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Under the name Delicate Steve, guitarist extrodinaire Steve Marion has
spent the better part of the last decade establishing himself as one of the
most wildly innovative and widely revered players in the game.He's
recorded with Paul Simon, been sampled by Kanye West, toured in the
Black Keys, and released four critically acclaimed albums of genrebending instrumental music
He's your favorite musician's favorite musician, a virtuoso songwriter, producer,
and performer who occupies a lane entirely his own in the modern indie
landscape, but he's never liked the sound of the electric guitar? "I've tried
everything under the sun to get away from it," he explains. "Until now."Written and
recorded on a white 1966 Fender Stratocaster that reignited his love for the
instrument, Delicate Steve's warm and captivating new album, After Hours, marks
a first for Marion, an earnest, easygoing collection that revels in the simple joys of
plugging in and playing. The songs are sweet and breezy here, pairing vintage
soul grooves with mesmerizing, wordless melodies, and Marion's production work
is subtle and restrained, stepping back in all the right places to let the album's
masterful performances speak for themselves. In another first, Marion teamed up
with outside musicians on the record, bringing in renowned bassist Shahzad
Ismaily (Yoko Ono, Marc Ribot) and famed Brazilian percussionist Mauro Refosco
(David Byrne, Atoms For Peace) to help flesh out the arrangements and stretch
his sonic boundaries.
The result is a dreamy, introspective album built for late night comedowns and
deep dive soul searching, a cinematic, escapist fantasy for the wee hours of the
morning that draws on everything from Bill Withers and Sly Stone to Pharoah
Sanders and Salvador Dali as it explores memory and nostalgia, instinct and
intuition, serenity and transcendence.

He might be vocalist in bands such as Brighton-based progressive act Diagonal and psychedelic outfit Baron, but when it comes to his solo work Alex Crispin has typically worked in more wordless fields. Last year the songwriter, vocalist and producer released a triptych of ambient albums, consisting of two older albums in 'Idle Worship' and 'Open Submission', as well as new meditative work in 'Resubmergency'. On his new self-titled album, however, Crispin re-emerges from the cavernous soundscapes to – for the first time – put his vocal and song writing stamp on a record under his own name. “I personally find it easier to create more guarded, moody music, but I was at a point where I wanted to embrace a more universal, intimate and open side to what I might say” Crispin says. “Over time I’d got over certain blocks or preoccupations and so wanted to create something accessible and open hearted, which became a big driver for this record.” Pointedly self-titled to reflect the newfound confidence in his song writing away from the collective of a band, the album’s nine tracks are a warm embrace amidst troubled times. Musically there’s nods to everything from tropicalia and Brazilian MPB, to 80’s dusk pop balladeers The Blue Nile and Paul Simon’s explorations into African music. Lyrically aware of the snowballing turbulence that surrounds us, Crispin in reaction tries to see hope and looks around at the relationships and connections in his life that provide him strength. He opens 'Invisible (To Us)' with the words “Before the world did end, there was just one moment when, everybody thought there might be time, to look around again, to laugh to cry to sing.” Elsewhere, 'Listen & Learn' strikes at the heart of other underlying themes of the record, of the rarity of people opening up, taking on new ideas and allowing change. It’s accompanied with a rich, maximal sound palette of flute and sax that play around each other as Crispin’s vocal chips in with gentle encouragement. “One of the main markers on the album that I was aware of from the start, was to let myself express joy and positivity in the music” he says. “I have come to greatly prize the power of accessibility and universality over artistic 'coolness or trend', much in the same way that so often for me, the greatest pieces of art humans make nowadays are things like Pixar movies, with their combination of undeniable human talent and craft, alongside genuinely moving and accessible themes.” Indeed, there is a cinematic feel to much of Crispin’s own music, something brought over from his ambient creations – although his self-titled album possesses a panorama all of its own. Something like 'When I Reach The Ocean' has a hazy, pastoral feel to it like something out of the Canterbury Folk scene; there’s space between the notes though, which in turn pushes the track out to a greater expanse than the comparatively soft-edged and modest sound palette used to create it. Similarly, the likes of 'Effert' revel in the space afforded to them - in the case of the aforementioned in particular, Crispin lets his voice take a back seat and creates an open wash of sound that he allows the guitar to probe and explore within. “In making any music I am definitely conscious of trying to put in only what is effective” Crispin says. “It is so easy to clutter tracks without realising it, just having the ability to add stuff can just become addictive as it’s so easy to do with recording setups now.” The album started coming together at the end of 2020, with Crispin getting most of the songs to a concrete state, before starting recording in May 2021 with Diagonal bandmates Luke Foster (drums) and Daniel Pomlett (Bass), who put down rhythm tracks. Jazz saxophonist Rob Milne then added parts which would become the glue that held the whole organic aesthetic of the album together. There’s no doubt that lockdown played a part in proceedings, with a kind of forced focus resulting in a need for joyful expression. However, Crispin and his partner also suffered a bereavement which led to her travelling for large periods of time. “It was a very intense and difficult time and I think some of the intensity of emotion of that situation coupled with being alone must have inevitably contributed to the work itself” he says. It's perhaps why when even in moments of sheer happiness, such as the 'Sabu’s' breezily euphoric opener, Crispin ponders: “No-one really cares beyond this moment, and even when it's here, it's never here”. It’s the first of several bittersweet moments on the record that give the album its weight. On this new LP, Crispin recognises that sadness doesn’t mean throwing out hope, and that even in moments of joy there’s still a path ahead of you to take.

