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It's been four-years since La Coka Nostra released their sophomore album, Masters Of The Dark Arts, (the groups first project without Everlast was also their most critically acclaimed project - featured collaborations with Vinnie Paz, Sean Price & production from DJ Premier and Statik Selektah) and the music industry has changed considerably in that time. However, a few things still remain constant; La Coka Nostra will always be as their aptly-titled 2009 debut verified, A Brand You Can Trust, and the group will continue to dazzle their rapid fan-base with sold out shows around the globe with their rau-cous live performances. Always known for tackling controversial topic matter, the group’s new album, To Thine Own Self Be True, finds them once again in torchbearing mode, addressing subjects that most artists shy away from.“This album was created during a time of unique and individual transformation for each member of the group” ILL Bill stated. “Speaking for myself, it’s been a heavy last couple of years.It’s definitely the most personal record we’ve made under the La Coka banner and while we’re still making music that’s hard as fuck, there’s a maturity to this latest batch of songs that makes it different from a lot of the older stuff. I notice the biggest reactions come from the songs our listeners can personally relate to and we needed to make a record like this right now, not only for the fans, but for ourselves. I got alot off my chest on this one. Making music can be extremely therapeutic and making To Thine Own Self Be True was a rebirth and a re-ignition for me.” Slaine had a similar take on the projects thera-peutic manifestation “You don’t put as many years in the game as we have without having ups and downs. We all have gone through struggle and adversity—personally and professionally”Slaine la-mented. “This album was recorded as I walked out of a very dark time toward a place of truth and understanding. Music has been how I feed my family, my plane ticket around the world and a place I’ve built real friendships; but at the very core it’s a tool I use to get through life.This album is a moment in time. It is visceral and real.” While DJ Lethal continues to oversee the production end ofToThine Own Self Be True, the group also enlisted Statik Selektah, Marco Polo, Salam Wreck (D-12, Obie Trice, Proof, B-Real, Tha Dogg Pound) & ChumZilla (from the Demigodz) and get vocal contributions from extended family members such as Vinnie Paz, Apathy, Q-Unique, Sick Jacken, SKAM2? & Rite Hook.

Strangeland is Keane's fourth studio album, original released in May
2012, and is being re-issued on vinyl for its 10th anniversary year
Produced by Dan Grech-Marguerat the album includes three singles: Silenced By
The Night, Disconnected and Sovereign Light Café.
The album charted at #1 in the UK and has gone on to sell over 200k. It also
charted at #1 in Ireland and the Netherlands whilst in the US it peaked at #17.
This re- issue is pressed on 180gm vinyl and faithfully reproduces the original's
gatefold sleeve and full colour inner bag with lyrics.
This re-issue will be promoted on all of Keane's socials. Tour dates: 10 Jun 2022
Westonbirt Arboretum, Gloucestershire, UK/ 11 Jun 2022 Cannock Chase Forest,
Staffordshire, UK/ 12 Jun 2022 Live In The Wyldes, Cornwall, UK/ 17 Jun 2022
Thetford Forest, Suffolk, UK/ 18 Jun 2022 Delamere Forest, Cheshire, UK/ 19 Jun
2022 Hop Farm, Kent, UK/ 30 Jun 2022 Summer Series Trinity College, Dublin, IE/
03 Jul 2022 Rock Werchter Festival, Werchter, BE/ 08 Jul 2022 Mouth of the Tyne
Festival, Tynemouth, UK/

Nightlands is the solo project of The War on Drugs’ bassist and multi-instrumentalist Dave Hartley. Amid massive global paradigm shifts Dave Hartley (aka Nightlands) became a father twice over and left his native Philadelphia for Asheville, where the pace of daily life is slower and it's easier to maintain a zoomed-out perspective on modern life. From the newfound refuge of a studio he built using the bones of a barn attached to his hundred-something-year-old house in the mountains, Hartley has tailored a collection of well-crafted pop rock, pointedly titled Moonshine. Guided by some of the harmonic sensibilities that have helped make The War on Drugs a force in modern music, Moonshine combines immaculate-yet-dense vocal stacks and billowy clouds of effected keyboards with classic songcraft, revealing previously unseen acreage in the unfurling dreamscape that is Nightlands. The surrealistic album art by Austin-based illustrator Jaime Zuverza depicts an archway opening to the stars over the surface of an idyllic sea flanked by both moon and sun. Similarly, Moonshine reveals portals within portals leading to ever deeper places in Hartley's vocal-centered labyrinth. Throughout the album, there are plenty of buoyant high moods where the pitter-patter of drum machine and humming digital organ hints at Hartley's low-key tropicalia streak, but the lyrics anchor the dreaminess in real-world sorrow and resignation. Nowhere are these sentiments more apparent than on the title track, a nearly acapella recitation of "America the Beautiful" that poignantly hovers over a mirage of soft keyboards before dovetailing into Hartley's own words about the hypocrisy of the American dream. "This was never intended to be an overtly political record" he admits. "I have so many friends who are able to process the frustration of current events gracefully or with wisdom or in a nuanced way, but I often find myself just consumed with anger about it all. I decided to just let that come out, and it manifested itself lyrically." Moonshine's wide-eyed, utopian instrumental backdrops provide sharp contrast to Hartley's lyrics, which sting even harder within the sweetness. Even in light of the album's vocal emphasis, Hartley's history as a bassist brilliantly beams through Moonshine, giving effortless and sprightly movement to songs like "Down Here," which also features an extended section of saxophone lent by his Western Vinyl labelmate, Joseph Shabason. In addition to Shabason, the album hosts a short list of remote collaborators including four of Hartley's bandmates from The War on Drugs, Robbie Bennet, Anthony Lamarca, Eliza Hardy Jones, and Charlie Hall, as well as exotica virtuoso Frank Locrasto (Cass McCombs, Fruit Bats), and producer Adam McDaniel (Avey Tare, Angel Olsen). Hartley was forced to keep the guest list small out of the necessity of pandemic isolation, coupled with his move to a smaller city, all of which challenged him to do most of the album's heavy lifting right down to the mixing duties, resulting in the most independent effort of his career. By that measure, Moonshine is also the clearest image yet of Dave Hartley as a person and creator.

