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Blending screamo and metalcore seamlessly, the three-piece drop their debut full length filled with blistering hardcore as well as slower, expansive and epic post-hardcore. Misery Never Forgets is a crimson slice of emotional violence, whose attack is both frenetic and draining, a maelstrom of vulnerability frought with pain and aggression that calls to mind such stalwarts as Pg. 99, Majority Rule and Zao. Born as an outlet for trauma, Wristmeetrazor toes the duplicitous line of suffering and salvation. This paradigm flickers brighter than ever through the cloak of darkness that is the band’s debut LP “Misery Never Forgets”, nine tracks of blinding, chaotic emotion. Conceived in the bedroom of guitarist and vocalist, Jonah Thorne, Wristmeetrazor started as a solo project influenced by the likes of screamo bands Neil Perry and Kodan Armada in Spring of 2017. Shortly after releasing a demo, Thorne enlisted help from bassist and vocalist, Justin Fornof. After releasing two EPs in the Fall of 2017, and touring across the southeast, the band rounded out their line up by adding drummer and vocalist, Bryan Prosser.

The Paradigm-Shifting Fourth Studio Opus From The Norwegian Pioneers.
Presented On 2cd Deluxe Digipack Format & Including A Retrospective Look
At The Album Courtesy Of Writer Jeff Wagner.
‘Themes from William Blake’s The Marriage of Heaven and Hell’ is the fourth
studio album by Norwegian experimentalists Ulver.
Having been known for their more folklore-tinged black metal compositions on
early studio releases, in late 1997, mainman Kristoffer Rygg invited keyboardist, sound conceptualist, and composer Tore Ylwizaker into the collective, and
together they devised a plan for The Blake Album; an altogether far more adventurous endeavour than prior releases.
What resulted was a seamless integration of electronic & industrial music, with
elements of progressive metal & avantgarde rock, all fused with ambient passages, & following Blake’s plates as track indexes. A work of deep and personal
art, the album, while initially surprising to fans due to its complete shift in genre, has become a classic today, and a prime example of the boundary-pushing
evolution beyond the confines of genre expectations through the latter part of
the 90’s. Upon release, ‘The Marriage of Heaven & Hell’ received widespread
acclaim from critics within the rock, metal & alternative music press, being
awarded Album of the Month in several high-profile magazines such as Terrorizer, Metal Hammer, and Rock Hard.
The album notably includes guest vocal appearances from Darkthrone’s Fenriz,
as well as Ihsahn & Samoth; most known for their work in Emperor.
This newly remastered edition of ‘The Marriage of Heaven & Hell’ is presented
on 2CD deluxe digipack format, including full lyrics/text, plus a new article from
writer and journalist Jeff Wagner on the background, nature & triumph of such
an ambitious release.

Batman Forever: Music from the Motion Picture is the soundtrack to the 1995 Tim Burton produced movie Batman Forever. It was nominated for multiple Academy and Golden Globe awards. The soundtrack contains a number of hit singles including; Seal’s “Kiss from a Rose” which won three Grammy Awards, an MTV Movie Award for “Best Song” and charted at number 1 in the Billboard Top 100. Plus U2’s “Hold Me, Thrill Me, Kiss Me, Kill Me” , and songs from The Flaming Lips, the Offspring, Nick Cave, Michael Hutchence (of INXS), PJ Harvey and Massive Attack. It will be pressed on 2LPs of blue and silver vinyl.

In 1970, Kevin and David met whilst they were working in the Labour Exchange Office on Aytoun St, Manchester. Both played guitar and had been searching for other musicians who played atmospheric music. Kevin had been playing in small clubs in Manchester and David performed in a few local bands. One evening, they jammed together at Kevin’s family home, and quickly realized that their playing blended together to form the basis of the sound they had been looking for. In the late ‘70s, the music scene in Manchester was bursting with new bands and music.

However, Kevin and David had little in common with the local acts, being disciples of a more meditative approach. They followed a path of their own, reaching for an otherworldly sound that they heard from artists like John Martyn, David Crosby, Erik Satie, Terry Riley, Eberhard Weber, Alice Coltrane, and Ralph Towner. They experimented combining their acoustic guitars and David’s bass with various effects pedals and techniques to try and achieve a warm and expansive sound that rides the line between ambient, jazz, and psychedelic folk Music.

Towards 1981, they had written eleven songs and accompanied a few with Moog synthesizer laid down by Rob Baxter. All were recorded on cassette decks in their simple home studios. They named this collection of music “Light Patterns”, after a poem Kevin had written. With Light Patterns complete, they set out to find a label to represent their music. They started playing a few gigs in Manchester; Band On The Wall, the Gallery, and other venues, such as Rotters which local promoter Alan Wise had organized. They set up with small amps along with their effects and played as though they were back at home. As Kevin remarks, “It was unusual, to say the least, to play such venues in a low volume chilled out way. However, people listened, often in shocked curiosity, and some even asked for tapes.”

Peter Jenner, of Blackhill Enterprises, eventually picked up the album for his new label, “Sheet”. Peter had managed lots of experimental bands and solo artists, including Pink Floyd in their early Syd Barrett days. He always favored outsiders! The tapes were taken to Strawberry Recording Studios in Manchester, who were surprised when Kevin and David walked in with just a couple of home-produced cassette tapes. Fortunately, they liked them and agreed to master the album. It was then sent to Portland Recording Studios in London for final mastering to vinyl. George Peckham, aka “Porky”, did the pressing with a personal message in the deadwax; “Kaftans, Candles and be Cool Man”. The artwork for the album cover was done by the late Barney Bubbles, a truly visionary artist.

After the album’s release, the pair continued to play together regularly until David moved away from the city. Kevin still resides near Manchester in the rolling hills outside of the city. He continues to experiment with dreamy music in his loft, and we are set to share a selection of his ethereal archival and current compositions in the coming months. David lives a quiet life in a small coastal town in the South, he likes to sail and is an avid cricket fan. We’re excited to make Light Patterns accessible again for the first time in nearly 40 years, remastered from the original tapes. As the original press release said, “Put the album on, lie back and enter the land of no floors”.

Martin Scorsese’s Motion Picture "Goodfellas" needs little introduction. It is widely regarded as one of the greatest films ever made, and the ultimate mob movie. The soundtrack features artists Tony Bennett, Aretha Franklin, The Shangri-las and many more. It is a very rare find on vinyl, having only being pressed in a couple of small runs in the early 1990s. This 1LP release will be the first global pressing and will be available on blue vinyl.

In My Sleep is the debut vinyl release from French producer Margee. Having gained a loyal following last summer with a remix for Tommy Guerrero, released on Music For Dreams, this EP showcases his natural ability at creating low-slung, densely layered productions, perfectly aimed at the dancefloor.

The release also features two heavyweight remixes. The first of these comes courtesy of underground House legend DJ Nature, who takes the title track and gives it a completely new twist with his inimitable ‘ruff disco’ stylings. Hailing from Bristol (via New York), recent years have seen Nature release on Futureboogie, Golf Channel and Jazzy Sport.

The second remix on the release comes from Hardway Bros (AKA Sean Johnson). Having been an early champion of Margee’s work on his regular ALFOS streaming marathons, Sean took the second track on the release, Wrong Dream, and went into heavy-dub mode. The resulting remix clocks in at just over 11 minutes and is everything you’d expect from him, and more…

Margee said of the release ‘In My Sleep started while taking a shower. The bassline popped up in my mind and I ran out as quickly as possible to record it. From there, I got pulled into a deep emotional trip with groovy tones and dirty sounds. Wrong Dream is actually a lost project that I had to start over again. It turned out to be more fierce than the first one, experimenting with arps and fuzzy synths, while keeping a certain groove that was easier to reproduce.’

In My Sleep is the second release from London based label Other Goodness, following on from Bawrut’s ‘Divergent Emotions’ EP last year, which quickly became a mainstay of the live-streams and a DJs favourite.

Ramona Córdova is a sound artist — passionate about writing, communicating, linguistics, behavioural & social psychology, observation & investigative research, photography, sound recording, and design. Their artist focus is on project-based sound and visual media, public engagement and live performance — although they are best known for their music and are typical regarded as a singer songwriter. Ramona Córdova intends to speak to the challenges of living under systems of oppression while inspiring introspection and personal growth toward the maturing of our societies. Ramona is Haitian-Filipina, Puerto Rican, born in Kingman, Arizona, USA and is inter-feminine trans non-binary.

"When I first started working on Naïve I was completely consumed by all of the technical details involved in making a 'professional studio recording' on my own - one which could not be refuted or disregarded as subpar. My only other hope was to tell some sort of story with whichever songs i could piece together. The content and message of which were much less important to me.

The story that Naïve ended up telling comes from a cohesion of themes, ceaseless in my personal experiences living day to day in the world. Although the album dares to tread on tact while speaking poetically and lyrically about issues such as systemic oppression, racism, misogyny, policing and patriarchy - I think the album really just wants to reflect - to serve as a reflection - in order to foster healing and healthy growth towards maturing. I feel it commanding a kind of firm kindness as a reminder to love yourself enough to accept others, by way of accepting yourself.

Pressed onto this 180-gram vinyl are 10 songs I wrote while living in many different places around the world. Spontaneous recordings of inspired notions of song, written one rainy evening up high above the vineyards in Banyuls-sur-Mer became Men on the Mountain. A Scrap of paper holding jots about a sudden storm on a hot day in August while helping friends on their farm in Puglia became Mouth of Autumn and Peace Through Violence. As I dressed myself into the fragile reality of the United States, I became flooded by its manipulative social governing systems. As the monuments of slave-owners, colonisers, and white supremacists came crashing down in the name of responsibility and accountability, The Bridge Works was built, a song about crossing bridges towards empathy and equality. Civil rights activist and American-Football quarterback, Colin Kaepernick, taking the knee during the United States national anthem pre-game ceremony, brought about So Long. The incessant murdering of black, brown, and transgender citizens brought Woke, Scared I'll Bite You, and The End. The murder of Eric Garner and the feeling of being choked-out and suffocated under the weight of systemic oppression brought about Still.

From all of this birthed the collection of songs that is Naïve, a title given to the album by French Ghanian artist Eden Tinto Collins. Although written both in Europe and the U.S., most of the songs were performed and recorded at the end of the year 2018 in Philadelphia, during the American-Holidays season. Still, Loving Him, and The End were written in Philadelphia, but produced in Vlorë, Albania. This helped serve as a reminder that the issues these songs speak of are not isolated to the United States of America." - Ramona Córdova

Let’s get back to the program. Picking up from where things were left off in July 2020…

Whilst most electronic producers of the dance-floor persuasion dabbled with conducting micro-symphonies for their micro-herbs, locked inside their micro-mansions, Dreems has dusted off his dance-floor accreditations and got back to work creating some serious indoor waves for Le Temps Perdu.

The Blue Water EP has all the stuff that encapsulates the label - raw, fun, powerful and free, yet deep, loving, warm and friendly. The music carries on from the previous Shark Water and Blue Hole EPs, calling all sea monsters with Die Orangen Remix of Shark Water, later emerging in calm waters for mermaid pleasing Iñigo Vontier Remix of The Dolphin Communion, and finally swimming into the salty, acidic tones of the Blue Hole (Break Mix).

Dear water-lily enthusiast, you need fear not, there is a hearty nod to the plant-life in Something Else for Spring that grows and sprouts new life with each turning phrase and finally blossoms with a sprinkle of joy. Label head-gardener V gives it the extra push put on the dance floor with his tougher take.

You grab a copy of the vinyl at some bricks and mortar stores if you are fond of wearing your scuba suit whilst browsing the shelves, otherwise head to the regular online outlets to get this small slice of history. It contains, we feel, the best of the past 2 EPs.

The core tenets of Morgan Wright's music have long tested club music's context; the rituals and customs that define it, and how each of those genres change once removed from their traditional settings.
It's a space Morgan Wright feels at home in; one where he's constantly asking questions of the structure club music resides within, and what it means to create a new space for familiar sounds. And over the course of his debut album, Class Tourist, Morgan has found new ways to elevate those same questions - whether by way of intention, or a pandemic-induced coping mechanism.
In Class Tourist, Morgan again borrows from familiar strains of the subgenres which have come to form his musical identity. This time, he fuses sounds of post-punk, IDM and breakbeat, hopeful they converge to form a bastardised rendition of the latter, with "Australiana" at its core.
It's a sound that was made possible by a change to his songwriting approach, after pivoting from a loop-based production style - one which he has applied to a slew of other projects, for the better part of five years - to one which lends itself to a more standardised, contemporary format.

Moving through the record, Morgan toys with musical tropes of contrast with a calculated refinement unheard throughout his previous work. The coalescence of melodic optimism and bleak, mournful soundscapes feature on Class Tourist again, as you would expect. But this time, contemporary structure - with the exception of a few songs - along with the features of label-mate, Purient, and frequent collaborator, ENDL355, breathe new life, and even a new genre, into Morgan's work.

Keplar re-issues the fourth album 'Chessa' by Dan Abrams' project Shuttle358 on vinyl for the first time. The double LP edition includes 3 previously unreleased tracks from the same recording sessions back in 2004, as well as an extended artwork with unseen photographs by Dan Abrams.

While undoubtedly associated with the microsound and 'clicks & cuts' movement around the turn of the millennium, on 'Chessa' Shuttle358 left behind the classical rhythmic patterns of the genre and shifted further towards warmer territories, meandering between modern digital minimalism and the soft tones of ambient music. Counter to his microsound synthesis approach on Frame (2000), Abrams created Chessa by writing software that manipulated samples from his unreleased songs, guitar pieces, and vintage japanese films sampled from video tape. In particular, a special granulating technique was written and performed at intentionally low sample rates that gave the uniquely fragile, yet dense sound to the album. Over fourteen tracks Abrams arranges slowly evolving sonic entities of unfading elegance. Strayed and hazy melodies pulse and cascade, elongated but brittle harmonies shimmer and disappear, echoing far-off in the rounded corners of the mind. The patient and detailed way Abrams combines the broken with the beautiful in creating organic collages of sound that retain the euphonic essence of a song, makes this piece of work so powerful and timeless, sounding just as relevant today, as it did 17 years ago.

Under modern scrutiny in Abrams latest studio, he refocused the original recordings to emphasize the elements most important to the original vision. The final mastering and vinyl preparation was done in collaboration with Stephan Mathieu, vinyl was cut by LUPO.

From the original press release in 2004 by Taylor Deupree:

Without a doubt Shuttle358 has become one of the most admired artists to emerge from modern electronic music’s sea of musicians. From the humble beginnings of a demo CD in 12k’s mailbox to 4 critically acclaimed CDs, Dan Abrams is, to some, the one credited for bringing a warmth and human touch back into what has often been considered a very cold, sterile genre. It began with 1999’s Optimal.lp (12k1005), a groundbreaking debut release that immediately defined the Shuttle358 sound; a hybridization of the then-emerging “microsound” genre with Eno’s true ambient explorations. In 2000 Abrams outdid himself with Frame (12k1011) by honing his sound design and exploring production techniques at rates that made his “now” quite brief and creating what was to become one of the most sought-after CDs in the 12k catalog.

