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Armed with impressive analogue hardware synths, drumming machines and noise boxes, the Dutch electro artist ludoWic is poking and prodding around in the dirt of electronic music. The gritty, noisy and dark electro music emerging from the cracks in the dirt is a sound that only few others can match. ludoWic (real name: Thijs Lodewijk) released his debut album, "A Blinding Light Moment" in late 2015 on Wic Recordings. "A Blinding Light Moment" describes the exact moment that visual elements and music fit each other so perfectly, you get blinded for a split second. A year later, the analogue virtuoso released "Dream Content", an EP about the eerie phenomenon that we call dreams. ludoWic frequently releases live jam's and music videos on his popular Youtube channel, showcasing his extraordinary analogue equipment and talent. He rapidly started gaining a tight-knit following in his home country The Netherlands as well as the rest of the world. In addition to his own music, ludoWic writes and produces for and with others. One of his latest collaborations is with Akiisoft/Adult Swim Games, for which he provided the soundtrack to the indie game Katana Zero. Three times there were guests in the chapel to write and record a track with ludoWic. The first guest was Kevin Stunnenberg from The Cinema Escape and frontman of the famous Dutch rock band Birth Of Joy. The second guest was Tom Broshuis, guitarist from the band Mister and Mississippi. The last guest was the artist/singer Wende. She sells out venues at this time with her new show #Mens.

WOMAN's debut album "Happy Freedom" is finally available via Asmara Records. WOMAN prefer to ask questions."Where you gonna go when the planet erupts" which is the frst line of Dust, the opening song of HAPPY FREEDOM, the frst album of the Cologne trio. For five years there has been rumbling about his band. The band's story began in 2012 in a basement bar in the Belgian quarter of Cologne. The three local musicians did not even have a band name back then, but their first set stood like a rock. It was loud and chaotic, half Einstu¨rzende Neubauten, half Suicide. Those present just could not believe what they saw: conceptually, they were still in their children's shoes, but the intensity of the music and the joy of experimenting took everyone out of their shoes.With a few more gigs, WOMAN continued to develop. The band sounded electronic and cosmic, funky and psychedelic. Yet a frst attempt to record the songs failed. "Our goals were much too high back then", says Manuel Tran, guitarist, singer and keyboarder. "So we just dropped the songs. It was hurtful, but it was a necessary decision" adds Milan Jacobi, the drummer. Carlos Hufschlag, second keyboarder and second singer, became an important new addition to WOMAN.
Zebo Adam (producer of Bilderbuch) is responsible for the amazing sound of the band. With him, WOMAN recorded their first EP Fever, which was released by Asmara Records (Imprint of Jakarta Records, Berlin) in spring of 2016 and dropped like a bomb: music as mysterious, sexy and clever was rarely heard until then. The Fever EP reached 500.000 Streams on Spotify up to date.In summer and autumn of 2016 things went crazy: the band played festivals such as Haldern, MS Dockville, Melt! Festival & Reeperbahn Festival (nominated for an Anchor Award). Roosevelt / Marius Lauber recorded a remix of Touch, which was frst aired by Huw Stepehens in his show on BBC Radio1. Finally, 1Live-music- connaisseur Klaus Fiehe told his audience that no other new band was talked about as often as WOMAN at the music industry festival Eurosonic Noorderslag in Groningen- and the guys from Cologne weren't even present.
For several weeks, the band joined Adam in his very ivory tower in Vienna. This valuable work is expensive of course, and decent recordings can also be made significantly cheaper on a laptop with a software such as Ableton live. "But we were not going for a decent sound. This was simply out of the question for us", says Manu.WOMAN grant us HAPPY FREEDOM but they have the courage to ask us to do something for it as well, as they deliver the soundtrack for a life in HAPPY FREEDOM. Let the age of psychedelic electro'n'disco-pop begin!

WOMAN's debut album "Happy Freedom" is finally available via Asmara Records.


