacinto Scelsi’s archives, and performed at the Festival Roma Europa and the Festival Aeterforum during May of 2005, the album’s four works - Estratti dal Quartetto per archi n.3 (1963), Ko-Lho (1966), Riti: I Funerali di Carlo Magno A.D. 814 (1976), Aitsi (1974) - shift the boundaries of 20th Century chamber music toward markedly new and contemporary terms, incorporating everything from the sounds of the Revox tape machine that Scelsi used to record his own improvisations and processed electronics, to the plastic trumpets used by fans during football matches.

From intertwining, shifting lone-tones that render startling resonances and dissonances, to passages guided by a vast pallet of electronics and flurries of acoustic sounds, joined as a single ensemble, across the two sides of Pranam, Alter Ego and Matmos infuse these four works by Scelsi with humor and playfulness, while retaining all the urgency and rigour with which they were initially composed.

Delicate and meditative, while tightly wound and brooding, Pranam brings the works of Giacinto Scelsi to life in ways that almost no group ever has. Riveting and immersive from start to finish, Die Schachtel is thrilled to present these never before heard recordings from the archives of Alter Ego. Pranam is available on black vinyl, in a limited edition of 350 copies.

With ‘Harmonizer’, his first album in two years, Ty Segall glides
smoothly into unexpected territory, right where he likes to find
himself. Responding to the challenge his new songs gave him: a
synth-tastic production redesign, Ty kicks back with bottom-heavy
creativity, dialling up a wealth of guitar and keyboard settings to do
the deed.
 ‘Harmonizer’ is a glossy, barely-precedented sound for him, and
truth, it enraptures the ear - but in Ty’s hands, the sound is also a
tool that allows him to cut through dense undergrowth, making for
some of his cleanest songs and starkest ideas to date.
‘Harmonizer’’s production model couches tightly-controlled beats
in thick keyboard textures, with direct-input guitar signal whining
and buzzing purposefully from left to right.
 The Freedom Band appear all over the record, but often one at a
time, their contributions leaving a distinctive footprint on the
proceedings wherever they appear. Operating in this airtight
environment with an eye towards precision, feel, and explosive
mass, Ty’s crafted a formidable listening encounter - and once you
get between the lines, the need to know more grows more
compelling with every song.
 The first recording to be released from Ty’s just-completed
Harmonizer Studios, ‘Harmonizer’ benefits from a collaboration
with Cooper Crain, who co-produced the album with Ty. The Venn
diagram of these guys unites them in DIY/punk dyed-in-thewooldom; Ty’s propers you know, but Cooper’s own unique
journey in rhythm, minimalism and DIY (as heard on his
productions with CAVE, Bitchin Bajas and Jackie Lynn) mines the
depths around Ty’s peerless vocal attack and aid in the latest
chapter of his never-ending search for unfathomably corrosive
guitar sounds.
 Bursting with transcendent energy, ‘Harmonizer’ is an extension of
the classic style of ‘Emotional Mugger’ and ‘Sleeper’, revisiting the
lonely days and loathsome nights of the alienated, grown-upwrong soul, to make it all right in the end.

With ‘Harmonizer’, his first album in two years, Ty Segall glides
smoothly into unexpected territory, right where he likes to find
himself. Responding to the challenge his new songs gave him: a
synth-tastic production redesign, Ty kicks back with bottom-heavy
creativity, dialling up a wealth of guitar and keyboard settings to do
the deed.
 ‘Harmonizer’ is a glossy, barely-precedented sound for him, and
truth, it enraptures the ear - but in Ty’s hands, the sound is also a
tool that allows him to cut through dense undergrowth, making for
some of his cleanest songs and starkest ideas to date.
‘Harmonizer’’s production model couches tightly-controlled beats
in thick keyboard textures, with direct-input guitar signal whining
and buzzing purposefully from left to right.
 The Freedom Band appear all over the record, but often one at a
time, their contributions leaving a distinctive footprint on the
proceedings wherever they appear. Operating in this airtight
environment with an eye towards precision, feel, and explosive
mass, Ty’s crafted a formidable listening encounter - and once you
get between the lines, the need to know more grows more
compelling with every song.
 The first recording to be released from Ty’s just-completed
Harmonizer Studios, ‘Harmonizer’ benefits from a collaboration
with Cooper Crain, who co-produced the album with Ty. The Venn
diagram of these guys unites them in DIY/punk dyed-in-thewooldom; Ty’s propers you know, but Cooper’s own unique
journey in rhythm, minimalism and DIY (as heard on his
productions with CAVE, Bitchin Bajas and Jackie Lynn) mines the
depths around Ty’s peerless vocal attack and aid in the latest
chapter of his never-ending search for unfathomably corrosive
guitar sounds.
 Bursting with transcendent energy, ‘Harmonizer’ is an extension of
the classic style of ‘Emotional Mugger’ and ‘Sleeper’, revisiting the
lonely days and loathsome nights of the alienated, grown-upwrong soul, to make it all right in the end.

At this stage in the game, the name Whitechapel commands respect. Already sitting on one of the most enviable catalogs in contemporary metal, in 2019 they dropped The Valley, showcasing a confident evolution in their sound and standing as a true landmark release that sets a new standard for the genre. In 2021, they return with that album's successor, the mighty Kin , which is an even more dynamic and diverse collection, further advancing the band's sound into new territory without losing sight of what brought them to this point. The commencement of writing for the album was a direct result of the Covid pandemic, the band having several tours lined up to finish out the cycle for The Valley, but when these got cancelled, they decided to refocus their energies and begin working on a new record. The result is a collection that explores a lot of sonic and emotional territory, and for the first time, it could be said that a Whitechapel record is as much a rock album as it is a metal one, an assertion guitarist Alex Wade agrees with. "It's still very much a metal album, I don't think you would hear any of the songs on mainstream radio, but there are elements of the record that have more of a rock and open vibe. We really wanted these songs to breathe and have life and to sound bigger than anything we've made so far. We have explored more singing on 'Kin' too. It wouldn't make sense to have the majority of the fanbase enjoy that sound and then shy away from it." This is not to say that the band have lost their hardest edges, with the full-on death metal assault that kicks off both "Lost Boy" and "To The Wolves" as brutal and serrated as extreme metal gets, and while vocalist Phil Bozeman explores his wide-ranging singing voice more, he also cuts loose with his trademark roar across the album's eleven tracks.

At this stage in the game, the name Whitechapel commands respect. Already sitting on one of the most enviable catalogs in contemporary metal, in 2019 they dropped The Valley, showcasing a confident evolution in their sound and standing as a true landmark release that sets a new standard for the genre. In 2021, they return with that album's successor, the mighty Kin , which is an even more dynamic and diverse collection, further advancing the band's sound into new territory without losing sight of what brought them to this point. The commencement of writing for the album was a direct result of the Covid pandemic, the band having several tours lined up to finish out the cycle for The Valley, but when these got cancelled, they decided to refocus their energies and begin working on a new record. The result is a collection that explores a lot of sonic and emotional territory, and for the first time, it could be said that a Whitechapel record is as much a rock album as it is a metal one, an assertion guitarist Alex Wade agrees with. "It's still very much a metal album, I don't think you would hear any of the songs on mainstream radio, but there are elements of the record that have more of a rock and open vibe. We really wanted these songs to breathe and have life and to sound bigger than anything we've made so far. We have explored more singing on 'Kin' too. It wouldn't make sense to have the majority of the fanbase enjoy that sound and then shy away from it." This is not to say that the band have lost their hardest edges, with the full-on death metal assault that kicks off both "Lost Boy" and "To The Wolves" as brutal and serrated as extreme metal gets, and while vocalist Phil Bozeman explores his wide-ranging singing voice more, he also cuts loose with his trademark roar across the album's eleven tracks.

The forthcoming latest edition of the popular compilation series featuring long-lost vintage 60s-70s proto-metal and stoner rock singles, Brown Acid: The Thirteenth Trip will be available on Halloween 2021. Check out the first single "Run Run", released in 1970 by Montreal hard rockers Max is available to hear & share via Metal Injection HERE. (And, direct YouTube and Bandcamp)

The Brown Acid series is curated by L.A. label RidingEasy Records and retailer/label Permanent Records. Read interviews with the series curators via Paste Magazine HERE and LA Weekly HERE.

About The Thirteenth Trip:

Max, from Montreal, QC — originally known as Dawn, before Tony Orlando & Dawn forced a name change — kick things off with “Run Run” from their lone 1970 single. It’s a hard-hitting rocker with scale climbing crunching guitars and powerful Bonham-esque drumming. Sadly, the band didn’t last long due to poor management and various other factors, so this is the only surviving document according to guitarist Gerry Markman. And what a document it is, paired with the A-side “The Flying Dutchman.”

You might remember Ralph Williams and the Wright Brothers from their track “Never Again” on Brown Acid: The Tenth Trip. Here they make their return to the series with the A-side of their 1972 Hour Glass Records 45, which sounds like Blue Cheer mangling Roy Orbison’s “Pretty Woman” (that’s right, several years before Van Halen actually did so.) Alas, Ralph and these Wright Brothers soon disappeared from terrestrial airspace.

