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Still on and about after years of the most intense crate digging, gem mining, desperate head-scratching and avid schooling, thirsty as ever for the next musical thrill to wrap our ears and brains around, here comes the fruit of our life-long love story with Japanese electronics, Denshi Ongaku No Bigaku Vol. 1 and Vol.2. From the soul-fulfilling first crush felt upon hearing the iconic soundtrack of ‘Merry Christmas Mr. Lawrence’ by Ryuichi Sakamoto onto our release of Inner Science ‘Cosmo Tracks’, through the life-affirming sets of Laurent Garnier at Dijon’s seminal club, l’An-fer, which have at all times nurtured and expanded our taste for Easternmost delicacies, the influence of Japanese music on our vision and endeavours was paramount to the development of our catalogue, whether directly or indirectly.

This first volume gets the ball rolling with a fine assortment of mostly ambient, electronica and deep house-focussed joints. Draped in organic membranes and ASMR-like synth tapestries, K. Inoue’s nu-agey opener ‘Em Paz’ takes us on a ride across the most serene dreamscapes. Jazzing up these lush and oneiric coastal vibes, Gabby & Lopez ‘Drive form the Miracle’ merges a sense of Californian psychedelia with a straight out hard-bop swing. No stranger to our catalogue, Inner Science returns to serve up a crystalline slice of laid-back house on a mystique-imbued tip he holds the secret to. Flip it over and here comes Aquarium with the splendidly immersive ‘Rainy Night in Shibuya’, which very much feels like wandering amidst its neon-upholstered streets and swarming hallways in a bubble of your own.

Naohito Uchiyama treats us to a synth-drenched nocturnal ballad with the ‘80s-inflected vibes of ’Shugetsu’, whereas Keta Ra cuts a path of ethereal sublimation via the mischievously fun and bouncy balearic lounge of ‘equals’. Masterly crafted by Yuu Udagawa, ‘Infinite Possibility’ eases us in a realm where weightless pop and low-slung abstract hip-hop combine to further exhilarating effect. All in harp-driven brittleness and velveteen sub-bass stealth, Noah ‘Gemini - Mysterious Lot’ has us drifting to a lavishly orchestrated headspace, laying down an impressive work on textures and arrangements. All in on the sedated drip-tease flex, Sauce81 ’Sign of Secret Love’ is a blast of freaky hedonism, just as ready to cast its hypnotic spell down the sweatbox as it was upon its original release ten years ago.

Languid jacking house tune ’Tai+Dai’ from Keita Sano blows the winds of discoid luvin’ across the room with its impeccable balance of sharp, glimmering synthwork and driving bass onslaughts from the depths. An odd slice of reshuffled folk music, Waltz ‘Folkesta’ makes for some eerie invitation of sorts, enchanting and spookily haunting in equal measure. Back to a fevered, hip-swaying mindset, Kuniyuki hi-NRG jazz number ‘Free’ is an absolute wonder of piano and drums-driven boogie, cut from the same cloth as some of Blue Note’s finest Cuban jazz classics. Rounding off the package, Japanese legend Ken Ishii’s version of Larry Heard’s house Hall-of-Famer ‘Can You Feel It’ is pure bliss in a can, tailored to turn any crowd into a shapeless cloud of balmy euphoria and universal love, whatever the place or time.

Sometimes, Mitski says, it feels like life would be easier without hope, or a soul, or love. But when she closes her eyes and thinks about what's truly hers, what can't be repossessed or demolished, she sees love. "The best thing I ever did in my life was to love people," Mitski says. "I wish I could leave behind all the love I have, after I die, so that I can shine all this goodness, all this good love that I've created onto other people." She hopes her newest album, The Land Is Inhospitable and So Are We, will continue to shine that love long after she's gone. Listening to it, that's precisely how it feels: like a love that's haunting the land. "This is my most American album," Mitski says about her seventh record, and the music feels like a profound act of witnessing this country, in all of its private sorrows and painful contradictions. In this album, which is sonically Mitski's most expansive, epic, and wise, the songs seem to be introducing wounds and then actively healing them. Here, love is time- traveling to bless our tender days, like the light from a distant star. The album is full of the ache of the grown- up, seemingly mundane heartbreaks and joys that are often unsung but feel enormous. It's a tiny epic. From the bottom of a glass, to a driveway slushy with memory and snow, to a freight train barreling through the Midwest, and all the way to the moon, it feels like everything, and everyone, is crying out, screaming in pain, arching towards love. Love is that inhospitable land, beckoning us and then rejecting us. To love this place _ this earth, this America, this body _ takes active work. It might be impossible. The best things are.

Sometimes, Mitski says, it feels like life would be easier without hope, or a soul, or love. But when she closes her eyes and thinks about what's truly hers, what can't be repossessed or demolished, she sees love. "The best thing I ever did in my life was to love people," Mitski says. "I wish I could leave behind all the love I have, after I die, so that I can shine all this goodness, all this good love that I've created onto other people." She hopes her newest album, The Land Is Inhospitable and So Are We, will continue to shine that love long after she's gone. Listening to it, that's precisely how it feels: like a love that's haunting the land. "This is my most American album," Mitski says about her seventh record, and the music feels like a profound act of witnessing this country, in all of its private sorrows and painful contradictions. In this album, which is sonically Mitski's most expansive, epic, and wise, the songs seem to be introducing wounds and then actively healing them. Here, love is time- traveling to bless our tender days, like the light from a distant star. The album is full of the ache of the grown- up, seemingly mundane heartbreaks and joys that are often unsung but feel enormous. It's a tiny epic. From the bottom of a glass, to a driveway slushy with memory and snow, to a freight train barreling through the Midwest, and all the way to the moon, it feels like everything, and everyone, is crying out, screaming in pain, arching towards love. Love is that inhospitable land, beckoning us and then rejecting us. To love this place _ this earth, this America, this body _ takes active work. It might be impossible. The best things are.

