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Ex-We Are The Physics and current Slime City vocalist Michael M returns with a brand new album of irreverent lo-fi garage punk bangers

Short, fast, pointed anecdotes crammed into just over 30 minutes (so it's eligible for a Scottish Album of the Year Award) for fans of Weezer, Art Brut, Mike Krol, Half Man Half Biscuit, Mclusky, Jay Reatard. Includes download code and videos for each song.A scathing but reflective attack on the internet's Balloon Guy? 10003;The existential crisis of finding out how old the boy from the Sixth Sense is? A Shangri-Las inspired tragedy-pop song about an old crisp packet?Nu Metal, but polite?


Pressed on a totally randomly assigned Eco Colour Vinyl!

Mit ihrem neuen Album „3“ öffnen die belgischen Krautrocker MOTOR!K ein neues Kapitel ihrer musikalischen Bandgeschichte. Während die Schlüsselelemente ihrer vorherigen Alben „MOTOR!K“ und „2“ (hypnotisierende Basslines, hämmernde Drums und sich repetetiven Gitarrenlinien) auch im neuen Album wiederzukennen sind, unterscheidet sich dieses Album dennoch von seinen Vorgängern.

Von Tracks mit minimalen Techno-Grooves, ambientartiger Gitarren- und Elektronik-Tracks, "Vintage" MOTOR!K Songs bis hin zu Post-Rock Feelings und psychedelischen Gitarren & Synthesizern. Delay-Gitarrenspiel und spacige Elektronik bauen hier neue Horizonte auf und zollen damit den Klängen der späten 70er Jahre ihren Respekt.
Motor!k 3 - ein Album dass geradezu danach schreit, in einer schweißtreibenden Konzertumgebung live gehört zu werden.
Das Belgische Trio bestehend aus Gitarrist/Synthesist & Motor!k Songkomponist Joeri Dobbeleir, Dirk Ivens - Guitar / FX (The Klinik/ Dive) und Drummer Dries D'Hollander, hält den instrumentalen Krautrock Vibe aufrecht & lebendig, sowohl auf Platte als auch live auf der Bühne.

At the tender age of twenty-five, while he was working part-time at an Italian restaurant in Tokyo's Kamata district, Kazuki Tomokawa released his debut record, fittingly titled Finally, His First Album. While he had already penned hundreds of songs, including his first single "Try Saying You're Alive!," written on a long train ride past fields and rice paddies, it was this recording that introduced Japan to one of its most unique musicians of the postwar era. Each track, as record label exec Kiichi Takahara writes in the LP's liner notes (here translated for the first time), is not a song but a "flesh-and-blood human being," birthed by the singer-songwriter and the raw, guttural cries that would become a hallmark of his incomparable sound. 1970s Japan was a time and place marked by a profound desire for authenticity amidst the onset of television and media saturation. Tomokawa arrived on the scene as a musician with "the personality of a hydrogen bomb," to borrow a phrase from his frequent collaborator Toshi Ishizuka. In an unwieldy interview included here, members of the notorious leftist band Zun? Keisatsu (Brain Police) put it bluntly: here was a man surrounded by the "disingenuous," the "wishy-washy," and the "superficial," who was delivering "real life, unvarnished." These songs are lullabies for the lost, staring not into the void but-as the fourth track declares-from inside it. Finally, His First Album is the first of three Tomokawa records to be reissued by Blank Forms Editions in conjunction with the US release of Tomokawa's memoir, Try Saying You're Alive!, the first-ever English translation of his writing. This debut captures the self-assured trademarks that Tomokawa would hone over the course of decades. Multiple tracks are performed in his native Akita dialect, a distinct and highly regional vernacular of northern Japan seldom heard outside the prefecture-and even more rarely heard in music. Tomokawa's lyrics locate profound interiority in the rituals of everyday life, and are sung against sparse folk arrangements of tender, lilting chords-a prelude to the rock and electronic stylings to come in later years. A self-proclaimed "living corpse," Tomokawa wallows, whispers, shouts, and cries, yet still, through his existential doubt, asks to be heard.

Fragments repräsentiert eine Einladung an elektronische Künstler, traditionelle und moderne Musik zu kombinieren. Regelmäßig wird Fragments von einem neuen Komponisten inspiriert werden. Hieraus entsteht eine Serie von Alben, welche eine Bandbreite elektronischer Künstler dazu einlädt, einen ganz neuen Blickwinkel auf die Werke eines renommierten Komponisten zu werfen.

Fragments ist ein Projekt, das zwischen Welten schwingt. Zwischen klassischer und elektronischer Musik - zwischen alt und neu.
Beginnen wird die Serie mit Erik Satie: dem französischen Pionier der ‚Minimal Music‘, ein spitzfindiger Künstler, beliebt im Pariser Nachtleben seiner Zeit, ein Ambient Komponist avant la lettre, wiederentdeckt von einer Generation 100 Jahre nach seiner Lebzeit.
Beim Suchen und Finden der kollaborierenden Künstler, wurde das Projekt Fragments mit einstimmigem

Enthusiasmus empfangen. Das Resultat ist eine Kollektion großartiger Remixe & Reworks, welche monatlich zwischen August 2021 und Mai 2022 erscheinen.

Graham Nash: Live is the unique project arriving on May 6, on which Nash revisits his first two classic solo albums, Songs For Beginners and Wild Tales, recorded live in concert The live albums were recorded in 2019, each in their entirety with their songs in familiar sequence. Nash was joined on stage by a seven- piece band led by his
longtime collaborators, Shane Fontayne (guitar and vocals) and Todd Caldwell (keyboards and vocals), The album was mixed by Grammy Award® winner Kevin Killen and mastered by Grammy Award® winner Bob Ludwig.

An extraordinary Grammy Award® winning renaissance artist – and selfdescribed "simple man" - Nash was inducted twice into the Songwriters Hall of Fame, for his work with CSN and his work as a solo artist, beginning with these two landmark albums, Songs For Beginners and Wild Tales.

Nash's lifelong commitment to his work is unwavering. His inspiration is simple: "All the things we stood for, that love is better than hatred, that peace is better than war, that we have to take care of our fellow human beings, because that's all we have on this planet - those things are still true today. I need to know that I've brought something into the world that was positive and not negative."

