Suche:middle of the road

Orange Vinyl. Middle of the Road was formed by original lead singer Sally Carr, drummer Ken Andrew, guitarist Ian McCredie and his bassist brother Eric McCredie on 1 April 1970 in Glasgow, Scotland. They had already played together under the name Part Four since 1967 and later in Latin American style under the name Los Caracas. Under the name Los Caracas they won the UK TV talent show Opportunity Knocks. They moved to Italy in 1970 because they had not found success in the United Kingdom. There they met the Italian music producer Giacomo Tosti, who gave the band their distinctive sound and gave them their international break.

Orange Marble Vinyl. Middle of the Road was formed by original lead singer Sally Carr, drummer Ken Andrew, guitarist Ian McCredie and his bassist brother Eric McCredie on 1 April 1970 in Glasgow, Scotland. They had already played together under the name Part Four since 1967 and later in Latin American style under the name Los Caracas. Under the name Los Caracas they won the UK TV talent show Opportunity Knocks. They moved to Italy in 1970 because they had not found success in the United Kingdom. There they met the Italian music producer Giacomo Tosti, who gave the band their distinctive sound and gave them their international break.

Eric Gales' 2017 album 'Middle Of The Road' repressed on green/blue
vinyl

Eric Gales just may be the ultimate under- the- radar superstar in rock history. Throughout his 25 years as a professional musician, he's been termed a child prodigy, "the most underrated guitarist in history," and even the successor to Jimi Hendrix. He's released almost 20 studio albums under his name to date, played with fellow greats ranging from Eric Johnson to Carlos Santana, and contributed
to a variety of projects showcasing his ability to command virtually any musical
genre with ease.

This vinyl re-issue will coincide with the release of Eric Gales' new album Crown

'Middle of the Road Less Travelled' is not only the debut release by Michal Turtle on Light of Other Days, it is also his first new material released since the amazing reissues put out by Music From Memory in recent years. The three tracks on this EP were written and produced by Michal in 2017 with additional production and guitar playing by Light of Other Days' very own HOVE.

The two met back in 2016 when HOVE contacted Michal after he heard the 12' «Are you Psychic» and was blown away. As it turned out Michal was living in Basel which is only a short train ride away by train from the Light of Other Days home base in Zurich. The two started meeting and playing music together. Soon after, they put together a live-show for Michal's music which had its debut show at Phono Festival in Denmark in 2017. During this time, they started working on new music together as well. The result is this EP.

The music on 'Middle of the Road Less Travelled' is a continuation of Michal's musical exploration into other-worldly territory. Michal is a master in building hypnotic textures from repetitive rhythms that collide with trippy and atmospheric synthesizers. The delayed and dubby guitar lines by HOVE were recorded during rehearsal sessions in Michal's living room in Basel and the last track of the EP 'Agallo (Real)' ends with vocals performed by Lucianne Lassalle. Besides playing in local bands with Michal back in the 80s, Lucianne also performed and co- wrote early Michal Turtle tracks like 'Phantoms of Dreamland' or 'Village Voice' from his first record 'Music from the Living Room'.

LP reissue. Pressed on 180gm black vinyl. Boney M's 1978 third LP, which contained the hits "Rasputin", "Rivers of Babylon" and "Brown Girl in the Ring"

Words from the label:

High-octane DC techno drawing from the city’s current atmosphere of tension and angst.

After a peaktime 002 release on Floorspeed just 8 months ago, DC resident techno heads James Bangura & JR2k kick it up a notch with a round 2 of wall-to-wall intensity.

JR2k goes 0 to 60 on the A side with “Hardcore DC” and “Fever Dream” – both tracks road-tested, lifted straight from live set performances earlier in the year and ready to burn a hole through a soundsystem near you. Explosive, relentless and uncompromising techno from the mind behind the label.

Bangura enters the picture on the flip side, combo-ed with JR2k on “Accentuator” – a classic slice of 1⁄2 bar loop hard groove techno conceptuality reminiscent of 2000s Oliver Ho & James Ruskin collab heaters. “Defiance” finishes on a heavy beatdown note, with an extended middle breakdown to emphasize the tension and release of this 4-tracker.

Operating on the fringes of pure improv, organised chaos, minimal composition, lo-fi electronics and Italian spaghetti westerns, wide-eyed and with a healthy dose of DIY aesthetics lies the world of Jaan. It’s a poetic & cosmic universe, exploring “discreet music” whilst wandering on the edges of the Cat People soundtrack & Brian Eno’s more experimental output, in which you might yourself find floating, wandering or in the middle of a market place.

Jaan is a collective of one, a deliberately anonymous activistic unit with strong ties to the international art scene. Purposefully bypassing the know-it-all of the the internet & embracing the bygone mystery of dusty old archives and deep-dive searching, remarkably little is known about this project. Jaan is lead by veteran experimental sonic alchemist Jaan; they operate between Greenland, the Middle East and Europe, with frequent associates Lisqa, Mashid & Schneorr N. acting as local hubs for collaboration and exploration.

The purpose of this wilful obscurity: full focus on the actual music, whether live events or on recordings. Which brings us to Baghali, their first for World of Echo. It’s a deeply personal album, much like slowly browsing old family albums filled with vaguely remembered tales, some still very much present, some faded, leaving but a ghost-like reflection of what once was. Baghali was compiled over the course of a year on the road, trapped in snow storms, waiting for cancelled flights and stuck rides. It’s made up of snippets of diary, quick recordings on road sides, abandoned buildings, garden ruins, vast desert and focussed studio sessions, following a collage-like aesthetic and steeped in an exploration of non-lineair storytelling. There’s broken memories, a sense of displacement and an occasional yearning for what can’t be again, clouded in fever and unrest, but there is also hope, wonderment and bright colours seeping through the cracks in the wall. Jaan weaves home-made instruments, old tape loops, broken synths, beat-up reeds, dusty beat boxes and the occasional doom guitar squall into a tapestry of fractured sound, with tracks following their own inherent logic rather than following formats. Sounds crash in and out, field recordings placing the listener firmly in an environment then throwing several perspectives at once onto them, with individual elements - a wandering clarinet, a lone mandoline, a beat out of place yet perfectly in place - slowly walking in and out & doing their thing.

The whole album is alive, breathes, takes a wrong turn, gets lost, somehow finds its way again - effortless and with a unique sense of space and flow.

Baghali is released digitally and on vinyl in an edition of 300 on 3rd October 2025.

RedNilo is an Italian-Moroccan duo composed of Reda Zine and Danilo Mineo, two musicians based in Bologna linked by a deep passion
for world music, particularly African music. Their ongoing and tireless musical exploration has led them to collaborate for over a decade
on numerous artistic and recording projects. Their new album, eponymously titled RedNilo, features six tracks characterized by a sound
reminiscent of Gnawa, Hassani, Tuareg, and experimental rock. The psychedelic, raspy riffs of the electric guitar, the repetitive rhythms
of the percussion, and the rhythmic-melodic lines of the guembri represent and evoke their journey. The resulting sound material is the
culmination of their journey and their encounters with masters, artists, griots, artisans, and instrument makers in the Draa Valley in
southeastern Morocco, bringing together the two musicians' urban and experimental backgrounds and souls. The album's artwork was
designed by Moroccan artist Aali Wica, initiator and mentor of their spiritual and artistic journey to the southern African continent,
across the long black snake.
Réda Zine, a musician and documentary filmmaker born in 1977 in Casablanca, launched his musical career in the 1990s, contributing
to L'Boulevard, Africa's largest independent festival. Raised in the Casablanca medina, he was introduced to Gnawa music by various
Maallems. After studying at the Paris 3 Sorbonne University, he founded Café Mira, a project that has performed at several international
events.
From 2011 to 2014, Zine was artistic director for Creative Commons (Middle East and North Africa), where he won the #CC10 Korea
award in 2012 with the project "It will be Wonderful," which brought together musicians from over 12 countries. He has also been
involved in exhibitions on music and censorship, participating in events in major cities such as Paris, Buenos Aires, and Seoul. In Italy,
he continued his musical research with the Hardonik project and was part of the Afrobeat group Voodoo Sound Club, recording the
album Mamy Wata. Zine collaborates with artists such as Seun Kuti and has initiated educational activities related to Gnawa music,
contributing to initiatives such as the African Symphony Laboratory for improvisers. He is the co-founder of Fawda, a Gnawa-based
project, and is part of the Gnawa Rumi collective, which explores the music of the Moroccan diaspora in Italy. He directed the documentary "The Long Road to the Hall of Fame" about Public Enemy, which won an award at the Pan African Film Festival in 2015.
Danilo Mineo graduated as a national educator from the AMMnationalscholl music academy in Milan, with a thesis entitled "Afro-Cuban
Music and the Rhythm Section." Over the years, he has attended workshops and masterclasses with international artists and masters
of percussion and drums, including Horacio El Negro Hernandez, Airto Moreira, Trilok Gurtu, Luis Agudo, Arto Tuncboyaciyan, Dudu
Tucci, Dom Famularo, Karl Potter, Rodney Barreto, and Eno Zangoun, exploring the rhythmic language of various musical genres and
styles.
In addition to publishing several educational manuals for percussionists, music critics consider him a versatile percussionist, active in
various musical productions and recordings: Mop Mop, Fawda, Guglielmo Pagnozzi "Voodoo Sound Club," Fabrizio Puglisi "Guantanamo," Panaemiliana, The Mixtapers, and many others, with whom he has performed at numerous national and international music festivals (in Europe and Africa). As a percussionist and side man he has recorded numerous albums and collaborated with Italian and
international artists including: Giancarlo Schiaffini, Gianluca Petrella, Roy Paci, Roberto Freak Antoni, Famoudou Konate, Melaku Belay, Baba Sissoko, Kalifa Kone, Jamal Ouassini, Deda, Dj Lugi, Bioshi.

“To Model Phenomena” is a scientific concept that describes a computer’s ability to emulate, regardless of whether the emulated phenomenon exists outside its circuits or is purely imaginary.

Modeling communication platforms enables us to interact with each other or with computers. Modeling behavior patterns, nuclear fusion, or, as in the case of scientists from the Human Brain Project, a virtual human brain, allows us to simulate cognitive processes such as perception, memory, and decision-making, providing insight into the nature of human thought.

In this record, the phenomena modeled are those moments when the mind leaps into the void, confronting new paradigms. For instance, when science, art, or mass media introduces new information, propelling us into a transformed reality.

From this starting point, European musician Shifting Heigo maps a path between realities, evolving his narrative as his music unfolds. This work draws inspiration from Curtis Roads (vice chair of Media Arts and Technology at the UCSB) and his studies on granular synthesis and time scales, where each track on To Model Phenomena evokes a sense of movement, where nothing begins or ends in quite the same way.

A musician with strong ties to new technologies, Shifting Heigo has collaborated with the University of Málaga (Spain) in its PH Degree Program in video game design, composing interactive music, while also singing as part of the tenor section in the Qatar Concert Choir, affiliated with the Qatar Philharmonic Orchestra.

Currently based in Abu Dhabi, he is now part of a circle of electronic musicians surrounding the New York University Abu Dhabi, an institution that supports electronic and experimental music across the Middle East.

To Model Phenomena is the result of his search for a unique voice as a musician, where ternary rhythms, noise, and silence shape the narrative. This is a discourse from a musician’s perspective on the changes that science, technology, art, and the rapid flow of information demand of us. A direct gaze into the fear of change.

* Strictly limited-edition 5x12” vinyl hard case box with spot varnish finish on the front and back and full colour sleeves for each vinyl.

* V Recordings marks three decades of groundbreaking Drum & Bass with '30 Years of V', an album featuring 22 fresh tracks that honour the label's rich legacy while paving the way for its future.

* Presented as a collectable 5 x12” Vinyl hard case box set, with spot vanish finish, this project links the past of V to it’s future and shows the label is as dynamic and relevant as ever.

* A selection of brand new music, from the current V family as well as remixes of some recent big hitters and seminal classics. Over recent years, V Recordings itself has continued in the mold in which it was formed, releasing music from some of modern-day D&B’s most exciting, innovative and committed artists.

* This project which label head honcho Bryan Gee has painstakingly compiled over the past few years, sees the likes of L-Side, Alibi, Break, Serum, Dillinja, Voltage, Paul T & Edward Oberon, Command Strange, Need For Mirrors, Chimpo, Sl8r, Think Tonk, Level 2 and more all on board to see their name alongside V’s iconic sun logo and celebrate this milestone.

* It is a celebration of V Recordings' contribution to our global scene, underscored by support from industry icons like DJ Marky, Watch The Ride, Break, Fabio, Grooverider, Born On Road, Kasra, S.P.Y, Roni Size, Ed Rush, Caylx, Camo & Krooked and many more.

* Since its foundation in 1993 by Bryan Gee and Jumping Jack Frost, V has been a cornerstone of the electronic music world, pushing the boundaries of Jungle and Drum & Bass. The label has been instrumental in the careers of many genre-defining artists, constantly evolving while staying true to the roots of Drum & Bass culture. '30 Years of V' embodies this journey, offering a blend of nostalgia and innovation that appeals to long-time fans and newcomers alike.

DJ Elephant Power (Nicolas Baudoux) based in Brussels, Les Octaves de la Musique awarded musician, is returning with his new EP ‘Blowing From Above’ on May 2024 with limited edition vinyls. The abundantly creative producer never tires of exploring the possibility of new sounds and rhythms. This time he delves deep into numerous genres from breakbeat to bass and he added more colours on each track which composed, performed and produced by himself. Mastering was done by Beau of Ten Eight Seven Mastering in UK. This new EP will be the first page of the upcoming album in June 2024.

‘Blowing From Above’ feat Eunsol

Now you entered the city where you can feel the atmosphere of heat with full of energy. Under the welcome sign of breakbeat and bass, you breathe the dopamine of electronic dance deeply. Alongside baseline skyscrapers covering the sound of this city, mysterious Korean words lead you to hyper pop buildings. Across the traffic lights with barking dog and staccato synth arpeggio on the road, you reach the futuristic bridge between jungle and grime.

‘I Got You’

Under the repeated street lights of ‘I Got You’ scratch samples, you are in the car passing through continuous cowbel 808 sounds on the techno road. In front of the funk graffiti wall, a powerful metal guitar sprays the paint with no compromise. Buildings of synth grab you to follow the new banging club anthem.

‘Shades’

Curly hair architect, who is well known for perfectionism of repeated linear, built a new Mantronix satellite laboratory. This is located on the mountain of Detroit and built on the solid ground of analogue synth signals. Filtered synth and bassline are the main columns of the building. In the main lab, the next satellite has been developing on woah woah sound mattress. Visitors can experience zero gravity in the room in the middle of kick and snare which provides perfect unbalance.

‘Infinity’

A colourful new dish is ready for you. You will feel beautifully balanced and harmonious tastes of progressive techno, trap and bass. This astonished dish was sourced the very best of heavy bass and synth melody for well balanced scent with thoughtful contacts. Geomungo, a traditional Korean string instrument, enhances and amplifies stunning ingredients and it makes a highlight with amazing pairings.

Charlotte de Witte takes charge of her KNTXT label's 15th release with the new Universal Consciousness EP. It comes after Amazingblaze - Venture EP and features four more powerful and psychedelic techno cuts.

Charlotte is soon to be playing her biggest ever KNTXT party in mid April. It shall take place in her hometown of Ghent and see her play a historic 10 hour set to a vast crowd of people who shall go on an all night long journey. Also in April, Charlotte returns to London’s iconic Printworks for the first time in five years, this time with her KNTXT concept and once again is set to raise the roof. While staying busy on the road, she continues to curate the Apple Music x KNTXT page while cooking up ever fresh sounds in the studio. This latest EP is another subtle evolution in her signature style.

