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"Justin Townes Earle released Kids In The Street, his first record on New West Records, in May of 2017. The album received critical acclaim and further cemented Justin’s legacy as one of the best active songwriters in music. Songs like, “Champagne Corolla” showcased his wry sense of humor as well as his deft ability to build upon the music that came before him while at the same time creating something unique and new. Familiar, inventive, creative, and clever.

Justin would release his second album with New West Records in May of 2019. The Saint of Lost Causes was hailed as one of the best albums of 2019 by Rolling Stone Magazine with “half a dozen or so career classics.” “I was trying to look through the eyes of America,” Earle says. “Because I believe in the idea of America - that everybody’s welcome here and has a right to be here.” Earle tells these American stories in detail and without judgement. While some songs cite historic events like “Flint City Shake It,” and “Don’t Drink The Water,"" other tracks present fictionalized narratives that are no less harrowing, or true-to-life , as heard in ""Appalachian Nightmare,” “The Saint Of Lost Causes,” and “Over Alameda.""

Justin Townes Earle was always a champion of the underdog and All In features in depth looks at the hopeful, and the hopeless. Fueled by empathy, baked in the blues, Justin was never without something poignant or humorous to say. Sadly, Justin passed away in 2020 at the age of 38. ALL IN: Unreleased & Rarities (The New West Years) is a fitting tribute to Justin’s legacy. The collection features many never heard before songs, demos, and cover tunes, spanning his time as a New West Records recording artist."

Buzzkunst ist PETE SHELLEY (Buzzcocks, solo) & HOWARD DEVOTO (earliest Buzzcocks, Magazine, solo). 'SPECIAL SAUCE' ist größtenteils eine Neukonfiguration des 2002er CD-only-Albums 'Buzzkunst' von ShelleyDevoto. JETZT (!) zum ersten Mal auf VINYL, mit einer neuen Reihenfolge und zwei (2) bisher unveröffentlichten Tracks - 'Psychosomatic' und 'Punk Of Me'. Und als ob das noch nicht genug wäre, gibt's noch ein zweites Mini-Album: 11 NEVER BEFORE RELEASED HOWARD DEVOTO ARCHIVE RECORDINGS aus der gleichen Zeit, mit dem Titel 'DESIGNOID'. Instrumentalstücke und Songs, eigenwillig wie immer, inklusive eines 21st century re-work von 'Breakdown', das ursprünglich auf der selbstveröffentlichten Debüt-EP der Buzzcocks, 'Spiral Scratch', enthalten war. "This Shelley is Pete Shelley _ old punks will remember him from the legendary Buzzcocks, while '80s rockers may recall his electro-pop hit Homo Sapien. The Devoto is Howard Devoto, Shelley's old Buzzcocks partner who went on to form the arty post-punk outfit Magazine. Now working together again for the first time in 25 years, the duo have achieved a sound that incorporates most if not all of their previous endeavours without reverting to cheap nostalgia. Their 14-track reunion album Buzzkunst is a progressive step forward, combining the grinding guitars of Shelley's youth and the poppy synthesizers of his middle age with the artsy sonic sculptures and post-punk yelp of Devoto's past." - Tinnitist,2002/2022

Steve Marion, the critically acclaimed-and completely wordless-songwriter and guitarist known as Delicate Steve, has unveiled a new album called Delicate Steve Sings. Is the album title a reference to the instantly recognizable "voice" of his guitar? Does he actually sing this time? Has he not been singing all along? That"s the crux of Sings-Marion is the rare guitarist where you can put on any of his records and know exactly who"s playing. In an indie rock landscape stuffed end-to-end with guitars and amplifiers, nobody else sounds like this. That unique voice has kept Steve busy in an unpredictable variety of settings. The sheer spread of his work outside his own records-collaborating with Miley Cyrus and Paul Simon, playing in Amen Dunes and the Black Keys, and being sampled by Kanye - doesn"t mean Steve"s a chameleon. It means he"s singular. Delicate Steve Sings is a record centered on channeling iconic voices with his guitar. In doing so, Marion is casting himself in the role of iconic singers like Willie who make standards their own. In the process, he reveals just how singular (dare we say iconic) that voice is. The guitar sings these songs-smoothly, sweetly, boldly, and on its own terms. Recorded with Jonathan Rado on bass, Kosta Galanopolous on drums, Renata Zeiguer providing strings, and co-writer Elliot Bergman, the album features both original songs with titles that suggest they might be new recordings of classics. "I"ll Be There" is smooth like a lost Bill Withers track; "Easy for You" isn"t the Elvis song of the same name, but there"s a hint of the king in there, in addition to Marion"s own takes onclassics such as the Emersons" "Baby," The Beatles" "Yesterday" and Otis Redding"s "These Arms of Mine." "You"re tapping into something universal and in the consciousness of pop music," Steve says-tacit permission for his guitar to drift into vocal expressions he"s internalized through years of close, repeated listening. Just like all the great singers.

But now it's official: this was no flash in the pan! Voodoo Kiss are back to stay. And their furious second album "Feel The Curse" is even more fun than their debut. With verve, vigor, punky grit and their typical sense of melodic heaviness, Voodoo Kiss blast, fabulate and groove their way through eight powerful examples of how this music of the eighties can be made exciting, original and rousing in the 21st century. Of course, the list of ingredients on "Feel The Curse" also reads like something straight out of the textbook of electric guitar music: the opening title track is a galloping banger with razor-sharp riffs and Pretty Maids flair, "Spellbound By Her Eyes" offers black romanticism and early Maiden vibes, "Dr. Evil" is the semi-acoustic intermezzo with Spanish guitars and eruptive thrash outbursts, "Lords Of Darkness" is a gripping semi-ballad with just the right amount of pathos and the closing "Dead Without A Grave" fires from all cylinders like Motörhead in their prime. Everything in, everything on.

Stina Francina makes a mark with her first EP on NineTimesNine, delivering an effective, trance-infused journey featuring carefully crafted atmospheric soundscapes, hypnotizing vocals, and euphoric pads. The emotional approach is supported by a strong connection to the dancefloor.

Just on the threshold, with uncertainty about what's behind and what's ahead, the feeling of being in a liminal dream captures the experience of transitioning into something new and unknown.

"South Wales' Top 10 rockers Scarlet Rebels return with the follow-up to their #7 UK Top 40 Album 'See Through Blue'. Boasting an eye-popping album cover by Boomtown Festival poster designer Holy Moly, it certainly lives up to its name and perfectly illustrates the band's message of unity – i.e. 'Where The Colours Meet’.
Armed with the crack production team of Colin Richardson and Chris Clancy, 'Where The Colours Meet' sees the band radically expand their sonic palette, bringing in lush instrumentation, piano, keyboards and large drum sounds to channel the best of 80s rock. It’s an album full of fluid guitar lines, tasteful leads and irresistible choruses but with a contemporary full-on sound - imagine a modern-day U2 meets Bruce Springsteen!"

