Suche:one mind

Between The Seed And The Timber is a cycle of six songs exploring ritual and mystical aspects of the modern era. At times both noir and psychedelic, they evoke a strong sense of nostalgia for a disappearing age. In contrast to industrial music’s dystopian semiotics, Jas Shaw challenges us to hear sounds inspired by machinery, electricity and mechanisation in a new light.

“I made the synth parts for a Swans gig,” says Shaw. “As SMD we’d supported Swans. James was away doing some production but I didn’t want to pass it up, so I offered to open solo. It turned out the gig was sooner than expected so I made all these synth things to do live.”

Shaw put the tracks to one side and forgot about them, only returning to them years later. “You know when you’ve changed as a person and you listen back to something from a different angle? I suddenly could hear what I had been after. It reminded me of experiences I’d had at Swans gigs. I wanted to achieve that energy and charge.”

Dubbing techniques are crucial to the sound of the record. “I set up a few synths on a table and had my mixer running loads of auxes back into the desk so it was all on the edge of feeding back. Then I realised that if I put a mic into the desk I’d have an extra feedback route. I found a setting where I could get it to build when I pointed the mic at the monitors but then turning it away you could put the brakes on the regen.”

Between The Seed And The Timber is Jas Shaw’s inaugural release for the London based, Kindred-affiliated TEETH label. TEETH is rooted in a reverence for texture, space, and sonic decay - amplifying experimental sounds that blend dreamlike melodies with weathered landscapes. Each release informs the next, with every track as vital as the last to complete the whole set.

Orchestrated by Jojo Mathiszig-Lee, founder of London’s Kindred, the label celebrates like-minded talent from the community, providing a platform for transgressing music.

Artworks are made by Scarlet Griffiths.

Leng Records proudly presents Everything You’re About to Hear Is True: Volume 1, a compilation carefully curated by Rotation Soundsystem. Brought together by Rotation founders Dean Meredith and Ben Shenton, alongside the Wrekin Havoc trio of Rob J, Stuart Robinson, and Rich Hall, this debut volume captures the collective’s shared vision – shaped by decades of crate-digging.

Founded in 2013, Rotation has grown from a modest gathering in Staffordshire into a thriving community of like-minded music lovers, attracting heads and partygoers from across the UK – and well beyond. What began as an intimate affair has evolved into a full-scale, three-day celebration, now held in a grand yurt and powered by a bespoke six-way sound system. The rig features four Klipschorns, two JBLs with twin 18” and 15” sub reinforcements, compression horns, and an Isonoe 420 mixer.

Meredith explains: “With the help of my brother, Martin, I’m constantly looking at ways to improve the setup. I love the way Larry Levan did that at The Paradise Garage. We have a few things that are custom-made. I want our system to be unique to us.”

According to regular attendee, DJ and writer Steve KIW: “In the right hands, the sound system at Rotation – very much Dean’s labour of love – is untouchable. The comparisons with Mancuso’s Loft come easily because they are deserved. There isn’t a bad spot in the yurt. Wherever you are, it sounds incredible.”

As the dancing continues through the weekend, the DJ line-up has grown to match the occasion. Guests and headliners have included a roll call of legendary selectors: Bill Brewster, Colleen “Cosmo” Murphy, Phil Mison, Nick The Record, Ruf Dug, Mark Seven, and The Idjut Boys — the latter playing a marathon 10-hour set in 2024. The parties have also featured live performances from Emperor Machine, Quinn Lamont Luke, Reuben Vaun Smith, and Orbs of Light.

Presented on gatefold double vinyl, this lovingly assembled collection is the result of decades spent digging through dusty crates, reflecting the selectors’ deep-rooted passion for uncovering rare gems and overlooked treasures. Decidedly European in spirit, the album brings together 14 rarities with standout selections from Belgium, Sweden, Italy, Germany, and France. The vast majority of tracks are true obscurities, and nearly every one is a mid-tempo bumper.

“This has been a long time coming – something we’ve always dreamed of doing. We’re incredibly thankful to Leng Records, who understand our vision and what we’re trying to build. This compilation pulls together some of our favourite tracks from over the years. It’s not just a playlist – it’s a journey, a window into the sound of Rotation,” says Meredith.

