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Initial LOSER copies pressed on lovely Transparent Sun Yellow vinyl! This 2023 edition of The Shins's beloved second album, Chutes Too Narrow, celebrates the album's 20th anniversary with a fresh remaster by Adam Ayan, supervised by band leader James Mercer, and lovely new packaging for the vinyl. Following The Shins's breakout 2001 debut, Oh, Inverted World, singer/songwriter/guitarist James Mercer and drummer Jesse Sandoval moved from Albuquerque to Portland, OR and bassist Neal Langford was replaced with Dave Hernandez (ex-Scared Of Chaka), who played bass on the stand-out track from the first record, "New Slang." Chutes Too Narrow, their heavily anticipated follow-up, was recorded in James' basement home studio, with later mixing assistance from Phil Ek (Built to Spill, Modest Mouse, David Cross, Les Savy Fav, etc.). And, with 10 songs, clocking in at just over 30 minutes, Chutes Too Narrow is a brief yet entirely scintillating glimpse at chiming, reflective and perfectly skewed pop innovation. It was released to widespread acclaim in 2003, garnering Pitchfork's Best New Music, four stars from Rolling Stone, and raves from the New York Times, MOJO, the Village Voice, SPIN, and tons more. It subsequently made best-of-the-decade lists from The AV Club, NME, Paste, Pitchfork, and Uncut. Critically acclaimed on release, and widely considered one of the best albums of the 2000s. Remastered from original tapes by Adam Ayan at Gateway Mastering.

This 2023 edition of The Shins's beloved second album, Chutes Too Narrow, celebrates the album's 20th anniversary with a fresh remaster by Adam Ayan, supervised by band leader James Mercer, and lovely new packaging for the vinyl. Following The Shins's breakout 2001 debut, Oh, Inverted World, singer/songwriter/guitarist James Mercer and drummer Jesse Sandoval moved from Albuquerque to Portland, OR and bassist Neal Langford was replaced with Dave Hernandez (ex-Scared Of Chaka), who played bass on the stand-out track from the first record, "New Slang." Chutes Too Narrow, their heavily anticipated follow-up, was recorded in James' basement home studio, with later mixing assistance from Phil Ek (Built to Spill, Modest Mouse, David Cross, Les Savy Fav, etc.). And, with 10 songs, clocking in at just over 30 minutes, Chutes Too Narrow is a brief yet entirely scintillating glimpse at chiming, reflective and perfectly skewed pop innovation. It was released to widespread acclaim in 2003, garnering Pitchfork's Best New Music, four stars from Rolling Stone, and raves from the New York Times, MOJO, the Village Voice, SPIN, and tons more. It subsequently made best-of-the-decade lists from The AV Club, NME, Paste, Pitchfork, and Uncut. Critically acclaimed on release, and widely considered one of the best albums of the 2000s. Remastered from original tapes by Adam Ayan at Gateway Mastering.

Catalogue number 6 from Dedicate highlights a reissue from a timeless beat mixtape dropped in a pre-streaming era in 2012. The original 2rbostatic was released as a handmade USB flash drive/Cassette tape hybrid in combination with a free download. For the first time now the remastered version will be on vinyl.

On 50 minutes playtime Kollege Schnürschuh expresses his affection for Hip-Hop with 27 (almost) exclusively instrumental tracks representing the full spectrum of musical influences in all shapes and forms. A short entertaining journey through MPC sampling and synth sounds with an extraordinary love for details.

Seitdem seine Musik in Quentin Tarantinos Film "Django Unchained" sowie auf den Discovery Channel und National Geographic Kanälen zu hören war, kann Bruder Dege nicht länger behaupten, "eines der bestgehüteten Geheimnisse im tiefen Süden" zu sein. Dege ist Musiker, Schriftsteller, Arbeiter und Erbe einer langen Reihe ungewöhnlicher Charaktere, die im Süden der USA geboren und aufgewachsen sind. Wie das verrückte Liebeskind von Son House, Faulkner und Patti Smith hat sich Dege einen krummen Weg ins Gelobte Land gebahnt. Nach seinen beiden früheren gefeierten Soloalben ("Folk Songs Of The American Longhair" von 2009 und "How To Kill A Horse" von 2013) bietet "Scorched Earth Policy" eine Mischung aus neu aufgenommenen Studio-Songs, Demos, Coverversionen und Feldaufnahmen.

Seitdem seine Musik in Quentin Tarantinos Film "Django Unchained" sowie auf den Discovery Channel und National Geographic Kanälen zu hören war, kann Bruder Dege nicht länger behaupten, "eines der bestgehüteten Geheimnisse im tiefen Süden" zu sein. Dege ist Musiker, Schriftsteller, Arbeiter und Erbe einer langen Reihe ungewöhnlicher Charaktere, die im Süden der USA geboren und aufgewachsen sind. Wie das verrückte Liebeskind von Son House, Faulkner und Patti Smith hat sich Dege einen krummen Weg ins Gelobte Land gebahnt. Nach seinen beiden früheren gefeierten Soloalben ("Folk Songs Of The American Longhair" von 2009 und "How To Kill A Horse" von 2013) bietet "Scorched Earth Policy" eine Mischung aus neu aufgenommenen Studio-Songs, Demos, Coverversionen und Feldaufnahmen.

