Search:post

We are thrilled to announce the vinyl reissue of "You Scare Me To Death" by the legendary Marc Bolan, a unique collection that captures the raw talent and charismatic essence of one of rock’s most iconic figures. Originally released posthumously, this album features early demos and unreleased tracks, giving fans an intimate glimpse into Bolan's creative process before he achieved stardom with T. Rex. Known for his magnetic stage presence and distinctive voice, Bolan was a pioneer of glam rock, blending rock, folk, and pop elements in a way that defined an era. On "You Scare Me To Death," Bolan’s lyrical depth and soulful guitar work shine, supported by skilled musicians who bring his vision to life with rich textures and captivating rhythms. This vinyl edition offers an opportunity for collectors and new listeners alike to experience these rare recordings with enhanced clarity and warmth.

We are thrilled to announce the vinyl reissue of "You Scare Me To Death" by the legendary Marc Bolan, a unique collection that captures the raw talent and charismatic essence of one of rock’s most iconic figures. Originally released posthumously, this album features early demos and unreleased tracks, giving fans an intimate glimpse into Bolan's creative process before he achieved stardom with T. Rex. Known for his magnetic stage presence and distinctive voice, Bolan was a pioneer of glam rock, blending rock, folk, and pop elements in a way that defined an era. On "You Scare Me To Death," Bolan’s lyrical depth and soulful guitar work shine, supported by skilled musicians who bring his vision to life with rich textures and captivating rhythms. This vinyl edition offers an opportunity for collectors and new listeners alike to experience these rare recordings with enhanced clarity and warmth.

Es ist das Jahr 2012. No Future war gestern, Phon heißt jetzt dB und sogar das Internet hat sich halbwegs
durchgesetzt. Nun auch noch „auch“. Hast du nichts Besseres zu tun als die die ärzte zu hör’n?
Das Ende ist noch nicht vorbei. Die Beste Band der Welt ist jetzt eine Demokratie, ein Triumvirat
des guten Willens, eine GbR der Gerechtigkeit und sie haben viel zu viel Zeit, um sich nicht um den Rock
zu kümmern. Und natürlich um alle Phasen der engeren Beziehung zwischen Männern & Frauen & allen
anderen. Vom mehr oder weniger schüchternen Balzverhalten beim mehr oder weniger hoffnungsbeladenen ersten Fernblickkontakt bis zum passiv-aggressiven Psychoterror der Post-Partnerschaft. Philosophisch
wird’s obendrein.
„zeiDverschwÄndung“ fragt nach dem Sinn unseres Daseins und ob wir nicht einfach mal irgendwas anderes machen sollten, als Fan von BelaFarinRod zu sein. „Tamagotchi“ stellt den schwierigen ethischen
Problemen im beginnenden Zeitalter der Künstlichen Intelligenz eine wahre Hymne an Emotion entgegen.
„Waldspaziergang mit Folgen“ liefert einen ganz neuen Denkansatz der Theosophie. „M&F“ hingegen
wollen in aller Regel einfach nur in allen Konstellationen poppen.
die ärzte: Jetzt mit der absoluten Leere, ordentlich HeyHey!, einem Gott im Regal und der entscheidenden
Frage: Ist das noch Punkrock?

Ka§par & Sheri Vari! Vault! Death Posture! Muzikalist! All these incredibly talented artists are on the latest release of In The Dark Again!
They deliver four tracks full of gloomy beauty and bitter sweet delight. Let yourself be enchanted by this very special record.
Better be quick as this release is limited to 100 vinyl copies only.

Barro Music Label sigue apostando por el techno más duro y oscuro y por eso, su lógico paso siguiente era publicar un EP de NX1. Necesitaríamos mucho espacio para describir todo lo que significa NX1, pero dejémoslo en que es el proyecto de los barceloneses Surit y Samot con el que llevan varios años reventando amplificadores y haciéndonos bailar hasta la extenuación. Con este AKA han publicado en sellos tan top como Bite, Semantica, Planete Rouge y Earwiggle, además de en Nexe Records, su propia casa (discográfica). Ahora podemos escuchar sus últimos temas en Barro, en un disco que reúne cuatro temas y una remezcla de Nöle. No será la última vez que los veamos juntos, ya que han unido fuerzas para crear un nuevo sello llamado Kätte que ya ha publicado su primera referencia.

En BR1 nos traen un contundente temazo de techno industrial post-apocalíptico dominado por un bombo atronador en el que destacamos el gran diseño de sonido. Los dos siguientes temas están más enfocados a la pista y son una gran muestra del lado más duro y oscuro de NX1. BR2 es una composición hipnótica con sonidos industriales y afilados con un bombo con una pegada tremenda y un bajo que se te queda marcado en la piel. Y aunque parezca imposible, el EP continúa con un tema incluso más duro: BR3. NX1 alcanzan una intensidad increíble en esta composición, marcada por unos sintetizadores saturados, un sonido duro y agresivo y un sample que te ordena obedecer. Para el siguiente tema, bajan los BPMs y se centran en crear una atmósfera industrial, que nos inspira imágenes de carreteras desiertas y ciudades abandonadas. Por su parte Nöle, pilla BR2 y le da protagonismo a los samples vocales mientras juega con el ritmo, creando otro irresistible rompepistas.


Support from: Dave Clarke, Phase Fatale, The Hacker, Lokier, NX1, Unhuman, Alienata, Reka, and many more.


Texto: El Garaje de Frank

An imperial phase Actress commits a lushly amorphous installation piece made for the Berliner Festspiele to vinyl, rendering a post-industrial symphony full of iridescent shifts in gyring, OOBE-like spatial coordinates landing somewhere between nutopian ambient, kankyō ongaku and sawn-off bass science.

‘Grey Interiors’ was made in collaboration with Actual Objects and is an absorbing animation and navigation of those post-human ideals that have prompted Darren J. Cunningham to his best work across the preceding two decades. In its hypnagogic symphony of the elements, he short-circuits distinctions of classical music’s metric freedoms and the hyperspatial sensuality of concrète/electro-acoustic and ambient musics with an artistic license that has come to distinguish his work in the contemporary field, and arguably identified him as this generation’s most vital electronic abstractionist.

The first half of the album is bewitchingly airless, materialised in a twinkling vacuum. Naturalistic environmental recordings and a half-heard piano swirl around nauseous airlock whooshes and eerie bass drones. It's all pulverised to a powdery, shimmering residue; if Actress's music is defined by its character and texture - that sweet spot between the bedroom and the soundsystem - then this one advances the narrative without losing its backbone. And like a lot of his best work, it comes into its own on the back of zonked eyelids, conjuring a play of shifting geometric patterns within its imaginary physics and nuanced narration of ephemeral melodic phrasing and vaporous textures.

