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Dans Dans is back (already), with their most unfiltered, most spantenous, most 'punk' album to date. Three musicians, three days in the studio, one burst of energy.

April 23th, 2021. Breaking a five year silence, purveyors in ambiguous jazz-rock hybrids Dans Dans drop a new, fifth album. Throughout the media, Zink is hailed as another triumph for the Antwerp based trio. 'A bold and thrilling noise trip', according to Humo. 'The best live band of the Western hemisphere is back', celebrated OOR, while De Morgen hailed the 'organic but cleverly constructed jams'. The following summer, the band made the best of a temporary easing of local Covid restrictions, and played some rapturous shows, such as during Jazz Middelheim in their hometown and an Unday Records label night during the Boomtown festival in Ghent. A string of dates in Eastern Europe followed, but, alas, the remainder of a national and international tour in autumn was cancelled. Third wave, fourth wave, who was still counting?

At the tail end of 2021, Bert Dockx, Frederic Lyenn Jacques, and Steven Cassiers, the unholy trinity that make up Dans Dans since 2012 - yep, that's a ten year anniversary! - decided to turn setbacks into sound blasts, grief into grooves. Rehearsals were planned. New music was made. And before you know, a studio was booked. This is how an instrumental corona-album happened. Not one of contemplation through isolation or new found domestic bliss, not your usual, subdued track record of socially distant, monotonous times. '6' might be a reaction to all of that, but it's definitely more than that.

Over recent years, there have been countless reissue of reggae-disco rarities and slept-on classics. Soul Jazz has, surprisingly given that they first dipped into the style 20 years ago on the now legendary Reggae Disco Hustle compilation, been surprisingly silent, so it's nice to see them joining the party in fine style. Disco Reggae Rockers is a fitting sequel to its illustrious predecessor, featuring as it does a wealth of killer covers of - and more adventurous 're-versions' inspired by - vintage soul, disco and funk tunes. The plentiful highlights include Devon Russell's inspired take on Curtis Mayfield's 'Move On Up', Risco Connection's super-sweet version of Diana Ross classic 'It's My House', Valerie Harrison's interpretation of Me'lissa Morgan's 'Fools Paradise' and Hortense Ellis re-frame of Candi Staton hit 'Young Hearts Run Free'.

Originally released in the UK on 13 May 1996 through Virgin Records, ‘Older’, George Michael’s iconic album, reached the pinnacle of chart success, where it remained for three consecutive weeks, spending 35 weeks in the top 10 overall. The album produced six singles, two of which - ‘Fastlove’ and the haunting ‘Jesus To A Child’ - reached No.1, with the other four peaking in the top three.

The album was a huge global commercial success, going 6x platinum in the UK, as well as verified platinum in another 22 countries – an achievement which is unparalleled to this day.

‘Older’ was George’s third album as a solo artist and would see him experimenting with new musical styles and expanding his artistic horizons. Hailed by critics as a triumph, it told the story of an extraordinary period in the life of the man who wrote, recorded and produced it, as he journeyed through one of the most turbulent periods of his professional and personal life. George channeled all his painful life experiences into one of the most personal, heart-felt albums he had ever written.

Reissue of 1997 album on 180 gram RED vinyl by Toots & The Maytals.

Lead Vocals: Toots Hibbert
Background Vocals: Raleigh Gordon, Jerry Matthias
Guitars: Hux Brown, Carl Harvey, Rad Bryan
Keyboards: Winston Grennan
Bass: Jackie Jackson

Produced by: Toots Hibbert
Executive producer on tracks 2,3 & 4 Wayne Chen
Track 1 produced by Peter Simon
Art/Design Gordeuk/Keane Visuals
Photos: Mike Cacia
Mastered by: Dale Ashley at Grace Note Productions

Advanced Myth is the lucid debut album from Dialect, the long standing project of British composer, multi-instrumentalist, and field recordist Andrew PM Hunt. An enchanted exploration of unusual source synthesis, electro-acoustic arrangements, and sound found in foreign environments, Advanced Myth is its own cosmos expanding and contracting in real time. Although a largely meditative listen, it oscillates between moments of shimmering lucidity and corrosive washes of noise. Originally released digitally by tasty morsels in 2015, Advanced Myth has been newly mastered by Stephan Mathieu from definitive mixes, and is available for the first time on vinyl. Since his debut, Hunt has built a broad oeuvre with a quiet confidence across several albums, including Gowanus Drifts (2015), Loose Blooms (2017), and Under ~ Between (2021), his debut for RVNG Intl., and its companion piece, Keep Goingü... Under. For Fans of Laurie Spiegel, Visible Cloaks, Oneohtrix Point Never, Catarina Barbieri, Clare Rousay.

Oakland, California dark punk trio TENSION SPAN unites Noah Landis (Neurosis, Christ On Parade) on vocals, Geoff Evans (Asunder) playing guitar and synth, and Matt Parrillo (Dystopia, Kicker) providing bass, guitar, synth, and additional vocals.

Infusing classic elements of punk and post-punk, fans of Killing Joke, T.S.O.L., Subhumans, Conflict, Rudimentary Peni and The Wraith will be instantaneously addicted to TENSION SPAN’s dire urgency and infectious hooks.

During the isolation of Covid, the newly formed trio crafted The Future Died Yesterday, an album that sounds both varied and cohesive, combining musical and emotional heaviness with melody, samples, and synth. Sonically unique and riveting, The Future Died Yesterday sees the band ripping through thirteen doomed anthems.

A1 Somber ambience and dark drones pair well with small, silent melodies and form this perfect teaser track by Ninze & Niju.

A2 With their well-known ear for details, Ninze & Niju deliver the soundtrack for riding your skateboard through deserted downtown past midnight.

A3 Another signature tune by genre-defining NInze & Niju, bringing together hushed drum patterns and filtered organs to this mind-boggling brain bender.

