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When talking aout Ska Music one group of musicians whose name always comes to the forefront of the conversation are The Skatalites.
Formed around 1965 and named originally after the Soviet space satellite which was big news at the time.
With a little help from band member Tommy Mc Cook making a play on the characteristic 'Ska'sound made by the guitar when following the 'after beat' of the music.
The band would have a name to go with its distinctive musical style.
The time span of The Skatalites career considering their output of hundreds of tunes was a relatively short one of around two years.
We have caught a great set of tunes that the band cut at the legendary Treasure Isle Studios, built out of wood and positioned above Duke Reid's liquor store, it somehow worked in getting a great sound out of the band.
We have cherry picked a selection for your musical pleasure..
We hope you enjoy the set....

Spring Snow is a compilation of eight leading experimental artists from different cultures and musical backgrounds who were asked to freely reflect on the word, nostalgia.

The word, nostalgia, in particular comes from the Greek nostos (homecoming) and algos (pain), which are reflected on both sides of the record.

Li Yilei's SHI, meaning 'time' in Japanese, sets the stage with its free-form synth notes and traverse rhythms. The listener is then presented with a memory of an orchestra, conducted by Lucy Liyou, leading to euphoric moments from Sawako and Gonima.

The latter half explores the melancholic and sometimes painful side of nostalgia and youth. Forest Management opens the journey with a late-night rumination, which seems to loop endlessly. Jiyoung Wi, from South Korea, reflects on her birth and upbringing, and leverages her own voice to narrate the story.

Things take a deeper turn with Gaël Segalen's The Bed of Wewa, which paints a rougher picture with its noisy soundscapes, pounding synth notes, and synthetic voices. The trip concludes with Evicshen's rumbling and noisy track, titled Inguinal.

This release will have you dancing and crying at the same time. On his debut album, Paris-based producer and founder of the "raw poetry" aesthetic Loyce Demellier - AKA DJ Physical - takes us on a fast-paced journey through techno, electro, breaks and more. Whilst the music's indisputable home is the club, Physical teases out moments of playfulness and sentimentality amongst hard-hitting electronics.

"Silver Lake" LP resides on the colder, more industrial side of Demellier's sonic spectrum, following on from his latest release on London imprint 10 PILLS MATE which saw him depart from the more lofi quality of his previous releases in favour of a raw, club-focused sound. On the A-side, Demellier situates the release within the context of old warehouse raves, with euphoric acid melodies and a 140BPM propulsion ("Uranium"): and high-pitched synth stabs that ascend from darkness ("Gold Mines").

The B-side maintains the pace, but this time it's about electro and breaks. On "Overshoot", reverberating cymbals add another layer of depth to Amen break interludes whilst "Lawbreaker" harnesses a cheekier tone, offering respite from the previous tracks' venom. This air of playfulness sticks around on "Lunatic State" helped by MPC drum claps and a ludic electro melody, before fellow Parisian Ika Sile steps up for "Early Sprinter" and "Bootybounce": the former offering a slicker take on acid techno and the latter: rave music at its absolute with piano stabs and sleazy vocal chops. Silver Lake LP drops 22nd July 2022 via Lost Palms

Like meeting an old friend again, Dalmata Daniel welcomes DJ Overdose back to their catalog. Six years ago the infamous Dutchman's '05 Poly 800 Loop' EP was released, which served as a powerful launch to Dalmata Daniel, opening the first chapter in their story. Later in 2019, a split release with Sematic4 was also a highlight in the life of the label; and now, 3 years later, DJ Overdose checks in with the 'Powers of Ten EP' with a J. Mono remix, available both in digital and vinyl format, the latter having 2 bonus tracks.

The distinct, crunchy sound of DJ Overdose, bearing aspects of old school hip-hop-infused sampling and contemporary analog vibes creates the perfect blend of both worlds. 'Garden of Lust' opens up the adventure with a combo of warm basslines and solid drum-programming. This initial track feeds us these cardinal elements as the bread and butter they are: subtle variations and fine spices do appear here and there as the track goes along, but the key, beating pulse in 'Garden of Lust' brings massive hits stable as a sledgehammer in the hands of a blacksmith.

'Feed The Beats' elevates the game to cinematic territories: its majestic string-like central melody makes me alert and ablaze, making me feel like I'm in a late 80s L.A. setting facing malevolent zombie-aliens in my Wayfarer shades. Blasting beats and Carpenterian coolness all over the place, while the spooky bassline just keeps sneaking up on me endlessly.

If you are wondering when's the best time of the year to bring out your boombox at last, then this is your lucky day: with 'BOB', the first bonus track on the vinyl, we can experience some roarin' bassdrums, snappy snares, MCs with the speed of light and all that jazz. The low-bit sampling and vinyl scratching come and kick you right in the face so hard that it becomes pretty obvious you'll can't help but start some serious beatbox battles in your bathtub with your rubber duck.

A feverish groove in the prime time of a funky bash, in the haze of a sensual rave-up: that's all one really wants when going for a Saturday night out. We definitely get this and much more from 'Room 714', another vinyl-only bonus track. A berserk voice and ethereal chords guide us through this mysterious track, but while we are busy trying to impress our crushes on the dance floor, things around us are slowly getting very, very freaky, maybe a bit way too freaky.

As wobbly and jolly as it gets, our Dutch friend ends his session with 'Ðr ¡v€ M€ ¢r@z¥', a vocoder-heavy disco banger, full of merry vocal FX and smart rhythmic glitches as he completes his flight. To close the EP, our local hero, J. Mono delivers an insane remix of 'Ðr ¡v€ M€ ¢r@z¥': one can clearly imagine how he grabs and turns the BPM knob all the way up, fires up some arpeggios on his mighty synths and casts a complete reimagination of the original track.

3x7" box set containing DIIV's inaugural, pre-Oshin releases from 2011 First repress since their original release Pressed on Eco vinyl and limited to 3000 copies Includes full color booklet with photos, art, and new writings // Before Oshin, there was `Sometime,' `Human,' and `Geist'... In 2011, a newly formed DIIV (known, at the time, as `DIVE') created instant vibrations in the blog-world with their impressionistic debut single `Sometime'; finding its way onto the esteemed pages of Pitchfork a mere matter of weeks after the group's formation. They quickly followed it up with the equally great `Human' and `Geist', with the latter featuring a b-side cover of Kurt Cobain's "Bambi Slaughter." These very first offerings from DIIV chemically fused the reminiscent with the half-remembered, building a musical world out of old-air and new breeze. These are songs that remind us of love in all it's earthly perfections and perversions, and work that ultimately put DIIV on the map, leading the way for the band to become a central influence on the sound and aesthetic of the 2010s Brooklyn indie music scene. Now, to commemorate the 10 year anniversary of their seminal debut album Oshin, all three 7"s will be repressed for the very first time since their original release. DIIV: "Looking back, these 7"s were really the thing that propelled the band into existence and pushed us to realize Oshin in the first place. This type of retrospective project wouldn't feel complete without them."

“20 Centuries Gone” is a collection of two new original songs and six cover songs that span the timeline of SPIRIT ADRIFT’s most foundational influences. Featuring artwork by Brian Mercer (Lamb of God, High on Fire, Mastodon), and mixed by Zeuss (Overkill, Crowbar, Municipal Waste), this release is a powerful journey through the past, present, and future of classic metal’s most exciting new band. SPIRIT ADRIFT mastermind Nate Garrett comments: “I always thought it would be a cool experience to record some songs by bands that are foundational to the DNA of SPIRIT ADRIFT. These choices are obvious and on the nose to me, but maybe unexpected to the fans. That made the whole thing a lot of fun. A band like Lynyrd Skynyrd might not be the first thing you think of when considering SPIRIT ADRIFT’s influences, so the task for me became figuring out how to honor these great songs, but in the distinct SPIRIT ADRIFT style. To make the whole thing even more special, I channeled these influences and wrote a couple of new songs to kick things off. There’s a lyric in ‘Sorcerer’s Fate’ that mentions ‘past and future both aligned,’ and that became the concept here. The whole thing is presented in reverse chronological order. That way, you get a sense of where SPIRIT ADRIFT is headed, but you’re also taken on a journey back in time through our most fundamental influences. Hope y’all enjoy it!” “20 Centuries Gone” is available as: LP, Standard CD Jewelcase and Digital Album

From colossal opening track 'A Cleaved Head No Longer Plots', CONAN’s upcoming magnum opus will overrun you like a steamroller. The British kings of brutally heavy slowness put their down-tuned pedals to the limit, crushing ears and minds when huge, rumbling chords and riff beasts muscle their way in over lances of infinite distortion. On tracks such as 'Levitation Hoax', CONAN showcases their trademark sound combined with uptempo, fierce riffage, and a pounding, impulsive groove in epic Caveman battle doom grandeur, before the song drags you into a safe, deep black hole. Second album single, 'Righteous Alliance', emphasizes that CONAN are the masters of their craft, while Jon Davis spits his lyrics over the uber-synchronized power chord changes and tempo shifts of the anti-holy trio of bass, drums and guitar. Evidence of Immortality was recorded and mixed by Chris Fielding, was mastered by James Plotkin, and also sees former band member Dave Perry performing on 'Grief Sequence'. Bow down and hail CONAN, as their sound will live immortal on the battlefield of doom, and their new album will be the ultimate Evidence of Immortality! 1. SINGLE - EN On first single 'Levitation Hoax' off of Evidence of Immortality, CONAN showcases their trademark sound combined with fast-paced riffage and a pounding groove in epic doom metal grandeur, before dragging you into a safe, deep black hole. The British trio is one of the leading and most heavily touring doom metal bands of modern times, with millions of streams on Spotify alone. This further proves that their sound will live immortal! 2. SINGLE - EN Evidence of Immortality single 'Righteous Alliance' emphasizes that CONAN are the masters of their craft, while frontman Jon Davis spits his lyrics over the uber-synchronized power chord changes and tempo shifts of the anti-holy trio. Boasting sold-out international headline tours, frenetically acclaimed appearances at Hellfest, Desertfest and more, and millions of streams on Spotify alone, England’s doom metal masters strike back again on their new album. Hail Conan!

Born in march 2000, ANGELUS APATRIDA became in few years one of the most important Spanish thrash metal bands. Many demos and band members passed through the history of ANGELUS APATRIDA but it was in January 2003 that the band decided to write pounding thrash metal , mostly influenced by like Pantera, Megadeth, Overkill, Anthrax or Annihilator. ANGELUS APATRIDA released their 7th, self-titled album in 2021 and conquered the top of the official album charts in Spain (#1) and it also marked the band’s first ever chart entries in Germany (#49) and Switzerland (#41) . The band ’s classic album’ Clockwork’ , ’The Call’ and ‘ Hidden Revolution’ have been much sought after in vinyl format and reached ridiculously high prices online. Listenable is now happy to reissue those albums in limited edition coloured vinyls with brand new vinyl mastering and meet the huge demand ! . First come First served !

The debut album from Jonathan Richman & The Modern Lovers and featuring the U.S. single tracks, “New England” and “Here Come The Martian Martians” This version of The Modern Lovers included drummer David Robinson (The Cars) and Greg “Curly” Keranen on bass (The Rubinoos) Co-Produced by Beserkley Records founder Matthew King Kauffman and Glen Kolotkin (Jimi Hendrix, Janis Joplin) Available CD & LP. Jonathan Richman formed The Modern Lovers in 1970 in Boston with Jerry Harrison (Talking Heads), Ernie Brooks and David Robinson (The Cars). The band recorded a series of demos, first with John Cale (The Velvet Underground) and later with producer Kim Fowley. Both sets of demos were eventually released, but not until the original group had disbanded. In 1975 Jonathan relocated to California and secured a recording deal with Beserkley Records. By 1976 he had pulled together a new version of The Modern Lovers. This group included the holdover David Robinson from the original band and added, Leroy Radcliffe and Greg 'Curly’ Keranen (The Rubinoos). The self-titled release delivered on Richman’s desire for more acoustic and harmony-based material. Unfortunately, nearly on top of the bands’ debut album release, the earlier demo material drawn mostly from the Cale demo sessions was issued, and Jonathan Richman & The Modern Lovers was overshadowed by “Pablo Picasso,” “Roadrunner,” and their—now classic—“debut.” Shortly after the release of their actual self-titled debut, Robinson departed to join The Cars. Needing a new drummer, the band found D. Sharpe (later of the Carla Bley Band) and this new line-up recorded Rock ’n’ Roll With The Modern Lovers which was released in 1977 and achieved some chart success in Europe with “Egyptian Reggae” making it to #5 on the U.K. Singles Chart. Greil Marcus called it “the purist Rock and Roll album I’ve heard this year.” However, another in the series of personnel changes, Keranen left the group. Modern Lovers ‘Live’ followed in 1977 with new bassist Asa Brebner. While the U.S. might not have caught on to the magic of Jonathan Richman & The Modern Lovers, the U.K. certainly did. Recorded at the Hammersmith Odeon, ‘Live’ features Jonathan and The Modern Lovers performing classics from their first two releases to an enthusiastic crowd. The set included the recent Top 5 U.K. single “Egyptian Reggae,” as well as tracks from The Modern Lovers’ previously releases plus an eight-minute version of “Ice Cream Man.” 1979’s Back In Your Life marked the end of any original versions of The Modern Lovers and closed the Beserkley era with Jonathan stepping back from music for a few years after its release.

Nothing goes quite like you plan it, and the same could be said for oso oso’s fourth full-length, sore thumb. The album is an unexpected and unintentional return-to-form; a capsule of early 2021 when oso’s Jade Lilitri (he/him; vocals/guitar/bass/drums) and his late cousin Tavish Maloney (he/him) holed themselves up at producer Billy Mannino’s (Bigger Better Sun) Two Worlds Recordings. For a solid month, the three of them practically lived at the studio, crafting this entire album together in between nerf gun fights and psychedelic trips. The idea was to spend that month writing and demoing, then take a month off to decide where and who to work with to bring it to life––but everything happens for a reason. Less than a month later, when Tavish suddenly passed away, Jade knew immediately that he was not going to be touching these songs. Almost nothing has changed since; aside from a brilliant mix by Mike Sappone, sore thumb was nearly complete the day the two cousins left the studio. Every quirk, and every conceptual song born out of a month spent stoned with your cousin recording whatever came to mind; sore thumb exists as a living memorial for Maloney. It's a celebration of life and chaos and art, a glimpse into a moment that will never happen again. One month in Long Island, preserved for eternity.

TOPS were formed in Montreal when song-writing duo David Carriere and Jane Penny decided to join forces with drummer Riley Fleck. Since then they have become one of the most influential underground bands of the past decade, creating a space for sophisticated pop music in the indie world. Their tendency to opt towards making straight-forward, stripped down and honest recordings lets their pop songwriting shine out in the open. With a heart firmly attached to their sleeves, their songcraft delves into the emotional intricacy of personal relationships, asking questions about power and desire. Riley Fleck’s measured drumming and David Carriere’s trademark guitar licks mesh with Marta Cikojevic’s lush keyboards. All these elements work in tandem and in service of Jane Penny’s unmistakable, wistful voice. The result of this mixture is a collection of four self-produced records and a handful of singles that cover a range of moods and a complex emotional realm while maintaining a groove and musicality. Soft rock infused pop hits flow easily, surrounded by their signature moody ballads.

