Search:intricate

Over the last decade-and-a-half, C Joynes has ploughed a singular furrow through solo guitar, with a body of work incorporating English folk-tunes alongside North & West African music, and lifting proto-minimalist and improvised techniques from the European classical and avant-garde traditions.

His new release, ‘Poor Boy On The Wire’, is his first full album dedicated wholly to the electric guitar. Through a typically wide-ranging set, Joynes exploits the instrument’s potential by placing intricate parlour music alongside overdriven garage blues throw-downs, wiry electric folk and the brittle ringing tones of free improvisation. However, these explorations of the tones and timbres of close-mic’d guitars and amplification retain an overall coherence and unity through the deliberate use of a limited palette of budget instruments and vintage equipment.

With ‘Poor Boy On The Wire’, Joynes has released 9 albums to date, including ‘The Borametz Tree’ (2019), recorded with long-term fellow travellers Dead Rat Orchestra, and ‘The Wild Wild Berry’, a collaboration with singer Stephanie Hladowski (MOJO Top 5 Folk Albums 2012, fROOTS Editors Choice Album Of The Year 2012). He has played extensively across the UK, Europe and the USA, sharing bills with performers including: Shirley Collins, Martin Carthy, A Hawk And A Hacksaw, Marc Ribot, Alasdair Roberts, Richard Dawson, Jack Rose, Josephine Foster, Sir Richard Bishop, Six Organs Of Admittance and 75 Dollar Bill.

“As much Conlon Nancarrow and Ali Farka Toure as Blind Lemon Jefferson, the compositional mind at work here can take apparently disparate threads of modernism and ethnic tradition and treat them as though they were all archaic blues styles learnt from dusty 78s.”
BRUCE RUSSELL, THE WIRE

“An inheritor to Davy Graham; a lone operator prone to unexpected collaborations, with a repertoire that crosses continents and timezones with consummate ease, and dashed off with a phenomenal, yet lightly applied technique.”
ROB YOUNG, THE WIRE

“His epigrammatic re-castings and re-readings of widely-travelled folk melodies and rhythms from a variety of traditions suggest shared memories that might be intensely universal while seeming strangely out of reach.”
KEVIN MACNEIL BROWN, DUSTED MAGAZINE

Producer and multi-instrumentalist Ben Marc, who's emerged as a key figure of London's cutting edge jazz scene, has just announced his debut full length, a follow up to last September's widely acclaimed Breathe Suite EP (heralded by NPR, Pitchfork, The Wire, The Guardian, and more)

Glass Effect is an assured and accomplished 13-track realization of a singular vision that unifies a multitudinous profusion of influences (free-jazz, broken beat, hip-hop, electronica and beyond) into a sublime whole, underscoring the evolution of his quest for a distinctive sound: lambent, low-key, and yet dizzyingly intricate.


It's a rare talent that can link Radiohead's Jonny Greenwood, Ethio-jazz pioneer Mulatu Astatke, Afrofuturists Sun Ra Arkestra, and grime legend Dizzee Rascal, but Marc has long blurred musical worlds and criss-crossed boundaries. One of the reasons that he started writing Glass Effect, says Marc, was going to nightclubs in Ibiza and experiencing the heady sun- dappled euphoria of a summery dancefloor, as well as the beat-driven production of artists like Four Tet, Bonobo, Machinedrum, DJ Shadow, and Madlib.

Mastered from the original master tapes and pressed at RTI on dead-quiet 180g vinyl, Mobile Fidelity's numbered-edition 180g LP of Local Hero gives the beloved effort audiophile-grade sound on a par with the reference-quality sonics afforded Dire Straits' Mobile Fidelity reissues. In each arrangement, Knopfler's methodical guitar lines emerge with supreme transparency and multi-hued textural detail. The intricate notes, finger-picked passages, and cosmopolitan lines come across as if they're transmitted just feet away from you in real time.

