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Inspiration can strike anyone at any time, and more often than not from somewhat peculiar quarters. Rarely more so than when Sam Grant - thus far best known as guitarist and producer of Pigs Pigs Pigs Pigs Pigs Pigs Pigs - finally set about work on a solo project that had been pursuing him for some years. “I want people to imagine that feeling of rubber - its physical memory, the unnatural vibe of it. It’s so tactile but alien. It’s an odd analogy, but that’s what this music is for me.”A specific gravity is one more property that rubber has going for it, and that much is certainly true of Rubber Oh’s debut album ‘Strange Craft’, the result of his elasticated fixation, and his debut album of deliriously tuneful sci-fi tinged psychpop. It’s a unique soundworld in which an emphasis on beguiling melody marries a kaleidoscopic grandeur. Widescreen gems like the warped interstellar voyage that is Children Of Alchemy and the unshakeable earworm Hyperdrive Fantasyare all vibrant colour and celestial energy, setting their psychic stall out somewhere between the incandescent headspace of a ‘70s sci-fi TV show and the red-light-fever of the overheated ampstacks Grant has been historically more familiar with.Ultimately, for Grant as well as everyone else, Rubber Oh amounts to one strange trip - “Many of the lyrics are about alchemy, journeying and vessels, as interchangeable metaphors for knowledge and wisdom” he says. “I wanted to mesh the land and sea, the cosmos and the psyche across the tracks as one single plane” Mission accomplished, in short. This Strange Craft is fuelled up and ready to accept all comers on a ride into extensions through dimensions01

CAIVA and Julian Muller deliver their first collaborative release on Live From Earth Klub. „Without You“ is an expressive work of art that transports CAIVA‘s vocals on driven and club ready dynamics. With the eponymous single the duo sets a high standard for post isolation dance energy. We are eager to present the project as well as interrelated performances in the future.

Limited collector's edition of 300 copies only of this rare italian disco funk studio project from 1977 run by Pino Presti.

Today is very rare but the value of this reissue is that contains for the first time ever all the original versions plus the long version that never saw the light, because for some reason both 12" and the 7" original vinyl contains only the short cuts (called part 1 / part 2).

The glacial distillation of Pan•American aka Mark Nelson’s “romantic minimalism” achieves unique fruition on his latest Kranky collection, The Patience Fader.

A suite of solo guitar instrumentals accented with lap steel, harmonica, and twilit atmospherics, the strings smear and sparkle in elegant, windswept swells, a guitar mode once described by Brian Eno as “Duane Eddy playing Erik Satie.” These are elegies as much as songs, lulling and lilting in private currents of beauty and bereavement. Nelson speaks of the notion of “lighthouse music,” radiance cast from a stable vantage point, sending “a signal to help others through rocks and dangerous currents.”
Composed during the highly isolated summer of 2020, the pieces took shape as meditations on “roots and mourning, trying to connect with those deep hidden rivers that lead to a greater communality.” There’s something ageless, scarred, and American about this music, both displaced and devotional, the ghost of rust belts and dust bowls looming in a horizon of deepening dusk.

Gondwana Records sign LA bassist and composer Seth Ford-Young's Phi-Psonics project and announce a remastered deluxe-edition of The Cradle featuring bonus material

Phi-Psonics is a meditative, immersive instrumental group from Los Angeles, led by bassist Seth Ford-Young and featuring Sylvain Carton on woodwinds, Mitchell Yoshida on electric piano, and Josh Collazo on drums. Their deeply soulfulmusic draws on jazz and classical influences together with Ford-Young's own musical experiences, relationships, and his introduction to spirituality, yoga and philosophy at a young age, to create something uniquely its own. Phi-Psonics' name and ultimate aim is to find 'Phi' – the golden mean – in art, nature and self. Ford-Young explains:

"It's a bit of a cliché, but music saved my life many times and instilled in me a belief in the great power of healing through art. It is my hope and intention that this music provides healing to someone somewhere."

Originally from Washington DC area, Ford-Young moved to California in the early 90s and fell in love with the deep sounds of the upright bass and the music of Charles Mingus, John and Alice Coltrane, and Duke Ellington along with Bach, Chopin, Pärt, and Satie. He immersed himself deeply in music and keen to learn combinedintense personal study with collaborations, tours, and recordings with artists such as Tom Waits, Beats Antique, and John Vanderslice. In 2010 he moved from the San-Francisco Bay area to the Los Angeles hills and continued his explorations. But great music is rarely just about music and Ford-Young's meditative, soulful music draws on more than just the twin wellsprings of jazz and classical music:

"My mother was a yoga teacher from the early 70's until recently and taught me yoga and meditation at an early age, my stepfather is an Aikido instructor and student of the teachings of Gurdjieff. Those were all early areas of study that I came back to many times throughout my life. Phi-Psonics has been a project that unapologetically synthesizes some of these ideas into our music".

It's this mixture of influences, musical and extramusical, that gives the music of Phi-Psonics it's immersive quality and quiet power. Revealingly the music that would becomeThe Cradle, wasn't written specifically for an album, originally Ford-Young was just writing down what was coming through. As time went by and the album began to take shape, the world situation seemed to be getting darker and his compositions aim to offer hope as a response to the negative influences that abound today. Remarkably for such a beautiful sounding record, it was recorded at the composer's home, rather than in a studio, but the relaxed nature of this process gives the music an airy lightness that propels the music to some magical spaces.

Originally self-released on vinyl in a limited run just as the world went into lockdown, The Cradle reached Matthew Halsall (founder of Gondwana Records) when he aws looking for music for his Worldwide FM show and he was blown away, hearing a kindred spirit at work. Halsall explains:

"Phi-Psonics make beautiful, humble and honest music, it's not showy, but it has a deep vibe that will elevate your mind and soul if you let it. When we heard The Cradle we reached out and are really super delighted to welcome Seth and his band to our label". Whereas for Ford Young: "Connecting with Matthew and the Gondwana records family has been a light in the darkness of the last years - to have my music make connections even as we are more isolated."

Ford-Young is currently putting the finishing touches to the second Phi-Psonics record, but aware that only a select few had heard The Cradle, let alone had the chance to buy a copy, and entranced by its deceptive simplicity and elevating energy, Halsall suggested that Gondwana present the album as a remastered 'deluxe edition' with an extended running time featuring extra tracks and new artwork from Daniel Halsall.

The Cradle starts with First Step, perfectly setting the tone for the whole album, it is a beautiful, soulful slice of musical calm gently propelled by Ford-Young's resonant bass and elevated by sublime flute and Wurlitzer electric piano solos. The seductive title track The Cradle was written way back in 2011 during a time of great personal change that led the composer to a feeling of newness and nurture. The magical, winsome Desert Ride is inspired by many rides through the grandly cinematic Mojave Desert. You can experience how incredibly full of life it's harsh landscape is if you slow down to its tempo. The gentle, sublime Mama is a tribute to mothers of all kinds, beautiful and heroic. Drum Talk was largely improvised, Ford-Young and the band agreed on a topic and recorded their conversation. Choosing their notes based on how Josh's drums were tuned. Like Glass is named for the special properties of Glass. Like some music, glass is delicate, yet has structure. The first of the two bonus tracks Still Dancing was written during the early days of 2020 in response to the challenges we all were facing then. It's a reminder that the figurative dance continues and that real dancing is essential. And the second, The Searcher, also written as a response to 2020, is a gently hypnotic song about the introspection and growth that can spring from a difficult situation.

This then is The Cradle, a quiet self-contained masterpiece, life-affirming and elevating in equal measure and the first offering from a wonderful new voice in spiritual jazz and the latest members of the global Gondwana Records family.

The first volume of Back To Mine was released back in 1999 by Nick Warren, designed to showcase a selection of tracks you’d find and be heard playing at the artist's home. Selectors have come in the form of New Order, Pet Shop Boys, Fatboy Slim, and Faithless who all dug deep to find their essential at-home listening.

The latest compilers in the Back To Mine series are none-other than the renowned four-piece, Horse Meat Disco. The horsemen are known for their incredibly fun, deep-diving selections, and this shines through in their Back To Mine compilation in flamboyant style.

Over the course of 16 years of their nightclub tenure, they have become a global brand as pinnacle players of the queer party scene in London and beyond, holding down residencies in New York, Berlin, and Lisbon. Their flamboyant nature and incredibly fun, deep-diving selections have made them one of Disco’s most beloved acts.

Across 15 eclectically brilliant tracks, Horse Meat Disco, which comprises Jim Stanton, James Hillard, Luke Howard, and Severino Panzetta expertly traverse through classic disco cuts, wonky dancefloor groovers, and silky smooth soul.

Superchunk’s Incidental Music: 1991-1995 is the band’s second compilation of singles, B-sides, and EPs, originally released in 1995 shortly after their landmark album Foolish. It collects fan favorites from soundtracks such as “Shallow End” and B- sides like “On the Mouth,” as well as covers of The Magnetic Fields, The Verlaines, The Chills, and even Motörhead. AllMusic’s Fred Thomas says it all: “Incidental Music is an essential piece of the Superchunk discography and a snapshot of the band as it transitioned from the scrubby radiance of its early days into the more nuanced songwriting machine it became throughout the mid-’90s.” Exclusively for Record Store Day 2022, the double LP makes its first reappearance on vinyl since its original release, with LP1 on opaque green and LP2 on opaque orange housed in a gatefold jacket.

Für ihr zweites Album 'TORSCHLUSSPANIK!' wählte die Liverpooler Psychedelia-Band The Fernweh einen schlankeren, direkteren Ansatz für das Songwriting. Statt Eindrücke oder Abstraktionen zu malen, werden Botschaft und Songs in kräftigen, primären Farben schnell auf den Punkt gebracht. 'TORSCHLUSSPANIK!' bringt Frustration und Verwirrung über den Zustand der Dinge zum Ausdruck, bekräftigt aber auch seinen Glauben an die reiche und komplizierte Erfahrung der Menschheit.

* A welcome reissue of this long-deleted classic digital dub album from the deadly dub duo - The Bush Chemists.
* Originally surfacing on the Dubhead label in 2001, `Dub Fire Blazing’ was the follow up to `Light Up Your Chalice’.
* 10 slabs of throbbing heavy-weight bass pressure from The Bush Chemists crew.

Was tun, wenn man Desert Rock und Doom aus der Wüste mag, die Umgebung aber alles andere als besonders trocken ist? BESVÄRJELSEN haben auf beeindruckende Weise eine Antwort in den dunklen Wäldern ihrer schwedischen Heimat Dalarna gefunden. Aufgewachsen am Schnittpunkt altnordischer und finnischer Kulturen im hohen Norden, umgeben von Runen und alten Göttern, Schamanen und Geistern, hat das fesselnde Quintett seinen Namen aus dem schwedischen Wort für "Beschwörung" abgeleitet. Außerdem lassen sich die Nordschweden nur zu gern von lokalen Überlieferungen, der Mystik und den dunklen, alten Musiktraditionen ihrer Heimat inspirieren. Doch BESVÄRJELSEN sind alles andere als eine weitere "Pagan Folk"-Band, die sich nach einer Zeit zurücksehnt, die niemals war. Mit wehmütigen Melodien und gleichzeitig mächtiger Riff-Power macht ihr zweites Album "Atlas" einen großen Schritt auf dem Pfad, den BESVÄRJELSEN von Anfang an eingeschlagen haben. Die Gitarristen und Sänger Andreas Baier und Staffan Stensland Vinrot haben die Band im Jahr 2014 mit der klaren Vision gegründet, den Geist und die Traditionen der weiten Wälder Dalarnas, einer Region, die sonst eher für ihre bemalten Holzpferde bekannt ist, in zeitgenössische Heavy-Musik zu transformieren. Als die Sängerin Lea Amling Alazam mit ihrer Leidenschaft für Punk- und Stoner-Rock, die im örtlichen Skatepark im zarten Alter von 13 Jahren begann, zur Besetzung stieß, reduzierten Andreas und Staffan ihren Gesang gerne auf eine Nebenrolle. Die Entscheidung fiel leicht, da Leas unverwechselbare Stimme die Intimität und das Charisma von Sängerinnen wie NINA SIMONE oder AMY WINEHOUSE heraufbeschwört. BESVÄRJELSEN veröffentlichten im Jahr 2015 ihre Debüt-EP "Villfarelser" und kurz darauf folge die "Exil" EP (2016). Das Debütalbum "Vallmo" der Schweden detonierte im Jahr 2018 in Stockholm und schaffte es bis in den staatlichen Rundfunk, kam aber auch anderen Orts hervorragend an. Das Album verband krachende Riffs und stürmische Drums mit ausgefeilten Melodien und nachdenklichen Themen. Mit ihrer Mini-Album "Frost" wollten BESVÄRJELSEN im Jahr 2019 die Bühnen in ganz Europa erobern, bevor auch die Schweden in den nächsten zwei Jahren eine Zwangspause einlegen mussten. Obwohl die Band gezwungen war, getrennt zu komponieren, nutzte BESVÄRJELSEN die freie Zeit, um eine Fülle von Ideen zu sammeln. Diese teilten die Musiker über die Meilen und Monate ihrer relativen Einsamkeit hinweg miteinander, bis sie schließlich im Jahr 2021 die Aufnahmen zu "Atlas" mit dem Produzenten Karl Daniel Lidén begannen. Mit melancholischen Harmonien, die aus dem Skizzenbuch von ALICE IN CHAINS stammen könnten und einer Heaviness, die Windhand zur Ehre gereichen würde, haben BESVÄRJELSEN einen massiven musikalischen Monolithen aus dem lokalen Granit gemeißelt und dann in den magischen Wäldern ihrer Heimat aufgestellt, um dessen Kraftlinien über die gesamte vom Titanen "Atlas" geschulterte Erdkugel zu schicken.

ltd. dubplate / full colour sleeve / hand-stamped

Out-ER is delighted to celebrate ten years with a peculiar compilation featuring a group of artists who contributed to create the label crew and sound. For the last years, we have been a recurring platform for the music of the founders and few label adepts, welcoming old school overseas artists as well as talented ones. This will be the last release of the OUT-ER label.