Says Charlotte of the EP, "following up on my latest Asura EP in September, I decided to delve a bit deeper in the world of psychedelia. All the tracks of the EP are psy inspired, some more than others. I’ve been playing these tracks for a while now in the clubs. It’s been a real pleasure to see the crowd’s reaction and see the amount of track ID requests online. This one is from me to you, I hope you enjoy my Universal Consciousness EP!"

Opener 'Satori' is dark and heavy. The chunky, raw drums hit hard and flat as the squelchy acid synths pan about the mix. An enchanting middle eastern vocal wail brings an extra trance-inducing element that is sure to lock in the hearts and minds of the crowd. The super 'Kali' is a slick and high speed piece that shows the love relation between psy trance and techno. The video game style synths peel off the groove next to alien sound effects, and the subtly evolving acid line burrows deep into your brain.

Then comes the dynamic, bouncy and acid laced-title cut ‘Universal Consciousness’. It's a fulsome tune with rubbery kicks and visceral 303 loops that will melt the mind as dancers fall into its hypnotic and tripped out spell. Last of all is 'Ahimsa' with its bright, lashing acid synths and hammering kick drums. It's the perfect mix of physical groove and psyched-out synth work, and is perfect for both sweaty basements and vast main rooms alike. When the mystical flutes come in, it takes things to another level entirely.

This is another all consuming EP of innovative techno from Charlotte de Witte.

Repress

Its been more than 2 years since I did an original release on my own label. Its been 9 months since I had an original NOIR release.I wanted some time without releases. Some time to breathe, to think and most importantly time to be creative and to experiment.I have picked 2 productions I felt sounded different to everything else out here. Eruption was already made in the fall 2017 and I have been road-testing it since ADE17 and changed it quite a lot over the 6 months period from when I thought it was finished to what it actually sounds like now. I wanted the track to be brutal like a volcano erupting but at the same time have beautiful and peaceful elements. Hence the breakdown lava sliding into the middle of the track before it all erupts again. I have spent many hours trying to make it sound raw and unpolished. Disruption is build around a super simple sequence loop I played by hand while jamming with new pluck sounds. As the sequence got layered and washed in effects it became a quite haunting loop and that led me to add a boys choir to give that feel bigger impact.This track sounds simpler than Eruption but its actually stacked with layers. Disruption is meant to make you close your eyes, follow the rhythm, the simple sequenced loop and get hypnotized.

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

Uncompromising Dutch Black Metal – DOODSWENS’ sophomore album out in April via Svart Records Doodswens is a Dutch Black Metal band formed in 2017 by I. Live she performs the drums and vocals, joined by R. & P. on bass and guitar. Doodswens translates to Deathwish, but the meaning and heavy load to the word in Dutch translates better to Driven by Death. The self-titled sophomore album by Doodswens is out on April 17th 2026.

After establishing themselves in the Dutch scene, Doodswens gained an international following doing tours with Marduk & Gorgoroth. Doodswens’ performances are ceremonial and ritualistic, which have been reported to be as uplifting as they are devastating, depending on the demons you bring them to offer. Whatever you carry with you will be exposed. They like to confront instead of bringing comfort. If you've been on the verge of ending your life, or think about it more often than not, then you're living with a death wish. A heavy feeling, like a gray cloud hovering around you, gasping for breath and blurring your vision. This is incomprehensible to anyone.

Except for those caught in the middle of it. But this album isn't about giving up. It's about finding strength, about someone who regains new energy after facing death. This album isn't about wishing for death, but the death of the wish. Band’s establisher I. talks about the new single "Driven by Death": “For me, it was on the way back from a spontaneous adventure, full of music, new connections, and inspiration. A path without a plan and a journey without a goal, with only a very strong feeling that this is where I'm meant to be. With a misty horizon of endless asphalt before me. A large tree at the edge of the road, in the corner of my eye, screaming that this could just be the end. But what I felt wasn't fear, it was happiness. With the thought that if I crash into that tree now, I won't care at all. Because up until this moment, I've done everything possible, experienced every adventure, and each time, gotten up again and faced life with that gray cloud around my head. I have a death wish, so if it happens now, it's okay, and I'm at peace with it. This was the moment I realized, I'm not afraid of life. I'm driven by death.”

Uncompromising Dutch Black Metal – DOODSWENS’ sophomore album out in April via Svart Records Doodswens is a Dutch Black Metal band formed in 2017 by I. Live she performs the drums and vocals, joined by R. & P. on bass and guitar. Doodswens translates to Deathwish, but the meaning and heavy load to the word in Dutch translates better to Driven by Death. The self-titled sophomore album by Doodswens is out on April 17th 2026.

After establishing themselves in the Dutch scene, Doodswens gained an international following doing tours with Marduk & Gorgoroth. Doodswens’ performances are ceremonial and ritualistic, which have been reported to be as uplifting as they are devastating, depending on the demons you bring them to offer. Whatever you carry with you will be exposed. They like to confront instead of bringing comfort. If you've been on the verge of ending your life, or think about it more often than not, then you're living with a death wish. A heavy feeling, like a gray cloud hovering around you, gasping for breath and blurring your vision. This is incomprehensible to anyone. Except for those caught in the middle of it. But this album isn't about giving up. It's about finding strength, about someone who regains new energy after facing death.

This album isn't about wishing for death, but the death of the wish. Band’s establisher I. talks about the new single "Driven by Death": “For me, it was on the way back from a spontaneous adventure, full of music, new connections, and inspiration. A path without a plan and a journey without a goal, with only a very strong feeling that this is where I'm meant to be. With a misty horizon of endless asphalt before me. A large tree at the edge of the road, in the corner of my eye, screaming that this could just be the end. But what I felt wasn't fear, it was happiness. With the thought that if I crash into that tree now, I won't care at all. Because up until this moment, I've done everything possible, experienced every adventure, and each time, gotten up again and faced life with that gray cloud around my head. I have a death wish, so if it happens now, it's okay, and I'm at peace with it. This was the moment I realized, I'm not afraid of life. I'm driven by death.”

Red Motorbike hits the road in '26 with an original production from Berlin's master of boogie funk LJ Simon!

Givin' Up is a soulful modern funk 7" steeped in warm '80s analogue production and classic groove.
The OG version blends vintage synth textures with a deep, understated rhythm section. Known for his love of fat-sounding vintage gear, LJ Simon begins every song with no blueprint, working purely from sound, instinct, and feel, tuning in to receive what the moment brings. The influences are unmistakable, yet the result feels fresh, intuitive and alive.

Vocals are delivered by Denice Brooks, a formidable singer from Austin, Texas, now based in Berlin. Denice built her solo career while performing with an exceptional list of artists including Tina Turner, Roy Ayers, David Bowie, Nancy Wilson, Natalie Cole, and many others. She is notably the only singer to receive Prince's blessing to record an official cover of 'Purple Rain' - a distinction that speaks volumes about her artistry.
Her career has taken her across Germany, Europe, the Middle East, and South Africa, where she even once performed for Nelson Mandela. Her continued experience across stage, studio, television, and musical theatre shines through in a vocal performance rich in depth and soul.

Label head Eddie C offers up his Disko Mix and reframes the track through a '90s street soul lens; stripped-back, dusty, and perfectly tuned for late-night selectors and heads-down dancefloors.

From its modest beginnings as a university project, Anjuna has grown to become one of the most influential forces in electronic music. What began as, and remains, a passion project has evolved into a global electronic music powerhouse. Led by Jono Grant, Paavo Siljamäki, Tony McGuinness (better known as Above & Beyond) and label exec James Grant - Anjuna now spans three distinctive imprints: Anjunabeats, Anjunadeep and Anjunachill. To mark the label’s 25th anniversary, Above & Beyond and James have carefully curated a selection of picks from its rich catalogue that includes countless genre defining releases to present the label’s most expansive vinyl offering to date.

Covering the full spectrum of that 25 year journey, the ten vinyl box chronicles 84 of the label’s most iconic releases across all three labels, including a vinyl dedicated to label founders Above & Beyond. Encased in a custom outer slipcase box with a debossed foil Anjuna25 logo. Accompanying the ten vinyl is a 48-page perfect-bound booklet printed on premium art paper and textured cover stock, featuring track-by-track insights from artists and Anjuna HQ staffers delving into the stories behind each record and their reflections on 25 years of music. The Anjuna25 anniversary box set is a beautifully presented tribute to 25 years of innovation, artistry and emotional connection.

Saxophonist, flautist and producer Chip Wickham casts a formidable shadow across the worldwide jazz landscape. Originally from Brighton, but now dividing his time between the UK, Spain and the Middle-East, he has made a name for himself with a series of beautifully crafted solo albums that draw equally on the hard swinging spiritual jazz of Roland Kirk, Yusef Lateef and Sahih Shihab, alongside the music of British jazz legends such as Tubby Hayes and Harold McNair and the more contemporary sounds of Jazzanova, Kyoto Jazz Massive and Robert Glasper. His close working relationship with Matthew Halsall’s Gondwana Records has spanned close to two decades (since he played on Halsall’s 2008 debut ‘Sending My Love’) and has since released three standout releases on the label (the ‘Cloud 10’ LP, and the ‘Astral Travelling’ and ‘Love & Life’ EP’s). Once again returning to the heralded label, he now prepares to release his elegant fifth studio album ‘The Eternal Now’. Further exploring his penchant for hard-hitting soulful, spiritual jazz and modal hard-bop, it denotes an exciting new chapter in his much- revered discography, once which sees his unbridled artist flourish into new and fruitful pastures.

A beautifully crafted record, ‘The Eternal Now’ is a heartfelt ode to submitting oneself to the practice of creating art, and the freedom that’s derived from letting go. Speaking on his journey to bringing it into the world, Chip explains “The Eternal Now is a creative place where time has no purpose. A place where the past and the future don’t exist. A place where an artist can create something that is timeless and relevant. Writing this album has been a deliberate journey of exploration and drive into the furthest reaches of creativity. An attempt to push myself artistically into new spaces using new colours and new energy”. On how he approached this record in comparison to his previous offerings, he divulges ‘I had to be playful and take risks. It has taken longer than any other album to make and it has been so worth it. I have been drifting and taking the road less travelled as well as not looking back. I’ve enjoyed being on the outside and the freedom it has brought me to create something new and fresh and relevant and timeless.’

'Better The Devil You Know' marks the long-awaited comeback of British band The Spitfires. Their first release with a refreshed line-up and also their debut on Bellevue Music, the track sees the band teaming up with producer Simon Dine (Paul Weller, Dexys Midnight Runners, Noonday Underground) to deliver a punchy, politically charged anthem.

On the B side, exclusive to the physical release only, is a remix of new track 'A Man Of Time' by french wizard and Paul Weller collaborator Le SuperHomard. Another new song to discover in its original form on the forthcoming album " MKII ". With musical hints of The Clash, The Specials and Hard-Fi at their most outspoken, 'Better The Devil You Know' is a sharp reflection on the ongoing turmoil in the Middle East. Frontman and songwriter Billy Sullivan explains "It relates to all war. A true protest song" The band is set to hit the road for a UK and European tour ( see below for details ), culminating in a headline show at London's KOKO on May 23rd.

Thomas Newman became the ninth composer in the James Bond series history. His score for Skyfall won the BAFTA Award for Best Film Music. In 2013, it became one of two Bond scores to be nominated for the Academy Award for Best Original Score. The other to be nominated was the score from The Spy Who Loved Me. Skyfall does not contain the title song performed by Adele.

Skyfall (2012) is the twenty-third spy film in the James Bond film series. It features Daniel Craig in his third performance as James Bond, and Javier Bardem as Raoul Silva, the film's villain. The movie was directed by Sam Mendes. The story centres on Bond investigating an attack on MI6. The attack is part of a plot by former MI6 agent Raoul Silva to humiliate, discredit and kill M as revenge against her for betraying him. The film sees the return of two recurring characters to the series after an absence of two films: Q, played by Ben Whishaw, and Moneypenny, played by Naomie Harris. Skyfall is the last film of the series for Judi Dench, who played M, a role that she had played in the previous six films.

The limited edition of Skyfall of 1.500 individually numbered copies is pressed on coloured (transparent & black mixed) vinyl. The package includes a big poster, a 4-page insert and 2 printed innersleeves. Both innersleeves have one hole in the middle to show James Bond on the labels. Don't forget to check the secret service inscriptions on the run out grooves.

Japanese pianist Yumiko Morioka initially released Resonance, her first and only solo recording, on Akira Ito's ‘Green & Water’ imprint in 1987. Whilst by no means a commercial failure, the album was mostly found in the background of Japanese TV documentaries, maternity clinics and healing shops before drifting into relative obscurity.

By 1994, Morioka had relocated to America and her solo music career had given way to the joys of starting a family and her new life in California. It was, and still is, a shock for her to learn that Resonance had gained the attention of a new audience outside of Japan through blog posts and YouTube album uploads.

After hearing Resonance for the first time ourselves back in early 2017, we tried for months to track Morioka down about a reissue. This news reached her at a particularly trying time in her life following the devastating loss of her home in the 2017 California wildfires.

Her home had recently been razed, destroying all of her possessions, musical equipment, scores and recordings. Morioka was lucky to escape with her life; her quick thinking neighbour raised the alarm in the middle of the night giving her just enough time to escape safely before then tragically watching her home burn to the ground.

In the aftermath, Morioka returned to Japan in an attempt to rebuild her life. She found work writing music for commercial projects and pop acts before recently opening her own chocolate shop in the Jiyugaoka neighbourhood of Tokyo - back where it all began.

‘’Space and time moved at a different speed than now’’ – Yumiko Morioka

A lifelong student of the piano, Morioka was born in Tokyo in 1956. A child prodigy, she took up the instrument under her mother’s tutelage at just three years old and by her teens she had won multiple piano scholarships. Her talent was so obvious that she was invited to train in America, eventually graduating from the San Francisco Conservatory of Music with a piano major during John Adams’ reign as head of composition.

After graduation, Morioka returned to Japan but struggled to find her place musically, working mostly on commercial songwriting assignments. Frustrated, and at times embarrassed by her musical output, she turned to the works of Brian Eno and the surroundings of her coastal home in the Izu Peninsula south of Tokyo for inspiration. It was here that she began to work on the compositions that would eventually become Resonance.

Recorded on a Bösendorfer grand piano, much of Resonance was made in an attempt to soothe her creative soul. Constructed from unwritten improvisations with additional instrumentation added later, Resonance explores the space between notes. As such, it's a record that feels open and inviting, permeated throughout with a sense of confident serenity.

The sparse, delicately played notes are allowed to reverberate and echo through the spaces between themselves, giving each track a feeling of both grandeur and intimacy. Like the great pioneers of classical and ambient music, there's a timelessness to Resonance - a comforting, familiar feeling, as if these melodies have always existed.

Resonance drew influence from the popular environmental music culture prevalent in Japan during the late 80s, but it was also heavily inspired by Western musicians such as the avant-garde Parisian composer Erik Satie. Listening today, it still feels fresh and pertinent; a warm, contemplative reflection of a travelled woman.

Resonance has been lovingly remastered by Séance Centre's Brandon Hocura and given new artwork by Métron Records’ label head Jack Hardwicke.