WOMAN prefer to ask questions."Where you gonna go when the planet erupts" which is the frst line of Dust, the opening song of HAPPY FREEDOM, the frst album of the Cologne trio. For five years there has been rumbling about his band. The band's story began in 2012 in a basement bar in the Belgian quarter of Cologne. The three local musicians did not even have a band name back then, but their first set stood like a rock. It was loud and chaotic, half Einstu¨rzende Neubauten, half Suicide. Those present just could not believe what they saw: conceptually, they were still in their children's shoes, but the intensity of the music and the joy of experimenting took everyone out of their shoes.
With a few more gigs, WOMAN continued to develop. The band sounded electronic and cosmic, funky and psychedelic. Yet a frst attempt to record the songs failed. "Our goals were much too high back then", says Manuel Tran, guitarist, singer and keyboarder. "So we just dropped the songs. It was hurtful, but it was a necessary decision" adds Milan Jacobi, the drummer. Carlos Hufschlag, second keyboarder and second singer, became an important new addition to WOMAN.
Zebo Adam (producer of Bilderbuch) is responsible for the amazing sound of the band. With him, WOMAN recorded their first EP Fever, which was released by Asmara Records (Imprint of Jakarta Records, Berlin) in spring of 2016 and dropped like a bomb: music as mysterious, sexy and clever was rarely heard until then. The Fever EP reached 500.000 Streams on Spotify up to date.
In summer and autumn of 2016 things went crazy: the band played festivals such as Haldern, MS Dockville, Melt! Festival & Reeperbahn Festival (nominated for an Anchor Award). Roosevelt / Marius Lauber recorded a remix of Touch, which was frst aired by Huw Stepehens in his show on BBC Radio1. Finally, 1Live-music- connaisseur Klaus Fiehe told his audience that no other new band was talked about as often as WOMAN at the music industry festival Eurosonic Noorderslag in Groningen- and the guys from Cologne weren't even present.
For several weeks, the band joined Adam in his very ivory tower in Vienna. This valuable work is expensive of course, and decent recordings can also be made significantly cheaper on a laptop with a software such as Ableton live. "But we were not going for a decent sound. This was simply out of the question for us", says Manu.
WOMAN grant us HAPPY FREEDOM but they have the courage to ask us to do something for it as well, as they deliver the soundtrack for a life in HAPPY FREEDOM. Let the age of psychedelic electro'n'disco-pop begin!

Bastet is the second album of LCC (Ana Quiroga and Uge Pañeda).

Bastet is a ritual study gliding the path from the rites of the ancient to the realm of the modern.

Bastet is the name of the ancient Egyptian goddess closely linked to music and female power who coerced humans to entertain her in order to keep her untamed animalistic side in check. Whilst absorbing this legend the second LCC release presents itself as a vast canvas of ritual, restraint and spacious sonorities. Stark and unnerving Bastet is not reliant on pure electronics as abstract theatre but rather utilises these tools to conjure a world circling the spheres and planes of symbolic human activity.

Recorded throughout 2016 among residencies at the legendary studios EMS of Stockholm, the Inter Arts Center of Malmö and their own studio in Gijón, Bastet is a rich experience: cryptic, visionary and utterly compelling. 8 tracks laying forth a deep listening journey into the netherworlds of human experience, movement, ritual and space.

Young Gun Silver Fox celebrate spring & summer 2017 in style. With the release of their debut album "West End Coast" in late 2015 they revived the classic West Coast sounds of the mid and late 1970s.
"Long Way Back" is a hidden treasure and a perfect song for a long summer night, which closes "West End Coast" and it is about time to feature it on a single release of its own: "This song is very special to me," says "Young Gun" Andy Platt. This 7inch release also features "Lolita", a previously unreleased track by "Silver Fox" Shawn Lee and "Young Gun" Andy Platts.

Creme de Hassan is a collaborative effort and project of Paul LaBrecque (Head of Wantastiquet, Sunburned Hand of the Man) and Ghazi Barakat (Pharoah Chromium. This is the second release for Inversions, and the first full length album. PR is currently underway courtesy of the Berlin-based Dense Promotion. So far the record has been played on the digital radio stations ByteFM, Eldoradio and Ondefurlane. It has been played on the Independent Music Podcast, and reviewed in the online magazine "Rockerilla."

LIMITED 180GM BLACK VINYL W/DOWNLOAD
'Shambly Television Personalities/Swell Maps style earworm indie rock.' Brooklyn Vegan

Terry is a latent man of mystery. Terry is also a band from Melbourne, Australia. Divide him in half and you split the genders, into quarters and you get Amy Hill (also of Constant Mongrel, School Of Radiant Living), Xanthe Waite (Mick Harvey Band, Primo), Zephyr Pavey (Eastlink, Total Control, Russell St Bombings) and Al Montfort (UV Race, Dick Diver, Total Control). Guitars, bass, drums, all four sing. Terry are busy people and Terry is a particularly active project too, having released two EPs and a full length album ('Terry HQ') last year on Upset The Rhythm.

After returning from summer 2016's European tour, Terry set about writing a new album of songs. These are now grouped together as 'Remember Terry', an album full of wish fulfilment, critiqued characters, memorial muscle and historical hustle.'Start The Tape' is a not quite two-minute careen through what Terry are best known for; gang vocals, chased-down melodies and acerbic commentary. 'The Boys in Blue are no nonsense, but no nonsense just won't hold up' they assert throughout the song, amid unbridled drum rolls and keyboard sirens.

