Buscar:fe

We are proud to finally unleash this fresh package of dnb goodness from long-time label affiliate HLZ. Four brilliantly inspired tracks, each one specifically crafted around the Integral ethos epitomising futuristic funk and bass ridden with soul. So intricately deep and packed with his clinical signature punch; this release showcases the versatility of HLZ’s quality productions which always guarantee superb dancefloor measure.

Princess Diana of Wales, by London-based Australian Laila Sakini, is A Colourful Storm's latest and most curious project. Someone, no one, a notion, a feeling... Sakini offers clues but no simple answers. Vocal-led pieces 'Still Beach' and 'Fragments of Blue' are brittle and intoxicating, contemplating recklessness and unfulfillment of a past life: "Watching the future wash away / Giving it up to have this day". She studies closeness and, incredulous of the feelings that emerge, wonders if detachment is impermanent. She catalogues these emotions as a series of memories, colours and images. 'Evaporate', sedated and hushed, is a secret confession and ode to resolution, albeit, fatally, only a temporary one: "Take some form / Later on when I can do this / When we can do this / Together".

Behind the album is a stage of dubwise disorientations evoking in-between states of the everyday. 'Swing' and 'Closer' are woozy and dreamlike, their voices summoning ghosts of fortunes past while 'Exhaust' finds an aperture in our protagonist's daydream. A perilous foreshadowing of the incantatory 'Choir Chant', whose spell pacifies her inquisition, submerging both self and feeling into the deep blue sea. RIYL: Grouper, Kali Malone, Drew McDowall.

Mit ‘SERPENTINA’ betritt BANKS bisher unbekanntes Territorium und zwar in jeder Hinsicht – vom Sound bis zu den Lyrics, den Visuals und allem dazwischen.
Der Albumtitel reflektiert dieses Spielerische und das Gefühl, sich neu zu erfinden. Das Wort “Serpentine” kritzelte BANKS früher oft in ihren Schulkalender. Das “a” am Ende steht für eine Feminisierung dieser Idee – eine Verkörperung von einer Art Schlangenkönigin, wie BANKS es beschreibt.

BANKS ist eine amerikanische Singer-Songwriterin, Produzentin, Dichterin und Regisseurin. Seit ihrem atemberaubenden Debüt 2014 hat BANKS insgesamt mehr als 1,4 Mrd. Streams erreicht und rund um den Globus ausverkaufte Konzerte und Festivals gespielt. Ihr Debütalbum Goddess wurde von der Kritik gefeiert, schaffte es in sieben Ländern in die Top 20 der Charts (u. A. in Nordamerika) und machte ihr einen Namen für einen ganz eigenen Sound: Alternative Pop mit einem Hauch unkonventionellem R&B, mit dem sie aufgewachsen ist. 2016 meldete sich BANKS mit The Altar zurück – eine dunklere, intensivere Abwandlung der Themen, mit denen sie sich auf Goddess beschäftigt hatte. Auch dieses Album fand bei den Kritikern großen Anklang und erreichte mehrere Top 20-Platzierungen in den USA und weiteren Ländern. Zu ihrem dritten Album III präsentierte sie 2019 die aufregende, synthlastige Vorabsingle “Gimme”, produziert von Hudson Mohawke. Mit seiner eher experimentellen und fast verspielten Produktion und den reiferen Texten war III ein weiterer Schritt in ihrer künstlerischen Entwicklung. Nach dem Erfolg von III begab sich BANKS auf ihre mit 33 ausverkauften Konzerten in neun Ländern bis dato umfangreichste Tour. Als Muse von Modehäusern wie Chanel und Dior war sie bei diversen Fashionshows in der ersten Reihe und auf den Covern zahlreicher Hochglanzmagazine auf der ganzen Welt zu sehen. Sie ist auf vielen der größten Festivals aufgetreten, darunter Coachella und Lollapalooza, spielte im berühmten Guggenheim in New York und war in vielen TV-Shows zu sehen (z. B. Colbert, Kimmel, Meyers).

When the whole world collapses around you, sometimes the only thing you can do is stomp it all loose. Erin Anne's second album, the gleaming, electrified Do Your Worst, charts that uninhibited romp through disaster. Written amid the rubble of personal grief and professional disappointment, later exacerbated by the devastation of a global pandemic, the record deepens Erin's venture into the blur between human and machine, adding a new roster of digital instruments to the mix. Drawing on dark, glossy '80s synthpop as well as the unabashed bombast of bands like The Killers, the L.A.-based songwriter deploys a cyborg persona to articulate a feeling of displacement from the world as a queer artist struggling to survive the machinations of late capitalism. With bright, interweaving synthesizers and ripples of Auto-Tuned vocals, Do Your Worst poses a dare to the world: Whatever you have in store, I'll take it standing.

Erin began writing her second album not long after adding a MIDI keyboard and vocal processing hardware to her home studio setup. While exploring her new gear, she found that she could work in the same vein as the artists and producers she loved the most. Do Your Worst takes inspiration from the music of Patrick Cowley, the disco and hi-NRG producer best known for working alongside Sylvester. Erin was taken by Cowley's use of vocoder on the 1982 album Mind Warp, where his distorted vocals create a queer, mutant subjectivity. That album rang out against the cataclysm of the AIDS epidemic; Erin found resonance in Cowley's music during the present-day pandemic. "I have found the most catharsis and the most safety in listening to the music of people in really, really horrific circumstances making something lasting and profoundly beautiful," she says.

Throughout Do Your Worst, which was mixed by Sarah Tudzin of Illuminati Hotties, songs like "Typhoid Mary" and "Florida" reckon with loss, despair, and abjection. "This Hungry Body" sears through pandemic-era touch starvation, while "Mirror Mirror" attends to the noxious but necessary funhouse of social media. On the playful, guitar-driven “Eve Polastri’s Last Two Brain Cells Have a Debate,” Erin uses the spy thriller TV show Killing Eve to explore queer codependency and masochism. Among these fraught subjects, Erin Anne finds opportunities for release. She stages internal conflict on a scale so massive that its details start to become clear; if they don't resolve, they at least become palpable.

"I’m very much a maximalist when it comes to production. I like vast landscapes. I like a stratosphere and a core -- I want the bass to be beneath the floor," Erin says. "This record is, in a lot of ways, a collection of some of the first moments that I was technologically able to achieve accurate renderings of how I hear my own emotional world."

Repressed!

International selector Facundo Mohrr rekindles his relationship with All Day I Dream on the Deja Vu EP. The moody project continues an emotional journey into the ADID 2022 calendar and previews its performance at the inaugural All Day I Dream festival.

Justin Time is a name behind so many old skool anthems, both as a solo artist, and as part of Triple J, but that also means that he has a selection of unreleased tracks! Thankfully he still had some of them saved on some old DAT tapes. A selection of original breakbeat hardcore that for one reason or another never got a full release. These tracks are breakbeat hardcore that featured on dubplates, and on mix tapes, but never got the full vinyl release back in the day! All 4 tracks are very Justin Time in style but the track JT Goes North has been on so many peoples wish lists for about 25 years now as it was featured on a compilation CD and nowhere else!

Club / DJ Support
Jay Cunning, Billy Bunter, the Fat Controller, Liquid, Hyper On Experience, Glowkid, Slipmatt, Dj Jedi, Dj Luna-C, Dj Brisk, Paul Bradley, Jimni Cricket, Bustin, Jimmy J, Doughboy, Lowercase, Dave Skywalker, Ponder and many others

Following last year's debut LP “Palav Aed” for Amsterdam’s Wake Dream & a remix for Versatile boss Gilb’ R, Ruutu Poiss gives us a peek into his old demo compartments.

A side raw & tireless drum workout gets charged up by lush pads & synth maneuvers. A bit breaksy? It’s called “Drumstixxx” for a reason. The flip is full of intruders – awrily measured bass stabs & FX-fuelled leads jumping in & out whenever they feel like it. The glue here is that clattery hihat that leads us thru the track. Keeping it moving, always.

The two tracks on this 7" might feel “old” for Ruutu, but hold a true sense of his unique imaginative style.

Following the precursor singles of 2021, Formality Jerne-Site’s unveiling is finally cast upon her already-growing fanbase. Trained classically as a composer and completing a masters at the Royal Danish Academy of Fine Arts, Jura introduces a highly-anticipated playground of carefully sculpted characters, plots and lessons - sometimes charming, sometimes nefarious, always absolute and sincere. A fictional land opens its doors and roof to us. A trio of trans kids run amok in rural suburbia. Various sorcerers of the wild future enter the scene on some songs; on others, the mind is cast to sun-drenched drives and journeys of yesteryear. At the heart is a pop sensibility: yearning, reflections, vanity, guesswork, hope. Jura is adamant about practice and precision. Dead seriously she offers, about making music: ‘Nothing should be half-hearted or an accident.’ There’s a maturity and elegance to her compositions, arrangements that - although at first sound seem abstract - lean away from experimental, somehow. She sing-speaks in English, and somehow not typically theatrically for such a play of a record. The theatrics are all real. It’s a fantasy land for sure, but it's based on hard facts. Like academia subdivided into poetry. It’s that weird-ass specificity she mentioned. Opener ‘Someone’s Lifework’ introduces less a choir of voices, than a choir of personalities. The art of storytelling is at the center of the musical expression. A protagonist relinquishes control of chaos that’s bigger than them on a perilous journey on some vessel: they comfort their co-passengers. There’s a sense that the hero - or anti-hero - might be more canny and cunning than the sweetness they first sell to fellow players. 'Is this our getaway chance?’ sings fellow Copenhagener Ydegirl amongst swelling synths and reverb that become so definitely Jerne-Site as the quest continues. The search? For intimacy, perhaps. ‘Same late Age (dIcK bIfFeReNcE)’ imbibes at once, some further disorientation, perhaps a little hallucinatory feeling which may come over the listener. Through a synthesizing of political themes that work across time ‘Same Late Age (dIcK bIfFeReNcE)’ bears reminiscences of the musical expressions of anti-capitalism in the 1980es, although in a new body and context. “I have a feeling that music reconjures societal morals and ideas from the time in which it was written when we press play or hear a live performance. From the moment at a concert when the symphonic orchestra starts tuning in, the time traveling begins. So I imagined how it would be to be trans sitting there playing the first violin, having the job of producing that first tone that all the other musicians around me tune in ona, ” Jura explains. The listener yearns for more; and subsequent tracks deliver. On ‘How Intimate It Gets,’ Jura meditates on the futility of closeness, begging the audience to enter the blood and guts of their own entanglements, the blueprints of focusing entering. Jura sings richly about fingers being lines, pointing or bending, and we’re reminded of their own wicked ways we can’t control. A history of singing in choirs informs the harmony of myriad inner voices heard across the album. At once prophetic and enigmatic, some of the songs rearrange historical events out of pop musical language. The enormously entertaining ‘Pinot-Botticelli Toast to European Users’ conjures scenes of Cold-War world leaders stuck on a cruise in the Transatlantic vacuum, and the protagonist watches a devastating heartbreaker careen on into the picture, led by his own hips on ‘The Lasceaux Associate’. Finally, on title track ‘Formality Jerne-Site’, American English rises to the occasion like a verdict around the narrative of three trans teenagers in rural Colorado: language turns into something sensual and haptic, playing with the snare and sizzle of syllables. The words twist and bend, while the music follows its own synaesthetic logic: “around us pop culture made a vow to a normative desire, drawing in like water color percussion”. Anyines is a site of play and documentation, with a canon so far quite nice. Their future is one that envisions supporting the galaxies their dear friends embody, be it music, performance, video games or beyond. Highlights from their discerning back catalogue include myriad formats: live and digital, plus releases binded to physical artefacts that enhance the live experience such as sculptures and scents. Their history also includes disappearing time-sensitive shadow-tracked material and cross-disciplinary opportunities that reflect deep professionalism and a totally non-schooled semblance of sound and drama. Recent releases include a dance-theatre soundtrack, a traditional shiny pop record, and the acclaimed ML Buch sophomore, Skinned.

Limited Edition 100 Only Red Vinyl LP - Hand Signed and Numbered / Quantity: 100 - Beth Blade and The Beautiful Disasters are a melodic Hard Rock band based out of Cardiff, South Wales. The four-piece provide monster riffs, huge choruses and a dose of old school rock and roll attitude. With aggressive muscle and melodic sensitivity, this band is reigniting the flame of British Hard Rock. They have an unmistakable modern presence whilst keeping the spirit of old school rock and roll alive. The band have been a non-stop force to be reckoned with, building a strong pedigree touring with Marco Mendoza and The Electric Boys, and have supported old and new legends such as Kee Marcello, Y and T, Dan Reed and Danny Vaughan, Ricky Warick and Damon Johnson, Massive Wagons, Those Damn Crows, Tyketto and Graham Bonnett. They are no strangers to festivals either having performed at Hard Rock Hell, Planet Rockstock, Monsterfest and most notably with KISS on the globally renowned KISS Kruise in the US. The band's first two albums received glowing reviews across the rock press and resulted in international radio airplay including heavy rotation on major networks in the UK. Beth herself has sung backing vocals on the last two Thunder albums with the latter reaching number 3 in the U.K. Top 40 Album Chart and number 1 in the U.K Rock Chart in March 2021. The band are currently working on album number 3 and have a number of live shows and festivals already booked alongside The Treatment, Mason Hill, Collateral and will be hitting the road again on a UK tour with Swedish Rockers Thunder Mother. The band is fiercely determined and has the grit to surpass their previous accomplishments through intense live performances and a passion for rock and roll that is unrivalled.'

Greek genius Christos Chondropoulos’ stunning debut for The Death of Rave finally lands on vinyl - an incredibly imaginative masterwork rich with quartertone melody and meticulously chiselled production, shaped into a future-folk songbook that deeply expands on his wonders for 12th Isle and The Wormhole. Highly recommended if yr into Paul DeMarinis, Rashad Becker, Ryuichi Sakamoto, Kara-Lis Coverdale's 'Aftertouches', Jonathan Bepler’s soundtracks for Matthew Barney, Black Sabbath or Aphex Twin. Floors us every time!

Continuing Christos’ singular fascination with, and reappraisal of, Ancient Greek modes, ’Relics’ further excavates the deeptime topography of Greek music prior to the ban of “oriental” or 1/4 tone microtonal modes nearly 100 years ago.

