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Capitalising on a defining year where PET NEEDS released their debut album ‘Fractured Party Music’, spent a summer playing outdoor gigs with fellow Xtra Mile artists as part of The Gatherings and recorded new music, the four-piece from Colchester step up a gear with huge plans for 2022. First up is the release of a deluxe edition of Fractured Party Music featuring 4 extra tracks including the new single ‘Punk Isn’t Dead (It’s Just Up For Sale)’. The album and single is out digitally on 14th January 2022. A few days later the band set out on a vast UK tour supporting Frank Turner – playing potentially to over 20K people – which culminates on 27th Feb at London Brixton. ‘Punk Isn’t Dead…’ has become a live favourite and has been rerecorded with that added live energy with Sam Duckworth (Get Cape. Wear Cape. Fly) producing. Playlists to pitch for: Spotify: The Punk List The Pit Feel Good Rock Pure Pop Punk Pop Punk’s Not Dead All New Punk Apple: New In Rock Breaking Hard Rock Pop Punk YouTube: New Rock Deezer: Punk Rock Other plans for 2022 include further far-reaching tours supporting Frank Turner across Europe and USA (dates for US tour to be announced), dates supporting Skinny Lister in Germany, their own headline shows and summer festivals. Below is the campaign overview for 'Fractured Party Music' standard format, released in March 2021.

Scott Lavene is set to release ‘Broke’ on 7th June 2019, an album that is drenched in living in the gutter but staring at the stars.

Lavene has the lyrical smarts and the fairground bark of an Ian Dury, the incisive wordplay of a Costello and the deadpan pop of Madness in his creative DNA, along with the street poetry of an Essex boy version of Lou Reed, the dislocated funk of Talking Heads, the jellied eel lyrical bounce of Chas and Dave, and the inventive surreal see-saw of a Tom Waits, and many other nonconformists.

It’s an intoxicating brew that he makes his own in this collection of wonderful quirky songs that make up ‘Broke’.

These are songs that are full of detail and a life lived in scuffed shoes, rainy towns and the magic of the everyday. Songs about small talk, being skint, doomed affairs and the sweetness of falling in love over a cup of tea.

Creating unconventional backdrops for his street tales Scott builds up shapeshifting rhymes and looping grooves.

Warm presents a brand new compilation called 'Home'; a soundtrack for when we pause, take a breath, and use our senses to explore the magic of the world on our doorsteps. Morning to evening, dawn to dusk, our lives continue moving but sometimes the need to step back and reset is essential to create a balance in our lives. As we open our eyes and ears to our surroundings, our senses become stimulated by small details. Whether it be the sound of the sea lapping on the sand, the wind blowing through the canopy of trees or a robin heralding a new day; nothing is the same but all are unique.

'Home' has been pieced together over the last year by Warm’s Ali Tillett. With the majority of Warm - booking agents for Colleen ‘Cosmo’ Murphy, Gerd Janson, Horse Meat Disco, Hot Chip DJs, Lou Hayter, Luke Una - on pause, Ali took the chance to immerse himself in bringing together his passion for music, nature and art.

The 14 tracks, the majority exclusive and specially made for the compilation, includes contributions by Âme, Bobby Lee & Mia Doi Todd, Coyote, Crack’d Man (aka Crooked Man who produced Roisin Murphy's last album), Fug (with their first material for over ten years), Kirk Degiorgio presents As One, Turtle, and Ewan Pearson's World of Apples project (with their first material for nearly 20 years!). The tracks align with specific habitats in the local Dorset area, where Ali is situated, such as Harbour/Estuary, Heathland/Moorland, Woodland/Forest, and Beach/Cliffs.

To immerse the listener even further into the soundscape, critically acclaimed sound and field recording artist Gary Moore, of Springwatch/Autumnwatch fame, has been involved to help bring nature even further to the ears. Intertwined between the music are field recordings specific to area and habitat; whether it be the sound of a ship's horn in Poole harbour, avocets on the scrape, the tawny owl in the woodland or Puffins on the ledges of cliffs.

Gareth Fuller, a fabulous artist who previously lived in Dorset, has kindly allowed one of his artworks to become the centrepiece for the compilation. Titled 'Purbeck', it's a truly wonderful piece of art that encapsulates everything about the area and enables an added dimension to the immersive experience for the listener.

Hailing from Sydney, Australia, prolific producer Cabu (860K Monthly Listeners and more than 90M cumulative streams on Spotify alone) has come a long way; from his successful remix work – from Joe Hurtz's "Stay Lost" edit (37M Spotify-streams) to Big Wild's "Empty Room" flip (20M Spotify-streams) – to his consistently catchy original productions, Cabu's only getting started. He keeps this momentum alive with the EP "So Far To Go", his first to be released by Ta-ku & Jakarta Records' sublabel 823 Records.

823 is a perfect place for Cabu's bouncy, hypnotic grooves and is a return to form for what "Cabu" represents: a driving force in the pursuit of happiness through sound. It's a well-timed collaboration, as Cabu's fanbase has continuously grown over the past few years through features on Australia's Triple J, DJ Complexion's Future Beats Radio, Soundistyle, The South East Grind, Mutual Friends, ThisSongIsSick, Majestic Casual, Soulection Radio, BBC 1xtra, Pilerats, Maison Kitsune and more. To that end, "So Far To Go" features some of the most talented artists to come out of the Pacific continent, such as Milan Ring (95K monthly Spotify listeners) – coined "Australia's R&B Princess" by Apple Music – Brisbane native hit-maker Young Franco (1M+ monthly Spotify listeners), Kamaliza (123K monthly Spotify listeners), NOÉ, Gabby Nacua, Pastel and of course label-head Ta-ku himself.

1st single, "Process" featuring Ta-ku & Milan Ring was released on November 3rd. Hypnotically bouncy, with heavenly synth pads, crisp percussive elements combined with the ethereal voices of Ta-ku and Milan harmonically push the sonic envelope to make this track an infallible groovy knockout. As Cabu says, "Process" is "the dream-like state in which you take gratitude in your current situation whilst being hopeful in the future." The track provides a perfect taste of these artistic and creative powerhouses. The stunningly beautiful music video – directed by Sydney based Redscope Films and premiered on The Sound You Need – is the perfect accompaniment.