At about the halfway point, that dissociated piano finds its groove, coalescing into a jerky drum machine rhythm popping like bubbles in the stifling atmosphere. We can draw some intersecting lines here thru electronic music lore - traces of vintage AE, Push Button Objects, UR - but Actress always leaves an indelible fingerprint on anything he touches. Even when he's rubbing against the gallery-industrial complex, he manages to fill a stagnant space with electricity and wit; look at the title itself: is it a reference to the "landscape beyond man" as the installation's press release might have us believe, or the institutions themselves?

At the border of genres, OGIVES is an ambitious musical project, initiated and led by composer and musician Pavel Tchikov. This large ensemble leads us onto a path to a sacred universe, to a cathedral of sounds, whose foundations are rock and classical music. Born in Liège (Belgium), OGIVES offers a resolutely intense personal and poetic work, dominated by layers of melodious, polyphonic, shouted or lyrical voices. This first album from OGIVES, 'La mémoire des orages' (The Memory of Storms), is build and orchestrated around poems written by two members of the group. These texts revolve around the themes of the perception of time and the perspective of death. We find here all the group's influences, ranging from post-rock, prog' to contemporary music, baroque and medieval music, through electronic music and noise, all exploited to forge a homogeneous and singular material. From the first choral notes to the last sharp riff, it is a dense and melancholic epic, carried by inhabited and versatile musicians. The album was mixed by Steve Albini.

It’s a decidedly busy time at INVINC HQ at the moment with the 10-year anniversary looming in May.
The six months preceding this date are peppered with a flurry of releases every couple of months, which started with the Mondo Ritmo EP that came in October, the Gamma Knife LP in December and now this brand new album by Sordid Sound System, which lands early March before a rather promising sounding 2xLP compilation lands in May to mark the occasion. 


It’s been a good few years since something by Sordid Sound System aka Stuart Evans has been released on the label and it’s a welcome return. In our opinion it's some of Evans’ best work and so it’s a pleasure to have him back on board the good ship Inc. 


Remarkably, this music is even harder to pigeon-hole than usual...even for Stu, who’s known for his raw, analogue, live takes that veer between dub and post-kraut this is definitely quite "different": part surf acid, part dub, part psych-exotica, part motorik...and that's just the A-side. The B-side leans more towards ambience but of the oddball experimental soundtrack variety...a thoroughly enjoyable ride.
Enjoy the trip.

Its sound veers away from raw black metal intensity, opting for expansive, dreamy
atmospheres. Damian Anton Ojeda's signature approach tempers the harshness of
black metal's usual bleakness with a delicate sense of beauty and melancholy. The
album builds around shimmering guitars and lush soundscapes, creating a sense of
longing rather than the frostbitten aggression typically associated with the genre.
A key characteristic of "I Want to Be There" is how the screamed vocals--reminiscent
of depressive black metal--are mixed to blend seamlessly with the instrumental layers.
This intentional obscuring of vocals, pushed toward the back, transforms the vocals
into another textural element rather than a dominant force. This aesthetic decision
diffuses the emotional weight usually carried by extreme metal vocals, steering the
listener away from despair and toward introspection.
The balance between black metal's darker elements and post-rock's ethereal qualities
gives this record its emotional depth. The opening and closing tracks, "In the Distant
Travels" and the title track, lean more heavily on black metal structures but never fully
embrace the genre's typical harshness. Instead, the fuzzy guitars and crashing
cymbals are imbued with hope and uplifting energy. The post-rock influence becomes
more pronounced in tracks like "I Want to Be With You," which forgoes black metal
vocals entirely in favor of a choral atmosphere, evoking a serene and heavenly quality.
Ojeda also demonstrates his talent for creating immersive soundscapes, drawing
comparisons to *Sigur Ros*. Both artists employ sweeping melodies that evoke
feelings of transcendence. Still, where *Sigur Ros* tends to embrace more overtly
uplifting and sentimental tones, Sadness anchors these grand moments in
melancholy, avoiding overindulgence. The album is a delicate dance between light and
shadow, making the listening experience emotionally rich and layered.
While it may not have the raw emotional punch of *Deafheaven* or the nostalgic
charm of *Alcest*, *I Want to Be There* stands as a polished and thoughtfully
composed entry into the post-blackgaze genre. Ojeda's ability to fuse the weightless
hypnosis of black metal with the airy beauty of post- rock results in a sound that is
both familiar and new. Sadness offers a captivating and often beautiful exploration of
blackgaze, making the album a worthwhile listen for fans of atmospheric and
introspective metal.

The lost companion EP to The Unbearable Tightness of Being, by Ohio's,
Sweetheart
Recorded by the band in a warehouse in Columbus, Ohio, spring 2005.
A single sided 12" record containing one 12 minute song. Limited to 300 copies on
180 gram vinyl and digital.
This record is meant to go together with EW017- Sweetheart- The Unbearable
Tightness of Being LP. We highly suggest getting both records.
Sweetheart's latest offering, "The Process Of Making Us Well," serves as an intricate
sonic landscape woven with a fearless fusion of genres, defying the established
norms of post- hardcore. This one- track EP, released under theExpert Work Records
banner, is not just an auditory journey but a rock-solid proof of their ability to blend
post-hardcore, noise rock, punk, screamo, emo, and indie influences into an immersive
sonic experience that transcends conventional boundaries. Setting themselves apart
from the early noughties post- hardcore scene, Sweetheart skillfully navigate away
from the cliches that often haunted many underground acts of the era. "The Process
Of Making Us Well" unfolds as an epic composition, a 12-minute sonic odyssey that
takes the listener on a transformative journey. The band showcases a mastery of
dynamics, skillfully transitioning from serene, ethereal instrumentations to intense,
powerful crescendos, creating an emotional landscape that captivates the listener
from scratch to finish.
Released as part of Expert Work Records' series, "The Process Of Making Us Well"
holds the distinction of being Sweetheart's longest recorded piece. The record arrives
in a high- quality cardboard sleeve, decorated with an entirely minimalistic lettering,
leaving audio content in the sole focus. It's a wise choice, considering that
Sweetheart's music deserves your utmost attention. "The Process Of Making Us Well"
is an essential exploration into endless possibilities of post- hardcore, noise rock,
screamo, and emo music. Sweetheart, sadly overlooked amidst a sea of similar bands
during their era, emerges as a beacon of innovation with this remarkable release. "The
Process Of Making Us Well" solidifies Sweetheart's status as one of the best bands of
their time, a hidden gem deserving of retrospective recognition and appreciation

