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Limited Metallic Silver Vinyl is exclusive to INDIE STORES. "Money Mouse Records moves effortlessly into the neon-hued vibes of 80's boogie culture with their latest 7" offering from Nashville's CA$H BONU$. Made up of some familiar faces from Music City's funk and soul movement, Andrew Muller and Nick DeVan are joined by Amber Woodhouse who lends her powerfully silken vocals to the mix. With the addition of Pittsburgh's synthesist maestro, BusCrates, along with Muller's deftly executed production flourishes; this record goes straight to the sweet spot of post-disco lushness. "Got Me Thinkin Tonight" is designed for the late-nite dancefloor aficionados, taking cues from some of the era's greats and shaking things up into something new and heaving. The synth work and beats weave together with Woodhouse's amorous lyrics to create a dancefloor jam that sounds just as at home in 1982 as it does in 2022. That magic is repeated on the B-side with "Joy & Pain" a straight up hustler of a track, with a driving drums and heady arrangements that, again, are meant to get the dancefloor churning. Woodhouse's vocals deliver a sweet soulful emotion that jives perfectly with a groove that would make Rod Temperton proud. And don't forget the heavy drum break at the end. CA$H BONU$ is bringing the boogie heat to your feet for real!"

Limited Metallic Silver Vinyl is exclusive to INDIE STORES. "Money Mouse Records moves effortlessly into the neon-hued vibes of 80's boogie culture with their latest 7" offering from Nashville's CA$H BONU$. Made up of some familiar faces from Music City's funk and soul movement, Andrew Muller and Nick DeVan are joined by Amber Woodhouse who lends her powerfully silken vocals to the mix. With the addition of Pittsburgh's synthesist maestro, BusCrates, along with Muller's deftly executed production flourishes; this record goes straight to the sweet spot of post-disco lushness. "Got Me Thinkin Tonight" is designed for the late-nite dancefloor aficionados, taking cues from some of the era's greats and shaking things up into something new and heaving. The synth work and beats weave together with Woodhouse's amorous lyrics to create a dancefloor jam that sounds just as at home in 1982 as it does in 2022. That magic is repeated on the B-side with "Joy & Pain" a straight up hustler of a track, with a driving drums and heady arrangements that, again, are meant to get the dancefloor churning. Woodhouse's vocals deliver a sweet soulful emotion that jives perfectly with a groove that would make Rod Temperton proud. And don't forget the heavy drum break at the end. CA$H BONU$ is bringing the boogie heat to your feet for real!"

Three-time Grammy nominees, the San Antonio, Texas-based quartet NOTHING MORE return with their highly awaited seventh album, 'SPIRITS'. It features thirteen focused, adventurous and intense songs, uniting introspective philosophical lyrics with unapologetically massive anthems, including the in-your-face 'TURN IT UP LIKE (Stand In The Fire)', their most recent Top 10 Billboard Active Rock radio single 'TIRED OF WINNING'. Since emerging in 2003, NOTHING MORE has made rock radio chart history with no. 1 singles for both 'This is the Time (Ballast)' and 'Go To War', while they also have seven Active Rock Radio Top 10 singles in their repertoire. 'SPIRITS' further proves their expertise in the rock genre and beyond. It documents the tumultuous time the world experienced over the past two years capturing the desperation and isolation of lockdown, the spiral of substance abuse, the pain of broken relationships and survival in self-reliance while summarizing the overall story and mission of NOTHING MORE: Reflect, Provoke, Inspire.

When they released their first single, ‘Give It To Me’, in the summer of 2021, Classless Act were immediately praised for their ability to sound both fresh and timeless. Loudwire instantly added the song to their ‘Weekly Wire’ Spotify playlist, identifying it as one of the top new releases of the summer. Other iconic outlets such as SPIN Magazine were also early to show support. It was a fitting public introduction to a band who embody what it means to be modern rock stars. The band initially formed in 2018 after connecting and bonding virtually by their love and passion of music. Now in Los Angeles, they are united on a mission to be the next great generation-defining act, drawing inspiration from classic rock acts of the ‘70s and alt-rock groups from the ‘90s. Their music echoes the hallmarks of previous generations - anthemic rhythms, shredding guitars, soaring vocals - but punches its way into the future with clever arrangements, sharp musicianship and proficient songwriting. Already making a big noise within the industry, the band have recently been in the studio with world-class producers such as Bob Rock, Michael Beinhorn and Joe Chiccarrelli, who have helped craft hits for the likes of The Red Hot Chili Peppers, Metallica, Soundgarden and The White Stripes. Their debut album coincides with the band hitting the road in North America alongside Mötley Crüe, Def Leppard and others on their 2022 Summer Stadium Tour.

When they released their first single, ‘Give It To Me’, in the summer of 2021, Classless Act were immediately praised for their ability to sound both fresh and timeless. Loudwire instantly added the song to their ‘Weekly Wire’ Spotify playlist, identifying it as one of the top new releases of the summer. Other iconic outlets such as SPIN Magazine were also early to show support. It was a fitting public introduction to a band who embody what it means to be modern rock stars. The band initially formed in 2018 after connecting and bonding virtually by their love and passion of music. Now in Los Angeles, they are united on a mission to be the next great generation-defining act, drawing inspiration from classic rock acts of the ‘70s and alt-rock groups from the ‘90s. Their music echoes the hallmarks of previous generations - anthemic rhythms, shredding guitars, soaring vocals - but punches its way into the future with clever arrangements, sharp musicianship and proficient songwriting. Already making a big noise within the industry, the band have recently been in the studio with world-class producers such as Bob Rock, Michael Beinhorn and Joe Chiccarrelli, who have helped craft hits for the likes of The Red Hot Chili Peppers, Metallica, Soundgarden and The White Stripes. Their debut album coincides with the band hitting the road in North America alongside Mötley Crüe, Def Leppard and others on their 2022 Summer Stadium Tour.

Especial Specials and Chillmountain Recordings present the 2nd EP in the Enjoy Your Self EP, diving deeper into the Osaka based labels music to showcase their roster in detail.

The EP starts with label head, Ground's mesmerising Beatdown meets Trance inducing Utau Narukoyuri. A slow burning, late night trip out for deep parties or 'afters'.

Next, Especial 'favourite' Akio Nagase appears for the first time in the series with the heavy, tribal percussives of Arauma (Kobato Dub). The original link between the Chillmountain and Especial, Akio's name is on the rise and here the heavyweight dub basslines and ethereal, new age flute is perfect for late night dark room, psychedelic adventures.

The label's collaborative approach shines as Equador duo Josefina Gandara and Juan Diego Illescas are welcomed. Members of electronic cumbia project, Categal, his backgrounds in film and sound composition, sound design and visual media, highlights Illescas' mastery of the conscious sounds of the pueblos, working with Ground's dub minimalism, all elevated with the awe and lanquitidy of Gandara's natural vocals.

