Search:on the water

Brian Owens is a soul singer, a writer and a dedicated community activist from Illinois, USA.
At Visions HQ they fell in love with his album” Love came down” from 2019, and in particular with the 2 tracks “Sparrow “and “Cool water“ ( unreleased before on vinyl ).
They got in touch with him and after nice chats and lovely exchanges, they decided to licence these two soul gems and give them a new life on a proper 2x 12” with a new mastering and some great remixes from the likes of Kaidi and Dego, Soul Supreme and Sohan Wilson.
These new versions are wonderful and kept the essence of Brian’s music but what is amazing too is to have the original versions on one side for maximum quality and loudness play. This is music, pure new soul with the respect of tradition of the 70’s soul music that we love.
The first edition with full sleeve designed by Angelo Benedetto is limited to 300 copies only. Collector’s item here, don’t sleep!

As escapism from corporate banality turned the corner in the `90s, a new generation of vibrant, software generated soundscapes emerged. Communal access to the internet propagated the new hive mind of ideas online, giving way to smoother, stress-free textures. The PC revolution opened the gateway to ray-traced playgrounds of color and light, allowing for visions of utopic proportions to manifest themselves on screensavers far and wide. Boot up your machine, load the software on this floppy diskette, and drop out of a reality bounded by the physical laws of the universe. Numero 95 is the soundtrack to the screen saver fever dream we're all trying to climb back into. Eight droplets of proto-vaporwave, synthesized in vinyl (or digital) form, fresh from Numero's archive of forgotten sounds. Are you looking for that half way point between smooth jazz and new age? Mac and PC? Quantum Leap and the X-Files? This software is for you. Housed in a replica floppy diskette, Numero 95 explores an early computer music unbound by scene or region. Eight solo pioneers vibing out at home in their headphones, traveling as far as the sound card would allow. This is music that barely escaped the hard drive and yet percolates at the edges of the algorithm 30 years later. Welcome to Numero 95.

Keeping his carbon footprint at a minimum, Santilli sails from Sydney to Hamburg via ten textured vignettes delicately drawn with guitar, bass and organic percussion. Relaxing, reflective and endlessly
beautiful, ‘Tidal’ explores elemental inspiration through a humanistic gaze.
Whether you know Max Santilli through Ken Oath duo Angophora, previous releases ‘Surface’ and ‘In Circles’, or this is your first time making his acquaintance, you’ll agree he’s right at home on the
Growing Bin. The multi-instrumentalist crafts exquisite acoustic music in tune with the finer moments of Windham Hill and ECM; a perfect fusion of talent, balance and the emotion shared by each release on the Hamburg label.

As befits its inspiration ‘Tidal’ is an organic affair, related through bright acoustic guitar, hazy chimes and hand played percussion. Where the Australian draws you in with hypnotic repetition, the subtlety, warmth and tonal variation serve as a welcome reminder we’re living off grid. Though expert fretwork
often takes centre stage, especially on the delicate B1 ‘Warm You Give’, it’s the blend of kalimba, woodblock, hand drums and shaker which truly transport the listener through open waters; a rhythmic
breeze carrying us through the maritime drones and bowed squall. At times the salt air is spiced with cardamom and cloves (‘Sea’) or lemongrass and galangal (‘Valleys’), as we skirt the Indian Ocean or
the Java Sea. ‘Lapse’ provides subtle hints of fourth world jazz as mallets take the lead, leaving the guitar to provide its own shimmering texture.

Clear your mind, clear your schedule and make some time for ‘Tidal’, an opportunity to breathe in time with the planet

Seven new cues from Black Water as written, performed and produced by Everyday Dust.
Additional cues salvaged from an incorrectly labelled transcription disc.
Seven tracks on a gold/white 45rpm 7” with picture sleeve and inner poly bag.

‘The record is inspired by the idea of humanity’s ever-increasing entanglement with technology and artificial intelligence, balancing fears and moral concerns with the possibilities of evolution’s next phase’

A new Soccer96 album is a chance for Danalogue (Dan Leavers) and Betamax (Maxwell Hallett) to return to something of a spiritual creative home. Between them, the keyboardist and drummer have become synonymous with the thriving London jazz scene and, in their mind-bending incarnation as the astral synths-and-drums pairing, they’ve traversed stylistic worlds. Over nearly a decade, the duo have metamorphosed from a DIY outfit whose rough-edged recordings hit with a punk spirit, to cosmic dreamers that use sound to travel the reaches of the mind.

First single Dopamine features Nuha Ruby Ra on vocals who sings from the perspective of human and machine throughout the track. This concept overlaps with the music seamlessly, forming a meeting point between technological and human exploration.

Dialogues between the band and Nuha crystallised a shared vision of a future where humans and artificial intelligence are entangled in a codependent relationship based on the giving and receiving of pleasure hormones, the robots only source of dopamine is to receive it from humans, and the humans’ ability to unleash the monsters of the worst of human emotion.

Danalogue and Nuha sing together ‘It’s a Long Way down’ .. the feeling of jumping from the cliff of our current state as humans and ‘free-falling’ into the unknown of robot-human intertwining. By the outro they are pleading with each other over their dopamine co-dependency, in terms of both giving and receiving the hit. "Dependency leads to free-falling integration, a moment of freefall into robotic consciousness. Humans and machines are locked in a dance of addiction." explains Betamax.

Soccer96 has always been a vessel for Danalogue and Betamax to find clear water from their multitude of other collaborations, their most notable being as two-thirds of The Comet Is Coming alongside Shabaka Hutchings. Danalogue’s other recent production credits include Snapped Ankles and Calabashed, whilst Betamax has been making music with Champagne Dub and Coma World.

“Through collaborating with various artists and developing our own sonic language, it feels like we have created a sound of our own,” says Danalogue. “Now we think less literally and take more liberties to not necessarily sound like a duo. It’s more like a production team that can be augmented or stripped back depending on what the music calls for.”

Dopamine, though, sees the pair back together once again, incubating their findings of the past two years and moving Soccer96 into new territories. The record is maybe darker in some senses than what they’ve put out before; it’s inspired by the idea of transhumanism and humanity’s ever-increasing entanglement with technology and artificial intelligence It balances fears and moral concerns with the possibilities of evolution’s next phase. “The LP title Dopamine refers to the type of neurotransmitter associated with pleasure, that enables technology to hack into our minds and control us, creating addiction, dependency,” Betamax explains.