CHICAMACOMICO is a record about loss. Over a six-month span at the end of 2019/beginning of 2020, I lost my grandmother, my mother and watched as the world fell into a 2+ year pandemic that decimated businesses, relationships and dreams. This is a record about dealing with those losses. My hope is these songs serve a salve for anyone else experiencing loss. A reminder that you are not the only one that lost a friend this year, or a parent, or a loved one. There's a special kind of hope that comes from that realization. I am not alone. I wrote this record in the February 2020 on the northern coast of Hatteras Island in a small beach town called Rodanthe. In the summer, this area is an extremely popular vacation destination packed with tourists, but in the winter, it was a desolate ghost town. The perfect backdrop for the record I was trying to write. Over the course of two weeks these songs would take shape and come to life, and it quickly became obvious that the overall theme would be dark. During my stay I realized that the town used to be named Chicamacomico until the locals changed it in the name of ease and progress. In that moment, I knew I had the name of my record. We enlisted Brad Cook (Bon Iver, Nathaniel Ratliffe, Waxahatchee) to produce the record and traveled to Sonic Ranch, a world-renowned recording complex tucked in the middle of a 1,700-acre pecan orchard, in the Texas border town of Tornillo. Over the course of ten days, we watched these songs go from simple folk ruminations into fully formed band arrangements. In my sixteen-year career I have never been prouder of a set of songs, lyrically or stylistically. The songs have weight, but they aren’t weighed down. It’s a sad record, that makes you feel good. It's a culmination of nearly two decades of work. Chicamacomico sounds like nothing we've ever done yet it sits comfortably amongst the rest of our catalog. My records are chronological observations and I feel like this record perfectly represents the highs and lows of the last few years. Themes: Loss, Death, Darkness, Suicide, Divorce, Losing A Child, Losing A Parent, Losing A Spouse, Addiction, Recovery

20 Centuries Gone' ist eine Sammlung von zwei neuen Originalsongs und sechs Coversongs, die die Zeitachse der wichtigsten Einflüsse von SPIRIT ADRIFT umspannen. Das von Brian Mercer (Lamb of God, High on Fire, Mastodon) optisch gestaltete und von Zeuss (Overkill, Crowbar, Municipal Waste) abgemischte Album ist eine kraftvolle Reise durch die Vergangenheit, Gegenwart und Zukunft der aufregendsten neuen Band des klassischen Metal. SPIRIT ADRIFT-Mastermind Nate Garrett kommentiert: 'Ich dachte immer, es wäre eine coole Erfahrung, einige Songs von Bands aufzunehmen, die die DNA von SPIRIT ADRIFT begründen. Diese Auswahl ist für mich offensichtlich und naheliegend, aber für die Fans vielleicht unerwartet. Das hat die ganze Sache zu einem Riesenspaß gemacht. Eine Band wie Lynyrd Skynyrd ist vielleicht nicht das erste, was einem einfällt, wenn man an die Einflüsse von SPIRIT ADRIFT denkt. Also war es meine Aufgabe, herauszufinden, wie man diese großartigen Songs ehren kann, aber im unverwechselbaren SPIRIT ADRIFT-Stil. Um die ganze Sache noch spezieller zu machen, habe ich diese Einflüsse kanalisiert und ein paar neue Songs geschrieben, um die Sache in Gang zu bringen. In 'Sorcerer's Fate' gibt es einen Text, in dem es heißt, dass 'Vergangenheit und Zukunft aufeinander abgestimmt sind', und das wurde zu dem Konzept dieses Releases. Die ganze Sache wird in umgekehrter chronologischer Reihenfolge präsentiert. Auf diese Weise bekommt man ein Gefühl dafür, wohin SPIRIT ADRIFT sich entwickelt, aber man wird auch auf eine Reise in die Vergangenheit durch unsere wichtigsten Einflüsse mitgenommen. Ich hoffe, es gefällt euch!

Runhild Gammelsæter and Lasse Marhaug are two Norwegian musicians/sound artists. Both started in the early 1990s music underground and have worked in many constellations with a wide range of collaborators.

Despite knowing each other for a long time, Gammelsæter and Marhaug’s first collaborative work was the “Quantum Entanglement” LP in 2014. The album ignited a collective spark that both wanted to pursue further. Still, other commitments got in the way, and the project lay dormant until Stephen O’Malley, and Greg Anderson invited them to open for Sunn O))) for a special gig in the St. James Church of Culture in Oslo in the autumn of 2019. The two gathered for a long series of rehearsals, and after the successful performance, it was clear that it was time to start working on new compositions and recordings. That process initiated in late 2019 and continued to early 2021, encompassing before and after the world went through the lockdown. The result of this long development to be heard accumulated upon their new album “Higgs Boson” on Ideologic Organ Music.

Throughout the profound process of creating “Higgs Boson”, Gammelsæter and Marhaug drew inspiration from various subjects and artists. For Marhaug, it was concepts informed by the structuralist experimental cinema of Japanese directors Takashi Ito and Toshio Matsumoto, futurist worlds of French comic book artists Philippe Druillet and Jean Moebius Giraud, landscape photography of Fay Godwin, Kåre Kivijärvi, and Tamiko Nishimura, amongst others.

It became a metaphysical juxtaposition involving Gammelsaeter’s research and lyrical ideas based on several seemingly unrelated principles. A process of association inspired by “the Glass Bead Game” by Herman Hesse. The discovery of the Higgs Boson as a confirmation of the physical universe. The work of Ernst Schrödinger on the uncertainty principle. The four forces of physics. The Force. Helplessness under armed forces - as the war sailors in World War II. The influence of magic as expressed in tarot.

Gammelsæter experiments with a boundary involving the thresholds amongst various states of focus and legibility by forensic experimentation with techniques such as exclusive expression of consonants, syllabic repetition, retrograde text vocalisations and multi-lingual layering. Her vocal inspirational sources include Sidsel Endresen, Diamanda Galas, Natacha Atlas, the choral works of Rachmaninov, and the bands Carcass and Grave.

Two worlds coming together, making the music special. Mixing hard facts with science fiction helps create a kaleidoscopic cross point between the complex realities of the past and a possible future.

“Quantum Entanglement” featured two long-form pieces centred around a prepared piano and layered voice, while “Higgs Boson” developed a much more elaborate and ambitious compositional work. Across eight parts, the two artists brought a broad palette of instrumentation and sound. Electronic and acoustic, objects and field recordings, and pipe organ define the structures of which the centre is Gammelsæter’s magnificent voice. She has become known for her legendary voice, with her vast and unique range of inflective techniques and affective colour through her 30 years creating music. In the mix, Lasse approached the instrumental elements like landscapes, then Runhild’s vocals as characters that inhabit those worlds. Often, Gammelsæter multiple characters fused with the landscape. Make them occupy space, sometimes blend into it, sometimes dominate it. Constructing and setting visual guidelines helps set focus and open possibilities.

As an album, “Higgs Boson” is direct and focused, drawing on song structures. Within these tracks are vast strata of sound, an immersive multi-dimensional depth of music. Creating a feeling of depth while working with a flat two-channel stereo format - and how dimensions of texture and distortion can help develop the illusion of a space. The album structure is a story-like arc, a malleable subjective path, set as the album traverses oblique and suggestive areas, opening the concepts for the listener to unpack as they like.

– exclusive consultation with Gammelsæter & Marhaug, edited by Stephen O’Malley, June 2022

LIMITED EDITION DIRTY WHITE VINYL REMASTER.
FIRST TIME AVAILABLE ON VINYL FOR 15 YEARS. 300 COPIES.

17th anniversary remaster. New sleeve artwork with photos by Steve Gullick and pressed on dirty white vinyl.
Ladybird ... one perfect heavy as fuck hypnotic riff played over and over and over and over across 2 sides of an LP.
Back when Shit And Shine formed, the idea was basically to sound like their heroes DRUNKS WITH GUNS and STRANGULATED BEATOFFS, using that same basic formula. A big dumb ass catchy riff played over and over until the joke gets old ... then keep going.
Recorded live at Southern Studios, London (fun fact: the same room where BAUHAUS recorded 'Bela Lugosi's Dead'!) in 2004 with just two basses, a snare drum, a huge cardboard box and a tiny toy Casio sa-1 keyboard (using the "airplane" sound hitting the same key over and over for 41 minutes)
Some still say it's the best thing shit and shine has ever done. I'm not arguing.
Originally released on CD, and super limited vinyl waaay back in 2005. This was Shit And Shine's second release and it sold out REAL quick.
Remastered and beefed the hell up by Craig Clouse at Shit And Shine Ranch 2022.
Don't sleep on it.

Rose City Band is celebrated guitarist Ripley Johnson. A prolific songwriter, Johnson started Rose City Band to have an outlet to explore songwriting styles apart from Wooden Shjips and Moon Duo, where he is often not the lead songwriter. Rose City Band allowed him to follow his musical muses as they greet him and not be bound by the schedule of bandmates and demands of a touring group. Stepping out from behind the psychedelic haze that envelops his other output, Rose City Band"s lean yet richly textured arrangements lay bare the beauty of his songcraft. On Earth Trip, Johnson reveals more of himself than ever before, coloring the project"s country-rock twang with a melancholic, wistful undertone. It charts a journey of personal growth and introspection with surprising honesty, from pining for summers spent with friends to meditations on space, stillness and the splendor of the natural world. It continues Rose City Band"s celebration of summer warmth and the great outdoors, seen from a new vantage point, and with newfound appreciation for the freedom and joy that nature provides. Earth Trip was written during a period of sudden shocks and drastic lifestyle changes for Johnson. Forced to cancel extensive touring plans for 2020, the guitarist found himself home for an extended period for the first time in years. No longer in constant motion, he was able to experience and enjoy the simple pleasures of home life, of being in one place: hikes in nature, bathing outside, and waking with the dawn. Forming new connections to his surroundings, from tending to a garden to sleeping out under the stars, Johnson found hope and healing in a more mindful relationship with the natural world. Themes of recalibration and finding personal space are equally mirrored in Earth Trip"s lean production. Recorded at his home studio in Portland and mixed by Cooper Crain (Bitchin" Bajas, Cave), Johnson makes deft use of space while experimenting with new sonics. Shimmering pedal steel, woozy harmonica melodies, and stately piano enhance the album"s introspective tone without ever clouding arrangements. Psychedelic elements that nod to Johnson"s other projects and influences still appear throughout, but hover at the edge of perception, a subtle halo adding colour and texture to Johnson"s songwriting rather than taking centrer-stage. He elaborates: "I told Cooper I was trying to capture that feeling when you take psychedelics and they just start coming on - maybe objects start buzzing in the edges of your vision, you start seeing slight trails, maybe the characteristics of sound change subtly. But you"re not fully tripping yet. He got the idea right away and his mix really captures that feeling." Johnson"s lithe guitar playing throughout treads a fine line between country and cosmic, taut melodies spiralling out into long reverb trails or free-form solos buoyed by a breeze, radiating summer warmth. Through its daring honesty and masteful arrangements, Earth Trip cements Johnson"s place as a singular songwriter of inimitable skill. It"s message of mindfulness and our interconnectedness to the environment expands on a long country and blues music tradition that draws a symbiotic relationship between storyteller and the land, capturing the beauty of the natural world while also emphasising our responsibility in preserving it for future generations

In the musical universe of the Brazilian singer-songwriter Raphael Gimenes, wild landscapes are metaphors for unspoken feelings. The Copenhagen-based artist writes hauntingly visual, and poetically surrealistic stories, in which he can be hunted by sun-kissing jaguars, chased by thirsty horizons, become a kaleidoscope of butterflies, or turn into dream-singing birds. His 2016 debut album, "Raphael Gimenes & As Montanhas de Som", was elected the best Brazilian album of 2016 by the Dutch website Written in Music, received 5 stars on Jazzism, and was hailed as a "conceptual masterpiece" by the Japanese magazine Latina. His sophomore release, "A tongue full of suns", is co-produced by the Faroese singer-songwriter Teitur, who also features on synths. On this new album, Gimenes explores his non-Brazilian influences and his life outside of Brazil. The songs are sung in English, a language that he learned when he lived in the United States as a boy. The lyrics are inspired by the mountainous landscapes of Jotunheimen, Norway, where he goes trekking on a yearly basis. The production and the arrangements draw heavily on sounds he heard on vintage European prog rock bands, particularly Yes and PFM. The music itself does not stray far from the universe of his debut album, but the songs do take more symphonic, progressive forms, while the Brazilian rhythms are substituted by the more meditative, minimalistic tabla played by the German musician Jan Kadereit. "A tongue full of suns" also features two guitar virtuosos from Argentina and the Netherlands: Matias Arriazu and Tim Panman. The fictitious story behind the concept album is presented as a poetic short text written by Gimenes himself: "These are the last songs written by The Painter, a broken-hearted sorcerer who disappeared on a journey of self-discovery in the vast canvas of the great wild. They were found floating above the silence of an ageless rock, in a valley of slumbering glaciers. It is said that on his odyssey, he learned the hypnotic dialects of the trees, and deciphered the translucent poetry of the moon; that he unearthed ancient vestiges of rhymeless metaphors, and mastered the alchemy of cosmic verbs. It is believed that The Painter could enter the memories of rivers, interpret the dreams of birds, and that his sun-gilded tongue carried melodies that filled entire horizons. Legend says that he is now a wanderer of the infinite; a sacred secret, revealed only by the colors of the solstice alpenglow on inaccessible, rugged peaks."

As the 1970's turned into the 1980's Reggae's beat took another turn,slowing down to allow more space for the music to breathe.
The new sound became Reggae's focus and the Roots Radics one of Jamaica's finest session/backing bands were at the forefront of this radical change.
The Roots Radics were based around the nucleus of Errol'Flabba'Holt(bass),Lincoln Valentine 'Style' Scott(drums) and Eric 'Bingi Bunny'Lamont(guitar).
Holt and Bingi Bunny had previously been involved in the Morwells label set up and had cut some popular tunes such as 'Swine and Dine','They Hold Us Down' and the great 'Kingston Twelve Tuffy'.
Before this Bunny had played for one of the other great Reggae sessions band the Channel One based Revolutionaires.
It was the demise of this legendary band due to Sly and Robbie's commitments to their own Taxi label that led to the formation of the Roots Radics.
The Radics have worked with many different producers over the years including Linval Thompson with the series of alums 'Space Invaders Destroy the World' and 'Win the World Cup'.They also worked as Gregory Isaacs backing band and were responsible for the rhythms that made up his seminal 'Night Nurse' set.
We have caught the Roots Radics for this set cutting rhythms in their favourite environment the famous Channel One Studios.
On this occasion working with producer Ossie Thomasfor his own Black Solidarity label,a match made in Heaven...Enjoy..

Originally released in 2005 by Blackground Records, Libra is the sixth studio album by R&B superstar Toni Braxton, and marks her first release with the label. The album debuted at number four on the Billboard 200 and was certified Gold shortly after its release. Featuring the Scott Storch-produced single, "Please," the album marks a well-received return to form for Braxton, with a mix of impressive ballads and uptempo material, rich in serene and mellow tunes.

Round three of Rebirth’s bonus EP series that follows on from the massively popular Ciao Italia. Generazioni Underground compilation. Digging deep to reissue some of the most treasured Italian dream house tracks out there, volume three goes one step further unearthing two unreleased treasures.

Highly sought-after cuts, EP Tre brings together two certified gems on the A side in the form of the piano laden, Paolino & Gianni Bini - Love (Classic Mix) and Sasha’s blissful ‘Key To Heaven’. On the flip side, two previously unreleased tracks via Paramour & Adrian Morrison – Transmutation and Open Spaces - The Far Side Of The Mood, finally get their time in the limelight.

Jeder Song hat die Kraft, Erinnerungen wachzurufen und das Gefühl von Heimat durch Musik nutzbar zu machen: von der psychedelisch-funklastigen Single 'Something's Going On' bis zur kongregativen Energie des neuen Tracks 'We Give Thanks' verschmilzt 'Could We Be More' die Afro-Londoner Synergie, die so natürlich die Wärme und Identität von Kokoroko untermauert. Die Mehrfach-Preisträger Kokoroko sind auf soulige, bläserlastige Sounds mit westafrikanischen Wurzeln und Londoner Einflüssen spezialisiert. Sie spielten bereits auf vielen europäischen Festivals (von Glastonbury über Meltdown bis Elbjazz und Jazz á la Villette) und freuen sich darauf, ihre Reichweite in 2022 und darüber hinaus weiter auszubauen. Die Band trat in mehreren BBC-Fernsehshows auf, ihre beiden Boiler Room-Sets wurden zusammen fast eine halbe Million Mal angehört.

