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A new record from Turnover arrives this fall. Myself in the Way is the band’s fifth full-length album, and it follows their first pause in consistent touring in almost 10 years. While the world was shut down, Turnover’s four bandmates spent time meditating, painting, volunteer firefighting, skateboarding, and working in state parks - deepening interests and growing roots in places they hadn’t been able to while living life on the road for so long.

Over 18 months, these individual experiences acted as the soil in which Myself in the Way grew into Turnover’s next album. Returning to Pennsylvania to track with longtime friend and producer Will Yip, vocalist & guitarist Austin Getz cites Quincy Jones, Chic, and Dark

If you ever wondered what ambient music of the 21st century could sound like, then you should explore the musical spheres of "ifsonever". This colorful debut-album draws a blueprint of an urban ambient club record of a parallel universe. A collage of beautifully improvised pieces, strictly recorded in "one takes". A gripping fusion that brings together the warm analog textures of classic vintage synthesizers and electronic urban ambiences.

Trying to appreciate the recent times of silence and deceleration, Daniel Helmer aka ifsonever has quickly developed a tonal language as a solo artist. With a non-compromising approach he would visit his studio, a cozy garden shed, to record one new track a day in strictly analog fashion as "one takes". His aim for this project was to capture the innocence and instinctive creative energy of the present moment. These 9 timeless pieces invite the listener to explore hypnotic and meditative atmospheres such as on the opener "transpose" or on "jonesy dreams of birds", as well as gloomy and almost mystical sounding tracks such as "total global" or "an unexpected error has occurred". ifsonever is a wonderful amalgamation of organic, laid-back sounds and electronic, club oriented elements.

Recorded at a time when social contact was forbidden and culture was at a standstill, many professional musicians felt challenged not to feel useless when performances and sessions in public were cancelled, while the need for expression, participation and communication persisted. What happens when you've read all your books, when you're tired of looking at screens, and when you're digitally saturated? Then the unbearable lightness of being will begin. Daniel Helmer decided to let his creativity flow into a picture depicting that moment in time. He gave himself the opportunity to reflect this period through the creation of music. Not always an easy thing to do when the only social interactions would be cats passing by or the sound of children playing nearby. However that can be exactly the perfect tranquil surrounding to ground oneself in the here and now and draw inspiration from the inside. This self titled album reflects a peaceful journey from start to finish.

Two old friends have been invited to contribute overdubs in hindsight. MillianX is a film composer and noise artist, a colleague from the viennese filmacademy. Both worked together on the film score for the science fiction movie "Rubikon" while the album was in its final stages. So a collaboration was an obvious choice. The creamy arpeggiated synthline created for "jonesy dreams of birds"' was extended by Millianx with some field recordings and a big cloudy synthwave that dips into a vast sea of noise.

Guido Spannocchi is a london based jazz musician. Both knew each other for several years but never had the chance to work together. When Daniel Helmer wrote "an unknown error has occured" he imagined a saxophone layer to accompany the existing synthline. But when the two musicians finally got together to record in the legendary jazz club "Porgy & Bess", Guido just let his creativity flow and jammed freely to the track with a totally unique jazz vibe.

Between film, music & sound Daniel Helmer is continuously searching for a spot to call his own. Expanding boundaries, pursuing the unheard and breaking genre definitions are byproducts of his curiosity and his drive to avoid repetition. Daniel Helmer resides in Vienna where he studied at the local film academy. He became one of the founding members of the techno-punk band "Gudrun von Laxenburg" with album releases on the legendary Skint label, collaborated with Sam Irl on "International Major Label" as the production duo "Mantra Mantra" and released an album as "Yogtze" on Gerd Janson's imprint "Running Back Incantations", together with Feater. At the moment he is focusing on his work as a film composer and is currently working on two feature films in Austria.

"ifsonever" offers a timeless ambience to help you slow down, reflect and enjoy the beauty of nothingness. It might help us to learn and accept a state of being unutilized without feeling futile and benefit from this rare silence.

The cover artwork is a collaboration between Jazz & Milk graphic designer Tim Schmitt and photographer Frank Hulsbömer. A scan of the artist's head, hand and foot was 3D printed, photographed and transformed into an otherworldly scenery that visualizes the musical atmosphere.

Following the Kota Motomura and Exterior debuts earlier this year, it’s another first from Hobbes Music. Maastricht Research is a brand new project from Scottish artist Jonathan Hunter producing ambient/drone style material. Jonathan was part of the quartet behind the much-loved Slabs Of The Tabernacle parties at Glasgow's now-legendary La Cheetah club back in the late 00s/early 10s. He's also one half of The Three Lives, whose debut EP, Mud & Flame and follow-up Across & Beyond were released recently by Glasgow's Full Dose label.

Written and recorded over a number of years, whilst living in Amsterdam, Glasgow and Dublin, the Maastricht Research vibe is about as horizontal as it gets and is the perfect soundtrack to long, lazy days and balmy eves in the park, by the pool, in the bath etc! There are zero beats. It's proper ambient / drone music and could well have been beamed in from another dimension, planet or century altogether, including field recordings, atmospheric fx, lush and eerie pads, with the occasional snatch of a weird vocal and generally other-worldly sounds.

The record owes a debt to the likes of Manuel Gottsching, Cluster, Susumu Yokota, Detroit Escalator Company, Astral Industries and Alessandro Cortini, among others…

Mastered by Keith 'Radioactive Man' Tenniswood, Idle Animation will now be out at the end of October on extremely limited edition 12" vinyl, with CMYK printed labels, contained in a plain white sleeve with 3mm spine (reverse board for natural finish) including full colour artwork plus titles* printed using a Risograph on 135gsm ‘Context Natural’ A3 paper and finally all packaged in a polyurethane bag. *printed on the ‘Obi flap’ - excess paper folded around the spine.

"Loving it. Beautiful stuff here - all tracks doing it for me" ROLANDO (UR)

"This is great! Will use in on Ambient Flo" AUNTIE FLO

"Really diggin the MaastrichtResearch release" INTERGALACTIC GARY

"Love this, thanks for sending" DOMENIC (Sub Club)

"This sounds fantastic!" NICK CRADDOCK (Gateway To Zen)

"Really liking the sound of the record. Dublin air tugging on his emotive side by the sounds :)" JOHN HECKLE

"Mesmerizing music, something we all need to listen to because of so much chaos and stress in the world...with this, just sit back and zone out for a bit and regain balance...." DAN CURTIN

"This is nice music, thank you for sharing it with me. A3 is the one for me, really nice vibe" ARIO (Astral Industries)

"More emotive and soulful ambience and drone from this red hot label. Maastricht Research have been reviving the Poolside revellers at Pikes morning sessions this summer" DRIBBLER (Pikes, Café del Mar, Ibiza)

After two successful 7’ releases, Eastside Edits is back once again! Continuing their mission to deliver dance floor filling, DJ friendly edits to the 45 community worldwide, Eastside Edits 003 will have every DJ lining up to put copies in their collection!

Side A) LeBaron James brings their magic to a disco boogie classic by the Jones Girls. Keep It Coming was filling dance floors in the 80’s, and this sure shot edit brings a modern groove, pounding drums, and ear grabbing synths. LeBaron James are currently blowing up, releasing music on countless labels and booking DJ gigs worldwide. These guys are at the top of their game and continue to take giant leaps forward in their music careers!

Side B) Baller is no stranger to the 45 community. He co-founded Eastside Edits in 2021 and established himself on Twitch with his personal brand of high energy, open format DJ sets. The 7’ Candi Flip is an upbeat remix of an 80s gem by The Source featuring vocals by Candi Staton. This tune’s energy is sure to make the dance floor move, and its super catchy vocal hook will have the whole crowd singing along!

Los Angeles' Zen 2000 returns with its third release, the third and final chapter in its kick-off string of 7-inches. For this episode, we once again dip into the deep and diverse well of local talent for a single from Tim Jones, a.k.a. Ex.Pontoon.

“Coming Back” is a slinky, off-kilter slow burn, a slinky vocal groove snaking through SoCal G-funk refashioned into a crackly reggae dub wobble. The other side is a delirious and psychedelic trip into the desert, the fiery sun scorching the earth below. Icy guitars and a cavernous arrangement turn the sonic horizon into a shimmering mirage. For the digital bonus, an instrumental version of the B-side, further revealing the nuanced and delicate composition of the piece.

