Search:mind

Leif Vollebekk ist ein Philosophiestudent, der sich zum Troubadour entwickelt hat. Auf dem treffend benannten Album "Revelation" verbindet er Carl Jungs I Ging-Gedanken, Wittgensteins Liebe zur Sprache und die lyrische Poesie von Bob Dylan. Die 11 Tracks, darunter zwei orchestriert-cineastische Versatzstücke, erinnern an die erzählerischen Skills seiner Landsleute Leonard Cohen und Gordon Lightfoot, an den kristallinen Sound der Eagles und den üppigen Pop von Nick Drake und Scott Walker. Das vollendete Werk, organisch, erdig und handgemacht, verwebt Naturthemen zu einer Meditation über das Leben in einer sich ständig verändernden Gegenwart, durchzogen von existenziellen Zweifeln und der Suche nach einer höheren Macht.

For Dutch artist Stefan Vincent, the feeling of melancholy also offers the opportunity for beauty to be found. “Decay and loneliness can serve a purpose. Depression can teach you things. To feel deep sadness also means the ability to feel profound
emotions.” he says. With this in mind, his debut album on MUSAR Recordings, “Post- Melancholy”, unpacks the twists and turns of grappling with this emotion, drawing from breaks, electro and IDM to make his most intricate work to date, after previous releases on Token, Dynamic Reflection, Symbolism, and Non-Series. Throughout “Post-Melancholy” Vincent traces the wave of melancholy and how it moves through the body, which allows for lighter moments alongside darker moods. Perhaps the lightest track on the album is its acidic-breaks opener, “Eyes Unclouded”, with its soaring acid lines and dazzling synths, which acts as a false pretense for the rest of the album. Tracks like “Poise”, “Arpeggino” and the meditative “Yonghegong Lama Temple Exit F” also break up the intensity. However, nestled between the more pacey, bass-weighted tracks on the album, these lighter openings still feel like tear-jerkers.

The more common associations of melancholy show up on tracks like “Another Skin To Wear” and “You Know This Isn’t Going To End Well”, which all create a more ominous feel via IDM and the polyrhythmic structures of drum’n’bass. Particularly on “Another Skin To Wear”, which borrows its name from a Radiohead lyric, the track's swooping motion feels realistic to melancholy’s chaotic and often unpredictable path. But, like all great storytellers, Vincent leaves the most poignant moment of the album for last with the rolling “8AM on the Train… (For Maarten)” devoted to his dear friend, Maarten, who sadly passed away at the young age of 36. This LP is dedicated to Maarten de Vries (1986-2022)

'INBETWEEZER' ist das zehnte Album des Songwriters, Produzenten und Künstlers Jerry Paper alias Lucas Nathan aus Los Angeles.
Das Album ist voll von croonenden Rockern und Bubble-Pop-Jams eines Künstlers, der sich ganz dem freien Spiel hingibt.
'INBETWEEZER' erforscht komplizierte Gefühle, während Nathan sich auf eine Reise des „radikalen Wachstums“ durch eine Therapie begibt und schließlich lernt, selbst ein Therapeut zu werden.
Die Songs des Albums handeln davon, wie man lernt, sich zu verändern, zu verlernen, was man gelernt hat, neu zu lernen... ad infinitum.
Für Fans von: Helado Negro, Connan Mockasin, Drugdealer, Mild High Club, Infinite Bisous, Weyes Blood, HOMESHAKE

- Ltd. Col. LP: (Bubblegum Pink Marble Vinyl)

Mutant, in partnership with Hollywood Records and Marvel Studios are proud to present The Newton Brothers' score to the hit animated series X-Men '97



The highly anticipated revival of the long-dormant and seminal animated series is as fun, thoughtful and emotionally charged as the original run, while being matured slightly for an audience that has aged since its last episode nearly thirty years ago. But matching the energy, tone of the original was dependent on nailing the sound, and that clearly was top of mind for the series composers The Newton Brothers.



The Newton Brothers have produced an incredibly dynamic collection of music - from tackling the implications of serious political allegories, deep emotional truths, all while still embracing the fantastical surprises present in this universe (such as being sucked into a video game). X-Men '97 proves you can tackle legacy work in creative and original ways.



2 x 140g translucent blue and red vinyl housed in a gatefold jacket Artwork by Phantom City Creative.

In 2013, Marc Almond realised the then ambition of his creative
career when he collaborated with legendary producer Tony Visconti
(David Bowie, Hazel O'Connor, T-Rex, Morrissey). The evocative
results of their unique collaboration can be heard on the opening
tracks ‘The Dancing Marquis’ and ‘Burn Bright’.
In collaboration with record producer Tris Penna, Tony Visconti also
lends a helping hand with string arrangements and mixing duties on
two further tracks; ‘Tasmanian Tiger’ and ‘Death of a Dandy’, the
latter lovingly inspired by the tragic and sudden death in 2010 of
Soho’s renowned hedonist, the writer and artist Sebastian Horsley.
Continuing in this collaborative vein, ‘The Dancing Marquis’ also
features the talents of Martin McCarrick (Siouxsie and the
Banshees, Therapy?) contributing cello on the hearteningly buoyant
‘Burn Bright’, and strings on title track ‘The Dancing Marquis’, a song
which Marc penned with Henry Paget, the 5th Marquess of Anglesey
very much in mind. Jarvis Cocker (Pulp) contributes an infectious
electro-pop song that he wrote especially for Marc, ‘Worship Me
Now!’ - he also features on backing vocals and production duties in
conjunction with Jason Buckle (The All Seeing I).
‘Love Is Not On Trial’ saw Marc once again collaborating with Carl
Barât (The Libertines), his co-star in the 2012 opera ‘Poppea’ as
performed at Théatre du Châtelet in Paris. Produced again by Tris
Penna, the song was written especially for Marc by Carl, who also
features on guitar and vocals.

