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Stasis returns to De:tuned with 7 unreleased tracks from his archives for the 'Time Sensitive' LP. Legendary UK techno pioneer Steve Pickton compiles a stunning collection of DAT tape excerpts from the Otherworld studio sessions. Recorded between 1992-1996, this collection represents the peak of the Stasis sound. An in-depth masterclass of emotive techno and simply a must-have for any true techno enthusiast.

Mastered by Matt Colton at Metropolis. Al White created all the graphic work. A separate digital release will also be available at the usual digital shops. Stay tuned!

A holy grail for fans of French boogie, early hip hop, Arabic funk and Balearic bops,"Ettika" has been seriously sought after since Vidal Benjamin found it in the 1€ bin back in 2006. Teasing the ears of the underground via Vidal's 'Balearic Nightmare' mix for Noncollective, copies of the original were soon snapped up completely, and the later adopters were sated by a Blackdisco edit from Alexis Le-Tan (himself gifted Vidal's second copy), which is now also rare as hen's teeth. The fervour for the track is easy to understand. Underpinned by an endlessly buoyant bass groove, chanted female vocals dart out the speakers like a post- modern mantra while synth vamps flare in stuttering stereo.

Middle-Eastern motifs add an air of mystery, but this truly belongs in a dance floor utopia. That the track was the product of a 'back-to-work' scheme aimed at unemployed immigrant youth in Rouen only adds to the appeal. Led by teacher Bernard Guégan, a quartet of students delivered lyrics in French and Arabic inspired by their rejection letters, serving a little social commentary and a lot of funk. If you're mad on Ahmed Fakroun and Shams Dinn, or even those folks in the Bush of Ghosts, then this is a must have for you.

Archeology isn't just about excavation, there should be interpretation too, and in this case it comes from Italian duo Hear & Now and Leeds' The Veteran Delinquents. The former furnish the 12" with two radical takes, the dreamy downtempo stroll of their French Remix - all unhurried percussion, Gilmour-riffing and coastal élan - and the peaktime pump of their Arab Remix, which transports the original vocal into a land of desert new beat and Balearic trance with a little space left for some frazzled fretwork. If you've followed their work with Claremont you know the quality on show.

The Veteran Delinquents, the collaborative vehicle of Leeds stalwarts Craig Christon and Tim Hutton, condense a lifetime of club experiences into their remix, establishing the infectious groove of the original before subverting with chugging bass and winking acid, all augmented with their own slick synth work. The original was an all time classic at Craig's Joe's Bakery nights way back when, and this new interpretation is both respectful and revolutionary.

A landmark recording and masterful symphony of performance, composition, and execution, Miles Davis' E.S.P. established the template jazz would follow for the following decade. The 1965 record splits the gap between accessible hard-bop and the cutting-edge approach Davis increasingly pursued into the 1970s. Adventurous, sophisticated, and yet altogether cohesive, E.S.P. stands out not only due to its elastic compositions but via its chemistry, interplay, and feeling attained by the instrumentalists. The first album Davis' classic second quintet made together, it's also very arguably the group's best. Never before has the effort been experienced in such transformational sound.

Pressed at RTI, this 180g 45RPM 2LP set of E.S.P. renders the music's dynamics, pitch, colors, and textures with lifelike realism and proper scale. Reference-caliber separation, wall-to-wall soundstages, and distinct images magnify the intensity and beauty of Davis and Co.'s creations. Whether it's the distinctive snap of Tony Williams' drum sticks against the snare head, air moving through Davis' trumpet, acoustic thrum of Ron Carter's bass, or upper register of Herbie Hancock's piano, the sound is better than you'd even hear in the most intimate jazz clubs. Prepare to be swayed on every level.

For many, E.S.P. looms among the decade's best albums if only because of the significance of Davis' line-up. While Hancock, Williams, and Carter are holdovers that began playing with one another on 1963's Seven Steps to Heaven, Wayne Shorter functions as the secret weapon and key addition responsible for this ensemble hitting a new peak. Indeed, the saxophonist helped pen two of the seven compositions here – notably, E.S.P. is entirely comprised originals and clocked in as one of the longest-running jazz LPs issued at the time – and, more importantly, grants Davis the confidence and leeway necessary for the eruption of enigma, steadiness, and tension.

