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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.

Khidja continue to develop their tripped out vision with their first full EP for Hivern since 2019's 'Impossible Holiday'. In 'Something In The Water' the Romanian duo presents three new tracks that drift between genres and moods through open minded studio experimentation. "The Future Has Disappeared" and "Back To Vid" rely on contrasting sound palettes and a smart use of the stereo field to build up tension while 'Science of Ghosts' is an expansive number of galactic electro-funk. The 12" features a stripped out mystical remix by Azu Tiwaline while the digital release includes two extra oddball dancefloor cuts. Artwork by cm-dp.

Garden Gaia is a part of Pantha du Prince’s ongoing exploration into the theme of ‘humans as nature’, a theme previously explored on his records Elements of Light (recorded with The Bell Laboratory) and 2020’s Conference of Trees.

Pantha du Prince on Garden Gaia: “There are scientists who say that we humans are ocean that’s been folded together. My music is about raising consciousness, about describing the reality of life and the lost paradise through the means of music. It’s about entering a free space and developing a maximum degree of openness and sensitivity to our bodies – to our mental states and the atmosphere that surrounds us. It’s about mindfulness and a high level of awareness towards what’s happening around and within us. I’ve poured all of these experiences into Garden Gaia as music. And that’s to be taken in the literal sense of ‘pouring,’ since we belong to a flowing process on this planet. A tree also flows into the air, just as it’s connected to other trees beneath the ground through currents of communication. Our lungs flow into our bodies. And as embryos, we were flowing beings. The question is: to what extent can we adult humans continue to flow?”

We have dug for you inside the Californian rock of 60s surf music to extract the pearls of the genre. Enjoy ! Originals Versions Remastered

Space is the place - at least, it's the place uppermost in the mind of midwest US label Past Inside The Present founder zake and his sonic partner Ossa - location given as the north pole according to his Twitter - as they embark on collaborative 10 tracks. The fact that that the National Aeronautics and Space Administration - NASA to you and me - has supplied them with celestial sound emissions for the tracks is a bonus. But ultimately, the real headline factor once it's actually on your turntable is the vivid atmosopheres and gorgeous textures that the pair are capable of generating. The album's closer, 'Metric Expansion', is a tremulous glory, peaking and slipping away like rays of sunlight. 'Space & Time', meanwhile, is a simple, gliding analogue delight, and 'Drifting' proves you can carve imperceptible beauty from a couple of well crafted chords.

Fortuna Records return with a mysterious album by the anonymous artist known only as Moontribe. A deep-space journey between tribal percussion, hypnotizing organs and long echo ripples, all joining in for a snake-charming voodoo ritual of which Moontribe is the Shaman. Expect African drums, hints of cumbia, and distant galaxy exploration in unmeasured doses. An absolute must-have For fans of Sun Ra, Moondog and Idris Ackamoor.

Think about the classic from MAW "Work", Reel to Real "I like to Move it"... TROPICAL FLASH "Get up" has the same vibe and the same kind of potential on the dancefloor !

This is a truly essential for the coming summer, percussive rhythm and expressive Jamaican vocal style. Funky, efficient and with an organic feel due to the bass guitar and percussion.

Along both original mixes features a really cool remix by the NYC Legend DJ Spinna, this time Spinna did not produce a soulful house track but a real massive House Remix with some heavy 90’ influences, really sick! The 12'' has been cut by Mathieu Berthet so expect a very nice cut, the full picture sleeve has been manually designed by Felix Godefroy and is really colourful, it makes a very nice 12'' with good pressing quality on 140g from Vinyl de Paris.

Space is the place - at least, it's the place uppermost in the mind of midwest US label Past Inside The Present founder zake and his sonic partner Ossa - location given as the north pole according to his Twitter - as they embark on collaborative 10 tracks. The fact that that the National Aeronautics and Space Administration - NASA to you and me - has supplied them with celestial sound emissions for the tracks is a bonus. But ultimately, the real headline factor once it's actually on your turntable is the vivid atmosopheres and gorgeous textures that the pair are capable of generating. The album's closer, 'Metric Expansion', is a tremulous glory, peaking and slipping away like rays of sunlight. 'Space & Time', meanwhile, is a simple, gliding analogue delight, and 'Drifting' proves you can carve imperceptible beauty from a couple of well crafted chords.

Clear Vinyl



An album such as this obviously owes a lot to the atmosphere in which it was recorded, which we can imagine was magical. We know it took place in Fromentel, Normandy, in a farm converted into a studio by the producer Jacques Denjean, known for his work with Dionne Warwick or Françoise Hardy as well as having been a member of the Double Six. It was also at Fromentel, that Denjean would record two fantastic albums with Albert Marcoeur. When Emmanuelle Parrenin followed in his footsteps a year later she was in good company: the sound engineer at the studio was her partner and therefore uniquely capable (we imagine) of creating an adequate soundscape for her delicate universe. What is more, five years previously, Bruno Menny, the sound engineer partner, recorded his first and only album, but what an album: in electroacoustic terms we can hear things which make him appear as the spiritual son of his mentor Iannis Xenakis!

What makes Maison Rose unique is exactly this fusion between the two conceptions of Emmanuelle Parrenin and Bruno Menny, creating a perfect marriage of tradition and experimentation. The tradition comes from the songs collected by Emmanuelle Parrenin in rural areas, in a similar vein to the work carried out by Alan Lomax and Shirley Collins. The experimentation is in the sound captured by Bruno Menny, who both arranged and recorded the album. This is not to forget those who came with their guitar (Denis Gasser), or their lyrics (no less a figure than Jean-Claude Vannier). On the one hand we have the humble and non-demonstrative singing, with melodies which remind us of songs we would sing to calm a child's nightmares, and on the other hand a pronounced rhythmic intensity at certain points, such as on "Topaze" where the drums in particular evoke the Motorik of krautrock legends Faust.