In order to leave a souvenir of our past events and to mark our time, we are pleased to present today our second vinyl. This immersive EP takes us back to the Chapter II of our history and invites one emblematic artist: Mac Declos

In these uncertain times, we still want to claim our ideals through music Cuir en cage will therefore be the second vinyl of a long series

The Logic of Chaos is the latest release of Elisa Batti for the label One Instrument that gathers music composed over a period of 3 years. Fascinated by the idea of developing pieces with strict and limiting guidelines, the confined environment gave her the possibility to explore and expand the creativity and the freedom of composing. Each single piece has a specific story and is recorded with a different instrument.

“Asa” is produced together with Sebastian Josef Brunnlechner while composing the sound design for an installation. The piece comprises repetitions of a few simple loops layered and arranged over a carpet of long notes played with a bow. The bow has been intentionally played slowly in order to obtain as many overtones as possible. The short pizzicato melodies consist in small and simple repeated loops that appear and disappear dissolving with the other sounds. The intention behind this track is to let the beautiful sound of the instrument speak for itself evoking a dreamy atmosphere.

“Slow Fall” sees the collaboration with the pianist Marko Ivic and has an improvised approach. While Ivic was playing the piano Elisa Batti was processing the sounds on the fly. The piece is based on a minimalistic procedure, where continual loops create a scenographic effect.

“Taiga” includes different patches of the Moog Mother-32 and is an emotive landscape where sounds rise and disappear again, leaving space to thoughts and images.

The EP ends with “Ecstatic” created with the Korg Minilogue. It was part of a commissioned dance piece that afterwards has been readapted for the release. The final outcome sees a more complex and erratic behaviour.

Elisa Batti’s work induces a state where time stands still whilst simultaneously being in motion. Her sound palette is broad and expresses a high artistic achievement.

Emerging from the dark recesses of the Chicago and London underground, in 2000 Omni a.m. relocated to New York. This EP marked their first release in their new surroundings, it's an intense and highly sought after 4 tracker that showcases the duo's continuing originality and guile.

First up 'Smurfette's Big Night Out' is imaginative in it's approach, there's punchy beats and cascading percussion that drive the track along and really deliver the funk. Psychedelic acid touches interweave with haunting pads and a super deep b-line creates a chemistry like no other. Next is 'Buckshot' a more stripped back rolling affair. Undulating synths and swathes of infectious bass build the track throughout, whilst spacious analog delays and dub influenced sonic tricks abound. Over to the flip where 'I On U' is a wonderful floor friendly roller coaster of a ride, intro'd by a super phat kick, there's stuttering snares that jack and swing, whilst warm synths bubble and filter. Lastly 'Sick Sense' sets the controls for deep space, the bold throbbing bass makes it proper heads down groovin' affair, and the expertly programmed spoken word vocals interplay to add intrigue and atmosphere.