2nd single, "Sun & Moon" featuring Young Franco & NOÉ is set to be released on December 10th along with an announcement of the EP and pre-order. The song is a contagiously bouncy bop, with the different vocal harmonies and synth chords giving the track an almost prime 00's throwback, it's the perfect year-end anthem to keep dancing and growing through the good and bad.

The album's focus track, "About U" featuring Kamaliza will be released along with the EP release on January 28th, 2022. The song perfectly blends electronic elements within an R&B / Soul aesthetic, and is all about moving forward with intention, from the lyrics to the groove, making you feel tipsy on life.

All singles off the EP will be accompanied with custom visualizers by Perth-based design / creative firm Gesture Systems. The album's single-releases and videos will be promoted in-house via the artist's and the label's social media channels in Germany and Australia.

The 823 label represents the appreciation for the people, ideas and places that inspire and push their protagonists forward. "823 celebrates the simple beauty of everyday life and the people in it that inspire us." (Regan Matthews aka Ta-ku)

Iconic Norwegian producer and composer Biosphere follows up his evocative 'Angel's Flight' release with a new album set for release early in 2022. Shortwave Memories is an album inspired by the post-punk electronic music of the late 70's and early 80's, especially the productions of figures like Martin Hannett and Daniel Miller.

"The last few Biosphere albums have all been made using samples and software, but Shortwave Memories is a return to vintage analog hardware from the late 70s and early 80s. Most of these instruments do not have any presets or memory storage, so all the sounds were programmed from scratch. The idea was not so much to make music that sounds like it was written in the same period. It's more like what would happen if I had the chance to use the same instruments, and applied the same meticulous attention to detail as the producers mentioned above."

Presented as a continuous sonic journey, this stunning record unequivocally manifests a world of it's own and already feels like a timeless addition to the rest of the Biosphere catalogue.

In 2022, the Vienna Philharmonic's New Year's Concert could once again take place in front of an audience. However, 2G-plus rules and an FFP2 mask requirement applied throughout the Gesellschaft der Musikfreunde building in Vienna. Standing room was not offered this year and the number of seats in the Golden Hall was limited to 1,000.

Daniel Barenboim performed with the Vienna Philharmonic as a young pianist as early as 1965, and he has also conducted them since 1989. He already took the podium at the tradition-steeped New Year's Concert in 2009 and 2014. Barenboim's engagements as head of the Berlin State Opera Unter den Linden and the Staatskapelle Berlin, as founder and director of the West-Eastern Divan Orchestra, and as a pianist show him to be a true musical citizen of the world. As such, he is also an exceptionally good fit for Vienna's world-class orchestra and the message of the New Year's Concert: hope, friendship and peace for the whole world.

At the start of the new year, the Vienna Philharmonic once again presented a cheerful, upbeat and contemplative program of symphonic waltzes, polkas and marches by the Strauss dynasty and its contemporaries. The 2022 program showed a clear reference to the fantastic and fairytale-like. In addition to the phoenix, a siren and an indeterminate number of brownies and nymphs, there was also Johann Strauss' waltz "One Thousand and One Nights".

Six pieces had their premiere at a New Year's concert in 2022. The "Phoenix March", the Polka mazur "The Siren" and the Polka française "Nymph Polka" were performed by Josef Strauss. Eduard Strauss was represented with the quick polka "Kleine Chronik", Carl Michael Ziehrer with the waltz "Nachtschwärmer" and Joseph Hellmesberger with the character piece "Heinzelmännchen" among the repertoire novelties.

There is the 50th anniversary of the UNESCO World Heritage Convention to celebrate in 2022, which Austria also joined 30 years ago. In the intermission film of the concert, the twelve Austrian World Heritage sites showed themselves from their best side. Schönbrunn Palace in Vienna, on the World Heritage List since 1996, was also the setting for the ballet interlude with ten dancers from the Vienna State Ballet to the waltz "One Thousand and One Nights." The second performance was created at the Spanish Riding School, which has been designated as a UNESCO Intangible World Heritage Site since 2015. Eight magnificent Lipizzaner stallions and their riders demonstrated the high school of classical horsemanship to Josef Strauss's "Nymph Polka".

The phoenix, a very special bird from ancient Greek mythology, burns at the end of its life cycle, only to rise again from its ashes. The Vienna Philharmonic Orchestra paid tribute to it twice. The concert began with the "Phoenix March", followed by the waltz "Phoenix Swing". Such a concert opening - with a march and a waltz - should be a sign. It is to be hoped that a rebirth and renewal in the new year can really take place.

Tape

The Forbidden Dance label is marking their first year of existence and with already top-notch names (Vick Lavender, Alton Miller, The Mechanical Man) with the first three releases, they are celebrating the one year mark with another global gem, disco and house finest - Ilija Rudman!
Where Wild Horses Go is conveying an unquestionable sense of 80's electro and synth boogie filled with smooth and heavily reverberated rhythmics drenched in strong snares. Aligned with catchy and spaced-out disco pads, the album is riddled with ever strong analogue elements processed in a light, quirky and summerish way but with enough groove in some tracks easily applicable on the dancefloors in the late hours.
Dead Horse Gang is a brainchild music band/brand by Ilija Rudman dedicated to cinematic dance concept laying on the Los Angeles funk attitude, Art Of Noise perception of sound and raw 12-bit grooves making a statement of mid 80's culture with surf vibe of California summer.
"Dead Horse Gang Music is more than music, it's a way of life, a way of thinking, a path to a maximum freedom of the one, who can accept it."
-Ilija Rudman

After years spent living on opposite sides of the Atlantic world events threw Laura Mary Carter and Steven Ansell of Blood Red Shoes back together into what has become the must fruitful era of their 17 years together.