Chessa is the third release from Abrams’ Shuttle358 moniker on 12k and he continues to do what he does best: attempt to move microsound away from the world of theory and towards absolute real life. Like his photographs, Chessa is music about, and to be listened to in, unexpected places. It is a narrative, a simple slice of life that plays out through the incidental photography of the cover artwork. To achieve this Abrams fuses irregular granular sound particles, like the movements of everyday life, with a deliberate melodic base that captures emotion and simplicity.

Jimmy Tamborello returns with a collection of 10 pop-infused vocal hymns – simultaneously perfect dance floor fillers and lullabies. "Away" is the second of two Dntel albums to be released in 2021 by Morr Music in collaboration with Les Albums Claus. While "The Seas Trees See" showcased Tamborello's more intricate and quiet side, "Away" embraces his love for pop music. A genre which like no other has been resonating the advancements of technology from the very beginning. Songwriting was sequenced and computerized on such a large scale that it would change the sonic aesthetics of the charts forever.

Dntel is a musician who changed pop music forever – and still works in this never-ending labour of love, both effortless and highly focused, constantly tweaking the universe of our musical perception. Whether beatless or uncompromisingly embracing the limelight of collective ecstasy with one of his most remembered tunes "(This Is) The Dream Of Evan And Chan", his almost forgotten anthem "Don’t Get Your Hopes Up" or his work as James Figurine. "Away" features 10 of these extravaganzas – uniting his audience once more in hope and future-bound optimism.

"I grew up with 80s techno-pop – these influences always come through in my music", Jimmy writes from Los Angeles. For this album, though, "I was thinking more of 80s indie pop or labels like 4AD. It is a mix of those influences along with trying to figure out what elements of my own discography I still connect with. I wanted it to reflect old Dntel records as well as the techno-pop band Figurine I used to be in. I have always considered my music basically being techno-pop, but not referring to pop as popular music – I just like pretty melodies. But with the Dntel moniker, I never had the ambition to produce music for a really big audience.”

It is exactly that looseness in approaching music which makes Tamborello’s style of composing so unique. On "Away" he combines a healthy dose of distortion with the most-sticking melodies, vocals and bitter-sweet lyrics he ever came up with – performing all vocals himself, with the help of technology. "My voice has a limited range. When I applied this vocal processing it seemed to bring out the emotions more. I don’t see it as the same as the more artificial, autotuned style of modern pop music. I think it still sounds like it could be a real person singing, just not me."

Using this technique, Dntel disembodies himself from his own art, welcoming all kinds of interpretations re. his current state as an artist. "Somehow this processed voice feels closer to how I see myself than my normal voice, for better or worse…", he writes. Pop music is a fragile entity, making its kingpins vulnerable. Many emotions reveal a lot of the originator’s personality –this is something one has to be prepared for. On "Away", Jimmy Tamborello finds the perfect way of marrying his unique musical personality with both the demands and possibilities of pop music. Just listen to "Connect" and you’ll know what we’re talking about. A perfect, yet timeless album for less than perfect times.

Born in Naples, educated in New York and now residing in Paris, drummer Francesco Ciniglio combines spotless drumming facility with substantial compositional flair, and has the capacity to move, reflect and express through his music. An in-demand sideman, Ciniglio has collaborated with Wynton Marsalis, Shai Maestro, Aaron Parks, Dayna Stephens, Seamus Blake and Tony Tixier. Following his debut solo solo release ('Wood', with Parks and Joe Sanders), Ciniglio returns as leader for his Whirlwind debut, 'The Locomotive Suite', a set of compositions for sextet that combine a personal metaphor of resilience with snapshots of his formative familial influences. Barcelona-based Raynald Colom (trumpet), fellow Paris emigrée Matt Chalk (alto) and Matteo Pastorino (bass clarinet) take the frontline duties, with Frenchman Alexis Valet on vibraphone and rising star Felix Moseholm on double bass.

New York City 4-piece deliver a modern blues rock masterclass on their feisty debut album.

“A timeless classic rock sound that revels in lean riffs and raw emotion.” – Afropunk

In an age where artistic merit is awarded to those who shout the loudest, Dakota Jones pride themselves on an unwavering ability to leave a lasting impression. Spearheaded by Tristan Carter-Jones fierce and unashamedly uncensored songwriting, the band’s fast-growing reputation as formidable live act has stamped Dakota Jones with the hell-hath-no-fury power of Chaka Khan, the wild spontaneity of Janis Joplin, and the honey-dripping sensuality of Marvin Gaye. Their debut album’s message of proud black heritage and triumphant queerness manifests itself in Carter-Jones’ ability to challenge norms of adulthood and femininity as she takes a deep dive into some of life’s most visceral emotions.

Tristan Carter-Jones: “I’m a black, queer woman expressing myself through love and music. Some folks still find that to be a transgressive act in and of itself. I work to fight that idea. I write a lot about my
Continued over…
sexuality and the ways in which I express it. Songs about sex and love bounce back and forth between songs about heartache, hangovers and self-medication, and the pleasure and pain of truly finding yourself. I don’t think we get to hear these things from a woman’s mouth as often as we should.”

Serving as an instant tone setter, the album opens with the line "Stretch marks from growing pains" with Carter-Jones lamenting the woes of adjusting to adulthood on lead single ‘Did It To Myself’ - her husky and commanding vocal instantly asserting its place in the spotlight. The atmosphere soon turns steamy on the flirtatious title track ‘Blacklight,’ whilst fantasising over a modern-day Bonnie & Clyde love affair the funk-laden ‘We Playin Bad Games’ packs a punch with its tale of free spirits entwined in a haze of late-night revelry.

Elsewhere, stories of caustic heartache twist the knife into wounded blues guitar riffs on ‘Like That’ and ‘Black Magic (That Power)’, in which Carter-Jones’s stoical voice never once faulters as she mourns the memories of a previous flame. Personal prayer ‘Lord Please’ recites empowered words of reassurance, and solidarity in the face of injustice erupts into a rallying cry for change on the classic sounding ‘Noise’ – written as a reaction to the 2016 US election. “I woke up after the election feeling pure panic and fear in my body,” remembers Tristan. “I wanted people in a place of privilege to stand up for what I was feeling, stand up for injustice, stand up for all of the things we need to change as a country. I wanted their rage, and I wanted their noise.”

Finally, the band’s tender tropes of togetherness eventually boil into gritty, guitar-slung balladry on hidden bonus track, ‘California,’ where, knees buckling under the weight of past trials and tribulations, Carter-Jones sets out on one final journey of self-discovery, hastily pulling out from reality and leaving only a dust cloud in her wake.

Production comes courtesy of the Grammy-winning John Wooler, ex Virgin Records A+R and founder of the Blues label Pointblank who has worked with everyone from John Lee Hooker and John Hammond to Isaac Hayes and Van Morrison. The album also features a wealth of hugely talented and accomplished musicians, including backing vocalist Kudisan Kai, former backing vocalist for the likes of Elton John, Chaka Khan, Anita Baker, Natalie Cole, Beck, Sting, Mary J. Blige and Jill Scott. Also present; Grammy winning keyboardist Jon Gilutin, who has spent years working with some of the industry’s most respected and iconic artists including Linda Ronstadt, James Taylor, Lady Gaga, Willie Nelson, Aretha Franklin, Diana Ross, Jackson Browne, Celine Dion, Bonnie Rait and Carole King. You’ll also hear the talents of acclaimed guitarist Michael Toles. Most well-known for being a part of the Stax Records group The Bar Kays, and for his contributions on famous records by Issac Hayes, Al Green, BB King, Johnny Taylor, Rufus Thomas, Albert King to name just a few.

Dakota Jones are a rising funk, soul and blues rock band from Brooklyn, New York City. Comprising of Tristan Carter-Jones (vocals), Scott Kramp (bass) Steve Ross (drums), and acclaimed musician Randy Jacobs (guitar) - former member of Was(Not Was) who has recorded for Seal, Bonnie Raitt, Tears for Fears, Elton John and many others. Though Carter-Jones and Ross first met in 1999 whilst at primary school, the band formed years later following a series of home jam sessions in 2016. The band’s collective alias originates from Carter-Jones’s middle name, ‘Dakota’. Dakota Jones have since released a string of acclaimed singles and EPs as well as received international attention for their track, ‘Have Mercy’ after it featured on Netflix’s 2019 film, Always Be My Maybe starring Ali Wong and Randall Park – and now after years of hard work and determination, the band are finally set to reveal their long awaited debut album. “We’d been regularly releasing EPs, waiting for our chance to come, and wondering what that would look like,” says Carter-Jones. “We didn’t realise until we started making this record that we needed to stop waiting for some break to come along, and just do it ourselves, independently.”

“Black Light really dives into a place of funk soul and everything that comes with it. There’s joy and dancing, sleek guitar licks and funky bass slaps. There’s pain and longing, and there’s the feeling of relief when you come out of that place and find your joy and purpose again. Black Light is my story.”

German DJ and producer Marc Brauner returns to the Killer Cuts series which he kicked off for Shall Not Fade back in February, sharing five tracks of hard pumping house to lose yourself in.

Patience EP starts as it means to go on with "Your Heart"; a hot cut of anthemic earworm organ house that doesn't hold back on the summertime rave nostalgia. Brauner explores 2-step on searing A2 "Optimist" which is riddled with deep house energy and a syncopated bassline that'll put a swing in your step.

"Be Patient" channels how we have all been feeling this past year waiting for the return of the dance; it carries Strictly Rhythm influence and a prescient vocal motif. The record closes but doesn't fade away, ending with "Faster", where momentous uplifting synth stable tumble forwards to great effect. The digital bonus track is "In Love", another playful, hypnotic bassline complimenting the consistent feel good vibes.

Maisie Peters treated fans to their first taste of ‘You Signed Up For This’ earlier this year with ‘John Hughes Movie’. The track soared to No. 1 on iTunes the weekend of release, was playlisted across BBC Radio 1 and 2, and has been streamed over 11.5 million times globally to date.

Revered for her songwriting, Maisie has spent the past three years honing her craft in sessions across London, LA and Nashville, creating songs for ‘You Signed Up For This’ alongside the likes of Ed Sheeran, Steve Mac, Fred again.., Johnny McDaid, Miranda Cooper, and producers Joe Rubel (Tom Grennan, Benjamin Francis Leftwich), Afterhrs (Niall Horan, GRACEY), Rob Milton (Easy Life, Holly Humberstone) and Brad Ellis (Jorja Smith, Little Mix).

Impressively, ‘You Signed Up For This’ is Maisie’s second full length release in the space of three months, as she recently became one of the youngest musicians in history to write and curate a soundtrack for the second season of Apple TV+ Original Series, ‘Trying’, at only 20 years old. Written in just two months last winter, the stunning body of work includes duets with her friends and favourites, including Griff, James Bay and Bear’s Den.

With her knack for transforming everyday experiences in to vividly written diary-style songs, ‘You Signed Up For This’ is both Maisie’s coming of age story and a love letter to girlhood; penned with the wit, charm and quiet confidence that has seen her ascend from busking on the streets of Brighton, to recently making her US TV debut on The Late Late Show with James Corden. Transporting us directly in to her world as she navigates from small town teenager to adulthood, there’s a universal sense of familiarity and nostalgia as she shares memories of blossoming relationships (‘Outdoor Pool’, ‘My Elvis Song’), being played (‘Boys’, ‘Volcano’), heartbreak (‘Tough Act’, ‘Villain’), and first holidays with her twin sister (‘Brooklyn’).

"Best Western" ist Rudi Maiers aka Burkini Beach Nachfolger zum umjubelten 2017er-Album "Supersadness Intl.". Produziert ist das Album von Simon Frontzek aka Sir Simon, mit dem Rudi Maier in den letzten Jahren ein Produzenten-Duo bildete und am gleichen Tag sein Album "Repeat Until Funny" veröffentlichen wird. So ergibt das die völlig unerwartete und umso mehr willkommen geheißene Wiederkehr gitarrenbasierter Songs, die mit vielen befreundeten Musiker*innen wie Thees Uhlmann, Marlene Weber (Little Big Sea) Sven Regener, uvm. im gemeinsamen Kreuzberger Hinterhofstudio entstanden sind. Es klingt wie Bright Eyes mit einem zünftigen Schalk im Nacken oder Arcade Fire in ihrer Discophase, nur ohne das lästige Sendungsbewusstsein.

LA-based rockers The Bronx return for their sixth studio album 'Bronx VI' which comes out worldwide on Cooking Vinyl August 27th. Bronx VI builds on the legacy The Bronx has established in its near two-decade existence, but which definitely proves the door to what’s next has not just been kicked down, but chopped up and burned to a cinder. Yes, the first four tracks – “White Shadow”, “Superbloom”, “Watering The Well” and “Curb Feelers” – bristles with the wild and untamed energy that’s defined the band from the off, but then – all of a sudden, as “Peace Pipe” kicks in – the pace and mood shifts to something a little less aggressive. Elsewhere, “Mexican Summer” and its (relatively) chilled-out mariachi vibes serve as an homage to the band’s alter-ego, Mariachi El Bronx (and was written while that incarnation of the band was on tour), while fatalistic closer “Participation Trophy” masks the Caughthran’s existential dread behind searing riffs and a catchy, defiant and exuberant melody. “The feelings I got when writing for this sixth record is the same type of feeling I got writing “Heart Attack American”. It all comes from the same place and it’s all still 100% genuine and real. Believe me – I’m still feeling the raw emotion that I felt when this band first started. That’s just who I am, that’s who we are as people. You can’t fake stuff like that when it comes to music or art. You have to stay connected. You’ve just got to be real” - Matt Caughthran, vocalist. Bronx VI was produced by Joe Baressi (Melvins, Tool, Bad Religion).

Demon Records presents the narrated TV soundtrack of a ‘lost’ four-part adventure set in ancient
Greece, starring William Hartnell as the Doctor.
When the TARDIS lands on the plains of Asia Minor, not far from the walled city of Troy, the
Doctor is hailed as the great god Zeus. He’s enlisted by the Greek army – led by Odysseus and
Agamemnon – to come up with a strategy for defeating the Trojans. With his companions already
prisoners of the opposing side, the Doctor draws his inspiration from the legend of a certain
wooden horse…
Presented across two 140g vinyl Trojan Sunset splatter discs, this 1965 TV soundtrack – no
episodes of which survive as film recordings - is narrated by Peter Purves, who co-stars as the
Doctor’s companion Steven, with Maureen O’Brien making her final appearance as Vicki. The
guest cast includes Max Adrian as King Priam, Barrie Ingham as Paris, Frances White as Cassandra
and Ivor Salter as Odysseus. Incidental music is by Humphrey Searle, and the familiar strains of
the Doctor Who theme are courtesy of the BBC Radiophonic Workshop.
The coloured LPs are presented in a gatefold sleeve with fully illustrated inner sleeves. Original
episode billings, and full cast and credits, are included.
Dummedy-dum, Dummedy-dum, Dummedy-dum, Dum-dum…

As GospelbeacH continues to work on the follow-up to their third and most successful studio album LET IT BURN (2019) they are back to raise the vibrations and celebrate the good times with a little
detour through the past.
With the founding of CURATION RECORDS Chief Curator and GospelbeacH leader Brent Rademaker found himself surrounded by a room of over 1,200 60s/70s Glam Rock/Bubble Gum/Sunshine and Power Pop 45s owned by his record label partners.
Back in Mono Deluxe studios with his GospelbeacH brother Jonny Niemann
at the production controls they enlisted the well-seasoned and in-demand
rhythm section of Bob Glaub and Don Heffington that had worked with their
dear departed guitarist Neal Casal on his solo albums as well as Los Angeles
heroes Warren Zevon, Jackson Browne, Don Henley, Lone Justice and even
Sprinsgteen and Dylan.
Adding the Sunshine harmonies once again Nelson Bragg from the Brian Wilson/BeacH Boys Band.