Neues Studioalbum der Neuseeländischen Independent-Helden unter der Leitung des rätselhaften Martin Phillipps. Mit Artwork von Trees' David Costa, meerblaues Vinyl mit Mamor-Effekt, LP inklusive DLC. Dunedin's finest, The Chills, veröffentlichen ihr siebtes Studioalbum "Scatterbrain" zweieinhalb Jahre nach dem enorm erfolgreichen "Snowbound" (2018) und des von der Kritik gefeierten Films "The Chills: The Triumph And Tragedy Of Martin Phillipps' im Jahr 2019. "Es geht um künstlerische Integrität, Selbstverwirklichung, Selbstakzeptanz, und es ist eine Reflexion über Sterblichkeit." (The Guardian) Jetzt, im Jahr 2021, zieht Phillipps Bilanz - über alles. Ja, alles. Das Ergebnis ist das triumphale neue Chills'-Album "Scatterbrain", eine nachdenklich stimmende Aufnahme von einem Mann, der gute und schlechte Zeiten erlebt hat.Eine reife und ehrliche Reflexion über das Leben, das Schicksal und die Geschicke unserer Zeit, vorgetragen in wunderschönen Melodien und mit Phillipps' typischer, prägnanter Wortwahl.Aus der Sicht eines Mannes, der sich seines Alters und seiner eigenen Sterblichkeit bewusst ist, wirft das neue Album einen reifen Blick auf die Dinge, die da kommen, durchaus mit Perspektiven. Scatterbrain" ist ein Leben, das vor Ihren Ohren vorbeizieht, während die Ungewissheit zunimmt und die Fake News weiter rumoren, während Aliens eindringen, Verlassenheit groß wirkt, Welten innerhalb der Welten sich auftun und die Sanduhr sich füllt. Ein bahnbrechendes Album von einem der großen modernen Songwriter, es ist pure Popmusik für eine neue Normalität, spannend zu hören, wie all dies endet...oder weitergeht.

"Das THE MUFFS Debüt von 1993, erweitert und wieder auf Vinyl erhältlich! Diese erweiterte Wiederveröffentlichung enthält das klassische Originalalbum und fügt satte 10 Bonustracks hinzu, die ihr Vinyl-Debüt feiern: einen Radio-Remix von ""Lucky Guy"", eine Version von ""Everywhere I Go"", die nur auf der Kassette des The Muffs-Albums erhältlich war, und 8 Demos des Sängers und Leadgitarristen der Band, Kim Shattuck.
"

Die Musik zur Netflix Serie von Mike Myers. Aus der Feder von Paul & Phil Hartnoll, den legendären, kultigen, britischen Elektronik-Pionieren ORBITAL.
ORBITAL hat Musik beigesteuert zu: The Saint, Event Horizon, xXx, Spawn, Test Drive 4, Mortal Kombat, Mean Girls, Peaky Blinders, The Beach, Wipeout, Hackers, Teen Spirit, American Ultra und vielen mehr.

Doppel-LP gepresst auf Metallic Gold & Schwarzem Vinyl.

Die erste offzielle Vinyl-Veröffentlichung der 2001 The Smashing Pumpkins’ Rotten Apples Greatest Hits
Kollektion, mit den Hitsingles ”Today”, ”Bullet with Butterfly Wings”, ”1979”, ”Tonight, Tonight” und
vielen mehr!

keiyaA ist eine in New York lebende Singer-Songwriterin, Produzentin und Multiinstrumentalistin. Aufgewachsen in Chicagos South Side, verbindet keiyaA ihre Jazz-Ausbildung, ihre R&B-Sensibilität und ihre Hip-Hop-Erziehung, um neue Soul-Sounds zu kreieren, die von ihrer kraftvollen, schwülen Stimme und ihrer dichten Lyrik überflutet werden. Ihr Ziel ist es, die Erzählung und den Intellekt der schwarzen Frau in der spätkapitalistischen Welt in den Mittelpunkt zu stellen. Forever, Ya Girl" fand großen Anklang und landete auf mehreren Best of the Year"-Listen, was sie an die kulturelle Spitze katapultierte und ihr das Lob von Künstlern wie Solange, Jay-Z, Earl Sweatshirt, Blood Orange und Moses Sumney einbrachte und die Aufmerksamkeit von Marken wie Apple, Nike und Chanel erregte, die alle in Kampagnen auf keiyaA und ihre Arbeit aufmerksam machten. Seit ihrer Veröffentlichung ist keiyaA zu einer gefragten Kollaborateurin geworden und hat mit MIKE, Armand Hammer, Loraine James, Nilüfer Yanya, Bartees Strange, Nick Hakim, Mount Kimbie, Nubya Garcia und vielen anderen zusammengearbeitet.

DIFF004 Distributed by One Eye Witness.
All tracks written & produced by Dmytro Avksentiev.
Mastered by Tangible Air.
Designed by Gerardo Corizzo.
Stickered cover.

Since surfacing into the Scandinavian synth-pop scene 16 years ago, Nicklas Stenemo and Christian Hutchinson Berg aka KITE have steadily grown from local icons to a global phenomenon, yet until now they've never released a full-length studio album. VII breaks the ice, collecting 14 of the duo's deepest and most dynamic anthems into a stormy saga of immersive, apocalyptic emotion. Sourced from a series of six 7-inch singles released over the past half-decade, the collection persuasively showcases KITE's distinctly cinematic strain of Swedish darkwave in all its glory and desolation. Stenemo and Berg had both logged time in other bands before joining forces in the mid-aughts, although their unique chemistry became apparent immediately. After forming in Malmö, Sweden, they soon relocated to Stockholm, further refining their fusion of brooding synths, booming rhythm, and vocal theatrics over a string of celebrated, numbered EPs (named I through VI). Despite their rising profile, KITE then and now have largely refrained from publicity, allowing their music to speak for itself - which it clearly has, as KITE's live performances have become the stuff of legend, prompting frequent festival invitations, international tours, and limited engagements on prestigious stages (recently at the Royal Swedish Opera, and Dalhalla, the former limestone quarry turned open air amphitheater, to name a few). VII offers a compendium of KITE's potent recent discography, including collaborations with Blanck Mass, Anna von Hausswolff, and Henric de la Cour. From yearning dystopian pop ("Hand Out The Drugs," "Bowie `95"), to widescreen existential balladry ("Tranas Stenslanda," "Glassy Eyes"), and sleek New Romantica ("Remember Me," "Teenage Bliss"), KITE's wavelength is one of soaring heights and abysmal depths, anguish and ecstasy, pouring one's burning, battered heart into the here and now. Their years of visceral commitment and artistic integrity have been hard fought and hard won; it bleeds between the words and melodies in one holy moment after another: "I switch my ways / To seize the day / To face my life / Not fade to gray."