Skinshape (aka Will Dorey) releases his ninth studio album titled Another Side Of Skinshape on 27th September via Lewis Recordings. As the album title suggests, Dorey’s latest body of work is somewhat unlike anything in his prior discography. However, there is always a consistent Skinshape thread which pulsates throughout all of his music - a kind of sonic dreamscape which echoes a mystical nostalgia for a sun dappled afternoon.

Taking inspiration from childhood memories, Ethiopian rhythms, and even calls to prayer, Another Side Of Skinshape gained access to the most esoteric corners of Dorey’s mind. Whilst ‘It’s About Time’ and ‘Ananda’ display a slightly more synthesised palette than we typically hear of a Skinshape tune, singles ‘Stornoway’ and ‘Lady Sun’ (which features the hazy soul vocals of West London’s Hollie Cook) replicate the same lifeblood heard on albums Nostalgia, or Craterellus Tubaeformis.

Speaking on the album, Dorey says “Some songs pay homage to the 90s whilst others the 60s and 70s. Yet you may not perceive all of these in the form that they are presented. In any case I hope that the album is enjoyable and will fit casually into the flow of your day.”

Whilst making this album, Dorey experimented with various keyboards and drum machines, which are at times layered over the excellent drumming of Thomas Blunt, who played live onto tape. Blunt is well versed in the Skinshape vernacular, also being part of Dorey’s live band. Indeed, Another Side Of Skinshape is due for release just before a run of UK and US live dates, which will be the first time the band has ever hit the open road.

Dorey is a former member of the band Palace, has played Glastonbury, BBC Maida Vale and Shepherd’s Bush Empire to name a few. Skinshape’s ‘I Didn’t Know’ has streamed over 50 million times. He is proudly from Swanage, Dorest.

Sun-scorched riff-rock propelled from the windswept heart of the desert! Blue Heron expand on their unyielding desert sound with a new slab of propulsive, sun-scorched riff-heaviness. Everything Fades finds the band reveling in low-tuned roil and amplifier hum, churning out swerving grooves as if the atavistic, primordial spirit of the desert itself compels them. Balanced between laid back, meditative atmospherics and heavier, more aggressive lunges, these cruising jams and gritty stoner romps call to mind echoes of Kyuss, Clutch and Soundgarden, along with modern contemporaries like Valley of the Sun and High Desert Queen. Full of rhythmic intensity, sledgehammer riffing, and vocals ranging from clean and moody to howling and raw, Blue Heron cover a wide expanse of musical ground that shows how familiar influences can still be molded into inventive, exciting new forms. New album of grooving, raw desert rock for fans of Kyuss, Valley of the Sun, Clutch and High Desert Queen Presed on sleek blue vinyl, available as Digipak-CD, too.

Sun-scorched riff-rock propelled from the windswept heart of the desert! Blue Heron expand on their unyielding desert sound with a new slab of propulsive, sun-scorched riff-heaviness. Everything Fades finds the band reveling in low-tuned roil and amplifier hum, churning out swerving grooves as if the atavistic, primordial spirit of the desert itself compels them. Balanced between laid back, meditative atmospherics and heavier, more aggressive lunges, these cruising jams and gritty stoner romps call to mind echoes of Kyuss, Clutch and Soundgarden, along with modern contemporaries like Valley of the Sun and High Desert Queen. Full of rhythmic intensity, sledgehammer riffing, and vocals ranging from clean and moody to howling and raw, Blue Heron cover a wide expanse of musical ground that shows how familiar influences can still be molded into inventive, exciting new forms. New album of grooving, raw desert rock for fans of Kyuss, Valley of the Sun, Clutch and High Desert Queen Presed on sleek blue vinyl, available as Digipak-CD, too.

France-based, prog-rock power trio LIZZARD are out to reclaim the creative, collaborative energy that has fueled them for over a decade. On `Mesh', the band's fifth full length album, LIZZARD capture the energetic, lightning-in-a-bottle optimism of the late `90s post-punk/art-rock scene and reinvigorate it as something empowering, inspiring and simmering with potential. Recorded by the band in the abandoned factory they use as their creative base and produced again by now long-time friend and collaborator Peter Junge, `Mesh' is LIZZARD unleashing the raw, spontaneous might of their pent up live sound through the production precision of their studio experience. As such, themes of duality and control, whether it's regaining it or letting it go, run right through the album. Resounding with Elwell's inimitable, thundering drums and a barrage of colossal riffs, `Black Sheep' explores the dichotomy of body and mind, of black and white, that we all wrestle with on a daily basis whilst the mellow polyrhythms and plaintive melodies of `Mad Hatters' ask pressing questions of the people who are supposedly in charge of society. Epic album closer `The Beholder' captures the reinvigorated LIZZARD at their bracing best; bittersweet guitar refrains are bolstered by Will Knox's signature driving basslines and crashing half-time grooves as frontman Ricou considers the great cycle of life from his own perspective. Testament to the band's formidable compositional prowess, `The Beholder' ends as it starts, a closed loop. With only Ricou's playful, pithy refrain of "What goes around, comes around" left ringing in our ears, LIZZARD masterfully frame `Mesh' as both a poignant conclusion to the last chapter and as a bright new beginning.