Dopamine began life as a sonic reaction to the graphic novels of ‘Moebius’ Jean Giraud. The duo then started swapping reel-to-reel tape ideas through each other’s letterboxes in lockdown, before eventually convening in the studio and displaying one of the revered French artist’s images in the middle of the studio for inspiration.

“All musical decisions would centre around this image,” Betamax says. “It was a depiction of a cosmic traveller gazing across a desert at a sort of crystal city. If the music was resonating with the image then we knew we were on the right path. We are both glad there is a lot of emotional warmth underpinning the whole thing. We are trying to connect with the human essence at all times.”

Ever since the release of their acclaimed debut EP P'eau (2018) these Mechelen-based musicians have been honing their craft in songwriting and production, building a new home studio to record future material while also expanding from a three-piece to a five-piece ensemble. By adding singer/percussionist Stefan De Graef (Psychonaut) and guitarist/singer Sander Rom (L'Itch) to their ranks, HIPPOTRAKTOR have become a more versatile outfit able to employ a broader palette of sounds, taking the band's earlier instrumental prog metal sound to new heights. Taking notes from the best moments in contemporary progressive and post metal, HIPPOTRAKTOR capture the awe-inspiring power of nature_from the delicacy of the first falling leaf to the massive cosmic energy of the sun. By combining the big, catchy riffs and the rhythmical prowess of Gojira with the relentless but equally groove-loaded complexity of Meshuggah, Meridian delivers an overwhelming experience of sound, presenting the listener with sentiments that are recognisable, but with an intensity that seems larger-than-life. "Meridian finds its origin in everyday moods, taken out of context and morphed into a stylised version that re- flects the dreamer in me," explains main songwriter and guitarist Chiaran Verheyden. "It tells the story of someone who's lost in a world too massive to comprehend, and seeks answers in places where none can be found. Meridian was written as an attempt to distillate what I felt but couldn't put into words." As the main vocalist in the group, finding these words was the job of Stefan De Graef, who carried over his fascination for philosophy and religion from his other band Psychonaut. "Meridian tells the story of a solitary wanderer on the Earth in the absence of other beings," explains Stefan. "Without anyone to share knowledge and history with, the protagonist is forced to create his own truths and stories about the nature of life, consciousness and the universe. The protagonist begins to personify and deify his surroundings, assigning sentience to the trees, the mountains, the wind, the waters etc. for they are his only companions in this desolate world." Essentially, Meridian is an exploration of the evolutionary theory of naturism, which was put forth by German scholar Max Mu"ller in the 19th century, and which argues that religion finds its origin in the deification of the forces of nature by early human beings. By juxtaposing this sociological theory with seven tracks that unfailingly conjure images of the earth, sea and sky, HIPPOTRAKTOR have created an analogy that enlarges the imaginative quality of their music to (literally) epic proportions. Combining the best of prog, groove and post-metal, Meridian comprises an incredible ride for fans of soaring hooks, technical riffing and earth-shattering breakdowns. Limited bluegreen-grey single colour vinyl edition, gatefold! FOR FANS OF Meshuggah, Periphery, Cloudkicker, Intronaut, Animals As Leaders, Gojira, Skyharbor, Psychonaut

Limited edition 180g orange coloured vinyl + 4 bonus tracks. Originally
released as ‘The Great Artistry of Django Reinhardt’
(Clef Records MGC-516).
“Django was in his final weeks when he made this beautiful recording. He had
seemingly fallen out of love with music, or with performance, in the post-war
period and gained a reputation for unreliability. But there were signs that his
old fire was coming back.” - Penguin Guide To Jazz
“The disc you hold in your hands was the final album Django Reinhardt recorded before his death on May 16, 1953. The guitarist left behind a work as
vast as it was modern, and he left an indelible mark on the history of jazz guitar
and music in general.” - Jazz Magazine (France)

On paper, a full collaborative album from Doom and space age production from Jneiro Jarel

can't fail. In practice it's even better. Doom is in the form of his life here. JJ produced all the

tracks, Doom provided the bulk of the vocals and compiled the cut and paste skits. Doom

recorded the album while 'banished' from the States and back living in london. He references

British culture throughout the album, name dropping British institutions, and possibly being

the first emcee to reference My Big Fat Gypsy Wedding. Jneiro recording the beats in the dirty

south, got into a UK state mind, and turned in heavy hip hop production that leans towards

grime, dubstep and British techno. The album will appeal to fans of classic Doom material.

JJ's tough, far out hip hop production will appeal to fans of Dilla, Flying Lotus and el-p. It also

features guest appearances from Beth Gibbons, Damon Albarn and Khujo (goodie mob).

Album artwork is by graffiti artist Steve Powers aka Espo.

On October 15th, Mac Miller's cult favourite mixtape Faces will be available on all streaming services for the first time since its initial release. The project, which originally debuted on Mother's Day 2014, is a vital release in Mac's catalogue that followed-up his critically-acclaimed sophomore album Watching Movies With The Sound Off. Upon its arrival, the mixtape served as the high water mark for Mac's technical prowess and cemented a creative actualization that would continue through his career; reinventing himself with each new project. Reviewing the project following its release, critic Craig Jenkins succinctly described it as "the best work of his career.
"In addition to being made available on streaming services, Faces will be available on vinyl for the first time on October 15th. .

The announcement of the mixtape’s release on streaming services next month arrives alongside a new music video for Faces highlight "Colours and Shapes." Its director Sam Mason speaks on the work: “The track felt very visual to me—like it had its own world. This atmospheric night time place that was sometimes dangerous, sometimes comforting, then I saw a picture of Ralph and a story emerged. To build it out I asked Malcolm’s family to send me bits and pieces from his childhood, scenes from the town where he grew up, objects, toys from his room—little pieces of his life that I extrapolated outwards and used to inspire the story. In the abstract, it’s meant to be a video about childhood—growing up as an artist and the highs and lows of that experience. It’s sort of a look at the emotional and difficult and perilous but noble path of an artist. ”Stay tuned for more Mac Miller and Faces news soon.

”Neon Dust describes the essence of a world just beyond reach, one we often glimpse but can’t sustain. An Ocean in which we rarely dip our feet. When writing this album, I felt in tune with something special, an energy I hadn’t previously known. I was submerged and engulfed in its creation. For me, it’s a journey beyond; into that dancing,
shimmering glow of neon dust.” - Etherwood Melodic master and drum & bass extraordinaire Etherwood makes his album
debut on Hospital Records with his fourth long player, ‘Neon Dust’, following on from the successes of his Med School works ‘In Stillness’, ‘Blue Leaves’, and ‘Etherwood’.

