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The Black Keys release a special tenth anniversary edition of their landmark seventh studio. El Camino (10th Anniversary Deluxe Edition) will be available in several formats including a Super Deluxe edition of five vinyl LPs or four CDs, featuring a remastered version of the original album, a previously unreleased Live in Portland, ME concert recording, a BBC Radio 1 Zane Lowe session from 2012, a 2011 Electro-Vox session, an extensive photo book, a limited-edition poster and lithograph, and a ‘new car scent’ air freshener. A three-LP edition, which includes the remastered album and the live recording, will also be available. The Super Deluxe version will also be available digitally.

El Camino was produced by Danger Mouse and The Black Keys and was recorded in the band’s then-new hometown of Nashville during the spring of 2011. The Black Keys won three awards at the 55th annual GRAMMY Awards for El Camino – Best Rock Performance, Best Rock Song, and Best Rock Album – among other worldwide accolades. In the UK, the band was nominated for a BRIT Award (Best International Group) and an NME Award (Best International Band). The week of release, the band performed on Saturday Night Live, The Colbert Report, and the Late Show with David Letterman, and later that year, went on to perform their first Madison Square Garden show.

Rolling Stone, which featured the band on their cover around the release, hailed El Camino for bringing ‘raw, riffed-out power back to pop’s lexicon,’ and called it ‘the Keys’ grandest pop gesture yet, augmenting dark-hearted fuzz blasts with sleekly sexy choruses and Seventies-glam flair.’ The Guardian said, ‘They sound like a band who think they've made the year's best rock'n'roll album, probably because that's exactly what they've done.’

In the newly written liner notes for El Camino (10th Anniversary Deluxe Edition), David Fricke says:

The story of the Black Keys' seventh album, named after an automobile, long out of fashion and featured nowhere in the artwork, begins on a sidewalk in the middle of a blizzard. On the afternoon of January 9, 2011, singer-guitarist Dan Auerbach and drummer Patrick Carney stood on the pavement outside the Bowery Hotel in New York City, saw the weather turning vicious, looked at each other and came to the same decision: They had to get off the road.

The night before, the duo scored another first in a season getting crowded with them: The Black Keys' debut appearance on Saturday Night Live, performing ‘Howlin' for You’ and ‘Tighten Up’, the breakout singles from their latest release, Brothers. Two days earlier, Brothers – the Keys' first Top 5 album, released in May 2010 – became their first Gold record, passing a half-million in sales thanks to heavy FM rotation and a near-year of gigging, now set to run deep into 2011 including a prestige slot at Coachella and victory laps in Europe and Australia.

The Keys "tried to settle down" after cancelling the tour, Carney says. But that didn't last. "I said, 'We should just make another record.' And I asked Dan if we should get Danger Mouse" – the hip-hop and modern-rock producer, real name Brian Burton, who worked on the Keys' 2008 record, Attack & Release, and co-produced ‘Tighten Up’. Auerbach and Carney did not have any new songs, but as the drummer notes, "Most of our records – we don't have material when we start. Brothers was made up in the studio."

In the UK, the record gave the band their first top 10 hit, and in the US it debuted at #2 on the Billboard Top 200. The band was also the #1 most played artist at Alternative and AAA radio formats for 2012 in the US. The album’s first single, ‘Lonely Boy’: reached #1 on the Alternative and AAA charts; it also entered the top 10 at Rock radio. The second single, ‘Gold on the Ceiling’, also reached #1 on Alternative radio and the third single, ‘Little Black Submarines’, reached the top 3 at Alternative radio.

El Camino has been certified Double Platinum in the US; Platinum in the UK, Belgium, France, Ireland, and the Netherlands; Triple Platinum in Australia and New Zealand; Quadruple Platinum in Canada; and Gold in Austria, Denmark, Finland, Italy, Mexico, Norway, Spain, and Switzerland. Of the album’s singles, ‘Lonely Boy’ was certified Double Platinum in the US, nine-times Platinum in Canada, Triple Platinum in Australia, Platinum in New Zealand, and Gold in Denmark and the UK. ‘Gold on the Ceiling’ was certified Platinum in the United States, Australia, and Canada. ‘Little Black Submarines’ was certified Platinum in the United States. The Black Keys also were nominated for an MTV European Music Award in 2012.

Recently, the band announced their World Tour of America. The Black Keys will perform three intimate shows in Oxford, MS, Athens, GA, and St Petersburg, FL, surrounding their September 25 headlining set at Pilgrimage Fest in Tennessee.

The Black Keys recently released their tenth studio album, Delta Kream, which was recorded at Easy Eye Sound studio in Nashville. The album takes its name from William Eggleston’s iconic Mississippi photograph that is on its cover.

Formed in Akron, Ohio in 2001, The Black Keys, who have been called ‘rock royalty’ by the Associated Press and ‘one of the best rock ‘n’ roll bands on the planet’ by Uncut, are guitarist/singer Dan Auerbach and drummer Patrick Carney. Cutting their teeth playing small clubs, the band have gone on to sell out arena tours and have released nine previous studio albums: their debut The Big Come Up (2002), followed by Thickfreakness (2003) and Rubber Factory (2004), along with their releases on Nonesuch Records, Magic Potion (2006), Attack & Release (2008), Brothers (2010), El Camino (2011), Turn Blue (2014) and, most recently, “Let’s Rock” (2019), plus and a tenth anniversary edition of Brothers (2020). The band has won six Grammy Awards and a BRIT and headlined festivals in North America, South America, Mexico, Australia, and Europe.

The Black Keys release a special tenth anniversary edition of their landmark seventh studio. El Camino (10th Anniversary Deluxe Edition) will be available in several formats including a Super Deluxe edition of five vinyl LPs or four CDs, featuring a remastered version of the original album, a previously unreleased Live in Portland, ME concert recording, a BBC Radio 1 Zane Lowe session from 2012, a 2011 Electro-Vox session, an extensive photo book, a limited-edition poster and lithograph, and a ‘new car scent’ air freshener. A three-LP edition, which includes the remastered album and the live recording, will also be available. The Super Deluxe version will also be available digitally.

El Camino was produced by Danger Mouse and The Black Keys and was recorded in the band’s then-new hometown of Nashville during the spring of 2011. The Black Keys won three awards at the 55th annual GRAMMY Awards for El Camino – Best Rock Performance, Best Rock Song, and Best Rock Album – among other worldwide accolades. In the UK, the band was nominated for a BRIT Award (Best International Group) and an NME Award (Best International Band). The week of release, the band performed on Saturday Night Live, The Colbert Report, and the Late Show with David Letterman, and later that year, went on to perform their first Madison Square Garden show.

Rolling Stone, which featured the band on their cover around the release, hailed El Camino for bringing ‘raw, riffed-out power back to pop’s lexicon,’ and called it ‘the Keys’ grandest pop gesture yet, augmenting dark-hearted fuzz blasts with sleekly sexy choruses and Seventies-glam flair.’ The Guardian said, ‘They sound like a band who think they've made the year's best rock'n'roll album, probably because that's exactly what they've done.’

In the newly written liner notes for El Camino (10th Anniversary Deluxe Edition), David Fricke says:

The story of the Black Keys' seventh album, named after an automobile, long out of fashion and featured nowhere in the artwork, begins on a sidewalk in the middle of a blizzard. On the afternoon of January 9, 2011, singer-guitarist Dan Auerbach and drummer Patrick Carney stood on the pavement outside the Bowery Hotel in New York City, saw the weather turning vicious, looked at each other and came to the same decision: They had to get off the road.

The night before, the duo scored another first in a season getting crowded with them: The Black Keys' debut appearance on Saturday Night Live, performing ‘Howlin' for You’ and ‘Tighten Up’, the breakout singles from their latest release, Brothers. Two days earlier, Brothers – the Keys' first Top 5 album, released in May 2010 – became their first Gold record, passing a half-million in sales thanks to heavy FM rotation and a near-year of gigging, now set to run deep into 2011 including a prestige slot at Coachella and victory laps in Europe and Australia.

The Keys "tried to settle down" after cancelling the tour, Carney says. But that didn't last. "I said, 'We should just make another record.' And I asked Dan if we should get Danger Mouse" – the hip-hop and modern-rock producer, real name Brian Burton, who worked on the Keys' 2008 record, Attack & Release, and co-produced ‘Tighten Up’. Auerbach and Carney did not have any new songs, but as the drummer notes, "Most of our records – we don't have material when we start. Brothers was made up in the studio."