Betamax of The Comet Is Coming and Pete Bennie of Speakers Corner Quartet are Coma World. They have come together again to produce a further batch of rhythmically enlightened Dystopian Jazz, alongside illustrious graphic and sound artist Raimund Wong (Floating World Pictures) for this record - 'Coma Wong' (out 6 October 2023 on Byrd Out). The storm clouds are gathering at sea, with the white horses dancing ever faster on the waves. Coma World chose to ride out the tempest, sail up, speeding along together towards who knows what… Expect drums precision engineered with just the right degree of insouciance, drone-bathed sounds rippling and depth charge bass that explodes beneath the surface across 12 tracks. The Wire on their first album, the self-titled ‘Coma World’: “a bold drum ‘n’ bass affair, a nervy meeting between dub and jazz experimentations with new channels explored track by track”. Tom Ravenscroft on BBC 6 Music on ‘Calamari’ from the new album: “I think this is like my favourite track right now… Love it.”

Sophie Lloyd returns to Luke Solomon’s imprint alongside the effervescent singer songwriter Amy Douglas for a wax release of ‘Sweet Love’, an anthemic disco release bursting with sensuality. The pair are well known to Classic fans; Sophie for her debut release, ‘Calling Out’ with Detroit trio Dames Brown, and her subsequent release ‘Angels By My Side’ which received a soulful remix package from Floorplan.

Additionally, nostalgic house vocals from Brooklyn’s Amy Douglas have appeared on tracks from Luke Solomon’s ‘Love. Hope. Happiness’ to Horse Meat Disco’s ‘Message To The People’, also featuring the Dames. For the Love Hangover mix of ‘Sweet Love’, a slow, intoxicating intro erupts in a burst of energy as Amy’s vocals and Sophie’s production come together for an ambitious, driving composition.

The vinyl also features a remix from the label boss himself; Luke Solomon’s Always Love Revision of this modern disco anthem ups the ante, adding huge swathes of energy to the previously sensual record. Similarly, the Sweet Lovin’ Mix capitalises on the raucous finale from the original Love Hangover Mix.

Channeling the speed of youth and the heaviness of a fleshy, lived life in equal proportion, Upchuck’s second LP, Bite the Hand That Feeds, is a Trojan Horse par excellence, craftily smuggling in waves of sentimental emotion and clever pop songwriting under a veil of pulsing rhythms and scorching riffs. What binds Upchuck together is a purity of intention, an organic loyalty to a thick knot of uncalculated friendships, struggles, and desires. These are songs about the joy of continuing to live, songs that find each other in the rush of a crushing reality, propelling the listener onward towards a collective release, however brief it may last. Themes of surviving through the night, youth-blinded love, cheap champagne soaked back-alley parties, and chaotic street protests are subsumed under a single unifying thread: the needs we have for one another, our shared hunger for connection. In a world saturated with arbitrary rules and paper-thin moralism, Upchuck offer free¬dom through sensation, a type of unserious transcendence found through the swirl of bodies melting into one another in the passion of dance. With Bite the Hand That Feeds, Upchuck isn’t trying to tell anyone how to live. Rather, they are simply trying to find a way to make life more worth living for both themselves and their friends—if the music compels you to move, you might as well consider yourself their friend too. Shortly after the release of their debut album Sense Yourself, Upchuck absconded to Southern California to record Bite the Hand That Feeds, enlisting the production talents of Ty Segall and the airy reprieve of his secluded Topanga Canyon home studio. Upchuck credits Segall, who recorded the entire record live to tape over the span of five days, with helping to elevate the arrangements of their second record to bold new heights—fans of Segall’s extensive catalog will undoubtedly recognize the shadow of his creative touch in Bite the Hand That Feeds’ commanding, layered drum polyrhythms, tasteful use of oddball effects, and fuzzed out, every-guitar-pushed-into-the-red ethos. All the same, final credit for Upchuck’s evolution from Sense Yourself to Bite the Hand That Feeds must be paid to the band itself. Following the release of their debut LP, Upchuck embarked upon a break-neck string of live shows, touring alongside the likes of Segall’s Fuzz, Amyl and the Sniffers, Negative Approach, OFF!, and Sub¬humans. The razor tight focus of Bite the Hand That Feeds was forged in the fire of these live shows, speaking directly to the power of their in-person presence—these are songs meant to be heard pressed up against a barricade, blasted through dimed guitar amps placed so close to your ears that you can practically reach out and touch them. In its totality, Bite the Hand That Feeds offers a sonic portrait of what it feels like to be young and caught up in the thrill of it all, coursing between ripping dance grooves and thundering dirges, anti-self-serious crowd anthems and charming pop hooks.

In celebration of the 25th Anniversary of this seminal album, Belle & Sebastian are releasing If You’re Feeling Sinister on coloured vinyl for the first time. Originally released on November 18th 1996, it will be available on transparent red vinyl through Jeepster on November 26th 2021 and included as part of the Black Friday sales event. The album is released on gatefold vinyl and is distributed by Republic of Music

The album was recorded in Glasgow at CaVa Studios in August 1996 over just 10 days and was the first album released by Jeepster. There were no singles released from the album which was a famous Belle & Sebastian trait of the time. In line with this, there were also no interviews given and promotion involved a three gig tour over London, Manchester and Glasgow.

For the recording of this album, the band consisted of the six original members but this time also included Sarah Martin as the seventh member in her debut for the band. This was the second album released by Belle & Sebastian and all songs were written by Stuart Murdoch. The session produced 11 songs of which 10 made it to the album and the other became the single ‘This Is Just A Modern Rock Song’. Although there were no videos made for any of the album tracks, Sarah Martin recorded a video for this eleventh track.

The album cover features Ciara MacLaverty, a great friend of Stuart’s, beside a copy of Franz Kafka’s ‘The Trial’. The inside cover features some members of the band with friends in their impression of The Last Supper.