We will continue our sound research, releasing electro- acoustic music and ambient albums with our sister label Pregnant Void. An heartfelt thanks to every artist, friend, supporter and promoter for supporting and believing in our vision and love for music during last 10 years. The compilation will be released in digital format with a single tracklist while on vinyl it will be split on two records.

High Roller Records, black vinyl, ltd 500, 425gsm heavy cardboard cover with 7mm spine, 20 page A4 booklet, 2 x double sided poster, 3 x A5 photo card in a sepcial envelope, 4 track black vinyl 10" with p/s and insert, Original transfer by Marcus Mossmann (R.I.P.) at PHONOGRAPHIC ARTIFACTS in March 2021. Audio cleaning, restoration and mastering by Patrick W. Engel at TEMPLE OF DISHARMONY in April 2021. Cutting by SST Germany on Neumann machines for optimal quality on all levels... The ultimate audiophile edition of this eternal NWOBHM classic!

High Roller Records, black vinyl, ltd 500, 425gsm heavy cardboard cover with 7mm spine, 20 page A4 booklet, 2 x double sided poster, 3 x A5 photo card in a sepcial envelope, 4 track black vinyl 10" with p/s and insert, Original transfer by Marcus Mossmann (R.I.P.) at PHONOGRAPHIC ARTIFACTS in March 2021. Audio cleaning, restoration and mastering by Patrick W. Engel at TEMPLE OF DISHARMONY in April 2021. Cutting by SST Germany on Neumann machines for optimal quality on all levels... The ultimate audiophile edition of this eternal NWOBHM classic!

Samosa Records continue their hot streak with ‘The Difference EP’ - a superb four tracker from a producer who is all about the funk, Gledd.

This wonderfully constructed EP kicks off with the first track on the A-side - ‘I Don’t Know’. From the get go, this is a slinky, catchy funky number. The warm, all consuming bass line jogs along, aided by subtle guitar riffs that light up the melody. The chugging train suddenly breaks for an outrageous blues vocal - deep growls and female backing singers take control before the track launches straight into the stratosphere. A guaranteed dance floor bomb.

Next up on the A-side is ‘Amapola Sunrise’, a latin infused 125bpm slice of heaven. Gledd knows these rhythms inside out - and this hypnotic ‘love dance’ of a track proves it. You can only imagine the sunrises and sunsets this will provide the soundtrack to. It’s a deep, glorious journey into hedonism - let the lead guitar and sax take you by the hand to the rug-pull breakdown. Gledd at his incomparible best.

Meanwhile, over on Side B, De Gama is setting out the party stall early with his ‘Re-Groove’ of Muni. When De Gama masters the grooves in the ‘Re’Groove’ workshop, the flames can be seen for miles. African horns, organ stabs and Mali-inspired guitar riffs combine with the superb vocals. It’s a tribal, ethereal and very spiritual funk dream, which is De Gama’s trademark.

Closing off this excellent EP is B.2 - ‘Japan Lips’. In no time, we’re off around the seedy back street bars where gifted but washed up bass players hang out to find work. The bass line is as clean as a whistle as it kicks against the snares and cymbals of the beat, and the melody wraps around you instantly with rhythm guitar, jazz flute and breaks. Another mesmerising piece from a man who knows how to mesmerise. The perfect topper to this thoroughbred release.

‘The Difference EP’ is a welcome Samosa debut for Gledd and is sure to be a hit with lovers of the groove. This has to be in your collection.

The American rock band Cracker origins from Bakersfield, California and was formed in 1990 by lead singer David Lowery and guitarist Johnny Hickman, who both came from the band Camper Van Beethoven. After signing with Virgin in 1991, they released their self-titled debut album the year after. The album included “Happy Birthday To Me” and the radio hit “Teen Angst (What The World Needs Now)”, which peaked at #1 on the US Modern Rock chart. The album went on to sell over 200.000 copies.

Cracker celebrates its 30th anniversary in 2022 and includes an insert.

Exotic Creatures of the Deep is the 21st studio album by Sparks and was originally released on 19th May 2008.

The album has been newly remastered for this LP reissue, which will be released on 180g heavyweight vinyl.

The first British reggae sub-genre to achieve ‘outernational’ success and influence the music of Jamaica, lovers rock was a dominating force in the UK scene, from the mid-Seventies through to the close of the Eighties.

Developed largely as a counterpoint to the more militant style of roots reggae, the romantically-themed genre was heavily influenced by the styles of US R&B and the predominantly soulful Jamaican rock steady sound of the Sixties.

Despite the style achieving mainstream success with a number of major UK chart hits, lovers rock received scant attention in the mainstream media until the screening of Steve’s McQueen’s award-winning 2020 BBC TV series, “Small Axe”, the highlight of which was an aptly titled episode that paid tribute to the style and its impact upon British culture.

Since then, interest in the genre has continued to grow internationally and reflecting this trend comes this handsomely packaged album which is presented in 2 physical formats – 2x LP and 3CD.

Comprising the most popular and influential recordings in the style, the collection includes works by such legendary British performers as Janet Kay, Carroll Thompson and Louisa Mark, alongside established Jamaican reggae royalty, notably Gregory Isaacs, Dennis Brown, John Holt and Sugar Minott.

With its focus firmly upon the best-loved romantic reggae sounds of the Seventies and Eighties (whilst the 3CD set also digs deep into the archive), this essential collection of dancefloor favourites provides the most authentic representation of lovers rock sounds yet to see issue.

Hits package from the original 'Pop Idol', celebrating 20 years since he won the competition. Includes that massive initial #1 "Evergreen", plus "Light My Fire", "Leave Right Now", "The Long And Winding Road", "You And I", "Your Game", "Fridays Child", "Daniel" and many more... A 20 track single CD and double LP set pressed on black vinyl, both of which include 2 new songs, plus a deluxe 2CD set containing 13 bonus songs of session tracks/remixes/demo's. Upcoming nationwide UK tour dates to promote this release. TV promo includes The One Show, Sunday Brunch, BBC Breakfast, Lorraine, ITV Jubillee Street Party, Britain's Got Talent and more TBC. Radio promo includes Zoe Ball interview, Jo Wiley session, R2 playlist, Magic FM and ILR support. Extensive coverage across all press.

 ‘Heart Under’, Just Mustard’s second album and first for Partisan Records
(IDLES, Fontaines D.C., Laura Marling), is an album that asks you to forget
what you know. At every turn, this remarkable record reconfigures and
stretches the ideas and ambition of a rock band and turns a year of lockdown
and personal struggles into a breath-taking artistic statement.
 Across its 10 tracks, the album presents a coherent style and ethos - those
scything guitars, Katie’s magical vocals - but still incorporates a wide and
untethered vision. There are brooding, atmospheric rock songs (‘Still’, ‘In
Shade’) and others that apply a lighter, dreamier touch (‘Sore’, ‘Mirrors’), all
tied together with impeccable instrumentation and a united vision.
 On debut ‘Wednesday’, the band played with dreamier soundscapes and
production techniques, and ‘Heart Under’ serves as the next stage of this
development, with every instrument brilliantly pushed to its limit and every
boundary of the band stretched.
 After the band had finished recording and producing the album, ‘Heart Under’
was pushed even further into singular territory when the band worked with
mixer David Wrench, whose previous collaborators include Frank Ocean,
Let’s Eat Grandma, Jamie xx, FKA twigs and beyond. “We wanted someone
who had done pop and electronic records and didn’t just work within rock
music,” Katie says.
 “Ireland’s buzziest new band” - The FADER
 “Their rapturous reception here at SXSW is a testament to their startling
evolution as well as the excitement that can only come from watching a band
just beginning to realise the full extent of their powers.” - NME
 “They have well and truly mastered the art of atmospheric rock” - Loud And
Quiet (9/10)
 Supporting Fontaines D.C. on their European and US tours this year. They
were handpicked by Robert Smith to support The Cure in Dublin in 2019.
 Eire headline tour in June, UK headline tour in September, including Village
Underground, and EU headline tour in October.
 Choice Music Prize nomination for Irish Album Of The Year for their debut
album, ‘Wednesday’.
 CD housed in a cardboard wallet with lyric and photo insert.
 LP pressed on black vinyl and housed in a single sleeve jacket with lyric and
photo insert.

REPRESS

Slide into summer with the Numbers repress of Kornél Kovács’ Radio Koko, available in vinyl for the first time since its original release in 2015. Radio Koko revives a dream radio station where music never sleeps and the hits keep coming, a soundtrack for both sweaty nights out and laidback beach BBQs. Listeners will already be familiar with the irresistible curveball house hit Pantálon, the Reese + Mentasm riffs of Gangsta, the jacking Lighthouse and the ecstatic/melancholic soundclash of Malon with Marcus Price. Coming on the heels of Kovács’ solo albums The Bells and Stockholm Marathon, this repress is a timely reminder of the prominent producer and DJ’s festive musicality and party-starting approach.

The latest offering from French shape-shifter Maxime Primault (High Wolf, Black Zone Myth Chant, etc.) is both a distillation and deepening of psychedelic soundsystem strategies honed across a decade plus of production and performance, in crisscrossing trenches of vibrational exploration. The four cuts comprising IN D EV IL were born of bass and syrup, designed as anthems for baser desires: “I just wanted to make bangers really.” Alien squelches and insectoid chatter pulse above thick swells of low end, intercut with sirens, screwed voices, and seasick wobble, alternately pummeling and prismatic. Masterfully disorienting, flickering with FX, drops, and narcotic murmuring, at the threshold of dissociative and dubstep.

Recent years spent performing in clubs influenced Primault’s listening habits, both in taste and production methods, skewing towards a starker contrast of highs and lows. IN D EV IL encapsulates this evolution, hallucinatory but urgent, like DJ tools for an underworld afterhours: tight, tripped, and lightless. The EP’s tracks vary in energy and density but share Primault’s premise of “tunes that sound fat and heavy.” Club music as dimensional gateway, booming and liminal, rippling with tremors, texture, and undertow. Whether deployed in public or private, these designs manifest vividly altered states, testament to their creator’s omnivorous vision of rhythm and sound.

Here comes one you've been waiting for - the vinyl release of Vince Staples' triumphant self-titled 2021 album. As one of the leading lights of modern rap and RnB, Staples offers a subtly off-kilter take on the style without losing sight of immediacy and relatability. From 'Are You With That?' to 'Law Of Averages' you can hear an artist growing ever more confident in himself and his message, whether he's rolling with that sung-spoken swerve or dropping bars. The oddball hooks get under your skin while the lyrics clamp onto your brain with one listen - it's a true landmark release for Staples which his career will be measured against from here on out.