To end Akira Arasawa returns, here with Kun and Franky-Ch, and a meandering Balearic journey of hazy beats, guitar, Hoomii (Mongolian) throat singing, found sound, bird song and folkloric strings, beautifully together for the perfect come down.

URBAN WARFARE

Music has always been a common means to deal with global events – so does this new release on Snork Enterprises by Lee Holman. Having actually performed in Ukraine shortly before the war, Lee Holman clearly has chosen the title of his new release by purpose. “Urban Warfare” dedicates for titles, all of them bearing names with military connotation, to the recent events in Ukraine and beyond.
The musical means of his choice to process the happenings are raw, straight forward electronic sounds echoing from the underground. His combination of beeping, roaring and crooked tunes creates a dystopian atmosphere in each track – yet, each in its unique way. This makes the release a diverse collection of four tracks of unadorned urban club sounds dashing through present day history.

LEE HOLMAN

An uncompromising underground ethos, Lee Holman has garnered support from a host of Techno's brightest names.
Performing in clubs since the late nineties, he has travelled throughout Europe, North America, South America, Asia and everywhere inbetween, compounding a reputation for his unique vision on Techno. Playing a fusion of deep, raw and energetic electronics, his sound creates a myriad of tension, constructing the perfect combination of musicality for club appearances.
Performances both as a live act and as a DJ have unlocked opportunities to share hallowed ground with Techno’s elite, appearing in prestigious underground venues such as TRESOR Berlin, Corsica Studios London, 8Bahn Arnhem, Sub-Scape Antwerp, Move Medellin, Tag Chengdu, Arkham Shanghai, Nechto events Kyiv + many more.
Production has earned him international recognition, leaving his mark at the forefront, building a reputation for consistency, originality and delivering his dynamic sound on both cutting edge and classic Techno Labels. Generating consistent support, he has remixed for high profile artists such as Aubrey and Gary Beck and has himself been remixed by leading Techno mainstays ranging from Orlando Voorn to Mike Dehnert.
Founding the Kawl Imprint, the label’s aim was to provide diversity in Techno and this formula was immediately picked up on and amounted to rave reviews and impressive charts and plays by leading connoisseurs of the underground.
This year, his releases have been frequent and in demand, with his production skills confirmed for Knotweed Records, Science Cult, Shaded Music, Nechto and more, adding to an already excellent discography.
With an ever expanding release schedule, combining remixes and a new label project called Demarcation, Lee Holman promises to be unrelenting in his definition of essential timeless Techno.

Wah Wah 45s are proud to present a new set of remixes, as well as originals released on vinyl for the very first time, from Afrobeat supergroupEparapo. Having come togetherduring the unprecedented events of the pandemic and the Black Lives Matter movement, and despite being a project born from the privations of lockdown, their music is ultimately an expression of hope, resilience & resurgence.

The word "eparapo" means "join forces" in Yoruba, the language of Afrobeat. It's also the title of a track by the late, greatTony Allen- drummer for Afrobeat legendFela Kutiand lifelong friend and mentor of our very own "Afrobeat Ambassador",Dele Sosimi. Not only did Tony help to invent Afrobeat, he always looked for ways to push the boundaries, never content with recreating what had gone before but constantly expanding and developing the genre. This project hopes to pay homage to his legacy, and that of Fela Kuti himself. Its aim is to innovate, fuse and diversify while still retaining the essence of the music.

The force behind Eparapo is bassist, composer & producerSuman Joshi.He has been a member of Dele Sosimi's Afrobeat Orchestra for nearly a decade and has performed on stage with the likes of Tony Allen, Seun Kuti, Ginger Baker & Laura Mvula. He is also bassist with UK jazz ensemble Collocutor and fusion project Cubafrobeat.

Featured vocalist on both original tracks, and remixes, is the aforementioned Dele Sosimi - keyboard player and musical director for Fela's Egypt 80 as well as Wah Wah 45s recording artist on both his solo material and the recent collaboration with house music producer, Medlar.

The rest of the group comprises of bandleader ofAfrik Bawantuand percussionist for Ibibio Sound Machine and Keleketla,Afla Sackey; highly rated UK jazz vocalistSahra Gure; saxophonist, composer, producer and bandleader of the renowned forward thinking jazz outfit Collocutor,Tamar Obsorn; keyboard player, producer and front man for Lokkhi Terra and Cubafrobeat,Kishon Khan; one of the UK's finest and most in demand trumpeters,Graeme Flowers, who has played with Quincy Jones, Gregory Porter and many more; trombonist for Bellowhead and mainstay of Dele's Afrobeat Orchestra,Justin Thurgur; and finally drummer for Steamdown and Sons of Kemet, as well as the man behind the Nache project,Eddie Wakili Hick.

From London To Lagoswas inspired by a talk given by writerRoberto Savianoat the Hay Book Festival in 2016, just before the Brexit referendum. In it he described the UK as the "most corrupt country in the world". This was a reminder of how the leaders of so-called developed countries, conveniently suffering from colonial amnesia, still point disparagingly at the rest of the world and talk of "endemic corruption" and "Banana Republics". All the while the ill-gotten gains of organised crime syndicates, corrupt multinationals and military juntas across the globe are funnelled through financial centres such as London. Same trouble, different methods, greater scale. Of course the best way to divert the population from all this is to find distractions such as populist leaders who declare their countries "world beating" and scapegoats such as refugees, immigrants and other members of the underclasses. It has always been thus but it doesn't always have to be so.

This track was once more recorded remotely during lockdown and features an all star lineup of world class musicians from the UK Afrobeat and jazz scenes. Members of the Dele Sosimi Afrobeat Orchestra, Keleketla, Sons of Kemet and beyond have come together to create this powerhouse of a band. They encapsulate the meaning of "eparapo" and "join forces'' to fight a common enemy in the shape of corrupt and divisive ideologies.

Its remix comes fromWheelUP- the moniker of West London broken beat revivalist Danny Wheeler, who here delivers something of a smoother straight up Afro flavoured house workout that's sure to be heard across dance floors and festivals this summer. The Tru Thoughts signed artist adds gliding synths and tight drums that ride the original's hypnotic melody perfectly and make for a future club classic.

Black Lives Matterwas obviously inspired by the movement of the same name and was the first track to be released by Eparapo in late 2020. Dele's voice tell the story slave ships leaving West Africa in the fifteenth century, the brutal conditions that were experienced on board, and the continued suffering of the African diaspora today. As always, half of the artist's income for this song will be donated to the NAACP - a civil rights organisation in the United States, created for the advancement of black people by means of following judicial policies.


