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When Upset The Rhythm released Normil Hawaiians’ lost album ‘Return Of The Ranters’ back in 2015, the band members got back in touch with each other after a 30 year break and starting playing music together again. Out of this the group played a launch show for the album and followed that up with more concerts, including an appearance at Supernormal, a residency at the Edinburgh Festival, gigs at Cafe OTO and supporting Richard Dawson in London too. They even recently toured Greece in support of having all three of their renowned exploratory post-punk albums finally back in print.

Throughout this time, Normil Hawaiians revisited their original songs for these live performances. However for a group always so interested in evolving their sound and seeking nuance, it comes as no surprise that they shirked the idea of a faithful retread of old material in favour of reimagining their songs. The group experimented by pushing their songs into new inventive dimensions, still progressive at heart, but now imbued with a cosmic uncanny. A cinematic, even pastoral approach that was always quietly present has come to the fore. The quaint weirdness of folk song, the humanity of communal practice and the group’s ecological mindedness have all found a place in Normil Hawaiians’ current sound world. With this conducive atmosphere brewing, the band’s first new songs in decades started to emerge.
Being far-flung across the UK, the Family Hawaii encamped to Tayinloan, a small village on the west coast of the Kintyre peninsula in Scotland with the intention of recording new music. They set up their own studio in an isolated, windswept house overlooking the sea and started the tape rolling. Noel Blanden from the band explains how the spirit of the location was such an inspiration to the group during this initial recording session: “Our time immersed in the place and the unique energy it generated in us allowed us to write ‘In The Stone’. It goes right back to our first album, this need to document experience before it passes over and eludes us. We were grabbing at the musical ether and letting it shape itself through the band.” From loose, improvised sessions and reflective periods of listening in Tayinloan, Normil Hawaiians captured the moment. ‘In The Stone’ is a motorik thrill of distorted guitars, locked rhythms and morphic resonance. Guy Smith is joined by Zinta Egle on vocals, skilfully sharing lyrics informed by Alan Garner and Nigel Kneale’s ideas around recurring events being linked to place and historical artefact;  a kind of residual haunting known as ‘Stone Tape’ theory. In keeping with the context of the song, sounds from several previous live recordings of the track were woven into its present being. Flipside ‘Where is Living?’ is a decidedly more delicate affair of questioning lyrics and eerie traces, droning strings and impressions smudged. This resultant 7” is a tantalising glimpse of Normil Hawaiians now, an echo from the past, an echo from the future.

limited vinyl

The Sweethearts is a project by Tyler Thacker together with Sam Mehran (ex Test Icicles).
Songs were written on a tiny casio between Sam and Zak Mering. Tyler pretty much played all the instruments.

As Tyler explains:
This album was recorded a decade ago underneath a bunkbed in a crowded apartment we shared in Brooklyn. At the time, ‘The Sweethearts’ was just another anonymous moniker among many, intended as a pop-minded musical outlet between primary contributors myself, Zak Mering and Sam Mehran, featuring whatever friends happened to be passing though that day including but not limited to Morgan Whirledge, James Ferraro, Zak Davis, Aaron Frankle, Ian Drennan, Ariel Pink, Ryan Howe.
Like so many of the collaborations from those years, these songs and many more floated to the wayside as we each barreled through various other configurative projects, eventually retired to failing hard drives. But the specter of this specific catalogue always haunted me despite shifting primary focus to painting shortly thereafter. Two years ago in July, the world lost one of its most fearless creators, Sam Mehran , and I lost one of my best friends who oozed melody as effortless as breath.
These songs are letter bombs to adolescence in the information age: reterritorializing the tropes of heteronormative psycho-sexuality proliferated throughout western pop music on top of self-deprecation, heartbreak, disappointment, indulgence, and loss of innocence.
At one point, I caught myself singing harmony to Zak and Sam on a song called ‘Tonight’s the Night’ and it was in that meeting place between the metaphysical and the spirit world, that I finally got to say goodbye to Sam.

Kacey Johansing will release her new album “No Better Time” on November 20th via Night Bloom Records. The album is an exploration of love and how one accepts it into his/her/their life. It asks how can someone allow love when the past is full of trauma. Can we become someone new and leave behind our former selves? Can place allow us that freedom? How does one find the strength to try again?

Across 11 songs Johansing wrestles to find the answers, her unmistakable vocals always leading the way. Anchored by powerful performances pulled from three days of live tracking with her band all in the same room, the album is bounding and energetic at its core. First takes were prioritized and perfection was rarely the goal. Rather, capturing an emotion and honesty from herself and the players was the rule of the day. The album pulls from Johansing’s love of classic pop—it’s her LA record—the place where she now resides and initially struggled to understand. Joan Didion said, “The future always looks good in the golden land, because no one remembers the past.” Kacey saw that and chose to tap into the creative buzz happening all around her—at small clubs and while dipping in and out of playing in friends’ bands, including in between tours as a member of Hand Habits. The resulting “No Better Time” is the sound of letting go and faithfully falling into step with a new way. There are vibraphones and swooping strings, grand pianos and doubled acoustic guitars, washes of tape delay and woodwinds—but it is the songs that continue to set Johansing apart. Here she unveils her strongest set yet.

Produced by Johansing and multi-instrumentalist Tim Ramsey (Vetiver, Fruit Bats), engineered by Tyler Karmen (DIIV, Alvvays) and mixed by Rob Schnapf (Beck, Elliott Smith, Cat Power), the album includes contributions from Todd Dahlhoff (Feist, Devendra Banhart), Trevor Beld Jimenez (Parting Lines) and Amir Yaghmai (Julian Casablancas + The Voidz).

