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-European fall tour is sold out across all venues, with a U.S. tour set for 2023. Supported by fans and listeners of Thundercat, Silk Sonic, Jungle and Steely Dan. Album single, “Rolling Back” has been featured across multiple editorial playlists via major DSPs, including Spotify’s Soul ’n’ the City, Retro Pop, Stay Tuned!, Happy Stroll and Ready for the Day. Young Gun Silver Fox, the acclaimed indie duo from the UK with yacht-rock tendencies comprising of Andy Platts of Mamas Gun and Shawn Lee (vagabond award-winning video game composer) announce their highly anticipated fourth studio album Ticket to Shangri-La. The album showcases a band at the very top of their game, fine-tuning their potent brew of sun-kissed pop-soul, west coast AOR and natural groove with a skill for composition and production that sees them forging ahead down a musical highway blessed with blue skies and positive vibrations. For both participants, the chance to make a new record together is always a liberating experience, as Andy explains; “I always come back to Young Gun Silver Fox like taking a drive to the coast and I just smell the ocean and the air and it’s like ‘wicked I’m back here again’ and I can just kick back and enjoy it.” The chemistry and craftmanship on Ticket to Shangri-La means that Young Gun Silver Fox do exactly as the title suggests, transporting the listener to a magical, mythical world of sunshine and good vibes, a musical and spiritual ethos born from the minds of two gifted musicians that stand as the embodiment of all they do best, whilst providing the perfect invitation into their unique world.

tobi lou cements a connection to countless listeners through his creativity. The Nigeria-born, Chicago-raised, and Los Angeles-based rapper and producer builds music meant to last with unpredictable flare and inimitable spirit. As the story goes, tobi lou flourished as a football player and baseball player until undergoing a dream-ending injury and jumping from a semi-pro career to the mic. A series of buzzing EPs—tobi lou and the Moon, tobi lou and The Loop, and tobi lou and The Juice—paved the way for his 2019 mixtape, Live on Ice. The latter included “I Was Sad Last Night I’m OK Now,” which racked up 42.9 million Spotify streams. Earning widespread acclaim, Pitchfork hailed 2020’s “Student Loans” as “a refreshing dose of joy.” Meanwhile, Lyrical Lemonade christened him, “Chicago’s Rising Superhero.” Along the way, he headlined shows coast-to-coast and shut down festival stages at Lollapalooza and beyond. He also collaborated with everyone from Smino to Dreezy. Throughout 2021, he assembled Non-Perishable out of his East Los Angeles apartment. He notably produced on every track, lending his touch to the entirety of the project. After amassing hundreds of millions of streams, packing shows, and receiving acclaim from GQ, W Magazine, and more, he architects an immersive experience on his second full-length project and the first installment of a 2022 trilogy, Non-Perishable.

An unblinking look at an entertainment-obsessed society, Amused to Death addresses issues that have only grown in complexity and urgency over the past two decades. With Amused to Death, Roger Waters sounded the alarm about a society increasingly — and unthinkingly — in thrall to its television screens. Now in 2022, Amused to Death speaks to our present moment in ways that could scarcely have been anticipated three decades ago. In 2015, television is just one option in an endless array of distractions available to us anytime, anywhere, courtesy of our laptops, tablets and smartphones. With eyes glued to our screens, the dilemmas and injustices of the real world can easily recede from view.

"Even if you have one of the original issue vinyl LPs, the new version of Amused to Death on the Analogue Productions label is an essential upgrade to your listening experience. Like The Division Bell and The Endless River vinyl LPs before it, Analogue Productions has kept their commitment for quality meticulously high with Amused to Death. The record pressing is uniformly excellent..." Paul Powell Jr., Brain Damage U.K. Pink Floyd News, August 2015.

The 2015 2 LP 200-gram vinyl edition of Amused to Death features remastered audio completed by longtime Roger Waters / Pink Floyd collaborator and co-producer, James Guthrie, and has been pressed at Quality Record Pressings. The cover and gatefold art has been updated for 2015 by Sean Evans, the creative director of Waters' 2010-2013 "The Wall Live" tour and movie.

Singer-songwriter Amos Lee draws inspiration from soul music, contemporary jazz and 1970s folk artists such as James Taylor. The Philadelphia native honed his song writing skills while waiting tables and bartending after graduating from the University of South Carolina with a degree in English. He eventually landed some high-profile gigs as an opening act, including an extended tour with pianist/vocalist Norah Jones, whose bassist, Lee Alexander, agreed to produce Lee's first album.

With Alexander's help, Amos Lee released his self-titled debut on Blue Note in 2005. The album won Lee a small following for his blend of acoustic funk, folk, and light jazz. Norah Jones herself plays the piano on two tracks; "Keep It Loose, Keep It Tight" and "Colors."

A notable debut like Amos Lee deserves the Analogue Productions reissue treatment. This beauty was cut by Bernie Grundman in Los Angeles from the master tape, and is now pressed at 45 RPM on two glorious sides of 180-gram vinyl by Quality Record Pressings, makers of the world's finest-sounding LPs. QRP is noted for deep-black backgrounds and pristine clarity. If you're already familiar with Amos Lee, get ready — you've never experienced it with such lifelike sonics and premium richness. This is how all vinyl should sound.

The songs on the album incorporate themes of folk, soul, gospel and jazz. Amos's style is a mix of Bill Withers, Arthur Lee, and James Taylor. Amos has recently toured with Bob Dylan, Paul Simon, Elvis Costello, Van Morrison, Adele, Dave Matthews and many others.

More than one of Jack's many nicknames, Zagg is also a shout out to her
uncanny ability to select an unanticipated word or musical flourish, her
disarming poetic acumen, her ability to zoom in and out at lightning
speed and spin a phrase into a mantra, or the opposite of a mantra
Each song on this record is its own unique little world, keeping a listener
delightfully off-kilter throughout the entire affair.
Opening track 'FMK' operates likes a sonic thesis statement. For a quiet moment,
Jackie's confessing her recurring mother-in-law dreams and initiating a suddendeath round of Fuck Marry Kill. Then on a dime she somersaults into rocket-pop
posture, ready to cut loose and head to the movies with her best boogie- boy:
'Let's go to the movies and dance a little…you can share my Twizzler…Let's go to
the movies, you can dance at the movies!!!' The charging, industrial pop of 'Get
Out' is augmented with punching strings that are both lovely and foreboding. In
the lithe, Rickie Lee Jones-nodding 'Yesterday's Baby,' a giant foot-shaped cloud
looms in the mouth- shaped sky and Jackie gets microscopic — 'Why don't you
just let it burn out/Toss that glass of wine out/Stamp that Camel Light out/Shut
your mouth up shut up your mouth.' After a few more dances, deep diaphragmatic
breaths, and Blood on the Tracks winking ballads, knock-out marathon track 'Keep
Runner' gives it straight to some Wile E. Coyote tomfool who's out getting his butt
blown up again." The energy of the record, I think, comes from finding out Patti
Smith didn't make Horses until she was 29. Extremely influential Wiki experience.
Oh, and Adam Green, my all- time favorite songwriter and artist, painted me
looking like a doctrinal seer peering into a cartoon mirror for the cover.
Pressed on Transparent Yellow color vinyl.

Although Los Hermanos Ballumbrosio are one of the most emblematic groups of Afro-Peruvian music, no single recording has been able to portray the essence of the group... Until now. "Homenaje a El Carmen" ("Homage to El Carmen"), their debut album for Buh Records, sets the record straight: it captures the true spirit of the musical tradition of El Carmen, a city located a few miles to the south of Lima that is home to the largest black community in Peru. Songs based on percussion and zapateo bring back the memories and experiences of a culture that has produced one of the greatest treasures of Peruvian music. "Homage to El Carmen", the third volume of the series "Perspectives on Afro-Peruvian Music", signals the return of the group to the recording studio, and also to the sources of rhythms such as festejo and panalivio, which they interpret with cajón, quijada (jawbone), congas, bongo and batá. The result is a distillation and a testimony of the memories and experiences that portray the cultural universe of El Carmen. We have access to a selection of traditional songs that are heard during the festivities, such as "Guanchivalito", which is played during the Yunza Negra, a ceremony in which a willow tree is cut to bring benefits to the community. "Panalivio " and "Serrana Vieja" are two traditional Christmas carols that are played in the "Hatajo de Negritos" and which reflect the syncretic character of the Afro-Peruvian culture. These songs speak of the difficulties of rural life, but they also serve as a vehicle to demonstrate the Ballumbrosio brother's mastery in the art of zapateo, a dance that is accompanied by violin and bells. The classic "La Esquina de El Carmen" is perhaps the song that best expresses the erotic character of festejo, also known as baile de cintura (waist dance). "Homage to El Carmen" is the highly anticipated return of the Ballumbrosio brothers to the recording studio. They have become indisputable references of Afro-Peruvian music and have displayed their sound and dances around the world. It was time for an album that portrays the essence of the group: a collective spirit, where the tutelary image of Amador Ballumbrosio always shines, and which traces a history from Africa to El Carmen. This album is published in vinyl format in a limited edition of 300 copies. Include 8 full-page booklet with liner notes in Spanish and English. Produced by Manongo Mujica and Daniel Mujica. Cover by Yerko Zlatar.

Waxwork Records in partnership with Back Lot Music is honored to release NOPE Original Motion Picture Soundtrack by Michael Abels. Oscarr winner Jordan Peele disrupted and redefined modern horror with Get Out and then Us, he reimagines the summer movie with a new pop nightmare: the expansive horror epic, Nope. The film reunites Peele with Oscarr winner Daniel Kaluuya (Get Out, Judas and the Black Messiah), who is joined by Keke Palmer and Oscarr nominee Steven Yeun as residents in a lonely gulch of inland California who bear witness to an uncanny and chilling discovery. NOPE marks Abels' third feature film score with director Jordan Peele, having previously scored Peele's GET OUT and US. The album also features songs from the film, including a new version of Corey Hart's classic "Sunglasses at Night (Jean Jacket Mix)", Dionne Warwick's "Walk on By", The Lost Generation's "This is the Lost Generation", Exuma's "Exuma, the Obeah Man", and a never-before-released gem by a young Jodie Foster, "La Vie C'est Chouette" from the 1977 film MOI, FLEUR BLEUE. "NOPE is my most ambitious score to date," says Abels. "There are elements from the genres of sci-fi, action, horror, and westerns, but always through the tonal palette of Jordan Peele's unique vision. The lines between source music and score are blurred, as a good part of the score seems to be playing at the theme park, which is a key location in the story. The score is at times terrifying, yet also invokes the sense of awe and wonder that the characters feel as they realize what they are seeing. The film eventually becomes a grand adventure, and so the music expands into the larger-than-life scale we expect of a summer blockbuster." He goes on to say, "it was a joy to compose a score that encompassed such a broad range of genres and emotions, and I'm thrilled to have audiences experience all of them through this album." "Michael is one the most exciting composers working today - he has this amazing ability to create new sounds which was important for this film," Jordan Peele says. "He's able to play in the familiar and in the unfamiliar at the same time, so that helps give every film its own character, and he has an incredible mastery of so many different music genres." Abels is known for his genre-defying scores for the Jordan Peele films GET OUT and US, for which Abels won a World Soundtrack Award, the Jerry Goldsmith Award, a Critics Choice nomination, and multiple critics' awards. The hip-hop influenced score for US was short-listed for an Academy Awardr and was named "Score of the Decade" by The Wrap. Abels is also co-founder of the Composers Diversity Collective, an advocacy group to increase visibility of composers of color in film, gaming and streaming media. Waxwork Records is thrilled to present the official NOPE deluxe double LP soundtrack album. The package comes complete with 180-gram colored vinyl, quality packaging, original artwork by Ethan Mesa, heavyweight gatefold jacket with matte coating, a multi-page 12" x 12" booklet, liner notes, & more!