Sometimes, Mitski says, it feels like life would be easier without hope, or a soul, or love. But when she closes her eyes and thinks about what's truly hers, what can't be repossessed or demolished, she sees love. "The best thing I ever did in my life was to love people," Mitski says. "I wish I could leave behind all the love I have, after I die, so that I can shine all this goodness, all this good love that I've created onto other people." She hopes her newest album, The Land Is Inhospitable and So Are We, will continue to shine that love long after she's gone. Listening to it, that's precisely how it feels: like a love that's haunting the land. "This is my most American album," Mitski says about her seventh record, and the music feels like a profound act of witnessing this country, in all of its private sorrows and painful contradictions. In this album, which is sonically Mitski's most expansive, epic, and wise, the songs seem to be introducing wounds and then actively healing them. Here, love is time- traveling to bless our tender days, like the light from a distant star. The album is full of the ache of the grown- up, seemingly mundane heartbreaks and joys that are often unsung but feel enormous. It's a tiny epic. From the bottom of a glass, to a driveway slushy with memory and snow, to a freight train barreling through the Midwest, and all the way to the moon, it feels like everything, and everyone, is crying out, screaming in pain, arching towards love. Love is that inhospitable land, beckoning us and then rejecting us. To love this place _ this earth, this America, this body _ takes active work. It might be impossible. The best things are.

ENG Dark, atmospheric heavy Americana from Austin, TX, haunting, psychedelic ghost-town sounds for fans of Woven Hand, Russian Circles, and Dead Meadow! Lord Buffalo is a mud-folk band from Austin, TX. They make music together under cover of darkness. Their songs are bricks with which to build a house slowly. They will not be rushed. They will not be quiet. They are the trees clapping, the rocks crying out, the whistle in your snore. Imagine the haunted sensibility of artists like Chelsea Wolfe, David Eugene Edwards (Woven Hand, 16 Horsepower) and Ian Astbury (The Cult) fused with the spacious, expansive psychedelics of Dead Meadow and All Them Witches. Lord Buffalo creates somber, crashy, ghost-town Americana on new album "Tohu Wa Bohu," thick with captivating intensity and brooding heaviness of the soul. 'The sound of Lord Buffalo - that atmospheric diving headlong into the very heart of darkness - is unsettling. And it's magnificent.' _Laurie Gallardo, KUTX Brand new 2023 pressing on sleek transparent coke bottle-green vinyl!

"This is where you have been forever and will always be forever." Stuart Dempster, speaking about what it feels like to be in a cistern where time seems to stop.

Stuart Dempster created Underground Overlays From The Cistern Chapel in the same cistern where the legendary Deep Listening album was recorded. Reverberating with powerful, deep tones, this double LP is intended as a companion to the acclaimed Oliveros/Dempster/Panaiotis album Deep Listening.

Underground Overlays From The Cistern Chapel is one of the deepest drone albums ever recorded. Nine trombones, didjeridu and Tibetan bells fill the massive two million gallon cistern with dense sonic reverberations that are both haunting and healing.

Packaged in a heavy duty paper sleeve printed with metallic gold ink to match the Deep Listening design.

Originally released in 2003, “The Eyes Of Alice Cooper” marks the departure of the industrial metal style of previous albums to a return to his earlier hard rock sound.

A collection of thirteen impressive songs like ‘What Do You Want From Me?’, ‘Man Of The Year’ or ‘Novocaine’. This heavyweight vinyl gatefold edition will please fans of the shock-rockers 70s roots.

Repress

Superb mystical-acid ambiance with the first tune from Sparks.
Bennou then brings a minimal and mental evolutive tune with a special kick and an acid surrounding ambiance. Powerfull.

The flip opens with Win and "The Message"... Supa Dark and heavy at the hardcore Frontier, with a mental progressive structure... heavy ambiance :-/
The Finish comes with Doodax & TKC : this time for sure a Doom pure tune : Haunted melody with bold 156 BPM Kick.

180g ultra clear vinyl, download card included. Western Mystery Tradition' is the third studio album from Detroit, MI via Brooklyn, NY outfit Moonwalks and is due for via Fuzz Club. A departure from the band's DIY psych-rock roots to a more mature and polished sound, the album was produced by Mattiel's Jonah Swilley and recorded in May 2019 at Detroit's acclaimed (and rumored haunted) Masonic Temple with Bill Skibbe (Jack White, The Kills) in a lodge belonging to the Free Masons' Detroit chapter. "Western Mystery Tradition was conceived in the winter of 2019 amidst a polar vortex in Detroit, Michigan", Moonwalks recall of the record's origins: "At the time and in between touring, we lived together in a house on the west side that lacked a working stove and had no power in half of the building. The band - trapped indoors due to temperatures in the negatives and massive amounts of snow - drew inspiration from our isolated state amidst a bleak Michigan winter." Moonwalks consists of Kerrigan Pearce (drums), Jacob Dean (guitar), and Kate Gutwald (bass). Originating in Detroit's DIY scene, the trio started out playing in warehouses and makeshift venues across the city. Since then, they've gone on to tour extensively throughout North America and Europe supporting acts like The Murlocs, Metric, Julian Casablancas & The Voidz, Thee Oh Sees, The Liminanas, and The Mystery Lights to name a few

The lines between off-centre synth songs and catchy hits have always and forever been ultra-thin. With Immer the proof of the pudding is in the eating. Ede & Deckert managed to turn a red wine and post punk melancholy fueled jam session into a haunting alternative dance jam. While their instrumental sits neatly between the dark wave of Eleven Pond and the British Electric Foundation, it is the voice of the German singer with the mysterious name Sargland. One could think it is possibly an anagram? Called in for spontaneous vocal work, the repetitiveness and heartfelt expression of lovelorn of his tone and lyrics are quite simply irresistible and dichotomic. Whether it’s lover’s grief or delight, Immer works its magic in every way and for everyone.

