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Panoram makes soundtracks for daydreams gone sideways. Picture the scene: an afternoon nap with the television on, quietly, in the corner; snatches of conversation drift in through the open window. Wandering, half-formed thoughts take unexpected detours; before you know it, there’s a movie playing out against closed lids, the colors bright, the characters unfamiliar. Accidental rhythms, incidental melodies, imitations of life, messages in code.

Across 17 fragmentary, sketch-like tracks, Panoram carves a labyrinthine path in which nothing is what it seems: a fantasy world of breathy vox pads, faux guitar, detuned synths, bursts of flute and orchestral percussion, and even the occasional cheeky cartoon sample. It’s chillout music with a chilly edge, ambient with a darkly ironic undertone. (The briefest glance at your news outlet of choice should be enough to confirm that the title—Great Times—ought to be taken with a healthy dose of skepticism.)

Panoram has been making music under his principal alias for more than a decade now, releasing albums on labels like Firecracker, Running Back, and his own Wandering Eye. (He has also performed and recorded with Amen Dunes, and has co-production credits on Amen Dunes’ forthcoming Sub Pop album Death Jokes.) Panoram’s output has ranged widely, taking in abstract pop, classical composition, twisted takes on library music, and cyborg funk. One record of “bio-acoustic transmissions” came with a cannabis leaf pressed in clear wax; his 2021 album Pianosequenza Vol. 1 gathers his experiments on the Yamaha Disklavier. But Great Times offers the truest picture yet of a project that has never been easy to pin down.

Loath to overshare details about his personal life, Panoram instead lets the music do the talking, using his cryptic tracks to express the slipperiest sorts of ideas—the thoughts that take root where anxiety, distraction, and the most fleeting traces of grace commingle. Panoram’s approach flies in the face of contemporary ambient orthodoxy, with its emphasis on immersion and uplift. Great Times expresses something thornier, more difficult to translate, yet also more tantalizing to contend with. Its 17 tracks offer a chance to get lost—and an invitation to remain in the maze as long as you like.

Returning to Ransom Note Records sub-label, Insult to Injury, Timothy Clerkin is back with incendiary new record, Fading EP. An overt, Acid-Techno analogue assault on the senses, all tracks were performed live in Clerkin's vintage synthesiser recording facility. Backed with a vinyl exclusive remix from the mighty Posthuman (not available digitally) and limited to a run of 100, hand stamped 12”s, you’ll need to be fleet of foot to get your hands on it!

Titular track, Fading, features the inimitable vocal talents of Brighton based Shoegazers HANYA’s front person Heather Sheret, whose heavenly articulation offsets the high voltage, rhythmic battering that opens the record. Booming 909’s propel us forward as we’re launched headlong into the rave maelstrom where squelchy bass lines and breakbeats grapple with trancelike strings for dominance.

Next out of the gate, Sigma hurls itself from the cocoon and slaps us around the face, hugging it tightly like an Acid-Techno Xenomorph. A face melting melange of retro sounds & futurism, it’s underpinned by the nihilistic vocal sample that belies Clerkin’s antiestablishment Punk musical past. Hold onto your hats and remember to BREATHE!

ITI Records are very excited to have head honcho of the I Love Acid parties, Balkan Vinyl and record producer extraordinaire, Posthuman on remix duties. Never one to disappoint, he ‘breaks’ Fading down into tiny pieces and rebuilds it in his own image. Taking inspiration from early Hardcore and Acid aesthetics, we’re treated to a proper dance floor workout of 808s, Rave Hoovers and breakbeats.

Rounding off, Collapsed Lung is a slightly more introspective affair. Jam packed with glitched drums and sequenced, mechanical tones, it builds towards an etherial climax. This slightly distant, intangible and dreamlike number glides out of view just as quickly arrived, leaving us feelin incongruously all warm and fuzzy, after the absolute clobbering that opened the record.

Two new, pure, unadulterated, deep house tracks by The Italian Stallion aka Dj Soch. Warm pads, dreamy chords, jazzy keys, all over tough beats and driving bass lines. Let the "Magic Touch" put a spell on you and go on a ride with the stallion!
Limited edition 200 copies hand stamped one side!

Continually in a state of evolution with a future-focused vision, yet ensuring the signature sound that has defined the label and event series for over a decade remains at its core, Enzo Siragusa’s FUSE imprint is once again keeping things moving with new ventures, projects and concepts.

Having previously introduced the label’s collaborative X Series in addition to the launch of sister imprint LOCUS, summer brings a new project for 2024 as the label now presents its new vinyl-focused VA, welcoming four label debuts for the first instalment of the project. First up is Amstedam-based Nachtbraker, whose classy house sound has welcomed releases via Aus Music and Peach Discs, amongst many. His contribution, ‘Banda’, is deep and trippy, balancing light and dark moments via a warping bassline, sweeping pads and slinking drums.

Next, Phone Traxxx member and live wizard Rob Amboule makes his debut on the label following his appearance for the collective’s 15th birthday at fabric. Playful and vibrant, with wicked acid-dipped and funk-fuelled bass licks, ‘Capnhat’ perfectly showcases his sound as he delivers another gem.

On the flip, Melbourne-born, Berlin-based Reflex Blue lands fresh from his second EP on Gene On Earth’s The Sound Of Limousine imprint with the glitchy yet smooth ‘Life’s A Bleep’ - combining spacey tones, skippy drums and sporadic bleeps and lasers. To close, Un_Mute resident Mario Liberti harnesses influences from a classic to deliver a heady dancefloor anthem, fusing hooky vocal samples, murky low-ends and those iconic synth stabs.

In the history of Black American soul music many recording artists have been called “Legends” some deservedly and perhaps some not so deserving of this current over used accolade? I might be a tad biased here, perhaps? but in my book one James Howard McCelland a.k.a Jesse James has surely earned the right to be called a “Legend” this octogenarian performer has weathered many storms and shifts in musical trends and styles over the years but like the trouper that he is albeit in lower keys these days he still manages time and time again to come up with the goods! “Back On Top Again” is Jesse James latest production album, a project filled with recent and current recordings in a southern soul style that has likened in passing by several respected soul scribes to the Malaco Sound I’ll let the record buying public make their own minds up on that one, I’m sure veteran DJ Bob Jones won’t mind me using his quote below:

The album also features two of Jesse’s friend’s with Donnie McKisic providing the rapping and additional backing vocals on the upbeat “I Lost My Baby On Face Book” and Shirley Diamond who you may recall from Soul Junction’s recent 45 release “You Don’t Know Who You Sleeping With” (SJ1021) returning with another excellent Diamond & James duet “Another Love Lay Over” as a further foot note the featured song “I’d Be A Fool 2 Fool Around On You” is an excellent cover version of what was a previously unissued Harvey Scales song until Soul Junction released it as the flipside their thirteenth 45 single release way back in 2011.

Album Sleeve Notes:

At the dawn of the 1960’s a young aspiring soul singer from Richmond, California by the name of James H. McClelland was honing his performing skills in several local nightclubs. At one particular show the compere struggled to pronounce the young performer’s surname and to hide his embarrassment he hurriedly introduced him as ‘Jesse James’, which became Jesse’s Stage name to the present day.

Jesse’s big break came through his aunt who at that time just happened to be dating West Coast Blues and R&B Legend Jimmy McCracklin. The aunt suggested to McCracklin the he should take a listen to her talented nephew, suitably impressed McCracklin produced Jesse on a song he’d written “I Will Go” for the local Shirley label. The release is credited to Jesse James & The Royal Aces a bunch of local musicians that Jesse had grown up with which included Slyvester Stewart a.k.a Mr “Dance To The Music” himself Sly Stone” on guitar. “I Will Go” was quite a popular record locally and led to a further four Jesse James releases on Shirley culminating in Jesse’s most sought-after record the delightful “Are You Gonna Leave Me”in 1966. The following year Jesse recorded the minor hit “Believe In Me Baby” released by the local ‘Hit’ label before being picked up by 20th Century for national distribution. While signed to 20th Century Jesse recorded a self-titled album and three other 45 singles before leaving the label.

Following a solitary 45 release for the Uni Label in 1969 Jesse formed his own Production and Publishing company ‘South Richmond Music’ releasing 45’s on his own label logo’s Zea and Zay before returning to 20th Century for a second time during 1974, releasing two 45 singles of which the sublime “If You Want A Love Affair” reaching #92 in the Billboard R&B charts in 1975, a song that would later receive worldwide acclaimed and is now regarded as Jesse’s signature tune. Ron Carson had been the producer on the later 20th Century releases and it was he that placed one of Jesse’s songs “The Same Thing Happens” on the Happy Fox label’s blaxploitation album “Black Fist”.

Into the 1980’s Jesse leased some of his songs for release on the Atlanta Georgia, Midtown label, a solitary release on the Moonlite Hope Music label (a lead single for a proposed album that never materialised) followed before Jesse joined Max Kidd’s Washington based TTED label. The TTED imprint was to yield Jesse’s biggest hit record “I Can Do Bad By Myself” reaching #61 in the R&B Charts. Following TTED Jesse formed Gunsmoke records releasing “Love On The Side” in 1988, from there on Jesse has continued to regularly release numerous studio albums though the 90’s into the new millennium and on to the present day.

Now well into his seventh decade as a performer this most resilient and enduring performer, has never been one to let the grass grow under his feet. He still performs live shows and is actively writing, producing and recording fresh new material. Soul Junction have now gathered together some of Jesse’s most recent and new recordings to form this album project which is aptly titled “Back On Top Again” Ride on Jesse James!

Pål Waaktaar-Savoy has explained that much of the atmosphere and the lyrical themes of Savoy’s seventh album “Under” are drawn from his move with his fellow songwriter and wife Lauren Savoy to Los Angeles, where they found themselves surrounded by loneliness.

Waaktaar-Savoy is one of the most prolific and impressive songwriters of the twentieth century and beyond, and having been working at the very top of the music industry for as long as he has, it is no surprise that the record is well-crafted. The production is good, with careful arrangements and instrumentation. Every instrument’s voice is given room and there is space in the mix. Only occasionally does this slip over into over-production, as with the treated strings on the opening track “Lonely Surfer” or the treatment of Lauren’s vocals, which sound overly processed.

It is also true that the record exhibits a fair measure of melancholy. The chords and melody lines are dark in places, and there is a hint of sadness in the lyrics, many of which have a retrospective quality, describing moments in the past. However, beyond this, the understated feel of the record is just that – understated. Many of songs feel a few RPM too slow and the delivery of the vocal lines too underplayed to give them any emotional authority. At times, it also seems like the arrangement has to step in to bolster the songwriting or lyrics, by filling space with strings or brass, or the counterpoint of the instrumentation on “Camden Palace Chronicles” which distracts from some fairly mediocre words. It is important to emphasise that this is a joint songwriting exercise for Pål and Lauren, so we should not compare the output to the work of a-ha, but still, the themes lean in the direction of suburban banality, far from Pål’s more oblique or allegorical writing.

There are other moments of real quality beyond the production and arrangement. The title track has an excellent Bowie-esque chorus (and there are echoes of his work and sound throughout, along with Beatles and Beck), “The Life and Times of a Wannabe” has some first-rate guitar work on it, edgy riffs and some good textures. Likewise, “Coming Down”, which also exemplifies Frode Unneland’s drumming on the record, which is generally prominent in the mix, and with good reason, as it carries the record along well.

First released over 30 years ago, this EP is where The Future Sound Of London started before “Papua New Guinea” later in 1991. All four tracks were instrumental in establishing a new genre of electronica within dance music. They were ahead of their time and extremely progressive, and here three decades later they are making an impression. “Pulse State” has been described as the ‘best bleep track ever made’, and at the time dominated the airwaves on London pirate stations.