B1 Not much time is wasted when rhythmic layers, driving arpeggios and moving percussion slowly unite to this hypnotic peak time beast to be unleashed by Ninze & Niju.

B2 This pretty straightforward, yet hard-to-grasp track unfolds in too many layers to leave you calm - another twisted tune for bare feet in morning dew.

"Singe" is the new record by Angelo Harmsworth, a musician who hails from the American Southwest and is operating now out of Berlin. Harmsworth’s work deals resolutely in extremes, but this music is not concerned with presenting binary or dichotomous relationships so much as it is with reconciling disparate sensibilities and sounds. Layers of meticulously edited and sculpted tones swirl around one another, creating kaleidoscopic patterns and hallucinated choral motifs that seem to thrive on amplitude or the position of the listener’s head. There is a visceral physicality to this music that aligns it with some of the core tenets of harsh noise, even while its tonal and timbral choices recall those of ambient music. This record follows excellent releases on enmossed/Psychic Liberation, Angoisse, Opal Tapes, Vaknar, and Harmsworth’s own Lime Lodge imprint and may be the high water mark of his published output thus far. There is drama and implied narrative in these seven compositions that seethes and hums as if reveling in a sort of violent gracefulness.

Oren Ambarchi is a composer and multi-instrumentalist who has long been interested in transcending conventional instrumental approaches. His work focuses mainly on exploring the guitar, "taking the instrument into a zone of alien abstraction where it is no longer readily identifiable as such. Instead, it is a laboratory for extended sonic investigations". The album is titled Shebang and is said to be an extension of past "rhythmic long-form workouts" found on Ambarchi"s 2014 album Quixotism and 2016"s Hubris. Like those albums, Shebang features contributions from a number of guest artists, including Konrad Sprenger, Jim O"Rourke, Julia Reidy and Chris Abrahams. It follows Ambarchi"s collaborative album with Johan Berthling and Andreas Werliin, Ghosted, which was released by Drag City in April and was recently one of tQ"s favourite albums of the year.

Criminal, The Soft Moon's fourth studio album, is a confessional work. Through the stark lens of shame and guilt that has followed Luis Vasquez since a violent childhood growing up within the humming ambient sprawl of '80s Mojave Desert, here he documents the gut-wrenching sound of going to war with himself. Criminal marks a striking and important chapter in his self-exploration, both artistically and emotionally. As a young musician living in Oakland, Vasquez began to try and process the narrative of his difficult upbringing veiled through musical exploration. Working with producer Maurizio Baggio at La Distilleria in Bassano Del Grappa, Italy, Criminal sees Vasquez further explore putting his lyrics at the forefront and letting his raw emotions flow. Sacred Bones is now repressing this favourably received record in a bunch of new colors in celebration of the label's 15th year anniversary.

A violin, a fife, and the endless sky opens up to us. Two voices cross it, a duet of swallows playing their perpetual encounters, joined by percussion that crashes like waves on jagged coasts. This is the opening of the album Déliryom, the beginning of this "watia watia" - meaning joyful mess or tasty mishmash, opened by six "zoreys": in Reunion Island Creole, it means metropolitan people from France. But these zoreys claim their creolity as a family of the heart, a chosen homeland. And they celebrate it. Rosemary Standley (Moriarty) and Marjolaine Karlin met at a concert where Reunionese maloya was resounding in Paris. It was in 2008, and their fascination for the island, its rhythms, its language born for poetry was bound to bring them together. A character too, a majestic poet and celestial wanderer, who for them would be a spiritual father - Alain Peters. Or rather his ghost, since he died in 1995 of a heart attack, leaving behind a daughter and some twenty songs that have shaped a fertile horizon for all the musicians of the Reunion Island... and elsewhere! Six years after giving birth to their first album (Zanz in Lanfèr, 2016), the two singers continue this great journey, exploring other pieces forged over the years, always alongside percussionist and rhythm doctor Salvador Douézy, and new zoreys who have joined them. There is Gérald Chevillon, who plays bass saxophone, Chadi Chouman as a guitarist who has no equal in awakening the colors of his native East, and finally Jennifer Hutt, whose energetic violin evokes the Cajun colors of New Orleans. For even if this new album tells of other facets of the Peters totem, it also ventures towards other Creole lands, other islands where music and song are much more than entertainment: they are a way of being in the world.

"Formed more than three decades ago in 1989 only to fall into a slumbering hibernation lasting until last year, Swedish hard rock outfit NESTOR decided to reunite, reinvent the iconography of rock and restore its glory in 2021 with their debut album – yes, their debut album – Kids in a ghost town. With friendship as the fundament of this unique, seemingly unbreakable bond, NESTOR are back for good and better than ever! Upon its initial release, NESTOR’s acclaimed first album, Kids in a ghost town, sent their fans on a journey back in time to the 80s, both in sound and spirit, as well as with their completely self-produced music videos – all of which spurred a nomination for a Swedish Hard Rock/Metal Grammis-Award! This is an album of such impressive scale in fact, that Napalm Records has decided to re-release Kids in a ghost town in various exclusive edition, set for release on September 30, 2022! NESTOR embraces influence from the 80s with a sense of nostalgia and authenticity. With glossy production, NESTOR takes you straight back to the golden age of rock music, openly displaying their influences – from Bon Jovi and Aerosmith to Journey and Foreigner. With over 30 years of existence, NESTOR turn back time while being one of the hottest newcomers of modern rock music, with millions of streams on Spotify and hundreds of thousands of views on YouTube to boot, even having shared stages with the almighty ALICE COOPER, hard rock powerhouse H.E.A.T. and supporting the legendary KISS in Stockholm on their 2022 stadium tour! The re-release of Kids in a ghost town includes the critically acclaimed full-length album as digital album, CD, Black Vinyl LP and cassette tape, as well as a limited edition wooden boxset (+ exclusive 7"" sun yellow transparent vinyl, 3 guitar picks, CD - Digisleeve & wristband) and Die Hard red transparent vinyl (+ exclusive 7"" vinyl & patch)." Single Blurb: "Swedish rock ambassadors NESTOR embrace influences from the 80s with a sense of nostalgia and authenticity on their single ""Signed in Blood""! With glossy production, NESTOR takes you straight back to the golden age of rock music - openly displaying their influences - from Bon Jovi and Journey to Aerosmith. NESTOR turn back time while being one of the hottest newcomers of modern rock music with millions of streams on Spotify alone! "