Across twenty tracks, expect signature liquid drum & bass and Etherwood’s own vocal performances with a fusion of folk, rock, indie-pop, techno, downtempo and ambient delights. Alongside his vast range of musical inspiration, Etherwood’s creativity is evoked through his free spirited mindset, exploring the world in his converted van, dedicated to mindfulness and meditation.

With frequent radio support from top-end tastemakers including Annie Mac, MistaJam and Charlie Tee, as well as countless club spins from the likes of Netsky, Sub Focus, Makoto, Degs and Lens, Etherwood’s hugely popular sound takes another step forward in 2021 with his most recent body of work. From topping the iTunes Electronic chart with his second album ‘Blue Leaves’ to performing his very own live session at the prestigious Maida Vale studios, you’ll also be able to find Etherwood at Hospitality Weekend In The Woods, Sundown Festival 2021, ADE Hospitality and Hospitality Bristol this yea

Composed by the Capcom Sound Team, Masami Ueda, Makoto Tomozawa and Akira Kaida, Resident Evil’s brooding score became a benchmark for horror games, giving the original genre-defining masterpiece a persistent and unnerving sense of claustrophobia.

Each soundtrack has been remastered specifically for this release and will be pressed onto audiophile heavyweight, deluxe double-vinyl 180g LPs on black vinyl.

"Pianist Nate Morgan (1964-2013) was a central figure on the Los Angeles jazz undergound. A core member of the circle around the legendary bandleader, pianist and community organiser Horace Tapscott, Morgan had been part of Tapscott’s U.G.M.A.A. (Union Of God’s Musicians and Artists Ascension) since he was just a teenager, and was a key member of the Pan Afrikan People’s Arkestra, known as ‘The Ark’. Through the 1980s and 1990s he kept the PAPA flame alive, organising the Ark’s sprawling songbook, running legendary jam sessions, and keeping LA’s deep jazz roots well watered. By the early 2000s he was bringing hard won knowledge to a new generation as part of the Build The Ark collective. He was a musician’s musician, at the beating heart of the radical, community-minded Los Angeles jazz network that Tapscott and his associates had first put together in the early 1960s.

Retribution, Reparation was the second of the two LPs Morgan recorded for Tom Albach’s storied Nimbus West imprint. His first, Journey Into Nigritia had been a declaration of arrival laced with energies drawn from Cecil Taylor and Coltrane. One year later, with nods to Herbie Hancock (‘One Finger Snap’) and Ellington (‘Come Sunday’), Retribution, Reparation was a confident statement of purpose. Politically charged with pan-Africanist and Black nationalist sentiments inspired by Marcus Garvey, and titled with uncompromising directness, the album focusses the sound world of the Ark into a surging, restless masterpiece of spiritualised modal jazz. With Danny Cortez on trumpet and Ark stalwart Jesse Sharps on saxophones the frontline is explosive (this set is also one of the few places the extraordinary Sharps can be heard in a small group setting), while Fritz Wise and Ark regular Joel Ector hold down the rhythm section. Morgan’s forceful, Tyner-like chords and virtuosic solos and bind the music together. From the poised drama of the opening dedication to Tapscott’s U.G.M.A.A. (‘U.G.M.A.A.GER’) to the propulsive militancy of the title track, Retribution, Reparation spreads the word: ‘Advance to Victory, Let Nigritia Be Free!’"

"Produced by Jonathan Wilson (Conor Oberst, Roger Waters, Father John Misty) and recorded at Nashville’s Sound Emporium Studios, Renewal solidifies Strings’ position as a singular artist—one who honors the history of the music that inspires him, while continually pushing it forward. With the record’s sixteen tracks, Strings shares a more personal and honest perspective through his songwriting, while incorporating his wide range of influences with elements of bluegrass, classic rock, metal, psychedelic music and more.
Reflecting on the album, Strings shares, “A lot of people call us a bluegrass band and I don’t even know if that’s what we are anymore. You’ve got to let the song do its thing. So that’s what I try to do—write songs and let them come out however they do. I listen to it now and it’s emotional. I’ve always doubted myself, and I still do, but this album makes me think, ‘Hey, you’re doing all right, kid. You just need to keep going.’”"

After humble lo-fi beginnings in the Australian Art-Pop Underground, Donny Benet has expanded his cult-like following across the Globe with a resonant Array of danceable Repertoire dealing with Love- and Affection. New album "Mr Experience" marks a new chapter, informed by a wealth of musical- and personal development.

For Mr Experience, Donny envisioned a Soundtrack to a Dinner-Party- Set in the late 1980's. While his earlier Recordings drew Inspiration from DIY Pop Conspirators such as Ariel Pink & John Maus, Donny channelled the Stylings of Bryan Ferry & Hiroshi Yoshimura as the Impetus for new Material, evident on the Intimacy found on ‘Girl Of My Dreams’ and it's lush production- with a soothing whistle-along Chorus for good Measure!

Sincerity has been a key component of Donny Benet’s output since the beginning. His songs deal with genuine Emotion served on a kitsch Platter. An alter-ego manifested in the beginning of the 2010's, Donny has blurred the Lines of Artifice to create a back- Catalogue that can embrace- and challenge, often simultaneously, - the notion of Irony in Art.

"Mr Experience" moves further away from ironic Notions as Donny explores lyrical- and musical themes which embody Observations of Maturation in his audience, his tightknit musical Community- and himself. While ‘mature’ is a term that often rings hollow as an album descriptor, the term couldn’t be more apt for Mr Experience.

Previous album The Don was created with the luxury of time. The phenomenal Response to that Album across Europe- and the United States - fuelled by accompanying Music Videos clocking in Views in the Millions- meant that there were scant Windows of Opportunity to write- and record a follow-up.

With a legacy in Sydney’s music community, working with Sarah Blasko, and tightknik collaborators Jack Ladder & Kirin J Callinan, Donny Benet is accustomed to collaboration on the Stage- and in the Studio, mostnotably on the 2014 full-length release Weekend At Donny’s.



“There is such immense talent evident in every aspect of the Donny Bene experience - the vision of the character, the steadfast adherence his narrative and the musicality of Benet himself all combine to makesomething truly genius.” - Double J, Australin.

“Donny Benet makes feminine music for everybody” - Vice, Netherlands.

“The Don does not sound like amusical copying machine”. - 3voor12 National, Netherlands.

