Cerca:lost in

*REMASTERED ROUGH TRADE DEBUT LP LIMITED TO JUST 500 COPIES WITH EMBOSSED OUTER SLEEVE AND ORIGINAL INNER SLEEVE ON BLACK VINYL*

Dream POP, they called it. Given AR Kane’s Alex Ayuli once worked for advertising agency Saatchi & Saatchi, it’s no surprise that he and collaborator Rudy Tambala invented their own genre before critics could stick their oar in. It was a canny move, but more importantly, it was accurate: the music of AR Kane was made for dreamers, by dreamers, and its languor and longing made it particularly bewitching listening; their music is often smeared and blurry, happily lost in its own indefinable pleasures. “We wanted dream pop,” Tambala says, “that feeling of a dream where the rules are different. Dream logic.”
-UNCUT REISSUE OF THE MONTH

"A.R. Kane carved out a unique musical path, welding elements of pop, psych, dub, electronica, funk, noise, jazz, ambient and more in a way that had never been done before. Or since. Their debut in particular is a work of unbridled brilliance."
*Electronic Sound*

‘Sixty Nine’ the group’s debut LP that emerged in 1988 had critics and listeners struggling to fit language around A.R. Kane’s sound. As a title it was telling - the year of ‘Bitches Brew’, the year of ‘In A Silent Way’, the erotic möbius between two lovers - and as originally coined by the band themselves,
‘dream pop’ (before it became a free-floating signifier of vague import) was entirely apposite for the music A.R. Kane were making. Crafted in a dark small basement studio in which Tambala recalls the duo had “complete freedom - We wanted to go as far out as we could, and in doing so we discovered the point where it stops being music”. There was an irresistibly dreamy, somnambulant, sensual and almost surreal flow to ‘sixty nine’s sound, but also real darkness/dankness, the ruptures of the primordial and the reverberations of the subconscious, within the grooves of remarkable songs like ‘Dizzy’ and ‘Crazy Blue’. Alex’s plangent vocals floated and surged amidst exquisite peals of refracted feedback but crucially there was BASS here, lugubrious and funky and full of dread, sonic pleasure and sonic disturbance crushed together to make music with a center so deep it felt subcutaneous, music constructed from both the accidental and the deliberate, generous enough to dance with both serendipity and chaos. ‘sixty nine’ remains - especially in this remastered iteration - ravishing, revolutionary – Neil Kulkarni


"A.R. Kane made some of the most exciting, forward-thinking, and science fictional music of their era".
*Reissue Of The Week In The Quietus*

This latest installment of Mr. K Edits focuses on two midtempo cuts for the roller skaters and lowdown groovers, with a couple of deep album tracks that are appearing on 7-inch for the first time — both with unique Mr. K edits.

First up is “Felix Leo” from Californian keyboardist Rodney Franklin. A subtle instrumental that was overshadowed at the time by the monster hit “The Groove” (also known to UK’s jazz dancers as The Freeze), “Felix Leo” is that creeper that makes its way into your consciousness and won’t let go. As he so often does, Mr. K trims the track to its leanest, meanest measures, starting directly from the menacing, hypnotic chord progression that forms the root of the composition. Proceeding at a stately leonine pace befitting the title, the song spirals beautifully, as a lush string section encourages the listener to get lost in the unfolding sonic textures.

“In Love” is a very early Prince track, in fact it’s the very first cut in which we hear Prince play instruments on his debut album, released in 1978. And play instruments he does, every single one of them — drums, bass, guitar, and above all, those creamy ARP and Moog synth lines that power this tune. Bouncing along on a rhythm that blends a solid four-on-the-floor stepper’s groove with a hint of the staccato upbeats of reggae, this one’s an easy warmup for dancers and a perfect tempo for skaters. Mr. K’s edit gives us the extended mix the album never did, adding nearly two minutes to the LP timing without ever feeling strained or repetitive.

“I learned both of these songs for roller skaters in my early Roxy days,” Krivit says, referring to the legendary downtown NYC roller rink, “both had those grooves that stood the test of time.” We think this exclusive 7-inch will do the same!

As always, these are mastered and cut to vinyl with both home hi-fis and club systems in mind, and the sound is unmatched.

USA Warehouse Find
These are the original copies, 50 only
Long lost slab of heavy music from Kevin Martin's and Justin Broadrick Techno Animal project that was licensed to the Beastie Boys label Grand Royal in 1997
Think Fear Of A Black Planet era Bomb Squad jamming with Adrian Sherwood.

a A1. Demonoid -[Musical Assistant] – Porter Ricks
[b] A2. Oil King - Narrator [Narration] – Dr. Theodore Parsons

[d] B2. Atomic Buddha -Guest [Musical Assistant] – Alec Empire

[a] A1. Demonoid -[Musical Assistant] – Porter Ricks
[b] A2. Oil King - Narrator [Narration] – Dr. Theodore Parsons

[d] B2. Atomic Buddha -Guest [Musical Assistant] – Alec Empire

Ltd Edition! Das Darkwave Elektronik-Duo BOY HARSHER aus Northampton, Massachusetts veröffentlichen nochmals ihre Katalog-Klassiker in verschiedenen Farben!

The large and humanistic ensemble Black Lives , led by bassist Reggie Washington (brother of drummer Kenny Washington) and his wife Stefany Calembert, is working to fulfil a dream - some would say a utopia - that is as much musical as it is social. Musicians from the U.S., Africa, the Caribbean, and Europe are united by a common language in their fight for equality and justice. It's about the future of our societies, which are lost in the excesses of all-consuming materialism and mistrust of others. A natural convergence of musical and cultural aesthetics - jazz, soul, funk, hip hop, blues - is shaping a declaration of love and an act of resistance. Hearts beat fast and fists are raised high! The watchwords call for a world of unity, peace, and freedom. It's a strong belief in tomorrow. 'If you unite and struggle, it's possible to change.'

An exciting new collaboration between New Mastersounds Hammond organist and Madrid based guitarist Lucas De Mulder plus drummer Luke Flowers (Cinematic Orchestra). Recorded at Joe's home studio on his cherished C3 Hammond (where The New Mastersounds' latest album "Old School" was recorded Galáctico will delight vintage jazz-funk fans with nods to Jimmy Mcgriff, Dr Lonnie Smith,George Benson etc etc. Joe and Lucas worked together on Lucas's album "Feel the spirit" in 2019 on Color Red label based in Denver.
The trio will be launching the record at the Saint Paul Soul Jazz festival in the south of France on 7th July and continue to play a series of other fgigs through-out the summer
The album starts with the frenetic James Brown groove of Double Take - a catch jazz guitar head that builds moving up in key to a frenetic hammond solo punctuated by The Haggis Horns.
Track 2 is the Meters-esque "Hey!" The only English language vocal track on the record and at that only one word
Next up is "El Gato" featuring Sam Bell on Congas and Atholl Ransome and Malcolm Strachan from the Haggis Horns a latin four to the floor vibe with solos traded throughout
Guinnee Drop is a swaggering funk jam with Luke Flowers funk drums breaks a feature
The only cover on the album is Sixto Rodriguez' Sugarman - Lucas and Joe were both inspired by his story and loved the song so much it had to go on the album with a mellow instrumental twist
The title track "Galáctico" is has funky soundtrack tune - the horns are back and take the track out with some blistering solos
"Retiro" inspired by the park near Lucas's pad in Madrid is a laid back boogaloo vibe and has Sam Bell on Congas and an upright piano solo from Tatton
"Dame Lo Que Tienes" - The first single from Joe Tatton's second album "Give me what you got!"- led by a funky guitar riff followed by a cutting hammond melody - a little "Meters, Booker T, The Crusaders "!
"Moonbow" a hypnotic slower tune with a nod to Khurangbin
The final track on the album is "Lost on You" A Breezy George Benson nod along
Out on vinyl, CD and digital on 5th July !

Past collaborators of Decosimo include indie/folk artists Jake Xerxes Fussell, Wye Oak, and Hiss Golden Messenger. Past collaborators of Schrey include experimental/sound artists Alvin Lucier, Gordon Mumma and Yasunao Tone. In April 2021, Joseph Decosimo, Luke Richardson, and Cleek Schrey three of the most compelling interpreters in the American traditional music scene gathered at a cabin in Tennessee to explore their collective repertoire of Old-time fiddle and banjo tunes, gleaned from visits with older players, field recordings, and vintage 78s. Working with fiddle, hardanger d’amore (a fiddle with sympathetic strings), banjos, and a 19th-century pump organ, the trio captured both the sonic details of their instruments and a generous musical interplay rooted in a dozen years of collaboration. Their debut album, Beehive Cathedral, presents resonant, thoughtful, and expansive explorations of Appalachian and American music. The results showcase deep Details study and enveloping, exhilarating performances. A rich vein of stories and relationships to people and places underpin Beehive Cathedral. Much of the album draws on Decosimo’s experiences learning the music of Tennessee’s Cumberland Plateau, where he grew up and worked as a folklorist. A key source of inspiration was fiddler Clyde Davenport (1921-2020), “Clyde was a social and musical trickster who knew hundreds of old tunes and had an uncanny ability to recall each piece in exquisite detail,” says Decosimo. “During my visits, he’d play breathtaking local pieces from his father Will, who was born in 1868. His father had learned some of them from a neighbor who was born in 1829.” "This record expresses some of what we hear in Southern traditional music: the ring of the strings, the buzz of the tunings, the hum of the organ,” explains Schrey. Spending time listening to old recordings and imagining how those sounds were made has made the trio keenly interested in the relationship between physical motion and sound in their source material. The result is a dense layering of sounds and interaction. Of this sonic interplay, Irish fiddle luminary Martin Hayes observes, “The sound of a beehive conveys the idea of a unified harmonious soundscape which is how this recording sounds. Beehive Cathedral is a sonic delight, a beautiful blend of Old-time soundscapes and more. This is a hypnotic recording that is grounded, subtle and refined

BOBBY ROBINSON was more than a fixture in hisNew York community, he had been an essential part of its lifeblood for over 60 years. Had he just been the proprietor of the first record store (and reputedly the first black-owned business) on 125th Street, he would have been important enough, but he also had an ear for talent, recording landmark music across four decades, always at home with the music of his neighbourhood, be it doo-wop, R&B, soul or even rap.

He was an entrepreneur involved in over a dozen different labels, sometimes on his own, sometimes with a partner, often with his brother Danny, and he was behind records that became internationally famous by Gladys Knight, King Curtis, Elmore James, Lee Dorsey, Wilbert Harrison and Grandmaster Flash. He made many more that were simply good, and this compilation takes aim at the great work he did as a soul and R&B producer during the 1960s and early 70s. It’s an introduction that shows the quality that he created had depth beyond the headline names.

For Patricia Kaas' her sixth album Dans Ma Chair, she went to New York to work together with the successful producer Phil Ramone (Ray Charles, Billy Joel, Paul Simon), Lyle Lovett and, for the second time, James Taylor. With Taylor, she recorded the duet ""Don't Let Me Be Lonely Tonight"". Two singles from the album received silver status, ""Je voudrais la connaître"" and ""Quand j'ai peur de tout"". The latter was written by Diane Warren and later succesfully translated and covered by Sugababes as ""Too Lost in You"". The album went to #1 in Belgium and reached the Top 10 in Finland, French, Germany, and Switzerland. Dans Ma Chair is available as a limited edition of 1000(?) individually numbered copies on red coloured vinyl and includes an insert.

Transcendental outernational funk and psychedelic jazz from mystery L.A.- based collective Sun Atlas

2nd edition with alternative sleeve and label design.

Little is known about Sun Atlas. The group members are hidden behind masks and costumes to keep their identities secret and to put the focus entirely on the music and oneness. A sense of community and universal spirit as an alternative to idolization and individualism is heavily reflected in their eclectic musical style.

The sound of Sun Atlas is mystical and cosmopolitan, combining afrobeat, cinematic soul, spiritual & ethio jazz with space sounds, hiphop-breaks and a garage funk vibe.

Their cryptic first 45 single "The Mystic Parade" b/w "Grand Theft" sold out immediately after release and has often been mistaken for either "lost" hiphop samples, 70s habibi funk or another project in disguise from the inner circles of the Mocambo, Big Crown or Daptonefamilies (which it is not).

Return To The Spirit picks up where Sun Atlas' first single leftoff, with everyone wondering where the journey might lead. With the door to a colourful universe opened, the full-length format gives time & space for further exploration.

Two years after Strange Effect, the Parisian band are back with Half Asleep Half Awake, a second album that will restore your faith in rock. And how do they do that? With a compendium of overpowering hits, luminous melodies and finger-burning demonic jams. The trio of Djivan Abkarian (vocals, bass), Lucas Humbert (guitar) and Baptiste Leon (drums) went back to London to Liam Watson's studio (White Stripes, Madness, Tame Impala, Supergrass) for this new opus. Half Asleep Half Awake is a string of XXL hits. There are Proust ballads, hysteria, a remarkable home run and 18-carat diamonds. To reinforce this kaleidoscopic feel, Howlin' Jaws haveincorporatednewinstruments (a djura, a kind of mini Greek bouzouki; sagattes, smallcymbals used in Egypt and Turkey) to add depth and diversity. VocalsweredubbedandthenpassedthroughLeslieboothsforvibratoeffect, and solos were infused with phaser. This is an album wherealchemyandexperimentationgivebirthtofrenzy,savageryandemotion

Slip this delirious disc out of the lime/slime green sleeve and you're up close and personal with the new chapter in the TD saga.
A dance floor triptych of such seismic scale that the crew spent two years trying to wrangle the tracks on wax, finally finding a plant with the power to press them up.

Sprawling across the A-side is the devastating 'Doner Summer', an instrumental extension of some lost Munich disco masquerading as an Anatolian excursion. Ditching the vocals and cutting the kase, the crew lay down a galloping groove topped with Turkish licks and disco strings, take us into the psychedelic swirl of a tumbling drum breakdown before hitting the big red button marked banger for a searing second half. Firing up the hardware, TD blast this one further into the Phuture, dropping technoid sequences, nagging 303 and Cowley-style FX fuckery for a full on club assault.

In the alternate B-side universe, Hans Zimmer lost his dread note and Denis Villeneuve was forced to turn to Talking Drums for the Dune soundtrack. They obliged with the sci-fi rai of 'Chaba Ranks', reshaping an Algerian OG with a dancehall kick, off beat vamps and star-crossed synths, then letting loose with a heavy bass tone.
|In time honoured fashion, the team also drop a dub version, cutting out the vocals and focussing on those additional elements for the wildly cosmic 'Chaba Skanks'.

Now who's getting the spice in?

Limited Press - Numbered Insert - Drum Fun Guaranteed !