In 2011, Ard Janssen was one of the first musicians to grace Shipwrec. Now, some eleven years later, the sound sculptor returns for a full album on Phainomena. Music for Delirious Episodes brings together eleven compositions. Ard Bit is known for his delicate, almost brittle, works. This collection focuses on that same fragility that fascinates Janssen. From the first steps of "Troubled Veil", the listener is absorbed into a digital weave of field recordings, everyday undulations, other day modulations and loose harmony. Traditional instruments, string and wind, are filtered and re-imagined. The mundane echoes of routines are reborn as the percussive hum of pieces like "Stripped" and "Broken Respirator (White Funnel)." Behind the shifts and shuffles lurks something triumphal. Memories are given new form through audio carvings. Birdsong is handcrafted through knob tweaks, elephant trumpets bellow past swells of electronic insects as a glowing sun rises through the speaker. Hazes of static are shorn back, as in "Seppuku", to allow moments of intense focus and reflection. And then we return, to that ephemeral beauty that permeates this record, with the final embrace of "Awakening Delusion". An artist who finds the extraordinary in the often overlooked, or unheard.

Sublime unreleased soundtrack by Ron Geesin, to one of the most important and controversial films in British cinema history.
Standard black vinyl (750 Copies) with sleeve art taken from the 1971 film poster. Cool as fuck.
Side One is the score for Sunday Bloody Sunday, the controversial 1971 drama directed by John Schlesinger. Starring Peter Finch, Glenda Jackson and Murray Head, it tells the story of an open love triangle between a gay Jewish doctor, a divorced woman and a bisexual young male artist who makes glass fountains. Daniel Day Lewis also makes his uncredited screen debut as a yobbo scratching up posh cars. The films significance at the time of release lay in the depiction of a mature gay man who was both successful, well adjusted and at peace with his sexuality.

The music on Side Two comes from two different sources: tracks one to four are from the 1985 Channel Four documentary about Viv Richards. Simply called “Viv” it was directed by Greg Lanning, with words and narration by Darcus Howe. It was (and still is) a fascinating film recounting Richards’ rise from young talented Antiguan to global cricket superstar. It also explored the long history of West Indian players through the English game. Howe later recalled how seeing Viv Richards walking out to bat at the Oval (just down the road from where Howe lived in Brixton) without a helmet on no matter how fast the bowler was - and wearing his Rasta sweatbands of gold, green and red, was inspirational. The documentary was later re-titled ‘Viv Richards - King Of Cricket’ for the video market, and let’s face it, that’s a more commercial title. I’d strongly recommend trying to track it down to spend an hour or so in the company of Viv and Darcus. As I write this it’s still up on a popular online streaming site for free.

The last six cues of Side Two are from a 1970 BBC Omnibus film ‘Shapes In A Wilderness’. Directed by Tristram Powell this was a documentary about the importance and influence of art therapy in mental hospitals, tracing its origins from a painting hut in a wartime military hospital to its successful and widespread incorporation in institutions. It featured fascinating medical insights, disturbing imagery and Ron’s finely tuned accompaniment. On its original transmission John Schlesinger saw it and was heard to say “I must have that composer for my new film!”. And he got his way.

I could spend another paragraph analysing the music and stuff like that but you can listen and work all that out for yourself. But I will say that all the music just confirms the fact that Ron Geesin is one of the most underrated, inventive and versatile composers (and musicians) we have.

Clear Vinyl + DL Code

Yiannis Iliakis is a multi instrumentalist and composer from Athens. He is mainly known as a drummer. As such he is a member of the free jazz band Outward Bound as well as a member of the successful Greek progressive rock band Ciccada. However, that's only one side of Iliakis' creative efforts. In April 2021, he released his first full length electronic album entitled Vertical Horizon on the Submersion Records, which mostly is an ambient work. Now, with Mountainmouth he opens another chapter for his musical talents.

The EP is one of the most thrilling and adventurous takes on what the IDM term usually would suggest. The key song might be the title track "Mountainmouth" - an extremely energetic composition which won't leave you unaffected. As per most of Iliakis' songs it is based on originally recorded drums that were heavily edited. In the next step, these were combined with chords, melodies, bass and harmonies on top. The musical result is simply breathtaking - one might even call this track electronica for prog-rock heads. Surely a perfect opener for the release.

The next song is Carbonated Soap on which Iliakis is going straight forward. The catchy melody and a fresh uptempo beat are offering something that could even fit well into a club-friendly DJ set. Next up, comes "Infected Walkman". According to Iliakis, it was the first one he made for this project when he participated in an art exhibition. This track, as well as the following "Sad Plants", are both down tempo and chilled, yet keeping an experimental vibe without loosing a soulful and human touch. Coming closer to the end, "Exodus Denied" is a brilliant experimental ambient piece, more similar to the works on the Vertical Horizon LP. Finally, the EP ends with a short edit of "Carbonated Soap" that jumps right to the more energetic parts after the first break.

Mountainmouth may not be an easy listen at start - but we are sure the music has the power to be another classic release from our catalogue. The EP will be released in July 2022 on a very limited 12" vinyl as well as digitally. The cover artwork was done by Iliakis himself. We are very excited to present a new artist to you on Equinox with so many different talents.

