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Originally released in 1995, this reissue edition is becoming available as
180g Double 12" Black Vinyl LP, along with a Limited Collector's Edition
on Heavyweight Red Double Vinyl
Both editions are mastered for vinyl, reissued with the original cover design,
specially enhanced artwork, including a 16-pages LP booklet with extensive liner
notes by Clay Marshall and carry an exclusive, previously unreleased live bonustrack. Exclusive to the Limited Collector's Edition is a 1996 European Tour Poster
Replica.
LP Red LP Tracks: Overture / Sarajevo / This Is The Time (1990) / I Am /
Starlight / Doesn't Matter Anyway / This Isn't What We Meant / Mozart And
Madness / Memory (Dead Winter Dead Intro) / Dead Winter Dead / One Child /
Christmas Eve (Sarajevo 12/14) / Not What You See / The Storm - This Is The
Time (Live in Neu Isenburg 1997) (Bonus Track)
LP Tracks: Overture / Sarajevo / This Is The Time (1990) / I Am / Starlight /
Doesn't Matter Anyway / This Isn't What We Meant / Mozart And Madness /
Memory (Dead Winter Dead Intro) / Dead Winter Dead / One Child / Christmas
Eve (Sarajevo 12/14) / Not What You See / The Storm - This Is The Time (Live in
Neu Isenburg 1997) (Bonus Track)

Originally released in 1995, this reissue edition is becoming available as
180g Double 12" Black Vinyl LP, along with a Limited Collector's Edition
on Heavyweight Red Double Vinyl
Both editions are mastered for vinyl, reissued with the original cover design,
specially enhanced artwork, including a 16-pages LP booklet with extensive liner
notes by Clay Marshall and carry an exclusive, previously unreleased live bonustrack. Exclusive to the Limited Collector's Edition is a 1996 European Tour Poster
Replica.
LP Red LP Tracks: Overture / Sarajevo / This Is The Time (1990) / I Am /
Starlight / Doesn't Matter Anyway / This Isn't What We Meant / Mozart And
Madness / Memory (Dead Winter Dead Intro) / Dead Winter Dead / One Child /
Christmas Eve (Sarajevo 12/14) / Not What You See / The Storm - This Is The
Time (Live in Neu Isenburg 1997) (Bonus Track)
LP Tracks: Overture / Sarajevo / This Is The Time (1990) / I Am / Starlight /
Doesn't Matter Anyway / This Isn't What We Meant / Mozart And Madness /
Memory (Dead Winter Dead Intro) / Dead Winter Dead / One Child / Christmas
Eve (Sarajevo 12/14) / Not What You See / The Storm - This Is The Time (Live in
Neu Isenburg 1997) (Bonus Track)

Their third studio album Driver (CD is Available from Epitaph). Lead track “Sober” examines how people’s perception of each other change and deteriorate over time, especially in the wake of a relationship gone sour. On Driver, co-produced by Stevie Knipe and Kyle Pulley (Shamir, Diet Cig, Kississippi), Knipe delves into the emotional space just beyond a coming-of-age, where the bills start to pile up and memories of college dorms are closer than those of high school parking lots. Ultimately seeking the answer to the age-old question posed by every twenty-something; what now? Over the course of 10 tracks, Knipe sets out to soundtrack the queer rom-com they’ve been dreaming of since 2015. Driver incorporates an expert weaving of sonic textures ranging from synths and shakers to ‘00s-inspired guitar tones which convey a loving attention to detail. Lyrically, Knipe radiates an unmistakable honesty mixed with a level of wit and a sense of humor producing intimate yet relatable indie pop songs. Adult Mom began as the solo project of Stevie Knipe at Purchase College. Adult Mom now falls between the playful spectrum of solo project and collaborative band with beloved friends and musicians Olivia Battell and Allegra Eidinger. Since forming in 2012, Adult Mom has released ­ve EPs and two full-length albums; Momentary Lapse of Happily (2015), and Soft Spots (2017). Knipe writes clever and intimate indie pop songs that o‑er a glimpse into the journey of a gender-weird queer navigating through heartache, trauma and subsequent growth.

Tracklist: 1. Passenger 2. Wisconsin 3. Breathing 4. Berlin 5. Sober 6. Dancing 7. Adam 8. Regret It 9. Checking Up 10. Frost

Joni Mitchell was at a turning point 50 years ago. After making four acclaimed albums with Reprise Records, including her 1971 masterpiece Blue, she left the label to join the brand-new Asylum Records in 1972. Over the next seven years, Mitchell would record some of the most acclaimed music of her career while changing her musical direction by adding more jazz elements into her song writing. The evolution culminated in 1979 with Mingus, her collaboration with jazz titan Charles Mingus, and her studio last album for Asylum.

The Asylum Albums (1972-1975), the next instalment in the Joni Mitchell archive series, explores the beginning of that prolific era. The collection features newly remastered versions of For The Roses (1972), Court And Spark (1974), the double live album Miles Of Aisles (1974), and The Hissing Of Summer Lawns (1975). All four were recently remastered by Bernie Grundman. The Asylum Albums (1972-1975 will be available on 23rd September on 5-LP 180-gram vinyl (Limited Edition Of 20,000) and as a 4CD set. The cover art for the set features a previously unseen painting by Mitchell. The set also includes an essay by friend and fellow Canadian Neil Young.

The Asylum Albums (1972-1975), follows Mitchell’s musical evolution over four albums as she embraced more jazz-inspired pieces and moved away from the folk and pop of her early years. It includes essential tracks like her first Top 40 hit, “You Turn Me On, I’m A Radio” and her highest-charting (#7) single “Help Me,” plus favourites like “Free Man In Paris,” “Raised On Robbery” and “In France They Kiss On Main Street.” Mitchell has been intimately involved in producing the collection, lending her vision and personal touch to every element.













l b6. Judgement Of The Moon And Stars (Ludwig’s Tune) 2022 Remaster











[x] e1. You Turn Me On I’m A Radio (Live) [2022 Remaster]
[y] e2. Big Yellow Taxi (Live) [2022 Remaster]
[2022 Remaster]
[xa] e4. Woodstock (Live) [2022 Remaster]
[xb] f1. Cactus Tree (Live) [2022 Remaster]
[xc] f2. Cold Blue Steel And Sweet Fire (Live) [2022 Remaster]
[xd] f3. Woman Of Heart And Mind (Live) [2022 Remaster]
[xe] f4. A Case Of You (Live) [2022 Remaster]
[xf] f5. Blue (Live) [2022 Remaster]
[xg] g1. Circle Game (Live) [2022 Remaster]
[xh] g2. People’s Parties (Live) [2022 Remaster]
[xi] g3. All I Want (Live) [2022 Remaster]
[xj] g4. Real Good For Free (Live) [2022 Remaster]
[xk] g5. Both Sides Now (Live) [2022 Remaster]
[xl] h1. Carey (Live) [2022 Remaster]
[xm] h2. The Last Time I Saw Richard (Live) [2022 Remaster]
[xn] h3. Jericho (Live) [2022 Remaster]
[xo] h4. Love Or Money (Live) [2022 Remaster]

LIMITED 180GM BLACK VINYL INCLUDES DOWNLOAD CARD WITH 8 BONUS TRACKS. GATEFOLD + BOOKLET INCLUDED.