A real haven of peace, Maison Rose is enchanting with its aura of mystery and spirituality, with soft, gentle songs which seem both ancestral and futurist. Originally published by Ballon Noir in 1977, this album follows on from other folk marvels such as Le Galant Noyé from the pre-Mélusine period. On the subject of Maison Rose, if we had to risk a few comparisons we would mention Vashti Bunyan, Linda Perhacs, Joanna Newsom, Collie Ryan, Shirley Collins, Trees Community, Sourdeline and Véronique Chalot as those which spring spontaneously to mind. But this is too reductive for the timeless singularity of Emmanuelle Parrenin: because Maison Rose was recorded in 1977, in the midst of the punk revolution.

PWNT, the LA-based dream-pop project of Kosta Galanopoulos, is to release his debut album, Days in the Summer via the Nashville-based label, Acrophase Records (Ginger Root, Harriette). Seamlessly fusing the worlds of 60s psychedelia, 90s Britpop, and the sounds of 2010-era acts such as Passion Pit and MGMT together, the debut album will follow a run of early singles for PWNT – an acronym of "Play What's Not There", which comes inspired by a Miles Davis quote.

TRACKLIST: 1. Intro 2. Falling Down 3. Days in the Summer 4. Sunday Runaway 5. Funny 6. Composers 7. Feeling in the Air 8. Goodbye 9. Sing Me a Song 10. Red Reflections 11. All I Want 12. Shortcuts 13. Real Thing 14. All I Want is a Good Ending

"“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."

Pretty Girl is in some sort of purple patch. Storming off the back of stellar releases ‘Arc’ and ‘Sun Phase’, the Naarm neophyte has officially arrived with her debut EP ‘Middle Ground’. What is now becoming somewhat of a signature, the artist lathers the debut in her very own saintly vocals. This is a four-track exposé of emotive dance music. 


The A1 ‘Arc’ sets the tone. Flexing her muscles in sound design, PG pieces together a shimmering house runner. Featuring laser-like chords and delectable drum patterns, ‘Arc’ sends you skyward. Racking up giant streaming numbers and snaring features on more than 20 Spotify Editorial playlists, this one’s an underground bullseye. 


'Empathy’ is the next to arrive. A call and response record that walks a lovely tightrope, perfectly balanced in both vocals and production. As the name suggests, the piece is stacked with deep motif’s that act as a window into Pretty Girl’s day-to-day. Her standout vocal production to date is met with her distinctive driving percussion and melancholic chord progressions. 


'Lavender’ is a sharp percussive creation and a fitting welcome to the B-side. A one-line affair that burrows deeper and deeper. Once again, showing off her prowess in production, PG plays masterfully with sub-bass and glitchy drums resulting in a stellar display of late-night audio. 


Although devoid of lyrics ‘The Only Way Is Through’, brims with feeling and is the perfect climax. Here’s a record full of hope and promise. Manipulating an array of judiciously chosen synths, PG shapes a vast interstellar space. Over the 8 minute trip, a palette of tight drum patterns come knocking, pleasantly surprising you with each visit. With time on her side, the producer gives each sonic element its moment in the spotlight. And girl do they shine! Where there is light, there is darkness and PG plays with both moods to perfection. Listen closely and you can almost hear the concentration involved in piecing this moving galaxy together. 


With staggering streaming numbers across multiple platforms along with additions to some of the world’s most sought-after playlists, the time is now for Pretty Girl and the release of ‘Middle Ground’.

A legendary indie audio artist blurring his lifelong attachments, from spontaneous composition (in the late 70's with John Zorn) to experimental rock (with Bongwater and other bands in the 80's) alongside his recent inquiries into the intricacies of ambient-folk songcraft (with his most recent solo LP, "And The Wind Blew It All Away"), Kramer continues to explore the possibilities of shaping naturally occuring aural landscapes into intoxicatingly affecting music. Sound and language - not just melody and ambient textures - has been his raw material for decades. He nowjuggles them more deftly than ever on his newest ambient opus. In the ten compositions that comprise this new LP, mournful at times yet mysteriouslylife-affirming and generous in their scope, Kramer sees films where there arenone, and composes his accompanying ambient soundtracks in a state of interrupted grace. Words, text, complete screenplays, character arcs, shooting scripts and storyboards swirl through his head as he puts his imagery to sound, and the results evoke a world in which moths, drawn to the bright flickering lightsof Cinema and the low humming lights of Dreams, in Kramer's own words, "...might never die". The LP's nature reveals an interior dialogue between musician and choice. Each piece represents Kramer's encounter with the blank canvas of silence that greets him as a composer. Embracing sounds as objects and instruments of Truth, the end result of his process is as much about what is absent and what has been removed or edited away than what is left in its wake as artifacts of emotion. These pieces are the Spring frost of lost imaginings, vanitas to broken connections, visions nearly unrecordable by the human eye. Kramer envisions a music that functions to stoptime, as an event that always plays in the present and never needs a past to give it a reference point. It is music that communicates in the most intimate way possible, as intricately and as deeply as the way it blossoms and shifts and evades categorizationwhen exposed to thin air. Drawn toward the light of a multitude of influences, we hear echoes of the feverishly frozen dreams of composers Morton Feldman, Terry Riley, Brian Eno and Arvo Part, melting alongside the surreal cinemas of David Lynch and The Brothers Quay, all parts converging to evoke a time and place that does not exist outside of the mind's eye of the listener. These ten works are fluid adventures in fathomless landscapes, emotions distilled and offered as a paintless painting without a physical home. Each individual composition is an offering to a future memory, a chalice to be filled with the listener's own reactions to them. As a whole, the ten pieces form an image of ten circling planets in an expanding galaxy that colors itself anew with each subsequent listen. Movement, grace, and Peace.

Shadows by The Mysterious Flying Orchestra (Remastered Edit) b/w Morning (Remastered Edit) / Acquarius (Remastered Edit) by Cal Tjader | Black Hole BLKG-3 | Fresh delivery via @galaxy_sound_company test pressing! Black Hole's 3rd release in the Sample Series finds Black Cash & Theo link up for a trio of #jazzfunk, #soul sounds, all served up as special remastered edits.