Clandestine, euphoric, hyperreal and otherworldly; it takes shape as faintly familiar forms of new age folk, avant-techno and metal musicks, but with an alien appeal that treats the past almost like another planet, never mind a foreign land. Christos studiously raids the past for lost treasure, navigating his tuned instincts as an improvising percussionist, and lover of non-Western composition, to create a uniquely absorbing soundworld that resembles an AI’s dreams after ingesting encyclopaedia entries on thousands of years of Greece prior to 1936. In the process, the album acutely questions his and our relationship to the past, and what has become lost in translation with reliance on prelaid templates and the “wisdom” of elders.

Bursting to life with the iridescent arps and new age AI chorale of ‘First Love Fereter’, and concluding with bone-clacking raverie of ‘Jungle X’, the album offers a stunning advance of the themes and aesthetics in Christos' previous records, from the self-released free jazz of ‘Fingerpainting’ (2013) to 2021’s 12th Isle released ‘Athenian Primitivism.’

Thanks to meticulous detailing, ‘Relics’ allows a finer play of textured light and almost tangible - yet entirely generated - voices into his music: most strikingly on the sublime songcraft of ‘Regret’ and ‘I Dream Of You’, while the likes of ‘Asham’ are bathed in deeply uncanny atmosphere, and his percussive proprioceptions are most heightened in the delirious battery of ‘War Horns’ and ‘Sacrifice’, with ‘Cyber Crust’ calling up demonic, cthonic pagan spirits resembling Black Sabbath undergoing regression therapy.

Repress

Identified Patient drops another calamitous record on Pinkman - 4 dungenous slowbeat cuts, brimming with energy, emotion and attitude. The EP kicks off with Geen Syndroom where jaded, murky melodies go in tandem with sexy bass lines and an obliterating broken drum beat. Thereafter, Nog Steeds High Van De Lak progressively evokes feelings of desolation and melancholia, while carrying an aggressive punch and irresistible groove. Do the flip to find two more ferocious productions in Ver Verwijderd Van Vermoeid and Haar Glans Altijd Strak. The former grips you firmly with bubbling acid and machine gun snares on the backdrop of violent kicks. The latter ends the voyage entrancingly with hypnotic synth lines, whiplash-snares and rattlesnake-hats.

UNHERZ haben ihr mittlerweile 9. Studioalbum während der Coronazeit geschrieben, welche bei so manchem Bandmitglied Spuren hinterlassen hat.

So geht es auf "Sinnkrise" um die Aufarbeitung tiefer Rückschläge, den Umgang mit der persönlichen Lebenskrise sowie - und das ist das Wichtigste - der Erkenntnis, dass Aufgeben keine Option ist.
Das Leben schlägt manchmal knallhart zu und es gibt diese Momente, in denen man feststellt, dass man eigentlich nicht mehr kann und aufgeben will. Doch wenn man diese Krise überwunden hat, sieht man umso mehr, wie schön das Leben doch ist.
Das Album soll vermitteln, dass Krisen zum Leben dazugehören; es soll aber auch in diesen beschissenen Zeiten Kraft geben. Denn wie heißt es im Song "Ich falle" so schön: "Selbst im größten Dreck kann eine Pflanze gedeihen!"
Als Gastmusiker sind Richard Jung (ex-The Busters), Jessica Conte (Glanzmomente) sowie Jean Bormann (Rage) mit von der Partie.

Joe Rainey is a Pow Wow singer. On his debut album Niineta he demonstrates his command of the Pow Wow style, descending from Indigenous singing that's been heard across the waters of what is now called Minnesota for centuries. Depending on the song, his voice can celebrate or console, welcome or intimidate, wake you up or lull your babies to sleep. Each note conveys a clear message, no matter the inflection: We're still here. We were here before you were, and we never left. On Niineta, Rainey finds himself in between cultures, collaborating with producer Andrew Broder, who brought his turntablist sensibility to the project. The two of them met backstage at Justin Vernon's hometown Eaux Claires music festival before crossing paths more through the 37d03d collective, and both contributed to the last Bon Iver album before partnering up. "At first I didn't know what I could add," Broder says. "I came to understand everything is rooted in the drum-even the songs on our record that have no drum." Each song started with Broder's beats, the two of them experimenting with various sounds and tempos before orchestrating and recontextualizing the ancient sounds in strange, new in-between places, also pulling from Rainey's vast sample folder of pow wow recordings, layering in slices of his life. Niineta is a short version of the Ojibwe term meaning, "just me," and Rainey is using the term only in the sense that he's taking sole responsibility for the music. He is protective of Pow Wow culture-once outlawed by the US government and maintained in secret-while trying to figure out where he fits and how he can be creative with it. "These are my creations, but they're pow wow songs, and our language is sacred," he says. Rainey suggests conceptualizing the album as him working the door at a Pow Wow after party. "If I'm answering that door, I want to say, hey, yeah, come on in. But there's fucking tons of us in here. It ain't just me."

Sick Joy sind eine der vielversprechendsten jungen britischen Rockbands mit fuzzy Riffs, melodischer Härte, hoher Energie und scharfen Texten, irgendwo zwischen der melodischen Genialität der Pixies und der rohen Energie von Slipknot. Bei Live-Auftritten mit Feeder und Demob Happy stellten sie ihre ansteckende Vitalität und Kraft unter Beweis und präsentieren nun mit ihrem Debütalbum WE'RE ALL GONNA F***ING DIE eine brüllende, fuzzy Alt-Rock-Explosion, die sie zu Headline-Gigs, Terminen mit Dinosaur Pile Up, The Pixies und Pearl Jam und einem Auftritt bei 2000 Trees mitnehmen.

Dana Kelley, aka DKMA, is a much revered writer, producer, remixer, performer and creative force whose releases have become timeless classics and Holy Grails amongst DJs, music heads and collectors alike. A true artist and innovator, his productions possess the unique ability to engage, transport, challenge and enthral as only next level musicians can.

Grounded in the deep, soulful US House sound of the mid '90's, his earliest releases can be found on Strictly Rhythm, before moving on to produce under his DKMA alias as well as releasing music as Callisto on Guidance. Although Dana sadly passed away in 2013, he left us with a remarkable body of work that has remained both exciting and relevant throughout the last 2 decades and beyond.

Boston Boy Vol.2 is the 2nd in a series of compilations that focuses on Dana's visionary work as DKMA, during his most compelling and creative phase between 1997 and 2002. The compilations themselves are collated from an incredible & far reaching archive of over 20 of Dana's original DATs that have been generously shared with us by the Kelley Family. In the archive, some of Dana's most sought after & cherished works were uncovered, restored and meticulously assembled alongside previously unheard archival material.

The tracks themselves are bold, clever and inventive, characterised by a need for innovation. Passages of deep soulful house underpin more forward thinking electronics without ever losing dance floor appeal. Jazz solos sit imaginatively on top of gritty swinging rhythms, deep infectious b-lines, eerie textures and chord sequences are warm and effortlessly soulful yet with a sound design, sonic range, dynamism and a technical prowess that most could only dream of.

These compilations celebrate the life, vision and art of one of house music's most hallowed producers. Unique and essential, these collections pull together DKMA's most coveted works. Respectfully sourced, restored and compiled from all audio sources courtesy of the Kelley family and Above Board Projects.

Mastered by Frank Merritt at The Carvery, London, with special artwork by Atelier Surplus featuring a special unseen image of Dana from his family's photo albums.

‘Jim, I’m Still Here’ is the second album from James Righton under his own name; produced by David & Stephen Dewaele of Soulwax and released on their label DEEWEE, the album follows The Performer released in 2020. James’ musical past is well documented; as the frontman of the genre inventing Klaxons, he helped create a revolution in British music and spawned a youth subculture. ‘Jim, I’m Still Here’ is a captivating meditation on the artists experience of the pandemic as James looks to conceptualize the myriad of emotions and events into a fascinating third person narrative. One of the album tracks features Benny Andersson from Swedish pop legendary band ABBA, with whom James has been working on putting together their new live band.

"I wrote this record during the first few months of the pandemic. At the time I wasn’t intending to make any music. I’d just released ‘The Performer’ on what turned out to be the first week of lockdown. The outside world shut down and I was busy being Dad. Then. I started making notes on my phone. Just words. In moments stolen from family life I’d head downstairs to my garage studio and put the words to music. When I was happy with a song I’d send it to Dave and Stef. Demos and Pro Tools sessions were passed back and forth between my home studio and the Deewee studio in Ghent. I was nervous about their response to the music I was making. It was personal, raw: unlike anything I’d ever written before. A conversation with the outside world during these times of isolation. For the most part my life was centred on the domestic. Getting to spend so much time with my family was a blessing. Making music was my play time. Isolation opened me to memories and allowed me to dream of the future. As the outside world tried to adapt to the pandemic I was asked more and more to promote ‘The Performer’ in live stream concerts on various platforms. As the pandemic went on, demands on production increased (more camera angles, better lighting, higher quality audio recordings). It became a one man show. I’d head downstairs to my garage, put on my Gucci suit, comb my hair and become someone else. Jim. Jim the deluded rock star, living out his fantasies from the confines of his garage. A lonely stardom. And yet, Jim was part me. He made me feel like I still existed. Jim became the centre of the new album. Dave, Stef and I worked into the sessions over the following months. It was always exciting to see where they would take my initial demos. The working method and the restrictions of making music together but in separate spaces, separate countries shaped the sound and feel of the record.
I won’t make another record like this again”.James/Jim

Hot Creations welcome back Fabio Neural and DJ Fronter who join forces once again for their second release on the label titled Ding Dong. Following on from their success with the first release, the eagerly anticipated second drops in May.

The title track opens proceedings, plunging straight into a heavy 4x4 beat, creating a stripped back, minimalistic base, expertly layered with finely chopped vocals. Foghorn like sounds and sharp percussion bring the piece together, resulting in a raw, industrial experience. Shocked follows, encapsulating the Hot Creations sound in true style, packed full of energy. Riveting bass lines paired with fanfare-esque melodies lay at the forefront of the track, transporting the listener to a bustling, colourful dancefloor.

Fabio Neural threw himself into the music industry at an early age. His productions have seen him release on Steve Lawler's Viva Music and feature in Pete Tong’s 500th Essential Mix. His eclectic DJ sets have enabled him to share the stage with heavyweights such as Carl Cox, Richie Hawtin and Adam Beyer. Colombian native DJ Fronter has become one of the greatest promises to come out of South America with releases being supported the likes of Paco Osuna, DJ Sneak and Matthias Tanzmann.

Stay Proud of Me ist das Debütalbum der in Los Angeles lebenden koreanisch-amerikanischen Künstlerin NoSo (richtiger Name: Abby Hwong). Ihr Künstlername ist eine Abkürzung für Nord/Süd: eine Anspielung auf ihr koreanisches Erbe und die alberne Herkunftsfrage ('Aus welchem Korea kommst du?'), mit der sich so viele koreanische Amerikaner irgendwann in ihrem Leben unweigerlich konfrontiert sehen. Auf 10 Tracks setzt sich NoSo indirekt mit den Unsicherheiten und Frustrationen auseinander, die aus der asiatisch-amerikanischen Erfahrung entstehen können, wobei sich das Endergebnis für Entfremdete wie Balsam anfühlen muss. Stay Proud of Me ist Coming-of-Age-Geschichte und nuancierte Einführung zugleich. In das magische Universum von NoSo, in der emotionale Aufrichtigkeit und fesselnde Performances eine fantastische Verbindung eingehen.

“Rohkea rokan syö", or to loosely translate this Finnish saying: “Fortune Favours The Brave”. Truly, none have been braver than Blind Channel. Focusing intently on their mission to take their brand of infectiously ferocious nu-metal outside of Finland’s linguistic restrictions this bravery is engrained within. “It took me eight years to become an overnight success”, this line, buried away in Blind Channel’s fourth album Lifestyles Of The Sick & Dangerous is where their uncompromising journey finds its continuation. Furiously fighting their way into the worldwide mainstream, the six-piece have always been embracing their influences, from nu-metal iconoclasts to pop and hip-hop behemoths, it’s all a part of Blind Channel’s DNA. That’s the key to their draw, they’re only interested in sticking true to themselves while studiously searching for the keys to unlock the doors of success. Blind Channel knew that they had something to process. Not only the "modern-day misery” plaguing the world, as Joel puts it, but also proving that they could deliver more than the crowd-pleasing anthem of ‘Dark Side’. Lifestyles Of The Sick & Dangerous is a lashing, brutal, bravado and swagger filled, sincere depiction of their lives, backed by their trademark unforgiving “violent pop music”. As well as a winking homage to the Good Charlotte track Lifestyles of the Rich & Famous, it’s most importantly a righteous statement of intent. That this is only the beginning.

WRWTFWW Records and MEG Museum (Geneva) are honored to present the first new solo album by renowned Japanese percussionist Midori Takada (Through The Looking Glass) in 23 years, Cutting Branches From A Temporary Shelter, available on vinyl LP, housed in a 350gsm sleeve, with OBI, and liner notes, as well as on digipack CD.

Recorded in a live setting and played with instruments conserved in the collections of the MEG Museum, Cutting Branches For A Temporary Shelter is Midori Takada’s very own rendition of "Nhemamusasa", a traditional work emblematic of the musical repertoire for mbira of the Shona of Zimbabwe, well known worldwide, thanks notably to its version by Paul F. Berliner included on the famed 1973 album The Soul of Mbira.

The choice of this title by Midori Takada evokes the links between traditional African and contemporary music which are the foundation of this work, and it also translates the resolutely multicultural vision of the artist.

Midori Takada explains: "African music is remarkable for its polyrhythms. Not only are there simultaneously several rhythmic motifs, sometimes as many as ten, but furthermore it may be that the part played by each musician has its own starting point and its own pace, all combining to form a cycle. All the cycles progress at the same time according to a single metrical structure which functions as a reference point, but which is not played by any one person from beginning to end. The structure emerges out of the multi-level parts, all different. With the Shona, the musical system is based on the polymelody: one performs simultaneously several melodic lines which are superimposed, each having its own rhythmic organization. It is truly captivating. In Western classical music, one four-beat rhythm induces some precise temporal framework and regular reference points, which come on the strong beats 1 and 3. But in the logic of the Shona musical system, and in other African music, the melody can begin in the very middle of the cycle and be continued up to some other place in an autonomous manner, as if it had its own personality. It’s very rich."

