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Mit seinem ersten Full Length Album "Ruinenkampf" begibt sich Das Kinn auf einen musikalischen Parforceritt durch die Ruinen unserer Zeit. Mittels Kickbox Phonetik und Elektronik Armada führt es uns durch eindringliche Klanglandschaften irgendwo zwischen DAF, den Kosmischen Kurieren und Frankfurter Bahnhofsviertel. Beats auf Anschlag. Knochen klappern. Die Orgel leiert. Warme Synthlines, gespielt von kalten Händen. Ein Saxophon sinniert über das Danach. Hymnen für den Abriss. Musik zum feierlichen Untergang. Toben Piel geht gern auf Friedhöfe. Orte der Ruhe und Idylle. Abstand finden, Vergänglichkeit erahnen. Das Danach als konkreten Ort erkunden. Auch sein Debut-Album "Ruinenkampf" stammt aus diesem Mindset. Dort geht er in Distanz, um dann mit Anlauf auf den Punkt zu kommen. Nach Ruhe und Idylle klingt das nicht. Kassettenszene, 80er Jahre, Stakkatogesang, Synths zwischen DAF und den Kosmischen Kurieren. Ästhetik des Untergrunds. Reißende Melodieströme, Raffinesse, unentwegt pendelnd zwischen Hymne und Abriss. Dieser krasse, erhobene Kraftgesang. Acht Stücke Zuhören, ohne eine Sekunde des Abdriftens. Wie geht das? Wie erschafft man so etwas? Nun, der Mit-40er aus FFM, jung geblieben und hungrig, hat eben gut gelernt: Bei Antitainment (2005-2010), danach zusammen mit der großen Charlotte Simon bei les trucs, im Kontext seines Kassettenlabels MMODEMM, aber auch als Musiker für diverse Theaterbühnen. Zum ersten Mal hat er mit DAS KINN nun das Gefühl, Musik im Sinne einer Selbstbefreiung hervorgebracht zu haben. Vielleicht liegt das am Alter. Da, wo er zuvor oft verkopfte, die Kontrolle suchte, Dinge zerdachte, nicht aufhören konnte im Sinne eines Perfektionismus, hat er sich diesmal ein loses Konzept grundiert, um dieser Selbsterkenntnis entgegenzutreten: Schnelligkeit. Fokus. Abschluss, Absprung. Nicht in Abwertung seines bisherigen Werkes - sondern vielmehr im Sinne einer Geistesgegenwärtigkeit, diese Erfahrungen walten zu lassen, ohne sich ihrer bewusst zu sein. Es ist ihm äußerst gut gelungen!

To celebrate the 10th anniversary of Lost Themes, Sacred Bones are thrilled to present an expanded art edition of the album with art by Greg Ruth. This special release includes an additional 7-inch featuring two previously unreleased tracks from the original recording session _ "Cruisin' With Mr. Scratch" and "Dominator." Upon its initial release, Lost Themes was praised for its evocative soundscapes ranging from horror to science fiction, each track conjuring a distinct atmosphere without the need for accompanying visuals. The expanded edition of Lost Themes not only celebrates a decade of John Carpenter's standalone musical journey but also enriches the album's legacy with new material that captures the spirit of its original sessions. Whether revisiting this masterpiece or experiencing it for the first time, listeners will find themselves immersed in Carpenter's hauntingly beautiful worlds once again.

To celebrate the 10th anniversary of Lost Themes, Sacred Bones are thrilled to present an expanded art edition of the album with art by Greg Ruth. This special release includes an additional 7-inch featuring two previously unreleased tracks from the original recording session—“Cruisin’ With Mr. Scratch” and “Dominator.” Upon its initial release, Lost Themes was praised for its evocative soundscapes ranging from horror to science fiction, each track conjuring a distinct atmosphere without the need for accompanying visuals. The expanded edition of Lost Themes not only celebrates a decade of John Carpenter’s standalone musical journey but also enriches the album’s legacy with new material that captures the spirit of its original sessions. Whether revisiting this masterpiece or experiencing it for the first time, listeners will find themselves immersed in Carpenter’s hauntingly beautiful worlds once again.

Depressive black metallers GHOST BATH have emerged from beyond the veil with their new album, Rose Thorn Necklace, through long-time partner Nuclear Blast. Free from the Moonlover-Starmourner-Self Loather conceptual trilogy, sole proprietor Nameless (aka Dennis Mikula) explores the most intense and introspective GHOST BATH’s oeuvre, advancing with blackened blasts and melancholic movements while moving his only child forward into the unknown. Hoisted into the firmament by the shimmering ‘Vodka Butterfly’ and the dissonant bliss of ‘Well, I Tried Drowning’ on one end and lowered into Mikula’s personal abyss with ‘Dandelion Tea’ and the riveting title track on the other, Rose Thorn Necklace is absolute danger and
haunting beauty.

Nach Kollaborationen mit den DIRTY PROJECTORS in der Vergangenheit oder zuletzt als DECISIVE PINK für ihr gefeiertes Gemeinschaftsalbum mit KATE NV im letzten Jahr, stehen die Zeichen für DERADOORIAN jetzt wieder auf solo. Es ist bemerkenswert, dass "Ready For Heaven" von einer einzigen Person gemacht wurde. Das wiederholte Überarbeiten der Songs bis zu ihrer Fertigstellung ist ein mühsamer Prozess, der eine Energie und einen Raum geschaffen hat, in dem DERADOORIAN voll eintauchen konnte. "I love the production more than the songwriting. ... In fact, I don't even feel like a songwriter at times, I feel like someone who is just inspired by so much music. And I want to try it all out! Like Lizzy MercierDescloux, Mingus, or ESG and Silver Apples, or making weird krautrock and industrial music. I love dub, and Sly and Robbie. I love the productions of those records and the collective energies released by their creators in the studio. It's just a weird thing to do it by yourself!" "Ready For Heaven" handelt von der Gegenwart und beschäftigt sich mit der schrecklichen Natur der Welt um uns herum. DERADOORIAN dazu: "This album is partly about watching humanity erode. It's about mental struggle, and it's avowedly anti-capitalist. I mean; would we have all these identity labels we have to live by, if we didn't live in a capitalist world?" "Ready For Heaven" ist DERADOORIANs kühne und offenherzige Antwort auf die Welt, in der wir uns befinden, und die Musikerin nutzt jedes Quäntchen ihrer Reserven an Witz und Wissen, um eine Quelle des Trostes und der Erleichterung für den Hörer zu schaffen. Verpackt wird dies in wissbegierige Popsongs, die mit einer Leichtigkeit und einem scharfen Fokus gesegnet sind, und den Zuhörer in ihren Bann ziehen.

