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“‘All You’re Dreaming Of’ is an instant classic that is perfect for this time of year. Considering the year that we’ve all had, I hope this brings back some much needed love and hope. Bing Crosby would have been proud.”

La vita nuova - a prospect for a new life - draws strength from extreme vulnerability. Produced by Christine and the Queens and Ash Workman, the EP is out now on all digital platforms via Because Music, and available to pre-order on CD and vinyl editions. La vita nuova arrives with an accompanying short film of the same name, imagined by Christine and featuring the EP’s five new songs in as many sequences. The 14-minute film is an inward journey that sees the artist invest Opéra Garnier, the world-famous Paris opera house, filling it with stories of ghosts and mythical creatures. Through the lens of long-time collaborator Colin Solal Cardo (Robyn, Charli XCX) and with choreography by Ryan Heffington (VMA Award 2014, Grammy Award nominated), Christine and her dancers appear in succession on the Opéra rooftop, its grand stage and most secret recesses, culminating into a feverish moment with Caroline Polachek, a collaborator on the EP’s title track.

In the late-1970s Athens, Georgia was buzzing with a raw but sophisticated music scene. Traditional Southern rock had been the Georgia musical export for years before but the turn of the decade began producing new sounds from bands like the B-52’s, REM and Alt Rock luminaires Pylon.
 Before they were a band, Pylon were art-school students at the University of Georgia: four kids invigorated by big ideas about art and creativity and society. However, Pylon were less of a band and more of an art project, which meant they had very specific goals in mind, as well as an expiration date.
 While their time together as a band was short lived (1979-1983), Pylon had a lasting influence on the history of rock and roll. Throughout their brief history, they were able to create influential work that would help foster the post-punk and art-rock scene of the early 80s. Artists like R.E.M., Gang of Four, Sonic Youth, Sleater-Kinney, Interpol, Deerhunter and many more claim inspiration from the band.
 Their 1979 single ‘Cool’ / ‘Dub’ reached legendary status, with Rolling Stone titling it one of the 100 Greatest Debut Singles Of All Time.
 In 1980 the band released their first record, ‘Gyrate’, and began touring across the country in support of the release. The band would soon develop a following across the country and specifically in the bustling music scene in New York City. One of their earliest gigs was opening for the Gang of Four in the Big Apple.
 Following the critical acclaim of their debut release, Pylon went back into the studio. They gleefully pulled their songs apart and put them back together in new shapes, revealing a band of self proclaimed nonmusicians who had transformed gradually but noticeably into real musicians. The resulting album, ‘Chomp’, was barely off the press when Pylon were booked to open a run of dates for a hot new Irish band called U2 (after previously playing two arena shows with them in the month leading to the album release). Most bands would have jumped at the opportunity but Pylon were sceptical. At a critical point in the life of Pylon, they opted to become a cult band rather than stretch their defining philosophy too far.
 “We fully intended Pylon to be an almost seasonal thing that we were gonna do for a minute and then get on with our lives,” says Curtis Crowe, drummer for the band. “But it just never went away. It still doesn’t go away. There’s a new subterranean class of kids that are coming into this kind of music, and they’re just now discovering Pylon. That blows my mind. We didn’t see that coming.”
 New West Records are proud to partner with Pylon to reissue ‘Chomp’ and ‘Gyrate’ back into the masses. Beautifully remastered from the original audio sources and pressed on vinyl (140g) for the first time in over 30 years.
 New West Records also present ‘Pylon Box’, a comprehensive look at the band that features the remastered studio LPs ‘Gyrate’ and ‘Chomp’, the 11-song collection ‘Extra’ - which includes rarities and previously unreleased studio and live recordings - and ‘Razz Tape’, Pylon’s first ever recording: a 13-song unreleased session that pre-dates the band’s seminal ‘Cool’ / ‘Dub’ debut.
 ‘Pylon Box’ also includes a hardbound 200-page full colour book featuring pieces written by the members of R.E.M., Gang of Four, Steve Albini, Corin Tucker and Carrie Brownstein of Sleater-Kinney, Sonic Youth, Interpol, B-52’s, Bradford Cox of Deerhunter, Mission of Burma, Calvin Johnson of Beat Happening and K Records, Anthony DeCurtis, Chris Stamey of the dB’s, Steve Wynn of the Dream Syndicate and many more. Features an extensive essay chronicling the band’s history, with interviews with the surviving members of the band as well as members of R.E.M., B-52’s, Gang of Four, Method Actors and more. It also features never before seen images and artifacts from both the band’s personal archives as well as items now housed at the Special Collections Library at the University of Georgia and the Georgia Museum of Art, UGA.

LTD. LOSER EDITION

Kiwi Jr. is a phenomenal "rock" and/or "punk" and/or "indie-rock" (whichever you like more) band from Canada, made up of Jeremy Gaudet (mic, guitar), Brohan Moore (drums), Mike Walker (bass), and Brian Murphy (guitar). Cooler Returns is their second album, and their first for Sub Pop. Despite being a snapshot of the pandemic-infused beginnings of this decade, Cooler Returns is truly a whole lot of fun. RIYL indie-pop from down under, things that are smart/exuberant/catchy all at once. Buildings burning in every direction; macabre unknowns in your friendly neighbor's basement; undecided voters sharpening their pencils: under pressure we could call Kiwi Jr.'s Cooler Returns "timely." But what year is it, again? On Cooler Returns, Kiwi Jr. cycle through the recent zigs & looming zags of the new decade, squinting anew at New Year's parties forgotten and under-investigated small town diner fires, piecing together low-stakes conspiracy theories on what's coming down the pike in 2021. Put together like a thousand-piece puzzle, assembled in flow state through the first dull stretch of quarantine, sanitized singer shuffling to sanitized studio by streetcar, masked like it's the kind of work where getting recognized means getting killed, Cooler Returns materializes as a sprawling survey from the first few bites of the terrible twenties, an investigative exposé of recent history buried under the headlines & ancient kings buried under parking lots. Not so long since their debut Football Money in archaeological time, unending gray eons later in the dog years of quaran-time, spiritually antipodean Canadians Kiwi Jr return to disseminate this year's annual report to the shareholders, burying the incriminating numbers in the endless appendices of a longform narrative record, a 3,000 word tract for stakeholders to pore over. These stories - memories of Augusts past, unrepressed & transcribed fast - go down easier thanks to meaningful changes enacted in 2019's KiwiCares Pledge: delivering on a promise to transition from Crunchy to Smooth by 2021, the caveman chug of Football Money has been steamed & pressed with the purifying air of a saloon piano - operated with bow-tie untied - and a spring green side-salad of tentatively up-tempo organ taps & freshly fluted harmonica. A chronically detuned spin of the dial through swivel-chair distractions & WFH daydreams, an immersive ctrl-tab deluge cycling through popular listicle distractions like the unentombing of Richard III, or the deja vu destruction of the Glasgow School of Art, Kiwi Jr. sing this song to an indoor audience, crisscrossing canceled, every other prestige distraction source wrung dry, only songwriting remaining to deliver engrossing tales to the populace, just how I imagine it worked in the old days. Fixing loose ingredients into a sturdy whip, Kiwi Jr. beam in live from the 9-5, striding into 2021 with a mastered brainwave that comes equally from the back room of the record store as the penalty box. And how do we, left holding this box of deliberate entanglements, sign off to those as yet uninitiated, undecided, uncertain, unseen, absent return coordinates - Best Wishes, Warm Regards, Good Luck? Cooler Returns, Cooler Returns, C o o l e r R e t u r n s ! Cooler Returns was produced by Kiwi Jr., mixed and engineered by Graham Walsh (METZ, Bully) in Toronto, and mastered by Phillip Shaw Bova at Bova Labs in Ottawa, Ontario.

