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A home, a house, has countless frequencies. Each room, each corner feels different. Swings differently. And as you grow older, you realize which corner is yours. But yeah, it takes time…

It certainly marks the end of an era when the house one called home as a kid no longer exists. This home, it was the starting point of so many journeys. Of one big, ongoing journey. And so it feels good, soothing, reassuring to at least return to a spot nearby – to that (proverbial) hill from where you can see it. Feel the vibe that made you.

Andi Haberl’s debut solo album as Sun is sort of dedicated to that house. It’s a journey leading to that hill overlooking everything that made him. It’s not about nostalgia, not about actually returning to a specific place. Instead, it’s about finding a personal frequency, an overlapping of sounds and samples, an open space that mirrors and extends whatever frequencies felt right at different points in time.

“To me, the results feel like Gold Panda/Four Tet meets Steve Reich meets Krautrock meets film scores. I just really wanted to create moods that touch me – and ideally others, too.”

Talking about his first solo album, Haberl recalls many stages: early compositions that ended up on Alien Ensemble’s albums, early DIY/home studio/multi-instrumentalist inspirations (Le Millipede), new technologies that came and went, even a set of wildly convincing arrangements (done with Cico Beck’s crucial input) that ultimately became stepping stones for yet another round of DIY takes. “It was a long, recurring process, and the songs went through so many different versions,” he says, talking about phases of growth (“I added more and more equipment over time”) and pruning, “cleaning up my music a bit.” Tending towards instruments that open up space, and slowly falling in love with sampling, he certainly didn’t rush things once it was time for interior design decisions ;)

“During this whole process I got to learn so much about my own taste, how I prefer to listen to the pieces, which musical elements really matter to me… and what my own voice is. For example, that acoustic elements are most important to me: the banjo, piano, drums, my voice, glockenspiel, trumpet, melodica. Anything that opens up some space.”

Every journey begins with a search: “Missing” with its plucked chords opens like a sunrise over pastoral plains, gently leading the way towards the intricate, playful explosion that occurs once a certain amount of energy (“Sun”) hits dirt and other surfaces: things grow, clot and curdle into new shapes, like new buds; layers of sound move forward, drenched in Spring’s new light. Relying on samples to ask for precipitation (“Rain On Me”), robotic “Low” goes from barren to bass-heavy after its midway shift in pace, full of loops plucked from the shade.

Towards the album’s midpoint, things are suddenly reversed: “Cluster” has that backwards pull, you can’t tell what’s what, yet everything is perfectly locked in, as the pace increases once again. And before the title song shimmers with densified cheering (to eventually stand tall like early Lymbyc Systym), “Beside Me” swipes you off your feet with its booming bass drum. The beat returns once again (“Daydream”), full of searching voices underneath, and at “Dawnday,” we can finally catch a melancholy view of the house. Voices hum. It’s the score moment of the album. Everything makes sense now. A happy end of sorts?

“I want to take people on a journey. A personal journey, too, because when my parents split up and sold the house I grew up in, I felt a bit like the ground had fallen out from under my feet. But I have dedicated the album title and the accompanying piece to this house… so I can keep it in good memory.”

“I Can See Our House From Here” has been a long time coming. It’s been a long journey. Homeward-bound. Leading to a place that’s really Haberl’s – his sound. His frequencies.

Known as a long-time member of The Notwist and various other bands/projects (Alien Ensemble, AMEO, jersey, Ditty etc.), Berlin-based drummer/composer Andi Haberl has also worked with My Brightest Diamond, Till Brönner, Owen Pallet, and Kurt Rosenwinkel, to name a few. “I Can See Our House From Here” is his first solo offering.

"The debut longplayer from Washington, DC-based Ekko Astral is a complex mesh of bubblegum noise punk and no-wave art rock that holds an elastic space for the knotty, tangled horrors of living in the imperial core. Their songs thrash with intense, necessary defiance against codified gender-based violence, their distortion and sibilance a direct response to the dangers outside our front doors.

pink balloons opener “head empty blues” specifically bites back against the terrors of the normative male gaze that dominates so much of American culture. Over a post-punk passage that plays call and response with a wall of harsh noise, frontwoman Jael Holzman belts playfully morbid details of the head-exploding anxieties that haunt her daily: “is it bon eye-ver or bon iver? / i don’t care / i’ve got stalkers outside / not going out tonight / gonna sit and take pics / in my underwear.”

Holzman formed the band in 2021 with best friend Liam Hughes (guitar), and eventually rounded out the band’s lineup with Miri Tyler (drums), Guinevere Tully (bass), and Sam Elmore (guitar). Ekko Astral’s local scene quickly welcomed the band for their wildly fierce live presence, emboldened by the community-building message behind the band’s mascara mosh pit brand.

Ultimately, Ekko Astral are here to uplift, a mission exemplified by the frenetic and bewitching pre-release singles “baethoven” and “devorah,” cornerstones of pink balloons in both style and theme. The former serves as a reminder to keep your larger than life personality in a world that wants to downsize you, where the latter proclaims urgent solidarity with missing and murdered people. Such crucial messages of upliftment are the foundation of pink balloons, and, by extension Ekko Astral, whose thrashing debut leaves no stone of solidarity unturned."