All songs recorded and mixed by Pat Lilley at Nexus Recording Studio in Waukesha
Wisconsin between 1998-1999. Songs 1,2, and 4 originally appeared on Parallel
Chlorophyll Regions (Highwater Records 005) 1998. Song 3 originally appeared on
Akarso/Seven Days of Samsara Split 7" (Ricky Schroeder Fan Club 001) 2000. Songs
5-8 originally appeared on Akarso/Faraquet Split CD (404 Records 002) 1999.
Milwaukee's underground scene of the late 1990s harbored many hidden gems, and
Akarso is certainly one of its finest. Blending elements of post-hardcore, math rock,
screamo, and noise rock, the trio quickly made a name for themselves during their
short yet intense existence. Their chaotic and intricate sound earned them a loyal
following within math and post-hardcore circles, and they toured extensively, leaving
behind a legacy that would influence the Midwest's underground music scene for
years to come. With Leave Quietly: 1997-1999, Akarso's complete recorded catalog has
been unearthed, giving listeners a chance to experience the raw energy and innovative
sound of a band that was well ahead of its time. Released through Expert Work
Records, this LP collects Akarso's recorded output from their brief but impactful run.
Featuring Nathan Lilley on vocals and guitar (who would later gain notoriety with Call
Me Lightning), Joe Wong on drums (now a prolific composer for TV and film and host
of The Trap Set ), and Greg Roteik on bass (of Key of Evil fame), the trio's musical
chemistry is undeniable. Their dynamic interplay and knack for combining dissonance
with technical precision is immediately apparent, and this collection serves as both a
time capsule and sheer example of their musical skills.
The songs feel unpolished in the best possible way, full of jagged guitar riffs, off-kilter
rhythms, and aggressive vocals. It's easy to hear why Akarso garnered attention
during their brief career: their music demanded attention. Tracks from the collection
highlight their ability to balance complex structures with visceral energy, reflecting
their post-hardcore roots while pushing into more experimental territory. At the heart
of Akarso's sound is their seamless blending of math rock's technical precision with
the ferocity of post-hardcore and noise rock. The intricate guitar work of Nathan Lilley,
coupled with the driving rhythms of Joe Wong and the powerful basslines of Greg
Roteik, creates a tense and unpredictable musical experience. Time signatures shift
without warning, dissonant riffs collide with frenetic drumming, and Lilley's vocals
pierce through the chaos with a cathartic and desperate intensity.
It's a challenging, chaotic, and emotionally charged album that captures the intensity
of Akarso's live performances and the raw energy of their songwriting. More than two
decades later, Akarso's music remains as vital and relevant as ever, and this collection
that their legacy will continue to inspire future generations of musici

Capturing phantom drones behind dusty beats and haunted twangs, Ellis Swan and James Schimpl return for their third album as Dead Bandit. Locked into a musical language unique to their collaboration, the duo once again put us out to pasture across broad sonic plains, drums flapping like loose fence panels in the prairie breeze and bass rumbling like distant thunder. True to their previous two records, Swan and Schimpl keep the strung out guitars at the front of what they do, whether playing a naked, desolate strum or running six strings through disruptive effects processing until they're barely recognisable.
But while there are details of disturbance when listening to Dead Bandit's self-titled record up close, the wider impression is a smoother, more direct affair that toys with post-rock complexity and matches it with the emotional weight of melodic simplicity, gentle grooves and conscious arrangements. 'Weeds' offsets its languid fuzz guitar with shimmering sustained notes before settling into a patient, heavy-hearted composition charged with heartbreak leads pealing out in the middle distance.
By comparison, 'Glass' has a smoky, half-hidden backroom quality. Its brushed whisper of a beat, lingering guitar drones and subtle sub bass come on like a dub wise flip of a sad-eyed country ballad. The mood maintains on 'Half Smoked Cigarette', which captures the grey sky sullenness of post-punk and reframes it in the seductive isolation of rural America. While there's a thickness to the sound on these most direct of tracks on the album, there's also fragility inherent to the sound world Dead Bandit have been shaping out over these past few years.
'Buttercup' swaps sadness for sinister undercurrents, once more drawing on fulsome low end to fill out the sparse threads of instrumentation up top. 'Pink' finds a steady momentum for its own brand of brooding mystery, the sharp end of the beat bringing focus to the many-layered approaches to the guitar which roundly define the Dead Bandit sound. There's an even clearer direction mapped out in the vintage drum machine pulse of 'Koyo', all the better to carry swirling effects treatments and moody melodic figures. Even in these ominous climes there's space for plaintive, endearing hooks which land as the most direct phrases in Dead Bandit's musical lexicon to date.
The fundamental sound across this album holds true, but Dead Bandit are never bound to a singular practice. 'Lucien's Bitters' strikes up a pronounced drum machine beat which comes on like 90s downtempo, and it feels like a natural vessel for the heavy, shoegaze tinted lament of the guitars. At every turn, Swan and Schimpl prove their affinity for all kinds of approaches, and yet the end product is a deeply cohesive, immediate listen that shows just how clear their creative vision really is.

Die beliebte Compilation "The Very Best Of Talk Talk" wird in einer überarbeiteten und Karriere übergreifenden Fassung neu aufgelegt. Im Vergleich zur ursprünglichen Veröffentlichung von 1997 bietet die Neuausgabe die größten Hits der Band in chronologischer Reihenfolge. Zudem enthält sie eine überarbeitete Aufnahme vom letzten Album der Band, Laughing Stock.

Die Wiederveröffentlichung erscheint am 14. März als 2LP im schwarzen Klappcover sowie auf CD.
Gegründet 1981 von Mark Hollis, Lee Harris und Paul Webb, erlangte Talk Talk mit ihren ersten beiden Alben The Party's Over und It’s My Life weltweiten Ruhm. Songs wie "Talk Talk", "Today", "It’s My Life" und "Such a Shame" wurden zu zeitlosen Klassikern und erreichten die Top 40 der britischen Charts. Mit The Colour of Spring (1986) wagte die Band erste Schritte in Richtung experimenteller Klänge, die schließlich in ihrem gefeierten Meisterwerk Spirit of Eden gipfelten. Ihr letztes Studioalbum, Laughing Stock, erschien 1991 und markierte einen weiteren Wendepunkt hin zum Post-Rock.
Talk Talk wird oft als Pionier des Post-Rock angesehen. Ihr Einfluss erstreckt sich auf Künstler wie Kate Bush, Tears for Fears und Radiohead. Zudem haben viele Musiker die Werke der Band neu interpretiert, darunter No Doubt, die mit ihrer Version von "It’s My Life" einen internationalen Hit landeten.

compiled by tsunaki kadowaki
artwork by yoshirotten
mastering by kuniyuki takahashi

Tsunaki Kadowaki, a staff member at Kyoto’s record store Meditations, the supervisor of "New Age Music Disc Guide", and the founder of Sad Disco, curates the fourth installment of "Midnight in Tokyo" themed around Ambient Kayō.

The Midnight in Tokyo series by Studio Mule focuses on Japanese music, serving as a soundtrack for Tokyo nights—whether for home listening, club play, or as a driving BGM, transcending location and space. After a six-year hiatus, the fourth volume takes "Ambient Kayō" as its new perspective, compiling genre-defying tracks released between 1977 and 1999 to explore the intersection of Japanese ambient and pop music.