"His music filled me with the urge to connect with the world," Kaitlyn Aurelia Smith says of Emile Mosseri. She first heard his work while watching the 2019 film The Last Black Man In San Francisco; just minutes in, she paused it to look up who did the score and wrote to him immediately. "I love Emile's ability to create melodies that feel magically scenic and familiar like they are reminding you of the innocence of loving life." Those talents saw recognition in 2020 with an Oscar nomination for Mosseri's original score to the film Minari. He was already a fan of Smith's and became increasingly intrigued by her impressionistic process as they started to talk. "The music feels so spiritual and alive and made from the earth," Mosseri says. "I think of her as the great conductor, summoning musical poetry from her orchestra of machines." I Could Be Your Dog / I Could Be Your Moon, their two-part collaborative album, introduces an uncanny fusion of their sonics. Constructed using synthesizer, piano, electronics, and voice, this soft-focus dream world is lush, evocative, and fleeting. It finds two composers tuning their respective styles inward as an ode to mutual inspiration, a celebration of the human spirit and its will to surrender to the currents of life. As a full album set, I Could Be Your Dog / I Could Be Your Moon moves fluidly from track to track, panning through textural vignettes. Two roughly 17-minute halves, the set evokes the bittersweet sense of something too bright or rare to last, a short-lived glimpse into a golden hour. There is a dreamy, elemental intention to this music, which Smith and Mosseri say came naturally, as they both embraced intuitive interplay throughout their creative back-and-forth. The stylistic threads of each composer are recognizable yet become more ambiguous as the album progresses, sewn into a singular vision.

Gilmer’s first release came out in 2015, called ‘Brain Poacher’ on Lobster Theremin. Showcasing a production style taht lands between Ancient Methods, Sandwell district and a more rugged version of the live-orientated Karen Sound. Keeping the Rhythms and grooves undulating under booted foot. The next year after the nuclear arms test that was the ‘Brain Poacher’, Gilmer returns to the lobster family via Lucid, Murky sub-label Mörk with his second record called ‘Lost Tapes’. Taking a much more languid and contemplative approach to his follow up. ‘Lost Tapes’ finds itself washed ashore on waves of warm, translucent, salt-infused techno and house giving his next release the opportunity to make his debut in Turbo Recordings with a foour track EP called ‘Baker Shit Ton’. After releasing on Lobster Theremin and Turbo, Gilmer Galibard launches his own imprint ‘Gilmer Galibard Records’. This project is a pure expression of his personal experiences and stories through music and visual art using each release as a timeline of his life. The concept of the label is also to explore boundaries of introspective musical experiences, taking sound design as a way to connect with his body and soul. These tracks were written in a period of uncertainty and a s big change in Gilmer, seeking powerful change in his life and his music. Inspired by Austin Osman Spare and his book ‘Book of Pleasure’ Gilmer gave birth to Novaturient, to honour that important moment of his life. Novaturient (Rainforest Spiritual DUB) is the first track of GIL01 and delivers almost over 7 minutes worth of deep harmonics and metallic textures, manifesting Gilmer’s own sound design. Even though the core ideology remains correlative. B-Sides Komorebi (Getwaway To The Sun Mix) creates its own identity by venturing into a deep industrial techno with drops of light and hope accompanied by an organic percussion through the track. All tracks produced written and Mixed by Gilmer Galibard

4 more quarters, 4 more contrasting expressions of global bass music culture: Barefoot sound originator and G-stone Afrofuturist Stereotyp teams-up powerfully with Malaysian rap legend Arabyrd on 'KEK', delivering a massive dose of Malay shudder trap that does not relent in either its growling bass attack or husky lyrical humour. Next up, the crisp and clean mid-90s DnB vibes of Bristolian producer K-65 ups the energy and tempo with the steadily rolling rinse-out of 'In My Mind', lightening the mood momentarily prior to the first cut on the B-side, with which we descend once more into the increasingly familiar Badman-isms of Low End Activist, who opts for a mutant strain of hardcore UKG on this outing, all scuffed swing and first light maneuvers. Finally though, it's all about the transparency of the groove, with the lush closing tune by Sentinel 793 emanating masses of UK Bruk style and charm, delivering another solid, low-slung workout from this hardworking and charismatic producer. Confined to quarters or not, get these 4 new sound pieces for the meantime, downtime, time being etc... as you like, want or need.

Ángel Rada is one of the most interesting music experimantalists of Venezuela. He started his career in the late 1960s as a member of The Gas Light, one of the big names on Venezuela's live circuit in the era, sharing the stages with other artists such as Apocalipsis, Un Dos Tres y Fuera, Vytas Brenner, Daniel Grau, Pablo Schneider, Miguel Ángel Fuster... Rada is one of the three basic artists who set an electronic music scene in Venezuela, along with Miguel Ángel Noya and Vinicio Adames.



Rada had attended the Escuela Superior de Música José Ángel Lamas and then continued his studies in Germany, where he was impressed by krautrock music, especially by its more electronic side. He met Kraftwerk when they were recording at Kling Klang Studio, and also knew Klaus Schulze–who would become an example for him to to follow. This contact with the Kraut scene would be the biggest influence on his works from the 1970s, which would end synthesizing in Rada's first record: 1983's Upadesa, originally released on his own independent label Uranium Records. Since then he has released more than 20 albums up to date, making him one of the most prolific experimental musicians not only in his country but also in the whole world.



Rada's aproach to electronic music is based in what he calls ethnosonic music. He is interested in the mixture of various styles which he filters through the use of technology, so in his electronic compositions one can hear echoes of ethnic sounds from all over the globe as well as some jazz influenced improvisation, ambient and synthesized sounds.



The Wah Wah edition is the first ever vinyl reissue of this landmark LP and has been remastered for vinyl by Roger Prades @ Prades Mastering. Includes an insert with liner notes by Salvatore Maldera.



It is a strictly limited edition of 500 copies only.

Yellow Vinyl
The first volume of Back To Mine was released back in 1999 by Nick Warren, designed to showcase a selection of tracks you’d find and be heard playing at the artist's home. Selectors have come in the form of New Order, Pet Shop Boys, Fatboy Slim, and Faithless who all dug deep to find their essential at-home listening.

The latest compilers in the Back To Mine series are none-other than the renowned four-piece, Horse Meat Disco. The horsemen are known for their incredibly fun, deep-diving selections, and this shines through in their Back To Mine compilation in flamboyant style.

Over the course of 16 years of their nightclub tenure, they have become a global brand as pinnacle players of the queer party scene in London and beyond, holding down residencies in New York, Berlin, and Lisbon. Their flamboyant nature and incredibly fun, deep-diving selections have made them one of Disco’s most beloved acts.

Across 15 eclectically brilliant tracks, Horse Meat Disco, which comprises Jim Stanton, James Hillard, Luke Howard, and Severino Panzetta expertly traverse through classic disco cuts, wonky dancefloor groovers, and silky smooth soul.

Trees Speak are back!
Speak’s new album, “Vertigo of Flaws: Emancipation of the Dissonance and Temperaments in
Irrational Waveforms” comes as a double-vinyl edition, single CD and digital release. The limitededition first pressing only of the vinyl includes a bonus 45 enclosed in an 8-page 7”x7” booklet
insert housed within the gatefold sleeve with cover artwork created by Soviet Union propaganda
artist Lazar Markovich Lissitzky in 1911.
Trees Speak are back!
This new release is a vast leap into an ocean of space and sound, a quantum leap into cybernetics, biology, anti-gravity,
time travel, dream speech and transfiguration. A seriously next step release!
Showing no signs of slowing down their rapid creative pace – incredibly this is their fourth album in the space of just over
one year – ‘Vertigo of Flaws’ is a mighty 29 tracks, one and a half hours of music across one double album that is surely
going to be a defining point in their musical career, a giant leap into the sonic unknown, an epic exploration of intensity
and sound.
Alongside their now trademark German krautrock motoric-beat rhythms, angular New York post-punk attitude, tripped-out
60s spy soundtrack, psyche-rock, and 70s synthesizers and vocoders, here you will also hear a new cosmic spacial
awareness (both personal inner space and galactic outer space) and a truly wilful pushing of sonic boundaries - as police
sirens, static noise, alarms, radio signals, avant-garde voices, and orchestral string quartets, all collide to add beautiful
dissonance to uber-powerful, intense, addictive and propulsive rhythms - in the process creating a truly unique
soundscape that Trees Speak have made wholly their own.
If you ever wanted to hear Can, Hawkwind, Destroy All Monsters, Pere Ubu, electric eels, John Cage, Liquid Liquid,
Tangerine Dream, Suicide, Neu!, Laurie Spiegel, Art Ensemble of Chicago, John Barry, Mother Mallard’s Portable
Masterpiece Company, Sun Ra, Stockhausen, John Carpenter, Electro-Acoustic and Musique Concrete and Mars in one
band - then this is it!
Trees Speak are Daniel Martin Diaz and Damian Diaz from Tucson, Arizona and their music often draws on the cosmic nighttime magic of Arizona’s natural desert landscapes. ‘Trees Speak’ relates to the idea of future technologies storing
information and data in trees and plants - using them as hard drives - and the idea that Trees communicate collectively.
Special guests from the hyper-creative hub of the Tucson music scene on this release are Gabriel Sullivan, Ben Nisbet, Saul
Millan, Stephani Guilmette, and Davis Jones.
The album Vertigo of Flaws was recorded in Brooklyn, New York, and Tucson, Arizona during the plague of 2021.
Extract from Vertigo of Flaws sleevenotes:
‘As we travel through space and time, avoiding the discarded remains of the industrial period, the
deconstruction of social norms through the expression of art, music, and philosophy guide the human
experience towards the unknown.
All that remains are musical echoes scattered throughout the universe, like ancient vibrations that now
populate the cosmos. These waves now show signs of decay. Melody, beauty, tonality have all but fallen
away as dissonance blossoms. As John Cage wrote in 1937,
“Whereas, in the past, the point of disagreement has been between dissonance and consonance, it will be,
in the immediate future, between noise and so-called musical sounds. New methods will be discovered,
bearing a definite relation to Schoenberg’s twelve-tone system and present methods of writing percussion
music and any other methods which are
free from the concept of a fundamental tone”.
Similarly, George Van Tassel claimed the Integratron as capable of
rejuvenation, anti-gravity, and time travel. So, what remains of the
“people”? We have adopted from them our own Zeitgeber: their pulses
now guide our sun, our planets, our earths, and are the new circadian,
diurnal, and ultradian rhythms of the galaxy. Traumsprache, dream
speech, is now the internal language of trees.
Decaying metal and machines liberated the note unto nature’s table,
and we sip the delicious nectar of music once more irrational, elaborate,
violent, vast. The past is the future, musical disintegration its own rebirth.
We are nature, once more the computer of the Universe.’

Just as one can smell a storm swelling on the horizon, the cataclysmic tremor that is IMMOLATION approaches to unleash its latest, immense creation: ACTS OF GOD. Due to be released in winter of 2022, this 11th studio album serves as the next chapter of IMMOLATION’S Death Metal epic. With 5 long years passed since the most recent studio album, ATONEMENT, ACTS OF GOD vigorously showcases IMMOLATION’s ability to consistently create fascinating sounds, while still keeping their feet firmly rooted in the old school, New York Death Metal for which they are renowned.

Emblazoned with a haunting new masterpiece by artist Eliran Kantor, ACTS OF GOD displays a trifecta of angelic beings desperately trying to prevent one another’s flesh from melting in a blackened light from above. The muted colors and ethereal images will ring familiar to fans of IMMOLATION’s previous album covers. “We wanted this cover to feel much darker; more melancholy and hopeless. The music has always been very dark, and a lot of Kantor’s work had the feeling that we were going for; the semi-surreal colliding with a classic, almost renaissance feel,” explains founder and vocalist/bassist Ross Dolan. “It’s unnerving. It really reflects the music perfectly,” agrees founder and guitarist Robert Vigna.

The album’s third track “The Age Of No Light” is a powerful, hard hitting song with an extreme yet catchy melody. “It’s quick, hits hard, and gets straight to the point” explians Vigna. Consistently changing speeds and patterns throughout, the song is short but remains both dynamic and memorable.

“Blooded” has all the usual IMMOLATION elements: the slow, the fast, the explosive, the big overlaid sections of groovy harmony eventually dropping into evil, ripping guitar work. “It’s a little powerhouse,” describes Vigna, “it’s straightforward, and it has all the elements you would expect from us in a nice, neat package.”

A song like “Immoral Stain” is a slightly mid-paced track with an intense, creepy atmosphere. Equipped with plenty of unusual moments, the beat is catchy, dark, and echoing. Searing guitar starts to recite a story and then quickly begins a conversation with thunderous vocals and a vociferous beat. “That whole section of build up just needed to be done exactly as it is. That’s what makes it sound different and interesting,” describes Vigna. Much like the rest of the album, while the lyrics cover the usual, general topics of genuine evil and the great deception of religion, the specifics are most certainly left to the listener’s interpretation. Fortunately for IMMOLATION fans, there is no shortage of corruption and catastrophe in this world.

Fittingly, the concluding track “Apostle” was the last song written for the album. “Some of those chorus sections have a weird almost dream-like quality,” describes Dolan. Its steadily growing momentum discharges rounds of guitar solos and relentless vocals which eventually lead way to an explosive finale to the album.