New York Sessions is a cherished release from the Omni a.m. catalogue, a classic where all 4 tracks ooze class and character. This EP has certainly stood the test of time and has been lovingly remastered by Curvepusher for today's discerning minds and dance floors, full support already coming from Raresh and SIT.

Widespine Jacket,Black Vinyl, Black Dust Sleeves, Marketing Sticker
Shottaz 4Eva (Deluxe) is an expansion to the posthumous album, Shottaz 4Eva, from Dallas-based rapper MO3. Fusing his harmonious vocals with an almost effortless flow, the late artist quickly cemented himself as rap royalty in his hometown and well beyond. Featuring appearances from rising star Morray and Derez De'Shon, the deluxe edition gifts fans with eight new tracks that illustrate MO3's exceptional talent that was taken from us too soon. The album includes the hit songs, "Outside (Better Days) (feat. OG Bobby Billions)," & "In My Blood (feat. Morray). Long Live MO3.

IMITED 2022 REPRESS ON RED VINYL WITH GOLD SPLATTER.
Steve Von Till, best known as Californian heavyweights Neurosis' singer and guitarist.

TERRORIZER - 8/10 Boxed review and interview excerpt (May issue) "Imagine if a coarser Neil Young had been born in England instead of Canada and if he had done a little bit of time in Hawkwind as well, and the imaginary result isn't too far from some of the best songs on offer here..."

Von Till enlisted Randall Dunn, production supremo and Master Musicians of Bukkake founder, to helm the desk, as well as bringing in Eyvind Kang on viola and percussionist Pat Schowe.

'A Life Unto Itself' also showcases J. Kardong on pedal steel, texturising Von Till's baritone gravel and sun-bleached skeleton of a guitar arrangement with some dust-blown harmonics , reminiscent of similarly raspy, whiskey-throttled voices of Mark Lanegan and Michael Gira.

Experimental and improvisational psychedelic rock, for fans of White Heaven, Les Rallizes Denudes, Headroom, Düngen, Heron Oblivion, Comets On Fire, The Renderers, Bardo Pond. Mountain Movers arguably are the perfect band for all the true "heads" out there. The New Haven quartet have been at it for 15 years, and the "newest" lineup (now at it for well over a decade; vocalist/guitarist Dan Greene, bassist Rick Omonte, guitarist Kryssi Battalene and drummer Ross Menze) have firmly grasped what it takes to fry brains; achingly beautiful melodies buoyed by a life raft of white-hot guitar scree and mind-melting feedback. "World What World" is the band's eighth album and third for Trouble In Mind Records. "World What World" is the newest chapter of the group's continued explorations and efforts to refine their sound. The lyrics of "World What World"s songs all imply a protagonist on a quest; the title itself is an implied query with no question mark; is it a question, or a statement?. The one-two punch of opener "I Wanna See The Sun" and "Final Sunset" lay out what's in store; Crazy Horse-inspired sandpaper melodies sit comfortably next to improvised, PSF-influenced six-string ragers. The group performs together effortlessly and telepathically, subverting the loud/quiet/loud dynamic that has saturated independent music since the late-Eighties. The loud parts and quiet parts are like waves; indistinguishable from each other, creating a fluid dynamism and intensity that swallows the listener up in its current, sweeping it toward oblivion. Hyperbole, you say? Watch out for midway through "Then The Moon" when the tune's lilting waltz pivots into a casually blistering solo by Battalene before fading into the melancholic "Haunted Eyes" - beckoning you with a mournful sidelong glance. Side Two opens with "Staggering With A Lantern", an elegant, lumbering instrumental improvisation again showcasing the synergistic shredding of the group's guitarists. The sticky lyrical hooks and sideways jangle of "Way Back To The World" and "The Last City"s midnight-hour, mellow singe come next, before concluding "World What World"s journey with "Flock of Swans". The song is the perfect closer and culmination of the album's mission statement. The subjects that populate Greene's songs and visual imagery augment his elegiac lyrics, awash in magical realism and fantastic symbolism; knights, fighters, dragons, masks. Poetic missives are launched from the heart straight into the neural pathways, guided by the rhythm section's otherworldly chemistry and Battalene's masterful control over her instrument. Mountain Movers have been at it too long to care about acclaim. They do it because the music calls out to them, and they let it carry them away.