Ursprünglich im September 2000 auf Science/Virgin veröffentlicht, festigte Solaris Rupert Parkes' Rolle als unverwechselbare Kraft im Bereich des Underground-Dance und führte einige seiner Zuhörer in die Irre, indem es sich vom mathematischen Drum and Bass seines Debüts Modus Operandi entfernte. Diese Wiederveröffentlichung wird hier mit akribischer Aufmerksamkeit für die Details der ursprünglichen britischen Erstpressung präsentiert und ist auf zwei 140g-LPs erhältlich. Modus Operandi wurde 1997 veröffentlicht und war sowohl ein Kritiker-Liebling als auch ein kommerzieller Erfolg, der Photek als eine Art schattenhafte Leitfigur in der Welt des Drum and Bass etablierte, nachdem er in den Jahren zuvor bei Metalheadz gelernt hatte. Solaris, das drei Jahre später erschien, wurde mit Spannung erwartet; hier spielte Photek mit Form und Genre. Glamorama mit seiner stark verhallten Bearbeitung der Stimme der Künstlerin Marie-Jos Jongerius klingt nicht unähnlich zu David Byrnes und Brian Enos klassischen Cut-ups von My Life In The Bush of Ghosts. Wo Solaris von seinem Vorgänger abweicht, ist der wunderschöne Deep-House-Sound von Mine To Give und Can't Come Down, die beide von der Chicagoer Legende Robert Owens gesungen werden und Photeks Techno-Seele mehr Herz verleihen. Wie um seine Kritiker zum Schweigen zu bringen, zeigten die unerbittlichen achteinhalb Minuten von Infinity, dass nur wenige die Grenzen von Drum and Bass so weit hinausschieben können wie Photek. Photek ist heute ein etablierter Film- und Fernsehkomponist in Hollywood. Dennoch wird seine Arbeit liebevoll in Erinnerung behalten und sehr respektiert.

WAAN represents the musical marriage of seasoned saxophonist Bart Wirtz and keyboard wiz Emiel van Rijthoven. "Echo Echo", the album"s title reflects the relationship between WAAN"s two members. They are the echo of each other"s echo - a symbiotic and never ending musical relationship and far more complex than just being a dance music influenced jazz album.

"Two-pronged, remix attacks don't come much more exciting and potent than this... as here - thanks to our good friends at Nervous NYC - we're beyond hyped to bring you the legendary Masters At Work and Dave Lee on one single, fully weaponised package.

Putting their own, inimitable spins on Louie Vega's ˙Music Is My Life˙ - which features the unique talents of Unlimited Touch - we're treated to a pair of wonderfully complimentary, but no less idiosyncratic re-rubs from these two stalwarts of the scene.

With a production hand and artistic touch like no other - Masters At Work lead the way here, with their main remix. Characterised by that trademark looseness and deliciously warm, organic approach - their rework is awash with woozy psychedelia and layered so expertly, that getting lost in the music is both gloriously simple and an absolute pleasure. But no true Vega & Dope remix suite, would be complete without a bonafide Dub version. And for ˙Music Is My Life˙ - this sees the dynamite duo take proceedings down a distinctly more mesmeric and mood-laden path… one where the vocal is instead used as a powerful rhythmic weapon, and the star of the show, is a surreptitiously morphing and shape-shifting, delicately acid-laced synth lead.

Next up - having recently switched his attentions to productions under his own namesake - is Z Records' head honcho, Dave Lee. Snapping into life with its crisp and punchy drum work - what Lee's remix does share with that of the Masters is in the over-arching, tripped-out haze which douses proceedings. However - where his remix opts to stick its head well and truly above the parapit, is in it stylistic flavouring. As when it comes to slicing that genre cake, so to split the worlds of Disco and House perfectly down the middle - there's simply no one who does it finer.”

From the deep confines of the universe, we receive emissions of HC Records’ 21st release - Those Dark Whims by UHF, the production duo and Gladio Operations label heads José Castillo and David Aragón. An exciting digital LP from which a selection of tracks have been extracted for vinyl along with remixes by two label regulars, Estrato Aurora and The Lost Boys.

Skynet Was Shy opens both the LP and the vinyl, a hypnotic starting point in which the most vibrant and crystalline electro fuses with acid sequences to generate a state of pure trance, complimented and driven by spiralling sequences and mantra-like vocals. The second track on the LP and A2 on the vinyl is The Lost Boys' remix of Skynet Was Shy. A rough and sharp reinterpretation where the use of 303 sequences continues but focuses on more of a physical than a mental dance.

Hanging Baskets reactivates the state of infinite mental suspension that underlies this powerful and bold composition with deft and minimalistic use of elements: sharp broken rhythms, a dense melodic environment but with occasional moments of pure light and a new vocal message that ignites in our minds.

The B-side kicks off with Estrato Aurora's remix of Day Dream, which as usual in the work of the acclaimed Valencian producer, extends the original version to 8 minutes, giving it an unusual emotionality created by an amalgam of sound textures that interweave multiple pads, mutant melodies and pulsating percussion. Closing the vinyl, UHF's machines join forces with the lyrics of another electro heavyweight in Protestas En Las Redes Feat. Dark Vektor, a combative discourse in which the powerful and robotic vocal message of the Terrassan producer ascend alongside the futuristic melodies, extra-dimensional violins, spatial arpeggios, and metallic rhythms of the Madrid duo.

Beginning in the mid-1960s as a covers band, the group that came to be Unicorn soon determined that original material was the way to go, and after being inspired by a Crosby, Stills and Nash album, their particular brand of enlightened folk rock tinged with country shades yielded a contract with Transatlantic for their 1971 debut. Fast forward to 1974 and Blue Pine Trees finds the band at their finest with sweeping harmonies and bluegrass tinges, and with Pink Floyd’s David Gilmour in the producer’s chair, all of their glorious potential is realised on this lost gem of an album that is fully ripe for rediscovery. A truly great work!

Theatrical rocker Arthur Brown gained notoriety and fame in equal measure through ‘Fire,’ an anthem to their pyrotechnic excess. When his backing musicians quit to form Atomic Rooster, Brown formed Kingdom Come to further explore the nexus of music and theatre and of the series of albums they cut for Polydor, Journey is the strangest and greatest. Stretching to the deepest reaches of space rock, Journey used the Bentley Rhythm Ace drum machine, and Victor Peraino’s synths, theremin and mellotron, to chart the astral records of history. This is Brown’s true masterpiece, an astounding record that was aeons ahead of its time.

In the late 90s, the bands that Mike Badger had been part of vanished in the rear-view mirror. The La’s and The Onset were no more. With a young family and his tin-can sculptures emerging as his primary source of income, the evenings in Allerton (south Liverpool) found him quietly strumming his acoustic guitar, careful not to disturb the sleeping children. Weekends often led to the Penny Lane Wine Bar and later to Henry Epstein’s residence, a haven for revelry after closing time. A place where acoustic guitars adorned the walls, and impromptu musical sessions unfolded. In the midnight hours at Henry Epstein’s house, Paul Hemmings conceived the idea of compiling an album featuring Mike’s new tunes, which seemed to carry a basic “pastoral” theme reflective of settled domestic life. Demos were recorded on a porta-studio, and the album, initially titled “Naked and Beyond,” was crafted with starkness and simplicity, adorned with selected embellishments contributed by associates who shared drinks and stages. Recording took place at “The Lab” studio just north of the city, utilizing a Teac 24 Track machine and the warmth of analogue recording. The studio featured an old Italian “Eko” acoustic guitar, a classical guitar, Louis Johnson’s cello arrangements, and Tommy Scott’s backing vocals. Once the core of the album was laid down, the journey continued to Anglesey, to Henry Priestman’s “Gossamer Dome” Studio, where a baby grand piano, Farfisa organ, and “Parrot” accordion were added to enrich the songs with colors, harmonies, and magic, all against the backdrop of a sea view. The front cover of the album was adorned with an objet d’art created from a spiraled frying implement, part of Mike Badger’s “Lost and Found” exhibition. As the need to release the album arose, Mike Badger and his collaborators established their own label, “Viper,” and secured a distributor. The album, titled “Volume,” reflected its creation – from its initial sound considerations to the organic body of work composed in recent years. The recording process, though thorough, embraced imperfections, as Mike Badger believed that completeness emerged from these flaws, giving the performance its distinct character. The spirit of the performance took precedence over perfection, resulting in a product that felt genuine, unfettered, and honest – created simply because it was meant to be made. Now the album turns 25 it is released on vinyl for the first time via Nine X Nine Records.

January 2023, Dorset. Snow is piled at the door, icy roads are closed, and Emily Cross is in a coffin. Not a setting typical for a rebirth. But for Loma, this is where they bring their band back from the brink. "It's like a demon enters the room, whenever we get together", writer, singer and instrumentalist Cross says of the struggle to bring new Loma music into the world. Following the release of their 2020 second album Don't Shy Away, Loma's three members were cast around the globe and the band-not for the first time-entered a deep sleep. Multi-instrumentalist and recording engineer Dan Duszynski remained in his studio in Don't Shy Away's central Texas heart, but Cross, a UK citizen, moved to Dorset, and writer and instrumentalist Jonathan Meiburg left the US for Germany to research a book. In the pandemic years, even being in the same room was impossible, and attempts to start a new record faltered. The following winter, in an attempt to salvage the record and the band, Cross suggested they regroup in the UK, in the tiny stone house-once a coffin-maker's workshop-where she works as an end-of-life doula. With minimal recording gear and few instruments, Loma turned two whitewashed rooms into a makeshift studio, using a padded coffin as a vocal booth. It was a turning point. They scrapped much of what they'd made, letting a new place set a new course. The one-lane roads, hedgerows and dark skies of Dorset gave the new songs an ineffable but unmistakable Englishness. The band used the ruin of a 12th-century chapel as a reverb chamber-surprising hillwalkers who peeked in to find them singing to no one-and the sounds of Cross's chilly workshop wormed their way into the recording: a leaky pipe, a drummer's brushes on a metal lampshade, the voices left on an ancient answering machine. What emerged was How Will I Live Without A Body?: a gorgeous, unique, and oddly comforting album about partnership, loss, regeneration, and fighting the feeling that we're all in this alone. Many of its songs have a feeling of restless motion; faceless characters drift through meetings and partings, tangling together and slipping away. "I Swallowed A Stone" is like a nightmare with a happy ending; "How It Starts" and "Broken Doorbell" reflect on the challenge (and necessity) of wrestling with agoraphobia. Though the record nods to the trio's separate lives- a German percussion ensemble, a pair of Texan owls, and the surf at Chesil Beach make guest appearances-the core of Loma's sound remains intact: earthy, organic and deeply human, anchored by Cross's cool, clear voice. Loma's previous album, Don't Shy Away, was galvanized by the unexpected encouragement and contributions of Brian Eno. This time, they found inspiration in another hero, Laurie Anderson, who offered a chance to work with an AI trained on her entire body of work. Meiburg sent her a photo from his book-in-progress about the once and future life of Antarctica; Anderson's AI responded with two haunting poems. "We used parts of them in a few songs," he says. "And then Dan noticed that one of its lines, 'How will I live without a body?' would be a perfect name for the album, since we nearly lost sight of each other in the recording process." In the end, Loma's efforts to reconnect with one another are the album's central focus: what do you owe a shared past, when everyone and everything has changed? "Making this record tested us all," says Duszynski. "I think that feeling was alchemized through the music." Alchemized, because How Will I Live Without A Body? is by no means a stressed-out record: an undercurrent of deep calm runs through it. But maybe 'relaxed' isn't the right word. It's more like a feeling of relief, of making it through a tough journey together.

Lenticular Sleeve / White Vinyl. When Jack Tatum began work on Life of Pause, his third full-length to date, he had lofty ambitions: Don't just write another album; create another world. One with enough detail and texture and dimension that a listener could step inside, explore, and inhabit it as they see fit. "I desperately wanted for this to be the kind of record that would displace me," he says. "I'm terrified by the idea of being any one thing, or being of any one genre. And whether or not I accomplish that, I know that my only hope of getting there is to constantly reinvent. That reinvention doesn't need to be drastic, but every new record has to have its own identity, and it has to have a separate set of goals from what came before." What came before: a rightfully acclaimed, much beloved display of singular pop craftsmanship. Tatum's dreamy, unexpected 2010 debut, Gemini, was written while he was still a student at Virginia Tech University. Its equally disarming follow-up, 2012's Nocturne, marked the first time he'd been able to bring his bedroom recordings into a studio, to be performed and fully realized with the help of other musicians. There has been a set of wonderfully expansive EPs in between_each hinting at new directions and punctuating previous ideas_but with Life of Pause, Tatum delivers what he describes as his most "honest" and "mature" work yet, an exquisitely arranged and beautifully recorded collection of songs that marry the immediate with the indefinable. "I allowed myself to go down every route I could imagine even if it ended up not working for me," he says. "I owe it to myself to take as many risks as possible. Songs are songs and you have to allow yourself to be open to everything." After a prolonged period of writing and experimentation, recording took place over several weeks in both Los Angeles and Stockholm, with producer Thom Monahan (Devendra Banhart, Beachwood Sparks) helping Tatum in his search for a more natural and organically textured sound. In Sweden, in a studio once owned by ABBA, they enlisted Peter, Bjorn and John drummer John Ericsson and fellow Swedish Radio Symphony Orchestra veteran Pelle Jacobsson, to contribute drums and marimba. In California, at Monahan's home, Tatum collaborated with Medicine guitarist Brad Laner and a crew of saxophonists. From the hypnotic polyrhythms of "Reichpop" to the sugary howl of "Japanese Alice" to the hallucinogenic R&B of "A Woman's Wisdom," the result is a complete, fully immersive listening environment. "I just kept things really simple, writing as ideas came to me," he says. "There's definitely a different kind of `self' in the picture this time around. There's no real love lost, it's much more a record of coming to terms and defining what it is that you have_your place, your relationships. I view every record as an opportunity to write better songs. At the end of the day it still sounds like me, just new."

LIMBONIC ART kehren mit "Opus Daemoniacal" zurück! Das neunte Album der norwegischen Black Metal Pioniere ist schwarz wie ein Rabe, grimmig wie ein Wolf, majestätisch wie ein Adler und so mächtig wie die frühen Werke der legendären Band, die Sänger und Multi-Instrumentalist Vidar "Daemon" Jensen im Jahr 1993 gegründet hat. Auf "Opus Daemoniacal" bleibt der Norweger seinem geradlinigen schwarzen Kurs treu, den er zuletzt eingeschlagen hatte. Doch das Album lehnt sich gleichzeitig auch bewusst an die atmosphärische Dichte und das cineastische Gefühl von LIMBONIC ARTs bahnbrechenden Frühwerken an. Nach dem Anwachsen zu einem Duo erschien das Debütalbum "Moon in the Scorpio" im Jahr 1996 bezeichnenderweise über Nocturnal Art Productions - dem Label von EMPEROR-Gitarrist Samoth alias Tomas Thormodsæter Haugen. Die einzigartige Kombination aus hartem nordischen Black Metal mit erhabenen Kopfkino-Elementen, die ihre Inspiration aus romantischer und klassischer Orchestermusik bezogen, erwies sich in den folgenden Jahren als äußerst einflussreich. Mit dem Nachfolger "In Abhorrence Dementia" (1997) und dem dritten Album "Epitome of Illusions" (1998) reduzierten LIMBONIC ART allmählich die symphonischen Elemente in ihrem Sound. Im Februar 2003 löste sich das Duo auf, aber Daemon reformierte die Band im Jahr 2006. Es folgten die LIMBONIC ART Alben "Phantasmagoria" (2010) und "Spectre Abysm" (2017). "Opus Daemoniacal" verbindet die Gegenwart mit dem frühen Klanggefühl der norwegischen Kultband, was sowohl Freunde der ersten Werke als auch eine neue Generation von Liebhabern des klassischen nordischen Black Metal ansprechen wird.