The creative journey for ACTS OF GOD began with years of notes, and an abundance of inspiration. With Vigna at the helm of the structural writing as usual, further composing and concepts were tossed back and forth amongst all 4 members. Eventually, they began to skeletonize the beginning of what would become a full length, studio album. While the recording process and entering the studio can be a very sterile experience for some musicians, the ferocity of the demos combined with the expertise of long time friend and recording counterpart Paul Orofino of Millbrook Studios (BLUE OYSTER CULT, BAD CO, GOLDEN EARRING), assured that this would not be an issue for IMMOLATION. “Having such a level of comfort is key,” remarks Dolan. Final touches were brought about on the mixing and mastering by Zack Ohren of Castle Ultimate Studios.

Firmly aligned with Nuclear Blast Records, the often coveted sound of IMMOLATION has reemerged from the depths of a cursed and cruel world to illuminate our minds and ears with exquisite, sonic destruction.

 Rumours about death metal band To The Gallows
have already existed in the (Dutch) metal
underground for some years now, but an official
release has never seen the light. Until now.
 In 2013, the ‘underground super group’ To The
Gallows was formed by Swedish metalwundermaster Rogga Johansson (Heir Corpse
One, Paganizer, Stygian Dark, Massacre, Blood
Gut, Dead Sun, Megascavenger, Ribspreader,
Putrevore, Revolting), Eric Daniels (Asphyx,
Soulburn, Grand Supreme Blood Court), Bob
Bagchus (Soulburn, Asphyx, Infidel Reich, Siege
Of Power) and Henri Sattler (God Dethroned).
Master plans ended when Daniels and Bagchus
re-started their career with Soulburn. The ‘match
made in Hell’ duo Johansson and Sattler continued
with To The Gallows and ‘Fury Of The Netherworld’
is their debut-album.
 Brutal blackened death metal for fans of
Dissection, Zyklon, Belphegor, Hate, Necrophobic,
Archgoat and God Dethroned.

 Rumours about death metal band To The Gallows
have already existed in the (Dutch) metal
underground for some years now, but an official
release has never seen the light. Until now.
 In 2013, the ‘underground super group’ To The
Gallows was formed by Swedish metalwundermaster Rogga Johansson (Heir Corpse
One, Paganizer, Stygian Dark, Massacre, Blood
Gut, Dead Sun, Megascavenger, Ribspreader,
Putrevore, Revolting), Eric Daniels (Asphyx,
Soulburn, Grand Supreme Blood Court), Bob
Bagchus (Soulburn, Asphyx, Infidel Reich, Siege
Of Power) and Henri Sattler (God Dethroned).
Master plans ended when Daniels and Bagchus
re-started their career with Soulburn. The ‘match
made in Hell’ duo Johansson and Sattler continued
with To The Gallows and ‘Fury Of The Netherworld’
is their debut-album.
 Brutal blackened death metal for fans of
Dissection, Zyklon, Belphegor, Hate, Necrophobic,
Archgoat and God Dethroned.

 Rumours about death metal band To The Gallows
have already existed in the (Dutch) metal
underground for some years now, but an official
release has never seen the light. Until now.
 In 2013, the ‘underground super group’ To The
Gallows was formed by Swedish metalwundermaster Rogga Johansson (Heir Corpse
One, Paganizer, Stygian Dark, Massacre, Blood
Gut, Dead Sun, Megascavenger, Ribspreader,
Putrevore, Revolting), Eric Daniels (Asphyx,
Soulburn, Grand Supreme Blood Court), Bob
Bagchus (Soulburn, Asphyx, Infidel Reich, Siege
Of Power) and Henri Sattler (God Dethroned).
Master plans ended when Daniels and Bagchus
re-started their career with Soulburn. The ‘match
made in Hell’ duo Johansson and Sattler continued
with To The Gallows and ‘Fury Of The Netherworld’
is their debut-album.
 Brutal blackened death metal for fans of
Dissection, Zyklon, Belphegor, Hate, Necrophobic,
Archgoat and God Dethroned.

Trauma Collective go out all guns blazing with a fierce offering by ascendant Italian producer Sciahriar Tavakoli aka Sciahri (Sublunar Records/Unknot). The Trauma EP is at once an obviously loyal tribute to the imprint platforming him, while being a visceral soundtrack to the gradual setting in of early morning lights. Wasting no time in exercising his sonic assault, opening cut "Hypnotism" will affect you much like its name suggests on this punishing, splintered- beat body basher, before pummelling you into submission on the strobed-out warehouse techno epic "Plastic Rain". He then ventures into the more abrasive shades of texture and gradient on the experimentally minded "Ava" until getting off-the-grid once more with a descent even deeper into the void, on the knackered closer "Dead Waves".

The tide turns once again. From tumultuous oceanic depths French legend BLUT AUS NORD erupts onland in all its singular dissonant glory: be-tentacled, malformed, accursed, fearsome.

Following up the purported 'new era' of melodicism ushered in by 2019's lauded "Hallucinogen", new work "Disharmonium - Undreamable Abysses" finds the leaders-in-perpetuity of Avant-garde Industrialised Black Metal compelled to reassume their rightful throne, crowning nigh-on 28 years of consistency with seven mesmerising tracks of bleakly-maximalist harmonic unease.

Comparable to naught except BLUT AUS NORD, the inimitable leads, eroded melodies and uncanny vocal textures of "Disharmonium" ooze and uncoil, leeching into vast hyper-skilled rhythmic structures which traverse sea-mountains of madness towards lightless echelons far beyond comprehension. The reflexive darkness we all demand. The Order of Outer Sounds.

The tide turns once again. From tumultuous oceanic depths French legend BLUT AUS NORD erupts onland in all its singular dissonant glory: be-tentacled, malformed, accursed, fearsome.

Following up the purported 'new era' of melodicism ushered in by 2019's lauded "Hallucinogen", new work "Disharmonium - Undreamable Abysses" finds the leaders-in-perpetuity of Avant-garde Industrialised Black Metal compelled to reassume their rightful throne, crowning nigh-on 28 years of consistency with seven mesmerising tracks of bleakly-maximalist harmonic unease.

Comparable to naught except BLUT AUS NORD, the inimitable leads, eroded melodies and uncanny vocal textures of "Disharmonium" ooze and uncoil, leeching into vast hyper-skilled rhythmic structures which traverse sea-mountains of madness towards lightless echelons far beyond comprehension. The reflexive darkness we all demand. The Order of Outer Sounds.

The tide turns once again. From tumultuous oceanic depths French legend BLUT AUS NORD erupts onland in all its singular dissonant glory: be-tentacled, malformed, accursed, fearsome.

Following up the purported 'new era' of melodicism ushered in by 2019's lauded "Hallucinogen", new work "Disharmonium - Undreamable Abysses" finds the leaders-in-perpetuity of Avant-garde Industrialised Black Metal compelled to reassume their rightful throne, crowning nigh-on 28 years of consistency with seven mesmerising tracks of bleakly-maximalist harmonic unease.

Comparable to naught except BLUT AUS NORD, the inimitable leads, eroded melodies and uncanny vocal textures of "Disharmonium" ooze and uncoil, leeching into vast hyper-skilled rhythmic structures which traverse sea-mountains of madness towards lightless echelons far beyond comprehension. The reflexive darkness we all demand. The Order of Outer Sounds.

PRESSED ON RED SMOKE-COLORED VINYL!

When it comes to authentic, ride-or-die hip-hop, few crews have as much resonance as Mobb Deep. Featuring two double-threat MCs who also produced – Havoc and the sadly-departed Prodigy – the crew changed the hardcore rap game in 1995 with their sophomore classic The Infamous, and went on to rule the dark corners of hip-hop for the second half of the 90s and well into the 2000s. After multiple Mobb Deep platters in the ‘90s, Prodigy entered the 2000s as a solo artist with force, rolling over a stomping, piano-freaked backdrop laced by producer The Alchemist, with “Keep It Thoro.” It has held up over time, proving itself as an anthemic classic that the streets and clubs still respect. Flaunting a smooth-but-menacing flow, Prodigy’s no-nonsense lyricism on “Keep It Thoro” is prototypical modern age brag rap. Countless MCs have followed his flow, from Fabolous to Joey Bada$$. The song is short and sweet, clocking in at just over 3 minutes. There are no wasted verses, just hardcore rhymes that stay with you. But “Thoro” was the tip of the iceberg on what proved to be one of the more coveted rap full-lengths of the era. The album boasted other charting singles, including “Rock Dat Shit” and “Y.B.E.” (featuring B.G.), but it can be argued that the album’s real gems are buried deeper. “Genesis,” “What U Rep” (featuring Noreaga) and “Three” are all sinister yet pensive. “Wanna Be Thugs” and “Delt With The Bullshit” are strong and evocative Mobb Deep cuts, featuring production and vocals by Havoc. And alongside other standouts, perhaps the deepest cut of all – especially in light of Prodigy’s recent and way-too-soon passing due to complica- tions from Sickle Cell Anemia – is “You Can Never Feel My Pain,” which details the health issues and challenges this talented MC and producer had been facing his whole life. H.N.I.C. was Prodigy’s first solo album, but it is perhaps his best. Among fans he will never be forgotten, for his skills, his storytelling and his no-B.S. approach to the art of MCing.

Originally released in 2008 on Type Recordings, Caesura by Helios aka Keith Kenniff returns in a new 2022 edition vinyl re-release, remastered by Taylor Deupree.

Keith Kenniff had been with Type from the very beginning, and in the fifth year of the label he offered his fifth gorgeous release. In those five years Keith's style had evolved constantly, with his drifting piano compositions taking the Goldmund label and the Helios sound moving out from underneath the clipped beat-heavy electronics of 'Unomia' and into a more unique place, even incorporating vocals on the 'Ayres' mini album. 'Caesura' however was his 'proper' follow-up to the acclaimed 'Eingya', and has seen Keith return to the instrumental sound he knows so well. In fact in many ways 'Caesura' is a more electronic work than its predecessors, blending layer upon layer of synthesizer and adding his assured drumming to come up with the perfect meeting of indie-pop and ambient music. The haunting cinematic element is still present of course, but these songs are more rounded and confident than any in Keith's career to that point.

From the delicate bliss of 'Hope Valley Hill' which opens up the album with gauzy nostalgia and, as the title promised, hope, through the chunky pop of 'Come With Nothings' it is clear that Keith's music is as arresting as it ever was. Taking cues from the lilting indie-electronics of Ulrich Schnauss and the unfussy ambience of Brian Eno, Keith manages to inject this with his knowledge as a composer. The epic harmonies of 'Backlight' for instance reveal a lightness of touch rarely heard in the genre with sweeping synthesized chords buzzing alongside Keith's signature guitar.

Accompanied by more gorgeous artwork from Matthew Woodson, 'Caesura' still is a glowing record for the winter months, and a glimmer of hope to keep the seasons at bay.

Jon Porras draws a staggering array of atmospheres out of even the simplest instrumentation. Across his work as one-half of psych-drone duo Barn Owl and his solo releases, Porras welds monoliths and ether into propulsive music that is deeply felt. Arroyo, named for the Spanish word for "stream" in a nod to Porras' heritage as a first generation ColombianJapanese American, drifts gently from one tributary to the next in unhurried contemplation and euphoria. The portentous weight and abrasive textures of Porras' previous work give way to the trickle of richly detailed acoustic instruments slipping in and out of the fold. On Arroyo, Jon Porras evokes a distinct sense of resplendent anticipation and calm with a fathomless flow and softly gorgeous colors. For Porras, Arroyo became a rumination on simplicity and simple truths, a work of complete immersion and continuous motion where separate elements coalesce into an ever-changing whole. Porras spent the year leading up to 2020 living nomadically across Europe where he was able to soak in a deep appreciation for the effortless beauty of overgrown gardens, the basic principles of classical architecture and a more transient sensibility. The album was written and recorded in a time of even more change for Porras: after the birth of his daughter. Like a stream's steady glide across bedrock that waxes and wanes with each gradual turn, the music of Arroyo exhibits a transportive stillness. The compositions take on a light, gaseous buoyancy as discreet drones swell with measured fluctuations and ripples of piano rest atop the surface.

 Once again, accordionist Vincent Peirani
reshuffles the cards. As a good jazz musician, he
likes to venture into unexplored territories. As a
good music fan and a very good musician in
general, he is curious, enthusiastic, and eager to
make new discoveries and find new things to listen
to or play. ‘Jokers’, his first album in trio, goes
even further, and elsewhere.
 Vincent chose to turn to the jazz trio for the first
time, a formula with such a long history that it is
almost sacred, and certainly intimidating. But
typically, he used that framework only to escape
from it. His two accomplices, Federico Casagrande
on guitar and Ziv Ravitz on drums and keyboards,
both have a wealth of experience and skills, an
interest in rock and electronic music, and a taste
for musical hybridity.
 Now available on vinyl with digital download code.