Bebedera takes the style of Tarraxo to a heightened awareness of its sexual nature. Tight, wicked layers of percussion, a suggestive ID ("Drinking is his life"), a slow pace that's not only perceptively slow, it sounds charged with intent, even malice, dissolution. Letting go of morality may be the big attraction in the music, permission to get down, this time in a heavy, conspicuous manner instead of a spiritual, breezy floatation. One has to recognize the impulse in ourselves. Once at peace with this rough nature, there are sublime grooves to follow, mind-boggling arrangements, a freedom from judgement in connecting with what may seem to be at first a very masculine take on dancefloor sensuality but which is in fact only human. Just with less filters.

In other ways, an aural combination of metal and flesh produces this notion of a cyborg, a very expressive physical body making its weight known to everybody around, a sort of walking fortress as in the "Moderan" group of sci-fi short stories. A glorious rattle of lata percussion, scraps from the junkyard. A sense of unease, even slight danger starts a flow of adrenalin. According to DJ Marfox, it's not the only thing flowing, there's also a strong desire for intercourse when a Bebedera tarraxo is playing. His very distinctive style has been a cult favourite for years. Accordingly, it took years to make contact, to reach an agreement, and the result is a set of classics that stretch as far back as 2014. Still the same punch, still the feeling no one has really stepped into this territory with such force.

Flipping the construct on its head, there's two Bebedera house tracks, we'd say almost an oddity, an abrupt change from the previous density of atmosphere, though they retain all the percussive bounce. Sensual, sure, a different tempo also letting through a romantic disposition other than the sheer physical attraction. One of the titles sums up the aesthetical power at play: "I Will Beat The Top High". As in reaching further out, further up. Wanting to. Time freezes - 2014 and 2016 (production years of these two tracks), fold up and melt into the Present. Where it matters.

Congratulations, Electro connoisseur! You are about to enter the Electrifying Dojo. A place where Sifu pdqb and Sensei Rolando teach a transcendental, one-of-a-kind neo-futuristic martial art that does not use hands but something far more delicate and powerful: MUSIC.

Blending martial discipline with the art of electronic music is something deeper, something that no words can properly describe. The skills you will be taught here are feeling music, embodying it. pdqb and Rolando believe that true harmony comes when the mind, body, and soul are united in the sounds that vibrate through the air.

The sounds of this first lesson are soft at first, almost imperceptible. But then they grow into a delicate, trembling melody that fills the room with an emotion that is difficult to place. It isn’t sadness, nor is it joy, but something in between. The more you listen, the more you will be aware of something strange: tears will fall gently, silently. They are not forced, nor are they out of sorrow - it is simply because the music feels so beautiful. Your deepest emotions will be triggered, every note will carry out an old truth, a secret truth, buried deep in your heart.

Another quality drop from Synaptic Cliffs. 4 dark and beautiful signature-style Electrocognition journeys from pdqb, playful with a modern twist while still remaining loyal to its roots. And on the flipside: two stunning, classic Rolando remixes, each with the potential to be the crowning moment in the club.

Since his first self-released album in 2017, Anders Buaas from Larvik has really made a name for himself in the prog-rock scene. He has previously played in several renowned Norwegian bands, worked as a producer, and was a touring guitarist for Paul DiAnno (Iron Maiden) and Tim Ripper Owens (Judas Priest). The new Anders Buaas album "Trollringen" is loosely based on and inspired by the novel of the same name by Norwegian author Sigurd Hoel - a historical saga, murder mystery and domestic tragedy inspired by a childhood discovery of an executioner's block used in the beheading of a murderer in 1833. On "Trollringen", Buaas has included songs with with lyrics and vocals for the first time. "All the songs were written between 2019 and 2025 without a concept in mind but fit the narrative of the story well. It is up to the listener to connect the dots. As I mainly focus on instrumental music, my main love and musical venture, I had some songs with vocals and lyrics that were unused. This was the time to fit them into an album. A live string section is also new to this release, as well as the use of soprano saxophone on the title track." He has brought in several internationally renowned vocalists to interpret some of the compositions on the album, including Tanya Wells, Tim Condor and Miriam Kjolen.