France-based, prog-rock power trio LIZZARD are out to reclaim the creative, collaborative energy that has fueled them for over a decade. On `Mesh', the band's fifth full length album, LIZZARD capture the energetic, lightning-in-a-bottle optimism of the late `90s post-punk/art-rock scene and reinvigorate it as something empowering, inspiring and simmering with potential. Recorded by the band in the abandoned factory they use as their creative base and produced again by now long-time friend and collaborator Peter Junge, `Mesh' is LIZZARD unleashing the raw, spontaneous might of their pent up live sound through the production precision of their studio experience. As such, themes of duality and control, whether it's regaining it or letting it go, run right through the album. Resounding with Elwell's inimitable, thundering drums and a barrage of colossal riffs, `Black Sheep' explores the dichotomy of body and mind, of black and white, that we all wrestle with on a daily basis whilst the mellow polyrhythms and plaintive melodies of `Mad Hatters' ask pressing questions of the people who are supposedly in charge of society. Epic album closer `The Beholder' captures the reinvigorated LIZZARD at their bracing best; bittersweet guitar refrains are bolstered by Will Knox's signature driving basslines and crashing half-time grooves as frontman Ricou considers the great cycle of life from his own perspective. Testament to the band's formidable compositional prowess, `The Beholder' ends as it starts, a closed loop. With only Ricou's playful, pithy refrain of "What goes around, comes around" left ringing in our ears, LIZZARD masterfully frame `Mesh' as both a poignant conclusion to the last chapter and as a bright new beginning.

"In partnership with Milan Records, Waxwork Records is proud to release KINDS OF KINDNESS (ORIGINAL MOTION PICTURE SOUNDTRACK) with music by multi-instrumentalist, producer, and Oscar®-nominated composer JERSKIN FENDRIX. The album reunites Fendrix with director Yorgos Lanthimos following the breakout success of Poor Things, which earned the first-time composer an Oscar® nomination and marked Lanthimos’ first-ever collaboration with a composer. For Kinds of Kindness, Fendrix has crafted a soundscape rooted in solo piano and choral music, peppering the 22-track collection with hymnals throughout. Rounding out the soundtrack album are pop tracks like Cobrah’s “Brand New Bitch” and Eurythmics’ “Sweet Dreams (Are Made of This),” both of which were featured in the film’s trailers, plus a cover of “How Deep Is Your Love” by film star Margaret Qualley as well as a demo from Fendrix’s personal discography. Searchlight Pictures’ Kinds of Kindness is available in theaters now.

Similar to Poor Things, Fendrix began working on Kinds of Kindness with relatively few materials, utilizing only the film’s script, black and white photographs from set, and conversations with Lanthimos as a guide. This time around, however, Lanthimos provided Fendrix with specific guidance on instrumentation, instructing the composer to craft a soundscape rooted in piano and choral music.

“I love working with Jerskin, and I guess he’s the reason why I am now working with a composer – I’ve found someone that works for me,” says director Yorgos Lanthimos, continuing, “Jerskin worked on this in the same way he worked on Poor Things, which is before even seeing a frame of the film. I gave him the script and started sending him black and white pictures that I shot on set. Our agreement in the beginning was, ‘This time, I want to use piano and choir, and go down that direction,’ which was very different to Poor Things. When I went into the edit, he had this library of music that he created to work with, and it turned out great.”

Also helpful to Fendrix at the start of the project was a conversation with Kinds of Kindness star Jesse Plemons, who helped the composer wrap his mind around the complexity of Lanthimos’ triptych story.

“I was very lucky to go on set at the very beginning of filming, and I asked Jesse about the emotions because I was struggling to understand where so many of these characters were coming from,” composer Jerskin Fendrix confesses. “He spoke to me about his interpretation, and how he planned to embody his characters, which was great. I ended up thinking about the abstract space between the emotions and whether that space was empty or noisy. From there, I utilized the piano and choir to explore those spaces.”

Waxwork Records is thrilled to release KINDS OF KINDNESS as a picture disc featuring artwork and design by Vasilis Marmatakis housed in a crystal clear poly-bag.

ABOUT KINDS OF KINDNESS

KINDS OF KINDNESS is a triptych fable, following a man without choice who tries to take control of his own life; a policeman who is alarmed that his wife who was missing-at-sea has returned and seems a different person; and a woman determined to find a specific someone with a special ability, who is destined to become a prodigious spiritual leader."

In 1975 Phil Pratt first recording session with Keith Poppin at Channel One on Maxfield Avenue generated a spare, hypnotic re-working of 'Bad Mind Grudgeful' retitled 'Envious'. The seven inch single, "caused a sensation here and in Britain", was a Number One record in Jamaica and a big hit on the UK reggae market too. The acclaimed 'Envious' album followed. Keith Poppin continued to work with Phil Pratt on releases such as 'Who Are You', another big hit, and two years later, recorded his second album for Phil Pratt 'Pop Inn'. This classic collection, also created with a stellar line up of musicians at Channel One, was released in the UK only on the Burning Sounds subsidiary label Burning Rockers and consolidated Keith's reputation as one of Jamaica's foremost vocalists with his soulful and melodic voice. This re-issue of 'Pop Inn' is released on 180-gram vinyl including comprehensive sleeve notes

For fans of Khruangbin, El Michels Affair, Tame Impala and Ezra Collective. Genre: Psych/Funk/Jazz/Breakbeat/Indie. Taken from the forthcoming Lewis Recordings album ‘Another Side of Skinshape’. Will Dorey aka Skinshape is a former member of the band Palace, has played Glastonbury, BBC Maida Vale and Shepherds Bush Empire, to name a few. His ‘I Didn’t Know’ has streamed over 50 million times. Taking inspiration from childhood memories, Ethiopian rhythms, and even calls to prayer, Another Side Of Skinshape gained access to the most esoteric corners of Dorey’s mind. ‘Stornoway’ replicates the same lifeblood heard on albums Nostalgia, or Craterellus Tubaeformis. Speaking on the album, Dorey says “Some songs pay homage to the 90s whilst others the 60s and 70s. Yet you may not perceive all of these in the form that they are presented. In any case I hope that the album is enjoyable and will fit casually into the flow of your day.” Another Side Of Skinshape is due for release just before a run of UK and US live dates, which will be the first time the band has ever hit the open road