Nachpressung des Albums von 2015. Obwohl er vielleicht nicht so bekannt ist, hat sich die sinnträchtige, deutlich amerikanische Musik von Kenniff zu einem allgegenwärtigen Sound gemausert, der im Radio, in Filmen, im Fernsehen und in Werbung von Apple, Facebook, Google und anderen auftaucht. Aufgenommen über drei Jahre hinweg fungieren die Songs auf seinem neuen Album ,Sometimes" wie ein Tagebuch, das die kurzen Momente am Tag dokumentiert, in denen Kenniff sich für Trost und unendliche kreative Möglichkeiten dem Klavier zuwandte. Kenniff schrieb und nahm alles auf dem Album selbst auf, mit der Ausnahme von ,A Word I Give", das eine Kollaboration mit dem japanischen Pianisten Ryuichi Sakamoto ist, der die Musik von GOLDMUND einst als ,so, so, so wunderschön" beschrieb. In einem Interview mit NPR diskutierte Keith Kenniff seine Vorliebe für Musik aus der Zeit des Bürgerkriegs und ihre Möglichkeit, ,in nur wenigen Noten solche Geschichten" zu erzählen. Auch die Improvisationen auf ,Sometimes" schaffen es, trotz ihrer technischen und kompositionellen Einfachheit, tiefgründig zu sein. Subtile Details und Dynamiken drücken das aus, was sonst nicht zu artikulieren wäre. ENG Though he may not be a household name, Kenniff's evocative, distinctly American music has become quietly ubiquitous in the past few years, often appearing on NPR, in films, on TV, and in ads for Apple, Facebook, and Google among others. Recorded over the course of three years, the material on his new album Sometimes functions as a journal, documenting brief moments in Kenniff's day when he could turn to the piano as a source of solace and unending creative possibilities. Kenniff wrote and recorded everything on the album with the exception of the track "A Word I Give", which is a collaboration with preeminent Japanese pianist Ryuichi Sakamoto, who once described Goldmund's music as "...so, so, so beautiful." In an interview with NPR's Weekend Edition Keith Kenniff discussed his appreciation of Civil War era music, and it's ability to covey "...so much story in so few notes." Similarly, these improvisations manage to be richly evocative despite their technical and compositional simplicity, using subtle details and dynamics to express what might otherwise be inexpressible.

Welcome to Uffie's new album Sunshine Factory - an alternate reality that is only accessible to those yearning for escape. A nod to the ballroom scene, it is a place where you can be your most authentic self. Inside this trippy wonderland, you'll meet Uffie, dancing amongst the lights of your hallucinations. Sunshine Factory is a wonderfully restless record. It's a joyride through the club, hurtling into the forest, and crowd surfing into the arms of a lover... and yet it's also the sound of waking up to a heap of champagne soaked jeans, the bass of your heart still throbbing along to last night's melodies.

Jon Porras draws a staggering array of atmospheres out of even the simplest instrumentation. Across his work as one-half of psych-drone duo Barn Owl and his solo releases, Porras welds monoliths and ether into propulsive music that is deeply felt. Arroyo, named for the Spanish word for "stream" in a nod to Porras' heritage as a first generation Colombian?Japanese American, drifts gently from one tributary to the next in unhurried contemplation and euphoria. The portentous weight and abrasive textures of Porras' previous work give way to the trickle of richly detailed acoustic instruments slipping in and out of the fold. On Arroyo, Jon Porras evokes a distinct sense of resplendent anticipation and calm with a fathomless flow and softly gorgeous colors. For Porras, Arroyo became a rumination on simplicity and simple truths, a work of complete immersion and continuous motion where separate elements coalesce into an ever-changing whole. Porras spent the year leading up to 2020 living nomadically across Europe where he was able to soak in a deep appreciation for the effortless beauty of overgrown gardens, the basic principles of classical architecture and a more transient sensibility. The album was written and recorded in a time of even more change for Porras: after the birth of his daughter. Like a stream's steady glide across bedrock that waxes and wanes with each gradual turn, the music of Arroyo exhibits a transportive stillness. The compositions take on a light, gaseous buoyancy as discreet drones swell with measured fluctuations and ripples of piano rest atop the surface. Arroyo borrows harmonic concepts from modal jazz to create a unique sense of ease and endlessness. Each of the four pieces on the album centers around a single suspended chord, a chord most commonly associated with devotional music which embodies a space between harmonic tension and resolution. Porras embellishes that liminality with arrangements that feel less like distinguishable layers of instruments and more like one undulating nebula of sound. In the past decade of Porras' solo work, his music has grown increasingly engaged with elaborate synth textures and detailed processing. With Arroyo, Porras consciously takes a step back from those more intricate compositions and focuses on more organic, unadorned textures and places each sound with the same precision. Stark piano and guitar patiently hover over modest currents of Hammond organ and Yamaha DX7 with the sustain of each chord and phrase acting as a natural guide to the album's subtle rhythm. The four pieces that comprise Arroyo each encompass their own idyllic channel, slowly weaving their way in and out of the album's elegant stir. Porras' reflections on simplified elements take shape in gorgeous arrangements that impart clarity amidst a tranquil mist. Arroyo is an album that unearths splendor in a unified feeling of space, serenity in perpetual renewal

Following years of international touring and a lengthy list of critically-acclaimed collaborations with Brian Jonestown Massacre's Anton Newcombe in recent years (most recently the duo's self-titled 2018 LP), the new album will be Parks' first full-length solo offering since her debut, 'Blood Hot', was released back in 2013 on Alan McGee's 359 Music label. "In my mind, this album is like hopscotch", Parks says: "These songs were pieced together over time in London, Toronto and Los Angeles with friends and family between August 2019 and March 2021. So many other versions of these songs exist. The recording and final completion of this album took over two years and wow - the lesson I have learned the most is that words are spells. If I didn't know it before, I know it now for sure. I only want to put good out into the universe." A growing disillusionment with the state of the world paired with an injury that stopped Parks from being able to play guitar and piano for months meant the album was nearly shelved. "I really felt discouraged to complete this album", she recalls: "I stopped listening to music for honestly about a year altogether and turned to painting instead. I really had to convince myself again that it's important to just share whatever good we can - having faith in ourselves to know that our lights can shine on and on through other people and for other people. The thought of anyone not sharing their art or being shy of anything they create seems like a real tragedy to me. Even if it's not perfect, you're capturing a moment." Recorded over a two year period but with songs, lyrics and ideas dating back over a decade in some form, 'And Those Who Were Seen Dancing' is an album full of such moments, people and places. Col LP is on 180g ultra-clear vinyl, standard sleeve.

Following years of international touring and a lengthy list of critically-acclaimed collaborations with Brian Jonestown Massacre's Anton Newcombe in recent years (most recently the duo's self-titled 2018 LP), the new album will be Parks' first full-length solo offering since her debut, 'Blood Hot', was released back in 2013 on Alan McGee's 359 Music label. "In my mind, this album is like hopscotch", Parks says: "These songs were pieced together over time in London, Toronto and Los Angeles with friends and family between August 2019 and March 2021. So many other versions of these songs exist. The recording and final completion of this album took over two years and wow - the lesson I have learned the most is that words are spells. If I didn't know it before, I know it now for sure. I only want to put good out into the universe." A growing disillusionment with the state of the world paired with an injury that stopped Parks from being able to play guitar and piano for months meant the album was nearly shelved. "I really felt discouraged to complete this album", she recalls: "I stopped listening to music for honestly about a year altogether and turned to painting instead. I really had to convince myself again that it's important to just share whatever good we can - having faith in ourselves to know that our lights can shine on and on through other people and for other people. The thought of anyone not sharing their art or being shy of anything they create seems like a real tragedy to me. Even if it's not perfect, you're capturing a moment." Recorded over a two year period but with songs, lyrics and ideas dating back over a decade in some form, 'And Those Who Were Seen Dancing' is an album full of such moments, people and places. Col LP is on 180g ultra-clear vinyl, standard sleeve.

In the post-pandemic era that we now live in, some artists have used its abnormal reality as an abstract muse or a reason to expand their repertoire into unseen territory or styles. Fortunately, the Charlotte, NC native with the gritty, gospel-flecked croon does neither. Instead, Hamilton returns with familiar collaborators (9th Wonder, Jermaine Dupri, James Poyser) and his signature Southern grit and lyrics, planting those winning elements, ten toes down, into contemporarily-rendered, yet unabashedly-influenced,1970s-era soul. Sometimes those aspects are shimmering and glossy, such as the awe-struck, surrendering ode, "White Hennessy," the buoyant Curtis Mayfield-channeling title track and "Real Love," a boom-bap-heavy groove with a mellow, half-spoken and half-sung tribute to the emotion (with FL's Rick Ross anchoring the bridge). His Generation X roots are also in display on the bass-dropping and ice-flossing "I'm Ready," with ATL's own Lil Jon.
"Back in the black." "Black Power!" "Give me five on the black-hand side." "Always bet on Black." In a literal sense, the color black is created by the complete absence of light or the total absorption of all shades. It represents solemnity, sophistication or literal all-encompassing darkness. But for the people residing within its varying hues, blackness signifies all that is meaningful, fly and pertinent to their culture and way of life. The rich contrasts of black life, and the layers of emotion in-between, are what Anthony Hamilton is exploring throughout his seventh studio album, Love Is the New Black

Years in the making – ‘Hillbillies In Hell’ (13) presents 16 timeless tribulations - a Lovecraftian clutch of Ancient Terrors, Sinful Seductions, Grinding Poverty, Debilitating Disfigurement, Hell's Eternal Maze of Hardships and God's Blazing Light of Redemption.

A misty shroud of marginal 45s - some of these sides are impossibly rare and are reissued here for the very first time. All for your cautionary listening pleasure.

SEE Little Richard Miller witness THE FIRE CAME DOWN! HEAR Dee Mullins declare I AM THE GRASS! ATTEST to Eddie Noack's brutal final fate in BARBARA JOY!

The Carter Family - 2001 (Ballad To The Future), Henson Cargill - Skip A Rope, Porter Wagoner - Julie, Eddie Noack - Barbara Joy, Waylon Jennings - The Road, Sammi Smith - Birmingham Mistake, Norma Jean - One's On The Way, Wendy Bagwell And The Sunliters - This Train, Dee Mullins - I Am The Grass, Hank Thompson And The Brazos Valley Boys - I Cast A Lonesome Shadow, Porter Wagoner - Lonely Comin' Down, Henson Cargill - The Pain Will Go Away, The Carter Family - Poison Red Berries, Bobby Bare - When I've Learned, Roger Miller - I Know Who It Is (And I'm Gonna Tell On Him), Little Richard Miller - The Fire Came Down

Back in stock !

Brian Eno hat den Begriff Ambient Music geprägt und berühmt gemacht - die Musik aber hat er nicht allein erfunden. Brüder im Geiste waren die deutschen Musiker Hans-Joachim Roedelius und Dieter Moebius (Cluster). Es ist müßig, darüber zu spekulieren, wer wen beeinflusst hat, die Idee der Ambient-Musik lag Mitte der 70er-Jahre einfach in der Luft. Fakt ist, dass Brian Eno 1975 ein Konzert von Cluster in Hamburg besuchte. Er stellte sich strategisch günstig in die erste Reihe, und erwartungsgemäß bat man ihn zu einem Jam auf die Bühne. Nach dem Konzert verabredete man ein Treffen, das dann 1977 stattfand. Drei Wochen lang waren Eno und Cluster im Studio von Conny Plank. Zwei Alben entstanden daraus: "Cluster & Eno" sowie "After The Heat". Ersteres ist ohne Übertreibung das erste in Deutschland produzierte Ambient-Album. "After The Heat" ist jedoch etwas völlig anderes. Während auf "Cluster & Eno" die Handschrift von Cluster zu lesen ist (und Enos Ambient-Konzept die Hand führt), ist "After The Heat" eher ein Eno-Album mit den Stilmerkmalen der Cluster-Musik.