“Feelin’ Dead” is extremely heavy blues from this also extremely rare 1974 single by Detroit, MI’s Master Danse, which was only released as a promo 45. Think Led Zeppelin’s “Since I’ve Been Loving You” and you’re on the right track. A little dose of Hendrix acid blues and a heartfelt groove, and you’ll wonder why this single never even made it to official release. The unavoidable tell in the lyric, “help me get this damn thing out of my arm” hints at the post-Vietnam heroin epidemic as a potential clue why we never heard more from Master Danse.

Folks, Gary Del Vecchio is “Buzzin’” hard on this one, and from what sounds like an in-studio party of yelps and chatter at the start of the song, it seems that the whole band was in on the festivities. The funky blues riff, reminiscent of Led Zeppelin’s “Heartbreaker” and rollicking rhythmic changes certainly keep the buzz a rollin’.The recording is technically credited as Gary Del Vecchio with Max, though not the same band as the one that kicks off this Trip.

John Kitko’s 1973 heavy psychedelic rager “Indecision” is the only recording known to exist by the mysterious artist. The Twin Record Productions release features a different artist, Tom Poff on the B-side, which is truly a shame, considering the smoldering ashes Kitko leaves of the turntable by song’s end. It starts out more like a late 60s Acid Rock jam before leaping into a blazing double-time gallop, whipped into a frenzy by wailing, neck-pickup guitar squeals and Kitko’s barely audible howls.

Tampa, FL’s Bacchus made their Brown Acid debut way back on the very first Trip with “Carry My Load.” This 1972 B-side, “Hope” is a huge sounding swinging rocker replete with roadhouse piano bolstering the chunky riffs and confident vocals. After relocating to Southern California a few years later, the band morphed into Fortress, an 80s melodic metal act whose Hands In The Till album of Pomp Rock on Atlantic Records still draws chatter today.

Orchid’s “Go Big Red” is perhaps the most garage-y sounding offering here, with loose rhythms and straightforward stop-and-start riffing. Nonetheless, the stomping energy and fried-amp guitar tone make this one a charming skull thwack. The band’s 1973 single on American records, backed with a cover of Johnny Russell and Voni Morrison’s “Act Naturally” (popularized by Buck Owens and the Buckaroos) is their only release, so the world never did see this Orchid fully blossom.

By the title alone of Dry Ice’s “Don’t Munkey with the Funky Skunky” you know you’re in for a good time. The 1974 barnstormer seems aimed to the novelty tunes crowd, with its kooky lyrics and silly-voiced spoken catchphrase break, “peeyew, you’ll be sorry if you do.” But, the Ohio band’s maniacal drumming, crunching guitars and, of course, drug euphemistic lyrics make it a shoo-in for the Brown Acid series of erudite rock’n’roll.

Good Humore’s swaggering 1976 rocker “Detroit” is a slick and smooth paen to the Motor City. It most likely doesn’t predate “Detroit Rock City” by Kiss, also released in 1976, and it has more rock’n’roll swing, but it could fit comfortably alongside the era’s arena anthems. Not much else is known about the one-off release on P.V. Records, but songwriter Mike Moats is noted to also have been a recording engineer in later years and this well produced track sounds like a labor of love.

The forthcoming latest edition of the popular compilation series featuring long-lost vintage 60s-70s proto-metal and stoner rock singles, Brown Acid: The Thirteenth Trip will be available on Halloween 2021. Check out the first single "Run Run", released in 1970 by Montreal hard rockers Max is available to hear & share via Metal Injection HERE. (And, direct YouTube and Bandcamp)

The Brown Acid series is curated by L.A. label RidingEasy Records and retailer/label Permanent Records. Read interviews with the series curators via Paste Magazine HERE and LA Weekly HERE.

About The Thirteenth Trip:

Max, from Montreal, QC — originally known as Dawn, before Tony Orlando & Dawn forced a name change — kick things off with “Run Run” from their lone 1970 single. It’s a hard-hitting rocker with scale climbing crunching guitars and powerful Bonham-esque drumming. Sadly, the band didn’t last long due to poor management and various other factors, so this is the only surviving document according to guitarist Gerry Markman. And what a document it is, paired with the A-side “The Flying Dutchman.”

You might remember Ralph Williams and the Wright Brothers from their track “Never Again” on Brown Acid: The Tenth Trip. Here they make their return to the series with the A-side of their 1972 Hour Glass Records 45, which sounds like Blue Cheer mangling Roy Orbison’s “Pretty Woman” (that’s right, several years before Van Halen actually did so.) Alas, Ralph and these Wright Brothers soon disappeared from terrestrial airspace.

“Feelin’ Dead” is extremely heavy blues from this also extremely rare 1974 single by Detroit, MI’s Master Danse, which was only released as a promo 45. Think Led Zeppelin’s “Since I’ve Been Loving You” and you’re on the right track. A little dose of Hendrix acid blues and a heartfelt groove, and you’ll wonder why this single never even made it to official release. The unavoidable tell in the lyric, “help me get this damn thing out of my arm” hints at the post-Vietnam heroin epidemic as a potential clue why we never heard more from Master Danse.

Folks, Gary Del Vecchio is “Buzzin’” hard on this one, and from what sounds like an in-studio party of yelps and chatter at the start of the song, it seems that the whole band was in on the festivities. The funky blues riff, reminiscent of Led Zeppelin’s “Heartbreaker” and rollicking rhythmic changes certainly keep the buzz a rollin’.The recording is technically credited as Gary Del Vecchio with Max, though not the same band as the one that kicks off this Trip.

John Kitko’s 1973 heavy psychedelic rager “Indecision” is the only recording known to exist by the mysterious artist. The Twin Record Productions release features a different artist, Tom Poff on the B-side, which is truly a shame, considering the smoldering ashes Kitko leaves of the turntable by song’s end. It starts out more like a late 60s Acid Rock jam before leaping into a blazing double-time gallop, whipped into a frenzy by wailing, neck-pickup guitar squeals and Kitko’s barely audible howls.

Tampa, FL’s Bacchus made their Brown Acid debut way back on the very first Trip with “Carry My Load.” This 1972 B-side, “Hope” is a huge sounding swinging rocker replete with roadhouse piano bolstering the chunky riffs and confident vocals. After relocating to Southern California a few years later, the band morphed into Fortress, an 80s melodic metal act whose Hands In The Till album of Pomp Rock on Atlantic Records still draws chatter today.

Orchid’s “Go Big Red” is perhaps the most garage-y sounding offering here, with loose rhythms and straightforward stop-and-start riffing. Nonetheless, the stomping energy and fried-amp guitar tone make this one a charming skull thwack. The band’s 1973 single on American records, backed with a cover of Johnny Russell and Voni Morrison’s “Act Naturally” (popularized by Buck Owens and the Buckaroos) is their only release, so the world never did see this Orchid fully blossom.

By the title alone of Dry Ice’s “Don’t Munkey with the Funky Skunky” you know you’re in for a good time. The 1974 barnstormer seems aimed to the novelty tunes crowd, with its kooky lyrics and silly-voiced spoken catchphrase break, “peeyew, you’ll be sorry if you do.” But, the Ohio band’s maniacal drumming, crunching guitars and, of course, drug euphemistic lyrics make it a shoo-in for the Brown Acid series of erudite rock’n’roll.

Good Humore’s swaggering 1976 rocker “Detroit” is a slick and smooth paen to the Motor City. It most likely doesn’t predate “Detroit Rock City” by Kiss, also released in 1976, and it has more rock’n’roll swing, but it could fit comfortably alongside the era’s arena anthems. Not much else is known about the one-off release on P.V. Records, but songwriter Mike Moats is noted to also have been a recording engineer in later years and this well produced track sounds like a labor of love.

Ellesmere, a symphonic-prog music project founded and led by Italian multi-instrumentalist Roberto Vitelli, author of all the music and lyrics, surprisingly comes back just one year after their second album "Ellesmere II / From sea and beyond" with an amazing work in terms of freshness, energy, impact and meticulous attention towards its sound and arrangements.

First of all, "Wyrd" deserves admiration starting from the cover artwork made by Rodney Matthews, an iconic illustrator at least equal to the legendary Roger Dean. Musically, it evolves on the same path of "Ellesmere II", so the main references are classic prog outfits Yes, King Crimson, Kansas, plus a good amount of jazz-rock, present in every song; but there are also references to contemporary progressive rock and to artists such as Transatlantic, Flower Kings and Spock's Beard. "Wyrd" is therefore a third epic and even more enthralling chapter than the previous one, almost completely instrumental and captivating from the first minute to the very last one.

As per tradition, "Wyrd" also involves a series of prog-related prestigious guests: Mattias Olsson (Änglagård, White Willow / drums), Tomas Bodin (The Flower Kings / keyboards), David Cross (King Crimson / violin), John Hackett (brother of the famous Steve Hackett and a constant presence in his solo records / flute), David Jackson (Van Der Graaf Generator, Osanna / saxophone), Tony Pagliuca (Le Orme / keyboards), Luciano Regoli (Raccomandata Ricevuta Ritorno / voice), Fabio Liberatori (Loy & Altomare, Lucio Dalla, Ron / keyboards), Fabio Bonuglia (keyboards) and Giorgio Pizzala (vocals).