Members of Island of Love, Imposter, Lawful Killing, Antag-onizm, Powerplant. For Fans of Sheer Terror, Crumbsuckers, Cro-Mags, Slayer. Quality Control HQ proudly releases The Masters' Orders, the new LP from South London UK hardcore band Mastermind, the jewel in the crown of UKHC. This is the band's third release after 2019's Bad Reaction EP and comes on the heels of recently released single "Price You Pay". The new release, which was recorded at East London's most vibrant independent music hub, Fuzzbrain Studios, finds Mastermind continue to walk a well crafted line between almost jazz like song writing wrapped in the meat and potatoes sound of 80s NYHC, but this time amping up the rabid dog energy to another level. Having played with a range of punk and hardcore bands from Judge to Chubby and the Gang on their home turf, this summer sees Mastermind, with members of Island of Love, touring with NYHC upstarts Combust across Europe and playing Fluff Fest, equally comfortable playing to punks, metalheads and everyone in between. If one proposes that the classic late eighties NYHC sound owed a chunk of its identity to blue collar meat heads from Queens, then the same can be said for London hardcore’s meatiest riffs coming from Croydon cousins who work construction, built their own instruments and met their lead guitarist on the tram. This band reminds me of Rest in Pieces, Breakdown, Sick of it All, Sheer Terror, Inside Out NYC, and a touch of Cleveland’s Die Hard with a healthy dose of crossover picking and a heap of sick guitar solos. Something all of the above bands had in common was the ability to blur the fine line between great genius and great stupidity. It's a delicate natural balance reached only by bands that don’t take themselves too seriously but would kick your ass if you called them a joke. There is a clearly defined love of hardcore, in its many forms, behind the songwriting in Mastermind – a band of young heads and scene mainstays who intend to have fun playing hardcore the way they like it. After a four year run with a solid demo and a crushing EP, Mastermind are ready to present you with their masterpiece – The Masters’ Orders

Translucent purple 180 Gram vinyl with Download card including all 12
tracks that appear on the CD
Over a 45-year career as one of the world's top blues musicians, Ronnie Earl has
transfixed audiences with his distinct sound of emotion-laden blues. On his own
and with his band The Broadcasters, Ronnie is a four- time Blues Music Award
winner as "Guitar Player of the Year," with 28 albums and multiple chart-topping
compositions in his catalogue.
Ronnie sets the songs of this album into context with a quote from Rev Dr Martin
Luther King Jr prominently placed in the album art: "The Blues tell the story of
life's difficulties, and if you think for a moment, you will realize that they take the
hardest realities of life and put them into music, only to come out with some new
hope or sense of triumph."
These songs present triumphant Blues - uplifting and hopeful songs that point to
a better tomorrow, including "Soul Searching," "A Prayer for Tomorrow," "The Sun
Shines Brightly" and "Your Love Keeps Lifting Me Higher And Higher." Celebrating
artists who have contributed to the theme of hope, Mercy Me includes "Blues for
Ruthie Foster," "Blues for Duke Robillard" and "Dave's Groove" (co- written with
Dave Limina).

Experimental elements of Baroque and Chamber Pop make up this indie
rock band from Phoenix, Arizona - Emby Alexander creates a focused
aesthetic through thoughtful craft of self-produced music, art, and film
Even while constantly seeking out new textures, techniques, and feelings, SOARS
ERA epitomizes the Emby Alexander vibe. Consummate explorers and
overachievers, the four-piece have swum further than their already wild farthest
reaches and established a new spiritual psychedelic home.