In the UK, the record gave the band their first top 10 hit, and in the US it debuted at #2 on the Billboard Top 200. The band was also the #1 most played artist at Alternative and AAA radio formats for 2012 in the US. The album’s first single, ‘Lonely Boy’: reached #1 on the Alternative and AAA charts; it also entered the top 10 at Rock radio. The second single, ‘Gold on the Ceiling’, also reached #1 on Alternative radio and the third single, ‘Little Black Submarines’, reached the top 3 at Alternative radio.

El Camino has been certified Double Platinum in the US; Platinum in the UK, Belgium, France, Ireland, and the Netherlands; Triple Platinum in Australia and New Zealand; Quadruple Platinum in Canada; and Gold in Austria, Denmark, Finland, Italy, Mexico, Norway, Spain, and Switzerland. Of the album’s singles, ‘Lonely Boy’ was certified Double Platinum in the US, nine-times Platinum in Canada, Triple Platinum in Australia, Platinum in New Zealand, and Gold in Denmark and the UK. ‘Gold on the Ceiling’ was certified Platinum in the United States, Australia, and Canada. ‘Little Black Submarines’ was certified Platinum in the United States. The Black Keys also were nominated for an MTV European Music Award in 2012.

Recently, the band announced their World Tour of America. The Black Keys will perform three intimate shows in Oxford, MS, Athens, GA, and St Petersburg, FL, surrounding their September 25 headlining set at Pilgrimage Fest in Tennessee.

The Black Keys recently released their tenth studio album, Delta Kream, which was recorded at Easy Eye Sound studio in Nashville. The album takes its name from William Eggleston’s iconic Mississippi photograph that is on its cover.

Formed in Akron, Ohio in 2001, The Black Keys, who have been called ‘rock royalty’ by the Associated Press and ‘one of the best rock ‘n’ roll bands on the planet’ by Uncut, are guitarist/singer Dan Auerbach and drummer Patrick Carney. Cutting their teeth playing small clubs, the band have gone on to sell out arena tours and have released nine previous studio albums: their debut The Big Come Up (2002), followed by Thickfreakness (2003) and Rubber Factory (2004), along with their releases on Nonesuch Records, Magic Potion (2006), Attack & Release (2008), Brothers (2010), El Camino (2011), Turn Blue (2014) and, most recently, “Let’s Rock” (2019), plus and a tenth anniversary edition of Brothers (2020). The band has won six Grammy Awards and a BRIT and headlined festivals in North America, South America, Mexico, Australia, and Europe.

Having stepped into fourth year of existence the factory of Depth.Request manufactures an article in form of an EP titled "Night Wounds Time" produced by British-born underground scene veteran Mahk Rumbae under the guise Antechamber, which - in slight contrast to his arguably better known alias Codex Empire - he ostensibly reserves for a more dysfunctional brand of electronic music intended as much for frantic terpsichorean participation as for contemplating the inevitable under the gloom of moonless nights. In line with offbeat nature of sounds presented, the release gives a subtle nod to Tod Phillips' literary work "A Humument", borrowing its name and
track titles from the lines within the idiosyncratic book.

clear red vinyl / incl. poster

The fourth release (ZC-ELEC004) of the Electro Acid Series has arrived. With "Lightsplitter", you can expect four dancefloor fillers that also provide truly captivating listening experiences. Created by The Human Behind Pluto, Johnfaustus and VSO who's passion for electro, acid and IDM meet on this high-quality release.

About the artists:
Human Behind Pluto: Born somewhere else, raised liked a human... using synthesizers, some hardware some not to express something hard to grasp... Eclectic mixes between IDM, Braindance, Electronica and Ambient is a good guess of what it would sound like if you join the ride...

Johnfaustus: Piano lesson in the 80's, rocking the guitar in the 90's, pacing free party since the end of the millennium (followed by a hardware addiction), johnfaustus is still making noise. Versatile producer, he navigates from dub to death metal with of course some mental acidcore in between.

VSO: VSO, aka Vasco Oliveira, based in Porto, started his journey in electronic music around 2017. Since then, he has been experimenting with acid, electro, IDM, breakbeat and ambient.

Human Behind Pluto - Lightsplitter
the Human Behind Pluto delivers an excellent up-tempo electro track with 'Lightsplitter' Superb atmospheres are driven by subtly distorted beats and a razor-sharp arrangement that manages to split light to be projected into the mind's eye. A truly captivating track that enchants instantly!

johnfaustus - Red Sonjia
With 'Red Sonjia' John Faustus tells a dark and ominous tale voiced by analog synths and mesmerizing vocals. A hypnotizing 303 line tops of this high-quality sonic adventure, where Sonjia manages just fine without Conan.

VSO - Sinking
With 'Sinking', VSO has created a beautiful and all-encompassing electro adventure. The hard-hitting beats won't stop you from sinking in the sonic pool filled with melancholy and acidic creatures.

VSO - Complacency
'Complacency' by VSO is an offbeat electro killer accompanied by 303 basslines and distant electrofied voxes. Don't get too comfortable balancing between the beautiful contrast of the intense beats and the dream state vibe because complacency is on the lurk.

"60 Years of cult and classic soundtracks presented on 2 x 180g

Featuring Bernard Hermann, John Barry, Thomas Newman, Giorgio Moroder, Isaac Hayes, Lalo Schifrin, Mike Oldfield, Vangelis...

“Under the Haramia Tapes veil, Laurine Frost wriggles his way through dub infected, smoke-laden horizons bending and stretching time mischievously while peering through his mask. The saga continues no differently than any of Frost's other elusive outings, genre defiant as ever, we get a glimpse of what allegedly is an unreadable and luminous future.

Following his complex concept driven offerings, on ‘Daydreaming’ we are treated to a set of groovy and hypnotic vignettes flowing ever so fluidly between beat, rhythm, and harmony. Surgically layered, yet expertly stripped back, these bedtime ragers are crafted for those waking moments where the body becomes the mind.”

Ali Safi

With the release of their new single ‘R&B’, the ever-exciting
English Teacher prove they could be your new favourite band.
 As far as Northern cities go, Leeds probably isn’t the first place
you’d think of as a burgeoning hotbed of fiercely independent
and DIY bands. Often overshadowed by its neighbours further
along the M62, it’s precisely because of this that Leeds’ music
scene is as vehemently independent and self-sufficient as it is.
 The latest band to emerge from the city are four-piece English
Teacher. Keeping Leeds’ longstanding tradition of
uncompromising post-punk alive, the quartet’s latest single
‘R&B’ is three minutes of clattering bass and crisp percussion,
sporadic guitar occasionally punctuating the tension as
frontwoman Lily Fontaine explores ideas of imposter syndrome
and lethargy throughout the creative process.
 Lethargic is one thing ‘R&B’ isn’t, however. Fraught and frantic
perhaps. Imbued with a dry wit and self-awareness certainly,
but no one’s about to level any accusations of indifference at
English Teacher. The band explain, “the song is about the
cyclical, productivity-diminishing paradox of low self-esteem and
imposter syndrome-induced writer’s block that then fuels low
self-esteem and imposter syndrome. It’s also about racial
identity and putting the love that you have to offer a potential
romantic partner back into yourself.”
 Harbouring a cloying sense of paranoia that only increases as
the track progresses, there are elements of bands such as Slint
and Sonic Youth at play. Rather than feel like a ‘90s throwback,
however, ‘R&B’ succeeds feeling not just contemporary but vital.
Providing both a short, sharp gut punch and insight into Leeds’
ever-growing indie scene.
 Recently supported Sports Team on tour.
 Dan Carey is set to produce a forthcoming album and also
plans to release a single on Speedy Wundergound.