For more than a decade, Bert Dockx has been one of the most prolific and versatile musicians in Belgium. A masterful guitarist, gifted songwriter, and innovative composer, crossing boundaries between avant-garde rock, customized blues, and instrumental jazz, with bands such as Flying Horseman, Dans Dans, and Ottla, singing in his native Dutch as Strand, or solo under his birth name, and now as the Bert Dockx Band. Ghosts is his fifteenth (!) album on the Ghent-based label Unday Records.

Two years after the crash, Bert Dockx presents his new Bert Dockx Band and Ghosts, an album of rebirth and transgression, one of many firsts. Dockx never dedicated this much time to meticulously crafting each song. For the first time, he entrusts a finished record to a complete outsider. Never before has he reached out so far into the outside world.

The relaxed and positive atmosphere during the recordings is magnified in what Dockx calls 'my best guitar playing ever', and the deep, powerful use of his voice in its natural range. 'I had fun making this album,' says Dockx, 'and I really hope it shows'.
'There's no escape now/ I'm inside of the storm', Bert Dockx sings on his new album, the first with the Bert Dockx Band. 'I smile, I cry/ I die, I'm born/ I'm in love'. Ghosts is the culmination of a two-year odyssey, from hitting rock bottom to flourishing into new heights. An album of rebirth and transgression, a record of milestones and many firsts. Never before has Dockx turned so deep inside in order to reach out to a world beyond himself.

The album is mastered by US producer Philip Weinrobe. Weinrobe previously worked with Arianne Lenker, Indigo Sparke, and Kings of Convenience, and is praised by Dockx for his 'infallible intuition and great inventiveness'. This occasion marks the first time he hands over a finished record, permitting an outsider's perspective during the final mix.

It features a collection of Finbar's own compositions and four well known traditional songs; Kitty, The Rocks Of Bawn, Slieve Gallen Braes and The Parting Glass. Finbar brings his own unique style to these classic Irish songs, using his romantic eloquent voice to evoke ages past. Music's Door is Finbar's ode to music, but there is a poignancy to it as well, in September 2022, he recorded this duet with his friend, 'Jump The Gun' singer Roy Taylor to raise awareness for MND which Roy was suffering from. Sadly he died in June 2023.

September Said Goodbye is an emotional cry for a lost loved one in the 9/11 tragedy. The mood takes an upbeat turn with Wild Horses, a joyful and carefree instrumental, and Blue Jewel In The Sky, a song Finbar released in 2020 with his daughter Aine Furey, alerting us to the impending horrors of climate change. Finbar draws inspiration from the world around him. His passion for music and the plight of the underdog has always underscored his work. He has honed a talent for finding the soul of a person, a place or a time through his music. 'Moments In Time' reflects the artist looking back at the vagaries of life, completing the album with the timeless The Parting Glass.

However, he is also looking forward, emboldened by his music he embraces and celebrates life, and most of all, love.

DELUXE REISSUE OF THE 1ST ALBUM OF THE CULT MATH ROCK BAND FROM BALTIMORE

1ST ALBUM REMASTERED UNRELEASED PEEL SESSION 12-PAGE BOOKLET

UNIQUE ALUMINIUM PACKAGING

RIYL: The Fall, Royal Trux, The Dead C, Shirley Collins, ’70s British progressive rock, Dean Blunt.
Throughout their legendary, decade-long run, the Shadow Ring were an enigmatic force on the international musical sub-underground. Before their disbandment in 2002, this shambolic rock outfit, formed by a group of rowdy teenagers in southeast England, left behind a mighty run of eight LPs, a handful of 7"s, and a spate of raucous live shows and cryptic zine appearances on both sides of the Atlantic, all which have bolstered their enduring word-of-mouth mystique. Beginning this year with the first-ever vinyl pressing of the self-released pre-Shadow Ring tape The Cat & Bells Club (1992), Blank Forms Editions is conducting a systematic retrospective of the storied group, including a multi-year LP reissue effort and a forthcoming comprehensive CD box set and an over five hundred page book. Recorded in summer of 1994 at S.H.P studios (frontman Graham Lambkin’s parents’ home), the group’s sophomore record Put the Music In Its Coffin is a more sinister, saturnine affair than their debut City Lights. Coffin was many listeners’ introduction to the Shadow Ring, who had hitherto self-released their music, courting a steady stable of international fans through the magazine and mail-order catalog Forced Exposure. For their follow-up, the duo reached out to the ascending Philadelphia label Siltbreeze, whose eclectic roster of sneering, low-fidelity rock and noise connected disparate subterranean scenes from rust-belt America to the English Midlands, Dunedin, and beyond. As luck would have it, Siltbreeze proprietor Tom Lax was already a fan of the band’s first record and arranged to release both a 7” and their “difficult second album.” The connection proved to run deeper than vinyl within six months, Lax would pick up the pair from the airport for their spring 1995 US tour. This episode marked not only their first trip to the States but their first live performances at all, formally introducing the Shadow Ring to the American underground and solidifying the allure of the Folkestone pair. From the get-go, the record has a menacing, vile ambience. Its opening track “Horse-Meat Cakes,” inspired by an anecdote by pulp author Philip K. Dick about how he and his wife subsisted off low-grade pet food when he first arrived in San Francisco, sets the tone lyrically and sonically. Subsequent tracks are filled with Rabelaisian body horror and sinewy, haptic diction. “I try to pass out vital organs, convinced that they are waste,” intones Lambkin in “Heart, Liver & Lungs,” before a chorus of detuned guitars kicks in, nearly drowning out the speaker’s account of consuming chevaline intestines. Later songs similarly detail vernacular cooking (“Caribbean Porridge,” about a cornmeal hangover cure), bodily processes (“Nocturnal Middle Rumbles,” about nighttime defecation), and creaturely conflict (“Crystal Tears” and “Spin The Animal Dial”). The album’s makeshift percussion and teenaged rawness resembles the verve of City Lights, while its screeching strings and gnarly distorted vocals give it a sparse, miasmic atmosphere that look towards the uncompromising, otherworldly experimentation of the band’s Hold Onto I.D. (1996) and Lighthouse (1997), making this one of the Shadow Ring’s most distilled musical statements