- 'This female-led, multicultural collective of under 30s is a vital example of not only jazz's new form but the shape of things to come.' - The Guardian
- 'Drawing influence from West African highlife and jazz, wellmarinated in enough polyrhythm seasoning to induce fires on the dance floors they play.' - OkayAfrica
- 'Afrobeat, jazz, soul and ’70s psych-leaning funk - luminescent!' - Cool Hunting

WRWTFWW Records and MEG Museum (Geneva) are ecstatic to announce a new full length album by celebrated Japanese percussionist Midori Takada (Through The Looking Glass), in collaboration with Buddhist monks belonging to the Samgha group of the Shingon school of Koya-san, led by Reverend Syuukoh Ikawa. You Who Are Leaving To Nirvana is available on half speed mastered vinyl LP, housed in a 350gsm sleeve, with OBI, and liner notes, as well as on digipack CD.

Recorded at The Premises Studio (London) and in Tokyo in 2019,You Who are Leaving to Nirvana is a majestic work combining a suite of six Buddhist liturgical chants and a musical creation by Midori Takada. The Buddhist chants come from three types of repertoires: shomyo ("Teisan", "Unga-Bai", "Sange", "Taiyo"), but also goeika ("Kannon-Daiji") and mantra ("Hannya-Singyo").

After supervising the recording of the Buddhist chants, Midori Takada added her own compositions, with subtle layers of percussion and the melodies of her beloved marimba, giving full life to the sacred texts.

Reverend Syuukoh Ikawa explains: "Shomyo is a form of declamation of sacred esoteric texts, inherited over many generations. The power of words goes far beyond their mere pronunciation. I think there is something that words alone cannot really convey. If I recite prayers in a musical way, the feeling transmitted will be even stronger than if I say it normally, in everyday language. I think that the musicality of a work carries a hidden power that cannot be expressed in words alone. The setting of the music has an additional power for you and for those around you who listen to it. The words of a song are not just words set to music. They carry an additional hidden power that cannot be expressed in any other way. Listening to Midori Takada's musical performance, the words truly seem to come alive."

Original recordings of the Buddhist chants are held in the International Archives of Folk Music (IAFM) at the MEG Museum in Geneva.

The album sleeve features an artwork by famed Japanese sculptor Katsura Funakoshi selected by Midori Takada.

You Who Are Leaving To Nirvana is released in conjunction with Midori Takada's Cutting Branches For A Temporary Shelter, also available on LP and CD on WRWTFWW Records.

Black Truffle is thrilled to continue its program of archival releases from Arnold Dreyblatt with a recently unearthed concert recording from Dreyblatt and Paul Panhuysen’s "Duo Geloso". While isolated examples of Dreyblatt’s collaboration with the legendary Dutch multi-media artist appeared on the CD reissue of Propellers in Love and Black Truffle’s wide-ranging archival Second Selection, this is the first release to document the variety and playfulness of the concerts that Duo Geloso performed throughout Europe in 1987-88. Both working across sonic and visual forms, fascinated by numerical relationship and the infinite complexity of string harmonics, Dreyblatt and Panhuysen had a natural affinity for each other’s work, strengthened through Dreyblatt’s many visits to Het Apollohuis, the important experimental art space Panhuysen helped to found in Eindhoven. However, as René van Peer suggests in the liner notes enclosed within this release, Dreyblatt and Panhuysen took very different approaches to these shared interests; the wonderful energy of these Duo Geloso performances results from the meeting of Dreyblatt’s more austere, compositional process with Panhuysen’s spontaneity.

Recorded at a concert at Het Apollohuis in December 1987 (a series of beautiful photographs of which adorn the LP’s packaging), each of the six pieces presented here is distinctive in terms of instrumentation and performance approach. Using electric guitar and bass tuned by Dreyblatt and played using E-Bow and Panhuysen’s motorised plectrums, the opening ‘Razorburg’ moves slowly through a long series of held notes with a madly insistent tremolo that crosses Dick Dale with a mechanised take on the layered guitars of Günter Schickert. The same pair of instruments returns on ‘Duo for Guitars’, where the mechanised attacks dissolve into a harmonic wash, reminiscent of the machine guitar work of fellow Het Apollohuis alumni Remko Scha. On ‘Love Call’, the guitars and bass are accompanied by Panhuysen’s distant warbled vocals, familiar to Maciunas Ensemble listeners. On the remarkable ‘Synsonic Batterie’, Panhuysen begins proceedings with a solo barrage of electronic percussion on the Synsonics Drum Machine (a simple drum synthesiser produced by the toy manufacturer Mattell), joined eventually by Dreyblatt performing his signature percussive natural harmonics on pedal steel guitar. When Panhuysen adds his bird whistle to the mix, the performance becomes the perfect exemplar of the Duo Geloso’s unique mix of studious close listening and subtle absurdity.

Presented in a gatefold sleeve with archival photos and illuminating liner notes from René van Peer.

Akae Beka's inimitable style of rich, deep, multi-layered songwriting, uncompromising devotion to RasTafari and soulful healing melodies developed over decades performing with St. Croix based band Midnite and countless recordings. At the point of his untimely passing in 2019, he had released over 70LP's. He is without a doubt one of the most prolific reggae artists ever known.

The stellar production trinity that is Zion I Kings have been involved collectively and individually in creating some of the most highly regarded contributions to the vast Akae Beka catalogue. Ride Tru, originally released digitally and on CD in 2014, stood every chance disappearing into the all eclipsing shadow of the LP released by them earlier that year, Beauty for Ashes, which had been named by iTunes as the reggae album of the year. A monumental achievement for undiluted, uncompromising RasTafari roots reggae music this side of the millennium. So needless to say, the bar was high and Vaughn Benjamin and Zion I Kings must have known that, as they managed to raise it higher again.

Ride Tru continues in the same form, rootsy, soulful, refreshingly polished and authentically raw, the threads of anciency that any devout reggae lover will be looking for and the threads of modernity that keep it alive and appealing in the modern day. A uniquely regal tapestry that has become synonymous with music created from the unity of Zion I Kings and Vaughn Benjamin

Following 8 years of anxious anticipation, for the countless Akae Beka fans that are also vinyl connoisseurs, this LP is now being released on as a 12" vinyl LP courtesy of Before Zero Records. This offers the listener not only the chance to enjoy this LP in an analogue form, but also the chance to hold the artwork as a 12" square masterpiece, created by the hands of Ras Marcus, the artist who gave the powerful visual presence that became synonymous to much of the I Grade / Akae Beka works over the years.

“How does an artist follow an album considered by many to be the best reggae album of 2014?..... you get right back in the studio with the same brilliant production team and follow that album a few short months later with one that nearly eclipses it entirely.”
Midnight Raver — Worldareggae

“...remarkable for the clarity of Tippy’s mix and the contrast between the hardness of Lloyd Richards’ drums and the softness of the guitars, keyboards and brass. The woozy analogue warmth of an old Augustus Pablo production – Son of Jah Dub - for Worry Free demonstrates how well Vaughn sits on the sounds of the original masters (an avenue that should be pursued further). Another veteran guest is the late Style Scott - who beats out one of his final patterns on How I & I Carry On.”
Angus Taylor — United Reggae

Golden Core haben mit Cutty Sark, Saints´ Anger, Witchfynde, Wildfire
und Dark Wizard bereits acht Klassiker vom kultigen Mausoleum Label mit Erfolg und vielen guten Kritiken wiederveröffentlicht. Eigentlich wäre die Serie hier abgeschlossen gewesen, wenn die belgische Band SCAVENGER nicht den ausdrücklichen Wunsch geäußert hätte, dass Golden Core auch ihr Album, „Battlefields“ aus dem Jahr 1985, den Fans auf die gleiche Weise neu zugänglich zu machen. Der neue Inhaber des Mausoleum Kataloges stimmte zu und der Sache stand nichts mehr im Wege. Scavenger sind wieder aktiv, allerdings seit Februar 2020 ohne Originalmitglied. Dafür wurde die junge und sehr starke neue Besetzung um Sängerin Tine Callebaut von den „Alten“ regelrecht ausgebildet. Eine erste Single sorgte bereits für Begeisterung und ein neues Album ist auf dem Weg. Um den Bogen zu den alten Tagen zu spannen, arbeiteten Scavenger an der Wiederveröffentlichung von „Battlefields“, dem einzigen
Album der Urbesetzung, tatkräftig mit. So spendierte man das Demo aus dem Jahr 1982, welches noch unter dem Namen Deep Throat erschienen ist und heute natürlich extrem rar ist. Eine Tape-Kopie zweiter Generation wurde hierfür von Neudi (Golden Core Rec., Manilla Road, Trance, etc.) so gut es ging aufgearbeitet und zeigt eine Gruppe, die 1982 noch tief im 70s Hardrock verwurzelt war. Weiterhin findet man diverse Livetracks, die klanglich wirklich nur „for fans only“ sind, aber den Zeitgeist als CD-Bonus dennoch perfekt wiedergeben. Die LP-Version enthält aus klangtechnischen
Gründen nur das Album „Battlefields“. Für beide Formate wurde nicht die Mausoleum-Classix CD genommen, sondern eine neue Vinyl-Überspielung von Patrick W. Engel in Auftrag gegeben, die anschließend von Neudi remastert wurde. Für die LP fertigte
Vadim Kulin (ZYX Studio) ein gesondertes Vinylmaster an. Das Booklet und LP-Inlay enthält viele rare Fotos, Liner Notes (exklusives Interview mit der Band), Memorabilia, sowie Scans und Abbildung der Original-LP. 1985 wandelten Scavenger gekonnt zwischen puren Power Metal europäischer Prägung und eingängigem, aber immer kraftvollem Heavy Metal. Kein Wunder dass das Album heute als eines DER Klassiker des Euro Metal gilt. Das beweist nicht nur die Tatsache, dass man vom Coverartwork von „Battlefields“ online einen Badeanzug bestellen kann…

Shelter Press and INA grm are pleased and moved to present two previously unreleased recordings of Peter Rehberg, two live performances given at the GRM which, each in their own way, vividly illustrate the extent of his sonic palette.

On 22 July 2021, Peter Rehberg passed away, leaving a great emptiness in his wake. Many initiatives have already celebrated or will soon celebrate his memory and the titanic work he put at the service of so many artists - a whole musical community, in fact - through Editions Mego. INA grm, Shelter Press and Stephen O’Malley, who are continuing some of the collaborative Editions Mego sub-labels (Recollection GRM, Portraits GRM and Ideologic Organ), wanted to pay tribute more specifically to the musician Peter Rehberg, and to his immense talent.

Peter Rehberg, as an artist, has collaborated with the GRM on numerous occasions, both with Stephen O’Malley (as KTL) and solo. This release features two concerts given for the GRM, each time as part of the Présences électronique festival. The first concert, given on 15 March 2009 at the Maison de la Radio in Paris, marked the first collaboration between Peter Rehberg and the GRM and the beginning of a long and fruitful friendship. The second concert took place on 6 March 2016. Between these two concerts, 7 years have passed, 7 years in which the ties between Peter Rehberg and the GRM have been strengthened, 7 years in which Peter Rehberg’s music has flourished. What is striking in these two concerts is how Peter Rehberg’s unique musical sensitivity and ‘grammar’ can be heard beyond the instruments. For while the first concert is pure laptop music, the second is extended to the field of modular synthesis. However, in both concerts, the elements that are so personal to Peter Rehberg’s music are present and combine in a layering of sonic abrasions, raw sensations and a sensitivity that is as much about formal awareness as it is about the invocation of overwhelming emotions, even though a little hidden behind a radicality that is always a bit provocative. Peter Rehberg offers us a “portrait music”, a music that gives some clues about the personality of its author and whose absence continues to deepen an inconsolable sadness.

Live performances by Peter Rehberg at le Centquatre-Paris for INA grm’s Présences électronique festival, recorded on March 15, 2009, and March 6, 2016.

Mastered by Giuseppe Ielasi
Cut by Andreas Kauffelt at Schnittstelle, Berlin
Photo by Magdalena Blaszczuk
Sleeve design by Stephen O’Malley

(feat. Claire Davis)

300 copies pressed

The A side was released back digitally in March. "Hope To See You Again" Which is an original song with Claire Davis on lead vocals

Better things is coming out digitally 15th July and it will be on a Ltd edition 45 vinyl. The Pre-Orders for the vinyl will be starting soon.

The B side is a killer version of her classic tune, "Better Things" The soulful vocals of Claire Davis are accompanied by jaunty horns and keyboards, and the cool groovebefits the positive lyrics ("I'm a better woman than I have been")

Introducing The HP's. This talent-studded Hamilton-based funk/soul collective is poised to make major moves with the release of their debut 45. The group is the brainchild of drummer/bandleader 'Parkside' Mike Renaud, the founder/owner of noted Canadian music company Hidden Pony Records & Management. A life-long fervent fan of funk and old school soul, Parkside has assembled a crack team of musicians and vocalists dedicated to his vision of breathing vibrant new life into these classic forms. Drawing inspiration from the likes of James Brown and The J.B.'s and Sharon Jones and The Dap Kings. The title pays tribute to Renaud's hometown, Hamilton, and The H.P.'s sound

honours The Hammer's core characteristics of rugged authenticity. Get ready to get Gritty!

— The HP's have partnered with UK based soul label LRK Records for the release of their latest single "Hope To See You Again", featuring Canadian soul singer and LRK alum Claire Davis

— "Hope To See You Again" arrives digitally March 31st, 2022 with the 45" expected summer 2022

— The 45" single will also include a cover of the Sharon Jones & The Dap Kings classic "Better Things"

The HP's.

To the Canadian music industry, 'Parkside' Mike Renaud is best known as the founder and owner of Hidden Pony

Records & Management, now widely recognized as one of Canada's premiere talent-development labels and artist

management companies. Past and present artists on Renaud's roster include Said The Whale, The Elwins, The Dirty

Nil, Hannah Georgas, Imaginary Cities, Jeremy Fisher, Odds, and many more.

Not many are aware that this popular industry power player actually got his start in music as a drummer in a '90s

Montreal soul/funk band called Parkside Jones (the source of his nickname). When he moved over to the business

side of music, beginning with top indie label Aquarius Records, Mike Renaud packed the kit away, launching himself

into the biz with full passion, commitment, and skill.

Mike has now resurrected his kit (after 20 years), honed his chops, and emerged as the driving force behind The

Renaud recalls the spark that reignited his love of playing drums: "The first time I played them in 20 years was at the

memorial for industry comrade Jon Box at The Opera House in Toronto. I was talked into playing with Chris Murphy

Sloan, Terra Lightfoot, and the Dirty Nil guys on a version of 'Handle With Care.'"

This renewed love affair would lead to Mike's vision for The H.P.'s. From his teenage years, his favourite musical

genre has been classic soul and funk, and he has an encyclopedic knowledge of these styles. Heartened to see the

growing international community building around these sounds, Mike decided to make his own creative contribution to

the form. He recruited musical and vocal collaborators from his hometown (plus a couple of Toronto imports) for the

project, and The H.P.'s were born.

The group name, The H.P.'s, pays homage to James Brown's legendary band, The J.B.'s, with these initials

referencing Hidden Pony. The album title is a tribute to Renaud's hometown, Hamilton, and The H.P.'s sound

honours The Hammer's core characteristics of grit and authenticity. Mike actually spent some time co-managing the

current J.B.'s.

The late Sharon Jones, a key inspiration for Renaud, is honoured via a killer version of her classic tune, "Better

Things." The soulful vocals of Claire Davis are accompanied by jaunty horns and keyboards, and the cool groove

befits the positive lyrics ("I'm a better woman than I have been").

Giving this cover extra resonance are the memorable encounters both Davis and Renaud had with Jones back in

2015. A documentary portrait of the soul great, Miss Sharon Jones!, had its world premiere at the Toronto

International Film Festival (TIFF), and Claire Davis was doing a house concert playing DapKings songs that night.

The band came across the party and jammed along, then, when one of the Dap Kings backup singers couldn't cross

the border, Claire got the call to fill in at Sharon Jones' headlining show at Hamilton's Supercrawl fest.

In a cool twist of fate, Mike Renaud was one of the organizers of that show, and was tasked with looking after

Sharon. The two bonded instantly and deeply, as Mike recalls. "While driving her to soundcheck, Sharon confided in

me that her cancer had returned. She didn't want anyone to know, as the documentary was about her conquering it,

and she didn't want people to be bummed out at the news. It was my 40th birthday that day, and Sharon actually

stopped her show to sing me Happy Birthday in a soulful way!"