Nach Kollaborationen mit den DIRTY PROJECTORS in der Vergangenheit oder zuletzt als DECISIVE PINK für ihr gefeiertes Gemeinschaftsalbum mit KATE NV im letzten Jahr, stehen die Zeichen für DERADOORIAN jetzt wieder auf solo. Es ist bemerkenswert, dass "Ready For Heaven" von einer einzigen Person gemacht wurde. Das wiederholte Überarbeiten der Songs bis zu ihrer Fertigstellung ist ein mühsamer Prozess, der eine Energie und einen Raum geschaffen hat, in dem DERADOORIAN voll eintauchen konnte. "I love the production more than the songwriting. ... In fact, I don't even feel like a songwriter at times, I feel like someone who is just inspired by so much music. And I want to try it all out! Like Lizzy MercierDescloux, Mingus, or ESG and Silver Apples, or making weird krautrock and industrial music. I love dub, and Sly and Robbie. I love the productions of those records and the collective energies released by their creators in the studio. It's just a weird thing to do it by yourself!" "Ready For Heaven" handelt von der Gegenwart und beschäftigt sich mit der schrecklichen Natur der Welt um uns herum. DERADOORIAN dazu: "This album is partly about watching humanity erode. It's about mental struggle, and it's avowedly anti-capitalist. I mean; would we have all these identity labels we have to live by, if we didn't live in a capitalist world?" "Ready For Heaven" ist DERADOORIANs kühne und offenherzige Antwort auf die Welt, in der wir uns befinden, und die Musikerin nutzt jedes Quäntchen ihrer Reserven an Witz und Wissen, um eine Quelle des Trostes und der Erleichterung für den Hörer zu schaffen. Verpackt wird dies in wissbegierige Popsongs, die mit einer Leichtigkeit und einem scharfen Fokus gesegnet sind, und den Zuhörer in ihren Bann ziehen.

Unter Präsidentschaftskandidaten und zukünftigen Astronauten, war die North Carolina Agricultural and Technical State Universität in Greensboro eine Brutstätte für schwarze Spitzenleistungen, Aktivismus und Talent. Unter einem halben Dutzend Labels versammelte der lokale Tölpel Walter Grady eine wechselnde Besetzung von Städtern, Homecoming-Queens und großen Männern auf dem Campus um einen schillernden Sound zu manifestieren, der sowohl einheimisch und revolutionär war. "Eccentric Soul: The Linco-Label" versammelt melodische Meilensteine aus dem Geburtsort der Bürgerrechtsbewegung.

Unter Präsidentschaftskandidaten und zukünftigen Astronauten, war die North Carolina Agricultural and Technical State Universität in Greensboro eine Brutstätte für schwarze Spitzenleistungen, Aktivismus und Talent. Unter einem halben Dutzend Labels versammelte der lokale Tölpel Walter Grady eine wechselnde Besetzung von Städtern, Homecoming-Queens und großen Männern auf dem Campus um einen schillernden Sound zu manifestieren, der sowohl einheimisch und revolutionär war. "Eccentric Soul: The Linco-Label" versammelt melodische Meilensteine aus dem Geburtsort der Bürgerrechtsbewegung.

Lac Noir - La Serpente is part of Emmanuel Raquin-Lorenzi's Lac Noir, a composite work inspired by a serpentine female creature or 'snake-woman' that he saw in Transylvania in 1976, with a total of 33 pieces using various media, 24 by himself and 9 by other artists. All the materials used in Lac Noir were gathered on the land of the snake-woman between 1990 and 1992. The first coordinated broadcast ran from June to October 2019, like a theatrical display of media. Parmegiani has been cited as a major influence by younger experimentalists like Aphex Twin, Autechre and Sonic Youth. Works of his were performed at the All Tomorrow's Parties festivals

Old, exhausted Swedish producer Sean Dixon is back with a new 4 track EP, this time on brazilian label Massa. Inspired by the sounds of Chicago and Detroit, Sean delivers a four-track EP filled with raw grooves and warm analog synths. Blending classic house elements with a modern touch, the release captures the spirit of the genre while showcasing Dixon's refined production style.

Es ist ein unwahrscheinlicher Eindruck, den Xmal Deutschland in den frühen Achtzigern nicht nur auf das hiesige, sondern auch auf ihr britisches Publikum gemacht haben. Es war wie gebannt von den unvermittelten Stakkato-Rhythmen, der mysteriösen (also: deutschen) Sprache und der Kraft und Vision der beteiligten Musikerinnen. 40 Jahre später, genauer am 9. Mai 2025, erscheint nun "Gift: The 4AD Years", mit dem das Londoner Label die Jahre 1983/1984 wieder aufleben lässt. Die 3xLP führt das fiebrige "Fetisch", das mächtige "Tocsin" und die korrespondierenden EP-Tracks zu einem Ganzen zusammen, das pulsiert vor Energie und Haltung. Enthalten sind auch die Bandklassiker "Incubus Succubus II" und "Qual". Das Coverartwork mit einer Fotoarbeit von Peter Schulte wurde auf Grundlage von 23 Envelope-Originalarbeiten von Timothy O"Donnell designt. Es kommt begleitend zu den originalen Sleeve-Fotografien von Nigel Grierson. Hinzu kommt ein Fotobuch mit Bildern von Kevin Cummins, Paul Slattery, Sheila Rock und weiteren sowie einem Text von Chris Roberts. "Gift: The 4AD Years" erscheint am 9 Mai digital, auf Doppel-CD sowie als 3xLP auf transparentem, rotem Vinyl sowie exklusiv in Deutschland als Crystal Clear Vinyl.

3xLP Boxset mit den remasterten 4AD-Alben Fetisch und Tocsin und den EPs Incubus Succubus II und Qual Es ist ein unwahrscheinlicher Eindruck, den Xmal Deutschland in den frühen Achtzigern nicht nur auf das hiesige, sondern auch auf ihr britisches Publikum gemacht haben. Es war wie gebannt von den unvermittelten Stakkato-Rhythmen, der mysteriösen (also: deutschen) Sprache und der Kraft und Vision der beteiligten Musikerinnen. 40 Jahre später, genauer am 9. Mai 2025, erscheint nun "Gift: The 4AD Years", mit dem das Londoner Label die Jahre 1983/1984 wieder aufleben lässt. Die 3xLP führt das fiebrige "Fetisch", das mächtige "Tocsin" und die korrespondierenden EP-Tracks zu einem Ganzen zusammen, das pulsiert vor Energie und Haltung. Enthalten sind auch die Bandklassiker "Incubus Succubus II" und "Qual". Das Coverartwork mit einer Fotoarbeit von Peter Schulte wurde auf Grundlage von 23 Envelope-Originalarbeiten von Timothy O"Donnell designt. Es kommt begleitend zu den originalen Sleeve-Fotografien von Nigel Grierson. Hinzu kommt ein Fotobuch mit Bildern von Kevin Cummins, Paul Slattery, Sheila Rock und weiteren sowie einem Text von Chris Roberts. "Gift: The 4AD Years" erscheint am 9 Mai digital, auf Doppel-CD sowie als 3xLP auf transparentem, rotem Vinyl sowie exklusiv in Deutschland als Crystal Clear Vinyl.