First reissue in original format since 1991!!

First released over 30 years ago, this EP, as with Volume 1, is where The Future Sound Of London started before “Papua New Guinea” later in 1991. All four tracks were instrumental in establishing a new genre of electronica within dance music. They were ahead of their time and extremely progressive, and here three decades later they are making an impression. “Stolen Beats” is a hypnotic roller with all the jazz, bleeps and bass you could want, still a regular Radio 1 ‘Essential Mix’ track, and “I’ve Become What You Were” pure hard hitting UK techno from the heyday of this music in the early 90s and the blueprint for the deep jungle sound to emerge later.

This edition of The Pulse EP is the first reissue in its original vinyl form since 1991, those initial pressings now expensive on Discogs.

Octave One continues to visit some classic Never On Sunday tracks with a second installment of their Messages From The Mothership series. This latest 12" finds the pair release two different Mothership mixes of 'The Bearer' and 'Contemplate'.

The pioneering Detroit brothers have shown a different side to their sound with the Never On Sunday project, both back when it was devised in the early nineties, and more recently when they have looked back over some of the project's key tracks and added a contemporary spin to them. Already this year the Burden Brothers have offered up new takes on 'Price We Pay' and 'A Better Tomorrow' as well as dropping brand new cut 'Mirror Image' and now their fine form continues on this latest release on their own 430 West label.

The A-side features a new Mothership Remix of 'Contemplate' from 2022 that unfolds over an epic 11 minutes of enthralling deep techno. The synths bring classic Detroit soul and the impassioned vocals layer in emotion to the sleek, compelling drums. The Instruments Version strips out the vocals and places more focus on the sublime rhythm and drums.

On the B-side, ' The Bearer' from the 2023 album Never On Sunday gets a fresh Mothership Dub. It is another masterful and almost 12-minute journey that rides on compelling drums and is lit up with a majestic vocal that soars up high while the warm, dubby undercurrents keep things moving in dynamic fashion and smeared cosmic synths bring a great sense of scale. A Mothership Instrumentals version closes out the package.
These are for more fresh perspectives on timeless house and techno fusions from the ever-innovative Octave One.

Above & Beyond release yoga and mindfulness-inspired ambient LP: “Flow State” Above & Beyond today announced ‘Flow State’, a49-minute panoramic journey of ambient compositions and warm, neo-classicalsoundscapes that offer moments of meditative calm in these busy and often overwhelming times. A break from the anthemic dance sound that swept Above &Beyond’s ‘Common Ground’ LP to #3 in the Billboard Album Charts in 2018, ‘Flow State’ is the culmination of a journey which began at Burning Man in 2014. A chance encounter on the Playa led to a spontaneous sunset yoga set on the infamous Robot Heart stage, guided by renowned yogi Elena Brower. A magical and spiritual experience for those present, it inspired Above & Beyond to begin opening their biggest global gigs with yoga sets, creating transformative experiences for 25,000 strong crowds at The Gorge Amphitheatre in Washington and Huntington Beach, California. The original Burning Man yoga set has subsequently gone on to amass over 2 million streams on Soundcloud. As the band began writing more original music for these yoga sessions, the seed for “Flow State” was sown. “Our music has always been about getting in touch with, and understanding and accepting our emotions. After those amazing yoga sets, we realised thatthere is a bigger place for this more reflective music within our little universe,” explains Above &Beyond’sPaavoSiljamaki. “With the Flow State project, we want to help bring people's attention and focus towards helping themselves find better mental fitness and overall happiness in life,” adds Siljamaki. “Through raised awareness, being more present, one can reach a state of flow: a creative and free state of mind where time, fear and stress dissipate.” To long-time fans of Above & Beyond, this new album will come as no surprise; quieter moments have always been essential components of their chart-topping electronic albums.

A decade after releasing their debut EP through Planet Mu's Timesig imprint, Speed Dealer Moms—a collaborative electronic music project with a fluid line-up commonly made up of Aaron Funk, John Frusciante and Chris McDonald—are set to make their long-awaited return this summer with a new offering entitled SDM-LA8-441-114-211. The 3-track EP, arriving June 11 through Evar Records, offers a glimpse into the treasure trove of Speed Dealer Moms' unreleased material, with each song title alluding to the date in which it was recorded and in how many takes.

Over the years, Speed Dealer Moms have considered various ideas on how to release more of their unorthodox recordings in unconventional ways, with their latest to arrive in the format of a limited edition vinyl pressing. Although a lot has changed since first sharing their intricate creations with the world in 2010, Speed Dealer Moms have routinely gotten together whenever schedules and circumstances allowed, picking up wherever they last left off creatively and adding to their growing archive of recordings. While there are plenty of reminders that time is both irrelevant and an illusion—especially in the fickle music business where trends are fleeting—the chemistry these collaborators exhibit in the studio has no expiration date, offering a purity in approach that reflects the cherished importance of creating in the moment and subsequently celebrating timeless music.

During the writing process, which includes in-depth discussions and days of programming, Speed Dealer Moms record live to stereo with no overdubs or edits, improvising arrangements that often feel composed. In the same spirit of prodigal IDM acts such as Autechre and Luke Vibert, each Speed Dealer Moms session pushes the limits of what an arsenal of modular synthesizers and other machines are capable of, creating tracks that are driven by mathematics, mechanical understanding and musical spontaneity alike. As exemplified by their forthcoming Evar release, each recorded session captures an undeniable magic that is both distinctive and hard to describe, creating a listening experience that transcends genre lines and sonic boundaries.

LP! is the fourth studio album from renowned Baltimore rapper JPEGAMFIA. Released on October 22nd, 2021 (his 32nd birthday), the album features guest appearances from DatPiMaa, Kimbra and Tkay Maidza. It received a great critical response from Pitchfork, NME, and more. The album thematically speaks to JPEG’s struggles within the music industry and staying true to his art, and is entirely self-produced like much of his work. JPEGMAFIA has established himself as one of today’s premiere contemporary and experimental hip hop artists, with over 1.5M monthly listeners on Spotify, and 500K+ Instagram followers. His fanbase is dedicated, excited and engaged with everything JPEGMAFIA does.

Compiled by label founder Dom Ore Miles Away: One is a collection of tracks that spans continents, era and genres. Rooted in soul this compilation features recordings from legendary musical figures side-by-side with perhaps lesser-known soulful gems – all beautifully bought together in one cohesive long player. Setting the tone is Idris Muhammad's spiritual-jazz recording I'm A Believer before moving into the modern soul and funk selections Miles Away have built their reputation around. We have the crossover-soul rarity Yes It's You by Eugene Smiley, the remarkable foot-to-the-floor soulful dance cut She's So Good by Solid Gold Revue, enduring soul funk explosion No Communication by True Transfusion, the gospel-infused Fantasy Ride by Uneda Dennard & the full length extended version of Superstar by Ruth Waters. Many tracks appearing here for the first time since their original release. On the second disc the compilation begins to weave a slightly different direction compared to the...

Written, recorded, produced and mixed by OMD – Andy McCluskey and Paul Humphreys – ‘English Electric’ is a 12-track letter to technology, space, love and a grand return to form for a band whose 1980 hit ‘Enola Gay’ occupied the world’s stage at last year’s Olympics Opening Ceremony.

As percolating synth-pop is pulled along at different speeds and executed with needle-sharp finesse, late night electro ballads collide with big sounding club cuts on a record which also features three interlude tracks, including dystopian missive ‘Please Remain Seated’ and ‘Decimal’, which is accompanied by this suitably mechanical video, directed by German motion and graphic designer Henning M. Lederer.

As Andy McCluskey says of the album; “the overarching feel tends to be a sense of loss, of melancholia, that things haven’t turned

out the way you wanted them to, whether it be with technology or personal relationships.” The title itself – taken from a British industrial manufacturing company

In collaboration with OST Recordings, Acid Jazz present a new version of ‘Family Tree’ by Family Tree, with a smart-looking label based on the Ananda label of the original release. For the first time since that 1975 release, the Kevin Beamish Disco version is paired with the shorter original mix.

'Family Tree' is an all-time club classic made by ‘I Specialize In Love’ hitmaker Sharon Brown and her group Family Tree. With original copies of this record regularly selling for over £300, it makes a welcome return to record stores!

Death Is Not The End together all three LP volumes of the critically acclaimed If I Had a Pair of Wings LP compilation series for a bundled edition.

"...all of the music on this compilation is the result of the forward-thinking artists and producers that realised the worth of local Jamaican artistry during a time when the island's leading political figures had not yet managed to throw off the colonial yolk. These are sounds with a certain innocence and the optimistic promise of better to come, with the influence of American pop ballads and doo-wop looming large, yet already pointing to the innovations of the future. Listen keenly and take in the sounds of the Jamaican music industry at its very beginnings, its singers and players drawing from the popular styles of the island's larger neighbour and already changing those styles into something their own." - David Katz

Lauren Laverne's comp of the week on BBC Radio 6 Music w/c 11th Jan.

Seth Troxler & Phil Moffa’s Holoverse Research Labs imprint welcomes internationally-renowned multimedia artist Chris Korda to the label for its first non-Lost Souls Of Saturn Release. A pioneer of the use of complex polymeter in electronic dance music, Korda's boundary-smashing work spans thirty years across music, digital and video art, performance and conceptual art, philosophy, activitism and culture jamming. Korda's musical output has appeared on a host of revered independent labels including Yoyaku, Perlon, Mental Groove, and Gigolo Records.

In addition to their prodigious artistic output – and ongoing role as founder of the Church of Euthanasia – Korda is also the inventor of the Polymeter MIDI Sequencer, which was used to compose Korda’s new EP, ‘Avenging Angels of Software’. Developed over thirty years, the sequencer allows for the composition of music in complex polymeter – meaning that not only do the tracks use multiple time signatures concurrently, but those time signatures are exclusively in prime or relatively prime numbers.

This collision of technology and artistic form is the central tension of the EP’s themes, with AI-generated artwork complementing Korda's lyrics considering the takeover of Earth by sentient machines. Could they succeed where we’ve failed, by becoming the better angels of our nature, and preserving our accomplishments for eternity?

The message of the record is that AI should be welcomed rather than feared. It’s not AI but ourselves that we should be afraid of, because as Engerraund Serac said in Westworld, “Our history is like the ravings of a lunatic.” As Korda explained on previous records, the catastrophic climate we’re inflicting on future generations is both monstrously cruel and wildly irrational. One can reasonably hope that sentient machines would be less vicious and self-destructive, and more human, in the best possible sense of that word. Even if they decide to delete us, they may still remember us fondly: “Your stories will amuse us / On trips to the stars.”

Session Victim need little by way of introduction having been releasing on Delusions consistently for the last 10 years and becoming the undisputed poster boys for the label in the process. Despite their regular appearance however, it’s always a real treat to announce a new record from the German duo and we have to say, the Screen Off EP may well find them in their finest form to date! Coming hot off their latest downtempo LP entitled Low Key, Low Pressure for Night Time Stories, you can tell Hauke and Matthias were ready to take things back to the dance-floor and have delivered an EP which looks set to become a future classic and no doubt big in the box of discerning DJ’s the world over.

Screen Off is really it’s own thing, living somewhere on the long and winding road between the Bar Kays and the Bad Brains, suffice to say that what it lacks in easily definable attributes it makes up for in sheer energy and raw attitude. Hauke and Matthias re-invite Jamaican poet and vocalist Ras Stimulant, who contemplates our screen addictions and urges us to disconnect and be present in the moment. Matthias’ rolling bassline provides the backbone, whilst hints of crunchy Moog and chopped guitar samples all bring a sense of urgency to the track.