For this long-awaited fourth installment, selections were made regardless of record label status (major or independent), era, format (vinyl or CD), original release price, or prior reissues. Instead, the focus was on music that deeply moves the listener, is open-minded and evocative, brims with inspiration and spiritual insight, and embodies the "utagokoro" (singing heart) of Japanese artists.

Opening the compilation is "Umi e Kinasai" by Yōsui Inoue, a legendary Japanese singer-songwriter whose works have recently gained renewed interest as hidden gems of Walearic and ambient pop

Composed and arranged by Katsu Hoshi—who is also known for his arrangements on Inoue’s masterpiece Ice World—the track features renowned players such as Masayoshi Takanaka, Hiroki Inui, and Shigeru Inoue. The song embodies a yearning for Balearic horizons, tinged with youthful vibrancy and sentimentality.

Next, "Oritatamu Umi", compiled from Keiko Nosaka, a 20-string koto player, and George Murasaki, a pioneer of Okinawan rock, is an instrumental track from their album "Niraikanai Requiem 1945". As the title suggests, it carries themes of requiem and remembrance, conveying poetic lyricism even without words. Blending Ryukyuan/Okinawan harmonies and indigenous elements, it unfolds as an intimate and nostalgic piece of progressive rock.

Also featured is "Natsu no Kowareru Koro" by Higurashi, a folk-rock band led by Seiichi Takeda, formerly a guitarist of The Remainders of The Clover, the predecessor of RC Succession. Like the opening track "Umi e Kinasai", this song was also produced by Katsu Hoshi. It stands as a folk/new music piece that takes a step into an "otherworldly" realm, recommended for fans of Twin Cosmos and Masumi Hara.

From the enigmatic Blue, the only work left by the mysterious composer S.R. Kinoshita, comes "Mangrove", a hidden treasure of Japan's ambient/new age scene from the CD era. With an oriental and enigmatic atmosphere, the track evokes a mystical world of deep, uncharted jungles, unfolding as an otherworldly New Age Kayō.

"Yaponesia Sakura", selected from Rehabilual’s sole album New Child, is a masterpiece of Japanese new age music. Produced by Swami Dhyan Akamo, a disciple of Indian meditation teacher Osho and a renowned balafon player, the track features Michio Ogawa (Chakra) and Atsuo Fujimoto (Colored Music). Their collective artistry creates an exquisite spiritual ambient pop sound.

"Asa no Hitoshizuku", the opening folk song from Sachiko Kanenobu’s album Sachiko, is also included. Known for her legendary folk album Misora, produced by Haruomi Hosono, Kanenobu’s fourth album after resuming her career was inspired by her experiences living in San Francisco and revolves around the theme of "love." This track carries the same intimate poetic world as Misora, imbued with a pure, crystalline innocence.

From the synth-pop band E.S. Island, known for the Haruomi Hosono-produced *Teku Teku Mami", comes "Yume Fūrin ", selected from their long-lost new age classic Nanpū from Hachijo. Created while the band’s core duo was living in Hachijō Island, the album aimed to sonically capture "the high and happy vibrations of everyday island life." This track offers a dynamic, tribal-infused New Age Kayō experience.

Dubbed "the world's first Min’yō House Mix" "Esashi Oiwake (Maeuta) " comes from Kanazawa Akiko HOUSE MIX Ⅰ, a collaboration between Japanese house music pioneer Soichi Terada and Akiko Kanazawa, a renowned min’yō singer. Through the prism of club music, Hokkaido's Esashi Oiwake, one of Japan’s most iconic folk songs, is transformed into a futuristic ambient pop piece with intricate sound design.

The compilation also includes "Sweet Ong Choh", a track from Voice From Asia, a group active between 1989 and 1992 featuring vocal artist Shizuru Ohtaka. Taken from their imaginative minimal work Voice From Asia, released under Aoyama Spiral’s music label Newsic, the song presents a tranquil, tribal-minimal soundscape enriched by ethnic instruments.

Hailed by Haruomi Hosono as having “a shaman residing in her voice,” singer-songwriter Nami Hōdatsu also appears in the selection. Known for her collaborations with Henry Kawahara, her debut album featured "Asa-Hikari-Ame-Yume", a track that now stands as a precursor to modern vocaloid/synthesized vocal music—a hidden gem of post-choir aesthetics that deserves rediscovery.

Likewise, "Tennessee Waltz", from Naomi Akimoto’s album One Night Stand, supported by members of Mariah, serves as another early prototype of vocaloid/synthesized vocal music. The track weaves fragmented vocal samples, pastoral yet sweetly minimal synth sounds, and mechanical beats into a strikingly unconventional piece in the history of Japanese music.

Closing the compilation is "Heaven Electric", a track from Nav Katze’s album Gentle & Elegance, which featured remixes by Autechre, Seefeel, and Sun Electric. Merging elements of IDM, ambient techno, and chillout, the song embodies an optimism reminiscent of space music while seamlessly blending a mystical Japanese aesthetic—an ambient pop masterpiece.

---

The album presents 12 exquisite pop tracks infused with an ambient feeling, resonating deeply with the evolving landscape of the mid-2020s—a time of post-hyperpop and Y2K revival.

Tsunaki Kadowaki (Compiler)

Born in 1993 in Yonago, Tottori, Tsunaki Kadowaki is a staff member and buyer at Kyoto’s Meditations record store. He is the editor of New Age Music Disc Guide (DU BOOKS) and a contributor to Music Magazine, Record Collectors' Magazine, ele-king, and more. Kadowaki has written liner notes for multiple Japanese releases (Brian Eno, Masahiro Sugaya etc.) and runs the Sad Disco music label under Disk Union. He also curates Spotify’s official New Age Music playlist and performed as a DJ at YCAM’s Audio Base Camp #3 in 2024.

