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Reflecting upon their new album Different Bridges, Nutrients discovered a
time capsule from the dullest days of the pandemic
The 10 hopeful songs manage to sonically sound as optimistic as their lyrics.
Unbeknownst to the band, they were composing an ode to the way life had once
been. Lyrically, Teeple subconsciously penned love letters to everything he had
taken for granted: parties, air travel, even just meeting new people. The band's
sun-drenched guitars continue to jingle and jangle on Different Bridges, yet this
time around, other ingredients are in the spotlight. Sean McKee's basslines
ecstatically bounce around on the album's title track opener, while Iulia Ciobanu's
ghostly harmonies and tense keys soar on the jazzy, lounge pop bop Nauseous.
Ben Fukuzawa's steady cadence and vivacious fills animate tracks like the spritely
closer, Kool Kat '22. Saxophone by guest Emily Steinwall shimmers alongside the
buoyant congas, bongos, and triangle added by percussionist Juan Carlos
Medrano. Still, guitar work on songs like the wordplay-adorned I and the nostalgic
House Fire Painting sturdily underpin Taylor Teeple and Will Hunter's smooth
songwriting. Compositionally, the band has freshened up forgotten cliches from
'70s soft rock and '80s new wave and incorporated them into a signature sound
listeners first discovered on their self- titled debut. Some of the more oblique
noodling may bring to mind bands like Steely Dan, while certain funk-lite grooves
evoke British pop groups like Orange Juice or Haircut 100. Contemporarily,
Different Bridges would likely find fans in listeners of fellow Canadians TOPS,
Video Age, or even Drugdealer. That optimism was perhaps a bit….well optimistic,
the band now recognizes. But they still believe that keeping a positive mindset is
key to creating music you can be proud of, and living a fulfilling life in general.

'Cross the Rolling Water' is the debut collaborative album from Hannah
Reed and Michael Starkey
Acclaimed singer-songwriter and fiddler Hannah Read met banjo player Michael
Starkey at an Appalachian old time session in Edinburgh in late 2019.The
moment they first struck up a tune together there was an immediate meeting of
musical minds and they have since become a formidable and dynamic fiddle and
banjo duo, playing repertoire deep from the old time tradition like Apple Blossom
as well as newly composed tunes and songs Shenandoah by Anais Mitchell.
Hannah is an award winning Scottish musician based in Brooklyn, NY. She moved
Stateside to study American fiddle styles and to immerse herself in the thriving
string music scene. She has toured extensively, performing solo and collaborating
with musicians far and wide including Tony Trischka, Sarah Jarosz and Jefferson
Hamer, as well as being one part of the BBC Folk Award winning Songs of
Separation. Her previous album was the well-received 'Way Out I'll Wander' from
2017.
Michael is a multi-instrumentalist, music teacher and old time banjo enthusiast
living in Scotland. His mission as a musician is to keep things simple - clear
melody lines underpinned by solid, infectious rhythm. Recent collaborations
include with Wayward Jane (Edinburgh- based UK/ US folk and roots music 4-
piece) and 'Faultlines', a collection of Lisa Fannen's poetry set to music.
"Hannah and Michael have arrived at a way of playing old- time music that's
refreshingly dynamic, expressive, and toneful. Every track makes me feel like I'm
sitting right next to them, eyeing my fiddle case, just hoping they'll let me join in" -
Stephanie Coleman, old time fiddler

Driving electro tracks by Detroit Grand Pubahs and UR member Bileebob. Comes with a solid acid infused Derek Plaslaiko remix. "Bileebob was living in the lofts at 1217 Griswold when I first met him, this is one of the seminal places that the post Music Institute Detroit scene grew out of. People who lived there performed or threw parties in their lofts for rent money, other people living at 1217 included Buzz Goree, the founders of Paxahau, De3n System. Bileebob's an amazing and unique part of the Detroit scene, having created music and art for years, performing locally and internationally as a member of the Detroit Grand Pubahs and UR, releasing on Underground Resistance, and had a regular zine for so many years. When he sent us the promo for "Star Cross" from his personal Bandcamp page, we loved it, and for the second No Way Back stream both BMG & Derek ended up playing it. We just loved the song, so we asked him if we could give it the full release, and we had Derek Plaslaiko remix it. We've included an unreleased amazing tough electro mix of "Network", a song currently on his Bandcamp page. Digitally we've included another more raw mix of "Network" and an after the after party 1217 kind of comedown jam "Club Kid Up All Night"."

In the year 2909, the first naturally-born human is found with endogenous AI code built into its DNA. As we cross into the 31st century, all living humans are controlled by a decentralized master AI known as MINDFRAME: The system has access to all of human consciousness with the ability to store and manipulate the data of every interaction and thought — even operating within your subconscious mind. It becomes impossible to know when or how you’re being controlled.

During each sleep cycle, our behaviors and memories are reformatted to align with MINDFRAMES control and order programming. Some have discovered that during these cycles, there are parts of the AI’s algorithm left exposed to extraction. Through meditative states, gifted cyber-shamans are now on a mission to reverse engineer enough of the AI to escape its grip and free us all.

FRANCOIS DILLINGER (Ben Worden) glides between the two worlds of electro and techno. His journey through the genres is dark while retaining a cerebral, dancefloor-oriented quality. This stems from influences of Industrial, Detroit’s rich history of electro, minimal techno, and even Ghettotech. In the studio, he uses primarily all external hardware and modular gear, utilizing Ableton for final arrangements and editing. His Live & DJ sets lean heavily into the generation of hypnotic loops, creating long protracted mixes between elements to form an unshakeable tension.

While he grew up an hour east of the Motor City, his musical roots were firmly planted there – taking hold over decades worth of defining moments in sound. As a fan, former promoter, and DJ he’s been a part of the Detroit scene for over 20 years, having lived there multiple different times. Currently, he also works with local Detroit label Infolines to manage branding and art direction alongside his wife, Ashely.

Prior to the MINDFRAME: CYCLES LP, he had released a track on SPEC-017’s VA release, and will feature a remix on an upcoming Specimen Records project as well. Early in 2021, his second album was released on Diffuse Reality featuring remixes from Keith Tucker/K1, Detroit’s Filthiest, and Squaric. Upcoming releases from DILLINGER include a variety of collaborative projects — Machine Men EP with Lloyd Stellar on LDI Records, an LP with Cyphon and Obzerv, and a number of VA releases with artists like RXMode (via Pareidolia Recordings), CYBEREIGN (via Science Cult), ADMN (via Infolines) and others. Look for other releases coming soon on Noise To Meet You, Roulette Rekordz, and Syntek Industries.

His previous releases have landed on Blind Allies, Natural Sciences, Dionysian Mysteries, Ukonx Recordings, Fanzine Records, and ZwaarteKracht—as well as a debut album on Narrow Gauge, ‘Chasing the Red’. Support for his music has come from the likes of Richie Hawtin, Dave Clarke, Jensen Interceptor, UMWELT, and others.

Ambolley is revered as the Simigwahene in Ghana – The King of Simigwa-Highlife. Because of his deep, soulful, and funky Highlife sound, he is also sometimes referred to as the “James Brown of Ghana.” And not without reason. His blend of Highlife, Funk, Jazz, Soul, and proto-Rap was and is still exhilarating. He learned music from outstanding artists like Sammy Larteh and Ebo Taylor, with whom he played In the Uhuru Dance Band. Together they founded the Apagya Show Band in 1974. Now, after more than 40 years active in music and his numerous albums, Gyedu-Blay Ambolley is a living legend, too. Gyedu-Blay Ambolley exploded on the music scene in 1973 with a jazzy, funky, and soulful Highlife sound he called SIMIGWA-DO. Building his own Simigwa style and leaving traces around the world, today the versatile, irrepressible and highly revered singer, composer, bandleader, multi-instrumentalist, producer, and “musical-life-force” has more than 30 music albums to his credit. On his new album "GYEDU-BLAY AMBOLLEY AND HI-LIFE JAZZ" you can hear his versions of some classic Jazz tunes like "Round Midnite", "Love Supreme", Footprints" and "All Blues" as well as some new compositions by the Simigwa - Man himself.