Purple vinyl, limited to 150 copies. Born from the murky industrial depths of Birmingham, UK, Margarita Witch Cult's self-titled debut studio album is a tour-de-force in classic metal, hard rock, doom, and mind-melting psych. A thunderous drum fill propels you into opener 'Diabolical Influence'- a lurching behemoth of a tune that makes easy bedfellows of crushing stoner riffs, Latin incantations, and a simply humongous chorus. The pace quickens with the frantic 'Death Lurks at Every Turn'- a hair-raising thrasher of breakneck snare rolls and unruly guitar solos. 'The Witchfinder Comes' only furthers the sense of foreboding, as tales of torture and pleas for exile fall on the ever-deafening ears of the listener. 'Be My Witch' comes in hot and heavy as a grungy ode to the forbidden, and the blistering 'Annihilation' concludes side A with speed-freak ferocity. The more adventurous and immersive side B is kick-started with 'Theme From Cyclops' - the deft chops of all 3 members being undeniable as we gallop into the ambitious, face-melting journey that is 'Lord Of The Flies'-a belting doom groover that culminates in a classic guitar & bass dual to rival even the most virtuosic of axe-wielders. As we near the end of our perilous sonic expedition, 'Aradia' serves up an instrumental serving of pure downtuned filth, with sleazy swagger and tasteful shredding that give extra provenance to its author's deep bag of tricks. The killer blow comes in the shape of the simply savage 'Sacrifice'- an unholy exhibition of undeniable force. The duality of the track makes for an experience that leaves our sweet listener reeling- the bludgeoning weight of its monstrous main-riff giving way to razor-sharp verses and a tripped-out, mind-bending psych jam- only to come crashing back to crushing reality as the final, fatal notes ring out. With their debut LP, Margarita Witch Cult have crafted a timeless, merciless beast- one that will chew you up and spit you out, yet somehow keep you crawling back for more.

Claremont 56 founder Paul ‘Mudd’ Murphy has been in a rich vein of creative form of late. Having released his first solo album in 18 years in 2024, the effervescent and picture-perfect 'In The Garden of Mindfulness', Murphy is well on his way to finishing solo LP number three – a set you’ll be able to hear in full later in 2025. To get us in the mood, he’s offering up a two-track taster featuring instrumental takes on cuts that will appear as full-vocal songs on the final album. Both were written with, and feature instrumentation by, regular collaborator Michele Chiavarini, an Italian musician, producer, composer, and arranger who has long been part of the Claremont 56 family.

Up first is ‘Mahalo (12" Instrumental Mix)’, a languid and emotion-rich groover built around a smooth, mid-tempo jazz-funk-goes-disco groove – think crispy drums, delay-laden hand percussion and rubbery bass guitar – and all manner of ear-catching musical details. As the track unfolds, you can expect to hear lilting strings, warming electric piano chords, mazy synth solos, heady horn-style blasts and glistening, eyes-closed guitar licks. It’s a genuinely superb slab of musically rich dancefloor warmth. The track that follows, ‘Mata Ne’, is an altogether dreamier and more dub-influenced affair. Featuring some sublime piano playing from Chiavarini, it sees Murphy layer simmering strings, cascading guitar licks, spacey synths and blissed-out melodic motifs atop the kind of chunky, dubby groove that has long been one of his aural trademarks. Offering positivity and melancholia in equal measure, ‘Mata Ne’ is Mudd at his most musically majestic. His forthcoming album will be worth waiting for.

deleted because bad quality !!!





'Hot Ring' sees label alpha-bear Stevie Kotey team up here with alpha-producer Bottin for a spicy, seasonal warmer. First conceived in a Venice studio session on one of Stevies regular DJ trips to Italy, the chunky discoid romper has finally seen the light of day.

The original is probably exactly what you would expect when the 1975-to-1983 music mind of Stevie melds with the Italo-movieslasher-synthbrain-tweaker that is Bottin. Lots of stabs, rolling bass and tight drums. All tied together with new synth sounds which you probably haven't heard before.





Things go dance-floor when Bottin re-rubs things down for the stripped down dub. UK based Fernando moves the groove a thousand or so miles north with a shiny and slick crisp-disco version.

Stevies 'Kotey Extra Band' collaboration album drops around Easter 2010 so stay tuned for a sleuth of bear love-ins.

“I cross the void beyond the mind. The empty space that circles time... Eternal wisdom is my guide. I am the Doctor!” Demon Records celebrates Jon Pertwee’s flamboyant portrayal of the famous Time Lord, 55 years after he made his screen debut on 3 January 1970. Available on Blue and 4 x Blue and Green Vinyl, with a beautifully illustrated cover, this set presents Jon Pertwee narrating two classic Doctor Who Target Books, an array of bonus Jon Pertwee audio appearances, and his own 1972 pop single, Who Is The Doctor? Doctor Who and the Curse of Peladon is Brian Hayles’ abridged TV novelisation set on a medieval-style world, and Doctor Who and the Planet of the Daleks is Terrance Dicks’s abridged adaptation of the Terry Nation adventure set on the jungle-like Spiridon. Bonus features are also included on each disc spanning the 1970s to the 1990s, including BBC radio interviews, a Goodwood Races sketch with Elisabeth Sladen, comedy featuring Mel Giedroyc, and tributes paid by family members and Doctor Who producers. This also includes a frameable photographic print of the Third Doctor. Accompanied by the BBC Radiophonic Workshop’s familiar Doctor Who theme, the Jon Pertwee Collection celebrates one of the most stylish, iconic and beloved Doctors of all

