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The new album from American doomed dark metal veterans GREY SKIES FALLEN “Molded By Broken Hands” will see its release on March 8th. This release date will coincide with the 25th anniversary of the band’s debut album “The Fate of Angels”.

“Molded By Broken Hands” will see the long-running contingent deliver their most triumphant work yet and is an album that carries that feeling of the underappreciated and underrated dark metal scene that was culminating in the US during the late ‘90s), an era where GREY SKIES FALLEN grew from, while helping to signal a new resurgence of doomy-dark metal artistry currently building.

Through soaring, emotionally searing melodies, glorious epic harmonics, and with an overall conquering aura, “Molded By Broken Hands” will finally deliver the recognition GREY SKIES FALLEN are worthy of.

“Modled By Broken Hands” was recorded and engineered with all keyboards provided by Colin Marston (Krallice, Gorguts) in the Thousand Caves and was mixed and mastered by legendary Swedish producer Dan Swano (Edge Of Sanity). It also features artwork and design by Travis Smith (Opeth, Katatonia).

Track Listing: 1. A Twisted Place in Time, 2. Molded by Broken Hands, 3. No Place For Sorrow, 4. I Can Hear Your Voice, 5. Cracks in Time, 6. Save Us, 7. Knowing That You’re There

Cardinal Fuzz and Little Cloud Records bring to you the new LP from a band we hold dear, Firefriend – ‘Decreation Facts’ – From São Paulo in Brazil and now close to two decades of creating and honing what has become their trademark, a heavy reverb, minimalistic slow-burn menace which sends chills down your bones. If you don't know Firefriend from somewhere along the last decade, you must cut a safe course through music. ‘Decreation’ is the undoing of creation, something destructive and primal and that Firefriend carry through on all the twelve songs written for this LP. Yury explained that the album "is a commentary on our 21st century, so violent and radical. We live in times of accelerated transformation. We wrote and recorded this album between the pandemic and WW3 – times of ground-breaking changes – and somehow that uneasy feeling got into our songs. Reality is the most crazy trip, isn it? And we are always trying to explore new territories: we want a new album to take you to new places, so we were chasing the sounds, structures and moods to make this a truly new album to match this wild new world’ ‘Decreation Facts’ is all this as they simply inject you with a liquid paranoia for their dark conjuring’s that is hugely dark and foreboding – Julia and Yury’s uber cool stoned and detached delivery creates a seriously dark menace with Julia’s delivery having echoes of Nico – all the while THAT claustrophobic reverb and tremolo encloses and swirls around the inside of your head and vibrates your inner core. This is HEAVY shit. Decreation Facts’ is an unsettling sonic fuck you to those that seek to destroy this planet for their love of money and power and we think it is a stunning achievement. As Terence McKenna might once have said – ‘Firefriend should be consumed alone, in the dark, in silence, with your eyes closed’. Firefriend advises, “Express yourself through any method you want. That is how you become a transmitter, generating waves that will open connections with others vibrating on the same frequencies. That energy field will change the game.” Now that is a truly psychedelic perspective if there ever was one. RCKNRLL, FUZZ, FEED YOUR HEAD

"For a long time, I'd come across these discs without really understanding what connected them, apart from a button and that famous logo designed by René Dessirier. Then, with a little more digging, I discovered the "self-production" link. For choirs, schools, folk singers, young pop groups, popular homes and even great composers who engraved unique copies of certain recording sessions...

The French equivalent of the English "Derby Service", the Kiosque d'Orphée, formerly at 7 Rue Grégoire de Tours in the 6th arrondissement, was taken over by Georges Batard in 1967 and moved to 20 Rue des Tournelles in the 4th arrondissement of Paris. The adventure lasted until 1991. Georges Batard was a sound engineer who used a Neumann tube engraver to engrave acetates from the tapes he received, before printing the precious vinyls in the press factories of the day, where he was able to produce very small runs of between 50 and 500 copies.

Of course, there were other structures for releasing his records, such as Voxigrave or, later, FLVM, but none of them had so many records in their catalog. Le Kiosque d'Orphée was neither a label nor a publisher, but a structure that allowed you to press your own vinyl, at a time when it was quite an adventure to get your first 45 rpm or 33 rpm album released!

Georges Batard was described as passionate and conscientious. His son, bassist Didier Batard, wrote of him:
"Georges was passionate about recording and reproducing the stereo sound of his great passion, music. He paid close attention to distortion rates, signal-to-noise ratios, response curves, rise times and other damping factors in audio equipment. He was looking for the exact reproduction of concert hall sound in his living room (with the same sound level, if possible...). In the late '50s/early '60s, he found other sound enthusiasts in AFDERS (Association Française pour le Développement de l'Enregistrement et de la Reproduction Sonores). He became its honorary president. Every Saturday afternoon, its members met to test au- dio equipment. Their opinions were published in the monthly Revue du Son.

All you had to do was send in your tapes and choose the number of record copies you'd like to take home with you, so you could finally share your creations and, in a way, exist. You could opt for a generic sleeve, available in several colors, directly customizable with your name and credits, or you could design your dream sleeve yourself in your living room or at a printer's.