Das Londoner Post-Punk-Quartett Desperate Journalist kehrt im Herbst 2024 mit ihrem nunmehr fünften Studioalbum voller sardonischem, schrägem Humor und leidenschaftlicher Musik zurück. Auf ,No Hero", das die Vorab-Singles ,Unsympathetic Parts 1 & 2" und ,Afraid" sowie die kommende Leadsingle ,You Say You're Lonely" enthält, versucht die Band, ihren zerklüfteten, düsteren Trademark-Sound in immer interessantere Bahnen zu lenken. Als kreativer Neustart sind die vorab veröffentlichten Singles glänzende, strahlende Wegweiserfür die Richtung in die Desperate Journalist ihren ursprünglichen dunkelen Indie-Sound in neue, immer reizvollere Formen und zerklüftete Winkel schieben und ziehen, ohne dabei die ihnen ganz eigene glühende Essenz zu verlieren. Es gibt klirrende Synthesizer, erhabene Gothic-Anklänge, es gibt stürmische Melodien, es gibt gespenstische Klaviereinlagen, berserkerhafte Gitarrenausbrüche und das eine oder andere Stück, das ein bisschen nach den famosen The Icicle Works klingt. Und es gibt (mindestens) einen gigantischen, verzweifelten Desperate Journalist-Refrain im Song ,7", der mit höchster Logik tatsächlich als Track Nummer 7 des Albums fungiert. Die beste aller Album-Tracknummern, ganz sicher, in diesem Fall ein Song, der auch als mögliche Single funktionieren würde und deshalb Album Fokus Track ist. ,Immer wenn wir etwas Neues schreiben, möchte ich, dass es gleichzeitig verrückter und poppiger ist als das, was wir vorher gemacht haben, und ich denke, dies ist das Album, auf dem wir in dieser Hinsicht wirklich einen Sprung nach vorne gemacht haben." - Jo Bevan 2024 Desperate Journalist besteht aus Jo Bevan (Gesang, Synthesizer und Drum Machine), Robert Hardy (Gitarren, Synthesizer und Klavier), Caroline Helbert (Schlagzeug, Drum Machine und Percussion) und Simon Drowner (Bass und Synthesizer). Erhältlich als weiße Vinyl-LP, Digipack-CD & Musik-Kassette!

Das Londoner Post-Punk-Quartett Desperate Journalist kehrt im Herbst 2024 mit ihrem nunmehr fünften Studioalbum voller sardonischem, schrägem Humor und leidenschaftlicher Musik zurück. Auf ,No Hero", das die Vorab-Singles ,Unsympathetic Parts 1 & 2" und ,Afraid" sowie die kommende Leadsingle ,You Say You're Lonely" enthält, versucht die Band, ihren zerklüfteten, düsteren Trademark-Sound in immer interessantere Bahnen zu lenken. Als kreativer Neustart sind die vorab veröffentlichten Singles glänzende, strahlende Wegweiserfür die Richtung in die Desperate Journalist ihren ursprünglichen dunkelen Indie-Sound in neue, immer reizvollere Formen und zerklüftete Winkel schieben und ziehen, ohne dabei die ihnen ganz eigene glühende Essenz zu verlieren. Es gibt klirrende Synthesizer, erhabene Gothic-Anklänge, es gibt stürmische Melodien, es gibt gespenstische Klaviereinlagen, berserkerhafte Gitarrenausbrüche und das eine oder andere Stück, das ein bisschen nach den famosen The Icicle Works klingt. Und es gibt (mindestens) einen gigantischen, verzweifelten Desperate Journalist-Refrain im Song ,7", der mit höchster Logik tatsächlich als Track Nummer 7 des Albums fungiert. Die beste aller Album-Tracknummern, ganz sicher, in diesem Fall ein Song, der auch als mögliche Single funktionieren würde und deshalb Album Fokus Track ist. ,Immer wenn wir etwas Neues schreiben, möchte ich, dass es gleichzeitig verrückter und poppiger ist als das, was wir vorher gemacht haben, und ich denke, dies ist das Album, auf dem wir in dieser Hinsicht wirklich einen Sprung nach vorne gemacht haben." - Jo Bevan 2024 Desperate Journalist besteht aus Jo Bevan (Gesang, Synthesizer und Drum Machine), Robert Hardy (Gitarren, Synthesizer und Klavier), Caroline Helbert (Schlagzeug, Drum Machine und Percussion) und Simon Drowner (Bass und Synthesizer). Erhältlich als weiße Vinyl-LP, Digipack-CD & Musik-Kassette!

Das Londoner Post-Punk-Quartett Desperate Journalist kehrt im Herbst 2024 mit ihrem nunmehr fünften Studioalbum voller sardonischem, schrägem Humor und leidenschaftlicher Musik zurück. Auf ,No Hero", das die Vorab-Singles ,Unsympathetic Parts 1 & 2" und ,Afraid" sowie die kommende Leadsingle ,You Say You're Lonely" enthält, versucht die Band, ihren zerklüfteten, düsteren Trademark-Sound in immer interessantere Bahnen zu lenken. Als kreativer Neustart sind die vorab veröffentlichten Singles glänzende, strahlende Wegweiserfür die Richtung in die Desperate Journalist ihren ursprünglichen dunkelen Indie-Sound in neue, immer reizvollere Formen und zerklüftete Winkel schieben und ziehen, ohne dabei die ihnen ganz eigene glühende Essenz zu verlieren. Es gibt klirrende Synthesizer, erhabene Gothic-Anklänge, es gibt stürmische Melodien, es gibt gespenstische Klaviereinlagen, berserkerhafte Gitarrenausbrüche und das eine oder andere Stück, das ein bisschen nach den famosen The Icicle Works klingt. Und es gibt (mindestens) einen gigantischen, verzweifelten Desperate Journalist-Refrain im Song ,7", der mit höchster Logik tatsächlich als Track Nummer 7 des Albums fungiert. Die beste aller Album-Tracknummern, ganz sicher, in diesem Fall ein Song, der auch als mögliche Single funktionieren würde und deshalb Album Fokus Track ist. ,Immer wenn wir etwas Neues schreiben, möchte ich, dass es gleichzeitig verrückter und poppiger ist als das, was wir vorher gemacht haben, und ich denke, dies ist das Album, auf dem wir in dieser Hinsicht wirklich einen Sprung nach vorne gemacht haben." - Jo Bevan 2024 Desperate Journalist besteht aus Jo Bevan (Gesang, Synthesizer und Drum Machine), Robert Hardy (Gitarren, Synthesizer und Klavier), Caroline Helbert (Schlagzeug, Drum Machine und Percussion) und Simon Drowner (Bass und Synthesizer). Erhältlich als weiße Vinyl-LP, Digipack-CD & Musik-Kassette!