RIYL: David Byrne, Guy Clark, Bob Dylan, The Flatlanders, Randy Newman, John Prine, Lucinda Williams, Townes Van Zandt. The first-ever vinyl reissue of Allen’s manifold, moving fourth album, remastered from the original analog tapes. Deluxe LP edition features 140g virgin vinyl; a gatefold jacket, inner sleeve with restored, new, and alternate art and photos by Terry and Jo Harvey Allen and friends, insert with lyrics and original notes & DL. Deluxe CD edition features a trifold jacket & inner sleeve. On his manifold fourth album, acclaimed songwriter and visual artist Terry Allen contemplates kinship the ways sex and violence stitch and sever the ties of family, faith, and society with skewering satire and affection alike. Bloodlines compiles thematically related but disparate recordings from miscellaneous sources both theatrical and historical: two songs written for plays; two full-band reprises of selections from Juarez; the irreverent hellfire-hitchhiker-on-highway ballad “Gimme a Ride to Heaven Boy” (featuring Joe Ely); and the poignant eponymous ode to the arteries of ancestry and landscape (the debut recording of eight year-old Natalie Maines, later covered by Lucinda Williams). Since 1970, when they met in Allen’s studio in his hometown of Lubbock, Texas, one of songwriter and visual artist Terry Allen’s great foils and friends was the sometimes cantankerous but always brilliant art critic and writer Dave Hickey, with whom he sparred on topics musical, visual, and beyond (and to whom this reissue is dedicated in memoriam, in the wake of his passing in 2021.) Hickey, a fellow Texan paddling against the currents of the hermetic New York centric art world, was an accomplished songwriter in his own right, and he and Terry pushed each other to refine their respective practices. In 1983, the two were thick as thieves brothers in blood and Hickey’s wry but big-hearted presence haunts the history and periphery of Bloodlines, the album Terry released in June of that year. Hickey’s commercial doubts notwithstanding, critical recognition was not in short demand. In a 1984 review of Bloodlines, the L.A. Herald Examiner called Allen “one of the most compelling American songwriters working today … making the most unique art-pop of our time,” elsewhere comparing him not only to Moon Mullican and Jerry Lee Lewis, but also to the Velvet Underground and Philip Glass (probably the first time that unlikely quartet ever appeared together in one sentence). In 1983, against all odds, such sentiments were growing in underground prominence, as Allen’s records gained a fanatical word-of-mouth following they weren’t easy to find in those days. Recorded piecemeal at Caldwell Studios in Lubbock, in sessions spanning August 1982 through January 1983, Terry self-released it, like all his previous records, on his own Fate Records imprint. Despite his frustration with the protracted timeline and some anxiety about the correspondingly higher budget, the production on Bloodlines courtesy, once again, of master guitarist Lloyd Maines is slicker, cleaner, and more dynamic than prior efforts, and it reached a broader audience than ever before. UK label Making Waves reissued it in 1985, facilitating semi-reliable European distribution for the first time as well as a 1986 UK tour, on which the great BJ Cole filled in for Lloyd on pedal steel. No veteran country songwriter sounds more attuned to the national mood. His songs still feel like little guidebooks for staring down a harsh universe. – The Washington Post // It has always been a fool’s errand to frame Allen in terms of other artists there was nobody like him before he showed up, and the subsequent 40 years have been equally light on plausible peers. Uncut

The second album from the transatlantic duo Wilma Vritra is richly orchestrated, replete with references to faith, mythology, and the cosmos, its 11 tracks grapple with themes of self-preservation and refuge from the world, even as they edge their way to a sort of redemption. Grotto is the work of two musicians separated by an ocean but undoubtedly operating on a shared wavelength. One is Will Archer, a Newcastle-born but London-based multi-instrumentalist and composer who today records as Wilma Archer, but who you might also know for his writing and production for artists like Celeste, Nilufer Yanya and Jessie Ware. Wilma Archer’s debut solo album A Western Circular, featured guest spots from the late MF DOOM, Future Islands’ Samuel T Herring, Sudan Archives and Laura Grove. The other is Hal Donell Williams Jr, aka VRITRA - a Los Angeles-based rapper whose tales of graft and grind are often couched in spiritual or cosmic terms. VRITRA has previously collaborated with Matt Martians via The Jet Age of Tomorrow, Pink Siifu and YUNGMORPHEUS. Grotto’s striking cover image is by Swampy, an enigmatic Californian street artist whose itinerant lifestyle – tales of squatting and train-hopping across North America – have made him a demi-mythical figure. A playful image, but it communicates the album’s themes – of a voyage through darkness, and the promise of light at the end of the tunnel.

