quête:pas

Since its beginnings, Hypnótica Colectiva has always shown a special interest in the music recorded and released in the city of Detroit.

A place with which we have both a blood and spiritual bond because of what occurred there socially and artistically during the 20th century.

This love led us to become ambassadors of what was happening there on a musical level, holding cultural events to screen documentaries translated into Spanish, as well as a number of themed sets at our events, dedicated motor city sections in our record shop or recently lectures on the history of the city and its music at the Museum of Illustration and Contemporary Art of Valencia (Muvim).

The time has now come to bring all this history, this musical influence, to the editorial section of our label HC records.

Detroit Legacy was born from the idea of capturing these influences on vinyl. Seeking artists from all over the world who share this passion that inspires them to create their music, what we can define as the universal Neo-Detroit.

For this first edition or first volume, the collective has enlisted in its ranks creators affiliated to the label who have shown us in their careers, this influence and this feeling.

Paul Cignol opens the record with Distance. From Dublin he offers us a track of warm sequences inspired by Deep Techno, with deep pads responding to organ keys and a subtle touch of 303.

Mallorcan LLuis Barcelo Sureda is responsible for the second track Funk Station. With a Techno Soul character that we might hear from Detroitish labels like Acacia or producers like Blake Baxter.

A real eminence in Techno is the Catalan Don Alex Martín, who already released in the mid-90s on Monssieur Garnier's label (France Communications). The Barcelona native brings his wealth of experience and wisdom through Megatech, which transports us to the spectrum of Derrick May’s Transmat who, in his day, was nicknamed "The Innovator". This track provides agile sequences of complex syncopated rhythms, combining with a dreamy Michigan style synth.

The anthem of the album comes from Ghent. The sublime Belgian creator, Mariska Neerman, once again makes our hairs stand on end and our hearts melt with a heavenly composition entitled Stellium.

No one interprets Neo-Detroit quite like Mariska, whom we baptise as a sovereign heiress of the genre in the world. If we have to think of an influence for this piece, we go straight to the genius of Detroit, the one and only Jeff Mills, in his most symphonic and harmonic facet of tracks released on his label Axis Records such as "The March", A Universal Voice That Speaks To All That Will Listen or A New Found Sense Of Being.

Some of these songs have been re-interpreted by world class philharmonic orchestras such as the Montpellier Philharmonic Orchestra at the 2005 Blue Potential (Pont Du Garde). Mariska's score in this song fuses organ keys with harmonic layers and violin - favourite instruments of the Detroitian extraterrestrial - with a harmonic result of strength and hope. An authentic anthem of classic emotional Techno.

Old School electro takes centre stage with the Master from Terrassa Ivan Arnau a.k.a. Dark Vektor. In the influence of Juan Atkins (the creator) as Cybotron or Model 500 and later creators who developed this sound like Aux 88. Metaverso Frik is a great recital of a urban poetry created and interpreted by Ivan, to completely devastating effect.

Croatian Bojan Jascur a.k.a. N-TER, closes the vinyl with We Will Emerge, in a exercise of vindication, a common weapon in the context of Detroit music. Raging, trippy electro in the purest style of Cosmic Force or Dynarec.

This first tribute to 8 Mile doesn't end with the vinyl, as 2 digital bonus tracks are included in the release.

We return to Barcelona with Pastin Futon in another sequence of consecutive oscillated rhythms oscillated much like Kevin Saunderson (The Elevator) in his day and the Techno Groove that we know today.

The most robotic touch of the release is the closer with this synthetic jigsaw puzzle of a track with echoes of the 1967 Detroit Riot, the Detroit Rebellion. Again produced by another Barcelona native, The Bandit (Dj Spy / Util Records). The sequences are very reminiscent of Arpanet and Drexciya.

The idea for the cover comes from Motor City itself by Jon Yowell, first cousin of HC records founder and head of HC records David Verdeguer.

Born, raised and a lifelong resident of Detroit, Jon is an enormously talented musician capable of writing lyrics, performing them on the mic and manipulating a number of stringed instruments as well as the drums, where he is a true master.

The cover is a tribute to the formative backgrounds of many of the city's musicians in every sonic trend. Wayne State University in the capital of Michigan.

Founded in 1868, it has offered didactic teaching to many of the city's musicians.

Not all of Detroit's creators went to university, and even less so when talking about Techno, many artists are self-taught or learned in a non-academic way, but it seems to us a good base to begin to highlight the origins of the city's music in a historic building, where those who have the opportunity to learn about music have been and continue to be educated.

The adapted designs are the work of our image manager Dani Requeni.

Mastering by Steve Voidloss at Black Monolith Studios in London (UK).

Sourcing influences from 90s Tech, house, trance and breaks Aiden Francis' pure passion for underground electronic music radiates through his music and DJ sets. Effortlessly drifting between different sounds and aesthetics, Aiden has managed to break himself free from the constraints of genre so that his true creative prowess can be flexed in full.

The lack of constraint overflows into Aiden's DJ sets, providing highly energetic experiences that flows through a unity of sounds, cultures and voices. This varied approach to DJing has found Aiden's name appear on high-quality events across Manchester and the UK, having played along Eris Drew at The Loft, taking the reins for High Hoops Pride Weekender at The White Hotel featuring on the lineup alongside D.Tiffany and Fafi Abdel Nour and regular intimate sets at Eastern Bloc.

Dark Industrial Hardtechno at Hardcore frontier... A new Label for more Industrial Tekno sound !

hat happens when one's mind wanders in between waking and dream state? Hypnagogia is a phase leading into the dream state, in which people can have visions and rather creative ideas.

In between dreaming and being awake, people are traveling in the bordersland of consciousness. Reality is still experienced, but the logic of real life is not present anymore. People can see shadows and colors around them, hear voices, or get surprising ideas.

It it said that hypnagogia is the shortest road to your own subconscious and intuition. We can be immensely creative on hypnagogic states, because the rational mind is not present anymore.

Empath is exploring those hidden states of subconsciousness with six sound collages in his album Music For Hypnagogia. Ideas and visions for this music have been born from his own hypnagogic experiences and they could be a fascinating path to lead (greek: Agogo) listeners into dreams (greek: Hypnos).

In the movement itself, music makes us aware of the passing of time, always tracking toward itself like a clock. An album is an experience of sound; it can make us believe something imaginary - as if a flute can play itself. The recording becomes any interpretation of motion we want it to be.

Everyone in Water was written and performed by KV Hopper and Elizabeth LoPiccolo. KV is a musician and product designer living in Portland, OR. Elizabeth is a musician, film photographer, and performer living in Brooklyn, New York.

Everyone in Water began with modular synthesis at Portland’s Synth Library in the Fall of 2019. The Synth Library is a collectively run arts organization that supports the education and experimentation of diverse artist communities. Arranging sequencers, generators and filters resonated and inspired new exploration. Sounds evolved over a year as KV shared synth tapestries with Elizabeth in Brooklyn. Voice and flute melodies started to weave in and lyrical themes centered around the sense of place.

Walking & Working is about a ritual of returning home. Household Gloves is about a desire to share a home with someone you know but doesn’t know you. Moving Plants Again is about your home in favor of all living things.