"Animist Pools" was released July 1, 2016 in a cassette limited edition on Human Pitch records. Originally released as "Hippies Wearing Muzzles", pseudonym of Lee Evans. "A shifting center in a stream of rippling analog tones, the music of Hippies Wearing Muzzles is orchestrated to transfix, echoing sounds heard in nature with modular synthesizers and the powerful element of chance. Evoking the Fourth World Music of Jon Hassel or the kosmische innovations of Cluster, Animist Pools marks its composer, Lee Evans’ first full-length release for Human Pitch. Accompanied its popping, glyphic art design and video, the project’s hypnotic aptitude is heightened to full-effect. Citing his background in painting as a chief influence on his musical approach and thought process, Evans composes with a strong sense of space––each sound an event in a slowly expanding landscape, zooming out to reveal a world of scale in which depth and contrast take precedent over rhythm and melody. Embracing the generative compositional nature of working with the modular synthesizer, Evans himself is the final filter through which all sounds pass. The boundary between programmed repetition and human choice is subtle, but detectable, highlighting Evans’ careful, nuanced guidance of his auto-compositions. The result is ultimately an improvised structure––a living, breathing, musical creature, acting on a mixture of impulse and memory. Animist Pools is a functional body of music for everyday human applications, with the implied invitation to tune out and back in at one’s discretion. The cleanly organized musical space of Animist Pools encourages a tidying up of the mind. On a psychoacoustic level it is one, breathing life into the dusty corners of one’s headspace. Animist Pools is an immersive, meditative, and therapeutic experience."

Owing to a focused period of growth as a home recordist and producer,
there is a distinct, refreshing current that charges outtakes from 'bad
summer', the latest full-length album from Philly-via-Portland's cool
original (FKA cool american)
What under other circumstances might have been a string of homespun indie
rock songs is instead an energized pop- focused collection of tracks born from
what Nathan Tucker describes as 'the contrast between total formlessness and
rigid claustrophobia'. As heard almost immediately on album opener 'monad, no
windows', an electric atmosphere envelops outtakes from 'bad summer'. Pitchshifted vocal samples and previously- scrapped drum recordings fill out the
overture, setting the table for a patchwork of repurposed, resampled ideas
shaped into songs that rarely end up in the same place they started. The
unhurried and sentimental 'i just need a second' boasts the full spectrum of cool
original's songwriting prowess: foregrounded, infectious melody over subtly
chopped and screwed drums comprise the foundation for Tucker's own take on a
classic road song'a marked contrast to 'breaking my own rules', an experimental
pop number unlike any previous cool original work. Similar contrasts abound
throughout outtakes, making for a listening experience that's equal parts
rejuvenating and unpredictable.

“V I N C E N T” is FKJ’s second album and signals a new dawn, not just as a go-to producer and remixer for artists like PinkPantheress and Moses Sumney but as an artist in his own right, continuously selling out headline tours across the globe with his acclaimed ‘one-man-band’ live shows, and having a billion plus streams across all platforms for his music.

The concept for “V I N C E N T” came about during a solo trip to Los Angeles before 2020. “I just stayed in this house totally on my own, turned my phone off and had some time away from everything to figure out what I wanted to do.” He realised he wanted to tap into the freedom of being a teenager: “back then, I was making music strictly for playfulness, without overthinking it,” he says. “V I N C E N T’s” opening and closing songs underline the sentiment of the new album: the future-jazz of ‘Way Out’ (a playful mini soundtrack in one; a dainty piano motif underscored by a skittering trap beat and serene strings) and the lullaby-styled “Stay A Child”. “I wanted to get back some of that lost innocence of making music purely for pleasure,” he says.

Back in his home studio in the Philippines, with no wifi and an impending global lockdown, FKJ was quite literally cut off from the world, able to explore music’s endless possibilities. “Sometimes I would get into it for the whole night and go to bed when the sun came up.” Out of this freedom comes an expressionistic, touching album that’s impossible to pin down. There’s no more hiding behind a branch of leaves, as he did on the cover of his 2017 debut: “V I N C E N T” marks FKJ out as a crucial new voice. He’s redefining chillout music with his bursts of late-night jazz sax and piano, coupled with his wood-cabin whispery vocals, recalling Bon Iver’s early work, and those Santana-styled guitar flourishes.