“It’s been a loooong time since we both lived in the same city”, explains Steven. “I mean we actually wrote this album in LA at Laura’s place, then came to the UK to record it…and then everything went nuts”.

Realising very quickly that they wouldn’t be able to release the album or tour until the world returned to some kind of normality, the band found their energies quickly spilled over into other projects. Laura-Mary started a podcast, Never Meet Your Idols, with her best friend in LA, interviewing everyone from Zack Snyder to Mark Lanegan to CHVRCHES. It is now about to start its third season. Steven started applying his love of electronic music by writing and producing other alternative artists like Circe, ARXX, Aiko and XCerts, racking up millions of streams in the process.

Having worked together on Laura–Mary’s forthcoming solo mini album Town Called Nothing and restless from the lack of touring, the duo started jamming out in rehearsal rooms, which led to the light-speed writing, recording and release of the impossibly-titled Ø EP in the summer of 2021. Which concludes what the band call an “off year”.

And that brings us back to GHOST ON TAPE. It appears that like David Lynch’s The Lost Highway, nothing is linear in the world of Blood Red Shoes. Written and recorded before their most recent EP, GHOSTS ON TAPE is a huge jump into new terrain for the band. Musically and emotionally their most mature work, it is a complex, imaginative, and very gothic development on their sound. Musically, it leaves almost no trace of their former selves.

On January 31st of 2020, the accomplished songwriter turned songstress released her debut EP "Sis.", a 7-track EP produced by Homer Steinweiss and The Menahan Street Band of Amy Winehouse's famous album "Back To Black". With this project the rising, Memphis-bred artist introduced her own take on modern soul, using live instrumentation and melodic prowess to blend contemporary and nostalgia. The project was met with widespread acclaim, earning her a spot on NPR's Tiny Desk 6/11, three separate usages in this season of HBO's series 'Insecure', and over 20 million streams across streaming platforms.

KIRBY is a soul singer from Memphis, Tennessee. She is the talented writer behind “FourFiveSeconds” by Rihanna, Kanye West, and Paul McCartney, “Tell Me You Love Me” by Demi Lovato, “Die With You” by Beyoncé, “Only One” by Kanye West and Paul McCartney, “Break Your Heart Right Back” by Ariana Grande, and more.

Album focus track is "Fearless". Marketing Highlights -Previously appeared on NBC's The Masked Singer - Music Video release day and date w/ national press release - Tease of song pre-release on artist socials - Pre-Save/Pre Add push pre-release - Liners for all DSPs pushing to single to be posted on band socials - Cain's Ballroom live streams monthly with each single release - Instagram stickers for each single - VR filters created for each single pushing to video - $5k advertising budget across single releases pushing to: YouTube True View, Pivot link on social media, Google Search and display ads and Spotify Marquee Socials Facebook - 390k followers Instagram - 208k followers Twitter - 141.3k followers Spotify - 331k followers, 2.3m monthly listeners Previous Sales 130k average weekly streams Spotify 90k average weekly streams YouTube 35k average weekly streams Apple 12k average weekly streams Amazon Team Press - Ken Weinstein @ Big Hassle PR Digital Marketing - Crowd Surf Media

Pioneering Kansas City, MO emo rock band The Appleseed Cast's 2002 Deep Elm release 'Lost Songs' is now available to pre-order on vinyl via Thirty Something Records. Comprised of material recorded after the band's 1998 debut 'The End Of The Ring Wars' and before 2000's 'Mare Vitalis', 'Lost Songs' displays the transitional phase of the band in between the two albums. Carefully uniting old-school and new-school songwriting styles, 'Lost Songs' combines the bitter emotional release of the band's earliest recordings and the meticulous soundscapes crafted through endless hours of studio time on later recordings. Dynamic song structures, hurricane-force rhythms and ultra-vivid lyrics paint bold portraits of disillusion and heartache, while at other points 'Lost Songs' overflows with swells of symphonics, feedback and electronics. The title joins the already released (and still available) vinyl reissue of the band's long out-of-print 2000 Deep Elm sophomore release 'Mare Vitalis.' Ominous, powerful, and magnetizing like the sea, 'Mare Vitalis' is dreamy and charming, and flows from a tide of moody energy with guitars that sweep around complex, precision rhythms. A masterpiece of timeless inspiration, the record is absolutely stunning.

Luigi Grasso rubbed shoulders, when he was twenty, in New York. He then fed on all those artistic possibilities that thrive in the big apple, and bit into it with full teeth, with fierce greed. Jazz was already flowing in his veins, and he was going to enrich this impetuous river of multiple confluences, which he discovered in the prolix underground of the city universe. Meetings, musicians, friends, artists, approaches, differences, additions, mergers, the Italian had found his America for the best and for the sake of it. In words and music. As in Greenwich Village, where he would find a refuge nest in 2O14. In the heart of Manhattan between Soho, Broadway, Chelsea, Hudson. This once bohemian neighborhood, where trees thrive at the foot of red brick buildings, is more often called "the village". Here the young saxophonist from the south of Italy will pose his audacity and his appetite. He will quickly fraternize with the best, in this refuge for artists where gospel, rock, rap, soul and, above all, reign supreme, reign in gospel, rock, rap, soul.

Superb 135/140 BPM techno shooter.
Thin and sweet, creative sounds and ambiances.
Something fresh and different.

Notice the supber Numéro Bleu tune carrying a crazy travel in Los Angeles 2034...

The first volume in an ongoing collaboration between composers Kenneth Kirschner and Joseph Branciforte, From the Machine explores the application of software-based compositional techniques i including algorithmic processes, generative systems, and indeterminacy to the creation of new music for acoustic instruments.

With his first release as EBM outfit Voltage Control on Antler Subway in 1989, Utrecht-based Arno Peeters can easily be considered one of the Dutch Dance pioneers.
Influenced by hip hop, electro and acid house, and his uncontrollable urge to experiment, he moved on to produce techno. Disappointed by the genre s conventions, he rather suddenly stopped with dance music altogether around 1995, letting a wealth of DATs with unreleased material collect dust in his studio.
To our great pleasure, U-TRAX was allowed to pick some nuggets from these archives, resulting in this Titanic EP and an album later this year.

