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In his brand-new album ' Yearbook', RJ combines the feeling of loss and
hope, to explore the depths that can be reached within song writing
The album fuses classic song writing with an alternative indie pop sensibility,
sweeping from the sun-kissed bliss of the hopeful Feel Alive, through the dark yet
enticing Cutting Room Floor, to the intimately beautiful Forest Fires which
intertwines voice, guitar, and string quartet. He has created a world around the
songs. An App, accessed through QR codes installed into the album artwork,
created alongside a friend, invites fans into the songs; through childhood
pictures, voice note demos and discussions around the lyrics and their
themes.UK tour announced including Royal Albert Hall. Print Press support from,
The Times, CLASH, The Guardian and Wonderland along with Playlist support for
singles preceding the album release including: Wonderland Magazine
'Wonderlist', Square One Magazine € Release Radar', Spindle Magazine 'Spindle
Selects'. Single ' Feel Aline' was featured on Record of the Day in July. " Genuinely
for the first time, I've written songs on Yearbook where I've gone 'Oh my God,
that's mine! I've surprised myself and I really do love it.' he admits. Now it's
everyone else's turn to be surprised by RJ Thompson's ever- expanding world.
'Yearbook' released as a Jewel Case CD.

In his brand-new album ' Yearbook', RJ combines the feeling of loss and
hope, to explore the depths that can be reached within song writing
The album fuses classic song writing with an alternative indie pop sensibility,
sweeping from the sun-kissed bliss of the hopeful Feel Alive, through the dark yet
enticing Cutting Room Floor, to the intimately beautiful Forest Fires which
intertwines voice, guitar, and string quartet. He has created a world around the
songs. An App, accessed through QR codes installed into the album artwork,
created alongside a friend, invites fans into the songs; through childhood
pictures, voice note demos and discussions around the lyrics and their
themes.UK tour announced including Royal Albert Hall. Print Press support from,
The Times, CLASH, The Guardian and Wonderland along with Playlist support for
singles preceding the album release including: Wonderland Magazine
'Wonderlist', Square One Magazine € Release Radar', Spindle Magazine 'Spindle
Selects'. Single ' Feel Aline' was featured on Record of the Day in July. " Genuinely
for the first time, I've written songs on Yearbook where I've gone 'Oh my God,
that's mine! I've surprised myself and I really do love it.' he admits. Now it's
everyone else's turn to be surprised by RJ Thompson's ever- expanding world.
'Yearbook' released as a Jewel Case CD.

Two leading Norwegian jazz artists have put together an excellent album
with just a microphone and a grand piano
On 'Movies & Stories Like This' they present nine self- composed songs about
intangible love. Hilde Louise's voice is elegantly accompanied by Anders Arums,
they cover everything from bolero and tango to French waltz and jazz ballads.
Piaf, Brell and Weill are evident sources of inspiration. Hilde Louise's lyrics span
both the minor and the major kinds of love, from everyday relationships, the ones
about which no films are made, but nevertheless carry with great drama, to the
big love stories.
Hilde Louise Asbjørnsen has released 11 albums since 2004 and continues to be
an important part of the Norwegian jazz scene. Her previous album 'Red Lips,
Knuckles and Bones' was released on Ozella Music to great reviews. She has
been described as "three parts Monroe and one part Holiday", and has nurtured
an extensive career as a cabaret- artist and a musical actress. Her latest solo
performance and book by the name of 'Stardust' is a tribute to 8 female legends
from last century. The show is a great success in Norway, and is to visit
Edinburgh Fringe Festival in 2023.

Mando Diao is back on full effect having played all the major rock-festivals across Europe in summer 2022 including Southside and Novarock. Just before the summer-season they rolled out the first in a series of volumes with sizzling hot and high octane ROCK fresh of the studio. Vol 1 produced the radio-success "Frustration" that managed to climb all the way to No 2 at rock-radio in Germany. Now we are happy to announce Vol 2 to drop 23rd of September having parts of the band in Hamburg for an exclusive and personal 20 YEARS OF MANDO DIAO panel during Reeperbahn Festival. The lead-track "Primal Call" is a hippie-like sounding one that draws inspiration from Led Zeppelin and King Crimson, a much punkier version. No logic whatsoever in the changes throughout the track but hey, that's how the band likes it. Full of surprises. As if the producer was a total lunatic out of control. "Fire in the hall" is a short, intense song written by Björn and Jens. Once again, a blend of primitive rock'n'roll feel and electronics. For example, the drums are based on samples of Patso's drumming. The lyrics are simple and almost trivial, with a "La Vida Loca" vibe: start a great fire, for yourself and others. Most things can be solved with a cleansing dance - both in reality and in lyrics. "If you write the lyrics together with someone, it's easier to avoid becoming pretentious and over-analytical," they summarize. Finally, "Charlie", about their current producer (Charlie Storm). One of the greatest there is having worked with so many big releases (Roxette, In Flames, Hurl etc). At least partly. They were excited about him and felt that he deserved a song. Or maybe they didn't have anything else to write about. Everyone had different inputs, but it ended up being a pure rock'n'roll song. And a real banger.

Red Hot Chili Peppers announce their brand new studio album, Return of the Dream Canteen which will be released October 14th on Warner Records. The surprise announcement was dropped at Denver’s Empower Field to rapturous response as the North American leg of their critically and commercially acclaimed global stadium tour kicked off.

The news of Return of the Dream Canteen's imminent release marks the band’s second album of 2022, hot on the heels of the platinum-selling chart topper Unlimited Love which was released in April debuting at #1 in the UK. It will also be the band's second Rick Rubin produced album of 2022, and reinforces their reputation as a band at their absolute peak, riding the crest of an undeniable creative wave.

Continuing to win over audiences across the generations, the band performed a run of sold-out UK/EU dates earlier this year, including two nights at London Stadium. "A scorching European touch-down from the California legends" – CLASH

We went in search of ourselves as the band that we have somehow always been. Just for the fun of it we jammed and learned some old songs. Before long we started the mysterious process of building new songs. A beautiful bit of chemistry meddling that had befriended us hundreds of times along the way. Once we found that slip stream of sound and vision, we just kept mining. With time turned into an elastic waist band of oversized underwear, we had no reason to stop writing and rocking. It felt like a dream. When all was said and done, our moody love for each other and the magic of music had gifted us with more songs than we knew what to do with. Well we figured it out. 2 double albums released back to back. The second of which is easily as meaningful as the first or should that be reversed. 'Return of the Dream Canteen' is everything we are and ever dreamed of being. It’s packed. Made with the blood of our hearts, yours truly, the Red Hot Chili Peppers.

