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Mayday is the third LP by Montreal-based artist, Myriam Gendron. It follows her earlier, critically acclaimed albums, Not So Deep As A Well (2014) and Ma délire - Songs of love, lost & found (2021). Myriam began exploring the complex folk traditions of Quebec (and beyond), with Ma délire, which combines traditional and original songs with arrangements that make space for avant-garde musical interludes by such folks as guitarist Bill Nace (Body/Head) and renowned jazz percussionist Chris Corsano. Mayday presents an even more syncretic fusion of the elements Myriam uses to create her sound. Most of the songs are original, sung in both English and French, and they blend traditional and avant elements with abandon. She is often accompanied on this album by the guitarist Marisa Anderson and drummer Jim White (Dirty Three, Xylouris White), whose work provides a quietly aggressive sort of free-rock base. Additional players include Montreal bassist Cédric Dind-Lavoie, Bill Nace and saxophonist Zoh Amba. Mayday is a thoroughly thrilling effort that manages to create new vistas of sound while maintaining a feel that is both intimate and familiar. The music here certainly possesses a richly serious tone, but Myriam Gendron (like Leonard Cohen) is able to infuse her darkness with a subtle, powerful light that reminds us that even the most pitch-black night is but a transitional state. Beautiful work.

Iconic death thrash metal band PENTAGRAM (Chile) was formed in Santiago, Chile in 1985. At the time, the country was roiling from political upheaval, but that didn't stop Anton Reisenegger, Juan Pablo Uribe, and (former drummer) Eduardo Topelberg from ingesting and eventually emulating the brutalist, evilest forms of metal from around the world. PENTAGRAM (Chile) now unleash their new album ' Eternal Life of Madness’ and is comprised of guitarist/vocalist Anton Reisenegger, guitarist Juan Pablo Uribe, drummer Juan Pablo Donoso, and bassist Juan Francisco Cueto. PENTAGRAM (Chile) marched forward from their debut 'The Malefice' (2013) while preserving the savage DNA that informed Darkthrone, At the Gates, Dismember, Napalm Death, and many others. The band ’s new album 'Eternal Life of Madness’ feature the crushing heft of "Possessor," "El Imbunche," "The Portal," and "Deus Est Machina, » which is a far-off salute to the group's classic "Spell of the Pentagram" from their 1987 first Demo. PENTAGRAM (Chile) doesn't exist merely for nostalgia reasons—though supporting Slayer in Santiago in 2019 was a highlight of past accomplishments. Their timely resurrection is unadulterated metallic passion. "When the pandemic hit, and I was in lockdown at home in Spain, I started writing riffs for a new LOCK UP album," says Reisenegger, who plays guitar in grind legends BRUJERIA and Chilean groove-thrash masters CRIMINAL. "I realized some of the stuff I wrote had the original Pentagram (Chile) feeling, so I put those ideas aside. They started piling up, so when the LOCK UP ’The Dregs of Hades' record was done, I began arranging them and working remotely with our drummer, Juan Pablo Donoso. I didn't even realize I had all that material in me, but it was somehow untapped. We had a 'false start' a few years before when original guitarist JP Uribe, JP Donoso, and I got together and started jamming on some new riffs. 'The Portal' came out of those sessions. » Though never explicitly political lyrically, PENTAGRAM (Chile) have issued angst-ridden proclamations throughout their 39-year existence.

Earth, Our Planet?”: A call for environmental awareness. This time, Pedro Vian - the founder of Modern Obscure Music - presents his fourth solo album (following his 2020 release, "Ibillorca"). Due for release in spring 2024, "Earth, Our Planet?" promises to immerse us in a moving odyssey, crossing the boundaries of musical genres to provoke an urgent meditation on the protection of our planet. On this occasion Vian has composed the album influenced by the myth of the eternal return, the compositions are long and repetitive, generating states of pure trance.
Pedro Vian, singular for his fusion of genres and styles, ventures into even more complex territories in "Earth, Our Planet?". From the first listen, it is evident that this work treads the line of convention and breaks the boundaries of electronic and experimental music with artistic dexterity. The album weaves together texture, hypnotic rhythms and melody. Each track reveals his distinctive ability to create immersive landscapes, guiding the listener into deep emotional introspection. This is not just music; it is a transformative experience.
The beauty of this album lies not only in the musical vision. The album features high-calibre collaborations that add layers of creativity and elegance. Trumpeter Pierre Bastien, whose early productions left an indelible mark on Aphex Twin's Reflex label, infuses "A Day in Rotterdam" with a unique emotional resonance. Violinist, Asia, renowned for her avant-garde approach and ability to conjure unique landscapes, elevates the album's opening tracks "Urobóros" and "Les Tambours Subterraniens". Their skill and sensitivity intertwine perfectly with Vian's artistic vision. In addition, Italian producer Daniele Mana, with whom Pedro Vian collaborated closely on his previous album "Cascades", known for his experimental approach and talent for creating extraterrestrial atmospheres also contributes to "Les Tambours Subterraniens". His artistic perspective adds more complexity and texture to the piece, pushing the boundaries of contemporary electronic music. There is also a collaboration with Raül Refree, an artist with whom Vian worked with last year, presenting “Font De la Vera Pau”, an album that The Guardian defined as "a wonderful piece of electroacoustic music, a captivating mix of strings and analogue synth drones which sometimes flirts with Alice Coltrane-ish spiritual jazz". With "Earth, Our Planet?", Pedro Vian not only offers up some of his best work to date, but it is also a call to reflect on our relationship with the natural world. As a part of a planet where environmental awareness is more crucial than ever, he urges us to protect and preserve our world as an extension of ourselves. This extensive work is a statement, Vian addresses the notion that too often we prioritise immediate needs over the well-being of the planet. It highlights the fact that we often consider the Earth as a possession when, in reality, we are but a part of it.