As he did with John Coltrane year earlier, Davis hangs back and picks his moments to solo, with Shorter stepping up to supply the churn. Their bandmates respond in kind, itching to take off into new stratospheres all the while keeping their improvisations grounded and connected to the piece at hand. Guided by Davis' visions and inspired by current boundary-pushing works by the likes of Ornette Coleman, Cecil Taylor, and Coltrane, the magnificent results spark with variation, harmony, emotion, energy, and brilliant movement.

Interlocking lines drive "Little One," alternating rhythms pulse through the funky "Eighty-One," melodies soar on the balladic "Iris," the aptly titled "Mood" broods over minor-key structures, and "Agitation" – goosed by a two-minute percussive introduction by Williams – delivers on its promise. No record – and no group of musicians – have ever balanced coherent themes and exploratory playing in better fashion than Davis' quintet on E.S.P. It's the avant-garde record even jazz traditionalists love, and essential on every level.

(Jam El Mar Remix) DJ Ghost and Robert Armani resurrect their hugely popular turn-of-the-millennium collaboration with the superb ‘Hit Hard Baby (WTF)



DJ Ghost and Robert Armani resurrect their hugely popular turn-of-the-millennium collaboration with the superb ‘Hit Hard Baby (WTF)’. A formidable duo when it comes to churning out mind bending techno and hard-edged grooves, these guys first got together in 2001 delivering the bouncy vibes of ‘Hard One’ followed by ‘Airport’ and ‘Funk That’, all of which got included on a raft of compilations and enjoyed by many around the world. Individually they are accomplished in their own right. Ghost is an iconic figure in Belgium and a stalwart within the Bonzai family. Robert Armani needs no introduction, ‘Circus Bells’, ‘Ambulance’, ‘Hit Hard’ anyone? Since the mid-eighties he’s been right up there with DJ greats, and in 1992 he started releasing his own brand of house, acid house and techno. Legend is an understatement when it comes to both these guys and we’re delighted to see them back at it in the studio once again.



The release opens with ‘Hit Hard Baby (WTF)’, introing with dark kick drums and raspy hi hats. Classic techno percussions weave intricate patterns as tension mounts, taking us to the break where hypnotic notes build alongside a snare roll to the drop and back to full-on dark mode for the duration. ‘The Underground’ is up next, combining sick techno grooves with massive rave stabs and murky acid lines. Powered by a solid drum arrangement that packs a punch, this one is destined for peak time greatness. The first of two versions of ‘H.O.H’ begins with the Original Mix. Keeping with darker tones of the release, this one goes straight for the jugular as chunky kicks and pulsating, mesmeric basses combine along with clangy percussions and a classic vocal hook that will destroy the dancefloor. Another legend joins us to round out the release with Jam El Mar stepping up for remix duties on ‘H.O.H’. Hailed as a pioneer of trance alongside the late great Mark Spoon, Jam El Mar remains a much-revered name on the scene and we know amazing things happen when he’s let loose in the studio. Ramping up the energy on this one Jame El Mar whips up a frenzy to get the crowd moving. Heavy hitting kicks with layers of rhythmic percussions get the toes tapping while gnarly techno basses and electrifying synths combine alongside that instantly recognisable vocal. A monster tune that is not to be missed.

ohann Wolfgang von Goethe is always a reliable source for a good quote: "We must always change, renew, rejuvenate ourselves; otherwise, we harden." Sure as death, there is an excerpt of his that states the opposite. In the case of Robert Dietz, it holds true. Since his first appearance on Running Back in 2009 (Forward Snipping), he did a marvelous job staying on his toes as a producer and DJ.
Rejuve-Nation showcases his talent in various alleys of electronic (dance) music with Crane Song being the prime cut here. You will get exposed to proggy house with an intelligent brush in two slightly different mixes. Imagine if Euro dance went to get a college degree or a bumper car floor and you are almost there: an almost irresistible sing a long without lyrics.
If you need help afterwards, Deranged Self Therapy is exactly what you need. IDM meets new wave drums, poignant synths mix with an upbeat hook to create a ballet piece for lovesick robots.
Centro Di Gravita reconnects those qualities with the aforementioned Crane Song ones, while giving it an acid spin, before the ambient salts of Any Plan(t)s This Weekend closes the EP off like a confident sketch for the end of a beautiful summer. A bouquet of bangers for different needs.

Short: One Rejuve-Nation EP under a groove with Robert Dietz' return on Running Back. Proggy meets acid house, IDM leanings mix with stylistic devices of new wave and extra special ambient aerobatics round out the EP. Special attention goes to Crane Song and its peak time perfection. A bouquet of bangers for different needs.