LP + 7". Indigo Sparke's majestic second full-length album Hysteria is a sweeping work, one that possesses a rare, reflective power. On it, she examines love, loss, her history, and the emotional upheaval surrounding those sensations: her words tell the stories, and the sounds act them out. It's a diary built for big stages. Hysteria arrives just a year after her striking, minimalist debut, Echo. Here, though, Sparke offers an expansive body of work_it's a complex collection that expands her sound and outlook. Work on Hysteria began at the start of the COVID-19 pandemic, while Sparke was stranded in quarantine in her native Australia. After moving back to New York in the spring of 2021, Sparke finished writing the album's 14 songs and decamped upstate with producer Aaron Dessner (The National, Taylor Swift). "Originally we were going to co-write, but after he heard my demos he said, `There's so much in here already,'" Sparke recalls on how Dessner, who also contributes instrumentation along with guitarist Shahzad Izmaily and drummer Matt Barrick (The Walkmen, Muzz), got involved in bringing Hysteria to life. Centering Sparke's powerful vocals throughout, Hysteria is packed with big guitars and layered instrumentation that practically acts as the album's lungs, giving every note breath. From the pulsing immediacy of "Infinite Honey" to the soaring "God Is a Woman's Name" and "Hold On"'s towering chorus, this is music that sounds huge even as it zooms in on the trials and turmoils of one's inner life. You can hear Sparke reflecting on reconciliation, grief, hope, and the passage of time on the perpetually building "Pressure in My Chest" and the airy, Joni Mitchell-esque title track, which finds her embracing a gorgeous upper register over gently strummed guitar. "Set Your Fire on Me" builds and bursts not unlike Angel Olsen's own raw folk-rock expressionism_and then there's the stark opener and first single "Blue," which acts as a cosmic road map for Sparke's own journey in life. Sparke observes while reflecting on Hysteria's thematic bent "these songs are about being at the axis point of love - right at the edge of hysteria - and how that transformed me."

Funky and abstract atmospheres, dark and dramatic moments, exotic solutions and soul drifts - everything contributes to create a unique music soundscape - 70s library music by the Italian soundtrack composer Paolo Renosto, who released his library music compositions under the alias "Lesiman".

"Here and Now Vol.1" was originally releasesd on Vedette Records in 1973

DJ Steve's third EP for Klasse Wrecks delves deeper into the sonic universe of the Sheffield producer's arsenal, a slow but deliberate progression can be traced from the previous EPs. Whereas 'Secret Touch' and 'Mainline' ploughed a path made more by the lighthearted genres of UK Hardcore and Yorkshire Bleep, 'Reality' sinks lower into heady vibrations of psychedelia and heavy acid hallucinations. The producer again shows off his musical flair and control of his machine kingdom, every sound perfectly placed on the sound canvas. Classic 303 lines writhe under 101 basslines whilst 808 hihats shuffle over recognisable breakbeats, proving some things never go out of style.

"Nothing's Going Wrong" is Martha's sophomore album on Blind Faith Records, backed by the mighty Italian Royal Family and produced and mixed by Luca Sapio at Blind Faith Recordings studio. The super solid back beat and the lush horn arrangements evokes the golden era of the Italian movie soundtracks (inspired by Piero Piccioni, Ennio Morricone and Luis Bacalov). Lyrically the album is very much inspired by the socially and politically conscious records made by the likes of Marvin Gaye, Gil Scott Heron and Curtis Mayfield in the mid 70s. A hidden gem proudly shines through in the song ‘ I’ve Still Have A Lot To Learn’; Italian maestro Antonello Vannucchi (leader of the Marc 4 band and keys player behind thousands of iconic Italian soundtracks), has laid down a stellar Hammond B3 take on the melancholic ballad, sadly it was his very last recording session before passing away. Every once in a while an album comes along, and this is one of them, that is beyond what is currently fashionable at any given time, which evokes the best sounds of the soul golden era, combined with Italian soundtracks of the 60s; infuse them together and you get a funk/soul masterpiece, showcasing one of soul music’s most precious gems- Miss Martha High.

France is the trio of Jeremie Sauvage on electric bass, Mathieu Tilly on drums and Yann Gourdon on amplified hurdy-gurdy. They play one note / one rhythm producing energetic performances reminiscent of the early collaborations between Faust and Tony Conrad. Creativly recycled influences result in intense shows with pounding overtones and repetitive pulsing rhythms. Loud straight and trance-inducing.

The pertinency of the recordings only slowly appear On Occitanie" in the mass of sound, the rhythmic repetition and the elongated drones. The hurdy-gurdy forces you deeper, highlighting points of microtonal flux, cracking open the single note, the nodding rhythm, to imply the presence of every note, every sound, inside it. The insensible evolution, lurks in a corner of noise and finally imposes itself slowly on careful listening.

The band members of France perform in various other projects: Tanz Mein Herz, Toad and Jérico, all are member of the collective La Novià, an organisation based in Haute-Loire which brings together professional musicians and is a place for reflection and experimentation around traditional and / or experimental music.

In 2009, France was invited to play in Pau, a city far south-west of France, next to spain, by the people running Pagans Musica, a like-minded traditionnal-oriented group of people, also bent on educational issues concerning the local music and dialect: Occitan and on fusioning traditional musics and rock related sounds and instruments. They had set up a show for France and their band Artus and originaly wanted to have Acid Mother's Temple join the bill. The japanese band had done versions of songs coming from their village (eg. "La Nòvia") but weren't touring near France so instead they invited Duo Ancelin Rouzier as the third act, a band both Artus and France were also very fond of.

Pagans had everything set-up for the concert to be recorded and as France had plenty of time for sound-check, they went on to record the Pau" album in the afternoon, taking a thirty seconds pause in the middle of the session so as to mark both sides of the vinyl. The Occitanie Lp is the recording of the live set later that night, with no cut and a longer, more savage performance.

Just over a decade ago, Japanese indie-pop duo Tenniscoats recorded »Papa's Ear« (2012) and »Tan-Tan Therapy« (2007), two albums made with musical and production help from Swedish post-rock/folk trio Tape. Originally released on Häpna, they are beautiful documents of the exploratory music made by a close-knit collective of musicians, fully at ease with each other, playing songs written by Tenniscoats and arranging them in gentle and generous ways. Released during a prolific phase of collaboration for Tenniscoats – during the late ‘00s and early ‘10s, they would also collaborate with Jad Fair, The Pastels, Secai and Pastacas – they have, however, never been available on vinyl. In collaboration with Alien Transistor, Morr Music is now reissuing these albums with bonus material.