With another week comes another gem to be let loose into
the world via Nice Swan. This time it’s the turn of Brighton
set Opus Kink, releasing their second offering of the year
in ‘Wild Bill’ / ‘This Train’.
 Having been recorded at the seminal Rockfield Studios in
Wales and produced by Tim Burgess, it’s every bit as
zealous and free as we’d expect and in discussing the
release, the group revealed: “‘This Train’ is a hell-forleather ride through humanity’s self-destructive tendencies
and futile battle against nature, flipping on its head the old
adage that ‘this train is bound for glory’.”
 A spooky intro converts to a fast-paced and frenetic sound
as trumpets and sax blare with feral delight. The single
comes to a screeching crescendo and we’re sonically
transported to what could easily be a pub parlour, perched
on the crimson material of a baby bar stool as beautifully
bedraggled chants echo out. They can’t remember how
they got there but are united in their message: “Don’t lose
yourself to everyone else; Don’t lose yourself to this train.”
 So far, Opus Kink have succeeded in turning listeners on
their head, leaving a simultaneous excitement and
perplexity as the struggle to brandish them with a ‘wemust-define-you’ handle ensues. With an underlying tone
likened to that of a Dickensian tale, they possess the edge
of a brooding petty criminal, the charm of a street urchin
and the philanthropic spirit of any good protagonist.
 The band have a flurry of nationwide gigs scheduled over
the coming months, including two Nice Swan showcases
alongside labelmates Malady, Mandrake Handshake and
Hallan. Taking the studio energy and general raucousness
into consideration, catching them live will be well worth a
look-in.

The official album of Captain Flam and his android robots Crag & Mala.

As for the original version, the B side of this vinyl edition also features an instrumental version of the title, composed by Jean-Jacques Debout, to train to shine in the karaoke of the 80's!

Los Angeles post-punkers SHARK TOYS delight with off-kilter clatter of the highest caliber, possessing a jagged beauty that defies the songs shamble-pop brevity. Swell Maps and Television Personalities flavor the proceedings without dominating, with SHARK TOYS retaining their own American-DIY-art-punk identity through their wonderfully constructed and sonically thrilling songs. From Gainesville Florida, UV-TV's debut vinyl offering is a unique hybrid of infectious psyche-punk and dynamic indiepop. C86/Shop Assistants-esque melodies coupled with pounding toms and soaring dark angular post-punk guitar. This is stripped down 3 piece brutal-pop, with smatterings of feedback, counter balanced perfectly by the sweet melodic vocal delivery of Rose Vastola.

Marooned at home during Melbourne's 2020 lockdown, with no bandmates in sight, Mark Monnone had no option but to take matters to his cassette 8-track and set to work on the follow-up to Monnone Alone (the quartet)'s 2019 powerpop tour de force Summer of the Mosquito. The former-Lucksmiths bassist then gave his home-recorded tapes to Gareth Parton (The Go! Team, Foals, Breeders) to mix the whole glorious mess into something worthy of human consumption. The resulting ten tracks on Stay Foggy bounce blindly from glum to whimsical, from blurred to razor-sharp, showcasing Monnone's disorientated hopes, dreams and lockdown inertia with an off-the-cuff beach party twist.

The American frontier: where burning skies meet sandblasted mesas. Where lost highways stretch into darkness and undisturbed deserts speak a language as ominous as it is otherworldly. This is the tableau of SPIRITWORLD. SPIRITWORLD is also the aural vision quest of Stu Folsom, a Las Vegas native who has taken the intensity of that blasted desert heat and given it voice, howling through the Slayer-like chug of his band’s Century Media debut, Pagan Rhythms. It was that purity of Folsom’s vision that immediately won SPIRITWORLD international acclaim on the limited 2020 self-release of Pagan Rhythms. Even the likes of Exodus/Slayer guitarist Gary Holt and Former Sepultura/current Soulfly leader Max Cavalera raved about the album on social media. Stu and SPIRITWORLD had staked their claim like firebrands and outlaws coming off the deadlands to shoot, ride and speak their truth. Pagan Rhythms is available as Ltd. 180g black Vinyl + CD and Art Print. This Vinyl-Edition features an alternative cover artwork which will be only available for the 1st pressing. Furthermore, the debut-album of SPIRITWORLD is available as Ltd.

Hungry for some modern melodic death metal with ridiculously catchy pop influences? Well, your dinner has just been served. This steaming nine-course setting is called "Origin" and it is honoringly brought into the table by the renowned Finnish heavy metal band Omnium Gatherum. Omnium Gatherum – OG for close friends – has been offering remarkable pieces of melodic death metal for already twenty-five shining years. While storming through these ferocious decades, Omnium Gatherum has convinced worldwide legions of heavy metal lovers by releasing unstoppable musical onslaughts and touring relentlessly all over the world. "Any sort of popularity hasn't come overnight for OG, and rising to that "next level" has sometimes taken a considerably long time, but one thing has been set in stone: progress has been inevitable. In other words: a lot of great things have happened along the way but the journey hasn't been the easiest one", says longtime singer Jukka Pelkonen. ... And recent times are no exception. Contrary to what you might think, we are not talking about a global scourge that gripped the entire world about a year and a half ago. "Although most of the things around "Origin" have been really good – we have never had so much time to compose and sharpen the material for instance –, there have been some serious roadblocks as well. This, of course, has not come as a big surprise as OG was not born under the happiest stars", laughs guitarist extraordinaire and the band founder Markus Vanhala. "Above all, our dear fans should know that since the previous studio effort "The Burning Cold" (2018), half of the band's line-up has changed. I would say quite surprisingly as we haven't really had any major problems, at least to my knowledge." "This internal turmoil lifted dark clouds into the band's vast sky and everything was falling apart... well, for a few hours at least. After that, as many times before, we decided to turn these difficulties into something better!" Before the arrival of "Origin", Omnium Gatherum's colourful discography features eight studio albums, but the newcomer does not pale in comparison. The truth is, in fact, quite the opposite... By the stylish, majestic and melodic splendor of "Origin", it really feels like the band's original style called AORDM – adult oriented death metal – has reached its peak. Well, so far... "Over the years, OG's material has been deliberately moving further away from the anxiety of the windy Northern shores and traditional melodeath's gloomy despair. These days our music is a powerful mixture of older deadly roots and newer AOR-vibes that you get while listening to Survivor and driving a Corvette along the sunny shores of Miami of us, we will not forget the original enthusiasm for playing heavy metal... And therefore we will never give up!"

BBE Music celebrates the centenary of recorded Ghana Highlife music with a double album reissue of two rare 80s LPs recorded by the late Atakora Manu, AFRO HIGHLIFE and OMINTIMINIM. Born in Toase, Ghana, a proud Asante, Atakoras musical talent made itself clear from an early age. But it wasn’t until his late teens that he put that talent to use as a performer, first founding the legendary Princess Trio from 1961 till 1963 with drummer Togas and multi-instrumentalist Elder Osei Bonsu. After a spell from 1963 till 1966 as guitarist with the United Ghana Farmers’ Council Drama Troupe, Manu teamed up with Moses Kweku Oppong to form the legendary Kakaiku No. 2 Band, producing a string of national hit singles over the following three or four years. There followed a three year break from music until fate struck: Atakora found a job in 1973 as Recording Studio Attendant- and later recording engineer- at Ambassador Recording Studios in Kumasi, at that time the country’s largest independent label. On seeing his musical talents behind the studio desk, it wasn’t long before the boss suggested to Manu that he get back to making music himself, an opportunity that he was quick to take up- as will be more than apparent from the hardcore, rootsy Highlife and palmwine selections reissued here. As well as long-time associates Togas and Elder Bonsei, local Kumasi legends CK Mensah, Amoako Agyeman, Agyei Kyeremanteng (of the famous Keyeremanteng All Stars) , and Atta Fofie lent a hand from time to time, along with a handful of other seasoned Ambassador studio session players. THE MUSIC A unique selling point here is the mix of vintage, rootsy ‘palmwine’ blues-style guitar Highlife with quirky keyboard electronics, a sound well-established today but revolutionary in the comparatively conservative world of 70s and 80s Highlife. This comes across beautifully in Dada and Cape Coast Cousin, the latter toasting off guitar licks with bubbling wah wah organ. We find a similar juxtaposition in Asante Kotoko, a shout-out to Kumasi’s champion soccer team, which also features some sweet ‘village’ drumming, and in Meka A Ensa..

• 1971 Invictus records release, The Glass House features the distinguished voices of Pearl Jones, Ty Hunter, Larry
Mitchell and Scherrie Payne. Each selected with great care to form HDH’s only mixed- gendered vocal group
• Scherrie Payne, sister of Invictus start Freda, who co-wrote many of the groups songs before joining The Supremes
in the mid 1970s
• ‘Crumbs Off The Table’ #7 in the R&B and Pop charts. Other stand out tracks include ‘Look What You’ve Done To
Love’, ‘If It Ain’t Love (It Doesn’t Matter) – a Payne/Hunter duet.
• Demon Music are proud to reissue the groups debut album on 180g heavyweight vinyl with printed inner sleeve

Produced off the back of a profoundly inspiring trip to his homeland last year, Luigi Madonna crafts the pin-sharp ‘Italian Shocks’ EP. The Amsterdam-based artist is a key Drumcode contributor, who runs the label off the back of last year’s well-received collaborative EP ‘Mad World’ with Roberto Capuano.