Shakethehoof added "Hope To See you Again' to their playlist musicto/shake-a-hoof/the-hps-ft-claire-davis-hope-to-see-you-again-the-hoof-chats/

"BETTER THINGS" has gone straight into the UK Soul chart breakers at No 8

‘’The band brings out instrumentation and vocal melodies that are of the same lineage as more modern indie bands like Parquet Courts and Ought. “ POST-TRASH

Hailing from Puerto La Cruz, Venezuela and Nashville, Tennessee, Rui DeMagalhaes and Mac Folger found a middle ground in skewness. Heavily influenced by kiwi pop acts like The Bats and The Clean, as well as British post-punk pioneers Swell Maps and Wire, Lawn maintains a balance of classic pop sensibilities and sharp, curious energy.
Indeed, Lawn's sound is a marriage between two different songwriting approaches that make both members step out of their comfort zones without losing their bearings. The result is a partnership that thrives in exploring how their differences make them a solid unit. DeMagalhaes and Folger are different, but never at odds.

After approaching their second full-length with a sense of ease and composure, New Orleans' Lawn found themselves embracing a sense of urgency for their follow-up work, Bigger Sprout. Written, rehearsed, and recorded under a month-long period, Bigger Sprout explores a feeling of urgency as a theme and a catalyst: urgency to get out of uncomfortable situations, urgency to take relationships more seriously, urgency to work on themselves, urgency to play shows again, urgency to record, urgency to start a family, urgency to make plans and leave old settings behind, urgency to grow up and become more in tune to your surroundings, urgency to quit old habits and pick up new ones. The EP, co-written with former drummer Hunter Keene, is a document that embodies the anxieties of change, for better or worse. This idea is juxtaposed by including a remastered version of Big Sprout, their first-ever release, as side B. Big Sprout, which was also written and recorded over a short period of time, has never been released in any physical capacity. The inclusion of these songs provides a contrast into who the members of Lawn were in their early 20s against who they are now.

Here we are at the dawn of a new compilation series and we’re kicking things off with an absolute gem that features a selection of hard-to-find records (some impossible to find) and some that have been hiding in plain sight all along. They all share common qualities, being that they are beautiful, soul quenched songs that sing of love, peace and unity.

‘With Love: Volume 1’ has been compiled by Miche and presents a curated selection of rare Brazilian, gospel, modern soul and jazz-fusion fire. We have Brazilian rarities by Alcione and Quientaessencia, UFO gospel by Keith Chism & Light, the jazz-funk/AOR sounds of City Lites taken from a Radio Station album, and the anthemic feel-good emotional soul of Belita Woods to name but a few.

Tracking down artists and musicians from the past is an art form. Like a seagull swooping for treats, sometimes the prizes are easily found, and at other times, it’s the result of very late nights trolling through Facebook profiles, message boards, hitting dead ends and following red herrings, and yet still the search goes on. This compilation is a true labour of love with all the artists tracked down and licensed by Miche. It has long been an ambition of the London based musical connoisseur to compile an album, and like anything that requires craft, care, and knowledge - it takes time. There are many twists and turns in the hunt for those records that make your jaw drop.

In 2018, when just 24, Miche became a music programmer for London’s illustrious Spiritland group of venues. From this musical sanctuary, he was able to listen, learn and meet some of the best selectors from around the world. It was a musical education, and he was particularly drawn to the deep sessions by DJs such as Mark Taylor, George Arthur, Kev Beadle, Patrick Forge, Dr. Bob Jones, and Colin Curtis to name a few. He also used this time to begin running his re-issue label Discs of Fun and Love with co-owner and friend Frederika.

Sometimes the cynical knock compilations, there is certain snobbery amongst some about the original pressing, but music shouldn't just be about lucky collectors giving over large sums of money to record dealers. It's also about a bridge to the past, a celebration of the legacy of somebody’s art, and a second chance for initially overlooked work to shine. As with all the best compilations, it has been compiled with love…

Pendragon veröffentlichen ihr letztes Album in akustischer Form auf Doppelvinyl. Viele der Songs wurden neu strukturiert und mit Orchestrierungen und zusätzlichen Abschnitten versehen, um eine äußerst begehrte Vinyl-Veröffentlichung dieses phänomenal beliebten Albums zu schaffen.

- Atemberaubendes Artwork von Liz Saddington auf einer Klappkarte in Stucco-Optik mit farbigem Extra-Artwork und Fotos auf den Innenhüllen der Karten.
- Abgemischt von Nick Barrett und Karl Groom.
- Alles auf 180gm farbigem Vinyl.
- Dies ist ein Album, das alle Vinylfans lieben werden!

Originally released in July 2021 on blue vinyl – this is a yellow vinyl re-press – original notes below

During 2019, Blondie was invited to perform in Havana, Cuba as part of a cultural exchange through the Cuban Ministry of Culture. This was a 40 year ambition come especially for songwriter & guitarist Chris Stein, who had longed to visit Cuba for most of his life. Artist and director Rob Roth documented this special moment and career highlight by shooting a short film titled “BLONDIE: VIVIR EN LA HABANA”.
The film is broken up into 3 parts — Water, Fire and Air — and present a meditation on the experience as well as highlights from the two-night live musical performances with special guests Alain Perez, David Torrens and Cuban Fusion Pioneers Sintesís at Havana’s famous Teatro Mella.
With narration from Blondie founding members Debbie Harry, Chris Stein, and Clem Burke, providing a glimpse into the passion and beauty they discovered in Havana and the magic moments of performing alongside incredible Cuban artists. “BLONDIE: VIVIR EN LA HABANA” goes beyond the atypical short form film and live music documentary by presenting a portrait of the legendary band’s first experience in Havana and of the magical exchange between musicians from the two cities each call home and their intertwined influences.

The sound track for the film features Cuban musicians Carlos Alfonso, Ele Valdés, María del Carmen Ávila, Alejandro Delgado, Juan Carlos Marin, Jamil Schery, Degnis Bofill, Adel González

Released in July on limited edition pale blue vinyl to accompany the film which will feature throughout 2021 in many prominent Film Festivals inc the Tribeca Film Festival.

The city of Bristol has undoubtedly a rich reggae heritage. The criminally neglected Talisman finally benefits of a long overdue release, collecting their first efforts plus a series of extra tracks. You’ll get their first two singles released on Recreational Records - Run Come Girl/Wicked Dem and Dole Age/Free Speech, both released in 1981 – plus a selection of five long lost contribution.

Originally formed in 1977 as Revelation Rockers, a name they soon changed, Talisman were considered the top reggae act in town alongside local contemporaries Black Roots. The band – popular for their intense live shows – opened for such glorious and diverse acts as Burning Spear, The Clash and The Rolling Stones ! This proper release on vinyl allows a new generation of fans to catch with their original style. Talisman certainly shows a different side of the UK reggae flourishing scene – think about Aswad, Steel Pulse and Misty In Roots – putting Bristol back on the map!

This was the first album from Experimental Audio Research (aka E.A.R) an experimental music collective formed around Sonic Boom (Pete Kember), founding member of Spacemen 3 (along with Jason Pierce), who, on this project works closely with Eddie Prevost (AMM), Kevin Shields (My Bloody Valentine) and Kevin Martin (God). Although not released until 1996, Beyond The Pale was originally recorded in Northampton, back in 1992 at Angus Wallace’s Far Heath Studios. This is the limited edition heavy weight, 180g transparent vinyl LP that was produced and mixed by Sonic and has been pressed in a limited run for 2022. The original artwork, created by long time E.A.R. collaborator - artist Anthony Ausgang, looks brighter and crisper than ever in this sturdy 300gsm sleeve. This is the first vinyl in a series of E.A.R. releases, all in heavy weight and coloured vinyl, throughout 2022 and it sounds incredible.

Handnummerierte Ltd. Deluxe 2LP + CD Artbook, das eine mehrfarbige Vinyl (jedes Design ist einzigartig), eine Zoetrope/Picture Vinyl, eine CD, zwei Bonustracks, einen Kunstdruck und ein 36-seitiges Booklet im LP-Format mit Liner-Notes enthält. Das Warten hat ein Ende: Arch Enemy sind zurück mit dem Nachfolger von 'Will To Power' aus dem Jahr 2017, und sie haben noch nie so hungrig geklungen. 'Deceivers' ist eine Sammlung des straffsten, stromlinienförmigsten und vor allem extremsten Metals und besteht aus 11 Tracks, die ihre Fans zum Schwärmen bringen werden. Jeder Track ist erbarmungslos eingängig und gnadenlos brutal, und mit Titeln wie 'Deceiver, Deceiver', 'House Of Mirrors', 'Handshake With Hell' oder 'Poisoned Arrow' hat das schwedische Quintett noch nie besser geklungen

Here’s Lantern Heights’ personal tribute to the one and only Michael Chapman, a hero in his own right, a ‘Fully Qualified Survivor’ (just to mention one of his most successful creations). An unreleased live album on vinyl in the form of an astonishing trio.” A live set recorded at Nottingham’s Playhouse Theatre on July 23rd 1977 by Chapman and a power house rhythm section in Lindisfarne bassist Rod Clements and former John Mayall drummer Keef Hartley. Some of his best-loved songs are showcased in “And There Were Three” – a jocular reference to Chapman’s ever-shrinking band, also known as ‘a beast with three heads’.

Tape

Die Band - bestehend aus den Mitgliedern Derek Day (Gesang), Dane Pieper (Gitarre), Griffin Tucker (Gitarre), Franco Gravante (Bass) und Chuck McKissock (Schlagzeug) - wurde 2018 gegründet, nachdem sie sich durch ihre Liebe und Leidenschaft zur Musik virtuell verbunden hatten. Jetzt sind sie in Los Angeles und haben sich auf einer Mission vereint, um der nächste große generationsbestimmende Act zu sein, der sich von klassischen Rock-Acts der 70er Jahre und Alt-Rock-Gruppen der 90er Jahre inspirieren lässt. Ihre Musik erinnert an die Markenzeichen früherer Generationen - hymnische Rhythmen, schreddernde Gitarren, erhebender Gesang - aber sie bahnt sich ihren Weg in die Zukunft mit cleveren Arrangements, scharfsinniger Musikalität und gekonntem Songwriting. Die Band hat sich in der Branche bereits einen Namen gemacht und war mit Weltklasse-Produzenten wie Bob Rock, Michael Beinhorn und Joe Chiccarrelli im Studio, die bereits Hits für Bands wie The Red Hot Chili Peppers, Metallica, Soundgarden und The White Stripes geschrieben haben.Le groupe - composé des membres Derek Day (Chant), Dane Pieper (Guitare), Griffin Tucker (Guitare), Franco Gravante (Basse), et Chuck McKissock (Batterie) - s'est initialement formé en 2018 après s'être connectés et liés virtuellement par leur amour et leur passion de la musique. Maintenant à Los Angeles, ils se sont unis pour une mission : être le prochain grand acte de définition de la génération, en s'inspirant des actes de rock classique des années 70 et des groupes de rock alternatif des années 90. Leur musique fait écho aux caractéristiques des générations précédentes - rythmes hymniques, guitares déchiquetées, voix envoûtantes - mais se fraye un chemin vers le futur grâce à des arrangements astucieux, une musicalité aiguisée et des compositions efficaces.

• 180 GRAM AUDIOPHILE VINYL
• FEATURING NO. 1 HIT “ONE WAY TICKET”
• PRODUCED BY FRANK FARIAN (FOUNDER OF MILLI VANILLI, LA BOUCHE AND
BONEY M.)
• LIMITED EDITION OF 750 INDIVIDUALLY NUMBERED COPIES ON LIGHT GREEN COLOURED VINYL

Formed in 1969 as Silent Eruption, their members hailed from Ghana, Curaçao, Guyana and Jamaica. Precious Wilson, who joined Eruption in 1974, added an element to the band’s sound that led to their international success. While on the road in Germany, they were discovered by talent scout and producer Frank Farian, who is also known as the founder of Boney M., Milli Vanilli and La Bouche.

In 1979 Eruption released their second studio album Leave A Light, which contained their characteristic funky euro-disco sound. The first single release was a cover of Caston & Majors’ “Leave A Light (I’ll Keep A Light In My Window)”. The second single was also a cover version, this time the Sixties hit “One Way Ticket” by Neil Sedaka. The single led Eruption to the top ten in the UK and all over Europe.

Leave A Light is available as a limited edition of 750 individually numbered copies on light green coloured vinyl.

repressed !

Surfing on the shores of Java and Casablanca! 2 unexpected tales from the Beat generation.

Tony Turpijn and his Evergreens fulfill the dream of every pantropical music lover with a silky instrumental rhythm ’n blues take on the Sundanese love song “Es Lilin” (Ice Lolly). Link Wray meets Mulatu Astatke meets Oslan Husein in Rotterdam, 1965.

Obscure formation Les Jaguar’s de Casablanca beat the Shadows with a boss version of the surf classic “Gonzales”. The band consists of a French/Spanish guitar section and a Moroccan rhythm section featuring the eccentric drummer/percussionist Jauk Armal, the “Okay Temiz from Casablanca”. “Gonzales” is originally recorded in 1962 and released by “La Voix Du Maghreb” in Morocco on an ultra collectible EP, which is now impossible to find.

Millions Now Living Will Never Die is the second full-length offering from Tortoise. The majority of the material was first conceived during an idyllic 10-day retreat in Northern Vermont, where the group were able to explore their ideas in a setting that fostered introspection and inspiration: the results are clearly evident in the washes of Klangfärben (tone color) and rhythm that permeate the album. The sounds and ideas contained therein can be viewed as a logical extension of those found their first (eponymous) LP on Thrill Jockey where the group outlined an agenda exploring texture, space, and mood. MNLWND, however, offers not only an expansion of those ideas but also the introduction of several new elements into the musical equation. New instrumental textures (marimbas and other mallet percussion on "Djed" (pronounced "jed"); conventional electric guitar on "Glass Museum"; analog synthesis/sequencing and found sound on "Dear Grandma and Grandpa") and structural ideas (the extended formal procedures of "Djed"; the non-narrative song "Along the Banks of Rivers") represent clear developments and redefinition's of the group's sound.

Matmos are one of the most prominent experimental electronic artists working today, crafting work by creating new conceptual frameworks & immediately testing those frameworks absolute limits. For Regards / Uklony dla Boguslaw Schaeffer they've focused on another artist known, in large part, for doing the same. Boguslaw Schaeffer was one of the first Polish artists creating electronic music. In step with American contemporaries like John Cage and Morton Feldman, he worked across the boundaries of classical composition, electronic experimentation, and radical theater in playfully form-breaking ways. Matmos are not the first ones to recognize the power of his catalog, from Solo (a 2008 documentary that garnered numerous international awards), to the annual Shaeffer's Era Festival (most recently celebrated simultaneously in Warsaw and Los Angeles) his work continues to inspire. Regards.. however, was not just inspired by his work, Matmos were given access to the entirity of Schaeffer's recorded works to use as they saw fit, commissioned by the prestigious Instytutu Adama Mickiewicza. They re-assembled & re-combined these recorded works with modern instrumentations in a way that only Matmos could, and what emerges is a composite portrait of the utopian 1960s Polish avant-garde and the contemporary dystopian cultural moment regarding each other across a distance. To facilitate the transcultural exchange that is the album's essential premise, all song titles and liner-notes are provided in both English and Polish. The album was mastered by Rashad Becker and features illustration and design by acclaimed artist Robert Beatty (Tame Impala, Osees, Mdou Moctar). Like the anagrams of the letters of Boguslaw Schaeffer's name that were re-assembled to create some of the song titles, the album itself is a musical re-assemblage of component parts into possible but unforeseen new shapes. Adding harp from Irish harpist Una Monaghan, erhu, viola and violin from Turkish multi-instrumentalist Ulas Kurugullu, and electronic processes from Baltimore instrument builder Will Schorre, and Horse Lords wunderkind Max Eilbacher, the resulting arrangements constantly toy with scale as they move from the close-mic-ing of ASMR and the intimacy of chamber music to the immensity of processed drones and oceanic field-recordings that close the album. Offering a "life review" of production styles, Regards / Uklony dla Boguslaw Schaeffer builds temporary shelters out of the panoramic wreckage of modernist composition, sixties tape music, seventies dub, eighties industrial music, nineties postrock and dark ambient, 2000s era glitch fetishism, and contemporary post-everything collage sensibilities.

