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Southern California hard rock mainstays FU MANCHU are announcing details of their forthcoming new album, itled "GIGANTOID," out June 9th the band's own At The Dojo Records distributed throughout the US and Europe via Cargo Records. After almost 25 years together, and following last year's Scion A/V Club split 7" with friends MOAB and 2009's "Signs of Infinite Power," Scott Hill and company return with their first full-length album in close to five years. Recorded with Andrew Giacumakis, singer / guitarist for he aforementioned MOAB at his studio in Simi Valley, CA, the album features a slightly more primitive, raw and ultra fuzzed-out sound than previous releases. "We wrote 17 new songs for this record and got our favorite 9 songs out of that together," says Hill. "We were planning on releasing a 'part 2' record later this year but have plans for some of the other songs to appear in early 2015 to line up with our upcoming 25-year anniversary."

Preston’s unholiest sons Evil Blizzard return with their most furious, compelling and diverse album to date, released on their own Crackedankles label, (which has recently branched out into releasing the likes of Hotwax, Thank, Bad Guys and TV Face.) Following the critical and commercial success of their last album ‘The Worst Show On Earth’ the band took a year off after that tour to recoup. And then got back together in March 2020, just in time for… another enforced year off. They did, however, release ‘The Very Best Of Evil Blizzard’ on vinyl, which was completely blank. And sold out in less than a day. The new album, their fifth, was written during and post lockdown and ‘reflects the claustrophobia, fear and paranoia of those days’ according to guitarist (not bassist!) Filthydirty. ‘The band has changed. One of our 4 bassists Kav left and we were joined by Fleshcrawl (aka Mr. Dibs, Hawkwind’s vocalist and bassist for over 12 years). Kav was inimitable as a musician, so it never crossed our minds to try and ‘replace’ him, so when Fleshcrawl scurried in he brought a whole new range of sounds and toys to the sandpit. Also, we’d run out of sonic space to play with, having just the basses, and everything had got a bit stale - so I switched to lead guitar which brought a whole new range of possibilities. 'The new album is much more representational of the band’s record collections: it retains the ‘Sabbath-meets PiL-meets Killing Joke’ sound found on the band’s earlier albums, but now encompasses dub, goth and electronica in its 8 tracks, with clear nods in the general direction of Sonic Youth, Jane’s Addiction, Leftfield and The Mission. As opposed to all previous albums which were recorded live in one or two takes, this album took over three months with the band meticulously de-structuring songs ‘that sounded too much like pop songs’ resulting in an album that is uncomfortable yet still accessible. Featuring cover art by the legendary Nick Blinko or Rudimentary Peni, the album is released in gatefold sleeve on black vinyl, compact disc and DL.

Leatherette’s 2022 debut album Fiesta offered an intense, inspired and individualist take on post-punk, their caustic riffs, fevered saxophone blasts and impassioned vocals revealing the five-piece skilled purveyors of the form.

The group's second album Small Talk, however, is clearly the work of a group ready to take flight in a new direction all their own. As they toured Fiesta across Italy and Europe, Leatherette grew tired of the genre's constrictions and yearned to spread their wings. Small Talk transcends all the group have done before and coins a voice uniquely their own, driven by the same furies that propelled Fiesta, but finding fresh new forms for expression.

The album boasts some of Leatherette's most unabashed pop-songs to date – albeit pop that's deftly twisted, pointedly perverse and ready to explode when you least expect it.

It also contains some of the group's most challenging and uncompromising noise yet, the violent swinging back-and-forth between ugly din and nagging tunefulness a (molotov) cocktail that grows only more addictive with each listen. Where Fiesta saw the group enter the studio with a batch of anthems they'd honed on the road, their approach for Small Talk was very different, leaving the sessions open to moments of on-the-fly invention and sparks of mad genius. The interplay between the five musicians is so much stronger this time around, the group say, a result of the months of touring the band put in following the release of Fiesta.

Living out of rucksacks and spending hours on the motorway in a tour van might not be everyone's idea of a good time, but that's what Leatherette credit with sharpening their intra-group bond, their almost telepathic feel for the sounds that will complement what their bandmates are playing. “We were more free to play and to rearrange, because we knew each other better now,” says guitarist Andrea Gerardi, “and the interplay is more focused on this album as a result.” The sessions for Fiesta were frustrating, Andrea says, because “we were playing the same songs over and over”.

Their approach was radically different for Small Talk, however, which saw the group file into Bronson, a local club where they've often played before, and record the album on the premises. After the sessions, the album was mixed in Bristol by Chris Fullard (Idles) and mastered in Portland at the legendary Telegraph Audio Mastering by Adam Gonsalves. "We recorded live, all playing together at the same time, rather than overdubbing the instruments," says Michele. The process, he says, "made us more coherent, and the songs more spontaneous." "Our strength is live performance," adds Andrea, "so we tried to capture that interplay. Sometimes we made errors, but we didn't care, because it sounded great. This music is our lives - it doesn't need correction. We were free for the two weeks we recorded the album, and the ideas soared in the most amazing way." Indeed they did. The album's see-saw between angular noise and pop coherence is very much its strength, and very much the sonic identity of this singular group

Get ready for psych funk and a cover from far left field. PP12005 has all the makings of an instant classic.

Enter the dark opium den — a release reminiscent of those pioneers of funk, early Parliament and Funkadelic. These found tracks by Bruce Marshall and Bill Thomas were likely recorded around the time of “Osmium” and “Maggot Brain” — in fact, the artists featured here may have been directly influenced by the movement as it was happening, making these discoveries remarkable entries into the history of psych funk.

Where to begin with Bruce Marshall’s Gimme My Wife on the A side? Try to imagine a psychedelic football game, with driving wah wah funk as the halftime show. The frenetic instrumentation is guided by an infectious guitar hook, coupled with a loose chorus of voices and whistle blows. They all come together at the end to chant what sounds like “parrrr-tay,” a foreshadowing of that refrain the Beastie Boys would popularize.

For our EP-exclusive track on the A side, we present to you a haunting cover of the Ides of March song, Vehicle. Bruce Marshall’s version is much more sparse — a psychedelic dirge that’s almost unrecognizable compared to the original. Dark, simmering and sensual, it explodes into a soul-splitting vocal wail as the track reaches its end.

Things get a little more solemn on side B with an instant classic by Bill Thomas, Ease My Mind Pt. 1. A surprising dirge of fuzzy guitar leads into a chorus that sings, like a mantra, “I have seen much trouble...ease my mind.” Things morph into tight horns backed by some prominent organ — in fact, this is one of the tightest horn sections on any of our releases to date.

For the exclusive EP B-side, Bill Thomas and band pick up right where they left off with Ease My Mind Pt. 2 — an extended instrumental of “Ease My Mind Pt. 1.” It kicks off with a drum solo, then throws you into some horn-driven funk, with guitars holding down the background. Sax and organ take turns on the lead in this hot and delicious track that’s ready for your enjoyment.

Funk is alive and well on our fifth release — adding a new dimension to the amazing body of psych funk that’s already out there. Who knows what could have happened had these cuts reached ears during the 70s — but the time for the Marshall-Thomas ship to land is now. Put this on to get your next party going, and it’ll do most of the work for you.

The forever exploring electronical entity of a band, Gusgus, has opened yet a new era in their unique sonic multiverse. With their 12th album, the course is set to a strange mysterious place called DanceOrama. A Rave-Mall in a nostalgic future, DanceOrama is the place to be, where you can experience infinite freedom, genre and gender free. Moving from the pulsating new-wave influenced techno pop of the last album “Mobile Home” (2019), Gusgus emits the vibe of DanceOrama on their new album as an arousing, melody-rich hybrid of 80s/90s parties and raves. The 9- track album is slated for a November 10th release. The release is evenly split up in euphoric fusioned pop anthems and genre-free instrumental journeys.

