Cerca:frozen soul

Glacial Domination, das zweite Album von FROZEN SOUL, lässt das Death-Metal-Quintett aus Dallas in noch tiefere Abgründe eintauchen als es ihr Century Media-Debüt Crypt of Ice aus dem Jahr 2021 andeutete. Tracks wie 'Invisible Enemy' (unter Mitwirkung von Mitgliedern von Power Trip und Creeping Death), 'Abominable' oder der Titeltrack des Albums sind eine Lawine von Riffs und unvergesslichen Hooks, die an eiskalte Klassiker des Death Metal erinnern und FROZEN SOUL zu einem Spitzenprädatoren des modernen Extrem-Metal machen. Glacial Domination, das von Matthew K. Heafy (Trivium) mitproduziert wurde, markiert eine Verschiebung hin zu brutaler Zugänglichkeit, ohne FROZEN SOULs Markenzeichen - die Düsternis und Grausamkeit - aufzutauen. Mit dem 2-Song-Zyklus des Albums, 'Frozen Soul' / 'Assimilator', inspiriert von John Carpenters antarktischem Sci-Fi/Horror-Klassiker 'Das Ding aus einer anderen Welt', verfeinern Frontmann Chad Green und seine kalte Crew den unverwechselbaren Sound und die Vision der Band weiter. Der ewige Winter ist da. Die Eiszeit von FROZEN SOUL ist angebrochen. Glacial Domination ist als Standard CD Jewelcase, Ltd. black LP (in schwerem 180g-Vinyl und mit einer speziellen Matt/Glanz-Beschichtung der Cover-Hülle)

Blue light. No heat. A glacial wall of denser-than-dense sound. Dallas Texas’ FROZEN SOUL lives up to their name as the sound of death metal at its most cold and classic. Riff after slow, grinding riff, there’s no mistaking the themes of isolation and suffering that permeate the quintet’s massive sonic missives. “The feeling I’m getting from playing in FROZEN SOUL is powerful in a way I wasn’t getting from other bands I’ve played in before”, says frontman Chad Green. “The sound. The lyrics. Even the logo itself has a harshness to it that just feels powerful and cold. Add to that the depression of dealing with real life and the venomous people that can inhabit it and the vibe of the band just makes sense.”
FROZEN SOUL’s brand of straightforward, in-your-face death metal is a gasp of fresh air in a genre that’s stretched the very limits of technicality. Fully formed in 2018, the quintet has rapidly made a name for itself and churned the underground with a sound that evokes the old school sound of bands like Obituary, Mortician and Bolt Thrower. That reverence for death metal’s roots was apparent from Frozen Soul’s initial four-song Encased In Ice demo (which includes a cover of Mortician’s “Witch’s Coven”) that was released in early 2019 on California’s cave dwelling, knuckle dragging, Maggot Stomp Records.

Ltd. black LP, 180 g

In 2016, a year after the 50th entry in the long-running series, none other but the iconic Detroit artist, DJ and producer Moodymann stepped up to helm the next landmark edition of DJ-Kicks, his first ever multi-artist DJ mix compilation. Following !K7's 40 th anniversary, this classic DJ-Kicks mix is now being repressed on coke bottle clear vinyl.
Born Kenny Dixon Jr., Moodymann is a one-of-a-kind electronic music icon, hailing from, and wholly synonymous with the Motor City. He is an outspoken, impossibly charismatic artist who has been putting a distinctive and soulful stamp on house and techno since the early 90s. Melting together jazz, funk, soul, blues and rock in captivating ways, he is responsible for some of electronic music’s most definitive tracks, EPs and LPs on labels like Planet E, Peacefrog and his own KDJ and Mahogani Music imprints. As able to serve up the sweetest and most sensual sounds as he is the darkest and most depraved grooves, his own unique voice and stream of conscious musings infuse expertly sought-out samples for music that is decisively alive and authentic.

Across 75 minutes and 30 tracks, Moodymann does not disappoint: despite being a notorious vinyl fetishist, Dixon’s aim is to present music of quality, not to one-up fellow collectors. Rather than serving up ridiculously rare or hard- to-find records, he instead focuses on creating a libidinous, blues-drenched mood that takes in heart-breaking soul, gorgeous hip-hop and love-fuelled house.

In addition to cuts from his own creative circle, the mix features 11 exclusive Moodymann edits. Like everything Kenny Dixon Jr. touches, his DJ-Kicks showcases the taste, skill, and soul of a dance music original.

Globetrotting Texan trio Khruangbin are set to release ‘Hasta El Cielo’, the band’s glorious dub version of their second album ‘Con Todo El Mundo’. The full album has been processed anew along with two bonus dubs by renowned Jamaican producer Scientist.

The band’s exotic, spacious, psychedelic funk aligns with the dub treatment particularly well. Indeed, keen fans won’t fnd this a surprising release. Dubs of tracks from their frst album ‘The Universe Smiles Upon You’ appeared on limited vinyl releases of ‘People Everywhere’ for Record Store Day 2016 and ‘Zionsville’ on the Boogie Futuro remix 12”. The especially eagle-eared willhave caught a dub of ‘Two Fish And An Elephant’ playing over the credits of the track’s celebrated video.

“For us, Dub has always felt like a prayer. Spacious, meditative, able to transport the listener to another realm. The frst dub albums we listened to were records mixed by Scientist featuring the music of the Rootsb Radics. Laura Lee learned to play bass by listening to Scientist Wins the World Cup. His unique mixing style, with the emphasis on space and texture, creates the feeling of frozen time; it was hugely influential to us as a band. To be able to work alongside Scientist, a legend in the history of dub, is an honor. This is our dub version of Con Todo El Mundo.”- Khruangbin.

Formed of Laura Lee on bass, Mark Speer on guitar, and Donald “DJ” Johnson on drums; Khruangbin’s sounds are rooted in the deepest waters of music from around the world, infused with classic soul, dub and psychedelia. Their 2015 debut album ‘The Universe Smiles Upon You’ was heavily influenced by 60’s and 70’s Thai cassettes the band listened to on their long car journeys to rehearsal in the Texan countryside. 2018’s follow up ‘Con Todo El Mundo’, which received hugely positive critical reactions and radio play around the world, took inspiration not just from South East Asia but similarly underdiscovered funk and soul of the Mediterranean and the Middle East, particularly Iran.

Since the album’s release, the band have continued their almost non-stop approach to touring, playing over 130 dates in 2018 alone. They return to the UK this summer for festival shows at Green Man, Latitude, Mostly Jazz, Funk & Soul Festival and Barclaycard British Summer Time.

Matthew Dear's Black City Can't Be Found On Any Map. It's A Composite, An Imaginary Metropolis Peopled By Desperate Cases, Lovelorn Souls, And Amoral Motives. Like Most Literary Gothams, Black City Is A Place To Love And Hate, As Seedy As A Nightclub's Back Room And As Seductive As The Promise Of Power. Matthew Dear, The Musician, May Live In New York City, But The Matthew Dear Of Black City Inhabits A Sound-world Unlike Any Other: A Monument To The Shadowy Side Of Urban Life That Bumps And Creaks, Shudders And Wakes Up Screaming In The Middle Of The Night. Black City Is Matthew Dear's Third Album On Ghostly International, And It's His Darkest And Most Engrossing Work To Date.

