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[b] A2 Shot Down, Mixed By, Recorded By [Additional] – Warne Livesey
[c] A3 Eve's Volcano (Covered In Sin), Vocals [Chorus] – Dee Lewis, Tessa Niles
[d] A4 Spacehopper, Guitar [Airhead Guitar], Vocals [Screams] – Donald Ross*
[e] A5 Planet Ride, Organ [Acetone] – Paul Crockford, Vocals [Chorus] – Dee Lewis, Tessa Niles

[g] B2 Saint Julian, Cor Anglais – Oboe Kate St John*, Strings [String Machine] – Keith-Richard Frost*


[j] B5 A Crack In The Clouds, Cor Anglais – Oboe Kate St John*, Guitar [Oregon Guitar] – De Harrison*, Strings – Warne Livesey

7 track album featuring Indie Dance, Electronica, Funky Grooves and Hard House fused songs. Showcasing a new range of vocal agility and aura not yet displayed from the artist known as Seven Davis Jr. (Sev). A darker much more aggressive and concentrated soundscape than previous adventures. Inspired by an unexpectedly bad year the artist experienced following the successful release of his previous album, "Stranger Than Fiction”.

a A1 A Celebration; Remastered By – Arnie Acosta; Remastered By Remastering Assitance – Scott Sedillo

[c] B1 Trash, Trampoline And The Party Girl; Remastered By – Arnie Acosta; Remastered By [Remastering Assitance] – Scott Sedillo

[a] A1 A Celebration; Remastered By – Arnie Acosta; Remastered By [Remastering Assitance] – Scott Sedillo

[c] B1 Trash, Trampoline And The Party Girl; Remastered By – Arnie Acosta; Remastered By [Remastering Assitance] – Scott Sedillo

[a] A1 A Celebration; Remastered By – Arnie Acosta; Remastered By [Remastering Assitance] – Scott Sedillo

[c] B1 Trash, Trampoline And The Party Girl; Remastered By – Arnie Acosta; Remastered By [Remastering Assitance] – Scott Sedillo

Hologram Teen is the solo project (and anagram) of former Stereolab keyboardist Morgane Lhote. Her colourful playful songs are heavily influenced by disco and 80s French pop.

Initially from Paris, Morgane relocated to Los Angeles where she concentrated on her solo material. Captain Fluo is a disco-fuelled love letter to 1980s Paris and its underground nightlife, record store discoveries and the exhilaration of growing up as a gay teenager in a world of self-discovery.

Produced and mixed by Andrew Claristidge (Acid Washed) at Duca Sonora Studios in Brittany Captain Fluo is a vibrant fusion of propulsive beats, bouncy synths and funky basslines. Morgane’s signature keyboards weave through a constellation of guest vocalists including Sandra Zettpunkt, Maxwell Farrington, Eric D Clark and Alex Aikiu. From the euphoric pulse of ‘Lust Pill’ to the radio crooner nostalgia of ‘Fréquence Gaie’ each track is a portal to the dance floors and late-night airwaves of a bygone era.

Drawing inspiration from French pop icons like France Gall, Michel Berger and Louis Chedid alongside the sleek productions of Italo disco pioneers Kasso and the genre-defining touch of David Bowie, Nile Rogers, Quincy Jones and Depeche Mode, Captain Fluo is a heartfelt ride through an era when music was liberation.