During this feverish time, founding member Guy Smith was motivated to make music that reveled in always trying out different things. Normil Hawaiians was a very fluid ensemble at this point, Guy often accompanied by Kev Armstrong and Jim Lusted encouraged saxophones, violins, synths, pianos and a select pack of female backing singers to take their post-punk sound into wilder directions. One of the earliest line-ups of Normil Hawaiians featured a 15-year old Janet Armstrong on vocals alongside Guy, ‘Ventilation’ best showcases her deadpan digressions. Janet went on to sing alongside David Bowie a few years later on his breathtaking mid-80’s gem ‘Absolute Beginners’. By this point Kev Armstrong was also guesting for Bowie on guitar duties too.

Another guest to join the ranks of Normil Hawaiians during this fertile time of cross-pollination was Bertie Marshall (aka Berlin of the proto-punk Bromley Contingent). ‘Sang Sang’ is a good example of how he was inspired to deliver his poetic treatises over the band’s atmospheric, floating improvisations. Bertie’s impressionistic influence helped the group uncouple further from rock tropes, as they became restless and more rhythmically-focused. ‘Still Obedient’ fidgets, soars and careens across the dancefloor, “if you’re ahead close your eyes, you won’t notice the subtitles” chants Guy.

By the end of this transformative two years Normil Hawaiians had spun an exceptional chrysalis around themselves. The dark world surrounding wouldn’t win out, they’d eaten-up the music and grown continuously, wrote and recorded rapidly, covered Zappa & even David Lynch and could feel the light beginning to shine through. ‘Dark World’ is a snapshot of a band in flux, finding their feet, stretching their limbs. Normil Hawaiians cover an awful amount of ground in such a short time-frame on this record and these tracks document all the glittering debris from their magpie’s nest. Emergent, hopeful and resistant in sound and ethic.

Gather your loved ones, Together is here. Duster's fourth album is a 13-song exploration of comfortable, interplanetary goth. A sonic vaseline of submerged guitars, solder-burned synths, and over-driven rhythm tracks. "I know people say, `Oh Duster music so sad, we've even said it ourselves before," Clay Parton said. "But it's a lot more like absurdism than nihilism."

Gather your loved ones, Together is here. Duster's fourth album is a 13-song exploration of comfortable, interplanetary goth. A sonic vaseline of submerged guitars, solder-burned synths, and over-driven rhythm tracks. "I know people say, `Oh Duster music so sad, we've even said it ourselves before," Clay Parton said. "But it's a lot more like absurdism than nihilism."

Gather your loved ones, Together is here. Duster's fourth album is a 13-song exploration of comfortable, interplanetary goth. A sonic vaseline of submerged guitars, solder-burned synths, and over-driven rhythm tracks. "I know people say, `Oh Duster music so sad, we've even said it ourselves before," Clay Parton said. "But it's a lot more like absurdism than nihilism."

El Goodo guitarist and songwriter 'Pixy Jones' has announced that his debut album entitled 'Bits n Bobs' is due for release on 16th of September via Strangetown Records. 
After 4 albums with El Goodo, Welsh psych scene stalwart Pixy Jones has himself compiled a truly remarkable collection of tracks that fluctuate from 60's harmony-rich psych pop, to Alt-Country with ringing tremelo guitar. 

The swaggering 'I'm Not There' is the first single to be taken from 'Bits n Bobs' accompanied by a magical version of Beatles track 'And Your Bird Can Sing' as it's B SIde, which will be released digitally on Friday 1st of July.

Pixy had this to say about the release: 
The album was originally intended as a solo project under the pseudonym of “Wallace Russell”. I recorded it alongside the recording of Zombie (El Goodo) whenever I could get in the studio. There are some really old songs that have always been overlooked for 'El Goodo' albums for one reason or another, a few new ones which I wrote specifically for this, and a couple that would have probably ended up on the intended double album version of Zombie if we’d kept going with the double album idea. I’ve since ditched the 'Wallace Russell' name and gone back to 'Pixy Jones' as I figured there’s no need to have a pseudonym if nobody knows who you are in the first place. Even though I dropped the name I’ve kept the walrus mask for now as it is more photogenic than my actual face.
I had no recording budget so I had to fund it by quitting smoking and saving the money up to pay for studio time. It took, I think, two and a half years to record, which is by far the quickest I’ve ever recorded an album.

Originally I wanted it to just be a quickly recorded slap dash and get it out sort of thing but I had a year and a half during Covid to think about it a bit more and ended up taking more care to get it done properly. It was just me there so I played most of it myself apart from Stephen Black (Sweet Baboo) who played brass and woodwind on one song and Rhodri Brooks (AhGeeBe) plays some pedal steel on a couple. 

Elliott and Canny from 'El Goodo' played drums and bass on Wind Street during the ‘Zombie’ recording sessions. 

The album was recorded and mixed in Aerial Studios with Tim Lewis, (Thighpaulsandra), a couple of songs were finished in the house during the lockdowns.

‘Amorpha’, a side-long shower of synthetic bells and bass, as
patterns interlock and repeat and the beat within the bar lines
shifts constantly, forms a new, latest miniature of infinity. You flip
it, and ‘Geomancy’ resets you, starting anew, with heavy drift and
drone leading into a space of shorter broken lines and Middle
Eastern tonalities, that roll back into ether again - new spaces, but
mysteriously consonant with the vibe.
 ‘Bajascillators’ arrives almost five years since their last official fulllength, 2017’s ‘Bajas Fresh’. In the eight years prior to ‘Bajas
Fresh’, Bitchin Bajas issued seven albums, plus cassettes, EPs,
singles… wave after wave of analogue synth tones and zones
extending into a stratospheric arc. Each release its own
headspace, shape and timbre, each one sliding naturally into their
implacable, eternal gene pool.
 Following the flow, always, the Bajas went ever-deeper-and-higher
on these records, whether making soundtracks or collaborating
with Bonnie ‘Prince’ Billy, using only fortune cookie fortunes as a
libretto. Plus engagement, with a steady stream of shows and
tours around the world; live re-airings and expansions of the space
captured in their records as they continued to grow and flow - all
the way through, really, to the present moment.
 Plus, there have been releases since 2017 - a split 12”, a 7”
single, digital track release and two ‘Cuts’ cassettes, plus the allcovers cassette release ‘Switched On Ra’. But the overall number
of releases, plus the five years between long players, implies a
potential distance between phases, a new line in the sand. The
sound of Bajascillators bear this out. How couldn’t it? Compared to
2017, this is a different world.
 Mastered directly from half-inch analogue tape, ‘Bajascillators’
floats transparently from the speakers, its expansive grooves
gathering resonance and building momentum over the four sides,
from genesis to re-conclusion, cascading ecstatically. The elastic
magic of time at its brightest. As the world keeps turning, so too do
Bitchin Bajas, in the same unknowable way. You can’t explain it -
just keep turning.