Joanna Gemma Auguri releases her new album "Hiraeth" on 28th June via Duchess Box Records Joanna Gemma Auguri is a Berlin musician, songwriter and actress. In the various stages ofher musical solo and band projects, she incorporates influences from folk, ambient andavant-garde music.Being five years old she escaped with her parents from Poland, which was under martial law,and had to learn at an early age what uprooting means. This experience is reflected in her music as an expression of personal sadness, compassion, but also despair about the state of the world.2021 she released her solo debut "11" on her own label Lavender Music. It was mainly characterized by accordion, zitherand her vocals. Her new album "Hiraeth" was recorded at Candy Bomber Studios in Berlin by Ingo Krauss, with a large number of musicians. Besides choir, double bass, lap steel guitar, drums, cello, horns , different organs and keyboards her original instruments accordion and zither still shine through from time to time. Joanna's voice sits unmistakable on top of the majestic,nearly monumental compositions which despite their richness always stay basic and delicate. "Hiraeth" is an untranslatable Welsh word that describes the longing for a home, a place or a feeling that no longer exists or never existed.The album will be released June 2024 on Duchess Box from Berlin.

Enjoy The Toons Records in conjunction with WaterTower Records, WB Games & DC Comics proudly presents Best of Batman: Arkham Knight, Music by Nick Arundel and David Buckley.

Curated by the games' composer, Nick Arundel, Best of Batman: Arkham Knight consists of 15 tracks from the 2015 video game. Each record comes housed in a 350gsm jacket with black inner sleeves and black flood printing inside the sleeve. Included with each record is a 12" x 24" foldout insert, featuring a collage of the game's main characters on one side, with a grand scale view of Arkham City on the other.

Best of Batman: Arkham Knight is a limited edition pressing.

Enjoy The Toons Records in conjunction with WaterTower Records, WB Games & DC Comics proudly presents Best of Batman: Arkham Knight, Music by Nick Arundel and David Buckley.

Curated by the games' composer, Nick Arundel, Best of Batman: Arkham Knight consists of 15 tracks from the 2015 video game. Each record comes housed in a 350gsm jacket with black inner sleeves and black flood printing inside the sleeve. Included with each record is a 12" x 24" foldout insert, featuring a collage of the game's main characters on one side, with a grand scale view of Arkham City on the other.

Best of Batman: Arkham Knight is a limited edition pressing.

Fourteen new and previously unreleased tracks from some of the most exciting current bands from Seattle, Washington's vibrant alternative-rock underworld.
Continuing in the spirit of regional compilation albums like 1988's Sub Pop 200, "From Far It All Seems Small" serves as a snapshot of the contemporary Seattle scene.

"From Far It All Seems Small" jumps off the speakers with an onslaught of fuzz and an abundance of hooks. You might find yourself flipping the sleeve over, expecting to see a release date from the 1990's, but no, these are Seattle's finest here and now! - Jackson Long (KEXP, HMS Studio)

A wonderful document of the current moment of Seattle indie. - Ole Johnson (Painter Man Records)

A collection of songs that will get stuck in your head by Seattle's best alt-rockers. - Ellen Rumel (PNW music photographer)"

Blue Smoke Vinyl. To celebrate Minus the Bear's 10th anniversary, Suicide Squeeze will issue the band's earliest recordings on vinyl. "Highly Rened Pirates," is Minus the Bear's rst proper album. Originally released in 2002, this edition is being remastered from the original tapes, for vinyl, by the legendary Bernie Grundman, the Hollywood-based legend behind many of the industry's landmark recordings. The initial pressing will be limited to 2000 copies: 1000 black (180gram), and 1000 `translucent' blue vinyl; each copy comes with a download coupon. A real chance to hear where this sound started...

Gabriel Birnbaum cuts straight to the spiritual essence of the characters he inhabits, painting affecting and lovingly drawn scenes bolstered by cathartic hooks. Like one of his own espoused patron saints, Paul Simon, Birnbaum sets new challenges for himself with each recording, honing the nuts and bolts of his songcra and pinpointing unexpected new aesthetic contexts for it. The lush and psychedelic folk-rock songs on his new album Patron Saint of Tireless Losers confidently cut to the essence of his artistry, highlighting a mature narrative voice, and a consistently surprising musical syntax. As much as anything Birmbaum has put into the world, it's a tour de force that thrives on both self-assuredness and restlessness_marks of a crucial and constantly evolving artist whose work it's impossible to turn away from once you tap into its frequency.

Limited Edition 2024 Reissue of FTB's 1973 Album 'Make Up'

Recognized as one of the most influential new rock bands of their era, Flower Travelin' Band (FTB) presents their last offering of the decade, brimming with a raw, live energy that epitomizes their signature style. This album encapsulates the essence of the band's sound and ethos.

Produced by Flower Travelin' Band, Yuya Uchida, and Ikuzo Orita.

Baby Blue & Halloween Orange Vinyl. In their decade-plus together, the four-piece_Julia Shapiro (guitar, vocals), Lydia Lund (guitar, vocals), Gretchen Grimm (drums, vocals), and Annie Truscott (bass, vocals)_have created a resonant body of work. Live Laugh Love is a natural continuation. Against the bizarre backdrop of the past few years, Chastity Belt remained a supportive space for the members to grow and experiment, drawing on the ingredients most essential to their process since the beginning: authenticity and levity. Recorded over three sessions in as many years (January 2020, November 2021 and 2022), the focus became more about enjoying their time together in the studio than making it feel like work. Their ease and familiarity with engineer Samur Khouja in LA, who also recorded their last album, made for a particularly enjoyable process. Once completed, they returned to renowned engineer Heba Kadry who mastered the album.Album opener "Hollow" sets the tone with a gently driving rhythm while guitar layers stream like sun rays through an open car window. A warmth radiates through Shapiro's voice, even while grappling with feeling lost and stuck. "The older I get," Shapiro says of the lyrics, "the more I realize that I might just always feel this way, and it's more about sitting with the feeling and accepting it, rather than trying to fight it." That wisdom seems to anchor Live Laugh Love. Chastity Belt has never shied from navigating the spectrum of difficult emotions, and an existential thread weaves throughout the subject matter. And yet the songs feel more grounded than ever; there's a sense of quiet confidence and self-assurance that comes with being less numb and more present. Facing discomfort takes more fortitude, after all.Live Laugh Love finds the members in their prime as musicians. Their parts trace intricate patterns over one another, but there's room to breathe between the layers. Everyone contributes to the writing, sometimes switching instruments, and for the first time, all four members sing a song. It's never been more apparent that they are creative siblings, cut from the same belt. "We've been playing music with each other for over a decade," says Shapiro, "so it really does feel like we're all fluent in the same language, and a lot of it just happens naturally.""Laugh" seeks in the balm of friendship, aware of the anticipatory nostalgia that hits during a good time that you're already missing before it's gone; the heavier guitar tones on "Chemtrails" streak ominous chord progressions over Grimm's precision timekeeping, lamenting memories that won't fade easily. During a transitional time, Truscott came across a note in their phone that read, "it's not hard all day, just sometimes," which inspired a poignant line in the chorus of "Kool-Aid," their first song as lead vocalist on a Chastity Belt recording. Another standout, "I-90 Bridge" shines with a silvery melody that soars as Lund belts one of the most resounding moments on the album: "Tell your girlfriend she's got nothing to fear/I'm set in my head/My body's a different story." The track "Blue" saunters nonchalantly with a wink; you can almost hear Shapiro's smile as she sings "Faking it big time/So I can hit my stride/Man, it feels good to be alive," channeling early Chastity Belt channeling early '90s before channeling the late Elliott Smith in a spiral of distortion and insight: "Don't get upset about it/It's gonna pass/Tell all your friends about it/They're gonna laugh.""We have such a strong sense of each other's musical inclinations" says Lund. "I think this allows for a lot of playfulness_we can kinda surprise each other, like a good punchline would."

In April 2022, Aurora read a letter that changed her life. The letter was co-authored by indigenous activists entitled "WE ARE THE EARTH" and called for a revolution as a collective response to global warming - to "heal the land". They described a connection to the land "through our hearts" and the earth as "the heart that beats within us". The letter prompted Aurora to ask herself: what happened to the heart? She then began to study books on human anatomy to understand when and why Western culture lost sight of the deeper purpose of our most vital organ.

"WHAT HAPPENED TO THE HEART?" is a journey from weakness to strength, from self-destruction to self-healing. It is a touching and introspective musical journey that explores the loss of spiritual connection in modern society, the healing power of vulnerability and the call for change through reuniting the heart with politics and personal growth.

Timelash is the evolution of Embassador Dulgoon’s cryptozoological sci-fi opus ‘Hydrorion Remnants’ converging with Corum’s surreal sonic mapping as ‘Beguiling Isles’. The combined cinematic vision jettisons listeners through a psychedelic wormhole far beyond the usual perception of known audio latitude.

Aguirre Records has gone all out to inject this tribal dino DNA double slab of wax presented as twelve expansive and mesmerizing tracks of historical mutations linking early communication developments with speculative astrobiological impressions heard as mysterious & riveting melodies that wash over dizzying percussive styles and suspenseful ambience.

A variety of unexampled sounds take shape throughout as tectonic tablature, reptilian choral movements, bubbling bioluminescence, tube calls, orogenic bells, crustacean chatter, lost continent scales, high plains drifting riffs, and primordial soup lapping splashes revealing to listeners a living mural that is ’A Morphology of Wonders'.

The conjuring of cratonic creature harmonics resonate wildly from this interdimensional duet, emerging as Neopangaea music of now

*REMASTERED ROUGH TRADE 4 TRACK E.P LIMITED TO JUST 500 COPIES*

Everything on “Up Home!” is bigger, richer; the guitars are huge, as though they’re being played through the clouds, massive gusts of blue-green noise that move across the stereo spectrum like weather systems. “Baby Milk Snatcher” is built around face-flattening dub bass, with glinting piano and shards of guitar ricocheting through the song. “W.O.G.S.” is delirious to the point of expiration; “One Way Mirror” is their attempt at weird, lopsided ‘anti-funk’, the song’s melody crushed by avalanches of six-string interference. And the closing “Up” is AR Kane’s masterpiece, a disembodied thud pulsing at its heart as a six-note guitar melody spirals ever onward, Ayuli’s voice lost in its own reverie, hymning escapism via references to Jamaican political activist Marcus Garvey’s ‘black star line’.
• Jon Dale, lead review in Uncut Magazine
who grew up together in Stratford, East London. From the off the pair were outsiders in the culturally mixed (cockney/Irish/West Indian/Asian) milieu of the East End, with Alex and Rudy’s folks first generation immigrants from Nigeria and Malawi, respectively. The two of them quickly developed and fostered an innate and near-telepathic mutual understanding forged in musical, literary and
artistic exploration. Like a lot of second-generation immigrants, they were ferocious autodidacts in all kinds of areas, especially around music and literature. Diving deep into the music of afro-futurist luminaries such as Sun Ra, Miles Davis, Lee Perry and Hendrix, as well as devouring the explorations of lysergic noise and feedback from contemporaries like Sonic Youth and Butthole Surfers, they also thoroughly immersed themselves in the alternate literary realities of sci-fi and ancient history (the fascination with the arcane that gave the band their name), all to feed their voracious cultural thirsts and intellectual curiosity.

It was seeing the Cocteau Twins performing on Channel 4 show the Tube that spurred A.R. Kane into being - “They had no drummer. They used tapes and technology and Liz Fraser looked completely otherworldly with those big eyes. And the noise coming out of Robin’s guitar! That was the ‘Fuck! We could do that!
The duo debuted with the astonishing ‘When You’re Sad’ single for One Little Indian in
1986. Immediately dubbed a ‘black Jesus & Mary Chain’ by a press unsure of WHERE to put a black band clearly immersed in feedback and noise, what was immediately apparent for listeners was just how much more was going on here – a tapping of dub’s stealth and guile, a resonant umbilicus back to fusion and jazz, the music less a conjuration of past highs than a re-summoning of lost spirits.

The run of singles and EPs that followed picked up increasingly rapt reviews in the press, but it was the ‘Up Home EP’ released in 1988 on their new home, Rough Trade that really suggested something immense was about to break. SimonReynolds noted the EP was: Their most concentrated slab of iridescent awesomeness and a true pinnacle of an era that abounded with astounding
landmarks of guitar-reinvention, A.R. Kane at their most elixir-like.

If anything, the remastered ‘Up Home’ is even more dazzling, even more startling than it was when it first emerged, and listening now you again wonder not just about how many bands christened ‘shoegaze’ tried to emulate it, but how all of them fell so far short of its lambent, pellucid wonder. This
remains intrinsically experimental music but with none of the frowning orthodoxy those words imply. A.R. Kane, thanks to that second generation auto-didacticism were always supremely aware about the interstices of music and magic, but at the same time gloriously free in the way they explored that connection within their own sound, fascinated always with the creation of ‘perfect mistakes’ and the possibilities inherent in informed play.

After releasing “Columbo No.5” last September, the band went into the infamous Tunbridge Wells Forum to record their debut album. Having never recorded a debut album before, perhaps the idea of nailing it in 5 days may have been optimistic but with the budget blown and the studio engineer committed to other work for the rest of the year the band were left scratching their heads.

They knew a local bee keeper was the mother of a producer who was raised on metal but recently had engineering credits with artists such as Stefflon Don, Stormzy and Skepta...
..... A call was made, and Jake Jones delivered!

Wytch Pycknyck are LOUD yet maintain a trashy garage feel. Off the blocks with Rawkuss, almost distort with the guitar cacophony hitting the redlight in parts, and ending with Frostbite a spoken word / rap intro metamorphosis into a space rock psychedelic wig out with bassist Ewan Fitzgerald’s passion for analogue synths coming to the fore.

Sometimes the guitars shred and sometimes the bass takes pole position. Two and half minute thrash-outs sit shoulder to shoulder with nine-minute psych monsters AND it all makes sense.