Ditto the diverse accompaniment, including the Celtic-themed effects, supplemental jazz accents, and folk inflections. The keys to the nearly 44-minute effort's success and continuity relate not only to Knoplfer's laidback style and low-key approach, but his ear for uncanny melody and blues traces. Woven acoustically and electrically, his tapestries benefit from the newfound airiness, openness, and balance that live on this reissue. No matter the instrument or treatment, the music arrives with pinpoint imaging and vibrant liveliness. Close your eyes, and the Mobile Fidelity version of Local Hero projects movies in your head.

For instance, take the closing "Going Home," a cherished instrumental whose proud spirit resonates with English football fans and features saxophone playing by the late, great Michael Brecker. Heard before every Newcastle United F.C. home game, it has become an anthem on both sides of the Atlantic. Or, look to "The Ceilidh: Louis' Favorite Billy's Tune" on which Scottish-flavored vibes and dance tempos conjure a festive jig until a transition gives the number a more subdued, romantic feel. Then, the pattern repeats. Seeking to expand beyond the parameters of Dire Straits, Knoplfer taps into a global economy of structures and sounds, and takes anyone with a sense of adventure along for the ride.

Not that his hallmark six-string is absent from the proceedings. It frames the lovely tin-pan whistle motif of the aptly titled "Whistle Theme," acts as a beacon for the elegant, vibraphone-kissed "Smooching," and pushes forward the jovial, top-down momentum of "Freeway Flyer," among other highlights. Knopfler also receives assistance from session pros Mike Mainieri, Steve Jordan, and Terry Williams, as well as vocalist Gerry Rafferty on the set's sole vocal tune, "That's the Way It Always Starts."

Today, Toronto-based producer Sven Lochenhoer releases his quirky two-track ‘It Knows’ EP, out now via Dirtybird.

Since 2017, Sven Lochenhoer has been a consistent character among the flock, popping up on various Dirtybird compilations and sub labels over the years. Diving into the depths of house music, Sven Lochenhoer’s ‘It Knows’ EP is reminiscent of Dirtybird’s 2005 origins. Thoughtfully produced, the EP consists of its edgy, club-centered title track and experimental downtempo companion ‘Rain Check’. Each layered with gentle piano melodies, warm basslines, and wonky vocal effects, Lochenhoer has crafted an intricate duality through this two-track project.

The rising Canadian producer first appeared on the scene six years ago. Since then, Lochenhoer has gone on to release records with such labels as Dirtybird, Trippy Ass Technologies, and Dumb Fat. Through his original productions and Splice sample packs, Sven Lochenhoer continues to earn the favorable regard of artists and aural aficionados alike.

Brixton in South London has to be the place whee legends in Reggae & Dub meet up for a collaboration. The result is this 8 track all-analogue mixed Dubwise adventure that features the UK’s hardest Roots Reggae bass player & drummer (Mafia & Fluxy) playing the UK’s deepest dubs (Vibronics).
This fascinating and intricate LP merges old stool Jamaican reggae musicianship with the swirling euphoria found in contemporary dub music.

Vibronics is one of the most established names in UK Dub/Reggae music. From their base, in the Dub Cupboard Studio in Leicester, their music has achieved millions of views on YouTube, millions of Spotify streams and many tens of thousands of vinyl record sales. Vibronics have collaborated with reggae legends Michael prophet, Macka B, Iration Steppas, Soom T, Aba-Shanti and so many more.

Mafia & Fluxy are the UK’s foremost Reggae rhythm section and were initially inspired by Sly And Robbie, consisting of brothers Mafia (Bass) and Fluxy (drums). Legends of the stage and the studio, they record regularly in the UK & Jamaica, building rhythm tracks for Bunny Lee, Blacker Dread, King Jammy, Exterminator and Jah Shaka. They continue to work with the cream of the crop in terms of Reggae, having recently backed Luciano & Eek-A-Mouse on their world tours.