“Home” is not always a literal place. Sometimes, “home” represents inner peace and simply learning to hold space for yourself. This is where Vacations lead singer and guitarist Campbell Burns has arrived as he and bandmates Jake Johnson, Nate Delizzotti, and Joseph Van Lier release their third LP, No Place Like Home. “I had this loose concept of No Place Like Home being an Americana-influenced album,” Campbell says of the album’s sonic inspirations. “I wanted to incorporate more pianos, acoustic guitars, Nashville tuning, and country-inspired lap steel, but then also bringing in drum machines and synths and finding a mix between the two.” Produced by Campbell and John Velasquez (Zella Day, Broods), No Place Like Home comprises 10 shimmering tracks brimming with indie-pop hooks and just a touch of bittersweet sensitivity. The new project follows an intense period of transformation for Campbell, who was forced to cancel all touring commitments due to COVID restrictions and subsequently came down with a severe bout of writer’s block. After seeking therapy, he was eventually diagnosed with Pure OCD, a subtype of Obsessive Compulsive Disorder. “Pure OCD is more mental compulsions rather than physical compulsions,” Campbell explains. “If I have an intrusive thought, I'm giving that thought belief and power over myself.” As the world began to open up, so did Campbell’s vibrant creative spirit. Vacations hit the road for the first time in two years, selling out The Fonda in LA and playing Austin City Limits Festival in Austin, experiences that partially inform No Place Like Home. First single and album opener “Next Exit” sparkles with danceable synth riffs and Campbell’s aching falsetto, all while setting the overall tone for what’s to come. “‘Next Exit’ is about living in this monotonous cycle,” Campbell reveals. “You realize that you need an out. You need to — metaphorically and literally — take the next exit out in order to break out of that cycle.” The singer mines his Pure OCD diagnosis on the pondering “Over You,” which thematically picks up where “Next Exit” drops off. Campbell remarks on how “it almost has this ownership over my thoughts and actions to the point where I'm stuck in these loops and rituals that are a direct result of having OCD.” On the Americana-inspired “Midwest,” which seamlessly blends pop electronics, drum machine, and ‘80s synth with poignant lap steel tones, the song remarks on the comedic nature of repeatedly entering into romantic relationships prior to going on tour — only to have them fizzle out upon returning. As the band releases No Place Like Home, Campbell is ironically just fine with not putting down physical roots just yet having recently made the move to LA for exploration, expanding “I needed to get overseas if I wanted to keep progressing — from a career standpoint, but also on a personal level.” The greater priority lies within building that sense of comfort within himself. In the meantime, millions of fans around the world are making a permanent home with Vacations.

While she was still a member of Nasmak, one of the leading bands of the Dutch ultra-movement, Truus de Groot started Plus Instruments in 1978 with herself as the sole member. When the project evolved, she found a wide range of rotating collaborators like Michel Waisvisz, Lee Ranaldo and James Sclavunos. Plus Instruments was about freedom and the live performances were largely improvised. The sound minimal but captivating. The music always came from within, but De Groot was also triggered by bands like Red Crayola, Suicide, DAF, Wire, Per Ubu, Devo and the No Wave scene in NY. She was always experimenting with primitive multi-track recording and whatever crappy gadgets she could find. Always looking for a gritty, dirty sound and bizarre overtones.

At a young age she travelled to New York and began to immerse herself in the nightlife of the city that never sleeps. Here she found true creativity, passion and expression. The club scene was alive but highly competitive, so this fearless Dutch girl would just knock on promoter’s doors to get gigs booked at places like CBGB’s, Peppermint Lounge, Underground and the Pyramid. De Groot eventually settled in the United States and never stopped experimenting with sound. In recent years she reinvented Plus Instruments and led the group into new territory.

The recordings for this LP were made by De Groot at home and the music is experimental, minimal, industrial but also playful, sounding nothing like most of the later material. 14 tracks in total of which 7 are taken from the elusive and impossible to find self-released debut cassette as ‘Truss Plus Instruments’ which was sparingly distributed by Nigel Jacklin and his legendary Alien Brains fanzine in 1980. The remaining 7 tracks are from the same period (1979-1980) and were carefully selected from the vast archive of De Groot. We are glad to present this anthology that serves as a long overdue testimony to the formative phase of a unique female pioneer of electronic music.

"Espontaneamente se Tenta: Aventuras Sonoras de Djalma Corrêa is an album of deeply exploratory pieces by legendary percussionist and composer Djalma Corrêa. This double-LP set features previously unreleased recordings that cover a wide range of sonic experiments, revealing an unknown side of the prolific and groundbreaking Brazilian artist. Most of the tracks on this album were digitized for the first time – directly from the original tapes – and were compiled in collaboration with Corrêa just before he passed.

The result is a wild and unsettling collage that shows us just how original and intense Corrêa could be: from the unorthodox electroacoustic piece Evolução (Para Fita e Filme), which channels ancestral African inspirations to create a sonic cosmogonical narrative, to the proto-mixtape Exemplo de Sintetizadores, in which he transitions from transcendental drones to astral cha-cha-chas.

While the compilation might seem disjointed at first listen, it is in fact the most accurate translation or representation of his central concept: spontaneous music. Djalma's relationship with sound was always guided by his fearless approach to listening, and by his audacious and dynamic interaction with both musicians and equipment, which enabled him to work across a wide array of genres: from jazz to completely abstract music, always through a personal DIY ethic.

Corrêa developed a strong bond with experimentalist and inventor Walter Smetak, with whom he shared a studio during his formative years at Universidade Federal da Bahia. Suite Contagotas, featured in this collection, is no less than a sonic materialization of that bond: an experiment revolving around dripping water and its randomness – a tentative exploration of the ideas and possibilities envisioned by Smetak for his audacious, albeit unrealized, Estúdio OVO.