Side A’s “Shadows” by The Mysterious Flying Orchestra is taken from their self-titled & sole 1977 LP & Is a cover of a Lonnie Liston Smith tune from 1974. Sampled by the likes of @gangstarr, Curren$y, & others, “Shadows” a stand-out track from an obscure album by the legendary jazz producer Bob Thiele that is wonderfully moody. Smith's melody is rather slight, which requires TMFO, in Ott's arrangement, to create the right atmosphere, perfectly voiced by the horn section. Smith is heard beautifully dancing throughout the piece on electric piano, offering a voice that was already one of the instrument's most distinctive at this point. Marcus solos on tenor sax. It is funky fusion made by some of jazz's best improvisers of the time & an absolutely essential addition to your 45 crates.

Side B offers up 2 tasty #CalTjader tunes that many hip-hop & beat heads fans are more than familiar with. Tjader is known for his deep love affair with Latin music & his fusion with his jazz sensibilities to form an inimitable & intoxicating heady blend of grooviness. “Morning” is taken from his 1971 LP “Agua Dulce” & was sampled by the likes of Gangstarr, Pete Rock, the Beatnuts & Buckwild. “Aquarius”, from Tjader’s 1968 LP “The Prophet”) is a lullaby #90shiphop heads immediate recognize via @atcq’s use on an interlude for the 1993 hip-hop classic LP #MidnightMarauders.

As the name suggests, Sai Galaxy represents a star-studded
cluster of artists from around the world – their varied styles
colliding to form a refreshing fusion of classic Afrobeat, disco
and West African funk.

Drawing from the influence of 70s and 80s Nigerian artists
such as Nkono Teles, Jake Sollo and Mike Umoh, the Sai
Galaxy collective is on a mission to reproduce the analogue
warmth and groove from those decades. Consequently, they
lean heavily on 70s production techniques - free from the
predictable rigidity of digital sequencing.

Spearheaded by Australian multi-instrumentalist Simon
Durrington (from Digital Afrika), the members include
Olugbade Okunade - former trumpet player from Seun Kuti’s
Egypt 80 - as well as guests Gabriel Otu, Ray Lédon and
Vanessa Baker.

While the EP seeks to reflect 70s production, glimpses of
contemporary elements can be found in the arrangements
and harmonies, at times reminiscent of modern artists such as
Lord Echo, Bosq and Voilaaa.

As Durrington believes: “dance is vital to health and
community”. And with an EP that urges you to dance from
start to finish, consider Sai Galaxy a cosmic tonic for the
modern lifestyle.

VINYL REPRESS FINALLY ON THE WAY..

*Since the release of 2011’s award winning debut, 'No Time for Dreaming', Charles Bradley has transformed from a rising star in the Daptone galaxy into a bona-fide headliner, now affectionately known across the globe as "The Screaming Eagle of Soul."

*The popularity of 'No Time For Dreaming' resulted in an appearance on 'Later With Jools Holland' in 2012 and such glowing reviews as:

-LEAD 4/5 BOXED REVIEW IN MOJO : “THE GRIT AND GUSTO OF OTIS REDDING, THE RAW POWER OF JAMES BROWN, THE SMOULDER AND SHUDDER OF JAMES CARR, TOGETHER THEY MAKE AN INTOXICATING SOUND.
-LEAD 4/5 REVIEW IN Q MAGAZINE : “THERE'S A NEW/OLD SOUL MAN ON THE BLOCK. 'NO TIME FOR DREAMING' HAS THE GRITTY FEEL OF THE REAL THING, A MAN WHO HAS KNOWN MOSTLY HARD TIMES AND TELLS IT WITH A PLEADING, THROATY ROAR AND BLOOD-CURDLING SCREAM WORTHY OF JAMES BROWN . A REAL FIND.”

*The raw emotion and soulfulness of Bradley's voice lifts him up among the greats of the golden age of Soul - Otis, JB, Wilson Pickett, and Darrell Banks. Anyone who has had the privilege of hearing him sing has experienced how Bradley can captivate an entire audience with a simple "Ooooo..."

*Bradley and writer/producer/multi-instrumentalist Thomas “TNT” Brenneck returned to Dunham studios and recorded the most exciting Daptone release to date, Victim of Love. On this album, Bradley moves past his "Heartaches and Pain" to the great promise of hope and love. Though quite at home among the music that has affirmed Daptone as the world’s #1 authority on Soul Music, Victim of Love proves to be a genre-bending masterpiece, picking up where the early 70’s Temptations left off and edging boldly forward into psychedelic soul exploration.

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

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

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

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

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

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

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

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

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

Tripped has been producing hard Industrial electronic music for over 17 years. Releasing a ton of quality EPs and 12" records ranging from full force terror to slow industrial techno. Always pushing forward perfecting his unique signature sound no matter what style or BPM range.

Now after 17 years we are super excited to be able to present his first ever full length album, on PRSPCT recordings.

Unboxed by Tripped is a 3 x 12" vinyl album consisting of 13 tracks that take the listener on one giant musical journey passing all corners of the Tripped galaxy.

From experimental noisy industrial tracks like "Pain" & "909". To speeding up the pace on a track like "Fartbox" while throwing in some heavy pounding schranz on "Shinyuku Heat".

Bringing back the oldschool vibes on "Misfits" together with ISR legend Lenny Dee and than going full force hardcore/breakcore war mode on "Kapsalon".

This album just keeps the listener moving, never a dull moment, pure adrenaline & excitement.

Here at PRSPCT we gave Unboxed by Tripped a 5 star rating on Yelp. It's simply that F-ing good!

Now go buy the record or spend the rest of your life full of regret.. Trust us.. You don't want that..