Only Up is the second Breeze album by producer and artist Josh Korody
(Nailbiter, Beliefs).
Enlisting a whirlwind of performances from Tess Parks, Cadence Weapon and
an array of the Toronto music scene, including members of Orville Peck, Tallies,
Vallens, Zoon, Sauna, Fake Palms, Rapport, Praises, Civic TV, Moon King, Blonde
Elvis, For Jane, Ducks Ltd, TOPS and Broken Social Scene. Only Up sees Korody
digging through and channelling three decades of anthemic British bands.
From the angular guitars of late 70”s post-punk (Gang Of Four, Wire), to the
lush gloom of 80’s electro-pop (Tears for Fears, OMD), with the dance floor
psychedelia of the Manchester sound (Primal Scream, Happy Mondays), and
through the late ‘90s and early 2000s post-punk / new wave revivalists.
When originally tasked with making this album, Korody and his long time music collaborator Kyle Connolly (Orville Peck, The Seams) quickly threw down
ideas in a session, however with Connolly embarking on a world tour, and with
Korody’s demanding schedule at his Candle Recording Studio, the project sat
unattended.
Somehow, by the time of the album’s delivery deadline, Korody not only orchestrated a creative ensemble of friends and collaborators, he wrote, recorded and mixed the entirety of the album in two weeks without a single regret
or compromise.
“It was the best way I could have done it. A strict deadline to make decisions,
move on and focus on things that matter the most. Every decision was made in
that headspace. The ease of technology to endlessly tweak with, it sometimes
can end up destroying records until there is no soul in it, no happy accidents
and it’s completely sterile. You can have a well produced record without going
down that dark rabbit hole.” Only Up is out via Hand Drawn Dracula.

Rage, confusion, despair, self-deception, and introspection Madi Diaz cycles
through the full spectrum of emotions on History Of A Feeling,
her debut on ANTI-.
It’s an album that undeniably marks Diaz’s status as a first-rate songwriter, a
craft she’s spent years refining, and one wherein Diaz establishes herself as an
artist capable of distilling profound feelings with ease.
Diaz pulls from a range of folk, country, and pop leanings she is as much influenced by Patty Griffin and Lori McKenna as she is the sonics of PJ Harvey
and directness of Kathleen Hanna. On History Of A Feeling, the Nashville based
songwriter comes to terms with the dissolution of a meaningful relationship.
By the end of it, she wills herself into a self-reflective state where she doesn’t
hate herself for being so heartbroken.
The songs on History Of A Feeling, are the most direct and introspective songs
Diaz has ever written. In the few times she’s gotten to perform them live in
front of an audience, Diaz describes the experience as one where she feels
acutely present even though she’s singing about emotions that started to take
root years ago.
It’s relatable to anyone who has experienced heartbreak and great change in
some manner, and this profound sense of intimacy and camaraderie she seamlessly weaves into the songs was important to her.
“I wanted it to sound conversational, like I had just walked over to your house
and we’re sitting and at the end of your driveway talking just like we’re hashing it out in the same way that you’d call a best friend at one in the morning
because you needed to talk about what just happened.”

The product of their fading seaside-resort hometown of Littlehampton, Gloo speak for the timeless day to day drudgery and angst; a rhapsody to lives gone stale, the band's pop laced punk rock is the perfect soundtrack to those in need of a little 21st Century escapism. 'Ride' and 'Down' are the latest tracks taken from Gloo's upcoming second album 'How Not To Be Happy', recorded with Jag Jago (The Maccabees, Jamie T, Max Raptor) across the summer of 2020, in-between local lockdowns.

Birgit Minichmayr captures the imagination and holds centre-stage on
‘As An Unperfect Actor: Nine Sonnets by William Shakespeare’. This
won’t come as a surprise to people in the German-speaking world,
where the Austrian actor is well-known from countless appearances on
TV and a substantial filmography. Perhaps equally unsurprising is the
deep experience she can bring to Shakespeare: as an ensemble
member of the Burgtheater company in Vienna, she has repeatedly lived
out the searingly dramatic lives of the Bard’s characters, notably the
daemonic anger of Lady Macbeth, the sadness of Ophelia and even the
uncomfortable truths of the Fool in King Lear.
What might be more of a surprise, however, is the exhilarating musicality
she shows on this, her first complete album as a vocalist. One could
have predicted the crystal clarity, meaning and intent in her words - the
desolation in her voice in “the very birds are mute... the leaves look pale”
in Sonnet 97, for example. And yet there is more, much more, not least
Minichmayr’s uncannily instinct to find artful and felicitous ways to shape
musical phrases.
Composer/ pianist Bernd Lhotzky has provided a wonderful array of
musical contexts. As Minichmayr says: “He got so deep into the meaning
of each sonnet, his music made it different every time. And we talked a
lot about the colour, the meaning of each poem.” The opening track, ‘My
Mistress’ Eyes (Sonnet 130)’ is a masterfully deft piece of gender-fluid
irony. In the poem, a man is describing possibly the ugliest woman he
has ever seen - while also declaring that she is the one he loves.
Lhotzky gives us an acerbic version in that most male-led of dances, the
tango, complete with bandoneon, in which the words are sung by... a
woman. Minichmayr then gives a masterclass in how to end a song as
she hits, holds and nails the words “false compare” with triumphant
fearlessness.
Throughout the course of the album, we are magically transported to
new musical and emotional places. As Minichmayr says: “Through
singing, through just doing it, I was able to find deep love, or deep
sadness. I was really touched by it.”
One of the secrets to this album’s success is Lhotzky’s wish to find
melodies which have a certain ease and straightforwardness about
them. He says that he approaches all music - whether he is listening to it
or writing it - with one simple and direct question: “What story is this
telling me?” Lhotzky is known for his work in the field of early jazz, but
the range here is far broader, with allusions to such examples of fine
songwriting as Brassens, Robert Plant and James Taylor.
LP pressed on 140g black vinyl.

From the cosmos of Stretford on the outer realms of Manchester comes the kaleidoscope view of the world according to Psychederek and it's an explosive trip of shoe gaze soaked balearica.

Lead track Screamadereka heads straight into orbit from the get go with a stop off to thank the likes of The Cocteau Twins & Death In Vegas for their influence along the way. Huge drums, spaced out synths, warped guitars & a fully charged love in style vocal all wrapped up in a mushroom flavoured microdot with a pretty empowering finale.

I'm Alright steps up the ante a bit more and goes all Tomorrow Never Knows on us but with added warehouse acid squelch & rasps throbbing out from a beat that is broken (but not break beat!) whilst still retaining the psychedelic tendencies of its predecessor.

Sean Johnston steps off the ALFOS rocket ship and joins forces with Duncan Gray for their Hardway Bros Meet Monkton Disco Dub take of Screamadereka and the result is a hive of cosmic mutant disco brilliance whilst Manchester's finest 6 piece See Thru Hands turn I'm Alright into bombastic focused UKG style wig out duet complete with new vocal takes by DNCN for seriously wonky floors & like minded souls.


Includes beautiful insert artwork by Emma Evans

Music From Memory are excited to introduce another new group for 2021, this time presenting the self-titled debut album from Loveshadow.

Currently based in San Francisco, the duo of Anya and Izaak initially met whilst working in an Oakland cafe in 2016. The two Californians quickly bonded over a track by the ’80s disco band Aurra which was playing over the radio and almost immediately their separate journeys in music became interwoven. They soon began to write music and creating their own work would become a way for the pair to get closer to the sound they were searching for, as well as enabling them to discover the healing power of making and listening to music.

‘Loveshadow’ was recorded predominantly in the Bay Area between 2017-2020 as well as whilst traveling to NYC, Chicago and around Portland. Having released previously as the outfit ‘S Transporter’ alongside Detroit friend Ryan Spencer, Loveshadow is formed of Anya as singer and song writer alongside Izaak on synthesizers, bass and percussion. This eight track album is the duo’s first release; exploring emotive Pop and DIY Funk leanings it stands as a joyful homage to the music they bond over, as well as an ode to their own love and friendship.

Following “La Contra Ola” (BJR015), Bongo Joe presents 'La Ola Interior', a compilation exploring the ambient side of the Spanish electronic music produced in the 80’s, bringing together 19 little-known and innovative pieces from the golden age of Spanish electronic music !

It gathers musicians from various horizons and of many generations, who shared the desire to create an immersive soundscape and to combine electronic music with non-Western musical traditions. As a general rule, the Anglo-Saxon tropism did relate the spanish peninsula’s ambient music to the Balearic Sound, that is to say to the relaxing music played in Ibiza’s nightclubs. But this music takes place in the productive territory of experimental musics, and particularly in its two main breeding grounds: the tape recording underground and the independent musicians-producers scene.

Inseparable from the processes of self-publishing, distribution and exchange of music that were then taking place in Spain in an artisanal way, the vast underground movement of cassettes was divided between an "ethno-trance" combining industrial beats and oriental sounds on the one hand (Esplendor Geométrico, Miguel A. Ruiz / Orfeón Gagarin) and unclassifiable low-fi tinkerers on the other hand (Camino al desván, Eli Gras, Mataparda, Victor Nubla). Hyperactive, this scene is radical and strongly dominated by the hardest musical styles, but the ambient, influenced by the German Kosmische Musik and "krautrock", also develops here.

The second vein of Spanish ambient comes from some of the independent labels of the peninsula (DRO, GASA, El Cometa de Madrid, EGK) whose activity will mark the return of some of the most adventurous musicians-producers of the 70s. Some were influenced by American minimalism (Luis Delgado / Mecánica Popular, Suso Saiz, Javier Segura), others by Fourth-World Music conceived by Jon Hassell and Brian Eno (Finis Africae, Jabir). Having passed through folk, ancient, traditional or contemporary music, and being familiar with improvisation and studio techniques, these artists come from a mutant hippie culture, capable of phagocyting many musical styles from electronic ambient to ethnic improvisation and modal jazz.

These two scenes and generations that make up LA OLA INTERIOR intersect around a common interest in non-Western musical traditions. Their exploration may be that of the tribal origins of electronic rhythms or the Arab heritage of Spain. Above all, it is a dreamy exoticism, an immobile journey as the sounds, rhythms or instruments of these traditions are scrutinized by Western practices (avant-garde music, electronic technology). The result is a hybrid music, filtered and reinvented, neither Western nor extra-Western, with a pronounced taste for the fusion of opposites, which we have called "Acid Exoticism" because of its permanent search for trance or contemplation. Atmospheric, contemplative and serial, these musics still plunge us today into a sensorial journey, at the same time interior and distant, organic and technological, between exotic reminiscences and interior visions.

Produced by Gary Paczosa (Alison Krauss, Dwight Yoakam, Gillian Welch), Ferrell's Rounder debut, Long Time Coming, due August 20, features a stellar line-up of musicians, including country royalty like Chris Scruggs, Billy Strings, and her long-time collaborator Nathan Leath (a fiddle player she first met at the American Legion Post 82's Honky-Tonk Tuesday). Growing up in West Virginia, the singer/songwriter/multi-instrumentalist left home in her early 20s to journey across the country with a troop of wandering musicians. After years of living in her van and busking on the streets of New Orleans and Seattle, Ferrell moved to Nashville and started landing gigs around town. Soon enough, her magnetic live show drew the attention of Rounder Records, who signed Ferrell in 2019.

Bored At My Grandma's House is the moniker of 19-year old Leeds-based Amber Strawbridge, starting out as an exercise in passing time when she was quite literally bored at her Grandma's place. First single & EP opener 'Showers' is about time alone & listening to your mind - “Do you ever think of showers as like a new beginning?“ is a poignant opening line, about that therapeutic space for you to really think and let your thoughts surface. In Amber's own words "showers are a kind of therapy in my opinion, they give you time to reflect and think without influence from anything external."

Born in Whitehaven, Cumbria to musical family, and raised on the likes of Bowie & Pink Floyd there was always plenty of opportunity to mess around on the various instruments lying around the house. Attempts at proper music lessons went awry as Amber shunned the rules & rigidity, and so instead she gradually taught herself piano, guitar & drums. After time travelling in Cambodia, teaching English & helping with projects in various villages, Amber stayed with her Grandma & began to use the aeons of spare time to make tunes on Garageband & upload them to soundcloud. As a wave of BBC Introducing support rolled in, coupled with a move to Leeds to study music, the bedroom set-up evolved & a full EP began to take shape.

Playing all the instruments & self-recording most of the EP at home, Amber took the tracks to Alex Greaves (Working Men's Club, Bdrmm) at the Nave studio for live drums & some final mixing flourishes, leaving an EP full of lo-fi charm but with a studio feel.  Inspired by Slowdive, Wolf Alice & Alvvays, Sometimes I Forget You're Human Too showcases Amber's singular vision of indie-pop, on an EP that deals with topics like humanity, nostalgia & the current refugee crisis.

Speaking on the EP title Amber says "Sometimes I forget you’re human too is the realisation that everyone is the same. In the sense that we are all human, everyone has issues and problems to face, everyone makes mistakes and has success. I used to compare myself to others a lot and think ‘wow they have their life together’ or ‘how are they so happy all of the time’ but that’s not the case it’s just what you can see on the outside ...so it’s kind of an EP of self assurance and reminding myself that it’s ok to not have it together all the time because no one does as we’re all just human after all"

The EP is just the start for Bored At My Grandmas House "I’ve already got a few tracks which I’m thinking could be potentially for an album, I’d definitely like to do a bigger project next and have the sound I’d like in mind. I’ve recently just got a band together so hopefully when live shows are resurrected I’ll have a few of those!" 2021 is looking to be anything but boring for Amber Strawbridge.

