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Indian born, UK artist Michael Diamond, co-founder of Vasuki Sound label and club night, announces new EP Placid Wakefulness, featuring single ‘Reverse Entropy’. available on all platforms 5th December via Vasuki Sound.

A uniquely multifaceted talent, Michael Diamond’s unforgettable ‘jazzed electronic’ sound is informed by a spectrum of influences, not least by intersection of the scientific and practical worlds of electronic music. From the music scholarship he won to read Medicine at Oxford where he quickly discovered new ways in which the two worlds can co-exist, his days were spent immersed in academic studies of music perception and cognition, while his nights were spent alongside the likes of Ben UFO, Batu & Ross From Friends, playing at one of UK’s most long-established nights ‘Simple’. A chance encounter there also led him to connect with musical collaborator Alex Wilson – the BBC Young Jazz Musician of the Year semi-finalist and then musical director of Oxford’s Jazz Orchestra – who appears frequently across Diamond’s compositions and on Placid Wakefulness.

No stranger to a concept piece, Diamond’s previous project, the highly personal and critically acclaimed exploration of culture and identity, Third Culture (album of the month/year acknowledgments from Stamp The Wax, Juno and Phonica Records, also earning him a DJ Mag ‘One To Watch’, a Youth Music Awards ‘Rising Star’ nomination and a Gilles Peterson’s ‘Future Bubbler’ accolade) explored the experience of being a ‘third culture kid’ born in Kerala, India and growing up in the UK with a sense of fractured identity.

On Placid Wakefulness, Diamond honours his academic research working alongside world-renowned musicologist Professor Eric Clarke. Specifically how music may affect our sleepfulness and wakefulness, how instinctively we are soothed by some sounds and energised by others - ‘what it is about dance music that makes people go hard all night long?’ and ‘what is it about ambient music that makes people feel the opposite way - to lull them into this sense of calmness or rest?’, mindful of the unconscious ways his findings were already manifesting in his work as an artist. And while his research provides a framework for some of the ideas within the piece, Placid Wakefulness can be viewed as more of an unintentional byproduct, or case-in-point of his findings, rather than a piece consciously constructed in their image.

Across Placid Wakefulness’s four tracks we find the artist unpacking a range of sonic ideas on this theme, from ambient calm to club-adjacent rhythms. The EP opens with hypnotic lullaby of ‘A Way of Listening’ complete with transcendent flutes provided by Alex Wilson, cello by George Lloyd-Own and a mellow groove. On the more energised ‘Reverse Entropy’, rhythmic ambiguity moves to rhythmic disambiguation with a four-to-the-floor beat as the track progresses, releasing tension and inviting an urge to dance as a jazz sax moment transmutes into glorious techno percussiveness.

On ‘Turning and Turning’ the bpm shifts down a gear, a sonic dreamstate where tough textural rhythms create a kind of liminal state tension. Closing out the EP we return to a sense of restfulness with the EP’s title track, where a gorgeous picked guitar loop interplays with vibrating ambient pads and a slow and steady beat. The Placid Wakefulness EP is a captivating testament to Diamond’s singular artistic talent and the fascinating interplay of neuroscience and how we experience and enjoy music.

Mark Barrott’s 2024 album, 'Everything Changes, Nothing Ends', is a profound and deeply personal exploration of life, love, and loss. Released on Anjunadeep Reflections, this album is a follow-up to his critically acclaimed 2023 release, Jōhatsu (蒸発). Unlike his previous works, this album chronicles a more intimate and emotional journey, reflecting the life Mark had with his late wife, and the harrowing experience of her illness and eventual passing. It stands as both a tribute to her memory and a reflection on the profound impact she had on his life and music. Mark has been a constant innovator throughout his nearly four-decade-long career. He’s best known to some as Future Loop Foundation, the alias under which he created ambient drum and bass in the mid-90s. Others know him for his ‘Sketches From an Island’ series, released under his own name, which played a significant role in the revival of the Balearic music scene. He’s also the founder of International Feel, a label that was instrumental in the bespoke vinyl movement of the 2010s and played a role in bringing DJ Harvey back into the spotlight. Barrott’s work has always pushed the boundaries of genre, and 'Everything Changes, Nothing Ends' is no exception. However, this album is perhaps his most personal and emotionally charged work to date. The album’s creation was born out of tragedy. Barrott began writing music for the album during the eleven weeks of his wife’s illness, using it as a form of therapy to cope with the overwhelming grief and loneliness that followed her passing on January 25, 2023. “I actually started writing music most nights throughout this process—it was therapy to mitigate the loneliness of coming back to a cold, dark winter home after spending the day with her at the hospital,” Barrott explains. What began as a way to process his emotions evolved into a project that would ultimately become 'Everything Changes, Nothing Ends'. The album traverses genres, blending orchestral, ambient, and jazz elements to create a rich and varied soundscape. Each track on the album serves as an audio diary, capturing specific moments from the eleven weeks of his wife’s illness. The music oscillates between intense emotional peaks and more soothing, delicate moods, reflecting the rollercoaster of emotions that come with facing such a profound loss. Ultimately, this album is about acceptance and gratitude for what was, not grief for what could have been. It addresses the fundamental issue that confronts all human beings: life and death. ‘Everything Changes, Nothing Ends’ is out on 29th November on Reflections.

Available on vinyl for the first time since 2020. The 'Someday, Somewhere' EP comprises the single 'I'll Be Fine', written and recorded by the band remotely during lockdown, alongside a selection of unreleased tracks recorded during the 'Life After' album sessions including the EP's much-loved title track (previously a live set exclusive). Originally released back in 2020 the vinyl version includes the bonus track 'Trouble On The Water' as previously released on the band's 'Hoxa Sessions' acoustic EP. Bassist William Dorey left Palace after their first album and now records under the name Skinshape. Artwork by Wilm Danby. Vinyl Track Listing: A1. Someday, Somewhere A2. I'll Be Fine. B1. Flesh to the Fallen B2. Trouble on the Water.

Trapped Animal records is proud to announce the release of Despite Yourself Deluxe from 90’s legends Headswim, which has never been available on vinyl before.

For the first time, Headswim’s iconic second album is available on double gatefold vinyl, featuring 7 bonus tracks, including an unreleased version of their hit 'Tourniquet'! Lovingly released on double vinyl in a gatefold sleeve, this deluxe re-issue features seven bonus tracks including previously un-released tracks, including a previously unheard version of their biggest hit, Tourniquet featuring a string orchestra recorded at Abbey Road Studios!

The bonus material was collated by scouring through Sony's DAT tape archives, in this process the band and label found some wonderful lost recordings. The record will be available on either limited edition blue or back 180 gram vinyl. Despite Yourself, featuring the singles "Tourniquet" and "Better Made”, was Headswim’s sophomore album and documents the development of the band maturing as songwriters. “We were aiming for longevity and believed we had written a collection of songs honestly expressing who we were, where we’d been and where we wanted to go. The album was a declaration of intent, an expression of our lived experience, a light in the dark.” Originally released on 2nd September 1997 Despite Yourself reached 24 in the UK charts and would see the band tour the USA and Europe, make “several TV appearances (including Top of The Pops), film a couple of glossy music videos and get some mainstream media attention. We’d been given a chance and we’d grasped it with both hands.

Critically-acclaimed German pianist Pablo Held announces TRIO PLAYS STANDARDS, the seminal new trio album which captures Held and his comrades Robert Landfermann & Jonas Burgwinkel paying tribute to the rich legacy of Jazz.