Filled with graceful pop songs, autumnal folk tunes, and gentle yet risk-taking improvisations, »Tan-Tan Therapy« was the first Tenniscoats album to be released in Europe, after a run of albums on Japanese labels, and the excellent »Live Wanderus« (2005) on Australian imprint Chapter Music. It was also the first recorded evidence of their collaboration with the three members of Tape and that group’s extended musical family. It opens with one of Tenniscoats’ signature songs, the pop fantasia of »Baibaba Bimba«, with Tenniscoats singer Saya repeating a light-headed incantation over joyous brass. The essence of Tenniscoats is contained in »Baibaba Bimba«: uplifting melody and playful musicianship, tinged with distant echoes of winsome melancholy.

From there, »Tan-Tan Therapy« explores many hues of lustrous blue. »Oetu to kanki no Namoriuta (Given Song of Sob and Joy)« is an aquatic arbour, the musicians’ gentle performances growing together like vines and seaweed as Saya’s voice swims through the waterway. »Umbarepa!« is full of play and pleasure, sparkling with glockenspiel as snare drum tattoos push the song ever-forward. »Abi and Travel« floats past, a lovely instrumental built from shifting layers of synthesizer and pianet; »Good B.«, an extra track originally only available on the Japanese edition of »Tan-Tan Therapy«, is added to this reissue, and follows a similar thread, its humming pump and Hammond organs swirling under beautiful vocals from Saya and guest performer Kazumi Nikaido.

Throughout, you can sense the deep empathy the members of Tenniscoats and Tape have for one another. It’s a conversational, tender and, at times, fragile music that can only be created out of mutual trust and kindness, with each of the players contributing to the community of sound they’re building. There’s an element here, too, of feeling out the possibilities of what this creative meeting can achieve, something reflected in the loose-limbs sprawl of »Marui Hifo (Everyone)«, which echoes the seaside drift of Bristol post-rock group Crescent, and the following »One Swan Swim«, a dreamsong redolent of the sleepy sensorium of Robert Wyatt’s »Rock Bottom«.

The freedom and liberty at the heart of Tenniscoats is something Tape and their friends have picked up on, beautifully so, and run with during the entirety of »Tan-Tan Therapy«. This is music with its wings outstretched, wanting to take to the air, ready to fly.

Bay Area Thrash Metal legend Blind Illusion returns after 34 years with a follow-up to “The Sane Asylum”, featuring Doug Piercy (ex-Heathen) and Andy Gallon (ex-Death Angel)! Thrash as a primitive, earthy genre has given us many greats: Metallica, Slayer, Exodus, Death Angel, Heathen and the like. But the more calculated, technical, and ultimately colorful inventors of progressive Thrash, a genre that blossomed handsomely after Watchtower’s debut in 1985, are what truly push the limits of Thrash and test its creative bandwidth. Blind Illusion on their new album “Wrath of the Gods”, achieve this to a degree that has seldom been approached, let alone passed, in the rest of Thrash history, just as they did 34 years ago on “The Sane Asylum”. What is most impressive and revealing about this album, however, is not the technical ability of the musicians involved (although there is nothing wrong with their ability). It’s the pure brilliance that shapes every song, and the demonstration of how focusing on the art of songwriting will work wonders for a band. “Straight as the Crowbar Flies” introduces us first to the astral energy this album exudes, with catchy riffing and Marc Biedermann’s raspy, growling vocals. The screeching guitar solos and the abrupt rhythm changes keep the song fresh, but the band’s incorporation of technical Thrash elements crossed with extremely catchy riffing and drum arrangements proves to be the strong attributes of this album. There are numerous instances where the band finds its virtue in slowing down, letting a power chord ring out, and then letting the drums restart and propel the song once again. When the band decides to let their guard down and get cagey or manic with the rhythm, it’s done so with precision and doesn’t come at the expense of the song structure. When they get technical, the notes still vibrate with emotion, and the song doesn’t just become a vacuum for skills to be shown off. This message is most evident in every song, which all feature catchy guitar licks and great guitar riffs. What Blind Illusion does best on this new masterpiece is deliver cleverly-written and fun songs with catchy riffs. At the heart of Thrash, that’s really all you can ask for. The effects of how masterfully composed this album is has lend the production a unique ethos that makes it feel human. This is a group of guys who know what die-hard Thrash fans want to hear, and they know how to put it on their 2022 album “Wrath of the Gods”.

2022 Repress !!

2x12" 180g Vinyl LP w/ Download Card.
The dub master Radikal Guru returns to the trusted Moonshine Recordings to deliver his third album, which highlights his refreshing take on the beloved, dub sound of 2016. A selected few of the cuts involve exciting collaborations that are not to be missed.

Similar to King Yoof's recent album endeavour called 'Homage To The King', Radikal Guru exerts his speciality in various tempo ranges with the 'Dub Mentalist' LP. The result is just as exciting as his existing back catalogue; all mastered to meet the requirements of the true Moonshine vibration.

The polish producer once again shows appreciation to both the dancefloor fans and the more meditating listeners. Fusing his compelling sound in dub, reggae and dubstep with timeless, old school samples makes every release a reminiscing journey. The amount of dread and energy will most definitely spark a riot across the globe.

Radikal Guru executes his mix-up of dub by incorporating a dose of happiness and psychedelics. The effects take over the mixes in wild fashion; delays spin off the tasty spring reverberation tails, delivering a comfortable setting. Radikal's horns, including the trumpet, saxophone and trombone joined the Radikal Guru's live melodica to complement each other in rhythm and sound.

The collaborations featuring Moonshine familiars Jay Spaker, Echo Ranks, Solo Banton, Violinbwoy and Earl 16 bless the righteous sound waves, as the bassweight, immersive vocals and tight arrangements speak for themselves. Whether it is the bass weight, vocal parts or simply the rhythms, you know exactly when Radikal Guru's music is being played on a true sound system.

The contribution of the polish dub genius, to the healing of the nations and to global dub culture trembles, as he immediately reveals why his 'Dub Mentalist' LP forms an important chapter in our history of Moonshine Recordings material.

2022 Repress

1x12" Maxi (ILG003X)
2x12" LP (ILG003)

For it's third release Infoline showcases never heard compositions
of Marco Repetto (former Grauzone). La Luna Sotto Il Ponte is a 2x12' compilation and a never used alias of Marco Repetto. The compilation features tracks written between 1983-1989.

Some years after his break up with Grauzone (1981), Marco went on
a darker and more industrial path, which was a common route for experimental composers at that time. Expect a solid mixture of unreleased Industrial/EBM cuts. The bonus EP replaces La Luna Sotto Il Pontes grim and dark compositions for a much more utopian mind-set and movement in it's heyday. It's 1988/1989 - Acid House is everywhere.

In the year 2909, the first naturally-born human is found with endogenous AI code built into its DNA. As we cross into the 31st century, all living humans are controlled by a decentralized master AI known as MINDFRAME: The system has access to all of human consciousness with the ability to store and manipulate the data of every interaction and thought — even operating within your subconscious mind. It becomes impossible to know when or how you’re being controlled.