Arno started experimenting with sound at very young age, resulting in his first cassette releases with experimental soundscapes in 1983. In 1986 he joined the notable Centre for Electronic Music (CEM), where he was able to take his experiments to a new level in a professional studio-environment.
In his techno episode , he recorded several 12 -es and CDs as Sp@sms and The Implant, and as part of Random XS, Urban Electro, African Nightflight and The AWAX Foundation, with most of his records being released on the famous DJAX label.
After turning his back on techno, he applied himself to more experimental music again. In 1996, he created AeroSon, a 40-minute sound collage that won him the first prize in the category Composers Under 30 at a high-brow international contest for electro-acoustic music. This piece was later released on the prestigious Mille Plateaux label.

Since then, his focus has shifted away from releasing music, towards working more project-based: on remixes, compilations and interactive (installations, video, sound design), building himself a successful career as radio maker, teacher and engineer, contributing to several award-winning documentaries and podcasts.
This EP is a nice cross section of Arno s dance productions, serving you some acid, techno and electro.

Titanic V1 was originally created to be a Random XS track, the techno band he formed in 1991 with Sander Friedeman. It was performed during their live set at one of the G.U.R.U. parties, organized by U-TRAX label boss DJ White Delight and label artist P.A. Presents.
This acid track was remixed into a techno monster when Friedeman replaced the 303 with a 101 and added a ton of delay on the bass drums, resulting in the woofer destroying Titanic (Underwater Dub).
The flipside sees a rare post-1995 recording by Arno: CEM Traxx 1. As the title suggests, this melancholic electro gem was created using the intricate machinery of the CEM Studio. Originally created as one half of a two-part composition for some project in 2003, it was never released before.

The EP closes with a typical Arno brainchild, the tongue-in-cheek acid banger XD5 Acid Master, from 1994. Tracks like this happen if you leave Arno unattended with a rather un-hip machine like the Kawai XD-5: he turns it inside out and uses it for things it was never intended for. Buckle up!

All tracks have been produced by Arno Peeters and mastered by Ruud Lekx. Label art by Botterman Ontwerp.

white & blue marbled vinyl

With his first release as EBM outfit Voltage Control on Antler Subway in 1989, Utrecht-based Arno Peeters can easily be considered one of the Dutch Dance pioneers.
Influenced by hip hop, electro and acid house, and his uncontrollable urge to experiment, he moved on to produce techno. Disappointed by the genre s conventions, he rather suddenly stopped with dance music altogether around 1995, letting a wealth of DATs with unreleased material collect dust in his studio.
To our great pleasure, U-TRAX was allowed to pick some nuggets from these archives, resulting in this Titanic EP and an album later this year.
Arno started experimenting with sound at very young age, resulting in his first cassette releases with experimental soundscapes in 1983. In 1986 he joined the notable Centre for Electronic Music (CEM), where he was able to take his experiments to a new level in a professional studio-environment.
In his techno episode , he recorded several 12 -es and CDs as Sp@sms and The Implant, and as part of Random XS, Urban Electro, African Nightflight and The AWAX Foundation, with most of his records being released on the famous DJAX label.
After turning his back on techno, he applied himself to more experimental music again. In 1996, he created AeroSon, a 40-minute sound collage that won him the first prize in the category Composers Under 30 at a high-brow international contest for electro-acoustic music. This piece was later released on the prestigious Mille Plateaux label.
Since then, his focus has shifted away from releasing music, towards working more project-based: on remixes, compilations and interactive (installations, video, sound design), building himself a successful career as radio maker, teacher and engineer, contributing to several award-winning documentaries and podcasts.
This EP is a nice cross section of Arno s dance productions, serving you some acid, techno and electro.
Titanic V1 was originally created to be a Random XS track, the techno band he formed in 1991 with Sander Friedeman. It was performed during their live set at one of the G.U.R.U. parties, organized by U-TRAX label boss DJ White Delight and label artist P.A. Presents.
This acid track was remixed into a techno monster when Friedeman replaced the 303 with a 101 and added a ton of delay on the bass drums, resulting in the woofer destroying Titanic (Underwater Dub).
The flipside sees a rare post-1995 recording by Arno: CEM Traxx 1. As the title suggests, this melancholic electro gem was created using the intricate machinery of the CEM Studio. Originally created as one half of a two-part composition for some project in 2003, it was never released before.
The EP closes with a typical Arno brainchild, the tongue-in-cheek acid banger XD5 Acid Master, from 1994. Tracks like this happen if you leave Arno unattended with a rather un-hip machine like the Kawai XD-5: he turns it inside out and uses it for things it was never intended for. Buckle up!

All tracks have been produced by Arno Peeters and mastered by Ruud Lekx. Label art by Botterman Ontwerp.

When SAGA brought out their 14th studio album “House Of Cards” in February 2001, their fans realised only a few bars into the opening track ‘God Knows’ that, following the highly successful predecessor “Full Circle” (1999), the band had come up with another offering in their very own great tradition. ‘God Knows’ features all the classic SAGA attributes, from Ian Crichton‘s unique riff and solo guitars to Jim Gilmour’s frequent synchronous keyboard parts and frontman Michael Sadler’s haunting melodies. These thumbprints also apply to the subsequent ‘The Runaway’ with its lyrics about the novel fascination of the internet, as well as the progressively rocking ‘That`s How We Like It!’ and ‘Always There’ with its acoustic guitar parts. After being long out of print, “House Of Cards” will return on vinyl as an exquisite Heavyweight 1LP Gatefold Edition

Digital Afrika return to the fray with this incredible EP for ASW. Featuring the original Gnawa plus it’s acoustic source recording as performed by Radouan Naim in Morocco PLUS two truly excellent remixes from the legendary Jose Marquez and Melbourne’s own TEYMORI (Amin Payne).