Die Heavenly Remixes-Reihe präsentiert weiterhin die besten Remixe, Versionen, Meditationen, Re-Rubs und Dubs von Künstlern aus der ganzen Welt, die auf der Liste des aufregendsten Plattenlabels des Landes stehen. In den meisten Fällen handelt es sich bei den Alben um die erste physische Veröffentlichung eines Remixes, die sie von den Streaming-Playlisten in ihr rechtmäßiges, spirituelles Zuhause auf superschwerem Vinyl (oder glänzender, supergepackter Compact Disc) befördert.

Heavenly Remixes Volume 7 führt nach Belfast, wo David Holmes - ein Produzent, der 1994 zum ersten Mal auf Heavenly auftauchte und den Acid von Saint Etiennes Like A Motorway aufpeppte - als Solokünstler und als ein Drittel von Unloved auftritt, die von Horse Meat Disco direkt in das Herz eines Vauxhall-Schwitzkastens befördert werden.

Through evocative, emotionally resonant music, Goodbye, Hotel Arkada , the new LP from American harpist and composer Mary Lattimore , speaks not just for its beloved namesake _ a hotel in Croatia facing renovation _ but for a universal loss that is shared. Six sprawling pieces shaped by change; nothing will ever be the same, and here, the artist, evolving in synthesis, celebrates and mourns the tragedy and beauty of the ephem - eral, all that is lived and lost to time. Documented and edited in uncharacteristically measured sessions over the course of two years, the material remains rooted in improvisation while glistening as the most refined and robust in Lattimore's decade-long catalog. It finds her communing with friends, contemporaries, and longtime influences, in full stride yet slow - ing down to nurture songs in new ways. The cast includes Lol Tolhurst (The Cure), Meg Baird, Rachel Goswell (Slowdive), Roy Montgomery, Samara Lubelski, and Walt McClements . "When I think of these songs, I think about fading flowers in vases, melted candles, getting older, being on tour and having things change while you're away, not realizing how ephemeral experiences are until they don't happen anymore, fear for a planet we're losing because of greed, an ode to art and music that's really shaped your life that can transport you back in time, longing to maintain sensitivity and to not sink into hollow despondency." For the title and inspiration, Lattimore's mind returns to the island of Hvar in Croatia, where she first saw those silver ladders at the water's edge. "There's a big old hotel there called the Hotel Arkada, and you could tell it had been hosting holiday-goers for decades in a great way. I walked around the lobby and the empty ballrooms and it looked like a well-worn, well-loved place. My friend Stacey who lives there told me to `say goodbye to Hotel Arkada, it might not be here when you get back' and I heard soon after that it was actually going to be renovated in a very crisp, modern way." Lattimore became fixated on the ingredients that make a place special _ for Hotel Arkada, the patinaed chandeliers, the patterned bedspreads, the echoes of its intangible charm _ and how when those leave this world, as they inevitably always will, it feels import - ant to memorialize them, "to bottle it for a brief second.

From the grey-skied isles and horse farms of British Columbia comes the second volume of Crystal Dorval aka White Poppy’s “Paradise Gardens” trilogy: Sound Of Blue.

Originally conceived back in 2016, the album was then recorded, finessed, abandoned, resurrected, overdubbed, and finally mixed into nine refinements of daydream shoegaze and therapeutic pop, born from bedroom epiphanies and long winters of the heart.

From slowdive reverie (“Apathy,” “Melancholic Serenity”) and color wheel psychedelia (“Time”) to spiral chorale (“Happy”) and finger-picked drift (“Wiser”), Dorval’s songcraft moves between escape and acceptance, tracing delicate melodies from undercurrents of loss, light, and solitude. It’s music for memory gardens and pastel horizons, dreaming of bliss and distance, but bound to the here and now: “Thinking about leaving here forever / thinking about leaving here for good / but I keep holding on for something / hoping that it could get better than this / what’s one more night?”

