Cerca:m black

(orange+black marbled in gatefold)
LP Special Packaging/Limited Edition/ Limited Qty/ Packaging Type/Vinyl Colour: 140gm Coloured Vinyl

(orange+black marbled in gatefold)
LP Special Packaging/Limited Edition/ Limited Qty/ Packaging Type/Vinyl Colour: 140gm Coloured Vinyl

Tiny Blue Ghost are a band possessed. Haunt- ing, melodic vocals soar over a dreamy landscape of floating guitars, washy drums, and meandering bass that can pull suddenly into focus at a mo- ments notice. Moving seamlessly across genre to genre, Tiny Blue Ghost can’t simply be defined by any single label- unless you want to come up with a new term for a band that blends the best parts of bedroom pop, shoegaze, twee, indie, post-rock, and college rock.

New pressing of the old RSD LP , now on black vinyl. An essential vinyl release of the Throwing Muses’ mainstay’s 2016’s CD and essay book that featured stories from “her life's most perception-altering junctures” (NPR). “As memoirs, her albums are so intensely personal... as art, they’re arguments for the value of unapologetic individuality” Pitchfork. “This music reminds you how alone you are; it consoles you through its insolubility, comforts you by jabbing you in the chest and letting you know how complex the struggle is, how inaccessible we are to each other but just how universal our pain can be.” The Wire. This sonically rich and fragmented record references to Hersh’s past material and sees her perform on guitar, bass, drums, piano, horns and cello. There’s a mysticism and sense of life wonderment throughout ‘Wyatt At The Coyote Palace’ that also has death as a central theme rather than the contemplation of death itself it’s reaching the end of something and beginning a new life. Tracklist: Side A. 1 Bright 2 Bubble Net 3 In Stitches 4 Secret Codes 5 Green Screen 6 Hemmingway's Tell. Side B. 7 Detox 8 Wonderland 9 Day 3 10 Diving Bell 11 Killing Two Birds 12 Guadalupe. Side C. 13 American Copper 14 August 15 Some Dumb Runaway 16 From the Plane 17 Sun Blown 18 Elysian Fields. Side D. 19 Soma Gone Slapstick 20 Cooties 21 Christmas Underground 22 Between Piety and Desire 23 Shaky Blue Can 24 Shotgun

Repress in soon, note new price. RIYL Steve Gunn, Hiss Golden Messenger, Ryley Walker, Itasca, Bill Callahan, Kurt Vile, Angel Olsen. “Timeless ... Measured, perceptive storytelling. A singer with an unmistakable and communicative voice, able to convey hope and hurt with equal clarity.” Pitchfork / “She writes literate songs with unusual precision and sings them in an understated, open-hearted way that lends good poetry the directness of conversation.” Uncut / On her fourth album as The Weather Station, Tamara Lindeman reinvents, and more deeply roots, her extraordinary, acclaimed songcraft, framing her precisely detailed, exquisitely wrought prose-poem narratives in bolder and more cinematic musical settings. The result is her most sonically direct and emotionally candid statement to date. The Weather Station is her most direct and candid record, and the first one to include tracks one might characterize as pop songs. Throughout, the record grapples with some of the darkest material Lindeman has yet approached: it is, according to her, the first album on which she touches on her personal experiences of mental illness. And yet the gesture inherent to the record is one of unflinching embrace. Despite it all, the characters “fall down laughing, effervescent, and all over nothing, all over nothing.” “Well, I guess I got the hang of it” she sings wryly, “the impossible.” By saying more than ever before, The Weather Station seeks to reveal the unnamable, the unsayable void that lies beneath language and relationships. It’s willfully messy and ardent and hungry. Tracks : A1 Free A2 Thirty A3 You and I (on the Other Side of the World) A4 Kept It All to Myself A5 Impossible B1 Power B2 Complicit B3 Black Flies B4 I Don’t Know What to Say B5 In an Hour B6 The Most Dangerous Thing About You