Reflecting on the album’s theme, Held shares:
"On our previous 14 recordings, Robert, Jonas, and I have explored a wide range of musical realms: my original compositions, classical pieces, works by my father Peter Held, and occasional tunes by some of my favorite artists. Delving deeply into each of these musical environments has played a pivotal role in shaping the trio's sound over these years. Now, we've finally fulfilled a dream: recording an album of standards."

The album showcases Pablo Held’s unique arrangements of broadway classics as I’LL NEVER BE THE SAME, YOU WON’T FORGET ME and LAST NIGHT WHEN WE WERE YOUNG, reworkings of Charlie Parker’s BARBADOS and Bill Evans’ VERY EARLY, alongside Held’s own JUST IN CRAME - a contrafact on the old standard JUST IN TIME - each imbued with the trio's signature improvisational spirit and collective synergy.

Pablo Held, who’s not only known as a revered pianist and composer, but also a musical researcher, knows the value of deep study and cherishes its effect on his work: "The more I study this music, the more it propels me forward," says Held, echoing the sentiment of his personal hero Wayne Shorter about the past being “the flashlight that guides the way into the future”.

The trio recorded the album at Jazz Campus Basel’s pristine studio facilities on October 29th 2023 in front of a live audience of attentive students who witnessed the trio’s explorations first handedly in this intimate setting.

TRIO PLAYS STANDARDS was recorded and mixed by recording engineer Daniel Dettwiler and mastered by Christoph Stickel, who mastered the majority of Pablo Held’s expansive discography as a leader.
Legendary vocalist Norma Winstone penned the liner notes, and its timeless cover design is by Christian Schäfer, featuring captivating photos by Linghuan Zhang.

TRIO PLAYS STANDARDS marks the 6th release on Held’s own label HOPALIT RECORDS.
After the success of the previous trio album WHO WE ARE, Held favors a double-release method for his records going forwards: a 6 month pre-release period, where the album is exclusively available via Bandcamp and on live shows, leading into the official release in stores and streaming platforms.

As an additional incentive every (physical & digital) copy includes the bonus album TRIO PLAYS STANDARDS - LIVE, recorded during Held’s own curated festival STANDARDS WEEK at the LOFT Köln in 2022.

2024 Repress
In early 2023, Tresor Records will reissue the sole output from Shifted Phases entitled The Cosmic Memoirs Of The Late
Great Rupert J. Rosinthrope. Initially released in 2002, soon after James Stinson passed away, this LP plays a mysterious and
compelling role in the Drexciya journey. While other records of Drexciya and related projects have received numerous reprints
and editions, The Cosmic Memoirs... has remained out of print since its release. This rarity leaves it more open to
interpretation with its place in the Drexciyan storm series, as it became increasingly hard to find and underexplored.
Track titles Solar Wind, White Dwarf, and Lonely Journey of the Comet Bopp reveal a focus on cosmic realms, suggesting a link
with the Drexciya LP Grava 4 that moves from the underwater to the galactic. As it launches with mechanical blows on a
precise orbit, each repetition entrenches the gravitational pull in the galaxy of Shifted Phases. In many places, it sounds like
the readout of frequencies harvested from outer space, pockmarked with packet loss from the millions of kilometres distance
travelled.
The music is hard to contain, intuitively restless in motion through its unfolding universe and achingly resonant. It shapeshifts
across aectedly melodic sequences such as in Lonely Journey..., to the sparse, hard-hitting timbres found in Alien Vessel
Distress Call and the mangled reverse vocals in The Freak Show, somewhat reminiscent of another Drexciya side-project, Glass
Domain. The mythology of Drexciya is evident in how keenly James Stinson and Gerald Donald created their imaginary worlds.
In Crossing Of The Sun-Ra Nebula, there is an undisputable reference to another Afro-futurist who delved deep into a galaxy of
their own making.
This reissue does not merely close the loop on Tresor's reissue series of the Drexciya catalogue but brings Shifted Phases to
fresh ears more than other records. Accompanied by newly commissioned artwork from Matthew Angelo Harrison, the 3xLP
vinyl reissue also features the tracks Crossing Of The Sun-Ra Nebula and Alien Vessel Distress Call, which were previously only
on the original CD release.

Following the debut Eyeball release of Crystal Shards, comes Protector, an ethereally nuanced collection of tracks wholly engineered and produced by blackwinterwells, and featuring a guest
collaboration with 8485 on the track "paber plane " While the album infuses the electronic elements found in previous blackwinterwells releases, these compositions are built with a unique wall-of-sound
noise. formed with symphonic song-writing in mind. In a world filled with artists making individual songs to capture the most plays, Protector offers a refreshingly patient body of work that sounds best
when absorbed as a full album.

RSD 2024

First time ever release on vinyl format. 180 GRAM BLACK VINYL. After The Sabres of Paradise split in 1995 Andrew Weatherall underwent one of many reinventions. He began working with Keith Tenniswood as Two Lone Swordsmen which released several records on the Warp label, set up a new electronic imprint under the Rotters Golf Club banner and fully explored new DJ personas departing from his house-based sets into dub, electronica and rockabilly. Renowned for unconventional sets where he’d raise the roof dropping an unexpected but exactly right track into the mix, he’d push the audience to new heights by introducing them to music they’d never even thought of exploring. The experiments went down especially well in Japan where he’d tour playing solo sets as well as performing alongside pioneers like Underworld, Adrian Sherwood and The Orb. In 2003 his new label, Rotters Golf Club, was approached by the Italian fashion house Emigliano Zegna to create some music to help launch their first foray into Japan. Andrew always had a keen eye for quality and agreed to provide some music. At the time it wasn’t envisaged as an album. He’d just grabbed some tracks he and Keith had been working on, polished them up and swapped them for a small advance and a large raid on their Bond Street store. He then let them get on with the release and turned his attention to the next TLS album proper. This was Double Gone Chapel where rock and psychobilly were mixed in with electronica and controversially Andrew added his own vocals. The Zegna album ‘Still My World’ was sidelined by a live band and a whole new direction. Andrew’s untimely death refocused attention on his historical recordings and ‘Still My World’, previously only released on CD in Japan, now sees the light of day in the rest of the world.

Lamina is the moniker of multi-disciplinary French artist Clarice Calvo-Pinsolle. 'Olas Curativas' is Calvo-Pinsolle's first vinyl release. Taking influence from the natural world, works of hydrofeminism, and experiences with hypnotism, Calvo-Pinsolle prolifically performs and records her own refreshing take on ambient music alongside working as an established installation artist. She has previously released two full-length albums on Orila Records & Complex Holidays, as well as a joint LP with Kitchen Cynics, and a collaboration project with Bear Bones Lay Low under the moniker XAXI. Her discography is fleshed out by various contributions to compilations, including the opening track 'Soupire' on Twin System's 'Tendrils Lurched Purple In The Slush' tape series. Radio play of Laminas music includes Graham Dunning / NTS, Emil Mirzoev/ Kiosk Radio, Laura de Diaz / CAMPO BASE, xYsse / Radio Vacarme, Melina Despretz / Kiosk Radio, Chris Penty Alvarez / Noods Radio, Leoni Leoni / Radio Alhara, Laura Connant / Ola Radio, Bravo Tounky / Rootradio. Performances of material from 'Olas Curativas' include shows at Cafe Oto / London, Cosmos / Lisboa, TV Control Center / Athens, Iklektic / London, Braille Satellite / Lithuania, Slug Gallery / Leipzig, Spazio X / Treviso, Krut Festival / Ghent, Schiev Festival / Brussels, Woodblocks Festival / Brussels.


