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A deluxe, remastered, 20 year anniversary edition of the Heads’ third album proper, the under-rated gem in their canon that is “Under Sided”.

Originally released in 2002 on the Sweet Nothing label (SNLP/CD 11), Under Sided was recorded in 2001 at WhiteHouse Studios in Weston Super Mare, with Martin Nichols engineering. The band had previously recorded tracks for Mans Ruin 10” at these studios (also famous for Ripcord, Heresy, Slowdive, Hardskin, Decadence Within, Icehouse.. amongst many others!).

For the reissue, the original recordings were remastered for vinyl and CD by long time Heads Masterer (!) Shawn Joseph. The resultant 8 tracks, spread over 4 sides of vinyl are some of the best music the Heads have recorded, after a bit of a hiatus following their 2000 US tour / Peel session (included in the boxset / on the 2CD version here), the band regrouped and worked out the tracks for the album, relentless rehearsing for the recording. Very few shows happened in that 2001-2002 timeframe.. band members were busy, earning a living, getting on with life, but they still had some riffs/songs there.

Upon release in 2002 the album got great reviews in the press, from Kerrang and MOJO to the Sunday Times, all helping the Bristol fourpiece confirm their cult status, which has continued to current times..

The remastered album is being reissued as a 4LP + 2CD boxset. The extra 2LP features their Peel session from 2000, as well as a couple of compilation tracks (For Mad Men Only / Born To Go), and some unreleased demo versions, as well as 2 exclusive to this set CDS that feature nearly 150 minutes of Live recordings (mastered, but RAW!) from their gigs on the Thekla in Bristol and rehearsal room tapes in 2001 and 2002.
The boxset will also have a special slip-mat, stickers, and a 24 page booklet of photos /writings, including recollections by each band member, and others including Stewart Lee.

Under Sided is a pounding sike-nightmare that shows the Heads at the peak of their powers, there’s a flow throughout the album of melding psychedelic noise rock to unrelentin rhythms and creating a bad trip for all listening.. open battering-ram “Dissonaut” is a staple in their live shows to this day… even the gentle sooth of “Energy” is enveloped by a white noise fury.. the intensity of some of the tracks: the terror inducing “Bedminster” or “False Heavy” (a tour worn riffmonger from 2000) or the Magnet-esque “Heavy Sea”, showed the band as ferocious as any of the insurgent “stoner” genre of that time.

They were never going to make their living out of touring, record sales… as Hugo mentions in his notes for the booklet, “.. we had less boundaries and felt we could experiment more and not worry about commerciality…” but they were able to make this album.

Oscean comes out firing from the outset on their new 12” entitled Multirays. The Argentinian duo of Andrés Zacco and Sebastián Galante are following up on the first release of their collaboration, Ideoma, also released on Tresor Records. With Multirays, this burgeoning collaboration reveals a promising evolution, moving into
more rhythmically diverse environments and playful structures.
The opening track, Multidimensional, strikes with confronting beats and a searching, woolly bass sound.
Constantly growing, it moves confidently with its skittering percussion work, ebbing and flowing through filter movements and expansive synths. Invisible Rays draws in breathing techno pulses, as Zacco and Galante cast drenches of feedback across the spectrum. A
deceptively mellow melody, recalling Spiral from their debut EP, teases at a deeper melodic progression, but the focus stays locked on the animated rhythms, tempting towards divergent grooves but expertly keeping feet on the floor.
In Drivion, Oscean investigates electro territories, simultaneously bubbling and driving. Echoed arpeggiations and upfront beats funnel impulses between neurons. Broad synth gestures oer gateways into abstraction before, without barely a hint, the rhythms beat once more.
On the closing track, Horizonsz, the duo drive forth through skipping rhythms and soul-searching bass murmurs. Synth pads beckon with fresnel lens reflections and rising warmth, motioning towards a
stunning moment of euphoria, where futurist mirages coexist with distant memories.

Both Aesop Rock and Homeboy Sandman are regarded as top tier lyricists known for pushing the envelope of creativity in their writing, while covering a wide range of topics and moods. However, sometimes things are inherently simple. Take for example, the origin of their collaboration, born from a mutual appreciation for each other as artists Which became fully realized when Aesop Rock invited Homeboy Sandman to join him on tour in 2015. Traveling the country together, they built a connection beyond the music, resulting in a friendship that led to recording a few songs together, and before they knew it, there was an infestation...Lice. Initially released in 2015 as a free direct download, followed by an extremely limited vinyl pressing sold exclusively on tour, Aesop Rock and Homeboy Sandman's Lice is finally available to fans everywhere. The first in a series of EP releases, Lice featured production from DJ Spinna, Optiks, Blockhead, Alex "Apex" Gale and Mike Shinoda. The original cover art was designed by renowned illustrator Jeremy Fish.

Christian Naujoks' work has been heard and seen in a wide range of contexts, from nightclubs to concert halls, art venues and the theatre. He released three solo albums on Berlin-based label Dial Records. After his critically-acclaimed album "Wave" (2016), which has been praised as a contemporary masterpiece of ambient romance and "the most exquisitely melancholy thing he's done yet" (Pitchfork), followed by numerous collaborative projects with performance artist Ei Arakawa, filmmaker Loretta Fahrenholz and composer Ari Benjamin Meyers, among others, Christian Naujoks is back with a new record produced during his exhibition "Soft Mouth Data Service" at Galerie Max Mayer in Düsseldorf.

What do you get when you mix a Culture LP with the dub stylings of the master of dub Scientist? An extraordinary LP that is, simply put, out of this world! By implementing the vocals of the great Joseph Hill from Culture and flavoring these with his dub touch, Scientist has flavored this concoction in a way that only he is capable of doing. This stellar release will take you where no man has gone before. Deep into a solar system that has no bounds and where the infinite endless vastness of space has no beginning. And no end. Take the journey beyond our galaxy into a parallel universe and rediscover a dubwise experience that will have you drifting weightless into the inexplicable unknown. Let your mind and body go.

And in addition to this brilliant musical journey you may also feast your eyes upon the impressive album cover art which has been thoughtfully created by noted American artist extraordinaire Eric White. Eric’s work has created much excitement in art galleries and collections around the world and it is an honor to have him lend his artistic eloquence to such an important project.

On 14 October 2022, wildly creative free-form songwriter Rachael Dadd is to release her brand new studio album 'Kaleidoscope' via Memphis Industries and follows 2019's 'Flux', which was released to much acclaim and which she was touring when the pandemic struck. Like so many people disconnected from their communities and struggling through the lockdowns, Rachael Dadd turned inwards, seeking escape through music and connection through song writing, and her hope is that when people listen to 'Kaleidoscope' "they will feel held and find space to breathe, grieve and celebrate." "This album is a lot more honest and personal than 'Flux'" she shares, "but I feel the songs are universal as they are largely rooted in truth and love. If I had to pick a favourite album it would be this one because of the magical rekindling of human connection when me and my band got back in a room together again. All that magic went into these songs." Co-produced "intuitively, boldly, and playfully" by Rachael and Rob Pemberton (The Staves, Emily Barker, Maja Lena), 'Kaleidoscope' includes musical collaborators such as Maja Lena (Low Chimes), long-time collaborator Emma Gatrill (Willy Mason), Alex Heane (bass), Charlotte West (synths), Alex Garden (strings) and 'Flux' producer Marcus Hamblett (Villagers, James Holden, The Staves), giving the record "just the right colour combination, just the right pattern of shapes, plenty of space where needed and finally landing in a sound world that feels fresh and open and true" reflects Rachael.