Before he was old enough to legally drink, there were "Best Of," rarities compilations, and .zip files floating through the ether.

Whenever industry prospectors earmarked him as the next big thing, he disappeared back underground, only to reemerge sharper, leaner, weirder.

Though only 26, the St. Louis- born rapper and producer has seen enough for several lifetimes--and raps as if he's tapped into many more. But after a few years of highs, lows, and traumatic odysseys, he was able to stare straight into the abyss and conquer it. This regained confidence is exhibited on fish don't climb trees, the largely self-produced new album that reaffirms him as one of rap's great auteurs.

While working on "fish", he vowed to be more true to the emotions and experiences he'd endured. Being true to those fractured, discordant feelings requires a prismatic approach. And so you get fish's exhilarating hairpin turns: from downtempo dub ("bora bora") to 808s rattling through a haunted house ("tourniquet"), beats that sound as if they're molting into new shapes in real time (the two- song suite of "daze" and "grey theory") to ones that that plunge to the
bottom of a pocket ("spirits").

The album's title comes from the maybe-apocryphal Einstein quote, about how a fish judged by its ability to climb trees will "spend its whole life believing it is stupid." For Watson, this meant embracing the cheery first half of the quote ("Everybody is a genius"), but also being cognizant of the dark undercurrents that flow just beneath seemingly innocent misjudgments and mis-categorizations.

The perfect soundtrack for celebrating Halloween with novelty rock 'n' roll. For fans of deep 1960s vintage Halloween themed novelty rock 'n' roll: witches, teenage monsters, graveyards, haunted houses, devils, ghosts and zombies.

This compilation is taken mostly from the 1960s, with a sprinkling of late 50s tracks, and maintains a garage rock ruggedness throughout. Features 18 deep crate digger classics pressed on limited edition- coloured vinyl. The package is fronted by artwork from NYC cartoonist Cliff Mott, and the aesthetic appeal extends to the vibrant orange vinyl this limited edition LP is pressed on.

Belgian jazz veterans W.E.R.F. records and JazzLab are celebrating their 30th anniversary together with three unique creation projects for which they are joining forces. One of them is with percussionist Chris Joris, a veteran of Belgian jazz who is releasing a haunting new project.

Until the Darkness Fades' immediately says something about Chris Joris' career path, in which the musical and the personal invariably overlap. This percussionist has written one of the most colorful chapters of Belgian jazz. For many years he was active within various genres, but is now mostly praised as the percussionist who constantly demolished boundaries. Not only between all those oppressive genre boxes - pop, experiment, theater, world music, jazz - but also between complete worlds.

Chris Joris was playing "world jazz" long before there was that term, and he signed on for some hot-blooded jazz classics, with "Out Of The Night" perhaps the best-known example. That album was originally released in 2003, was then unavailable for years, but is back on shelves in 2023 and on vinyl for the first time. And rightfully so. Joris also eagerly seized the prospect of a new tour and a brand new album for a musical self-portrait. With "Until the Darkness Fades," he highlights different aspects of his musical identity, both expected and unexpected.

Joris composed new material, but also keeps a prominent place for free improvisation. It will be a tantalizing dichotomy full of hybrid sounds, with familiar and less familiar sounds, between romanticism and uninhibited adventure. He explores these in the presence of notable associates on violin and cello. In this way, he combines earthy percussion with the freedom of jazz and the elegance of chamber music. Discover this story of a Belgian master who is far from finished.

A new EP by The Untouchables is always a treat to be savoured, but the opening track of their latest for DNO is so deliciously tense, so foaming at the mouth with anticipation, that it’s hard not to gulp down the whole release in one go. A minute and a half of sinister notes trying to jab their way through a thick filter and there’s no doubting ‘Emu’ is gonna be one hell of a ride — and it doesn’t disappoint, revealing the stabs in all their gritty darkcore glory, and unleashing a torrent of system-shaking subs.

As per, the Belgian duo present a masterclass in merging dub’s unparalleled spaciousness with techno’s unrelenting drive, and delivering it all at a drum & bass tempo.
On ‘Punjab Chant’, a South Asian vocal call and various wind and percussive instrumentation from the region are pulled apart, lashed with delay, and layered over rubbery subs, resulting in an intense intercontinental dubwise belter.

‘Ragga Ting’ goes full digi dancehall, maintaining pace while employing sultry dembow-style syncopation and a hefty droning bassline that seems to loop ad infinitum. It’s an innovative move and one that’s sure to get hips swinging in the dance.

And the final track on wax, ‘86 Dread’, is pure bass weight, its boxy drums almost swallowed up by the sullen low-end, with only crisp shakers and the odd sonic squiggle poking above the gloom.

Digital bonus track ‘Planetarium Space’ brings the tempo down, but fills the mix with the hurried tick of hi-hats and pattering congas, dollops of reverse bass that add slippery off-kilter movement, and a rogues’ gallery of ghostly organ and other haunted samples and synths that wouldn’t feel out of place in an ‘80s horror flick.

Always taking a leftfield route to rattle your ribcage, The Untouchables and DNO once again prove they’re a perfect pairing. Yum, yum.

Rhythms of postmodern realism at the very bottom of the DNO.