Self-recorded indie experimentalist from the Pacific Northwest. For fans of Grouper, The Microphones, Unwound’s Leaves Turn Inside You. Features Madeline Johnston (Midwife), Alex Kent (Sprain), Lula Asplund, a chamber ensemble and more. In 2019, Drowse’s Kyle Bates set out to produce a self-recorded new album. Marked by moving across state lines, long-distance relationships, and deaths in the family, the following years proved to be metamorphic. Now, three years later, he’s emerged with Wane Into It, continuing a distinctly Pacific Northwestern tradition of self-recording indie experimentalists (Grouper, The Microphones, Unwound’s Leaves Turn Inside You). One of the most impactful moments came during the looming passing of a family member. With death expected, the choice was made to conduct a bizarre “living-wake” gathering—with the soon-to-be1deceased in attendance. Shortly after, Bates found himself disturbed, preoccupied with the abstraction of memory. The experience led him to reassess the tool one uses to curate our selective memories: the internet. The internet, which creeped into even more aspects of life during the pandemic, serves as our self-made digital link to the past. Its uncaring presence layered over humbling thoughts of death and his own childhood memories of the Oregon Coast as he worked on Wane Into It; life’s hyperreal texture sank into the recordings as he felt his body age and wane. Big sounds were captured in bedrooms, hallways, practice spaces, forests, and on highways throughout West Coast vibraphones chime over black metal guitars, a mellotron drones under degraded samples, violins splinter against granular field recordings. In the process of documenting these aural moments Bates completed an MFA at Mills College, coloring the album with shades of avant electronic and minimalist composition (Pauline Oliveros, Terry Riley, Maryanne Amacher, Sarah Davachi etc…). To realize this scope Drowse collaborated with Madeline Johnston (Midwife), Alex Kent (Sprain), Lula Asplund, a chamber ensemble and more. Bates’s songwriting and production have never been more lucid; sounds flicker as he sings with fragile intensity. The record, Drowse’s third for The Flenser, impressionistically distills loss, distance, mystery, prescription drugs, the preservation of memory via recording, and ambient anxiety through its titular act: to Wane Into It, to disappear awaiting the next moon phase, water returning to sea before reemerging as a wave. Track Listing: 1. Untrue In Headphones 2. Mystery Pt. 2 3. (Ashes Over The Pacific Northwest) 4. Wane Into It 5. Telepresence 6. Gabapentin 7. Blue Light Glow 8. Three Faces (Cyanoacrylate) 9. Ten Year Hangover / Deconstructed Mystery

Self-recorded indie experimentalist from the Pacific Northwest. For fans of Grouper, The Microphones, Unwound’s Leaves Turn Inside You. Features Madeline Johnston (Midwife), Alex Kent (Sprain), Lula Asplund, a chamber ensemble and more. In 2019, Drowse’s Kyle Bates set out to produce a self-recorded new album. Marked by moving across state lines, long-distance relationships, and deaths in the family, the following years proved to be metamorphic. Now, three years later, he’s emerged with Wane Into It, continuing a distinctly Pacific Northwestern tradition of self-recording indie experimentalists (Grouper, The Microphones, Unwound’s Leaves Turn Inside You). One of the most impactful moments came during the looming passing of a family member. With death expected, the choice was made to conduct a bizarre “living-wake” gathering—with the soon-to-be1deceased in attendance. Shortly after, Bates found himself disturbed, preoccupied with the abstraction of memory. The experience led him to reassess the tool one uses to curate our selective memories: the internet. The internet, which creeped into even more aspects of life during the pandemic, serves as our self-made digital link to the past. Its uncaring presence layered over humbling thoughts of death and his own childhood memories of the Oregon Coast as he worked on Wane Into It; life’s hyperreal texture sank into the recordings as he felt his body age and wane. Big sounds were captured in bedrooms, hallways, practice spaces, forests, and on highways throughout West Coast vibraphones chime over black metal guitars, a mellotron drones under degraded samples, violins splinter against granular field recordings. In the process of documenting these aural moments Bates completed an MFA at Mills College, coloring the album with shades of avant electronic and minimalist composition (Pauline Oliveros, Terry Riley, Maryanne Amacher, Sarah Davachi etc…). To realize this scope Drowse collaborated with Madeline Johnston (Midwife), Alex Kent (Sprain), Lula Asplund, a chamber ensemble and more. Bates’s songwriting and production have never been more lucid; sounds flicker as he sings with fragile intensity. The record, Drowse’s third for The Flenser, impressionistically distills loss, distance, mystery, prescription drugs, the preservation of memory via recording, and ambient anxiety through its titular act: to Wane Into It, to disappear awaiting the next moon phase, water returning to sea before reemerging as a wave. Track Listing: 1. Untrue In Headphones 2. Mystery Pt. 2 3. (Ashes Over The Pacific Northwest) 4. Wane Into It 5. Telepresence 6. Gabapentin 7. Blue Light Glow 8. Three Faces (Cyanoacrylate) 9. Ten Year Hangover / Deconstructed Mystery

