Buscar:hem

Phoebe Rings is a dream-pop band offering a unique blend of introspective yearning with celestial danceable grooves. Their self-titled debut EP, a hopeful collection of musings, out on Carpark Records, is a testament to the distinctive musical style of Auckland jazz-school-trained pianist and songwriter Crystal Choi. Across six tracks, the EP is a love letter to some of the band’s influences: Studio Ghibli films, Zelda and Stardew soundtracks, Bossa Nova, Stereolab, and 90’s Korean ballads.

In 2020, the band played their first gig in a ‘funny side room’ during a festival at Auckland Town Hall. Choi’s songwriting was brought to life with Alex Freer on drums, Simeon Kavanagh-Vincent on guitar and synths, and Benjamin Locke on bass. Choi says she knew the tracks had to be recorded after the band played the songs better than she could ever imagine. And so, remotely through the COVID-19 lockdowns, the band started recording the EP.

“Daisy” is the vibrant leading single, with the shimmery refrain “Ooh-wee-a-waa” and the uplifting mantra: “When you’re next to me, the world’s full of daisies.” The swirling synths fizz on the skin like warm sun, promising growth and new starts. “Cheshire” is an Alice in Wonderland-inspired trip through the rabbit hole, pacing in anticipation. “Like a Cheshire cat, it grins and disappears in moments when you accept yourself,” explains Choi. Locke and Choi finished the lyrics one evening, huddled in the corner of a local underground music venue, with references to Murakami’s book Dance Dance Dance.

Choi grew up in Seoul, developing a palette for K-pop and retro sounds. The city-pop influence of “January Blues” shines through, with Choi crediting one of her favourite songs from the ’80s: “연극이 끝난 후 After Play”. The track explores her disconnect with the summer break. “In the Northern Hemisphere, January is winter,” says Choi. “I missed that a lot, and I don’t vibe with the beach.”

“Spissky,” chimes in with Choi’s lilting vocals reminiscent of childhood lullabies, inspired by a lonely-looking castle she saw on tour with Princess Chelsea in Slovakia. While “Ocean” leans into its mumble-core roots, taking a leaf from the Cocteau Twins. There’s an external shift in the EP, with “Lazy Universe” being the most energetic track, evolving with the band’s chaotic sci-fi experimentation. Asking, “Are you still waiting for a kiss?” Choi is self-critical and urgently speaks up from being passive.

The members of Phoebe Rings are cemented in the musical ecosystem, balancing other projects and full-time work. Yet Sundays will always be carved out for Phoebe Rings to dream up imaginative, world-building tunes — often with a Nintendo game soundtrack in the background as inspiration.

In August 2019, he collapsed on stage due to a hemorrhagic stroke, and doctors told him he might never perform again. After undergoing a series of operations to repair his Arteriovenous Malformation (AVM) and months of physiotherapy, White has proved them wrong, embarking on a nation-wide tour in support of his 2021 release 'The Optimystic'. New songs "Power of a Woman" and "Hurts the Healing" are the latest tastes of new music from White, who has received accolades including Rolling Stone's 10 Country Artists You Need to Know, The Grammy's Artist of Tomorrow and the British CMA Awards' International Song of the Year. He has shared the bill with Country music superstars like Luke Bryan, Eric Church and Zac Brown Band. In the summer of 2023, White went to a Rienzi, Mississippi studio with producer Jonathan Singleton to record his third full-length record, Low Country High Road

Hört her, hört her! Aus den mystischen Gefilden der Neo-Norse-Lehre stürmt EIHWAR auf die Bühne wie ein Berserkerangriff auf ein ruhiges Fjorddorf. Mark und Asrunn haben sich den Weg des Kriegers nicht ausgesucht, sondern er hat sie gewählt. Aus dem ursprünglichen und doch unerforschten Terrain ihrer Seelen entsprungen, haben sie einen klanglichen Moloch geboren, der uralte Götter mit dem unverschämten Chaos des modernen Zeitalters vermischt.

Man stelle sich ein Paralleluniversum vor, in dem Wikinger Synthesizer entdeckten und zu Techno headbangten. Dies ist das Debütalbum von EIHWAR, Viking War Trance. Eine wilde Platte, die nicht nur den Rahmen sprengt, sondern ihn mit der Grausamkeit von Thors Hammer zerschmettert. Hemmungslos und reuelos ist dieses Album ein elektrisches Met-Hallenfest zum Soundtrack der Apokalypse. Es hat alles: technoide Beats, die im Herzen eines sterbenden Sterns geschmiedet wurden, tranceartige Stimmen, die Odin von den Toten auferstehen lassen könnten, und schamanische Trommeln, die einen Sturm in Walhalla auslösen könnten. Stelle dir vor, du stehst in einem Moshpit mit Wikingerkriegern, berauscht von der Magie des Nordlichts, und würdest die Wut von Fenrir und die Trauer von Baldr kanalisieren, mit allem Schwung und Schweiß. Mit Tracks wie "Völva's Chant", "Viking War Trance" und "Mjölnir" ist es eine in der Tonart des Chaos gesungene Saga, die dazu bestimmt ist, die wildeste Trance auf jeder Tanzfläche oder jedem Schlachtfeld zu provozieren.

- Ein elektrisierendes Debütalbum, das traditionelle nordische Klänge mit modernen elektronischen Beats vermischt und so ein einzigartiges, festliches und chaotisches Musikerlebnis schafft, das man am besten als eine Mischung aus Heilung und Carpenter Brut bezeichnen kann.
- Nach ihrer viralen Explosion auf YouTube werden Eihwar das Publikum in ganz Europa in ihren Bann ziehen und haben Auftritte auf großen Festivals wie Hellfest, Leyendas del Rock und Trolls & Légendes im Jahr 2024 bestätigt.
- Das Album enthält sorgfältig selbst produzierte Tracks und visuell überzeugende Cover und Videos, die ein kohärentes und immersives Erlebnis garantieren.

Rhetoric & Terror is Berlin-based Hemphill’s second album since leaving Liars back in 2016.

No stranger to reinventing his approach towards composition, Rhetoric & Terror feels like we are – perhaps for the first time – opening a doorway into Hemphill’s personal life, to his disparate sonic influences, his wide-ranging journeys through philosophy, and his own reflections on his role as an artist.

Like different thoughts and feelings emerging in a state of meditation, Hemphill invites you to pause on one ‘scene’ for a moment before moving onto the next. There’s space to get lost here – both emotionally and in the colour of the album’s wide-ranging textures.

With his wife Angelika Kaswalder on vocals throughout the album and multi-instrumentalist Morgan Henderson – a longtime friend of Hemphill’s since Henderson’s time in the post- hardcore band The Blood Brothers - adding woodwind, Nonpareils is no longer simply a solo project – and it’s apparent in this openness.

The name of the album – Rhetoric & Terror – describes this split that Hemphill is making from the conceptual nature of his first solo album (2018’s Scented Pictures), and the new direction that he – perhaps – hopes to continue taking. The title comes from a chapter in Giorgio Agamben’s book, “The Man Without Content”, where he describes the concepts of rhetoric and terror to describe two different types of writers: the rhetorician and the terrorist. The terrorist is a misologist who is only into the feeling; the rhetorician is committed to logic and form.

“With Rhetoric & Terror, I wanted to start with emotions and feeling. I was playing with my kids, listening to Cocteau Twins, I have a wonderful partner, and it seemed very contrary to any sort of growth to sequester myself from this life in order to get into character as a musician. Instead, I tried to remove the boundaries between my creative life and my. responsibilities and have it all be one fluid thing. All things at all times, and trust that this will guide my music rather than more intellectual concepts or limitations.”

Despite its catalysts being in philosophy and conceptual art, Hemphill has created an album that’s deeply “emotionally available”. It’s also helped him take a new stance on life that combines his life as a partner and parent in a kind of unity with his role as the artist. It’s plain to hear as a listener – Rhetoric & Terror, despite its intimidating name, is welcoming
and playful, even during its most intense moments.

Das 2020er Album von Tiger Lilly Marleen und ihren Bonsai Kitten! ,Love and let die" vereint den Spirit von Woodstock und Wacken mit all der subkulturellen Attitüde, die man an dieser großartigen Band so liebt!!! Ein energiegeladener Punk, Riot Rock, Metal,Blues & Billy Meltdown über Liebe, Tod & Hoffnung 11 starke Songs inkl. Singles ,Now or never" und ,Limit to your love"! BONSAI KITTEN feiern mit ihrem neuen Album "LOVE AND LET DIE" eine musikalische Wiederauferstehung und zeigt völlig neue Facetten der Band. Wenn Tiger Lilly Marleens charismatische Stimme auf Marc Reigns (Morgoth / Destruction) hemmungsloses Metal-Schlagzeug und Wallys (Psychopunch) raue Blues-Rockgitarre trifft, abgerundet durch Spoxx'(Feeling B) Bass Sound. Die Songs glänzen durch Spontanität und Härte, aber auch durch Intimität und eine extrem spannende Vielseitigkeit, während sie die Liebe, den Tod und die Hoffnung behandeln. Dieses Album ist pure Leidenschaft, zieht in seinen Bann und sprengt musikalische Grenzen. Ein "Limit (to your love)" - das vorab ausgekoppeltes Video - gibt es für BONSAI KITTEN dabei nicht ohne das Wesentliche aus den Augen zu verlieren: Jeder Song ist ein packender Treffer.mal ins Herz, mal in die Seele, mal "direct in your face"! Purpurfarbenes Vinyl!

Imaginative re-workings and improvisations by Andrew Tuttle of the late great Michael Chapman's unfinished instrumental album. Sonic explorations that bridge the Southern and Northern Hemisphere via the Caribbean, remote Northumberland and sub-tropical Australia. Navigating calm seas and turbulent waters of ambient corals, new-age pirates, waves of lapping banjos and drifting eroding guitars.
When Michael Chapman passed away in September of 2021, at the age of 80, he did so – as he spent much of his life – as both a pioneer and a legend. A veteran of the British blues/folk/jazz scene, Chapman emerged in 1966 and continued working throughout his life, always pushing the boundaries of his creations while collaborating with a slew of similarly heralded musicians along the way: Bert Jansch, Mick Ronson, Elton John, Thurston Moore, Steve Gunn; to name just a smattering of those he worked alongside over the years.
It's the latter of those – Brooklyn guitarist and songwriter Steve Gunn – who Chapman flourished alongside in recent years, the two collaborating on 50 and True North, two of Chapman’s final and finest records. It was through that friendship that Chapman’s music found Andrew Tuttle, the Brisbane-based multi-instrumentalist who has toured Australia several times alongside Gunn.
In the aftermath of Chapman’s passing, his partner Andru discovered Tuttle’s Fleeting Adventure LP, describing it as “one of the albums that kept me sane during that first brutal winter on my own.” The pair met in Australia shortly after, and before Andru had even made it back home to the north of England, Tuttle had begun working on the recordings she shared with him at that time. Those recordings were part of a project Chapman was working on at the time of his death, called Another Fish – what would have been a companion piece to his previously-released LP, simply called Fish.
Though Chapman had spent time in his local studio playing all the guitars, layering the different sounds and effects, he’d always intended to do much more work on the songs, however fate had its way and he never got to ribbon-bow those ideas and bring the album to its conclusion.
Though there was little intention in terms of how to finalise the project, Tuttle spent valuable time with those recordings. What materialised, eventually - with time, care, and diligent attention - is a two-disc set Another Tide, Another Fish, something both unusual and completely distinctive. The first disc, Another Tide is centred around Tuttle’s own work, which shaped all seven of Michael’s songs and ideas into new songs of their own, and the second disc which simply incorporates the recordings that Michael left behind.
“On all of the tracks I also ‘played along’ on banjo to the originals several times until I learned an approximation,” Tuttle continues. “This ended up resulting in a ‘hybrid’, where some works are easily identifiable to those who know Michael’s originals, and some took that inspiration to head altogether elsewhere. Each of the tracks, even where not obvious, does have at the very least a trace element sample of the original recordings so that it’s a true collaboration.”
What we’re left with is indeed a hybrid: part remix album, part cover album, both a solo work and a collaboration, of sorts. Inspired by Chapman’s original ideas and with new track titles directly referencing the numbered but otherwise untitled source material, Tuttle adds his own flashes of colours throughout, including editing, sampling, MIDI transposing and signal processing that twists these songs into beautiful new shapes. Perhaps Tuttle’s greatest achievement here then is that Another Tide sounds so effortlessly free of all this context.
Whether you know Michael’s, Andrew’s or even Andru’s story or not, these recordings will bristle with enchantment and intrigue, worlds are built, and while some thrive and grow, others fizzle out in a burst of light, such is the way. “It's been a long, long road but we got there and I think it's been more than worth it,” Andru says in the record’s liner notes. “I really hope you think the journey was worth it too.”
Guitars and effects by Michael Chapman recorded by Alex Warnes at Phoenix Studio, Brampton, Cumbria, 2017 Banjo, effects and edits by Andrew Tuttle at Bella Vista, Brisbane / Meanjin, 2023-2024