Terry draw on their everyday realities to make personal conclusions; 'I can't live here, I can't leave here' they collectively sing through the strummed guitars and skittling synths of 'Heavin Heavies'. Somehow the serious nature of the themes handled in their songs are only further emphasised by the tuneful, arguably 'sing-along' treatment Terry usually employ. 'Give Up The Crown', 'The Colonel' and 'Gun' are other prime examples of this, packed full of assembled vocal harmonies, contagious riffs and rhetoric.

With tracks like 'Glory' and 'Homage', Terry allow us for the first time to see a more laid-back side of his personality. Supplemented with fluorescing synth lines and adopting an unhurried pace, both songs lull you into a false sense of pleasantry, only to pack a greater punch when lyrics like 'Off his bloody head goes' or 'No head, no choice, no land, no time, no crime, no good' surface. 'Take Me To The City' is a similarly evocative stroll through the 'bright night city lights', with Amy and Xanthe listing their nightlife observations over languorous guitar lines and programmed drums. Their 'all they talk about..' refrain drifts off effortlessly into dazed disclosures. Terry prefer to make a profound point in a quiet way, hectoring bypassed for self-revelation. The truth is in there, just skating below the surface of their glammy, country-stepping punk/pop odysseys, we only have to listen carefully.

'Remember Terry' is a fitting follow-up to last year's celebrated debut album. Ideas are pursued and new ground explored. Throughout this expansion of sound and subject-matter though, Terry remain committed to telling it straight, reporting from the frontline of the political made personal. 'Remember Terry ' was recorded by Terry at Grace Lane and Terry HQ through the first few months of 2017. Digitised by Nick Kuceli. Mixed and Mastered by Mikey Young.

Some insights on 'Remember Terry' from official band representative Stephanie Clothing:

Hello. We'd like to welcome you here, and thank you for attending. Welcome Pescatarian Trish, merciful Metcop, persistent baby lesbian, CEO of Beanbag company, stroppy ex, Dean the Death Doulah, two plainclothes Kerry O'Briens, wellness blogger, rageful teen boy, 'grammar nazi', Terry's swing dance club...

Uber Eats guy - 'Who is Terry'
A Free Hugger with bad intentions Rough diamond with a secret Patient or Nurse
Snog Terry. Marry Terry. Avoid Terry.

'Either his first life, or his last life' says Grammar Nazi. 'I'm fed up' says Ersatz Dad.
Knock Knock - Here's Ken - never takes his shoes off before taking his pants off. Often gets stuck. Heart of gold.

White noise playlist, 'Best of Ceiling Fans', 'Tumble Dryer with Few Clothes in it', Robbie Williams' Soviet album. Blue Kentucky Girl. Terry sleeps well.

What's the wifi 'Stop Stealing My Wifi Terry'
password 'oi'

Would you please join hands. We've all danced the Terry tete-a-tete.

What's the word for approaching rain We mean well Terry. Do you drink to forget
Welcome to your intervention Terry. Sit down. Take the talking stick.

We invite you to....REMEMBER

'Shambly Television Personalities/Swell Maps style earworm indie rock.' Brooklyn Vegan

Terry is a latent man of mystery. Terry is also a band from Melbourne, Australia. Divide him in half and you split the genders, into quarters and you get Amy Hill (also of Constant Mongrel, School Of Radiant Living), Xanthe Waite (Mick Harvey Band, Primo), Zephyr Pavey (Eastlink, Total Control, Russell St Bombings) and Al Montfort (UV Race, Dick Diver, Total Control). Guitars, bass, drums, all four sing. Terry are busy people and Terry is a particularly active project too, having released two EPs and a full length album ('Terry HQ') last year on Upset The Rhythm.

After returning from summer 2016's European tour, Terry set about writing a new album of songs. These are now grouped together as 'Remember Terry', an album full of wish fulfilment, critiqued characters, memorial muscle and historical hustle.'Start The Tape' is a not quite two-minute careen through what Terry are best known for; gang vocals, chased-down melodies and acerbic commentary. 'The Boys in Blue are no nonsense, but no nonsense just won't hold up' they assert throughout the song, amid unbridled drum rolls and keyboard sirens.

Terry draw on their everyday realities to make personal conclusions; 'I can't live here, I can't leave here' they collectively sing through the strummed guitars and skittling synths of 'Heavin Heavies'. Somehow the serious nature of the themes handled in their songs are only further emphasised by the tuneful, arguably 'sing-along' treatment Terry usually employ. 'Give Up The Crown', 'The Colonel' and 'Gun' are other prime examples of this, packed full of assembled vocal harmonies, contagious riffs and rhetoric.