On 14 October 2022, wildly creative free-form songwriter Rachael Dadd is to release her brand new studio album 'Kaleidoscope' via Memphis Industries and follows 2019's 'Flux', which was released to much acclaim and which she was touring when the pandemic struck. Like so many people disconnected from their communities and struggling through the lockdowns, Rachael Dadd turned inwards, seeking escape through music and connection through song writing, and her hope is that when people listen to 'Kaleidoscope' "they will feel held and find space to breathe, grieve and celebrate." "This album is a lot more honest and personal than 'Flux'" she shares, "but I feel the songs are universal as they are largely rooted in truth and love. If I had to pick a favourite album it would be this one because of the magical rekindling of human connection when me and my band got back in a room together again. All that magic went into these songs." Co-produced "intuitively, boldly, and playfully" by Rachael and Rob Pemberton (The Staves, Emily Barker, Maja Lena), 'Kaleidoscope' includes musical collaborators such as Maja Lena (Low Chimes), long-time collaborator Emma Gatrill (Willy Mason), Alex Heane (bass), Charlotte West (synths), Alex Garden (strings) and 'Flux' producer Marcus Hamblett (Villagers, James Holden, The Staves), giving the record "just the right colour combination, just the right pattern of shapes, plenty of space where needed and finally landing in a sound world that feels fresh and open and true" reflects Rachael.

The most beautiful themes of the famous science fiction universe Star Wars created by the American director George Lucas are now gathered in this exclusive vinyl record! First conceived as a cinematic trilogy in 1977, the franchise now counts films, series, novels and other goodies taking place «a long time ago in a galaxy far far away» in which a conflict between Jedi knights and Sith warriors remains.

The award-winning Star Wars soundtrack composed by John Williams and inspired by Wagner’s operas has influenced the greatest film musics. They are performed by The City of Prague Philharmonic Orchestra.

The Southern state’s musical giants have always had their own distinct recipe for
American roots: spiced with jazz, steeped in swamp-blues and cooked up a little
differently by every artist who performs it. As a second- generation child of the
Bayou State, Kenny Neal has taken his own inimitable guitar, gale-force harp and
roadworn voice all over the globe. But in 2022, the Grammy- nominated blues
master’s latest album, Straight From The Heart, finds him drawn by the siren call
of his hometown and musical ground zero, Baton Rouge.“This is the first album
I’ve ever recorded on my own turf, and it truly came straight from the heart,” says
Neal, who both led and produced a crack team of local musicians at his own
Brookstown Recording Studios. “All the tributaries of the blues converge here,
flowing into one rich tradition.”You’ll hear all of Neal’s travels in Straight From The
Heart, but this latest album brings it all back home in every sense. Lining up in the
studio alongside his Baton Rouge compadrés, the respect that Neal commands
on the scene also drew some special guests, including hot- tip blues sensation
Christone ‘Kingfish’ Ingram (who co-writes and plays stinger guitar on Mount Up
On The Wings Of The King), pop royalty Tito Jackson (on Two Timing) and two
songs with Rockin’ Dopsie Junior & The Zydeco Twisters. You’ll even hear Neal’s
supremely talented daughter Syreeta drive the vocal outro of Two Timing.“It was
like a family reunion,” says Neal of the good-natured sessions. “It was excellent
because I had all the musicians that grew up under me here in Baton Rouge. And
just being in my own studio, not worrying about the clock.”Straight From The
Heart is a fitting title for a record that salutes the many loves of Neal’s life.
There’s the brass-driven opener Blues Keep Chasing Me, which tips a hat to his
recently departed friend, Lucky Peterson. There’s the touching piano-led Someone
Somewhere, which salutes his beloved father, harp master Raful Neal, who put
him on this path. Elsewhere, Neal’s deep love for every side of his home state is
underlined by the zydeco chop of Bon Temps Rouler and New Orleans, whose
lyrics reference everything from “sippin’ on Hurricane” to “sittin’ on the Bayou
catching catfish”. Faced with such an open-hearted record, it’s impossible not to
reciprocate. And as the world opens up and Kenny Neal embraces his natural
habitat of the road, this Louisiana icon will bring a little bit of that Baton Rouge
spirit onto every stage he treads. “It don't cost nothing to share a little love and a
little respect,” he says. “And we can all rise above…”

Ally is psyched to be releasing The Cakekitchen's dark and powerfully
catchy fourth LP, Stompin Thru The Boneyard, on vinyl for the first time in
the US!
Originally released on CD domestically by Merge Records in 1994, Graeme
Jefferies has remixed and remastered the original album creating a more even
and equally stirring effect. Mac McCaughan (Merge / Superchunk) cites this as
one of his favorite iterations of the band, and for good reason. "Tell Me Why You
Lie" ranks among the best of Jefferies' edgy pop songs, while the multi-part "Hole
in My Shoe" finishes with a sterling instrumental segment. "The Mad Clarinet" is a
highly textured acoustic piece featuring another NZ legend, Alastair Galbraith, on
violin. The album ends with the perfect closer, "Another Sad Story," which is not
just another song, but one of the finest melancholy earworms you'll ever
experience. NZ pop at its finest!

Corrie Dick, a musician and composer specialising in euphoric, sonically-inventive drumming, is at the rhythmic epicentre of a new era of innovative British jazz. He is lauded for his dynamism, his melodic slant and for his playfully subversive take on style and genre. An artist of prolific and varied output, Corrie has long been an essential component of Laura Jurd’s music including Mercury Prize shortlisted Dinosaur; is a crucial co-pilot in Elliot Galvin Trio and Rob Luft Group; and co-writes music with an abundance of artists including alternative Indie band Ink Line. His 2015 release Impossible Things which skilfully fused Celtic folk and contemporary jazz with new takes on African rhythms culminated in sold out touring and concerts across the UK. Now Corrie resets for an album which further embraces the eclectic whims of a child of the iPod shuffle generation - finding cohesion among disparate elements. Concerning the idea behind Sun Swells, his latest project, Corrie explains: “I wanted to write a jazz album that had rock instrumentation at its core: guitar-bass-drums. Rob Luft (guitar), Tom McCredie (bass) and I have been improvising and writing together for years and years and we’ve forged a sound that is uniquely crunchy yet summery, so I wanted that sound at the centre but decorated with all sorts of elements. I basically wanted to make folk-rock-jazz but treat it how electronic music producer Mura Masa treats his tracks--chucking the whole damn fruit bowl at the thing but somehow keeping space and air in the arrangement and the mix.” The music on Sun Swells is highly unique in a way that is becoming a trademark for the highly gifted artist.

Empathy is the codeword when it comes to The AM’s second solo EP: The ‘Sexworker’ EP. A short story through music and art, allowing you a moment to walk a mile in another seasoned professional’s shoes… Imagine life through her eyes, her thoughts, her feelings, her actions and motivations as her work takes her from flirty fun to a much more severe and fierce role as a vigilante, fighting for justice and retribution for women who’ve been abused and wronged. As the EP progresses, the further we’re plunged into this dark nocturnal world of carnal chaos, deceit and danger.