Germany exclusive edition on White & Blue Galaxy Vinyl. Sacred Bones celebrates its 15th year label anniversary with this repress of the haunting and monolithic May Our Chambers Be Full. "The juxtaposition of Rundle's long distance melodies and Bryan Funck of Thou dredging up his guts to scream into the sky shows two sides working together to create something surprising and new." - The Fader // "The whole LP would be a great release for either artist, but it's the brilliant convergence of sensibilities that sets it apart in the landscape of alternative metal... an excellent entry point for any would-be Thou fans, and a potential game-changer for Rundle ones." - Loud & Quiet

**JAPANESE IMPORT CD NOW AVAILABLE TO PRE-ORDER FOR 12TH AUG**

Iconic indie folk pop duo from Galaxie 500 return with a dreamy collaboration with atmospheric Japanese guitarist Kurihara.

“With its meditative tempos and enveloping guitar work by Michio Kurihara—‘it’s like this golden net,’ Naomi said of his gorgeous, versatile playing—A Sky Record offers shelter from the squall. If it has the glow of a long-delayed reunion between friends, that’s not accidental: Kurihara hasn’t traveled outside of Japan in some time, so Damon and Naomi hadn’t recorded with him in nearly ten years. When they finally made it back to Japan in November 2019 for a brief tour, they were elated to book some time with Kurihara at the aptly named studio Peace Music.

“In those long stretches of quarantime, the tracks they returned from Japan with had distinct moods but not yet any lyrics. (Kurihara works best when trying to conjure a specific feeling or natural image—after all, he did once make a solo record, Sunset Notes, on which every song was based on a different sunset he’d witnessed...) How to write about the pandemic? How to not write about the pandemic? Naomi first struck upon the appropriate tone when re-reading the journals of one of her favorite abstract painters, Charles Burchfield. She arranged this found language into the lyrics of the iridescent ‘Season Without Time,’ which also became a tribute to a friend that she and Damon had lost in the last year.

“From there, the floodgates opened. The wistful and watery ‘Midnight’ (electrified, towards the end, by the slow screams of a Kurihara solo) conjures Naomi’s nostalgia for youthful summers spent at Jones Beach, while the gentle current of ‘Sailing By’ pays homage to those ritualistic BBC Shipping Forecasts and the waltzing, quintessentially British theme song from which it takes its name.”
—Lindsay Zoladz

On Goose Bumps, Connecticut's Boyscott present ten upbeat tracks that
forge together elements of surf rock and bedroom pop
Weaving these supple sounds of yore into the techniques of today, Boyscott's
distinct bedroom- recorded bops betray the limitations of their modest studio
situation with a sonic depth not commonly associated with lo- fi
projects.Originally released in 2015, Goose Bumps is getting its first vinyl reissue
with a co-release by Topshelf Records and Babe City Records. Although it took a
few years of rotating casts, various makeshift studio experiences, and over a
hundred shows, Boyscott have clearly carved out their own place in the world,
garnering millions of streams and selling out many DIY physical pressings in the
process. Pressed on Dark Blue & Powder Blue Galaxy vinyl.
Audio Link:

The LP ‘All Welcome on Planet Ree-Vo’ due for release on 29th July could only really have been made in one city steeped as it is in Bristol’s decades of less conventional hip hop and bass music. Tweaked and fine tuned during the summer of 2020 the record punches with a mix of red eyed paranoia to a playful future funk.
The album was all recorded, produced and mixed by Andy at Christchurch Studios, Bristol (home of Mezzanine era Massive Attack) with all vocals written and performed by T. Relly.
During 2021 the first two singles from the LP were released. The first was the juggernaut that is ‘Groove With It’. T. Relly growling out polemic against the relentless cacophony spun by Andy Spaceland, The brutality of the bass and horns is temporarily smoothed with Relly’s soulful, swaggering placation of ‘Turn your speakers on/ Till ya speakers blown baby/ If you’re feeling strong baby/ We can keep it going baby’.
This was followed in April by the 12” release of Combat featuring a thumping remix by Surgeon (Tresor Records) and an extended electro remix by Ree-Vo themselves.
2022 began with the limited red 7” release of remixes by NØISE and Batbirds with stunning original artwork by Shepard Fairey who came to the project via mutual friend Joe Cassidy (Butterfly Child). The release was announced on OBEY’s website
‘Spacebox’ which will be the last single to be released in time with the album is their hookiest, a party throwing chorus spinning tipsy visitors around the intergalactic control booth of mission control.
“Lift off, blast off, shirt off, dance off! Naked in the dancehall SPACE BOX!” is the beamed mantra, Relly transmitting to all occupants of the galaxy.
“We wanted to make a hedonistic and colourful dancehall track, a bold response to the suppressive circumstances of the last two years”.
About Ree-Vo:
T. Relly​ is pure Bristol hip-hop royalty – known in the community variously for his links to all of the city’s major club nights, his passion and support for the most disadvantaged (through his work with the youth and prison leavers), through to compering stages at St Paul’s Carnival and his seminal 2018 LP with DJ Rogue ‘Let Them Know’. He collaborates with many crews including Innalife and Killer Crab Men.
Andy Spaceland​ (AKA Andy Jenks) got involved in Bristol bass music as soon as he moved to the city with Static Sound System​ and a collaborative 12” with Rudy Tambala (​AR Kane​) as Sugarboat Vs Sufi, before his band ​Alpha​ were signed to ​Massive Attack​’s label Melankolic, whilst he also became one of their tour DJ’s. His CV of collaborations range from ​Smith and Mighty​ to Madonna. He has released music on Dj Die’s label, Gutterfunk as White Bully and he is also currently releasing music with US producer ​Butch Vig​ in the band ​5 Billion in Diamonds​, whilst working on new tracks with ​Mark Stewart (The Pop Group) including remixes by Adrian Sherwood. His signature sound can also be heard on this remix for ​Elizabeth Fraser​ -