Nach der Veröffentlichung ihres hochgelobten zweiten Albums Sister im März diesen Jahres, legen Ultraista - Nigel Godrich, Joey Waronker und Laura Bettinson - nun nach mit einem Remix-Paket. Floating Points, FaltyDL, Zero 7, Crate Classics und Leifur James, sie alle haben dem Song ihren ganz eigenen Stempel aufgedrückt.

Soundway present something completely different, they are pleased to announce another Dutch artist to their roster, Felbm.

Having previously released more electronic music under the moniker Falco Benz, the multi-instrumentalist Eelco Topper moves towards a more acoustic, instrumental and sketch-like approach with the Felbm project.

The two-part project is being released as 2 separate digital EPs ("Tape 1" and "Tape 2"), the first of which will be released on 21 September. The second digital EP "Tape 2" will be released on the same date as the vinyl, 26 October.

Recorded direct to two cassettes, which comprise each side of the vinyl album, the cover art also reflects this - with both sides of the sleeve acting as separate front covers.

Liar, Flower is the reincarnation of Ruby Throat, consisting of artists KatieJane Garside (Daisy Chainsaw, QueenAdreena, Lalleshwari) and Chris Whittingham. As Ruby Throat, the duo released four albums and an EP between 2007 and 2017, as well as their 2018 compilations Stone Dress, and Liar, Flower.
It began with Daisy Chainsaw in 1991 when KatieJane Garside emerged as a furious icon of the alt-girl underworld in a torn dress and matted hair howling ‘Love Your Money’ a confused and violent mixture of lust and loathing, then came QueenAdreena bolder, darker, louder, unpredictable and violent
Garside and Whittingham have been living together on a small sailboat while raising their young daughter and have spent the past few years out at sea. In recent years the pair have lived a life of isolation, and the album reflects those experiences, coincidently fitting for the current times

On December 26th, 2018, Emily Cross received an excited email from a friend: Brian Eno was talking about her band on BBC radio. “At first I didn’t think it was real,” she admits. But then she heard a recording: Eno was praising ‘Black Willow’ from Loma’s self-titled debut. He said he’d had it on repeat.
At the time, a second Loma album seemed unlikely. The band began as a serendipitous collaboration between Cross, the multi-talented musician and recording engineer Dan Duszynski and Shearwater frontman Jonathan Meiburg, who wanted to play a supporting role after years at the microphone. They’d capped a gruelling tour
with a standout performance on a packed beach at Sub Pop’s SPF 30 festival, in which Cross leapt into the crowd and then into the sea, while the band carried on from the stage - an emotional peak that also felt like a natural ending. “It was the biggest audience we’d ever had,” she says. “We thought, why not stop here?” Following the tour, Cross went to rural Mexico to work on visual art and a solo record, while Meiburg began a new Shearwater effort. But after a few months apart
(and Eno’s encouraging words), the trio changed their minds and reconvened at Duszynski’s home in rural Texas, where they began to develop songs that would become ‘Don’t Shy Away’. Loma writes by consensus and, though Cross is always the singer, she, Duszynski and Meiburg often trade instruments. Meiburg compares their process to using an Ouija Board and says the songs revealed themselves slowly, over many months. “Each of us is a very strong flavor,” he says, “but in Loma, nobody wears the crown, so we have to trust each other - and we end up in places none of us would have gone on our own. I think we all wanted to experience that again.” The album that emerged is gently spectacular - a vivid work whose light touch belies
its timely themes of solitude, impermanence and finding light in deep darkness. “Stuck / beneath / a rock,” Cross begins, as if noticing her predicament for the first time. Then she adds: “I begin to see / the beauty in it.” A series of guests contributed to the absorbing soundscapes of ‘Don’t Shy Away’, including touring members Emily Lee (piano, violin) and Matt Schuessler (bass), Flock of Dimes/Wye Oak’s Jenn Wasner and a surprisingly bass-heavy horn section.
And then there’s Brian Eno. Loma invited him to participate in the mantra-like ‘Homing’, which concludes the album and sent him stems to interact with in any way he liked. He never spoke directly with the band but his completed mix arrived via email late one night, without warning and they gathered to listen in the converted bedroom Duszynski uses as a control room. “I was a little worried,” says Cross.
“What if we didn’t like it?” But it was all they’d hoped for: minimal but enveloping, friendly but enigmatic, as much Loma as Eno - a perfect ending to an album about finding a new home inside an old one. “I am somewhere that you know,” Cross sings, above a chorus of her bandmates’ blended voices. “I am right behind your eyes.”
First LP pressing on dark green vinyl.

*** REPRESS VINYL *** Edition of 500 Clear Vinyl ***

The Space Lady began her odyssey on the streets of San Francisco in the late 70's, playing versions of contemporary pop music an accordion and dressed flamboyantly, transmitting messages of peace and harmony. Following the theft of her accordion, The Space Lady invested in a then-new Casio keyboard, birthing an otherworldly new dimension to popular song that has captured the imaginations of the underground and its lead exponents ever since, with the likes of John Maus, Erol Alkan and Kutmah being devotees.

Of her early street sets, only one recording was made, self-released originally on cassette and then transferred to a home-made CD. "The Space Lady’s Greatest Hits"(LSSN020) features the best of these recordings - mostly covers but with some originals - pressed on vinyl for the first time and features archival photographs and liner notes from The Space Lady herself. “Greatest Hits” contains The Space Lady’s personal favourites; her haunting take on The Electric Prunes’ “I Had Too Much To Dream (Last Night),” a frantic “Ballroom Blitz” amidst other reconstructed pop music. Included are also 4 originals that easily match for the Pop canon. Following the release of this archive, The Space Lady will be issuing new material and travelling the world to present her message outside the United States for the first time.

In the mid 90's The Space Lady packed away her Casio synth and silenced her distinctive voice, retiring from the streets of San Francisco. Now, more than 30 years after her initial forays on Haight Ashbury, she has surfaced with the first ever official release of her timeless, startling music and, even more remarkably, has re-started her live career. Now in Colorado, The Space Lady continues to spread her message of peace, harmony and love.