Sat in a not-so distant neon tomorrow, downtown Detroit, this is the vivid concept and narrative conjured by Detroit native, violinist-turned-techno artist The AM (Ann-Marie Teasley) Sliding into our collections since her debut tracks last year as one half of HLX-1, 2022 has been all about The AM solo releases; in March we had ‘Black Majik’ on Tresor. Now on Deeptrax ‘Sexworker’ is another revelation from the agenda-setting artist who’s crafted a completely immersive narrative that ranges from the playful electro beats of ‘Intercosmic Lap Dance’ to the runaway juggernaut ‘Black Galaxy’ (a collaboration with Scan 7's Track Masta Lou). Each track adding layers of tension and intrigue, cutting through the late night sleaze and exploitation with raw machine soul, ‘Sexworker’ is steeped in detail… But loaded with enough space for your imagination.

Fronted by a stark futuristic city artwork, ‘Sexworker’ takes place in The AM’s stomping ground but could just as easily happen anywhere in the world… Amsterdam, London and right now, our speakers. This bumps in an exciting yet timeless way. It’s AM 24/7 right now.

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DJ, Edit entrepreneur - Record Mission Records & Record dealer extraordinaire Nick The Record continues to deliver the goods via his Natural House label...

Joining forces on this one with Jaime Read to beautifully remake an underappreciated mid-80's jam.

The A Side is all about that Natural House sound, a solid 4/4 core, hooks galore and an atmospheric vibe for maximum effect on the floor.

Over on the B, Nick turns out a classic Disco interpretation, full of tension and release it's a big, big sound & absolutely guaranteed to be a staple across the coming summer & beyond...

Galaxy Heart is Moss' fourth record for Constellation and the companion album to 2021's Phosphenes. Galaxy Heart features guest appearances by Jim White (Xylouris White, Springtime, Dirty Three) and Thierry Amar (Godspeed You! Black Emperor).Jessica Moss is a violinist and composer based in Montréal. She uses amplified and processed violin and voice to create intricate works of expressive electronic, drone, experimental and post-classical Minimalism; her distinctive melodic sensibility often channels Klezmer, Balkan and Middle Eastern tropes, combined with an ear for the textural grit and timbral noise of post-punk, industrial and ambient metal. Moss played in cult agit-prop post-punk band Thee Silver Mt. Zion (2000-2015), has contributed to countless albums by the likes of Carla Bozulich, Vic Chesnutt and Matana Roberts, and most recently has guested on albums by Sarah Davachi and Big|Brave. She has released three solo albums on Constellation since 2017.

The first album of Web Web is very uncut, raw, live and direct. Oracle is the first output of a German Supergroup. Check the musician credits below and you'll get the score. The initial idea was to record a spiritual-jazz type of album, with all its imperfection as far as intonation, sound, influences of tunes... just like from their big jazz-heroes in the 70ies (e.g. Strata East, Black Jazz).

Web Web's idea was to record a jazz jam session while to found and proclaim being a fictive band, a formation, which did not exist, while telling people, it would be a secret jam session recording of the Seventies. The prompt problem they were facing: Oh, we never would be able to play concerts, doing interviews, or placing photos on sleeves or post likeness images online. So they decided to reveal their real identities:

Web Web are: Roberto Di Gioia (Piano, Synth, Percussion), Tony Lakatos (Tenor- and Sopranosaxophone), Christian von Kaphengst (Upright Bass) and Peter Gall (Drums).

Roberto Di Gioia (Mastermind of Web Web): - The four of us set up very close in a big room, so we could hear and feel each other the best way. The music became more intensive, improvisations became more dynamic and it was impulsive .

The album Oracle' was recorded on one day, only first takes were used!

We want to keep the burning spirit and the loose vibe we had during the recording session. And we play concerts the wild and free way we recorded this album. Web Web will be on tour 2018, but playing a few concerts in 2017.
Furthermore, one main decision to blab their real identities was: The second Web Web album is recorded in June (with guests like the famous and unique Gembri-player and multiinstrumentalist and singer Majid Bekkas from Morocco).
Both albums were engineered, recorded and mixed by Jan Krause (Beanfield, Poets Of Rhythm).

Roberto Di Gioia: - Tony was tuning his Soprano too high, and his (overdubbed) tenor way too flat!
My synthesizers were somewhere in between...HA! We exactly had the sound we had in our minds, we had it exactly there were we wanted it: a bit of Sun Ra here, a bit of Horace Tapscott there. On some tunes Tony's soprano just sounds like a trumpet, since due to his weird tuning the soprano develops different frequencies in relation to other instruments.

Oracle' is the first live jazz release on Compost. Produced by Roberto Di Gioia and Michael Reinboth.

Roberto Di Gioia has been working with numerous jazz-legends, such as Woody Shaw, Art Farmer, James Moody, Johnny Griffin, Charlie Rouse, Clifford Jordan, Clark Terry, Roy Ayers, Gregory Porter and many more.

From 1990 to 2008: member Klaus Doldingers Passport. As a pianist he made recordings with Udo Lindenberg (MTV-Unplugged, 2011), Charlie Watts ( Music Of The Rolling Stones , 2005), Console ( Reset The Preset , 2003), The Notwist ( Shrink 1998, Neon Golden , 2002). Since 2007 he is working together with Samon Kawamura and Max Herre as KAHEDI: Max Herre ( Hallo Welt , 2012), Joy Denalane ( Gleisdreieck , 2017), u.v.m...His own group MARSMOBIL (produced by Peter Kruder) will release his fourth studioalbum in winter 2017.

Tony Lakatos originates from the world famous Lakatos-familiy from Budapest, Hungary. His father was a famous violinist, as well as his younger brother Roby. He started playing saxophone when he was 15 years old. Tony studied at the Bela-Bartok-Conservatory in Budapest, and made his degree in 1979. Since then he played on over 350 jazz albums (!!), to name a few: Al Foster, Kirk Lightsey, Randy Brecker, George Mraz, David Witham, Terri Lyne Carrington, Anthony Jackson. Tony was a member of Jasper Van´t Hofs PILI PILI. Since 1993 he is working with the HR Radio-Bigband as a soloist.

Christian von Kaphengst learned the piano at the Peter-Cornelius-Conservatory in Mainz when he was 6 years old. From 1988 to 1995 he studied upright-bass at the - Musikhochschule in Cologne. He was touring with his own Jazzquartett - Cafe du Sport to Pakistan, India, Turkey and West-Africa. Since 1999 he regularly plays with Patti Austin and The New York Voices in Europe. Von Kaphengst played with the greatest musicians, such as Randy Brecker, Nat Adderley, Roy Hargrove, Joe Sample, Charlie Mariano, Katja Ebstein, Xavier Naidoo, Roachford, Yvonne Catterfeld.

Peter Gall won some important German awards already when he was a youngster, like - Jugend Jazzt . He was touring with the famous - Bundesjazzorchester conducted by German jazz legend Peter Herbholzheimer. He studied at the Berlin University Of Fine Arts and at the Jazz Institute Berlin with John Hollenbeck. Gall made a masterclass at the Manhattan School Of Music with John Riley. He has been working with Seamus Blake, Ben Street, Gabriel Rios, Jasmin Tabatabai, Thomas Quasthoff, Peter Fessler.

Dreamers is the new project from the legendary British saxophonist and composer Mark Lockheart featuring Elliot Galvin (Dinosaur, Elliot Galvin Trio), Tom Herbert (Polar Bear, The Invisible) and Dave Smith (Robert Plant). Stylistically free and psychedelic in nature, the release of Dreamers signals a new trajectory for the musician who has already featured on a wide ranging and diverse catalogue of albums including Radiohead's Kid A. As a founding member of Loose Tubes and Polar Bear, Mark Lockheart has always remained ahead of the curve and has constantly explored new directions in his own music. Dreamers epitomises this adaptation and evolution, allowing the music to speak beyond the boundaries of genre and predictability. Mark has created an album which is direct and unpretentious but also surprising and unexpected.