"The whole point of this record was to share every emotion that I feel," sagt THE SOFT MOON aka Luis Vasquez. "No two songs are the same. It's about existing in the world as a human being and experiencing many emotions and experiences throughout life." Daher auch der Titel "Exister", ein Album, das von den ekstatischen Freuden und lähmenden Tiefen des Lebens handelt und davon, dass das Durchhalten und die Existenz manchmal alles ist, was wir haben. Der Grund, warum das Album für Vasquez so persönlich ist, liegt darin, dass sich sein Leben während der Entstehung des Albums stark verändert hat. Er verließ Berlin, sein langjähriges Zuhause, und zog in den Joshua Tree, um während des Lockdowns musikalisch und persönlich etwas Freiraum zu finden. Es fühlt sich wie eine Art musikalischer Neustart für Vasquez an. Das Cover des Albums zeigt ein Foto von Vasquez als Kind und steht stellvertretend für eine Platte, bei der es darum ging, sich wieder mit seinem jüngeren Ich zu verbinden, wobei eine Mutter-Sohn-Beziehung im Mittelpunkt des Albums steht. "It's my child self that you hear all over it," sagt er. "I was reminiscing and hurting a lot during the writing process. This is possibly my most vulnerable record yet." Doch trotz des Schmerzes, der Wut, der Verletzlichkeit und des Schmerzes, die im Kern dieser Platte zu finden sind, gibt es auch ein tiefes Gefühl von Hoffnung und Schönheit. Auf dem abschließenden Titel-Song "Exister" scheint das Album einen Ort des Friedens und des Trostes zu erreichen und endet mit einem ruhigen, nachdenklichen und ergreifenden Moment, der ein Gefühl des Optimismus nach einer Zeit des Umbruchs einfängt.

"The whole point of this record was to share every emotion that I feel," sagt THE SOFT MOON aka Luis Vasquez. "No two songs are the same. It's about existing in the world as a human being and experiencing many emotions and experiences throughout life." Daher auch der Titel "Exister", ein Album, das von den ekstatischen Freuden und lähmenden Tiefen des Lebens handelt und davon, dass das Durchhalten und die Existenz manchmal alles ist, was wir haben. Der Grund, warum das Album für Vasquez so persönlich ist, liegt darin, dass sich sein Leben während der Entstehung des Albums stark verändert hat. Er verließ Berlin, sein langjähriges Zuhause, und zog in den Joshua Tree, um während des Lockdowns musikalisch und persönlich etwas Freiraum zu finden. Es fühlt sich wie eine Art musikalischer Neustart für Vasquez an. Das Cover des Albums zeigt ein Foto von Vasquez als Kind und steht stellvertretend für eine Platte, bei der es darum ging, sich wieder mit seinem jüngeren Ich zu verbinden, wobei eine Mutter-Sohn-Beziehung im Mittelpunkt des Albums steht. "It's my child self that you hear all over it," sagt er. "I was reminiscing and hurting a lot during the writing process. This is possibly my most vulnerable record yet." Doch trotz des Schmerzes, der Wut, der Verletzlichkeit und des Schmerzes, die im Kern dieser Platte zu finden sind, gibt es auch ein tiefes Gefühl von Hoffnung und Schönheit. Auf dem abschließenden Titel-Song "Exister" scheint das Album einen Ort des Friedens und des Trostes zu erreichen und endet mit einem ruhigen, nachdenklichen und ergreifenden Moment, der ein Gefühl des Optimismus nach einer Zeit des Umbruchs einfängt.

Divino Niño are no strangers to bold reinvention. When Camilo Medina and Javier Forero_friends whose bond dates back to their childhoods in Bogotá, Colombia_moved to Chicago and recruited guitarist Guillermo Rodriguez to form a band, they were psych-pop outsiders playing live shows with a drum machine. With the addition of drummer Pierce Codina, their 2019 breakthrough and debut LP for Winspear, Foam, solidified their place as local indie rock mainstays. Soon after, multi-instrumentalist Justin Vittori joined to round out their lineup. Once again, with their masterful, unpredictable, and eminently danceable new album, the band has done something radical: They totally upended the way they write songs, eschewing practice room jams for unrelentingly collaborative beats, implied grooves for immersive dance floor heaters, and mellow vibes for frenetic doses of reggaeton, electropop, and trap on their most adventurous and ambitious work to date. Welcome to the Last Spa on Earth. Written and recorded over the past two years, Last Spa on Earth deals in release and catharsis: confronting your darkest moments and coming out better for it. The album artwork, done by Medina, a longstanding visual artist, depicts a dreamy, yet graffiti-tagged spa, void of physical bodies so listeners can envision themselves in this unique environment. It represents the yin and yang approach Divino Niño took while creating the album: the serenity of the spa and the chaos of the party. Ultimately, the band's desire is to provide healing in the same way one feels after sweating, shivering, stretching, and resting at the spa against the backdrop of the world's darkness. Last Spa on Earth is the cathartic product of Divino Niño letting go of their musical preconceptions, past traumas, and future anxieties to embrace change, chaos, and each other's contributions both to these songs and to each other.