Djalma, however, is best known for his studio work in historical albums, including many by Caetano Veloso, Gilberto Gil and Jorge Ben, and for his own polyrhythmic opus Baiafro. The last track is an early recording called Bossa 2000 dC, first performed by Djalma at the 1964 Nós, Por Exemplo concert, an event which is often cited as marking the beginning of the Tropicalia movement. At the time, he was the only artist in the lineup using electronic devices to create sounds, e.g. medical oscillators and contact mics to augment his percussive palette.

The artwork is an amalgamation of material found in the Djalma Corrêa Archive (currently managed by his son Caetano Corrêa) and other material created during the period in which the record was being put together. The intention is to guide the listeners through this possibly tempestuous soundscape, giving them additional resources so that they may draw their own meanings and make their own sense of this extremely immersive and original experience – which is like nothing we've ever heard before."

very dope.

With this EP an attempt is made at documenting the vibrant action happening during the late 1970s and early 1980s in the Pioneer Valley area of Western Massachusetts, US. The story is richer than the snapshot we present here, and a more detailed account is to be found in the accompanying book that can be purchased separately.

The Five Colleges in Hampshire County congregated a vast student population that inevitably interacted with the towns in the area. Bars, music and record stores, live music and a lot of experimentation and free thinking. Hampshire College, especially, promoted new approaches to teaching, subjects that might be considered radical by some even today, although a more favourable context would now surely exist for openly debating such topics as American Indians, Kayak Design, Black Oral Tradition, Food Management, etc. And the music? The immediate "punk effect" motivated the creation of numerous bands, many short lived, others evolving into New Wave / Power Pop territory, eventually crossing into Post-Punk experimentation. What is captured in "Noho EP" is a more electronic disposition, favoured by the existence of EMS gear and other equipment at Hampshire College and University of Massachusetts. We chose to focus on a group of musicians who, for a time, played together in different combinations under the loose umbrella of the Tekno Tunes label and the structure around it.

These musicians come from very different backgrounds and the nucleus portrayed here consisted of Christopher Vine, Elliott Sharp, James Whittemore and Nicholas Brown.

Of the several line-up changes The Scientific Americans went through, it was actually only the duo of Chris Vine and Jim Whittemore who recorded "Among Bodge Watt". Never before released, it is a companion piece to their track "El Salvador" available on the 1981 ROIR tape-album "Load & Go!". The Sci Ams were founders of the Tekno Tunes label and also created the Tekno Tours "concert promotion agency", under which name they exposed local audiences to bands such as The Stranglers, The Slits, Pylon, Pere Ubu, The Psychedelic Furs, The Bush Tetras, Steel Pulse, etc. Their own sound kept progressing but at its best there's a solid dub undercurrent, pretty obvious in "Among Bodge Watt".

Human Error was born out of a collective jam by Chris Vine, Elliott Sharp, Jim Whittemore and Nick Brown. Elliott Sharp had moved to Northampton in August of 1978 and naturally became involved in the local music scene, hooking up first with Whittemore at a hi-fi audio store where he worked at the time. Basement jams followed stimulating conversations, and other musicians joined the sessions. "Clandestinator" sounds gorgeously loose, an effortless groove coming from a quasi-dub set-up. Nothing here seems calculated, the music just flows, contagious and irregular as the handclaps in the mix.

The Higher Primates later evolved into a "proper" band but started as Nick Brown's solo project. The Primates only ever released a (now sought-after) 7" single in 1980 (on the Tekno Tunes label, precisely). Both tracks on "Noho EP" were recorded the following year and never released until now. "Auto Music in the Disco Dub Style" is self-explanatory, with a steady, mid-tempo TR808 beat running through, supporting synth squelches, echoes and reverbs, a fat bassline, dissonant melodic lines and odd vocal snippets. Kind of a DJ tool when the concept was barely in place. The more uptempo "Teresa Variations" adds a Fender Jazz bass and Selmer sax to the electronics. It actually sounds more "Disco", even with the robotic, unintelligible vocals. On top of this, the vibe is sealed by the overall Radiophonic Workshop analogue strangeness applied to a dance beat.

On his debut album kotokid walks you through meandering scenes of jazz fusion and hip-hop infused sonic cinema. While bass guitar is his bread and butter, the Amsterdam-based musician is a multi-instrumentalist in the truest sense of the word. Throughout this album he effortlessly blends together enchanting harmonies, expansive synth-scapes, intimate piano melodies, stanky bass grooves. With ‘ignite’ and ‘early spring’ he captures the emotions of rebirth, renewal, and hope. Energizing the spirit with ‘Fl00t’, ‘floating’ and ‘Titan’ he invites a sense of action, urgency and eventual triumph. Victory’s abound. Sonic meditations in their own right, ‘soil’ and ‘kotokin’ blend cinematic stylized melodies together eliciting introspection and clarity. And whether it's joy, nostalgia, discomfort, pain, grief, longing or happy remembrance - ‘family & death’ - conjures the plethora of these experiences in a life giving dance between piano and cello.

Bank NYC is very excited to present the definitive statement of Collector, "No Prospects". Collector is the solo guise of Jason Campbell, resident of Newcastle, Australia. Since 2014, Campbell has been channelling the industrial malaise of his hometown through his unique take on heavy electronics. After a series of releases on global-spanning labels such Steel City Dance Discs (UK), Nice Music (AUS), Clan Destine (SCO) & Night People (US), the debut long-player for Bank NYC finds Collector embracing true album form for the first time in his discography. Across eight pieces, Collector delivers a bleak sonic narrative via a hardware-only approach to production: Analog drum machine patterns are intricately intertwined with menacing synth lines, and driving bass is met with the unrelenting clatter of tightly-sequenced field recordings taken straight from the heart of local industry.