“The set was punctuated with virtuosic solos and exquisite harmonies, and added another layer of genius to the show.
We almost couldn’t handle it... Donny for president!" - Indie Berlin.

“Everyone loves Donny Benet” - Feature in Gonzai, France.

“Phenomenal Australian Showman... Offers Top-Class Dance Music with Virtuose-Bass Guitar- and Keyboard Parts & incredible Sound-Colour feel.” - Podujatie.sk, Slovakia.

Donny has toured Europe five times since the start of 2018 and has played in the UK, Austria, Germany, Slovakia, France, Netherlands, Spain, Portugal, Belgium, Denmark, Switzerland, Czech Republic, Greece and Sweden. The Don will revisit Europe twice in 2020, once for his own headline shows in May then back again in August for festivals!

• Long lost 1968 album from visionary South African jazz composer incorporating traditional African music sources and instruments.

• Officially licensed from the Nxumalo family and reissued with inner sleeve containing archival photographs and new liner notes by Francis Gooding.

Gideon Nxumalo’s Gideon Plays might just be the most mythologised and sought-after LP in the whole South African canon. A sophisticated bop excursion with a distinctive African edge, it was only Nxumalo’s second LP as leader, despite his crucial place in South African jazz history. Pianist Nxumalo was a visionary jazz composer who had recorded regularly during the 1950s, and his 1962 Jazz Fantasia album was the first South African jazz recording to incorporate traditional African musical sources and instruments. But he was also the country’s most significant radio presenter and jazz tastemaker – from 1954 onwards, he had worn the nickname ‘Mgibe’ to introduce ‘This Is Bantu Jazz’, South African radio’s premier jazz show.

But in the aftermath of the Sharpeville Massacre in 1961, Nxumalo had been side-lined from radio play, and was eventually sacked for playing records with political meanings. By 1968, he had not been heard on record or airwave for several years. Gideon Plays was a celebrated return to the studio for one of South Africa’s best loved and most forward-thinking jazzmen, and it showcases Nxumalo’s deep understanding of jazz, his brilliant touch as a composer, and his commitment to bringing South Africa’s indigenous sound into the music.

However, it was released on the tiny JAS Pride label owned by production impresario Ray Nkwe, and after one pressing in 1968, Gideon Plays fell into the undeserved silence that has obscured so much of the South African jazz discography. It has since become a legend: hardly more than a rumour, it has been bootlegged by the unscrupulous, changed hands for eye-watering sums, and has scarcely been heard outside the circles of the most committed South African jazz devotees. It goes without saying that it has never been released outside South Africa, and even now only a handful of original copies are known to have survived.

Over the last ten years, Matsuli Music has been proud to present some of the greatest lost and found jazz recordings in South African history – but we have never presented a rarer, lesser known album than the mighty Gideon ‘Mgibe’ Nxumalo’s Gideon Plays.

This magnificent project was born in 2006 on one of the most famous labels in the world Mille plateaux . It was in 2006 and just in CD. It was important that a vinyl version existed.
Edith Progue is the project of Paris-based musician, Bernie Swell. After having formed izdatso as a gathering of musicians and visual artists in 1999, Bernie Swell has slowly but surely moved to a more minimal approach towards digital composing. Timeline consists of a chronological report of the different moods experienced by the composer over a 24-hour period of time spent in an apartment overlooking the dark waters of Canal St. Martin in Paris. The dreamy environment created by the melodic sound of an acoustic piano is only troubled by the intrusion of a few micro-electronic beats and sounds. The music was created as an attempt to reconcile the noisy environment that surrounds day-to-day modern urban life with the inner peace that can eventually be found through meditation. While listening to these pieces, you might leave the TV or radio on, or hear a cell phone's new message alert, a fridge sub-bass might rumble or, more simply, an opened window on a busy street would constructively mix with these hypnosonic soundscapes, revealing the hidden art behind any intruding noise/sound manifestation.

To say 'In Heaven' is about conquering grief would be oversimplifying everything Tim Showalter has achieved on the eighth studio album from Strand of Oaks. A stunning, hopeful reflection on love, loss, and enlightenment, 'In Heaven' is a triumph in music making, and a preeminent addition to the Strand of Oaks discography.
'In Heaven' was recorded in October 2020 with Kevin Ratterman at Invisible Creature in Los Angeles. Carl Broemel (My Morning Jacket) is featured on guitar through the record, while James Iha (The Smashing Pumpkins) contributed vocals and guitar for "Easter". Bo Koster (MMJ, Roger Waters) provided keyboards, Cedric LeMoyne (Alanis Morrissette, Remy Zero) bass, Scott Moore violin, and Ratterman monstrous drums. Showalter also played a lot of synth on this record, which he hasn't done since 2014's HEAL. With clean sounds, Jeff Lynne-esque acoustics, and sophisticated songwriting, he approached 'In Heaven' in a more poised and pop-leaning way than his past releases.
Pairing smart, imaginative lyrics and striking arrangements, tracks like “Carbon” and its magnificent violin stand out, as does “Sister Saturn” with its funky, sinuous groove, and the sublime “Horses at Night,” which features one of Showalter’s most exquisite melodies to date. There’s also a discernible current running through In Heaven of homage to some notable losses in music—John Prine, Jeff Buckley, and Jimi Hendrix all play a part—for In Heaven is about moving beyond sadness or anger to a state of gratitude that we ever had these people to begin with. And while every song provides some clue to Showalter’s personal heaven, the jubilant “Jimi and Stan” says it all, wherein Hendrix and his beloved cat Stan are hanging out, going to shows, and looking at stars together.

Dans le Sable is the first new album in over 40 years by composer, pianist, and digital audio pioneer Loren Rush (b. 1935). Active in the Bay Area new music scene since the late 1950s alongside composers such as Robert Erickson and Pauline Oliveros, he also co-founded the Stanford University’s Center for Computer Research in Music and Acoustics in 1975. His music has been performed by the Boston Symphony, the New York Philharmonic, and the San Francisco Symphony Orchestra amongst others.

The title piece "Dans le Sable" (1967-68, 70) covers the first side of the record, of which Charles Shere in the Oakland Tribune (1972) writes: “A surreal opera scene. A narrator dwells on the significance of passing time. A soprano sings Barbarina's cabaletta from Figaro, which describes her distraught search in the sand for a lost pin. The chamber orchestra—mostly solo instruments—plays soft, half-forgotten tunes reminiscent of the Parisian music hall. If Marcel Duchamp wanted to put painting once more at the service of the mind, so did Rush seem to want to make a composition that speaks directly to that thing behind the mind—the point where it connects with the soul. And he succeeded. But only because the work is so brilliantly constructed, so careful in its structure and the timing of its phrases, so well balanced in the disposition of its parts that it quite overcomes the audience.”