From The rst Notes Of Album Opener "honey", It's Clear That The Love-obsessed Matthew Dear Of 2007's Asa Breed Has Given Way To A More Existentially Paranoid Entity, As Creeping Tempos Dominate, Cavernous Atmospherics Envelop The Listener, And Strange Distortions Crackle On The Horizon. In Black City, Nothing Is At It Seems: Leadoff Single "little People (black City)" Is A Nine-and-a-half Minute Disco odyssey, subverting its gleaming electronic lead with eerily giddy backing vocals and cryptic, ominous lyrics ("a frozen wasted heart / has died", "love me like a clown"); "You Put a Smell on Me" is a sordid sex romp set to hysterically chattering percussion and a serrated synth line that will set your teeth on edge; "More Surgery" at rst recalls the barely-there Krautrock of Harmonia in its burbling minimalism, until Dear's chanted chorus of "Alter genetics / to make my body glow / I need more surgery / there's so much more to know" sends the track hurtling into a dystopian future.

And yet, for all the foreboding moods on Black City, it's the album's sweeter moments that illustrate Matthew Dear's growing maturity as a songwriter. "Slowdance" is a futuristic lullaby in which Dear articulates a lover's helplessness ("I can't be the one to tell you everything's wrong") over breathy, Arthur Russell-esque cello swishes; the album-closing "Gem" is an achingly simple, reverb-drenched piano ballad that ends with a long, slow fade. Even in Matthew Dear's Black City, there is hope.

'Science, Art And Ritual' is a story of ‘process'. Growing up in Harrow (a then quiet suburb of London) in the 70’s and 80’s from the age of about 10, Kingsuk Biswas aka Bedouin Ascent's ears opened up to sound as he scanned the airwaves. The undeniable righteousness of 80’s dub via David Rodigan’s Roots Rockers shows was the first prominent influence he received, and with punk roots —and his burgeoning record collection— became exposed to the breathless post punk experimentation that followed in the early 80’s sweeping up free jazz, noise, dub and much more. Throughout though, he maintained his fascination with Indian Classical music which was a mainstay in his parent’s house and spoke with the same infinite space as Joy Division's 'Unknown Pleasures', and King Tubby’s Studio dispatches. Through those teens he assembled and de-assembled, knocking about with fellow travellers —punk bands, garage, space rock, noise. Something was happening. On-U Sound, ECM, Factory Records kept him plugged in and sane.

At that time Kingsuk's core studio setup revolved around his vintage Gretsch, Fender Jazz, Moog, TR-606 and rudimentary FX. He added congas, folk instruments, pipes, hand percussion, gongs, and jammed out shards of funk, noise, jazz fusion, electro and ambience into his hungry Tascam Portastudio. By 1987 these had morphed into what we’d now refer to broadly as techno, but the genre didn't exist beyond the reverberating walls of his bedsit, and he hadn’t yet plugged into the global conversation.

'Science, Art And Ritual' was released in 1994 by Rising High Records and was presented as Bedouin Ascent's debut album, although 'Music for Particles' (released in 1995, again on Rising High) was recorded even before —'SAR' sessions span from 1992-1993, whereas 'Music for Particles' were earlier from 1989-1992, with some older 4-track references from about 1986 too.

Weaved in throughout the album are subconscious references to music that Kingsuk heard in the past that still remained within sight as companions. The opening track "Ancient Ocean III", referencing the extinct ocean Tethis, unapologetically channels Tackhead, Colourbox, Mantronix and Lee Perry. The style was also deliberately juxtaposed to the prevailing sound in techno at the time, which had locked onto a rigid form of symmetrical kicks and light snare drums. Elsewhere 80’s soul and funk are frozen and captured in fragile glass lattices. Electric pianos resound throughout, such as in "He Is She", probably a half-memory of 70’s MOR radio from childhood sleepy night drives. A duel between kick drums from three generations of Roland drum machines —TR-808, TR-707 and R-8— is a central theme in "Transition-R", all in conversation, calling and responding. These were not just machines to Bedouin Ascent, but part of an extended family, with heart and soul.

Three decades after seeing the light, Lapsus is proud to present a special 30th anniversary reissue of this
left-field techno gem in a repackaged and redesigned edition. All pressed on a deluxe 3LP marbled vinyl and including a limited lithographic insert print of the original album cover. All tracks have been restored and remastered directly from the original DAT tapes, and the album also features previously unreleased tracks such as "In the Clouds" and "Thru Water" —regularly performed live at that time and produced in the same period as the album sessions in 1993.

'Science, Art And Ritual’ may refer to esoteric traditions in Indian philosophy, but equally embodies the collision of the science, the art and the ritual that is at the core of being immersed in a deep musical journey.

Music From Memory is delighted to be turning 50 with a special release: MFM050 - V/A - Virtual Dreams: Ambient Explorations In The House & Techno Age, 1993-1997 (3xLP/2xCD). The first in a series of compilations, alongside more in depth artist-focused releases, Virtual Dreams will delve into music produced during the 1990’s that redefined the boundaries of ‘Ambient’. This was music that explored the possibilities of Ambient music within a new setting, created often by House & Techno music producers for a world beyond dance floors but made very much with the pre and post-clubbing listener in mind.

When House and Techno exploded out of America in the mid 1980s a whole generation was redefined not only musically but also culturally and chemically speaking. Peaking, quite literally, with a second ‘Summer of Love’ in 1988, millions of young people across the world would experience the life-changing ups of a brave new world but with it of course came the downs; enter the concept of a ‘Chill-out’ room. Whilst early Chill-out rooms lacked a specific sound and were often soundtracked by music such as reggae and soul, slowly young Techno and House producers themselves would become increasingly interested in developing a futuristic ‘Ambient’ soundtrack to a world beyond the thud of the main room.

‘Ambient’ in this new age now though had sharper teeth than in Brian Eno's key text for ‘Music for Airports’, instead here the sounds were the mode of transport rather than the backdrop. While the melodies were pretty, the soundscape steered away from the pastoral, dreaming of outer-space and technology as opening up exciting new dimensions. Much like in the first Summer Of Love; the musicians were again exploring psychedelic, mind-altering and transcendental possibilities of music. And also much as in the first Summer Of Love, a psychedelic visual language would accompany the music. Though now the tracks could be accompanied by music videos, utilising early CGI techniques, they would look almost entirely to the future: envisioning technology, nature and humanity intertwined in a new Utopian future. Virtual Dreams of a better world.

From Ambient and early Chill-out classics, to lesser known one-off projects, as well as Ambient deviations by some of House and Techno’s leading producers, Volume One of Virtual Dreams features tracks by Bedouin Ascent, LA Synthesis, LFO, Marc Hollander, Mark Pritchard & Kirsty Hawkshaw, Richard H. Kirk and more.

To celebrate our 50th release the first 1000 copies include a holographic 'Virtual Dreams' sticker plus a special insert poster with artwork by Victoria Pacheco and design by Steele Bonus.