This "Do It Yourself" temple gave birth to some superb pouches. Stencilled, hand-written, illustrated with paintings, drawings, illustrations by friends or girlfriends of the time, photo prints hastily stuck in the middle of a blank, white sleeve, on which the traces of time would leave their imprints, so that collectors and the curious would come and buy them decades later, with the promise of a musical discovery, unfortunately not always fulfilled...

What most of these records have in common is the youth of their songwriters, whether or not they've had a career. Stories of buddies, of getting by and dreams of glory made up this catalog. Most of them were amateur productions, both in terms of the level of the musicians and the quality of the recordings, made on a two-track or, the ultimate luxury, a 4-track in a teenager's bedroom or parents' living room.

It was the beginning of the home studio, thanks to the advent of the Revox portable tape recorder. A bit of a shaky DIY system, but, in return, the luxury of setting no limits: one-sided tracks, no outside censorship, no artistic director, no manager, no Barclay or EMI/Pathé Marconi logos...

When you finally had your own record, you could give it away or sell it to friends, family or after concerts. You could also drop it off at the nearest record shop, with undisguised pride.

It was also a calling card that could be sent to radio stations or music labels, in the hope of launching a career...

Many of the protagonists in this story tried to sign with labels, but in those days, bridges were not so easy to build between one's hometown, or even one's village, and the major or more specialized label that might have released these records. At the time, the advertisements published in the press by the Kiosque d'Orphée opened up the field of possibilities for provincial composers. It was now possible to make their own record, without having to go through the process of signing with a label.

Some of the composers who have gone on to make a career have used this channel to release their first record or parallel projects (Claude Engel, Dominique A, Andy Emler, Michel Deneuve, Claude Mairet, Mick Piellard, Tristan Mu- rail...) and sometimes even single or very limited pressings of work or promotional copies (Bernard Parmegiani, Jef Gilson...).

This album is the conclusion of a long investigation, begun six years ago. It took a long time to find the records, scattered all over the place, in the homes of collectors and sometimes the musicians themselves, and then to listen to them, sometimes painstakingly, to unearth these moments of grace.

From this work, 23 tracks remain, but there are dozens of others that could have been included, so we had to choose, and the choice had to be as universal as possible. This selection is obviously not objective, but I hope you'll like it.

Today's music is raw, touching and powerful. "

Jean-Baptiste Guillot - Born Bad Records

For a few years Leo Robinson was the sort of hidden secret you sometimes come across in local music scenes. First in Manchester and now in Glasgow, he’d pop up regularly on DIY bills or as local support to a touring act, quietly blowing them off stage with his rich baritone vocal and homespun lo-fi tales of folklore and animism. With The Temple – his debut on PRAH Recordings – he looks set to cross over from being a cult concern.

“There's a spectrum within the album between fully mythologising or symbolising my lived experience, and just stating it in very matter of fact terms - that push and pull between the need to abstract and the need to break through the abstraction and have an honest moment with oneself” he explains. “This is one of the themes of the album as well as part of the process. The aim was to take all these anecdotal or symbolic elements and merge them into one narrative and one world, in a way that you can find your way through the record as if it were a landscape or language with its own logic.”

The record takes on a pastoral, slightly baroque nature that Robinson partly attributes to a friend screening a lot of ‘70s BBC material in his book shop that they used to hang out at. There are also elements of jazz, flickering to life in “The Spring”’s piano-led finale and coda.

Thematically, Robinson likens it to a Jungian ‘Hero's Journey’, his voice possessing a character who goes through several defined stages of consciousness. From conception and the beginning of an earthly life, the first half of the album recognises the development of the protagonist’s narrative and identity, before “The Pink Light”’s freeform departure from the hitherto more song-based suite devastatingly shatters this. The second half of the album then sees the protagonist witness “the uncontainable” water; learning that true divinity lies not in the individual self or lofty notions of gods and temples, but in the unremarkable nettles, insects and dogs on the roadside riverbank - referenced on tracks “The Cormorant” and “The Spring”.

Although now residing north of the border, The Temple was written while Robinson was finding his feet in Manchester, having moved there to go to art school as a teenager (as a visual artist, he has exhibited at the Tiwani Contemporary in London and Cardiff’s Chapter Arts Centre). As a result, many of the tracks bear out the shadows of his experiences in the northern city – at their most visible and explicit on the beautifully fragile storytelling of “The Pavement”. Written the day after the Manchester Arena Bombings, it recalls Robinson waking up to go to work on a hot summer’s day to discover that his street had been blocked off for terrorism investigations; it then progresses through the rest of his day, amidst the grimly surreal aftermath of the previous night.

Having written the chords, melodies and lyrics to the album, Robinson fleshed out the tunes by scoring out parts for the additional instrumentation, but it was only when a friend sent a demo to PRAH that he was able to fund its full recording. Guitars, vocals, piano and French Horn (the latter recorded by Lauren Reeve-Rawlings) were put down at Green Door Studios in Glasgow. Microphones were placed around the room and the sound of the musicians stepping on creaky floorboards and opening creaky doors were left audible to further the record’s live feel. The harpsichord heard on “The Serpent”, meanwhile, came from University of Glasgow lecturer David McGuinness. Strings were then recorded at PRAH Studios by Francesca Ter-Berg and Raven Bush, the Social Singing Choir adding their choral vocals to “Temple II”.