Die Progressive-Pioniere von Haken haben das Jahr 2024 damit verbracht, ihr jüngstes, hochgelobtes Studioalbum "Fauna" im Rahmen ihrer "An Evening With"-Tour rund um die Welt ausgiebig zu feiern. Die Band spielte zwei komplette Sets pro Abend und präsentierte "Fauna" in seiner Gesamtheit, bevor sie auf die Bühne zurückkehrte, um eine Auswahl der beliebtesten Songs aus ihrem Katalog zu spielen. Am 21. September 2024 spielte die Band im legendären Londoner O2 Forum, und die Dokumentation dieses besonderen Abends ist auf "Liveforms" zu finden. Die limitierte 3CD+Blu-ray-Edition fängt den Abend in voller Audio- und Videoqualität ein und enthält als Bonus bisher unveröffentlichtes Interviewmaterial mit der Band, die auf ihre glorreiche Karriere zurückblickt. Die 2LP-Edition im Klappcover enthält das komplette "Fauna"-Live-Set. Beide Formate enthalten ein atemberau-bendes Artwork von Dan Goldsworthy, der bereits das Cover von "Fauna" gestaltet hat.)

Chiminyo is a UK-based jazz/electronic artist and the founder of the new label NRG Discs (having previously released on Brownswood, Nightdreamer, Gearbox, and Astigmatic, with artists such as Gary Bartz, Shabaka Hutchings, Maisha, Nubya Garcia, Cykada, Uniri, as well as solo). Chiminyo is a versatile musician who blends the raw energy of live drums and percussion with cutting-edge electronic production.

His early solo releases showcased his knack for unique approaches to making music, using self-coded software to trigger synths and samples from every cymbal crash and drum hit, eliminating loops and click-tracks. This DIY, tech-driven methodology allowed Chiminyo complete, spontaneous control over his music—all from the stool behind his drum kit—creating a sound that is both daring and innovative.

Chiminyo's latest project, NRG, continues this trend of innovative thinking. Born from discussions around the UK jazz scene, Chiminyo concluded that this musical expression is less about "jazz" and more about the energy (NRG) that fuels it. As a result, NRG has evolved into a semi-regular event where Chiminyo brings together some of London's finest musicians for live, improvised performances that encapsulate the spirit of the scene. These live recordings are then given the magic production treatment by Chiminyo and co-producer Aviv Cohen, transforming them into the masterpieces we get to hear on wax.

The first three NRG LPs were a massive success, generating over 600,000 streams, selling over 800 copies (without distribution support), and receiving airplay on BBC Radio, Jazz FM, NTS, Soho Radio, and many more. High-profile DJs like Gilles Peterson and Jamz Supernova championed the albums, which were also covered in print by The Guardian, Jazzwise, Echoes Magazine, and various online channels. This success led to an invitation to record a live album at Ronnie Scott's, one of London's most iconic jazz venues—an incredible opportunity for any artist.

NRG 4 brings together some of the best jazz and electronic musicians in London. The album features Marisia Osu (harp), James Akers (tenor saxophone), Daniel Casimir (double bass), Lyle Barton (synthesizers), and Tilé Gichigi-Liperé (live electronics)—an all-star lineup whose members have released multiple records on Concord, Brownswood, Jazz Re:freshed, Astigmatic and more, and have collaborated with artists such as Laura Misch, Nubya Garcia, Blue Lab Beats and Emma-Jean Thackray. Three tracks are graced with features from Jorja Smith's backing vocalist BAELY and Cuban saxophone maestro Regis Molina.

Limited to 400 12" LPs (350 standard, 50 screen-printed limited edition).

Bekannt als der Haupttänzer der globalen Superstar-Gruppe BTS, veröffentlicht jhope sein zweites Album mit dem Titel ’HOPE ON THE STREET VOL.1’ - jetzt zum ersten Mal auf auf Vinyl! Mit dieser Veröffentlichung erzählt j-hope von seinen bescheidenen Anfängen als Teil einer Street Dance Crew und den Weg zu BTS. Der Inhalt des Albums umfasst: Äußere Hülle, innere Hülle, Vinyl, Fotobuch, Schlüsselanhänger aus Papier (je 3), Fotokarte, Filmfoto und Textkarte (je 6).

Neon Pink Vinyl. For their tenth LP in a career spanning more than two decades, Tulsa's Unwed Sailor deliver their heaviest riffs, loudest squalls, and most deeply textured arrangements yet. Cruel Entertainment is a catalogue of contrasts - dissonance and harmony, hardcore crunch and post-rock grandeur, complexity and catchiness - that adds a vibrant new dimension to the second phase of their discography, spanning thus far from 2019's landmark Heavy Age up to the "vivid, starry-eyed psychedelia" (AllMusic) of 2024's Underwater Over There. Opener and lead single, "Rock Candy", roars in with a gale of feedback, pounding drums, and nimble bass, until a latticework of howling guitars ushers us into a more goth-tinged space. It's a characteristically intricate, energetic composition that flows with remarkable ease between its parts, and wastes not a moment of its three minutes. "Monster Collecting" brings a rare combination of melancholic and driving energy, reminiscent of avowed heroes New Order, but ups the ante with a tight, fastpaced rhythm section and litany of guitar lines, until opening up into a cascade of reverberating textures and tenuous sweetness. According to Ford, the title Cruel Entertainment refers to "the hardships of being an artist and musician in the crowded, imbalanced world of social media and streaming," where the completion of a new work demands that the creator also be a promoter, content strategist, and agent, among many other intensifying challenges. Pointedly drawing inspiration from noisier, rowdier bands - including Fugazi, Quicksand, and Cherubs - here they seek a much-needed catharsis in the ongoing fight to keep the creative soul intact. Second side standout, "Monty Donahue", typifies this form of release, as massive, mid-tempo percussion leads a fluid low end theme - inspired by the dual bass assault of Dianogah - and Swatzell's chords burst into shimmering nebulas across a labyrinthine arrangement that's equally loud and beautiful. Title track, "Cruel Entertainment", is a mosaic of sound for which Ford's bass provides the mortar: taut drums list between the channels, washes of guitar stretch to the horizon, and metallic heaviness punctuates the drift. There is a confident immensity here, proving that, although Unwed Sailor have witnessed a wild amount of changes in the music industry, their knack for creating complex, vital, and masterfully produced work remains untouched.