TEN. KR3 marks the double-figure release, starring David Foster: the man behind the Huren project, which has been churning out influential tracks for the past three decades. Blood Fire Debt – has been described by David with one word: ‘survival’. Indeed, in this tenth release we rediscover an already legendary artist of the power electronics scene, in his most honest and consistent form. Expressing himself through cinematic-noise, harmonised by dark drones and slo-mo rhythms. Still navigating through the chaos, this ride will take us back to the 90s, thanks to the presence of a track (B2. Mytologinen) produced in those years. There will be a unique insert with the HUREN portrayed under one of the twin towers. Written & Produced by David Foster Mastered and Vinyl Cutting by: Tim Xavier at Manmade Mastering Berlin

An exquisite pairing of talent, the duo of Carla Olson and Gene Clark. The feeling
of spontaneity and closeness of spirit engulfs all of the cuts here. Olson's strident
and powerful vocals mesh beautifully with Clark's slightly world- weary, soulful
performances. As for the material, both songwriters obviously put their best foot
forward here. Olson's The Drifter and Are We Still Making Love are excellent
country-folk outings. Clark contributes one of his finest later compositions, Gypsy
Rider, a multi- leveled song that can easily be viewed as autobiographical.
Chemistry is the operative word here. The only sad thing is that So Rebellious a
Lover was to be the only studio effort by the duo before Clark passed away in
1991. This record is important not only for what it is, but for what it could have
become.

The sounds across these four tracks were made by SIM and NAP from 2021 to 2023 with lots of love and bass... the sessions started from the first time they met at NAP's studio, point always to kick it, jam and see what happens. After a couple months of that of course a sound develops, a process shines and a friendship grows. After a year or so trust built and a language made present. Transcending the spoken word and feeling unique to both...things start to really go off and the jams turn to songs. Two years pass and it’s time to celebrate with the marker and archive of all those deep sessions, now in edited form to be shared with all. And yeah, you can have all in common with someone when it comes to digging wubs, riddims and drum machines but add vulnerable earnest meetings with meals in between and good conversation about things other than music (or maybe how other things relate to it) and then you get something really special, something like SINNAZ. SIM and NAP journeying into collaboration with a debut EP of rhythmic noise, driving bog beats, swampy dembows, radioactive Dancehall and unhinged experimentalia.

Drop a needle on Psyché's debut double-sider – the debut album is out on May 19th – and you'll see visions, or rather Mediterranean visions, be they of waves of heat shimmering above dunes of sand, or of women dancing around a bonfire on a rocky plain, or of bushy cliffs overlooking emerald-green and turquoise sea. The name Psyché is of course ancient Greek for 'soul' or 'mind',signifying the band's love of psychedelic funk, but also the wide range of Mediterranean influences – from Southern Europe to the Balkan Peninsula, and from Anatolia to the Maghreb – that provide an endless source of inspiration for their hypnotic sound and minimalist style.

Psyché members Marcello Giannini (Guru, Nu Genea, Slivovitz), Andrea De Fazio (Parbleu, Nu Genea, Funkin Machine) and Paolo Petrella (Nu Genea) have been active in the Naples music scene for almost two decades, most notably during the first wave of the new Neapolitan Power movement (Slivovitz, Revenaz Quartet). Over the years they have often crossed paths and collaborated on side projects in various genres (math-rock duo Arduo and, more recently, Italo-disco duo Fratelli Malibu), before working together as the rhythm section of Nu Genea's live band. Following their first tour with Nu Genea in 2018, they started Psyché with the intent of exploring more minimalist styles and making musicwith just a few elements.

A unique combination of psychedelia, groove and improvisation, the music of Psyché goes back to the roots of our future; it evokes visions of a mythical past, blending centuries-old music traditions and mixing them with modern genres. Like a warm Mediterranean breeze, it travels across lands, seas and eras, distilling essential rhythms and cosmic pulsations.

"Cumbia Mahàre", on side A of the 7-inch, dives deep into the origins of rhythm, drawing us into the movements of an imaginary ritual dance (the term mahàre was used in Southern Italian dialects to indicate witches). Through the interplay between minimal synths and exhilarating rhythmic patterns of drums, percussion, guitar and bass, Psyché take a fresh and bold approach to contemporary afrobeat and cumbia fusion.

"Ophis", on side B, is a mesmeric blend of African, Balkan and Turkish rhythms and sounds. Ethereal vocalizations and warm, hypnotic bass lines combine with psychedelic riffs and haunting melodies on guitar to evoke ancient cultures whose spiritslithers like a snake across the dunes of a sun-scorched desert.

The beautifully executed Sandman repress has some perfectly executed remixes, from some of the most talented and capable artists in the industry - and they need to be because Psychosis is a musically superior track to many of its peers, both past and present.

New Decade brings a solid toughness and perfect production on his remix, while Innercore blends his classic credentials with a more modern sound. Meanwhile, KFA regular Ponder changes it up with a d'n'b style workout. But each remix stands proud and alone, and will devastate any dancefloor!

French techno titan Madben unveils his much anticipated ‘Troisième Sens’ LP on Maceo Plex’s Ellum Audio.

Madben started absorbing the techno of Jeff Mills, Dave Clarke and Speedy J in the 90s, growing up in Lille in northern France. He retains a passion for DIY culture and warehouse parties thanks to youthful raving at Brussels' Fuse, Gent's Kozzmozz or in abandoned factories in Courtrai. All this has shone through in his music, including a debut album on Astropolis in 2018 that featured a collaboration with Laurent Garnier and a recent EP for Garnier and Scan X’s label.

Over the last decade, he has become a European club and festival favourite playing places like Berghain and Awakenings. His studio boasts a fine array of machines utilised to full effect on this latest opus. ‘Troisième Sens’ perfectly reflects what the artist has always loved, listened to and played, keeping one eye on the dance floor but never at the expense of musical narrative. It’s a genuinely progressive, multi-genre body of work that allows listeners to fully immerse themselves in the seemingly limitless depths of the Frenchman’s sonic capabilities.

He says, “Over the years, I learned to have more fun with the gear in my studio, and this has been the result. The album took three years to finish; I started in an underground basement studio in Paris before moving to Nantes. Therefore, it may surprise listeners with such a diverse selection of moods. It's dark in places but happy in others.”

'Departure' kicks off with uplifting synth work and broken techno beats that have a celebratory feel. 'Addicted' is a lithe cut with steamy vocals and a more fulsome combo of drums and bass, while 'Circuit Breaker' cuts loose in the cosmos. Acid wobbles, smeared synths and metallic percussion all make for a bouncy cut before 'Fade In Fade Out' continues the cosmic trip with vastly oversized synth patterns that will light up a dark space with overwhelming euphoria.

The brilliant 'It's 1 am In A Rave' is a dark, heads-down banger with 'Lost Memories' then layering up melancholic synths and Plastikman-style drum loops into something full of deep thought. There is no let up with the superb acid techno gymnastics of 'No fear', and 'The March' is a turbulent mix of sheet metal synths that whip about over steel-plated drums. 'You Dance Like A Robot' is end-of-the-world electro with a menacing robot vocal, and the electro tip continues with expert drum programming and menacing leads on 'Deep In The Jungle'. 'Meta' is a flailing rhythmic workout that sounds like the machines are in meltdown, and 'I Made A Dream During This Nightmare' is a serene techno soundscape for ruminating about the future of the human race.

Intelligent yet immediate, impactful but emotional, ‘Troisième Sens’ is another standout techno record from Madben.

