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Originally released in 1990, Royal Trux's 'Twin Infinitives' is being re-issued in all its (yet to be translated) alien glory, by Fire Records. A dismantled overture that sprawls out over two records, an avant-garde masterpiece that was the spark for Drag City Records and generations of new sound seeking musicians. Hailed in the same immortal breath as Beefheart's 'Trout Mask Replica', the Velvets' at their frenzied peak and Ornette Coleman at his most avant-garde, the duo of Pussy Galore's Neil "Michael" Hagerty and Jennifer Herrema recorded 'Twin Infinitives' while imbibing all kinds of mind-altering substances to create an inadvertent blueprint for what the duo was building with moog's, guitars and melodicas to name a few ingredients. It is the legendary second album from the masters of the genre mashup - long before "genre mashups" even existed. Arguably, the term "mashup" was coined to describe what Trux, as they subconsciously scrolled through the radio stations of their lives. The album's chaotic sound and offbeat construction laid the foundations for a string of Royal Trux albums that spiralled between genres, tunings, and noise. Through the 90s they would re-invent the rock 'n' roll ethic, straddle alien surf music, re-align boogie rock, not to mention 80s hair metal, and confound critics by their wildly meandering and courageous rites of passage. Remastered as part of a career spanning catalogue deal with Fire Records. The infamous and influential duo of Jennifer Herrema and Neil Hagerty will be delving into the archive with a comprehensive reissue series, unearthing the vaults and revisiting what made them such a compelling benchmark for their contemporaries and imitators. Reawakening their prolific output within a new monochrome vinyl series covering 1988-1993, they begin with their seminal deconstructed rock masterpiece Twin Infinitives. "Sounding like a subway ride inside a television inside an earthquake inside the end of the world and a pounding death rhythm of apocalyptic now." Pitchfork Ltd Double Silver Vinyl, Monochrome edition artwork, DL card.

Seit über 20 Jahren sind The Decemberists eine der originellsten, gewagtesten und spannendsten amerikanischen Rockbands. Gegründet im Jahr 2000, setzten sich The Decemberists mit ihrer unverwechselbaren Form von Folk-Rock von Anfang an von der Masse ab, als sie 2001 Debüt veröffentlichten. Seitdem hat die Band neun Alben in voller Länge veröffentlicht, die nicht an ein bestimmtes Genre gebunden und äußerst ambitioniert sind und von an Americana angelehnten Storytelling-Epen bis hin zu Elementen des 70er Jahre Prog, Hard Rock und Disco reichen.

Jetzt meldet sich die beliebte Indie-Band mit ihrem ersten neuen Werk seit sechs Jahren zurück. Ihre neueste Single "Burial Ground", die bereits nach ihrem Live-Debüt im letzten Jahr ein Fan-Favorit war, nimmt den unverhohlenen Fatalismus des 2018 erschienenen Albums I'll Be Your Girl auf und verbindet ihn mit dem Jangle-Pop von The Dentists und den verträumten Harmonien der Beach Boys (mit Unterstützung von James Mercer von The Shins).

Limited Anniversary Edition: embossed, reverse board, hand numbered, limited edition blue vinyl, 500 copies available! Conrad Schnitzler (1937-2011), composer and concept artist, is one of the most important representatives of Germany"s electronic music avant-garde. A student of Beuys, he founded Berlin"s legendary Zodiak Free Arts Lab, a subculture club, in 1967/68, was a member of Tangerine Dream (together with Klaus Schulze and Edgar Froese) and Kluster (with Dieter Moebius and Hans-Joachim Roedelius) and also released countless solo albums. The blue album ("Blau") from 1974 was Schnitzler"s second solo LP

Mit Gitarrist Steve Jansson (Daeva, Unrest), Sänger Brooks Wilson (Unrest), Schlagzeuger Enrique Sagarnaga (Daeva, The Silver), Gitarrist Frank Chin (Daeva), Bassist Matt Knox (Horrendous, The Silver) und Keyboarder Tanner Anderson (Obsequiae, Majesties) hat das in Philadelphia ansässige Sextett seine Zeit abseits des Rampenlichts genutzt, um ein noch größeres, mysteriöseres Crypt Sermon zu schaffen. The Stygian Rose ist eine Mischung aus Doom und Heavy Metal, welches allerdings beide Genres mühelos überwindet. Von der fulminanten Solosalve von "Glimmers in the Underworld" und dem beherrschenden Rhythmus von "Heavy is the Crown of Bone" bis hin zu den beschwörenden nahöstlichen Vibes von "Thunder (Perfect Mind)" und der komplizierten, meisterhaften Reise des 11-minütigen Titeltracks verkörpert The Stygian Rose die zunehmend wachsenden musikalischen und konzeptionellen Fähigkeiten der Band.

Crypt Sermon haben The Stygian Rose mit dem renommierten Produzenten Arthur Rizk (Blood Incantation, Cirith Ungol) und dem Toningenieur Aidan Elias (Blood Incantation, Wayfarer) im Redwoods in Philadelphia aufgenommen. Obwohl Rizk für Out of the Garden (2015) und The Ruins of Fading Light (2019) verantwortlich zeichnete, hat das Team das genreübergreifende Werk der Band dieses Mal in einem neuen Licht eingefangen. Die Singles "Glimmers in the Underworld", "Heavy is the Crown of Bone" und "Thunder (Perfect Mind)" sind beängstigend effektiv in ihrer Neil Kernon-esken Produktion. Gleichzeitig werfen die tiefgründigen Albumtracks "Scrying Orb", "Down in the Hollow" und "The Stygian Rose" lange, mysteriöse Schatten. Rizk holte aus Crypt Sermon denselben Big-Stage-Sound, den die Produzenten Dave Jerden und Rick Rubin Alice In Chains bzw. Trouble entlockten.

Geschmückt mit einem fesselnden Artwork und einem bezaubernden (und doch düsteren) lyrischen Konzept von Wilson, ist dies Crypt Sermons Moment - tauch ein in The Stygian Rose und lass dich von seinem Reichtum verzaubern!