Die Liverpooler RATS sind knallhart der Wahrheit und den Beats verpflichtet. Furchtlos, gelegentlich wild und häufig zärtlich kommt dieser mitreissende Pöbel auf der Debüt-LP "Rule The World" zusammen, nachdem die Single "Patsy Decline" (2021) ein neugieriges Publikum zu ihren lebhaften Liveshows lockte. Der direkte und optimistische Mix der Band aus unerschrockener lyrischer Ehrlichkeit und Crossover-Rock, R&B und Ska ist der Soundtrack des modernen innerstädtischen Grossbritanniens. Frontmann/Texter Joe Maddocks wird mit Mike Skinner (Jamie T, The Streets) verglichen, und die Band ergatterte einen frühen Supportslot für Liam Gallagher bei seinem Auftritt in der Royal Albert Hall 2022. Der gewundene Weg zu einem vollständigen Album wurde geduldig beschritten, RATS brauchten über zwei Jahre, um den Spass und die Wut ihrer prickelnden Liveshows auf Band zu bannen. "Es ist eine Mischung aus unseren individuellen Charakteren, die zusammenkommen", sagt Drummer Alan Phillips. "Da sind Lowells Dub und Ska, Joes scharfe, fast schon Hip-Hop-artige Texte, und dann sind da noch Mikey und Chris mit ihren mitreissenden Indie-Gitarrenriffs. Es ist eine Mischung aus den unterschiedlichsten Melodien in uns."

Berlin-based French-Irish multimedia artist Zoe Mc Pherson levels up on their third full-length "Pitch Blender", mangling years of experience DJing and performing live into a tight set of cybernetic soundsystem experiments that flicker between the rave and the art space.

Cast your mind back to February 2020 for a moment, when Mc Pherson released their last album "States of Fugue". The world seemed less tangled somehow, and yet Mc Pherson's precision-engineered fusion of exploratory sound design and visceral club pressure seemed to hint at a cataclysmic event none of us were really expecting. Only a few weeks after its release the world changed forever, and the majority of us were grounded - forced to consider our lives and the movement (or lack thereof) surrounding us. The philosophy of this extended time period is welded into the bones of "Pitch Blender", Mc Pherson's supple third album. They have learned plenty in the last two years, and infuse all of that anxiety and spiky emotionality into a spread of tracks that sound as powerful in headphones as they do over a well-tweaked soundsystem, soldering vocals, environmental recordings and instrumental flourishes to unpredictably pneumatic, cybernetic beats.

Anyone that's caught one of Mc Pherson's energetic live performances over the last few months will have an idea of what "Pitch Blender" is made of. They're an artist who's somehow able to match the raw energy of post-punk and no-wave music with the brain-altering potential of the best experimental club tracks, vocalizing an incongruous post-lockdown reality over beats that sound as if they're in a permanent state of flux. 'On Fire' splutters to life in a frenetic patter of drums that blur into oddly soothing hoover sounds, snaking lysergically towards a drop that's teased constantly, and never comes. We're forced to wait until 'The Spark' for that, fighting through choppy, pitch-mangled guitar and rolling beats until a gruesome kick drum forces its way through the psilocybin mists and heaving Bristol-inspired bass clonks. Backed up with just the inverted traces of recognizable breaks, this vigorous pulse lies at the heart of "Pitch Blender", the driving force that powers Mc Pherson's sound even when it's only hinted at.

'Blender' is the moment where Mc Pherson show their full hand, using crackling sound effects, ghost vocals and uneven rhythms to build a textural landscape that's so evocative you can almost taste it. Squealing modular synth effects sound like gameshow buzzers being triggered in another dimension and propel the track forward - it's club music, just about, but Mc Pherson's motivation is world-building, and their world is colorful, abstract, and dizzyingly surreal. "Obsolete user," their voice echoes over driving airlock kicks. But they take a swift left turn with 'Lamella', reducing the kinetic club rhythms to a longing simmer and letting loose with powerful vocals, intoning with robotic, gender-fluxed intensity. On 'Wait', New York City's clacking crosswalk signal - already an effective club track on its own - is transformed into a reminder to slow down, juxtaposed with booming sub-heavy kicks, acidic synths and effervescent percussion that rattles in time with the vibrations. It's foley rave, built for pure psychedelic intensity to blur the line between real life and sonic fiction.

One of the album's most galvanic tracks, 'Power Dynamics' curves a double-time rhythm around breathless HQ sound design squiggles until it hits a polyrhythmic crescendo, striking a queasy balance between rave hedonism and ritualistic hand drum energy. It all builds towards eerie closing track 'Outside' that acts as an important wind down, spotlighting Mc Pherson's ability to operate outside of the rhythmic spectrum, using cinematic scrapes and flickering neon synths to create music that's tense but never terrifying. The track feels like the end credits of a particularly bewildering movie - something between the cyberpunk dystopia of "Ghost in the Shell" and the vivid, sky-scraping beauty of "Koyaanisqatsi". Mc Pherson has managed something special with "Pitch Blender": mashing together genres with rare focus, and sharpening their engineering skills to a fine point, they've concocted an antidote to contemporary malaise - a wakeup call that's begging us to loosen our limbs and move.