For Twice Infinity’s second solo release, the London and Geneva-based DJ and producer GFX – one of the most active newcomers of the past years – makes his vinyl debut with the aptly named Vibing The Groove EP. His three original tracks span a wide array of playful, groovy, punching and driving techno that perfectly showcase GFX’s musical vision for the near future and mark a preliminary goal in his search for a unique musical expression since his release debut in 2020.

The B-side accompanies two remixes by equally exciting members of the next generation of producers; while the approach by Cuban techno activist Hioll is more to the point and made straight up for peak time sets, Manchester-based trance wunderkind Faster Horses explores his not so well know passion for funky and stepping contemporary techno.

As mui zyu, Hong Kong British artist Eva Liu searches for a portal, wandering between nothing and everything in her pursuit of peace. On her second full-length album nothing or something to die for she looks outward, embracing the chaos with each tentative step. mui zyu's debut album Rotten Bun for an Eggless Century saw her explore her heritage, as she dived inward to find acceptance and healing. Now, instead of searching for answers from the inside, Liu raises her head to look at the world around her. As she attempts to understand the complexities and significance of human existence, she observes apathy alongside overwhelming chaos; the technological advancements of connection with the lack of meaningful bonds and the frustrations of upholding standards set by others. nothing or something to die for tries to decipher these juxtaposing truths, holding both the weight of those trying to destroy the world with the utter futility of it all. Working with co-producer and fellow Dama Scout band member Luciano Rossi, the sonic world of nothing or something to die for encapsulates both the fleeting tranquility of serenity and the dissonance in chasing it. After all, our reality can change in an instant. Like the psychedelic tones of Ryuichi Sakamoto's Thousand Knives, the urgent techno-pop of Miharu Koshis Parallelisme or the eerie wanderings of Angelo Badalamenti's work for Twin Peaks, nothing or something to die for expertly toes the line between disorder and clarity

Das ursprünglich 2016 erschienene Album "Laugh Tracks" der amerikanischen Metalcore-Band Knocked Loose erscheint auf Vinyl in neuer Farbe.

Through his project Lionlimb, New York based singer/songwriter/producer Stewart Bronaugh crafts unfurling soundscapes that feel mysterious and otherworldly, yet timeless and nostalgic at the same time. He presents his most ambitious vision of these inner vistas on his new album, Limbo, arriving May 24th on Bayonet Records. Inspired by a palette of '70s Italian film soundtracks, '60s girl group music, and funk and soul ballads, Bronaugh brings these influences together to invent an immersive sound all his own-with help from close collaborator Joshua Jaeger, whose live drums bring a rawness to Limbo's meticulously layered production. Led by the smoldering single "Dream of You," featuring Angel Olsen, Limbo taps into universal themes of romance, longing, and loss, while still offering a hazy escape from our present reality. Bronaugh penned the songs with "classic" songwriting in mind, transforming his personal struggles with grief and addiction into love songs. Using images inspired by nature (like the sun, moonlight, hurricanes, and deep water), he expresses being overtaken by a force greater than himself, as the psychedelic production evokes a sense of being plunged into this vast landscape. Limbo benefits from its eclectic influences, as Bronaugh overlays sitar-sounding guitar on top of funky basslines, melodramatic string arrangements, and fuzzed out guitar, making for music that could easily belong on Twin Peaks just as much as a Western cowboy film. An album of duets, Limbo features a host of female vocalists-Angel Olsen, Ewa Synowiec, to Bion augil, nderstad ocal periora ne Bill bout vocal sad ate another instrument* he explains. "When we first tried to have someone else sing, I liked it, because I felt more akin to a producer than a songwriter." There's a dreamy quality to how these singers trade off with Bronaugh, both parties expressing his inner emotions. Limbo is a culmination of Bronaugh's years of production experience, as he composed, produced, and mixed the project almost entirely by himself, with additional recording from Robin Eaton. Always inspired to make bold and experimental choices that capture his instincts in the moment, Bronaugh's production style is informed by "wanting to do the weird thing that engineers wouldn't approve of," as he describes it. "My favorite part of making music is the mistakes."