With tracks like 'Glory' and 'Homage', Terry allow us for the first time to see a more laid-back side of his personality. Supplemented with fluorescing synth lines and adopting an unhurried pace, both songs lull you into a false sense of pleasantry, only to pack a greater punch when lyrics like 'Off his bloody head goes' or 'No head, no choice, no land, no time, no crime, no good' surface. 'Take Me To The City' is a similarly evocative stroll through the 'bright night city lights', with Amy and Xanthe listing their nightlife observations over languorous guitar lines and programmed drums. Their 'all they talk about..' refrain drifts off effortlessly into dazed disclosures. Terry prefer to make a profound point in a quiet way, hectoring bypassed for self-revelation. The truth is in there, just skating below the surface of their glammy, country-stepping punk/pop odysseys, we only have to listen carefully.

'Remember Terry' is a fitting follow-up to last year's celebrated debut album. Ideas are pursued and new ground explored. Throughout this expansion of sound and subject-matter though, Terry remain committed to telling it straight, reporting from the frontline of the political made personal. 'Remember Terry ' was recorded by Terry at Grace Lane and Terry HQ through the first few months of 2017. Digitised by Nick Kuceli. Mixed and Mastered by Mikey Young.

Some insights on 'Remember Terry' from official band representative Stephanie Clothing:

Hello. We'd like to welcome you here, and thank you for attending. Welcome Pescatarian Trish, merciful Metcop, persistent baby lesbian, CEO of Beanbag company, stroppy ex, Dean the Death Doulah, two plainclothes Kerry O'Briens, wellness blogger, rageful teen boy, 'grammar nazi', Terry's swing dance club...

Uber Eats guy - 'Who is Terry'
A Free Hugger with bad intentions Rough diamond with a secret Patient or Nurse
Snog Terry. Marry Terry. Avoid Terry.

'Either his first life, or his last life' says Grammar Nazi. 'I'm fed up' says Ersatz Dad.
Knock Knock - Here's Ken - never takes his shoes off before taking his pants off. Often gets stuck. Heart of gold.

White noise playlist, 'Best of Ceiling Fans', 'Tumble Dryer with Few Clothes in it', Robbie Williams' Soviet album. Blue Kentucky Girl. Terry sleeps well.

What's the wifi 'Stop Stealing My Wifi Terry'
password 'oi'

Would you please join hands. We've all danced the Terry tete-a-tete.

What's the word for approaching rain We mean well Terry. Do you drink to forget
Welcome to your intervention Terry. Sit down. Take the talking stick.

We invite you to....REMEMBER

SWANS have announced a remastered reissue of their ninth studio album, The Great Annihilator, out on 5th May 2017 on Mute.
The Great Annihilator, originally released in 1995 and described at the time as ...a majestic symphony of haunting melodies and shifting moods' (SF Bay Guardian), will be released on double vinyl and as a 2CD set.
Both the vinyl (in the form of a download code) and CD will feature Drainland, Michael Gira's debut solo album recorded at the same time as The Great Annihilator.
The album was entirely remastered by Doug Henderson, but only after Bill Rieflin ( honorary Swan a revelation of great sonic effect'. Talking about the recording, Gira said I lived in a tent in a mosquito infested studio right next to Cabrini Green in Chicago for what () something like 3 months, rarely leaving. Band members and Jarboe and Bill Rieflin etc came and went, and somehow we crafted this thing into what it became.'
The Great Annihilator line up features: Michael Gira, Jarboe, Bill Rieflin, Algis.

SWANS have announced a remastered reissue of their ninth studio album, The Great Annihilator, out on 5th May 2017 on Mute.
The Great Annihilator, originally released in 1995 and described at the time as ...a majestic symphony of haunting melodies and shifting moods' (SF Bay Guardian), will be released on double vinyl and as a 2CD set.
Both the vinyl (in the form of a download code) and CD will feature Drainland, Michael Gira's debut solo album recorded at the same time as The Great Annihilator.
The album was entirely remastered by Doug Henderson, but only after Bill Rieflin ( honorary Swan a revelation of great sonic effect'. Talking about the recording, Gira said I lived in a tent in a mosquito infested studio right next to Cabrini Green in Chicago for what () something like 3 months, rarely leaving. Band members and Jarboe and Bill Rieflin etc came and went, and somehow we crafted this thing into what it became.
The Great Annihilator line up features: Michael Gira, Jarboe, Bill Rieflin, Algis.

The Best Of... So Far marks the return of British Indie icons The Kooks. Celebrating over 10 years since their 5xPlatinum selling debut album Inside In/Inside Out, this 18 track album features the much loved 'Naïve', 'She Moves In Her Own Way' and 'Ooh La' as well as new singles 'Be Who You Are' and 'Broken Vow'.

The band have 4 previous Top 20 Albums. 2 of these albums 'Inside In/Inside Out' and KONK were No.1 Albums. They have achieved 4.5M Album Sales Globally with 2.2 M UK Album Sales.