Throughout their legendary, decade-long run, the Shadow Ring were an enigmatic force on the international musical sub-underground. Before their disbandment in 2002, this shambolic rock outfit, formed by a group of rowdy teenagers in southeast England, left behind a mighty run of eight LPs, a handful of 7"s, and a spate of raucous live shows and cryptic zine appearances on both sides of the Atlantic, all which have bolstered their enduring word-of-mouth mystique. Beginning this year with the first-ever vinyl pressing of the self-released pre-Shadow Ring tape The Cat & Bells Club (1992), Blank Forms Editions is conducting a systematic retrospective of the storied group, including a multi-year LP reissue effort and a forthcoming comprehensive CD box set and an over five hundred page book. Recorded and self-released by the group's own Dry Leaf Discs in 1993, City Lights is the debut record of the then duo Graham Lambkin and Darren Harris_an assured arrival statement teeming with stripling angst and ambition. Lifelong chums Lambkin and Harris were barely nineteen and living at home in the seaside town of Folkestone, Kent, with few overhead expenses. The two were freshly employed as a forklift operator at a hardware store and an aide at a home for children with disabilities, respectively, affording them the time and funds to commit to a proper full-length release. Frontman Lambkin describes the album as a "microscopic examination of leisure activities, this time centered around a nightclub," a conceit surging through its lyrics, song titles, cover art (depicting an audience of cats and mice at the Leas Club, a Folkestone fixture), and flip side (replete with fictional bandmates and pseudonymous liner notes). On a recently-acquired secondhand guitar, Lambkin plays repetitive, brooding licks that form the record's backbone, weaving in and out of sync with Harris's free-form percussion and the pair's sing-song poetry. Tracks range from unraveling nursery-rhyme ditties to extended jams awash with Casiotone and toy piano noodling. The duo's musical hobby-horses work themselves in: the influence of Mark E. Smith's breathless deadpan, the headless outer-edges of ESP-Disk's back catalog, the eerie atmospherics of Hirsche Nicht Aufs Sofa, and the deconstructed rock tunes of the Dunedin scene are all detectable, although there is a sui generis quality to the Shadow Ring's artless temerity. "I've got to see and taste those city lights," intones Lambkin on the album's title track_indeed, this is a record of naked drive and pent-up desperation, and a shimmering glimpse of what's to come. For Fans of The Fall, Royal Trux, The Dead C, Shirley Collins, '70s British progressive rock, Dean Blunt.

Sermon On The Rocks is Josh Ritter's eight studio album, released in 2015. Singles from the album include "Getting Ready To Get Down" and "Homecoming." According to Ritter, the album is "messianic oracular honky-tonk." Produced by Trina Shoemaker and Josh, the 12-song album was recorded over two weeks at New Orleans’ The Parlor Recording Studio and features Matt Barrick from The Walkmen on drums, Zachariah Hickman on bass, Josh Kaufman on guitars, and Sam Kassirer on keyboards. Josh Ritter is the definition of an experienced songwriter. After graduating from Oberlin College in 1999 Ritter devoted his life to a songwriting career, releasing albums independently and garnering word-of-mouth popularity. He eventually caught the attention of Irish- songwriter Glen Hansard (writer of the song 'Falling Slowly' from the movie Once) and was invited to be the tour opener for his band The Frames. This then resulted in Josh gaining international success, with his third record 'Hello Starling', becoming a charting hit in Ireland. His songs have been featured on the TV show Parenthood, and in movies like The Other Woman and Typeface. Josh Ritter has so far released 7 studio albums, is an author, husband, father, and is considered one of the best living songwriters by Paste Magazine.

2026 Repress

Heavenly Recordings release the next two volumes in their series of remixed classics and unreleased versions. ‘Heavenly Remixes 7 & 8’ sees the label going back into the archive, as well as picking off some more recent remixes, and both albums primarily feature either previously unreleased versions or re-workings available for the first time on vinyl and CD.

Heavenly have always seen immense value in the remix, a value way beyond what it might bring commercially. Since their first release in 1990 (where Andrew Weatherall overhauled a one-off single by club kids Sly and Lovechild) Heavenly remixes have been carefully curated and treated as a key part of the A&R process. It’s an opportunity to view an artist through a different prism, to play out a musical ‘what if’ scenario. It’s the kind of exploration that’s happened consistently through the thirty plus years the label has released music.

The ‘Heavenly remixes’ series continues to showcase the very best remixes, versions, meditations, re-rubs and dubs from all around the world of artists right across the roster of the country’s most exciting record label. In most cases, the albums offer the first physical release for a remix, elevating them from streaming playlists to their rightful, spiritual home on super heavy vinyl (or shiny, super-packed compact disc).

Heavenly remixes 7’ heads to Belfast, where David Holmes - a producer who first appeared on Heavenly in 1994 amping up the acid on Saint Etienne’s ‘Like A Motorway’ - appears as solo artist and as one third of Unloved, who get a lift right to the heart of a Vauxhall sweatbox by Horse Meat Disco. It draws a line between Amsterdam and Frankfurt as Ludwig A.F. amps up the electronics on Pip Blom’s ‘Keep It Together’. It stops off in a south London studio where super producer Dan Carey plays the desk with Toy, then relocates LA psych rock band Fever The Ghost to an Ibizan shoreline as the sun sets on the horizon. It cements Sheffield’s reputation as the home of modern British techno with the return of true originators Forgemasters. And it pitches up in front of a renegade soundsystem late night at Glastonbury as Erol Alkan’s mighty rework of Con Man gets its third rewind of the night.



‘Heavenly remixes 8’ opens with Space Afrika’s lush, ambient reimagining of the Orielles’ ‘BEAM/S’ before Justin Robertson stretches Amber Arcades’ ‘Turning Light’ into eight minutes of electronic dub. Elsewhere, Baxter Dury’s peerless ‘Miami’ becomes a string-laden electro skank in the hands of French producer Pilooski; Edinburgh’s bedroom techno genius Eyes of Others’ ‘Safehouse’ turns into an East End bathhouse courtesy of disco deviants Decius; Ashley Beedle’s Black Science Orchestra turns Unloved’s heartworn torch song into seven minutes of glimmering dreamlike percussive house and Katy J. Pearson’s freak flag is flown high thanks to The Umlauts’ throbbing filtered electro mix. It ends similarly to how it began as TONE takes

Fran Lobo’s ‘All I Want’ on a gorgeous slow motion spacewalk.

