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Hideous Divinity's-Cobra Verde, based around Werner Herzog’s 1987 film of the same name and crowned, “an uber-brutal, churning platter of tech-y death metal” by Decibel Magazine. Cobra Verde was recorded at 16th Cellar Studios (Hour Of Penance, Fleshgod Apocalypse, Vomit The Soul) and flaunts nine tracks of meticulously executed brutality including a searing rendition of Ripping Corpse’s “The Last And Only Son.” Doused in a near-intoxicating air of hate and discontent, Cobra Verde is a true must-have for devout followers of obscure and intense death metal a la Nile and Immolation with the lysergic influences of Ulcerate.

Originally released in 1997—Salsoul Jam 2000 was Grandmaster Flash’s first album in nine years. A testament to his power as a DJ, the record was produced & segued together as one continuous mix in front of a live audience.
This is the first re-release of the album in two decades and it’s first repressing on vinyl since the original ‘97 release.
Salsoul Jam 2000 is a perfect introduction to the deep bench of talent on the Salsoul Records roster— featuring hits like “Let No Man Put Asunder”, “Love Sensation” & “Ten Percent”—while continuing to connect dots on the family tree from disco to hip-hop.

Enter The Decagon assembles friends of the label - near and far - for further excursions into the abyss of industrial, folk, jazz and ambient music.

From Copenhagen hails Kristi Brud (Bride of Christ) extending us with a shimmering violin contemplation initially made for the short art film piece "The Abduction of Europa", absorbing a modal ambiance of harmonics rooted in central European renaissance. Recorded in Svalöv in rural Skåne comes a hillbilly folk jazz piece constructed by Joel and Ivar on equal parts violin, flute, upright bass and percussion, recorded somewhere in the misty era of of 2012-2015. Then, an interlude follows, reconstructed from the very early live sets of the label's own Inre Kretsen Grupp, laden with tuned metallic percussions and synthesized bow sounds. Following up, the idiosyncratic local talent Fai Ling offers a piece of Basinski/Hassel-esque horn repetitions in full deterioration. Concluding the A-side of the compilation is the band that never was - the only released material of Prins Emanuel and Golden Ivy's Börringe Kloster project - encapsulating their minimal maximal approach of low quality sound samples turned in to a wall of sound of rhythm of sorts.

The B-side picks up on different musings in the form of ambient cadence and carefully sculpted soundscapes signed Phillipp Otterbach, who gives us an unraveling journey into kalimba-hampered harmonies carried through a bed of industrial, synthesized sounds. Moonilena follows up with an eerie yet beautiful minimal composition of radio disturbances and repetitive, ear catching melodies.
Breaking the barrier of stillness, local producer and Catholic chant music fiend Digge Shim performs a rhytmical, tongue-in-cheek number that pulls widely from both the hymnal traditions of medieval Europe as well as the zonked out ambient trance sounds you'd meet in a mid nineties Goa chill-out room.
Near the tip of the decagon, we find the Cypriot producer, singer and lyricist Spivak presenting us with a feeling of the-familiar-but-never-heard in the form of an ambient pop breakbeat number with carefully crafted choirs oscillating on top - hauntingly beautiful and equally danceable.
Ending in the best of styles, well-mannered umarel and purveyor of drum-smitten metallic sounds shows us what Moisture is really about - the mental image of finding your true self dancing in purgatory in a never-released Kenneth Anger film set, encumbered with red lights and occult paraphernalia.

green vinyl / printed sleeve / 180 grams
Hadone's nine-track LP shares a first glimpse of his immersive 'Things We Never Did' concept.

November 2022 sees the inception of not only Hadone's first ever feature LP but also his artistically driven and expansive label project 'Things We Never Did'. Marking the first release on the imprint, 'What I Was Running From' spans nine individually unique records, including a special collaboration with friend and fellow French producer Askkin. One of the standout breaks tracks on the LP, it was the first track they made together.

A culmination of all things influential in modern underground techno, blending 4x4 raw techno tracks with more spirited melodic pieces, Hadone's debut LP is a telling celebration of several immersive sub-genres combined with his renowned sonic despondency. The result: a careful balance of richly electronic emotional cuts and racy industrialised techno with a gritty minimalist feel. "Not only the music is destined to evolve, but the whole environment that goes with it will be rethought on a recurring basis" adds Jeremy.

Title track 'What I Was Running From' was made after he finally found inspiration after the pandemic and was written in an hour. "I think my best tracks are made fast, as they don't reply in any intention but feelings only, therefore they are natural and reflect my true style" adds Jeremy.

Its fast paced bassline and jittery stabs, give the track a choppy break beat influenced vibe opening the album with true intent. 'What I Was Running from' offers a transcendental eye through the looking glass at a project that incorporates music, a digital interactive universe, a fashion collaboration with precocious
Parisian footwear brand Phileo. A creative collaboration which has resulted in a limited collection of 2 styles, available on both TWND's digital universe and Phileo direct.

For the 1st year designs, graphism by Raphael Clerget "leverages the power of art to underline the importance of saving our relation to time and improve focus." Raphael brings his vision of complexity and darkness through refined aesthetics carried out for the digital universe, label and merchandise.

CHRISTIAN DEATH was formed by Rozz Williams in Los Angeles, California in 1979. Williams was eventually joined by guitarist/songwriter Rikk Agnew of ADOLESCENTS, James McGearty on bass and George Belanger on drums. This CHRISTIAN DEATH line-up was responsible for recording the band's iconic 1982 debut, ONLY THEATRE OF PAIN, widely regarded as the #1 American goth album of all-time. This exclusive double-LP version of OTOP commemorates its 40th anniversary- the first disc is the digitally remastered, original version of the album while the second disc is comprised of "Dogs" from HELL COMES TO YOUR HOUSE, four pre-Frontier demos, two studio demos made for a second Frontier Records' LP that never happened and two alternate studio mixes from OTOP. The gatefold LP jacket is printed in its original its black and metallic gold, includes a Colver collage poster and a hardcover copy of the photo book, ONLY THEATRE OF PAIN and all come in a hard slipcase. The oversized 12" x 12" book features rare and never-before-seen photos of CHRISTIAN DEATH as well as new interviews with photographer Edward C. Colver, the surviving band members, Frontier's Lisa Fancher and others. Colver befriended the band and followed them around in late 1981 and early 1982 at more than a dozen concerts as well as photo shoots in Rozz Williams' family home (used on the back cover and insert of ONLY THEATRE OF PAIN) and a session of now famous images at a Pomona CA cemetery. Info: Just as the theatrically-minded LA punk scene was beginning to give rise to such morbidly themed outfits as 45 Grave and the Flesh Eaters, an androgynous teenaged street performer named Rozz Williams (né Roger Painter) founded CHRISTIAN DEATH, one of the most prolific, enduring, and beloved gothic acts of all time. Williams' otherworldly groan can make "Only Theatre of Pain" difficult going for those that aren't the gothic faithful, but the loud/not-too-fast music (courtesy of ex-ADOLESCENTS guitarist Rikk Agnew and the walking-dead rhythm section of bassist James McGearty and drummer George Belanger) is appropriately doom 'n' gloomy, with inventive arrangements and clear sound - thanks to Frontier Records' go-to punk production legend, Thom Wilson- capturing the mood in full B-movie fidelity. The lyrics sacriligiously address horror topics and religion: they're overwrought (the backwards masking of 'Mysterium Iniquitatis' being one clever exception) but easy to overlook in the wash of inspired rock noise. The original lineup's recorded debut is a gem. Artists inspired by CHRISTIAN DEATH include Danzig, Craddle of Filth, Paradise Lost, Korn, Type O Negative, Nine Inch Nails, Marilyn Manson and Jane's Addiction. Press: "A depraved masterpiece, this was punk rock made poetic, subversive, and gracefully savage."- AV Club "The Gothic album to out-gothic all others" - Melody Maker "Only Theatre of Pain's influence should not be underestimated" - Record Collector Limited availability!