"Mr Bongo" is proud to present three unique reworks of Kit Sebastian.
Each of the producers featured in this package created their own
interpretation of the 'lo-fi-hi-fi’ originals and have taken the duo’s
sound into bold new directions. When it came to choosing who should remix Kit Sebastian, Natureboy Flako (Flako/Dario Rojo Guerra) was a producer at the top of our list.

Keeping true to the original, whilst leaving his own stamp on the
track, his mix adds break-beat drums and middle-Eastern guitar riffs
that transform the track into a more cinematic piece. It sounds to us
like the music from an exotica dive-bar scene in a David Lynch film -
which of course, is a very good thing.

Producer and DJ Baris K, who was behind the awesome 'İstanbul 70'
series (re-edits of classic Turkish gems), takes ‘Durma’ in a very
different direction. Totally reconstructing the track, his remix has
flipped the original and totally run wild.

The results are an epic left-field electronic workout. By bringing the spoken-word vocals to the forefront and giving the track a darker industrial vibe, it wouldn't sound out of place bouncing around the walls of a Berlin basement club at 5am on a Sunday morning.

The paring of Kit Sebastian and Halal Cool J grew after DJing together
at the alternative Great Escape party at the Mr Bongo HQ in May 2019.
They share a love for dusty old psychedelic Turkish records. Halal Cool J (aka Aly Jamal/Don Leisure) has released records on First World and is a co-member of Darkhouse Family with Earl Jeffers.

For his interpretation he has delivered a mix-tape-collage with a hip-hop aesthetic, and rather than focusing on remixing a specific song, he has cut and paste his favourite elements of tracks taken off the band’s 'Mantra Moderne’ album. Available in 2 limited-edition, hand-numbered sleeve designs.

"...while I like to think that creations are a 'moment in time', this, for me, is much more than just a moment."

Truenoys 2020

"Depression is not just for those with painful traumas but it can lurk in everyone who is willing to live in truth... this album can be a cure or a helping hand...soundwise and lyrically."

Amos 2020

A/T/O/S, pronounced 'A Taste Of Struggle' is a project by Amos & Truenoys.

Introduced by a mutual friend, A/T/O/S started creating music together. Their first creation, 'A Taste Of Struggle' was quickly picked up by dubstep pioneer Mala, who signed them to his label DEEP MEDi. Their debut release received an early spin by BBC 6 Music's Mary Anne Hobbs and impressive remixes by Skream and Commodo.

Their upcoming album 'waterman', is the 3rd on DEEP MEDi, following their self-titled debut 'A/T/O/S' and the follow-up 'Outboxed'.

'waterman' once again sees A/T/O/S exploring new territories with their formula of exciting beats and powerful vocals, accompanied by Michiel De Malsche (@MIDM) on the keys as their 'secret, not so secret' member in the studio & on stage.

We are happy to announce the first in anew series of 12" releases under DJ'S CHOICE, Four Flies Records' division devoted to fresh and cool new music in genres ranging from tropical funk and nu-soul to hip hop.

Created during the global lockdown, this new release is a joyful invitation to move our bodies and dance – something that, alas, has become almost impossible in this pandemic-ridden year.
Quero Ver Você Dançar is a collaboration between Rome-based DJ/producer The Rebel, Portuguese DJ/producer Dedy Dread, and Brazilian jazz singer Keila Abeid. Other musicians playing on the track – including Neney Santos (percussions), Marco Ravallese (keys), and Fab Samperi (flute) – masterly contribute to its soulful favela vibes.

Housed in a single jacket with beautiful artwork by Roman illustrator Federica Fruhwirth, the 12-inch single also features a super groovy remix by Mo'Horizons which, with its powerful combination of bossa and drum'n'bass rhythms, makes this release a must for tropical-music aficionados.

Also available on all major digital outlets, with two additional remixes by young Brazilian producers Afterclapp and Brasila Strut.

Today internationally renowned composer, multi-instrumentalist, producer, and visual artist Tim Koh announces the release of his debut solo album ‘In Your Dreams’, set for release on 18 September via Tim Burgess’ O Genesis Recordings. The announce follows the release of recent single ‘Fall Into Your Dream’ in May.

In Your Dreams is Tim’s most straightforward and accessible release to date, and an exciting addition to his body of solo work, which hitherto can broadly be described as experimental noise. The poignant song collection tackles core themes of life’s calamities, broken love, and transitory relationships, yet counterbalances its essential melancholy with a whimsical, upbeat, and playful spirit throughout. While not strictly autobiographical, the songs draw from Tim’s recent personal experiences during his two-year isolation from friends and family, and create a compelling narrative of alienation, loss, and love.

Tim wrote In Your Dreams in Amsterdam, L.A., and London in-between his time touring with Ariel Pink, and subsequently recorded the songs at home in Amsterdam while recovering from a near-fatal 2018 accident. The recurring hospitalizations that Tim has endured in recent years subtly find their way into the album through phone recordings from Tim’s actual hospital stints, underscoring the album’s themes on this highly personal work. In Your Dreams deftly juxtaposes lush, densely layered sounds with stark simplicity through a series of quick turnarounds, creating the captivating feeling of tension and release that characterizes this remarkable song collection.

Guest musicians on In Your Dreams include Chris Cohen on guitar, and drum help from Jay Watson (Tame Impala, Gum) and Josh da Costa (CMON). Adding to the family feel of the album, longtime Ariel Pink and Tim Koh collaborator Jorge Elbrecht performed mixing duties along with mastering by Heba Kadry.

-LTD. LOSER EDITION-

This LIMITED LOSER INDIES edition is on GREY MARBLED Vinyl! It's tempting to think that you have all the answers, screaming your gospel every day with certainty and anger. Life isn't quite like that though, and the debut album from London four-piece TV Priest instead embraces the beautiful and terrifying unknowns that exist personally, politically, and culturally. Posing as many questions as it answers, Uppers is a thunderous opening statement that continues the UK's recent resurgence of grubby, furious post-punk music. It says something very different though - something completely its own. Four childhood friends who made music together as teenagers before drifting apart and then, somewhat inevitably, back together late in 2019, TV Priest was borne out of a need to create together once again, and brings with it a wealth of experience and exhaustion picked up in the band's years of pursuing 'real life' and 'real jobs', something those teenagers never had. Last November, the band - vocalist Charlie Drinkwater, guitarist Alex Sprogis, bass and keys player Nic Smith and drummer Ed Kelland - played their first show, to a smattering of friends in what they describe as an "industrial freezer" in the warehouse district of Hackney Wick. "It was like the pub in Peep Show with a washing machine just in the middle_" Charlie laughs, remembering how they dodged Star Wars memorabilia and deep fat fryers while making their first statement as a band. Unsurprisingly, there isn't a precedent for launching a band during a global pandemic, but among the general sense of anxiety and unease pervading everything at the moment, TV Priest's entrance in April with the release of debut single "House Of York" - a searing examination of the Monarchy set over wiry post-punk and fronted by a Mark E. Smith-like mouthpiece - served as a breath of fresh air among the chaos, its anger and confusion making some kind of twisted sense to the nation's fried brains. It's the same continued global sense of anxiety that will greet the release of Uppers, and it's an album that has a lot to say right now. Taking musical cues from post-punk stalwarts The Fall and Protomartyr as well as the mechanical, pulsating grooves of krautrock, it's a record that moves with an untamed energy. Over the top of this rumbling musical machine is vocalist Charlie, a cuttingly funny, angry, confused, real frontman. Uppers sees TV Priest explicitly and outwardly trying to avoid narrowmindedness. Uppers sees TV Priest taking musical and personal risks, reaching outside of themselves and trying to make sense of this increasingly messy world. It's a band and a record that couldn't arrive at a more perfect time.