Known for his proudly bugged-out delivery and laid-back style, the immensely likeable Declaime, p/k/a Dudley Perkins is pleased to rerelease his debut solo LP, Illmindmuzik on vinyl for the first time since 1999.

Produced entirely by his longtime homie Madlib, the Oxnard-based duo concoct a seriouly funky listening experience that combines Declaime’s delightfully woozy verses centered around crate-digging and mind expanding, over the Beat Konducta’s blunted instrumentals.

Illmindmuzik is a must for fans of Cali underground hip-hop and boasts guest appearances from the likes of the Lootpack, Evidence and more, and includes the stand out singles, “Let It Be Known” and “Roll ‘Em Right.”

Eraserhood Sound's intergalactic house band Fantasy 15 delivers yet another masterful slice of futuristic synth-funk, this time in the form of the Galaxy Oasis / Julieta 7". Both tracks are from the Planet IX EP, a dazzling collection of songs which touches on soul, funk, boogie, hip hop, and New Wave. "Galaxy Oasis" is the group's first single with a proper lead vocal, provided by a local from the group's native planet Zoltandia. Its infectious groove and soaring melodies will be sure to keep dance floors packed for millennia to come. Listen close to the vocals, and you will hear a contemplative lyric about what it means to be human and experience true ecstasy in an increasingly cold, digital universe. Flipside "Julieta" is perfect for after the club, with its brooding drums, menacing guitar, and cinematic flutes.

The Belgian minimal synth band's three releases – a cassette and two vinyl EPs – were all titled »Against The Dark Trees Beyond«. This compilation collects the songs from these records.

"They were interesting times, the early eighties. Against a backdrop of cold war and economic crises, the DIY attitude of the earlier punk movement had spawned near countless new genres where artists and bands broke the three-chord guitar mould and experimented with new content matter, singular song structures and – in many cases – new instruments. Synthesizers became affordable and were no longer the sole privilege of rock millionaires. All around the globe, musical creativity boomed as never before, and Belgium was no exception: Digital Dance, Snowy Red, The Names, Pseudocode, Marine, 1000 Ohm, De Kommeniste, M.Bryo & D.M.T., De Brassers, Struggler, Siglo XX are but a few legendary names of bands and artists who started making a name for themselves.

In Leuven, things were happening as well. Until then, the music scene in this rather provincial town had been dominated by straightforward rock and blues acts. Not for much longer, though: in places like Arno'z and (later) The Gladhouse, where young budding artists met with kindred spirits, bands were often formed on the spot and, more importantly, started to make ripples.

Ludo Camberlin and Karel 'Bam' Saelemaekers already had a certain track record in Leuven's burgeoning music microcosm. But what they shared would become the cornerstone of A Blaze Colour (Against The Dark Trees Beyond): a fascination for new forms and instruments, a penchant for sonic adventure and a profound love for gripping songs. The full band name, by the way, was inspired by a phrase from the Irish-American novelist J.P. Donleavy, a writer who belongs in the definitely-worth-checking-out section.

After appearing on the first No Big Business LP (1981) with the instrumental 'Fisk', A Blaze Colour's first proper release, as was so often the case in those days, was a self-produced cassette. The music – which would later be dubbed 'minimal' – was characterized by the use of basic rhythm machines (Boss Dr. 55, mainly) and analog synthesizers (for the synth geeks: Korg Delta and MS20, Roland SH-2 and Jupiter IV, and the infamous Casio VL-1). Camberlin’s vocals, meanwhile, displayed an aloofness totally in sync with the zeitgeist. Equally important, though: all five tracks on this cassette were bona fide songs with a clear sense of structure, aided by a sonic mastery that demonstrated a high level of experience: 'Means To An End' started out as a proto-industrial track before bursting out into a moroderesque finale. The remix of 'Fisk' was as sprightly as the next river salmon, while 'Or Lie Again' proved the perfect soundtrack to a nightly walk through wet deserted streets. On the other hand, 'Through With Life', rife with disturbing sound effects countered by a slow portamento, could have been a prize track on a post punk 'Lamb Lies Down On Broadway'. And in true dramatic fashion, 'Follow The Signs' was the perfect ending of this five-song cycle: a driving sequencer and gripping chord progression coupled with a simple but powerful vocal line. Considering the limited technical means the duo was working with, this was no less than a triumph.

A few months later, the band released a seven-inch single on its own ABLACO label. 'Dark Trees Beyond', a quirky pop song, was coupled with 'Addict Of Time', a dark and brooding spoken word piece. Not the kind of single to storm hit parades, but it didn't go unnoticed. The Minny Pops' Wally van Middendorp, who had founded the Plurex label in 1978, invited A Blaze Colour to his studio in the Netherlands, to record an EP. It would prove to be a massive step forward: recording in a semi-professional studio offered great possibilities, the recently acquired TR-808 drum machine allowed for a broader rhythm palette, and the three new tracks (next to the re-recording of 'Through With Life') showed a band on the top of their game: 'The New Ones' was a wry and haunting song built around a live drum loop and an ominous bass pattern, while 'Nowhere Else' was a near-pop track with very un-minimal vocal harmonies. And it's a mystery why 'Altitude' – another instrumental – was never used in a stylized, high-profile detective soundtrack.

Another song from these sessions, the revved-up 'Cold As Ever' turned up on the high-profile Plurex "Hours" compilation, where it shone brightly, next to songs of a.o. X-Mal Deutschland, Nasmak, Minny Pops and Section XXV.

Meanwhile, Camberlin had already carved out a bit of a reputation for himself as a producer, while Saelemaekers was a respected graphic designer. It remains uncertain if this played a big part in the end of A Blaze Colour, but the fact remains: as studio recordings go, 'The Ultimate Fight' on the "No Big Business 2" compilation, was to be their swan song. What a way to go, though: maybe their best song ever, this was a synthetic bastard funk groove, complete with shout-out chorus and punch-drunk middle-eight. It shut a door, for sure, but it did so with a resounding bang.

So there it is and there it was. Short, sweet, visionary, pioneering and highly influential. And as anybody listening to this first ever compilation will be able to assess probably one of the most colourful electronic acts of its time.

On a more a personal note, A Blaze Colour proved to be instrumental in my own coming of age as a lyric writer, when Ludo and Bam graciously adopted some of my earlier writings, warts and all. To hear them translated into songs was no less than magic, and it certainly gave me the confidence to start our own band a bit later. And the magic continued when Ludo became our producer and Bam designed our record sleeves. But that’s another story, obviously. Because this is the place and the time to dive back into the wondrous world of A Blaze Colour!"

Bart Azijn (Aimless Device)

Nearly 10 years on since his last solo LP, Berlin techno icon Marcel Dettmann arrives on Dekmantel with an expansive album captured in a flash of inspiration.

In many ways Fear Of Programming is a reflection on the artistic process – the critical hurdles one has to overcome, the constant strive for originality, the ability to capture inspiration in its pure moment of inception. Bar the closing title track (and we all know Marcel loves a surprise closing), these 13 tracks came together during a period in which our hirsute host was able to immerse himself in studio practice and set the intention to record an album’s worth of material every single day. From the resulting mass of work there were many options to choose from, and Fear Of Programming stood out as one of the most complete statements on Dettmann’s approach in the here and now.

Unconcerned with an overarching concept, it was the work in the studio which drove the musical direction. No labouring over knotty arrangements, no painstaking mix downs – just honest expression, a moment caught, a groove locked, a stroke of synth sent pirouetting over a cavernous bed of texture. The results are varied, and while you might well hear plenty of bruising machinations in line with the techno Dettmann has made his name on, there are plenty of other shades expressed across the album.

Ambient sojourns, beatless epics and angular electronica have equal footing with strident, floor-friendly workouts. Standout piece ‘Water’ offers an icy ballet of swinging minimal and drip-drop melodics fronted by Ryan Elliott on lesser-spotted vocal duties, urging, ‘give me a sign, just a little something to let me know that you’re mine’. It’s playful, but still underpinned with the sincerity that comes with Dettmann’s work.

Running on instinct, Dettmann presents an honest version of himself in the here and now, speaking through the sonics and not over-thinking the results. His decades of experience helming a thousand techno parties speak for themselves, while his evolution as a musical entity through collaboration and his own BAD MANNERS label demonstrate his appetite for change. Indeed, the working method which resulted in the album also spurred him on to create a live set beyond his well-established DJ practice. Without resorting to a conceited overhaul, Fear Of Programming opens up the idea of what Dettmann represents in the modern techno landscape.

Nocturne, the critically acclaimed sophomore album by Wild Noth- ing, is a window into singer/songwriter Jack Tatum’s “ideal world” of pop music. Written largely while living in Savannah, GA during 2011, the songs that became Nocturne blur the lines between Tat- um’s influences and personality. The album features some open ref- erences to past music just as his hit debut Gemini did, but it’s also an album that feels much less rooted in anything in particular, and marks a distinct evolution in songwriting for Wild Nothing.

Gemini was written before there were Wild Nothing fans or even a live band; Nocturne is different. With an unexpected new fan base to turn to, Tatum spent more time perfecting his craft. The obsessive- ness of Nocturne is inherent in it’s gentle harmonies, orchestrated synths, wandering voice, and songs that speak to his post-Gemini experiences as he explores new paradoxes of pop. And yet, Noc- turne isn’t obvious, it is a strange and distinctive musical beast, the product of an obsessive pop vision that creates its own reality.

IDLES return with their new album, ‘CRAWLER’, an album of reflection and healing
amid a worldwide pandemic that stretched the planet’s collective mental and physical
health to the breaking point.
 Frontman Joe Talbot says: “We want people who’ve gone through trauma,
heartbreak, and loss to feel like they’re not alone, and also how it is possible to
reclaim joy from those experiences.” IDLES albums have always been anchored by
these overarching themes, but the ability of the band to juxtapose beauty and rage
with humour and drama has never felt more satisfying than on ‘CRAWLER’.
 These stories are vividly brought to life through IDLES’ most soul-stirring music to
date, recorded with co-producers Kenny Beats (Vince Staples, Freddie Gibbs) and
IDLES guitarist Mark Bowen.
 Previous album ‘Ultra Mono’ was Number 1 album in the UK, with over 35k sales
week one.
 Huge 2022 January UK tour including five Brixton Academy dates, three at Glasgow
Barrowlands, two at Manchester Warehouse and more. Over 20k UK tickets sold in
the first hour of release.
 Three high budget music videos, written and directed by LOOSE (Lucy Hickling,
Stink Films).
 CD in digipak packaging.
 Deluxe LP mastered at half-speed (45rpm), pressed on deluxe heavyweight 180g
black double vinyl and housed in a gatefold jacket with printed inner sleeves.
 Eco-Mix coloured vinyl LP housed in a single-sleeve jacket and printed inner sleeve.
Eco-Mix vinyl production uses leftover wax that’s already in the factory, meaning
each record is different and the colour is completely random and unique.
 Standard black vinyl LP housed in a single-sleeve jacket and printed inner sleeve.