In a path of musical and stylistic evolution that started from the acoustic and pastoral prog of "Les Châteaux De La Loire" (2015), we hope that "Wyrd" does not represent point of arrival, but another passage towards new unexplored lands!

"One turntable, one microphone, a mek we skank it til a morning!" Taking you back to the roots of sound-system culture: when entertainers rocked the dance until morning, with the most basic equipment. The skill and the vibe were all that mattered. "One turntable, One microphone" captures that essence. Sweet, lilting saxophone licks from Jazz futurist Marcus Joseph (Jazz re:freshed) set the scene for the gathering. Ranking Joe bawls out, "forward rub-a-dub style!" as clean, crisp piano chops out the backbeat. A rock-hard rhythm section drops in to put the bassline in your waistline. As the crowd swells, so too does the energy of the performers, with spaced out echoes creating a lush soundscape for the deejay to ride over joyfully. Ranking Joe is a foundation reggae artist from Kingston Jamaica. His first recording was on Coxsone Dodd's legendary Studio One label in 1974. He has cut hits with Sly and Robbie and Easy Star All Stars, enlivening any production with his fast, intricate and sometimes humorous lyrical flows. This latest release shows the endurance of his musical gift and reactivates the essence of golden-era Jamaican dancehall for modern ears.

In Paris, it’s hard to miss Mayflo and his positive and soothing aura. The lad is all around, both through his fierce Radio presence with his residencies at Rinse, Le Mellotron and Station Station, and behind the decks across the Parisian nightlife spectrum, under his name, with his ravy duo Les Déménageurs Bresson, or with his collective ItinéraireBis. He never seems to struggle, to tire out or to force himself, and it is this energy, this fluidity and ease to navigate vast Sonic universes that make this project so special. On paper, combining the fury of Bristol banging breaks with those of Baltimore Club into a singular positive unity, with solar and dreamy overtones inspired by the warmth of House is no easy task. Yet, Mayflo lays it all there through his 5 tracks with an unsettling ease, drawing the outlines of this Solar Club Continuum in question: driven by a club energy, but never outrageous, 100% intimate and sensible. This makes it a one of a kind disc in the contemporary Dance landscape.

After being championed by John Digweed on his iconic Transitions radio show, London duo The Pressure team up with Digweed and his long-time studio partner Nick Muir on Counting Down The Days, a soaring, hypnotic, emotive progressive house cut that points to brighter times ahead.

The Pressure are a London-based electronic band. Diverse production and energetic performance form the pair’s foundations, with influences from rave culture and performance-centric dance acts such as Depeche Mode and Underworld prominent across their releases and live shows.

2020 saw them self-release Ride and Planes: two tough club tracks with songwriting at the heart of them. A statement of intent from the duo, both cuts showcased a varied production approach reminiscent of the Bristol-era of UK electronica. Earlier in 2021 they made their debut on Undisputed Music with Saturday Night, a distinctive dance cut that sat somewhere between deep house and crossover electronica, and has to date clocked up more than a million streams across all platforms.

John Digweed is one of the most celebrated electronic artists of all time, and alongside Nick Muir is responsible for an incredible catalogue of music, so even before you listen to it you know this is going to be something special. Counting Down The Days is a stunning collaboration, combining the pure, driving progressive house of Digweed and Muir with the poignant emotion and raw talent of The Pressure to incredible effect.

Passionate about breaking records and being immersed in the music that fuels our most cherished dancefloor moments, Undisputed Music is doing just that with a coalition of existing and new artists spanning many electronic genres, lining up releases to illuminate audiences across the globe.

Founded by industry aficionados Tony Garvey and Marc Thomas, they share over two decades of experience between them. From currently running the UK Electronic roster for world renowned management company, Red Light, to many years within the walls of, Island Records, Def Jam, Priority Records, MCA / Motown, AM:PM, Defected Records, Strictly Rhythm and Universal Music Publishing, their wealth of knowledge is well earned.


DJ Support:

Pete Tong, John Digweed, Nick Muir, Taiki Nulight

Tiptoes joins the SlothBoogie roster this October with the ‘Good Times Incoming’ EP, comprised of four originals from the Scottish artist.

Hailing from Glasgow, Scotland, Tiptoes is a time-served DJ/Producer who has been in the game for over 15 years and has performed at a variety of venues worldwide. As a DJ, Tiptoes sound traverses from Jazz to Jungle through Detroit, Disco, Techno, Garage, Broken Beat, Deep House and everything in between, always finding that balance between energy and soul which crosses over into his productions also.

Up first on the package is ‘Born Slippery’, a filter house workout fuelled by an amalgamation of funk infused bass, guitar and brass licks alongside swinging drums and dynamic filter work. ‘Green Room’ follows next and lays down soulful strings, stuttering vocal cuts and plucked bass atop an organic drum groove.

Opening the flip-side is ‘Right Here’, stripping things back to robust drums, jazzy keys and processed vocal chants before ‘Alright’ rounds out the release via airy keys, moog like synth licks and crunchy lo-fi percussion.

There shouldn't have been a debut album on Anjunabeats, gardenstate shouldn't have existed, and we should have stuck to our normal day job. This album is to everyone out there who has been told that 'you can't do it'." Be it through passion, determination, or just sheer stubbornness, gardenstate continues to bloom. A transatlantic labour of love from superproducer Marcus Schössow and club promoter Matt Felner, their debut album 'Inspirations' is out this year on Above &Beyond's Anjunabeats imprint. At the heart of Sweden's decade-long domination of club music in the 2010s, Marcus' fifteen-year-long career boasts a smörgårdsbord of styles. You've got electro with 'Swedish Beatballs', the mainstage energy of 'Reverie' and 'Ulysses', and the driving progressive of 'London / 1985'. Few artists have record sleeves from Axtone, Armada, Size, Spinnin' and Anjunadeep in their catalogue. Heavily invested in the early 2010's big room sound, he was a permanent feature in the sets of Swedish House Mafia and Knife Party. New Jersey native Matt Felner gave up his blue-collar job to follow his passion for electronic music. A respected promoter and performer, he's brought emerging artists to the clubs of New York and the East Coast. In 2008, he toured Marcus Schössow and they became close friends. Eleven years later, and here we are - a hotly-tipped duo with a debut artist album on Anjunabeats. Making music on their own terms, the gardenstate sound is a melting pot of '90s trance nostalgia, brooding melodic techno, peak-time breaks and poignant song writing. Few acts can worm their way into the DJ sets of Kölsch, Cristoph, Tiestö and Above & Beyond at the same time.

Limited Edition 2 x LP vinyl with 13 remixes and more than 78 minutes of music, comes in gatefold double colour sleeve with exclusive photographs from the film, extensive liner notes and japanese style OBI strip. The score for a film by Oscar winning director Dusan Vukotic 'Visitors From The Galaxy' from 1981 (FOX001LP) was remixed by 11 artists from 9 countries. All original tracks from Visitors From The Galaxy (alternative titles: Gosti Iz Galaksije; Monstrum Z Galaxie Arkana; Gaeste Aus Der Galaxis; I Visitatori Della Galassia Arcana; Goscie Z Galaktyki Arkana; Los Visitantes De La Galaxia) are arranged, composed, conducted and produced by Tomislav Simovic. This compilation includes additional screen sounds from the unpublished tapes of composer Tomislav Simovic also featured in Dusan Vukotic film. With courtesy of Tomislav Simovic estate artists were given complete creative freedom to remix, reinvent and re-imagine the futuristic soundscape of first science-fiction film in Yugoslavia that was scored in analog, abstract, electronic and synthesised music. Alen & Nenad Sinkauz, Ali Renault, Anatolian Weapons, Credit 00, Drvg Cvltvre, Goran Vejvoda, Heinrich Dressel, Repeated Viewing, Security DJ, Tapan and Timothy Fife got the sounds from Tomislav Simovic score and embarked on a musical journey that had no rule or predetermined direction or genre; it was only their creativity inspired by Visitors From The Galaxy sound that led them to a new pieces, more or less experimental, abstract or dance floor friendly. The diversity of music goes wide and deep, it is modern and made by the stars of today paying homage to a composer who always retreated in being a star. As the remix projects of this kind are still very rare and include famous names like Ennio Morricone, Steve Reich or Peter Thomas Orchestra, Tomislav Simovic is now finally, one might say, at home.

Non-binary artist and producer peachlyfe emerges from the high-speed, forward-thinking Copenhagen Techno scene; known for their energetic approach to production coupled with an affiliation for peculiar rhythms and a desire to explore the outer reaches of dance music.