The remix here comes from Birmingham based producer signed to Jalapeno Records,Sam Redmore. Sam's love for breaks and beats comes into play well here, subtly chopping up the original to create a bass worrying version that still sends that very important message of justice and equality - Black Lives Matter!

a 01: From London to Lagos (WheelUP Remix) feat. Dele Sosimi

[c] 03: Black Lives Matter (Sam Redmore Remix) [feat. Dele Sosimi]

Egg Meat is a new project from London based artists Tooth Rust aka Laurel Uziell and Georgie McVicar, their self-titled EP features poems spoken by Danny Hayward.

The EP features speech-jammed text skittering across insistent rhythms, clipped signals and buzzing, saturated grains. You hear the racket of gunshots, mechanical clutter and punctuating tones that ring out impatiently like an unanswered phone call. Hayward's words at times surfacing as meaningful utterances, at others buried under this dense sonic matter.

The manipulations of voice are also at times so extreme as to render them indistinguishable from the clattering electronics that engulf them. The speech shapeshifts, shudders, and shatters in the way a violin glides and trills above an orchestra. The EP ends with an ambiguous promise: "Don't worry", Hayward assures us, "we'll be back."

It’s more of the same for Happiness Therapy, as the growing French label makes a welcome return to releasing music. This time, Berlin mainstay Marc Brauner lands on the imprint once again, delivering his first full-length HT EP in Amberjack.

Marc Brauner embodies exactly what it means to be a DJ and producer. From Houseum Records to Shall Not Fade, he has crafted a signature, club-driven sound during his near decade long career in dance music. A familiar face on Happiness Therapy off the back of two appearances on Happy House Vol. 3 and Happy House Vol. 4 respectively, Amberjack now marks the next step for the ever talented Berliner.

It’s almost four years since their last opus - two years since the most-recent run
of live shows. Now, Bitchin Bajas return from whatever kind of rare ether they
occupy when they’re at home, bearing the riches of the whole cosmos in their
hands. And strictly OG as well - on cassette only.
 ‘Switched On Ra’ is the outcome of a typical Bajas exercise: pouring some out
for the pioneers that came before (as they’ve done with Bitchitronics and their
participation in the annual Chicago performance of ‘In C’ over the years). It’s a
nice way to get a flow - they play a little of themselves, then some for the
pioneers, then a little more for the band. Before long, they’re playing with the
inspirations twined, as they can only come from within.
 For ‘Switched On Ra’, this meant a deep delve into the song-book of one of their
soul-predecessors, Sun Ra, whose music is literally written in the Bajas DNA.
Digging into this music sounded wild on paper: the drone synth group taking on
the Arkestra harmonies and Ra’s loose grooves? The trick was to get that sense
of rhythm to translate across the spectrum from Ra to Bajas, in a way that
worked for them both.
 Their rearrangements of the tunes went good - up and down the EQ band, they
were finding the round sounds and jagged edges that brought Ra’s music into
their own thing. Then at the last minute, there was another twist - why not pay
tribute to the Queen herself, and think of the arrangements with a Wendy Carlos
vibe? A little side homage? After all, ‘Switched on Bach’ was visionary, bringing
analogue synths from the outside all the way into the mainstream in the late 60s -
and this take on Ra is meant to take him to new ears everywhere.
 Sun Ra of course was his own kind of original keyboard visionary, using electric
keyboards in the late 40s and 50s to fill a role in jazz that had traditionally been
played on acoustic piano only. Once he’d done so, he took his writing in
directions inspired by the electricity, places no one had thought to go before
then.
 Bitchin Bajas have been content to dominate in a microtonal world, usually
without a single chord to be found anywhere. But here, they step up righteously,
their vibe triangulated as they bring Ra’s music forward with some Wendy C
style, making an unexpected space for all to thrive. There’s a real feeling of joy
as these collected signals bounce off the tape and through the speakers into
your space.
 To get this unique colloid exactly right, Bitchin Bajas used nineteen different
keyboards. They abstained from deploying their arsenal of reed and woodwind
instruments: everything had to be on the keys. This meant Yamahas, Rolands,
Korgs, Casios, a MicroMoog and of course their trusty Ace Tone organ. They
even broke out the Crumar DS-2, to have some of Ra’s chosen tone in the mix.
Then Jayve Montgomery added an EWI as a solo voice on a few tunes, just to
get some air-blown signal (and a natural shout out to EWI master Marshall Allen)
in there, after all. It felt like somewhere in the universe, Ra was decreeing it.

Für Fans von: Anathema, While Heaven Wept, Solitude Aeturnus, My Dying Bride, Primordial, Dead Can Dance.
Thy Listless Heart veröffentlichen "Pilgrims on the Path of no return", pünktlich zum Doom-Metal-Newcomer des Jahres 2022! Ein epischer
Soundtrack von Trauer und Sehnsucht auf der Reise ins Ungewisse. Leid, Schmerz, Sehnsucht und Hoffnung, alles verpackt in einem Doom-Metal-Soloprojekt von Simon Bibby.
Nach Erhalt der sieben Tracks, die zusammen "Pilgrims on a Path of No Return" bilden, war Hammerheart Records überzeugt, dass die Welt dieses
großartige Album hören muss.
Thy Listless Heart ist die alleinige Schöpfung von Simon Bibby, der das Album in seinem Haus in Derbyshire, England, aufnahm und dann die Fähigkeiten von Greg Chandler (Esoteric) in den Priory Recording Studios für das Mixing und Mastering in Anspruch nahm. Simon hat einen großartigen
Track-Record im Metal, der bis in die späten 80er Jahre zurückreicht, als er Bassist und später Gitarrist bei Seventh Angel war, die ein paar coole
Thrash Metal-Alben auf Under One Flag Records veröffentlicht haben.
Thy Listless Heart ist etwas ganz anderes; es ist atmosphärischer Metal, gefüllt mit Doom-Elementen und traurigen Melodien, gekrönt von leidenschaftlichem Gesang. Man kann sich vorstellen, dass die atmosphärischen Teile von Primordial auf spätere Anathema treffen, mit einer Prise
Dead Can Dance als Zugabe. Das Album muss in seiner Gesamtheit gehört werden, um die vollen Emotionen und Atmosphären, die es erzeugt,
zu erfassen, es ist in der Tat eine Pilgerreise. Von melodischen, härteren und doomigeren Tracks wie "As the Light Fades" und dem ergreifenden
"The Precipice" bis hin zu Ambient/Folk inspirierten Stücken wie "When the Spirit Departs the Body" und "Aefnian" bis hin zum fast monströsen
(in der Länge) Track "The Search for Meaning" ist alles leidenschaftlich und schön, wenn auch auf eine traurige Art und Weise.