Third album by singer and producer Charlotte Marionneau. A collection of sonic trips that try to capture the spark of beat poetry. She is almost a magician who has captured the directness of punk and can do magic with the emotion of pop. And she is always in the experimental grab bag. On the track 'Two-Love' Noel Gallagher plays piano and bass. Further on there is a Daniel Johnston cover presented as a duet with Terry Hall and his son Theodore and here Noel plays guitar. Marionneau reminds one of a female Syd Barrett. She counts among her admirers: Kevin Shields, Mazzy Star, Noel Gallagher, The Television Personalities, Simon Raymonde, Grimm Grimm, Piano Magic and Cillian Murphy. Le Volume Courbe "Planet Ping Pong" is a collection of sonic trips echoing fulgurances of beat poetry. Charlotte is a magician who can weave the directness of punk with the emotions of pop while staying in the realms of edgy experimentation. The bunny comes out of the hat smoking a cigarette and looks you in the eye. The single "Two-Love" is a collaboration with Noel Gallagher on piano and bass and Lascelles Gordon on percussions. The album also includes a cover by Daniel Johnston "Mind Contorted" which is presented as a duet with Terry Hall, and also features his son Theodore Hall and Noel Gallagher on guitars. The originality of Charlotte's music shares something with outsider art: naïve, primitive, primal, rather than following the standard rules. The new album selfproduced and mixed by Brendan Lynch and Charlotte is no exception, It's a unique and compelling listen laced with surprises, subversions and a refreshing candour which sets it apart from anything else. Charlotte was born and raised in France and moved to London in 1995. She was first signed to Alan McGee Poptones label in 2001, and her debut "I killed my best friend" was released in 2005 on Honest Jon's Records. She has also worked with a number of other bands and musicians including Kevin Shields, Mazzy Star, Noel Gallagher, The Television Personalities, Simon Raymonde, Grimm Grimm, Piano Magic etc.. Her song "Born to Lie" was featured in Series 2 of Killing Eve and Spotify selected her song "Rusty" for their "best of the decade 2010-2020" alternative compilation. Cillian Murphy selected the same song for his BBC6 compilation. "She reminds me of a female Syd Barrett... she keeps running into me all over the place from concerts or serving me ice cream at the Curzon on a wet Saturday night or on Jools Holland with the High Flying Birds... I love Charlotte... a great talent and a real psychedelic soul musician." Alan McGee "Inspiring originality, fiercely independent beautiful music, always years ahead of its time. I remember hearing Charlotte's music for the first time and being immediately taken by the freshness, great melodies and utterly unique approach." Kevin Shields "When I first met her she was wearing a cape... she looked like a little piece of Lego. She told me she liked some of my songs but not all. (I hadn't even asked her opinion!!) She's beautiful, fearless and one hell of a tambourine player." Noel Gallagher. "Charlotte is bewitchingly talented, a true rarity that has inspired many creative people. The kind of woman songs are written about. She's an artist that steals your heart away and then comforts you with her stunning music." Hope Sandoval. "A true original and a truly unique artist. There is not many I can say this about, but I honestly think I love everything she's ever recorded! All hail the Scissor Queen!" David Holmes.







e BAG OF EXCUSES [V3]

[g] DUFFY AND MR SEAGULL [V3]

[i] MIND CONTORTED [V4]





[e] BAG OF EXCUSES [V3]

[g] DUFFY AND MR SEAGULL [V3]

[i] MIND CONTORTED [V4]

"For Japanese people, min'yo is both the closest, and most distant, folk music" explains band-leader Katsumi Tanaka. "We may not feel it in our daily, urban lives, yet the melodies, the style of singing and the rhythm of the taiko drums are engrained in our DNA".

Initially indifferent to min'yo, a tragic event in recent Japanese history set Tanaka on his current path: "Following the Tohoku earthquake of 2011, I reflected on my life, work and identity. A fan of world music, I began searching for Japanese roots music I could identify with. Discovering mid-late 20th century acts like Hibari Misora, Chiemi Eri and the Tokyo Cuban Boys, I was captivated by their eccentric arrangements and how they mixed min'yo with latin and jazz music."

Lead singer Freddie Tsukamoto fell for min'yo after hearing a song from his hometown on a TV competition whilst in a restaurant. It was a revelation – until then he had been an aspiring jazz singer yet was uncomfortable singing in English. The restaurateur told him a min'yo teacher was his neighbour and the two connected. Tanaka and Freddie formed Minyo Crusaders in 2011 in Fussa, a city where the US military Yokota Air Base is located, in western Tokyo.

Recruiting other local musicians versed in afro and latin rhythms, they began hosting jam sessions at the Banana House, a building that was previously part of the military base and that used to house US soldiers. The band started recording their music, and their debut album "Echoes Of Japan" was released in 2017. It received huge acclaim in Japan and abroad, and was also released by British label Mais Um in 2019. Several European tours followed, as well as some US and South America gigs.

In this second opus, the Minyo Crusaders take us on a trip to Japanese folk songs fused with latin rhythms. Their unique arrangements breathe new life to classics like Kiso Bushi, Sado Okesa or Soran Bushi, among many other min'yo songs from all over Japan that were originally performed by Japanese fishermen, coal miners and sumo wrestlers hundreds of years ago. The magical groove created here proves once again that the Minyo Crusaders are one of the most dynamic representatives of the current Japanese world music scene. Yoi Yoi, Enjoy!

Pink Floyd at Pompeii - MCMLXXII, the groundbreaking 1972 film directed by Adrian Maben. Digitally re-mastered from the original 35mm footage, with enhanced audio newly mixed by Steven Wilson. Set in the hauntingly beautiful ruins of the ancient Roman Amphitheatre in Pompeii, Italy, this unique film captures Pink Floyd performing an intimate concert with additional rare behind-the-scenes footage of the band beginning work on The Dark Side of the Moon at Abbey Road Studios. The accompanying album release will see the performance presented on vinyl for the first time.