The album comes with in-depth liner notes that include an interview by Midori Takada, a point of view by Zimbabwean scholar, musician and activist Forward Mazuruse, and background information on the project by Isabel Garcia Gomez and Madeleine Leclair from MEG Museum.

The sleeve features an artwork by celebrated Zimbabwean painter Portia Zvavahera.

Part of the budget for the album was donated to Forward Mazuruse’s Music For Development Foundation whose aim is to identify, nurture, and record young but underprivileged musicians in Zimbabwe.

The album is released in conjunction with Midori Takada and Shomyo of Koya-san's You Who Are Leaving To Nirvana, also available on LP and CD on WRWTFWW Records.

White Vinyl.
Includes postcard and poster.
Part of the Optic Sevens 3.0 Reissue Series.
Originally released on the Sub Aqua label in 1988. It appears here on 7” for the first time. This is a previously unreleased version of Back Between Places. The band were never really happy with the original single release and having discovered the master tape of a superior version, it is to be mixed and released here for the very first time.
From East Village
Both tracks were recorded at Greenhouse Studios at the same one day session in August 88 and are technically unreleased.
‘Back Between Places’ is an alternate mix made at the time and better than the one we chose to release.
‘Violin’ is a completely unreleased recording. It was planned as the original B-side but ended up being replaced by two early recordings ‘Her Fathers Son’ and ‘Precious Diamond Tears’ on the actual 12” release.
We rerecorded ‘Violin’ at few months later at Scruttocks along with ‘Freeze Out’, ‘Vibrato’ and a couple of others that have appeared on the ‘Hotrod Hotel’ LP.

New dog in the 777 pound! Join the "Low Poly Life (Level 1)" by Dogpatrol and experience some deep quirky percussive leftfield treats!

Naomi Alligator is fed up. She’s sick of trying to make relationships work that have already run their course, and tired of sitting in a wintry apartment waiting for her life to kick into gear. On »Double Knot«, the modern folk singer/songwriter from Virginia attempts to unwind her life from all that is holding her back. In a way, it’s a coming-of-age record about shedding what no longer serves you and, ultimately, finding something like deliverance.

On the opening track, “Seasick,” Naomi Alligator is already in the midst of a sort of awakening. Right off the bat, she sings, “I don’t know what’s happened to me / It’s like I turned 16 / It’s like I grew to be 6-feet tall.” This is the announcement of a wide-eyed artist coming out of hibernation and into their own. Still, Naomi’s vocals ache with guilt and longing, belying the track’s playful catchiness. Longing for what? Maybe attention from a crush, but mostly a sunnier place to call home.

Naomi Alligator began writing Double Knot while living in Philadelphia during the height of the pandemic and the deterioration of a longterm romance. “I scream: How’d the hell I end up here? / I’m 1-inch tall, it’s crystal clear,” she chants on “Neighborhood Freak,” returning to height and size as an emotional barometer. When asked though, Naomi rejects the notion that Double Knot is a breakup album, or autobiographical at all. Moreso, she says, it’s a personal reckoning in which, “the minute before you make a big decision, you tally up the reasons why you don’t want to do what you’re doing anymore.”

That desire to turn the page expands to the production of the album as well. Naomi Alligator generally houses her narratives in beds of minimal, home-tracked instrumentation—influenced by the stripped-down poeticism of Joan Baez and Liz Phair’s Girly-Sound tapes. Double Knot finds Naomi continuing to hone the winning combination of guitar and banjo she established on 2021’s Concession Stand Girl EP. For Double Knot though, Naomi wanted a fuller, more dynamic sound: more instruments, more harmonies, more layering, more, more, more. Inspired by the impressionistic melodies of Animal Collective and MGMT, Naomi peppers in computer-generated synths throughout the album, most notably on the song “Burn Out.” These electronic flourishes augment the more grounding string instruments, arriving somewhere more ethereal than Naomi’s earlier work while still maintaining her warm songwriting.

If anything, Double Knot is a reminder that you can always pack up your bags, try something new, and change your life. As for Naomi Alligator herself? She moved west, to California.

Just another repress here, nothing to see! That is of course a joke because this EP is proper fire! For many, Funky Sensation is their favourite N-Zo & DJ Invincible track…but for the rest it is this total classic “Take Me Away”! N-Zo & DJ Invincible had a sound that was distinctly their own, being able to take big vocals and pianos mixed with very jungle inspired chopped breaks but keeping the sound firmly hardcore. Take Me Away remains pure goose bump material to this day. With such a classic on one side it’s not surprising that the other side doesn’t get the airtime it deserves. Red 5 is another amazing track that shows off the style of N-Zo & DJ Invincible perfectly but this time without the big piano and female vocal. Don’t let that fool you into thinking that this isn’t really another A side in disguise. Once again you can hear the jungle influence in it, especially with the slightly darker tone, compared to Take Me Away.

Club / DJ Support
Jay Cunning, Billy Bunter, the Fat Controller, Liquid, Hyper On Experience, Glowkid, Slipmatt, Dj Jedi, Dj Luna-C, Dj Brisk, Paul Bradley, Jimni Cricket, Bustin, Jimmy J, Doughboy, Lowercase, Dave Skywalker, Ponder and many others

North London-by-way-of-Suffolk soundsmith Gerry Read delivers his first release for Circus Company with the Lean on Something EP. After countless examples of his bold production moves on many of our brother and sister labels including Herbert’s Accidental Jr to more recently on Koze’s Pampa Records, Read has always displayed a kindred spirit mindset to ours in his adventurous musical angles, and we are very happy to present this particular set of rock-solid and uniquely diverse pieces.
The title track “Lean on Something” starts things off in fine and classic Read form, with knocking found-sound percussion, fizzing textures and slick use of chopped and disorienting vocal sample
bits, as the track layers unfold into a whimsical and wondrous melodic stargazing anthem. “Wooer at the Well” then follows and picks up the tempo with those fly live acoustic drum lines that gives
Gerry’s tracks that special beyond-electronic feeling, while once again the deft layering of such a rich sound palette builds and builds giving other mavericks like Four Tet a sincere run for their money. The mood then brilliantly shifts on the next track “Paramol”, where Read treats us to an almost Robotnik-era Italo sprinkling amidst his otherwise forward-thinking club floor-filling tendencies, with an amazing array of synth sections and an arrangement that should satisfy even the neo-purists out there amongst us. Finally, “Risotto” wraps up the proceedings with a warm, jazzy bouncer reminiscent of both Read’s as well as our own catalog’s charming early offerings, and a kind of landing-at-home-base sensation with smoky cubist funk feelings and an equal parts rough-yet-undeniably cool effervescent groove.

“Babygirl” is the new album by CTM out on Posh Isolation. In its composition channels a sensuous consciousness. The music is like a prism reflecting tactile perceptions, light, movements and memories. Relations between the composed structures and the undetermined of the improvisations, the cracks in the form and the digital glitches, create a poetic and open elsewhere. With a sensibility of pop, the musical landscape moves from nostalgic popballads through the austere pomp of a deconstructed baroque menuet for solo cello, to lingering piano ornamentations and distorted guitars. There is a soft and wild intimacy to the music. Common collective musical languages are weaved effortlessly into the musical canvas, while the form and perspective change and move. With a profound emotional resonance in the music, tenderness and devotion are reflected in the narrative. The sense of nostalgia comes like glimpses of pastimes revisited, when life cycles reveal themselves repeating in the now. Babygirl continues in the track of her latest album “Red dragon”, exploring feverish dreams and personal material through a digital ephemera. Digital effects splinter the intimacy and transform into something more than human, shaking the balance between the codes of the popsong and the unexpected digressions, guided by the voice of CTM that is central throughout the album. The album is produced by Holger Hartvig, Malthe Fischer and Cæcilie Trier. It features vocal and instrumental contributions by Ydegirl, Coco O., Johan S. Wieth (Iceage), ML Buch, Jakob Littauer (Yangze), Emil Elg, Claus Haxholm among others. The album, containing bits and pieces of recordings and compositions made over several years, is like a musical platform with expressions of many voices, and with relations and time weaved into the compositions. Trier is a Copenhagen based cellist, singer, and composer, with her classical training apparent across her many and varied projects and collaborations. Having received critical acclaim from the earliest moments of her career, Trier's previous album 'Suite For A Young Girl' was nominated for the prestigious Nordic Music Prize in 2017.

'Hasenchartbreaker' ist die 2. von 10 akustisch verzauberten & optisch knalligen Faceliftschallplatten aus der frischen Vinyltheke von Knorkator!

Rod von 'Die Ärzte' ist damit einverstanden, dass die Band den gewünscht großen Plattendeal mit Universal Mercury Records unterschreibt und so freuen sich die Musiker auf die bevorstehenden, aufregende Sachen. Knorkator nimmt im eigenen Studio auf. Am Ende kommen wundervolle Lieder zusammen, die leider fürchterlich klingen, weil die Musiker keine guten Produzenten sind. Fans jedoch feiern das Album. Wir wundern uns.

DRONE PLANETS...dropping beat science from the cosmos on citizens of the underground

Drivetrain (Detroit, USA) - Istanbul (featuring Joell Krista)
This colossal big room blast features punchy bass with flavored syncopation strutting atop a relentless rhythm track to produce the perfect sound track for a late night, tour guided excursion through the streets of the city of Constantine

G.E.N.I (Nottingham, UK) - Civil Unrest
The clandestine trio is sure to deliver kaos on the dance floor as they tickle the bottom of the frequency spectrum while playing mind games with twisted bleeps, tweaks and the sporadic heckling of an official warning announcement

DistantLover (Detroit, USA) - Sexual Chocolate
Loud and unforgiving, hinting of the essence of disco this infectious groove with its tasty vocal samples generate maximum energy and a debut endorsement for body stimulation

‘Raiz’, the first release on the OITO//OITO Discos label, draws the musical focus towards the sound archives of Michel Giacometti, a French ethnomusicologist who dedicated his life to studying the oral traditions of Portugal which had become either lost or forgotten, with his collections still exhibited today in the Museum of Portuguese Music in Estoril. As with their previous releases, the duo carefully manage the source material and interweave it with their Acid House undertones, with both the original cuts ‘Ceifeiras’ and ‘A Poda’ doing a beautiful job at merging the powerful vocals with driving bass lines and rhythms. The opener in particular has a deep mysticism to it, the vocals leading the line as razor sharp pads craft a pulse alongside a steady but powerful drum structure. ‘A Poda’ takes things in a trippy-er direction, with the vocals stretched out in that prog house style that keeps the mind ticking over and the body left to its own devices. The breakdowns in this track are very effective, and really portray the soul of the original vocal performance and allow for the listener to connect with the wider feeling being conveyed. On the flip, the duo asked producers Switchdance and Terra Chã to put their spin on ‘Ceifeiras’, and the results only add to the atmosphere. Switchdance takes things down into murky depths, with a low slung beat expertly interspersed with driving bass notes, as sweeping chordal lines meander up above, giving a whole new angle to the original and winning over our hearts. Terra Chã’s version injects some swing into proceedings, with looping chordal stabs pulsating through the middle along with some beautiful melodic additions that exalt and inspire in equal measure.
Balanced, referential, blissful, dynamic. All this, and more, feature heavily on the first edition of OITO//OITO Discos, so why not come along and meander through time and space – it’s worth the trip…

Eighteen sacred psychedelic suppositories from the laboratory of mad scientist and scalpel-happy pop mutilator Jean-Pierre Massiera. Includes
the rarest and most sought after fuzz funk, spooked surf and
interplanetary prog from ‘The French Joe Meek’ and all his schizoid splitpersonalities and freakish friends - The Maledictus Sound, Chico
Magnetic Band, Visitors, Human Egg, The Pirhana Sound and Jesus
himself.

 Let Finders Keepers introduce you to some old friends of theirs - Charlie Mike Sierra, Jean-Pierre Areisam, JPM and Co. Erik, The Horrific Child, Jesus, Les Maledictus Sound, Human Egg... This might sound like they’re flicking through the imaginary LP racks in the record shop from ‘A Clockwork Orange’ or perhaps congratulating the runners up in a
Halloween fancy dress competition but for the previously uninitiated you
have just been ordained into the congregation of the many split
personalities of one Mr. Jean-Pierre Bernard Massiera. Bow down to the
nine-headed monster as he mutates and shape-shifts back through time
to his humble beginnings in a Buenos Aires province ravaging and
pillaging the music of the European people for his own twisted
benediction along the way.

 This might, as intended, sound a little bit dramatic but if there is one
single ingredient that gives the eccentric Jean-Pierre Massiera his
distinct flavour it’s a large dollop of drama. Add sprinklings of
schizophrenia, shock, myth and macabre and you are on the way to a Bmovie broth with an acquired taste that has, like all the best cheese,
taken over thirty years to mature to perfection. Like all the best monsters,
his split personality is the key to his infamy and the secret of his blood
sucking success.

 This is why Jean-Pierre Massiera is (un)commonly known for two key
periods in his career which, like a worm, can be split down the middle to
thrive and flourish independently. To cut a long story short, Massiera is,
above all, a lover and purveyor of musique fantastique, and is willing and
able to hijack whichever stylistic vehicle that passes him buy in order to
do feed his lust. In the earlier part of his career he honed his sordid craft
amongst psychedelic circles in Nice and Quebec. From late 1972
onwards he moved to Antibes and started a disco revolution and
became an in demand cosmic record producer. For years, prog rock
obsessives and disco aficionados have wondered if there was two
unrelated freak merchants called Jean-Pierre Massiera but, in this rare
instance, exploito-maniacs from both sides of the cosmic coin are united
by the work of this singular, single-handed monstrous music
manufactory.