The second volume of music from the hit Fox TV show ‘Bob’s Burgers’. The Emmywinning, top-rated show was named one of the 60 Greatest TV Cartoons of All Time
by TV Guide.
In addition to the show’s cast, the album features high-profile guests including Adam
Driver, Tiffany Haddish, Jenny Slate, Daveed Diggs, Max Greenfield, Toddrick Hall,
Aparna Nancherla and Matt Berninger (of the National).
The ‘Bob’s Burgers’ audience is wide-ranging: strong performance with 15-25 year
olds, median viewing age of 37, 35 share among males 35-54 and a 16 share of
females in the same group.
Campaign will include promotion from the cast and show production team.
‘The Bob’s Burgers Music Album Vol. 2’ includes nearly every single musical morsel
from Seasons 7 through 9.
This 90-song smorgasbord will feature the Belcher family - Bob (H. Jon Benjamin),
Linda (John Roberts), Tina (Dan Mintz), Gene (Eugene Mirman) and Louise (Kristen
Schaal) - as well as the show’s numerous recurring and special guests.
For fans of the show, enjoying the music of Bob’s Burgers on its own is both an
irresistible to-go bag and ultimately a world unto itself. Lose yourself in the strangely
epic disco celebration ‘Hot Pants Rain Dance’, sing along with the musical theatre
gem ‘The Wedding Is My Warzone’, or do whatever you’re gonna do to ‘Sexy Little
Tiger’ but don’t miss ‘The Bob’s Burgers Music Album Vol. 2’.

In James McMurtry’s new effort, ‘The Horses and
the Hounds’, the acclaimed songwriter backs
personal narratives with effortless elegance
(‘Canola Fields’) and endless energy (‘If It Don’t
Bleed’).
This first collection in seven years spotlights a
seasoned tunesmith in peak form as he turns
toward reflection (‘Vaquero’) and revelation (closer
‘Blackberry Winter’). Familiar foundations guide
the journey. “There’s a definite Los Angeles vibe to
this record,” McMurtry says. “The ghost of Warren
Zevon seems to be stomping around among the
guitar tracks. Don’t know how he got in there. He
never signed on for work for hire.”
‘The Horses and the Hounds’ is a reunion of sorts.
McMurtry recorded the new album with legendary
producer Ross Hogarth (Ozzy Osbourne, John
Fogerty, Van Halen, Keb’ Mo’) at Jackson
Browne’s Groovemaster’s in Santa Monica,
California. Hogarth recorded McMurtry’s first two
albums - ‘Too Long in the Wasteland’ and
‘Candyland’ - and later mixed McMurtry’s first selfproduced album, ‘Saint Mary of the Woods’.
Another veteran of those three releases, guitarist
David Grissom (Joe Ely, John Mellencamp, Dixie
Chicks), returns with some of his finest work.

Maybe We Never Die, Anderson East's third release for Elektra/Low Country Sound takes the Alabama born, Nashville-based singer-songwriter’s seductively vintage voice in a decidedly fresh direction. The 12 tracks flow together with an overarching sense of ambience but maintain distinct musical boundaries. The energy toggles between a hunger for vulnerability in togetherness and a clinging to solitude as a romantic self-defense. There is consternation with the speed and volume at which the world operates and solace to be found in the simple act of getting up and going. And the beguiling title track, with its woozy strings swirling around East’s celestial falsetto as it curls towards the ceiling like smoke is, as they say, a whole mood; a sense of a single night’s dusk-to-sunrise contemplation. Collaborating once again with Dave Cobb along with longtime bandleader and now co-producer Philip Towns, East has found an enticing new avenue, one that maintains a connection to his past but keeps his eyes on the road ahead.

Maybe We Never Die is East's first new music since 2018's breakthrough album, Encore, which featured the Grammy-nominated #1 AAA radio single, "All On My Mind." Heralded by critics, The New York Times praised Encore as, “…an often lustrous revisiting of raucous Southern soul, rousingly delivered and pinpoint precise. He has a voice full of extremely careful scrape and crunch, but his howls never feel unhinged," while Rolling Stone declared, “On Encore, East’s influences meld seamlessly, stacking the album with Stax-worthy R&B grooves, gospel-blues ooohs and aaahs, surging keys and blasting brass.” Known for his magnetic live performances, East and his band have performed sold-out shows worldwide and have been featured on ABC's "Jimmy Kimmel Live!," CBS' "The Late Show with Stephen Colbert" and "CBS This Morning Saturday," NBC's "TODAY" and "Late Night with Seth Meyers," PBS' "Austin City Limits" and more.

TRAMPOLENE’s third album ‘Love No Less Than A Queen,’ through the
Strap Originals label, features 12 brand new TRAMPOLENE original songs
and was produced by Mike Moore (Baxter Dury/Liam Gallagher), Richard
Jackson (Super Furry Animals) & Jason Stafford (Albion Rooms) and mixed
by Dave Emery (Arcade Fire/Elbow).
Says TRAMPOLENE main man Jack Jones: “The album was a way of me summing up my life so far. It made me search into myself and understand that life
really is a gift after all and that being at peace isn’t wrong or something you
don’t deserve and it actually makes things better that way.”
The album features all five singles including ‘Shoot The Lights,’ ‘Oh Lover,’
‘Come Join Me In Life,’ ‘Gotta Do More Gotta Be More’ and ‘Uncle Brian’s Abattoir’ (featuring Peter Doherty).
Jack Jones is a spoken word poet, singer and songwriter. He moonlights as lead
guitarist in Peter Doherty & The Puta Madres. BBC Radio produced a documentary portrait of Jack Jones & TRAMPOLENE, entitled ‘Another Swansea Poet’ in
2019. Jack writes about everyday life, his upbringing, and offers his own social
commentary on the world.

LTD. BLUE SEAGLASS WAVE TRANSLUCENT VINYL

Last spring, Devendra Banhart and Noah Georgeson started to make a record that was like nothing they had made before _ an ambient album that would be both a haven from a suddenly terrified world and a heartfelt musical dialogue between two artists who have been friends and collaborators for over two decades. Refuge is an album of profound meditative beauty which offers the listener a much-needed sense of peace and renewal. But while it was recorded in 2020 its roots go back much further _ all the way to the start of their friendship and, beyond that, to the shared sounds and ethics of their childhoods. Devendra grew up in Venezuela while Noah, six years older, is a native of Nevada City, California. But as they got to know each other, they realised that they had a similar history in the New Age subculture of the 1980s: a world of meditation, Eastern music, the Bhagavad Gita and The Whole Earth Catalog. Childhood memories were coloured by the aromas of health food stores and the sound of New Age labels like Windham Hill Records. Noah, whose production and mixing credits include Joanna Newsom and the Strokes, came on board as co-producer of Devendra's 2005 album Cripple Crow and they have been working together ever since. It was while making Devendra's 2019 album Ma that the pair finally decided to make their ambient record. Despite complicating logistics, 2020 created an emotional craving for music with this contemplative, therapeutic quality. Inspired by both memories of the past and the needs of the present, Refuge is an act of companionship and generosity which gives the listener room to breathe. "We're hoping to create a sense of comfort and coming back to the moment," Devendra says. "It's really important to have a little bit of space between us and our anxieties and impulses. What you do with that space is up to you." Dorian Lynskey May 2021

For Indie Stores Only. Pressed on Sea Green vinyl, packaged in a deluxe tip-on jacket, and limited to 2,000 copies worldwide. The debut album by Joan Shelley pressed on vinyl for the first time. Originally released in 2012 and long-elusive to fans, Ginko is the starting point for Shelley, now revered for her songwriting, “dazzling poetic imagery” (The Guardian) and “radiant sense of calm” (NPR Music). Standout tracks “By The Ohio” and “Siren” show what is to come, while “Sure As Night” was her first collaboration with guitarist Nathan Salsburg

The Cold Stares will release their new album "Heavy Shoes" on August 13, 2021 via Mascot Records.
"Heavy Shoes" will be available on CD Digipack w/ 12 page booklet and 180 Grams Shiny Gold Vinyl w/ printed insert.
The great state of Kentucky is world renowned for many things. Bluegrass music? Of course. The smoothest, best-tasting Bourbon created by the hands of man? It doesn’t get any better. One thing that folks don’t always associate with Kentucky however is visceral, in-your-face rock and roll. The Cold Stares are determined to change that perception.
Chris Tapp and Brian Mullins have known one another for a long, long time. They grew up in Western Kentucky, just a stone’s throw from the border or Indiana, and attended different High School mere minutes down the road from one another. They originally started playing together in their early twenties before going their separate ways only to reunite in another outfit a decade down the line. “We were playing together in 2009 in another band that was doing really well,” Tapp said. “It didn’t work out, so we both kind of exited that band and contemplated retirement.” It didn’t take long before they were thankfully disabused of that notion.
That band is an intense amalgam of Led Zeppelin meets Free, Soundgarden meets Black Crowes; rock and roll wizardry where the riffs are hard, the vocals are searing, and the low end is capital “H,” heavy. Most of the album was recorded in a single day at Sam Phillips fabled recording studio in Memphis. “That’s our second record there, so there was a lot of familiarity going back in,” Mullins said. “The thing about that studio is that it’s old, and vibey. Sometimes you gotta bang on the gear a little bit to make it work. It’s kinda like the Millennium Falcon. It’s badass, but you just gotta get it running right.”

‘Heavy Shoes’ is Cold Stares’ best record yet, and they know it. It took a lot of blood, sweat, tears and doubt before Chris Tapp and Brian Mullins reached this moment, but it’s all the sweeter knowing they did it their way. “We’ve been through some tough times, and I’d say our band is a pretty good representation for blue collar people in general. People that work hard. We’re just a blue-collar American rock and roll band.”

Paper Birch is a collaborative experimental noise rock duo formed by Fergus Lawrie (Urusei Yatsura) and Dee Sada (NEUMES / An Experiment On A Bird In The Air Pump) in May 2020. United by mutual feelings of despair, fragility and hope, they passed ideas and sounds between London and Glasgow whilst the UK was in lockdown. The resulting 9-track debut LP morninghairwater is set to be released on vinyl, CD and digital. A melting pot of genres, morninghairwater twists and turns through moments of 60’s inspired
indie-pop, fuzzed out angular shoegaze and glitchy electronic soundscapes with astonishing ease. This album draws not only on the influence of both Lawrie and Sada’s individual back catalogues but which at times echoes with everything from Heavenly to Joy Division. The album also marks the beginnings of a collaborative relationship with renowned visual artist, Thomas James who has created thrilling films for Ghostpoet, Paloma Faith and most recently, The English National Ballet. Whilst morninghairwater may be a product of the universally challenging time in which it was recorded, the duo has already started work on their second album and Paper Birch looks set to be an enduring fixture of the UK experimental scene. Press and radio coverage for Paper Birch “an intoxicating squall of noise pop” - God Is In The TV “Sada’s signature softly cooed atmospheric translucent vocals prove a congruous fit with Lawrie’s
deeper, more grunge-y despondency; sounding at times like Psycho Candy-era Jesus And Mary Chain in harmonious matrimony with Mazzy Star, or, the Pop Group hooks up with MBV” - Monolith Cocktail “mixing in disparate elements from classic 60s pop to glitchy electronica to transportative effect” – Joyzine “with a strong baseline and a sea of roaring guitar, a bit like The Pastels vs My Bloody Valentine (nothing wrong with that!)” - Is This Music “The texture is suggestive, the atmosphere hypnotic and the climate oppressive” - Sun Burns Out “A true jewel of modern and underground psychedelic pop” - Acute Pop

LTD. BLUE SEAGLASS WAVE TRANSLUCENT VINYL

Last spring, Devendra Banhart and Noah Georgeson started to make a record that was like nothing they had made before _ an ambient album that would be both a haven from a suddenly terrified world and a heartfelt musical dialogue between two artists who have been friends and collaborators for over two decades. Refuge is an album of profound meditative beauty which offers the listener a much-needed sense of peace and renewal. But while it was recorded in 2020 its roots go back much further _ all the way to the start of their friendship and, beyond that, to the shared sounds and ethics of their childhoods. Devendra grew up in Venezuela while Noah, six years older, is a native of Nevada City, California. But as they got to know each other, they realised that they had a similar history in the New Age subculture of the 1980s: a world of meditation, Eastern music, the Bhagavad Gita and The Whole Earth Catalog. Childhood memories were coloured by the aromas of health food stores and the sound of New Age labels like Windham Hill Records. Noah, whose production and mixing credits include Joanna Newsom and the Strokes, came on board as co-producer of Devendra's 2005 album Cripple Crow and they have been working together ever since. It was while making Devendra's 2019 album Ma that the pair finally decided to make their ambient record. Despite complicating logistics, 2020 created an emotional craving for music with this contemplative, therapeutic quality. Inspired by both memories of the past and the needs of the present, Refuge is an act of companionship and generosity which gives the listener room to breathe. "We're hoping to create a sense of comfort and coming back to the moment," Devendra says. "It's really important to have a little bit of space between us and our anxieties and impulses. What you do with that space is up to you." Dorian Lynskey May 2021

Reissued on vinyl almost 20 years after its release I Love Serge (subtitled electronica Gainsbourg) is released on July 9. The album tribute from the electro scene to Serge Gainsbourg originally released in 2001. This pearl is composed of remixes of emblematic titles by Serge Gainsbourg produced by the flower of the electro movement of the time. Reviews and Ads – L’Echo and London Macadam

Oneknowing is the debut artist album by acclaimed composer and producer Lena Raine, most recently known for her multiple award-winning soundtrack for the video game Celeste. Based in Seattle, Raine has been composing soundtracks for games and media for 12 years, her breakout momentcoming with her work on the classic PC game Guild Wars 2. Her most celebrated work, however, has come in the form of 2018’s Celeste soundtrack. A game based around themes of anxiety, self-examination and more, Celeste is considered by many to be the key indie game of 2018, and has won multiple awards for both game and soundtrack – something which Raine painstakingly developed in tandem with the game’s design since its first steps. A flagship year for Raine was capped off in December, where she performed live with soundtrack legend Hans Zimmer at The Game Awards, the video game industry’s flagship annual award show (Celeste was nominated for fourawards, and won two). Although she’s released several nonsoundtrack releases, both under her real name and her Kuraine alias, Raine considers Oneknowing her debut artist album - a 10 track set that ranges from distorted paranoia to ambient pop, brought together by the shimmering melodies that make her soundtracks so memorable. An album that draws from “personal experiences, important places, dreams and the lack of dreams”, Oneknowing’s tracks are also threaded together by Raine’s own vocals, sung in a language unique to the album and manipulated by the software Vocaloid. In Raine’s words, “I have nostalgia for my voice as it sounded when I was younger. I can't de-age my voice, but I was able to use software and tweak its settings to a point that it has a similar quality to my voice from backthen”. At times (‘Tsukuyomi’, ‘Light Rail’) her vocals lean towards traditional pop structures, while on tracks such as ‘Wake Up’, they’re repeated, chant-like, to create a hypnotic effect. As well as vocals and software, Raine plays rhodes piano, zither and various hardware synthesizers on Oneknowing, while Michaela Nachtigall contributes violin and viola to various tracks. A succinct but expansive record full of detail, Oneknowing represents Raine’s most personal and realised original material yet, while showing a different side to one of the most unique and accomplished composers of the modern era.