Members went on to Sinkane, and Pompeii, This Morning. Originally recorded in the
summer of 2005 out west, while on tour, by Vince Tennant. The recording had been
shelved and unreleased. In 2023, Expert Work Records reached out to Sweetheart and
got the recording re-mastered. It will be released on limited vinyl and digital.
This is also a companion piece/ record with EW018 (Sweetheart- The Process of
Making Us Well). We highly suggest getting both records.
Sweetheart's "The Unbearable Tightness Of Being" is one of those records you should
put on your radar as soon as possible. A rediscovered artifact from 2005, the album is
a sonic panorama that intricately incorporates post- hardcore, noise rock, punk,
screamo, and indie elements into an innovative and complex sonic landscape. The
guitars, wielded with finesse, serve as the driving force behind Sweetheart's sonic
assault. From the opening chords to the closing refrains, they deliver a relentless
barrage of riffs that defy predictability. The interplay between the two guitarists
manifests as a dynamic dialogue - a musical conversation that seamlessly transitions
from chaotic dissonance to moments of clarity. Catchy, intricate, and hypnotic chord
progressions unfold, evoking the spirit of At The Drive-In and Fugazi while carving a
distinct sonic identity.
However, it's not merely about sonic assault; Sweetheart infuses the album with a
nuanced approach to melody. Amidst the aggressive riffage, this material treats
listeners with moments of harmonic beauty and unexpected melodic twists. Themes,
leads, melodies, and harmonies intermingle, creating a rich auditory experience that
transcends the boundaries of conventional post-hardcore.
The production quality of this long- lost gem further accentuates its brilliance.
Recorded in 2005 but kept in the shadows due to financial constraints and a desire for
perfection, the album has now found its moment in the sun. Expert Work's decision to
release the LP in 2024 has allowed audiences to appreciate the intelligent
craftsmanship that went into its creation.
"The Unbearable Tightness Of Being" is more than a musical journey; it's a sonic
exploration transcending all the possible sonic boundaries. Sweetheart's commitment
to experimentation and honesty, as emphasized by band members reflecting on their
creative process, is palpable. The act of listening, treated as a discipline, is evident in
the careful construction of each track - a result of repetitive practice, internalization,
and an unwavering dedication to their craft. In the grander narrative of the album's
release, the band's reflections on the passage of time and the meaning of their work
imbue the music with a poignant depth.
"The Unbearable Tightness Of Being" is a mandatory addition to any record collection.
It's not just a revival of the early 2000s scene; it's a sheer example of Sweetheart's
enduring brilliance and a celebration of a significant part of their musical legacy.

Aufbauend auf der Dynamik seiner "Stolid State" EP, die eine kraftvolle Kollabo mit à;GRUMH…-Sänger J3 sEUQCAJ und Remixe der britischen Industrial-Pioniere Test Dept und der französischen Innovatoren Maman Küsters enthielt, verspricht das neue Album des Stockholmer Underground-Elektro-Pioniers Majestoluxe Grenzen weiter zu verschieben. "Wretched Conditions" bietet 13 unerschrockene Industrial-Pop-Tracks, die die raue Essenz des 80er EBM/Industrial beschwören. Mit dabei sind einige der besten Alternative-Talente Stockholms wie Bodypop-Queen EMMON, Horror-Gothic-Sirene Aux Animaux, Post Kontrôl (von den Minimal Wave-Helden Hidden Lines) und der himmlische LIVMØDR. Das Album wurde von Jimmy Monell aka Mr Monell gemischt und gemastert.

Iron Curtis and Johannes Albert return to orbit with their highly anticipated Moon IV, the next chapter in their acclaimed lunar album series. Building on over a decade of collaboration and the cosmic groundwork in Moon I, II, and III, this fourth instalment is a testament to their ever-evolving artistry and expansive vision.

Released on their beloved Frank Music imprint, Moon IV sees the duo starring an 11-track journey that once again defies genres, challenges conventions, and charts a vivid course through the electronic cosmos.

From the warm opener "Void Gathering" and wistful melodies of "Silverclub" to the driving rhythms of "Sounds (The Feels)," which echoes the relentless pulse of NYC Post-Disco, Moon IV encapsulates the duo's signature blend of moods and eras.

"Club L'Avenir" & "Daso" serve up euphoric moments with a nod to the French Touch, while the ambient vignette "Into Somethin' (Interlude)" calms you down again. Electro cuts like "Pipeline" are reminiscent of earlier works in the Moon album series, and new paths are forged when the two are exploring Balearic Pop Music (BPM) territory in "Ohne Dich".

Returning from space with the elegant deepness of "Bliss (The Short Finale)", the duo gets you home safe and sound. Their unique studio alchemy shines brighter on this moonlit, flaring long-player than ever. So, buckle up and off we go.

Fourth Wave's latest compilation feels like a musical postcard from Japan's vibrant underground, gliding through genres with effortless charm. Mari Nakamoto's 'Day Dreaming' sets a tranquil mood with her airy vocals drifting over soft, dreamy instrumentals. Yudai Suzuki's 'Midnight Calling' brings smoky sax riffs and laid-back grooves, perfect for late-night introspection. Yasuhiro Abe's 'Night Fish' dives into psychedelic waters, swirling with hypnotic melodies and unpredictable rhythms. Maki Asakawa's 'Kohi Hitotsu' radiates raw emotion, her voice rich with longing. Yuji Ozeki's 'Futaribun No Yume' blends traditional Japanese sounds with modern electronics, crafting a sound both timeless and futuristic. Jin Kirigaya's 'Matenro Monogatari' closes the collection with cinematic depth, its sweeping arrangement lingering long after the final note.

T. Gowdy returns with a major statement and luminous stylistic expansion on his third album for Constellation. Trill Scan is an exquisite suite of songs literally and figuratively about alchemy, where Gowdy melds his background in choral and medieval music with his trademark analogue electronics. Following the acclaimed Miracles (Bleep Album of the Week / Albums of the Year 2022), Gowdy's bar-raising new LP centers human voice for the first time. Choral set-pieces and solo lead vocals, along with his own lute playing, are novel elements in Gowdy's work, and draw on strains of Middle Ages polyphony and the Baroque "broken style" to further distinguish Trill Scan from anything in his discography to date. Gowdy sees "the modal language of medieval Europe as a less distant cousin to indigenous traditional music practice" compared to a Classical-colonial "patriarchal order of tonality that honours a system of domination." The 12th century Notre Dame School of choral music and 17th century style brisé each carry tonal materiality, heterodox technique, and cultural-historical symbolism central to Trill Scan's conceptual and compositional alchemy. Gowdy coheres these beautifully into his palette of serpentine slowburn electronics, a minimal analogue-driven techno shaped by aleatory strategies and tinged with post-punk grit. Gowdy's sound has been aptly described as "gently transportative, flickering like a busted halogen lamp" and his overriding pursuit of psychoacoustic immanence likened to "getting your brain massaged" and praised as "blissful work that bristles with effervescent energy, like brain waves coming in and out of focus." Trill Scan expands this sonic sensibility with more conspicuous harmonic complexity, stylistic variety, and humanistic narrative arc. Alternately sacramental and intimately personal vocals, sometimes wordless and sometimes lyrical, are worked into superlative instrumental tracks, yielding a warmly immersive concept album that's equally Gowdy's most musical. Gowdy sings explicitly of alchemy on the hypnotic album centerpiece "Novus Lumen" with lyrics that gesture at these medieval processes of material investigation. The tension between the scientific and esoteric is crucial; the separation and synthesis of physical substances in medieval alchemy maps onto his fixation with the interplay between the materiality of sound and psychoacoustics. Gowdy follows the Jungian interpretation of classic alchemical texts as an historical bridge to theories of the psyche, where consciousness itself is treated as materiality and similarly subjected to methodical analysis and experimentation, to deconstruction, dissolution, transformation, reintegration, metamorphosis. Song titles like "Arislei Bone" and "Materiadiscipuli" further reference these mythopoetic throughlines from medieval alchemy to modern psychology. Gowdy chooses disruptive forms from the history of Western music that symbolize and prefigure the modern psychological subject and its struggle for/against order, even as they also evoke liturgy and the Renaissance court. The sacramental adds a potent dimension to his pursuit of psychoacoustic activation, meditation, and transcendence, as choral passages intersperse with electronic drone and pointillism throughout the album. His gorgeous Fennesz-meets-lute rendition of the Baroque composition "Courante" by François Dufault offers idiomatic salon-secular counterpoint. Album closer "Strewn" is bookended by a final recurrence of choral invocation, with pulsing earworm motorik techno in between, over which Gowdy whisper-sings a dreamlike vision quest of mythic-alchemical imagery: "as I washed my eyes they turned to metal / and the memories melted to the metal / the metal of my heart." A mesmerizing final song that explicitly invokes Gowdy's search for materialized abstraction and substantive musical immanence wrought from his own psycho-therapeutic subjectivity, and encapsulates the album's turn towards more harmonic, historicized, and humanistic elements. Trill Scan commingles empyrean and earthly electronic songcraft to genuinely original and absorbing effect. Thanks for listening. RIYL: Coil, Nicolás Jaar, Alessandro Cortini, Pantha Du Prince, Fennesz, Visible Cloaks, Actress,