White Vinyl

Technological agitation. Narcissism fatigue. A galaxy of isolation. These are the new norms keeping Weyes Blood (aka Natalie Mering) up at night and the themes at the heart of her latest release, And in the Darkness, Hearts Aglow. The celestial-influenced folk album is her follow-up to the acclaimed Titanic Rising. (Pitchfork, NPR, and The Guardian admiringly named it one of 2019's best.) While Titanic Rising was an observation of doom to come, And in the Darkness, Hearts Aglow is about being in the thick of it: a search for an escape hatch to liberate us from algorithms and ideological chaos. "We're in a fully functional shit show," Mering says. "My heart is a glow stick that's been cracked, lighting up my chest in an explosion of earnestness." And in the Darkness, Hearts Aglow opens with the wistful, winsome "It's Not Just Me, It's Everybody," a song about the interconnectivity of all beings, despite the fraying of society around us. "I was asking a lot of questions while writing these songs. Hyper-isolation kept coming up," Mering says. "Our culture relies less and less on people. Something is off, and even though the feeling appears differently for each individual, it is universal." Other tracks follow in kind. The lullaby-like "Grapevine" chronicles the splintering of a human connection. The otherworldly dirge "God Turn Me into a Flower" serves as allegory about our collective hubris. "The Worst Is Done" is an ominous warning, set against a deceivingly breezy pop melody. "Chaos is natural. But so is negentropy, or the tendency for things to fall into order," she says. "These songs may not be manifestos or solutions, but I know they shed light on the meaning of our contemporary disillusionment."

Technological agitation. Narcissism fatigue. A galaxy of isolation. These are the new norms keeping Weyes Blood (aka Natalie Mering) up at night and the themes at the heart of her latest release, And in the Darkness, Hearts Aglow. The celestial-influenced folk album is her follow-up to the acclaimed Titanic Rising. (Pitchfork, NPR, and The Guardian admiringly named it one of 2019's best.) While Titanic Rising was an observation of doom to come, And in the Darkness, Hearts Aglow is about being in the thick of it: a search for an escape hatch to liberate us from algorithms and ideological chaos. "We're in a fully functional shit show," Mering says. "My heart is a glow stick that's been cracked, lighting up my chest in an explosion of earnestness." And in the Darkness, Hearts Aglow opens with the wistful, winsome "It's Not Just Me, It's Everybody," a song about the interconnectivity of all beings, despite the fraying of society around us. "I was asking a lot of questions while writing these songs. Hyper-isolation kept coming up," Mering says. "Our culture relies less and less on people. Something is off, and even though the feeling appears differently for each individual, it is universal." Other tracks follow in kind. The lullaby-like "Grapevine" chronicles the splintering of a human connection. The otherworldly dirge "God Turn Me into a Flower" serves as allegory about our collective hubris. "The Worst Is Done" is an ominous warning, set against a deceivingly breezy pop melody. "Chaos is natural. But so is negentropy, or the tendency for things to fall into order," she says. "These songs may not be manifestos or solutions, but I know they shed light on the meaning of our contemporary disillusionment."

Finding beauty, where one wouldn’t suspect it in the first place. Discovering music, where there used to be only sound a moment before. Forming an orchestra out of everyday surrondings, the main thing out of the incidental, the fulfilling momentary situation out of the profane togetherness. All of this is part of the goal, meaning and sense of Oh No Noh, the project of Leipzig based guitarist, robot programmer, magnetic tape crumpler and composer Markus Rom.
All of this floats and shines through "Kanzi".

Tape

Finding beauty, where one wouldn’t suspect it in the first place. Discovering music, where there used to be only sound a moment before. Forming an orchestra out of everyday surrondings, the main thing out of the incidental, the fulfilling momentary situation out of the profane togetherness. All of this is part of the goal, meaning and sense of Oh No Noh, the project of Leipzig based guitarist, robot programmer, magnetic tape crumpler and composer Markus Rom.
All of this floats and shines through "Kanzi".

The Person is back on the dancefloor and she brought the delicious Australian version of a good old Italian recipe - ITALOZ DISCO. Mouthwatering rhythms spiced with everyday hustle, cosmic boogie and the extra dose of synthesizer! Changing the Meatballs for Oddballs to worship the Magic $ properly. Sull' alto lato (aka on the B-Side) we're changing the Oddballs for the Mothballs as the one and only Hysteric warms up the magic ragout in his unique steam-powered kitchen. Now go to work!

You still need to be convinced? Take these great lines by Patrick:
"Magic $" beams into the discotheque direct from deep space; a shimmering body of squelching bass, nebulous pads and snapping percussion which hosts Minna's bewitching vocals. The arch delivery and vintage sequences flirt with kitsch, but that playful genius particular to The Person pushes this into wonderfully wonkier territories. Basslines climb, keys collapse and the whole thing chugs and bubbles through a flawless arrangement. We thought they didn't make them like this anymore, but we were wrong. Stepping in on remix duty, renowned (Moth)baller Hysteric turns out a treatment that's worth a million bucks, boosting the bottom end with an acidic sequence, supercharging the percussion and punching in some strange sampler fun to guarantee utter club chaos.
Every superhero needs a theme song, and "The Person" sees Minna step away from the dancefloor to deliver a synthetic ballad for lucid dreamers everywhere. Jamming on top of a malfunctioning Jomox, Minna channels chimes, piano and a gentle chug into the classiest chord progression this side of Mike Francis. Closing cut "Go To Work" gives us neon lights and nighthawks as The Person indulges in a little Antipodean electro, proving once and for all that Australians Do It Better.

Felix Laband’s The Soft White Hand is the masterwork of an artist who expresses himself through musical and artistic collage acting together to reinterpret his sources and to express significant elements of his own personal story.

Released by Munich-based Compost Records, the 14-track album is Laband’s first full-length offering since the critically acclaimed Deaf Safari in 2015. It is heralded by the single “Derek and Me”, and is being pressed on vinyl for distribution globally.

In The Soft White Hand Laband works with source materials that will be familiar to those who know his previous four records – Thin Shoes in June (2001), 4/4 Down the Stairs (2002), Dark Days Exit (2005) and especially Deaf Safari which reached deep into the South Africa scene and its political culture to inspire its vocal and music sampling. However, the disengagement he felt from his homeland during his latest album’s creation – an abiding sense of untethered-ness to place and space, exquisitely rendered in tracks like “Death of a Migrant” – is perceptible in Laband’s desire to illuminate instead aspects of his own life.

“For this album, my source material became almost autobiographical as opposed to African statements I’ve worked with previously,” says the artist. “I have sampled a lot from documentaries from the 80s crack epidemic in impoverished African American communities and believe my work speaks unapologetically for the lost and marginalised, for those who are the forgotten casualties of the war on drugs. In the past, I have had my issues with substance abuse, and I know first-hand about the nightmares and fears, what it feels like to be isolated and abandoned.”