Violence is the self-titled third album from Baltimore born/ New York based artist, multi-instrumentalist, and cult figure Olin Caprison.. Their compositions are known for vivisecting and seamlessly merging the idiosyncratic features of hip hop, metla, RnB, and electronica, creating a language all their own. A dense multilayered opus, the album takes us on a journey through religious ceremony, nightmarish visions, and the forgotten corners of a decaying cityscape, leading us to the celebratory catharsis of the club. Entirely written, produced and performed by Violence, the project is an ambitious and singular vision that takes their unique sound to transcendent new places. The album initiates with Small Body, a solemn hymn inspired by the procession of nurses encircling a congregation in black pentecostal tradition. It's freeform chanting and syncopated body percussion invoke the trancelike rhythms of call and response music. A hollowed chamber of reverence that pulls us deep into the vision of the album. It's followed by Reptile, a horrifying slab of industrial intensity that merges multiple narratives seen throughout history to interrogate a side of victimhood not usually explored. A baroque masterpiece of intricate instrumentation and celestial theatre, guitar melodies blast across a delicately woven tapestry, reflecting the manic, distorted, and unstable mindset of the central figure.

Needwant Records arrive with the latest in their ever-evolving roster showcasing the sounds of underground city life, proudly presenting label newcomer NATE08's kaleidoscopic debut LP, 'Furaha'.

London-based label Needwant Records have been tirelessly advancing dance music's esoteric fringes for well over a decade, with their immaculately curated catalogue routinely moving dancers and garnering respect and plays from the industry's most revered tastemakers. Here, the newest recruit to the label's glittering line-up, Mumbai-based musician, producer, and DJ, NATE08 brings forth his breathtaking inaugural album.

Equally adept as a producer, session bass player, and genre-spanning selector, Nathan Thomas has become an irrepressible force in India’s blossoming underground music scene. The Mumbai-based musician’s solo project, NATE08, treads the groove-oriented territories of funk, r&b, and house – with his elegantly spun productions firmly rooted in dance music's glorious heritage while imbued with a future-facing production gloss.

Title track 'Furaha' blissfully sets the tone for what's to follow, with dextrous Latin guitar gliding over intricate percussive waves as heavenly chords fill the sun-kissed panorama. Upping the energy just a touch, Azamaan Hoyvoy's honeyed vocal enlivens the summer haze of 'Trigger Fool', arriving over evocative chords and laser tight four/four rhythms to create a stunning slice of low-slung future house deepness.

The funk-flecked bump of 'Bunker' sees Nathan's bass mastery arrive in full force, with spirited slaps propelling misty chords and sublime guitar licks across a loose-limbed beat. Continuing the horizontal sensations, the captivating chord progressions of 'Hold Up' soar over thick, rolling bass notes and shimmering synth swells.

Lead single 'Sunrise Sundown' is a stunning example of NATE08's organically spun deep house prowess, with Jitwam's soul-drenched vocals cascading over succulent chords and dancing synth melodies as smokey beats and pulsating bass cement the heads-down groove. Next, hypnotic fusion guitar refrains soar over lively percussion and gentle pads for a life-affirming Balearic voyage, maintaining the carefree spirit while enlivening the senses as the arrangement heads for the horizon.

The 'Let's Go To Ibar' interlude makes way for the mesmerising deep house flex of 'Want You', where Megan Murray's yearning vocal provides the seductive hook as acidic bass notes bounce over glistening chords and propulsive beats. A prime example of NATE08's futurist intentions arrives in the form of r&b-meets-house hybrid 'Feel It', with Lojal's striking performance flitting between searing soul and street-ready swagger powers over an intoxicating, organ-infused bed.

The forward-thinking two-step rhythm of 'Cold Muse' sees broken drums drive emotion-heavy chords and bewitching guitar licks over sensual bass, before closing track 'Primrose' sees the album home with a fitting flourish. Here, Naisha's heartfelt vocals sail across an ocean of glassy chords and staccato synths, with kinetically charged congas enlivening the groove as the magnetic bass adds body to the celestial instrumentation.