Thematically, "No Prospects" navigates the downfall of Newcastle's BHP Steelworks at the end of the 20th century. Acknowledged widely as the largest de-industrialisation event in Australian history, the closure of the Steelworks in 1999 marked a dramatic cultural shift where blue-collar vocations were vanquished due to an economic slump, and were consumed by the trending cosmopolitanism seen in adjacent cities. "No Prospects" draws on Campbell's family lineage in the Newcastle's steelworks, providing a rich, personal context to an industry that both gives and takes away. The sharp intensity of the album is sustained by dramatic shifts in pace: the devestating slow burners of 'Two From Five' and 'Ricochet' are instinctually offset by the frenetic 'CFT' and 'Workers Club Collapse', which showcase Campbell's no-nonsense approach to shaping an almost club-ready breed of modern industrial techno. Although diverse across both sides, cohesion is found in Campbell's toolkit of samples that are unmistakably Collector. The album's eponymous track, 'No Prospects', serves as an introspective centrepoint - a largely arrhythmic excursion shrouded in familiar brooding, textural drones, and underpinned by the chug of machinery on the brink of collapse.

Although forever indebted to the spirit of local electronic outcasts, Bloody Fist Records, Collector's "No Prospects" is a remarkably distinct statement straight from the heart of Australia's Steel City. The complexity of arrangements speak to Campbell's long association in experimental music communities, whilst the persistent feeling of dread conveys a uniquely regional story of decay and futility. Pure Novocastrian industrial electronics.

Repress!

StarWax magazine celebrates its fifteenth year, it is in the extension of the anniversary event that the vinyl Wild Star Wax 15 Years Edition in Partnership with Overdrive is born!

Curated and Seòected by Dj Coshmar for the most famous STARWAX magazine a powerful dancefloor combo for djs, diggers and clubbing addicted.

Available in stores from September 2022, the tracklist contains six tracks of cumbia, disco, creole funk, bass music and hip-hop that are available exclusively in this vinyl format, at exception of "An Tèt Aw" the last title of side A already available on the Lp of DjeuhDjoah &
Lieutenant

2LP Soundtrack for UbiSoft video game in the Avatar series on Translucent Blue & Pink Vinyl Set after the events of the first Avatar film, you’ll embark on a journey across the Western Frontier, a never-before-seen continent of Pandora, as you join other Na’vi clans to protect Pandora from the formidable forces of the RDA. Created in collaboration with Disney and James Cameron’s production company, Lightstorm Entertainment, you will experience a first-person open-world action-adventure game exclusively developed to maximize the power of new-gen consoles and PC. Abducted by the human militaristic corporation known as the RDA, you, a Na’vi, were trained and molded to serve their purpose. Fifteen years later, you are free, but find yourself a stranger in your birthplace. Reconnect with your lost heritage, discover what it truly means to be Na’vi, and join other clans to protect Pandora from the RDA.

The Telescopes Radio Sessions collects together the essence of three live session recordings in 3 different countries over a three year period between 2016-2019. This is the third in a series of radio session releases from Tapete Records that have so far included The Monochrome Set and Comet Gain. More session releases are being lined up for the rest of the year and beyond - enjoy the sonics and stay tuned. Over the years I have read a lot on people’s impressions of The Telescopes. Some folk think it’s a collective, others imagine it used to be a band and feel nostalgia towards what they consider to be the original line-up (even though many had come before, during and since) and some people refer to it as currently a solo career. In a way this is all true and none of it is. When faced with these kind of questions, along with questions about the style of music that The Telescopes make I often say The Telescopes house has many rooms, which explains things perfectly for me but for people on the outside looking in it only serves to increase their confusion. For me, confusion isn’t such a bad thing. Everything is born into confusion, the sense we try and make of that chaos is interesting and excites me. The universe often disorientates, it sends me a jumble of thoughts and impressions coupled with a feeling of something I need to express… if I could only decipher the encryption. This is how The Telescopes music comes to be and it is also how The Telescopes came to me. I regard The Telescopes as an entity of it’s own that introduced itself in my darkest hour and I was chosen as its vessel. From the second it arrived I was obsessed to the point where there was nothing else. A bit like having an imaginary friend. As the obsession grew it began to infect others, everybody loved my imaginary friend and wanted a piece of it. As its success grew however, so did the corruption, until one day the entity fell silent. The silence lasted for years, I tried everything to reconnect but it was having none of it. I had been a bad caretaker, I had let the house become infested and I had lost my way. This epiphany served to remind me of simpler times when anything felt possible with this entity by my side. It had trusted me with something so simplistically profound and I had let it down. The realisation of this was a eureka moment. I am not The Telescopes, I never was and never will be, I am the caretaker, the lighthouse keeper and if a job is worth doing it is worth doing well. With this dawning, I felt a crack open up in the cosmic egg and a familiar confusion in my head. The entity had returned. It was time to start untangling its tangled threads once more, to make sense of what it was saying, this time without corruption. It’s all about listening. I listen to what my cosmic friend sends me and channel this expression into what you hear through your speakers. It may take one person to achieve this, it may take more. There is no set line up or instrumentation that can hold The Telescopes. Whatever it takes to hit the zone, whatever is available, absolute focus is imperative. Sometimes it takes sabotage to keep that line of vision intact, there is no room for preconceptions or complacency in making the music. The Telescopes music is the now