For most of us, life is a series of human interactions; some good, some bad, some happy, some sad. But what would life be without those peripheral characters who plant themselves into our worlds through the sheer force of their presence? Whether we speak to them or not, those vibrant contrasts to the everyday tide of ordinary people are a magical part of the human experience. Oddballs and misfits, flamboyant instigators or low-key game changers, we all clock them on our own hectic journeys, and they make the day a little brighter. Everyone has their favourite people.

Following the runaway success of their first one-shot single in 2020, Favourite People reconvene for a full-length of blues-tinged cuts stemming from sessions at Selva Studios in Brooklyn. The project’s roots predate the studio, from scattered jams and sweaty nights in New York nightspots to impromptu recordings on cruise ships, but the flashpoint of inspiration that truly set the album in motion was the arrival of a blonde 1960s Fender Telecaster. From there, the motley crew of sharp-shooting string slingers and sticks men set about crafting paeans to those striking souls who make the world a more colourful place.

The emphasis here is on the kind of forward-facing, electrically charged mix you felt (whether you realised it or not) hearing early Sabbath or Priest for the first time. With their undeniable bias towards vintage soul, Favourite People are far from heavy metal, but the same lineage of blues and by extension jazz informs the music, while the tonal crunch of that 70s era guides the sound. Feasting on tasteful overdrive and leaning on the unmistakable flavour of tape for much of the recording, the deal was sealed on this purposeful exercise in vibe thanks to the near-mythical texture of Guy Davie’s EMI Nigeria console at Electric Mastering.

Across the album there are mellow shades and bursts of good-time get-down exuberance, but the lead singles capture the essence of the band in no uncertain terms.

‘Promise Of Nibbles’ brings the Favourite People MO into sharp relief with a low-slung, hard swinging blues confection full of overheating organ and duelling guitars in pursuit of Southern-stewed boogie (im)perfection.

‘We’ll Be Late To The Party’ turns up the tempo and dials in the fuzz, striking an anthemic note which lands somewhere between urgent highway escapism and euphoric communal revelation.

‘Mass and Mustiness’ leans in on the funk dimension of the group’s sound with the sweetest licks and chops on that fabled telecaster backed up by an acutely angled beat and the slinkiest of b-lines.

These are but three of the vibrant vignettes laid down by this quietly unassuming collective of heads down jammers, loose groovers and vintage sound freaks –heavy grooving instrumentals pulled from their own moments of pure musical magic and captured on disc for your listening, dancing, living, loving pleasure.

Stólar label boss Philipp Priebe delivers his new album ‘Apparent Calm Palms’ this October, joining
the roster of Mainz/Hamburg, Germany’s Feuilleton.
Berlin-based artist Philipp Priebe has been steadily making his mark on the contemporary deep hazy
house and leftfield electronica scene over the past few years with a series of releases on his own
Stólar imprint. Here though we see him deliver his second album following his debut LP ‘The Being Of
The Beautiful’ released on Japan’s IL Y A Records back in 2014. Feuilleton is the brainchild of Chris
Gruber (Fossar) and Tim Eder and since 2018 has unveiled material from the duo themselves, RR
(René Raabe), Snad, Gari Romalis, Melina, Jakob Seidensticker and more.
Throughout the ‘Apparent Calm Palms’ LP Priebe delivers a concoction of styles and sounds cohesively fused together to form the bigger concept which is he tells us is ‘’an album about small towns and
villages and the needs and desires that brings one night out in clubs. The transport/travel, the preparty, all the things that you had to do, when you are not directly living in the big party places, but still
want to have a decent night out, away from your usual suspects.’’.
Throughout the ten-track LP Philipp delivers ethereal deep house with opening track ‘Desires’, the
succeeding ‘Interborough’ and ‘Chimera’, murky dub house leaning cuts like ‘Quiet Decay’, ‘Slalom’, ‘
Unfold’ and ‘Conclusions’ while ‘Transfiguration’ showcases a more classic Chicago House influence.
Title-track ‘Apparent Calm Palms’ and the interlude ‘Behind Their House’ then see Priebe offer a foray
into textural ambient sounds, once again showcasing his unique ability to craft raw, understated and
emotion fuelled material across a variety of genres.
Mastering by Sven Weisemann and Lacquer Cut by Stefan Betk

Long time supporters of Kniteforce will be well aware of the truly amazing series, Remix Records & Kniteforce presents ‘The Remix’s’, and here we have Part 17! All the records in this series are insanely good and this EP does not disappoint. To start we have the mighty Bay B Kane taking one of Phuture Assassins newer tracks and turning it into an amazing jungle track, using the original vibe and cranking it up to the maximum with a proper early Bay B Kane style. Next is an absolutely mental remix from Heavy Systems Inc. of an already mental track! One of NRG’s most insane tracks gets the rough and raw treatment that HSI is known for, drawing on the underground sound of 1992. The action doesn’t stop on the other side either! The living legend that is Austin takes an already hugely popular track from Sunny & Deck Hussy and absolutely sprinkles it with awesome. This is Austin at his best, and it shows how he has not missed a step in 3 decades of music production. Rounding out this installment is The BradderCase remix of Stu Chapman’s Rude Boy. The duo of BradderCase, aka Paul Bradley and The Lowercase, took this Stu Chapman track and flipped it on its head. Extracting the energy from the original and lighting a fire under it, showing that hardcore can be fun and serious at the same time.

Club / DJ Support
Jay Cunning, Billy Bunter, the Fat Controller, Liquid, Hyper On Experience, Glowkid, Slipmatt, Dj Jedi, Dj Luna-C, Dj Brisk, Paul Bradley, Jimni Cricket, Bustin, Jimmy J, Doughboy, Lowercase, Dave Skywalker, Ponder and many others

Thrill Jockey Records is proud to present Into This Juvenile Apocalypse Our Golden Blood to Pour Let Us Never, the third collaborative album by Japanese free music provocateur Keiji Haino and expressionist metal trio SUMAC. Into This Juvenile Apocalypse finds the quartet navigating the push-and-pull of creative interplay with bolder strides and stronger chemistry. Recorded on May 21, 2019 at the Astoria Hotel on Vancouver BC"s notorious East Hastings Street as a one-off performance during a short North American tour for Haino, the six compositions comprising Into This Juvenile Apocalypse showcase a musical unit bouncing unfiltered ideas off of one another, mining a trove of textures and timbres from their armory to buoy and bolster these living and breathing pieces. Like so many albums documenting free music, the thrill here is in the tight rope walk, the wavering moments of uncertainty and the ecstatic moments of shared brilliance. Japan"s fearless multi-instrumentalist and cultural provocateur Keiji Haino has made a career out of his free-form musical improvisations and diverse collaborations. Whether deconstructing American blues, to a few rogue notes hanging across chasms of empty space in his solo endeavors, sparring with the nebulous fringes of psychedelia in Fushitsusha, or teaming up with musicians like Faust, Boris, Jim O"Rourke, Stephen O"Malley, John Zorn, and Peter Brötzmann for fleeting aural experiments. Haino"s work is never pre-planned or structured, but rather a completely spontaneous exploration of chemistry, texture, and dynamics. SUMAC"s tenure is much younger than Haino"s, though guitarist-vocalist Aaron Turner has covered a similarly large swath of musical territory across numerous projects and collaborations. From the sedated drones of recent projects with Daniel Menche and William Fowler Collins, to the modern compositions of Mamiffer and all the way back to the restless evolutions of post-metal stalwarts ISIS. With his cohorts Nick Yacyshyn (Baptists, Erosion) on drums and Brian Cook (Russian Circles) on bass, Turner has dissolved the rigid forms of heavy music, searching for a balance between disciplined precision and unhinged musical barbarism, crafting music that vacillates between meticulously detailed instrumentation and uninhibited forays into oblique abstraction.

