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First vinyl issue for this 2023 release with bonus track not available on CD.
Nine majestic electro-acoustic threshold devotionals.
**ELECTRONIC SOUND - review (issue 98) “While there are shades and texture in the journey from glowing opener “Cyan” to the glowering conclusion of “Magenta”, they’re so subtle that they make ‘Colours of Air’ the musical equivalent of Rothko’s paintings - monotone at first glance, but with intriguing depths if you’re prepared to search for them.”

MOJO - ★★★★ review in the Underground column (March issue) “Loscil and English’s manipulations drift closer to the ambient techno of Gas.”

UNCUT - 8/10 review (March issue) “Subtle complex, and not always pacifying…’Magenta’s extraplanetary grace is tempered by unresolved tension for distinctly uneasy listening.”
The union of composers Lawrence English and loscil aka Scott Morgan is seamless, sublime, and long overdue.
Born of a conversation centered on the notion of “rich sources” as a forge for electronic music, Colours Of Air is a collection of recordings of a century old pipe organ housed at the historic Old Museum in Brisbane, Australia, which were then processed, transformed, and elevated into eight majestic electro-acoustic threshold devotionals. The timbre of the instrument and spatial fluctuations of room tone infuse the music with a subdued, sacred feel, like vaulted light in a nave of stained glass. They describe the album as “an iterative project, a reduction and eventual expansion,” sifting the swells and drones of the organ for every shivering shade of radiance.
The tracks are named for the hue each piece suggests – from the gauzy levitational miasma of “Yellow” to the pulsing melancholic mirage of “Violet” to the seething twilit sandstorm of “Magenta.” Morgan and English are both adept at conjuring moods of muted grandeur, like landscapes veiled in dusk, still looming and luminous.

* 50th anniversary reissue of the ground-breaking set, originally released on Charisma in 1974.
* A record that at the time straddled the world between `Pub Rock’ scene and the then seemingly new sound of reggae music, at least to UK years.
* Released hot-on-the-heels of the Wailers’ `Catch a Fire’ and `Burnin’’ when “reggae fever” was starting to take root in the UK.
* G.T. Moore had previously been part of the legendary folk group Heron, before becoming the first white musician to make any serious attempt to make authentic reggae.
* The eponymously titled debut set from the Reggae Guitars featured session musician John `Rabbit’ (who has worked with Wailers, Free and The Who) and was mixed by Tom Platt who engineered the `Catch a Fire’ album.
* The set mostly consists of originals with the exception of covers of tracks by Bob Dylan, Heptones and Diana Ross.

Keep Marching is the opening number from Baggy Leggins and Duke Hobo, it is a captivating oddity that head nods out of winter to the very essence of spring, with a marching beat and the joy of breathy vocals intrinsically entwined with acoustic guitar and a splash of Rhodes.

The expansive universe of Shuffleupaguss is a progressive latin party fed through the clanger’s mystery of vibes machine, Bass carries the rhythm of housed pinata funk into A 1950'S rave held by Liberace and what not on the cuica.

Best known for ‘Gonna Hang On In There’, its storming Northern Soul flip side, the more subtle ‘Night Bloomin’ Jasmin’’ also has admirers on the rare soul scene. Modernists, in particular, will go for the suave jazz-elegance of this recording which is even scarcer than its original A side - due to being one of two different flips.

The unrelated, bar the LA source of origin, ‘Tricky Too’ by pianist Gus Jenkins is a laidback instrumental groove, written as a sequel to his 1956 smash hit ‘Tricky’. Completed with a hip brass section, it failed to get a release until Ace bought the catalogue, unearthed the tape and slotted it into the 2012 “Mod Jazz Forever” CD

New York City"s Jennifer Vanilla, aka Jennifer Vanilla and Brian Abelson, offered a portal into a colourful world of innovative electronic sound with their 2022 debut album "Castle In The Sky", traversing new wave, post-punk, art pop, and experimental R&B. Now Love Injection, the multi-faceted brainchild of Barbie Bertisch and Paul Raffaele comprising a print magazine, radio show, record label, and production duo breathe new life into one of the album"s standout tracks "Jennifer Pastoral" on home turf, in the form of a 12" single alongside two ethereal mixes featuring maestros Dave Darlington on mixing duties and Francois Kevorkian as mastering engineer.

'Alma EP' came to life when Jacob played in Havana in 2019.

Joined by Bocarriba, they blended the city's soulful energy with Jacob's signature warmth, crafting these romantic groovers. YokoO works his remix magic on Katai, delivering a stripped-down psychedelic mood setter.