During each sleep cycle, our behaviors and memories are reformatted to align with MINDFRAMES control and order programming. Some have discovered that during these cycles, there are parts of the AI’s algorithm left exposed to extraction. Through meditative states, gifted cyber-shamans are now on a mission to reverse engineer enough of the AI to escape its grip and free us all.

FRANCOIS DILLINGER (Ben Worden) glides between the two worlds of electro and techno. His journey through the genres is dark while retaining a cerebral, dancefloor-oriented quality. This stems from influences of Industrial, Detroit’s rich history of electro, minimal techno, and even Ghettotech. In the studio, he uses primarily all external hardware and modular gear, utilizing Ableton for final arrangements and editing. His Live & DJ sets lean heavily into the generation of hypnotic loops, creating long protracted mixes between elements to form an unshakeable tension.

While he grew up an hour east of the Motor City, his musical roots were firmly planted there – taking hold over decades worth of defining moments in sound. As a fan, former promoter, and DJ he’s been a part of the Detroit scene for over 20 years, having lived there multiple different times. Currently, he also works with local Detroit label Infolines to manage branding and art direction alongside his wife, Ashely.

Prior to the MINDFRAME: CYCLES LP, he had released a track on SPEC-017’s VA release, and will feature a remix on an upcoming Specimen Records project as well. Early in 2021, his second album was released on Diffuse Reality featuring remixes from Keith Tucker/K1, Detroit’s Filthiest, and Squaric. Upcoming releases from DILLINGER include a variety of collaborative projects — Machine Men EP with Lloyd Stellar on LDI Records, an LP with Cyphon and Obzerv, and a number of VA releases with artists like RXMode (via Pareidolia Recordings), CYBEREIGN (via Science Cult), ADMN (via Infolines) and others. Look for other releases coming soon on Noise To Meet You, Roulette Rekordz, and Syntek Industries.

His previous releases have landed on Blind Allies, Natural Sciences, Dionysian Mysteries, Ukonx Recordings, Fanzine Records, and ZwaarteKracht—as well as a debut album on Narrow Gauge, ‘Chasing the Red’. Support for his music has come from the likes of Richie Hawtin, Dave Clarke, Jensen Interceptor, UMWELT, and others.

“I think it’s a mistake to equate ‘perfection’ with flawlessness. To be human is to be perfectly flawed,” Johanna Warren observes while describing the joys of analog recording. Her new LP Lessons for Mutants was tracked live with a band to two inch tape—a revelatory new way of working for Warren. “Tape forces you to commit to a performance, eccentricities and all. The little glitches and anomalies that we’re tempted to ‘correct’ are often what make a thing magical.”

Lessons for Mutants is the prolific songwriter’s sixth solo LP and her second for Wax Nine/Carpark Records. The album’s running theme of metamorphosis (the title of the closing track, “Involvulus,” is Latin for “caterpillar”) reflects major changes in Warren’s personal life: after a decade of relentless touring, as the world was closing its borders, the American multi-instrumentalist unexpectedly found herself quarantining in rural Wales, where she’s now permanently homesteading.

Though tracking for the new album began in New York in 2018 in tandem with the sessions for 2020’s Chaotic Good, the majority of Lessons for Mutants was recorded in the UK surrounded by sheep, cows and a forager’s paradise of wild edible plants—a far cry from the urban jungle of LA that Warren had most recently called home. The body of work that emerged from this dramatic about-face is Warren’s most dynamic to date, shapeshifting seamlessly from searing punk screams to sparkly psych-folk soundscapes, from the bootleg ambivalence of Dylan’s Basement Tapes to cosmic stoner grooves reminiscent of Black Sabbath’s acoustic moments.

“Sometimes I can relate to myself/ I disassociate more than I’d like to, but what can you do?” Warren croons in “Tooth for a Tooth,” a wistful piano ballad that conjures the grainy romance of some smoke-filled 1940s jazz club. This kind of to-the-bone lyrical honesty has always been one of Warren’s strong suits, but these latest reflections are especially unflinching. Being forced to stop touring brought no shortage of self-examination for Warren, who quickly came to view her history on the road as an addiction from which she’s been detoxing. This sentiment dances through opening track “I’d Be Orange,” a drum-driven indie rock number replete with Beatles-esque male backing vocals: “Thirst for power, hunger for fame/ Always was a junkie for pain,” Warren confesses. This exploration of masochistic ambition and artistic martyrdom overflows into grunge anthem “Piscean Lover”: “It’s alright, we’re not ok/ We burn out not to fade away.”

“There’s this unspoken rule in modern music—modern life, really—that everything needs to be Auto-Tuned and ‘on the grid,’” Warren concludes. “This record is an act of resistance against that. There’s beauty and power in our aberrations, if we can embrace them.”

Drawing the night in around his private, unnerving vigil, Ellis Swan returns to Quindi Records with an album of cracked beauty and haunted balladry. The Chicago-based singer-songwriter debuted on the label last year with a collaborative project called Dead Bandit, a vividly produced instrumental set in thrall to the badlands and a laconic, languid Americana.

Under his own name, Swan records intimate, poetic songs in a stark fashion, so fragile they might disintegrate in between your fingers were you to pick them up. He draws the microphone close to pick up every whisper and drags the music through layer upon layer of tape fuzz, leaving room for atmospheric impressions which loom out of the walls like the ghosts of past misdeeds. These pieces play on the natural distortion and delirium which occurs at the farthest end of the night - the hour before dawn might hope to break the veil of darkness.

Swan's is a hauntological sound, but like the late Israeli rockabilly icon Charlie Megira his process strikes a spooked tone past revivalism and out of time or place. The only anchor which places Swan anywhere is the subtle presence of Katherine Swan providing lyrics to '3am' and lyrics and backing vocals to 'It Could Be Worse'.

The impression cast is of one man and his guitar, but there are other textures tucked into the music - the muffled murmur of a drum machine or a low frequency organ hum, some desolate piano, other treated percussive impulses which might well have been the work of incidental sprites while the four-track was rolling.

There are fuller cuts like 'Evening Sun' and the title track '3am' which play with structural dynamics and creep out of the shadows a touch, while passages of plaintive, instrumental unease such as the hypnotic, mantra-like 'Chinatown' protract the space between songs. 'Swing' lolls between moments of bottomless silence and a discernible, rickety funk, and 'Puppeteers Tears' teases out a buried drama. But primarily, it's the light touch of 'Horses Bones' and tin can tenderness of 'She's My Sweet Summer Storm' which spell out the spellbinding character of 3am; a singular creation fusing the best qualities of folk, blues and Americana with a fearlessly experimental sound palette.