The LP ‘All Welcome on Planet Ree-Vo’ due for release on 29th July could only really have been made in one city steeped as it is in Bristol’s decades of less conventional hip hop and bass music. Tweaked and fine tuned during the summer of 2020 the record punches with a mix of red eyed paranoia to a playful future funk.
The album was all recorded, produced and mixed by Andy at Christchurch Studios, Bristol (home of Mezzanine era Massive Attack) with all vocals written and performed by T. Relly.
During 2021 the first two singles from the LP were released. The first was the juggernaut that is ‘Groove With It’. T. Relly growling out polemic against the relentless cacophony spun by Andy Spaceland, The brutality of the bass and horns is temporarily smoothed with Relly’s soulful, swaggering placation of ‘Turn your speakers on/ Till ya speakers blown baby/ If you’re feeling strong baby/ We can keep it going baby’.
This was followed in April by the 12” release of Combat featuring a thumping remix by Surgeon (Tresor Records) and an extended electro remix by Ree-Vo themselves.
2022 began with the limited red 7” release of remixes by NØISE and Batbirds with stunning original artwork by Shepard Fairey who came to the project via mutual friend Joe Cassidy (Butterfly Child). The release was announced on OBEY’s website
‘Spacebox’ which will be the last single to be released in time with the album is their hookiest, a party throwing chorus spinning tipsy visitors around the intergalactic control booth of mission control.
“Lift off, blast off, shirt off, dance off! Naked in the dancehall SPACE BOX!” is the beamed mantra, Relly transmitting to all occupants of the galaxy.
“We wanted to make a hedonistic and colourful dancehall track, a bold response to the suppressive circumstances of the last two years”.
About Ree-Vo:
T. Relly​ is pure Bristol hip-hop royalty – known in the community variously for his links to all of the city’s major club nights, his passion and support for the most disadvantaged (through his work with the youth and prison leavers), through to compering stages at St Paul’s Carnival and his seminal 2018 LP with DJ Rogue ‘Let Them Know’. He collaborates with many crews including Innalife and Killer Crab Men.
Andy Spaceland​ (AKA Andy Jenks) got involved in Bristol bass music as soon as he moved to the city with Static Sound System​ and a collaborative 12” with Rudy Tambala (​AR Kane​) as Sugarboat Vs Sufi, before his band ​Alpha​ were signed to ​Massive Attack​’s label Melankolic, whilst he also became one of their tour DJ’s. His CV of collaborations range from ​Smith and Mighty​ to Madonna. He has released music on Dj Die’s label, Gutterfunk as White Bully and he is also currently releasing music with US producer ​Butch Vig​ in the band ​5 Billion in Diamonds​, whilst working on new tracks with ​Mark Stewart (The Pop Group) including remixes by Adrian Sherwood. His signature sound can also be heard on this remix for ​Elizabeth Fraser​ -

Third part of Gary Martin and Yossi Amoyal's DET project! Reissue of proper wild mid-90s Gigi Galaxy classics - Killer 10"!

Berlin talent Joplyn is next up on Crosstown Rebels making her debut release on the label titled We Will Forgive Ourselves featuring remixes from prolific producer MK and label-head Damian Lazarus. Serving up two remixes in the form of MK’s Dub and Damian Lazarus’ Re-Shape, it acts as another milestone release for the near twenty-year-old imprint.

We Forgive Ourselves is the perfect musical metaphor for Joplyn’s inspiration. The track opens proceedings with elegant drum pads which are paired beautifully with quaint hi-hats. A gentle, healing vocal, followed by a deep heavy bassline creates a profound juxtaposition. Galactic-like sounds fizz in and out, fusing everything together to create a real sense of utopia that truly embodies Joplyn’s vision.

Brimming with a signature MK sound right from the offset, we’re treated to six-and-a-half minutes of perfectly executed contemporary deep house. Warming, subtle and inherently groove-led, soft kicks open into Joplyn’s haunting vocal offerings before rhythmic hats coalesce alongside, forming a modern dance anthem that is sure to light up many a club setting this summer.

Damian Lazarus’ Re-Shape comes next. Shimmering with an ethereal quality, the nine-minute piece undulates between moments of spiritual bliss to pummelling, acid-laden danceability. Whirring synths help create a galactic quality, as we travel between feelings of introspection, euphoria and everything in between.

PBS Nights (Star Hustler) b/w Turn. It. Up. by Strictly Butters | GSC45-34 Galaxy Sound Co. | Even better, I love it when the always on-point @galaxy_sound_company takes a surprising turn from the edit game to drop another sure shot by Michigan beat maestro @strictlybutters. It’s the second release on GSC by the Owosso, MI skateboarder, cyclist & sneaker-head. He is a deep digging vinyl head, dad, & brilliant bedroom beat maker & now gifts us with another super sweet pair of hip-hop instrumentals. Side A’s “P.B.S.” recalls a 70s Public Broadcast Service afternoon with my babysitter aka the TV. Rolling piano & warpy keyboards over a tight drum break was a perfect soundtrack for me while walking my Detroit streets on a sunny afternoon. The vibe comes correct. Side B “Turn It Up“ bounces effortlessly and simply to do what Strictly Butters says, the sweet soul guitar riff will force you to turn the knob up to 11. So whatcha waitin’ for son?

Acid Rooster were described by ‘Le Guess Who Festival’ as a ‘wet dream for heads who cram their record collection with Amon Düül, Spacemen 3, Wooden Shjips, Tangerine Dream’ – a statement we wholeheartedly endorse.

Ad Astra was recorded live in July 2020 in a private garden with a field recorder in front of a small audience of friends during the lockdown in the middle of the corona pandemic. The two long jams were the opening and the closing track of a completely improvised concert and are a spontaneous snapshot of Acid Roosters approach to free floating consciousness expanding psychedelic music.
So 2 tracks and 46 minutes of Acid Rooster digging deep into the well of far-out psychedelic rock that is one mind-expanding journey to the innermost limits of your mind.

Zu den Sternen was the intro and is a slow-burn trip where you ride wave upon wave of ecstatic highs until you eventually hit the peak in freak out territory as Acid Rooster merge with the cosmos and then ride the golden afterglow home into an eternal locked groove.