Northwest & Nebulous is Liverpool-based musician Luce Mawdsley’s sixth studio release, a lush and accomplished instrumental album suffused with radiant and fluid possibilities, where expansively cinematic instrumentals conjure queer cowboy landscapes via the Northern English coastline. The album is a world-building piece of work, pulling from folk, Americana and soundtrack influences, fusing their romantic and exploratory energies to signal the beginning of a new journey for composer, with an open invitation for listeners to come along for the ride. The album was recorded and mixed by Luce Mawdsley in the Grade II listed Scandinavian Church in Liverpool, with a core chamber trio of Luce on guitar, organ and percussion, Nicholas Branton on clarinets, and Rachel Nicholas on viola. A self-taught musician, Mawdsley has released a host of both solo and collaborative albums (Mésange, Cavalier Song), and in 2023 started Pure O records, an independent record label dedicated to the nurture of queer and curious music based in the Northwest of England. “Wordlessly fashions heady, droney atmospheres that could soundtrack a film where a man walks through a monochrome desert” - The Quietus “The spindly guitars and knotty progressions of ‘Insect Fire Dance’ and ‘Heathen’ explore an unprissy English prog with soil under its fingernails” - 8/10 UNCUT "A triumph of imagination – a wide-eyed stare at the skies, in love with sound and possibility." - **** The Skinny “It’s not a stretch to suggest that no one is making music like Mawdsley. While the Liverpool visionary’s 2020 release, Vulgar Displays of Affection (Maple Death Records), was something likened to splintered bones passing through a meat grinder, Mawdsley’s Luke Two is far removed, solidifying the notions of an artist leaping from one sound world” - Sun 13 “Hallucinatory echoes of Alejandro Jodorowsky’s dream-realism symbolic El Topo share room with otherworldly portals and the all-too real depressive, bleak traps of a run-down, unloved English seaside town.” Monolith Cocktail

Repressed clear yellow w/ red splatter vinyl! This is the 5th full length for London-based USA Nails full of post-punk noise rock that's as grating as it is catchy. USA Nails release their fifth album "Character Stop" on October 23rd 2020 through Hex Records. The new album from London-based USA Nails (and 2nd for Hex Records) is a post-punk, noise-rock platter that is as grating as it is catchy. The record was tracked live over 4 days at Bear Bites Horse in London with producer Wayne Adams. Though "Character Stop" still features the pummeling noise-punk that USA Nails have become renowned for, it's balanced with more sober, downbeat moments. On it they explore identity - like the online personas of aggressive twitter users, influencers and vloggers, as well as more introspective takes on mental health, giving up on dreams, the joy (and despair) of being a part-timer, and contemplating who they would be if they decided to hang up their guitars for good. Guitarist Gareth Thomas comments, "For me "Character Stop" is the best album USA Nails have ever made by miles. It's more varied than anything we've ever done before and I think it's stronger for it. I feel like it's more fully realized, and more complete as a collection of songs. Every time we get in a room together and write, the dynamic of our relationship as writers (and mates) develops a bit further, we get better at anticipating and complimenting each other. We've always tried to be efficient in our creativity, to do what feels natural and just let things flow. I'm obviously still really happy with all the music we've written up to this point, but on this record everything seemed to come together so sweetly. " Comes on clear green vinyl. USA Nails will tour Europe and the US in 2021, following a clutch of UK album launch shows in late 2020 - COVID permitting. In the last few years, USA Nails have toured with Sub-Pop lovelies Metz, completed numerous USA and European headline stints, and supported the likes of Mission Of Burma, John, Future Of The Left, Mclusky*, Cocaine Piss, Viagra Boys and Murder Capital. Ffo Pissed Jeans, Wire, Gang Of Four, Pinko, Blacklisters, Drive Like Jehu Press Quotes: 'Heavy, crushing, and aggressive post-hardcore' _The Needle Drop 'A mix of Drive Like Jehu headbangers, nods to psychedelia and a throttling of hardcore for good measure' _The Skinny

Organ of Corti, the trio of Joachim Nordwall (IDEAL Records, The Gagmen), Mattias Gustafsson (Altar of Flies) and Dan Johansson (Sewer Election, Enhet för Fri Musik) returns with another exercise in the slow-motion decay of analog sound. Usher, a minimal hypnotic track on side A reveals its subtle details after multiple listens while the claustrophobic Trauma on the flipside will grab your immediate attention. Machines that hum, sputter, and crackle while slowly moving forward. Vaguely familiar tape loops, spacious synths and crumbling electronics. A journey into the unknown.

The Swedish underground scene continues to deliver some of the best experimental acts and Organ of Corti firmly establish themselves as part of the foundation with a recent self-released cassette, another cd on New Forces and this new single. While their sound has clearly evolved, these alchemists are staying true to their original intention of forging fragments of surreal nightmares.