Growing up is painful, brutal, and sometimes beautiful _ something Brooklyn-based indie-rock band Bedridden knows all too well. The band's name is even a nod to that ineffable period between childhood and the jagged edges of the real world. "When I was 21, I kind of lost my home," says frontman/guitarist Jack Riley. "I was couch-surfing. I was having a hard time.The next iteration in the band's maturation, then, is their debut, LP Moths Strapped To Eachother's Backs, 10 fuzzed-out (and sometimes gnarly) ruminations on dating, drugs, and survival out April 11 on Julia's War. The title came from a mysterious missive Riley received on astrology app Co-Star. "Last year I was way too reliant on other people _ my partner at the time, my friends," he says. "I was strapped to them in a weird way _ and flying in circles. This album is about that time."The current incarnation of Bedridden encompasses a patchwork of styles, influences, and friends Riley accumulated over the years. A Chicago native who first started making music at age five on a thrift-store guitar emblazoned with Kurt Cobain's name, Riley moved to New Orleans for college where he dabbled in punk before falling in love with shoegaze. There, he launched the first version of Bedridden. Sebastian Duzian (bass) _ a jazz musician and Pasadena native _ linked up with Riley in NOLA along with his bandmate, drummer Nick Pedroza. Pedroza, from Claremont, grew up on rock, metal, and jazz, honing his style after joining the band. Wesley Wolffe _ a guitarist fed on a steady diet of New Wave and `90s alt _ rounded out the crew just a few months back. Bedridden's previous lineup released their first EP, Amateur Heartthrob, in 2023 _ a noise-washed blend of shoegaze, DIY, and indie that Riley says is a "coming-of-age EP _ these formative stories about not having a bed, dating, being kind of a jackass. I was making fun of myself a lot." That release caught the attention of Douglas Dulgarian from Philly Label Julia's War (and TAGABOW), who signed them for Moths."Some of these songs have been around for years," says Riley, adding that they were recorded last February at Studio G Brooklyn; the album was produced by Aron Kobayashi Ritch (Momma). "As opposed to Amateur Heartthrob, we attempted to blend more clean guitars into a driving sound to capture more clarity _ one that also sounds live_ and raw," Riley says. That rawness thrums through the record, which kicks off with the thrashed "Gummy," about an incident when Riley had to gently fend off a co-worker's unwanted advances while both drunk and high on an MDMA gummy. And then there's mournful rager "Etch," which sees Riley daydreaming about beating up a meddler in his personal life _ in the minor key.The annihilating "Chainsaw" revs in next, a lightning-fast Lemonheads-inspired track that recalls Riley moving in with new roommates who were unnaturally obsessed with purchasing a lamp. "For some reason that pissed me off," he laughs; that rage is evident in the album cover, which shows said power tool demolishing a lampshade. Heavy-shredding "Heaven's Leg" showcases the band's affinity for `90s mainstays like Smashing Pumpkins while telling the tale of a gig at a local church. "The lyrics are about a pastor I had met that had lost his leg," Riley says. "The church had signs about not cussing and I had a feeling that neither of us had anything to talk about without potentially offending the other."The band's not afraid to get confrontational, though, on the anger-fueled, drum-heavy "Philadelphia, Get Me Through," which deals with a dead-end relationship and the mistaken assumption that getting drunk in the titular city would be a balm against the pain. And the nasty, brutist, and short hardcore-adjacent "MainStage"? "It's about being disrespected at a show on New Year's and how I lashed out," Riley says. "I then began to take it out on other people, which was a quality that I despise."Things get contemplative and mournful from here on out _ the emo-edged "Snare" is about bringing flowers to a hospital room where you're not welcome, while the Smiths-inspired "Uno" wrestles with self-loathing. "I guess the big finale of that song was my response to dealing with this recurring experience of feeling like I wasn't good enough by getting really into whippets," Riley says. Nu-metal bop "Bonehead," then, recalls an embarrassing dinner that turned into an argument _ the name applies both to that incident and the delicious simplicity of the guitar parts.After all that turmoil and pain, the band caps everything off with their eyes to the future on the jangle-pop "Ring Size." "All my friends are getting married _ do I follow in their footsteps? Or is it all a waste of time?" Riley says of the song. "At the end, through it all, I guess that's what I've been trying to figure out _ how to grow up, how to move on. I'm trying to navigate things as an adult and I'm not very good at it. But this is just the first record. This is just the beginning."And, hey, at least now he has a bed.

Originally released on Ben Chasny's own Pavilion imprint in 2011.

"I was invited by the Incubate Festival and the city of Tilburg to participate in an artist residency where I would explore the region’s unique chapels built for the Virgin Mary. After writing the music for about six months by drawing on memories of the encounters with the chapels and using techniques inspired by Gaston Bachelard’s Poetics Of Reverie, I flew back to Tilburg to perform the music at the Incubate Festival. We recorded the evening and I released the result on my Pavilion label. Each cover was hand painted white on white in the old Pavilion style. I created a stencil and used graphite powder to make the design that is inspired by the sun imagery in Athanasius Kircher diagrams."

Roadside chapels express the identity of the inhabitants of North Brabant, a Dutch province, bordering on Belgium. Roman Catholicism has been the dominant religion in this southern part of the Netherlands since the eighth century. For about a century and a half this religion was strongly suppressed. Only when the French revolutionaries preached freedom of belief around 1800 could the people of North Brabant exercise their faith again. This was the start of a very strong emancipatory development from which a special form of the Roman Catholic faith arose that fully determined everyday life of the people here. This faith was the determining factor in life and the measure of all things. After the second Vatican Council (1962-1965) the reins of the catholic faith in Brabant were loosened as well. This was the start of a revolutionary process of secularisation. Within a decade hardly anything was left of the almighty influence of the Roman Catholic Church and this situation has lasted up to the present day.

In spite of the almightiness of the official, Vatican ruled, Roman Catholic faith, North Brabant has always and perhaps notoriously fostered an undercurrent of popular belief as well. This is a kind of belief in which elements of the official faith and age-old pre-Christian traditions are combined. Worshipping relics, holding pilgrimages and processions, the use of water from holy wells, popular art, recitations and songs, festivals, rituals, folk traditions, superstition and the like are all examples of popular devotion. These matters have strongly influenced and formed the identity of the present-day population of North Brabant. It is part of their immaterial heritage.

An obvious and still very much visible form of popular devotion are the roadside chapels. In Brabant some 400 can be found, most of which have been devoted to Mary. Chapels are small buildings in which Mary or other saints are worshipped. They can be found within villages or towns or in natural surroundings. Always at the finest spots! The beauty of the environment adds a primary religious or mystical feeling to the visitor. Local people attach great value to their chapels. In spite of the overall secularisation in society they are still at the centre of cultural and social life. Where people in North Brabant can hardly be found in the churches nowadays, this doesn’t mean at all they are no longer religious. On the contrary, religious feelings are perhaps stronger than ever, but now people have to find their own expression of them. That’s why they fall back on the age-old popular belief in which chapels play an important role. We can even witness new forms of popular belief with chapels as their focal point. An example of this is the scattering of ashes of people who have been cremated. Chapels clearly also play a role in the lives of young people. On an average five new chapels are added every year.