Divino Niño are no strangers to bold reinvention. When Camilo Medina and Javier Forero_friends whose bond dates back to their childhoods in Bogotá, Colombia_moved to Chicago and recruited guitarist Guillermo Rodriguez to form a band, they were psych-pop outsiders playing live shows with a drum machine. With the addition of drummer Pierce Codina, their 2019 breakthrough and debut LP for Winspear, Foam, solidified their place as local indie rock mainstays. Soon after, multi-instrumentalist Justin Vittori joined to round out their lineup. Once again, with their masterful, unpredictable, and eminently danceable new album, the band has done something radical: They totally upended the way they write songs, eschewing practice room jams for unrelentingly collaborative beats, implied grooves for immersive dance floor heaters, and mellow vibes for frenetic doses of reggaeton, electropop, and trap on their most adventurous and ambitious work to date. Welcome to the Last Spa on Earth. Written and recorded over the past two years, Last Spa on Earth deals in release and catharsis: confronting your darkest moments and coming out better for it. The album artwork, done by Medina, a longstanding visual artist, depicts a dreamy, yet graffiti-tagged spa, void of physical bodies so listeners can envision themselves in this unique environment. It represents the yin and yang approach Divino Niño took while creating the album: the serenity of the spa and the chaos of the party. Ultimately, the band's desire is to provide healing in the same way one feels after sweating, shivering, stretching, and resting at the spa against the backdrop of the world's darkness. Last Spa on Earth is the cathartic product of Divino Niño letting go of their musical preconceptions, past traumas, and future anxieties to embrace change, chaos, and each other's contributions both to these songs and to each other.

Divino Niño are no strangers to bold reinvention. When Camilo Medina and Javier Forero_friends whose bond dates back to their childhoods in Bogotá, Colombia_moved to Chicago and recruited guitarist Guillermo Rodriguez to form a band, they were psych-pop outsiders playing live shows with a drum machine. With the addition of drummer Pierce Codina, their 2019 breakthrough and debut LP for Winspear, Foam, solidified their place as local indie rock mainstays. Soon after, multi-instrumentalist Justin Vittori joined to round out their lineup. Once again, with their masterful, unpredictable, and eminently danceable new album, the band has done something radical: They totally upended the way they write songs, eschewing practice room jams for unrelentingly collaborative beats, implied grooves for immersive dance floor heaters, and mellow vibes for frenetic doses of reggaeton, electropop, and trap on their most adventurous and ambitious work to date. Welcome to the Last Spa on Earth. Written and recorded over the past two years, Last Spa on Earth deals in release and catharsis: confronting your darkest moments and coming out better for it. The album artwork, done by Medina, a longstanding visual artist, depicts a dreamy, yet graffiti-tagged spa, void of physical bodies so listeners can envision themselves in this unique environment. It represents the yin and yang approach Divino Niño took while creating the album: the serenity of the spa and the chaos of the party. Ultimately, the band's desire is to provide healing in the same way one feels after sweating, shivering, stretching, and resting at the spa against the backdrop of the world's darkness. Last Spa on Earth is the cathartic product of Divino Niño letting go of their musical preconceptions, past traumas, and future anxieties to embrace change, chaos, and each other's contributions both to these songs and to each other.

With his Arjunamusic label and a growing catalog of category-defying releases, Samuel Rohrer
continues to quietly, yet confidently, make a name for himself as a genuinely unique figure within
the European electronic music realm. Over the past decade he has assembled a repertoire of
music that fills a sadly neglected gap in the modern musical landscape. That is to say, he has
made a number of “electronically”-aided works that never seem to make “electronic-ism” the main
selling point or raison d'être. Rohrer understands that we inhabit a networked media landscape
that no longer sees a novelty value in every synthetic or technological sound, and by realizing
this, he makes a music that fully engages with the present without completely disregarding the
exciting speculative sensibility that has allowed electronic music to solidify into a tradition. His
latest solo album, Hungry Ghosts, again shows the high quality of sonic design that can be
achieved by conceptualizing musical passages as living, breathing entities rather than as
signposts to some still distant reality.
Maybe more so than any of Rohrer’s solo records to date, Hungry Ghosts is the one that
most unambiguously displays the artist as a kind of inspired sound “cultivator” or landscaper
rather than just a straightforward “producer”. The emphasis here seems to be biological growth
processes rendered in musical form, and in fact some track titles namechecking the biodiversity
of the external world (“Slow Fox”, “Ctenophora”) and neurochemistry (“Serotonin”) lend some
additional credence to this interpretation.
As with previous outings, Rohrer starts with his skills as a genre-resistant percussionist
and builds from there, with dense clusters of drum hits and icy cymbal exclamations leading the
way into a wide-open atmosphere full of fragmented phrases, marked with strange reversals or
compressions of time. The percussive portions and other ambiences merge together in such a
way that the latter seems like a kind of shifting, holographic camouflage for the former; an effect
which makes for a greater than usual number of shifts in mood. Rohrer’s already established
ambiguity and mystery are the moods that permeate throughout, to be sure, but there are also
surprising moments of humorous whimsy (the flourishes of cartoon mischief and teasing silences
on the tracks “Human Regression” and “Bodylanguage”), reverence (the optimistic organ swells
and steady sequencer guiding “Ceremonism”), and meditative focus (the slow-motion spectral
waltz of “Treehouse”). Also notable here are very brief etudes, such as “Window Pain,” whose
dark, lush ebb and flow actually seem tailored to repeated or looped listening.
It’s particularly remarkable that almost all of this material is recorded solo and in a “live /
no overdubs” mode, given how much it feels like well-rehearsed ensemble playing, and given the
impeccable timing involved in continually exchanging the sounds at the very forefront of the mix.
And here we come full circle to the idea of “electronic music” mentioned at the beginning here:
instead of making us feel that we are in the presence of some fully-realized form brought back
from “the future,” Rohrer invites us instead to witness fascinating processes of transition and
mutation, and to value them for what they are now as much as for where they are headed.

Black White Splatter Vinyl

When two musicians intensively work together for a period of time, at some point the whole becomes greater than the sum of its parts. If Paul Boex and Dave Miller hadn't already reached that status under their Abstract Division moniker, they certainly have now, with the release of Midnight Ensemble, their first full length album.

Those who have followed the duo since their early days of playing dj-sets together, know that it's hard to define their style anywhere beyond techno or even electronic music, as it is ever evolving and always dependent on the time of the day or night. When listening to this album, the resemblance between their unpredictable selection behind the decks and the eclectic range of subgenres on this album is more obvious than ever before. Midnight Ensemble could be interpreted as an ode to nightlife; a reminiscence of all that happens between dusk and dawn, captured and compressed into about one hour of music. An hour in which they so delicately time their changing of styles and tempos, always reading the room and always being one step ahead of the crowd.

This album is a reflection of that skill, starting its journey with soothing, moodsetting ambient, followed by timeless pieces of Detroit and dubtechno. A daring electro cut providing a refreshing break from the four to the floor tradition, only to be followed by the stripped down sound the duo is so comfortable with.

The final minutes consist of experimental breaks, one last banger to pull out the last bits of energy that is left and a beautiful outro, which concludes the allnighter vibe. There are no open endings, it doesn't make you want to stay in the dark forever. Rather it makes you want to close your eyes one last time before walking outside to see the sun come up again before going home, overwhelmed and satisfied.

