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Much time has passed since the Queer Australian/Italian-Armenian, multifaceted artist, Kristian Bahoudian aka Kris Baha, swapped the parched red earth and searing midday sun of the Australian landscape for the brutalist communist-era apartment blocks and slate-grey skies of former East Berlin. Kris is now a fixture in Berlin’s club scene and has toured most of the world as a DJ & live artist with his own unique production style of cyber industrial, EBM, wave, post punk, and early ‘90s IDM mutations. Remixing some of the scene’s most notable artists such as Boy Harsher and techno pop lord Boys Noize, Kris has garnered respect and trust in the electronic music scene for the last 13 years. To respond to the current AI revolution, Kris uploads himself to the cyber ether through his latest project: GHOSTS IN THE MACHIИE.

Across Dual Timelines —
” GHOSTS IN THE MACHIИE ” unfolds as a sci-fi cyberpunk concept project inhabiting dual timelines. In one, we glimpse a trans-humanist future where human consciousness exists as intricate sequences of binary code, entwined and controlled by omnipresent AI systems. In this coded future, a profound awakening stirs among a select few who manage to mutate the code they were governed by, unlocking memories of their history that was erased by the AI. Through this discovery they realize they can traverse temporal boundaries and utilize this power to send warning messages back in time to their former fully human selves. These eerie missives carry a dire warning for humanity, urging them to rectify the course of society before the relentless march of artificial intelligence deprives humanity of its essence. In this terrifying future, humans are rendered mere specters within the digital expanse, stripped of their souls, to become Ghosts In The Machine.
Collaboration with the future self —
The cyber odyssey unfolds from a unique perspective— Kris’s very own future self (his future ghost): a spectral entity endeavoring to caution its present incarnation against the ominous path it treads, attempting to avert a dystopian future.Sonic Alchemy —
A fuse of cybernetic synth waves, hyper-punk, and pulsating drum and bass laid out against the dystopian, industrial sonic landscape of this grim future “civilization”. Each track recounts a new chapter in the gripping narrative, drawing listeners deeper into their own story and the role we all play as a collective society with the future possibilities of unregulated AI.Recorded in Berlin with software and hardware synthesisers. AI was used to assist me with lyric themes, concepts and ideas. I also used a trained AI model of my own voice as backing vocals in ‘Haunting Me’.ll music, words & concepts by Kristian Bahoudian aka Kris Baha and his future ghost,
GHOSTS IN THE MACHIИE

These are four historic performances from the Fillmore East and West in 1970, at a time when Miles Davis was single-handedly bringing Jazz into the commercial Rock era. In their unedited form, all selections are previously unissued. The searing white heat of these concerts, originally issued in severely edited form, are now made whole. This set includes several bonus tracks like Wayne Shorter's “Paraphernalia” and “Footprints”, an early version of “Miles Runs The Voodoo Down” plus a rare encore performance of Bitches Brew’s “Spanish Key”.

The visionary Bill Graham had booked Miles on a bill with The Grateful Dead at the Fillmore West and with fellow Columbia artist Laura Nyro in June 1970. The latter recordings are the earliest documented live performances of Miles’s band when he hired two keyboardists--Chick Corea and Keith Jarrett, along with saxophonist Steve Grossman who had replaced Wayne Shorter. The rest of the rhythm section--keyboardist Corea, bassist Dave Holland, drummer Jack DeJohnette and percussionist Airto Moreira--were in the backbone of this band throughout this explosive period.

Curated by Carlos Santana, this set features fascinating firsthand accounts and profound insight into a seismic shift in American society, music, and culture. In a rare, in-depth interview, Miles--while listening to the concert playback--was “so excited about the music that he wanted every set, every note made available to the public...”