'Hidden Gem' is the Zenmenn's first full album produced together with songwriter and vocalist John Moods and follows their much-loved debut record, 'Enter The Zenmenn'. Named after a country song that didn't quite make it to the final selection, 'Hidden Gem' is the result of an extended jam session at a friend’s studio, in a field of mystical meadows somewhere south of Hamburg, in which the band would experience a series of inexplicable phenomena.

It was their earlier collaboration on the future classic, 'Homage To A Friend' that kickstarted their idea to team up with John Moods again, and in the late summer of 2021 the band set to work on a full album of material together. Using The Zenmenn's trusted drum kit, good old DX7, an unusual Ukrainian bass and an almost discarded pedal steel guitar, combined with Moods’ uniquely fragile voice, the outcome resulted in six timeless songs. The resulting harmonic sound is, as the band put it, “something like Adult Oriented Rock with a teaspoon of Celtic sentimentalism, a pinch of big city Country wrapped in a late night '70s style jam”.

'Hidden Gem’, much like their previous LP, was recorded without pre-arranged songs or any fixed musical concept. Instead, it captures fleeting moments of creativity and reflects the joint musical sentiments of the band members at the time. “Some artists are amazing at vision and curating, our work-flow is opposite to that. We are pretty messy and all over the place in our creation, as in life. It has its advantages and disadvantages, but hopefully it comes out all right in the end.”

10 year anniversary edition on orange & red marble vinyl. While his formative years were spent listening to everything from Yes to Photek, Scott Hansen didn't get his hands on an actual guitar or drum machine until he left his native Sacramento for San Francisco in 1995. "Encountering this whole new world at 20 years old was a profound experience," says Hansen, better known by his musical pseudonym Tycho and as the graphic artist ISO50. "At the time, I was just learning the processes of design and music; both felt very similar, and have flowed back and forth for me ever since."As seamless as his two creative outlets have been, nearly a decade passed before the release of Hansen's first proper Tycho LP, Sunrise Projector (later expanded and reissued under the title Past Is Prologue). And while three striking singles have emerged since then, the sum of all those sepia-toned parts is nowhere near the double-exposed soundscapes of Dive. The product of a prolonged break from IS050's design work and blog, it pays tribute to Tycho's prismatic past (the dense, guitar-guided turning points of "Daydream" and "Adrift") but spends most of its time pointing to the project's not-so-distant future.That can mean any number of things, really, from the halcyon hooks and hopeful horizons of "A Walk" to the expansive, wildly expressive tone poetry of the title track, an eight-minute epic that unfolds like a compressed concept album. Or at the very least, a restless vision of prog-rock - one that's been coated in neon colors and filtered through a thick piece of blotter paper. And then there's "Elegy," a spare curtain closer that pairs a vulnerable crescendo with a fitting bridge to future works.And with that, Dive establishes its position as the most diverse musical statement of Hansen's multi-medium career; the point where his skills as a performer finally catch up with his vaporized vision of a world that doesn't belong to any particular time or place."Nostalgia is a common thread in my work," says Hansen, "but this album wasn't driven by that idea. I see these songs as artifacts from a future which might have more in common with our past than our present."

Monophonics cordially invite you to attend the grand re-opening of the once thriving, once vibrant establishment, the legendary Sage Motel. A place where folks experience the highs and lows of human existence. A place where big dreams and broken hearts live, where people arrive at without ever knowing how they got there. It's where folks find themselves at a crossroads in life. So join us as we examine where the stories are told and experiences unfold.....and sink into a soft pillow of soulful psychedelia.....down at the Sage Motel.

Baiser Mortel is the soundtrack of a performance commissioned by the Bourse de Commerce - Pinault Collection, performed in Paris in October 2021. PAN presents Baiser Mortel, the original soundtrack to the acclaimed theatrical performance of the same name. Staged at the Bourse de Commerce - Pinault Collection over four days last October, the original production - collaboratively realized by composer and director Low Jack, composer and rapper Lala &ce, choreographer Cecilia Bengolea with costumes designed by Marine Serre and Oriana Bekka as creative director and co- director of the performance - merged ballet and urban folklore; sound art and soap opera. A modern-day danse macabre, Baiser Mortel (trans. "The Kiss of Death") cast Lala &ce in the title role. Unfolding over thirteen songs, the musical narrative follows Death as she navigates the realm of the living, and the encounters - desire, romance, spiritual awakening, and adventure - which validate the human experience. "I brought in people who are close to me personally and musically in order to tell a story that speaks to humanity," Lala &ce says in a video uploaded to Bourse de Commerce - Pinault Collection's YouTube channel. Performers Jäde, Rad Cartier, BabySolo33, and Le Diouck joined Lala &ce on stage and in the booth at La Place - Centre Culturel Hip Hop in Paris, where the official soundtrack was recorded. A sonic representation of the musical's themes, Baiser Mortel the album - produced by Low Jack and written by Lala &ce with artwork by Pierre Debusschere - moves through the distorted strings of its opening track, "Goûter" and gathers sonic and lyrical intensity on each successive song. "Lune," the melancholically autotuned midpoint of the album, marks the beginning of the musical's second act and sets the tone for its tragic resolution. Mechanical sounds mix with sonic influences spanning the Global South throughout the album, honoring both Low Jack and Lala &ce's musical heritage and influences, while developing a new musical lexicon that defies comparison. As a theatrical production, Baiser Mortel represents a departure for both artists. A veteran of Parisian subculture, Low Jack's collaboration with Lala &ce represents a new model of artistic mentorship based not on age but on experience, with each artist leaving a distinct signature on the work.

Tape

»No Date Tapes 2« is the second official cassette release from Harry Bertoia's tape archive and, like the first cassette, these recordings were chosen from a small collection of tapes in Bertoia's archive missing recording dates.

This cassette is packaged in a metallic shell and produced on super-ferro tape for incredible analog sound.

Bio:

Harry Bertoia first gained some artistic visibility in the early 1940s, then came into prominence with his sculptural, ergonomic chairs, produced by Knoll Furniture beginning in 1952, which quickly became classics of modernist furniture. Inspired by the resonant sounds emanating from metals as he worked them and encouraged by his brother Oreste, whose passion was music, Harry restored a fieldstone "Pennsylvania Dutch" barn as the home for this experiment in sounding sculptures which he had begun in the late 1950s. Bertoia was an obsessive composer and relentless experimenter, often working late into the night and accumulating hundreds of tapes of his best performances; Oreste, too, would explore and record the sculptures' sounds during his annual visits to his brother's home in rural Pennsylvania.

Harry Bertoia's recently dismantled Sonambient barn collection was an attentive listener's paradise full of warm, expressive instruments that were gorgeous visually and audibly. Nothing could prepare you, even on return visits, for the overwhelming experience of entering the spacious wood and plaster interior where gongs, some of them giant, hung among the ranks of standing sculptures of various metals. Over nearly twenty years of adding, culling and rearranging, Bertoia carefully selected nearly 100 harmonious pieces ranging in height from under a foot to more than fifteen feet. He considered this barn a full experience, sights and sounds comprising not a collection of works, but one piece unto itself. It was here, deep in the woods, that his Sonambient recording work took place.

Learning by experimentation was common for Bertoia and he mastered the art of tape recording, turning the Sonambient barn into a sound studio with four overhead microphones hanging from the rafters in a square formation. He would experiment with overdubbing by performing along to previous recordings, sometimes backwards, constantly improving his methods while also honing his performance skills. Bertoia was a careful editor of his own work and only chosen recordings remained, each with a date and carefully considered observations written on a note included with each tape. Through these pieces of paper a the artist's logic can be uncovered, a careful approach to composition, ideas, feelings and forms. The story of Sonambient barn collection will slowly be told through the release of recordings from the archive as well as installations and performances built from Bertoia's own recordings, lectures and a book.

New, extraordinary music by Cosmic Vibrations ft Dwight Trible. An interplanetary journey from this new, LA based 6-strong ensemble of experienced musicians that define spiritual jazz in the 21st century.
This is a genre-defying amalgam of divine vocals by Dwight Trible, Sun Ra-esque jazz with world influences, laced with indigenous instruments, taking you into a cosmic journey of spiritual improvisation and beyond. Cosmic Vibrations’ Pathways & Passages is an awakening, an opportunity to soar deeper into an altered awareness, an unfolding from a multi faceted cosmic realm into the Cosmos. Simply superb.

Strategy guided by activity. How to best cross the threshold? By allowing the untamed rhythm of thought to reign, or through the possibilities that arise from assembly and cooperation?

Game Plan is the meeting of Gabriel Rei and Gene Tellem. A longstanding friendship unfolded through mutual love for dance music and experience. ‘Club Negotiations’ arrives on Bienvenue Recordings as their first official studio collaboration. Three melodic and hypnotic compositions to help find your focus from the ecstatic nature of the party to the daily hustle of modern life.

For the 3rd installment on MBMUSIC Ltd. label head MBM delivers a 4 track EP "Marvelous Blue" that comes in digital and vinyl format.

Musical exploration continues, inspired by Lago Maggiore waters with deep and dub techno cuts suited for both listening and club environments.

Opening track A1 "Levitate" let the listener float just above water surface, guiding thru an intense listening experience.

A2 "Abyss" comes with strong kick and reverbereted elements for and immersive soundscape.

B1 "Exhale" lives underwater, with bubbling sounds, lo-fi kick and Deep voice elements.

Release closes with B2 "Blue Vision", that combines dub, tribe, and downtempo breakbeat signatures for a mindfulness ear pleasure.

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!

repressed !

Emotional Rescue reaches ten releases and their second to be defined as a "cosmic classic" though that doesn't really do The Dream by The Ganges Orchestra full justice. Discovered and championed by a young Daniele Baldelli, The Dream mixed duggis, shenai, tabla, conga and guitar through Indian raga and European rhythm structures to create a unique musical vision. Long known to more open minded collectors and DJs, the whole EP has long been sought after and staple of many sunset and sunrise experiences. For this reissue, Emotional Rescue take it further with a longer version, previously unreleased track "The Calling" which is essentially an ambient version of "The Dream" and has been extended especially for this release by The Invisible Hands. In addition they also provide a short edit of the original releases 24 minute epic "Meditasian".