Thrill Jockey Records is proud to present Into This Juvenile Apocalypse Our Golden Blood to Pour Let Us Never, the third collaborative album by Japanese free music provocateur Keiji Haino and expressionist metal trio SUMAC. Into This Juvenile Apocalypse finds the quartet navigating the push-and-pull of creative interplay with bolder strides and stronger chemistry. Recorded on May 21, 2019 at the Astoria Hotel on Vancouver BC"s notorious East Hastings Street as a one-off performance during a short North American tour for Haino, the six compositions comprising Into This Juvenile Apocalypse showcase a musical unit bouncing unfiltered ideas off of one another, mining a trove of textures and timbres from their armory to buoy and bolster these living and breathing pieces. Like so many albums documenting free music, the thrill here is in the tight rope walk, the wavering moments of uncertainty and the ecstatic moments of shared brilliance. Japan"s fearless multi-instrumentalist and cultural provocateur Keiji Haino has made a career out of his free-form musical improvisations and diverse collaborations. Whether deconstructing American blues, to a few rogue notes hanging across chasms of empty space in his solo endeavors, sparring with the nebulous fringes of psychedelia in Fushitsusha, or teaming up with musicians like Faust, Boris, Jim O"Rourke, Stephen O"Malley, John Zorn, and Peter Brötzmann for fleeting aural experiments. Haino"s work is never pre-planned or structured, but rather a completely spontaneous exploration of chemistry, texture, and dynamics. SUMAC"s tenure is much younger than Haino"s, though guitarist-vocalist Aaron Turner has covered a similarly large swath of musical territory across numerous projects and collaborations. From the sedated drones of recent projects with Daniel Menche and William Fowler Collins, to the modern compositions of Mamiffer and all the way back to the restless evolutions of post-metal stalwarts ISIS. With his cohorts Nick Yacyshyn (Baptists, Erosion) on drums and Brian Cook (Russian Circles) on bass, Turner has dissolved the rigid forms of heavy music, searching for a balance between disciplined precision and unhinged musical barbarism, crafting music that vacillates between meticulously detailed instrumentation and uninhibited forays into oblique abstraction.

Musicking is Old Time Relijun's tenth studio album.The record pounces fierce with the protest anthem "Break Through". Arrington De Dionyso's voice has gained some grit and even more gravitas. Like an overloaded speaker, he booms the words into the stratosphere. "Break through the wickedness, break through the lies, Break through the glass; don't stand in my way!" The band hits the groove and the vibe moves through the eleven songs swiftly - like Panther Juice and Rum. It does not stop, it does not let up, it does not let you sleep.Musicking is the latest example of the Old Time Relijun push and pull. They are the rarest breed of musical combo - - - insatiable, living raw, always on the margins, consistent as hell. You know what to expect, and yet haven't a clue what's coming next. Old Time Relijun conduct sweaty, compulsively danceable performances that never fail to inflame. Their songs are simple, but no one in the world could imitate them. Their albums are packed with sing-along hits mixed with sonic experiments and cosmic jests. The loose swagger belies years of practice, fastidious arrangements and a gut-level understanding of musical how and why.

For its latest album, Pirate Radio / Radio Pirata (Thirty Tigers), the band collaborated with major songwriters such as Blair Daly, Zac Maloy, and Sam Hollander for a triumphant and empowering collection of rock fused with an accessible pop structure and some of the everyday heart infused by Nashville’s country sound. “On this album, I’m free, and I can say things I was scared to say before. People deserve hope, and this record spreads a message,” Diaz says. The 11-song album will be released in English and Spanish—a unique feat for a rock release. SLP’s sophomore American release, Pirate Radio / Radio Pirata, is an artistic and personal milestone for the group. It is a concept album that loosely mirrors SLP’s journey to be artistically liberated against a stifling government regime, and the story unfolds with theatrical grandeur. The album’s unique melding of ultra-hooky choruses with ethereal ambience and passionate vocals and lyrics recalls such diverse artists as Paramore, Muse, and Olivia Rodrigo.

For its latest album, Pirate Radio / Radio Pirata (Thirty Tigers), the band collaborated with major songwriters such as Blair Daly, Zac Maloy, and Sam Hollander for a triumphant and empowering collection of rock fused with an accessible pop structure and some of the everyday heart infused by Nashville’s country sound. “On this album, I’m free, and I can say things I was scared to say before. People deserve hope, and this record spreads a message,” Diaz says. The 11-song album will be released in English and Spanish—a unique feat for a rock release. SLP’s sophomore American release, Pirate Radio / Radio Pirata, is an artistic and personal milestone for the group. It is a concept album that loosely mirrors SLP’s journey to be artistically liberated against a stifling government regime, and the story unfolds with theatrical grandeur. The album’s unique melding of ultra-hooky choruses with ethereal ambience and passionate vocals and lyrics recalls such diverse artists as Paramore, Muse, and Olivia Rodrigo.

New single by Pittsburgh, PA-based band The Commonheart. "They pay soulful tribute to the soul gods without disrespecting their exhumed remains." - No Depression Live and in the studio, the Pittsburgh-based collective is offering feel-good positivity, Golden Rule messaging, and sweat-soaked performances that nimbly ease through blues, vintage soul, and rock. The band is bonded by familial-like ties and a desire to foster spiritual uplift. Among its ranks are female backup singers, drums, bass, guitar, a horn section, and keyboards. Out front is Clinton, a lightning bolt charismatic frontman with dynamically expressive pipes that effortlessly traverse bluesy pleading, and honeyed balladeering. "Hustler" is an anthem for perseverance. Told thru the eyes of a street hustler's mindset; this song offers their interpretation of what it takes to make a living in this world thru the hardest times. The narrative runs parallel for anyone that's finding their way thru life with grit, fearlessness & drive. The new album, produced by Steve Berlin, saxophonist, keyboardist, and record producer, best known as a member of the rock group Los Lobos, entitled 'For Work or Love' will be released on September 16th, 2022.

(Extended Reissue)

Double vinyl LP | Extended reissue
All tracks remastered from the original master tapes.

And here it is! For the first time ever, Zoo Folle in its full, extended glory.
This double LP contains both the soundtrack as released in 1974 (sides A and B) and previously unreleased gems (sides C and D).

Back in 2016 we put out the first official reissue of Zoo Folle. It sold out in a matter of months, leaving many vinyl collectors hungry for more. Quite serendipitously, the following year we found ourselves digging through Giuliano Sorgini's personal archives to prepare what would become Africa Oscura and stumbled upon a few mysterious reels that could be traced back to Zoo Folle. Imagine our joy when we realized that they contained the complete recording sessions of the original soundtrack, including unreleased material and never-before heard alternate versions! It was a no-brainer to start planning this extended reissue.

Already a phenomenon among collectors and experts, not only does Zoo Folle it keep winning more and more recognition, but, together with The Living Dead at Manchester Morgue and Under Pompelmo, it has established Sorgini as one of the great Italian composers of his generation.

And this is no coincidence. Zoo Folle is Sorgini's most committed and personal work. It reflects at once his beliefs as an animal rightist and his deep friendship with TV director and long-time collaborator Riccardo Fellini (brother of La Dolce Vita director Federico). It was Fellini himself who asked Sorgini to score his documentary on the living conditions of animals in zoos in Western metropolises (Rome, London and Paris in particular).

Originally broadcast by RAI in three primetime episodes, Fellini's exposé sharply contrasts the lives of caged animals with the freedom they experience in nature and wildlife reserves such as the Amboseli National Park in Kenya, Africa.