PASCOW beenden die Experimente, die auf dem letzten Album "Jade" zu finden waren. Obwohl sich die Band beim Songwriting erneut am Rande ihrer Möglichkeit bewegt und mit insgesamt 4 Wochen deutlich mehr Zeit mit Kurt Ebelhäuser und Michel Wern im Tonstudio 45 verbrachte, ist "Sieben" geradlinig, verdichtet und klar, wie kein PASCOW Album zuvor. Sowohl musikalisch als auch textlich. 14 Stücke, keine Ballade. Punkrock, Metalriffs, Violinen - dazu Texte über Daniel Johnston, Wall E und Eve, das Bethanien oder die Königin im Ritzen. Was wie eine Mixtur des Grauens klingt, ist auf "Sieben" geschlossen. Hinzu kommt eine Reihe an Gästen: Apokalypse Vega von Acht Eimer Hühnerherzen, Nadine Nevermore von NTÄ oder die Trierer Sängerin Hanna Landwehr seien hier exemplarisch genannt. Das Mastering von "Sieben" übernahm Andi "Dog" Jung in Berlin. Das Artwork stammt von André Nossek (Via Grafik), der bereits das Cover zu "Diene der Party" gestaltete.

Music Man returns after a long silence. In the run-up to the release of the B-Sides boxset in May, Luke Slater aka Planetary Assault Systems delivers 2 remixes of one of Frank De Wulf's most legendary tracks 'Magic Orchestra'.

First release on this Milan-based reissue label fueled by a passionate interest for visionary genre-crossing music,

A young, free-reined musician with a rich music vocabulary and avant-garde sensibilities pours his heart out on cutting-edge musical equipment. Recorded in Northern Italy in 1989 by Michele Tadini, this release effortlessly fuses ambient and library overtones with the influence of early digital electronic music, underlined by an ethereal atmosphere eerily reminiscent of the best soundtracks by John Carpenter. Seemingly unplaceable in time and space, it is both Italian and world-spanning.

Tape
"And we"re coming out of dreams / And we"re coming back to dreams" is the first thing you hear Bill say as you remake your acquaintance on YTILAER. Right out the gate, he"s standing in two places at once: meeting up with old friends behind the scenes and encountering them on the record, finding himself coming round the bend and then again as someone else on down the line. Like the character actor he played on Gold Record, writing stories about other people, telling jokes about everyone, and in singing them, becoming the songs. "You do what you"ve got to do / To see the picture" Bill"s got a full band sound going on this one, with him and Matt Kinsey on guitars, Emmett Kelly on bass and backing vocals, Sarah Ann Phillips on B3, piano and backing vocals and Jim White on drums. Jim and Matt sing on one song, too, and some other singers come in, too. Bill plays some synth here and there, and Carl Smith drifts in and out of the picture with his contra alto clarinet, as do Mike St. Clair and Derek Phelps on brass. Somehow in between them all, you might think you hear the distant sound of a steel guitar. And you might - but you might not, too. In this company, Bill continues his journey, tunneling underneath the weathered exterior of what seems to be and into the more nuanced life everything takes on in the dark. With Bill"s voice making the extraordinary leaps and bounds that measure the lives of the songs, the band follow him through passages that seem to invent themselves; other times playing with deeply soulful grooves and/or desperate intensity, as these moments come and go. There"s nothing they can"t do. "I wrote this song in five and forever / I"m writing it right now" Bill sings on "Natural Information" - an admission of the everyday alchemy he"s forever trafficking in. Time passes, triangulating the encounters that went into any one record with two out of any three others, all of it made flesh, new constitution, in our stereo speakers. If every album is its own life, it stands to reason that they"re invariably passing in the night. Cascading images flowing from the stream of consciousness. Turning like pages from the journal, unspeakably personal, then suddenly become tall tales, like a book pulled off the shelf, completely unbound. Headlines flow through. Mirror images, mirthful ones. Bill"s lyrics strain at the lines on the page, not content to separate the printing of the fact from the myth or be confined to ink on paper. They want to fly free. And they do. "I realize now that dreams are real" On YTILAER"s inner sleeve, alongside his lyrics, Bill celebrates the "exhilaration and dread" of cover artist Paul Ryan"s paintings. Paul"s another one met up with again down the road, his indelible cover imagery on Apocalypse and Dream River now an axis of meaning in the Callahanian world - and in the bright colors found in these new images, a parallel to Bill"s recognitions here. "A breath of exquisite air as we come up from drowning", sounds like the desired hope for those hearing the songs of YTILAER.

Die neuseeländische Musikerin und Produzentin Princess Chelsea präsentiert ihr kommendes "nervous breakdown album" "Everything Is Going To Be Alright", das im pastoralen Aotearoa Neuseeland aufgenommen wurde und eine Art Trostspender ist. Es sind keine traurigen Lieder, sondern die beiden Eröffnungs- und Schlusstracks erzählen von Chelseas Genesung und sind als kathartischer Hörgenuss für alle gedacht, die es brauchen könnten. "If you feel you want to die / trust me darling / it just takes time", singt sie in "Time". In der Zwischenzeit zeigen Chelseas sorgfältig geschichtete Gesangsmelodien über Mellotron-Flöten und Harfe, verwoben mit Live-Cello und Violine, ihre Fähigkeiten als Arrangeurin und Produzentin. Princess Chelseas cineastischer, verträumter Pop hat sich in elf Jahren, fünf Alben, einer EP und elf Singles weiterentwickelt. Ihre Vortragsweise und ihr Songwriting zeichnen sich dadurch aus, dass sie eine fast naive Ernsthaftigkeit mit zynischem, augenzwinkerndem Witz und akustischen Funken überlagert. Ihr Grunge-Girlgroup-Song "I Love My Boyfriend" aus dem Jahr 2018 und ihr von Nancy & Lee inspiriertes "Cigarette Duet" aus dem Jahr 2011 haben ihren Bekanntheitsgrad durch den Einfluss einer neuen TikTok-Generation in das öffentliche Bewusstsein gerückt. Für dieses Album wurden Chelseas Instrumentalarrangements von ihrer Live-Band inspiriert, die die Schlafzimmerdemoaufnahmen mit einem überraschenden Sound interpretiert hat. Es klingt anders, als man vielleicht erwarten würde. "The Forest" wurde live in einem Take mit Chelsea und der gesamten Band im beliebten neuseeländischen "The Lab" aufgenommen und zeigt dynamische Gitarrenwände und eine leidenschaftliche Gesangsperformance. Es ist eine markante Abweichung von ihrem bisherigen Schaffen und stellt eine weitere Einführung in das dar, was sie seit der Veröffentlichung der verträumten und doch düsteren Single "Everything is Going To Be Alright" im Februar als ihr "Gitarrenalbum" bezeichnet hat. Chelseas Fähigkeiten als Arrangeurin und Produzentin kommen auf dem Album voll zur Geltung, aber oft in Form von komplizierten Gitarrenarrangements, die an The Cars und die Breeders ("Forever is a Charm") und an klassische neuseeländische Flying Nun-Bands der 80er und 90er Jahre ("Love is More") erinnern. Obwohl das Album eine deutliche musikalische Entwicklung darstellt, sind ihre Markenzeichen immer noch da - klassische 80er Jahre Synths (Yamaha DX7, Roland D-50), vielschichtige Melodien, orchestrale Instrumente, verträumter Gesang, verdrehter Pop, der oft Vergleiche mit Julee Cruise oder Enya gezogen hat.