Jordan Reyes is one of the busiest musicians in experimental music
today, and here he takes a bold turn with the metal-inflected Everything Is
Always, touching on death, Zen and science fiction
Reyes' previous collaborators include ONO, Eli Winter and Robert Stokowy, and
here he brings in a large and expert cast: Steve Hauschildt (Emeralds) at the
mixing board, and Heba Kadry (Slowdive, Big Thief, Alex G, Lower Dens)
mastering, plus instrumentalists including Lia Kohl (Whitney, Steve Gunn), Jon
Mueller (Volcano Choir, Death Blues), Patrick Shiroishi and Sam Wagster (Fruit
Bats, Eli Winter). The result is conceptual yet refined, and distinctively American
Dreams. Pressed on Randomly Colored color vinyl.

Jordan Reyes is one of the busiest musicians in experimental music
today, and here he takes a bold turn with the metal-inflected Everything Is
Always, touching on death, Zen and science fiction
Reyes' previous collaborators include ONO, Eli Winter and Robert Stokowy, and
here he brings in a large and expert cast: Steve Hauschildt (Emeralds) at the
mixing board, and Heba Kadry (Slowdive, Big Thief, Alex G, Lower Dens)
mastering, plus instrumentalists including Lia Kohl (Whitney, Steve Gunn), Jon
Mueller (Volcano Choir, Death Blues), Patrick Shiroishi and Sam Wagster (Fruit
Bats, Eli Winter). The result is conceptual yet refined, and distinctively American
Dreams. Pressed on Randomly Colored color vinyl.

Ringing from hi-fi headphones and blown-out boombox speakers alike
comes the overloaded guitar genius of "Easy Listening", a record of rock
n' roll daydreams and terminal boredom, and 2nd Grade's long awaited
second LP.Like a blue slushy on a hot day, Easy Listening is a sweet
respite
Like the Blue Angels touching down on the Las Vegas Strip, Easy Listening is
impossible to ignore. And like a janitor mopping up beer on the floor of the
Hollywood Palladium in 1972, hours after the Rolling Stones have finished
Ventilator Blues and climbed onto the bus, Easy Listening knows the glory and
cost of escapism, abandon, and the soul of rock n roll. Philadelphia's 2nd Grade
(Peter Gill, Catherine Dwyer, Jon Samuels, David Settle, and Fran Lyons) is a band
both obsessed with and worthy of rock stardom, and Easy Listening proves their
status as virtuosos of the power pop renaissance.Sonically and lyrically, Easy
Listening pays tribute to a guitar lineage linking the Stones to the Flamin'
Groovies, to Redd Kross and Guided By Voices. With its spiraling hooks and
handclapped quarter note beat, lead single Strung Out On You sounds like an
alternate reality post-Radio City Big Star cut. In 2nd Grade's world, music history
is a prism, not a linear progression. Famous teens transcend time on the outro to
Teenage Overpopulation, a shouted cacophony of names including Tommy
Stinson, Lizzie McGuire, and Joan of Arc. The line between the love of an
audience and that of a romantic partner is blurred on songs like Hands Down and
Me & My Blue Angels. Across the album, hi- fi and lo- fi styles splice together;
playful references and surreal hints of impossibility build a complex, believable
world atop a foundation of simple and sticky melodies that resonate on very first
listen. Pressed on Blue Jay Color vinyl.

Emmet Cohen's time has come, since his debut Mack Avenue release,
'Future Stride', Cohen has toured the world consistently " bringing the joy
of music to people in need during a global pandemic" all while hosting
weekly livestream concerts from his home in Harlem, NY
These livestreams provided a sense of community and a home to the displaced
musicians of New York, reminiscent of the 1920s rent parties. On 'Uptown in
Orbit', his sophomore release for Mack Avenue, Cohen brings the tradition of jazz
to the forefront while providing the modern twist needed for the current times.
Featured on this release is trumpeter/educator Sean Jones, saxophonist Patrick
Bartley, bassist Russell Hall and drummer Kyle Poole.

Library Music: Volume One is a sixteen track double LP collecting the North London drone pop band’s 7” singles, one-offs and compilation tracks spanning the first 14 years of the group’s existence. It includes synth pop, indie fuzz and moody motorik workouts, alongside pastoral folk sketches, dubby electronics and the occasional drone experiment. More immediate than their stretched out and slow-burning recent album tracks, the music here is taken from limited vinyl releases, album bonus tracks and music for compilations on labels as diverse as Bezirk Tapes, Second Language, Modern Aviation, and Concrete Tapes as well as the band’s current home, Where It’s At Is Where You Are. The compilation is a happily cohesive document of an inventive band that rarely stand still for long. The band says, “We wanted to gather all our early, scattered work before we move on to our next album, to remind ourselves (and others) of some of the poppier and less characteristic things we’ve done. We’ve always felt a lot more relaxed and freer making one off things for people – it’s a chance to try things that might otherwise be daunting on a full record”. Always a prolific group this is by no means an exhaustive collection, the title giving a clue to how much more they have left to share. “We have been introduced to loads of bands that we love initially through non-album compilations – Broadcast, The Chills, Stereolab, Piano Magic, Flying Saucer Attack amongst others – we wanted to add our own to that (admittedly slightly daunting) lineage.” The Leaf Library are formed around the core group of singer Kate Gibson, former Saloon and Singing Adams guitarist Matt Ashton, guitarist SJ Nelson, drummer Lewis Young and bass player Gareth Jones. They have released three studio albums (Daylight Versions, About Minerals and The World Is A Bell) as well a number of electronic and experimental albums and EPs, remix compilations and long form tracks. They have also released five Monument CDRs; an on-going series of experimental solo and side projects on their Objects Forever imprint. The band have collaborated with musicians as diverse as Alasdair MacLean of The Clientele, singer Ed Dowie, noise group Far Rainbow and string collective Iskra Strings, and have provided music for a number of exhibitions, films and performances. A collaborative album with Japanese artist Teruyuki Kurihara is due in late 2022 on the Mille Plateaux label. Tracklisting: 01 Agnes In The Square 02 Goodbye Four Walls 03 City In Reverse 04 Walking Backwards 05 Soundings 06 Diagram Loop 07 The Greater Good 08 Losing Places (ISAN Remix) 09 A Stone In Water 10 Architect Of The Moon 11 Tired Ghost 12 The Still Point 13 Wave Of Translation 14 Badminton House 15 Tranquility Bass 16 A Gap In The Trees

Red vinyl LP. Lars Finberg, confirmed genius guy and poet laureate of sunken 21st century Rock, acts as manager in perpetuity of THE INTELLIGENCE, primary vehicle for his prolific creative swirl and a project that has taken on new shapes across myriad trials and shifts. The project began in his Seattle bedroom – a lad and his Tascam cassette 8 track – with the classic Boredom & Terror and has now landed in his Los Angeles studio apartment – an urchin and his Tascam digital 12 track – with Lil’ Peril, a new album that finds Finberg 1000% back at the controls. Over the course of 11 albums (!), The Intelligence has established a backbone that boogies through revolutions, allowing each jam-crammed dispatch to feel and sound admirably unique. The angular sharp shocks heard in earlier years have steadily evolved into the ballooning grooves heard on more recent releases (including Finberg’s recent solo work). Lil’ Peril is a dreamy gamble that captures this current bubbling penchant in The Intelligence’s inaugural homemade mode. With inspirational templates as far-flung as LES PAUL, THE SPECIALS, LEE PERRY and MARY FORD, Lil’ Peril pulls off the absurd shift “from ‘No-Wave SANTANA’ to ‘SCREAMERS recorded by JON BRION’”. Playing shoulder parrot to studio engineers has no doubt informed Finberg’s approach to home recording, specifically in how much further he can go without wincing budget-minded eyes staring him down. This is immediately sensed on the opener “Maudlin Agency,” which begins with canned minimal bleep and closes with a full recreation of the “Brass Monkey” hook. These surprise-attack conclusions are a running current throughout the Lil’ Peril’s program and demonstrates that the main lesson Finberg has learned in The Intelligence is to never reel it in. Centerpiece banger “My Work Here Is Dumb” ranks among the finest Intelligence moments existent and an apex in Finberg’s songcraft, boasting a bonkers arrangement and a thematic gnaw that is both brutal and playful. The collection closes with the epic “Soundguys,” a suite cut-up that fuses CAN and STEELY DAN into one of the most dastardly tunes available for consumption in the plague age. As Finberg himself states, “They may say this is ‘lo-fi’, but I say it’s ‘no-CGI’”. “The band disintegrated, so it devolved back to the core idea: if I do every aspect, it’s indestructible.” 20 years on and Finberg has finally let everyone know what The Intelligence actually means! All those wily experiments and warm flubs have come back full circle and the shit’s pure goddamn gold. Proof positive that there is always some sort of cute trouble, farcical tragedy and Lil’ Peril at play with The Intelligence. - Mitch Cardwell, 2022. Tracklisting: 01 Maudlin Agency 02 70's 03 Keyed Beamers 04 Purification 05 My Work Here Is Dumb 06 Lil Peril 07 Frog Prints In Preset City 08 Portfolio Woes 09 Soundguys

