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Die rohe, donnernde Kraft von Charley Patton kommt in diesem unverzichtbaren zweiten Teil von ,Father of the Delta Blues: Selections from Paramount Recordings" wieder voll zur Geltung. Diese Tracks zeigen Patton von seiner eindringlichsten und ungefiltertesten Seite, mit wilder Slide-Gitarre, schreiendem Gesang und Texten voller Geheimnisse, Trotz und tiefer Mississippi-Seele. "Vol. 2" setzt die Erforschung von Pattons einzigartigem Vermächtnis fort: teils Prediger, teils Trickster, teils Geschichtenerzähler. Der zweite Band wurde von Dave Gardner liebevoll restauriert und remastert und ist nicht nur ein Dokument des frühen Blues, sondern auch ein Einblick in die Wurzeln der amerikanischen Musik selbst, wo Rhythmus auf Rebellion traf und Geschichte in Schellack eingraviert wurde. Exklusiv für den Record Store Day Black Friday 2025 auf transparentem orangefarbenem Vinyl gepresst.

Extended Field vereint Horse Lords und Arnold Dreyblatt für die achtzehnte Ausgabe von FRKWYS, einer generationsübergreifenden Zusammenarbeit abenteuerlustiger Musiker, die sich von der klanglich strahlenden Welt der reinen Stimmung angezogen fühlen - einem alten Stimmungssystem, bei dem die Tonintervalle aus ganzzahligen Verhältnissen abgeleitet werden. Dreyblatt tauchte erstmals in den 1970er Jahren in New York in diesen Ansatz ein, während Horse Lords fast vier Jahrzehnte später begannen, dessen Möglichkeiten zu erforschen und anzuwenden. Gemeinsam schaffen sie eine lebendige harmonische Umgebung, die von ihrer gemeinsamen Leidenschaft für Rhythmus angetrieben wird und eine Verbindung von diskreter, aber verwandter Ästhetik für die Ewigkeit herstellt. Dreyblatt ist ein Pionier des psychoakustischen Phänomens und war von 1975 bis 1977 Assistent von La Monte Young, bevor er bei dem legendären Alvin Lucier an der Wesleyan University studierte. Er entdeckte die klangliche Kraft angeregter Saiten, rüstete einen Kontrabass mit Klaviersaiten nach und schlug mit schnellen Schlägen darauf, um einhüllende Wolken metallischer Obertöne zu erzeugen. Dreyblatts Album Nodal Excitation aus dem Jahr 1982 legte einen klanglichen Entwurf fest, der bis heute das Herzstück seiner pulsierenden Musik bildet. Schließlich zog er nach Berlin und leitete im Laufe der Jahre verschiedene Ensembles, die das kompositorische Gerüst, das er um seine klingenden Töne herum aufgebaut hatte, verstärkten und interpretierten. Im Gegensatz zu Dreyblatts hyperfokussierter Praxis haben Horse Lords einen ganz eigenen ekstatischen, hybriden Sound entwickelt: Hard-Driving-Rhythmen unterstützen eine Kollision aus traditioneller Ritualmusik, Free Jazz und spektral brillanten elektronischen Schauern psychoakustischer Klänge. Nachdem sie sich mit ihrem 2020 erschienenen Album ,The Common Task" eine treue Fangemeinde aufgebaut hatten, zog der Großteil der Band 2021 nach Deutschland, wobei sich Gitarrist Owen Gardner und Bassist Max Eilbacher in Berlin niederließen und Saxophonist Andrew Bernstein nur wenige Stunden entfernt in Bayern. Schlagzeuger Sam Haberman blieb in Baltimore, trifft sich aber weiterhin mit der Band für Albumaufnahmen, darunter das 2023 erscheinende Album ,Comradely Objects", und ausgedehnte Tourneen. Ohne es zu wissen, teilten beide Seiten ein gegenseitiges Interesse an der Musik des anderen. Anfang 2017 schlug Dreyblatts langjähriger Kollege und Freund Werner Durand ihm vor, sich die Band anzuhören. Er erinnert sich: ,Nachdem ich sie gehört hatte, antwortete ich schnell: ,Klingt großartig! Ein bisschen wie meine Musik. Ich habe noch nie von ihnen gehört!` Ich schickte ihnen eine Nachricht über ihre Bandcamp-Seite, und sie antworteten: ,Hallo! Danke für die Nachricht, wir sind große Fans deiner Musik!` Aber erst als Dreyblatt die Band im Oktober 2021 in Berlin sah, kreuzten sich ihre Wege endlich. Einige Tage später schlug Bernstein eine Zusammenarbeit vor. Dieser Prozess verlief langsam, aber sicher; beide Seiten waren sehr beschäftigt, und als die Musiker schließlich zusammenkamen, mussten sie unterschiedliche harmonische Vorstellungen miteinander in Einklang bringen und brauchten jemanden, der Haberman am Schlagzeug ersetzte. Dreyblatt schlug Andrea Belfi vor, einen angesehenen italienischen Schlagzeuger und Komponisten, der in Berlin lebt. In den folgenden Kompositionssitzungen lernten Horse Lords und Dreyblatt die Feinheiten der harmonischen Vorlieben des jeweils anderen kennen und fanden Wege, diese zu einem einheitlichen Klang zu verschmelzen. ,Andrew und Owen schlugen Strukturen für die Navigation durch meine Tonsysteme vor", erklärt Dreyblatt, ,während Max in SuperCollider gewichtete algorithmische Frequenzmuster entwickelte." Viele Bewohner des Stimmungsuniversums haben hartnäckige Überzeugungen darüber, was richtig und was falsch ist, daher ist die Geduld und Offenheit beider Seiten ziemlich ungewöhnlich, wobei die Partnerschaft faszinierende Akzente und Veränderungen hervorbringt. ,Als Fans von eingeschränkter/algorithmischer Kunst (nicht der schlechten Art!) haben wir beschlossen, diese Matrix in den Mittelpunkt unserer Entscheidungsfindung zu stellen, um uns sowohl eine nicht willkürliche Möglichkeit zu geben, die ansonsten unendlichen Möglichkeiten zu begrenzen, mit denen man bei der Komposition mit Zahlen konfrontiert ist, als auch einen Ausweg aus festgefahrenen Gewohnheiten", schreibt Gardner über die Schaffung von Grenzen für ihre harmonischen Welten. Anstatt den Prozess einzuschränken, zwang diese Entscheidung die Musiker, ihre Komfortzone zu verlassen, und erforderte mehr Einfallsreichtum und Bedachtsamkeit bei ihren Entscheidungen. Das Endergebnis ist weit mehr als die Summe seiner Teile, da beide Parteien sich auf die Ideen des anderen einlassen, ohne die Vorrangstellung ihrer eigenen Ideen zu opfern. Der galoppierende polyrhythmische Antrieb, der ein charakteristisches Merkmal der Musik von Horse Lords ist, bleibt allgegenwärtig, und ein Stück wie ,Extended Field" nutzt die numerische Matrix von Dreyblatts System sowohl harmonisch als auch rhythmisch. In dem sich endlos wandelnden Drone-Stück ,Suspension" umschmeicheln Horse Lords Dreyblatts gestreifte Bogenstriche mit ihren eigenen pulsierenden Tönen. Obwohl ihre Rolle in den jeweiligen Werken unterschiedlich ist und sie im Verhältnis zu anderen Elementen in unterschiedlichen Anteilen vorkommen, ist die harmonische Erforschung das Herzstück dieser atemberaubenden Zusammenarbeit. Wie man im Schlussstück ,Impulse Array" erkennen kann, führt das Stöbern der Horse Lords in Dreyblatts Matrix zu den klanglichen Entdeckungen, für die sie leben. Wie Gardner bemerkt: ,Jede Wendung offenbart einen überraschenden, aber irgendwie unvermeidlichen neuen Akkord, dessen Verlauf seltsamerweise an einen Bach-Choral erinnert, der sowohl sehr zielgerichtet als auch ohne Ziel ist."