Since surfacing into the Scandinavian synth-pop scene 16 years ago, Nicklas Stenemo and Christian Hutchinson Berg aka KITE have steadily grown from local icons to a global phenomenon, yet until now they've never released a full-length studio album. VII breaks the ice, collecting 14 of the duo's deepest and most dynamic anthems into a stormy saga of immersive, apocalyptic emotion. Sourced from a series of six 7-inch singles released over the past half-decade, the collection persuasively showcases KITE's distinctly cinematic strain of Swedish darkwave in all its glory and desolation. Stenemo and Berg had both logged time in other bands before joining forces in the mid-aughts, although their unique chemistry became apparent immediately. After forming in Malmö, Sweden, they soon relocated to Stockholm, further refining their fusion of brooding synths, booming rhythm, and vocal theatrics over a string of celebrated, numbered EPs (named I through VI). Despite their rising profile, KITE then and now have largely refrained from publicity, allowing their music to speak for itself - which it clearly has, as KITE's live performances have become the stuff of legend, prompting frequent festival invitations, international tours, and limited engagements on prestigious stages (recently at the Royal Swedish Opera, and Dalhalla, the former limestone quarry turned open air amphitheater, to name a few). VII offers a compendium of KITE's potent recent discography, including collaborations with Blanck Mass, Anna von Hausswolff, and Henric de la Cour. From yearning dystopian pop ("Hand Out The Drugs," "Bowie `95"), to widescreen existential balladry ("Tranas Stenslanda," "Glassy Eyes"), and sleek New Romantica ("Remember Me," "Teenage Bliss"), KITE's wavelength is one of soaring heights and abysmal depths, anguish and ecstasy, pouring one's burning, battered heart into the here and now. Their years of visceral commitment and artistic integrity have been hard fought and hard won; it bleeds between the words and melodies in one holy moment after another: "I switch my ways / To seize the day / To face my life / Not fade to gray."

When we were offered the most welcome opportunity of choosing another “virgin” (as in never released on vinyl before) volume from the Dick’s Picks catalog, we did our Dead diligence, combing through the many chat rooms online to see which one the fans really wanted to see come out on LP. It will come as no surprise that opinions were varied and vehement…but a consensus emerged that Dick’s Picks Vol. 12—Providence Civic Center 6/26/74 & Boston Garden 6/28/74 was the one. Which is interesting, because that Pick is a little different, combining the second sets of two different nights instead of offering a single show. But it’s the exception that proves the rule—the playing is so extraordinary, and the repertoire so unusual, that one can understand why Dick Latvala played more curator than archivist here. Side A picks up the second set from Providence three songs in, featuring a short jam that leads into what many have labeled the most extraordinary live version of “China Cat Sunflower” ever recorded, complete with a sublime transition (“Mud Love Buddy Jam” a.k.a. “Mind Left Body Jam”) into “I Know You Rider.” The revelatory moments continue throughout the Providence set, highlighted by a dazzling, 15-minute “Spanish Jam.” But the second set of the Boston show—which appears here complete, after a superb encore performance of “Eyes of the World” from Providence—is the one that has passed into legend among Dead fans (a performance of Phil Lesh and Ned Lagin’s electronic music piece “Seastones” provides an appropriately adventurous interlude). The set boasts one of the most renowned live jams of the band’s career, a flawless, 14-minute “Weather Report Suite: Prelude/Pt. 1/Pt. 2-Let It Grow” leading into a 27-minute “Jam” that is simply one of the most far- ranging, telepathic improvisations ever played by, well, anybody. That this set also includes a separation of the “Sunshine Daydream” section from “Sugar Magnolia” for only the second time ever is just gravy. This is, of course, a “Wall of Sound” concert, so we’re working with something of a special audio source to begin with. So, we enlisted Jeffrey Norman to master the release for vinyl from the original tapes (pictured on the enclosed insert), and enlisted Clint Holley and Dave Polster over at Well Made Music to cut the lacquers. Gotta Groove Records, our manufacturer of choice, has pressed the 6 LPs on to 180-gram black vinyl housed inside a two-piece hardshell box, and we have a little stencil surprise for ya on Side L. Limited edition of 3000 hand- numbered copies!

Die US Alternative Metal-Vorreiter MUSHROOMHEAD melden sich diesen Sommer mit ihrem neuen Album Call The Devil zurück. Call The Devil ist der Nachfolger des achten Albums und Label-Debüts A Wonderful Life (2020), mit dem die Horror-Ikonen in den USA große Erfolge feierten (Platz 2 der US Current Hard Music Albums Charts und Platz 8 der Current Rock Albums Charts). Außerdem war es das Debüt von Jackie LaPonza – der ersten Sängerin von MUSHROOMHEAD.

Nach zwölfjähriger Pause kehrt Gitarrist Dave „Gravy" Felton auf Call The Devil zurück und verleiht zwei der neuen Tracks seine unverkennbaren Skills. Felton hat in der Vergangenheit auf mehreren wegweisenden Alben von MUSHROOMHEAD mitgewirkt und gilt durch seine Arbeit an Klassikern wie „Along The Way", „Sun Doesn't Rise" und „The Dream Is Over" als einer der prägendsten Songwriter. Call The Devil wurde erneut von Mastermind und Drummer Skinny produziert und von Matt Wallace (Faith No More, 3 Doors Down) gemischt, der bereits für das Kultalbum XIII mit der Band
zusammengearbeitet hat. Gemastert wurde Call The Devil von Jacob Hansen, der für seine Arbeit mit Größen wie Volbeat, Epica und Arch Enemy bekannt ist.

Als sie 2014 im Alter von nur 14 Jahren auf der Berliner Fashion Week auf dem Laufsteg erschien, staunte die Welt: Anna Ermakova, die Tochter von Boris Becker, die abseits der Öffentlichkeit bei ihrer Mutter Angela aufwuchs, präsentierte sich als selbstbewusstes Mädchen und machte einen fantastischen Job! Schließlich nahm sie im Alter von 22 Jahren am TV-Format "Let’s Dance" teil und stellte einen neuen Punkte-Rekord auf.
Jetzt der nächste Schritt: Anna singt! Auf ihrer ersten Single "Behind Blue Eyes" - einem Cover der englischen Band "The Who" - erzählt sie auf emotionale Art und Weise ihre Geschichte.