Phasenschieber rides that afterglow of galactic intensity – a place where you can just let go as the music created drifts and pulses away. It is a Beautiful, hypnotic, spaced out, blissful state where Acid Rooster takes you beyond the Astral Planes.
Released by Cardinal Fuzz (UK), Sunhair Music (EU) and Little Cloud Records (US) in an edition of 600 (300 x Galaxy and 300 x Black)
Artwork by our beloved Chris Kröber

Cabaret Voltaire co-founder Stephen Mallinder's second solo outing for Dais further distills his signature fusion of minimal synth, oblique wordplay, and "wonky disco" into a riveting rhythm suite ripe for our Age of Escalation: Tick Tick Tick. Channeling the temporal malaise of lockdown through a lusher palette of modular electronics and stereo strings, the songs embrace ambiguity and plasticity, loose systems of percolating circuitry and airless funk. Recorded across a handful of sessions at Meme Tune Studios in Cornwall with frequent collaborator Benge (aka Ben Edwards), Mallinder cites no guiding aesthetic premise for the collection beyond "cowbell on every track, and entirely no reverb." From the first coiled cybernetic groove of opener "Contact," the album's spatial dynamics are disorienting and asymmetrical, alternately cold and sensual, opiated and claustrophobic. But, throughout, "rhythm is the default, the bedrock, the building block-even the melodies are rhythmic." Across 40-plus years of electronic musicianship, Mallinder's sense of timing and tempo has honed into a rare tier of mastery, limber and fluid but knotted with strange frictions. Shades of Detroit technoid industrial ("ringdropp," "Shock To The Body") crossfade into now avy punk-funk ("Guernica Gallery," "Galaxy," "The Trial"), bad trip IDM ("Wasteland"), and jittery vapor house ("Hush"), at the threshold of modes both familiar and foreign. Lyrically the record is equally evasive, rich with allusions and associative linguistics, surveying liquid notions of societal noise, ecological ruin, art world pretension, and the trials of daily life. But the lack of fixed meaning remains Mallinder's main muse: "Music should draw you in; lyrics should make you think. Most interpretation is misinterpretation." This is music of countdowns and comedowns, fleeting pleasures and opaque futures, observing the great decline while dancing on its ashes. Flux is deathless and forever; the rest, illusion: "I will be a constant figure / Flickering a moving picture / Turning in your head forever / Split apart but held together."

Cabaret Voltaire co-founder Stephen Mallinder's second solo outing for Dais further distills his signature fusion of minimal synth, oblique wordplay, and "wonky disco" into a riveting rhythm suite ripe for our Age of Escalation: Tick Tick Tick. Channeling the temporal malaise of lockdown through a lusher palette of modular electronics and stereo strings, the songs embrace ambiguity and plasticity, loose systems of percolating circuitry and airless funk. Recorded across a handful of sessions at Meme Tune Studios in Cornwall with frequent collaborator Benge (aka Ben Edwards), Mallinder cites no guiding aesthetic premise for the collection beyond "cowbell on every track, and entirely no reverb." From the first coiled cybernetic groove of opener "Contact," the album's spatial dynamics are disorienting and asymmetrical, alternately cold and sensual, opiated and claustrophobic. But, throughout, "rhythm is the default, the bedrock, the building block-even the melodies are rhythmic." Across 40-plus years of electronic musicianship, Mallinder's sense of timing and tempo has honed into a rare tier of mastery, limber and fluid but knotted with strange frictions. Shades of Detroit technoid industrial ("ringdropp," "Shock To The Body") crossfade into now avy punk-funk ("Guernica Gallery," "Galaxy," "The Trial"), bad trip IDM ("Wasteland"), and jittery vapor house ("Hush"), at the threshold of modes both familiar and foreign. Lyrically the record is equally evasive, rich with allusions and associative linguistics, surveying liquid notions of societal noise, ecological ruin, art world pretension, and the trials of daily life. But the lack of fixed meaning remains Mallinder's main muse: "Music should draw you in; lyrics should make you think. Most interpretation is misinterpretation." This is music of countdowns and comedowns, fleeting pleasures and opaque futures, observing the great decline while dancing on its ashes. Flux is deathless and forever; the rest, illusion: "I will be a constant figure / Flickering a moving picture / Turning in your head forever / Split apart but held together."

About Last Night… is Mabel’s second debut studio album by English singer and songwriter Mabel, released on 15th July 2022 by Polydor Records. Mabel worked with artists such as 24kGoldn, Lil Tecca, Jax Jones, Galantis, Joel Corry on this album. A candid, positive and important voice in contemporary pop, the Brit Award winner’s new music emerged not just in the wake of a startling few years in the public eye, but through the life-changing lens of the pandemic. Right at the beginning of lockdown, Mabel and her dogs moved back in with her parents, she threw herself into dance classes, and channelled everything she missed (close friends, the big night out, young love, feeling unafraid) into this brand-new musical chapter. As she continued work on the record in the UK, US and between various lockdowns, Mabel first teased what she had been working on with first single ‘Let Them Know’ – an unapologetic anthem about dressing up with nowhere to go, and projecting confidence for anyone who needs it. Recent single ‘Good Luck’ distilled influences of house, heartbreak and female solidarity into perfectly realised pop – and the empowering song you need, when getting ready to go to the party of ‘Overthinking’. Pulling all these strings and tying them together is Mabel herself, with much more on the project to be revealed soon.

The multiple award winning action-adventure game God Of War was first released in 2005, but became such an instant hit, that Santa Monica Studio created seven more versions of the game. The most recent one, released in 2018 for the PlayStation 4, focusses on main character Kratos' journey in the Greek world together with his son Atreus, following a path of vengeance as a result of being tricked into killing his family by Olympian gods.

God of War received universal acclaim for its story, design, graphics, combat system, characters and music. It was awarded 'Game of the Year' by numerous media outlets and award shows. God Of War (2018) performed well commercially, selling over five million copies within a month of its release. It became one of the best-selling PlayStation 4 games.