'Xaybu: The Unseen' is the sophomore release from Sélébéyone, the
international avant-rap collective led by saxophonist and composer Steve
Lehman, who has been hailed by The New York Times for his "sure-footed
futurism" in the realms of modern jazz and contemporary classical music
Comprised of MCs HPrizm and Gaston Bandimic, saxophonists Lehman and
Maciek Lasserre, and drummer Damion Reid, their eponymous 2016 debut was
hailed as a game-changing synthesis of underground hip-hop, modern jazz and
live electronic music that was described by Pitchfork as "legitimately new" and a
"revelation."
On 'Xaybu', Sélébéyone - which means "intersection" in Wolof - continues to build
on its groundbreaking work with shifting rhythms and state- of- the art sound
design, now with a newfound sense of effortless fluidity. The word "xaybu" in
Wolof refers to the concept in Islamic mysticism of al- Ghaib - that which is
unknowable and unseeable. HPrizm (a.k.a. High Priest, legend of New York's
underground hip- hop scene and a founding member of Antipop Consortium),
Bandimic (one of Senegal's most distinctive young rap stars), and Lasserre are all
Sufi Muslims, and that spiritual connection and sense of abandon and giving in to
the unknown has been a cornerstone of the group since its inception.
The result is a profound musical statement filled with otherworldly sonorities,
intricate compositional structures, and cutting- edge improvisation that deftly
explores spirituality and mysticism through the lens of experimental music.

Pianist, drummer, composer and producer Hamish Balfour presents jazz funk, soul and electronic music, bridging the gap from classic Blue Note to Warp via Sonar Kollektiv on Running Colours, his electrifying debut album for London's Shapes of Rhythm Records.

Praised by Jazzwise for hissolo flourishes and sidestepping harmonies, Hamish Balfour should be a recognisable face to jazz addicts. The go-to keys player has performed and recorded alongside American jazz drumming legend Harvey Mason, Tenderlonious, The Temptations, Odyssey, Faze Action, Yolanda Charles' Project PH, Bassically, Nim Quartet and Yam Who. Popping up not only in the credits of many sought-after albums, but also Channel 4, ITV and BBCprogrammes for his compositions on various shows.

Over the course of eleven tracks, Balfour folds in and explores his influences, with a wide yet highly cohesive and strong palette of sounds, whilst interacting with high caliber guest vocalists such as spoken word artist and broken beat icon, Lyric L(Seiji,Nathan Haines), London Elektricity and Hospital Records' star vocalist Elsa Esmeralda, award-winning and chart-storming singer-songwriter Belle Humble (Freestylers, Paloma Faith) and soul and house mainstay Andre Espeut (Afriquoi,Simbad,Faze Action).

Responsible for all piano, synths, percussion and production on the album, Balfour's musicality shines through, a reminder of how overdue this debut album as leader is. However, in addition to the incredible vocalists, he's joined by some of the UK's finest jazz musicians: James Copus (trumpet), Pete Matin (bass), Laurie Lowe and Saleem Raman (drums) and Rob Updegraff (guitar).

Elsa Esmeralda implores us 'not to be afraid' on lead single and title track Running Colours. A perfect invitation to get stuck into this many layered album. Balfour compliments Esmeralda's soothing vocals with delicate piano intro before Lowe's bruk-easque drums and lead an irresistible groove bedded in warm synths and guitar licks.

Yes or No showcases Loose Lips legend Lyric L contemplating the uncertainty of love over a swinging mid-tempo jazz funk boogie groove propelled by tight drums and Hammond chords, closing with a flying trumpet solo from Copus, weaving around Balfour's nimble keys.

Wealth, featuring singer/songwriter Belle Humble, displays incredible depth and restraint. Humble delivers the enticing vocal with ease, as it slides over the intricate webs of jazz fusion and electronics.

Mogul is arguably Running Colours' curveball. An eastern-inspired whirlwind of all manner of synths and twisting drums which constantly morph throughout. Guitars and trumpets take turns to solo on a track that feels like a series of questions that we never quite get answers to.

Balfour's ability to merge free wheeling jazz and fusion with timeless electronic production and soulful compositions is also apparent on instrumental pieces such as Reflector 28. Here, we find the musicians upbeat, uplifting, progressive and playful, showcasing the keys whilst the bass underpins the groove.

South Of The Sun is Running Colours' laid-back moment with Roy Ayers-type vibrations as bass and drums sit in the pocket (at least to begin with), whilst a Rhodes weaves its magic. Like many of the album's tracks we take a few twists and turns before returning to our main feel-good motif.