"A change of speed, a change of style. A change of scene,without regrets."
-Ian Curtis
Ursa Minor is a constellation in the northern hemisphere. It shares the same name as the Big Dipper, because its tail resembles the handle of a spoon: it consists of seven stars in the shape of a car; Four of them form what is the deep part ofthe car and the other three are the handle of the car. It occupies an area of 255.9 square, in which it contains a total of 39 NGC objects.
The best-known element of the Little Dipper is the polar star, called Polaris, which is located approximately in the extension ofthe Earth's axis, so that it remains almost fixed in the sky andmarks the geographic north pole.
Principal stars:
α – Polaris, β – Kochab, γ – Pherkad, δ – Yildun, ε, ζ, η

There is something simultaneously both brand-new and retro about 'All News Is Good News’ - the debut album from Melbourne's instrumental soul group Surprise Chef. It sounds like something dreamt up by lo-fi cousins of David Axelrod and Janko Nilovic, with dramatic Library-music-eqsue cinematic arrangements echoing both light and dark, delving into moments of dissonance and positivity.

There is a meticulous education of 1970’s soul on display that touches on the legacies of the great composer / producers, yet at the same time this is a truly contemporary record that could have only been made now. The first limited pressing of 'All News Is Good News’ was released on the band's own 'College Of Knowledge' imprint in November 2019. It slipped rapidly into the collective consciousness of underground music lovers around the world, with all copies selling out within a week and becoming a firm favourite at Mr Bongo HQ in the process.

We felt Surprise Chef had made something very special, a future-classic, and that needed to be heard well beyond those lucky enough to have bagged those limited first copies. Formed at the end of 2017, Surprise Chef have grown within the fertile, creative, and supportive Melbourne music scene. Whilst the band is comprised of four core members, the album features friends and family as guest instrumentalists on flute, saxophone, vibraphone, congas, and assorted percussion; all adeptly recorded by engineer Henry Jenkins from the band Karate Boogaloo. The warm-raw-authenticity of the album was captured in the recordings live to tape over a handful of sessions in the band’s home studio in Melbourne’s inner-northern suburb of Coburg. As band member Lachlan Stuckey explains “All of the music we record is tracked live to tape, simply because so many of the records we love most were made that way".

The results are a captivating journey of instrumental cinematic-soul that will connect with the hardened Axelrod, Truth & Soul, El Michels Affair, and Daptone's fans, as well as the open-minded first-time listener. We are very excited to share this first slice of Surprise Chef’s world, with plenty more magic from these guys coming around the corner very soon.

Also available on Red Vinyl - Limited Edition of 200 Copies.

Das neue Album von Sofi Tukker trägt den Titel BREAD - ein Akronym für „Be Really Energetic And
Dance“. In den Worten von Sophie und Tucker entzündet BREAD „unsere unerfüllten Wünsche und
Sehnsüchte. In dieser Welt werden wir daran erinnert, dass es sich fantastisch anfühlt, seine Hemmungen
zu verlieren, sich energiegeladen zu fühlen, zu tanzen und seine wildesten Fantasien auszuleben“.
Das Album ist als limitierte Vinyl und CD erhältlich!

In contemporary usage, genius loci refers to a location's distinctive atmosphere, or a "spirit of the place"...

Genius Loci is a new audio work by sound artist Brian d'Souza (fka Auntie Flo). Referencing the notion of the protective 'spirit of place' from ancient Roman times, d'Souza used a vintage accordion to capture the acoustic properties of the Het Hem building in Zandaam, Netherlands. A former munitions and gun testing factory, Het Hem is a space full of character made up of a range of rooms that each hold a different acoustic property. d'Souza is interested in the connection between sound and space, using the accordion as a sound source with a variety of microphones placed around each room to capture the resonance and reverberation. The results are presented as part of an immersive audio visual website which incorporates generative audio technology developed by d'Souza's Swell Studio in collaboration with The University of Arts in London and is now available at https://thecouch.hethem.nl/genius-loci/ .

The original artist versions of Genius Loci are available on this release for the first time, available on 12 inch vinyl and download.

A State of Flo supports Earth Percent. 10% of the revenue generated from this release will be paid to environmental charities.

The band name is a nod to the eponymous album by Sonny Rollins from 1962, but the project refuses to sound nostalgic. Every performance leads to completely new music, with every player bringing influences from their own generation and background. Recorded by Bartosz Szkielkowski at Pardon To Tu, Warsaw, October 3rd, 2022 (except for LP format extra track). In this quartet Amado gathers three of his strongest longtime influences: German pianist Alexander von Schlippenbach, Norwegian double bass player Ingebrigt Håker Flaten and American drummer Gerry Hemingway. For Amado this band represents a deep dive into his own formative roots, something he has been dealing with more and more in these last few years. With Schlippenbach, Håker Flaten and Hemingway by his side, Amado has the perfect context to explore the classic materials he considers to be the basis of his journey as a musician, an impulse that is part him and part history. This is a quartet whose name really represents, aside from a direct homage to Sonny Rollins, a bridge between different languages, backgrounds and generations, all united through improvisation. Rodrigo Amado - tenor saxophone Alexander Von Schlippenbach - piano Ingebrigt Håker Flaten - bass Gerry Hemingway - drums

Chicago's Black Diamond debuts on We Jazz Records with their new album Furniture Of the Mind Rearranging on 26th July. Co-led by Artie Black and Hunter Diamond (composers, saxophones, and other woodwinds), Black Diamond appears in both quartet and duo formations. The first three album sides present the quartet, complete with long standing band members Matt Ulery (double bass) and Neil Hemphill (drums), under the heading Furniture Of the Mind. The remaining two tracks on side D fall under the title The Mind Rearranging, with Black and Diamond presenting a meditative duo encounter of two tenor saxophones.

Furniture Of the Mind Rearranging is an assemblage of new compositions and improvisations that develop the band's established sound and exemplify the way in which this band folds into the Chicago creative music community. The quartet traverses their familiar aesthetic ranges between driving off-kilter groove, plaintive minimalism, and intimate chamber music, with the everpresent spirit of small-group jazz and a hovering influence of Chicago’s improvised music culture. And while this collection represents three previous

albums and more than a decade of close kinship and artistic evolution between co-leaders Black and Diamond, neither are too precious about any one element on the album. This is very simply the latest work in what continues to be an expanding body work founded on a guiding principle: cultivation without expectation.

The four sides with two formations flow together in a natural way, forming an idiosyncratic musical entity that is sure to grow with each new spin on the turntable.

Kiioto ist das Liebeskind von Lou Rhodes, der für den Mercury Prize nominierten Singer/Songwriterin und Mitbegründerin des Trip-Hop-Duos Lamb, und dem mehrfach mit Platin ausgezeichneten Songwriter und Keyboarder Rohan Heath. Gemeinsam haben sie ein Album aufgenommen, das gleichermaßen instinktiv und neugierig ist: "As Dust We Rise" basiert auf den Wegen, die die beiden bis zu diesem Punkt eingeschlagen haben, und ist getragen von einem Spirit ständiger Erkundung und Entdeckung.

Die Songs wurden in den Heimstudios von Lou und Rohan in London und Wiltshire geschrieben und teilweise aufgenommen und anschließend in das Studio des Produzenten Simon Byrt (Emiliana Torrini, Charlotte OC, Jessie Ware) gebracht. Zu den Mitwirkenden gehört Valerie Etienne von der Acid-Jazz-Band Galliano. Byrts Befürwortung analoger Aufnahmen und Vintage-Equipment erwies sich als entscheidend für den warmen und organischen Klang der Platte, der mit Hilfe von Gastmusikern an Live-Schlagzeug, Streichern, Bass, Gitarre und Horns liebevoll ins Leben gerufen wurde: kollaborative Prozesse, sagen Lou und Rohan, die sie auf ihrem nächsten Album weiterzuentwickeln beabsichtigen.

"Es ist eine Platte, die vor den großen Themen des Lebens nicht zurückschreckt", sagt Lou, "wir haben dafür irgendwie die Ärmel hochgekrempelt."

Released in 1970 on the british cult label The Village Thing (owned by
singer/songwriter Ian A. Anderson), the sole album by couple Anne
and Graham Hemingway is a superb acid folk manifesto. Coming all
the way from Cardiff, the duo has been described as a mystical,
magical hippie small family. Alongside classic guitars, they played
dulcimer, glockenspiel, vibes, bells, kazoo and small percussion,
joined throughout by label-mate John Turner (bowed and fingerpicked string bass) and Andy Leggett.

When Jazz Meets Italo-Disco. Two Italian legends meet and deliver a unique contemporary jazz-house fusion! ''Stefano Cantini is a well-known saxophonist in the Italian and international jazz scene. In recent years he has focused on a project called Living Coltrane with Ares Tavolazzi, Francesco Maccianti and Piero Borri. Stefano and Maurizio Dami (Alexander Robotnick) had worked together for a while in the mid '80s and Stefano also played on GMM's album (''Love Supreme'' is the best known track). Since then, Stefano has focused totally on Jazz whilst Maurizio Dami produced World Music in the '90s and later on, under the artist name Alexander Robotnick, retrieved in 2000, turned to electronic music again, so the two musicians lost track of each other for 40 years. Robotnick says, ''In March 2023 I received a call from a club in Pisa, Cantiere San Bernardo. They asked me whether I could play live with Stefano ''Cocco'' Cantini on the occasion of a special event dedicated to Giovanotti Mondani Meccanici. I called him and he answered enthusiastically. Shortly before the concert we rehearsed at the Follonica Music School which he directs. He improvised with me on the bases of my live. We liked our rehearsal and a few days later, on June 2nd 2023, we played in Pisa with much success. So came the idea of doing something together. We decided to produce an EP featuring 3 tracks. On some of my bases Stefano created a harmonic texture to improvise on. I mainly took care of the arrangement and the production. But what we play is the result of improvisation, with hardly any editing. It's amazing how we managed to work together so smoothly after so many years, as if we had never stopped. We called this project 'Robocok'''. They are modal tracks with a techno approach and harmonically open. Almost a provocation to the staticity of contemporary dance. On ''Francocco'' and ''Frigiococco'' Stefano plays soprano sax whilst on ''Afrococco'' he plays alto. Guglielmo Bottin took the task of making a remix. He picked ''Francocco'' and skilfully turned it into a pure drums and piano groove. Perfect for the dancefloor.''