 Remastered and available once again on deluxe black vinyl since the
initial Finders Keepers limited edition 2009 pressing

Mit ihrem 2. Album ”Heile Welt” versuchten Deine Freunde sich 2014 abermals am Spagat zwischen Kinderlied und ausgereifter musikalischer Empfindung. “Heile Welt” ist ein mutiges, humorvolles und intelligentes Stück Musik für Familien und Kinder. Als genaue Beobachter und feinfühlige Verbündete erschließen sich Deine Freunde mit ihren witzig-prägnanten Texten die Lebenswirklichkeit moderner Familien und zeichnen so ein ungeschöntes, aber umso liebevolleres Bild ihres Alltags. “Heile Welt” ist ein originäres
Werk mit Ecken, Kanten, viel Wahrheit und noch viel mehr Spaß.
Mit ihrem 3. Album erneuerten die ”Kindsköpfe” der coolsten Kinderband der Welt 2015 einmal mehr die deutsche Kinderunterhaltung mit dem Ziel, Familien zusammenzubringen. Wollten sie sich anfangs nur mit den Kindern verbünden, besteht ihr Publikum inzwischen zur Hälfte auch aus amüsierwilligen Eltern.
Also mussten auch Elternlieder her. Und so gibt es auf KINDSKÖPFE erstmals einige Tracks aus der Vogelperspektive; doch katapultiert sich die Band auch wieder direkt in den Kosmos der Kindheit und
thematisiert in den 17 Songs so ziemlich alles, was in Kindsköpfen so vor sich geht.

Beide Alben, die nun erstmals auf je 2 weißen bzw. transparentgelben 180g-LPs (+ jeweils beigelegter CD) in mit allen Texten bedruckten Innenhüllen in einer 2LP-Kastentasche erscheinen, verbinden: straighter Rap, lupenreiner Pop, Elektrobretter und cooler Funk.

Mit ihrem 2. Album ”Heile Welt” versuchten Deine Freunde sich 2014 abermals am Spagat zwischen Kinderlied und ausgereifter musikalischer Empfindung. “Heile Welt” ist ein mutiges, humorvolles und intelligentes Stück Musik für Familien und Kinder. Als genaue Beobachter und feinfühlige Verbündete erschließen sich Deine Freunde mit ihren witzig-prägnanten Texten die Lebenswirklichkeit moderner Familien und zeichnen so ein ungeschöntes, aber umso liebevolleres Bild ihres Alltags. “Heile Welt” ist ein originäres
Werk mit Ecken, Kanten, viel Wahrheit und noch viel mehr Spaß.
Mit ihrem 3. Album erneuerten die ”Kindsköpfe” der coolsten Kinderband der Welt 2015 einmal mehr die deutsche Kinderunterhaltung mit dem Ziel, Familien zusammenzubringen. Wollten sie sich anfangs nur mit den Kindern verbünden, besteht ihr Publikum inzwischen zur Hälfte auch aus amüsierwilligen Eltern.
Also mussten auch Elternlieder her. Und so gibt es auf KINDSKÖPFE erstmals einige Tracks aus der Vogelperspektive; doch katapultiert sich die Band auch wieder direkt in den Kosmos der Kindheit und
thematisiert in den 17 Songs so ziemlich alles, was in Kindsköpfen so vor sich geht.

Beide Alben, die nun erstmals auf je 2 weißen bzw. transparentgelben 180g-LPs (+ jeweils beigelegter CD) in mit allen Texten bedruckten Innenhüllen in einer 2LP-Kastentasche erscheinen, verbinden: straighter Rap, lupenreiner Pop, Elektrobretter und cooler Funk.

It took a while, but Coincidence is back on vinyl. And how: Serbian producer and DJ Lag teams up with Belgian BEOT on the 'Patience EP' - a title that turned into a bit of a prophecy as vinyl production seemed to take ages to cut through the red tape and production issues spiralled out of control. The EP is conceptualised around two original tracks from each artist. And in return, they remixed each other's work. Four tracks, four vibes, one EP. Get you some of that!

'Rokenrol' opens the A side with a massive drumroll infusion. Unbelievable funky, wild, distorted and straight to the feet of anyone standing on the dance floor: Lag delivers his signature dish. The second track by BEOT, titled 'Problem of Conduct', is dark, slow, dirty and nasty. Almost minimalistic although beneath the surface, an absolute belter lurks an snaps at anyone daring to venture too close.

On the other side, the remixes take the originals to a completely different vibe. Lag's remix of 'Problem of Conduct' keeps the dark vibe, but thrives on a massive broken beat and eerie atmosphere. This sounds brutal on a big sound system. BEOT's remix of 'Rokenrol' on the other hand dumps the funky drums and goes for the heavy straightforward approach. The result is an absolute growling distorted noise monster that simply is amazing and effective.

We hope you like the EP as much as we do.

Lee X-plode is one of our artists from Vinyl Fanatiks who released an EP back in 1992 that was HUGE! Over the years this self-funded white label grew in popularity, with copies fetching over £200. He joined the family in 2020 when we re-released this monster, selling out instantly.

Lee is back on the hardcore hustle once again, bringing his 3rd EP onto Amen Brother, this time incorporating a more melodic piano vibe into his raw to the core 91 hardcore sounds. You will find yourself raising your hands in the breakdowns before going straight into the pumping 4/4 breakbeat roll outs. Music to move to!

Clear vinyl LP edition of 500 copies. Vacant Gardens is Glenn Donaldson (of The Reds, Pinks and Purples and a hundred others) and Jem Fanvu, collaborating on music and with the latter responsible for vocals and lyrics. The project began with the idea of combining heavy fuzz and slow-mo drum machine beats with Fanvu's gentle almost trad-folk style vocals. Almost all of Donaldson's otherworldly sounds are achieved through layers of guitar fuzz and copious delay, while Fanvu offers an ideal counterpoint, taking the listener on a celestial melancholy trip with her opaque poetry and melodies. So inspired were the duo by this blend of styles, they immediately recorded at least two albums of material, Under the Bloom and Obscene, released in quick succession in 2020 and 2021 in swiftly-disappearing micro editions on the secretive Tall Texan label. With those records close-to-impossible to find at an affordable price, Tough Love are now reissuing both LPs. From Reds Pinks and Purples' Glenn Donaldson, Vacant Gardens is an interstellar recording project that combines celestial, shimmering guitar on the verge of breaking like a massive, emotive wave and an ethereal vocal style from Jem Fanvu (visual artist, Minor Ghost Band also, plus collaborating with Tune-Yards, Cavity Fangs and many more) recalling Hope Sandoval or Liz Fraser that sails in its wake. Simply put, this is some of biggest, heart-tugging guitar music you'll hear in recent times. Sold out at once debut Under The Bloom, is followed now a continuation and development of the group's sound on Obscene: a frayed tapestry of Slowdiving, Flying Saucer Attack guitar noise wall married with an angelic vocal from Fanvu that glitters in counterpoint to the stringed distortion like Hope Sandoval or, in the way it shines bright in the fog, like Jonsi's surfing the surging waves of emotion in early Sigur Ros. Originally released in February on digital formats, Obscene gets a vinyl press and is sounding massive. Vacant Gardens' music suggests oceanic feelings, a hazy intergalactic consicousness that burbles beneath the surface of everything while also touching the visceral points in the human heart that makes groups like Galaxie 500, Yo La Tengo so timeless.

American rock band King’s X combines progressive metal, funk and soul with vocal arrangements influenced by gospel, blues and British Invasion rock groups. Recurring themes are their struggles with religion and self-acceptance. During their major label career with Megaforce Records, King’s X secured opening slots for bands like Cheap Trick, Iron Maiden, AC/DC, Scorpions, Pearl Jam and Mötley Crüe.

In 1990 they released their third studio album Faith Hope Love, which charted #85 on the Billboard Top 200 Album Chart. The featured single “It’s Love” peaked on the Billboard Singles Chart at #6. On the tracks “Mr. Wilson” and “Faith Hope Love” you’ll hear the Galactic Cowboys who provided backing vocals.

Producer Frank Farian, the man behind Boney M and Milli Vanilli, rolled out his ‘90s equivalent, La Bouche, in 1995. The German based Eurodance duo La Bouche featured vocalist Melanie Thornton and rapper Lane McCray. They gained international success in 1995 when the hit single “Be My Lover” reached the top of the charts. In that same year they released their debut album Sweet Dreams featuring the singles “Fallin’ In Love” and “I Love To Love”.

The Decades Collected compilations are part of the new Collected compilation series, which is a collaboration between Universal Music and Music On Vinyl. The compilations bring together the biggest names of each decade, combined with forgotten hits and less discovered gems, giving the listener an experience of listening to their favorite tunes while uncovering new musical grounds at the same time.

Various Artists - Nineties Collected features R.E.M “Man On The Moon”, Freddie Mercury “Living On My Own”, Texas “Say What You Want”, Lenny Kravitz “Always On The Run”, Erykah Badu “Tyrone (Live)” and Blind Melon “No Rain” amongst others.

The Decades Collected compilations are part of the new Collected compilation series, which is a collaboration between Universal Music and Music On Vinyl. The compilations bring together the biggest names of each decade, combined with forgotten hits and less discovered gems, giving the listener an experience of listening to their favorite tunes while uncovering new musical grounds at the same time.

Various Artists - Zeroes Collected features Nelly Furtado “I’m Like A Bird”, The Script “Breakeven”, The Black Eyed Peas “I Gotta Feeling”, Alphabeat “Fascination”, T.A.T.U. “All The Things She Said” and Mika “Grace Kelly” amongst others.

The Woggles are proud to announce the release of “The Wicked Coolest Songs” which compiles “Coolest Songs of the Week” the Woggles have had on Little Steven’s Underground Garage, while on Wicked Cool Records. These tracks also coincide with the years that Flesh Hammer aka Jeff Walls was the guitar player in band. It has 12 tracks, with an insert featuring the Woggles pictured as 8" Mego styled dolls. Layout and design by Scott Sugiuchi and doll concept by by Austin Hough. All proceeds benefit the “Flesh Hammer Family Fund.” Jeff Walls passed away on May 29, 2019 from pancreatic cancer. As a member of the Woggles, he spread joy to people all over the planet. Let's join together to honor him by raising funds to help his family with the overwhelming medical expenses.

Second full length album from the Hamilton, ON punk/hardcore band fronted by Alexisonfire vocalist George Pettit. - Have shared the stage with Cancer Bats, The Dillinger Escape Plan, Fucked Up and more - Festival plays at Heavy Montreal, Pouzza Fest, Beaus Oktoberfest and more - Received a sync deal for their track ‘Punks at the Gym’ in the Amazon original series ‘The Boys’. They were also filmed and appeared in the episode.

Something's happening in country music. Newer artists and younger audiences are embracing instrumentation, vocal stylings and song structures long thought drowned in the ocean of slick, snap-track productions. Not easily dismissed as merely regional or a novelty throwback, the trend could be on its way to full-blown movement. If so, Kimberly Kelly's Show Dog Nashville debut album may prove to be the clarion call. Either way ... she's not asking. I'll Tell You What's Gonna Happen is more than her (abbreviated) album title, more than a reference to her connection with a Country Music Hall of Famer, and much more than a historical footnote. Rather, it's a statement of musical confidence earned the only way that happens: talent, work ethic, experience, vulnerability, and courage. For Kelly, it's all of a piece. "I like to think of it as a sub-genre of country music called 'country music,'" she says with a wink. A native of Lorena, Texas, Kelly has multiple connections to the Nashville industry. She has also been unafraid to defy convention. "This is not my first rodeo," she says of her label debut. "I worked really hard in Texas before I came to Nashville. I wrote songs, put out records, did a radio tour, and played every weekend while earning a Master's degree. They say don't have a 'plan B,' but I watched my mom struggle to get that next level of pay. My mom earned her bachelor's degree when she was 60, so school was important to me to know I could take care of myself.

Third pressing on transparent pink vinyl. At the 2018 edition of Roadburn Festival - a congregation of all things obscure, heavy and experimental in Tilburg, the Netherlands - two generations of Japanese Krautrock genius took to the stage for a live collaboration that was just as hypnotic as it was inevitable. The artists in question were Tokyo's Minami Deutsch and the legendary ex-Can frontman Damo Suzuki. With Minami Deutsch's heady metronomic jams providing the backdrop on which Suzuki was left free to deliver his distinct improvised vocals, the Live At Roadburn LP is challenging, raw and, at times, totally alien. Divided into three parts, from start to finish the LP is consumed by an unrelenting motorik rhythm section that never lets loose for a second. At the flick of a switch, intricate guitars veer from hypnotic and meditative to skewed psychedelic freak-outs drenched in fuzz. Where Minami Deutsch's playing is sharp and meticulous, Suzuki's stream-of-consciousness ramblings steer the music into whatever direction he sees fit. The result is equal parts disorientating, sporadic and totally all-consuming - the only thing keeping you grounded being that distorted and seemingly-endless 4/4 drive. Repetition. Minimalism. Improvisation. Transcendence. That was the ideology of seminal Krautrock pioneers Can, whose 1970-1973 work with Damo Suzuki at the helm unleashed something in music that would change it forever. Some 45 years since Can's final record with Suzuki - the inimitable Future Days - and the spirit of that era still lives on. Not least because ever since then Suzuki has embarked on an endless one-man tour, traveling around the world and taking to the stage backed by countless different bands. Crossing paths at Roadburn, Suzuki's ensuing performance with Tokyo via Berlin-based group Minami Deutsch is now available to relive on wax.

Experimental and improvisational psychedelic rock, for fans of White Heaven, Les Rallizes Denudes, Headroom, Düngen, Heron Oblivion, Comets On Fire, The Renderers, Bardo Pond. Mountain Movers arguably are the perfect band for all the true "heads" out there. The New Haven quartet have been at it for 15 years, and the "newest" lineup (now at it for well over a decade; vocalist/guitarist Dan Greene, bassist Rick Omonte, guitarist Kryssi Battalene and drummer Ross Menze) have firmly grasped what it takes to fry brains; achingly beautiful melodies buoyed by a life raft of white-hot guitar scree and mind-melting feedback. "World What World" is the band's eighth album and third for Trouble In Mind Records. "World What World" is the newest chapter of the group's continued explorations and efforts to refine their sound. The lyrics of "World What World"s songs all imply a protagonist on a quest; the title itself is an implied query with no question mark; is it a question, or a statement?. The one-two punch of opener "I Wanna See The Sun" and "Final Sunset" lay out what's in store; Crazy Horse-inspired sandpaper melodies sit comfortably next to improvised, PSF-influenced six-string ragers. The group performs together effortlessly and telepathically, subverting the loud/quiet/loud dynamic that has saturated independent music since the late-Eighties. The loud parts and quiet parts are like waves; indistinguishable from each other, creating a fluid dynamism and intensity that swallows the listener up in its current, sweeping it toward oblivion. Hyperbole, you say? Watch out for midway through "Then The Moon" when the tune's lilting waltz pivots into a casually blistering solo by Battalene before fading into the melancholic "Haunted Eyes" - beckoning you with a mournful sidelong glance. Side Two opens with "Staggering With A Lantern", an elegant, lumbering instrumental improvisation again showcasing the synergistic shredding of the group's guitarists. The sticky lyrical hooks and sideways jangle of "Way Back To The World" and "The Last City"s midnight-hour, mellow singe come next, before concluding "World What World"s journey with "Flock of Swans". The song is the perfect closer and culmination of the album's mission statement. The subjects that populate Greene's songs and visual imagery augment his elegiac lyrics, awash in magical realism and fantastic symbolism; knights, fighters, dragons, masks. Poetic missives are launched from the heart straight into the neural pathways, guided by the rhythm section's otherworldly chemistry and Battalene's masterful control over her instrument. Mountain Movers have been at it too long to care about acclaim. They do it because the music calls out to them, and they let it carry them away.