Hamish's long awaited debut is sure to exceed the expectations of those who know him already, whilst introducing a whole new audience to his wealth of talent and originality.

Gems Under The Horizon, the chillout division of Belgium’s Basic Moves returns with its second release this July, comprised of four original cuts from various artists across the globe.
Gems Under The Horizon was launched by Basic Moves label boss
Walrus originally as a Sunday daytime party series aimed at sharing electronic music in the chillout, ambient and downtempo sphere to wind down the weekend. The affiliate imprint was launched in April 2021 with material from Astral Industries artist Sonmi451 and Dylan Thomas Hayes.
Here the label returns with four new tracks welcoming an array
of new artists onto its roster and leading the way is &Apos who delivers ‘Vigo’, a hauntingly beautiful journey through swelling textures, plucked strings ethereal voices and synth modulations. Salamanda’s ‘No Vacation’ follows, the Seoul, South Korea based duo of Uman Therma a.k.a. Sala and Yetsuby a.k.a. Manda turn their focus
towards an amalgamation of gamelan like chimes, metallic percussion, organic drum grooves and flute like synth work.
Ugné & Maria’s ‘Into Orbit’ opens the flip side, as the name would suggest embracing a spaced-out aesthetic with intricately unfolding melodies, cinematic atmospherics, and gritty broken drums. Bogota, Colombia’s Manta Ray then rounds out the release with ‘Mysterious Ways’ as she traverses through off-kilter rhythms, unfurling pads,
choppy scratches, broken vocal cuts and meandering subs.

We are happy to welcome a true classic to our label, none other than Jeroen Search, a true veteran with countless pivotal releases on the best labels out there.

On this occasion, he has delivered four cuts.

Dutch veteran producer wastes no time but lets his ever evolving array of machines do the talking. They speak in many tones - be it snappy or propelling, vivid or restrained, stomping or intricate - yet they all retain Searchs consistently singular voice.

all drenched in the signature analog Search-sound.

Staging an attempt to gloss their music, Gentle Stranger
say it recalls “throwing a bouncy ball into a hall of mirrors.”
It’s telling that normal routes of describing music - your
typical band boilerplate of “such and such meets such and
such” or “we just play guitar, us, and leave the writing up to
you” - doesn’t suffice for the London collective; instead a
more arcane, more potent image is fired back, a wonky
and poetic idea that’s instantly more arresting, more
substantial.
For the newly initiated, Gentle Stranger are a selfdescribed “post-clown” outfit that oscillate between musical
forms, achieving a bewildering, almost Joycean
experimental sweep; pastiche, parody, burlesque, earnest
composition, genre interrogation and progression - they
cover it all. Their renowned live performances see the trio
cycle through an arsenal of musical instruments,
apparatus, tackle, and stuff. The set (part of the reason for
their now cult-like following) hangs together intricately, a
fractal clockwork machine that relies on movement and
spatial-awareness as much as it does timing and
musicality.
Upon witnessing the Gentle Stranger live show (‘show’
here is most certainly in the theatrical, carnivalesque,
extravaganza sense of the word), it’s tempting to question
whether they could reiterate, reshape, and condense this
uniquely visual and visceral spectacle into recorded music
- and the answer is yes. The latest update of the Gentle
Stranger sound lands in the form of ‘Upon Return’, their
barnstorming third album.
Gentle Stranger reportedly enjoy “revelling in the
disarray” of ‘Upon Return’, this ornate and finely wrought
mind palace - it’s a riveting and often joyous experience
soundtracked by strange, strange, and stranger music.
Available on black vinyl LP.