The official soundtrack won a BAFTA Award and is composed by Bear McCreary. It is set up around themes he created around primary characters in the game. Inspired by Viking folk music, McCreary used exotic instrumentation and languages from various Northern European folk traditions. It resulted in a score featuring deep choirs, pounding drums, shrieking brass and features Faroese singer-songwriter Eivør (Pálsdóttir). The American composer Bear McCreary is best known for his work on TV shows like Battlestar Galactica, Outlander, The Walking Dead and won an Emmy Award for the main title of Da Vinci's Demons.

Clear vinyl LP edition of 500 copies. Vacant Gardens is Glenn Donaldson (of The Reds, Pinks and Purples and a hundred others) and Jem Fanvu, collaborating on music and with the latter responsible for vocals and lyrics. The project began with the idea of combining heavy fuzz and slow-mo drum machine beats with Fanvu's gentle almost trad-folk style vocals. Almost all of Donaldson's otherworldly sounds are achieved through layers of guitar fuzz and copious delay, while Fanvu offers an ideal counterpoint, taking the listener on a celestial melancholy trip with her opaque poetry and melodies. So inspired were the duo by this blend of styles, they immediately recorded at least two albums of material, Under the Bloom and Obscene, released in quick succession in 2020 and 2021 in swiftly-disappearing micro editions on the secretive Tall Texan label. With those records close-to-impossible to find at an affordable price, Tough Love are now reissuing both LPs. From Reds Pinks and Purples' Glenn Donaldson, Vacant Gardens is an interstellar recording project that combines celestial, shimmering guitar on the verge of breaking like a massive, emotive wave and an ethereal vocal style from Jem Fanvu (visual artist, Minor Ghost Band also, plus collaborating with Tune-Yards, Cavity Fangs and many more) recalling Hope Sandoval or Liz Fraser that sails in its wake. Simply put, this is some of biggest, heart-tugging guitar music you'll hear in recent times. Sold out at once debut Under The Bloom, is followed now a continuation and development of the group's sound on Obscene: a frayed tapestry of Slowdiving, Flying Saucer Attack guitar noise wall married with an angelic vocal from Fanvu that glitters in counterpoint to the stringed distortion like Hope Sandoval or, in the way it shines bright in the fog, like Jonsi's surfing the surging waves of emotion in early Sigur Ros. Originally released in February on digital formats, Obscene gets a vinyl press and is sounding massive. Vacant Gardens' music suggests oceanic feelings, a hazy intergalactic consicousness that burbles beneath the surface of everything while also touching the visceral points in the human heart that makes groups like Galaxie 500, Yo La Tengo so timeless.

American rock band King’s X combines progressive metal, funk and soul with vocal arrangements influenced by gospel, blues and British Invasion rock groups. Recurring themes are their struggles with religion and self-acceptance. During their major label career with Megaforce Records, King’s X secured opening slots for bands like Cheap Trick, Iron Maiden, AC/DC, Scorpions, Pearl Jam and Mötley Crüe.

In 1990 they released their third studio album Faith Hope Love, which charted #85 on the Billboard Top 200 Album Chart. The featured single “It’s Love” peaked on the Billboard Singles Chart at #6. On the tracks “Mr. Wilson” and “Faith Hope Love” you’ll hear the Galactic Cowboys who provided backing vocals.

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

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

Following the precursor singles of 2021, Formality Jerne-Site’s unveiling is finally cast upon her already-growing fanbase. Trained classically as a composer and completing a masters at the Royal Danish Academy of Fine Arts, Jura introduces a highly-anticipated playground of carefully sculpted characters, plots and lessons - sometimes charming, sometimes nefarious, always absolute and sincere. A fictional land opens its doors and roof to us. A trio of trans kids run amok in rural suburbia. Various sorcerers of the wild future enter the scene on some songs; on others, the mind is cast to sun-drenched drives and journeys of yesteryear. At the heart is a pop sensibility: yearning, reflections, vanity, guesswork, hope. Jura is adamant about practice and precision. Dead seriously she offers, about making music: ‘Nothing should be half-hearted or an accident.’ There’s a maturity and elegance to her compositions, arrangements that - although at first sound seem abstract - lean away from experimental, somehow. She sing-speaks in English, and somehow not typically theatrically for such a play of a record. The theatrics are all real. It’s a fantasy land for sure, but it's based on hard facts. Like academia subdivided into poetry. It’s that weird-ass specificity she mentioned. Opener ‘Someone’s Lifework’ introduces less a choir of voices, than a choir of personalities. The art of storytelling is at the center of the musical expression. A protagonist relinquishes control of chaos that’s bigger than them on a perilous journey on some vessel: they comfort their co-passengers. There’s a sense that the hero - or anti-hero - might be more canny and cunning than the sweetness they first sell to fellow players. 'Is this our getaway chance?’ sings fellow Copenhagener Ydegirl amongst swelling synths and reverb that become so definitely Jerne-Site as the quest continues. The search? For intimacy, perhaps. ‘Same late Age (dIcK bIfFeReNcE)’ imbibes at once, some further disorientation, perhaps a little hallucinatory feeling which may come over the listener. Through a synthesizing of political themes that work across time ‘Same Late Age (dIcK bIfFeReNcE)’ bears reminiscences of the musical expressions of anti-capitalism in the 1980es, although in a new body and context. “I have a feeling that music reconjures societal morals and ideas from the time in which it was written when we press play or hear a live performance. From the moment at a concert when the symphonic orchestra starts tuning in, the time traveling begins. So I imagined how it would be to be trans sitting there playing the first violin, having the job of producing that first tone that all the other musicians around me tune in ona, ” Jura explains. The listener yearns for more; and subsequent tracks deliver. On ‘How Intimate It Gets,’ Jura meditates on the futility of closeness, begging the audience to enter the blood and guts of their own entanglements, the blueprints of focusing entering. Jura sings richly about fingers being lines, pointing or bending, and we’re reminded of their own wicked ways we can’t control. A history of singing in choirs informs the harmony of myriad inner voices heard across the album. At once prophetic and enigmatic, some of the songs rearrange historical events out of pop musical language. The enormously entertaining ‘Pinot-Botticelli Toast to European Users’ conjures scenes of Cold-War world leaders stuck on a cruise in the Transatlantic vacuum, and the protagonist watches a devastating heartbreaker careen on into the picture, led by his own hips on ‘The Lasceaux Associate’. Finally, on title track ‘Formality Jerne-Site’, American English rises to the occasion like a verdict around the narrative of three trans teenagers in rural Colorado: language turns into something sensual and haptic, playing with the snare and sizzle of syllables. The words twist and bend, while the music follows its own synaesthetic logic: “around us pop culture made a vow to a normative desire, drawing in like water color percussion”. Anyines is a site of play and documentation, with a canon so far quite nice. Their future is one that envisions supporting the galaxies their dear friends embody, be it music, performance, video games or beyond. Highlights from their discerning back catalogue include myriad formats: live and digital, plus releases binded to physical artefacts that enhance the live experience such as sculptures and scents. Their history also includes disappearing time-sensitive shadow-tracked material and cross-disciplinary opportunities that reflect deep professionalism and a totally non-schooled semblance of sound and drama. Recent releases include a dance-theatre soundtrack, a traditional shiny pop record, and the acclaimed ML Buch sophomore, Skinned.