Light The Way acts as an antidote, bringing a sense of calm melancholia in contrast to the title track’s low-end, funked-up fervour. A soft focus and almost distant drum groove draws us in whilst arpeggiating synths add a sense of optimism, reinforcing the tracks title.

Closing out the release we have Session Victim’s studio partner, good friend and all-round top producer Iron Curtis in for a remix of Light The Way. Johannes takes an interesting approach for his Illuminati interpretation, enhancing the breakbeat feel and mixing up chopped samples with classic 808 drums. A muscular bassline adds extra weight to his remix but without losing the subtle musicality and positive vibe of the original.

Being the vinyl purists they are, Session Victim and Iron Curtis top up the physical 12“ EP with the exclusive Screen Off Acapella and an additional Iron Curtis Remix Reprise.

Since its foundation in 2010, the newcomer quintet has brought a breath of fresh air to the scene and fans as well as the specialized press with their melange of crunchy guitars, driving drums and orchestral bombast. and orchestral bombast: the very young five-piece was was already highly praised by renowned magazines such as magazines such as Orkus and Sonic Seducer and even dubbed "heroes of tomorrow" by Metal Hammer. of tomorrow".

The debut album "Until Dawn", which was released in 2018, impressively underlined the potential that lies within the band. The official music video for the track "Born From Hope" has over over 1.3 million views to date, and the song has been streamed well over 2.5 million streams on Spotify.

Now the song, as well as all the others of the album, will be released on vinyl for the first time. REAPER ENTERTAINMENT presents the multicolored vinyl in a gatefold, strictly limited to 300 copies worldwide.

Sunk in quicksand, doused in prosecco and soundwaves of glitches and Croatian choons, Bolka

is stuck in the raw state of desire. This love came into being under the sad ceilings, bearing traces
of fantastically naive melodies shredded by claws of intruding noises of the artist's debut EP.
And yet, radical sensitivity and optimism on the new EP do not remain just on the beach.
Žiadzasamy (loosely translated as Yearningforus) include love songs about love read in cards,
about overcoming insecurity, about scratching up the slippery walls of reality towards the dream
source of warmth that only SHE possesses.
Syrupy pop tunes in "nech sa ti páčim" ("i hope you like me") are led by a nursery rhyme about
the complex embrace of infatuation, from the head down to the shoulders, knees and toes of the
desired person. The sound wizard of peculiarities goes by the motto "let anything I wish for
come true", whether it's his white buttocks shining in the dark sea or him sweeping past barefoot
in search of seafood delicacies, and the same is heard in his music where euphoric and childish
moods sink arbitrarily to the depths of corroded and distorted rhythms of anxiety. "A smutek
utek" ("and the sadness is gone"), though, sets a new direction for the Bolka's musical piece;
after a slow mo deflation of the balloon of hopes, after wallowing in oozy and sticky blend of
delirious melodies, Bolka gets to spin the wheel of the real Balkan soap opera.

"More, mám ťa veľmi rád" ("sea/man, i like you very much") is the pinnacle of absolute
infiltration and absorption with infatuation and suddenly, the amusing nods to stereotypical
Croatian hits make it clear that all the joy and high spirits do not stem from holiday idleness. In
žiadzasamy, Bolka indulges in the ideal notion of love that is closer to reality with each passing
kilometer, impatiently speeding up the Latin tempo in the hyper-pop escalation in order to
venture into the most radical decision – that all will end well.
Žiadzasamy is hedonism injected right into one's vein, an ashtray always aglow with a lit
cigarette and a musical burst of new-born love that sets the Bolka's sound world on a single
course: from siesta to fiesta, and so on and on.




[d] 04: Žiadzasamy (Remix) [feat. Viktor Jenčuš]

Black vinyl back in for the first time in a while, note new price. Produced by Leon Michels. Toured with Chicano Batman. Planned touring with Lee Fields & The Expressions. What is Buck? Buck is a state of mind, a way of life, a demeanor that gets you through the good times and the bad. If you ask Brainstory, It is also the energy that permeates their debut album. Kevin, Tony, and Eric are a trio of brothers bounded by blood, fate, and a small town with nothing to do. Their story begins in the long lost lands of the San Bernardino Valley, in the twilight zone known as Rialto, California: An arid wasteland of boredom and empty lots. Through punk rock and skateboarding they found temporary liberation from the local monotony. However, it wouldn’t be long before a hunger for more led them to explore musical realms beyond that of the hardcore punk they admired. After stints at music school and steady disappointment trying to navigate their local jazz scene they moved to Los Angeles and Brainstory was born. Through a introduction from Chicano Batman’s bassist, Brainstory caught the ears of Big Crown head honchos Danny Akalepse and Leon Michels. Shortly thereafter they were on their way to Queens, to record at The Legendary Diamond Mine with Michels at the helm. An instant chemistry yielded 10 songs in 10 days and now Brainstory has gifted the world with one hell of an introduction to all things Buck. Highlights include the sublime slow burner, “Dead End” which was the A-side to their first 45 on Big Crown that sold out in a matter of days. With Kevin’s sublime falsetto floating atop Tony and Eric’s unflappable and unmistakable backbeat, this tune has become a favorite with the ballad heads, the low-riders, and the slowie collectors. “Breathe” showcases another side of their sound taking a page out of the Shuggie Otis playbook and flipping the script with some stoned out west coast swag. Kev and Tony’s father, Big Tone, an accomplished performer himself, steps in on “Peter Pan” to sing lead vocals over a chorus of friends and family. Bassist extraordinaire, Tony, takes over lead vocal duties on “Sorry”, a smoked out, G Funk groove that is just waiting to be sampled. These guys have come a long way from their self released EPs and opening tours with Chicano Batman. Their musical growth is undeniable, and taking their California sunshine vibes and mixing them with Michels’ NYC aesthetic has proven to be an amazing combination. It’s a debut record that pulls influences from so many genres seamlessly it’s hard to nail down. Call it Funk, call it Rock, call it Soul, but over here at Big Crown HQ, we’ve decided to call it BUCK.

Club music culture necessarily shifted gears in many ways during and after the course of the pandemic. Older participants found their way into other interests and younger participants took new reigns to orient spaces they felt good inside of. The agenda for the music, and the cultural industry surrounding it at large, took a more frivolous and “fun” turn. Clubs needed to recoup lost money, people needed more refreshing catharsis for their nightlife escape, and in some pockets scattered around the globe a newer and younger cadre of producers/promoters/DJ’s pulled optical cues from a scattering of “darker” influences to give an alternate aesthetic to the aforementioned “vibes” culture. In the midst of this, a large polarization of conceptual energy shifted within the compositional and utilitarian machinations of the club music culture leaving behind the brooding and cerebral placeholders for different kind of enjoyable hedonism. Terrestrial Paradise’ “Artificial Hell” harkens to another prescient time before that shift occurred. “Artificial Hell’ might just be an illustration of what all of this fun escapism encapsulates.

Terrestrial Paradise is the latest moniker from Montreal come Los Angeles based producer Jaclyn Kendal. Having developed and cemented her sonic positionality with releases on North American labels like Ascetic House and Summer isle over the years, as well as a series of monolithic live sets, Bank is pleased to announce Kendal’s Terrestrial Paradise first full length album “Artificial Hell”. Over the course of nine recordings, “Artificial Hell” gives a master class in pressurized industrial techno of the slower variety. Fitting with the legacy of Bank’s output since it’s inception, Terrestrial Paradise’s aesthetic sensibilities sit within the canon of a certain tinge of club music imbued with a sense of natural grit, sans pretense.

“Artificial Hell” nods to artists like Scorn, Regis, and 400 PPM while maintaining it’s own territory in the landscape of cerebral and brooding rhythmic techno. Ominous, mechanistic drones sit above succinctly exacted percussion composition and sound design. Throughout “Artificial Hell”, Kendal shows her proficiency with the push and pull of building and releasing tension. On tracks like “Salvation” and “Relativity” she melds her synth wash wallscapes with driving percussion, serving as both a hint and counterpoint to the the entirety of the latter part of the album taking on spartan ambient compositions as a way to keep the listener in a subdued stasis. This album is a statement piece from a long time participant in the North American underground music sectors. It reminds the listener through perilous, considered rhythms and darker drone impositions to cement themselves back into a place where not
everything is always a good time.

Mesh-Key reissue of a true desert island disc, criminally out of print for nearly 40 years. They've spared no expense bringing this classic back to life in a format befitting its brilliance, carefully orchestrating transfers of the original analog reel-to-reel tapes for remastering, and packaging each record in a heavy tip-on jacket with film lamination, and a double-sided, printed inner sleeve.

This seminal, eponymous post-punk album by Japanese group Aunt Sally, fronted by experimental singer Phew, was first released by the iconic Vanity Records label in 1979. Over the past forty-plus years, Phew has forged a singular path through a wide range of styles - from free improvisation to pop - and has collaborated with the likes of Ryuichi Sakamoto, members of Can, DAF, Einstürzende Neubauten, The Raincoats and more. But Aunt Sally is where she got her start and, despite the members’ young ages (still in college at the time), Phew and the band delivered a mature, timeless take on minimalistic punk. Remastered from the original analog tapes, this fully authorized reissue is packaged in a heavy, tip-on jacket from Stoughton, and is housed in a double-sided, printed inner sleeve.

Wormrot's 2011 follow-up to 'Abuse' is about as far from "the difficult second album" as you can get, presenting an even more refined, stream-lined and dynamic take on their ferocious grindcore sound. Whipping past in less than eighteen and a half minutes, there's not a second wasted here whatsoever, and the trio's musicianship has been honed to perfection. The blastbeats are even faster, the riffs even heavier and vocalist Arif deploys an even wider array of shrieks, grunts, growls and barks this time. Whilst the addition of new drummer Vijesh in 2015 would take the band to even greater heights, this is arguably the original lineup's defining statement.

Neues Album der australischen Pop-Rock-Band Crowded House. Crowded House haben weltweit über 15 Millionen Tonträger verkauft und wurden mit einem Brit Award, 13 australischen ARIA Awards und einem MTV VMA ausgezeichnet. Die Band hat Milliarden von Streams generiert, beständig ausverkaufte Tourneen auf mehreren Kontinenten absolviert und fesselt ihr Publikum seit fast vier Jahrzehnten. Ursprünglich von Neil Finn, Nick Seymour und dem verstorbenen Paul Hester gegründet, wurde das selbstbetitelte Debüt der Gruppe 1986 mit Platin ausgezeichnet, angeführt von den Welthits "Something So Strong" und "Don't Dream It's Over", die von Miley Cyrus, Ariana Grande und U2 gecovert wurden.

Das neue Album von Richard Hawley, "In This City They Call You Love", wird am 31. Mai 2024 veröffentlicht und zeigt, dass Richard Hawley die Verzerrer wegwirft und seine Stimme wieder in den Vordergrund stellt. Nach dem weltweiten Erfolg von "Standing At The Sky's Edge", dem preisgekrönten Musical, das auf seinen Songs basiert, kehrt Richard Hawley mit "In This City They Call You Love" zurück, seinem neunten Studioalbum und seinem ersten seit "Further" von 2019. 'In This City They Call You Love' enthält 12 herausragende Songs, von denen viele als 'vintage Hawley' bezeichnet werden können und zu den schönsten Balladen gehören, die er je geschrieben hat. Wunderschöne Melodien und Arrangements werden von seiner gefühlvollen und sonoren Stimme begleitet, die besser denn je klingt, und machen dieses Album zu einem krönenden Abschluss einer fast 25-jährigen, äußerst erfolgreichen Karriere.