If the setting is right, magic will happen. And so, this record came into being. Sunburned Hand of the Man, three decades into their one of a kind run, still possess the ability to amaze, stupefy and astound - even themselves. Recorded over a week at Big Blue, Adam Langellotti’s (Kurt Vile & The Violators) studio/house, "Nimbus" sees the band's amorphous lineup produce results such as high-test workouts, cryptic readings & a choice cover (Sun City Girls). A record that this band could only produce in 2024 and the required next step for the devoted fan base and or those interested in doing some self-work in an unconventional setting.

"Nimbus" by Sunburned Hand Of The Man includes the following tracks: "Ishkabibble Magoo", "Lily Thin", "Walker Talker" and more.

If the setting is right, magic will happen. And so, this record came into being. Sunburned Hand of the Man, three decades into their one of a kind run, still possess the ability to amaze, stupefy and astound - even themselves. Recorded over a week at Big Blue, Adam Langellotti’s (Kurt Vile & The Violators) studio/house, "Nimbus" sees the band's amorphous lineup produce results such as high-test workouts, cryptic readings & a choice cover (Sun City Girls). A record that this band could only produce in 2024 and the required next step for the devoted fan base and or those interested in doing some self-work in an unconventional setting.

"Nimbus" by Sunburned Hand Of The Man includes the following tracks: "Ishkabibble Magoo", "Lily Thin", "Walker Talker" and more.