Tardam Records was born out of a collaboration between the Southern Italian City of Taranto at the top of the Puglian isthmus and Amsterdam, the far more northerly metropolis. The label was founded by DJ Goffredo Santovito and musicians Fabrizio Carrieri and Mikel Van Der Meulen. They were passionately motivated to release the music of a select set of European groups that were capturing a new sound in retro soul and R&B. Over the next four years they released nine singles from groups including the Mighty Typhoons, The Spinshots, The Ska related Uppertones and the raw R&B sound of the Working Voodoo Club, which resulted in dance floor winners, rare 45s and many great moments.

In celebration Acid Jazz asked their friends from Tardam if they could release a compilation of their work, and when they said yes, the label commissioned an exceptional mid-Century style illustration by Dutch illustrator Emanuel Wiemans to wrap it all up in.

To celebrate the 10th anniversary of Cloud Nothings' seminal album, Attack On Memory, the band has announced a very special limited edition vinyl pressing. 3000 copies worldwide.

It’s housed in a foil jacket with all new colorized artwork, is pressed on Sky Blue vinyl, and includes two bonus flexi 7"s with two never-before-released tracks, "You Will Turn" and "Jambalaya" from the original sessions at Steve Albini's Electrical Audio.

In 2009, Cleveland’s Dylan Baldi began writing and recording lo-fi power-pop songs in his parents’ basement, dubbing the project Cloud Nothings. His music quickly started making the Internet rounds, and fans and critics alike took note of his pithy songcraft, infectiously catchy melodies, and youthful enthusiasm. Baldi soon released a string of 7”s, a split cassette, and an EP before putting out Turning On—a compilation spanning about a year’s worth of work—on Carpark in 2010. January 2011 saw the release of Cloud Nothings’ self- titled debut LP, which, put next to Turning On, found Baldi cleaning up his lo-fi aesthetic, pairing his tales of affinitive confusion with a more pristine aural clarity. In the interval since the release of Cloud Nothings, Baldi has toured widely and put a great deal of focus on his live show, a detail that heavily shapes the music of his follow-up album, Attack on Memory.

After playing the same sets nightly for months on end, Baldi saw the rigidity of his early work, and he wanted to create arrangements that would allow for more improvisation and variability when played on the road. To accomplish this desired malleability, the entire band decamped to Chicago—where the album was recorded with Steve Albini—and all lent a hand in the songwriting process. The product of these sessions is a record boasting features that, even at a glance, mark a sea change in the band’s sound: higher fidelity, a track clocking in at almost nine minutes, an instrumental, and an overall more plaintive air. The songs move along fluidly, and Baldi sounds assured as he brings his vocals up in the mix, allowing himself to hold out long notes and put some grain into his voice. Minor key melodies abound, drums emphatically contribute much more than mere timekeeping, and the guitar work is much more adventurous than that of previous releases.

For all of early Cloud Nothings’ fun and fervor, Baldi admits that it never sounded like most of the music he listens to. With Attack on Memory, he wanted to remedy this anomaly, and in setting out to do so, Baldi and co. created an album that showed vast growth for a very young band.

We have a very limited amount of these available now for stores. 4LP boxset - white vinyl - edition of 300 - includes: The Dream Derealised LP, Lightnesses I & II LPs, Near Future Residence LP. It’s nearing a decade since William Doyle released his Mercury Music Prize nominated debut album, Total Strife Forever, as East India Youth in 2014. A year later, he had toured the world and was releasing his second album, Culture of Volume, but it would be another four years before Doyle returned with his third full album, and the first official release under his own name. The dizzyingly ambitious Your Wilderness Revisited arrived in 2019 and was followed last year by the artpop masterpiece, Great Spans of Muddy Time. In the years between leaving the old project behind and re-emerging under his own name, Doyle self-released a string of ambient-leaning albums, The Dream Derealised, Lightnesses Vol I & II and Near Future Residence, which are now to receive a first vinyl pressing via Tough Love as both a highly limited four LP box set, titled ‘Slowly Arranged: 2016-19’, and as separate albums. The Dream Derealised is a collection of nine abstract, lo-fi pieces that were recorded during the summer of 2016, when focusing on creating them helped guide Doyle through a “difficult period of anxiety, panic and a regular dissociative feeling called derealisation.” At the time, doing something creative in a quick and immediate fashion felt vital to Doyle, carrying him to a new place: “I’m releasing them now as a cathartic measure, and as a message for others who may be going through difficult times themselves. What I told myself at the time, what I can tell you now: You are not in danger. You are not going insane. You are not alone.” Lightnesses Vol. I & II sees Doyle create what we might understand as true ambient music – that is, music intended for the background that wasn’t composed as such, but allowed to blossom out of the setting of some rules and parameters, played by sounds he created and then resampled. The deceptively simple, droning pieces are unlike anything Doyle has made before or since. “During their creation I’d often take photographs of the light coming in through the windows of the two houses I lived in during their creation. I’d post these on social media and they became quite popular parts of my output. This music was intended to accompany those visuals. The first volume’s photo is a double exposure of the sun shining in on my notebook and my hand, whereas the photo for the second volume was taken in Joshua Tree Park, California as I saw our tail lights illuminate one of the trees.” Near Future Residence is music for an imagined place based on real ideas; the soundtrack for an ecologically sustainable housing development somewhere in a not-too-distant future Britain. The eleven instrumental pieces here come from a place of optimism, imagining a future that is based on cooperation, community and ecological urbanism. It's music intended to sit in this imagined environment rather than impose upon it, similar in principle to the function of Kankyō Ongaku (Japanese environmental music). The ideas contained on Near Future Residence laid the groundwork for - and can be seen as a companion piece to - the album Your Wilderness Revisited, released to critical acclaim in 2019. Doyle explains how the pieces “were composed in entirely generative ways using samples of instruments, synthesisers and field recordings I've collected and developed throughout 2018. In generative composition, rules are set and parameters are chosen and then put into motion, the results constantly changing and surprising.”

Widely regarded as a modern day classic. First repress (in nearly twenty tears) of this highly sought after treasure. Limited edition vinyl with original, single sleeve, artwork.

Bitty McLean’s rebirth as a bona fide hit-making lovers rock singer, since his link up with Daddy Peckings’ sons Duke and Chris, has been particularly sweet, due in no small part to his superior talents in the vocal department, and his accomplishment in the studio, but also because he is a humble soul whose talent has often been overshadowed by the perception of him as something of a reggae lightweight, due to the commercial success he experienced back in the early nineties with It’s Raining. Bitty’s credentials far outstrip any of his detractors though, and with the release of the superb single Walk Away From Love, he’s proved beyond doubt his worth as an interpreter of classic songs and a gifted songwriter in his own right. Kicking off with the hit single which utilised the classic original 1967 Treasure Isle rhythm to Alton Ellis’ Rocksteady. All selections revive original Duke Reid rhythms created by Tommy McCook & The Supersonics including the beautiful Ranglin On Bond Street (Tell Me), Those Guys (Baby Tonight), Moonlight Lover (To Fall In Love), Inez (My Lovers Call), Queen Majesty (a wicked version of Bread’s Make It With You featuring some beautiful overdubs from Dean Fraser), I’ll Get Along Without You (I’ve Got Love), Lonely Street, and a cover of Smokey Robinson’s Cruisin’. An album to cherish for young and old alike.