Necropalace ist eine düstere, doomlastige Reise ins Schreckliche und Romantische, heraufbeschworen vom sich ständig weiterentwickelnden vampirischen Wesen WORM. WORM schrieb sein erstes Kapitel mit Veröffentlichungen wie "Foreverglade" aus dem Jahr 2021 und dem Split-Album "Starpath" mit Dream Unending aus dem Jahr 2023 (beide erschienen bei 20 Buck Spin). Diese Vision erweckte WORM zusammen mit Hulder, Devil Master, Gatecreeper und Frozen Soul auf der Decibel Tour 2023 auf der Bühne zum Leben. Dabei verkörperte WORM den Sound der Dunkelheit mit einem außergewöhnlichen Sinn für Ambition.
Gemischt von Arthur Rizk (Blood Incantation, Power Trip) und mit dem gefeierten Gitarrenvirtuosen Marty Friedman auf dem letzten Track des Albums "Witchmoon" ist "Necropalace" die bisher reinste Destillation von WORMs selbsternanntem "Nekromantic Black Doom", dargestellt in blutbeflecktem Technicolor. Ein cineastisches, unvergessliches Meisterwerk des modernen Metal.

Just when you thought Kevin Richard Martin's music couldn’t go any slower, lower or deeper, Sub Zero emerges. A slow-motion excavation of drug-tech, dub, dreamy noise and frozen ambience, the album gradually mutates into hypnotic pulsations and melodic melancholia. It is arguably Martin’s most striking release to date under his given name.


Originally released digitally on Bandcamp only in the depths of winter 2022, amid the final year of the COVID-19 pandemic and Russia’s initial invasion of Ukraine, this desolate epic went on to become KRM's best-selling digital album on the platform. With persistent demand for a vinyl pressing and a full DSP release from fans, Martin thought the time was right for Sub Zero to finally surface in its full glory: remastered and paired with fresh new artwork.


Unnervingly, the album is as beautiful as it is solemn, as glacial as it is relentless, and as subtle as it is terrifying. A trip into a sonic abyss, with a tour of a philosophical void, it’s to my ears, KRM’s most seductive work yet, and also his most emotionally resonant. Martin expertly balances tear-jerking motifs with heavier than hell rhythmic weight. With its melodic fog, eternal drones and eerie atmospherics, the peripheral throb of distant kick drums, the heartbeat punctuation of cavernous subs and the snowstorm blizzard of fuzz absolutely envelopes the mind, whilst crushing the soul.


In terms of lineage, Sub Zero might recall a more paranoid Porter Ricks, a dystopian GAS, or a brutally dubbed-out Pan Sonic. Most fitting, however, is its kinship with the deepest dub terrain Martin previously explored on In Blue, The Bug’s acclaimed 2020 collaboration with Dis Fig for Hyperdub, where he obsessively probed subaqueous pulses and low-end modulations.


Sub Zero is possibly the most minimal, desolate, and deviant dub record yet released on Martin’s PRESSURE label. It marks the point at which dub disappears into its own effects trails. Dub music capturing frozen moments in time. Dub as an addictive painkiller, that sounds both sacred and ocean deep.

With performances alongside Walter Trout, Kingfish Ingram, Fantastic Negrito, and Samantha Fish, Spencer Mackenzie has established himself as one of Canada's top young blues- rock artists. His new album Empty Chairs combines blistering riffs, ,soulful vocals, and emotionally charged songwriting. Backed by an international PR and radio campaign, the February 2026 release promises to connect blues fans worldwide.

2024 Repress
If anyone in the reggae circles could be described as having their own sound it would have to be Mr Augustus Pablo, born Horace Swaby 1954 St Andrew Jamaica. He took the humble melodica a wind blown mouth keyboard and made it shine.

His musical journey started one sunny day in 1969. Walking into Herman Chin- loy's Aquarius Records shop and on playing his melodica so impressed its owner that he was taken off to Randy's Studio 17, the very next day to cut his first record 'Iggy Iggy'. But it was his second tune under the guidance of Clive Chin again cut at Randy's, the seminal 'Java ' that put the young Augustus Pablo on the map. Clive Chin continued his work producing Pablo's debut album 'THIS IS AUGUSTUS PABLO' . An instrumental affair on which the neo-mystical ''Far East'' sound synonymous with Pablo's work emerged.

Having worked with most of the top producers of the time,Lee Perry,Keith Hudson, Bunny Lee, Augustus decided to set up his own label "Rockers", named after his brothers sound system. Where many of his tunes would first be heard.The label came to define a new and exciting chapter in reggae history.Even when versioning acknowledged classic Studio One rhythms there was a precious maturity and depth to Pablo's productions that kept him at the top throughout the late 1970s and into the 1980s. His 'King Tubby meets the Rockers Uptown' set which featured some of these rhythms reworked; Swing EasySkanking Easy, Frozen SoulFrozen Dub, stands as one of the true dub classic albums of any reggae education.

This set of dubs are taken from his classic 70's period.All rare dubs straight from the masters. You may have heard the tune, but not these versions. So sit back and enjoy the Original Rocker..... STILL SOUNDS SWEET.

RESPECT....JAH FLOYD.

Repress!

Echospace Detroit is the label launched by Rod Modell (Deepchord) and Soultek's Steven Hitchell, two leading lights of the minimal dub techno scene. And as with anything Deepchord, the entire release has an air of mystery to it. Previously, as a near-mythical vinyl pressing with minimal packaging and restricted pressings, everything about Vantage Isle was geared toward the underground, or 'those who know.' However, there's nothing but love of craft driving these grooves, and now a lot more people will finally be able to hear this absolutely brilliant collection of spacial dub wonder on CD. Vantage Isle Sessions consists of a whopping 13 takes of the title track, reworked by Modell and Hitchell in various guises (cv313, Deepchord, Echospace, Spacecho), as well as a guest spot (and first ever remix) from Gerard Hanson (Convextion). Across their 13 versions, Modell and Hitchell manage to take the Deepchord template (analog synths, deep bass, gently throbbing beats, bursts of static and noise, and deep, deep chords) into a surprising variety of directions, akin to looking at the same giant glacier from a helicopter from every angle possible: some are beatless and undulating, some are pulsing and dynamic, some are looking up from under the ice and some are towering overhead. The aforementioned Convextion version is revelatory. It's built on cascading and echoing pieces of the original that are layered like shifting sands, for a distinctly dark and shimmering journey to the bottom of the frozen ocean and back. It's remarkable enough to get all these takes on one basic template to sound somewhat different, given that the source material is really just a skeletal array of sound sheets. Vantage Isle Sessions is for anyone looking for the logical successors to the Basic Channel throne, or just looking for something mellow for those steamy late summer nights. A stone-cold classic of the genre. Don't miss it." -Todd Hutlock, Stylus Magazine/Beatz by the Pound

"Steeped in mystery, Detroit musicians Rod Modell and Mike Schommer (aka Deepchord) are legendary for their hard to find twelve-inch dub techno releases. Their sound is heavily influenced by Berlin dub techno producers like Maurizio, Basic Channel, Chain Reaction, Rhythm & Sound, Blue Train and Pole. While the German sound often has a futuristic metallic edge, Deepchord are known more for the rust and grease, which is part and parcel of those metal parts. Static, analog sounds, deep bass thumps and, of course, deep chords blend in a timeless minimal manner. However, the real gems on this disc are the drifty ambient cuts devoid of beats. This is an excellent album that is on par with the classics from a decade ago!" -Exclaim