The title track is brain-spangling, industrial and brilliant, characterised by a suspenseful narrative, which is typical of Madonna’s creativity in the studio. ‘This is the Future’ is crisp and rolling, an intelligent tool for every set. ‘Enveloping Times’ is punchy and hypnotic, an immense transcendental belter ready to be unleashed this summer. ‘Interfrequencies’ is an exhilarating rush to the head, as a killer bass synth and piston-like drums for a rave-ready finish.

On 19th August at 2PM BST, Ed Sheeran will announce his brand new album ‘=’ alongside an album pre-order. 14 tracks in length, the album will be released on 29th October 2021.

Ed Sheeran is an era-defining artist. Through his fusion of thought-provoking songwriting, universal pop and multi-genre influence, his rich tapestry is not only perfectly suited to his audience but it’s something that transcends generations.

Since surfacing on the UK circuit in 2010 with his ‘No.5 Collaborations Project’ – an eight-track EP featuring his favourite grime artists of the time – the Suffolk-raised recording artist has resonated with fans across the world through his peerless songcraft and versatility. And now, with four UK No.1 albums to his name – ‘+’ (2011), ‘x’ (2014), ‘÷’ (2017) and ‘No.6 Collaborations Project’ (2019) – he has sold over 55 million albums and 160 million singles across the world.

Most notably, Ed’s 2017 blockbuster release, ‘÷’ (Divide), saw Ed reign supreme as one of the most in-demand pop stars on the planet – a feat he has continued to sustain ever since. Crowned as the fastest-selling album, ever, by a male artist in the UK, the chart-shattering album housed a swarm of singles including ‘Castle on the Hill’, ‘Perfect’ and ‘Shape of You’, with the latter becoming Spotify’s most-streamed song of the last decade.

But it’s not just his recorded music that’s seen the former Glastonbury headliner become one of the sought-after artists of the 21st century either. Possessing a mystical ability to turn 90,000 capacity venues into the pub back-rooms that he first started playing in, Ed made history in 2015 after becoming the first-ever artist to play Wembley Stadium solo - without a band and with just his guitar and loop pedal - over three, consecutive sold out nights. Move forward to the summer of 2019 and Ed would re-enter history books after the completion of his mammoth two-year Divide tour, which would officially become the most-attended tour of all time after it culminated with special homecoming shows in Ipswich, Suffolk.

Ed Sheeran - who was awarded an MBE for his services to music and charity in 2017 - is the proud recipient of 1 x IFPI Award (best-selling global artist of 2017); 4 x Grammys; 4 x Ivor Novello’s; 6 x BRIT Awards (including two consecutive wins for ‘Global Success’ in 2018 and 2019); 7 x Billboard Awards + more.

At the end of 2019, Sheeran was presented with the Official Chart Company’s first-ever ‘No.1 Artist of the Decade’ award following a host of accomplishments in his native UK including the most No.1’s across the UK’s Official Singles and Albums chart from the years 2010-2019.

Nottingham don Lukas Wigflex and "The Wizard" Tom Smith come correct with their Me & Meds project. Following on from their debut together on Wigflex, the follow up is just as inventive & playful.

2 years in the making- the studio skills of the pair shine through across the 3 tracks. The opener "Curtains Nine Tails" moves and warps over the first few minutes only to penetrate the listener with a crescendo of god-like basslines and tripped out vocals.

Faffhammer which gained big popularity when Lukas played it on that boat party at Love International is an atmospheric, wonked out euphoric number of the highest order.

The records finished off with the offside ramblings of another notorious Notts head - Des Hagenasty. This is his first outing on wax and it does not disappoint, backed by the analog wobbles and techno grit of Me & Meds, this one bites. The videos an eye opener too, just you wait!

0115 is alive.

Tone B. Nimble hit us with a seemingly endless list of possible songs to license, and to that end we’re blessed to be able to offer a ‘bonus’ chapter of two in-demand University gospel choir cuts - Side One from Oral Roberts University (Tulsa, OK) and Side Two from Rutgers University (New Jersey). Original LPs are hard to come across, here Tone B. Nimble selects the best two tracks, re-mastered in DJ friendly 7" 45RPM format!

"Soul is My Salvation is a collection of dance friendly gospel songs. The mission is to simply uplift your spirit through music and word. Dancefloors around the world mirror the reactions of Churches from the 70’s and 80’s when experiencing these recordings" - Tone B. Nimble

Queen B and US vocalist Lee Wilson collaborate together for this smooth soulful sounding house track entitled ‘Nobody Else’. With it’s infectious groove, topped off with Lee's sublime vocal tones this really is a gem of a record.

Let There Be House label head Glen Horsborough delivers a huge remix which is only available and exclusive to this vinyl release.

Carwyn Ellis from Cardiff/Wales is a singer, songwriter, composer, arranger, multi-instrumentalist and record producer. He fronts Colorama, formed the Welsh folk group Bendith and hosts a regular themed radio show on Soho Radio. In 2019, Ellis embarked on the first project under his own name, Carwyn Ellis & Rio 18. Sung in Welsh and recorded mainly in Rio de Janeiro, the album, "Joia!" was nominated for the Welsh Music Prize and followed by "Mas" in early 2020. The new album "Yn Rio" is a collection of new songs recorded in Cardiff together with The BBC National Orchestra Of Wales.

In 2017 Carwyn Ellis joined the touring line-up of The Pretenders. For Ellis, a record collector and fan of Brazilian music, the opportunity to tour South America would present opportunities he couldn't have possibly imagined when he accepted Chrissie Hynde's invitation. "The first place we went to was Rio and by the time I met Chrissie for breakfast the day after our gig, I already had a bag of albums I'd just bought. I'm sitting with her and she says, 'You should meet my mates, and do something in Welsh with them! Nobody's done a Welsh language album with Brazilian musicians?"

In 2018, when Alexandre Kassin, a leading light in that Brazilian scene announced a show in London, Hynde suggested that they see it. "I met him afterwards," Ellis recalls, "and we hit it off straight away." Within weeks, Ellis was on a plane to Rio with songs that would form the basis of the first album. This creative purple patch extended into another album released early in 2021 with Carwyn working once again with Kassin plus long-time friend Shawn Lee. The songs on "Mas" drew on the environmental threats that face both Wales and South America, spidering out around the central theme of water ("rains, no rain, droughts, rising seas and flooded valleys for corporate gain. We're screwed without it and screwed if there's too much").

With "Mas" recorded but weeks away from release, Ellis received a call from Gareth Iwan Jones, head producer of BBC Radio Cymru, offering a third album to be performed in March 2021. Ellis started to reflect upon the life-changing events triggered by his South American adventures. The Welsh word 'hiraeth' which describes the longing that Welsh people feel when they're far from home, was something that he was now beginning to feel for Rio de Janeiro: "'Yn Rio' is based around a day in Rio," he explains. "The events of 2020 influenced the record inasmuch as I wanted it to be a complete antidote to what was going on. If you couldn't go on holiday in real life, you could at least put this record on."

The first single "Olá!", incorporating Jorge Ben's spirit in the chorus and rhythmic breakdown, manages to sound languorous and euphoric. "Cariad, Cariad" was a Portuguese folk poem brought to Ellis' attention by Sonya from Quarteto em Cy and arranged by Christiaan Oyens. "Tristwch 20" is a nod to "Foot and Mouth 68" by Gorkys Zygotic Mynci from "The Blue Trees", 'one of the most beautiful albums of all time', while "Ynys Aur" is named after a 1929 book by Welsh missionary J. Luther Thomas written on returning from his travels to Papua New Guinea. With Kassin unable to participate, Ellis thanks him by translating his "A Paisagem Morta" to create "Y Bywyd Llonyd". For Carwyn Ellis "Yn Rio" is an extraordinary memorial to extraordinary times."There are some days so idyllic you just want tobe able to jump back into them at the touch of a button. That's what I was searching for when I was writing these songs."