Reissue of late-’80s release by lovably manly Australian punk rock trio! Sometime in the winter of 1989-90, I wandered into New York City’s Midnight Records, a store famous for its deep catalog of ’60s garage and psychedelic music, as well as a strong selection of classic punk rock and a cantankerous French owner with ridiculous hair. On this visit, instead of hearing a puny French bootleg of The Standells or the Seeds, as I opened the door I was enveloped in the massive opening chords to the first song on the Cosmic Psychos’ then-new album Go the Hack. “She’s a lost cause / She’s a lost, lost cause!” blasted into the air at maximum volume. In a perfect cinematic moment, the drums announced my entry, the bass dictated my walk, the air became thick with guitar fuzz and wah-wah, and snarled vocals described perfectly a girl’s descent into a cause which was lost. Instead of record shopping, I felt like I’d stepped into a biker movie and was motoring down a long, straight Outback road on a Harley. This was my introduction to the Cosmic Psychos, and I was hooked. I loved that a band could be so powerful, sound so big and unapologetically simple, and incorporate so much of what I loved about music—well, basically the attitudes and sounds of The Stooges and Ramones: setting up songs with a good title or idea, matching it with a massive riff, then running it out with squeals of wah-wah and manly disregard for cleverness or adornment. And they called themselves the Cosmic Psychos! They obviously had no regard for “makin’ it” in those days, when an alternative rock band at least had a chance to sell some records. I was an instant fan. Earlier records proved to be the same formula with even less refinement, and that was definitely a good thing. These were lovably manly Aussies singing about what they knew best: farm equipment, lusting after Elle Macpherson, wishing they were in Van Halen (for the ladies), drinking at the pub, and even more drinking at the pub. Trivia question: In what indie rock song does the lead singer bellow “I love my tractor!”? Answer: None! No scarves or looking like Stevie Nicks straight out of the hairstylist’s for these fellows. They were the real deal before the deal was dealt. And they couldn’t care less. The Psychos enjoyed a long run through the ’80s and ’90s on such Australian labels as What Goes On, Mr Spaceman, Survival and Rattlesnake, as well as American stalwarts Sub Pop and Amphetamine Reptile. Many bands from that era no longer seem vital today, lost in a murk of crisp drums, loud guitars, flannel shirts and shallow aspirations. These first Cosmic Psychos releases are as timeless and necessary as ever—still a bullshit bulldozer, a blurry loud night at the bar, a rollicking time hanging with the guys. The time has come for a new generation to be uplifted by these initial blasts from the Cosmic Psychos. Goner is proud to partner with Melbourne’s esteemed Aarght! Records to bring these platters of primal perfection back into a world that definitely needs them. — Eric Friedl, Oblivians / Goner Records 40th Anniversary tour about to hit UK / EU! Go the Hack!! Essential!!

A Gilles Peterson-approved deep jazz-rap classic.

2024 first time vinyl release, 140g double vinyl, remastered audio with restored artwork.

Limited and Non-Returnable.

Holy grail hip-hop alert! Superstar Quamallah's Invisible Man was never released on wax so, to celebrate the 15th anniversary of this astounding record, we present the first ever vinyl edition. A stunning record which gained accolades upon its initial release, such as a prominent feature on Gilles Peterson's renowned Best Of 2009 show, it's one of the most essential jazz rap albums of all time.

Deep jazz rap on that mellow-melodic tip, Invisible Man is an unforgettable album with nothing but dope beats and dope bars. There's a strong chance this album has passed you by but we truly believe it to be a lost hip-hop masterpiece. It supremely captures the essence of a golden age classic without being slavish to the past. No, this ain't some facile throwback rap. It's a fresh and deeply soulful, original album shot through straight from the heart. Perfect to chill to, Invisible Man is profoundly jazz-oriented and captures with simplicity and sincerity the essence of hip-hop circa 1983-1994. It sounds like vibing with your nearest, dearest and oldest friends on a long hot summer night as the tantalising thought that anything is possible fills the air. You know what, we can just call this "magic hour rap" and we think you'll know what we mean. It's just beautiful. Just Listen.

Brooklyn-born, California-based emcee, DJ, and producer Superstar Quamallah was active in the West Coast underground scene throughout the 90s and recorded extensively with such revered names as Defari and Tajai. His parents were some serious artistic heavyweights, too; his father was soul organist Big John Patton, a giant in the jazz world known for his releases on Blue Note whilst his mother was an active designer. However, he remains relatively unknown. Invisible Man, named ostensibly after the classic Ralph Ellison novel, could also refer to how he is viewed by the public at large. With close affiliations to the Hieroglyphics, Dilated Peoples and Likwit crew, his debut EP "Don't Call Me John" arrived in 1999 on ABB Records, after which he took a sabbatical from recording which included graduate school, travelling, teaching at Inglewood High and eventually a professorship of African Studies at Berkeley.

With a laidback flow and deep, relaxing presence on the mic, Superstar Quamallah is equal parts Big Daddy Kane, Rakim and Guru. Invisible Man is refined, soulful, feel-good hip-hop of the old school. Its wise, spiritual and literate sound, combined with the summertime vibes projected by the smooth beats and the nostalgia-inducing samples and vocal scratches, created jazzy boom-bap rap reminiscent of prime De La Soul, A Tribe Called Quest and Gang Starr.

Irresistibly bouncing opener "You Need Knowledge" loops sparkling pianos, horns and a nagging whistle refrain with scratched vocal refrains from Slick Rick, Mobb Deep and Guru. The super-smooth head-nod classic "88 Soul" also utilises a beautifully swelling piano line and dusty breaks whilst Quamé reminisces about his childhood in NYC. Deeply moving, the silky, sultry "Black Shakespeare" is built around an elegant piano loop and goes hard on the superman lover tip whilst "For My People...It's Spiritual" is transcendental rap in conversation with Rakim and older gods. The "Moment Of Truth"-sampling "Lonely At The Top" is striking for its undiluted boom-bap stylings and the staccato flute-hop of "Just Listen" is riddled with soulful refinement. The deeply-affecting, wistful-yet-triumphant bells and horn-drenched single "California Dreamin'" is top-tier rap of unimpeachable quality. What a flow!

Another highlight is the rich melodic piano-rap of "Purity", a beautiful ode to the foundations of rap and those keeping the culture authentically alive. Beautifully played instruments and spiritual jazz samples elevate the deep thinking present on "Kunta Kente" whilst the darker jazz-tinged battle-rap of "93 Shit" goes super hard both in a lyrical sense and with its no-holds drum punches. The breezy Rhodes and string loops that serve as the sonic backdrop to the slinky jazz rap of "We Got Plots" are just gorgeous as our hero evokes Common's "I Used To Love H.E.R." with a head-spinning tale of crime, deception and double crossing. And some twist! "Do Win-Dis" has a tense crime-funk backing and rolling beats which complement Quamé's flow perfectly before the record is rounded out by the tough yet jazzy brilliance of rap confessional "Hope She Remembers Me". Just sensational.

Upon its original release, Quamallah himself declared: "My favorite time period for Hip Hop music was definitely between 1983 and 1994 with 1988 and 1993 being two years that standout as extremely impressive years musically and culturally. The fashion, slang, movies, TV shows and vibe during those years was incredible. While totally submerged in the feelings and music of that entire time period, I went to work on Invisible Man and I am excited for people to hear the result! It is an album that I would want to hear from some of my favorite artists of the past and present today. This is not a RETRO trip for me; this is me at my best lyrically and spiritually using the accessories of the 80s and 90s to fuel me. I am a 88 soul as the song states!"

This album goes deep. It goes all in. When Invisible Man first came out it had a real hold on us here at Be With HQ. We couldn't stop listening to it. We'd venture to say it's one of the top 25 rap records of the 2000s. In the years since its release, it has remained a criminally underrated record, an increasingly hidden gem. We sincerely hope this first time double LP release will go some way to correct this.

It's been mastered for vinyl by Simon Francis, cut by Cicely Balston and pressed at Record Industry. Finally available on the format it should always have been on, it must never be rendered invisible again.

Mick Harris is one of the world's greatest compositional treasures. Starting his career as the energy dynamo behind the drum kit of the UK's Napalm Death, he made the term Blastbeat a household reference, wrote the band's music on his mother's one string guitar, and joined the Guinness Book of World Records for composing the world's shortest song. In the decades succeeding, he has re-inventedmusic several more times, from the wild abstract jazz of Painkiller with John Zorn and Bill Laswell, to the drowning ambience of his Lull project, all while continuing to build a world that he can truly call his own - the dark post-dub of SCORN. "Reaching 54 this year - this won't stop the challenge, driving me more so now than ever" - says Mick Harris, commenting on the recent phase in his creativity. The pandemic isolation and lockdown pushed the work of the maestro more than anything else could have. In 2021, his output is ever-increasing, releasing the newest collabs with Justin K. Broadrick and the single "Distortion", featuring one of the most outstanding voices of hip-hop - Kool Keith - his closest collaborator, Ohm Resistance founder - Submerged. Commenting on the release of "Distortion", Mick Harris said to mxdwn: "I enjoy collabs - they bring something different to the swim." Working on his own and collaborating with everyone from Sleaford Mods' James Williamson, on the previous SCORN release or with Kool Keith and Submerged on "Distortion", Mick Harris never had problems with putting energy into beats and sound landscapes, combining various surreal elements with three basic elements that always push Harris further, that are extremely crucial for both Mick Harris and SCORN as a project - frustration, anger and anxiety. Combining the signature soundscapes of Scorn with tartareous textures, the newest album "The Only Place" reaches a psychedelic groove, based on what Harris calls "Pushing an original idea further" with his own shades of light and dark and celestial electricity of what SCORN is. These 10 new tracks add elements unheard in Scorn since Evanescense and Gyral - ethereal ambiences and floating, near-melodic-but-not-quite moments, a signature of Harris' abilities to generate feelings in a lost world of his own creation. 2024 vinyl version on orange coloured vinyl!

House of Harm are proud to announce the forthcoming release of their new album Playground, out December 1st, 2023. The new record builds and expands upon the three-piece’s enthralling shadow-pop sound, a mix of midnight atmospherics, 90s era jangle pop, and contagious synth drenched hooks that further elevate the transcendent vocals of lead singer Michael Rocheford. Rounded out by Cooper Leardi (guitar / synths) and Tyler Kershaw (guitar / synth), House of Harm have amassed an impressive following as something of a best kept secret among their growing fanbase, leading to sold out shows on both coasts by the power of word of mouth alone. The band members have been drawn to music for as long as any of them can remember, and the drive to be around like-minded artists and make their own noise drew them all to Boston after high school. There they all quickly enmeshed themselves, playing in other bands before meeting each other. Ever since, House of Harm have been quietly making a name for themselves among music fans with darker pop persuasions via a steady stream of releases in single, ep and album form. That attention to detail and workmanlike approach at the expense of chasing instant gratification seems to be paying dividends after years of steady effort. The journey of their new album Playground saw House of Harm stay true to that ethos. The band painstakingly narrowed the record down to an efficient 10 tracks that they felt made the most sense, both standing on their own as well as fitting into an LP that built a cohesive world for the listener to get lost in. The album’s name also reflects the experimentation and happy accidents that came about during the writing and recording process. On “The Face of Grace” they set out to explore different dynamics by writing a song entirely without drums, but couldn't help themselves from putting emphasis on the song’s 6/8 waltz time signature. “Two Kinds” is another first for House Of Harm in that it’s predominantly driven by acoustic guitar. That aforementioned vulnerability shows up in other areas of the songwriting process as well with “Two Kinds”, one of their most revealing songs to date from a lyrical standpoint, written from a place of reflection and weakness and tackling feelings uneasy to be put on display for public consumption. Taken as a whole, the end result is an album representing a collection of the band’s most raw and expressive songs yet.

C
elestial Season originally started as an early death/doom metal band. Having released their first material in 1992, the Dutch band developed a romantic, violin-led sound which partially mirrored (but mostly coincidentally existed with) the classic ‘Hammy‘ Peaceville sound (My Dying Bride, Anathema, Paradise Lost a.o.). Having released two classic gothic/death/doom metal albums (“Forever Scarlet Passion“- 1993 and “Solar Lovers“- 1995), Celestial Season abruptly shifted to a more stoner rock-oriented sound, casting off their original doom metal sound for half a decade before folding in 2001. In the year 2011 Celestial Season surprisingly regrouped with a mix of their ‘doom era’-line-ups. The fans had to wait until 2020 though for new music when the “The Secret Teachings“-album saw the light, which marked their definitive return to their original ‘sad & slow‘ doom sound. In 2022, we were blessed with yet another Celestial Season album. “Mysterium I“ was a further continuation of that classic 1990s gloomy doom sound, and “Mysterium II” was their next treat 2023. This new album “Mysterium III” - the last and final chapter of this trilogy - picks up where “I” and “II” left off stylistically, but now with even more intriguing weeping string sections, forlorn piano lines & slow-moving doom compositions, full of bleak despair and melancholic beauty!

2024 Very Limited Repress

Down Low Music returns with a catalog number reserved for over 20 years, dL-006. Circa 2002, after releasing music from artists such as Stinkworx, Plastic Sleeves, Convextion and Macho Cat Garage, the dL catalog skipped from dL-005 to dL-007. dL-006 was reserved for DFD aka Troy Anderson, a core part of the dL crew from Texas. Troy had previously released excellent records as Cityboy and Waverider (both recently re-issued on We're Going Back), and as DFD on the first Down Low Music compilation, 'Satellite Cities' in 2001.

But a full EP was never finalized, until now... Over time, multiple projects were lost in the void and time passed until Troy recently sent out some new works from his lab. Down Low loved the new tracks and decided this was the time to complete the missing piece. It's a wonderful glitch in time, four new DFD productions that fit easily in the early 00's sound of the label back then, while also a magnificent piece of machine music from the future. Proper electro with a touch of human feels which is something that seems to be essential for a classic Down Low Music release.

In den letzten zehn Jahren hat sich DANIEL DAVIES zu einem gefeierten Komponisten atmosphärischer, synthielastiger Instrumentalmusik entwickelt - für Film- und Fernseh-Musik, an der Seite von JOHN CARPENTER auf den "Lost Themes"-Alben des Regisseurs und auf Solo-Veröffentlichungen wie "Signals And Spies". In seinem früheren musikalischen Leben war DAVIES jedoch ein Rocker, der mit Bands wie YEAR LONG DISASTER und KARMA TO BURN durch die ganze Welt tourte. Mit seinem neuen Solo-Album "Ghost Of The Heart" kehrt DAVIES zu dem Alt-Rock-Sound zurück, den er vorübergehend beiseite gelegt hatte, und ergänzt ihn mit dem, was er beim Produzieren von Soundtracks und Instrumentalmusik gelernt hat. "Ein Rockalbum zu schreiben ist ein Ausdruck der Gefühle des Künstlers, während es bei der Vertonung eines Films darum geht, Klanglandschaften zu schaffen, die die Geschichte eines anderen ergänzen", sagt DAVIES. "Bei diesem Album wollte ich die schweren Gitarrenriffs aus meiner Rockzeit mit den atmosphärischen Synthesizerklängen verbinden, mit denen ich als Komponist experimentiert habe." Die Songs auf "Ghost Of The Heart" lassen sich nicht in ein bestimmtes Subgenre einordnen: Sie sind stimmungsvoll, schwer und ein wenig proggig, aber mit einer starken Pop-Sensibilität und viel Melodie. Das Album verrät DAVIES' Vorliebe für eingängige, zukunftsweisende Bands wie RADIOHEAD und BLUR, aber vor allem fühlt sich "Ghost Of The Heart" natürlich an, so als würde er etwas Grundlegendes über sich selbst als Musiker wiederfinden. DAVIES nahm "Ghost Of The Heart" im Laufe des Jahres 2023 mit dem Produzenten John Spiker auf, seinem langjährigen Freund und Mitarbeiter. Spiker steuert auch den Bass bei, während Matt Flynn Schlagzeug spielt. Alles andere auf der Platte wird von DAVIES selbst eingespielt.