Few artists have managed to air these intimate aspects of their life so luminously as Laband does in tracks like “5 Seconds Ago”, “They Call Me Shorty” and in the strange and meditative “Dreams of Loneliness”. “I’ve been building this weird, autobiographical story using other people talking. It’s kind of humorous but it is also sad and beautiful,” says Laband.

Yet, as in all of Laband’s recorded output, the delineations between emotions are never starkly drawn and The Soft White Hand is also shot through with beauty. Nature appears in recordings made in his garden in the intimate early morning hours, whether as in the calls of the Hadada Ibis and other birdsong in “Prelude” or of the vertical-tail-cocking bird in “Derek and Me”. The last is a wonderful track with Derek Gripper, the South African experimental classical guitarist of international renown, whose 2020 song “Fanta and Felix” imagines a meeting between Fanta Sacko and Laband.

Laband’s eloquence in reinterpreting classical composers such as Beethoven in “We Know Major Tom’s a Junkie” is another thrilling aspect of the new record. “I’ve been properly exploring classical music on this album,” explains Laband, “taking melodies from classical compositions and reinterpreting them”. A fresh quality comes to his work through this sonic adventuring: the tender manipulation of the mundaneness of the computer’s AI voice to reimagine and reinvent iconic lyrics and melodies in strange and unexpected configurations.

The Soft White Hand is Laband’s most cohesive body of work to date. Yet it remains, in its sheer artistic scope, impossible to describe fully. Darkness abuts the gossamer light. A song that summons the sunrise and all the hope of a new day could also be about the final dipping down of the sun that portends a troubled night ahead. Interludes are invitations to expand outwards or shift inwards. Mistakes and “weird fuckups” in the sound are cherished as convincing statements against what Laband calls the “grossness” of perfect sound in modern music.

For this world-leading electronic artist, the boundaries are unfixed. He is inspired by the German Dada artist, Hannah Höch, who memorably declared: “I wish to blur the firm boundaries which we self-certain people tend to delineate around all we can achieve.” His music consequently reflects a primal artistic impulse that is also visible in Laband’s considerable visual art output as seen recently in several solo exhibitions such as that held in the No End Gallery in Johannesburg in 2019 and in the works he produced during his 2018 Nirox Foundation Artists Residency. “My music is always about collage, as is my art,’’ he affirms. “Everything I do is collage. It is a medium I find very interesting because you are taking history and distorting it and changing its meaning and turning it upside down and back to front.” In her book Recollections of My Non-Existence, Rebecca Solnit calls collage “literally a border art”; it is “an art of what happens when two things confront each other or spill onto each other”.

With The Soft White Hand, Laband is confirming his singular ability to achieve this in both art and music, melting the divisions between the two creative disciplines until they become one. He is also affirming his belief that an album of music should be more than a collection of unrelated tracks, but should unfold a fully integrated, cohesive story as in the song cycles of the great classical composers. In doing so, he claims his position as one of the most significant artists working today.

Artist Statement – Felix Laband – August 2022

When the Khmer Rouge took their captives for processing, they identified their class enemies by looking at their hands. If they were sunburned, rough and calloused, they were those of a peasant, a proletarian to be spared. But if they were soft and white, then they were those of a city-dweller, an intellectual or bourgeois, an adversary to be liquidated.

In calling this album The Soft White Hand, I was reflecting on the Cambodian genocide and how it resonates in contemporary South Africa. The apartheid era is over, and gone with it is white political domination. Yet economic and social privilege is still held in soft white hands. But those who grasp it know just how tenuous is their hold, how it singles them out, and my music reflects their subconscious fears, the stress and guilt of clinging on to what others envy and desire.

The soft white hand of the title suggests to me a further image, one that relates to all of postcolonial Africa. In my mind’s eye, I see the soft, duplicitous handshake of the smooth representatives of the superpowers making deals and promising gifts that benefit only them, and not their African dupes.
Yet, soaring above the wailing of sirens sampled from the first day of the invasion of Ukraine, my music is also about love gained and passion lost. It is about the tender caress of a soft white hand that conducts you into a place of dreams to be enfolded by nocturnal melodies.

Essentia is not only the latin word for – you guessed that right – essential, but also the name of Krystal Klear’s return to Running Back. While trance might be a state of mind (according to DJ Dag), it’s also a tone theory with a very specific tool kit. Here you get the version that makes sense in the aural universe of a producer that got raised on a diet of hip hop, boogie and the foundation tunes in house music. Moderate in tempo, the result is still euphoric to say the least: melted brains, stimulated spinal cords and rave rampage included. Essentia balances the euphoric rush of its topical genre perfectly with the happy-sad moments after the rave. If that is not musical or emotional enough for your taste, you will find content in the Sunrise version. Excessive use of the well-beloved choir, breakbeats and - downs make it equally irresistible for sun-ups and love-ups.

Flip the coin for Winnies Karaoke. Stemming from the same source and session as Essentia. Named after the interactive entertainment bar in Chinatown NYC and made sometime in the early morning hours, its the quintessential Krystal Klear. Sawtooth boogie, if you will. It’s counterpoint is the Sundown mix. Techno prog for the tilted generation.
Sometimes, in the permanent search of happiness, the world of tomorrow needs the sound of yesterday made with the means and minds of today. Essential bliss.

4 Cuts Placed In "A First Quarter", the companion piece to Solos, is the sonic result of a collaboration with artist Lawrence Weiner. As Landry remembers, “I was working for Keith Sonnier at Castelli Gallery and met Lawrence. He asked ‘can you make a video for me?’ So we did "To and Fro..." At some point he was working on "A First Quarter" (1973) and wanted me to do the music. I said ‘I already have the music.’ He said ‘what do you mean?’ I had recorded several pieces with Kurt Munkcasi and walked around the set playing the music on a boom box.”

The set features one solo each by Landry and contrabassist Rusty Gilder, a duo for the tenor saxophones of Landry and Richard Peck, and an ensemble piece for Landry, Peck, Gilder, trumpeter Robert Prado, and drummer David Lee, Jr. Starting the record off is “Requiem for Some,” inspired by Gil Evans’ long, placid tones. The anchor is Lee’s dry cymbal attack and fancy footwork, dancing around overlapping and recombining horns, chords held just shy of splintering. “4th Register” is a grainy delayed solo tenor piece, presaging “Kitchen Solos” from Fifteen Saxophones by several years. “Piece for So” was, according to Landry, “a chance to give Rusty a solo”. Mostly known as an ensemble bassist, Gilder bounced between Lafayette, Charlotte, and New York, leaving a slim recorded legacy. Here, he stretches out for twelve minutes and change – with keen upper register detail and meaty up-tempo walk, he could have been mentioned in the same breath as players like Dave Holland and Barre Phillips. The closing “Duo Vivace” finds Landry and Peck sparring on tenors, the latter holding a melodic line while Landry leans into explosive glossolalia, until both become birds in flight.