Since 2017 FSOL have released whats called Calendar albums, which are digitally delivered monthly tracks that form a twelve track album by the end of the year.

This release picks the best tracks from the last 4 years and brings them together in a seamlessly mixed fifty minute journey - eleven songs from FSOL, Humanoid and Synth-a



Engineered and mixed by Yage at FSOL's 9Lwest Studios.

‘Part I’ is the debut LP from Indigo, the moniker and ongoing project of Melbourne-based composer and arranger, Nick Roder.

The first release in what will be an ongoing three-part series, Part I features nine tracks for bass guitar and tenor saxophone. Part II, an exploration of a slightly larger, more sonically diverse musical world will feature string quartet and voice. Finally, Part III will collaborate with choreographer Siobhan McKenna, who alongside Nick will develop a percussive movement work that seamlessly intertwines with the musical work.

“My aim is to create music that is sonically and musically atypical whilst still belonging to an accessible contemporary scene. Each project, album or ‘part’ will set out to explore a single ensemble or group of instruments. In the case of Part I, that ensemble is hollow body bass guitar and tenor saxophone. “ - Indigo (Nick Roder)

The Indigo project itself was inspired by Saxophone & Bass Guitar by Sam Gendel and Sam Wilkes, which prompted Nick to write an album of music for the same type of ensemble. Having only just purchased a bass guitar for a different project, the instrument was still very new to him.

“I was curious to see what I would write with my self-imposed rule of not being able to overdub material, and further, how my limitations as a relatively green bass guitarist would influence the writing of the material. A strong focus on harmonic movement and melodic material was where I eventually found my happy place.”

The result is a phenomenal debut. Burrowing into the space between it’s sparse instrumentation and dulcet tones, Part I is the realisation of a minimalist and concise vision of what a symbiotic relationship between two instruments can yield.

About Indigo
Indigo is the moniker and ongoing project of Melbourne-based composer and arranger, Nick Roder. The Indigo project was conceptualised in 2020 and focuses on deep sonic exploration of little-heard ensembles in a contemporary space.

Since 2018, Nick has been composing soundtracks for video games including The Invisible Hand, Roadwarden, N1NE: Splintered Mind, This Dead Winter and Miska. Nick has also played in art-rock ensemble, Tulalah, exploring sonic textures, combining contemporary jazz/rock with chamber sounds. The modular ensemble released The Flood (Equinox Recordings, 2015) and The Question (Independent, 2017).

With over 2.5 million album sales and over 2 billion streams under his belt, Kid Ink returns to his indie roots with this first independent release in nearly 10 years. Following the success of his previous independent album Up & Away, as well as two highly acclaimed releases for RCA, Ink returns with his fourth full-length release, Alive. The record’s lead single "Night & Day" is already a staple of radio and across social media platforms. The Los Angeles-based Kid Ink has brought his distinct style to the musical landscape since 2010, combining a contemporary aesthetic with an indie flair, and the spirit of the underground. Across multiple studio releases and innumerable mixtures he effortlessly dances the line between club bangers and more insular, emotive material. This deft penchant for smooth rhymes and seamless flow can be found across Kid Ink's many Billboard-charting singles, including top 20 hits "Show Me" with Chris Brown, and a noteworthy guest turn on Fifth Harmony's "Worth It". He has previously collaborated with the likes of Meek Mill, YG, DJ Mustard, Tyga, Wale, Fetty Wap, Lil Wayne, Usher, and Ty Dolla $ign, among many more.

When unknown virtuoso guitarist Tosin Abasi released his debut solo album under the moniker ANIMALS AS LEADERS in 2009, few would have predicted the band's meteoric rise over the next two years. Although Abasi earned acclaim as the lead guitarist in the Washington, D.C.-based metalcore act Reflux, it was still a long-shot that an instrumental album of progressive metal with jazz, electronic and ambient flourishes would develop anything more than a cult following. With "Weightless," the group's sophomore effort, ANIMALS AS LEADERS is revered worldwide as a trailblazing pioneer of modern heavy music. The group's genre-defying compositions have earned extensive praise; Steve Vai called the band "the future of creative, heavy virtuoso guitar playing," and MetalSucks recently ranked Abasi #2 on their list of modern metal's top guitarists. Whereas the group's self-titled debut was a collaboration between Abasi and Periphery's Misha Mansoor, "Weightless" features the recording debut of ANIMALS AS LEADERS, the true band; Abasi (guitars), Javier Reyes (guitars) and Navene Koperweis (drums). After nearly two years of touring together, the trio wrote and recorded "Weightless" together in mid-2011, with Koperweis producing and Reyes mixing. The group debuted a new track, "Isolated Incidents," during their inaugural headlining tour that summer, which included sellout shows from coast-to-coast.

Hospital Records are extremely proud to present ‘Smile & Wave’, the
second studio album from drum & bass’ friendliest MC, Inja.
With the biggest smile on his face, the lyricist, vocalist, poet, artist and storyteller delivers
16 tracks, seamlessly weaved together through Inja’s infectiously feel-good flow and sincere
wordsmithery. The entire album was produced by Whiney, further cementing their relationship as one of the most untestable dance music pairings. Also featuring Charlotte Haining,
Eva Lazarus, DRS, Fox, Cleveland Watkiss, Singing Fats, and DJ Marky.
Album title track ‘Smile & Wave’ is the musical embodiment of Inja’s playful demeanour.
Known for being the world’s smiliest artist, Inja wrote and recorded this feel-good bouncer
alongside his daughter who is “pretty much the first person to hear anything” he’s up to
musically. Expect a rude bassline and infectious wordplay.
Teaming up with superstar singer-songwriter Charlotte Haining, ‘Reach Out’ sees two of the
most distinct voices in dance music come together over a bittersweet wobbler written about
times when you feel “so out of place, out of reach” in the words of Inja. Having worked
alongside an impressive array of electronic artists including Hybrid Minds, Sub Focus, My Nu
Leng and Friction, Charlotte’s delicately powerful hooks are the perfect counterpart to Inja’s
heartfelt flows.
Luscious pads and dubbed out pianos and guitars set the scene on ‘Baby Angel’ featuring the
worldwide wave-maker Eva Lazarus who returns to Hospital Records for the first time since
featuring on Etherwood’s ‘Light My Way Home’ back in 2015. Having worked alongside staple
figures including Mungo’s Hi-Fi, Zed Bias and Gentlemen’s Dub Club, Eva infuses her reggae,
hip-hop and jungle flavours alongside Inja’s humbling storytellings.
Inja’s “personal favourite to perform live as it smashes every and any system”, ‘Explode’, is a
140BPM anthem featuring flows that will ignite any room and a killer instrumental that will
have you bobbing no questions asked. Proving himself to be a versatile and skillful microphone controller, Inja’s ability to shell down any tempo is ever more apparent on this upfront
banger.
Three legendary MCs unite on ‘Hands, Lights, Flames, Phones’ where Inja joins forces with
two of Manchester’s very finest - DRS and Fox. Sharp lyricism is rife as the triple threat of
three titan wordsmiths link up, seeing energetic bars bouncing off each other over a cold-cut
drum & bass roller. This is a combination not to be tested.
Inja has established himself as a pinnacle figure within the realms of drum & bass. Loved for
his ability to express his thoughts into honest, relatable lyrics in ‘She Just Wanna Dance’, a
spoken word piece for Amnesty International that was a viral online hit in 2017, and more
recently switching it up to ‘We Just Wanna Dance’ during the UK lockdown, expressing his
desire to be reconnected with ravers again. Then picked up by BBC News and Sky News.
On top of being the MC of choice for drum & bass powerhouse group Kings Of The Rollers,
Inja is no stranger to tearing things up on the airwaves with support from the likes of DJ
Target, Rene LaVice and Danny Byrd on BBC Radio 1 over the years. Since his debut ‘Blank
Pages’ album on Hospital Records in 2018, Inja has flourished as a multi-talented MC, vocalist, singer and songwriter with a series of singles including the Beatport Drum & Bass charttopper ‘Game Face (Stay Alert)’ alongside Whiney, as well as the infamous ‘Lumberjackin’’ on
Serum’s Souped Up.
"To all the supporters that enjoy anything I’m a part of, I would never have had the opportunities to see as much of the world as I have without you. My gratitude has no bounds and I’d
love to share a smile with you all one day.” - Inja

The internationally renowned alternative Bluesman, famous for his outrageous one-man live show and songs featured in Breaking Bad (plus many other soundtracks), has now brought his blues growl and rough sound up to peak industry production and style...of around 1974.
This album sits style-wise alongside the greats of the genre: Tom Waits, Randy Newman, Dr John. It also has the unmistakable blues harmonica, voice and wit all his own.
Fans also purchase Seasick Steve, Jon Spencer , and other alt-Blues recordings.
Son Of Dave is a unique genre bending 21st century Blues innovator who has been bringing his 9+ albums and shows to modern generations internationally over two decades and selling over 20,000 hard copies, 50,000 DD, and streaming 3 million annually.
UK PR has secured radio plays at BBC6Music, BBCRadio2, Jazz FM, RadioX Canadian PR has secured charting college station support and national CBC plays.
UK autumn tours include dates supporting Sleaford Mods (not your average blues circuit) 2020 and 2021 singles were playlisted at Spotify curated Nu-Blue, Bluestronica and other alt-Blues type playlists.
Former member of multi-million selling Crash Test Dummies all through their heyday
Has been chosen support for Iggy & The Stooges, Supergrass, Rag&Bone Man,
John Spencer, UB40 and many more. Not the same old Blues in other words.
A very long list of achievements.

Joshua is the follow-up album to Olympic. While the second album, typically, often shows what critics call “maturity”, here Simon has released instead an album of adolescence. The musician opened up his own memory box to contemplate his childhood souvenirs, and dust them off of all nostalgia. At that time, he would VHS-record movies from TV and tape record soundtracks directly from the TV speaker, so he could listen to them in his bedroom. This is when he “discovered the power of music, the way it makes you enter another world, far from reality. I wanted to pay tribute to the era I shaped myself in – the ’80s and ’90s”. Tangerine Dream, Kraftwerk and Soft Machine. Logically, these are the sonic signatures that seem to haunt the album. The timeless pioneers of synthetic music constitute the sound references, without any established chronological timeline, that blend with the atmosphere of typically “French Touch” movie soundtracks – long before the term was even coined. “I use a musical palette that acts as a flashback to my favourite teenage movies: the synth sounds of Close Encounters of the Third Kind; the synth pads in Jean-Jacques Cousteau’s fascinating documentaries about the sea world; the melodies in the manner of François De Roubaix; the themes that evoke the soundtracks of late-night TV sessions (those by Verneuil, those with Belmondo, Depardieu, etc.); and the sci-fi ambiences like in Blade Runner.” In short, an aesthetic was decided on by Simon very early on: French analog synths instead of North American symphonic orchestras.

The name Joshua has two meanings for French 79: one is linked to the idea of nostalgia, the other to adventure. On the one hand, the computer in the 1983 movie Wargames, and on the other, the boat of French sailor Bernard Moitessier.

The track titled Joshua synthesizes the spirit of the album – an odyssey, a neverending crossing of the world in search of oneself, a spontaneous escape into the future, under the benevolent eye of the past. This epic invites everyone of us to a specific place in our imagination, which is also the source of an indescribable pleasure for French 79: a gust of wind, a sailboat ride, a skateboarding trick, the smell of freshly fallen snow, or the dull roar of an impatient audience.

The same aesthetic preferences are found in the videos that illustrate Joshua’s first tracks: for Hold On, the skateboarder chose to recall the cult ’90s skate videos that he would watch on repeat as a teenager, while Hometown hints at Close Encounters of the Third Kind. Although he now calls Marseille home, Simon continuously draws with passion from the anachronic contemporaneity of his childhood in the Eastern French region.

“I need escape to be able to create. A two or three-day sailing trip gives me enough inspiration to lock myself in the studio for a week when I’m back on dry land.” His boat takes him far away from everything, far from the Old Port where she moors, the rest of the time Simon would escape by walking the streets of his city or climbing the Alpine mountains.

Not only does the new version French 79 reveal a few biographical pieces of Simon henner's history, but it also inaugurates the first vocal track for the musician. One feels a guilty pleasure when hearing him take the lead on the first track, The Remedy. The electronic fugue that opens the album sets the tone: Simon has found the cure for his inner turmoil and wants us to discover our own treatment too. Hold On is a sonic explosion that celebrates the feeling of freedom - what's more of a teenage dream than this feeling - and it eventually command one to feel the same way too. Echoing Olympic, the electronic argonaut invites his muse again, singer Sarah Rebecca. On By Your Side and Touch The Stars, the native of Ocean Springs, Mississippi, now based in Paris, hoisted the mainsail of dream pop. First, though a dialogue that surfaced their unfailing attachment to the bonds of friendship, then through the light hearted atmosphere that leaves us with no choice but to believe in our own dreams and do anything possible to fulfill them. The quest for peace in the midst of the daily din is heard in both Code Zero and the title track Joshua, two majestic journeys in search of hedonism, combined with introspection.

Tomas Nordmark's music operates on multiple, equally thrilling planes. Having cultivated a deep appreciation for conceptual art and the phase-shifting minimalism pioneered by the downtown avant-garde community of NYC in the `60s, Nordmark set out to blend that with his pop-oriented upbringing and unique perspective on electronic music. The Swedish-born, London-based composer's new album pulses with unrelenting energy, waving and cresting around ambient tension and gorgeously realized melodies. Exit Ghosts is partly influenced by the history of film scores and the aesthetics carried by that tradition. As an instrumental album, Nordmark is tasked with conjuring emotions without words, and the way he utilizes specific cues mirrors the process of film scores, in addition to the work of seminal composers such as Tim Hecker, Arthur Russell, and Jóhann Jóhannsson.

Welcome valued share-holder, great to have you on board! This musical soundtrack by Running Out Of Time is a digital epic consisting of federally approved 99,9% original material carbon-dated to the last previous 12-24 lunar cycles. For 50 minutes, sit back and let our R.O.O.T. executive branch provide an experience like no other - neuro-programmed especially for your individual cerebral make-up. Choose from a selection of premium Terraform Realities, ranging from cyborgs battling human rebels through synthetic jungles and swamplands, to alien organisms escaping through intricate water tank systems. As you can see in diagram 2.1 in our presentation, each territory is mapped out in complete dimensional fidelity. For example, the water tank causeways also lead to a long-forgotten underwater world full of hidden creatures. Embrace your inner subaquatic explorer, as you search for artefacts and alien embryos that could be exploited for the corporation. Just remember - our trademark Quantum Parallel Reality Experience is guaranteed to feel as authentic as the real thing!* As a top tier investor, you will also have early bird access to our Platinum Realities selection - including our award-winning Apocalypse Cityscapes. With fully-rendered city centers that once bustled with 21st century traders, these abandoned heritage sites are now home to the lost souls of a free market economy that collapsed eons ago under its own weight. But beware! Some of the spirits will help you, and some will lead you into deadly traps - so choose wisely. Your investment portfolio depends on it! We are excited to have you join the team and look forward to sharing many more experiences together. *Tax Free corp accepts no liability for cognitive dissociation or neural dysfunction as a result of any Quantum Parallel Reality Experience.