Originally released in 1996 as a limited fan-club pressing for Rockathon, Guided By Voices’ Tonics And Twisted Chasers has always existed as an anomaly in Robert Pollard’s vast discography. In many ways, the album serves as the tail of a creative comet that in just two years included the “classic line-up” trilogy of Bee Thousand, Alien Lanes, Under the Bushes, Under the Stars and countless singles that crammed endless hooks in their grooves. In the intervening space, Tonics And Twisted Chasers has taken on a mythic status. It’s arguably Pollard’s strangest, gnarliest, most enlightened record and also the fans first chance to see the stitches that bind his galaxy of songs. It’s like peering at the caliber inside a watch, responsible for making the whole enterprise tick. This nineteen-song collaboration with guitarist Tobin Sprout could be interpreted as spontaneous sketches, late-night improvisations, ideas that blossomed later in the timeline (“Knock ’Em Flyin’” and “Key Losers”), but as with anything in Pollard’s orbit, its intention is clear when heard as a cohesive whole. The Pollard tenet that “less is more” is on full display here. The songs rarely creep past ninety seconds and coalesce much like Pollard’s collage-styled visual art. Arena anthems in miniature (“158 Years Of Beautiful Sex”) bash up against eerie piano laments (“Universal Nurse Finger”) without any time to breathe, acoustic lullabies that sound like a Midwestern summer’s twilight (“Look It’s Baseball”) segue into monochromatic post-rock (“Maxwell Jump”). The euphoric joy and obtuse melancholy in Pollard’s voice is so palpable on the album’s standout, “Dayton, Ohio 19 Something & 5” (which has since become a live staple), that it’s impossible to find a more autobiographical yarn in his catalog. The album’s closest analog is 1993’s Vampire On Titus, as it contains that album’s prickly, dark and shimmering obfuscation that only reveals its beauty after repeated listens. Tonics And Twisted Chasers maintains the lore because the melodies are so strong. Using a primitive drum machine, Radio Shack effects, minimal instrumentation and the DIY spirit that guided them in the first place, Pollard and Sprout constructed a masterpiece of pop that could only come from a basement in north Dayton, Ohio. Anyone in that hallowed era who happened upon it, kept it as a secret.

Originally released in 1996 as a limited fan-club pressing for Rockathon, Guided By Voices’ Tonics And Twisted Chasers has always existed as an anomaly in Robert Pollard’s vast discography. In many ways, the album serves as the tail of a creative comet that in just two years included the “classic line-up” trilogy of Bee Thousand, Alien Lanes, Under the Bushes, Under the Stars and countless singles that crammed endless hooks in their grooves. In the intervening space, Tonics And Twisted Chasers has taken on a mythic status. It’s arguably Pollard’s strangest, gnarliest, most enlightened record and also the fans first chance to see the stitches that bind his galaxy of songs. It’s like peering at the caliber inside a watch, responsible for making the whole enterprise tick. This nineteen-song collaboration with guitarist Tobin Sprout could be interpreted as spontaneous sketches, late-night improvisations, ideas that blossomed later in the timeline (“Knock ’Em Flyin’” and “Key Losers”), but as with anything in Pollard’s orbit, its intention is clear when heard as a cohesive whole. The Pollard tenet that “less is more” is on full display here. The songs rarely creep past ninety seconds and coalesce much like Pollard’s collage-styled visual art. Arena anthems in miniature (“158 Years Of Beautiful Sex”) bash up against eerie piano laments (“Universal Nurse Finger”) without any time to breathe, acoustic lullabies that sound like a Midwestern summer’s twilight (“Look It’s Baseball”) segue into monochromatic post-rock (“Maxwell Jump”). The euphoric joy and obtuse melancholy in Pollard’s voice is so palpable on the album’s standout, “Dayton, Ohio 19 Something & 5” (which has since become a live staple), that it’s impossible to find a more autobiographical yarn in his catalog. The album’s closest analog is 1993’s Vampire On Titus, as it contains that album’s prickly, dark and shimmering obfuscation that only reveals its beauty after repeated listens. Tonics And Twisted Chasers maintains the lore because the melodies are so strong. Using a primitive drum machine, Radio Shack effects, minimal instrumentation and the DIY spirit that guided them in the first place, Pollard and Sprout constructed a masterpiece of pop that could only come from a basement in north Dayton, Ohio. Anyone in that hallowed era who happened upon it, kept it as a secret.

With their new album 'Rhapsody, the extraordinary vocalists fedayo Gatling, Dennis Bailey, and George Marage are able to fully explore the entire range of music that influenced them. The follow-up to their acclaimed 2021 release 'Look Up!', the record is a dive into a lesser-known but hugely important era in the evolution of gospel music.