Limited pressing of 300 LPs ! 180gm VINYL LPS w/ INSERT & DOWNLOAD FILE UNDER : GARAGE ROCK / PUB ROCK "I wanted to make a very NOW album, our past was fantastic at the time but it was exactly that.the past. We've learned a lot since then and with the combination of influences and personal tastes we've concocted a combination of Raw Power guitar grunt, a touch of The Cars' pop sensibilities and Bad Seeds brood." Dave Butterworth Veteran rockers The Double Agents return with their third album New Motion a powerful new recording evoking directness and immediacy and marking their first release of new material in nearly two decades. The Double Agents' initial incarnation circa 2000 saw the fiercely independent quintet rise from humble stages to becoming one of Melbourne's most revered pub rock bands. They twice toured Europe and eventually shared the stage with iconic luminaries Dead Moon, Mudhoney, The Dirtbombs, Celibate Rifles, The White Stripes and The Black Keys before an amicable hiatus in 2008. New Motion is a modern Australian rock record and marks a departure from their garage rock roots, as best exemplified in their self released 2023 anthology compilation Best Bits. So Far spanning their first three releases. The familiar twin vocals remain, Kim and Dave summoning that deep Dead Moon energy, as does Ryan Tandy's singular lead guitar playing and the rock solid backbeat of Myles Gallagher, but the band's scope seems to have widened on this record, with the inclusion of longtime cohort Mick Stylianou (Saint Jude) adding style and harmonic punch on bass guitar and backing vocals. ..The New Motion sessions were tracked to analog tape by Finn Keane at Head Gap and Julian McKenzie at Newmarket with vocal post production by Dave Larkin (Dallas Crane), mixing by Callum Barter (Courtney Barnett, Kurt Vile), mastering by Mikey Young. Dave Butterworth also produced the album.

Die gefeierte Pop-Rock-Band Pale Waves aus Manchester trat 2018 mit ihrem Debüterfolgsalbums „My
Mind Makes Noises“ auf die Bildfläche. Zwei Top-Five-Alben später und einer Unmenge an Unterstützung
von BBC Radio 1, Apple Music, Spotify, NME und mehr, ist die Band mit einer neuen Reife zurück, um
ihr viertes Studioalbum „Smitten“ zu begleiten.
Während sich die ersten drei Alben von Pale Waves auf die unmittelbare Gegenwart der Band konzentrierten, beschäftigt sich „Smitten“ viel mehr mit vergangenen Leben - einige davon sind jünger als andere.
Zwei Jahre nach „Unwanted“ und nach der darauffolgenden Tournee schrieb Heather an einem Punkt,
an dem sie endlich durchatmen und nachdenken konnte, als würde sie die Seiten eines längst vergessenen
Tagebuchs durchblättern und von dem, was sie fand, überrascht sein. „Ich ertappte mich dabei, dass ich
nicht nur über einen bestimmten Zeitraum schrieb, sondern über mein ganzes Leben, das Jahre zurückliegt“, sagt sie. „Wenn ich mich verliebe, verliebe ich mich zutiefst, und ich finde es interessant, dass man
von jemandem so fasziniert und verliebt sein kann, und dann kann er einem völlig fremd werden. Ich habe
das Gefühl, dass Smitten wirklich perfekt zusammenfasst, was ich an einem bestimmten Punkt für andere
empfunden habe.“

Dame-Music founder Bloody Mary’s ‘ALTERNATE STATES OF REALITY’ EP marks the 50th release on a label that counts KiNK, Josh Wink, Boo Williams, Fear-E and Thomas P. Heckmann amongst its roster since it launched in 2010.

The release sees Bloody Mary, Tresor resident, live artist, DJ and Producer, return to her own imprint with a full EP for the first time since 2020, produced as part of her live set ahead of her
upcoming Autumn tour, and complete with a remix from Soma Records legends Slam.

In the ‘ALTERNATE STATES OF REALITY’ EP, Bloody Mary explores the varying aspects of her acid sound. Equipped with her TR-909 and 303, she shows her penchant for hardware, starting off with ‘REALITY ONE’, in which crunchy drums and crisp highs ride along a mind-melting acid polyrhythm before ‘REALITY TWO’ opts for a punchy
electro beat, once again drenched in squelch and occasionally soothed by soft, nostalgic pads.

Flipping over the record, the infectious marching drums of Bloody Mary’s ‘REALITY THREE’ leaves behind the 303 and swaps it out for rampaging toms below a furious,
clap-heavy topline. This party-starting track is pure rhythm, expertly remixed by Scotland’s Slam, who this time supply the acid in their version, amplifying the tempo to superb extremes for a hypnotic warehouse pumper and concluding the monumental
fiftieth instalment on one of techno’s most important labels

Strange Sensations is a new EP from Paul Renegade.
In between Lazerdrome / Phonomena releases (news on that soon) and with a folder full of spare tunes, this 4 track EP comes on white vinyl on sister label DragonDrop Records
This release features a mix of happy pianos, dark synths, ruff beats and Jungle Tekno vibes, all at various BPMs so there’s a bit of something for everybody.
On the A-side, Zer0 Gravity Fire is fast-paced ’94-style stompy hardcore (160BPM) with rushy pianos, while the synths and piano lines of Mind Over Mind slow the pace down a bit at 140BPM in an early ‘92 style.
On the flip side, Weird Dreams (160BPM) takes you between the worlds of happy and the darkside and Danger: Battledroid is an experimental dark hardcore track at 165BPM, mixing well in either a hardcore or jungle set.