FFO: Candlemass, Khemmis, Visigoth, Eternal Champion, King Diamond, Solitude Aeternus

Mit Gitarrist Steve Jansson (Daeva, Unrest), Sänger Brooks Wilson (Unrest), Schlagzeuger Enrique Sagarnaga (Daeva, The Silver), Gitarrist Frank Chin (Daeva), Bassist Matt Knox (Horrendous, The Silver) und Keyboarder Tanner Anderson (Obsequiae, Majesties) hat das in Philadelphia ansässige Sextett seine Zeit abseits des Rampenlichts genutzt, um ein noch größeres, mysteriöseres Crypt Sermon zu schaffen. The Stygian Rose ist eine Mischung aus Doom und Heavy Metal, welches allerdings beide Genres mühelos überwindet. Von der fulminanten Solosalve von "Glimmers in the Underworld" und dem beherrschenden Rhythmus von "Heavy is the Crown of Bone" bis hin zu den beschwörenden nahöstlichen Vibes von "Thunder (Perfect Mind)" und der komplizierten, meisterhaften Reise des 11-minütigen Titeltracks verkörpert The Stygian Rose die zunehmend wachsenden musikalischen und konzeptionellen Fähigkeiten der Band.

Crypt Sermon haben The Stygian Rose mit dem renommierten Produzenten Arthur Rizk (Blood Incantation, Cirith Ungol) und dem Toningenieur Aidan Elias (Blood Incantation, Wayfarer) im Redwoods in Philadelphia aufgenommen. Obwohl Rizk für Out of the Garden (2015) und The Ruins of Fading Light (2019) verantwortlich zeichnete, hat das Team das genreübergreifende Werk der Band dieses Mal in einem neuen Licht eingefangen. Die Singles "Glimmers in the Underworld", "Heavy is the Crown of Bone" und "Thunder (Perfect Mind)" sind beängstigend effektiv in ihrer Neil Kernon-esken Produktion. Gleichzeitig werfen die tiefgründigen Albumtracks "Scrying Orb", "Down in the Hollow" und "The Stygian Rose" lange, mysteriöse Schatten. Rizk holte aus Crypt Sermon denselben Big-Stage-Sound, den die Produzenten Dave Jerden und Rick Rubin Alice In Chains bzw. Trouble entlockten.

Geschmückt mit einem fesselnden Artwork und einem bezaubernden (und doch düsteren) lyrischen Konzept von Wilson, ist dies Crypt Sermons Moment - tauch ein in The Stygian Rose und lass dich von seinem Reichtum verzaubern!

FFO: Candlemass, Khemmis, Visigoth, Eternal Champion, King Diamond, Solitude Aeternus

Norwegian Grammy-Winning rock band Seigmen are back with a new album called "Resonans". Ask yourself the question: How many bands have maintained the same lineup throughout a career spanning over three decades? Just count and see how far you get. Seigmen is and remains Alex, Sverre, Noralf, Kim, and Marius. Seigmen's new album Resonans echoes the essence of a longstanding friendship. A strong bond among five guys who found each other through music, learned to play instruments, and express themselves together. They solidified their friendship through muddy and sour tones from the rehearsal room on the old submarine quay, down into a basement in the city center, out to a barn outside the city, up on the heights near the old library, down into the mountain beneath the same hill, and back to a rehearsal container at the old shipyard. Always tied to their home town, Tonsberg in Norway. Resonans is the reverberation of endless evening rehearsals, weekends with "lefse" and freshly ground coffee in thermoses, and syncopations. Smiles, conversations, and gossip. The hard, precise, and long-term work. Love and art. Resonans is guts and integrity, demonstrating the uncompromising nature that Seigmen has always represented.

Limited purple vinyl. Norwegian Grammy-Winning rock band Seigmen are back with a new album called "Resonans". Ask yourself the question: How many bands have maintained the same lineup throughout a career spanning over three decades? Just count and see how far you get. Seigmen is and remains Alex, Sverre, Noralf, Kim, and Marius. Seigmen's new album Resonans echoes the essence of a longstanding friendship. A strong bond among five guys who found each other through music, learned to play instruments, and express themselves together. They solidified their friendship through muddy and sour tones from the rehearsal room on the old submarine quay, down into a basement in the city center, out to a barn outside the city, up on the heights near the old library, down into the mountain beneath the same hill, and back to a rehearsal container at the old shipyard. Always tied to their home town, Tonsberg in Norway. Resonans is the reverberation of endless evening rehearsals, weekends with "lefse" and freshly ground coffee in thermoses, and syncopations. Smiles, conversations, and gossip. The hard, precise, and long-term work. Love and art. Resonans is guts and integrity, demonstrating the uncompromising nature that Seigmen has always represented.

Rising from the fiercely DIY Philadelphia underground, CARLY COSGROVE graft achingly vulnerable lyrics atop a bed of mathy rhythms, intricate guitar work and a penchant for indie-rock cool meets emo authenticity. Their debut album, 2022's See You In Chemistry, was the sound of figuring life out in real time, tracing personal growth through anxiety, depression, and self-actualization - heavy subjects for a band originally formed as a low-stress side-project stopgap in 2018.

The quest for the answers to life's big questions is once again front and center on the band's second album, THE CLEANEST OF HOUSES ARE EMPTY, as Naylor, bassist Helen Bars and drummer Tyler Kramer find themselves face to face with the chronic emotional struggles of life in the modern age.

From the stop-start polyrhythms of first single "You Old Dog" and garage-rock sheen of "Random Dancing" and "What Are You, A Cop," which sounds like Motion City Soundtrack filtering "Everlong" through their idiosyncratic rock tilt, The Cleanest Of Houses is the type of record Carly Cosgrove simply couldn't have made last time - not musically, and certainly not emotionally. They needed to live, through hard touring and harder life experiences.

"Strawberry Seed, Big Bill’s third full-length LP, represents evolutionary growth for the Austin rock band. While the album includes some of the snide anthems they’re known for in songs like “Poverty of Wires,” “Throw it Away,” and “Political Meat,” much of the album feels warmer, with layers of acoustic guitar, synthesizers, piano, and background singers adding texture to their esoteric sound. Even when they go for the familiar angular riffs and propulsive drums—provided by former White Denim drummer Jeff Olson, who joined the band in 2020 and produced most of this record—the topics are more relatable than ever before, and more political, too. “Poverty of Wires” hits directly with post-punk fervor and a lyric about how rich people are always sick of talking about the poor, and “Political Meat” rails against a depressingly familiar cycle: “politely critique; get spit out like mouthwash and rinse and repeat.”

On Strawberry Seed, Big Bill is more mature and more self-assured, but you’ll never take the anxious energy out of the punk."