The album appeared suddenly - Within about a week, A Family Light was
pretty much fully written - "Despite the old cliche, the inspiration for this
album stemmed from heartbreak," describes band member Sergio
Trevino
"Fresh out of a failed relationship, I took to writing, resisting the temptation to
create bitter or angsty love songs. I tried to channel my emotions into something
larger. Looking back, with the benefit of time and distance from the album, I
realize that it kinda became a response to my observations of the family
dynamics, and how strange and complicated those predetermined roles are.

David Eugene Edwards has always been larger than life. His music with innovative heavy droning folk band Wovenhand, and before that the haunting revivification of high lonesome sound antique Americana of 16 Horsepower breathed a near apocalyptic sense of urgency and power into musical archetypes long abandoned in the latter-20th Century. On his first-ever solo album under his own name, Hyacinth, David Eugene Edwards delivers a sound uniquely his own, with a vulnerability and introspection unheard from him before. Stripping back the heavy rock of his recent work with Wovenhand, Hyacinth puts the man's voice, and sparing instrumentation into the main focus. There's a somber beauty and world-weary tone throughout these songs. The album could've been considered a slight return to the more melodic sounds of 16 Horsepower's Secret South (2000) and the first, self-titled Wovenhand album (2002). But there's more going on here: a rhythmic, pulsating undercurrent reminiscent of the tape loops and rudimentary rhythms of 80s Industrial post-punk as well as 808 Drill Style beats. The overall effect is often as if we're hearing the clock ticking away our own mortality. "Hyacinth was a sort of vision," Edwards says. "A dream. I sought out of my old wooden banjo and nylon string guitar a hidden path. Secrets they had kept from me within themselves all these years and created a new Mythos to myself of philosophical and spiritual ideas or concepts." Once he'd harnessed the music within, he enlisted multi-instrumentalist and producer Ben Chisholm (The Armed, Chelsea Wolfe, Converge) to help him realize the album's recording and mix. "Overall, the album is a weaving of narratives ancient and modern, of humankind's search for understanding of this world we find ourselves in and of each other. In all its simplicity and complexity," Edwards continues. "Hyacinth is a reference to the Greek myth of Apollo. And, the word meaning a precious stone and blue larkspur flower of purple and pall."

David Eugene Edwards has always been larger than life. His music with innovative heavy droning folk band Wovenhand, and before that the haunting revivification of high lonesome sound antique Americana of 16 Horsepower breathed a near apocalyptic sense of urgency and power into musical archetypes long abandoned in the latter-20th Century. On his first-ever solo album under his own name, Hyacinth, David Eugene Edwards delivers a sound uniquely his own, with a vulnerability and introspection unheard from him before. Stripping back the heavy rock of his recent work with Wovenhand, Hyacinth puts the man's voice, and sparing instrumentation into the main focus. There's a somber beauty and world-weary tone throughout these songs. The album could've been considered a slight return to the more melodic sounds of 16 Horsepower's Secret South (2000) and the first, self-titled Wovenhand album (2002). But there's more going on here: a rhythmic, pulsating undercurrent reminiscent of the tape loops and rudimentary rhythms of 80s Industrial post-punk as well as 808 Drill Style beats. The overall effect is often as if we're hearing the clock ticking away our own mortality. "Hyacinth was a sort of vision," Edwards says. "A dream. I sought out of my old wooden banjo and nylon string guitar a hidden path. Secrets they had kept from me within themselves all these years and created a new Mythos to myself of philosophical and spiritual ideas or concepts." Once he'd harnessed the music within, he enlisted multi-instrumentalist and producer Ben Chisholm (The Armed, Chelsea Wolfe, Converge) to help him realize the album's recording and mix. "Overall, the album is a weaving of narratives ancient and modern, of humankind's search for understanding of this world we find ourselves in and of each other. In all its simplicity and complexity," Edwards continues. "Hyacinth is a reference to the Greek myth of Apollo. And, the word meaning a precious stone and blue larkspur flower of purple and pall."

Black Truffle is pleased to announce Tender Membranes, the label’s first release from Swedish-Finnish sound artist and electro-acoustic composer Marja Ahti. Active for a decade in the Finnish underground music scene, in recent years Ahti has developed a distinctive approach to patiently unfolding electro-acoustic constructions, documented on a string of solo releases and collaborative projects with Judith Hamann and her husband Niko-Matti Ahti. Working with concrete and instrumental sounds, field recordings, and electronics, Ahti favours neither disjunctive collage nor monolithic consistency; rather, her work is composed of organically unfolding sequences of details and textures, which, as she says, ‘can stretch out or cut fast as long as they have a sense of inner stillness’, a sense that she connects to moments of heightened attention in everyday life. Tender Membranes consists of four lengthy pieces, partly inspired by the image of the senses and mind as membranes allowing for the passage between inner and outer spaces, sensation and its causes, creating a world. Ahti’s unhurried pacing encourages this sense of listening as an opening or surrender to sound, which can often create the impression that the listener is moving through a space zooming in on details. The opening Shrine (Aether) exemplifies this aspect of Ahti’s approach: a bell clears the air with a single long tone, followed by the ambience of outdoor spaces, crackling electronics, an archival recording of a horsefly on a windowpane. Dozens of these moments, varying in length, density, and intensity, move past the listener’s attention, momentarily brought into focus then slipping away. Like those of the masters of the French musique concrète tradition, Ahti’s sounds are not often recognisable, though they might suggest proximity or distance, open environments or closed spaces, the urban or rural, day or night. In Ahti’s work, we do not encounter spectacular metamorphoses à la Parmegiani but rather a state of ambiguity where the listener is often unsure what is organic and what is inorganic, where the careful productions of the synthesizer might end and sounds discovered in the environment begin. What Ahti calls her ‘poetic way of experiencing and organising the familiar and the unfamiliar’ is sustained throughout Tender Membranes, but each piece has its own character. On Dust / Light, human presence is more overt, as what appear to be whispers, singing, and distant speech thread between high frequencies, untraceable drips and pops, and metallic shimmers. In all this there is a melody that you can sing and to which you may dance makes more prominent use of musical instruments, gaining a sombre beauty from half-buried piano chords and organ tones. On the closing Oh Fragrant Witness, a delicate cloud of subtly bending pitches is repeatedly disrupted by a resounding, almost ominous mass of low tones, at once a strange detour from much of what has gone before and an almost classical finale. Arriving in a sleeve reproducing contemporary Finnish photographer Sini Pelkki’s fragmented visions of the everyday, Tender Membranes is a balm to reawaken tired ears.