incarnate and a state of total being is necessary to achieve. From the outside looking in... again, it’s all about listening. What comes through your speakers is the only thing that matters. The music either reaches you or it doesn’t. Everything else may seem interesting or confusing but ultimately it is corruption. So if you’ve bought the record, read the sleeve notes and bought a ticket to see a live show, don’t be surprised if the line-up is or isn’t the same as the recording. The only thing that is for sure is that The Telescopes as an entity is speaking to you in its own voice in every scenario.
Of course the difference between albums and live shows is that you can play the record over and over again to the point where you know every line and every note that was played. Whereas with live events you are left with an impression that can only be replayed in your mind. It can be frustrating at times. When you are touring with a great line-up and feel like something exciting is happening, you want everyone to hear it, not just the people at the shows but the people that couldn’t make it on the night as well. There is no guarantee that there will be the same line-up at a live show as there is on the album. This is why live sessions are important, they document a side of things that is often fleeting. Here we have three sessions, all different people transmitting The Telescopes sound on each. Some are regulars, some dip in and out and some were just passing through. In each case The Telescopes chose them as their vessel and as the lighthouse keeper I did everything I could to help them on that journey while trying to be a good caretaker to the house of many rooms. The Telescopes have been invited in for many sessions over the years, the first two were for John Peel on BBC Radio 1. We also recorded a session for Marc Riley and Mark Radcliffe before their
celebrity when they had a show on BBC Radio Manchester. We could have compiled this album from those sessions, it was certainly considered but Tapete and myself believe this selection gives an exciting glimpse into that fleeting side of The Telescopes in a constant state of flux that is left mostly to myth and imagination. For those who listen to the records but have never had the chance to take in the live experience, welcome to the other side. For those that follow us live, here’s a little reminder and a keepsake. Infinite suns. Stephen Lawrie February 2024.

Limited Pink w/ Purple & Cream Swirl Vinyl. To celebrate the 10 Year anniversary of their album The Things We Think We're Missing, Balance and Composure teamed up with longtime collaborator Will Yip to track the record live for a one-time livestream event in late 2023. That performance has been pressed to vinyl & is now available in a one-time vinyl pressing.

The Slovak band Shallov releases their new track "Refrain" on the experimental label Weltschmerzen just one year after the release of "Coexist". Two tracks that both span more than 10 minutes in length, work together as one coherent audiovisual art piece and are out as an EP on 10" vinyl. Music videos do not only visually supplement both tracks but they are equally autonomous art pieces.

The visual feature of the music pieces is highlighted by the vinyl's cover painted by Slovak artist Michal Fízik. The previous back cover carries a photograph which served as an inspiration for the painting while the current back has been created via AI reinterpretation.

The musical component of Refrain is based on a repetition building into a hypnotic trance, gradually disintegrating so it eventually ends in a monumental climax. It contrasts the band's previous work as well as the track Coexist which uses rather neverending rhythmic variations, and a changeable vibe and atmosphere.

The concept of the visuals in Coexist is a result of a collective fusion between the theatre director Adam Dragun, Viktor Ori and dozens of other participating non-actors. The video depicts individualistic egoist actions shaping a contradicting and incomprehensible totality of the world which ultimately seems to be alienated to everybody.

Refrain is an introspective journey leading to the dissolution of the individualistic experience of human existence. The video's concept, direction and production was conducted by the visual artist and performer Jak Užovič who also tends to inter-media art and object installations.

As Shallov and Jak Užovič explain the track's conceptual background: "The idea of owning one's own body and mind is an unnatural way of looking at ourselves imposed by the dominant paradigm. It's a blind ideology - the view of a body as a machine or a commodity is incomplete and represents a materialistic utopia which is being systematically internalized. We're not a community that acts right or wrong, our intentions are determined by an ideology which pretends not to exist - our relations are relations of masters and slaves, of domination and exploitation. We are a society bound by these features and even though we refuse to admit it, the world presented to us is only a legend we're striving to keep alive at all costs, while believing that there is no alternative. Our quality doesn't stem magically from the inside, on the contrary, it's determined by the conditions within which we interpret it through collectively shared fictions. We don't get to know our consciousness through ourselves, but we recognize it through others as they create and form us."

Yes' 90125 was a departure from their progressive style but it introduced the band to a new generation of fans, reaching No. 5 on the Billboard 200 and No. 16 on the U.K. albums chart. The 1983 album remains their best-selling album with more than 3 million copies sold in the U.S. "Cinema" earned the group a Grammy Award for Best Rock Instrumental Performance, while "Owner Of A Lonely Heart" was the band's first and only single to reach No. 1 on the Billboard Hot 100 chart.

Named for its Atco catalog number, 90125, the album — the band's 11th studio effort — it was born out of the band's self-reinvention. Begun as Cinema, a new band by Chris Squire and Alan White, the project grew to include the slick production of Trevor Horn, the new blood (and distinctly '80s guitar sound) of Trevor Rabin, and eventually the trademark vocals of returning founder Jon Anderson. His late entry insured that Rabin and Horn had a heavy influence on the sound. The album also marked the return of prodigal keyboardist Tony Kaye, whose crisp synth work on "Changes" marked the band's definitive break with its art rock roots.