12 track vinyl LP and 18 track CD including bonus single and demo recordings. The Daggermen all went to Rede Secondary School in Medway, Kent. It was a school for those that failed their 11 plus, or who passed it but decided to go there anyway (as Jon pretends). Being in some of the same classes we became friends and found we liked the same music; The Who, The Small Faces, The Kinks, The Beatles and The Jimi Hendrix Experience. We started going to Carnaby Street, wearing Beatle boots and generally being a bit Moddy. Dave’s older brother, James Taylor, played organ in The Prisoners and we’d listen to cassette tapes of them along with other local band, The Milkshakes as we bounced on the trampoline during P.E. After watching both bands play live in local venues such as the M.I.C. club in Chatham we formed The Daggermen, working out who was going to play which instrument as we stood next to the now demolished school sports hall. No one can quite remember who thought of the name, The Daggermen (it was me) or how comes Jon was playing bass on a guitar in the band at the very start and then Terry took over when we started gigging (it was because he had a real bass guitar and a car). But the next thing was that we were supporting The Prisoners both in Medway and places such as the 100 Club in Oxford Street. Then, one sunny day at around the age of 17, I bumped into Billy Childish walking across a field. I formally introduced myself and told him that he should definitely come and see our band that night because we were “fucking brilliant”. He did turn up and bought us a tray of whiskies whilst we were on stage, a sure sign that he had liked it. This led to him and Russ Wilkins, bass player in The Milkshakes alongside Billy, asking us if we wanted to record an E.P. for Russ’s label, Empire Records. This was our first ever recording called Introducing The Daggermen which was made in a brick arch under Rochester bridge that we rented for £2 a week to rehearse in and lovingly referred to as ‘The Hole’. We got ourselves a “manager” (our mate, Vic Templar) and started playing up and down England, drinking as much as possible in the van on the way to each gig, often paralytic by the time we went on stage. Our musical style was a sort of mixture of punk and mod and we played covers such as ‘Heatwave’ (The Who’s version) and ‘Get Ready’ by the Temptations, along with Dave and Terry’s originals. Then came a change of line up when Jon resumed his position as bass player and Terry left for America. We started wearing military jackets thanks to Jimi Hendrix and made our first long player, Dagger In My Mind (I got the title off an episode of Star Trek, although I remembered it wrong and it should have been ‘Dagger Of The Mind’). The album was produced by James Taylor and Allan Crockford of The Prisoners at Woolly Studios on the Isle of Sheppey in 1986. This line-up played together for a couple of years up and down the country (also with a few gigs in France) before we called it a day and sailed off into the future in bands such as The James Taylor Quartet, The Kravin’ “A”s, The Solarflares and Billy Childish and The Buff Medways. As energetic youths we had a lot of fun and I am very proud to have been part of The Daggermen. We hope you enjoy these recordings, now all gathered together for the first time. Sincerely yours, Wolf Howard, Cafe Mozart, Chatham CD TRACKLISTING 1 – It’s You I See 2 – What Do I Do For You 3 – There’s No Escaping 4 – I’ve Been Hurt 5 – I Have Lost Heart 6 – You Were Meant To Be 7 – Every Moment 8 – Dagger In My Mind 9 – That Girl 10 – D’you Think Of Me 11 – I Feel The Regret 12 – I’ve Been Searching 13 – Now It’s You I Need 14 – Ivor 15 – One More Letter 16 – I Wish You Were Mine 17 – Bundle 18 – No Reason LP TRACKLISTING 1 – It’s You I See 2 – What Do I Do For You 3 – There’s No Escaping 4 – I’ve Been Hurt 5 – I Have Lost Heart 6 – You Were Meant To Be 7 – Every Moment 8 – Dagger In My Mind 9 – That Girl 10 – D’you Think Of Me 11 – I Feel The Regret 12 – I’ve Been Searching

LP colour is Transparent Blue. Stu Spasm (Lubricated Goat) + Russell Simins (Jon Spencer Blues Explosion) + Kate Bjelland (Babes In Toyland). One off garage-sleaze rock masterpiece. Remastered. Crunt began in 1993 as a kind of indie rock supergroup and had their 1994 debut album touted by Pearl Jam's Eddie Vedder. Crunt's members included guitarist/vocalist Stuart Gray (aka Stu Spasm) and bassist/vocalist Kat Bjelland. Gray was well-known in Australia by the start of Crunt for his past involvement in the bands Salamander Jim and the horn/guitar punk rock of Lubricated Goat, which included drummer Martin Bland who went on to play in the Monkeywrench. As for Bjelland, she was the frontwoman/guitarist for the Minnesota-based Babes in Toyland. Crunt was rounded out by drummer Russell Simins, who was the full-time sticksman for New York City's Jon Spencer Blues Explosion. Each of Crunt's members were temporarily residing in Seattle when Gray conjured up the idea of starting a new group. After writing almost a dozen songs, the trio entered Seattle's Ranch studio in February of 1993 with Simins and Gray acting as the producers, and their friend John Dunleavy -- known for his work with the Supersuckers -- filling the role of engineer. A year passed before the group's self-titled album was released on February 15, 1994, on Austin, TX label Trance Syndicate, owned by Butthole Surfers' drummer King Coffey. The record was the imprint's first release from a non-Texas group. The debut of the full-length album coincided with the "Swine"/"Sexy" single on Australia's Insipid label, which was known for releasing singles by other bands such as the Cows, Urge Overkill, and the Jesus Lizard. Prior to the releases, there had been talk that the band was not going to just be a side project, but a full-time band in the same tradition as Babes in Toyland and the Blues Explosion. The trio had even planned a full-scale tour. By January of 1995, however, Crunt came to an end.

As a teen Kim Salmon blew his mind on the fusion of Miles Davis' Bitches Brew, the stellar freakout of Sun Ra's 'Space is the Place' and the generally unhinged groove of Can's Ege Bamyasi. They showed him an alternative to just 'playin the blooze'. Then Punk Rock came along! The earlier inspirations, however, where not idealistically opposed to the free expression espoused by the punk movement. Some of the freeform freakout fusion can be heard in Kim's seminal band the Scientists on tracks like Nitro, Revhead and Human Jukebox, in fact most of what the band played throughout the nineteen eighties. As that band and decade came to a close Kim resolved to give free reign to that avant garde, jazz, in fact, downright weird streak, on his 'solo' venture The Surrealists. Their debut 'Hit Me with the Surreal Feel' is soaked in it all! Alas, as the nineties progressed, so did this band into a highly respected but conventional indie rock band. It did much successful touring around Europe, the USA and Australia on its own and with the likes of, U2, The Bad Seeds, Jon Spencer and the Cramps. It's best known and best selling album was 1993's Sin Factory. With the 2006 reunion of the Surrealists, for the Spanish Azkena Festival, Kim was re-acquainted with the free jazz/noise/ fusion bug and resolved to get the band back together for at least long enough to work through what it started back in the late 1980s. Recorded throughout 2008 and 2009 over a series of live sessions, 'Grand Unifying Theory' has the band given some framework compositions by Kim. The band - Kim, Stu Thomas and Phil Collings - then takes these ideas to the outer limits of punk/jazz/ thrash freakout!. The results are taken by Kim and producer Mike Stranges and assembled into the most far out music Kim Salmon has been responsible for to date! 'Grand Unifying Theory' with its polyrhythmic beats, its atonal keys, its heavy funk/punk grooves, its spaced out use of equipment buzz and Dictaphone.