Escape Music are pleased to announce the release date for long awaited Turkish Delight studio album titled “Volume 1" with 500 limited edition double Vinyl “Side A+B Snowy White colour and side C+D Skull Gold colour” all will be numbered 1-500! ‘Turkish Delights Volume One’ celebrates the absolute joy that Escape Music co-owner Khalil Turk has for the kind of music he loves so much and has spent the last thirty and then some years championing. Indeed, his enthusiasm for a new band or a new song today is no different from when I first met him in the mid ‘80’s. I lost count of the number of phone calls he made to me when I was working for ‘Kerrang!’ magazine, where he would excitedly tell me ‘Dave, you just have to listen to this! It’s brilliant! You’ll love it!’ before playing me something over the phone – new and often obscure - he had picked up on his international record buying trips. Nine and a half times out of ten he’d be right!! Khalil’s quality control has been such that the record label he co-founded with fellow melodic rock enthusiast Barrie Kirtley in 1995 remains reliably and solidly in place all these years later. Escape continues to deliver monthly doses of quality hard rock, melodic rock and AOR to a very devoted following. Khalil had first entered the music business in the early ‘90’s, effectively as a talent scout for the German owned Long Island label. However, after the company folded, Turk felt that, rather than look at opportunities with other labels, he had the enthusiasm and now had rather more knowledge of the inner workings of the music business to put something together himself alongside the equally enthusiastic and astute Kirtley. We’ve seen hundreds of solid album releases from a huge variety of acts (including AXE, Steve Walsh (Kansas), John Elefante (Kansas), Lonerider, Shadowman, Alliance, Pinnacle Point, Mass, Heartland, Grand Illusion, Overland, Last Autumn’s Dream, Punky Meadows, ColdSpell, Chris Ousey, Ozone and Touch, to name just a few) as well as reissues (from Aviator, Sugarcreek, Jon Butcher Axis, Franke And The Knockouts, FM, Tantrum and Surrender, Zon, Hanover Fist etc) ever since. So here we are, over twenty-five years since that first Escape Music album appeared hot off the presses (Heartland’s ‘III’ album in November 1995, if you’re asking) and this collection of songs, personally chosen by Khalil, reiterates that pure joy he still possesses for the music he is utterly immersed by. With material from the pens of Steve Overland (FM), Chris Ousey (Heartland), Steve Morris (Export/Ian Gillan/Heartland), Mick Devine (Seven), Steve Newman (Newman/Compass) and Tommy Denander (Radioactive) there’s also a list of musicians culled from Khalil’s contact book that, quite frankly, is VERY impressive. Just a few names appearing on ‘Turkish Delights’ to throw at you include Ronnie Platt (Kansas), Billy Greer (Streets/Kansas), Billy Sheehan (Talas/David Lee Roth/Mr Big), Gary Pihl (Sammy Hagar/Boston/Alliance), Gene Black (Device), Jeff Pilson (Dokken), Jeff Scott Soto, Chris Childs (Thunder), Mike Slamer (City Boy/ Streets/Seventh Keys/ Steelhouse Lane) Joel Hoekstra (Whitesnake/Joel Hoekstra’s 13), Mark Mangold (American Tears/Touch/ Drive, She Said), Mark Stanway (Magnum), Mat Sinner (Sinner), Marco Mendoza (Thin Lizzy/Whitesnake/Journey), Ricky Phillips (The Babys/Bad English/Styx), Robin Beck, Robin Mc Auley (Grand Prix/MSG), James Christian (House Of Lords) Steve Overland (FM), Jerome Mazza (Pinnacle Point/solo), Terry Brock (Strangeways) and Vince DiCola (‘Transformers’/Thread/Storming Heaven). This is a cast of thousands. Well, it at least appears that way! It’s a very interesting package and, as Khalil would surely say, you’ll love it! - Dave Reynolds / August 2022. Produced by Khalil Turk for Turkish Delight Productions / Mixed and Mastered by Stephen DeAcutis at Sound Spa Studio, New Jersey, USA / *Mixed by Andy Zukerman / *Mastered by Fredrik Folkare / **Mixed and Mastered by Brian J Anthony (Vinyl Only) - Artwork Design by Hugh Syme (Rush/Bad English/Elton John) - Turkish Delights: The Musicians are: Ronnie Platt: Lead vocals (Kansas) / Billy Greer: Lead vocals (Kansas/Seventh Keys/Streets) / Jeff Scott Soto: Lead and backing vocals (Talisman/Yngwie Malmsteen/Trans-Siberian Orchestra) / Robin McAuley: Lead and backing vocals (Michael Schenker Group/Grand Prix/solo artist) / Chris Ousey: Lead vocals and Backing vocals (Heartland/Ousey-Mann/Virginia Wolf/Ozone)/ Jerome Mazza: vocals (Pinnacle Point/Steve Walsh) / James Christian: Lead and backing vocals (House Of Lords)Terry Brock: Lead vocals (Strangeways/Kansas) / Lee Small: Lead and backing vocals (Phenomena/Lionheart/Shy) / Mick Devine: Lead and Backing vocals (Devine Intervention/7/solo artist) / Ronnie Romero: Lead and backing vocals (Rainbow/Michael Schenker Group) / Tony Harnell: Lead vocals and backing vocals (TNT/Westworld/Starbreaker/Morning Wood) / Steve Overland: Lead and backing vocals (Lonerider/FM/Shadowman/solo artist) / Robin Beck: Backing vocals (solo artist) / Matt Sinner: Bass (Primal Fear/Sinner) / Joel Hoekstra: Guitars (Whitesnake/Trans-Siberian Orchestra/13) / Mike Slamer: Guitars (City Boy/Streets/Seventh Key/Steelhouse Lane) / Jeff Pilson: Bass (Foreigner/Dokken) / Gary Pihl: Guitars (Sammy Hagar/Boston) / Steve Morris: Guitars and Keyboards (Heartland/Lonerider/Ian Gillan Band/Shadowman) / Gene Black: Lead Guitars (Tina Turner/Rod Stewart/Device) / Billy Sheehan: Bass (Mr Big/The Flood/Talas) / Tracy Ferrie: Bass (Stryper/Boston) / Ricky Phillips: Bass (Baby’s/Styx/Bad English) / Rocky Newton: Bass (Michael Schenker Group/Lionheart) / Josh Devine: Drums (One Direction/Levara/Devine Intervention) / Takeaki Itoh: Bass (Pinnacle Point) / Jim Kirkpatrick: Slide guitar (FM/The Flood/Bernie Marsden Band) / Chris Childs: Bass (Thunder/Lonerider) / Steve Mann: Keyboards (Michael Schenker Group/Lionheart/Ousey/Mann) / Vince DiCola: Keyboards (Rocky4/Staying Alive/Transformers/Storming Heaven/Thread) / Mark Mangold: Keyboards (Touch/American Tears/Drive She Said) / Alessandro Del Vecchio: Keyboards (Revolution Saints/Edge Of Forever/Hardline) / Stevie D: Lead guitar / Marco Mendoza: Bass (Whitesnake/Thin Lizzy/Journey) / Jimmy Nicholas: B3 (Faith Hill/Kenny Loggins/Van Zant/Jim Peterik/Juice Newton) / Tommy Denander: Guitars and keyboards (Radioactive/Steve Walsh/Robert Hart)) / Brain J Anthony: Bass (Steve Walsh/Lonerider/Robert Heart/Robbie LeBlanc) / Brian Tichy: Drums (Whitesnake/Dead Daisies/ Foreigner) / Mark Stanway: Keyboards (Magnum/Grand Slam) / Robin Beck: Backing vocals (solo artist) / Nikolo Kotzev: Lead guitars (Brazen Abbot/Robin Gibb) / Fredrik Folkare: Guitars (Unleashed/Heartwind) / Mikael Rosengren: Keyboards (Heartwind) / Steve Newman: Guitars/keys/backing vocals (Newman/Compass) / Eric Ragno: Keyboards (Baby’s/Joe LynnTurner) / Fredrik Bergh: Keyboards (Talk Of Town/BloodBound) - CD Track listing: Intro; Live Again; Crazy Days; Bad Enough; Never Will Forget; Harder They Fall; Get Out Of Here; Believe; Hangman Blues; State Of Mind; Belly Of The Beast*; Holy Water; Sweet Serenity; Take It Away; Bad To Good. Vinyl Track listing: Intro; Live Again; Crazy Days; Bad Enough; Never Will Forget; Harder They Fall; Get Out Of Here; Believe; Hangman Blues; State Of Mind; Belly Of The Beast*; Holy Water; Sweet Serenity; Take It Away; Bad To Good; The Year 2000; Frozen Rose