The Gloss is the second album from Cola. From their inception Cola have expanded on the d.i.y. ethic of the Dischord and SST eras, creating potent sounds from a minimal palette of drums/bass/guitar and lacing their songs with winsome one-liners and societal commentary. What’s another word for commentary? Gloss, apparently. Never basic, the lyrics reward repeated listening for deeper meanings. David Berman’s poetry-via-garage light pennings are an inspiration, as equally so are the lighter side of UK first-wave New Wave and the Dunedin sound. The results are in the pudding: at times sparse and poetic, at others a thrilling, hook-laden good time, as with the cheeky romantic sketch of a one-night stand that is so overflowing with innuendo-cum-journalism talk that it almost teeters over into self-parody. But the results are the right combination of lightheartedness and sincerity. Romanticism is never far from laughter, and equally never far from righteous anger in the music of Cola: “Pulling quotes now in the dark/Our outlook is restrained/Your tongue might weaken to be-fit your smile/Til nothing ill remains.” ‘nuff said. It's an album bursting with energy and wit and ideas–filled to the margins.

"Irish singer, songwriter, multi-instrumentalist, and producer, James Vincent McMorrow, returns to the fore with his seventh full-length album Wide open, horses, out June 14th, 2024.

Wide open, horses is a candid snapshot of everything that has brought James to this point. The album signifies a retaking of his own narrative, a freeing self-acceptance, and a rebuilding of both his sense of self and his connection to music. Singles “Stay Cool”, “Never Gone” and “Give up” offer a first taste of what fans can expect, leaning further into the introspective and sincere indie-folk sound of his earlier material, whilst incorporating elements of his more explorative later releases.

A unique and particularly special artist project, Wide open, horses was initially performed live having booked two nights at The National Concert Hall in Dublin, where he recorded a handful of lo-fi demos, practiced the material for a week, and then hit the stage prior to ever recording a single song. Phones weren’t allowed, but James recorded it to “see what worked and what didn’t work.”

James has beckoned listeners to open their minds and hearts since his emergence in 2010. Along the way, he gathered over 1 billion streams across an expansive catalog. Among many standouts, “Higher Love” went BPI Gold in the UK and ARIA platinum in Australia. His cover of Chris Isaak’s “Wicked Game” soundtracked the trailer for Season Six of HBO’s Game of Thrones and generated over 130 million Spotify streams on its Live At Killkenny Arts Festival version. Toppling charts, 2016’s “We Move” notably debuted at #1 in Ireland. At the same time, he lent his voice to “Hype” from Drake’s multiplatinum blockbuster Views, “I’m In Love” from Kygo’s Cloud Nine, and “Run Away” from dvsn’s Morning After, among others. Meanwhile, he’s sold-out tours on multiple continents, even packing the world-famous Sydney Opera House twice."

Pioneering ambient country trio, SUSS “perform with an effortless sense of synchronicity,” according to Stereogum. This quality is as vividly on display as ever throughout their latest full-length, Birds & Beasts. SUSS’s recordings have garnered much praise for effecting a sense of long drives through desert landscapes, a context famously ripe for such synchronicities: slow motion pedal steel guitar, dobro and near-subconscious synthesizer rumbles and sweeps seem to operate via the same logic as that which dictates the interactions of a road-weary mind and a cloud of migrating birds. While SUSS’s previous records have dealt in these kinds of scenes, Birds & Beasts –– though instrumentally more spare –– deepens the sense of meaning and meaning projected.

Originally issued in 1984, World Shut Your Mouth saw the mercurial leader of The Teardrop Explodes establish himself as a fully-fledged solo artist. This re-issue faithfully replicates the original 1984 Mercury Records UK release and is pressed onto high quality 180g vinyl. When The Teardrop Explodes finally ground to a halt in late 1982, all eyes were on what leader Julian Cope would do next. After retreating to the village of Drayton Bassett in Staffordshire for an extended period, Cope began writing World Shut Your Mouth, his first solo album. Released in March 1984, it is the closest to his old band of all his solo work (Metranil Vavin and Pussyface were both originally intended for the Teardrops), World Shut Your Mouth featured Gary Dwyer on drums, and giving the album its most distinctive sound, Kate St. John on oboe. Beautifully pastoral, it is full of highlights such as Strasbourg, Kolly Kibber's Birthday and the wistful, reflective Head Hang Low. The strange, string-led, schizophrenic, Sunshine Playroom was the album's first single, followed up by 'radio hit' Greatness And Perfection.

Screaming Females bring the sweaty intensity of basement punk to a new level with their third and most scorching full-length, Power Move. Their urgent vocals, gritty guitar solos, and iron- strong rhythms have garnered the attention of Spin Magazine, Maximum Rock n Roll, and everyone in-between. Power Move has a startlingly original sound that incorporates elements of Hendrix-like jazz-fusion, screamed post-punk vocals, electrically charged basslines, and hypnotic melodies. In a nutshell, it’s indie rock with shredding.

Alicia is a DJ, producer and musician making deeply rhythmic, off-kilter dance music inspired by a love of club culture and the avant-garde. This mixtape delves into deeper worlds of spaced out hazy trips through dubwise ambient & downtempo niceness.

Alicia is a DJ, producer and musician making deeply rhythmic, off-kilter dance music inspired by a love of club culture and the avant-garde. This mixtape delves into deeper worlds of spaced out hazy trips through dubwise ambient & downtempo niceness.

Nancy June navigates through all things bass, touring across genres of Uk funky, breaks, garage and dubstep. Her mix intertwines sounds of the old and the new as she welcomes resonant rumbles of the underground.

Forest Law"s debut album "Zero" is a vibrant journey blending Balearic funk with urban Tropicalia, showcasing his adept guitar playing, old-school sampling, and UK- styled beats alongside his mellow yet sombre vocals. Recorded across eclectic locations from Icelandic fish net factories to a garden shed in Romford, this innovative release marks a new chapter for the multi-instrumentalist producer.