‘Creeper’ sets the standard; unveiling as a fast-paced, itchy and foreboding blend of highly charged kickdrums, rolling hats and sticky, palpitating synths. Nene H, a dynamic producer with strong ties to the Danish capital through her residency at one of the cites most loved parties ‘Endurance’, is on hand to remix- turning in a late-night tale that moves amidst the shadows.

The low-slung groove of ‘Trashman’ is as hypnotic as they come; the type of mind-bending composition that leaves you questioning what exactly just happened, bringing the A-side to a gripping close.

Industrial and brooding, ‘Burst’ opens the B-side with a bang, followed by ‘Elemental Friend’, a trance-leaning cut, blended with percussion that strikes down like metallic fists.

The Replacements’ 1981 Twin/Tone Records debut, Sorry Ma, Forgot To Take Out The Trash, heralded the Minneapolis-based band’s competing tendencies toward indelible genius and reckless abandon. With now classic songs including 'Takin' A Ride,' 'Shiftless When Idle,' 'Customer' and 'Johnny's Gonna Die,' the 'Mats' legendary founding line-up of lead singer/songwriter and guitarist Paul Westerberg, Chris Mars (drums) and brothers Bob and Tommy Stinson (lead guitar and bass, respectively) unleashed a shambling, dynamic sound. Loose, live, and brimming with energy, Sorry Ma… is a lesson in chaos.

The 40th anniversary of Sorry Ma, Forgot To Take Out The Trash is celebrated this fall with a 4CD/1LP set that offers a remarkable document of The Replacements’ formative years. Of the set’s 100 tracks, 67 have never been released before, including the first demos the band recorded in early 1980, as well as a professionally captured concert from January 1981. Along with a newly remastered version of the original album, it also uncovers many unreleased rough mixes, alternate takes, and demos from the band’s first 18 months together. The LP included in the set, titled Deliberate Noise, presents an alternate version of the original album using these previously unreleased tracks.

CD Tracklist:

1. TAKIN A RIDE
2. CARELESS
3. CUSTOMER
4. HANGIN DOWNTOWN
5. KICK YOUR DOOR DOWN
6. OTTO
7. I BOUGHT A HEADACHE
8. RATTLESNAKE
9. I HATE MUSIC
10. JOHNNY’S GONNA DIE
11. SHIFTLESS WHEN IDLE
12. MORE CIGARETTES
13. DON’T ASK WHY
14. SOMETHIN TO DÜ
15. I’M IN TROUBLE
16. LOVE YOU TILL FRIDAY
17. SHUTUP
18. RAISED IN THE CITY
19. IF ONLY YOU WERE LONELY
1. TRY ME (Demo)
2. SHE’S FIRM (Demo)
3. LOOKIN FOR YA (Demo)
4. RAISED IN THE CITY (Demo)
5. SHUTUP (Demo)
6. DON’T TURN ME DOWN (Demo)
7. SHAPE UP (Demo)
8. I HATE MUSIC (Studio Demo)
9. CARELESS (Studio Demo)
10. SHUTUP (Studio Demo)
11. OTTO (Studio Demo)
12. GET ON THE STICK (Studio Demo)
13. OH BABY (Studio Demo)
14. RAISED IN THE CITY (Studio Demo)
15. SHIFTLESS WHEN IDLE (Studio Demo)
16. MORE CIGARETTES (Studio Demo)
17. YOU AIN’T GOTTA DANCE (Studio Demo)
18. DON’T TURN ME DOWN (Studio Demo)
19. RATTLESNAKE (Basement Version)
20. TAKIN’ A RIDE (Basement Version)
21. LIE ABOUT YOUR AGE (Basement Version)
22. WE’LL GET DRUNK/CUSTOMER (Basement Version)
23. JOHNNY FAST (Basement Version)
24. MISTAKE (Basement Version)
25. BASEMENT JAM (Rehearsal)
1. CARELESS (Alternate Version)
2. TAKIN A RIDE (Alternate Version)
3. SHUTUP (Alternate Version)
4. OTTO (Alternate Mix)
5. RAISED IN THE CITY (Alternate Version)
6. RATTLESNAKE (Alternate Mix)
7. LOVE YOU TILL FRIDAY (Alternate Version)
8. CUSTOMER (Alternate Version)
9. SOMETHIN TO DÜ (Alternate Version)
10. JOHNNY’S GONNA DIE (Alternate Version)
11. I’M IN TROUBLE (Alternate Version)
12. I HATE MUSIC (Alternate Version)
13. WE’LL GET DRUNK
14. MORE CIGARETTES (Alternate Mix)
15. GET LOST (Instrumental)
16. HANGIN DOWNTOWN (Alternate Version)
17. SHUTUP (Alternate Version 2)
18. SOMETHIN TO DÜ (Alternate Version 2)
19. DON’T ASK WHY (Alternate Mix)
20. KICK YOUR DOOR DOWN (Alternate Mix)
21. LOVE YOU TILL FRIDAY (Alternate Mix)
22. JOHNNY’S GONNA DIE (Alternate Mix)
23. LIKE YOU (Outtake)
24. GET LOST (Outtake)
25. A TOE NEEDS A SHOE (Outtake)
26. YOU’RE PRETTY WHEN YOU’RE RUDE (Solo Home Demo)
27. IF ONLY YOU WERE LONELY (Working Version/Solo Home Demo)
28. BAD WORKER (Solo Home Demo)
29. YOU’RE GETTING MARRIED (Solo Home Demo)
1. CARELESS
2. TAKIN A RIDE
3. TROUBLE BOYS
4. HANGIN DOWNTOWN
5. LIKE YOU
6. OFF YOUR PANTS
7. GET LOST
8. EXCUSE ME
9. CUSTOMER
10. I WANNA BE LOVED
11. MISTAKE
12. MY TOWN
13. SHIFTLESS WHEN IDLE
14. OH BABY
15. I’M IN TROUBLE
16. JOHNNY’S GONNA DIE/ALL BY MYSELF
17. MORE CIGARETTES
18. OTTO
19. DON’T ASK WHY
20. SLOW DOWN
21. SOMETHIN TO DÜ
22. LOVE YOU TILL FRIDAY
23. RAISED IN THE CITY
24. RATTLESNAKE
25. ALL DAY AND ALL OF THE NIGHT
26. I HATE MUSIC
27. SHUTUP

‘Colourgrade’ follows on from 2018’s immediate cult
classic album, ‘Devotion’. It forms a subconscious
snapshot from across a year when Tirzah was playing
live regularly for the first time, in the depths of
promoting ‘Devotion’ and recorded soon after the birth
of her first child and shortly before her second child
was born.
The album explores recovery, gratitude and new
beginnings, presenting a singer having discovered the
type of love that is shared between a mother and a
child for the first time, whilst simultaneously working as
an artist.ௗCapturing both the great and the scary, the
exhaustion and the recovery, ‘Colourgrade’ is a listless
amble through the innermost feelings, an intoxicating
presentation of a full-time mother and artist.
As always, a Tirzah record is a family affair, featuring
the extended CURL crew that includes long term
collaborators Mica Levi and Coby Sey, the younger
brother of producer Kwes who mixes onௗ’Colourgrade’.
It’s this natural, collaborative energy that keeps
Tirzah’s music fresh and progressive.

EVERY TIME I DIE is a loud rock institution committed to leaving an outpouring of chaotic passion and blissful malcontent all over their records and on the stage. With boiling charisma and unrelenting energy to spare, the Buffalo, NY band manages not one but two near-impossible tasks. They've survived two decades as an underground entity cherished for coloring outside the lines, and contrary to most career arcs, continually improving with each successive album as they charge ahead. EVERY TIME I DIE makes a glorious hardcore-punk noise. Alchemized by a swampy summoning of Southern rock and coarse poetry, the music swirls beneath sardonic and clever wordplay, cementing them as leaders, not followers. The band's ninth studio album, Radical, is 16 tracks of peak-EVERY TIME I DIE, including raucous new anthems. They deliver what you have come to know and love and then diverge into new paths. To say that "All This And War" featuring guest vocals by Josh Scogins from The '68 is absolute brutal heaviness is an understatement. It's an addictive punch in the face, you'll want on repeat. The boys then run off to explore the dark haunted woods of a more somber and melodic side in the track "Thing With Feathers" featuring Andy Hull from Manchester Orchestra. Radical proves with every track that it is a distillation of the strengths of their past, injected with their unyielding revelry and signature sarcasm while cognizant - and fiercely combative - of the present state of world affairs.