The result is an album that feels both luscious and yet intimately raw; as grand as Richard Dawson at his most panoramic but containing the rough edges and skeletal looseness of a Calvin Johnson work. At times Robinson lyrically moves towards the surreal, but ultimately this is a record grounded in reality; a true showcase of Robinson’s skill as a lyricist and songwriter.

"My favorite singer in the place was Karen Dalton. She had a voice like Billie Holiday's and played the guitar like Jimmy Reed." - Bob Dylan // Karen Daltons Capitol-Debüt aus dem Jahr 1969 ist endlich wieder erhältlich! Light in the Attic freut sich, eine brandneue Ausgabe dieser herzzerreißenden und bluesigen Einführung in die berauschende Welt von Dalton und ihrem tiefen Brunnen voller musikalischer Geheimnisse zu präsentieren. Weltmüde und vom Blues erfüllt, war Daltons unübertroffene interpretatorische Tiefe und emotionale Bandbreite wie keine andere. "It's So Hard To Tell Who's Going To Love You The Best" wurde 1969 für Capitol aufgenommen und reihte sich ein bei klassischen amerikanischen Songwritern wie Lead Belly, Fred Neil und Tim Hardin. Diese Neuveröffentlichung ist die endgültige, rein analoge Version von Daltons umwerfendem Debüt, mit neu gemastertem Audiomaterial von den Original-Capitol-Mastern, dem Original-Artwork von 1969 in einem erweiterten Klappcover, ungesehenen Fotos des Albumfotografen Joel Brodsky und einem Essay, in dem Karens Freunde und musikalische Mitstreiter zu Wort kommen, vom Albumproduzenten und Bassisten Harvey Brooks bis zum Musiker Peter Stampfel von den Holy Modal Rounders. - Features new all-analog mastering by Kevin Gray at Cohearent Audio, direct from the original analog tapes - Pressed at RTI - Includes liner notes by Brian Barr - Featuring unseen photos by legendary photographer Joel Brodsky - LP housed in an expanded gatefold jacket

Los Angeles duo crushed announce their signing to Ghostly International and the first vinyl pressing of their 2023 debut EP, extra life. A love letter to `90s radio, the first collaboration from musicians Bre Morell and Shaun Durkan finds them tuning a shared taste for maximalist dream pop. Open-hearted hooks and melodic riffs move through a haze of breakbeats, spliced sound design, and distortion. Faithful yet fluid in its channeling of golden age alt-rock, Britpop, trip-hop, and electronica, there's a refreshing freedom to the sound, which quickly resonated with fans and critics upon initial release. Pitchfork called it "effortless, widescreen dream pop that's serene without being sentimental," and NPR cited its "deep sense of place and time." The music also struck Ghostly, and the first measure for crushed and their new label home is to give extra life a wider physical release paired with remixes from band favorites Real Lies and DJ Python. The story of crushed is written across midnight transmissions. In the early 2010s, Morell, who fronts the band Temple of Angels (Run For Cover Records), hosted a graveyard shift college radio show and used to play music from Durkan's former band Weekend (Slumberland Records). In 2020, Durkan, having focused on production work (Tamaryn, Young Prisms) following Weekend's run as a formidable shoegaze act, hosted a late-night program on a community radio station in San Francisco. Driving one day, he heard Temple of Angels by chance and was immediately drawn to Morell's voice. He added a song that night to his on-air tracklist. Morell saw it and reached out to thank him and point to that connection made a decade earlier. The exchange sparked a long-distance project. First, they filled an audible moodboard with `90s classics from the likes of Natalie Imbruglia, Sneaker Pimps, and The Sundays. Songs that transported them back to places of comfort and discovery; Morell's memories of a metallic, lavender boombox that dispatched past sounds from a world beyond her Houston suburbia, and Durkan, in his mom's car on the way to band practice. These touchpoints provided a palette for crushed to experiment without expectations, purely for the fun of it. A creative intimacy emerged; stepping outside the reverb walls of her full band, Morell embraced more clarity and a range of emotions in her vocals, while Durkan looked inward as a producer, collaging fragments from their everyday lives: voice memos, piano recordings, even the panting of Morell's late dog on "milksugar." The wistful ballad embodies extra life's feeling as a whole. "I am home again," sings Morell; her refrain cycles above a drum machine beat as Durkan colors their universe with star-lit strums, synth swells, and the crackle of fireworks in the distance. Elsewhere, the duo's uptempo mode is equally effective, like the super-charged duet "coil" or the propulsive opener "waterlily," which sets a cinematic tone for the set. Bold, bright, and replayable, extra life presents crushed as a project of immense promise, two artists unlocking something special within themselves, a space to hold both melancholy and bliss. Durkan adds, "To me, extra life is true and pure - in a way I haven't felt about music in a really really long time."

Suffolk-based singer songwriter James Varda’s fourth and final album before his death from a long battle with cancer in 2015, Chance And Time, set for a vinyl only reissue on Unspun Heroes is an astonishing aural document of a creative, forward -thinking musician coming to terms with a life slowly evaporating away. There is hubris, melancholy and an undeniable weight of sadness in these ten songs but, miraculously, there is also a stoic realisation and acceptance from Varda that is both heart-wrenching and deeply affecting. On Chance And Time Varda reconnects the human spirit to the land, a heavy, fearful heart to an optimistic soul, and in a beautiful poetic flourish gives a real tangible sense of loving and hope to his family and friends offering genuine reassurance and even, at times, a green light for celebration.