180g vinyl

W. H. Lung is a recording project founded in Manchester in mid-2016. Its first release, recorded at The Nave in Leeds and produced by Matt Peel, is double A-side single 'Inspiration!' / 'Nothing Is'.

The tracks locate ideas of eternity and belonging in a peregrination through the absurdity of meaninglessness. W. H. Lung write like the conscious citizen: locate yourself, reflect.

'Inspiration!' / 'Nothing Is' will be released on limited edition 10" vinyl via Melodic on May 12th 2017. W. H. Lung continue to write and record.

Double CD (21 tracks) with 24 page booklet.

3 x 12' black heavyweight vinyl with triple gatefold sleeve

Case bound book containing 3 CDs (45 tracks) and two hour DVD featuring live performances, rare footage and interviews with a 36 page book.

Limited edition box set containing 3 CDs (45 tracks), two-hour DVD featuring live performances, rare footage and interviews. With a 256 page hardcover book containing original essays, candid and personal photos taken by the band, family and friends, and reproductions of band memorabilia.

'Tell Mama' by Etta James was originally released in 1968 and it put her back in the top 10 with the single 'Tell Mama'. Produced by Rick Hall at FAME Studios in Muscle Shoals, Alabama this album is a stone cold soul - blues classic from start to finish. Standout tracks include the title track, a cover of Otis Redding's 'Security', 'I'd Rather Go Blind' and 'Don't Lose Your Good Thing'. Easily one of the best albums of her long career it is now being reissued on gold vinyl in glorious mono!

Nachdem er als Support für Ólafur Arnalds, Nils Frahm und Fink auf Welttournee war sowie 2014 und 2015 europäische Headline-Tourneen durchführte, präsentiert der Londoner Singer/Songwriter und Pianist Douglas Dare im Herbst 2016 sein zweites Album. Wie bereits das von der Kritik intensiv gefeierte Debüt "Whelm" erscheint auch "Aforger" beim Label Erased Tapes. In unserem digitalen Zeitalter, in dem Erinnerungen durch Pixel imitiert werden und Identität so formbar wie auch statisch ist, hinterfragt Dares neues Album die Grenzen zwischen Realität und Fiktion. Der Albumtitel spielt mit dem englischen Wort für einen Fälscher ("aforger"), also jemanden, der Imitationen oder Kopien von Dingen herstellt, diese zu etwas Neuem umarbeitet und dadurch zum Konstrukteur von etwas wird, das nicht mehr real ist. Dares Konzeption von "Aforger begann, als er herausfand, dass sein Freund ein Doppelleben führte. Von da an verfolgte ihn die Frage: Was ist überhaupt noch real Im Anschluss an die Lektüre von George Orwells "1984", der Trennung vom Partner und seinem Outing gegenüber dem Vater entstanden die zehn Tracks von "Aforger". Die Platte wurde in den berühmten Abbey Road Studios gemastert und von Dares langjährigem Kompagnon Fabian Prynn produziert.

The band, made up of singer-leader Gerard Black (Findo Gask), guitarist Thomas Ogden, bassist Amaury Ranger (Francois and the Atlas Mountains) and new drummer/producer John Baillie Jnr (Bossy Love) have regrouped and refocused to deliver a record as much for the quiet hours as it is for the house party.
Kiss & Tell is an album which finds BABE striding confidently, if not swaggering, towards the dancefloor. You can hear disco music, house and techno, dream-pop and so much more on album number two, but it remains utterly cohesive. No longer uncategorized, Kiss & Tell is the only sad-disco album you'll need in 2017.
I used to be obsessed with Italo disco and all sorts of electronic dance music,' says Black, the owner of a heartbreaking falsetto which mellows the kick and thump of synth beats, and the sparkling array of Cocteau Twins-esque guitars on the album. We definitely wanted this one to be a bit more upbeat and a bit of a party.'
Part of the party atmosphere was brought by new addition John Bailie Jnr, powerhouse drummer for Bossy Love and a much-admired dance producer. He came on board after Black had made a few passes at the record, and helped capture the electric atmosphere of BABE's incredible live show. Black explains that we sent one of the songs to John for a remix and he sent it back....and we thought 'we just have to use this as the song!'. After that, we spent three days at John's mum's house in Shettleston, Glasgow, working on all the songs.'
It's not all about the party, though, on Kiss & Tell. Black's singing voice, a gorgeous high register which is at once both fragile and soothing, adds another dimension to BABE's music. There's often a sadness, a slight air of pleading desperation to the best disco and electronic music vocals, and Black is painfully aware of this: I suppose my favourite lyrics are always the really sad ones. Arthur Russell was the king of doing that, making you dance but also giving you a dagger to the heart.'