Cosimo and The Hot Coals represents the very
roaring sound of 20s, a time machine will drag
you to the New Orleans infamous jazz clubs
where history was made.
This new record is a journey on the early
American railways.
A journey made by an Italian emigrant
discovering the American dream and looking
forward to meet the love of his life. One of the
most liked "new school" band by Michael Bublé
with over 3 milions views on TikTok.

"Hushman is the new project from renowned folk musician, singer &
songwriter Ewan MacPherson
Originally hailing from Liverpool, with family ties to Scotland, Ireland and Wales,
Ewan moved to Edinburgh in 1999 where he is now a recognised figure on the
vibrant Scottish music scene, performing and writing with Scottish Indie folk band
Salt House & Scottish Acid folk legends, Shooglenifty, amongst others. Likened to
Ben Howard, John Martyn and Nick Drake, the music and songs Hushman is
producing are painted and sculpted to the backdrop of the Scottish Highlands,
the walls of the shed they have been recorded in are thin; black grouse, torrential
rain and gales subtly underpin Hushman's music through the cabin walls.
Hushman features Hannah Read on backing vocals, Lauren MacColl (Rant, Heal &
Harrow) on strings, Ben Nichols (Seth Lakeman, Nadine Shah) on Bass and
James Mackintosh (Shooglenifty, Capercaille) on percussion."

"Hushman is the new project from renowned folk musician, singer &
songwriter Ewan MacPherson
Originally hailing from Liverpool, with family ties to Scotland, Ireland and Wales,
Ewan moved to Edinburgh in 1999 where he is now a recognised figure on the
vibrant Scottish music scene, performing and writing with Scottish Indie folk band
Salt House & Scottish Acid folk legends, Shooglenifty, amongst others. Likened to
Ben Howard, John Martyn and Nick Drake, the music and songs Hushman is
producing are painted and sculpted to the backdrop of the Scottish Highlands,
the walls of the shed they have been recorded in are thin; black grouse, torrential
rain and gales subtly underpin Hushman's music through the cabin walls.
Hushman features Hannah Read on backing vocals, Lauren MacColl (Rant, Heal &
Harrow) on strings, Ben Nichols (Seth Lakeman, Nadine Shah) on Bass and
James Mackintosh (Shooglenifty, Capercaille) on percussion."

Here lies a reissue of the first release from legendary long-running
Chicago group ONO, Kate Cincinnati
ONO originally self-released the music in an edition of 300 tapes, and it shares
several traits with the music of today's ONO. travis's singing moves effortlessly
between gospel, blues, opera and noise registers; Shannon Rose Riley plays a
maelstrom of music on her horn of choice, here saxophone; bandleader P.
Michael Grego quietly orchestrates bass, guitar and lap guitar, creating a musical
Jenga tower. If this is your first time with ONO, hop on board and see why Moor
Mother, Black Midi, Algiers and countless other acts love them so. If you're
already a fan: don't walk - run.