Similar in concept to her earlier classic NIGHTCLUB, CLIQUE! gives Patricia and her long-time band (Jon Deitemyer, drums; Patrick Mulcahy, bass; Neal Alger, guitar; Jim Gailloreto, tenor sax) a stellar showcase for their telepathic musical communication and consummate jazz chops. Barber said of recording an all-standards album:

"The harmonic language of jazz, as well as that of the Great American Songbook, is certainly rich - look how much has come out of it - but it's circumscribed. I started wanting to hear something else."

These are relaxed, communal sessions. Her core trio ride up and down, in and out of Barber's complex, sensitive playing and singing. Their support allows her to shine brightly while digging out striking moments for their own unique contributions. The chemistry is palpable, all encompassing. This group's long-developed synergy - painstakingly curated by these musicians for years - provides both a metaphor and the perfect title for her new album.

Impex Records, Patricia Barber, and Jim Anderson invite you to experience the music, revel in the mastery, and join the Clique!

The expansive & emotive, 'Screamnasium' is O R k's most essential album
to date - Spontaneous yet intricately crafted, it is perhaps the most
concise statement of the band's sonic aims yet. With the quartet having
formed a strong creative bond over the course of three previous studio
albums & with countless miles clocked up on tour, the highly anticipated
follow up to 2019's acclaimed 'Ramagehead' has finally arrived
The pent up, derailed energies of O.R.k. have found a release with their gutsy &
striking new album 'Screamnasium'.Setting the pace, lead single/ album opener
'As I Leave' delivers the distilled O.R.k. spirit directly to the listener. Lef's powerful
vocals, Carmelo Pipitone's energetic riffing, Pat Mastelotto's inventive rhythmic
accompaniment & Colin Edwin's distinctive bass tones all infuse 'Screamnasium'
with a refreshed intensity & a new luminosity. Energy levels are maintained
throughout the 42-minute runtime as O.R.k. state the case for optimism, tolerance
& inclusivity - these are hopeful anthems for an increasingly uncertain world.
A highlight is 'Consquence', where Lef spars with Grammy winning vocal phenom
Elisa, best known outside her native Italy for her collaboration with the legendary
Ennio Morricone on Quentin Tarantino's 'Django Unchained' soundtrack.
Album closer 'Someone Waits' features virtuoso cellist Jo Quail who provides
seductive, intertwining melodies which contrast the huge riffs underpinning
Screamnasium's sound.
The creative duo of Grammy winning art director Adam Jones (of Tool) & Marvel/
DC Comics illustrator Denis Rodier have handled the artwork & layout to create an
iconic album artwork with remarkable visual imagery, while mixing & Mastering
duties have been undertaken by Machine (Lamb of God, King Crimson, Clutch).
Encompassing a wide breadth of emotional landscapes, 'Screamnasium' is the
perfect catharsis for our troubled times.

New Hampshire born, New Brunswick based, singer-songwriter Jason
Anderson has spent the last five years making Canada home, landing first
in Toronto before settling in Fredericton - The idea of home the places we
come from, the places we return to is a powerful theme throughout his
epic new record First Light
First Light is a compelling, cathartic listen, as Anderson's poetic lyrics and
anthemic melodies make for an inspired fit with producer Thomas Wincek.
Drawing on his All Tiny Creatues project as well as his work with Justin Vernon's
Volcano Choir, Wincek has created a huge sonic backdrop here. Anderson's
expansive narratives and sing-along hooks weave through explosive rockers like
Caps Ridge Line and Still Life, pastoral mood pieces like Looking Glass and
Streetlamps , and haunting ballads like the pensive "Tower in the Fog and
gorgeous closer Halloween. The whole thing feels a bit like indie- folk stadium
rock, as if The Weakerthans were fronted by fellow Canadian Bryan Adams. As
Anderson puts it, € What started as a text exchange between me and Tom about
Joni Mitchell in the 80s turned into something strange and awesome. What's
perhaps most awesome about the project is hearing a bedroom singer-songwriter
pushing themselves in such a fun and unexpected way. First Light is a really
special record.

Faye Webster announces ‘Car Therapy Sessions’, an
EP of new and re-imagined songs by Webster
recorded at Spacebomb Studios with a 24 piece
orchestra. The orchestra was headed by Trey Pollard,
who was responsible for both conducting and
arranging, and Drew Vandenburg produced and mixed
the EP.
‘Car Therapy Sessions’ is available on Walnut Brown
vinyl.
“I have a vivid memory of walking around London in
2018 listening to a mix of ‘Jonny’, which I had just
written. I remember thinking ‘I want to perform this
song with an orchestra’. I truly have had my heart set
on it since then, always talking about it and figuring out
how or when to make it happen,” says Webster.
On the EP, Webster reimagines three songs from her
critically acclaimed 2021 release, ‘I Know I’m Funny
haha’, and 2019’s ‘Atlanta Millionaire’s Club’. The
songs ‘Kind Of’, ‘Sometimes’ and ‘Cheers’ take on a
cinematic and glimmering new sheen.
In addition to the title track, she also shares a
sprawling and emotional work - ‘Suite: Jonny’ - which
combines fan-favourites ‘Jonny’ and ‘Jonny (Reprise)’.
The two songs originally appeared on the ‘Atlanta
Millionaire’s Club’ tracklist, two different views on the
same narrative. Here they are presented together.
It’s remarkable how beautifully Webster’s work can
take on this orchestral treatment. Like Cole Porter, or
Judy Garland, her delicate and emotional delivery
packs a gut punch when dramatized by the EP’s
robust arrangements.

"Augen Zu Und Durch" heißt es auf dem neuen Album von Mister Jones und Tito Tentaculo. Illustre Geschichten, voll vernebelter Erinnerungen und episodischer Straßenträume. Wenn die Würfel fallen drehen die beiden dann doch erstmal eine Runde um den Block und suchen gemeinsam mit Escape ihre Goldene Mitte. Bevor es schließlich in die Zeitmaschine zu Sekt Oder Selters geht, heißt es am Ende dann zwar doch wieder Back To The Streets. Aber das war bei den beiden ja zu erwarten.

Auf den souligen bis roughen Produktionen von Tito Tentaculo findet Jones den perfekten Nährboden für sein verschachteltes Storytelling genau wie für seine Alltagsbetrachtungen aus der Eingeborenenperspektive auf die Großstadt.