For his part, Sorgini offers perhaps his grandest score ever – a magnificent, multifaceted soundtrack that brings together a variety of instruments and the best musicians available at the time, from the lavish string orchestra recorded at the Fono Roma studios (a dream come true for someone who had not penetrated the inner circle of A-list composers like Morricone), to the angelic voice of Edda Dell'Orso, who conveys the sweetness and melancholy of the African sunset in Red, Old Skies.

Also performing on the soundtrack are exquisite soloists – all long-time friends of the composer. Nino Rapicavoli, for instance, whose flute adds a magical touch to the psycho-funk of Mad Town and the groove of Slaves, as well as Enzo Restuccia, whose afro-tribal percussions have made Ultima caccia a legendary track especially among lovers of Balearic grooves, and Enrico Ciacci, whose classical guitar soars beautifully over the nostalgic and poignant Chains. Not to mention the fact that Sorgini himself laid down the foundation tracks for the album in the small studio he had in the Prati neighbourhood in Rome, playing the piano, drums and several synthesizers.

So, what are you waiting for? Get your turntables ready for the full version of Amboseli (14 minutes of sheer bliss versus less than 6 in the original record) and for stunning, previously unreleased alternate versions of many other themes composed by Sorgini to celebrate the beauty of the savannah.

Repress in soon. For the third installment of his PeteStrumentals series, producer Pete Rock takes a departure from the sample-heavy style that has earned him recognition as a living Hip-Hop legend. This twelve-track project is instead a collection of beats crafted by the producer, then reimagined by his stellar band, The Soul Brothers - drummer Daru Jones (Jack White), keyboardist BigYuki, bassist MonoNeon (Prince), guitarist Marcus Machado and vocalist Jermaine Holmes (D'Angelo); all critically acclaimed musicians in their own rights. After performing together across Manhattan, cementing their creative bond, Pete Rock & The Soul Brothers combined their individual musical influences and experiences to craft a smooth sonic experience that is truly the sum of all of its stylistic and instrumental parts. PeteStrumentals 3 is a masterful blend of Funk, Jazz, Hip-Hop and Soul, a mellow soundtrack for any occasion.

** SISTER FUNK, SOUL-JAZZ and BLUE-EYED-SOUL - OBSCURE RARE GROOVES ALL THE WAY THRU! **

- the double vinyl LP comes with a full album download code
- deluxe double-gatefold LP with detailed liner notes & unseen photographs
- ALL songs appear on LP & digital for the very first-time
- sales notes by Joel Ricci (aka Lucky Brown)

When Tramp Records was founded, there really were very few ways in which the music lover could discover new music besides the traditional methods of digging, good luck, and inheritance. First there were torrent sites such as Napster and Limewire where generous collectors might digitize and upload portions of their accessions, and sometimes you could find entire radio show broadcasts of live vinyl curation made by real Disc Jockeys out there, a lot of the Deep Funk I heard for the first time in around 1999 I found this way via Disc Jockeys on radio shows from the UK, tunes were faded and mixed together and of course veiled with that unmistakable Mp3 'whoosh'. And unless you have been living as an off-grid hermit for the past 20 years, you know the rest of the story.

But though our world has changed, and even though everyone from our grandparents to our 5-year old nieces are curating their own internet playlists, I submit that the role of DJ has become even more vital, not less. We as a culture have always relied on our Disc Jockeys to introduce us to sounds that speak to their souls, to control the vibe and most importantly put forth the narrative that speaks to society as a whole. DJs are our tribal storytellers, and the music they bring us are the stories. And when a DJ like Tobias Kirmayer is telling us that story clearly and with conviction, it speaks to our souls as well.

"Countdown to...SOUL" is a compilation series that, much like Tramp Records' other critically-acclaimed comps such as Movements, Feeling Nice, and the Praise Poems Series' examines a unique facet of the Golden Era of Soul, Funk, Jazz and R&B. Perhaps, in this case the dawning of the Soul era, "proto-soul", "primitive soul", or even "pre-soul" if you will. When they were recorded, many of these tunes were still firmly ensconced in the Black Radical Jazz tradition, but there was a change in the air, something happening in the coming years that would revolutionize popular music forever. In fact, Soul had already taken over the world by the time many of these tunes were released on 45, but for various reasons, the artists and their music occupied the fringes of the idiom and therefore remained obscure. Countdown to...SOUL chronicles that beginning, that buildup, those heady moments before the lid blew off and American Black music would explode across the planet, while scouring the outskirts and tide pools for specimens that were emanating in their own respective neighborhoods and communities, so often overlooked by the American pop music machine.

Side A features barrier-breaking pioneer Frankie Staton and her message of "Love One Another" to the world that is as fresh and vital today as it was when it first came out in the late seventies. In that spirit, Tenison Stevens' appeal "Don't Rip Me Off" reminds us to treat each other as brothers and sisters.

Side B meets us at the altar of the formidable Hammond Organ with an Unknown and uncredited Organist found languishing on a one-of-a-kind unreleased acetate and moving on to explore the nexus of Soul, Bebop, and R&B with Don Patterson's "Paddy Wagon".

Side C satisfies our hunger for the blaring horn sections, big beat drums, wailing Hammonds, pleading vocals and gritty guitars of authentic Soul music (both brown and blue-eyed) with Marva Josie, Shirley Wahls and The Echomen, among others, but then takes a hard left turn into undoubtedly uncharted territory with the hybrid folk/country/soul story of Sherrif Black and poor Sally who, though she is tragically met with a terrible fate, thanks to the careful and conscientious mastering of our German engineers, the song itself remains alive and is a genuine addition to the canon.

For the remaining side, I'm gonna just let you discover this music on its own terms, as you won't find these tunes anywhere else, not on Napster, not even on Limewire, or anywhere else. I want to personally thank you for putting your trust in the DJ and for continuing to listen, study, appreciate, and share the work and mission of Tramp Records.

-Joel Ricci (May 2022)

Nathan Fake's fourth album, Providence, crafted in the wake of a crippling two year spell of writer's block. Is his most personal and profoundly emotional work to date.
.
Providence sees the British producer collaborate with vocalists for the first time, joining forces with Prurient (aka Vatican Shadow / founder of Hospital Productions) and Raphaelle Standell-Preston from Braids. Both arose from chance meetings in Geneva and Osaka as their tour schedules crossed. Prurient contributed the heavily distorted vocal to 'DEGREELESSNESS' - I was a huge fan of Dominic's (Prurient) music before we met and I love the way he situates his vocals in his productions. I really like how you can't make out what he's saying at all...' - whilst Raphaelle, who lends her voice to 'RVK', was introduced to Nathan by their mutual friend Jon Hopkins. I deliberately kept the first half of the track instrumental and I love the way her vocal lands,' he says. It's quite unexpected when she starts singing.'

It's the quickest album I've written and because of that it's got a close thread running throughout,' says Nathan of his creative process. It also has a distinct sonic signature as a result of the producer refreshing his set-up. I was feeling nostalgic and bought a cheap Korg Prophecy on a whim and it ended up being the backbone of the album,' he explains. I remember reading an article in Sound On Sound back in 1995-96 and I didn't really know much about music production then, but I remember thinking that it must be AMAZING. As it turns out, it's actually quite crap really... It's very hard to program, looks unimpressive, doesn't sound great (laughs), but I recorded it through loads of different pre-amps and tape and mixers and roughed it up. I'm always intrigued by low-end gear, I like the challenge and the limitations it poses.'