The band, made up of singer-leader Gerard Black (Findo Gask), guitarist Thomas Ogden, bassist Amaury Ranger (Francois and the Atlas Mountains) and new drummer/producer John Baillie Jnr (Bossy Love) have regrouped and refocused to deliver a record as much for the quiet hours as it is for the house party.
Kiss & Tell is an album which finds BABE striding confidently, if not swaggering, towards the dancefloor. You can hear disco music, house and techno, dream-pop and so much more on album number two, but it remains utterly cohesive. No longer uncategorized, Kiss & Tell is the only sad-disco album you'll need in 2017.
I used to be obsessed with Italo disco and all sorts of electronic dance music,' says Black, the owner of a heartbreaking falsetto which mellows the kick and thump of synth beats, and the sparkling array of Cocteau Twins-esque guitars on the album. We definitely wanted this one to be a bit more upbeat and a bit of a party.'
Part of the party atmosphere was brought by new addition John Bailie Jnr, powerhouse drummer for Bossy Love and a much-admired dance producer. He came on board after Black had made a few passes at the record, and helped capture the electric atmosphere of BABE's incredible live show. Black explains that we sent one of the songs to John for a remix and he sent it back....and we thought 'we just have to use this as the song!'. After that, we spent three days at John's mum's house in Shettleston, Glasgow, working on all the songs.'
It's not all about the party, though, on Kiss & Tell. Black's singing voice, a gorgeous high register which is at once both fragile and soothing, adds another dimension to BABE's music. There's often a sadness, a slight air of pleading desperation to the best disco and electronic music vocals, and Black is painfully aware of this: I suppose my favourite lyrics are always the really sad ones. Arthur Russell was the king of doing that, making you dance but also giving you a dagger to the heart.'

All this I do for glory' is a reasoning and exploration of the machinations of ambition and legacy, an examination of the concepts of afterlife, and the first half of a doomed love story in the model of the greek tragedies. As a narrative, it exists temporally somewhere between 2015's Never were the way she was' (with Sarah Neufeld) and the 1st volume of the NHW Trilogy.
With this, his first solo outing since 2013's To See More Light', Colin Stetson ventures into territory both familiar and strange. Here still, is the dogmatically stripped down approach to performance and capture (all songs recorded live with no overdubs or loops) but there is an immediacy to the album that belies a more invasive and thorough miking of the various instruments being utilized and a seeming influence drawn from the early nineties electronica of artists like Aphex Twin and Autechre, evident in the more pointed role played by the instruments' many percussive elements.
There are ancestries, motivic and timbral, woven through these six songs that plainly anchor them within the shared universe of his Trilogy, though the overall experience is one of extreme intimacy, the sounds and imagery more tangible and immersive than previous offerings. The brief and brutal In the clinches' recalls (or presages) echoes of songs like Judges', though now feeling like one has fallen down the bell of Stetson's ancient bass saxophone itself. Spindrift', crystalline and serene, calls to mind the ambient works of Aphex Twin, while Between Water and Wind' with it's Immigrant Song' swagger, relentlessly carves it's way into the bedrock here, paving the way with an increasing focus on the minute and the minimal, with a deepened sense of patience shared by most of the album's six tracks.
Engineered and mixed by Stetson himself, this album represents a decidedly independent approach across the entire creative process and finds him at the top of his game, both as a composer and instrumentalist as well as a producer.

All this I do for glory' is a reasoning and exploration of the machinations of ambition and legacy, an examination of the concepts of afterlife, and the first half of a doomed love story in the model of the greek tragedies. As a narrative, it exists temporally somewhere between 2015's Never were the way she was' (with Sarah Neufeld) and the 1st volume of the NHW Trilogy.
With this, his first solo outing since 2013's To See More Light', Colin Stetson ventures into territory both familiar and strange. Here still, is the dogmatically stripped down approach to performance and capture (all songs recorded live with no overdubs or loops) but there is an immediacy to the album that belies a more invasive and thorough miking of the various instruments being utilized and a seeming influence drawn from the early nineties electronica of artists like Aphex Twin and Autechre, evident in the more pointed role played by the instruments' many percussive elements.
There are ancestries, motivic and timbral, woven through these six songs that plainly anchor them within the shared universe of his Trilogy, though the overall experience is one of extreme intimacy, the sounds and imagery more tangible and immersive than previous offerings. The brief and brutal In the clinches' recalls (or presages) echoes of songs like Judges', though now feeling like one has fallen down the bell of Stetson's ancient bass saxophone itself. Spindrift', crystalline and serene, calls to mind the ambient works of Aphex Twin, while Between Water and Wind' with it's Immigrant Song' swagger, relentlessly carves it's way into the bedrock here, paving the way with an increasing focus on the minute and the minimal, with a deepened sense of patience shared by most of the album's six tracks.
Engineered and mixed by Stetson himself, this album represents a decidedly independent approach across the entire creative process and finds him at the top of his game, both as a composer and instrumentalist as well as a producer.