Four years in making, Voyeurs In the Dark is Toronto artist Barzin’s fifth studio album. That the album is more cinematic in its scope and conceptual in feel than his previous studio albums can be attributed to the time he spent over the past several years composing the soundtrack for the independent film, Viewfinder. Voyeurs In the Dark retains that cinematic quality, and at the same time infuses the music with elements taken from Jazz, electronica, rock and pop. Having primarily explored the quiet side pop and folk in his previous four albums, Barzin has expanded his musical palate, broadening his sound towards a more an experimental direction, while still retaining his preoccupation with exploring the internal landscape. The uniformity of sound that characterized the previous albums has been abandoned for the expression of differing aspects of the self that at times hold opposing views and desires. This is best represented in the image chosen for the cover of the album, which depicts three figures in one body. The album seems to be the expression of not one unified self, but the various aspects of the self. Voyeurs In the Dark sees the artist plot a seductive, contemplative route through city haze, shuttling between graceful glimmering interludes, with wonderfully atmospheric songs at every stop. From opener Voyeurs In the Dark’s first guitar strums and the fizz of its drum machine, the record envelopes itself in a glorious shadow, as shown in the slow waltz of I Don’t Want To Sober Up, dancing around its own swirling guitar chords. On Watching, Barzin plunges himself deeper into a wash of cyclic bass, guitar and synth riffs, as the gloom grooves into light. It’s Never Too Late To Lose Your Life has a much more affirming and urgent tone, shade turning into shapes and motion, while To Be Missed In the End builds its own smoke in a cloud of saxophone and sparse guitar notes, closing out a record full to the brim with scatterbrain beauty and eclectic dusk. Voyeurs In the Dark will be released worldwide on Monotreme Records on May 6th on CD and limited edition180 g black vinyl LP with printed inner discobag and digital download card. Press highlights so far: Video premiere and feature interview on Rumore.IT. Airplay on BBC 6Music, Amazing Radio (UK and US), Glastonbury FM, Shoreditch Radio, Indie Music Discovery, Listen to Discover, Norfolk Radio. Press coverage in V13, Skope, Whisperin and Hollerin, Fame Magazine, High Violet, Indie Midlands, Beehive Candy, Music Won’t Save you. Feature confirmed for Wonderland Magazine. PUBLICITY - UK and North America press and radio Cannonball PR. Europe Five Roses Press

This is the second Haress album, a five piece from Shropshire. They channel the sounds of Fairport Convention, Lungfish, Papa M, Earth, Robert Wyatt, John Fahey, and Talk Talk. Taking influence and making it their own. The first vinyl press comes with a bonus flexi disc telling the story of the week the band spent recording the album, the weirdness, the positively supernatural happenings. On this album the core duo of Elizabeth Still and David Hand are joined by David Smyth (Mind Mountain, Kling Klang) on drums, Chris Summerlin (Hey Colossus, Kogumaza) on guitar, Thomas House (Sweet Williams, Charlottefield) on vocals and Nathan Bell (Lungfish, Human Bell) on trumpet. In early 2020 the group travelled to a disused water mill in North Wales for a week to record with engineer Phil Booth (JT Soar) and his mobile studio. The stories of what occurred are told on the flexi disc that accompanies the LP but the group’s plans for a relaxing break in the country were scuppered by events that were either highly unusual, or positively supernatural (depending on your own beliefs in such things). Well-made plans were abandoned and the recording was forced to develop according to the location it was being made in. Chance and accident were welcomed as a collaborator rather than a saboteur and the group exited the sessions extremely freaked-out but with the makings of an album. Ghosts is an incredible piece of work and posits Haress on their own when it comes to developing new approaches to traditional musical forms. The music contains many moments of immediate joy - the relative pop of House’s vocals on White Over, the wild horns of I Think I Think, the rush of warmth as Time To Drink morphs into focus. But it also stretches the sound Haress have carefully developed almost to breaking point with sections of music that feel like somebody - something - else is steering the ship. The 2 final songs – Litres Into Metres and Sussurus – are joined together by a collage of site-specific sound. It was decided to add the output from a detuned long wave radio to this section on the final night of recording. Static hissed from the device but as soon as the record light illuminated, a rich male baritone voice sang loud and clear from the radio, taking a solo right where it was needed and then disappearing into space forever like the Ghosts of the title.

Single includes download. “Virginia Wing are not from the sedate school of dream-pop escapism…a hazy subversion of the traditional monochrome evocations of post-punk, a photo negative of an established form.” - The Quietus // “South London three-piece ally buzz and drone with sweetness and light” Guardian – New Band Of The Week // "A piece of noir-pop majesty that consistently pushes its own boundaries and frequently shatters the listeners’ sense of expectation" Loud and Quiet // "They possess a rare ability to dive deep beneath the skin.. a ghostly mix that flirts hard and fast with the avant garde while retaining a sly pop lustre" Mojo 4* // Following the 2015 release of their acclaimed debut album ‘Measures Of Joy’ on Fire Records, Camberwell based outfit Virginia Wing return with a striking new single. ‘Rhonda’, released for Record Store Day on 12” vinyl with a disco cut sleeve featuring artwork from longtime collaborator Florian Brooks. Recorded at Hackney-based Holy Mountain Studios with Misha Hering, ‘Rhonda’ sees the band expand the deep and varied sonic palette displayed on their debut ‘Measures Of Joy’. Featuring guest musician Koichi Yamanoha of Grimm Grimm, the single unfolds slowly as meditative incantations give way to a sprawling piece of experimental pop for the dance floor. The ambitious A-side flirts with disco beats and draws influence from a variety of schools of contemporary dance music whilst still remaining, at heart, a pop song. This is pop music with texture, depth and nuance; a daring and progressive piece. The B-side includes two new tracks: ‘Sisterly Love’ and ‘Daughter Of The Mind’ which further hint at the deviations we can expect on their second LP. Field recordings, ambient mediations and rhythmic experimentation abound; the new material sees Virginia Wing refining and reworking the sound conjured on their debut, a masterful workout.

Sam Gendel and Antonia Cytrynowicz didn't set out to make a record – it just happened. LIVE A LITTLE, a collection of songs resulting from one late summer afternoon in Gendel's Los Angeles home, is less an album and more a moment. The ten tracks here were recorded mostly in one sitting, fully improvised, in the order in which they appear. It was the first and last time the songs have been played – a snapshot of an idea, an artifact of inspiration, at once both a beginning and an end. At the time of recording, Cytrynowicz was only eleven years old. The younger sister of Gendel's significant other and creative partner Marcella, Cytrynowicz is an artist in her own way. She has no formal musical training, but is the product of a creative family and is someone who makes art the way many kids do – in the purest way, simply because they are moved to. On LIVE A LITTLE, she spontaneously crafted all the melodies and lyrics on the spot as Gendel played alongside her. Cytrynowicz's musicality is sophisticated, strange, and other-worldly, and the resulting record is experimental jazz colliding with some sort of fantasy universe. Because of that, LIVE A LITTLE is a stand-out amidst Gendel's extensive and varied catalog. Over the years, the multi-instrumentalist has been known for his prolific musical output as both a sought-after collaborator and as a solo artist. During 2021 alone he collaborated with Vampire Weekend, Maggie Rogers, Moses Sumney, Laurie Anderson, and Mach Hommy, as well as released Notes With Attachments with Blake Mills & legendary bassist Pino Palladino. In the same year he also released the 52-track Fresh Bread, as well as the follow-up to the acclaimed Music for Saxophone & Bass Guitar with Sam Wilkes. Then Mouthfeel / Serene, AE-30, Valley Fever Original Score, and singles "Isfahan" and "Neon Blue." LIVE A LITTLE, though, exists on its own island. For one, the majority of Gendel's work under his own name skews instrumental, but here the playfulness of his saxophone and nylon-string guitar work alongside the twinkle of Cytrynowicz's voice. It’s the sound of unapologetic imagination running amok – and really, more than anything, the sound of having fun. Cytrynowicz is the ideal collaborator for Gendel, who throughout his career has remained largely unconcerned with the pageantry and presentation of the music business, instead focused solely on the music-making itself. Here, he found the purest sort of writing partner – he admires Cytrynowicz' "supreme openness," explaining: "Whatever is happening, she's there with you. We really meet right where we are. She's all ears, I'm all ears. I don't even know how to explain what it is. It just works out somehow." LIVE A LITTLE is a series of "what ifs" cascading into one another, off-kilter and experimental, a kaleidoscope of spontaneity and imagination. It's a sweet distillation of the musical present, of daring to follow through on an impulse – what happens when a project is helmed by someone who doesn't have time for second thoughts or self-doubt. The moment is the thing, and LIVE A LITTLE just happens to capture it.

An explosive collision of garage punk and weirdo art rock from Sacramento's most exciting export since Mayyors. Clean Living Under Difficult Circumstances is a strange, haunting thrill ride driven by angular guitars, an unhinged drum attack and the dynamic, sometimes violent vocal delivery of Whittney K. Featuring long time members of the Sacramento punk scene, Drug Apts have released two E.P.s on Tyler Pope's (LCD Soundsystem, !!!) Berlin based label, Interference Pattern Records, the first produced by Death Grips' Zach Hill and Andy Morin, the second by Dub Genius and Slits producer Denis Bovell. "The band name is a reference to drug apartments, those Mid-Century Modern complexes scattered throughout Sacramento, with rows of palm trees out front and mock English names like Dorchester Court or the Royal Arms. Common features include: concrete stairs, prison-style walkways with dudes looking in your window every five minutes, moms beating their kids next door and cop car lights reflecting off the pool. An ex used to say, “I hate living in these fucking drug apartments,” and friends would say, “It’s three blocks that way, past the drug apartments.” We all spent time staying up and crashing in them, or we tried to sleep through the noise emanating from their windows. I hear they’re better these days, but who knows? So the name is rooted in places and times."

Precious Metals are excited to announce "Chaos Butterfly", the debut album from the Vietnamese-Canadian electronic music producer, vocalist and filmmaker, x/o. “Chaos Butterfly” is an epic tale of catharsis and self-actualization explored through metamorphosis. It is a free-falling kaleidoscopic journey into a beautiful nightmare, both cataclysmic and tender. Expanding on the themes present in their first EP “Cocoon Egg”, the album builds a parallel world from a different perspective. “Chaos Butterfly” tells a loose narrative about an anti-hero navigating trauma through whirlwinds of grief and anger; a vengeful spirit who finds true strength in inner healing and forgiveness. An allegory for transcending societal concepts of gender, “Chaos Butterfly” is a journey of self-acceptance and reflection of x/o’s own path towards their non-binary identity. Throughout the voyage, x/o pulls apart and collides masculine and feminine tropes both theoretically and musically by utilising contrasts between soft and hard, internal and external, calmness and anger, loud and quiet. This system of symbolism and influences reveal a pattern that is the overarching theme of duality. Colliding disparate but interconnected influences, x/o references Playstation 2’s Final Fantasy X world-building, Fight Club, the half-yoma warriors in the anime Claymore, as well as the real legends of the Vietnamese Trưng Sisters. Musically, “Chaos Butterfly” resists easy categorisation, playfully fusing moments of reversed breakbeat, with elements of solemn ambience, distorted metal, and trip-hop catharsis, with inspiration from artists such as Yoko Kanno, to Bone Thugs-n-Harmony as well as Deftones, Massive Attack, Orbital, and Aaliyah. The album journey begins with opener “Chrysalis Wrath”, a prologue to the story, and emblematic of the metamorphosis of the album. A soft and unassuming exterior to the hard shell and bone that lies beneath. Delicately cascading melodies and disembodied vocals are torn asunder by a brooding, ominous synth, punctuated by blasts of percussion, like dark clouds forming on the horizon, the egg cracks; a foretelling of what is to come and a reference to what has been. This is followed by “Red Alert,” the first single from the release, which blends airy melancholic vocals with a flurry of drum breaks and synths plucks, an ambitious and cinematic exploration of intuition against recurring trauma. Melodies drifting and out of focus under the swirling vocal, like the blur of neon street lights reflecting in a rain-soaked cityscape. It’s a liminal poem about listening to your inner voice to protect you from harm. Duality is never more apparent than on “Promise : Armour” delicate piano melodies drift and settle like snowfall before crushing blows of hardstyle kicks blast through the ether, as their soulful, but anguished vocal harmony is overcome by a demonic refrain “Cross your heart, don’t cross me”. x/o is a founding member of s.M.i.L.e, a trail-blazing collective of like-minded artists in Vancouver pushing the boundaries of club experimentation, showcasing artists such as Actress, Hitmakerchinx, Mechatok, Nídia, and Shygirl. This is an album that reaches dizzying heights, and in 2022 we expect x/o to do the exact same.

With the VOI 030 - "Sense", the project Z.I.P.P.O enters a new sphere within its own sound direction. This release is characterized by IDM texture work, glitchy percussion and drum patterns, that find their room within deep atmospheric spaces and carefully placed delay programming. Certainly, recognizable is Maffei's eclectic taste for more complex electronic bits, which are also known from his more demanding DJ sets. "Sense" brings together different factettes of his nicely equipped studio arrangement, as you get to hear a range of grainy saturated hardware synthesis to innovative and more complex sound design. The sound of this record combines a bit of everything while keeping its very own character. If you like to give it a name, then it might feel like Aphex Twin meets Doppler Effekt and Pan Sonic.