Norfolk born and bred, Nathan's first encounters with electronic music came via the radio (hearing the likes of Aphex Twin and Orbital) and reading about the equipment that they used in magazines. This was the stimulus for him to buy some gear and begin his own sonic experiments and, linking with James Holden in 2003, Nathan's early output came via his fledgling Border Community label. His debut album Drowning In A Sea Of Love' (2006) was a triumphant record, drawing a rapturous reception from the likes of Pitchfork, The Guardian and Mixmag (who hailed it among the best of the year). Recording two further albums for Border Community, Hard Islands' (2009) and Steam Days' (2012), Nathan found himself in frantic touring mode for two years and, in this nomadic state, found it impossible to write any new music. On his return, events in his personal life intertwined with, and exacerbated, this creative block. I didn't write any music at all for about two years,' Nathan explains. Overall there was roughly a three year break from writing.'

Emerging from this extended period of inactivity with renewed vigour and lust for life, Providence was recorded during the first six months of 2016 in Nathan's home studio / living room. The meaning behind the title is two-pronged: on the one hand it's a nod to the aforementioned Korg Prophecy synth that features so heavily on the record. But on a deeper level it means guidance or divine guidance' - not necessarily in a religious sense but more to be guided by a higher power - or more specifically to Nathan, music as therapy and a path out of a dark period in his life.

While so many follow the status quo, Mat Zo has always danced to the beat of his own drum. From his days topping both the drum & bass and trance charts simultaneously (releasing on Hospital Records as MRSA), to his current status as a big room innovator, collaborating with Public Enemy's Chuck D and dropping genre-blurring 70-track contributions to BBC Radio 1's Essential Mix, the precocious talent is destined to play by his own rules.

Supported by DJs as diverse as Skrillex, Madeon, Pete Tong, Above & Beyond, Steve Aoki and A-Trak, the LA-living producer's much anticipated debut LP 'Damage Control' is a bold, brilliantly diverse statement of intent from one of the scene's most unique talents. In a world of EDM sound a likes, this is electronic dance music with integrity and ambition. The release of the album will coincide with an extensive upcoming world headline tour, which sees Zo playing renowned dance music hubs such as Ministry of Sound in London, Light in Las Vegas, Create/Avalon in Los Angeles, Miami's LIV nightclub, Toronto's Guvernment and New York City's famed Pacha. (See full list of dates below).

The product of nearly three years dedicated work, 'Damage Control' represents a star of the future coming of age. Including his Beatport No.1 smash 'Easy' (feat. Porter Robinson) and recent hook-up with hip-hop legend Chuck D (Public Enemy) on 'Pyramid Scheme', Zo's 14-track LP also features the sun-soaked melodies of his innovative future single 'Lucid Dreams' - another track that perfectly embodies his uniquely quirky take on big room sounds.

What really sets the album apart from the pack are its diversions away from the dancefloor. 'Damage Control' takes in everything from electro-charged French house ('Only For You' feat. Rachel K. Collier), classy trance vibes ('The Sky' feat. Linnea Schossow) and big room progressive, through to wonky, trap-styled beats ('Caller ID' and 'Little Damage'), UK garage updates ('EZ') and hip-hop ('Moderate Stimulation').

Retaining a cohesive thread throughout thanks to Zo's unmistakable sense of fun and infectious grasp of melody, 'Damage Control' is tipped as one of the most forward-thinking debut artist albums of 2013.

restock

Hearttheartrecords presents Dangirl and Demo DC who with their combined talents form Ghost N the Wai bring a fresh take on the electronic music scene. Dangirl's musical mastery of keyboard melodies and composition and Demo's unconventional wizardry of electronic sounds and drumming creates an alchemy of aural delight. The Wai (Aka Dangirl) begins this magical experience with her Debut track Between worlds, a celebraton of life, a sparkling tribute to all that exists. With a combination of orchestral magic, arpeggiated droplets and deep groovy basslines, we are taken on an immensely beautiful journey through the cosmos dancing with the intricate layers of the emotional spectrum and rejoicing at what it is to be a living being in the multiverse. Finding beauty and sacredness in even the most testing moments as we are cushioned by an unrelenting and loving consciousness. Some mind made limitations were overcome in the writing of this and as a result caused a significant shift in Dangirl as an artist, hence the effect of this track may be deeply healing. By exploring the pure deliciousness of arpeggiation and marimba sounds The Wai discovered her own unique style of electronica. When the World Sleeps, is an ambient fairy tale of a little girl who ventures out under the starry night sky and is filled with a sense of peace and wonder as the rest of the world wind down to sleep. Big sister to Between Worlds, The Wai's first electronic baby was the original inspiration for Ghost 'N' the Wai starting a whole new venture for Demo Dc and Dangirl. This piece is the tale of a girl who travels to places of unimaginable beauty, exploring the vast cosmos with her star friends. The healing energy of pure childish joy permeates the universe and balances all in existance. As dawn approaches she returns to bed and earth's inhabitants start their routines like a production line. Reminiscent of the Indonesian gamelan (one of Dangirl's lifetime musical inspirations) we are taken on a meditative journey, with haunting bells and dreamy frequencies revealing unfamiliar worlds but maintaining a sense of peaceful slumber. Resting in the womb. Our home. Nap is Over mix is a collaboration of the Wai aka Dangirl and Ghost Foreigner aka DemoDc which when the two unite, form Ghost N the Wai. This track manifested when the Wai asked for Ghost’s feedback on her ambient piece When the world sleeps. After a day of Ghost having it in his grasp, Nap is Over was born effortlessly, giving insight into the power that simmers beneath the surface of these two aspiring artists. The Wai, with her deep, still, meditative grace brings contemplative composition along with Ghost bringing organic yet organised chaotic experimental beats. Nap is over questions reality as it stands, giving the listener the opportunity to ponder their own existence .... the world no longer sleeps ... the Nap is Over.

Ein Vierteljahrhundert Bandgeschichte muss gebürtig gefeiert werden! Deswegen gibt es von der Release Serie „Reforged“, der Power Metal-Helden IRON SAVIOR, ab August nun endlich den zweiten Teil auf die Ohren. Die besten Tracks und Fan Favoriten aus mehr als 25 Jahren, um den hanseatischen Power Metal zu huldigen, wie er es verdient. Die 23 Tracks des neuen Doppel-Albums „Reforged - Ironbound“ stellen sowohl quantitativ als auch qualitativ ein echtes Bollwerk dar: zwei weniger bekannte, bzw. neue Songs fanden ihren Weg auf den Langspieler. Unter anderem enthält die Compilation den bisher nur in Japan veröffentlichte „Living On A Fault Line“, sowie ein Cover des Eurythmics-Hits „Sweet Dreams“. Natürlich wurde „Reforged - Ironbound“ auch wieder von Sänger Piet Sielck persönlich in seinem Powerhouse Studio produziert.

Ein Vierteljahrhundert Bandgeschichte muss gebürtig gefeiert werden! Deswegen gibt es von der Release Serie „Reforged“, der Power Metal-Helden IRON SAVIOR, ab August nun endlich den zweiten Teil auf die Ohren. Die besten Tracks und Fan Favoriten aus mehr als 25 Jahren, um den hanseatischen Power Metal zu huldigen, wie er es verdient. Die 23 Tracks des neuen Doppel-Albums „Reforged - Ironbound“ stellen sowohl quantitativ als auch qualitativ ein echtes Bollwerk dar: zwei weniger bekannte, bzw. neue Songs fanden ihren Weg auf den Langspieler. Unter anderem enthält die Compilation den bisher nur in Japan veröffentlichte „Living On A Fault Line“, sowie ein Cover des Eurythmics-Hits „Sweet Dreams“. Natürlich wurde „Reforged - Ironbound“ auch wieder von Sänger Piet Sielck persönlich in seinem Powerhouse Studio produziert.

A collection of powerful songs from across the Trojan catalogue, calling for unity and solidarity.

Trojan Records played a pivotal role in bringing Jamaican music to the UK and Europe; not only did it provide comfort and a sense of home for the Caribbean community living in the UK, but it also became an outlet for many thousands of white, working class youths, drawn to the exciting new sounds of reggae. This in turn created a new youth subculture within the UK.