All this I do for glory' is a reasoning and exploration of the machinations of ambition and legacy, an examination of the concepts of afterlife, and the first half of a doomed love story in the model of the greek tragedies. As a narrative, it exists temporally somewhere between 2015's Never were the way she was' (with Sarah Neufeld) and the 1st volume of the NHW Trilogy.
With this, his first solo outing since 2013's To See More Light', Colin Stetson ventures into territory both familiar and strange. Here still, is the dogmatically stripped down approach to performance and capture (all songs recorded live with no overdubs or loops) but there is an immediacy to the album that belies a more invasive and thorough miking of the various instruments being utilized and a seeming influence drawn from the early nineties electronica of artists like Aphex Twin and Autechre, evident in the more pointed role played by the instruments' many percussive elements.
There are ancestries, motivic and timbral, woven through these six songs that plainly anchor them within the shared universe of his Trilogy, though the overall experience is one of extreme intimacy, the sounds and imagery more tangible and immersive than previous offerings. The brief and brutal In the clinches' recalls (or presages) echoes of songs like Judges', though now feeling like one has fallen down the bell of Stetson's ancient bass saxophone itself. Spindrift', crystalline and serene, calls to mind the ambient works of Aphex Twin, while Between Water and Wind' with it's Immigrant Song' swagger, relentlessly carves it's way into the bedrock here, paving the way with an increasing focus on the minute and the minimal, with a deepened sense of patience shared by most of the album's six tracks.
Engineered and mixed by Stetson himself, this album represents a decidedly independent approach across the entire creative process and finds him at the top of his game, both as a composer and instrumentalist as well as a producer.

Pleased to announce the reissue of The Spitfires critically acclaimed second album ‘A Thousand Times’ - available for the first time on lilac coloured vinyl plus a bonus 7” single with previously unreleased demo versions from the album sessions. 

Featuring the singles ‘So Long’, ‘On My Mind’ and ‘Return To Me’ - the album was to show a sharper, deeper vision for the band and a more honed songwriting craft than we’d seen previously from Billy Sullivan. 

“I think the album was basically ignored” recalls Billy. “It had only been a year since our first record and on reflection I think people may have not of been ready for a new album. It was also quite progression for us” 

UK rock band Kasabian last released a full-length album in 2014 with 48:13, and now the band have unveiled plans for its follow-up. For Crying Out Loud is due out on April 28 via Columbia.

The 12-song set sounds like it'll be an ode to a wild rock'n'roll lifestyle with track titles like "TwentyFourSeven," "Wasted," "The Party Never Ends," "All Through the Night" and "Bless This Acid House".

UK rock band Kasabian last released a full-length album in 2014 with 48:13, and now the band have unveiled plans for its follow-up. For Crying Out Loud is due out on April 28 via Columbia.

The 12-song set sounds like it'll be an ode to a wild rock'n'roll lifestyle with track titles like "TwentyFourSeven," "Wasted," "The Party Never Ends," "All Through the Night" and "Bless This Acid House".

UK rock band Kasabian last released a full-length album in 2014 with 48:13, and now the band have unveiled plans for its follow-up. For Crying Out Loud is due out on April 28 via Columbia.

The 12-song set sounds like it'll be an ode to a wild rock'n'roll lifestyle with track titles like "TwentyFourSeven," "Wasted," "The Party Never Ends," "All Through the Night" and "Bless This Acid House".

Indie favourite Marika Hackman is back with her second studio album released from new home AMF Records (Loyle Carner). The album sees a transformation into a gutsier sound packing a real punch with The Big Moon as the backing band. The artwork for the LP & CD features an impactful gatefold design by artist Tristan Pigott. Early support for 'Boyfriend' from Radio 1, 2 & 6 and across the board online and press support, this record looks set to propel Marika into the spotlight in 2017.

Indie favourite Marika Hackman is back with her second studio album released from new home AMF Records (Loyle Carner). The album sees a transformation into a gutsier sound packing a real punch with The Big Moon as the backing band. The artwork for the LP & CD features an impactful gatefold design by artist Tristan Pigott. Early support for 'Boyfriend' from Radio 1, 2 & 6 and across the board online and press support, this record looks set to propel Marika into the spotlight in 2017.