The Legends series returns with 2 masters of the old skool, going head to head with absolutely amazing remixes of the others biggest tracks on glorious translucent red vinyl.

Amaretto is a steadily rising star as a producer. Hailing from Japan, his music is tightly produced and packs a punch, and this EP marks his first full foray into Jungle Techno. Having recently remixed for The Criminal Minds, his latest EP on Knite Breed once again shows his skill with fantastic drum work and crystal clear production. Another EP in the popular Move-E series, this one features Poltegiest as a lead sample, but all the tracks here lean into old skool movies with clever sample use and heavy beats and bass.

A thinlace of acid mental tunes, bringing some space rhythms & structures with a certain Trance state of mind.

Horte is a 4 hands tune from C.Ysme and Dina Rocaille ! Precise like silk.

Tichodrome is a rare bird from Alps mountains that you can see on the visual by Anahata.

Glitch My Mind is a Live excerpt from 2023.

Constantinople brings a mental in-Spiral-ly sound.

A sweet project... We hope you gonna enjoy it !

Mastering : Jo IND
Cut : Simon Davey
Press: Records Industry
Bird Design : Anahara Conception
Visuals Exe : VSteeFDB
Prod & Distro : Toolbox Records

By it's very nature "Radio Chevére", the new album by Rio 18 and their host of guests cannot be categorized simply: at once both a Latin mixtape and a radio show, it's also an internationalist love letter, an offering to the goddess of Tropical Music and all that it encompasses. Ambitious, yes. Foolhardy, possibly. But sincere, committed and FUNKY? Definitely.

With the voice of guest DJ Coco Maria as our guide, "Radio Chévere" takes us on a journey through myriad musical styles and stories. Stopping off at Uruguay, Brazil, Venezuela, Colombia, Mexico, California, New York and countless other sonic destinations via Samba, Salsa, Funk, Cumbia, Joropo, Disco, Psychedelic and Electronic stylings, "Radio Chévere" is also a musical metaphor for migration - a journey from one continent, one life to another.

This album features songs in no less than four languages (Spanish, Portuguese, Welsh and English) and includes collaborations with Brazilian legends the +2's (Moreno Veloso, Kassin and Domenico Lancellotti) on the tender samba ballad, "Oh Minha Querida", transatlantic Yacht Rock gods Young Gun Silver Fox ("She's In LA"), "Sao Paulo's finest" Silvia Machete on the sweaty funk "Maybe Man" and Venezuelan Llanera and Joropo queen Luzmira Zerpa sings "Padre Tiempo", set to an incessant Afro-Venezuelan pulse. Why this torrent of eclectica now? Having recorded three albums in Welsh, predominantly inspired by Brazilian music, Rio 18 founder, Carwyn Ellis had a hard time following 2021's "Yn Rio": "We'd made a concept album with an orchestra. How do you follow that?" he says. "So I retreated to my laboratory, learned as much new music as I could, started learning Spanish too, and ended up writing tunes in a bunch of languages and styles, all of which reflected things I've learned or experienced over the last couple of years."

Since the group's inception in 2018, on the suggestion of Chrissie Hynde when he toured South America as a member of the Pretenders, Carwyn has been on a voyage of musical discovery through the styles of that continent. And in those five years he learnt a lot! But in a radical new move, Carwyn has stepped back from the mic, preferring to focus on writing and producing, handing over the vocal duties to band members Baldo Verdu (Venezuela) and Elan Rhys (Wales) plus a host of collaborators. "They can sing and express what I'm feeling so much better than I can, and both Elan and Baldo bring an authenticity and strength to our songs that surprise and elevate me. Collaborating with so many other inspiring artists on this album has helped us to grow and assimilate more styles - we're halfway through our next album already."

Rio 18 is an internationalist collective with Celtic and Latin roots and love at their core. With eye popping carnivalesque cover art by the brilliant Colombian graphic artist, Yoda, "Radio Chévere" is both timely and timeless.

Dry_Feel is the personal project of the Greek label founder Dystatik, encompassing various types of experimental and darkwave music.

This is what you will find in his vinyl debut, which includes a collaboration with Fluora. You can expect extremely fresh minimal synth, synthwave, EBM, dark elektro, and new beat tracks, all created with a dancefloor riot in mind.. Presented in a ONE-OFF truly limited edition of 300 copies lacquered pressed on 180 gr. high quality solid BLACK vinyl. All tracks have been specially mastered for vinyl by Daniel Hallhuber at Young and Cold Studios (Germany).

Sometimes, we have the tendency to run away from distress because we do not want to deal with the feeling of pain, but the first step in spiritual healing is overcoming the fears and recognizing the pain. The sooner you address the cause of your difficulty, the sooner you’ll get freedom from the pain. Be aware of your situation.
Once you have faced the source of anxiety, you need to acknowledge the pain. Feel your emotions and question what their sources are. Be honest about your feelings. In this stage, it is normal to feel like situations are beyond your control, which can transfer the feeling of hopelessness. However, by allowing yourself to feel rage, it becomes easier for your wounds to heal. Honor your feelings.
Honoring your pain will teach you self-forgiveness. You should be able to feel the kindness within you and experience all the love you have for yourself. You will feel a conflict between the instinct to heal on your own, and the desire to accept the situation and seek support to get healed. You prove that you have an unwavering determination to get healed by choosing the latter. When you want spiritual healing, you have to place your faith in the universe, too.
Surrendering the pain means releasing the pain and seeking support from the universe. It will help you ease your sufferings.
The negative ego vanishes from within you and makes your heart feel lighter once you release your pain. This is a sign of spiritual wellness. You will start to feel a deep openness towards things and think with a peaceful mind. You will become whole again and you will develop the ability to deal with the disruptions of your life with tolerance. The inner peace will be restored. Feal.