I have studied the popular culture and belief and the identity of the inhabitants of North Brabant for over thirty years. I have published over forty books on these subjects. In 2010 I was approached by the organisation of the Incubate Festival in the North Brabant town of Tilburg. Their request was for me to lead the American composer and guitarist Ben Chasny around a number of chapels in the province devoted to Mary. He had been invited to North Brabant to write some new compositions. Ben Chasny then chose to be inspired by these chapels and that’s how we met. I was especially curious how an American would react to something as specific and small as a roadside chapel in North Brabant, since we tend to think here of (people in) America in terms of ‘big-bigger-biggest’. Would an inhabitant of this enormous country with this prevailing culture be able to grasp and respect the identity of some 2.5 million people in North Brabant with their chapels? The answer to this question lies hidden in the compositions he made and that can be listened to on this album. Yes, Ben Chasny has been able to convert the phenomenon of a simple chapel devoted to Mary into music. The physical and the spiritual have found each other. What a beautiful world…just listen! - Paul Spapens

CADAVER, one of Norway's first and most influential death metal bands, has carved a distinctive path through the annals of extreme music. Formed in 1988 in Fredrikstad by Anders Odden (guitar/vocals) and Ole Bjerkebakke (drums/vocals), the band emerged from the ashes of their earlier black metal project, Baphomet. Their vision blended thrash and death metal with progressive influences from bands like Voivod and the chaotic insanity of Napalm Death, forging a sound that defied conventions. In 2024, Anders Odden delved deep into CADAVER 's history, unearthing unreleased material that offers a fascinating glimpse into the band's formative years. Before signing with Earache Records in 1992, CADAVER had worked on what would eventually become their second album, ...In Pains. During this period, they recorded raw and unpolished versions of many tracks in the same studio where Hallucinating Anxiety was born. These early recordings featured working titles that were later changed, and among them was a song titled "Maltreated Mind Makes Man Manic," which was never completed at the time. Anders revisited these hidden gems at Studio Tomb, located in Råde, Norway—the very place where CADAVER was first formed. With the old lineup reunited for this session, they finished the additional recordings necessary to bring their original vision to life. The result is Hymns of Misanthropy, a newly completed album from 1991 that will finally see the light of day through Listenable Records in April 2025. This release showcases CADAVER's unique approach to extreme music and highlights their previously underappreciated influence on the early Norwegian black metal scene. With Hymns of Misanthropy, listeners can experience a raw and powerful chapter of CADAVER's history, demonstrating once again that they were never just a typical death metal band. Instead, they remain an ever-evolving force that consistently pushes the envelope of what extreme music can achieve.

3024 is excited to announce "Panta Rei", the long-awaited debut album by London-based, Italian artist Ehua. This album, which comprises a collection of songs crafted over the span of a year and a half, is not just an exploration through sound but also a significant milestone in Ehua's personal and artistic development. For the first time, she explores her vocal expression while also incorporating a range of percussive and other analog and acoustic instruments, resulting in a distinctive set traversing various corners of the bass music continuum.

Accompanied by unique artwork created out of concrete by Jeroen Erosie, a booklet with background and photography and a short eponymous film, 'Panta Rei' represents an intricate 'gesamtkunstwerk'. An exciting blend of various media with contributions from a range of artists, of course all centered around Ehua's beautiful and intimate music.

"Panta Rei" will be released in May, available on vinyl, as well as digitally and in booklet format. 3024 X Planet Wax are hosting a launch event on April 24th in South London.

Extending the melodious and mad, three-decade story of Super Furry Animals projects by adding another bombastic and beautiful chapter, Huw Bunford, Cian Ciarán, Daf Ieuan and Guto Pryce reconvene to announce the release of their second album, Pando.

Meeting every pummelling motorway mile with the beat of their psychedelic-soul-house blend since the release of their debut, Official UK Breakers Album Chart No.1 album, DK.01, in late 2023, Das Koolies’ energetic return to festival fields, intimate venues and service station shopping has affected no distraction from their mission. Committing to more time on the road at the same time as sharing rich spoils from the studio, Das Koolies include Newport, Nottingham, London and Manchester in their live plans. Determinedly exploring capability and ambition, the band’s continued, restorative return to wired and wonderful, man-and-machine-based music, following years of psych-folk-rock experimentation as four Furries, hasn’t meant forgetting the past. Som Bom Magnífico’s tour story, combining wistful and weary memory, rests the band’s case.

Taking on the lead lyrical and vocal role, Daf Ieuan, says: “Hindsight and rose-tinted glasses. It’s a song about a time when it was normal to order a veggie breakfast in hotels as a concession to a healthier life style, then following up by requesting to see the ‘Breakfast Wine Menu’. As Lou Reed sang: "Wine in the morning!".
Everyone should live like that for a while. Could be for a couple of days or a couple of decades. We’ve never laughed so much, but never again.”

Extending the melodious and mad, three-decade story of Super Furry Animals projects by adding another bombastic and beautiful chapter, Huw Bunford, Cian Ciarán, Daf Ieuan and Guto Pryce reconvene to announce the release of their second album, Pando.

Meeting every pummelling motorway mile with the beat of their psychedelic-soul-house blend since the release of their debut, Official UK Breakers Album Chart No.1 album, DK.01, in late 2023, Das Koolies’ energetic return to festival fields, intimate venues and service station shopping has affected no distraction from their mission. Committing to more time on the road at the same time as sharing rich spoils from the studio, Das Koolies include Newport, Nottingham, London and Manchester in their live plans. Determinedly exploring capability and ambition, the band’s continued, restorative return to wired and wonderful, man-and-machine-based music, following years of psych-folk-rock experimentation as four Furries, hasn’t meant forgetting the past. Som Bom Magnífico’s tour story, combining wistful and weary memory, rests the band’s case.

Taking on the lead lyrical and vocal role, Daf Ieuan, says: “Hindsight and rose-tinted glasses. It’s a song about a time when it was normal to order a veggie breakfast in hotels as a concession to a healthier life style, then following up by requesting to see the ‘Breakfast Wine Menu’. As Lou Reed sang: "Wine in the morning!".
Everyone should live like that for a while. Could be for a couple of days or a couple of decades. We’ve never laughed so much, but never again.”