In My Memory is a tribute to the 8 years that Nur Jaber lived in Berlin. A city of chaos, darkness and beauty all at the same time. As always, Jaber releases an EP that highlights vocals and collaborations with artists that coincidentally come into her life at a perfect timing. B1 is a collaboration with a German rapper that she met after one of her gigs in Leipzig; On the dancefloor at sunrise, she heard him rapping and instantly knew this was the next creation. After sending him the text she wrote during the pandemic (tired of all the rules, regulations & lack of dancing) he made some adjustments "Energie & Liebe" was created. A2 "In My Memory" brings power where you can feel Jaber's double personality of light and dark fighting each other brilliantly, which is also represented in her DJ sets. B1 is a banging remix from the one and only O.B.I. whose tracks are found in almost every one of her sets. Ending the EP on a melancholic & hopeful note, B2 introduces "Dance Dance (with the morning light)" with featured vocals from the artist herself. "I kept waking up singing these words, after a dream of us dancing under the moonlight in a big rave somewhere by the mountains." says Nur.

For most of us, life is a series of human interactions; some good, some bad, some happy, some sad. But what would life be without those peripheral characters who plant themselves into our worlds through the sheer force of their presence? Whether we speak to them or not, those vibrant contrasts to the everyday tide of ordinary people are a magical part of the human experience. Oddballs and misfits, flamboyant instigators or low-key game changers, we all clock them on our own hectic journeys, and they make the day a little brighter. Everyone has their favourite people.

Following the runaway success of their first one-shot single in 2020, Favourite People reconvene for a full-length of blues-tinged cuts stemming from sessions at Selva Studios in Brooklyn. The project’s roots predate the studio, from scattered jams and sweaty nights in New York nightspots to impromptu recordings on cruise ships, but the flashpoint of inspiration that truly set the album in motion was the arrival of a blonde 1960s Fender Telecaster. From there, the motley crew of sharp-shooting string slingers and sticks men set about crafting paeans to those striking souls who make the world a more colourful place.

The emphasis here is on the kind of forward-facing, electrically charged mix you felt (whether you realised it or not) hearing early Sabbath or Priest for the first time. With their undeniable bias towards vintage soul, Favourite People are far from heavy metal, but the same lineage of blues and by extension jazz informs the music, while the tonal crunch of that 70s era guides the sound. Feasting on tasteful overdrive and leaning on the unmistakable flavour of tape for much of the recording, the deal was sealed on this purposeful exercise in vibe thanks to the near-mythical texture of Guy Davie’s EMI Nigeria console at Electric Mastering.

Across the album there are mellow shades and bursts of good-time get-down exuberance, but the lead singles capture the essence of the band in no uncertain terms.

‘Promise Of Nibbles’ brings the Favourite People MO into sharp relief with a low-slung, hard swinging blues confection full of overheating organ and duelling guitars in pursuit of Southern-stewed boogie (im)perfection.

‘We’ll Be Late To The Party’ turns up the tempo and dials in the fuzz, striking an anthemic note which lands somewhere between urgent highway escapism and euphoric communal revelation.

‘Mass and Mustiness’ leans in on the funk dimension of the group’s sound with the sweetest licks and chops on that fabled telecaster backed up by an acutely angled beat and the slinkiest of b-lines.

These are but three of the vibrant vignettes laid down by this quietly unassuming collective of heads down jammers, loose groovers and vintage sound freaks –heavy grooving instrumentals pulled from their own moments of pure musical magic and captured on disc for your listening, dancing, living, loving pleasure.

With more than 30 years in the game, D.I.T.C. affiliate Andre the Giant of Showbiz & A.G. fame continues to prove that his pen game is better than ever with the release of his latest full length effort, Giant In The Mental.

The album title is more than just a reference to one of his earliest tracks; it’s a statement that he remains head and shoulders above the competition like the rap giant that he is. And he’s proudly doing it all on his own with this record, without any guest appearances.

“I am really not moved by guest appearances,” A.G. explains. “Music for me is mostly therapy, and I don’t need anyone else to help me vent and express my thoughts.” He’s absolutely right, because across the 10 tracks on Giant In The Mental, he skillfully unpacks and tackles a number of different topics with his trademark wit and wisdom.

The Bronx rap legend straight-up kills it on every level, too, from clever wordplay to engaging storytelling raps. If you want his bully bars, just listen to the hard-hitting opening track, “Andre The Giant,” with speaker-thumping production from DJ Manipulator. And for storytelling, you can dig into the beautifully written and smooth “Summer School” or the cinematic and stirring “The Sphinx.”

It all amounts to a truly impressive and cohesive piece of work from A.G., who is eager to continue creating art until he can’t meet his own standards. “If I can’t perform at a high level then it’s time to stop!” he says before adding that pushing himself creatively is what this is all about for him. His integrity and passion for the artform is palpable, and it’s those qualities that have helped him remain such a necessary voice—and force— in music.

(REMASTERED)

Just over a decade ago, Japanese indie-pop duo Tenniscoats recorded "Papa"s Ear" (2012) and "Tan-Tan Therapy" (2007), two albums made with musical and production help from Swedish post-rock/folk trio Tape. Originally released on Häpna, they are beautiful documents of the exploratory music made by a close-knit collective of musicians, fully at ease with each other, playing songs written by Tenniscoats and arranging them in gentle and generous ways. Released during a prolific phase of collaboration for Tenniscoats - during the late "00s and early "10s, they would also collaborate with Jad Fair, The Pastels, Secai and Pastacas - they have, however, never been available on vinyl. In collaboration with Alien Transistor, Morr Music is now reissuing these albums with bonus material.

Galaxy Heart is Moss' fourth record for Constellation and the companion album to 2021's Phosphenes. Galaxy Heart features guest appearances by Jim White (Xylouris White, Springtime, Dirty Three) and Thierry Amar (Godspeed You! Black Emperor).Jessica Moss is a violinist and composer based in Montréal. She uses amplified and processed violin and voice to create intricate works of expressive electronic, drone, experimental and post-classical Minimalism; her distinctive melodic sensibility often channels Klezmer, Balkan and Middle Eastern tropes, combined with an ear for the textural grit and timbral noise of post-punk, industrial and ambient metal. Moss played in cult agit-prop post-punk band Thee Silver Mt. Zion (2000-2015), has contributed to countless albums by the likes of Carla Bozulich, Vic Chesnutt and Matana Roberts, and most recently has guested on albums by Sarah Davachi and Big|Brave. She has released three solo albums on Constellation since 2017.

In the autumn of 2003, Flunk - then consisting of producer/vocalist Ulf Nygaard, singer Anja Øyen Vister, guitarist Jo Bakke and drummer Erik Ruud - booked in at the Hotel de Roubaix in Paris. The framework for their second album "Morning Star" was recorded during a busy week in the Paris hotel room, before being worked out and finished in their Oslo studio early 2004.