Stunning debut release from Confuso Editions, a new label operating out of NYC/Rio de Janeiro here venturing into the furthest realms of outsider pop with the first ever public airing of recordings by John Zieman, a student of electronic synthesis at Hampshire College and
collaborator with Nam June Paik, John Sanborn, and Dara Birnbaum. Distilling 80s midtown sleaze (digi-saxophones, drum machines, listless ballads), we’re once again reminded of the sheer volume and wealth of outsider brilliance lurking in archives, drawers and lofts across the world - there really is no end. Fans of Ariel Pink, John Maus, Vazz, Stano, James Ferraro, look sharp!
As far as we can tell the first compilation, or even release, of John Zieman’s music to the wider public, ‘New York City 1980-1984’ spans year of work created after-hours at Manhattan’s nowdefunct Intergalactic Studios, covering an era-consistent gamut of itchy new wave machine rhythms and guitars ranging from gangly to jangling and pop-tart, all embedded in cruddy and offcentre FX and synths.
It comes with an amazing backstory too; in April of 1980, Zieman began working at Intergalactic Studios in Manhattan, where he took up residence in the studio’s bathroom, using soundproofing foam as a bed in a demolished stall. During this period, Zieman began composing on the studio’s Fairlight CMI synthesizer-sampler. Over the following seven months, working commercially by day and recording by night, Zieman produced the tracks which would become the basis for this set of tracks before you.
Revolving the fizzing drum machines of lead single ‘Flying Nine (Dara)’, which first appeared on the soundtrack to Dara Birnbaum’s video piece ‘Damnation of Faust: Evocation’ (1983), the set sprawls out between something like an unzipped Woo with ‘Gamelan Skate’, to ohrwurming offbeat pop in another big highlight ‘Hi-tech Love Song’, alongside more solitary and melancholic charms in ‘Occasional Thing’ and the loping ‘Leave You In The Park’, and something that could have
almost appeared on a James Ferraro tape 10 years ago in ’Better When It’s Deeper’.
As Joshua Daube puts it “The compilation stands out as an uncanny reflection of New Wave, at once rooted in its time and place and yet deeply singular. Across the twilight of a smoke-filled bar, Zieman’s edgy synths fix us with a thousand-yard stare, hungry sounds from the wrong side of Port Authority: “can I go back to sleep?” confuso revives these overlooked hypnagogic gems in New York City 1980-1984, which shine across the decades like a streetlight in a snowstorm.”

At the start of 2020 several US publications began running
glowing reviews of ‘Speed Kills’, the breakneck debut album
from Chubby & the Gang, a West London punk troupe
comprised of members of various bands associated with The
New Wave of British Hardcore, among them Violent Reaction,
Abolition, Big Cheese and more. At the time, the band - helmed
by local electrician Charlie Manning - had developed a cult
following in the UK, largely rooted in the cross-pollinating
nature of the punk scene, select shows including dates with
Sheer Mag and an impending, last minute US run with Royal
Hounds.
 ‘Speed Kills’, produced by Jonah Falco of Fucked Up, would go
on to be called “the best punk-pop LP in recent memory” by
Paste Magazine, a debut that “comes alive with liberating
energy” in an 8.0 review from Pitchfork and full of “massive
barroom gang choruses, power chords at breakneck tempos,
rock spelled R-A-W-K and visceral gratification” as Stereogum
put it. Impressive going for a band at the time with no
publicist, no big budget label backing and no industry clout per
se, beyond increasingly fervent underground support.
 Following the quietly blossoming success of ‘Speed Kills’ earlier
this year, Chubby & the Gang now find a new home on Partisan
Records (IDLES, Fontaines D.C., Laura Marling, Fela Kuti) who
reissue the album in remastered form with the unreleased cut
‘Union Dues’ included to boot and with new music on the
horizon.
 The LP arrives on yellow vinyl and includes a sticker sheet
featuring cartoon characters from the album artwork. It has
been remastered for vinyl at West London’s Metropolis Studios.

Reissue of thisearly 90s Czechoslovakian balearic style oddity. TIP!
.
Jindrich Parma originally created this record as a studio project on his own 'Parma Productions' label in '91. The release was the debut of the musician 'Karya', and although the singer has become fairly prolific, 'Muž Ze Skla' (The Man Of Glass) remains an anomalous release in her catalogue. In fact, the song never actually featured the singer we know as 'Karya' today, and was solely the experiment of Jindrich and Company. With a balearic house sound that never really had a parallel in the country, this remains a truly unique Czechoslovakian record. Reissued for the first time on a 12".

Massive bass. That was the idea behind Primitive Ignorant. That and history; his and Britain’s. Primitive Ignorant is Sym Gharial from 80s Matchbox B-Line Disaster and Sikh Punk is about him growing up as a Ladbroke Grove Sikh; not fitting in until he found release with punk rock, bands and, for better and worse, drugs. It looks at the Brexit-fuelled return of the racism he experienced as a kid and traces its roots back to the lingering arrogance of Colonialism and Empire.

It's digs into rejecting his Sikh roots, bleaching his skin, (in peak whiteness, Sym appears on the cover of Pulp’s Different Class), experiencing addiction, racism and coming out the other side, completing a redemptive arc. Sym’s been clean for ten years and embraced his Sikh roots, wearing a turban once more at his wedding last year.

Sikh Punk is loosely inspired by Sandinista, his favourite Clash album as he pushes into new musical genres. There's no guitar, for a start. From the outset, the idea was to carve out a HEAVY POP between Health’s rough edges and Chromatics’ reverie although inevitably it ended up somewhere quite different. He's a bassist so Sikh Punk is bass-driven, using R'n'B production tics to make it kick hard. Sym is not, however, a singer, so aside from some screaming and BVs, he's found other people to sing his very personal lyrics: casting him as the record’s id and other voices as its ego.