RIYL: Velvet Underground, Lou Reed, Nick Cave, Patti Smith, Leonard Cohen, Iggy Pop, Radiohead & Tom Waits. "If you have never heard the Doctors of Madness, you should. Musically they are the Velvet Underground, New York Dolls with shades of glam, hippie, prog and punk all rolled into one, yet are still totally original. Vastly underrated, they should have been huge. Pure genius" Vic Reeves…. The DOM are “the missing link between David Bowie & The Sex Pistols” (The Guardian May 2017). Exploding onto the music scene in 1975 with their theatrical, William Burroughs-inspired Sci-fi nightmare, they were misunderstood by many, but those who knew understood the importance of the band’s dangerous, uncompromising approach to lyrics, to music and to performance. Among the many fans of the band were acts as diverse as The Damned, Vic Reeves, Joe Elliott of Def Leppard, Spiritualized, Julian Cope, The Adverts, The Skids and Simple Minds. The Sex Pistols supported them, so did The Jam & Joy Division. They were the first to combine the avant-garde approach of The Velvet Underground with a distinctly European aesthetic. The blue hair, exotic stage-names, the lyrical themes of urban decay, political propaganda, mind control and madness were all taken up by the punk bands who followed in their wake. The DOM were trailblazers, pioneers, adventurers…pushing the boundaries of rock music and theatre to see how far it would go before it bust. What happened after them was due, in no small part, to what they achieved in 3 short years. They may not have been Jesus Christ, but they were, arguably, John the Baptist!!! Now, 40 years after they imploded, they are back…with an album seething with lyrical anger and passion. It is the most potent and incisive musical dissection of modern life and contemporary politics released the decade. With tracks titles like “So Many ways To Hurt You”, “Sour Hour”, “Make It Stop!” and the ground-breaking sonic assault of the title track “Dark Times”, Richard “Kid” Strange proves once again that he has his finger firmly on the pulse of our times, just as he had when he founded the band in 1974. Produced by John Leckie (Radiohead, Stone Roses, Pink Floyd), the new album, Dark Times, features contributions from Joe Elliott (Def Leppard), Sarah Jane Morris (Communards), Terry Edwards (PJ Harvey, Nick Cave etc), Steve ‘Boltz’ Bolton (The Who, Scott Walker) and the young protest singer Lily Bud, alongside the current thrilling and thunderous DOM rhythm section of Susumu Ukei (bass guitar) & Mackii Ukei (drums) of the Japanese extreme glam-metal band Sister Paul, and Dylan O Bates (violin and keyboards). Julian Cope, another rock star who, like Strange, found the confines of music too tight for his ambition, his energy and his imagination, was blown away when he first heard the songs, declaring, “These Dark Times are enormously informing: the RULES OF THE FUTURE are indeed being forged right now”. Top producer Martyn Ware (Human League/Heaven 17) said the album “…reminds me of Iggy Pop’s Kill City album – love it.” and Biba Kopf (The Wire) declared, “Still listening to new DOM album with immense interest and pleasure”. The first single, Make It Stop!, is an impassioned howl against the global drift to right wing extremism and persecution of minorities, and is already a live showstopper for the band. It features the thrilling cross-generational combination of Def Leppard’s Joe Elliott and Lily Bud on backing vocals. In the period since the last DOM gig in 1978, Richard has written a memoir, collaborated on a cantata with internationally celebrated composer Gavin Bryars, worked as an actor on films with Tim Burton, Martin Scorsese, Harmony Korine & Jack Nicholson, toured the world in a Russian version of Hamlet with James Nesbitt as his grave-digging co-star, played Glastonbury, sung baritone in the British premiere of Frank Zappa’s200 Motels at the Royal Festival Hall, directed a multi-media evening celebrating the life and work of William Burroughs, won Best Art Film Prize at the Portobello Film Festival last year, had his own live talk show, worked with Tom Waits and Marianne Faithfull on the William Burroughs/Robert Wilson stage play The Black Rider, curated events for the Tate Gallery, and sung Walt Disney songs with Jarvis Cocker.

Ex RSD LP on transparent red vinyl, gatefold sleeve with lyric inner sleeve and DL card. Final copies now reduced to £7.99. The tracks on this album have never been officially released before now. The eight songs on this album were recorded in 1978 on a 2-track stereo Revox A77 tape recorder. The recordings are unashamedly analogue, using one microphone and guitars plugged directly into the tape recorder. Bouncing down tracks irreversibly as they went on, forced to make creative decisions that could not be undone. Some hard choices had to be made with the mix, but with no record company meant no record company agenda. TV Smith & Richard Strange could write and record whatever they wanted – and did! It has been an enormous pleasure to rediscover these recordings, the result of a friendship of two artists emerging from broken bands and each about to embark on a lifelong adventure in words and music. TV SMITH - I wasn’t having a lot of fun in 1978 when Richard asked me to collaborate on a song he was writing called “Summer Fun.” I was in the final stages of songwriting for the second Adverts album “Cast Of Thousands,” a project that already seemed doomed to failure given an unenthusiastic record company, a band in the throes of falling apart, and a dwindling audience - but my creative juices were in full flow and I was ready for something different. I already knew Richard, of course, from the Doctors Of Madness, who I’d followed in the years before punk when I was still living in Devon and they were one of the few bands to come and play in the area. I considered them a warped poetic glam band with gothic leanings, and was slightly surprised when the song I’d been invited to work on turned out to be a kind of California surf pastiche. But I was game to get involved, and after we’d finished it and ventured forward with regular writing and recording sessions over the following weeks it soon became clear that “Summer Fun” was just a gateway drug, and the songs that were emerging from our combined forces were going to quickly become much deeper and much darker // RICHARD STRANGE - Watching the remnants of a musical dream being swept away by the juggernaut of corporate punk rock in 1976, I felt a combination of jealousy and resentment towards many of the key players who had been responsible for our demise. The Sex Pistols had supported my band Doctors of Madness early in their career and nicked not only our future but £12.00 from a pair of trousers in our dressing room in Middlesbrough Town Hall! The Jam, who supported us over four shows at London’s fabled Marquee Club, were how I imagined The Who would be if they’d joined the Young Conservatives. Warsaw, our go-to support band in Manchester, had just changed their name to Joy Division, and Johnny and the Self-Abusers, our Scottish flag wavers, had become Simple Minds. All were being feted by the all-powerful music press, while we were being buried. But there was one punk band for whom I never had anything but the greatest affection…The Adverts.

Cocteau Twins, Jefre Cantu-Ledesma, Julia Holter, DIIV, Washed Out, Broadcast, Insides, Beach House, Drug Store Romeos. Introducing Beneather, a BAFTA-nominated composer from North London obsessively crafting sad, lo-fi, cinematic, ambient scandi-dreampop submerged in gently fuzzy tape loops. Much like the paintings of Gerhard Richter or a heavy mist rolling through a familiar landscape, the debut long player from Beneather obscures and blurs ten beautiful tracks beneath washes of cinematic, ambient scandi-dreampop – details emerge and fade, voices ooze and flow, tunes soothe and unnerve, metronomic beats click and swing. It would not be out of place on a David Lynch or Jim Jarmusch soundtrack. Inspired by the likes of Jefre Cantu-Ledesma, Hammock, Grouper, Low, GAS, Huerco S., Emeralds, Jenny Holzer, William Basinski & ABBA!! Beneather is the solo project of Lewis Young - composer and collaborator in The Leaf Library, drone pop from north London. As a composer, Lewis recently scored the British short ‘Lucky Break’ which found its way into the BAFTAs short list only to narrowly miss out on the gong. Lewis is a multi-instrumentalist, producer, designer and filmmaker currently living in Walthamstow, London. He started as a guitarist in noughties math-rockers Tea with the Queen, shifting to bass for multi-harmonied Naomi Hates Humans before returning to thumping roots as drummer for The Leaf Library. Objects Forever - the imprint label created by The Leaf Library - has provided Lewis with the vehicle to jump back into experimental song craft, inspiring the genesis of Beneather. “I just needed to make a project which spoke to all the aspects of music I’ve loved creating as a multi-instrumentalist. Plugging things into things to make satisfying little electronic loops, then layering extremely minimal bass and guitar lines with a lo-fi aesthetic. Melinda and I spent a few days in the studio - picking out objects, patterns… items that could inspire a thread of instinctive wordless melody. I took that expressionism and sliced it to pieces, rearranging it into ambient vocal hooks.” Beneather is an exercise in hypnotic simplicity. Experimental, dream-like music built on layers of scratchy electronic tape loops, chiming spacious guitars and abstract pulsing vocals. These cinematic songs combine Grouper's wistful deviations with the warm fuzz of Jefre Cantu-Ledesma, the nocturnal hum of Emeralds, the crackling collapse of William Basinski and Low's glacial pop melancholy. Outside of compositions for film, TV and Podcasts - Lewis plays with the indie drone-pop band The Leaf Library, featuring Matt Ashton from John Peel faves Saloon (“World-weary yet innocent, blissful dream-pop” - UNCUT - 8/10). Lewis has supported the likes of Lali Puna, Joanna Newsom, Lætitia Sadier & Alexis Taylor.