The second piece on the album “Song and Dance” begins with the watery held tones of “Song.” Melancholy phrases are deconstructed and stretched in different retellings, invoking a harmonic fog. We are then thrust into “Dance,” one of the first orchestral pieces to employ computer-generated digital synthesis. A hypnotic and percussive march is propelled into a storm of early computer-processed cannonades.

Recital is proud to now illuminate the deeply overlooked composer Loren Rush, whose meticulous attention to detail has perhaps kept his toiled-upon works in the shadows these past decades. Dans le Sable is among the most gorgeous records I have heard.

John Prine’s Grammy Award-winning album, Fair & Square, is available on vinyl for the first time in over sixteen years. There are three special double LPs: standard black, opaque green and a limited amount of “Irish Edition”—green and orange vinyl with a matte jacket featuring embossed lettering.
Originally released in 2005, Fair & Square won Best Contemporary Folk Album at the 48th Grammy Awards and achieved the fastest rise to number one in the history of Americana radio. The record marked Prine’s first album in nine years, following 1995’s Lost Dogs and Mixed Blessings. Rolling Stone declared Fair & Square “an excellent set of songs full of rootsy warmth and unpretentious wit,” while The Washington Post praised its relatability: “this low-key masterpiece arrives not just as a reminder of Prine’s cleverness and mischievous wit but also as a confirmation of his deeply human values. These are values rooted in the enduring mystery and majesty of everyday, ordinary lives.”
Prine is a four-time Grammy winner and Lifetime Achievement Award honoree, a seven-time Americana Music Award-winner, a PEN New England Lyrics Award recipient and member of both the Songwriters Hall of Fame and the Nashville Songwriters Hall of Fame. Since his debut in 1971, Prine released over 18 albums and has had his songs recorded by Johnny Cash, Carly Simon, Bette Midler, Bonnie Raitt, Norah Jones, George Strait, Miranda Lambert, Zac Brown Band and many others, while drawing effusive praise from Bob Dylan, Kris Kristofferson, Bonnie Raitt, Roger Waters, Tom Petty, Bruce Springsteen and more.

DEATH, the heavy metal institution founded, realized, and helmed by legendary guitarist Chuck Schuldiner, released the Individual Thought Patterns album (the follow-up to their watershed Human release) in 1993. Expectations were high following Human, but Schuldiner proved once again that he could rise to any occasion. Individual Thought Patterns further honed the forward-thinking and progressive direction birthed with Human, and included “The Philosopher”; arguably the best song to ever come from the world of extreme metal and to this date the most widely-recognized.

DEATH, the heavy metal institution founded, realized, and helmed by legendary guitarist Chuck Schuldiner, released the Individual Thought Patterns album (the follow-up to their watershed Human release) in 1993. Expectations were high following Human, but Schuldiner proved once again that he could rise to any occasion. Individual Thought Patterns further honed the forward-thinking and progressive direction birthed with Human, and included “The Philosopher”; arguably the best song to ever come from the world of extreme metal and to this date the most widely-recognized

2021 Nachpressung auf weißem Vinyl. ,Truly She None Other" war lange vergriffen. Die aufgewertete "Expanded Edition"-Version erschien 2013 zum zehnjährigen Jubiläum des grandiosesten Albums von HOLLY GOLIGHTLY. Das würdige Re-Issue enthält zwei Bonustracks! Die Sleevenotes stammen von niemand Geringerem als JACK WHITE! Oft als ihr bestes Album beschrieben wurde ,Truly She Is None Other" 2002/03 mit Liam Watson in den Toe-Rag Studioa aufgenommen und beinhaltet mit ,Tell Me Now So I Know" den Song, der als Titeltrack des Jim Jarmush Films ,Broken Flowers" ausgewählt wurde. Zu den neun HOLLY GOLIGHTLY Originalkompositionen gesellen sich zwei RAY DAVIES Songs ("Time Will Tell" & "Tell Me Now So I Know") zusammen mit "There's An End" (geschrieben von ihrem Freund Craig Fox von THE GREENHORNES). Außerdem mit dabei: eine brillante Version des JESSIE MAE ROBINSON Songs ,Black Night", der durch die Version von MUDDY WATERS unsterblich wurde. Unterstützt von der Crème de la Crème der Toe-Rag Hausmusiker zusammen mit den HOLLY GOLIGHTLY Bandeckpfeilern Bruce Brand (THE MILKSHAKES, THEE HEADCOATS) und John Gibbs (KAISERS, MASONICS) ist HOLLY GOLIGHTLY auf diesem Album in absoluter Höchstform.

A remix album of Tolerance by Osaka-based electronic musician Junya Tokuda released from remodel, a label established by Yuzuru Agi and Studio Warp.
In addition to performing live and releasing works, Junya Tokuda runs the web label Linesound and organizes the electronic music event "Line".
His previous releases include "map not seen EP" (Linesound, 2011), "A Day In The Alley" (shrine.jp, 2016), "Unleash EP" (LongLongLabel, 2018), and "No Man's Land" (shrine.jp, 2020). jp, 2020).
remodel also released solo album, "Anemic Cinema", in April 2021, prior to this work, and his track was included in a two-disc compilation, "a sign 2", released in May 2020.
This album "VANITY RE-MAKE/RE-MODEL Vol.1" is a remix album using material from the Tokyo-based project Tolerance by Junko Tange from Vanity Records.
The production was done in parallel with "Anemic Cinema" (late August 2020 to mid-December 2020), and the basic musicality, especially the brilliant treatment of sound by dub-like spatial effects, is common to both works.
However, in this album, the material of Tolerance is sometimes vague and fragmented like a torn tape swimming on the surface of the water, and at other times like a tape reel rolling down from the ocean-like sound image created by the skillful blending of pads and moving noises through the manipulation of dub effects.
The tactile sensation of poking and stroking the ears (like ASMR), which was also felt in "Anemic Cinema," is more vividly revealed by the carefully considered incorporation of a foreign object.
In addition, the instrumental aspect of Toleranece's musicianship, especially the effective use of the electric piano sound, is also impressive. Interestingly, in other tracks, the bassline exerts a strong pull and draws out the phrasing aspect of Junya Tokuda's musicianship as if in response to the electric piano.
Junya Tokuda's music, which even creates an organic feel with its deft handling of generated sounds and samples, reveals its caliber and hidden patterns through the inclusion of Tolerance voices, noises, and instruments that seem hard, rough, and axially distorted. It is an exhilarating and magical work.