‘’Ace Todmorden label makes a significant discovery on its own doorstep: a superb cache of ‘loner folk’ songs recorded in the early-70s by Hebden Bridge’s answer to Nick Drake’’ UNCUT PLAYLIST

"This is music that can confidently hold its own with pioneers such as Davey Graham, Michael Chapman, Bert Jansch and Jackson C Frank, as influenced by jazz, blues and steel guitar as any of the old songbook classics from ancient Albion.” Benjamin Myers
"Defiantly Northern and out of this world" Folk Radio

Anti-counter culture loner folk from a teenage attic in the heart of rural Northern hippiedom.
Today the valley town of Hebden Bridge in West Yorkshire is world-renowned as something of a bohemian backwater. It wasn’t like this back in the late 1960s and the early 1970s, when a disparate selection of radicals, drop-outs, heads, musicians, artists and writers started to be attracted to the Calder Valley. Local lad and future poet laureate Ted Hughes called the area “the fouled nest of industrialisation”.
Over time, those seeds of radicalism and collectivism ensured Hebden Bridge evolved into a place where people could be themselves and all shades of individual oddness not only tolerated but actively encouraged. But back at the turn of the dreary 1970s it remained a monochrome world defined by its unforgiving surrounding landscapes, where the old gritstone over-dwellings were stained with soot and rain lashed down for weeks.
It was here that Trevor Beales, who was born in 1953, grew up, and from where he drew musical and lyrical inspiration.
Perhaps it was this dual nationality heritage, unusual in the valley’s largely white working class population at the time, that gave the teenager Trevor Beale’s music an outsider’s perspective. The discovery of Bob Dylan, Django Reinhardt, The Byrds and James Taylor at a young age, lead to him picking up a guitar at the age of ten, and he was soon writing his own originals and performing them at local (though often remote) folk clubs and pubs.
Recorded in the attic of the family home at Ivy Bank in Charlestown on the verdant wooded slopes at the edge of Hebden Bridge between 1971 and 1974, these early recordings are collected here for the first time and mark Trevor Beales long-overdue solo debut.
In these songs is a suffer-no-fools sense of realism that is defiantly Northern, yet also expresses a worldliness that belies Beales’ young years, whilst also showcasing an inherent storyteller’s ear for narrative. Here is a postcard from the past at that crucial musical period of transition, when the idealistic exponents of the 1960s emerged into an austere new decade that was to be shaped by strikes, rising unemployment and economic upheaval.
Two aspects of this music make it remarkable: Beales’ natural ability showcases a sophisticated guitar-picking style that was leagues ahead of many of his (older, more recognised) contemporaries. This is music that can confidently hold its own with pioneers such as Davey Graham, Michael Chapman, Dave Evans, Bert Jansch and Jackson C Frank, as influenced by jazz, blues and steel guitar as any of the old songbook classics from ancient Albion.
Secondly, his lyrics are a far cry from either the naïve bedroom scribblings of a teenager who has barely left his upland home, nor do they fall foul of the type of lazy cliches and sub-Tolkien imagery that was still in abundance in the early 1970s. Most remarkably the earliest songs here were laid down less than a year after he left school (an unearthed report written by his headteacher on July 3rd 1970 noted he had “a considerable ability and interest in music”, though his education ended abruptly when he simply walked out of a science lesson one sunny day while at sixth form, never to return).
Trevor’s music is grounded in reality – his reality. ‘Then I’ll Take You Home’, for example, considers the Guru Marajai, who encouraged his acolytes to give over their worldly possessions, yet who drove a Rolls Royce and lived like a playboy. Unsurprisingly, this latest in a long line of spiritual charlatans found several followers in Hebden Bridge, and Beales casts a disdainful eye over the growing popularity for such false prophets.
With its ancient narratives and propensity for myth-making, folk has certainly produced it’s fair share of cult figures who have enjoyed rediscovery or career resurgence and with this debut compilation of home recordings, rescued from cassette tapes, Trevor Beales might just be the latest addition. Certainly he was the real deal.
Crucially, Beales' music is never jaded or cynical, but instead possesses a poet’s ear, a strong sense of self and some sound critical faculties. And much of it recorded at an age when he could neither vote nor order a pint of heavy.
Trevor Beales died suddenly and unexpectedly on March 29th 1987, aged 33. He left behind Christine and their young child Lydia.

PURPLE VINYL


A Wednesday song is a quilt. A short story collection, a half-memory, a patchwork of portraits of the American south, disparate moments that somehow make sense as a whole. Karly Hartzman, the songwriter/ vocalist/guitarist at the helm of the project, is a story collector as much as she is a storyteller: a scholar of people and one-liners. Rat Saw God, the Asheville quintet's new and best record, is ekphrastic but autobiographical and above all, deeply empathetic. Across the album's ten tracks Hartzman, guitarist MJ Lenderman, bassist Margo Shultz, drummer Alan Miller, and lap/pedal steel player Xandy Chelmis build a shrine to minutiae. Half-funny, half-tragic dispatches from North Carolina unfurling somewhere between the wailing skuzz of Nineties shoegaze and classic country twang, that distorted lap steel and Hartzman's voice slicing through the din. Rat Saw God is an album about riding a bike down a suburban stretch in Greensboro while listening to My Bloody Valentine for the first time on an iPod Nano, past a creek that runs through the neighborhood riddled with broken glass bottles and condoms, a front yard filled with broken and rusted car parts, a lonely and dilapidated house reclaimed by kudzu. Four Lokos and rodeo clowns and a kid who burns down a corn field. Roadside monuments, church marquees, poppers and vodka in a plastic water bottle, the shit you get away with at Jewish summer camp, strange sentimental family heirlooms at the thrift stores. The way the South hums alive all night in the summers and into fall, the sound of high school football games, the halo effect from the lights polluting the darkness. It's not really bright enough to see in front of you, but in that stretch of inky void - somehow - you see everything. The songs on Rat Saw God don't recount epics, just the everyday. They're true, they're real life, blurry and chaotic and strange - which is in-line with Hartzman's own ethos: "Everyone's story is worthy," she says, plainly. "Literally every life story is worth writing down, because people are so fascinating." But the thing about Rat Saw God - and about any Wednesday song, really - is you don't necessarily even need all the references to get it, the weirdly specific elation of a song that really hits. Yeah, it's all in the details - how fucked up you got or get, how you break a heart, how you fall in love, how you make yourself and others feel seen - but it's mostly the way those tiny moments add up into a song or album or a person.