140 Gramm Vinyl inklusive Downloadcard (inklusive vierExtratracks) Auch "Separations", das Album aus dem Jahre 1992, wird als Teil der Fire Embers Reissue Serie mit unveröffentlichtem Bonus-Material neu aufgelegt. Pulp hatten sich bereits einmal musikalisch verwandelt und sich durch die düstere elektronische Phase auf ,Freaks" weit von ihrem Debüt "It" entfernt und dabei deutlich an Schwung aufgenommen. Der inzwischen zu Kritikerlieblingen avancierten Band ging bereits der Ruf voraus eine Live-Band geworden zu sein, mit der nur wenige mithalten konnten, doch erst ,Separations" war der große Schritt hin zu dem Sound, mit dem Pulp nur wenige Jahre später die Massen mitreißen sollten. Auf ,Separations" gibt es zum ersten Mal diesen unausweichlichen Disco-Puls. ,Separations" ist das Übergangs-Album, in dem Pulp die romantisch-verklärte Außenseiter-Vergangenheit zurückließen und brachte passenderweise mit ,Countdown" und "My Legendary Girlfriend " auch zwei sehr erfolgreiche Singles hervor. Der Download bringt noch vier Bonustracks hinzu: ,Death Goes To The Disco" und "Is This House " sowie die längere Maxi-Version der Single ,Countdown" und das bisher unveröffentlichte "Death Comes To Town". Remastered und neues Packaging. Liner Notes von Everett True.

Aignish On The Machair
Neither Here Nor There
Blood Time
Future Musings
Keeping My Head Down
The Chalk
Cyren
You Put Me To Shame
Kibbo Kift
The Wind Picked Up
Having Been There

To abandon animals for music – and avant-garde jazz at that –, could seeming shocking to some people. However, it is exactly what Manuel Villarroel did, as he was a vet for three years before leaving his native Chili for Europe and a career in music. And though the animals may have suffered, the world of music can be grateful.

Born in 1944, Manuel Villarroel lent an ear to the best pianists from North America: Oscar Peterson and Erroll Garner then Herbie Hancock, McCoy Tyner and Cecil Taylor. Manuel left Santiago in September 1970 to participate in the Contemporary Music Workshop in Berlin. To pursue his musical career, he rapidly decided to remain in Europe.

The following year in Paris, Manuel began a quartet with saxophonist Jef Sicard (who would also play with his brother Patricio, in the Dharma Quintet). But the group would rapidly expand: Villarroel and Sicard added Gérard Coppéré (saxophone), William Treve (trombone), François Méchali (bass) and Jean-Louis Méchali (drums). And with the arrival of Sonny Grey, a Jamaican trumpeter heard ten years earlier with Daniel Humair, the Matchi-Oul Septet was complete.

Complete and ready: on May 8th, 1971, Matchi-Oul was in the studio for Gérard Terronès’ Futura label. The septet recorded seven of the pianist’s compositions. A succession of tracks which flow magically from one to the next: from the first drum strokes to the last deep notes of the bass, the successive waves roll over the piano and whistle through the wind instruments. And when they all come together it gives even greater force to Villarroel’s beautiful songs. Terremoto is a masterpiece of collective expression: but what else could we expect from a “supergroup’’ of this stature?

s Luminessence, ECM's new audiophile vinyl-reissue series, is a kaleidoscope, shedding light on the jewels of the label's deep catalogue in elegant, high-quality editions - audiophile vinyl pressing, high-grade tip-on gatefold sleeves that include new liner notes Recorded in 1977 and now reissued in ECM's audiophile Luminessence vinyl series, the debut album of the Azimuth trio was truly ahead of its time. Formed by adding Canadian-born trumpeter Kenny Wheeler to the British duo of pianist John Taylor and vocalist Norma Winstone, the group's futuristic musical palette embraced hypnotic, minimalistic pulse patterns, otherworldly synthesizer sounds, songs, collective improvisation and solo flights. In recent seasons, the number of listeners under Azimuth's sway has grown exponentially, as the music has adapted itself to new contexts. The vast international audience that has heard fragments of Azimuth's "The Tunnel" as part of a major rap hit by Drake in 2023 (on his 200M+ streaming "IDGAF"), can now discover the original in its pristine form, still magical after all these years - as is the whole album.

”Als wir die Bühne betraten, fühlte es sich wie eine Heimkehr an”, sagt Jakob Bro über diese im lyrischen Gestus weit ausholende und von Expressivität aufgeladene Live-Aufnahme aus Kopenhagen. Auf ihr kommen drei der wichtigsten Protagonisten der improvisierten Musik in Dänemark – führende Musiker aus drei Generationen des dänischen Jazz – zusammen. Das Konzert, das im Februar 2023 stattfand, war besonders bedeutungsgeladen, da es die Rückkehr des Trompeters Palle Mikkelborg auf die Bühne markierte, der hier einige seiner bedachtesten Linien vorträgt. Das Repertoire setzt sich aus Jakob Bros Alben Returnings und Gefion zusammen und wird mit spontanem und neugierigem Geist angegangen, während Marilyn Mazurs subtile Perkussionssprache aus blühenden Gongs und Metallen und polternden Trommeln mit Bros treibenden und plätschernden Klangflächen die Stücke zu immer wieder neuen Formen verschmelzen lässt. Die atmosphärischen Qualitäten der Musik wie auch ihre eruptiven Momente werden durch die resonante Akustik der Danish Radio Concert Hall noch verstärkt.

"Cuban-born, drum genius Francisco Mela is releasing the third chapter of the iconic tribute to his legendary mentor and bandleader McCoy Tyner. Featuring William Parker on Bass and Leo Genovese on Piano."