In den letzten 15 Jahren hat sich Ryan Gustafson von THE DEAD TONGUES zu einer der markantesten Stimmen des modernen Folk entwickelt. So eigenwillig und gespenstisch seine Songs manchmal auch sind, Gustafson hat seine Visionen und Verse immer mit der Art von Hooks verknüpft, die man wie Talismane aufbewahrt und im Notfall hervorholt. "Dust", "Unsung Passage", "Desert": Die Alben von THE DEAD TONGUES gehören nach wie vor zu den fesselndsten und kuriosesten Werken in diesem Bereich in diesem Jahrhundert. Das magnetische "Body of Light" und das diskursive und wunderbar elliptische "I Am a Cloud", besteht aus 16 kompletten Stücken, die sich auf verschiedene, miteinander verwobene Alben verteilen. Auf den Alben sind Auftritte von Jenn Wasner (Wye Oak, Bon Iver), Mat Davidson (Twain), Matt Douglas (The Mountain Goats), Joe Westerlund (Califone, Megafaun), Jeff Ratner (Bing and Ruth) und anderen zu hören. Gustafson wollte die Zeit im Studio nutzen, um nicht nur Songs aufzunehmen, sondern auch etwas Neues zu schaffen, mit neuen Improvisationen. Die beiden Alben, die digital als eigenständige Veröffentlichungen erschienen sind, vereinen sich im physischen Format zu einem wunderschönen, luxuriösen Doppelalbum. Das 2LP-Paket enthält ein sorgfältig geprägtes Cover und wunderschöne, individuell gestaltete Innenhüllen für jedes Album.

Are you a mannequin in the eyes of your beloved? Does your partner compare your relationship to a factory that emits plumes of smoke? Are you in love with a seductive and destructive Credit Default Swap? Someone who sucks you in with skyrocketing short term erotic returns - only to ghost you until you crash so hard that you end up broke(n) in your own bed? Do you pay $300 an hour out of pocket to a psychiatrist who promises to help you strike a deal with a difcult parent - one that will produce more stable long term returns on your psychic investments? If so, then you, my friend, may be drowning in the sea of Love in the Time of Capital. It's where everyone would love to drown. It's a new album from John Davis of The Folk Implosion that fnds him backed with confdence by Eli Moore and Andrew Dorsett of the indie pop band Lake. It was recorded by Nich Wilbur at the Unknown, a cavernous recording studio in Anacortes, WA that has been a favorite destination for indie rockers around the nation. Ben Brodin recorded Megan Siebe playing strings on two tracks at his Hidden Branch studio in Omaha, and the album was mixed by Scott Solter in Durham NC. Arrangements are based on the classic power pop trio of drums, bass and electric guitar. Those elements are tastefully embellished with organs and pianos that call to mind records by classic rock bands like Tom Petty's Heartbreakers. That is, if the Heartbreakers were fltered through the Northwestern International Pop Underground tradition, and cast a critical eye on how commodity culture shapes the way we think of ourselves and our intimate relationships. The album also features four ballads, three drum and electric guitar free, for all you late night introspective heads.

Fera’s trajectory sticks out like a sore thumb, you need to invest time, carefully divided between body & mind, to truly take a deep dive into his audacious output. After the acclaimed ‘Stupidamutaforma’ and ‘Corpo Senza Carne’, Fera is back with ‘Psiche Liberata’, an oblique, imperfect and broken record, in other words, exactly the type of magical voyage you want to be on. The mind, finally liberated.

Fera is Andrea De Franco, electronic composer from Southern Italy now residing in Bologna, also known for his work as visual artist/designer and member of the Undicesimacasa collective. His musical cosmos is profound and imaginative, intergalactic atmospheres that condense fragmented IDM, scintillating textures, distorted synthscapes, crunchy technoid rhythms and swirling abstractions that weave gently, sometimes moody and stark, more often celestial and awe-inspiring.

Mixed in Berlin by Steve Scanu ‘Psiche Liberata’ encapsulates Fera’s dense and intricate thought process in contrast with his simple and direct approach to writing and recording that finds its more natural output in his rapturous live sets where a mono signal runs through a few analog pedals transforming instantly into menacing alien grooves and fluid ecstasis.

Like ‘Psiche Liberata’s artwork, hand-drawn by Fera, every detailed miniature leads to a single cell of sound, tracks collide against each other in a psychotic kaleidoscope where every safe space is confronted with subsequent noise, alterations or interruptions. The black terror of ‘Celestial Anacusma’ is followed by the space-jazz banquet of ‘Milk Tears In The Hug Chamber’ doped up cyber Sun Ra extravaganza featuring Laura Agnusdei and Luigi Monteanni (Artetetra) on saxophones and flutes; ‘Silenzio Solare’ sprinkles Mille Plateaux era minimalism all over hallucinations, while ‘Diluvia’ crosses industrial acid with perpetual motion; title track ‘Psiche Liberata’ murmurs mechanically, a downtempo drifter for the wide-eyed 7AM comedown: ‘Simulacrima’ melts Boards Of Canada’s mellow pastoralism with dystopian meta-level dreamland and ‘Riposa’ showcases an overwhelming melancholy executed with elegance in a slo-mo world where the ineffable transcends notions of ambient and becomes a warm embrace.

Created on a Monotribe, MS20 & Volca Sample/fm, ‘Psiche Liberata’s velvet heaviness was achieved by re-amping many of the instruments through a Leslie Rotary Speaker and a reel-to-reel Telefunken. Fera’s sonic tapestry is in constant flux, underlying themes of love longing and affection run through the record but in a turbulent, volcanic, unleashed fashion, almost on the brink of utter noise or complete silence, reminding us that this is an artist like no other amidst the ever changing electronic scene. These are transmissions from the gutter, where the inevitable meets the unattainable and collapses.

"Fera’s tarnished materials are destined for ruin; “Stupida,” full of longing and regret, sounds like an elegy for a fallen world." Pitchfork

"A cut of dark magic that fits like a glove to overcast days, wild winds and lashing rains. Insistent, the treacle-thick bassline oozes out, soaking the space between the melancholic synth lines." Inverted Audio

"The songs on Stupidamutaforma feel hypnotizing...it establishes De Franco as a composer who uses space and time to create a set of rich, immersive works." Bandcamp 'Album Of The Day'

"Waxwork Records, in conjunction with Hollywood Records and Paramount Pictures, is thrilled to present SLEEPY HOLLOW Music From The Motion Picture by Danny Elfman for the very first time on vinyl! SLEEPY HOLLOW is a 1999 gothic supernatural horror film directed by Tim Burton and starring Johnny Depp, Christina Ricci, and Christopher Walken. It is based loosely on Washington Irving’s 1820 short story “The Legend of Sleepy Hollow”. The plot follows police constable Ichabod Crane (Depp) sent from New York City to investigate a series of murders in the village of Sleepy Hollow by a mysterious Headless Horseman.