On the streets of Berlin, it's easy to spot people who know their electronic music. You'll see curious partygoers as well as picky listeners whose appreciation isn't easy to win. Tonight, both crowds are heading to the presentation of Daniel Gardner's record. A cult album that was revived thanks to a fresh concept and a remaster. By evening, Jonny Knuppel was packed. Among the guests - a flamboyant duo that couldn't go unnoticed. Some swayed to rhythms that felt like old friends, while others - luckier ones, perhaps - were discovering an entire world for the first time. As they approached the booth, Plate leaned in with a warm smile:

Das 1970 veröffentlichte, selbstbetitelte Debüt von Funkadelic war eine radikale Kollision von psychedelischem Rock, Gospel, Blues und Soul - ein chaotisches, genreübergreifendes Statement, das die Möglichkeiten der schwarzen Musik neu definierte. Wo Motown auf Hochglanz und Crossover-Appeal abzielte, stürzten sich Funkadelic kopfüber in Verzerrungen, Improvisationen und spirituelle Zweideutigkeiten, mit einem Sound, der so düster und unberechenbar war wie die Ära selbst. Unterstützt von einer wilden jungen Band, lehnte das Album Konventionen zugunsten von rohem Groove und existentiellem Lärm ab. Als Teil der Westbound Records Reissue Serie von Org Music stellt diese Ausgabe die volle Wirkung des Albums wieder her. Die Deluxe-Doppel-LP, die von Dave Gardner direkt vom analogen Band mit 45RPM neu gemastert wurde, bietet das bisher beeindruckendste Hörerlebnis dieses Klassikers. Gardner und die Restaurationsspezialistin Catherine Vericolli archivierten und restaurierten die Original-Masterbänder in den 54 Sound Studios in Ferndale, Michigan, mit Unterstützung des hauseigenen Ingenieurs Nick King. Neben CD, Kassette und digitalen Formaten ist auch eine einfache LP-Ausgabe erhältlich, die von hochauflösenden Bandüberspielungen geschnitten wurde. Funkadelic waren zu ihrer Zeit eine klangliche Revolution mit bleibendem Einfluss, ihr selbstbetiteltes Album ist ein bahnbrechendes Zeugnis für Musik ohne Regeln und Freiheit ohne Grenzen.

Kerala Dusts großartiges neues Album 'An Echo of Love' ist ein Paradebeispiel dafür, niemals stillzustehen. Im Mittelpunkt seiner musikalischen Hybridität - wo Artrock auf innovative Elektronik trifft und die warme Umarmung der Tanzfläche Raum für weite Ausblicke auf Americana, Wüstenblues und dämmrige Fahrten durch eine neonbeleuchtete Stadt lässt - steht ein Album, das die Möglichkeiten des ständigen Wandels lebt.

Es ist ein wunderbar wandelbares Album; eine rastlose Fusion, deren Bedeutung eher in Fragmenten als in etwas Festem oder Statischem liegt. Kurz gesagt: Es dreht sich alles um Dynamik. Dieses Gefühl der ständigen Bewegung spiegelt sich nicht nur in der wechselnden Besetzung der Band wieder - Keyboarder Tim Gardner und Schlagzeuger Pascal Karier sind Neuzugänge und gesellen sich zu den langjährigen Mitgliedern Edmund Kenny (Gesang und Elektronik) und Lawrence Howarth (Gitarre) -, sondern auch in den Orten, an denen das Album geschrieben und aufgenommen wurde. Die Sessions fanden in der Toskana, Austin, Berlin, Zürich und schließlich Rom statt. Für Sänger Edmund "existiert das Album in gewisser Weise an all diesen Orten". Im Oktober und September ist die Band auf GSA-Tour!

Bad Brains is the self-titled debut studio album recorded by American hardcore punk/reggae band Bad Brains. Recorded in 1981 and released on (then) cassette-only label ROIR on February 5, 1982, many fans refer to it as "The Yellow Tape" because of it's yellow packaging. Though Bad Brains had recorded the 16 song Black Dots album in 1979 and the 5-song Omega Sessions EP in 1980, the ROIR cassette was the band's first release of anything longer than a single. The release includes the original liner notes by Ira Kaplan of Yo La Tengo. This reissue marks the second release in the remaster campaign on the band's own Bad Brains Records imprint with Org Music. In coordination with the band, Org Music has overseen the restoration and remastering of the iconic Bad Brains' recordings. The audio was mastered by Dave Gardner at Infrasonic Mastering.

Rock for Light is the second full-length album by Bad Brains, released in 1983. It was produced by Ric Ocasek of The Cars. We're proud to present the original mix of the album, for the first time in decades, as the band originally intended. Most fans will be more familiar with the 1991 reissue, which was remixed by Ocasek and bass player Darryl Jenifer. In addition to new mixes, that version used an altered track order. This reissue marks the fourth release in the remaster campaign, re-launching the Bad Brains Records label imprint. In coordination with the band, Org Music has overseen the restoration and remastering of the iconic Bad Brains' recordings. The audio was mastered by Dave Gardner at Infrasonic Mastering and pressed at Furnace Record Pressing.

Bad Brains is the self-titled debut studio album recorded by American hardcore punk/reggae band Bad Brains. Recorded in 1981 and released on (then) cassette-only label ROIR on February 5, 1982, many fans refer to it as "The Yellow Tape" because of it's yellow packaging. Though Bad Brains had recorded the 16 song Black Dots album in 1979 and the 5-song Omega Sessions EP in 1980, the ROIR cassette was the band's first release of anything longer than a single. The release includes the original liner notes by Ira Kaplan of Yo La Tengo. This reissue marks the second release in the remaster campaign on the band's own Bad Brains Records imprint with Org Music. In coordination with the band, Org Music has overseen the restoration and remastering of the iconic Bad Brains' recordings. The audio was mastered by Dave Gardner at Infrasonic Mastering.