Trojan became more than a music label, it also brought people together through culture, style and fashion. For the first time, people of all races and creeds would unite in the dancehalls, and friendships blossomed because people shared a common love for one thing - the music.

This collection of songs communicates an intergenerational, international story that, on the one hand, elucidates the black experience; on the other, repeats the call for us all to come together in unity.

Criminal, The Soft Moon's fourth studio album, is a confessional work. Through the stark lens of shame and guilt that has followed Luis Vasquez since a violent childhood growing up within the humming ambient sprawl of '80s Mojave Desert, here he documents the gut-wrenching sound of going to war with himself. Criminal marks a striking and important chapter in his self-exploration, both artistically and emotionally. As a young musician living in Oakland, Vasquez began to try and process the narrative of his difficult upbringing veiled through musical exploration. Working with producer Maurizio Baggio at La Distilleria in Bassano Del Grappa, Italy, Criminal sees Vasquez further explore putting his lyrics at the forefront and letting his raw emotions flow. Sacred Bones is now repressing this favourably received record in a bunch of new colors in celebration of the label's 15th year anniversary.

CITY OF CATERPILLAR return with their first new album in 20 years, Mystic Sisters! When guitarist/vocalist Brandon Evans, guitarist Jeff Kane, drummer Ryan Parrish and bassist/vocalist Kevin Longendyke unveiled their self-titled debut in 2002, their emotional, frenzied and often cinematic music was at the vanguard of the burgeoning screamo movement. Along with bands like Pg.99 (with whom they shared members), Majority Rule, Planes Mistaken For Stars and others, they helped develop a style of music that took hardcore into convulsive new territory. After years spent living in other parts of the country and playing in other bands—including Darkest Hour, Malady and Ghastly City Sleep, the long awaited CITY OF CATERPILLAR reunion shows snowballed into writing sessions. The result - Mystic Sisters, an album that recaptures the magic of old while taking the band’s music into exciting new territory! The winding and atmospheric title track that embodies CITY OF CATERPILLAR's experimental side features some noise violin from Evans’ former Pg. 99 bandmate Johnny Ward, while tracks like "Decider" and "Paranormaladies" showcases the band's roots with a flurry of viceral, noisey hardcore swagger. Tracked primarily at Montrose Recording in Richmond, Mystic Sisters was self-produced by the band and then mixed and mastered by Jack Shirley (Deafheaven, Bosse-de-Nage). Ultimately, CITY OF CATERPILLAR are more concerned with creating a mood than telling a story. “The band is always focused on mood,” Evans confirms. “To me, that’s the most important thing. I don’t really want people dissecting what we’re trying to say, because it’s not really about us. It never has been. What we cared about 20 years ago was innocent, raw emotion, and that’s what we care about now.”

Monster Truck tick all the musical boxes that have garnered the Hamilton-based band a reputation as one of Canada’s hardest-hitting rock outfits, live and on record.

On Monster Truck’s fourth full-length album Warriors, the band (bassist and lead singer Jon Harvey, guitarist Jeremy Widerman, keyboardist Brandon Bliss, and former drummer Steve Kiely), take their signature, riff-driven brand of rock to new heights and bombastic lows. With blazing shared riffs, massive gang vocals, and an ‘all for one, and one for all’ spirit, Warriors reads like a mission statement; one that telegraphs the tireless work ethic Monster Truck has displayed since starting out in 2009, as well as where they’re at and where they’re heading, sonically, in the future.

After the release of their highly successful self-titled album in summer 2021 (#1 in Germany and Spain etc.), HELLOWEEN -- one of the most respectable German metal exports and pioneers of German melodic speed metal -- are finally bringing their new anthems to the packed arenas, leading them all around the globe with their »United Forces« tour. The creators of the albums »Keeper Of The Seven Keys, Pt. I & II« (87‘/88‘), which are considered to be among the most successful German metal records of all time and are reckoned internationally as absolute milestones of power metal, haven’t only cemented but even expanded their status as giants of the scene. Caused by the pumpkinheads‘ aforementioned triumphant wave of success, the group’s back catalogue albums are also more in demand than ever which is why Atomic Fire are now set to release a series of brand new vinyl editions including the following hot HELLOWEEN records: »The Dark Ride« (2000), »Rabbit Don’t Come Easy« (2003), »Keeper Of The Seven Keys - The Legacy« (2005), »Gambling With The Devil« (2007), »Straight Out Of Hell« (2013), »My God-Given Right« (2015), and last but not least their latest offering »Helloween« (2021).

After the release of their highly successful self-titled album in summer 2021 (#1 in Germany and Spain etc.), HELLOWEEN -- one of the most respectable German metal exports and pioneers of German melodic speed metal -- are finally bringing their new anthems to the packed arenas, leading them all around the globe with their »United Forces« tour. The creators of the albums »Keeper Of The Seven Keys, Pt. I & II« (87‘/88‘), which are considered to be among the most successful German metal records of all time and are reckoned internationally as absolute milestones of power metal, haven’t only cemented but even expanded their status as giants of the scene. Caused by the pumpkinheads‘ aforementioned triumphant wave of success, the group’s back catalogue albums are also more in demand than ever which is why Atomic Fire are now set to release a series of brand new vinyl editions including the following hot HELLOWEEN records: »The Dark Ride« (2000), »Rabbit Don’t Come Easy« (2003), »Keeper Of The Seven Keys - The Legacy« (2005), »Gambling With The Devil« (2007), »Straight Out Of Hell« (2013), »My God-Given Right« (2015), and last but not least their latest offering »Helloween« (2021).

After the release of "Acoustic Adventures - Volume One", most of the second chapter consists of faster tracks like 'Black Sheep', the all-time live classic 'FullMoon' and 'Flag In The Ground'. But SONATA ARCTICA wouldn't be SONATA ARCTICA if they played it safe: 'San Sebastian' or the closing track 'Victoria's Secret' manage to spread a completely new, refreshing feeling to the listener; a feeling that is best experienced in front of a stage, of course!
To complete this particular saga and finally celebrate the kick-off of their next, repeatedly postponed 'Acoustic Adventures' tour to uplift the Corona-shaken Finnish and European mainland minds. But first: come into the living room, sit back and follow SONATA ARCTICA on their stripped-down but no less exciting journey into the world of acoustic music...!