MCVCVP turns sound into a stream - In four tracks, they give us a place
to float, a deep pool of water
We listen to what is underneath. Continuity is the world we navigate, an eternal
vibration with all its nuances. Inside the water, there's no difference between
playing and finding the truth "non contextual and fluid " that carries us through
time. In MCVCVP, Carbon and Palestine open a window for us to stare into the
vortex where sound lives: pianos in abandoned rooms, a mysterious voice with a
dress, dusty tables and painted clouds, low light, blue walls, mirrors, echoes
without a ghost. A fine line between mysteries that remain close, the wish to be
dissolved in playful darkness. Each sound is alive and has a story that continues.
Staring are the open eyes of all the people who were. Not a scary one, just the
story of being. Pressed on Clear Blue with Black and White Smoke Color vinyl.

Nikki Lane's remarkably dazzling third album Highway Queen, sees the
young Nashville rebel emerge as one of country and rock's most gifted
songwriters.Produced by Lane and fellow singer-songwriter Jonathan
Tyler, and recorded in Denton, Texas and Nashville, Tennessee, Highway
Queen is an emotional tour-de-force
Blending potent lyrics, unbridled blues guitars and vintage Sixties country- pop
swagger, Lane's new music will resonate as easily with Black Keys and Lana Del
Rey fans as those of Neil Young and Tom Petty. Highway Queen starts with the
whiskey-soaked restlessness of € 700,000 Rednecks, a rowdy call to action, and
ends on the profoundly raw Forever Lasts Forever, where Lane belts freely,
mourning a failed marriage, the lighter shade of skin left behind from her wedding
ring. Lane's journey to heartbreak takes exquisite turns. Companion is pure Everly
Brothers' dreaminess ( I would spend a lifetime/ Playing catch you if I can ).
Elsewhere, she goes on a Vegas bender on the rollicking Jackpot, fights last-call
blues ( € Foolish Heart ) and tosses off brazen one- liners at a backroom piano
( Big Mouth ). Lane, a Greenville, South Carolina native, is a unique songwriter
who didn't take the traditional country artist path. Her backwoods roots are
undercut by her chosen career as a fashion entrepreneur (she's the owner of
vintage clothing boutique High Class Hillbilly) who has lived " and been
heartbroken in " Los Angeles, New York and Nashville. So it's no surprise that her
music seamlessly crosses musical genres with lyrics steeped in the doomed
perseverance only a true dark horse romantic knows. Lane's rapid rise in music is
thanks to the fervent critical acclaim of her debut record Walk of Shame and
2014's Dan Auerbach-produced All Or Nothin'. Pressed on Blue Jean Color vinyl.

Yellow Vinyl

Banging techno, raving stuff !

'Night Of The Endless Beyond', the sophomore album by Lord Of The Isles AKA Neil McDonald for the ESP Institute, had almost become a mythical piece of work. The tracks very slowly crept into formation from the lowest depths of 2021, and once the completed album finally made the leap from creation into manufacturing, an entirely new onslaught of follies and delays awaited at the pressing plant. We began to laugh, for not only did Mario Hugo’s otherworldly sleeve artwork visually translate this music so well, but it was an uncanny premonition to the album being lost in space, falling through a black hole, evaporating into the aether like a dream that never really happened. But, at long last, ground control has confirmed contact! It did happen, it will arrive, and it’s not a myth.
Listening to 'Night Of The Endless Beyond' now feels like the return of a strayed friend, one whose distance left us pining for an embrace. Although this Techno relies on unassuming means, there is a remarkably complex and persuasive emotional statement embedded here, insisting we learn to endure the long game and allow ourselves patience to investigate and appreciate the minutiae contained not only within the notes, but their negative space. From its introduction, through its mellow crests and valleys, there is a conveyance of restraint — subtle dynamics that quietly beg for attention, repetition so hypnotic that imaginary melodies are inescapable, transient peaks so deliberately scaled that we mourn the subsequent decay. In accordance with Neil’s ESP debut, 'In Waves', we never feel attacked by instrumentation but shielded from sharp edges, able to step inside the music, breathe the air it occupies and know its true intentions, whether bright or bleak.
Just prior to the album close, a film dialogue excerpt summarizes everything quite honestly by proposing, “The truth of the universe is waiting … the truth of what is … it’s all going to go away … everything … into blackness … the void … and nobody is in charge.”
“…and what do you do with that?”
We stare long into the 'Night Of The Endless Beyond' and answer… “You smile.”