BLØF is een van Nederlands bekendste rockbands en zijn afkomstig uit Zeeland. In 1998 braken ze door bij het grote publiek met de single ""Liefs uit London"", waarna er vele hits volgden. Al 30 jaar zingt Nederland uit volle borst mee op nummers als ""Aan De Kust"", ""Wat Zou Je Doen"", ""Dansen Aan Zee"" en ""Harder Dan Ik Hebben Kan"". Ook heeft de band verschillende succesvolle samenwerkingen op hun naam staan, met onder andere Counting Crows (""Holiday In Spain""), Geike Arnaert (""Zoutelande""), Sabrina Starke (""Meer Kan Het Niet Zijn""), Typhoon (""Wereld Van Verschil"") en KODO (""Aanzoek Zonder Ringen""), en S10 (""Laat Me Los""). 30 (We Doen Wat We Kunnen) is een oeuvre overzicht van de band en bevat hun mooiste nummers van 1992 tot nu. Deze 3LP is beschikbaar als gelimiteerde oplage op transparant groen gekleurd vinyl en is verpakt in een trifold sleeve.

Gravity Loss will be the first EP released as part of Dsum's eagerly anticipated album, 'Water In The Moon.' Since his last album in 2022, he is pleased to announce a 12-track project focused purely on electro sounds, aiming between experimental ambient and Detroit techno, and which might be his most musical album to date.



To be released on his label Back Door, Dsum's fourth album has been years in the making and sees him go back to the sound of his electronic music roots. The album's inception traces back to the lockdown period of 2020, serving as a tribute to his introspective musical exploration and honoring the genesis of electronic music.



Featuring an analog sound loaded with lush pads, spatial synths, and solid raw 808 electro rhythms, tracks are brought together with a succession of short variations and instrumental snippets, contributing to a vision of what sound in outer space should be.



'Gravity Loss' alongside 'Double Distance' will be the two EPs bringing "Water In The Moon" to life, both to be released on vinyl as well as digital. This project's wax version sees ten tracks spread across 2x12" records releases in June and July, followed by the full album release in a digital format with extra exclusive tracks featuring all twelve songs in their original intended order.

Experimental prog act East Of Eden’s daring debut album Mercator Projected was released by Deram in 1969. Former Graham Bond Organisation bassist Steve York and drummer Dave Dufort supply the tough rhythmic backbone on which frontman Geoff Nicholson weaves his edgy guitar, with Dave Arbus’s electric violin supplanting what would normally be played on rhythm guitar, Adrian Martins’ sax and flute completing the picture with central European melodies. Hard rocking, melodically meandering, and including a one-off take of ‘Eight Miles High,’ this is prog with a bold difference. A killer set from start to finish!

In the late 90s, the bands that Mike Badger had been part of vanished in the rear-view mirror. The La’s and The Onset were no more. With a young family and his tin-can sculptures emerging as his primary source of income, the evenings in Allerton (south Liverpool) found him quietly strumming his acoustic guitar, careful not to disturb the sleeping children. Weekends often led to the Penny Lane Wine Bar and later to Henry Epstein’s residence, a haven for revelry after closing time. A place where acoustic guitars adorned the walls, and impromptu musical sessions unfolded. In the midnight hours at Henry Epstein’s house, Paul Hemmings conceived the idea of compiling an album featuring Mike’s new tunes, which seemed to carry a basic “pastoral” theme reflective of settled domestic life. Demos were recorded on a porta-studio, and the album, initially titled “Naked and Beyond,” was crafted with starkness and simplicity, adorned with selected embellishments contributed by associates who shared drinks and stages. Recording took place at “The Lab” studio just north of the city, utilizing a Teac 24 Track machine and the warmth of analogue recording. The studio featured an old Italian “Eko” acoustic guitar, a classical guitar, Louis Johnson’s cello arrangements, and Tommy Scott’s backing vocals. Once the core of the album was laid down, the journey continued to Anglesey, to Henry Priestman’s “Gossamer Dome” Studio, where a baby grand piano, Farfisa organ, and “Parrot” accordion were added to enrich the songs with colors, harmonies, and magic, all against the backdrop of a sea view. The front cover of the album was adorned with an objet d’art created from a spiraled frying implement, part of Mike Badger’s “Lost and Found” exhibition. As the need to release the album arose, Mike Badger and his collaborators established their own label, “Viper,” and secured a distributor. The album, titled “Volume,” reflected its creation – from its initial sound considerations to the organic body of work composed in recent years. The recording process, though thorough, embraced imperfections, as Mike Badger believed that completeness emerged from these flaws, giving the performance its distinct character. The spirit of the performance took precedence over perfection, resulting in a product that felt genuine, unfettered, and honest – created simply because it was meant to be made. Now the album turns 25 it is released on vinyl for the first time via Nine X Nine Records.

Honeymind is Ben Platt’s anticipated third album (and debut on Interscope & Polydor Records), named for the “honeylike” state of being in love (“like all the jagged thoughts and fears and anxieties in my brain are slowly smoothed out, until my mind is coated with warmth and sweetness,”). The album was Executive Produced by Dave Cobb (Chris Stapleton, Brandi Carlile), written with notable songwriters Hillary Lindsey, Natalie Hemby, and Alex Hope, and sees Ben exploring a more understated, folk leaning sound.

London outfit Kassian continue their broadly- evolving yet highly detailed journey through and beyond sound towards something ever more expansive. Their second release for !K7 Records comes in the wake of creating a dedicated hardware-forward studio in a Northeast London container complex, where they have the freedom to interlink their machines. This renewed focus brought them to Supercontinent EP, named for the ancient geological era when Africa and South America were joined as Pangea.

A reformulation of rhythmic ideas inspired by South= African Amapiano and South American Baile Funk governs the two hemispheres of the record. The pair examine and deconstruct dancefloor material, eschewing 4/4 for interlocking shaker patterns, searing acid lines, cracking breakbeats, and vocal samples in Zulu and Brazil Portuguese.

The immediacy of the restless rhythm and bass-led funk of “Yena” (the word Yena translates to ‘he/him /man’)forms a sweet spot where double-time and half-time can coexist. “Yami” (‘mine’ in Zulu) is a slinkier proposition which sheds prominent percussion in favour of a weighty, fluid, acid-informed bassline undulating from below.

An ascending percussive riff marks the arrival of “Pulgueiro”, followed closely by break beats and the nostalgia of distinctly British acid electro; it is an intentionally future-forward retelling of a vintage sound, replete with a mind-melt breakdown of rave pads.

A dubbed-out groove dominates the bottom-heavy “Sistema” – a groovy, steady roller that chugs and propels and chugs with head-nod hypnotism through an intricately minimalistic approach.

2024 Repress

Frenzy returns with a sequel on their First Various Artist release - presenting their highly anticipated '23 Various Artists' release with FRNZYVA002, containing 12 tracks, designed by 13 artists, with the focus on the old school sound with a modern-day twist. Alarico and Chlar, as Funk Assault, Undivulged and Lobster cover the A-side, Levzon, Nicolas Vogler and Ruiz OSC1 are on the B-side, TWR72, Hemka and Insolate on the C-side and CRAVO, Jannik Abfalg and ANNE cover the D-side with their approaches of the old school with a modern day twist.

"boy" ist die mit Spannung erwartete Solo-EP von Luke Hemmings, dem preisgekrönten Leadsänger von 5 Seconds of Summer. Die EP enthält u.s. die wunderbar melancholische erste Single "Shakes"

Read any article or comment thread about the Seattle noise-rock outfit GREAT FALLS and you're likely to see descriptors like cathartic, heavy, crushing, and unhinged. Maybe even psychotic. And sure, those are all apt: For over a decade, vocalist/guitarist Demian Johnston and bassist Shane Mehling (who also played together in the early-2000s noisecore band PLAYING ENEMY and the experimental duo HEMINGWAY) have honed their sludgy, overwhelmingly intense brand of heaviness, punctuated by delectably discordant riffs, terrifyingly low, thwacking bass lines, and mesmerizingly tight percussion. In the live setting, too, they’re notorious for a stage presence that is so aggressively confrontational and menacing that Mehling once broke his own arm mid-set.

But the most striking aspect of GREAT FALLS, setting them apart from the murky sea of sludge metal and AmRep-inspired noise-rock bands, is their ability to paint a deeply, utterly human story through an all-out assault on the senses: an art the band has perfected on their fourth full-length album OBJECTS WITHOUT PAIN, out September 15 via NEUROT RECORDINGS.

The album is not only their NEUROT debut, but also the first LP featuring drummer Nickolis Parks (GAYTHEIST, BASTARD FEAST), who joined the band prior to the release of their exhilarating, cacophonous 2023 EP,FUNNY WHAT SURVIVES.

OBJECTS WITHOUT PAIN takes us on a bleak, purgative journey through a separation–a snapshot of the turmoil and indecision that occurs after the initial realization of someone's misery, and before the ultimate decision to end a decades-long partnership. From the foreboding intro riffs of “DRAGGED HOME ALIVE” to the end of the 13-minute closer “THROWN AGAINST THE WAVES,” its eight tracks explore the thoughts that come up when a person is staring down the barrel of blowing up their life: How did this happen? Is it too late for a new life? Will the kid be OK? What will make me happier: familiar torment or unknown freedom?

The sixth studio album, 'Matango!, its title referring to the 1963 Japanese psychological horror film of the same name (directed by Godzilla/kaiju maestro Ishiro Honda) by Australian band The Kill Devil Hills is out on Bang! Records! New album has ten songs, that - according to the band's own words - "entwined in the lyrics are inferences of global unrest and displacement, near future scenarios, climate catastrophe, pandemic vortices, the Simpsons, the grace of women, refugees and boat people, Cold War paranoia, the creative process itself, and of course Australia and its peculiar place in things". Cheery stuff, no? A strange and sinewy beast of an album, it's something of a departure from earlier KDH work: minimal, leering with glitching drums samples, synth swells, empty spaces, and a soup of fat bass tones to float it all in. From the opening ghost radio hums of Survivor Guilt, to the entrancing closing whispers of violin on Weigh of a Woman, this album goes on a pretty strange and serpentine journey. Enjoy listening, as much as we have enjoyed making it.

A magical blend of folk and psychedelic rock, Hemåt was published in 1969.

2024 Repress!

Die erste LP ist immer ein Grund zu Feiern, und mehr noch auch ein Grund für freudige Erwartung (auf mehr): nun also, Respekt Leute, denn es naht die Premiere: die erste LP von Marek Hemmann, dem vielseitigsten Elektrotüftler diesseits der Saale.

Auf BLIP teilt Rapper NAHreally witzige Alltagsbeobeachtungen zu luftig-melodischen Beats von The Expert. Für das originelle, unprätentiös unterhaltsame Album wird das Duo von Open Mike Eagle, Hemlock Ernst (aka Samuel T. Herring/Future Islands), Dillon (Full Plate) und Jesse The Tree (Strange Famous Rec.) begleitet. BLIP markiert einen Kollabo-Hattrick für The Expert. Das letztjährige RITUAL mit Stik Figa zählt zu den besten Hip-Hop Alben 2023 und erhielt auch Probs von Chuck D./Public Enemy. Davor begann The Expert mit Jermiside und THE OVERVIEW EFFECT eine Reihe psychedelischer Hip-Hop-Platten. Für Rapper NAHreally ist BLIP das Vinyldebüt nach diversen digitalen Tapes.

Diggin In The Crates (D.I.T.C.) was born out of a group of artists who began making noise in the late ‘80s and into the next decade and beyond—namely Lord Finesse, Diamond D, and Fat Joe. After well-received albums, an official, wider collective was founded that also included O.C., Big L, Buckwild, and producer-rapper combo, Show & A.G. (originally known as Showbiz & A.G.).


The crew proceeded to drop a run of sublime records, including Show & A.G.’s Soul Clap EP (1992), their full-length debut Runaway Slave (1992), followed by Goodfellas in 1995. Show & A.G.’s next project, Full Scale, arrived in 1998 and featured appearances from O.C., KRS-One, Big Pun, the Ghetto Dwellas and verses from members of D.I.T.C. including Diamond D, Big L and Lord Finesse.


In 2002 a CD version titled Full Scale LP (using the same artwork) was released with 10 additional tracks which had originally been released on various 12" singles and projects in the late 1990s. The project had never been released on vinyl in its entirety – until now.
Production on Full Scale was handled by Showbiz and A.G. except for "Time To Get This Money" which was produced by long-time collaborator Ahmed, and "Hold Mines" and "Hidden Crates" which were produced by DJ Greyboy.