Ancient Africa represents Nat Birchall’s official follow-up to last year’s universally acclaimed Mysticism of Sound.

Nat once again plays all the instruments here, tenor and soprano saxophone, bass clarinet, bass, drums and percussion. But this time around the Korg synth is replaced by piano as

Nat wanted to utilise a more “classic” Jazz sound to express his musical visions. He has also arranged the songs for multiple horns, with melodies and harmonies played by up to five different instruments to achieve a fuller and often glorious sound.

An exception to this is Mirror Mind, a ‘duet’ featuring tenor saxophone and piano, hence the title.

With most of his compositions Nat tends to come up with titles depending on the thoughts or images the music manifests within him as he listens back to the recording.

The title track conjures up images of an African sunrise, the horns perhaps invoking the sun as it begins to illuminate the land which was the origin of the human story on Earth.

“Africa is the root of everything, and is the source of civilization, art, music, you name it.”

Paladins is so titled for the African heroes of the past and the present, in all walks of life, social, political, the arts etc.

“Anyone who fights against oppression, whether it be through activism or art, not only in Africa but throughout the whole diaspora, is a Paladin in my book.”



Song for John Blanke is named for the African trumpeter who played in the court of Henry VIII. The horn line sounding

a little like a fanfare, but in a lower register than the Tudor trumpets might have played for the court of the king!

Malidoma is named in honour of the African writer Malidoma Patrice Some. His excellent book ‘Of Water and The Spirit’ is a deeply

moving and illuminating narrative of his life’s journey. From his abduction by Jesuit priests at an early age from his village in Burkina Faso to

his being reunited with his people and subsequent assignment to spread his people’s ancient knowledge to the Western world.

The final song, Ancestral Dance, is a musical reminder to both celebrate life as and when the occasion demands, but also to not forget where we came from, as individuals and as a species.

Midway through his long, earnest and often very, very
funny essay on the role playing game ‘Dungeons &
Dragons’ in the September 2006 issue of The Believer,
writer Paul La Farge proposes that ‘Dungeons & Dragons’
is not a game at all but rather a ritual. La Farge notes the
marked difference between game and ritual. Whereas a
game seeks to demonstrate how unequal or distinct
players / teams are from one another, rituals seek to do
the very opposite.
 And so, across the 25-year history of Jagjaguwar - an
independent record label curiously named using a
‘Dungeons & Dragons’ name generator - we find this idea
of ritual as a conjoining practice. We see it early on when
Jagjaguwar join forces with a midwestern label called
Secretly Canadian for a powerful fusion. We see it in
familial relationships and collaboration among Jagjaguwar
artists and the ways those artists’ most treasured
collaborators make their ways to the Jagjaguwar game
board.
 ‘Join The Ritual’, a piece of Jagjaguwar’s 25th Anniversary
celebrations, looks to pay homage to the labels and artists
that, whether they know it or not, invited Jagjaguwar to the
table, to this wild, dark magic ritual of music. We’re talking
about independent titans like Drag City, Too Pure, K
Records and Touch & Go. We’re talking about heroes like
R.E.M., Slint, Stereolab and Tracy Chapman. These songs
captured the imaginations of founders Darius Van Arman
and Chris Swanson - and ultimately, opened up worlds to
them.

Forming off the back of contemporary jazz outfit Zeitgeist, Voronoi take the power and rhythmic complexity of heavier prog-metal and fuse it with the sophistication of classical music and jazz. A passion for science fiction thematically drives the band’s heaving and

chopping style, whereas artists such as Autechre, Car Bomb, Tigran Hamasyan and J.S. Bach help shape the rigid, experimental structure of The Last Three Seconds.

“Compositionally and stylistically we have moved into much heavier territory than our contemporary jazz foundations,” says Keyboardist Aleks Podraza. “It really shows. If you were to put this record against the first tunes we played together as Zeitgeist, it would be like introducing a much capable Thelonious Monk to a less hectic Dillinger Escape Plan.” 

As the first single off The Last Three Seconds, Gamma Signals serves as a toe in the water for the depth of things to come. The full-bodied riffwork captures the stop-start format of prog-metal heavyweights without being explicitly metal. Yet beyond this, glitchy, experimental electronics cut through the composition like a knife. The final product is something that captures the magic of the cosmos – a place where worlds orbit worlds, genres orbit genres. Each element remains different and unique, but still intrinsically tied to the other.

“Gamma Signals is about pulsars and how when Jocelyn Bell-Burnell first discovered them, the media thought they were aliens trying to contact us,” says Podraza. “Broadly, this song is about my love for and fascination with cosmology as a whole. That's a theme that runs through the veins of most of the album.” 

Those following Vorono’s career will need little convincing on the quality of The Last Three Seconds. Collectively, band members have performed and recorded with groups like The Cinematic Orchestra, KOYO, NJYO, Jenova Collective, The Often Herd, Mik Artistik’s Ego Trip, Wandering Monster and more. This in turn has garnered sizable attention at festivals such as Leeds and Reading Festival, Download Festival, Ronnie Scott’s Jazz Club - not to mention Voronoi’s thrashing set at 2019’s ArcTanGent.

The cool and collected chaos of The Last Three Seconds serves as a snapshot of this live energy, as passion and fury hum at the end of every complex composition. From start to finish, the record is nothing less than executed perfectly, undoubtedly appealing to even the most seasoned of prog-lovers

Proud to announce the first vinyl-only release of Rythmē, the Turin queer party made with the effort of all of his lovers and dancers. The A-side opens with “Tomorrowasteland”, an open question about the dancefloor of tomorrow – a dystopic stomper with ready-made and punk attitude. Hard Ton served a luscious waterfall of synths on their original take of Fabrizio Modonese Palumbo’s song while Matteo Coffetti “Kelakitun’s Pipe” explore an exotic imaginary with an Indian touch. Last but not least, an original track of Barabbah closes this heavyweight vinyl with a sunny and techy stomper. And yes, inside the sleeve there’s also a download code for a Rythmē exclusive and digital only edit…

A work that literally immerses the listener into an acoustical substance. The sound becomes almost like matter, like jelly. Soon, you're swimming in sound, getting lost inside it.