'Olas Curativas' was developed and written in 2022, with these pieces first heard as live jams at shows mainly around Brussels and Portugal, before being honed into this mesmeric full-length LP. Calvo-Pinsolle's effective use of manipulated field recordings and tape loops provide a backdrop for harmony that leans towards the mystical, brimming with melodies equal parts haunting and enchanting. Alongside harvesting a sound library over the past several years, Calvo-Pinsolle has developed an approach to composition using field recordings that informs both her musical and sculptural work. These recordings are transformed much like the ceramics seen in the record artwork; shaped, chiseled, and transformed. These ceramics were crafted and painted by Calvo-Pinsolle herself, and hints at this bridge between her two disciplines of music and sculpture. Although an expansive realm, throughout Calvo-Pinsolle's output there are consistent moods and qualities that are absolutely distinctive to this artist's creative worldview, and of which 'Olas Curativas' is a perfect encapsulation.

The Fluid are arguably the great unsung band from the fertile underground rock scene of the late '80s and early '90s. The Denver five-piece - John Robinson (vocals), James Clower (guitar), Matt Bischoff (bass), Garrett Shavlik (drums), and the dear departed Ricky Kulwicki (guitar) - fused the fire of '80s hardcore with crunching Detroit protopunk, '60s garage rock, and '70s rock swagger. Think MC5, Faces, '70s Stones, all cranked up and really high on Sex Pistols and Black Flag singles. Rising from the ashes of early-'80s Denver bands Frantix (whose "My Dad's a Fuckin' Alcoholic" is a true gem of American punk) and White Trash, The Fluid were the first non-Seattle band to sign to Sub Pop, and Clear Black Paper was the second full-length album the label ever released. The label honchos were fans of Frantix, and happily got involved with The Fluid when the opportunity arose via the label's European licensing partner, Glitterhouse. Witnessing The Fluid's dominant live presence helped - a particularly fiery early show at Seattle's Central Tavern featured The Fluid, Mudhoney, Mother Love Bone, and Soundgarden all trying to outdo one another on stage. The band fit right in on Sub Pop's nascent roster of acts who, wherever they stood on the spectrum of punk/rock/metal, shared a commitment to thunderous riffs and explosive live shows. Legendary for their ferocious stage presence, The Fluid toured all over the US and Europe, holding their own and then some on bills with Mudhoney, Nirvana, Soundgarden, Dinosaur Jr., and other powerhouses of the era. From 1986 to 1993, The Fluid put out four albums and a number of EPs and singles, including a split 7" with Nirvana in 1991, before doing one album for a major label and promptly disbanding. Yet, while their partners-in-crime bulldozed into the mainstream, The Fluid remained something of a cult band, their audience confined to those who got hip during the band's existence, and crate diggers who nabbed original vinyl or CDs, which had quickly become rarities after selling through their original runs. Why? Record industry machinations? The fickle finger of pop culture? Being from Denver, not Seattle? Who the hell knows_ and who cares! The point is the band ripped, and the world deserves to hear them again. The Fluid took influences they shared with their contemporaries and ran in their own direction, focused on ass-shaking grooves more than misanthropic sludge. Rock anthems like "Cold Outside" sit alongside Stooge-oid rhythmic poundings ("Black Glove"), bluesy romps ("Leave It"), the occasional grungy dirge ("Wasted Time"), and raw punk bangers ("Is It Day I'm Seeing?" from the seminal 1988 Sub Pop 200 compilation). The band wasn't shy about their inspiration, either: scattered through their catalog are covers of The Troggs, The Rolling Stones, MC5, Iggy Pop and James Williamson, and Rare Earth. The Fluid stand out as champions of a feral, urgent, exuberant approach to rock 'n roll. As it turns out, that wasn't a recipe for stardom in the era of hyper-slick pop, boomer dinosaurs crying tears in heaven, and hair-metal power-ballads. But someone had to do it. To set things right, Sub Pop, The Fluid, and producer Jack Endino (Nirvana, Soundgarden, High on Fire, Mudhoney) teamed up to refresh and reissue The Fluid's entire indie-label catalog: their 1986 debut, Punch N Judy; 1988's Clear Black Paper; 1989's Roadmouth; the 1990 Glue EP (produced by Butch Vig, of Nevermind fame); and a treasure trove of rarities and previously unreleased material. All the music has been remastered from original tapes by Endino and JJ Golden, and the bulk of it has been meticulously remixed by Endino and the band, righting some sonic quirks that diminished the impact of the original records. Now, with their definitive material sounding better than ever, it's high time The Fluid get their due.

The Fluid are arguably the great unsung band from the fertile underground rock scene of the late '80s and early '90s. The Denver five-piece - John Robinson (vocals), James Clower (guitar), Matt Bischoff (bass), Garrett Shavlik (drums), and the dear departed Ricky Kulwicki (guitar) - fused the fire of '80s hardcore with crunching Detroit protopunk, '60s garage rock, and '70s rock swagger. Think MC5, Faces, '70s Stones, all cranked up and really high on Sex Pistols and Black Flag singles. Rising from the ashes of early-'80s Denver bands Frantix (whose "My Dad's a Fuckin' Alcoholic" is a true gem of American punk) and White Trash, The Fluid were the first non-Seattle band to sign to Sub Pop, and Clear Black Paper was the second full-length album the label ever released. The label honchos were fans of Frantix, and happily got involved with The Fluid when the opportunity arose via the label's European licensing partner, Glitterhouse. Witnessing The Fluid's dominant live presence helped - a particularly fiery early show at Seattle's Central Tavern featured The Fluid, Mudhoney, Mother Love Bone, and Soundgarden all trying to outdo one another on stage. The band fit right in on Sub Pop's nascent roster of acts who, wherever they stood on the spectrum of punk/rock/metal, shared a commitment to thunderous riffs and explosive live shows. Legendary for their ferocious stage presence, The Fluid toured all over the US and Europe, holding their own and then some on bills with Mudhoney, Nirvana, Soundgarden, Dinosaur Jr., and other powerhouses of the era. From 1986 to 1993, The Fluid put out four albums and a number of EPs and singles, including a split 7" with Nirvana in 1991, before doing one album for a major label and promptly disbanding. Yet, while their partners-in-crime bulldozed into the mainstream, The Fluid remained something of a cult band, their audience confined to those who got hip during the band's existence, and crate diggers who nabbed original vinyl or CDs, which had quickly become rarities after selling through their original runs. Why? Record industry machinations? The fickle finger of pop culture? Being from Denver, not Seattle? Who the hell knows_ and who cares! The point is the band ripped, and the world deserves to hear them again. The Fluid took influences they shared with their contemporaries and ran in their own direction, focused on ass-shaking grooves more than misanthropic sludge. Rock anthems like "Cold Outside" sit alongside Stooge-oid rhythmic poundings ("Black Glove"), bluesy romps ("Leave It"), the occasional grungy dirge ("Wasted Time"), and raw punk bangers ("Is It Day I'm Seeing?" from the seminal 1988 Sub Pop 200 compilation). The band wasn't shy about their inspiration, either: scattered through their catalog are covers of The Troggs, The Rolling Stones, MC5, Iggy Pop and James Williamson, and Rare Earth. The Fluid stand out as champions of a feral, urgent, exuberant approach to rock 'n roll. As it turns out, that wasn't a recipe for stardom in the era of hyper-slick pop, boomer dinosaurs crying tears in heaven, and hair-metal power-ballads. But someone had to do it. To set things right, Sub Pop, The Fluid, and producer Jack Endino (Nirvana, Soundgarden, High on Fire, Mudhoney) teamed up to refresh and reissue The Fluid's entire indie-label catalog: their 1986 debut, Punch N Judy; 1988's Clear Black Paper; 1989's Roadmouth; the 1990 Glue EP (produced by Butch Vig, of Nevermind fame); and a treasure trove of rarities and previously unreleased material. All the music has been remastered from original tapes by Endino and JJ Golden, and the bulk of it has been meticulously remixed by Endino and the band, righting some sonic quirks that diminished the impact of the original records. Now, with their definitive material sounding better than ever, it's high time The Fluid get their due.