The assortment of guest features doesn’t detract from A.G., a masterful emcee with a no-nonsense style that is simple but impactful. Full Scale follows the tried and true blueprint from Show & AG’s earlier classics cementing its place in hip hop history.

MESS is the next instalment of the Liars' recycled coloured vinyl reissue series, released alongside the album’s 10th anniversary.

Originally released in 2014, MESS was the sound of Liars not only facing their fears but also chewing them up and spitting them back out in all their technicolor glory. Written and recorded by Angus Andrew and Aaron Hemphill, produced by Angus and mixed by Timothy "Q" Wiles, this record was less concerned with place compared to previous albums, and saw the band back in their own studio in LA.

Angus explained at the time of release, "We go from one extreme to the other. Working on the last record was really doubtful and paranoid, and that's fine, but it just meant that when work started on this one, it was the exact opposite. It was way more instinctual, fun, and confident.”

Liars’ recycled vinyl series so far has included Liars' 2001 debut, They Threw Us All in a Trench and Stuck a Monument on Top; their concept album about witchcraft on The Brocken mountains, They Were Wrong, So We Drowned (2004); 2006’s acclaimed follow-up, Drum’s Not Dead; 2007’s LA-recorded self-titled fourth album, Liars; 2010’s Sisterworld; and 2012’s acclaimed WIXIW.

Includes unlimited streaming of Mess via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.

Limitiert auf 200 Exemplare. 180g, schwarzes Vinyl. Gut ein halbes Jahr nach digitalem Release erscheint softboy ivo's zweites Album "Reboot" in streng limitierter Vinyl-Auflage. "Reboot" vereint von Artwork bis Klang zeitgenössisch dystopischen Sound zwischen Trap, 2-Step und Deutschpop/Indie. Ein melancholisch kühles Album mit besonderer Atmosphäre.

The trio's debut album, "Live from St. Hanshaugen," was recorded in Liv's living room just a week after they started playing together. In contrast, "Ville Blomster" represents the result of a year of frequent touring, practice, and studio time. The trio has developed its own expression, allowing room for exploration and improvisation. The title "Ville blomster" symbolizes the wild and improvised side of their music, along with the beautiful and simple melodic elements (the flowers) that stand out. The album was recorded at Athletic Sound in Halden with Dag Erik Johansen in May 2023. Much of the music was written just before, and the album's tracks range from rhythmic, catchy tunes inspired by pianists like Keith Jarrett and Brad Mehldau to more melancholic, airy compositions like "Vår" (Spring) and "Ødemarka."(Wasteland) Regarding the writing process, Liv says, "All the songs, except for 'Ødemarka' and 'Du og jeg, baby,' (You and me, Baby) were written in my apartment in the center of Oslo. I like to open the windows and listen to life outside, sitting alone at the piano for hours, searching for an idea with a clear character." Liv Andrea Hauge (b.1995) is an Oslo-based musician originally from Mosjøen in Nordland. She studied jazz piano at the Norwegian Academy of Music and, despite her young age and career, has made a mark with Kongle Trio (with Veslemøy Narvesen on drums and Øystein Skjelstad Østensen on bass) and Ladybird Orchestra. In 2022, she released the album "Live from St.Hanshaugen" with the Liv Andrea Hauge Trio, recorded in Liv's living room. The album was acclaimed as one of the best Norwegian jazz albums of the year. In 2023, she released the album "Hva nå, Ekko?" on Odin, with Marte Eberson, Ragnhild Moan, Signe Emmeluth, Torstein Lavik Larsen, Fredrik Luhr, and Andreas Winther. This music was a commissioned work by the Festspillene Helgeland and toured in the summer of 2022, visiting the Kongsberg Jazz Festival, Oslo Jazz Festival, and Hemnesjazz. The album's second single, "Again," was praised in Dagsavisen as "a candidate for Song of the Year in a more just world." Georgia Wartel Collins - Double bass August Glännestrand – Drums Liv Andrea Hauge – Piano

Following on from debut album 'For Years' and previous Hemlock releases 'October/Macondo' and 'Shaded/Antipolo' we are proud to present the new release from Airhead.

'Lightness' marks a subtle yet precise shift into new sonic territory, beating at a higher tempo and releasing from much of the dominant of sub bass that propelled his earlier work. The refracted take on drum and bass was conceived while staring out over Laurel Canyon and realising the desire to float away. Once grounded, Rob set about trying to capture that feeling by removing all weight from the drums and letting the melodies drift through. Harmonically this is his most advanced record, drawing inspiration from studying and adapting some of the techniques from Joe Pass, Barry Harris, Ted Greene and Mick Goodrick to work for other instruments.

The overall sound is analog and highly dynamic, featuring tightly packed layers of guitar recordings and effects treatments. Clips of ethereal sounding experiments with synthetic voice software can be heard on 'Still Waiting For U' and 'Ghosts in CS' punctuating the sweetness with an air of uncertainty. The symphonic closing piece 'Unbearable Lightness' is a collaboration with American contemporary classical composer Nico Muhly.

Airhead operates uniquely within electronic music, as a session musician he regularly performs at iconic venues to huge crowds yet is still relatively unknown as a producer outside of UK underground circles. Lightness is his most bold and individual release to date and is destined to reach a wider audience.

Repress

Genres collide and combine with an unraveling of blissful layers on "Parabolas".

Cltd018 - Hemissi - Reminder of life

After a series of consistent releases for different labels, Hemissi's debut on Concrete Records confirm his talent and his deep connection to the techno genre. Six tracks that moves between all the nounces of the genre. Hemissi perfectly fit and describes all the ways that makes this kind of music a milestone for the dancefloor, from the obsessive and repetitive rhythm to the deep bass and the hypnotic leads, this release is a concentrate of strong grooves and natural approach for a neverending genre.

Riding the Low are fronted by actor Paddy Considine, who was inspired to start a band after seeing Guided by Voices play live. "Robert Pollard's songwriting is just incredible. The immediacy of it just blew me away. His presence on stage... Being a fan felt like being in a gang. I wanted my own gang". The name Riding The Low came from a biography on Lee Marvin that Paddy read before the idea of having a band was even conceived. "There was a section in the book where it described the way Lee felt after he’d completed a movie. He used to see a psychiatrist who advised him that after movies he should fill his time doing the things he enjoys to take his mind off things and settle him back into normal life. The psychiatrist called this period 'Riding the Low'." 'Riding the Low' initially came about as a hobbyist outlet for Paddy's musical interest and ability; writing Pavement inspired songs on acoustic guitar on his own, before developing them with The Leisure Society's Nick Hemming.

Legendary Hip Hop Producer and Emcee Large Pro aka The Large Professor returns with his highly anticipated 3rd instrumental album, BEATZ VOLUME 3. Back with his traditional signature Boomp Bap sound, LP brings you more well-crafted soulful BEATZ that you can rhyme to, DJ with, skateboard, or even dance to! This album features 10 bangers that are sure to make DJs want doubles to back spin!

Large Professor states:
"Beatz Vol. 3 was made to lift the spirits. From the youthful "Let It Fly" to the ghetto love story sounds of "Rooftop Love", all of the Beatz on this project were made to make the listener feel good. After learning more about my family history, I had to dedicate the song "Ancestors" to my predecessors who are in the "Friendly Skies". Overall, I want to keep that original Boomp Bap style of hip hop alive for my generation, and the real ones to follow."

Large Professor is a founding member of the Hip Hop group Main Source. In 1991 their classic debut album "Breaking Atoms" introduced the world to NAS, who was featured on the track "Live at the Barbeque". LP's debut solo album "The LP" (PSP006) was finally released in 2009 featuring hits like "IJuswannachill", "Mad Scientist" & More.

Some of Large Pro's production and remix credits include tracks for NAS, Eric B. & Rakim, A Tribe Called Quest, Slick Rick, Pete Rock & CL Smooth, Tragedy Khadafi, Mobb Deep, Busta Rhymes, Big Daddy Kane, Lord Finesse, Akinyele, Masta Ace, Czarface, Cormega and many more. Recent production credits: RawWattage "Eyez" (2020), "Pressure" Soundtrack (2020), The Lox/Westside Gunn & Benny "Think of the Lox" (2021), Al Skratch "Be Original" (2021), Neek The Exotic ft. Large Pro "XtraExotic" (album) (2021), K.McGyver Hemisphere (2021), Papoose "Represent" (2021), Papoose "Cold Winter" (2021) and the "All The Streets are Silent" Motion Picture Soundtrack (2021).

Legendary Hip Hop Producer and Emcee Large Pro aka The Large Professor returns with his highly anticipated 3rd instrumental album, BEATZ VOLUME 3. Back with his traditional signature Boomp Bap sound, LP brings you more well-crafted soulful BEATZ that you can rhyme to, DJ with, skateboard, or even dance to! This album features 10 bangers that are sure to make DJs want doubles to back spin!

Large Professor states:
"Beatz Vol. 3 was made to lift the spirits. From the youthful "Let It Fly" to the ghetto love story sounds of "Rooftop Love", all of the Beatz on this project were made to make the listener feel good. After learning more about my family history, I had to dedicate the song "Ancestors" to my predecessors who are in the "Friendly Skies". Overall, I want to keep that original Boomp Bap style of hip hop alive for my generation, and the real ones to follow."

Large Professor is a founding member of the Hip Hop group Main Source. In 1991 their classic debut album "Breaking Atoms" introduced the world to NAS, who was featured on the track "Live at the Barbeque". LP's debut solo album "The LP" (PSP006) was finally released in 2009 featuring hits like "IJuswannachill", "Mad Scientist" & More.

Some of Large Pro's production and remix credits include tracks for NAS, Eric B. & Rakim, A Tribe Called Quest, Slick Rick, Pete Rock & CL Smooth, Tragedy Khadafi, Mobb Deep, Busta Rhymes, Big Daddy Kane, Lord Finesse, Akinyele, Masta Ace, Czarface, Cormega and many more. Recent production credits: RawWattage "Eyez" (2020), "Pressure" Soundtrack (2020), The Lox/Westside Gunn & Benny "Think of the Lox" (2021), Al Skratch "Be Original" (2021), Neek The Exotic ft. Large Pro "XtraExotic" (album) (2021), K.McGyver Hemisphere (2021), Papoose "Represent" (2021), Papoose "Cold Winter" (2021) and the "All The Streets are Silent" Motion Picture Soundtrack (2021).

With her captivating voice and richly detailed songwriting, Sarah Jarosz has emerged as one of the most compelling musicians of her generation. A four-time Grammy Award-winner and ten-time nominee at the age of 30, the Texas native started singing as a young girl and became an accomplished multi-instrumentalist by her early teens. After releasing her full-length debut Song Up in Her Headat 18-years-old, she went on to deliver such critically lauded albums as Follow Me Down, Build Me Up From Bones, and Undercurrent, in addition to joining forces with Sara Watkins and Aoife O’Donovan to form the acclaimed folk trio I’m With Her. Her fifth studio album, World On The Ground, produced by John Leventhal, went on to win the Grammy award for Best Americana Album. In 2021 Jarosz released the Grammy-nominated Blue Heron Suite, a much-anticipated song cycle which she composed after being the recipient of the FreshGrass Composition Commission.

The seventh album from Sarah Jarosz finds the highly decorated songwriter at the apex of change. A Texas native, she’s spent most of her adult life living in New York City, but shortly before writing the album Jarosz left her adopted home to join her soon-to-be husband in Nashville, TN. The geographic shake-up led to a sonic one as well for Polaroid Lovers. For the first time in her career she opened herself up to collaborators, leading to writing sessions with Daniel Tashian, Ruston Kelly and Natalie Hemby. The creative reorganization of her writing process evolved to include a much richer and more electric sound in the studio and being in Nashville meant access to a world of hot shot players. She tapped guitarist Rob McNelley (Miranda Lambert, Carrie Underwood), Tom Bukovac (Tom Petty, Vince Gill) on guitar and organ, her husband- bassist Jeff Picker (Nickel Creek), and drummer Fred Eltringham (Sheryl Crow, Lucinda Williams) for the album recording. Tashian took the helm as producer and the whole album was laid down at the legendary Sound Emporium.