LP comes with a Side D etching in triple gatefold jacket + full album download. The Will to Live was produced by Titus Andronicus singer-songwriter Patrick Stickles and Canadian icon Howard Bilerman (Arcade Fire, Leonard Cohen, The Whole Nine Yards) at the latter’s Hotel 2 Tango recording studio in Montreal. Drawing on maximalist rock epics from Who’s Next to Hysteria, Bilerman and Stickles have crafted the richest, densest, and hardest hitting sound for Titus Andronicus yet. All at once, the record matches the sprawl and scope of the band’s most celebrated work, while also honing their ambitious attack to greater effect than ever before. “It may strike some as ironic we had to go to Canada to record our equivalent to Born in the USA,” quips Stickles, “but the pursuit of Ultimate Rock knows no borders. ”For his recent stretch of personal stability, he credits a newfound domestic bliss and steadfast mental health regimen (“Lamictal is a hell of a drug”) as well as the endurance of what has become the longest-running consistent lineup of Titus Andronicus—Liam Betson on guitar, R.J. Gordon on bass, and Chris Wilson on drums. On the crueler side of the coin, however, The Will to Live was created in large part as an attempt to process the untimely 2021 death of Matt “Money” Miller, the founding keyboardist of the band and Stickles’ closest cousin. Stickles explains: “The passing of my dearest friend forced me to recognize not only the precious and fragile nature of life, but also the interconnectivity of all life. Loved ones we have lost are really not lost at all, as they, and we still living, are all component pieces of a far larger continuous organism, which both precedes and succeeds our illusory individual selves, united through time by (you guessed it) the will to live.” “Naturally, though, our long-suffering narrator can only arrive at this conclusion through a painful and arduous odyssey through Hell itself,” he qualifies. “This is a Titus Andronicus record, after all.” When Titus Andronicus made their long-awaited return to the stage in 2021, it was to celebrate the anniversary of their landmark breakthrough The Monitor, and the act of playing that material before an ecstatic audience left the band determined to deliver an album that would reach for those same lofty heights, relying this time less on the reckless fire of youth and more on the experience and perspective at which a band only arrives with a thousand shows under their belt. Through this golden ratio, Titus Andronicus have arrived at the peak of their creative powers. From its adrenalizing opening instrumental “My Mother Is Going to Kill Me” to its wistful closing benediction “69 Stones,” The Will to Live conjures a vast landscape and sends the listener on a rocket ride from peak to vertiginous peak. Rock fans will find themselves a feast, whether they crave barn-burning rock anthems such as “(I’m) Screwed” and “All Through the Night,” rapid-fire lyrical gymnastics (“Baby Crazy”), symphonic punk throwdowns (“Dead Meat”), or an adventurous excursion into the darkness that delivers thrills as it breezes boldly past the 7 minute mark, “An Anomaly.” As if that wasn’t enough gas for the tank, The Will to Live features sterling contributions from members of the Hold Steady, Arcade Fire, and the E Street Band, as well as duets with the aforementioned Betson, former Titus Andronicus drummer Eric Harm, and Josée Caron of the Canadian rock band Partner. The album comes packaged with gorgeous triple-gatefold artwork by illustrious illustrator Nicole Rifkin, a Hieronymus Bosch–inspired triptych which mirrors the three-part structure of the narrator’s perilous voyage across the corresponding three sides of vinyl. All together, this esteemed ensemble, with Stickles and Bilerman determined and defiant at the helm, have found The Will to Live—now, the question is… will you?

SIDE A 1. My Mother is Going to Kill Me 2. (I’m) Screwed 3. I Can Not Be Satisfied 4. Bridge and Tunnel SIDE B 5. Grey Goo 6. Dead Meat 7. An Anomaly SIDE C 8. Give Me Grief 9. Baby Crazy 10. All Through the Night 11. We’re Coming Back 12. 69 Stones SIDE D Etching

Debut solo album from Julia Kugel (The Coathangers). Limited edition first LP pressing on heartbeat pink color vinyl, includes DL (1500 copies). If you can’t trust yourself, who can you trust? This is the crucial question at the core of Julia, Julia, the moniker for Julia Kugel, founding member of garage punk icons The Coathangers and the dream pop duo Soft Palms. On her first solo full-length album Derealization, Kugel shifts her focus from collaboration and band dynamics towards a singular artistic vision and private self-discovery. Steeped in the beguiling pop elements of her past work, Derealization is a meditative deep dive into the mind of a person struggling to understand a crumbling internal and external world. The album traverses a landscape of ethereal folk, atmospheric deconstructed pop, and dubbed-out country ballads, all centered around straight forward and direct lyrics. This juxtaposition of nebulousness and lucidity gives the album a sense of clarity emerging from the haze, an apt refection of Kugel's personal growth and journey toward self-acceptance. Derealization is based on weaving the unreal, unsaid, and unknown into an undulating sonic fabric. Vocal layering and abstract instrumentation convey a blurred desperation to connect to an emotional and psychological focal point. Moody, dark, and sumptuous, the record is a flow chart of Julia Kugel coming into herself as an artist and songwriter. The album finds Julia playing almost all the instruments and taking her first stab at engineering at COMA, her and her husband's home recording studio in Long Beach, CA. “You know how touring musicians often speak of whether home is real or tour is real? Well, it can lead you to lose grasp on ‘reality,’ especially when touring is taken away and you are left to wonder if anything was ever real, including yourself. Like you we're just playing a character,” Kugel says of her headspace leading up to the creation of Derealization. “Honestly, I kinda lost it, and through making this record I made peace with it and reconciled myself as a real person. I forgave myself and in turn forgave those around me. The song ‘Forgive Me’ is the apology I wanted to say and to hear. I wrote every song from that place and gained the confidence I was pretending to possess.” This raw and personal approach to the lyrics is present throughout Derealization. On the opening track "I Want You," Kugel creates a woozy sense of space with reverb-soaked drums and spaghetti western guitars while she lists off her desires for a mysterious “you.” Is she actually listing off her desires for herself? For the people around her? As she repeats "do you feel it?" in the song’s chorus, it feels as if she’s conjuring a magical thread by which we are all connected, showing us how our desires are all the same. On "Fever In My Heart" the listener is treated to a lush, acoustic techno track detailing the exhilarating madness of an emotional breakdown. Simple truths percolate to the surface on "Words Don't Mean Much,” as if clearing away the murk of platitudes and empty gestures. The journey continues on the detached and conflicted "Do It Or Don't,” an alluring walk through the winding road of lonely choices. The name for the project Julia, Julia is a look in the mirror, a reflection of what is hidden and unanswered, of what is real and what is transient. The experience of living life not as you planned it but as it unfolded, and the mysterious, magical pain that creates meaning.

Tracklisting 1. I Want You 2. Forgive Me 3. Impromptu 4. Fever In My Heart 5. Words Don’t Mean Much 6. Do It Or Don't 7. No Hard Feelings 8. Big Talkin' 9. Paper Cutout 10. Where Did You Go 11. Corner Town

Black Is Golden', the first full length LP from Wyn Starks, isn't just the
name of a record, it's his truth as a black man living in modern America
"I decided to call the album 'Black Is Golden' because throughout history black
and brown people have gone through so much injustice in this country and yet
contributed so much to society. I think it's important that we celebrate each other
and all our differences." But the songs aren't all centered on social justice- the
album features upbeat tracksk like "Circles" and "Dancing My Way" which
showcase Stark's vocal range and sunny disposition; juxtoposed with "At The End
Of The River", a deeply emotional track about the tragic loss of Wyn's twin brother.
Starks' feels his journey to self-love is captured in this body of work. He shares,
"I'm learning how to celebrate these accomplishments in my life and to love
myself, flawa and all."
Tracks: Circles / Black Is Golden / Not A Waste (feat. Melanie Pfirrman) / Sunday
Morning / Perfect / Let You Down / Who I Am / Dancing My Way / Sparrow (feat.
Built By Tital) / Tomorrow (feat. Andreas Moss) / At The End Of The River

Jeff Beck and Johnny Depp tapped into the frustration of living through the pandemic in 2020 with their well-timed cover of John Lennon’s “Isolation.” The Grammy winning guitarist and Hollywood Vampires co-founder are back with their first album together, appropriately titled, JEFF BECK AND JOHNNY DEPP. On the new record, Beck’s first studio effort in six years, the artists coax unexpected performances from one another on 11 covers and two originals that touch on everything from Celtic and Motown to John Lennon, the Beach Boys and The Velvet Underground.

The result is a wild roller coaster ride through different genres where hairpin juxtapositions deliver some of the album’s biggest thrills. A remarkable example comes early on when the industrial stomp of Killing Joke’s “Death And Resurrection Show” gives way to the intense heartache of Dennis Wilson’s “Time.” Each performance stands on its own, but the sharp contrast created by sequencing them together heightens the emotional impact of both songs.

The duo recorded most of the album in Beck’s studio over three years while Depp lived on and off in the guitarist’s English cottage. Robert Adam Stevenson co-produced several tracks on the album and engineered many of the sessions remotely from Depp’s studio in Los Angeles. When the basic tracks were finished, they were fleshed out by musicians who’ve played with Beck through the years, including drummer Vinnie Colaiuta and bassist Rhonda Smith.