Somewhere between the late 1990s and the early 2010s, the rif largely disappeared from mainstream rock & pop. Its transformative power - the rif as a means to transport the listener into another dimension - became an art cherished only in the underground of rock and metal. One of the strong proponents of that transformative power is ASTROSAUR, an overlooked gem in the international heavy psyche rock and post- metal scene. The Norwegian power trio has been employing the rif as their principal mode of transport since their 2017 debut album Fade In // Space Out. Now, with the release of their third album Portals, ASTROSAUR are sounding more expansive and convincing than ever, delivering an intuitive exploration of the infnite powered by soaring guitars and surging grooves. With their third full-length album, ASTROSAUR have delivered an incredibly diverse and musically challenging and satisfying experience, showing that this band is greater than the sum of its truly great parts. Over the course of fve tracks and 48 minutes, the band use the best traits of the aforementioned genres to take you on a sonic journey into the deepest caverns of space and time. First single «Black Hole Earth» is masterclass soaring post-rock guitars, with its magnifcent main melody, which is ofset against a blistering desert rock rif, like a star ship phasing in and out of hyperspace, alternating between crushing your guts and showing you the most marvellous views of deep space. From a compositional viewpoint, «Eternal Return» is a mind-blowing afair. This giant psychedelic prog epic has been built from diferent themes and motifs that take turns in appearing, shifting form and developing as they go along. Segueing into new themes or returning to earlier ones, «Eternal Return» gloriously comes full circle, ending the mind-boggling journey of Portals. With the addition of vibraphones, Moog and acoustic guitars, the sound of ASTROSAUR is fuller and more diverse than ever before. From the soaring overture of «Opening» to the glorious fnale of «Eternal Return», Portals shows the next great post-metal band at their most accomplished. Fans of dynamic rifs and intricate compositions can once again rejoice as they're able to tune in and fade out once more with another wild ride courtesy of this exciting Norwegian powerhouse. Limited Eternal Return Vinyl Edition!

LTD ETERNAL RETURN ED.

Somewhere between the late 1990s and the early 2010s, the rif largely disappeared from mainstream rock & pop. Its transformative power - the rif as a means to transport the listener into another dimension - became an art cherished only in the underground of rock and metal. One of the strong proponents of that transformative power is ASTROSAUR, an overlooked gem in the international heavy psyche rock and post- metal scene. The Norwegian power trio has been employing the rif as their principal mode of transport since their 2017 debut album Fade In // Space Out. Now, with the release of their third album Portals, ASTROSAUR are sounding more expansive and convincing than ever, delivering an intuitive exploration of the infnite powered by soaring guitars and surging grooves. With their third full-length album, ASTROSAUR have delivered an incredibly diverse and musically challenging and satisfying experience, showing that this band is greater than the sum of its truly great parts. Over the course of fve tracks and 48 minutes, the band use the best traits of the aforementioned genres to take you on a sonic journey into the deepest caverns of space and time. First single «Black Hole Earth» is masterclass soaring post-rock guitars, with its magnifcent main melody, which is ofset against a blistering desert rock rif, like a star ship phasing in and out of hyperspace, alternating between crushing your guts and showing you the most marvellous views of deep space. From a compositional viewpoint, «Eternal Return» is a mind-blowing afair. This giant psychedelic prog epic has been built from diferent themes and motifs that take turns in appearing, shifting form and developing as they go along. Segueing into new themes or returning to earlier ones, «Eternal Return» gloriously comes full circle, ending the mind-boggling journey of Portals. With the addition of vibraphones, Moog and acoustic guitars, the sound of ASTROSAUR is fuller and more diverse than ever before. From the soaring overture of «Opening» to the glorious fnale of «Eternal Return», Portals shows the next great post-metal band at their most accomplished. Fans of dynamic rifs and intricate compositions can once again rejoice as they're able to tune in and fade out once more with another wild ride courtesy of this exciting Norwegian powerhouse. Limited Eternal Return Vinyl Edition!

1200 x Signed Prints

“Mrs Wibbsey, you may have done something absolutely catastrophic!”