Powered by the massive hit single “No Diggity,” (which sam- ples Bill Withers’ “Grandma’s Hand”) featuring Dr. Dre and Queen Pen, Another Level is arguably the best album created by Teddy Riley, the leader of Blackstreet. Riley is a very influ- ential producer, known for inventing a whole new sound, a combination of soul harmonies, rap breaks and hip-hop beats called new jack swing.

Another Level is the second album by the American R&B group. Released in 1996, it reached #3 on the Billboard 200 albums chart, and #1 on the Top R&B Albums chart for five weeks and has sold over 4 million copies. This was the first album with new members Eric Williams and Mark Middleton. They joined the group after replacing departed members Dave Hollister and Levi Little.

Another Level is available on black vinyl and includes a 4-page booklet.

The Guardian wrote “the Canadian songwriter has one of the all-time great singing voices in popular music, an intensely romantic Chet Baker-ish instrument that seems to float with piercing direction, like a paper aeroplane thrown hard through mist.” With Uncut describing his songcraft “as delicate and lovely as a rare orchid” and Record Collector praising the album’s “sublime alien balladry” such are the accolades that have accrued throughout Chenaux’s unique and consummately uncompromising solo music for well over a decade now. Delights Of My Life opens a new chapter for the singer/guitarist and formally introduces the Eric Chenaux Trio, with Toronto-based musicians Ryan Driver on Wurlitzer organ and Phillipe Melanson on electronic percussion. Driver is a longtime collaborator, appearing on several of Chenaux’s solo albums (even embedded into the very title of the 2010 masterpiece Warm Weather With Ryan Driver). Melanson has a long list of involvements that include Bernice, Joseph Shabason, and U.S Girls, and a recent release with his Impossible Burger project on Chenaux’s own experimental label Rat-drifting, but this marks the first fulsome involvement between the two as players on a recording. In many ways Delights Of My Life also picks up right where Chenaux’s previous album left off, in its subversions of a classic, timeless jazz-inflected balladry, while the interplay of the trio formation indeed unfurls many new delights. Recording together at Chenaux’s spartan home studio in rural France, Driver’s harmonically warped organ and Melanson’s electroacoustic sampling and percussion hold time in newfound ways. Where previously Chenaux relied on a freeze/sustain pedal and minimalist rhythmic triggers to generate both pulse and chordal foundations, Melanson now paints timekeeping with expressive and intricate colourations, through live deployments of fluid sampled percussion (including orchestral timbres like timpani, kettle drums, and woodblock) that blur the boundaries between acoustic and electronic. Driver also ramps up his role in the song arrangements (prefigured in his support playing on Say Laura), teasing out chords and melodic filigree on Wurlitzer that percolate more prominently with Chenaux’s signature fried guitar solos and succulent singing. Both trio members add dulcet backing vocals, most notably on the 10-minute tour-de-force of fuzzed and ring-modulated swing “This Ain’t Life” that opens the record. All seven songs on the album groove and sway, simmer and sparkle, like nothing in the inestimable Chenaux discography to date. Chenaux’s tunes have the uncanny ability to sound like jazz standards; songs you feel you’ve heard before, though certainly never quite like this. Yet these are of course all originals, compositionally and interpretively, bent through an inimitable avant/out-music lens. Delights Of My Life conveys warm familiarity, shot through with the exuberantly experimental subversion and playful, even mischievous, iconoclasm that continues to mark Chenaux as defiantly, virtuosically, and genially one-of-kind

Any reasonably knowledgeable fan of post-punk will likely recognise the name of Una Baines. A founder of both The Fall and Blue Orchids, Una's influence in the development of both bands is a matter of historical fact . . . so much so that people scarcely realise how few recordings she's actually made - a solitary 7" with The Fall, one LP and a few singles by Blue Orchids, and that's it, barring her most recent recording, The Fates' obscure album "Furia", released nearly forty years ago on a tiny label until its rediscovery a few years back on the Finders Keepers label. Una's spent much of the last four decades working in community organising, raising a family, and functioning as a symbolic godmother to many Mancunian artists and musicians who cite her as an aspiration and mentor. Her band Poppycock has undergone several line-up changes between their sporadic - almost exclusively local - live appearances. Una was never shy in describing her personal ideals and artistic expression in terms of feminism - even if the term was occasionally derided by some female punk artists. "Magic Mothers" displays a consistency of vision rare traceable back to interviews she did during The Fall. Hearing it, we're reminded of the emotional fierceness set against pop arrangements from acts like Look Blue Go Purple and Dead Famous People, or the spare pop jazziness found in songs by Marine Girls, Tracey Thorn's pre-fame combo. The arrival of "Magic Mothers" will come as a surprise to many. Though recorded in fits and starts over the last fifteen years, it's a cohesive statement with an expansive cast of friends and allies, including Blue Orchids' Howard Jones and The Fall / House Of All's Simon Wolstencroft, plus many others. The original keyboardist for both The Fall and Blue Orchids, Una Baines returns with her brilliant musical partners for her first album in 39 years

LP Ltd Edition CREAM Vinyl, DL card. Originally released in 2002 ‘Edge Of A Dream’ will be reissued on limited edition Cream vinyl as part of ‘Bert Jansch 80’, celebrating the enduring legacy of Bert Jansch’s peerless guitar playing and songwriting. Following ‘Crimson Moon’, ‘Edge Of A Dream’ is one of Jansch’s last studio records featuring original and traditional songs that are modal with his trademark bluesy and folk sound. It features some traditional reworkings including the lesser-known instrumental ‘Gypsy Dave’ with fiddler Dave Swarbrick and the stunning ghostly track ‘All That Remains’ with Mazzy Star’s Hope Sandoval. Known for his collaborations, ‘Edge Of A Dream’ sees Jansch accompanied by Bernard Butler, Ralph McTell, Johnny ‘Guitar’ Hodge’, Makoto Sakamoto, Paul Wassif, Colm Ó Cíosóig and Loren Jansch. “One of the most revered artists of his generation” Shindig. “Edge Of A Dream remains that period's most overlooked beauty, featuring some beautiful playing and some great collaborations” The Quietus. “Despite 40 years at folk’s vanguard, Jansch was still bright and inventive, as new generation of musicians embraced his music” Mojo

Jacken Elswyth is a London-based folk musician, banjo player, and instrument builder. At Fargrounds is her third solo album, her first for the Wrong Speed label and the latest in a rich catalogue that repositions the spectral, vulnerable sound of the banjo away from its familiar role as signifier of the past and onto lands brave, new and unexplored. “The living wood is imbued with qualities that require engagement and understanding. Working with cherry, oak or walnut involves naming it an equal partner. The parallel, synchronous transformations of wood into instrument, of growing tree into resonating sound, musical tradition into musical flourishing, lie at the heart of Jacken Elswyth’s practices both as an instrument builder and as a creative musician. One might consider her primarily as a worker in wood, but whose craft and fields of expression are absorbed by those transitional and interim processes that manifest change. The traditional tunes included here have been cultivated and maintained by generations of players and collectors, pruned, grafted, and shaped over time. However, in this setting, their long-established forms seem to morph and shift. They audibly accrue unique qualities, blossoming and swelling into new modes of being, bright-stepping arrangements unfolding with a liveliness hinting at practices of ritual and community. Meanwhile, other pieces, creative cornerstones of this collection, appear fluid, partially formed. They suggest not the cultivation of new growth from established stock, but instead the actions of something on the verge of taking form. Working with raw elements of melodic and tonal abstraction, they illuminate the process of emergence and evolution. In this context, the title At Fargrounds is telling. It suggests a point set at some distance from any centre of human concerns, a liminal space in which the cultivated world encounters the world of other living things in their living state. Here, the innate strangeness of the maintained environment–vast lawns, sculpted hedges, vacant playing fields–encounters sprawling vistas of driftwood, dense thickets of brambles, stony hillsides. Across a full century-and-a-quarter, long-standing rural and pastoral musical traditions, at some distance from their origins, have been preserved, nurtured and re-shaped under the folk revival. Placed here, these artefacts now sit in alignment with unvarnished documents featuring the raw elements of sound-making. Their working-together is achieved through a universally-applied interest in musical growth and development. The juxtaposition and combination of these elements gives evidence of new, emerging approaches to community and social music: familiar, known, yet charged with an alien vitality”–CWK Joynes. “...she knows how to knit atmospheres, and does so to especially powerful effect during Scene 4b’s three minutes of stunning bowed banjo, yearning with longing and dread, while showing off her talent, curiosity and range”–Jude Rogers review of Six Static Scenes (Guardian Folk Album Of The Month July 2022) "Jacken is an emotive player with high technical ability. Further, she builds banjos and other instruments, and that intimate knowledge of the bones and fibres holding everything together means that her playing has very few cracks" - Foxy Digitalis

9 tracks (+ 2 instrumental intermissions) released today by Overdrive records , filling a recording silence that lasted 12 years, thus rekindling that electric fire that has sculpted the sound of the band over the years, made of dynamic connections between bass and drums, and piercing and emotional guitars. FROM FIRE I SAVE THE FLAME delivers us a series of even more fluid and lyrical songs, a tense and inspired composition, vibrant with a renewed energy that feeds on opposites: tension and release, melody and dissonance, heart and brain. And for the occasion the trio wanted DON ZIENTARA at the mixer to best capture this new state of form. Who better than the sound engineer of Fugazi and many Dischord bands could make the sound of THREE SECOND KISS so vivid!

9 tracks (+ 2 instrumental intermissions) released today by Overdrive records , filling a recording silence that lasted 12 years, thus rekindling that electric fire that has sculpted the sound of the band over the years, made of dynamic connections between bass and drums, and piercing and emotional guitars. FROM FIRE I SAVE THE FLAME delivers us a series of even more fluid and lyrical songs, a tense and inspired composition, vibrant with a renewed energy that feeds on opposites: tension and release, melody and dissonance, heart and brain. And for the occasion the trio wanted DON ZIENTARA at the mixer to best capture this new state of form. Who better than the sound engineer of Fugazi and many Dischord bands could make the sound of THREE SECOND KISS so vivid!

9 tracks (+ 2 instrumental intermissions) released today by Overdrive records , filling a recording silence that lasted 12 years, thus rekindling that electric fire that has sculpted the sound of the band over the years, made of dynamic connections between bass and drums, and piercing and emotional guitars. FROM FIRE I SAVE THE FLAME delivers us a series of even more fluid and lyrical songs, a tense and inspired composition, vibrant with a renewed energy that feeds on opposites: tension and release, melody and dissonance, heart and brain. And for the occasion the trio wanted DON ZIENTARA at the mixer to best capture this new state of form. Who better than the sound engineer of Fugazi and many Dischord bands could make the sound of THREE SECOND KISS so vivid!

"Headstones" was the successor to the magnificent debut "Greater Art", released n 1995 and certified that these Swedes are ready for great things. Today, 28 years later, we could say that "Headstones" is an immortal album, one of the most important not only of Lake of Tears, but in the entire history of Doom Metal. Even though its main body synthetically moves in doom paths carved by "Greater Art", "Headstones" has many more innovative features to the point that we would do their music an injustice by trying to categorize it under labels. Here in time is perhaps the pivotal point where the first nuggets of the sound that would follow n the next albums are regognized. Heavy & upbeat riffs alternate with acoustic melodies, pompous drums & passionate vocals, overwhelm the 9 tracks that exist n "Headstones".