Sub Pop debut by accomplished Greek artist Σtella, produced by Redinho (Swet Shop Boys).
‘Up And Away’ is an eclectic, compelling modern pop album showcasing Σtella’s skilled songwriting and the influence of classic love songs, Greek folk, and contemporary electronic-music production.

Σtella makes her Sub Pop debut with the mesmerizing ‘Up And Away’, an oldschool pop paean to the pangs and raptures of love. From the Greek folkinflected get-go, we’re swept up in Σtella’s world - and it’s quite the captivating place to be.

The singer songwriter joined forces with artist and producer Tom Calvert (aka Redinho), and it was a match made in Athens; the results are heavenly. Tom caught one of Σtella’s gigs on a visit to the city. He reached out, they started hanging out, and the pair soon clicked creatively. Both mention chemistry when asked about their collaboration and it’s clear, from what we hear, they had it in spades. The meld is seamless.

Σtella’s songs have always riffed on American and Greek mid-century pop but ‘Up And Away’ doubles down on the vintage aesthetic. Tom says he styled the record “as if it was a rare gem from the ’60s found in a box of records in Athens,” and Σtella notes she was ready for a more “deeply Greek touch - it felt comfortable and right, smoothly fusing with the pop.” The bouzouki appears on a full five tracks played by Christos Skondras who, she says, “was brilliant at improvising,” while Sofia Labropoulou on the kanun “brought an insane amount of dreaminess to the last two songs. Having these amazing musicians play for ‘Up And Away’ - I couldn’t be more grateful.”

While not exclusively a confessional artist, Σtella is always intimate - when she sings, it’s personal. She writes “about things I feel passion for. Stories about me, about others, about all that’s there in love and war.” Σtella was “in a very emotional state at the time, which came through in the lyrics and vocals.” And it’s true, her honeyed voice - layered in those unmistakable harmonies of hers - thrillingly runs the gamut from tender to terse, by turns bracing and smitten, aching and forlorn. But it’s the lyrics that feel key. Across her output, Σtella has proven herself a strong storyteller, and ‘Up And Away’ is no exception (the guise of the medieval bard she assumes on the cover is telling). Past releases have been studded with gem-like vignettes - a diverse array of stories set tightly together to form non-linear narratives unified by emotion. Her latest feels singular in that it seems to trace a longer-form tale across songs, with each track escalating the record’s erotic arc.

By the end of the album, ‘Up And Away’s core concerns are clear: the conflicting and conflicted emotions inherent in love, that live on in ways we can’t always understand or control. Love is like this record: when it’s over, you still feel it for time to come.
Loser Edition LP pressed on blue vinyl.

2LP Gatefold (featuring liner notes). Limited Edition. Artwork by Meeuw.

A collection of personal recordings made on various synthesisers between 1989 and 2017, by Telesoniek Atelier. Huge Tip on this one!

Early feedback:

"Fascinating improvs. I loved 'Gruesse'. " Suzanne Ciani (Atmospheric)

"Beautiful music with real subtlety and depth” Anthony Child (Surgeon, Transcendence Orchestra)

"Lovely, pure synth music." Mark Pritchard (Warp Records)

"Chateuroux is mighty... A proper zoner. Flung on earth." John T. Gast

"This is a great release by Telesoniek Atelier - a musician unknown to me before now. I've been thoroughly enjoying playing this double vinyl release since i got it. Both discs are filled with amazing music that moves between abstract electronic experiments to melodic, DMT bent sounding, classical contemporary music and futuristic soundtracks from non-existing Sci Fi movies you'll wish you could see. It time-warps you from here to there then freezes the moment. It all sounds like its been taken straight from the ancient room .. you know, that one where the spirits of the great teachers live. This is very focused, unpretentious and highly emotive music . A wonderful and dreamy sound garden coming from what I imagine to be a beautiful mind . These discs will be camping out on my turntables for a while."
Tako Reyenga (Music From Memory)

"A deep sense of the symphonic permeates this record. While synthesizers form the basis of its sound, Hans Kulk shapes their timbre into uncanny acoustics and weaves them together like an orchestra. Just when you think you have understood what is happening, another layer reveals itself. Yet it keeps a floating sense of lightness throughout. A truly rewarding listening experience."
Hainbach

A luminary of anthemic and melodic-driven techno, Enrico Sangiuliano’s path to the upper echelon of dance music has been a rapid, yet authentic one. Taking us on his newest exploration into the world of sound design and story-telling, the Emilia-native unveils the first chapter in a series of opuses under his time-limited NINETOZERO record label. The highly-anticipated countdown of releases begins today with number 9; the 4-track “Silence” EP - out now across all streaming platforms.

The extended-player opens with the reserved ‘inner mix’ of “Silence”; a cinematic masterpiece that challenges the format and flow of techno cuts and instead, radiates a measured and reflective spirit. Bright, twinkling synthwork ebbs and flows between its crisp percussion and distorted bassline, creating a push and pull effect that allows each element its moment in the spotlight. The second offering, “Future Dust”, is teased with the sound of a ticking clock that morphs effortlessly into a strong percussive line, commanded by the raw hollow sensibilities of its kick. The distinct ticking returns to welcome in the break, bringing with it a hypercharged melodic sequence and pitch-bending rave stabs. The components soon flurry together in preparation for the monumental drop, which is succeeded by an unrelenting peak-time worthy drive to the finish.

“New Expression Of Love” is the next to play; a quirky cut with plenty of intrigue and unpredictable twists and turns. Laced with offbeat synth hits that ooze a nostalgic timbre, the tune’s intro airs a subtle swing groove. As it reaches its all-important core, we’re cloaked in an intoxicating melody that serves as pure rapture for the ears, and will no doubt satiate the modern audience’s craving for euphoric sequences. Entering the break, Enrico flares his experimental capabilities, providing us with a moment of break-beat bliss that’s fuelled by acid goodness. A ‘vocal mix’ of “Silence” rounds out the EP with the distinct mantra, ‘we live in silence’, whilst its modular ‘beeps’ signal a countdown clock in reference to the project’s embedded concept of time.

Championing music on a deeper conceptual level, Enrico’s NINETOZERO output is a reflection of his tenacious appetite for evolution and refinement. Producing with a level of finesse well beyond his years, his artistic vibrancy has ensured quick elevation to the top, all the while maintaining a sound that is discernibly his own. Now standing as one of the circuit’s most cherished visionaries, and with an unrivalled back catalogue of Beatport No.1’s to his name, the contemporary sound designer’s first and forthcoming bodies of work under the NINETOZERO umbrella are further proof of his impending rise to dance music royalty.

THE 1994 ALBUM REMASTERED BY ED WYNNE & RELEASED ON
CLASSIC BLACK VINYL.

One of the most influential bands to emerge from the UK's festival scene, the Ozrics layer ambient & ethereal landscapes with freeform dub trips, incredible rave grooves & psychedelic progressive rock.

It's an open exploration of music & the soul. The band's last release to feature Merv Pepler & Joie Hinton, who left to form Eat Static, 'Arborescence' was the Ozrics' fifth studio effort in as many years. Soundscape textures remained their focus & their strength, with the now trademark Steve Hillage- esque guitar, gurgling & whirling synths & tight rhythm section all wrapped around rave, techno, African & Middle Eastern influences.

The tracks alternate between the power driven ('Myriapod', 'Shima Koto', 'Astro Cortex'), classic Ozric Tentacles space rock ('Dance of the Loomi', 'There's a Planet Here', the title track) & those with an ethnic flavour ('Al- Saloog'). The powerful music here, embellished by plenty of synth dweedling & strong rhythm patterns, takes the listener of open mind & free spirit to somewhere special. Classic Ozrics then. Arborescence' will be released on classic black vinyl via Kscope.

A return to form after the departure that was 1980's muddled Panorama, the Cars' Shake It Up bursts forth with a rich assembly of synthesizers, drum machines, electronic blips, and catchy melodies that make it an early 80s pop staple. Known the world over, the famous title track proves the band's arrangement skills were in perfect shape and set the stage for a record overflowing with memorable hooks and complementary rock riffs.

Shake It Up also plays witness to primary songwriter/vocalist Ric Ocasek's increased cynicism and biting wit. While the Cars never took a rosy-eyed view of romance, the songs here impart a newfound sense of sympathy, regret, limbo, and reservation. The beauty of the Cars – and all ten tunes here – is that the music suggests something else entirely. Such subliminal emotions and dynamic contrasts act as a magnet, and the band plays as if it's in on the secret.

Apart from the party vibe of the title cut, the Cars aim for deeper targets and smarter undertones. Shake It Up is defined by an urban edginess and modern feel that comes alive on tunes such as "Cruiser" and circular "I'm Not the One," a pop gem laded with stacked vocals and keyboard lines that double as a horn section. The band's arrangements have never been better – or more involved. Absent the cheesiness that would mar the group's late-period work, the songs ride on the strength of keyboard-heavy lines and layered harmonies. You will not be disappointed.

Recorded at the band's Synchro Sound studios by famed Queen producer Roy Thomas Baker, the album takes advantage of electronic textures and varying timbres in immersing the listener in accessible albeit abstract washes of sound. MoFi's engineers made sure to capture every note and nuance; this marks the first time that Shake It Up has been remastered in any way, let alone from the original tapes.

Having announced that Snapper Music will be representing Porcupine
Tree’s Transmission label worldwide, new CD and LP reissues of the band’s catalogue continue to be rolled out throughout 2021.

The concept for ‘The Incident’ (the band’s much lauded 10th and most recent studio album from 2009) emerged as Porcupine Tree’s creator Steven Wilson, was caught in a motorway traffic jam whilst driving past a road accident.
“There was a sign saying ‘POLICE - INCIDENT’ and everyone was slowing down to see what had happened... Afterwards, it struck me that ‘incident’ is a very detached word for something so destructive and traumatic for the people involved. The irony of such a cold expression for such seismic events appealed to me, and I began to pick out other ‘incidents’ reported in the media and news, I wrote about the evacuation of teenage girls from a religious cult in Texas, a
family terrorising its neighbours, a body found floating in a river by some people on a fishing trip, and more.

Consisting of 18 tracks, each song is written in the first person, attempting to humanise the detached media reportage of each associated event. The first 14 tracks form part of a 55-minute song cycle, with the last 4 having been recorded later (and originally released as a second disc to stress their independence from the song cycle).

The album was nominated for a Grammy Award for Best Surround Sound Album and reached the Top 25 in the US and UK album charts. It was awarded “Album Of The Year” in Classic Rock and German magazine Eclipsed.

‘The Incident’ marked another step forward in the incredible journey of the band that began as a solo studio project and grew to a multi-Grammy nominated act and one of the world’s most revered live bands, selling out arenas across the globe and wowing fans with their incredible performances.

This new Transmission 2021 reissue of ‘The Incident’ remains faithful to the original artwork and all 18 album tracks are presented on one disc housed in a digipack with 8-page booklet or as a gatefold double LP on 140g black vinyl.

“An intriguing and truly inspiring album” - Rock Sound
“The title suite is the Tree’s finest hour: a mounting drama of memoir and realnews trauma, animated with slicing guitars, ghost-song electronics, mile-high harmonies and smart pop bait - Rolling Stone

Re-released after being unavailable for 2+ years. Andrés Landero embodies like no other the spirit that made it possible to bring cumbia to the world. His legacy represents a creative pinnacle of tropical music and has influenced countless artists. This collection gathers tracks from 1966 to 1982, taken from his albums on Discos Fuentes and other labels. They all are extraordinary masterpieces of Colombian popular music. Includes liner notes by Carlos Mario Mojica (Don Alirio).
Andrés Gregorio Landero Guerra, born in 1931 in San Jacinto, Colombia, embodies like no other artist the spirit that made it possible to bring cumbia music to the world. Synonymous with the evolution of this musical genre, inevitably any selection of Landero's best songs cannot aspire to do him full justice.From the very first note he played, Landero managed to charm audiences through a complex weave of compositions, shot through with local nuances and diverse derivations from his native Caribbean province. A torrent of words and refreshingly original, he constantly sought to create his own language while remaining acutely alive to tradition. Driven by a strong personality and undeniable abilities, and solely governed by his desire to follow his musical vocation and write songs that faithfully reflect the stories of his pure native land, Landero left home at seventeen, manifesting his passion to take artistic creation to the limit while demonstrating his belief in freedom and communal living, expressed through the free rein he gives to transparent narratives in all of his songs.
Not one of the records released during Andrés Landero's career is bad, mediocre or dispensable. His coherent and constant efforts to build on the foundations of the cumbia tradition form an extraordinary legacy rich in masterpieces of Colombian popular music. Sixteen years after his death, he continues to be the creative summit of an entourage of names associated with the folk music of the tropics. He is the author of a polyphonic blossoming whose beats still sound fresh today and the outstanding figure through which to appreciate, from a historical perspective, the syncretism of indigenous and African slave music from the Caribbean coast, namely cumbia.

After 20 years of a restful sleep, the legendary Icelandic house label has been resurrected. Three deep cuts exhibiting what is in store for the year 2022.

It begins with "Can Ride", a neo-disco anthem from former resident Justin Simmons. Nifty groove with an acid-bassline - topped with all the razzle and dazzle that is needed to get the dancefloor moving.

The flipside starts with a proper minimal percussion-driven groove from Kate & Joan, a side-project of Dole & Kom from the renowned label BCC music. The Detroit-influenced dub house anthem will, without a doubt, be a useful tool for any DJs to get the crowd going.

The second cut on the B-side is from a Reykjavik-based beatmakers Oh Mama. Its wild style sample-based approach caught the label's attention and the result is a worthy debut vinyl release. Hypnotic, sexy and groovy - with a big and dirty bassline.

DJ Feedback

Raresh:
"Super thanks for this! Will play again the Kate & Joan track, so nice to hear it remastered! Much love from Bucharest."

Roger Gerressen:
"Great quality as always :) thanks for sharing."

Andrei Tripmastaz:
"The tribe is my fave"

Rick Hopkins:
"Once again thank you for the promo. Love it. All 3 cuts essential for any discerning lover of sounds from the deep!"

Andy Green:
"Thanks for sharing - this is a sweet versatile VA EP. The Kate & Joan track chugs sweetly along underneath the skippy percussion. Good tool to bridge house and techno vibes. I'm especially fond of the Laugardalur track Oh Mama with its wobbly, slightly sinister bassline that still works at both ends of the pitch fader."

Ben Btndk:
"Oh yes!! That B1 has been on my wish-list for ages!!"

Dotan Bibi:
"Really good house vibes over here! My favorite is the A2 thanks a lot for sending."

Utter presents the second full-length album by enigmatic duo Vādin - a collaboration between sound artists and performers Christian Duka and Lucie Štepánková (aka Avsluta). “Black Tortoise” is a voyage accompanied by the uncanny, the shadow-dwelling specters and arcane symbolism derived from ancient Chinese astronomy.

“Astrologia” opens the album with an eerie torrent of droning voices and glassy, percussive interventions, leading into the patiently unfolding opening of the “The Presence” with it’s ominous narrative riding the swelling, thunderous rhythms culminating in swarms of hallucinatory chaos. The doom of “Calliope” follows, infused with cavernous, beastly vocalisations which lure the listener into “The Furnace”, a drowsy kaleidoscope of rhythms weaved together with Štepánková’s mother-tongue narration. And further on still, into the make-believe world conjured up by the buzzing and swarming objects overheard on “Plateau”.

Available on limited vinyl and digital formats. A special fold-out pamphlet is included with physical copies.

Spoken word by Lucie Štepánková. Mixed at SAE Institute by Christian Duka and mastered by Rashad Becker at Clunk. Transferred and cut by Helmut Erler at D&M.

Artwork designed by Marco Maldarella.