The first fully electronic album by the italian DJ/producer becomes physical in a very special vinyl containing 7 tracks of the "WAXTAPE" selected by the artist himself Ceri, alias Stefano Ceri, is currently one of the most influential personalities in the Italian music scenario: an eclectic musician and producer that redefined and “refreshed” the sound of the most recent years through his artistic
sensibility and innovative spirit.

He collaborated with some of the biggest Italian music icons such as Mahmood, Alan Sorrenti, Marco Mengoni, Salmo, Coez, Calcutta, Franco126, Frah Quintale, Crookers, Joan Thiele and many others:

If working as a producer gave him the chance to define the sound of the new urban/pop environment, his solo project got him to explore
more personal and deeper aspects while searching for his own original dimension.

His 2022 new project is named “WAXTAPE”: it’s an album published with a “4 movements structure” where new tracks have been added
each “movement” release, reaching a total number of 29 tracks.

In the 33rpm vinyl version he selected 7 tracks which, according to his vision, represented best the deepest soul of "WAXTAPE". A real journey from light to dark, from intimacy to community.

Double gatefold album including Slift’s first 2 albums on Black vinyl!

Space Is The Key:

Recorded and mixed by Lo Spider at Swampland, Toulouse.
Art by Pierre Ferrero.

Jean F./ guitar, vox
Rémi F./ bassVI, vox
Canek F./ drum

Originally out on Howlin Banana Records and Exag Records / June 2017.

La Planete Inexploree:

Originally out September 2018 via Howlin Banana Rds / Stolen Body Rds / Exag' Rds/ Six Tonnes de Chairs Rds and Rockerill Rds.
Tape edition on Ya Ya Yeah.

SLIFT //
Jean Fossat - Guitar, Synth, Vox
Rémi Fossat - Bass, Vox
Canek Flores - Drums, Percussions and Farfisa

Additionnal musicians //
Ornella Mesple Somps - Vox
Lucie Lelaurain - Flûte
Yann Favier - Congas and Percussions
Lo Spider - RE 201 and Percussions

Recorded and mixed by Lo Spider at Swampland, Toulouse.
Mastered by Jim Diamond

Matte Silver 180g. Free MP3 Download. GUM aka Jay Watson is a multi-instrumentalist, founding member of POND and touring member of Tame Impala. Gum’s solo debut album was originally released in 2014 and has now been newly remastered by tour mate Kevin Parker. Delorean Highway is a collection of 10 songs, described as “paranoid pop songs, mostly about falling in love and all of the things that he thinks are going to kill him”. ‘Delorean Highway’ is the first track off the album of the same name, inspired by a dream Gum had of driving through the desert in the silver car from Back to the Future, before taking off into the night. In the real life, Gum can’t drive, but he has seen Back to the Future and it’s fair to say he does look a little bit like Doc. The second single, ‘Growin’ Up’ was unleashed onto willing ears towards the end of 2013 and taps into every emotion that the name would suggest – a sense of paranoia, doubt, fear, honesty and hopefulness.

Matte Gold 180g. Free MP3 Download. GUM aka Jay Watson is a multiinstrumentalist, founding member of POND and touring member of Tame Impala. Gum’s 2015 album Glamorous Damage has been newly remastered by tour mate Kevin Parker. ‘Glamorous Damage,’ is a warped comb running thru the shiny blonde hair of pop and disco. Produced and mixed by GUM and mostly recorded at home, the album is at times reminiscent of the elastic robo-glam of Prince, the sci-fi waves of Chrome, early Eno experimentalism and a love of Beach Boys melody. In 2015 ‘Glamorous Damage’ was critically acclaimed by the likes of Pitchfork, NME and Stereogum and featured on the longlist of the 2015 Australian Music Prize. Glamorous Damage features lead single ‘Anesthetized Lesson.’

Famous present their first vinyl release, a double EP comprising their lauded 2021 EP The Valley on side A, and their equally acclaimed 2019 debut England on side B. The Valley is an intense, engrossing body of work from a band firmly stepping into their own space, foregoing the easy route, whilst interrogating themselves and everything around them. References to Soundcloud rap stand side-by-side with Greek Tragician Euripedes, along with the white noise of endless Simpson’s repeats colliding with daydreams of settling down and one day owning a gilet. It’s both complex and accessible, the sound of a silver-lining appearing from a dark cloud. England presents a distinctively hyperbolic, mythic re-imagination of urban life; using theatricality and the emotional authority of art to navigate the chaos of anxiety. The music is, nonetheless, thoughtful and surprising, as shown by the six self- contained yet interconnected tracks that make the whole. Opener ‘England 2’ is a rumbling call to arms that ushers in the haywire ‘Surf’s Up!’. The heart of the record is the two-punch of tainted-pop cut ‘Forever’ and the skittish paranoia of ‘Jack’s House’. All that remains is the expansive, circling ‘2004’ before the most tender moment ‘My Crumpet’ closes the show. Famous live shows are intense brash affairs. Alternating between the pathetic showmanship of Vegas-era Elvis and the controlled experimentations of post punk, the band has built a reputation as one of the best live acts on the London underground circuit. Playing shows with Black Midi, Sports Team, Jockstrap and supporting Black Country, New Road on their full UK tour, Famous has undeniably placed itself at the centre of that new generation of English bands. 2022 sees the band playing major festival dates and venues across Europe, alongside supporting Los Bitchos on tour in France, in April.

Produced by Heidecker, Drew Erickson, Eric D. Johnson and Mac DeMarco, High School sees Heidecker emerging as an increasingly playful and poignant story teller, infusing childhood tales with new gravity. In conjunction, he announces Tim Heidecker Live! Featuring Tim Heidecker and The Very Good Band, his first two-act tour of comedy and music. Since 2016, Tim Heidecker has chronicled the annals of adulthood on a series of supreme singer-songwriter albums. The crushing devastation of divorce and the existential malaise of middle-age, the minutiae of home ownership and the ritual of family vacation, child rearing and global warming: Heidecker has handled it all with humor and heart. But, there’s one pivotal lodestar of human development he has yet to mine that’s right, High School. First single “Buddy” is a composite of a few woebegone friends, which finds Heidecker reminiscing on the familiar tragedy of the adolescent stoner, manifesting the destiny of undiagnosed depression and parents who didn’t care much. The song itself is a jangly delight, but it’s hard not to mourn for “Buddy,” then re-count whatever blessings you may have. After initial and fruitful sessions with Jonathan Rado, Heidecker started recording tunes with DeMarco and Erickson, who had also worked on 2020’s collaboration with Weyes Blood, Fear of Death. At DeMarco’s studio, they added drum machines and synths and sidewinding solos to Heidecker’s big strummed chords. Johnson (Bonny Light Horseman, Fruit Bats) helped Heidecker finesse the tunes even more, making the music as rich as the feelings. Kurt Vile contributed to one song, as well. Through all those sessions, it slowly became clear: Heidecker was writing not only about the adventures and misadventures of life as a Pennsylvania teen in the early ’90s, but also how it felt to lose a juvenile sense of mystery and possibility as an adult. He was writing about high school and, really, the way it helped shape everything else. Back at Pennsylvania’s Allentown Central Catholic High School, Heidecker dreamed of making it with one of his many rock bands — Time and Other Things, Shaggy’s Beltbuckle, and (incredibly) The Pulsating Libidos. Two years shy of his graduating class’ 30th anniversary, Heidecker admits he had little of substance to say when he was 17, like all but the rarest of precocious minds. In college, though, he found the friends with whom he built his comedy career, largely apart from music and without much thought for his time back at Central Catholic. He was focused on his future. It is fitting, then, that as Heidecker has become such a delightful singer-songwriter and collaborator, he returns to the first scene of his time as a musician. Maybe he’s right — he didn’t have anything to say or sing about life back then. But across the earnest and amusing High School, he finds plenty to say about those weird and wonderful and ordinary times.

Following up their hugely respected 2 demos (also available as a compilation) and fairly recent 7”, CHAOTIAN are back to release ultimate Death Metal barbarity into the underground in the form of their debut full length. Storming into life with a rotten amalgamation of putrescent riffing and blastbeats, the instrumental unity of this Danish titan is a juggernaut of pure filth. It is telling when a band can have those super groovy pinch harmonic laden riffs and not making them sound like all the others. This may seem a weirdly specific observation (perhaps a guitarist just being a guitarist) but it makes all the difference with heaviness, intensity and also the catchiness on the records. When met with the sewer-spewing vocals and weird dissonant spasms in the music, it doesn’t take long to recognise this will be a truly warped and maniacally brutal experience of Death Metal might. Interlinking primitive hooks that grasp you by the throat then transcend into these weird effects or spacious riffs, there’s nothing predictable about the album yet it has that familiar feeling that all good Death Metal has where it feels a bit daunting, unnerving and yet you cannot escape it. Obviously Denmark and this trio does not let the scene down. Amazingly this small country seems to have so much diversity in their rotten underground movement and CHAOTIAN are a shining example who embody the grotesqueries, masterful songwriting and tight musicianship that has become associated with this otherwise pretty and peaceful nation. It explains that mysterious gurgling from the sewers at least! Bludgeoning, cavernous and ultimately otherworldly, CHAOTIAN masterfully combine the cerebral and cosmic with brutish, old school music that is damned heavy and doesn’t feel pretentious nor directionless. Their debut LP is not just as strong as their previous works, but a more refined and complete vision, showcasing the bands full potential (so far)…

Felicia Atkinson’s music always puts the listener somewhere in particular. There are two categories of place that are important to »Image Langage«: the house and the landscape. Inside and outside, different ways of orienting a body towards the world. They are in dialogue, insofar as in the places Atkinson made this record—Leman Lake, during a residency at La Becque in Switzerland, and at her home on the wild coast of Normandy—the landscape is what is waiting for you when you leave the house, and vice-versa. Each threatens—or is it offers, kindly, even promises? —to dissolve the other. Recognizing the normalization of home studios these days, she revisited twentieth-century women artists who variously chose, and were chosen by, their homes as a place to work: the desert retreats of Agnes Martin and Georgia O’Keefe, the life and death of Sylvia Plath. Building a record is like building a house: a structure in which one can encounter oneself, each room a song with its own function in the project of everyday life.

At times listening to »Image Langage« is immediate, something like visiting a house by the sea, sharing the same ground, being invited to witness Atkinson’s acts of seeing, hearing, and reading in a sonic double of the places they occurred. In an aching moment of clarity in »The Lake is Speaking,« a pair of voices emerge out of the primordial murk of piano and organ, accompanying the listener to the edge of a reflective pool that makes a mirror of the cosmos. "I open my feet to fresh dirt, and the wet grass. I hold your hand. You hold his hand. In the distance without any distance. The comets, the stars." At other times, listening to »Image Langage« is more like being in a theatre, the composition a tangle of flickering forms and media that illuminate as best they can the darkness from which we experience it. On »Pieces of Sylvia,« a noirish orchestra drones and clatters beneath and around a montage of vocal images, stretching the listener across time, space, subjectivities. Atkinson says that "Image Langage" is like the fake title of a fake Godard film. There is indeed something cinematic about Atkinson’s work—not cinematic in the sense that it sounds like the score for someone else’s film, but cinematic in the sense that it produces its own images and langage and narratives, a kind of deliberate, dimensional world-building in sound.

»Image Langage« is built from instruments recorded as if field recordings, sound-images of instruments conjured from a keyboard, instruments Atkinson treats like characters, what she calls “a fantasy of an orchestra that doesn’t exist.” And then, speaking of Godard, there are the monologues, operating as both experimental-cinematic device and a literary style of narration. Voice can be a writerly anchor or a wisp of a textural presence. Atkinson’s capacious and slippery speech plunges into and out of the compositional depths, shifting shapes, channelling the voices of any number of beings, subjectivities, or elements of her surroundings—not unlike her midi keyboard, able to speak as a vast array of instruments.

»Image Langage« is an environmental record, in the vastest sense of the world. It is about getting lost in places imagined and real; it registers, too, the dizzying feeling of moving between such sites. It puts forth a concept of self that is hopelessly entangled with the rest of the world, born of both the ache of distance and the warmth of proximity.

For Félicia Atkinson, human voices inhabit an ecology alongside and within many other things that don’t speak, in the conventional sense: landscapes, images, books, memories, ideas. The French electro-acoustic composer and visual artist makes music that animates these other possible voices in conversation with her own, collaging field recording, MIDI instrumentation, and snippets of essayistic langage in both French and English. Her own voice, always shifting to make space, might whisper from the corner or assume another character’s tone. Atkinson uses composing as a way to process imaginative and creative life, frequently engaging with the work of visual artists, filmmakers, and novelists. Her layered compositions tell stories that alternately stretch and fold time and place, stories in which she is the narrator but not the protagonist.

The Logic of Chaos is the latest release of Elisa Batti for the label One Instrument that gathers music composed over a period of 3 years. Fascinated by the idea of developing pieces with strict and limiting guidelines, the confined environment gave her the possibility to explore and expand the creativity and the freedom of composing. Each single piece has a specific story and is recorded with a different instrument.