Gusgus‘ last album “Mobile Home” was the later of twin albums that found the band exploring early 80’s new wave influences and reviving them in the iconic Gusgus soundscape. The highlight on the album was a pulsating techno reggae track called “Higher” that introduced a new member into the band, Margrét Rán, the lead singer of “VÖK”.

Whereas on “Mobile Home”, the concept was stationed in a rural environment of a dystopian side reality, Gusgus now moves to the city. In this city of strange discomforting future omens, DanceOrama stands out as the rave-mall of freedom. Leaving the new wave influences, this album is a strange hybrid of the 80’s and 90’s parties twisted into a genre-free blend of arousing experiences.

The album consists of 5 instrumental tracks and 4 vocal pop songs, ranging from 105-158 bpm and exploring various influences from the 80’s and 90’s and even the 70’s in a strange fusion of techno, trance, italo-disco, house and pop that emits the rawness and innocence of previous decades. The pop songs are quite strictly set as stories related to the mysteries and rumors of DanceOrama. One track in particular will be very exciting for our fans, as it has been a regular final track on our live show since the album “Arabian Horse” in 2011. This is the track “Breaking Down” that was recorded during the album “Mexico” in 2013 with “Earth” and “Högni” on vocals but, due to emotional turmoil, has never been released until now.

"Join us as we welcome back New York Underground Funk Band with two more unreleased funk tracks from the early 1970s, “Funk & Soul” and “Wanna Be Free” — a more psychedelic take on their funk sound.

Funk & Soul states, “I’ve got funk and soul...don’t have to worry about a doggone thing” — and we’d have to agree. Yet another excellent track from NYUFB, though a little more psyched-out this time: imagine Sly and the Family Stone getting Jimi Hendrix for a session, then asking him to drop a fuzzed-out guitar solo. You might then end up with “Funk & Soul” — the heaviest, fuzz-driven Sly track you’ve never heard. Though it’s also NYUFB from start to finish.

Now that you’re in the right frame of mind from side A, you’re ready for “Wanna Be Free” — the deep funk B-side that trades out the spirit of Jimi Hendrix for the spirit of Jim Morrison. With all the respect that is due to these greats, NYUFB crafts their own psychedelic sound in this raucous cut that features thunderous drums and alluring interplay between organ and guitar. This was certainly designed to free your mind, and we believe the group succeeds.

These two tracks comprise one of our most exciting releases yet, as that promising band from the New York or New Jersey area further displays their remarkable range. These songs simply cannot remain buried. They’ve finally found their way to you on PP007, and we hope you’ll get a hold of it while you can."

"Join us as we welcome back New York Underground Funk Band with “Funk & Soul”, “Wanna Be Free”, and a previoulsy unreleased EP-bonus track ""By The Time I Get To Phoenix"" from the early 1970s — all a more psychedelic take on their funk sound.

Funk & Soul states, “I’ve got funk and soul...don’t have to worry about a doggone thing” — and we’d have to agree. imagine Sly and the Family Stone getting Jimi Hendrix for a session, then asking him to drop a fuzzed-out guitar solo. You might then end up with “Funk & Soul” — the heaviest, fuzz-driven Sly track you’ve never heard. Though it’s also NYUFB from start to finish.

Now, you’re in the right frame of mind for “Wanna Be Free” — the deep funk B-side that trades out the spirit of Jimi Hendrix for the spirit of Jim Morrison. With all the respect that is due to these greats, NYUFB crafts their own psychedelic sound in this raucous cut that features thunderous drums and alluring interplay between organ and guitar. This was certainly designed to free your mind, and we believe the group succeeds.

The B Side holds a very special treat— dig New York Underground Funk Band’s version of “By the Time I Get to Phoenix,” the Jimmy Webb-penned classic that gets a heavy soul treatment on PP12007. While covered many times, this hyper-syncopated interpretation is a standout with its long rap intro, call-and-response style singing and shimmering vocal harmonies.

These three tracks comprise one of our most exciting releases yet, as that promising band from the New York or New Jersey area further displays their remarkable range. These songs simply cannot remain buried. They’ve finally found their way to you on PP12007, and we hope you’ll get a hold of it while you can."

Next up on Toolroom’s 4-track vinyl sampler series, we welcome LA based DJ and producer Noizu to the label, debuting with his remix of Mark Knight, Green Velvet and Rene Amesz – ‘Live Stream’. Diving deep and pulling up a Toolroom classic from the 2016 archives, Noizu delivers a powerful rendition of ‘Live Stream’, ramping up the energy of the original to a whole new level, cutting it fresh for dance floors in 2023.

Next up and landing back on the firm during our 20th birthday celebrations is none other than Danny Howard, who returns to the label with a beefed up edit of a Toolroom classic – ‘Hear What They Hear’ by Adrian Hour. A secret weapon for DJs worldwide, released back in 2016 on Adrian Hour’s ‘Like This’ Ep, this B side became an unlikely hero that still gets hammered today by the likes of John Summit and Eats Everything. After doing the rounds at Glastonbury festival this year and beyond, Danny's update has turned one record with a solid dance floor reputation into a certified slammer!

Next up, we’ve got an absolute belter of a record from two renowned producers in the scene: Watermät And Raumakustik, with their debut collaboration ‘Out Of My Head’. Merging each artist’s signature sounds together, from Raumakustik’s solid production skills to Watermät’s penchant for locking in quirky and catchy vocal hooks, ‘Out Of My Head’ is a certified dancefloor weapon in the making.

Last but not least, is another label debut from London based DJ and producer, deeper purpose, who’s landing with a huge tech house roller, ‘The Stutter’. An artist creating shockwaves across the dance music spectrum, deeper purpose is fast becoming a familiar name in the dance sphere having earned a solid reputation as a producer with killer releases on highly regarded imprints such as off the grid, catch & release and repopulate mars. A staple record in all his performances, ‘The Stutter’ has shaken dancefloors all over the world, from EDC Vegas to Club Space Miami, to Ministry Of Sound London and beyond!

Countless Radio Plays on Radio 1 from Danny Howard, Sarah Story, Pete Tong

DJ Support:
Danny Howard, Annie Mac, Mistajam, Pete Tong, Charlie Hedges, Kraak & Smaak, Maxinne, Todd Terry, Alex Preston, Full Intention, Gw Harrison, DJ Rae, Rudimental, Alaia & Gallo, Illyus & Barrientos, Johan S, David Penn, Sam Divine, Riva Starr, Claptone

The Land of the Snow is a project and a state of mind of Joel Gilardini (baritone guitars, electronics, and drums programming), backed up on drums by Jacopo Pierazzuoli (Obake, Morkobot, and Deneb) TLOTS is devoted to massive, metal-oriented soundscapes: a constantly evolving sludgy mix of doom and post metal (often seasoned with noise and dub elements), which often takes its inspiration from alpine landscapes and Tibetan traditions The new album "As Within, So Without" (2023, Subsound Records) is about what's inside us, how we interact with the outside, and vice versa. Everything we do and experience through our thoughts, our skin, and our actions, constantly infuence our inner selves and our surroundings. It's a constant exchange and confrontation that drives our lives and pushes us to widen our horizons with each step we take. "As Within, So Without" was conceived together with Jacopo Pierazzuoli (drums), Eraldo Bernocchi (mix and additional guitars), and Petulia Mattioli (artwork). Joel is an experimental guitarist and sound designer, based in Zurich (Switzerland). Beside TLOTS, he is also known for his ambient- drone works (released on labels like ZeroK, Unexplained Sounds Group and Endtitles) and is a member of the noise-industrial combos Mulo Muto (with Attila Folklor, CH) and Psychic Drones (with Kazuyuki Kishino, JP)