Eric D. Johnson rarely lingers at one location too long. As a kid growing up in the Midwest, Johnson's family moved around a lot, but it wasn't until he became a touring musician years later that motion became a central part of his identity. That transient lifestyle stoked an enduring reverence for the world he watched pass by through a van window. A sense of place is a unifying theme he's revisited with Fruit Bats throughout its many lives. From the project's origins in the late '90s as a vehicle for Johnson's lo-fi tinkering to the more sonically ambitious work of recent years, Fruit Bats has often showcased love songs where people and locations meld into one. It's a loose song structure that navigates what he calls "the geography of the heart." "The songs exist in a world that you can sort of travel from one to another," says Johnson. "There are roads and rivers between these songs." Those pathways extend straight through the newest Fruit Bats album, aptly titled A River Running to Your Heart . Self-produced by Johnson_a first for Fruit Bats_with Jeremy Harris at Panoramic House just north of San Francisco, it's Fruit Bats' tenth full-length release and one that finds the project in the middle of a creative resurgence. After two decades of making music, hard-earned emotional maturity has seeped into Johnson's songs, resulting in a more complex sound that's connected with audiences like no other previous version of Fruit Bats. A River Running to Your Heart represents the fullest realization of that creative vision to date. It's a sonically diverse effort that largely explores the importance of what it means to be home, both physically and spiritually. And while that might seem like a peculiar focus for an artist who's constantly in motion, for Fruit Bats, home can take many forms_from the obvious to the obscure. Lead single "Rushin' River Valley" is a self-propelled love song written about Johnson's wife that clings to the borrowed imagery of the place where she grew up in northern California. Then, there's the gentle and unfussy acoustic ballad "We Used to Live Here," which looks back to a time of youthful promise and cheap rent. But the wistful "It All Comes Back" is perhaps the most stunning and surprising track on the album, Johnson's production skills on full display. Built upon intricate layers of synths, keyboards, and guitars, it's a pitch-perfect blend of tone and lyricism that taps into our shared apprehensions and hopes for a post-pandemic life. "We lost some time / But we can make it back / Let's take it easy on ourselves, okay?" sings a world-weary but ultimately reassuring Johnson in the song's opening lines. It's the kind of performance that makes you hope Fruit Bats stays in this one place, at least for a little while longer.

BLUE & BONE VINYL

Eric D. Johnson rarely lingers at one location too long. As a kid growing up in the Midwest, Johnson's family moved around a lot, but it wasn't until he became a touring musician years later that motion became a central part of his identity. That transient lifestyle stoked an enduring reverence for the world he watched pass by through a van window. A sense of place is a unifying theme he's revisited with Fruit Bats throughout its many lives. From the project's origins in the late '90s as a vehicle for Johnson's lo-fi tinkering to the more sonically ambitious work of recent years, Fruit Bats has often showcased love songs where people and locations meld into one. It's a loose song structure that navigates what he calls "the geography of the heart." "The songs exist in a world that you can sort of travel from one to another," says Johnson. "There are roads and rivers between these songs." Those pathways extend straight through the newest Fruit Bats album, aptly titled A River Running to Your Heart . Self-produced by Johnson_a first for Fruit Bats_with Jeremy Harris at Panoramic House just north of San Francisco, it's Fruit Bats' tenth full-length release and one that finds the project in the middle of a creative resurgence. After two decades of making music, hard-earned emotional maturity has seeped into Johnson's songs, resulting in a more complex sound that's connected with audiences like no other previous version of Fruit Bats. A River Running to Your Heart represents the fullest realization of that creative vision to date. It's a sonically diverse effort that largely explores the importance of what it means to be home, both physically and spiritually. And while that might seem like a peculiar focus for an artist who's constantly in motion, for Fruit Bats, home can take many forms_from the obvious to the obscure. Lead single "Rushin' River Valley" is a self-propelled love song written about Johnson's wife that clings to the borrowed imagery of the place where she grew up in northern California. Then, there's the gentle and unfussy acoustic ballad "We Used to Live Here," which looks back to a time of youthful promise and cheap rent. But the wistful "It All Comes Back" is perhaps the most stunning and surprising track on the album, Johnson's production skills on full display. Built upon intricate layers of synths, keyboards, and guitars, it's a pitch-perfect blend of tone and lyricism that taps into our shared apprehensions and hopes for a post-pandemic life. "We lost some time / But we can make it back / Let's take it easy on ourselves, okay?" sings a world-weary but ultimately reassuring Johnson in the song's opening lines. It's the kind of performance that makes you hope Fruit Bats stays in this one place, at least for a little while longer.

After 36 years without singing one word, unforeseeable tragedy and its consecutive challenges made Rico Friebe finally find his voice, suddenly and fluently starting to write songs full of intimacy and subtle storytelling – now presented on his debut singer album „Word Value“!

Processing the encounter with a special person and the lasting aftermath, all songs are perfused by an emotional sincerity and serenity, dealing with a rise and fall of depression and hope while furthermore exploring forgotten chasms and grievances from his further past.

„Word Value“ is tracing an arc as the first of four albums that are deeply connected, based on one another, followed next by the second LP „Faces Meets“ later in 2023.

In times of fast rising technology, artificial intelligence, social deconstruction, inflation of language and morality, the most basic and natural human needs haven't ever changed – re-find them while closing your eyes, opening your soul and putting on „Word Value“...

LTD. 180g WHITE LP + CD + TAPE + DOWNLOAD-CODE (INCL. UNRELEASED BONUS SONG) BUNDLE!

After 36 years without singing one word, unforeseeable tragedy and its consecutive challenges made Rico Friebe finally find his voice, suddenly and fluently starting to write songs full of intimacy and subtle storytelling – now presented on his debut singer album „Word Value“!

Processing the encounter with a special person and the lasting aftermath, all songs are perfused by an emotional sincerity and serenity, dealing with a rise and fall of depression and hope while furthermore exploring forgotten chasms and grievances from his further past.

„Word Value“ is tracing an arc as the first of four albums that are deeply connected, based on one another, followed next by the second LP „Faces Meets“ later in 2023.

In times of fast rising technology, artificial intelligence, social deconstruction, inflation of language and morality, the most basic and natural human needs haven't ever changed – re-find them while closing your eyes, opening your soul and putting on „Word Value“...

Tape

After 36 years without singing one word, unforeseeable tragedy and its consecutive challenges made Rico Friebe finally find his voice, suddenly and fluently starting to write songs full of intimacy and subtle storytelling – now presented on his debut singer album „Word Value“!

Processing the encounter with a special person and the lasting aftermath, all songs are perfused by an emotional sincerity and serenity, dealing with a rise and fall of depression and hope while furthermore exploring forgotten chasms and grievances from his further past.

„Word Value“ is tracing an arc as the first of four albums that are deeply connected, based on one another, followed next by the second LP „Faces Meets“ later in 2023.

In times of fast rising technology, artificial intelligence, social deconstruction, inflation of language and morality, the most basic and natural human needs haven't ever changed – re-find them while closing your eyes, opening your soul and putting on „Word Value“...