Leonore of International Teachers Of Pop sings on Dress Like Me; Jon from The War On Drugs added mournful Jerry Dammers' brass to Sikh Punk I-V, narrated by Sym’s nephews Ivo and Sahib, IDLES’ Joe Talbot and Sym’s hero, Mick Jones from The Clash, reading extracts from Oscar Wilde's Ballad Of Reading Gaol and Panthea. Bess on Worship Art is an old friend from Ladbroke Grove, Daisy on Beautiful Scum he met online over lockdown and Le Junk is a friend who sits close to Iggy’s edge; Pete Teleman puts in an appearance; Katie Kaboose sings White Jeans and Eyeliner about an old friend Adam who turned him onto art and cinema but died at 17. There are found sounds throughout from Portobello Market and it’s all mastered by Barry who cut Like A Virgin, Prince’s Kiss and the last Radiohead record. Primitive Ignorant’s visual collaborator, Steve Gullick supplied the sleeve to the limited vinyl edition and shot the Ballad video.

Formats include a yellow 12” vinyl single with exclusive never-before-heard audio unavailable on any other format/DSPs.

One of the most influential forces in the history of alt-rock, PIXIES will release a limited edition double A-side single on October 16th. Pressed on 12” yellow vinyl, it will feature the new track ‘Hear Me Out’ alongside the band’s gritty interpretation of the T-Rex classic ‘Mambo Sun’. ‘Hear Me Out’ will receive its first play on September 24th, courtesy of Steve Lamacq at 6 Music.

‘Hear Me Out’ represents the first new material from PIXIES since the release of their seventh album ‘Beneath The Eyrie’ last year, which entered the UK official album charts at #7. The song offers a brighter contrast to the previous record’s foreboding ambience, with bassist Paz Lenchantin’s honeyed, hypnotic vocals delivering a message that has grown in relevance since it was written. Delivering melody and visceral power in equal measure, it captures the PIXIES’ classic style, and is elevated with a spaghetti western-style guitar motif courtesy of Joey Santiago.

The song was written by frontman Black Francis and Lenchantin at Dreamland Studios during sessions for ‘Beneath The Eyrie’, with production courtesy of the Grammy-nominated Tom Dalgety (Royal Blood, Ghost, etc.).

“‘Hear Me Out’ is about things not turning out the way we hoped, but knowing that it’s going to be ok regardless,” says Lenchantin. “Black started the melody phrases on an old organ. I loved it right away, so he asked me to take a pass at the lyrics. The song has an evocative melody that inspired the lyrics to come out straight away.”

Joey Santiago added, “Paz sounds like she’s talking to a guy with deaf ears. I did a western style riff at the end of verses, which was like giving her a gun so the dude would pay attention.”

Two years in the making, Future Ruins, TOM And His Computer’s debut album, will be released on Trentemøller’s In My Room label in October 20th. As a 20 year veteran of the Copenhagen music scene, Thomas Bertelsen has been releasing music under the sobriquet of TOM And His Computer for five years, merging the newest technologies with the old, while squeezing fresh sounds out of equipment that’s not only obsolete, sometimes it’s barely functioning at all. “I switch back and forth between the digital and the analog worlds. I’ll utilize old guitar pedals as well as the newest software,” says Thomas Bertelsen, producer behind TOM And His Computer. “It’s never about the gear, though, but rather finding that one little sound that can trigger an idea for an entire track.” Future Ruins was also co-produced and mixed by Trentemøller. While previous offerings have taken listeners to the outer boundaries of what can be considered “electronic music,” including nods to dark wave, dream pop, krautrock and modern psych rock, Future Ruins presents those influences in a new way and represents a great leap forward for the Copenhagen based producer.
The result is a genre-less collection of songs showcasing TOM’s obsession with propelling sounds of the past into the present, and future, combining noise and edginess with his “commitment to fresh ideas with a clear sense of melodies,” according to Clash Magazine. “My tastes are eclectic and I like to flirt with many different sub genres,” says TOM. “The aim was to combine various styles while trying to maintain a common denominator,” which committing to a full-length offered as an opportunity.

In 2006 the musical landscape was a very different place. Social media, as we know it, was in it's infancy. The constant stream of likes, notifications and digital interruptions of today didn't fully exist yet. Those of us 'in the know' and with a thirst for the overlooked regions of the record store had to quench ourselves in the finely curated and generous climes of the online world's myriad music sites, but LA's Lovefingers site was something different, a watering hole in the burgeoning digital desert, a zone where Wally Badarou rubbed shoulders with the likes of Holger Czukay, Sylvester, Mr. Fingers and many others with ease and nobody had an issue with it. A space where a $1 thrift store score b-side could breathe the same dusty air as a $300 private press Folk rarity in comfort. Through an ongoing 'single track per day' posting Andrew 'Lovefingers' Hogge created a truly open-minded, democratic and educated selection of music for our secret, late-night right click and 'save link as' pleasure.

Did we mention that this was before almost everything that we now take for granted? That's right, you see all those Euro Pop dubs, or the 'classics' that we play at the wrong speed, or those private gems that have been reissued to the moon and back? Well, they very probably popped up on our collective record radars via the medium of first. Rightfully so, the site became an instant 'go to' and mark of quality among diggers, DJ's, voyeurs and lurkers around the globe and undoubtedly lead Andrew to instigate his much loved ESP Institute imprint, that is now almost a decade old. The Lovefingers site certainly contributed hugely to the wondrous, many faceted and open minded galaxy of records that is now the language we all speak fluently, inspiring a generation of curious diggers to delve even further into the racks.

This compilation you have within your grasp is merely a snapshot of the aural delights that were on offer to those of a 'leftfield' persuasion who found the site and dutifully tuned in for the daily shot of sonics proper. A finely and carefully crafted, lovingly curated handful of records that Andrew has revisited in order to tell the story of his most influential and essential modern musical resource. The tracklist is classic Lovefingers, an insight into the free-flowing nature of the daily posts, context free but somehow all connected via the same creative threads and energies - lo-fi loner jams brush up alongside sleazed-out Italo powerhouses, Greek new age obscurities tussle against overlooked Hawkwind related cuts, and much much more. Rumour has it that this is merely the first volume of this tale. Isn't that exciting? In the words of the man himself - 'That's not all folks' ...

Voluptuous and catchy, Bronswick creates hauntingly electro songs and realistic sound fiction, with hints of both pastel and charcoal. Together, immersed in a creative connection revealed by their first EP Errances (Lisbon Lux Records), Catherine Coutu and Bertrand Pouyet are creating timeless pop sounds, between new-wave urban electro and synth-pop.

xDream is the re-awakening of the child spirit. The child spirit lives everywhere: in our memories, the corners of our emotions, moments of mischief and euphoria, and whispers in the trees. In our youth, it grew from a seedling into the shape of the internal conscience, that little voice in your head that tells you right from wrong. The debut album by Dasychira features contributions by fellow artists Malibu, Embaci, and Baby Blue, as well as live violin by Iglooghost collaborator Vivek Menon and voice acting by mirukii and daisyvoice. Dasychira completed an Asia tour this year performing A/V sets with Yikii in Shanghai, Shenzhen, Hongkong, and Shenzhen before going to Seoul, Taipei, and Tokyo. xDream was released digitally on Halloween 2019 via Blueberry Records x UNSEELIE with music videos by Awe Ix, Dante Capone, Slama & Delong, and others.