"Owner Of A Lonely Heart" was a huge crossover hit, and its orchestral break has been relentlessly sampled by rappers ever since. The vocal harmonies of "Leave It" and the beautifully sprawling "Hearts" are additional high points,

90125 is a significant and well-regarded album in the Yes discography.

Analogue Productions is proud to offer the definitive reissue deluxe 180-gram 45 RPM 2LP of 90125. For Yes fans, this is a can't-miss addition to your album collection.

For fans of Duster, LSD and The Search for God, The Microphones. Double LP (NO BOOKS!) First official physical copy of fan-made compilation of alternate tracks and demos from cult phenomenon album Deathconsciousness. Freshly remastered. With the broader adoption of the internet around the turn of the century, how people would engage with and discover underground music would change forever. As a result of the new digital era, DIY was now worldwide, and no band embraced this new frontier better than Have A Nice Life. Formed in 2000 by duo Dan Barrett and Tim Macuga, the Middletown, CT-based pair would, throughout the 00s, self-release and share a number of demos and home recordings via early social media channels as well as establish its in-house label ENEMIES LIST HOME RECORDINGS. These first steps set in motion Have A Nice Life’s rise to renown as an icon of underground music in the internet age, culminating with the release of its pivotal 2008 debut album, Deathconsciousness. Through word of mouth and online discussion, Deathconsciousness became subject to viral praise thanks to its synthesis of bleak post-punk, lo-fi shoegaze, and carpets of hypnotic drone music. Eventually, this humble self-released project would attain the status of a post-internet cult classic, amassing Have A Nice Life a fervent online following that the band would interact with in kind. In an effort to thank and continue to engage with Have A Nice Life’s internet cult following, Barrett and Macuga would regularly share links to old demos, works in progress, and outtakes from the recording of Deathconsciousness. Over time, a group of fans would compile these demos into an unofficial release. Dubbed Voids, this fan-made compilation several alternate takes of tracks from Deathconsciousness, as well as a handful of early versions of songs that would appear on Have A Nice Life’s two following albums, The Unnatural World and Sea of Worry. While undeniably reminiscent of their final album version counterparts, the earlier versions of these tracks each feel distinct in a way that makes the moody, decidedly lo-fi aura of Voids an essential slice of the Have A Nice Life discography. Hungry for more from the enigmatic duo, fans swarmed around this compilation, accompanied by loud calls for it to receive a physical release. Seeing that demand and with the band’s blessing, a pair of fan-made tape pressings of Voids would be released via Music Ruins Lives, a DIY label run by Have A Nice Life superfan Thom Wasluck, also known for his band Planning for Burial. Between both instances of the tape swiftly selling out and the compilation’s long absence from streaming services, Voids has historically been an elusive release to track down, only available in the obscurest corners of the internet or physically on the secondary market at eye-wateringly high prices.
Over a decade since its initial, unofficial release in 2011, The Flenser is proud to reissue Have A Nice Life’s Voids for the first time ever in an official capacity in physical form. Originally released digitally in early 2023 and freshly remastered for the occasion, this reissue of the beloved compilation will receive its first-ever wide release on physical formats (CD/LP/Cassette). This release also marks the first time fan-favorite tracks from Voids “Sisyphus”, “I’m Doctor House”, and “Human Error” will be available on vinyl and CD. Like a symbolic passing of the torch, the physical versions of the 2023 Voids reissue come with a foreword essay written by Wasluck, the previous custodian of Voids during the Music Ruins Lives days.

Repress!

Wah Wah 45s are proud to present the full debut album from Afrobeat supergroupEparapo. Having come togetherduring the unprecedented events of the pandemic and the Black Lives Matter movement, and despite being a project born from the privations of lockdown, their music is ultimately an expression of hope, resilience & resurgence.

The word "eparapo" means "join forces" in Yoruba, the language of Afrobeat. It's also the title of a track by the late, greatTony Allen- drummer for Afrobeat legendFela Kutiand lifelong friend and mentor of our very own "Afrobeat Ambassador",Dele Sosimi. Not only did Tony help to invent Afrobeat, he always looked for ways to push the boundaries, never content with recreating what had gone before but constantly expanding and developing the genre. This project hopes to pay homage to his legacy, and that of Fela Kuti himself. Its aim is to innovate, fuse and diversify while still retaining the essence of the music.

The force behind Eparapo is bassist, composer & producerSuman Joshi.He has been a member of Dele Sosimi's Afrobeat Orchestra for nearly a decade and has performed on stage with the likes of Tony Allen, Seun Kuti, Ginger Baker & Laura Mvula. He is also bassist with UK jazz ensemble Collocutor and fusion project Cubafrobeat.

"The Eparapo project was conceived during a time of lockdowns & government scandals. The music that makes up this album was written and recorded against a backdrop of societal upheaval, culture wars and rising wealth inequality. With little scrutiny or resistance from the mainstream media, our human and democratic rights were being eroded and our institutions debased. Even our right to protest is now under threat. This is a call to action, an expression of frustration & anger at what our nation has become. It's saying that enough is enough, it's time to join forces and make our voices heard. It's time to take to the streets."Suman Joshi

The title track is an epic eleven minute musical representation of this frustration and anger, where the musicians really let loose and allow their voices to be heard. As the only instrumental track on the album it acts as a call to action that is central to this body of work. Featured vocalists on the album are Fela Kuti disciple and Wah Wah 45s artistDele Sosimi, who appears on the singlesBlack Lives Matter,From London To LagosandWho Invented Back & White?as well as a more recent recording,Follow The Money; and London based, Ghanaian born master percussionist and vocalistAfla Sackey, who takes lead vocals on the mournful yet somehow hopefulBeautiful City.