Heavy psych power trio Charles Moothart, Ty Segall and Chad Ubovich hit the stage for the first time together in five years bringing a full set spanning their entire discography, and new album, III! Recorded at Zebulon in Los Angeles, CA. In Oct 2020 the band released their first album in 5 years, III, scorching the earth with pure primitive rock and roll mastery captured by the sonic guru Steve Albini. It’s a record that is meant to be heard and experienced live, and their Levitation Sessions set is the smoldering slab of heavy psych we’ve all been waiting for, recorded at Zebulon in Los Angeles, CA. Director Joshua Erkman alongside sound engineers Matthew Littlejohn and Mike Kriebel, capture FUZZ’s intense energy backdropped by electric artwork from artist Tatiana Kartomten. “We wanted to create something that felt like more than just a replacement for seeing us live. This is the first time we had played songs from III in the context of a set, and we found new footing on some of the old songs. This led us down avenues we hadn’t seen in rehearsal. To find ourselves in the space right in between ‘lost’ and ‘found’ (aka live) was both alarming and electrifying after having been away from it for so long.” -FUZZ

A month before the pandemic hit Norway – and the rest of the world for that sake – Darling west released their fourth album, «We’ll Never Know Unless We Try». They managed to get through two or three shows before everything was canceled, and the country went into lockdown. It may sound a bit counterintuitive to records a live album while in lockdown, but that is exactly what Darling West decided to do. When Norway partly opened during the fall of 2020, the band recorded their gigs at Parkteatret in Oslo and at Folken in Stavanger, and these recordings make out the songs on «Live 2020». Even though the gigs were played at venues with restricted capacity, it’s nice to see that they can reach bigger a bigger audience with this recording. «Live 2020» consists of songs from Darling West’s entire catalogue, and you can almost hear that they’ve been longing to play live on a stage. It had been six months since they’d been in front of an audience when these recordings were made, and the energy in the rooms were very special. This record is a document of this.

After being out of print for years, Atmosphere’s fifth studio album, You Can’t Imagine How Much Fun We’re Having, returns on vinyl. Following the breakthrough success of their four th album, Seven’s Travels, the group returned in 2005, showing impressive growth and inventiveness in their new compositions. Citing inspirations f rom a list of less-than-expected sources, including Tom Waits, Mark Lanegan, Shawn Phillips, Spoon, The Mars Volta, alopecia, Public Enemy, Boogie Down Productions, The Beauty Pill, infected wisdom teeth, Craig Finn, TV On The Radio, Australia and I-94 East, among others, the album pushed boundaries without over reaching.

“Atmosphere has never sounded as pointed and focused as it does here on its fifth album.” –Billboard [8 Oct 2005]

“Both a return to form and a major step forward.” –URB Magazine [Dec 2005, p.94]

“Producer Ant’s production is full and springy. Whether flipping operettas on ‘Say Hey There’ or dropping pianos from five floors up on ‘Musical Chairs’ he’s got sundry abilities.” –Pitchfork [3 Oct 2005]

“Ant has never captured Slug‘s pen strokes quite like this, and as an emcee and a songwriter, Slug has never sounded this good over the course of an LP. [You Can’t Imagine How Much Fun We’re Having] is absolutely their zenith, in every sense.” –HipHopDX [4 Oct 2005]

• Vinyl has been out of print for years.
• Written and performed by Slug. Produced by Ant.
• Features popular tracks “Smart Went Crazy”, “Pour Me Another”, and
“Little Man”.
• Vinyl packaging includes 12” gatefold jacket housing black double

EVERY TIME I DIE is a loud rock institution committed to leaving an outpouring of chaotic passion and blissful malcontent all over their records and on the stage. With boiling charisma and unrelenting energy to spare, the Buffalo, NY band manages not one but two near-impossible tasks. They've survived two decades as an underground entity cherished for coloring outside the lines, and contrary to most career arcs, continually improving with each successive album as they charge ahead. EVERY TIME I DIE makes a glorious hardcore-punk noise. Alchemized by a swampy summoning of Southern rock and coarse poetry, the music swirls beneath sardonic and clever wordplay, cementing them as leaders, not followers. The band's ninth studio album, Radical, is 16 tracks of peak-EVERY TIME I DIE, including raucous new anthems. They deliver what you have come to know and love and then diverge into new paths. To say that "All This And War" featuring guest vocals by Josh Scogins from The '68 is absolute brutal heaviness is an understatement. It's an addictive punch in the face, you'll want on repeat. The boys then run off to explore the dark haunted woods of a more somber and melodic side in the track "Thing With Feathers" featuring Andy Hull from Manchester Orchestra. Radical proves with every track that it is a distillation of the strengths of their past, injected with their unyielding revelry and signature sarcasm while cognizant - and fiercely combative - of the present state of world affairs.

Einen schönen Fang hat das Chicagoer Label Trouble In Mind vor Kurzem mit DUMMY gemacht: Das Quintett aus Los Angeles verblüfft auf seinem Debüt ,Mandatory Enjoyment" mit einem derart ausgereiften Noise-Pop-Entwurf, das man kaum glauben mag, dass es sich hier um ein Erstlingswerk handelt. Nach gerade einmal zwei veröffentlichten EPs aus dem letzten Jahr, haben DUMMY ihren mit einem wundervollen Groove ausgestatteten Sound auf ,Mandatory Enjoyment" sichtlich gefunden und bis zur Perfektion destilliert. Das spielfreudige Debüt kombiniert geschickt Einflüsse aus Krautrock, Dream-Pop, Ambient, Psychedelic und Shoegaze zu einem Soundgebräu, das sowohl avantgardistisch als auch immer noch genug im Pop verwurzelt ist. Songs wie "Daffodils" und "Fissured Ceramics" zeichnen sich durch unerbittlich treibende Energie und reichlich psychedelischen Lärm aus. An anderer Stelle gleicht Dummy die Aggression mit meditativen Synthesizerlandschaften aus, die sich auf Sounddesign und Studioexperimente konzentrieren, wie bei dem motorischen "X-Static Blanket". Das Herzstück "H.V.A.C." und der letzte Track des Albums, "Atonal Poem", versuchen schließlich, diese beiden Pole miteinander zu verbinden und bieten mehrteilige Reisen durch unbekanntes Klangterritorium. Im Gegensatz zu der glückseligen Instrumentierung untersuchen Dummys sardonische Texte die Last des modernen Lebens, den Konsumismus, den Zusammenbruch der Umwelt, die Entfremdung und andere Ängste, die aus dem Leben in diesem absurden Moment der Geschichte entstehen. Innenarchitektur, Meeresverschmutzung, die Psychologie kommerzieller Architektur und Atomtests sind Themen, die aufgegriffen werden. Die rastlose Kreativität von Dummy treibt die Band immer weiter voran, sie fordern sich selbst ständig heraus und treiben ihren Sound in aufregende und erheiternde Bereiche. Dies ist - wie der Albumtitel schon sagt - "Mandatory Enjoyment". ENG Los Angeles band Dummy refuses to slow down. After releasing two cassette EP's in 2020 (on Popwig and Born Yesterday respectively), Dummy's debut full-length album arrives via Chicago's Trouble in Mind Records. Employing pummeling guitars and celestial ambience within the same breath, the band folds a myriad of reference points into their drone-pop style. Influence from '60s melodicism and '90s UK noise pop can be found woven in with inspiration from spiritual jazz, Japanese new age, and Italian minimalism. Dummy dodges the brooding, dark, dramatic tropes of contemporary "artistic" music often found in punk, experimental, and electronic, instead insisting on joyous and euphoric sonic palettes. They refuse to be artistically stagnant, continuously shifting their approach to writing across 12 tracks. Shaped by performances around Los Angeles in 2019, songs like "Daffodils" and "Fissured Ceramics" feature relentless driving energy and ample psychedelic noise. Elsewhere, Dummy counterbalances the aggression with meditative synthscapes focused on sound design and studio experimentation, like on the motorik "X-Static Blanket". Finally, centerpiece "H.V.A.C." and the album's final track, "Atonal Poem", seek to synthesize these two poles, offering multi-part journeys through uncharted sonic territory. In contrast to blissed-out instrumentation, Dummy's sardonic lyricism examines "the burden of modern life, consumerism, environmental collapse, alienation, and other anxieties born out of living in this absurd moment in history". Interior design, marine pollution, the psychology of commercial architecture, and nuclear testing are all featured subjects. Dummy's restless creativity keeps them moving ever-forward, continuously challenging themselves and pushing their sound into exciting and exhilarating places. This is - as the album title suggests - "Mandatory Enjoyment".