Recorded November 13, 2020 by Jeremy Loucas at Douglass Recording, Brooklyn, New York.
Assistant engineer: Juanma Trujillo.
Mixed and mastered by Jeremy Loucas at Sear Sound, New York City.

Immerse yourself in the intergalactic soundscape of Sonic Universe with their groundbreaking debut album "It Is What It Is". Acclaimed Living Colour frontman Corey Glover and Adrenaline Mob guitarist Mike Orlando join forces to explore new musical horizons. The album's infectious title track combines powerful drum beats, driving basslines and Corey's electrifying vocals. The first single "I Am" exudes confidence and independence, showcasing the seamless fusion of talents of Taykwuan Jackson (Sworn Enemy) on drums and bassist Booker King (Santana). With lyrical depth that addresses personal and political issues and a musical mix of punk, funk, metal and rock, "It Is What It Is" promises a diverse sonic journey.

Willkommen im Motel Reno, gelegen an einem fegefeuerartigen Abschnitt des Highway to Hell, wo zu den Annehmlichkeiten Kabelfernsehen, eine Türmatte zum Abstauben der Cowboystiefel, fließendes Wasser, das meistens funktioniert, ein Bett mit einem Kissen und ein paar Decken mit mysteriösen Flecken gehören - na ja, okay, nicht viel, aber genug, um eine Reihe von guten und schlechten Träumen zu starten... Oska Wald, Frontmann der Berliner Garagenband Chuckamuck, hier nun zu hören auf seinem Solodebut. "Motel Reno" bietet altmodisches Lo-Fi-Neo-Folk-Handwerk und erinnert uns daran, dass die Kunst des Songwritings vielleicht noch einen weiteren Tag zu leben hat. Und vielleicht ist das alles, was wir uns in diesen unruhigen Zeiten wirklich wünschen können. Wald geht den Dingen auf den Grund, um dann mit der Hoffnung und Ironie, die wir zum Atmen brauchen, wieder an die Oberfläche zu kommen. Die Eagles mögen ihr Hotel California haben, Leonard Cohen sein Chelsea Hotel, aber Motel Reno wird immer Oska Walds zweites Zuhause sein.

LP - limited re-press 2024! coloured Vinyl ! Cash Savage is one of the most respected and talented songwriters in Melbourne. With her band The Last Drinks, she has forged a reputation for gritty, raw and Australiana-tinged storytelling. One of Us is the result of a "fucking awesome, but fucking hard" 2015 for Savage, using the experience to generate a broader scope for songwriting. There's exploration of dichotomies and dualities, the songcraft emboldened by aural landscapes laid bare by The Last Drinks (Joe White, Rene Mancuso, Chris Lichti, Brett Marshall, Kat Mear).

limited repress available! *gatefold sleeve + insert, regular 120g black vinyl!0 Through the recent years of lockdowns and silence and having too much time to think, Tex Perkins always found solace in the company of song. Having his friend Matt Walker as a co-writer-conspirator, Perkins revelled in the experience which prompted the forming and recording of the first Fat Rubber Band album at Walker & #39's Stovepipe Studios with bassist Steve Hadley, drummer Roger Bergodaz and percussionist Evan Richards. After such an affirmative and creative experience Perkins was itching to commence work on what has become the band's second album, Other World. "The first Fat Rubber Band album was kind of deliberately a little ragged. A bit fuzzy around the edges" said Perkins. "There is a certain maturity that we now possess where ideas can be realised and take form very quickly. We've become a real band. I think what you heard on the first album is the band being formed." While he's played with many musicians, finding true collaborators is something that Perkins treasures. During the lockdowns, he pondered whether he would ever have that day-to-day musician experience again. With The Fat Rubber Band it's not just another grouping of musicians playing music together, but a gathering that is very much about the head, heart and soul and something he is clearly grateful for. "Roger Bergodaz was incredible. His drum kit was in the control room and he engineered the record and played drums pretty much at the same time! He constantly created the surroundings where an enthusiastic and positive atmosphere always prevailed. We never came away empty handed. I loved making this record so much," Perkins says, "because fucking magic happened. Yes, that's right, magic or how about alchemy? (A medieval science with a mysterious process that seeks to turn base metals into Gold.) Well, I dunno about gold, but I witnessed ideas, thoughts, whims and imaginings transmute almost effortlessly into living breathing songs with a soul and a heartbeat and even their own private history every time we went into the studio for this recording. Actually, no, magic is better." Perkins explains "This magic came about with the help of over 4O years of experience from each of the Fat Rubber band members. They're all truly great players and they're all really generous collaborators, so I guess what I'm saying is, it doesn't matter what happens from here. I'm very aware these days, with 100s of new releases each week, it's harder than ever to get people to give a shit about a new album from anybody, let alone from a bunch of hairy blokes in their 50s from Australia fronted by a dude that's been around since the early eighties named Tex. Actually, I can't believe you're still reading this! But you know it doesn't really matter, I've seen the magic."