The Fluid are arguably the great unsung band from the fertile underground rock scene of the late '80s and early '90s. The Denver five-piece - John Robinson (vocals), James Clower (guitar), Matt Bischoff (bass), Garrett Shavlik (drums), and the dear departed Ricky Kulwicki (guitar) - fused the fire of '80s hardcore with crunching Detroit protopunk, '60s garage rock, and '70s rock swagger. Think MC5, Faces, '70s Stones, all cranked up and really high on Sex Pistols and Black Flag singles. Rising from the ashes of early-'80s Denver bands Frantix (whose "My Dad's a Fuckin' Alcoholic" is a true gem of American punk) and White Trash, The Fluid were the first non-Seattle band to sign to Sub Pop, and Clear Black Paper was the second full-length album the label ever released. The label honchos were fans of Frantix, and happily got involved with The Fluid when the opportunity arose via the label's European licensing partner, Glitterhouse. Witnessing The Fluid's dominant live presence helped - a particularly fiery early show at Seattle's Central Tavern featured The Fluid, Mudhoney, Mother Love Bone, and Soundgarden all trying to outdo one another on stage. The band fit right in on Sub Pop's nascent roster of acts who, wherever they stood on the spectrum of punk/rock/metal, shared a commitment to thunderous riffs and explosive live shows. Legendary for their ferocious stage presence, The Fluid toured all over the US and Europe, holding their own and then some on bills with Mudhoney, Nirvana, Soundgarden, Dinosaur Jr., and other powerhouses of the era. From 1986 to 1993, The Fluid put out four albums and a number of EPs and singles, including a split 7" with Nirvana in 1991, before doing one album for a major label and promptly disbanding. Yet, while their partners-in-crime bulldozed into the mainstream, The Fluid remained something of a cult band, their audience confined to those who got hip during the band's existence, and crate diggers who nabbed original vinyl or CDs, which had quickly become rarities after selling through their original runs. Why? Record industry machinations? The fickle finger of pop culture? Being from Denver, not Seattle? Who the hell knows_ and who cares! The point is the band ripped, and the world deserves to hear them again. The Fluid took influences they shared with their contemporaries and ran in their own direction, focused on ass-shaking grooves more than misanthropic sludge. Rock anthems like "Cold Outside" sit alongside Stooge-oid rhythmic poundings ("Black Glove"), bluesy romps ("Leave It"), the occasional grungy dirge ("Wasted Time"), and raw punk bangers ("Is It Day I'm Seeing?" from the seminal 1988 Sub Pop 200 compilation). The band wasn't shy about their inspiration, either: scattered through their catalog are covers of The Troggs, The Rolling Stones, MC5, Iggy Pop and James Williamson, and Rare Earth. The Fluid stand out as champions of a feral, urgent, exuberant approach to rock 'n roll. As it turns out, that wasn't a recipe for stardom in the era of hyper-slick pop, boomer dinosaurs crying tears in heaven, and hair-metal power-ballads. But someone had to do it. To set things right, Sub Pop, The Fluid, and producer Jack Endino (Nirvana, Soundgarden, High on Fire, Mudhoney) teamed up to refresh and reissue The Fluid's entire indie-label catalog: their 1986 debut, Punch N Judy; 1988's Clear Black Paper; 1989's Roadmouth; the 1990 Glue EP (produced by Butch Vig, of Nevermind fame); and a treasure trove of rarities and previously unreleased material. All the music has been remastered from original tapes by Endino and JJ Golden, and the bulk of it has been meticulously remixed by Endino and the band, righting some sonic quirks that diminished the impact of the original records. Now, with their definitive material sounding better than ever, it's high time The Fluid get their due.

The Fluid are arguably the great unsung band from the fertile underground rock scene of the late '80s and early '90s. The Denver five-piece - John Robinson (vocals), James Clower (guitar), Matt Bischoff (bass), Garrett Shavlik (drums), and the dear departed Ricky Kulwicki (guitar) - fused the fire of '80s hardcore with crunching Detroit protopunk, '60s garage rock, and '70s rock swagger. Think MC5, Faces, '70s Stones, all cranked up and really high on Sex Pistols and Black Flag singles. Rising from the ashes of early-'80s Denver bands Frantix (whose "My Dad's a Fuckin' Alcoholic" is a true gem of American punk) and White Trash, The Fluid were the first non-Seattle band to sign to Sub Pop, and Clear Black Paper was the second full-length album the label ever released. The label honchos were fans of Frantix, and happily got involved with The Fluid when the opportunity arose via the label's European licensing partner, Glitterhouse. Witnessing The Fluid's dominant live presence helped - a particularly fiery early show at Seattle's Central Tavern featured The Fluid, Mudhoney, Mother Love Bone, and Soundgarden all trying to outdo one another on stage. The band fit right in on Sub Pop's nascent roster of acts who, wherever they stood on the spectrum of punk/rock/metal, shared a commitment to thunderous riffs and explosive live shows. Legendary for their ferocious stage presence, The Fluid toured all over the US and Europe, holding their own and then some on bills with Mudhoney, Nirvana, Soundgarden, Dinosaur Jr., and other powerhouses of the era. From 1986 to 1993, The Fluid put out four albums and a number of EPs and singles, including a split 7" with Nirvana in 1991, before doing one album for a major label and promptly disbanding. Yet, while their partners-in-crime bulldozed into the mainstream, The Fluid remained something of a cult band, their audience confined to those who got hip during the band's existence, and crate diggers who nabbed original vinyl or CDs, which had quickly become rarities after selling through their original runs. Why? Record industry machinations? The fickle finger of pop culture? Being from Denver, not Seattle? Who the hell knows_ and who cares! The point is the band ripped, and the world deserves to hear them again. The Fluid took influences they shared with their contemporaries and ran in their own direction, focused on ass-shaking grooves more than misanthropic sludge. Rock anthems like "Cold Outside" sit alongside Stooge-oid rhythmic poundings ("Black Glove"), bluesy romps ("Leave It"), the occasional grungy dirge ("Wasted Time"), and raw punk bangers ("Is It Day I'm Seeing?" from the seminal 1988 Sub Pop 200 compilation). The band wasn't shy about their inspiration, either: scattered through their catalog are covers of The Troggs, The Rolling Stones, MC5, Iggy Pop and James Williamson, and Rare Earth. The Fluid stand out as champions of a feral, urgent, exuberant approach to rock 'n roll. As it turns out, that wasn't a recipe for stardom in the era of hyper-slick pop, boomer dinosaurs crying tears in heaven, and hair-metal power-ballads. But someone had to do it. To set things right, Sub Pop, The Fluid, and producer Jack Endino (Nirvana, Soundgarden, High on Fire, Mudhoney) teamed up to refresh and reissue The Fluid's entire indie-label catalog: their 1986 debut, Punch N Judy; 1988's Clear Black Paper; 1989's Roadmouth; the 1990 Glue EP (produced by Butch Vig, of Nevermind fame); and a treasure trove of rarities and previously unreleased material. All the music has been remastered from original tapes by Endino and JJ Golden, and the bulk of it has been meticulously remixed by Endino and the band, righting some sonic quirks that diminished the impact of the original records. Now, with their definitive material sounding better than ever, it's high time The Fluid get their due.