After the huge northern hemisphere summer of 2019, filled with amazing events and awesome music, Avalon releases his long awaited second album 'RISE' to great critical acclaim.
Every track a story, every track a magical moment lifting dancefloors to new realms of psychedelia!
Set almost ten years apart from his classic debut album 'Distant Futures', Avalon has since climbed to dizzying heights to become one of the leading and most in-demand artists of the global Psychedelic Trance scene. Chart topping number ones have lined-up one after another between massive collaborations, two remix albums, three collaboration albums (as Killerwatts with Tristan and Future Frequency with Sonic Species) and a gigging schedule that has placed him at every major festival and music loving country possible.
'RISE' shares with us many solo productions, filled with the classic Avalon trademark elements that first garnered him so much success. Twisting and mixing-up his quintessential sounds with the newest and biggest production techniques, plus four amazing collaborations with friends and Psychedelic alumni; Tristan, Dickster, Ajja and Mad Maxx, ensured this album has become a force to be reckoned with!

'RISE' expresses an artist at full potential, utilising all he has learned from a deep dive into psychedelic music and taking things to the next level.

Get ready to Rise!!

We are very proud to now be able to offer this amazing album as a Special Limited Edition double Vinyl.

Percussionist Emmanuel Abdul-Rahim recorded this
mix of Latin and spiritual jazz in his adopted home of
Denmark in 1988. Sought after for the African
influenced ‘Kalahari Suite’, ‘Harlem’ is actually eight
tracks of brilliance that sees the veteran performer
lead a local band through their paces. A perfect
example of America meets Europe.
As Juan Amalbert he had led the in-demand Latin Jazz
Quintet who recorded for Prestige and United Artists in
the early 60s, including Caribé, which featured Eric
Dolphy. In 1966 he was asked to appear with John
Coltrane’s group at the performances that produced
the album ‘Live At The Village Vanguard Again’. Soon
after Amalbert recorded another album, which this time
featured Pharoah Sanders in the horn line-up. All that
appeared at the time was a single on Golden Earth
Records, but the album was later released as ‘Oh!
Pharoah Speaks’ in the wake of Sanders’ solo
success.
He then made the soulful 45 ‘When You Lose You
Groove’ / ‘The Knower’ and the spiritual jazz classic
‘Total Submission’ for Cobblestone, which featured the
updated version of ‘The Knower’, called ‘Al-Alim’,
which Acid Jazz included on ‘Jazz On The Corner 2’.
After that, like so many American jazzmen, he packed
his bags and headed to Europe to carry on his career,
which is where, in 1988 he recorded ‘Harlem’.
Acid Jazz are happy to officially reissue this album on
vinyl for the first time since its initial release, with full
co-operation of Rahim’s estate.

60 Years of cult and classic soundtracks presented on 2 x 180g

Featuring Bernard Hermann, John Barry, Thomas Newman, Giorgio Moroder, Isaac Hayes, Lalo Schifrin, Mike Oldfield, Vangelis...

This is a super-limited strictly 1000 copy one-off only edition pressed on white coloured vinyl of this in-demand Trees Speak classic debut album.
When the band Trees Speak, coming out of nowhere, released an exclusive one-off 100-pressing white label 45, described as CAN/NEU! meets LIQUID LIQUID, it sold out so quickly (in less than 30 min) that Soul Jazz Records decided to release their album almost immediately.
Soul Jazz Records rarely release new music but found the music of TREES SPEAK’s album ‘OHMS’ so stunning and to have so many elements of music that they admired that they felt compelled to release it.
The group Trees Speak are from Tucson, Arizona and create new music that sounds like GERMAN KRAUTROCK meets NO WAVE/POST-PUNK and PSYCH ROCK – music for fans of CLUSTER, TANGERINE DREAM, CAN, NEU!, SILVER APPLES and early KRAFTWERK.
The album ‘OHMS’ sounds at times like a tripped out & moody JOHN CARPENTER/GOBLIN/MORRICONE soundtrack that seamlessly segues into propulsive, ‘motorik’ Krautrock instrumentals loaded with fuzzy, hypnotic mellotron, synths and analogue effects, as well as elements of ART ENSEMBLE free jazz, and all at times reaching a kind of post-rave psychedelia. More recent comparisons would include BEAK and GHOST BOX who draw upon similar themes and styles.
Trees Speak are Daniel Martin Diaz and Damian Diaz plus musicians from the Tucson, Arizona scene such as Giant Sand, XIXA and James Hunter. ‘Trees Speak’ relates to the idea of future technologies storing information and data in Trees and plants – using them as hard drives – and the idea that Trees communicate collectively.

Orange Vinyl

Casey Spillman returns to LOCUS with his four-track ‘Summer Dreaming’ EP.

A favourite amongst the FUSE family and an artist who embodies the label’s sound and mentality throughout his productions and sets, London’s Casey Spillman continues to grow and evolve as one of the hottest talents within the capital. After his ‘Bit More Raggo’ EP on LOCUS in 2020 provided four heavy slabs of dancefloor ammunition for the likes of Skream, Samuel Deep and Varhat, he returns to close October with a quartet of fresh cuts across his ‘Summer Dreaming’ EP.

‘Get Upper’ sees Spillman opt for a powerful combination of warping bass licks, infectious vocals and sturdy kicks, while ‘I Know’ offers up a restless bass-heavy shuffle beneath dubby textures as moody harmonies contrast against evolving leads. The B-Side houses title track ‘Summer Dreaming’, delivering swinging percussion beneath glitchy electronics and trippy atmospherics, before closing with an ode to FUSE’s original home of 93 Feet East across ‘Good Morning Ninety Free’ – a classy cut weaving dusty deep chords amongst taut drums and sweeping synths.

Pilgrimage of the Soul is the 11th studio album in the 22-year career of Japanese experimental rock legends, MONO. Recorded and mixed - cautiously, anxiously, yet optimistically - during the height of the COVID- 19 pandemic in the summer of 2020, Pilgrimage of the Soul is aptly named as it not only represents the peaks and valleys where MONO are now as they enter their thirddecade, but also charts their long, steady journey to this time and place. Continuing the subtle but profound creative progression in the MONO canon that began with Nowhere Now Here (2019), Pilgrimage of the Soul is the most dynamic MONO album to date (and that's saying a lot). But where MONO's foundation was built on the well-established interplay of whisper quiet and devastatingly loud, Pilgrimage of the Soul crafts its magic with mesmerizing new electronic instrumentation and textures, and - perhaps most notably - faster tempos that are clearly influenced by disco and techno. It all galvanizes as the most unexpected MONO album to date - replete with surprises and as awash in splendor as anything this band has ever done. MONO began in Japan at the end of the 20th Century as a young band equally inspired by thepioneers of moody experimental rock (My Bloody Valentine, Mogwai) and iconic Classicalcomposers (Beethoven, Morricone) who came be fore them. They have evolved into one of the most inspiring and influential experimental rock bands in their own right. It is only fitting that their evolution has come at the glacial, methodical pace that their patient music demands. MONO is a band who puts serious value in nuance, and offers signi ficant rewards for the wait. "glacial, metallic, all-consuming post-rock" - Stereogum ,Stunning, eloquent, emotionally gut-busting" - Pop Matters "it's the kind of album that's best played start to finish (and best played loudly), and that can truly suck you in and transport you to another world if you do so." - Brooklyn Vegan

Hier kommt das zweite Album der "Schnöselpunks" Wiener Zucker. Mit Hilfe von Paul Gallister als Produzent wurde ein weiterer Schritt in Richtung Headliner Konzert im Happel Oval gemacht. Üppig gezuckert sind in Österreich nicht nur Mehlspeisen. Auch Menschen und deren Sprache triefen bittersüß aus dem Schmelztiegel glorreich vergangener Tage. Eliten feiern fröhliche Urständ. Den Moment zu leben, heißt für einen Kahlenberger gepflegt auf das morgen zu defäkieren. Ob nun subtile Reichenkritik oder genußvolles Eintauchen in die Leichtigkeit des Seins der Upper-Class. Auch das zweite Kahlenberg Album wird diese Frage nicht erschöpfend beantworten. Zu vielschichtig bricht das Licht der einzelnen Zeilen. Der Wiener Zucker ganz offensichtlich aus purem Kristall.

When Aesop Rock debuted in the late 90s with Music For Earthworms and Appleseed, Blockhead was also a part of the process, not only as a producer, but also helping coordinate sales of the CDRs to hungry Hip Hop fans. Blockhead and Aesop continued to collaborate, creating an impressive list of songs along the way, including two of Aesop's most popular songs to date; "Daylight" and "None Shall Pass". In recent years, Blockhead has contributed production, as well as remixes, to many of Aesop's solo releases and group projects, and Aesop has made a handful of guest features on Blockhead's solo projects, but in all that time, Aesop and Block had never done a full album together, until Garbology!