180g double LP, black vinyl, 45 RPM. Berlin-based psychedelic post-punk group The Third Sound (led by Brian Jonestown Massacre guitarist Hákon Adalsteinsson) are set to release a new Fuzz Club Session LP on December 9th. Recorded live at Berlin's Marie Antoinette club, the 10-track double album sees The Third Sound perform a discography-spanning set with tracks from last year's highly-praised 'First Light' LP (2021), 'All Tomorrow's Shadows' (2018), 'Gospels of Degeneration' (2016), 'The Third Sound of Destruction and Creation' (2013) and 'The Third Sound' (2011). The session is released on vinyl, digitally and as a series of videos by Fuzz Club Records. It's number 19 in the London label's ongoing Fuzz Club Session series which has also seen the likes of A Place To Bury Strangers, Night Beats, Holy Wave, Heaters, The Entrance Band, The Myrrors, Lumerians, The Underground Youth, 10000 Russos and more.

Limited Clear Vinyl Edition, 500 copies! Twistin’ the Night Away is Sam Cooke’s eighth studio album. Released in April 1962 by RCA Victor, the album shows how the one and only Sam Cooke approached the twist dance phenomenon and as a result became one of Cooke’s most
successful releases. In fact Twistin’ the Night Away peaked while the single of the same name charted high at number nine on the Billboard Hot 100. Twistin’ the Night Away stands as one of the great dance albums of its period,”and “a brilliant soul album as well.

Labi Siffre’s third album was the first to be produced by Labi himself, who declares it to be “the one where it all
came together… singing some of my best songs”.
• Issued in 1972, it features the beautiful original version of “It Must Be Love”, a # 14 hit for Labi nine years
before Madness took it to the top. Also featured is “My Song”, as sampled by Kanye West for “I Wonder”, and
the # 11 hit title song, also covered by Rod Stewart and Olivia Newton-John.
• This new edition has been expertly cut by Barry Grint at AIR Mastering from the original stereo tapes using
precision half-speed mastering.
• Half-speed mastering is a vinyl cutting technique that improves groove accuracy and transient information
creating an incredibly detailed stereo image with a natural high frequency response.
• Presented in its original gatefold sleeve, pressed on180 gram heavyweight vinyl, featuring an obi strip and
housed in a poly-lined inner sleeve, with all the lyrics on the 4 page insert.

Here is the sound of momentum: Sarah Lee Langford and Will Stewart
roving together through the oldest tropes of country music and every
other genre
Here find rugged landscapes, whiskey barrooms, the same old bad luck and love.
And yet the nine-song romp delivers a hundred fresh takes.Langford and Stewart
are frequent collaborators. They perform here with friends Keelan Parrish (Vulture
Whale), Brian Gosdin (Dexateens), and Ford Boswell (Early James), as well as on
Langford's previous LP Two- Hearted Rounder (Cornelius Chapel Records). But
that album came out in 2019, back when we all lived on another planet. Their
latest full-length release together Bad Luck & Love resonates with all that we've
survived.
These are Birmingham, Alabama's hymns to the hard work of getting by, in
relationship and on stage. If exploration is a theme of Bad Luck & Love, the pedal
steel that makes the record so red-dirt earthy ends by taking us to outer space. "I
thank my lucky stars 'cause I think stars are lucky / Plus we're spinning around in
space, no place to lay our heads."

LP is black vinyl + LP3 insert for full album Download. Check out the first 18 or so seconds of “Can I Ride”, the title track on the first release by Polvo, the two-guitar juggernaut that represented the other side of Chapel Hill indie rock (more on that in a moment). That two-note riff, and the guitar twang that follows, recalls the opening notes on another monster song: “The Sprawl”, a key track on Sonic Youth's epochal Daydream Nation, an album released in October 1988, less than two years before Polvo formed. This compilation's nine tunes—the first seven from the Can I Ride double 7” EP (1990), the last two from the “Vibracobra” b/w “The Drill” 7” (1991) are not quite the sound of a torch being passed, but they were a sign that Sonic Youth's weird tunings, the hardcore punk and proto-indie rock on SST Records, and R.E.M.'s hazy rock (three big influences on this era of Polvo) were changing lives. Even back then, the impossibly catchy roar from Merge’s flagship act Superchunk was known to outsiders as the sound of Chapel Hill. But Polvo was something different from the same region. While the band never cottoned to the “math rock” tag (and it’s hard to disagree with them), there is no question that there was a distinct “how can we make guitar rock sound different from all the other guitar rock” vibe going on in the mid-Atlantic, from Richmond (math rock’s true home, don’t @ me) to the North Carolina Triangle over to Louisville and down almost to Atlanta. (If the Mastodon dudes aren’t down with Polvo, I’ll eat your shoe.) No, Polvo were their own brand of squall, not afraid of big hooks (“Leaf ”), odd tempos and textures (“Lull”) and rolling thunder (“Totemic”), and answers to the musical question, “What if the Feelies grew up on Dinosaur Jr.?” (“Tread on Me”). Indie rock? Not the 2022 kind. Math rock? Eh, not really. This was the sound of a new Southern rock, of a pre-internet guitar storm that looked at what came before and said, “What's next?” Track listing: Side A 1. Can I Ride 2. Leaf 3. Lull 4. Totemic 5. Tread on Me. Side B. 6. Teen Dream 7. Snake Fist Fighter 8. Vibracobra 9. The Drill

For fans this is the perfect genesis of a globally acclaimed guitarist and songwriter. A blend of youthful enthusiasm and innocence that never quite resurfaced again in his work, especially as he developed his jazz-folk fusion and became known for both immense skill on the guitar and his activism in support of social causes. Fans know this album as Bruce Cockburn's happy-go-lucky years, before the weight of his success encouraged him to use his songwriting for a purpose, never again having this much whimsy in the studio. The opening number, "Going to the Country," evokes the era's hippie back- to- the- earth movement, and as all good things come back around again, is just as fresh in today's enviro-movements. His hit song "Musical Friends" remains a fan favorite to this day.

Bruce Cockburn has written more than 400 songs on 35 albums over a career spanning 50 years, of which 23 have received gold or platinum certification. He has sold more than nine-million copies worldwide, is a member of the Canadian Songwriter Hall of Fame, and is the winner of 13 Juno Awards from more than 30 nominations. His world-wide hits include "Wondering Where The Lions Are",
"Lovers In a Dangerous Time", "If A Tree Falls" and "If I Had A Rocket Launcher".

'Breakfast in New Orleans Dinner in Timbuktu' is Bruce Cockburn's 1999
album written to encourage his fans to look forward to the new century,
while learning from the past
It contains a travelogue in the album's lyrics, both to familiar places of home and
family as well as social imperatives from visits to developing countries. Through
it all is Cockburn's reflections on the dynamics between men and women and
spiritual mysticism. Musically the album features the vocals of three women who
appear throughout the album. Jonell Mosser sings on two songs, including the hit
single "Last Night of the World"; Margo Timmins of Cowboy Junkies on the sultry
"Mango" and a cover of the Fats Domino nugget "Blueberry Hill", and most
significantly for the album's consistency, Lucinda Williams appears on four tracks.
Her standout track is "Isn't That What Friends Are For", a tender song of friendship
is made more poignant by Williams' ability to convey deep emotion.
Bruce Cockburn has written more than 400 songs on 35 albums over a career
spanning 50 years, of which 23 have received gold or platinum certification. He
has sold more than nine-million copies worldwide, is a member of the Canadian
Songwriter Hall of Fame, and is the winner of 13 Juno Awards from more than 30
nominations. His world-wide hits include "Wondering Where The Lions Are",
"Lovers In a Dangerous Time", "If A Tree Falls" and "If I Had A Rocket Launcher".