In hugo, there’s a central question that Loyle Carner keeps coming back to: “I’m young, Black, successful and have a platform - but where do I go next?” The answer is explored in this epic scream of a third album. With urgent delivery and gloriously widescreen production, Carner confronts both the deeply personal (“You can’t hate the roots of a tree, and not hate the tree. So how can I hate my father without hating me?) and the highly political (“I told the black man he didn’t understand I reached the white man he wouldn’t take my hand”). Cinematic in scale and scope, hugo is both a rallying war cry for a generation forged in fire and a study of the personal internal conflict that drives the rest of the album - as a mixed-race Black man, as an artist, as a father and as a son. With Mercury and Brits nominations, NME Awards and appearances in global brand campaigns (Nike, YSL, Timberland), Carner has undoubtedly had a meteoric rise to the top, culminating with his second album Not Waving, But Drowning charting at number 3 in the UK albums chart in 2019. However, hugo sees Carner taking a sharp detour from his previous work, putting it down to lockdown and the “hedonistic side of career being stripped away. There were no shows, no backstage, no festivals, no photoshoots”. By continuing to write in these tumultuous times with a renewed clarity and sense of artistic freedom, Carner reached deeper beneath the surface than he ever had before. The result is his most cathartic and ambitious record yet, a coruscating journey into the heart of what it means to be alive in these tumultuous times, and one which looks set to neatly cement his position as one of the most potent and vital young talents around today. Working alongside renowned producer kwes. (Solange, Kelela, Nao), Carner leaves no stone unturned on this album, in both its sound and its stories. In a 10-track album that moves from gorgeous neo-soul moments to thundering hip hop, with immediate, infectious bangers and sampled interludes from non musicians (mixed-race Guyanese poet John Agard and youth activist and politician Athian Akec) Carner shifts seamlessly from micro to macro, confronting everything from strained relationships with family to the societal tears caused by class stratification. It also lays bare bruises in his personal life that he has never revealed before – often in painful, deeply uncomfortable ways, focusing on Carner's experience of becoming a father in the context of growing up without contact with his biological father. With the song “Polyfilla”, against the backdrop of a warm melodic beat, Carner explores his desire to “break the chains in the cycle” of dysfunctional Black fatherhood, commenting on the narrative of fatherhood in the genre, and saying a key part of the process was realising that his father “grew up in a world where nobody showed him how to love or nurture”. The follow up track “A Lasting Place” is an exploration of the MC’s failure and inability to be perfect in this mission. The album closer is a powerful statement of love and forgiveness; with his signature lyrical dexterity, Carner declares his relentless commitment to his son and sees forgiving his father as a key part of this. The song closes with an emotional ending of Carner telling his dad “still I’m lucky yo that we talk”. There’s a striking duality of hugo’s bold, multilayered tracks and its often starkly intimate and tender lyricism, and that dichotomy is deliberate - it is a message for young Black men, but really, anyone, who is listening. Cognizant of the immense pain and fear and confusion that we are faced with everyday, Carner has thrown down the gauntlet, defying us not to rise above the fray, wake up each day and be ambitious. Ambitious in building strong personal relationships. Ambitious in our pursuit of our goals. Ambitious in never refusing to back down against injustice. Rejecting the title of leader, Loyle Carner sees himself “as holding up a mirror”, and that clearly translates into the album's universal messages.

“A rather gorgeous and engrossing collection, that borrows stealthily from a rich history of sound effect and soundtrack to build a tender poem to the night time.” - CLASH
“The plan was to make twenty 90-second tracks designed as TV themes,” says Arab Strap’s Aidan Moffat, of the initial thought behind his new instrumental album as Nyx Nótt “But it wasn't a satisfying listen, it was too gimmicky and silly.”
So instead, Moffat decided to stretch the idea out, plunge deeper, and expand the music into full tracks, “making some of them quite long and dramatic, with the odd swift turn here and there.” In fleshing these tracks out into more fully realised songs he began sourcing samples from professional TV and film music libraries. “The focus then turned to making a proper album out of these modern library sounds,” he says. “I decided to stick with the Themes From title and named the tracks after the sorts of shows they made me think of when I listened back.”
The result is a record that explores genre themes such as: ‘Thriller, ‘Porno’, ‘Caper’ and Swashbuckler’, and acts as an audio equivalent of channel hopping through a unique TV station programmed by Moffat. “I still wasn't sure about all this until I did the album cover, which brought it all together,” he says, of the artwork that places an old smashed TV unit front and centre with a woman perched on top. “It has echoes of old TV compilations but is pretty cheeky and slightly sexy in that old 70s compilation style. I wanted this one to look a bit more fun than the last one, as well as hopefully sound a bit more fun too.”
Aside from being a fun experience, it is also a stirring and immersive listen, one that allows the listener to imagine their own accompanying visual scenarios to each musical theme. The opening ‘Docudrama’ marries a gently creeping beat with strings that glide from tense to sweeping, while ‘Porno’ is all seedy smoky jazz that feels plucked right out of Travis Bickle’s late night trips to porn cinemas in Taxi Driver.
Touches of jazz pop up in other places too, on ‘Hardboiled’ this merges with subtle pulses and gargles of electronics that build to a rousing crescendo of horns and bleeps, and on ‘Caper’ there’s a vivacious full jazz band skip to the lively swinging rhythms. “There's a few more jazzy elements here,” Moffat says. “Although I'm not quite sure where that came from. Although, like everyone else, I've had plenty of time to be introspective recently, so I decided the next Nyx Nótt album should be more upbeat and encourage some occasional foot-tapping.”
However, what becomes apparent, the longer you spend in the world of Themes From, is how singular and unique the tone of each composition is. “Each track has its own individual feel,” says Moffat. “The idea was to sound like a different composer and band throughout.” It’s a stylistic leap that continues Nyx Nótt’s trajectory as one that shares no direct link to Moffat’s other projects. “I approach them in completely different ways and with a different purpose in mind,” says Moffat. “I don't think Nyx has ever heard of Arab Strap, and certainly doesn't own any of their albums.” It’s also a notable shift from the debut album under this moniker, and suitably given the theme, Moffat has created a visual comparison between these two sonic worlds. “If the first Nyx Nótt album was like looking out on dark prairies before dawn, this is more like a walk through a neon Soho after a few cocktails.”

MILK GREY VINYL

100% GALCHER was by all accounts a game-changer when it landed in 2013 as an hour of original music from a relatively unknown producer ushered in by the beloved mix series Blowing Up The Workshop. Galcher Lustwerk's signature sound _ a smoky stream-of-consciousness baritone shadow-boxing with beats, informed by funk, rap, rhythm, and blues _ felt like an epiphany, impossibly hypnotic and complete. Resident Advisor writes, "100% GALCHER laid out a louche, lysergic and resolutely black take on deep house." Pitchfork remembers the music's immediate impact: "It's the sort of gem you felt inclined to pass around" _ and by year-end list time, word-of-mouth intensified. It was Resident Advisor and Juno's mix of the year, and earned a top-ten placement in FACT Magazine's albums list, as well as Philip Sherburne's personal rundown for Spin." Since then, select songs from 100% GALCHER have seen small-run pressings, while the album has lived primarily on SoundCloud and YouTube as a low-key cult legend. The gateway into Lustwerk's now well-established catalog, known for its reliability as a late-night listen and its prophetic vision for the near future of underground dance music. RA would later name it a mix of the decade, citing its influence and imagination: "Original in every sense _ unknown, unheard and unbelievably good." In late 2022, marking ten years since he first recorded the material, Lustwerk returns to Ghostly International to release 100% GALCHER as a remastered limited-edition double LP. Lustwerk is a product of the Midwest. Growing up in Cleveland, he'd tape over his parents' cassettes and spend hours at his family computer recording loops and designing artwork for the jewel cases of burned CDs. In high school, he turned to Ableton Live and absorbed every electronic music magazine he could find at the local Borders Books store. As a college student at RISD, he played in noise bands, plugged into Providence's DIY scene via Myspace, and started DJing weeknights at bars downtown. There he connected with Young Male and DJ Richard, who would go on to found White Material Records and offer their third release to Galcher Lustwerk, an alias realized via CAPTCHA test, a perfect artifact of its internet age. By 2012, Lustwerk had drifted to New York City and settled into a graphic design job, quickly growing disenfranchised by office culture. "Some days I felt like a token, other days I felt invisible." At night, he and his friends were carving out their own space, throwing parties in small basements, office buildings, and off-beat karaoke bars in Manhattan, influenced by series such as Mr. Sunday in Gowanus and The Bunker at Public Assembly. The lifestyle started to bleed into Lustwerk's musical vision. He remembers the night it clicked in Providence, partying and listening to tunes with Morgan Louis and Alvin Aronson. He went back to New York and pieced together his bedroom setup: a Dave Smith Tempest drum machine, a Waldorf Blofeld synthesizer, and a TEAC cassette recorder. Early snippets went straight to SoundCloud, where Lustwerk tested the crowd. Comments and messages offered instant feedback. One DM proved to be the greenlight: from Matthew Kent, an invitation to his burgeoning mix series Blowing Up The Workshop. 100% GALCHER traveled fast and far. A phenomenon he could only enjoy for a short period before discovering that nearly all the masters of the tracks got wiped by water damage to his computer. "The only copies were now on the 192kbs mp3 mix I sent Matt." Until now, after Lustwerk revived the lost tracks and handed them to Josh Bonati for remastering. "The original mix was never mastered so I hope older fans can find something new here." Hearing the enhanced set for the first time delineated by tracklist reveals this was a proper album all along. Sly synth interludes (all titled "Stem") clear the air for raspy house anthems like "Fifty" and "Parlay," the set's original breakout. Themes present across Lustwerk's catalog first materialize in this iconic run _ the link between the meditative state of Midwest driving and the solitary comedowns of nightlife. Lust- werk, the narrator, is an elusive character, a secret agent of the club, embodied by the hooks: "One minute I'm on / next minute I'm gone," he reminds us on cult-favor- ite "Put On." These narcotic, one-line refrains stick with you; look no further than the original YouTube upload of "Kaint" to know that fans can't let these phrases go. While recorded alone, 100% GALCHER was a collective moment. A decade later, Lustwerk sees the legacy as shared: "Making music can be an alienating experience, especially for DJs who travel a lot, it's all super isolating. It's easy to express lone- liness in the music itself, but when it comes down to getting things done, putting music out, you def should go on that journey w other people, friends, or maybe just a group of people online, build things with your friends then they can build to help you."

#PF005 ITRIA VOL.3 is a slow techno-inspired cosmic journey that condenses in a single orbit a great cast of artists coming from different galaxies. It marks an evolution in sound and mood, taking us to a deeper and more visceral dimension.
The first track by Interstellar Funk is a 100% pure electronic mind-trip, a machined groove where thoughts still roam frenetically paves the way for a more intimate experience.
Tamburi Neri’s downtempo track shapes a space-time portal in which to sink; their sound is like a beat echoing from the bottom of the chest and spreading to the tips of the fingers softly.
For the first time, Salamanda co-works with Polifonic framing a Korean unknown soundscape, an ambient loop track through which we break away from this dimension and move towards the exotic.
Hiver restore a connection with reality through their pulsating bass. The heartbeat speeds up, but we still float into a dreamy techno atmosphere.
Claudio PRC & ZIPPO come into play with a powerful combination of techno textures that gets us to resurface and awaken the senses.

Summer at Land's End is not an interlude or tangent for The Reds, Pinks & Purples but rather a perfect fourth movement following the albums Anxiety Art, You Might Be Happy Someday, and Uncommon Weather. As with these self-recorded records (the primary work of songwriter Glenn Donaldson), the songs on Summer at Land's End were crafted slowly and then drawn together to make a unified statement. But here, and more than before, Summer at Land's End combines Donaldson's rueful pop sensibility with a parallel musical universe, one composed of pictures, dreams, and feelings without words. Even if the underlying theme of this collection is one of conflict or unhappiness, the vision of the music presents an escape to a new world, always fading in and out of sight. For listeners who may not be familiar with Donaldson's corner of San Francisco--the Richmond district--or the current wave of hazy, melodic DIY pop groups performing in the city, Summer at Land's End pulls in images and scenes that feel like a collision of the mundane and the sublime of this present landscape. With this record, The Reds, Pinks & Purples give less focus to the vanities of a subculture and more to the challenge of connecting with someone, to the ordinary goals of being human and finding harmony with others. This deliberate saturation in drama and ambiance, along with some of Donaldson's best songwriting to date, is what gives Summer at Land's End its special class in the project's discography. Of the album's cinematic mood, Donaldson refers to films like Summer of '42 and the influence of the classic 4AD catalogue of the 1990s. This style informs much of Donaldson's prior and current ventures of course (The Ivytree, Vacant Gardens, and a dozen projects in between) but now The Reds, Pinks & Purples have taken the mantle, embracing this instinct for instrumental or dreamier modes of pop songwriting. It's a pleasure to experience Summer at Land's End, as this record finds a thrilling balance between songs and sounds, instruments and voices, and the ironic twin poles of art and life.