10th Anniversary reissue of Cloud Nothings acclaimed and beloved debut album.
Clear w/ Opaque Light Blue Marble LP - Uncoated Jacket with Spot UV Gloss on Cover Photo, w/ download card.

It’s been 10 years since the release of Turning On, Cloud Nothings’ debut album. Singer-songwriter Dylan Baldi was just 18 years old when he began recording the album, creating each track in his parents’ basement in Cleveland, Ohio. Over one winter, Baldi produced an album of taut, lo-fi guitar-pop songs, playing each instrument himself. His music gained traction in the increasingly popular music blog circuit, allowing Baldi to book his first shows in new places, like New York City. He gathered a band together to play live, and Cloud Nothings were on their way.

The band has accomplished a great deal since Turning On, signing to Carpark Records, releasing seven albums, and headlining numerous international tours. Yet, their debut isn’t dusted over in the band’s history. Turning On still remains the stripped-back core of Cloud Nothings style: raw and grungy, filled with catchy earworms that are surprisingly pop. The album carries all the stored potential of someone ready to venture off into the world, a feeling that bursts with energy even 10 years later.

All the tracks on Turning On are eruptive and restless, its lo-fi quality embodying the desperate need to record an idea by any means necessary. Songs like “Hey Cool Kid” encapsulate Baldi’s talent for churning, hook-filled guitar. The vocals on songs like “Can’t Stay Awake” are distorted, with scattered lyrics that echo the angst of a teenage diary. As a whole, the album delivers dissonance and edge, without sacrificing the authentic romanticism of someone who is on the verge of something big and doesn’t know it yet.

For a band that resists repeating itself, picking up lessons from a decade prior is the strange route Cloud Nothings took to create their most fully-realized album. Their new record, The Shadow I Remember, marks eleven years of touring, a return to early songwriting practices, and revisiting the studio where they first recorded together.

In a way not previously captured, this album expertly combines the group’s pummeling, aggressive approach with singer-songwriter Dylan Baldi’s extraordinary talent for perfect pop. To document this newly realized maturity, the group returned to producer Steve Albini and his Electrical Audio studios in Chicago, where the band famously destroyed its initial reputation as a bedroom solo project with the release of 2012 album Attack on Memory.

Another throwback was Baldi’s return to constant songwriting à la the early solo days, which led to the nearly 30 demos that became the 11 songs on The Shadow I Remember. Instead of sticking to a tried-but-true formula, his songwriting stretched out while digging deeper into his melodic talents. “I felt like I was locked in a character,” Baldi says of becoming a reliable supplier of heavy, hook-filled rock songs. “I felt like I was playing a role and not myself. I really didn’t like that role.” More frequent writing led to the freedom in form heard on The Shadow I Remember. What he can’t do alone is get loud and play noisily, which is exactly what happened when the entire band— bassist TJ Duke, guitarist Chris Brown, and drummer Jayson Gerycz—convened.

The band had more fun in the studio than they’ve had in years, playing in their signature, pulverizing way, while also trying new things. The absurdly catchy “Nothing Without You” includes a first for the band: Macie Stewart of Ohmme contributes guest vocals. Elsewhere, celebrated electronic composer Brett Naucke adds subtle synthesizer parts.

The songs are kept trim, mostly around the three-minute mark, while being gleefully overstuffed. Almost every musical part turns into at least two parts, with guitar and drums opening up and the bass switching gears. “That’s the goal—I want the three-minute song to be an epic,” Baldi says. “That’s the short version of the long-ass jam.”

Lyrically, Baldi delivers an aching exploration of tortured existence, punishing self-doubt, and the familiar pangs of oppressive mystery. “Am I something?” Baldi screams on the song of the same name. “Does anybody living out there really need me?” It’s a heartbreaking admission of existential confusion, delivered hoarsely, with an instantly relatable melody.

“Is this the end/ of the life I've known?” he asks on lead single and album opener “Oslo.” “Am I older now/ or am I just another age?” Despite the questioning lyrics, the band plays with more assurance and joy than ever before. The Shadow I Remember announces Cloud Nothings’ second decade and it sounds like a new beginning.

For a band that resists repeating itself, picking up lessons from a decade prior is the strange route Cloud Nothings took to create their most fully-realized album. Their new record, The Shadow I Remember, marks eleven years of touring, a return to early songwriting practices, and revisiting the studio where they first recorded together.

In a way not previously captured, this album expertly combines the group’s pummeling, aggressive approach with singer-songwriter Dylan Baldi’s extraordinary talent for perfect pop. To document this newly realized maturity, the group returned to producer Steve Albini and his Electrical Audio studios in Chicago, where the band famously destroyed its initial reputation as a bedroom solo project with the release of 2012 album Attack on Memory.

Another throwback was Baldi’s return to constant songwriting à la the early solo days, which led to the nearly 30 demos that became the 11 songs on The Shadow I Remember. Instead of sticking to a tried-but-true formula, his songwriting stretched out while digging deeper into his melodic talents. “I felt like I was locked in a character,” Baldi says of becoming a reliable supplier of heavy, hook-filled rock songs. “I felt like I was playing a role and not myself. I really didn’t like that role.” More frequent writing led to the freedom in form heard on The Shadow I Remember. What he can’t do alone is get loud and play noisily, which is exactly what happened when the entire band— bassist TJ Duke, guitarist Chris Brown, and drummer Jayson Gerycz—convened.

The band had more fun in the studio than they’ve had in years, playing in their signature, pulverizing way, while also trying new things. The absurdly catchy “Nothing Without You” includes a first for the band: Macie Stewart of Ohmme contributes guest vocals. Elsewhere, celebrated electronic composer Brett Naucke adds subtle synthesizer parts.

The songs are kept trim, mostly around the three-minute mark, while being gleefully overstuffed. Almost every musical part turns into at least two parts, with guitar and drums opening up and the bass switching gears. “That’s the goal—I want the three-minute song to be an epic,” Baldi says. “That’s the short version of the long-ass jam.”

Lyrically, Baldi delivers an aching exploration of tortured existence, punishing self-doubt, and the familiar pangs of oppressive mystery. “Am I something?” Baldi screams on the song of the same name. “Does anybody living out there really need me?” It’s a heartbreaking admission of existential confusion, delivered hoarsely, with an instantly relatable melody.

“Is this the end/ of the life I've known?” he asks on lead single and album opener “Oslo.” “Am I older now/ or am I just another age?” Despite the questioning lyrics, the band plays with more assurance and joy than ever before. The Shadow I Remember announces Cloud Nothings’ second decade and it sounds like a new beginning.