Danny Elfman is an award winning American film composer, singer, and songwriter. He has garnered international recognition for composing over 100 feature film scores. Elfman is a longtime collaborator of director Tim Burton having scored such films as Beetlejuice, Edward Scissorhands, and The Nightmare Before Christmas.

Sleepy Hollow stands as one of Elfman’s largest orchestral scores and utilizes weighty brass, eerie choral pieces, and unnerving strings. His use of romantic themes cut a calming tone throughout the dark and mysterious gothic-fairy-tale.

Waxwork Records is proud to present the debut vinyl release of SLEEPY HOLLOW Music From The Motion Picture by Danny Elfman as a deluxe double LP album. Album features include 150 gram colored vinyl (Metallic Silver and Blood Red Swirl), new artwork by Steven Reeves, heavyweight gatefold jackets with matte satin coating and spot UV gloss varnish, and a 11”x11” art print."

Not everybody has not one, not two, but twelve producers attached to her debut release. Not everybody has her one and only album pranked by British artist Banksy (who substituted a topless photo for the cover). Nope, not everybody is Paris Hilton, who has lived in the public eye since, well, forever. She first announced plans to make an album in 2003, during her run on the reality TV series The Simple Life.

Originally entitled Screwed, and then Paris Is Burning, the record—finally simply entitled Paris—came out in 2006. And it was…uh… good? Yeah, for real. This record goes expensively pedicured cuticle to cuticle with anything Britney Spears, Jessica Simpson or any other pop culture chanteuse of the like ever put out, and the Paris the heiress displays some real savvy both in her taste of material and the Madonna-like manipulation of her sex symbol image. And her voice? Definitely respectable despite what the haters said. Indeed, the single “Stars Are Blind” went top 20, and the album itself went all the way up to #6, selling over 600,000 copies worldwide.

Since Paris has finally answered the pleas of her fans and made a second album, we thought the time was right for a revival of Paris, so we’ve taken the fetching photos from the CD package and given them plenty of acreage to show their stuff, with a gatefold jacket and 4-color printed inner sleeve. And for this release, we’re pressing Paris’ album in her favorite color, pink…and of course it’s hot! A pop culture keepsake from an enduring pop culture icon!

Smooth as a dry martini and equally intoxicating, Chantal Chamberland's "Dripping Indigo" cements her role as one of the best interpreters of classic song book favorites Two factors set Chamberland's music apart from the pack. First, the
arrangements are slow and sexy relying on a small jazz ensemble for backing (piano, sax, bass light rhythm). Secondly is her luscious voice, which caresses the listener with a breathy purr throughout the album. With a repertoire that features "Smoke Gets In Your Eyes", "Bewitched, Bothered & Bewildered" and "How Deep Is Your Love", the album slowly seduces with its corner jazz club ambiance and torch singer grace. This is re-release is a part of the evosound 20th Anniversary special collection. The album will be available on vinyl for the first time, as a 180g double transparent purple LP.

2024 Repress

Finders Keepers invite you to witness the incredible first ever Buchla synthesiser concerts/demonstrations providing a distinctive feminine alternative to The Silver Apples Of The Moon if they had ever been presented in phonographic form. This is history in the remaking.

This spring Finders Keepers Records are proud to release an archival project that not only redefines musical history but boasts genuine claim to the overused buzzwords such as pioneering, maverick, experimental, groundbreaking and esoteric, while questioning social politics and the evolution of music technology as we've come to understand it. To describe this records as a game-changer is an understatement. This record represents a musical revolution, a scientific benchmark and a trophy in the cabinet of counter culture creativity. This record is a triumphant yardstick in the synthesiser space race and the untold story of the first woman on the proverbial moon. While pondering the early accolades of this record it's daunting to learn that this record was in fact not a record at all... It was a manifesto and a gateway to a new world, that somehow never quite opened. If the unfamiliar, modernistic, melodic, pulses, tones and harmonics found on this 1975 live presentation/grant application/educational demonstration had been placed in a phonographic context alongside the promoted work of Morton Subotnick, Walter Carlos or Tomita then the name Suzanne Ciani and her influence would have already radically changed the shape, sound and gender of our record collections. Hopefully there is still chance.

In short, Suzanne was a self-imposed twenty-year-old employee of the Buchla modular synthesiser company, San Francisco's neck and neck contender to New York's Moog. Buchla was run by a community of festival freaks and academic acid eaters whose roots in new age lifestyles and the reinvention of art and music replaced the business acumen enjoyed by its likeminded East Coasters. In the eyes of the consumer the creative refusal to adopt rudimentary facets like a piano keyboard controller rendered the Buchla synthesiser the more obscure stubborn sister of the synth marathon, steering these incredible units away from the mainstream into the homes and studios of free music aficionados, art house composers and die-hard revolutionaries. Championed and semi-showcased by composer Morton Subotnick on his albums The Bull and Silver Apples Of The Moon, Buchla's versatility began to open the minds of a new generation, but the high-end design features and no-compromise modus operandi was often confused with incompatibility and, in the pulsating shadow of Moog's marketing, the revolution would not be televised nor patronised. Suzanne Ciani, as one of the very few female composers on the frontline (and also providing the back line) did not lose faith.

These concerts' are the epitome of rare music technology historic documents, performed by a real musician whose skills and academic education in classical composition already outweighed her male synthesiser contemporaries of twice her age. At the very start of her fragile career these recordings are nothing short of sacrificial ode to her mentor and machine, sonic pickets of the revolution and love letters to an absolutely genuine vision of and 'alternative' musical future. In denouncing her own precocious polymathmatic past in a bid to persuade the world to sing from a new hymn sheet, Suzanne Ciani created a bi-product of never before heard music that would render the pigeon holes ambient' and futuristic' utterly inadequate. Providing nothing short of an entirely different feminine take on the experimental records' of Morton Subotnick and proving to a small, judgmental audience and jury the true versatility of one of the most radical and idiosyncratic musical instruments of the 20th century. These recordings have not been heard since then.

The importance of these genuinely lost pieces of electronic musics puzzle almost eclipses the glaring detail of Suzanne's gender as a distinct minority in an almost exclusively male dominated, faceless, coldly scientific landscape. Those familiar with Suzanne's work, a vast vault of previously unpublished non-records', will already know how the creative politics in her art of being' simultaneously reshaped the worlds of synth design, advertising and film composition before anyone had even dropped a stylus in her groove. Needless to say this record, finally commanding the archival format of choice, courtesy of the Ciani and Finders Keepers longstanding unison, was not the last first' with which this hugely important composer would gift society, and the future of a wide range of exciting evolving creative disciplines.