“Asa” is produced together with Sebastian Josef Brunnlechner while composing the sound design for an installation. The piece comprises repetitions of a few simple loops layered and arranged over a carpet of long notes played with a bow. The bow has been intentionally played slowly in order to obtain as many overtones as possible. The short pizzicato melodies consist in small and simple repeated loops that appear and disappear dissolving with the other sounds. The intention behind this track is to let the beautiful sound of the instrument speak for itself evoking a dreamy atmosphere.

“Slow Fall” sees the collaboration with the pianist Marko Ivic and has an improvised approach. While Ivic was playing the piano Elisa Batti was processing the sounds on the fly. The piece is based on a minimalistic procedure, where continual loops create a scenographic effect.

“Taiga” includes different patches of the Moog Mother-32 and is an emotive landscape where sounds rise and disappear again, leaving space to thoughts and images.

The EP ends with “Ecstatic” created with the Korg Minilogue. It was part of a commissioned dance piece that afterwards has been readapted for the release. The final outcome sees a more complex and erratic behaviour.

Elisa Batti’s work induces a state where time stands still whilst simultaneously being in motion. Her sound palette is broad and expresses a high artistic achievement.

Tape

Charlemagne Palestine (born Charles Martin ni 1947 in Brooklyn, New York) wrote intense, ritualistic music in the 1970s, intended by the composer to rub against audiences' expectations of what is beautiful and meaningful in music. A composer-performer, he always performed his own works as soloist. His earliest works were compositions for carillon and electronic drones, and he is best known for his intensely performed piano works. He also performs as a vocalist. Palestine's performance style is ritualistic; he generally surrounds himself (and his piano) with stuffed animals, smokes large numbers of kretek (Indonesian clove cigarettes) and drinks cognac.

Oren Ambarchi (born 1969 in Australia) is a composer and multi-instrumentalist with longstanding interests in transcending conventional instrumental approaches. His work focuses mainly on the exploration of the guitar, "re-routing the instrument into a zone of alien abstraction where it's no longer easily identifiable as itself. Instead, it's a laboratory for extended sonic investigation". (The Wire, UK).

Oren Ambarchi's works are hesitant and tense extended songforms located in the cracks between several schools: modern electronics and processing; laminal improvisation and minimalism; hushed, pensive songwriting; the deceptive simplicity and temporal suspensions of composers such as Morton Feldman and Alvin Lucier; and the physicality of rock music, slowed down and stripped back to its bare bones, abstracted and replaced with pure signal.

From the late 90's his experiments in guitar abstraction and extended technique have led to a more personal and unique sound-world incorporating a broader palette of instruments and sensibilities. On releases such as Grapes From The Estate and In The Pendulum's Embrace Ambarchi has employed glass harmonica, strings, bells, piano, drums and percussion, creating fragile textures as light as air which tenuously coexist with the deep, wall-shaking bass tones derived from his guitar.

Ambarchi works with simple constructs and parameters; exploring one idea over an extended duration and patiently teasing every nuance and implication from each texture; the phenomena of sum and difference tones; carefully tended arrangements that unravel gently; unprepossessing melodies that slowly work their way through various permutations; resulting in an otherworldly, cumulative impact of patiently unfolding compositions.

Ambarchi has performed and recorded with a diverse array of artists such as Fennesz, Otomo Yoshihide, Pimmon, Keiji Haino, John Zorn, Rizili, Voice Crack, Jim O'Rourke, Keith Rowe, Phill Niblock, Dave Grohl, Gunter Muller, Evan Parker, z'ev, Toshimaru Nakamura, Peter Rehberg, Merzbow, Kassel Jaeger, Anthony Pateras, Crys Cole, Giuseppe Ielasi, Judith Hamann, Sunn 0))), James Rushford, Stephen O'Malley and many more.

For 10 years together with Robbie Avenaim, Ambarchi was the co-organiser of the What Is Music? festival, Australia's premier annual showcase of local and international experimental music. Ambarchi now curates the Maximum Arousal series at The Toff In Town in Melbourne and has recently co-produced an Australian television series on experimental music called Subsonics. Ambarchi co-curated the sound program for the 2008 Yokohama Triennale. Ambarchi has released numerous recordings for international labels such as Touch, Southern Lord, Table Of The Elements and Tzadik.

Belgian drummer Eric Thielemans is one of the most idiosyncratic figures in Belgian music, someone who not only demonstrates that special musicians always seek out (and find) their own place, but above all that they always remain students of the art of questioning and listening. No musician better illustrates the difference between playing music and playing with music than percussionist Eric Thielemans. He gets to the heart of the matter with an at times extremely minimalist approach, but on the other hand he frequently relies on a range of objects beyond the regular drum kit: a drum placed on its side, a bicycle wheel with a bow, hands and the body.

Tape

Charlemagne Palestine (born Charles Martin ni 1947 in Brooklyn, New York) wrote intense, ritualistic music in the 1970s, intended by the composer to rub against audiences' expectations of what is beautiful and meaningful in music. A composer-performer, he always performed his own works as soloist. His earliest works were compositions for carillon and electronic drones, and he is best known for his intensely performed piano works. He also performs as a vocalist. Palestine's performance style is ritualistic; he generally surrounds himself (and his piano) with stuffed animals, smokes large numbers of kretek (Indonesian clove cigarettes) and drinks cognac.

Oren Ambarchi (born 1969 in Australia) is a composer and multi-instrumentalist with longstanding interests in transcending conventional instrumental approaches. His work focuses mainly on the exploration of the guitar, "re-routing the instrument into a zone of alien abstraction where it's no longer easily identifiable as itself. Instead, it's a laboratory for extended sonic investigation". (The Wire, UK).

Oren Ambarchi's works are hesitant and tense extended songforms located in the cracks between several schools: modern electronics and processing; laminal improvisation and minimalism; hushed, pensive songwriting; the deceptive simplicity and temporal suspensions of composers such as Morton Feldman and Alvin Lucier; and the physicality of rock music, slowed down and stripped back to its bare bones, abstracted and replaced with pure signal.

From the late 90's his experiments in guitar abstraction and extended technique have led to a more personal and unique sound-world incorporating a broader palette of instruments and sensibilities. On releases such as Grapes From The Estate and In The Pendulum's Embrace Ambarchi has employed glass harmonica, strings, bells, piano, drums and percussion, creating fragile textures as light as air which tenuously coexist with the deep, wall-shaking bass tones derived from his guitar.

Ambarchi works with simple constructs and parameters; exploring one idea over an extended duration and patiently teasing every nuance and implication from each texture; the phenomena of sum and difference tones; carefully tended arrangements that unravel gently; unprepossessing melodies that slowly work their way through various permutations; resulting in an otherworldly, cumulative impact of patiently unfolding compositions.

Ambarchi has performed and recorded with a diverse array of artists such as Fennesz, Otomo Yoshihide, Pimmon, Keiji Haino, John Zorn, Rizili, Voice Crack, Jim O'Rourke, Keith Rowe, Phill Niblock, Dave Grohl, Gunter Muller, Evan Parker, z'ev, Toshimaru Nakamura, Peter Rehberg, Merzbow, Kassel Jaeger, Anthony Pateras, Crys Cole, Giuseppe Ielasi, Judith Hamann, Sunn 0))), James Rushford, Stephen O'Malley and many more.

For 10 years together with Robbie Avenaim, Ambarchi was the co-organiser of the What Is Music? festival, Australia's premier annual showcase of local and international experimental music. Ambarchi now curates the Maximum Arousal series at The Toff In Town in Melbourne and has recently co-produced an Australian television series on experimental music called Subsonics. Ambarchi co-curated the sound program for the 2008 Yokohama Triennale. Ambarchi has released numerous recordings for international labels such as Touch, Southern Lord, Table Of The Elements and Tzadik.

Belgian drummer Eric Thielemans is one of the most idiosyncratic figures in Belgian music, someone who not only demonstrates that special musicians always seek out (and find) their own place, but above all that they always remain students of the art of questioning and listening. No musician better illustrates the difference between playing music and playing with music than percussionist Eric Thielemans. He gets to the heart of the matter with an at times extremely minimalist approach, but on the other hand he frequently relies on a range of objects beyond the regular drum kit: a drum placed on its side, a bicycle wheel with a bow, hands and the body.

Martens: "Matthew Sage’s (Cashed Media, Fuubutshi) »The Wind of Things« and »Catch a Blessing« are two favorites of new music in my shelter. So when a little while ago he dailed in with this idea to make a Country Western album together, i saddled up and joined the stampede. The result is a universal coming of age story."

Sage: "I have always found the idea of whatever 'Western' means in America to be very elusive. It feels like a fantasy that we keep trying to relive by retelling exaggerated stories. An echo of an echo of an echo..."

Martens: "In them, the dissatisfied, unfolds that wide open road. With television infused meditations of packing a gun on horseback, and chasing a bison herd under torrential rains."

All music, recording: Matthew Sage, Lieven Martens Except: piano on track 7 by Wietske Van Gils, field recording on track 7 by Mick Sage, and carillon on track 10 by Luc Dockx

Mixing, editing: Lieven Martens; mastering: Roman Hiele; typography: Jeroen Wille; risograph printing: Jan Matthé

Überfall" erscheint am 08.07. in optimierter
Soundqualität als Doppel-LP auf 180g schwerem
schwarzem Vinyl im 45rpm-Schnitt. Wie dem
Original-Vinyl liegt auch der Wiederveröffentlichung ein
Reprint des Posters der Erstauflage bei. Es erschien
erstmals im April 1999 über das Label EastWest und
stieg wenig später bis auf Platz 6 der deutschen Charts.
Die Massiven Töne glänzten auf dem Album nicht nur als
Rapper, sondern produzierten obendrein selbst und waren
ausführende Produzenten der insgesamt 13 Tracks.
Bemerkenswert - gerade für diese Frühphase des
deutschen Rap-Booms - waren auch die internationalen
Features des Albums.

"MT3" wird am 08.07. zum 20. Jahrestag von "Cruisen"
in einer besonderen 2LP Edition auf rotem Vinyl (180g)
veröffentlicht. Es handelt sich hierbei um den ersten
Re-Release seit der Erstauflage im Jahr 2002. Die 20th
Anniversary Vinyl Edition wurde klanglich optimiert und
liefert durch das Abspielen auf 45 rpm einen
ausgezeichneten Sound und satte Bässe. Auch optisch
sticht die rote Vinyl heraus und wird, wie das Original, mit
bedruckten Innenhüllen ausgeliefert. Das Album "MT3"
erschien im August 2002 über EastWest / Warner Music /
Kopfnicker Records und erreichte Platz 7 der
Album-Charts - der Beginn eines Siegeszuges: Mit
insgesamt mehr als einer halben Million verkauften
Tonträgern avancierte es zum meistverkauften deutschen
Hip-Hop-Album des Jahres 2002. Und das aus gutem
Grund, denn neben "Cruisen" beinhaltete es weitere
Fan-Favoriten wie "Traumreise" und "Geld oder Liebe
(feat. Tario)", Party-Kracher wie "Im Club" oder
gesellschaftskritische Songs wie "Deutschland,
Deutschland"

Tape



Edições CN label founder Lieven Martens (Dolphins Into The Future) joins the Dauw label with his new album Short stories - pleasant and/or rather sad. On Short stories, Martens continues his quest for unique sound collages based on recorded original work, field recordings and samples. He offers 3 pieces depicting their own narrative. But what's the narrative? Martens leaves his listener with only music and a few linguistic traces as guidelines.

(1) Romantic collection

I. Under the 4pm sun (smoke and deep green) II. Two white-tailed tropicbirds III. Waves breaking on black lava rocks IV. The distant lights of fishing boats at night

(2) Sonorities

20 memories of maximum 20 seconds – and an intermezzo.

(3) Madrigal: a Conversation in the Dark

In front of the house across my parents’ house. There are two statues. They’re bought in the local garden shop, on a budget. In their driveway strewn with gravel, they slyly talk at night.

Lieven Martens (Lieven Martens Moana, formerly Dolphins Into The Future) is a composer and observer. He makes a conceptual form of music – programme music - that travels beyond the pure description. His works are like narrative stills; encounters with objects and thoughts.
As a recording artist, the main focus lies on the music album, and the live concert. But other forms come into play too, like an operetta, music for carillon, music for a commercial, a few movie soundtracks, installation music, et al.
Since he never submitted his work for an art prize, he didn’t won any. But a few years back he received a grant from the Flemish Department of Culture.
Next to his music he writes to make an extra euro. He also writes a few emails every week too. In general, you know.
Martens runs Edições CN, a private press that is praised for its catalogue of original works by a list of internationally acclaimed artists. He also hosts an irregular radio show on We Are Various radio in Antwerp (previous programs for Lyl Radio, and Radio Centraal).