Far from the twin epicenters of New York and Miami, Carlos Ruiz and his Ebirac label were both feeling and generating the aftershocks of the mid-’70s salsa boom. Holed up in their own bustling Puerto Rican community center on Chicago’s west side, these third coast salseros plied their trade outside the hot lights, cutting their teeth in city parks, VFW halls, and Holiday Inn rec rooms. Nearly 50 records survive in the wake of orquestas La Justicia, La Solucion, and Tipica Leal ’79, the most impassioned, singular moments of which are compiled here.

140 gram black vinyl reissue of the Grammy-nominated Alligator debut by The Master of the Telecaster, Albert Collins

An essential part of any blues collection, the album features all-time fan favorites like Master Charge, Honey Hush and Conversation With Collins. All tracks remastered. Originally released in 1978.

Albert Collins is revered as a true blues legend, and his greatest success came after he signed with Alligator and cut 'Ice Pickin'.' It won the Best Blues Album of the Year Award from the Montreux Jazz Festival, in addition to being nominated for a Grammy, and has been inducted into the Blues Hall Of Fame.

One Day is the third album from the Cactus Blossoms - featuring eleven songs written, produced, and harmonized by brothers Jack Torrey and Page Burkum

Recorded and mixed by longtime collaborator Alex Hall using a mobile rig in Page's Minneapolis basement, the album continues the evolution of the band's signature blend of country, soul, and 60"s rock sounds, all anchored by the brothers' core sibling harmony vocal style.Ltd Crystal Amber vinyl.

Far from the twin epicenters of New York and Miami, Carlos Ruiz and his Ebirac label were both feeling and generating the aftershocks of the mid-'70s salsa boom. Holed up in their own bustling Puerto Rican community center on Chicago's west side, these third coast salseros plied their trade outside the hot lights, cutting their teeth in city parks, VFW halls, and Holiday Inn rec rooms. Nearly 50 records survive in the wake of orquestas La Justicia, La Solucion, and Tipica Leal '79, the most impassioned, singular moments of which are compiled here.

After lurking on the internet as an outlet for Dreamlogicc's solo and collaborative work, cheeky Peak Time Dance Music launches its physical imprint with a half dozen tracks of drum-driven madness. Drawing raw rhythms and rugged sound design from gqom, integrating elements of electro, grime, and techno, these flexible beats absolutely stomp. While the core sound remains, the moody grooves from his Kimochi Sound releases and bassy halftime from Main Drain Studios take the back seat here: it's a 12" for the club.

LNDFK (aka Linda Feki) presents her ground-breaking debut album, "Kuni" on Brooklyn-based Bastard Jazz Recordings. Undeniably on the rise after her 2019 breakout performance at Primavera Sound, LNDFK has already caught the attention of Pitchfork, Rolling Stone, Clash Magazine, Noisey, and Brooklyn Vegan (among many others) while being championed by the likes of Gilles Peterson, Tom Ravenscroft, and Jamz Supernova & landing spots on tastemaker playlists like Spotify's "Pollen" and "Fresh Finds."

"Kuni" is a spellbinding exploration of dichotomies: Love & Death (Eros & Thanatos), Flower & Fire, Delicacy & Violence, Poetry & Realism, Purification & Destruction. These opposites are reified in the 10-track LPs multifarious and multifaceted sounds, elegantly meandering through a variety of styles and genres, spearheaded by Linda and features the production wizardry of Darrio Bassolino who co-wrote the album.

"Kuni" opens with "Hana-bi," an ambient instrumental piece that sets the tone for the album. Inspired by the Takeshi Kitano 1997 film of the same name – particularly Joe Hisaishi's stunning soundtrack, as well as Kitano's paintings which appear in the film. "Hana-bi" expresses the dialoguing opposites of flowers and fire, the first of many dichotomous representations throughout the album. "Takeshi" acts as an extension and to "Hana-bi," albeit one of opposing sound, with its driving, highly syncopated drums (which reappear throughout "Kuni") – à la Karriem Riggins, Questlove, or Yussef Dayes – frenetic bass line, and jazz chords. Linda's sultry voice is interspersed, initially jumping around in scat fashion, being triggered as if a sample, before her lyrics come in; her vocals are used like an additional instrument, adding to the song's rich texture. "Kuni" truly hits its stride with the next song, "Smoke – a moon or a button" (its title lifted from the 1959 book by Ruth Krauss and Remy Charlip), which is structured like a jazz standard yet flows into neo-soul territory sonically with those prodigious drums a highlight once again.

LNDFK touches on experimental hip hop in two songs on the record (both of which were released as singles in 2021): "Don't Know I'm Dead or Not (feat. Chester Watson)" – track #4 – and "How Do We Know We're Alive (feat. Pink Siifu)" – track #9. Although they embrace a more hip hop-leaning sound, these songs by no means shy away from the exploratory theme, and feature two of the alt-rap scenes rising stars with Chester Watson and Pink Siifu who offer provocatively impressing verses, combining dense word play with unconventional flows. While these tracks may first appear to be outliers on the album, they are undeniably in tune with "Kuni's" message and sonic palette, acting as testaments to LNDFK's willingness to explore and experiment.