For the first time on limited edition vinyl, Demon Records presents a second series of unique audio adventures
starring Tom Baker as the Doctor, following the success of Doctor Who - Hornet’s Nest.
Once again every copy includes an exclusive, frameable portrait of the Fourth Doctor, hand signed by Tom Baker
himself - just one of the treats inside this stunningly designed package.
An intricately die-cut, removable outer sleeve reveals a Demonic lidded box, inside which are 10 individual, beautifully
illustrated LP sleeves featuring full cast and credits for each of the five stories.
The Time Lord’s encounters with the mysterious Demon are detailed in The Doctor’s Journal, a large 16-page full
colour booklet featuring notes and illustrations from this epic pursuit through Time.
Presented across 10 x 140g alternating Red and Black vinyl discs, this full-cast audio adventure by Paul Magrs stars
Tom Baker as the Doctor, with Susan Jameson as Mrs Wibbsey and Richard Franklin as Mike Yates.
The supporting cast includes Nigel Anthony, Samuel West, Jan Francis, Trevor White, Lorelei King and Finty Williams,
and original sound design accompanies the familiar Doctor Who theme from the BBC Radiophonic Workshop.
LP 1&2: The Relics of Time
LP 3&4: The Demon of Paris
LP 5&6: A Shard of Ice
LP 7&8: Starfall
LP 9&10: Sepulchre
When key components from the TARDIS are stolen in exchange for a bag of strange curios, the Doctor and his
housekeeper Mrs Wibbsey are reunited in adventure. Each object leads the unlikely friends, along with the trusty
Mike Yates, to a place and time where danger awaits them. As their pursuer’s net closes around the Doctor, he
realises that the mysterious Demon is in thrall to a much higher power…

White Lung are back! This winter brings their fifth and final,
chaotic, bold and hook-driven album, ‘Premonition’. It’s a
whirlwind of driving drums, intricate guitar work, and noholds-barred lyrics about motherhood, pregnancy, and
growth. The themes are deeper. The interplay between
guitarist Kenneth William and drummer Anne-Marie
Vassiliou is more complex, the sound more cohesive.
During an unintentional five year hiatus, White Lung
managed to grow up without settling down, and the trio
has emerged out of its transformative period with raw, feral
energy.
When the members convened in their hometown of
Vancouver in 2017 to begin work with long-time producer
Jesse Gander on their fifth album, they had no idea what
kind of changes were in store for them. Frontwoman Mish
Barber-Way was in the studio preparing to record vocals -
when she realized she was pregnant with her first child. A
pandemic followed, then another baby, then the series of
massive societal meltdowns that we’ve all come to call
“everything that’s been going on.”
‘Premonition’ is about birth and rebirth. It’s about leaving
behind nihilism while refusing to give up the freedom that it
offers. It’s about raging against the world while still finding
space within it for hope and love.
CD into printed inner wallet into outer wallet and 8-page
folded poster booklet.
LP includes 24” x 36” poster.
Press - Reviews in MOJO, Loud & Quiet, Uncut. Features in
Stereoboard, Upset, NME, DIY, The Line of Best Fit, Our Culture,
CMU, Yahoo, The Guardian, Pitchfork, Rolling Stone, The FADER,
SPIN, Stereogum, Consequence, Brooklyn Vegan, Alt Press,
Exclaim!, Treblezine, Femmusic, Ultimate Guitar, Broadway World,
Northern Transmissions.
Radio - BBC 6 Music.

"Black Screen Records has once again teamed up with Tumult Kollektiv to release their soundtrack to Hundred Days, a game of choice, nostalgia and winemaking.Departing from the folkloristic orchestral sounds of Pine, the music for Hundred Days strives for an intimate setting, prominently featuring a small ensemble of synthesizers, cello and guitar. The compositions are lush and intricate, creating a soothing and light-hearted score, tinged with a sense of melancholy.""We are really proud to be releasing our second soundtrack with Black Screen Records and would like to thank everyone that has been supporting our music.Working on the music for Hundred Days was a wonderful experience and a great opportunity to taste some wines (and learn about winemaking).Thanks to Weinhof Lindicke for allowing us to record sounds on their vineyard, and Lawrence Herlyn for showing us around.Furthermore, our deepest gratitude to the wonderful musicians we got to work with on this project. Thanks for borrowing us your talent, near infinite patience, and making the music sing."" - Alexander van der Kruijf, Jonathan Howe & Leonhard van Voorst"

The prolific German musician Christian Schoppik is dropping his second solo album of 2022 under the moniker Läuten der Seele, following up his critically acclaimed self-titled debut album released at the start of the year.