Dickie Landry & Lawrence Weiner's Having Been Built on Sand was conceived as a vinyl edition and released by the Rüdiger Schöttle gallery in Munich with sleeve design by Weiner. The piece consists of eight untitled tracks. Lawrence Weiner, Tina Girouard, and Britta Le Va recite text with Dickie Landry’s woodwinds, all recorded in the natural reverb of Robert Rauschenberg’s studio, a former mission and chapel in Lower Manhattan. Layering Girouard in English, Le Va in German, and Weiner in English and German blocks of related or physically proximal texts repeat, invert, and intersect with Landry’s music as a constant. The layers of text and sound have meanings that fluctuate in complexity and scope, and like much of Weiner’s work, beyond mere facts.

The first piece is a trio for Landry’s keening tenor, repeating winnowed but breathy lines that contrast with and buoy Le Va’s clear, husky phrases, building in intensity as Weiner, in English, offers statements that are caught just off mic. The third cut adds Girouard, and one can hear woven parallels in the two women’s voices, cadences, and pitches, with Weiner’s cutting inflection dancing amid them. Landry’s bass clarinet is rich in its warble, full and gentle with woody footfalls that demarcate shapes through the chorus. Vocal rhythmic cycles, wordless in nature, are the energy that courses through the fourth song, urgent and sweaty as Weiner recites statements of political position in the Middle Ages, Le Va declaiming alongside in German. On soprano saxophone for the fifth tune, Landry pierces and darts in a bright manner in a private dialogue with himself, echoing Steve Lacy as female voices nearly bury one

Thy Listless Heart to release “Pilgrims on the Path of no Return”, just in time for 2022’s Doom Metal newcomer of the year! An epic soundtrack of sorrow and longing as we journey into the unknown. Sorrow, pain, yearning and hope all wrapped up in a solo Doom Metal project by Simon Bibby. Upon receiving the seven tracks which together make “Pilgrims on a Path of No Return”, Hammerheart Records was convinced that the world needed to hear this great album. Thy Listless Heart is the sole creation of Simon Bibby, who recorded the album at his home in Derbyshire, England and then enlisted the skills of Greg Chandler (Esoteric) at Priory Recording Studios for mixing and mastering. Simon has a great track-record in creating Metal dating back to the late 80’s when he was bassist and later, guitarist in Seventh Angel, who released a couple of cool Thrash Metal albums on Under One Flag Records. Thy Listless Heart is a different entity; it is atmospheric Metal, filled with Doom elements and sad melodies, crowned with passionate singing. Think as if the atmospheric parts of Primordial meet later Anathema, with a pinch of Dead Can Dance thrown in. The album needs to be heard in its entirity to get the full emotions and atmospheres it creates, it is indeed a pilgrimage. From melodic, heavier and doomier tracks as “As the Light Fades” and the grasping “The Precipice” to ambient/folk inspired pieces as “When the Spirit Departs the Body” and “Aefnian” resulting in the almost monstrous (in length) track “The Search for Meaning”, it is all passionate andbeautiful, although in a saddened way.

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

With Echo’s Reach Isla Craig presents a sophisticated set of compositions that perfectly wrap her Highland influenced melodies in an organic blanket of musical peat formed from a mix of jazz, R&B and psychedelic folk. Leading a band of Toronto’s finest including Ted Crosby (sax) Mike Smith (bass) and Evan Cartwright (drums), Isla showcases her affecting vocal presence that has made her an in-demand collaborator with artists such as Jennifer Castle and The Cosmic Range. An autumnal record influenced by the power of nature often found steps away from city streets, a diary of days spent within the valleys of Toronto, the moors of Scotland and the Irish countryside, Echo’s Reach is a tribute to the infinite and the resilence of those who forever seek to understand its meaning. Genre: Alternative / Folk / Singer-songwriter Listen: https://s.disco.ac/honhrdcdqjal Track list: 1. Song For Boots 2. Moon 3. Spider Owl 4. Spirit 5. Psyche (Valley, Girl) 6. I Went Looking 7. Weather 8. Young Woman 9. Psyche (Valley, Girl) reprise

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

The Jive Aces are the UK's top jive and swing band and are renowned for their high-energy jump jive and spectacular stage show in their hallmark yellow suits. The band’s repertoire stretches from the timeless tunes of the swing era to the glitz of the Rat Pack, with a dash of rhythm & blues, swinging jazz and the roots of Rock ‘n’ Roll and Elvis.
Originally forming in London the band gained steady success year by year and are the first live band to reach the semi-finals of "Britain’s Got Talent" famously putting grumpy Simon Cowell “in a good mood”. This was followed by a performance to the late Her Majesty The Queen as part of her Diamond Jubilee celebrations. They are unquestionably the UK’s finest band in their genre.
They performed at hundreds of festivals including Glastonbury, Montreux Jazz Festival and The Hop Farm Festival to name a few. They also headlined and sold out the first ever swing dance at the Royal Albert Hall. By popular demand the band will be featuring in their own show in London’s West End at the Aldwych Theatre this December.
During the pandemic, the band performed consecutively for over 500 days with free concerts on line to cheer people up and help get through the tough times.The band has a one month US tour scheduled for 2023 and diary full of shows throughout UK and Europe. They are in constant demand.

FIRST VINYL (VOL. 1)
SIDE 1:
1. I’m Gonna Sit Right Down And Write Myself A Letter
2. On A Slow Boat To China
3. Sweet Sue, Just You
4. On The Sunny Side Of The Street
5. Jeepers Creepers
6. It’s Been A Long, Long Time
SIDE 2:
7. I Can’t Give You Anything But Love
8. It Had To Be You
9. Wrap Your Troubles in Dreams
10. Ain’t She Sweet
11. I’m Confessin’ That I Love You/ It’s Only A Paper Moon
12. Ain’t Misbehavin’

SECOND VINYL (VOL. 2)
SIDE 3:
1. Rock ’n’ Roll Movie Star
2. Feeling Happy
3. Mama, He Treats Your Daughter Mean
4. No. 13 (Fruit Boots)
5. Choo Choo Ch’Boogie
6. Giddy Up A Ding Dong
SIDE 4:
7. Bad News
8. Alright, OK, You Win
9. I Want You to Be My Baby
10. Rock ’n’ Roll Boogie
11. Ain’t Nobody Here But Us Chickens
12. Jump, Jive and Wail

Re-mastered from the original master tapes.
180 gr vinyl pressed by Optimal in Germany using the Metal Mothers from Pallas.