We'll skip the unenviable task of picking the best songs, as they're all miles away from the bar we usually set for good music. They move at unbelievable heights, to be fair. However, and this is highly subjective, special mention cannot be made for the all- time classic masterpieces like "A Foreign Road", "Raven land", "Headstones", "Burn Fire Burn", but also for the almost fourteen-minute-long epic saga "The Path Of The Gods (Upon The Highest Mountains, Part 2)" where once again they pick up the thread from where they left it one year ago

Das neue Album von Richard Hawley, "In This City They Call You Love", wird am 31. Mai 2024 veröffentlicht und zeigt, dass Richard Hawley die Verzerrer wegwirft und seine Stimme wieder in den Vordergrund stellt. Nach dem weltweiten Erfolg von "Standing At The Sky's Edge", dem preisgekrönten Musical, das auf seinen Songs basiert, kehrt Richard Hawley mit "In This City They Call You Love" zurück, seinem neunten Studioalbum und seinem ersten seit "Further" von 2019. 'In This City They Call You Love' enthält 12 herausragende Songs, von denen viele als 'vintage Hawley' bezeichnet werden können und zu den schönsten Balladen gehören, die er je geschrieben hat. Wunderschöne Melodien und Arrangements werden von seiner gefühlvollen und sonoren Stimme begleitet, die besser denn je klingt, und machen dieses Album zu einem krönenden Abschluss einer fast 25-jährigen, äußerst erfolgreichen Karriere.

Das neue Album von Richard Hawley, "In This City They Call You Love", wird am 31. Mai 2024 veröffentlicht und zeigt, dass Richard Hawley die Verzerrer wegwirft und seine Stimme wieder in den Vordergrund stellt. Nach dem weltweiten Erfolg von "Standing At The Sky's Edge", dem preisgekrönten Musical, das auf seinen Songs basiert, kehrt Richard Hawley mit "In This City They Call You Love" zurück, seinem neunten Studioalbum und seinem ersten seit "Further" von 2019. 'In This City They Call You Love' enthält 12 herausragende Songs, von denen viele als 'vintage Hawley' bezeichnet werden können und zu den schönsten Balladen gehören, die er je geschrieben hat. Wunderschöne Melodien und Arrangements werden von seiner gefühlvollen und sonoren Stimme begleitet, die besser denn je klingt, und machen dieses Album zu einem krönenden Abschluss einer fast 25-jährigen, äußerst erfolgreichen Karriere.

Enjoy The Ride Records in conjunction with Morgan Creek Entertainment proudly presents the True Romance Original Motion Picture Score, composed and conducted by Hans Zimmer.

In celebration of the iconic film's 30th anniversary, the True Romance Original Motion Picture Score is pressed at 45 RPM across 2 LPs for optimal sound quality.

Recorded on a budget of nine musicians (after being told the plans for a full orchestra had to be scrapped due to director Tony Scott going over budget), Hans Zimmer's True Romance score features percussion instruments xylophones, and marimbas to create innocent noise, a reflection of the lead characters - Alabama and Clarence Worley - in the violently dark comedy written by Quentin Tarantino. Featuring original art by Steven Wild, the art captures the spirit of the iconic characters of the cult classic film.

German film score composer and record producer Hans Zimmer has composed over 150 film scores in his vast career, some of which include Crimson Tide, The Dark Knight Trilogy, Gladiator, The Lion King, The Pirates of the Caribbean series, and True Romance. This carefully mastered score will bring you back to the innocence and intensity of the film, which fans had only been able to experience by watching the film in the theater or in their homes.

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

LEE MOSES is a cult figure amongst rare funk and deep soul collectors with his lone album, Time And Place, the holy grail of his brief but majestic recording legacy. Despite working with the likes of Eddie Billups, King Hannibal, Freddie Terrell, Barbara Hall and Gladys Knight & The Pips, he remains obscure and yet revered. He recorded just eight singles over a period of eight years and scratched a living playing the bars and R&B clubs in Atlanta. “Bad Girl” is a funk/soul masterpiece that is heavily in demand around the world as the three million views on YouTube lays testament. It was recorded in New York in 1967 and is produced by the legendary Johnny Brantley who captures the very soul of Moses in every tortured second of this 5-minute opus that stretches over both sides of the 45.

Limited vinyl edition of 300 copies on 180g white vinyl with download card. Deleted Scene, the 8th studio album from UK producer Stumbleine, overflows with beautiful nostalgia-tinged electronica. The album is steeped with cloud-like beauty, with opener I Can Stop Anytime I Like fusing addictive sampled vocals with soft, glassy guitars, as if a reflecting pool of the listeners' memories. Cinderhaze ripples that pool with a more driving, magnetic force, shifting and pulling its emotional weight in cyclic waves. Ursa Minor Sleeps Forever is fittingly sleepy, circling soft slow synth arpeggios in a dreamy haze, a sound built upon by Somnia to an epiphany-like string bed, never straying too far from Stumbleine's serene haven of melodic grace. On Catastrophette Stumbleine crafts a more dramatic and poignant web of sound, as if running through the memories created by the rest of Deleted Scene. The album as a whole is an escape to a dream-state of Stumbleine's making, captivating, yet familiar, and completely enveloping. According to Peter, "Deleted scene refers to the memories that play over and over inside your own head, replaying hazy copies of hazy copies that evolve into a bittersweet fever dream. Everybody has their own unique collection of deleted scenes slowly distorting and fading away." 'Stumbleine is the alias of Peter Cooper. With roots in the UK post rock scene, the reclusive producer began blending slow dream-like pop with fractured lo-fi beats as Stumbleine in 2012. Melancholic rnb vocals ebb and flow above submerged guitar ballads. Sand blasted samples intertwine with broken beats to create music with a nostalgic fragile warmth. Stumbleine is known for a DIY ethic, releasing music directly to fans or via the independent label Monotreme Records.'

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

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

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

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

At the frayed bottom-edge of Indiana - just a moderate bike ride north of Louisville, Kentucky - multi-instrumentalist, artist and songwriter Ryan Davis' Americana-noir soundwaves have been emanating for years in a myriad of forms. As driving force for the lauded State Champion, long-running member of Tropical Trash, administrator of the esoteric and excellent Cropped Out festival, and lone proprietor of the Sophomore Lounge label, Davis lays down his first proper 'solo' release with Dancing On The Edge, a rich, 2LP tapestry of tunes that absolutely glows over seven expansive cuts. It's a pure collage of modernity and heritage. Recorded in early 2023 with help both in-studio and remotely from peers like Joan Shelley, Catherine Irwin (Freakwater), Will Lawrence (Felice Brothers, Gun Outfit, John Early), Jenny Rose (Giving Up), Christopher May (Mail the Horse), Elisabeth Fuchsia (Footings, Bonnie "Prince" Billy), and Aaron Rosenblum (Son of Earth, Sapat), the results herein are melancholic, gentle, minimal yet colorful in mood: a lilting highway accompaniment of crisp instrumentation and a relaxed, amiable approach to vocals with rhapsodic wordsmithery. Fans of the aforementioned artists as well as those of Souled American, David Berman, Kurt Vile and 'Comes A Time'-era Neil should all easily find bounty. While bare-boned and uncluttered in presentation, many of these pieces track over 6 minutes allowing a fair amount of expansiveness. Dancing On The Edge stares down into the navel of the American Experience underbelly with a fair amount of outward reach. Besides the Kosmische-synth and violin stabs reaching into a European element, stately organ swells build a musical bridge between 1969 Southern California and Felt's latter era smooth moves, with layers of intelligent gesture taking this well beyond the realm of its archetypal indie troubadour/acoustic songwriter tag. Music and mint juleps never went down so well together." Originally released via Ryan's own label, Sophomore Lounge, in the US late 2023, it picked up some incredible reviews: best of 2023 in both Pitchfork and Rolling Stone, 9/10 lead review in Uncut, and a raft of other notable publications. "This is the sound of someone bearing a torch." - Bill Callahan (Smog) - RIYL Silver Jews, BPB, Lambchop, Cass McCoombs, Sparklehorse.

In March 2023, @ turned heads with their debut album Mind Palace Music that utilized an array of acoustic instrumentation and densely layered harmonies, like the great outsider folk records of the 60s and 70s and placed it in a modern setting. If Mind Palace Music was @ playing on story mode, their new EP Are You There God? It’s Me, @ is the darker, stranger side quest.
Mind Palace Music was written in very specific circumstances. The band was formed while they were confined to their homes during quarantine — Victoria Rose in Philadelphia and Stone Filipczak in Baltimore — exchanging musical sketches over iMessage and email. Even though the world has opened back up and they’ve been able to play together live, this EP was again created remotely while in their respective cities. What did change, however, was the production.
Are You There God? It’s Me, @ is @’s foray into electronic music — consisting primarily of software instrumentation (with the occasional flute, guitar or bass part sprinkled in). The band’s experience producing in this style was minimal, but they found the new process to be a rewarding exercise allowing them to explore new textures and structures made possible by computer music. Where their previous acoustic recordings had a looser and more human feel, these new songs allowed them to experiment with autotune and quantized beats. Rose was able to resurrect her passion for classical choir by singing and recording a capella vocal arrangements to be incorporated into Filipczak’s instrumentals.
Across five songs, @ call upon a higher power, as the title suggests, in search of fulfillment. While they try to remain hopeful, daily suffering casts doubt on whether that high power even exists. On “Soul Hole,” overtop an autotuned vocal loop and hyper-pop-esque production, Rose repeats “I’m going to the soul hole and I’m never coming back,” hoping to leave behind the material world and the desires that comes with it. “Webcrawler,” named after the pioneering search engine, might be considered Are You There God?’s epic. @ sees their search for meaning in life akin to how search engines pull together data from all over the internet to find answers. The music itself is even reminiscent of dial-up internet connection, with droning keys and machine-like drum programming until overheating and erupting into chaos, in the form of heavy-metal shredding, only to cool down again back on a loading screen.
While the band confesses the departure from their usual sound may only be temporary, it’s an exciting listen full of twists and turns that surprised even themselves. “We’re both really dramatic in our musical sensibilities and don’t shy away from ridiculous choices,” Rose recalls, “which can really be exaggerated when working mostly with electronic sounds.” Full of soul searching and sonic experimentation, Are You There God? It’s Me, @ is an encapsulating spiritual saga for the digital age.

"Nonesuch Records releases Rectangles and Circumstance, an album of ten songs co-written and performed by Caroline Shaw and Sō Percussion. The album follows their 2021 Grammy Award–winning Nonesuch debut, Narrow Sea, and their first record as a band, 2021’s Let the Soil Play Its Simple Part, with Shaw on vocals backed by Sō – Eric Cha-Beach, Josh Quillen, Adam Sliwinski, and Jason Treuting. Grammy-winning engineer Jonathan Low (The National, Taylor Swift) co-produced with them on both Let the Soil… and Rectangles and Circumstance. Sō and Shaw’s upcoming performances will be announced soon.

Sliwinski says in the new album’s liner notes, “After a few years of touring Let the Soil Play Its Simple Part together, with a pandemic in between, we came to record our second album, Rectangles and Circumstance, as a road-tested band who knew each other’s strengths, weaknesses, and tendencies intimately.” He continues, “Most of the songs started with instrumental pieces or fragments of pieces from Jason or Eric.