Today Not Yesterday Records’ third vinyl release. Influenced by the 90s and early 2000 era of house music. Music to make people dance. House music for your body, your mind and your soul.

Die vier Berliner der Band BONSAI KITTEN machen, was sie wollen. Das ist auch der Grundtenor ihres 2017er Albums MINDCRAFT. Der Sound ist kompakt und huldigt energischem Riot-Rock. Das treibende Schlagzeug und die kühnen Gitarren-Riffs werden jetzt durch eine drängende dreisaitige Bass-Gitarre ergänzt, perfekt abgerundet durch Tiger Lilly Marleens schöne Stimme und scharfe Zunge. Diese Band hat Spaß! Das zeigen auch die schweisstreibenden Liveshows, die BONSAI KITTEN jedes Jahr quer durch Europa führen. Wer also denkt, Gitarren-Musik sei tot, kann jetzt aufatmen, denn BONSAI KITTEN hauchen dem Genre frisches Leben ein. Nun wieder erhältlich, Vinyl klassisch schwarz.

Mit "The Machine in the Ghost" erreichen HAUJOBB den beeindruckenden Meilenstein des zehnten Studioalbums. Auch ihr neuestes Werk unterscheidet sich von all seinen Vorgängern. Das derzeit in Leipzig residierende Duo verweigert sich weiterhin standhaft jeder Wiederholung. "The Machine in the Ghost" unterscheidet sich bereits durch die Verwendung von Feldaufnahmen, um die Sounds für dieses Album zu erzeugen. Um die gewünschten Effekte zu erzielen, haben HAUJOBB bewusst auf eine Mischung aus Software und Hardware gesetzt - letzteres in Form von mit Alltagsgegenständen erzeugten Tönen. Diese symbolische Anspielung auf eine Zeit, in der es weniger Software und mehr analoges Drehen an den Reglern gab, ergänzt das Thema von "The Machine in the Ghost" um einen Hauch von Retro-Feeling - ohne jede nostalgische Verklärung. Das Album dreht sich um die spannungsgeladene Beziehung zwischen analog und digital, Geist und Materie. Als sich HAUJOBB im ostwestfälischen Bielefeld zunächst zu einem Trio formierten, kamen ihre Haupteinflüsse noch aus der Vancouver-Schule des Industrial - und speziell SKINNY PUPPY sowie FRONT LINE ASSEMBLY. Dies ist auf ihrem ersten Album "Homes & Gardens" (1993) noch hörbar, doch schon bald wurden HAUJOBB selbst als Aushängeschilder eines modernen elektronischen Industrial-Sounds angesehen. Auf den folgenden Alben "Freeze Frame Reality" (1995) und "Solutions for a Small Planet" (1996) entfernten sich die Deutschen zunehmend von den kanadischen Einflüssen, indem sie damit begannen, IDM (Intelligent Dance Music) mit Industrial und EBM zu verschmelzen. Damit katapultierten sich die Deutschen mitten in die internationale Szene und verschafften sich sogar in den USA einen Kultstatus. Auch nachdem HAUJOBB zum Duo mutiert waren, blieben sie einflussreich und insbesondere ihr 2011 in Eigenregie veröffentlichtes Album "New World March" gilt als weitere Großtat. Mit "The Machine in the Ghost" schlagen HAUJOBB ein neues spannendes Kapitel in ihrer bemerkenswerten Karriere auf. Unmittelbar zu Beginn der nächsten industriellen und kreativen Revolution, die der rasante Aufstieg der künstlichen Intelligenz auszulösen verspricht, legen HAUJOBB ihre metaphorischen musikalischen Finger erneut direkt an den Puls der Zeit.

REISSUED!!! Received an 8.1 rating from Pitchfork. "Sadly, many will hear Chris Corsano & Bill Orcutt's latest LP, Made Out of Sound, as 'not-jazz,' though it would be more aptly described as 'not-not-jazz.' In a better world, it would warrant above-the-fold reviews in Downbeat, or an appearance on David Sanborn's late-night show (if someone would only give it back to him). More likely, we can hope for a haiku review on Byron Coley's Twitter timeline to sufficiently connect the various improvised terrains trodden by this long-time duo—but if you've been able to listen past the overmodulated icepick fidelity of Harry Pussy, it should surprise you not an iota that Orcutt's style is rooted as much in the fractal melodies of Trane and Taylor as it is in Delta syrup or Tin Pan Alley glitz. As for Corsano, well, it may seem daft to call this particular record 'jazz' (because duh, it has a drummer), but to me Corsano is beyond jazz, almost beyond music, his ambidextrous, octopoid technique grappling many stylistic levers and spraying a torrent of light from every direction. Corsano's ferocity has elevated many 'mere' improv records to transcendence, but here he's crafted his polyrhythms within more narrative channels, bringing to mind his 'mannered' playing in the lamented Flower-Corsano duo. It's not 'groove' playing precisely, but it follows many grooves simultaneously, much like Orcutt's own melodic musings—which is why they're so naturally lock-in-key here. Which maybe makes it all the more surprising that Made Out of Sound was in fact recorded in different rooms on different coasts at different times, and stitched together by Orcutt on his desktop. Corsano recorded the drums in Ithaca, NY, and (as Orcutt states), 'I didn't edit them at all. I overdubbed two guitar tracks, panned left/right. I'd listen to the drums a couple times, pick a tuning, then improvise a part, thinking of the first track as backing and the second as the 'lead', though those are pretty fluid terms. I was watching the waveforms as I was recording, so I could see when a crescendo was coming or when to bring it down.' Fluidity ties the tracks together. With a little more groove and a little less around-the-beat maneuvering, one could almost hear the boiling harmonic layers as Miles-oid in 'Man Carrying Thing,' but with new-found Sharrockian modalities, Corsano accentuating the tumbling nature of the falling notes. The Sharrock vein continues with 'How to Cook a Wolf,' its Blind Willie-esque melodic simplicity and repetition extrapolated 360-style in a repetitive descending riff that falls into Cippolina-isms (by way of Verlaine ) until the end crashes upon the shore. Much like Orcutt's last solo album, Odds Against Tomorrow, there's a gentler, almost pastoral flow to some tracks ('Some Tennessee Jar,' 'A Port in Air,' 'Thirteen Ways of Looking') that calls to mind the mixolydian swamplands of Lonnie Liston Smith—but unlike Odds , other tracks ('The Thing Itself') smash that same lyricism into overdriven, multi-dimensional melodic clumps that push several vector envelopes at once in an Interstellar Space vein. With the help of Corsano, Orcutt has managed to slither even further out of the noise/improv pigeonhole lazy listeners/writers keep trying to shove him into. Looking at the back cover of Made Out of Sound , we should not see Orcutt hurling a guitar into the air with post-punk bravado, Corsano toiling behind him in the engine room—we should witness an instrument levitating from his hands, rising on invisible major-key tendrils of melody, fired by percussion, spiraling into an invisible event horizon..."—Tom Carter