**LONG OVERDUE REPRESS - CLEAR VINYL 300 COPIES ONLY** “With Ela’s music I feel emotional, engaged… I can’t help but feel she’s always looking for a sense of belonging and it
seems to inform all the music that she makes. Glasgow must have more of that belonging feeling than most
cities because she’s spent the most time here, an exotic bird in a rainy city she maybe finds a lttle bit of comfort in. It’s
a pleasure to have her here, in this awful time to be living in Britain, her illuminations feel important and hopeful. A
stubborn light; someone making great timeless music out of the humdrum of the everyday.” - Stephen Pastel
Movies For Ears is a retrospective collection of works by Polish-born, Glasgow-based artist Ela Orleans which
navigates almost two decades of songwriting in the heart of the global pop underground. This remastered collection casts
an ear over what Orleans might call the ‘pop sensibility’ within her back catalogue. Released previously on a number of
small DIY labels, Orleans’ music coincided with the explosion of auto-didactic musicians finding their voice in the age of
the blogosphere, artists emboldened by the democratisation of music-making afforded by the internet. From the outset,
Orleans’ childhood studying formal music mixed with cut-up techniques, sampling, sound-art and experimentation to
create a distinctive signature cloaked in an innate melancholy and playfulness. Fully remastered by James Plotkin,
featuring extensive sleeve-notes and rare photos from Orleans’ archive, Movies For Ears presents an appraisal of the
musician’s work, painting a portrait of an artist with an uncanny ability to evoke emotions and ghosts of memories in the
listener.
Each song pulls sunshine from its surroundings, moments of pleasure plucked from eulogies. The Season employs a
hypnotic loop with Orleans’s prophetic voice heralding the season we’re doomed to repeat. In fact the singer is often cast
as the changing protagonist in her songs: on Walkingman, a hazy ballad heavy with ennui, the narrator is laden with the
world’s weight, forever pacing a groundhog day world blank, a pissed-off actor in a Kafka-esque melodrama. On Light At
Dawn we’re in a seedy kitsch bar-room go-go scene, a ghostly rock’roll romance with shimmering percussion, poledancing
in a Lynchian half-dream. Movies For Ears’ moods straddle memory and fantasy: scratchily invoking halfremembered
exotica, the flickering shadows of europhile cinemas screens, a delicately woven world anchored in Orleans
existential meditations on longing, intimacy, solitude and the search for love. These rich textures in every song don’t
overpower some crystalised moments of emotion however: on In Spring Orleans sings simply “I have been happy two
weeks together,” summarizing that feeling of elation when emerging from a depression, a long winter. It’s a moment that
perfectly illustrates the lightness of touch and clarity in the singer’s voice.
The power of the loop and Orleans’ weaving songwriting that breaks its spell is illustrated perfectly by I Know. Over an
aching chord progression, the vocal takes flight into bittersweet loneliness, Pachelbel’s Canon played at a wedding where
only one person shows up. The repeated refrain “I know, I know” ascends to the heavens as the chords descend to the
dumps and the listener is left in the middle, happy but not knowing why, maybe a little changed, two weeks together. On
Movies For Ears, Ela Orleans lets us into a secret: the rare moments of joy to be found in the joins of the loop, the spaces
between things, the spring after the winter are the moments that last after the day has faded.

A Colourful Storm presents Seance, a new set of songs by Maxine Funke.

Following a productive recording period beginning with Silk (2018) and ending with Forest Photographer (2020), Seance marks a remarkable levitation of Funke’s tender, softly spoken songcraft first documented on Lace (2008) and Felt (2012) into new creative heights. Folksong confessionals with the burden of memory. Ghostly confines, murmurs from the cracks. Soil, blood and skin. The beauty and mundanity of the everyday.

The voice of Funke is a distinctive instrument, one which perfectly elucidates her sometimes confessional, at other times deeply inward allusions to love, loss, joy and disquiet. Lyrics grounded in observation and adventure (“Eyeballs, asphalt, grass clippings, peppercorns”) unravel into uneasy truths daubed in self-consciousness and forbidden desire (“I’m not shy / There's just a sparkle in your eye and I don't feel right”). The simplest things can be the most difficult to express.

Opener ’Fairy Baby’ and ‘Homage’ are sensuous and probing, celebrating new beginnings while cautiously closing old chapters. ‘Quiet Shore’, a seven-minute reverie of guitar strum and poetry, conjures spirits long forgotten and shines as Funke’s first solo foray into longform songwriting. A perfect accompaniment to the album’s centrepiece, ‘Lucky Penny’, a euphoric, entrancing rush foreshadowing the delicate dreamspeak still to come.

An assertive, visionary recording by one of New Zealand’s most extraordinary voices, Seance is a lover’s lament, a revealing of self and a secluded wander through fields of enchantment.

DJ Neet & Gordon Brown Jr strikes back with their second release on Local Talk, the follow-up to their Breaking Dub release.
They are continuing on the same route, creating their own unique twist on dub and adds an homage to the early dub creations on Ninja Tune.

Dopewise sets things off with its dubbed out slow motion groove, simplicity combined with hypnotic.
Searching for Gold showcase the duo's space and melodic dub with a smash of heavy analogue bass and melodic mood-enhancing brilliance.

Last autumn Leng Records welcomed a new name to the roster, Greek DJ/producer Lex, via some warming and colourful tracks on the label’s 10th Anniversary LP and sampler EP. Now the Athenian has returned with his first full release for Paul Murphy and Simon Purnell’s popular imprint.



Real name Alex Andrikopoulos, Lex first rose to prominence in his home city of Athens when he ran the Radical Soundz record shop during the first decade of the millennium. More recently his reputation has spread worldwide thanks to his association with Leng, a recent 12” on B2 Recordings and DJ sets that frequently join the dots between disco, house and techno.



His first full EP for Leng is arguably his most musically expansive collection of tracks to date, with a swathe of guest players – keyboardist Artis Boriss and drummer/percussionist Harold Perez most prominently – swinging by to help bring Lex’s vivid musical visions to life.



For proof, check out lead cut ‘Punta Allen’, an eight-minute chunk of organic dancefloor goodness in which Lex and his musical associates layer steel pan style melodies, spacey synthesizer flourishes, eyes-closed electric piano solos, warming chords and jangling guitars atop a heady bass guitar line, unfussy drums and sweaty pots-and-pans percussion. The track’s effortless evolution, which slowly unfurls before rising towards a gorgeous and joyous conclusion, is testament to the Greek producer’s dancefloor instincts.



You’ll find more low-slung, dub disco-influenced bass on the exotic ‘The Jamail Pass’, where mazy and feverish organ solos and rolling hand percussion provide a platform for Paqua member Alex Searle’s Nile Rodgers style guitar sounds. The track’s inherent funk – emphasized by occasional bass guitar solos and fills, as well as some tumbling synth sounds – is apparent throughout the track, something that only adds to its smile-inducing allure.



Closing out a very impressive first EP on Leng is ‘Angels of Rhythm’, a hazier, faster and more intergalactic excursion that cannily combines the low-slung bass of dub disco with the intoxicating vibes and warming dreaminess of deep house. The track’s intoxicating late-night feel is partly due to an undecidedly cosmic spoken word vocal from sassy singer Harrier Summer, though Artis Boriss’ pitch-bend-sporting synth solos and fizzing electronic noises certainly help. Driving but also deep and groovy, ‘Angels of Rhythm’ offers a memorable conclusion to a very impressive EP.

After enduring a year like 2020, no one could have possibly expected Al Jourgensen to stay silent on the maelstrom of the past 12 months. As the mastermind behind pioneering industrial outfit Ministry, Jourgensen has spent the last four decades using music as a megaphone to rally listeners to the fight for equal rights, restoring American liberties, exposing exploitation and putting crooked politicians in their rightful place—set to a background of aggressive riffs, searing vocals and manipulated sounds to drive it home.
As Jourgensen watched the chaos that befell the world during the height of a global pandemic and the tensions rising from one of the most important elections in American history, he seized on the opportunity to write, spending quarantine holed up in his self-built home studio—Scheisse Dog Studio— along with engineer Michael Rozon and girlfriend Liz Walton to create Ministry’s latest masterpiece, Moral Hygiene (out October 1 on Nuclear Blast Records). Anchored by last year’s leadoff track “Alert Level”—which asks listeners to internalize the question “How concerned are you?”—the 10 songs on this upcoming 15th studio album cover the breadth of the current dilemmas facing humanity, while ruminating on the sizable impact of COVID-19, the inevitable effects of climate change, consequences of misinformed conspiracies and the stakes in the fight for racial equality. And most importantly doing so with the lens of what we as a society are going to do about it all.
Moral Hygiene comes on the heels of Ministry’s acclaimed 2018 album AmeriKKKant (hailed by Loudwire as Jourgensen’s own “state of the union” address) that was written as a reaction to Donald J. Trump being elected president—though Jourgensen says this new album is more informational and reflective in tone. “With AmeriKKKant I was in shock that Trump won. I didn’t know what to do, but I knew I had to do something. Because I believe if you are a musician or an artist you should be expressing what’s going on around you through your art. It’s going to happen whether you do it consciously or unconsciously. Moral Hygiene however has progressed even further into a cautionary tale of what will happen if we don’t act. There’s less rage, but there’s more reflection and I bring in some guests to help cement that narrative.”
In addition to recruiting long-time cohort Jello Biafra (Jourgensen’s partner in the side project Lard) for the quirky earworm “Sabotage Is Sex,” other guest appearances include guitarist Billy Morrison (Billy Idol/Royal Machines) on a rendition of The Stooges hit “Search & Destroy.”
Another standout track is “Believe Me,” featuring a throwback vocal style from Jourgensen that harkens back to his singing on Twitch and cult classic “(Every Day Is) Halloween.” The song came out of a jam session with Morrison, Cesar Soto and sampling from Liz Walton, and reminded Jourgensen of his formative days at Chicago Trax Studios where communal ideas were constantly informing early Ministry records. “’Believe Me’ had such an old school vibe I wanted to bring back old school vocals. …It’s funny how things come back to you,” says Jourgensen, also reflecting on Ministry turning 40 in 2021.

With the release of Moral Hygiene, Jourgensen is more positive than before. “This may sound crazy but I’m more hopeful about 2021 than I have been in two decades at least,” he says. “Because I do see things changing; people are starting to see through all the bullshit and want to get back to actual decorum in society. We could just treat each other nicely and be treated nicely in return. I never thought Ministry would be in the position of preaching traditional values, but this is the rebellion now.”

 ‘The Neon Remixed’ sees a star-studded selection
of artists reworking the original Erasure album ‘The
Neon’, the band’s highest charting album in 26
years.
 The collection includes ‘Secrets’, a brand new
track, alongside interpretations of the original
album from Kim Ann Foxman, Hifi Sean, Octo
Octa, Paul Humphreys (OMD), Gareth Jones,
Brixxtone, Theo Kottis and more.
 Available on double CD in triple gatefold card
sleeve printed on mirror board and an 8-page
booklet.
 Available on coloured double vinyl for the first
pressing only - Side A & B on transparent amber
and Side C & D on yellow glow - with mirror board
sleeve and digital download code.

Let’s Stick Together by Bryan Ferry was his third solo release, his first following the disbanding of Roxy Music earlier in the year of 1976. Unlike Ferry’s two previous solo recordings, Let’s Stick Together was not a dedicated album project, instead being made up of material released as singles, B-sides and an EP. Five of the tracks on the album were re-recordings of Bryan Ferry songs previously recorded with Roxy Music. “Re-Make/Re-Model”, “2HB”, “Chance Meeting” and “Sea Breezes” were from the band’s eponymously titled debut album (1972), while “Casanova” was taken from Country Life (1974). In most cases the re-recordings were smoother and more oriented to jazz and R&B than the original Roxy Music versions. The other six tracks on the album were covers. The sax-driven “Let’s Stick Together” was written and originally recorded by Wilbert Harrison. Other up-tempo numbers were The Everly Brothers’ “The Price of Love” and Jimmy Reed’s “Shame, Shame, Shame” (which includes a counter-vocal by the backing singers which quotes Marvin Gaye’s “Can I Get A Witness”). The remaining covers, which included The Beatles’ “It’s Only Love”, were performed in a mellow cabaret style. Lovingly Re-Mastered from the original tapes by Frank Arkwright at Abbey Road Studios. London. Featuring artwork that has been faithfully restored to reflect its original first press “Let’s Stick Together” is presented on 180g heavy weight vinyl and is one of those classic albums that would not look out of place in any record collection.

Mit seinem chartbrechenden 2018er Album ”For The Love Of Metal” hat DEE SNIDER, der legendäre
Heavy Metal Sänger und eine der absoluten Säulen der Popkultur, die Heavy Metal Welt um ihre eigene
Achse drehen lassen.
2021, drei Jahre später - mitten in einer der turbulentesten Zeiten seit Langem, kehrt DEE SNIDER mit
dem triumphalen Nachfolger ”Leave A Scar” zurück. Erneut produziert von Jamey Jasta und co-produziert,
gemischt und gemastert von Schlagzeuger Nick Bellmore, mischt die neue Platte einfangende Modernität
mit einer Dosis klassischem Heavy Metal - eine packende Kombination, die nicht nur langjährige Fans
begeistern wird.
Jeder der 12 Tracks auf ”Leave A Scar” untermauert nicht nur DEE SNIDERs Position als einen der
meistgefeierten Frontmänner aller Zeiten, sondern zeigt auch, dass seine Stimme und sein souveränes
Auftreten so stark sind wie eh und je. Wenn ”For The Love Of Metal” DEE SNIDERs Aufbruch in eine
neue Ära eingeleitet hat, dann setzt ”Leave A Scar” diese in Flammen.

Arriving at a time of considerable uncertainty in the world, Son Lux's multi-album 'Tomorrows' is ambitious in scope and intent. Born of an active, intentional approach to shaping sound, the music reminds us of the necessity of questioning assumptions, and of sitting with the tension.

Ryan Lott, Rafiq Bhatia, and Ian Chang train their sights on volatile principles: imbalance, disruption, collision, redefinition. But for all of its instability, Tomorrows’ exploration of breaking points and sustained frictional places is ultimately in service of something rewarding and necessary: the act of questioning, challenging, tearing down and actively rebuilding one’s own identity.

The band remains audibly indebted to iconoclastic artists in soul, hip-hop, and experimental improvisation who themselves carved new paths forward. Distilling these varied influences, Son Lux searches for equilibrium of raw emotional intimacy and meticulous electronic constructions.