The Land of the Snow is a project and a state of mind of Joel Gilardini (baritone guitars, electronics, and drums programming), backed up on drums by Jacopo Pierazzuoli (Obake, Morkobot, and Deneb) TLOTS is devoted to massive, metal-oriented soundscapes: a constantly evolving sludgy mix of doom and post metal (often seasoned with noise and dub elements), which often takes its inspiration from alpine landscapes and Tibetan traditions The new album "As Within, So Without" (2023, Subsound Records) is about what's inside us, how we interact with the outside, and vice versa. Everything we do and experience through our thoughts, our skin, and our actions, constantly infuence our inner selves and our surroundings. It's a constant exchange and confrontation that drives our lives and pushes us to widen our horizons with each step we take. "As Within, So Without" was conceived together with Jacopo Pierazzuoli (drums), Eraldo Bernocchi (mix and additional guitars), and Petulia Mattioli (artwork). Joel is an experimental guitarist and sound designer, based in Zurich (Switzerland). Beside TLOTS, he is also known for his ambient- drone works (released on labels like ZeroK, Unexplained Sounds Group and Endtitles) and is a member of the noise-industrial combos Mulo Muto (with Attila Folklor, CH) and Psychic Drones (with Kazuyuki Kishino, JP)

4LP is four black vinyl discs in two gatefold jackets + two 18 x 24 folded posters in a side-load slipcase + a printed insert for full album download. This is strictly for Indies only. 2CD is two discs in a six panel wallet + a 28 page booklet + printed insert. Misfits & Mistakes: Singles, B-sides & Strays 2007–2023 is Superchunk’s fourth singles compilation, a massive, 4-LP (or 2-CD) collection covering their triumphant return from hiatus. The amount of ground covered within its gorgeous packaging is staggering: 50 songs, 16 of which are on physical media for the first time, sourced from out-of-print releases, digital singles, compilations, and more, a vital piece of the Superchunk canon. Featuring extensive liner notes by Mac McCaughan (with additional notes from Laura Ballance), Misfits & Mistakes tells the story of each release, from why they chose to cover songs by The Misfits, The Cure, Destiny’s Child, and Bananarama, to working with collaborators like Katie Crutchfield (Waxahatchee), Jane Wiedlin (The Go-Go’s), Eleanor Friedberger, Damian Abraham (Fucked Up), Norman Blake and Raymond McGinley (Teenage Fanclub), and more! Mac writes: Who knew it would take a cartoon hamburger to kick off a new period of activity for Superchunk? When we recorded “Misfits and Mistakes” for the Aqua Teen Hunger Force soundtrack at Overdub Lane in Durham, we also recorded the first version of “Learned to Surf” which gave us an on-ramp for making new music after 8 years of playing sporadic gigs. It also reminded us what we liked about playing Superchunk songs, whether they’re our own or written by our musical heroes. This collection covers a lot of ground, from heavy touring years to a pandemic where we made singles and an album at home. One difference between this comp and our first three is that this time span completely falls in the digital age; the distance from a final mix to everyone hearing it is shorter than ever. I’ve always liked artists that were prolific—throwing out singles in between albums when you least expect it. A surprise release from your favorite band is one of the few things that can still bring a little excitement to what can seem like an endless deluge of “content” (puke). Hopefully the wild swings between lo & hi fi and originals and covers on this comp still allow for some coherence and, more
importantly, convey what’s FUN about this punk rock thing.

Enter the dark opium den that is PP005 — a release reminiscent of those pioneers of funk, Parliament and Funkadelic. These found tracks by Bruce Marshall and Bill Thomas were likely recorded around the time of “Osmium” and “Maggot Brain” — in fact, the artists featured here may have been directly influenced by the movement as it was happening, making these discoveries remarkable entries into the history of psych funk.

Where to begin with Bruce Marshall’s Gimme My Wife on the A side? Try to imagine a psychedelic football game, with driving wah wah funk as the halftime show. The frenetic instrumentation is guided by an infectious guitar hook, coupled with a loose chorus of voices and whistle blows. They all come together at the end to chant what sounds like “parrrr-tay,” a foreshadowing of that refrain the Beastie Boys would popularize.

Things get a little more solemn on side B with an instant classic by Bill Thomas, Ease My Mind Pt. 1. A surprising dirge of fuzzy guitar leads into a chorus that sings, like a mantra, “I have seen much trouble...ease my mind.” Things morph into tight horns backed by some prominent organ — in fact, this is one of the tightest horn sections on any of our releases to date.

Funk is alive and well on our fifth release — adding a new dimension to the amazing body of psych funk that’s already out there. Who knows what could have happened had these cuts reached ears during the 70s — but the time for the Marshall-Thomas ship to land is now. Put this on to get your next party going, and it’ll do most of the work for you. Get this special, split 7” on limited-run vinyl while you can.

Martha and Jessica Kilpatrick (aka Waterbaby) had a creative upbringing in South London – spending their days singing in Southwark Cathedral Choir or experimenting with recording ideas onto cassette tapes, such as trying to make their out-of-tune family piano and a flute sound like an electric guitar. Eventually settling together in an attic flat in Peckham, the sisters became quiet, mystical forces in the underground London scene, emerging in and out of the sanctuary of their studio to perform their hypnotic live show with artists as varied as Kedr Livansky, James K, TAAHLIAH, and Dorian Electra. The sisters’ insular and feminine sonic world showcases inventive song structures backed by dizzying layers of production – all crafted on their stash of lost & found analogue gear in their South East London studio, squashed between Hyperdub’s headquarters and a mechanic’s garage. In a world where the analogue and the digital seem to be in constant headlock, Waterbaby effortlessly solve the equation – operating in a space where Cocteau Twins-esque anachronism meets the sharper edge of contemporary experimental electronica. Press: “The 10-track album is a window into the duo’s alternate reality, where folklore and mysticism blend together to create a kaleidoscopic dreamworld of experimental electronica." – Dazed “The sisters often go to magical places with their celestial compositions … Across the album’s 10 tracks, there’s a great deal of artistic ambition within the arrangements.” - Loud & Quiet "Like a distorted transmission from somewhere out of time, Waterbaby serve as our conduits, lightning rods for pop music and art of a more mystical variety." - Fact Mag "Their long-awaited debut 22° Halo' locates their sound somewhere between the nebulous chamber pop of Cocteau Twins, the meticulous synths of Air, and the speculative electronics of Arca or Oneohtrix Point Never

Very limited vinyl pressing of the second edition, 500 copies, full colour single outer sleeve, newly designed full colour printed lyric inner sleeve. Transparent red vinyl with white splatter effect. Download included. CD in a 4-panel digipack with a 12-page lyric booklet. When the self-titled debut album from female Ukrainian punk trio Death Pill, came out on the 24th of February (a year to the day that Putin invaded Ukraine) the reaction was unanimous. ‘Death Pill have made one of the best crossover albums of the modern era’ - Metal Hammer // 'Death Pill are intensely furious. There is nothing on the Ukrainian trio's debut that isn't seething with anger or delivered with boiling vitriol.’ – Kerrang // 'A tirade of metalcore, thrash and hardcore, it’s a face-toasting listen’ - The Guardian // ‘This eponymous album is a real masterstroke and a sign not only that DEATH PILL are here to stay but that they are going to take a few scalps with them’ - Distorted Sound // Those lucky enough to witness Death Pill live on their recent Euro tour, would have also clocked something a bit special. Mariana Navrotska, vocals/guitar, Anastasiia Khomenko, drums and Natalya Syeryakova, bass are without doubt a ‘force majeure’. Thunderous thrash infused hardcore coupled with fantastic musicianship and attitude in spades. A truly thrilling live embodiment of their self-titled debut. So, with the vinyl and cd sold out, a repress of said debut was warranted. But this is not just a repress. This is that cracking debut … with a difference. The band explain …. “In the original first pressing of the Death Pill album, there were 2 Russian-language lyrics songs, which the band recorded before the full-scale invasion of Russia into the territory of Ukraine, and the band didn't have the opportunity to change these lyrics before the release of the album in 2023. From February 2022, the band performs its program only in English: - "We deleted from the story those lines that were written in Russian, and we no longer want to have them in our work. We wanted to change this even before the first release, but it was impossible due to a huge number of factors. During the Euro/UK tour in 2023, the girls had the opportunity to re-record the vocals for these 2 tracks in English. That is why in the second press of the first album we automatically have the release of two tracks.” So, not a repress, but a 2nd edition, with all the fire and vitriol still intact, now the official version of the album from this point on