The album was licensed to Kriztal Recordings in the USA the following year, and their version of the album included five tracks not on the original Beatservice Records versions, and omitting the Kinks cover "All Day and All Of The Night".

On this expanded edition of the album, all of the US bonus tracks are included to the original Beatservice Records tracklisting, making it a 14 track album.

Two cover song are included: The Kinks' "All Day and All Of The Night", performed as a duet by Anja and Ulf. The cover is the most up-tempo track on the album, capturing the energy of the original Kinks' classic in Flunk's slightly odd way. There is also an acoustic live-in-studio version of New Order's "True Faith". But most of all "Morning Star" includes very strong original material. Both the title track "Morning Star", and the singles "On My Balcony" and "Blind My Mind" showcases the songwriting talents of Flunk.

The track "Play" didn't make it on the original release of the album. But the band did a total makeover of it for the US release, and the track ended up as the feature song in an episode of the show "The O.C.", and on the fourth "The O.C." compilation album.

Other tracks included from the US version of "Morning Star" are the beautiful "Probably" (originally recorded for the debut album "For Sleepyheads Only"), the New Order classic, "True Faith" (a different version than the b-side to "On My Balcony"), the poppy "Skysong" and the lush "All My Dreams On Hold".

"Folk electronica" has been used by a.o. american press to describe Flunk, and on the "Morning Star" album, they have evolved this further. The album is pure indie pop, less electronica - all tracks built around Jo's trademark guitar sound and the voice of Anja Øyen Vister.

"Morning Star" is an instantly tuneful pop injection, now further expanded and with a new superb sounding 2022 24-bit re-master.

LP + 7". Indigo Sparke's majestic second full-length album Hysteria is a sweeping work, one that possesses a rare, reflective power. On it, she examines love, loss, her history, and the emotional upheaval surrounding those sensations: her words tell the stories, and the sounds act them out. It's a diary built for big stages. Hysteria arrives just a year after her striking, minimalist debut, Echo. Here, though, Sparke offers an expansive body of work_it's a complex collection that expands her sound and outlook. Work on Hysteria began at the start of the COVID-19 pandemic, while Sparke was stranded in quarantine in her native Australia. After moving back to New York in the spring of 2021, Sparke finished writing the album's 14 songs and decamped upstate with producer Aaron Dessner (The National, Taylor Swift). "Originally we were going to co-write, but after he heard my demos he said, `There's so much in here already,'" Sparke recalls on how Dessner, who also contributes instrumentation along with guitarist Shahzad Izmaily and drummer Matt Barrick (The Walkmen, Muzz), got involved in bringing Hysteria to life. Centering Sparke's powerful vocals throughout, Hysteria is packed with big guitars and layered instrumentation that practically acts as the album's lungs, giving every note breath. From the pulsing immediacy of "Infinite Honey" to the soaring "God Is a Woman's Name" and "Hold On"'s towering chorus, this is music that sounds huge even as it zooms in on the trials and turmoils of one's inner life. You can hear Sparke reflecting on reconciliation, grief, hope, and the passage of time on the perpetually building "Pressure in My Chest" and the airy, Joni Mitchell-esque title track, which finds her embracing a gorgeous upper register over gently strummed guitar. "Set Your Fire on Me" builds and bursts not unlike Angel Olsen's own raw folk-rock expressionism_and then there's the stark opener and first single "Blue," which acts as a cosmic road map for Sparke's own journey in life. Sparke observes while reflecting on Hysteria's thematic bent "these songs are about being at the axis point of love - right at the edge of hysteria - and how that transformed me."

LP + 7". Indigo Sparke's majestic second full-length album Hysteria is a sweeping work, one that possesses a rare, reflective power. On it, she examines love, loss, her history, and the emotional upheaval surrounding those sensations: her words tell the stories, and the sounds act them out. It's a diary built for big stages. Hysteria arrives just a year after her striking, minimalist debut, Echo. Here, though, Sparke offers an expansive body of work_it's a complex collection that expands her sound and outlook. Work on Hysteria began at the start of the COVID-19 pandemic, while Sparke was stranded in quarantine in her native Australia. After moving back to New York in the spring of 2021, Sparke finished writing the album's 14 songs and decamped upstate with producer Aaron Dessner (The National, Taylor Swift). "Originally we were going to co-write, but after he heard my demos he said, `There's so much in here already,'" Sparke recalls on how Dessner, who also contributes instrumentation along with guitarist Shahzad Izmaily and drummer Matt Barrick (The Walkmen, Muzz), got involved in bringing Hysteria to life. Centering Sparke's powerful vocals throughout, Hysteria is packed with big guitars and layered instrumentation that practically acts as the album's lungs, giving every note breath. From the pulsing immediacy of "Infinite Honey" to the soaring "God Is a Woman's Name" and "Hold On"'s towering chorus, this is music that sounds huge even as it zooms in on the trials and turmoils of one's inner life. You can hear Sparke reflecting on reconciliation, grief, hope, and the passage of time on the perpetually building "Pressure in My Chest" and the airy, Joni Mitchell-esque title track, which finds her embracing a gorgeous upper register over gently strummed guitar. "Set Your Fire on Me" builds and bursts not unlike Angel Olsen's own raw folk-rock expressionism_and then there's the stark opener and first single "Blue," which acts as a cosmic road map for Sparke's own journey in life. Sparke observes while reflecting on Hysteria's thematic bent "these songs are about being at the axis point of love - right at the edge of hysteria - and how that transformed me."

DNO hits double figures as Denver’s Trisicloplox & Sectra return with more industrial-strength electro-sludge.

Sectra sets the tone with ‘Mail Theft’, a hulking mass of sand-blasting static, insectoid jitter and low-end boom. It’s an intimidating, uneasy listen, like tuning through the haunting emptiness of post-apocalyptic broadcast frequencies, only to be interrupted by sudden bursts of unseen filth and gore.

Trisicloplox follows with a brace of tracks. ‘Bruised’ does exactly what it says on the tin, gargantuan kicks pummelling layer upon layer of dense sound into an impenetrable wall of noise. Ritualistic rhythms and gluttonous amounts of overdrive swarm over distant wails, sending everything into a spiral into despair.On ‘Megastructure’, doom metal meets hip-hop, as rough-hewn drums crunch above a bassline that takes its cues from the Super Hans School of Electronic Music: “The longer the note, the more dread.”

And finishing up the vinyl offerings is ‘Dead On Arrival’. Coming courtesy of Sectra, the most traditionally ‘club-focused’ effort of the lot sees a serrated breakbeat and venomous acid lick sparring over dissonant pads.

As always, digital listeners are offered a little bonus, this time the only full collab: ‘The Dead InTheir Shrouds’. Shunted along by a systematic kick, the track’s jackhammer subs become all-consuming, seemingly sucking all the air from the room and hurling it back out of the bassbins in a violent frenzy.