The first AE Productions release of 2022 comes in the form of a 7” by J & Mo – otherwise known as J Man (of Cut Beetlez) and DJ Mo Money. Finnish DJ/producer duo who are in the midst of creating an album. To pre-empt the album release this lead off 7” serves as a taster of what is to come - a mix of well-crafted vocal and instrumental Hip Hop tracks with some great guest MC’s.
The main cut here ‘Rhymes Be Bomb’ features Emcee G Roc Gayle (of The Vibe Drops/Piece Of Mind), and is a perfect example of a track that works on 45 for DJ’s with a nice bouncing groove, excellent turntable work and good vocals that are clean so great for radio play.
The flipside ‘Pelottaa’ (Finnish for frightened) is exclusive to this 7” but is an indication of the flavour of the instrumental tracks that appear on the album and features J Man’s fellow Cut Beetle HP Lovescratch on the vanishingly rare vinyl appearance of human beatbox.
Sleeve design and direction by Mr Krum references a vintage board game with superb results by replacing the bombs with microphones which takes the theme of musical bombs and applies the same metaphor to the artwork.

For her forthcoming album Colour My Life, Heather Small, has teamed up with award-winning producer Rupert Christie and the London Metropolitan Orchestra to reimagine all of her Top 10 hits from both her career with M People as well as her solo material. There's also brand new music, in the form of the beautiful rendition of Paul Weller’s ‘You Do Something To Me’ to her super catchy uptempo lead single ‘Love Me or Not’

Heather Small, one of the most distinctive British female vocalists began her pop career as a teenager in Hot House, before becoming the voice of M People, one of the world's biggest dance acts which went on to sell tens of millions of albums worldwide, winning numerous Brits and a Mercury along the way. She launched her solo career at the turn of the millennium with Proud, which has gone on to be a timeless classic for all ages, featuring in theme songs for The Oprah Winfrey Show, Queer As Folk as well as performing at London’s 2012 Olympics.

The new album features orchestral versions of all of the UK Top 10 hits; Moving on Up, How Can I Love You More, Search For The Hero, One Night in Heaven, Don’t Look Any Further as well as the title track Colour My Life.

In keeping with the album title, there will be bright bold creative content to launch the album pre-order campaign and new single on the 19th of April. The video for the lead single ‘Love Me or Not’ will drop mid-May. Throughout the pre-order campaign, Heather will be doing select pieces of promo, such as the 2 hr radio special ‘Moving on Up’ on Bauer and performing live at numerous British Festivals, such as The Isle of Wight Festival (Broadcast on Sky Arts) Around the July release date there will be TV/Radio performances as well as a digital and social media campaign. Heather will tour with the orchestra in the Autumn.

Cocoon Recordings presents: Cocoon Compilation T

Limited Vinyl Box Set including 6x blue vinyl & download code

Another year, another expertly curated compilation touches down courtesy of Cocoon Recordings. Somehow, the world keeps turning and with it the Cocoon universe keeps expanding, causing subtle yet persuasive shifts in the sonic soundscape that continue to
capture and captivate the imagination. In time-honored tradition the old guard and the new combine with devastating effect, to define the current state of play…
Veteran Techno producer Stephen Brown makes it clear the compilation series is back with a bang, opening things up in epic fashion with the lucid dreamscape ‘Level Steps’ - a true work of art. Another heavy-weight hitter steps straight up in the form of Claude von Stroke, who adds his own unique swagger to proceedings with those trademark shuffling beats and freaky, hypnotic bleeps scuffling for dominance on ‘Moody Fuse’. Denis Horvat then slows things down on ‘Monomono’, with post-raveNew Release Information
abstractions and disobedient synth-patches causing mayhem before the track finally unfolds in all its terrifying beauty.
Motoring on, the collection wastes no time reaching that familiar tipping point as we enter the techno phase of the journey. A very special appearance from Daniel Avery makes it all the more worthwhile amid a dense forest of chiming melodies and blistering electrical surges on ‘Your Future Looks Different In The Light’, before Jeroen Search’s aptly titled ‘Subversive Elements’ lead us deeper and
deeper, into the matrix.
Marco Bailey then kicks off a triptych of trance with some massive filtered piano action on ‘Kanai’ that’s destined to trigger a serotonin smile with everyone it touches. Revisiting the huge,
ever-growing pulsating brain of planet Orb, Damiano van Erckert continues the loved-up vibe on the gorgeously titled ‘500 People 500 Hearts 1 Love’, expertly complimenting the classic ambience with
some slick 909 snare and cymbal interplay. The melodic pull of ‘Vision99’ then signifies that the party is peaking at just the right moment as YOKTO concocts a glistening, psychedelic groove. The
emotional resonance climbs ever higher with brittle melodies endlessly circling a lush, throbbing bass drone to create the sense of something stirring out of reach.
Just when you think the acid sound is done and dusted, up pops a track like Jonathan Kaspar’s ‘CCC’ that somehow manages to offer an entirely new perspective. Riding in on a wave of expectant
arpeggios, the squelching bass and noise filter go toe to toe before Kaspar gets busy with a freaky tempo excursion that’ll be destroying dance floors all year long. ‘The Art of Electronics’ is, as the title
suggests, another superlative example of pure analogue fire, served up by UK legend, Andrew Meecham aka The Emperor Machine. The funk starts to flow as the bass drops, the machines cut loose and a swarm of cascading bleeps ride the trans-europa express to oblivion.
Electro overlord Carl Finlow, has come to define the UK take on the genre over the last couple of decades. Here, he makes his long overdue label debut, taking us into the closing straight with a
nervous sliver of dystopian futurism, complete with molten basslines and a fuzzy logic that underpins the tight, laser-guided groove on ‘Surface Control’. DeFeKT then draws this great adventure to a close
with the deliciously dark robo-disco overtones of ‘Terraform’ creating a dusky landscape that skillfully seduces the listener before the tension finally breaks in a wash of ecstatic chords.
All in all, it’s a supremely ambitious collection of tracks, generously featuring some of the most inspirational and durable artists of their respective generations. In fact, is this perhaps the best Cocoon
Compilation to date

Als eine der beliebtesten Metal-Bands der Welt stecken sich AMON AMARTH sehr hohe Ziele, wenn sie ins Studio gehen. "The Great Heathen Army" wurde mit dem legendären Studioguru Andy Sneap an den Reglern aufgenommen und stellt für die Band einen kühnen Sprung nach vorne dar, da ihr unverwechselbarer Sound erneut eine sehr gekonnte Weiterentwicklung erfährt, sowohl textlich als auch musikalisch. Vom treibenden "Find A Way Or Make One" und dem kämpferischen "Get In The Ring" bis hin zu der sich heraufbeschwörenden Wut in "Saxons & Vikings" und dem epischen Urschrei in Form des Titeltracks, fasst "The Great Heathen Army" die Essenz dieser legendären Band zusammen und lässt dabei trotzdem noch Raum für neue Ideen.

A match made in heaven and hell, since forming in the cradle of Europe Athens, back in 2012, dark synth duo Selofan have paved their own perditious way, reinventing the modern Darkwave scene throughout the continent and worldwide with their prolific creativity and work ethic over the past decade. Through varied experimental synth-scapes conjured with keen ears for sound design, production, and theatrical aesthetics, Selofan rest not on the laurels of just creating highly danceable coldwave infused music, but with together with Joanna Pavlidou's haunting vocals, and Dimitris Pavlidis' throbbing bass guitar, and modular synth compositions, the pair conjure whole other worlds and narratives throughout each album and music video they create. Thus far the Selofan have released 5 studio albums, issued through their own legendary label they curate themselves: Fabrika Records. Through their Fabrika family, Selofan have championed such acts as Lebanon Hanover, and She Past Away, aiding these bands in becoming two of the most popular Darkwave acts worldwide. Drab Majesty even cameoed in a She Past Away video while being hosted by Selofan during one of the band's frequent stays in Athens, and Kaelan Mikla, a handpicked favorite of The Cure, were first championed by Selofan, through the release of the Icelandic Trio's self-titled debut in 2016. In the Spring of 2020, Selofan released the video for the hopelessly plaintive "There Must Be Somebody", the first single from their forthcoming sixth studio album Partners In Hell, the follow-up to 2018's widely popular Vitrioli LP. "There Must be Somebody" is a discordant composition, mimicking the startled song of birds after a disturbance in a wooded enclave on a mountainside, while a magick ritual unfolds. The album itself opens with "Grey Gardens", a menagerie of morose melodies setting a sombre tone for the rest of a bleak record whose sound design and dreamscapes evoke the best sounds of British and German post-punk of the 80s. "Almost Nothing" is a brooding bell-driven track with a dark and pirouetting melody that is the perfect soundtrack to a figurine twirling in a music box. The German language "Nichts" means No, and this song is both sinister and cinematic with sighing keys, shuddering drum machines, and German lyrics sung with sorrowful conviction. "Zusamen", is a word often asked if you are together, or separate, is a dark ballad whose shadowy keys weave a nightmarish delirium, evoking the soundscapes of a lullaby sung in a haunted dollhouse. "4am" is a restless rhythm, whose soft percussive melody tosses and turns alongside subtle bass and string accents overlaid with despondent vocals. "Happy Consumers" sounds like the swirling of a finger drawn upon the edge of crystalline glass, with vocals and drum machines coming emanating from an adjacent room with echoing acoustics, collectively evoking the sound like lingers when the somnambulist wakes from his dream. "Absolutely Absent" hums onward like a phantom train ride that is a one-way ticket to madness, and with the next track "Metalic Isolation" the locomotive beats gather more steam, propelled forward with anachronistic melody. The album closes with "Auf Dein Haut", which translates as on your skin, and the song is both tactile and tenebrous with sensuously dark synth textures amidst howling German vocals that take flight like witches during a sabbat. Partner's In Hell was mixed and produced by Serafim Tsotsonis, and mastered by Doruk Ozturkcan. Genre: Alternative / Post-Punk / Cold Wave

Das Album The Silver Lining von Soul Asylum aus dem Jahr 2006 wird zum ersten Mal auf Vinyl wieder veröffentlicht! Es war das letzte Album mit dem Bassisten Karl Mueller, der tragischerweise vor der Fertigstellung des Albums an Krebs verstarb. Es ist auch das erste, auf dem Michael Bland am Schlagzeug zu hören ist. Die Doppel-LP wurde von John Fields produziert und von Justin Perkins bei Mystery Room Mastering für Vinyl gemastert. Sie enthält bedruckte Hüllen und eine Klappverpackung sowie den Hidden Track "Fearless Leader". Das Album wurde weithin als eine Rückkehr zur Topform für die langjährige Rockband aus Minneapolis angesehen, die in den 90er Jahren mit Grave Dancer's Union und Let Your Dim Light Shine kommerziellen Erfolg hatte, nachdem sie in den 80er Jahren im Untergrund Anerkennung gefunden hatte.

Format: Ltd. Schwarzes Vinyl 140 Gr. 2LP mit bedruckter Hülle in Gatefold-Verpackung.

Of the many great talents of the classic Nigerian highlife scene, none contained the existential depth, transcendence and grace of Celestine Ukwu. During his brief time in this world, he pursued education, music, and philosophy; first as a school teacher, then ultimately a singer, lyricist and musician, first as a member of Gentleman Mike Ejeagha's Premier Dance Band, and eventually fronting his own groups, The Music Royals and The Philosophers National. Beginning in the early 1970s, The Philosophers National established a radical shift in the possibilities of Nigerian highlife by moving away from the typical mid-century style and cutting a new path with a distinctly hypnotic and cerebral atmosphere. This sense of depth was apparent in the lilting, multi-layered and pulsing music of The Philosophers National, as well as the concise and clear-eyed lyrics sung so beautifully by Celestine Ukwu. The arrangements establish a living, breathing environment for each song; muted trumpet solos, hypnotic guitar runs, driving percussion; every instrument gracefully following a tide of patience, tranquility, wonder, climax, knowing and unknowing. "Celestine ditched the jaunty dance rhythms and relatively facile lyrics typical of the reigning highlife tunes, and ignoring the soul music tropes most of the highlife bandleaders were appropriating in an effort to inject new life to their ailing format. Instead Celestine concocted a new highlife style that was more contemplative and lumbering; with the layering of Afro-Cuban ostinato basslines and repetitive rhythm patterns that interlocked to create an effect that was hypnotic, virtually transcendental. Meanwhile, Celestine himself sang as he stood coolly onstage in a black turtleneck and a sportscoat, looking like a university professor. The message was clear: this was not necessarily music for dancing_even though the rhythms were compelling enough. This was music for the thinkers." - Uchenna Ikonne This LP compiles some of Celestine Ukwu's deepest and most affecting songs from the 1970s, which have been gorgeously restored and remastered by Tim Stollenwerk to highlight the brilliant details of Celestine and the entire Philosopher's National. Pressed on 160 gram black vinyl at Smashed Plastic in Chicago, and comes in heavy 3 spot-color jacket, with fold-over insert with bilingual lyrics and notes by Uchenna Ikonne (Comb & Razor Sound).

When we can no longer move forward or look outward, some reflect and seek truth in themselves – some sharing, through the language of music, what might be impossible to say through words.

Amidst the budding tempest of 2020, Jeremiah Carter, hailing originally from Tennessee, found himself embroiled in a near suffocating air of uncertainty and anxious tension, mainly brought upon by the first spikes in a soon-to-be worldwide pandemic.

Only having recently relocated to the bustling city of New York, an unprecedented series of events took shape over the following months, isolating and dismaying the citizens around the globe in the process. It was during this time that Jeremiah turned his attention to music, discharging the emotional turmoil surrounding him, into a substantial wealth of newly composed work.

Beginning with the album »Rejoice«, which was completed in the wake of 2020 and released on A Sunken Mall that same year, two more albums took shape in a quasi-self-induced creative tremor, one that soon materialized a wealth of work, forming a triptych of three unique albums, produced within the span of only 6 months.

Finally, presented here is the second stage of the final triptych; »Speak, You Also«, dedicated to Paul Celan and giving us further insight into the heart of a beloved southerner, who amidst being tangled in the mesh of crisis, passion and communication, gave rise to a momentous yet equally timeless neoclassical body of work.

Art Moore make vivid, heartbreaking short stories. Each song on the newly formed band's self-titled debut album is its own individual universe of bittersweet feeling: a brief snapshot of a moment in time that captures the fragility and occasional impossibility of human connection. These songs are deft character studies, zeroing in on shy beginners, jilted friends and friendly exes, chronicling minute moments-road trips, casual dates, games of truth or dare-with rich detail and subtle wit. Featuring the inimitable songwriting of beloved Oakland luminary Taylor Vick of Boy Scouts set in sharp relief against lush production from Ezra Furman collaborators Sam Durkes and Trevor Brooks, it's a quietly wondrous record - a set of songs that sketch out the struggle and beauty of coping with everyday life. These are songs about tiny, unspoken feelings rendered on a grand scale, moments that often get brushed aside given the weight that they should be. Across these ten stories, Vick, Brooks and Durkes are unsparing in their focus but remarkably generous in their artistry - three pairs of steady, even hands crafting one fine, precious object.

Das Box Set „The Girl From Chickasaw County“ von Bobbie Gentry erscheint am 5. August nun in gekürzter Version als Album.

Das Box Set, erschienen im Jahr 2018, öffnete die Ohren und die Augen der Welt für das, was wirklich in dem aufgenommenen Werk dieser unglaublichen Songwriterin steckt. Die neuen Formate des Albums enthalten eine Auswahl des unveröffentlichten Bonusmaterials des 8-CD-Pakets, einschließlich einer alternativen Aufnahme von „Sunday Best“, der Demo von „Hurry, Tuesday Child“, der alternativen Version von „Mississippi Delta“ und vielem mehr.
Das Album „The Girl From Chickasaw County“ ist als 2LP und 2CD erhältlich. Die CD wird ein 38- seitiges Buch enthalten, die LP ein 12”-Einlegeblatt mit einer Auswahl von Bildern, die im Boxset verwendet
wurden.

Ibiza Global Radio is a global reference point for electronic music in the world. Born in Ibiza, for Ibiza and for the rest of the world. A unique sound in an unusual style and excellent “music selection criteria” make Ibiza Global Radio a staple in the genre, so much so that it has a loyal audience of more than 18 million unique monthly listeners worldwide.