Einen schönen Fang hat das Chicagoer Label Trouble In Mind vor Kurzem mit DUMMY gemacht: Das Quintett aus Los Angeles verblüfft auf seinem Debüt ,Mandatory Enjoyment" mit einem derart ausgereiften Noise-Pop-Entwurf, das man kaum glauben mag, dass es sich hier um ein Erstlingswerk handelt. Nach gerade einmal zwei veröffentlichten EPs aus dem letzten Jahr, haben DUMMY ihren mit einem wundervollen Groove ausgestatteten Sound auf ,Mandatory Enjoyment" sichtlich gefunden und bis zur Perfektion destilliert. Das spielfreudige Debüt kombiniert geschickt Einflüsse aus Krautrock, Dream-Pop, Ambient, Psychedelic und Shoegaze zu einem Soundgebräu, das sowohl avantgardistisch als auch immer noch genug im Pop verwurzelt ist. Songs wie "Daffodils" und "Fissured Ceramics" zeichnen sich durch unerbittlich treibende Energie und reichlich psychedelischen Lärm aus. An anderer Stelle gleicht Dummy die Aggression mit meditativen Synthesizerlandschaften aus, die sich auf Sounddesign und Studioexperimente konzentrieren, wie bei dem motorischen "X-Static Blanket". Das Herzstück "H.V.A.C." und der letzte Track des Albums, "Atonal Poem", versuchen schließlich, diese beiden Pole miteinander zu verbinden und bieten mehrteilige Reisen durch unbekanntes Klangterritorium. Im Gegensatz zu der glückseligen Instrumentierung untersuchen Dummys sardonische Texte die Last des modernen Lebens, den Konsumismus, den Zusammenbruch der Umwelt, die Entfremdung und andere Ängste, die aus dem Leben in diesem absurden Moment der Geschichte entstehen. Innenarchitektur, Meeresverschmutzung, die Psychologie kommerzieller Architektur und Atomtests sind Themen, die aufgegriffen werden. Die rastlose Kreativität von Dummy treibt die Band immer weiter voran, sie fordern sich selbst ständig heraus und treiben ihren Sound in aufregende und erheiternde Bereiche. Dies ist - wie der Albumtitel schon sagt - "Mandatory Enjoyment". ENG Los Angeles band Dummy refuses to slow down. After releasing two cassette EP's in 2020 (on Popwig and Born Yesterday respectively), Dummy's debut full-length album arrives via Chicago's Trouble in Mind Records. Employing pummeling guitars and celestial ambience within the same breath, the band folds a myriad of reference points into their drone-pop style. Influence from '60s melodicism and '90s UK noise pop can be found woven in with inspiration from spiritual jazz, Japanese new age, and Italian minimalism. Dummy dodges the brooding, dark, dramatic tropes of contemporary "artistic" music often found in punk, experimental, and electronic, instead insisting on joyous and euphoric sonic palettes. They refuse to be artistically stagnant, continuously shifting their approach to writing across 12 tracks. Shaped by performances around Los Angeles in 2019, songs like "Daffodils" and "Fissured Ceramics" feature relentless driving energy and ample psychedelic noise. Elsewhere, Dummy counterbalances the aggression with meditative synthscapes focused on sound design and studio experimentation, like on the motorik "X-Static Blanket". Finally, centerpiece "H.V.A.C." and the album's final track, "Atonal Poem", seek to synthesize these two poles, offering multi-part journeys through uncharted sonic territory. In contrast to blissed-out instrumentation, Dummy's sardonic lyricism examines "the burden of modern life, consumerism, environmental collapse, alienation, and other anxieties born out of living in this absurd moment in history". Interior design, marine pollution, the psychology of commercial architecture, and nuclear testing are all featured subjects. Dummy's restless creativity keeps them moving ever-forward, continuously challenging themselves and pushing their sound into exciting and exhilarating places. This is - as the album title suggests - "Mandatory Enjoyment".

This is the follow up to Kero Hero Bonito’s 7” ‘Flamingo’ release from November last year.


Kero Kero Bonito are a London-based experimental pop trio, comprised of bilingual Anglo-Japanese singer Sarah and producers Gus and Jamie. Having previously made college radio indie (Time 'n' Place, #1 NACC 2018) and viral Casio megahits ("Flamingo", "I'd Rather Sleep"), the six track Civilisation mini-album compiles the "lost world junk pop" of the band's Civilisation I and Civilisation II EPs.

Civilisation was inspired by the art pop lineage of artists like Kate Bush, David Sylvian and Peter Gabriel, with a sonic palette informed by Warp's Artificial Intelligence series, homemade New Age music and early digital synth experiments. It was created entirely with dusty old musical hardware and uses both ancient musical tropes (pentatonic scales, minimalist repetition) and contemporary songwriting techniques to summon an out-of-time atmosphere that spans the past, present and future simultaneously. The songs tackle widescreen themes like psychological warfare (on the mystical polyrhythmic funk of "Battle Lines"), ancient mythology (on the energetic, melancholy synth-pop of "The Princess and the Clock") and the resurrection of the dead (on "Well Rested", the record's 7-minute psychedelic house closer).

Erscheint als 180g schweres, schwarzes Doppel-Vinyl im Gatefold, inkl. 20-seitigem Fanzine. Nur echt mit der Nabelschnur (Achtung: Schnur muss durchtrennt werden, um an die Platten zu gelangen). Flüstern, Grollen, Scheppern, Abfahrt. Von der emotionalen wie detailgeladenen Musik des Berliner Noise-Rock-Duos mag man sich zwar immer wieder gern niederstrecken lassen, doch es geht hier um so viel mehr als um bloße Überwältigung. Das neue Album "Widergeburt" verdichtet das Prinzip Dÿse dabei wie noch nie - ein Ameisenhaufen aus großen, kleinen und verdammt abgedrehten Ideen. Dÿse, das ist diese Band mit dem komischen Umlaut, sie nahm in den Nuller Jahren in Jena ihren Ausgang, mittlerweile leben Andrej und Jarii in Berlin. Beschäftigt man sich mit der Musik der beiden gelangt man immer wieder an die zentralen Eckpunkte: Haltung, Intensität, D.I.Y., Live, Energie. Darüber hinaus irritieren Dÿse gern das System, auch das eigene, und würden nicht ohne den mitgelieferten Humor funktionieren. Soviel zur Ausgangsposition, wer wirklich noch mehr Hard Facts braucht, möge bitte ein Crowdfunding für ein Dÿse-Biopic ins Leben rufen.

Vitalic returns with a fifth album, which will be released in two volumes. "DISSIDÆNCE", the title of which is a whole story in itself – is an album that the producer describes as a return to the roots of his sonic identity, a kind of reinterpretation of the rock energy of his early albums.

The first volume of “DISSIDÆNCE” is a sort of concentrated resume of his strengths from the past twenty years, whether it's filthy, head-spinning tornado tracks or synth-laden love songs for a summer's day. With "DISSIDÆNCE" Episode 1, whose powerful beats and galloping sequencers translate the social and political anger of the global pandemic, Vitalic looks into his past and channels his love for off-kilter synth sounds, skew-whiff pads, heady refrains, distorted vocals and heavy beats dripping with sex and sweat, but above all his obsessional passion for dance music.

"DISSIDÆNCE" should be taken as a celebration of celebration, time-travel to an era that may not exist right now, but which will - and this album is the dazzling proof - be reborn from its ashes to burn bright once more, in all its raging glory.

180grs white vinyl, download card included.

Spiral Grave are comprised of extraordinary
vocalist Screaming Mad Dee, Iron Louis Strachan
(bass), Mot Waldmann on drums and ex-Lord
guitarist Willy Rivera. They were formed in 2018
after the tragic death of their long-time bandmate
Alfred Morris III, founding member of the iconic
Iron Man.
 Setting the mood for classic heavy as hell and in
your face doom metal, US Maryland’s Spiral Grave
quickly carved a place for themselves in North
America’s heavy music scene, playing wellreceived sets at The New England Stoner Doom
Fest and The Maryland Doomfest.
 ‘Legacy Of The Anointed’ is not a sixth album by
Iron Man, as this up-tempo doom metal has more
speed, swagger and groove with a swampy edge.
 For fans of Iron Man, Down, Cathedral, Black
Sabbath, Earthride.
 LP pressed on clear silver vinyl.

Originally from Limerick, O’Brien’s work captures the everyday and the inbetween in a way that transcends any genre label. Writing from her own observations, O’Brien’s influences can be found in the realism of Mark E. Smith of The Fall, Patti Smith and The Slits, and the works of literary icons such Frank O’Hara, W.B. Yeats, Joan Didion and Albert Camus. Releases to date have drawn admiration from British and American outlets and radio stations as diverse as The FADER, Stereogum, The Guardian, Loud And Quiet, The Quietus, BBC Radio 1 and BBC Radio 6 Music, and more.

Speaking about the new single, O’Brien explains: “‘Most Modern Painting’ is about the creation and maintenance of ‘the self’ - the most epic task we are faced with in our lives. I wanted to work with structure in an unconventional way, linking the movements together using various voices from the narrative. The lyrics are voiced through a dialogue between the conscious and unconscious, through dream recall, memory, the individual and the ego.”

The accompanying music video for ‘Most Modern Painting’ was shot in a film-like manner on 16mm. Directed by Saskia Dixie, the movements are intrinsically linked to the lyrics; the choreography incorporates physical theatre, dance and elements of daily gestures and habits.

The chorus line on ‘Most Modern Painting’ birthed the title for the EP ‘Drowning In Blessings’ - “The more I said it, the more it meant. It’s an image which I find really cathartic; seeing the weight or build up of things as possibilities and opportunities instead of bearing their burdens. I approached the set of songs on the EP like a short album so the body of work feels full and tells a substantial story. Tracks allude and refer to one another and provide clues and hints to the future and to the past. It’s not only about language and music - it’s about energy, spaces, leaving room for other people to get in.”