- Tomorrows I-III, triple physical album, released previously digitally only
- Featuring the singles “Plans We Made”, Only, Prophecy, Live Another Life and A Different Kind Of Love
- More than 90 minutes music on 3CD and 3LP

Another Time, Another Place was Bryan Ferry’s second studio album as a solo artist. The album reached #4 in the UK charts in 1974. Essentially a cover album, with the exception of the last song, which gave its title to the album and was written by Ferry. While These Foolish Things emphasized an early-’60s girl-group repertoire, Another Time, Another Place turned to soul music (Sam Cooke, Ike & Tina Turner) and country music (Kris Kristofferson, Willie Nelson, Joe South). “The album as a whole feels a touch more formal than its predecessor, but Ferry and company, plus various brass and string sections, turn on the showiness enough to make it all fun. Lovingly Re-Mastered from the original tapes by Frank Arkwright at Abbey Road Studios. London. Featuring artwork that has been faithfully restored to reflect its original first press “Another Time, Another Place” is presented on 180g heavy weight vinyl and is one of those classic albums that would not look out of place in any record collection.

"Red Rocks 2020 covers an amazing range of music from Rateliff’s celebrated career, music that had never been performed together live before the ill-fated tour including several jewels from And It’s Still Alright, and Rateliff solo albums, In Memory of Loss, Falling Faster Than You Can Run and the Shroud EP, along with “Still Out There Running,” a haunting and urgent track from 2018’s much loved Night Sweats LP, Tearing at the Seams.
The stellar cast of musicians includes Rateliff (guitar) with fellow Night Sweats Joseph Pope III (bass), Mark Shusterman (keys), Patrick Meese (drums, keys, guitar) and Luke Mossman (guitar), along with James Barone (drums, guitar), Joy Adams (cello), Rachel Sliker (viola), Adrienne Short (violin), and Chris Jusell (violin).
In addition, close friend Kevin Morby joins Rateliff and the band here for an amazing version of Leonard Cohen’s “There Is A War”."

Tape

"Precision ambient might be a suitable genre description for metra.vestlud's work. Every element has a clearly delineated meaning and purpose, and the precise interaction between these elements makes the musical pieces seem more like songs rather than Eno-style ambiences. From flowing water, to nervous birds and rich emotional textures, ∞ sends us onto a deep and thoughtful sonic journey about the flow of life and the many springs therin."

Artem Dultsev was born in 1993, in Revda, Russia. In 2010 he started to write music and later released under different aliases: Artem Dultsev, Moon Rabbit, Virusmoto. In 2017 he founded with a friend Daniil the label Faktura, where they began to release records from the Urals region. The history of metra.vestlud began In 2019 with the release of the album - Hydrogen Lifeforms (Faktura).

metra.vestlud began as a protest against the standard principles of sound recording and musical theory. All the rules and boundaries were shifted towards the unconscious - that something unique would emerge. But on the album ∞ - the other side of this sub-personality showed itself, the sensual side. The music of metra.vestlud is inspired by the eco-futurism and new age of the 80's-90's.

“The album is dedicated to my wife. In April 2021 we had a son.”

"Two days before the birth of our first child, I was sitting at home alone while my partner was already in the hospital. I wasn't able to visit due to Covid restrictions. Anxiously waiting for any updates, while Germany being in complete lockdown, searching for distraction, I did something I rarely do: look into the public-facing email account of my previous label. Normally, I only find spam in there, but this time there was an email that looked different, it was a demo I was supposed to consider for release. I could tell this person had listened to previous music I had been involved with and deliberately chose to send this to me. I could also tell right away that something special was being sent to me. I downloaded the music, listened to it, and to my surprise, was moved to tears. This was on a Friday night in Leipzig, around 32 hours before our child was born.

Sometimes this world can be incredibly strange but in the most beautiful way. For some reason, someone from Yekaterinburg in Russia, close to where the European and Asian continental plates meet, decided to send me an unspeakably beautiful album for release on my new label (which I technically hadn't even founded yet). The album is centered around love and birth, and it sounds like emotion-fueled beginnings, like a meta-version of spring you can visit any season you like. And I received it less than two days before the birth of our child and a couple of months before the birth of their child - what are the odds? And not just that, I had visited Yekaterinburg many years ago with my parents due to a somewhat mysterious obsession my father had with the place and it had left quite an impression on me. There are some moments in life where you think: "please just pinch me". I am just not sure anymore how much of all of this can be attributed to chance. Probably a lot, but if so, it also means incredibly unlikely and beautiful things do happen even if they probably shouldn't.

In any case, I am grateful metra.vestlud reached out to me at this very special moment in time and I am grateful we have created something that will forever document a very special time in our lives. And we are incredibly happy that we are able to share this document with the world." - kofla tapes

∞ is dedicated to metra.vestlud's wife, In April 2021 they had a son.

Singer, guitarist, flautist (and practitioner of the double tin whistle), John is
also a member of celebrated traditional group Skipper’s Alley and is joined
here by bandmate Ultan O’Brien (also of Slow Moving Clouds).
Also contributing to the record are singer Consuelo Breschi of the duo Varo,
sean n s singer Saileog N Ceannabh in, Phil Christie (O Emperor / The Bonk) on
keyboards, and drummer & composer Ross Chaney who created many of the
Tascam tape-loop drones that bind the album together.
The record was produced, engineered and mixed by Brendan Jenkinson (Villagers / Cloud Castle Lake) who also joins in on a host of instruments for the record. It was recorded and mixed at Oxford Lane and Sonic Studios, Dublin. The
material John Francis Flynn has chosen to record includes songs learned from
recordings of Shirley Collins, Frank Harte and settled Traveller Paddy Quilligan,
two songs written by activist and folk revivalist Ewan MacColl, and a West Indies halyard shanty published by “Last Working Shantyman” Stan Hugill, alongside in-studio improvisations and tunes picked up by John along the way

Celebrating 10 years since his first album, Tom Williams releases his most
eclectic project to date. ‘Follow The Leader’ represents a departure from
his previous output, and is comprised of a collection of songs which
comment on pre- and post-lockdown life, providing beautifully crafted
snapshots of modern Britain.
Having released six studio albums to date, Tom Williams has built a passionate
fanbase of discerning music lovers since his first album, Tom Williams & The
Boat’s ‘Too Slow’ ten years ago.
His 2017 album ‘All Change’ was voted by BBC 6 Music Recommends as one of
their Top Ten Albums Of The Year, and his last album 2019’s ‘What Did You Want
To Be?’ which was produced by Tim Rice-Oxley, was described by The Guardian
as “surging, vintage pop-rock” and championed extensively by Jo Whiley at BBC
Radio 2, Steve Lamacq and Lauren Laverne at BBC 6 Music, Huw Stephens at
Radio 1, Q Magazine and Clash. ‘Follow The Leader’ signifies a departure from
Williams’ previous output.
Self-produced, the album boasts rich orchestral sounds and full band performances, mixed with claustrophobic drum machines, synthesizers and deep sub
bass sounds.

The prolific, Grammy Award winner, Jim Lauderdale has delivered another
batch of songs that further define him as one of the leading voices of
Americana music.
With his new album, Hope, Lauderdale has written 13 songs intended to inspire. Instead of pondering the sadness, fear and isolation the pandemic has
caused with so many around the world, he has instead focused on the optimism of the human spirit and highlighted that, as we always have, mankind will
get through this difficult time.
He has done this within a collection of songs that touch on country, rock, boogie rock, bluegrass and Jim’s own blend of far out space music.

Private Space, the group's third album, is a previously untapped vibe at the heart of The Indications. Pushing beyond the boundaries of the funk and soul on their previous releases, Private Space unlocks the door to a wider range of sounds and launches boldly into a world of synthy modern soul and disco beats dotted with strings. It's an organic, timeless record that's as fresh as clean kicks and familiar as your favorite well-worn LP. Developed after being apart for much of the year, Private Space is creatively explosive and delights in upending expectations. Its 10 tracks are both an escapist fantasy and a much-needed recentering after a tumultuous 2020. Throughout, The Indications highlight a collective resiliency - as well as the power of a good song to be a light in the darkness. Durand Jones and The Indications have long provided the soulful soundtrack for such deep thoughts, both on stage and on your turntable. But as the world slowly resets from the chaos of the past year, Durand Jones and The Indications' Private Space is arriving at just the right time.

A beautiful, deep and personal techno document by Mr. G who is talking the international language of musical expression (spoken and understood by everyone). Expressing his feelings and emotions via his sonic frequency philosophy on probably his most versatile release to date, a 12 track album on Childhood records This is the first time we hear Mr. G diving deep into the soundscapes and deeper dancefloor cuts on this album recorded during the global pandemic.

It's marking a change in his musical vocabulary without losing his rough and raw energetic expressions. It's telling a story of forgotten places and dreams of the future. Dreams that pay tribute to the past, critical of the present, and still give hope for what's to come. Always rough and raw, the outstanding sonic frequency design on THE FORCED FORCE IS NOT THE TRUE FORCE will let you dive deeply into a more articulate and sophisticated musical language of Mr. G, while the man still keeps what we all love him for: his genuine distinct rhythms and seductive grooves that he has been sharing with the world for so many years!. --- The album is pressed DJ friendly on 3 x 180g 12'' vinyl and includes a download code. ---

The fourth full length album of Orchestra of Constants Distress Concerns marks the end of a quadruple suite of intense, dissonant, reluctant improvisation.

Looking back on five years of musical summits, which also has resulted in a couple of cassette releases and a live LP from Roadburn festival, one might wonder if these musicians have come to some form of insight.

Riffs seems to have deepened into complete compulsiveness as the rhythm from drummer Anders Bryngelsson (Brainbombs, No Balls) deliver both frustration and caution at the same time. Between the dissonant sounds of Henrik Rylander (Union Carbide Productions, Skull Defekts) and the choleric play style by guitarist Joachim Nordwall (Idealist, Skull Defekts) a way of emotional vacuity is spreading. With the phlegmatic and elemental bass of Henrik Andersson (visual artist) the music of OOCD is a montage of sound-scapes rather than the uniform of compositions.

Rather than seeking a musical presence through improvisation they seem to perform absence and void.

ORCHESTRA OF CONSTANT DISTRESS Are
Joachim Nordwall (The Skull Defekts, iDEAL Recordings) Anders Bryngelsson (Brainbombs, No Balls)
Henrik Rylander (The Skull Defekts, Union Carbide Productions) Henrik Andersson

There’s liberation on the dance floor in the songs of Matthew Urango – glimpses of revolution that glimmer beneath the disco ball. “I want my music to bring people together,” says the Californian pop innovator, best known as Cola Boyy. “Because standing together is our best chance at fighting this shit show.” The shit show in question is a broken, brutal system the acclaimed multi-instrumentalist has witnessed up-close. Urango was born with spina bifida and scoliosis in Oxnard, California: a town in which almost 30,000 are estimated to live in poverty. Prosthetic Boombox, his eagerly awaited debut album, might at first glance seem a joyous confetti-burst of pop eclecticism, engineered to sound like “scanning between stations on a car radio, landing on all these different sounds and styles” as Urango puts it. Dig deeper, though, and you’ll discover a simmering sense of rebellion. “The working class are injured, struggling to pay rent and struggling to put food on the table,” he says. “I want to represent that.” Prosthetic Boombox
achieves that goal in a thrilling flurry of inventive indie, funk and soul: take Urango’s car radio analogy, place it in a time-travelling Delorean with Prince in the passenger seat, and you’re half-way there.

Look no closer than Prosthetic Boombox’s euphoric opener, the Avalanches-assisted ‘Don’t Forget Your Neighbourhood.’ The track – which Urango says mixes “the Beach Boys, French disco, house keys and ragtime piano, kinda like the Cheers soundtrack!” – ends with lyrics urging listeners to “fight for your town with your fist closed, strike it and make it more than just a memory.” It’s a reminder that the working classes need to “turn our fists against our oppressors instead of each other,” he explains. After that emphatic introduction comes a horn-laced funk wig-out titled ‘Mailbox’ – a song that gives Dua Lipa’s Future Nostalgia a run for its Studio 54-themed money, featuring rising Londoner JGrrey. Elsewhere, ‘Song for the Mister’ ventures into smooth R&B territory, before ‘Roses’ – a collaboration with Myd of Ed Banger fame – offers a bouquet of bustling disco guitars and infinite bisous of Connan Mockasin’s band drops in on the immaculate ‘Go the Mile’. Urango saves his most introspective moment for the album’s starry closer. ‘Kid Born in Space’, a cosmic collaboration with MGMT frontman Andrew VanWyngarden, sees the artist reflect on what he once had to overcome as a disabled person of colour. “I see them looking down on my dreams of being,” he sings tenderly. “I hear them making fun of my voice, but I keep on moving forward, I refuse to live in anyone else’s shadow.” Prosthetic Boombox, on this subject, is more than an album title – it’s a statement of intent.

“The message of my music is that our class is exploited, oppressed and murdered on the daily. That’s not right, and the system that enables that deserves to be wiped off the face of the earth,” he says. “The only way that happens is if we’re united. That’s the point of my music – to relate to people and unite them.” And what unites more than raucous, irresistibly danceable pop? Prosthetic Boombox is a riot of joyous grooves and catchy hooks for good reason. “I want to reach and spread my message to as many people as possible. You can’t do that if you’re some obscure motherfucker, you know?” he laughs. Don’t bet on him being an “obscure motherfucker” for long.

George Otsuka (or Ohtsuka), sadly passed away in March 2020, was one of Japan’s most renowned jazz drummers. ‘Sea Breeze’, released in 1971on the Union label, is his first record in quintet formation and is reissued here on a single LP housed in a gatefold sleeve.

And we can say that George Otsuka knew how to surround himself: Shunzo Ohno is on trumpet and Flugelhorn, Takao Uematsu on tenor sax and soprano, Takashi Mizuhashi on bass and Hideo Ichikawa on electric piano.

If all the tracks on this album are solid, included the astonishing cover of “Fool on the Hill”, it is especially “Sea Breeze”, the eponymous track opening the album that will make an impression. A super and long jazz-funk track where the five musicians, in perfect osmosis, leave each other enough space to express the full extent of their talent.

Recent copies of the original vinyl,which were only released in Japan have sold for £200-300.

The seagulls in the sand have heard our prayers! Mondo and Milan Records are proud to present the soundtrack to Lionsgate’s instant cult classic comedy BARB AND STAR GO TO VISTA DEL MAR.

One of our favorite films of the year so far, BARB AND STAR GO TO VISTA DEL MAR is a one-of-a-kind film with an equally unique soundtrack that will have you singing to the seagulls on the beach as we reemerge from lockdown this summer.

Beleaf it or Not, the musical comedy masterpiece was released just this year from the creators of BRIDESMAIDS (Kristen Wiig and Annie Mumolo, writers and the titular stars of the film). Featuring show-stopping Busby Berkley style dance numbers, love ballads for an audience of seagulls, EDM remixes of My Heart Will Go On, musical interludes by Richard Cheese, and an incredible score that blends espionage with calypso by Dara Taylor and Christopher Lennertz, it’s an incredibly unique listening experience - almost as exciting as riding a Banana Boat.