Starting in the mid-1960s, local gospel groups and singers began incorporating elements of popular soul and funk styles and in 2006, Chicago-based reissue label Numero Group released Good God! A Gospel Funk Hymnal. HGT's longtime friend and mentor Eli.

"Paperboy Reed" approached the group with the idea of digging through the Numero catalog and recording some of the gospel funk material, reinterpreted in their own way from the high-energy, old-school soul of "God's Been Good to Me" to the hip-hop-inflected "Get Involved."

The Harlem Gospel Travelers story began when Gatling and Marage met while studying under Reed's tutelage. The group put out their debut LP, 'He's On Time', to rave reviews in 2019, earning them high profile fans like Elton John and landing them festival slots everywhere from Pilgrimage to Telluride Jazz. Originally a quartet, they brought in Bailey and reconfigured as a trio prior to recording Look Up!, their first album of all original material.

At a moment when the world is reconsidering the concepts of genre and category and who's allowed to participate in which traditions, HGT are squarely on the cultural pulse.

"We always found it difficult to stay in this one lane of what people think gospel is supposed to be," says Gatling. "This record allowed us to hear people that were innovators in their own time, pushing how gospel music sounded, and now we've created this project that is message-wise gospel, but the feeling and the sound can be whatever you want it to be."

With their new album 'Rhapsody, the extraordinary vocalists fedayo Gatling, Dennis Bailey, and George Marage are able to fully explore the entire range of music that influenced them. The follow-up to their acclaimed 2021 release 'Look Up!', the record is a dive into a lesser-known but hugely important era in the evolution of gospel music.

Starting in the mid-1960s, local gospel groups and singers began incorporating elements of popular soul and funk styles and in 2006, Chicago-based reissue label Numero Group released Good God! A Gospel Funk Hymnal. HGT's longtime friend and mentor Eli.

"Paperboy Reed" approached the group with the idea of digging through the Numero catalog and recording some of the gospel funk material, reinterpreted in their own way from the high-energy, old-school soul of "God's Been Good to Me" to the hip-hop-inflected "Get Involved."

The Harlem Gospel Travelers story began when Gatling and Marage met while studying under Reed's tutelage. The group put out their debut LP, 'He's On Time', to rave reviews in 2019, earning them high profile fans like Elton John and landing them festival slots everywhere from Pilgrimage to Telluride Jazz. Originally a quartet, they brought in Bailey and reconfigured as a trio prior to recording Look Up!, their first album of all original material.

At a moment when the world is reconsidering the concepts of genre and category and who's allowed to participate in which traditions, HGT are squarely on the cultural pulse.

"We always found it difficult to stay in this one lane of what people think gospel is supposed to be," says Gatling. "This record allowed us to hear people that were innovators in their own time, pushing how gospel music sounded, and now we've created this project that is message-wise gospel, but the feeling and the sound can be whatever you want it to be."

BBsitters Club is a rock band based in Chicago that features Doug Kaplan and Charlie Olvera on guitar and vocals, Max Allison on bass, and Paul Birhanu on drums. As the label’s de-facto in-haus band, BBsitters Club satisfies Hausu Mountain co-founders Allison and Kaplan’s urge to remain connected to the rock and roll music they grew up loving and playing — far across the spectrum from the experimental electronics featured on the lion’s share of HausMo releases.

A solid four years after the one-two-punch releases of BBsitters Club & Party, the band’s 2020 debut studio album, and Joel’s Pick’s Vol. 1, the first volume in a series of audience-recorded live takes from shows around Chicago, we find the BBs reviving the Joel’s Pick’s series with Vol. 2. Charged with the energy of a close-knit group of friends willing to follow along with each other’s most outlandish ideas both in composition and live performance, JPV2 offers us a bewildering yet always tongue-in-cheek palette of ideas cherry-picked and mashed together into amalgams that both embrace “rock traditions” and defy them with a cherubic grin.

BBsitters Club’s amorphous compositions land somewhere between the world’s most baked prog band and a jamband that’s never content to lapse into wheel-spinning complacency. On JPV2, BBsitters Club cartwheel between eras and styles of rock music with abandon — a TV stuck flipping channels after your dad falls asleep with one leg on the remote. We encounter the elliptical dueling guitars and autumnal atmospheres of midwest emo / math rock, the gregarious stomp of electrified country rock, blues rock that has melted from ingesting one too many hallucinogens, and fried Devo-style art punk that breaches into the realms of ska before melting into free-form noise rock flecked with the bizarro imitative instrument tones of Kaplan’s MIDI guitar.