Garbology came together over the course of the pandemic, and encapsulates the soundtrack of current times. As Aesop explains, "Garbology is defined as the study of the material discarded by a society to learn what it reveals about social or cultural patterns. I find a lot of parallels between that and the idea of picking up the pieces after a loss or period of intense unrest, and seeing what’s really there. Furthermore - the idea of digging through old, often neglected music from another time — with an ear tuned for taking in that data in a different way than your average listener — is exactly what Blockhead does."

Following the success of the full Garbology album, it's only right to offer the instrumentals for further examination and repurposing efforts. Dive into the Garbology Instrumentals and see what you find.

Breezy' by Ruby & the Mudflaps features a collection of studio cuts alongside a number of live recordings from the 1970s. These songs are exclusive to Cordial Recordings and have previously never been available on vinyl apart from 'Is That Enough?' which we released in 2018 on 7" single.

The live recordings capture the magical Haight-Ashbury west coast vibes with a crossover of soul and hippy chic. The original full length studio demo version of 'Breezy' starts the proceedings off on Side A and is followed by the uptempo swing of 'Without You.' The steppers of dream of 'Is That Enough?' slows the pace down before the tempo is raised again with the prophetic 'Only Love Spoken Here.' The album closes off with the first live version of 'Mountain Man.'

The B side kicks off with 'Love Song' that conjures up visions of lying on China Beach in the late 1960s without a care in the world. We are then treated to a fine rendition of Tower of Power's 'Don't Change Horses (In The Middle Of The Stream).' The final studio recording in 'You Want Me' comes next before segueing into the jazzy work out of 'Time.' This album version of 'Country Girl' is a different take of the song that we had previously released as a B Side. We close the album off with the second live recording of 'Mountain Man.'

We believe that these songs deserved a wider audience or they risked the danger of being lost forever in time. We take changes here at Cordial Recordings from time to time and hope that you like this collection of golden nuggets.

The forthcoming latest edition of the popular compilation series featuring long-lost vintage 60s-70s proto-metal and stoner rock singles, Brown Acid: The Thirteenth Trip will be available on Halloween 2021. Check out the first single "Run Run", released in 1970 by Montreal hard rockers Max is available to hear & share via Metal Injection HERE. (And, direct YouTube and Bandcamp)

The Brown Acid series is curated by L.A. label RidingEasy Records and retailer/label Permanent Records. Read interviews with the series curators via Paste Magazine HERE and LA Weekly HERE.

About The Thirteenth Trip:

Max, from Montreal, QC — originally known as Dawn, before Tony Orlando & Dawn forced a name change — kick things off with “Run Run” from their lone 1970 single. It’s a hard-hitting rocker with scale climbing crunching guitars and powerful Bonham-esque drumming. Sadly, the band didn’t last long due to poor management and various other factors, so this is the only surviving document according to guitarist Gerry Markman. And what a document it is, paired with the A-side “The Flying Dutchman.”

You might remember Ralph Williams and the Wright Brothers from their track “Never Again” on Brown Acid: The Tenth Trip. Here they make their return to the series with the A-side of their 1972 Hour Glass Records 45, which sounds like Blue Cheer mangling Roy Orbison’s “Pretty Woman” (that’s right, several years before Van Halen actually did so.) Alas, Ralph and these Wright Brothers soon disappeared from terrestrial airspace.

“Feelin’ Dead” is extremely heavy blues from this also extremely rare 1974 single by Detroit, MI’s Master Danse, which was only released as a promo 45. Think Led Zeppelin’s “Since I’ve Been Loving You” and you’re on the right track. A little dose of Hendrix acid blues and a heartfelt groove, and you’ll wonder why this single never even made it to official release. The unavoidable tell in the lyric, “help me get this damn thing out of my arm” hints at the post-Vietnam heroin epidemic as a potential clue why we never heard more from Master Danse.

Folks, Gary Del Vecchio is “Buzzin’” hard on this one, and from what sounds like an in-studio party of yelps and chatter at the start of the song, it seems that the whole band was in on the festivities. The funky blues riff, reminiscent of Led Zeppelin’s “Heartbreaker” and rollicking rhythmic changes certainly keep the buzz a rollin’.The recording is technically credited as Gary Del Vecchio with Max, though not the same band as the one that kicks off this Trip.

John Kitko’s 1973 heavy psychedelic rager “Indecision” is the only recording known to exist by the mysterious artist. The Twin Record Productions release features a different artist, Tom Poff on the B-side, which is truly a shame, considering the smoldering ashes Kitko leaves of the turntable by song’s end. It starts out more like a late 60s Acid Rock jam before leaping into a blazing double-time gallop, whipped into a frenzy by wailing, neck-pickup guitar squeals and Kitko’s barely audible howls.

Tampa, FL’s Bacchus made their Brown Acid debut way back on the very first Trip with “Carry My Load.” This 1972 B-side, “Hope” is a huge sounding swinging rocker replete with roadhouse piano bolstering the chunky riffs and confident vocals. After relocating to Southern California a few years later, the band morphed into Fortress, an 80s melodic metal act whose Hands In The Till album of Pomp Rock on Atlantic Records still draws chatter today.

Orchid’s “Go Big Red” is perhaps the most garage-y sounding offering here, with loose rhythms and straightforward stop-and-start riffing. Nonetheless, the stomping energy and fried-amp guitar tone make this one a charming skull thwack. The band’s 1973 single on American records, backed with a cover of Johnny Russell and Voni Morrison’s “Act Naturally” (popularized by Buck Owens and the Buckaroos) is their only release, so the world never did see this Orchid fully blossom.

By the title alone of Dry Ice’s “Don’t Munkey with the Funky Skunky” you know you’re in for a good time. The 1974 barnstormer seems aimed to the novelty tunes crowd, with its kooky lyrics and silly-voiced spoken catchphrase break, “peeyew, you’ll be sorry if you do.” But, the Ohio band’s maniacal drumming, crunching guitars and, of course, drug euphemistic lyrics make it a shoo-in for the Brown Acid series of erudite rock’n’roll.

Good Humore’s swaggering 1976 rocker “Detroit” is a slick and smooth paen to the Motor City. It most likely doesn’t predate “Detroit Rock City” by Kiss, also released in 1976, and it has more rock’n’roll swing, but it could fit comfortably alongside the era’s arena anthems. Not much else is known about the one-off release on P.V. Records, but songwriter Mike Moats is noted to also have been a recording engineer in later years and this well produced track sounds like a labor of love.

The forthcoming latest edition of the popular compilation series featuring long-lost vintage 60s-70s proto-metal and stoner rock singles, Brown Acid: The Thirteenth Trip will be available on Halloween 2021. Check out the first single "Run Run", released in 1970 by Montreal hard rockers Max is available to hear & share via Metal Injection HERE. (And, direct YouTube and Bandcamp)

The Brown Acid series is curated by L.A. label RidingEasy Records and retailer/label Permanent Records. Read interviews with the series curators via Paste Magazine HERE and LA Weekly HERE.

About The Thirteenth Trip:

Max, from Montreal, QC — originally known as Dawn, before Tony Orlando & Dawn forced a name change — kick things off with “Run Run” from their lone 1970 single. It’s a hard-hitting rocker with scale climbing crunching guitars and powerful Bonham-esque drumming. Sadly, the band didn’t last long due to poor management and various other factors, so this is the only surviving document according to guitarist Gerry Markman. And what a document it is, paired with the A-side “The Flying Dutchman.”

You might remember Ralph Williams and the Wright Brothers from their track “Never Again” on Brown Acid: The Tenth Trip. Here they make their return to the series with the A-side of their 1972 Hour Glass Records 45, which sounds like Blue Cheer mangling Roy Orbison’s “Pretty Woman” (that’s right, several years before Van Halen actually did so.) Alas, Ralph and these Wright Brothers soon disappeared from terrestrial airspace.

“Feelin’ Dead” is extremely heavy blues from this also extremely rare 1974 single by Detroit, MI’s Master Danse, which was only released as a promo 45. Think Led Zeppelin’s “Since I’ve Been Loving You” and you’re on the right track. A little dose of Hendrix acid blues and a heartfelt groove, and you’ll wonder why this single never even made it to official release. The unavoidable tell in the lyric, “help me get this damn thing out of my arm” hints at the post-Vietnam heroin epidemic as a potential clue why we never heard more from Master Danse.