Shrouded in mystery, abstracted by endearment and drenched in tone,
bigLOVE are set to make their presence known to the wider world on May
27 with their debut album, titled Crusaders of Joy, via Church Road
Records.Across the anonymous project’s four song inaugural release,
bigLOVE marries atmospheric sludge and themes of eternally
unconditional devotion in the name of all that is to be cherished in this
waking world of ours
bigLOVE establishes their vision of the genre on highlight tracks Harnessing the
Nectar from the Queen Bee and At One With - with both songs wielding Thouesque lead guitar lines and all the sonic weight of Alice In Chains’ doomier cuts.
Vocally, bigLOVE counterbalances the saccharine nature of their melodies with
corrosive and hymnal omnipotence.In an effort to eliminate unnecessary selfscrutiny and create instinctively, bigLOVE recorded Crusaders of Joy as it was
being written - with the release's final takes being recorded moments after each
part was finalised in the writing. Recorded between 2019 and 2020 before being
mastered by UK audio savant Lewis Johns at The Ranch, Crusaders of Joy
possesses a preternatural warmth in it’s production that beguiles as well as
engulfs. The debut full length is adroitly tied together thematically by Maria
Nemm’s (Holy Fawn, Slow Crush, Anthetic) album cover photography, adding
another dimension to bigLOVE’s enigma of obscurity and ubiquity.In the context
of the modern age paradox of instantaneous connection and spiritual disconnect,
Crusaders of Joy triumphs in it’s harnessing of love as philosophy, as it
spiritualizes sludge and doom metal’s sonic weight to transcendental heights.
Across the vast ocean of time, love remains at the core of all it is to be human.

Embodying the mutant nature of club music in the modern age, Cocktail Party Effect comes bowling into Sneaker Social Club with a taut, wiry sound which joins dots and melts barriers at will.

The brainchild of Charlie Baldwin, who previously recorded as Kasket, Cocktail Party Effect has been forged over the past six years through heavy bursts of sound design anchored by soundsystem dynamics veering between 140 and 160 tempo zones. From 2020’s self-titled LP on Tectonic to drops on Osiris, Cold, Transfigured Time and more, Baldwin’s deftly avoided allegiance to any specific scene and instead deployed shock-inducing gear for DJs with fortitude to test on their crowds.

On SNKRX010 the commitment to physicality is prevalent across all four tracks, veering from the deadly broken beat barbs and artful fills of ‘Racka’ to the splintered breakbeat rushes and stop-start aggravation of ‘C.A.T.C.R’. ‘Grims8’ is perhaps the purest manifestation of the Cocktail Party sound though, all monochrome rigour with the contrast turned way up, powered by steely, gleaming rhythmic impulses and writhing with dense layers of sonic matter. Watch out for the glutinous bass snarl of ‘58bethe7’ though, which slams in sideways with an unabashed rave instinct crushed through a post-modern production lens.

Baldwin may be operating on his own terms, but on this 12” he demonstrates versatility to match his originality, resulting in four inventive dance destroyers tooled to bridge between styles, sets and scenes.

Wolves-based duo TC4 have been working it for some time now, dropping their first 12" back in 2013 and continuing to push a sprightly speed garage sound that spells instant good times. This self-titled label sees them back on the case with four good time joints that make great use of RnB samples, chirpy piano chords and beats with all the bump. 'Feels' has more of a deep house vibe, 'Gold Teeth' takes it straight to classic UKG territory, but without fail all these jams swing tuff and bring enough heat to set a pool party on fire

Celebrating 10 years in the game this year and after a slight covid-induced pause, Dixon Avenue Basement Jams are back with fresh new summer heat straight from the depths of the colosseum on their Neutralizer sub-label. Longtime friend of the DABJ crew Delphi (who is also one half of Tiger & Woods alongside Marco Passarani) joins up with four shining examples of forward thinking machine driven funk, the type you can only expect to hear from the eternal city of Rome.

Strictly limited hand stamped edition on Carmine Red vinyl. Don't Sleep on this one, people.

For a prolific artist as Gerardo Frisina, almost two years without a new release from him seems like an eternity: this brand new 12" EP entitled 'Soul Drum' breaks the silence, giving us three new works composed by Gerardo, made up of four recordings if we consider the two versions of the title track.

This EP anticipates the full album already in the works, scheduled for release at the end of 2022.

Without losing his Latin trademark, Gerardo continues his research into hypnotic and pulsating rhythmic patterns in both acoustic and electronic form, which are now a fundamental stylistic element of his. As on his previous album 'Moving Ahead', the rhythmic style blends naturally with echoes of tribal voices, piano keys and wind instruments (trumpet, saxophone, flute), creating the 'Joyful Sound' (title of the forthcoming album) that reverberates on the surface. With an artist as meticulous as Gerardo Frisina, it is to be expected that even the simplest beat has been deeply thought out and chosen from a potentially infinite sound palette, and this can be heard perfectly in the depth of sound of the four tracks of this release.

"Soul Drum" is dedicated to the loving memory of bassist Enzo Frassi, who contributed to this EP - along with 'usual guests' Fabrizio Bernasconi, Gendrickson Mena, Alfonso Deidda and Ernesto Lopez.

Stolen Body Records is thrilled to announce the release of Mexican Doom Metal band Terror Cósmico’s first album in 4 years - Miasma.

Miasma is the fourth album from Mexico City based duo, Terror Cósmico. The record takes a different turn in production from past albums, having a more aggressive tone, having drums and guitar recorded separately in the studio, being able to create an intense and surrounding sound.

Miasma is made up of 8 tracks which deliver a great range of emotions, going through desperation, anguish and desolation mixed with an air of nostalgic mystery.