All Portrait, No Chorus is the new album from indie rap pioneer doseone and NYC producer Steel Tipped Dove. Together, these two artists have crafted an uncompromising masterpiece. Knowing the caliber of MC he is paired with, dove skillfully paints with every color on the palette, and doseone skates effortlessly on every track, whether skating languid figure 8s or landing lyrical triple axels. Somehow the veteran sounds sharper than ever and the songs are lean and hungry, cut to the quick. It is no accident that this project is released under the Backwoodz Studioz imprint; the road that leads to this collaboration starts with, of all things, a ShrapKnel demo. Here is how dose explains it: "I have been inspired by Backwoodz for a while, in many ways, but the most potent being all these distinct pens. September 2023, I had heard a nearly done version of ShrapKnel's latest record, and something snapped in me. Hearing that perfectly hungry, inspired rapping turned my power back on. For me, being inspired warrants telling those who are inspiring you, so once I heard Decay I reached out and sent Fatboi Sharif and Dove some kind words about that record. The rest is history." At the end of December 2023 Dove sent dose the first beat pack. Somewhere around the second week of January 2024 dose already had five songs written and recorded. By the middle of March, a rough album framework was essentially done, and they brought on Minneapolis producer Andrew Broder to freak the turntables across the whole project. Then, as a final piece, dose and dove added select collaborations from some of their favorite rappers. By the end of April it was done. "I'm not really a features guy, but to align with and connect with those who inspire me, I called in some beautiful humans I had never worked with but always meant to: Open Mike Eagle, M.Sayyid, billy woods, Fatboi Sharif, and Myka 9 connect eras, artists, and styles of unconventional rap I hold incredibly dear," doseone explains. Listening to All Portrait, No Chorus you can hear the battery in doseone's back as he pythons his way through each instrumental. For his part, Steel Tipped Dove_a prolific producer over the last two years_delivers some of the most diverse work of his career. The result is a dynamic, propulsive listen that casts its crackling energy in every direction except backwards.

Bristol-based singer, songwriter and bandleader, who has powered her way to the-forefront of the British blues and roots scene in recent years, releases 'Shining In The Half Light on "Tidal Wave Splatter" colored vinyl. Crammed with vibrant originals brought to life with her A-list touring band, 'Shining in the Half Light' is Bailey's first full length album recorded in the UK & feature's Joe Wilkins on Guitar, Jonny Henderson on Ivories, Matthew Waer on Bass duties and Matthew Jones on drums. It was recorded in deepest Devon in December 2020 at Middle Farm Studios and produced by Dan Weller. An exciting team of co-writers feature with three credits for Ashton Tucker & Will Edmunds, who both wrote with Elles for 'Road I Call Home', plus she teamed up with longtime guitarist Joe Wilkins to write the slow-flowing, philosophical 'Riding Out The Storm'. Other kindred spirits include guitar maestro Martin Harley, for the gentle and romantic 'Different Kind Of Love' and Matt Owens, co-founder of the hugely successful indie-folk outfit Noah and the Whale, on the aforementioned 'Sunshine City'. The album comes to a striking conclusion with its title track, co-written with Nashville's Craig Lackey, written over Zoom in May 2020.

Ginnels never let up. Though it has been, staggeringly, eight long years since the last irresistible jangle pop transmission under the Ginnels moniker, nothing much has changed in Mark Chester's approach when it comes to the practice of music making, even if much everything else for Chester has seen considerable flux – he's now a father of two, and most shockingly of all for an indie popster of his ilk, gainfully employed. "It definitely started the same way all Ginnels stuff starts," Chester explains, "which is just me looking through five years of phone demos and going 'that's a decent song' and 'that's a decent song', and if you keep that up then you have a full album."

The man himself might be coyly committed to making his process sound as pedestrian as possible, but from the moment the delicate chiming introduction of album opener 'The Body Was Gone' goes widescreen – revealing an expanded sonic palette richer in timbre and exponentially wider in scope than anything Chester has let out into the world thus far – it is apparent that "The Picturesque" is poised to be less than parochial in its sonic purview.

From here, "The Picturesque" plays like a gauzy road trip Super 8 footage cutting between scenes of sunset at Monument Valley and B-roll from around middle-Ireland, entirely soundtracked by some enchanted mixtape of heretofore unheard B sides from REM, XTC and The Go-Betweens, unexpected guest appearances from the surprisingly together-sounding ghost of Johnny Thunders and snippets from your coolest friends' unreleased instrumental experiments. All liberally rippled with Chester's unique ear for melody and appetite for the unexpected when it comes to crafting guitar parts. And this, by design, feels like a Guitar Record, above all else.

For all its effortlessly sticky lyrical and melodic twists, "The Picturesque" separates itself within the mighty Ginnels catalogue in both the dexterity in playing and diversity in tone on show across these 12 tracks. And 12, of course as we know, being the optimum number of tracks for any LP to have, so bonus points for that too.

THE 4TH ALBUM BY ENGLISH FOLK ROCK SONGWRITER

A COMPLETELY UNINHIBITED PLAYGROUND WHERE PSYCH-FOLK DANCES WITH FREE JAZZ AND SOUL

English musician Nick Wheeldon has been on the starting blocks in Paris since 2012, churning out bands and albums at breakneck speed, from 39th and The Nortons, Os Noctambulos and The Necessary Separations to Sex Sux. In 2021, he got off to a flying start with his first solo LP, Communication Problems (2021) followed by Gift (2022) and Waiting For Piano To Fall (2024) just a few months ago. Today he brings you Make Art, his 4th solo album, a masterful, imposing work. For Nick Wheeldon aficionados, there's the same characteristic: always the same flickering, bright light. The tracks follow one another: tunnels, dead ends, nocturnal drifts. Days in the sun, lost paths, dark roads, all engraved on 4 sides of vinyl. Make Art offers a totally uninhibited and varied playground, where free jazz and soul dance together. Mixtures hitherto unknown to Nick Wheeldon. With Make Art, you're in the middle of a psychedelic-folk funfair. The musical avenues open to Nick Wheeldon widen and are likely to sweep away even the slowest and most resistant of you. Recorded with Julien Ledru, Thomas Carpentier and Paul Trigoulet.

“Music is my forever cove,” writes Portland, Oregon’s Luke Wyland of the ideas that give shape to Kuma Cove, his latest album under his own name. Though named after a real place on the Oregon coast, Kuma Cove casts its gaze far beyond the sightseer’s line of vision. Recorded live in the studio and blurring obvious lines between computer-based composition and electro-acoustic instrumentation, it is an album about flow, borders, transitory states, and shelter. Composed of discontinuous ripples and repetitions (“I’m forever searching for a better descriptor than looping, which feels too simple and flattened by overuse,” Wyland says), shaped into richly emotive arcs, and informed by his experience as a person who stutters, it is also an album about identity, self-expression, and the energies that sluice through and across what we perceive as linear time—like floodwaters seeking an exit, like streams running into the sea.

Artist’s Statement:
I made this record while spending significant time in the woods by the Sandy River in Corbett, Oregon,
where I've had my studio for the last five years. It is a diary of spontaneous live recordings edited to highlight the moments of clarity that emerge from long-form improvisations. These compositions express a slowing internal rhythm. An unwinding. A somatic recalibration as I enter middle age. A newly empowered vulnerability.

Here are the internalized cadences of my stutter, flowing freely from my fingers. The musicality of my disfluency is revealed in its frictions, elongations, and foreshortenings. Disruptions in linear time, where the bubbling cadences of my stutter find unexpected pathways, reveal the elasticity of the present moment. This is my idiosyncratic language, shaped and inspired by my disability. Subliminally mirroring internal processes, neural firings, cognitive entanglements...

The title, Kuma Cove, refers to a beloved cove on the coast of Oregon my wife and I return to yearly. There has always been something so magnetic about coves. The way they cradle one from the overwhelming enormity of the ocean beyond, muting a primordial fear. I experience these improvisations as ecosystems I'm able to inhabit for stretches of time, embodying the particular rhythms and sensorial textures within each. Music is my forever cove. Everything you hear is created live in Ableton on a setup I've been honing for 15 years. I celebrate MIDI and computer music as an extension of self and strive to make it as expressive as any analog instrument. I was a visual artist for the first half of my life and quickly adapted those skills to composing and producing on a computer. The transition felt natural within the landscape of DAW's interfaces, especially as a synesthete. Ableton and its community of Max creators continue to surprise me with its expansiveness.

I'm forever searching for a better descriptor than looping, which feels too simple and flattened by overuse. I envision sonic loops as tangled masses of time, three-dimensional knots spinning on tilted axes, or overlapping wreaths refracting out a myriad of colors. My practice is continually refocusing my ear to what is revealed in the repetitions, searching for the fingerprint of each. I find it incredible how technology lets us manipulate time like this. Nothing on this record is quantized or locked to a universal bpm. Experiencing numerous tempos at once feels important. Recordings as mirrors. Freedom from expected (conversational) flow as we hold time for each other.
-Luke Wyland, August 2024

Artist Bio:
Luke Wyland is an interdisciplinary artist, composer, and performer based in Portland, OR (USA). Wyland has been releasing critically acclaimed records for the past 20 years in the groups AU and Methods Body, as LWW, and under his own name, working with such labels as New Amsterdam, Beacon Sound, Balmat, The Leaf Label, and Aagoo Records. As a person who stutters, Wyland’s approach to music is informed by his idiosyncratic relationship with language. Wyland believes deeply in the cathartic power of live performance as a means for collective healing. Through an interdisciplinary art practice that focuses on improvisation, somatic embodiment, bespoke tuning systems, the cadences of disfluent speech, and time manipulation technologies, he’s collaborated with choreographers, high-school choirs, filmmakers, sound designers, and renowned musicians such as John Niekrasz, Holland Andrews, Colin Stetson, and Abraham Gomez-Delgado. He’s also the co-creator of the “It’s A Fucking Miracle” dance class with Tahni Holt.
Wyland has toured nationally and internationally and performed at the Whitney Museum, Ecstatic Music Festival, Issue Project Room, PICA’s Time-Based Arts Festival, End of the Road Festival, and Les Nuits Botanique, among others.

Mike Paradinas, veteran producer and Planet Mu label owner has written a new album called 'Grush' and it's full of weird bangers that reclaim the 'dance' part of the woeful term IDM. A back-to-first-principles record, inspired in part by the group of artists IDM was coined for; melodic dance music that didn't come out of urban scenes, but interpreted them from a distance. The tracks on 'Grush' are all road-tested live favorites developed with feedback from Mike's touring partner and visuals guy Mora (Jan Moravec). It's a detailed and energetic journey which replicates the flow of a live gig. A lot of the tracks have been made in hotel rooms in response to shows, 'Imperial Crescent' is named after a Japanese Hotel, as is 'Belvedere' in Prague, while some tracks such as 'Hyper Daddy' were created specifically to play live. Drums are confidently at the fore here and the album feels like it traces Mike's musical history and interests neatly around his sweetly nostalgic melodies, with atmospheres and structures which twist and turn with a charming softness which contrasts with the tension in the drums. Take 'Hyper Daddy's' spiralling notes and twinkling piano which remind one of early Black Dog or Omni Trio rushing alongside splashy jungle drums, or the aquatic acid footwork of the title track with its drums softly bubbling and kicking. Elsewhere there's territory which harks back to his Tusken Raiders pseudonym, like the heads down Drexciyan funk of 'Windsor Safari Park,' which transforms from moody electro into a sunny hardcore track midway. The album is interspersed with Reticulum A, B and C at the start middle and end of the album which suggest a theme which carries across the music in an effortless and joyful way. 'Grush' is a strong album that works both for listening and DJing and a great snapshot of where Mike Paradinas musical head is at in 2024.Tracklist Vinyl A: 1/Reticulum A 2/Hyper Daddy 3/Fogou B: 1/Magic Pony Ride (Pt.4) 2/Imperial Crescent 3/Reticulum B 4/Grush C: 1/Belvedere 2/Raver 3/Windsor Safari Park 4/Hastings D: 1/Manscape 2/Metaphonk 3/Reticulum C

We are delighted to bring you the first in the Ivan The Tolerable Archive Reissue Series, Autodidact!

Originally released on a 10” lathe cut by Ack Ack Ack Records in February 2018, this has now been remastered and repackaged, and will now be available on ltd edition khaki vinyl, with only 250 copies pressed. Here’s a bit about the record in Oli Heffernan’s aka Ivan The Tolerable own words-

“I recorded the bulk of this record over a weekend in January 2018, in the midst of a very minor breakdown that was to last for pretty much the entire year. I was living in a big house all on my own, smoking too much and not really seeing any people. Happy days indeed.
It was tracked in the back room of 97 Hambledon Road, Middlesbrough using two questionable microphones, a broken HH 100 amp, my friends drums and a Tascam DP08 (that wasn’t to see the year out, RIP 2009-2018) When I was done, Robbie came round and recorded a ton of violin drones through my amp and i remember feeling like I’d gone into a trance a few times, then Ben recorded his parts at home and sent them over. Mixed and mastered the same night - I released it myself a month later as a lathe cut 10”and then promptly moved on. I listened to the album for the first time in years to write this sleeve note and I think it is possibly the closest I’ve ever got to capturing the sound I hear in my head - I love how grubby and cavernous it sounds, claustrophobic and swirling - the track Autodidact I have recorded 4 more times since this version and I’ve never got that sound back. I’II keep trying.’’
“Oli Heffernan, June 2023’’

Bite Down, the Merge Records debut of Rosali, finds acclaimed songwriter and guitarist Rosali Middleman in the midst of transition. Written after moving to North Carolina from her longtime home of Philadelphia, Bite Down is a searching, hungry record by an artist who is resolved to bite down on life, in all its horror and joy. She is joined here by Mowed Sound_David Nance (bass, guitar), James Schroeder (guitar, synth), Kevin Donahue (drums, percussion)_and in studio by Destroyer collaborator Ted Bois (keys). Bite Down is Rosali's second album working with Mowed Sound, and there is urgency and ambition in their collaboration_a band pushing each other not just to expand on what they've already done together, but to break through into altogether new territory. Among those joining Rosali and her band there is Dan Bejar of Destroyer, who waxes poetically on where she's been, where she's going, and how thrilling Bite Down is to experience: It's hard to talk about Rosali's music. Songs that reach outward like this, but then constantly disarm with their intimacy. What do you call such inner searching that is hellbent on rollicking? Songs that long for a sense of peace and songs that want romance, all on equal footing in the same plot of earth? Performed wild, but always centered around the incredible lyrical calm that is Rosali's voice. Bite Down makes me think about singers and bands that throw themselves hard into the storm, the way the Rosali quartet does. (Jim captures the tone of this perfectly, again!) The calm of her voice over top of the band's raging_it is the emblem of songs that live to put themselves in harm's way. But it's not harm. It's just that you have to play hard to get at these goods. The calm of Rosali's voice, the straight talk of her inner search vs. the wildness of the band, the sonic storm she rides in on. That's their sound. The Mowed Sound. It's hard to talk about these last couple Rosali albums without talking about them. They play free and wild and relentlessly melodious. They rip and create space and fill it up with what seems like reckless abandon, but listen carefully or listen for a while and you'll find them paying real close attention to each other and exactly what the song demands. Maybe Fairport did this, maybe VU. It's a strange telepathic brew. Breezier songs like "On Tonight" and "Rewind" sound like they've fought their way to get to that sense of ease. Maybe that's the Mowed Sound "sound"_hard-won ease. Then add to that Ted Bois' patented Rhodes sleaze (see sinuous title track "Bite Down") steering the record into late-night corners; the incredible "Hills on Fire" (maybe the centerpiece of the album), the guitar-ripping and the singing taking turns in reaching new levels of intimacy. It feels listened-in on, exposed and invented on the spot. It is also simply a staggeringly beautiful song. There are a few of those on the album. In contrast, "My Kind" is a raucous, hand-delivered classic; the band throws tables over. For the most part, this is a moodier record than No Medium. It has the same sound of "I've traveled through fire to deliver you these songs," but it is also quieter, more nocturnal. The quiet dread of staring down an open road, and the excitement of that. By the final track, "May It Be on Offer," it is the prayer uttered as you hand yourself over to the world.