PALE GREEN STARS VINYL

Summer at Land's End is not an interlude or tangent for The Reds, Pinks & Purples but rather a perfect fourth movement following the albums Anxiety Art, You Might Be Happy Someday, and Uncommon Weather. As with these self-recorded records (the primary work of songwriter Glenn Donaldson), the songs on Summer at Land's End were crafted slowly and then drawn together to make a unified statement. But here, and more than before, Summer at Land's End combines Donaldson's rueful pop sensibility with a parallel musical universe, one composed of pictures, dreams, and feelings without words. Even if the underlying theme of this collection is one of conflict or unhappiness, the vision of the music presents an escape to a new world, always fading in and out of sight. For listeners who may not be familiar with Donaldson's corner of San Francisco--the Richmond district--or the current wave of hazy, melodic DIY pop groups performing in the city, Summer at Land's End pulls in images and scenes that feel like a collision of the mundane and the sublime of this present landscape. With this record, The Reds, Pinks & Purples give less focus to the vanities of a subculture and more to the challenge of connecting with someone, to the ordinary goals of being human and finding harmony with others. This deliberate saturation in drama and ambiance, along with some of Donaldson's best songwriting to date, is what gives Summer at Land's End its special class in the project's discography. Of the album's cinematic mood, Donaldson refers to films like Summer of '42 and the influence of the classic 4AD catalogue of the 1990s. This style informs much of Donaldson's prior and current ventures of course (The Ivytree, Vacant Gardens, and a dozen projects in between) but now The Reds, Pinks & Purples have taken the mantle, embracing this instinct for instrumental or dreamier modes of pop songwriting. It's a pleasure to experience Summer at Land's End, as this record finds a thrilling balance between songs and sounds, instruments and voices, and the ironic twin poles of art and life.

Joan Reggae Drummer, based in the region of Catalonia in Spain, is a great lover of Jamaican music, at a very young age he began to be so passionate about drums that he created his first musical projects, among them, the band that was a turning point was The Pepper Pots. With 6 albums already released and several tours in Europe, UK, Japan, USA & Czech Republic , Joan has opened for internationally artists such as Jimmy Cliff, Kymani Marley, Laurel Aitken, Derrick Morgan, Ticken Jahfakoli or The Pioneers among others. He performed at major festivals such as Summerjam Reggae Festival (Germany), Rototom Sunsplash (Italy), Primavera Sound (BCN), Rock For People (Czech Republic) or SXSW (Austin, USA).

Joan as a drummer has also worked with a lot of top international soul artists such as Curtis Mayfield's legendary band The Impressions, Eli "Paperboy" Reed, Maxine Brown, Binky Griptite from Daptone Records that has been in bands such as Antibalas, Sharon Jones & The Dap-Kings, The Dap-Kings or The Mellomatics.

In 2020, after a time of musical hiatus due to the Covid, he began his more personal adventure, creating his own channel dedicated solely and exclusively to the world of drums in Reggae and Dub. Currently his Instagram channel has more than 34.000 followers and the content published has so much repercussion.

First this major collaboration last year with Aston Barrett Jr for a special tribute to his uncle , Carlton Barrett (Bob Marley), one of Joan's favorite drummer. And at last all this work led him to record his first debut EP "DUB Explosion" on the label Two Flames Records, a real explosion of DUB, where the common thread of the songs are drums.

JRD "DUB Explosion" is a performance in the form of an EP, consisting of 4 instrumental Dub tracks with a totally different concept than what we are used to, since the songs were created from the drum beats.

Great musicians from different countries have participated in this EP: Guitar - Arturo Landaeta (Venezuela), Bass - Elie El Ossais (Australia), Keyboards - Ireneu Grosset (Spain), Nyahbinghi Drums - Maurici Bongo (Brazil), Trombone and Trumpet - Pablo Martín (Catalonia), Tenor sax - Tomy Muñoz (Catalonia), Bass - Miliu Llorach (Catalonia), Flute - Lluís Doménech (England), Bass - Joshua Jones (Jamaica), Keteh & Triangle - Aurel Cade (France), Trumpet - Glenn Holdaway (United States).

Finally, the production, mixing and dub was done by the musician and producer Ireneu Grosset, in the analogue studio of Dr. Dubwiser. It was quite an experience as the studio has a team very similar to what Jamaican producers had in the golden age of Reggae in the 70's.

Alga Marghen presents the last chapter from the Feedback Works documentation series, a brand-new LP including "In Memoriam-Ostinato" and "Danse des Dakinis", two previous unreleased tracks by Eliane Radigue. Among the works of fixed duration from the feedback period, "In Memoriam-Ostinato" is the link between "Jouet Electronique" (ALGA 029LP) and "Opus 17" (ALGA 045LP), and allows you to understand the evolution of her approach. "In Memoriam-Ostinato" is a game of mirroring symbols which glide into a non-measured, bent and elastic, temporality. Eliane Radigue's working method and her aesthetic direction are evident in this work from 1969: her very own unique temporal space of sonic experiences. Even though it bears the same name as the third part of "Adnos III", "Danse des Dakinis" is a peculiar work in Eliane's oeuvre. Conceived in a short time, with all kind of tapes from the composer's past work, it fluently shows a kaleidoscopic vision of Radigue's sensibility for sound. In 1998 she put together a curious self-portrait in sound. There is a feedback ostinato conceived around 1969 and which refers to "In Memoriam-Ostinato" and "Opus 17". All through "Danse des Dakinis" you plunge into the sound of a creek recorded at Mills College campus that brings you back to the field-recordings from the beginning of the 1960s, made on the coasts of the Mediterranean Sea. Such elements construct "Elemental1" (ALGA 029LP) as well. There are also some discreet interventions on the ARP 2500 synthesizer. It is indeed a peculiar work, which doesn't have the same features of her other compositions, especially at that time of her compositional path. There is an explanation for the composer producing this kind of sound material in 1998, and not limited to the sound waves of the ARP synthesizer. Invited to a workshop at Mills College in 1998, Eliane Radigue could not load herself down with her bulky instrument on such a trip. So, she left with just a few tapes taken from her own collection, drawn from different periods, and composed "Danse des Dakinis" with those old elements. There is tension in this composition, a certain wildness, an unpredictability of elements, those which are recognized as fundamental elements, which give structure to the universe. "Dance des Dakinis" is an intimate and wild symphony, alive and unpredictable, which is to be the next-to-last gesture of the composer before completely stopping her work with electronics.

Comprehensive box of 6 LPs / EPs and the band's first rare 7inch.

Aroma Di Amore is/was Belgian’s premier cult band. Since the early eighties ADA innovatively combined electronics with rock. With a mix of razor-sharp Flemish lyrics and unconventional song structures the group earned a cult status in Belgium and abroad. 40 years later they conclude their career with a few last concerts and a vinyl box set spanning the years 1983-1987.

At the notorious Rock Rally of 1982 Aroma Di Amore stands out with their wonderful handling of the Flemish language, a deep bass, typical cold new wave drums, biting guitar riffs with the occasional flavor of absolute madness. Frontman Jos Verlooy adopts the stage name Elvis Peeters. The explanation for this remarkable pseudonym choice: in 1977 – the period of the singer's musical awakening – one of the two famous rocking Elvises (not Costello, but Presley) succumbs to his pill addiction. So, dixit Verlooy, there is an Elvis vacant. A banal surname belongs next to that exotic first name. A combination that breathes rock 'n' roll, according to the singer.

His companion Gerry Vergult – who very much determines the sound with his metallic riffs, somewhat indebted to Jean-Marie Aerts – adopts the stage name Fred Angst. Completely in line with the depressing zeitgeist of the 1980s. Gerry eats and breathes music. Besides composing most of ADA’s songs, he records & self-produces a few fantastic dark en loner solo minimal wave tracks as Fred Angst. He is still musically active, more towards the electronic leftfield nowadays under the moniker Zool.

It is clear from an early age that companion Elvis Peeters possesses the gift of the word. As an adolescent he published the punkzine “Dus”. The punk spirit stimulates Peeters. He begins to transform the poetry that he has been entrusting to paper for some time into song lyrics. It is on a whim and without any stage experience that punk friends Peeters and Angst register for the Rock Rally as Aroma di Amore. On a bed of post-punk and cold wave (Joy Division, Wire and Sisters of Mercy are the main influences), they initially let out playful, minimalist and nonsensical slogans such as "Doe De Mafia" (1982) and "Gorilla Dans De Samba" (1983). Later on, the tone becomes more serious, although Peeters' choice of words continues to show a penchant for absurdism and sarcasm. No one in Dutch songwriting imitates this verbal elasticity, certainly at that time.

The numerous songs about war are downright horrifying. In the 1980s, an arms race is underway. When the Belgian government decides to install nuclear missiles in 1981, Aroma di Amore asks for one minute of silence in the hall during performances. In "Lauwe Oorlog" (1983), Peeters exposes the core of his unrest: “paraat voor de parade / de vrede wordt begraven / met militaire eer”. To this day, the frontman of AdA still proudly wears his at least 30 year old 'atomic energy, no thanks!' button.

In 1984 Aroma releases Koude Oorlog on the new and independent Brussels label Play It Again Sam. The traditional press and radio ignore the record, but in the alternative circuits the mini-album does not go unnoticed, and the group starts to build a solid fan base, resulting in more and more offers for gigs. There's also interest in the Netherlands, and due to the international contacts of PIAS, the record also ends up in France, Switzerland, Spain and Canada.

Encouraged by this modest success, the group returns to the studio for a 12" single. With new group member Frits De Cauter on sax, they record "Voor De Dood". To this day, Voor De Dood remains the most popular AdA song, as evidenced by the countless compilations on which the song has appeared.

AdA goes to the Netherlands to record their next album “De Sfeer Van Grote Dagen”. The people from Nasmak have built a new studio in Eindhoven and one of the members, Theo Van Eenbergen (later Henry Rollins), will be the producer. “De Sfeer Van Grote Dagen” is the group's most adventurous album, and the reviews are again unanimously favorable. However, sales are disappointing and PIAS proposes to recruit Chris Reed of Red Lorry Yellow Lorry and record a new single with him. "Zonder Omzien" is recorded at the prestigious Pyramid Studio. However, PIAS is waiting to release the album and in the meantime AdA is recording a number of extra tracks with producer Ludo Camberlin, including "Koekoek In De Stad". Towards the end of the year, Lo and Elvis travel to Africa for a few months and as a result the group comes to a standstill. In this period, Zonder Omzien is released.

At the beginning of 1986, Peeters and Meulen return, and Andrea Smits leaves the group. Luc Pillards is hired as a replacement, and when Ludo Camberlin presents himself as a new label boss and producer (Anything But Records), they start recording their first full album for the label. “Harde Feiten" kicks in immediately, and the group is back up to cruising speed. In the first week of release, the record even appears in the bestseller list of the record stores.

At the beginning of 1987 the recordings for the second album start, this time in a production by Peeters and Angst themselves. Shortly after the shooting, AdA goes to Switzerland for a short but successful tour, with Men 2nd and Cas & Organized Crime as support act. "Koudvuur" is published in the autumn and considered to be their strongest record so far by the group, the reactions are rather low. Both the reviews in the press and the sales are disappointing and put a damper on the joy. Nevertheless, the group is invited to perform in Valencia, Spain, where they have an unexpected success.