This is not the end of a dark alleyway in some US city, this is not the bottom of a platform heel in England, this is not the back corner of some dusty drawer at a record fair in Holland. These are not the places you’ll find rock and roll. This is Quebec: A different sensory perception of rock and roll. A heightened awareness of the highest highs and the lowest lows. This is Belgium with snowmobiles, Catholic Texas, Ugly France. All the crumbling highways, the coldest beers, and the loudest joints. Guitars do different things in Quebec. PUFFER shimmy across the invisible barricade between Montreal and the rest of the world not just as another crop of punks but as the great descendants and inheritors of modern greats like INEPSY’s “Rock and Roll Babylon” and ANNIHILATION TIME's “II.” Loud, brash, unrelenting. You’ll go deaf before you get bored of it.
Self produced, self recorded, and mixed by the band, this is the vanguard of punk that has lived long beyond it’s moments of origin. This pure blast of 1979 by way of the hellish weimar end-times of 2025 never made the necessity of punk rock feel so real.
FFO SLAUGHTER AND THE DOGS, the 222s, THE DISCORDS, MOTORHEAD, INEPSY, AA Restaurant, Montreal pool room, Katacombes, and the eternal flame of punk in La Belle Provence.

Mysticisms is delighted to present the music from one of the inspirations for the whole Dubplate series, the lesser known, but admired Digi Dub label. Hailing from the late 80s / early 90s South-East London squat scene, the music of label head Lee Berwick and cohorts was unlike any other at the time. Not simply a retake on digital dub emanating from Jamaica, Digi Dub mixed the heritage of reggae with the alternative-culture of Britain to forge a unique version.

Inspired by punk and the early electronics of the likes of A Certain Ratio, Cabaret Voltaire and Throbbing Gristle, Berwick came to music production later, after first quitting a career as a computer programmer to travel through Asia, returning after several years just as electronic “computer music” was gaining a fundamental new lease in 1988. A regular at Jah Shaka gigs over the burgeoning rave scene of the time, he steadily built a studio centered around the Akai Sampler.

Based, at the time, in South-East London, it’s lack of underground “Tube” lines and challenging transport links, helped create its own social and music eco-system. Squatted houses, shops, clubs and parties all thrived around the triangle of Bermondsey, New Cross and Camberwell. After meeting Kenny Diezel and the Mutoid Waste Company, he started to formulate his “dubby electronic sound” by literally play live to thousands of wide-eyed Ravers at Mutoid Waste parties.

Recording as Launch DAT, the first tracks with Kenny formed, soon joined by Harry and Nick, the trio progressed from building a sound system to L.S. Diezel being created. Friends since their teens Harry and Nik progressed from playing in bands, jamming Sly and Robbie dubs to moving from the countryside of the Home Counties to urban Peckham and into the orbit of Mutoid Waste and the squat and party scene.

Progressing to include Atari S1000HD, Akai S3200XL, Alesis Sequencer and Roland 303, the sound expanded but the raw spirit remained. The early recordings with Berwick, in the beautiful “Lovers style” that is For The Love Of and its stripped-back instrumental “Stepper” dub accompaniment in Bad Boys, as well as an early take on take on the merging of digital dub and hip hop in Skunk Funk, all capture the essence of that London period.

However, the inclusion of the seminal Suicidal Dub, that appeared as the title to their debut album and was recorded on a bus a few years later after Mutoid had relocated to Rimini, Italy, offers a glimpse to the future. Heralded as a proto-dubstep classic it has long been sought after and its inclusion makes for the essential.

Mutate The Mystery.

Howdy punkè rocke fans, welcome to FORCED COMMUNAL EXISTENCE - the wonderful and frightening world of ALIEN NOSEJOB’s EP’s & singles. Anti Fade and Agitated Records are teaming together to bring you a paint stripping, mind altering, rare collection of EP and compilation tracks recorded in various Australian bedrooms and garages between 2017 and 2022. The sound of goofy obnoxiousness will soon be permeating your bedroom airwaves and perforating your eardrums. Kicking off this long player is an EP that was recorded by Billy from Anti Fade in his childhood bedroom in July 2017. The songs came to fruition while AUSMUTEANTS were on tour in Japan 2016.