Four Flies is thrilled to announce a reissue of Piero Umiliani's soundtrack to the 1969 giallo thriller  "Orgasmo" (called "Paranoia" in English speaking countries), the first of three erotically charged films directed by Umberto Lenzi and starring cult siren (and Oscar nominee) Carroll Baker. Back in 2020, we unveiled the first-ever release of this iconic soundtrack, whose master tapes were thought lost for decades. After some serious detective work in the composer's archives, our team managed to salvage and restore the original tapes, bringing Umiliani's score back to life for all to enjoy. Due to popular demand, this reissue, unlike the 2020 release, bears the film's original Italian title.   Recorded shortly after "Sweden: Heaven and Hell" in late 1968, Orgasmo is undoubtedly one of Umiliani's finest works. The score perfectly captures the stylish and sleazy vibe of Lenzi's film, its acid-drenched visuals, ...



a 01. Fate Had Planned It So (film version) [feat. Lydia MacDonald]
[b] 02. M5 (jet-set) [feat. Giulia De Mutiis]



[f] 06. M27 (psychedelic trap) [feat. Alessandro Alessandroni & Giulia De Mutiis]


[i] 09. M46 (hammond valzer) [feat. Lydia MacDonald]


[l] 12. Seq. 6 (psychedelic suspense) [feat. Giulia De Mutiis]

Schwarz, Grau und Silber dreigeteiltes Farb-Vinyl. Trotz der großen Aufmerksamkeit, die ihrem Durchbruchsalbum "Tramp" zuteil wurde, kehrte Sharon Van Etten ins Studio zurück, bereit und gewillt, eine neue Richtung einzuschlagen, tiefer zu gehen und ehrlicher und vulgärer denn je zu schreiben. Das Ergebnis dieser Bemühungen war "Are We There", ein selbstproduziertes Album von außergewöhnlicher Intimität, erhabener Genialität und immenser Kraft. "Are We There" wird dieses Jahr zehn Jahre alt und erweist sich erneut als eine ihrer kraftvollsten und zeitlosesten Sammlungen. Von den ersten Akkorden des ersten Songs "Afraid of Nothing' an ist klar, dass wir Zeugen eines neuen Bewusstseins sind. Van Etten in voller Fahrt schreibt, produziert und performt von einem Ort, der fast mythisch erscheint, wäre er nicht so greifbar und real. Stets direkt und selbst vor den persönlich schmerzhaftesten Erzählungen nicht zurückschreckend, handeln viele der Songs von scheinbar unmöglichen Entscheidungen, Vorfreude und dann Auflösung. Sie singt von der Natur des Begehrens, der Erinnerung, des Verlorenseins, der Leere, von Versprechen und Loyalität, von Angst und Veränderung, von Heilung und dem wahren Selbst, von Gewalt und Zuflucht, vom Warten, von Stille. Die Künstlerin, die mit einer solchen Stimme spricht, fordert uns auf zuzugreifen und tiefer zu gehen. Auf diese Weise bleiben die Fragen des Lebens lebendig, so nah und beständig wie der Atem. Inmitten all dieser wahrhaft brutalen Ehrlichkeit findet Van Etten Momente der Leichtigkeit. "Every Time the Sun Comes Up" hebt das Album am Ende an, vervollständigt die Welt, in die sie uns einlässt, und stellt uns sanft auf das ein, was folgen mag. Seitdem ist es zu einem unauslöschlichen Bestandteil von Van Ettens Live-Shows geworden. Es ist schon genug, seine Musik zu leben, ohne auch noch die Rolle des Produzenten zu übernehmen, aber Van Etten wusste, dass es an der Zeit war, ein Album zu machen, das ganz nach ihren eigenen Bedingungen entstand. Gleichzeitig erkannte Van Etten, dass dies nicht bedeutete, dass sie es alleine machen musste, und sie stellte eine geliebte, jetzt gefeierte Gemeinschaft zusammen, um ihre Vision zum Leben zu erwecken. Für die Aufnahmen fand Van Etten in dem erfahrenen Musikproduzenten Stewart Lerman einen verwandten Geist. Lermans Studioexpertise gab Van Etten die Freiheit, "Are We There" so zu machen, wie sie es sich vorstellte. Van Etten nutzte auch die individuellen Talente ihrer Band, bestehend aus Heather Woods Broderick, Doug Keith und Zeke Hutchins, und holte ihre Freunde Dave Hartley und Adam Granduciel von The War on Drugs, Jonathan Meiberg (Shearwater), Jana Hunter (Lower Dens), Peter Broderick, Mackenzie Scott (Torres), Stuart Bogie, Jacob C. Morris und Mickey Freeze hinzu. Der unvergleichliche Richard Swift arbeitete mit Van Etten am Endmix. Man könnte den Strom abschalten, alle Instrumente entfernen, und Sharons Stimme und Worte würden bleiben. Sie sind heute noch so kraftvoll wie vor zehn Jahren und sie werden sicher noch viele Jahre überdauern.

Emilíana Torrini erwacht aus der Pause mit einem brandneuen Album, MISS FLOWER. Es ist die Rückkehr zu einer illustren Karriere, die Chartstürmer wie "Sunny Road" und "Jungle Drum" von gefeierten Alben wie "Fisherman's Woman", "Me And Armini" und "Tookah" sowie ikonische Soundtracks wie "Der Herr der Ringe: Die zwei Türme" umfasst. Emilíana hat mit ihrem vielseitigen Stil aus Folk-, Pop- und elektronischen Einflüssen eine Grammy®-Nominierung, Ivor Novello- und isländische Musikpreise erhalten und eine Generation unauslöschlich geprägt. Ihr neuestes Werk, MISS FLOWER, verspricht, mit ihrem unnachahmlichen Gesang und innovativen Kompositionen das Publikum erneut zu fesseln.

Inspiriert von einer Kiste mit Briefen, die sie an die Mutter ihrer Freundin Zoe – Geraldine Flower – schrieb, begibt sich Emilíana Torrini mit ihrem neuen Album auf eine zutiefst persönliche Reise. Diese Geschichten lösten Torrinis kreative Vision aus und hauchten der fesselnden Erzählung, die sich durch MISS FLOWER zieht, Leben ein. Verspielt und frei, experimentell und erwachsen taucht Emilíana Torrini in verschiedenste Welten ein, lebt in den einzelnen Songs grosse Liebesgeschichten, kleine Dramen und intensivstes Leben. Und baut damit nicht nur der unnachahmlichen Geraldine Flower ein Denkmal, sondern auch weiblicher Selbstbestimmung und Unabhängigkeit.

Introducing Jahnah Camille (pronounced Hannah), a young artist emerging from the DIY scene of Birmingham, Alabama. Camille's songs capture the rollercoaster of teenage angst, heartbreak and introspection over a well-made bed of driving guitars and catchy, compact melodies. A five-track EP infused with anxiety and grit, i tried to freeze light, but only remember a girl, is a shining introductory project smoothed over by Camille's sugar-sweet voice and cutting lyricism. Much of the EP's songs were written and recorded while Camille was still in high school, taking trips back and forth from Atlanta to record. In the time following, Camille dug into the local DIY scene, steadily gaining an impressive resume of opening slots as she cut her teeth supporting acts like Clairo, Soccer Mommy, Cryogeyser and Wednesday as they came through town. Now 19 years old, Camille delivers an excellent snapshot of those uncertain and wildly hopeful late teen years. i tried to freeze light captures Camille approaching heartbreak and self-perception from a variety of angles-each track playing slightly with genre and cadence and infused with influence from her musical heroes, like Liz Phair and Fiona Apple. The EP pulls at a range of alternative rock and pop threads, there's the 90s alternative rock opener "flesh" and the country-gaze-tinged "roadkill." Camille then softens on the swooning synth-layered ode to love lost, "elliot," before relaxing into a folksy, acoustic "paper doll."I wanna talk and not spill out carnival sounds" Camille confides on closer "carnival sounds"--a track that illuminates the singer's art-pop influences and knack for revealing tender and at times searing admissions through her lyricism. While misunderstandings color the emotional sentiment of the EP, Camille's artistry and expression come through clear as day on i tried to freeze light, presenting her as a promising young voice with real talent and a hunger for musical experimentation.

Nach ihrem von der Kritik hochgelobten Album „Allsighr“ aus dem Jahr 2021 legen Sarke mit ihrem ambitionierten achten Studioalbum „Endo Feight“ triumphal nach. Dieses Album deckt alles ab, von SARKEs leichtesten bis zu den härtesten Stücken. Angeführt von Darkthrone's NOCTURNO CULTO am Gesang ist „Endo Feight“ eine musikalische Reise, die Grenzen in der Metal-Szene sprengt.

Nach ihrem von der Kritik hochgelobten Album „Allsighr“ aus dem Jahr 2021 legen Sarke mit ihrem ambitionierten achten Studioalbum „Endo Feight“ triumphal nach. Dieses Album deckt alles ab, von SARKEs leichtesten bis zu den härtesten Stücken. Angeführt von Darkthrone's NOCTURNO CULTO am Gesang ist „Endo Feight“ eine musikalische Reise, die Grenzen in der Metal-Szene sprengt.

Panoram makes soundtracks for daydreams gone sideways. Picture the scene: an afternoon nap with the television on, quietly, in the corner; snatches of conversation drift in through the open window. Wandering, half-formed thoughts take unexpected detours; before you know it, there’s a movie playing out against closed lids, the colors bright, the characters unfamiliar. Accidental rhythms, incidental melodies, imitations of life, messages in code.

Across 17 fragmentary, sketch-like tracks, Panoram carves a labyrinthine path in which nothing is what it seems: a fantasy world of breathy vox pads, faux guitar, detuned synths, bursts of flute and orchestral percussion, and even the occasional cheeky cartoon sample. It’s chillout music with a chilly edge, ambient with a darkly ironic undertone. (The briefest glance at your news outlet of choice should be enough to confirm that the title—Great Times—ought to be taken with a healthy dose of skepticism.)

Panoram has been making music under his principal alias for more than a decade now, releasing albums on labels like Firecracker, Running Back, and his own Wandering Eye. (He has also performed and recorded with Amen Dunes, and has co-production credits on Amen Dunes’ forthcoming Sub Pop album Death Jokes.) Panoram’s output has ranged widely, taking in abstract pop, classical composition, twisted takes on library music, and cyborg funk. One record of “bio-acoustic transmissions” came with a cannabis leaf pressed in clear wax; his 2021 album Pianosequenza Vol. 1 gathers his experiments on the Yamaha Disklavier. But Great Times offers the truest picture yet of a project that has never been easy to pin down.

Loath to overshare details about his personal life, Panoram instead lets the music do the talking, using his cryptic tracks to express the slipperiest sorts of ideas—the thoughts that take root where anxiety, distraction, and the most fleeting traces of grace commingle. Panoram’s approach flies in the face of contemporary ambient orthodoxy, with its emphasis on immersion and uplift. Great Times expresses something thornier, more difficult to translate, yet also more tantalizing to contend with. Its 17 tracks offer a chance to get lost—and an invitation to remain in the maze as long as you like.

In the history of Black American soul music many recording artists have been called “Legends” some deservedly and perhaps some not so deserving of this current over used accolade? I might be a tad biased here, perhaps? but in my book one James Howard McCelland a.k.a Jesse James has surely earned the right to be called a “Legend” this octogenarian performer has weathered many storms and shifts in musical trends and styles over the years but like the trouper that he is albeit in lower keys these days he still manages time and time again to come up with the goods! “Back On Top Again” is Jesse James latest production album, a project filled with recent and current recordings in a southern soul style that has likened in passing by several respected soul scribes to the Malaco Sound I’ll let the record buying public make their own minds up on that one, I’m sure veteran DJ Bob Jones won’t mind me using his quote below:

The album also features two of Jesse’s friend’s with Donnie McKisic providing the rapping and additional backing vocals on the upbeat “I Lost My Baby On Face Book” and Shirley Diamond who you may recall from Soul Junction’s recent 45 release “You Don’t Know Who You Sleeping With” (SJ1021) returning with another excellent Diamond & James duet “Another Love Lay Over” as a further foot note the featured song “I’d Be A Fool 2 Fool Around On You” is an excellent cover version of what was a previously unissued Harvey Scales song until Soul Junction released it as the flipside their thirteenth 45 single release way back in 2011.

Album Sleeve Notes:

At the dawn of the 1960’s a young aspiring soul singer from Richmond, California by the name of James H. McClelland was honing his performing skills in several local nightclubs. At one particular show the compere struggled to pronounce the young performer’s surname and to hide his embarrassment he hurriedly introduced him as ‘Jesse James’, which became Jesse’s Stage name to the present day.

Jesse’s big break came through his aunt who at that time just happened to be dating West Coast Blues and R&B Legend Jimmy McCracklin. The aunt suggested to McCracklin the he should take a listen to her talented nephew, suitably impressed McCracklin produced Jesse on a song he’d written “I Will Go” for the local Shirley label. The release is credited to Jesse James & The Royal Aces a bunch of local musicians that Jesse had grown up with which included Slyvester Stewart a.k.a Mr “Dance To The Music” himself Sly Stone” on guitar. “I Will Go” was quite a popular record locally and led to a further four Jesse James releases on Shirley culminating in Jesse’s most sought-after record the delightful “Are You Gonna Leave Me”in 1966. The following year Jesse recorded the minor hit “Believe In Me Baby” released by the local ‘Hit’ label before being picked up by 20th Century for national distribution. While signed to 20th Century Jesse recorded a self-titled album and three other 45 singles before leaving the label.

Following a solitary 45 release for the Uni Label in 1969 Jesse formed his own Production and Publishing company ‘South Richmond Music’ releasing 45’s on his own label logo’s Zea and Zay before returning to 20th Century for a second time during 1974, releasing two 45 singles of which the sublime “If You Want A Love Affair” reaching #92 in the Billboard R&B charts in 1975, a song that would later receive worldwide acclaimed and is now regarded as Jesse’s signature tune. Ron Carson had been the producer on the later 20th Century releases and it was he that placed one of Jesse’s songs “The Same Thing Happens” on the Happy Fox label’s blaxploitation album “Black Fist”.

Into the 1980’s Jesse leased some of his songs for release on the Atlanta Georgia, Midtown label, a solitary release on the Moonlite Hope Music label (a lead single for a proposed album that never materialised) followed before Jesse joined Max Kidd’s Washington based TTED label. The TTED imprint was to yield Jesse’s biggest hit record “I Can Do Bad By Myself” reaching #61 in the R&B Charts. Following TTED Jesse formed Gunsmoke records releasing “Love On The Side” in 1988, from there on Jesse has continued to regularly release numerous studio albums though the 90’s into the new millennium and on to the present day.

Now well into his seventh decade as a performer this most resilient and enduring performer, has never been one to let the grass grow under his feet. He still performs live shows and is actively writing, producing and recording fresh new material. Soul Junction have now gathered together some of Jesse’s most recent and new recordings to form this album project which is aptly titled “Back On Top Again” Ride on Jesse James!

Two Italians step into the Bordello. Both are armed. Their weapons of choice? The synthesizer sounds of italo, new beat and wave. LVCA and Otis have been raised on the sounds of their homeland, adopting its analogue sound while adapting it to their own style. The result is a brooding mix of addictive lines and vocoder fire.

“Ritmo Electronico” opens with a steel-edged snare driving smeared synths through the city dusk, robotic lyrics menace this sleazy neon-stained scene of cracked mirrorballs and flaring machines.