Nach dem Erfolg der ersten zehn Alben der Vinyl Edition von Hyperion (veröffentlicht im September 2024
und März 2025) folgen nun sechs weitere LPs. Alle Alben erscheinen erstmals auf Vinyl und zeigen weltweit
tourende Künstler, mit denen das Label seit langem eng zusammenarbeitet. Jeder der sechs Titel wird als
limitierte 180g-LP erscheinen, die in einem vollfarbigen Gatefold präsentiert wird und mit einem Begleitheft
ausgestattet ist.
Alina Ibragimovas Aufnahme der Solo-Violinkonzerte von Bach mit Jonathan Cohen und Arcangelo wurde
bei ihrer CD-Veröffentlichung von der Kritik durchweg gelobt. Gramophone begrüßte sie als „eine herausragende und unverwechselbare Ergänzung zu einem Katalog, der aus allen Nähten platzt“, und Classic FM
lobte Ibragimova für ihr „Spiel auf höchstem Niveau“.
Als Interpretin von Barockmusik bis hin zu neuen Kompositionen auf modernen und historischen Instrumenten hat sich Alina Ibragimova einen Ruf für ihre Vielseitigkeit und die „Unmittelbarkeit und Ehrlichkeit“
(The Guardian) ihrer Darbietungen geschaffen. Alina Ibragimova ist unter anderem mit Orchestern wie
dem Symphonieorchester des Bayerischen Rundfunks und dem London Philharmonic sowie den Dirigenten
Sir John Eliot Gardner und Jakub Hrůša aufgetreten.

Das 1970 veröffentlichte, selbstbetitelte Debüt von Funkadelic war eine radikale Kollision von psychedelischem Rock, Gospel, Blues und Soul - ein chaotisches, genreübergreifendes Statement, das die Möglichkeiten der schwarzen Musik neu definierte. Wo Motown auf Hochglanz und Crossover-Appeal abzielte, stürzten sich Funkadelic kopfüber in Verzerrungen, Improvisationen und spirituelle Zweideutigkeiten, mit einem Sound, der so düster und unberechenbar war wie die Ära selbst. Unterstützt von einer wilden jungen Band, lehnte das Album Konventionen zugunsten von rohem Groove und existentiellem Lärm ab. Als Teil der Westbound Records Reissue Serie von Org Music stellt diese Ausgabe die volle Wirkung des Albums wieder her. Die Deluxe-Doppel-LP, die von Dave Gardner direkt vom analogen Band mit 45RPM neu gemastert wurde, bietet das bisher beeindruckendste Hörerlebnis dieses Klassikers. Gardner und die Restaurationsspezialistin Catherine Vericolli archivierten und restaurierten die Original-Masterbänder in den 54 Sound Studios in Ferndale, Michigan, mit Unterstützung des hauseigenen Ingenieurs Nick King. Neben CD, Kassette und digitalen Formaten ist auch eine einfache LP-Ausgabe erhältlich, die von hochauflösenden Bandüberspielungen geschnitten wurde. Funkadelic waren zu ihrer Zeit eine klangliche Revolution mit bleibendem Einfluss, ihr selbstbetiteltes Album ist ein bahnbrechendes Zeugnis für Musik ohne Regeln und Freiheit ohne Grenzen.

Das 1970 veröffentlichte, selbstbetitelte Debüt von Funkadelic war eine radikale Kollision von psychedelischem Rock, Gospel, Blues und Soul - ein chaotisches, genreübergreifendes Statement, das die Möglichkeiten der schwarzen Musik neu definierte. Wo Motown auf Hochglanz und Crossover-Appeal abzielte, stürzten sich Funkadelic kopfüber in Verzerrungen, Improvisationen und spirituelle Zweideutigkeiten, mit einem Sound, der so düster und unberechenbar war wie die Ära selbst. Unterstützt von einer wilden jungen Band, lehnte das Album Konventionen zugunsten von rohem Groove und existentiellem Lärm ab. Als Teil der Westbound Records Reissue Serie von Org Music stellt diese Ausgabe die volle Wirkung des Albums wieder her. Die Deluxe-Doppel-LP, die von Dave Gardner direkt vom analogen Band mit 45RPM neu gemastert wurde, bietet das bisher beeindruckendste Hörerlebnis dieses Klassikers. Gardner und die Restaurationsspezialistin Catherine Vericolli archivierten und restaurierten die Original-Masterbänder in den 54 Sound Studios in Ferndale, Michigan, mit Unterstützung des hauseigenen Ingenieurs Nick King. Neben CD, Kassette und digitalen Formaten ist auch eine einfache LP-Ausgabe erhältlich, die von hochauflösenden Bandüberspielungen geschnitten wurde. Funkadelic waren zu ihrer Zeit eine klangliche Revolution mit bleibendem Einfluss, ihr selbstbetiteltes Album ist ein bahnbrechendes Zeugnis für Musik ohne Regeln und Freiheit ohne Grenzen.

Pluto, although not necessarily one of those bands who spring immediately to mind as having been a seminal influence on the weaving of rock music’s tapestry, remain an excellent, if little-known and much underrated band.

The band’s only album Pluto (originally released on the Dawn label back in November 1971) has, during the latter half of the ‘90s, become a much sought-after item in the ever-expanding underground/progressive sector of the record collectors’ market. Conceived
initially by guitarist Paul Gardner and taking their name from the Disney cartoon character, they were formed in North London in 1970. The key members were Gardner and Alan Warner, two highly experienced campaigners from widely disparate musical backgrounds.

The album is a nice mix of hard rock, progressive rock and blues rock elements. The song writing is pretty solid and there are no fillers included. This lone Pluto LP is easy to recommend for those who like the early 70’s hard rock bands.

Pluto is available as a limited numbered edition of 750 copies on translucent magenta coloured vinyl

Metallic Life Review is the sound of two people who have collected field recordings of metal objects from around the world for years of their lives together, collaging their magpie hoard into rhythmic patterns, sometimes writing melodies and basslines, but sometimes just letting sound be sound. Patient gathering yields to ADHD editing. Painstakingly made but blink and you"ll miss it. Is it music or is it noise? It is without a doubt exceptionally beautiful music wrought from metal detritus. Metallic Life Review features Susan Alcorn"s pedal steel, Owen Gardner"s glockenspiel, Thor Harris" drumming, Jason Willett"s (Half Japanese) guitar, and Jeff Carey"s aluminum cans, which were melted, molded into custom aluminum rods, and then bowed and struck. The most dramatic difference from any previous Matmos album is that side two was recorded "live in the studio", ala Throbbing Gristle"s Heathen Earth. For the first time on recording, Matmos capture the evolving, shifting, slithering dynamic that happens when they play live and let patterns emerge out of chaos and then collapse and then re-form. Their playful blend of compositional brilliance and improvisational playfulness meld perfectly, truly capturing ecstatic moments in a way that can only happen live.