You have found a holy grail of electronic music and a female musical pioneer who was too proactive to take the trophies. With the light of Buchla and Ciani's initial flame Finders Keepers continues to take a torch through the vaults of this lesser-celebrated music legacy shining a beam on these non-records' that evaded the limelight for almost half a century. You can't write history when you are too busy making it. With fresh ink in the bottomless well, let's start at the beginning. Again. You, are invited!

Schwedens beste Horror-Metaller MISTER MISERY kehren 2024 mit einem neuen Epos zurück: ihrem selbstbetitelten dritten Album "Mister Misery".
Bereitet euch darauf vor, eine düstere und abgedrehte Welt zu betreten, die von eigentümlichen Kreaturen wie dem "Crooked Man" oder der Gräfin "Erzsébet" bewohnt wird. MISTER MISERY verknüpfen meisterhaft Geschichten aus ihrer persönlichen Vergangenheit mit Gestalten, die die Monster sein könnten, die sich unter unseren Betten verstecken.
Mit ihrer originellen Mischung aus verschiedenen Metal-Subgenres wollten MISTER MISERY nie in irgendeine Schublade passen, sondern schufen mit ihrem einzigartigen Ansatz zu Modern Metal eine ganz eigene Schublade.
Das selbstbetitelte dritte Album von MISTER MISERY wird während des Auftritts der Band auf dem Wacken Open Air am 2. August 2024 über AFM Records veröffentlicht.
For Fans Of: Avatar, Ice Nine Kills, Motionless in White, Lord of the Lost, Rob Zombie

Hailing from Denmark, CTRLS takes the steering wheel for KEY042, delivering an EP that embodies techno and raw industrial energy, marking his third appearance on the label.
The A-side begins 'ectomagnetic', a highly rhythmical track building through layers into a dreamy chord progression thats traddles the line between eyes-closed fantasia and full-body pump. In the midst of it all, the bassline drags our attention as its earthy, round essence stands out from the metallic universe created around it. A2 'injection shuffle' is a heavy hitter, characterized by distorted, ringing textures and old-school methodology, boasting menacing drum programming thatsolidifies its status as a peak-time big room monster. Continuingon the B, 'subsumed' offers another mystical journey blending body music with spaced-out melodies, all stamped with CTRLS's unmistakable touch. A sort of sci-fi tension, eerily drawing listeners into its other worldly atmosphere. Closing with 'nanocaust', the EP dives into intense atmospheres led by a broken beat bone and cavernous soundscapes - once again - presenting a general sound which will make you feel a different kind of energy.
Strong package of densely populated sonic environments, all inline with the sound of KEY.

Repress.

The re-release series of original Ethiopian classic vinyl continues -- the finest Ethio jazz by Mahmoud Ahmed and his band from 1975 plus two tracks from 1978.The liner notes: 'Melancholy blues, piercingly minimalist country airs, brassy, danceable urban jazz, heart-wrenching, off-key crooners: a rich and stirring patchwork of sounds, crossing Afro-beat, Latino-swing moves and Eastern arabesques (Ana�s Prosa�c).' Such were the first -- informed and enthusiastic -- opinions of the music press when the first strains of modern Ethiopian music sounded on our shores. This was in 1984-1985. Such a positive note, struck about such a country at such a time, created plenty of reverb. The country had been so thoroughly trashed by the media's feeding-frenzy, which spewed out a mix of horror and pious pity, bitter denunciation and humanitarian appeals, wallet-tickling clich�s and refusal of identity. In one brutal swoop, TV-reality transformed Ethiopia into a cursed nation, forsaken by God and by man. In contrast to these tragedies, but in the same hackneyed tones, Mahmoud Ahmed's life resembles an edifying fairy-tale where destiny, talent and achievement combine to triumph over poverty, fate and the evil eye. Biography, history and legend, with the help of God, infallibly weave the lesson of merit rewarded. But who can argue, in spite of the mockery that celebrities invariably draw, when faced with one of the greatest voices in all of Africa? Once upon a time, there was a street urchin in Addis Ababa, who started off as a shoe-shine boy and went on to become one of his country's biggest stars, opening the door to Ethiopian music to Western audiences. --Francis Falceto

The Fire is the fourth studio album by the American post-hardcore band Senses Fail. Widely looked on by fans and critics alike as one of the band's finest studio album, the record features singles including title track 'The Fire, 'New Years Eve' and 'Lifeboats'. Originally released on October 26th 2010, this new pressing is the first since it's original release, packaged in a hand-numbered sleeve with accompanying lyric insert, and comes complete with bonus track 'Ghost Town'. Released via Hassle Records for the UK/EU in conjunction with Vagrant Records to celebrate their 25th Anniversary. "The Fire showcases an immense growth in both the band's songwriting and arrangements, proving that these scenes stalwarts are not about to rest on their laurels." Revolver "The Fire is proof that Senses Fail consistently toe the line between singing and screaming better than most of their peers." Alternative Press

Nein, man kann wahrlich nicht behaupten, dass GIMP FIST eine "Pechtsträhne" - so der Titel ihres 11. Albums "Losing Streak" übersetzt - seit ihrer Gründung 2005 haben, jedenfalls was ihre Musik und den Banderfolg betrifft. Die Welt da draußen allerdings scheint in diesen Tagen von Krieg, Hass, Rassismus, sozialem Elend oder dem profitgeilen Raubbau unseres Lebensraums nicht gerade rosige Zukunftsaussichten zu haben. Die 15 neuen Songs auf "Losing Streak" widmen sich dieser traurigen Entwicklung in all ihren Facetten aus der Sicht der englischen Arbeiterklasse. "Who's gonna help to get this country right on track?" (Born and raised) "Losing Streak" strotzt nur so vor Leidenschaft, Emotionen und purer Energie und ist noch einen Tick temporeicher als die beiden Vorgänger. Keine Verschnauffspause, kein um den heißen Brei herumreden, sondern direkt mit dem Finger in die Wunde der verlogenen Politik und ihrer gesplitteten Gesellschaft: "Whatever happened to our community in todays society?" (Community) Resignation ist dabei nicht das Rezept. Die Zeit ist reif die Dinge beim Namen zu nennen, den Blendern an der Macht die Stirn zu bieten und sich auf die Stärken zu besinnen: "Hey politicians you devils in disguise, we want stop until we see the "Whites in your eyes" Auch vor der eigenen Szene macht die Band dabei nicht halt mit einer aggressiven Kampfansage anr die right wing-community: This is our scene and we're taking it back. The sound of the streets for white and for black" ("Less English") Der mitreißende, oldschool UK Skinhead-RocknRoll & Streetpunk Sound verbunden mit treffsicheren Lyrics von Gimp Fist ist authentisch und überzeugt dabei mit jedem Akkord und jeder Note! Die Wut ist spürbar! Wie auch bei den vorherigen Alben liefert Gimp Fist mit ihrem einzigartigen Gespür für Ausnahme-Songs verlässlich wie der Zeiger von Big Ben ein Album, das von Anfang bis Ende überzeugt! Es ist nur "more pissed and angry" geworden! Zurecht und genau zur richtigen Zeit!