Once again, “Die Mariengrotte als Trinkwasseraufbereitungsanlage” (The Mother Mary Grotto as a Drinking Water Treatment Plant) is a work based on a mix of sample collages and recorded instruments that are often used sparsely but as load-bearing elements. However, this time, Schoppik came up with two long tracks where the narrative evolves in multiple and intricate movements to tell mysterious stories that have to be imagined by the listeners as the music unfolds. If the title of the tracks “Opferkerzen weihen das Betonbecken” (Votive Candles consecrate the Concrete Pool) and “Der Heilige Geist aus der Leitung” (The Holy Ghost from the Water Tap) give a starting point to these stories, the ethereal, mystic and dreamy sounding minimal atmospheres presented in this record let each one of us contemplate our own soothing experience against the continuous chaos surrounding us.

Helga Myhr is a highly regarded Hardanger fiddle player and singer
She has participated in a number of ensembles and has played in a variety of
genres. In this work, originally composed for the 2020 Osa Festival, she combines
her roots in traditional music from Hallingdal with her distinctive form of musical
exploration. This release unites music and visual art on glorious vinyl, designed
by the award-winning artist Solveig Lønseth.Helga Myhr grew up surrounded by
folk music. Today, fiddle tunes are what lie closest to her heart:
"Fiddle playing encompasses infinite possibilities, and it is these possibilities that
inspire me when I create new music. People who know fiddle music well might be
able to hear which tunes or 'layers' I have used, but sometimes it is more subtle" -
Helga Myhr.
The music on this recording was composed specifically for the outstanding
musicians who appear on the recording. Their exceptional musical and creative
qualities have had a profound impact on how the music sounds: "Malin Alander
has a fabulous voice that she can shape and stretch with amazing suppleness;
Adrian Myhr produces a warm bass sound, with lovely and intricate melodic lines;
Michaela Antalová has a superb groove, and she creates elegant tones on the
willow flute; multi- instrumentalist Rasmus Kjorstad adds compelling sound
variations and tasteful contributions on the Norwegian zither, octave violin and
Jew's harp", Helga Myhr explains.
Poems by Margit Lappegard (1918– 2011), from Leveld, Ål in Hallingdal, are
included in three of the tunes. Lappegard was a beloved poet who attracted
considerable attention with her poetry collection "Noko vil alltid lysa", first
published in 1988.
Helga Myhr's solo album "Natten veller seg ut" was released in the autumn of
2019 on the Motvind Records label, and was nominated for a Norwegian Grammy
Award (Spellemannsprisen). Myhr plays in several groups and ensembles,
including the band Morgonrode, which won a Norwegian Grammy in 2019. She is
also a member of Kvedarkvintetten, Dei kjenslevare and a duo together with Tanja
Orning.

More than 50 million records sold, LP productions in Hungarian, German
and English, tours and festival appearances throughout Europe and
Japan, at least 50 cover versions or adaptations of the world hit
"Gyanngyhaj li ny" - Omega are Hungary's number one rock export
In 2022, the band will be celebrating its 60th stage anniversary, making it one of
the longest-serving rock formations in the world. On St. Nicholas Day, December
06, 2021, singer and founding member J nos K bor passed away due to the
coronavirus. Now the Omega albums from the well- known and successful
Bacillus era will be rereleased originally and completely on vinyl. After a few trips
into symphonic and psychedelic rock realms, Omega presented themselves on €
III € , released at the end of 1974, again more down to earth: Nine crisp hard rock
tracks, only one exceeding the four-minute mark. For this album, Peter Hauke, still
producer, and Omega not only used current material, but also included songs that
had already been recorded on the Hungarian original from 1969: "Stormy Fire" and
"Spanish Guitar". In order to attract a broader audience, the songs had been pared
down, instrumental soloing was reduced. Although Omega had always flirted with
progressive stylistic means since their turn to psychedelic rock in 1969, this time
they kept their hands off intricate arrangements. Instead, they turned towards the
zeitgeist by including rather blunt rock tunes like "Stormy Fire", "Go On The Spree"
and "Fancy Jeep" in the list, which could also please a glam rock fan and
passionate consumer of single hits by bands like The Sweet and Slade.