Carrying a certain air of mystique, that same sense of a ‘other worldliness’ if you will of say a Karen Dalton or a Jeff Buckley, Varda’s delivery and tone carries huge emotional weight here and an unique ability to add an honest perspective and warmth to the starkest of realities. The hard hitting impact of the opening tracks is blunt and sharply defined. There is pain, hardship, and fear wrapped in these tales - ‘The Doctor Spoke, Two Hearts Broke” - made all the more hitting as this is a real life journey in the here and now being catalogued. As we move towards the second half of the record there is something even deeper and truly incredible at play. Varda’s whole demeanor is one of understanding and acceptance - hear the celebratory shamanic vibe of the extraordinary ‘Pass It On’ and the poignantly reflective, chokingly sad finale ‘We Won’t Dream’ - bringing to an end a record that will leave a mark on everyone who hears it. Real art is both timeless and omnipresent, these songs from James Varda will hang in the air forever and be there for those who look to find understanding, joy and a sense of hope. Chance And Time is both an extraordinary record and poignant study of life and living, of death and what comes after.

James Varda released four albums between 1988 and his death in 2015. A fledgling career beginning on the singer-songwriting folk scene where his arrival was met with both curiosity and critical acclaim as was his debut, the John Leckie produced Hunger. Any momentum was lost however as it would be ten years before the next, In The Valley was met with a ruffle of applause. Cancer took hold of the troubadour and for a number of years Varda lived life and wrote songs until The River And The Stars appeared like a phoenix from the flames as he began to wrestle with the realities of his situation. It’s a record that beautifully lays the ground for this his masterpiece that was to follow.

Unspun Heroes, a new label set up by Simon White, has the sole purpose of finding and reissuing albums that he considers both undervalued and seemingly ignored.  All releases will be on vinyl only complete with Obi strip and extensive liner notes. Each will be individually numbered and limited.

As a composer Martijn Comes has a special interest in timbral music and various musical traditions, with an emphasis on the electro-acoustic history. His works for the carillon were performed live at festivals like Le Guess Who and Rewire. He also released several solo-albums and collaborated with a wide range of contemporary artists like Frans de Waard, Lukas Simonis, Nicoleta Chatzopoulou and Hessel Veldman, with whom he co-produced the album EPoX, published by Bedouin Records in 2020.

Veldman is a veteran of the Dutch musical avant-garde and published several legendary cassettes on his label EXART in the early 80’s. His experimental soundscapes are laced with industrial elements, creating a hypnotic, dark undercurrent of sounds. Besides operating under his moniker Y Create, he was a member of the improvisation group Gorgonzola Legs and kept working intensively with Fluxus artist and Dutch underground cult-figure Willem de Ridder. The home-taping era shaped his free approach to music. His diverse musical practices have been traversing several decades by now and he continues to play music according to his own insights and intuitions.

Because of the emotional and poetic weight of the pieces, reverend Tom de Haan was consulted for this collaborative album. It was the start of a musical exploration and a search for peace, balance and above all freedom. Reaching out to a distant world, a place to come to terms with ourselves. A journey full of obstacles and setbacks. Sometimes persistently moving forward, sometimes doubtful. 'Are there Gods among us or inside us?' The music as a manifest, the expression of an inner struggle.

Throughout the chapters of this album layers of sound and distant voices arise and seem to float on the surface before they disappear again. Swaying on the gentle waves, running ashore, we find ourselves in unknown places. Manifest Exodus is an album for deep listening in the vein of Lustmord, Lawrence English or Rafael Anton Irisarri. It contains 4 rich, immersive pieces with austere drones, ambience, intense sonic textures and an incredible sense of detail to create a multi-layered escape to a better world.

Bringing to life intensely personal memories of her native County Derry and the
people, places, and customs she holds closest to her heart, Cara reveals a new
found freedom to express herself within the tiniest of details and life's larger
mysteries, leaving a profound impression.
Originally written for entirely personal reasons and without an intention to be
shared publicly, Cara's collection of poetry didn't resist the pull to be set to music
for very long. However, allowing the process of writing and recording to unfold
unconstrained by time and pressure has resulted in the finished album exceeding
expectations.
Comprising ten tracks, "Coming Home" was produced and recorded under the
expert guidance of long time musical partner Sam Lakeman and its sonic
character was brought to life with mixing by multi- Grammy winning producer/
engineer Kevin Killen, known for his work with music legends such as Kate Bush,
David Bowie, U2 and Peter Gabriel. The album marks a return to the singersongwriter style she and Sam first explored on her first solo recordings over 23
years ago, sitting within an original and contemporary soundscape. Significantly,
this is also the first of Cara's releases comprised entirely of original material.
Hailing from an exceptionally strong cultural background in the North of Ireland
and with a profound connection to her home- place and people, Cara's "Coming
Home" succeeds in distilling her reflections and feelings into compelling and
highly emotive pieces.
* Press/Publicity/Highlights:

HJirok is a mythical figure, conceived as a fictional character by Iranian-born Kurdish singer and artist Hani Mojahedy. Together with versatile music producer And Toma of Mouse On Mars, she combined a variety of sounds collected during their joint travels to Iraqi Kurdistan and elsewhere with heavily processed recordings of Sufi drum rhythms and setar melodies. The result is a driving, dubbed-out, and deeply intricate soundscape that perfectly sets the stage for Mojahedy's extended, unconventional vocal techniques and polyglot lyrics. Both informed by tradition and rigorously forward-looking, »Hjirok« (with a lowercase J) is at once a profoundly personal album and a universal utopian promise. As a ghost from the past, HJirok draws on Mojtahedy's memories to mould a new future out of them.