Nein, man kann wahrlich nicht behaupten, dass GIMP FIST eine "Pechtsträhne" - so der Titel ihres 11. Albums "Losing Streak" übersetzt - seit ihrer Gründung 2005 haben, jedenfalls was ihre Musik und den Banderfolg betrifft. Die Welt da draußen allerdings scheint in diesen Tagen von Krieg, Hass, Rassismus, sozialem Elend oder dem profitgeilen Raubbau unseres Lebensraums nicht gerade rosige Zukunftsaussichten zu haben. Die 15 neuen Songs auf "Losing Streak" widmen sich dieser traurigen Entwicklung in all ihren Facetten aus der Sicht der englischen Arbeiterklasse. "Who's gonna help to get this country right on track?" (Born and raised) "Losing Streak" strotzt nur so vor Leidenschaft, Emotionen und purer Energie und ist noch einen Tick temporeicher als die beiden Vorgänger. Keine Verschnauffspause, kein um den heißen Brei herumreden, sondern direkt mit dem Finger in die Wunde der verlogenen Politik und ihrer gesplitteten Gesellschaft: "Whatever happened to our community in todays society?" (Community) Resignation ist dabei nicht das Rezept. Die Zeit ist reif die Dinge beim Namen zu nennen, den Blendern an der Macht die Stirn zu bieten und sich auf die Stärken zu besinnen: "Hey politicians you devils in disguise, we want stop until we see the "Whites in your eyes" Auch vor der eigenen Szene macht die Band dabei nicht halt mit einer aggressiven Kampfansage anr die right wing-community: This is our scene and we're taking it back. The sound of the streets for white and for black" ("Less English") Der mitreißende, oldschool UK Skinhead-RocknRoll & Streetpunk Sound verbunden mit treffsicheren Lyrics von Gimp Fist ist authentisch und überzeugt dabei mit jedem Akkord und jeder Note! Die Wut ist spürbar! Wie auch bei den vorherigen Alben liefert Gimp Fist mit ihrem einzigartigen Gespür für Ausnahme-Songs verlässlich wie der Zeiger von Big Ben ein Album, das von Anfang bis Ende überzeugt! Es ist nur "more pissed and angry" geworden! Zurecht und genau zur richtigen Zeit!

Nein, man kann wahrlich nicht behaupten, dass GIMP FIST eine "Pechtsträhne" - so der Titel ihres 11. Albums "Losing Streak" übersetzt - seit ihrer Gründung 2005 haben, jedenfalls was ihre Musik und den Banderfolg betrifft. Die Welt da draußen allerdings scheint in diesen Tagen von Krieg, Hass, Rassismus, sozialem Elend oder dem profitgeilen Raubbau unseres Lebensraums nicht gerade rosige Zukunftsaussichten zu haben. Die 15 neuen Songs auf "Losing Streak" widmen sich dieser traurigen Entwicklung in all ihren Facetten aus der Sicht der englischen Arbeiterklasse. "Who's gonna help to get this country right on track?" (Born and raised) "Losing Streak" strotzt nur so vor Leidenschaft, Emotionen und purer Energie und ist noch einen Tick temporeicher als die beiden Vorgänger. Keine Verschnauffspause, kein um den heißen Brei herumreden, sondern direkt mit dem Finger in die Wunde der verlogenen Politik und ihrer gesplitteten Gesellschaft: "Whatever happened to our community in todays society?" (Community) Resignation ist dabei nicht das Rezept. Die Zeit ist reif die Dinge beim Namen zu nennen, den Blendern an der Macht die Stirn zu bieten und sich auf die Stärken zu besinnen: "Hey politicians you devils in disguise, we want stop until we see the "Whites in your eyes" Auch vor der eigenen Szene macht die Band dabei nicht halt mit einer aggressiven Kampfansage anr die right wing-community: This is our scene and we're taking it back. The sound of the streets for white and for black" ("Less English") Der mitreißende, oldschool UK Skinhead-RocknRoll & Streetpunk Sound verbunden mit treffsicheren Lyrics von Gimp Fist ist authentisch und überzeugt dabei mit jedem Akkord und jeder Note! Die Wut ist spürbar! Wie auch bei den vorherigen Alben liefert Gimp Fist mit ihrem einzigartigen Gespür für Ausnahme-Songs verlässlich wie der Zeiger von Big Ben ein Album, das von Anfang bis Ende überzeugt! Es ist nur "more pissed and angry" geworden! Zurecht und genau zur richtigen Zeit!

Das neue Album von Alex Izenberg - ein Sound von King Crimson bis zu Fleet Foxes!

Alex Izenberg veröffentlicht sein viertes Album "Alex Izenberg & The Exiles" am 26. Juli über Weird World / Domino. Der in Los Angeles lebende Izenberg arbeitet auf dem Album erstmals mit fester Band zusamme und hat sich auf ein einfaches Ziel konzentriert: etwas zu schaffen, das Bestand hat. Die Melodien sind romantisch und warm, die Arrangements sind einladend und ausladend, wobei das neues Ensemble, das sich um die stärksten Songs seiner Karriere formiert hat, gekonnt eingesetzt wird. Passend zu einem Album erweiterte Izenberg seinen Prozess weiter, indem er den erfahrenen Produzenten Phil Ek (Fleet Foxes, Father John Misty, Built to Spill) für den Mix des Albums verpflichtete. Der daraus resultierende Sound ist genauso intim wie Izenbergs eher hermetisches Material und strahlt gleichzeitig ein mystisches, gemeinschaftliches Leuchten aus, das sich in seinem Gesamtwerk ganz neu anfühlt. Das Herzstück von Alex Izenberg & The Exiles sind kühne Ideen, die von den kopflastigen Gedanken des Philosophen Alan Watts, den vielschichtigen Erzählungen von King Crimson und den imaginären Visionen von Fleet Foxes inspiriert sind. Auch wenn die Thematik esoterisch anmutet, lassen Izenberg und seine Band die Musik auf angenehme Art und Weise auf die Erde driften. Zum ersten Mal in Izenbergs Karriere passt der umwerfende Sound zur Größe seiner Vision.The