Celebrating 55 years in the music business! Swami John Reis is back with his second LP in eight months. Time To Let You Down is a savage blast of junk shoppe punk that kicks you in the ding ding. This eleven track LP is chock full of fist pumpers, head bumpers, stinky dumpers, meaty thumpers and toe stumpers. The tempos are often breakneck and the dense arrangements tumble like bricks into hot cheese. The undeniable sonic girth barges at will into lathered ear tubes allowing these barbaric anthems to echo in hollow domes. Feel the whip crack break skin on the acne scarred backs of our cultural oppressors. The sound is tough. The songs are a bitch. Incite your expectations with the single “Fed To The Dogs” or the title track. Salty leather and wobbly chain link fences can’t contain its rebel intent. These recordings took place Oct. 2024 and features Swami John Reis on guitar and vocals with contributions from Jason Sinclair (Hot Snakes), Joey Guevara (Swami and the Bed Of Nails), Jacob Turnbloom (Mrs. Magician) and Glen Galloway (Truman’s Water). The record was produced by John Reis, engineered and mixed by Ben Moore and mastered by Dave Gardner. Time To Let You Down is pressed on virgin, Egyptian pellets and available in limited, colorful vinyl that have been hand-swirled. You’ll not only clearly hear the difference, you will see it as well.

2024 Repress
"You've got to listen to this band, you'll really like them, I know." A Colourful Storm presents the first-time vinyl issue of one of the true treasures of modern pop music: Blueboy's The Bank Of England. The group of Paul Stewart, Keith Girdler, Cath Close, Ian Gardner and James Neville are Sarah Records royalty alongside The Field Mice, Heavenly, The Wake and The Orchids, and this is the final recording from arguably the most beautiful, afflicted band of 90's indie-pop and DIY. Mastered from the original recording tapes with assistance

Fünf Monate arbeitete David Gilmour in Brighton und London an »Luck And Strange«, dem ersten neuen Longplayer, den er seit neun Jahren veröffentlicht. Die LP wurde von David und Charlie Andrew produziert, den man für seine Zusammenarbeit mit ALT-J und Marika Hackman kennt. Der Großteil der Lyrics stammt von Gilmours Co-Autorin Polly Samson, mit der er schon seit 30 Jahren zusammenarbeitet. Auf dem Album sind acht neue Tracks zu hören, dazu kommt eine Coverversion von Between Two Points (Originalinterpreten: The Montgolfier Brothers), auf der Romany Gilmour Harfe spielt und singt. Auf anderen Songs der LP war Gilmours Tochter für die Backing-Vocals zuständig. Zu den Musikern, die an der Entstehung von »Luck And Strange« beteiligt waren, gehören: Guy Pratt & Tom Herbert am Bass, Adam Betts, Steve Gadd und Steve DiStanislao am Schlagzeug sowie Rob Gentry & Roger Eno an den Keyboards. Für die Streicher- und Chor-Arrangements war Will Gardner verantwortlich. Auf dem Titeltrack, der 2007 während eines Jams in David Gilmours Scheune entstand, ist der verstorbene Pink Floyd Keyboarder Richard Wright zu hören. Das Cover-Foto von Anton Corbijn wurde durch den Text von »Scattered«, dem letzten Song des Albums, inspiriert.

Fünf Monate arbeitete David Gilmour in Brighton und London an »Luck And Strange«, dem ersten neuen Longplayer, den er seit neun Jahren veröffentlicht. Die LP wurde von David und Charlie Andrew produziert, den man für seine Zusammenarbeit mit ALT-J und Marika Hackman kennt. Der Großteil der Lyrics stammt von Gilmours Co-Autorin Polly Samson, mit der er schon seit 30 Jahren zusammenarbeitet. Auf dem Album sind acht neue Tracks zu hören, dazu kommt eine Coverversion von Between Two Points (Originalinterpreten: The Montgolfier Brothers), auf der Romany Gilmour Harfe spielt und singt. Auf anderen Songs der LP war Gilmours Tochter für die Backing-Vocals zuständig. Zu den Musikern, die an der Entstehung von »Luck And Strange« beteiligt waren, gehören: Guy Pratt & Tom Herbert am Bass, Adam Betts, Steve Gadd und Steve DiStanislao am Schlagzeug sowie Rob Gentry & Roger Eno an den Keyboards. Für die Streicher- und Chor-Arrangements war Will Gardner verantwortlich. Auf dem Titeltrack, der 2007 während eines Jams in David Gilmours Scheune entstand, ist der verstorbene Pink Floyd Keyboarder Richard Wright zu hören. Das Cover-Foto von Anton Corbijn wurde durch den Text von »Scattered«, dem letzten Song des Albums, inspiriert.

Electronic titan Sasha combines with Sentre for the latest in a series of collaborative releases. The release of 'Glastacy' coincides with this year’s Glastonbury festival and comes with something special for fans.

Even by his own high standards, electronic luminary Sasha is in a superb run of form that has already yielded some stellar singles in the last year, both solo and in collaboration with like-minded talents. TheGRAMMY Award-nominated artist is renowned for pushing musical and technological boundaries, as well as for platforming exciting sounds on his Last Night On Earth label. The next release finds him working with Sentre, aka Dave Gardner & Dennis White, who have been electronic mainstays for many years. They have plenty of major credits under their belts, including working with Sasha on his seminal ‘Involver’ album and also 'Track 10' which they made with Sasha many years ago. It was Pete Tong’s Essential New Tune at the time and is one of many gems from these self-confessed studio nerds.

The release of ‘Glastacy’ also marks a new approach for Sasha and LNOE as they extend their relationship with fans beyond just the music. For the first time, along with the single release, fans will be able to collect and own the single artwork for free. The label has always sought to marry together music and art across its releases and now fans get the chance to own a piece for themselves. Using pioneering technology, those who claim the art will also be able to convert it to a smartphone wallet pass which will bring with it future benefits and surprises from Sasha and LNOE.

'Glastacy' is their latest collaboration, and it works angelic, wordless vocal sounds into heavenly loops that shimmer in and out of focus. Deft hi-hits and a supple bassline bring movement as a lead synth motif rises up out of the mix to bring dramatic tension and take dancers to the stars. It's emotive, hypnotic techno of the highest order, with a spine-tingling breakdown leading towards more trance-inducing musical pleasures. The Intro:Outro Mix is an ambient tool stripped of beats.

Debut standalone VHF album by the Elkhorn duo of Drew Gardner and Jesse Sheppard, a tight set of six studio recordings in a variety of moods and featuring a lot of new sound textures. Elkhorn’s prolific stream of releases since 2016 has highlighted their mastery of sprawling long-form, acoustic-driven hypno-jams, with an emphasis on live performance (including on their collaboration with Pelt’s Mike Gangloff on the Shackamaxon Concert album). The Red Valley is a more layered and composed-sounding set, with the duo overdubbing extensively on top of their own dual guitars. Leading off the LP, “Crystal Hummingbird” features one of their signature minor-modal vamps, with layers of fuzz bass, zither, and frame drum providing weight and psychedelic density. “Gray Salt Trail” continues the vibe, with thick fuzz vibraphone supplementing the cinematic palate, leading into the spare side-closer “Black Wind Of Kayenta,” where Sheppard plays electric 12-string and Gardner solos on acoustic guitar. Side two starts with “Road to Chaco Canyon,” a brooding duet that builds momentum with Gardner’s insistent frame drum cadence, dropping down into the quiet string pool of “Inside Spider Rock” (featuring Fern Knight’s Jesse Sparhawk on gloriously swirling lever harp) and the graceful finale “Jackrabbit Hops.”