The foundation for »Hjirok« was laid in the city of Erbil in the Kurdish part of Iraq. During one of their stays in the region, Mojahedy and Toma recorded the three percussionists Hadi Alizadeh, Jawad Salkhordeh and Serdar Saydan as well as setar player Ali Choolaei from Motahedy's backing band while they were playingthe rhythms and notes that she had grown up with in the house of her grandfather in the Iranian city of Sanandaj. Her memories of that place revolve around hypnotic Sufi music, dervishes in deep trance, and ecstatic singing. Much like this music seemed to open a portal to other dimensions, the inhabitants of the house lived in a sort of alternative reality: It provided them with a hideaway from political circumstances. Following the Iranian revolution in 1979, a Kurdish rebellion ensued but was met with the utmost brutality by the new regime, which resulted in the death of thousands.

It is no coincidence that the music on »Hirok« would draw on rhythmic patterns that were passed on from one generation to the next for hundreds of years. »The project is rooted in the figures of the Sufi dervishes and thus a culture that precedes today's political, social, cultural, and religious systems,« explains Mohtahedy. »The Sufi sound travelled around the entire world. I like to think of it as a dialogue between peoples-one based on the rhythms of the drums and the sound of their voices.« Toma adds that by electronically transforming the recordings and enriching them with field recordings from both rural and urban spaces, they were able to use the stories told by the drums and the setar to create an entirely new narrative.

The story told by these eight pieces is hence a deeply personal, but also inherently political one. Moitahedy herself left Iran in 2004 and relocated to Berlin in 2010. Having continued to use her art as a platform to tirelessly advocate for the rights of the Kurdish people and women under oppressive regimes, she has not been allowed to return to her country of origin ever since. »Hani is singing for equality and there are people who are afraid of that-her femininity, her strength.« Toma says. Much like earlier Hirok sound installations addressed human-made climate change and other systemic ills, also »Hjirok« can hardly be disconnected from far-reaching struggles for liberation and equality.

This is also true on a thematic and even linguistic level. »The lyrics are about a promise,« Mojahedy says, citing Kurdish writer Ebdulla Pesêw as an inspiration. »At their core, these are about that day on which violence and fear become a thing of the past; what they tell you is ot not give up, to keep hoping,« she adds. The promise embedded in them is an emancipatory one. These contents are mirrored on a linguistic level: The lyrics were written in both Kurdish and Farsi, blurring the lines between the two languages and thus, Kurdish and Persian cultures.

Mojahedy, or rather HJirok, conveys these philosophical themes with elegance. Herversatile vocal performance is only loosely basedo n established styles. »Of course everything started with traditional rhythms, but we kept pushing things further and further, so Idid the same with my voice,« Mojahedy explains. »There were no boundaries.« The same can be said of the field recordings that she and Toma used. Whether it's conversations between members of the Pesmerge, the Kurdish armed forces, having a chat in meadow full of bunnies or the humming and buzzing of metropolises like Tehran: »Hirok« paints a sonic picture that is quite literally autopian one; that of a non-place in which different soundscapes, cultures and ways of life coexist peacefully.

What the album conjures up from Mojahedy's memory is not only a very specific place during a unique time in history as experienced by a single person. It is also ametaphorical home open to anyone who wishes to enter - promise of a better, more egalitarian future for everyone. Hence, HJirok will bring it on tour, presenting the material as an audio-visual live show that makes use of the photo and video material that Mojahedy and Toma have collected during their travels through Kurdistan.ja

Randy Rice mixed accoustic singer-songwriter songs with electrifying acid guitar in his marvellous privately pressed double album from 1974.

Offered here in a much needed reissue so you do not have to spend over a grand for an original copy.

Housed in it's original minimalist hand made artwork with the little upgrade twist of silk-screen printing.

· First ever vinyl reissue of ultra rare privately pressed double LP!

· Remastered sound!

· Reproductions of the two original inserts!

· Plus a new one with liner notes by Randy Rice himself sharing his memories of the recording!

I was between the ages of 18 and 20 when I wrote the 22 songs found on To Anyone Who Ever Laughed at Someone Else. They express the thoughts and frustrations, hopes and fears of a young man coming of age in a world that was full of upheaval and transformation. I was a product of that period in America we call the sixties—those years between the assassination of President John F. Kennedy in November 1963 and the resignation of President Richard Nixon in August 1974. In fact, this record was released that same month Nixon resigned. Over the next five years, I toured the country as an acoustic artist performing at clubs, coffeehouses and colleges. During that time, I watched the idealism and social consciousness of the sixties slowly fade away. In its place emerged a cynicism and materialism that still seems to be with us so many years later. More than anything else, I think To Anyone Who Ever Laughed at Someone Else is a time capsule that speaks to us from a past era. A period when, above all other things, we asked questions. We questioned our country, we questioned our faith, we questioned the very purpose of life itself. I am very excited to bring those questions and these songs to a new generation on a new continent. Special thanks to my friends Jordi Segura of Wah Wah Records who took the initiative to release this 50th Anniversary Re-issue of To Anyone Who Ever Laughed at Someone Else and Michel Veenstra Klinkhamer, who introduced us.