There was a lot of ‘WALLABY BEAT’ / ‘MURDER PUNK’ being played in the background while seeing the sites of Mount Fuji and ‘Bar Fuck Yeah’. In between shows Jake was organising the release of DANNY GRAHAM and PLASTIC AND THE EP’S records on the label he co-ran XEROX MUSIC. Both artists played parts in the sound and ethos of the PANEL BEAT EP. The goal was to make the songs sound unapologetically Australian without pretending to be something they’re not. There’s no fake accents or songs about VB and mullets. Instead, there’s songs about every day struggles, like dealing with fickle fashion followers, having too many fucking records, playing PlayStation, resentment and manipulation.

500 copies were pressed and self released, with a photo slipped inside each copy at random. Next is THE DEATH OF THE VINYL BOOM which was self recorded in a shed in November 2017. This is the only Alien Nosejob release (besides this comp, smartarse) to feature a cover - Flyblown by Adelaidean arty weirdo band JACKSON ZUMDISH. The idea behind this EP was to incorporate the simplicity and scrappiness of the late 70’s DIY Australian sound, but give them the complicated structures of prog songs. Scum stats - 500 copies, self released. Several copies were smeared with Jake’s blood and had smashed pieces of vinyl glued to the front cover.

Now we have a cover of the DEAD KENNEDYS. The conspiracy theorist wet dream Government Flu. Recorded September 2020 during lockdown in one-man-band with a tape recorder fashion for a 20 minute unedited ‘live set’ video where all instruments were played one by one, sung and mixed in the space of a couple of hours. The HC45 7” was recorded at the same time as a disco 12” maxi, which I hear were originally meant to come out on the same day. Shit happens I guess? This EP came out in Feb 2020 and sounds somewhere between early GANG GREEN, DIE KREUZEN and the BEASTIE BOYS old bullshit. Self recorded on a 4 track with a broken pinch roller. Lyrically this thing is cynical and choc-a-bloc full of satire and hate. A year later a sequel was recorded the same way, on the same machine.

No fucking disco this time though. Cold Bare Facts is the most recent recording on this comp. Self recorded in Jake‘s bedroom 2022 It has the same mid paced tempo as DYS or SSD when they’re at their slowest (pre-Boston Curse, of course!). Both songs take a stinky shit on the Australian state police. 300 copies. Finishing the record is a cover by THE AINTS. Originally written by ED KUEPPER for THE SAINTS Eternally Yours album, but it sounded too similar to Lost and Found. Originally released on ‘ALTA’ cassette compilation during the lockdown. FORCED COMMUNAL EXISTENCE binds this mouthful of releases into one neat package from June 6th, 2025. Catch the ALIEN NOSEJOB band on tour in Europe & UK from June 13 - July 2nd, 2025.

Howdy punkè rocke fans, welcome to FORCED COMMUNAL EXISTENCE - the wonderful and frightening world of ALIEN NOSEJOB’s EP’s & singles. Anti Fade and Agitated Records are teaming together to bring you a paint stripping, mind altering, rare collection of EP and compilation tracks recorded in various Australian bedrooms and garages between 2017 and 2022. The sound of goofy obnoxiousness will soon be permeating your bedroom airwaves and perforating your eardrums. Kicking off this long player is an EP that was recorded by Billy from Anti Fade in his childhood bedroom in July 2017. The songs came to fruition while AUSMUTEANTS were on tour in Japan 2016.

There was a lot of ‘WALLABY BEAT’ / ‘MURDER PUNK’ being played in the background while seeing the sites of Mount Fuji and ‘Bar Fuck Yeah’. In between shows Jake was organising the release of DANNY GRAHAM and PLASTIC AND THE EP’S records on the label he co-ran XEROX MUSIC. Both artists played parts in the sound and ethos of the PANEL BEAT EP. The goal was to make the songs sound unapologetically Australian without pretending to be something they’re not. There’s no fake accents or songs about VB and mullets. Instead, there’s songs about every day struggles, like dealing with fickle fashion followers, having too many fucking records, playing PlayStation, resentment and manipulation.

500 copies were pressed and self released, with a photo slipped inside each copy at random. Next is THE DEATH OF THE VINYL BOOM which was self recorded in a shed in November 2017. This is the only Alien Nosejob release (besides this comp, smartarse) to feature a cover - Flyblown by Adelaidean arty weirdo band JACKSON ZUMDISH. The idea behind this EP was to incorporate the simplicity and scrappiness of the late 70’s DIY Australian sound, but give them the complicated structures of prog songs. Scum stats - 500 copies, self released. Several copies were smeared with Jake’s blood and had smashed pieces of vinyl glued to the front cover.