Recorded in January of 2021 in Testa Studio in Leon, Guanajuato, Mexico. The sessions held a vibe of doubt and fear to what the pandemic could bring. The album is charged with all the emotions of a very strange moment in our timeline. The artwork was a commissioned task by Portland artist Jason Barnett.
Tracks:

Since forming on O'ahu, Hawai'i, in 2009, The Green has become one of
the most successful and beloved bands in the reggae genre
During their relatively short career, the band has been awarded a "Best Reggae
Album" nod from iTunes (2010, for their self-titled debut), four coveted Na Hoku
Hanohano awards in their native Hawai'i (2014, including Group of the Year, two
time Reggae Album of the Year and Entertainer of the Year), and two #1 Billboard
Reggae chart debuts, along with charting on the Billboard Top 200. Not bad for a
band that was formed by six members of Hawai'i's tight- knit music scene to
record a few songs and have some fun. The Green was one of the first Hawaiian
reggae bands to tour extensively on the mainland, as well as going further afield
to New Zealand, Japan, and other locales. Before becoming a headliner on their
own, the band supported bands like Bruno Mars, Rebelution, Iration, Soja, and
Damian Marley. The Green's fourth studio album, 'Marching Orders' continues the
group's steady march to the top ranks of their genre and beyond, with early
reviews already calling it "innovative" and "imaginative."

Under the name Delicate Steve, guitarist extrodinaire Steve Marion has
spent the better part of the last decade establishing himself as one of the
most wildly innovative and widely revered players in the game.He's
recorded with Paul Simon, been sampled by Kanye West, toured in the
Black Keys, and released four critically acclaimed albums of genrebending instrumental music
He's your favorite musician's favorite musician, a virtuoso songwriter, producer,
and performer who occupies a lane entirely his own in the modern indie
landscape, but he's never liked the sound of the electric guitar? "I've tried
everything under the sun to get away from it," he explains. "Until now."Written and
recorded on a white 1966 Fender Stratocaster that reignited his love for the
instrument, Delicate Steve's warm and captivating new album, After Hours, marks
a first for Marion, an earnest, easygoing collection that revels in the simple joys of
plugging in and playing. The songs are sweet and breezy here, pairing vintage
soul grooves with mesmerizing, wordless melodies, and Marion's production work
is subtle and restrained, stepping back in all the right places to let the album's
masterful performances speak for themselves. In another first, Marion teamed up
with outside musicians on the record, bringing in renowned bassist Shahzad
Ismaily (Yoko Ono, Marc Ribot) and famed Brazilian percussionist Mauro Refosco
(David Byrne, Atoms For Peace) to help flesh out the arrangements and stretch
his sonic boundaries.
The result is a dreamy, introspective album built for late night comedowns and
deep dive soul searching, a cinematic, escapist fantasy for the wee hours of the
morning that draws on everything from Bill Withers and Sly Stone to Pharoah
Sanders and Salvador Dali as it explores memory and nostalgia, instinct and
intuition, serenity and transcendence.

"It's a wonderfully uplifting album
As invigorating as a cold, sunny, Swedish morning, Kolonien have the freshness
of The Cardigans' early albums while at the same time sounding something like a
Nordic Fleet Foxes." - SonglinesKolonien is a four- member family band from
Sweden that has been one of the leading voices of the Swedish folk revival for
over a decade. With a sound that blends acoustic roots music with anthemic,
sing- along pop, Kolonien has a fresh, appealing sound that brings multiple
musical worlds together.Kolonien's lush vocal harmonies are reminiscent of Fleet
Foxes, their Nordic folk-pop sound might remind some listeners of Of Monsters
and Men, and their hipsters with strings vibe makes them Sweden's answer to
Mumford & Sons. At the same time, Kolonien's music and inspirations are deeply
rooted in the Swedish folk tradition as well as the natural environment and
progressive philosophies of the alternative-lifestyle community where they were
raised.Kolonien is made up of brothers Erik and Arvid Rask, their cousin Anna
Möller and their childhood neighbor, and "brother from another mother," Mischa
Grind. The members of the band were raised in and around Järna, a community
south of Stockholm that is known as a back-to-the-land destination for hippies,
progressives and people seeking an alternative lifestyle. While they had been
making music together since childhood, the band formally came together during
a music festival in Tanzania in 2010. Since then, they have toured extensively
across the world and released a number of well-received albums and EPs.

Giallo is the fourth in a series of five double vinyl releases that bring together some of Ennio Morricone’s greatest soundtrack music. Each collection centres on a different movie genre, together they allow the listener to rediscover the unmatched genius of the greatest movie composer of all time. The Maestro. This collection was announced before Ennio Morricone passed away on July 6, 2020. We’ll continue to release the series to honour this great composer.