Meanwhile, "Ku" – the third and last single before the album release – furthers the pre-established future soul sound while meandering through nu jazz and left-field electronic. Inspired by the graphic novel and film, "Sin City," and its female assassin protagonist Miho, "Ku" is a musical interpretation of Miho's story, incorporating both her beauty – the first half of the song – and murderous tendencies – the second half – to create a stunning juxtaposition, culminating in an ambient finale that suggests the character's vulnerability and inner peace. The song gracefully bridges the gap between Hiatus Kaiyote-esque songwriting, Dilla's rhythmic syncopation, and Thundercat's instrumental prowess (LNDFK has shared a stage Brainfeeder labelmate Kamasi Washington).

Mixed in throughout "Kuni" are a series of instrumental pieces that function as something akin to an interlude. The aforementioned intro, "Hana-bi," and the album closer "se mi stacco da te, mi strappo tutto:" act as bookends, while "Om" indicates the half-way mark, and "Ktm" sees Jason Lindner add his sound the album. These tracks are the ambient foundation of "Kuni," representing the thematic duality of the work. Clocking in at only 24 minutes, "Kuni" packs an astonishingly diverse array of sounds, styles, and themes, all while showcasing virtuosic musicianship and instrumental prowess.

Appearing on "Hana-bi" and "Ktm," renowned international artists Asa-Chang and Jason Lindner add an additional perspective to "Kuni": Asa-Chang on "Hana-bi," and Jason Lindner on "Ktm." Asa-Chang - famously of the Japanese avant-garde group Asa-Chang & Junray - provides vocals and percussion to an alternate version of the instrumental opener, while the acclaimed keyboardist Jason Lindner offers his synth expertise on "Ktm." These features highlight the spirit of collaboration found in LNDFK's music, always willing to try out new ways of working.

LNDFK is a singer and songwriter, born of two cultures – an Italian mother and Arab father. She grew up in Naples, away from her father, the Sahara, her homeland and traditions, which has helped nourish the desire to rediscover – through art – an engagement to her roots. Her music melts with jazz, neo-soul and hip-hop influences, filtered through her experiences and sensibility.

Her first EP, "Lust Blue," was composed with the artistic production of Dario Bass and released by Feelin' Music; after that she released several singles that saw international radio support (BBC, NTS, Wordwide FM) and gained a massive audience on digital platforms. Together with her band, she toured around Europe, performing alongside such notable artists as Kamasi Washington and Mndsgn, among others. Most recently she toured Italy, and performed at Primavera Sound Festival 2019 in Barcelona.

"Kuni," is due out on NYC label Bastard Jazz Recordings in February, 2022, while the vinyl LP will follow shortly after.

The stoner rock combo Karma To Burn, also known as K2B, are noted for their uncompromising, mostly instrumental sound. The band was founded in 1994 in subterranean West Virginia and was picked up by Roadrunner Records in 1997. Only short after their signing, their self-titled debut album came out. Their riff-driven, heavily grooving instrumental songs blend almost the entire history of rock music, with the example of the featured cover of Joy Division’s “Twenty Four Hours”.

Karma To Burn is available as a limited edition of 1500 individually numbered copies on crystal clear & black marbled vinyl and includes an insert.

In addition to having quite possibly the greatest beard in techno, Will Clarke has proven himself an unstoppable force in the genre. Will now returns to Factory 93 for his second release on the label, “Mirage.”

Will prompted a firestorm of “ID?” requests when he dropped it in his live-streamed Escape Halloween set last fall, and for good reason. “Mirage” brings together ferocious, chugging low-end and an instantly-memorable melody that modulates constantly throughout the arrangement, fine-tuning the energy to create an absolute bomb of a track.

“Mirage” will also mark Factory 93’s first vinyl release, with his first Factory 93 outing “Sometimes You Gotta Let It Go” gracing the B-side. Look out for it in a shop near you.

PUBLISHED: 25TH APRIL 2022

Just over a decade ago, Japanese indie-pop duo Tenniscoats recorded »Papa's Ear« (2012) and »Tan-Tan Therapy« (2007), two albums made with musical and production help from Swedish post-rock/folk trio Tape. Originally released on Häpna, they are beautiful documents of the exploratory music made by a close-knit collective of musicians, fully at ease with each other, playing songs written by Tenniscoats and arranging them in gentle and generous ways. Released during a particularly productive time for Tenniscoats – during the late ‘00s and early ‘10s, they would also collaborate with Jad Fair, The Pastels, Secai and Pastacas – they have, however, never been available on vinyl. In collaboration with Alien Transistor, Morr Music is now reissuing these albums both digitally and on double vinyl, with extra tracks.

This reissue mini-series starts with »Papa’s Ear«. The second album from this expanded line-up of Tenniscoats, you can hear the musicians are immediately comfortable in each other’s presence, and they’ve almost intuitively understood what they can offer to one another. Saya and Ueno of Tenniscoats bring their magical, gentle folk-pop sensibility, and their winning way with straightforward, yet lush melodies. Johan Berthling, along with fellow Tape member Tomas Hallonsten, plus guests Fredrik Ljungkvist, Lars Skoglund, Andreas Söderstrom and Andreas Werlin, all generous and creative presences in the Swedish jazz underground, shades in the songs with endlessly inventive arrangements, highlighting the warmth and curiosity at the core of the Tenniscoats’ aesthetic – sometimes taking the songs in unexpected directions, other times pillowing the melodies with the softest of brushstrokes and the kindest of tones.

»Papa’s Ear« includes some of Tenniscoats’ most memorable songs. »Papaya« is a lustrous dreamland of a song, with the Swedish musicians singing ‘pa-pa-ya’ as an enchanted tattoo, while Saya’s piano and melodica clank and huff out, further expanding the song’s horizon. It’s followed by the spindly and mysterious »Sappolondon«, where drums and double-bass shuffle and pulse under weeping accordion and bittersweet clarinet. Saya’s voice sighs into the frame while the musicians breathe lungfuls of sweet drones and flick glittering countermelodies across the song’s surface. It reminds a little of the wild kindness of Movietone, or the regal charm of Carla Bley’s compositions.