En pakt med naturen is Tusmorke's first ever live album, recorded live at Oslo's biggest independent record store Big Dipper, as part of their 25th anniversary celebration last October. "We knew we had to do something special with Tusmorke. Benediktator and Krizla have since the early 2000s been building their record collections and releasing their own music simultaneously. We like to think the records we sold them in our store somewhat influenced their musical output, at least we know that the albums they released had a huge impact on us!" (Andreas Leine Jakobsen, Gerenal Manager, Big Dipper Musikk & Hi-Fi "Is this Folk Horror? Silly question, perhaps, but we need you to mutter certain phrases while listening: Bucoloc, acoustic, ancient, uncanny; acid, pagan, peasant, occult; wildness, wilderness, wildestness, Wicker Man. Ever since the start of Tusmorke, we've wanted to make an acoustic album. In Skien, Telemark in the 90s, we wanted to record in an ancient loghouse with an open hearth (årestue) in the local folk museum Brekkeparken. Years passed and line-ups changed. Then, when we supported Ved Buens Ende at Blå in the Autumn of 2021, we were joined by Åsa and Dauinghorn. They played some of the arrangements that we finally managed to record here, after several attempts to find a suitable time and place to make it happen. Again, time had passed and line-ups had changed, but the spirit of Folk Horror remained. We ask you to close your eyes and picture yourself in a windowless low dwelling, open to the sky through a hole in the roof. Acrid smoke curls upward and occasional sparks fly from the smoldering fire. Music wafts through the gloom in this serene scene of timeless primitivism. There is no electricity. There are no synthesizers. I won't even mention digital things, because they don't exist. There is only Folk Horror and you are in League with Nature." (Benediktator)

'Atmospheric death metal'. Three simple words to describe one's music, chosen by JADE mainman J. himself, although they don't seem to quite pay justice to the gigantic scope of their music. Because ever since the release of their debut demo back in 2018 they've proven again and again to be more. Much more. Historically speaking, the word 'jade' referred to a rare but valuable mineral in ancient times all over the world. From Mesoamerican cultures to Chinese and Southern Asian ones, the greenstone was conferred with deep spiritual symbolism and used to connect the earthly level to the unknown. The history of countless traditions, legends and cults remain as an endless source of topics in terms of lyrics for the band, with a rich historical narrative also poetized. JADE's music is described by J. as "a tribute to the timeless obscure metal language, from early death/doom manifestations to later atmospheric black acts, in a really heavy, intense and epic form which transcends ages, as the greenstone cult has endured." The sophomore album, and second full-length after last year split LP with SANCTUARIUM, Mysteries Of A Flowery Dream carries an ominous wave of darkness, redefining heaviness with new levels of musical production and arrangements, compared by J. to "a journey into the dialogue between conscious and subconscious dreaming states and the mysteries around." The album's lyrics are in direct line of those themes, echoing the celestial world and how it can help us overcoming ominous times ("The Stars' Shelter"), how dreams can be interpreted as omens ("Light's Blood") and how they allow us to travel the Mayan cosmovision and its various worlds for guidance, healing and messages ("Shores Of Otherness"), among others. You can even find on the cover artwork elements of the ancient Mesoamerican cosmovision, mainly the powerful moon goddess Ixchel, a creative yet destructive entity, portrayed here as the Spider and threading human fate like an umbilical cord, determined to give life but also to destroy it if needed. A frightening, fragile yet utterly fascinating balance perfectly illustrated by Mysteries Of A Flowery Dream.

Steve Bicknell returns to KR3, once again unleashing his mastery of power electronics!
Following his two reinterpretations of last year's "JK Flesh Remixes" and four years after his solo EP "A Day In The Life" in 2021, Bicknell takes us deep into the realms of his sonic mysticism, marking a significant milestone in the fifth anniversary of the label.
Several Streams of Thought LP - is an unrelenting and immersive odyssey, presented through nine tracks, seven of which will be available on a double 12-inch vinyl, with two exclusive cuts in a limited 7-inch format.
The album hits hard, straight to the brain, with no warning, across sides A, B, and C. Each side is a raw, untamed techno experience, with Bicknell's unmistakable signature dominating throughout, delivering unwavering intensity and relentless impact.
However, on side D, a transformation takes place: a 15-minute soundscape that turns the embedded waves into breath - a blinding light emerging from the darkness. It's a moment of tribalism and evocative magic, offering a refreshing pause, a return to balance after the intensity of the shadows.
The 7-inch, available in a limited edition under the title "the eye of the invisible world", contains two tracks - one on side E and the other on side F.
The mystical sounds complete this dual experience: one part filled with dark, untamed energy, while the other brings a sense of mental lightness, emphasizing breathwork and emotional self-
healing.
S | B is back, stronger than ever!

Martha Argerich - eine Legende am Klavier Der Begriff „lebende Legende“ trifft auf Martha Argerich zu, deren schillernde Mischung aus Virtuosität, Einfühlungsvermögen, Eklektizismus, Großzügigkeit und Geheimnis sie zu einer Pianistin von unvergleichlicher Faszination macht. Die in Argentinien 1941 geborene und in Wien ausgebildete Pianistin, die 1965 den Chopin-Wettbewerb gewann, ist zu einer manchmal schwer fassbaren Figur geworden, deren Auftritte und Aufnahmen mit Spannung erwartet werden. Martha Argerich ist zudem eine großzügige Mentorin für junge Künstler, insbesondere durch ihr ehemaliges Progetto Martha Argerich beim Lugano Festival in der Schweiz. Nun erscheint eine Auswahl ihrer berühmten Konzerteinspielungen auf Vinyl.

Wie so viele Coming-of-Age-Geschichten mit nachhaltigem Eindruck spielt das neue Album der Brooklyner Band Momma in einem bezaubernden und turbulenten Sommer. "Welcome To My Blue Sky" wurde mit der gesamten Band live im Studio aufgenommen und von Bandkollege Aron Kobayashi Ritch produziert. Mit Hilfe des Drummers Preston Fulks gelangen Momma 12 kraftvolle Songs, die die rohe Dringlichkeit des Rock mit den eindringlichen Melodien und straffen Arrangements des Pop kombinieren – eine Dynamik, die aus ihrem Engagement entstand, das direkteste Ventil für ihren emotionalen Ausdruck zu finden. Jeder Track ist zugleich geteilte Erinnerung, gemeinschaftlicher Erguss und fesselnder Reisebericht voller Selbstbewusstsein und Sensibilität. Das Ergebnis ist ein mutiger Sprung nach vorne für eine der kreativsten, kompromisslosesten und einzigartigsten Stimmen im Indie-Rock.

After a huge top 5 album in the UK in 2022, The Amazon's return with their 4th studio album which is by far their darkest and most heartfelt album to date.