Violet Vinyl + DL Code

Yiannis Iliakis is a multi instrumentalist and composer from Athens. He is mainly known as a drummer. As such he is a member of the free jazz band Outward Bound as well as a member of the successful Greek progressive rock band Ciccada. However, that's only one side of Iliakis' creative efforts. In April 2021, he released his first full length electronic album entitled Vertical Horizon on the Submersion Records, which mostly is an ambient work. Now, with Mountainmouth he opens another chapter for his musical talents.

The EP is one of the most thrilling and adventurous takes on what the IDM term usually would suggest. The key song might be the title track "Mountainmouth" - an extremely energetic composition which won't leave you unaffected. As per most of Iliakis' songs it is based on originally recorded drums that were heavily edited. In the next step, these were combined with chords, melodies, bass and harmonies on top. The musical result is simply breathtaking - one might even call this track electronica for prog-rock heads. Surely a perfect opener for the release.

The next song is Carbonated Soap on which Iliakis is going straight forward. The catchy melody and a fresh uptempo beat are offering something that could even fit well into a club-friendly DJ set. Next up, comes "Infected Walkman". According to Iliakis, it was the first one he made for this project when he participated in an art exhibition. This track, as well as the following "Sad Plants", are both down tempo and chilled, yet keeping an experimental vibe without loosing a soulful and human touch. Coming closer to the end, "Exodus Denied" is a brilliant experimental ambient piece, more similar to the works on the Vertical Horizon LP. Finally, the EP ends with a short edit of "Carbonated Soap" that jumps right to the more energetic parts after the first break.

Mountainmouth may not be an easy listen at start - but we are sure the music has the power to be another classic release from our catalogue. The EP will be released in July 2022 on a very limited 12" vinyl as well as digitally. The cover artwork was done by Iliakis himself. We are very excited to present a new artist to you on Equinox with so many different talents.

‘Was there ever a more perfect film for Glass’s lyrical manner? He refers to his own past, but the way in which the material is treated transforms it inevitably into that eternal present. Such a feeling of fragile beauty is a rare achievement.’ – Gramophone

‘Simple and complex by turn, Glass’s score adds dignity and depth to the movie, and to the tragedies and triumphs, big or small, of ordinary life.’
– Guardian

‘Underpinning the anguish at the heart of The Hours a beautiful score. Glass’s motifs capture the passage of time and the universality of human experience.’ – Classic FM’s Best Soundtracks

Nonesuch releases Philip Glass’s award-winning soundtrack to The Hours on vinyl for the first time to coincide with its 20th anniversary and Glass’ 85th birthday concert season. Originally released in December 2002, Glass’s score to the Academy Award-winning film was itself nominated for an Academy Award, as well as a Golden Globe and a Grammy, and went on to win a BAFTA and a Classical BRIT.

Directed by Stephen Daldry, The Hours is the story of three women searching for more potent, meaningful lives. Based on Michael Cunningham’s 1999 Pulitzer Prize–winning novel, with a screenplay by David Hare, the film interweaves the stories of three women – a book editor in New York (Meryl Streep), a young mother in California (Julianne Moore), and the author Virginia Woolf (Nicole Kidman). Their stories intertwine, and finally come together in a surprising, transcendent moment of shared recognition.

Philip Glass’s score was conducted by Nick Ingman, with Michael Reisman on piano and the Lyric Quartet, and recorded at Abbey Road Studios and Air Studios, London. The score was a key element in this acclaimed triptych of dramatic tales. ‘The inter-cutting of personal stories over a wide span of time,’ said NPR, ‘is held together by a single music approach.’

In his original liner note, Michael Cunningham wrote, ‘Each novel I’ve written has developed a soundtrack of sorts; a body of music that subtly but palpably helped shape the book in question. The one constant since I started trying to write novels, however – my only ongoing act of listening fidelity – has been the work of Philip Glass. I love Glass’s music almost as much as I love Woolf’s Mrs. Dalloway. Glass, like Woolf, is more interested in that which continues than he is in that which begins, climaxes, and ends; he insists, as did Woolf, that beauty often resides more squarely in the present than it does in the present’s relationship to past or future. So, when I heard he’d agreed to contribute the music to the film version of The Hours, it seemed both inevitable and too good to be true. I’m not sure if I can offer any higher praise than this: When I saw the movie with the music added, I thought automatically of how I could use the soundtrack, when it came out, to help me finish my next book.’

“This is a movie about art and how art affects life," explains Philip Glass. “The story is very complicated and the music could take on a very important role in the film, as I saw it – to make it viewable, to make it comprehensible, so the stories of the three women in the film didn’t seem separate, that they were tied together. The music had to be the thread that tied the movie together. There’s no question that the emotional point of view is conveyed by the music. Music is the arrow you shoot in the air. Everything follows that.’

Born in Baltimore, Maryland, in 1937, Philip Glass is a graduate of the University of Chicago and the Juilliard School. By 1974, Glass had created a large collection of music for The Philip Glass Ensemble. The period culminated in the landmark opera, Einstein on the Beach. Since Einstein, Glass’s repertoire has grown to include music for opera, dance, theater, orchestra, and film. His scores have received Academy Award nominations (including Kundun and The Hours, both released on Nonesuch, as well as Notes on a Scandal) and a Golden Globe (The Truman Show). Recent works include Glass’s memoir, Words Without Music, Glass’s first Piano Sonata, opera Circus Days and Nights, and Symphony No. 14. Glass received the Praemium Imperiale in 2012, the US National Medal of the Arts from President Barack Obama in 2016, and 41st Kennedy Center Honors in 2018.

Nonesuch’s relationship with Glass began in 1985, with the release of the score for Paul Schrader’s Mishima. In addition to The Hours (2002) and Kundun (1997), over the years other Glass works on Nonesuch have included Einstein on the Beach (1993), Music in Twelve Parts (1996), the soundtracks for Powaqqatsi (1988) and Koyaanisqatsi (1998), Glass Box (2008), and Kronos Quartet’s Performs Philip Glass (1995), amongst others.