The Brussels based power trio Don Kapot has gained a lot of attention on the national and international music scene in recent years. Their raw and energetic in your face mix of punk, free jazz, afrobeat and other global sounds took them to stages all over Europe.

Their first two records were based on the unique combined sound of Viktor Perdieus' baritone saxophone, the raw and pumping electric bass of Giotis Damianidis and the powerful and creative drumming of Jakob Warmenbol. Recently, the band has been experimenting with incorporating other sounds and instruments into their repertoire. In anticipation of their new full album, they invited a number of musical friends to their rehearsal room at various times at the end of 2021 and recorded an improvised repertoire with them on the spot. One of those musicians is the multi-talented all-round musician and singer Fulco Ottervanger (known from FULCO, De Beren Gieren, BeraadGeslagen). The recording they made turned out to be so successful that they couldn't just let it pass.

In two twenty-minute suites, Don Kapot & Fulco Ottervanger take the listener on a haunting musical trip, in which numerous influences and genres are reviewed: Classical Indian music, blues, krautrock, free jazz, synth-pop, post-punk, ambient, ... you name it. The musical brilliance of these four extraordinary musicians reaches unprecedented heights.

The record, simply titled 'un peu live', will be officially released on the Belgian jazz not jazz label WERF records on September 23.

On May 6th 2022 two-time Grammy nominee Beth Nielsen Chapman returns with her bluesy new single ‘Hey Girl’, her first new music in over four years, and the first taste of her upcoming 15th album, CrazyTown, out this autumn on Cooking Vinyl With a career spanning nearly 40 years, Beth proves she’s still as vital as ever with this anthemic new track written in reaction to the ‘Me Too’ movement, a song Beth calls her “celebratory shout out to our sisters making their way in the world.”

Live: Return of the Storyteller – his third live album and nineteenth overall - plays like a masterclass by one man with a guitar and a freewheeling imagination. Threading his husky-voiced phrasing through a likable cosmic cowboy manner, he invites you on a tour of tunes humorous (“Big Finish,” and the have-meets- have-not “In Between Jobs”), Proustian (“Play a Train Song,” “Too Soon To Tell,” and the lump-in-the-throat snapshot of John Prine on “Handsome John”) and heart-worn (“Like a Force of Nature,” “The Very Last Time,” “Roman Candles”). As the fifteen-song set unfolds, you can feel a tangible bond building between Snider and his fans. While the album captures what Snider laughingly calls his “second tour - because I went out on the road in '94 and never went home until the pandemic” - it acts as both a summing up of a thirty-year career and a look ahead.

In the music business, there are certain sidemen — players who back the stars — who play with such prowess that they gain fame of their own. By all rights, Herman Hitson should be one of those people. Over the years, he played with Jimi Hendrix, James Brown, Joe Tex, Bobby Womack, Wilson Pickett, Garnet Mimms, Major Lance, Jackie Wilson, the Drifters, the Shirelles, Hank Ballard & the Midnighters and many others. “I played behind Jackie Wilson and Sam Cooke on the same doggone show,” he said, recalling one night at the Royal Peacock. Along the way, he picked up every style of music that was popular in the early years of his career. Arguably, the original seeds of psychedelic rock were planted after Hitson and Hendrix became running buddies in the early 1960s. Both were playing the Chitlin’ Circuit, tours that would load somewhere between ten and two dozen African American musicians on a bus and tour the South, playing Black nightclubs. The two spent weeks together, Herman says. As the 1970s rolled in, Herman wound up playing funk guitar, recording some tracks with the Ohio Players and releasing some of his own funk singles, including the powerful “Ain’t No Other Way,” a number firmly in the James Brown vein which he reprised on ‘Let The Gods Sing.’ In the mid-1960s, he moved to New York City, where he once again hooked up with Hendrix. Early in 1966, Herman began work on his own psychedelic rock album under the title “Free Spirit.” Hermon sang and played lead guitar, and Hendrix played bass on a few tracks that went unreleased by ATCO at the time. Those recordings wound up being the source of a controversy in the 1980s that brought Hermon’s name into the limelight in a different way. The title song of the album, “Free Spirit,” was released on two albums of music allegedly recorded by Hendrix and then “lost” to history. “That’s my song,” Herman says today. "He Hendrix didn’t never play no lead on nothing of mine. And he didn’t sing on nothing of mine. In fact, back then he thought he couldn’t sing. We had to keep pushing him". Jimi would say, ‘I can’t sing.’ I’d say, ‘Man, you don’t have to be Wilson Pickett. All you got to do is sing like you sing.” Recorded and co-produced by Bruce Watson at his Delta Sounds Studio in Memphis, Hitson’s backed on the new album by guitarist and co-producer Will Sexton and some of Memphis’ best musicians.

Rebel Wizard’s The Warning of Three is the vinyl collection of digital only releases from Australian wizard musician, NKSV. The EPs: The Warning of One, Great addictions to blindingly dark, worldly life and Hark! Hark! Hark! were originally released 2017-2019. Rebel Wizards albums have been met with overwhelming praise, infiltrating a multitude of year end lists including Pitchfork, Metal Hammer, LA Weekly, Kerrang!, Metal Sucks, Stereogum and more.

Live in Stockholm has Trouble riffing through a fantastic greatest hits setlist that will leave no fan untouched! Finally availble on vinyl for the first time! Remastered and cut in DMM! Trouble were invited by Leif Edling and Candlemass as special guests. The vinyl release (on CD it is available as a bonus disc that we added to the remastered deluxe CD edition of “Simple Mind Condition” covers all 14 tracks the legendary Doom Metal pioneers played that evening, and by hearing Trouble in action you can hear where the band leader of Candlemass, Leif Edling, was inspired. The whole gig is 75 minutes, and the guys serve us the best (lets call it a “Greatest Hits” set) from their long career on a fantastic 2-LP. Everything is played with an incredible passion and love for the music, and it’s really fun to hear the old Doom Metal icons on stage. Eric Wagner didn’t move too so much, he mostly hung over his mic with shades and a cigarette, but that turned out great, because of his amazing voice that was still intact. The tracklist should speak for itself with classics like R.I.P., Fear, Psalm 9, Run to the Light, The Skull and more!

Built on the classic Black Sabbath formula of downtuned leaden heavy guitar riffs, coupled with soaring vocal lamentations, Solitude Aeturnus are the American masters of the classic epic doom metal style. Their 1994 album Through The Darkest Hour features some of the strongest compositions of their career. The album has never previously been available on vinyl with the original cover art, which is now meticulously restored on this limited gatefold reissue. The music is spread over two LPs for best possible fidelity.