The nine songs that comprise You Become The Mountain are heavily
inspired by the landscapes of the Pacific Northwest, meditation, longdistance running and Silverstein's work as a special education teacher
Expanding on the minimalist approach heard on How on Earth, Silverstein invited
pedal- steelist Barry Walker Jr. (North Americans, Rose City Band) and bassist
Alex Chapman (Parson Redheads, Evan Thomas Way) to round- out an
increasingly meditative sound.
Led by the spirit of late Detroit musician Ted Lucas, Silverstein was moved to
create an album featuring both instrumental and lyric- based compositions.
Silverstein casts a wide net in 40 minutes, offering fans of both traditional and
experimental folk entry points into his universe. Primarily tracked live and void of
heavily processed sounds, the LP serves as a proper introduction to a songwriter
who celebrates patience and restraint in the highest regard.

180 gram vinyl LP of Freddie's 1979 album with extensive sleeve notes
Produced by: Winston 'Niney The Observer' Holness
Recorded, Voiced & Mixed at: Channel One ecording Studio, 29 Maxfield
Avenue, Kingston 13
Engineers: Anthony 'Crucial Bunny'/'Bunny Tom Tom' Graham & Lancelot
'Maxie' McKenzie
Musicians:
Drums: Max 'Feelgood' Edwards & Leroy 'Horse Mouth' Wallace
Bass Guitar: George 'Fully' Fullwood
Lead Guitar: Earl 'Chinna' Smith
Lead Guitar & Rhythm Guitar: Albert Valentine 'Tony' Chin & Eric 'Bingy
Bunny' Lamont
Keyboards: Jamaba Johnson & Keith Sterling
Tenor Saxophone: Enroy 'Hot Train' Grant
Trumpet: Arnold 'Willie' Brackenridge & Donald Vidan-Greaves
Percussion: Herman 'Bongo Herman' Davis & 'Brooksy'
Advertising in Black Echoes and Record Collector

More than 50 million records sold, LP productions in Hungarian, German
and English, tours and festival appearances throughout Europe and
Japan, at least 50 cover versions or adaptations of the world hit
"Gyanngyhaj li ny" - Omega are Hungary's number one rock export
In 2022, the band will be celebrating its 60th stage anniversary, making it one of
the longest-serving rock formations in the world. On St. Nicholas Day, December
06, 2021, singer and founding member J nos K bor passed away due to the
coronavirus. Now the Omega albums from the well- known and successful
Bacillus era will be rereleased originally and completely on vinyl. After a few trips
into symphonic and psychedelic rock realms, Omega presented themselves on €
III € , released at the end of 1974, again more down to earth: Nine crisp hard rock
tracks, only one exceeding the four-minute mark. For this album, Peter Hauke, still
producer, and Omega not only used current material, but also included songs that
had already been recorded on the Hungarian original from 1969: "Stormy Fire" and
"Spanish Guitar". In order to attract a broader audience, the songs had been pared
down, instrumental soloing was reduced. Although Omega had always flirted with
progressive stylistic means since their turn to psychedelic rock in 1969, this time
they kept their hands off intricate arrangements. Instead, they turned towards the
zeitgeist by including rather blunt rock tunes like "Stormy Fire", "Go On The Spree"
and "Fancy Jeep" in the list, which could also please a glam rock fan and
passionate consumer of single hits by bands like The Sweet and Slade.

URBAN WARFARE

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

LEE HOLMAN

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

TONICO 70'S SOULFUL SIDE SHINES THROUGH IN NEW ALBUM CO-PRODUCED WITH PEPPE MAIELLANO (BANDA MAJE)

The cover of the new album by musician, rapper, DJ/producer and Banda Maje's co-founder Tonico 70 features an honest, unfiltered photo his mother took of him with a disposable camera – a photo that is as blunt and sassy as hip hop, but at the same time filled with the sweetness of soul music. The style of Antonico is all there, in that shot of a nine-year-old kid that was just beginning to discover and love music – a passion that, as he says now, "has been driving me for over thirty years."

Coming after many years of songwriting, beatmaking, MCing, live performances and collaborations, this new album, his first released on Four Flies Records, connects the dots between past, present and future, presenting Tonico 70 as a fully-rounded artist rather than just a rapper, and one aware of his own many facets.

Co-produced with Peppe Maiellano, Banda Maje's other founder, Antonico offers an intimate portrait of Tonico 70, who has put his 'tough-music-smuggler' persona aside to let his soulful side shine through, giving us a warm, funk-inspired and very original take on the so-called 'Napoli power' sound.


Lyrically too, the album takes us deeper into his world. Here, Tonico 70 evaluates his personal history, speaking about his joys and disappointments, his highs and lows, and the friends and lovers who are or were in his life.

Sometimes his flow is confidential and nocturnal – in "Vic'l", for instance, where the sound is smooth and sweet, rife with contrapuntal notes and harmonies that are clearly reminiscent of 70s soul, but also in the bluesy rap of "Doppia Chance" and the prayer-like song "For For". Other times he gets bolder and brasher, like in the reggae-inspired in "Quaqquara Qua", or in "The Revolution Will Not Be Telefonin", which is obviously a (cheeky) tribute to Gil Scott Heron.

A number of tracks feature long-time friends and collaborators: rapper Morfuco in "Italia 90" (a funky uptempo song with powerful gospel vocals in the chorus), the Funky Pushertz crew in "Sai Com'è" and, perhaps most importantly, the Salifornian soul-funk collective Banda Maje, who give new life to three songs from the artist's previous discography: "Vir Buon", "Gente Antica" and "Fantasie".

This album shows that Tonico 70 has reached a stage of maturity in his career, one where his music extends beyond rap and hip-hop to incorporate rich instrumentals and multiple genres that carry the echoes of his experiences and encounters in the lively alleys of Salerno's historic district, and of the people whose lives unfold there, in the heart of the Mediterranean.

Before he co-founded the legendary Sunday afternoon event Body & Soul with fellow New York DJs Danny Krivit and Francois Kevorkian in 1996, Joaquin "Joe" Claussell was the driving force behind Instant House, an eclectic production outift who released a series of uplifting deep house records, several of which were spun by David Mancuso at the 90s iteration of his influential Loft parties.

In 1993, Instant House released their deepest single, Lost Horizons, through Jungle Sounds Recordings. The A-side, ‘Lost Horizons (The Mind Travel Saturday Night Sunday Morning Mix)’ is a seventeen-minute and twenty-second sojourn into the vibrant club sounds of early 90s NYC. Driven by a Latin-accented man-machine beat that marches into infinity, it comes backed by two shorter mixes, ‘Lost Horizons’ and ‘Lost Horizons (Percussion Bonus)’. Twenty-nine years later, Isle of Jura presents an official vinyl and digital reissue of this slow-burning deep cut.

The Instant House story begins in the late 80s at Dance Tracks, an East Village record store established by the businessman, DJ, and graphic designer Stan Hatzakis. Patronised by New York trendsetters like Frankie Knuckles and Larry Levan, Dance Tracks was considered one of the world's best underground dance music retailers.

During the winter of 1991, Stan got together with one of his best customers, Tony Confusione, to make music. A wall street guy by day and a keyboardist by night, Tony was also a serious DJ. Not long after their first recording sessions, they invited another Dance Tracks fixture, Joaquin "Joe" Claussell, to join them in Tony’s state-of-the-art home studio in Long Island. He brought a vibrant, percussive edge to the sample-based tracks Stan and Tony were cooking up. Emboldened, the three DJs began recording together as Instant House. That year, they released the Dance Trax EP.

In 1992, after Instant House had dropped two certified classics, 'Over' and 'Awade', for Jungle Sounds Records, Stan exited the group and sold Dance Tracks to Joe and his business partner, Stefan Prescott. Following Stan's departure, Joe and Tony headed into the studio for a special recording session. “I just remember how powerful the connection was while we were making that record,” explains Joe, recalling the creation of ‘Lost Horizons (The Mind Travel Saturday Night Sunday Morning Mix)’. “It was a very spiritual encounter in the studio.”