2 x 180 g black LPs

"Insieme" ("Zusammen") heißt das erste Duett-Album von Jonas Kaufmann und seinem Freund, dem französischen Star-Bariton Ludovic Tézier. Die berühmten Duette aus Opern von Verdi, Puccini und Ponchielli wurden mit dem Orchestra dell'Accademia Nazionale di Santa Cecilia unter der exzellenten Leitung von Antonio Pappano aufgenommen. "Insieme" erscheint als Doppel-Vinyl (180g) am 11. November bei Sony Classical.Auf der Bühne sind sie oft Rivalen, im wahren Leben verbindet Jonas Kaufmann und Ludovic Tézier eine enge Freundschaft. Nach zahlreichen gemeinsamen umjubelten Live-Auftritten erscheint das erste Duett-Album der beiden Ausnahmesänger: "Insieme", Italienisch für "Zusammen" ist der Titel. Mit dem hervorragenden Orchestra dell'Accademia Nazionale di Santa Cecilia unter Antonio Pappano präsentieren sie Duette, die sie zusammen auf der Bühne gesungen haben, und Stücke, die sie extra für dieses Album einstudiert haben.Seit ihrem gemeinsamen "Werther", 2010 in Paris, sind sie immer wieder Bühnenpartner in verschiedenen Produktionen; und wie bei ihrem Duett-Album spielen die Werke Verdis dabei eine zentrale Rolle. Als sie 2013 an der Bayerischen Staatsoper zum ersten Mal die Rivalen in "La forza del destino" verkörperten, war sofort zu spüren: da haben sich zwei gefunden, die sich gegenseitig anfeuern. 2017 standen sie in Paris in der französischen Urfassung von Verdis "Don Carlos" auf der Bühne; da ist es nur logisch, dass das berühmte Duett von Carlos und Rodrigue auf ihrem Duett-Album in dieser Fassung erklingt. Hier sind sie einmal nicht die ewigen Widersacher, sondern echte Verbündete, in einer der schönsten Männerfreundschaften der Oper. Außerdem sind die beiden hier zum ersten Mal zusammen in "Otello" zu hören. Bei Kaufmanns Debüt als Otello, 2017 am Royal Opera House in London, sollte eigentlich Tézier an seiner Seite als Iago debütieren, doch leider musste er absagen. Und so kam es, dass die Aufnahmesitzungen während des Lockdowns 2021 zum ersten gemeinsamen "Otello" der beiden wurden, noch bevor Tézier seinen ersten Bühnen-Iago an der Wiener Staatsoper "nachholte". Dass mit Antonio Pappano am Pult seines Orchestra dell'Accademia Nazionale di Santa Cecilia einer der profiliertesten Operndirigenten unserer Zeit mit seinem exzellenten Orchester an Bord ist, ist ein weiterer Glücksfall für diese Einspielung.Beide Sänger sind hier erstmals in den großen Duetten aus Verdis "Les vêpres siciliennes" zu erleben, in der selten gespielten französischen Fassung. Auch das Duett aus Ponchiellis Verismo-Meisterwerk "La Gioconda" ist ein echtes Doppel-Debüt, dem bald auch eine gemeinsame Aufführung der kompletten Oper folgen soll. Puccinis "La bohème" hingegen haben beide bereits auf der Bühne gesungen, jedoch noch nicht gemeinsam; hier sind sie zum ersten Mal gemeinsam mit dem Duett aus dem 4. Bild zu hören.

Pkew Pkew Pkew is looking on the bright side. As a band that lives and dies by touring, it’s been a while since they could say fuck it, we’re taking a year off to make something. That decision wasn’t entirely theirs, but 2020 handed them an opportuni-ty. Open Bar doesn’t navigate any of the tired pandemic tropes. Instead, Pkew is celebrating the things that make their lives awesome, even if those things suck sometimes. The band was forced to take a step back and use a slower approach. Mike Warne (guitars/vocals), Ryan McKinley (guitars/vocals), Emmett O’Reilly (bass/vocals) and David Laino (drums) bounced song ideas off Craig Finn of The Hold Steady, and went into the studio with Jon Drew, who produced their first album. “Since we didn’t have a hard deadline to finish, we felt a lot more freedom to take our time and mess around in the studio. Jon is the kind of producer that is down to try anything, so we had lots of fun playing with trumpets, old moog synths, glockenspiels,” says Warne. In a weird year, the familiar Pkew themes—navigating life’s small daily troubles with a sardonic grin and your friends by your side—are comforting, nostalgic. The result is tight, rowdy modern punk with the heart and soul of classic rock. It’s cracking a beer in the park, plugging in the AUX cord on a summer road trip, cramming into a sweaty bar with your friends and a million strangers.

‘For the Roses’ is the fifth studio album by Canadian singer-songwriter Joni Mitchell and was released in November 1972. The album was released 50 years ago this November and is BPI certified silver. It was added to the Library of Congress’ National Recording Registry in 2007. The album was met with critical acclaim and notably features ‘You Turn me on I’m A Radio’ as well as ‘Banquet’ and the title track ‘For the Roses’.












l Judgement Of The Moon And Stars (Ludwig's Tune) 2022 Remaster

After some big collaborative tunes with In Flagranti that made big waves a while back, vocalist Natalie Smash is back and in fine form. This new acid-tinged EP for Chicago's Still Music is killer, with San Francisco's very own Loose Control Band (aka DJ Spun and Jonah Sharp in tow. 'New Start' comes in three different but equally vital versions with edgy acid and old school house vibes to spare. The one and only Mystic Bill steps up to remix and as always does so with aplomb and plenty of energy.

Auf dem dritten Album von Ghost Funk Orchestra klingt jeder Song wie der Soundtrack zu einer Szene aus einem imaginären Film. Die Musik könnte einem romantischen Drama, einem Action-Thriller oder einer modernen Variante eines klassischen Film Noir entstammen. Der sparsame, kaskadenartige Gesang unterstreicht die üppige instrumentale Orchestrierung, komponiert, gespielt, arrangiert und produziert von Multi-Instrumentalist Seth Applebaum. Er nutzt die klanglichen Mittel der Exotica aus der Mitte des vergangenen Jahrhunderts und die der prägnanten Pop-Orchester, die die Hitparaden der 60er und frühen 70er Jahre dominierten. Er vermischt Eindrücke aus dieser vergangenen Ära mit dem Ausdruck seiner aktuellen Erfahrungen als junger Filmemacher im 21. Jahrhundert, wobei er Einflüsse wie Sharon Jones & The Dap Kings und Antibalas aufgreift. A New Kind of Love referenziert die Vergangenheit, ohne zu versuchen, sie nachzubilden. Das 10-köpfige Ghost Funk Orchestra erweckt sein Material zum Leben und läutet mit diesem anspruchsvollen Werk die neue Ära der Band ein.

Ltd Deluxe 3LP+2CD+Blu-ray B Nach einem außergewöhnlich langen Jahr voller persönlicher Veränderungen und nahezu manischer kreativer Aktivitäten veröffentlicht der kanadische Musiker Devin Townsend 2019 den Nachfolger seines hochgelobten Albums "Empath". Zusammengestellt aus einer Flut von Material, das während der Pandemie geschrieben wurde, stellt "Lightwork" eine neue Ebene dar und wurde zu einer der zugänglichsten, aber dennoch ehrgeizigsten Veröffentlichungen seiner geschichtsträchtigen Karriere. Ein Projekt, das Devin schon seit seiner Teenagerzeit im Kopf hatte (und mit dem er während seiner gesamten Karriere geliebäugelt hat), ist ein melodischeres und direkteres Album mit einem großartigen Produzenten, der ihn bei der Arbeit unterstützt. Hier kommt Garth Richardson ins Spiel: Ein in Vancouver ansässiger Produzent mit einem langen Lebenslauf und ein langjähriger Freund von Devin. Und das Ziel? Etwas schönes, kathartisches, kraftvolles und klares zu schaffen. Ein Gefühl von Optimismus und Kraft in einer Zeit, die man gemeinhin als "deprimierend" bezeichnen kann. Es geht um Stärke, Liebe, Akzeptanz, Angst und gemeinsame Überwindung. Zu den Gästen auf dem Album gehören Freunde und Weggefährten aus seiner Vergangenheit (Anneke Van Giersbergen, Ché Aimee Dorval, Morgan Agren, Mike Keneally, Steve Vai, Elektra Women's Choir) sowie einige neuere Freunde und Gesichter (Darby Todd, Diego Tejeida, Nathan Navarro, Federico Paulovich, Jonas Hellborg). Erhältlich als Ltd Deluxe Orange 3LP+2CD+Blu-ray, Ltd Deluxe 2CD+Blu-ray Artbook & Ltd 2CD Digipak - alle mit dem Begleitalbum 'Nightwork'. Auch erhältlich als eigenständige Gatefold 2LP+CD, Standard CD Jewelcase & Digitales Album.