Cardinal Fuzz / Feeding Tube Records in collaboration with Deep Water Acres and in tribute to Sunrise Ocean Bender Records bring to you: Elkhorn – ‘Other Worlds.’ Drew Gardner and Jesse Sheppard, the two-guitar duo of Elkhorn, share a musical brotherhood that spans several decades. From their nascent high school socialist-realist post-punk band Mayfirst, to teenage scavenger trips to the Princeton Record Exchange and City Gardens, the two came of age goofing along to the Dead Kennedys, the Butthole Surfers, and Sonic Youth in the dank Jersey/Philly-scene music holes. Elkhorn has long traversed the valleys between fried cosmic psychedelia and American Primitive, particularly the latter style’s reverence for a wide range of folk and blues idioms ranging from County Records compilations to the Mississippi Sheiks. While the pair is best known for their acoustic guitar explorations, ‘Other Worlds’ continues their recent experiments with other instrumental possibilities. For instance, on the previous Elkhorn release ‘On the Whole Universe in All Directions,’ Drew switched to vibraphone and drums, with Jesse playing 12-string guitar. ‘Other Worlds,’ on the other hand, finds them in a recognizable ‘rock trio’ format (in improvisational mode)—Drew is on electric guitar, with Jesse playing bass, and they are again joined by Ian McColm on drums, with the free-flowing groove he brings. On the opening track ‘Watching the Skies’ you can feel the forward propulsion this—dare I say—power trio sets up, a cosmic widescreen which Elkhorn proceed to rock and groove across the whole of ‘Other Worlds.’ Three flawless musicians in their own right, together they form a telepathic psychic link that taps into the otherworldly flow that is ‘Other Worlds,’ as the synergy created by Jesse and Ian leaves Drew plenty of space to take off on exhilarating and soaring flights of fuzzy haze fire that results in a musical journey toward transcendence. Elkhorn demonstrate again and again that there is no height they won't scale, no direction they won't travel. Have Elkhorn ever sounded as heavy or as on fire as the recordings laid down here? You be the judge. The trio is multitudes. The trio is one. Mastering - Chris Hardman Artwork - Brett Savage

An American soul vocal group that would go on to shape the sound of pop music much farther beyond their imaginations, The Ponderosa Twins Plus One featured two sets of identical teenage twins, Alfred and Alvin Pelham, and Keith and Kirk Gardner, along with Ricky Spicer. The group released a couple of singles and a lone album for Cleveland's Saru label in 1971, breaking up and disbanding as adolescence waned. A recent sample darling of both Kanye West and Tyler The Creator, "Bound" has revealed the Ponderosa Twins Plus One as the real Midwest kid soul deal. Numero is proud to present the first official American repressing of the original 1971 release, with fresh remasters from the original analog tapes, two previously unissued bonus tracks, and a replica tip on sleeve, making this an album you're bound to fall in love with.

An American soul vocal group that would go on to shape the sound of pop music much farther beyond their imaginations, The Ponderosa Twins Plus One featured two sets of identical teenage twins, Alfred and Alvin Pelham, and Keith and Kirk Gardner, along with Ricky Spicer. The group released a couple of singles and a lone album for Cleveland's Saru label in 1971, breaking up and disbanding as adolescence waned. A recent sample darling of both Kanye West and Tyler The Creator, "Bound" has revealed the Ponderosa Twins Plus One as the real Midwest kid soul deal. Numero is proud to present the first official American repressing of the original 1971 release, with fresh remasters from the original analog tapes, two previously unissued bonus tracks, and a replica tip on sleeve, making this an album you're bound to fall in love with.

American rock band Vixen was formed in Saint Paul, Minnesota, in 1980. During its most commercially successful period from 1987 to 1992, the band consisted of Jan Kuehnemund (lead guitar), Janet Gardner (lead vocals, rhythm guitar), Share Ross (bass guitar), and Roxy Petrucci (drums). The band‘s eponymous first album was released in 1988, and reached No. 41 on the Billboard 200. As part of the Los Angeles glam metal scene, the band has been described as „the female Bon Jovi.“ Several singles reached theBillboard Hot 100, including the Top 40 singles „Edge of a Broken Heart“ and „Cryin“. While the band originally disbanded in 1992, it reformed several times and in 2018 ’Rare Vintage‘ was released. As of 2022 the band currently consists of Roxy Petrucci, Britt Lightning, Lorraine Lewis, and Julia Lage.

American rock band Vixen was formed in Saint Paul, Minnesota, in 1980. During its most commercially successful period from 1987 to 1992, the band consisted of Jan Kuehnemund (lead guitar), Janet Gardner (lead vocals, rhythm guitar), Share Ross (bass guitar), and Roxy Petrucci (drums). The band‘s eponymous first album was released in 1988, and reached No. 41 on the Billboard 200. As part of the Los Angeles glam metal scene, the band has been described as „the female Bon Jovi.“ Several singles reached theBillboard Hot 100, including the Top 40 singles „Edge of a Broken Heart“ and „Cryin“. While the band originally disbanded in 1992, it reformed several times and in 2018 ’Rare Vintage‘ was released. As of 2022 the band currently consists of Roxy Petrucci, Britt Lightning, Lorraine Lewis, and Julia Lage.

LA/Joshua Tree based Sugar Candy Mountain deliver carefully built psychedelic odes in the style of Jacco Gardner and Tame Impala. Their breakout album 666 feels like something unearthed from a box of records found in your dad's garage, glowing wistfully with vintage inspired tones, rambling organs, fuzzed out guitars, shimmering keys and sprawling drums. Ash Reiter's woolly voice croons with the icy warmth of Francoise Hardy, while Will Halsey's tender Lennon-esque vocals uncoil with easy languor. Recorded with Jason Quever of Papercuts, the bands sophomore album sits comfortably between 60's Laurel Canyon bliss and more modern production of Dave Fridmann (Flaming Lips/Tame Impala). 666 is the band's first record after deciding to retire Ash Reiter's eponymous solo project to focus solely on Sugar Candy Mountain. With this shift Ash became more heavily invested in writing for the project. On 666 the band moves away from the grandiose production of their previous album, Mystic Hits, on which some songs featured over two hundred instrument tracks. The majority of basic tracking was done on Jason Quever's 16 track Ampex tape machine through a Neve console, and completed at the bands home studio. Under Quever's guiding hand, production on 666 is significantly simplified, favoring featuring strong melodies over the wildly playful orchestrations of Mystic Hits. Quever is also significantly featured on the record as a player, with his influence distinctly coloring the album.