While laying out the drum patterns, sound effects, and arrangement, Joe explained the vibe to Tony, who played the lush cosmic chords and an effortless keyboard saxophone line over the top. “That was Tony completely feeling himself,” Joe reflects. “He performed majestically.”

After the release of the Lost Horizons 12”, Joe received a phone call from Cisco International Corp. A plane flight later, he was sitting in their label offices in Tokyo, talking to a senior record executive who wanted to introduce Lost Horizons to Japan. “What they were primarily doing at the time was pressing classical records - we’re talking thousand dollar plus classical reissues - and they wanted to license and distribute Lost Horizons,” Joe remembers. Three years later, Joe and Tony released 'Asking Forgiveness', their final 12” as Instant House, before parting ways with full hearts.

In the context of his career as a DJ, remixer, and producer, Joe is known for long songs and compositions. As Lost Horizons illustrates, he’s carried that impulse with him since his foundational days. “When I produce, I don’t believe in the beginning or endpoint of anything,” Joe explains. “I really despise the rules. To me, that’s not true to the art of creation. I just believe there is a flow in creation. When we were making music in the 90s, we were restricted by format, but that record could have gone on forever.”

The 12” is housed in a full sleeve jacket by Bradley Pinkerton based on the original release design.

Sacred Bones has curated an LP of original Ya Ho Wa 13 and Father Yod and the Spirit of '76 (the musical projects of the Brotherhood of the Source) music from their rich and prolific recording history. For those not familiar, Ya Ho Wa 13, formed in 1973, are regarded as one of the most extreme, groundbreaking and influential psychedelic rock bands in history. The band released nine super rare LPs (and are rumored to have recorded 60 LPs worth) full of deep spiritual wisdom, tribal drums and distorted guitars, some of which were completely unrehearsed jam sessions, others which contained more conventional rock songs. Most were recorded after hours of meditation at 3:00-6:00 a.m. in a soundproofed garage that served as the musicians' studio at the family's communal residence. All of the records with Father Yod's participation were completely improvised, with no rehearsals or overdubs and feature him on lead vocals and percussion, via a kettle drum. Most of their original music was pressed in small runs and are highly sought after collector's items. Sacred Bones are super excited to have listened through hours and hours of this transformative music to bring you what they think is an absolutely essential compilation of some of their best songs.

With thirty years of active, nefarious service under their bulletbelts, NECROPHOBIC are undisputed legends of the death and black metal underground. Formed in 1989 by drummer Joakim Sterner, the Stockholm blackhearts propagated a singular and fearless vision from the very start, confirming their prowess with now legendary debut album The Nocturnal Silence in 1993. Eschewing the self-conscious amateurism and primitive sonics that many of their peers held dear, NECROPHOBIC established a bold and vivid identity of their own, conjuring a densely melodic but endlessly wicked take on macabre extreme metal that countless lesser bands have since emulated. With “Hrimthursum”, the 5th full-length album, NECROPHOBIC already injected its blasphemous attack metal with melody and atmospherics, not to mention a great attention to instrumental detail, in the first place when the album was released in 2006. The Swedish black death metal legends are re-releasing this full-length record as first out of nine upcoming re-issues in total. The album will be available as Ltd. CD Jewelcase in slipcase, Gatefold LP & Poster and Digital album. A must have for every black and death metal maniac out there!

With thirty years of active, nefarious service under their bulletbelts, NECROPHOBIC are undisputed legends of the death and black metal underground. Formed in 1989 by drummer Joakim Sterner, the Stockholm blackhearts propagated a singular and fearless vision from the very start, confirming their prowess with now legendary debut album The Nocturnal Silence in 1993. Eschewing the self-conscious amateurism and primitive sonics that many of their peers held dear, NECROPHOBIC established a bold and vivid identity of their own, conjuring a densely melodic but endlessly wicked take on macabre extreme metal that countless lesser bands have since emulated. With “Hrimthursum”, the 5th full-length album, NECROPHOBIC already injected its blasphemous attack metal with melody and atmospherics, not to mention a great attention to instrumental detail, in the first place when the album was released in 2006. The Swedish black death metal legends are re-releasing this full-length record as first out of nine upcoming re-issues in total. The album will be available as Ltd. CD Jewelcase in slipcase, Gatefold LP & Poster and Digital album. A must have for every black and death metal maniac out there!

'Find A Better Way', by Canadian classic four-piece rock roots band, The
Commoners, possesses a sound tapped from the oaken belly of a
whiskey barrel
Described as "a classic rock and roll affair," the nine songs on 'Find A Better Way'
take the listener on a sonic voyage through the lives of the band, from the dusty
back roads of rural Ontario to the bright lights of the big city. Offering their own
blend of rock and roll, southern blues, and roots music, the Toronto-based fourpiece band are known for their high- energy riffs, soulful vocals, and rich
harmonies. The result is an authentic Southern-style rock experience.
The group was cobbled together over the course of a decade, adapting through
numerous obstacles to form the unit as it exists today: Chris Medhurst (vocals/
guitar), Ben Spiller (bass), Ross Hayes Citrullo (lead guitar), and Adam Cannon
(drums). Often joined by their friend, organist Miles Evans- Branagh, The
Commoners unite under a shared dream: to write, perform, and share music that
is an authentic nod to the greats who paved the way before them.
"The new album authentically embodies the rock and roll, soul, and blues rock
experience," says the band's lead singer, Chris Medhurst. "That's something we
really wanted to bring back. That's the roots. That's what we listen to."

Wellington, New Zealand four-piece Hans Pucket writes nervy but effortlessly danceable rock songs about feeling bad. Their second full-length album, No Drama, which is out November 4th via Carpark Records, gleefully captures the all-too-common twenty-something anxieties of talking too much and then being unable to find the right words to say. When frontman Oliver Devlin sings, “I’m surfing a constant wave of alarm” on the title track, it’s a compass for the other nine tracks. This is inviting and relatable music for people who, despite their best efforts, feel uncomfortable about themselves, the state of the world, and their place in it.

Both lyrically and sonically, No Drama is a departure for Hans Pucket from their 2018 debut Eczema. “I realized I didn’t want to write any more real heartbreak songs,” says Oliver Devlin. “We were and still are a live band. We're still trying to make music that’s catchy and people can dance to, but also really interesting to us: songs about growing up and finding how you exist in the world.” Songs like “My Brain Is a Vacant Space” with its blistering guitars and ebullient hooks hone in on the feeling that you have nothing to offer while “Bankrupt,” a fuzzed-out punk track, boasts lines like “I don’t know if I’ll always feel like / I don’t know what I’m doing wrong.”

Recorded with the band’s good friend and former tour mate Jonathan Pearce of The Beths at his Auckland studio, No Drama is full of big leaps, immaculate arrangements, and a ton of immediate grooves. “We were very ambitious when we first started recording this,” says bassist Callum Devlin. “Intentionally we left heaps of space in the track so we could add strings and horns. Because we were very measured and quite deliberate with the parts we had. It was a really fun process filling in the gaps.”

No Drama came together over several years and during its creation, the band added multi-instrumentalist Callum Passels, who provided all the horn arrangements on the LP. With Pearce producing, his other Beths bandmates like Benjamin Sinclair added string arrangements while singer Elizabeth Stokes provided backing vocals.

Overall it’s a remarkably eclectic record where the smooth pop of a track like “Kiss the Moon” can coexist perfectly with the Abbey Road freakout of “Some Good News.” “We didn’t want to be afraid of our 15-year-old self's influences,” says Oliver Devlin.” We really wanted to make an album that teenage us would just be amazed by.”

The result is Hans Pucket’s most sparkling and confident collection yet. While it’s danceable and fun, it’s also a thoughtful exploration of anxiety, a call for empathy in a turbulent time, and a relatable reminder that it’s hard to figure things out.