Pressed on dark green BioVinyl housed in a gatefold cover.Cover and gatefold artwork by Scottish artist Paul Scott Canavan (Dungeons & Dragons, Magic: The Gathering). Includes 12" art card of original artwork. Uncover the secrets of the Scottish Highlands with this beautiful vinyl release of "A Highland Song", brought to you by Lost In Cult in collaboration with Black Screen Records and Inkle Studios. Moira McKinnon has never seen the sea. Tired of her life of seclusion, she runs away from home in search of adventure. A lighthouse can be seen in the distance, but to reach it she must overcome a beautiful yet perilous journey across the Scottish Highlands. This authentic Scottish score is comprised of a suite of hauntingly beautiful original tracks by Laurence Chapman (Heaven's Vault, Total War) complemented by iconic hits from Scottish folk industry legends TALISK and Fourth Moon that provide a rapturous, virtuosic sense of rhythm to Moira's great journey through a wilderness of paths, peaks, dangers and song. This record comes in luscious dark green eco-friendly BioVinyl and features beautiful artwork from Scottish artist Paul Scott Canavan, known for his work on Magic: The Gathering and Dungeons & Dragons. Paul has developed a beautiful piece of cover art showing Moira gazing out at the game's iconic lighthouse, as well as a breathtaking gatefold view of an authentic interpretation of Scottish scenery. Take in the view in your own time with a 12" art print to frame on your wall.

Following a short hiatus, Superlux Records returns for their 9th exploration into the expanses of house, techno, and electro by welcoming the exciting, emerging Dutch producer and DJ Mathijs Smit to their roster.

As soon as Smit grabbed the attention of the Superlux crew with his hybrid production style and trademark vocoder work, they knew these were earworms destined for their catalog. Marking his first solo EP since 2021, Smit showcases his development In the studio on the 'Twisted Minds' EP with four modern, stylish house cuts loaded with versatility for use from peak time to warm up.

The release starts as it means to go on with 'Changed My Mind (But Not Myself).' A sleek, forward-thinking house jam that salutes to the past with a fast-paced, organ bass melody and intricate drum-machine programming, setting the tone nicely for what's to follow. The A-side wraps up with 'My Mind Is Yours'. Shades of golden-era Italian progressive to this one, a straight no-nonsense feel-good party starter; mark your cards for summer.

On the flip, we get deeper into the groove starting with 'Plugger'. A shuffling beat underscores a moodier bassline with acid flourishes to give this one a bit more of a basement feel, although the bright synths do leave enough versatility in this one to work in multiple settings; a testament to Smit's dexterity on the buttons! Closing out proceedings is the interminably funky 'Quiero, ' the last track submitted by Smit, which is suitably the one to close out a seriously impressive debut on the imprint.

The release continues Superlux's proud lineage of discerning dance music, with Smit being a welcome addition to a roster already sporting the quality of N-GYNN, Paul Blackford, LVCA & Thoma Bulwer. Expect more as the label continues its development in 2024 and beyond.

‘Life On Other Planets’ is Supergrass’ fourth studio album, which peaked at #9 in the UK charts. (Norway#13, Australia #22, France #44).

Released as 1LP black heavyweight vinyl, 2LP white 12”, green and black 10” vinyl and 3CD with demos and live versions.

This 2023 re-issue has been fully remastered from original sources and includes the hit singles ‘Grace’ (UK #13), ‘Seen the Light’ (UK#22), ‘Never Done Nothing Like That Before’, ‘Rush Hour Soul’.

Gatefold 1LP is a faithful reissue of the original album

2024 Repress

Coming in hot off their latest Watergate Mix Adana Twins deliver their first EP stemming from the mix itself putting what could be the standout track off the compilation: their remix of Patrice Bäumel's 'Roar' front and center. Taking the hugely successful original which could be considered as much a tool as it is a peak time bomb, the duo twist the initial anthem into a climactic, euphoric ride by adding their signature percussion and shimmers of melody while utilizing the original's spine tingling tension to create an absolutely massive and memorable dance floor experience. Flipping to the B-side, Adana Twins present 'Aufstand der Massen' where they dive into the ethereal corners of dramatic Techno reminiscent of the 'Jupiter' EP from early this year creating a flawlessly executed trip into enchanted territory. Having already been in constant rotation of heavy hitters like Solomun and Tale Of Us is proof enough that Adana Twins have a hit on their hands and now it's time for you to have it too.