Endlich ist es soweit: Schwedens Electro/ Synth-Pop-Sternchen Ashbury Heights melden sich zurück mit ihrem neuen Album “Ghost House Sessions - Vol. 1”. Bekannt für Anders Hagström’s einzigartige Stimme, einen unverkennbaren Musikstil und ihre mitreißenden Live Shows, liefern Ashbury Heights nun einen brandneuen Longplayer mit 23 neuen, wunderbar eingängigen und tanzbaren Songs mit Ohrwurmgarantie. “Ghost House Sessions - Vol. 1” ist ein außergewöhnliches Produkt aus langer, intensiver Arbeit und einer aufregenden sowie anstrengenden Zeit der Band: “Das vergangene Jahr war unglaublich inspirierend. Es gab großartige Höhen, aber auch unschöne Tiefen. Diese Achterbahn der Gefühle nimmt nun Gestalt in Form neuer Musik an”. In ihren nun schon fast 20 Jahren, haben Ashbury Heights nie aufgehört, ihren Sound aus New Wave, Electro, Synth Pop und Industrial weiterzuentwickeln und zu perfektionieren und beschenken uns wieder einmal mit einzigartigen Meisterwerken, die wirklich alle Füße und Hüften schwingen werden lassen.

Der US-amerikanische Rapper Vince Staples gehört ”neben Kendrick Lamar zu den anerkanntesten und
versiertesten ”Story-Teller” / Rap-Erzählern zurzeit”, schreibt der SPIEGEL.
Auf seinem sechsten Studioalbum ”Dark Times” (Blacksmith Records / Def Jam Recordings) verfeinert
der 30-jährige kalifornische Musiker alle Elemente, die seinen Katalog im letzten Jahrzehnt auszeichneten:
dichte, melancholische Lyrik, voll von Beobachtungen über das Leben, dargeboten auf üppigen vielschichtigen Beats, die Lichtnischen in der endlosen Dunkelheit suchen.

Repress auf purple & red splatter Vinyl. Das zweite, alles auf seinem Weg liegende vernichtende Album der Hardcore Thrasher aus Texas: POWER TRIP. Möglicherweise das beste Thrash Album des letzten Jahrzehnts! Massiv, riesig, über alle Dimensionen. Aufgenommen von Arthur Rizik (INQUISITION), gemastert von Joel Grind (POISON IDEA, TOXIC HOLOCAUST) mit Coverartwork von Paolo Girard. POWER TRIP sind eine echte Band, unvergleichlich. Ihre rohe Intensität, ihr musikalisches Können, die perfekte Songstruktur, fetter Sound, wilde Riffs, ihre Entschlossenheit und ihre bloße Einstellung machen sie zu einer der Speerspitzen im Metal, Punk und Hardcore Underground der USA. In den letzten Jahren haben POWER TRIP beinahe non-stop getourt und dabei Bands wie ANTHRAX, LAMB OF GOD, CRO-MAGS, NEGATIVE APPROACH, TURNSTILE, BACKTRACK, EYEHATEGOD, BANE, OFF! Und weitere supportet und Festivals in den USA, Europa und darüber hinaus beehrt.

A twelve-track collection of “cassette-ified” lo-fi psych-pop, ‘Wobble’ is the eleventh studio album from Black Market Karma and their first on Fuzz Club. Hailing from London and now residing on the South Coast, BMK’s prolific output is fuelled by bandleader and
multiinstrumentalist Stanley Belton who writes, performs, records, produces and up until now self-released everything from his own live-in ‘Cocoon’ studio.

Pooling influences from 60s pop and psychedelia, crunchy hiphop break-beats and lo-fi electronica, ‘Wobble’ is the first of a
two-part album series and is due for release July 26th 2024. INDIE
ONLY! Bone coloured vinyl.

I was sent an unfinished version of Dose Your Dreams so that I might contribute string parts. I couldn’t stop listening to the rough mixes I received. A friend asked me how the record was. I replied, “My God, Fucked Up have made their Screamadelica.” And psych-rock-groove it is. The drums mixed wide, propensity for drones, for delay pedal, for repetition, groove. The politics and aesthetics of hardcore married to an “open format” approach to genre. Elements of doo-wop, krautrock, groove, digital hardcore. “None of Your Business Man” opens the album in familiar enough territory, a sax assisted exit from an office space. But things get psychedelic very quickly. By the time the title track arrives, Mike Haliechuk is whispering, wah pedals are in full effect, and we’re wearing oversized t-shirts and pinwheeling. “Accelerate,” the lyrical centrepiece of the album, storms in like Boredoms on a bullet train and dissolves into a digital nightmare. The album closer, “Joy Stops Time,” finds Fucked Up at their most Düsseldorfian, nearly eight minutes of blissful motorik. At the center of it all is Damian Abraham’s scream a man chained, a man tortured, a true protagonist. The effect is one of an epic, every chapter attempting its own narrative devices, its own genre hybridization and it works, it works so insanely well. The drama unfolds like a miniature world of many parts being explored, a map being illuminated, location by location. As with David Comes to Life, there is a story here. David who once came to life is now indentured to a desk job. David meets the elderly Joyce who closes his eyes, opens his mind, and sends him on a spiritual journey. David embarks on his own metaphysical odyssey. He sees a stage adaptation of his own life. He speaks to an angel in a lightbulb. He sees an infinite series of universes as simulations within simulations. Meanwhile, Lloyd Joyce’s lover was sent, decades ago, by Joyce on the same odyssey, but was lost in the void. Lloyd seeks to be found and reunited with his lover. Where will David end up? Will Joyce and Lloyd be reunited? Dose Your Dreams meaning: treat your dreams as you would a dream, allow yourself to be lost within them, allow them to open your heart and your mind, enjoy them as you would a drug. Reach out for my hand and pull me close. Owen Pallett.

Italian producer Toto Chiavetta returns to Mind Against's HABITAT with a spellbinding new single titled "My Eyes Are Failing". Off his new EP of the same name, the song is a haunting journey where crunchy textures and hypnotic melodies come together with the refrain, "I think my eyes are failing, but I feel my lungs inhaling," to envelop listeners in a dark, atmospheric soundscape. Featuring the mesmerizing Thom Yorke-esque vocals of Trenton, the new track showcases Chiavetta's mastery over immersive, emotionally-charged electronic music.

Bolstered by b-side single “The Sacred Space” and a club-ready alternative version from Toto himself, plus remix from Echonomist, the new EP rounds out to create a defining statement from Chiavetta. With a growing list of supporters that include industry heavyweights like Âme, Sasha, John Digweed, and Camelphat, to name a few, and previous releases on Innervisions and Diynamic, Toto Chiavetta is poised to make a big impact with this landmark release on HABITAT.