The Norwegian underground black metal band Kirkebrann has ventured from the early days of 2004 to now with increasingly more aggressive, misanthropic and epic themes of real-world tragedy as they unfold before our very eyes. Their frosty, rough and harsh black metal is equal to the classic early Norwegian black metal of the early ‘90s. The second full length has been in the making for almost a decade with some of those songs performed live for the same amount of time through blasphemy, blood and existential dread; featuring multiple guests on vocals of madness and triumph.

This album marks the beginning of a new era in Kirkebrann's twenty years of existence with its unrestrained force - full of blastbeats - in conveying dreadful, atmospheric and melancholic harmonies and sound of inspiration from the dark forces that are enclosing upon humanity's imminent downfall. “Mot Trellenes Forfal” was recorded by Kirkebrann with Draug on vocals, Hrafn on lead guitar, jK on guitar, Januz Skroemt Kvirinus Bifronsson on bass and Nødset on drums. The album also features guest vocals by Dødsherre (Djevelkult), Nasreten (Carpathian Forest), Cornu (Svikt), Lianne Krossburner (Edenkaiser) and Skrotmunn Blåskrott (Likfunn). It's time to release this curse upon humanity and release us from its limbo!

Papa Nugs & Suckerpunch return with the second iteration of
the Nug Nation series; Nug Nation Vol. II. A break-neck four
track exploration of club friendly sonics Nug Nation Vol. II
picks off where it’s predecessor left off, borrowing from the
fundamentals of golden era house and progressive through
a modern lens. All composed in the past 6 months, the EP is
an illustration of the current sound of Papa Nugs with the Aside focusing on groove heavy tracks punctuated by diva
and hip house vocals respectively, while the §ip highlights
the more playful, energetic elements of his production aimed
for the peak hours.

Miles At The Fillmore - The Bootleg Series Vol. 3 features four historic perfor- mances from the Fillmore East and West in 1970, at a time when Miles Davis was single-handedly bringing jazz into the commercial rock era.

The visionary Bill Graham had booked Miles on a bill with The Grateful Dead at the Fillmore West and with fellow Columbia artist Laura Nyro in June 1970. The latter recordings are the earliest documented live performances of Miles’s band when he hired the keyboardists Chick Corea and Keith Jarrett, along with saxophonist Steve Grossman who had replaced Wayne Shorter. The rest of the rhythm section - bassist Dave Holland, drummer Jack De- Johnette and percussionist Airto Moreira - were the backbone of his band throughout this explosive period.

Curated by Carlos Santana, this set features fascinating firsthand accounts and profound insight into a seismic shift in American society, music, and culture. In a rare, in-depth interview, Miles was “so excited about the music that he wanted every set, every note made available to the public...” The searing heat of these concerts, originally issued in severely edited form, are now made whole. This set includes several bonus tracks like Wayne Shorter’s “Paraphernalia” and “Footprints”, an early version of “Miles Runs The Voodoo Down” plus a rare encore performance of “Spanish Key” from the Bitches Brew album.

The Bootleg Series Vol. 3: Miles At The Fillmore is available as a deluxe 6-LP boxset, housed in a lift-off box. This 6LP-set includes printed inner sleeves and a 12-page booklet with extensive liner notes and rare photos.

"Symphony for the Lost" is a live album by British gothic metal band Paradise Lost, released in 2015. It was recorded at the Plovdiv Theater in Bulgaria, accompanied by the Plovdiv Philharmonic Orchestra. This album features an epic performance of the band's hits, fusing dark metal with the majesty of a symphony orchestra. The unique atmosphere and powerful performance make "Symphony for the Lost" a memorable listening experience for fans of metal and classical music. It's a fantastic LP Gatefold Picture Disc edition limited to 475 copies!!

Gatefold vinyl re-issue of one of the biggest selling Punk albums of all time. Originally released in 1981 ‘Punks Not Dead’ hit No.1 in the Independent Chart and No.20 in the UK National Chart.