Repress!

After the not-quite-reissue of 'Prince of Parrot Shooters/The Aqueducts of Cannel Island', wide-eyed mystic and tireless searcher of the netherworld Spencer Clark returns to the Discrepant fold with 'Barbados Wild Horses' under his Mo-nopoly Child Star Searchers moniker. Recorded while Clark was living in the Canary Island's by Tupperware and Lagoss' Dani Tupper, 'Barbados Wild Horses' brims with insular romanticism and escapist bliss, with sunkissed synth-lines interwoven around his trademark hand percussion bouncy rhythms reflecting the scenery of the islands as a lib-erating utopia.

With track titles taking an almost self explanatory stance, the album starts with the crepuscular vibes of 'Upper Roman-tico', a poetic meditation on the lovelorn potential of the fading sunlight, setting the tone for the rest of the tour. 'Lava Tube Solos on Horseback', the first of two tracks featuring Sun Araw's Cameron Stallones, sees the latter's guitar noo-dles riding the cascading rhythms and digital choir harmonies while in 'Neopreno Antiguo' he solos freely around an hypnotic synth line. Finishing off the escapade, 'Nightcharcos Punta Brava' drifts in ethereal starlit contemplation, with the percussion taking a more backseat approach, setting into a steady pulse for Clark's gliding synth tapestries. Nightswimming as transcendence. Another piece of the fascinating puzzle Clark's been assembling for over two dec-ades now, 'Barbados Wild Horses' glimmers with a laid back sensibility that's as unhinged as enveloping. Not an easy feat by any measure. Clark succeeds again.

Heavenly Recordings release the next two volumes in their series of remixed classics and unreleased versions. ‘Heavenly Remixes 7 & 8’ sees the label going back into the archive, as well as picking off some more recent remixes, and both albums primarily feature either previously unreleased versions or re-workings available for the first time on vinyl and CD.

Heavenly have always seen immense value in the remix, a value way beyond what it might bring commercially. Since their first release in 1990 (where Andrew Weatherall overhauled a one-off single by club kids Sly and Lovechild) Heavenly remixes have been carefully curated and treated as a key part of the A&R process. It’s an opportunity to view an artist through a different prism, to play out a musical ‘what if’ scenario. It’s the kind of exploration that’s happened consistently through the thirty plus years the label has released music.



The ‘Heavenly remixes’ series continues to showcase the very best remixes, versions, meditations, re-rubs and dubs from all around the world of artists right across the roster of the country’s most exciting record label. In most cases, the albums offer the first physical release for a remix, elevating them from streaming playlists to their rightful, spiritual home on super heavy vinyl (or shiny, super-packed compact disc).



‘Heavenly remixes 7’ heads to Belfast, where David Holmes - a producer who first appeared on Heavenly in 1994 amping up the acid on Saint Etienne’s ‘Like A Motorway’ - appears as solo artist and as one third of Unloved, who get a lift right to the heart of a Vauxhall sweatbox by Horse Meat Disco. It draws a line between Amsterdam and Frankfurt as Ludwig A.F. amps up the electronics on Pip Blom’s ‘Keep It Together’. It stops off in a south London studio where super producer Dan Carey plays the desk with Toy, then relocates LA psych rock band Fever The Ghost to an Ibizan shoreline as the sun sets on the horizon. It cements Sheffield’s reputation as the home of modern British techno with the return of true originators Forgemasters. And it pitches up in front of a renegade soundsystem late night at Glastonbury as Erol Alkan’s mighty rework of Con Man gets its third rewind of the night.



‘Heavenly remixes 8’ opens with Space Afrika’s lush, ambient reimagining of the Orielles’ ‘BEAM/S’ before Justin Robertson stretches Amber Arcades’ ‘Turning Light’ into eight minutes of electronic dub. Elsewhere, Baxter Dury’s peerless ‘Miami’ becomes a string-laden electro skank in the hands of French producer Pilooski; Edinburgh’s bedroom techno genius Eyes of Others’ ‘Safehouse’ turns into an East End bathhouse courtesy of disco deviants Decius; Ashley Beedle’s Black Science Orchestra turns Unloved’s heartworn torch song into seven minutes of glimmering dreamlike percussive house and Katy J. Pearson’s freak flag is flown high thanks to The Umlauts’ throbbing filtered electro mix. It ends similarly to how it began as TONE takes

Fran Lobo’s ‘All I Want’ on a gorgeous slow motion spacewalk.