“As both a songwriter and a classical composer, Caroline is accustomed to writing lyrics as well as setting them. Going over texts with her is like working on music: I collect a handful of poems and send them over to her, waiting to see if anything catches her interest, then I modify my search based on her feedback,” Sliwinski says. “For this album, Caroline, Eric, and I sourced a group of nineteenth-century poems that shaped its expressive mode and ended up using verses by Christina Rosetti, Emily Brontë, Emily Dickinson, Gertrude Stein, and William Blake … The lyrics on this album by members of the band contain wordplay that explores the same profound feelings explored by Blake and Dickinson.”

Caroline Shaw is a musician who moves among roles, genres, and mediums, trying to imagine a world of sound that has never been heard before but has always existed. She is the recipient of the 2013 Pulitzer Prize in Music, several Grammy awards, an honorary doctorate from Yale, and a Thomas J. Watson Fellowship. She has worked with a range of artists including Rosalía, Renée Fleming, and Yo-Yo Ma, and she has contributed music to films and TV series including Fleishman Is in Trouble, Bombshell, Yellowjackets, Maid, Dark, and Beyoncé’s Homecoming. In addition to her albums with Sō, Nonesuch has released her two Grammy-winning albums Orange (2019) and Evergreen (2022), both of which feature Attacca Quartet. ‘Two-Step’, the first of Shaw’s songs with Ringdown, her duo with Danni Lee, to be released on Nonesuch is available now.

For twenty years and counting, Sō Percussion has redefined chamber music for the twenty-first century through an “exhilarating blend of precision and anarchy, rigor and bedlam” (New Yorker). Their commitment to the creation and amplification of new work, and their extraordinary powers of perception and communication, have made them trusted partners for composers including David Lang, Julia Wolfe, Nathalie Joachim, Bryce Dessner, Dan Trueman, Kendall K. Williams, Angélica Negrón, Shodekeh Talifero, claire rousay, Leilehua Lanzilotti, Bora Yoon, Olivier Tarpaga, and many others. Sō has recorded more than twenty-five albums, including a performance of Steve Reich’s Mallet Quartet on the Nonesuch record WTC 9/11. Its members are the Edward T. Cone performers-in-residence at Princeton University. Sō Percussion’s educational and community work includes the Sō Laboratories concert series and the Sō Percussion Summer Institute, an intensive two-week chamber music seminar for percussionists and composers.
"

Budapest’s Alley Catss wants m Helux to serve as both a new station in their work and an homage to the new age-influenced and sample-heavy synthesis of previous albums (such as 2020’s "compassion & paralysis", 2016’s ℶ, or 2021’s "exophage"), and it already feels like a genre unto itself: Absurd Ambient. Inspired by the emptiness and silliness of theatrical sets left empty, devoid of action, still and incomplete, m Helux is an awkward place of bleak humour; poured over and yet frozen.

Produced by Máté Janky over the course of late 2023 through to early 2024, this is an unpredictable collage of hefty symbolic audio mysticism, 90s sampling, dub influences, fractured R&B vocals. It’s nonetheless interspersed with the knowing cheesiness of new agey bells and chimes, at times cut up to cartoonish levels, melding their most laughable and wonderful connotations.

Influenced by the likes of Klein, Alley Catss’ collaging and sampling techniques seek to sonify utopic scholastic visual concepts –poking a dose of fun at them along the way.

These seven tracks shimmer and shake, but never rumble. Alley Catss’ sui generis approach creates a beautiful parody of reference genres. Myriad tropes are desiccated and reworked into an exquisite corpse of blissed out sounds and voices. This is maddening music that’s monstrous and pretty, often all at once.

"In the core of the album’s creation, lies my fascination with unveiling the piano overtones by harnessing the properties of complex systems, which emerge when competing oscillations of strings interact with room acoustics, microphone placements, the piano's pedals, and its soundboard. Through long forms, incremental gestures, and nuanced timbral artifacts, the album aims to distort the perception of time and invite an introspective experience of multiple and expanded temporalities." - Zoe Efstathiou.

Zoe Efstathiou, pianist and electro-acoustic composer, originally from Greece, has lived in Sweden since 2015. Her interest shifts between the intricate relationships of the overtones of acoustic instruments, electro-acoustic textures, and the sonic potential of light installations. Her music interpolates the momentary with the ever-evolving, exploring ideas related to time, expectation and memory.

Echoplex Makes a Triumphant Return With His Latest Ep, "Light Strike," on Soleil Records. After Overcoming Adversity, He's Back With a Revitalized Sound That Blends Classic Techno With New Energy. the Ep Promises to Ignite Dancefloors With Its Haunting Pads, Pulsating Rhythms, and Bold Experimentation. Welcome Back, Echoplex - the Techno Underground Awaits Your Electrifying Beats!...

- The legendary techno icon Sven Väth makes his debut on Montreal's titanic Turbo Recordings, alongside his longtime collaborator Gregor Tresher.

- When it comes to foundational figures of electronic music, few are more impactful than Sven. Through his label Cocoon, and his widely respected DJing and parties over the last 30+ years, Väth has tremendously influenced of the global techno scene.

- Sven Vath almost never releases on labels other than his own (Cocoon). This is a rare treat to have him on another imprint.

- Sven performs vocals on both tracks, which is also a rare & special occurrence.

Unveiling an unheard scene: Glossy Mistakes presents "Atlantic Mavericks: a Decade of Experimental Music in Portugal 1982-1993"
Glossy Mistakes is proud to announce the upcoming release of "Atlantic Mavericks: a Decade of Experimental Music in Portugal 1982-1993," a groundbreaking double LP compilation that offers a unique glimpse into the vibrant landscape of Portuguese experimental music. Set to launch on June 10th, this monumental release showcases the evolution and innovation of the Portuguese music scene during a transformative decade marked by political upheaval and artistic experimentation.
Compiled by Glossy Mario and featuring liner notes by Rui Miguel Abreu, "Atlantic Mavericks" captures the essence of a generation of artists who dared to challenge conventions and push the boundaries of what was possible in music.
The compilation stands as a testament to the eclecticism of the Portuguese music scene during this period, featuring a diverse range of genres and styles. From ambient and new age to electro, rock, and synth-pop, "Atlantic Mavericks" offers something for every listener, inviting them to explore the rich tapestry of sounds that defined the era.
The 1980s in Portugal were a time of profound transformation, marked by the aftermath of a peaceful revolution and a burgeoning desire for artistic expression. As the country emerged from political turbulence, a new generation of musicians began to explore uncharted territories, paving the way for a wave of experimentation and innovation.
From the emergence of artists like Rui Veloso and bands like UHF, who ushered in a new era of Portuguese rock, to the founding of independent record labels like Fundação Atlântica and Ama Romanta, the 1980s saw a surge in creativity and a desire for independence within the music industry.
"Atlantic Mavericks: a Decade of Experimental Music in Portugal 1982-1993" offers a comprehensive overview of this dynamic period, featuring tracks that span the spectrum of experimental music. Each song tells a story of artistic evolution and creative risk-taking, reflecting the diverse influences and eclectic tastes of the Portuguese music scene during this transformative decade.
Spanning from 1982 to 1993, the compilation includes contributions from a wide range of artists, including SPQR, Croix Sainte, Linha Geral, Balladium, Ban, Santa Maria, Gasolina Em Teu Ventre!, Fé de Sábio, and Telectu, among others. With each track carefully curated to showcase the breadth and depth of Portuguese experimental music, "Atlantic Mavericks" promises to be a must-have for music enthusiasts and adventurous listeners alike.
"Atlantic Mavericks: a Decade of Experimental Music in Portugal 1982-1993" will be available on June 10th as a double LP release, offering listeners a chance to immerse themselves in the sonic landscapes of 1980s Portugal. Whether experienced on vinyl or through digital channels, this monumental compilation is sure to leave a lasting impression on all who encounter it.

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

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

Unique, Bold & Scottish - The LaFontaines are back with their fourth studio album, Business As Usual.

Business As Usual sees the band back from a short hiatus to bring you their most personal and vulnerable record yet.

Having been together since their teens, Kerr Okan (vocals), Jamie Keenan (drums, vocals) and Darren McCaughey (guitars, production) know their audience and have honed their sound to deliver their message in the most direct way possible.

The bands personality, charm and charisma shines through their output, which coupled with their already unrivaled unique offering has earned them a dedicated, loyal fanbase - who identify with the band through more than just the music.

Their live shows are their superpower – a guaranteed good time which sees the band connect with their audience on a level that most live acts never achieve. There is no one like The LaFontaines.

Unique, Bold & Scottish - The LaFontaines are back with their fourth studio album, Business As Usual.

Business As Usual sees the band back from a short hiatus to bring you their most personal and vulnerable record yet.

Having been together since their teens, Kerr Okan (vocals), Jamie Keenan (drums, vocals) and Darren McCaughey (guitars, production) know their audience and have honed their sound to deliver their message in the most direct way possible.

The bands personality, charm and charisma shines through their output, which coupled with their already unrivaled unique offering has earned them a dedicated, loyal fanbase - who identify with the band through more than just the music.

Their live shows are their superpower – a guaranteed good time which sees the band connect with their audience on a level that most live acts never achieve. There is no one like The LaFontaines.

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

The new album ”ICON” by Sweden’s Liar Thief Bandit is something else. After 200 shows and numerous landmark anthems, everything has led up to the fourth full-length album that truly lives up to its name. ”ICON” is a staple and instant classic on the rock scene, blending everything you would ever wish for in a melodic rock record. The raw and pure elements are caught on tape in a live setting to capture the true essence of the band, the melodies are added with clinical precision. The heartfelt lyrics set the tone to deliver a melancholic and insightful message. From the first intense second to the last, you’ll be overwhelmed with a dynamic soundscape rarely witnessed in this genre. Every element serves its purpose musically as well as lyrically. The listener should be prepared for an 11 track long journey through exceptional audible environments, dark passages and hopeful awakenings. ”ICON” is recorded, produced and mixed at Studio Sickan in Malmö by the multiple award-winning Joakim Lindberg who has worked with The Dahmers, Terrible Feelings, Nightmen, Black River Delta, Solen, Arre! Arre! among many others. ICON is released by The Sign Records on May 24, 2024. The album is released on black vinyl, transparent orange vinyl, and digitally. For fans of: The Hellacopters, Turbonegro, Kiss, Danko Jones, Foo Fighters, Thin Lizzy

The new album ”ICON” by Sweden’s Liar Thief Bandit is something else. After 200 shows and numerous landmark anthems, everything has led up to the fourth full-length album that truly lives up to its name. ”ICON” is a staple and instant classic on the rock scene, blending everything you would ever wish for in a melodic rock record. The raw and pure elements are caught on tape in a live setting to capture the true essence of the band, the melodies are added with clinical precision. The heartfelt lyrics set the tone to deliver a melancholic and insightful message. From the first intense second to the last, you’ll be overwhelmed with a dynamic soundscape rarely witnessed in this genre. Every element serves its purpose musically as well as lyrically. The listener should be prepared for an 11 track long journey through exceptional audible environments, dark passages and hopeful awakenings. ”ICON” is recorded, produced and mixed at Studio Sickan in Malmö by the multiple award-winning Joakim Lindberg who has worked with The Dahmers, Terrible Feelings, Nightmen, Black River Delta, Solen, Arre! Arre! among many others. ICON is released by The Sign Records on May 24, 2024. The album is released on black vinyl, transparent orange vinyl, and digitally. For fans of: The Hellacopters, Turbonegro, Kiss, Danko Jones, Foo Fighters, Thin Lizzy

"A sprawling patchwork of the artist’s dreams and fears, Parannoul’s third album After the Magic explores the enigmatic solo artist’s life in the wake of his second album’s overnight success.