Rot-marmoriertes Doppelvinyl (140g) in Gatefold Sleeve inklusive Downloadcode. Photography by Nicole Ngai. Design by Jade Ping.

TSHA kehrt mit ihrem lang erwarteten Debütalbum, „Capricorn Sun“, zu Ninja Tune zurück. Das Album wurde in den letzten zwei Jahren aufgenommen und löst das Versprechen ihrer vorherigen EPs und Singles mit zwölf Tracks ein, die perfekt die gefühlvolle Mischung aus Underground-Elektronik und intelligenter Pop-Sensibilität verkörpern und die sie zu einer der meistdiskutierten neuen Künstler*innen der letzten Jahre gemacht hat. TSHA zierte die Titelseiten von renommierten Magazinen, war auf zahlreichen Plakatwänden zu sehen, wurde in die wichtigsten Playlists und Programmen mehrerer Streaming-Dienste aufgenommen und stand auf zahllosen Jahresend- und Talent-Listen, neben dem Lob der Musikpresse und des Radios - und 2022 wird ihr Jahr.

Das Album folgt auf ihre jüngste Compilation für die renommierte „fabric presents“-Reihe und einem immensen Tourneeplan, auf dem sie über 100 Shows in den Jahren 2021/22 spielt, unter anderem als Support-Act bei Disclosure bei deren zwei Shows im Alexandra Palace, oder für Bob Moses, wo sie vor 40.000 Fans an der amerikanischen Westküste gespielt hat. Sie spielte auch eine Reihe nordamerikanischer Shows mit Flume - einschließlich eines Gigs im imposanten Red Rocks Amphitheatre in Colorado -, absolvierte eine Festivaltournee mit einem Auftritt beim diesjährigen Glastonbury und hat eine laufende Residency im DC-10 auf Ibiza für Circoloco, um nur einige zu nennen.

„Capricorn Sun“ ist sowohl ein Statement, wo sie als Künstlerin und Produzentin gerade steht, als auch eine Reflexion über die Zeit, die sie mit dem Schreiben und Aufnehmen des Albums verbracht hat, und die Auswirkungen globaler Ereignisse, familiärer Umwälzungen und persönlicher Kämpfe während dieser Zeit. Dieser Wechsel zwischen den Stimmungen und Emotionen wird deutlich, wenn man sich durch die zwölf Tracks des Albums bewegt.

CAUSTIC CASANOVA, die psychedelischen Heavy-Riffonauten aus Washington, DC nutzen auf ihrem fünften, das Gehirn schmelzenden Album die starke Kernkraft ihres hyperkinetischen Zentrums, um diverse Soundpartikel in die musikalische Wechselwirkung einzubinden und in einer kaleidoskopischen Heavy-Rock-Extravaganz explodieren zu lassen. Im Jahr 2005 als Trio gegründet, schlagen Schlagzeugerin und Sängerin Stefanie Zaekner, Bassist und Sänger Francis Beringer sowie Gitarrist Andrew Yonki, mit CAUSTIC CASANOVA immer wieder neue Wege ein, um ihre ebenso packende wie unvorhersehbare Musik spannend zu verfeinern. In ihren Klangräumen verbindet sich sardonischer Noise-Rock und proggiger Sludge im Stile von BARONESS, RED FANG und TORCHE mit der gewaltigen Wucht der MELVINS, der Experimentierfreude von BORIS und flottem Gitarren-Heldentum sowie einem Hauch von verdunkeltem Post-Punk. Mit der Aufnahme eines zweiten Gitarristen in der Person von Jake Kimberley im Jahr 2019 machte sich das nunmehrige Quartett auf eine Abenteuerreise mit dem erklärten Ziel, das waghalsigste und rockigste CAUSTIC CASANOVA Album aller Zeiten zu erschaffen. Dabei nutzen die Amerikaner geschickt alle erweiterten Möglichkeiten, die sich aus ihrer Verstärkung mit einer zweiten Gitarre ergeben. Gleichzeitig unterstreichen die Vier auf "Glass Enclosed Nerve Center" auch all ihre bisherigen Stärken: Beringers straffer, melodischer Bass pumpt heftig die beiden heiß-bruzzelnden Gitarren auf, die den gesanglichen Dreiklang flankieren. Zaenkers flexibles Schlagzeugspiel treibt die fünf mäandrierenden Songs des Albums einfallsreich an und fühlt sich sowohl im swingenden Bill-Ward-Stomp als auch in der Hibbeligkeit des Math-Rock wohl. Langjährige Reisende in CAUSTIC CASANOVAs Fahrwasser dürfen "Glass Enclosed Nerve Center" als eine Art von berauschender Rückkehr empfinden, zu der auch das ehrgeizig ausufernde, 22-Minuten-Epos 'Bull Moose against the Sky' erheblich beiträgt, welches die gesamte B-Seite des Albums in Beschlag nimmt. Doch auch wer den massiven Sound dieser galoppierenden Psychedelic-Sludge-Büffel noch nicht kennt, bekommt hier herausragendes Songhandwerk und eine reiche lyrische Erzählkultur geschenkt, die jede Sekunde und unzählige Wiederholungen wert sind. Drei, zwei, eins... nun geht es rund!

CAUSTIC CASANOVA, die psychedelischen Heavy-Riffonauten aus Washington, DC nutzen auf ihrem fünften, das Gehirn schmelzenden Album die starke Kernkraft ihres hyperkinetischen Zentrums, um diverse Soundpartikel in die musikalische Wechselwirkung einzubinden und in einer kaleidoskopischen Heavy-Rock-Extravaganz explodieren zu lassen. Im Jahr 2005 als Trio gegründet, schlagen Schlagzeugerin und Sängerin Stefanie Zaekner, Bassist und Sänger Francis Beringer sowie Gitarrist Andrew Yonki, mit CAUSTIC CASANOVA immer wieder neue Wege ein, um ihre ebenso packende wie unvorhersehbare Musik spannend zu verfeinern. In ihren Klangräumen verbindet sich sardonischer Noise-Rock und proggiger Sludge im Stile von BARONESS, RED FANG und TORCHE mit der gewaltigen Wucht der MELVINS, der Experimentierfreude von BORIS und flottem Gitarren-Heldentum sowie einem Hauch von verdunkeltem Post-Punk. Mit der Aufnahme eines zweiten Gitarristen in der Person von Jake Kimberley im Jahr 2019 machte sich das nunmehrige Quartett auf eine Abenteuerreise mit dem erklärten Ziel, das waghalsigste und rockigste CAUSTIC CASANOVA Album aller Zeiten zu erschaffen. Dabei nutzen die Amerikaner geschickt alle erweiterten Möglichkeiten, die sich aus ihrer Verstärkung mit einer zweiten Gitarre ergeben. Gleichzeitig unterstreichen die Vier auf "Glass Enclosed Nerve Center" auch all ihre bisherigen Stärken: Beringers straffer, melodischer Bass pumpt heftig die beiden heiß-bruzzelnden Gitarren auf, die den gesanglichen Dreiklang flankieren. Zaenkers flexibles Schlagzeugspiel treibt die fünf mäandrierenden Songs des Albums einfallsreich an und fühlt sich sowohl im swingenden Bill-Ward-Stomp als auch in der Hibbeligkeit des Math-Rock wohl. Langjährige Reisende in CAUSTIC CASANOVAs Fahrwasser dürfen "Glass Enclosed Nerve Center" als eine Art von berauschender Rückkehr empfinden, zu der auch das ehrgeizig ausufernde, 22-Minuten-Epos 'Bull Moose against the Sky' erheblich beiträgt, welches die gesamte B-Seite des Albums in Beschlag nimmt. Doch auch wer den massiven Sound dieser galoppierenden Psychedelic-Sludge-Büffel noch nicht kennt, bekommt hier herausragendes Songhandwerk und eine reiche lyrische Erzählkultur geschenkt, die jede Sekunde und unzählige Wiederholungen wert sind. Drei, zwei, eins... nun geht es rund!