"In terms of ambient dub, if Basic Channel is the Father (the source, remote and inaccessible and very powerful) and Pole is the Son (dazzling but ultimately stranded halfway between man and the divine), than Rod Modell’s Deepchord and his Echospace label he run with Steve Hitchell is definitely the Holy Spirit." -Popmatters


"Deepchord’s dub-techno stealthily peels away melody, leaving a bare chassis of beats to ghost-ride down Woodward Avenue. Vantage Isle Sessions, which collects remixes of a 2002 Detroit Electronic Music Festival performance, finds the duo swerving through empty, neon-smeared streets, and recalls Berlin’s Chain Reaction label, minus the anemic minimalism." -XLR8R

"The album scales a magnificent peak in “Spacecho Dub II - Extended Mix” when smeary chords ricochet over a massively deep, bass-heavy pulse, and Hanson's light-speed missile of vaporous propulsion (“Convextion Remix”) is beautiful too.
Long may they run." -Textura

‘Vantage Isle’ is a tremendous achievement that will most likely be held up as a high water mark of the genre for years to come." -Resident Advisor

"My favorite mix is by Convextion (his first remix for another artist). Reedy, distant synth tones sound like a science fiction soundtrack overheard rooms away. An undercurrent of echoes, many difficult to describe, drift in a sonic syrup." -Gridface

"Modell’s music always seems to be in this suspended animation, adrift and afloat in a majestic emptiness." -Dusted Mag

CREDITS:
Written & Produced by Deepchord. Redesigned and Reshaped by Convextion (Gerard Hanson) cv313 (Stephen Hitchell) echospace / spacecho (Rod Modell + Stephen Hitchell)
Additional Mastering, Mixing and Engineering by Ron Murphy @ NSC Mastering, Detroit, USA. Side E/F Remastering and Lacquer cutting by Dietrich @ Complete, NYC, USA. (2018)

Helena Casella is a Belgian-Brazilian vocalist with a multicultural background who vocalizes her thoughts in her own passionate, soulful, and tasteful manner. She grew up in an incredibly musical family with strong ties to the broader artistic world. This rich background is clearly audible in her musical approach, where she blends genres such as R&B, soul, hip-hop, and modern jazz without breaking the connection to the vibrant sounds of Brazil, where part of her roots lie. The depth of her soft, warm voice pulls you into her story, floating between the realms of the intimate and the ethereal.

With her debut album 'Pit Of Impressions,' Helena shows that she is an artist from whom we have yet to hear the best.

File under: neo soul, nu jazz, R&B

Sounds like: The Internet, Hiatus Kaiyote, Michi, Solange, Erykah Badu, Charlotte Dos Santos, ...

Italian dramatic death metal band DARK LUNACY celebrate
the 25th anniversary of their acclaimed debut album
“Devoid” which will be reissued as remastered 2LP
gatefold on February 21st via Fuel Records/Self.
In addition to the original track listing “Devoid 25th
Anniversary” contains “From The Blacked Soul” taken
from the first EP, “Oblivion” a bonus track from the
recording sessions of the album, and a commemorative
poster.

Today, the Toronto-born-and-raised singer, songwriter, producer, and multi-instrumentalist Charlotte Day Wilson announces her highly-anticipated sophomore album Cyan Blue out May 3rd via Stone Woman Music / XL Recordings

Along with the announcement of her new album comes the release of first single, "I Don"t Love You", a stark and devastatingly beautiful confessional, highlighting Wilson"s immaculate production skills and chill inducing vocals laid atop smooth groove piano chords and soft drums. The track also arrives with a visual directed by Dani Aphrodite featuring layered low fi footage of the artist and producer performing at home, living every day life and having moments of solitude in her car, a theme that comes up throughout the album. Cyan Blue finds Wilson crafting a smoothly woven cyan tapestry of her eternal influences; thumping gospel piano, warm soul basslines, atmospheric electronics, and penetrating R&B melodies. Yet, it possesses a sense of vastness that rings in a new era for Wilson, one in which she"s embracing collaboration and newfound creative openness tinged with wistfulness and yearning and a reflection on youthful innocence. "I want to look through the unjaded eyes of my younger self again," Wilson explains of making Cyan Blue. "Before there wasn"t as much baggage, before so much life was lived. But I also wish that my younger self could see where I am now. It would be nice to be able to impart some of the wisdom and clarity that I have now onto her.

" Working with producers like Leon Thomas (SZA, Ariana Grande, Post Malone), and Jack Rochon (HE.R, Daniel Caesar), Cyan Blue demonstrates Wilson´s sonic expertise while also showcasing the next evolution of her time-bending songwriting. Through 13 hypnotizing tracks, she continues to use music as a vessel for unpacking relationships, which in turn allows her to meet and understand herself in life-spanning, panoramic focus.

But, on Cyan Blue, she challenged herself to kick her perfectionist tendencies. "Before, I was extremely intentional about creating music with a strong foundation, a bed of artistic integrity," Wilson reflects. "But that was a bit stifling, like, "Let me just make a great piece of art that will stand the test of time, no pressure." Now, I think I"m getting out of this frozen state of needing everything to be perfect. I"m more interested in capturing feelings in the moment as they happen and leaving them in that moment."

While this is only her second album, Wilson"s influence in music has made a major mainstream impact. Wilson broke out in 2016 with her critically acclaimed EP, CDW, followed by 2018"s Stone Woman and made her debut studio album an official coming out moment in 2021 with the critically acclaimed, self-released Alpha.

Over the past decade, she´s been sampled by Drake, John Mayer, and James Blake, while Patti Smith has recently praised and covered Wilson´s 2016 breakout single "Work." Additionally, she´s collaborated with artists like Kaytranada, BADBADNOTGOOD, and SG Lewis, demonstrating that there´s no sound Wilson can´t adapt to and sprinkle her cyan-colored magic over.

Ohm and Octal Industries debuted on this label to great acclaim back in 2022 and now they're back on Lempuyang with Northwest Passage, a first album-length collaboration. This double 12" continues with their themes of failed arctic explorations and mythological creatures and, after 12 previous outings together, might be their best work yet: the sounds are mature and powerful, bleak yet deep. Dubbed-out chords roll to infinite horizons, frozen tundras are detailed with wispy melodies and pulsing, supple techno both soothes the soul and gets the head nodding. This is more stylish, subversive and superbly executed electronic music.

For the first time this century, two missed masterpieces are coming available on vinyl. The band Souled American formed in Chicago in 1986 and recorded a total of sixty-six songs between 1988 and 1996. Though not ever popular themselves, their evolving hybrid of roots / rock music heavily influenced many more popular bands to come, among them Wilco, The Jayhawks, The Feelies, Califone, Counting Crows, The Mountain Goats, and Cracker. Their records became legendary, unavailable for decades. Some got to the Internet in 2023. Their last two albums Frozen and Notes Campfire will now be re-issued in limited, hand-crafted, 30th Anniversary Editions with a fresh abundance of stories, technical information, musician credits, and cartoons that detail the unexpected origins surrounding these two early classics of “ambient Americana.” These records sound at once both old and new with brilliant melodies and profound performances stacked in unusual patterns like soft-hued bricks.