When we think of 1960’s Italian pulp cinema, the spaghetti western is the genre that comes to mind. However, Italy was responsible for another classic cinematic exploitation movement around the same time, one that is equally as compelling, but less widely recognised. Giallo…

Giallo, meaning ‘yellow’, is the Italian term for crime fiction, it was named after the bright yellow colours of early pulp fiction paperbacks. Film audiences adopted it as the name for a peculiarly Italian sub-genre of thriller cinema that had its heyday in the 1970’s - just as the Spaghetti Western movement was waning. The Giallo can be difficult to define, but essentially it is an Italian crime film that draws from a pool of common themes: stylized murders, amateur sleuths, sleazy glamour, psychological crimes, enigmatic titles and all these themes are underpinned by creepily atmospheric Ennio Morricone music scores. Starting 70 years ago as an arranger for the piece Mamma Bianca, Ennio Morricone is the emperor of scores and soundtracks. Morricone has always been a huge influence for the likes of Hans Zimmer, Danger Mouse, Muse, Metallica and many more musicians. He was one of the most successful composers of all-time, selling over 70 million records and winning dozens of awards.

Giallo is available as a limited edition of 3000 individually numbered copies on “giallo and black marbled” (clear, yellow and black mixed) vinyl. The package includes a 4-page insert with liner notes written by Claudio Fuiano. The gatefold sleeve contains a silver foil spot varnish on the outside and images of iconic movie posters on the inside.

‘Raise Hell’, the third album from London DIY punks Fresh out 1st July on Specialist Subject Records. Fresh have been an unwavering fixture within the UK punk scene since their first record in 2017. A joy to behold live, Woods honed her craft not only fronting Fresh but as a member of several heralded indie and punk bands, including cheerbleederz and ME REX alongside Fresh bandmate Myles McCabe. Their new album radiates with their signature mischievous British charm and flourishes of brilliant pop punk flair – though underestimate Fresh at your peril. ‘Raise Hell’ dares to dive deeper than most, delivering Woods’ darker moments and contemplative thought processes through the sharply focussed lens of upbeat indie punk. Since their inception the band have been working tirelessly recording and touring. They released their last EP 'The Summer I Got Good at Guitar' in Spring 2021, to praise from Upset, Stereogum, Brooklyn Vegan, BBC6 Music, Radio X and have toured with the likes of Jeff Rosenstock, The Beths, PUP, Adult Mom. For a band that have existed for a relatively short period of time, the four-piece have already released a hefty catalogue of work – prolific, ever evolving and always fresh (in every sense of the word).

‘Raise Hell’, the third album from London DIY punks Fresh out 1st July on Specialist Subject Records. Fresh have been an unwavering fixture within the UK punk scene since their first record in 2017. A joy to behold live, Woods honed her craft not only fronting Fresh but as a member of several heralded indie and punk bands, including cheerbleederz and ME REX alongside Fresh bandmate Myles McCabe. Their new album radiates with their signature mischievous British charm and flourishes of brilliant pop punk flair – though underestimate Fresh at your peril. ‘Raise Hell’ dares to dive deeper than most, delivering Woods’ darker moments and contemplative thought processes through the sharply focussed lens of upbeat indie punk. Since their inception the band have been working tirelessly recording and touring. They released their last EP 'The Summer I Got Good at Guitar' in Spring 2021, to praise from Upset, Stereogum, Brooklyn Vegan, BBC6 Music, Radio X and have toured with the likes of Jeff Rosenstock, The Beths, PUP, Adult Mom. For a band that have existed for a relatively short period of time, the four-piece have already released a hefty catalogue of work – prolific, ever evolving and always fresh (in every sense of the word).

Arriving on Cheeky Sneakers and bringing the essence of UK rave with him is UK based producer Ravetrx who deliver four huge cuts of breakbeat, jungle and trance-licked hardcore for the masses.

'Run 'N' Hide' begins with fairly familiar territory for the producer. Sitting somewhere between techno, breaks and speed garage, this peak-time warper is a sure-fire party starter, before 'Show Me' transitions into breakbeat completely; it's deafening bass-kicks, euphoric builds and jungle-percussion providing a throwback to a golden era for dance music.

The familiar chords of the M1 ring out on 'Mind Games' - a classic trance love-cry brimming with emotion - before the 160bpm jungle riddims of 'Shebeen' provide a lairy and screwface-inducing climax.

Lunatic Harness, µ-Ziq's rare and sought-after fourth album, was originally released in July 1997 on Virgin's Hut Recordings label. It is generally considered to be Mike Paradinas's best work of the nineties. An Apple Music review describes Lunatic Harness as "the prettiest album to come out of the mid-'90s "drill'n'bass movement", noting that Paradinas eschewed the abrasiveness of similar works by Squarepusher and Aphex Twin in favour of "atmospheres of ethereal color and shimmering melody", bringing the album "closer to pop music than anything Paradinas had previously attempted". Planet Mu has compiled a special 256th anniversary edition 4xLP boxset bringing together the My Little Beautiful EP, the Lunatic Harness album and May 1998's Brace Yourself EP (released by USA's Astralwerks label) with the addition of four rare tracks. Discs one and two of the vinyl are the original Lunatic Harness album, disc three compiles the My Little Beautiful b-sides with three unreleased cuts from the period and a remix of Mr.Angry from 1997's Mealtime compilation, while disc four is the 8-track Brace Yourself EP which hasn't been re-issued since 1998. This all comes in individual printed sleeves housed in a rigid box with an insert collage of some of the press Mike received at the time. There is also a 2xCD edition with the same tracklisting.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Repress back in soon, now on black vinyl. Genre: Rock-Alternative; Dreampop, Indiepop, Lo-fi. RIYL: Jesus and Mary Chain, Galaxie 500, Belle and Sebastian, Sarah Records.