Enjoy The Ride Records and Enjoy The Toons Records in partnership with WaterTower Music proudly present |The Day the Earth Blew Up: A Looney Tunes Movie (Original Motion Picture Soundtrack) by Emmy-nominated composer Joshua Moshier (Baskets, The Shrink Next Door). Pressed on limited edition colored vinyl, this pressing is limited to 1,000 copies.

That’s not all folks! From Ketchup Entertainment, Warner Bros. Animation, director Pete Browngardt, and the creative team behind the award-winning “Looney Tunes Cartoons” comes The Day the Earth Blew Up: Looney Tunes Movie, a brand-new buddy comedy starring one of the greatest comedic duos in history - Porky Pig and Daffy Duck! This richly crafted, hand-drawn 2D animated adventure marks the first fully animated feature-length film in Looney Tunes history, told on a scope and scale that’s truly out of this world.

Porky Pig and Daffy Duck venture to the big screen as unlikely heroes and Earth’s only hope when their antics at the local bubble gum factory uncover a secret alien mind control plot. Faced with cosmic odds, the two are determined to save their town (and the world!)... that is if they don’t drive each other totally looney in the process. Featuring the voices of acclaimed actors Eric Bauza, Candi Milo, Peter MacNicol, Wayne Knight, and Laraine Newman with the laugh-out-loud gags, vibrant visuals, and beloved characters that make the Looney Tunes so timeless and iconic. The Day the Earth Blew Up: A Looney Tunes Movie arrives in theaters on March 14, 2025.

Though they may not have intended to do so, Naptown's trinity, also known as 81355 (pronounced BLESS), rang out as revolutionaries with their 2021 debut record This Time I'll be of Use. When Oreo Jones, Sirius Blvck, and Sedcairn come together, genre evaporates into enthralling poeticism and sonic hypnosis. Their sophomore LP Bad Dogs, releasing July 11th on Joyful Noise Recordings, acts as an expansive continuation of 81355's signature sound: an angelic, gritty, enthralling urban hymnal for the disillusioned mind. The history of 81355 stretches far back into the history of Naptown's creative scene. Jones and Blvck struck a match as one of Indy's most influential hip-hop collectives, Ghost Gun Summer, before they brought on Sedcairn (Moose Adamson) in 2020. Before Adamson infused 81355 with his melodic soundscapes, he produced Grampall Jookabox, an underground indie meets jangle pop project. Though they may be known primarily for their musical notoriety, the members of 81355 are steadfast in their commitment to uplifting their community with collective creative expansion. Sean (Oreo Jones), alongside his partner Jane Sun Kim, produces and curates Chreece, the largest Midwestern Hip-Hop festival hosted in the heart of Naptown. Niq (Sirius Blvck) is pivotal in the empowerment and advancement of Indy Hunger Network, a local non profit that addresses food insecurity across Indianapolis. Moose (Sedcairn) is a key contributor to Joyful Noise, an Indy based independent label cutting records for artists of all genres. For the first time, the project's live band is part of the production, with Sharlene Birdsong on bass guitar, Dimitri Morris on guitar, and Pat Okerson on drums. The Bad Dogs listening experience also seeps into visual realms: a short film titled Sleep Study will be released in tandem. Sleep Study_soundtracked, written, and produced by 81355, who also star in the film alongside friends and fellow artists from the community_features afrofuturistic sci-fi undertones that explore the toxifying implications of algorithmic control, postmodern brain rot, and late-stage capitalism. As the texturally emotive punctum of its cover art (painted by Stockholm based artist Julia de Ruvo) conveys, the heart of Bad Dogs draws its perseverance from the wild reservation dogs pulsing through the rust-hued indigenous lands of New Mexico and beyond. They are untethered in their roaming, sacred in their fierce communal belonging, yet undefined by a physical place. A vital essence mirrored by 81355: boundaryless, primal creative cultivation that defies what some may attempt to categorize as hip hop or progressive rap.