After 40 steamrolling, liver wrecking, gut stretching years in the name of heavy metal, the Tankard beer train isn’t slowing down. Right in time for the festivities surrounding their 40th birthday, our most favourite Frankfurters let “Pawlow’s Dawgs” off the leash, their 18th overall record and debut for new label amigos Reaper Entertainment. Produced and recorded at Gernhard Studio Troisdorf again together with Martin Buchwalter. The taps are polished, the Freibier is flowing and Tankard are finally back to what they do best five long years after their last studio album: Thrashing madly, drinking thirstily and ever so cleverly intertwining metal, humour and sarcastic social commentary into one big raucous ball of entertainment. Just like they did all these years ago in a classroom where they drank beer out of emptied milk cartons. All hail Tankard. All hail the dawgs. The world is a better place with capital guys like them waiting at the bar.

After 40 steamrolling, liver wrecking, gut stretching years in the name of heavy metal, the Tankard beer train isn’t slowing down. Right in time for the festivities surrounding their 40th birthday, our most favourite Frankfurters let “Pawlow’s Dawgs” off the leash, their 18th overall record and debut for new label amigos Reaper Entertainment. Produced and recorded at Gernhard Studio Troisdorf again together with Martin Buchwalter. The taps are polished, the Freibier is flowing and Tankard are finally back to what they do best five long years after their last studio album: Thrashing madly, drinking thirstily and ever so cleverly intertwining metal, humour and sarcastic social commentary into one big raucous ball of entertainment. Just like they did all these years ago in a classroom where they drank beer out of emptied milk cartons. All hail Tankard. All hail the dawgs. The world is a better place with capital guys like them waiting at the bar.

The long-awaited full-length from Tommy and The Ohs: Mariposa Gold. Ohs’ mastermind Thomas Oliverio has worked alongside some of the biggest names in music today—but with Mariposa Gold, he takes a sharp turn into the psychedelic reaches of American roots music and the avant-garde. The result is a wild trip through a lavish soundscape, a California of fantasy and heartbreak, where genres and traditions bleed together in “the big surreal.” Guided by Oliverio’s fine-tuned sense of production and melody, Mariposa Gold is lush with arrangements that strive toward new and surprising dimensions. These songs sway like hummable country weepers sent through the looking glass, joining sheer virtuosity, worthy of the best session players, to a distinct experimental sensibility shaped by bluegrass, country, and psychedelia.

Saxophone player Jakob "Dino" Dinesen and bass player Anders "AC" Christensen have been household names on the Danish jazz scene since the nineties, where they played together in the now legendary Once Around the Park. Here they are joining up with drummer Laust Sonne. Sonne is one of the most versatile musicians in Denmark and he has been the drummer in the popular Danish rock band, D-A-D, for over 20 years. He has also played drums in the avant jazz rock outfit, Bugpowder, and has made a career for himself with his own rock band, Dear. He has also recorded two solo albums and in 2007 he received the prestigious Danish music award, Ken Gudman Prisen. Anders "AC" Christensen has been a member of Paul Motian's ensemble and has played in Polish jazz legend Tomasz Sta?ko's band. In Denmark, he has played with the Hess brothers in Spacelab, for over 25 years. In 2009 he made his only solo album so far, 'Dear Someone', featuring Aaron Parks and Paul Motian. "AC" is highly in demand among Danish jazz musicians and he has even played in a lot of rock bands, like Sort Sol and The Raveonettes. Jakob Dinesen has made a long string of albums in his own name and has received several prizes. He has played with loads of internationally acclaimed jazz musicians, such as Paul Motian, Kurt Rosenwinkel, Eddie Gomez, Ben Street, Tony Allen, Nasheet Waits and Steve Swallow. He has also been a member of the acclaimed Danish jazz groups Hugo Rasmussen Allstarz and Beautiful Day and has played with Danish musicians as distinct as Thomas Blachman, Thomas Helmig and Lars H.U.G.. The three musicians have known each other for many years. In their younger days, they often ended up together, playing late night jams and gigs at parties. The corona outbreak in the first half of 2020 finally brought the three musicians together again, as most of their other plans were cancelled because of the virus. As a blessing in disguise, they began to play together again, in the rehearsal room. They found, and created, a space for their thoughts and ideas. A space for listening and playing.

Debut solo album from Julia Kugel (The Coathangers). Limited edition first LP pressing on heartbeat pink color vinyl, includes DL (1500 copies). If you can’t trust yourself, who can you trust? This is the crucial question at the core of Julia, Julia, the moniker for Julia Kugel, founding member of garage punk icons The Coathangers and the dream pop duo Soft Palms. On her first solo full-length album Derealization, Kugel shifts her focus from collaboration and band dynamics towards a singular artistic vision and private self-discovery. Steeped in the beguiling pop elements of her past work, Derealization is a meditative deep dive into the mind of a person struggling to understand a crumbling internal and external world. The album traverses a landscape of ethereal folk, atmospheric deconstructed pop, and dubbed-out country ballads, all centered around straight forward and direct lyrics. This juxtaposition of nebulousness and lucidity gives the album a sense of clarity emerging from the haze, an apt refection of Kugel's personal growth and journey toward self-acceptance. Derealization is based on weaving the unreal, unsaid, and unknown into an undulating sonic fabric. Vocal layering and abstract instrumentation convey a blurred desperation to connect to an emotional and psychological focal point. Moody, dark, and sumptuous, the record is a flow chart of Julia Kugel coming into herself as an artist and songwriter. The album finds Julia playing almost all the instruments and taking her first stab at engineering at COMA, her and her husband's home recording studio in Long Beach, CA. “You know how touring musicians often speak of whether home is real or tour is real? Well, it can lead you to lose grasp on ‘reality,’ especially when touring is taken away and you are left to wonder if anything was ever real, including yourself. Like you we're just playing a character,” Kugel says of her headspace leading up to the creation of Derealization. “Honestly, I kinda lost it, and through making this record I made peace with it and reconciled myself as a real person. I forgave myself and in turn forgave those around me. The song ‘Forgive Me’ is the apology I wanted to say and to hear. I wrote every song from that place and gained the confidence I was pretending to possess.” This raw and personal approach to the lyrics is present throughout Derealization. On the opening track "I Want You," Kugel creates a woozy sense of space with reverb-soaked drums and spaghetti western guitars while she lists off her desires for a mysterious “you.” Is she actually listing off her desires for herself? For the people around her? As she repeats "do you feel it?" in the song’s chorus, it feels as if she’s conjuring a magical thread by which we are all connected, showing us how our desires are all the same. On "Fever In My Heart" the listener is treated to a lush, acoustic techno track detailing the exhilarating madness of an emotional breakdown. Simple truths percolate to the surface on "Words Don't Mean Much,” as if clearing away the murk of platitudes and empty gestures. The journey continues on the detached and conflicted "Do It Or Don't,” an alluring walk through the winding road of lonely choices. The name for the project Julia, Julia is a look in the mirror, a reflection of what is hidden and unanswered, of what is real and what is transient. The experience of living life not as you planned it but as it unfolded, and the mysterious, magical pain that creates meaning.