Facsimile reissue using the original photo by Jean-Pierre Leloir.
Double insert using an original color photo by JP Leloir.
Each record has been visually checked to prevent defects.

Recorded October 22, 1958, Olympia hall, Paris.
Original LP issue: Brunswick 87 903.

“They’d been living in Europe for months. They’d appeared in Cannes and at Knokke (…) yet the only thing missing was the consecration that a great concert in Paris would bring. They won that last battle with astounding brio, in front of an audience of connoisseurs. There were many there who thought modern jazz had never been so well- served in Paris.” (Jazz Magazine). Hard bop had arrived! Hallelujah! On its first French appearance, in July ‘58 at the Cannes Festival – the first and only Cannes jazz festival – the Donald Byrd Quintet had brought the house down. Yet four of its five members were relatively unknown in France… The French knew that the leader had replaced Kenny Dorham in the Jazz Messengers, that Doug Watkins was the Messengers’ bassist, and that pianist Walter Davis Jr. was still only 18 when he’d played with Charlie Parker. As for Art Taylor, even if his name meant something to fans, it was still difficult for people to have a more precise idea of his musical qualities. Only Bobby Jaspar was well-known to Paris audiences, and the tour marked the return of the prodigal son, the musician who’d decided, after setting the Club St. Germain on fire, to try his luck in the States early in 1956 – J.J. Johnson had hired him, and then Miles Davis (for a short spell) before Donald Byrd brought him into the group he was taking to Europe. This new tour would climax at the Olympia theatre during one of the “Jazz Wednesdays” that were organised there, ever since the Jazz At Carnegie Hall” tour – Zoot Sims, JJ. Johnson, Lee Konitz, Phineas Newborn – had inaugurated the series a little earlier. Byrd and his band took pains not to disappoint a Paris audience they knew to be particularly fickle, and they astutely varied the public’s pleasures throughout the evening. The complicity that united the rhythm section – Walter Davis Jr., Doug Watkins and Art Taylor – was much in evidence on Ray’s Idea; mistrusting the traps of the spectacular at all costs, Donald Byrd, producing brilliant inventions on the trumpet, took the lion’s share of the honours on a theme that was then much in fashion, Dear Old Stockholm, adapted from a Swedish traditional song; on Flute Blues, Bobby Jaspar proved he was still a specialist on that instrument, and Paul’s Pal showed that, on tenor, the playing of Sonny Rollins hadn’t gone unnoticed. It must be said that it didn’t have much effect on the discreet lyricism underlying the choruses he played during his “St. Germain” period. The Olympia spectators weren’t sparing in their applause for the five musicians. How else could they have reacted, faced with the fire the band showed during a tune like The Blues Walk? It wouldn’t take much for us to applaud, too, even if it is fifty-five years later…
Text – Alain Tercinet

Anchor and Adjust is the debut album from, Australian synth-pop duo
Syzygy; Rebecca Maher and Gus Kenny both formerly of beloved
Melbourne synth-punk band Spotting
This new project explores a more unadulterated electronic aesthetic combined
with an unabashed pop sensibility.Gus was listening to a lot of 80s synth music
and minimal wave, while Bec was deep into mainstream 80s pop divas and new
wave. The resultant album sits at a crossroads of genre. The melodies of new
wave pop meet the synth tones of 80's coldwave, the vocal dynamics of postpunk and the DIY ethos and raw edges of punk. Layered synths twist and weave.
Featuring celestial, emotive vocals, the album is often bright and upbeat,
danceable, but also moody, thoughtful and clever. It is sparkling and edgy
electronic pop.
The album's lyrics explore the power dynamics in relationships, including the
relationship with yourself. It is about control and being controlled. Attempts to
unravel years of ingrained behaviour and decision making to try and see the world
another way. It yearns for clarity, asking questions and searching for definitions to
try to understand what is perception, what is manipulation and what is truth.
I was speaking to myself, through myself. Both aware of having these feelings
and disconnected from how they were making me feel. Making this record
allowed me to create order and meaning. It was both my wake up call and my pep
talk for changes I desperately needed in my life. Rebecca Maher. Pressed on
Transparent Purple Color vinyl.
GENRE : Synth-pop, Electronic, Darkwave

Miet, the solo project of musician Suzy LeVoid, was born out of a form of absolute urgency, to make music at all costs Self- taught, when she started playing bass in 2013, the desire to compose and perform on stage quickly led her to create this one-woman band, where the bass
and the voice are the foundations of a raw, sincere, skin-deep music.Only backed
by a looper, she writes and performs alone, and quickly made her way onto the
French stages, appearing alongside Jeanne Added or Shannon Wright.
Although she's always alone on stage or in the studio, Miet expresses how much
the discovery of otherness nourishes her creation, to the point of having chosen
for this second album, still in English, a title in German 'Auslander'. For the
Nantes-based singer, this term means the magic of an unexplained but familiar
word. This "foreigner", or more exactly this "other", seems to take on the
appearance of a character that we learn to discover throughout the ten tracks of
the album.
Suzy LeVoid's newest offering is full of her unique signature sound : abrasive
rock, a deeply personal blend of sound loops, hypnotic rhythms and powerful
distorted bass lines. Strongly inspired by the work of Walt Whitman, Miet, like the
American poet, subtly uses repetition to give a hypnotic character to her lyrics.
This feeling of hypnosis is largely accentuated by the sequence of sound loops,
creating a perception of an infinite cycle and thus giving birth to an almost
mystical atmosphere.

MATTERS UNKNOWN is the new project led by multi-instrumentalist and
composer Jonny Enser.We Aren't Just is the debut album from MATTERS
UNKNOWN – Jonny Enser from Nubiyan Twist's solo project
Over 14 tracks, it travels through Afro- jazz, celestial blues, soulful funk,
electronica, hip hop referencing influences such as Mulatu Astatke, Pat Thomas
and Tony Allen all of whom he has worked with via Nubiyan Twist.This album
features some of the UK's finest young players including members of Nerija, Noya
Rao, Golden Mean and COLECTIVA. For fans ofJazz is Dead and Emma- Jean
Thackray. Every track on the album is inspired by a facet of Jonny's personal
development; drawing from his relationship to the city, whether in the delta
regions of the Mississippi river or along London's arterial Thames. The album is a
material testament to the flexibility inherent to MATTERS UNKNOWN; it can be
orchestrated to accommodate a 15-strong orchestra, replete with a string section
to move you to the dancefloor as Jazz originally intended, or stripped down to the
bare bones of a trumpet and tuba- led quartet whose intentions remain all the
same; to pierce into the audience's soul.
Jonny is honest, often laying bare his personal plights with his physical disability
and mental health, and the steep – yet rewarding – uphill climb as a musician and
Jazz instrumentalist. We Aren't Just is a multi- faceted study of the self, one's
relationship with the external world; the material, and the living within the inert.