limited repress available! *gatefold sleeve + insert, regular 120g black vinyl!0 Through the recent years of lockdowns and silence and having too much time to think, Tex Perkins always found solace in the company of song. Having his friend Matt Walker as a co-writer-conspirator, Perkins revelled in the experience which prompted the forming and recording of the first Fat Rubber Band album at Walker & #39's Stovepipe Studios with bassist Steve Hadley, drummer Roger Bergodaz and percussionist Evan Richards. After such an affirmative and creative experience Perkins was itching to commence work on what has become the band's second album, Other World. "The first Fat Rubber Band album was kind of deliberately a little ragged. A bit fuzzy around the edges" said Perkins. "There is a certain maturity that we now possess where ideas can be realised and take form very quickly. We've become a real band. I think what you heard on the first album is the band being formed." While he's played with many musicians, finding true collaborators is something that Perkins treasures. During the lockdowns, he pondered whether he would ever have that day-to-day musician experience again. With The Fat Rubber Band it's not just another grouping of musicians playing music together, but a gathering that is very much about the head, heart and soul and something he is clearly grateful for. "Roger Bergodaz was incredible. His drum kit was in the control room and he engineered the record and played drums pretty much at the same time! He constantly created the surroundings where an enthusiastic and positive atmosphere always prevailed. We never came away empty handed. I loved making this record so much," Perkins says, "because fucking magic happened. Yes, that's right, magic or how about alchemy? (A medieval science with a mysterious process that seeks to turn base metals into Gold.) Well, I dunno about gold, but I witnessed ideas, thoughts, whims and imaginings transmute almost effortlessly into living breathing songs with a soul and a heartbeat and even their own private history every time we went into the studio for this recording. Actually, no, magic is better." Perkins explains "This magic came about with the help of over 4O years of experience from each of the Fat Rubber band members. They're all truly great players and they're all really generous collaborators, so I guess what I'm saying is, it doesn't matter what happens from here. I'm very aware these days, with 100s of new releases each week, it's harder than ever to get people to give a shit about a new album from anybody, let alone from a bunch of hairy blokes in their 50s from Australia fronted by a dude that's been around since the early eighties named Tex. Actually, I can't believe you're still reading this! But you know it doesn't really matter, I've seen the magic."

On September 9th, 2022 at the Harrison House in Joshua Tree, Georg and Heike debuted a collection of songs that would later comprise Son of Velvet Rat’s Ghost Ranch studio album. A sacred space to present these new pieces, stripped-down to their most essential elements: two voices; one gruff and anchoring baritone, the other lifting in weathered hope, over six strings danced upon by Georg’s possessed spider-fingers, every note plucked with intention. A bare-boned outpouring, reverberating through the House like Midnight Mass in a rare church brave enough to explore the complexities of love.
That night, which ended with a refreshing baptismal monsoon as we walked out to our cars, would have to be preserved in the amber of memory until Georg and Heike would properly document the pieces at Gar Robertson’s Red Barn Studio in Morongo Valley the following spring ’23, before finishing the album in Austria.

$1 Bin Breaks: Sakura (Edit) by Odetta / On The Hill (Edit) by Oliver Sain / Enchanted Lady (Edit) by Milt Jackson With The Ray Brown Big Band b/w Survival (Edit) by Annette Peacock / Sunrise (Edit) by The Originals / A Few More Kisses To Go (Edit) by Issac Hayes / Go On & Cry (Edit) by Les McCann | Galaxy Sound Company — GSC45-041 | Very special hot-off-the-test-presses donut via the always on-point @galaxy_sound_company crew. This will be number 41 in their cop-on-site 45 series, set to be released in 2024. This time out we are treated to 7 “$1 Bin Breaks” &, as with many in the GSC45 series, these are the sources of some of your fav hip-hop jams.

Side A:
1) “Sakura” by Odetta; Sampled in “Tried By 12” by The East Flatbush Posse

2) “On The Hill” by Oliver Sain; Sampled in “Tell Me” by Pete Rock & C.L. Smooth, “Day One” by D.I.T.C., “Young G’s” by Puff Daddy, The Notorious B.I.G., Jay-Z & Kelly Price

3) “Enchanted Lady” by Milt Jackson With The Ray Brown Big Band;
Sampled in “Dinnit” by De La Soul, “Escape” & “Carmel City” by Pete Rock & C.L. Smooth, & “Ijuswannachill“ by Large Professor

Side B:
1) “Survival” by Annette Peacock; Sampled in “Braggin' Writes” by J-Live, “Rules We Live By” by Lord Finesse, “Scientists of Sound” by Brand Nubian, “Kunta Fly Shit “by Ghostface Killah, “Video Game” by J Dilla

2) “Sunrise” by The Originals; Sampled in “Accepte Mon Concept” by 2 Bal 2 Neg' & “Guess Who’s Back” by Scarface, Jay-Z & Beanie Sigel

3) “A Few More Kisses To Go” by Issac Hayes; Sampled in “Tonight's Da Night” by Redman, “Ain't No Fun (If the Homies Can't Have None)” by Snoop Dogg, “Rough Life” by Shabba Ranks, “Is There a Heaven 4 a Gangsta?” by Master P, “B-Cuz I Got a Girl” by Nate Dogg, “The Life” by Alicia Keys

4) “Go On & Cry” by Les McCann; Sampled in “Tha Next Episode” by Snoop Dogg & Dr. Dre, “Runnin' Wit No Breaks" by Warren G, “No Pain” by Lords of the Underground

Mr. Thelonious Edits
File under: HIp Hop breaks , Jazz Funk, Funk, Samples breaks

Body Parts is the debut studio album by Prophet Posse, a collaboration side-project of Three 6 Mafia with members of its then-label, Prophet Entertainment. The Prophet Posse group was known as a larger, “offshoot” version of Three 6 Mafia, as it included each member of Three 6 Mafia as well as all the artists signed to Prophet Entertainment. All the artists featured on the album were Prophet Entertainment artists with the exception of guest act Dayton Family.