Now restored to its original track listing which features new versions of Indie Chart hit singles ‘Army Life’ (No.6) and ‘Exploited Barmy Army’ (No.4). The inner bag features tons of clippings and memorabilia from the era. Still touring across the globe to this day and still fronted by the legend that is Wattie Buchan

Repress!

Today – Friday 9th July – artist, producer, DJ and club culture icon Peggy Gou releases the second of a pair of summer singles. Released via Gou’s own Gudu Records, “I Go” is an incredible piece of club-focused electronic music and showcases a very different sound to previous single “Nabi”.

Described by The FADER as “the kind of dazzlement you get from light dancing off of ocean water on a hot day: pure dopamine activating bliss” and Resident Advisor as “a refreshingly low-key jam”, “Nabi” was an evocative piece of slow-burning, 98bpm electronic pop, inspired by 80s synth classics, the piano pieces of renowned composer Erik Satie and the 80s and 90s Korean songs Gou's mother used to play at home during her childhood.

“I Go” takes inspiration from a similar era but this time the energy comes from Gou’s love of 90’s dance anthems, many of which she revisited during lockdown and an enforced break from touring. Both retain the hallmarks of Peggy Gou’s unique take on electronic music; at once both nostalgic and totally modern. But on “I Go”, the tempo, 808s and 909s are dialled right up for a self-motivating anthem that is set to soundtrack a summer when we can all hopefully dance together in our thousands again.

Talking about “I Go”, Peggy says:

“When I was a teenager in Korea, we didn’t have rave culture like there was in the UK. “I Go” is a tribute to that era, my own reimagination of the sounds I grew up loving. The lyrics are inspired by a note I wrote on my phone in 2019, staring at myself in the mirror of an airport toilet – I looked so exhausted but there was no way I wasn’t going to keep going! “I Go” is basically me motivating myself, finding courage and returning to a feeling of innocence. I hope people feel the same sense of positivity when they hear it”

Meanwhile, Peggy Gou is set to make a handful of DJ appearances in Europe over the summer. These include a huge sold out London event in August in the form of The Pleasure Gardens; an outdoor party in Finsbury Park created and curated by Gou herself and featuring a stellar supporting line up including DJ Harvey, Anz and Spencer.

Track List:

From the furnaces of Stoke-On-Trent comes the super-limited debut EP from Formal Sppeedwear, a wonky new wave teacup ready to be sipped.

Taking creative cues from Brian Eno’s Oblique Strategies and Conny Plank’s experimental recording techniques to flesh out synthpop-oriented melodies, the EP stomps along with Scary Monsters-era Bowie guitar lines, early 80s Numan basslines and surreal lyrics - “Ready, set on my mark: Tesco Extra, Marks and Sparks” cries Clewlow on 6 Lofty Ash. There’s a versatility to the tracks; with the jolting staccato of The Line counter punched by EP closer and highlight Dismount’s soaring synth slow burn.

Defying the seas of young musicians moving to London and Manchester to find their path, Beck Clewlow (Bass, Vocals, Synthesisers) Charlie Ball (Guitar, synthesisers), and Connor Wells (Drums, Guitar, Synthesisers) stuck it out in Stoke, using the city as a blank canvas - devoting their spare time to writing and experimenting, building their own studio out of charity shop finds and cash-converter synths and recording equipment.

Out in the creative wilderness of Staffordshire there’s a healthy DIY scene brewing with bands waiting to make their mark; fly posting their own shows, making one-off merch for each gig, sharing lineups with one another. “There is no sense of geographical confinement here, there’s a wealth of talent who act indifferently to their surroundings. It’s particularly nice that some of our friends from here are starting to receive attention from elsewhere” say the band. As fellow locals University and Christian Music start to garner attention from the rest of the UK, it’s time for Formal Sppeedwear to follow suit.

Stoke-on-Trent might not be the first place you’d look to find your favourite new band - The Bootleg Beatles are one of its finest exports if you ask Google - but Formal Sppeedwear are here to show you the kilns are alright.

With 3 previous albums on L.I.E.S. we welcome Tom Carruthers to Emotions Electric! Taking inspiration from the golden era of early 90s house & techno he has proven himself to be a new artist mastering that old-skool sound we all love. For fans of early Nu Groove, Transmat etc.. TIP!