L.A. by way of New Jersey hip hop/punk mutants, Ho99o9 have announced their debut album 'United States of Horror', due out May 5th via their own imprint Toys Have Powers through Caroline. You can check out their first offering from the album, the title track, produced by David Andrew Sitek of TV on the Radio now, alongside a typically jarring yet pertinent visual accompaniment.
Ho99o9 are also set to hit the road imminently, starting with a clutch of shows at SXSW next week, followed by a headline tour of the US and Canada, leading into a plethora of European Festival appearances. The past two summers have seen the band decimating stages and whipping up a multitude of frenzied crowds on the UK and European festival circuit and this year is set to be no different.
Formed by theOGM (Jean) & Yeti Bones (Eaddy), the band is an amalgamation of punk, rap, militancy, industrial, metal and hardcore creating what they describe as Deathkult.

L.A. by way of New Jersey hip hop/punk mutants, Ho99o9 have announced their debut album 'United States of Horror', due out May 5th via their own imprint Toys Have Powers through Caroline. You can check out their first offering from the album, the title track, produced by David Andrew Sitek of TV on the Radio now, alongside a typically jarring yet pertinent visual accompaniment.
Ho99o9 are also set to hit the road imminently, starting with a clutch of shows at SXSW next week, followed by a headline tour of the US and Canada, leading into a plethora of European Festival appearances. The past two summers have seen the band decimating stages and whipping up a multitude of frenzied crowds on the UK and European festival circuit and this year is set to be no different.
Formed by theOGM (Jean) & Yeti Bones (Eaddy), the band is an amalgamation of punk, rap, militancy, industrial, metal and hardcore creating what they describe as Deathkult.

Recorded throughout Europe.
Assembled in Stockholm at EMS studios and in Copenhagen 2014-2016

Mixing assistance by Malthe Fischer, Copenhagen
Mastering by Bonati, New York
Cut at Dubplates & Mastering, Berlin
Additional instrumentation by Anton Rothstein, Mikkel Reher Langberg, Alex Zhang Hungtai, Kristian Emdal & Elias Bender Rønnenfelt

Artwork by Rahbek, Emdal & Højlund


Editions Mego is pleased to welcome Danish Loke Rahbek (Damien Dubrovnik,Croatian Amorand Posh Isolation) to the fold. Known for countless creative and commercial endeavours Loke presents his first solo full length under his own name. As with all of Loke's output City of Woman harnesses the radical with the aesthetic in a manner of extreme pleasure for all who encounter.

Harnessing his thorough knowledge and experience in extreme electronics, melodic encounters and sultry showmanship Loke ties together disparate threads of various underground movements to create a singular and deeply personal journey through industrial temptation, noise refraction and melodic seduction.

This is 21st Century pop music. One which dismantles previous held borders of sound to present a wide palate of sound, song, abstraction and intense emotion.

Seattle's Foo Fighters (named after a Second World War term for UFO's) touch down in Toronto for the third time in a year on Wednesday 3rd April 1996 at the recently refurbished Concert Hall. The Foos play all of the singles from their 1995 self-titled debut long player, a million seller that is reproduced here with glorious adrenalin with only Oh George and X-Static missing from the set-list. For loud, screaming, sweaty and fun rock 'n' roll, Grohl, Smear, Mendel and Goldsmith deliver it all for Toronto in this treasured and legendary performance from 3rd April, 1996. Echoes very proudly present the entire FM broadcast, professionally re-mastered with background liners and rare,
archival photos.

Ideologic Organ is proud to present the brand-new recordings from The Necks, the legendary Australian trio who excel in bypassing musical cliche whilst exploring and extending the practices embedded within improvisation, jazz, post rock, ambient, minimal, and textural, 'sound based' music.

The latest document from this long-running ensemble, Unfold, presents itself as a double LP, with four side-length tracks. A deliberate absence of numbered sides hands a substantial swatch of participation over to the listener, allowing her to navigate his own path through the soundscape at hand. The shorter length of the vinyl format, far from being a constraint upon the members of the ensemble, instead offers them a more compact horizon to contemplate, wherein the distance travelled is recalibrated to more immediate and dynamic textural concerns.

The immediacy of Rise confirms this new path, as the mournful tones of Lloyd Swanton's bass swirl around Chris Abrahams' crystalline piano motif, with Tony Buck's percussion steering proceedings into enlightening free-jazz territories. Blue Mountain cuts a swathe through the sonic undergrowth, with soul organ, rattling percussion, whistles, and loping sound-waves all vying for the foreground. Overheard retains a sublime melancholic aura as the percussion and keyboards simultaneously embrace and fall apart, whilst Timepiece skips along as a gentle gesture of further possibilities.

Exactly how The Necks conjure their particular magic - as deceptively simple as it seems - whilst always moving forward, is anyone's guess, but Unfold proves yet again that rules and schools are to be broken and re-formed into patterns and frameworks unlike those we know.