Duper, the new release from Morgan Geist, is a not-so-subtle callback to his 2001 EP, Super. "I was working most days with Kelley Polar on our new vocal project, Au Suisse, which isn't really dance music at all," he explains. "I started fooling around with these instrumental tracks at night for fun. Each track was in a different style, but they seemed to work nicely as a group. By the time I asked Kelley to contribute strings to the A-side, the record really started feeling like the sequel to Super."

Super Duper ­- get it?

Indeed, the playful synth riffs and sweeping disco strings of "Twilight Express" echo the palette of Geist's cult classic "24K" and early Metro Area. "Black Test Car" is a unique collision of minimal, almost Krautrock-style drums, sound library textures and spacy electro percussion. Meanwhile, "Feeling Is Mutual" is a rare acid outing that pushes beyond the usual comfort zone, the 303 acting more as feather than hammer on top of major-key modulations. "I love a lot of Aphex Twin and I love sweet, "quiet storm"-style R&B," says Geist. "I figured, why not?"

Fiocco and Scoop are both productions from DJ/producer Jan Vervloet. These 2 massive hits were originally released on A&S Productions and now available for the first time in their radio edits on black wax.

Means&3rd returns to Unveiled Nuance with 002 following the label's debut 'Thought Contortion'. This time coming armed with 4 tracks providing a more direct club sound and falling in line with NUANCE001's affinity for low-end, tight percussion and underlying tribalism.

‘Aberrance’ opens Side A with a broken rolling kick drum and FM-type polyrhythmic stabs which reach a
kinetic climax with further patterns of distorted FM crunch and propulsive percussion that sit next to alien
sound FX. ‘Life’s Glorious Mosaic’ gives way to a much more mesmerising mood, utilising classic CR-78
percussive shots to provide energy amongst a sea of delicately delayed glassy synth chirps, spacious and
mystic, the perfect hypnotic spell.

‘Kairos’ is the first cut on side B, picking up the pace with deep and dense shamanic formant drones
juxtaposed against ethereal stabs which provide rest bite from the heavy groove, a chance for the ear to get lost in a moment of psychedelia before seeing us out with the return to the solid rhythm. ‘Discordianism’ closes out the EP, anchoring around the repetitive grit of the lead synth, textured stabs unfold next to squeezed shots of phased synth work that subtly lay underneath it, the whole track, reduced in nature,perfect as a layered tool.

Pressed on 140g black Vinyl, reverse board full colour print sleeve with poly-lined inner sleeve.

Produced, Programmed and Mixed by Means&3rd
Mastered by Neel @ Enisslab, Rome
Cut @ Schnittstelle Berlin
Design by Means&3rd
Pressed By Matter Of Fact, Güstrow, Germany
Distributed by Rubadub, Glasgow

With I was born by the sea, Richie Culver brings to a close a period of intense introspection and emotional reckoning with a debut album that serves as both an optimistic statement of intent and a final glance back at the painful places it explores. Following recent work with Blackhaine and Pavel Milyakov, I was born by the sea picks up where Culver’s EP for Italian label Superpang, Post Traumatic Fantasy, leaves off, painting an unabashed portrait of contemporary malaise, detailing a life lived behind closed doors, pinned under the crushing weight of austerity, sapped of the strength to do anything other than gaze out to sea and all the grey possibilities it represents. Where Post Traumatic Fantasy saw Culver returning to his hometown of Hull after a period spent entangled in London’s relentless sprawl, his first full length project reaches further back to his formative years working in a caravan factory and going to raves in and among Hull’s outskirts. Unspooling like a fever dream, I was born by the sea is the anxious clutter of a racing mind spoken clearly, a stark reflection on how it feels to have too many ideas and too much time to act on them.