Elsewhere, you can hear Tape and their friends embracing the freedom offered by the songs of Tenniscoats: see, for example, the glistening electronics in »På floden«, like a keyboard conducting a music box on a distant planet; or the descending phrase for winds on »Sabaku«, dovetailing beautifully into a creek of moon-lit texturology. The double-LP ends with two extra tracks, drawn from the 2008 Tenniscoats/Tape split single, also released by Häpna., »Lutie Lutie« is a sweet delight, driven by a clacking drum machine, the Tenniscoats duo joined by Hallonsten on glockenspiel and synthesizer, and special guest, Japanese indie-pop legend Kazumi Nikaido, as choir. »Come Maddalena« rounds off the set, a brooding cover of an Ennio Morricone tune, the music by Tape, the vocals by Tenniscoats and Nikaido. Open-hearted and full of puckish spirit, »Papa’s Ear« is an album of great tenderness and warm friendship.

The follow up to My Generation, A Quick One was released in 1966, it contains the experimental music Suite (a nod to Rock Operas that were to follow) A Quick One While He’s Away, famous for being performed at the Rolling Stones Rock N Roll Circus. The album contains songs such as Boris the Spider, are Don’t Look Away and has been mastered by long time Who engineer Jon Astley from the original tapes and is packaged in original sleeve with obi and certificate of authenticity. This black vinyl version is engineered by Miles Showell at Abbey Road Studios using a half-speed mastering technique which produces a superior vinyl cut.

"Released in 1965 My Generation was the debut album by The Who. The album peaked at no 5 in the UK charts and launched the band onto worldwide acclaim
The album contains songs such as My Generation, The Kids are Alright and The Ox, and has been mastered by long time Who engineer Jon Astley from the original tapes and is packaged in original sleeve with obi and certificate of authenticity. This black vinyl version is engineered by Miles Showell at Abbey Road Studios using a half-speed mastering technique which produces a superior vinyl cut."

L'Aventura arose from the Brazilian heat and the French romanticism. This is the history of Sebastien Tellier's fantasy childhood in Brazil, arranged by the local cult figure Arthur Verocai. A wild mixture of love, dreams, sun and landscapes.

"For this album I wanted to rewrite my childhood. I chose to place this adventure in Brazil, land of splendour and joy, with an eternal childish soul." Sebastien Tellier

The recording produced by the artist took place between Paris and Rio de Janeiro during the year 2013. These adventures brought him into Jean-Michel Jarre's, Bernard Estardy's, and Philippe Zdar's (Cassius/Phoenix) studios. Zdar who knows so well how to make the French music sound internationally sublimates the ten tracks of this album, in halfway between the elegancy and the required level of a maestro and the immediacy of a popular song.

This sixth opus was composed and writed by Sebastien Tellier. For the first time of his career, all the lyrics are written in French. Gainsbourg is not far, like a tutelary figure, Christophe as a springboard, who lets him more space to express himself, and Lucio Battisti, the Italian made him understand that singing in his native language was possible.

L'Aventura is a record of shores stretching in an everlasting restart. Naive art carried by an openheart and childish vision of the creation, close to his classic Sexuality (2008).

Cologne-based, multi-instrumentalist and creative jazz powerhouse
Gianni Brezzo presents his full-length LP “Tutto Passa,” arriving via
Berlin’s Jakarta Records May 5th.
Gianni Brezzo is the jazz affiliated band / studio project headed by
Cologne-based producer & creative maestro Marvin Horsch, whose diverse musical profile is reflected both in his scene-hopping as well as his creative output. Besides producing cologne bands like Keshavara, Woman and Xul Zolar, Gianni has released a number of EP and LP’s since 2017, culminating most recently with “The Awakening” EP in 2021 on Jakarta Records. While Gianni’s works are usually instrumental only, “The Awakening” featured vocal appearances from Berlin/Tel Aviv based singer / producer J.Lamotta and soul singer Otis Junior from Louisville, Kentucky. Gianni’s tracks have consistently placed on Editorial Lists including Spotify’s “State Of Jazz” and “Café / Croissant”, and most recently was synced in an episode of Gossip Girl for HBO US.

Gianni’s new LP, “Tutto Passa” is a meditation around Marvin’s relationship to Italian culture, accompanied by research into Italian composers of the 60’s / 70’s such as Piero Umiliani, Stelvio Cipriani, Piero Piccioni and Armando Trovajoli to more recent work by Sven Wunder. Sonically rich, the album rides a sonic wave similar to some Matthew Halsall, Surprise Chef, El Michels Affair and BadBadNotGood all rolled into one beautifully luscious work. Jakarta is ecstatic to share such a career-defining work, arriving May 6th, 2022.

The albums 1st single, “Il Sole” will be released Wednesday, March 2nd with the LP pre-order announcement that Friday, March 4th to capitalize on Bandcamp Friday. The track is a perfect sonic voyage that encapsulates the growth of Gianni’s sound and gives a sonic peak into the LP. Subtle, yet lush layers of synths, horns, keys and strong, beat-driven percussion all ebb and flow together, bringing to mind the finest Library Themes of Umiliani, Sven Wunder, Janko Nilovic and others. Visualizer accompaniments for all singles provided by Robert Winter and his DIE OTTOS crew that perfectly captures the sonic mood.

The LP’s 2nd single, “Capture This,” will be released March 30th and is a splash of pure, groovy, jazz-funk. Instantly catchy, the track will have you imagining yourself in a movie that perfectly captures the musical themes: playful flutes, crisp, fluid guitar riffs, heart-pulling strings, all held together by a strong, swingin’ drum groove.

The third single is the stunning, swirling, thematic track “Rising Of My
Mind.” Careful layers of harmonized brass, flutes, percussion ebb & flow, bubbling up to the acoustic surface like sonic ripples effortlessly bursting from Gianni’s auditory palette. Only reaching the tracks full crescendo more than 2 minutes in, “Rising Of My Mind” is on that finest jazz tip, raising Gianni’s musical caliber into the skies.

Focus track is the effortlessly smooth, soulful jazz-funk piece, “Torino.” Certified fresh, the progression gives you that euphoric, elated feeling, like you’re finally arrived at that special place you never knew existed, but were always meant to find.