“Shambly Television Personalities/Swell Maps style earworm indie rock.” Brooklyn Vegan

“RIPPER! Melbourne’s TERRY return to complete a hat trick of three albums in three years (TERRYilogy?) that leaves the piss streak that is the rest of indie pop in 2018 dribbling down its own leg in the dust.” 8/10 CLASH

Call me Terry! It’s been a hot minute since we last heard from Terry, what’s he been up to? Five years on from their last album, ‘I’m Terry’, the Australian post-punk quartet proudly present their new record, ‘Call Me Terry’, for release on April 14th 2023.
Terry is made up of pairs Amy Hill & Al Montfort, and Xanthe Waite & Zephyr Pavey who started playing together for the fun of it in 2016. Seven years, four albums and three EP’s later, Terry is ready to pick up the phone again. Over the past few years Terry have kept themselves busy - but not only with Terry things. On top of numerous releases with alternating side projects (Constant Mongrel, The UV Race, Primo!, Sleeper & Snake, Chateau, Rocky, the list goes on… ) members of Terry have moved interstate, undertaken studies, had children and started new fields of work.
Terry began sharing the demos for ‘Call Me Terry’ online with each other in 2020 - as we all did - before getting together in 2021 at their trusty rehearsal space to record the beds. Overdubs were completed at Terry’s homes over the following year. Lyrically, in true Terry fashion, the record wastes no time in scrutinising Australia’s corrupt, colonial history. They sing it loud and sprawl it across the jacket of this record, highlighting the greed, privilege and entitlement of white, wealthy “Australia” which they won’t stand a second for.
Musically, ‘Call Me Terry’ still has the classic Terry sound; the four vocals singing as one gang, sharp guitars and quirky, burbling synths, the rolling bass and drums, all amidst their clever, dancey pop songs. Since day dot it’s been hard to reference a band that really sounds like Terry, which is always amazing. Truly a sound of their own!
But the sugar on top here may just be some of their finest horn, string and piano performances to date - all of which never feel crowded, cluttered or over-involved. More just excellent, necessary melodies. Rest assured Al still gives his famed Fuzz Factory a workout - and throws his tremolo into the pedal chain. It goes off. Tremolo is the order of the day for Amy and Xanthe too who also embrace the wobble, whilst Zephyr keeps the pulse of their politico-pop anchored.
Terry isn’t afraid to call the shots and Terry isn’t afraid to point the finger. Listen to what Terry has to say.

Red Vinyl

“Shambly Television Personalities/Swell Maps style earworm indie rock.” Brooklyn Vegan

“RIPPER! Melbourne’s TERRY return to complete a hat trick of three albums in three years (TERRYilogy?) that leaves the piss streak that is the rest of indie pop in 2018 dribbling down its own leg in the dust.” 8/10 CLASH

Call me Terry! It’s been a hot minute since we last heard from Terry, what’s he been up to? Five years on from their last album, ‘I’m Terry’, the Australian post-punk quartet proudly present their new record, ‘Call Me Terry’, for release on April 14th 2023.
Terry is made up of pairs Amy Hill & Al Montfort, and Xanthe Waite & Zephyr Pavey who started playing together for the fun of it in 2016. Seven years, four albums and three EP’s later, Terry is ready to pick up the phone again. Over the past few years Terry have kept themselves busy - but not only with Terry things. On top of numerous releases with alternating side projects (Constant Mongrel, The UV Race, Primo!, Sleeper & Snake, Chateau, Rocky, the list goes on… ) members of Terry have moved interstate, undertaken studies, had children and started new fields of work.
Terry began sharing the demos for ‘Call Me Terry’ online with each other in 2020 - as we all did - before getting together in 2021 at their trusty rehearsal space to record the beds. Overdubs were completed at Terry’s homes over the following year. Lyrically, in true Terry fashion, the record wastes no time in scrutinising Australia’s corrupt, colonial history. They sing it loud and sprawl it across the jacket of this record, highlighting the greed, privilege and entitlement of white, wealthy “Australia” which they won’t stand a second for.
Musically, ‘Call Me Terry’ still has the classic Terry sound; the four vocals singing as one gang, sharp guitars and quirky, burbling synths, the rolling bass and drums, all amidst their clever, dancey pop songs. Since day dot it’s been hard to reference a band that really sounds like Terry, which is always amazing. Truly a sound of their own!
But the sugar on top here may just be some of their finest horn, string and piano performances to date - all of which never feel crowded, cluttered or over-involved. More just excellent, necessary melodies. Rest assured Al still gives his famed Fuzz Factory a workout - and throws his tremolo into the pedal chain. It goes off. Tremolo is the order of the day for Amy and Xanthe too who also embrace the wobble, whilst Zephyr keeps the pulse of their politico-pop anchored.
Terry isn’t afraid to call the shots and Terry isn’t afraid to point the finger. Listen to what Terry has to say.

Pink Blue Marbled Vinyl

Angelo is an EP, named after a car, featuring nine songs Brijean have crafted and carried with them through a period of profound change, loss, and relocation. It finds percussionist and singer Brijean Murphy and multi-instrumentalist/producer Doug Stuart processing the impossible the only way they know how: through rhythm and movement. The months surrounding the acclaimed release of Feelings, their full-length Ghostly International debut in 2021 which celebrated tender self-reflection and new possibilities, rang bittersweet with the absence of touring and the sudden passing of Murphy's father and both of Stuart's parents. In a haze of heartache, the duo left the Bay Area to be near family, resetting in four cities in under two years. Their to-go rig became their traveling studio and these tracks, along with Angelo, became their few constants. Whereas Feelings formed over collaborative jams with friends, Angelo's sessions presented Murphy and Stuart a chance to record at their most intimate, "to get us out of our grief and into our bodies," says Murphy. They explored new moods and styles, reaching for effervescent dance tempos and technicolor backdrops, vibrant hues in contrast to their more somber human experiences. Angelo beams with positivity and creative renewal _ a resourceful, collective answer to "what happens now?". Angelo the car is a 1981 Toyota Celica they got off Craigslist during their first stint in Los Angeles, where Murphy and Stuart have since settled. "Such a bro-y, `80s dude car, it's been super fun to drive around in a new town," Murphy says. "He's older than us, he's a classic, he's got a story." It is a spiritual vehicle with a cinematic appeal, first dropping them off in an alleyway for the scene-setting intro, "Which Way To The Club." The question is quickly resolved by "Take A Trip" as a cruising bassline mingles with crowd sounds, hand-claps, cuíca hiccups, whip-cracks, even a horse neigh. Brijean have found some club on this cross-dimensional trip - the kind of imagined space or chamber within one's self capable of "shifting a fraction of who you are," says Murphy. They wrote the track with the simple intention to be "as free as we could be," adds Stuart, likening the flip on the B section to a realm unlocked: "What if the world changed completely? You open the door to a new room." Next is "Shy Guy," a motivational anthem for the wallflowers among us. Murphy sets up the daydream: "We are in junior high, we're on the dance floor, what's going down, who is dancing, who is not, how are we gonna make them dance?" The narrator, the MC, hypes up the room as conga-driven rhythms bounce between languid synth and guitar lines. "Show me how to move...I feel something...I know you feel it too," Murphy sings sweetly, calling back to the opening lines of Feelings, and this time the audience chants it back. It is easy to picture Brijean performing this one - something they only got to do a handful of times until more recently, opening shows for Khruangbin and Washed Out, an experience they found informative. Murphy explains, "It was inspiring to be out there and let loose more. To see how people can expand their expression on stage gave me more liberty with how I viewed my musicianship. My role for so long was to be a backup percussionist, so why would I ever leave the drums, you know? But then after playing all these runs, you see these artists and realize you can, you have permission." "Angelo" and "Ooo La La" deliver the danciest stretch in Brijean's catalog to date. The title track adopts a deep house pulse replete with strings, hi-hats, and kicks. The latter opts for a funkier groove that foregoes verses in favor of warbled hums and extended breakdowns. What follows is perhaps the duo's dreamiest run, a comedown initiated with the honey-hued interlude "Colors" drifting into "Where Do We Go?", a tropicália reverie where Murphy contemplates the passage of time and space. It all culminates in "Caldwell's Way," a fond farewell to their Bay Area community - "a part of my life that I knew couldn't come back," says Murphy. Above shimmering organ sounds, lush strings, and the birdcall of their former neighborhood, she wistfully articulates the uncertainty of moving on by remembering the characters dear to them. There's the wisdom of their neighbor, Santos, who refused payment when helping them move out: "I'd rather have 100 friends than 100 dollars." And the song's namesake, Benjamin Caldwell Brown, a friend and club night cohort for many years. "I'm only miles away, maybe I'm just feeling lonely," the line resigns to warm nostalgia, and "Nostalgia" runs the closing credits to this healing and transportive collection.