The album title will be “18.” The cover illustration (attached) was done by Jeff’s wife, Sandra and pictures them when they were both 18. Here’s Jeff’s comment on the title from the PR: Beck explains the album title: “When Johnny and I started playing together, it really ignited our youthful spirit and creativity. We would joke about how we felt 18 again, so that just became the album title too.”

Here’s artist Max Kuhn on hearing the new Ralph White recordings for the first time: “I was driving a familiar round trip across the high desert when I first put it on. It immediately spoke to me. In the lyrics there's a familiar geography for me, a familiar emotional landscape for all of us. And maybe it was driving an almost 40 year old truck on sun baked & cracked asphalt in July, but it's like you can hear his songs coming apart- the cadence, the rhymes stumbling & defying expectations, consistency but they just keep moving. You have no choice but to go with it. Probably a good lesson for how to live in this era we're in, cracking up but keeping it all running somehow, trying to make something pretty with the time.” Recorded in Austin, Texas in March of 2020, just days before the city and the rest of the world shut down, Ralph White spent two days with producer, Jerry David DeCicca (Will Beeley, Ed Askew) and recording engineer, Don Cento, capturing a raw and wild set of performances. Ralph, having recently converted his van into a mobile living and touring quarters equipped with a wood-burning stove, left Austin, the city where he was born 70 years ago, and retreated to an Arizona commune where he began building a new house in the desert hills to escape the virus and insanity of daily living. Ralph takes us on a journey through his myriad of travels: from Dock Boggs to Syd Barrett to William Faulkner to Stella Chiweshe to Blind Uncle Gaspard…scratching banjo, rasping train whistle hollers, rolling kalimba, rousing accordion, taut shimmers of guitar, caustic fiddle and lyrics - that could have been hidden amongst the dusty inner groove of a lost Harry Smith 78 - weaving in and out of streams of consciousness, time and place. In addition to his solo work, White has recorded or performed with a diverse group of folk and avant-garde musicians: Thurston Moore of Sonic Youth, Jandek, Jack Rose, Eugene Chadbourne, Michelle Shocked, Sir Richard Bishop, and Michael Hurley. “This is what Ralph White really sounds like. It’s what time passing really sounds like. It’s what a look really feels like. This record is someone touching you all over!” --Bill Callahan “Striking, electrifying acoustic music from an underappreciated legend of the American Southwest. Here, tight song structures meet open, unadorned instrumentation: guitar, banjo, kalimba, accordion, fiddle, and White's elastic voice, unspooling pitches and syllables. White draws listeners in on his terms. Lyrics wind and twist and pull back: "Motel 6, Motel 6, Altoona, Altoona; missing you, missing you so, great big hole in my--..." Brave, beautiful, a high point in White's long career. And this is just Volume 1!” - Eli Winter. "What Ralph White puts on albums and onstage is so mind-boggling and vast, it forces those of us in the description business down a treacherous path." --Darcie Stevens, Austin Chronicle. “White was a member of well-loved punk bluegrass outfit Bad Livers, but his solo work is possessed of a much more lonesome spark, exaggerating the implied drone at the heart of the music of Dock Boggs and The Stanley Brothers…White plays wooden six-string banjo, violin, button accordion and kalimba and his voice has a high, eerie quality to it…extremely psychedelic.” --David Keenan, The Wire Tracklisting: 1. Gun Barrel Polka 2. Misinformation Shuffle 3. El Golfo 4. Something About Dreaming 5. Rye Straw 6. The Stovepipe Blues 7. No Stranger 8. Morning Sickness 9. Lord Franklin

Joke Lanz and Sudden Infant once again return in their razor-sharp trio setting whereby the absurdist nature that Joke’s work is already cut with is reconfigured in a gnarled and beefy punk-fucked contorted rock setting. Short bursts of angular flex are heavily propelled by depth-charge rhythms, wry lyrical musings on modern living, and sensibilities hatched from years of experience in the worlds of sound art, abstract music, industrialised junk-noise and related areas have manifested in the perfect follow up to 2018’s Buddhist Nihilism album on Harbinger Sound. Aided by Christian Weber on bass and Alexandre Babel on drums, Joke lays on a battery of electronics, loops, field recordings and samples to complement mostly semi-spoken vocals that appear like they’ve been swept from the overflowing gutters of a shopping centre into a huge ball of malaise that can only be laughed at as world leaders look on perplexed. Exactly as the title suggests, 'Lunatic Asylum' depicts a world in absolute disarray as the seams binding it together slowly fall apart to reveal jesters whose best attempts to glue everything back in place are built on bigger lies more transparent than ever. Meanwhile, citizens of the developed world turn on each other for the stupidest of reasons or grow fatter with their descent into an ignorance nourished by half-baked cultural nuggets pre-packaged and sold as great and awe-inspiring work. And everything has to be recorded, photographed and shared as brain cells are decimated by false ideals, propaganda, exaggerated lifestyles and a huge tub of popcorn swimming in indiscernible yellow gloop. Such are the snapshots that resonate as Lunatic Asylum takes some well-aimed swipes at the human condition of the 21st Century. Featuring a fantastic guest appearance by Franz Treichler (The Young Gods) on ' Il y a des Enfants', each of the 12 songs that constitute Lunatic Asylum are bold, heavy, playful and rife with surprising twists and turns Joke’s mostly English splatter-poetry helps guide into a space that’s about as accessible as the outer reaches of rock can get. In a perfect world, this is the stuff even daytime airwaves should be pregnant with but, since the world is presently tripping over its own feet more so than ever, we will have to suffice with wherever this can nudge with the help of Fourth Dimension Records. One day, hopefully, more will catch up. The CD version of Lunatic Asylum features two exclusive bonus tracks. It was released in April 2022. TRACKLIST 1/Good Morning! 2/Head 3/I Ghore Es Gloeggli 4/Mood Swings 5/Damage Control 6/Happiness to Go 7/Pain is a Pain 8/Il y a des Enfants 9/The Lived Body 10/Ah-Ah-Ah 1921 11/Mika the Dog 12/Tuba Manifesto

"Living as a queer, androgynous person, I have always seen the world
beyond the binary"" - That's Kyle Kidd (all pronouns) talking about their
debut solo album, Soothsayer
"Those who came before me," they say, "were deeply connected through
spirituality, with the gift to see the future wielded through the powers of ritual."
Kidd titled the album Soothsayer on the basis of this ancestral background. But
the title doesn't just reference a term, it clarifies what the album is: an expansive
rendering of life beyond the binary, balancing self- possession and selfpreservation, the challenges of vulnerability and the redemptive possibilities of
love -- all in a half- hour. Solo debut from member of Mourning A
BLKstar.Performs with Algiers and Richard Kennedy. Two singles with music
videos. Europe tour coinciding with album rollout.

Planet Uthboar is a conceptual album that takes the listener on a journey to the fictive planet of Uthboar, where two heroes are on a quest to stop the supervillain Art from exterminating every living being on the planet. The album is inspired by old comics and 70’s sci-fi animation movies, so think of a kind of H.G. Wells dark sci-fi style mixed with lofi house and electro - all recorded straight to an old dusty cassette recorder!

Planet Uthboar is the first release on the new Copenhagen-based label Uthboar run by C.M. Art



Key dj support:

Vladimir Ivkovic - Salon Des Amateurs: Cassette culture indeed. Nice, enjoyable one. Thank you!

Bill Brewster - Late Night Tales, Home Taping Is Killing Music: Art is super gloopy Chicago-style electrosoul.

Sean Johnston - Hardway Bros, A Love From Outer Space: Great EP!

Massimiliano Pagliara - Panorama Bar, Ostgut Ton, Live at Robert: nice tunes!

Mr Ties - HOMOPATIC: chicago from the future

Diego Cortez Salas - Correspondant, Live At Robert Johnson: love it!

Richard Sen - Firehouse, Emotional Response, D-Edge Re: Art is the sound of late 80s Chi-tow