Tracklisting 1. I Want You 2. Forgive Me 3. Impromptu 4. Fever In My Heart 5. Words Don’t Mean Much 6. Do It Or Don't 7. No Hard Feelings 8. Big Talkin' 9. Paper Cutout 10. Where Did You Go 11. Corner Town

• First ever vinyl LP of Gunfire Dance • Remastered for vinyl • Tracks produced by The Damned’s Brian James & Rat Scabies • Limited pressing 450 copies with printed inner sleeves • Reviews & Advertising in Vive le Rock, Record Collector & Classic Rock. Gunfire Dance we're born sometime in the mid 80's. Playing every sweaty rock'n'roll dive from Birmingham's Barrel Organ to regularly selling out London's Marquee to New York City's infamous C.B.G.B's and back again along the way being produced by Brian James and Rat Scabies and sharing bills with the likes of Jayne County...Thee Hypnotics...Dogs D'Amour...D Generation...And various alumni of The Heartbreakers, Hanoi Rocks and Lords of the New Church.....The bands mixture of Dolls'y R'n'B swagger and Raw Power era Stooges venom was out of step with both the 'Hair Metal' and 'Grunge' era's they straddled.... They imploded in New York City in 94... R.I.P. Ant..Side 1. 1. Blue 2. Bliss Street 3. Bird Doggin' 4. Easy Come (You've Just Gone) 5. Break It up 6. Pretty As Sin Side 2.1. Suit And Tie 2. Make You Cry 3. It Hurts 4. Burnin’ Ambition 5. Gimme Back My Heart 6. Archway Of Thorns.

Modern Rituals have announced their return with the release of upcoming new album, Cracking Of The Bulk. For a band who’ve tended to flesh out songs in the practice room and track live, the writing and recording of Modern Rituals’ third album was a disparate and protracted process. In cramped apartments and a secluded annex, sharing files over the internet and working on parts in solitude, the band introduced subtler tones from their last record, This Is The History. Yet still, this new direction is matched by an explosive frustration that gives it a unique balance of darker and lighter shades. Tour Dates:20th November - The Victoria Dalston, London 21st November - The Prince Albert, Brighton 22nd - The Crofters Rights, Bristol 23rd - Voodoo Daddys Showroom, Norwich 24th - Gorilla Studios, Hull 25th - Hyde Park Book Club, Leeds 26th - The Jericho Tavern, Oxford 27th - JT Soar, Nottingham


1. Mixx3ed 2. The Flow 3. Nails of Love 4. Wastrel 5. Western Cut 6. Scummeth 7. Incipit 8. Sonder 9. Dog Jerky Haiku 10. Perpetual Dawn

Limited Blue Sky Colour Vinyl LP Pressing. This release is strictly for Indie Stores Only. First reissue of Love Battery’s 1992 Debut Sub Pop Album. Remastered by Jack Endino from the Original Masters. Includes Liner Notes with photos, lyrics and more. Jackpot Records is proud to announce the upcoming vinyl reissue of the classic 1992 Sub Pop album: LOVE BATTERY “Dayglo”. In the middle of the wonderful sludge that was coming out of Seattle in the late 80s/early 90’s, Love Battery pierced through with something different to offer. They were more psychedelic, more tuneful, and even more...dare we say...British sounding than what Sub Pop was releasing at the time. We were listening. The results are crystal clear on the record Jackpot Records is reissuing, ‘Dayglo’. And like many of the Sub Pop records of the day, this has not been available on vinyl in the U.S. Until now. On 'Dayglo', inventive and underrated guitar wizard Kevin Whitworth and vocalist/guitarist Ron Nine slash and burn through 10 songs that would give bands like Blur, Swervedriver, and yes, Nirvana, a run for their money. It doesn't hurt that the focused driven energy of drummer Jason Finn (soon to be of The Presidents Of The United States) and ex-U-Men bass monster Jim Tillman add more than their weight to the sonic mystery of these songs. From the melodic battle cry of opener 'Out Of Focus' with its slippery, infectious chorus, it's obvious that Love Battery had an incredible knack for hypnotic hooks, cryptic lyrics, and propulsive grooves, ones that record obsessives still drool over when the needle hits the turntable. The record is as mysterious as early R.E.M., with equal hints of 13th Floor Elevators and Screaming Trees sprinkled throughout.