As it goes with all change, Jarosz’s major life events had her feeling contemplative. While sitting on the precipice of adulthood, Polaroid Lovers finds her reflecting on past loves, childhood dreams, the places she lived in and all the versions of herself that she’s been. Although the listener experiences the sonic shift forward, the album’s subject matter is a photo album of the past. Jarosz has never sounded more assured. Polaroid Lovers is filled with the kind of confidence that comes from hard won life experiences and the conviction of someone who truly knows herself.

Limited-Vinyl-Edition des neuen Urferd-Longplayers! Klingt wie Wardruna, Heilung, Forndom, Myrkur, Garmarna oder Loreena McKennitt.

RAUHBEIN sind nach ihrem Debutalbum, dass auf Anhieb Platz #20 der deutschen Album Charts erreichte, schnell über ihren Titel des Geheimtipps hinweggekommen. Mit Hits wie „Komm mit uns“ oder „Auf die Freundschaft“ erspielten sie sich die Herzen der Fans, eroberten die Charts und machten sich in Windeseile einen Namen.
Mit dem neuen Album „Herz eines Kriegers“ soll die Erfolgsgeschichte nun fortgesetzt werden. Auf den 13 neuen Titeln u.a. mit einem Gastfeature von In Extremo Frontmann Michael Rhein, beweisen Rauhbein gekonnt, wie sie die Elemente aus Folk, Rock und Metal miteinander verschmelzen lassen.
„Herz eines Kriegers“ schließt genau dort an, wo „Steh wieder auf“ aufgehört hat und beschert den Fans ein Album, das seines Gleichen sucht.

Scout (Amsterdam, 17 februari 2001) heeft in de afgelopen jaren volledig zijn eigen geluid gevonden binnen de Nederlandse popmuziek. In een wereld tussen Hip-Hop en alternatieve Pop ziet de zanger en producer zich als verhalenverteller. In zijn EP "littekens" komt zijn grootse en melancholische geluid tot leven in een verhaal over zijn ervaringen met liefde en mentale gezondheid. Door in zijn eigen slaapkamer te schrijven en op te nemen is de EP doordrenkt met kwetsbaarheid en intimiteit. Hierdoor neemt de opkomende ster de luisteraar mee naar zijn eigen wereld.

Na jaren ervaring te hebben opgedaan op piano pakt Scout in 2016 voor het eerst een basgitaar op en voordat hij het weet schrijft de jonge artiest op zijn kleine studentenkamertje in Delft zijn eigen muziek. Het ging ineens niet meer over noten, rijmschema's en akkoorden: het maken van muziek was uitgegroeid tot zijn therapeutische uitlaatklep. Hieruit volgt in 2020 uiteindelijk zijn self-titled debuutalbum "Scout".

Sinds eind 2022 brengt het opkomend talent consistent muziek uit en vindt hij zijn eigen weg binnen het muzieklandschap. Door steeds meer instrumenten onder de knie te krijgen en meer en meer te leren over muziek en emotie ontstaat een werkelijk nieuw, echt en eigen geluid wat maar met één woord te omschrijven valt: kippenvelmuziek.

Na het uitkomen van zijn EP "littekens" in april 2023 wordt hij benaderd om dit werk uit te brengen op vinyl. Om deze muzikale reis uit te breiden en om nog dieper in de wereld van scout te duiken bevat de LP vier bonustracks. Hieronder valt een akoestische versie van het populairste nummer "herfst", die de kwetsbaarheid van de jonge maker nog verder naar voren brengt. Ook bevat de LP een live versie van "de wereld draait door". Deze versie is opgenomen in beroemd restaurant "De Goudfazant" in Amsterdam. Een speciale plek voor Scout, hier heeft veel van zijn familiegeschiedenis zich afgespeeld. Het nummer komt hierdoor nog meer tot zijn recht door het rauwe geluid van alleen piano en stem. Ook bevat de LP twee extension tracks die het verhaal van de spreekwoordelijke littekens verder uitbreiden. Zo komt Scout in zijn nummer "hartendief" tot de realisatie dat zijn partner hem niet ziet zoals hij haar en komt hij in het nummer "kwijt voor altijd" tot een besluit om het hoofdstuk van deze littekens voorgoed af te sluiten. Deze extension tracks zijn tot op heden alleen te beluisteren op de LP maar zullen in de loop van 2024 ook op streamingdiensten verschijnen. Deze releases zijn de voorzet voor een reeks singles in 2024 die uiteindelijk zullen leiden tot zijn eerste studioalbum in 2025.

Llevamos mucho tiempo trabajando en este proyecto familia, y desde lo más profundo de la estepa manchega… tenemos el orgullo de presentar nuestra primera referencia en formato vinilo, un 12” que se introduce en el amplio espectro del amen breaks , jungle y esos sonidos rotos que tanto nos caracterizan, para ello quisimos contar con artistas que nos han apoyado siempre en el camino.

BELLOTA DUBS serán los encargados de ofreceros un breackcore mas que significativo , serio, elegante y contundente, como ya bien nos tienen acostumbrados.

BOOMBASS BROTHERS no podía faltar nuestros hermanos de alegrias y fatigas que tanto camino hemos recorrido juntos.

Los cordobeses se han encargado frecuencias más undergrounds fundiéndose con un amen breaks que tiene su esencia más que reconocible.

SILLY TANG y su amor por la cumbia, va a caracterizar mucho este track no dejará a nadie indiferente, para ello nos ofrece un tema de los que dejan huella allá donde vayas.

PABLO DREAD consideramos que las producciones de Pablo son “brutales”

En esta ocasión nos deja un track, que nos remonta años atras, en esas raves noventeras con teclados, y con esa finura y elegancia que tanto le caracteriza.

En definitiva un vinilo que engloba uno de los estilos que nos mueve, nos aporta,y nos da una gran amplitud donde todos nos vamos a sentir mas que a gusto, con los distintos enfoques que nos ofrecen estos pedazo de artistas, que han cumplido nuestras expectativas de largo y con en el cual nos sentimos realmente orgullosos de presentar este primer EP.

Increíble currazo que se ha pegado nuestro hermanito @adrian__bd millones de gracias Adri más contentos no podemos estar.

Esperamos que sea de vuestro agrado aunque solo sea una minima parte de lo que de verdad a sido este proyecto para nosotros.

Muy pronto en vuestra tienda de vinilos de confianza.

The pair have impressive resumes. In the last five years alone, English has collaborated with William Basinski, Loscii and Merzbow, and Bertucci has, over a decade-plus, released numerous wide-ranging, innovative releases and presented her music at prestigious museums around the world (MOMA, Walker Museum, ReWire, Unsound). Here they branch out into new approaches (trans-hemispheric collaboration) and instruments (Bertucci plays cello, flute, violin and lap steel).
The results are deeply compelling and rooted in vastness of geological scale and time. It's all here - the emotion, the scale, the density, the fear, the wonder, the dirt. Chthonic is for everyone, but if you're a head, you already know this is a special release. Get in quick while there's enough wax to go around.

Het is alweer een tijd geleden dat Gerard Joling een album uitbracht, 7 jaar om precies te zijn. Gerard is net voor de coronacrisis met een groep singer-songwriters de studio in gedoken om nieuwe muziek op te nemen. Het hoofddoel was om een album te maken eigentijdse muziek, maar ook echte Gerard Joling nummers, zoals iedereen van hem gewend is. Daarom heeft het album de naam ‘Dit Ben Ik’ gekregen.

Gerard is erg enthousiast over het nieuwe album dat digitaal maar ook als LP en CD verschijnt: “Ik ben met met een aantal singer-songwriters de studio in gedoken. Daar hebben we geweldige muziek gemaakt, van vrolijke feestnummers tot rustige ballads en een aantal prachtige covers. En nu zijn al deze nummers te vinden op mijn nieuwe album ‘Dit Ben Ik’, dat zowel digitaal, als LP en CD uit wordt gebracht. Het is een verzameling liedjes die echt bij mij passen als artiest maar ook als persoon. Ik hoop dat jullie er net zo van kunnen genieten als dat ik heb gedaan tijdens het maken ervan."

Berlin-based Swedish bassist and producer Petter Eldh returns with a new Koma Saxo album Post Koma, out on We Jazz Records, 10 November. The title Post Koma aptly describes the vibe of this one: The Koma Saxo sound continues its evolution, morphing into a holistic vision of jazz now and soon, where live instrumentation and repurposed sampling lose their boundaries.

Over the course of its three iterations (self-titled debut in 2019, LIVE in 2020, Koma West in 2022) Koma Saxo has sounded at times "liquid" and postproduced, at times raw and direct, at times acoustic and at other times oddly electronic (even while still being made with acoustic instruments). Post Koma is a culmination of this sonic study by Eldh, resulting in a music vision that never second-guesses throwing tasty hooks and everlasting melodies out the window after a mere bite of them. But fear not: there are even more new ideas just around the corner.

Eldh's compositions and ideas merge together in a way that just flows. There are quality musicians in the mix, including Koma Saxo live band members Sofia Jernberg, Jonas Kullhammar, Otis Sandsjö, Mikko Innanen, Maciej Obara and Christian Lillinger, but that's like saying that a cake includes flour and sugar. This music is not about playing, it's essentially about how the music is and how it takes its shape, so you quickly lose track of who did what, and that's all in the benefit of encountering this music as an entity that is constantly challenging itself while moving forward. The musicians are valued contributors, and an integral part of what's here, but this is far from traditional jazz playing where a band sits in a room playing takes after takes of compositions on sheet.

That being said, this is jazz to the fullest. That is, music that understands its past but always moves forward, and is never afraid of taking risks. Petter Eldh uses jazz as a starting point, not the end goal. This gives his music edge and mobility beyond what can be contained on one album. In a way, an album, then, becomes a snapshot of a creative process in constant flux and evolution.

Opening track "Koma" is literally drum & bass. It only consists of those two elements, yet what comes out of it is an open invite, a way of clearing your palette. It would be useless to describe individual tracks beyond that, but there's a strong sense of deliverance to the set. It feels like an ending, and also like a new beginning.

Berlin-based Swedish bassist and producer Petter Eldh returns with a new Koma Saxo album Post Koma, out on We Jazz Records, 10 November. The title Post Koma aptly describes the vibe of this one: The Koma Saxo sound continues its evolution, morphing into a holistic vision of jazz now and soon, where live instrumentation and repurposed sampling lose their boundaries.

Over the course of its three iterations (self-titled debut in 2019, LIVE in 2020, Koma West in 2022) Koma Saxo has sounded at times "liquid" and postproduced, at times raw and direct, at times acoustic and at other times oddly electronic (even while still being made with acoustic instruments). Post Koma is a culmination of this sonic study by Eldh, resulting in a music vision that never second-guesses throwing tasty hooks and everlasting melodies out the window after a mere bite of them. But fear not: there are even more new ideas just around the corner.

Eldh's compositions and ideas merge together in a way that just flows. There are quality musicians in the mix, including Koma Saxo live band members Sofia Jernberg, Jonas Kullhammar, Otis Sandsjö, Mikko Innanen, Maciej Obara and Christian Lillinger, but that's like saying that a cake includes flour and sugar. This music is not about playing, it's essentially about how the music is and how it takes its shape, so you quickly lose track of who did what, and that's all in the benefit of encountering this music as an entity that is constantly challenging itself while moving forward. The musicians are valued contributors, and an integral part of what's here, but this is far from traditional jazz playing where a band sits in a room playing takes after takes of compositions on sheet.