MUTANT SOUNDS BLOG

Aroma Di Amore have always been outsiders, even within the confinement of the alternative rock circuit. Their peculiar blend of raw guitars, electronics, Dutch lyrics and unconventional song structures was too hybrid for many. Those howewer who, without prejudice, would lend an ear to the band's music, discovered an energetic, authentic and uncompromising collective that stood above all trends. While so many Belgian "connaisseurs" had their doubts about the possibilities of international recognition for a band singing in Dutch, Aroma Di Amore toured France, Switzerland and Spain; their records figured in alternative charts from Poland to Canada.

From beginning to end the nucleus of Aroma Di Amore consisted of Elvis PEETERS, who in a inimitable, possessed way delivered his highly original lyrics, and Fred ANGST, guitarist mastering the heaviest riffs as well as refined tapestries of sound. Furthermore, the line-up varied throughout the band's carreer with:- H.K. (Guitarist from 1982 until 1983)- Andrea SMITS (Organ from 1982 until 1985)- Luc PILLARDS (Synthsizer in 1986)- Jan WANDELAAR (Guitar and synthesizer in 1986)- Pulcherie (Saxophone in 1983)- Wout DOCKX (Bass from 1987 until 1988)and especially- Lo MEULEN (Bass from 1983 until 1987)and the late Frits DE CAUTER (Saxophone from 1984 until 1986) contributing to the music.

Box Set includes: Gorilla Dans De Samba 7" (1983), Voor De Dood 12" (1984), Koude Oorlog LP (1984), De Sfeer Van Grote Dagen 12" (1985), Zonder Omzien 12" (1986), Harde Feiten LP (1986), Koudvuur LP (1987)

First-time reissue of Aroma Di Amore's debut album, originally released in 1984.

Aroma Di Amore is/was Belgian’s premier cult band. Since the early eighties ADA innovatively combined electronics with rock. With a mix of razor-sharp Flemish lyrics and unconventional song structures the group earned a cult status in Belgium and abroad. 40 years later they conclude their career with a few last concerts and a vinyl box set spanning the years 1983-1987.

At the notorious Rock Rally of 1982 Aroma Di Amore stands out with their wonderful handling of the Flemish language, a deep bass, typical cold new wave drums, biting guitar riffs with the occasional flavor of absolute madness. Frontman Jos Verlooy adopts the stage name Elvis Peeters. The explanation for this remarkable pseudonym choice: in 1977 – the period of the singer's musical awakening – one of the two famous rocking Elvises (not Costello, but Presley) succumbs to his pill addiction. So, dixit Verlooy, there is an Elvis vacant. A banal surname belongs next to that exotic first name. A combination that breathes rock 'n' roll, according to the singer.

His companion Gerry Vergult – who very much determines the sound with his metallic riffs, somewhat indebted to Jean-Marie Aerts – adopts the stage name Fred Angst. Completely in line with the depressing zeitgeist of the 1980s. Gerry eats and breathes music. Besides composing most of ADA’s songs, he records & self-produces a few fantastic dark en loner solo minimal wave tracks as Fred Angst. He is still musically active, more towards the electronic leftfield nowadays under the moniker Zool.

It is clear from an early age that companion Elvis Peeters possesses the gift of the word. As an adolescent he published the punkzine “Dus”. The punk spirit stimulates Peeters. He begins to transform the poetry that he has been entrusting to paper for some time into song lyrics. It is on a whim and without any stage experience that punk friends Peeters and Angst register for the Rock Rally as Aroma di Amore. On a bed of post-punk and cold wave (Joy Division, Wire and Sisters of Mercy are the main influences), they initially let out playful, minimalist and nonsensical slogans such as "Doe De Mafia" (1982) and "Gorilla Dans De Samba" (1983). Later on, the tone becomes more serious, although Peeters' choice of words continues to show a penchant for absurdism and sarcasm. No one in Dutch songwriting imitates this verbal elasticity, certainly at that time.

The numerous songs about war are downright horrifying. In the 1980s, an arms race is underway. When the Belgian government decides to install nuclear missiles in 1981, Aroma di Amore asks for one minute of silence in the hall during performances. In "Lauwe Oorlog" (1983), Peeters exposes the core of his unrest: “paraat voor de parade / de vrede wordt begraven / met militaire eer”. To this day, the frontman of AdA still proudly wears his at least 30 year old 'atomic energy, no thanks!' button.

In 1984 Aroma releases Koude Oorlog on the new and independent Brussels label Play It Again Sam. The traditional press and radio ignore the record, but in the alternative circuits the mini-album does not go unnoticed, and the group starts to build a solid fan base, resulting in more and more offers for gigs. There's also interest in the Netherlands, and due to the international contacts of PIAS, the record also ends up in France, Switzerland, Spain and Canada.

Encouraged by this modest success, the group returns to the studio for a 12" single. With new group member Frits De Cauter on sax, they record "Voor De Dood". To this day, Voor De Dood remains the most popular AdA song, as evidenced by the countless compilations on which the song has appeared.

AdA goes to the Netherlands to record their next album “De Sfeer Van Grote Dagen”. The people from Nasmak have built a new studio in Eindhoven and one of the members, Theo Van Eenbergen (later Henry Rollins), will be the producer. “De Sfeer Van Grote Dagen” is the group's most adventurous album, and the reviews are again unanimously favorable. However, sales are disappointing and PIAS proposes to recruit Chris Reed of Red Lorry Yellow Lorry and record a new single with him. "Zonder Omzien" is recorded at the prestigious Pyramid Studio. However, PIAS is waiting to release the album and in the meantime AdA is recording a number of extra tracks with producer Ludo Camberlin, including "Koekoek In De Stad". Towards the end of the year, Lo and Elvis travel to Africa for a few months and as a result the group comes to a standstill. In this period, Zonder Omzien is released.

At the beginning of 1986, Peeters and Meulen return, and Andrea Smits leaves the group. Luc Pillards is hired as a replacement, and when Ludo Camberlin presents himself as a new label boss and producer (Anything But Records), they start recording their first full album for the label. “Harde Feiten" kicks in immediately, and the group is back up to cruising speed. In the first week of release, the record even appears in the bestseller list of the record stores.

At the beginning of 1987 the recordings for the second album start, this time in a production by Peeters and Angst themselves. Shortly after the shooting, AdA goes to Switzerland for a short but successful tour, with Men 2nd and Cas & Organized Crime as support act. "Koudvuur" is published in the autumn and considered to be their strongest record so far by the group, the reactions are rather low. Both the reviews in the press and the sales are disappointing and put a damper on the joy. Nevertheless, the group is invited to perform in Valencia, Spain, where they have an unexpected success.

MUTANT SOUNDS BLOG

Aroma Di Amore have always been outsiders, even within the confinement of the alternative rock circuit. Their peculiar blend of raw guitars, electronics, Dutch lyrics and unconventional song structures was too hybrid for many. Those howewer who, without prejudice, would lend an ear to the band's music, discovered an energetic, authentic and uncompromising collective that stood above all trends. While so many Belgian "connaisseurs" had their doubts about the possibilities of international recognition for a band singing in Dutch, Aroma Di Amore toured France, Switzerland and Spain; their records figured in alternative charts from Poland to Canada.

From beginning to end the nucleus of Aroma Di Amore consisted of Elvis PEETERS, who in a inimitable, possessed way delivered his highly original lyrics, and Fred ANGST, guitarist mastering the heaviest riffs as well as refined tapestries of sound. Furthermore, the line-up varied throughout the band's carreer with:- H.K. (Guitarist from 1982 until 1983)- Andrea SMITS (Organ from 1982 until 1985)- Luc PILLARDS (Synthsizer in 1986)- Jan WANDELAAR (Guitar and synthesizer in 1986)- Pulcherie (Saxophone in 1983)- Wout DOCKX (Bass from 1987 until 1988)and especially- Lo MEULEN (Bass from 1983 until 1987)and the late Frits DE CAUTER (Saxophone from 1984 until 1986)contributing to the music.

First-time reissue of Aroma Di Amore's 2nd album, originally released in 1986.

Aroma Di Amore is/was Belgian’s premier cult band. Since the early eighties ADA innovatively combined electronics with rock. With a mix of razor-sharp Flemish lyrics and unconventional song structures the group earned a cult status in Belgium and abroad. 40 years later they conclude their career with a few last concerts and a vinyl box set spanning the years 1983-1987.

At the notorious Rock Rally of 1982 Aroma Di Amore stands out with their wonderful handling of the Flemish language, a deep bass, typical cold new wave drums, biting guitar riffs with the occasional flavor of absolute madness. Frontman Jos Verlooy adopts the stage name Elvis Peeters. The explanation for this remarkable pseudonym choice: in 1977 – the period of the singer's musical awakening – one of the two famous rocking Elvises (not Costello, but Presley) succumbs to his pill addiction. So, dixit Verlooy, there is an Elvis vacant. A banal surname belongs next to that exotic first name. A combination that breathes rock 'n' roll, according to the singer.

His companion Gerry Vergult – who very much determines the sound with his metallic riffs, somewhat indebted to Jean-Marie Aerts – adopts the stage name Fred Angst. Completely in line with the depressing zeitgeist of the 1980s. Gerry eats and breathes music. Besides composing most of ADA’s songs, he records & self-produces a few fantastic dark en loner solo minimal wave tracks as Fred Angst. He is still musically active, more towards the electronic leftfield nowadays under the moniker Zool.

It is clear from an early age that companion Elvis Peeters possesses the gift of the word. As an adolescent he published the punkzine “Dus”. The punk spirit stimulates Peeters. He begins to transform the poetry that he has been entrusting to paper for some time into song lyrics. It is on a whim and without any stage experience that punk friends Peeters and Angst register for the Rock Rally as Aroma di Amore. On a bed of post-punk and cold wave (Joy Division, Wire and Sisters of Mercy are the main influences), they initially let out playful, minimalist and nonsensical slogans such as "Doe De Mafia" (1982) and "Gorilla Dans De Samba" (1983). Later on, the tone becomes more serious, although Peeters' choice of words continues to show a penchant for absurdism and sarcasm. No one in Dutch songwriting imitates this verbal elasticity, certainly at that time.

The numerous songs about war are downright horrifying. In the 1980s, an arms race is underway. When the Belgian government decides to install nuclear missiles in 1981, Aroma di Amore asks for one minute of silence in the hall during performances. In "Lauwe Oorlog" (1983), Peeters exposes the core of his unrest: “paraat voor de parade / de vrede wordt begraven / met militaire eer”. To this day, the frontman of AdA still proudly wears his at least 30 year old 'atomic energy, no thanks!' button.

In 1984 Aroma releases Koude Oorlog on the new and independent Brussels label Play It Again Sam. The traditional press and radio ignore the record, but in the alternative circuits the mini-album does not go unnoticed, and the group starts to build a solid fan base, resulting in more and more offers for gigs. There's also interest in the Netherlands, and due to the international contacts of PIAS, the record also ends up in France, Switzerland, Spain and Canada.

Encouraged by this modest success, the group returns to the studio for a 12" single. With new group member Frits De Cauter on sax, they record "Voor De Dood". To this day, Voor De Dood remains the most popular AdA song, as evidenced by the countless compilations on which the song has appeared.