Marjaa: The Battle of the Hotels” is a concept album born of the idea of merging singer & songwriter Mayssa Jallad’s two vocations: music and urban research/architectural history. Written in collaboration with producer Fadi Tabbal, the music builds upon Tabbal’s spatial approach to sound and Jallad’s research on Beirut’s Hotel District. The album is a reference to Jallad’s Historic Preservation master's thesis, in which she detailed the history of the “Battle of the Hotels”, a 5-months battle that took place in Beirut at the beginning of the Lebanese Civil War, from October 22nd, 1975 to March 29th, 1976. Jallad saw architecture as a main protagonist of the battle, as she discovered it was the first high rise urban battle in the world. The close of the battle resulted in the 15-year Green Line, an urban rift which split Beirut into “East and West”, restricting movement and communication and creating a violent divide that still resonates today. The album comprises two parts. Part A: Dahaliz, is a stroll in the city, where Jallad tries (and fails) to follow an old map. Musician Youmna Saba is a companion in this journey of remembering the once winding corridors (“Dahaliz”) of the city, destroyed by new developments since the 1960s. Empty skyscrapers propel her onto a past filled with the violence of snipers, and a present filled with the glamorous injustice of empty luxury real estate endorsed by powerful warlords-turned-politicians. In Part B: Maaraka, Jallad inhabits the building of the Battle of the Hotels, as its events unfold. She calls the fighting militias the Blues and Reds, respectively the Lebanese Front (Christian Nationalists) and the Lebanese National Movement (Pro-Palestinian leftists), leveling the playing field, and drawing a map of the battle through songwriting. Sary Moussa produces the conclusion of the battle in “Holiday Inn (March 21 to 29)”, which ends with the ultimate severance of the city of Beirut. The music caters to post-war youth who have never been taught this difficult history. Once we consider the “Battle of the Hotels” as our common heritage, it provides an opportunity to teach the value of civil peace. It is also a call to protest for the renewal, rather than the recycling of the political class that has once destroyed the country and holds us, to this day, hostage of its violence. Limited edition of 300 copies. 140gsm vinyl pressed at Microforum (Canada).

EIVIND LØNNING, ESPEN REINERTSEN, ROMKE KLEEFSTRA & JAN KLEEFSTRA

For IT DEEL II the Kleefstra Bros have collaborated with the Norwegian duo Espen Reinersen and Einvind Lønning (who also collaborate as duo Streifenjunko). Ten years ago the Kleefstra Bros saw Streifenjunko perform at WORM, Rotterdam (NL), and this always stuck in memory. This is why now for IT DEEL II they got together.
The music by Reinersen and Lønning, with the use of wind instruments and electronics, is experimental, but open. It finds a way between improv, jazz and soundart. And like Jacaszek (IT DEEL I) they work with field-recordings in their electro-acoustic music. Like the Kleefstra Bros, Reinersen and Lønning are intrigued by forests, and for IT DEEL II they brought field-recordings made in the forests surrounding Oslo (NO). During the recording sessions as a quartet, they created a dialogue between the forest sounds from Oslo and the Frysian forests, and their instrumental improvisations.
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The result you find on this new LP IT DEEL II is one of contemplation about how we treat our environment, our nature, and more specific our (local) forests.

Loud and explosive or quiet and solemn, post-punk or pre-noise: Vorwärts Rückwärts (ForwardBackwards) are your allies when you have the feeling that everything around you is falling apart. ForwardBackward gives you energy or comfort, depending on your needs.

We get upset. Very. We scream our frustration at the top of our lungs. Loud. But ultimately it doesn't matter at all. Like in the Bild newspaper - fucking blaming alarm every day, and then it doesn't matter at all. Tomorrow we will have already forgotten what we are upset about today and the day after tomorrow we will be upset about things that we have no idea about today. Doesn't matter! The main thing is that it is loud - has a good beat - a driving bass - sharp guitars and the words have a good sound. Until everyone's ears ring and the practice room smells like an old gymnasium. Now finally pressed on vinyl. Actually at least our fourth debut album. Quickly pressed the stop button and finished and finished a small, fine pralined selection. The sound of now. The Sound of everything and nothing. Viva la contradiction.

»Tropic of Capricorn« is the second album by Lawrence English and Werner Dafeldecker. Based on field recordings made by the prolific Room40 owner that were subtly but decisively altered with electroacoustic techniques through the German improv legend, these two long-form pieces blur the lines between acoustic ecology and aesthetic interventions, concrete local sound worlds and boundary-defying art. They put a focus on our relationship with nature as listeners as much as they call into question where nature ends and human perception begins. They are deeply confusing, disorienting perhaps, in the most beautiful ways.

English recorded the material that form the basis of the duo’s Hallow Ground debut on two different field trips. One led him from the Western coast to the Pilbara region in the North of the country called Australia, the other to the central desert into the lands of the Arrernte people. »These are vast spaces, and in some respects they shun contemporary ideas of civilisation which seek not to listen to the country,« says English. When recording the soundscapes, the artist put a focus on the residues of failed colonial aspirations. »The buildings and objects that remain from the failed cattle pastures and other endeavours create uneasy sound worlds of their own,« he says of the regions that are also places of extraction, especially the heavily mined Pilbara. »There is a distant drone of industry in even the most remote of places; an unsettled sense of heavy breath on the land.« He brought home a document of natural reclamation in time.

The rich source material was then given to Dafeldecker. Spatialising the recordings with transducers applied to different surfaces such as wood, stretched animal skin, glass, or metal surfaces and also re-recording parts of the recordings, he created discrete events that were inserted into, or rather enmeshed with English’s recordings. You’ll hear plenty of birdsong, insect noises and the sound of rain during these 39 minutes; the sounds of a life you can tap into if you tune into your environment. But there are also other things, things that are impossible to categorise even after repeated listens and that call into question whether or not those were really birds, insects, or the sound of rain in the first place. What »Tropic of Capricorn« invites its listeners to listen beyond the preconceived notions of how nature is supposed to be represented in sound and to instead embrace the immediacy of the sensation.

• 180 GRAM AUDIOPHILE VINYL
• SOUNDTRACK FROM THE BRAND NEW NETFLIX
ORIGINAL THRILLER MINI TV-SERIES LIEBES KIND (DEAR CHILD)
• SCORE BY THE OSCAR-WINNING COMPOSER
GUSTAVO SANTAOLALLA (BABEL, THE LAST OF US) & JUAN LUQUI (THE LAST OF US, FINCH)
• LIMITED EDITION ON CRYSTAL CLEAR VINYL



Liebes Kind is the 2023 Netflix psycho-thriller series, based on the novel of the same title by Romy Hausmann. The story follows a mysterious woman’s escape from her harrowing captivity, which points investigators toward the dark truth behind an unsolved disappearance

13 years earlier. Liebes Kind starts where traditional thrillers end with redemption, but the true extent of this nightmare is revealed with the arrival of Lena’s parents at the hospital the same night.