The original source recording for this track was laid down in Planet Essaouira and recorded by Zhonu “Nui” Moon (Digital Afrika ) on one of his many cultural trips to his ancestral home land. The studio is situated on the Moroccan coastal town of Essaouira , a cultural hub for the Berber (indigenous Moroccan) traditions.

This enigmatic town , popularised by the beatniks and bohemians of the 60ʼs, most famously by Jimi Hendrix and The Rolling Stones , has a mystique all its own as well as a long musical history.

“Gnawa” in Berber language literally translates as “Trance“ music , and is traditionally performed in “Lilas” musical ceremonies accompanied by dance that can go on for days .. where the purpose is to produce trance-like states of being where different types of healing or catharsis can occur ..

The recording was then brought back to Melbourne, Australia. Where the Digital Africa team applied its electronic Afro-house touches , while keeping true to its original North African aesthetic.

Josienne Clarke’s brand-new label Corduroy Punk
Records launches with its debut album release,
bringing you her quintessentially succinct singer /
songwriter bangers and ballads on electric guitars,
bass, keys and drums.
For the first time since her early beginnings, Clarke
is flying solo. No label, no musical partner, no
producer. Clarke is in complete control of her
songwriting, arranging, producing, release
schedule and musical direction. While the themes
might feel familiar to her fans, the musical journey
will not, with Clarke taking in a wide range of new
and diverse influences across the album - from
Adrianne Lenker’s ‘Hours Were The Birds’, IDLES’
‘Colossus’, Radiohead’s ‘Airbag’ to Phoebe
Bridgers ‘Garden Song’ and more, the album’s
touchstones span a vast musical collage of anger
and hope.
‘A Small Knowable Thing’ is alt-indie for fans of
Julia Jacklin, Sharon Van Etten, Angel Olsen,
Fiona Apple and Boy Genius.
CD edition with gloss gatefold and 8-page lyric
booklet. LP on 180 gram clear with orange and
blue splatter vinyl in a gloss gatefold sleeve with
lyric insert.

Debut solo studio album by Depeche Mode lead singer Dave Gahan,
produced by Ken Thomas, known for his work with Icelandic band Sigur Rós..
Originally released on the 2
nd June 2003 in the United Kingdom by Mute
Records.
Pressed on 180g black vinyl

Featuring a lush set of genreless aetheric applications that transmute the ineffable to pure sound through a series of immaculately designed, free-flowing haptic assaults on the auditory perception system.

Bill Thompson is a sound artist and composer. His work is concerned with various aspects of perception and embodied presence. Using found objects, field recordings, repurposed electronics and digital media, his installations encourage active attention to each moment. He applies this same strategy within his compositions which often include sustained tones, densely layered textures and indeterminate or improvised structures.

Although trained as a guitarist, Thompson has worked primarily with live electronics for 20 years. In 2016, he returned to guitar (by Moog) combined with miscellaneous tabletop devices, found objects, flashing lights and the occasional vibrator.

His work has been released on Ash International, Burning Harpsichord Records, Mikroton Records, State Sanctioned Records, and/Oar, Autumn Leaves, Phonography and several compilations. Notable recent performances and installations include the Venice Biennal (2020/21), Pauline Oliveros Tribute (Café Oto 2018), Intraspect Concert 2018, Edinburgh Fringe (2016-2018), NAWR 2017, Sonic Atlas 2017, Organ Reframed 2016 (Installation), What Remains Festival 2016, Sound Festival 2016.

"Black Earth Tongue" is based on material composed when working on the project Mushroom! with the contemporary dance group In the Making for the Edinburgh Fringe Festival 2016. Track titles are taken from (mis)translations of Japanese or Latin names for various fungi.

On the A side we have the original tracks starting with
Split Secs - Accept The Answer which is quite the slow burner, easy building up and keeping you in a state of bewilderment with weird synths, sounds and melancholic vocals floating around.

When you're still reminiscing about the first track, Franz Scala decides to up the game with his ‘Overflash’ that contains a kick that makes the walls of every room buzz. His familiar sound can be heard throughout the whole track and will for sure make every dancefloor move.

Moving over to the AA side, Split Secs has made an absolute stellar of a remix of Franz Scala unrecognizable but surely not less danceable original. Heavy bassline, dark and dreamy pads and funky percussion alternate each other in this remix which can be described in so many words, but is best to just start listening to.

Which is exactly what also should be done to the remix by Franz Scala. Taking the slow burner by Split Secs to another tempo and level by adding his familiar sound but what makes this track so special is the synths that have been perfectly applied and will bring some heat and sweat to the dancefloor.



c B1 Franz Scala - Overflash Split Secs Remix 6:02
Franz Scala Remix 8:03

"The Tragically Hip announce they will be releasing a special version of their sophomore album, Road Apples 30th Anniversary Deluxe, on Friday, October 15. The album is available in comprehensive physical deluxe CD and Vinyl and Pure Audio blu-ray audio box set editions.
Created to mark the 30th anniversary of the band’s second studio album which became their first record to hit #1, the Road Apples 30th Anniversary Deluxe editions were carefully crafted with input from each living member of the band. The outcome is a deep dive behind the scenes of what made this album one of the most beloved in The Tragically Hip’s vast catalogue. With all tracks completely remastered in 2021 by Ted Jensen at Sterling Sound in Nashville, for the first time, fans will hear music from the band with all the grit, vibrancy, and passion of their original recordings, second only to being in the recording studio with them. The physical box set editions, (CD and Vinyl), of the release will contain special Dolby Atmos, 7.1, 5.1 and binaural mixes by Richard Chycki of Road Apples and 5 cuts from Saskadelphia, ensuring fans have a one-of-a-kind listening experience. Fans and collectors will also appreciate the brand-new artwork for each of the packages within the physical box sets.
The expansive deluxe editions of the release are jam packed with rare and more previously unreleased and never heard before pieces of music chronicling The Tragically Hip’s Road Apples era, including:
• Road Apples, the original album re-mastered in 2021 by Ted Jensen at Sterling Sound in Nashville.
• Saskadelphia, as released earlier this year.
• Live At The Roxy Los Angeles, May 3rd 1991, originally recorded for a Westwood One radio show, often bootlegged and sought after by fans for many years. It has been re-mastered and expanded and includes the rare “Killer Whale Tank” version of New Orleans Is Sinking. This legendary Roxy show is now a double vinyl album. This album is available exclusively in physical product.
• Hoof-Hearted, an album of previously unreleased demos, outtakes, and alternate versions."