A multifaceted artist, O’Brien’s writing has also been published by the esteemed London Magazine whose alumni include T.S. Eliot, Sylvia Plath and William Burroughs. Her unique fusion of spoken lyrics and art rock has piqued the attention of luminaries of both fields, seeing her perform with John Cooper Clarke and The Brian Jonestown Massacre at sold out theatres across the U.K. Playing live with her band and collaborators; Julian Hanson (guitar) and Oscar Robertson (drums), Sinead O’Brien’s transfixing performances are placing her at the forefront of a resurgent wave of independent British and Irish talent.

Work on 'Fragile' began last August at the height of lockdown. Grill locked himself in the recording studio where he found himself experimenting with new sounds and technologies and was able to learn more about the techniques involved in mixing, production and arrangement. "The aim was to write a physical album maintaining an energy throughout and utilising sounds and structures I'm interested in. Using limitation was a big part of the process to push what I used as far as possible. Reading about Robin Guthrie's breakdown of Cocteau Twins minimal setups across different albums and how Prince distorted the Linn Drum Machine were also inspirations."

Musically, 'Fragile' is a more dance-centric record than 2020's 'Ride', with eleven blistering tracks aimed straight for the dancefloor. From the lush, pulsing synths and blistering beats of 'Another Time', to the hazy, sun-soaked 'Wildflower', Grill seeks to create dance music that is endlessly catchy and hugely uplifting. He draws heavily on a Euro-dance influence in his search for pop perfection with melody instrinsic to each track. The Italo disco sound of Giorgio Moroder is never too far away, climaxing with the pumping 'Crash' while the emotive dance of New Order is echoed in 'Wandering Sky' and 'Romance'.

From a visual perspective, 'Fragile' is inspired by gothic, renaissance art and architecture. The album artwork is a photograph Grill took on Château d'If, a fortress and former prison located on the Île d'If, the smallest island in the Frioul archipelago, a short distance from Marseille in southeastern France.

Ever since the release of their acclaimed debut EP P'eau (2018) these Mechelen-based musicians have been honing their craft in songwriting and production, building a new home studio to record future material while also expanding from a three-piece to a five-piece ensemble. By adding singer/percussionist Stefan De Graef (Psychonaut) and guitarist/singer Sander Rom (L'Itch) to their ranks, HIPPOTRAKTOR have become a more versatile outfit able to employ a broader palette of sounds, taking the band's earlier instrumental prog metal sound to new heights. Taking notes from the best moments in contemporary progressive and post metal, HIPPOTRAKTOR capture the awe-inspiring power of nature_from the delicacy of the first falling leaf to the massive cosmic energy of the sun. By combining the big, catchy riffs and the rhythmical prowess of Gojira with the relentless but equally groove-loaded complexity of Meshuggah, Meridian delivers an overwhelming experience of sound, presenting the listener with sentiments that are recognisable, but with an intensity that seems larger-than-life. "Meridian finds its origin in everyday moods, taken out of context and morphed into a stylised version that re- flects the dreamer in me," explains main songwriter and guitarist Chiaran Verheyden. "It tells the story of someone who's lost in a world too massive to comprehend, and seeks answers in places where none can be found. Meridian was written as an attempt to distillate what I felt but couldn't put into words." As the main vocalist in the group, finding these words was the job of Stefan De Graef, who carried over his fascination for philosophy and religion from his other band Psychonaut. "Meridian tells the story of a solitary wanderer on the Earth in the absence of other beings," explains Stefan. "Without anyone to share knowledge and history with, the protagonist is forced to create his own truths and stories about the nature of life, consciousness and the universe. The protagonist begins to personify and deify his surroundings, assigning sentience to the trees, the mountains, the wind, the waters etc. for they are his only companions in this desolate world." Essentially, Meridian is an exploration of the evolutionary theory of naturism, which was put forth by German scholar Max Mu"ller in the 19th century, and which argues that religion finds its origin in the deification of the forces of nature by early human beings. By juxtaposing this sociological theory with seven tracks that unfailingly conjure images of the earth, sea and sky, HIPPOTRAKTOR have created an analogy that enlarges the imaginative quality of their music to (literally) epic proportions. Combining the best of prog, groove and post-metal, Meridian comprises an incredible ride for fans of soaring hooks, technical riffing and earth-shattering breakdowns. Limited bluegreen-grey single colour vinyl edition, gatefold! FOR FANS OF Meshuggah, Periphery, Cloudkicker, Intronaut, Animals As Leaders, Gojira, Skyharbor, Psychonaut

After a successful first release on his own label imprint, Kmyle decided to drive the point home with this second opus named "Catharsis EP". A concentrated energy of 3 powerful tracks who give us a hypnotic dancefloor trip and one remix from the imposing veteran Drumcell, which brings us back to the roots of techno with its own dark groove vision, made for the wet and warm atmosphere of long rave nights.

An energetic blend of NEW WAVE and HEAVY PROGRESSIVE ROCK, Four Stroke Baron aspires to bring forth a lively and refreshing new voice to the music scene. The group manages to craft massive and immersive soundscapes juxtaposed over catchy, pop-like song structures. It is this penchant for blending familiar sounds and styles into something altogether new that has allowed the band to undergo a dramatic metamorphosis from its founding members improvising in a shed outside of Reno, Nevada, to preparing for the debut of their second full-length album, “Planet Silver Screen,” on Prosthetic Records.

Featuring Anthony Green of Circa Survive, Adam Lazzara and John Nolan of Taking Back Sunday and additional percussion from Benjamin Homola of Grouplove, Fuckin Whatever is a fluid project born of longtime friendships and late nights on the road, but what it could grow to become is entirely unwritten. It all started on the 2016 Taste Of Chaos tour. After Green wrapped his opening set with Saosin each night, itching to play more music, he started setting up impromptu acoustic gigs in the parking lots after his set. One night, his restless energy led to an impromptu backstage jam session with Lazzara, Nolan, Homola, and others––except there were no instruments involved. Using just their voices and a stomp or two in lieu of percussion... before they even realized it, Fuckin Whatever was born. They decided to start recording these nightly jam sessions on their phones, and by the end of the tour, there were literally dozens of recordings. There are some as long as 17-minutes, some recorded in bathrooms, and even one in the legendary tunnel between the stage and sound booth at Red Rocks Amphitheatre in Colorado. What they share in common is the camaraderie of the many talented voices (and sounds) involved. Fast forward to 2020––ugh. With a creative need to continue making and releasing music, Anthony approached the group about releasing some of those recordings. Feeling a similar restlessness, Nolan suggested they try making and recording something for real instead. "I'm Waiting On You" is what came next, and it's truly the spark that led to the rest of this EP coming together. There are zero instruments on Fuckin Whatever's self-titled debut. "It's pretty much 80% mouth noises and 20% Ben slapping things around the house," Lazzara explains. Those voices, however, are among some of the most recognizable in modern rock music, yet here they take on a new life. Call it a band, or a supergroup... it's Fuckin Whatever.

Moondust For My Diamond’ is the second album by
Hayden Thorpe, released on Domino Recordings.
 In contrast to ‘Diviner’, a critically acclaimed album
steeped in solitude and fragility, ‘Moondust For My
Diamond’ moves into a more natural visual and sonic
palette. Hayden is interested in, he says, “the meeting
point between science and religion, the grand struggle for
reality that shapes so much of our time.” Thorpe has made
an album that is galvanizing, reassuring, elegant and
seductive: it oozes Big Cosmic Energy.
 The pastoral evolution of last year’s ‘Aerial Songs’ EP
hinted at an expanding palette that reflected Thorpe’s
return to The Lake District, the natural environment he
grew up surrounded by. These additional influences seep
into ‘Moondust For My Diamond’, along with Hayden’s
involvement with Wavepaths, a pioneering project
integrating music into psychedelic therapy, plus ‘hybrid’
gigs and breath workshops with pioneering breath
practitioner Richie Bostock. It’s those surrenders,
experiments and collaborations that make this such an
enticing, sensory, soul-expanding album

To emerge from a global pandemic with a renewed sense of situational awareness, hard won insight, and a new album is the kind of move we've come to expect from THRICE over the last twenty years. With Horizons/East, Dustin Kensrue and his bandmates address, with candor and courage, the fragile and awkward arrangements that pass for civilization, while inviting us to dwell more knowingly within our own lives. Without surrendering any of the energy and hard edge of their previous albums, they've given us a profoundly meditative work which serves as a musical summons to everyday attentiveness. Since forming THRICE with guitarist Teppei Teranishi, bassist Eddie Breckenridge, and drummer Riley Breckenridge in 1998, Kensrue has never been one to back down from a mental fight. This mood is set by the opening synth-driven number "Color of the Sky," which sounds well-suited to accompany the closing credits of the Stranger Things season finale. Think Flying Lotus giving way to Elbow and setting the listener down in a new dimension. A self-recorded effort, Horizons/East conveys a palpable sense of danger, determination, and possibility.