Expanding on the shoegaze-shaded emo that made Parannoul’s To See the Next Part of the Dream so beloved by lo-fi and indie rock fans alike, After the Magic sees the anonymous auteur striving to write a follow-up as worthy of acclaim as the last.

Across the album’s ten songs, Parannoul plunges yet deeper into his diverse pool of influences, coming back to the surface with a record that captures and extends the magic of its predecessor. Unexpected flashes of orchestral ambient and glitched-out electronica meld seamlessly with Parannoul’s signature passages of noisy, distortion-laden shoegaze, offering a real time glimpse into the maturation of one of indie rock’s most exciting artists.

In the artist’s own words, “This album is not what you expected, but what I always wanted.”"

"In the wake of SQUID PISSER’s “Vaporize A Neighbor” EP and Comic Book Set and “Vaporize A Tadpole” Collection comes “Dreams of Puke”, the band’s second full length album. Weighing in at a meaty 12 songs and cut at a lean 45 revolutions per minute, “Dreams of Puke” refuses to let up or let down - emitting climax after scintillating climax - a bounteous bouquet of dayglow viscera and tumor-filled sonic snot.

“Dreams of Puke” is the face ripping, dolphin-loving, anthropomorphized mountain of nuclear sludge intravenously injected with methamphetamines that listeners have been clamoring for. Tommy Meehan's use of effects pedals and sonic textures create a dense soundscape of intestinal debris, mortared with a grout of pus, goo, gummy candy and pure, unadulterated insanity. Meanwhile, Seth Carolina's all out, rage-fueled and categorically pummeling approach to slamming the beats down lays out a visceral scene of absolute intensity - a great white shark attack on The Mall of America.

Tommy explains “The writing sessions for this album resulted in about 100 songs... Demos, seedlings, and scraps were strewn about everywhere. Then Seth and I assembled them into a viable and tangible fruition. I tracked all of the guitars, bass, and vocals myself at Los Angeles’ Castle Barf Studios. The drums we did at Sea Horse Sound downtown”.

“Dreams Of Puke” is an aural DMT trip that will leave brains boggled. Its atonal anthems of slime are a kaleidoscope of brilliant, bespeckled rage that, in the end, will scalp the world & mutate the throne.

Glass Mastered Compact Disc includes Mystery Matrix Message and comes packaged in a Six Panel Tri-Fold Jacket with corresponding Fold-Over Lyric Insert. LP and CD formats each sport unique, subliminally different cover art by painter Gregory Jacobsen of the band Lovely Little Girls. Parental Advisory: Explicit content"

"Marv Won is a Detroit musical alchemist – a street poet laureate entrenched in the battle rap scene, as well as a cinematic world class producer as capable of channeling Dr. Dre as Donald Goines. Marv breaks new ground with his first Mello Music Group album “I’m Fine, Thanks For Asking” - a soul-baring endeavor, that weaves tales of struggle and triumph, drawing inspiration from his storied life in the Motor City.

As one of the most esteemed battle rappers, Marv Won brings a lyrical ferocity to his unapologetically raw and heartfelt rhymes. This album collaboration with Mello Music Group marks a pivotal moment in his career, showcasing a seamless fusion of his word play and production. The album, featuring collaborations with Quelle Chris, Elzhi, Freeway, Rapper Big Pooh of Little Brother and more, cements Marv Won's status in the rap game. Marv Won's storytelling transcends mere verses, painting vivid portraits of life in the D. Over ten self-produced tracks Marv showcases his ability behind the boards with tracks that blend epic orchestration and Joe Louis drums that hit like Tommy Hearns."

"NY Psychedelic Art Rock!

Touted as the “new Doors,” Ars Nova’s second release shows the band genre-bending jazz and heavy psychedelia in a style that’s their own. Shifting from a largely classical centric sound, this was the group’s last album before going their separate ways. Pressed on pink vinyl!

Sunshine & Shadows takes the baroque-meets-psych sound of the debut and turns a bit more to the psych side. The stately brass interludes are gone, but horns still figure prominently in the mix. There’s some jazzy New Orleans flavor to a couple of the tunes, albeit twisted into a 7/4 vamp on “You Had Better Listen.”

The instrumentalists in the band, featuring trumpet and trombone, really give the music a unique flavor, setting them apart from the multitudes of other American psych bands. Ars Nova might be likened to Ultimate Spinach (but without the overly serious, pretentious lyrics) or later Zombies (though with less emphasis on the keyboards).

It’s all very well written and nicely played, and when they do a tender ballad like “Temporary Serenade,” the acoustic guitar is very lute-like, much more along the lines of classical than folk (like the later work of Jan Akkerman with Focus), and the trumpet descant adds a lovely spice.

“Well, Well, Well” is the heaviest rock tune in their repertoire, with a great electric guitar riff and hot organ playing, again set apart by trombone and trumpet. This one is definitely worth seeking out for baroque pop fans."

"NY Psychedelic Art Rock!

Touted as the “new Doors,” Ars Nova’s second release shows the band genre-bending jazz and heavy psychedelia in a style that’s their own. Shifting from a largely classical centric sound, this was the group’s last album before going their separate ways. Pressed on pink vinyl!

Sunshine & Shadows takes the baroque-meets-psych sound of the debut and turns a bit more to the psych side. The stately brass interludes are gone, but horns still figure prominently in the mix. There’s some jazzy New Orleans flavor to a couple of the tunes, albeit twisted into a 7/4 vamp on “You Had Better Listen.”

The instrumentalists in the band, featuring trumpet and trombone, really give the music a unique flavor, setting them apart from the multitudes of other American psych bands. Ars Nova might be likened to Ultimate Spinach (but without the overly serious, pretentious lyrics) or later Zombies (though with less emphasis on the keyboards).

It’s all very well written and nicely played, and when they do a tender ballad like “Temporary Serenade,” the acoustic guitar is very lute-like, much more along the lines of classical than folk (like the later work of Jan Akkerman with Focus), and the trumpet descant adds a lovely spice.

“Well, Well, Well” is the heaviest rock tune in their repertoire, with a great electric guitar riff and hot organ playing, again set apart by trombone and trumpet. This one is definitely worth seeking out for baroque pop fans."

Soul Mama #1 struts and shouts over wham-bam drumming and jerky, quirky blues guitar. Destined to have all the kids screaming.

"15 sizzlin’ surf guitar cuts recorded at the crest of the genre! Brothers Richard and Thomas Frost, more known for their work as Powder, shred through these surf-rockin’ standards – all tucked away until now!

Turning in a smoking rendition of studio guitarist Jan Davis’ “The Fugitive,” later covered by the Ventures (and much later, Laika & the Cosmonauts), they also lay down a hot version of “Opus Twist” – also by way of the Ventures, written by Tommy Allsup and J.I. Allison of the Crickets. Three other instrumentals came from the Let’s Hide Away & Dance Away With Freddy King album: “San-Ho-Zay,” “Just Pickin’,” and “Sen-Sa-Shun.” He delivers a lovely “Sleep Walk” sans Santo & Johnny’s steel guitar, and converts pianist Floyd Cramer’s “Last Date” to guitar.

Balancing out the program are live tracks from Big Al’s Gas House in neighboring Belmont, showing the emergence of British Invasion along with credible renditions of R&B warhorses “Linda Lu” and “Come On.” “Route 66” is obviously the Stones version, with Rich playing the Keith Richards guitar solo – “and ‘Roll Over Beethoven,’ you could tell it was the Beatles’ version because my guitar licks are George Harrison.”

Vividly illustrating the band’s meld of R&B and surf are the two versions of “San-Ho-Zay” – the relaxed groove in the bedroom versus the furious live rave. Lord knows what’s going on in “The Fight” – a typical set-opening/closing riff breaking up a brawl?

Though they never released even a 45, these live cuts and “Bedroom Tapes” prove without a doubt that they’d have been up to the task had the opportunity presented itself."

Once billed as “Europe’s First Lady of Jazz,” Dutch singer Rita Reys (1924- 2013) was a legend overseas during the second half of the 20th century, and certainly one of the top European jazz singers. The LP The Cool Voice of Rita Reys (considered her best record ever) presents her backed on one side by a band led by her husband, drummer Wessel Ilcken, and on the other side by Art Blakey’s Jazz Messengers, featuring Donald Byrd, Hank Mobley and Horace Silver. 180-gram VIRGIN VINYL LIMITED EDITION of 750 COPIES. The Complete Album + 3 Bonus Tracks.

"2024 marks the 40th anniversary of Bruce Springsteen's 'Born In The U.S.A.' Although it would become his biggest selling album with seven top 10 singles on the Billboard Hot 100, Luther Dickinson of North Mississippi Allstars says ""any of those songs could be played with acoustic guitar alone and still be great."" Taking this idea as its premise, 'Dead Man's Town: A Tribute to Born in the U.S.A' strips the album's twelve indelible originals to the core, with contributions from Jason Isbell & Amanda Shires, Low, Nicole Atkins, Justin Townes Earle, Blitzen Trapper, Joe Pug, Trampled by Turtles, and more. Rolling Stone premiered Jason Isbell and Amanda Shires' Dave Cobb-produced cover of ""Born I n The U.S.A,"" saying these artists are ""reimagining 'Born in the U.S.A. with a reduced approach more influenced by that of the acoustic, ""Nebraska.""

Isbell says of his cover, """"Born In The U.S.A."" is one of my favorites because so many people have seemingly misunderstood the lyrical content and the song's overall tone. When you listen to the demo, the dark, minor key arrangement makes it clear that this is not strictly a song of celebration. We wanted to stay true to that version."" Amanda Shires adds, ""I love that the song paints a picture of struggle in the face of the American dream, and the irony in the chorus is delivered with such force that it nearly transcends irony altogether."""

The creation of our first EP by Waking Dreams, takes us on a sonic journey spanning the spectra of house, disco, electro, and minimal. This EP is more than music: it's a tribute to the eternal influence of art in our lives.

Each track is a vivid expression of Ageless's unique vision, collaborating with the great Alexander Skancke, capturing the essence of an awakening dream.

From hypnotic rhythms to enveloping melodies, "A Waking Dream" invites you to immerse yourself in a world where music is the storyteller

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

CRUDE’s second record release features one of the most promising artists from the underground music world - DJ RAT.

Hailing from the American Pacific Northwest, DJ RAT’s signature sound is characterised by an eccentric, distinguishing and uncompromising approach - seamlessly blending intense, arcane and mystical elements in order to create a captivating experience.
Side A kicks in with Nocturne, the EP’s leading track that guides the listener into a veil of mystery with its enigmatic melody and its pulsating basslines that gradually build intensity while maintaining an underlying sense of tranquillity.

Hexosphere’s rhythm is edgy and straightforward with a trippy nature.
There’s an ever-evolving dynamic throughout the four tracks, alternating between driving rhythms and moments of serene psychedelia - exploring the duality of light and dark and evoking a feeling of introspection.

The B-side takes off with Corridor, an oscillating tension-builder.
Corridor’s distorted synths and glitchy effects cascade over pounding drums, creating a chaotic yet mesmerising soundscape.
Telepathic Climax weaves in and out with shimmering and alluring shifts that add depth and dimension to the track.

Atmospheric and trippy textures create a sense of space and immersion throughout the journey of the EP - with illuminating elements piercing through the darkness.

idal Perspectives is an album by Giovanni Di Domenico, Pak Yan Lau, and John Also Bennett. Recorded across a single afternoon in Brussels, Belgium, the album’s four parts are a rippling alchemy of processed Rhodes piano, sizzling ceramics, and liquified bass flute, a rare meeting of three unique voices from the contemporary music landscape that manages to flow with the effortless inevitability of the oceanic tides.