Now we have a cover of the DEAD KENNEDYS. The conspiracy theorist wet dream Government Flu. Recorded September 2020 during lockdown in one-man-band with a tape recorder fashion for a 20 minute unedited ‘live set’ video where all instruments were played one by one, sung and mixed in the space of a couple of hours. The HC45 7” was recorded at the same time as a disco 12” maxi, which I hear were originally meant to come out on the same day. Shit happens I guess? This EP came out in Feb 2020 and sounds somewhere between early GANG GREEN, DIE KREUZEN and the BEASTIE BOYS old bullshit. Self recorded on a 4 track with a broken pinch roller. Lyrically this thing is cynical and choc-a-bloc full of satire and hate. A year later a sequel was recorded the same way, on the same machine.

No fucking disco this time though. Cold Bare Facts is the most recent recording on this comp. Self recorded in Jake‘s bedroom 2022 It has the same mid paced tempo as DYS or SSD when they’re at their slowest (pre-Boston Curse, of course!). Both songs take a stinky shit on the Australian state police. 300 copies. Finishing the record is a cover by THE AINTS. Originally written by ED KUEPPER for THE SAINTS Eternally Yours album, but it sounded too similar to Lost and Found. Originally released on ‘ALTA’ cassette compilation during the lockdown. FORCED COMMUNAL EXISTENCE binds this mouthful of releases into one neat package from June 6th, 2025. Catch the ALIEN NOSEJOB band on tour in Europe & UK from June 13 - July 2nd, 2025.

The Ottawa composer/performer and head of Black Bough Records plays every instrument on his CST debut: an accessibly avant-garde work of dark/ambient modern chamber music. Mark Molnar has been a linchpin of the Ottawa experimental music scene for over two decades, spanning contemporary classical, electroacoustic, industrial/noise, and improv. As a string player in a wide range of projects, an organizer and curator of innumerable shows, and via his own avantgarde label Black Bough Records, Molnar's unflagging contributions to independent music culture in Canada's capital city have been significant. EXO is his Constellation debut: a remarkable and bracing suite of post-classical composition on which Molnar plays every instrument. Meticulously self-recorded, primarily with strings, harp, and piano, EXO balances thematic melodicism, polytonality, and dissonance across three elegiac pieces of exquisitely expressive dynamism. This is exacting modern chamber music that blends formal and harmonic complexity with a solemn emotive sensibility accessible to a broad audience. Listeners that yearn for some edge and disquietude in a landscape of often all-too-approachable post-classical music should find EXO eminently worth their time and attention. While Molnar is a highly trained string player, and studied music under Aubrey Wolfe, microtonality with James Tenney, and composition with R. Murray Schafer, his trajectory has been entirely and intentionally outside the academy, signalling a socio-artistic commitment to DIY culture, forged from an early passion for the sonic worlds of post-hardcore, post-punk, no-wave, free improv, power electronics, and other independent/underground musics. His classically-informed works have been described as "tense currents of musical modernism invigorated with punk's raw vitality." EXO carries an undercurrent influenced by dark industrial and ambient metal in particular, with microphones purposely placed to pick up the low-end frequencies of the piano body, and of a bass drum positioned as a resonant skin in the acoustic space; an electroacoustic strategy organically meshed to the crisply defined and pristinely recorded pointillisms and polychords of strings, harp, and piano, which feed into this noisefloor of crepuscular sub-bass disquietude and decay. It's a production aesthetic that lends EXO a distinct undertow of tension and feeling, a sort of roiling maximalism where the chamber instrumentation traces arcs and waves of form and flow as if drawn from a dark, impervious ocean below. It also reinforces the profound hermeticism of Molnar's process, as a forbiddingly solitary creative act of immersion and navigation. The album artwork, featuring semiabstract stills of the sea by British photographer Ed Allen, further reifies this metaphor. The album's opening piece 'Sub Luna' (and its shortest at 8 minutes) showcases Molnar's adeptness at naturalistic and flowing complexity: tight cascades of climbing and descending chordal clusters hold their polytonal densities for various durations, yielding to more clarified harmonic suspensions and motifs, as melodic themes led primarily by violins in the higher registers provide a fractured lyricism. Molnar says: "the opening and closing figures of this piece act as opposing shorelines; the shorelines provide a reliable expression of range and key signature, and the tides come in and swallow them up, the motion of a body that addresses the relationship between states of lucidity and melodic figures." On 'Terre Sacer' everything happens in soupier waters, as a slow and doleful theme, anchored by grinding bass notes, circles in a gyre of dark resonances, until glistening strings gradually ascend to enrobe a plaintive and gently harrowing single-voiced ostinato over the composition's final third. Molnar's drone, ambient, minimalist, and goth-industrial influences are on display here. Side Two of EXO features the 18-minute multi-movement 'pallida Mors' (pale death): a waterfall of heterophony introduces dense chordal movements where strings are recorded and mixed to evoke pipe organ, in the album's most overtly dissonant and (anti)liturgical sequence. This gives way to ever more open and fragile spaces, before a resurgence of dark clusters and noise treatments introduces a final repeating piano coda, shrouded in devastated bass resonance, settling into what Molnar calls "a meditative hollow." Constellation is honoured to release this work by Mark Molnar, a longtime fellow-traveler whose selfless and boundlessly generous activities as an independent arts enabler sometimes obscure his own accomplished and uncompromising artistry. We trust EXO can help shed some much deserved light on this fine composer. Thanks for listening.