With the Sonic Waters project initiated in 1978, my aim was to situate field of electronic music within a liberating and futuristic experience, outside the concert halls and in sync with the development of new instruments - in particular the Synclavier digital synthesizer, the first model of which I acquired in 1977. As concert space, the Pacific Ocean seemed to me to be the ideal experimental medium for both acoustic and cultural reasons. I then developed the aesthetic and technical elements that would contribute to the conception of Underwater Music. Numerous performances would follow spanning four decades, in natural sites or in large public pools such as those of Sydney, Paris or Venice during the 2006 Biennale.

Michel Redolfi (1951), French composer and sound artist, is the founder of Underwater Music. The natural elements captured and highlighted by experimental technology are a constant in Redolfi's catalogue: many compositions explore the earth environments such as in 'Pacific Tubular Waves', 'Jungles', 'Desert Tracks' (re-released on Sub Rosa records) and especially with 'Sonic Waters', a work that literally immerses the listener into an acoustical substance. During the mid-seventies Redolfi carried out his electro-acoustic research in the United States, with major electronic music centers including the California Institute of the Arts and chiefly the University of California in San Diego. As invited resident of their studios, Michel Redolfi launched the underwater music concerts, with the series 'Sonic Waters' performed in the Pacific Ocean. Michel Redolfi's underwater creations have since been regularly programmed by major international festivals, with multi-media installations held in ecological marine reserves or in historical city pools. Among them, the Sydney Festival, Paris 'Nuit Blanche', Ars Electronica in Linz, the 2006 Venice Biennale (nominated Golden Lion) and lately the 2018 Ars Musica festival in Brussels. This record presents different variations of Sonic Waters from 1980 to 1987, alternating studio mixes with their re-recordings in the depths of the Pacific. Michel Redolfi CD's and LP's are currently published by Sub Rosa, INA-GRM and Radio France.

3rd tape in this proper skuzzy series on the Group A related 'NO RECORDING'. On point for those who like the grimy things in life. TIP!

"Vol.3 is an Exquisite Corpse issue!"
The feeling of social isolation during the lockdown in the winter of '20/21 led us to work collectively and collaboratively. We explored the possibilities within the limitation of the concept of NO Recording project and adapted the method of Exquisite corpse.
Featured artists: Cienfuegos, group A, Horoscope, Isabella, Joachim Nordwall, Nick Klein, Tot Onyx, Wilted Woman

Far Out Recordings presents the peerless and criminally undervalued Quartin catalogue, beginning with the reissue of Jose Mauro’s forgotten masterpiece Obnoxius. Over the course of the 60s, Roberto Quartin released more than 20 albums in Brazil on his label Forma, by artists including the likes of Eumir Deodato and Quateto Em Cy. Selling the rights of Forma to Polygram in 1969, Quartin struck out for pastures new at the dawn of the 1970s with the launch of his self-titled label. Significant works and high-water marks for Brazilian music overall followed in that decade’s first year, with Victor Assis Brasil Plays Antonio Carlos Jobim and the aforementioned Obnoxius. These singular gems in Brazilian music, difficult to categorise yet compellingly haunting, have for too long gone unheard.

Today, very little is known about Jose Mauro and as a result those searching for some kind of insight on the man behind the music must attempt to glean what they can from the music itself. One rumour claims he died in a car accident shortly before the album’s release, a fact that could have lent his brief musical career a touch of mythology were it not for how scant the details concerning any other aspects of his life are. The political turmoil from which the album emerged is significant also; recorded during an era of oppressive state censorship, the album, like all the Quartin catalogue, is the result of steadfast defiance in the face of a crushing military dictatorship. While many musicians of the era fled the country, preferring their prospects in the affluent, liberated USA, rebellious, young musicians like Mauro chose to stay and reflect their anger at the authorities through thinly veiled protest songs such as the stirring ‘Apocalipse’. Herein lies the basis for a more dramatic theory; that Mauro was in fact abducted by the military! Whatever the truth, the mystery remains unsolved, and all that remains is his bewitching music, all of which is composed by Mauro and Ana Maria Bahiana. Production on the record was cancelled after Mauro’s death and it was never sold commercially until its rerelease decades later. What appeal does Mauro’s music hold to today’s listeners, forty-something years removed from its conception? Simply put, there is very little else that sounds much like it all. Take the title track of ‘Obnoxius’. A wholly singular piece of music, blending string-drenched melancholia with orchestral pomp, sunny psychedelic strumming with propulsive percussion, topped off with Mauro’s yearning vocals. The result is indicative of Mauro’s unique blend of sounds from Latin Jazz and samba to psychedelic folk and baroque orchestration.

Today, Obnoxius retains its strange, otherworldly appeal – A firm favourite amongst a small circle of deep diggers including Madlib, Gilles Peterson, Floating Points. Jose Mauro’s mournful and melancholic vocals create a dark, brooding atmosphere that stands in contrast to the usual joyfulness and high-spirited rhythm of the more prominent Brazilian music of the era. Despite this air of foreboding, Mauro’s confident baritones, chord patterns and sumptuous arrangements have the ability to induce in the listener an almost trance-like state of ecstasy. Mauro’s long hidden masterpiece, a complex and uniquely stunning work is being offered the chance to be heard by the wider audience it has always deserved. A second Jose Mauro release, A Viagem Des Horas, compiling more incredible tracks unreleased in Mauro’s lifetime, will follow, alongside other unreleased jewels from the Quartin catalogue, from the likes of Piri and Victor Assis Brasil…

Revered Danish producer and live performer KÖLSCH follows his 2013 hit album "1977" (KOMPAKT 276 CD 107) with the new full-length "1983", again chaining up heroic techno tracks for a grandiose sonic journey to the vibrant heart of today's dance floor. PRIORITY RELEASE

Coupling contemporary production pizzaz with nostalgia-tinged soundscapes and sweeping melodies, this opus acts as both a skilfully composed portfolio of personal memories and a sublime collection of crowd-charming cuts - a modern classic in the making, coming from a master of his craft.

1983 features collaborations with Gregor Schwellenbach, Waa Industry and WhoMadeWho's Tomas Høffding.