XUNTANZA is a galician word that means: The action of gathering a group of people to discuss an issue or have fun.

And this is what it is the first volumen of this VVAA series. A meeting point for great artists disccusing and having fun around ELECTRO music.

In this first volumen, four wizards of the scence will put his vision on this. Versalife, Cignol, Nullptr and boss label, Roi are the responsibles to open the debate on this gathering. Pure fun!

New studio album from CMA, due out October 7th, 2022. Produced by Sam Evian. Following Old Flowers' 2020 Grammy nomination, and due to Covid restrictions, Courtney, for the first time in her young nomadic life, was forced off the road and to remain at home. What resulted was the publishing of her first book of poetry, the first gallery showings of her paintings, and a period of self-discovery leading to the new album, Loose Future. Whereas Old Flowers was a beautiful and emotional break-up record, CMA's return with Loose Future is a bright, dynamic, falling-in-love record. Courtney's got a new story to tell, backed by a strong new musical direction, and a show-stopping collection of songs. Loose Future was recorded at Sam Owen's upstate New York Flying Cloud Studios, with musicians Josh Kaufman (Bonny Lighthorseman), Chris Bear (Grizzly Bear), and Sam Owens (Sam Evian). On the honey shores of Cape Cod in a beach shack, Courtney Marie Andrews found self-love and her voice. Every morning, she’d walk 6-8 miles around the back trails of an island and meditate on her life, perusing old memories and patterns like browsing a used bookshop. After more than a decade on the road, the Phoenix-born songwriter, poet, and painter finally had the space to process all the highs and lows of a life of constants. She was finally ready to make a record of triumph, while not completely forgetting the years that made her. That record is the Sam Evian produced Loose Future.

“If you can imagine a late 1960s folk-rock approach allied to a doomy atmosphere with added touches of lo-fi psychedelia, then you’re getting close to the timbre of Finland’s Hexvessel. There are clearly nods towards King Crimson, Black Sabbath, the Beatles, HP Lovecraft and The Doors, but what the band have managed to do is create something that belongs specifically to them.” – Malcolm Dome, Prog Magazine Hexvessel’s fan-favorite album from 2012, No Holier Temple, gets a luxury 10-year anniversary reissue via Svart Records! No Holier Temple was Psychedelic Forest Folk band Hexvessel’s second full-length album, released to critical acclaim, cult status and some of their biggest sales figures to date. The Finnish “mushroom-devouring pixies” follow up to 2011’s critically acclaimed debut album, Dawnbearer, was described by Roadburn Festival as “a passionate, urgent and gorgeously strange musical spell.” Hexvessel’s break-through album No Holier Temple reached new heights for the band with two Emma Gala (Finnish Grammy Awards) nominations. No Holier Tample also won two Femma awards, which is the Alternative Finnish Grammy Awards. Hexvessel played the prestigious Roadburn Festival in The Netherlands for the first time that year in the church venue of Het Patronaat. The festival sold out in 7 minutes. No Holier Temple also landed in the Main Finnish Charts at #20 and in Alternative charts at #7. No Holier Temple fuses the acoustic 70s folk vibe of its predecessor into a more psychedelic, electric, doom-folk sound with Manzarek-like keys, screeching rhythmic Velvet Underground violins, Miles Davis trumpets and hypnotic freakouts. Weaving the uncanny songs together are the narrative vocals of Mat McNerney, who on this album has matured into the bastard child of Burke Shelley, young Jon Anderson and Paul Simon. Inspired by the progressive, spaced-out haze of bands like Amon Düül II, Van Der Graaf Generator and Ultimate Spinach, whose song “Your Head Is Reeling” they cover with religious abandon. Their sound now expands outward from their eerie, signature, ritual-esque intros into a genre-twisting cauldron of otherworldly rock and the late-night, dreamy spoken-word of artists such as Jim Morrison (An American Prayer) and Ken Nordine.

Bay Area Thrash Metal legend Blind Illusion returns after 34 years with a follow-up to “The Sane Asylum”, featuring Doug Piercy (ex-Heathen) and Andy Gallon (ex-Death Angel)! Thrash as a primitive, earthy genre has given us many greats: Metallica, Slayer, Exodus, Death Angel, Heathen and the like. But the more calculated, technical, and ultimately colorful inventors of progressive Thrash, a genre that blossomed handsomely after Watchtower’s debut in 1985, are what truly push the limits of Thrash and test its creative bandwidth. Blind Illusion on their new album “Wrath of the Gods”, achieve this to a degree that has seldom been approached, let alone passed, in the rest of Thrash history, just as they did 34 years ago on “The Sane Asylum”. What is most impressive and revealing about this album, however, is not the technical ability of the musicians involved (although there is nothing wrong with their ability). It’s the pure brilliance that shapes every song, and the demonstration of how focusing on the art of songwriting will work wonders for a band. “Straight as the Crowbar Flies” introduces us first to the astral energy this album exudes, with catchy riffing and Marc Biedermann’s raspy, growling vocals. The screeching guitar solos and the abrupt rhythm changes keep the song fresh, but the band’s incorporation of technical Thrash elements crossed with extremely catchy riffing and drum arrangements proves to be the strong attributes of this album. There are numerous instances where the band finds its virtue in slowing down, letting a power chord ring out, and then letting the drums restart and propel the song once again. When the band decides to let their guard down and get cagey or manic with the rhythm, it’s done so with precision and doesn’t come at the expense of the song structure. When they get technical, the notes still vibrate with emotion, and the song doesn’t just become a vacuum for skills to be shown off. This message is most evident in every song, which all feature catchy guitar licks and great guitar riffs. What Blind Illusion does best on this new masterpiece is deliver cleverly-written and fun songs with catchy riffs. At the heart of Thrash, that’s really all you can ask for. The effects of how masterfully composed this album is has lend the production a unique ethos that makes it feel human. This is a group of guys who know what die-hard Thrash fans want to hear, and they know how to put it on their 2022 album “Wrath of the Gods”.