- Panda Bear, Voice of the Seven Woods, Mammane Sanni Abdoulaye. File under: Jazz / Electronic. Titi Bakorta almost didn't make it. Born in and raised in Kinshasa, the Congolese multi-instrumentalist was on his way to Uganda when he fell off the boat as it traversed the mighty Congo River. Unable to swim, Bakorta was saved by a friend who dragged him to the closest city Kisangani, where he was unexpectedly acquainted with local singer Dancer Papalas. Soon they were performing in bands together, traveling across the continents and settling in Tanzania, South Sudan and Dubai - they even appeared in front of General Defao, the beloved Congolese vocalist who fronted legendary soukous bands Grand Zaiko Wawa, Choc Stars and Big Stars. Now based in Kampala, Bakorta offers his own unique take on Congolese pop and folk sounds, weaving traditional elements through a psychedelic lattice of guitar loops, mangled voices and eccentric beatbox rhythms on his debut full-length. He bends woodblock snaps on 'Kop' into stuttered blurs, wailing emotionally over twanging riffs and bizarre, theatrical xylophone twinkles. It's still pop music on some level, but curved around Bakorta's unwieldy personal narrative - there's a sense that everything could unravel at any time but it all hangs together, strengthened by Bakorta's confident, contemporary production smarts. 'Elles Vais' is more airy, with celestial soukous vocals that float above tight, electronic drums. Tangled guitar echoes overlap each other like dense, weaved tapestries, contrasting perfectly with Bakorta's urgent, driving pulse. Occasionally, he transcends completely, like on 'Molende' where his chants and phrases neatly flutter between praise music and contemporary R&B. "Hustling, hustling, hustling, everyday I'm hustling," an angelic voice coos over phased electric guitar plucks and looped, AutoTuned chorals. It makes perfect sense that Bakorta should team up with Metal Preyers' Jesse Hackett on the album's final track, the aptly-titled 'Titis Haunted House'. The two artists share a similar obsession with moonlit, carnivalesque soundscapes, and Hackett's eerie synths provide a suitably eccentric foundation for Bakorta's ghostly wails and fuzzy guitar sounds.

Boy Harsher, Portishead, Thom Yorke, Radiohead, Beak>, ERAAS, SUUNS. Over the past seven years, Public Memory's distinctive use of analog synthesizers, electronic beats mixed with organic percussion, lo-fi sound design, and gritty ambience has created a singularly eerie and shadowy world. The first seconds of Public Memory's new record, Elegiac Beat, thrust us immediately into that world. We are in media res, with a feeling of sudden movement from a sensible point A to B. Given some time however, we realize that there is something askew–a bit of brightness here, some shadows pushed aside, some jazz and funk amongst the dub and Krautrock. This is an unfamiliar, ambiguous mood that pushes Public Memory towards new ground. We still drift past the clouded lights and hollowed out buildings of previous albums, but with an occasional bounce in our step now, a bit of golden haze around the edges. First single "Savage Grin" cements this clearly. The track has a jazzy, trip-hop flavor, albeit filtered through Public Memory's narcotic, hazy lens. We could be in a hotel lounge in the alps somewhere on holiday, or out of time in a majestic, sparkling ballroom. But we still have the feeling of being haunted, or perhaps even hunted in some way. This feeling intensifies and comes to a head towards the ever-darkening end of the track, leading directly into "Afterimage", in which someone almost imperceptibly sings "I hear them coming" in a twisted, auto-tuned flail. Second single "7 Floor" begins with flanged drums and damaged synthesizer stabs, evoking a kind of apparition floating towards us in the mist. As the track moves on there is, similarly to "Savage Grin", a contrast in feeling between a cold exterior roaming and an interior, warmer, human place. This time however, we move from the colder to the warmer as the synths from the track's beginning make way for a Rhodes-style organ and backing string synth, infusing an unexpected sense of peace. But like "Savage Grin", the track moves to its end through an in-between place beyond the haze. Faded and distant synthesizers meld with voices–human, or perhaps otherwise–that beckon us, or perhaps warn us. We can't be sure which. Third single "Far End Of The Courtyard" brings us closest to classic Public Memory territory with hip-hop beats, chopped and screwed samples, lo-fi ambience, and ghostly electric pianos complementing the vocals. There is darkness, perhaps more here than in the previous two singles, but with a crucial moment of uplifting lightness so subtle it may be missed upon first listen. As an inverse to both "Savage Grin" and "7 Floor" we end with brightness, the jazzier side of the record pushed to the forefront as the track fades away on that golden haze. In the end though, the haze may be just that: a vapor, a mist, a slight dusting of some other world on top of the degraded one Public Memory so effectively portrays. Elegiac Beat is between two places, and as it straddles the line between the two, we are uncertain if the light it brings shines directly from the sun, or if it is dimly reflected through that majestic ballroom world. For fans of 1990s Bristol trip hop, coldwave, and Thom Yorke's The Eraser

“Orlando Furioso is a haunting, one-of-a-kind statement, from an important new voice in improvised music.” - Steve Lehman

“…imagining instruments that haven’t been invented yet: space harps, cosmic gamelan, Venusian banjo. It’s the purest distillation of Atria’s musical language, simultaneously grounded and unearthly.” - Stewart Smith for The Wire (November 2022)

“Making liberal use of microtonal harmony and hypnotic, ostinato rhythms – as well as the occasional stylistic smash-cut, reminiscent of John Zorn – Orlando Furioso announced itself on Wednesday as a punchy, creative force on the New York scene. (…) Atria’s rhythms had a welcoming, social propulsion, and the microtonality of his writing for keyboard proposed an individual – even insular – language.” - Seth Colter Walls for The New York Times.

Early European composers felt that their work reflected in its structure the divine nature of the material world. Via tuning, form, and contrapuntal alchemy, these musicians sought to illuminate and edify the complex and perfect order of existence. The music recorded here also reflects the contours of an ordered world, but it is no place any of us has ever visited. By assembling far-flung building blocks from the detritus of a 21st-century musical vocabulary, Orlando Furioso brings the listener into a bizarre new cosmos. The result is deeply expressive music that speaks not with the voice of a narrator or memoirist, but with that of a cartographer.

Like a science-fiction Dante, the listener is taken on a tour of many diverse and colorful provinces of an alien world. Though each composition references its own set of real-world musical locales (from the Andes to Indonesia to Italy to New Orleans), they are bound by stylistic consistency into a coherent, continuous geography. Permeating this world is an uncompromising commitment to microtonal harmony, rhythmic intensity, and an ability to deploy the esoteric (Nicola Vicentino's notorious 31-tone temperament) and the head-smackingly obvious (a surprise djent breakdown) with equal conviction. Though Vicente's compositions are steering the ship, serious recognition is due to all the players on the record for their ability to meet these demands.