 

Built on the classic Black Sabbath formula of downtuned leaden heavy guitar riffs, coupled with soaring vocal lamentations, Solitude Aeturnus are the American masters of the classic epic doom metal style. Their 1994 album Through The Darkest Hour features some of the strongest compositions of their career. The album has never previously been available on vinyl with the original cover art, which is now meticulously restored on this limited gatefold reissue. The music is spread over two LPs for best possible fidelity.

 

Venom are an English extreme metal band formed in 1979 in Newcastle upon Tyne. Coming to prominence towards the end of the new wave of British heavy metal, Venom's first two albums—Welcome to Hell (1981) and Black Metal (1982)—are considered a major influence on thrash metal and extreme metal in general. Venom's second album proved influential enough that its title was used as the name of the extreme metal subgenre of black metal. The band classic line-up trio of Cronos, Mantas and Abaddon recorded two further studio albums At War With Satan (1984) and Possessed (1985) and live album Eine Kleine Nachtmusik (1986). Often cited by bands such as Metallica, Behemoth, Celtic Frost and Mayhem as major influences, they are one of the most revered bands of their generation. Venom are still fronted by original singer/bassist Cronos and headline festivals all over the globe and continue to release new music.

This silver and black splatter vinyl is to celebrate the 40th Anniversary of Black Metal. LIMITED TO 1500 COPIES IN THE UK.

Glenn Fallows and Mark Treffel released their first album, ‘The Globeflower Master Vol. 1’, on Mr Bongo in September 2021. With its lush, warm and timeless productions paying homage to classic 60s and 70s soundtrack composers, it was very well received and struck a chord with the scene’s connoisseurs. Louder Than War emphatically stated, "It’s impossible not to like The Globeflower Masters Vol. 1.”, with Gigwise echoing that praise “slickly compelling retro vibes”.

The Globeflower Master Vol. 2 is the slightly edgier and more grown-up sequel to Mark and Glenn's 2021 debut album. For this excursion, the Brighton-based duo wanted to lean a little further into their European film soundtrack influences, with particular inspiration mined from the works of Stefano Torossi, David Shire, and Roger Webb. This expansion of their sound builds upon the rich tapestry of cinematic funk à la David Axelrod, Serge Gainsbourg and Morricone that fashioned Vol. 1. Here the arrangements, melodies, and harmonies have been refined; only what is needed is left. Pulled into its vortex for the ride. This record doesn’t pull any punches.

The recordings are drenched in visual imagery; they stimulate the senses and invite the imagination to roam. Ethereal, hazy memories of lost summers are triggered; the beauty of listening to music when driving along a deserted road in the Italian countryside lined with cypress trees heading towards the sun, and beyond. As the musical journey progresses, we even take a voyage to another planet. Whether these memories are real or constructed recollections of scenes from film and television, the tracks evoke a feeling of nostalgia and comfort. Like all the best music, 'The Globeflower Masters Vol. 2' takes us out of ourselves even if it's only temporarily.

To consolidate the shape of the sound, drummers Timmy Rickard and Ollie Boorman (who also featured on Vol. 1) and John Maiden (Tricky collaborator) sprinkled their magic and forged their stamps onto the recordings. Collaborating with other talented musicians contributed to the picture Mark and Glenn wanted to paint. The ‘Globeflower Master Vol. 2’ is a fitting tribute to the music they love and care deeply about and a glorious addition to their musical world.

Der gefeierte Rock/Metal-Gitarrist Jim Matheos (Fates Warning, Arch / Matheos) hat sich mit der Rockröhre Steve Overland (FM) zusammengetan und die Band Kings of Mercia gegründet. Begleitet wird das Duo auf dem kommenden Debütalbum von Matheos' Fates Warning-Bandkollegen Joey Vera am Bass und dem legendären Schlagzeuger Simon Philips. Das selbstbetitelte Album wird am 23. September 2022 über Metal Blade Records veröffentlicht.

Keith Fullerton Whitman brings his 3-part Generators series for Japan’s NAKID label to a close with a third and final instalment that ravishes the senses with hybrid analogue/digital systems tekkerz.

Hazing into a solemn start of floating organ and slurred drums, the first part fizzes into action with pranging irregularities, tentatively allowing the system to voice varying pitches and nimble rhythms that resemble balletic footwork plies as much as classically-trained instrumentalist flurries. It’s deeply trance-inducing, meditative gear that over the course of 25 minutes slowly gains momentium and complexity, first adding robust arps to complicate the structure, treading the finest line of chaos and discipline. In time, those arps turn themselves into a rhythm track, landing somewhere between Whitman's earliest junglist works as Hrvatski and a sort of plucked rhythmic minimalism that reminds us of Mark Fell’s Sensate Focus, gliding on natural, brownian motion and flux of texture, punctuated by what sound likes a plucking of a drum machine from the inside-out.

In part 2 the mood pools and diffracts in slow-fast meter, bristling ruptures of atonality that send limbs flailing one way and then another, adding subs for a dimensional shift that’s rhythmically fractured but always grounded at the low registers. The wavy embroidery of Whitman's machines trigger each other in endlessly fascinating forms of gyring workshop ballistics and dub reverberations.

A special bonus piece ‘Meakusma (Generators, Soundcheck)’ is the most curious of the lot, with a lone clarinet heard in the air, perhaps a serendipitous inclusion form someone else’s soundcheck, lending an enchanting depth perception to his frolicking bleeps.


[a] 1 | MEAKUSMA [Generators] (190606) Part 1
[b] 2 | MEAKUSMA [Generators, Redactions] (190606) Part 2
[c] 3 | MEAKUSMA [Generators, Soundcheck] (190606)

Perc returns to Perc Trax with 'Dirt', one of his most raw and uncompromising works to date. Across three versions of the track, one remixed in collaboration with rising US star EAS, Perc fuses together dry looped techno with caustic industrial sounds and just a splash of rave euphoria.

Opening up the release is the original mix of 'Dirt' layering searing top end percussion over cropped breakbeats before dropping unexpectedly to an unmistakable classic piano riff. The riff has been completely replayed and reproduced rather than sampled and provides the kind of sudden jolt that Perc's productions are famous for.

On the B-side Perc teams up with Los Angeles DJ and producer EAS who returns to the label for the first time since his devastating remix of Perc's own 'Dumpster' in early 2021. Perc provides the beats and EAS serves up the 303 lines, as the hedonism of the original mix's piano drop is swapped for a screw faced slice of warehouse acid.

Rounding off the release is Perc's own 'Crowd Mix' which focuses on the beats with additional layers of percussion and atmospheric crowd samples filling the space taken by the piano hook and acid lines of the first two mixes.