Folks, Gary Del Vecchio is “Buzzin’” hard on this one, and from what sounds like an in-studio party of yelps and chatter at the start of the song, it seems that the whole band was in on the festivities. The funky blues riff, reminiscent of Led Zeppelin’s “Heartbreaker” and rollicking rhythmic changes certainly keep the buzz a rollin’.The recording is technically credited as Gary Del Vecchio with Max, though not the same band as the one that kicks off this Trip.

John Kitko’s 1973 heavy psychedelic rager “Indecision” is the only recording known to exist by the mysterious artist. The Twin Record Productions release features a different artist, Tom Poff on the B-side, which is truly a shame, considering the smoldering ashes Kitko leaves of the turntable by song’s end. It starts out more like a late 60s Acid Rock jam before leaping into a blazing double-time gallop, whipped into a frenzy by wailing, neck-pickup guitar squeals and Kitko’s barely audible howls.

Tampa, FL’s Bacchus made their Brown Acid debut way back on the very first Trip with “Carry My Load.” This 1972 B-side, “Hope” is a huge sounding swinging rocker replete with roadhouse piano bolstering the chunky riffs and confident vocals. After relocating to Southern California a few years later, the band morphed into Fortress, an 80s melodic metal act whose Hands In The Till album of Pomp Rock on Atlantic Records still draws chatter today.

Orchid’s “Go Big Red” is perhaps the most garage-y sounding offering here, with loose rhythms and straightforward stop-and-start riffing. Nonetheless, the stomping energy and fried-amp guitar tone make this one a charming skull thwack. The band’s 1973 single on American records, backed with a cover of Johnny Russell and Voni Morrison’s “Act Naturally” (popularized by Buck Owens and the Buckaroos) is their only release, so the world never did see this Orchid fully blossom.

By the title alone of Dry Ice’s “Don’t Munkey with the Funky Skunky” you know you’re in for a good time. The 1974 barnstormer seems aimed to the novelty tunes crowd, with its kooky lyrics and silly-voiced spoken catchphrase break, “peeyew, you’ll be sorry if you do.” But, the Ohio band’s maniacal drumming, crunching guitars and, of course, drug euphemistic lyrics make it a shoo-in for the Brown Acid series of erudite rock’n’roll.

Good Humore’s swaggering 1976 rocker “Detroit” is a slick and smooth paen to the Motor City. It most likely doesn’t predate “Detroit Rock City” by Kiss, also released in 1976, and it has more rock’n’roll swing, but it could fit comfortably alongside the era’s arena anthems. Not much else is known about the one-off release on P.V. Records, but songwriter Mike Moats is noted to also have been a recording engineer in later years and this well produced track sounds like a labor of love.

Transmission incoming…
Alien sound waves have been bouncing off the side of our ship.
We’ve managed to capture some of them on plastic.
They seem to appear suddenly out of the vacuum.
Projected by planets
Beamed through stars
Reflected off debris
Hanging in space like dust motes

Witch egg is a improvised set of songs by John Dwyer, Nick Murray, Brad Caulkins, Greg Coates & Tom Dolas.
Another fired expedition out in the wilds.
Recorded and mixed at Stu-Stu-Studio by John Dwyer
This one is a burner designed optimally for your eco-pod sound system.
When you’ve left the world behind, you will need a soundtrack while you lay in dream stasis
This is it

Mystery Jets announce that their sixth studio album ‘A Billion Heartbeats’ will be released on 27th September on Caroline International. The band also release ‘Screwdriver’, the first single to be taken from the album.

Screwdriver is an uncompromising look at the rise of the rebranded alt-right in the UK, built around a powerfully positive message: "Fight them with love / then the world will be ours".

Lead singer Blaine Harrison says of the song, “Screwdriver is about the mechanics of intolerance. Looking back at times of economic instability in history, we see how easily deep chasms grow in society and the population seeks change wherever it is most convincingly promised. Conflict arises as cultures and belief systems clash, unwilling to accept one another’s place in society, because we are fed the rhetoric that our neighbours are those responsible for our problems: then inevitably nationalism once more raises its ugly head above the parapet. But whereas political agendas fuel divisiveness, music unites and reminds us of all that we have in common. The message of Screwdriver is not a pessimistic one - because perhaps faced with confrontation we can find understanding, and even maybe learn how to listen to, and love one another.”

Each room of the house in the video is a metaphor for the different sections of society in the UK. It wraps around the narrative of the song, that in order to overcome adversity, you have to “Fight Them With Love”. The visual showcases the song’s inherent message, clashing aggressiveness with tenderness, and culminates in showing after anger, we can always come together through love.
All great albums start from a unique perspective. But try a window on the Strand, in an abandoned office block, overlooking the kind of political upheaval London hasn’t seen in a generation. Blaine Harrison was living as a property guardian right around the corner from Trafalgar Square when he found himself witness to an entire year of protests. Every weekend from January 2017 on, people were marching for a different cause: "In the space of six months it was Black Lives Matter, the huge ‘Our NHS’ march, Unite for Europe," he recalls. "Then the solidarity sleep-out organised by Help Refugees, where we slept in Whitehall for the night... The protestors would wake me up in the morning. I’d just walk down and join in.”

Over the course of that year, Mystery Jets' sixth long-player, A Billion Heartbeats, was born. "This album wasn’t about making pointed opinions,” says Blaine. “It was about being a mirror for what’s going on, reflecting back the way people are feeling.” By turns tender and fierce, abstract and full of classic rock energy, A Billion Heartbeats achieves a balance of passion, fear and hope. Amid the colourful cavalcade of rich harmonies, heavy guitars and rallying cries, the album’s essential message - about personal responsibility, and the power in becoming engaged. In a sense, it's not just their "state of the nation” record but their “state of a generation” record too.

We increasingly hear from musicians that music should be an escape these days - that there’s enough suffering in the world, enough misery on the news, without writings songs about it too. A Billion Heartbeats makes all that sound like a bit of a cop-out. These are songs of protest that get the heart racing in joy; high on hope, and serious in their message. Proof, basically, that music speaks louder than words.

The Mecánica Clásica project combines modified elements of early electronics, krautrock, ambient, minimalism & fourth world music, generating an interplanetary space where enterprising guitar tones, lush synth sequencing & off-kilter percussion coalesce.

‘Mar Interior’ the new album by Mecánica Clásica is a fusion of kosmische & fourth world music inspired by ancient Mediterranean culture. Loosely translated as ‘Inland Sea’, ‘Mar Interior’ is thematically centred on the history & legacy of the ancient civilizations that proliferated around the Mediterranean Sea.

Augmented by environmental recordings, Mecánica Clásica renew the extensive topographies opened up by early pioneers like Craig Leon, Jon Hassell, Brian Eno & Cluster, in an immense vision of Spanish space ambient. On ‘Mar Interior’ their work expands upon these influences, moving into a shimmering, hypnotic sound world which finds common ground with the likes of O Yuki Conjugate, K. Leimer, Roberto Musci & X.Y.R.

Mastered by Colin Potter (Nurse With Wound)

Black Truffle is thrilled to announce ViewFinder / Hide & Seek, a new release from acclaimed American experimental composer David Behrman, presenting recordings made in collaboration with Jon Gibson and Werner Durand between 1989 and 2020. Last heard from on Black Truffle as part of the collaborative art song/live electronics madness of She’s More Wild, these recordings find Behrman continuing the pioneering work in interactive electronics that have established him as one of the major living experimental composers.

Side A presents excerpts from two live realisations of Unforeseen Events (1989), the fourth in a series of pieces focussing on the interactions between instrumental performers and responsive software. Like the classic earlier works in the series, On the Other Ocean (1977), Interspecies Smalltalk (1984) and Leapday Night (1986), Unforeseen Events is an “unfinished composition” in which a computer system listens for and responds to specific pitch cues from an instrumentalist. Performed by the composer on electronics and Werner Durand on soprano saxophone in Berlin in 1989, the first realisation immediately ushers the listener into an environment of long soprano notes, lush, sustained synth harmonies, randomised percussive interjections and distantly burbling arpeggiated patterns.