A bold release that’s not for the faint of heart, the ‘Dead Structure’ EP further cements Trisicloplox & Sectra as truly original talents and DNO as an outlet that can never be pigeonholed.

Rhythms of postmodern realism at the very bottom of the DNO.

The Brattleboro, Vermont trio THUS LOVE stand together, a bond cemented by their experience as outsiders looking in. For THUS LOVE, DIY is an ethos that reflects not only their musical vision but their very existence as three self-identifying trans artists. From the band’s inception, Echo Mars (she/her), Lu Racine (he/him) and Nathaniel van Osdol (they/them) have lived together under the same roof, designed and produced their own merch, and created their own recording studio from scratch. “I realize that most artists don’t live this way,” says Mars. “But for us, it was never really a choice. The art we make is so tied to who we are and the community we’re a part of, that this is the only way we can possibly do it.”

The band was just starting to regularly headline renowned local venue The Stone Church when everything came to a screeching halt. Rather than idly wait, the band decided to take their future in their own hands. Armed with nothing but YouTube videos and her

innate curiosity, Mars constructed a makeshift studio in their apartment, recording during odd hours when their next-door neighbors were out and about.

Star Feminine Band: a 2020 debut, first journey and a 2022 return! Though not exactly a world music label, Born Bad took up the challenge and released Star Féminine Band's debut album in late 2020. Heaps of acclaims and praise and the whole shebang, then boom: the tour that was to materialize, live, all of the band and its entourage's hopes got cancelled due to Covid. After a long delay, the band finally managed to get to Europe, performing on the Transmusicales Festival, as well as for TV stations like Arte, TV5 and BBC to much acclaim. "Once they played, Born Bad and the band clearly had a "mission accomplished" feeling - that all the energy put into this was worth it, starting with the critics who abounded at the Transmusicales to weigh the phenomenon. They left convinced, just like the audience, enthralled by the direct, live formula. The sequel to the adventures of these new ambassadors for Unicef? They persist and sign with a feverish and energetic soundtrack in which nabo, peulh and waama are enlivened with drum lines and spiced up with more "modern" sounds, spreading words of tolerance and kindness. Simple and direct, they speak of their reality, of the ills of young women who don't always have a choice. Often out of school and destined to selling peanuts, bananas or gari on the roadside, most of the girls around there don't have a future. Forced marriage, precocious pregnancies_ "These kids are heroines!", continues Born Bads JB who, by welcoming them in a record studio, allowed for the formula to be sharpened into a sort of garage band with an afro twist. Thanks to the English lessons that their manager Jérémie Verdier has been providing every Sunday night for two years over videoconference, the girls even experimented with English lyrics in "We Are Star Feminine Band" and "Woman Stand Up". In Paris is the happy outcome of that challenge. Vinyl LP in printed under sleeve with French + UK linernotes + Download code * Digipak CD includes 12 pages booklet with French + UK linernotes.

New studio album from CMA, due out October 7th, 2022. Produced by Sam Evian. Following Old Flowers' 2020 Grammy nomination, and due to Covid restrictions, Courtney, for the first time in her young nomadic life, was forced off the road and to remain at home. What resulted was the publishing of her first book of poetry, the first gallery showings of her paintings, and a period of self-discovery leading to the new album, Loose Future. Whereas Old Flowers was a beautiful and emotional break-up record, CMA's return with Loose Future is a bright, dynamic, falling-in-love record. Courtney's got a new story to tell, backed by a strong new musical direction, and a show-stopping collection of songs. Loose Future was recorded at Sam Owen's upstate New York Flying Cloud Studios, with musicians Josh Kaufman (Bonny Lighthorseman), Chris Bear (Grizzly Bear), and Sam Owens (Sam Evian). On the honey shores of Cape Cod in a beach shack, Courtney Marie Andrews found self-love and her voice. Every morning, she’d walk 6-8 miles around the back trails of an island and meditate on her life, perusing old memories and patterns like browsing a used bookshop. After more than a decade on the road, the Phoenix-born songwriter, poet, and painter finally had the space to process all the highs and lows of a life of constants. She was finally ready to make a record of triumph, while not completely forgetting the years that made her. That record is the Sam Evian produced Loose Future.

Rampaging into their 25th year as purveyors of the most ruthless extreme metal, Goatwhore return with perhaps the strongest album of their storied career. Angels Hung From The Arches Of Heaven is 47 minutes of their trademark blend of death, black, thrash and sludge metal delivered with breathless intensity and an unrepentant bloodlust, making for one of the most thrilling records to come out of 2022. Featuring beasts such as the savage “Born Of Satan’s Flesh” that thrashes along relentlessly and drips with evil, the old school crossover flavored “Death From Above” with its guttural chorus, and the epic, chilling title track that is as haunting as it is heavy they cover a lot of sonic territory, everything having that signature Goatwhore feel while constantly doing something a little different. The title of the record - like all Goatwhore releases - is both deep and direct - “It is a basis of human despondency, the arc of life and its relationship with the personal abyss of overwhelming emotion and thought. A mixture of esoteric ideas and biblical scripts and the journey to the places some people care not to venture on mental paths. The rise and fall of the self and how the abyss can be a turning point for some and a passageway to oblivion for others. It is blunt and to the point, just like countless aspects of life.”

"After embarking on her solo journey with the release of her enchanting first solo album, Tales From Six Feet Under (2021), former Delain frontwoman and songwriter CHARLOTTE WESSELS is now about to unveil her second full length album in two years, Tales From Six Feet Under Vol II, to be released on October 7, 2022 via Napalm Records. As on its predecessor, instruments and vocals were performed or programmed and produced by Wessels herself in her very own Six Feet Under Studio, fueled by her tight-knit Patreon community. On that platform, she releases a new song every month, and Tales Vol. II is a collection of the second year of this endeavor. On the new album, Wessels’ styles range from melancholic alt pop to synth-infused rock and connects atmospheric elements with harder sounds, crossing genre boundaries with ease. The album sets off with the captivating synth-flavored track “Venus Rising”, luring into CHARLOTTE WESSELS’ world of sound, immediately showcasing the multifaceted nature of her music as it’s followed by “Human To Ruin”. The song starts with a sweet melody that breaks into a propelling metal track, where calmer parts alter with powerful break outs. Wessels releases her power on other commanding tracks like “The Phantom Touch” and “Good Dog”, while on “The Final Roadtrip”, she presents the full range of her vocal prowess atop carefully balanced electronic beats and indie soundscapes. Her softer, poetic side is shown on the intimate “Against All Odds” – a gentle ballad featuring calm vocals and an acoustic guitar strummed delicately by Timo Somers. “Toxic” comes with an obscure, captivating whispering sound that turns into a strong sonic wall, as the album then fades out with the honest atmospheric gems “I Forget” with cello performance by Elianne Anemaat and “Utopia”. This eclectic wealth of songs proves Wessels’ exceptional ability to express the most sincere feelings and emotions within her art and her distinct intuition for the combination of seemingly different genres. Tales From Six Feet Under Vol II is an enchanting portent of CHARLOTTE WESSELS’ further multifaceted endeavors."