'Dirt' will be released as a hand-stamped white label release in a stickered black paper sleeve. The release was mastered by regular Perc Trax mastering engineer Matt Colton at Metropolis studios with Adult Art Club handling visual presentation and design.

Known for her time as vocalist in Fairport Convention and respected
globally , Sandy Denny left a beguiling, ever-evolving body of work - Kate
Bush was to namecheck her in song, and Denny's influence can be heard
in generations of singer-songwriters
After leaving Fairport Convention in late 1969, Sandy Denny formed Fotheringay
with husband Trevor Lucas. After one UK Top 20 LP in summer 1970, the band
split while recording a follow up, leaving Denny free to make her first solo album.
A beguiling mixture of covers and originals, The North Star Grass Man And The
Ravens is one of THE essential British folk-rock albums. From the dreamlike Late
November to the plaintive Next Time Around to her reading of the traditional
standard Blackwaterside, the album is a near perfect capture of the talent on the
scene at that juncture: including Richard Thompson's unmistakable guitar playing,
John Wood's production and Harry Robinson's string arrangements. Released in
September 1971, its reputation has understandably grown exponentially over the
years. Out of print on LP for a number of years, this re-issue faithfully replicates
the original 1971 Island Records UK release with gatefold sleeve and is pressed
onto high quality 180g vinyl

Now available on vinyl, Heartmind is Cass McCombs' biggest album in
years, garnering the best reviews of his career to date
UNCUT ALBUM OF THE MONTH - "One of the most impressive bodies of work of
the century so far."
MOJO ALBUM OF THE MONTH - "On a mission to find out where the heart and
mind intersect.....there is real emotional impact here."
Songs like "Karaoke" are a god-level burst of powerpop perfection, as fetching as
anything Cass has ever cut: Cass triangulates a perch of his very own out among
The Go-Betweens, The dB's, and The Cure,and vibrates there, a beacon. And then,
of course, there is the song's playful if painful lyrical conceit — the lover who is
making all the sacred motions of commitment but whose feelings may be no
more deep or real than someone simply reading the lyrics for "Vision of Love" or
"Stand by Your Man" from some crowded bar's TV screen.
Cass recorded these songs in multiple sessions on both coasts, in Brooklyn and
Burbank. The great Shahzad Ismaily not only cut the staggering "Unproud
Warrior" and four others here but also played lots of bass. Buddy Ross tracked
"New Earth," a paean of post- humanity renewal with several sharp wisecracks.
Ariel Rechtshaid — now a dozen years into his collaboration with Cass, which
began with 2009's Catacombs—captured Cass' scintillating guitars on "Belong to
Heaven," a thoughtful consideration of what we all lose when we lose an old
friend to the inevitable end. The steadfast Rob Schnapf (who previously produced
McCombs' ANTI- debut, Mangy Love) mixed and merged it all. Wynonna Judd
(yes, that one) offers harmonies, while her beau Cactus Moser provides some lap
steel. Joe Russo, Kassa Overall, Danielle Haim, Nestor Gomez are featured on the
album, too.

Over 25 years after their buoyant & breezy electro-acoustic debut busted
language barriers showing that French language music could build a buzz
on all sides of the Atlantic, Autour de Lucie's debut finally gets the vinyl
treatment! Pressed on Dark Red color vinyl
..
Tracks: L’accord parfait / La ballade du déserteur / Le ciels de traîne / Le
tournesol / Island / Comme si de rien n’était / Au large déjà / Ce que l’on tait / Les
anomalies / Marie (ceux qui ne rêvent pas aux étoiles) / Les brouillons

Kinetika Bloco's 'Legacy' now on limited-edition vinyl with 6-panel poster
of the cover artwork
'Legacy' celebrates the 21st anniversary of the carnival group of the same name,
which was founded by Mat Fox in South London. Usually around 100 strong, this
scaled-down group of Kinetika alumni led by Mat's son Ruben Fox revisit some of
the Bloco's iconic pieces on this landmark recording and features saxophonist
Nubya Garcia, pianist Reuben James and trumpeters Mark Kavuma, Claude
Deppa and Ife Ogunjobi.
They revisit some of the Bloco's iconic pieces on this landmark recording. What is
effectively a big band with guitar, Hammond B3 and a four-piece rhythm section
of Brazilian surdos (bass drums), bells and snare drums, their sound is
refreshingly new, enthralling, and vibrant.
George Clinton: "Don't ever stop grooving like that, you (Kinetika Bloco) own the
world."
Press quotes:
"Kinetika Bloco has created a unique new British carnival sound, drawing its
influences from the Caribbean, Brazil, Africa and New Orleans." - Jazzwise
"Kinetika Bloco are a phenomenon - over the last twenty years the percussion and
horn heavy collective have evolved their own irresistible version of carnival music,
drawing on the many traditions of the Black Atlantic, while acting as a hothouse
for talent development for generations of young London musicians." - Jazzviews
"The group sounds like a British carnival for today, drawing on a Caribbean,
Brazilian, African and New Orleanian influence. Legacy celebrates Kinetika Bloco's
21st anniversary." - Jazz Journal
Kinetika Bloco were featured in the Queen's Platinum Jubilee Pageant, as seen on
TV by millions.

Deluxe audiophile 2LP pressing of 'Bucharest 1994', the first joint
performance of Romanian-German jazz pianist Eugen Cicero and
Romanian bassist Decebal Badila, a congenial duo that worked together
successfully until Cicero's early death in 1997
Eugen Cicero - critics reverently called him the man with the "golden hands". For
over 30 years, his name stood for pianistic virtuosity, phenomenal sense of
rhythm and imaginative ingenuity. He masterfully connected works from the
Baroque, Classical and Romantic periods with sophisticated harmonic sequences
from jazz and an infectious rhythm - no one who had attempted such symbioses
before him achieved a similarly inspired and technically accomplished result.
With 'Bucharest 1994', In+Out Records now presents a very special live event by
this man who has created something unique in his mediation between classical
music and jazz standards. This is the first concert with exceptional bassist
Decebal Badila, which laid under lock and key for 28 years. Already at a young
age, Badila adored the music of his older compatriot and was already very
familiar with Cicero's repertoire before their first meeting, which can impressively
be heard on the recordings.
'Bucharest 1994' contains both entertaining, technically demanding and
documentarily indispensable material from the early work of a rising virtuoso
musician and the late work of an exceptional artist whom the jazz world lost far
too early.

In+Out Records releases Italian vocalist Roberta Gambarini's 2006 debut
album - for the first time on vinyl in a limited audiophile signature edition
She is backed by two rhythm sections, consisting of bass players John Clayton
and Chuck Berghofer, drummers Willie Jones III and Joe La Barbera and pianists
Tamir Hendelman and Gerald Clayton. Saxophonist James Moody guests on two
numbers and even contributes some inspired scatting. This album is a real
masterpiece that was recorded live on tape over two afternoons in L. A.