Stygian Dark, the purveyors of dirty, down-tuned,
old school death metal, release their debut fulllength album, ‘Gorelords Of War’.
 The band was created by vocalist Dave Ingram
(Benediction, Bolt Thrower) and guitarist Rogga
Johansson (Paganizer, Massacre, Heir Corpse
One, Revolting, To The Gallows). The line-up is
completed by Alwin Roes (Dead End) on bass and
Jon Rudin (Wombbath, Just Before Dawn, Dead
Sun, Wormveil) on drums.
 For fans of Benediction, Grave, Asphyx, Obituary,
Six Feet Under, Dismember, Gorefest, Bolt
Thrower.
 Now available as three different coloured vinyl
editions: clear smoked grey, marbled grey and
marbled red

Stygian Dark, the purveyors of dirty, down-tuned,
old school death metal, release their debut fulllength album, ‘Gorelords Of War’.
 The band was created by vocalist Dave Ingram
(Benediction, Bolt Thrower) and guitarist Rogga
Johansson (Paganizer, Massacre, Heir Corpse
One, Revolting, To The Gallows). The line-up is
completed by Alwin Roes (Dead End) on bass and
Jon Rudin (Wombbath, Just Before Dawn, Dead
Sun, Wormveil) on drums.
 For fans of Benediction, Grave, Asphyx, Obituary,
Six Feet Under, Dismember, Gorefest, Bolt
Thrower.
 Now available as three different coloured vinyl
editions: clear smoked grey, marbled grey and
marbled red

Stygian Dark, the purveyors of dirty, down-tuned,
old school death metal, release their debut fulllength album, ‘Gorelords Of War’.
 The band was created by vocalist Dave Ingram
(Benediction, Bolt Thrower) and guitarist Rogga
Johansson (Paganizer, Massacre, Heir Corpse
One, Revolting, To The Gallows). The line-up is
completed by Alwin Roes (Dead End) on bass and
Jon Rudin (Wombbath, Just Before Dawn, Dead
Sun, Wormveil) on drums.
 For fans of Benediction, Grave, Asphyx, Obituary,
Six Feet Under, Dismember, Gorefest, Bolt
Thrower.
 Now available as three different coloured vinyl
editions: clear smoked grey, marbled grey and
marbled red

Bezbog is a duo formed in 2013 by David Machado and Dora Vieira. Since their first release in 2014, the self-titled Bezbog EP, they have been exploring both acoustic and electronic instruments to create music that lives somewhere in between genres, styles, doctrines and musical cultures. Alongside many underground venues throughout Portugal and Spain, they have shown their work in festivals such as No Noise, Milhões de Festa, Out.Fest, and TESLA at the Castile and León Museum of Contemporary Art, and other places such as the Serralves Museum in Porto and MK Gallery in the UK.

Their latest long play takes its name from the solar deity of the slavic pantheon, Dazhbog - the god that gives, and its idea flows into the concept of this record, through the themes of life, light and darkness, birth and rebirth, and the idea of the omnipresent cycle. We can find cycles in nature, music and life itself can be thought of as a cycle, from the micro to the macro scale.

As they seek to embed their music with these ideas, in a way, their music becomes new sacred music, the music of modern pagan rituals. While Bezbog’s music seeks to replicate the meaning of what that music was, an escape from the profane and a connection to the sacred plane, in form it reconstructs it in light of the duo’s influences, from the obvious portuguese and pagan folklore, chamber and sacred music, to the darkness of doom and heavy metal, the structured improvisations of north-american jazz and psycho-acoustic hallucinations and the hash transients of electronic music.

Dazhbog, while a passenger of the same train of thought as their previous studio work, comes in a different direction from it. Chernobog consists of two short and heavy tracks, painstakingly crafted during several months, while their latest studio effort is a long suite of 8 tracks, composed and recorded live throughout 2020, that form a light and bright record where the duo embedded most of their influences. The album will come out on vinyl in late March, in time for the pagan celebration of Spring and Fertility.

Double LP documenting a realtime collaboration between Terrence Dixon (Metroplex/Tresor/Rush Hour) and Jordan GCZ (Off Minor/Minimal Detroit/Rush Hour). Finally the full results of these special sessions see the light of day (a ltd edition 12" of exclusive tracks owas released in 2020).
BIG TIP!

"In September 2019, Motor City techno legend Terrence Dixon made a rare trip to Europe. He was introduced to Jordan Czamanski AKA Jordan GCZ, a serial collaborator and electronic music improviser best known for his work as part of Juju & Jordash and, alongside David Moufang and Gal “Juju” Aner, as Magic Mountain High.

The pair hit it off immediately, so Czamanski powered up his studio and the pair began to jam. Over the following five days, the pair improvised extensively, stopping only periodically to drink coffee and discuss music, life and much more besides. While in the studio, they barely uttered a word to each other, instead responding almost psychically to the rhythms, grooves, riffs and musical motifs the other was spinning into the mix.

The results of these surprisingly magical 2019 studio sessions are showcased on Keep In Mind, I’m Out of My Mind, the pair’s first joint album and Dixon’s most significant musical collaboration since the Detroiter’s 2018 hook-up with German techno and ambient veteran Thomas Fehlmann.

In keeping with the project’s improvised roots, the six-track set is notable for its immediacy, pleasing looseness – it was mostly created using outboard equipment including synthesizers, drum machines and effects units – and sonic fluidity. It offers a neat, symmetrical blend of the two producers’ trademark styles, with Czamanski’s attractive chords, melodies and jazz-flecked motifs rising above hypnotic, cymbal-heavy rhythms that have long been the hallmark of Detroit’s sci-fi-fuelled techno sound.

This unique and appealing, dancefloor-focused sound ripples through album opener ‘Fretless’, an ultra-deep chunk of heady liquid techno, and the breathless bustle of ‘Operation Delete’, where bubbly synthesizer motifs, cascading ambient electronics and urgent bass cluster around a killer broken techno groove.

It’s there, too, throughout the surging, deliciously percussive ‘Space Chime’, an alien-sounding concoction that sounds like it was beamed down from some distant galaxy, the warming-but-intoxicating minor key swirl of ‘Axis Mundi’ – a two-part slab of techno psychedelia full of trippy electronics, dystopian jazz riffs and intergalactic intent – and the pitched-down, mind-altering oddness of closing cut ‘Above Ground’, when the pair goes all-out in pursuit of leftfield techno perfection.

Created from scratch in a few days by two of electronic music’s most accomplished improvisers, Keep In Mind, I’m Out of My Mind is an exemplary meeting of musical minds and sonic sensibilities."

Matt Annis

Comes with insert with photographs by Atelier Fantasma (Jop Verberne).

Originally released in the UK on 13 May 1996 through Virgin Records, ‘Older’, George Michael’s iconic album, reached the pinnacle of chart success, where it remained for three consecutive weeks, spending 35 weeks in the top 10 overall. The album produced six singles, two of which - ‘Fastlove’ and the haunting ‘Jesus To A Child’ - reached No.1, with the other four peaking in the top three.

The album was a huge global commercial success, going 6x platinum in the UK, as well as verified platinum in another 22 countries – an achievement which is unparalleled to this day.

‘Older’ was George’s third album as a solo artist and would see him experimenting with new musical styles and expanding his artistic horizons. Hailed by critics as a triumph, it told the story of an extraordinary period in the life of the man who wrote, recorded and produced it, as he journeyed through one of the most turbulent periods of his professional and personal life. George channeled all his painful life experiences into one of the most personal, heart-felt albums he had ever written.