2LP Repress!

Despite being one of the best kept secrets in house music, K4B Records is one of the most influential labels of the 90’s. Now the impressive discography is available digitally for the first time, with each record written and produced by Kingsley O. An Englishman of West-African heritage, Kingsley had moved to the states to pursue his musical aspirations of working with the finest soul vocalists, and his productions went on to inspire dancefloors both sides of the pond. Kingsley wrote some of the most loved songs of the 90’s underground, and by bringing emotive vocals to the dancefloor he defined the K4B sound. The sharp and rugged drums, rolling bass and melodic keys paired with the dynamite punchy vocals of amazing vocalists, such as Maydie Myles and Dawn Tallman, found success on the US Garage scene as well as being hugely influential as UKG began to explode, cementing K4B’s musical legacy in the house music hall of fame.

This special 2 x 12” vinyl package offers a consolidated dose of some of the standout records released by K4B from two of their most prominent artists, Maydie Myles and K London Posse. Whether this is a revisit to K4B’s catalogue or an introduction to new listeners, this first edition of a series of vinyl releases is the perfect way to dip your toes into the illustrious back-catalogue of this legendary label.

Limited orange vinyl. We've all heard the axiom, "if you ignore it, maybe it'll go away." That goes double for a lot of people who wish to apply that saying to rap music. But when it comes to the West Coast "gangsta rapper" genre made popular by the likes of NWA, Eazy E, Ice-T and his Rhyme Syndicate cohort, King Tee, the truth is hard to ignore. King Tee aligns producer DJ Pooh on this Bass EP consisting of tracks recorded in 1987. They're joined by The Compton Posse that includes the late Mixmaster Spade and J-Ro from Tha Alkaholiks. This EP sharpens the skillful word play King Tee made famous on his debut album Act A Fool. From song to song, this EP has a superior sheen, a tightness and cohesiveness between rhyme and music. Born in Los Angeles and now a resident of the infamous West Coast rap capital, Compton, California, King Tee truly is a product of the streets. He openly admits to running with gangs in his youth, causing his mother endless embarrassment and frustration. So much so that, in a desperate attempt to turn his life around, she turned King Tee into the authorities when she discovered him stealing from her. Once out of jail, King Tee ran of to Houston, Texas. Trouble is that he was underage atthe time, so his mother again had King Tee locked up in a juvenile camp. When King Tee finally realized why his mother did what she did, he decided to turn his life around by dedicating himself to music. He listened obsessively to the radio and chose to become a DJ. When King Tee was released from juvenile camp he secured a mixing gig at KSU and then KYOK in Houston. Between station gigs he handled the mix at various venues and clubs. After gaining the necessary experience behind the tables, King Tee moved back to Los Angeles and hooked up with Ice-T. In rapid succession, King Tee met Du Pooh who enlisted him into his rap group (after King Tee bugged Pooh for months), then Pooh introduced Tee to DJ Unknown with whom he made several 12" records for the Techno Hop labelwhich is now released on this EP for the first time since then. Ice-T's influence brought Rhyme Syndicate Management's Jorge Hinojosa into the picture. King Tee eventually signed with Hinojosa who then secured a contract with Capitol Records for King Tee. The result was 1988's Act A Fool.

For 46 minutes Alex Zhang Hungtai punctures our perception of linearity, working like a conductor, encouraging percussive flurries to trip and fall over each other, sometimes tempered by contact mic feedback to help skewer the chronology. He’s assisted by three additional percussionists - Wet Hair’s Ryan Garbes and Shawn Reed, and Leonard King - while Signal Decay’s Nick Yeck-Stauffer plays trumpet, with each extra voice blurred into the middle distance, curling like pipe smoke into convulsive whorls.

The piece is frankly astonishing in its grasp of the maelstrom. Initially tentative, searching, with higher register hits like moths butting lone lightbulbs in an abandoned apartment block, the distant, plangent peal of twin brass wafts between rooms to impart a distinctly floating, OOBE- like feel for space. The brass recedes while the drums’ low end thickens and roils like a gamelan tempest, blurring impressions of knackered buildings or the temple rituals of ancient epochs, with sounds wafting in from other rooms to mess with the stereo field like ghosts of worshippers doing their thing. Remarkably, it conjures a fever dream miasma of ricocheting, thunderous polymetric clatter and proprioceptive fuckry without ever losing its head.

Hungtai’s canny use of contact mic feedback drone and cymbal saw gives the whole thing a sense of gauzy delirium that unites the grouches like mildewed grout and cobwebs, coarsely gelling the elements in a way that resonates with Pauline Oliveros and co’s Deep Listening band acousmagique as much as Basil Kirchin’s keeling ‘World Within World’ classic, the ghosts of Sun Ra’s ‘Nuclear War’, the possessed atmosphere of the cabin where Harley Gaber recorded ‘Wind Rises in the North’, and no doubt Harry Bertoia’s massive metallic sculptures, agitated at midnight.

Humid, menacing, and wraithlike, the album’s’ sense of keening chronics belies a visionary hand at the tiller, here tightened by Rashad Becker’s mastering, which faithfully brings to light, and shadow, the depth of perception and wild but concentrated energies at play, sealing in place a truly staggering session for adventurous ears, cineastes and Lynchian acolytes alike.

For their first album, Seth Troxler and Phil Moffa joined forces and became multidimensional creative dissidents Lost Souls Of Saturn. This time, even further into the vortex, they’ve metamorphosed into sci-fi AR comic characters John and Frank who’ve explored the galaxy and returned with this perception-melting new LP.