The series is accompanied by a captivating score by the critically acclaimed duo Gustavo Santaolalla and Juan Luqui. The two released their Original Soundtrack this September with the help of Robert Messinger and Sergio Chiappetta. The globally renowned multi- instrumentalist, composer, and producer Santaolalla is also known for his Academy Award-winning scores for Babel and Brokeback Mountain, as well as the legacy score of The Last Of Us.

Despite all the dark elements of the series, the two composers were able to also capture the fragility of the characters. The Original Soundtrack for Liebes Kind is available as a limited edition on crystal clear vinyl.

Columbarium are a Belgian (the village of Zwevegem) heavy doom metal band, formed in 2021 but comprised of seasoned members from the regional doom scene over the last ten years.

Having played about a hundred gigs in a former incarnation (as Loose License) in Belgium, The Netherlands and France with bands like The Gates Of Slumber, Nekromant, Marche Funebre, Serpent Venom, FAAL, Famyne and King Hiss, they have built a serious reputation as a live act in the last decade.

The addition of an extra guitar / keyboard player some years ago (Koen Biesbrouck, formerly also from the avantgarde / instrumental rock band Locus Control) has taken the music to another horizon and that newfound sound was the cradle for the band’s rebirth, which led to renaming the band Columbarium.

The four guys found that sound with Belgian producer Lander Cluyse from Hearse Studio (Amenra and Aborted) and with Brad Boatright from AudioSiege Mastering Studio (Portland - Monolord and Pig
Destroyer).

Featuring guest vocals from Michelle Nocon (Bathseba / Serpentcult / Of Blood And Mercury).

The LP is pressed on green vinyl.

For fans of Paradise Lost, Winter, Tiamat, Swallow The Sun, My Dying Bride, Opeth, Celtic Frost, Anathema, Cemetary, Katatonia, Autopsy, Candlemass.

Zenit is a jazz ensemble from Krems in Lower Austria, founded in 1976 by Hannes Treiber and Willi Langer. Their music was celebrated locally, but to reduce them to their local fame would be a shame: After all, their first two LPs, Stimmungswechsel (Change of Moods) and Früchte (Fruits), quickly gained them a much wider audience of discerning listeners. Arguably, however, Zenit's third and final LP Straight Ahead is the most special of their records. It initially came out in 1986 on the producer's label Spray Records, and is today one of the hardest-to-find Austrian jazz records. Its centrepiece is the infectious slow-motion disco piece 'Waiting,' with vocals by American jazz singer Linda Sharrock. Effortlessly bringing together pop, soul and new age vibes, this is a record that is as unique as it is difficult to date. Does it sound like from the 80s We're not sure. To our minds at least, it could also be from the future.

With a long and winding career working with Kris Menace, remixing the likes of Depeche Mode and LCD Soundsystem, being remixed by Deadmau5, composing filmmusic,the Munich-based producer Philip Leroi now lands his Atlantic Brain-project for a full EP on Internasjonal. He has previously contributed to our Internasjonal Space Station Compilation 1.
Wonderboy Alan Dixon contributes with not less than 2 remixes of "Brother", while Prins Thomas helped tighten the mixdown slightly.
Internasjonal HQ September 2023

Following on from the psychoacoustic concrète of Outside Ludlow / Desert Disco LP (BT075), Sam Dunscombe returns to Black Truffle with Two Forests / Oceanic. Dunscombe has been active in recent years on multiple fronts, including as a key member of the Berlin community of Just Intonation researchers and practitioners; working with composers like Taku Sugimoto, Mary Jane Leach, and Anthony Pateras; and the release of Horatiu Radulescu - Plasmatic Music vol. 1 (the result of many years performance research into the thought and music of this seminal Romanian spectralist). In parallel with these activities, Dunscombe has been deeply involved in research on the role of music in psychedelic-assisted psychotherapy, prompting these two side long pieces, composed using field recordings and digital synthesis. As Dunscombe explains in the accompanying liner notes, music plays a key role in psychedelic-assisted therapy, yet it is often restricted to stock forms of New Age, ambient and electronica. Taking seriously the potential for spatio-environmental sonic experiences to add to the therapeutic process, these two pieces are intended to suggest how ‘a music-as-environment approach may help to add options to the therapist’s toolbox’. ‘Two Forests’ begins in a central Californian sequoia grove. Bird songs and buzzing insect life are treated with a variety of time-based processing methods (slicing and recombination, primitive granular synthesis, delay, and so on), which strip the field recordings of their linear, documentary character, reframing them in an enchanted web of traces and echoes. Analysing the pitches found in the original recordings, Dunscombe used them to generate a large Just Intonation pitch set. These tones are woven slowly into the field recordings, gradually building in density and complexity until the forest has been transformed into an unreal space of infinite proportions. Emerging from this cosmic expanse in the final minutes of the piece, we find ourselves in the Amazon rainforest outside Manaus, Brazil. As Dunscombe writes, the piece creates ‘a sense of place-gone-strange, of space and time simultaneously expanding and contracting across octaves, miles, and minutes’. On ‘Oceanic’, several recordings of different beaches fade in and out to create a texture both homogenous and constantly shifting in both the rhythm of the waves and each recording's sense of depth and distance. Tones relating in simple ratios to the average rhythm of each beach float over each other, colouring the white noise texture of the field recordings with shifting hues. In both pieces, Dunscombe forgoes the easy consonance that bogs down much contemporary ambient music for a richer harmonic array informed by extended tuning practices and spectralism. The end results suggest a hitherto undreamt-of meeting of Radulescu’s undulating sonic masses and the discreetly processed location recordings of Irv Teibel’s ‘psychologically ultimate’ Environments. Looking beyond the insularity that can afflict experimental music culture, Dunscombe’s work is a moving argument for the healing power of expanded approaches to sound and music. Even outside of a psychedelics-assisted therapy, frequent immersion in Two Forests / Oceanic is almost guaranteed to produce beneficial psychological results.

Artists like Jalen Ngonda come around once in a lifetime, so it is our privilege and distinct pleasure to announce the release of his debut album Come Around and Love Me.


Anyone who has had the pleasure of seeing Jalen perform live knows that he is one of the most captivating performers on today's soul scene. His voice, equal parts raw feeling and elegance, exudes confidence and charm-disarming packed rooms of rowdy concert goers, leaving them silent as they hold fast to every syllable sung. Plans for the album were struck just months before the COVID 19 pandemic shut the world down. Notwithstanding, Jalen eventually made it to Hive Mind Studios in Brooklyn, NY where he began writing and recording with the help of producer/arrangers Mike Buckley and Vincent Chiarito (both members of Charles Bradley's Extraordinaires) and a crack team of a-list musicians from the Daptone family.

The team skillfully blends heavy arrangements and introspective lyrics with motown sophistication, leaving the listener in a blissful wash of wonderment. Jalen has been writing songs since he was 14, and his compositions are also very much of these times. He explains, "I love music from the 20th century- I listen to it all the time, but I?m in this world and the 21st century. ...to a stranger, I?d describe my music as modern soul and R&B, while trying to fit in the Beach Boys and the Beatles somewhere in between." Come Around and Love Me reveals how he creates a classic approach that is rooted in the sounds of revered pioneers, without falling into imitation-leaving no doubt that Jalen will continue to shine within the superlative, timeless musical tradition that is Daptone?s hallmark.
Now it's your turn to come around and love one of the finest soul albums of the decade.

Caz Plak İstanbul proudly presents...

ONE OF JAZZ'S ALL-TIME GREATS PLAYING TURKISH RHYTHMS!

Don Cherry delves into Turkish rhythms, accompanied by his long-time Don Cherry Trio members: Turkish drummer Okay Temiz and South African bassist Johnny Dyani.

The vinyl LP is manufactured in Istanbul under the guidance of Mr. Okay Temiz, the only living member of this iteration of the Don Cherry Trio. The LP has been remastered from original material housed in BYG Records' vaults by Okay Temiz & Mert Ucer and licensed from BYG Records, France.