Reviews: “4 ½ stars out of 5 - Dayglo is imbued with a highly energetic style and creative force”. All Music Guide // “Two years later, Oasis made the same record and were called geniuses” SPIN Magazine // Track listing: 1 Out Of Focus 2 Foot 3 Damaged 4 See Your Mind 5 Side (With You) 6 Cool School (Trane Of Thought) 7 Sometimes 8 Blonde 9 Dayglo 10 23 Modern Stories

Geir Sundstøl: Strings With: Maria Due, Daniel Sandén Warg, Audun Erlien, Nikolai Hængsle, Håkon Brunborg, Lars Horntveth, Hans Hulbækmo, Gulzar Butt, Kjell Pop, Jarle Bernhoft, Chimta Raja Abdul, Sofi Jonas, Bashir Rydhem, Erland Dahlen.Geir Sundstøl has made a name for himself as an innovative session musician on hundreds of Norwegian and international albums. 2015 saw the release of Furulund, the first self-composed long player from this Master of Strings. Langen Ro, Norwegian Grammy winner Brødløs and St.Hanshaugen Steel, followed soon after. Now, the stage is set for something quite different. The Studio Intim Sessions, Volume 1, Sundstøl's fifth solo album, has taken a trip on its own, away from the cinematic Nordic noir and genre-crossing soundscapes we know, and ended up somewhere south of the Kattegat.

1.Gem (06:16) 2.Dogg (03:29) 3.Snik (03:25) 4.Jekk (05:00) 5.C’est vide en ville (09:18) 6.Whole (03:50)

San Francisco band touches upon black metal, blues, ambient and more. Of all things, it’s laughter that pervades Mamaleek’s Diner Coffee, the San Francisco metal deconstructionists’ sonically crushing ode to the humor found within catastrophe, American diners, and “the little things.” Featuring a mix of live performances, samples, and field recordings, Diner Coffee laughs through its harsh songs in an attempt to reflect the camaraderie found at the heart of global calamities and changing personal situations. It’s an homage to the quotidian set to the backdrop of the mythologized, sanctuary-like properties of a diner, reveling in irony-less nostalgia. Mamaleek embodies this ethos on and off the record. Originally two anonymous brothers, the past few years have seen Mamaleek adding members and venturing into live performance. Diner Coffee, following in the footsteps of 2020’s Come & See, features new, unfamiliar, unknown voices—including expanded experiments with horns, woodwinds, and strings and a Bay Area-local blues harmonica player who improvised recorded selections during practices. The resulting tracks touch on signifiers from black metal, blues, ambient, and more. Diner Coffee simultaneously represents the band’s artistic progression and the state of the world. Taking a surprisingly optimistic perspective, Mamaleek once again puts forward a project of left-field, wholly unique compositions, eluding easy categorization and furthering their abstraction of genre. “The group cloaks its music in the kind of warm, hypnotic distortion that defines shoegaze, and underneath that haze is a style that’s conceptually abrasive yet altogether beautiful.” Forbes //

Tracklist 1 Libations to Sacred Clowns 2 Boiler Room 3 Badtimers 4 Save Your Poor Wicked Soul 5 Grief and a Headhunter's Rage 6 Wharf Rats in the Moonlight 7 Diner Coffee

Grammy-nominated blues, soul and Americana singer is revered
worldwide for her defiant music and fire-breathing performances
' Done Come Too Far' continues Shemekia's riveting, clear-eyed testimony about
our troubled world while celebrating the blessings that keep hope alive. The new
album, available in Clear Vinyl and CD, is again produced by Will Kimbrough, and
an all-star supporting cast includes slide guitar whiz Sonny Landreth, Hill Country
blues great Cedric Burnside and Hi Rhythm Section organist Charles Hodges.
'Done Come Too Far' is another exhilarating Shemekia Copeland showcase, as
her rousing vocals bring the heat in an infectious array of muscular rockers,
stomping blues, swampy soul and heartbreaking ballads. Intense, topical new
originals make up most of the tracks and spirited versions of songs by Ray Wylie
Hubbard and her father, Johnny Copeland, fit right into the mix.
MOJO - September review
BLUES MATTERS - upcoming review
BLUES MATTERS - upcoming feature with interview
BLUES IN BRITAIN - upcoming review
BLUES IN THE SOUTH - upcoming review
BLUES' BLUES - upcoming review
BLUES BYTES - upcoming review

Aurora Records is proud to present asamisimasa's latest album with two
pieces by composer Trond Reinholdtsen – Unsichtbare Musik (Invisible
Music) and SPASTIL (Late Style)
After nearly twenty years of collaboration, this is their first collaborative release.
Reinholdtsen is among Norway's most prominent composers of his generation
and has a significant international position with a long list of commissions on his
resume. asamisimasa has premiered seven works by Reinholdtsen at festivals
such as Donaueschingen, Ultima, Huddersfield, and Darmstadt. Being a prolific
voice within the experimental opera and music theatre scene, Reinholdtsen has
previously only released two works on CD. With this release asamisimasa wishes
to shed a light on his instrumental chamber music. This is the ensemble's fifth
portrait album, their second on Aurora Records. "Unsichtbare Musik" was
commissioned for a concert at the Berliner Philharmonie in 2009, and explores
the relationship between language and music, between words and sonorous
representation. The piece challenges both the act of listening, our perception of
musical sounds, and the attempt to conceptualize musical impressions and
experiences. Composed ten years later,"Spatstil" is based on the semantic
analysis of "Unsichtbare Musik" and the ensemble's performance history with this
work. "SPATSTIL" marks a clear, yet ironic distance from the previous piece
through a dystopian self- criticism. The pieces have a unique sonorous
sophistication and aims to inspire philosophical reflection as well as aesthetic
pleasure. The aim is that the album can contribute to a reflection on music's
conditions today by focusing on the solitary and secluded listening one does at
home.
asamisimasa was founded in 2001 by musicians who shared an interest for
experimental music. Since then the ensemble has won two Spellemann Awards
(2012, 2015) and premiered more than 80 new pieces and toured all over Europe,
USA and Asia.