An album announcement that was fifteen years in the making, GRAMMY®-winning, progressive music titans Dream Theater return in 2025 with their sixteenth studio album, “Parasomnia”. The album marks the first album featuring the iconic lineup of vocalist James LaBrie, guitarist John Petrucci, bassist John Myung, keyboardist Jordan Rudess and drummer Mike Portnoy since 2009’s “Black Clouds & Silver Linings”. “Parasomnia” was produced by Petrucci, engineered by James ‘Jimmy T’ Meslin, and mixed by Andy Sneap. Hugh Syme returns once again to lend his creative vision to the cover art. From the opening track “In The Arms Of Morpheus” to the closer of “The Shadow Man Incident,” Dream Theater returns with a collection of songs that showcase what has earned the band a loyal following for four decades. Clocking in at 71 minutes, “Parasomnia” takes the listener on a musical journey that has become synonymous with the band since the beginning of their career.

As several limited vinyl versions are already sold out, the album is now being released as a black and white marbled 2LP in a gatefold cover with LP booklet.

In collaboration with Telekom Electronic Beats, HOMEAGAIN005 captures the spirit of this year's Home Again Club Festival 2025 with a forward-thinking selection of tracks from artists across the festival roster.
Spanning house, tech house, breaks, ambient, and progressive sounds, this 7-track VA is a deep dive into late-night euphoria, sunrise moments, and everything in between.
Side A opens with Thabo's "Cheza Mwili" featuring Nairobi's Brian Msafiri-a high-octane Afro-electronic anthem with Swahili vocals and dancefloor urgency. Miura follows with the punchy and introspective "Home Alone," while Meggy delivers pure Berlin house warmth on "Around." Soela & Module One close the side with "Obsidian," a deep, shimmering journey built for long-form sets.
On the flip, "Pull Me Back" by LUV ATTACK pushes progressive, fast-paced house to an emotional edge. Thalo Santana & Oran Ray shift gears into breaksy territory with the playful, rhythm-heavy "Sweet Potato," before All Shade rounds things out with "Something Like This"-a sleek, driving tech house roller built for peak-time sets.
Mixed and mastered by Matthias Millhoff, and adorned with artwork by Ken Hanamura, HOMEAGAIN005 is a celebration of the diverse sonic threads running through Home Again's dancefloor community.

I must admit to being a sucker for two-guitar bands. Ok, Hendrix pulled off a trio. But I don’t care what anybody says: The Yardbirds were a better band than anything that came out of them (Ok, maybe not Zep. But Cream?).

Maybe the reason I go back so far in my references is that, within the two-guitar band format, original new roles are difficult and rare. There’s the classic (socially problematic and often boring) “rhythm/lead” solution. There’s the JB’s or Nile Rodgers’ chicken pickin’ vs comping solution (which avoids chordal clashes by relegating one of the guitars to the role of single-note percussion instrument). There’s Ornette’s Prime Time division between Bern Nix’s rolled-off “jazz” tone and Charles Ellerbee’s trebly wah. Almost everything else is a variation on one of these.


In Ches Smith’s record Clone Row, each piece is built around a different concept for guitar interaction. The delightful and gifted weirdness of Mary Halvorson’s playing is counterpointed, contrasted, unisoned with, played off, juxtaposed (that is to say, enters every relationship possible) with Liberty Ellman’s equally amazing sound palette, chops, and imagination. This definitely ain’t your father’s guitar band.
The overall vibe of the record—despite Halvorson’s occasional noise outbursts or Ellman’s distorted guitar lines (see Mixed Fridge) is neither punk/funk, nor Zorn-ish metal—and certainly not the looser parameters of Ornette’s improvised harmolodics. Smith’s vibraphone playing, Halvorson’s guitar tone (whammy pedal squiggles aside), the brilliant electronics, and (most of all) the compositions themselves are somehow strangely West Coast cool. It’s as if I’m hearing a Jim Hall concert in which one of us did a lot of mushrooms, or (dare I write this?) some post-punk post-Dave Brubeck post-trip-hop experiment with classical form.