The one-of-a-kind solo album by legendary jazz bassist Isao Suzuki—originally released in 1981—is now reissued on analog vinyl!

Crafted entirely by Suzuki himself through meticulous multi-track recording, the album features an eclectic mix of instruments including upright bass, Hammond organ, vocoder, Taishogoto, and erhu, along with his own vocals. Not only did he compose and perform all the music, but he also designed the jacket artwork and wrote the liner notes, making this truly a singular, self-contained expression of Isao Suzuki in every sense—a bold, genre-defying one-man masterpiece.

Back to the 80s: A Holy Grail of Italo Disco Returns on Vinyl

Oh, those magical 1980s… an era forever entwined with iconic music that still stirs the soul. For the young, it’s a source of fascination; for those who lived it, a flood of unforgettable memories. And when you combine that nostalgia with a collector’s thrill and the magic words “Italo Disco”, only a handful of legendary labels come to mind. One of them? Sensation Records: the experimental sub-label of the iconic Disco Magic, headquartered at Via Mecenate 78/A in Milan. Known for its distinctive blue label, Sensation was home to less commercial, often bold and boundary-pushing releases – tracks that dared to be different.

Today, Vintage Pleasure Boutique dives deep into the vaults of Sensation Records to revive one of the genre’s most coveted treasures: Marylinlove – “Another Love.”

Produced by none other than Bruno Mosti – a mastermind behind some of the most sought-after Italo tracks of the era. This is more than a reissue. It’s the return of a true cult classic, a holy grail for collectors and genre lovers alike.

If you know, you know. And if you don’t, this is your moment to own a piece of history. Don’t miss your chance to grab this stunning vinyl reissue, before it disappears again.

Accomplished Polish beat-maker Emapea has made memorable appearances on many Cold Busted label compilations – such as in the IWYMI and Bust Free series – and has been selected for inclusion in Mark Farina’s next Mushroom Jazz installment. All this activity has mouths watering for the debut full length album from Emapea, and the appearance of Seeds, Roots & Fruits doesn’t disappoint one bit. Featuring sixteen exceptional tracks ranging from hip hop to acid jazz to psychedelic trip hop in the style of Mo’Wax, Emapea’s long player is indeed, as a wise man once said, “a journey into sound.” Seeds, Roots & Fruits rises above the average beats album to reveal the enduring depth of this young producer

The debut album from Addy Weitzman, ‘Light Months Will Fly Over Us’ explores new-wave, romantic pop and art rock with elegance and ambition, drawing from Weitzman’s scattered network of collaborators, as well as a “frighteningly vast” personal archive of compositions. Sequenced by Seth Troxler and released on his Slacker 85 label, it represents a pivot in musical direction for the imprint, and a showcase for the songwriting craft Weitzman honed as a member of cult electro duo Footprintz, and Montreal synth-pop projects The Beat Escape and Dawn to Dawn.

The title Light Months Will Fly Over Us is derived from a line in a poem by the Russian writer Anna Ahkmatova. Weitzman was immediately struck by its “hopefulness, its mystery… it gives the feeling of being suspended, hanging in a dream-like state”. This interpretation has been translated to the album, rich in memorable songwriting that nonetheless invites the listener to lean in further. Delicately mixed by engineer Pierre Guerineau, known for his work alongside Marie Davidson, each of the eight tracks gently interrogates life’s greater mysteries; fear, love and salvation, each defining and revealing the human soul.

Opener ‘End of The Line’ invites us into an immediately lush space of lounge lizard existentialism, soft brass and piano helping Weitzman introduce “where the journey begins and the fantasy dies”. Across orchestral arrangements arranged by Adam Wilcox, whose sensitive, ambitious compositions are weaved throughout the album, ‘Beyond The Speed of Life’ brings to mind the laments of Scott Walker. Navigating vulnerability via grandeur, Weitzman’s earnest vocals flourish in wide-eyed call-and-response with the object of a transcendent love affair.

Alongside collaborator, Richard Lamb, the next chapter of the LP plunges into contrasting machine-driven moods; the wry, bubbling ‘Entertainment Is All I Wanted (And I Found It)’ is imbued with the playfulness and experimentation of 80s electronic pioneers such as Fad Gadget, while the tougher, icier ‘Stranger To Your Kind’ shifts in a more instrumental direction, recalling Weitzman’s dancefloor experience, as well as contemporaries such as Matthew Dear.