There are cult bands and then there's Souled American. In 1988, the Illinois group arguably invented "alternative country" with the album Fe. While the alt-country sound is widely recognized as Southern roots rock with an indie-punk sensibility largely defined by Uncle Tupelo's No Depression released two years later — Souled American's early music feels as if it was formed in a vacuum, inspired by the timestretching space of reggae. But over the course of the following decade, Souled American's music grew increasingly slow, insular and esoteric. Although Fe, Flubber and Around the Horn are inarguably more accessible, upbeat and even sometimes fun, if you've never heard this music before, it actually makes sense to start at the end.

Their last two albums Frozen and Notes Campfire will now be re-issued in limited, 30th Anniversary Editions with a fresh abundance of stories, technical information, musician credits, and cartoons that detail the unexpected origins surrounding these two early classics of “ambient Americana.” These records sound at once both old and new with brilliant melodies and profound performances stacked in unusual patterns like soft-hued bricks.

There are cult bands and then there's Souled American. In 1988, the Illinois group arguably invented "alternative country" with the album Fe. While the alt-country sound is widely recognized as Southern roots rock with an indie-punk sensibility largely defined by Uncle Tupelo's No Depression released two years later — Souled American's early music feels as if it was formed in a vacuum, inspired by the timestretching space of reggae. But over the course of the following decade, Souled American's music grew increasingly slow, insular and esoteric. Although Fe, Flubber and Around the Horn are inarguably more accessible, upbeat and even sometimes fun, if you've never heard this music before, it actually makes sense to start at the end.

Their last two albums Frozen and Notes Campfire will now be re-issued in limited, 30th Anniversary Editions with a fresh abundance of stories, technical information, musician credits, and cartoons that detail the unexpected origins surrounding these two early classics of “ambient Americana.” These records sound at once both old and new with brilliant melodies and profound performances stacked in unusual patterns like soft-hued bricks.

Debut album from Los Angeles duo Los Yesterdays, Sweet Soul music meets Mexican Folklorico "Sweet soul music also known as lowrider oldies on the West Coast, rolas and souldies are typically early 60s-style tunes that emphasize vocal harmonies. Most songs are slow-to-midtempo, many are ballads, and the sub-genre is generally stripped down compared to the highly produced Motown hits of the time....there is a generations-long appreciation for sweet soul music among California’s Latino communities. Eastern Los Angeles teens.... helped foster a love of sweet soul in the early 60s by covering soulful ballads by artists like James Brown... Those sounds... were kept alive by record collectors and people who spent evenings cruising along East Los boulevards." BILLBOARD // Los Yesterdays are a Chicano soul band from Los Angeles based around the creative collaboration between Gabriel Rowland and Victor Benavides. They began working together when Rowland a drummer by trade, then creaky and exhausted from waking up at dawn to work construction decided to channel those struggles into song. He contacted Benavides, a former bandmate of Rowland’s deceased brother, to record the soul ballads that Southland Chicanos call “oldies.” Los Yesterdays filter love-struck R&B crooning through guitar-strumming Mexican balladeering; the result is something that sounds like the Los Angeles of yesterday and today the indelible, immovable Los Angeles of cruising Whittier Boulevard, of cold drinks on the porch on blazing summer nights, of watching a blue-orange toxic sunset and wondering if they are thinking about you. Los Angeles changes; Los Angeles stays the same. Los Yesterdays have changed, outgrown their childhood barrios and the bands of their early 20s and their private garage hermitude; Los Yesterdays are Frozen In Time. Tracks: A1. Nobody’s Clown A2. Frozen In Time A3. Something Happened A4. I Can’t Feel A5. Brown Boy B1. Last Request B2. I Want You To Stay B3. But You Did B4. Name On Me B5. Love Is A Game For Fools

Analog Mutants consist of Phill Most Chill on the vocals, DJ Snafu of Bankrupt Europeans fame on production and the inimitable DJ Grazzhoppa on the cuts.

Vocals: Phill Most Chill

Phill Most Chill grew up in Conecticut half hour away from Boogie Down Bronx and by the late 80s had already established himself in the hip hop scene, having released a very strongly received (and eventually highly collectible fetching amounts in the high three digits) single (On Tempo Jack/ That Girl), the preccedent setting left field Baritone Tiplove releases and writing for the seminal Rap Sheet magazine. The Arcahaelogists' Classics and Soulman's World of Beats tape series and column further established him as an elite beatmaker and sample collector, with highly acclaimed producers seeking him out to purchase records in conventions. The random rap craze brought renewed attention to Phill Most's releases in the late 90s, leading to reissues of On Tempo, the release of previously unissued Baritone Tiplove records, his return with the Lo-Fi EP, and then the highly influential Fast Rap EP on Nobody Buys Records which led to a flurry of funky uptempo releases across the globe again. The interest in Phill Most records over the whole 2010s was rabid, with further releases produced by Bankrupt Europeans, Mr. Fantastic and Chris Read flying off the shelves, and two full length albums produced by 90s stalwarts Paul Nice and DJ Format, as well as the recent Jorun-PMC album being now considered classics in the boom bap scene. Having now signed with Chuck D's Spitslam label, Phill Most continues his journey in stepping all over MC conventions, and these first two Analog Mutants release are a perfect example of this.

Produced by DJ Snafu

DJ Snafu has been part of the Bankrupt Europeans crew since 2004, co-founding Nobody Buys Records in 2012 with the other two Bankrupt Euros members. Huge collector of vinyl from the 50s ad 60s primarily, and with an interest in modular production, FM synthesis and marrying modern techniques with the love of sampling old records, the Analog Mutants project is his first without the Bankrupt Euros crew. Having produced among others for Chill Rob G on his seminal return to music with the classic Tell 'Em on the Chilled Not Frozen EP, Roc Marciano on the Goodfelons label, DITC legend AG on The 21st Day and Chicago legend MC Juice's return to vinyl after 15 years, this is Snafu's first whole album to produce since Rise of Demigodz' debut album The Cornerstone in 2006 (released in 2013). Snafu shows he's honed his skills and developed an even crazier side to his production in the 5 year that passed between the last Bankrupt Euros project and the Analog Mutants album and the first three Analog Mutants singles are a sign of things to come in the post Bankrupt Euros years.

Scratches: DJ Grazzhoppa

DJ Grazzhoppa got infected in 1983 with the hip hop virus, demolishing local DJs and winning the European DMC Championships in 1991, and taking 3rd place in the ITF World Championships in 1998! His unique and immediately recognizable style was first heard on Blade's legendary 12” Clear The Way, and caught so many ears that the list of MCs and producers who queued up to work with him is seemingly endless. From MF Doom, Ruste Juxx, Guilty Simpson and Cage to Necro, Keith Murray, Big Daddy Kane, Kool G Rap and of course the Bankrupt Europeans projects with Phill Most Chill, MC Juice and Chill Rob G! This is a short list of a page of credits spanning over 4 pages long- if you have hip hop records, Grazzhoppa is already in your collection!

Analog Mutants consist of Phill Most Chill on the vocals, DJ Snafu of Bankrupt Europeans fame on production and the inimitable DJ Grazzhoppa on the cuts.