Syncrophone Presents the Very First Vinyl Release From Aleqs Notal’s Label : Industrial Light. This Premiere Sees Notal Partnering Up With Long Time Friend and Fellow Producer Modern House Quintet. Throughout Four Tracks &Ndash; Two From Each Musician &Ndash; This Release Dives Into Several Sub-Genres of Electronic Music and Provides Four Compelling Songs. on the A1 Side, Message From the P Opens Up the Record With a Classical Notal’s Signature Sounds : Ron-Trent-Ish Pad and Organ Samples, Supported by Additional Snares and Several Lines of Hi-Hats. This Delicate House Track, With Its Acid Line Chord Core Is Perfect to Open Up a Set. A2 Drinking Workers Sees Notal Weave His Hi-Hats Patterns Around a Typical Detroit-House Bass Line. Architected and Thought Like Scratches (Due to His Hip-Hop Background), Hi-Hats Set the Tone and Enhance the Track as a Back-and-Forth Game With the Bass, Contributing to the Overall Depth of the Song. Once Again, Notal Shows His Creativity About Blending Different Sub-Genres Into a Single Track. on the Flip Side, Modern House Quintet Presents Two Very Different Tracks (Although Both Are Clearly Made for the Floors). B1 Nadrezacalenis Associates Several Layers of Shakers and Subtle Hi-Hats &Ndash; Combined With Percussion &Ndash; in Order to Emphasize the Lush Rhodes Chords And, Later, the Entrancing Vibraphone Notes. Last but Not Least, B2 Dioskouron Is Clearly a Track for a Peak Time Moment. With Its Detroit-Techno Atmosphere, Its Tr-909 Drums Pattern, Its Textures (The Discreet, Yet There, Pad) and Its Pace, DJs Can Rely on This Great Addition for an Ideal 3 Am Set to See Heads Nod and Bodies Swing. as for All the Previous I.l Releases, Artwork Is Made by Jn/wl. ...

Das zweite Album der Supergroup um Ipecac Label-Mitinhaber Mike Patton (Faith No More, Mr. Bungle) mit Buzz Osborne (The Melvins), Dave Lombardo (Slayer, Misfits) und Trevor Dunn (Mr. Bungle) mit Coverversionen von Titelmelodien aus Horrorfilmen und TV-Serien. Einzel-LP mit ausklappbarem Poster. Jetzt, zum 25-jährigen Jubiläum des Labels, zum ersten Mal einzeln auf Vinyl erhältlich und mit dem Original-Artwork! Bisher konnte man die Platte nur als Teil des 2014 erschienenen Wunderkammer-Boxsets erwerben mit anderem Artwork.

Das zweite Album der Supergroup um Ipecac Label-Mitinhaber Mike Patton (Faith No More, Mr. Bungle) mit Buzz Osborne (The Melvins), Dave Lombardo (Slayer, Misfits) und Trevor Dunn (Mr. Bungle) mit Coverversionen von Titelmelodien aus Horrorfilmen und TV-Serien. Einzel-LP mit ausklappbarem Poster. Jetzt, zum 25-jährigen Jubiläum des Labels, zum ersten Mal einzeln auf Vinyl erhältlich und mit dem Original-Artwork! Bisher konnte man die Platte nur als Teil des 2014 erschienenen Wunderkammer-Boxsets erwerben mit anderem Artwork.

Mit "Eggsistentialism" kehrt das Psych-Punk-Pop Duo The Lovely Eggs nach einer fast vierjährigen Pause seit ihrem Indie-Nummer-Eins-Album "I am Moron" zurück. In dieser Zeit haben sie ihre eigene Fernsehsendung Eggs TV gemacht (mit Ian McKaye, Stewart Lee, Katie Puckrik, Maxine Peake, David Shrigley und anderen), ein Duett mit Iggy Pop gegeben, eine Menge ausverkaufter Konzerte und Festivals gespielt und eine Kampagne zur Rettung der Lancaster Music Co-op (ein gemeinschaftlicher Proberaum und Aufnahmestudio, in dem sie leben) geführt.Wie der Titel schon andeutet, erforscht "Eggsistentialism" eine viel persönlichere, introspektivere und nachdenklichere Seite der Welt von The Lovely Eggs und lässt die Eggs neue Klänge erforschen und in unerforschten musikalischen Gebieten experimentieren."Wir haben seit 2020 keine neue Platte mehr veröffentlicht und in der Zwischenzeit haben wir hier versucht, das Recht auf einen Lebensstil zu verteidigen, den wir hier in dieser Stadt in den letzten 30 Jahren als arbeitende Musiker genossen haben, die sich weigern, einen "normalen" Job zu bekommen. Es geht darum, an etwas zu glauben und nicht loszulassen. Aber dieser Unwille, aufzugeben, fordert letztendlich seinen Tribut. Es fängt an, dich zu zerstören, und das Album ist eine Art Dokumentation dieser Zerstörung und des Zusammenbruchs sowie der Stärke, die wir haben, um das alles zu überstehen. Letztendlich ist dies ein hoffnungsvolles Album über das Überleben." Aufgenommen zu Hause in Lancaster, produziert zusammen mit Dave Fridmann (u.a. MGMT, Sleater Kinney, Mercury Rev sowie Grammy für Flaming Lips), wurde das Album in den Tarbox Road Studios in New York mit von ihm und der Band abgemischt. Atemberaubendes Artwork wieder von Illustrator Casey Raymond.