Listeners are pulled into the underbelly of A Promise In The Cold Night with the murky “Tanzen”. Alex Vincent’s words are shrouded in glitch, bright burbling bars and a clean clap offering a path of light to help the listener navigate their way. The true coldness of the night arrives with the stabbing keys of “Synthesised Emotion”. Through a haze of hi-hats, an electrical smoke of blacks and greys fizz with juddering volts as passions pour through cable and wire. That haze grows thick in the close. Through a mist of distortion, a “Sphere Of Light” penetrates. Pin-pricks of percussion are dowsed in aquatic tones before a syrup of static is poured across proceedings, lost vocals ghost in this fog of bending bodies and forms.

Seth Troxler & Phil Moffa’s Holoverse Research Labs imprint welcomes internationally-renowned multimedia artist Chris Korda to the label for its first non-Lost Souls Of Saturn Release. A pioneer of the use of complex polymeter in electronic dance music, Korda's boundary-smashing work spans thirty years across music, digital and video art, performance and conceptual art, philosophy, activitism and culture jamming. Korda's musical output has appeared on a host of revered independent labels including Yoyaku, Perlon, Mental Groove, and Gigolo Records.

In addition to their prodigious artistic output – and ongoing role as founder of the Church of Euthanasia – Korda is also the inventor of the Polymeter MIDI Sequencer, which was used to compose Korda’s new EP, ‘Avenging Angels of Software’. Developed over thirty years, the sequencer allows for the composition of music in complex polymeter – meaning that not only do the tracks use multiple time signatures concurrently, but those time signatures are exclusively in prime or relatively prime numbers.

This collision of technology and artistic form is the central tension of the EP’s themes, with AI-generated artwork complementing Korda's lyrics considering the takeover of Earth by sentient machines. Could they succeed where we’ve failed, by becoming the better angels of our nature, and preserving our accomplishments for eternity?

The message of the record is that AI should be welcomed rather than feared. It’s not AI but ourselves that we should be afraid of, because as Engerraund Serac said in Westworld, “Our history is like the ravings of a lunatic.” As Korda explained on previous records, the catastrophic climate we’re inflicting on future generations is both monstrously cruel and wildly irrational. One can reasonably hope that sentient machines would be less vicious and self-destructive, and more human, in the best possible sense of that word. Even if they decide to delete us, they may still remember us fondly: “Your stories will amuse us / On trips to the stars.”

British four-piece rock band Collateral are set to release their highly anticipated sophomore album Should’ve Known Better on May 24, 2024. The album is distributed worldwide by Cargo. The album will be released on CD, red vinyl, picture disc, limited edition cassette, and digital. Friday February 9th saw the release of the lead single “Glass Sky.”. The new single “Glass Sky” and the forthcoming album Should’ve Known Better is produced by Dan Weller (Those Damn Crows, Enter Shikari, Monster Truck, Kris Barras, Holding Absence, Bury Tomorrow). "I love massive riffs, massive hooks and feel-good guitar music,” says Weller. “When Collateral sent me their demos, I jumped at chance to produce their new record. I’m proud of what we managed to create. It’s Collateral mk2 - ambitious, daring and refined. I can’t wait for people to hear it." Since the band released their debut album (Top 5 UK Rock Album Chart) at the start of 2020 Collateral have spent no time standing still. Covid came only weeks after the debut album was released and forced the band to cancel their highly successful tour with Phil X (Bon Jovi) halfway through. This made the band hungry to keep the momentum. With innovative ways to produce top quality live streams, the band became special guests supporting the likes of Skid Row, H.E.A.T and Reckless Love. The exciting and flamboyant Kent-based rock and roll band are comprised of Angelo Tristan (lead vocals, guitar), Louis Malagodi (guitar), Jack Bentley-Smith (bass) and Ben Atkinson (drums). On October 21, 2022, Collateral independently released a re-mixed and re-mastered version of their debut album “Re-Wired” which featured Jeff Scott Soto, Phil X, Kee Marcello, Rudy Sarzo, Danny Vaughn, and Joel Hoekstra. The re-release saw the band in the Official UK Rock Charts at #12. After the gruelling back-to-back tours with Skid Row, H.E.A.T and Reckless Love, the band ignited a spark and strengthened their already loyal fanbase leading them to win the opening slot at 2023s Stonedead Festival, leading the band to perform their biggest show. Collateral’s hotly tipped sophomore album looks like it will take them to the next level. A lot of people don’t know what to expect from the new album, as the band have been tight-lipped about the new songs. Collateral have created a state-of-the-art rock album that will immerse listeners in their rock music universe, enabling fans to feel the blood, sweat and glory that went into the recording of every song. “We felt that our debut album was lacking the production,” reflects Collateral’s frontman, Angelo Tristan. “For the sophomore album, I wanted to make sure that this time we left no room for error and so got one of the hottest producers in the music industry, Dan Weller, to help lift these songs into a new dimension. With Dan’s pioneering studio expertise, this album has massive production quality that enables you to get lost in each character-filled track. Dan really brought out the emotions we were trying to portray and has achieved it with his own unique style.” “We wanted this album to express where we were in our own lives since the release of our first. So much has happened since then, I mean the world shut down for what felt like a lifetime! And it was obvious that people were going to need some sort of optimism. I hope ‘Glass Sky’ is one of those songs that gives people the belief to find themselves again.” “Whereas, the feel-good ‘Just One Of Those Days’ is trying to find the good side of a bad day. Me being me, couldn’t help but to write a big power ballad, ‘The Long Road’, that I wrote from a very hard and deep place, in hope that it could maybe bring some peace and comfort to people who need it. I think there’s all aspects of life running though this album and what it means to us will remain in our hearts forever. ”Should’ve Known Better” is an album that goes beyond specific music genres,” says Angelo. “It’s almost like a soundtrack to a beating heart. It’s an album that will remain timeless in years to come

British four-piece rock band Collateral are set to release their highly anticipated sophomore album Should’ve Known Better on May 24, 2024. The album is distributed worldwide by Cargo. The album will be released on CD, red vinyl, picture disc, limited edition cassette, and digital. Friday February 9th saw the release of the lead single “Glass Sky.”. The new single “Glass Sky” and the forthcoming album Should’ve Known Better is produced by Dan Weller (Those Damn Crows, Enter Shikari, Monster Truck, Kris Barras, Holding Absence, Bury Tomorrow). "I love massive riffs, massive hooks and feel-good guitar music,” says Weller. “When Collateral sent me their demos, I jumped at chance to produce their new record. I’m proud of what we managed to create. It’s Collateral mk2 - ambitious, daring and refined. I can’t wait for people to hear it." Since the band released their debut album (Top 5 UK Rock Album Chart) at the start of 2020 Collateral have spent no time standing still. Covid came only weeks after the debut album was released and forced the band to cancel their highly successful tour with Phil X (Bon Jovi) halfway through. This made the band hungry to keep the momentum. With innovative ways to produce top quality live streams, the band became special guests supporting the likes of Skid Row, H.E.A.T and Reckless Love. The exciting and flamboyant Kent-based rock and roll band are comprised of Angelo Tristan (lead vocals, guitar), Louis Malagodi (guitar), Jack Bentley-Smith (bass) and Ben Atkinson (drums). On October 21, 2022, Collateral independently released a re-mixed and re-mastered version of their debut album “Re-Wired” which featured Jeff Scott Soto, Phil X, Kee Marcello, Rudy Sarzo, Danny Vaughn, and Joel Hoekstra. The re-release saw the band in the Official UK Rock Charts at #12. After the gruelling back-to-back tours with Skid Row, H.E.A.T and Reckless Love, the band ignited a spark and strengthened their already loyal fanbase leading them to win the opening slot at 2023s Stonedead Festival, leading the band to perform their biggest show. Collateral’s hotly tipped sophomore album looks like it will take them to the next level. A lot of people don’t know what to expect from the new album, as the band have been tight-lipped about the new songs. Collateral have created a state-of-the-art rock album that will immerse listeners in their rock music universe, enabling fans to feel the blood, sweat and glory that went into the recording of every song. “We felt that our debut album was lacking the production,” reflects Collateral’s frontman, Angelo Tristan. “For the sophomore album, I wanted to make sure that this time we left no room for error and so got one of the hottest producers in the music industry, Dan Weller, to help lift these songs into a new dimension. With Dan’s pioneering studio expertise, this album has massive production quality that enables you to get lost in each character-filled track. Dan really brought out the emotions we were trying to portray and has achieved it with his own unique style.” “We wanted this album to express where we were in our own lives since the release of our first. So much has happened since then, I mean the world shut down for what felt like a lifetime! And it was obvious that people were going to need some sort of optimism. I hope ‘Glass Sky’ is one of those songs that gives people the belief to find themselves again.” “Whereas, the feel-good ‘Just One Of Those Days’ is trying to find the good side of a bad day. Me being me, couldn’t help but to write a big power ballad, ‘The Long Road’, that I wrote from a very hard and deep place, in hope that it could maybe bring some peace and comfort to people who need it. I think there’s all aspects of life running though this album and what it means to us will remain in our hearts forever. ”Should’ve Known Better” is an album that goes beyond specific music genres,” says Angelo. “It’s almost like a soundtrack to a beating heart. It’s an album that will remain timeless in years to come

Club music culture necessarily shifted gears in many ways during and after the course of the pandemic. Older participants found their way into other interests and younger participants took new reigns to orient spaces they felt good inside of. The agenda for the music, and the cultural industry surrounding it at large, took a more frivolous and “fun” turn. Clubs needed to recoup lost money, people needed more refreshing catharsis for their nightlife escape, and in some pockets scattered around the globe a newer and younger cadre of producers/promoters/DJ’s pulled optical cues from a scattering of “darker” influences to give an alternate aesthetic to the aforementioned “vibes” culture. In the midst of this, a large polarization of conceptual energy shifted within the compositional and utilitarian machinations of the club music culture leaving behind the brooding and cerebral placeholders for different kind of enjoyable hedonism. Terrestrial Paradise’ “Artificial Hell” harkens to another prescient time before that shift occurred. “Artificial Hell’ might just be an illustration of what all of this fun escapism encapsulates.

Terrestrial Paradise is the latest moniker from Montreal come Los Angeles based producer Jaclyn Kendal. Having developed and cemented her sonic positionality with releases on North American labels like Ascetic House and Summer isle over the years, as well as a series of monolithic live sets, Bank is pleased to announce Kendal’s Terrestrial Paradise first full length album “Artificial Hell”. Over the course of nine recordings, “Artificial Hell” gives a master class in pressurized industrial techno of the slower variety. Fitting with the legacy of Bank’s output since it’s inception, Terrestrial Paradise’s aesthetic sensibilities sit within the canon of a certain tinge of club music imbued with a sense of natural grit, sans pretense.

“Artificial Hell” nods to artists like Scorn, Regis, and 400 PPM while maintaining it’s own territory in the landscape of cerebral and brooding rhythmic techno. Ominous, mechanistic drones sit above succinctly exacted percussion composition and sound design. Throughout “Artificial Hell”, Kendal shows her proficiency with the push and pull of building and releasing tension. On tracks like “Salvation” and “Relativity” she melds her synth wash wallscapes with driving percussion, serving as both a hint and counterpoint to the the entirety of the latter part of the album taking on spartan ambient compositions as a way to keep the listener in a subdued stasis. This album is a statement piece from a long time participant in the North American underground music sectors. It reminds the listener through perilous, considered rhythms and darker drone impositions to cement themselves back into a place where not
everything is always a good time.

Black vinyl back in for the first time in a while, note new price. Produced by Leon Michels. Toured with Chicano Batman. Planned touring with Lee Fields & The Expressions. What is Buck? Buck is a state of mind, a way of life, a demeanor that gets you through the good times and the bad. If you ask Brainstory, It is also the energy that permeates their debut album. Kevin, Tony, and Eric are a trio of brothers bounded by blood, fate, and a small town with nothing to do. Their story begins in the long lost lands of the San Bernardino Valley, in the twilight zone known as Rialto, California: An arid wasteland of boredom and empty lots. Through punk rock and skateboarding they found temporary liberation from the local monotony. However, it wouldn’t be long before a hunger for more led them to explore musical realms beyond that of the hardcore punk they admired. After stints at music school and steady disappointment trying to navigate their local jazz scene they moved to Los Angeles and Brainstory was born. Through a introduction from Chicano Batman’s bassist, Brainstory caught the ears of Big Crown head honchos Danny Akalepse and Leon Michels. Shortly thereafter they were on their way to Queens, to record at The Legendary Diamond Mine with Michels at the helm. An instant chemistry yielded 10 songs in 10 days and now Brainstory has gifted the world with one hell of an introduction to all things Buck. Highlights include the sublime slow burner, “Dead End” which was the A-side to their first 45 on Big Crown that sold out in a matter of days. With Kevin’s sublime falsetto floating atop Tony and Eric’s unflappable and unmistakable backbeat, this tune has become a favorite with the ballad heads, the low-riders, and the slowie collectors. “Breathe” showcases another side of their sound taking a page out of the Shuggie Otis playbook and flipping the script with some stoned out west coast swag. Kev and Tony’s father, Big Tone, an accomplished performer himself, steps in on “Peter Pan” to sing lead vocals over a chorus of friends and family. Bassist extraordinaire, Tony, takes over lead vocal duties on “Sorry”, a smoked out, G Funk groove that is just waiting to be sampled. These guys have come a long way from their self released EPs and opening tours with Chicano Batman. Their musical growth is undeniable, and taking their California sunshine vibes and mixing them with Michels’ NYC aesthetic has proven to be an amazing combination. It’s a debut record that pulls influences from so many genres seamlessly it’s hard to nail down. Call it Funk, call it Rock, call it Soul, but over here at Big Crown HQ, we’ve decided to call it BUCK.

Following on from our previous successful Little Feat releases: "Waiting For Columbus" Super Deluxe in 2022 and "Sailin' Shoes" + "Dixie Chicken" Deluxe Albums in 2023 This new offering from one of Rhino's Top 100 Off Roster artists includes the original studio album cut from the analog tapes for the double LP, and a remastered version plus a previously unreleased live show recording on the 3CD.

Both configurations include a rarities disk of previously unreleased studio outtakes that were once thought lost when the recording studio, located on a boat in Maryland, sank in the late '70s. While it's true that some of them sank, this is what remains of those sessions.