Our omnivorous musical diets offer real abundance. They enrich our craft by providing access to limitless approaches from which to choose - more masters to study, traditions to absorb, and techniques to hone than is possible in multiple lifetimes. They can also inflict heavy and often contradictory burdens of influence. When every corner of the map has been charted, it becomes difficult to find a new direction in which to travel. One solution I hope to see more often is the one pursued on this record: breaking down distinct musical worlds into component parts and reassembling them into a language. When completed with precision and with no stone left unturned, the seams between the pieces vanish and the listener is deposited somewhere beautiful and strange, left to assign their sensations meanings of their own. - Mat Muntz

Orlando Furioso is led by Vicente and features David Acevedo, David Leon, Andrew Boudreau, Alec Goldfarb, Daniel Hass, Simón Willson, and Niña Tormenta. Orlando Furioso celebrated its release at Roulette Intermedium in Brooklyn, NY, as a part of Wet Ink Ensemble's 24th Season opening concert, a performance which The New York Times heralded as "virtuosic", "punchy, creative" and "even revelatory."

Winner of the Deutscher Jazz Preis: Best International Debut Album 2023

In 1955, Chet Baker prepared the first European tour of his newly formed quartet. The tour began in Holland in September 1955 and continued with stops in Germany, Switzerland, and France. In Paris, pianist Dick Twardzik died from a heroin overdose in his hotel room on October 21, 1955. He was only 24-years old, and his early death was a tragedy for the jazz world. Chet was marked for life by this tragedy and from that point on his own addiction would haunt him forever. This album compiles material from three studio sessions made during that European tour. Side A presents music recorded right after Twardzik's death, and Side B has tunes from the only two studio sessions recorded by Baker with Twardzik.

Canary features 10 new songs written, performed, recorded, and mastered by Jefferies during the COVID-19 lockdown. Inspired by Emily Bronte's spiritual beliefs, NZ's most famous racehorse, and the haunting timbre of a meticulouslyrestored Marxophone, Jefferies mesmerizes with perhaps his finest balladry yet. "Where Did We All Go Wrong?" and "Where Do We Run To Now?" wrestle with the challenges presented by pandemic isolation and uncertainty. Jefferies deftly examines the limited choices during lockdown, employing a bit of black humor and finger pointing to stir the soul, and bringing some much-needed levity to this unprecedented time.

The album title is an ancient alchemic motto which means "Walk within yourself'' in Latin.
Recorded only and exclusively with electric guitar, the musician explores the threshold of subconscious with heavy drones, fragile soundscapes and haunting melodies, realizing a work between ambient and high-volume drone music. ''Ambula ab intra is an oneiric travel into the depths of the psyche, experiencing the inner path into Self. The outcome is an ethereal work of heavy ambient guitar soundscapes.

Der in Texas aufgewachsene Singer-Songwriter und Big Thief-Gitarrist Buck Meek kündigt sein neues Album "Haunted Mountain" für den 25. August an. Seine erste Solo-Veröffentlichung bei 4AD folgt auf das 2021er Album "Two Saviors" und handelt von der Liebe...und etwas anderem. Etwas Größerem, etwas, dass Liebe nicht wirklich herausfordert, eher im direkten Kontrast dazu steht. Eine völlige Erfüllung der Seele. Meek gesteht ein, dass Liebeslieder für ihn die am schwersten zu schreibenden sind. Vielleicht holte sich Meek auch deshalb beim Schreiben Verstärkung in Form der Freundin und langjährigen Heldin Jolie Holland, die bei fünf von elf Songs des Albums Co-Autoren-Credits hat. Die ersten zwei Verse und der Chorus von "Haunted Mountain" stammen von der Texanerin, die diese als Liebeslied für Mount Shasta in Nord-Kalifornien geschrieben hat. Meek fügte den finalen Vers hinzu, in der gemeinsamen Suche nach dem Austausch mit der Natur. "It"s about being humbled by the thing you"re drawing power from only at which point an actual, fair relationship begins", erklärt er. Seit seinem selbstbetitelten Solo-Debüt sind Meeks Band-Kollegen die gleichen: Adam Brisbin (Gitarre), Austin Vaughn (Schlagzeug) und Mat Davidson (Pedel Steel, Bass). Für "Haunted Mountain" stießen noch Ken Woodward (Bass) und Meeks Bruder Dylan (Klavier, Synths) zu diesem eingeschworenen Haufen dazu. Davidson übernahm die Produktion, während Adrian Olsen, der auch die Sound Manipulation mit einem Modular Synthesizer übernahm, das Album innerhalb von zwei Wochen mixte. Der Ansatz war ein hi-fi-Album als Gegensatz zum lo-fi-Ansatz des Vorgängers zu erschaffen, während die Intimität erhalten bleiben sollte. Meek glaubt selbst daran, dass alle großen Liebeslieder noch nicht geschrieben wurden. Zwischen den Zeilen von "Haunted Mountain" hört man, dass Liebe in jeglicher Form die Erschaffung eines Zuhauses ist, von innen - für immer auf der Suche nach dem anderen.