High Roller Records, ULTIMATE EDITION, 4th pressing, 180g black vinyl, ltd 350, 425gsm heavy cardboard cover, lyric insert, poster, black vinyl bonus 7" in picture sleeve, restored & mastered by Patrick W. Engel at Temple of Disharmony, Cutting by SST Germany on Neumann machines for optimal quality on all levels.

High Roller Records, ULTIMATE EDITION, 4th pressing, 180g black vinyl, ltd 350, 425gsm heavy cardboard cover (revised) , lyric insert, poster (revised), black vinyl bonus 7" in picture sleeve, restored & mastered by Patrick W. Engel at Temple of Disharmony, Cutting by SST Germany on Neumann machines for optimal quality on all levels

Microwave is celebrating 10 years of their beloved debut album Stovall, released August 2014, with this special
anniversary vinyl. Atlanta-based Microwave are strongholds in the emo/post-hardcore scene, releasing four full-length albums over the last 10 years including 2024's Let's Start Degeneracy.

Streng limitierte, remasterte Deluxe-Auflage zum 20-jährigen Jubiläum des vierten Albums "Wet From Birth" (2004) der US-Synth-Punk-Band The Faint, das den Puls des Berliner Undergrounds mit der DIY-Körpersprache Omahas verschmolz, wo Punk ebenso Rhythmus wie Rebellion war. Ihr Sound kombinierte die melodische Essenz von New Wave, die raue Kante von Post-Punk und den roboterhaften Futurismus von Detroit Electro, und mit der Hinzunahme des Death Metal-Gitarristen Dapose entflohen sie in ganz neue Sphären. The Faint brachen aus der bescheidenen Bequemlichkeit des Indie-Rock aus und lieferten den Schock, zu dem die Indieszene der Spät-90er/Früh-2000er bereit war. Die neue Deluxe Edition enthält das sorgfältig von den Originalbändern remastere Album, erweitert auf Doppelformat, mit zwei gänzlich unbekannten Sessiontracks, unveröffentlichten Demos und einigen Remixen, und erscheint auf transparentem Doppelvinyl mit Poster (18x24") im mit Metallfolie geprägtem Gatefold.

Experience Ghost In Us, Albert af Ekenstam's powerful return after an eight-year wait! With Scandinavia's most impressive voice, Albert blends raw post-rock with deeply moving singer-songwriter emotion, creating an album that radiates creative force. This isn’t just authentic music with a striking sound—it’s Albert’s soul, rediscovered and stronger than ever.

Best known as a founder member of Submotion Orchestra, as well as Matthew Halsall’s pianist for many years & lately keyboardist for Portico Quartet, Taz Modi now returns with his long-awaited second solo album - the haunting and elegant ‘Involuntary Memories’ on Sehnsucht Records.

Recorded across the country on a number of different pianos, the album builds upon the eclectic nature of his debut ‘Reclaimed Goods’ by aiming to bring as wide a range of expression into post-classical piano music as possible, whilst also melding subtle electronic influences.

JP’s historic restoration carpentry has continued to be a baseline for his relationship to music; the yin to his yang, the Burt to his Ernie, the Dolly to his Porter. It was through this concurrent line of work that he met another twice-initialed singer with a penchant for old Americana music, obscure film, and overly elaborate ethnic meal preparations: one JD McPherson. The two became fast friends and would eventually, through many twists, turns, false starts, and biblically-proportionate plagues, enter a modest studio in Nashville to record Harris’ latest album.

Over the course of nine months in 2023, they recorded a sometimes lush, sometimes sparse, and sometimes jarring country album of Harris’ originals, loudly and violently squelching any attempt to pigeon-hole a song into any subgenre of country music. Only albums by Lee Hazelwood and an obscure folk album Waylon Jennings made when his hair was still short were allowed to be mentioned in reference. Featuring the guest vocals of Erin Rae, The Watson Twins, Shovels & Rope, and producer JD McPherson himself, the record is equal parts satire, reflection, and apology to those that would listen.

In a musical landscape of period-correct reproduction, “outlaw” internet posturing, and flavor-of-the-month variants on country,

“JP Harris Is A Trash Fire” burns bright as a dumpster in a Walmart parking lot on a moonless night; some will fear it, some will gravitate to its acrid warmth, and most will have no idea what to make of the situation. Harris has been steadily elbowing the definitive boundaries of “country music” wider with every album, both sonically and lyrically, and his latest piece of self described “Avant-Country” is no exception.

This new record from Black Swan evokes a desolate post-collapse world that is detailed with haunting choirs, mangled tapes and distant industrial sounds. The album unfolds like a requiem by pulling beauty from the ruins of a collapsed society. With an hour-long narrative, it shifts between rippling hums and plaintive quivers of old cassettes, slowly revealing a heart that beats beneath the crimson haze. Tracks like 'Overture' and 'Back to Dust' offer cinematic grandeur and mournful exploration, while 'Pseudotruth' and 'New Gods' introduce eerie uncertainty. In the end, the album serves as a haunting meditation on loss, memory and the fragility of civilisation.