Black Vinyl

Nach einem außergewöhnlich langen Jahr voller persönlicher Veränderungen und nahezu manischer kreativer Aktivitäten veröffentlicht der kanadische Musiker Devin Townsend 2019 den Nachfolger seines hochgelobten Albums "Empath". Zusammengestellt aus einer Flut von Material, das während der Pandemie geschrieben wurde, stellt "Lightwork" eine neue Ebene dar und wurde zu einer der zugänglichsten, aber dennoch ehrgeizigsten Veröffentlichungen seiner geschichtsträchtigen Karriere. Ein Projekt, das Devin schon seit seiner Teenagerzeit im Kopf hatte (und mit dem er während seiner gesamten Karriere geliebäugelt hat), ist ein melodischeres und direkteres Album mit einem großartigen Produzenten, der ihn bei der Arbeit unterstützt. Hier kommt Garth Richardson ins Spiel: Ein in Vancouver ansässiger Produzent mit einem langen Lebenslauf und ein langjähriger Freund von Devin. Und das Ziel? Etwas schönes, kathartisches, kraftvolles und klares zu schaffen. Ein Gefühl von Optimismus und Kraft in einer Zeit, die man gemeinhin als "deprimierend" bezeichnen kann. Es geht um Stärke, Liebe, Akzeptanz, Angst und gemeinsame Überwindung. Zu den Gästen auf dem Album gehören Freunde und Weggefährten aus seiner Vergangenheit (Anneke Van Giersbergen, Ché Aimee Dorval, Morgan Agren, Mike Keneally, Steve Vai, Elektra Women's Choir) sowie einige neuere Freunde und Gesichter (Darby Todd, Diego Tejeida, Nathan Navarro, Federico Paulovich, Jonas Hellborg). Erhältlich als Ltd Deluxe Orange 3LP+2CD+Blu-ray, Ltd Deluxe 2CD+Blu-ray Artbook & Ltd 2CD Digipak - alle mit dem Begleitalbum 'Nightwork'. Auch erhältlich als eigenständige Gatefold 2LP+CD, Standard CD Jewelcase & Digitales Album.

Yellow Vinyl

Nach einem außergewöhnlich langen Jahr voller persönlicher Veränderungen und nahezu manischer kreativer Aktivitäten veröffentlicht der kanadische Musiker Devin Townsend 2019 den Nachfolger seines hochgelobten Albums "Empath". Zusammengestellt aus einer Flut von Material, das während der Pandemie geschrieben wurde, stellt "Lightwork" eine neue Ebene dar und wurde zu einer der zugänglichsten, aber dennoch ehrgeizigsten Veröffentlichungen seiner geschichtsträchtigen Karriere. Ein Projekt, das Devin schon seit seiner Teenagerzeit im Kopf hatte (und mit dem er während seiner gesamten Karriere geliebäugelt hat), ist ein melodischeres und direkteres Album mit einem großartigen Produzenten, der ihn bei der Arbeit unterstützt. Hier kommt Garth Richardson ins Spiel: Ein in Vancouver ansässiger Produzent mit einem langen Lebenslauf und ein langjähriger Freund von Devin. Und das Ziel? Etwas schönes, kathartisches, kraftvolles und klares zu schaffen. Ein Gefühl von Optimismus und Kraft in einer Zeit, die man gemeinhin als "deprimierend" bezeichnen kann. Es geht um Stärke, Liebe, Akzeptanz, Angst und gemeinsame Überwindung. Zu den Gästen auf dem Album gehören Freunde und Weggefährten aus seiner Vergangenheit (Anneke Van Giersbergen, Ché Aimee Dorval, Morgan Agren, Mike Keneally, Steve Vai, Elektra Women's Choir) sowie einige neuere Freunde und Gesichter (Darby Todd, Diego Tejeida, Nathan Navarro, Federico Paulovich, Jonas Hellborg). Erhältlich als Ltd Deluxe Orange 3LP+2CD+Blu-ray, Ltd Deluxe 2CD+Blu-ray Artbook & Ltd 2CD Digipak - alle mit dem Begleitalbum 'Nightwork'. Auch erhältlich als eigenständige Gatefold 2LP+CD, Standard CD Jewelcase & Digitales Album.

Die Salt Lake City Indie-Rocker “The Backseat Lovers” veröffentlichen ihr neues Album „Waiting To Spill“.
Joshua Harmon, Jonas Swanson, KJ Ward und Juice Welch kennen sich bereits aus Highschool-Tagen.
Seitdem geht es Schlag auf Schlag: Mit ihrer ersten EP „Elevator Days“ sammelten sie über 370 Mio.
globale Streams und ihr Mega-Hit „Kilby Girl“ markierte ihren endgültigen Durchbruch.
Das kommende Album gewährt uns Einlass in die Köpfe der vier Vollblutmusiker. Anspruchsvolle Melodien,
aussagekräftige Texte und einprägsame Beats entführen jeden Fan und (noch) nicht Fan in eine Welt voller
Melancholie und Zuversicht.
Ausverkaufte Shows gehören nun längst zum Alltag der Newcomer Stars und Anfang des kommenden
Jahres bringen „The Backseat Lovers“ ihre Live-Experience auch nach Deutschland.
Das Album erscheint als Standard CD und auf 180g Vinyl.

In the summer of 2000, school friends Mark Lawton, Jon Pearce and Jamie Lenman won a battle-of-the-bands competition and used the prize money to record the five tracks that would become their first professional release, entitled Pilot. Then called Angel, before the EP was released on local label Badmusic they changed their name to Reuben and were over the moon when the record received notices in Kerrang and even a spin from Steve Lamacq on Radio One. “We were just a school band, but we definitely had grand plans,” says Lenman, now a successful solo artist in his own right. “We changed our name because we knew we’d have to do it at some point, and we didn’t want the EP to get forgotten.” Despite selling out several modest runs on CD, Pilot was never issued on vinyl, and so to celebrate the 21st anniversary of its release, the five original tracks have been re-mastered and pressed onto wax. But more than this – after a chance discovery of five extra tracks on a DAT tape in a loft, Pilot has been bumped up to album status with the inclusion of a second side. “I always thought we’d only recorded those five tracks before Mark left – I’d completely forgotten about the recordings from the end of the same year,” says Lenman. “They were just demos of new material, they were never meant to be packaged together with the tracks from Pilot – in fact, you can already hear how the sound was starting to change in just six months. But they do make a nice set, and I guess if that original line up of the band had made a full album before Racecar, this is maybe what it might have sounded like.” The album inlay itself boasts a hoard of unseen photos from both recording sessions, unearthed after two decades, as well as the original EP inlay and the unused cover art credited to Angel instead of Reuben – hence Pilot Angel.

After an exceptionally long year full of personal change and near manic levels of creative activity, Canadian musician Devin Townsend releases his follow up to 2019’s acclaimed ‘Empath’ album. Assembled from a barrage of material written during the pandemic ‘Lightwork’ represents a new level,and has ended up being one of the most accessible, yet ambitious releases of his storied career. A project that has been on Devin’s mind since he was a teen, (and flirted with throughout his career) is a more melodic and direct album with a great producer to help guide the work. Enter Garth Richardson: A Vancouver based producer with a long resume and a friend of Devin’s for many years. And the goal? To provide something beautiful, cathartic, powerful and clear. A sense of optimism and power through what can be commonly known as a ‘depressing period’. Its about strength, love, acceptance, fear, and overcoming together. Guests on the record include friends and stalwarts from his past (Anneke Van Giersbergen, Ché Aimee Dorval, Morgan Agren, Mike Keneally, Steve Vai, Elektra Women’s Choir) as well as some newer friends and faces (Darby Todd, Diego Tejeida, Nathan Navarro, Federico Paulovich, Jonas Hellborg). Available as Ltd Deluxe Orange 3LP+2CD+Blu-ray, Ltd Deluxe 2CD+Blu-ray Artbook & Ltd 2CD Digipak – all including the companion album ‘Nightwork’. Also available as standalone Gatefold 2LP+CD, Standard CD Jewelcase & Digital Album.

After an exceptionally long year full of personal change and near manic levels of creative activity, Canadian musician Devin Townsend releases his follow up to 2019’s acclaimed ‘Empath’ album. Assembled from a barrage of material written during the pandemic ‘Lightwork’ represents a new level,and has ended up being one of the most accessible, yet ambitious releases of his storied career. A project that has been on Devin’s mind since he was a teen, (and flirted with throughout his career) is a more melodic and direct album with a great producer to help guide the work. Enter Garth Richardson: A Vancouver based producer with a long resume and a friend of Devin’s for many years. And the goal? To provide something beautiful, cathartic, powerful and clear. A sense of optimism and power through what can be commonly known as a ‘depressing period’. Its about strength, love, acceptance, fear, and overcoming together. Guests on the record include friends and stalwarts from his past (Anneke Van Giersbergen, Ché Aimee Dorval, Morgan Agren, Mike Keneally, Steve Vai, Elektra Women’s Choir) as well as some newer friends and faces (Darby Todd, Diego Tejeida, Nathan Navarro, Federico Paulovich, Jonas Hellborg). Available as Ltd Deluxe Orange 3LP+2CD+Blu-ray, Ltd Deluxe 2CD+Blu-ray Artbook & Ltd 2CD Digipak – all including the companion album ‘Nightwork’. Also available as standalone Gatefold 2LP+CD, Standard CD Jewelcase & Digital Album.