Kacey Johansing was born in Kalamazoo, Michigan and raised in the mountain towns of Colorado, the daughter of a miner and a painter. After leaving Berklee College of Music in Boston, Johansing relocated to the San Francisco Bay Area, where she co-founded the duo Yesway and released two solo albums. Later moving to Los Angeles, Johansing released her third solo album “The Hiding” in 2017, which received widespread acclaim from critics and listeners alike and garnered comparisons to Fleetwood Mac, Carole King and Prefab Sprout. She subsequently toured internationally and shared the stage with Real Estate and Fruit Bats, and became a frequent touring member of Hand Habits. She is currently preparing for the release of her fourth album “No Better Time” on her own Night Bloom Records in Fall 2020.

7"

Limited to 800 copies Grey Marbled Vinyl
Includes postcard and poster
Impossibly rare 1984 UK 7” vinyl single, written by a pre- Bachelor Pad’s Martin Cotter. One of only three releases by the short-lived Glasgow based indie label Bogaten, although redolant of early Orange Juice in the sound of the A-side, also looks forward to Shoegaze, with a reverb-drenched cover of The Velvet Underground’s Waiting For My Man on the B-side

Catastrophe’s second studio album, GONG! will be released on September 11, 2020 by Tricatel. After Dernier Soleil (EP 2016), La nuit est encore jeune (Album 2018) and Fizzy (vinyl compilation 2020), Catastrophe returns with an album / musical comedy about forests, smartphones and the passing of time. Directed by David Sztanke (aka Tahiti Boy), this ambitious and teeming album propels us into a forty-minute marriage between Kendrick Lamar and Jacques Demy. Catastrophe locked the six of them in the same room, and made music inspired by everything they love: from Orelsan to Gilberto Gil via Brigitte Fontaine or Arcade Fire.

Dry is the debut studio album by English singer-songwriter and musician PJ Harvey, originally released on Too Pure Records on 30 March 1992. The album was recorded at The Icehouse, a local studio in Yeovil. Critically lauded both on release and retrospectively, the album contains the singles “Dress’ and ‘Sheela-Na-Gig’

Back in print for the first time in almost 20 years, Beggars Archive on behalf of Too Pure Records is pleased to announce the re-issue of Dry on vinyl.

The album was remastered by the original producer “Head” and has been replicated to the original version as much as possible.

Intimate November tour also announced After their 2012 Mercury Prize nominated debut and 2015's Top 20 follow-up 'Born Under Saturn', musical adventurers Django Django are back for 2017, exploring new sounds with their brand new album 'Marble Skies' which will be released on January 26th on Because Music. Today the album launches with first single 'Tic Tac Toe', a rousing, trippy upbeat rock track with an enormous echoing hookline which will excite fans of the band's rockabilly-influenced elements. The accompanying video for 'Tic Tac Toe' was directed by John Maclean, brother of Django Django drummer/producer David Maclean and director of the critically acclaimed modernist western 'Slow West'. It depicts vocalist/guitarist Vincent Neff enjoying a rapid-fire day-trip to Hastings which takes a turn into the surreal and sinister when a ghost train puts him on a collision course with a grim reaper inspired by Ingmar Bergman's The Seventh Seal. As John Maclean explains: The film could be about the fading era of the beach arcades, time moving too fast, love and games, horror and happiness but it is actually about a man who needs to go buy a pint of milk to make a cup of tea.' After the brilliant, rave-shaped grooves and expansive arrangements of its predecessor, 'Marble Skies' is a more concise and focused offering which recalls the dynamic, genre-blurring music of their debut. It's a return to form, an album which finds them returning to the handmade, cut-and-paste approach of the past. Upon finishing the 'Born To Saturn' tour, Dave ventured to LA to work on a production project, whilst the other band members went to India with the British Council. When they returned, the new album process began with a back-to-basics approach which recalled the DIY ethos of the band's early days, Django Django - minus an absent Maclean - assembled at Urchin Studios in Tottenham, London with Metronomy drummer Anna Prior to experiment with the idea of coming up with new tracks through loose jamming sessions. After ten days of recording, there was plenty of raw material to send up to Dave (then back in his hometown of Dundee) for him to edit, refine and evolve. As ever, all four band members (completed by Tommy Grace on synths and bassist Jimmy Dixon) contributed to the band's music, melodies and lyrics as the final album took shape. Parts of 'Marble Skies' find Django Django sailing into uncharted territories, not least the driving title track (propelled by Prior's drumming), with its echoes of Krautrock and Suicide. Meanwhile, the hazy Zombies-like summer pop of 'Champagne', which explores the joys and ills of alcohol, was inspired by the band's over-indulgence during a boat trip on the Seine that was hosted by their label. Those drawn to the more dance-orientated side of Django Django will find much to love in the twisted '80s electro pop of 'In Your Beat' and the dancehall-influenced 'Surface To Air', a dreamy-headed pop song fronted by Rebecca Taylor of Slow Club. The collaboration came as a result of the two bands meeting up at SXSW some years ago, where Rebecca and Dave in particular bonded over shared interests in R&B, hip-hop and dancehall. Another more surprising collaborator is Jan Hammer, the Czech-born, American-based jazz-fusion and electronic artist who shares writing credits with the band on the gorgeously floaty 'Sundials'. If there's a mood running through 'Marble Skies', it's one of reflection on things past and present, and finding some kind of peace with your place in the grand scheme of things.

F.S.Blumm is a man most might not know. He ́s no pop artist, and not overtly experimental either. But somehow with In Sight he has done the impossible: put his own sound in that perfect middle point, leaving his voice behind to deep-dive into some truly memorable, fully composed pieces.
In Sight is the kind of record you can put on at first crack of dawn, to enjoy its beautiful instrumental varieties during morning routine, while equally fitting as a listening experience towards the darker time of day, in the background or as highly rewarding deep listening experience. It ́s the kind of album that would be great to encounter played in a tiny Japanese jazz bar on a vintage, top notch speaker system together with a handful of local oddities. It sounds incredibly well produced and is full of beautiful, heart-warming, melancholic moments performed on everything from guitars to percussion, vibraphone, strings, piano and who knows what else. Frank shines on this record. He has created quietly composed pieces for moments one could only wish were real.
As often with F.S.Blumm ́s music, it ́s hard to pin down where to categorize it. He might be best known as frequent collaborator of Nils Frahm. Together they made three great duo albums for Sonic Pieces previously. Although this is far from his first solo album, it is his first for the label, and after listening to it on repeat for some time, we can only say that this is Frank on his finest, creating some of the most thought provoking instrumental music you can find in these parts of the world.