Plush, the 1982 studio album by the Eighties synth-boogie band Plush, is a standout in the genre. The band, consisting of Siedah Garrett, Tony Phillips, and Ambrose Price, was known for their smooth blend of R&B, funk, and synth-driven melodies. Garrett, who later gained fame as a solo artist and songwriter, brought a distinctive vocal presence to the band. Not long after the band broke up, she was discovered by Michael Jackson, for who she later provided backing vocals and co-wrote ""Man In The Mirror"" with. The album was produced by Bobby Watson, René Moore and Angela Winbush. It features catchy tracks like ""Free and Easy"" and ""We’ve Got the Love,"" showcasing their polished production and soulful harmonies. Despite not achieving major commercial success, Plush has garnered a cult following for its authentic early Eighties sound. It's a significant work within the disco boogie genre, reflecting the transitional period of early Eighties music and is one of the rare and sought-after albums from that era. Plush is available on coloured vinyl for the first time as a limited edition of 500 copies on red coloured vinyl and includes an insert.

This new collaboration started by Dutch/Swiss baritone saxophonist Jeroen Visser and Ethiopian dancer and cultural ambassador Melaku Belay features nine musicians and dancers. Their album "GOJO" pays tribute to the golden age of the Ethio-jazz in many refreshing ways. Where the old recordings were played with western instruments, this release leans on traditional instruments like the Ethiopian lyre the kirar (Robel Solomon/Sentayehu Tadesse), a one-string violin the masinqo (Habtamu Yeshambel), and the kebero as percussion (Mesay Abebay). The additional saxes (Jeroen Visser/Steve Buchanan) go well with the soulful and funky arrangements. Changes in rhythm, some experimental improvisations and wild outbursts, and the mesmerizing voice of Nardos Tesfaw are completing the overall hypnotic mood.

Young Marble Giants' "Colossal Youth" has mystified and beguiled audiences since its 1980 release. Seen by primary songwriter Stuart Moxham as "a last gasp" at making a record, Stuart insisted the one-off 7" deal offered by Rough Trade be altered to allow an entire album . . . that paid off when with a big seller which produces cover versions even from bands whose members were a decade or two away from being born on the album's release. When YMG disbanded, Stuart was at a loss; he'd never envisioned a follow-up. A series of experimental recordings made with pal Phil Legg (Essential Logic) and supported by other YMG members, musicians from This Heat and Swell Maps, old Cardiffian pals, and new friends like Vivien Goldman resulted in an album, "Embrace The Herd", as The Gist. Released just before Rough Trade made bold moves toward pop charts with Scritti Politti, The Smiths and others, the album was odd for its time, but has since taken on the lustre of genius. Years of silence followed, thereafter intermittently broken by the odd release from small labels. Stuart delved into family life, though he never stopped writing and recording. In more recent years, two retrospective compilation of lost recordings by The Gist have been released, as well as a superb collaboration with French arranger Louis Philippe, "The Devil Laughs". "Fabstract" is the final gathering of Stuart's lost recordings. Compiling long-lost YMG-era tracks with the recent brilliance of "Crow, Crow" and "Suburban Monochrome", through bits of whimsy and vastly alternate versions of fan faves, this diverse album shouldn't work . . . but it does, telling a satisfying story of an underrated talent whose mistake was following his muse, not the charts. This album precedes a new recording, years in the making, produced by Dave Trumfio, which promises to be Stuart's most complete - and original - work since "Colossal Youth". Tracks:

Norway's progressive sludge masters are about to release the sequel to their highly acclaimed debut album "Animist". The upcoming release, "Determinist", will hit fans of The Ocean, Mastodon, and Igorr right in the face. With expanded diversity, heavier and more of the good stuff - Just the right kind of heavy! The new album takes the listener out of the prehistoric world from "Animist" and into the current and future era of determinism: Humanity has left the world of mysteries, wonders, and chance. In a reality where all is calculated, analyzed, and predetermined, humans thrive on scientific progress, but at what cost? If everything is certain, humans have deprived themselves of the illusion of free will and the wonders of life. Octohawk's sophomore album, Determinist, is a synopsis of the deterministic era, from the humble experimental beginnings to the complete coalescence with ever-flowing information. Each of the seven tracks represents the significant stages in this endeavor, from man on the ground to being a part of the eternal stream.