This recording is, most of all, about Ches as composer. He’s picked up a lot on his long, strange trip of the last few decades. The Haitian funkiness of his work with We All Break is audible—but deeply buried, encoded in the polyrhythms (check out Heart Breakthrough). His long-running side musician collaborations with John Zorn and Tim Berne are also evident but sublimated here into something new.

Not that improvising is absent. Check out the compelling collective statements in Sustained Nightmare and Ready Beat. Check out the brilliant interplay and bass soloing on Abrade With Me (a Weather Report for the age of extreme weather?) Nick Dunston is my favorite bassist of the new generation, and he plays brilliantly throughout. And Ches’ drumming here has all the groove, energy, and incredible range that have kept him in demand from Saturday night Vodou services to jazz and new music recording sessions (…the thinking man’s rock barbarian?).
The sus chords in Abrade With Me do build, for a moment, towards a fusion type of climax...but just at the moment I was gritting my teeth in anticipated defense against some horrible synth solo, the drums drop out, and we’re transported to the ambient lounge at the rave, and we suddenly understand we’re in the hands of a composer with the power to transport us just about anywhere.
So, this is a composer’s record most of all; a composer’s record performed by musicians who happen to be great improvisers. Ches Smith builds here on his reputation as a gifted new voice with an important vision, while showcasing some of the most creative musicians of our time.

Limited edition deluxe box featuring the Blu-ray film, 2CD set, 180g 3LP on special crystal-clear vinyl, hardback book and x5 12” art prints. Recorded live on 9th November 2018 (their only UK show of 2018), ‘education entertainment recreation’ is the live album from London’s Alexandra Palace.

This strictly limited and exclusive deluxe box features:

● Blu-ray Film

● 2CDs of the audio

● 180g 3LP Vinyl *

● 48pg Hardback book *

● Five 12” art prints *

* Exclusive to the box

Sonically and visually spectacular, spanning 2 hours 20 minutes, the show joyously mixed New Order classics, their latest acclaimed album ‘Music Complete’ and Joy Division’s finest.

Opening with ‘Singularity’ from ‘Music Complete’, they eased back in time to 1993’s ‘Regret’, to ‘Love Vigilantes’ from 1985’s ‘Low-Life’ to ‘Ultraviolence from 1983's ‘Power, Corruption and Lies’. Later, their power over the dance floor was proven by sublime performances in the manner of the celebrated extended 12-inch remixes they are synonymous with - on ‘True Faith’, ‘Blue Monday’ and ‘Temptation’ before a three song Joy Division mini set to end.

To kick off Ace Records 50th Anniversary we are delighted to offer up a 2-LP version of one of the most seminal and important heavy metal albums of all time.

Funded by and released on Chiswick Records in 1977, Motörhead’s debut album was a sonic blister of epic proportions capturing the musical lighting generated by Lemmy (bass/vocals), Phil Taylor (guitar) and Eddie Clarke (drums).

This 2-LP set not only offers up this classic first album featuring tracks like ‘White Line Fever’, ‘Violator’ and ‘Keep Us On The Road’ but also collates together, on sides three and four, ‘City Kids’ the “Beer Drinkers EP” as well as different mixed and alternative versions of ear-bleeding classics like ‘Motörhead’, ‘The Watcher’ and ‘Keep Us On The Road’.

The album cover features a silver hot foil replication Joe Petagno’s original Motorhead logo in all its glory. Sleeve notes are by Ted Carroll who takes the reader through the story of how Chiswick Records managed to scrape together the money to fund the recording and write themselves and Motörhead into rock and roll history.

It’s one hell of a way to kick off Ace’s 50th Anniversary re-issue schedule.

Pierre Bastien and Michel Banabila return with Nuits Sans Nuit, their second collaboration following their Baba Soirée debut from 2023. Recorded as an intuitive exchange between Rotterdam and Valencia, the album emerged from a simple ping-pong process: Banabila sculpted sounds and atmospheres, to which Bastien responded with his distinctive instrumental palette: flute-augmented cornet, mechanised log drum, and more. Mixed by Banabila, the result is a raw yet immersive work that resonates with a somnambulant, wide-awake presence. Nuits Sans Nuit unfolds through shifting shades of melancholy. "I don"t know how to describe the feeling of these crazy times we live in," says Banabila. "Les plus désespérés sont les chants les plus beaux," Bastien quotes De Musset. Wordless yet deeply expressive, the album invites listeners into a space of contemplation, where meaning emerges through immersion - like ritual music carrying an unspoken message. Echoes of saudade, blues, fado, and soleá surface in the duo"s playful noise, reimagined through their singular vocabulary.