F.S.Blumm is a man most might not know. He ́s no pop artist, and not overtly experimental either. But somehow with In Sight he has done the impossible: put his own sound in that perfect middle point, leaving his voice behind to deep-dive into some truly memorable, fully composed pieces.
In Sight is the kind of record you can put on at first crack of dawn, to enjoy its beautiful instrumental varieties during morning routine, while equally fitting as a listening experience towards the darker time of day, in the background or as highly rewarding deep listening experience. It ́s the kind of album that would be great to encounter played in a tiny Japanese jazz bar on a vintage, top notch speaker system together with a handful of local oddities. It sounds incredibly well produced and is full of beautiful, heart-warming, melancholic moments performed on everything from guitars to percussion, vibraphone, strings, piano and who knows what else. Frank shines on this record. He has created quietly composed pieces for moments one could only wish were real.
As often with F.S.Blumm ́s music, it ́s hard to pin down where to categorize it. He might be best known as frequent collaborator of Nils Frahm. Together they made three great duo albums for Sonic Pieces previously. Although this is far from his first solo album, it is his first for the label, and after listening to it on repeat for some time, we can only say that this is Frank on his finest, creating some of the most thought provoking instrumental music you can find in these parts of the world.

12′’ Maxi SP with original exclusive artwork by artist Paul Shipper, for the 40th anniversary of the motion pictures Mystery Men, directed by Kinka Usher, starring Ben Stiller, Hank Hazaria, William H Macy, Paul Reubens and Geoffrey Rush. A true collector’s item for any fan of this cult film, which saw a new generation of comedians led by Ben Stiller take the power over Hollywood, and which way ahead of its time invented the super heroic comedy genre, years before Guardians of the Galaxy or Shazam. This Maxi SP features the original song All Star by Smash Mouth. The song was used for the first time ever for Mystery Men original soundtrack. The song would soon after become a worldwide hit (and later an internet meme) when featuring to the movie Shrek Vital Sales Points: Artist Paul Shipper has become a pillar of the revival of the painted artworks in the movie industry, after decades of photoshop excesses. He has created prestigious posters for Steven Spielberg’s Ready Player One, Marvel’s Avengers Infinity War, Disney’s Star Wars The Rise of Skywalker. Includes a printed inner sleeve. Pressed at only 500 copies

Anniversary LP with personilized Sleeves.
Double LP CRAZY FANTASTIC passionate musicians strike...

SUPERB

In 2015, Ian Curtis Krist was working full time as an audio engineer in Seattle. While his professional pursuits were gratifying, they limited time spent on his own creative endeavors. Art is defined by its limitations, and Krist was forced to be deliberate and intentional with what time he was able to spare writing music for Béret. The result is an eerie and beautiful full-length LP titled Jesus White.

You can hear the efficiency and directness of Krist's songwriting on the record. Krist’s vocals are crisp and disembodied from the bed of noise cascading the depths of each song. The album scarcely features any drums, each track being patiently driven by atmospheric guitars. Only five songs into the record do drums make a striking appearance on “Book of Hera”. The skeletal and introspective songs recall The Velvet Underground as much as they do Béret's Canadian post-punk contemporaries like Preoccupations or Corridor.

Equally apparent as his intentions are Krist’s veteran audio engineering abilities. The record is entirely self-recorded, exemplifying his rich understanding of space, which allows him to make his arrangements deep, nuanced, and three-dimensional. Each song is exceptionally mixed with each element audible and impactful it in its own way, luring the listener through the compositions.

Led by vocalists and guitarists Michael Santana and Adam Schubert, the Chicago bands album captures the unpredictable thrill of its energetic live show without sacrificing thoughtful songwriting and purposeful composition.

Improvisational guitar explorations and textural compositions from Santana, Schubert and fellow guitarist Andrew Harper fit gear-like with the steady-handed rhythm section of bassist Rob McWilliams and drummer Elise Poirier. The band is ever charging forward, building hypnotic momentum through slyly mutating repetition and dense complexity.

You can imagine Cafe Racers’ guitar reverberations escaping its practice space, bouncing off the monolithic brick ComEd building on Western Avenue a couple miles away, rattling through the alleys and gangways, shaking gutters loose from two-flats, stirring eddies of sound down the sidewalks.

It’s urgent music that calls for the listener’s attention even as it lifts toward mind-out-of-body introspection, encouraged by lyrics that explore our past selves calling out to the present. What remains and what’s left behind, what answers exist in conversation between our silhouette and our physical form?

Stuck is a post-punk band for people who think the genre is predictable. On their debut album the Chicago quartet strive for musical dissonance and lyrical vulnerability, a combination that’s deeply cathartic for the band and for listeners alike.

Equal parts atonal and contagious, Change Is Bad is caught in a cycle of time, grief, and transition, and Stuck are hitting the walls trying to stop it from spiraling out of control. To confront it, the band drew from a wide range of influences—Omni, Shellac, Landowner, video game glitches, speedrunning, and sci-fi book series Three Body Problems—that aren’t just namechecks. They’re influences you can actually hear in the music.

Interweaving guitars on “Plank II” move gracefully despite their sharp edges. “Bells” barrels through machine gun drumming that never ceases fire. Wiry guitars duel for the spotlight on “Wrong Question” like they’re fighting for their lives. There’s a momentum and insight to it all that keeps you invested until the very end.