Featuring liner notes by Barb and Star themselves (Kristen Wiig and Annie Mumolo), composers Christopher Lennertz and Dara Taylor, and all new artwork from Johnny Dombrowski, and pressed on 180 Gram split color 180 Gram Pink and Yellow Culotte vinyl, you'll love it with all of your fart.

Black Truffle is pleased to present Sylva Sylvarum, an epic new work from Ora Clementi, the collaborative project of crys cole and James Rushford. Primarily conceived and recorded over several months together in Melbourne, Sylva Sylvarum is a stunning step forward from the mumbled, creaking sound world of the duo’s debut, Cover You Will Softer Me (Penultimate Press, 2014). From the opening ‘Peach of Immortality’, which takes an unpredictable journey from layers of chiming bells, vocal harmonies and lush synth pads to a desolate landscape of half-animal, half-digital wooshes and cries, it is immediately clear that cole and Rushford are working here with an entirely unique sound palette. Throughout the record’s four sides, we hear a large array of carefully detailed synthesizer sounds (many of them recorded at the remarkable Melbourne Electronic Sound Studio), sparse drum machine hits, wind instruments and field recordings of animals, often with a twistedly late 80s/early 90s flavour that at various points calls up New Age references, Robert Ashley’s later operas or the thinned-out textures of early digital GRM.

Threaded through this distinctive array of sounds are the two musicians’ voices, sometimes singing, sometimes speaking through varying degrees of manipulation. A guiding thread through the pair’s collaboration, beginning with their initial experiments with lip-readings, the presence of these two voices – cole’s crisp and sibilant, Rushford’s rich and low – reinforces the sense that the music is immersed in itself, less performed by two people than occurring between them. On Sylva Sylvarum, these voices first come to the forefront on the third piece, ‘Dialogue Between a Grandmaster of the Knights Hospitaller and a Genoese Sea Captain’, where in unison they intone fragments of a description of an imaginary space taken from a 17th century utopian text. The two voices resurface periodically thereafter, most stunningly in the unexpected turn into cushiony dream pop on ‘Magic Mountain’. At other points, the subtle manipulation of pitch and intonation in the close-miked vocal performances filters the recitations through a fog of abstraction that climaxes with the almost incomprehensible alternating syllables of the side-long closer ‘Forest of Materials’. Like the album’s title, these textual elements are drawn from various literary descriptions of utopias, a theme that also informed the pair’s musical approach. Far from anything dryly illustrative, utopia figures into Sylva Sylvarum as an invitation to inhabit otherworldly spaces that, like the empirical details that proliferate in these literary utopias, are grounded in mundane reality but shot through with the eldritch. Admirably framed by the abstracted digital topographies of Sabrina Ratté’s artwork, the uncanny sweep of the album’s fifteen pieces is expansive enough to take in stretches of crackling austerity, warped microtonal keyboard etudes and moments of stunning beauty, the latter most strikingly when cole and Rushford are joined by Callum G’Froerer on trumpet and Joe O’Connor on trombone for a series of dream-like moments moving from growling overtones to poignant lyricism.

Presented in a deluxe gatefold sleeve with stunning artwork by Sabrina Ratté and pressed on mint green vinyl. Mixed and mastered by Joe Talia at Good Mixture, Berlin.

In 2020, 4AD turned 40. Never one to be on time for a party, the label is
commemorating that landmark this year with the release of ‘Bills & Aches & Blues’.
The compilation features 18 of its current artists covering a song of their
choosing from 4AD’s past: a creative experiment rooted in the spirit of
collaboration and a snapshot of 4AD, 41 years after its inception.
‘Bills & Aches & Blues’ will be released on double CD and double LP. The
first 12 months’ profits from ‘Bills & Aches & Blues’ will be donated to The
Harmony Project, a Los Angeles-based after-school programme for children
from communities and schools that lack equitable access to studying the arts
or music.
‘Bills & Aches & Blues’’ 18 recordings contain fascinating connections
between artist and track. The earliest song chosen (by U.S. Girls) is The
Birthday Party’s ‘Junkyard’, from 1981; the most recent are the two Grimes
covers (‘Genesis’ and ‘Oblivion’, respectively by Spencer. and Dry Cleaning)
from 2012. Suitably, for the one band that bridges 4AD past and present, The
Breeders are all over ‘Bills And Aches And Blues. They’re covered three
times - ‘Cannonball’ by Tune-Yards, ‘Mountain Battles’ by Bradford Cox of
Deerhunter and ‘Off You’ by Big Thief, whilst The Breeders cover ‘The Dirt
Eaters’ by their ‘90s contemporaries His Name Is Alive.
Landmark songs such as ‘Cannonball’, ‘Song To The Siren’ and Pixies’
‘Where is My Mind?’ will feel comfortable to casual fans, however by
contrast, much joy can be found in the album’s surprise choices, such as Air
Miami’s ‘Seabird’ and the Lush B-side ‘Sunbathing’, covered respectively by
new signings Maria Somerville and Jenny Hval.
‘Bills & Aches & Blues’ is named, arguably (as Elizabeth Fraser never
published the lyrics), after the opening line of Cocteau Twins ‘CherryColoured Funk’. Perhaps too unique and uncoverable in their own right, their
legendary take on Tim Buckley’s ‘Song To The Siren’, under the name This
Mortal Coil (along with Buckley’s pre-Starsailor acoustic version) informs
SOHN’s cover.
Some tracks unearth hitherto hidden shared DNA, such as Future Islands’
and Colourbox’s ‘The Moon Is Blue’; other tracks are more akin to
reinvention. Aldous Harding distils the melodic essence of Deerhunter’s
‘Revival’ and recasts it in her own uncanny image. U.S. Girls’ future-disco
‘Junkyard’ and Bing & Ruth’s neo-classical instrumental ‘Gigantic’ are even
more radical interpretations. Leading off the album, Tkay Maidza brings both
her Art Rap and R&B game, but also an unexpected ‘80s synth pop template,
to Pixies’ ‘Where Is My Mind?’, a perfect title for these chaotic times.

Die weltbekannte Band aus Island ist mit ihrem elften Studioalbum, dem hoch emotionalen "Mobile Home", zurückgekehrt und veröffentlicht damit ihr erstes Album seit 2018. Das Kollektiv beweist einmal mehr die Meisterhaftigkeit, seine künstlerischen Grenzen zu erweitern, indem sie eines ihrer ambitioniertesten und kraftvollsten Alben seit Jahrzehnten veröffentlichen. Für ihr neuestes Album holten sich GusGus die VÖK-Sängerin Margrét Rán zur Hilfe, um ihren Stil zu erweitern und den Sound des Kollektivs so frisch wie immer zu halten. Das 9-Track-Album bietet eine Mischung aus elektronischem Rock, Ambient, Darkwave, Downtempo und Synthpop. GusGus besser denn je!

World-renowned group GusGus have returned with their 11th studio album, the highly emotive Mobile Home, marking their first album release since 2018. The collective once again prove their commitment to pushing their artistic boundaries as they release one of their most ambitious and powerful albums in decades. For their latest record, GusGus call on VÖK’s lead singer Margrét Rán to help expand their style, keeping the collective’s sound as fresh as ever. The 9-track album features a concoction of electronic rock, ambient, darkwave, downtempo, and synthpop.

After announcing a new album in October 2020, GusGus wowed fans with their first single “Higher,” offering a first taste of how VÖK’s impactful vocals mesh seamlessly with GusGus’ intelligent and powerful electronic production. “Higher” was soon followed up with the darker, downtempo “Stay The Ride” and the bright and energetic synth work on “Our World.” The three captivating singles each received equally remarkable music videos courtesy of founding members Arni & Kinski, the directing team known for working with the likes of Sigur Rós, Kiasmos, Ólafur Arnalds, Of Monsters and Men, and more.

Every track on Mobile Home doubles as a window into a futuristic dystopian world that has been overtaken by machines. A nod to the rise of technology and ever-growing uncertainty surrounding automation, the album explores themes of solitude, rebellion, science fiction, hedonism, pleasure, and anger. Swirling within this world is a disconnected, aching soul who is on the verge of slipping into complete dementia. Forgotten purpose and goals but continues to be driven by the hedonistic default program of material consciousness; sensually self-indulgent and engaged in the pursuit of pleasure alone. In Mobile Home, GusGus challenge themselves like never before, resulting in a wonderfully chaotic reflection of the ongoing war between soul and machine.

With Mobile Home, GusGus show the quality and sonic diversity of the singles pervades throughout the full LP, while preserving the melodramatic themes that tie its 9 tracks together. “Simple Tuesday” showcases the group’s aptitude for blending contemporary electronic production with pop sensibilities while keeping an optimistic tonality at the forefront. Meanwhile, “Love Is Alone” and “Original Heartbreak” offer a slower, more pensive take on synthpop, and evoke feelings of solitude and deep melancholia. “Silence” and “The Rink” boast some of GusGus’s more experimental production, each alternating between radio-ready vocal verses with inventive and exciting synth elements. GusGus closes Mobile Home with “Flush,” an instrumental score that leaves the listener riding high as they finish the LP.

The first release in what will be an ongoing three-part series, Part I features nine tracks for bass guitar and tenor saxophone. Part II, an exploration of a slightly larger, more sonically diverse musical world will feature string quartet and voice. Finally, Part III will collaborate with choreographer Siobhan McKenna, who alongside Nick will develop a percussive movement work that seamlessly intertwines with the musical work.

“My aim is to create music that is sonically and musically atypical whilst still belonging to an accessible contemporary scene. Each project, album or ‘part’ will set out to explore a single ensemble or group of instruments. In the case of Part I, that ensemble is hollow body bass guitar and tenor saxophone. “ - Indigo (Nick Roder)

The Indigo project itself was inspired by Saxophone & Bass Guitar by Sam Gendel and Sam Wilkes, which prompted Nick to write an album of music for the same type of ensemble. Having only just purchased a bass guitar for a different project, the instrument was still very new to him.

“I was curious to see what I would write with my self-imposed rule of not being able to overdub material, and further, how my limitations as a relatively green bass guitarist would influence the writing of the material. A strong focus on harmonic movement and melodic material was where I eventually found my happy place.”

The result is a phenomenal debut. Burrowing into the space between it’s sparse instrumentation and dulcet tones, Part I is the realisation of a minimalist and concise vision of what a symbiotic relationship between two instruments can yield.

About Indigo
Indigo is the moniker and ongoing project of Melbourne-based composer and arranger, Nick Roder. The Indigo project was conceptualised in 2020 and focuses on deep sonic exploration of little-heard ensembles in a contemporary space.

Since 2018, Nick has been composing soundtracks for video games including The Invisible Hand, Roadwarden, N1NE: Splintered Mind, This Dead Winter and Miska. Nick has also played in art-rock ensemble, Tulalah, exploring sonic textures, combining contemporary jazz/rock with chamber sounds. The modular ensemble released The Flood (Equinox Recordings, 2015) and The Question (Independent, 2017).

Clear Vinyl

Hitting us with a double LP of sublime dance music lingering on the border of ambience, Interstate is the alter ego of DJ Swagger. Earlier this year, he graced Shall Not Fade's Time Is Now sub label in collaboration with DJ Aedidias for four feelgood UKG cuts - now returning for the second album in the Seasons Series, expect something a little different. Dominion Swing is his first LP under the Interstate moniker.

The four sides of vinyl hold their fair share of punchy kick drums and funky melodies, though across them is a blissed out ambient softness that comes to the forefront by the end. "Doublet Doureet" is a low end groover driven by skippy percs, the speedy bass melody chilled out with some lingering natural chords. "Second Mass" is futuristic and clean cut, tickling the ear with panning synth stabs and a powerful electro bassline that cuts through the track sharply, giving memories of the dancefloor while perfectly leading into "Habitat" - the sustained ambient shimmer that closes the A side.

Onto the reverse side, "This Rather Than That" and "Misty" are glitchy, playful evening music, "Misty" leaning into a fun organ ditty. The almost imperceptible bassline of "Two To Get Ready" hangs in the air giving it a dub atmosphere.

More genre exploration is to be found on the C side, from the pulsing but delicate house of "Appliance" to the tranquil guitar-lead journey of "Condone The Drama", ending with a return to blissful, oceanic ambience in "Bubblebath".

The closing side of Dominion Swing stays in this vein - blissed out haze is soaked into summer sundowner "Ascension" and its romantic melodies. "Stigma" is built on misty ambient pads but carries a persistent heartbeat rhythm, fading slowly into album closer "Yosemites" tropical field recordings and scattered drum hits.

Hailing from Brownsville, Brooklyn Taphari got his start in the underground queer clubscenes of Bushwick. His live performances are explosive dance parties and an aggressivecall to action. Truly charismatic on stage, music is Taphari's most efficient means ofcommunication. He writes of his struggles as a young loner from the hood seeking asylum inlaughter, queer expression, hip-hop, and the internet. On 'Blind obedience' we find Taphari on a journey of self-actualization, transcending suffering through the power of self-love and authentic musical expression. this hard-hitting,confident debut centers the skilled rapper's syllable hopscotchover mutating beats. staying in a lane he's forged himself, therap alien's rage is explosive out the gate. on lead single "Table42" featuring seasoned rapper pink siifu, taphari sings of lostlove and the end of the world over drum 'N Bass beats. "Backsoon" featuring label mate Benét is a generous breath from thiskinetic collection of bangers.

The third release from Fred Laird was recorded during the period June 2020 and January 2021 on 24trk home studio recording. It is also the first album recorded purely as a solo artist with the occasional guest and draws more from a roots style music (trad it isn’t) than previous more psychedelic releases.
‘Inspiration for the album came from listening to the self-recorded primal music of Hasil Adkins and the first solo Link Wray album for Polydor. The idea of these guys just doing what they wanted back of beyond seemed more akin to me sat in a box room during lockdown feeding off a diet of Billy Chong Kung Fu horror flicks, David Lynch, Noir crime movies, Jean Cocteau and the works of Yukio Mishima.
Musically the sound draws from early Bad Seeds or Crime and the City Solution, Gallon Drunk, Bohren and Der Club of Gore, The Cramps, Hasil Adkins and various other trash inspired twilight creatures. I also wanted to try and create that spooky organ sound that dominates the midnight movie classic ‘Carnival Of Souls’, so there’s quite a lot of organ and piano going on. I also got my hands on a baritone guitar to give the songs more of a deep growly twang!
Vocals are provided by Daisy Atkinson for the Jean Cocteau dedication ‘Orphee’ which is the nearest thing to a pop song on the album and the echoey almost Sister Lover’s sound of the title track. I got sick of my own shit voice and I just thought a female voice would give it a more fragile ethereal vibe.
Mike Blatchford provides formidable saxophone to the album’s last three tracks which were recorded on his mobile phone 300 miles away and synched into the music. The big blasted swing blues of ‘The Big Duvall’ is a dedication to Andy Duvall of Carlton Melton – a big guy who needed a big song. Who knows how big the song could have been in a proper studio. I could have dedicated it to John Wayne but Wayne couldn’t chop down trees with his bare hands like Andy can….’