Recorded at Dreamland Studios (a literal converted church) in 2017, this long-out-of-print record is now back in print on both vinyl and, for the first time, CD formats. The Bobby Lees’ “Beauty Pageant” overflows with the kind of raw punk energy you can only bottle once—when you’re young enough to play every chord like it might be your last. “A Woodstock, New York garage-rock quartet with sex, sweat, and lightning bolts of electricity surging through their collective veins.”- POPMATTERS. “Primal, rural, feral, rock’n’roll.” - LOUDER THAN WAR. “Storming to the scene with a howling sense of rebellion and nonconformity.” - ALTERNATIVE PRESS

House of Gold & Bones – Part 1 is the fourth studio album by American rock band Stone Sour. It is the first Stone Sour album without bass player Shawn Economaki, who left the band in 2012, his studio replacement was Rachel Bolan from Skid Row. Musically, Corey Taylor also described the album's sound as "Pink Floyd's The Wall meets Alice in Chains' Dirt". House of Gold & Bones – Part 1 was released on October 22, 2012 and debuted at number 7 on the Billboard 200 music album charts. The album has sold just under 130.000 copies in the United States alone and got raving reviews all over the globe. The album hasn't been available on vinyl for over 10 years and is now available as a limited edition of 1500 individually numbered copies on gold coloured vinyl and includes a 4 page booklet.

Hey, hard rock and metal fans—ready for another classic, early ‘90s album that never before made it to vinyl here in the States? Did we hear you say “Yeah!?” Then may we present Tyketto: Don’t Come Easy! This is another great, rockin’ record that got lost in the grunge craze that swept the music industry, and, just like our recent reissue of Wildside’s Under the Influence, it’s the debut release from a band that should have blown up much bigger than they did. You no doubt remember their single “Forever Young;” but the rest of the album offers melodic hard rock of the highest order, especially on tracks like “Burning Down Inside” and the power ballad “Standing Alone.” Excellent vocal work from former Waysted frontman Danny Vaughn, too. Remastered for vinyl by Mike Milchner at Sonic Vision…teal with white swirl vinyl, complete with printed inner sleeve!

Dive into the enchanting world of Middle-earth with our compilation LP featuring the most iconic tracks from The Lord of the Rings - Themes. This stunning collection captures the heart and spirit of the epic saga, making it a must-have for fans and music lovers alike. The Lord of the Rings film trilogy, directed by Peter Jackson, is based on the classic novels by J.R.R. Tolkien with The Fellowship of the Ring (2001), The Two Towers (2002) and The Return of the King (2003).

In nearly a decade, songwriter Sonia Weber’s ability to pen precise lyrics and memorable riffs has become laser-focused. As a result, the songs feel like they’ve been assembled with all the intention and care of a mixtape to a high-stakes crush. Caleb Misclevitz, A.P. Fiedler, and Derek McNeil round out the band, bringing the giant loud guitar rock feeling these songs require. The Portland outfit crafts songs big enough to fill an arena while simultaneously conjuring the emotional intimacy of making out in the bathroom of your favorite karaoke bar. Alien Boy does this by harnessing the raw power of PDX’s Wipers’ but not being afraid to embrace the pop catchiness of rock titans like Oasis or Third Eye Blind, all while crafting a tone and power distinctly their own. Whether listened to in your headphones in bed or witnessed live in person, Alien Boy leaves an emotional crater that’ll keep you coming back for more (Gem Fair)

Hausu Mountain continues the HausLive series of live show recordings that capture some of the headiest moments in Chicago underground music. On HausLive 4, we rewind the clock approximately one year to May 3rd, 2024 at Constellation, where the all-star Bill Orcutt Guitar Quartet (featuring Wendy Eisenberg, Ava Mendoza, and Shane Parish) made their barn-burning Chicago debut. The series channels the spirit of the informal bootlegging and tape trading of audience recordings as pioneered by the community surrounding the Grateful Dead, honing in on the raw live energy and in-the-moment emotions that can make any show stand out in the stream of time. HausLive 4 catches the Bill Orcutt Guitar Quartet in a sublime state of tour-hardened synergy with one another as they tear through the four-string guitar compositions that Orcutt wrote for his album Music for Four Guitars (Palilalia Records, 2022) with dialed-in fingers-on-fretboard precision, while also letting those songs evolve into flights of improvisation and extend into solo and duo passages led by each of the four guitarists. As Orcutt says on tape during one of the show’s interludes, “that record is thirty minutes; this show is an hour, so we’re improvising.” The resulting free-wheeling moments combine with the rigidity of Orcutt’s meticulous four-guitar compositions to form a program of music that draws power in equal measure from the forces of chance and discipline.

Solo artist debut album for Vidar Landa, mostly known as guitarist and co-founder of the Norwegian rock/metal group Kvelertak and the powerpop outfit Beachheads. For his solo work he record and performs under the name King Hüsky.

A self-annointed ‘over thinker’, nudged into sociability with dark humour and most comfortable in the silent company of books, Landa’s sidewards step into the realms of subtle, honeysweet songcraft peaks with the release of the first, self-titled King Hüsky album Nine tracks are set to offer listeners the same loosely-assembled, yet graciously insistent sonic experience inherent to not only the single Lately I’ve Been Thinking Of Your Mother, but also King Hüsky’s skip-a-long, late-2024 teaser Running

I’m Sad as Hell and I’m Not Going to Fake It Anymore is the best, sharpest, briefest, and fourth record from Paper Castles, the band fronted by Jericho, Vermont’s Paddy Reagan. In one way, it’s a simple and modest collection of nine fuzzy guitar-led pop songs. The title, a play on the iconic scene from Network (written by Paddy Chayefsky), can be clocked as nothing more than that at first glance, playful. But like the music behind it, Reagan thinks you can sit with the title if you want.

I'm Sad as Hell... was tracked by Benny Yurco (Michael Nau, Lily Seabird, Robber Robber) in a little over eight hours across two days, a testament to the quartet’s perfection of these songs on stage, and to Yurco’s comfortable Little Jamaica Recordings in Burlington.

Tompkins and Mangan lock into a wonderful foundation for Kitz’s lolling guitar lines on “Clean + Organized,” while on “Avalon,” the band sings harmony for the most ironic line in the waltz (“We don’t really want company”) before their instruments explode into technicolor. “Lying Here” showcases PC deftly navigating washed out verses and tight knit, twangy choruses, all in a tidy, under-three minute package.

Lyrically, Reagan is at his finest: playful and savage, biting and beautiful. Double entendres and clever wordplay abound—a line like “it's not the ideals but the high heels that’ll make you a man” from “Modern Myth” will make you wish John Prine was still around to hear it. On “Name Changer,” when Reagan sings “I’ll never change my name again / Got a real good handle and I don’t want to give it in,” what kind of “handle” is he referring to? I’d like to think Elvis Costello would smile at most lines in the Attractions rave-up “Content Creator.”