- SUNDOWNER -LTD. CLEAR PINK VINYL + SIGNED ARTPRINT-

In the winter of 2017 I moved back to my hometown of Kansas City from Los Angeles. The move was sudden and unforeseen, just as I was tying a bow on the writing process for what would become my 2019 album, Oh My God. I bought a Four Track Tascam model 424 off of an old friend to help me get to the finish line, but much to my surprise and excitement, this new piece of equipment in my all-but-bare home didn't help complete one album but rather inspire another: Sundowner. The new collection of songs came quickly and effortlessly as I did my best not to resist or refine the songs, but instead let them take shape all on their own. As the songs kept coming I cleared out the crowded shed that was sitting dormant in my backyard and built a makeshift studio before adding drums, lead guitar and piano to complete the demos. Each day I would teach myself basic recording techniques, watching the channels illuminate and pulse as if the machine were breathing, and then emerge in the evenings as the sun was getting low: - around 5:30 in the winter, when the Kansan sunsets look icy and distant, like a pink ember inside of a display case, and 9 o'clock in the summer, when the sunsets are warm and abstract. Landing back home felt jarring juxtaposed with a life full of chaos and adventure with my band on the road. But at the very least, I was happy to have - for the first time in my adulthood - a place to close the door, with no temptations other than to work on music and reflect on what I had built since I left. It was a new form of isolation, one I had never explored or expected to experience. Not ready to let go of the hand of the California desert, I spent the winter decorating the best I knew how; with mementos from my previous home, cactus and aloe vera and covering the walls in pinewood - immediately earning my house it's nickname, The Little Los Angeles. In January 2019 I contacted my friend and producer Brad Cook to help recreate what I had made in my shed. We chose to work in Texas; we wanted to make sure the record was done far away from any coastline, and in the heart of America. Brad played bass and some keys on the album, but beyond that he encouraged and inspired me to play almost everything else. All lead guitar, proper drums (save the drums on "A Night At The Little Los Angeles"), mellotron and what I believe to be the albums secret weapon - a WWII era collapsible and slightly out-of-tune pump organ - were performed by me. We did, however, bring in James Krivchenia towards the end of the session to fill out the percussion. It was an honor to work with him as he built maracas from pecans and played on the floor of the live room, adding flourish wherever he saw fit. On the last evening of the session, after everything had wrapped, we all climbed on top of an empty water tower on the property, giving us a view in all directions. To the North you could see an endless Texas, with long wisps of cirrus clouds above the desert floor, and to the South there was Mexico, the recent detention camps only a mile beyond, with large cumulus clouds hovering over, bringing us to an ominous pause. To the West, towards the setting sun, the two families of clouds merged, holding the last light of the day in purple and orange. Below, a freight train cut the landscape in half as it whistled in the distance. Almost as soon as the session wrapped, I was off and away on press trips and then proper tours for Oh My God, which came out in April that same year. Sundowner sat inside of a hard drive back at Sonic Ranch and did not see the light of day, until I found myself, as did the rest of the world, stuck inside their home and in quarantine in March 2020. My second year of touring for Oh My God was cancelled. Brad, Jerry and I worked from our respective homes, sending notes back and forth as we worked alone but together to mix the album, and suddenly, just like that, Sundowner was finished. Songs, like sunsets, are fleeting, and it's only due to a willingness and desire to catch them that you ever, if even only for a moment, grab a hold of one. When writing Sundowner, I was lucky to have had the Tascam 424 there to help capture both. Sundowner is my attempt to put the Middle American twilight -- it's beauty profound, though not always immediate -- into sound. It is a depiction of isolation. Of the past. Of an uncertain future. Of provisions. Of an omen. Of a dead deer. Of an icon. Of a Los Angeles themed hotel in rural Kansas. Of billowing campfires, a mermaid and a highway lined in rabbit fur. It is a depiction of the nervous feeling that comes with the sky's proud announcement that another day will be soon coming to a close as the pink light recedes and the street lamps and house lights suddenly click on. -- Kevin Morby, Kansas, 2020.

Freeze, Melt, the sixth album from the Grammy-nominated Australian electronic/synth-pop band Cut Copy. Lead single 'Love Is All We Share' earned praise from Rolling Stone "meditative and immersive", Stereogum "hypnotic", Consequence Of Sound "a fitting mood for the current state of the world", Pitchfork, The Line Of Best Fit, and numerous other outlets. Their 2011 album Zonoscope won two ARIA Awards, earned a Grammy nomination for Best Dance/Electronica Album, and reached #2 on Billboard's Dance/Electronic Albums chart, #3 on Australia's ARIA Albums chart, and #8 on the UK's Independent Albums chart. Their most recent album Haiku From Zero 2017 earned praise from NPR "their finest album in years", Stereogum “a rush of infectious grooves and melodies", Exclaim! ["another strong effort by a band that continue to celebrate the power of dance music"], and DIY. If Haiku From Zero was the party, Freeze, Melt is the Sunday morning comedown. Released independently via their own label imprint, Cutters Records.

‘Love & Peace’ sees Steve mixing up all of his much-loved ingredients to deliver a fresh new record that offers the perfect antidote for the troubled times in which we live. Full of hope for the future, it’s a great mix of boogie, blues, rock, Americana and folk – all delivered in Seasick Steve’s unique style. It’s a sizzler of an album that he can’t wait to release.
“In these crazy times seems to me there just ain’t enough love and peace to go around,” says Steve. “I ain’t exactly sure what this here record got to do with love and peace, but I figured I’d call it that anyways!”
Produced and written by Seasick Steve, this album sees him breaking with tradition. While some of it was recorded in his barn, the majority was recorded in Los Angeles at Studio 606 and at East West Studio 3. The album was mixed by Vance Powell (Jack White, Chris Stapleton) and Steve at East West.