Although ‘Reality’ still possesses the wigged-out conceptual brilliance which garnered installations and performances at Saatchi Gallery (London), Fondation Beyeler (Basel), The Metropolitan Museum of Art (NYC), and Museum of Contemporary Art Detroit, plus live sets at Field Day, Glastonbury and Kappa Futur, as its title might suggest, there’s vividness amidst the mind-bending. Where its predecessor was a murky exploration of weird and dark cerebral passageways, this album – though still fathoms deep – has a dazzling clarity of sound, as if listeners are beginning to crack the arcane codes, and reach for enlightenment.

A prime example of these newfound beams of light guiding participants through the maze is their recent single; the chugging cosmic techno synth pop of ‘Mirage’, featuring the voice of Adam Ohr. Also guesting on the album is Lvv Gvn, whose honeyed Billie-Holiday-meets-Rickie-Lee-Jones tones adorn the tranquil pixelated broken beat of ‘Click’, Greg Paulus’s trumpet sessions on ‘Zorg Arrival’ and ‘Scram City’, and Protomartyr’s vocalist Joe Casey and guitarist Greg Ahee, who grace the liminal drifting celestial plane of ‘Lilac Chasers’. Sitarist Rishab Sharma, the last disciple of guru Ravi Shankar, also shreds on ‘Scram City’.

Elsewhere, across the LP’s immensely inventive instrumental passages techno, dub, house, jazz, psych and ambient are vapourised into an expansive yet pleasingly concise series of morphing dream states. Fans of Air Liquide, Ravi Shankar, Ray Manzarek, Carl Craig, Pole, The Orb and ‘Son Of A Lung’ era FSOL should find much to like.

Harm’s Way is Duck Ltd.’s most intuitive and organic album yet, the result of keen observation, self-possessed songwriting, and a collaborative spirit. Building on the successes of their previous releases, the deeply relatable album displays a band operating at a nuanced, lyrical and musical best.

Ducks Ltd. make inviting and frenetic guitar pop for when life feels overwhelming. While the band’s songs are ostensibly breezy, a palpable anxiety boils underneath that communicates something deeper about everyday existence. On their latest album Harm’s Way, the Toronto duo of Tom McGreevy and Evan Lewis hones in on interpersonal and societal collapses, urban decay, and the near-impossibility of keeping a level head when everything around you seems to be falling apart.

“They’re songs about struggling,” says singer and lyricist McGreevy (who also plays bass and rhythm guitar). “About watching people I care for suffer, and trying to figure out how to be there for them. And about the strain of living in the world when it feels like it's ready to collapse.” 

Even with its often dark subject matter, Harm’s Way is Ducks Ltd.’s most vividly rendered and collaborative collection yet. It’s an undeniable evolution for the band, not just in how these songs soar, but in their entire writing and recording processes. Composed on tour while supporting acts like Nation of Language, Illuminati Hotties, and Archers of Loaf, the album displays the band’s finely tuned songcraft and well-earned, road-tested confidence. “When we got signed, we had played maybe five or six shows ever. After last year, it’s in the hundreds. That experience can change your perception of your own music and songwriting,” says McGreevy. “In the past when we got stuck on a song we had a tendency to look at our favourite records to see how they tackled it. But now, instead of asking ‘what would Orange Juice do?’, we’d ask, ‘what would we do?’.” Lewis adds, “We have this really great thing where every decision with the band is filtered through both of us. Here especially, we really figured out how to make something that truly sounds like us.”

The band, fortified by this strong sense of sonic identity and a self-assurance in their new material—and in contrast to their critically acclaimed 2021 debut Modern Fiction and 2019 EP Get Bleak, both self-recorded and self-produced in a Toronto basement—wanted to bring Harm’s Way to life in a new city, with an outside producer, and with some of their favourite musicians. “We realised that so many of our favourite bands who are making guitar music right now are from Chicago,” says McGreevy. Working with producer Dave Vettraino (Dehd, Deeper, Lala Lala), they enlisted a marquee cast of Windy City collaborators to round out the tracks on Harm’s Way, including: Finom’s Macie Stewart (violin, string arrangements); Ratboys’ Marcus Nuccio (drums on most tracks); Dehd’s Jason Balla (who helped arrange the backing vocals, to which he also contributed); and backing vocals from Julia Steiner (Ratboys), Nathan O’Dell (Dummy), Margaret McCarthy (Moontype), Rui De Magalhaes (Lawn), and Lindsey-Paige McCloy (Patio). The band’s touring drummer, Jonathan Pappo, and bassist Julia Wittman also appear on the LP.

Ducks Ltd. are a band that already thrives on skirting the edges of buoyant jangle pop and driving power pop, and the duo credits these collaborators with helping to push their sound even further. “Historically our process has been really tightly controlled and insular. On this record, we worked with people who we trusted with a pretty wide range of musical backgrounds and they had approaches and ideas that helped open up the record's sonic palette,” explains McGreevy. “Jason thinks about backing vocals in a totally different way than I do and is super intuitive with melodic ideas. Julia and Margaret have a really deeo understanding of harmony. Macie and Dave were comfortable with the idea of improvising string parts which took some of those layers in some surprising directions. Dave also has an amazing ability to create atmosphere on a recording, and encouraged us to use a bunch of different techniques, tones, and processes to achieve that.”