After showcasing intense, edgy breakbeats on previous releases with Scuffed Records, FeverAM, and early reflex, Kyoto-based producer Naco returns with "Snakey," his first release in two years and a long-awaited comeback on his own label, 85acid. This essential collection features four cutting-edge bass mutations that push boundaries once again.

The EP opens with the title track “Snakey,” a minimal piece featuring a relentless, serpentine bassline that slithers beneath, grounding the sound in a hypnotic groove. It’s followed by "Anolon", a potent and minimal dubstep mutation, pulling the listener back to a sense of calm. In “Ows,” the energy intensifies with a stripped-back, industrial breakbeat that takes the BPM up to 155, where raw machine-like precision takes center stage. Finally, the EP closes with “Mappy,” a dancehall and hardcore-inspired offering where a simple yet addictive rhythm is layered with amen breaks and echoes of raves past.

Embracing a dangerous yet lush minimalism with an intentionally restrained sound, this release also marks a first for 85acid with the label's first vinyl pressing!

"_Syd Barrett fronting Queens Of The Stone Age- surefooted, inventive and buzzing with surprises." - The Guardian "A refreshingly bold alt-rock sound." Alfitude NJ White - aka WHITEY - explodes out of the shadows with the announcement of his highly anticipated double LP MENTAL RADIO, out on 3rd October 2024. Pulling in influences from across decades of sound and putting it through the Whitey blender to create something musically fresh, MENTAL RADIO is an album that in turn is furious, raw, amused, politically razor sharp and poignant... a satirical take on 21st Century life, a musical pop art collage. As an individual, Whitey prefers to speak via his work, and has eluded all interviews for well over a decade - leading one journalist to describe him as 'the musical equivalent of Bigfoot'. Despite this elusive stance, his music continues to rack up many millions of plays and draw fans from all ages across the globe. Across a string of acclaimed albums, Whitey's music has made its mark, from rock'n'roll clubs to electronic dance floors, fashion catwalks to movie soundtracks, television to computer games, from Breaking Bad and the Sopranos to Grand Theft Auto. Whitey has built a strange home in the shadows between mainstream entertainment and the vanishing underground, an outsider who celebrates his outsider ethos in his work- and yet whose music is embraced by both popular and alternative culture. Whitey is a prominent spokesperson for independent music - his viral letter about 'fair fees for artists' was shared 500,000+ times; and made Newsweek, The Times, BBC Worldwide and the front editorial of Music Week. Whitey's back catalogue has previously received praise from the likes of The Independent, The Guardian, Record Collector, Uncut and Rock Sound to name a few. Available as a Double Vinyl LP, CD and cassette through NO! LABEL, published globally by Mute Song and repped for live by William Morris Entertainment- this is set to be a benchmark album of 2024. Housed in a Gatefold Sleeve (Gloss Finish plus Silver Foil Trim) Including two Printed Inner Sleeves (Gloss Finish).

Celebrating 20 Years since On The Sun was first Released we are releasing it on Vinyl for the FIRST Time. We have 1 totally new track to be made available Digitally and will include that Track and the previously release Te Reo version of So True on the Physical Product.

Joe Henry’s 13th studio album “Invisible Hour”, recorded over four days in July 2013 at Henry's personal studio in California, tells a captivating story about resilience and the redemptive power of love.This record features several of his closest musical companions, including The Milk Carton Kids as well as Lisa Hannigan, who co-wrote the title track along with Henry and best-selling novelist Colum McCann. Now available on 180g black double vinyl for the first time, the 2024 reissue includes three special bonus tracks: Two alternate demo versions of “Slide” and “The Glorious Dead”, originally released on Henry’s 2017 record “Thrum”, as well as the previously unheard demo “News From The Great Wide World”.

Released in October 1974, Fear is an incredibly important in the 50+ year career of John Cale - This re-issue faithfully replicates the original 1974 Island Records UK release and is pressed onto high quality 180g vinyl.Fear marked Cale's return to recording in London after the best part of a decade in America. Signing to Island, he made fast friends with two key admirers, Phil Manzanera and Brian Eno, who assisted him in returning his music to the rawer sound of his earlier work, as opposed to the lush textures of his previous studio album, Paris 1919. The tense, clipped "Fear Is A Man's Best Friend" harks back to the work of the Velvet Underground, as does the standout, "Gun", eight minutes of overdriven bleakness with Eno duelling with Cale's guitar solo on synthesisers. Much is rightly made of these tracks, but there is also the sweetness of the gospel of "Buffalo Ballet" and the Beach Boys homage "The Man Who Couldn't Afford To Orgy". The pretty, semi-autobiographical "Ship Of Fools" offers listeners an opportunity to hear Cale reference the South Wales city of Swansea, its seaside suburb, Mumbles and his home village of Garnant. In its often-skeletal simplicity, the often triumphant Fear is an album that brought an angular aggression with it.

"Aguaturbia" (1970) is an essential album to understand the construction of what we know today as Chilean rock. This very influential album is raw and dynamic, featuring heavy rhythms, distortion, and exceptional phased female vocals reminiscent of Jefferson Airplane. It comprises original compositions and electrifying renditions of songs brought to fame by the likes of Tommy James & The Shondells, The Beatles and, of course, Jefferson Airplane elevating these classics to new heights of intensity and rhythmic allure. We are thrilled to make this outstanding LP available again after many years out of stock. Aguaturbia's debut album was originally released in 1970 and showcases one of South America's most significant psychedelic bands from the late 60s and early 70s. Their influence in their native Chile -and beyond- was groundbreaking. It was played live in 1969 on 3 tracks, and it became an icon of transgression due to its unbridled musical aesthetics and cover art that - for the time of its irruption - meant a clear defiance of the conservative logics lived in Chile, which saw in the nudity of the cover a challenge to morality and good manners. The album is raw and dynamic, featuring heavy rhythms, distortion, and exceptional phased female vocals reminiscent of Jefferson Airplane. Guitarist Carlos Corales shines and when he played solos at the gigs, the effect on the audience was silence and euphoria at the same time, they couldn't believe what they heard. Everything was done with a professional attitude. In fact, Carlos Corales (guitar) and Willy Cavada (drums) were both professional musicians who had made a previous career in rock and roll bands. The LP showcases breathtaking moments, like Willy Cavada's masterful drum solo in 'Ah Ah Ah Ay' captured flawlessly in a single take. Dive into the sensual psychedelic journey of 'Erotica,' where Denise's alluring vocals dance harmoniously with Carlos' electrifying guitar. Plus, don't miss their thrilling renditions of 'Somebody to Love' and 'Crimson and Clover'-each track elevating classics to new heights of intensity and rhythmic allure. This album is more than music; it's an invitation to experience sheer auditory bliss! "Aguaturbia" is an essential album to understand the construction of what we know today as Chilean rock.