Gimme, Gimme, Gimme Desire, an everlasting grip of that youthful energy, that fire and fury you felt playing a style of music that gives you a lifelong addiction and appreciation. If you’ve once been part of that certain something, that became part of your identity, it never lets you go. Drummer Sascha, bassist Jan, guitarists Philipp and Tobias know how it is getting older but still feeling the fire. The four friends shook up the scenes out of Frankfurt in the 90s and 00s. They played in different bands, they toured Europe and the US of A, they were mods, punks, hardcore kids. And they never lost their connection and love for their music. That’s why they got together some years back, rehearsing and writing songs just for the heck of it. Out of pure desperation the four of them were thinking about staying a goddamn instrumental band, maybe working with projections and shit to fog the fact that there was something initial missing: a singer. The road was calling their names, and they wanted to play shows and let you and you and you know what they got... So, they gave it one last try to find somebody to fill the void behind the mic. What helped was a platform – basically Tinder for musicians – to find that certain somebody. They kept it simple and only dropped one thing: #blackflag. On the other side of the screen there is Sam, a mystical, ghostly punkrock fairy. Sam shares that same hashtag, and she wants to sing. So, why not give it a try? Sam takes the offer, shows up in the rehearsal space, and the rest is history. Sam owns it. Sam is prepared. Sam can sing, scream, kick ass and has the lyrics to back it all up! On different occasions they now set stages on fire. They played a sweaty show in a packed Molotow cellar at Reeperbahn Festival, they joined the “Female Fronted Is Not A Genre” festival at legendary SO36 in Berlin and took the place by storm. They are ready. They were born ready. And they have that record to prove it. As any classic hardcore/punk LP it’s almost over before it started. Ten songs in twenty minutes. That’s the way. I Am A God sets the tone: “You think that I’m a girl?”, Sam asks, “Let me tell you I am a god/ And you know that I’m heaven sent.” What else would Sam be? The legendary hashtagged Californian hardcore icons drip out of every note here. This is old-school knowledge, played today. Fast, furious, and packed with energy. But it’s way more than just a bland tribute. It’s a middle-finger that finds its own direction. Salary Man allows itself a certain amount of melody – also carried by Sam who obviously can do more than bellow. Or Somewhere that shows that The Pill is a more dimensional band that can even Hüsker Dü things up if they are willing to. The Bitter Pill presents itself surprisingly angular and kind of melancholic. And What’s New almost makes its way into post-hardcore territory. Inbetween Switch and Off give you all the Greg Ginn vs. Dez Cadena your damaged souls were desperately striving for. The debut album Hollywood Smile will be released on April 5th, 2024 by Hamburg’s Sounds Of Subterrania.

"Nemesisters is the third and final studio album recorded by Babes in Toyland. It was produced by Tim Mac at AmRep Studios in Minneapolis, Minnesota and released in May 1995. Unlike on the group's previous releases, they opted to record together to capture a ""live band"" sound; on their previous release, Fontanelle, bassist Maureen Herman had recorded her bass tracks separately from vocalist-guitarist Kat Bjelland and drummer Lori Barbero. This album contains a killer version of Sister Sledge’s ""We Are Family"" and a cover version of Eric Carmen's ""All by Myself"". Nemesisters is available as a limited edition of 750 individually numbered copies on purple coloured vinyl, housed in a gatefold sleeve. "

Nemesisters by Babes In Toyland, released 5 April 2024, includes the following tracks: "Drivin' ", "Surd", "Killer on the Road ", "Middle Man " and more.

This version of Nemesisters comes as a 1xLP in a(n) Gatefold Sleeve packaging.

Bite Down, the Merge Records debut of Rosali, finds acclaimed songwriter and guitarist Rosali Middleman in the midst of transition. Written after moving to North Carolina from her longtime home of Philadelphia, Bite Down is a searching, hungry record by an artist who is resolved to bite down on life, in all its horror and joy. She is joined here by Mowed Sound_David Nance (bass, guitar), James Schroeder (guitar, synth), Kevin Donahue (drums, percussion)_and in studio by Destroyer collaborator Ted Bois (keys). Bite Down is Rosali's second album working with Mowed Sound, and there is urgency and ambition in their collaboration_a band pushing each other not just to expand on what they've already done together, but to break through into altogether new territory. Among those joining Rosali and her band there is Dan Bejar of Destroyer, who waxes poetically on where she's been, where she's going, and how thrilling Bite Down is to experience: It's hard to talk about Rosali's music. Songs that reach outward like this, but then constantly disarm with their intimacy. What do you call such inner searching that is hellbent on rollicking? Songs that long for a sense of peace and songs that want romance, all on equal footing in the same plot of earth? Performed wild, but always centered around the incredible lyrical calm that is Rosali's voice. Bite Down makes me think about singers and bands that throw themselves hard into the storm, the way the Rosali quartet does. (Jim captures the tone of this perfectly, again!) The calm of her voice over top of the band's raging_it is the emblem of songs that live to put themselves in harm's way. But it's not harm. It's just that you have to play hard to get at these goods. The calm of Rosali's voice, the straight talk of her inner search vs. the wildness of the band, the sonic storm she rides in on. That's their sound. The Mowed Sound. It's hard to talk about these last couple Rosali albums without talking about them. They play free and wild and relentlessly melodious. They rip and create space and fill it up with what seems like reckless abandon, but listen carefully or listen for a while and you'll find them paying real close attention to each other and exactly what the song demands. Maybe Fairport did this, maybe VU. It's a strange telepathic brew. Breezier songs like "On Tonight" and "Rewind" sound like they've fought their way to get to that sense of ease. Maybe that's the Mowed Sound "sound"_hard-won ease. Then add to that Ted Bois' patented Rhodes sleaze (see sinuous title track "Bite Down") steering the record into late-night corners; the incredible "Hills on Fire" (maybe the centerpiece of the album), the guitar-ripping and the singing taking turns in reaching new levels of intimacy. It feels listened-in on, exposed and invented on the spot. It is also simply a staggeringly beautiful song. There are a few of those on the album. In contrast, "My Kind" is a raucous, hand-delivered classic; the band throws tables over. For the most part, this is a moodier record than No Medium. It has the same sound of "I've traveled through fire to deliver you these songs," but it is also quieter, more nocturnal. The quiet dread of staring down an open road, and the excitement of that. By the final track, "May It Be on Offer," it is the prayer uttered as you hand yourself over to the world.

This is a repress of Tycho's second release with Ghostly International to celebrate the 10 year anniversary of this masterpiece, while Ghostly International celebrates its 25th year anniversary. For nearly a decade, Tycho has been known as the musical alias of Scott Hansen, but with the release of Awake - his second LP for Ghostly International - the solo project evolved into a three-piece band. Relating closer to post-rock than ambient soundscapes, the record is situated in the present, sounding more like Hansen than drawing from his influences. This is, in many ways, the first true Tycho record. Following 2011's Dive LP, the San Francisco-based designer toured extensively, and with a full band on stage, his sound coalesced into a percussive, organic whole. Zac Brown (guitars, bass) rejoined Scott on the road for this tour, but it was the particular addition of Rory O'Connor's live drumming that ultimately sent Hansen back to the studio with a more precise vision. "After the tour, I decided that I wanted to capture the more energetic, driven sound of the live show on the next album," Hansen recalls. Bringing musicians into Tycho's creative process was a step towards expanding his own songwriting and advancing the project beyond its current sound. In a cabin near Tahoe last winter, Zac and Scott began fleshing out the structure of the new record, but it wasn't until they set up shop in the hills of Santa Cruz with Rory that it all fell into place. "It crystallized the vision of how the drums would come to the forefront on this record," says Hansen. The sound was much more stripped-down and concise with more organic instruments in the fold. Songs like "Montana" and "Awake" are a departure from Tycho's previous material - unique to the group effort poured into the songs on the new record - while "See" and "Dye" echo ideas from previous works, bridging a middle ground between the old and new. Working with Count Eldridge, who also engineered Dive, the team could fixate on the pulses that Tycho might previously layer under synthesizers and exhume them with distinct bass and guitar patterns. Also known for his design work as ISO50, Hansen's visual and sonic efforts have dovetailed throughout the course of his career. "This is the first time in my life I've dropped everything to focus on one artistic pursuit," notes Hansen. Previous Tycho releases came to fruition when an amalgam of songs were nearing completion, but Awake is where music becomes the focus and true expression becomes the result.

The Trip is the first solo album by N'Zeng, better known as Sébastien Blanchon. It has to be said that he hid behind his (hollow) nose to sniff out the right projects (ex Le Peuple de l'Herbe, member of Entourloop). His nose is hollow, but not for the trumpet, and yet it's with this instrument that he started out. And he reinvents it, giving it a subtle place on this musical road trip we call The Trip.
A journey open to all, with no tolls and no filters, apart from the cinematic filter of this lover of original soundtracks and trip hop. Beautiful images flash before our eyes, and in our ears, the smooth voice of Charlotte Savary (Wax Tailor). An album, a very good trip for lovers of Portishead, Gorillaz, and well-felt scratches in the form of controlled skids.
He's making a name for himself as N'Zeng, with his smooth arrangements.

N'Zeng's father played trumpet with his grandfather in the Feurs brass band in the Loire department. When he arrived in Saint Etienne, young Sébastien started out with a cornet à pistons at the Conservatoire. His teacher at the time, Marcel Heyte, had won a prize in Paris at the same time as a certain Maurice André.

His father took lessons in orchestral conducting, accompanying the offspring's budding musical career, which included a course at the Festival de Cuivre in Monastier-sur-Gazeille, where he met the soloists of the Radio France orchestra. A new awareness, a new confidence: off to Lyon, not for a soccer derby, but to "beef up his game". In 1997, he was awarded a gold medal for trumpet by a unanimous jury at the Conservatoire National de Lyon.

Lyon, capital of the Gauls, was the starting point for N'Zeng, who went on to become a member of the group Le Peuple de l'Herbe. 15 years later, with several successful records to his credit, a concert in 2003 at the Transmusicales with Beth Gibbons (Portishead), and a Victoire de la Musique award, it was time for N'Zeng to move on to other things.

Arrival in the City of Light, the place where dreams come true. Nzeng's dreams are not only sonic, but also visual, for Sébastien is not only a friendly presence and a talented musician, but also a cinephile. His knowledge of music theory, acquired during his years at the conservatory, enables him to tackle music for pictures.

He created a soundtrack for the cult film Alien - The 8th Passenger, and worked with musician Rone (collaborating with Baxter Dury) and his bandmates from Le Peuple de l'Herbe, composing 2 tracks for the soundtrack of Virginie Despentes's hard-hitting film "Baise-moi". On the album "Hollywood Hustlers", with the group "Mustang Force", he pays tribute to the soundtracks of Lalo Shiffrin, Ennio Morricone... The album is also well received by the critics. He conducts the arrangements and orchestrations for the Degiheuga Orchestra, and composes the original music for the Hôtel Bellevue dance show, another success!

2019 sees the birth of "The Trip" project. On this record, no masks, but a female voice, that of Charlotte Savary (Wax Taylor), laid on a carpet of strings. With this musical voyage, trip hop takes pride of place, with a balance between the body of the instruments and the mechanics of beatmaking.

There's no getting off track on this well-balanced record, with its silky orchestrations. N'Zeng accompanies us elegantly, with his trusty trumpet as GPS, here used subtly. The album cover is a photograph taken by Sébastien Blanchon's mother, in 1973, a year when Saint Etienne was about to become French champion for the 7th time.

Harm’s Way is Duck Ltd.’s most intuitive and organic album yet, the result of keen observation, self-possessed songwriting, and a collaborative spirit. Building on the successes of their previous releases, the deeply relatable album displays a band operating at a nuanced, lyrical and musical best.

Ducks Ltd. make inviting and frenetic guitar pop for when life feels overwhelming. While the band’s songs are ostensibly breezy, a palpable anxiety boils underneath that communicates something deeper about everyday existence. On their latest album Harm’s Way, the Toronto duo of Tom McGreevy and Evan Lewis hones in on interpersonal and societal collapses, urban decay, and the near-impossibility of keeping a level head when everything around you seems to be falling apart.

“They’re songs about struggling,” says singer and lyricist McGreevy (who also plays bass and rhythm guitar). “About watching people I care for suffer, and trying to figure out how to be there for them. And about the strain of living in the world when it feels like it's ready to collapse.” 

Even with its often dark subject matter, Harm’s Way is Ducks Ltd.’s most vividly rendered and collaborative collection yet. It’s an undeniable evolution for the band, not just in how these songs soar, but in their entire writing and recording processes. Composed on tour while supporting acts like Nation of Language, Illuminati Hotties, and Archers of Loaf, the album displays the band’s finely tuned songcraft and well-earned, road-tested confidence. “When we got signed, we had played maybe five or six shows ever. After last year, it’s in the hundreds. That experience can change your perception of your own music and songwriting,” says McGreevy. “In the past when we got stuck on a song we had a tendency to look at our favourite records to see how they tackled it. But now, instead of asking ‘what would Orange Juice do?’, we’d ask, ‘what would we do?’.” Lewis adds, “We have this really great thing where every decision with the band is filtered through both of us. Here especially, we really figured out how to make something that truly sounds like us.”

The band, fortified by this strong sense of sonic identity and a self-assurance in their new material—and in contrast to their critically acclaimed 2021 debut Modern Fiction and 2019 EP Get Bleak, both self-recorded and self-produced in a Toronto basement—wanted to bring Harm’s Way to life in a new city, with an outside producer, and with some of their favourite musicians. “We realised that so many of our favourite bands who are making guitar music right now are from Chicago,” says McGreevy. Working with producer Dave Vettraino (Dehd, Deeper, Lala Lala), they enlisted a marquee cast of Windy City collaborators to round out the tracks on Harm’s Way, including: Finom’s Macie Stewart (violin, string arrangements); Ratboys’ Marcus Nuccio (drums on most tracks); Dehd’s Jason Balla (who helped arrange the backing vocals, to which he also contributed); and backing vocals from Julia Steiner (Ratboys), Nathan O’Dell (Dummy), Margaret McCarthy (Moontype), Rui De Magalhaes (Lawn), and Lindsey-Paige McCloy (Patio). The band’s touring drummer, Jonathan Pappo, and bassist Julia Wittman also appear on the LP.

Ducks Ltd. are a band that already thrives on skirting the edges of buoyant jangle pop and driving power pop, and the duo credits these collaborators with helping to push their sound even further. “Historically our process has been really tightly controlled and insular. On this record, we worked with people who we trusted with a pretty wide range of musical backgrounds and they had approaches and ideas that helped open up the record's sonic palette,” explains McGreevy. “Jason thinks about backing vocals in a totally different way than I do and is super intuitive with melodic ideas. Julia and Margaret have a really deeo understanding of harmony. Macie and Dave were comfortable with the idea of improvising string parts which took some of those layers in some surprising directions. Dave also has an amazing ability to create atmosphere on a recording, and encouraged us to use a bunch of different techniques, tones, and processes to achieve that.”