Though unquestionably a snapshot of a time of significant difficulty, Culver reflects on this period with tender empathy and pitch-black humour, stitching together unflinching observations from England’s neglected corners, ‘there’s more mobility scooter repair shops and bookies than there are bookshops,’ and devastating vignettes of everyday struggle, ‘tears on the tin foil’, with surreal depictions of industrial grit, ‘skimming stones in a small pond by the slaughterhouse’. His DIY approach to production stretches the rough sinew that connects these fragments of memory, a process he describes as using a paired back collection of synths and drum machines to the best of his ability, ‘but to the least of their capabilities,’ wringing out visceral sound with self-taught urgency. During the album’s most impressionistic passages it’s as though Culver has transposed past internal turmoil into powerfully resonant noise, the Sisyphean sonics of ‘Create A Lifestyle Around Your Problems’, which evokes in its concrète clatter and MRI machine barrage the sound of making the same mistake again and again, or the stuttered jumble of ‘Its Hard To Get To Know You,’ its garbled vocal modulation and frayed edges of distortion channeling the paranoia of somebody listening to muffled voices through thin plaster, climbing the walls of their bedroom with the curtains closed, a nervous breakdown in stereo.

In counterpoint to this glides the ever-present spirit of the dance floor, which haunts the record from the moment it is invoked in its first few seconds. Opening onto a sea wall of bright synthesis, the stuttering vocals and bass tone chops of ‘Nervous Energy’ dump us directly into post rave ecstasy, the echoing cry of a voice amplified by loudspeaker carrying the loose energy and surge of crowds moving in darkness. The incessant, dead phone line beep of ‘Pigeon Flesh’ builds to a pulse that suddenly swells into an anxious technoid surge, shapeshifting at lysergic speed into head shrinking audio hallucinations, a descent into the void of the present via machine music hypnosis. Even ‘Its Hard To Get To Know You’ summons the ego death drive of hardcore techno within its scorched textures, flickering indiscernibly between attritional noise and frazzled hardware stomp. Paying homage to both the parties of his youth and a countless succession of Sundays spent offering himself up within Berghain’s hallowed architecture, Culver’s experiments in addressing his formative relationship with rave provide an energetic glimpse at where he might take his sound next.

Between spikes of propulsive energy and grim mood pieces Culver returns to suspended passages of aching, glacial drift, the cold swell of the North Sea, accompanied by some of his heaviest testimonials. The gauzy ebb of ‘Daytime TV,’ its tumbling loops reminiscent of boats bobbing off a distant shore, sees the artist at his most checked out, slumped in front of his television, seven days a week. ‘I used to dream of doing something,’ he admits, ‘anything to get out of this town.’ ‘Love Like An Abscess’ pairs swirling currents of ambient shimmer with violent images of baseball bats lying next to beds and blood-stained mattresses, next to which Culver pleads in a desperate mumble, ‘let our love grow, like a broken abscess.’ Yet it’s with the album’s final word and title track that Culver reveals a glimmer of cautious optimism, a parting gesture of exposition and closure. ‘I knew I had to get away,’ he asserts, ‘so I did and I never looked back.’ What follows builds from a low throb, the flutter of a tiny heartbeat, to a resonant glow, embellished with unfurling synthetic burbles, oil rigs sparkling in the distance, golden light spilling across the sea. In reckoning with the place he had to escape, Richie Culver is now free to look towards the promise of something new, something hopeful.

Enjoy the major musical themes from Disney movies: from "Frozen" to "The Jungle Book", this collection will take you deep into the marvellous and fantasy worlds imagined by Disney.