"Forever Spoken" is a powerful exploration of humanity's quest to leave a lasting legacy. This album delves into the trials, adversities, and struggles that shape our journey and challenge our ability to fulfill our destiny. Musically, it ventures into the realms of southern metal and sludge, featuring intricate riffs and heavy metal double bass rhythms that elevate its intensity and complexity. The album was recorded with the esteemed Phillip Cope (Kylesa, Baroness, Black Tusk), who returns to mix the record after his successful previous collaboration with us. To complement the depth of the music and lyrics, we enlisted the legendary Dan Seagrave (Morbid Angel, Gorguts, Suffocation) for the cover art. His iconic style perfectly captures the complexity and essence of "Forever Spoken," making this collaboration a significant milestone for us.

Yellow vinyl, limited to 400 copies. "Forever Spoken" is a powerful exploration of humanity's quest to leave a lasting legacy. This album delves into the trials, adversities, and struggles that shape our journey and challenge our ability to fulfill our destiny. Musically, it ventures into the realms of southern metal and sludge, featuring intricate riffs and heavy metal double bass rhythms that elevate its intensity and complexity. The album was recorded with the esteemed Phillip Cope (Kylesa, Baroness, Black Tusk), who returns to mix the record after his successful previous collaboration with us. To complement the depth of the music and lyrics, we enlisted the legendary Dan Seagrave (Morbid Angel, Gorguts, Suffocation) for the cover art. His iconic style perfectly captures the complexity and essence of "Forever Spoken," making this collaboration a significant milestone for us.

'If We Land On Water' is the first album from Spiral Wrack, a duo of Ali Wade (Frequency Domain) and Ralph Cumbers (Bass Clef / Myriad Myriads). Although the two have been good friends for decades and appeared on some of the same labels, this album marks their first musical collaboration, following a one-off appearance on Frequency Domain's 2023 compilation, 'Partials III'. Previous solo work from Ralph and Ali has appeared onPunch Drunk, Idle Hands, Pan, Trilogy Tapes and Werk Discs.

Here they present a full-length work of woozy, heavily processed guitar and synth duets, where beachcombed melodies wash up on unknown shores and strange flowers bloom at the high water line. Robin Guthrie meets Laurie Spiegel with Neptune at the controls. Rum and reverb, if you will.

180gram HQ pressing on Seaside Blue blue colored wax. Non-Returnable.
Old school style tip-on sleeve & insert.
Lacquer cut by Kevin Gray at Cohearent Audio.
First-time vinyl reissue.
Safari was a jazz-fusion unit led by keyboardist Toshiyuki Daitoku, who had recorded with the likes of George Otsuka and Mukai Shigeru, and Gregg Lee, a Californian who had previously played in fusion bands such as Caldera and Native Son.

Berlin-based truthspeaker returns with a full-length Album with 9 new tracks. With forcefully driven rhythms and mystifying atmospheres, they have made previous appearances on labels such as PUPPY, Post Hoc, Ectopic, and Massive Gain while also playing worldwide, from Berlin’s Berghain to touring the North American underground, making appearances throughout New York, Los Angeles, Chicago, Providence, Portland, Richmond, Baltimore, and Nashville. The artist has built a reputation for delivering a transcending, occasionally unpredictable, yet intensely immediate listening experience for the dance floor. Citing previous experience in noise and experimental music, truthspeaker is establishing a functional yet disruptive sound, opening up obscure spaces within the confines of the harder edges of dance music.

We end the year with the second in our series of The Coin EP featuring a different artist on each side. In case you missed Volume 1 - TLM033 it featured Cumulative Collective and Re:Fill in September 2023. This time on side A we have Italian brothers The Robinson who have previously released their track Song 1 on TLM034. They are back once again with two superb jazz infused house tracks, Passion Is The Key and A Satisfying Day. Both ideal for the dancefloor.

Moving onto the AA side and someone who has become a TLM regular, namely Japanese artist Takahiro Fuchigami who supplies us with three amazing tracks; Jazzing Bird, How’s That Sound? and In Motion. Fantastic broken beat from one of Japan’s rising stars. If you missed his two tracks that we previously released on TLM034 - Strange Acquaintance and TLM035 - Outer Heaven, you need to check them out.

Tommy Boy reissues exclusive limited edition pressing of Afrika Bambatta & Soulsonic Force's "Planet Rock” Considered one of founding fathers of rap, Afrika Bambaataa has long been considered a revolutionary, both within the music business and beyond. Raised in the South Bronx, Afrika Bambaataa made his name as a DJ, rapper and songwriter, eventually becoming the foremost DJ, event organizer and promoter of the large block parties that rocked the neighbourhood during the mid-to-late 70's. Leading into the 80's, Bambaataa had found acclaim for releasing countless genre-defining tracks, infusing Hip Hop and Electronic elements into a sound that would influence other artists for years to come. With the groundbreaking release of Soulsonic Force assisted, "Planet Rock," in 1982, Afrika Bambaataa forever cemented his place in the history books as one of the most revered and innovative artists of his time. Since its release, "Planet Rock" has gone on to be recognized as one of the earliest Hip Hop hits and remains one of the genres most pioneering recordings. A long-time favourite amongst break-dancers, DJ's and music lovers alike, "Planet Rock" was ranked by Rolling Stone magazine at #240 on its list of the 500 Greatest Songs of All Time and has received Gold certification by the RIAA. Originally released in 1986 as a collection of previous singles, this highly sought after record has long since been out of production, until now. Ranked at #84 by Slant Magazine on their "Best Albums of the 1980s" list and was also included in the book, "1001 Albums You Must Hear Before You Die".

The album is Frost* at its most ambitious, offering nearly 90 minutes of music over 14 exquisite tracks. The album is the brainchild of Godfrey who was inspired to create the conceptual world for the album based on the group’s previous release Day and Age (2021).

Fans of the band’s masterful debut album Milliontown (2006) will enjoy the band revisiting the style that made that debut album one of the most successful prog rock albums of the last 20 years, a fact that was not lost on Godfrey as he was writing this new record. “With Day and Age, we made it a very specific point: we're not doing any solos, we'll do clever arrangements. And we enjoyed that discipline, but this time I thought it might be good to row back on that position a bit. Plus I wanted to have a little bit of a nod to Milliontown with this album, because it's been nearly 20 years since Milliontown came out and I’m still proud of it. The 15-minute title track has a few of those Milliontown moments in it which were great fun to do again.”
Mitwirkende
wird veröffentlicht am 18. Oktober 2024