Much of “V I N C E N T” is wilfully romantic, sometimes super sexy, and often with its head in the clouds, as on tracks like “Us”, a dreamy ode to his wife June, or “IHM”, which has a 90s hip-hop flavour slowed right down to lights-out tempo. Not entirely a solo record, ((( O )))) appears on ‘Brass Necklace’ – which has the soft power of The Internet and Stevie Wonder’s keys. It’s no wonder that lead single ‘A Moment of Mystery’, featuring Toro Y Moi, has a spacey vibe: while recording in San Francisco together, FKJ, Toro and his keyboard player Tony took some of what Tony called “holy water” – “we shared this bottle and took a bit of a trip,” laughs FKJ. The result is a gentle electronic ode to long-term love that could rival Tame Impala for melodic progginess.

Little Dragon’s Yukimi Nagano vocal, meanwhile, laces its way through the stunning “Can’t Stop”, and there is a call back to FKJ’s dancier beginnings with “Let’s Live”, a galvanising techno-pop number that blends piano, handclaps and soulful vocals to dazzling effect. Each of FKJ’s songs glistens, lambently, with a myriad of ideas but it never sounds overblown or too dizzying.

“V I N C E N T” is a marvel – and testament to the magic that can happen when you dig deep. “This was a challenging record,” he says. “I’m a perfectionist and it’s hard to shake that off. But once I did, and I let the music take over, I felt totally free.”

The musical vortexes of Caterina Barbieri rewire time and space. Listening to the Italian composer and modular synth virtuoso has felt like traveling at light-speed and slow-motion all at once since 2017's breakthrough double-album Patterns Of Consciousness. 2019's acclaimed Ecstatic Computation pushed even further with the lead single "Fantas", where a haunting melody hurtling towards its supernova climax felt like witnessing the life and death of a burning star. Far beyond any new age trope or modern synth trend, her music stands alone in its ecstatic intensity and cataclysmic emotional impact. Marking the debut album on her new label light-years, Barbieri now delivers her most profound work yet - a journey through inner-space as vast as a universe and as intimate as a heartbeat. The Spirit Exit opens and we fall in.

Poltergeist has that strange power of attraction that these personalities with their icy, mysterious aura hold. As soon as Ari Girard (aka Poltergeist) appears, something happens, he catches the light and strikes the spirits.

Kämpfer LP is a ghost story where Poltergeist invites Joy Division, New Order, Talking Heads, The Cure, Can, Kraftwerk, Nine Inch Nails or Jeff Mills for its first album. At the Poltergeist banquet, the crows of cold wave and the barbarians of krautrock, the metallers of indus rock and the freaks of techno meet.

The epicentre is Berlin, the Wall, Lou Reed's Gotham, the Bowie/Eno trilogy and the toxic nights of underground clubs...

Kämpfer LP, Poltergeist's first album, reveals its dark and disturbing universe. Marked by a heavy, deep and majestic atmosphere, this project evokes, without ever saying it openly, the climatic urgency, the ineluctable destiny, the human obsession to be first, to leave a trace of its passage and the nightmares which agitate the nocturnal spirits.

Between frenetic synths, bewitching waves and marked foot, this implacable album marks the beginning of the Poltergeist era.

Scratching synths, a dark and heavy universe: we can understand Vitalic's crush, who decided to sign the project at the first listening on his label Clivage Music.

Saltern’s latest offering marks the first-ever release of “lost minimalist” Terry Jennings’ visionary 1960 composition, Piece for Cello and Saxophone, as arranged in just intonation by legendary composer La Monte Young for renowned cellist Charles Curtis. Born in Los Angeles in 1940, Jennings was a close associate of Young, Terry Riley, and Dennis Johnson, and an early adopter of minimalist tendencies, creating slow, sustained music, influenced by jazz, modalism, and late romantic classical music. Jennings died tragically in his early forties, most of his work lost to a chaotic life; however, his forward-looking music quietly exerted a lasting influence on composers including Young and Harold Budd. Composed over sixty years ago, Piece for Cello and Saxophone, foreshadows a number of movements in postwar avant-garde music.