Touch Sensitive is honoured to dig into the vaults of legendary cult French group Vox Populi! with a collection primarily pulling from their creative highpoint of 1986-1990. The vast majority of the works are unreleased and all make their first appearance on vinyl. The recordings have been licensed from the group's extensive archive, mastered by Rupert Clervaux and cut by Andreas Kauffelt at Schnitstelle. The release is completed by liner notes focusing on Vox Populi!'s creative process and prolific output. Springing from the rip it up restart of post-punk in 1980 and primarily active throughout that decade, Vox Populi!'s discography is a perfect showcase of an almost unclassifiable group. The often-used 'ethno-industrial' tag - even if not approved by the group - goes some way to describing a melting pot of primarily self-taught techniques and vast cultural influences. Founding member Axel Kyrou's parents were avant-garde musicians and filmmakers resulting in a heavy cultural immersion from a young age. His partner and bandmate Mitra moved from Iran to Paris in 1978 - followed a few years later by her virtuoso brother Arash who joined the group at the age of 14. Based in their 14th arronidissement studio - previously Axel and his brother's family playroom - Vox Populi! quickly became a lynchpin in the Parisian experimental scene and beyond through the burgeoning mail-art scene. The group contributed work to a huge number of independent labels. Their music and approach quickly progressed from rudimentary experiments to harness transcendental spiritual qualities and moments of intense beauty. In this collection, we can feel the vibrations of Don Cherry's Organic Music Society, Faust's communal explorations and King Tubby's forward-thinking studio experimentation. "We recorded everything - every idea. We would always have a cassette or a reel running. We made such different styles - freaky, alternative, experimental, industrial etc. We had no rules and no plans - our main motives were play and pleasure. I think that many people can feel that in the music." Three tracks recorded in 2017 by a reconfigured Vox Populi! sit perfectly with music from 30 years previous - "We were never defined by fashion or the zeitgeist. So we remained ourselves. Our sound is still natural. We had to be turned on by our own music and we wanted the music to have an impact on consciousness. We were the subjects of our own experiments and there was also a kind of mystery - even for us." The Psyko Tropix collection is another magical and mysterious addition to the open-hearted and open-eared world of Vox Populi! "The music of Vox Populi! found me several years ago and it was one of my record digging highlights. Their stark contrast of dark and light paints a beautiful picture of the physical and mental world we all live in. This new album doesn't miss a step in exploring further in both directions" Cut Chemist

Light Green Marbled Vinyl
Naarm/Melbourne 4-piece screensaver is back with a double A-side 7-inch single just 6-months after delivering their 10-track debut album Expressions of Interest on Upset the Rhythm (UK) and Heavy Machinery (AU) to positive international response.
See praise for the record on Maximum Rock ‘n’ Roll, KEXP, and Post Trash. The album has also been a regular feature on Henry Rollin’s KCRW Santa Monica radio show.
The band return with two distinctly different tracks that extend upon the blend of post-punk, new wave and synth-punk on their debut.
Side A, Clean Current is a burst of high-energy: nervy guitars and groovy bass underpinned with krautrock drums and cosmic synth noise, overlayed with delay heavy vocals. Repeats is the flipside of the coin, a moody post-punk stomper, led by gritty sawtooth synth, chorus-soaked guitar, textural percussion and soaring vocals. Lyrically Clean Current spits out retorts aimed at the engulfing nature of anxiety whilst Repeats critiques the repetition of modern life, languishing human existence.

The British composer, musician and audio engineer Daphne Oram was a pioneering figure in the use of electronic music. Coming to prominence through her work with the BBC Radiophonic Workshop, which she co-founded, Oram was one of the first British composers to feature electronic instruments in her work and has been rightly hailed as helping musique concrete to become accepted in Britain. Born in 1925 and raised in rural Wiltshire, close to Stonehenge and the ancient stone circle at Avebury, Oram eschewed a place at the prestigious Royal College of Music to take a junior engineering role at the BBC in 1942, she was often tasked with creating sound effects, leading to cut-up experiments with tape recorders and the development of synthetic sound; her composition Still Point, involving two orchestras, two turntables and five microphones, was deemed too radical by the BBC, though she was promoted to studio manager in 1950, leading to the gradual introduction of electronic music and musique concrete techniques on BBC soundtracks. In 1957, she composed the music for the play Amphitryon 38, using a sine wave oscillator and homemade filters, and this and other subsequent works led to the establishment of the BBC Radiophonic Workshop the following year, but Oram soon tired of the conservative constraints of the BBC, leading to her resignation in 1959 to pursue her own vision at the Oramics Studios for Electronic Composition, located in Tower Folly, a former hop kiln located at Fairseat, near the village of Wrotham in rural Kent. Oramics was a radical sound composition technique that sought to transform images to music, enacted by drawing onto 35mm film, which would then be read by photo-electric cells; in addition to its use in Radiophonic Workshop material, Oramics was also employed for sound installations, theatre productions and feature films, such as The Innocents, though financial pressures forced Oram to seek a range of commercial engagements in addition to creating her own artistic works. The Listen Move And Dance series of BBC programmes were devised as a radical new technique to help British schoolchildren learn how to dance; on the LP releases, Vera Gray arranged short adaptations of classical pieces by Bartok, Stravinsky, Shostakovich and others, designed for “stamping, punching, kicking and jumping” movements, as well as “running lightly, dancing on toes” and “shaking all about,” which contrasted sharply with Oram’s electronic abstractions, which seemed to have been beamed in from outer space.

With some of the best DJs and selectors there is a certain mysterious sound or underlying feeling which unites the music they play, regardless of genre, year or tempo Luke Una is a master of telling a story through music and this compilation is a perfect example of his musical alchemy in action. Featuring tracks from Yusef Lateef, Airto Moreira, Crooked Man, Henri Texier and many more, it is a collection of new, old, rare and under-discovered music from around the world, all united by Luke under the banner of "E-Soul Cultura".It's best described by Luke himself, who writes: "As the 5AM city sleeps and the strobe lights are slowly turned off, we gather on the wrong side of town in a transcendental journey alone together. We are the late night disenfranchised holding on in various after parties, flats, lofts, random kitchens and basements into the outer cosmos with É Soul Cultura.

Music from exotic tear jerkers, Afro- spiritual jazz, cosmic Brazilian celestial grooves, machine street soul, dark horses, lost B- sides, £1 bargain- bin bombs, hidden gems, late night Italo dubbing, deep velvet N.Y.C garage, bass buggin sonic futurism, wrong speed 33BPM pitched up +8 new beat, majestic sunset strings, sweet vocals from heaven, no half steppin jazz dancing in outer- space and odd numbers. Yes… magical moments, together, holding on in witness protection suburban cul- de- sacs and Castle Court flats. Cosmic É high, 3000ft above the city getting evangelical to murky, wonky timeless beautiful music. This thing of ours dreaming of better days. Fail we may, sail we must, the sun will come up again."

"Sun Salt & Air," is Mellow Drunk band leader Leigh Gregory's latest fulllength solo record released on limited edition LP.Recorded in Leigh's
home studio during the pandemic all of the main tracks (guitar and
vocals) were first laid down at home, then backing vocals, violin, cello,
and drums were added by additional friends and musicians remotely due
to the lockdown
San Francisco engineer/ producer Damien Rasmussen pulled all the tracks
together and mixed the record and Nikos Lavdas mastered the record for Tip Top
Recordings. Based in San Francisco Leigh Gregory has opened for the likes of
Supergrass, Luna, trashcan sinatras, The Church, The Clientele, The Morning After
Girls, LILYSand Gorky's Zygotic Mynci as part of Mellow Drunk."Sun Salt & Air" had
its beginnings back in January 2020 when I was working on a handful of new
demos. Suddenly COVID hit and the rest of the year became free to write and
polish up the tunes and finish a fully realized record. It was quite inspiring to have
plenty of free time to develop parts for the songs, plus being at home I could run
into the home studio and spend as much time as I wanted trying out guitar
sounds, vocal melodies, and lyrics as they came to mind. I wanted "Sun Salt & Air"
to be a classic vinyl record with five individual songs per side that fit together
seamlessly and flow from one song to the next. I really like the sequencing on the
record in that it has longer songs with improvised endings, short songs, an
instrumental, and an acoustic song without drums. What I've always loved about
a ten song vinyl record is that it takes you on a little musical journey from side to
side which by the end you're ready to flip over and listen again and again."

Ed Banger Records proudly presents “Remedy” , Breakbot’s new EP. Creators of classic songs such as “Baby I’m yours”, Breakbot & Irfane are back with 4 new songs. Following “Remedy”, next single will be “The Light”.
Limited Solid White Vinyl Edition.

Created in the middle of the pandemic this album celebrates the magic that happens when 4 very uniquely gifted, but very complementary, instrumentalists come together for a jam session. From hazy guitars & warm keys over to funky beats & psychedelic grooves to ease you into an album that circumnavigates 360 degrees of soulful music.
Adding some garnish to this rhythmic stew are an impressive
collection of special guests: Olivier St. Louis, Nneka, Lui Hill,
J.Lamotta, Bowie & Flo Mega.

The KBCS represent the musical coming together of four very uniquely gifted, but very complementary, instrumentalists from Hamburg, Germany. Color Box, their sophomore LP, happened almost by accident, born as it was out of a series of freestyle jams.
The album kicks off with three instrumental openers - the first of which, Popsicles, is best described by the band them- selves as “a late summer teenage adventure”. Hazy guitars and warm keys playfully amuse each other over a solid, funky beat on what is an evocative and vivid introduction to this talented foursome. It’s followed by Whistleblowers, a sweet and somewhat whimsical piece where another sturdy bottom end allows keys and strings to enjoy some lively interplay, and Jolly Tumbleweed which, with its optimistic yet melancholic feel, completes the trio of warm, hazy psychedelic grooves to ease you into an album that circumnavigates 360
degrees of soulful music.
Adding some garnish to this rhythmic stew are an impressive collection of special guests. Berlin based, and internationally adored vocalist Olivier St.
Louis sprinkles a little Cali sweetness with the head nodding Pockets - one of the most immediate and soulful cuts on the album. A guaranteed ear worm, bringing a little sunshine to the winter months to come.
Elsewhere, multi-talented Nigerian singer Nneka lends her distinctive voice to the very succinct but powerful Afro-soul of Ndidi; the enigmatic Lui Hill lays his soul bare with honesty and candor on the alluring Albatross; Tel Aviv born J. Lamotta gives The Center a somewhat delicate and fragile dimension that plays perfectly alongside graceful guitars and contrasts with a sturdy backbeat of bass and drum; and Viviane Ann, AKA Bowie, smooths out the rough edges on the very radio friendly Wasting All Your Lovin’.
This is indeed music from the heart; a document of their coming together; and music that needs to be heard live!

After the Bend is the second album from Louisville based Flanger Magazine, and the follow up to FM’s 2018 debut, Breslin. Whereas Breslin was the solo creation of Christopher Bush, an album noted for “an astute synthesis of ‘library music’ and solo acoustic guitar,” and “a seamless blend into the uncluttered and airier side of classic 1970’s giallo,” After the Bend is an ensemble affair. An ecosystem, a perfect mutualism bodies forth—of strings, outdoor recordings, electronics, reeds, and percussion—featuring new FM players Anna Krippenstapel (Frekons (Freakwater + Mekons), The Other Years), Jim Marlowe (Equipment Pointed Ankh, Tropical Trash, Sapat), Eric Lanham and Benjamin Zoeller (both from Caboladies). The various combos perform with both a distinguished efficacy and unhurried Sunday drift—charged and beautiful, pulsating and pleasing. The production is subtle and tasteful. Mutating past the old saws of bounded individualism, a strange form of tentacular life accrues, cyborgian-fungral-tangles of the more-than-human variety.

Robert Beatty’s cover art of otherworldly and interconnected river-scape gradients, coupled with song titles like “Reservoir,” “Falls Fountain Removed,” and “Sympathies for the River,” cue and clue the listener toward a river as a singular multitude analogue for the album. Interstitial gaps, clearings and openings give rise and merge into an accumulated flow from the tributaries of spirited improvisational performance, palimpsestic song cycles, and high fidelity studio production. The composite sound-image of After the Bend refuses to put both oars down into any one of the eddies of the folk, sound, chamber, electronic, or jazz idioms, and instead glides along the currents found within the slipstreams between.