Vocals: Phill Most Chill

Phill Most Chill grew up in Conecticut half hour away from Boogie Down Bronx and by the late 80s had already established himself in the hip hop scene, having released a very strongly received (and eventually highly collectible fetching amounts in the high three digits) single (On Tempo Jack/ That Girl), the preccedent setting left field Baritone Tiplove releases and writing for the seminal Rap Sheet magazine. The Arcahaelogists' Classics and Soulman's World of Beats tape series and column further established him as an elite beatmaker and sample collector, with highly acclaimed producers seeking him out to purchase records in conventions. The random rap craze brought renewed attention to Phill Most's releases in the late 90s, leading to reissues of On Tempo, the release of previously unissued Baritone Tiplove records, his return with the Lo-Fi EP, and then the highly influential Fast Rap EP on Nobody Buys Records which led to a flurry of funky uptempo releases across the globe again. The interest in Phill Most records over the whole 2010s was rabid, with further releases produced by Bankrupt Europeans, Mr. Fantastic and Chris Read flying off the shelves, and two full length albums produced by 90s stalwarts Paul Nice and DJ Format, as well as the recent Jorun-PMC album being now considered classics in the boom bap scene. Having now signed with Chuck D's Spitslam label, Phill Most continues his journey in stepping all over MC conventions, and these first two Analog Mutants release are a perfect example of this.

Produced by DJ Snafu

DJ Snafu has been part of the Bankrupt Europeans crew since 2004, co-founding Nobody Buys Records in 2012 with the other two Bankrupt Euros members. Huge collector of vinyl from the 50s ad 60s primarily, and with an interest in modular production, FM synthesis and marrying modern techniques with the love of sampling old records, the Analog Mutants project is his first without the Bankrupt Euros crew. Having produced among others for Chill Rob G on his seminal return to music with the classic Tell 'Em on the Chilled Not Frozen EP, Roc Marciano on the Goodfelons label, DITC legend AG on The 21st Day and Chicago legend MC Juice's return to vinyl after 15 years, this is Snafu's first whole album to produce since Rise of Demigodz' debut album The Cornerstone in 2006 (released in 2013). Snafu shows he's honed his skills and developed an even crazier side to his production in the 5 year that passed between the last Bankrupt Euros project and the Analog Mutants album and the first three Analog Mutants singles are a sign of things to come in the post Bankrupt Euros years.

Scratches: DJ Grazzhoppa

DJ Grazzhoppa got infected in 1983 with the hip hop virus, demolishing local DJs and winning the European DMC Championships in 1991, and taking 3rd place in the ITF World Championships in 1998! His unique and immediately recognizable style was first heard on Blade's legendary 12” Clear The Way, and caught so many ears that the list of MCs and producers who queued up to work with him is seemingly endless. From MF Doom, Ruste Juxx, Guilty Simpson and Cage to Necro, Keith Murray, Big Daddy Kane, Kool G Rap and of course the Bankrupt Europeans projects with Phill Most Chill, MC Juice and Chill Rob G! This is a short list of a page of credits spanning over 4 pages long- if you have hip hop records, Grazzhoppa is already in your collection!

Analog Mutants consist of Phill Most Chill on the vocals, DJ Snafu of Bankrupt Europeans fame on production and the inimitable DJ Grazzhoppa on the cuts.

Vocals: Phill Most Chill

Phill Most Chill grew up in Conecticut half hour away from Boogie Down Bronx and by the late 80s had already established himself in the hip hop scene, having released a very strongly received (and eventually highly collectible fetching amounts in the high three digits) single (On Tempo Jack/ That Girl), the preccedent setting left field Baritone Tiplove releases and writing for the seminal Rap Sheet magazine. The Arcahaelogists' Classics and Soulman's World of Beats tape series and column further established him as an elite beatmaker and sample collector, with highly acclaimed producers seeking him out to purchase records in conventions. The random rap craze brought renewed attention to Phill Most's releases in the late 90s, leading to reissues of On Tempo, the release of previously unissued Baritone Tiplove records, his return with the Lo-Fi EP, and then the highly influential Fast Rap EP on Nobody Buys Records which led to a flurry of funky uptempo releases across the globe again. The interest in Phill Most records over the whole 2010s was rabid, with further releases produced by Bankrupt Europeans, Mr. Fantastic and Chris Read flying off the shelves, and two full length albums produced by 90s stalwarts Paul Nice and DJ Format, as well as the recent Jorun-PMC album being now considered classics in the boom bap scene. Having now signed with Chuck D's Spitslam label, Phill Most continues his journey in stepping all over MC conventions, and these first two Analog Mutants release are a perfect example of this.

Produced by DJ Snafu

DJ Snafu has been part of the Bankrupt Europeans crew since 2004, co-founding Nobody Buys Records in 2012 with the other two Bankrupt Euros members. Huge collector of vinyl from the 50s ad 60s primarily, and with an interest in modular production, FM synthesis and marrying modern techniques with the love of sampling old records, the Analog Mutants project is his first without the Bankrupt Euros crew. Having produced among others for Chill Rob G on his seminal return to music with the classic Tell 'Em on the Chilled Not Frozen EP, Roc Marciano on the Goodfelons label, DITC legend AG on The 21st Day and Chicago legend MC Juice's return to vinyl after 15 years, this is Snafu's first whole album to produce since Rise of Demigodz' debut album The Cornerstone in 2006 (released in 2013). Snafu shows he's honed his skills and developed an even crazier side to his production in the 5 year that passed between the last Bankrupt Euros project and the Analog Mutants album and the first three Analog Mutants singles are a sign of things to come in the post Bankrupt Euros years.

Scratches: DJ Grazzhoppa

DJ Grazzhoppa got infected in 1983 with the hip hop virus, demolishing local DJs and winning the European DMC Championships in 1991, and taking 3rd place in the ITF World Championships in 1998! His unique and immediately recognizable style was first heard on Blade's legendary 12” Clear The Way, and caught so many ears that the list of MCs and producers who queued up to work with him is seemingly endless. From MF Doom, Ruste Juxx, Guilty Simpson and Cage to Necro, Keith Murray, Big Daddy Kane, Kool G Rap and of course the Bankrupt Europeans projects with Phill Most Chill, MC Juice and Chill Rob G! This is a short list of a page of credits spanning over 4 pages long- if you have hip hop records, Grazzhoppa is already in your collection!

Debut album from Los Angeles duo Los Yesterdays - Sweet Soul music meets Mexican Folklorico

"Sweet soul music - also known as lowrider oldies on the West Coast, rolas and souldies - are typically early 60s-style tunes that emphasize vocal harmonies. Most songs are slow-to-midtempo, many are ballads, and the sub-genre is generally stripped down compared to the highly produced Motown hits of the time....there is a generations-long appreciation for sweet soul music among California’s Latino communities. Eastern Los Angeles teens.... helped foster a love of sweet soul in the early 60s by covering soulful ballads by artists like James Brown... Those sounds....were kept alive by record collectors and people who spent evenings cruising along East Los boulevards." - Los Yesterdays are a Chicano soul band from Los Angeles based around the creative collaboration between Gabriel Rowland and Victor Benavides. They began working together when Rowland - a drummer by trade, then creaky and exhausted from waking up at dawn to work construction - decided to channel those struggles into song. He contacted Benavides, a former bandmate of Rowland’s deceased brother, to record the soul ballads that Southland Chicanos call “oldies.” Los Yesterdays filter love-struck R&B crooning through guitar-strumming Mexican balladeering; the result is something that sounds like the Los Angeles of yesterday and today - the indelible, immovable Los Angeles of cruising Whittier Boulevard, of cold drinks on the porch on blazing summer nights, of watching a blue-orange toxic sunset and wondering if they are thinking about you. Los Angeles changes; Los Angeles stays the same. Los Yesterdays have changed, outgrown their childhood barrios and the bands of their early 20s and their private garage hermitude; Los Yesterdays are Frozen In Time.