THE LONG-AWAITED FULL-LENGTH RETURN OF THE US DEATH METAL PIONEERS FOR A NEW BOUT OF SUPREME SICKNESS
Since first bursting onto the death metal scene with the now genre classic Severed Survival' back in 1989 & following up with the equally revered 'Mental Funeral' album, the influential US quartet has carved an unwavering legacy over three decades as masters & purveyors of the vile sides of the extreme metal spectrum. And now, Autopsy marks its reinvigorated return, presenting the first new full-length studio opus since 2014's 'Tourniquets, Hacksaws & Graves' with Morbidity Triumphant'; a savage offering of brutal death, showing the US legends still have an unbridled hunger for the sadistic, never reluctant to step beyond the threshold of decency.'Morbidity Triumphant', the band's eighth album, is truly a dark delight for seasoned & new listeners alike, with a raw organic sound perfectly encapsulating what makes Autopsy so distinguishable among its peers, for what could easily be considered one of its strongest offerings to date.

Brooklyn band Office Culture is made up of four longtime collaborators
(and all solo artists in their own right) lead singer and songwriter Winston
Cook-Wilson (vocals/keyboards), Ian Wayne (guitar), Charlie Kaplan
(bass), and Pat Kelly (drums)
Following the electronic avant-pop experimentation of their debut album I Did the
Best I Could, the band's critically acclaimed sophomore LP "2019's A Life of
Crime "unveiled a lush, jazz- inflected sound that Pitchfork described as "sleek
music for a cursed place, opulent like a ritzy hotel lounge." Cook-Wilson's wry and
contemplative songs reflect the bandmates' shared points of musical reference,
including Nite- Flights- era Scott Walker, mid- 70s Joni Mitchell, Curtis Mayfield,
and ECM-label jazz. The FADER wrote: "Office Culture spends the best moments
on A Life Of Crime sounding like the most vital lounge-pop act of all time. Big
Time Things "the band's third album and Northern Spy debut "is a more
maximalist affair. Written and recorded across the course of three years, it's a
meticulously orchestrated and groove- forward record featuring nine of CookWilson's most ambitious compositions to date. Tracks like singles Elegance, Big
Time Things, and Little Reminders draw together a disparate collection of
influences, integrating soulful vocal harmonies, horns straight out of 70s spiritual
jazz, string arrangements informed by modernist classical music, and beats that
reflect the band's enduring love of neo-soul and hip-hop.
The playful experimentation of the arrangements elevates the melodrama and
humor of Cook-Wilson's songs "his most emotionally direct to date "which trace
the complexities of our efforts to better ourselves by learning from our worst and
least rational behavior, and how we attempt to apply that knowledge to nurturing
close personal relationships. The record features a dense cast of supporting
players, including Carmen Q. Rothwell, Caitlin Pasko, Alena Spanger (Tiny
Hazard), and members of Cuddle Magic / Mmeadows. The album releases via
Northern Spy.

'Terra' is the debut album of jazz singer Hannah Weiss, the voice of the
Munich native, who grew up in Switzerland, can not only be cool and
warm, it also covers all temperature ranges
Weiss, winner of the BMW Welt Young Artist Jazz Award in 2019, skilfully
balances on nuances and, with her typical timbre, always sounds new and
surprisingly different - so that even without lyrics it is immediately clear what she
singing is about. About fear, about flight and hunger and pain. And about love,
longing and devotion. In the lyrics of her nine-part suite composition 'Terra', which
also gives the album its name, Weiss describes what she sees and what occupies
her mind, she sings about the paradoxically normal coexistence of the most
diverse side by side of emotional states, without judging, and in the knowledge
that that one does not make the other less relevant. On the one hand, Terra
sounds playfully light: a well-composed, beautiful-sounding concept album that
floats past you like a spring breeze.

Pocket Fantasy, the sophomore album from Mamalarky is an instantclassic sunny-day record, imaginative and introspective, an enveloping
listen of skyhigh hooks and keyboards that soar with joyful abandon
Its twelve kaleidoscopic tracks shapeshift aesthetically and thematically, through
ideas about death and impermanence; love and gratitude; nature and technology;
humor and hope. Heralded by Billboard, Nylon, The Fader and more, the new
album expands on the unique sound of their self- titled debut which Pitchfork
called "tenderly tangled indie rock". On Pocket Fantasy some of the band's purest
pop tendencies collide with more warped and weird strains of quirky psych. It's a
treasure trove of playful grooves and zigzag riffs, a phenomenal album from a
young group poised to carve their own place in the bins of your favorite record
store.

On their new album Looming, The Spindle, The Pleasure Majenta shape a
terrifying and sublime mix of noise, broken electronics and guitar
feedback that begs to remain untamed
From New Zealand by way of Berlin, these dystopian goth punks take their cues
from the harsh and heavy energy of The Birthday Party, Swans and The Fall
€"casting bummer vibes into the void to create the pain- soaked statement so
many albums want to make but wind up missing the mark.The lead single € Full
of It € fills the screen with flashes of cinematic post-punk savagery up to its ears
in swampy distortion and sleazy funhouse skronk. Velvety € 70s exploitation flick
saxophones hustle with devilish no-wave spaghetti western guitars and a slippery
bassline like a coffin dragged through mud in a grungy post- punk dirge. It's a
waking tour through a dysfunctional late- capitalist bardo where disassociation
becomes an effective coping mechanism for the cyclical, paralyzing grind of
clock- in, clock- out psychosis. € I felt okay when I wasn't myself "when I was
making music or playing onstage, so I decided I would contact myself in this way,
says The Pleasure Majenta's Lawrence Loz Fergus Goodwin. It's a dangerous
game to play.
Tracks: Satellite / Fabric / Sad2say / Smiles Through A Sneer / Anxious Patient /
Osc / Full Of It / It's Ten / Erik Satie / Gardens