A1.Hello
A2. Mr. Dumpty, Before The Fall
A3.The Song
A4.Mrs.Bitch
A5.Students From Marian Catholic High School
A6.Will You Still Love Me When You're Twenty-One
A7.To Anyone Who's Ever Laughed At Someone Else
B1.The Other Day
B2.SPQR Part 1 - I Wish That Fly Would Land So I Could Swat Him
B3.SPQR Part 2 - Sorry
B4.SPQR Part 3 - My Last Question
B5.SPQR Part 4 - Gosh, Darn, Golly Gee, or Those Canadians Can Sure Tell It Like It Is
B6.SPQR Part 5 - All American Girl
B7.SPQR Part 6 - Let Me Grow
C1.For Me, For You
C2.The New Testament, Or A Good Samaritan Will Never Jew You · Matthew: Love Means Never
Having To Say You're Happy
C3.The New Testament, Or A Good Samaritan Will Never Jew You · Mark: Jesus Was A Capricorn, But
Then So Am I
C4.The New Testament, Or A Good Samaritan Will Never Jew You · Luke: Morning Meditation
C5.The New Testament, Or A Good Samaritan Will Never Jew You · John: Mother Mary, Let Me Be
C6.The New Testament, Or A Good Samaritan Will Never Jew You · Fred: Post-Mortem Dirge
D1.Everyday People Revisited
D2.Filler Song
Out Of Here
D5.The Continuing Story Of A Square Peg In A Round Hole Part 3: Footnote To The Preceding Nineteen Songs, And Is It Really Necessary
D6.The Continuing Story Of A Square Peg In A Round Hole Part 4: I Hope I Always See You
Smiling
D7.The Continuing Story Of A Square Peg In A Round Hole Part 5: My Song
D3.The Continuing Story Of A Square Peg In A Round Hole Part 1: The Ballad Of Uthage
D4. The Continuing Story Of A Square Peg In A Round Hole Part 2: I Think It's Time For Me To Get

Endlich wieder ein Lebenszeichen der legendären Indie-Rock-Band Grandaddy aus Kalifornien. Im Februar 2024 wird ihr brandneues Studioalbum „Blu
Wav“ via Dangerbird Records erscheinen. Kürzlich feierten Grandaddy ihr Schaffen mit einer Reihe von Wiederveröffentlichungen zum 20-jährigen
Bestehen, darunter das hochgelobte Sumday Twunny-Boxset, das von Pitchfork als „Best New Reissue“ ausgezeichnet wurde. Auf Wunsch der Familie
seines Freundes und Psychedelic-Pop-Kollegen Mark Linkous steuerte Lytle auch Gesang zu einem posthumen Sparklehorse-Album bei. Grandaddy
haben fünf offizielle LPs veröffentlicht, zuletzt 2017 das Album „Last Place“. Zu den Mitgliedern von Grandaddy gehören Jason Lytle, Aaron Burtch,
Jim Fairchild, Tim Dryden und der 2017 verstorbene Kevin Garcia.

The Trip is the first solo album by N'Zeng, better known as Sébastien Blanchon. It has to be said that he hid behind his (hollow) nose to sniff out the right projects (ex Le Peuple de l'Herbe, member of Entourloop). His nose is hollow, but not for the trumpet, and yet it's with this instrument that he started out. And he reinvents it, giving it a subtle place on this musical road trip we call The Trip.
A journey open to all, with no tolls and no filters, apart from the cinematic filter of this lover of original soundtracks and trip hop. Beautiful images flash before our eyes, and in our ears, the smooth voice of Charlotte Savary (Wax Tailor). An album, a very good trip for lovers of Portishead, Gorillaz, and well-felt scratches in the form of controlled skids.
He's making a name for himself as N'Zeng, with his smooth arrangements.

N'Zeng's father played trumpet with his grandfather in the Feurs brass band in the Loire department. When he arrived in Saint Etienne, young Sébastien started out with a cornet à pistons at the Conservatoire. His teacher at the time, Marcel Heyte, had won a prize in Paris at the same time as a certain Maurice André.

His father took lessons in orchestral conducting, accompanying the offspring's budding musical career, which included a course at the Festival de Cuivre in Monastier-sur-Gazeille, where he met the soloists of the Radio France orchestra. A new awareness, a new confidence: off to Lyon, not for a soccer derby, but to "beef up his game". In 1997, he was awarded a gold medal for trumpet by a unanimous jury at the Conservatoire National de Lyon.

Lyon, capital of the Gauls, was the starting point for N'Zeng, who went on to become a member of the group Le Peuple de l'Herbe. 15 years later, with several successful records to his credit, a concert in 2003 at the Transmusicales with Beth Gibbons (Portishead), and a Victoire de la Musique award, it was time for N'Zeng to move on to other things.

Arrival in the City of Light, the place where dreams come true. Nzeng's dreams are not only sonic, but also visual, for Sébastien is not only a friendly presence and a talented musician, but also a cinephile. His knowledge of music theory, acquired during his years at the conservatory, enables him to tackle music for pictures.