In celebration of its 10th anniversary, Rhymesayers created this limited edition 3xLP vinyl package that includes a gatefold jacket with revised art layouts, printed sleeves, a 4-panel insert with full album lyrics, two cream & black marble-colored vinyl, and a UV printed ultra-clear bonus disc vinyl with four exclusive bonus tracks! Whether you're a vinyl enthusiast or simply appreciate great lyricism, this album is a must for any collection. Initially released in 2012, Aesop Rock's sixth studio album Skelethon marked a significant moment in the rapper's career. It had been 5 years since his previous effort None Shall Pass was released, and his former label had since been shuttered. As a result, Skelethon became his first solo release on Rhymesayers Entertainment. Coincidentally, it was also his first album that was entirely self produced. The album's title, a portmanteau of "skeleton" and "telethon," was a metaphor for what felt like a long period of many adversities for Aesop. Throughout the album's 15 tracks, he meticulously exhumes and examines these many skeletons in detail, exploring everything from death to distrust, insecurity and isolation, with moments of humor and hope scattered throughout as well. Some of the many standout tracks from the release include "Zero Dark Thirty," a rapid-fire exploration of displeasure over dizzying drums, "ZZZ Top," an impressive ode to youthful expression, and "Cycles to Gehenna," with its haunting production and imaginative musings. Upon release, Skelethon was praised for its intricate storytelling that expertly balanced abstract imagery with concrete details, and its immersive production incorporating sample-based beats with dusty pianos, distorted guitars, and psychedelic synths. To this day, the album remains a fan favorite and a critical darling, praised for its poignant introspection and razor-sharp wordplay.

Back with their first original music since since 2020, this is the start of a new era. Each single will be presented with an official music video and full global marketing campaign at the start of a brand-new cycle. The album is produced by Colin Pastore.

The Tallest Man On Earth - the project of Swedish musician Kristian Matsson - presents Too Late For Edelweiss, an album of new covers out ANTI. With Too Late For Edelweiss, Matsson weaves together a sparse collection of home recordings made in Sweden and North Carolina, captured fresh off a 39-date run with the adrenaline of tour rattling through his veins. The songs on Too Late For Edelweiss have been with Matsson since he started playing music as The Tallest Man on Earth in 2006. In those early years, Matsson used to perform "Lost Highway" by Hank Williams before he had enough songs to flesh out a full set. In July 2022, Matsson released a cover of Swedish super star Håkan Hellström"s "För sent för Edelweiss," a precious song that has been The Tallest Man"s walk-on music before every performance for over a decade and what inspired the title of this covers album. Since then, in the lead-up to this announcement, he has quietly released other selections, including Lucinda Williams" "Metal Firecracker," Yo La Tengo"s "Tears Are In Your Eyes" and now "Lost Highway." Mattson explains, "When I was a teenager I borrowed a Hank Williams album at the local library, and "Lost Highway" has been haunting me ever since. Many vocal sound checks throughout my career have heard Hank"s advice." As much as Too Late For Edelweiss feels like a scrapbook, an intimate memento with the ghosts of The Tallest Man"s earlier, sparser sound hovering at the edges, it"s also just the artifact of a moment - a flash of joy, of feeling recharged, of feeling good. These are the songs that happened to be in Matsson"s head at the time he sat down to record It came together so simply and easily - and in that way, it"s the purest distillation of making music - and being a fan of it, charting the connective tissue of a songwriter"s life.

Limited new repress on blue vinyl. RIYL: Sharon Van Etten, Big Thief, Phoebe Bridgers, Angel Olsen, Neko Case, Bonnie “Prince” Billy, Bill Callahan, Steve Gunn, Kurt Vile, Cass McCombs, Jessica Pratt, Kevin Morby, Molly Burch Phosphorescent, Waxahatchee, boygenius. Recorded and mixed by Joshua Wells (Destroyer, Lightning Dust, ex-Black Mountain). Guest vocals from Bonnie “Prince” Billy on the “Don’t Slow Me Down” single. Guest pedal steel guitar from Paul Rigby (known mostly for his studio work with Neko Case) on 3 of the 10 tracks. Support thus far from FLOOD Mag, Stereogum, KEXP, KCRW, Popular TV (ex-Nylon writers), Pitchfork, Exclaim! & more. “Tonight” single synced for a Netflix series 13 Reasons Why in March 2017. Ashley Shadow winks at darkness, but she won’t lead you towards it. It’s easy to fall under the spell of Ashley’s haunting voice. The Vancouver, B.C. based songwriter forged her own identity as a songwriter with 2016’s eponymous self-titled debut. Her sophomore effort, Only the End, maintains the moody introspection that is ingrained in Pacific Northwest life, but now comes armed with a palpable hope complementing her signature melancholy. Ashley explains, “I wanted to make a more upbeat album, something you could play with some friends over. Some of the songs I wrote were initially bummers, but when we went to record them, we lightened them up.” Balancing a couple of jobs and navigating life and love in increasingly unstable times, the album was written over two years by Ashley at her apartment. Her confident vibrato above lightly, distorted guitars mirrors the album’s theme of resilience, if not triumph, over adversity. There is comfort in these warm songs that endorse the realism of contented acceptance, rather than the naïve search for non-existent utopias. While the songs were conceived in contemplative solitude, Ashley invited some very capable collaborators for their journey into the studio. Ashley’s first album saw her take center stage after more than a decade of gracing friends’ projects in a supporting role. The move to the front was a cautious one. “First record was, can I do a solo album? This time, I know what I’m doing. It’s way more clear.” "Don’t Slow Me Down" reunites Ashley with Bonnie “Prince” Billy for the first time on record when she sang vocals on Bonnie's Lie Down In Light album in 2018. The album also includes contributions from Paul Rigby (Neko Case), Colin Cowan (Elastic Stars), Joshua Wells (Black Mountain, Lightning Dust) and Ryan Beattie (Himalayan Bear). It’s clear to anyone listening. It’s Only the End. If only all endings were so glorious

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* Ken Boothe's haunting 'You're no Good' again backed up with its classic Dub cut

Factory Benelux presents a limited (500 copies only) 180g black vinyl edition of Part-Primitiv, the fifth studio album from post-punk trailblazers Section 25, originally released in 2007.