It's hard to believe it's taken this long for a proper retrospective of legendary Los Angeles collective CVE. "We Represent Billions" is a crucial portrait of one of the West Coast's most low-key influential crews - a hydra-like collective of rappers, producers, designers and engineers who were key members of the Good Life Cafe's open mic scene, going on to inspire artists like Jurassic 5, Kendrick Lamar amongst many other. Initially called Chillin Villain Posse before morphing into Chillin Villain Empire in the late 1980s, they eventually centered around the core trio of Riddlore, NgaFsh and Tray-Loc. The crew were years ahead of their time, self-producing music without samples and pioneering a stream of consciousness lyrics that still sound fresh and innovative. CVE were self-sufficient and motivated from the beginning, named "Chillin Villains" because that's how they were perceived by white America. This social motivation was channeled into their groundbreaking performances at Good Life Cafe, the South Central session that evolved into Project Blowed and later on came to influence LA club night 'Low End Theory'. It was chronicled by Ava Duvernay, herself an MC in short-lived duo Figures of Speech, in her "This is the Life" documentary, where she interviewed CVE alongside Jurassic 5, Freestyle Fellowship, Abstract Rude and Busdriver. On "We Represent Billions", we're treated to a snapshot of the CVE sound from 1993-2003, their most prolific era. The retrospective collects music from the handful of albums the crew released on their own Afterlife Recordz label (mostly as limited edition CD-R's) plus many previously unreleased tracks and highlights their untethered eccentric creativity and sheer breadth of influence. Whether twisting twitchy West Coast electro on 'All Over Da Globe' or free associating over horror synths and foley sounds on 'Made in Chillz Ville' there's a sense that their music was just too future for its time. Assembled from heaving industrial samples and graced by back-and-forth tongue twisting flows, 'Thugs and Clips' is as eerie and hard-hitting as anything 2Pac's "The Don Killuminati: The 7 Day Theory" full-length. Fuzzed-out and unsettling, 'Calistylics' welds an ambient synth loop and bone-rattling percussion to Tricky-esque percussion, while the flickering closer 'Unicycle' is a cross between Dr. Dre's icy G-gunk pressure and Three 6 Mafia's pitch black lo-fi funk. In many ways, 2022 is the perfect time to rediscover this music: an urgent, creative fusion of spine-tingling pre-grime electronic minimalism and mind bending wordplay that still sounds completely idiosyncratic and utterly alien. Tracks: 1 All Over Da Globe 2 Thugs and Clips 3 C.V. Vault 4 Made in Chillz Ville 5 Bring It On 6 Calistylics 7 No Feelins 8 Let's Get It On 9 Today Was A Fucked Up Day 10 Untitled (Freestyle) 11 Unicycle

It's hard to believe it's taken this long for a proper retrospective of legendary Los Angeles collective CVE. "We Represent Billions" is a crucial portrait of one of the West Coast's most low-key influential crews - a hydra-like collective of rappers, producers, designers and engineers who were key members of the Good Life Cafe's open mic scene, going on to inspire artists like Jurassic 5, Kendrick Lamar amongst many other. Initially called Chillin Villain Posse before morphing into Chillin Villain Empire in the late 1980s, they eventually centered around the core trio of Riddlore, NgaFsh and Tray-Loc. The crew were years ahead of their time, self-producing music without samples and pioneering a stream of consciousness lyrics that still sound fresh and innovative. CVE were self-sufficient and motivated from the beginning, named "Chillin Villains" because that's how they were perceived by white America. This social motivation was channeled into their groundbreaking performances at Good Life Cafe, the South Central session that evolved into Project Blowed and later on came to influence LA club night 'Low End Theory'. It was chronicled by Ava Duvernay, herself an MC in short-lived duo Figures of Speech, in her "This is the Life" documentary, where she interviewed CVE alongside Jurassic 5, Freestyle Fellowship, Abstract Rude and Busdriver. On "We Represent Billions", we're treated to a snapshot of the CVE sound from 1993-2003, their most prolific era. The retrospective collects music from the handful of albums the crew released on their own Afterlife Recordz label (mostly as limited edition CD-R's) plus many previously unreleased tracks and highlights their untethered eccentric creativity and sheer breadth of influence. Whether twisting twitchy West Coast electro on 'All Over Da Globe' or free associating over horror synths and foley sounds on 'Made in Chillz Ville' there's a sense that their music was just too future for its time. Assembled from heaving industrial samples and graced by back-and-forth tongue twisting flows, 'Thugs and Clips' is as eerie and hard-hitting as anything 2Pac's "The Don Killuminati: The 7 Day Theory" full-length. Fuzzed-out and unsettling, 'Calistylics' welds an ambient synth loop and bone-rattling percussion to Tricky-esque percussion, while the flickering closer 'Unicycle' is a cross between Dr. Dre's icy G-gunk pressure and Three 6 Mafia's pitch black lo-fi funk. In many ways, 2022 is the perfect time to rediscover this music: an urgent, creative fusion of spine-tingling pre-grime electronic minimalism and mind bending wordplay that still sounds completely idiosyncratic and utterly alien. Tracks: 1 All Over Da Globe 2 Thugs and Clips 3 C.V. Vault 4 Made in Chillz Ville 5 Bring It On 6 Calistylics 7 No Feelins 8 Let's Get It On 9 Today Was A Fucked Up Day 10 Untitled (Freestyle) 11 Unicycle

For "Spectres", a 6-track split release, Buttechno teams up with DJ SPEEDSICK, a Chicago-based artist, famous for his raw and uncompromising approach to sound. Together they explore sonic and textural possibilities of the extreme forms of dancefloor music employing distinct ways of sound manipulation. Buttechno's side features highly saturated textures being torn out, dissected and sewed back together with a wicked use of spectral processing. On the other side, Dj Speedsick, known for reamping his material with guitar amplifiers and cabinets, puts out tracks that bear unique sonic qualities and transform the usual sense of space and distance. The underwordly sounds and high-speed beats presented on this split go beyond the common bounds of dancefloor music, exposing the spectres that dwell between the genres.

Highly awaited new album from longtime British Blues/
Americanastalwart Todd Sharpville
"Medication Time" explores a period of hislife 16 years ago, where the stress of a
child contact battle duringa messy breakup resulted in a total breakdown and a 2
month stayin a mental hospital in West Wales. "I wasn't emotionally prepared
forthe sudden separation from my children that came with the divorce. Upuntil
then I was somewhat of a control freak, so the realisation thatcontrol is but an
illusion never really dawned on me until I found myself floored by
reactivedepression, suicidal, & sectioned within a state- run facility. Men rarely
discuss these kindof emotions with one another, so they can often surprise the
hell out of us and prove tobe too overwhelming to cope with. Being a musician, I
was lucky that I was able to fit thepracticalities of my working life around my
predicament. I also have some amazing friends.I managed to get back on my
feet. Many people don't have these luxuries. Many fall by thewayside and never
get back up again." "Medication Time" examines & expresses many of the
emotions that led to thebreakdown, the hospital stay, and the slow climb back to
figurative normality. 12 relevant tracks (9 originals & 3 quirky covers), recorded in
West Greenwich Rhode Island,produced by 2-time Grammy nominee & multi BMA
winner Duke Robillard. Featuringtwo duets: one with Detroit artist Larry McCray,
the other with Rhode Island's own SugarRay Norcia.

Roscoe is a road dog - The 14-year-old Boston Terrier has been there for
the whole ride of Mapache, Clay Finch and Sam Blasucci's band, which
has grown from being the casual project of two longtime buds to one of
the most formidable cosmic-folk acts around
"Roscoe's been through a lot of shit," says Blasucci, the dog's formal owner. "He's
been all around the country, come on tour a little bit." With some bemused pride,
Finch points out that, for a few years, he and Blasucci bunked together in a room
in the Echo Park neighborhood of Los Angeles that was just big enough to fit two
twin beds. "It was the two of us and the dog," he laughs. Naturally, Roscoe has
found himself the subject of a good handful of Mapache songs in the past - and
on Roscoe's Dream, the band's upcoming third LP of originals, he takes center
stage.

'Hallival' is the long awaited debut album from Leeds based folk singer
and songwriter Iona Lane, Having found herself fascinated by folklore
and folk stories from across the UK 'Hallival' is inspired by natural
landscapes, scientific discoveries, equality, human relationships and the
supernatural, all tied together by a strong sense of place and a love for
being in wild places - creating something truly special.The name 'Hallival'
is taken after one of the mountains on the Isle of Rum, which inspired the
writing for the opening track 'Western Tidal Swell'
Karine Polwart and Julie Fowlis, amongst others, selected 'Western Tidal Swell' to
win Feis Rois'/NatureScots' In Tune With Nature competition in 2020.With Andy
Bell on production, Iona and her band ventured to Watercolour Music (Ardgour,
Highlands) for a week of recording in April 2020. The studio was chosen due to
it's stunning location - every day the team woke up to herds of deers guarding the
studio, ever changing weather and phenomenal views over to Ben Nevis 'Hallival'.
The lead single from the album 'Humankind', featuring Jenny Sturgeon on
backing vocals, was written from the depths of the Lake District in Wasdale just
before the first lockdown. Being the closing track on the album, it reflects on how
important humans are to each other and the kindness that we can bring
particularly whilst feeling isolated, a feeling that we all know too well after the
past couple of years.
'Schiehallion' was written after discovering the Schiehallion Experiment that was
carried out in 1774. During the experiment scientists from the Royal Society used
the shape and location of Schiehallion to calculate the mass of the Earth for the
first time. After a summer of calculations on the hill, the scientists and locals had
a party in a nearby bothy. The fiddler got so drunk that they burnt their violin and
the bothy to the ground. 'Schiehallion' features Lauren MacColl on fiddle and
Rachel Newton on harp.
Stemmed from being read 'Stone Girl Bone Girl, The Life of Mary Anning' by
Laurence Ann Holt as a child, Iona's song 'Mary Anning' focuses on the life of the
groundbreaking paleontologist who lived and worked in Lyme Regis in the 1800s.
Mary made vast contributions to the scientific world, however, due to her being a
woman she was unable to present her findings and would often end up selling
them to her male colleagues. Up until very recently Mary Anning has had little
credit for her work.
Having studied under the tuition of Nancy Kerr, Jim Moray and Stuart McCallum,
Iona has been praised throughout the scene for her delicate yet powerful vocals,
which have captivated audiences up and down the country.
Iona was chosen by Karine Polwart to receive the Taran Guitars Young Players
Bursary 2020. Since receiving the bursary luthier Rory Dowling, of Taran Guitars,
has designed and built a bespoke instrument for Iona's music.

Overcome is a new Dave Douglas recording, alongside vocalists Fay
Victor and Camila Meza, trombonist Ryan Keberle, bassist Jorge Roeder,
and drummer Rudy Royston, who banded together over a period of
months to create a new album of songs
A statement of purpose, an acknowledgement of forebears, and an exhortation to
activism, Overcome involves the six musicians in an emotional and powerful
statement of human engagement towards justice: Racial justice. Climate justice.
Voting justice. Gender justice. The project began with a reimagining of the Civil
Rights anthem, "We Shall Overcome," featuring Victor and Meza each singing a
verse before joining for arousing final verse. As Douglas began working on the
originals for the album, this unique communal vocal interplay became a key
element of three more pieces: "Overcome" and "When We Are Together Again" are
both inspired by the challenges of pandemic isolation; "Good Trouble" celebrates
activist John Lewis. Victor takes the spotlight on "Peace" as she voices poignant
poetry from Langston Hughes. And the free- spirited Royston original
"Perspective" brings a nice balance to the proceedings. This is spirited communal
music on a mission. Released direct- to- fan previously, the LP is available
worldwide for the very first time. Pressed on 180 gram black vinyl.

Kevin Le Gendre, journalist, presenter, author, fell in love with Finnish
music following his many visits to the rich musical festivals of that
country, so it seemed a logical step to compile an album of the best
Finnish music for his long-running, occasional series of albums based on
the radio show that he presented some years ago
. 'Fresh from Finland' joins critically acclaimed collections of contemporary Jazz,
French music and fusion sounds. It's a powerful selection of music rooted in jazz
but from a number of different genres, often, as the best music is,
uncategorisable.

American jazz pianist Chuck Marohnic was in Denmark in the summer of
1981 on a European tour, when he recorded this intriguing solo album in
Copenhagen
Marohnic (b. 1941) has an impressive background having played with Ira Sullivan,
Eddie Jefferson, Richie Cole, Bill Hardman, Junior Cook, Chet Baker, Buddy Rich to
mention a few.
"The eight performances here are bright and absorbing examples of what
Marohnic means when he says that awareness of the harmonic permutations of
a tune gives a musician great freedom." - Chris Sheridan

Kari Faux is a multi-faceted artist - rapper, singer, producer, DJ and
clothing designer - from Little Rock, AR - She is known for her bold
fashion and genre-bending music, fusing elements of southern hip-hop,
funk, and alternative soundscapes
Her unique style of rhyming, dashes of sultry vocal harmonizing and confidence
have helped garner a cult following and make her a force amongst the new
generation of hip-hop's most fearless and outspoken female voices. At the start
of her career, Kari's hit 'No Small Talk' was remixed by Childish Gambino and
featured on HBO's Insecure. Since then, she has made an imprint on the music
industry as an independent artist who has released four projects, headlined tours,
opened for acts such as Steve Lacy and Mick Jenkins, and has written or
produced on tracks for artists such as The Internet. Kari Faux's forthcoming
album, Lowkey Superstar Deluxe, drops September 24 and features fellow heavyhitters Smino, J.I.D, Yung Baby Tate, Jazz Cartier and Deante' Hitchcock. Lowkey
Superstar represents a new chapter along Kari Faux's creative journey. What
started as a phrase has turned into two independent albums, a record label,
clothing line and identity representative of Kari's innate superstar qualities mixed
with her lowkey demeanor. The Lowkey Superstar Deluxe album is a sonic
conglomeration of Kari's longtime influences, including funk, alternative, and
southern rap soundscapes and covers a range of topics from self-preservation to
dating to braggadocious raps.

Bliss is undoubtley the heaviest and darkest album to date by Tungsten
The typical ingredients that define the music of Tungsten are still there while new
grounds and territories are being explored musically. The hooklines are stronger
and more dynamic than on previous albums. The lyrics are darker but they still
ocus on things common man might relate to in one way or another.
Mike Andersson says; "It all came naturally. Creating and recording this album
ruly put us in a feel of bliss. Nick & Karl who wrote the music have really showed
heir skills and musical talents on Bliss with new musical ideas but still based in
he genre that we established in the band in from the beginning".
All songs were recorded the same way as the previous albums at Harm Studios,
Trelleborg (Sweden). Nick Johansson once again took care of the mixing,
mastering and production duties. Karl Johansson says: "We really hope that Bliss
will reach out to an even broader fanbase than before. So much pain, sweat and
ove have been put into this album. We are truly excited to introduce Bliss to the
world". Anders Johansson agrees; "Yes, this album might be one of the hardest
or me to record. Nick is close to a perfectionist at the production helm so if I can
find something that has been good about the pandemic it might be the fact I
could spend so many more hours in the drum studio just to practise and develop
my technique".

Taking direction from both the cinematic song stylings of sardonic yet
unfettered troubadours like Randy Newman, Brian Wilson, and Harry
Nilsson and the "visual scoring" of indie pop song placement in 21stcentury films, Best Move's music suggests the sound of a decade of
winding, disparate avenues finally convening in a perfect center
The Sacramento-based trio is composed of Kris Anaya, Joseph Davancens, and
Fernando Olivia. Anaya, a talented songwriter with a penchant for wry, offbeat
guitar-based folk-pop songs, and Davancens, who holds higher education degrees
in avant- garde composition and jazz double bass, formed the electronic act
Doombird together in 2016, but in 2019 the pair gravitated back to what they
consider more natural inclinations: organic instruments, earnest songwriting, and
a more true-to-themselves direction. Adding Oliva, Best Move was born. Many of
Best Move's songs maintain an intentionally similar sonic feel. Guitars strum and
piano twinkles while a layer of manipulated or synthesized instruments spread a
hazy overtone on top of it all, and steady yet minimal drums keep things moving.
Lyrically, the standards prevail - love, loss, friendship, searching for purpose - but
the themes bubble under the surface of a sea of metaphor, leaving the listener to
decipher the message in their own way. Anaya calls the sound a "thank you to the
past," and while a warm, familiar tone echoes throughout the band's universe,
something unmistakably modern remains.