Mehr als vier Jahre nach dem Release ihres gefeierten letzten Albums "Somersault" ("Payseur's most nuanced songs to date" Pitchfork) meldet sich die LoFi/Dreampop-Formation Beach Fossils um den Sänger und Songwriter Dustin Payseur mit einem neuen musikalischen Lebenszeichen zurück! "The Other Side Of Life: Piano Ballads" präsentiert die beliebtesten Songs der Band im jazzigen Klavierballaden-Gewand. Das von Frontmann Dustin Payseur geleitete Projekt ist von seiner Liebe zu Künstlern wie Bill Evans, Lester Young, Chet Baker und Vince Guaraldi inspiriert. Mit einer Gruppe professionell ausgebildeter Jazzmusiker interpretiert Payseur einige seiner größten Hits aus dem Katalog der Beach Fossils neu. Auch der ehemalige Schlagzeuger Tommy Gardner konnte für die Aufnahmesessions zurückgewonnen werden. Auf "The Other Side Of Life" spielt Gardner Klavier, Saxofon und Kontrabass, während Henry Kwapis am Schlagzeug zu hören ist. Zusammen mit Payseurs melancholischem Gesang bildet sein dezentes Schlagzeugspiel den roten Faden zwischen den Originalversionen und den atemberaubenden Neuinterpretationen.

Mehr als vier Jahre nach dem Release ihres gefeierten letzten Albums "Somersault" ("Payseur's most nuanced songs to date" Pitchfork) meldet sich die LoFi/Dreampop-Formation Beach Fossils um den Sänger und Songwriter Dustin Payseur mit einem neuen musikalischen Lebenszeichen zurück! "The Other Side Of Life: Piano Ballads" präsentiert die beliebtesten Songs der Band im jazzigen Klavierballaden-Gewand. Das von Frontmann Dustin Payseur geleitete Projekt ist von seiner Liebe zu Künstlern wie Bill Evans, Lester Young, Chet Baker und Vince Guaraldi inspiriert. Mit einer Gruppe professionell ausgebildeter Jazzmusiker interpretiert Payseur einige seiner größten Hits aus dem Katalog der Beach Fossils neu. Auch der ehemalige Schlagzeuger Tommy Gardner konnte für die Aufnahmesessions zurückgewonnen werden. Auf "The Other Side Of Life" spielt Gardner Klavier, Saxofon und Kontrabass, während Henry Kwapis am Schlagzeug zu hören ist. Zusammen mit Payseurs melancholischem Gesang bildet sein dezentes Schlagzeugspiel den roten Faden zwischen den Originalversionen und den atemberaubenden Neuinterpretationen.

Dean McPhee’s fifth full length album 'Astral Gold' sees the Yorkshire-based electric guitarist's music continue to evolve beyond the spacious folk-inspired fingerpicking that typified his earlier releases into a heavier sound combining deep bass, textured reverbs and waves of saturated delay. 'Astral Gold' brings together several now out-of-print tracks that were originally released on the Reverb Worship and Folklore Tapes labels, along with two brand new pieces – all recorded live in single takes. There is a cosmic theme throughout, including a track based on the local lore of The Ilkley Alien (The Second Message), a trance-inducing drone piece inspired by the orbit of the 'doomed moon' Triton (Neptune) and a meditation on lunar volcanism combining baroque melodies, EBow bass and found recordings of a crackling fire played through guitar pickups (Lunar Fire). Throughout this intricately layered and beautifully crafted album McPhee draws on a wide range of influences from Kosmische Muzik and Dub to Stoner/Doom Rock, British Folk and underground electronic music, and the result is both intoxicatingly atmospheric and sonically inventive. ‘Astral Gold’ was mastered and cut by Anne Taegert at Dubplates & Mastering in Berlin and is pressed on 180g heavyweight vinyl. ‘Astral Gold’ follows Dean McPhee’s recent appearances this year on several well received compilation albums ‘I Thought I Told You: A Yorkshire Tribute to Michael Chapman’ on the Tompkins Square label, ‘Ballads of Seduction, Fertility & Ritual Slaughter’ released by Wasistdas, and Folklore Tapes’ limited edition cassette ‘A Web of Braided Willow (The Folklore of the Wickerman)’. "His take on the late folk guitarist’s ‘Caddo Lake’ could have you believing the pinch of callous on string was birdsong – a meditative gem" (Noel Gardner, The Quietus) "Magpahi's synth-drizzled Maypole, Dean McPhee's Sunset and Meg Baird's Willow's Song are particularly gorgeous" (Jude Rogers. The Guardian) "An excellent new single from UK guitarist Dean McPhee...the A-side is an echo-laden slice of smoldering instrumental guitar, pulling at the mind like taffy and living up to its cosmic title" (Raven Sings the Blues) "Absolutely lovely stuff; shimmering, gorgeous, delicate electric guitar playing of the very highest quality

2023 Repress

Frank Maston’s Tulips is a sample-ready film score to the best 70s movie never made. Originally a super-limited self-release on his Phonoscope label in late 2017, Tulips has already become incredibly sought-after. Be With were introduced to Maston by mutual friends Aquarium Drunkard and it didn’t take long before we decided this modern classic deserved a reissue.

Inspired by the deep-grooving soundtracks of Italian cinema - think Morricone, Umiliani and Alessandroni - Maston conceived the entire Tulips project as a continuation of these revered works. Frank designed the artwork and made two 16mm films to accompany the music: “It wasn’t just the LP… it was kind of a whole vibe I was trying to create. Not really trying to emulate the things that influenced me but more trying to make something that could sit alongside those records on a shelf. I’m still very proud of the project.”

There’s a distinct library music feel too, with wiry organ, spacey keyboards and loping 60s guitar hinting at KPM and DeWolfe. Like the best library music, Tulips creates a cinematic universe through sound alone, evoking moving images in the listener’s technicolour imagination. It turns out that was accidentally on purpose: “I was discovering a lot of library music for the first time… listening to a composer’s entire catalog or finding all this obscure stuff. I wasn’t entirely conscious of the influence until I started making this music and realized I was channeling the vibe. That’s when I began focusing more on weaving melodic themes throughout the record to make it function more like a soundtrack”.

Tulips was recorded between 2015 and 2017 in a small studio in a village called Zwaag in Holland, during downtime from Frank’s touring duties with Jacco Gardner’s band. “Tulips” comes from the title of the very first demo he made in Holland, it was the first thing that came to mind. Makes sense.

Recording in Europe with some very European influences in mind, Frank wanted to eschew any American influences. But we can still feel the studio wizardry of the likes of Brian Wilson and Harry Nilsson in there somewhere. A psychedelic bedroom-pop song-cycle, full of hypnotic hooks and dusty drums, Tulips manages to sound charmingly homemade yet wholly widescreen.

Dreamy opener “Swans” is an exquisite soul instrumental and recalls the soft-psych of Koushik, which Be With loves of course. Tropicalia influences abound in the cool and breezy “New Danger” and the KPM-references are loud and proud on the lush organ pop of “Old Habits”. Fast-paced “Chase Theme No. 1” manages to be both tense and laid back, decorated by acid-drenched spaghetti Western guitars. The glorious Gainsbourg-esque melancholia of “Infinite Bliss” is all gauzy flutes and happy-sad vocalizing and the title is almost perfect: it’s bliss, no question; *if only* it went on forever. Side A closes with “Evening”, a subtle bossa nova beat thing. Gorgeous.