The purest a band can aim for is to present their milieu as a time capsule from the morning of. April Magazine deals deep in the hypnagogic charm of their surroundings. Since the 2018 release of “Shirley Don’t” a sneaky classic that first turned ears outside their SF Bay Area home the band has stirred out a handful of cryptic indie pop recordings nestled in warm aerosol hiss and scrappy hand-drawn cover art. Music that glints in the far back of an urban daydream where guitars could be bells, bells could be voices, and voices hardly find use in words. If The Ceiling Were A Kite is a document of things losing definition and time gone slack. The songs on If The Ceiling Were A Kite were recorded over a span of about two years, after Peter, Mike and Kati started playing together around a four track cassette player in Peter’s bedroom. Other kindred spirits like Julia Waves, Ian Collins, Anthony Comstock OBC, Zach Vito, and eventually David Diaz joined in on some of the recordings and live shows adding to the collective ‘whatever works’ ethos of April Magazine. April Magazine is Peter Hurley, Katiana Mashikian, Mike Ramos, David Diaz.

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

"Animist Pools" was released July 1, 2016 in a cassette limited edition on Human Pitch records. Originally released as "Hippies Wearing Muzzles", pseudonym of Lee Evans. "A shifting center in a stream of rippling analog tones, the music of Hippies Wearing Muzzles is orchestrated to transfix, echoing sounds heard in nature with modular synthesizers and the powerful element of chance. Evoking the Fourth World Music of Jon Hassel or the kosmische innovations of Cluster, Animist Pools marks its composer, Lee Evans’ first full-length release for Human Pitch. Accompanied its popping, glyphic art design and video, the project’s hypnotic aptitude is heightened to full-effect. Citing his background in painting as a chief influence on his musical approach and thought process, Evans composes with a strong sense of space––each sound an event in a slowly expanding landscape, zooming out to reveal a world of scale in which depth and contrast take precedent over rhythm and melody. Embracing the generative compositional nature of working with the modular synthesizer, Evans himself is the final filter through which all sounds pass. The boundary between programmed repetition and human choice is subtle, but detectable, highlighting Evans’ careful, nuanced guidance of his auto-compositions. The result is ultimately an improvised structure––a living, breathing, musical creature, acting on a mixture of impulse and memory. Animist Pools is a functional body of music for everyday human applications, with the implied invitation to tune out and back in at one’s discretion. The cleanly organized musical space of Animist Pools encourages a tidying up of the mind. On a psychoacoustic level it is one, breathing life into the dusty corners of one’s headspace. Animist Pools is an immersive, meditative, and therapeutic experience."

"Fashion Nugget" ist das zweite Studioalbum der Alternative-Rock-Band Cake. Es wurde 1996 veröffentlicht und enthält 14 Songs. "The Distance" und "I Will Survive" wurden die erfolgreichsten Singles des Albums. L'adhésion de CAKE à ses principes directeurs originaux n'a fait que se renforcer. Formé à l'origine comme une réponse quelque peu antagoniste au grunge, les processus démocratiques de CAKE, son autosuffisance provocante et sa musique lucide mais toujours inventive en ont fait un État-nation à part entière, sans pairs évidents, n'appartenant à aucune école. En plus d'écrire, d'arranger, de produire et d'interpréter leur propre musique, ils ont appris à concevoir leurs projets d'enregistrement dans leur studio à énergie solaire, qui produit en fait plus d'énergie que nécessaire pour le faire fonctionner, ce qui fait tourner le compteur électrique du bâtiment à l'envers.

Following the success of Land of Nothing EP, Baby Strange are set to
release their second full length album – WORLD BELOW
WORLD BELOW picks up where LAND OF NOTHING left off, with the uniquely
Baby Strange sound encased within haunting melodies, syncopated guitar riffs,
four to the floor drums, huge bass lines and all blanketed under a cover of
melancholy that pulls and tears on the listeners emotions.
Written as a reaction to how the pandemic has played havoc with mental health,
the increasingly visible class divide and the meteoric rise of food banks across
the country – World Below is an album that plays to the paradox of the topics set
out within. Equally dark & beautiful with pop melodies that sync with pure grit.
The result is an album in the truest sense of the word - 10 songs that pull the
listener through a myriad of textures, sounds & emotions, completed with an
array of artwork that generates a visual accompaniment for the topics set out
ithi

Following the success of Land of Nothing EP, Baby Strange are set to
release their second full length album – WORLD BELOW
WORLD BELOW picks up where LAND OF NOTHING left off, with the uniquely
Baby Strange sound encased within haunting melodies, syncopated guitar riffs,
four to the floor drums, huge bass lines and all blanketed under a cover of
melancholy that pulls and tears on the listeners emotions.
Written as a reaction to how the pandemic has played havoc with mental health,
the increasingly visible class divide and the meteoric rise of food banks across
the country – World Below is an album that plays to the paradox of the topics set
out within. Equally dark & beautiful with pop melodies that sync with pure grit.
The result is an album in the truest sense of the word - 10 songs that pull the
listener through a myriad of textures, sounds & emotions, completed with an
array of artwork that generates a visual accompaniment for the topics set out
ithi