Gathering samples, a River Doctor Limnologist inspecting the properties of After the Bend might note the specter of Leroy Jenkin’s free-violin heat-light deepin the water’s thermal stratification. Or mortgage the late-Maestro’s time with Gruppo di Improvvisazione Nuova Consonanza to pay down the growing river heat budget. Or take one’s dirty buckets to the banks of the 19th laundromat where Walt Dickerson plays his vibraphone parts from Divine Gemini with dowsing rods. Or excavate the bedrock in the drainage basin, noting skeletal remains of a Shostakovich string quartet attempting to tune up a Kentucky Fiddle’s subsequent influence on the chemical composition of the water. Or consult the historical revisionist reenactment troupe’s episode of Fishing with John (Fahey) in which Codona, The Sea Ensemble and Nuno Canavarro guest host as their fleet of paddle boats churn river water into a regal lager, and all the fish get drunk in their quest for the leaner enamel Hosianna Mantra GPS coordinates of the Fattened Herb.

Bush and Marlowe recorded and produced the album at End of an Ear Studios, located in the Portland neighborhood, in the west end of the city of Louisville, bordering the Ohio River, between Kentucky’s Upper South and the Indiana’s Midwest, during the first year of the global pandemic, amidst the planet’s sixth great extinction event. As good a time to be alive as any other. (by Kris Abplanalp)

Sugar Ray became widely known through their infectious pop single “Fly”, and a consequent lighter musical direction displayed by songs like “Every Morning”, “Someday”, and “When It's Over”. However, at Sugar Ray's earliest conception, they were a rock/metal band at heart, with enough goofy energy to land them a deal with Atlantic and a debut record produced by DJ Lethal, known as member of House of Pain and Limp Bizkit. This debut album titled Lemonade and Brownies was originally released in 1995 and showcases Sugar Ray in their most youthful and idealistic phase. It's a competent set of alternative funk and metal, with a few punk anthems to boot.

RIYL: David Byrne, Guy Clark, Bob Dylan, The Flatlanders, Randy Newman, John Prine, Lucinda Williams, Townes Van Zandt. The first-ever vinyl reissue of Allen’s manifold, moving fourth album, remastered from the original analog tapes. Deluxe LP edition features 140g virgin vinyl; a gatefold jacket, inner sleeve with restored, new, and alternate art and photos by Terry and Jo Harvey Allen and friends, insert with lyrics and original notes & DL. Deluxe CD edition features a trifold jacket & inner sleeve. On his manifold fourth album, acclaimed songwriter and visual artist Terry Allen contemplates kinship the ways sex and violence stitch and sever the ties of family, faith, and society with skewering satire and affection alike. Bloodlines compiles thematically related but disparate recordings from miscellaneous sources both theatrical and historical: two songs written for plays; two full-band reprises of selections from Juarez; the irreverent hellfire-hitchhiker-on-highway ballad “Gimme a Ride to Heaven Boy” (featuring Joe Ely); and the poignant eponymous ode to the arteries of ancestry and landscape (the debut recording of eight year-old Natalie Maines, later covered by Lucinda Williams). Since 1970, when they met in Allen’s studio in his hometown of Lubbock, Texas, one of songwriter and visual artist Terry Allen’s great foils and friends was the sometimes cantankerous but always brilliant art critic and writer Dave Hickey, with whom he sparred on topics musical, visual, and beyond (and to whom this reissue is dedicated in memoriam, in the wake of his passing in 2021.) Hickey, a fellow Texan paddling against the currents of the hermetic New York centric art world, was an accomplished songwriter in his own right, and he and Terry pushed each other to refine their respective practices. In 1983, the two were thick as thieves brothers in blood and Hickey’s wry but big-hearted presence haunts the history and periphery of Bloodlines, the album Terry released in June of that year. Hickey’s commercial doubts notwithstanding, critical recognition was not in short demand. In a 1984 review of Bloodlines, the L.A. Herald Examiner called Allen “one of the most compelling American songwriters working today … making the most unique art-pop of our time,” elsewhere comparing him not only to Moon Mullican and Jerry Lee Lewis, but also to the Velvet Underground and Philip Glass (probably the first time that unlikely quartet ever appeared together in one sentence). In 1983, against all odds, such sentiments were growing in underground prominence, as Allen’s records gained a fanatical word-of-mouth following they weren’t easy to find in those days. Recorded piecemeal at Caldwell Studios in Lubbock, in sessions spanning August 1982 through January 1983, Terry self-released it, like all his previous records, on his own Fate Records imprint. Despite his frustration with the protracted timeline and some anxiety about the correspondingly higher budget, the production on Bloodlines courtesy, once again, of master guitarist Lloyd Maines is slicker, cleaner, and more dynamic than prior efforts, and it reached a broader audience than ever before. UK label Making Waves reissued it in 1985, facilitating semi-reliable European distribution for the first time as well as a 1986 UK tour, on which the great BJ Cole filled in for Lloyd on pedal steel. No veteran country songwriter sounds more attuned to the national mood. His songs still feel like little guidebooks for staring down a harsh universe. – The Washington Post // It has always been a fool’s errand to frame Allen in terms of other artists there was nobody like him before he showed up, and the subsequent 40 years have been equally light on plausible peers. Uncut

The second album from the transatlantic duo Wilma Vritra is richly orchestrated, replete with references to faith, mythology, and the cosmos, its 11 tracks grapple with themes of self-preservation and refuge from the world, even as they edge their way to a sort of redemption. Grotto is the work of two musicians separated by an ocean but undoubtedly operating on a shared wavelength. One is Will Archer, a Newcastle-born but London-based multi-instrumentalist and composer who today records as Wilma Archer, but who you might also know for his writing and production for artists like Celeste, Nilufer Yanya and Jessie Ware. Wilma Archer’s debut solo album A Western Circular, featured guest spots from the late MF DOOM, Future Islands’ Samuel T Herring, Sudan Archives and Laura Grove. The other is Hal Donell Williams Jr, aka VRITRA - a Los Angeles-based rapper whose tales of graft and grind are often couched in spiritual or cosmic terms. VRITRA has previously collaborated with Matt Martians via The Jet Age of Tomorrow, Pink Siifu and YUNGMORPHEUS. Grotto’s striking cover image is by Swampy, an enigmatic Californian street artist whose itinerant lifestyle – tales of squatting and train-hopping across North America – have made him a demi-mythical figure. A playful image, but it communicates the album’s themes – of a voyage through darkness, and the promise of light at the end of the tunnel.

Limited 300 180g white vinyl LPs with printed inner Discobag and digital download.

500 CDs in gatefold digifile sleeve.

Each drum controls a virtual musical instrument (synthesizers, samplers, arpeggiators, etc.) within Ableton Live music software that, in combination with a custom step sequencer developed with MaxforLive app, allows Davide to perform real melodies/electronic orchestration without the use of any backing track. 100% live. In addition to that, he also uses a microphone set up in the middle of the drumkit to capture the dynamics of the acoustic drums and translate them through an 'envelope follower' into electronic parts in several ways. About ‘Perceive Reality’: Opener Belief bursts the record into life, as skittering arpeggios spin across a vast open plain of pad synths, before the ground splits beneath it with thrashing drums. On Conceived, Davide creates a simultaneously dark and euphoric wall of crystallised sound, a cacophony of pounding drum hits and icy electronic stabs, with an intensity that continues into Collide. With its shuddering, cut-out reverbed synth pads split in two by crashing cymbals and snares, the song spins itself into a transformative cycling trance, before slowly fading and washing away into silence, only to be broken by Conjectures’ sudden cymbal slams and transfixed toms that roll like thunder into a frenzy, before their final lightning strike. On Subjective, arpeggios twist around beating kick drums and toms, quickly scaling to a furious yet tightly wound sequence that envelops the listener, before Relief, where the album finally takes the shape of a huge wave of calm, glimmering hope and reflection. About the concept behind this latest album, Davide says, “Perceive Reality is a vivid exhortation to deepen the relationship with reality, avoiding simple and often illusory visions. In a historical context that fosters the proliferation of dual information and visions, individuals are increasingly exposed to the danger of perceiving less the complexity of events, thus losing the training to express complex and articulated opinions, the result of a reflection, whether individual or collective. Without having the presumption of resolving epochal issues, the project alerts to the fact that univocal answers do not exist and that only by developing a path of knowledge and giving ourselves the opportunity to examine things in depth, can we enter into the relationship with the existing.” Press highlights so far: Video premiere on Rumore.IT (Italy).

New Heavy Sounds is proud to present the new album by Mammoth Weed Wizard Bastard. now known simply as MWWB. There has been some speculation amongst fan circles that the final part of the trilogy of albums that preceded this, marked the end of Mammoth Weed Wizard Bastard’s five-year mission. Not so. We can categorically confirm that having officially slimmed their name down to the acronym, MWWB are continuing their voyage through the far reaches of the galaxy. The first phase of that journey is their new album ‘The Harvest’. ‘The Harvest’ is the band’s fourth album, and of course it is a record shot through with the trademark heavy MWWB sound, and their unique blend of metal and shoegaze. However it also sees the band adding more experimentation, a progressive approach, and going a bit more left field conceptually. To some extent, it shares similarities with Pink Floyd’s ‘Dark Side Of The Moon’. Not only by having the mix of experimentation and melodicism as that seminal record, but also in the way that it has been engineered and constructed as a seamless piece. Nine tracks flowing into one another. Space age riff monsters segueing into shorter musical interludes, where John Carpenter, rubs shoulders with Pink Floyd and a maelstrom of moog and mellotron. There are surprises, and of course a bucketload of heavy shit. With ‘The Harvest’ MWWB have refined and honed their sound, it’s a carefully crafted distillation of ideas, written, conceived and sequenced to be listened to in its entirety (preferably in one sitting). MWWB have always loved film scores and this new album is in many ways, the soundtrack to a film. MWWB provides the musical narrative (the song titles also provide a pointer) and the listener's imagination does the rest. ‘Oblok Magellana’ and its spooky atmospherics set the scene. before things really kick in with the riffs of title track ‘The Harvest’. A grooving Sabbathian chug intro’s Jessica Ball, who at the top of her game throughout. Her voice simultaneously sweet yet dark; almost neofolk; which when put against those riffs, is always a startling juxtaposition, nevertheless it perfectly crystallises MWWB’s distinctive dynamic. ‘Interstellar Wrecking’ is a succinctly crafted nugget of John Carpenter-esque drama, you can imagine the thundering mothership forging its way through the universe on some nameless quest before encountering ‘Logic Bomb’ and its fat fuzzed-up ride through light and shade guitar/vocal interplay. Ball’s voice soaring and shimmering throughout. ‘Betrayal’ gives a nod to Pink Floyd’s ‘On The Run’ but with its freaky spoken word and four on the floor kick it’s almost a dance track, yet there’s no incongruity here. ‘Altamira’ is epic MWWB, adding large doses of psych into a melodic concoction of dreampop and metal. Ball’s vocals here are many layered and textured effortlessly gliding through the weight of the backing. ‘Let’s Send The Bastards Whence They Came’ is another little gem. A plaintive repeating synth figure that builds with bass, drums, mellotrons and synths into ‘Strontium’ which rounds off the album’s ‘heavy’ numbers, a blend of monster grooves, and Ball’s swooning vocals. Finally, and outstandingly, Jessica strips things back to a distorted guitar and voice on ‘Moonrise’. Shorn of the layers of fuzz, it is a simple, beautiful and fitting catharsis to an epic voyage. MWWB are a thrilling proposition. They demonstrate that you can seamlessly mix crushing power, experimentation and delicate vulnerability into something that transcends any genre.

Long overdue pressing of cult band’s most sought after release. Engineered and remastered by Jack Shirly (Deafheaven, Bosse-de-Nage, Oathbreaker). For fans of Have a Nice Life, Xasthur, and Planning For Burial. Entirely remastered and includes a never before heard bonus track!! Mamaleek’s Kurdaitcha is finally back in print! The San Francisco-based duo released their third album of weirdo black metal, Kurdaitcha, on the legendary cult label Enemies List Home Recordings (Have a Nice Life, Giles Corey), and it quickly sold out. For years the LP has been a hard to find collector’s item. Kurdaitcha finds the project in its initial period of creating music influenced by black metal, hip hop, jazz, and spirituals. Founded in 2008 in the Bay Area by two anonymous brothers, Mamaleek has explored a vast sonic territory on the edge of a genre renown for its aversion to change. Their expert utilization of left-field samples and unconventional instrumentation, and their insistent drive to experiment continues to set the band apart from their peers. This pressing of Kurdaitcha has been remastered and features a previously unreleased bonus track with a gold foil stamped jacket. “Mamaleek are the great destroyers.” — Invisible Oranges // “An incredibly rich and rewarding experience.” —Heavy Blog Is Heavy // “Is it good, though? It’s fucking mental. It’s amazing. It’s absolutely horrible. It’s barely listenable at times and yet you can’t turn it off. The music is perfect. Like broken glass is perfect.” —Echoes And Dust // “The group cloaks its music in the kind of warm, hypnotic distortion that defines shoegaze, and underneath that haze is a style that’s conceptually abrasive yet altogether beautiful.” — FORBES