The rest of the group comprises of highly rated UK jazz vocalistSahra Gure; saxophonist, composer, producer and bandleader of the renowned forward thinking jazz outfit Collocutor,Tamar Osborn; keyboard player, producer and front man for Lokkhi Terra and Cubafrobeat,Kishon Khan; one of the UK's finest and most in demand trumpeters,Graeme Flowers, who has played with Quincy Jones, Gregory Porter and many more; trombonist for Bellowhead and mainstay of Dele's Afrobeat Orchestra,Justin Thurgur; and finally drummer for Steamdown and Sons of Kemet, as well as the man behind the Nache project,Eddie Wakili Hick.

The album will be available digitally and limited edition vinyl LP, with striking artwork by our award winning designer Animisiewasz.

Created in 1954 and originally based in Newport, Rhode Island, the Newport Jazz Festival became one of the most celebrated and emblematic jazz festivals in the world. Immortalized in 1958 by Bert Stern's movie Jazz on a Summer's Day, it provided the setting for some of the most talked about events in jazz history, such as Miles Davis' 1955 performance of 'Round Midnight

In one sense, it's easy for artists-songwriters, specifically-to express their feelings in their work. After all, that's what the lyrics are for! But it's much harder to convey emotional energy in how you play, slash at the guitar, and the structure of the music itself. That's precisely why Girl and Girl's Sub Pop debut, Call A Doctor, feels like such a vital, electrifying shock to the senses. Not since the early work of Car Seat Headrest or Conor Oberst's widescreen emotional brutality as Bright Eyes has indie rock managed to come across as this intimate and grandiose, as the Australian quartet led by Kai James lay a lifetime's worth of woes-mental health, the human race's planned obsolescence if you've been living on this cursed rock you know what we're getting at-across a canvas of indie rock that feels both timeless and in-the-moment. An audacious and aggressively tuneful blast of a record, Call A Doctor is an unforgettable first bow from Girl and Girl, whose origins lie in James and guitarist Jayden Williams jamming in his mother's garage in the afternoon after school. One afternoon, James' Aunty Liss headed down to their practice space after walking her dog and asked if she could sit in on drums. "It sounded really great," James recalls. "We begged her to stay, and she said, 'I'll stay until you find another drummer.' We wore her down, and she eventually became a permanent member." After bassist Fraser Bell joined to round things out, Girl and Girl hit the road and began to make a name for themselves beyond the Australian bush, eventually signing to Sub Pop off the strength of word of mouth. Call A Doctor came together quickly soon after, largely recorded in marathon sessions in a two-story industrial complex over the course of two weeks. "That added to the intensity of the album," James says about the frenzied creative process overseen by producer Burke Reid. "I can hear the stress in the record, which is good because that's what it's about-being tense, tied up, and in your own head." Call A Doctor's eleven songs-spanning sweeping guitar epics and wry acoustic shuffles to spiky punk maneuvers and the type of raw, adoringly unvarnished indie-pop associated with legendary PacNW label K Records-are literally plucked from James' personal history, as he reworked older recordings with newer lyrics reflecting his past struggles as well as new anxieties that emerged prior to the album's recording. "I've struggled with mental health for a lot of my life," he explains, "and I went through a particularly difficult patch when we were making the album; the band had started to get some attention, and I felt an enormous amount of pressure to live up to it." "This record is about an individual who's too far in their head, trying to get out," James continues while discussing Call A Doctor's overall outlook-specifically the snapshot it offers of its creator. But even though this record deals with uneasy topics we all know well from within ourselves, it's important to emphasize how teeming with life Girl and Girl's music is. There's a brazen, bold sense of humor to this stuff, an undeniable brightness to the darkness that makes it impossible not to be drawn in as a listener. Feeling down never sounded so goddamn good.

The current lineup of New Haven's long running Mountain Movers (guitarist/vocalist Dan Greene, bassist Rick Omonte, guitarist Kr yssi Battalene, & drummer Ross Menze) have been playing together for over a decade now, making their recorded debut on a slew of singles released from 2011-2013, but it wasn't until 2015's "Death Magic" (released on New Haven label Safety Meeting) that the potential of that iteration of the group became clear; Mountain Movers are a force of nature. The camaraderie & sensitivity to each others playing has only grown over time, cr ystallizing on the group's trio of albums for Trouble In Mind; 2017's eponymous "Mountain Movers" served as a reintroduction of the group to a larger audience, while 2018's "Pink Skies" raged like a group confident in its strengths, and 2020's prescient "World What World" - written & recorded before the world shut down - slightly shifted focus away from the jams & back toward the weight of guitarist/songwriter Dan Greene's poetic tales of magical realism. The band's ninth album "Walking After Dark" finds a happy medium between both aspects of the band's strengths; Greene's lyrical compositions and the group's long-form improvised jams. To those that are tuned in, that feeling of communion is evident in the Movers' playing. The members swap & cycle effortlessly through instruments without missing a beat, utilizing the downtime of lockdown to write & record every jam in their practice space. Those piles of tapes would eventually get edited & sequenced into "Walking After Dark", a tour-de-force double-album that balances fried, stony brilliance with outré excursions of experimental serenity. Consider the opening track "Bodega On My Mind" that ambles in like a road-worn traveller, its lysergic folk strums peppered with acidic lead lines from Battalene's Telecaster, eventually giving way to "The Sun Shines On The Moon, where the group's sizzling guitars are buoyed by Omonte's pillowy bass & Menze's percussion. From there on out, tracks like "Factory Dream" give the listener a taste of The Movers' modus operandi here; a mixture of (more) traditional song craft interspersed between long-form, improvised pieces of modern psychedelia. The group shuffles through instruments; synths, drum machines, auto-harp, various forms of percussion (and whatever else was laying around) as well as the trad guitar/bass/drums configuration to craft a suite of songs that - while not necessarily similar in composition - feel unified in their overall sonic scope. Tracks like the 14-minute "Reclamation Yard", whose deep-space electronic pulse is juxtaposed against side C opener "See The City "s persistent acoustic strum that showcase similar ideas of the `spirituality ' of losing ones self in repetition, but executed differently. In many ways "Walking After Dark"s duality feels like a merger of "On The Beach"-era Neil Young & the collective freak-outs of Amon Düül, taking inspiration in the `incorporeality ' of free music and lacing it with Greene's hazy, haunting lyricism and is an exciting step forward for a band that's already a few steps ahead. "Walking After Dark" is released on black double-vinyl in a full color gatefold jacket & includes an insert with artwork & lyrics by member Dan Greene.