Editions Mego is proud to welcome Powell to its roster with a bizarre and strangely emotive new LP of synthetic computer works entitled Piano Music 1-7.

Via his own Diagonal Records imprint, his work on XL Recordings and, most recently, the opening of audio/film platform A Folder afolder.studio, Powell has firm footing in the contemporary electronic landscape. During a wry and obstinate musical life he has twisted myriad synthetic forms into shapes that explore and expand upon the districts of post-punk, techno, noise + computer music, and in the the last year alone he has released four albums of hi-def abstractions, each inspired by a formalisation of music proposed by Iannis Xenakis.

As an extension of this intense period of work/research/play with stochastic functions using probabilities to compose music, various processes emerged that Powell then began to apply to more traditional musical events. Where ordinarily in his work the probabilities and relationships are used to define parameters such as wave-shape, folding, FM, filter modes etc., he now began to use them to create musical formations and visual scores that could be played back using any software/MIDI instrument one of these can be seen on the rear cover of the LP release. While mapping out this cartography of relations, he used a basic Grand Steinway sampler as a placeholder instrument; the longer the process went on, though, the more he began to embrace the acoustic properties of the synthetic piano and make it the bedrock for this new constellation of work.

Piano Music 1-7, subtitled 'Music for Synthetic Piano and Assorted Electronics', consists of seven different synthetic islands strung together into a single composition. All were composed using the aforementioned processes that allowed Powell to play a piano, even if he never learned to do so with his hands. After all, 'In writing electronic music,' Robin Mackay once wrote, 'you also have to direct the invention of new tools.'

At times the piano skips gleefully over shadowing synthesis, whilst at others the synthetic sheets swarm and envelope the keys. The interplay between the two create a fantastical alternate reality, a cosmic machine in which time is eroded, shrunk and expanded, like a wax upon which operations and relations are inscribed or engraved. Many of the pieces express a playfulness or optimism verging on vitalism, as bundles of piano notes dance and interpolate with a never-repeating range of electronic gestures. The feel is of a brightly coloured flower-bed in various stage of bloom. This interplay of the artifical acoustic and the electronic builds on the pioneering processes developed by David Behrman in works such as Leapday Night, and Piano Music 1-7 could also be posited as a modern take on Conlon Nancarrow's investigations for player piano. Similarly, the razor-sharp sonic properties and unfolding of non-human events recall the computer works of Xenakis and the surgical precision of Mego mainstay Florian Hecker.

Recorded in late 2020, these new Powell works propose not just a bold and bright vision of electronic music but serve also as a map with which, for 35 minutes at least, we can navigate our way out of the current milieu. As the artist himself remarks in the sleeve-notes, '. . . What emerged from this fog or soup for me were ideas and processes that felt affirmative and life giving — sensations I had always hoped to convey in my music. Perhaps the optimism or positivity I felt at these musical events unfolding, these clusters and knots tumbling in different directions across time, can also be felt by you.'

Brace yourselves for a heavy dose of hi-tech futurisms from a long time Sneaker associate. Laurie Osborne has held true to his free-spirited musical demeanour since his breakthrough dubstep years, springing across tempos and styles while holding fast to a deep-rooted raver's instinct. His profound appreciation and knowledge of vast oceans of music injects his sound with a boundless, playful enthusiasm. As was evident with his 2018 LP Life In A Laser and his ALSO collaboration with Second Storey, Osborne speaks fluently in the techno and electro vernacular as much as UK soundsystem gear, channeling a sparkling, melodic energy which typified those genres at their inception. On Infinite Hieroglyphics, Osborne trips into expansive imagined vistas and fizzy furrows with a pervasive sub-bass footing.

Grey Marbled Vinyl

But Only After You Have Suffered is a densely layered and deeply personal new work from multidisciplinary artist, composer, percussionist & producer Jamire Williams. Conceived as a spiritual, autobiographical artistic statement, Jamire applies sound collage practice to modern jazz composition, beat production, MC/vocalist features, and his uniquely impressionistic drumming style - making an album as akin to minimalist painting as an art-house film soundtrack or a classic hip-hop mixtape. A "self-reflective, almost testimonial work" that swiftly cycles across a vast spectrum of styles, it's the culmination of his five-year musical journey to the outer reaches of his own sound. It's the album he has always wanted to make.

Hearing Dominic Appleton take his voice in quieter, more intimate directions, exploring new textures and strengths, in combination with Matteo Uggeri’s flowing production, makes for a striking experience. Interesting and unexpected." – Ned Raggett (Bandcamp/The Quietus) // "Without exaggeration, Dominic Appleton is by far my favourite living male vocalist. He has such a beautiful, sad voice and comes up with melodies that do the same" – Ivo Watts-Russell (4AD founder). // "This Mortal Coil singer Dominic Appleton's crystalline voice and romantic lyrics set a mood of lonely grandeur” — Mojo (2013)

Giving form to a broad personal project of continuous inquiry and existential expression, A World Of Servicemarks the Ostgut Ton debut of Spanish producer, DJ and artist JASSS aka Silvia Jiménez Alvarez.