LP (coloured white vinyl) + Download Code + Poster Das Trio Topsy Turvy ist die jüngste Entdeckung aus dem scheinbar unerschöpflichen Pool der neuen Wiener Indie-Szene. Theresa Strohmer (Gitarre), Lena Pöttinger (Schlagzeug) und Victoria Aron (Bass) schaffen es auf ihrem Debütalbum, die Energie des britischen Post-Punk der 80er Jahre mit treibenden Surf-Einflüssen und schön schrägen Indie-Pop-Melodien zu verbinden. Auf ihrem knapp dreißigminütigen Debütalbum "Butt Sore", das von ihrem Siluh-Labelkollegen Peter T. von Euroteuro produziert wurde, erschaffen die drei Musikerinnen wunderbare Soundcollagen, die ihre Musik leichtfüßig und dennoch treibend durch die elf Songs ihres Debüts tragen und sich im Spannungsfeld zwischen dem Lo-Fi Spirit der Moldy Peaches und dem Rock'n'Roll der Black Lips bewegen. Trotz vielfältiger und teilweise gegensätzlicher Einflüsse lassen die Songs schöne, verrückte und organische Assoziationen entstehen, die den Hörer auf eine unruhig entspannte Reise mitnehmen. Jeder Song auf dem Debütalbum ist ein absolutes Unikat, ohne dabei gewollt oder wie ein Fremdkörper auf dem zeitlosen und trotz der verschiedenen Einflüsse homogenen Platte zu wirken.Topsy Turvy haben die große Gabe, Ohrwürmer zu kreieren. Diese Fähigkeit macht "Butt Sore" zu einem der spannendsten Alben des Jahres und die Band zu einem Aushängeschild einer neuen Wiener Indie-Szene, die sich mit Gruppen wie Salamirecorder, Telebrains, Potato Beach, Gardens, oder Laundromat Chicks rund um das Label Siluh Records formiert.

(Clear with black, white & blue splatter limited to 500 copies on LP) Jeff Rosenstock's 2018 album POST-. Written in the days after the 2017 Presidential inauguration, POST-'s lyrics get (really) heavy but the melodies are so catchy and the builds are so big and bright that the end result is more of a rallying cry than a surrender. The album was recorded in a one-week, 86-hour marathon recording session with Jack Shirley (Joyce Manor, Deafheaven) at the Atomic Garden in East Palo Alto, CA. "I wrote the songs and the liner notes. And did the layout. This is Jeff."

Norwegian Grammy-Winning rock band Seigmen are back with a new album called "Resonans". Ask yourself the question: How many bands have maintained the same lineup throughout a career spanning over three decades? Just count and see how far you get. Seigmen is and remains Alex, Sverre, Noralf, Kim, and Marius. Seigmen's new album Resonans echoes the essence of a longstanding friendship. A strong bond among five guys who found each other through music, learned to play instruments, and express themselves together. They solidified their friendship through muddy and sour tones from the rehearsal room on the old submarine quay, down into a basement in the city center, out to a barn outside the city, up on the heights near the old library, down into the mountain beneath the same hill, and back to a rehearsal container at the old shipyard. Always tied to their home town, Tonsberg in Norway. Resonans is the reverberation of endless evening rehearsals, weekends with "lefse" and freshly ground coffee in thermoses, and syncopations. Smiles, conversations, and gossip. The hard, precise, and long-term work. Love and art. Resonans is guts and integrity, demonstrating the uncompromising nature that Seigmen has always represented.

Limited purple vinyl. Norwegian Grammy-Winning rock band Seigmen are back with a new album called "Resonans". Ask yourself the question: How many bands have maintained the same lineup throughout a career spanning over three decades? Just count and see how far you get. Seigmen is and remains Alex, Sverre, Noralf, Kim, and Marius. Seigmen's new album Resonans echoes the essence of a longstanding friendship. A strong bond among five guys who found each other through music, learned to play instruments, and express themselves together. They solidified their friendship through muddy and sour tones from the rehearsal room on the old submarine quay, down into a basement in the city center, out to a barn outside the city, up on the heights near the old library, down into the mountain beneath the same hill, and back to a rehearsal container at the old shipyard. Always tied to their home town, Tonsberg in Norway. Resonans is the reverberation of endless evening rehearsals, weekends with "lefse" and freshly ground coffee in thermoses, and syncopations. Smiles, conversations, and gossip. The hard, precise, and long-term work. Love and art. Resonans is guts and integrity, demonstrating the uncompromising nature that Seigmen has always represented.

Mock Media, the new Canadian supergroup comprised of Garnet Aronyk (of Crack Cloud), Bennett Smith (of N0V3L), Austin Boylan (of Pottery) and Evan Aesen (of Painted Fruits), share their captivating debut album 'via Meat Machine Records (Crack Cloud, N0V3L, CLAMM)

Mock Media’s debut LP Mock Media II – out on Tin Angel records captures this firebrand four piece’s head-on plunge into enthralling existential contradictions: songs that explore the darkest corners of humanity, yet come out at the other end with the unwavering joy that marked their genesis. It’s an album of sneaky eclecticism: the high-wired punk rock stylings serve as Mock Media’s framework to clad their agog explorations into pop, electronic and world folk music.

We're old and familiar friends. These compositions represent the thing that happens when we get together. They aren't representative of one individual, one moment in time, or one chain of decisions. Some are ancient refrains, beginning life as habits and warm-ups, in-jokes; others are distilled jams; more still are refined from MIDI sketches and ideas whistled into voice notes. On whatever terms these elements become something we're happy to stand in front of you and play, to put on record, so be it.” So ANTA describe the process behind 2024's Organesson. Characteristic of the Bristolian Sci-Prog quartet, the record weaves together mesmerising, muscular riffs in insanely loud compositions that extend well into excess. Less typical is the polarisation at play, where granular polymeters will yield in an instant to passages of one or two-note simplicity. The record strides from one raging refrain to the next, lurching between devastation, joy, chaos, and stirring the themes accumulated along the way in exposition. “It comes down to those precious sweaty hours” the group suggest, “in which we get to vibrate these sounds into your face and chest, and you can dance and laugh with us. This is the stuff we remember and plan for, the moments we talk about the most when writing these songs.” ANTA's live shows, ceaseless onslaughts of deafening riffs, have been notable for maintaining the same intense energy among festival crowds or to three people in a basement. Walls of amps going full-pelt. Pounding, ornate drums and metals, wherein drummer James King is relentless in discovering strange and mighty rhythms. Full-drawbar organs, electric pianos, piercing synths from keys-man Alex Bertram-Powell. Joe Garcia's growling bass that strides rather than walks. Ben Harris' all-encompassing, dizzying guitars. Hypnotic, communal, compelling, indefinite energy. Organesson is the latest effort to put this feeling on record.