SABÏRE has now returned in 2024 with a 15 track epic, self-styled "half-concept" album, "Jätt", 5 years in the making. SABÏRE began at the tail end of 2010 as an idea to have a band that played simply what came naturally on guitar to Scarlett Monastyrski with no set genre or category. Simply the natural music. Shortly thereafter, the concept grew to accompany that sound with a big show and distinctive stylisation. The biting and sharp sound production, along with their personal lyrics, birthed for them a label for their music: ACID METAL. Not to be confused with the mind altering substance, Acid Metal took its name from the concentrated corrosive fluid not unlike the blood of the Xenomorph in the Alien films. The instruments are awash with acidic modulation, "like a drop of acid in the dark." The lyrics all hold a tinge of biting realism that once realised by the listener, stings them like a droplet of acid resting upon their skin. To take their metaphor further, their distinctive production style let's stand apart from the rest of the "modern" sound that degrades the potentcy of many new bands. They call it "brick culture," because it all sounds the same. Concentrated acid burns all the way through anything solid leaving a hot trail behind it, like the band continues to do so with garnering the attention of the world of heavy music. Band leader Scarlett Monastyrski comments : " 'Jätt' is meant to be THE sound of SABÏRE. A monolith to what we stand for artistically. We wanted this album to be its own art piece rather than simply a collection of arbitrary songs, a really 'blue' coloured sound. The physical copies hold beautifully styled texts detailing the concept for those chosen songs, as well as small epistles to accompany each track," says . “ 'Jätt' is a “blue” sounding album; the colour. You may understand that more when listening to the album yourself. The cover of 'Jätt', “Dante and Virgil in the Ninth Circle of Hell” - Gustav Doré, 1861, could be seen through a symbolic lense in which the listener is symbolised as Dante, the artist as Virgil, and the bodies locked within the ice of frozen lake as the music surrounding them; we as the artist are shepherding the listener through the mire. This could be perceived like this, or you may just see it as an attractive album cover. “ "We put our heart and soul into this one and can't wait to give our Wild Ones and Acid Fiends what they've been so patiently waiting for

Digipak w/ 12-pg booklet + sticker. Darwin is back! Follow-up to the critically acclaimed epic albums "Origin of Species" ('A prog rock masterpiece' - Classic Rock Magazine) and "A Frozen War" ('A rock tour de force with melody, shredding, and orchestral flourishes' - Prog Rock UK) Darwin, whose production is masterfully driven by Simon Phillips, expands on their trademark sound - adding new levels of depth and melody. The album features a stellar lineup of musicians. Bass sensation Mohini Dey joins the band, bringing her sophisticated and punchy low-end sound. Guitar maestro Greg Howe delivers some of his best playing to date across the album, which also features a beautiful solo appearance by Andy Timmons. Derek Sherinian and Julian Pollack (J3PO) add their keyboard wizardry across the tracks. Vocalist Matt Bissonette provides a rich harmony-filled performance across the various songs. Released on CD, including a special album cover sticker in the package

Docile Recordings is for itself. We are an expression of the beautiful moments that hold us frozen. Warm confusion that breathes life to the senses. The Docile sound captures a nostalgia for times yet to come. We are a familiar resonance always shifting for the correct approach. Always aiming for the heart and soul. Docile speaks to the basic instincts of the techno rebel; supplying sonic reasons to trudge on.

The “last of a kind e.p.” is the 32nd release from the Docile Recordings record label. The feel of this release ranges from a pragmatic spiritual funk to a loose heabangin’ frivolity. Docile 32 is 4/4 minimal held together by soulful synth and smart percussion advanced by ringing highs and detuned horns. Proper mathematics of programming moves a mix match of harmonies through a gauntlet of invisible edits gaining momentum until it is taken away. This is Docile music.

Today, the Toronto-born-and-raised singer, songwriter, producer, and multi-instrumentalist Charlotte Day Wilson announces her highly-anticipated sophomore album Cyan Blue out May 3rd via Stone Woman Music / XL Recordings Along with the announcement of her new album comes the release of first single, "I Don"t Love You", a stark and devastatingly beautiful confessional, highlighting Wilson"s immaculate production skills and chill inducing vocals laid atop smooth groove piano chords and soft drums. The track also arrives with a visual directed by Dani Aphrodite featuring layered low fi footage of the artist and producer performing at home, living every day life and having moments of solitude in her car, a theme that comes up throughout the album. Cyan Blue finds Wilson crafting a smoothly woven cyan tapestry of her eternal influences; thumping gospel piano, warm soul basslines, atmospheric electronics, and penetrating R&B melodies. Yet, it possesses a sense of vastness that rings in a new era for Wilson, one in which she"s embracing collaboration and newfound creative openness tinged with wistfulness and yearning and a reflection on youthful innocence. "I want to look through the unjaded eyes of my younger self again," Wilson explains of making Cyan Blue. "Before there wasn"t as much baggage, before so much life was lived. But I also wish that my younger self could see where I am now. It would be nice to be able to impart some of the wisdom and clarity that I have now onto her." Working with producers like Leon Thomas (SZA, Ariana Grande, Post Malone), and Jack Rochon (HE.R, Daniel Caesar), Cyan Blue demonstrates Wilson"s sonic expertise while also showcasing the next evolution of her time-bending songwriting. Through 13 hypnotizing tracks, she continues to use music as a vessel for unpacking relationships, which in turn allows her to meet and understand herself in life-spanning, panoramic focus. But, on Cyan Blue, she challenged herself to kick her perfectionist tendencies. "Before, I was extremely intentional about creating music with a strong foundation, a bed of artistic integrity," Wilson reflects. "But that was a bit stifling, like, "Let me just make a great piece of art that will stand the test of time, no pressure." Now, I think I"m getting out of this frozen state of needing everything to be perfect. I"m more interested in capturing feelings in the moment as they happen and leaving them in that moment." While this is only her second album, Wilson"s influence in music has made a major mainstream impact. Wilson broke out in 2016 with her critically acclaimed EP, CDW, followed by 2018"s Stone Woman and made her debut studio album an official coming out moment in 2021 with the critically acclaimed, self-released Alpha. Over the past decade, she"s been sampled by Drake, John Mayer, and James Blake, while Patti Smith has recently praised and covered Wilson"s 2016 breakout single "Work." Additionally, she"s collaborated with artists like Kaytranada, BADBADNOTGOOD, and SG Lewis, demonstrating that there"s no sound Wilson can"t adapt to and sprinkle her cyan-colored magic over.

Fenriz (Darkthrone), Apollyon (Aura Noir, Lamented Souls) und Bestial Tormentor (Infernö, Lamented Souls) haben sich zusammen getan und unter dem Banner Coffin Storm mit dem Album Arcana Rising 6 epische Doom Metal Track geschaffen die an den Spirit von Candlemass, Pentagram oder Cathedral perfekt eingefangen haben.