That being said, this is jazz to the fullest. That is, music that understands its past but always moves forward, and is never afraid of taking risks. Petter Eldh uses jazz as a starting point, not the end goal. This gives his music edge and mobility beyond what can be contained on one album. In a way, an album, then, becomes a snapshot of a creative process in constant flux and evolution.

Opening track "Koma" is literally drum & bass. It only consists of those two elements, yet what comes out of it is an open invite, a way of clearing your palette. It would be useless to describe individual tracks beyond that, but there's a strong sense of deliverance to the set. It feels like an ending, and also like a new beginning.

For new beginnings, one must sometimes look into the past. Amb.Caveti has done such thing by inviting producer Martin Abrahamsson to the label under the moniker Deltidseskapism. Originally released in 2004 on Source Records, Martin’s aptly titled ‘Nattmusik’ mimics exactly that - the long drawn out winters of Sweden.

Floating basslines and ethereal high’s leave the imagination to roam, whilst rhythmic clicks and cuts maintain focus on the journey ahead. It’s one for the drive home or late night wander, amidst the icy fog and solitary streetlights.

"I want to give you this and ask for nothing in return." Von einem zarten Schleier des Halls umgeben, eröffnet uns Christian Kjellvander mit seiner sanften Stimme die Tür zu seinem neuesten Werk "Hold Your Love Still" - sein erstes Soloalbum seit "About Love And Loving Again" aus dem Jahr 2020. In dieser Schaffensphase zeigt sich Kjellvander von seiner reflektierenden Seite und erkundet die Herausforderungen einer aufrichtigen Lebensführung, verstrickt in den komplexen Einflüssen des Kapitalismus. Gleichzeitig fordert er uns dazu auf, die Hoffnung auf eine bessere Zukunft nicht zu verlieren. Das Album beschäftigt sich mit existenziellen und umweltbedingten Spannungen, wandelt jedoch gekonnt zwischen Stoizismus und Optimismus. Er bereichert seine charakteristische melancholische Stimmung mit schwebenden Kompositionen in Dur, die jeden Song zu einem tiefgründigen Erlebnis machen. Jeder Song ist präzise und durchdacht - im Gegensatz zu den musikalischen Grenzüberschreitungen, die für seine letzten Werke prägend waren, vollzieht er nun eine bewusste Hinwendung zum Song. Die Texte sind voller natürlicher Bilder, subtiler Poesie und faszinierender Empathie. Dies ist die Arbeit eines erfahrenen Songwriters, der sich in Höchstform präsentiert.

"Dolt land" diverges from the more metal- oriented "Budet" (2020); instead, it continues the acoustic approach of the EPs "Vilsna andars boning" (2018) and "Vilsna andars utmark" (2022). Like the aforementioned two seven- inches, "Dolt land" pays homage to Kinnekulle - a mountain whose nature, legends, and traditions have served as Grift's main source of inspiration since the project's conception in 2011.

Erik plays all the instruments himself - including acoustic guitar, melodica, glockenspiel, analogue synth, and percussion - and has also sampled nature sounds to create a truly immersive listening experience. Soothing and stirring, yet still feral and untamed; Grift's evocative music will resonate with fans of Sangre de Muerdago, Anna von Hausswolff, and Nebelung.

Brother Deges zweites Album "How to Kill a Horse" wurde nachts in einem leeren Lagerhaus aufgenommen (während er tagsüber in einem Obdachlosenheim für Männer arbeitete) und ist ein Meisterwerk, das von Scheunenbrennern über antike Delta-Meditationen bis hin zu babylonischen Schrottplatz-Jams reicht, die die Schattenseiten dessen erforschen, was es heißt, ein Mann in der modernen Welt zu sein. Zu den Einflüssen zählen: Ernest Hemingway, Joseph Conrad, Ry Cooder, Norman Mailer, Henry Miller, Sonic Youth, Black Sabbath, Blind Willie Johnson, Einstürzende Neubauten, Jackson Pollock und Don Quijote. Wie Hemingways stärkste Werke dringt "How to Kill a Horse" tief in das Gefängnis-Rodeo des menschlichen Herzens ein, konfrontiert die dunklere, fehlerhafte Seite des Selbst, während es mit voller Aggressivität in den existenziellen Hochofen der modernen Weltgerät steuert und mit den Rollen der Männer als Versorger, Beschützer, Partner, Liebhaber, Krieger, Friedenstruppen, was auch immer ringt. "How to Kill a Horse" ist ein gewaltiger Schuss vor den Bug aller Riff-Heads, Songwriter und Americana-Enthusiasten auf der ganzen Welt. Es ist ein Game-Changer, der das ganze Durcheinander der Roots-Musik aus den Vinyl-Mülltonnen ins 21. Jahrhundert befördert.

Brother Deges zweites Album "How to Kill a Horse" wurde nachts in einem leeren Lagerhaus aufgenommen (während er tagsüber in einem Obdachlosenheim für Männer arbeitete) und ist ein Meisterwerk, das von Scheunenbrennern über antike Delta-Meditationen bis hin zu babylonischen Schrottplatz-Jams reicht, die die Schattenseiten dessen erforschen, was es heißt, ein Mann in der modernen Welt zu sein. Zu den Einflüssen zählen: Ernest Hemingway, Joseph Conrad, Ry Cooder, Norman Mailer, Henry Miller, Sonic Youth, Black Sabbath, Blind Willie Johnson, Einstürzende Neubauten, Jackson Pollock und Don Quijote. Wie Hemingways stärkste Werke dringt "How to Kill a Horse" tief in das Gefängnis-Rodeo des menschlichen Herzens ein, konfrontiert die dunklere, fehlerhafte Seite des Selbst, während es mit voller Aggressivität in den existenziellen Hochofen der modernen Weltgerät steuert und mit den Rollen der Männer als Versorger, Beschützer, Partner, Liebhaber, Krieger, Friedenstruppen, was auch immer ringt. "How to Kill a Horse" ist ein gewaltiger Schuss vor den Bug aller Riff-Heads, Songwriter und Americana-Enthusiasten auf der ganzen Welt. Es ist ein Game-Changer, der das ganze Durcheinander der Roots-Musik aus den Vinyl-Mülltonnen ins 21. Jahrhundert befördert.

‘The Intercostal EP’ marks Viewfinder’s second release on Rescan Records - he offers three danceable analogue tracks in line with the label’s distinctive style and sound.


The EP comes to a strong close thanks to ‘Hempus’ - a looping, club-ready track from Sasha Nevolin, the first guest producer on the label.

You can listen closely to singer- songwriter Julian Saporiti's lyrics, which juxtapose true stories of struggle from throughout Asia and its diaspora with Saporiti's own reckoning with intergenerational trauma.

You could also let the majesty of Saporiti's songcraft wash over you, his captivating melodies cloaking those themes in a veneer of hope and ecstasy. But the deepest storytelling happens at the sonic level, as sounds drawn from across the Eastern hemisphere mingle freely with distinctly American instrumentation - banjo and koto, lap-steel and guzheng - while electronically manipulated field recordings of rushing water, chirping birds and other natural sounds ground us in the now. Adventurous and affecting,' Empire Electric' offers a vision for a new kind of folk music, one that tells unorthodox stories through unorthodox means and finds new pathways through our tangled roots.

Lalalar is back with a new album on Les Disques Bongo Joe! After setting European stages on fire with the release of their first LP in 2022, the almighty Turkish band returns with En Kötü Iyi Olur, an album that reflects their image: edgy, independent, political, and tremendously effective. With their roots in Anatolian poetry and sounds, but their focus on a club-oriented, uncompromising rock, Lalalar has not given up and is once again ready to turn everything upside down.

Limited Loser Edition on Mustard Yellow vinyl. In 1988 Mudhoney released their debut 7" single, "Touch Me I'm Sick," and it rapidly became the defining anthem of the Seattle scene that, shortly thereafter, took the world by storm. Punk? Garage? G****e? Who cares when it rips this much! The B side, "Sweet Young Thing Ain't Sweet No More," ain't no slouch, either. Later in 1988, the band followed up with Superfuzz Bigmuff, a six-song EP so overflowing with chaotic rock energy it warped thousands of minds, and inspired countless guitarists to immediately search for the titular fuzz pedals. In the words of Dynamite Hemmorage's Jay Hinman: "My feeling - and I know I'm not alone in this one - is that for all the play and worldwide attention several Seattle-area bands got during the 1988-92 period, at the end of the day (and even at the time), there was Mudhoney - and then there was everybody else. To me, you, and most everyone who was paying close attention to underground rock music during those years, Mudhoney still sound like the undisputed kingpins of roaring, surging, fuzzed-out, punk rock music. These first recordings were so life-affirming upon their release, connecting everything great about the sixties (biker movies, fuzzboxes, old guitars, three-minute songs) with the frothing, punk rock of the early 80s, that a whole new style of music was born. They called it grunge, but to me it was amped-up, clear-the-room, ramalama rock that exploded like Nagasaki live, and it was about as joyous and as fun a noise as anyone'd heard in years." These 2023 colored-vinyl editions of the two releases celebrate the 35th anniversary of Mudhoney's opening salvos, and we couldn't be more excited to have them back in print.

Northern California psychedelic sorcerers Carlton Melton are brain surfers, mind trippers, … “psychlists,” if you prefer. The band will take your head for a ride, occasionally rushing at superluminal speeds through a wormhole or gliding softly on a gentle breeze in a leafy glade. Sometimes your brain needs to rage, and sometimes it needs to repose. For a decade and a half, the band has yo-yo’ed, almost schizophrenically, between these two modes: walloping space jams with furious guitar solos in one hemisphere of the brain and ethereal, feather-light splashdowns in the other. Not to mention a track here and there that builds from the latter into the former. But with two new releases in 2023, the band has evolved. Whether psych rock or ambient trance, their sound remains driving, organic, and flowing. With the addition of Anthony Taibi (White Manna, DDT), however, the group’s metal freak-outs are Hawkwindier and their droning kraut trances are Spacemen 3-er. In January, the quartet released the playfully spacey Resemble Ensemble, recorded in Taibi’s home studio 3D Light. October now sees the band Turn To Earth, a work with scents of Autumn, a season of death and transition. The cover art evokes a vine-covered, electric crucifix. The sound is, well, earthy but also gritty and striving towards change. The album was recorded in Fall 2022 and now harvested in Fall 2023. Phil Becker (Terry Gross, Pins Of Light) contributed drums and percussion to a few tracks on Turn To Earth, recording the album at El Studio in San Francisco.

With Becker at the helm, the synths have become more prominent (“Cosmicity,” “Roboflow,” “Migration”) and the tone heavier on the doom (“Cloudstorming,” “Unlock The Land,” title track): several moments could even serve as background music for epic dark fantasy films like Conan the Barbarian, Fire and Ice, or Heavy Metal. As exquisite as Turn To Earth is, Melton are best appreciated as a live act: their recordings as well as their gigs are largely improvised – not so much composed as birthed. And yet their most recent tour ended abruptly and perilously. The group had to cancel its final three shows once members were admitted to Arnhem hospital in the Netherlands. Five years later, reinforcements have strengthened the band and restocked its arsenal of great tracks. After the rockus interruptus of that 2018 tour and the tantric tease of the intervening Covid lockdown, Melton have some unfinished business. An October 2023 tour is poised to set the freshly minted quartet back onto the stages of Europe and within the cerebral folds of its fans. Turn To Earth, sure … but keep your head in outer space. Carlton Melton is: andy duvall – drums/gtr; clint golden – bass; rich millman – gtr/synth; and anthony taibi – synth/gtr.