Harm’s Way’s lush, melodic swagger is clear from the first notes of opener “Hollowed Out.” A song about living with decline (inspired by a Toronto sinkhole), its bright, indelible catchiness serves in contrast to its lyrical unease. Anchored by Lewis’ shimmering electric guitar, “The Main Thing” laments growing apart from a person whose views you once shared while managing to toss in references to both the unglamorous lives of middle relief baseball pitchers and the occult. Other songs split the difference between country and krautrock, like the rollicking “Train Full of Gasoline,” which uses the 2013 Lac-Mégantic rail disaster in Quebec as a metaphor for self-destructive patterns. Meanwhile, “Deleted Scenes” mourns the absence of someone no longer in your life (even if for very good reasons) and recalls The Cure at their most direct, and closer “Heavy Bag” employs enveloping, mournful strings to evoke a sense of how misery frequently loves company.

Featuring exclusive performances by Donnie Emerson and Noah Jupe, score selections by Leopold Ross, plus vintage classics from Donnie & Joe Emerson -Includes the original version of the cult-classic hit, "Baby" -LP release housed in a gatefold jacket -Mastered by John Baldwin at Infrasonic Sound -Directed by Bill Pohlad, Dreamin' Wild, stars Casey Affleck, Zooey Deschanel, Beau Bridges, Noah Jupe, Walton Goggins, and Chris Messina // Acclaimed label Light in the Attic proudly partners with River Road, Zurich Avenue, and Roadside Attractions to release Dreamin' Wild Original Motion Picture Soundtrack. The film follows the real-life story of brothers Donnie & Joe Emerson, whose teenage dreams of rock stardom suddenly came true 30 years later. The soundtrack blends vintage recordings by Donnie & Joe (including the cult favorite "Baby") with exclusive new performances by Donnie Emerson, Nancy Sophia Emerson, and actor Noah Jupe, plus original score selections by composer Leopold Ross (Black Mirror, A Million Little Pieces). Jupe, who portrays a young Donnie Emerson, re-recorded several of the duo's classic songs for the film, including their debut single, "Thoughts in My Mind." The wistful ballad, which was written and recorded while the brothers were still in high school, was originally released in 1977 on their own Enterprise & Co. label. The soundtrack also includes "When A Dream Is Beautiful," a new song by husband-and-wife duo Donnie Emerson and Nancy Sophia Emerson, and recorded in Nashville by the film's music producer and multi-GRAMMYr winner Dave Cobb. Also available are Donnie & Joe's 1979 album, Dreamin' Wild, as well as the acclaimed 2014 collection Still Dreamin' Wild: The Lost Recordings 1979-81, which culls highlights from the brothers' prolific collection of songs. Additionally, fans can find exclusive Donnie & Joe merch at DonnieAndJoe . Adapted from a profile by journalist Steven Kurutz and written, directed, and produced by Oscarr and Emmyr-nominee Bill Pohlad (whose extensive credits include Brokeback Mountain, 12 Years a Slave, and the Brian Wilson biopic Love & Mercy), Dreamin' Wild stars Academy Awardr winner Casey Affleck, Emmyr-nominee Zooey Deschanel, Emmyr-nominee Walton Goggins, Chris Messina, Noah Jupe, Jack Dylan Grazer, plus Emmyr and Grammy Awardr-winner Beau Bridges. A true story of love and redemption, Dreamin' Wild centers around Donnie Emerson (Affleck/Jupe), a middle-aged singer-songwriter who learns that a record label is interested in reissuing the album that he and his brother recorded as teens in rural Washington State. Suddenly, the Emerson brothers find themselves thrust into the spotlight, as their 30-year-old album is hailed as a lost masterpiece. While the album's rediscovery brings hopes of second chances, it also unearths long-buried emotions as Donnie, his wife Nancy (Deschanel), brother Joe (Goggins/Grazer), and father Don Sr. (Bridges) come to terms with the past and their newly found fame. Named for the brothers' 1979 debut album, Dreamin' Wild is a River Road - Innisfree Production, produced by Academy Awardr-winner Jim Burke, Academyr and Emmyr-nominee Pohlad, Kim Roth, Viviana Vezzani, and Karl Spoerri. Casey Affleck served as executive producer, alongside Emmyr-nominee Christa Workman, Dan Clifton, Steven Snyder, and Tobias Gutzwiller. More about Donnie & Joe Emerson: Brothers Donnie and Joe Emerson grew up on a 1600-acre farm in Fruitland, WA with dreams of musical stardom. Far removed from the punk and disco scenes of the late '70s, the boys' inspiration primarily came from a tractor radio, which they listened to for hours on end while working the fields. In between farm duties and high school, the brothers spent their remaining time on music, with Donnie serving as the primary songwriter, vocalist, guitarist, and keyboardist, and Joe holding down the beat on drums. Donnie & Joe's parents encouraged their sons' talents - so much so that they leveraged the family farm in order to build a state-of-the-art recording studio, where the brothers self-produced their debut album, Dreamin' Wild. Released in 1979 on their own Enterprise & Co. label, the album offered a lo-fi blend of FM rock, pop, soul, and funk - evoking such contemporaries as Marvin Gaye, Hall & Oates, and the Brothers Johnson in songs like "Good Time," "Dream Full of Dreams," and "Baby." Despite the Emersons' passions, however, Dreamin' Wild wasn't the bestseller that they envisioned. In fact, it tanked, nearly bankrupting the family in the process. Donnie and Joe's dreams did actually come true though. It just took three decades and a heavy dose of kismet. Around 2008, record collector, actor, and Out of the Bubbling Desk blogger Jack Fleischer discovered a copy of the LP at a Spokane antique shop. Initially intrigued by the jacket image (which features the boys in flashy, Elvis-style jumpsuits), Fleischer was blown away by what he heard. Before long, word began to spread about the Emerson brothers, while their soulful ballad "Baby" became a viral hit, eliciting multiple cover versions (most popularly by Ariel Pink & Dâm-Funk). Since its digital release, the track has been streamed over 30 million times on Spotify. In 2012, Light in the Attic brought Dreamin' Wild to the masses, giving the Emerson brothers a second chance at stardom and an outpouring of long-overdue accolades, including features in the New York Times, Los Angeles Times, and The Guardian, a shout-out from Jimmy Fallon, and praise from the likes of Pitchfork, which called the 1979 album "A godlike symphony to teen-hood." The Emersons' inspiring story caught the ears of writer, director, and producer Bill Pohlad, who recently told PEOPLE, "Being able to go deep to explore this amazing family was the real reason that I was drawn to this material. Dreamin' Wild ultimately became a story about family, faith and forgiveness for me."

Daneshevskaya (Dawn-eh-shev-sky-uh), the project of New York's Anna Beckerman, writes songs steeped in the folklore of her own personal history. Her artist (and real middle) name comes from her Russian-Jewish great-grandmother, a person whose presence she has always felt although their paths never crossed in real life. Beckerman grew up in a musical family; her father is a music professor, her mother studied opera and her own songs often feel spiritual, less so by any religious connotation and more as a hymn-like, archival record of Beckerman's own past, present and future. Her first release on Winspear, Long is the Tunnel, contemplates how the people you meet impact the pathway you travel. Through songs like the poignant "Somewhere in the Middle," the lilting "Challenger Deep" and the surreal "Big Bird," the EP paints a distinctive collage between traditional songwriting and modern turns of phrase that remain spellbound in the unadulterated luster of self discovery. The seven songs read as both patchwork memories/diary entries and elegies to those in her life. Co-produced by Ruben Radlauer and Hayden Ticehurst of Model/Actriz and Artur Szerejko, the final versions of these initial demos also saw contributions from Lewis Evans of Black Country, New Road (saxophone), Maddy Leshner (keys) and Finnegan Shanahan (violin), adding to the gleaming instrumentation that makes each song sound like a world within itself. Long is the Tunnel is filled with hyperreal imagery that denotes a form of escapism: two of the songs reference birds, which Beckerman describes as about being transfixed by something you can't take your eyes o‑ while also being able to leave at will. Long is the Tunnel prolongs this feeling of being completely immersed: by desire, emotion, and fantasy, though the somber melancholy of her love songs are often more manifestations to her internal self than anyone else.

Daneshevskaya (Dawn-eh-shev-sky-uh), the project of New York's Anna Beckerman, writes songs steeped in the folklore of her own personal history. Her artist (and real middle) name comes from her Russian-Jewish great-grandmother, a person whose presence she has always felt although their paths never crossed in real life. Beckerman grew up in a musical family; her father is a music professor, her mother studied opera and her own songs often feel spiritual, less so by any religious connotation and more as a hymn-like, archival record of Beckerman's own past, present and future. Her first release on Winspear, Long is the Tunnel, contemplates how the people you meet impact the pathway you travel. Through songs like the poignant "Somewhere in the Middle," the lilting "Challenger Deep" and the surreal "Big Bird," the EP paints a distinctive collage between traditional songwriting and modern turns of phrase that remain spellbound in the unadulterated luster of self discovery. The seven songs read as both patchwork memories/diary entries and elegies to those in her life. Co-produced by Ruben Radlauer and Hayden Ticehurst of Model/Actriz and Artur Szerejko, the final versions of these initial demos also saw contributions from Lewis Evans of Black Country, New Road (saxophone), Maddy Leshner (keys) and Finnegan Shanahan (violin), adding to the gleaming instrumentation that makes each song sound like a world within itself. Long is the Tunnel is filled with hyperreal imagery that denotes a form of escapism: two of the songs reference birds, which Beckerman describes as about being transfixed by something you can't take your eyes o‑ while also being able to leave at will. Long is the Tunnel prolongs this feeling of being completely immersed: by desire, emotion, and fantasy, though the somber melancholy of her love songs are often more manifestations to her internal self than anyone else.

Daneshevskaya (Dawn-eh-shev-sky-uh), the project of New York's Anna Beckerman, writes songs steeped in the folklore of her own personal history. Her artist (and real middle) name comes from her Russian-Jewish great-grandmother, a person whose presence she has always felt although their paths never crossed in real life. Beckerman grew up in a musical family; her father is a music professor, her mother studied opera and her own songs often feel spiritual, less so by any religious connotation and more as a hymn-like, archival record of Beckerman's own past, present and future. Her first release on Winspear, Long is the Tunnel, contemplates how the people you meet impact the pathway you travel. Through songs like the poignant "Somewhere in the Middle," the lilting "Challenger Deep" and the surreal "Big Bird," the EP paints a distinctive collage between traditional songwriting and modern turns of phrase that remain spellbound in the unadulterated luster of self discovery. The seven songs read as both patchwork memories/diary entries and elegies to those in her life. Co-produced by Ruben Radlauer and Hayden Ticehurst of Model/Actriz and Artur Szerejko, the final versions of these initial demos also saw contributions from Lewis Evans of Black Country, New Road (saxophone), Maddy Leshner (keys) and Finnegan Shanahan (violin), adding to the gleaming instrumentation that makes each song sound like a world within itself. Long is the Tunnel is filled with hyperreal imagery that denotes a form of escapism: two of the songs reference birds, which Beckerman describes as about being transfixed by something you can't take your eyes o‑ while also being able to leave at will. Long is the Tunnel prolongs this feeling of being completely immersed: by desire, emotion, and fantasy, though the somber melancholy of her love songs are often more manifestations to her internal self than anyone else.

The most potent memories I have of music are from my early childhood listening to the oldie's station, riding in the back of my Pops' 1975 Cadillac Seville to work alongside him moving plants in Sacramento at the now long gone Capitol Nursery during white hot summer afternoons, and then the drives back home in the purple twilights and oily blue-oranged nights. I'm talkin' The Temptations, War, Earth Wind and Fire, Al Green, Sly and the Family Stone, The Delfonics, Stevie Wonder, Chaka Khan...soul music. I loved the melodrama of it all. The world outside refracted and transmuted through the crackling speakers past Pops' thumping thumb and my tiny whirring mind and left whatever road behind us fundamentally changed in our wake. Through the years other sounds too left its imprint well before I picked up a guitar. Rap, Punk, hardcore, dub, R&B--and a little later in middle school, blues, folk and country. But those early Cadillac memories always remained the bedrock. With folk and blues music, I fell in love with the immediacy of it and found the acoustic guitar economical for all the solitary roaming of my early 20's. All the while I knew that one day, when I had something I felt like I could add, I wanted to incorporate the sound of those early Cadillac memories. But only after I felt established as a songwriter in its most simple form, banging on a wooden guitar and yodeling up some melody did I feel comfortable exploring other sounds and only recently did I find the time and space to do that. The pandemic trapped all the world in their rooms. While recording my last record in the height of it and at the behest of my friend and You, Yeah, You producer Brad Cook and his friend Justin Vernon, I bought my first keyboard. A Roland Juno DS. I started tinkering on it throughout the past couple of years and as I became more stationary started writing songs on different instruments that I accumulated. Layering sounds on garageband in my apartment writing bass and horn parts, making drum loops, adding synth... I became pretty obsessive with the endless possibilities it brought and got quicker and quicker at making songs that way. It was just so fun and limitless.

The most potent memories I have of music are from my early childhood listening to the oldie's station, riding in the back of my Pops' 1975 Cadillac Seville to work alongside him moving plants in Sacramento at the now long gone Capitol Nursery during white hot summer afternoons, and then the drives back home in the purple twilights and oily blue-oranged nights. I'm talkin' The Temptations, War, Earth Wind and Fire, Al Green, Sly and the Family Stone, The Delfonics, Stevie Wonder, Chaka Khan...soul music. I loved the melodrama of it all. The world outside refracted and transmuted through the crackling speakers past Pops' thumping thumb and my tiny whirring mind and left whatever road behind us fundamentally changed in our wake. Through the years other sounds too left its imprint well before I picked up a guitar. Rap, Punk, hardcore, dub, R&B--and a little later in middle school, blues, folk and country. But those early Cadillac memories always remained the bedrock. With folk and blues music, I fell in love with the immediacy of it and found the acoustic guitar economical for all the solitary roaming of my early 20's. All the while I knew that one day, when I had something I felt like I could add, I wanted to incorporate the sound of those early Cadillac memories. But only after I felt established as a songwriter in its most simple form, banging on a wooden guitar and yodeling up some melody did I feel comfortable exploring other sounds and only recently did I find the time and space to do that. The pandemic trapped all the world in their rooms. While recording my last record in the height of it and at the behest of my friend and You, Yeah, You producer Brad Cook and his friend Justin Vernon, I bought my first keyboard. A Roland Juno DS. I started tinkering on it throughout the past couple of years and as I became more stationary started writing songs on different instruments that I accumulated. Layering sounds on garageband in my apartment writing bass and horn parts, making drum loops, adding synth... I became pretty obsessive with the endless possibilities it brought and got quicker and quicker at making songs that way. It was just so fun and limitless.

With over 40 musicians across 28 tracks, Essentials Spring 2023 might be our most treasured one yet. Featuring a who's who of some of our favorite musicians in the community, we present a 2xLP to keep everyone vibrant and alive as the seasons change and days start to warm. Essentials Spring 2023 features recent Chillhop beat tape alumni like El Train, Evil Needle, illiterate, and Mr. Slipz, while also showcasing songs from familiars like Oatmello, SwuM, Toonorth, Blue Wednesday, HM Surf, The Doppelgangaz, and dozens of others.