Tape

Wellington, New Zealand four-piece Hans Pucket writes nervy but effortlessly danceable rock songs about feeling bad. Their second full-length album, No Drama, which is out November 4th via Carpark Records, gleefully captures the all-too-common twenty-something anxieties of talking too much and then being unable to find the right words to say. When frontman Oliver Devlin sings, “I’m surfing a constant wave of alarm” on the title track, it’s a compass for the other nine tracks. This is inviting and relatable music for people who, despite their best efforts, feel uncomfortable about themselves, the state of the world, and their place in it.

Both lyrically and sonically, No Drama is a departure for Hans Pucket from their 2018 debut Eczema. “I realized I didn’t want to write any more real heartbreak songs,” says Oliver Devlin. “We were and still are a live band. We're still trying to make music that’s catchy and people can dance to, but also really interesting to us: songs about growing up and finding how you exist in the world.” Songs like “My Brain Is a Vacant Space” with its blistering guitars and ebullient hooks hone in on the feeling that you have nothing to offer while “Bankrupt,” a fuzzed-out punk track, boasts lines like “I don’t know if I’ll always feel like / I don’t know what I’m doing wrong.”

Recorded with the band’s good friend and former tour mate Jonathan Pearce of The Beths at his Auckland studio, No Drama is full of big leaps, immaculate arrangements, and a ton of immediate grooves. “We were very ambitious when we first started recording this,” says bassist Callum Devlin. “Intentionally we left heaps of space in the track so we could add strings and horns. Because we were very measured and quite deliberate with the parts we had. It was a really fun process filling in the gaps.”

No Drama came together over several years and during its creation, the band added multi-instrumentalist Callum Passels, who provided all the horn arrangements on the LP. With Pearce producing, his other Beths bandmates like Benjamin Sinclair added string arrangements while singer Elizabeth Stokes provided backing vocals.

Overall it’s a remarkably eclectic record where the smooth pop of a track like “Kiss the Moon” can coexist perfectly with the Abbey Road freakout of “Some Good News.” “We didn’t want to be afraid of our 15-year-old self's influences,” says Oliver Devlin.” We really wanted to make an album that teenage us would just be amazed by.”

The result is Hans Pucket’s most sparkling and confident collection yet. While it’s danceable and fun, it’s also a thoughtful exploration of anxiety, a call for empathy in a turbulent time, and a relatable reminder that it’s hard to figure things out.

2022 Repress

Trip Recordings follows the huge success of its first three releases with a third double-vinyl album, once more curated by label owner Nina Kraviz and featuring gatefold artwork by in-house artist Tombo. The release draws on contributions from established Trip members Kraviz, Population One and Nikita Zabelin, in addition to new artists added to its expending roster including K-Hand, Philipp Gorbachev, Vladimir Dubyshkin and Roma Zuckerman.As established with the label's first three releases, TRP004 will function as a soundtrack to a scenario and its accompanying artwork from Kraviz and Tombo. The title 'Ivan, Come On! Unlock The Box!' (, ! !) is inspired by the track contributed by Philipp Gorbachev (Comeme/PG Tunes), from which Kraviz has extrapolated a story of a rule-defying Russian maverick who is 'searching for the key to the future'.Set for release in mid-November, TRP004's two twelve-inches orbit around a nucleus of talent drawn from label boss Nina Kraviz's homeland of Russia. In addition to 'I Believe I Can Fly (KLM Delayed Flight Version) - one of her own 'road tracks' produced during the producer's hectic global touring schedule - Kraviz has enlisted a quartet of her countrymen for this latest collection. Philipp Gorbachev contributes his most uncompromisingly techno track yet, while Moscow's Nikita Zabelin follows his label debut on TRP003 ('De Niro Is Concerned') with the sinister minimalism of 'Bells'. In addition, TRP003 marks the label debuts of Vladimir Dubyshkin and Roma Zuckerman, both of whom were recommended to Kraviz by Zabelin. The former - a true outsider, just 17 years of age and based in the remote Russian town of Tambov - follows an early 2015 LP for SUB-AMP Records with the disorienting off-kilter techno of 'Lose Yourself', while the latter marks his first ever release despite years of producing with the unsettling 'Geburt Part 2'.

Completing TRP004 are two defiantly individual international artists: K-HAND makes her Trip debut following a two-decade career that's seen her become on of Detroit's true underground, and relatively unsung, heroes. Her contribution, 'The Box', finds her clipping effortlessly within Trip's aesthetic, with a heady textured acid potboiler. Two more Barcode Population tracks, excavated from a mine of undiscovered Nineties-made rarities, complete the release with furiously paced techno rollers which will remain strictly vinyl-only.

ONLY 400 PRESSED. NO RETURNS, ONLY ORDER TO DEMAND. With New Confusion they've usurped their own outré paradigms yet again, resulting in a demented heat-haze panorama of delirious beat-driven abandon and elucidated neural pathways. As ever the brainchild of Texan king of outlaw brinkmanship Craig Clouse, these nine abject and glorious meditations exist in an alternate dimension whereby a loop-driven exploratory framework is joyridden with alacrity offroad by a moonshine-swigging convict, a zone whereby aural scrap metal is alchemically transformed into gleaming, abstract and intimidating structures and sculptures anew. It may not have occurred to the average head that the sound of Tropicália melting gleefully in the sun (as here essayed on 'Miami') might be to their satisfaction, nor that the image of J Dilla trapped in a K-hole with Butthole Surfers would do anything but make them mildly anxious.

Freedom is both an integral and multi-layered topic for improvised music, describing its mechanics, aesthetics, and values and often an underlying political dimension as well. In the case of free jazz specifically, the word carries additional weight given the music's deep connection to the black liberation movement of the 1960's and 70's.

The passionate and unclassifiable work of Calgary-based improviser Jairus Sharif embraces each of these definitions of freedom and others, albeit strictly on its own personal and idiosyncratic terms. Since early 2020, the 34 year-old autodidact has been generating a steady stream of homespun solo recordings that forge unprecedented connections between hip-hop abstraction, cosmic skronk, outsider jazz, and staunch post-punk DIY ethos.

Leading up to the pandemic, Sharif's immersion in spiritual and exploratory jazz had culminated in him deciding to purchase an alto saxophone. Unbeknownst to him this instrument would be a catalyst for him to discover his own ardently individualistic artistic voice.

Prior to that point, he had always been somewhat of a solitary musical traveler. In 2002, he acquired his first instrument—a pair of Technics 1200s — but struggled to find local collaborators that had equal investment in hip hop culture. Ultimately, Sharif picked up the guitar, turning to the resilient local punk community, that had also nurtured both of his mothers some time earlier.

As Black Lives Matter gained momentum in the wake of George Floyd's murder, Sharif was suddenly flooded with an acute awareness of his own identity. It compelled him to zealously plunge headlong into open-ended spontaneous solo creation. Water & Tools, his strange and stirring debut for Toronto's Telephone Explosion Records (home to full-lengths from the likes of Brodie West's Eucalyptus, Mas Aya, and Joseph Shabason), offers a glimpse into this ongoing hermetic journey.

As Sharif dedicated himself to uncovering his own deeper musical truths, he assembled a home studio in his basement, cobbling together a drum kit from bits his bandmate had left at his house pre-pandemic, chaining effects together and outfitting the entire space with microphones. Somewhere between the chaos of child's treehouse and the tidy import of a shrine, this space (pictured on the album's back cover) consecrated his own imagination. He laid it out to maximize access to any and every tool in his arsenal, providing him a freedom to explore that he had never permitted himself to consummate before.