At any given time, you’re likely to find Jim Lauderdale making music, whether he’s laying down a new track in the studio or working through a spontaneous melody at his home in Nashville. And if he’s not actively crafting new music, he’s certainly thinking about it. “It's a constant challenge to try to keep making better and better records, write better and better songs. I still always feel like I'm a developing artist,” he says. This may be a surprising sentiment from a man who’s won two Grammys, released 34 full-length albums, and taken home the Americana Music Association’s coveted Wagonmaster Award. But forthcoming album Game Changer is convincing evidence that the North Carolina native is only continuing to hone his craft. Operating under his own label, Sky Crunch Records, for the first time since 2016, Lauderdale recorded Game Changer at the renowned Blackbird Studios in Nashville, co-producing the release with Jay Weaver and pulling from songs he’d written over the last several years. “There's a mixture on this record of uplifting songs and, at the same time, songs of heartbreak and despair—because that's part of life as well,” he says. “In the country song world especially, that's always been part of it. That’s real life.” Lauderdale would know: He’s been a vital part of the country music ecosystem since 1991, when he released his debut album and began penning songs for an impressively long roster of country music greats. “When I was a teenager wanting to be a bluegrass banjo player, I never would have imagined that I would get to work with people like Ralph Stanley and Robert Hunter and George Jones and Elvis Costello and John Oates,” he muses. “Getting to work with them inspires me greatly to this day, and I know it always will.” From rollicking guitar riffs on “That Kind of Life (That Kind of Day)” to the slow, sweet harmonies of “I’ll Keep My Heart Open For You,” Game Changer shows off Lauderdale’s ingenuity as a singer, songwriter, and producer—while reestablishing him as one of Americana’s most steadfast champions..”

For Fans Of Temples, Allah-Las, Unknown Mortal Orchestra, Khruangbin, David Axelrod. Each song on Ghost Funk Orchestra's 3rd album, A New Kind of Love, due to be released on Colemine Records … 2022, resonates like the soundtrack to a scene from an imaginary movie. The music could score a romantic drama, an action thriller, or a modern twist on a classic film noir. The spare, cascading vocals accentuate the lush instrumental orchestrations composed, performed, arranged and produced by multi-instrumentalist Seth Applebaum, whose latest brainchild was conceived and conceptualized during The Great Pause of 2020, a time of tension, bewilderment and isolation. Evoking the grooviness of an era which preceded his arrival on earth, Applebaum draws upon sonic devices of mid-century exotica and the succinct but dense arranging style of the leaders of the pop orchestras which dominated the hit parades of the 60s and early 70s. He blends impressions of this bygone era with an expression of his actual experiences as a young filmmaker coming of age in the 21st century, citing influences such as Sharon Jones & The Dap Kings and Antibalas. A New Kind of Love encompasses a reverence for the past without attempting to recreate it. In the tradition of the "production forward" discographies of such record makers as David Axelrod and the Mizell Brothers, it's easy to visualize Applebaum as a "mad doctor" figure, hunkered down in a studio channeling this musical representation of his inner world into the 12 compositions which make up A New Kind of Love. His writing stretches his psyche to explore a terrain in which to capture emotional notes of love going well, love gone sour, manifesting love songs based in ghostly affairs. While the studio is obviously a wondrous happy place of experimentation and creativity for Applebaum, he's a band guy too (having actually fronted punk outfit The Mad Doctors). Applebaum has the wherewithal to bring his dreamy material to the 10 piece all star Ghost Funk Orchestra, leading them to breathe life into this sophisticated body of work which heralds the celebration of a new era for the group. Ghost Funk Orchestra will be touring in concert this summer and fall to celebrate the release of A New Kind of Love, an album which is sure to stand the test of time. Also Available From Ghost Funk Orch: Night Walker/Death Waltz LP/CD, Opaque Red LP, An Ode To Escapism LP/CD, A Song For Paul LP / CD 1. Introduction 2. Your Man's No Good 3. Scatter 4. Prism 5. Quiet Places 6. A New Kind Of Love (pt. 1) 7. Why? 8. Blockhead 9. A Song For Pearl 10. Bluebell 11. Rooted 12. A New Kind Of Love (pt. 2)

28th October 2022 sees the release of Pop-Up Dynamo! from PG Roxette, the new era of Roxette. Per Gessle continues the adventure he and Marie Fredriksson began, over 35 years ago. Together with members from the classic Roxette band and a sound echoing somewhere between "Look Sharp!" and "Joyride"; Gessle returns to the musical peak of his life with a new album.
Per Gessle gathered the classic Roxette band – Jonas Isacsson, Clarence Öfwerman, Magnus Börjeson, Christoffer Lundquist, Helena Josefsson and Dea Norberg with the aim to make a classic Roxette record. On the new album, Gessle says “When I started to write, my ambition was to try to create a sibling to “Look Sharp!" and "Joyride" – and that's actually exactly how it sounds. I've wanted to create a modern production, but with the typical Roxette trademarks”.
Per is joined by two other singers: Helena Josefsson and Dea Norberg. Both have been in the inner circle of Roxette for years.

28th October 2022 sees the release of Pop-Up Dynamo! from PG Roxette, the new era of Roxette. Per Gessle continues the adventure he and Marie Fredriksson began, over 35 years ago. Together with members from the classic Roxette band and a sound echoing somewhere between "Look Sharp!" and "Joyride"; Gessle returns to the musical peak of his life with a new album. This 1LP 140g gatefold white vinyl is accompanied by an 8-page booklet and exclusive photos.
Per Gessle gathered the classic Roxette band – Jonas Isacsson, Clarence Öfwerman, Magnus Börjeson, Christoffer Lundquist, Helena Josefsson and Dea Norberg with the aim to make a classic Roxette record. On the new album, Gessle says “When I started to write, my ambition was to try to create a sibling to “Look Sharp!" and "Joyride" – and that's actually exactly how it sounds. I've wanted to create a modern production, but with the typical Roxette trademarks”.
Per is joined by two other singers: Helena Josefsson and Dea Norberg. Both have been in the inner circle of Roxette for years.

Clear Vinyl

Downwards’ deep bonds with NYC catalyse the debut LP by Jim Siegel’s Vivid Oblivion, a reveberating post-industrial salvo produced by adopted Brooklynite Karl O’Connor (Regis), and co-mixed by Anthony Child (Surgeon) and Simon Shreeve, who also mastered it. It’s a super deep, highly atmospheric beast somewhere between Valentina Magaletti’s most expressive percussion work, Bark Psychosis, and classic, moody 4AD, which is coincidentally referenced via the artwork, made by Chris Bigg - legendary graphic designer and longtime assistant to Vaughan Oliver.

Invoking the density, vertiginous scale, and dark grimy nooks of NYC, ‘The Graphic Cabinet’ was realised by Jim Siegel - hardcore legend and occasional/regular drummer with everyone from Raspberry Bulbs to Damo Suzuki and Boredoms, made in close collaboration with Karl O’Connor aka Regis during 2021.

Stemming from intently deep listening sessions immersed in LPs by Viennese aktionist Hermann Nitsch and the myriad eras of Killing Joke, while also absorbing the atmospheres of classic Tarkovsky flicks, the album began life as gonzo field recordings of Siegel smashing the f*ck out of his drum kit, zither, scrap metal and gongs in an array of abandoned warehouse spaces. The recordings formed the basis of Karl’s compound productions, which add depth charge bass and sonorous metallic atmospheres to the mix, along with birdsong and gibbon hoots, plus guitar textures by Nick Forté (Raspberry Bulbs, Rorschach) for a dread-lusting jag deep in the belly of the Big Apple.