The evolution of A World Of Servicehas curved around genre collapsing and unexpected metamorphoses. Formerly the name of the monthly radio show JASSS hosted in Berlin, and soon to be the title of her expansive multi-sensory touring concept in collaboration with Ben Kreukniet, here A World Of Serviceis powerfully concentrated in sonic form. Throughout the album JASSS muses on the especially current human and technological barriers to interconnectivity; both lyrically and musically she deconstructs the self, unmasks anxieties and interrogates the insufficiencies of language as applied to gender, identity and interpersonal relationships. Forming her own fluid, nuanced lexicon in response, JASSS seeks a deeper understanding of her multiple selves, emerging through unbridled adolescent rage and the wisdom of maturation, traversing liminality with abstract electronics and baroque industrial pop. Visually this is underscored by Matt Lambert’s uncanny floral cover portraiture, as well as the record’s distinct scent of wet earth, flower and woods developed for the album by Meri Bonastre and applied to the vinyl innersleeve.

Following the imaginative nostalgia of Weightless, her 2017 debut album for iDEAL Recordings, as well as her series of blistering dancefloor 12”s for Whities/AD 93, A World Of Servicefolds personal and societal concepts in on themselves, not seeking answers but rather luxuriating in the unique friction that questions create. JASSS is intensely focused yet musically unbridled; this is reflected in tonal shifts of A World Of Service. Through the computerised yearning and bruising of a heartbreak on “Luis”, to the jagged and wordless tundra of “Vapor Dentro”; the intriguing juxtaposition of warm, alluring Spanish vocals against rigid pillars of industrial heft and bass grind (“Camelo”), and the soaring maximalist industrial popof the album’s closer, “Wish.”

As intensity rises through the pandemic-era trip hop of the album’s title track “A World Of Service”, JASSS sings: “Pleasure / Is nowhere to be found inside this world of service / I call to be my life.” Pleasure may remain elusive to her, but in the determination to make peace with her various identities in this technological age, JASSS offers a compelling glimpse into an essential type of artistic voice.

REPRESSED !!

Wolfsheim are a synthpop duo from Hamburg, Germany consisting of Markus Reinhardt (music) and Peter Heppner (lyrics and vocals). The band was founded in 1987 by Markus Reinhardt and Pompejo Ricciardi and was named after Meyer Wolfsheim, a fictional character from F. Scott Fitzgerald's novel 'The Great Gatsby'. Ricciardi soon left the band and was replaced by Peter Heppner, a childhood friend of Reinhardt's. Together they produced their first demo tape, Ken Manage', in 1988.

After making a second demo tape, Any But Pretty', in 1989, Wolfsheim applied at various labels until they caught the attention of independent record label Strange Ways Records. They are best known for their debut breakthrough single, "The Sparrows and the Nightingales', the first single to be released on Strange Ways in 1991. The band's musical style takes cues from the 1980s New Romantics, new wave, synthpop, and darkwave. The track's sombre synths were produced by Carlos Peron of Yello. Reinhardt says the lyric was inspired by 'The Great Gatsby', "in the 'onomatopoeic tension' between predator and security." Over six minutes, the narrator describes being lost, unsure of where his life is heading, using highly metaphorical language. On the flip is a brand new remix by German producer Ancient Methods, a pseudonym of Michael 'Trias' Wollenhaupt, who provides a driving, EBM-leaning, amphetamine-laced club ready cut.

All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. Designer Eloise Leigh has updated the record's original design with two sparrows enclosed in a blood moon circle against a deep black purple backdrop. Each copy comes with a black and white photo postcard notes by Carlos Peron and the song's lyrics. This release comes in time to celebrate the single's 25th anniversary.

Revolutionary in its time, ‘The Firebird’ is a story in musical textures and dynamics perfectly suited to the Mercury technique. Dorati and The LSO present each nuance in perfect scale and balance. Recorded in Watford Town Hall, near London UK, June 7 and 9, 1959 with three Schoeps M201 microphones.

Revolutionary in its time, ‘The Firebird’ is a story in musical textures and dynamics perfectly suited to the Mercury technique. Dorati and The LSO present each nuance in perfect scale and balance. Recorded in Watford Town Hall, near London UK, June 7 and 9, 1959 with three Schoeps M201 microphones.

Swallow this: Part 4 of the Running Back various artists series here and as always, there is no long reading needed: 5 tracks by 5 different producers with different backgrounds and experiences. All somehow fit together and paint a bigger picture between remodeled deep house techniques and floor mechanics.
Yungruzt feat Eluize opens the dance with the emo-house poem Starlight. The young man managed to deliver a transcendental masterpiece that is best used for coming up - or down, if you will. A Human Connection is being made next by Baldo. Imagined and made for high times, the Barcelona mainstay applies a tried and tested formula isn’t failing here either: 303 morse codes, break beats and an on going automated voice message do the trick. The man like 9th House goes back to the deep with the yearning and beautifully composed piece Ara, while Tiger & Woods co-author Delphi trades the boogie and disco tropes for heartfelt piano house. Last but not least, new talent Signal Mute pushes it over the finishing line with another tearjerker. Shared joy is double joy!

ALTER- : A REACTION TO THE ALTERMODERNISM IN SOUND ART
For the Automatisme - Alter- album. I am inspired by how the art historian Nicolas Bourriaud defines the Altermodernism. Bourriaud understands the term "Alter" as a way to mean "other". The altermodernism would be another modernity that is different from the avant-garde modernism and post-modernism. More precisely, this is a new paradigm from the XXIe century with alternative ways to motivate artists to be more radical in art by traveling in the physical and digital world, by cutting the frontiers and by creating other time lines. I apply the "alter" subject to time and to landscape and those, to the rhythmic and the ambient glitch music.

1- THE ALBUM HAS A RHYTHMIC SIDE AND A LANDSCAPE SIDE.
1- a : The rhythmic tracks are named Alter-Rate. That means that I offer other types of rhythms by calculating beats with time rate experimentations. The form of the rhytmic tracks, expresses a course, a wandering, which, in the altermodern life, is not just in a standard 4/4 , or just grid based or non-grid based, but it's in a complex hybrid of all of those.

1- b : The ambient tracks are named Alter-Scape. That means that I offer another type of landScapes by a paused temporality and not by a random time or by the time of the nature. Alter-Scape tracks mimic the saturated globalized soundscapes of the XXIe century.