“Tutto Passa” is a project with a variety of moods ranging from Arthur
Verocai and David Axelrod inspired arrangements to lush, thematic jazz progressions with a swingin’ percussive edge. It’s a timeless release, one that would sit just as well in 1972 as it does in 2022, and one that, as Gianni says:
“…reflects exactly the feeling I had last year when I was in Italy with my own family. As a musician, I was looking for the challenge of a more orchestral approach on this album, which I hoped to achieve with my arsenal from the Cologne jazz scene and the support of musicians from around the world.”
Besides online promotion from the label and artist profiles, the album will further be promoted by external agencies within the US, UK & Italy

JOYFULTALK returns with its third album for Constellation; another vibrantly divergent stylistic take on the analog materiality and sensibility of electronic composer-producer Jay Crocker, whose previous two records forged trance-inducing polyrhythmic intricacy, each from a distinct angle and sound palette, each enlisting a single instrumental collaborator. Familiar Science rallies contributions from a larger cast of musicians into a looser, cosmic recombinant combo_still shot through with JOYFULTALK's singular mixing desk kinetics, but this time deep-diving into gnarled and twisted, spliced and diced out-jazz. Crocker draws inspiration from 1980s M-Base music and Ornette Coleman's harmolodic funk period, while his own prior history as an improv guitarist also resurfaces for the first time in many years_an element in this polyvalent artist's chemistry set that hasn't appeared prominently in his own music for over a decade. Familiar Science finds Crocker folding time (as lockdown will do), immersed in his present-day kaleidoscope of solitary art and music practices in rural Nova Scotia, while channeling his former life as a bustling jazz collaborator in Calgary, Alberta. Building outwards from roiling resampled acoustic drums, Crocker extracted additional sonic and rhythmic textures, then formed the head of each song using dusted-off archival recordings and his own bass, keys and midi sequencing. Albertan percussionists Eric Hamelin (Ghostkeeper, Chad Vangaalen) and Chris Dadge (Lab Coast, Alvvays) provided improvised drum tracks to be chopped and harvested; Nova Scotia-based Nicola Miller (Ryan Driver, Doug Tielli) laid down resplendent excursions on saxophone and flute; Crocker's own dexterous guitar appears on several cuts. Familiar Science also poignantly features samples from live recordings by the late Calgary saxophonisticonoclast Dan Meichel, catalysing some of the album's heaviest contortions. Crocker weaves all these raw materials into exuberant compositions that blur the line between sizzling corporeal combo and sampledelic futurist jamz, variously conjuring (leftfield) Flying Lotus, (later) Tortoise, BADBADNOTGOOD and Squarepusher's Music Is Rotted One Note. The rubbery hyper-compression of boom-bap opener "Body Stone" initiates the séance, and the album offers a panoply of skittering grooves and soaring melodic pathways thereafter, through quags of heady jazz alternately streaked with dayglo delirium and other more vaporous states of revelry. Crocker's own wordless stacked vocals are the giddy secret sauce on several cuts, and his lead guitar work (in kinship with the lean progressions of Mary Halvorson or Jeff Parker) features on "Take It To The Grave", "Stop Freaking Out!" and the album's title track. More honeyed passages on songs like "Blissed For A Minute" and "Ballad In 9" center around Miller's bouyant alto sax and flute. Familiar Science is a rousing feast of noise-tinged polychrome electronic avant-jazz: richly harmolodic compositions teeming with intersecting textures and turbulences; exploratory, exhilarated and indeed joyful.

Halestorm's last album was 2018's Vicious, and since then the chart topping, hard rocking band has been working keenly on a follow up. It was proceeded by the title single with a morbid looking video fearing band member Lzzy Hale in a bodybag, and then a run of sold out gigs in club and festivals all around the UK. The full album follows up in fine style and will not disappoint fans. It was produced by Nick Raskulinecz of Foo Fighters and Alice in Chains association with co-production by Scott Stevens and showcases great songwriter laden with mental health, redemption and survival themes.

Bongo Joe presents brand new sounds from the cutting-edge of the 21st century Istanbul underground by powerhouse Turkish trio Lalalar. Riding a wave of fierce energy and acclaim generated by their show-stopping festival performances at Le Guess Who and Trans Musicales, they now unleash their hotly-anticipated debut album, "Bi Cinnete Bakar". The brainchild of three of Turkey's most active and innovative alternative artists - Ali Güçlü Simsek, Barlas Tan Özemek and Kaan Düzarat - the album is a thrilling mix of punk energy, dark electronics and Turkish instrumentation and samples.

A survey of the modern jazz & hard-bop scenes that emerged in the new cultural melting pot of post war London, with recordings from the end of the 1940s through to the early 1960s.

Featuring representations from players whose roots lay in the East-End's jewish community, such as Ronnie Scott, Vic Ash & Harry Klein, alongside a wealth of talent of Caribbean and African descent playing and recording in post war London during this period, incl. Dizzy Reece, Wilton Gaynair, Joe Harriott, Shake Keane & Ginger Johnson.

Made in partnership with the Barbican to coincide with the exhibition Postwar Modern: New Art in Britain 1945-1965.

Official Album Eurovision Song Contest 2022 featuring all 40 participating songs!

"This area of the throat," says Chelsea Jade, resting three fingers roughly where her neck meets her chest. "It's particularly soft, and it's connected ... it's halfway between the heart and the mouth. And that's an interesting place of vulnerability." Soft Spot, the Los Angeles-based New Zealand artist's second album, dwells somewhere between feeling and expression, certainty and doubt. It ventures beyond the exploration of delusions of grandeur that formed the focus of the critically acclaimed Personal Best (2018), and simultaneously promotes and undermines romance, specifically, in a more solemn way. "Less glib," offers Jade, who has opened for Lorde and Cat Power among others. Still deliciously glib in places: "Give your worst my best," she sings on the wryly antagonizing, bass-heavy "Tantrum in Duet." Soft Spot's big pop tracks go hard on the interpersonal, physical and amorous, inviting the listener to entertain flirtation, lust, sex, even the experience, rare during its recording in 2020, of being in a room with more than three other people.