The shopping malls have closed down, the dressing rooms are filled with ghosts, and the carousel is covered in cobwebs. Nobody Lives Here Anymore, the latest and greatest from Max Clarke as Cut Worms, is the haunted reverie of an American landscape in-and-out of Clarke's mind. Recorded between May and November 2019 in Memphis, Tennessee, the album is a snow globe of the mid-twentieth-century's popular music filled with chiming guitars, honkey tonk pianos, and Telstar organs. A constant creator - be it his Cut Worms alter-ego or his day-job illustration work (designing brand logos and beer labels with madhouse technicolor pictures) - writing and making records has always been Max's driving force. So after an extensive eighteen-months of touring in support of 2017's Alien Sunset and 2018's Hollow Ground, he set about sifting through the fragment pieces and sketches of tunes he'd accumulated, along with a jet-stream of new compositions, mining his life-long devotion to the lost American songbook for inspiration. By the time he flew to Memphis to work with producer Matt Ross-Spang at Sam Phillips Studio, he'd stockpiled more than thirty new songs. A loss of innocence lingers through this 80-minute opus as Clarke attempts to harbor love and meaning inside a world that sold itself out. He explores the wistfulness of the past in search of answers for tomorrow. And while his grand anthems overflow with timeless pop charm, his ability to dig deeper than lollipops and holding hands sets his work apart from the days of 45s and Top of the Pops.

Ocre Vinyl

‘From a View’ is the debut album from Melbourne’s Floodlights.

'From a View' explores themes of identity, personal cross-roads and the misuse of power.

The bands first exploration into proper studio recording with a well regarded sound engineer. It was recorded over two days onto a 24 track tape machine at Head Gap studios in Preston in November.

Floodlights are made up of members Louis Parsons, Ashlee Kehoe, Joe Draffen and Archie Shannon. They present a distinctly Australian perspective, with a shambolic, catchy sound that melds 80s Indie-Rock rock with 90s New Zealand jangle-pop.

Following a tour of Australia’s East Coast in October last year the band began working on “From a View”. The songs were arranged and performed as a band, but often began from Louis or Ash presenting ideas to the group and building on them from there. The songs themselves were written over various points in the bands short career, yet come together very fittingly to show their distinct sound.

Lead single Thanks For Understanding is about two lives going in different directions. It describes the complicated process of growing apart from someone, even though you still care for them.

Philadelphian multi-instrumentalist, producer and engineer SWARVY makes his solo debut on Kamaal Williams's imprint Black Focus with a stunning new EP entitled ‘Sunny Days Blue’, his first release as
the primary vocalist.

Smoked-out sound beds and lofi guitars sit gently with SWARVY’s voice, creating a juxtaposition of melancholic, yet sweet, melodies that loop in your mind’s ear long after the record stops spinning.
‘Bones’ opens with a stripped back rhythm section and existential observations referencing the human condition of overthinking, a recurring theme throughout the EP. ‘Cool’, ‘No Compute’ and ‘Smile’
subtly infuse jazz, funk and hip hop elements, while ‘New Moon’ plays out as a low slung hypnotic hymn echoing gracefully into the record’s closer ‘Ginger’ - a meditative ambient spiritual for solo piano.

Since relocating to Los Angeles in 2015, SWARVY produced a variety of records via DJ House Shoes’ Street Corner Music, Leaving Records and Fresh Selects. His writing and engineering credits extend to dozens of tracks by artists such as Maxo, Earl Sweatshirt, Nia Andrews, Mndsgn, Liv.e and the late, legendary Tony Allen.

Green vinyl includes digital download card.

‘LiteAce Frequency’ is a collection of songs influenced by 70s Manila Sound and Pinoy soul, as well as incorporating elements of Japanese funk, Brazilian sounds and hip hop.

‘LiteAce Frequency’ follows Vex Ruffin’s ‘Emilio’ EP, released on Stones Throw in May.

The album will appeal to fans of Bullion, James Pants, Dam-Funk, Teebs, Daedelus, Paul White, Anika, Toro Y Moi, Ariel Pink.

Vex Ruffin’s music has featured on soundtracks for HBO’s hit series ‘Girls’ and Netflix’s ‘Russian Doll’. Vex Ruffin has a monthly radio show on NTS and will be supporting the release of his new album
with DJ sets, live streamed performances and active social media engagement.

Vex Ruffin has previously collaborated with artists including Anika, James Pants and Bruce Haack.

Presented by Mitsuko & Svetlana Records, distributed by WRWTFWW Records.

Archival reissue of highly sought-after 1979 soundtrack from funky maestro Yuji Ohno, the genius jazz player/composer behind the music of Lupin III (?????) and Capitaine Future (?????·??????) and much much more. Big grooves, irresistible basslines, horns for days, funk for-ever. This superb piece of music from the legendary Toho Records catalogue is a MUST HAVE for fans of Japanese gems.

It’s the original soundtrack of Shigeyuki Amane’s excellent TV movie Golden Dog (Ôgon No Inu). With a secret agent dog carrying secret documents. Last appearance by the one and only Reiko Ike!

Highly recommended to everyone who loves good dogs and good music.



Points of interests

- For fans of funk, jazz, Japanese music, rare groove, boogie, 70s soundtracks, rare gems, WRWTFWW Records, Lupin III, library music, and beautiful dogs.

- Rare gem reissued on vinyl for the first time since 1979.

- Fifth release from Mitsuko & Svetlana Records (Bells of Koyto, Masahiko Sato - Kayobi No Onna, Piero Milesi - The Nuclear Observatory of Mr. Nanof, Sora - Re.sort), distributed by friends WRWTFWW Records (Midori Takada’s Through The Looking Glass, Lunar Cruise and MWKAJU en-semble’s projects, Kenji Kawai’s Ghost in the Shell Original Soundtrack, Yasuaki Shimizu’s Kakas-hi, John Carpenter’s Dark Star Soundtrack, Piero Umiliani’s Tra Scienza e Fantascienza and Il Mon-do Dei Romani, Bernard Parmegiani soundtracks, Colored Music’s self-titled album, EP-4’s Lingua Franca-1, Normal Brain’s Lady Maid…), label founded and curated by Olivier Ducret of Mental Groove and Musique Pour La Danse (Miss Kittin, Orbe, Donato Dozzy, Imperial Tiger Orchestra...) and Stephan Armleder of Villa Magica Records (Genesis Breyer P-Orridge, Christian Marclay, Ste-phan Eicher & Rainier Lericolais, John Armleder, Sylvie Fleury…)