Ibiza Global World, a virtual, physical and multimedia platform where radio, TV, events and social media allow the World to experience the White Island, its love and freedom, 12 months a year.

Thanks to this first LP, the label "IBIZA GLOBAL RECORS" is
born. This LP is designed in a unique and exclusive package with 6
tracks with a new electronic sound, created by 6 Great Artists for Clubbing, available for now only in physical format LP and the exclusive worldwide is controlled by "Self Distribuzione S.r.l."

From July 30-31, the project will be presented at the mega event IBIZA GLOBAL FESTIVAL which will be attended by Top DJs like “Luciano” or “Nic Fanciulli” or “Jose Maria Ramon” (Artistic Director of Ibiza Global Radio) and many other Top Djs from all over the World with an expected attendance of over 40 thousand people on one of the most beautiful beaches of Ibiza !!!! Stay tuned

Ibiza Global Radio is a global reference point for electronic music in the world. Born in Ibiza, for Ibiza and for the rest of the world. A unique sound in an unusual style and excellent “music selection criteria” make Ibiza Global Radio a staple in the genre, so much so that it has a loyal audience of more than 18 million unique monthly listeners worldwide.

Ibiza Global World, a virtual, physical and multimedia platform where radio, TV, events and social media allow the World to experience the White Island, its love and freedom, 12 months a year.

Thanks to this first LP, the label "IBIZA GLOBAL RECORS" is
born. This LP is designed in a unique and exclusive package with 6
tracks with a new electronic sound, created by 6 Great Artists for Clubbing, available for now only in physical format LP and the exclusive worldwide is controlled by "Self Distribuzione S.r.l."

From July 30-31, the project will be presented at the mega event IBIZA GLOBAL FESTIVAL which will be attended by Top DJs like “Luciano” or “Nic Fanciulli” or “Jose Maria Ramon” (Artistic Director of Ibiza Global Radio) and many other Top Djs from all over the World with an expected attendance of over 40 thousand people on one of the most beautiful beaches of Ibiza !!!! Stay tuned

Acid Jazz Group Label Countdown Records is proud to present 'Shake A Tail Feather' - a Vinyl/CD collection from Fast Eddie, one of the early '80s most exhilarating live groups, and a favourite of the Rhythm and Soul powered Mod scene of 1980s. Initially called 'The Investigators', Fast Eddie emerged from Billericay in the wake of Thames Delta Blues pioneers, Dr. Feelgood. Having gained a following playing the raw R&B of the Pub Rock circuit, the band diversified their sound to incorporate classic soul repertoire, alongside their own material, which is documented throughout this collection.

Significantly, the group was also managed and produced by a certain young Eddie Piller - our founder - in his first foray as a music Mogul. Consequently, this collection marks an important document in the formation of Well Suspect Records, Countdown Records and the wider Acid Jazz Story. The LP contains a sharp selection of 16 tracks from their recordings, while the CD and digital version extends this with 4 extra tracks. Their storming versions of 'Shake A Tail Feather' and 'Out Of Sight', show their love of classic club soul, while 'Help Me' and 'My Babe' prove that they could play the blues with plenty of rhythm and feeling.

“Irreverent and playful” MOJO // “...an utterly distinctive, mental world.” The Financial Times // “From keening ballads to haunting waltzes, Paradise has never seemed stranger” Shindig // “There’s a buoyancy to even the most lacerating lines now, a liberating relief in pressing on” Uncut // Way back when, before the pandemic, and before the release of Alex Rex’s last album Paradise escaped the confines of lockdown, Alex Neilson took a break from the road and set about putting together a record of poems extracted from the collapsed goldmine of his brain. Returning to his experimental roots, Mouthful of Earth’s cutting and oft heart-wrenching stanzas are set to music largely from underground legends Alastair Galbraith, Richard Youngs and Alex’s cult experimental drone record Belsayer Time (originally released on Time Lag Records in 2006. This is the first time that this music has ever been made available digitally). And for one track, Alex reunites with ex-Trembling Bells mucker Lavinia Blackwall for some free-form experimental jazz, reminiscent of the more psychedelically unhinged moments of Cammell/Roeg´s Performance soundtrack. To quote Stuart Maconie’s sleeve notes for the record, “One of the first things I learned about Alex’s musical imagination and modus operandi was a joy in collaboration, and Mouthful Of Earth continues in a tradition that has seen him work with many kindred spirits across many genres; Bonnie ‘Prince’ Billy, Current 93, Jandek, Kan Mikami, Shirley Collins, Six Organs of Admittance, Josephine Foster and Baby Dee. The list is disparate and stellar, the results are always interesting and alive.” Continuing in the spirit of collaboration, Mouthful of Earth’s words and music are accompanied by a digital book of drawings by Kent-based visual artist, musician and art psychotherapist, Benjamin Prosser (Insta: @benjaminprosser). These are not so much literal illustrations as reactions. The combination of poems and visuals works a suite of haunted vignettes, dense with bleak humour and hallucinatory images. “The phantom hand of a lover pressed over the mouth of your mother” / “the whole gurning universe” / “the collapsed farmhouse of my mouth”. Mouthful of Earth is both visceral and corporeal, flecked with blood, sweat and beers. Or as Alex puts it "a continuous project of describing the human spirit pushed to the point of crisis”. Mouthful of Earth finds beauty in scarring and peace in torment. It’s both an assault and a balm of sorts. Life, says Neilson “is not a golden arc / It's a bent aerial / connected to a vast and terrible machine/operated by a child”. But listen hard and you will also hear beauty… “The song of yourself, roaring like a cloud, explicable only by light”. With sleeve notes by BBC Radio presenter and author Stuart Maconie, Mouthful of Earth is released on limited edition vinyl (300 copies only) and digitally via Neolithic Recordings. Reminiscent of his early work with Trembling Bells, and again featuring Lavinia Blackwall on vox, the track is a red herring; a nod towards a lighter shade of darkness.

FP030F pressed in half black half purple vinyl 500 copies hand-numbered. FP030G pressed in black with red splatter vinyl 500 copies hand-numbered. A match made in heaven and hell, since forming in the cradle of Europe Athens, back in 2012, dark synth duo Selofan have paved their own perditious way, reinventing the modern Darkwave scene throughout the continent and worldwide with their prolific creativity and work ethic over the past decade. Through varied experimental synth-scapes conjured with keen ears for sound design, production, and theatrical aesthetics, Selofan rest not on the laurels of just creating highly danceable coldwave infused music, but with together with Joanna Pavlidou's haunting vocals, and Dimitris Pavlidis' throbbing bass guitar, and modular synth compositions, the pair conjure whole other worlds and narratives throughout each album and music video they create. Thus far the Selofan have released 5 studio albums, issued through their own legendary label they curate themselves: Fabrika Records. Through their Fabrika family, Selofan have championed such acts as Lebanon Hanover, and She Past Away, aiding these bands in becoming two of the most popular Darkwave acts worldwide. Drab Majesty even cameoed in a She Past Away video while being hosted by Selofan during one of the band's frequent stays in Athens, and Kaelan Mikla, a handpicked favorite of The Cure, were first championed by Selofan, through the release of the Icelandic Trio's self-titled debut in 2016. In the Spring of 2020, Selofan released the video for the hopelessly plaintive "There Must Be Somebody", the first single from their forthcoming sixth studio album Partners In Hell, the follow-up to 2018's widely popular Vitrioli LP. "There Must be Somebody" is a discordant composition, mimicking the startled song of birds after a disturbance in a wooded enclave on a mountainside, while a magick ritual unfolds. The album itself opens with "Grey Gardens", a menagerie of morose melodies setting a sombre tone for the rest of a bleak record whose sound design and dreamscapes evoke the best sounds of British and German post-punk of the 80s. "Almost Nothing" is a brooding bell-driven track with a dark and pirouetting melody that is the perfect soundtrack to a figurine twirling in a music box. The German language "Nichts" means No, and this song is both sinister and cinematic with sighing keys, shuddering drum machines, and German lyrics sung with sorrowful conviction. "Zusamen", is a word often asked if you are together, or separate, is a dark ballad whose shadowy keys weave a nightmarish delirium, evoking the soundscapes of a lullaby sung in a haunted dollhouse. "4am" is a restless rhythm, whose soft percussive melody tosses and turns alongside subtle bass and string accents overlaid with despondent vocals. "Happy Consumers" sounds like the swirling of a finger drawn upon the edge of crystalline glass, with vocals and drum machines coming emanating from an adjacent room with echoing acoustics, collectively evoking the sound like lingers when the somnambulist wakes from his dream. "Absolutely Absent" hums onward like a phantom train ride that is a one-way ticket to madness, and with the next track "Metalic Isolation" the locomotive beats gather more steam, propelled forward with anachronistic melody. The album closes with "Auf Dein Haut", which translates as on your skin, and the song is both tactile and tenebrous with sensuously dark synth textures amidst howling German vocals that take flight like witches during a sabbat. Partner's In Hell was mixed and produced by Serafim Tsotsonis, and mastered by Doruk Ozturkcan.

Very limited vinyl pressing, 500 copies in a full colour single outer sleeve and full colour printed lyric inner sleeve, housing black and white smoke effect vinyl. Two albums in and London’s Grave Lines, purveyors of ‘heavy gloom’ have already carved a unique niche in the myriad spheres of heavy music. Their first album ‘Welcome To Nothing’ set the tone for their distinct take on doom metal, which was broadened even further with album two ‘Fed Into The Nihilist Engine’. An epic feast of hard ‘n’ heavy riffs coupled with brooding sadness interspersed with thoughtful transcendent moments of introspection. Never a band to rely solely on trotting out those ‘doom metal’ tropes, the band began to weave in gothic and experimental elements into their music, to delve deeper into the dark shadows of the psyche. Now with their third album ‘Communion’ Grave Lines continue their exploration into the ugliness of the human condition, at the same time becoming a band that truly defies any pigeonhole. Continuing to hone and evolve their collective vision and aided by the masterful production of Andy Hawkins at The Nave Studios, 'Communion' sees Grave Lines creep further into the various corners of their sound. In a nutshell ‘Communion’ is a violent descent of bile-soaked intensity spiralling between filth laden swagger, and fragile mournful lament. The album delves into the internal aloneness of existence and the failings of the human connection. Owing as much to Bauhaus and Killing Joke as it does to Black Sabbath or Neurosis, there are moments of gut wrenching doomed up heaviness and bellowing noise rock, contrasting with ambient gothic passages and a thoughtful melancholy, to a create a powerful new chapter in their ceaseless journey through the gloom. The seven tracks act as distinctly separate representations of the album, each individually mirroring the remoteness of human consciousness. Opening track 'Gordian' doesn't waste any time, a burst of feedback kicks you straight into a filthy low slung punked up stomp before the band switch mood to drop off into a doom abyss, singer Jake raging at the void. 'Argyraphaga' continues the pummelling groove, gradually descending into nihilistic sludge. In direct contrast the sprawling atmosphere of 'Lyceanid' travels through the darkness. Jake’s vocals harnessing the spirits of Scott Walker and Mark Lanegan in equal measure. The rest of the band (on top form throughout) focus the dynamics over eleven enthralling minutes, as the song builds and builds to a towering crescendo before finishing with a plaintive acoustic coda. This is pure Grave Lines’. An immersive blend of darkness and light. 'Tachinid' is a violent palette cleanser, harsh industrial synths astride a hateful droning spoken word sermon. 'Carcini' is soaring melancholic doom, with the band at their most melodic whilst still able to crush the listener. Broodsac, with its circular riffs, is all gothic post punk noise rock meets fuzz fat riffs, and album closer ‘Sinensis’ offers a final delicate, melancholy moment of calm before launching into an industrial charged grind into oblivion. Grave Lines’ fusion of elements makes them one of the most powerful and mesmerising bands inhabiting the heavy music world at the moment, and with ‘Communion’ they have crafted an album that encapsulates their distinctive dynamic perfectly. ‘COMMUNION’ will be released in deluxe black and white smoke effect vinyl, housed in a full colour single sleeve with download included, CD and all digital platforms

Coming 40 years after he first started performing in bands in his native North West of England, Butterfly Mind is the most surprising release yet from Tim Bowness. From the short, sharp shocks of Always The Stranger and Only A Fool to the long-form ambition of the sensuous Dark Nevada Dream, the cinematic Electro-Ballroom of Glitter Fades and the dystopian paranoia of Say Your Goodbyes Parts 1 and 2, Butterfly Mind delivers a thrilling fusion of Art Rock invention, Post-Punk energy and epic soulful ballads. Tim’s seventh solo album features the stellar rhythm section of Richard Jupp (in his first major session since leaving Elbow) and Nick Beggs alongside a spectacular guest list including Ian Anderson (Jethro Tull), Dave Formula (Magazine), Peter Hammill (Van Der Graaf Generator), Martha Goddard (The Hushtones), Gregory Spawton (Big Big Train), Mark Tranmer (The Montgolfier Brothers / GNAC), Saro Cosentino (Franco Battiato), Italian Jazz musician Nicola Alesini, US singer Devon Dunaway (Ganga), Stephen W Tayler (Kate Bush) and, marking his first studio work with Tim for nearly three decades, former No-Man violinist Ben Coleman. Produced by Tim Bowness and Brian Hulse (Plenty), the album was mixed and mastered by Steven Wilson. Available as Limited 2CD Edition (featuring alternate mixes and bonus material), and a Limited 180g LP + CD edition featuring special die-cut artwork by Carl Glover. Also available as Digital Album.

Quinn Oulton’s debut album ‘Alexithymia’ is a deconstruction of the struggle that many young men face when processing and expressing strong emotions. It takes the form of a linear story, pieced together from many moments of emotional intensity Quinn has faced throughout his life, existing within all types of personal relationships. This is a project that sees the stylistic and textural experimentation from his previous work fuse into a powerfully creative, personal, and emotive sound, channelling the albums title name: ‘Alexithymia’ is the inability to recognize or describe one's own emotions.

The album was written, performed and co-produced by Quinn Oulton, and it includes tracks featuring Moses Boyd and Genevieve Artadi.

“My album ‘Alexithymia’ dissects events from different relationships, whether family, friends, or romantic, presented as a single story from start to finish. Obsession, frustration, passion, false hope, grief, self-pity, helplessness, and acceptance are all part of this story.

I wrote it in this way because I was trying to work out why I connect so much with sad or melancholic music, and I realised that maybe listening to that music was filling a hole that I didn’t know I had. It was comforting to hear somebody process their own troubles outwardly when I didn't feel I had a way, or even a reason, to do so myself. Writing the album has been an extremely therapeutic process as I've been able to seek out difficult parts of my life that I'd buried because I couldn't process them at the time.

I think a lot of people, particularly men, struggle to recognise and process their own emotions. It makes it very hard to share them with others, and it’s something that needs addressing to allow for healthier relationships with other people and yourself.”

Limited edition milky clear with blue and purple splatter + HQ download.


The follow-up to last year's return-to-form collection, Cloudwalker. Sonic Poetry is a refined group of works showcasing Gimmik's adeptness at fusing experimental electronic music minutia with overarching melodicism.
Those that have followed Gimmik's carrier–and subsequent return–will take pleasure in Sonic Poetry's veracity and bolstered production. Leftfield/IDM, Breaks, Downtempo, Electro, and Ambient get dissected and reformed to create a truly authentic album in which it is evident that there is no coincidence in that the opening track is named "Here I am."

Following a debut appearance on the reverse label in 2020, Bristol-based artist Ido Plumes is back on Livity Sound with four tracks of experimental dance music for soundsystems. Plumes established his sound with pointillist drums and echo chamber atmospherics the first time around, and now he builds on that premise with a more dense and dramatic approach.
Plumes’ layered tracks follow non-linear narratives, switching lanes and exploring unusual, evocative landscapes while retaining a fundamental physicality. Longer form tracks like ‘Afloat’ cover a lot of ground across their run time, while the likes of ‘Been Here’ revel in audacious plot twists to create strikingly confident and original variations on the UK dance music tradition.
Livity Sound is a label set up by Peverelist in 2011 as a vehicle for a raw and exploratory strain of UK techno, rooted in the heritage of UK dance music and sound system culture. It has since become one of the UK's foremost protagonists for cutting edge underground electronic music.