"Cuban-born, drum genius Francisco Mela is releasing the third chapter of the iconic tribute to his legendary mentor and bandleader McCoy Tyner. Featuring William Parker on Bass and Leo Genovese on Piano."

Recorded November 13, 2020 by Jeremy Loucas at Douglass Recording, Brooklyn, New York.
Assistant engineer: Juanma Trujillo.
Mixed and mastered by Jeremy Loucas at Sear Sound, New York City.

"Cuban-born, drum genius Francisco Mela is releasing the third chapter of the iconic tribute to his legendary mentor and bandleader McCoy Tyner. Featuring William Parker on Bass and Leo Genovese on Piano."

Recorded November 13, 2020 by Jeremy Loucas at Douglass Recording, Brooklyn, New York.
Assistant engineer: Juanma Trujillo.
Mixed and mastered by Jeremy Loucas at Sear Sound, New York City.

At just 21 years old Peter Frampton had already played with The Herd and co-formed and left Humble Pie. So he struck out on his own with the appropriately named, “Wind of Change.” Freed from Humble Pie’s narrower focus on hard-rock boogie, Frampton’s debut solo album reveals an artist exploring more dimensional, delicate and nuanced songwriting and guitar playing … Frampton showed his own brand of rocking hard with tunes like “It’s a Plain Shame,” “All I Wanna Be (is by your side)” and even made a Stones song his own with “Jumping Jack Flash,” which became a staple of Frampton’s live shows. But these tunes and even the hook-laden “The Lodger” are balanced with intricate, beautiful tunes like the elegiac “Fig Tree Bay” and the title track “Wind of Change.”

A showcase for Peter Frampton’s growth as a songwriter and guitar player, Frampton’s Camel is named after his touring band, honouring the groove this collective had reached in 1973. Prominently featuring Mick Gallagher’s superlative keyboards, the hard-rocking hooks and catchy melodies here lay the foundation for the superstardom that would come just a couple albums and tours later with Frampton Comes Alive. Camel includes the smash hits “Lines On My Face,” “Don’t Fade Away” and a majestic cover of Stevie Wonder’s “I Believe (When I Fall In Love With You It Will Be Forever).” Camel also introduced the world to the all-time classic rock anthem “Do You Feel Like We Do,” with a songwriting credit to the entire band. This fan favourite has remained a highlight of Frampton’s legendary live performances for decades.

Recorded in a castle in England, Frampton is the breakout album where it all came together: Peter Frampton’s penchant for writing catchy songs with irresistible hooks, superlative guitar playing, and soulful, evocative vocals. Frampton is also the album in which Peter introduced one of his signatures in the “talk box” for his guitar break on “Show Me the Way,” which became iconic during the tour supporting this album and the live time capsule Frampton Comes Alive. In addition to “Show Me the Way,” ”Baby, I Love Your Way” and “(I’ll Give You) Money” have dominated the airwaves and Frampton’s live shows since this album’s release in early 1975. Frampton is arguably the high-water mark of Frampton’s early studio work and a showcase for an artist who had found himself as a singer/songwriter, and guitar player and was on the way to becoming a household name around the world.

DRIFT. Is British-Italian producer Nathalia Bruno, releasing music under the guise since 2015. Her 'techno-pop' EPs 'Black Devotion' and 'Genderland' released with Avant! records were the first explorations in finding the sound of DRIFT. but as the name suggests, is in constant flux. In 2020 'Symbiosis' the debut record was released on Hamburg's Tapete Records, an assemblage of lo-fi futurism reflecting on the breakdown of communication and interaction Nathalia felt was increasing around her. Channelling classic industrial electronica, haunting melodies, using samples, field recordings and curated sound as a 'canvas to rewire the vision of the future as colourful and old, ceremonial and rust beaten. A shrine like ornament and clinical machine language plaited together.'. In 2022 DRIFT. Self released 'The nature of things', a 30 minute piece entitled 'CTRL/ Algorhythm of love' written and produced for designer Mona Cordes' 'Cellusion' show for London fashion week. "_a journey into the dark heart of the dancefloor. The glimmering bass-heavy trance of its opening section could be classic Underworld, while its ambient center is genuinely Eno-esque. And then it all kicks off again as a Berlin school style banger. It's terrific" says Electronic Sound Magazine. This year, 2023 will give birth to DRIFT.'s second album released with God Unknown records '11 points In Time' written for and based on disappeared artist Rosi Crucci, compiled of sounds/field recordings recorded onto cassettes found in the attic of the home she last lived at, interpreted into song using some of her poetry and journal entries of what was happening in the world around her, attempting to finally give Rosi a voice. PRESS Louder Than War album review 'Symbiosis' (2020) "...blends passion with precision to create a tapestry of machine-made sounds that are bursting with ideas and filled with emotion. "We live in times where nothing means nothing," she sings on Visualise The Invisible. "And nothing is true." Never more so than now...Over the course of its ten tracks, Symbiosis draws from pretty much every strand of electronic music throughout its 50-year history" Shindig Magazine review 'Symbiosis' 2020 "A brilliant, fascinating album" Post Punk Magazine review 'Symbiosis' 2020 "is an exercise in disjointed meditation, a trip through the doors of the spirit lodge and inner workings of the human psyche." Pop Matters Review 'Symbiosis' 2020 "...One track in particular, "In Orbit", speaks to this new disturbing unknown we are creating. A distorted, three-note death knell drives it as repeated knocking seems to come from a dank tunnel. If it sounds bleak, it's likely also to be therapeutic and finds common ground with the entrancing industrial thud of Throbbing Gristle or Third Eye Foundation..."