"By The Fire" ist Thurston Moores siebtes Studioalbum, das auf seinem eigenen Label Daydream Library Series erscheint. Auf dem neuen Album ist der ehemalige Sonic Youth-Gitarrist gemeinsam mit Deb Googe (My Bloody Valentine), Jon Leidecker - aka Wobbly - (Negativland), James Sedwards, Steve Shelley (Sonic Youth) und Hem Doulton zu hören. Vor der Isolation während der COVID-Pandemie arbeitete Thurston Moore bis zur dritten Märzwoche 2020 in Aufnahmestudios im Norden Londons, um das Album zum geplanten Release fertigzustellen, denn obwohl die Musiker nicht sofort auf Tour gehen werden, bestand er darauf, "By The Fire" noch im Jahr 2020 zu veröffentlichen. 2020 ist die Zeit des radikalen Wandels und des kollektiven Bewusstseins. Thurston Moore schrieb passend dazu neun Songs der Erleuchtung. In Anlehnung an Albert Aylers "music is the healing force of the universe" verstehen sich die Aufnahmen als Liebeslieder in einer Zeit, in der Kreativität unsere Würde darstellt und die Demonstration gegen die Kräfte der Unterdrückung ist. "By The Fire" ist eine Friedens-Party - mit Liedern aus der Hitze des Gefechts. Entstanden in Zusammenarbeit mit dem in London lebenden Künstler Radieux Radio, der das Cover entwarf und obendrein einige Texte schrieb.








h B3 THEY BELIEVE IN LOVE WHEN THEY LOOK AT YOU








[h] B3 THEY BELIEVE IN LOVE [WHEN THEY LOOK AT YOU]








[h] B3 THEY BELIEVE IN LOVE [WHEN THEY LOOK AT YOU]

Rotes Vinyl, limitiert auf 500 Stück. "By The Fire" ist Thurston Moores siebtes Studioalbum, das auf seinem eigenen Label Daydream Library Series erscheint. Auf dem neuen Album ist der ehemalige Sonic Youth-Gitarrist gemeinsam mit Deb Googe (My Bloody Valentine), Jon Leidecker - aka Wobbly - (Negativland), James Sedwards, Steve Shelley (Sonic Youth) und Hem Doulton zu hören. Vor der Isolation während der COVID-Pandemie arbeitete Thurston Moore bis zur dritten Märzwoche 2020 in Aufnahmestudios im Norden Londons, um das Album zum geplanten Release fertigzustellen, denn obwohl die Musiker nicht sofort auf Tour gehen werden, bestand er darauf, "By The Fire" noch im Jahr 2020 zu veröffentlichen. 2020 ist die Zeit des radikalen Wandels und des kollektiven Bewusstseins. Thurston Moore schrieb passend dazu neun Songs der Erleuchtung. In Anlehnung an Albert Aylers "music is the healing force of the universe" verstehen sich die Aufnahmen als Liebeslieder in einer Zeit, in der Kreativität unsere Würde darstellt und die Demonstration gegen die Kräfte der Unterdrückung ist. "By The Fire" ist eine Friedens-Party - mit Liedern aus der Hitze des Gefechts. Entstanden in Zusammenarbeit mit dem in London lebenden Künstler Radieux Radio, der das Cover entwarf und obendrein einige Texte schrieb.








h B3 THEY BELIEVE IN LOVE [WHEN THEY LOOK AT YOU]








[h] B3 THEY BELIEVE IN LOVE [WHEN THEY LOOK AT YOU]

Sam Prekop’s boundless imagination is guided by his strong sense of
melody. For more than 25 years, as a solo artist or as part of The Sea and Cake, Prekop creates a singular sound that is both inventive and warm. New album ‘Comma’ takes Pekop’s electronic music experiments in a surprising new direction.

Working extensively with beat programming for the first time, Prekop uses rhythm as a narrative tool, tapping into electronic music’s romantic and emotional qualities. ‘Comma’ embraces the analogue synthesizer’s often unpredictable nature, imbuing the record with a decidedly organic feel even while working within the relative rigidity of beat architectures.

Prekop’s creative process is a combination of preparation and improvisation.Writing sessions for ‘Comma’ began with an open-ended exploration of sounds and textures from which the first fragments of songs would reveal themselves.

The introduction of drum machines and additional synthesizer units to his modular setup shifted things in surprising new directions as he worked to bend them into more traditional pop song structures. Drum tracks and emergent rhythms provided the frameworks and narrative sketches to be fleshed out with lustrous widescreen synth pads and ribboning melodies. In approaching his writing with a completely open mind and letting himself be guided by the music, Prekop maintains a delicate balance between composition and chance, control and spontaneity.

Prekop’s wide-eyed sense of discovery guides his exploration of beat-driven music, pushing him to use rhythm as a narrative tool and to embrace electronic music’s romantic and emotional qualities. With ‘Comma’, Prekop compiles an incredible breadth of ideas into a surprisingly coherent soundworld. It’s a modern minimal pop album that taps into the experimental heritage of the synthesizer. The album places Sam Prekop’s work squarely in the tradition of electronic music pioneers like Brian Eno and Yellow Magic Orchestra, who brought together the unrestrained ambition of the avantgarde with the immediacy and accessibility of pop music.

Young Knives will announce their fifth album, Barbarians, to be released on 4th September 2020. The announcement will be accompanied by a single, ‘Sheep Tick’, and its extraordinary video.

Barbarians was written, recorded and mixed by Young Knives (brothers Henry Dartnall and The House of Lords) in their studio near Oxford, UK. John Gray’s book Straw Dogs inspired the brothers to dial into the ultra-violent, brutal nature of human beings. Our progresses in science and knowledge have not made us any less barbaric: our entertainment is obsessed with it, our world is full of it.