This LP features the recording by the Don Cherry Trio in Paris 1971 for the Sound and Vision program at the legendary ORTF studios in Paris 1971. Serving as the second chapter of our 'Turkish Jazz Trilogy', it follows Okay Temiz's magnum opus, 'Okay Temiz's Oriental Wind at Montreux Jazz Festival 1982' LP. We present one of the paramount Jazz figures of all time interpreting Turkish rhythms in Don Cherry Trio - The ORTF Recordings Paris 1971 LP

This release also stands as one of the most important recordings prior to Don Cherry's legendary "Organic Music Society" album in 1973, in which Okay Temiz also plays drums.

"Don Cherry Trio as an 'Applied Universe of Thought.'
In the spring of 1971, while we were playing as the Don Cherry Trio in Paris, Don (Cherry) seamlessly flowed from the trumpet to the piano, with improvisation as the lighthouse of the melody. This approach opened up a realm of boundless freedom for Johnny and me. It is to be observed as a melody within a melody. From the Organic Music Society album we recorded a year after this concert, up until the ECM album we recorded before Don's final departure from this planet, this principle has been the gravitational force of the Don Cherry universe.
That, indeed, is the true legacy of the Don Cherry Trio."

Excerpt from the liner notes by Okay Temiz and Haluk Damar

Grand River and Sofie Birch are set to unveil their collaborative EP, titled “Our Circadian,” on November 24, through Melantónia.

The two-track release follows Grand River’s final release under the now-discontinued Editions Mego label earlier this year, and Sofie Birch’s two solo albums from 2022. Our Circadian represents the second collaborative release on Melantónia, a platform founded by Hanna Maria & Mattia Onori in 2021, dedicated to music for non-dance environments, featuring early contributions from artists like Polygonia, Plants Army Revolver, and Melantónia co-founders Hanna Maria & Mattia Onori themselves, amongst others.

“Our Circadian” was conceived remotely in 2021 during the lockdown, with the aim of encapsulating two distinct moments of those days – early morning and late afternoon – along with their subtle emotional nuances. The first track of the release – 7PM – conveys dreamy atmospheres that flow into colorful rhythms, recalling the electroacoustic nature of the label’s melancholic sounds. The gloomier 3AM, on the other side of a 7“ record, offers a timeless introspection of a gently intensifying synth sound’s fling.

Grand River, a composer and sound designer, brings her background in linguistics to her work. She draws inspiration from minimalism and ambient music, resulting in atmospheric and rhythmically intricate compositions. Her artistic pursuits traverse the realms of art and electronic music, exploring forms of communication that transcend language, often influenced by nature, scale, and movement. Grand River’s impressive portfolio includes sound installations at 4DSOUND/Monom and Terraforma’s Il Pianeta, as well as performances at prestigious venues like Barbican, Rewire, MUTEK, Le Guess Who?, CTM, Draaimolen, and Atonal’s Kraftwerk. She has also worked on remixes for notable acts like Tangerine Dream. Since 2016, she has curated the label One Instrument, offering a unique creative challenge to artists: creating music using only a single instrument.

Sofie Birch, a celebrated sound artist and producer, is known for her lush ambient releases, art installations, live performances, DJ sets, and her NTS show “Ambient Abracadabra.” Her sonic creations can manipulate space, infuse it with a profound sense of calm, and invite listeners to engage in meditation and introspection through the healing qualities of sound and vibrations. Her music acts as a conduit for understanding the complexities of the mind and body through artistic expression, characterized by a distinct emphasis on stillness, suspension, and sustain. Sofie’s soundscapes open gateways to dream-like states of perception and heightened presence, providing a transcendental journey into an alchemical biosphere. Her extensive repertoire includes performances at renowned events such as Barbican, Roskilde Festival, MUTEK, Unsound, CTM, Rewire, Monom, and Terraforma, as well as award-winning compositions for VR experiences and animated films, in collaboration with artists like Baum & Leahy and animation director Pernille Kjaer.

As Our Circadian takes its final form, it promises a narrative of resilience, creativity, and the indomitable human spirit guided by the artistic mastery of Grand River and Sofie Birch.

So a Burner fan is a Rock'n'Roll fan. When Bjorn (guitar/vocals) and Mats (bass) finally found their drummer Jan, the trio is solid as a rock. In September 2018 they wrote and recorded the songs for their first album which was released via Time To Kill Records in spring 2020. Now the Swedish diesel rockers Burner are back! After their first attack with the debut album "Baptized in Gasoline" the band has received praise from all corners of the globe. And after a successful tour with English monster Orange Goblin the band started focusing on their upcoming new album. Burner say: "After the release of Baptized in Gasoline we continued to write new songs as always. Soon there was enough material for a second album and recording began. We always do everything with a smile and our sick sense of humor. The inspiration it comes from anything really, there are so many bands that have inspired us over the years. Janne came up with the idea for the cover and title and work moved on. We are really happy with the result and our fans will be in for a nice surprise. "Hittin' The Target" will be our second release and once again it will be filled with hard rock'n roll riffs. The perfect soundtrack for gulping cold beer!

This metal treasure has been well kept in our vault Since 2017 we are preparing this release. There's no reason to wait any longer... Launching this sonic bomb is mandatory! Avid vinyl collectors, U.S. Metal enthusiasts and thrash metal devotees know MERSINARY pretty well and how they sound. This is one of the most powerful thrash bands of the late 80's, capable of rivaling classic bands like SLAYER, DARK ANGEL or DESTRUCTOR! Released in 1988, the original vinyl edition of the "Dead Is Dead" album has become a rare collector's item, in addition to a series of EPs and limited edition singles released by the label Iron Works (Azra Records). Available in CD for the first time, this limited edition on 2CD will comprise remastered audio of "Dead Is Dead" album, additional studio recordings and an unreleased live concert in Las Vegas. A 12-page booklet with band biography and rare photos will also be included

Devilish is an album surrounded by a darkest atmosphere, its lyrics show urges experienced in our century, such as the constant degradation of the Amazon rainforest and the population increasingly affected by psychological illnesses such as anxiety and depression At the same time, it opens windows of escape for an imaginary world inspired by games, series and fiction books. In their second album with the new lineup, Mayara Puertas (Voice), Rene Simionato (Guitar), Castor (Bass) and Amilcar Christofaro (Drums) transcend the sound of extreme metal with maturity, incorporating progressive metal, influences from Brazilian music and symphonic elements.

The album also honors Brazilian heroes with a participation of Andreas Kisser (Sepultura) in the track "Buried Alive", and a tribute to Rickson Gracie the resilient fighter of Jiu Jitsu considered one of the greatest legends in this sport, the theme of the track "Warrior". The band also mobilized several musicians related to indigenous causes in their country to collaborate on the song "Uatuma", making an appeal for the preservation of the Amazon in a song that flows in an powerful way with the speeches of the indigenous leader Raoni Metuktire and tribal rhythms. For the cover art, the band had Marcelo Vasco, a Brazilian illustrator who has already created artworks for Slayer, Dimmu Borgir, Soulfly among others.

Modern Hypnosis mainstay Alex Dickson, aka Pugilist, drops dubstep while upholding that unique Pugilist sound detailed throughout every track.

Designed to wobble your knees, the title track ‘Vintage’ is a satisfying growler that allows subs and wubs, dubbed-out echos and snare rolls to perfectly guide its course. The next track opens with a much-loved vocal sample of Dr Alimantado from the tune ‘Poison Flour’ which gives you a sense of familiarity; however, "Wistful’ is anything but and will have walls shaking in places you didn’t even know shook, with its shattering low-mid bass line and punchy kicks. Wistful is tested, tagged, certified, for sound system use.