AdA goes to the Netherlands to record their next album “De Sfeer Van Grote Dagen”. The people from Nasmak have built a new studio in Eindhoven and one of the members, Theo Van Eenbergen (later Henry Rollins), will be the producer. “De Sfeer Van Grote Dagen” is the group's most adventurous album, and the reviews are again unanimously favorable. However, sales are disappointing and PIAS proposes to recruit Chris Reed of Red Lorry Yellow Lorry and record a new single with him. "Zonder Omzien" is recorded at the prestigious Pyramid Studio. However, PIAS is waiting to release the album and in the meantime AdA is recording a number of extra tracks with producer Ludo Camberlin, including "Koekoek In De Stad". Towards the end of the year, Lo and Elvis travel to Africa for a few months and as a result the group comes to a standstill. In this period, Zonder Omzien is released.

At the beginning of 1986, Peeters and Meulen return, and Andrea Smits leaves the group. Luc Pillards is hired as a replacement, and when Ludo Camberlin presents himself as a new label boss and producer (Anything But Records), they start recording their first full album for the label. “Harde Feiten" kicks in immediately, and the group is back up to cruising speed. In the first week of release, the record even appears in the bestseller list of the record stores.

At the beginning of 1987 the recordings for the second album start, this time in a production by Peeters and Angst themselves. Shortly after the shooting, AdA goes to Switzerland for a short but successful tour, with Men 2nd and Cas & Organized Crime as support act. "Koudvuur" is published in the autumn and considered to be their strongest record so far by the group, the reactions are rather low. Both the reviews in the press and the sales are disappointing and put a damper on the joy. Nevertheless, the group is invited to perform in Valencia, Spain, where they have an unexpected success.

MUTANT SOUNDS BLOG

Aroma Di Amore have always been outsiders, even within the confinement of the alternative rock circuit. Their peculiar blend of raw guitars, electronics, Dutch lyrics and unconventional song structures was too hybrid for many. Those howewer who, without prejudice, would lend an ear to the band's music, discovered an energetic, authentic and uncompromising collective that stood above all trends. While so many Belgian "connaisseurs" had their doubts about the possibilities of international recognition for a band singing in Dutch, Aroma Di Amore toured France, Switzerland and Spain; their records figured in alternative charts from Poland to Canada.

From beginning to end the nucleus of Aroma Di Amore consisted of Elvis PEETERS, who in a inimitable, possessed way delivered his highly original lyrics, and Fred ANGST, guitarist mastering the heaviest riffs as well as refined tapestries of sound. Furthermore, the line-up varied throughout the band's carreer with:- H.K. (Guitarist from 1982 until 1983)- Andrea SMITS (Organ from 1982 until 1985)- Luc PILLARDS (Synthsizer in 1986)- Jan WANDELAAR (Guitar and synthesizer in 1986)- Pulcherie (Saxophone in 1983)- Wout DOCKX (Bass from 1987 until 1988)and especially- Lo MEULEN (Bass from 1983 until 1987)and the late Frits DE CAUTER (Saxophone from 1984 until 1986)contributing to the music.

First-time reissue of Aroma Di Amore's 3rd album, originally released in 1987.

Aroma Di Amore is/was Belgian’s premier cult band. Since the early eighties ADA innovatively combined electronics with rock. With a mix of razor-sharp Flemish lyrics and unconventional song structures the group earned a cult status in Belgium and abroad. 40 years later they conclude their career with a few last concerts and a vinyl box set spanning the years 1983-1987.

At the notorious Rock Rally of 1982 Aroma Di Amore stands out with their wonderful handling of the Flemish language, a deep bass, typical cold new wave drums, biting guitar riffs with the occasional flavor of absolute madness. Frontman Jos Verlooy adopts the stage name Elvis Peeters. The explanation for this remarkable pseudonym choice: in 1977 – the period of the singer's musical awakening – one of the two famous rocking Elvises (not Costello, but Presley) succumbs to his pill addiction. So, dixit Verlooy, there is an Elvis vacant. A banal surname belongs next to that exotic first name. A combination that breathes rock 'n' roll, according to the singer.

His companion Gerry Vergult – who very much determines the sound with his metallic riffs, somewhat indebted to Jean-Marie Aerts – adopts the stage name Fred Angst. Completely in line with the depressing zeitgeist of the 1980s. Gerry eats and breathes music. Besides composing most of ADA’s songs, he records & self-produces a few fantastic dark en loner solo minimal wave tracks as Fred Angst. He is still musically active, more towards the electronic leftfield nowadays under the moniker Zool.

It is clear from an early age that companion Elvis Peeters possesses the gift of the word. As an adolescent he published the punkzine “Dus”. The punk spirit stimulates Peeters. He begins to transform the poetry that he has been entrusting to paper for some time into song lyrics. It is on a whim and without any stage experience that punk friends Peeters and Angst register for the Rock Rally as Aroma di Amore. On a bed of post-punk and cold wave (Joy Division, Wire and Sisters of Mercy are the main influences), they initially let out playful, minimalist and nonsensical slogans such as "Doe De Mafia" (1982) and "Gorilla Dans De Samba" (1983). Later on, the tone becomes more serious, although Peeters' choice of words continues to show a penchant for absurdism and sarcasm. No one in Dutch songwriting imitates this verbal elasticity, certainly at that time.

The numerous songs about war are downright horrifying. In the 1980s, an arms race is underway. When the Belgian government decides to install nuclear missiles in 1981, Aroma di Amore asks for one minute of silence in the hall during performances. In "Lauwe Oorlog" (1983), Peeters exposes the core of his unrest: “paraat voor de parade / de vrede wordt begraven / met militaire eer”. To this day, the frontman of AdA still proudly wears his at least 30 year old 'atomic energy, no thanks!' button.

In 1984 Aroma releases Koude Oorlog on the new and independent Brussels label Play It Again Sam. The traditional press and radio ignore the record, but in the alternative circuits the mini-album does not go unnoticed, and the group starts to build a solid fan base, resulting in more and more offers for gigs. There's also interest in the Netherlands, and due to the international contacts of PIAS, the record also ends up in France, Switzerland, Spain and Canada.

Encouraged by this modest success, the group returns to the studio for a 12" single. With new group member Frits De Cauter on sax, they record "Voor De Dood". To this day, Voor De Dood remains the most popular AdA song, as evidenced by the countless compilations on which the song has appeared.

AdA goes to the Netherlands to record their next album “De Sfeer Van Grote Dagen”. The people from Nasmak have built a new studio in Eindhoven and one of the members, Theo Van Eenbergen (later Henry Rollins), will be the producer. “De Sfeer Van Grote Dagen” is the group's most adventurous album, and the reviews are again unanimously favorable. However, sales are disappointing and PIAS proposes to recruit Chris Reed of Red Lorry Yellow Lorry and record a new single with him. "Zonder Omzien" is recorded at the prestigious Pyramid Studio. However, PIAS is waiting to release the album and in the meantime AdA is recording a number of extra tracks with producer Ludo Camberlin, including "Koekoek In De Stad". Towards the end of the year, Lo and Elvis travel to Africa for a few months and as a result the group comes to a standstill. In this period, Zonder Omzien is released.

At the beginning of 1986, Peeters and Meulen return, and Andrea Smits leaves the group. Luc Pillards is hired as a replacement, and when Ludo Camberlin presents himself as a new label boss and producer (Anything But Records), they start recording their first full album for the label. “Harde Feiten" kicks in immediately, and the group is back up to cruising speed. In the first week of release, the record even appears in the bestseller list of the record stores.

At the beginning of 1987 the recordings for the second album start, this time in a production by Peeters and Angst themselves. Shortly after the shooting, AdA goes to Switzerland for a short but successful tour, with Men 2nd and Cas & Organized Crime as support act. "Koudvuur" is published in the autumn and considered to be their strongest record so far by the group, the reactions are rather low. Both the reviews in the press and the sales are disappointing and put a damper on the joy. Nevertheless, the group is invited to perform in Valencia, Spain, where they have an unexpected success.

MUTANT SOUNDS BLOG

Aroma Di Amore have always been outsiders, even within the confinement of the alternative rock circuit. Their peculiar blend of raw guitars, electronics, Dutch lyrics and unconventional song structures was too hybrid for many. Those howewer who, without prejudice, would lend an ear to the band's music, discovered an energetic, authentic and uncompromising collective that stood above all trends. While so many Belgian "connaisseurs" had their doubts about the possibilities of international recognition for a band singing in Dutch, Aroma Di Amore toured France, Switzerland and Spain; their records figured in alternative charts from Poland to Canada.

From beginning to end the nucleus of Aroma Di Amore consisted of Elvis PEETERS, who in a inimitable, possessed way delivered his highly original lyrics, and Fred ANGST, guitarist mastering the heaviest riffs as well as refined tapestries of sound. Furthermore, the line-up varied throughout the band's carreer with:- H.K. (Guitarist from 1982 until 1983)- Andrea SMITS (Organ from 1982 until 1985)- Luc PILLARDS (Synthsizer in 1986)- Jan WANDELAAR (Guitar and synthesizer in 1986)- Pulcherie (Saxophone in 1983)- Wout DOCKX (Bass from 1987 until 1988)and especially- Lo MEULEN (Bass from 1983 until 1987)and the late Frits DE CAUTER (Saxophone from 1984 until 1986)contributing to the music.

First-time reissue of Aroma Di Amore's 3rd EP, originally released in 1985.

Aroma Di Amore is/was Belgian’s premier cult band. Since the early eighties ADA innovatively combined electronics with rock. With a mix of razor-sharp Flemish lyrics and unconventional song structures the group earned a cult status in Belgium and abroad. 40 years later they conclude their career with a few last concerts and a vinyl box set spanning the years 1983-1987.

At the notorious Rock Rally of 1982 Aroma Di Amore stands out with their wonderful handling of the Flemish language, a deep bass, typical cold new wave drums, biting guitar riffs with the occasional flavor of absolute madness. Frontman Jos Verlooy adopts the stage name Elvis Peeters. The explanation for this remarkable pseudonym choice: in 1977 – the period of the singer's musical awakening – one of the two famous rocking Elvises (not Costello, but Presley) succumbs to his pill addiction. So, dixit Verlooy, there is an Elvis vacant. A banal surname belongs next to that exotic first name. A combination that breathes rock 'n' roll, according to the singer.

His companion Gerry Vergult – who very much determines the sound with his metallic riffs, somewhat indebted to Jean-Marie Aerts – adopts the stage name Fred Angst. Completely in line with the depressing zeitgeist of the 1980s. Gerry eats and breathes music. Besides composing most of ADA’s songs, he records & self-produces a few fantastic dark en loner solo minimal wave tracks as Fred Angst. He is still musically active, more towards the electronic leftfield nowadays under the moniker Zool.

It is clear from an early age that companion Elvis Peeters possesses the gift of the word. As an adolescent he published the punkzine “Dus”. The punk spirit stimulates Peeters. He begins to transform the poetry that he has been entrusting to paper for some time into song lyrics. It is on a whim and without any stage experience that punk friends Peeters and Angst register for the Rock Rally as Aroma di Amore. On a bed of post-punk and cold wave (Joy Division, Wire and Sisters of Mercy are the main influences), they initially let out playful, minimalist and nonsensical slogans such as "Doe De Mafia" (1982) and "Gorilla Dans De Samba" (1983). Later on, the tone becomes more serious, although Peeters' choice of words continues to show a penchant for absurdism and sarcasm. No one in Dutch songwriting imitates this verbal elasticity, certainly at that time.

The numerous songs about war are downright horrifying. In the 1980s, an arms race is underway. When the Belgian government decides to install nuclear missiles in 1981, Aroma di Amore asks for one minute of silence in the hall during performances. In "Lauwe Oorlog" (1983), Peeters exposes the core of his unrest: “paraat voor de parade / de vrede wordt begraven / met militaire eer”. To this day, the frontman of AdA still proudly wears his at least 30 year old 'atomic energy, no thanks!' button.