2- THE GLOBALISED AND SATURATED TIME
For Bourriaud, the artists respond to a new globalised perception. They traverse a cultural landscape saturated with signs and create new pathways between multiple formats of expressions and communications1. The Alter- album tracks have saturated rhythms Rates and static ambient soundScapes. The specific context within which we live is the age of globalisation2. In this album, it means that globalised or always evolving rhythm Rates are in constant movements and are also different every time an Alter-Rate track is exported or performed. On the other hand, a globalised landScape is an ambient track with a motionless temporality. In the era of the altermodern, displacement has become a method of depiction3. The movement of the sound in the Alter- album is two sound spaces. The first is the rhythms that make time movement become apparent and the second is an ambient paused or static time that makes possible to feel and to analyze the movement effect of our surroundings.

3- THE CONSTANT TENSION STATE OF ART
For Gilles Deleuze, art is in a constant state of tension, in as much as it oscillates between the poles of chaos and order4. The Alter- album is a tension between chaos and order in rhythmic beat tracks and ambient soundscapes tracks. It is a deterritorialization of the rhythms and the ambiences of today's natural and digital landscapes and it brings them into the computer glitch music format.

By pushing new softwares to their limits, I push at the extreme the software capacity to calculate and to generate sounds. The Alter-Rate tracks are experimentations with time rates and rhythms with the use of probability and artificial intelligence based sequencers. The partition signal starts from a master sequencer that gets into all instruments on a track. Each instrument receives this signal and modulates it with other sequencers that are each programmed differently for every instrument. Finally, all the instruments signals return to a master output that contains a stutter effect. This master channel is sequencing all other channels into one single rhythm. In short, a single rate merges and expands into a vast archipelago of rates and the transformed signal becomes a new single rate. The Alter-Scape tracks are experimentations with midi triggers that give the sensation of a timelessness. Multiple reverb effects are also routed into each other to create soundscapes of continuity. About the type of sounds created in this album, I do experimentations with deep frequency modulation synthesises (FM) on all Alter-Rate and Alter-Scape tracks.

I put a few layers in the tracks to be able to focus on the time space and perception. The tracks are generative and every parameter uses probabilities to be programmed. This is something that was not possible some years ago. The computers are enough powerful to generate that now. I export many times the tracks and i push the computers to their limits by making hard for them to calculate and to generate the tracks with a deep, a pointillist and an extreme software programming. These techniques do different versions every time that I export or perform a track and in my opinion, that opens a fresh and innovative way to do new experimental club music and ambient music. The computer has its own limits too.


Reviews in The Wire, Gonzo, A Closer Listen, Datacide, African Paper, Silent and Sound, and more

Distilling order from a crushing whirlwind of chaos has been the stock in trade for Red Kite since the Norwegian jazz-rock supergroup joined forces in 2014. Apophenian Bliss, the much anticipated follow-up to the quartet’s powerhouse 2019 self titled debut references the tendency in the human brain to find patterns and connections even when none actually exist. While it may be a stretch to call Red Kite’s blistering alchemy of surging psychedelia, steamroller rock and fringe-dwelling jazz “benign,” it’s at least a far less harmful application of the term than the conspiracy theories warping minds across the globe.Still, corralling the heady pandemonium of heavy prog, free jazz, combustible fusion and avant-metal into a cohesive sound is one thing; bringing that music to life in the face of the real-world chaos of a global pandemic is something else entirely Musicians : Even Helte Hermansen – Baritone guitar Trond Frønes - Bass Bernt André Moen – Rhodes Torstein Lofthus – Drums and percussion For Fans Of: Mahavishnu Orchestra, Return To Forever

4 Reworked & Reimagined tracks from Motherhood and a cover of Deftone’s “Teenager”. Clear w/ Blue Glitter Colored Cassette Shell, with full pull-out J-Card artwork. Recommended If You Like : Bjork’s Live Box, The Deftones Cate Le Bon. Montreal’s No Joy—since 2009, a noisy four-piece shoegaze band, from 2015 onward, the sonic experiments of founding member and principal vocalist Jasamine White-Gluz has rejected convention, opting to find cohesion in vast, bold, indiscernible structures. In the beginning, the group excavated melodious riffs from squalling guitars, now, White-Gluz approaches songwriting with abstract meticulousness, no longer tethered to her six-string instrument. In 2018, it was the modular electronica of No Joy / Sonic Boom, an EP collaboration with Spaceman 3’s Pete Kember. In 2020, her first full-length as a soloist and No Joy’s first album in five years, Motherhood, her guitar returned for a genre-agnostic, maximalist treatise on aging. Fertility, family, death, birth, her voice heard loud in the mix, White-Gluz became a commanding force among the many-splendored sounds of trip-hop, trance, nu-metal, dance rock, and, of course, shoegaze, delivered through banjo, vibraphone, scrap metal, slap bass, even kitchen appliances. Who knew chaos could have such lucidity? Now, White-Gluz’s ever-expansive evolution has brought forth Can My Daughter See Me From Heaven, an EP reanimation of five songs from Motherhood, transformed by new orchestral instrumentalists: an opera singer, a cellist, a harpist, French horn musician. These songs, recorded entirely remotely, are not a correction. They are a spring rebirth—an opportunity to grow those tracks, similar to the transformation they would’ve undergone live, on stage. “Songs take on a new life when I’m on tour. These songs didn’t get that chance. I still had more to say with them,” White-Gluz explains. “I probably never would’ve been like ‘let’s get a bunch of classically trained players together,’ if it wasn’t for covid-19 canceling tours. This EP was an opportunity to do something that wasn’t obvious. It’s a bedroom recording, but it doesn’t sound like we recorded this in our bedrooms. I wanted to do something that sounded bigger than Motherhood did, and Motherhood was recorded before covid.” Where many musicians used last year’s disaster to look inward, releasing solitary, insular albums, No Joy did the opposite: “It was more, ‘Let’s try everything!’ Give me something to look at!”