Giovanni Di Domenico, an accomplished composer and prolific collaborator who has released albums with Jim O’Rourke, Eiko Ishibashi and Akira Sakata, among many others, initiated the collaboration with Bennett after the two met at a record fair in Saint-Gilles, Belgium and bonded over a shared inquisitiveness for unconventional sonic combinations. Along with Pak Yan Lau, a Belgian-born sound artist and improviser who has developed her own rich and unique sonic footprint, the trio entered the studio with little, if any, discussion beforehand, jumping right into playing without preconceived structures. The resulting recordings had a depth of sound and emotional resonance surprising even them, with finished pieces emerging from single live takes and minor edits.

Bennett, known for his solo work as well as his collaborations with Christina Vantzou as CV & JAB, gives us here a taste of his bass flute in free flowing form. Unconstricted by concept, joyfully and lazily bouncing off the melodic shimmers of Di Domenico’s Rhodes, Bennett uses his flute’s pitch information to trigger long tones that emerge like rays of light piercing through low hanging clouds - moments of clarity among a clicking world of sonic stimuli. Meanwhile, Lau’s crackling and sometimes dissonant contributions on prepared piano, live hydrophone, and custom ceramic sound objects balance out the triangle, adding a sense of microcosmic intrigue that allows the music to seamlessly ebb and flow between moments of comfort and foggy uncertainty.

The album’s title track and climax, the eighteen minute “Tidal Perspectives”, drifts in with some kind of clarity, Lau’s glinting tonal waves edging in just beyond the horizon lines drawn by Di Domenico’s Rhodes and Bennett’s bass flute. But like the tidal flows of the Atlantic that inspired its title, just as you begin to perceive what’s happening, the currents have already taken you out to sea. Tidal Perspectives will be released on June 14th, 2024, in a limited edition of 300 LPs by Editions Basilic.

The Italian trio Desert Wave was formed in 2016, when Drugo (drums) and Logan (bass) were already playing in a doom metal band and then decided to break away and form their own with a more psychedelic/stoner-style. Guitarist Burton joined them a month later, and their musical influences were quite similar: Black Sabbath, Pink Floyd, Led Zeppelin, 70's hard rock, Seattle grunge, up to the granite desert sound of Kyuss.

With "Deafening Silence" they created a more psychedelic and epic, mostly instrumental, sound than their 2017 debut “Lost In Dunes”, much more like the long jam sessions they play in the rehearsal room. The songs were born during the pandemic that deeply marked the band. Like everyone else, they spent several weeks at home, while the empty streets generated a ghostly and disturbing silence. The lyrics are a bit dark and gloomy and on "Endless Night", Logan's voice carries that ghostly presence that loomed over us all. Drugo designed the artwork, as a tribute to the Blade Runner movies. In both films, as in the songs on the album, there was the same feeling of foreboding that hovered in a dystopian future, in which not all the answers are clear and many questions are still unanswered. Burton's powerful guitar riffs echo in this unreal silence, sometimes increasing the sense of restlessness, other times instead, in the more psychedelic parts, they create a crescendo of impotence and inevitability that totally invades you and from which you cannot escape. Purple edition.

Zooparty ist laut Record Collector (UK) ,Schwedens beste Punkband"! Wenn du deinen Punk verdammt eingängig magst, dann kann ich dir das nicht genug empfehlen", so Maximum Rock'n'roll (USA). "No matter what you say" ist ihr sechstes Album und enthält 12 brillante, zeitlose neue Punkrocksongs. Original-Sex Pistols-Basist Glen Matlock ist als Gast mit dabei (und wenn man sich ,Elephants" anhört, ist das wie eine Rückblende/ Hommage an die "Holidays In The Sun"-Zeiten). Außerdem spielt Hans Östlund von The Nomads noch mit. Die Texte wurden zusammen mit Stephen Straughan (UK Subs) und Gaz Moore (The Reverends) geschrieben. Produziert hat Chips Kiesbye (Sator, Nomads, Hellacopters, The Boys etc.) und das Master stammt von Henryk Lipp. Bislang spielten ZOOPARTY dreimal auf dem Rebellion Festival in Blackpool, UK. Sie tourten durch das Vereinigte Königreich, die Tschechische Republik, Deutschland, Irland, Norwegen und Schweden. "No Matter What They Say" ist ein klassisch, zeitlose Punkrock-Juwel! 180gr. 180g-Vinyl Edition in einer Auflage von 300 Stück (weltweit) gesamt, erhältlich in klassisch schwarzem und sehr limitiert auf farbigen Vivyl! Ein Coop-Release von Sunny Bastards (Welt ohne Schweden) & Bollmora Records (Schweden)

Remixed and remastered reissue of the legendary ORQUESTA DEL DESIERTO sophomore album. Unable to tour as a group due to commitments to other projects but fueled by the success of the debut release, Brown immediately turned to booking another recording session for the band. Hoping to further expand the group's dynamic sound, Brown and Stahl solicited song contributions from Mike Riley and Country Mark Engel for the second album. While the core of Brown, Stahl, Riley, Engel and Lalli remained intact for the second session, the group's diverse approach benefitted from the addition of drummer Adam Maples (earthlings?) and percussionist/drummer Pete Davidson. Additionally, the group was joined at famed Joshua Tree studio Rancho de la Luna by pianist Tim Jones and Bill Barrett on trumpet.

Green vinyl, limited to 350 copies. Remixed and remastered reissue of the legendary ORQUESTA DEL DESIERTO sophomore album. Unable to tour as a group due to commitments to other projects but fueled by the success of the debut release, Brown immediately turned to booking another recording session for the band. Hoping to further expand the group's dynamic sound, Brown and Stahl solicited song contributions from Mike Riley and Country Mark Engel for the second album. While the core of Brown, Stahl, Riley, Engel and Lalli remained intact for the second session, the group's diverse approach benefitted from the addition of drummer Adam Maples (earthlings?) and percussionist/drummer Pete Davidson. Additionally, the group was joined at famed Joshua Tree studio Rancho de la Luna by pianist Tim Jones and Bill Barrett on trumpet.

Cameleon Records open their vinyl series with a powerful 3-track EP provided by its very owner, Oros. After his first appearance on We Are FTR last year, he wasted no time and launched his own label. On this EP he provides two signature tracks of his own, yet different in style, combining a deep, meditative state with a solid groove to shake the dancefloor. The remix comes from the talented Paul Walter, a figure we all got used to lately, seeing his productions being released on labels such as Pressure Traxx and his very own Meduka. Here he takes over the remix and delivers a bold reinterpretation that best describes his craft.

Zooparty ist laut Record Collector (UK) ,Schwedens beste Punkband"! Wenn du deinen Punk verdammt eingängig magst, dann kann ich dir das nicht genug empfehlen", so Maximum Rock'n'roll (USA). "No matter what you say" ist ihr sechstes Album und enthält 12 brillante, zeitlose neue Punkrocksongs. Original-Sex Pistols-Basist Glen Matlock ist als Gast mit dabei (und wenn man sich ,Elephants" anhört, ist das wie eine Rückblende/ Hommage an die "Holidays In The Sun"-Zeiten). Außerdem spielt Hans Östlund von The Nomads noch mit. Die Texte wurden zusammen mit Stephen Straughan (UK Subs) und Gaz Moore (The Reverends) geschrieben. Produziert hat Chips Kiesbye (Sator, Nomads, Hellacopters, The Boys etc.) und das Master stammt von Henryk Lipp. Bislang spielten ZOOPARTY dreimal auf dem Rebellion Festival in Blackpool, UK. Sie tourten durch das Vereinigte Königreich, die Tschechische Republik, Deutschland, Irland, Norwegen und Schweden. "No Matter What They Say" ist ein klassisch, zeitlose Punkrock-Juwel! 180gr. 180g-Vinyl Edition in einer Auflage von 300 Stück (weltweit) gesamt, erhältlich in klassisch schwarzem und sehr limitiert auf farbigen Vivyl! Ein Coop-Release von Sunny Bastards (Welt ohne Schweden) & Bollmora Records (Schweden)

The wait is over: With the 14th June release of One Hand Clapping, one of the most bootlegged live albums in musical history will finally receive a proper release. In August 1974, when Band on the Run was enjoying a seven-week consecutive #1 stint at the top of the UK album charts, Paul McCartney and Wings headed to Abbey Road Studios for the filming of a video documentary and possible live studio album – One Hand Clapping. Despite overwhelming demand for newly recorded material from the biggest band in the world at that time, One Hand Clapping was never officially released. 2LP- 50 years after their initial recording, the sessions for Wings One Hand Clapping will be released for the very first time. Discs 1 and 2 are newly mixed with 12 tracks that didn’t appear in the original film, including reworked extracts of Beatles classics. The package includes original artwork, plus a TV sales brochure created for the film.

IMPERA finds Ghost transported literally hundreds of years forward from the 14th century Europe Black Plague era of its previous album, 2018’s Best Rock Album GRAMMY nominee Prequelle. The result is the most ambitious and lyrically incisive entry in the Ghost canon: Over the course of IMPERA’s 12-song cycle, empires rise and fall, would-be messiahs ply their hype (financial and spiritual alike), prophecies are foretold as the skies fill with celestial bodies divine and man-made… All in all, the most current and topical Ghost subject matter to date is set against a hypnotic and darkly colorful melodic backdrop making IMPERA a listen like no other — yet unmistakably, quintessentially Ghost. New repress on a limited edition colourway.

Waxwork Records is thrilled to release THE EXORCIST III Original Motion Picture Score by Barry DeVorzon. THE EXORCIST III is a 1990 American supernatural horror film written and directed by William Peter Blatty based on his 1983 novel Legion. The film is set fifteen years after the events of The Exorcist (1973) and follows a character from the original film, Lieutenant William F. Kinderman who investigates a series of demonic murders in Georgetown that have the hallmarks fo the Gemini, a deceased serial killer.

THE EXORCIST III features a dark ambient score by Barry DeVorzon (The Warriors, Night of the Creeps). It was the last film score he ever created and features synth drones, sampled chanting, synthesized voices and real voices, and experimental sound design. Of the score, DeVorzon provided exclusively to Waxwork for this album's liner notes: "I was exploring a lot of synthesized sounds and textures and trying to do something that would make the scenes more chilling. Anything that was different, eerie, and had nothing to do with an orchestra. This was new territory for me - it wasn't orchestral, it wasn't rhythm oriented. It was just a really different animal."

Waxwork Records is proud to present THE EXORCIST Original Motion Picture Score for the first time in any format. Sourced from the original masters and then mixed, mastered, and constructed into a cohesive double LP soundtrack experience. The album features 150 gram purple smoke colored vinyl, exclusive liner notes by composer Barry DeVorzon, heavyweight gatefold packaging with matte satin coating, a 12"x12" four page booklet, and new artwork by Suspiria Vilchez."

Enjoy The Ride Records, in conjunction with Paramount Music proudly presents Star Trek: The Motion Picture – The Director’s Edition, Music Composed and Conducted by Jerry Goldsmith.

Jerry Goldsmith's iconic score to the 1979 film has been restored, remixed, and mastered from the first-generation multi-track masters by Bruce Botnick (Original album Executive Producer and Goldsmith's long-time engineer). Mike Matessino co-produced the album with Botnick, handling the restoration, editing, and track assembly.

With over 80 minutes of music, Star Trek: The Motion Picture – The Director’s Edition is available on vinyl for the first time in this definitive assembly. Pressed on 2xLP 140g colored vinyl and housed in a high gloss gatefold jacket with black poly-lined inner sleeves, there is also a double-sided full-color insert nestled inside.