Following the success of Land of Nothing EP, Baby Strange are set to
release their second full length album – WORLD BELOW
WORLD BELOW picks up where LAND OF NOTHING left off, with the uniquely
Baby Strange sound encased within haunting melodies, syncopated guitar riffs,
four to the floor drums, huge bass lines and all blanketed under a cover of
melancholy that pulls and tears on the listeners emotions.
Written as a reaction to how the pandemic has played havoc with mental health,
the increasingly visible class divide and the meteoric rise of food banks across
the country – World Below is an album that plays to the paradox of the topics set
out within. Equally dark & beautiful with pop melodies that sync with pure grit.
The result is an album in the truest sense of the word - 10 songs that pull the
listener through a myriad of textures, sounds & emotions, completed with an
array of artwork that generates a visual accompaniment for the topics set out
ithi

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

Air, Nico, St Etienne, Kid Loco, Young Marble Giants, Sandy Denny, Vashti Bunyan, Andrew Weatherall, Robert Wyatt and Serge Gainsbourg. Limited edition first pressing of 500 copies on "Mock Turtle" Blue. International collaboration between artists in Glasgow, London, Paris & New York. Mastered by Shimmy-Disc founder Kramer. Accompanying visual art work by Film and art director Tim Saccenti. Inspired by the intensity of lockdown, the self-titled debut album by electro-pop project Gates of Light, is the result of a collaboration between five artists across four cities, three time zones and two continents. Hailing from Glasgow, singer-songwriter Louise Quinn and producer Bal Cooke teamed up with London-based DJ and producer Scott Fraser; Parisian musician, DJ and producer Kid Loco; and film director and photographer, New York’s Tim Saccenti - who has previously worked with Run The Jewels and Pharell- to create a sublime, electro-pop reflection on the grief, insularity and peculiar highs of lockdown. Immediately after hearing the album, revered post-punk musician and producer Kramer offered to release the vinyl edition on his iconic cult label Shimmy-Disc, which boasts an impressive back catalogue of artists including Daniel Johnson, Low and Galaxie 500. A project grounded on collaboration - born from a period of disconnect - Gates Of Light perfectly amplifies the longing, confusion, lucid dreams and appreciation of the outdoors that the pandemic ignited in so many over the last couple of years. Originally written and recorded by Louise and Bal from their bedroom studio in Glasgow whilst their one-year-old twins slept, the tracks were then sent to Scott and Kid Loco who remixed the tracks from home studios in London and Paris before Tim created the artwork and a video for the track ‘When The Leaf Falls’. Gates Of Light is the latest project from Louise and Bal who have released music in the past as A Band Called Quinn and DAWNINGS. Louise and Scott Fraser have also previously collaborated following a chance encounter at a nightclub in Glasgow. Their single ‘Together More’ was released on Andrew Weatherall’s renowned Birdscarer vinyl imprint in 2019 and featured a remix by the Guv’nor himself who described the track as “sublime magik”.

Repress incoming...

Far Out Recordings proudly presents Milton Nascimento's Maria Maria. Recorded in 1974 and unreleased until almost thirty years later, the album was written as the soundtrack to a ballet which dealt with the legacy of slavery in Brazil. Raw, atmospheric and emotionally charged, Maria Maria reveals one of Brazil's greatest ever songwriters at his creative peak. Featuring an all-star cast of fellow Brazilian legends including Nana Vasconcelos, Joao Donato, Paulinho Jobim, and members of Som Imaginario, Maria Maria holds what Milton considers to be the definitive versions of some of his classic songs, including 'Os Escravos De Jó' and 'Maria Maria'.

Originally released in 2003 as a double CD package, with Milton Nascimento's 1984 follow up ballet soundtrack Ultimo Trem, Maria Maria will be available on vinyl for the very first time from December 2019, with Ultimo Trem set for vinyl release early 2020.

Milton Nascimento possesses one of the most immediately recognizable voices in Brazilian music: high and sweet and as breathtakingly sublime as that of any soul singer. It was this voice that the legendary Brazilian singer Elis Regina fell in love with back in 1964, having heard Milton perform his song 'Canção do Sal (Sultry Song)' at a private party in Sao Paulo. Ellis went on to record the song in 1967 -giving Milton his first hit in Brazil and beginning a career that has spanned over 50 years.

Born in Rio on the 26th October 1942, Milton moved with his adoptive parents at the age of 18 months to Tres Pontas, a rural town in the state of Minas Gerais, 500 miles north of Rio. He began his musical career as a young teenager, singing in a crooner style he learnt from listening to Brazilian singers and US groups such as The Platters on the radio. Hungry for more opportunities to perform, Milton moved to Belo Horizonte, the capital of Minas Gerais, at the age of twenty. By the beginning of the 60s Milton had made a name for himself both as an accomplished singer and guitarist.