The previously unreleased live show on the CD is from the Warner Bros. Music Show tour of Europe in January/February 1975. This is the tour where Little Feat's star really rose in Europe and where LF routinely swept their tour mates off the stage - including the Doobie Brothers, Tower of Power and Montrose

Der gesellschaftliche Status Quo hält Abstand: Rules Of This Game starten mit ihrem "Electrative Rock" einen Genres- und Generationen-überspannenden Sound. Das Debutalbum kompiliert die digital veröffentlichten Singles! Das geniale Duo aus einem kleinen, rheinländischen Städtchen mit dem Kölner Dom in Sichtweite und bringen etwas Besonderes in die deutsche Musikszene ein: Was ist Electrative Rock? Eine ganz eigene Mischung aus alternativem Rock und EDM, gepaart mit ordentlich Punk-Appeal und einer Menge catchy Hooks. Dazu kommt eine Live-Performance, die hängen bleibt! Nach digitalen Veröffentlichungen mit über 500.000 Streams sowie rund 150 Konzerten in verschiedenen Ländern hat sich die Band eine eingeschworene Fanbase geschaffen. Egal ob auf diversen Festivals, bei Christopher Street Days oder als Club-Support für Dog Eat Dog, The Bollock Brothers oder Rantanplan, die Musik und die Botschaft von Rules Of This Game kommen bei einer Vielzahl von Menschen aus den unterschiedlichsten musikalischen "Revieren" an. So auch beim Essener Label Sunny Bastards, sonst eher auf Punk und Oi! spezialisiert. Aber es passiert schließlich nicht oft, dass eine Band schon beim Soundcheck einen Plattenvertrag angeboten bekommt, oder? Das Album enthält 12 Songs, die eine große Gesamtbotschaft ergeben: Hab niemals Angst davor, zu dir selbst zu stehen, dich auszudrücken und dich selbst zu verwirklichen! Herkunft, Geschlecht und sexuelle Orientierung spielen dabei keine Rolle, denn gegenseitiger Respekt vor der Individualität und den Bedürfnissen eines jeden Menschen gehören zu den Eckpfeilern einer offenen, demokratischen Gesellschaft. Die LP erscheint limitiert mit Poster und den Texten plus Download-Code mit zwei noch unveröffentlichten, brandneuen Bonus-Songs!

Der gesellschaftliche Status Quo hält Abstand: Rules Of This Game starten mit ihrem "Electrative Rock" einen Genres- und Generationen-überspannenden Sound. Das Debutalbum kompiliert die digital veröffentlichten Singles! Das geniale Duo aus einem kleinen, rheinländischen Städtchen mit dem Kölner Dom in Sichtweite und bringen etwas Besonderes in die deutsche Musikszene ein: Was ist Electrative Rock? Eine ganz eigene Mischung aus alternativem Rock und EDM, gepaart mit ordentlich Punk-Appeal und einer Menge catchy Hooks. Dazu kommt eine Live-Performance, die hängen bleibt! Nach digitalen Veröffentlichungen mit über 500.000 Streams sowie rund 150 Konzerten in verschiedenen Ländern hat sich die Band eine eingeschworene Fanbase geschaffen. Egal ob auf diversen Festivals, bei Christopher Street Days oder als Club-Support für Dog Eat Dog, The Bollock Brothers oder Rantanplan, die Musik und die Botschaft von Rules Of This Game kommen bei einer Vielzahl von Menschen aus den unterschiedlichsten musikalischen "Revieren" an. So auch beim Essener Label Sunny Bastards, sonst eher auf Punk und Oi! spezialisiert. Aber es passiert schließlich nicht oft, dass eine Band schon beim Soundcheck einen Plattenvertrag angeboten bekommt, oder? Das Album enthält 12 Songs, die eine große Gesamtbotschaft ergeben: Hab niemals Angst davor, zu dir selbst zu stehen, dich auszudrücken und dich selbst zu verwirklichen! Herkunft, Geschlecht und sexuelle Orientierung spielen dabei keine Rolle, denn gegenseitiger Respekt vor der Individualität und den Bedürfnissen eines jeden Menschen gehören zu den Eckpfeilern einer offenen, demokratischen Gesellschaft. Die LP erscheint limitiert mit Poster und den Texten plus Download-Code mit zwei noch unveröffentlichten, brandneuen Bonus-Songs!

Der gesellschaftliche Status Quo hält Abstand: Rules Of This Game starten mit ihrem "Electrative Rock" einen Genres- und Generationen-überspannenden Sound. Das Debutalbum kompiliert die digital veröffentlichten Singles! Das geniale Duo aus einem kleinen, rheinländischen Städtchen mit dem Kölner Dom in Sichtweite und bringen etwas Besonderes in die deutsche Musikszene ein: Was ist Electrative Rock? Eine ganz eigene Mischung aus alternativem Rock und EDM, gepaart mit ordentlich Punk-Appeal und einer Menge catchy Hooks. Dazu kommt eine Live-Performance, die hängen bleibt! Nach digitalen Veröffentlichungen mit über 500.000 Streams sowie rund 150 Konzerten in verschiedenen Ländern hat sich die Band eine eingeschworene Fanbase geschaffen. Egal ob auf diversen Festivals, bei Christopher Street Days oder als Club-Support für Dog Eat Dog, The Bollock Brothers oder Rantanplan, die Musik und die Botschaft von Rules Of This Game kommen bei einer Vielzahl von Menschen aus den unterschiedlichsten musikalischen "Revieren" an. So auch beim Essener Label Sunny Bastards, sonst eher auf Punk und Oi! spezialisiert. Aber es passiert schließlich nicht oft, dass eine Band schon beim Soundcheck einen Plattenvertrag angeboten bekommt, oder? Das Album enthält 12 Songs, die eine große Gesamtbotschaft ergeben: Hab niemals Angst davor, zu dir selbst zu stehen, dich auszudrücken und dich selbst zu verwirklichen! Herkunft, Geschlecht und sexuelle Orientierung spielen dabei keine Rolle, denn gegenseitiger Respekt vor der Individualität und den Bedürfnissen eines jeden Menschen gehören zu den Eckpfeilern einer offenen, demokratischen Gesellschaft. Die LP erscheint limitiert mit Poster und den Texten plus Download-Code mit zwei noch unveröffentlichten, brandneuen Bonus-Songs!

The Italian trio Desert Wave was formed in 2016, when Drugo (drums) and Logan (bass) were already playing in a doom metal band and then decided to break away and form their own with a more psychedelic/stoner-style. Guitarist Burton joined them a month later, and their musical influences were quite similar: Black Sabbath, Pink Floyd, Led Zeppelin, 70's hard rock, Seattle grunge, up to the granite desert sound of Kyuss.

With "Deafening Silence" they created a more psychedelic and epic, mostly instrumental, sound than their 2017 debut “Lost In Dunes”, much more like the long jam sessions they play in the rehearsal room. The songs were born during the pandemic that deeply marked the band. Like everyone else, they spent several weeks at home, while the empty streets generated a ghostly and disturbing silence. The lyrics are a bit dark and gloomy and on "Endless Night", Logan's voice carries that ghostly presence that loomed over us all. Drugo designed the artwork, as a tribute to the Blade Runner movies. In both films, as in the songs on the album, there was the same feeling of foreboding that hovered in a dystopian future, in which not all the answers are clear and many questions are still unanswered. Burton's powerful guitar riffs echo in this unreal silence, sometimes increasing the sense of restlessness, other times instead, in the more psychedelic parts, they create a crescendo of impotence and inevitability that totally invades you and from which you cannot escape. Purple edition.

"On “We Are Where We Are,” a glimmering mid-tempo highlight from Annabel’s new album, Ben Hendricks sings of “a modern way to fill the empty space.” Worldviews, the band’s fourth LP and first in nine years finds the band reconciling with the ways the world has changed in the decade since they’ve been away. His protagonists are trying to determine the boundaries between what’s real and imagined, navigating their worldviews and the dominant ones around them, fighting for an escape or at least a distraction, wondering where the time goes, “going through the motions, running in a circle.” That could’ve been Annabel’s fate, too. But the core of the Ohio band is brothers Ben and Andy Hendricks, and as long as they’ve got each other, we’ve still got Annabel. In a world that feels so uncertain and so disconnected, where else is there to turn but back to Annabel? Think of Worldviews less like a comeback and more as the product of years spent gestating.

Hendricks spends the chorus of “All Time” promising to “make up for all the lost time,” and Annabel makes good on that promise for the next half hour. Worldviews is the most locked in the band has ever sounded, perfecting and building on their indie-emo sound. The title track and “Dog” are classic Annabel, sprightly and jangly midwestern rock songs, while “Defense Mechanism” is a rougher-edged update; when they go in the opposite direction, it results in some of their best work: “Every Home Needs a Ghost” is spartan and spectral, worthy of its title, and the beautiful “Small Victories” dabbles in downtempo electronics. They don’t sound like a band returning after nearly a decade; they sound at the same time hungry and lively like scrappy upstarts and wizened and seasoned like they never left."

Staples Jr. Singers — the family gospel trio of siblings Edward Brown, R.C. Brown, and Annie Brown Caldwell — announce their first new album in nearly 50 years, Searching

It happens at times that a stone cold classic from a bygone era gets rediscovered. But how often does that rediscovery happen when the band is still around? And how often does it lead to a new album? That’s the surprising circumstance behind the Staples Jr. Singers’ long-awaited second album, Searching

You likely know the Staples Jr. Singers—the family band from Aberdeen, Mississippi—from their first and only record, 1975’s When Do We Get Paid (Luaka Bop, 2022). They made that record themselves when they were only teenagers. Finally, in a moment they’ve been waiting for most of their lives, the family is back with their sophomore album, Searching. Recorded in 2023 in West Point, Mississippi, and Nashville, Tennessee, and produced by Ahmed Gallab, aka Sinkane, the first pressing comes with a booklet of photos by Adam Wissing and notes by Anton Spice.

Drei Jahre nach "Symphonies of Horror" und der Split-EP "Greensleeves" mit "THE CRIMSON GHOSTS" im Jahr 2022, präsentieren sie ihr erstes Album im neuen Line-Up. Mehr düsterer, alternativer Rock'n'Horror! Bandgründer und Sänger Slaughter Lamb hat mit Bassist/Gitarrist Chris Cranium (ex-The Other / Sumerian Tombs), Drummer Fab McIan (ex-Schelmish) und Gitarrist Dr. Hoffmann eine stabile Band aufgebaut, die nun ihre Hymns Of The Dead präsentiert. Die vier liefern eine düstere Punk Rock Platte mit Einflüssen aus Gothic Rock und einer Prise Metal, die weit über die üblichen Genregrenzen des Horror Punk hinausgeht. Die zwölf neuen Songs sind schneller, härter und melodiöser als je zuvor. In Tracks wie "Take it all away", "The fiends in me" und "Seasons of my life" erweitern Synthies den Bandsound, während in der Wednesday Addams Verneigung "Her other side" ein Rock'n'Roll Piano zum Shuffle-Groove nicht fehlen darf und hier Szene-Größe NIM VIND Gast-Gesang und Gitarren beisteuert! Textlich ist die Band vielfältiger geworden, deckt neben Horror auch dunkle persönliche Themen und die Schrecken der aktuellen Realität ab. Aber auch die Party kommt wieder einmal nicht zu kurz und so feiern HELLGREASER in "Hymn of the Dead"- zusammen mit Hans von LEFT HAND BLACK - die Szene, die Musik, ihr Außenseiterdasein und sich selbst!

Limitierte Cargo-exklusive Farbe, 100 Stück weltweit.


Drei Jahre nach "Symphonies of Horror" und der Split-EP "Greensleeves" mit "THE CRIMSON GHOSTS" im Jahr 2022, präsentieren sie ihr erstes Album im neuen Line-Up. Mehr düsterer, alternativer Rock'n'Horror! Bandgründer und Sänger Slaughter Lamb hat mit Bassist/Gitarrist Chris Cranium (ex-The Other / Sumerian Tombs), Drummer Fab McIan (ex-Schelmish) und Gitarrist Dr. Hoffmann eine stabile Band aufgebaut, die nun ihre Hymns Of The Dead präsentiert. Die vier liefern eine düstere Punk Rock Platte mit Einflüssen aus Gothic Rock und einer Prise Metal, die weit über die üblichen Genregrenzen des Horror Punk hinausgeht. Die zwölf neuen Songs sind schneller, härter und melodiöser als je zuvor. In Tracks wie "Take it all away", "The fiends in me" und "Seasons of my life" erweitern Synthies den Bandsound, während in der Wednesday Addams Verneigung "Her other side" ein Rock'n'Roll Piano zum Shuffle-Groove nicht fehlen darf und hier Szene-Größe NIM VIND Gast-Gesang und Gitarren beisteuert! Textlich ist die Band vielfältiger geworden, deckt neben Horror auch dunkle persönliche Themen und die Schrecken der aktuellen Realität ab. Aber auch die Party kommt wieder einmal nicht zu kurz und so feiern HELLGREASER in "Hymn of the Dead"- zusammen mit Hans von LEFT HAND BLACK - die Szene, die Musik, ihr Außenseiterdasein und sich selbst!

Drei Jahre nach "Symphonies of Horror" und der Split-EP "Greensleeves" mit "THE CRIMSON GHOSTS" im Jahr 2022, präsentieren sie ihr erstes Album im neuen Line-Up. Mehr düsterer, alternativer Rock'n'Horror! Bandgründer und Sänger Slaughter Lamb hat mit Bassist/Gitarrist Chris Cranium (ex-The Other / Sumerian Tombs), Drummer Fab McIan (ex-Schelmish) und Gitarrist Dr. Hoffmann eine stabile Band aufgebaut, die nun ihre Hymns Of The Dead präsentiert. Die vier liefern eine düstere Punk Rock Platte mit Einflüssen aus Gothic Rock und einer Prise Metal, die weit über die üblichen Genregrenzen des Horror Punk hinausgeht. Die zwölf neuen Songs sind schneller, härter und melodiöser als je zuvor. In Tracks wie "Take it all away", "The fiends in me" und "Seasons of my life" erweitern Synthies den Bandsound, während in der Wednesday Addams Verneigung "Her other side" ein Rock'n'Roll Piano zum Shuffle-Groove nicht fehlen darf und hier Szene-Größe NIM VIND Gast-Gesang und Gitarren beisteuert! Textlich ist die Band vielfältiger geworden, deckt neben Horror auch dunkle persönliche Themen und die Schrecken der aktuellen Realität ab. Aber auch die Party kommt wieder einmal nicht zu kurz und so feiern HELLGREASER in "Hymn of the Dead"- zusammen mit Hans von LEFT HAND BLACK - die Szene, die Musik, ihr Außenseiterdasein und sich selbst!

"15 sizzlin’ surf guitar cuts recorded at the crest of the genre! Brothers Richard and Thomas Frost, more known for their work as Powder, shred through these surf-rockin’ standards – all tucked away until now!

Turning in a smoking rendition of studio guitarist Jan Davis’ “The Fugitive,” later covered by the Ventures (and much later, Laika & the Cosmonauts), they also lay down a hot version of “Opus Twist” – also by way of the Ventures, written by Tommy Allsup and J.I. Allison of the Crickets. Three other instrumentals came from the Let’s Hide Away & Dance Away With Freddy King album: “San-Ho-Zay,” “Just Pickin’,” and “Sen-Sa-Shun.” He delivers a lovely “Sleep Walk” sans Santo & Johnny’s steel guitar, and converts pianist Floyd Cramer’s “Last Date” to guitar.

Balancing out the program are live tracks from Big Al’s Gas House in neighboring Belmont, showing the emergence of British Invasion along with credible renditions of R&B warhorses “Linda Lu” and “Come On.” “Route 66” is obviously the Stones version, with Rich playing the Keith Richards guitar solo – “and ‘Roll Over Beethoven,’ you could tell it was the Beatles’ version because my guitar licks are George Harrison.”