Over the course of a couple of years in the mid-1970s, several musicians from the St. Louis, Missouri area gave notice to club and festival crowds that they were there to rock the house down. Their cover and original songs were accentuated by a bedrock rhythm section, heavy guitar riffs and tasty solos, topped off with powerful vocals. Rockers that witnessed them agree—Back Jack created solid songs and high-energy performances. Beginning in 1971 as Trellis, the band members changed their name to Back Jack when they saw the bumper sticker that Kim McKinney’s dad, Jack McKinney, distributed during his election bid for the Mayor of Pacific, Missouri, home of the core three-piece band: Kim McKinney, Mike Collier, and Hans Myers (RIP). The 1974 version of Back Jack was active from very early 1974 to late-fall of 1974. The core three-piece band, Collier, McKinney, and Myers, recorded several tracks during their tenure and four of those tracks are included on this release. Temporary band members not on the recordings were Gary Reed (piano, RIP), Greg Witt (guitar, keyboards), Paul Cockrum (guitar), and Bill Niehoff (drums). The four-piece, 1975 version of Back Jack was a merging of members of Back Jack 1974 (Mike Collier and Kim McKinney) and another local band, Osage Lute (Jeff Ballew and Mike Lusher). They were active from late-fall of 1974 to late-summer of 1975. Four of the tracks on the Back Jack LP were recorded by these four musicians.

Pitch Dark is a new VA series brought to you by Berlins Pure Hate Trax. For this the 1st in the series they invite 3 new Artists to the label but by no means new to the scene in Codex Empire, Maedon & 7CIRCLE. Also making a welcome return after his debut on VHXX1 is STRISC. Codex Empire – Since 2014, British born, Vienna based Codex Empire has built an international reputation for dark and intense techno productions and live shows. Combining this background in dark electronic music with heavy rhythmic elements makes Codex Empire an intense and simultaneously danceable experience both live and on record. Codex Empire has performed over 100 live shows across Europe, Japan, Korea and Canada, as well as numerous appearances in Berlin at Berghain, Tresor, Arena Club, Suicide Circus and BoilerRoom. Maedon – A native of notoriously grimy Baltimore who spent some seasons in filthy Philadelphia learning the craft, her arrival in New York City circa 2018 signalled a shift in development, one confirmed by the emergence of her Maedon moniker and her partnership with Brooklyn/Berlin techno powerhouse Sonic Groove and its head Adam X. Fast forward three years to Berlin, two albums, a residency at Tresor and an entire world later, Maedon forges ahead to the next phase of a rapidly building career. Assuring her future as the world falls apart, Maedon’s bracing sound and undeniable skills are a story now unfolding, with its beginnings already written in grit.
7CIRCLE – At the helm of Destroy to Rebuild, 7CIRCLE is a musical project without boundaries. Drawing from post punk and metal roots, 7CIRCLE navigates across all genres including Techno and Industrial without compromise or frills. The journey through the discography of 7CIRCLE is a fascinating path filled with darkness and aggressive sounds which are sometimes embellished with a melancholy touch to satisfy lovers of strong emotions. STRISC. – Hailing from the East Midlands, UK and residing in Berlin for the last 8 years, STRISC. is an Artist, DJ & Label Owner who has been making waves due to a relentless output of no-compromise productions that have garnered him the respect and attention of Techno aficionados and peers alike.

U.S. Cinematic outfit Whatitdo Archive Group returns to explore the worlds of Mid-Century Exotica and Library Music with "Palace Of A Thousand Sounds," out on May 5th.

From the instrumental cinematic-soul outfit behind 2021's critically acclaimed The Black Stone Affair comes Whatitdo Archive Group's most recent foray into the realms of the esoteric and arcane, and their most adventurous album to date: Palace Of A Thousand Sounds, available May 5th, 2023 on Record Kicks on limited edition LP, CD and digital platforms.

After The Black Stone Affair enthralled record collectors by traversing the cinematic landscape of an imagined 1970s Spaghetti Western, Palace Of A Thousand Sounds finds Whatitdo Archive Group entrenched deeper in the worlds of mid-century exotica and library music—from the Tropicalia-steeped Amazon to the minor key tonalities of the far-out Near East.

When the dust finally settled from their debut album, composer and tireless sound scientist Alexander Korostinsky set out to discover the band's new direction, with the ultimate goal to breathe new life into the mid-century era sound with the compass of modernity as his guide.

From its conception in 2021, Palace has sought to carry on a legacy set in motion by the likes of Martin Denny, Les Baxter and Juan García Esquivel. Korostinsky, guitarist Mark Sexton, and drummer Aaron Chiazza recorded the album in marathon sessions from Korostinsky's Studio "A," in Reno, Nevada—a mysterious sonic laboratory where the year 1970 has yet to happen, and vintage analog equipment interfaces with modern musical perspectives and experimental recording techniques to produce era-defining sounds.

Not content to appeal to the sensibilities of armchair anthropologists, Palace Of A Thousand Sounds finds the band interrogating the genre itself while making studious tributes to the real places and times it draws from. It's in this tension between here and there, fantasy and reality, that Whatitdo Archive Group find their groove.

Drawing from a century of pop and folk sounds from around the world the way only 21st-century crate-diggers can, Palace is rooted in an undercurrent of heavy funk that is decidedly here and now. Whatitdo Archive Group showcase the breadth of their influences with disarming confidence, equally at home behind sweeping harp, loungey vibraphone or Turkish bağlama saz. A lush seventeen-piece orchestra commanded by award-winning composer Louis King (Janelle Monáe, Monophonics) completes the instrumental mélange, enticing listeners to imagine a borderless planet unified by melody and rhythm.

The album is unafraid to explore the strange and uncomfortable in pursuit of an authentic musical identity, subverting expectations in pursuit of forwarding the genre while paying homage to its past. Fans will appreciate the architectural complexity of the record accessible only through multiple listens—each visit to the palace yielding new details to marvel at, curiosities to ponder, grand mysteries to explore.

Once the needle drops, W.A.G carefully guides you from room to room, sound to sound within the walls of the album's sonic palace. Listening becomes an aural journey providing glimpses into different worlds both real and imagined; you are everywhere and nowhere all at once—a guest in the grand halls and hanging gardens of time and sound.

Steeped in obscurity, a cult following of crate-diggers and musical oddity collectors has been brewing over the mysterious releases of the Whatitdo Archive Group. Surfacing in 2009 from the high deserts of Reno, NV USA, this three-piece recording collective(Alexander Korostinsky, Mark Sexton and Aaron Chiazza) focuses solely on curating, performing and preserving esoteric soundtrack, library and deep-groove collections. As an onlooker, it's hard to tell whether the music they are procuring is actually archival, music of their own creation, or both. Their debut LP The Black Stone Affair, the formerly lost soundtrack music of a once-shelved Italian cinematic masterpiece, was released in 2021 and received praise from the likes of Wall Street Journal, Mojo Magazine, Uncut, Shindig, Blues & Soul Magazine, BBC 6, FIP Radio (FR), KCRW (US), JazzFM (UK) and more. Two years later, the Whatitdo Archive Group is back. Get ready for an exotic adventure with their sophomore full-length effort: Palace of a Thousand Sounds.