Despite the title, there is no saxophone on this album. At over eighty minutes, La Monte Young’s justly tuned realization of Piece for Cello and Saxophone for cello alone unifies and extrapolates Terry Jennings’ dense harmonies, creating an extended field of complex sonorities in motion, all brought to life by the immaculate playing of Charles Curtis. The recording captures Curtis in a performance from 2016 reflecting more than twenty-five years of dedication to the piece.

Highlights:
• Saltern latest offering marks the first-ever release of “lost minimalist” Terry Jennings’ visionary 1960 composition, Piece for Cello and Saxophone, as arranged in just intonation by legendary composer La Monte Young for renowned cellist Charles Curtis.

"The letter X marks the spot, crosses over, literally with a cross. It’s the former, the ex-. The ex-lover known simply as “an ex”. Ex- is the latin prefix meaning “out”. Exterior, an exit. Extraordinary. Excellent. It’s exciting. Generation X. X-files. X is the unknown. X is Extreme“

Extreme is Molly Nilsson’s tenth studio album. Recorded in 2019 and throughout the 2020 global pandemic at home in Berlin, Extreme is a departure for Nilsson, an explosion of angry love. It’s an album of anthems for the jilted generation, soaked with joy and offering solace, bristling with distorted, Metal guitars and planet-sized choruses that bring light to the dark centre of the galaxy. It’s an album of the times, by the times and for the people. It’s a record about power. About how to fight it, how to take it and how to share it.

Absolute Power explodes with massive guitars, double kick beats and the instantly iconic line “It’s me versus the black hole at the centre of the galaxy.” Nilsson’s performance itself portrays absolute power in its confidence but the song is a call-to-arms, an entreaty to grasp the here and now, to take the power back. It’s Nilsson pacing the ring and we’re instantly in her corner. Earth Girls takes familiar Molly Nilsson themes - female empowerment and subverting the patriarchy - but casually throws in one of the choruses of her career. “Women have no place in this world” she sings, but it’s the world that isn’t good enough. Stadium-sized but still warmly hazy, Earth Girls has its fists in the air, glorifying in harmony, almost ecstatic in its feeling good. Nilsson’s Springsteen-level conviction and righteousness bleeds through the speaker cones, the cognitive dissonance between the song’s cadences and angry lyrics redolent of Bruce in his prime. Female empowerment isn’t always an angry energy on Extreme, however. On Fearless Like A Child, Nilsson’s anthem to the female body and women’s sovereignty of it, she croons over a mid-80s blue-eyed Soul groove. It sets a nocturnal scene as the narrator surveys her past and her surroundings. Before we’re fully submerged in a dreamlike, Steve McQueen-era Prefab Sprout poem to learning from your mistakes the song erupts into one of those lines only Molly Nilsson can get away with: “I love my womb, come inside I feel so alive” she fervently sings. Against the backdrop of ever-encroaching, conservative rulings on women’s reproductive rights in places like Texas, it’s simultaneously angry and full of love.

Every song on Extreme is a gleaming gem in a pouch of jewels. On Kids Today, Nilsson is the voice of wisdom, archly commenting on the eternal struggle between youth and authority. Wisdom infuses Sweet Smell Of Success with a transcendent love that forgives the narrator’s shortcomings and celebrates the moment, it’s a letter to the author from the author that asks “what is success” and concludes that this is it, this song, this moment. It’s a rare moment of simple reflection that is generous in its insight to Nilsson’s inner life. “Success” is a tool of power and we don’t need it… We need power tools and there are moments on Extreme where it feels like Nilsson is showing us how to find them. It's an open conversation through out Extreme. She’s a warm, comforting presence through out the album and specially on these songs of encouragement, songs perhaps sang to a younger Molly Nilsson or, really, to whomever needs to hear them. “They’ll praise your efforts, they’ll call you slurs a rebel, a master, an amateur / Merely with your own existence, you already offer your resistance.” On Avoid Heaven she’s even more direct, pleading with us to avoid concepts of purity and to embrace the glorious, ebullient, emotional mess we’re often in as a method of upending the power structures who need things to be perfect.