Album centerpiece and striking first single ‘Running & Returning’ is the first of a suite of three tracks in collaboration with Weitzman’s The Beat Escape and Dawn to Dawn bandmate, Patrick Boivin. Blending lush saxophones and angular guitars with a wistful melodic touch and lyrics, its irresistible art-rock rhythm provides the foundation for one of Weitzman’s most involving vocal performances.

It’s followed by an anthem for existential absurdity: ‘Ice Cream Candle’ provides a driving acceptance that “the more and more you learn, the less you understand”; Weitzman submits to this uncertainty with equal grace on ‘No Man’s Land’, as baroque invocations of “words swept through the fields” and meeting “where the water lilies grow” give way to a blistering guitar solo, humbly riding hypnotic percussion.

For the compassionate finale of Light Months Will Fly Over Us, Weitzman narrates the experience of ‘Gabrielle’, a woman slipping between rooms between shuttered blinds in the towering city, “where cigarettes and roses fill the air.”

As lyrically delicate as it is musically ambitious, Light Months Will Fly Over Us is a sublime debut album, enriched with care, love and much-needed enchantment.

Pelican has always been a band that's not just from Chicago, but distinctly of Chicago. Formed in 2000 by guitarists Trevor Shelley de Brauw and Laurent Schroeder-Lebec alongside brothers Bryan and Larry Herweg on bass and drums respectively, Pelican's foundation was built upon the rule-free, genre-agnostic scene synonymous with the Fireside Bowl. "The `90s in Chicago was a free-for-all. Everyone was just coming from a place of pure creativity," says Shelley de Brauw. With Schroeder-Lebec returning to the band following Dallas Thomas' departure in 2022, this reunified version of Pelican allowed the band to tap back into the spirit of their formative era and build something distinctly new with Flickering Resonance. While longtime Pelican fans will recognize the album as an update to the band's ethos_one that's been constantly evolving since their very first EP_their new partnership with Run For Cover Records emphasizes something that's always been implicit to the Pelican formula. These songs take as much inspiration from titanic `90s post-hardcore, space-rock, and emo as they do traditional metal, showing that though Godflesh and Goatsnake records occupied the shelves of Pelican's songwriters, so too did Quicksand, Christie Front Drive, and Hum. "A lot of people didn't hear it at first," says Schroeder-Lebec. "I was like, well, I guess the metal world is where we fit. But now, we're more willing to acknowledge all the suits we're wearing."On Flickering Resonance, Pelican doesn't attempt to reinvent itself as much as emphasize the elements that were so often overlooked. Though Pelican's thick sonic backbone remains intact, the songs on Flickering Resonance show a more humanistic side of the band. Tracks like "Evergreen" and "Indelible" tease Pelican's doom-metal roots, but these songs feel equally, ebullient and truthful, playing like Texas Is The Reason songs transmuted into a post-rock landscape. Recorded with longtime musical compatriot Sanford Parker, who recorded their first EP, Pelican begins this new chapter of their career with an album that's neither full reinvention nor back-to-roots revivalism. After so much time apart, and with so much life having been lived between the original Pelican lineup's last recording sessions together, the band approached it with renewed vigor and a more communal spirit."There was more room for openness and critique with the understanding that we're all trying to craft the best song possible and that every suggestion is valid until it's proven invalid," says Shelley de Brauw. That process allowed everyone to embrace the material with a shared vision. "We didn't move forward unless we all wanted to move forward, and that felt like real community building," says Schroeder-Lebec of this unified approach. "I went from seeing it as my art and my craft to our craft that we were shaping together."In doing so, Pelican allowed themselves to look at their music less as a means of hard-earned catharsis and more as an appreciation for the glimmers of joy that occur even in the bleakest landscapes. Songs like "Cascading Crescent" and "Indelible" don't languish in what's been lost, these tracks see the band embracing what remains in their hands instead of lamenting what's slipped through their fingers. It's a concept that's mirrored in the artwork of Christian Degn that graces the cover of Flickering Resonance. It's a piece built off the concept of flame meditation, and how the smallest flames can often bring about the biggest transformations. A song like "Flickering Stillness" exemplifies this feeling through its sonic expanse, putting the band's sonic density and hyper-focused clarity on display, but with an emphasis on the profound human connections that have kept Pelican going all these years. "When Laurent left and we were able to carry it through, there became a real sense of gratitude for the fact we still have this artistic outlet and a community of people who want to be a part of it" That feeling of deep, grounded appreciation isn't just one that's within the band members, it's expressed in every track on Flickering Resonance. Because at the very core of Pelican, are four individuals who have grown both separately and together, and always will.Like a distant light faintly glowing in the darkest night, Flickering Resonance is a reminder of all that has passed us by, but also all that is still to come.