Los York's became the epitome of Peruvian garage sound. 'Abrázame' features a beat-influenced go-go twang guitar garage psych tone throughout and the unique voice of the iconic frontman of the band resulting an irresistible Latin garage hipshaker! Set the dance floor on fire with this first time 45 reissue of the Latin garage anthem 'Abrázame'! Los York's became the epitome of Peruvian garage sound, and the kings of the multi-group concerts which teenagers flocked to on Saturday and Sunday mornings in Lima's main movie theaters. The group was in tune with the youth from popular districts who were gradually turning morning concerts into dynamic gigs as the fashion for solo rock-ballads waned and garage sounds by bands like Los Shain's, Los Derbys, Los Juniors, Los Flyers and, of course, Los York's took over. Their supportive fans would follow them to every gig. After releasing their three first singles on MAG, featuring covers of popular hits, it took them a year to turn their ideas into songs for their first LP that was successfully released at Christmas in 1967. The original version of 'Abrázame' was included in this album and also released as a single. Although clearly based on Don Covay & The Goodtimers' r&b classic 'Mercy Mercy', the recording features a beat influenced go-go twang guitar garage psych tone throughout and the unique voice of the iconic frontman of the band, Pablo Luna, resulting an irresistible Latin garage hipshaker! A rawer, fuzzier version of the same song was released one year later and renamed as 'Abrázame baby'. How cool and handy is to have both versions together on one single artifact? Set the dance floor on fire with this first time 45 reissue of the Latin garage anthem 'Abrázame'!

Plasma Color Vinyl. 'The way Bloomsday's Iris James Garrison writes songs feels like somewhere between a mirror and a memory. Spacious, full-bodied folk songs, they are an ode to things that are good no matter how small; they sometimes feel like the ghost of a Mary Oliver poem. Bloomsday's new record, 'Heart of the Artichoke', is a relic of unfettered creativity and community. They recount the miracles of the mundane, the memories that become sacred, an ode to all that is holy: nightswimming, songs plucked from the ether, the ways friendship can endure. Like earlier Bloomsday songs, the work here is threaded with warmth; it's simmering, crisp and deeply human, an encapsulation of the present moment. Recorded across 10 days in June 2023 in upstate New York at duo Babehoven's studio and co-produced by Babehoven's Ryan Albert, with mixing by Henry Stoehr of Slow Pulp. The record was built out with a wideranging group of collaborators, including inventive drumming from Andrew Stevens (Lomelda, Hovvdy), Alex Harwood, Richard Orofino, Babehoven's Maya Bon, Hannah Pruzinsky (h.pruz, Sister.), and Chris Daley. It was an insulated and collaborative experience: all family dinners on the back porch, bonfires, feeling a full sense of joy, of friendship, of purity in the artistic self. Collaboration is an integral part of Bloomsday's musical process. Garrison is malleable in the studio, their songwriting generous and spacious. But in listening to the record, there's a sense that Garrison leaves room for the players, for the listener; for songs to find the shapes they're meant to take. Garrison's role as maestro is crucial, singular - it's a collaborative, exploratory spirit harnessed by Garrison's intuition, and by an honest commitment to carve out creative space for play, to delve into what's known - or pushing past that, into unknown. "The ghosts of the past still come up and haunt me," Garrison says, "but I sit in what I have and see it. All of these songs are about loved ones, about personal struggles with getting out of my head and being present." Heart of the Artichoke was written from a healed, matured place - written in a moment of safety from chaos. It's a prayer for the present, an appreciation of tenderness and what happens once we give ourselves the space to really see, and really feel - becoming free and whole - an ode to the way healing allows us to bloom.

'The way Bloomsday's Iris James Garrison writes songs feels like somewhere between a mirror and a memory. Spacious, full-bodied folk songs, they are an ode to things that are good no matter how small; they sometimes feel like the ghost of a Mary Oliver poem. Bloomsday's new record, 'Heart of the Artichoke', is a relic of unfettered creativity and community. They recount the miracles of the mundane, the memories that become sacred, an ode to all that is holy: nightswimming, songs plucked from the ether, the ways friendship can endure. Like earlier Bloomsday songs, the work here is threaded with warmth; it's simmering, crisp and deeply human, an encapsulation of the present moment. Recorded across 10 days in June 2023 in upstate New York at duo Babehoven's studio and co-produced by Babehoven's Ryan Albert, with mixing by Henry Stoehr of Slow Pulp. The record was built out with a wideranging group of collaborators, including inventive drumming from Andrew Stevens (Lomelda, Hovvdy), Alex Harwood, Richard Orofino, Babehoven's Maya Bon, Hannah Pruzinsky (h.pruz, Sister.), and Chris Daley. It was an insulated and collaborative experience: all family dinners on the back porch, bonfires, feeling a full sense of joy, of friendship, of purity in the artistic self. Collaboration is an integral part of Bloomsday's musical process. Garrison is malleable in the studio, their songwriting generous and spacious. But in listening to the record, there's a sense that Garrison leaves room for the players, for the listener; for songs to find the shapes they're meant to take. Garrison's role as maestro is crucial, singular - it's a collaborative, exploratory spirit harnessed by Garrison's intuition, and by an honest commitment to carve out creative space for play, to delve into what's known - or pushing past that, into unknown. "The ghosts of the past still come up and haunt me," Garrison says, "but I sit in what I have and see it. All of these songs are about loved ones, about personal struggles with getting out of my head and being present." Heart of the Artichoke was written from a healed, matured place - written in a moment of safety from chaos. It's a prayer for the present, an appreciation of tenderness and what happens once we give ourselves the space to really see, and really feel - becoming free and whole - an ode to the way healing allows us to bloom.

Auf "There Is A Garden" von BEINGS heben die sich wandelnden Melodien die Stimmen der einzelnen Musiker hervor. In der einen Sekunde mag das Album hektisch klingen, voller schroffer, unberechenbarer Melodien, aber wenn das nächste Stück kommt, verwandelt es sich in eine psychedelische Träumerei oder in ein ausuferndes Drone. Für BEINGS, das in New York ansässige Supergroup-Quartett von Zoh Amba, Steve Gunn, Shahzad Ismaily und Jim White, ergibt sich die Musik von selbst: Sie ist ein sich ständig wandelnder Organismus, der auf der Offenheit und dem Willen des Quartetts beruht, gemeinsam im Sound zu forschen.