It’s been a great year for Andy Blade & Eater. Ant was released worldwide through Cleopatra, some high-profile gigs with Dinosaur Jr, Jah Wobble and U.S up and comers The Darts and more to come now big boys AEG have taken the band onboard to secure gigs. As usual singer Andy Blade is doing it in his own inimitable way; not for him a backing band of septuagenarians. Instead, he’s got in some young pistols called Jo Jo & The Teeth (a band in their own right) which give the songs an intensity and relevancy beyond your traditional punk audiences meaning the sky’s the limit for the band. The new Eater single on Antenna is original Eater’s version of Alice Cooper’s classic ‘Eighteen’ but renamed after their average ages at the time 'Fifteen'. It’s backed by the controversial 'Why Don’t You…?' (censored version). Both tracks are not on 'Ant' and like 'Ant' features the found Dave Goodman remixes/missing guitar parts. The single is in translucent clear vinyl and colour picture bag with 2 sided lyric insert. The Deluxe version includes a signed A3 folded poster & CDR with rare live Eater Tracks, Andy Blade solo stuff and hilarious audio book excerpts from his acclaimed 'Secret Life Of A Teenage Punk Rocker'. Again done in his own way! Andy Blade "Fifteen is an outtake from the Ant sessions (too many covers). We made Alice’s song our own. The guitars lift it from crucification to glorification. Punchy as fuck. The flip side, Why Don't You? Is a song people will know with a word we can't say anymore."

It’s been a great year for Andy Blade & Eater. Ant was released worldwide through Cleopatra, some high-profile gigs with Dinosaur Jr, Jah Wobble and U.S up and comers The Darts and more to come now big boys AEG have taken the band onboard to secure gigs. As usual singer Andy Blade is doing it in his own inimitable way; not for him a backing band of septuagenarians. Instead, he’s got in some young pistols called Jo Jo & The Teeth (a band in their own right) which give the songs an intensity and relevancy beyond your traditional punk audiences meaning the sky’s the limit for the band. The new Eater single on Antenna is original Eater’s version of Alice Cooper’s classic ‘Eighteen’ but renamed after their average ages at the time 'Fifteen'. It’s backed by the controversial 'Why Don’t You…?' (censored version). Both tracks are not on 'Ant' and like 'Ant' features the found Dave Goodman remixes/missing guitar parts. The single is in translucent clear vinyl and colour picture bag with 2 sided lyric insert. The Deluxe version includes a signed A3 folded poster & CDR with rare live Eater Tracks, Andy Blade solo stuff and hilarious audio book excerpts from his acclaimed 'Secret Life Of A Teenage Punk Rocker'. Again done in his own way! Andy Blade "Fifteen is an outtake from the Ant sessions (too many covers). We made Alice’s song our own. The guitars lift it from crucification to glorification. Punchy as fuck. The flip side, Why Don't You? Is a song people will know with a word we can't say anymore."

Three-time Grammy nominees, the San Antonio, Texas-based quartet NOTHING MORE return with their highly awaited seventh album, 'SPIRITS'. It features thirteen focused, adventurous and intense songs, uniting introspective philosophical lyrics with unapologetically massive anthems, including the in-your-face 'TURN IT UP LIKE (Stand In The Fire)', their most recent Top 10 Billboard Active Rock radio single 'TIRED OF WINNING'. Since emerging in 2003, NOTHING MORE has made rock radio chart history with no. 1 singles for both 'This is the Time (Ballast)' and 'Go To War', while they also have seven Active Rock Radio Top 10 singles in their repertoire. 'SPIRITS' further proves their expertise in the rock genre and beyond. It documents the tumultuous time the world experienced over the past two years capturing the desperation and isolation of lockdown, the spiral of substance abuse, the pain of broken relationships and survival in self-reliance while summarizing the overall story and mission of NOTHING MORE: Reflect, Provoke, Inspire.

Three-time Grammy nominees, the San Antonio, Texas-based quartet NOTHING MORE return with their highly awaited seventh album, 'SPIRITS'. It features thirteen focused, adventurous and intense songs, uniting introspective philosophical lyrics with unapologetically massive anthems, including the in-your-face 'TURN IT UP LIKE (Stand In The Fire)', their most recent Top 10 Billboard Active Rock radio single 'TIRED OF WINNING'. Since emerging in 2003, NOTHING MORE has made rock radio chart history with no. 1 singles for both 'This is the Time (Ballast)' and 'Go To War', while they also have seven Active Rock Radio Top 10 singles in their repertoire. 'SPIRITS' further proves their expertise in the rock genre and beyond. It documents the tumultuous time the world experienced over the past two years capturing the desperation and isolation of lockdown, the spiral of substance abuse, the pain of broken relationships and survival in self-reliance while summarizing the overall story and mission of NOTHING MORE: Reflect, Provoke, Inspire.

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

Not every two-year period measures out the same, noted Brendan Benson, the 51-year old Grammy-nominated singer-songwriter and co-founder of The Raconteurs. Benson had just finished his well-received seventh album, "Dear Life" in 2019 when his world came to a stop. "I was rehearsing for South-By-Southwest and gearing up for a tour and had a band ready and then, of course, the world shut down," he said in a recent interview. The lockdown then began to reroute lives, societies and ambitions worldwide. "Everything changed," Benson said. "I went to work on some songs so I"d have new material when things opened up." Over months with minimal interactions, those songs coalesced and took on lives of their own, he said. Two years of semi-isolation, of fading relationships, of the natural inward turn that comes with less human contact unexpectedly pushed Benson"s song-writing into new places. Instead of being an afterthought, Benson"s solitude evolved into, "Low Key" the eighth album by the idiosyncratic songwriter who has enjoyed both world-wide popularity with the Raconteurs and a devoted cult following for his numerous solo projects. Low Key, the Nashville-based artist said, was his chance to explore how lives and relationships changed during the lengthy isolation from the normal interactions of everyday life.

REISSUE

Spanky Wilson has a famously powerful voice but that is matched by just as potent a horn section, with some added staccato guitar chords and a super groovy rhythm section here on this much warranted reissue. She is a conduit for "The Funk' here with a mega fine vocal performance time after time on this well curated selection of classic covers. The likes of The Doors' 'Light my Fire', Cream's 'Sunshine of your Love' and 'Loveland' are all included and stand right out. Each one shows a different but equally essential side to the voice of Spanky Wilson. All tunes have been newly remastered for this release by P-Vine.

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

Super Duper ­- get it?

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