On the flip, restraint and subtleness are brought to the plate with the track ‘Be Humble’. While we are reminded by the Upsetters to just be humble, Pugilist couldn’t resist sliding in his signature breaks cheekily in the second half to polish the composition.

Closing off this 4-tracker is a favourite of ours here at Modern Hypnosis. ‘Amethyst’ invites us on a broken-beat / dubstep hybrid trip with that perfect balance of minimalism and dub sound system prowess.

All in all, this is good gear.

As always, large up Pugilist!

Cycles is a concept which is deeply intertwined with everyday life, both on a micro and macro level. They manifest in various natural, biological and societal processes, influencing our daily routines, behaviours and the world around us. Unconventional rhythms and time signatures, complex patterns, evolving modulations and shifting textures were created and used to present it (Cycles) as an integral part of our existence, shaping how we navigate to the world, make decisions and experience the passage of time..." Kostas Giazlas (Onepointwo). Kostas hails from Thessaloniki, Greece, and describes himself as a keen record collector, who is "always trying to emulate a musical journey into space, time, memories and frequencies". With Influences ranging from late 50s electronic experimental sounds, motorik krautrock bands, lush shoegaze melodies and modern electronica, Onepointwo seeks to crystallise this musical backdrop via judicious use of minimal arrangements, abstract and distorted shortwave radio signals, dystopian soundscapes made up of both digital and analogue sources, all punctuated with heavily affected percussive sounds. The listener is drawn in by the psychedelic impact achieved through repetition. Onepointwo's previous discography ably demonstrates his consummate skill in this field. Keene (Poeta Negra) / SANS (Lotus RecordShop Editions), plus various appearances / remixes in domestic label compilations. He has also clocked up an number of releases on UK labels, including Miracle Pond, Woodford Halse, Werra Foxma and Subexotic Records across various formats; plus several live performances/dj sets and a host of rave reviews including Electronic Sound Magazine.

An introduction to our next release that we name DOUBLE JOURNEY.

Featured When we are all truly Free composed by Kuniyuki Takahashi. Taken from the forth coming Translate Pt 2 by Joe Claussell. When we are all Free takes one on a journey into cosmic landscapes and deep though provoking sounds. Residue I Believe by Joaquin Joe Claussell of deep tech house that continues to tap into and express the darker side of Joe Claussell

SORA
It is times such as these that further supports our choice of remedy and why our pursuit to delve deeper into the creative process remains relentless and of profound importance. Due to the unfortunate and dangerous constant overlooking the special gift bestowed upon all of us by the higher power, it calls upon us to continue forward with our mission for productive change which has become ever more crucial to reach. What we're referring to isn't exactly in plain sight for all to see, but obvious enough to those who care to pay attention. However, what has become undeniably apparent to us; is the powerful moving vibration that emits from sound and art and how we connect with them. It is a higher calling that cannot be neither denied nor questioned, and we can only praise the wisdom, truth and love that they bestow upon us. Thoughts like the aforementioned is how and why SORA; an extension of Sacred Rhythm Music & Cosmic Arts, came into existence. Enjoy the Double Journey…

Orange vinyl. Time is supposed to mellow us, but for Petrol Girls it has distilled their feminist politics into an ever more potent cocktail. Fitting, given that their logo from day one has been a flaming molotov. Since their formation in 2012, the band has been known for playing fast-paced, chaotic punk that takes aim at everything from sexual violence to immigration policy, but over the last few years their sound has evolved in a more nuanced direction. Their 2016 debut album Talk of Violence was a blast of pure political rage, while 2019's Cut & Stitch saw vocalist Ren Aldridge exploring familiar themes from a more personal perspective. Now their latest offering, Baby - to be released through the London-based independent label Hassle on June 24th - sees the band turn another new corner. This time, by embracing irreverence. "We wanted this album to be less epic and less preachy from day one," Aldridge says. "I hate sanctimoniousness. Like, really fucking hate it. But I also know that I have been mega preachy, and felt very pressured to be sanctimonious, because we've always played in a very political punk scene. I lost my fun side, and I really needed to come back to that." Recorded with Pete Miles at Middle Farm Studios in Devon, Baby embraces a more playful sound. A focus on groove and repetition - driven by guitarist Joe York, drummer Zock and bassist Robin Gatt - give the songs a Talking Heads feel, while retaining the band's formative post-punk energy. The lyrics, too, are a departure for Aldridge. While she continues to address heavy topics like burn out, femicide and police violence, the lyrics balance directed anger with tongue-in-cheek humour where appropriate. Angular opener "Preachers" puts the self-aggrandising nature of call-out culture on blast with lyrics like "feeling dead important in the comments", while lead single "Baby, I Had An Abortion" is intentionally puerile from title to finish. On the flip side, tracks like "Violent By Design" see the band kicking back against carceral feminism in the wake of a news cycle dominated by Black Lives Matter protests and PC Wayne Cousins' brutal murder of Sarah Everard. Similarly, "Fight For Our Lives" - a harsh, borderline industrial song - was lyrically co-written by activist and vocalist Janey Starling. Aldridge deliberately wrote the verses to sound like a manifesto, and the lyrics reference Starling's Dignity For Dead Women Campaign with Level Up, which successfully called for the UK media to change the way it reports on fatal incidents of domestic violence. Baby saw Petrol Girls working in new ways - scrapping entire songs rather than trying to force things that didn't feel right, recording to tape for the first time, and deliberately leaving in imperfections. It was a more carefree process, which Aldridge - having gone through a particularly bad period of mental ill-health at the start of 2021 - welcomed. "Our whole thing for a long time, and a big focus of the last record, was making political struggle sustainable," Aldridge says. "And I think having a good time where possible, and things being not totally serious all the time, is really essential."

Orbiting Human Circus' new album is called Quartet Plus Two. What is Orbiting Human Circus? It is the continuing evolution of Julian Koster (Neutral Milk Hotel, The Music Tapes), whose music and storytelling under this moniker have encompassed immersive theater and a Night Vale Presents podcast, as well as more traditional albums. Central to the album are the "two" referenced in the title: North and Romika, the singing saws, whom Koster doesn't "play" so much as encourage. "I think saws sing like angels," says Koster. "I always have. Since I was a little boy. When you encourage them to sing, they do so earnestly and beautifully. It's an honest and real sound." The origins of Quartet Plus Two are as magical and seemingly unlikely as everything else in Koster's career. While walking through New York's Central Park, he stumbled upon Gauvain Gamon and Kolja Gjoni_a standup bass player and drummer, respectively_playing Gershwin and Mingus, and a musical partnership was born. Pianist Benji Miller rounds out the titular quartet, with Koster's longtime collaborators Robbie Cucchiaro (horns) and Thomas Hughes (orchestral arranging and chimes) of The Music Tapes also contributing to the record. The music they make together is at once familiar and unrecognizable, as Koster and Orbiting Human Circus interpret jazz compositions by Irving Berlin, Duke Jordan, George and Ira Gershwin, and others, alongside Koster's three originals. The use of the term "composition" is intentional and speaks to Koster's relationship with the music of Quartet Plus Two in far more evocative terms than "cover" or "standard." "To me it was always magical that there were these people called `composers' who created symphonies and popular songs for other people to breathe into life and existence all over the world and throughout time," he explains. "They traveled into our homes as sheet music, endless recorded interpretations, or were passed from hand to hand, village to village, like folk tales, changed by every hand that touched them. That music was something that came to life in our own living rooms and lives, songs that our grandmothers might have sung in a choir that we might sing just as earnestly. I just think it's nice, and I would love to share that feeling in any way we can."