Nicola Dal Sacco treats us to an acid-soaked quartet for his debut solo EP on Aquaregia, a tantalizing follow-up to the Italian producer's contribution to the Acid Analects VA series.

Setting the tone, the title track, "Wirrwarr", revs up with driving drums and swirling pads - a sunrise escapade along a mountain pass. As daybreak approaches, the breakdown hits, introducing warm beaming pads. On the second leg, the journey continues with "Gelato", a spellbinder that melds serpentine acid lines with a vintage flair, navigating hairpins and snaking through narrow hillside corridors; vertigo ensues.

"Parapiglia" continues the trip with an eerie and enchanting lowlight drive. Melancholic acid whines while lush ethereal pads swaddle; a haunting mist rolling over the road. A deep closer, "Linea" guides us down the final stretch through the foothills with a viscous groove and chilled out atmosphere; the final knock back down into first gear.

Merzbow (Masami Akita), the seminal Japanese noise project since 1979, remains one of the most influential and prolific figures in modern electronic composition.

Originally a limited CD-only release on Waystyx in 2005, ‘Scene’ is now available on vinyl for the first time with remastering by Masami Akita and an exclusive bonus track from the original recording session.

Scene is revered by fans as one of Merzbow’s best surrealist works from the mid-2000s ‘laptop era’. The intro track, Part 1, immediately grabs listeners with hysteric carnival music. The ascending parts then warp into hallucinatory passages with rhythmic drum patterns, metalworks, echoing bird calls, and eerie wind chimes tinkling atonally in the gossamer moon.

Ultimately, Scene is a vital part of Merzbow’s ever-evolving experimentations with analog and digital manipulations. Limited to 300 copies, the long unavailable Scene is officially back in our hands.

Das vierte Temples Album 'Exotico', das von Sean Ono Lennon produziert wurde, spielt in dieser wundersamen Umgebung einer utopischen Insel, die sich Sänger/Gitarrist James Bagshaw, Bassist Tom Walmsley, Keyboarder/Gitarrist Adam Smith und Schlagzeuger Rens Ottink ausgedacht haben. Mit ihrer schillernden Collage aus Psychedelia, Glamrock und Dream-Pop erweckt 'Exotico' diese bunte Welt mit gefühlvollen Melodien, futuristischen Synthesizern und fesselnden Gitarrenriffs zum Leben und erkundet dabei ein ganzes Spektrum existenzieller Themen. "The idea of the record is that we’re transporting people to a place they’ve never experienced, a beautiful destination that’s meant for everybody", erzählt Bagshaw.

Abgemischt von Dave Fridmann (Beach House, Spoon, The Flaming Lips) und hauptsächlich in Lennons Studio im Bundesstaat New York aufgenommen, setzt 'Exotico' die Zusammenarbeit fort, die auf der von Lennon produzierten Single 'Paraphernalia' (2020) begonnen wurde. Dafür erweiterte die aus Kettering stammenden UK-Band ihre musikalische Palette um eine enorme Bandbreite an Instrumenten - passend für ein Werk, das von klassischen Symphonien über italienische Horror-Soundtracks bis hin zu Girlgroups der Brill Building-Ära inspiriert ist.

We’re still harvesting the fruits of those past days in seclusion, the cabin fever induced creative outbursts, ideas that would probably have never surfaced without these enforced trips to our inner minds. Lockdown transcendence.

“Don’t Cry” by Italo-Brazilian DJ producer Stephan Barnem and Futuristant is another impressive testament of those days. Secluded in Stephan’s studio in Northern Italy, the duo subconsciously conjured the spirits of one of their mutual favorite bands, Depeche Mode and created a fierce, boombappy Neo New Wave smasher contrived to send rays of hope into the darkest corners of this mad world. We had to add a gratuitous beatless version to the EP that amplifies the cinematic depth and healing potency of this song.

If “Don’t Cry” echoes the dark brooding euphoria of Depeche Mode’s “Music For The Masses” era, the flipside cut “Elysium” harks back to the synthwave happy days of their debut “Speak & Spell”. It’s a wonderfully careless track that’s bringing a dearly needed breeze of fresh air to today’s discerning dancefloors.

Boys don’t cry for me Argentina. Save your tears for another day.

Wir ernten immer noch die Früchte jener vergangenen Tage in Abgeschiedenheit, der vom Lagerkoller verursachten kreativen Ausbrüche, Ideen, die ohne diese erzwungenen Reisen in unser Inneres wahrscheinlich nie entstanden wären. Lockdown-Transzendenz.

„Don’t Cry“ des italo-brasilianischen DJ-Produzenten Stephan Barnem und Futuristant ist ein weiteres beeindruckendes Zeugnis jener Tage. In der Abgeschiedenheit von Stephans Studio in Norditalien, beschwor das Duo unbewusst die Geister einer ihrer gemeinsamen Lieblingsbands, Depeche Mode, herauf und schuf einen wilden, boombappigen Neo-New-Wave-Smasher, der Licht in die dunkelsten Ecken dieser verrückten Welt senden wird. Wir mussten der EP eine Beatless-Version von “Don’t Cry” hinzufügen, die die filmische Tiefe und heilende Kraft dieses Songs noch verstärkt.

Wenn „Don’t Cry“ die dunkle, grüblerische Euphorie von Depeche Modes „Music For The Masses“-Ära widerspiegelt, erinnert der Flipside-Cut „Elysium“ an die Happy Synthwave-Tage ihres Debüts „Speak & Spell“. Es ist ein wunderbar sorgloser Track, der den dringend benötigten frischen Wind auf die anspruchsvollen Tanzflächen von heute bringt.

Boys don’t cry for me Argentina. Save your tears for another day.

Time to resound the trumpet as Australian blackened sludge veterans Lo! return with another grand infernal vision, captured in capital riffs and gargantuan grooves! After the universal acclaim of the band's 2017 studio endeavour Vestigial the Australian interstate quartet show no intention of slowing down with The Gleaners_a soul-ripping hell-ride across nine visceral anthems; an affair of raw violence with a touch of sophisticated madness. Lo! herald the end of the existing order of things, executing crushing judgement upon those tyrants who put the poor to powder. On The Gleaners Lo! firmly continue in the vein of their much-lauded third album, setting an over-arching storyline with multiple characters to a symphony of sonic death and destruction. "Vestigial opened up the writing arena for Lo! in many ways," explains guitarist and main-songwriter Carl Whitbread about the predecessor of The Gleaners. "We created an album of anthems without losing the groove or viciousness of performing live, using defined characters and themes that are revisited and interwoven across the record, while also experimenting with atmospheric and cinematic samples to breathe life into the recording." Above all, this record is nothing but a firm rattling of your cage - and who could expect something else from the minds of this Australian quartet who have been churning out nothing but stellar sludgy blackened hardcore over the past twelve years? Like a Hieronymus Bosch painting, the storyline of The Gleaners has little of a focal point, the characters crawl all over the place - its chaos is complete - but somehow its impact is phenomenal. Lo! have gone and done it again, creating a terrifying vision of the infernal madness of our reality that shakes you to your core! FFO Converge, Baptists, Black Breath, Mastodon, Trap Them, LLNN Ltd red single coloured vinyl w/ poster!