What if cruelty to others is just part of who we are? How do we live with that?

Building on a base of loved hits from their early work last decade (Voices of Animals and Men, Superabundance, Ornaments from the Silver Arcade) and the metamorphosis of 2013’s Sick Octave, Barbarians is a leap into sonic experimentation by a band who love to confuse and entertain in equal measure.

Driving anywhere in Texas can cost you half a day, easy. For example, it'll take you over four hours just to get from R&B singer Leon Bridges' hometown of Fort Worth down to Houston, where the psychedelic wanderers in Khruangbin hail from. The state is vast, crisscrossed with rugged expanses of road flanked by limestone cliffs and granite mountains, forests of pine and mesquite, miles of desert or acres of sprawling grassland, all depending on what part you're in. And it's all baking under the Texas Sun that lends its name to Bridges and Khruangbin's new collaborative EP. "Big sky country, that's what they call Texas," Khruangbin bassist Laura Lee says. "The horizon line goes all the way from one side to another without interruption. There's something really comforting about that." On Texas Sun, these two members of the state's musical vanguard meet up somewhere in the middle of that scene, in the mythical nexus of Texas' past, present, and future-a dreamy badlands where genres blur as seamlessly as the terrain. It calls equally to the cowboys boot-scooting at Billy Bob's in Fort Worth, the chopped-and-screwed hip-hop fans rattling slabs on the southside of Houston, the art-school kids dropping acid in Austin, the cross-cultural progeny who grew up on listening to both mariachi and post-hardcore out on the Mexican borders of El Paso. All of these things, overlapping in a multicolored melange, purple hues as vivid and unpredictable as one of the state's rightfully celebrated sunsets. A journey through homesick reminiscences, backseat romances, and late-night contemplations, the kind of record made for listening with the windows down and the road humming softly beneath you. Like the highways that inspired it, Texas Sun is guaranteed to get you where you're going-especially if you're in no particular hurry to get there.

Over the years Self Defense Family’s revolving lineup and improvisational writing process has led to the band often recording new music while on tour, putting the focus on capturing a specific moment between the current collaborators. The Island singles have been snapshots of the band in studios all over the world, from Jamaica, to Ice-land, to Scotland, and now Australia. The songs on Make Me A Pallet Fire On Your Floor / Local Clerics are marked by a raw, spacious recording, winding guitar lines mixed with swirling organ, and of course Kindlon’s one-of-a-kind vocals and un-flinching lyricism.

repressed!

Yawners is the band of guitarist and songwriter Elena Nieto, a project based in Madrid and currently shaped as a duo with the help of Martín Muñoz on drums. Right after forming Yawners, Nieto started self-releasing her songs and booking her tours with a DIY philosophy.

Just Calm Down, the band’s debut LP, will be released this 2019 by La Castanya. In the album, Nieto explores the pop side of the energetic 90s sound, a vibe that instantly brings you back to classic bands like Weezer, Pavement and The Breeders and connects to contemporary bands like Japandroids, Snail Mail or Waxahatchee.

There are few more romantic musical legends than those of the neglected bands who nd spiritual homes in far away times and places where they live on to in uence new unlikely generations of musicians. Sixto “Sugar Man” Rodriguez in South Africa, Dean Reed in the Soviet Bloc, Talk Talk post pop, and The Van Pelt amongst Uyghurs are some of the tales that get passed around the camp re. Enter Yawners and their resurrecting (whether wittingly or coincidentally) of the epic yet passed over DIY catalogs of early 90s record labels like Simple Machines, Dutch East India, K records, and Merge. The miracle is how they’re able to craft something so fresh yet it makes you feel like you’ve been transported 20 years into the past, just received a mix tape from your crush, popped it on in the car, rolled down the windows to smell the spring bloom, and let the wind design your new hairdo.

Big riffs, big feelings, big tunes, st pumps fueled by hope and love and the occasional pimple. Elena Nieto sings with a con dence that manages to speak to shyness and coyness and the terrifying joy that overwhelms when on the cusp of newness. This album has all the idyllic utters of an anticipated rst date and all of the hope and excitement that you just might pull it off and score a second one.


• Yawners will be playing SXSW 2019, and will present the record touring Europe and the USA.

Anna Meredith today announces her eagerly anticipated second studio album, FIBS, due for release on 25 October via Moshi Moshi. The album is heralded by the release of ‘Paramour’, its first single and spectacular accompanying single-take video, and a song that forbids you from turning away - its sweeps, jerks and wrong turns pinning your ears to the speakers whilst heading for warp speed at a blistering 176 BPM before rounding the journey out with an (utterly unexpected) tuba-led half-time rock-out.

Arriving three and a half years on from the release of her Scottish Album of the Year Award-winning debut studio album Varmints, FIBS is 45 minutes of technicolour maximalism, almost perpetual rhythmic reinvention, and boasts a visceral richness and unparalleled accessibility.

FIBS is no “Varmints Part 2” — the retreading of old ground, or even a smooth progression from one project to another, just isn’t Meredith’s style. Instead, if anything, it’s “Varmints 2.0”, an overhauled and updated version of the composer’s soundworld, involving, in places, a literal retooling that has seen Meredith chuck out her old MIDI patches and combine her unique compositional voice with brand-new instruments, both acoustic and electronic, and a writing process that’s more intense than she’s ever known. Despite Meredith’s background and skills these tracks are no academic exercise, the world of FIBS is at both overwhelming and intimate, a journey of intense energy and joyful irreverence.

FIBS, says Meredith, are “lies — but nice friendly lies, little stories and constructions and daydreams and narratives that you make for yourself or you tell yourself”. Entirely internally generated and perfectly balanced, they can be a source of comfort and excitement, intrigue and endless entertainment. The eleven fibs contained on Anna Meredith’s second record will do all that, and more besides.

Three years after their album "Eine andere Option" Munich based dASbAND is back with a new single, two new songs and newcomer Gringo on bass.