Bad Bad Hats are an indie rock trio from Minneapolis, Minnesota.
Known for bringing a joyful, exuberant presence to their live shows, touring
with The Beths, Margaret Glaspy, The Front Bottoms, Hippo Campus, and
Third Eye Blind, the group took specific care to bring their fun-loving spirit
to their third LP, Walkman.
Kerry (guitar/vocals), Chris (bass), and Con (drums) let their collective hair
down on Walkman, bringing raucous and explosive riffs alongside witty lyrics.
Though you might not notice from their indie rock exterior, Bad Bad Hats draws
a heavy influence from classic pop songwriting that shines through in their
hooky choruses and strong melodic sensibilities.
For this release the band set out to push their capabilities as a trio. Subtle
changes in process helped the band achieve this goal, such as shifting Chris
from a wider multi-instrumental role to allow him to prioritize his bass playing, having Kerry record the bulk of the guitars instead. ‘You can hear all of our
musical voices a lot better on this record.’
A carefully crafted studio sound brings the record to life, injecting it with an
energetic voice that is unique to Bad Bad Hats. Walkman is the group’s fourth
time working with producer Brett Bullion, including their previous two LPs, Psychic Reader and Lightning Round, and the Wide Right EP.
Bullion and the band use the studio as an instrument, resulting in their most
polished work to date.

Limited edition 180g blue coloured vinyl + 1 bonus track.
“January 4, 1956: Clifford Brown, Max Roach, Sonny Rollins, Richie Powell and
George Morrow met up in a New York studio to record At Basin Street, which
would be the group’s final album. That summer, Clifford Brown and Richie Powell died in a tragic car accident. This final testimony is one of the most exciting
records from a quintet which was like very few others.” - Jazz Magazine
“Each arrangement is worked to a point that actually propels the soloists, gives
them - and Brown particularly - maximum lift. These are classics of modern
jazz.” - Penguin Guide To Jazz
“Clifford Brown and Max Roach at Basin Street reemphasizes the loss jazz suffered when Clifford and Richie Powell died. Energetic, full-bodied jazz. Thoroughly recommended.” - John A. Tynan, DownBeat”

Frozen Music’ was recorded in New York City 32 years ago and like most of
pianist Andy LaVerne’s releases this album has not lost its original energy
and charm.
Tenor and soprano saxophonist Rick Margitza was then a young rising star under contract with Blue Note. Andy was already a prolific composer who penned
all the tunes of this album. Bassist Marc Johnson who was a member of Bill
Evans’s last trio gave graceful and subtle colouring to LaVerne’s compositions.
“Frozen Music, Andy LaVerne’s third album for SteepleChase, is a solid, modern
blowing session...he makes skilful use of suspensions, pedal points, and ostinatos, which along with the music’s floating harmonies, give the soloists a wealth
of elbow room.” - Mark Stryker, Cadence
Personnel: Andy LaVerne (piano), Rick Margitza (tenor and soprano saxophone), Marc Johnson (bass), Danny Gottlieb (drums)

Recorded in a couple of days back in 2010, but twelve years in the making,
these outstanding recordings are the Hot Club’s tribute to their foremost
influence and inspiration, Bob Wills and his Texas Playboys.
During a tour of the UK, the trio took time out to hole up in Specific Sound at
Proper Records’ London HQ at the time, have Paul Riley set up the mics and hit
record!
The idea was to capture the jubilant energy and fine musicianship as if the
band was playing at a dance or concert.
This is the way that Western Swing was meant to be played and heard. This is
what would make Bob holler

‘Sticky’, the new album from Frank Carter & the Rattlesnakes, is the sonic eruption
of a year-plus of suppressed energy.
While it’s an escapist experience, recent reality is never too far away. It’s there in ‘Go
Get A Tattoo’, which was inspired by Carter’s experience of having to shut his first London based tattoo parlour, Rose of Mercy, almost immediately after it opened.
It’s just as present in ‘My Town’, a suburban vignette of society’s collective mental health
quickly unravelling. Being released on October 15th it coincides with an extensive run of
dates in November with two O2 Academy Brixton shows in January 2022.

Stolen Body are super stoked to announce the addition of French Psych/World rockers Gondhawa to our ever evolving roster.

Gondhawa is a musical laboratory - a fusion between Fela Kuti’s groove and Hendrix’s electricness.
Formed in 2018 in Angers (France) by Idriss (vocals and guitar), Clément (drums) and Paul (bass), the band explores different styles with a boundless energy. Inspired by French sci-fi literature, they invented a language. Outcomes Gondhawii, a fusion of sounds from all over the world and others as yet unidentified. With this new language the whole mind immerses into a delicious trance where we cross odd rhythms, quarter-tone riffs, oriental groove and electric explosions as well as stringed instruments from other countries. (n'goni, sanxian, microtonal guitar)

Gondhawa release their first album, “Kâampäla”. Six powerful and eclectic tracks dipped in stoner, afrobeat and progressive rock. Six tracks linking convoluted rhythms and inventive riffs.

Through the micro-tonal groove of Raba Dishka, the Afrobeat Stoner power of Käampâla, or the softness of Djoliko, a beautiful ballad lulled by the melancholy of acoustic strings from around the world, Gondhawa delivers the soundtrack of an interstellar road movie. An electric tornado with an abundance of rhythms and textures.

On the fringe of the indie Rust Belt scene since the 1990s,
Moviola has quietly forged a low-key career of high-quality
recorded output over twenty-five years, issuing ten (!) records
and countless 7-inch singles (including splits with Cobra Verde,
Hiss Golden Messenger, Handsome Family and many others).
In this artistic continuum, the band has evolved from everything
from 4-track fuzz to hi-fi country soul. Today, the band steps
forward with Broken Rainbows, its strongest collection of songs
to date, written, recorded, and mixed inside the group’s HQ in
Columbus.
Jake Housh started Moviola in 1993 as a student at “The”
Ohio State University as a noisy, fuzzed out lo-fi noisemakers.
Over the years, the band has morphed into a unique DIY
music and art-making collective with five distinct singers and
songwriters, recalling the creatively democratic lineage of The
Mekons, The Band, Pink Floyd, many others. Moviola is Jake
Housh, Ted Hattemer (Thomas Jefferson Slave Apartments),
Scotty Tabachnick, Greg Bonnell, and Jerry Dannemiller.
Broken Rainbows is a milestone release, showcasing a band
newly energized and assured in its artistry, and supportive of its
members’ songcraft. The eleven-song album hovers over a plot
of ground that’s optimistic in its despair. Album topics range
from the personal to the political, showcasing each member’s
unique songwriting within an overall cohesive band aesthetic.
“Moviola was one of those groups I met early on back in the day
that showed me how to do it. Broken Rainbows is a highlight—
pastoral thumpers, fuzzy indie radness, hooks to spare, pretty
much all the good stuff. Feels like a glorious drive from one
disparate end of Ohio to another. I love this band.”
—Eric Johnson (Fruit Bats)

In 1988, on a break from his band the Rolling Stones, Keith Richards released his first ever solo album, Talk Is Cheap. This universally respected debut is an eleven track masterclass in everything that's good about rock 'n roll and features guest appearances from an all-star cast including Sarah Dash, Bootsy Collins, Maceo Parker, the Memphis Horns, Patti Sciafia and Mick Taylor.

Remastered from the original tapes by Richards' collaborator, Steve Jordan, the album's joyous swagger is re-energised and permeates through each and every song.

Talk Is Cheap sounds as good today as it did thirty years ago; in Keith's words: 'As fresh as the day it was made.

This building was intended to fall. The dust in all 6 rooms suspends in the air and light glitters on each particulate, a piercing bright like a headache behind the eye. Knuckles chapped like a dancer's feet, a listener survives in the building like it's a home. Makes it a home. Frantic energy holding still remains frantic. Trying to swallow, trying to catch your breath. Enough dust to settle and make the building in its exact image. Beating at the walls only makes the walls once more, 6 rooms, listening and responding. This is the sound of a space that cannot be unmade. Sorcery is permanent.

1976 Space jazz-folk masterpiece infused with prog scents from one of the true legends of Argentinian music, latin rock pioneer Litto Nebbia. Floating electric piano, acoustic guitar, female choirs and moog sounds combine with Litto's own voice and create a unique blend of delicate beauty. The use of analogue synthesizers in this conceptual album was a turn in Nebbia's work at the time. A long 7-minute suite opens the album, mixing acoustic textures with synth sounds, setting the grounds for the entire LP. Songs of introspective darkness alternate with other tracks influenced by sunny bossanova, musical passages fueled with epic energy where the voice of Mirtha Defilpo accompanies Nebbia along with the intricate and enveloping instrumental work driven by Daniel Homer's guitars and Litto Nebbia's keyboards. The album draws a complex soundscape made up of an almost infinite number of musical pieces, rich in layers and textures, that - decades after its original release - still stands out for their modernity. "Bazar de los milagros" is undoubtedly one of the most advanced recordings of those

that appeared in Latin America at the end of the 70s. Includes the song 'La Caída', as recently sampled on Jay Electronica/Jay Z's hip-hop hit 'The Neverending Story'. "Bazar de los milagros" has also been listed on Japanese DJ and music expert Chee Shimizu's Obscure Sound guidebook, a must for record collectors.

First vinyl reissue, including a facsimile version of the 32-page booklet that accompanied the original 1976 release, and remastered sound.