Hot on the heels of SPEICHER 84 (KOMPAKT EXTRA 84), featuring club crackers DERDIEDAS and TWO BIRDS, the latest full-length offering from KÖLSCH is very much a travel album: "When I was a kid in 1983, we used to drive through Europe every summer on the way to the south of France", he explains. "A lot of my early music memories stem from these long travels, as we would listen to all my father's favorite records on the cassette deck. After getting a walkman, I would make up my own soundtrack for travelling, with early electro and hip hop creeping into my life. My father of course did not like it, and it never grace the official cassette deck of the car, obviously"

These trips became a primary source of inspiration to a hungry young mind forced to sit on the backseat of a car for several days: "they were also journeys through the seasons. In Denmark, it would be spring time, so I could nearly see us driving through spring into the summer. The scenery would change, and so would the mood in the car." Informed by the symbolic quality of these slightly gauzy childhood memories, KÖLSCH's unique melange of emotional and functional elements works exceptionally well for the full-length format - a seamless transition of musing introspection and explosve expression, where catharsis never seems far away in dance-ready techno vignettes like MOONFACE, UNTERWEGS or PACER.

From beatless opener and title track 1983 to the filigreed piano banger DIE ANDEREN or the bleep-infused synth-fest E45, each cut operates as its own little time capsule, storing bits and pieces of recollection and then magically transforming them into epic, beat-driven soundscapes. Confronted with other producers' input (and other memories), these traits find themselves extended in the most interesting ways - TALBOT, THE ROAD and CASSIOPEIA (also featured on KOMPAKT EXTRA 79) make excellent use of GREGOR SCHWELLENBACH's emotive orchestral flourishes, while BLOODLINE's lyrics come to life thanks to the distinct timbre of TOMAS HØFFDING of WHOMADEWHO fame. A new powerful take on an earlier collaboration, PAPAGENO 30 YEARS LATER not only rejoins WAA INDUSTRY on vocal duty, but also ends the album on a wonderfully elegiac, yet hopeful note - basically turning water into wine, as we've come to expect from KÖLSCH.

Following their critically acclaimed eponymous debut in 2018, international
jazz quartet SCOPES bring their blend of accessibility and adventure to
Whirlwind Recordings for their second album, ‘Age of Reason’.
Led by Austrian drummer Mathias Ruppnig, German bassist Tom Berkmann
and French pianist Tony Tixier, American altoist Matt Chalk makes his debut
with the quartet on this their second full-length release.
The group’s second release is a personal and philosophical reflection on the
pressing matters of a time, when all generations need to come closer together
and become more aware of their surroundings. That feeling of maturity emerges on Age of Reason too - it’s the first SCOPES recording to feature the compositional skills of each member, delivering some thrilling results.
Age of Reason opens with ‘Deep Water’, a Tixier composition that carefully balances drive and expansion in a “dive into the depths of our biggest unacknowledged dreams.” For Ruppnig, the album’s aims are encapsulated by this tune
“the songs have an easy feel, and they’re not too specific - every musician has
the space to have his own voice speak.”
The title track follows with its combination of melodic ease and structural
space, whilst other tracks include ‘Gift of Time’, a tune born from the idea of
how precious time is. Unable to tour or perform, SCOPES used that time constructively to create and explore the new sounds heard on Age of Reason.
Summarising, Ruppnig describes Age of Reason as a “transportation of feelings.
“It’s a very emotional album, and I hope listeners will find their own stories
when listening to it.” SCOPES make that task a pleasant one for audiences of
all dispositions.

Italian experimental music is notoriously resistant to definition and location. If ever there was an object to encapsulate the spirit of that movement, it is the composer and musician Roberto Musci’s debut album from 1984 - The Loa Of Music. Recorded after a decade travelling the world - drifting between African, Indian, and the Near & Far East - studying music, making field recordings, and collecting instruments, not only is it a perfect culmination of such an experience, but a lens into the rigorously democratic and international spirit of the generation of artists to which Musci belongs. Phenomenally ambitious,The Loa Of Music entirely refuses the well trod path - distilling a remarkable range of sonic reference and reality. A work of field recording, musique concrète, electronics, synthesis, and instrumentation, pulling from countless musics from across the globe, the result is nothing short of brilliant and stunningly beautiful. A near perfect work - an egoless gesture, which rather than attempting to find consensus, offers every voice equity and cohabitation - harnessing the history music, with all of its cultural diversity, as a vision for a more ideal future. Geographies and their sounds intertwine, while Musci’s interventions and instrumentation thread a path. Ambiences ripple, sounds and voices converse in a vision of unity that may only exist within sonic realms. Unquestionably seminal, and one of the most important works to emerge from Italy in the last 50 years. Never before issued on vinyl since it’s original release, and surely not to be around for long, this is one not to miss.

The Jesus & Mary Chain picked the perfect time to make this record. Their sonic assaults and industrial pop could’ve only taken them so far. Proving that they were capable of making more intuitive and subtle art, Stoned & Dethroned positions the underlying desperation of the Reids’ music in a different light. Previously known for feedback-drenched pop songs and gothic surf / blues storms, The Jesus & Mary Chain followed a successful year of touring in 1992 (including a slot on the second Lollapalooza tour) by entering the studio to record an acoustic album. The sessions were the first time that principal members Jim and William Reid had embarked on a recording with a full band since their incendiary debut, but the results could not have been different. Though the hooks were still there, Stoned & Dethroned emerged with a calmer, almost folk / country-tinged sound. Any feedback appears as hazy atmospherics rather than pain-inducing squeals. The sound of the album nobly approximates the drugged swagger of the classic early-’70s Rolling Stones records, but with The Jesus & Mary Chain’s uniquely foreboding lyrical perspective.

Blending screamo and metalcore seamlessly, the three-piece drop their debut full length filled with blistering hardcore as well as slower, expansive and epic post-hardcore. Misery Never Forgets is a crimson slice of emotional violence, whose attack is both frenetic and draining, a maelstrom of vulnerability frought with pain and aggression that calls to mind such stalwarts as Pg. 99, Majority Rule and Zao. Born as an outlet for trauma, Wristmeetrazor toes the duplicitous line of suffering and salvation. This paradigm flickers brighter than ever through the cloak of darkness that is the band’s debut LP “Misery Never Forgets”, nine tracks of blinding, chaotic emotion. Conceived in the bedroom of guitarist and vocalist, Jonah Thorne, Wristmeetrazor started as a solo project influenced by the likes of screamo bands Neil Perry and Kodan Armada in Spring of 2017. Shortly after releasing a demo, Thorne enlisted help from bassist and vocalist, Justin Fornof. After releasing two EPs in the Fall of 2017, and touring across the southeast, the band rounded out their line up by adding drummer and vocalist, Bryan Prosser.