„Oh Ja (Wir sind ein Garten)“, psychedelic post-punk in a casual melange, because "We still believe in the sacred power of guitar riffing, in the right to intoxication and ecstasy, shalala-la!"

„Geh Weg", a serene call to dub and dance elements. If you can't change the circumstances, you should at least make them dance.

“Full speed ahead now, no more looking back.” Dent May confidently croons on his fifth LP, Late Checkout. The un-nostalgic sentiment and sobering clarity of May’s latest body of work signifies the 35-year-old songwriter from Mississippi taking a reflective rest-stop on the winding road of his now decade-long career.

After relocating to Los Angeles in 2015, touring his last record Across the Multiverse around the world, and building his own Honeymoon Suite Recording Studio with friends Pat Jones and Michael Rosen, May suddenly found himself with the chance to take his time making a record. Through the dozen thematically-linked tracks on Late Checkout, May grapples with the swinging emotions of our contemporary reality with a rare optimism and distinguished sound.

Bearing the torch of classic American songwriters that have inspired him like Harry Nilsson, Carole King, and Randy Newman, May has gingerly cultivated his iPhone note scribbles and subconscious melodies into songs that could stand the test of time. Leaving the comfort of home-recording, May set out to elevate the production quality on Late Checkout while maintaining some intimacy through sparse arrangements. After writing and performing parts for a bulk of the instruments on the album, May filled out his orchestrations by inviting string players, a horn section, background vocalists, and a pair of auxiliary drummers to play on the album. Contrary to the instant gratification permitted by modern home-recording, May made a conscious decision to slow down and pay careful attention to his songwriting on this album. He began to savor the minutiae of his daily life spent wandering around LA, not getting invited to hang with friends, and waking up in hotel rooms after DJing weddings. May drew on these moments in his lyrics and began assembling ballads at his new studio, mimicking the bittersweet tone and consistent work ethic of Motown.

“I’ve been collecting stationery from almost every hotel I’ve stayed at for the past ten years.” May reveals about the album’s opener “Hotel Stationary.” “I’ve always been drawn to the nature of hotels. I think it relates to this sense of always feeling out of place and my constant wanderlust.” On Late Checkout’s first single, “I Could Use A Miracle,” May sings about the desperation of feeling down-and-out against a lush and upbeat pop instrumental. The groovy “Easier Said Than Done” is decorated with bright keys and syncopated drums while May sings about coming to the end of his journey to find love. “Sea Salt & Caramel,” spilled out of May as a saccharine love song to his girlfriend, adding pure sweetness to balance the record’s melancholy pallet. From beginning to end, May bares his soul on each track across Late Checkout, offering a reluctant goodbye to his former selves, before wandering home.

Vestals is the avatar of Los Angeles based artist Lisa McGee, who’s debut album Forever Falling Toward the Sky was released by Root Strata in 2012. She has also discreetly operated in U.S. underground music for the last decade as a member of the dream-drone duo Higuma with Evan Caminiti, while making vocal contributions to acclaimed albums by Jefre Cantu Ledesma and Sarah Davachi.

McGee is the sole producer and performer on her sophomore effort, Holy Origin. Since her last offering she has evolved her sound and process, placing a new emphasis on electronic processing, carving out negative space where slow burning rhythms and spectral melodies ebb and flow. Her songcraft is built on the foundations of atmosphere and experimentation that have defined her collaborative outings, but here she has meticulously built up her arrangements into a fully fleshed out vision of luminous dub informed avant-dream-pop.

Sinuous vocals and desolate guitars are rendered in crisp 3D, swallowed by viscera rattling bass and sizzling clouds of synthesizers. Hypnotic melodies and shimmering harmonies nestle within disorienting digital manipulations, conjuring a boundless, smoky twilight. Passages hover and undulate, sustained in trance states before crashing down into lush chorales that comfortably dwell in the space between euphoria and heartache.

Fusing memoir with contemplative inquiry, McGee traces the blurred boundaries between the self, the other and the world, capturing various states of desire-ambivalence and surrender. Each track is a meditation on the tension between opposing forces: the ideal and the real, the essential and the cultivated, the erotic and the ascetic. Through the exploration of these dialectics, Holy Origin unfolds as a darkly sublime reverie.

My Morning Jacket release their new album via ATO Records. ‘The Waterfall II’ was massively inspired by the band’s idyllic surroundings in Stinson Beach, CA - and a sense of charmed isolation that frontman Jim James likened to “living o n o u r o w n lit tle m o o n .” There, the Kentucky-bred five-piece ended up creating over two dozen songs at the mountaintop studio known as Panoramic House. Though they flirted with the idea of putting out what would have been a triple album, the band ultimately decided that less would be more at the time and divided the project into two halves, releasing the first segment as ‘The Waterfall’, a 2015 full-length that earned a Grammy Award nomination for Best Alternative Music Album. My Morning Jacket are now set to share the second half of the project as ‘The Waterfall II’, an unforeseen and timely continuation of a psychic and sonic journey begun long ago.

The second LP by Belarussian trio Molchat Doma, Etazhi, meaning “Floors”, was first released in 2018 on Berlin-based Detriti Records. It became a viral hit, garnering over one million views on YouTube and becoming a legitimate phenomenon on Bandcamp. The band may fly under the radar in their native Belarus, but they’ve reached huge audiences across Europe and beyond. Six separate vinyl pressings of the album have sold out in quick succession, and Sacred Bones Records is now thrilled to bring the record back in print for good. Molchat Doma (translated as “Houses Are Silent”), founded in 2017 in Minsk, Belarus, stands at the intersection of post-punk, new-wave and synth-pop. Dark yet danceable, and with a heavy dose of goth ethos, their music is reminiscent of the masters that predate them, but make no mistake: Molchat Doma creates a sound and meaning that is immediately recognizable as all their own
.
The band is comprised of Egor Shkutko, who sings the Russian lyrics in his deep monotone, Roman Komogortsev on guitar, synths, and drum machine, and Pavel Kozlov on bass and synth