On Giver Taker, the gorgeous debut album by Anjimile, death and life are always entwined, wrapping around each other in a dance of reverence, reciprocity, and, ultimately, rebirth. Giver Taker is confident, intentional and introspective. Anjimile Chithambo (they/them, he/him) wrote much of the album while in treatment for drug and alcohol abuse, as well as while in the process of living more fully as a nonbinary trans person. Loss hovers over the album, whose songs grieve for lost friends ("Giver Taker") and family members ("1978") along with lost selves ("Maker," "Baby No More," "In Your Eyes.") But here, grief yields an opening: a chance for new growth. Each song on the album is its own micro-journey, adding up to a transformative epic cycle created in collaboration with bandmate Justine Bowe of Photocomfort and New-York based artist/producer Gabe Goodman. "1978" and "Maker" both begin as Sufjan Stevens-esque pastoral ballads with Chithambo's mesmerizing voice foregrounded against minimal instrumentation and swell into the realm of the majestic through the addition of warm, steady instrumentation (informed by the mix of 80's pop and African music Chithambo's Malawi-born parents played around the house) and harmonies by Bowe. "In Your Eyes" starts out hushed and builds to a crescendo via a mighty chorus inspired by none other than the Lion King. The allusion is fitting: each song encapsulates a heroic voyage, walked alone until accompanied by kindred souls. The choirs present throughout are equally deliberate. Chithambo grew up as a choir boy himself, and several songs (notably "Maker") grasp not only towards reconciliation between his trans identity and his parents' strong religious beliefs, but towards reclaiming his trans identity as an essential part of his own spirituality.

New pressing on cream vinyl, 1000 copies only. Gatefold sleeve, and 2x180gm LPs. Originally put together by a couple of Belgian Joy Division experts to celebrate the 25th anniversary of the sadly missed Ian Curtis-and the year that the Ian Curtis Movie began to be made. Now the movie is out to much critical acclaim. This album contains extremely rare audio interviews with all members of Joy Division - some of which have never seen the light of day before plus spoken word contribution on one number from Martin Hannett and a rare Martin Hannett interview. The interview sections are interspersed with superb live performances from various venues through the career of the band including rarities from Dutch and Belgian concert performances and a couple of rare alternative studio outtakes. The gatefold sleeve contains lots of Joy Division images and a detailed biographical article on the band. Track sources: 01. Pennine studio version January 8th 1980 02. Ian Curtis interview excerpt - Castle Pub '79 03. RCA session May 1978 04. Ian Curtis / Steven Morris interview excerpt - Rock On, Radio 1 '79 05. RCA session May 1978 06. Ian Curtis interview excerpt - Castle Pub '79 07. RCA session May 1978 08. Martin Hannett interview excerpt - Rock On, Radio 1 '79 09. Warsaw demo July 18th 1977 10. Ian Curtis interview excerpt - Castle Pub '79 11. RCA session May 1978 12. Ian Curtis / Steven Morris interview excerpt - Rock On, Radio 1 '79 13. RCA session May 1978 14. Ian Curtis interview excerpt - Radio Blackburn '80 15. Live Amsterdam, Paradiso 11th January 1980 16. Martin Hannett interview excerpt, Rock On, Radio 1 '79 17. RCA session May 1978 18. Ian Curtis / Steven Morris interview excerpt - Rock On, Radio 1 '79 19. Live Amsterdam, Paradiso 11th January 1980 20. Ian Curtis interview excerpt - Radio Blackburn '80 21. Live Eindhoven, Effenaar 18th January 1980 22. Bernard Sumner comment about Martin Hannett - presumably an excerpt from a radio or TV documentary 23. Live Eindhoven, Effenaar 18th January 1980 24. Ian Curtis interview - Radio Blackburn '80 25. Live Eindhoven, Effenaar 18th January 1980 26. Live Eindhoven, Effenaar 18th January 1980

Brazilian experimental multi-instrumentalist Carla Boregas follows plates for Bokeh Versions and Hive Mind with a ghostly set of deep listening electronics that plays like a symphony for an imagined woodwind orchestra.

Carla Boregas is best known from her tenure in São Paulo's genre-bending experimental post-punk scene, playing in long-running outfit Rakta as well as other related offshoots. Her solo material has been knottier to unpick, here developing ideas from a collection of unfinished fragments and notebook scribbles exploring the possibility of finding a wind instrument that could be played collectively by several musicians. Coinciding with the pandemic, however, she soon realised the inherent risks involved with sharing breath and so the concept took a different direction, with added resonance.

Boregas developed a synthetic alternative, layering vocals and environmental recordings to suggest wind instrumentation without attempting to mimic it. The sounds here are airy, but rarely diegetic - on the title track, Boregas uses analog arpeggios and plucked, sustained tones to approximate the kosmische world of Ash Ra Tempel or more recently Emeralds, as if trapped in a wind tunnel, moved forward by an unseen force.

There's a whisper of the ancient past that harmonises with Wojciech Rusin's speculative medieval gasps, and Bloedneus & de Snuitkever's severely underheard ‘Milli Mille’, an examination of the ancient Greek aulos. On ’Grafia Do Invisível' the sound is completely different again, but the concept remains, using precise analog drones and minuscule timbral shifts to imitate the character of a wind instrument and simultaneously harmonise with the deep listening meditations of Éliane Radigue and Kali Malone.

A voice enters the frame on 'Sopro’, chopped into deviated gulps and syllables, creating a language that's unfamiliar and percussive. The use of breath is subtle, and vocalisations criss-cross between synths and faint whistles, forming an expression that's different from its predecessors but intrinsically interlinked. This is where ‘Pena Ao Mar’ excels, by viewing breath and its application in electronic music from multiple angles simultaneously. Fans of Lucy Duncombe, Lucrecia Dalt, or Sarah Davachi - don't miss this one.

Steve Rothery, Gründungsmitglied und Gitarrist von Marillion, veröffentlichte 2014 sein Solo-Debütalbum 'The Ghosts Of Pripyat', das von der Kritik hoch gelobt wurde, mit Instrumentalisten der Steve Rothery Band und Gastauftritten von Steve Hackett und Steven Wilson. Nachdem das Album über 5 Jahre vergriffen war, erscheint es nun als limitierte Gatefold 180g Transparent Light Blue 2LP Edition.

Reissue der 1991 EP der Griechischen Black Metal Institution ROTTING CHRIST!

Für fans von BATHORY, VENOM, CELTIC FROST, SLAYER (early), BOLT THROWER.

repress

ALPI is the production duo of Gabriel Pivaro and Daniele Alessi. Together they present the ‘Cerulean Flow’ EP, a journey into introspective techno and resonant soundscapes. The A- side features ‘End of Matter’, exploring more contemplative structures while the Ground Loop remix provides both a dark and buoyant interpretation of the original.

On the B-side, ‘Hidden River’ is opaque, dynamic techno, complete with heavy kicks and calculated pads. ‘Chant’ is an ambient passage that completes the introspective journey of the Cerulean Flow EP.