Die Melody-Gardot-Magie kehrt zurück auf den Plattenteller. „The Absence“ war ihr drittes Album und erschien im Mai 2012. Die Mischung aus sinnlichem Jazz, Pop-Balladen und Brasil-Sounds schoss weltweit in diverse Jazz- und Pop-Charts und wurde bereits im gleichen Jahr in Frankreich mit Platin ausgezeichnet. Neben Melody Gardot glänzen auf dem Album der aus Brasilien stammende Produzent und Gitarrist Heitor Teixeira Pereira, Bassist John Leftwich, Perkussionist Paulinho da Costa sowie die Schlagzeuger Jim Keltner und Peter Erskine

"Remembering is not the opposite of forgetting," Casey MQ sings at the start of Later that day, the day before, or the day before that, his new LP and Ghostly International debut. It's a phrase fittingly misremembered from something the LA-based, Canadian-born composer came upon as he spiraled into unconscious and subconscious-led writing sessions at the piano. Casey's known for his 2020 breakthrough release babycasey, which gave voice to songs seen through the lens of childhood, various film score work and collaborations with artists such as Oklou (who returns here), Eartheater, and Vagabon. His gifts as a producer and songwriter are rooted in textural world-building and the excavation of personal truth. With Later that day... he questions what is true entirely, understanding our mind's tendency to bend and project onto pictures of the past. Across vivid, baroque pop balladry, Casey MQ reorients his recording project and point of view under the notion that memories are malleable. All the joy, pain, love, and loss housed within remembrance is open to interpretation and deconstruction, which he does deftly, with curiosity and complete artistic freedom. "It's a memory album," Casey puts it simply, winding up for the deeper unpacking, "and it might be a breakup album, too_there are more questions than answers." Engaging his dreams and sitting with sheet music at his newly acquired piano, he looked to new and old inspirations including the works of Claude Debussy, Joni Mitchell, and Joe Hisaishi's beloved Studio Ghibli film scores. "Since I was young, I always wanted to write a piano album." babycasey's studied electronic sound isn't wholly abandoned on Later that day... instead, it comes through like an atmosphere, giving Casey's more spacious, minimal arrangements a distinct luster and sheen. The textures and tones shift from song to song as if mirroring the way our minds constantly recontextualize, remember, and forget. Cathartic opener "Grey Gardens" _ its title derived from a dream abstractly related to the Toronto restaurant, but not the 1975 film, which he cites as another coincidental false memory _ presents the record's plaintive, haunted feeling. "Even if not reading into lyrics, sonically I wanted it to feel like you're being pulled into a universe. Not fantasy or otherworldly per se, something more tangible, of the body and mind," Casey says. "Hearing it back, I realized this track was the key to unlocking it." His tender falsetto hovers above ambient washes and echoed keys, each word falling carefully in the crevices. "Asleep At The Wheel" unfolds on arpeggiated synth before a burst of symphonic color; the synth returns inverted to harmonize with the outro, "I love a car crash, I love a story, I love a memory, I swear it's real..." Casey leans into digital imagination on the warm, introspective "Me I Think I Found It." Subdued, stuttered percussion underscores the singer as he cycles through pixelated imagery _ screenshots, smiles, streetlights _ searching for higher meaning through love. Built on ascendent chord distortions, "Dying Til I'm Born" gives the record one of its boldest pulses of emotion. The back half stretches out; "Is This Only Water" is sparse and foggy, "Baby Voice" is intimate and desperate for something to remain. "Words For Love" grooves on guitar, and "Tennisman9" aches in heartbreak. French musician Marylou Mayniel, aka Oklou, appears as the collection's only guest for the closing duet, "The Make Believe," a bright and buoyant send-off that gives Later that day... both a sense of resolve and cyclical-motion. "We are young, under the sun," they sing together, a parting image brimming with lightness.

"Remembering is not the opposite of forgetting," Casey MQ sings at the start of Later that day, the day before, or the day before that, his new LP and Ghostly International debut. It's a phrase fittingly misremembered from something the LA-based, Canadian-born composer came upon as he spiraled into unconscious and subconscious-led writing sessions at the piano. Casey's known for his 2020 breakthrough release babycasey, which gave voice to songs seen through the lens of childhood, various film score work and collaborations with artists such as Oklou (who returns here), Eartheater, and Vagabon. His gifts as a producer and songwriter are rooted in textural world-building and the excavation of personal truth. With Later that day... he questions what is true entirely, understanding our mind's tendency to bend and project onto pictures of the past. Across vivid, baroque pop balladry, Casey MQ reorients his recording project and point of view under the notion that memories are malleable. All the joy, pain, love, and loss housed within remembrance is open to interpretation and deconstruction, which he does deftly, with curiosity and complete artistic freedom. "It's a memory album," Casey puts it simply, winding up for the deeper unpacking, "and it might be a breakup album, too_there are more questions than answers." Engaging his dreams and sitting with sheet music at his newly acquired piano, he looked to new and old inspirations including the works of Claude Debussy, Joni Mitchell, and Joe Hisaishi's beloved Studio Ghibli film scores. "Since I was young, I always wanted to write a piano album." babycasey's studied electronic sound isn't wholly abandoned on Later that day... instead, it comes through like an atmosphere, giving Casey's more spacious, minimal arrangements a distinct luster and sheen. The textures and tones shift from song to song as if mirroring the way our minds constantly recontextualize, remember, and forget. Cathartic opener "Grey Gardens" _ its title derived from a dream abstractly related to the Toronto restaurant, but not the 1975 film, which he cites as another coincidental false memory _ presents the record's plaintive, haunted feeling. "Even if not reading into lyrics, sonically I wanted it to feel like you're being pulled into a universe. Not fantasy or otherworldly per se, something more tangible, of the body and mind," Casey says. "Hearing it back, I realized this track was the key to unlocking it." His tender falsetto hovers above ambient washes and echoed keys, each word falling carefully in the crevices. "Asleep At The Wheel" unfolds on arpeggiated synth before a burst of symphonic color; the synth returns inverted to harmonize with the outro, "I love a car crash, I love a story, I love a memory, I swear it's real..." Casey leans into digital imagination on the warm, introspective "Me I Think I Found It." Subdued, stuttered percussion underscores the singer as he cycles through pixelated imagery _ screenshots, smiles, streetlights _ searching for higher meaning through love. Built on ascendent chord distortions, "Dying Til I'm Born" gives the record one of its boldest pulses of emotion. The back half stretches out; "Is This Only Water" is sparse and foggy, "Baby Voice" is intimate and desperate for something to remain. "Words For Love" grooves on guitar, and "Tennisman9" aches in heartbreak. French musician Marylou Mayniel, aka Oklou, appears as the collection's only guest for the closing duet, "The Make Believe," a bright and buoyant send-off that gives Later that day... both a sense of resolve and cyclical-motion. "We are young, under the sun," they sing together, a parting image brimming with lightness.