This album features over 70 minutes of chillhop, jazzhop, lofi hip-hop, downtempo R&B, lounge jazz, soulful beats, boom bap, old school. However you might like to classify this. Study beats? Sure. Beats to go on a road trip to? Absolutely. Gaming beats, coding beats, beats to daydream to? You betcha. The essentials return for 2023, adding to the ever growing collection of limited edition seasonal releases on vinyl!

Margo Cilker's sophomore album, Valley of Heart’s Delight, refers to a place she can't return: California’s Santa Clara Valley, as it was known before the orchards were paved over and became more famous for Silicon than apricots. In this 11-song follow-up to 2021's critically acclaimed Pohorylle, family and nature intertwine as guiding motifs, at once precious and endangered, beautiful and exhausting. Cilker and Pohorylle producer Sera Cahoone brought most of that record's highly-acclaimed crew (studio players for The Decemberists, Band Of Horses, and Beirut) back to the studio with additional contributions from acclaimed Northwest traditionalist Caleb Klauder. Valley of Heart's Delight, Cilker's second record on Portland, Oregon label Fluff & Gravy Records, follows a year busily reaping the fruits of Pohorylle's success, with festival appearances at Pickathon, Treefort, and End Of The Road, and tours supporting American Aquarium, Hayes Carll, Drive-By Truckers, and Joshua Ray Walker. Margo Cilker lives near the Columbia River in Goldendale, Washington with her husband, songwriter and working cowboy Forrest VanTuyl, as well as their dog and some horses.

Snakes and Ladders, newly remastered at half-speed by Miles Showell at Abbey Road Studios, out on 25th August 2023. Originally released in 1980, the fourth album from Gerry Rafferty includes "The Garden Of England" which was recorded at Beatles producer George Martin's AIR studio in Montserrat and "Johnny's Song", a remake of a song previously released by his former band Stealer's Wheels.
With hits such as ‘Baker Street’, ‘Right Down The Line’ and ‘Night Owl’, Gerry Rafferty is one of Scotland’s and the UK’s finest songwriters and musicians in history. He first found success as part of the band The Humblebums, which included beloved comedian, actor and musician Billy Connolly. Rafferty went on to form Stealers Wheel with old school friend Joe Egan, who produced a number of successful albums alongside the rock classic Stuck In The Middle With You, a track which has transcended generations with notable syncs in films such as Tarantino’s Resevoir Dogs, and is still widely popular to this day. Following his departure from Stealers Wheel, Rafferty relaunched his solo career in 1978 with the album City To City, including hits such as ‘Right Down The Line’ and ‘Baker Street’, which features the iconic saxophone solo by Raphael Ravenscroft. Rafferty went on to release ten studio albums, solidifying his status one of the finest musicians and songwriters to come out of the UK.

Night Owl, newly remastered at half-speed by Miles Showell at Abbey Road Studios, out on 25th August 2023. Originally released in 1979, Rafferty’s third studio album, Night Owl, reached the top 10 in the UK. It's since gone platinum in Canada and gold in the UK and US and features the tracks 'Get It Right Next Time' and 'Days Gone Down (Still Got the Light in Your Eyes)'.
With hits such as ‘Baker Street’, ‘Right Down The Line’ and ‘Night Owl’, Gerry Rafferty is one of Scotland’s and the UK’s finest songwriters and musicians in history. He first found success as part of the band The Humblebums, which included beloved comedian, actor and musician Billy Connolly. Rafferty went on to form Stealers Wheel with old school friend Joe Egan, who produced a number of successful albums alongside the rock classic Stuck In The Middle With You, a track which has transcended generations with notable syncs in films such as Tarantino’s Resevoir Dogs, and is still widely popular to this day. Following his departure from Stealers Wheel, Rafferty relaunched his solo career in 1978 with the album City To City, including hits such as ‘Right Down The Line’ and ‘Baker Street’, which features the iconic saxophone solo by Raphael Ravenscroft. Rafferty went on to release ten studio albums, solidifying his status one of the finest musicians and songwriters to come out of the UK.

2024 BLACK VINYL REPRESS.
One can hardly imagine the genre-busting, culture-crossing musical magic of Outkast, Prince, Erykah Badu, Rick James, The Roots, or even the early Red Hot Chili Peppers without the influence of R&B pioneer Betty Davis. Her style of raw and revelatory punk-funk defies any notions that women can’t be visionaries in the worlds of rock and pop. In recent years, rappers from Ice Cube to Talib Kweli to Ludacris have rhymed over her intensely strong but sensual music.

There is one testimonial about Betty Davis that is universal: she was a woman ahead of her time. In our contemporary moment, this may not be as self-evident as it was thirty years ago – we live in an age that’s been profoundly changed by flamboyant flaunting of female sexuality: from Parlet to Madonna, Lil Kim to Kelis. Yet, back in 1973 when Betty Davis first showed up in her silver go-go boots, dazzling smile and towering Afro, who could you possibly have compared her to? Marva Whitney had the voice but not the independence. Labelle wouldn’t get sexy with their “Lady Marmalade” for another year while Millie Jackson wasn’t “Feelin’ Bitchy” until 1977. Even Tina Turner, the most obvious predecessor to Betty’s fierce style wasn’t completely out of Ike’s shadow until later in the decade.

Ms. Davis’s unique story, still sadly mostly unknown, is unlike any other in popular music. Betty wrote the song “Uptown” for the Chambers Brothers before marrying Miles Davis in the late ‘60s, influencing him with psychedelic rock, and introducing him to Jimi Hendrix — personally inspiring the classic album ’Bitches Brew.’

But her songwriting ability was way ahead of its time as well. Betty not only wrote every song she ever recorded and produced every album after her first, but the young woman penned the tunes that got The Commodores signed to Motown. The Detroit label soon came calling, pitching a Motown songwriting deal, which Betty turned down. Motown wanted to own everything. Heading to the UK, Marc Bolan of T. Rex urged the creative dynamo to start writing for herself. A common thread throughout Betty’s career would be her unbending Do-It-Yourself ethic, which made her quickly turn down anyone who didn’t fit with the vision. She would eventually say no to Eric Clapton as her album producer, seeing him as too banal.

In 1973, Davis would finally kick off her cosmic career with an amazingly progressive hard funk and sweet soul self-titled debut. Davis showcased her fiercely unique talent and features such gems as “If I’m In Luck I Might Get Picked Up” and “Game Is My Middle Name.” The album Betty Davis was recorded with Sly & The Family Stone’s rhythm section, sharply produced by Sly Stone drummer Greg Errico, and featured backing vocals from Sylvester and the Pointer Sisters.

A complex and sometimes belligerent character in real life, on record,
John Martyn was the epitome of the folk-dreamer, embodying the spirit
of the bourgeoning London acoustic scene of the late 60s
Well- known and respected for his 70s albums Solid Air and One World, this is
where it began.The second and final John and Beverley album, The Road To Ruin
came out in late 1970; it is a mature, fully realised work, and a glimpse of what
would have happened had Island not encouraged John to go back to being a solo
artist. Opener Primrose Hill was later sampled by Fat Boy Slim, and the John-led
Parcels offers a template for what would become his signature style as the
decade progressed. It is one of those rare albums that creates its own
atmosphere, late night intensity, middle age soul.
This re-issue faithfully replicates the original 1970 Island Records UK release and
is pressed onto high quality 180g vinyl.

Companion piece to O Morto's album »Dans la Gorge d'un Monstre«. The diaristic approach goes deeper where field recordings and fragments of memory take center stage , O Morto expands his LP masterpiece to a very direct and free-flowing tape. Also based on a number of field recordings taken during a life-changing trip to Morocco that felt like a fever dream, ‘Iffrits Habitent‘ is the perfect companion piece with a more impressionistic and unadulterated account of the same travel that could well be this side of the mirror. Then again, maybe he never made it from the other side. Who’s to know?

Born of a thousand nights lost in a surrender to stillness and contemplation, In The Air is Anna St. Louis’ second full length album and her most considered work yet. St. Louis’ debut If Only There Was a River seemed to emerge fully formed out of the recesses of her mind; a gritty, mesmerizing affair, filled with jagged edges and ghostly apparitions. The type of record that announces a new voice; one haunted by what has come before.

But this time, St. Louis is no longer concerned with what could have been and sets her sights to exploring what could be. It’s an outlook on the world that was formed when her immediate one was small. The intervening years since her last album found St. Louis in a small one-bedroom cabin in the middle of the woods of upstate New York with a new love and time to think of what she wanted to express with her music. For weeks on end, the only trips she took were to and from her job as the front desk clerk at a nearby hotel. The previous years she had spent on tour and performing constantly in the venues of Los Angeles felt like they had occurred in another lifetime.

“It really compelled me to surrender to the unknown,” she says. And in this surrender, she found liberation. St. Louis is more self-assured, open-hearted and ready to say what she wants. St. Louis describes the writing period as one of a slow harvest; a fertile time but one that required a newfound patience. Instead of documenting her first thoughts, she spent more time with each song, going deeper with the themes and ideas she wanted to express.

This slower approach also guided the sonic textures of the album. Working with producer Jarvis Taveniere (Purple Mountains, Woods) in two extended recording sessions in Los Angeles in 2021, St. Louis used the studio in a previously unexplored way, opening up her songs to more experimentation featuring brighter tones and a more orchestral sound to accompany her new perspective. To that end, she was aided by a cast of friends and collaborators including Jess Williamson, Kacey Johansing, Oliver Hill (Kevin Morby, Vagabon) on strings, Alex Fischel (Spoon) on piano, Josh Adams on drums (Bedouine, Tim Heidecker) and Keven Lareau (Cut Worms, Hand Habits).

In the Air has the sound of a joyous consideration of the present moment; a quiet morning revealing a new snowfall outside, steam coming from the kettle, just before it whistles, St. Louis with her guitar, staring out the window, with a few free hours before work. She’s reflecting on the scene in front of her, imagining the times yet to come. You can hear it; she’s a long way from the noisy bars of Los Angeles, the rigors of the road. As she intones in “Rest”: “You spend your whole life believing in the chase. And then you realize that being somewhere doesn’t matter like it used to.” She doesn’t need a river to carry her anymore ... She’s in the air.

One of this year’s breakout success stories from the UK’s current thriving independent music scene,
critically acclaimed seven-piece Black Country, New Road present here their highly anticipated second
album ‘Ants From Up There’ via Ninja Tune.
 Debut album ‘For the first time’ was shortlisted for the 2021 Hyundai Mercury Prize. The band
performed ‘Track X’ live on BBC 4.
 ‘Ants From Up There’ was written in lockdown in the early part of 2021 when the band were unable to
go on tour as planned to support their album release. The result is a stunning collection of songs and a
move in direction to a more crossover, alternative sound beyond the experimental and ‘post-punk’
nature of their debut.
 New album expands on their unique concoction to create a singular sonic middle ground that traverses
classical minimalism, indie-folk, pop, alt rock and a distinct tone that is already unique to the band.
 Extensive global touring in 2022, including their biggest London show to date at the Roundhouse, full
UK and European Tour in April/ May. Sold out 2021 shows include Brighton, Liverpool, Manchester,
Birmingham, Glasgow, Bristol and Dublin and more.
 2021 festival dates include End Of The Road, Latitude, Fusion, Roskilde, Dour, Bol Festival, Pohoda,
Le Guess Who, Dour. In 2022 they’ll play Primavera Sound, Dour, Way Out West, Bad Bonn Kilbi, Bol
Festival.
 For fans of IDLES, Black Midi, Squid, Phoebe Bridgers, Jockstrap, Nick Cave, The National,
Radiohead.
 Deluxe 4LP 140g vinyl box set with bonus ‘Live from the Queen Elizabeth Hall’ double LP, black paper
inner sleeves, 4 art prints, lyric booklet and sticker.

The definitive reissue of one of rock’s rarest and most sought-after albums – “acid-folk” – equal parts pastoral folk and contemplative psychedelic. The rst time since 1971 that this album has been pressed from the original master tapes, recently discovered in Italy. Lacquered directly from tape in an all-analog transfer by Bernie Grundman. This is the single LP version that we issued after the Now-Again Reserve Edition sold out. Mark Fry was 19 – recently graduated from high school and in Italy studying painting – when he walked barefooted into RCA’s Italian subsidiary, played some songs he’d written on his guitar and was signed to record the album that would become legend. The first recordings he made proved stuff, so he was paired with members of the Scottish band Middle of the Road, who were in Rome while under contract to RCA Italiana. Convening in a basement home studio with two 4-track reel-to-reel record- ers, Mark’s visions coalesced in a dreamy, airy manner – “Nick Drake meets Dr. Strangely Strange with a touch of Lewis Carroll” The Word Magazine would later write. Pressed in small amounts for Vincenzo Micocci’s RCA sub-label It, Alice remained an out of reach masterpiece for many but its creator, who returned to England in 1971 and subsequently traveled the world, playing music, sometimes recording and painting. By the time of its rediscovery, its master tapes were assumed lost. Their rediscovery allows this pristine transfer to reveal nuances not heard on anything but original It pressings.

Murmer is the long-standing project for Estonian field recordist and composer Patrick McGinley, and in Tether, The Helen Scarsdale Agency welcomes Murmer back to our roster, over a decade since he graced us with his last production for the Agency. His field recordings often center upon the amplification and activation of resonance from a particular space, landscape, or object. Such sounds emerge from a condition as begin fleeting, inconsequential, or ephemeral and explode into that which alien, sublime, and profound. Here lies the tremendous prowess of the contact microphone, as wielded by an accomplished musician! The source material cited by McGinley includes cables, fences, wires, and vents.

There is a heft to many of these sounds as heard throughout all of "Taevast" with deep throbbing pulsations from arctic wind generating subharmonic patterns upon thick high-tension wires. Elsewhere the subtle dissonance from a rasping cooling fan blooms into a brooding ambience that is sublimely rich in its metallic timbres and complex reverberations. McGingley has long been an exemplary artist in the field of phonography even as he is less prolific than others. On Tether, he has produced a majestic if occasionally foreboding work on par with the mythic wire recordings of Alan Lamb, Jacob Kirkegaard's haunted resonance from Chernobyl, and much of the Touch catalogue for that matter!

Patrick McGingley on Tether:

In 2006, I made a collection of recordings at a mobile phone mast in Mooste, southeast Estonia. It is a guyed tower, 80 meters tall, affixed to 3 support points with heavy cables. I attached my self-made contact microphones to these cables with poster tack, and spent many hours over several weeks recording the various wind and weather variances (it was summer), and the birds that passed or settled on the tower or cables. This was one of my first visits to estonia, where i now live, and one of the things that marked me about that experience was the access: the tower had no fences or protections around it (I have not been back there recently to answer my own question of whether or not this is still the case); it stands in the middle of a field of tall grass along a dirt road in the countryside, just out of view of the few nearby houses, and during all the hours I spent there I was never disturbed or shooed away.

For more than 16 years, I have been thinking about this location and these recordings, and have made several attempts to work with them. I have used the sounds in installations a handful of times, and uploaded one short edit to the Aporee soundmaps, but have never managed to use them in any composed work. They always seemed too big for any structure I could provide them, whether I left them on their own, or partnered them with other sounds. Finally, in 2019, after putting them down and picking them up again repeatedly over so many years, they seemed to allow me in, although it took me another few years before they were happy with what I could offer. They stand now not quite alone - the majority of the layered sounds in the piece come from various edits of those cable recordings, but I added two other contrasting sounds, related to one another: one is snowflakes landing delicately on a plastic cakebox with microphones inside it, and the other is a frosted field of grass thawing on a lightly warming autumn morning (both these recordings can also be heard on their own on the Aporee maps).