Stu Chapman one of the hardest working producers in the breakbeat rave revival scene has had recent releases on Remix Records, Amen Brother, Monky Records & Ars Musica Imprendere Vitah out of Spain to name a few and has a repress series on his noughties label Enormous Mouse planned for 2024. Stu makes his debut on the Hardcore Vinylists label with 3 tracks of rave breakbeat proving what you can do when 90s rave meets modern samples we didn't ask for a free ride, we only asked Stu to show me a real good time...

Svart Records release NYC crust punk band Nausea’s two legendary EP’s on one remastered 12” in March 2024! Crust punk originates from the misty moors and factory cities of the UK. Since the '80s, countless bands have been established to play their dirty apocalyptic ruckus in the vein of Amebix, Antisect, and Axegrinder. At the same time, across the ocean, in the squats of New York’s Lower East Side, bassist John John Jesse founded Nausea. Svart Records is releasing Nausea’s two legendary EPs in 12” format for the first time ever, including the Cybergod 7” from 1991 - with a bonus track, "Here Today," from the same recording sessions - and the Lie Cycle 7” from 1992. All tracks are remastered from the original, untouched studio tapes by Jack Control (Darkthrone, Kohti Tuhoa, Fear). Tribal and rocking apocalyptic crust for apocalyptic times. The Cybergod lineup might be the most legendary era of Nausea, where the tracks reach almost epic proportions. The EP is pretty much the blueprint of crust, where Vic Venom’s hypnotic and rocking guitar riffs meet the tribal drumming of Roy Mayorga. Al Hoon’s and Amy Miret’s dueling vocals spit out timeless issues dealing with consumerism and the hypocrisies of organized religions. Musically, the Lie Cycle EP rocks out more in the faster and straightforward style, where Discharge meets Motörhead, and lyrics reflect the times when war and nuclear destruction are still the plague of mankind. Nausea’s timeline lasted only seven years, but they managed to create a cult following with their true dedication to the punk scene and played shows in the squats of Europe and the eastern part of Europe. Their music is timeless, unpleasant music for unpleasant times, but hey! At least it’s more fun to rock out to the apocalypse!

Svart Records release NYC crust punk band Nausea’s two legendary EP’s on one remastered 12” in March 2024! Crust punk originates from the misty moors and factory cities of the UK. Since the '80s, countless bands have been established to play their dirty apocalyptic ruckus in the vein of Amebix, Antisect, and Axegrinder. At the same time, across the ocean, in the squats of New York’s Lower East Side, bassist John John Jesse founded Nausea. Svart Records is releasing Nausea’s two legendary EPs in 12” format for the first time ever, including the Cybergod 7” from 1991 - with a bonus track, "Here Today," from the same recording sessions - and the Lie Cycle 7” from 1992. All tracks are remastered from the original, untouched studio tapes by Jack Control (Darkthrone, Kohti Tuhoa, Fear). Tribal and rocking apocalyptic crust for apocalyptic times. The Cybergod lineup might be the most legendary era of Nausea, where the tracks reach almost epic proportions. The EP is pretty much the blueprint of crust, where Vic Venom’s hypnotic and rocking guitar riffs meet the tribal drumming of Roy Mayorga. Al Hoon’s and Amy Miret’s dueling vocals spit out timeless issues dealing with consumerism and the hypocrisies of organized religions. Musically, the Lie Cycle EP rocks out more in the faster and straightforward style, where Discharge meets Motörhead, and lyrics reflect the times when war and nuclear destruction are still the plague of mankind. Nausea’s timeline lasted only seven years, but they managed to create a cult following with their true dedication to the punk scene and played shows in the squats of Europe and the eastern part of Europe. Their music is timeless, unpleasant music for unpleasant times, but hey! At least it’s more fun to rock out to the apocalypse!

Diese Band war Mitte der 1980er Jahre, als Independent Project Records zum ersten Mal Kontakt mit den Brüdern Mark und Clive Ives aufnahm, den bemerkenswert produktiven Vertretern exquisiter
elektronischer Musik unter dem Namen Woo, die Ende des Jahrzehnts Kultstücke wie Whichever Way You Are Going, You Are Going Wrong und It's Cosy Inside zum ersten Mal in den USA veröffentlichten. Fast vierzig Jahre später sind die Brüder bemerkenswert produktiv, und Independent Project Records befindet sich im vierten Jahr seiner Wiederbelebung. Zeit, die Kräfte wieder zu bündeln.