Tribe Friday ist eine Band gitarrenschwingender Emo-Kids aus den Wäldern Schwedens, die die rauen Indie-Rock-Dancehall-Sounds der frühen 2K-Jahre mit dem Party-Feeling der Generation Z nach der Pandemie verbindet. Ihre von Sarkasmus, Witz und Charme geprägten Songs handeln von Selbstironie, Identität, Verwirrung, Liebe und Tod. Inspiriert von Künstlern wie den Strokes und My Chemical Romance schufen sie auf ihrem hochgelobten Debüt 'Bubblegum Emo' (2022) mit dem Szene-Hit 'Shut Me Up' ihren ganz eigenen Sound. Auf dem neuen Album 'Hemma' wenden Tribe Friday ihre verbesserten Songwriting- und Produktionsfähigkeiten an, um im Indie-Rock-Sound über einige der traurigsten, aber auch ehrlichsten Geschichten über das Erwachsenwerden nachzudenken.

Swiss-born pianist Camille-Alban Spreng, who has resided in Brussels for over a decade, has been active since 2010 in a diverse range of bands and projects within jazz, improvised (electronic) music, art performance and theater. He can be seen on stages all over Europe and trained at various conservatories with renowned players such as Emil Spanyi (HEMU, Lausanne), Eric Legnini and Kris Defoort (CRB, KCB, Brussels).
Together with his regular band ODIL, he has already released two records: 'Something' (QFTF Records - 2016) and 'RESON' (QFTQ Records - 2019), with the collaboration of Leïla Martial, and Valentin Ceccaldi on the latter album. ODIL operates from Brussels but, with in its ranks a pivotal figure with Swiss roots, a French drummer and an Irish saxophonist, is a band with international allure. Nina Kortekaas' unique voice is also an absolute asset.

His third album, titled "Unheimlich," will be released on W.E.R.F. records, one of Belgium's finest jazz not jazz labels. The new album sprung from Camille-Alban's fondness for Allen Ginsberg and the beatnik movement. Poems by Ginsberg are provided with music, notably "Pull My Daisy" (co-written by Jack Kerouac and Neal Cassady at the time) and "White Shroud," with the approval of the rights holders/heirs.

The lyrics that Camille-Alban himself wrote for the album exude the same beatnik vibe. In that sense, the new work is also an homage to Allen Ginsberg. "I love his way of writing: it's funny, twisted, quirky ánd spiritual," Camille-Alban said. "I couldn't think of a better title for the new album. 'Unheimlich' doesn't translate. The black cat in the lobby of a creepy hotel in 'The Matrix,' I think of that image, that atmosphere."
ODIL's music has a narrative character and in terms of form, the compositions are not ordinary. Impro plays a role and the music is unmistakably characterized by a contemporary jazz aesthetic but at their core the compositions are also songs, a unique feature. 'Unheimlich' is a jazz album that can be listened to just as well as a pop rock album.

On this new album The World and All That It Holds he performs original compositions and traditional songs in Bosnian and Sephardic Ladino with breathtaking emotion and conviction. Created as a musical companion to Bosnian-American author Aleksandar Hemon's epic novel of the same name, the songs tell stories of love and loss, hardship and perseverance. Imamovic's music invokes the spirit of the cultural melting pot that is Sarajevo, his lifelong home, reflecting sevdah's rich historical influences while invigorating its future.

Read any article or comment thread about the Seattle noise-rock outfit GREAT FALLS and you're likely to see descriptors like cathartic, heavy, crushing, and unhinged. Maybe even psychotic. And sure, those are all apt: For over a decade, vocalist/guitarist Demian Johnston and bassist Shane Mehling (who also played together in the early-2000s noisecore band PLAYING ENEMY and the experimental duo HEMINGWAY) have honed their sludgy, overwhelmingly intense brand of heaviness, punctuated by delectably discordant riffs, terrifyingly low, thwacking bass lines, and mesmerizingly tight percussion. In the live setting, too, they’re notorious for a stage presence that is so aggressively confrontational and menacing that Mehling once broke his own arm mid-set.

But the most striking aspect of GREAT FALLS, setting them apart from the murky sea of sludge metal and AmRep-inspired noise-rock bands, is their ability to paint a deeply, utterly human story through an all-out assault on the senses: an art the band has perfected on their fourth full-length album OBJECTS WITHOUT PAIN, out September 15 via NEUROT RECORDINGS.

The album is not only their NEUROT debut, but also the first LP featuring drummer Nickolis Parks (GAYTHEIST, BASTARD FEAST), who joined the band prior to the release of their exhilarating, cacophonous 2023 EP,FUNNY WHAT SURVIVES.

OBJECTS WITHOUT PAIN takes us on a bleak, purgative journey through a separation–a snapshot of the turmoil and indecision that occurs after the initial realization of someone's misery, and before the ultimate decision to end a decades-long partnership. From the foreboding intro riffs of “DRAGGED HOME ALIVE” to the end of the 13-minute closer “THROWN AGAINST THE WAVES,” its eight tracks explore the thoughts that come up when a person is staring down the barrel of blowing up their life: How did this happen? Is it too late for a new life? Will the kid be OK? What will make me happier: familiar torment or unknown freedom?

United by a shared love of performing bluesy, soulful music in the most intimate and acoustic of settings, Blicher Hemmer Gadd's hard- swinging 4th album recreates the excitement and energy of the late- night sets they've performed around the world together. The album also features two special songs that were recorded during lockdown in Michael's studio in Copenhagen.

Formed after a chance encounter more than 11 years ago, they continue with this joyful project, which has flourished despite the 3,000+ miles, 40+ years and 3 busy touring schedules which separate them.

After decades performing stadiums with the likes of Eric Clapton, James Taylor and Steely Dan, Gadd relishes the opportunity to rediscover the sound and feel of playing almost acoustically "This is honest Music" he says, "no one plays like this anymore."

"It's bluesy, swinging and soulful jazz played by exceptional musicians" - Rhythm Magazine

The album has been produced together with Brinkmann (Germany), one of the world's leading producers of hi- end turntables. To deliver the highest possible sound quality, on both LP and CD the record has been mastered using MQA technology and converted to analog with a Brinkmann Audio Nyquist Mk II Streaming Digital- to- Analog Converter. The MQA Master has been directly fed from the DAC into the cutting machine. A Brinkmann Audio Bardo direct drive turntable is employed for quality control.

First Word Records is very proud to welcome Ruby Wood to the label, with her debut solo EP 'Sincerely'.

Ruby is a vocalist & songwriter hailing from Huddersfield, West Yorkshire. Her soulful yet distinctive voice has enabled her to front numerous projects; perhaps best known as lead vocalist of the critically acclaimed Submotion Orchestra, since 2009.

She also toured as lead vocalist for Bonobo's live band, for Nubiyan Twist, and with hugely successful 1940's-esque vocal trio, The Sugar Sisters. There have also been features for dance outfits such as GLXY & Franky Wah, additionally to writing & recording for the likes of Krept & Konan, Alfa Mist, Roska, Hemai, Barney Artist and XOA, to name just a few.

In 2021, Ruby was awarded a DYCP Arts Council grant to fund her own creative project, which was taken as an opportunity to go back to the drawing board creatively, spending time working out how her own music would sound and what messages she wanted to convey.

After initial sketches on her Native Instruments Maschine, she began to work with fellow Submotion Orchestra member, Chris 'Fatty' Hargreaves; a long time friend and collaborator, and a revered musician in his own right, with his low-end theory science triumphantly stamped across his other projects, such as Pengshui and Outlook Orchestra. Ruby and Chris began bouncing ideas back and forth, and gradually this solo project started to take shape and form the bulk of this debut EP.

In Ruby's words "After years of working in big projects with lots of people, I often struggled to feel like my voice was being heard. Branching out on my own is an opportunity for me to make music that I would actually listen to myself! This process has been healing for me, and I'm so proud of myself for continuing to learn and develop my craft, whilst learning how to produce songs from scratch.


Becoming a mother also changed me for the better, and provided me with a wealth of experiences and challenges that have gone on to fuel my lyrics. I've grown a lot, and this EP gives a snippet of my life thus far".

'Sincerely' is comprised of five tracks, firmly based in the realms of hip hop soul and neo soul sonically, with an unashamedly '90s R&B vibe throughout. Throughout the EP, Ruby's story tells tales of motherhood, relationships, commitment, independence and inspirations. Further collaborations on the set come from vocalist Isaac Malibu (on 'Mr. Unavailable'), wind player Arran Kent (on 'My Favourite Song'), and assistance on a couple of beats from acclaimed hip hop producer, Pitch 92 and San Diego's Martel Howard, along with more Submotion alumni, Danny Templeman, Dom Howard and Bobby Beddoe and the debut performance from Ruby's daughter, Amber!

A truly triumphant body of work, this is just the start of a new chapter for Ruby Wood.

• “Hearts For Sale” is the fifth and latest in our series of 12-inch vinyl albums spotlighting the US girl group sound of the 1960s. The collection opens with ‘Street Dance’ by Bonnie Jean, a little-known must-have for collectors of the genre, with Darlene Love and the Blossoms clearly audible on background vocals. Issued on Lew Bedell’s Doré label, this exciting faux-live deck in the style of Shirley Ellis’ ‘The Nitty Gritty’ was written by Guy Hemric and Jerry Styner, a hip team known for supplying songs for the soundtracks of B movies such as Muscle Beach Party and Thunder Alley.

• The Hollywood-based Doré imprint is also the source of ‘You Really Never Know Till It’s Over’ by the Vel-Vetts (which shares a backing track with the Superbs’ ‘I Was Born When You Kissed Me’), ‘One Way Street’ by the Swans, a soulful update of the Teddy Bears’ ‘To Know Him Is To Love Him’ by the Darlings and – featuring lead vocals by Sheilah Page, a former member of groups such as the Bermudas, Becky & the Lollipops, the Majorettes, Joanne & the Triangles and Beverly & the Motor Scooters – ‘He’s Groovy’ by the Front Page & Her.

• Other highlights include the Sweethearts’ Supremes-influenced ‘No More Tears’, the sophisticated slowie ‘Lonely Girl’ by the Lovettes (that’s them on the front sleeve), ‘My Heart Tells Me So’ by the Del-Phis (an early incarnation of Martha & the Vandellas) and the Fran-Cettes’ terrific recording of ‘Heart For Sale’. As with the earlier volumes in the series, the album comes with a fully-illustrated inner bag featuring a 2,500-word track commentary by compiler Mick Patrick.

The anticipation is there in Elizabeth Stokes’ solo guitar riff under the opening lines of “I’m Not Getting Excited”: a frenetic, driving force daring a packed Auckland Town Hall to do exactly the opposite of what the track title suggests.

As the opener of The Beths’ Auckland, New Zealand, 2020 expands to include the full band, the crowd screeches and bellows. It’s a collective exhalation, in one of the few countries where live music is still possible.

The album title, and film of the same name, deliberately include the date and location, lead guitarist Jonathan Pearce says. “That’s the sensational part of what we actually did.” In a mid-pandemic world, playing to a heaving, enraptured home crowd feels miraculous.

In March 2020, everything seemed on track for another huge year for The Beths. Home after an 18-month northern hemisphere tour, they had just finished recording sophomore album Jump Rope Gazers and were primed for more extensive touring. But within days, New Zealand’s lockdown split the band between three separate houses. All touring was cancelled.

“It was existentially bad,” Stokes says. As well as worrying about economic survival, they lost something crucial to the band’s identity: live performance. “It's a huge part of how we see ourselves... What does it mean, if we can't play live?”

The band found an outlet through live-streaming, returning to the do-it-yourself mentality of their early days to connect with a global audience. The album and film have their genesis in that urge to share the now-rare experience of a live show, as widely as possible.

The fuzzy-round-the-edges live-streams pointed the way aesthetically. Native birds, wonkily crafted by the band from tissue paper and wire, festoon the venue’s cavernous ceiling while house plants soften and disguise the imposing pipes of an organ. The presence of the film crew isn’t disguised: much of the camerawork is handheld; full of fast zooms and pans.

With much of the material still fresh, the band was less focused on re-invention than playing “a good, fast rock show”, Pearce says. The tempo is up on crowd favourites “Whatever” and “Future Me Hates Me” (released as a live single on its third anniversary) as both band and audience feed off the mutual energy in the room.