In 1984 Aroma releases Koude Oorlog on the new and independent Brussels label Play It Again Sam. The traditional press and radio ignore the record, but in the alternative circuits the mini-album does not go unnoticed, and the group starts to build a solid fan base, resulting in more and more offers for gigs. There's also interest in the Netherlands, and due to the international contacts of PIAS, the record also ends up in France, Switzerland, Spain and Canada.

Encouraged by this modest success, the group returns to the studio for a 12" single. With new group member Frits De Cauter on sax, they record "Voor De Dood". To this day, Voor De Dood remains the most popular AdA song, as evidenced by the countless compilations on which the song has appeared.

AdA goes to the Netherlands to record their next album “De Sfeer Van Grote Dagen”. The people from Nasmak have built a new studio in Eindhoven and one of the members, Theo Van Eenbergen (later Henry Rollins), will be the producer. “De Sfeer Van Grote Dagen” is the group's most adventurous album, and the reviews are again unanimously favorable. However, sales are disappointing and PIAS proposes to recruit Chris Reed of Red Lorry Yellow Lorry and record a new single with him. "Zonder Omzien" is recorded at the prestigious Pyramid Studio. However, PIAS is waiting to release the album and in the meantime AdA is recording a number of extra tracks with producer Ludo Camberlin, including "Koekoek In De Stad". Towards the end of the year, Lo and Elvis travel to Africa for a few months and as a result the group comes to a standstill. In this period, Zonder Omzien is released.

At the beginning of 1986, Peeters and Meulen return, and Andrea Smits leaves the group. Luc Pillards is hired as a replacement, and when Ludo Camberlin presents himself as a new label boss and producer (Anything But Records), they start recording their first full album for the label. “Harde Feiten" kicks in immediately, and the group is back up to cruising speed. In the first week of release, the record even appears in the bestseller list of the record stores.

At the beginning of 1987 the recordings for the second album start, this time in a production by Peeters and Angst themselves. Shortly after the shooting, AdA goes to Switzerland for a short but successful tour, with Men 2nd and Cas & Organized Crime as support act. "Koudvuur" is published in the autumn and considered to be their strongest record so far by the group, the reactions are rather low. Both the reviews in the press and the sales are disappointing and put a damper on the joy. Nevertheless, the group is invited to perform in Valencia, Spain, where they have an unexpected success.

MUTANT SOUNDS BLOG

Aroma Di Amore have always been outsiders, even within the confinement of the alternative rock circuit. Their peculiar blend of raw guitars, electronics, Dutch lyrics and unconventional song structures was too hybrid for many. Those howewer who, without prejudice, would lend an ear to the band's music, discovered an energetic, authentic and uncompromising collective that stood above all trends. While so many Belgian "connaisseurs" had their doubts about the possibilities of international recognition for a band singing in Dutch, Aroma Di Amore toured France, Switzerland and Spain; their records figured in alternative charts from Poland to Canada.

From beginning to end the nucleus of Aroma Di Amore consisted of Elvis PEETERS, who in a inimitable, possessed way delivered his highly original lyrics, and Fred ANGST, guitarist mastering the heaviest riffs as well as refined tapestries of sound. Furthermore, the line-up varied throughout the band's carreer with:- H.K. (Guitarist from 1982 until 1983)- Andrea SMITS (Organ from 1982 until 1985)- Luc PILLARDS (Synthsizer in 1986)- Jan WANDELAAR (Guitar and synthesizer in 1986)- Pulcherie (Saxophone in 1983)- Wout DOCKX (Bass from 1987 until 1988)and especially- Lo MEULEN (Bass from 1983 until 1987)and the late Frits DE CAUTER (Saxophone from 1984 until 1986)contributing to the music

First-time reissue of Aroma Di Amore's 4th EP, originally released in 1986.

Aroma Di Amore is/was Belgian’s premier cult band. Since the early eighties ADA innovatively combined electronics with rock. With a mix of razor-sharp Flemish lyrics and unconventional song structures the group earned a cult status in Belgium and abroad. 40 years later they conclude their career with a few last concerts and a vinyl box set spanning the years 1983-1987.

At the notorious Rock Rally of 1982 Aroma Di Amore stands out with their wonderful handling of the Flemish language, a deep bass, typical cold new wave drums, biting guitar riffs with the occasional flavor of absolute madness. Frontman Jos Verlooy adopts the stage name Elvis Peeters. The explanation for this remarkable pseudonym choice: in 1977 – the period of the singer's musical awakening – one of the two famous rocking Elvises (not Costello, but Presley) succumbs to his pill addiction. So, dixit Verlooy, there is an Elvis vacant. A banal surname belongs next to that exotic first name. A combination that breathes rock 'n' roll, according to the singer.

His companion Gerry Vergult – who very much determines the sound with his metallic riffs, somewhat indebted to Jean-Marie Aerts – adopts the stage name Fred Angst. Completely in line with the depressing zeitgeist of the 1980s. Gerry eats and breathes music. Besides composing most of ADA’s songs, he records & self-produces a few fantastic dark en loner solo minimal wave tracks as Fred Angst. He is still musically active, more towards the electronic leftfield nowadays under the moniker Zool.

It is clear from an early age that companion Elvis Peeters possesses the gift of the word. As an adolescent he published the punkzine “Dus”. The punk spirit stimulates Peeters. He begins to transform the poetry that he has been entrusting to paper for some time into song lyrics. It is on a whim and without any stage experience that punk friends Peeters and Angst register for the Rock Rally as Aroma di Amore. On a bed of post-punk and cold wave (Joy Division, Wire and Sisters of Mercy are the main influences), they initially let out playful, minimalist and nonsensical slogans such as "Doe De Mafia" (1982) and "Gorilla Dans De Samba" (1983). Later on, the tone becomes more serious, although Peeters' choice of words continues to show a penchant for absurdism and sarcasm. No one in Dutch songwriting imitates this verbal elasticity, certainly at that time.

The numerous songs about war are downright horrifying. In the 1980s, an arms race is underway. When the Belgian government decides to install nuclear missiles in 1981, Aroma di Amore asks for one minute of silence in the hall during performances. In "Lauwe Oorlog" (1983), Peeters exposes the core of his unrest: “paraat voor de parade / de vrede wordt begraven / met militaire eer”. To this day, the frontman of AdA still proudly wears his at least 30 year old 'atomic energy, no thanks!' button.

In 1984 Aroma releases Koude Oorlog on the new and independent Brussels label Play It Again Sam. The traditional press and radio ignore the record, but in the alternative circuits the mini-album does not go unnoticed, and the group starts to build a solid fan base, resulting in more and more offers for gigs. There's also interest in the Netherlands, and due to the international contacts of PIAS, the record also ends up in France, Switzerland, Spain and Canada.

Encouraged by this modest success, the group returns to the studio for a 12" single. With new group member Frits De Cauter on sax, they record "Voor De Dood". To this day, Voor De Dood remains the most popular AdA song, as evidenced by the countless compilations on which the song has appeared.

AdA goes to the Netherlands to record their next album “De Sfeer Van Grote Dagen”. The people from Nasmak have built a new studio in Eindhoven and one of the members, Theo Van Eenbergen (later Henry Rollins), will be the producer. “De Sfeer Van Grote Dagen” is the group's most adventurous album, and the reviews are again unanimously favorable. However, sales are disappointing and PIAS proposes to recruit Chris Reed of Red Lorry Yellow Lorry and record a new single with him. "Zonder Omzien" is recorded at the prestigious Pyramid Studio. However, PIAS is waiting to release the album and in the meantime AdA is recording a number of extra tracks with producer Ludo Camberlin, including "Koekoek In De Stad". Towards the end of the year, Lo and Elvis travel to Africa for a few months and as a result the group comes to a standstill. In this period, Zonder Omzien is released.

At the beginning of 1986, Peeters and Meulen return, and Andrea Smits leaves the group. Luc Pillards is hired as a replacement, and when Ludo Camberlin presents himself as a new label boss and producer (Anything But Records), they start recording their first full album for the label. “Harde Feiten" kicks in immediately, and the group is back up to cruising speed. In the first week of release, the record even appears in the bestseller list of the record stores.

At the beginning of 1987 the recordings for the second album start, this time in a production by Peeters and Angst themselves. Shortly after the shooting, AdA goes to Switzerland for a short but successful tour, with Men 2nd and Cas & Organized Crime as support act. "Koudvuur" is published in the autumn and considered to be their strongest record so far by the group, the reactions are rather low. Both the reviews in the press and the sales are disappointing and put a damper on the joy. Nevertheless, the group is invited to perform in Valencia, Spain, where they have an unexpected success.

MUTANT SOUNDS BLOG

Aroma Di Amore have always been outsiders, even within the confinement of the alternative rock circuit. Their peculiar blend of raw guitars, electronics, Dutch lyrics and unconventional song structures was too hybrid for many. Those howewer who, without prejudice, would lend an ear to the band's music, discovered an energetic, authentic and uncompromising collective that stood above all trends. While so many Belgian "connaisseurs" had their doubts about the possibilities of international recognition for a band singing in Dutch, Aroma Di Amore toured France, Switzerland and Spain; their records figured in alternative charts from Poland to Canada.

From beginning to end the nucleus of Aroma Di Amore consisted of Elvis PEETERS, who in a inimitable, possessed way delivered his highly original lyrics, and Fred ANGST, guitarist mastering the heaviest riffs as well as refined tapestries of sound. Furthermore, the line-up varied throughout the band's carreer with:- H.K. (Guitarist from 1982 until 1983)- Andrea SMITS (Organ from 1982 until 1985)- Luc PILLARDS (Synthsizer in 1986)- Jan WANDELAAR (Guitar and synthesizer in 1986)- Pulcherie (Saxophone in 1983)- Wout DOCKX (Bass from 1987 until 1988)and especially- Lo MEULEN (Bass from 1983 until 1987)and the late Frits DE CAUTER (Saxophone from 1984 until 1986)contributing to the music.

Great songs are not set in stone - since he burst from the blues clubs of Louisiana onto the global music scene with 1995's breakthrough first album, Ledbetter Heights, followed by his career defining second album, Trouble Is..

in 1997, Kenny Wayne Shepherd has twisted those classic cuts into bold new
shapes each night on the stage. Led by the pulse of the crowd, every last note
alive in his hands, the Trouble Is... tracks have always been on the move, never
settling into museum pieces.
But to give a quarter-century-old album a second birth is another matter. And in
more recent times, as the five- time- Grammy- nominated, multi- platinum- selling
artist looked up the road and saw the 25th anniversary of Trouble Is... on the
horizon, he hatched an audacious plan."One of the coolest things about rerecording Trouble Is... has been finding out or verifying how timeless this album
really is," says Shepherd, who also is leading a triumphant anniversary tour across
the United States in 2022 and 2023, performing the album in full. "I'm so proud of
what we accomplished, and also the fact I was just 18 years old when I did it. I
mean, I had an experience with this album that most musicians can only dream
about. Trouble Is... sold millions of copies. There's validation in all of that for me."
The Artbook package contains: 2LP on Gold Vinyl, CD, DVD and Blu- ray of the
Trouble Is... 25th Anniversary Show in the Strand Theatre in Shreveport, Louisiana
and a documentary about the making of the album, plus a Dolby Atmos audio Bluray that is exclusive to this release.