sychedelic hard-rock Holy Grail, originally released by this Greek band in 1976 but sounding more akin to late 60s / early 70s.
Highly recommended to fans of HEAVY-FUZZ guitars, think DARK, FIRE, OPEN MIND or even SPACEMEN 3 circa “Revolution”!
The 4 Levels Of Existence (Τα 4 Επίπεδα Της Ύπαρξης) formed around 1974 in Athens from the ashes of a band called
Frog’s Eyes. Some of their influences were groups like Deep Purple, Led Zeppelin, Who or Iron Butterfly as well as traditional Greek music.
They recorded their sole album in just 10 hours with no overdubs and it was eventually released (500 copies only) on the small Venus label. The cover artwork was created by guitar player Athanasios Alatas. The band sadly split soon after but they left behind one of the most legendary and sought after albums not only from Greece but also from the worldwide heavy-prog scene.

In 2006, Danger Mouse is King Midas of the music world. He has an uncanny knack for creating jagged, dense, frenzied beats and odd, eerie, vivid soundscapes that never compromise the music's natural flow. Meanwhile, rapper and singer Cee-Lo, a veteran of Atlanta's Dirty South scene, has never been one to be constrained by hip-hop conventions, and is a willing partner in adventure. The result is an intrepid psychedelic blend of pop, hip-hop, soul, and rock that consistently challenges and delights. It's no wonder that "Crazy," with its modest riff, irresistible hook, and disarming opening line ("I remember when, I remember, I remember when I lost my mind") became a worldwide Internet sensation a full six months before the official release of St. Elsewhere. But that relatively simple soul-pop gem is the tamest track on this wide-ranging, often dark and introspective collaboration. (In fact, the duo considers Gnarls Barkley to be a wholly new creation, as opposed to a collaboration of existing artists.) "Everybody is somebody, but nobody wants to be themselves," Cee-Lo croons on "Who Cares?" He and Danger Mouse try very hard not to be their old selves as they creatively and confidently break down boundaries, but the brilliant cores of their musical personae Cee-Lo's eccentric spiritual soul man and Danger's bold sonic explorer remain. Marc Greilsamer.

"World of Pooh immensely brightened the dark corners of San Francisco, California during the years 1983-1990, with their most recognized guise being the MMF trio that existed & thrived during the years 1986-1990. This is the lineup you’ll hear documented on this exceptional collection of 45s, compilation tracks and assorted ephemera. The band has ranged from being a footnote for some (“is that the band Barbara Manning was once in?”) to a fondly-regarded memory for others (“the Land of Thirst album is a forgotten classic”) to a turnstile, door-opening band for still others — like me. They arrived in my life as they were slowly exiting theirs, and I eagerly attended a half-dozen shows of theirs circa 1989-90 around San Francisco moments after I moved there. They were instantly my favorite local band, one I was instantly duty-bound to see whenever & wherever they played. Their jagged and discombobulated take on underground pop music was exceptionally fertile, feral and fetching, and it served as a personal gateway drug that flowered my own appreciation for many different kinds of subtle musical tension.
I also spent at least five glorious years watching Jay Paget, who drummed for World of Pooh and later the Thinking Fellers Union Local 282, ply his rhythmic trade with much aplomb. He was always a steady hand behind the musical wheel of innovative bands who often threatened to careen off course. And I’ll admit to an untoward admiration of (and fascination with) World of Pooh founder, guitarist and singer Brandan Kearney from the moment I met the guy. Not only was he exceptionally friendly and welcoming to a carpetbagging interloper quickly trying to horn in on his scene (me), he was at once one of the most quick-witted, self-deprecating, highly intelligent & musically conversant people I’d ever met. Everything he and his band were doing, along with the mind-boggling DIY gunk he was pushing through his record label, Nuf Sed, and via his multiple other bands (among them: Caroliner & Archipelago Brewing Company, with several more to follow), made me extremely curious and not a tiny bit jealous about these wiser, weirder and musically more daring freaks who were making art, love & war in the relatively grittier & non-gentrified San Francisco of the day.
What I’ve learned in the 35 years since the band broke up is just how highly regarded they were (and remain) by not only those who saw them, but by a now-considerably larger group of humans who’ve subsequently heard & loved their records. I know that their place in the late 1980s was a small but special one, and I’ve seen plenty of online clamoring for more, more, more about this ephemeral and poorly-documented band. And rightly, here it is, lovingly assembled: their two hard-to-come-by 45s, a handful of comp tracks, and a quartet of phenomenal songs just coming to light for the first time, including that Half Japanese cover that dimly existed in my memory as a live song they naturally pulled off with sangfroid, from a time and space when we were all a little younger. - Jay Hinman"