Die Loons aus Südkalifornien spielen seit mehr als 25 Jahren ihre ganz eigene Art von psychedelischem Garage- und Freakbeat. Mit ,Memories Have Faces" haben sie ihr bisher eindrucksvollstes Werk geschaffen, zusammen mit einer klasse Version von ,Cries from the Midnight Circus" von den Pretty Things. Gegründet in San Diego, haben The Loons fünf Alben und eine Reihe von Singles aufgenommen und veröffentlicht und sind in mehr Städten auf der ganzen Welt aufgetreten, als sie zählen können. Sie haben mit Ikonen der 60er Jahre wie Glenn Ross Campbell von The Misunderstood, Dick Taylor von The Pretty Things, Randy Holden von The Sons of Adam und Blue Cheer und Michael Stuart-Ware von Love zusammengearbeitet. Mike Stax, der auch die Zeitschrift Ugly Things herausgibt, ist der Leadsänger. Anja Stax spielt Bass und singt Backing Vocals. Marc Schroeder und Chris Marsteller spielen Gitarren, und Chris Cancelliere sitzt am Schlagzeug. Mike Stax war bereits ein Veteran in mehreren anderen Bands aus San Diego, darunter The Crawdaddys und The Tell-Tale Hearts, als er 1997 die Loons gründete. Ebbot Lundberg von The Soundtrack of Our Lives produzierte das Debütalbum der Gruppe, ,Love's Dead Leaves", das 1998 bei Get Hip Records erschien. "A perfect pairing of Love-influenced garage-psych and British underground in the mould of the Pretty Things played with preternatural style and ability." - Shindig Magazine "Fantastically talented - as a group and individually, they've worked so hard at their passion _ It has been one of the highlights of my life to have been involved with them." - Glenn Ross Campbell, the Misunderstood

Limitierte farbige Splatter Vinyl-LP! Die Loons aus Südkalifornien spielen seit mehr als 25 Jahren ihre ganz eigene Art von psychedelischem Garage- und Freakbeat. Mit ,Memories Have Faces" haben sie ihr bisher eindrucksvollstes Werk geschaffen, zusammen mit einer klasse Version von ,Cries from the Midnight Circus" von den Pretty Things. Gegründet in San Diego, haben The Loons fünf Alben und eine Reihe von Singles aufgenommen und veröffentlicht und sind in mehr Städten auf der ganzen Welt aufgetreten, als sie zählen können. Sie haben mit Ikonen der 60er Jahre wie Glenn Ross Campbell von The Misunderstood, Dick Taylor von The Pretty Things, Randy Holden von The Sons of Adam und Blue Cheer und Michael Stuart-Ware von Love zusammengearbeitet. Mike Stax, der auch die Zeitschrift Ugly Things herausgibt, ist der Leadsänger. Anja Stax spielt Bass und singt Backing Vocals. Marc Schroeder und Chris Marsteller spielen Gitarren, und Chris Cancelliere sitzt am Schlagzeug. Mike Stax war bereits ein Veteran in mehreren anderen Bands aus San Diego, darunter The Crawdaddys und The Tell-Tale Hearts, als er 1997 die Loons gründete. Ebbot Lundberg von The Soundtrack of Our Lives produzierte das Debütalbum der Gruppe, ,Love's Dead Leaves", das 1998 bei Get Hip Records erschien. "A perfect pairing of Love-influenced garage-psych and British underground in the mould of the Pretty Things played with preternatural style and ability." - Shindig Magazine "Fantastically talented - as a group and individually, they've worked so hard at their passion _ It has been one of the highlights of my life to have been involved with them." - Glenn Ross Campbell, the Misunderstood

Jim Jones All Stars ist ein brodelnder Sumpffluch mit unheiligem Rhythmus und das neueste Projekt des britischen Garage-Paten Jim Jones (Thee Hypnotics, The Jim Jones Revue). Die Band besteht aus Mitgliedern von Jim Jones Revue, The Heavy, The Swamps und einer kompletten Bläsergruppe. Ihre LP "Ain't No Peril" ist ein dickes, fettes Stück Rama-Lama-Rhythm'n'Blues mit einigen von Jones' inspiriertesten Songs samt Gastauftritten des stimmlichen Powerhouse Nikki Hill und Eugene S. Robinson (Oxbow), das mit Scott McEwen in dessen Memphis Magnetic-Studio aufgenommen, von John Gletze produziert und von Grammy-Gewinner Randy Merrill gemastert wurde.

Hello! Tim here. My band is called Strand of Oaks. This is my eighth record and it's called Miracle Focus. I spent over three years building Miracle Focus. In the midst of writing, I became a painter and spent two seasons acting on a television show (Mayans MC). The dichotomy of painting for days in my garage and then flying out to LA to play a villainous biker on TV was one of the most thrilling experiences of my life. The idea of Miracle Focus was born out of one simple concept: to make people feel good. Throw in a healthy mix of Ram Dass, yoga, Freddie Mercury, Alice Coltrane, and Beastie Boys, plus over a year of writing and building the extremely dense architecture of the songs, and Miracle Focus was born. The result is FUN, wild, rhythmic music filled with synth layering and mantra-like lyrics intended to uplifting and hopefully bring some light to whoever listens. In many ways, this record is a love letter to bliss. Through meditation, I found a way to connect with something greater, a positive force that allowed me to write music as a manual towards a more love-focused life. And the miracles I refer to aren't asking the universe for anything; it's just acknowledging and celebrating this complex beautiful moment that we all get to share. It will be gone, it will re-emerge as something new, that will be gone, repeat....repeat... repeat - this eternal cycle. My most sincere hope is that whoever listens might through sonic osmosis experience a similar joy. Sending peace and love. Thank you for your time. - Tim