Boldy James & Harry Fraud team up for their first full-length colloborative album: The Bricktionary

Boldy James & Harry Fraud team up on The Bricktionary, their first full-length collaborative album. The Bricktionary, entirely produced by Harry Fraud, features Boldy at the top of his game and has guest appearances from BabyFace Ray, Benny The Butcher, and Tee Grizzley. While both artists have been consistently releasing albums over the years, fans of Bo Jack & La Musica have been waiting for this one and they will not be disappointed by the music or artwork of The Bricktionary on vinyl. “Arriving like a victory lap, the grandeur of Fraud’s production provides an intoxicating foil to Boldy’s steely honesty and delivery”....“Boldy and Fraud’s technical brilliance on The Bricktionary is direct and precise, not overcomplicated, and it allows their respective production and writing styles to fit like puzzle pieces. This kind of no-frills approach leans on intrinsic quality and dependability, not on bells and whistles, and leaps into the stratosphere.” - Pitchfork

Very little is known about Joe Prichard or his sidekicks, except that the band, which hailed from Missouri, drew its inspiration from influences far and wide, resulting in each of the five tracks being very different in character, ranging from the power chords and staccato guitar breaks of the Jimmy Page variety, to the throaty sax of 12-bar blues specialists Climax as well as the dual guitars of ZZ Top. There’s even a nine-minute jam a la Jethro Tull or Traffic with flute and sax giving a decidedly jazzy feel to proceedings. Originally released in 1974, this is another extremely rare record now reissued by Riding Easy Records. "Pro-sounding 1970s rarity with a ballsy rock sound and songs ranging from ambitious prog over bluesy bar-rock into macho FM rock postures. It’s solid across the board with excellent guitar leads, soulful vocals, and a versatile band. Keyboards, woodwinds and elaborate arrangements provide a prog-AOR vibe that may turn some off, although there’s enough groove to keep one’s attention throughout the four long tracks." – (Acid Archives)

Best known as a founder member of Submotion Orchestra, as well as
Matthew Halsall's pianist for many years & lately keyboardist for Portico
Quartet, Taz Modi now returns with his long-awaited second solo album - the
haunting and elegant 'Involuntary Memories' on Sehnsucht Records
Recorded across the country on a number of different pianos, the album builds upon
the eclectic nature of his debut 'Reclaimed Goods' by aiming to bring as wide a range
of expression into post-classical piano music as possible, whilst also melding subtle
electronic influences

K L P S has garnered a reputation for their immersive soundscapes and heavy
riffs, blending elements of post-metal and sludge to create a unique auditory
experience
Fans can expect a collection of tracks that not only showcase the band's signature
style but also push the limits of their musical exploration.
This new album promises to be a compelling journey through sound, reflecting the
band's evolution and artistic growth. Each track is crafted with intention, aiming to
resonate with listeners on various emotional levels. The self-titled album serves as a
testament to K L P S's commitment to authenticity and creativity in their music.

Recorded in Tilburg between February and April 2023 at Catacomben Studios
De Droom sees Noctambulist diving deeper into post-punk and shoegaze
influences while retaining the fierceness of their debut record Elegieen
What sets De Droom apart from the first record is that the writing was done with the
entire band on board whereas full song ideas used to be presented by a few
members. The songs this time around are just that, songs
While De Droom is not a concept album most songs reflect on the beauty of a
mediocre co-habitual existence while also struggling with the seemingly impossible
dream of homeownership. The album cover features a bedroom of a derelict villa,
reflecting the themes of hope, failure and heartbreak present on the album.

Fifteen years after releasing two exceptional postpunk-meets-shoegazemeets-dream pop albums on Caroline Records, New York-based outfit
Springhouse (Mitch Friedland, Larry Heinemann, Jack Rabid) reconvened to
record a third album, From Now to OK, co-released on CD with Independent
Project Records in 2008
Now appearing for the very first time on vinyl, the record captures the three piece
exploring a more acoustic, folk rock- indebted sound: still showing their trademark
flair for dreamy melodic textures, the ever Anglophile Springhouse can be heard
embracing the late 60s influence of Nick Drake and The Beatles. This newlyexpanded edition of From Now to OK comes with a bonus CD of previously unreleased
demos and live recordings. Preserved in a beautiful package from master designer
Bruce Licher, this custom-cut metallic ink jacket is sure to be a collector's highlight.

Known as one of the leading voices in the European roots scene, Ina's explosive live
performances and powerful, honey- dripping vocals have captivated audiences for
over a decade. With this new release, she takes listeners on an emotional and groovy
journey of rediscovery and resilience.
Recorded in Helsinki with a team of Finnish musicians and produced by Michael Bleu
and Ina, After Dark Hour is steeped in Retro Soul, Funk, Motown-inspired grooves, and
R&B. The energy of live performance was a driving force behind the album's creation.
"I wanted to make songs that would be fun to play live, songs that would make people
leave my shows sweaty and smiling,"
The title track, After Dark Hour, was the spark that reignited her creativity after over a
year of writer's block. "I was going through it--what I call the postpandemic blues. I
couldn't get myself to write songs or even listen to music. Then one day, I wrote the
title song, and it was like magic. It was such a relief to know I still had it in me after a
year of not having it. After dark hour represents the first moment you see the light
coming through the blinds you've been keeping shut. It's the feeling
that things are finally getting better."
The album takes listeners through an eclectic mix of soul sounds, from sultry power
ballads to James Brown- style funk explosions, tender sweet soul, and uptempo
Motown grooves. The lush production includes cinematic strings, bold horns, and
gospel-like backing vocals, all serving as a backdrop to Ina's signature vocals.
Ina has been performing since she was 17, dedicating her career to crafting music
that blends classic soul with her unique voice and vision. With After Dark Hour, she
delivers an album that invites listeners to dance through life's darkest moments.

Limited white vinyl ! RIYL: Guided by Voices, Pavement, Terry, The Chills, The Clean, The Verlaines. Whoosh is The Stroppies first proper debut album and breezes along with boundless energy, a refrained pop strut, infectious grooves and the sort of jangling guitar melodies that sound like a prime-era Flying Nun band. The Melbourne-based band formed together around a kitchen table in 2016 with a heavy focus around the essence of collaboration and a DIY ethos. After a home recorded cassette release "Whoosh" is their proper studio debut. It's a record that possesses all the spunk and gusto of a young band hurtling forward yet also knowing when to take their foot off the accelerator. It's an album that simultaneously feels young and fresh but wise beyond its years by combining taut post-punk rhythms, indie jangle, seamless melody and sugary pop.

Demonstrating the poignant power of experience + human connection + innate musicality + operating in the present moment, Jeff Mills' Spiral Deluxe collective unveil their second album - The Love Pretender. Driven by the free expression and creativity of improvised performance, Spiral Deluxe is an electronic jazz fusion project comprised electronic music visionary Jeff, along with legendary keyboardist Gerald Mitchell (Underground Resistance/ Los Hermanos), Japanese rocker Yumiko Ohno (Buffalo Daughter/Cornelius) on Moog synthesizer and the Japanese bassist, adopted New Yorker, Kenji "Jino" Hino - son of Terumasa Hino, the world famous jazz trumpeter. Together, the four key players formed a band centred around completely improvised journeys through sound.