Within this cozy private universe, his recent purchase—the saxophone—assumed new meaning. It furnished a tangible connection to the black radicalism that mobilized free jazz, but also something far more personal. From a technical standpoint, the instrument was completely unfamiliar to him, yet rather than this being a hindrance to Sharif, his inexperience opened fruitful path forward, unencumbered by preconceptions. Resolving to shirk formal training, convention, and build his own understanding of it from scratch, allowed him to access his most raw, fundamental creative impulses. The Saxophone's inseverable bond with breath compounded this effect, echoing revelatory discoveries he had been making about breathing through yoga, research, and psychotherapy. Of course, the parallels with BLM's harrowing rallying cry—“I can't breathe”—were not lost on him either.

Water & Tools is a dense, contradictory statement with a blustery surface that shelters a soulful heart. It's generous music, exuding profound vulnerability—grappling with the loss of one his mothers, Lisa—all the while brimming with electric wide-eyed wonder. Almost every one of the nine pieces seems to carry some semblance of a groove, while remaining completely untethered from pulse. For Sharif, this collection is an expression of newfound lucidity, however for the listener his sonic concoctions act as powerful psychotropics. At points, there's a timelessness that's conveyed through the music's processional, ritualistic tenor, and yet there's an endless amount of wild, futuristic detail waiting to unspool at any given moment. Similarly, while this recording emerges from Sharif's private pilgrimage and personal emancipation, he also leaves room for collaboration. Woven throughout Sharif's one-man-ensemble textures, one finds Maxmilian Turnbull (of Badge Epoque, U.S. Girls, and Cosmic Range infamy) providing sundry keyboards and treatments, as well as his mixing skills.

Whether conjuring effusive psychedelia or plumbing introspective depths, the music that Jairus Sharif produces is singular, visceral, and wondrously unpredictable. Water & Tools sketches a raw, firsthand account of his nascent explorations within his own unbridled imagination.

Chris Crack is back with a brand new album called Growthfully Developed. Fans and critics alike are already calling it the Westside Chicago native’s best album in the last few years. Pitchfork said “Crack’s latest album is a delicate balance of fresh and familiar from one of the funniest and most thoughtful rappers working today.” With song titles like “Pussy Better When You Eat It First” and “Shitting With The Door Open,” it’s no wonder why he’s said to have the best song titles in the game. Whether it’s heavy hitting 808’s, soul loops or head nodding boom bap Chris laces up the variety of beats with style and finesse. Praised by media outlets such as Billboard and Rolling Stone as well as by iconic hip hop artists such as Earl Sweatshirt and Madlib. Like the album title suggests, Chris has fully grown and developed to reach this point in his career and critics will believe that Growthfully Developed be looked back upon as a pivotal album in his prolific career. The 18 track effort is set to drop on vinyl this fall via Chong Wizard Records in partnership with Fat Beats. TRACKLIST: 1. I The Buck They Couldn’t Break 2. Chicago Don’t Make Industry Plants 3. Therapy Don’t Work, Try Drugs 4. Jordan Never Did That Move 5. Pussy Better When You Eat it First 6. Whoa Dair 7. Celebrate Everything Until Further Notice 8. Uknowwhereihadderat 9. Ate Ball in My Sock 10. Illuminati Phone Numbers 11. Shitting with the Door Open 12. Nine 2 Fives Make You Fake 13. Beer Just Bread in a Can 14. A Blunt Forced This Trauma 15. That Hate Us Because We’re Magic 16. Air Mattresses and Machine Guns 17. Weed is an Expensive Habit 18 . No Shortcut to Enlightenment

Formed in 2005 in Sundsvall, Sweden, Technical Metal Masters SOREPTION are known for their razor-sharp technical riffs, schizophrenic time signatures topped with catchy chugging grooves and intense vocals. From this they have created their signature sound, not yet replicated by any other modern band, with a strong following to back. The band’s debut full-length Deterioration Of Minds brought major attention to the band as a formidable force in the genre. Deterioration Of Minds was released by Ninetone Records in 2010 and was rereleased by Unique Leader Records in 2014, and their follow-up punishing album “Engineering the Void” was released February 2014 also on Unique Leader Records to critical acclaim. 2015 saw SOREPTION take their technical prowess to the masses, with tours supporting extreme metal machine Cryptopsy, tech-death masters Origin, and the legendary death metal giant Cannibal Corpse. Following the on-road success, the industry and fans sat up and took notice, resulting in the band signing with Sumerian Records in 2018 releasing their next full-length “Monument of the End in the late summer of that same year. The album highlighted the growth of the outfit and continued razor-sharp precision that SOREPTION has become known for. Prior to the release of “Monument of the End” the band earned a spot on the 2018 edition of The Summer Slaughter Tour and followed it up with a support slot for Revocation on “The Outer Ones Global Invasion Part II” European Tour, solidifying them again as a live force to be reckoned with. When the world was shuttered from a worldwide pandemic, SOREPTION saw this as an opportunity to shift gears, refocus their tech machine and set out to create an album that is the natural continuation of ‘Monument of the End’, both musically and concept-wise. 2022 sees the return of SOREPTION to Unique Leader Records with the highly anticipated new album “Jord”, mixed and mastered by Buster Odeholm and featuring artwork by Caelan Stokkerman who handled artistic duties on their previous releases.

Das siebte Studioalbum der ehrwürdigen Rock-Institution Titus Andronicus wurde produziert von Titus Andronicus Singer-Songwriter Patrick Stickles und dem preisgekrönten kanadischen Produzenten Howard Bilerman (ARCADE FIRE, LEONARD COHEN, THE WHOLE NINE YARDS) in dessen hotel2tango Aufnahmestudio in Montreal. Mit "The Will To Live" laden Titus Andronicus den Hörer auf eine Reise von der Angst zum Glauben, von der Wut zur Akzeptanz, von der Trauer zur Dankbarkeit ein, immer auf der Suche nach dem mythischen Ideal des ultimativen Rock. In Anlehnung an maximalistische Rock-Epen von "Who's Next" bis "Hysteria" hat die Band ihr bisher reichhaltigstes, dichtestes und härtestes Album geschaffen, das die Weite und den Umfang ihres meist gefeierten Werks erreicht und gleichzeitig ihren ehrgeizigen Angriff effektiver als je zuvor gestaltet. "It may strike some as ironic we had to go to Canada to record our equivalent to "Born In The USA," sagt Stickles, "but the pursuit of Ultimate Rock knows no borders." Titus Andronicus kehrten im November 2021 auf die Bühne zurück, um den Jahrestag ihres bahnbrechenden zweiten Albums "The Monitor" von 2010 zu feiern. Die Tatsache, dass sie dieses Material vor einem ekstatischen Publikum spielten, ließ Stickles entschlossen zurück, ein Album abzuliefern, das dieselben Höhen erreichen würde, wobei sie sich diesmal weniger auf das unbekümmerte Feuer der Jugend verließen, sondern mehr auf die Erfahrung und die Perspektive, zu der eine Band erst mit tausend Shows im Gepäck gelangt. Um diesen Grad an Konzentration und Klarheit zu erreichen, musste Stickles an der Schnittstelle zwischen Triumph und Tragödie stehen. Er schreibt seine neu gefundene häusliche Glückseligkeit und seine unerschütterliche mentale Gesundheit für seine persönliche Stabilität in letzter Zeit ebenso zu wie die Ausdauer der mittlerweile am längsten bestehenden Besetzung von Titus Andronicus - Liam Betson an der Gitarre, R.J. Gordon am Bass und Chris Wilson am Schlagzeug - die alle auf dem 2018er Album "A Productive Cough" und dem 2019er Album "An Obelisk" vertreten sind. Auf der grausameren Seite der Medaille entstand "The Will To Live" zum großen Teil als Versuch, den vorzeitigen Tod von Matt "Money" Miller, dem Gründungs-Keyboarder der Band und Stickles' engstem Cousin, im Jahr 2021 zu verarbeiten. Das Ergebnis erweist sich als Meilenstein für Titus Andronicus, ein ehrgeiziges, nach vorne gerichtetes Werk, das an der Schnittstelle von Triumph und Tragödie steht, angetrieben von neu gefundenem Fokus und Klarheit, und das eine einzigartig begabte Rock'n'Roll-Band auf dem Höhepunkt ihrer kreativen Kräfte zeigt.