Recorded after a hiatus lasting almost two decades, Part-Primitiv saw founder members Larry and Vin Cassidy joined by former Tunnelvision guitarist Ian Butterworth, as well as multi-instrumentalist Roger Wikeley. Combining raw postpunk power and retro-futurist electro, the album marked a convincing return to form and drew praise from reviewers.

"Haunting, melancholic beauty - part post-rock, part trance" (Plan B)

"A vibrant, fierce collection of songs played with all the intense, live-wire energy one could want. Well worth the wait" (All Music Guide)

"The music on Part-Primitiv is informed by all phases of the band's back-catalogue, incorporating their early post-punk impulse alongside their later disposition towards electronic music. She's So Pretty is one of the band's closest brushes with pop music, while Power Base is a surprisingly straight-forward venture into techno, with its rampaging drum machine" (Boomkat)

Two tracks, Dream and Better Make Your Mind Up, were written and sung by Jenny Cassidy before she lost her battle with cancer in 2004. Best known for her beguiling vocal on 1984 club hit Looking From A Hilltop, on subsequent SXXV projects Jenny would be replaced by her daughter Beth.

Hurry has grafted the best qualities of ‘90s bubblegum power pop—the pitch-perfect songwriting, the pop-rock sheen, the borderline saccharine vocal melodies—onto something far more raw and emotionally resonant. Don’t Look Back is striking in its tenderness and candor—approximately half of the lyrics on the record concern the deterioration of an 11- year relationship Scottoline was in, with the other half being a celebration of new love. The first words Scottoline sings, in opening track “Didn’t Have to Try,” is essentially a statement of theme: “And we’re back at the beginning / Never thought I’d see a face like that again / It attacks when we’re not ready / And I won’t play it safe this time.” This is pop music about actual feelings which means it’s automatically better than most pop music. It is challenging and addictive.

There is not a single moment on Don’t Look Back that isn’t completely drenched in melody and emotion. “Parallel Haunting” evokes the tuneful ache of golden age Evan Dando; “Little Brain” sounds like golden age Evan Dando and golden age Noel Gallagher. Don’t Look Back is, in a word, bittersweet, with melodies that feel like a jackhammer on your brain’s pleasure center and lyrics that feel like getting slapped in the heart.

Ryan Bingham's new EP “Watch Out For The Wolf” finds the Grammy award-winning artist crafting his most raw and intimate work to date. Written and recorded by Bingham in the wilderness of Montana, the haunting and evocative collection of songs seamlessly intertwine to capture a moment suspended in time, filtered through the stillness and echoes of the desolate surroundings in which they were created. Guided by his signature poetic lyricism and soulful delivery, “Watch Out for The Wolf” is the first project produced, performed, and mixed entirely by Bingham – carving a distinctive space in the singer-songwriter’s ever-evolving catalog.

Japanese producer boys be kko returns to Labyrinth Records for his latest EP 'Pico'. Elegantly dance-centric, Pico and Kanari focus on textured drum work and richly layered melodies, underpinning these elements with club-ready energy and dynamics.

With its tribal beats, Japanese-inspired instrumentation and infectious energy, every element of the track 'Pico' has been crafted for summer festivals & parties through its euphoric blending of different styles - creating something unique and unforgettable.

The title track ‘Pico’ blends organic drum work with effortlessly unique and compelling synths to create a detailed sonic landscape, presenting new discoveries upon every re-listen.

‘Kanari’ adopts a darker edge with growling bass, haunting melodies and pulsating FX. A true heads-down roller likely to transport dancers to new realms.

CHRIS CARTER & COSEY FANNI TUTTI’s remastered limited edition vinyl series continues on 4 August 2023 with the release of Technø Primitiv (1985), Trust (1989) and Pagan Tango (1991) – all available on vinyl for the first time since their original release. The remastered albums will be available on coloured vinyl, each with a printed inner sleeve of archival photos, via CTI. Elemental 7, Muzik Fantastique!, and Feral Vapours of The Silver Ether were released earlier this year, and the series has seen many of Chris & Cosey’s influential albums available on vinyl for the first time, giving listeners a new opportunity to revisit some of their celebrated catalogue.

The remastered releases for August includes 1985’s Technø Primitiv, originally released on Rough Trade, the album is from Chris & Cosey’s whiplash minimal ‘80s icy synth period

Samosa Records reaches its 30th release in style, and who better to mark the occasion than label boss De Gama with the superb ‘Tropical Gangster’ - a three tracker slice of vinyl heaven that’ll blow you face first into your summer paddling pool.

Opening this super-tropical affair on the A-side is afro beat stomper ‘Karibu Funk’ - and it wastes no time at all in introducing us to its tribal rhythmic awesomeness. The beats, the vocals, the outrageously funky bass and horns are a musical representation of an African sunset. A serious groove.

A2. brings us ‘Lucky Fellow’; a twisting, turning bouncy bass-bomb of a tune with a flute riff that would charm the clothes off you. De Gama is very much in Pied Piper mode here - you’re powerless to resist the sexy overtures of the drums, the haunting synth lead and solid bass line. Sizzling hot.

On the B-side De Gama offers a cool ‘Piña Colada’ after all the heat of the A-side. This Piña Colada, however, offers an oasis of many delights and flavours. What starts as a furious latino drum call breaks to a tropical bassline and hypnotic keys. The vocals are the cherry on the cake of an amazing arrangement of layered sound. Goosebumps.

The Tropical Gangster is an exceptionally special Samosa release befitting the occasion of reaching the 30 milestone, and another example of the consistently brilliant output from Samosa Records. Expect this one to sell out fast.

Tom James Scott holds a unique position in experimental music. With a soft brush approach Scott, who currently lives on the North-West coast of England, has explored delicacy in music with a variety of sublime releases on a variety of labels. Predominantly known for gentle investigations of guitar and piano, Scott has shifted to incorporating different technology and tactics over time. All of this, either in performance or recording, is embedded with a spirit that is quintessentially his own. Nightshade is the latest in his expanding catalogue, one which ignites an alarmingly new take on his approach to music. Echo on Water initiates proceedings with the unmistakable sound of tape.