Broken Hearts and Dirty Windows: Songs of John Prine, Vol.2, the follow up to the original 2010 tribute record, is set for an October 8th release. With tracks from Sturgill Simpson & Brandi Carlile revealed so far, the release adds to an esteemed legacy for Oh Boy Records, which is celebrating its 40th anniversary this year.

For its latest album, Pirate Radio / Radio Pirata (Thirty Tigers), the band collaborated with major songwriters such as Blair Daly, Zac Maloy, and Sam Hollander for a triumphant and empowering collection of rock fused with an accessible pop structure and some of the everyday heart infused by Nashville’s country sound. “On this album, I’m free, and I can say things I was scared to say before. People deserve hope, and this record spreads a message,” Diaz says. The 11-song album will be released in English and Spanish—a unique feat for a rock release. SLP’s sophomore American release, Pirate Radio / Radio Pirata, is an artistic and personal milestone for the group. It is a concept album that loosely mirrors SLP’s journey to be artistically liberated against a stifling government regime, and the story unfolds with theatrical grandeur. The album’s unique melding of ultra-hooky choruses with ethereal ambience and passionate vocals and lyrics recalls such diverse artists as Paramore, Muse, and Olivia Rodrigo.

For its latest album, Pirate Radio / Radio Pirata (Thirty Tigers), the band collaborated with major songwriters such as Blair Daly, Zac Maloy, and Sam Hollander for a triumphant and empowering collection of rock fused with an accessible pop structure and some of the everyday heart infused by Nashville’s country sound. “On this album, I’m free, and I can say things I was scared to say before. People deserve hope, and this record spreads a message,” Diaz says. The 11-song album will be released in English and Spanish—a unique feat for a rock release. SLP’s sophomore American release, Pirate Radio / Radio Pirata, is an artistic and personal milestone for the group. It is a concept album that loosely mirrors SLP’s journey to be artistically liberated against a stifling government regime, and the story unfolds with theatrical grandeur. The album’s unique melding of ultra-hooky choruses with ethereal ambience and passionate vocals and lyrics recalls such diverse artists as Paramore, Muse, and Olivia Rodrigo.

The world has been patiently waiting for the return
of one of indie rock’s most beloved and treasured
bands. Alvvays are pleased to be putting everyone
out of their misery by announcing their new album,
‘Blue Rev’, released via Transgressive.

The highly anticipated album is well worth the wait,
with 14 songs hitting all the right chords and
cementing their cult status. ‘Pharmacist,’ the first
track on the album, is an exciting jumping off point
for what is sure to be one of the albums of the
year.

LP pressed on turquoise vinyl.

NNAMDÏ has never been able to stay in one place. The Chicago
multi-instrumentalist and songwriter set a blistering pace in 2020
with his critically acclaimed genre-fusing LP, ‘Brat’, a punk EP,
‘Black Plight’, and ‘Krazy Karl’, a full-length tribute to Looney
Tunes composer Carl Stalling. Add in his role as co-owner of label
Sooper Records, as well as recent tours with Wilco, SleaterKinney and black midi, and it’s an overwhelming schedule.
 However, his latest album, ‘Please Have A Seat’, is the result of a
much needed pause. “I realized I never take time to just sit and
take in where I’m at,” says NNAMDÏ. “It’s just nice to not be on
‘Go, Go, Go!’ mode, and re-evaluate where I wanted to go
musically.” This period of reflection allowed him to take stock of his
life and his relationships. “I wanted to be present,” he says. “Each
song came from a moment of clarity.” ‘Please Have A Seat’ serves
as an invitation to listen. It’s a request to sit down, be present, and
take in a moment. With this quiet introspection, NNAMDÏ found
inspiration in silence and nuance.
 While making the record, he decided to stretch the limits of his pop
songwriting: every track had to be hummable. Though he’s written
earworms throughout his career from playing in bands in
Chicago’s DIY community or releasing goofy raps as Nnamdi’s
Sooper Dooper Secret Side Project, here, his shapeshifting hooks
are undeniable. Each of the album’s fourteen songs, which
NNAMDÏ wrote, produced, and performed entirely himself, are
relentlessly re-playable, careening into unexpected and
disorienting places. With NNAMDÏ’s singular vision, ‘Please Have
A Seat’ is yet another leap from Chicago’s hardest working
musician. By taking a minute to sit down and catch his breath, he
re-emerged with the most ambitious, accessible, and nuanced
work of his career.
 Coloured vinyl LP format pressed on Walnut Brown vinyl.

NNAMDÏ has never been able to stay in one place. The Chicago
multi-instrumentalist and songwriter set a blistering pace in 2020
with his critically acclaimed genre-fusing LP, ‘Brat’, a punk EP,
‘Black Plight’, and ‘Krazy Karl’, a full-length tribute to Looney
Tunes composer Carl Stalling. Add in his role as co-owner of label
Sooper Records, as well as recent tours with Wilco, SleaterKinney and black midi, and it’s an overwhelming schedule.
 However, his latest album, ‘Please Have A Seat’, is the result of a
much needed pause. “I realized I never take time to just sit and
take in where I’m at,” says NNAMDÏ. “It’s just nice to not be on
‘Go, Go, Go!’ mode, and re-evaluate where I wanted to go
musically.” This period of reflection allowed him to take stock of his
life and his relationships. “I wanted to be present,” he says. “Each
song came from a moment of clarity.” ‘Please Have A Seat’ serves
as an invitation to listen. It’s a request to sit down, be present, and
take in a moment. With this quiet introspection, NNAMDÏ found
inspiration in silence and nuance.
 While making the record, he decided to stretch the limits of his pop
songwriting: every track had to be hummable. Though he’s written
earworms throughout his career from playing in bands in
Chicago’s DIY community or releasing goofy raps as Nnamdi’s
Sooper Dooper Secret Side Project, here, his shapeshifting hooks
are undeniable. Each of the album’s fourteen songs, which
NNAMDÏ wrote, produced, and performed entirely himself, are
relentlessly re-playable, careening into unexpected and
disorienting places. With NNAMDÏ’s singular vision, ‘Please Have
A Seat’ is yet another leap from Chicago’s hardest working
musician. By taking a minute to sit down and catch his breath, he
re-emerged with the most ambitious, accessible, and nuanced
work of his career.
 Coloured vinyl LP format pressed on Walnut Brown vinyl.