Orbiting Human Circus' new album is called Quartet Plus Two. What is Orbiting Human Circus? It is the continuing evolution of Julian Koster (Neutral Milk Hotel, The Music Tapes), whose music and storytelling under this moniker have encompassed immersive theater and a Night Vale Presents podcast, as well as more traditional albums. Central to the album are the "two" referenced in the title: North and Romika, the singing saws, whom Koster doesn't "play" so much as encourage. "I think saws sing like angels," says Koster. "I always have. Since I was a little boy. When you encourage them to sing, they do so earnestly and beautifully. It's an honest and real sound." The origins of Quartet Plus Two are as magical and seemingly unlikely as everything else in Koster's career. While walking through New York's Central Park, he stumbled upon Gauvain Gamon and Kolja Gjoni_a standup bass player and drummer, respectively_playing Gershwin and Mingus, and a musical partnership was born. Pianist Benji Miller rounds out the titular quartet, with Koster's longtime collaborators Robbie Cucchiaro (horns) and Thomas Hughes (orchestral arranging and chimes) of The Music Tapes also contributing to the record. The music they make together is at once familiar and unrecognizable, as Koster and Orbiting Human Circus interpret jazz compositions by Irving Berlin, Duke Jordan, George and Ira Gershwin, and others, alongside Koster's three originals. The use of the term "composition" is intentional and speaks to Koster's relationship with the music of Quartet Plus Two in far more evocative terms than "cover" or "standard." "To me it was always magical that there were these people called `composers' who created symphonies and popular songs for other people to breathe into life and existence all over the world and throughout time," he explains. "They traveled into our homes as sheet music, endless recorded interpretations, or were passed from hand to hand, village to village, like folk tales, changed by every hand that touched them. That music was something that came to life in our own living rooms and lives, songs that our grandmothers might have sung in a choir that we might sing just as earnestly. I just think it's nice, and I would love to share that feeling in any way we can."

Musikalisch macht die Band da weiter, wo das Debüt aufgehört hat, aber mit einer wuchtigen, thrashigen Produktion, starkem Songwriting und geradlinigen Texten!
Mehr als 20 Jahre nach ihrem fulminanten Debütalbum melden sich NAIL WITHIN mit ihrem neuen Studioalbum "Sound Of Demise" zurück, das 11 Songs enthält und mit Gastmusikern wie zum Beispiel Eric Peterson (Testament) oder Tom Angelripper (Sodom) afuwartet.

NAIL WITHIN sind mit ihrem dynamischen und intensiven Album "Sound Of Demise" zurück und mischen Death und Thrash mit einigen Hardcore-Elementen, die durch melodische Doppelgitarren-Leads ausgeglichen werden.
Die Musik ist immer noch sehr rifforientiert und aggressiv, aber auch melodisch, und mischt klassischen Death/Thrash mit einigen Hardcore-Elementen, die durch melodische, doppelte Gitarrenleads ausgeglichen werden.

Musikalisch macht die Band da weiter, wo das Debüt aufgehört hat, aber mit einer wuchtigen, thrashigen Produktion, starkem Songwriting und geradlinigen Texten!
Mehr als 20 Jahre nach ihrem fulminanten Debütalbum melden sich NAIL WITHIN mit ihrem neuen Studioalbum "Sound Of Demise" zurück, das 11 Songs enthält und mit Gastmusikern wie zum Beispiel Eric Peterson (Testament) oder Tom Angelripper (Sodom) afuwartet.

NAIL WITHIN sind mit ihrem dynamischen und intensiven Album "Sound Of Demise" zurück und mischen Death und Thrash mit einigen Hardcore-Elementen, die durch melodische Doppelgitarren-Leads ausgeglichen werden.
Die Musik ist immer noch sehr rifforientiert und aggressiv, aber auch melodisch, und mischt klassischen Death/Thrash mit einigen Hardcore-Elementen, die durch melodische, doppelte Gitarrenleads ausgeglichen werden.

Most of Gen X-ers who grew up in the mid-1980s Indonesia must have seen Soedjarwoto Soemarsono, known with his nom de guerre “Gombloh” performing on a state-run television station, playing some of his biggest hits from that era, pop gems like “Kugadaikan Cintaku (I Pawn Off My Love)”, “Setengah Gila (Half-Crazy).”

But of course, it is not fair to judge Gombloh only from these hits. Dig deeper and you will find buried treasure in his early stuff from Indra Records, and there are many of them.

His album with the band Lemon Tree’s Anno ‘69 (yes, that’s the name of the band) is all remarkable, but what he did for Chandra Records was no less spectacular. How can you go wrong with songs like “Kebyar-Kebyar”, the unofficial national anthem for Indonesia, dan “Berita Cuaca” one of the better epic songs in a catalogue full of epochal songs? These were all long out of print and in our journey to source the original master for these albums we met Bob Djumara of Nirwana Records, the Surabaya, East Java-based label which broke Gombloh into the mainstream in the mid-1980s. Almost all albums Gombloh recorded for his early labels, Indra Records and Chandra Records were critically acclaimed, but commercially they bombed, big time. Nirwana Records came up with an ingenious plan. What if they recorded Gombloh performing live and release it as is. After all, the first song in Gombloh debut record Nadia & Atmospheer is him strumming on his guitar backed by the cheering of a crowd, who could be heard going wild when he hurled that epithet “bastard” at the end of the song

The end result is a brilliant recording which despite being recorded live the sound quality so pristine leading many to doubt the claim of being live. Regardless, Nirwana shipped a decent number of units and Gombloh could buy his first car, a Katana Jeep, with money from the royalty.

One of the best things about Live Gila is its perfect sequencing, beginning with Gombloh’s social commentary on the rich’s debauched lifestyle of preying on young boys and girls, one of the most popular subjects allowed by the censoring machine of the New Order authoritarian government. The second song “Untuk Persada” is a soaring ode to the nation. For this song, Gombloh could be heard drawing his inspiration from The Police, which was undoubtedly popular in the early 1980s, even in a faraway port city like Surabaya.

Listening to this record as a whole (we omitted the last song from the original master tape “Bagimu Negeri” which sounds too jingoistic), we could not help but point to some of similarities it has with Bob Dylan’s Blood on the Tracks. Not a single composition in this record sound indigenous (the Malay-influenced rock of Panbers or Koes Plus come to mind); they all sound modern and effortlessly catchy, and had it not been for the language, this album could be mistaken for a musical output from someone growing up in Laurel Canyon or Southern France.

There are only limited copies of vinyl records in the second-hand market today available for Gombloh music, if at all. For his ardent fans, they have to scavenge for old cassettes to continue to be able to enjoy his music and have to pay top dollar for that. In Indonesia, where he was a superstar in the early 1980s, Gombloh was largely forgotten. With this project, we can only hope that the time is ripe for Gombloh to reemerge and now, more than ever, his music could speak to a bigger audience.

With this EP release we kick off MEUK, a new Rotterdam based electronic music collective founded by Denn Punk and Eva Bohnen. 'Meuk' means 'junk' or 'mess'. We both base our music on old school techno and for us techno should be a bit messy. Whether it's junk or not, that's up to you to decide.

The MEUK EP starts with the vocal oriented track 'Lekkere Track' by Denn Punk and really sets the tone of the EP. You definitely hear Denn's old school groovy signature sound: indispensable in every (hard)groovy set. Op z'n Rotterdams: deze track is gewoon lekker!

Especially for this release, Eva Bohnen presents her debut track 'Rauwe Groef' (Raw Groove). With a sharp synth sequence that is central to a hard groove. And of course all finished with a raw edge.

The track 'Achterstevoren' refers to Denn Punk's 'reversed' signature sound. The ear candy of this track really is the pad that gradually appears and floats and bounces harmoniously through the groove.

The last but certainly not the least track on the EP: 'Binnenstebuiten'. Translated as 'inside out'. A real old school track with the recognizable reversed kicks and grooves of Denn Punk. Halfway through the track turns inside out with a thick filter, hence the title. A perfect last track for this (hard)groovy MEUK EP.