Side B opens with the heat-shimmer guitars of “Rain Dance”, evoking an unreleased Byrds or Buffalo Springfield backing track. Yes, it’s that good. “Sure Thing” is music to accompany an elevator ride you never want to end, but in a good way! The ornate “Garçon Manqué” is as beautiful as the instrumentals on Pet Sounds (think “Let’s Go Away For A While”) and the wistful “Turning In” starts like a stroll in the park before Maston introduces a scorched-Earth guitar solo that would startle if it wasn’t so pitch-perfect. “Chase Theme No. 2” is a briefer, more keening counterpart to what we hear on side A. The head-nod bass-drums-keys funk of “Hues” rounds out this staggeringly assured set; still opening each phrase with a plaintive strum, but using vibrato and heavy reverb to accent the electric organ melody. Sublime.

All these top drawer musical references might sound like just more of the usual release notes hyperbole, but there’s a reason that this still-young LP already changes hands for big money. It really is that good. Of course that first pressing didn’t hang around for long and Frank’s regularly been asked about a re-press pretty much ever since.

Re-issuing Tulips on Be With made sense to Frank “because the record would fit in so well with the catalogue”. Having already delved into the archives of KPM and Themes, and beginning to do the same with Coloursound and Selected Sounds, the collaboration “just makes sense and seems inevitable”. We agree.

Frank wasn’t sure a record of instrumentals with obscure soundtrack references would be an easy sell when it was originally released, and was surprised when Tulips turned out to be exactly what some people wanted to hear. We reckon its timeless beauty ensures that it’ll *always* have an audience.

The record was originally cut to be played at 45rpm, a technical quirk that grants the home listener the opportunity to go deeper, for longer. Played at 33rpm, the more languid unfurling of the tracks proves just as wonderful a trip. As a psilocybin-soaked case study from Aquarium Drunkard back in January of 2019 describes, some of the songs sound as if they were intended to be heard that way. The slower speed allowing the listener to step inside and perhaps even “crack the code” of the music’s meaning.

Mastered for this vinyl reissue by Simon Francis and featuring alternative burnt orange artwork from Maston himself, this Be With pressing is limited to just 500 copies. Hypnagogic it may be, but please don’t sleep.

2023 Repress

Maston’s Darkland is a breezy collection of the material from the Tulips sessions that didn’t make it on to the original LP. Originally a digital-only release for those in the know in the autumn of 2018, after re-issuing Tulips in 2020 it made too much sense for Be With to give Darkland a vinyl release.

Like Tulips, Darkland was recorded mostly in Hoorn, in the Netherlands, between 2015-2017 during downtime from Frank’s touring duties with Jacco Gardner’s band. Bits were also done in Los Angeles on some extended trips back home.

The collection plays like an alternate view of Maston’s instant modern classic Tulips; a companion piece to the LP proper with similar mixture of shorter themes and more full length tracks. As Frank Maston explains: “I think Darkland is the shadow of Tulips in a way… what it might’ve been in a different universe. But the heart of Tulips beats in these songs as well and they evoke the same memories and feelings for me. I see my process playing out across these songs - lots of experimentation and trying out new techniques and sounds and just sort of going for it.”

Frank goes on: “It was all from the same pool of material, like 30+ ideas. I was making a lot of little demos… some would be more fleshed out and become songs and others would just be a cool riff and not go anywhere. When I started trying to form it all into an LP I went through all the sessions and ideas and collected the ones I thought were the most fleshed out and cohesive together as a whole. There were a fair amount of songs that were finished and in hindsight really should have been on Tulips (like what would’ve been the title track). And the rest of these songs are either very early versions of tunes that ended up on Tulips or some cool ideas that just ended up being dead ends. It definitely shows how wide my net was in the beginning before I narrowed the record down stylistically.”

Darkland opens with its ornate 39 second title-track before striding into “Tulips”, that full-length title-track that never was. It’s a real head-nod, percussive-rich electric piano stunner that would’ve been a comfortable standout on the album proper. But now this “downlifting” gem is given ample room to shine on this record.

The funky organ-led bass and drums workout “Immaculate Conception” will keep your neck gently snapping while MPC fiends go reaching for their sampler. And that’s gospel. “Love Theme No 3” cuts a breathtakingly stylish vibra-slapped swathe through the middle of the opening side before we’re startled by the pronounced bass and twinkling percussion of “The Owl In Daylight”. Charming digi-drums underpin the wonky synth (quiet-)banger “Innovative Patterns” which has a lovely melodic switch-up in the final third before the tempo (and hairs on your neck) rise on the faintly creepy yet imminently groovy “Osiris”. The gorgeously soft-focus “Groove Experiment No 3” closes out the first half in slow-mo wonderment.

The lushly melancholic “Raincloud” ushers in side B before the emotionally-stirring “Phonic” taps at the door, coming on like the long lost sister to Pet Sounds’ “Let’s Go Away For A While”. Next up, the swooning beauty “Love Theme No 2” keenly sways in front of you, growing ever more insistent and hypnotic. The too-short “Italian Summer” conjures the same flirtatious imagery as the title hints at whilst “Endless” is a fascinating “piano-pella” alternative version to “Rain Dance” from Tulips. “Wonder Theme” has a nostalgic, exotic 60s swing and album closer “Willow” is a hushed, campfire folk gem. The gently circular strumming is just magical.

Speaking to Aquarium Drunkard back in 2019 about the sessions that became Tulips, Frank noted: “I was really surprised by the lack of sunlight during my first winter in Holland, so I would call it Darkland which then became the name of the first demo I wrote during that time. It was also the working title of the record when I first started writing. Some are full songs that didn’t make the cut (including what would have been the title track), some are just ideas that I never finished.”

Whilst we were working on Darkland’s vinyl release Frank explained more specifically about the music that didn’t make it on to Tulips: “When I was putting together the tracklisting for Tulips I was already thinking that whatever didn’t make it onto the LP would be cool to release eventually somehow. The response to Tulips has been so passionate over the years that it’s nice to be able to offer another piece of that world. And for me personally it’s amazing to have more of my work out there in the world. Most common bit of feedback was that many of these songs should have been on Tulips. The odd friend says it’s much better than Tulips.”

Just like Tulips before it, Simon Francis’s vinyl mastering for Darkland has been cut at 45rpm so you can trip out to this as well at a woozy 33 1/3. The artwork too has been designed by Frank himself as a literal visual continuation of the Tulips cover.

We couldn’t possibly say whether Darkland is better than Tulips, and luckily we don’t have to decide.