Harm’s Way’s lush, melodic swagger is clear from the first notes of opener “Hollowed Out.” A song about living with decline (inspired by a Toronto sinkhole), its bright, indelible catchiness serves in contrast to its lyrical unease. Anchored by Lewis’ shimmering electric guitar, “The Main Thing” laments growing apart from a person whose views you once shared while managing to toss in references to both the unglamorous lives of middle relief baseball pitchers and the occult. Other songs split the difference between country and krautrock, like the rollicking “Train Full of Gasoline,” which uses the 2013 Lac-Mégantic rail disaster in Quebec as a metaphor for self-destructive patterns. Meanwhile, “Deleted Scenes” mourns the absence of someone no longer in your life (even if for very good reasons) and recalls The Cure at their most direct, and closer “Heavy Bag” employs enveloping, mournful strings to evoke a sense of how misery frequently loves company.

Double LP on recycled & random-coloured "Re-Vinyl" Return to the unwavering wild in Downpour, where you explore new, harsh lands and survive new predators. As time passed, the slugcat has evolved. With five variants of the species - take advantage of various skills that they possess and explore their own personal tales. Black Screen Records, Videocult and Akupara Games are excited to take you an aural journey into the strange land of "Rain World: Downpour". Two LPs pressed on recycled & random-coloured "Re-Vinyl". The soundtrack is housed in a beautiful gatefold sleeve comes with UV spot varnish. The artwork was created by Kelocitta who has also reimagined the vinyl art for "Rain World". The "Rain World: Downpour" soundtrack is a collaborative work that was made possible by James Primate, Lydia Esrig, Intikus, Ongomato, Connor "12LBS" Skidmore and Progfox. A unique piece of music and very interesting mesh of different styles that truly bring the environment of Rain World to life. It's fully enjoyable without the game itself. The songs of "Rain World: Downpour" are a treat to experience, with some themes referencing the original soundtrack, such as "Threat - Waterfront Complex" or "Reflection of the Moon", and some being whole new, entirely original tracks, such as "Breathing Hyometer", "Fragile" and "Sheer Ice Torrent". Once you've experienced the "Rain World" soundtrack and gotten a feel for the style of the artists who worked on the music, "Rain World: Downpour" is an amazing continuation to experience next.

COUGH return with their first album in over five years. Produced by Electric Wizard’s Jus Oborn and recorded by Oborn and Windhand’s Garrett Morris, Still They Pray is the kind of monolithic cosmic doom that will take the listener to the heights of despair and the bottom of the abyss. With Still They Pray, COUGH summon psychedelic feedback-driven melodies just to deconstruct them to their core. This is easily COUGH at their most focused: pessimistic riffs and tortured grooves collide in melodic agony alongside a hallucinogenic blend of harsh and clean incantations, crushing and cathartic yet utterly mesmerizing. Step through the gates of madness and stare into the void. FFO Windhand, Electric Wizard, Pallbearer, Sleep, YOB, Uncle Acid & The Deadbeats

There are two versions of the vinyl - classic black and triple-color limited Indie Shop edition.

Both have special insert inside with the bands bio and photos.

Generacja JAZZ is a project showing a fragment of the new wave of Polish jazz, treading its own path, creating, touring and jamming across Europe. Borders don't exist - especially musical - the new generation is engaging with nightclubs, festivals and playlists. The time has now come to show its broader perspective. We created a project which involves a handful of groups that have already racked up debut albums and festival wins, as they set out on their musical odyssey. The groups also have other things in common, like their passion, originality and, for the needs of the project, age - all the artists during the recording of this album were under 30 years old. This is the new generation - the Jazz Generation.

For the Jazz Generation record we invited five bands who had already released debut albums: Immortal Onion, Klawo, Rejoin, Twoosty Mayonez and USO 9001. We also reserved two spots on the compilation for the winners of our open call competition, whereby on the basis of the jury's choice (jury: Monika Borzym, Paulina Przybysz, Envee, Wojtek Mazolewski i Marcin Groh Grośkiewicz) we met the winning bands: Kosmos and quietet.

The sleeve artist is Kornelia Nowak, who won our open call for young designers and graphic artists. Here once again we could rely on the opinion of a prestigious jury comprised of: Beata Śliwińska Barrakuz, Bovska, Maciej Animisiewasz Grochot, Grzegorz Forin Piwnicki i Marcin Groh Grośkiewicz.

Generacja JAZZ LP is also a start of the new imprint - U JAZZ ME, which will be focused on jazz from Poland.

And here are the bands from the album:

1. Immortal Onion - A band from the Tri-City playing a broad spectrum of instrumental music.

Band members: Wojtek Warmijak (percussion), Tomir Śpiołek (piano, synths), Ziemowit Klimek (Upright Bass, synths).

The band Immortal Onion has already established itself as one of the most interesting projects of the new wave of Polish jazz, and is consistently being labelled as such abroad. After two well received albums ("Ocelot of Salvation" (2017) and"XD Experience Design" (2020) U Know Me Records) they released their third album "Screens" in 2022, which was recorded with the well known Tri-City composer and saxophonist - Michał Jan Ciesielski.

The inspiration behind the band's formation were such artists as: Esbjörn Svensson, Hiromi Uehara, Tigran Hamasyan and Tosin Abasi.

The group's guiding principle from the very beginning was the fusion of often disparate musical styles, which bore "post instrumental aggressive gay pop". Despite the stylistic discrepancies, between which they swim, the group has forged its own identifiable language, characterised by complicated rhythmical structures, energetic riffs and trance beats with lyrical melodies.