Milton became part of a local network of musicians, film makers, dancers, theatre directors and writers that included the journalist and song writer Fernando Brant as well as lyricist Marcio Borges and his younger brother Lo Borges. Together these four wrote and produced what would become Milton's milestone album, 'Clube da Esquina (Club on the Corner)'. The originality of 'Club da Esquina' shaped the local scene, and it reflects the essence of 'the Nascimento Sound'. Milton's religious upbringing as an Afro-Brazilian Catholic saw him exposed to church choral music from an early age. His love of this genre of music is apparent in both his celestial falsetto and vocal choral arrangements. This collection also displays his early fascination with evocative, non-verbal, scat-style singing, spare, harmonic guitar work and local folk music, jazz and rock.

In 1976, Milton and Fernando Brant teamed up with a new contemporary dance company called Grupo Corpo, whose Argentinian choreographer Oscar Araiz, would become a collaborator with the two musicians. Together, they conceived a show based on the composite life story of the daughter of a black slave called Maria. Nascimento wrote music to Brant's lyrics and "Maria Maria" was premiered in the main theatre of the Belo Horizonte Palacio das Artes that year. "Fernando wrote the lyrics for the ballet, but there were originally no lyrics for the theme song, "Maria Maria'". Milton and Fernando worked on the lyrics together, basing them on folk stories about black women of the countryside. Adds Milton "These memories are mostly things that we witnessed – Fernando and I – rather than what we experienced ourselves.

Milton's music is impressionistic, emotional and romantic. Relying on songs without lyrics as well as evocative vocalizing and choruses, Milton experimented heavily with Afro-Brazilian percussion and taped jungle sounds. His composing method for these recordings was highly unconventional: "I wrote the music for 'Maria Maria' in a tiny Rio apartment with friends and their kids running around and having fun! I love to be in noisy places, surrounded by people", he says.
The music on 'Maria Maria' was performed by an impressive group of young musicians who are today household names in Brazilian music, including Naná Vasconcelos (percussion and effects), Toninho Horta (guitars) and Paulo Moura (sax). Several vocalist including Naná Caymmi, Fafá de Belém, Beto Guedes, and Milton himself, had hits in years to come with reworkings of these songs.

Milton says his compositions follow his visions "like a movie", and he believes that reflects his long love affair with cinema. "I only began composing because of enjoying the movies so much," he says. "I wrote my first song "Peace for the Coming Love" after seeing 'Jules et Jim' (the cult 60s French film directed by François Truffaut), with my friend Marcio Borges. We went early in the morning and watched it four or five times in a row, then went to Márcio's home and wrote the song."

The songs also include solo spoken passages set to music, clearly influenced by this style of French art cinema. On the title track, Maria's story is narrated and translated to music through the use of African Percussion, drums and metal signifying the field slave tools of the day. 'Trabalhos (Works)' runs to work rhythms and whipcracks: no words, just pain. 'Lília' documents the beating of the slave woman. After 'A Chamada (The call)' and the triumphant 'Era Rei e Sou Escravo (I was a king now I am a slave' things begin to turn and Milton employs tropical jungle cries to symbolize freedom. 'Santos Catholicos x Candomble (Catholic Saints vs Candomble)' represents the battle between African and European religions through the music of both sides. Milton's heavenly falsetto pours into 'Francisco' and 'Pai Grande (Great Father)' and the outstanding 'Eu Sou Uma Preta Velha Aqui Sentada no Sol (I'm an old black lady, sitting under the sun)' conjures images of an old woman sitting deep in the forest, her memories painted in drums, piano and voices.

White Vinyl

Remastered reissue of Het Zweet's 1987 self-titled LP + a bonus LP, consisting of previously unreleased material.

Marien Van Oers work under the name Het Zweet (“The Sweat” in English) originally came out in the 1980s (specifically 1983-1988), but listening to the new reissue of this self-titled album from 1987 can feel like one is listening to something that’s both much more current and also much, much older than that. Van Oers, who passed away in 2013, made music that tended to get classed as “industrial”, and tracks here like the steady, clanging churn of “From the Lowland” or “On Earth” show why, but he was as or more inspired by tribal music intended to produce trance-like effects via rhythm and (percussive and vocal) repetition. Using instruments made by himself out of anything from shopping carts to cardboard tubes, the music of Het Zweet locks into grooves that somehow feel more elemental and physical than many of his contemporaries. It never quite feels like Van Oers is emulating or echoing the music of any particular region or tradition so much as trying to synthesize all the ones he’s heard into some sort of ur-pulse, an overtone so powerful as to compel the “Massive Trance” the title of the last song on the record evokes.

While the 1987 Het Zweet has four track titles per side, and on listening you can discern some segues and places where it feels like new movements do shift into place, it’s fitting to have this record on vinyl where the listener is encouraged to experience each side as one uninterrupted piece. The bonus material included on this reissue expands Het Zweet from one LP to two, the second LP consisting entirely of previously unreleased material. This bonus LP is sequenced similarly, with three untitled tracks and two live excerpts presented as side-long experiences that belie their disparate origins with a unity of sound and purpose. Van Oers’ percussive nous and distantly yelled chants certainly sound capable of working up a sweat in both the performer and any movement- minded listeners, but maybe the most striking thing about Het Zweet is how vital it still sounds, despite its age and relative obscurity.