They Will Pay brings back the big, distorted power chords in the form of a agit-punk, pop slammer. Of course, when Molly Nilsson does punk pop we get the catchiest chorus this side of The Bangles or The Nerves. It’s rendered in an off the cuff, throwaway manner that is just perfect in its roughness. However, it’s on Pompeii that Nilsson delivers the album’s epic, emotional heartbreaker. Like 1995 on Nilsson’s album Zenith, or Days Of Dust on Twenty Twenty, the lyrics of Pompeii are heavy with a transcendent sadness, an aching poetry that cuts to the truth of the heart like the best Leonard Cohen lines, though here delivered with an uplifting, life-affirming love. It contains the most personal moments of Extreme, a song lit by the dying embers of romance. Yet it’s here where the alchemy at the base of all Nilsson’s best work is found. Turning small nuggets of personal truth into big, generous universal moments that invite everyone to cry, to love and to fight the power. In an album of jewels, it might be the shining star.

Molly Nilsson’s biggest, boldest and most vital album to date, Extreme is about power. Against the love of power and for the power of love.

While awaiting the release of Dignity Of Labour, The Ex headed back into the studio in early 1983; this time with a new friend – The Mekons' Jon Langford – helping produce.

Originally released in April 1983 (only a month after Dignity Of Labour), Tumult marks a major evolution in Ex-sound. Opener "Bouquet Of Barbed Wire" emerges snarling out of post-punk atmospherics with Terrie Ex's glacial guitar, Bas Masbeck's loping bass and cascading tom-toms from new recruit Sabien Witteman, while "Fear" and "Survival Of The Fattest" bring to bear the rhythmic core of the band, their signature angular style.

Lyrically, the songs on Tumult cycle through a series of familiar concerns: animal rights, squatters, the working class, punk's penchant for radical chic and the creeping fascism of nationalist sentiments. G.W. Sok's voice is squalling and perfectly wry throughout.

Tumult remains a high-water point of early Ex, serving as both developmental guide and way-station. The next 18 months would see the departure of Bas and Witteman and the arrival of long-serving bassist Luc Klaasen and drummer Kat Bornefeld (whose supple rhythms propel the group to this day). The album stands as one of the most compelling and unique documents of early '80s DIY exploration. If Mark E. Smith had only one favorite Dutch punk band, then it would undoubtedly be The Ex.

This first-time vinyl reissue comes with 28" x 39" full-color poster

The Silvertones were steeped in the grand tradition of Jamaican vocal trios along with other greats such as The Heptones, The Abyssinians and The Kingstonians. Formed in 1964 by Delroy Denton, Keith Coley and Gilmore Grant, the group recorded under a variety of names in the ska and rocksteady era for Duke Reid’s Treasure Isle and Coxsone Dodd’s Studio One, before hooking up with producer Lee “Scratch” Perry.

Originally released in 1973, The Silvertones’ debut Silver Bullets was recorded at Perry’s Black Ark studio with vocal tracks captured at King Tubby’s Dromilly Avenue studio in a marathon, all-night session. While firmly planted in roots reggae, Silver Bullets’ dense harmonies and relaxed vibe harken back to rocksteady. The album marks an interesting point in Jamaican music where the past and the future are visible in the grooves of a single LP—from classic rocksteady-tinged love songs like “That’s When It Hurts” and “Rock Me In Your Soul” to the Rasta anthem “Rejoice Jah Jah Children.”

Antarctica Starts Here presents the first widely available domestic release of Silver Bullets. This reissue is part of an archival series that focuses on Trojan’s essential ’60s and ’70s catalogue. Liner notes by JR Gonne.

Unstoppable elders of the L'Entourloop collective, King James and Sir Johnny, are proud to present on June 10, 2022 their long-awaited third and new album entitled "Clarity in Confusion". Featuring Alborosie, Promoe, Degiheugi, General Levy, The Architect ...

It is now official, 2022 will mark the return of the tireless seniors of the collective L'ENTOURLOOP! After a break to devote themselves to the creation of a new album and a new live show that promises to be exceptional, they are back on the road, more determined than ever!
The success of their last albums "Chickens in Your Town" (2015) and "Le Savoir-Faire" (2017), with their unique "Banging hip-hop inna Yardie Style" never cease to seduce sound-system, vinyl and French classics fans, all over the world.