Der Eurovision Song Contest geht in die 66. Runde. Dieses Jahr ist die Ukraine der klare Favorit, was aufgrund der aktuellen Situation nicht verwunderlich ist. Deutschland wird in Turin von Malik Harris mit
seinem Song ”Rockstars” vertreten.

Die Compilation mit allen 40 teilnehmenden Songs gibt es in diesem Jahr nicht nur als 2CD und 2MC sondern h als 4LP

Provogue / Mascot Label Group have three special vinyl reissues of
blues-titan Joe Bonamassa's back catalogue
'You & Me', 'The Ballad of John Henry' and 'Live from the Royal Albert Hall'.
His fifth studio album, originally released in 2006, 'You & Me' has been
remastered from single to 180g heavyweight 2-LP transparent orange vinyl - on
coloured vinyl for the first time. When released it hit the #1 spot on the Billboard
Blues chart and featured a crack band of Carmine Rojas (Bass), Jason Bonham
(Drums), Rick Melick (Piano/Organ) and Jeff Bova (Orchestration). At the time it
was declared his best work to date by Allmusic and features his takes on
Led Zeppelin's "Tea for One," Sonny Boy Williamson's "Your Funeral and My Trial"
and Charley Patton's "High Water Everywhere" as well as Bonamassa originals
including "Bridge to Better Days" and "Asking Around for You."
With 25 #1 albums, yearly sold-out tours worldwide and custom annual cruises,
he's a hard act to beat. These albums are a testament to his credentials and a
toast to his longtime fans who remember them originally and new fans who can
experience them for the first time. It's Joe Bonamassa at his finest, ready to rock.

'You & Me', 'The Ballad of John Henry' and 'Live from the Royal Albert Hall'.
The 2009 fan favourite and iconic 'The Ballad of John Henry' will be also available
on coloured vinyl for the first time, has been remastered on 180g heavyweight
2LP brown vinyl and includes a bonus track – B.B. King's "Chains and Things."
Bonamassa's seventh studio album saw him steamroll into another US Billboard
Blues #1 as well as it making waves across the charts around Europe. Well on his
way to becoming a superstar, several Bonamassa originals adorn the album as
well as covers of Tom Waits, Sam Brown and Ike & Tina Turner, highlighting the
sheer scope of his palette.
With 25 #1 albums, yearly sold-out tours worldwide and custom annual cruises,
he's a hard act to beat. These albums are a testament to his credentials and a
toast to his longtime fans who remember them originally and new fans who can
experience them for the first time. It's Joe Bonamassa at his finest, ready to rock.

THE DEBUT STUDIO ALBUM OF EERIE DEATH/DOOM METAL DEPRAVITY
FROM GREG WILKINSON & CHRIS REIFERT OF US GORELORDS,
AUTOPSY
Static Abyss is the new mouthpiece for a rotten age consisting of the duo of Greg
Wilkinson (Guitars/ bass) & Chris Reifert (drums/ vocals), both members of
legendary American masters of sickness Autopsy, with Greg (also of cult act
Deathgrave) recently welcomed as new bass player for the long-running US act's
next studio opus & beyond.
Static Abyss' debut studio album, 'Labyrinth of Veins', presents an unnerving,
multi-layered eerie concoction of dirty doom & death, including themes exploring
the echoes of insanity manifested through human existence. The result, a sinister
onslaught of at times slow & bludgeoning brutal metal whilst at others whipped
into a storm of chaotic vile hysterics. The spirit of Autopsy is at times present in
the truly titanic riffs swathed in chilling atmospheric guitar leads, whilst Chris'
seemingly bottomless pit of morbid inspiration from the dark & twisted corners of
life permeate the release with his highly distinguishable delivery to further the
descent into madness.
'Labyrinth of Veins' was recorded at Earhammer Studios in Oakland, CA, & Great
American Music Hall, with engineering, mixing & mastering overseen by Greg
himself. Cover art appears courtesy of All Things Rotten.

For King & Country's fourth studio project, 'What Are We Waiting For?',
asks a pivotal question in a post-pandemic world
Brothers Joel and Luke Smallbone provide the answer across 13 original tracks
that confront relevant issues and confirm the duo's commitment to community,
diversity and family. Set against a sonic backdrop painted by the Platinum-selling
group's lush, vivid pop, the collection features cameos from tourmate Dante
Bowe, Kirk Franklin and Tori Kelly and includes barrier- breaking single "Relate,"
awe-inspiring "Love Me Like I Am" and unifying No. 1 hit "Together."

To celebrate tthe 60 years of the release of the first 7 inch of the greatest rock band of all time, rediscover all the tracks that influenced the sound of the Beatles in a double vinyl. With : Elvis Presley, Gene Vincent, Bill Haley, The Everly Brothers, Little Richard, Chuck Berry, Ray Charles, The Isley Brothers, Peggy Lee...

The Epitaph debut from pop punk upstarts, MAGNOLIA PARK
Contrary to what some may say, pop punk is alive and well in 2021, and groups
like MAGNOLIA PARK are making sure it stays that way. Hailing from Orlando,
Florida, MAGNOLIA PARK is a five- piece consisting of lead vocalist Joshua
Roberts, guitarists Tristan Torres and Freddie Criales, bassist Jared Kay, and
drummer Joe Horsham.In recent years, experimental sounds and more personal
lyrics have dominated the pop punk scene. While staying true to the genre's roots,
the members of MAGNOLIA PARK bring their own twist to the table with louder,
angrier vocals and a fusion of genres ranging from hip-hop and emo to hardcore
and alt rock.

Finnish acid label ProForm Series is back! New release by Finnish duo HYV contains four new absolute killer tracks to set every dancefloor on fire and leave it burning.

As a starter, title track "Kävele Ohi" serves serious acid workout with nice (Finnish) lyrics on top. Haunting, melodic, melancholic, pulsating and more, all at once!

"Halfway Acid" on A2 combines acid action to shakuhachi samples, a combination you haven't heard for a while, or never. Instant classic!

B-side opens up with track "Ketä Siellä?", making a good relationship between acid and house, but keeping that TB-303 alive and kicking.

Finally, "H-Town Pressure" shows you how to make danceble acid with interesting rhythm arrangements and other than 16 step length acid patterns.

Highly limited and numbered edition of 200pcs, no digital downloads now or never, so buy it in real world 12" vinyl format!