With a palpable tang of rust and blood in the air and grime under the fingernails, the seven tracks evoke a resoundingly brutalist portrait of space and place. Siegel’s nervy percussive discipline is framed in alternating barometric and light settings from cut to cut, variously snaking from the poltergeist clang and haunted resonance of ‘Converging and Dissolving’ to slamming motorik thrum in ‘Oblivion’ via imaginative descent into cyberpunk simulacra of the city as jungle-at-night in ‘Remnant Corridor’, replete with animalistic atmospheres that recall Organum.

While the raw attack and devilish swerve of the rhythms are utterly fundamental to the record, Karl’s atmospheric content and the animist mixing magick of Anthony Child and Simon Shreeve most potently give flesh to its bones. Patently evident on the stepping pulse and searching zither that keens into detuned orchestration on ‘Immediate Possession’, the zoned-out klang of ‘Stand Aside’ or in the flooded warehouse chaos of ‘Test For Traps’. The attention to spatial, textural and proprioceptive detail is tightened throughout, peaking with ‘Bargemaster’, a dense slab of tension that sounds like Jon Mueller’s Silo recordings fed through The Caretaker’s fogged machinery.

It’s one of the most impressive records on Downwards for a long while, bound to gnaw and spark the nerves of experimental rock and post-industrial’s greats, anything from The New Blockaders to Faust, Flying Saucer Attack and into iconic Blackest Ever Black releases in the modern era.

Growing up in Chicago, later Detroit-based music producer, Theo Parrish is internationally well known for his own inimitable downtempo house music style. The approach Parrish took to compiling DJ-Kicks was very ambitious, inviting his Detroit peers to produce a collection of brand new material, and in turn creating the first ever all exclusive entry to the esteemed series.

"Detroit creates. But rarely imitates. Why? We hear and see many from other places do that with what we originate. No need to follow. Get it straight. In the Great Lakes there are always more under the surface than those that appear to penetrate the top layer of attention and recognition. What about them that defy tradition? Those that side step the inaccurate definitions often given from outside positions? This is that evidence. Enjoy."


First official compilation by Theo Parrish
All exclusive unreleased material
Includes new music from Theo Parrish
Triple LP sampler containing 15 full length tracks

The Others (Lustmord Deconstructed) is a celebration of the fearless attitude of being different and the expression of unique ideas which have never existed before. Over 13 years after the release of O T H E R , Pelagic Records has gathered 16 bands and solo artists to record their own unique takes on tracks from the Other-sessions. The result is an album that is more than a compilation, and more than the sum of its parts; covering a wide range of musical niches and directions, but sharing the same underlying mood and vibe defined by Lustmord's timeless soundscapes: from the ambient solo performances provided by IHSAHN, ENSLAVED or JONAS RENKSE to the subdued voice of ZOLA JESUS woven into Lustmord's sombre fabric to the industrial carnage that is GODFLESH's version of `Ashen'. LUSTMORD is the artistic moniker of Brian Williams. Born in North Wales, he started his musical career in 1980 and soon became a pioneer in the early industrial music scene in the UK. He was a former member of SPK during arguably their most crucial era, and went on to work with THROBBING GRISTLE members Chris & Cosey as well as appearing on early albums by CURRENT 93, NURSE WITH WOUND and others. After relocating to Los Angeles in 1993, Williams worked on dozens of motion picture soundtracks including The Crow, Underworld and Paul Schrader's First Reformed. Additionally he created several video game soundtracks, television scores and solo albums, as well as collaborating with artists as varied as THE MELVINS, CLOCK DVA, JARBOE, John Balance of COIL, Paul Haslinger (TANGERINE DREAM), PUSCIFER, Wes Borland and more, including Grammy Award-winners TOOL on their much acclaimed effort Fear Inoculum. To this day, Lustmord is actively recording and releasing music, his latest release being the collaborative album Alter with Karin Park of A°RABROT, and he is considered to be the founding father of the dark ambient music genre. The original O T H E R was released by independent record label Hydra Head Records, founded by ISIS frontman Aaron Turner and former home of bands such as CONVERGE, PELICAN, JESU, SUN O))) or BORIS. As one journalist put it at the time, O T H E R is a "grim example of a consummate artist who is working frmly within the parameters that he has laid out for himself over the years." This album shows Lustmord at his most characteristic, and the icy, ominous guitar playing of Jones, Turner and Ozborne resonates perfectly within the deep soundscapes that make up this frightening yet inspiring journey. What demonstrates the profound influence of Lustmord on this contemporary music underground showcased here is that artists from disparate ends of the sonic spectrum all feel inspired to explore the essence of his idiosyncratic sounds within their own realm: experimental electronica icons ULVER excel on a stunning, hazy rendition of `Godeater', while Japanese post-rock act MONO deliver a crushing version of `Er Eb Os', and THE OCEAN take us on a cathartically heavy mindtrip back to our `Primal State of Being'. In the end, each of these 16 artists delivers an interpretation that pays the deepest respect to this pivotal artist, while also standing out as a new track of its own.

FEAT. DAVID SYLVIAN & KAZUKO HOHKI

On 'Upon This Fleeting Dream' Clive Bell's Twinkle3 embraces medieval and 16th-century Japanese poems and haiku about death and saying farewell. Bell and his trio, consisting of Dave Ross and Richard Scott, expand their sonic borders: bringing these pithy epigrams to a new Fourth World where electro-acoustic sounds glitches into a hypnagogic, if not the unconscious level of fragile beauty.

The distinctive voice of David Sylvian (ex-singer of Japan and known for his highly acclaimed solo work (Brilliant Trees, Secrets of The Beehive, Blemish...) who reads the English version of the poems and created field recordings and the artwork for this album - blends in the most organic way with the shakuhachi, Thai reed flutes and mouth organs played by Clive Bell.

The narrative voices of David Sylvian and Kazuko Hohki's (Frank Chickens, Kahondo Style...) velvet timbre are the cornerstones of this compelling journey while the tangling and abstract rhythms transcending from Dave Ross' modular synths and Richard Scott's sampler and analogue electronics, unravel and unfold a mesmerizing universe with unknown dimensions and frequencies of a fleeting dream.

File under: electronica, spoken word, fourth world, sound art, shakuhachi, dub, minimal, ambient, abstract, and good music

Recommended if you like: David Sylvian, Japanese poems, Jon Hassell, Pan Sonic, Laraaji, Brian Eno, excellent music

AI-32 signals the arrival of ‘The Fifth World Recordings’, by Son of Chi (Hanyo van Oosterom) and long-term collaborator Arthur Flink. A tribute to the late Jon Hassell, who passed away in 2021, the album connects a deep running thread that goes back to the source of Chi project. Carrying on from where Hassell left off, the album takes inspiration and references from his Fourth World music concept and the ancient Hopi tradition of Native America. Illuminating the subliminal space of the arising Fifth World, Son of Chi pays respects to an inimitable force in contemporary music. 

Hassell’s ‘Dream Theory in Malaya’ forms a touchstone to Hanyo van Oosterom’s musical journey, which soundtracked long, deep and reflective periods living in the cave of the Kallikatsou (Patmos, Greece) back in the early 80s. This period resulted in Hanyo’s track as Chi - ‘Hopi’ - in 1984. Hanyo met Hassell shortly after in 1987 at his “The Surgeon in the Nightsky” concert in Rotterdam - it wasn’t until twenty years later that Hanyo invited him for two magic nights of “Instant Composing Sessions” with the Numoonlab Orchestra (with a host of other artists) at the LantarenVenster, the very same stage where Hassell had performed in 1987 and also where Chi did their first live performance. 

Dreamful, mysterious, prophetic, the Fifth World Recordings features the quiet yet elaborate sound of Chi awash with rich instrumentation, field recordings, and old stories by the firelight. Sketches were created with drones, loops, and soundscapes, with which Arthur Flink (also a member of the Numoonlab Orchestra) jammed on trumpet. Channelling Hassell’s idiosyncratic style, floating melodies and lyrical improvisations are parsed into the mix, where Hanyo has processed and manipulated the recordings, also referencing Hassell’s exotic scales and unique harmonics.

Additionally, the wah Bamboo flute at the closing piece is an homage to the works of Chi co-founder Jacobus Derwort (1952-2019). For this piece Hanyo used his first bamboo flute he made at the cave of the Kallikatsou in 1984. Arthur Flink answers in counterpoint with the wah trumpet, almost like the intuitive communication of the nightbirds..