The band was originally the solo project of multi-instrumentalist musician, songwriter and a Föllakzoid founder Juan Pablo Rodríguez, formed in 2011 and used as a vehicle to explore instrumental active ambient and space rock music with the following equipment: Roland JD800, Roland SPX404 and Samick guitar. Their debut album, the eponymously titled Special Cases has received critical acclaim since 2020, with The Quietus’ Brian Coney praising its place in neo psychedelic music and the legacy of Föllakzoid, "As a whole, though, Special Cases spills over with low-key majesty and purpose. From the vantage point of the future where his band have cornered a niche within modern psychedelia, it evinces JPR as a rare shaman of kosmiche savvy." Since late 2020, Special Cases has developed into a fully fledged live band centred around Rodríguez with songwriting and performance geared towards alternative and psychedelic rock. As a live act, they have performed at numerous venues and festivals across Chile, captivating audiences with their dynamic stage presence and infectious energy. Visual Artists Tomás Olivos and Martin Line have contributed album art on various records. The band has physical releases on cassette, CD and vinyl spread across the following record labels: Blow Your Mind, Weisskalt and ETCS Records. Their 6th album '6' was recorded in two days at Estudio Lautaro and mastered in BYM Records, it features the stable trio from 'No Mind' plus painter and guitarist Chiri, driving the sound to a more 'indie' vibe with long ambient songs, laid back and energetic tracks. The album cover was made by painter Diego Hernandez (which played in 'Album Name') and it's going to be available in colour vinyl.

2024 Reissue

"Cream Corn" was released for the first time in 1985. The Album plucked two tunes from "Rembrandt" and added a couple new ones that had been recorded on their home studio 8 track in Winterville Georgia. "Moving to Florida" (the best example ever of what Beef?heart probably sounded like when he"s tripping) and the other three tracks blew peoples" minds by being so pre?cise and fullly-messed-up at the same time. "Cream Corn" was a perfect bite-sized taster for what would follow.

The 20th Anniversary Edition of Beyond Good & Evil and its official soundtrack offer a refreshed yet faithful rendition of the game's original music. Utilizing a full orchestra, we preserved the unique, intimate feel of the compositions, often created through improvised sessions. The soundtrack includes new tracks, some recorded with unconventional instruments, celebrating the creativity that made the 2003 original and the franchise special.

“Beyond Good & Evil – 20th Anniversary Edition and its official soundtrack are a true labor of love that give a beautiful new sheen to the notes and melodies of the game, yet always staying true to the emotions that resonated with the fans back then. While we had the means to work with a full-fledged orchestra this time around, we made sure to keep the quirky, intimate feel of the compositions that were, more often than not, the results of improvised jams and family reunions around an iron anvil or a toy ukulele. This soundtrack is an ode to a sort of colorful, artisanal and unbridled creativity, completed here with new tracks (including parts recorded on a broken guitar with an unconventional tuning), and the perfect celebration of all the little things that made the 2003 original and this franchise so special.”

-Christophe Héral

Do you remember the house music when house was soul music? The Rangi Club EP will resonate deeply to pleasure centers of your soul & mind. Play it loud and Let’s turn back the clock to 1990’s dark meatpacking district in NY.

The concept for and palette of Crystal Dorval aka White Poppy’s ‘Paradise Gardens’ trilogy first germinated in 2016 as a notion of “paradise music” combining new age, bedroom shoegaze, and bossa nova into “transcendental Tropicalia.” As she filled tapes of recordings exploring the idea, many of the songs gradually gravitated towards the hermetic dream pop her project is best known for, becoming the albums Paradise Gardens (2020) and Sound Of Blue (2023). Dorval describes these collections as a sort of “emotional purging or shadow work,” before arriving at “the state of inner paradise:” Ataraxia.

As the third, final, and most purist realisation of the original ‘Paradise Gardens’ vision, Ataraxia delivers. Nine instrumentals of nimble guitar, elevated bass, clean rhythm, and clear light, gliding like swans on a shimmering pond. There’s a sense throughout of playful tranquillity, of serenades at sunset, of kisses of blissful Muzak wafting along a boardwalk.

But behind the music is a patience, grace, and levity born of Dorval’s personal journey with spiritual healing that paralleled the trilogy. A process of transmuting pain into beauty, day by day, melody by melody, cleaving the darkness from the soul and re-entering one’s rightful home in the Garden.