Step back into one of the most exciting years in pop history – a time when boundary-pushing alternative anthems, flawless dancefloor fillers, global megastars and fresh faces all collided on the charts. NOW - Yearbook 1997 celebrates an unforgettable year of hits with 43 massive tracks across a 3-LP set pressed on gorgeous green vinyl.

LP1 kicks off in style, with the stunning jazz-drenched ballad from legend George Michael, ‘Older’, before Natalie Imbruglia's huge debut single ‘Torn’. The Cardigans had a #2 smash with ‘Lovefool’ and Hanson hit the US & UK #1 with ‘MMMBop’. ‘Barbie Girl’ from Aqua and the Spice Girls’ anthemic ‘Spice Up Your Life’ were both #1s, and Boyzone’s ‘Picture Of You’ was a huge hit and featured in the film ‘Bean: The Ultimate Disaster Movie’. Eurovision glory happened for the UK in 1997, and winners Katrina And The Waves with ‘Love Shine A Light’ close the first side…while over on the other, a second George Michael classic from his ‘Older’ album, the beautiful ‘You Have Been Loved’, opens ahead of another contemporary masterpiece ‘Secret Garden’ from Bruce Springsteen. Texas scored a UK top 5 with ‘Say What You Want’, and Sheryl Crow had a top 10 hit with ‘A Change Would Do You Good’. Paul McCartney’s ‘Young Boy’ is next before ‘Ready To Go’ which gave Republica a Top 20 chart debut, and closing the first LP, Robbie Williams’ ‘Old Before I Die’, which became his second smash as a solo artist.



LP2 kicks off with Radiohead’s defining ‘Paranoid Android’, ahead of Kula Shaker’s hit cover of ‘Hush’, and alt-pop from Embrace (‘All You Good Good People’), The Charlatans (‘North Country Boy’) and The Seahorses (‘Love Is The Law’) before the side closes with Oasis’s huge #1 ‘D’You Know What I Mean?’ – the lead single from their third album ‘Be Here Now’… Flip the LP over and discover some of 1997’s dancefloor gold – opening with the club juggernaut and #1 ‘Professional Widow’ from Tori Amos, remixed for single release by Armand Van Helden, along with Olive’s UK #1 ‘You’re Not Alone’ and the huge ’97 ‘Now Voyager’ remix of ‘You Got The Love’ from The Source feat. Candi Staton. En Vogue’s powerful ‘Don’t Let Go (Love)’ is up next, ahead of ‘I Wanna Be The Only One’, a #1 for Eternal feat. Bebe Winans. LP2 finishes with pure pop gems from 911 with ‘Bodyshakin’, Backstreet Boys with ‘Everybody (Backstreet’s Back)’ and Steps with their debut hit ‘5, 6, 7, 8’.



The final LP opens with Pet Shop Boys’ and their brilliant version of the musical classic ‘Somewhere’, ahead of the genre-blending #1 ‘Your Woman’ from White Town, and the atmospheric ‘Out Of My Mind’ from Duran Duran. Suede’s plaintive ‘Saturday Night’ leads into three of the years’ electronic dance music highlights: Orbital provided the theme to the remake of ‘The Saint’, Moby with his re-imagining of the classic film-series theme: ‘James Bond Theme (Moby’s Re-Version)’ and The Chemical Brothers with the massive ’Block Rockin’ Beats’ completing the side…Turn the LP over for the final side featuring the debut from All Saints with ‘I Know Where It’s At’, and fabulous dance-pop from Whitney Houston with ‘Step By Step’, and both Ultra Naté and Dannii Minogue enjoyed euphoric hits with ‘Free’ and ‘All I Wanna Do’. Pan-European smash ‘Encore Une Fois’ from Sash! is followed by Ricky Martin’s global success ‘María’… but the final word on the collection goes to Elton John. His superb ‘Something About The Way You Look Tonight’ was one half of the biggest selling single of – not only 1997 – but of all time and ends the collection on a perfect pop high.



NOW – Yearbook 1997: A celebration of the diversity and creativity in the charts of a truly magical year in pop.