Following up on the Rock Sound and Kerrang! Radio supported album
'Amorphous', Icon For Hire introduced 'The Reckoning', with the bruising
single 'Ready For Combat'
Described by Rock Sound as "a bold and belligerent piece of hard rock chaos", the
track, alongside its high-powered music video, perfectly depict the harder-edged
sound and aesthetic of the upcoming album, in the band's own words; "grittier,
louder, larger". Talking about the album Icon For Hire say; "'The Reckoning' isn't
just about exploring all the dark and heavy pieces of ourselves, it's about
embracing and accepting those pieces, and using them as weapons against the
gatekeepers that hold us back, even when those gatekeepers are our own selfimposed limitations." Featuring collaborations with Keith Wallen of Breaking
Benjamin and mixing by Joe Rickard of In Flames and Red, the album boasts
Ariel's fiercest vocals to date, and Shawn's signature in-your-face guitar style.
Since forming in 2007, Icon For Hire - composed of singer Ariel Bloomer and
guitarist Shawn Jump - have quietly amassed a legion of fans. With 250 millions
global streams to date and nearly 1 million followers across social platforms,
Icon For Hire are no longer the sleeping giants of the modern rock scene. Having
sold over 120,000 albums to date through their completely independent set up,
they are one of the most successful direct to fans stories. Continuing to build
their legacy on their own terms, unapologetically forcing all to take note that they
aren't going anywhere any time soon, with 'The Reckoning' Icon For Hire are
embracing their self funded freedom.
Featuring collaborations with Keith Wallen (Breaking Benjamin) & mixed by Joe
Rickard (previously of In Flames & Red).
144M YouTube streams / 410K subscribers.
725K+ followers across social channels.

ACCLAIMED ALBUM FROM NORWEGIAN POST-PROGRESSIVE ART
ROCKERS BACK ON VINYL
Formed in Oslo in 1996 by childhood friends Jon-Arne Vilbo & Thomas Andersen
along with Jan-Henrik Ohme (later joined by Mikael Kromer, Robert R Johansen &
Kristian Torp), Gazpacho have honed their unique sound over a string of critically
acclaimed albums & numerous tours, including several with long-time supporters
Marillion.Albums & tours, the internet & word- of- mouth praise that has greeted
them, have helped the band build a substantial international fan base. While still
an independent band, they were contacted by producer Steve Lyon (Depeche
Mode, The Cure, Paradise Lost, Reamonn, etc). This ended up as a collaboration
on one of the tracks featured on the album, 'Substitute for Murder'.
'When Earth Lets Go', originally released in 2004 has the band joined by drummer
Robert Johansen & sees them take the step from being a "studio band" to a "live
band". 'When Earth Lets Go' is seen by many as a rougher edged album than
'Bravo', a direction Gazpacho wanted to take without repeating themselves.
'When Earth Lets Go' is now available for the first time on single LP via Kscope.
"Norway's best kept Prog secret" CLASSIC PROG ROCK (UK)

LP Tracks: Snowman / Put It On The Air / Souvenir / Steal Yourself / Dingler's
Horses / 117 / Beach House / Substitute For Murder / When Earth Lets Go

ACCLAIMED ALBUM FROM NORWEGIAN POST-PROGRESSIVE ART
ROCKERS BACK ON VINYL
Formed in Oslo in 1996 by childhood friends Jon-Arne Vilbo & Thomas Andersen
along with Jan-Henrik Ohme (later joined by Mikael Kromer, Robert R Johansen &
Kristian Torp), Gazpacho have honed their unique sound over a string of critically
acclaimed albums & numerous tours, including several with long-time supporters
Marillion.Albums & tours, the internet & word- of- mouth praise that has greeted
them, have helped the band build a substantial international fan base. While still
an independent band, they were contacted by producer Steve Lyon (Depeche
Mode, The Cure, Paradise Lost, Reamonn, etc). This ended up as a collaboration
on one of the tracks featured on the album, 'Substitute for Murder'.
'When Earth Lets Go', originally released in 2004 has the band joined by drummer
Robert Johansen & sees them take the step from being a "studio band" to a "live
band". 'When Earth Lets Go' is seen by many as a rougher edged album than
'Bravo', a direction Gazpacho wanted to take without repeating themselves.
'When Earth Lets Go' is now available for the first time on single LP via Kscope.
"Norway's best kept Prog secret" CLASSIC PROG ROCK (UK)

LP2 Tracks: Intro (00:46) / Snowman (04:26) / Put It On Air (05:10) / Souvenir
(03:37) / Steal Yourself (03:52) / 117 (06:23) / Beach House (05:07) / Substitute
For Murder (06:10) / Dinglers Horses (04:19) / When Earth Lets Go (04:49) /
Etching

In a world hurtling towards new frontiers of horror on a daily basis, there’s precious little time for pause. For the self respecting artist, the only reasonable solution is psychic warfare. Such is the terrain of Petbrick on the titanic and transformative Liminal. Here on their second album the duo of Wayne Adams (Big Lad/Johnny Broke) and Iggor Cavalera (Sepultura/Cavalera Conspiracy/Soulwax) lays waste to all or any constrictions in its path, Blending a vast sonic landscape with a relentless compunction to break the pain barrier, Liminal is a dizzying exercise in overdrive which can take in industrial abrasions, pulverising rhythmic drive, acid-damaged freakery, cinematic tension and balladic gravitas in disarmingly coherent fashion. Other heads and personalities also came on board to add richness and intrigue to the onslaught - “I believe we got an amazing team of collaborators - from old school friends like Neurosis’ Steve Von Tilll and Converge’s Jacob Bannon to new school artists like Paula Rebbeledo from Rakta and New York doom rappers Lord Goat and Truck Jewelz” notes Iggor. This is an album birthed in difficult times and expressly engaged with raging against the dying of the light. As Iggor puts it “Liminal is an insane mirror of what being isolated feels like - madness through noise experimentations” An alchemical vision fit to both elevate the spirit and destroy everything in its path, ‘Liminal’ is the sound of Petbrick blasting their way through the boundaries of a fresh hell. Tracks: 01. Primer 02. Arboria 03. Pigeon Kick 04. Raijin 05. Lysergic Aura (Feat. Lord Goat & Truck Jewelz) 06. Damballa 07. Ayan 08. Grind You Dull (Feat. Jake Bannon) 09. Chemical Returns 10. Distorted Peace (Feat. Paula Rebellato) 11. Reckoning (Feat. Steve Von Till