The 1999 realisation recorded in New York with Jon Gibson on soprano shows how much room for the instrumentalist to affect the course of the music exists in Behrman’s interactive pieces, in which, as he notes, ‘performers have options rather than instructions’. Beginning in a roughly similar area to the version with Durand, this later recording eventually becomes substantially more active, as polyrhythmically layered arpeggios and percussive patterns respond to fast chromatic lines and dynamic phrases from the saxophone, moving Gibson in turn to respond with cycling figures and moments of extended technique that touch on the soprano languages pioneered by players like Steve Lacy and Evan Parker. Yet even at its most active, the lack of conventional forward movement in the music allows it to retain what Behrman’s friend Jacques Bekaert called its ‘fragile tranquillity’, as episodes of activity appear only as momentary disruptions of an underlying calm.

On the B side, we are treated to a new collaborative work from Behrman and Werner Durand, building on the 2002 installation work ViewFinder, in which a camera detecting physical motion triggered changes to electronic sound. The piece presented here is a long-distance studio construction, recorded by Behrman in the Hudson Valley and Durand in Berlin, offering up an expansive duet between Behrman’s lush, gliding synth tones and the alien, untempered tones of Durand’s invented and adapted wind instruments. Presented in a stunning gatefold sleeve with art from Terri Hanlon, archival photographs and new liner notes from Behrman and Durand,ViewFinder / Hide & Seek is an essential release showcasing the continuing vitality of a legendary figure in experimental music.

Richard Ashcroft is set to release the new album ‘Acoustic Hymns Vol. 1’ on October 29th via RPA / BMG. The album features twelve newly recorded acoustic versions of classic songs from his back catalogue spanning both his solo career and his time with The Verve.



ABOUT



After lockdown was lifted, Richard decided to start the project as a way to reunite the community around him, bringing a selection of great musicians and old friends back together again. As the project took shape, they discovered just how varied their new approaches could be. Some of the arrangements proved to be timeless and remained similar to the originals, with years of experience and a new found passion that saw Richard’s vocals express a fresh empathy within their lyrics. Meanwhile, other songs took on a new shape in this stripped-back set-up.



The rebirth of the iconic ‘Bittersweet Symphony’ was an emotional moment for Richard. It felt particularly poignant re-recording a song that he had written almost twenty-five years ago, especially as it's now officially his composition after Mick Jagger and Keith Richards relinquished their writing credits to him.

Another big moment comes with the new version of ‘C’Mon People (We’re Making It Now)’, a duet with Richard’s old friend Liam Gallagher. The pair have often talked about recording or performing the song together since it was first released in 2000, and now it’s finally happened - the sheer energy and delight that they shared during the session is palpable as the new recording beams with a joyous feeling of optimism.



‘Velvet Morning’ is another track that has been transformed. The vocals on the original version, as featured on The Verve’s classic ‘Urban Hymns’, were sung via a megaphone that Richard had purchased from a car boot sale the day before the recording session. Now Richard’s vocal really shines as it unleashes the song’s full magnitude.



The biggest surprise on ‘Acoustic Hymns Vol. 1’ is the inclusion of ‘This Thing Called Life’, a song which Ashcroft has rarely played live. It was originally recorded with No I.D. in the USA as a highlight of his soul-tinged RPA & The United Nations Of Sound project. Now taken back to basics, the new arrangement reveals a song that feels perfectly at home alongside Richard’s most highly regarded work.



Produced by Richard with regular collaborator Chris Potter, the album features his regular live band boosted by some special collaborators. Wil Malone provides the string arrangements, which were recorded at Abbey Road Studios. In addition, Chuck Leavell (The Rolling Stones, The Allman Brothers) performs piano, Roddy Bloomfield leads the brass section, and Steve Wyreman (Leon Bridges, Vic Mensa) contributes acoustic guitar and backing vocals.



Richard Ashcroft recently announced details of four special shows, each billed as “An acoustic evening of his classic songs.” After quickly selling out two nights at London’s Palladium, he subsequently added two bigger shows at the Royal Albert Hall and the M&S Bank Arena in Liverpool to fulfill huge public demand for tickets. He will play:

Farewell covers a lot of ground across the span of its 26 songs and two-hour run time. Yet every moment is a reminder of why Minus the Bear were such an experiential live band. They were always pushing forward, evolving their sound, and finding new ways to balance brainy musicianship, pop worship, meditative sentimentality, and adrenalized fervor into their own signature concoction. Further bolstered by the mix of Matt Bayles and master job by Ed Brooks at Resonant Mastering, the album sounds like a fully immersive live experience. + RECORDED DURING MINUS THE BEAR'S 2018 FAREWELL TOUR + 2021 MARKS THE 20TH ANNIVERSARY OF THE FORMATION OF MINUS THE BEAR + MIXED BY MATT BAYLES (SOUNDGARDEN, PEARL JAM, MASTODON, THE SWORD) + MASTERED BY ED BROOKS AT RESONANT MASTERING (R.E.M., DEATH CAB FOR CUTIE, FLEET FOXES) + FIRST AND ONLY OFFICIAL LIVE RELEASE FROM MINUS THE BEAR + RETAIL EXCLUSIVE VARIANT ON CUSTOM OPAQUE GREY VINYL LIMITED TO 1,900 COPIES + 3xLP PACKAGE COMES IN TRIPLE GATEFOLD SLEEVE WITH SPOT INKS + 3xLP PACkAGE INCLUDES PRINTED INNER SLEEVES WITH METALLIC SPOT INKS + 3xLP INCLUDES A DOWNLOAD COUPON

If one always looks at the sky, he will end up with wings, a wise French man once declared. Halifax, Nova Scotia based musician Jeremy Costello had wings, long before he looked up. Wings of imagination. Brandishing in his head, transforming deep-rooted emotions into poetry and sound. Since 2012 the Canadian self-releases music as Special Costello, a moniker under which he records solo or with local friends like Saxophone player Nick Dourado or guitarist Dave Burns. His lyrics are sincerely woven poetic enunciations that balance between introspective emotions and existential philosophical demands. Lyrics from a spirit that is in love without an object, unconditional, mirroring his very own subconscious inner being. The music reflects his tempers in many colours. Glimpses of Synth-Pop, psychedelic rock nuances, traces of new romantic utopia, infantile Casio minimalism, Shoegaze haze, drama wave: Special Costello blends many styles, uniting all in his very own musing grandeur of pop music.

After an array of digital releases, Berlin based label Marmo Music now publishes the Special Costello touch for the first time physically fabricated on vinyl. Seven songs featuring the longing voice of Jeremy Costello, sometimes in correlation with spoken words and dialogues by noted artists, poets, and scientists. All creations have been recorded by himself between Spring 2017 and winter 2020, using the extrasomatic help of instruments and machines like Farfisa Combo Compact transistor organ, Roland JX3P polyphonic analog synthesizer, Roland D50 linear synthesizer, Roland Rhythm Composer TR-08, Arturia Microbrute monophonic analog synthesizer or a Gibson Thunderbird IV bass guitar. In communication with his sensitive inner blues, they created an atmospheric voyage into the heart of Special Costello, that fulfils Arthur Russel’s sapient declaration: being sad is not a crime! Seven musical paintings full of intimate, vibrant feelings and existential thoughts, veiled in an antidepressant neo new romantic glam. An epic tune like “The Next Day”, in which Costello’s singing links with thought-provoking spoken word samples, sounds like Robert Ashley is meeting Hans-Joachim Roedelius in a psychic séance with Brian Ferry. In comparison, a song like “If Not Depression, Then What?” grooves with a pulsating wave bass figure and an overall gently floating electronic majesty, while Costello’s voice takes deep listeners to an unknown higher ground. On the other hand, a composition like “Unsetting” offers a nonchalant graceful funk drift with reverberant hand claps, minimal guitar strains and a chromatic synth pop grace. Above all the music Costello’s voice cries, screams, whispers, and weeps with a compelling introspective elegancy, that invites to associate intensely with the nonpareil Special Costello touch.

Written, composed, and recorded by Jeremy Costello between 2016 to 2020 in Halifax, Scotch Village and Toronto (Canada).

Instruments used by the artist: Farfisa Combo Compact transistor organ, Roland JX3P Programmable Preset Polyphonic Synthesizer, Roland D50 linear synthesizer, Yamaha DX7 Frequency Modulation/Programmable Algorithm Synthesizer and TX7 FM Expander, Roland Computer Controlled Rhythm Composer TR-08, Arturia Microbrute Analog Synthesizer, Gibson Thunderbird IV bass guitar, MicroKorg Synthesizer/Vocoder, Electro Harmonix Small Stone Phaser, Memory Boy Analog Delay, Alesis Quadraverb, and finally, their voice was recorded using Shure Beta57A and AKG D 330 BT dynamic microphones.