He created a soundtrack for the cult film Alien - The 8th Passenger, and worked with musician Rone (collaborating with Baxter Dury) and his bandmates from Le Peuple de l'Herbe, composing 2 tracks for the soundtrack of Virginie Despentes's hard-hitting film "Baise-moi". On the album "Hollywood Hustlers", with the group "Mustang Force", he pays tribute to the soundtracks of Lalo Shiffrin, Ennio Morricone... The album is also well received by the critics. He conducts the arrangements and orchestrations for the Degiheuga Orchestra, and composes the original music for the Hôtel Bellevue dance show, another success!

2019 sees the birth of "The Trip" project. On this record, no masks, but a female voice, that of Charlotte Savary (Wax Taylor), laid on a carpet of strings. With this musical voyage, trip hop takes pride of place, with a balance between the body of the instruments and the mechanics of beatmaking.

There's no getting off track on this well-balanced record, with its silky orchestrations. N'Zeng accompanies us elegantly, with his trusty trumpet as GPS, here used subtly. The album cover is a photograph taken by Sébastien Blanchon's mother, in 1973, a year when Saint Etienne was about to become French champion for the 7th time.

Sangre Voss returns with the idiosyncratic ‘Brogkl EP’ this March, marking five years of Third Place.

In the five years since his debut ‘Dance Class’ 12” on Will Hofbauer’s Third Place in 2019, London-via-Devon producer Sangre Voss has continued to melt minds and confuse dancefloors with his singular, head-turning productions. Having featured on Rhythm Section and Fabric Records, he’s also appeared on The Wire’s Below The Radar compilation series and on labels Control Freak, International Extraterrestrial Music, and more.

Here though, the label’s main gun returns with four curious and brilliant productions. ‘Smyyre Myyrgu’ leads with folky strings and stabs as chunky percussion and mystical pads unfurl throughout. ‘Ersatz Terrasse’ is a floaty slow-fast affair, sliding through bright keys, skippy drums, and otherworldly effects.

On the flip, ‘density of aha’ sees trippy, sluggish vocals and punchy drums combine, forming a bedrock for twisted, randomised synths. The title track ‘Brogkl’ turns up the heat with wonky leads, heavy low end, and wild guitar-like twangs to close out the record, ending another essential offering from the thrilling and always unique musical mind of Sangre Voss.

Younger Than Me announces his debut full length "The Golden Age Of Love", to be released on 90's Wax this coming March 2024. The record is the perfect example of the breadth of his irrepressible and unique sound. Featuring collaborations with Massimiliano Pagliara, Brame & Hamo and Pablo Bozzi. The artist is an Italian native known for a modern interpretation of '90s club music' - a dynamic blend of Progressive House, Trance, EBM, Breakbeat, and Techno ideas. This first album is a love letter to a deep-rooted passion for the idiosyncrasies of rave culture and the crossover points with contemporary electronic music.

Younger Than Me, an artistic project by Francesco Mingrino that is steeped in the nostalgia of ‘90s rave, yet not at all trapped in that past. A project that has cemented a special place in the electronic music scene with a string of records on labels like Bordello A Parigi, Amsterdam-Utrecht based platform XXX, Rotterdam’s Bar and Jennifer Cardini’s Dischi Autunno. To this point Francesco has pushed his fun yet forceful sound, with many releases on his own 90's Wax, and collaborations with people like Skatebård, Francesco Farfa, Timothy Clerkin and Curses (as Y2C).

"The Golden Age Of Love" as a package is curated in Younger Than Me's characteristic style. Opening with "Long Life Death", a track that sets the stage with a cinematic soundscape in a classic Carpenter vibe. Picking up the tempo "Zarathustra Dance" takes you right into the golden age itself, its low slung beat and carefully sequenced lead line pushes an ever building tension designed to crack any dancefloor. The track with Massimiliano Pagliara, "Eternal Sunshine Of Solitary Mind", is one of the highlights, perfectly building around a catchy lead with tight arpeggio and sequenced acid. Leading us into the 2nd half of the record "Sadness Is The Only Way To Happiness" is a proto-trance beast, inspired by that period in the early 90s when Trance was less bright lights and big stages and more dark rooms and smoke filled spaces, an ever building progressive run of haunting vocals, rave stabs and rolling bass.

Whilst YTM is at home presenting dancefloor focussed material, we see him explore the other side too, with "Memory Is A Clock" like the earlier "Vortix", he ditches the 4x4 for breakbeat territory. Whilst the bass keeps the solid metronome you would expect, "Memory Is A Clock" is a track that takes a few moments, contemplative melody and trademark arpeggios take the lead. When it comes to the other collaborations on the record, the appearance of Brame And Hamo on "Raver's Heart Is A Mess" sees them lean into the Progressive nature both artists love so much. Then Pablo Bozzi lends his own unique outlook to "We Don't Know The Way, We Just Stay" in one of the standout tracks, epitomising Younger Than Me’s ability to create profound experiences.