Das neue Team-up von Woo und IPR ist mehr als nur eine einfache Wiederveröffentlichung, sondern debütiert mit einer besonderen Auswahl von zwei Werken, Robot X und Xylophonics: Die Alben
wurden 2016 bzw. 2017 erstmals digital auf ihrer Bandcamp-Seite veröffentlicht und wurden nun neu gestaltet, erweitert und als Begleitstücke neu konzipiert. Robot X und Xylophonics nebeneinander zu hören, ist eine faszinierende und immer wieder überraschende Reise in die experimentelle retro-futuristische Electronica.

Robot X und Xylophonics erzählen gemeinsam eine Geschichte retro-futuristischer Visionen aus verschiedenen Blickwinkeln: Beide sind stolz auf ihre Experimente und kombinieren eine Flut musikalischer Einflüsse, um etwas zu bieten, das auf bemerkenswerte Weise vielschichtig und gleichzeitig minimalistisch ist. Die unvorhersehbaren Instrumentalstücke, die sie entfesseln, laden den
Hörer dazu ein, seine eigenen Fantasien mit dem, was er hört, zu verbinden, egal ob diese Fantasien der Vergangenheit, der Gegenwart oder, was wahrscheinlicher ist, einer roboterhaften Zukunft angehören.

Diese exquisiten Artefakte, die zum ersten Mal auf Vinyl und CD als Doppel-CD-Sets in der einzigartigen Letterpress-Verpackung von IPR-Labelgründer Bruce Licher mit einem handgefertigten Booklet mit Briefmarke veröffentlicht werden, sind ein Muss für jeden ernsthaften Sammler von fesselnder zeitgenössischer Musik.

Diese Band war Mitte der 1980er Jahre, als Independent Project Records zum ersten Mal Kontakt mit den Brüdern Mark und Clive Ives aufnahm, den bemerkenswert produktiven Vertretern exquisiter
elektronischer Musik unter dem Namen Woo, die Ende des Jahrzehnts Kultstücke wie Whichever Way You Are Going, You Are Going Wrong und It's Cosy Inside zum ersten Mal in den USA veröffentlichten. Fast vierzig Jahre später sind die Brüder bemerkenswert produktiv, und Independent Project Records befindet sich im vierten Jahr seiner Wiederbelebung. Zeit, die Kräfte wieder zu bündeln.


Das neue Team-up von Woo und IPR ist mehr als nur eine einfache Wiederveröffentlichung, sondern debütiert mit einer besonderen Auswahl von zwei Werken, Robot X und Xylophonics: Die Alben
wurden 2016 bzw. 2017 erstmals digital auf ihrer Bandcamp-Seite veröffentlicht und wurden nun neu gestaltet, erweitert und als Begleitstücke neu konzipiert. Robot X und Xylophonics nebeneinander zu hören, ist eine faszinierende und immer wieder überraschende Reise in die experimentelle retro-futuristische Electronica.

Robot X und Xylophonics erzählen gemeinsam eine Geschichte retro-futuristischer Visionen aus verschiedenen Blickwinkeln: Beide sind stolz auf ihre Experimente und kombinieren eine Flut musikalischer Einflüsse, um etwas zu bieten, das auf bemerkenswerte Weise vielschichtig und gleichzeitig minimalistisch ist. Die unvorhersehbaren Instrumentalstücke, die sie entfesseln, laden den
Hörer dazu ein, seine eigenen Fantasien mit dem, was er hört, zu verbinden, egal ob diese Fantasien der Vergangenheit, der Gegenwart oder, was wahrscheinlicher ist, einer roboterhaften Zukunft angehören.

Diese exquisiten Artefakte, die zum ersten Mal auf Vinyl und CD als Doppel-CD-Sets in der einzigartigen Letterpress-Verpackung von IPR-Labelgründer Bruce Licher mit einem handgefertigten Booklet mit Briefmarke veröffentlicht werden, sind ein Muss für jeden ernsthaften Sammler von fesselnder zeitgenössischer Musik.

In with the old & out with the new..

For the second 7" on Berends Records, Miss Beulah joins The Hippo Brothers for Don't Turn Away. The b-side features the instrumental Grab Your Hat.

Donovan invited fans to submit their top 5 favourite songs of his to help curate this limited edition Record Store Day exclusive vinyl. With over 680 submissions, the top songs were chosen and became the tracklist. Each fan who submitted their song picks will have their name listed in the liner notes of the record. Description from Donovan Woods: People like vinyl records, you may have heard. So folks are always asking me about when certain songs will be available on vinyl. The problem is, some of these songs were singles. They were never on an album. I’m not gonna make vinyl singles. This ain’t 1952. I was hoping that vinyl’s popularity would wane and I could wait it out, but that doesn’t seem to be happening. So, we had an idea to let fans vote on which songs they’d like on a vinyl release. Not like a greatest hits, because I have no “hits”, but like a compilation. So, you voted (thank you) and these are all of the popular choices that would fit on an album. Do I agree with all of them? No, of course not. But it's not up to me, that's the beauty of it. It’s not a greatest hits, I can’t stress that enough. It’s just a compilation of songs that a certain set of people enjoy and they'd like to hear these songs with a few more vintagey crackley-pops. Canada RSD Exclusive Pressing - 300 Units - Recycled Mixed-Blend Colourway USA RSD Exclusive Pressing - 200 Units - Recycled Mixed-Blend Colourway Merch Store Exclusive Pressing - 200 Units - Pink Colourway (DW Online Sales Only)