Das siebte Studioalbum der ehrwürdigen Rock-Institution Titus Andronicus wurde produziert von Titus Andronicus Singer-Songwriter Patrick Stickles und dem preisgekrönten kanadischen Produzenten Howard Bilerman (ARCADE FIRE, LEONARD COHEN, THE WHOLE NINE YARDS) in dessen hotel2tango Aufnahmestudio in Montreal. Mit "The Will To Live" laden Titus Andronicus den Hörer auf eine Reise von der Angst zum Glauben, von der Wut zur Akzeptanz, von der Trauer zur Dankbarkeit ein, immer auf der Suche nach dem mythischen Ideal des ultimativen Rock. In Anlehnung an maximalistische Rock-Epen von "Who's Next" bis "Hysteria" hat die Band ihr bisher reichhaltigstes, dichtestes und härtestes Album geschaffen, das die Weite und den Umfang ihres meist gefeierten Werks erreicht und gleichzeitig ihren ehrgeizigen Angriff effektiver als je zuvor gestaltet. "It may strike some as ironic we had to go to Canada to record our equivalent to "Born In The USA," sagt Stickles, "but the pursuit of Ultimate Rock knows no borders." Titus Andronicus kehrten im November 2021 auf die Bühne zurück, um den Jahrestag ihres bahnbrechenden zweiten Albums "The Monitor" von 2010 zu feiern. Die Tatsache, dass sie dieses Material vor einem ekstatischen Publikum spielten, ließ Stickles entschlossen zurück, ein Album abzuliefern, das dieselben Höhen erreichen würde, wobei sie sich diesmal weniger auf das unbekümmerte Feuer der Jugend verließen, sondern mehr auf die Erfahrung und die Perspektive, zu der eine Band erst mit tausend Shows im Gepäck gelangt. Um diesen Grad an Konzentration und Klarheit zu erreichen, musste Stickles an der Schnittstelle zwischen Triumph und Tragödie stehen. Er schreibt seine neu gefundene häusliche Glückseligkeit und seine unerschütterliche mentale Gesundheit für seine persönliche Stabilität in letzter Zeit ebenso zu wie die Ausdauer der mittlerweile am längsten bestehenden Besetzung von Titus Andronicus - Liam Betson an der Gitarre, R.J. Gordon am Bass und Chris Wilson am Schlagzeug - die alle auf dem 2018er Album "A Productive Cough" und dem 2019er Album "An Obelisk" vertreten sind. Auf der grausameren Seite der Medaille entstand "The Will To Live" zum großen Teil als Versuch, den vorzeitigen Tod von Matt "Money" Miller, dem Gründungs-Keyboarder der Band und Stickles' engstem Cousin, im Jahr 2021 zu verarbeiten. Das Ergebnis erweist sich als Meilenstein für Titus Andronicus, ein ehrgeiziges, nach vorne gerichtetes Werk, das an der Schnittstelle von Triumph und Tragödie steht, angetrieben von neu gefundenem Fokus und Klarheit, und das eine einzigartig begabte Rock'n'Roll-Band auf dem Höhepunkt ihrer kreativen Kräfte zeigt.

After beginning his career with roots in Drum & Bass, Russian producer Nuage shifted his sound to embrace a wider range of styles while maintaining an emotionally charged sound and finding a home on labels such as Anjunadeep and 20:20 Vision. For our 32nd Phonica Records Label release, we are proud to present four stunningly euphoric works from Nuage.

Kicking off the ‘Pink Television EP’ is the title track, a floaty and playful melodic House excursion that reminds us of Floating Points’ synth work on his ‘Crush’ album. Next is ‘Ninety High’ which swaps the four to the floor for an intricate breakbeat, highlighting Nuage’s history in break heavy music. A cleverly reconceptualised Disco vocal sample and subtly withheld synth lines are combined with a sub rattling and pulsating bassline.

Maintaining the breakbeat on the B-side, ‘Don’t Forgive Me’ recalls classic Trance and Progressive House with haunting vocal reverberations and a warehouse wall shaking bassline as the track meanders through tension and release of euphoric energy. Lastly, ‘Glances’ opens with a skittish Rhodes riff and unites it with rich and perky melodies that weave in and out of focus.

Ask any of the great guitar pickers who have emerged over the last four
decades to name a primary influence and the response is likely to be
"Tony" or "Rice" or, to avoid confusion, "Tony Rice
" There can be no doubt that Tony Rice's footprint on the time- line of guitar
playing in bluegrass music is monumental.
"Guitar" was Tony Rice's first venture into recording and it still holds up as one of
the great bluegrass guitar records ever issued. The album came to Rebel in a
roundabout way. It was recorded in Lexington, Kentucky, first appeared on a
record label in Japan, made its way back to Kentucky for release on a regional
label that was later acquired by Rebel in the late 1970s. As Tony was working in
banjo-great J. D. Crowe's band at the time, it was quite natural for Crowe, Tony's
brother and mandolinist Larry Rice, and bassist Bobby Slone to provide the
instrumental backing. Recorded at a time when progressive sounds and styles
were treading on the traditional framework of bluegrass, "Guitar" was praised for
walking the fine line of spotlighting Tony's prowess on the instrument while
remaining very much a "band" recording.
With Tony in fine form vocally and his amazing guitar work on full display, this is
where you will find his signature versions of "Freeborn Man," "Doing My Time,"
"Nine Pound Hammer," and "John Hardy" – plus the closing track, a nine-minute
tour-de-force rendition of "Lonesome Reuben."

For Fans Of : The Black Keys, Otis Rush, J.B. Lenoir, The Ramones, Hound Dog Taylor, Christone Kingfish Ingram, Magic Sam. GA-20 clearly is on to something big. It’s a movement, a new traditional blues revival. The dynamic, throwback blues trio are disciples of the place where traditional blues, country and rock ‘n’ roll intersect. “We make records that we would want to listen to,” says guitarist Matt Stubbs. “It’s our take on the song-based traditional electric blues we love.” Stubbs, guitarist / vocalist Pat Faherty, and drummer Tim Carman have been at the forefront of this traditional blues revival since they first formed in 2018. It’s no wonder they skyrocketed to the top of the Billboard Blues Chart. According to Stubbs, “Since we started the band we’ve focused on the story, the melody, and on creating a mood. Playing live as much as we do, we’re finding more and more that people are discovering how cool it all is. Traditional country, soul and funk music have all had these massive recent revivals, but traditional blues so far has not.” With their new Colemine album, Crackdown, and an intensive tour schedule, that’s all about to change. On Crackdown, GA-20’s third full-length release, the band creates an unvarnished, ramshackle blues that is at once traditional and refreshingly modern. Expanding on their previous releases (2019’s Lonely Soul and 2021’s Try It…You Might Like It! GA-20 Does Hound Dog Taylor) GA-20 finds inspiration on the edges of the genre, where early electric blues first converged with country and rock ‘n’ roll. The album’s nine original songs include the loping, Louisiana-flavored Dry Run, the dirty, and bare-bones Easy On The Eyes and the melodic, garage-tinged Fairweather Friend. With tight, propulsive performances and a brevity and punk energy reminiscent of The Ramones, Crackdown is rowdy and fun, filled with instantly memorable, and well-crafted songs. Tracks: 1. Fairweather Friend 2. Dry Run 3. Easy On The Eyes 4. Crackdown 5.Just Because 6. By My Lonesome 7. I Let Someone In 8. Double Gettin' 9. Gone For Good 10. Fairweather Friend (Final Goodbye)