Deluxe Edition

We’re proud to present an extravagant 51st anniversary edition of Wigwam’s game-changing prog rock classic Fairyport. What began as a projected 50th anniversary release turned into a 51st due to the current manufacturing queues for vinyl. To create the anniversary package we teamed up with Jukka Gustavson and went through a plethora of material. Gustavson hand-picked the best possible bonus materials. The legendary jam Rave-up For The Roadies, featuring Jukka Tolonen, was located in its original 36 minute form. The truncated 17-minute version is the closing number of Fairyport, but here the full version received an entire LP. Most original reels to Fairyport are lost, but we salvaged a few demo session tapes plus some eight track reels of the album’s work-in-progress stage. Four tracks were chosen by Gustavson to be added here. It should be noted that the two album session tracks feature the original violin parts, which were left off the final product. All material was mixed from the original reels by Risto Hemmi at Finnvox. The box set also features a live LP. For this Gustavson picked material from a show the band played in Stockholm while working on the album’s demo sessions. There’s an earliest existing version of Losing Hold plus a 15-minute medley of several tracks. Also included is a 20-minute live set from the first ever Ruisrock in 1970, a couple of months before the band entered the studio. Here Wigwam perform three classics by The Band. The vinyl box set is limited to 1000 copies. All material has been remastered at Finnvox by Pauli Saastamoinen in 2022.

Nyokabi Kari?ki wrote her upcoming EP, peace places: kenyan memories out next year on SA Recordings, while away from home, Kenya, in the United States, during the pandemic. She found that imagining peaceful, gentle, memories from her 18 years of a childhood in Kenya became an antidote to remedy homesickness and emotional fatigue — and almost naturally, these imaginings evoked a very visceral and creative response within her. From Nyokabi’s childhood home in Nairobi, where her piano, gifted to her at age 8, still sits; to her father’s hometown of K?r?nyaga (‘Ngurumo, or Feeding Goats Mangoes’) and her grandmother’s farm in Kiambu (A Walk Through My C?c?’s Farm); from holidays by the Kenyan coast (‘Galu’ and ‘Naila’s Peace Place’) to a few in Laikipia (‘Equator song’); these places find themselves crystallised in each track of the EP, most apparent through the inclusion of field recordings taken in each respective place; but also in the music and lyricism of the pieces. As she worked on this record, she realised that her mind was not only taking solace in imagining ‘home’ as physical spaces, but also in seeing that ‘home’ was in ancestry, in language and words, in family and friends, in the palpability of her instruments, in harmony but also dissonance, and of course, in music. My album artwork was painted by a dear childhood friend, Naila Aroni, and so I decided to give back in a similar way: by creating a track around her own ‘peace place’. She chose Lamu on the Kenyan coast, a place I’d never been, so I used the video to guide me. In it, she walks along the beach with her best friend, having a conversation that — in the track, we first hear as a unrecognisable ‘yells’, which are actually timestretches of the conversation; framed alongside hyperreal flurries on the vibraphone (played by Chris O’Leary). Then, in the final moments of the song, the conversation is revealed: “Naila, how happy are you?” her best friend asks. “It doesn’t even feel real, It’s surreal,” Naila responds. When I’d heard the audio, the emotion of pure joy & euphoria seemed distilled into the sounds of their voices. And so Naila’s Peace Place is an effort to freeze that moment in time, so we can marinate in the sound of that joy for just a little longer. - Nyokabi on Naila’s Peace Place.

Das zweite Solo-Album des virtuosen Rory Gallagher erscheint am 30. September in einer 50th Anniversary Edition. Gallaghers Können, vor dem sich Generationen von Gitarristen von Hendrix bis The Edge verneigen, begeistert hier nicht nur im neuen Mix & Master und in bis zu 28 unveröffentlichten alternativen Takes, sondern auch in 13 Session-Aufnahmen von der BBC und Radio Bremen. Die ”Deuce” 50th Anniversary Edition erscheint als 2CD, 3LP und 4CD+DVD Deluxe Set.

"“The New Backwards” was conceived by Peter “Sleazy” Christopherson in 2007, revisiting stray tracks which hadn’t seemed to gel with the material he had chosen for the more somber “Ape of Naples” from 2005, COIL’s initial posthumous release, a sort of requiem and a kiss-goodbye to his then recently deceased partner John Balance.

Significantly different to its sister release, this album collects the brilliantly chaotic and outrageously rhythmic material from the original sessions for the album that was begun as early as 1993 and had originally been conceptualised as the follow-up to “Love’s Secret Domain”. These songs are as diverse and wild as the places they originated from, partly infamously spawned in Sharon Tate’s former home in the Hollywood Hills, the Nine Inch Nails home base in New Orleans and London’s Swanyard, remixed and restructured with the help of long-term friend Danny Hyde in Thailand, this collection has its own unique flow and an atmosphere not found on any other COIL release.

Both “AYOR” and “Backwards” had by the time the album was first released already become favourites in COIL’s manic live performances. Some of the other tracks had only leaked in demo versions and are here presented updated and polished as Christopherson and Hyde intended them to be heard. It is interesting to consider Balance’s vocal contributions, too. Whilst on the albums COIL did release at the time this material was first put aside (“Black Light District” and “ElpH”) his voice is all but absent, his vocal performances and his lyric writing here are arguably more closely indebted to the previous “Love’s Secret Domain” era, especially the epic “Copacaballa” is noteworthy in that respect.
The New Backwards” effectively became the final official COIL studio release of all new material whilst Peter was still alive and is here presented for the first time fully supervised by Danny Hyde, its co-creator.
The stunning cover uses a detail from artist Ian Johnstone’s “Cubic Raven” painting, licensed from the estate of IJ..

It is high time to rediscover this timeless album with the Infinite Fog release boasting eight further tracks of previously unheard material from the same sessions, rough working stages and surprising remixes which will surely delight the dedicated COIL archaeologists, as they shine yet another light on the creative process and on what could have been.

Recorded at Swanyard, London and at Nothing Studios, New Orleans, 1996.
Thanks to everyone there, especially Trent Reznor who made it all possible.
Written & Produced by Coil & Danny Hyde.
Remixed by Peter Christopherson & Danny Hyde, Bangkok 2007.
For that session Coil were: Peter Christopherson, Jhonn Balance & Drew McDowall.
Mastered by Jessica Thompson.
Front artwork by Ian Johnstone.
Artwork licensed from The Estate of Ian Johnstone.
Layout Cold Graves and Oleg Galay."

hey you. yes you. is the fourth studio album by Australian musician Ben Lee, released in 2002. The single, "Something Borrowed, Something Blue", was voted #22 in the Australian Triple J Hottest 100, 2002.

Lee who spends time between Australia and the U.S., collaborated with Josh Radnor (Radnor and Lee), Ben Folds and Ben Kweller (The Bens) and wrote the musical B is For Beer with US author Tom Robbins – soon to become a movie that Ben and actor wife Ione Skye will co-direct. He even collaborated with Lena Dunham on a live tongue-in-cheek tribute to Oasis with the live event “Champagne Superanalysis: Celebrating the Gallagher Brothers through songs and readings” that contained a Brad Pitt cameo.

Lee Baggett began a new chapter of his eclectic and varied songwriting career with the 2021 release of Just A Minute, and he’s continuing his experimental streak with his latest full length, Anyway. The seasoned musician is changing his stripes again with this 10-song collection by leaning into a more rollicking sound at times, as evidenced by the brisker feeling “Fruit Dog,” the album’s lead single, and the bustling and twangy penultimate track, “Highway Roll.” By embracing more country-tinged sonic elements like banjo, organ-sounding keys, and harmonica, Baggett is able to weave through winding narratives that poignantly parse through the challenging nature of change and evolution. On “Highway Roll,” he confronts how landscapes and settings he once knew are now unrecognizable, and takes that motif a step further on “Earlier Than The World” by achingly and vividly describing “concrete and rubble” amongst a sea of delicate, yet biting guitar riffs. Escape seems to be a viable option for Baggett with “Sink In My Dreams” and “Dust In The Wind” serving as the album’s soothing remedies, inviting the listener to sit back and get lost in Baggett’s mesmerizing guitar playing. His nimble guitar work is a prominent fixture on Anyway, acting as a crux at several key points. It resonates forcefully and feels emotionally charged. Just take the meandering bridge on “Earlier Than The World” as a prime example of how Baggett can aptly convey feeling through riffs.