Amazing floaty modern soul / disco goodness out of late 70s Queens, NY. 'Love Is The Same' two brilliant and different versions, both dancefloor fire…

Mark Beiner met Ben Iverson in 1976 when I was 17 years old, at the time he was a junior at Newtown High School in Elmhurst, Queens. Mark had taken a part time job as a Produce Clerk at Walbaum's Supermarket on Northern Boulevard in Jackson Heights, Queens, where I met Ben Iverson, the "Frozen Food Manager."

Back then Mark remembers, 'I was going to work early just to talk to him about his musical background and his time spent in the 50's and 60's with the Ohio Doo Wop Group, "The Hornets", or better known as, "Ben Iverson and The Hornets."'

In 1978 after Ben and I discussed getting together and composing music, I started writing poetry and expressing in writing my break-up with my college girlfriend, Paula. Ben and Mark went on to writing two albums worth of material, which in turn gave us a lot of time and presence on stage at our live gigs.

The regular Coast to Coast Band members consisted of Ben Iverson on Lead Vocals, Rhythm Guitarist and Co-Executive Producer, Joe Crowley, who is known today as "New York Congressman Joe Crowley." Carl (Woody Wood) Morton on Bass Guitar, Jimmy Johnson on Keyboards. Lead Guitarist, Lou Jimenez, currently owns his own recording studio, Music Labs in Elmont, Long Island. On Drums, Eddie Byam, on Alto Sax, Jay Cohen, who in the 70's used to record for "Gary U.S. Bonds." Gary Pevols on Trumpet. On Bone, Scott Burrows, Trumpet player, Steve Becker, along side Neil Levine, Stan Stockley, Tom Russo.

Originally released as a hand-numbered CD on New Year's Eve of 2004, Last Light captures Tor Lundvall 's hushed songcraft at its most ghostly and grayscale, stripped bare like branches bracing for winter. Initially conceived of as "a piano album with sparse electronics" (with the working title November), Lundvall's palette steadily expanded, incorporating synthesizer, samples, bass, metronomes, and his signature spectral vocals. A journal entry from the spring of 2002 proved formative to his evolving vision: "I remember watching the blueish-grey light shimmering outside and hearing distant sounds echoing far away, eventually sinking into silence and stillness." The album's 12 tracks are steeped in this sense of autumnal transience, of bearing witness to what fades. The music moves in whispered swells, between dirge, drift, and devotional. Synths chime like slow-tolling bells; percussion shuffles and shivers, icy and isolated; bass traces a low-lidded plod - it's a mode both austere and seductive, lulling the listener into its landscapes of deepening dusk. Lyrically, Lundvall's language skews observational and depressive ("through lace curtains / grey light falls / dark clouds gather / in my soul" ), with each song like a gauzy glimpse into a different tableau framing winter's descent: rust - colored leaves, frozen ponds, cold crescent moons. Lundvall has long considered Last Light a "personal favorite" in his discography, and it's easy to hear why. In texture, finesse, and pacing, it vividly evokes the rare mood of fragile, frosty pastoral noir depicted in his iconic oil paintings. His is an art of the half-seen and half-remembered, of fleeting figures, shapes and shadows, and gathering darkness. Of all that disappears, and the ghosts that never leave: "So I wait / as the years / slowly drain the magic and the light / and the girl / I never loved / haunts me through the dark roads of my life."

-Limited to only 150 copies on black vinyl.
-The last recordings of former Roots member Malik B before he passed away.
-Clever 1 of the popular hardcore rap duo 'Da Buze Bruvaz' is a full member of the group.
-Maylay Sparks FKA Rahsheed founded this group.
-Produced by K Sluggah who has done production for Conway, Westside Gunn, Tha God Fahim etc.
IN LOVING MEMORY OF MALIK B (NOVEMBER 14TH, 1972 – JULY 29TH, 2020)
Frozen Mugs started out back in 2020 as a soon-to-be classic hip-hop collaboration between "Maylay Sparks", Swedish producer “K Sluggah” and “Clever 1” (one half of “Da Buze Bruvaz”). You will experience an uncanny chemistry between these 2 high caliber emcees who are providing you with the traditional sharp, tenacious, aggressive & grimey wordplay over K Sluggah's cinematic, soulful, and psychedelic beats giving the listeners a vivid picture of what goes on in these dangerous times. The hard delivery and complex word patterns are descriptive gestures of loose women, action in the streets, cocktails & cold beer guzzling. Sonically this album is honed to be a masterpiece, with owner of the newly formed label “Blacbird Recs”, and revered studio engineer Joe “The Butcher” Nicolo (Ruffhouse Recs. CEO) behind the mixing board. This is hip-hop with an attitude, authentic, and with no compromises!
In the midst of recording this project, we experienced a severe tragedy as we lost the incomparable Malik B formerly from the Roots. The last days before his passing he recorded the verses for the album and he was supposed to record a few more as there were talks of him becoming a full fledged "Frozen Mugs" member. Sadly the talks of doing an album with Malik B on HHE never came to fruition. This project is dedicated to one of the most legendary emcees Philly ever bred and he will always be remembered as a lyrical giant. R.I.P.
All versions come with hype stickers and an insert that will include a bio on Frozen Mugs and a dedication to Malik B on the reverse side.

Originally released as a hand-numbered CD on New Year's Eve of 2004, Last Light captures Tor Lundvall 's hushed songcraft at its most ghostly and grayscale, stripped bare like branches bracing for winter. Initially conceived of as "a piano album with sparse electronics" (with the working title November), Lundvall's palette steadily expanded, incorporating synthesizer, samples, bass, metronomes, and his signature spectral vocals. A journal entry from the spring of 2002 proved formative to his evolving vision: "I remember watching the blueish-grey light shimmering outside and hearing distant sounds echoing far away, eventually sinking into silence and stillness." The album's 12 tracks are steeped in this sense of autumnal transience, of bearing witness to what fades. The music moves in whispered swells, between dirge, drift, and devotional. Synths chime like slow-tolling bells; percussion shuffles and shivers, icy and isolated; bass traces a low-lidded plod - it's a mode both austere and seductive, lulling the listener into its landscapes of deepening dusk. Lyrically, Lundvall's language skews observational and depressive ("through lace curtains / grey light falls / dark clouds gather / in my soul" ), with each song like a gauzy glimpse into a different tableau framing winter's descent: rust - colored leaves, frozen ponds, cold crescent moons. Lundvall has long considered Last Light a "personal favorite" in his discography, and it's easy to hear why. In texture, finesse, and pacing, it vividly evokes the rare mood of fragile, frosty pastoral noir depicted in his iconic oil paintings. His is an art of the half-seen and half-remembered, of fleeting figures, shapes and shadows, and gathering darkness. Of all that disappears, and the ghosts that never leave: "So I wait / as the years / slowly drain the magic and the light / and the girl / I never loved / haunts me through the dark roads of my life."

Toronto Vs Boston: Lace up those skates, The PATCHOULI BROTHERS face off against GMGN on the hockey rink of destiny, who's edit will burn hotter and melt the ice, transforming this frozen dance floor into a disco roller rink for the ages? The disco brothers from Canada kick things off with "BURNIN'", dark and sexy, with textural percussion, sultry vocals, and a straight ahead piano focused groove. After a short flight to Boston, GMGN comes in on the B-side with the instant classic "A LITTLE BIT". Cutting up 70s funk over a solid disco base and diva vocals that will have you proclaiming "All you need is a little bit of Soul!"