Certain songs have taken on special resonance post-Covid. Pearce has found “Out Of Sight”, a tender rumination on long-distance relationships, hits particularly hard with live audiences.

Album closer “River Run” visibly brings Stokes to tears as a mix of achievement and relief kicks in. “You can finally relax at that point … You play the last note, breathe out a sigh and look up - and you’re in a giant room full of people happy and smiling.”

With the rock'n'roll panache of a dive bar matador and the emotional
force of a knife in the guts, Hemi Hemingway makes music that thrills,
spills and breaks hearts
The effortlessly slick New Zealand star has a connoisseur's ear for the finest
parts of musical history, sweeping 60s rock, 50s sheen and 80s romanticism into
the present day, refurbishing them and refashioning them into something new
and fresh.
Debut LP "Strangers Again" is the sound of a starry-eyed dreamer, taking in the
shock of meeting destiny head-on, and figuring out their place in the rough and
tumble of life. It brings together candle- slow burning ballads, soaring, epic
highway rock and thunderous torch songs to soundtrack the sky falling in. But it's
much more than that, a thoughtful and heartfelt exploration of modern themes, of
relating to a world that sometimes lifts you up, sometimes lets you down, and
everything in-between.

With the rock'n'roll panache of a dive bar matador and the emotional
force of a knife in the guts, Hemi Hemingway makes music that thrills,
spills and breaks hearts
The effortlessly slick New Zealand star has a connoisseur's ear for the finest
parts of musical history, sweeping 60s rock, 50s sheen and 80s romanticism into
the present day, refurbishing them and refashioning them into something new
and fresh.
Debut LP "Strangers Again" is the sound of a starry-eyed dreamer, taking in the
shock of meeting destiny head-on, and figuring out their place in the rough and
tumble of life. It brings together candle- slow burning ballads, soaring, epic
highway rock and thunderous torch songs to soundtrack the sky falling in. But it's
much more than that, a thoughtful and heartfelt exploration of modern themes, of
relating to a world that sometimes lifts you up, sometimes lets you down, and
everything in-between.

LP Red /Black Corona Vinyl Reprint limited to 2.000 units
Incl. former Bonustracks: Pray For Forgiveness (Rough mix un-mastered), Dismal Dream (Instrumental version)

RAUHBEIN sind nach ihrem Debutalbum, dass auf Anhieb Platz #20 der deutschen Album Charts erreichte, schnell über ihren Titel des Geheimtipps hinweggekommen. Mit Hits wie „Komm mit uns“ oder „Auf die Freundschaft“ erspielten sie sich die Herzen der Fans, eroberten die Charts und machten sich in Windeseile einen Namen.
Mit dem neuen Album „Herz eines Kriegers“ soll die Erfolgsgeschichte nun fortgesetzt werden. Auf den 13 neuen Titeln u.a. mit einem Gastfeature von In Extremo Frontmann Michael Rhein, beweisen Rauhbein gekonnt, wie sie die Elemente aus Folk, Rock und Metal miteinander verschmelzen lassen.


„Herz eines Kriegers“ schließt genau dort an, wo „Steh wieder auf“ aufgehört hat und beschert den Fans ein Album, das seines Gleichen sucht.

RAUHBEIN sind nach ihrem Debutalbum, dass auf Anhieb Platz #20 der deutschen Album Charts erreichte, schnell über ihren Titel des Geheimtipps hinweggekommen. Mit Hits wie „Komm mit uns“ oder „Auf die Freundschaft“ erspielten sie sich die Herzen der Fans, eroberten die Charts und machten sich in Windeseile einen Namen.
Mit dem neuen Album „Herz eines Kriegers“ soll die Erfolgsgeschichte nun fortgesetzt werden. Auf den 13 neuen Titeln u.a. mit einem Gastfeature von In Extremo Frontmann Michael Rhein, beweisen Rauhbein gekonnt, wie sie die Elemente aus Folk, Rock und Metal miteinander verschmelzen lassen.

„Herz eines Kriegers“ schließt genau dort an, wo „Steh wieder auf“ aufgehört hat und beschert den Fans ein Album, das seines Gleichen sucht.

Heart-wrenching ambient to cerebral techno: INVERNO is Carlo Maria’s debut on Drone.

‘Winter in the northern hemisphere is often seen as the season of death, a state of life so often negatively connoted. I see winter as an incubator of change, where life takes the time to free its potential again.

This record is a memory of past winters and a reminder that new ones will come. It celebrates the state of stillness as a necessary element of movement. It is an invitation to acceptance. The music itself might not necessarily express these ideas, but it acts as a trigger of memories and feelings of the times when these recordings were conceived. I like to see music recordings as pages of a diary.

This music was recorded in a time and space span of various years and locations. Exhumed was recorded at the end of October 2016 in Berlin; the other three tracks were recorded in Milan and performed live in various locations across Italy between in winter/spring 2021/2022.’

As a member of seminal hip-hop group The Pharcyde, Fatlip helped expand the boundaries of the 1990s L.A. rap scene, releasing classic albums steeped in eccentric creative excursions rather than hard-edged gangsta bravado.

Following in those footsteps, acclaimed emcee Blu has been at the forefront of the independent hip-hop landscape since the late 2000s, narrating the full range of experience in the City of Angels with impressive lyrical ingenuity.

These two famed artists recently joined forces for the collaborative album Live From The End Of The World, a dazzling rhyme whirlwind boasting an overwhelming collection of West Coast lyrical talent, including Del The Funky Homosapien, Gift Of Gab, MC Eiht, and Ras Kass, along with members of iconic groups Jurassic 5, Tha Alkaholiks, Souls Of Mischief, Freestyle Fellowship, and Digital Underground. With production by Madlib, Nottz, Sa-Ra, Knxwledge, and Exile, the album is now available in physical form for the first time ever. This deluxe release includes two new bonus tracks featuring Slimkid3 (of The Pharcyde) and Pigeon John.

Since the release of Surprise Chef's 2022 album, Education & Recreation, they have been touring across the US, Europe, and Australia selling out shows and cementing themselves as a force to be reckoned with. Releasing three albums and a string of successful 7" singles since 2019, their output is nothing short of prolific and they show no signs of slowing down with the announcement of their new Friendship EP. Friendship is a six song 12" EP recorded during the Education & Recreation sessions that stands as "a humble monument to the most crucial principle of our band: that the love we share for one another is, at all times, the most important thing".

Surprise Chef holed up for a marathon of a recording session and laid down more tracks than would fit on an album. Here now, we dig in the vault from those sessions and share some absolute gems. The EP opens with "Rosemary Hemphill", a nod to David Axelrod that takes the listener through a myriad of musical changes and moods in proper cinematic soul fashion.

"Friendship Theme" is a bouncy and energetic number with an infectious and driving clavinet topline that is sure to move dancefloors around the globe. "Over The Moon" is pure mood music that puts Surprise Chef's restraint and tasteful use of space front and center while "Spiky Boi" is a frantic upbeat number drenched in percussion and keyboards.

SC have a heavy touring schedule for the rest of 2023 and will be finishing up the recording of their next album which is due out in 2024 in between runs. UK shows: May 29 Pink Room - Manchester, May 30 Village Underground – London. Also Available From Surprise Chef: Money Music 7", Education & Recreation LP / CD, Velodrome7”

Since the release of Surprise Chef's 2022 album, Education & Recreation they have been touring across the US, Europe, and Australia selling out shows and cementing themselves as a force to be reckoned with.

Releasing three albums and a string of successful 7" singles since 2019, their output is nothing short of prolic and they show no signs of slowing down with the announcement of their new Friendship EP.

Friendship is a six song 12" EP that picks up where the last album left off and pushes their sound in new directions as they take on different energies and make them their own.

The EP opens with "Rosemary Hemphill", a gorgeous yet haunting tune that takes the listener through a myriad of musical changes and moods. "Friendship Theme" is a bouncy and energetic number with an infectious and driving topline that is sure to move danceoors around the globe.

"Over The Moon" is pure mood music that puts Surprise Chef's restraint and tasteful use of space front and center while "Spiky Boi" is a frantic upbeat number drenched in percussion and keyboards. With a year of heavy touring plans in front of them in 2023 this EP will bridge the gap while they write and record their next album due out in 2024.

xa 7. Tall Black Guy (Pharaoh's Spirit) [feat. Bemyfiasco, Ozay Moore & Kyotey Grey] - My Freedom Travel

Ralph Alessis vierte Veröffentlichung als Bandleader für ECM folgt auf eine einzigartige Albumserie, die von The New York Times bis The Guardian ausschließlich mit Lob überschüttet wurde. Die britische Zeitung pries Ralphs vorherige Aufnahme Imaginary Friends (2019) für die ”elegante Balance aus ergreifenden, verspielten Originalkompositionen und apart forschender Improvisation” und erklärte es zu ”seinem bisher besten Album”. It’s Always Now strotzt jedoch nur so vor Argumenten, dass es einen neuen Anwärter auf
diesen Titel gibt. Auf seinem neuen Album ist Alessis einzigartiger Ton so geschmeidig, durchdringend und präsent wie eh und je, umgeben von einer neu zusammengestellten Quartettbesetzung – Pianist Florian Weber, Bänz Oester am Bass und Schlagzeuger Gerry Hemingway – die mit einem sechsten Sinn durch die eigenwillig swingenden Kompositionen des Trompeters navigiert. Das Album ist nicht nur eine Fortsetzung der Arbeit Alessis, sondern rückt auch Florians Entwicklung bei ECM – es ist bereits sein viertes Album
für das Label – in den Fokus. Seine individuelle harmonische Herangehensweise an den Tasten ist in der Rolle des Sideman ebenso ausgeprägt wie als Bandleader auf seinen eigenen Einspielungen, und sein tiefes Gespür für den Puls von Alessis Kompositionen bereichert diese Session. Das Album wurde von Manfred Eicher produziert.

Since the release of Surprise Chef's 2022 album, Education & Recreation, they have been touring across the US, Europe, and Australia selling out shows and cementing themselves as a force to be reckoned with. Releasing three albums and a string of successful 7" singles since 2019, their output is nothing short of prolific and they show no signs of slowing down with the announcement of their new Friendship EP. Friendship is a six song 12" EP recorded during the Education & Recreation sessions that stands as "a humble monument to the most crucial principle of our band: that the love we share for one another is, at all times, the most important thing". Surprise Chef holed up for a marathon of a recording session and laid down more tracks than would fit on an album. Here now, we dig in the vault from those sessions and share some absolute gems. The EP opens with "Rosemary Hemphill", a nod to David Axelrod that takes the listener through a myriad of musical changes and moods in proper cinematic soul fashion. "Friendship Theme" is a bouncy and energetic number with an infectious and driving clavinet topline that is sure to move dancefloors around the globe. "Over The Moon" is pure mood music that puts Surprise Chef's restraint and tasteful use of space front and center while "Spiky Boi" is a frantic upbeat number drenched in percussion and keyboards. SC have a heavy touring schedule for the rest of 2023 and will be finishing up the recording of their next album which is due out in 2024 in between runs. UK shows: May 29 Pink Room - Manchester, May 30 Village Underground – London. Also Available From Surprise Chef: Money Music 7", Education & Recreation LP / CD, Velodrome7”

In der tiefsten südlichen Hemisphäre der österreichischen Bergwelt, in Nächten voller Belladonna-Kirschen, Lagerfeuerromantik und Hektolitern Bier, zelebrierten drei seltsame Gestalten einen klanglichen Heulkrampf, aus dem das Kind unter dem Namen TABULA RASA geboren wurde.
Mit perverser Lust an purer Freiheit, grenzenlosem, unkontrollierbarem Wahnsinn, grenzenlosen Horizonten des Geistes und schlichter Freude daran, die Regeln und Formeln der Welt zu marodieren, wurde dieser Bund gegründet.
Rebellion! Erhebt euch und sprengt die Ketten unserer heutigen Dumpfheit.