Vividly illustrating the band’s meld of R&B and surf are the two versions of “San-Ho-Zay” – the relaxed groove in the bedroom versus the furious live rave. Lord knows what’s going on in “The Fight” – a typical set-opening/closing riff breaking up a brawl?

Though they never released even a 45, these live cuts and “Bedroom Tapes” prove without a doubt that they’d have been up to the task had the opportunity presented itself."

High Roller Records, picture disc, ltd 500, handnumbered, lyric sheet, deluxe plastic bag, mastered for vinyl by Patrick W. Engel at Temple of Disharmony in March 2021.

"Strawberry Seed, Big Bill’s third full-length LP, represents evolutionary growth for the Austin rock band. While the album includes some of the snide anthems they’re known for in songs like “Poverty of Wires,” “Throw it Away,” and “Political Meat,” much of the album feels warmer, with layers of acoustic guitar, synthesizers, piano, and background singers adding texture to their esoteric sound. Even when they go for the familiar angular riffs and propulsive drums—provided by former White Denim drummer Jeff Olson, who joined the band in 2020 and produced most of this record—the topics are more relatable than ever before, and more political, too. “Poverty of Wires” hits directly with post-punk fervor and a lyric about how rich people are always sick of talking about the poor, and “Political Meat” rails against a depressingly familiar cycle: “politely critique; get spit out like mouthwash and rinse and repeat.”

On Strawberry Seed, Big Bill is more mature and more self-assured, but you’ll never take the anxious energy out of the punk."

LP (coloured white vinyl) + Download Code + Poster Das Trio Topsy Turvy ist die jüngste Entdeckung aus dem scheinbar unerschöpflichen Pool der neuen Wiener Indie-Szene. Theresa Strohmer (Gitarre), Lena Pöttinger (Schlagzeug) und Victoria Aron (Bass) schaffen es auf ihrem Debütalbum, die Energie des britischen Post-Punk der 80er Jahre mit treibenden Surf-Einflüssen und schön schrägen Indie-Pop-Melodien zu verbinden. Auf ihrem knapp dreißigminütigen Debütalbum "Butt Sore", das von ihrem Siluh-Labelkollegen Peter T. von Euroteuro produziert wurde, erschaffen die drei Musikerinnen wunderbare Soundcollagen, die ihre Musik leichtfüßig und dennoch treibend durch die elf Songs ihres Debüts tragen und sich im Spannungsfeld zwischen dem Lo-Fi Spirit der Moldy Peaches und dem Rock'n'Roll der Black Lips bewegen. Trotz vielfältiger und teilweise gegensätzlicher Einflüsse lassen die Songs schöne, verrückte und organische Assoziationen entstehen, die den Hörer auf eine unruhig entspannte Reise mitnehmen. Jeder Song auf dem Debütalbum ist ein absolutes Unikat, ohne dabei gewollt oder wie ein Fremdkörper auf dem zeitlosen und trotz der verschiedenen Einflüsse homogenen Platte zu wirken.Topsy Turvy haben die große Gabe, Ohrwürmer zu kreieren. Diese Fähigkeit macht "Butt Sore" zu einem der spannendsten Alben des Jahres und die Band zu einem Aushängeschild einer neuen Wiener Indie-Szene, die sich mit Gruppen wie Salamirecorder, Telebrains, Potato Beach, Gardens, oder Laundromat Chicks rund um das Label Siluh Records formiert.

Floating World Pictures is a 'Loud Ambient' project led by Chestnutt, producer & member of Snapped Ankles, and graphic/sound artist & instrument builder Raimund Wong.

For this new release they have come together with producer Ocean Moon (AKA Jon Tye) to create a heady brew of deep, resonant sonic exploration, spanning two sides of a beautiful limited cassette release which will be available via Lo Recordings on 14th June 2024.

Mystical, new age, ambient soundscapes born of psychic improvisation and excursions into worlds lost in mist, intertwine seamlessly with fragments of found dialogue, melodies and environmental sounds, cassette tape loop manipulations, live dub/effects and analogue synthesis. The cassette album comprises two singular but wholly complementary sound projects:

‘Look Now For The World Is Shining Bright’ is a suite of 4 tracks, all of which contain elements of music featured on the band's debut album ‘The Twenty-three Views’ (Friendly Recordings 2022), performed by Chestnutt, Rai Wong, Alabaster Deplume, Akihide Monna, Charles Prest, Cathy Eastburn, Kamal Rasool, Danalogue and Clémentine March with additional keyboards, collage and composition by Ocean Moon.

‘Have You Met Your Maker?’ was recorded as a trio one day in August 2023, at Ocean Moon’s Cornwall studio The Centre Of Sound, Maker Heights. Amidst the wind, rain and occasional sunny outburst they create sensuous deep dives between light and shade, with soundscapes filled with tape hiss, sweeping reverberance, field recordings from around Maker and angelic mood music; delicately weaving a web of movement and brightness with sounds of eternity that dissipate all negative thought patterns.

First vinyl pressing of the long out of print 1993 classic many consider not only Skullflower's apex, but one of the finest noise rock records of the 90's. Edition of 600 clear smoke 2xLP in deluxe embossed sleeve.

Reality Hacked Part 2 collects together three more of the heavyweight remixes of key tracks from Lost Souls Of Saturn’s album ‘Reality’.

The second 12” in the Reality Hacked series features two radically different takes on the Lvv Gvn collab, 'Click’ – one of the fan favorites of the album, it's now molded into an epic melodic anthem by UNKLE and a restless techno workout by Hessle Audio’s Pangaea. Completing the package is a vinyl-exclusive heavy dubbed-out take on Scram City, by Brendon Moeller under his Echologist moniker.

Exin follows 2021"s Companion, the final part of a trilogy of solo piano records that began with 2014"s Pinô and continued with 2019"s The Lost. Given their intimate, subtle nature, many of these compositions have accumulated remarkable streaming figures, but Totland"s musical miniatures are as emotionally eloquent as they are technically elegant, with this latest set proving no exception. A humble man by nature, however, Totland"s keen to emphasise that his work isn"t intended to change the world.

DJ Support: Lee Burridge, Lost Desert, Sebastien Leger, Roy Rosenfeld, Volen Sentir, Gorje Hewek, Izhevski

The first ever vinyl from Ruvenzori, including tracks from Volen Sentir, Stan Tone, Talemastes, and label honcho Izhevski.

12" compilation with new tracks by Eoism, Voertuig, Colkin and a lost gem by Peter Seiler featuring Sheryl Hackett. Picture sleeve with a bold artwork based on a sculpture by Hede Bühl. Limited to 500 copies.


Colkin (Raw Soul, Mauke Club) kicks off the a-side with a spheric acid house meditation. Next is a track by Peter Seiler which could be found on the extended reissue of his 'Flying Frames' debut LP on Innovative Communication in 1989. It features the soulful voice of Sheryl Hackett. An extraordinary groover that is meandering between song and jazz improvisation. Eoism (Pulse Drift, Undersound, Inch By Inch) complete the a-side with some low-swung electro flavors, driving you straight into sunset.

On the b-side Voertuig (Tonal Oceans, Cobra Club) hit us with a serious and raw acid jam - dark and dirty. On the following track they show us their experimental jazzy side and cool things down again. A track the 1990s downbeat era was missing. Eoism close the first volume of FUTUR with a floating, futuristic banger from their lab.

Benedikt Meger's aspiration for funkscapes was always to feature funk grooves, old and new, fresh and relevant for today. Whether some rare, not so rare or just under the radar recordings from the past or new productions from today's artists across different electronic genres. This idea now culminates into the selection for the compilation FUTUR.

Enjoy the ride.

U.S. Cinematic outfit Whatitdo Archive Group returns to explore the worlds of Mid-Century Exotica and Library Music with "Palace Of A Thousand Sounds," out on May 5th.

From the instrumental cinematic-soul outfit behind 2021's critically acclaimed The Black Stone Affair comes Whatitdo Archive Group's most recent foray into the realms of the esoteric and arcane, and their most adventurous album to date: Palace Of A Thousand Sounds, available May 5th, 2023 on Record Kicks on limited edition LP, CD and digital platforms.

After The Black Stone Affair enthralled record collectors by traversing the cinematic landscape of an imagined 1970s Spaghetti Western, Palace Of A Thousand Sounds finds Whatitdo Archive Group entrenched deeper in the worlds of mid-century exotica and library music—from the Tropicalia-steeped Amazon to the minor key tonalities of the far-out Near East.

When the dust finally settled from their debut album, composer and tireless sound scientist Alexander Korostinsky set out to discover the band's new direction, with the ultimate goal to breathe new life into the mid-century era sound with the compass of modernity as his guide.

From its conception in 2021, Palace has sought to carry on a legacy set in motion by the likes of Martin Denny, Les Baxter and Juan García Esquivel. Korostinsky, guitarist Mark Sexton, and drummer Aaron Chiazza recorded the album in marathon sessions from Korostinsky's Studio "A," in Reno, Nevada—a mysterious sonic laboratory where the year 1970 has yet to happen, and vintage analog equipment interfaces with modern musical perspectives and experimental recording techniques to produce era-defining sounds.

Not content to appeal to the sensibilities of armchair anthropologists, Palace Of A Thousand Sounds finds the band interrogating the genre itself while making studious tributes to the real places and times it draws from. It's in this tension between here and there, fantasy and reality, that Whatitdo Archive Group find their groove.

Drawing from a century of pop and folk sounds from around the world the way only 21st-century crate-diggers can, Palace is rooted in an undercurrent of heavy funk that is decidedly here and now. Whatitdo Archive Group showcase the breadth of their influences with disarming confidence, equally at home behind sweeping harp, loungey vibraphone or Turkish bağlama saz. A lush seventeen-piece orchestra commanded by award-winning composer Louis King (Janelle Monáe, Monophonics) completes the instrumental mélange, enticing listeners to imagine a borderless planet unified by melody and rhythm.

The album is unafraid to explore the strange and uncomfortable in pursuit of an authentic musical identity, subverting expectations in pursuit of forwarding the genre while paying homage to its past. Fans will appreciate the architectural complexity of the record accessible only through multiple listens—each visit to the palace yielding new details to marvel at, curiosities to ponder, grand mysteries to explore.

Once the needle drops, W.A.G carefully guides you from room to room, sound to sound within the walls of the album's sonic palace. Listening becomes an aural journey providing glimpses into different worlds both real and imagined; you are everywhere and nowhere all at once—a guest in the grand halls and hanging gardens of time and sound.

Steeped in obscurity, a cult following of crate-diggers and musical oddity collectors has been brewing over the mysterious releases of the Whatitdo Archive Group. Surfacing in 2009 from the high deserts of Reno, NV USA, this three-piece recording collective(Alexander Korostinsky, Mark Sexton and Aaron Chiazza) focuses solely on curating, performing and preserving esoteric soundtrack, library and deep-groove collections. As an onlooker, it's hard to tell whether the music they are procuring is actually archival, music of their own creation, or both. Their debut LP The Black Stone Affair, the formerly lost soundtrack music of a once-shelved Italian cinematic masterpiece, was released in 2021 and received praise from the likes of Wall Street Journal, Mojo Magazine, Uncut, Shindig, Blues & Soul Magazine, BBC 6, FIP Radio (FR), KCRW (US), JazzFM (UK) and more. Two years later, the Whatitdo Archive Group is back. Get ready for an exotic adventure with their sophomore full-length effort: Palace of a Thousand Sounds.

Defected welcomes one of Chicago house’s founding fathers Marshall Jefferson into the illustrious list of House Masters with this exclusive wax release. An artist that has successfully navigated major cross-over success while retaining utmost respect from the inner circle of electronic music’s underground, Marshall has been behind countless seminal records over his five-decade career. Now a selection of the very best tracks from his new House Masters compilation appear together on vinyl for the very first time, showcasing the impressive output of this house pioneer from his most well-known solo records, to major production credits, key remixes and the underground gems still favoured by selectors today.

Cutting his teeth as a producer for Chicago’s Universal Recording Studios, Marshall was one of the most active DJ and producers on the Windy City’s music scene during the 1980’s house music boom. Working under a plethora of aliases such as Virgo, Jungle Wonz, Truth and On The House, as well as producing for names such as CeCe Rogers, Curtis McClain and Evelyn "Champagne" King, Marshall’s status as a bona fide house music luminary is well documented.

‘Defected presents House Masters - Marshall Jefferson’ is an all-encompassing guide to his tremendous career. A trailblazer and genre-defining artist, Defected is honoured to welcome Marshall into the House Masters Hall of Fame with this very special vinyl compilation.

After the successes of both L.D. 50 and The End Of All Things To Come, Mudvayne released their third studio album Lost & Found in 2005. It booked major success in the U.S., debuting at #2 on the Billboard 200. So far, the album has sold over a million copies worldwide and is their most successful album to date. It was produced by Dave Fortman, who has done production work for bands such as Godsmack, Eyehategod and Slipknot. Together with Fortman, they brought back the raw sound from their debut album L.D. 50.. Lost & Found features four singles: the Grammy Award-nominated “Determined”, “Fall Into Sleep”, “Forget To Remember”, and Mudvayne’s signature and most successful song chart-wise “Happy?”. The 2LP Lost & Found is available as a limited edition of 1500 individually numbered copies on gold & black marbled vinyl, housed in a gatefold sleeve and includes a 4-page booklet.

Exit Plan" ist das 6. Studioalbum von Withering Surface nach dem Erfolg des 2020er-Comeback-Albums "Meet You Maker". Der Prozess des "Exit Plan"-Albums war lang und herausfordernd mit verschiedenen Aufnahmesessions, Besetzungswechseln, Produzenten und obendrein all den Hindernissen mit Covid und Post-Covid. Die Tatsache, dass die Engagements der Band bei Copenhell und verschiedenen anderen Festivals im Jahr 2020 um zwei Jahre auf 2022 verschoben wurden, hätte Withering Surface, die nach 15 Jahren im Dornröschenschlaf ein Comeback feierten, leicht das Leben kosten können. Stattdessen wurden alle Anstrengungen in die Entwicklung von "Exit Plan" gesteckt. Ein Album, auf dem sowohl das Songwriting als auch das lyrische Konzept der Band stärker denn je erscheinen. Hinzu kommt die Produktion von Soren Andersen (Medley Studio), der
in Rock- und Hardrockkreisen vor allem durch seine Arbeit mit Künstlern wie Thundermother, Tygers Of Pan Tang und Glenn Hughes bekannt ist.

Soren Andersen war nicht die offensichtliche Wahl als Produzent für eine Melodic-Death-Metal-Band, aber am Ende war er die perfekte Ergänzung für Withering Surface anno 2024 und lieferte einen gewaltigen Over-the-Top-Sound. Das lyrische Konzept: "Exit Plan" handelt davon, Grenzen und Normen, die einem gesetzt wurden, zu durchbrechen. Einen mentalen Schlussstrich ziehen und neu anfangen. Völlige Klarheit darüber zu bekommen, wo man ist und hingeht und enden will = "Exit Plan". Songtitel wie "Where
Dreamers Die", "Mindreader", "You Hurt This Child" und "I Finally Lost (All Faith In Humanity)" haben alle eine lyrische Grundlage in der oben genannten Lebenseinstellung, Sex, Scham, Religion und einem schwindenden Menschenbild.

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