Mit ihrem dritten Album "Screamadelica" aus dem Jahr 1991 rechtfertigte die aus Glasgow stammende Band Primal Scream ihren soliden Ruf als eine der innovativsten Rockbands der Nineties. Die Scheibe gewann 1992 den ersten Mercury Music Award und wurde 1996 von der Zeitschrift Select als bestes Album der 90er Jahre bezeichnet. Die 20th Anniversary Collector's Edition von 2011 wird nun als 4CD Bookset neu aufgelegt. Enthalten sind: vier CDs (auf CD1 das komplett remasterte Album, CD2 stellt einen Live-Set von 1992 vor, CD3 glänzt mit 14 Remixes der vier Singles plus zwei Bonus-Tracks und CD4 ist die remasterte Version der legendären "Dixie Narco EP" von 1992). Mit 20-seitigem Booklet mit Photos von Grant Fleming/Kevin Westerberg sowie Interviews mit Bobby Gillespie, Andrew Innes und Andrew Weatherall über das Making Of dieses legendären Albums.

Mesmerising, ghostly, seductive, urgent, poignant, “Decider” is about the ultimate endgame: death. This track draws you into its web and holds you there. There’s no escape. Is there anything after ‘the end?’ If there is, will it bring happiness, or just more pain? And, are we to be judged by The Decider when we get there?

The inspiration, if you can call it that, for the song comes from the band’s own recent experiences. “We’ve lost a few people recently that we were close to. It does tend to make you ponder the universe, and whether you get a second act,” says Butch Dante, guitarist.

Filmed on location in the Texas panhandle, the video will be the second of a triptych of films written by Butch, focused on the band’s main preoccupation: the fact that the world is ending and people should be kinder to each other while it does.

Now they’ve been remixed. By these people:

Deetron
This Swiss maestro has one of the most characterful sounds in modern day techno. Taking a big inspiration from the big expansive, moody sounds of Detroit, Sam Geiser also borrows percussive influence from Chicago House whilst instilling his very own atmospheric personality, making for one hell of a ride.

Benedikt Frey
For our money, one of the most exciting exponents of leftfield house and disco there is. His music is always pushing boundaries, with a unique experimental spirit that has indie and punk deep in its heart.

Fort Romeau
Everything from widescreen, deep house, and warm, bubbly acid right through to raw, driving Italo and ethereal disco house; the Cin Cin boss is one of the most exciting and elegant exponents of today’s underground electronic scene.

Flood is the third studio album by Brooklyn-based Alternative Rock duo They Might Be Giants. Originally released in 1990, the album is generally considered to be the band’s definitive release, as it is their best-selling and most recognizable album.

Despite minimal stylistic and instrumental differences from previous releases, Flood is distinguished by contributions from seasoned producers Clive Langer and Alan Winstanley, who as a team worked with artists like Morrissey, Elvis Costello and Madness.

Die in Los Angeles lebende Harfenistin Mary Lattimore kehrt mit ihrem neuen Album ,Silver Ladders" zurück. Seit ihrem letzten Longplayer ,Hundreds Of Days" aus dem Jahr 2018 ist Lattimore international getourt und hat gemeinsame Alben mit KünstlerInnen wie Meg Baird und Mac Mccaughan veröffentlicht. Außerdem erschien 2019 ein Remix-Album von ,Hundreds Of Days" an dem sich unter anderem Jónsi und Julianna Barwick beteiligten. Bei einem ihrer Festival-Auftritte traf Lattimore Neil Halstead von Slowdive: ,A friend introduced us because she knew how big of a fan I was and Neil and I had a little chat... The next day, I just thought maybe he'd be into producing my next record." Das tat er schlussendlich auch. Lattimore nimmt ihre Alben traditionell allein auf, daher hinterlässt Halstead als Produzent und Mitarbeiter eine ganz eigene Note. Der Aufnahmeprozess in Halsteads Studio, das auf einem alten Flugplatz stationiert ist, dauerte über neun Tage. Lattimores unverkennbarer Stil ist auch auf ,Silver Ladders" elegant - im Vordergrund stehen sich ausbreitende Harfen-Schichten, welche mit aufblühenden Low-End-Synthesizern und Halsteads Gitarre angereichert werden. Die Musik kann sich teils bedrohlich anfühlen wie der Klang des Ozeans, der sich mit den Gezeiten verändert. Inspiriert von den Erzählungen aus Cornwall, die Halstead mit Lattimore teilte, sowie von diversen Gesprächen, Ideen und ihren eigenen Reisen, haben die Songs deutlich etwas märchenhaftes - und doch ist ,Silver Ladders" offen für eigene Interpretationen. LATTIMOREs Erinnerungen - ,the Cornish landscape, the hotel from the movie The Witches, the cream tea, winning the pub quiz, the Sunday Roast, the ghosts of all of the surfers who had died in the wild waves, the night walks to the top of the hill to see the moon shining on the water." - scheinen durch diese Werke hindurch, ohne sie zu definieren. In gewisser Weise gehören sie, ähnlich wie das Meer oder der Himmel, allen. Das ist die Schönheit ihres Handwerks!

In retrospection it seems significant that Reinhold Friedl and Eryck Abecassis met for the first time in Marseille, a brute and operatic melting pot of cultures and sounds and noises. The idea of a common project came up, but it took almost ten years to be realized. Finally, François Bonnet (GRM artistic director) supported enthusiastically the collaboration and invited the two composer-performer to the Akousma Festival 2019 at Radio France in Paris.

Intense rehearsal periods in Vienna and at la muse en circuit in Paris defined the compositional directions: precise transitions between accurately defined musical states: the raw furious energy textures of animal électrique 1 and 5, the contrasted calm with shaking fog horns “à la Lucier“ of animal électrique 3 and 6, noise & notes in the astonishing fusion of animal électrique 2 (which could also be titled “Tsunami and minor thirds“), and finally the delicate non-tempered vocality of both piano and synthesizer in animal électrique 4, a detuned operatic aria. Animal électrique is a melting point of piano and synthesizer, both put into musical travesty: the piano becomes a sound & noise machine, with strong electronic influence; The analogue synthesizer starts to sing and to hoot, producing raw and brutal instrument-like sounds, in line with brute electronic synthesis. This allows Eryck Abecassis and Reinhold Friedl to combine the exigence of composing with the instant pleasures of the game.

At the center of Tenerife stands Mt. Tiede, inviting you to climb it’s beautiful slopes, yet reminding you of the destruction it can unleash at any moment. The volcano has become the symbol at the center of Palace Winter’s third album ...Keep Dreaming, Buddy, and their lead single from the LP, “Top of the Hill” featuring Soffie Viemose of Lowly.

Much of the upcoming album was written through a long-distance correspondence of demos between Palace Winter’s Carl Coleman and Caspar Hesselager, while Coleman was living in Tenerife last winter. In “Top of the Hill”, Coleman’s fears of relationship fallout are set on the stage of the island.