The trio has performed its original material at many venues and festivals around Europe and Asia.

2. Klawo - seven adventurous adventurers from Gdańsk, who were brought together by their love for music, halvah and throwing Frisbee. Their self-named début album, released in 2022 on the local label Coastline Northern Cuts, is an amalgam of the inspirations of each of the team members and played backwards contains tips on how to reach the Kashubian pyramids. After a win at the international competition Jazz in the Park, held in Cluj-Napoca in Romania, the band began work on their second album. Meanwhile, they were also travelling the length and breadth of Poland on a mission to infect people with the idea of Baltic Funk.

3. Kosmos is a Łódż based jazz quintet. It was formed in 2020 by Pianist Stanisław Szmigero, Saxophonist Iwo Tylman and Trumpeter Jan Ostalski. However, it wasn't until 2022 that Kosmos found its true form when Kamil Gużniczak (Upright bass) and Kacper Kuta (Percussion) joined the line-up.

Their compositions are influenced by Polish yass bands, electronic music and hip-hop. Kosmos music is a mix of lyricism, space, intensity and elements of experiment.

The band members are all eccentric characters possessing different means of musical expression - looking at them, one could even argue they are a group of oddballs. Despite this, for reasons unbeknownst to themselves, the members of Kosmos complement each other on stage and form a unified artistic vision of the world around them.

Kosmos officially released their début single "Ja" in June 2023. They regularly play concerts across Poland and recently were selected as distinguished artists at JAZZiNSPIRACJE (JAZZiNSPIRATION) - a competition held during the 13th Lublin Jazz Festival.

4. Quietet (formed at the beginning of 2023) is the result of meetings between five talented musicians with a deep passion for musical creation. Its sound is a unique blend of Jazz and classical music with a hint of hard rock. The band is inspired by the Scandinavian approach to making music, which brings a characteristic atmosphere and melodies to their work. Their music captivates listeners with its originality, refined improvisations and flawless technique. Both classical and modern musical trends feed their inspiration when creating passionate and emotional compositions.

Their works are full of sound experimentation, which equally surprise and expose new musical horizons. Through their compositions, "Quietet" aims to share their emotions evoked during performances, creating a musical journey that affects and inspires.

5. Connecting jazz with electronic music in fresh interpretations, six young musicians make up the group Rejoin. The group re-formed in 2020 after a four-year break, playing their debut concert at Lotos Jazz Festival Bielska Zadymka Jazzowa. The musicians in Rejoin have performed alongside such artists as: Urszula Dudziak, Krystyna Prońko, Marcin Masecki, Szczyl, Kuba Więcek and Paulina Przybysz.

Most of the members of Rejoin are students from the Katowice Music Academy, where they also develop their own projects. Rejoin was a recipient of the Fabryki Norblin Music Masterclass Foundation scholarship.

6. Twoosty Mayonez is something your grandad would listen to with his younger sister. The non-standard approach to jazz alongside a pursuit of strange sounds, culminated in the conceptual album entitled "Carmin". The material was created by Bartosz Wolerta (percussion) and Dominik Kaniewski (bass guitar/synths). "Triceradiplodocus" tells the story of a mechanical dinosaur that lives on the yet undiscovered planet Carmin.

“Sono Stato Un Agente CIA” (1978), also known as “Covert Action”, is a twilight film directed by Romolo Guerrieri and set in Greece, starring David Janssen, in the role of a former Central Intelligence Agency agent who became a writer of incendiary books on prostitution and drug trafficking, flanked by Maurizio Merli, a colleague in possession of some compromising tapes, sentimentally linked to the romance novel character played by the seductive Corinne Cléry. The two are involved in a murky game: the stars and stripes secret services intend to eliminate those who could spread the dangerous content of the military plan designed to stem the advance of communism, to be implemented through the assassination of government officials.

It's not among the most famous crime stories. It's not even a real action movie. “Sono Stato Un Agente CIA” benefits, however, from the admirable compositional talent of Stelvio Cipriani. His soundtrack, released for the first time in full vinyl version, reveals an npredictable versatility. His 'classic' style expressed in the course of the scores for previous 'poliziotteschi' is enriched here with disco suggestions and Hellenic exoticisms. The writing on the staff of the Roman composer is effective and empathetic in commenting on every fold of the dark and violent story. A simple and catchy theme, even danceable. The atmospheric situations with guitars and synthesizers. Some funk echoes, tension peaks, melancholy notes. The constants of success.

PRESSED ON "DRIED BLOOD" RED
COLORED VINYL W/OBI
LIMITED TO 1000 COPIES

In the late 90s in Hip Hop, all eyes were on the South - and the Down South sound reigned supreme. Few groups were as hot as Memphis’ Three 6 Mafia. CrazyNDaLazDayz was a regional scorcher when it dropped in 1999, released under the group name Tear Da Club Up Thugs, but essentially a Three 6 Mafia full-length as core Three 6 members DJ Paul, Juicy J and Lord Infamous all contribute to the project. The record went on to be certified Gold and Three 6 Mafia went on to win an Academy Award for their contribution to Hustle & Flow. CrazyNDaLazDayz continues to have an impact to this day. A cut Juicy J first pulled together while still in high school, “Slob On My Knob”, was utilized in A$AP Ferg’s hit “Plain Jane.” In addition, the cut is interpolated into G-Eazy’s most successful cut to date, “No Limit.” Get On Down brings you this often overlooked and definitely in need of being revisited portion of Three 6 Mafia’s legacy.