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

"The letter X marks the spot, crosses over, literally with a cross. It’s the former, the ex-. The ex-lover known simply as “an ex”. Ex- is the latin prefix meaning “out”. Exterior, an exit. Extraordinary. Excellent. It’s exciting. Generation X. X-files. X is the unknown. X is Extreme“

Extreme is Molly Nilsson’s tenth studio album. Recorded in 2019 and throughout the 2020 global pandemic at home in Berlin, Extreme is a departure for Nilsson, an explosion of angry love. It’s an album of anthems for the jilted generation, soaked with joy and offering solace, bristling with distorted, Metal guitars and planet-sized choruses that bring light to the dark centre of the galaxy. It’s an album of the times, by the times and for the people. It’s a record about power. About how to fight it, how to take it and how to share it.

Absolute Power explodes with massive guitars, double kick beats and the instantly iconic line “It’s me versus the black hole at the centre of the galaxy.” Nilsson’s performance itself portrays absolute power in its confidence but the song is a call-to-arms, an entreaty to grasp the here and now, to take the power back. It’s Nilsson pacing the ring and we’re instantly in her corner. Earth Girls takes familiar Molly Nilsson themes - female empowerment and subverting the patriarchy - but casually throws in one of the choruses of her career. “Women have no place in this world” she sings, but it’s the world that isn’t good enough. Stadium-sized but still warmly hazy, Earth Girls has its fists in the air, glorifying in harmony, almost ecstatic in its feeling good. Nilsson’s Springsteen-level conviction and righteousness bleeds through the speaker cones, the cognitive dissonance between the song’s cadences and angry lyrics redolent of Bruce in his prime. Female empowerment isn’t always an angry energy on Extreme, however. On Fearless Like A Child, Nilsson’s anthem to the female body and women’s sovereignty of it, she croons over a mid-80s blue-eyed Soul groove. It sets a nocturnal scene as the narrator surveys her past and her surroundings. Before we’re fully submerged in a dreamlike, Steve McQueen-era Prefab Sprout poem to learning from your mistakes the song erupts into one of those lines only Molly Nilsson can get away with: “I love my womb, come inside I feel so alive” she fervently sings. Against the backdrop of ever-encroaching, conservative rulings on women’s reproductive rights in places like Texas, it’s simultaneously angry and full of love.

Every song on Extreme is a gleaming gem in a pouch of jewels. On Kids Today, Nilsson is the voice of wisdom, archly commenting on the eternal struggle between youth and authority. Wisdom infuses Sweet Smell Of Success with a transcendent love that forgives the narrator’s shortcomings and celebrates the moment, it’s a letter to the author from the author that asks “what is success” and concludes that this is it, this song, this moment. It’s a rare moment of simple reflection that is generous in its insight to Nilsson’s inner life. “Success” is a tool of power and we don’t need it… We need power tools and there are moments on Extreme where it feels like Nilsson is showing us how to find them. It's an open conversation through out Extreme. She’s a warm, comforting presence through out the album and specially on these songs of encouragement, songs perhaps sang to a younger Molly Nilsson or, really, to whomever needs to hear them. “They’ll praise your efforts, they’ll call you slurs a rebel, a master, an amateur / Merely with your own existence, you already offer your resistance.” On Avoid Heaven she’s even more direct, pleading with us to avoid concepts of purity and to embrace the glorious, ebullient, emotional mess we’re often in as a method of upending the power structures who need things to be perfect.

They Will Pay brings back the big, distorted power chords in the form of a agit-punk, pop slammer. Of course, when Molly Nilsson does punk pop we get the catchiest chorus this side of The Bangles or The Nerves. It’s rendered in an off the cuff, throwaway manner that is just perfect in its roughness. However, it’s on Pompeii that Nilsson delivers the album’s epic, emotional heartbreaker. Like 1995 on Nilsson’s album Zenith, or Days Of Dust on Twenty Twenty, the lyrics of Pompeii are heavy with a transcendent sadness, an aching poetry that cuts to the truth of the heart like the best Leonard Cohen lines, though here delivered with an uplifting, life-affirming love. It contains the most personal moments of Extreme, a song lit by the dying embers of romance. Yet it’s here where the alchemy at the base of all Nilsson’s best work is found. Turning small nuggets of personal truth into big, generous universal moments that invite everyone to cry, to love and to fight the power. In an album of jewels, it might be the shining star.

Molly Nilsson’s biggest, boldest and most vital album to date, Extreme is about power. Against the love of power and for the power of love.

Vinyl Only

With their 4th release, Techno House Connoisseurs proudly presents Praus. Praus has been steadily releasing quality cosmic and nu disco on labels like the Netherlands Night Noise and Leng recordings. This 5 track ep covers an array of cosmic sounds all with wonderful acid /303 layered in out and around. Enjoy!