Every morning when Dent May wakes up, the first thing he says is, “What’s for breakfast?” For the Los Angeles-based songwriter and pop auteur, this question is part inside joke with his girlfriend, part sitcom-style catchphrase, and part mantra about getting up every day and persevering in the face of good or bad is happening around you in your life. It’s also the title of his sixth album, which is out on March 29, 2024 via Carpark Records. What’s For Breakfast? is May’s most immediate, nostalgic, and rollicking LP yet, one that’s concerned with breaking daily routines and rediscovering the joys of songwriting.

Over the past 17 years, May has been a consistently adventurous and prolific bedroom pop pioneer and connoisseur of impeccably crafted melodies. Though his songs are always well-written and comfortable, with What’s For Breakfast?, May has freed himself up to more playfully experiment with new and vintage musical inspirations. “I’ve occupied a lot of different lanes over the years,” says May. “I’ve always been drawn to making kaleidoscopic pop inspired by old soul, disco, country, whatever. This time around, I was tapping into music from my childhood, like The Strokes, Weezer and Elephant 6 Collective bands.” By revisiting the music of his youth—energetic and infectious guitar rock—he found a vibrant palate to explore for this new LP.

Lead single “One Call, That’s All” kickstarts with frenetic guitar-driven intensity. While the track slyly takes its name from the slogan of an ambulance-chasing Mississippi lawyer, May sings of unrequited love and phone-based ennui. “It’s a fast tempo pop-rock song that isn’t like anything I’ve done before,” says May. Elsewhere, opener “You Already Know” showcases May’s goofball lyrical charm with lines about playing chess online and looking like a Dawson’s Creek character. Beyond the jokes in the song, there is a bittersweet recognition of time passing and a call to action when May sings, “Now you already know what time it is / It’s time to live your life / Cuz it’s flying by / No matter the day, week, month or year / It’s time to do a lot / Ready or not.”

What’s For Breakfast? marks another first for Dent in being his most collaborative LP yet. Alongside guest appearances from Jimmy Whispers and co-writes with Paul Cherry, are two standout singles with Jordana and Pearl & The Oysters respectively. Jordana assists on the wistful “Coasting on Fumes,” which captures the feeling of being stuck in a rut while the yearning “Time Flies When You’re Having Fun” guests Pearl and the Oysters. “My first album came out almost 15 years ago, so bringing in others to help out is crucial to keep things interesting,” says May. “I’m constantly falling back in love with music through the eyes of others. This album is about remembering why I like music.”

30 Jahre nach der Veröffentlichung des selbstbetiteln Debütalbums erscheint "Electric Orange" nun endlich auch auf Vinyl gepresst. Die Doppel LP kommt auf 180g schwerem, orange-marbled Vinyl und im Gatefold-Sleeve daher. Dirk Jan Müller interessiert sich seit 1988 für die deutsche Underground-Musik der 70er Jahre, und seine Leidenschaft für Bands wie Amon Düül, Tangerine Dream, Nektar, Neu! und Can führte dazu, dass er Synthesizer, Keyboards, Verstärker und verschiedene Musikgeräte aus den 70er Jahren sammelte. Von seinem Heimstudio aus veröffentlichte er einige Underground-Kassetten mit elektronischer Musik, die im Kassettennetzwerk zu kursieren begannen ("Octopus's Garden" und "Time Signals"), bis 1992 eine britische Firma namens Electronic Dreams "Time Signals" veröffentlichte. In der Zwischenzeit begann Dirk mit der Arbeit am Debütalbum "Electric Orange", zu dem er eine Reihe anderer Musiker und eine Fülle von Instrumenten wie Hammondorgel, Saxophon, Flöte, verschiedene Schlaginstrumente, Samples und E-Gitarren hinzuzog. Im März 1994 veröffentlichte das deutsche Underground-Elektronik-Label "Manikin" das Album auf CD. Es hieß schlicht "Electric Orange" und war eine atemberaubende Mischung aus Krautrock der frühen 70er Jahre und psychedelischem Space Rock, aber mit einem völlig modernen Sound, der das Genre mit neuen Technologien und Produktionswerten aktualisierte. Das Album wurde schnell zu einer begehrten Veröffentlichung, allerdings haperte es am Vertrieb und schien somit zum Kultstatus verdammt zu sein, bis Delerium Records es entdeckte und die Rechte erwarb. Auch 30 später fasziniert der Electric Orange-Sound noch immer und es war überfällig, dieses Juwel endlich auch auf Vinyl zu veröffentlichen.