Very limited vinyl pressing, 500 copies, housed in a full colour sleeve & printed inner sleeve & download. CD in a 4 panel digipack with a 4 page lyric booklet. New Heavy Sounds are always on the lookout for new bands that are looking to push the boundaries of what is considered as inhabiting the ‘heavy’ or ‘metal’ spectrum’. Stuff that pricks up the ears, a bold new voice within a maelstrom of genres and sub-genres. We believe we have found such a band. New York-based GUHTS (pronounced ‘guts’) declare themselves to be an ‘avant-garde post-metal project, delivering larger than life sounds through, deeply emotional music’. We are thrilled to be able to deliver that statement in the form of their debut album ‘Regeneration’. By their own admission, GUHTS' musical style is influenced not only by iconic metal bands like Gojira, Cult of Luna, YOB and Deftones, but more unconventional acts like Bjork, Subrosa, Isis, Julie Christmas, and even PJ Harvey. It’s undoubtedly heavy, with a strong feminist streak, it’s cathartic and weighty, a formidable debut for such a new band. Founded in 2020 as a passion project by Scott Prater (Witchkiss), and Amber Burns (Witchkiss) and then Dan Shaneyfelt (Black Mountain Hunger), GUHTS became its members’ main focus following the release of their first EP 'Blood Feather' which itself received rave reviews from the likes of Decibel Magazine, Invisible Oranges, The Obelisk, Cvlt Nation, and more. Brian Clemens Sleaping Dreaming) & Daniel Martinez (Nefariant) joined GUHTS in 2022 and the band swiftly started booking tours and making plans to record 'Regeneration'. Since then GUHTS have been steadily making a name for themselves with their powerful live performances., sharing stages with the likes of Yob, Cave in, Marissa Nadler, plus appearances at the Maryland Doom Fest, Crucial Fest and Ohio Doomed and Stoned Fest. ‘Regeneration’ is set to cement their status as one of the coolest and most interesting bands on the scene. Of the album, vocalist Amber says. "Regeneration" symbolizes the power of self-renewal, often overlooked. Embracing it means shedding old layers and welcoming new beginnings. Without this, life stagnates and is “sustaining”. Through regeneration, change becomes empowering, allowing new facets to emerge. It's a courageous, transformative process, inspiring others to overcome fear and embrace change. The album embodies the human spirit's resilience and capacity for growth. Musically ‘Regeneration’ is a powerful and intense series of songs, topped off by some seriously powerhouse and expressive vocal performances. It’s slow-moving chords, moving like sheets through sludge. High guitar lines above, ranging from piercing and shimmering to nasty. Drums pound but not without groove. There are strings, pianos and synths widening the palette. Atmospheric sludge, Metalgaze, maybe, but there’s also that link to the New York Noise lineage from The Velvets and Sonic Youth, becoming a type of post-hardcore in the process, while gaining a connection to metal partly due to the sheer heaviness. A raft of creative experimentation that pushes beyond the realm of post-metal. And then of course, the very first thing that hits you is Amber Gardner's unbelievable, hypnotising vocals - as scary as a banshee while also intimate and persuasive. Amber means it for sure and almost dominates the proceedings. Her lyrics are eclectic, thoughtful. Immersed in women's narratives frombooks like "Women Who Run With the Wolves" or works like "On Our Best Behavior" by Elise Loehnen. Amber advocates stepping beyond comfort zones, believing it's transformative for individuals and vital for Earth's future. Hokey occult rock it is not. In short ‘Regeneration’ is a bold and startling debut, that will reward and enthral listeners the deeper they delve into its many layers.

Repress!

Season of Mist is Dead Horse One's second album and the first collaboration with french indie label
Requiem Pour Un Twister (Triptides, Good Morning TV etc.). It's a promising alliance between two of
the best representatives of shoegaze in France. Haling from Valence, the boys managed to impress
Joe Foster of Creation Records who said about their first EP « their music, that spans multiple genres
including Shoegaze and psychedelia, is like an endless extended note, wistful and melancholic....macabre
and beautiful...from which will emerge pop songs ». Mark Gardner of Ride mixed their first effort,
the acclaimed Without Love We Perish and now they're back with Season of Mist produced by the
band helped by John Loring (Fleeting Joys). It's full of catchy hooks, shoegaze and psychedelic anthems
propelled by supersonic guitars that sound like a massive wall of joyful noise. Close your eyes and let
all theses great songs flow in your mind, from season of mist will emerge light.

Folk duo lilo's ascent continues with second EP, I Don’t Like My Chances On The Outside. Having met at school aged 11, Christie Gardner and Helen Dixon’s friendship runs over a decade deep. Starting out with homespun recordings and YouTube covers, by the time they moved to London in their late-teens, they had an unshakeable creative bond that forms an incredible bedrock for them to flourish from. Their exceptional debut EP Sleep Country (Practise Music) came out in late-2021. Taking cues from alt-folk and classic country, it showed a maturity and dexterity that belied their years. As Loud & Quiet said of the band in a recent interview, "what sets them apart from their contemporaries is a real understanding of Americana-influenced folk’s lineage as a genre. Think Emmylou Harris’ soul bearing and the pitchperfect vocal glide of Karen Carpenter." New EP, I Don’t Like My Chances On The Outside, is a truly brilliant follow-up that underscores that we're no longing talking about promise with this duo. Working with producer friend Joseph Futák, they're now firmly in their stride, deftly counterbalancing delicate moments and harmony-led pop highs across a full-bodied band sound. Their lyrics speak for their generation too, encapsulating the panic, anxiety and love of twenty-somethings at a time of great uncertainty; from single 'Settled' where the financial realities of needing to move back in with your parents to the sheer relief of ending a relationship on 'I Don't Love You Anymore' and 'Just A Thought's failing attempts to pull a friend away from a bad person ("It's your hill to die on," they warn), nothing is off the plate.

After the success of Cruise Control repress, Les Disques Bongo Joe are proud to announce the official reissue of Polymood, second album of L"Éclair and maybe their most renowned project for the moment. Recorded live in Amsterdam by the wizard Japser Gelük (Altin Gün, Allah Las, Jacco Gardner, this library-groove-oriented album goes deep into L"Éclair influences back in the days : Piero Piccioni, AIR, Sly Stone or Can.

'Etienne Daho's new album, “Tirer la nuit sur les étoiles” is one of the great pop successes of the year in France. The song which gives its name to the album is a sensual duet with Vanessa Paradis, inspired by legends of the 50s in Hollywood: Ava Gardner and Frank Sinatra, who celebrated their passion by shooting a revolver on the stars in the Californian desert... This new 7inch 45 rpm vinyl, in blue vinyl, is strictly limited edition. On the A side, the original version of "Tire la nuit sur les étoiles" and on the B side, the remix of the title by Yan Wagner. Reviews and Ads – London Macadam, Le Petit Journal

Grain typified the sound of Rust Belt youth in the mid 90s. With slow builds, fast/ slow time signatures, dissonant guitar work with melodic, catchy undercurrents, and just enough breakdowns to keep the hardcore purists happy, these recordings are simultaneously angry, urgent and beautiful. Remastered by Dave Gardner at Infrasonic Mastering in Los Angeles.

Dennis White, Charlie May, and Dave Gardner return with their second outing as Quiet Places on A Strangely Isolated Place, expanding upon their deep and suitably hypnotic long-form compositions across four continuous sides of wax.

Minimal in context and retaining the untitled track approach, the trio of producers, well versed in a variety of music styles between them, leave the music and the subliminal messages contained within as the descriptor.

Finding moments of melody amongst the wide landscape of abstract sounds and samples, is the only glimpse of reality you’ll find down here.