EL PERRO is a brand new band led by guitarist/vocalist/songwriter/
producer Parker Griggs of RADIO MOSCOW
The sound contains elements that fans of Radio Moscow will recognize, but this
is rock music with a new, fresh spin and feel. The band's debut album, 'Hair Of El
Perro', takes heavy psychedelic rock as a starting point but jams into more
syncopated territory, spicing its sound with Latin rhythms and hints of Funkadelicstyle grooves. You could say that EL PERRO plays psychedelic funk rock, and you
wouldn't be wrong.

On June 17th, BLIXA SOUNDS will release a Deluxe Edition of The Las
Vegas Story, the classic 1984 album by punk rock legends The Gun Club -
This Deluxe Edition includes a second LP of the unearthed 1984 concert
at Scorgie's in Rochester, NY, and a download link to previously
unreleased footage – 1984 Home Movie: The Gun Club On The Road
The Las Vegas Story has been digitally re- mastered and comes in beautiful
gatefold packaging. The Deluxe Editionof this classic 1984 album features
extensive liner notes written by Gun Club members Terry Graham, Kid Congo
Powers, and Patricia Morrison, as well as guest musicians Dave Alvin, Phast
Phreddie Patterson, and producer Jeff Eyrich. The LP includes gatefold
packaging and printed sleeves that feature rare Gun Club photography. This
classic line- up only stayed together for this one album, featuring original
drummer Terry Graham, as well as guitar from Kid Congo Powers (The Cramps,
Nick Cave and the Bad Seeds) and bassist Patricia Morrison (Sisters Of Mercy).
This is considered by many to be the most iconic Gun Club line-up and was only
together for this one album and tour!
• Classic 1984 Gun Club album with bonus 2nd LP of an unearthed 1984 live
recording. • Download link includes never before seen backstage footage and
concert footage. • 2 LP collection comes in high quality gatefold packaging that
includes extensive liner notes and archival photos and images. • Digitally remastered.

As the daughter of a blues musician, Chastity Brown was born with an
innate ability to channel complex circumstances into beautiful, uplifting
songs
But after surviving the isolation of the early pandemic and witnessing the global
racial reckoning that manifested itself in the riots mere blocks from her South
Minneapolis home, even she is surprised to hear the way her new album 'Sing To
The Walls' turned out. "It's a love album, in a way I didn't plan on," Chastity says.
Like so many artists who endured the uncertainty of the 2020 lockdown,
Chastity's instinct was to turn inward, at first out of self- preservation, and then
because the new songs kept coming and coming. Since finishing her last album,
2017's 'Silhouette Of Sirens', she estimates she's written nearly 100 new songs,
10 of which found their way onto 'Sing To The Walls'. Produced by Brady Blades,
'Sing To The Walls' is a sonically expansive album; it mines the roots of
Americana, folk, and soul music, but Chastity's stories are delivered in a style that
feels remarkably timely, modern, and forward-thinking. "I celebrate the emotional
richness in the tradition, but in my music I've committed myself to moving
forward and reflecting the experiences of those overlooked by tradition."
Chastity Brown has been praised by NPR, CMT, American Songwriter, the London
Times, Paste Magazine, and The Independent, among many others, and appeared
on the U.K.'s Later… with Jools Holland. She tours nationally and internationally,
having shared the stage and supported artists such as the Indigo Girls, Ani Di
Franco, Andrea Gibson, Jayhawks, The National, and Micheal Kiwanuka.

In the midst of the pandemic, the Goo Goo Dolls put on a real rock show
of their most popular songs on a visually stunning augmented reality
FanTracks stage
The band played their hit-laden back catalogue for a career-spanning live set from
Thunder Studios in Long Beach, California.
Featuring the band's biggest hit Iris with amazing HQ sound, the Goo Goo Dolls
rock the virtual crowd who get to enjoy the full, slick, multi-camera angled show in
all its glory.
From new tracks like Miracle Pill to their career big hitters like Black Balloon and
Broadway, this was the band giving fans as much of the full Goo Goo Dolls live
concert experience as they could, given the circumstances.

One of very few recordings of Kim Fowley to survive and amazingly, he
survived this show as the audience booed him off the stage
The band hadn't rehearsed properly and mid- show, the organiser asked the
audience if they wanted the show to continue and even though they emphatically
said NO!!!, Fowley and the band continued on, oblivious to the jeering audience.
Eventually, he was removed from the stage..

Originally recorded in 1976, Sound City was thought to have been lost
and is now available on vinyl for the first time
The Hollywood Stars were originally put together by impresario and Hollywood
figure Kim Fowley in 1973 (much as he did with The Runaways) and he, always an
attention seeker and an attention grabber, crammed their gigs at the Whiskey AGo- Go full of influential people, together with the coolest and most colourful
Sunset Strip characters. He wanted to create a West Coast version of New York
Dolls, minus the cross- dressing, and they had the sound people wanted in LA's
feel-good, glitzy rock and roll landscape.
When touring, groups like Journey, The Knack, Van Halen and The Runaways all
opened for The Hollywood Stars..

Even in its moodiest, most downbeat moments there's a spark of energy
that bursts out of A Face In Your Life, the new album from Pet Fox.Where
past efforts played around with after-the-fact layering of instrumentation,
the band's third full-length comes alive in the moment
Tracked live in one room, without the use of a metronome, the ten songs that
unravel across the album capture Theo Hartlett (Guitar/ Vocals), Morgan Luzzi
(Bass), and Jesse Weiss (Drums) in their rawest, most immediate form. Touching
upon notions of anxiety and self-doubt, A Face In Your Life travails the depths of
these themes while also offering little snippets of hope and guidance along the
way. Indeed, the album's sprawling opening track 'Settle Even' is billed as a selfhelp pamphlet, a reminder to the band themselves and those listening that there
will always be people in the world looking out for us, even when that feels like an
impossible feat. An inspired collection of riffs that twists and turns into varying
shapes throughout, Pet Fox never outstay their welcome in the half-an-hour or of
A Face In Your Life but do more than enough to make the kind of impression that
leaves you wanting to journey back through the shadows, to unpick the little knots
of the ideas they're exploring here. It was brought to life by just three people in
one room but it lends itself to something way beyond that; the never- ending
search for coping mechanisms in the messiest of worlds.

'Soul Food - Cooking with Maceo' blends raw, old-school funk with the
flavours of the New Orleans school of music
Parker worked with Ivan Neville, Nikki Glaspie and Tony Hall, as well as a host of
local musicians to record the songs. The funky flavour of the city weaves its way
through the album as the funk father and his band take on iconic songs of the
Mississippi masters such as Dr. John's voodoo funk of 'Right Place, Wrong Time',
The Meters 'Just Kissed My Baby,' 'Yes, We Can Can' recorded by Allen Toussaint
as well as takes on Aretha Franklin's 'Rock Steady', Prince's 'The Other Side of the
Pillow' and Maceo's long-time hero and Ray Charles Saxophonist, David "Fathead"
Newman's 'Hard Times'. We also get funky workouts from Parkers own back
catalogue on 'Maceo' and 'Cross The Tracks'. The latter adopted by Giles
Peterson at the staple song of his iconic WAG Club in Soho, London in the 1980s.
The amazing P-funk Parker has been at it with his legendary sound for time that
dates back to the 1960's. That's when Maceo and his drummer brother Melvin
climbed on board the James Brown funky soul funk train. It wasn't long before
James coined the solo summoning signature, "Maceo, I want you to Blow!". To
most musicologists it's the musically fertile group of men from this period of
James Brown's band who are recognized as the early pioneers of the modern
funk and hip-hop whose sounds we still jump to in the present day.

Crone's debut full length "Endless Midnight" represents Jeff Caxide's (of
Isis (the band) and Palms) foray into ambient soundscapes and partly
inspired by more than a decade performing around the world
Featuring contributions from a few old friends and drawing influence from fiction
and film as much as sonic luminaries Tangerine Dream and Vangelis, "Endless
Midnight" sees a re-release on vinyl for the first time!

“V I N C E N T” is FKJ’s second album and signals a new dawn, not just as a go-to producer and remixer for artists like PinkPantheress and Moses Sumney but as an artist in his own right, continuously selling out headline tours across the globe with his acclaimed ‘one-man-band’ live shows, and having a billion plus streams across all platforms for his music.

The concept for “V I N C E N T” came about during a solo trip to Los Angeles before 2020. “I just stayed in this house totally on my own, turned my phone off and had some time away from everything to figure out what I wanted to do.” He realised he wanted to tap into the freedom of being a teenager: “back then, I was making music strictly for playfulness, without overthinking it,” he says. “V I N C E N T’s” opening and closing songs underline the sentiment of the new album: the future-jazz of ‘Way Out’ (a playful mini soundtrack in one; a dainty piano motif underscored by a skittering trap beat and serene strings) and the lullaby-styled “Stay A Child”. “I wanted to get back some of that lost innocence of making music purely for pleasure,” he says.

Back in his home studio in the Philippines, with no wifi and an impending global lockdown, FKJ was quite literally cut off from the world, able to explore music’s endless possibilities. “Sometimes I would get into it for the whole night and go to bed when the sun came up.” Out of this freedom comes an expressionistic, touching album that’s impossible to pin down. There’s no more hiding behind a branch of leaves, as he did on the cover of his 2017 debut: “V I N C E N T” marks FKJ out as a crucial new voice. He’s redefining chillout music with his bursts of late-night jazz sax and piano, coupled with his wood-cabin whispery vocals, recalling Bon Iver’s early work, and those Santana-styled guitar flourishes.

Much of “V I N C E N T” is wilfully romantic, sometimes super sexy, and often with its head in the clouds, as on tracks like “Us”, a dreamy ode to his wife June, or “IHM”, which has a 90s hip-hop flavour slowed right down to lights-out tempo. Not entirely a solo record, ((( O )))) appears on ‘Brass Necklace’ – which has the soft power of The Internet and Stevie Wonder’s keys. It’s no wonder that lead single ‘A Moment of Mystery’, featuring Toro Y Moi, has a spacey vibe: while recording in San Francisco together, FKJ, Toro and his keyboard player Tony took some of what Tony called “holy water” – “we shared this bottle and took a bit of a trip,” laughs FKJ. The result is a gentle electronic ode to long-term love that could rival Tame Impala for melodic progginess.

Little Dragon’s Yukimi Nagano vocal, meanwhile, laces its way through the stunning “Can’t Stop”, and there is a call back to FKJ’s dancier beginnings with “Let’s Live”, a galvanising techno-pop number that blends piano, handclaps and soulful vocals to dazzling effect. Each of FKJ’s songs glistens, lambently, with a myriad of ideas but it never sounds overblown or too dizzying.

“V I N C E N T” is a marvel – and testament to the magic that can happen when you dig deep. “This was a challenging record,” he says. “I’m a perfectionist and it’s hard to shake that off. But once I did, and I let the music take over, I felt totally free.”

Re-release of Steffi's successful debut album Yours & Mine on her new imprint. The classic house album that reminds of early Detroit and Chicago tracks with a modern touch!!!

The musical vortexes of Caterina Barbieri rewire time and space. Listening to the Italian composer and modular synth virtuoso has felt like traveling at light-speed and slow-motion all at once since 2017's breakthrough double-album Patterns Of Consciousness. 2019's acclaimed Ecstatic Computation pushed even further with the lead single "Fantas", where a haunting melody hurtling towards its supernova climax felt like witnessing the life and death of a burning star. Far beyond any new age trope or modern synth trend, her music stands alone in its ecstatic intensity and cataclysmic emotional impact. Marking the debut album on her new label light-years, Barbieri now delivers her most profound work yet - a journey through inner-space as vast as a universe and as intimate as a heartbeat. The Spirit Exit opens and we fall in.

The brand new album by rising Australian out-rock duo, Party Dozen. Features guest vocals by Nick Cave. Party Dozen are a duo from Sydney made up of Kirsty Tickle (saxophone) and Jonathan Boulet (percussion and sampler). Since forming in 2017, they have become renowned in Australia for their incendiary live shows, touring and playing with acts such as LIARS, Tropical Fuck Storm and Viagra Boys. Exactly what Party Dozen are is completely up to the listener. Doom. Jazz. Hardcore. Psychedelic. No-wave. Industrial. Although largely instrumental, their sets are punctuated by Kirsty’s unique “singing” style, screaming into the bell of her saxophone which itself goes through a bevy of effects pedals. Intensely independent in everything they do, the duo write, perform and record everything themselves. 2022 will see the return of Party Dozen, first in April with the 7” release, Fat Hans Gone Mad, for the Sub Pop Singles Club, and then in July with their third album, The Real Work, with a new label partner in New York’s Temporary Residence Ltd. The Real Work succeeds in exploring new directions but also features some familiar Party Dozen touches. Perhaps most notable is the first-ever appearance of a guest other than Kirsty or Jonathan on a Party Dozen track, with Nick Cave ad-libbing a very memorable contribution to the album’s second track, “Macca The Mutt.”

Reissue!

Cold Busted has navigated the smooth seas to unearth Sailing, the new album from Moroccan guitarist and beat-flinger saib. The Casablanca-based producer has steered his sound into warmer waters. Mixing tempered hip hop beats with jazzy vibes and a lounge sensibility, saib. touches on a style that's both chill and opulent. The album's opener, "Archipelago," sets the scene with gentle piano, swirling strings, and beachside sounds that would make Martin Denny proud. "Tropics" pushes the agenda further, featuring delightful vibraphone lines, stand-up bass, and boom bap beats, providing the perfect soundtrack for poolside cocktails. The sleepy crooning of "Blue Memories," the future-retro sing-a-long of "Mermaid Dreams," and the guitar/vibes interplay of "Pastel" provide other highlights. Sailing's twelve songs show saib. as an artist capable of bringing a sunny climate to any listening environment.