Line-Up:
Jem Godfrey – Keyboards, guitar, vocals
Nathan King – Bass, vocals
John Mitchell – Guitars, vocals
Craig Blundell - drums
"Jede Prog-Band, die etwas auf sich hält, sollte eigentlich ein Doppelalbum machen, oder?", fragt Frost*-Frontmann Jem Godfrey. Das war eine der ersten Ideen, als der Songwriter/Keyboarder/Sänger der Band die Arbeit an Frost*s 5. Studioalbum "Life in the Wires" in Angriff nahm. Das Album ist Frost*s ehrgeizigstes Werk und bietet fast 90 Minuten Musik auf 14 exquisiten Tracks. Das Album ist das Geistesprodukt von Godfrey, der von der vorherigen Veröffentlichung "Day and Age" (2021) der Gruppe inspiriert wurde, die konzeptionelle Welt für das Album zu erschaffen. Fans des meisterhaften Debütalbums "Milliontown" (2006) werden sich freuen, dass die Band den Stil wieder aufgreift, der das Debütalbum zu einem der erfolgreichsten Prog-Rock-Alben der letzten 20 Jahre gemacht hat - eine Tatsache, die Godfrey nicht entgangen ist, als er das neue Album schrieb. "Bei Day and Age haben wir es sehr genau genommen: Wir machen keine Soli, wir machen clevere Arrangements. Und wir haben diese Disziplin genossen, aber dieses Mal dachte ich, es wäre gut, in dieser Position ein wenig zurückzurudern. Außerdem wollte ich mit diesem Album eine kleine Anspielung auf Milliontown machen, denn es ist schon fast 20 Jahre her, dass Milliontown herauskam, und ich bin immer noch stolz darauf. Der 15-minütige Titeltrack enthält ein paar dieser Milliontown-Momente, die zu wiederholen mir großen Spaß gemacht hat." "Life in the Wires" wird als limitierte 2CD Edition, als Gatefold 2LP und als Digitales Album erhältlich sein, mit atemberaubendem Artwork von Carl Glover (Steven Wilson).

London based label Natural Selection present their forthcoming release in the form of a 4-track 12" EP, courtesy of Annie Hall, entitled "Atomic 20", ft. remixes from label affiliates Plant43 & Kodah. Mastered by Dadub Studios, Berlin and cut by Simon at The Exchange Vinyl.

Born in Madrid, Annie Hall has been heavily active on the Electronica, IDM and Detroit circuits since 2007 and has seen her music released by the most highly esteemed of Electro labels such as Central Processing Unit, Delsin Records, 20/20 Vision, Detroit Underground, Semantica & more. She returns to Natural Selection, after releasing on 3 previous occasions since the label's inaugural release in 2021. Her track 'Panax Ginseng' (NS001) gained support from some of the most respected DJ's and producers worldwide, inc. Dave Clarke, The Advent, NULLPTR & more.

Atomic 20 is a beautifully crafted Electro release that maintains venomous aggression, amidst breathtaking textures and ambience. Hypnotic pads spiral into the ether, contrasted alongside heavy kicks, deep bass and meticulously programmed percussion patterns. Annie's eclectic and uniquely experimental style is fully evident throughout, taking the listener on an unpredictable, emotional journey, whether at home or on the dance floor.

The B side of the release features 2 well-placed, club-focussed remixes of each original A side tracks; B1 courtesy of Electro legend Plant43, with his immaculate remix of 'Goji Berry'. B2 courtesy of Natural Selection label head Kodah, with his power driven remix of 'Atomic 20'.

Influential DJ, producer, radio-presentator and founder of the Acid Jazz and Talkin’ Loud labels Gilles Peterson has handpicked his jazz favourites from the immense catalog of the Dutch jazz Timeless label. Included are Pharaoh Sanders’ cosmic jazz “Moonchild”, vocal-jazz from Carter Jefferson’s “Why”, danceable-jazz from Tom Grant “No Me Esqueca”, Art Blakey & The Jazz Messengers’ “In Case You Missed It”, making a total of 11 tracks.

In 2015, Peterson put together a Japan-only CD compilation of 10 of his favourite tracks, but for the vinyl version, the track list has been augmentend with the previously unreleased version of “Gibraltar (Alternate Take)” by Kirk Lightsey Trio feat. Freddie Hubbard, and “World Peace” by Timeless All Stars.

Timeless Jazz Classics Volume 1 is available on black vinyl and includes an insert with liner notes and track-by-track information by Gilles Peterson.

Declassified Records is back with its 6th release - 2 more tracks crafted by the label owner himself SP:MC. Staying true to the original ideology of his imprint, SP:MC once again aims to fuse & contort his influences from the Drum & Bass & Dubstep scenes into the 2-step / UKG framework. The A side ‘XL Bully’ is definitely the more up front & hard hitting of the two tracks - drawing inspiration from the palette of Digital & Spirit, Total Science & Rufige Kru’s previous works. The flipside ‘Core Memories’ is a deeper cut leaning towards a more Detroit feel - you can undoubtably hear a nod to the late great Marcus Intalex & ST Files here. Declassified continues the forge its own path forwards, already becoming recognised as a ‘buy on sight’ label for UK bass music fans.

Ben Lukas Boysen’s new album, Alta Ripa, signifies a seismic shift in his artistic journey. It revisits the foundational impulses of his youth, shaped amidst the serene beauty of rural Germany—a bucolic backdrop where his creative palette flourished. However, it was his move to Berlin in the early 2000s that electrified his sound, infusing it with the city’s pulsating energy and diverse cultural influences. Alta Ripa captures this transformative experience, blending the introspective melodies of his rural beginnings with the bold, experimental tones born from Berlin’s vibrant electronic music scene. This album is a testament to Boysen’s evolution, showcasing how geographical shifts can profoundly shape artistic expression.

Boysen’s fourth studio album under his own name, Alta Ripa is a nod to his beginnings as much as a hint to his future, and as a work, it’s almost contradictory in its boldness and humility. He invites the listener on a journey of self-discovery; both for himself and for them, describing the music as “something the 15-year-old in me would have liked to hear but only the grown-up version of myself can write.”

His last two albums involved working closely with other musicians, including cellist Anne Müller, flugelhorn player Steffen Zimmer, and drummer Achim Färber. However, inspired in part by a recent return to live performance, Alta Ripa sees Boysen circling back to his passion for pure computer music.

For Boysen, the return to his youthful musical language marks a major turning point in his career. It represents a departure from his roots in classical music – his mother was an opera singer and his father an actor with an appreciation for Wagner, Arvo Pärt, Keith Jarrett, and Stockhausen. Although these are still important influences, Alta Ripa encapsulates a new, exploratory interplay between Boysen’s careful craft and his ability to let go of some of the process.

The album’s title comes from the original Roman name of the town that Boysen grew up in, Altrip, where he lived until his early twenties. This formative period is central to the ideas behind this album, from Boysen’s parental ‘schooling’ in classical music through to his sonic journeys through drum and bass, Aphex Twin, and Autechre — all of which changed his idea of what music could be. The extreme energy of tracks like ‘Acperience 1’ by Hardfloor, ‘Tracks & Fragment’ by Cari Lekebusch, ‘Focus2 Implan’ by Jiri.Ceiver, and ‘Low On Ice’ by Alec Empire are also pivotal influences.

For Boysen, this time of his musical development also involved knocking down the pillars that he previously thought had carried his world. A key moment for Boysen was being given a precious (pre-internet) club cassette at school that featured artists like Source Direct, Photek and Goldie. Excited by this new discovery, he introduced his father to the song ‘Dred Bass’ by Dead Dred. After the song finished, Boysen Sr. turned off the tape and proclaimed it was “the end of all music”. This heated exchange sparked a new, and more mature dialogue between the two that involved them sharing and discussing music on a regular basis.

Boysen’s classical and jazz music upbringing might not be easily noticeable from the electronic palette that he uses. But it can be found in its bones; the structure of the tracks and their dynamic shifts. On Alta Ripa, he intentionally embraces a spirit of controlled chaos, churning out sonic ideas to see what sticks.