Any instrumentation is buried amongst the woozy sway of the medium itself, with its rough dynamics soon morphing into an overwhelmingly swirling mass of emotionally decayed sound. The movement of matter takes on a haunted shape with sounds looping and falling apart as the physicality of the medium holds it all together. The second track Blue Mist furthers this approach with its smeared haze of gorgeous emotion. This is deep exploration of ideas meeting matter. Wasting Stars takes up the entire flip side with the sound of tape recoiling a bit to allow the delicate glow of instruments to come more to the fore, with gentle effects that weave the musical matter. As a skewered take on Scott’s earlier piano explorations the atmosphere here is a subdued soundscape evoking the spiritual sadness found in the piano works of Gurdjieff/De Hartmann, with a modern lo fi angle.

Nightshade is a deeply effective journey and one of the most exquisite examples of Scott’s delicate approach so far. Two sides of form which inhabit contrasting yet complimentary clouds of sound communicating in an stunning emotional flow. As music with only trace elements of melody, Nightshade is a beautiful take on tools being used to explore paths both highly idiosyncratic, deeply moving and discreetly personal.

Purer Dreck und Zerstörung! Tumulation ist die perfekte Death/Doom Metal Band mit Conjureth Mitgliedern! Seht, die unheilige Kraft von
Tumulation, den kalifornischen Death/Doom-Lieferanten, die eine massive Wand aus heruntergestimmtem Dreck hervorbringen.

Die Umarmung des sumpfigen Death/Doom Metal der frühen 90er Jahre, verströmt "Haunted Funeral Creations" eine bösartige Aura von Aggression und Wut und durchtränkt jede Pore mit dieser infernalischen Atmosphäre.Mit einer unerschütterlichen Hingabe an den Death/Doom Metal der alten Schule bleibt der erstklassige, ranzige und gnadenlose Sound von Tumulation unglaublich abwechslungsreich, ohne jemals in Belanglosigkeit oder Langeweile zu versinken.

Nach einem Instrumenten- und Rollentausch gründeten die Mitglieder von Conjureth im Jahr 2021 Tumulation, um sich neuen
musikalischen Ideen zu widmen. Sie entwickelten einen neuen Songwriting-Prozess, der sich auf den sumpfigen Doom/Death-Sound der frühen 90er Jahre konzentriert.Die beiden Demos von Tumulation wurden sowohl von den Medien als auch von den Fans gelobt und brachten die voll ausgebildeten Veteranen der extremen Musikszene zum Vorschein.

AN AUTUMN FOR CRIPPLED CHILDREN have become a staple act in both black metal and shoegaze circles, delivering hauntingly evocative missives of introspective, yearning and sorrow alike. On Closure, the Dutch band continues to push the sonic template of their disparate influences to its limits, resulting in a sound that nurtures their ethereal sensibilities as much as their wall of sound approach to the genre’s more extreme inclinations.

Fans des ursprünglichen Death/Thrash Metal der 80er Jahre können sich freuen! Das lang erwartete Album mit den Demobändern der legendären Band Samhain (später bekannt als Desexult) ist endlich da.Obwohl die dänische Band Samhain in ihrer Blütezeit nie einen Plattenvertrag erhielt, gewann sie eine treue Fangemeinde und wurde zu einem Begriff in der Underground-Thrash- und Death-Metal-Szene, wo sie mit Bands wie Kreator, Pestilence, Imperator, Illdisposed, Exumer, Mezzrow und Invocator spielte.

Jetzt können eingefleischte Metal-Fans zum ersten Mal die rohe Kraft von Samhains frühen Aufnahmen auf Vinyl erleben.Das Album enthält alle Songs der ersten beiden Demobänder der Band, die 1985 und 1986 aufgenommen wurden. Remastered für maximale Audioqualität von einem der Besten des Metals: Kein Geringerer als Ex-Desexult-Schlagzeuger und Metal-Produzent par excellence Tue Madsen im Antfarm Studio (Rob Halford, Sick Of It All, The Haunted, Vio-Lence, etc.), dies ist so true wie es nur geht.

Die Veröffentlichung enthält außerdem ausführliche Linernotes von namhaften Metallern und seltene Fotos aus den Anfangstagen der Band.

Italian DJ and producer Sourires (aka Andrea Antognoli) joins the Samosa stable for his debut with an explosive release that will take your breath away.

The EP kicks off with the title track, Pampasosa - a furiously groovy number which gets up right in your face from the get-go. Like an unstoppable train, Pampasosa hurtles along at 127bpm with its horns blaring and furnace blazing. De Gama is on the Re-Groove here, expertly applying the bells and whistles to this all powerful locomotive stomper.

A2 brings us ‘Liam’, which sounds like a track very close to Sourires heart. Think of glorious evening sunshine after the rain for this emotionally charged piece of music. The bass has you hypnotised, the strings make you soar and the vocal haunts your dreams. It bares its soul to you and you can’t help but love it for that.

On the B-side, ‘Keep Rolling’ (De Gama Re-Groove) gives no illusions as to what its intentions are. A rolling, bass-driven start builds to filtered vocals and punchy brass - we’re in house territory but it’s so much more than that. A prime-time fist pumper of a tune, this will have dance floors offering their souls to Sourires in exchange for good times.

Finishing off this four tracker is ‘Flavor’ (De Gama Re-Built). At 124bpm, it sneaks past you and taps you on the shoulder. Continuing the house vibe, Sourires brings us a swinging beat accompanied by dreamy vocals and subtle filtered keys. Strings and delicate guitar licks build to a glorious breakdown which reveals itself in full technicolour. Summery, sassy and sexy stuff.

Sourires has deliverdd a modern classic with the Pampasosa EP. This has to be in your record box for the summer - just watch the dance floor go!