"Weatherday is the noise-pop project of the mononymous Swedish artist Sputnik. While they have also found success with their side project, Lola's Pocket PC, it is their cult-acclaimed album Come in that has garnered them a large and dedicated following through its raucous musical universe and serpentine sparklepunk stylings. Often heralded as an achievement of lo-fi bedroom pop tangled with threads of emo and DIY, Come in is better described, in its author's own words, as a 'life goal.

The initial spark that ignited the fiery, heated debut from Weatherday originated from Sputnik's desire to write, perform, and produce a record all on their own, from the ground up. Starting in 2014-2015, their preliminary attempts at what would eventually become Come in first materialized as a shoegaze EP, and then a dream-pop meets chamber-pop LP. Ever the perfectionist though, Sputnik wasn't satisfied with the results and deleted the releases without a trace, finally deciding to set out in the direction of something more akin to their longtime influences of emo and its various subgenres.

After two years of tinkering in this stylistic sweetspot, Sputnik settled on the eleven knotted, maximal tracks that comprise Come in. From the caustic, harsh peaks of 'Sleep in while you're doing your best' to the soothing piano-laden passages of 'Embarrassing paintings' and experimental, granular coda of 'Water dreamer the same,' the range of Weatherday's debut is doubtlessly a product of an artist who refuses to compromise a single shred of their vision."

Mit "Eggsistentialism" kehrt das Psych-Punk-Pop Duo The Lovely Eggs nach einer fast vierjährigen Pause seit ihrem Indie-Nummer-Eins-Album "I am Moron" zurück. In dieser Zeit haben sie ihre eigene Fernsehsendung Eggs TV gemacht (mit Ian McKaye, Stewart Lee, Katie Puckrik, Maxine Peake, David Shrigley und anderen), ein Duett mit Iggy Pop gegeben, eine Menge ausverkaufter Konzerte und Festivals gespielt und eine Kampagne zur Rettung der Lancaster Music Co-op (ein gemeinschaftlicher Proberaum und Aufnahmestudio, in dem sie leben) geführt.Wie der Titel schon andeutet, erforscht "Eggsistentialism" eine viel persönlichere, introspektivere und nachdenklichere Seite der Welt von The Lovely Eggs und lässt die Eggs neue Klänge erforschen und in unerforschten musikalischen Gebieten experimentieren."Wir haben seit 2020 keine neue Platte mehr veröffentlicht und in der Zwischenzeit haben wir hier versucht, das Recht auf einen Lebensstil zu verteidigen, den wir hier in dieser Stadt in den letzten 30 Jahren als arbeitende Musiker genossen haben, die sich weigern, einen "normalen" Job zu bekommen. Es geht darum, an etwas zu glauben und nicht loszulassen. Aber dieser Unwille, aufzugeben, fordert letztendlich seinen Tribut. Es fängt an, dich zu zerstören, und das Album ist eine Art Dokumentation dieser Zerstörung und des Zusammenbruchs sowie der Stärke, die wir haben, um das alles zu überstehen. Letztendlich ist dies ein hoffnungsvolles Album über das Überleben." Aufgenommen zu Hause in Lancaster, produziert zusammen mit Dave Fridmann (u.a. MGMT, Sleater Kinney, Mercury Rev sowie Grammy für Flaming Lips), wurde das Album in den Tarbox Road Studios in New York mit von ihm und der Band abgemischt. Atemberaubendes Artwork wieder von Illustrator Casey Raymond.