In one sense, it’s easy for artists—songwriters, specifically—to express their feelings in their work. After all, that’s what the lyrics are for! But it’s much harder to convey emotional energy in how you play, slash at the guitar, and the structure of the music itself. That’s precisely why Girl and Girl’s Sub Pop debut, Call A Doctor, feels like such a vital, electrifying shock to the senses. Not since the early work of Car Seat Headrest or Conor Oberst’s widescreen emotional brutality as Bright Eyes has indie rock managed to come across as this intimate and grandiose, as the Australian quartet led by Kai James lay a lifetime’s worth of woes—mental health, the human race’s planned obsolescence if you’ve been living on this cursed rock you know what we’re getting at—across a canvas of indie rock that feels both timeless and in-the-moment.

An audacious and aggressively tuneful blast of a record, Call A Doctor is an unforgettable first bow from Girl and Girl, whose origins lie in James and guitarist Jayden Williams jamming in his mother’s garage in the afternoon after school. One afternoon, James’ Aunty Liss headed down to their practice space after walking her dog and asked if she could sit in on drums. “It sounded really great,” James recalls. “We begged her to stay, and she said, ‘I’ll stay until you find another drummer.’ We wore her down, and she eventually became a permanent member.”

After bassist Fraser Bell joined to round things out, Girl and Girl hit the road and began to make a name for themselves beyond the Australian bush, eventually signing to Sub Pop off the strength of word of mouth. Call A Doctor came together quickly soon after, largely recorded in marathon sessions in a two-story industrial complex over the course of two weeks. “That added to the intensity of the album,” James says about the frenzied creative process overseen by producer Burke Reid. “I can hear the stress in the record, which is good because that’s what it’s about—being tense, tied up, and in your own head.”

Call A Doctor’s eleven songs—spanning sweeping guitar epics and wry acoustic shuffles to spiky punk maneuvers and the type of raw, adoringly unvarnished indie-pop associated with legendary PacNW label K Records—are literally plucked from James’ personal history, as he reworked older recordings with newer lyrics reflecting his past struggles as well as new anxieties that emerged prior to the album’s recording. “I’ve struggled with mental health for a lot of my life,” he explains, “and I went through a particularly difficult patch when we were making the album; the band had started to get some attention, and I felt an enormous amount of pressure to live up to it.”

Far from the sound of collapsing under pressure, Call A Doctor finds James and Co. stepping up with their entire collective chest. This is a record that’s so out-and-out alive that you nearly feel like you’re in the same room with Girl and Girl as you listen to it; lead single “Hello” practically bursts through the speakers, amplified by Aunty Liss’ unbelievable stickhandling duties. “‘Hello’ is all about romanticizing your own misery. Letting those deep, dark, dirty thoughts take over. Understanding that even if you could pull yourself out, you wouldn’t because the constant stress and worry is far too familiar and comfortable.”

“Mother” pogos on a spiky groove that’s reminiscent of the geographically close New Zealanders who make up the legendary Flying Nun label, while “Oh Boy” draws from the Shins’ own jangly sound, injected with James’ wonderfully nervy vocals. Then there’s Call A Doctor’s sorta-centerpiece “Maple Jean and the Anthropocene,” a five-minute epic offering a new perspective on climate change and the notion of what it means, in a personal sense, to suffer: “I live in the bushland, and I was driving home one night and hit and killed a wallaby with my car,” James recalls while discussing the song’s lyrical inspiration. “My first thought was, ‘What is the universe trying to tell me?’ No remorse, no guilt, just total self-centeredness. Which was like, Woah, you fucking psychopath! This wallaby wasn’t put on this earth to send you a message. That’s what the song is about, our egocentric species - thinking you’re the main character and that everything that happens is somehow about you.”

“This record is about an individual who’s too far in their head, trying to get out,” James continues while discussing Call A Doctor’s overall outlook—specifically the snapshot it offers of its creator. But even though this record deals with uneasy topics we all know well from within ourselves, it’s important to emphasize how teeming with life Girl and Girl’s music is. There’s a brazen, bold sense of humor to this stuff, an undeniable brightness to the darkness that makes it impossible not to be drawn in as a listener. Feeling down never sounded so goddamn good.