During their unrestrained performances, what Jeff describes as sonic "conversations" arose between the musicians, as they each contributed to full-length live shows, and studio sessions. Within the boundless parameters of freeform spontaneity, they developed an unspoken understanding of one another, finding balance and poise within the unplanned performances. The resulting recordings have been used for three releases so far: Two EPs, Kobe Session (2016) and Tathata (2017), and their debut album Voodoo Magic in 2018. With The Love Pretender, we're presented with another stunning collection of "tracks" extracted from one long improv session.

With each musician proficient in their specialism and, of course, an all-out music lover, the communication between the group members became almost telepathic. Very little preparation was needed, and their performances flowed naturally and organically. This can be heard, and felt, throughout The Love Pretender. Tracks like 'The Soloist' evolve effortlessly, each new shift subtly influenced by one of the musicians nudging the conversation into a different phase, and the rest responding accordingly, or vice versa. It's music that embodies the true nature of mindfulness and letting go of fear. In their unstructured, liberated cocoon the artists thrive and create musical moments that have, fortunately, been captured for us all to immerse ourselves in. Jazzy notes fill the air, combined with electronic bass, synthesised beats, sparkling keys and an all-round warm and welcoming atmosphere, with the slight edge you can only get from improvised performance.

Sylvain Luc's posthumous appearance on the album is of significance too. The French guitarist died in March 2024 at the age of 59. His natural flair adds another dimension to the album, bringing a touch of that laid back 1980s American California Coast feeling to tracks such as 'Society's Man'. These contributions to the LP, recorded separately, add character - a final sprinkling of humanity to complement the aliveness and presence of this body of work. Three other musicians also added their creative energy to the project. They were; TOKU, a Japanese jazz musician who specialises in wind instruments, especially the cornet, trumpet and flugel horn. And there's Masa Shimizu, who also has wide-ranging with the guitar, as well as being a producer.

Themes on the album include the optimism one can have by simply trusting the process and trusting that everything will work out in the end. By playing together in the way they do, Spiral Deluxe place their trust in the mystery of what will happen next. Getting comfortable with not knowing is key to a sense of peace with regard to the future and this energy is vital to their collective musical output. By embracing the notion of the unknown, you become an eternal optimist, living in the moment, rather than projecting into the future. This cultivates excitement, an antidote to anxiety.

Meanwhile, the title alludes to the shifts and changes that have occurred in today's society, whereby it's possible to achieve success through pretending. The superficiality, and falsehood, that can often be presented via social media, can lead to questions about what's real and what's not. From AI to the fake personas that populate the dominant platforms, The Love Pretender speaks to a process that is symbolic of the time we're living in. Behaviour that has become acceptable in today's world, which may not have been as welcomed a few decades ago. But this is part of the cycle of life...

Jeff's intention with this music is to present it in high-fidelity, to be listened to over and over and over again. In post-recording he worked for hours to ensure the audio quality was as high as it could be. The goal is to create music that people can live with their entire lives, from his solo work to these masterful improvisations. Music that comes to life, music that has a voice we can replicate with our own vocals. Expressive, unstructured, and alive...

With The Love Pretender Jeff Mills continues his mission to experiment with music outside the bounds of what is typically expected. It's freeing, enlivening, vibrant and uniquely human. As ever, Jeff's visionary outlook and bold approach to musical performance and recording has produced a body of work that epitomises his often revolutionary capabilities. There's no pretending here, just pure unadulterated sonic transmissions from a wonderfully daring, inspiring and optimistic ensemble...

Dive head first into a parallel universe where the facts of music history have been turned into pliable putty and an alternative world where Rod Temperton never met Quincy Jones, never joined Heatwave and never wrote songs for the greatest pop soul artists of the 70’s and 80’s BUT instead, hung out at a West Berlin commune with a cast of trans-continental musicians playing a hybrid of post-psychedelic rock with overtones of Ghanaian funk and early 80s synth experimentation all the while exploring the mystic tundras of the mind and the celestial palisades of the soul...

This is the parallel universe that the Suffolk based studio dwellers, Pleasurewood inhabit. Let them take you on a journey through some of Temperton’s biggest hits in only a way that Pleasurewood’s genre defying style and studio prowess will allow.

Heatwaves kicks off on vinyl, with a tasty 7” Double A side that is dance floor ready...

It’s an off-kilter affair from side one with ‘Off The Wall’ swirling in a dense fog of phased bass guitar and emerging onto the shore with jutting hips to a groove underpinned by a sweating percussion section and early forms of synthesiser soaring above like crazed Pteranodons.

On the flip side is ‘Boogie Nights’ striding slowly and purposefully into frame with an apocalyptic Bass guitar line riding a solitary cowbell before a synthesiser clarion ushers in the break and the familiar hook with Moog thunder-strikes glowering in the distance.

The 7" includes digital download of the 7-tracks album "Heatwaves".
Limited to 200 copies.

"Big Tuba", das erste neue Album der Hot 8 Brass Band seit 2019, taucht tief in das traditionelle Jazzerbe ihrer Heimatstadt New Orleans ein. Neben der gleichnamigen Single enthält es Cover von Bill Withers ("Ain't No Sunshine"), Al Green ("Let's Stay Together") und Marvin Gaye ("Sexual Healing", Bossman Edit) - die beiden letzteren sind der LP als exklusive 7" beigelegt. Die legendäre Formation mischt Brass, Hip-Hop und R&B zu einem unverkennbaren Style, der nicht nur gerne in Filmsoundtracks (Sex Education, Venom, Chef) Verwendung findet. Sie begleitet Stars wie Mos Def, Lauryn Hill und Mary J Blidge auf Tour und ist an Grammy-gekrönten Alben beteiligt (Jon Batiste, "We Run", 2022).

9-Track-LP auf dreifarbigem Vinyl mit 7"- und Poster-Beilage.

- "The funkiest exponents of the New Orleans Mardi Gras tradition." - The Times

Grey Vinyl Repress

Best of 2Pac is a posthumous greatest hits compilation series from Tupac Shakur released in two parts: Thug and Life. Both albums were released on December 4, 2007 in the United States and December 3, 2007 in the United Kingdom. Both compilations consists mostly of songs released before his death.

J. Cole's third studio album, 2014 Forest Hills Drive, released 10 years ago on December 9th, 2014 and debuted at #1 on the US Billboard 200 album chart. It features standout tracks including "Love Yourz", "Apparently", "Wet Dreamz", and "No Role Modelz". This limited 10-year anniversary edition features never before seen poster from that era that can only be purchased on this exclusive variant.