Coming back to those cables brought to mind so many other wind-driven sounds that I had spent time with and recorded, but never returned to, that I began digging through my archives looking for them. I ended up with a pool of sounds from resonant wires, cables, fences, poles, fans, and vents, which became the basis for the 2nd work on this release. One of these sounds is among the first sounds I ever recorded, possibly within a month or so of buying my first microphone and minidisc recorder: the rhythmic fan of a beer cooler in a pub where I worked in North London in 1999. Other sounds in the piece include another phone tower, recorded on the northern coast of France in 2008, a telephone pole recorded in the Beaujolais region in 2010, the drone of ventilator fans at a factory in Tezno, Slovenia in 2012, an electric sheep fence in the Scottish borders in 2013, a hanging wire in a storage space in Rovaniemi, Finland in 2016, and, with no relation to cables or wind at all, calcium deposits being cleaned from the inside of an electric kettle here in Estonia in 2019.

I offer these two new pieces as my first solo publication since 2018, the first release on a physical medium since 2016. No one has ever accused me of working too fast, or being too prolific. I have a need, it seems, to leave a physical space of time around my work, before I can consider it 'finished'. Perhaps it is a simple need to forget how I did something, or that I did something; perhaps I have a need to be able to hear a work as a first-time listener would, before I can consider it ready for such an encounter. In some part of my mind I have to forget it before I can let it go. Well, I've just about forgotten that London beer cooler now, and that walk in the Beaujolais (with my father, who has since passed away), and that sheep fence next to our campsite in the borders, and that kettle that is now leaky. So I guess it's time.

New/Deluxe vinyl pressing housed in old school tip-on jacket In 1973, Davis would finally kick off her cosmic career with an amazingly progressive hard funk and sweet soul self-titled debut. Davis showcased her fiercely unique talent and features such gems as "If I'm In Luck I Might Get Picked Up" and "Game Is My Middle Name." The album Betty Davis was recorded with Sly & The Family Stone's rhythm section, sharply produced by Sly Stone drummer Greg Errico, and featured backing vocals from Sylvester and the Pointer Sisters.

New/Deluxe vinyl pressing housed in old school tip-on jacket In 1973, Davis would finally kick off her cosmic career with an amazingly progressive hard funk and sweet soul self-titled debut. Davis showcased her fiercely unique talent and features such gems as "If I'm In Luck I Might Get Picked Up" and "Game Is My Middle Name." The album Betty Davis was recorded with Sly & The Family Stone's rhythm section, sharply produced by Sly Stone drummer Greg Errico, and featured backing vocals from Sylvester and the Pointer Sisters.

Eric D. Johnson rarely lingers at one location too long. As a kid growing up in the Midwest, Johnson's family moved around a lot, but it wasn't until he became a touring musician years later that motion became a central part of his identity. That transient lifestyle stoked an enduring reverence for the world he watched pass by through a van window. A sense of place is a unifying theme he's revisited with Fruit Bats throughout its many lives. From the project's origins in the late '90s as a vehicle for Johnson's lo-fi tinkering to the more sonically ambitious work of recent years, Fruit Bats has often showcased love songs where people and locations meld into one. It's a loose song structure that navigates what he calls "the geography of the heart." "The songs exist in a world that you can sort of travel from one to another," says Johnson. "There are roads and rivers between these songs." Those pathways extend straight through the newest Fruit Bats album, aptly titled A River Running to Your Heart . Self-produced by Johnson_a first for Fruit Bats_with Jeremy Harris at Panoramic House just north of San Francisco, it's Fruit Bats' tenth full-length release and one that finds the project in the middle of a creative resurgence. After two decades of making music, hard-earned emotional maturity has seeped into Johnson's songs, resulting in a more complex sound that's connected with audiences like no other previous version of Fruit Bats. A River Running to Your Heart represents the fullest realization of that creative vision to date. It's a sonically diverse effort that largely explores the importance of what it means to be home, both physically and spiritually. And while that might seem like a peculiar focus for an artist who's constantly in motion, for Fruit Bats, home can take many forms_from the obvious to the obscure. Lead single "Rushin' River Valley" is a self-propelled love song written about Johnson's wife that clings to the borrowed imagery of the place where she grew up in northern California. Then, there's the gentle and unfussy acoustic ballad "We Used to Live Here," which looks back to a time of youthful promise and cheap rent. But the wistful "It All Comes Back" is perhaps the most stunning and surprising track on the album, Johnson's production skills on full display. Built upon intricate layers of synths, keyboards, and guitars, it's a pitch-perfect blend of tone and lyricism that taps into our shared apprehensions and hopes for a post-pandemic life. "We lost some time / But we can make it back / Let's take it easy on ourselves, okay?" sings a world-weary but ultimately reassuring Johnson in the song's opening lines. It's the kind of performance that makes you hope Fruit Bats stays in this one place, at least for a little while longer.

BLUE & BONE VINYL

Eric D. Johnson rarely lingers at one location too long. As a kid growing up in the Midwest, Johnson's family moved around a lot, but it wasn't until he became a touring musician years later that motion became a central part of his identity. That transient lifestyle stoked an enduring reverence for the world he watched pass by through a van window. A sense of place is a unifying theme he's revisited with Fruit Bats throughout its many lives. From the project's origins in the late '90s as a vehicle for Johnson's lo-fi tinkering to the more sonically ambitious work of recent years, Fruit Bats has often showcased love songs where people and locations meld into one. It's a loose song structure that navigates what he calls "the geography of the heart." "The songs exist in a world that you can sort of travel from one to another," says Johnson. "There are roads and rivers between these songs." Those pathways extend straight through the newest Fruit Bats album, aptly titled A River Running to Your Heart . Self-produced by Johnson_a first for Fruit Bats_with Jeremy Harris at Panoramic House just north of San Francisco, it's Fruit Bats' tenth full-length release and one that finds the project in the middle of a creative resurgence. After two decades of making music, hard-earned emotional maturity has seeped into Johnson's songs, resulting in a more complex sound that's connected with audiences like no other previous version of Fruit Bats. A River Running to Your Heart represents the fullest realization of that creative vision to date. It's a sonically diverse effort that largely explores the importance of what it means to be home, both physically and spiritually. And while that might seem like a peculiar focus for an artist who's constantly in motion, for Fruit Bats, home can take many forms_from the obvious to the obscure. Lead single "Rushin' River Valley" is a self-propelled love song written about Johnson's wife that clings to the borrowed imagery of the place where she grew up in northern California. Then, there's the gentle and unfussy acoustic ballad "We Used to Live Here," which looks back to a time of youthful promise and cheap rent. But the wistful "It All Comes Back" is perhaps the most stunning and surprising track on the album, Johnson's production skills on full display. Built upon intricate layers of synths, keyboards, and guitars, it's a pitch-perfect blend of tone and lyricism that taps into our shared apprehensions and hopes for a post-pandemic life. "We lost some time / But we can make it back / Let's take it easy on ourselves, okay?" sings a world-weary but ultimately reassuring Johnson in the song's opening lines. It's the kind of performance that makes you hope Fruit Bats stays in this one place, at least for a little while longer.

Frokedal is a popular folk singer-songwriter whose haunting vocals have scored the music of various acclaimed bands over the past decade. The members of Sa^ver are veterans of the Norwegian heavy scene. Having toured all over the world playing renowned festivals like Roadburn and Psycho Las Vegas, they now fill and orchestrate the gap between eerie softness and furious anger as a three-piece atmospheric sludge metal ensemble. This split 10" sees each of these artists present a song from the respective other artist's back catalogue, finding a transcendental middle ground between the other artist's musical realm and their own sphere. Commenting on the beginning of her own musical career, Frokedal notes: "Because everyone has a computer these days there's no limit to how many times you can multi-track. I was sick of that. I hoped to go the other way - to remove as much as I could and be left with a beating heart." Remarkably, Sa^ver have done just that in their execution of Frokedal's track «Shot-Put», turning down their guitars to give space to clean vocals and laying bare the synths that are an integral part of their sound. Driven by deep drones and soft layered vocals, the Homeric simile of a meeting at the shot put becomes even more compelling, turning the folksy original into a haunting ambient rock opus. In turn, Frokedal lays bare the heart of «I Vanish» from Sa^ver's debut LP in a gently swaying but bewitching folk version. In a world somewhere between the triple harmony magic of The Staves and the polyphonic madness of Le Myste`re des Voix Bulgares, Anne Lise conjures the unsettling path towards obliteration. Many things can be said about the way these songs sound and even about how they transcend the originals in some ways, but the true beauty of this EP lies in the way both Frokedal and Sa^ver incline towards each other to find a middle ground that is yet unexplored in their respective careers. Coming together, they prove that beauty is found in the eye of the beholder, but transcendence is found in the eye of the storm! Limited (100 copies ww) Single Colour (Dark Blue) Edition!

ZEHRA is proud to present the debut album ISTEHLAL by the MOHAMAD ZATARI TRIO, consisting of musicians from Syria, Iran & India. The trio merges traditional Middle Eastern sounds with contemporary vibes incl. interpretations of Hossein Alizadeh & Riad Al-Sunbati classics.

In a contemporary globalised world where music has lost its borders and is fighting a constant – yet particular – stream of Western commodification, the Mohamad Zatari Trio stands out as an original cultural artefact, aiming at transcending the boundaries between different music worlds.
Founded in 2019 the ensemble had its first public appearance in 2020 at the Outernational Virtual Festival. Comprising the performers Sara Eslami (Iran) on tar, Avadhut Kasinadhuni (India / Romania) on tabla and Mohamad Zatari (Syria) on oud.
Their debut ISTEHLAL plunges into its own aesthetics, politics and sound intricacies and represents the combined efforts of three musicians hailing from different, yet deeply rooted cultures. Over the course of eleven songs, the album transcends stylistic, ideologic and
geographic boundaries and reflects on the human condition in an interconnected and interrelated technological world. The repertoire includes not only original compositions in different stylistics
but also rearranged traditional pieces by influential composers Riad Al Sunbati (Egypt) and Hossein Alizadeh (Iran).
The Mohamad Zatari Trio introduces itself as a strong new voice within a new generation of young musicians that carry the musical heritage of great masters like Ravi Shankar, Nusrat Fateh Ali Khan or Zakir Hussain with a fresh and contemporary approach.

Mohamad Zatari is a composer and oud player from Aleppo, Syria, currently based in Bucharest, Romania. His artistic effort is devoted to deconstructing stereotypes and blending various musical genres. He has been taught traditional and regional music by Tarek Al-Sayed,
and has a Bachelor in classical composition at the National University of Music Bucharest (2021). His compositions were used for short films as well as educational courses. He performed in various ensembles and groups, in countries such as Syria, Romania, Hungary, Germany, Italy
and Austria.

Sara Eslami is an Iranian composer, tar and setar instrumentalist and improviser. She has a bachelor's in musical Performing at the Tehran University of Arts (2011).


Romanian/Indian Avadhut Kasinadhuni has a Master in Musical Performing / Violin at the National University of Music Bucharest (2022) and started studying tabla intermittently in India with Prof. Kamal Kant (2008) and Prof. Durjay Bhaumik (2017).

Credits:
Recorded by Alexandru Zaharencu at Avanpost media, Bucharest, Romania
on 29th & 30th January 2022
Mixed by Dirk Dresselhaus at ZONE, Berlin, Feb. 2022.
Mastering & lacquer cut by Anne Taegert at D&M.

Bear McCreary, known for his incomparable world-building and use of innovative musical approaches in the worlds of television, film, and video games, will guide audiences through the major events of the Second Age of Middle-earth, as seen in the series. Working out of the iconic Abbey Road Studios as well as AIR Studios and Synchron Stage in Vienna, he has recorded and composed hours of music for the score, weaving together his original themes into a sonic tapestry for a full symphonic orchestra, alongside vibrant folk instruments and choral singers.

“J.R.R.Tolkien’s stunning novels and their film adaptations have had a profound impact on my imagination for nearly my entire life,” McCreary said. “I am honored to compose the music that will help guide audiences through the major events of the Second Age of Middle-earth."

Legendary composer Howard Shore has composed scores for some of the most memorable and world-renowned film and television series. Globally respected for his passion for J.R.R. Tolkien’s work, he is perhaps best known for his work on The Lord of the Rings and The Hobbit film trilogies.

The Season One: Amazon Original Series Soundtrack also includes two performances by The Lord of the Rings: The Rings of Power actors—Sophia Nomvete (Princess Disa) on the track “A Plea to the Rocks” and “This Wandering Day,” sung by Megan Richards (Poppy Proudfellow).

Available on 2 x 140 Gram Black Vinyl

CoOp Presents is incredibly proud to present an all-new compilation album put together by Allysha Joy. This 14-track LP gives us a solid glimpse into the current wave of Antipodean bruk / broken beat artists.

Allysha explains "the connection began with a guest mix for CoOp Presents Worldwide FM radio show. I was asked to guest on the show, so pulled together some heavy unreleased and unmastered "Australian" broken sounds. I immediately called Horatio, Close Counters and Setwun, some of my nearest and dearest inspirations and collaborators to get them in the mix! Within 24 hours I had a brand new beat from Setwun called 'H.B.Y', I ran up some vocals on a Close Counters track and landed a wild jazz-bruk collaboration called 'Fly' from Horatio Luna and Nikodimos! We all felt really blessed to be linking in with some of the innovators of the sound we love!

Also in the mix, I played a track by Lanu a.k.a Lance Ferguson, one of "Australia's" funkiest songwriters and producers. Mike Gurrieri and Chris Gill over at Northside Records had already been scheming to set Lance and I up on a music date for weeks, which turned into writing 'Rewind' . Lanu, along with Ennio Styles, have been integral in the broken beat sound down here from the early 2000s and they connected Jonny Faith in to bring 'Southern Stepper'.

After linking in over the music and working on some collaborations, Alex Phountzi and IG Culture asked me to put together this compilation. The first person that came to mind was Sampology. A wild ride of shifting harmony and incredible vocals, Sam delivered 'Sunny', featuring Maia. Also of Middle Name Dance Band acclaim and a beaming light of creative energy, Kuzko created 'Immunity' for the comp — their debut solo release!

Also up in Meanjin, Special Feelings and Squidgenini were making their own style of jazzy house music and we absolutely knew that they would kill it on the broken beat tip. They sent through 'On Heat' and 'Prophecy' respectively, and inspired me to write and produce 'Listen'. A track about the struggle to be heard as female and non-binary artists. A hard-hitter mixed by co-collaborator Yelderbert of our new duo project, Totek.

As my brother and the one that first introduced me to Agent K, I knew we had to get Ziggy Zeitgeist up in the mix! He immediately sent over a bunch of tunes, and from alongside all of the 30/70 Collective demo drum loops and fresh Z.F.E.X sounds, we selected 'Bruk Samba' featuring Cody Curry, the CC Dance Orchestra.

I had managed to pull together a bunch of tunes for the compilation and after a studio session one afternoon I was walking down Sydney Road and bumped into Silent Jay, Alien and A.KID a.k.a. ACID SLOP at their new spot, the Mandarin Dreams HQ. We were just chatting and above Jay's head I spotted the New Sector Movements record, 'Download This'! To see that they'd just been spinning this record felt so serendipitous, so I had to ask them to be on it! Acid Slop sent me through a tune literally the next day, called 'Everything Falls Apart' and within the week we got 'Walk Away', from Lori and Silent Jay. It felt complete.