“I was walking around this weird volcano island. The retro hotel was like a forgotten paradise resort. The whole thing felt like a Lynchian alternate reality. Caspar was sending me these synth hooks and drum loops from Denmark, so I started coming up with melodies and lyrical ideas to record into my phone” says Coleman about the contrast in which the new album was written, “coming from two entirely different environments.”

Meanwhile, in Denmark, Caspar Hesselager was venturing into a different kind of new environment. Searching for an untrodden sonic path, Hesselager began drawing on new inspiration from hip-hop beats, and soul-like hooks. “Top of the Hill” throws us into Palace Winter’s new undulating, bombastic sound of disparate influences, though it is still unmistakably theirs. “As with all our albums, the music arises when you’re looking for inspiration in less obvious places, and you walk into unknown territory” says Hesselager. “The point is always to pour a little of something that feels new into the mix.”. As an example of Palace Winter’s experimentations “Top of the Hill" also arrives with a vocal contribution from Soffie Viemose of Bella Union’s experimental pop group, Lowly.

Carl’s writing environment in Tenerife also matches this objective, as he found himself confronted by the new landscape. “I began to think of the volcano as a metaphor for our lives: volatile, mysterious, beautiful, dangerous. No matter where you were on the island, you could see it. Looking down on us. Asleep. But at any moment, it might wake up and destroy everything.”

Accompanying “Top of the Hill” is the announcement of Palace Winter’s third studio album, ...Keep Dreaming, Buddy, in which this scenery sets the stage. The titles of the album and the single are infused with a dualism that is defining the entire record. “Keep dreaming, buddy”, a friend could calmly reassure, or a partner might condescendingly mutter.

In the same vein, “Top of the Hill” is Palace Winter’s powerful embrace of both the ups and downs of life; the view from the top, and the long way there is to fall. Finally, this dualism is present in Coleman’s and Hesselager’s distant yet paralleled search for inspiration in unexplored territory.

This kind of dualism is not new for Palace Winter, who often juxtapose melancholy and joy in their driving yet dreamy music. An unmissable, forward-looking optimism shades their previous two albums, despite touching on grave themes of death, grief, and trauma. What is new, however, is not just optimism, but celebration in the face of uncertainty, and the sonic idiosyncrasy this contrast creates. “We embrace some craziness and mania in a way we haven’t before” says Hesselager.

Palace Winter’s third album …Keep Dreaming, Buddy, to be released on October 23rd, will be a portal into their new reality of even brighter colors, even more disparate influences, and constant reminders of life’s fragile existence... A party in idyllic Tenerife with the ever-present volcano rumbling in the distance.

Palace Winter are Australian lead singer and guitarist Carl Coleman and Danish, classically trained pianist and producer Caspar Hesselager. Their third album is once again mixed and mastered by Hesselager and produced by both Hesselager and Coleman. And as the story of the album shows, the two have forged an ever-growing and symbiotic relationship together.




d 4 | TOP OF THE HILL [feat Soffie Viemose]


[g] 7 | THE DEEPER END [feat Jason Lytle]




[d] 4 | TOP OF THE HILL [feat Soffie Viemose]


[g] 7 | THE DEEPER END [feat Jason Lytle]

At the center of Tenerife stands Mt. Tiede, inviting you to climb it’s beautiful slopes, yet reminding you of the destruction it can unleash at any moment. The volcano has become the symbol at the center of Palace Winter’s third album ...Keep Dreaming, Buddy, and their lead single from the LP, “Top of the Hill” featuring Soffie Viemose of Lowly.

Much of the upcoming album was written through a long-distance correspondence of demos between Palace Winter’s Carl Coleman and Caspar Hesselager, while Coleman was living in Tenerife last winter. In “Top of the Hill”, Coleman’s fears of relationship fallout are set on the stage of the island.

“I was walking around this weird volcano island. The retro hotel was like a forgotten paradise resort. The whole thing felt like a Lynchian alternate reality. Caspar was sending me these synth hooks and drum loops from Denmark, so I started coming up with melodies and lyrical ideas to record into my phone” says Coleman about the contrast in which the new album was written, “coming from two entirely different environments.”

Meanwhile, in Denmark, Caspar Hesselager was venturing into a different kind of new environment. Searching for an untrodden sonic path, Hesselager began drawing on new inspiration from hip-hop beats, and soul-like hooks. “Top of the Hill” throws us into Palace Winter’s new undulating, bombastic sound of disparate influences, though it is still unmistakably theirs. “As with all our albums, the music arises when you’re looking for inspiration in less obvious places, and you walk into unknown territory” says Hesselager. “The point is always to pour a little of something that feels new into the mix.”. As an example of Palace Winter’s experimentations “Top of the Hill" also arrives with a vocal contribution from Soffie Viemose of Bella Union’s experimental pop group, Lowly.

Carl’s writing environment in Tenerife also matches this objective, as he found himself confronted by the new landscape. “I began to think of the volcano as a metaphor for our lives: volatile, mysterious, beautiful, dangerous. No matter where you were on the island, you could see it. Looking down on us. Asleep. But at any moment, it might wake up and destroy everything.”

Accompanying “Top of the Hill” is the announcement of Palace Winter’s third studio album, ...Keep Dreaming, Buddy, in which this scenery sets the stage. The titles of the album and the single are infused with a dualism that is defining the entire record. “Keep dreaming, buddy”, a friend could calmly reassure, or a partner might condescendingly mutter.

In the same vein, “Top of the Hill” is Palace Winter’s powerful embrace of both the ups and downs of life; the view from the top, and the long way there is to fall. Finally, this dualism is present in Coleman’s and Hesselager’s distant yet paralleled search for inspiration in unexplored territory.

This kind of dualism is not new for Palace Winter, who often juxtapose melancholy and joy in their driving yet dreamy music. An unmissable, forward-looking optimism shades their previous two albums, despite touching on grave themes of death, grief, and trauma. What is new, however, is not just optimism, but celebration in the face of uncertainty, and the sonic idiosyncrasy this contrast creates. “We embrace some craziness and mania in a way we haven’t before” says Hesselager.

Palace Winter’s third album …Keep Dreaming, Buddy, to be released on October 23rd, will be a portal into their new reality of even brighter colors, even more disparate influences, and constant reminders of life’s fragile existence... A party in idyllic Tenerife with the ever-present volcano rumbling in the distance.

Palace Winter are Australian lead singer and guitarist Carl Coleman and Danish, classically trained pianist and producer Caspar Hesselager. Their third album is once again mixed and mastered by Hesselager and produced by both Hesselager and Coleman. And as the story of the album shows, the two have forged an ever-growing and symbiotic relationship together.




d 4 | TOP OF THE HILL feat Soffie Viemose


[g] 7 | THE DEEPER END [feat Jason Lytle]




[d] 4 | TOP OF THE HILL [feat Soffie Viemose]


[g] 7 | THE DEEPER END [feat Jason Lytle]




[d] 4 | TOP OF THE HILL [feat Soffie Viemose]


[g] 7 | THE DEEPER END [feat Jason Lytle]