Corrosiv, the sophomore album from Orchestroll, reveals the duo at their most mature and vulnerable. Originally conceived as a reflection on hybridity and bastardization, the album deploys New Age and ambient compositional tropes as a launchpad, exposing their trite sanctity to the realities of corrosion. Having come of age in the 1970s and 1980s, the New Age movement perdures today as a domain of contradictions; its promise of transcendence riddled with the very commercialized dogma from which its adherents claim to flee. Healing modalities such as reiki, crystal therapy, and sound baths are simultaneously pathways to solace and sites of exploitation; their sonic counterparts—ethereal synth pads, shimmering textures, celestial drones—claim to facilitate meditation and enlightenment while devolving into empty signifiers of vitality. With Corrosiv, Orchestroll displays neither reverence nor disdain toward New Age: they exhume it instead, revealing the saccharine effervescence and commodified murk undergirding its aesthetics. The result is intoxicating—disquieting.

Born from a two-week residency at EMS Studios and expanded through a performance at MUTEK Montreal’s 25th anniversary, Corrosiv has since outgrown its original conceptual nucleus, taking on a broader scope. Its inquiry into New Age ideology’s voided rhetoric and aesthetic mysticism now informs a broader interrogation of cultural mediocrity, anti-authoritarianism, gatekeeping, music industry toxicity, and the crumbling edifice of late capitalism and techno-feudalism—all the mechanisms by which meaning is stripped from ceremony, and once-potent forms of knowledge are subsumed into the machinery of economic extraction, severed from their original essence, and transformed into hollow simulacra. Corrosiv distills these themes through a loose narrative: a soul, fixated on wellness as dictated by cosmetic economism, becomes ensnared in an endless afterlife, unable to transcend and shed its dilapidated consciousness.

Framed as an act of audio dissolution, the album thus engages in an alchemical process, whereby complex waveshaping, morphing synthesis, and distortion enact a ritual of fragmentation. There is also friction: between the rigid, mechanical imposition of systematized order and the untamed, chaotic force of organic metamorphosis. Here corrosion and confinement are not solely conceptual motifs; they are enacted in real time, sculpting the album’s terrain. Scraping, tarnishing, degradation—the languid wear of form and substance—become instruments in their own right: buffing as abrasion, entrapment as transformation, corrosion as a means of reconfiguration. The ‘protagonist,’ if there must be one, is the listener, caught within the throes of structural determinism and the potential for emancipation, unable to pass into something greater as the specters of collapsed futures accumulate in the margins.

Corrosiv extends its reach through collaborations with familiar voices: Heith (PAN), VISIO (Haunter), Femminielli (Drowned by Locals), Habib Bardi (Interzone), and Jiyoung Wi (Enmossed, Psychic Liberation, Doyenne) each leave their imprint on its sprawling landscape. At 1h16m, it is a procession, dense with earworms that burrow into the listener’s unconscious.

Misshapen, broken-down metals leach copper into blood, acid reflux burning through the core. Psyche disaggregates into cosmic turmoil, drifting between planes—tongue on rustline, gullet laced with solvent hymns, molars unlatching, bitcrushed to marrowspill. A spasm of brine, ferrous scripture, venomtext blooming in leaden rivulets, cartilage smoldering in phosphor decomposition, synapses drowning in a quicksilver choir. Crest of bile, churning ore, breath clotting into arsenic mist, vein-thread cinched, a corrosive gospel, limb by limb, oxidized to silence.

Ultimately, as the music exhales its final breath, its residue refuses to dissipate—and stillness alone remains. There are no conclusions here—no resolution, no collapse—only the slow drift outward of a vessel unmoored, lost in the sea of symbolic souring. Corrosiv sings the song of a world barren of prophecy, littered with aesthetic detritus. Whether this magic has been transfigured or simply worn away is unclear: the last breath dissipates, but the oxidation does not stop. The silence, too, will decay.

Conceptualized, composed, performed, recorded, mixed, engineered and produced by Jesse Osborne-Lanthier, and Asaël Richard-Robitaille in 2023 and 2024 at Elektron Musik Studion (EMS) - Stockholm, Sweden and Landsc8pe Studio - Montréal, QC, Canada.
Artwork by Jesse Osborne-Lanthier.
Mastered by Stephan Mathieu @ Schwebung Mastering.