Après le succès de Birdman (quatre Oscars dont ceux du meilleur film et du meilleur réalisateur), le réalisateur Alejandro G. Inarritu repousse les limites de l'art cinématographique avec ce western épique : The Revenant. Avec Leonardo DiCaprio (Titanic, Le Loup de Wall Street) et Tom Hardy (Mad Max: Fury Road, The Dark Knight Rises), tourné dans un Canada sauvage et glacé, à la lumière naturelle, The Revenant est une histoire de vengeance, de survie et de ténacité face à la fureur de l'homme et de la nature. Le film est en passe de devenir un grand favori de la critique, à l'aube de la saison des récompenses... Inarritu a choisi de sacrifier presque tout dialogue à un paysage sonore splendide et à une musique majestueuse. Un film de cette ampleur méritait un compositeur compréhensif de la création artistique pure et des passions déchaînées. Le Maître japonais Ryuichi Sakamoto (Furyo, Le Dernier Empereur - Oscar de la meilleure musique de film) a rempli le contrat haut la main. Avec son collaborateur Alva Noto (notamment au sein du Yellow Magic Orchestra), Sakamoto a créé une bande originale captivante qui sera assurément la bonne surprise de l'hiver. L'album contient également la musique additionnelle de Bryce Dessner (compositeur pour le Kronos Quartet et le LA Phil).

Everything becomes fluid when you can pass through time and space like a ghost, a story, a melody. Boy Golden manifests all three on For Jimmy. When listening to his music, it feels easy to dissolve into the ether. Everything flows. From classic country to psych-folk, Alternative to roadhouse pop to Appalaichan bluegrass, Boy Golden’s music is easy, breezy, warm and gritty. And don’t it just feel good to listen to it. Since releasing his debut album, Church of Better Daze, in 2021, he’s played every summer festival on your list, produced a number of albums with friends, released a dozen videos, curated and directed an art show and music video for “KD & Lunchmeat”, the Seth-Rogenesque hit single that charted to #1 on Alternative Radio, and toured with The Sheepdogs on their most recent North American tour. Introspective and vulnerable, traditional and queer, hard-headed and sensual, Boy Golden’s everyman-aesthetic can appeal to all of us. This ability lies in his songwriting: the songs your friends tell you about, the stories you hear from your neighbours, your community. He’s comfortable both in the spotlight and just outside it, sharing the moments with other artists, lifting others up along with him. He’s a genuine student of Townes Van Zandt and Willie Nelson as much as Dwight Yoakam and Stevie Ray Vaughan . Plus his C.O.B.D philosophy, “You can blaze and still get paid” might help us all to blur borders and old definitions of genres we thought we knew, like Steve Lacy or Justin Vernon do for Pop music. Boy Golden is able to maintain his own unique blend of Boy Golden using whatever frame of mind he’s in to fit us into this time. We’re here right now.

The return of one of the most individual producers in Detroit - Erik Travis.

With acts like HiTech, reconfiguring Ghettotech for a new audience, now is the time to check out his somewhat twisted take on electro.

Neil Young gilt als Godfather of Grunge Rock. Seine Karriere begann 1966 mit der Band Buffalo Springfield, absolvierte erfolgreich Tourneen mit The Crazy Horse und ist auch als Solo-Künstler ein Weltstar.
Im Jahr 1976 wurde dieses Akustik-Konzert vom US-Radiosender W CM-01 mitgeschnitten und erscheint nun als strikt limitierte, in weißem Vinyl gepresste Schallplatte.

Candlebox is gearing up for an unforgettable finale as the legendary Seattle rock band prepares to retire at the end of the year. The group’s Long Goodbye Tour is currently underway, and its final album, The Long Goodbye, will be released later this month. Today, Rhino announces it will spotlight Candlebox’s early years with a 7-LP vinyl boxed set featuring all three studio albums the group released on Maverick, plus more than a dozen previously unreleased recordings that are only available in the collection.

THE MAVERICK YEARS will be available exclusively on vinyl on September 22. The set introduces newly remastered versions of Candlebox (1993), Lucy (1995), and Happy Pills (1998) as double LPs, along with a single album of unreleased outtakes, demos, and more. Candlebox and Lucy will make their North American vinyl debut, while Happy Pills will be available on vinyl for the first time anywhere.

The Maverick Years chronicles the band’s dramatic ascent, starting with its eponymous debut, a quadruple-platinum smash celebrating its 30th anniversary this year. The album spent more than 100 weeks on the charts, peaking at #7 with hits like “Far Behind,” “You,” and “Cover Me.” The original album has been expanded on the new vinyl version with two unreleased bonus tracks, “Sorry I Let You Down” and a demo for “10,000 Horses.”

Margo Cilker's sophomore album, Valley of Heart’s Delight, refers to a place she can't return: California’s Santa Clara Valley, as it was known before the orchards were paved over and became more famous for Silicon than apricots. In this 11-song follow-up to 2021's critically acclaimed Pohorylle, family and nature intertwine as guiding motifs, at once precious and endangered, beautiful and exhausting. Cilker and Pohorylle producer Sera Cahoone brought most of that record's highly-acclaimed crew (studio players for The Decemberists, Band Of Horses, and Beirut) back to the studio with additional contributions from acclaimed Northwest traditionalist Caleb Klauder. Valley of Heart's Delight, Cilker's second record on Portland, Oregon label Fluff & Gravy Records, follows a year busily reaping the fruits of Pohorylle's success, with festival appearances at Pickathon, Treefort, and End Of The Road, and tours supporting American Aquarium, Hayes Carll, Drive-By Truckers, and Joshua Ray Walker. Margo Cilker lives near the Columbia River in Goldendale, Washington with her husband, songwriter and working cowboy Forrest VanTuyl, as well as their dog and some horses.