Delving deeper into Anyway finds some familiar sounds, with songs like “Oh Well” and “Anyway” evoking the seaside melancholy of Baggett’s prior works. But there’s decidedly more intimacy hidden in the crevices of his words and hooks. Throughout, Baggett uses his refined storytelling skills to share his relatable fears and coping mechanisms, his river-like path to unexpectedly finding love, and his musings on an ever-changing world, amongst other experiences. His conversational disposition, folk-styled lyricism, and emotive sonic backdrops make for an immersive listening experience. - Tom Gallo

Both Aesop Rock and Homeboy Sandman are regarded as top tier lyricists known for pushing the envelope of creativity in their writing, while covering a wide range of topics and moods. However, sometimes things are inherently simple. Take for example, the origin of their collaboration, born from a mutual appreciation for each other as artists which became fully realized when Aesop Rock invited Homeboy Sandman to join him on tour in 2015. Traveling the country together, they built a connection beyond the music, resulting in a friendship that led to recording a few songs together, and before they knew it, there was an infestation...Lice.

Initially released in 2015 as a free direct download, followed by an extremely limited vinyl pressing sold exclusively on tour, Aesop Rock and Homeboy Sandman's Lice is finally available to fans everywhere. The first in a series of EP releases, Lice featured production from DJ Spinna, Optiks, Blockhead, Alex "Apex" Gale and Mike Shinoda. The original cover art was designed by renowned illustrator Jeremy Fish.

This is international pop underground vol. CXLIXI. Almond Joy Oh Henry! is a co-release between Perennial and K. West Coast Fog Pop USA. Almond Joy are the celestial comet heading the West Coast Fog Pop Revival. Featuring a cohort of Bay Area scene stars Jordan Almond (Rays, The World), as well as Muzzy Moskowitz (Froogie’s Groovies, Color Green), Tika Hall (Warp), Staizsh Rodriguez (Children Maybe Later), Britta Leijonflycht (Rays, Galore) , and Pat Thomas (Cool Ghouls). Recorded by Jordan Almond, mixed by Maxwell Mericer with additional mixing to 1/4” tape by Capt. Tripps Ballsington in Olympia WA. Mastered by Amy Dragon. This release continues the rich tradition of DIY bands crafting instant pop hits entirely on their own terms, which has long been the hallmark of the International Pop Underground series. Look for the video for singles “Candy”, “San Francisco”, and “Fosta/Sesta” And a show or two....Whatever happens it is quite assuring that whatever these times may bring bands can still put out music as good as this EP. 600 vinyl copies. 4 tracks 45RPM.

Tracklist 1. Oh Henry! 2. 100 Grand 3. San Francisco 4. Candy

George is Lord is a celebration of all things George Harrison - What began
as an exercise inlearning to play the drums, became a band - Anna
Pomerantz quit her job as Interior Designer to the stars and called upon
old friend Lindsay Glover, to teach her to play the drums
Lindsay, who has played in local LA favorites, Whiskey Biscuit and Future Pigeon,
began by teaching Anna the fundamentals and quickly it turned into learning
songs. "One of the first songs we learned was 'Something.' I've actually spent
most of my life hating the Beatles, but hearing them again for the first time
through the drums, made me fall completely in love, especially with George and
Ringo" recalls Anna. "I began teaching Lindsay the guitar and we started playing
together." The duo went on to learn a number of songs like, "Long, Long, Long," "All
Things Must Pass," and "Give me Love" when they realized they were ready to play
with other people. Lindsay asked friend Cody Porter of Pearl Harbor and Puro
Instinct to come play bass. "In our lessons, Lindsay had taught me how to sing
while playing the drums to keep my place in songs. I didn't think I was going to be
a singer in a band, it just happened." The missing ingredient was a lead guitar
player, and the trio invited Sam Blasucci of the popular LA folk duo Mapache if
he'd be willing to jam with us. He brought his magic and completed George Is
Lord. George is Lord recorded their first album of covers with producer Jason
Quever (Beach House, Cass McCombs). Dean Wareham (Luna, Galaxie 500)
appears as a guest. The ten song record includes a variety of George favorites
from the Beatles catalogue and throughout George's solo career.

(Cargo Collective Title) RIYL: Barker, burger/ink, Andy Stott, Shackleton, Monolake, Jan Jelinek, Perila, Fax. 180gLP in 350gsm jacket + 190gsm inner + DL. CD in custom mini-gatefold paperboard jacket. T. Gowdy has kept up a productive albeit mostly virtual pace since the release of Therapy With Colour (his third full-length album and first for Constellation) which dropped just as things were locking down back in spring 2020: performances at numerous festivals including MUTEK Montréal, Node Festival and NEW NOW; audiovisual pieces exhibited at various European galleries and events; a track and video for Constellation’s Corona Borealis Longplay Singles Series; sound design for the documentary Atalaya by filmmaker Emma Roufs. Gowdy now returns with Miracles, his second full-length for Constellation, which draws on source materials originally performed in 2018 for an unreleased audio/visual project based around surveillance footage—a precursor to video1capped, monitor-based horizons that soon took on new meanings. Re-immersing himself in those recordings, Gowdy disassembles and deploys them as raw source material for new experiments with vactrols, noise gates and analog-to-digital triggering and aliasing, the original recordings juxtaposed anew amidst their successive textural and rhythmic treatments. Gowdy keeps this re-composition process stripped down, elemental and purposive, guided by an ascetic Aufhebung: synthesis as sublation—subjecting a temporal material/theme to analysis and transformation, reintegrating to form a whole that overcomes what it preserves without erasure, reshaping and intrinsically carrying its origins forward. Where Therapy With Colour was strictly and rigorously a set of stereo live performances, Miracles fuses iterative—though still spartan—layers of performance. “Therapy With Colour was about healing through self-hypnosis; Miracles is about forging a future with memory through subjection to trigger mechanisms” notes Gowdy. The result is a captivating collection of minimal IDM and oscillated electronics from the Montréal/Berlin producer, working primarily in a 120-140 BPM zone of tonal percussion and corrugated pulse. Gowdy’s sensibility and sound palette gets deeper and dirtier, summoning new pathways of alluvial flicker and abraded euphoria. As the album progresses, low-pass gate vactrols coalesce into a clear and vital theme, conveying immanence through woody timbres at times reminiscent of the Shinrin-yoku aesthetic (Japanese ‘forest bathing’), though always with a grainy transcendence rather than invoking any clean pure sheen. Gowdy consistently heats and heightens the presence of each component in the mix, balancing different elements in democratic compression/distortion, attaining an unornamental and earnest form of mantric-industrial majesty. Miracles is live, corporeal, activated electronic music of the highest caliber, deployed with monastic and meditative focus. Tracklist: 1 350J 2 Miracles 3 Déneigeuse 4 Transcend I 5 U4A 6 Vidisions 7 Clipse 8 Transcend II