The way that this music just effortlessly and lyrically fell together, is a testament to the broken beat undercurrent that runs within the jazz and dance music scene down-under. 'They're Energised' connects a scene of deeply talented and inspired musicians, collectively shaping the new wave of uniquely "Australian" bruk and broken beat music!"

'They're Energised' is released mid-November 2022 on double vinyl and digital worldwide via CoOp Presents.

This wildly acclaimed Istanbul-based artist, delivers an unforgettable 4th album Anadolu Ejderi (Anatolian Dragon). Building upon her mélange of Turkish psychedelia, empowered commentary and retro-futurist sonics, her vision is more personal and uncompromising than ever before. Courage. Bravery. Daring. Those are the watch words that guided Turkey"s Gaye Su Akyol when she was making Anadolu Ejderi, her first full-length release in four years. Already lauded for her startling, innovative mix of Turkish psychedelia and folk song, surf music and ʼ90s Western rock, a global sweet spot where Anatolian music heroine Selda Bagcan rubbed shoulders with Kurt Cobain, Akyol was ready to expand her vision after a relentless period on the road. "I was tired of touring," she says. "I really needed a break, some fresh air." The Covid pandemic gave her that, even if it was for the wrong reasons. "With everything closed, we all had to sit at home. The isolation gave me time to write. I ended up with over 100 songs. I tried to broaden the palette: to start with Anatolian folk and pop, then see how to add African and Middle Eastern sounds, the soul revolution, disco, and rock from other cultures. The music is still quite psychedelic, but it connects to different areas, all the pop genres I love so much. The hard part was picking the right songs and the correct order." Everything on Anadolu Ejderi - the title translates as "Anatolian Dragon" - breathes fire. It takes chances, the lyrics offer an exploration of politics in today"s Turkey. The personal is very much part of that. "In a political climate where a woman"s commitment to her passion, to falling in love, to her sexual identity is revolutionary enough, she is deeply passionate and able to express her love freely," Akyol notes. "It would have been easy to sit in the comfort zone of the past."

Thomas Newman became the ninth composer in the James Bond series history. His score for Skyfall won the BAFTA Award for Best Film Music. In 2013, it became one of two Bond scores to be nominated for the Academy Award for Best Original Score. The other to be nominated was the score from The Spy Who Loved Me. Skyfall does not contain the title song performed by Adele.

Skyfall (2012) is the twenty-third spy film in the James Bond film series. It features Daniel Craig in his third performance as James Bond, and Javier Bardem as Raoul Silva, the film's villain. The movie was directed by Sam Mendes. The story centres on Bond investigating an attack on MI6. The attack is part of a plot by former MI6 agent Raoul Silva to humiliate, discredit and kill M as revenge against her for betraying him. The film sees the return of two recurring characters to the series after an absence of two films: Q, played by Ben Whishaw, and Moneypenny, played by Naomie Harris. Skyfall is the last film of the series for Judi Dench, who played M, a role that she had played in the previous six films.

The limited edition of Skyfall of 1.500 individually numbered copies is pressed on coloured (transparent & black mixed) vinyl. The package includes a big poster, a 4-page insert and 2 printed innersleeves. Both innersleeves have one hole in the middle to show James Bond on the labels. Don't forget to check the secret service inscriptions on the run out grooves.

“Pure psychotropic madness.” A screaming head on fire penetrated my chest, jolting me from the universal plane back to earth.” Guitarist/Singer/Sonic Alchemist Dave W’s vivid fever dream ignited The Revenge of Heads on Fire, WHITE HILLS’ latest release, which harnesses the energy of ferocious, hedonistic rock with blissful passages of dark ambience. Exploring themes of mortality, transformation and rebirth, the band reveals a spiritual depth unparalleled in previous works. The roar of fire, swirling of oceans and hallucinogenic visions can be heard throughout the 75-minute journey. From the intrepid prelude “The Instrumental Head” to the closing punk blaze of “Eternity”, the album ebbs and flows, smouldering and seething in the middle with the 21- minute mammoth opus “Don’t Be Afraid”. “’Don't Be Afraid’ alone makes this an essential listen for fans of contemporary psychedelia.” -All Music The Revenge of Heads on Fire consummates Dave W’s prototype for the 2007 release on Rocket Recordings, Heads on Fire, later picked up by Thrill Jockey. Six rediscovered songs accompany re-mixed versions of the original material, fulfilling the master arch of the pyre lit long ago. Recorded during the band’s tumultuous early years, the music vibrates with the energy and volatility of a sonic boom. The album will be released on Heads on Fire Industries, distributed worldwide via Cargo Records.

Bristol-based singer, songwriter and bandleader, who has powered her
way to the-forefront of the British blues and roots scene in recent years,
unveils her eagerly-awaited third album 'Shining in the Half Light'
Crammed with vibrant originals brought to life with her A-list touring band, it's yet
another significant step forward in a career already feted with awards and
acclaim.'Shining in the Half Light' is Bailey's first full length album recorded in the
UK & feature's Joe Wilkins on Guitar, Jonny Henderson on Ivories, Matthew Waer
on Bass duties and Matthew Jones on drums. It was recorded in deepest Devon
in December 2020 at Middle Farm Studios and produced by Dan Weller, best
known for his long working relationship with Enter Shikari. Elles wanted this
record to feature 'gospel style vocals' so in steps Izo Fitzroy, an incredible artist in
her own right, who arranged the stunning background vocals on 'Shining In The
Half Light', and performed them alongside Jade Elliot and Andrusilla Mosley.
An exciting team of co-writers feature with three credits for Ashton Tucker & Will
Edmunds, who both wrote with Elles for 'Road I Call Home', plus she teamed up
with longtime guitarist Joe Wilkins to write the slow-flowing, philosophical 'Riding
Out The Storm'. Other kindred spirits include guitar maestro Martin Harley, for the
gentle and romantic 'Different Kind Of Love' and Matt Owens, co-founder of the
hugely successful indie- folk outfit Noah and the Whale, on the aforementioned
'Sunshine City'. The album comes to a striking conclusion with its title track, cowritten with Nashville's Craig Lackey, written over Zoom in May 2020.
Front cover features in Blues in Britain (Jan) and MNPR (May) Features in Record
Collector, Rock and Reel, Blues Matters, HRH Magazine, Fireworks Mag,
Powerplay, and Maverick
Reviews in Record Collector, Maverick, Powerplay,Fireworks,Blues Matters,HRH
Mag
Online press in Music News, Maximum Volume, Rush On Rock, All About The
Rock, Vents, Bluesdoodles, Rock and Blues Muse,Blues Rock Review, Blazing
Minds, Decibal Report, Maverick Country
Radio- BBC Radio 2 Cerys Matthews and Johnnie Walker, Planet Rock A playlist.

Bristol-based singer, songwriter and bandleader, who has powered her
way to the-forefront of the British blues and roots scene in recent years,
unveils her eagerly-awaited third album 'Shining in the Half Light'
Crammed with vibrant originals brought to life with her A-list touring band, it's yet
another significant step forward in a career already feted with awards and
acclaim.'Shining in the Half Light' is Bailey's first full length album recorded in the
UK & feature's Joe Wilkins on Guitar, Jonny Henderson on Ivories, Matthew Waer
on Bass duties and Matthew Jones on drums. It was recorded in deepest Devon
in December 2020 at Middle Farm Studios and produced by Dan Weller, best
known for his long working relationship with Enter Shikari. Elles wanted this
record to feature 'gospel style vocals' so in steps Izo Fitzroy, an incredible artist in
her own right, who arranged the stunning background vocals on 'Shining In The
Half Light', and performed them alongside Jade Elliot and Andrusilla Mosley.
An exciting team of co-writers feature with three credits for Ashton Tucker & Will
Edmunds, who both wrote with Elles for 'Road I Call Home', plus she teamed up
with longtime guitarist Joe Wilkins to write the slow-flowing, philosophical 'Riding
Out The Storm'. Other kindred spirits include guitar maestro Martin Harley, for the
gentle and romantic 'Different Kind Of Love' and Matt Owens, co-founder of the
hugely successful indie- folk outfit Noah and the Whale, on the aforementioned
'Sunshine City'. The album comes to a striking conclusion with its title track, cowritten with Nashville's Craig Lackey, written over Zoom in May 2020.
Front cover features in Blues in Britain (Jan) and MNPR (May) Features in Record
Collector, Rock and Reel, Blues Matters, HRH Magazine, Fireworks Mag,
Powerplay, and Maverick
Reviews in Record Collector, Maverick, Powerplay,Fireworks,Blues Matters,HRH
Mag
Online press in Music News, Maximum Volume, Rush On Rock, All About The
Rock, Vents, Bluesdoodles, Rock and Blues Muse,Blues Rock Review, Blazing
Minds, Decibal Report, Maverick Country
Radio- BBC Radio 2 Cerys Matthews and Johnnie Walker, Planet Rock A playlist.

Friendsome Records and Belaria are delighted to present her debut EP Boost & Doubt. After only two singles and a remix to date she already managed to leave quite an impression, launching a very promising career. The young ‘home grown’ prodigy has produced this beautiful four tracker to take you on a retro-minimal journey of heavy beats and melodic synth.

Oscillating between Dark-Disco, Italo and Synth-Wave, starting and ending with two dancefloor oriented tracks Boost and Esteem (A1 & B2). Neither will allow you to sit still, in the middle of this you’ll find Rest In B (A2), a more poppy but still minimalist track that will remind you of throw backs of Chloé or Peaches. All sat alongside Burning Inside (B1) a downer tempo intimate song that would suite a room three or a long summer road trip. Enjoy the ride!

Folksongs and Ballads by Tia Blake & Her Folk-Group, is more than just a “lost classic”. As clear and honest as can be, Folksongs and Ballads is a magnetic record, a refuge like only Nick Drake, Nico, and a few others have been able to create. A graceful, delicately minimalist approach to classic Appalachian and British folk songs.The perfect balance between melancholy and daydream. Originally released only in France in 1971, Ici Bientôt is very pleased to present the first-ever reissue on vinyl.

When she recorded her only album, Tia Blake was nineteen years old and had just arrived in Paris a year and a half beforehand. She spent most of her time at Disco’Thé, a record shop in the Latin Quarter, a free space, peaceful and inspiring, a hub for students as well as the local artistic community.

There, Tia would occasionally sing—when she managed to overcome her shyness. Two young guitarists who were passionate fans of folk music and regulars at the shop began to accompany her, forming “Her Folk Group.” One year later, they cut 11 tracks at Pierre Barouh’s Studios Saravah.

Folksongs and Ballads is composed of traditional tunes that have been covered many times, but they’re not the best-known folk standards. A collection of stories ranging from the Middle Ages to the 1960s, bringing together sublimely doleful ballads, lamentations for a lost lover, and an unexpected, brilliant version of the road anthem “Plastic Jesus.”

Tia Blake's haunting, unaffected voice captivates and comforts us, wrapping us in its cool embrace. Meanwhile, the tasteful, stripped-down, mellow acoustic arrangements provided by the guitarists, reminiscent of Bert Jansch and John Renbourn, occasionally supported by a kena flute, have created the space Tia Blake needed to reinvent these traditional songs.

Folksongs and Ballads is a timeless record, deep and unique, a longtime companion for repeated listening, in the vein of works by Sibylle Baier, Bridget St. John and Vashti Bunyan.

The Howling is a collaborative project started by writer Ken Hollings and sound artist Howlround devoted exclusively to their shared love of text, audiotape and trash aesthetics. An intense collision of spoken word and analogue tape effects, the Howling's first performance took place at the Iklectik in September 2019 as part of a special programme to celebrate The Tapeworm's 10th anniversary.

Despite the pandemic, they have managed to continue working and conferring together since then, sharing sound files, texts and mixes online, which has resulted in All Hail Mega Force, their first full-length release for The Tapeworm. The two extended tracks contained on this audiocassette reflect their shared interest in Fluxus and how informal rules and permutations can be set up to work themselves out through loops and repetitions. A straight line connects Terry Riley's tape experiments in Paris from the early 60s with their experimental recordings in the Wimpy Bar on Streatham High Road, one of their favourite meeting places. 'The idea of instant, disposable one-off creations appealed to us a lot at the time,' The Howling explain, 'particularly as both pieces were conceived and developed during different phases of Covid lockdown in the UK.'

The title and source material are derived from the kid's adventure movie MegaForce, starring Barry Bostwik and Michael Beck. Designed to sell a range of Mattel hi-tech action toys, MegaForce tanked at the box office but lives on in the collective consciousness of those who share with The Howling a special love for Trash and Trash Aesthetics.

The two tracks also share similarities in approach and realization.

'All Hail Mega Force' was created by reading combinations of the words 'All Hail Mega Force' into a voice memo recorder, transferring it to tape, cutting the whole thing as a single long loop and then stretching it across three reel-to-reel machines simultaneously, using two pencils and a pint glass full of loose change to try and maintain sufficient playback tension. Over time the loop started to degrade, which accounts for the increasingly slurry and unpredictable playback, plus frequent ruptures caused by the tape becoming jammed and having to be tugged through the machine workings by hand. Twenty-four minutes later and the result was a completed new work and a slight backache.

The text for 'Are You Man Enough For Mega Force?' was recorded live in the Wimpy Bar on Streatham High Road, 28 November 2021. It was cut to tape and looped on 3 December 2021 at Warrior Studios, Loughborough Junction. Dragged by motor and then by hand across two tape machines with copious amounts of closed input feedback provided by a third rushing in to fill the gaps. One take with no effects or overdubs, but one tiny edit in the middle when something fell over.

OVERVIEW: After a five-year hiatus encompassing the birth of a son, a third coast to west coast and back to the third coast move, and an ongoing global pandemic – Chris Bathgate returns with ‘The Significance of Peaches’.

On this, his 6th full-length album, the NPR & BBC-lauded artist is found ruminating on time spent living in the National Forests of Michigan while homeless, his emergence into fatherhood, and yes, the significance a certain stone fruit has played throughout his life.

Sonically, ‘The Significance of Peaches’ leans heavily on the structural support of parlor organ and Bathgate’s signature multi-tracked percussion – surprisingly sparse use of guitar and strings sheathed in the middle - his haunted vocals perched atop it all.

20 years ago, US heavy and hard rock titans Mos
Generator took the heavy (stoner) rock music scene by
storm with the release of their first self-titled album. To
celebrate this special anniversary in style, the band’s
charismatic frontman Tony Reed himself has revised and
remastered this vinyl reissue of their pathbreaking debut
album.
 Mos Generator - who formed in 2000 in Port Orchard,
Washington from the ashes of a ten year off and on
collaboration between its three members, all of which
are long time veterans of road and studio - have inspired
the heavy music scene since decades. The band have
released nine full length studio albums, two live albums
as well as several singles and split albums over their
impressive career by labels as Stickman, Ripple, Heavy
Psych Sounds, Roadburn, Small Stone and Listenable.
 Touring has been just as important to the profile of the
band as making records has. Over the years Mos
Generator has shared the stage with many big heavy
rock names across Europe and North America including
extensive tours with Saint Vitus, Fu Manchu, Melvins,
Pentagram, Elder, Spirit Caravan and Atomic Bitchwax.
They have also played prestigious festivals throughout
the world, fusing soul with doom metal into a great loud,
funky and psychedelic concoction of heavy rock.
 Their 2002 debut album was the starting point, and this
hand-numbered clear vinyl 20th Anniversary edition of
‘The Mos Generator’ release is a must have for fans old
and new.
 For fans of Orange Goblin, Fu Manchu, Sheavy, Mind
Funk, Kyuss, Mountain, Nebula, Black Sabbath and
Monster Magnet.