The album concludes with "Music Will Never Stop, Heartbeat Will Never Fade, Party Will Never End", less of a title and more of a personal philosophy – the perpetual essence of rave culture and its timeless impact on music. A rhythmic belter, juxtaposed with incendiary synth-lines and staple catchy sequence work, finishing the record with one of the true highpoints. In addition the release also features four digital bonus tracks, including "The Other Face Of Loneliness" and a Prog Dance Reshape of one of the records more eclectic cuts "Zarathustra Dance" all offering an extended exploration into the creative landscape YTM inhabits.

"The Golden Age Of Love" is a debut album that ticks all the boxes; it's a celebration of a bygone era through the lens of the contemporary. Younger Than Me stands as a testament to the enduring spirit and evolving nature of the music that began in the ‘90s rave scene, with an LP that pushes Love, Progression and Fun to the forefront.

Utrecht (NL) based Tusky proves that punk-rock is alive and well in 2024, with the release of their fist-in-your-face-but-you-love-it new album: ‘Tusky’. Their third studio album will be released March 8th 2024 on Suburban Records
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On previous releases, the band has been known to be in charge of their own recordings and productions, but with the new album they took it a step further: They converted their rehearsal space into a studio. By doing this, they have built a space in which they were able to record their new album in peace. “Having your own space is awesome! A place where you can take all the time you need, to experiment with different amps, pedals, guitars, mics. Each day we could go on as long as we wanted, but we could also decide to take a break and go for a swim in a nearby lake,” singer Vladimir Stevic elaborates.

Jeb Loy Nichols describes 'parish bar' as "some covers, some jazz, some country, some soul... what it sounds like at my house". if so, nichols's house sounds like the place to be, never more so than when he's spinning 'countrymusicdisco45', the infectious lead-off track. over what sounds like a swamp-funk version of the 'superstition' riff, nichols explains how he was getting down at a club when a country record came on and killed the mood, everywhere except in his head, and how he tried to convert the throng to 'the new country style' by demonstrating a ridiculous dance - "roll like the wind and scoot like a rooster / skip around the room like you usta". fun, funky. elsewhere, his familiar crossover style is in full effect, with dancehall twitches enlivening the country standard 'i'm blue i'm lonesome too' and the country-funk groove 'whole thing going on'; the classic 'just a country boy' whispered over an itchy drum shuffle in his baritone murmur; 'foggy road ride' sounding like 'family affair' -era family stone; 'neath the cold ground' and 'so sad' navigating the area between dub, blues, country and funk, and nichols's own booze warning, 'satan's helper', done lambchop style. his best collection since 'lover's knot'.

The renowned Disco Dandies have made a triumphant return, emerging from their creative haven at the Old Course of the St. Andrews Golf Club. Following the success of their previous chart-topping hit, “Inside Your Love” (2 People), which went to number one TWICE at Traxsource, they present their latest offering, a rework of the Miami T.K. Disco classic by Tamiko Jones, “Let It Flow.”

This new release showcases a heightened tempo and a fresh interpretation that irresistibly beckons the dance floor. The Disco Dandies, known for their meticulous attention to detail, have patiently crafted a musical gem that has received the coveted final seal of approval. Now, in the year 2024, they are ready to unveil their creation to the world.

n stark contrast to the hurried pace of some, the Disco Dandies adhere to a philosophy where haste has no place; instead, they embrace patience as the key to their artistic process. The anticipation surrounding their latest work has been met with great reward, and the wait for this musical delight has proven to be truly worthwhile.

Get ready to immerse yourself in the infectious rhythms and the Japanese, Cherokee soulful voice of Tamiko Jones and the Disco Dandies.

Mercurio is the debut album by Opuntia, the solo project of Mexico City producer Camila de Laborde. After three albums with her duo/band, Camila Fuchs (ATP/Felte, etc.), Camila decides to embark on a new path of musical and interpersonal exploration with Opuntia as her new alias, and with the album Mercurio as a statement of metamorphosis and creative process.

Broadly speaking, Mercurio is a direct impact of beautiful melodies, rhythms, and voices that traverse a leftfield electronic pop axis, sprinkled with elegant nods to experimental transitions. In Mercurio, you can sense the spaces, textures, and echoes, akin to a sort of retro Sci-Fi analogy. Bass hits or percussions carry a weight that bursts forth yet delicately dissolves instantly – perhaps another analogy, akin to liquid metal. From softness to fury across the ten songs, Opuntia proposes an artistic reinvention in constant movement. Speeds and spaces change, but the narrative remains consistent from beginning to end – finding a place, a resolved utopia. Mercurio is darkly joyful, with substantial doses of sophisticated pop.

Bay area textural pop group Torrey delve deep into a translucent dreamworld on their self-titled sophomore album. Bending classic shoegaze, rainy day indie rock sounds, and 90s alt rock flair into more intricate forms, the band uses these guitar-forward songs to shapeshift between gentle drifting and noisy breakthroughs. The overall effect is blissful, but never losing sight of the sturdy tunes underneath the fuzz. Some touchstones might include Lush, Drop Nineteens, Cocteau Twins and The Breeders, but Torrey have a deft grasp of their craft and a forward-thinking studio approach that places them very much in the NOW. Singles like No Matter How, Bounce and Moving are pure 2024 and place Torrey firmly alongside like-minded groups like Seablite, Winter and Alvvays who are enlivening a similar set of inspirations.

"Torrey by Torrey" includes the following tracks: "Moving", "Hawaii", "Slow Blues", "July (And I'm)" and more.