Paul Wise aka Placid is the driving force behind ‘We’re Going Deep’ – a thriving online community and record label that’s showing no signs of slowing down as we pop, dip and spin into the spring season. As a label owner, Paul’s mission couldn’t be clearer - releasing new music for heads of all persuasions. Fresh cuts aimed squarely at the dance floor, your front room or even just the headphones. Rather than staying too hung up on the past, he continues to focus on serving up the best in new Acid, Electro, Techno, Deep House alongside scintillating slices of Downtempo music.

Sticking to the trusted format of 4 superlative cuts from equally talented producers, the quality and talent on show does not disappoint on WGD 007. Starting the dance with 303 maestro and label legend Tin Man, A1 “I Said Acid” is a tantalising twist on the classic combination of a Roland TR-707 and SH-101. As a metronomic pulsating kick carves out a squarely hewn path, slow opening filtered lead and hauntingly repetitive “Acid” vocals exert maximal pressure to create a sheer moment of joy. Balanced out by the dreamy atmospherics of A2 “I’ll Meet You On The Dancefloor”. UK Deep House supremo Rai Scott exerts her perfected knowhow: blending organically tinged percussion with profound melodic touches that meander across the borderlines of your consciousness.

On B1 “Necessary Order”, the machine mastery of Sound Synthesis collides in perfect harmony as Keith Farrugia demonstrates his deft turns of the dials that are becoming more in demand. A sprinkle of stargazing soul is woven around light touch acidic tweaks and snappy drums, echoing the twinkling embers of the cosmos. Not to be outdone, Dutch born German bred producer Roger Van Lunteren takes control with the final slice on B2 “Le Dee Trois Trio Prends Trois”. A wince inducing, sawtooth heavy jam that should not be taken lightly. As the saying goes, this one’s only for headstrong.

In late 1961 Spector formed Philles Records with Lester Sill, buying his mentor out the
following year. The slogan was ‘Tomorrow’s sound today’, and Phil Spector proceeded to live
up to that boast. Three-track tape machines were then state of the art, and he perfected the
method of ‘bouncing’ the tracks to get the biggest possible sound. As time went by, his ‘twominute symphonies for the kids’ would be increasingly gilded by his ‘everything but the kitchen
sink’ production including Strings, Percussion and banks of Vocals. Spector gained his
second U.S. chart-topper and his first as a Producer in 1962 with the Gene Pitney penned,
He’s A Rebel. Spector became increasingly obsessed by the production process. ‘My records
are built like a Wagnerian opera. They start simply and end with dynamic force, meaning and
purpose. I dreamed it up.’ He retired from the music business, returning only sporadically to
work with first The Beatles (their Let It Be album, plus solo LPs by George Harrison and John
Lennon), plus a handful of other artists including Dion, Cher and the Ramones.

DoomCannon presents a meticulously crafted debut album ‘Renaissance’ available on a 12” LP vinyl, CD and digital formats on 15th July 2022. Journeying through an awakening and reimagining of the young Black British experience. Sequentially moving through a rich breadth of soundscapes, ‘Renaissance’ signifies the birth of a new era in DoomCannon’s trajectory. Inspired by an accumulation of experiences over the past four years and defined by significant events like the global pandemic to the worldwide outcry of the Black Lives Matter movement in the summer of 2020.

The album has garnered early support from Gilles Peterson & Tom Ravenscroft at BBC 6Music, Jazz FM, Worldwide FM, NTS, Rinse France, FIP, Radio Nova plus features on Spotify & Apple. Almost 130K combined streams on Spotify alone for his first two singles ‘Amalgamation’ & ’Times (feat. Lex Amor)’.

DoomCannon spearheaded a plethora of forward-thinking, improvised Jazz-inspired outfits (Project Karnak, Triforce) and is the Musical Director of award-winning vocalist, Celeste, performing live at the Brit Awards and Later with Jools Holland. He presented his solo project at Abbey Road Studios & was selected via Jazz Re:freshed as part of the SXSW/ British Council collaboration. Invited to curate sessions at the legendary Ronnie Scotts, DoomCannon is set to hit numerous stages, including his debut headline show at Peckham Audio, the Worldwide Awards, World Island Festival & We Out Here this Spring/Summer.

Long-established house talent Bontan makes a much-anticipated return to Hot Creations in June. Gifting us with the two-track Gold Teeth, it showcases the UK-native at his best and continues a standout 2022 that has already seen him release on Hot Since 82’s Knee Deep In Sound last month.

Shamanic-like drums create a hypnotic sensibility right from the word go, as we’re graced with echoing vocals on Gold Teeth. There’s an air of tribalism throughout via shimmering maracas and rhythmic hi-hats, before Heart Shaped Leaf takes on a techy edge. Cow bell-esque percussion undulates beneath a low-slung bassline whilst spacey lyrics repeat nearby, forming a peak-time, club-ready cut.

Since first bursting onto the circuit in 2015, Bontan has become one of the best-selling acts on Beatport, a winner at the prestigious DJ Awards and has firmly cemented himself in the underground house scene. He has released on labels such as Crosstown Rebels, Defected and Origins and remixed for artists including Groove Armada, Booka Shade, Melé and Yousef. He kicked off 2022 with a remix of Agenda for Lazarusman, which reached Number 3 in Beatport’s Afro House chart, as well as releasing Stutterman on Club Bad. His releases this year have received support from Jamie Jones, Skream, Eats Everything, Agoria and Chris Lake to name a few, a testament to Bontan’s keen ear for production.

King Tubby and Producer Bunny ‘Striker’ Lee are intertwined in the birth of Dub Music. After discovering a mistake that made a ‘serious joke’ (more of which later...) they went on to release the first pressings of this new musical genre namely ‘Dub Music’. Tubby’s vast knowledge of electronics and Bunny’s vast catalogue of rhythms would lay the foundations of what today is taken as a standard... the Remix / Version cuts to an existing vocal tune.

Osbourne ‘King Tubby’ Ruddock was born in Kingston, Jamaica on 28th January 1941 and grew up in the High Holborn Street area of downtown Kingston. He studied electronics at Kingston’s National Technical College and also on two correspondence courses from the U.S.A... When he had qualified Tubby began repairing radios and other electrical appliances in a shack in the back yard of his mother’s home. His work in the early days included winding transformers and building amplifiers for Kingston’s Sound Systems. Tubby built his first Sound System in 1957 playing jazz and Rhythm & Blues at local weddings and birthday parties. His reputation as a man who knew and understood both electronics and music grew steadily and as the sixties drew to a close. Tubby purchased his own basic two track equipment. He installed this alongside his dub cutting machine, a homemade mixing console and his impressive collection of Jazz albums in the back bedroom of his home at 18 Dromilly Avenue which he christened his music room.

Tubby and Striker were at Treasure Isle Studio’s one day while Ruddy from Spanish Town was working with the engineer Byron Smith....

“Tubby and myself was talking when Ruddy was cutting some dub but Smithy (engineer) made a mistake through we were talking and forgot to put in the voice. It was two track recording in those days. Ruddy said ‘No Man! Make it stay! and so they cut the rhythm. When I went over to Ruddy’s that Saturday night a dance was in progress and when they played the vocal to the tune... then he said we’re going to play ‘Part Two’. They never called it ‘Version’..and then he played the rhythm track. The song was a catchy song and everybody started to sing along and the deejay started to toast so everything went down well. On Monday morning I went up and I said ‘Tubbs the mistake we made was a serious joke. It mash up Spanish Town! The people went wild. So you have to start to do that now ‘cause when the man put on the ‘Part Two’ everyone start singing this song. It played about twenty times. I said you try Tubbs!’...Well the next Saturday night now when Tubby strung up down the farm U Roy said he’s going to play ‘Part Two’ but Tubby did it different now. He started with the voice then dropped it out and let the rhythm run and then he brought in the voice in the middle and from there Tubby started to get really popular.’’
Bunny ‘Striker’ Lee

Dynamic Sounds upgraded to sixteen track recording in 1972 and Tubby purchased, again with the help of a deal brokered by Bunny Lee. The old four track equipment and the MCI console from their Studio B. The four tracks now gave him far wider scope to work with and he began to create a new musical form where the bass and drum parts were brought up while the faders allowed Tubby to ease the vocal and rhythm in and out of the mix. It was only a matter of time before Tubby’s dub plate experiments began to make it on to vinyl and the first ever long-playing King Tubby releases would feature a collection of his mixes to a selection of Strikers rhythms. So please sit back and enjoy this historic set of sounds, mixed by King Tubby and Mr Prince Phillip Smart and another set of scorcher Bunny Lee rhythms.

Turn up the volume and look how time bends before your eyes because that is what Robyn Schulkowsky and Andi and Hannes Teichmann do with their music. They bend time.
They make a ring out of it or some sort of ellipse, and then they pull it straight again, they transform it into a rope, and then, of course, they balance on it, forwards, backwards, half speed,
double speed, 33 rounds per minute, or was it 45? Just try both.

World percussion meets Techno and Berlin club culture, one might be tempted to say. One would be wrong to do so. This is not just crossover, this is just not an "encounter" between different generations, different experiences, different cultures, traditions and attitudes and form asossations of expressions, or, to put it in a more simple way, an "encounter" between drums and gongs and bells and stones and on the other side hardware-electronic and sequencing, delay and reverb. This is far more complex.No need to put a label on it.
by Roland Schimmelpfennig / excerpt

First-ever release of this legendary Tangerine Dream score from 1981 (aka Dead Kids).

Gatefold packaging / Green (Streaked Lime Green) Color Vinyl. (

Please check allocation with your rep.

It's never been available on any format until now! For this release, we dug out the original tapes and had them digitized and they sound incredible.

Such an atmospheric masterpiece and we are honored to be releasing it. This has been on many TD fans' wish lists for years and years.

Deluxe reissue of their 1989 sophomore album pressed on pale blue colour vinyl.
Presented in a gloss laminated gatefold sleeve, which features the original LP plus a bonus disc with all the A and B sides, some compilation tracks and an outtake, plus a 12-page booklet containing previously unpublished lyrics and tons of contemporary reviews and photos.
Completely remastered for your listening pleasure.
In 1989, while the musical world was fêting serial-killer worshipping noise bands, white boys with dreadlocks and the first glimmers of techno, one band – The Wolfhounds – was describing the times and the country exactly as they were. Or at least as they saw it.
Well, not exactly. The privations of finding enough money to live on, a semi-permanent roof over your head and perhaps the hope of real change were all there in the lyrics along with the multitudinous shards of ideas in the music, both raging and reflective – but there was also a sense of magical realism and authentic personal circumstance imbued in it all.
Formed as a frantic noisy fusion of sixties garage and independent post-punk in Romford in 1984, by 1986 it was the band’s misfortunate to be corralled with the jangly and quirky bands of the era-defining C86 tape, given away free with the NME that year. The frustration of being lumped with the lumpen was already spilling over into a heightened creativity that would see the band release three LPs in 18 months, the first and perhaps most fully realised of which was Bright & Guilty.
The band’s sense of melody saw three singles taken off it, and all received plentiful radio play that resulted in enthusiastic audience responses when the band toured with My Bloody Valentine and the House of Love shortly after the LP came out. This renewed attention also saw them being threatened with legal action by the food company satirically targeted by one of the singles – Happy Shopper.
The band’s magpie listening habits also saw the first glimmers of an interest in sampling with the track Cottonmouth, hip hop in the drum rhythms of Invisible People and Son of Nothing, discordant post- hardcore in Non-specific Song and even percussive hints of Tom Waits’ Rain Dogs in Charterhouse.
The album’s lyrical themes have sustained the relevance of these 30-something year-old songs. The dictatorship of the class system over the economy is touched on in Charterhouse, the unfairness of housing policy in Rent Act and Red Tape Red Light, the desperation of not having enough money to even seek employment in Useless Second Cousin. But there is contemplation and mystery, too: Rope Swing’s nostalgia for pre-teen childhood, Invisible People’s detailing of intangible weaknesses.
Of all their peers, The Wolfhounds post-C86 output stands up straight and proud, and you’ll find echoes of their sound in Fontaines DC, Idles and many others – but not performed with the brashness, vigour and uniqueness of the originals.

STRICTLY LIMITED COLLECTOR'S 'ART EDITION' OF THE ALBUM OF THE SAME NAME + TONS OF BONUS SONGS.
Elegantly electronic as ever, the new songs draw a remarkable strength from their monumental arrangements and foreboding aura. Embellished by a vague sense of nostalgia and enhanced by old family photos from the private Ljung vaults, "Orchestra Of Knives" is ZEROMANCER's dark night of the soul, an odyssey trying to coming to terms with the ineffable fact that we're all going to die. Instead of wallowing in misery and self-pity, however, the Norwegians chose to use this intense realization to craft some of their most touching, most heartfelt and easily most monumental songs ever.

The harsh and the mellow, the dark and the light, the depression and the elation all flow together on "Orchestra Of Knives", an album worthy of the turmoil of our age. Once and for all, ZEROMANCER are the masters of electronic melancholy, the designers of a musical world nourished by the shadows we cast. It's been too long since we felt understood and at ease merely by listening to a song.

- Multicoloured vinyl
- Black, red and white in the form of rotating rays
- Each record individually made by hand
- Differences in pattern shapes and colours are therefore possible
- Every copy is unique
- 2 x180g 12" vinyl
- In total 9 bonus tracks off the EPs 'Damned Le Monde', 'Mourners' and 'Terminal Love'
- Sumptuous gatefold sleeve
- Printed inner sleeve and containing lyrics
- Printed vinyl labels
- Strictly limited to 300 copies only!!!

Der WARWOLF erhebt sich aus den tiefsten Abgründen der Hölle, um sich für die Vernachlässigung der gebrochenen Menschheit zu rächen. Er ist Peiniger und Erlöser zugleich, geschaffen von den Kräften der irdischen Natur, sowie den bösen Mächten höllischer Herrscher. Wenn das Leben jeden Glanz verloren hat, liefern die dunklen Hohepriester die perfekte Waffe für die Erschaffung der Stadt der Toten. Willkommen in NECROPOLIS! Die Kölner Formation ist keineswegs unbekannt in der Szene. Die Band entstand aus den altgedienten Mitgliedern der altbekannten WOLFEN, die viele Jahre mit hunderten von Konzerten und mehreren Tourneen die Szene aufmischte. WARWOLF konzentrieren sich auf die Fundamente des
Heavy Metal und präsentieren sich in feinster NWOBHM-Manier. Die Vorlieben der Musiker für IRON MAIDEN bleiben definitiv nicht verborgen. Im Gegenteil – diese Band lebt ihre eigenen musikalischen Wurzeln aus und zollt mit dieser Motivation gewissermaßen dem 80er Metal Tribut. Der musikalische Fokus ist ein bewusster Schritt zurück, eine Zeitreise in die frühen Jahrzehnte der Heavy Metal Music. Die Aufmerksamkeit richtet sich nicht auf Innovation und Fortschritt, sondern wird aus der Liebe zum klassischen Heavy Metal gespeist! Diese Begeisterung teilt auch Chris Boltendahl, Leadsänger der deutschen Metal-Institution GRAVE DIGGER. Man kennt sich schon länger, da WARWOLF-Sänger Andreas auf einigen der letzten GRAVE DIGGER-Alben viele Backing-Vocals eingesungen hat.

Am Ende hat es ein paar Jahre gedauert, bis die Idee ausgereift war und das Timing stimmte. Chris ist nun als Produzent am Ruder und mit diesem Team gibt es keine stilistischen Zweifel mehr! 2022 taten sich die deutschen Metal-Meister mit Metalapolis Records zusammen, um NECROPOLIS zu veröffentlichen. Das Album setzt das NWOBHM-Vermächtnis fort, wo IRON MAIDEN 1985 aufhörten, gewürzt mit WARWOLF-DNA. Dröhnende Drums, schreiende Gitarren, pumpender Bass und Gesang auf höchstem Niveau machen diesen WARWOLF zu einem wilden Tier!