One of Brian Eno’s Oblique Strategy cards contains the phrase “gardening, not architecture”, and the trajectory of Boysen’s creative path reflects this metaphor. In much of his previous work he followed a sort of Brutalist architect’s approach; here, he was fully responsible for the tracks’ austere structures and planned them with deliberate care. But by sacrificing some of that control on Alta Ripa, he sets the right conditions for a dark and unpredictable, organic growth. It’s a push forward into a new world.

Signing off 2024 in style, Berlin’s Pure Hate Trax brings you PH008 Execution Style EP by DJ Speedsick. The Wisconsin-born Chicago based recording & visual artist who also owns and operates as Snake Eyes & Sevens and Escalationist has previously released on labels such as Ophism Records, Bank NYC, Psychic Liberation, Psy X Records & Techno Is The Devil’s Music. Described as taking Techno to uncompromising places he delivers five hardware tracks direct out of the box implementing harsh instrumental industrial noises alongside Acid and Techno to create a signature Speedsick EP. PH008 is available in stores from 4th December 2024, distributed by Ready Made Distribution, Berlin. Mastered by Joe Farr. Artwork by Slave To
Society. Tracklist:

Four Flies keeps digging into the secret archives of Alessandro Alessandroni to bring hidden treasures back to light. After two successful releases - the EP Afro Discoteca and the compilation album Lost & Found -, it is now the turn of a new 7'' single featuring two tracks with a strong soul-funk influence, sung by the Maestro's beloved Cantori Moderni in a typically Italian harmonizing style, poised somewhere in between gospel and disco music. Both tracks are previously unreleased and were recorded in the same 1976 sessions that birthed Sangue di sbirro (Knell / Bloody Avenger), his most blaxploitation-inspired soundtrack.

Shine On, on Side A, is a disco-funk anthem driven by a killer rhythm section, with heavy drum breaks and bass lines enhanced by a powerful brass section, string interludes and Fender Rhodes phrasings with a distinctly jazz-funk flavour. In the same vein, Prohibition on Side B is a mid-tempo funk floor-filler built on a super groovy bass line on top of which are layered prominent brass and Wurlitzer passages.

This is another great find that expands the known horizons of Alessandroni's discography. And it won't be the last one…

S-Tone Inc., one of the most acclaimed artists on Schema Records, with +300.000 monthly listeners and millions of plays on Spotify, is back with a full rework of his previous full-length "Body & Soul", a homage to the late '70s / early '80s disco music that the artist used to immerse in during those adventurous years. Early '90s British acid jazz, '70s soul, Brazilian and jazz music are here reworked in a nu-disco key, with the exception of the downbeat tracks "Flying Away" and "Midnight Sun" and the 'spacey' "Odoya", rearranged by The Invisible Session without mining the overall mood of this release.

For the first time in their diverse second act, they allow themselves to be a rock band, freed of adornment and embellishment. As much as Carlson’s guitar has always been the focal point of EARTH’s music, it’s been surrounded by consistently diverse instrumentation. Here the dialog between Carlson and Davies drumming remains pivotal, underpinned by the sympathetic bass of Bill Herzog (Sunn O))), Joel RL Phelps, Jesse Sykes and the Sweet Hereafter) and thickened by additional layers of guitar from Brett Netson (Built To Spill, Caustic Resin) and Jodie Cox (Narrows). Perhaps the largest left turn on Primitive And Deadly, though, is the prominence of guest vocalists Mark Lanegan and Rabia Shaheen Qazi (Rose Windows) who transform the traditionally free ranging meditations of EARTH into something approaching traditional pop structures.
On “Rooks Across the Gates,” a song stylistically the closest to the folk inspired modality of Angels Of Darkness, Carlson stretches out into some of his most lyrical playing to date, creating an almost symbiotic relationship between his performance and the vocals of old friend Mark Lanegan. “From the Zodiacal Light,” meanwhile, takes the late 60s San Franciscan/freaked-out jazz-rock transcendence of The Bees Made Honey In The Lion’s Skull and quickly re-appropriates that sound into a musky torch song for the witching hour.
This contradictive tension between a band pushing itself ever-forward whilst surveying their history is reflected in the albums twin recording locales. The foundation of the record was laid in the mystic desert highlands of Joshua Tree, California where EARTH recorded hour after hour of meditations on each track's central theme at Rancho de la Luna. Upon returning to Seattle these were edited, arranged and expanded upon at Avast with the help of long-term collaborator Randall Dunn (who was previously at the helm for the Hex, The Bees Made Honey In The Lion's Skull and Hibernaculum sessions).

Blue and orange Stardust vinyl, limited to 500 copies. Since 2016, Indiana's Wraith have been emitting their incendiary brand of blackened thrash and speed metal into the world. Summer 2024 will see them release their debut full length under the Prosthetic Records label banner; prepare for Fueled By Fear. What started as a one-man band many moons ago has evolved into a propulsive beast of a band. Channeling a reverence to classic metal from a bygone era, Wraith incorporate their distinctively blistering sonic signature to create something urgent and contemporary. The band have previously described their collective mission as follows: a war of aggression on the dour confines of the modern metal scene and total sonic annihilation. Fueled By Fear captures the raw punk edge of their previous releases; a sound that will already be familiar to converts who have caught the band live in all their full-throttled abrasive glory. The album was self-produced by the band in Griffith, Indiana -, with engineering, mixing and mastering handled by CJ Rayson. Each member brings their own influences and stylistic flourishes to the table, combining to create a tightly wound, cohesive collection of scorching tracks that reflect their individual personalities and tastes.

THEY COULD NEVER MAKE ME HATE YOU is the sixth studio album from Miami, FL rapper and underground rap luminary, Pouya, and first full length studio offering since 2023s GATOR. The 9 track album clocks in at a blistering pace of 25 minutes long, and includes the previously released singles, “BLAME GAME,” “FORGET ABOUT EVERYTHING” & “UH OH (feat. Rick Ross).” The album marks a defining moment in Pouya's career, revealing an artist at his most raw and unfiltered. It serves as a bold declaration of resilience and defiance, where Pouya peels back the layers of his psyche to confront the pain, betrayal, and perseverance that have shaped him. The project is a sonic exploration of the highs and lows of life, intertwined with Pouya's relentless pursuit of

Continuing our quest to get all of the classic early AMT albums released on vinyl, we turn to 2006’s ‘Starless And Bible Black Sabbath’, and with the help of Makoto Kawabata’s studio wizardry, we’ve made it possible.

This latest instalment in the ‘Acid Mothers Temple Vinyl Archives - First Time On Vinyl’ series (as with the three previous SOLD OUT releases in the series) have all been meticulously put together with the help of Makoto Kawabata with the original CD artwork recreated for these vinyl editions from archive photos stored in the vaults at the Acid Mothers Temple in Osaka, Japan and the original audio remastered by James Plotkin.

Here’s what "Brainwashed" had to say upon it’s original CD only release back in 2006 …

“The title track is the meat of the beast, beginning with a minute of booms and gongs reminiscent of a thunderstorm before launching into some slow, heavy Sabbath-esque riffs. Squealing guitar and synth effects accompany the vocals of bassist Tabata Mitsuru, whose voice captures some of the sound and feeling of Ozzy's more than it does the melody. The pace is slower than most AMT fare, but things speed up considerably around the eight and a half minute mark. The group convincingly imitates the Sabbath guitar sound here and the rhythm section is particularly tight, giving listeners something on which to hang their ears or even providing them with a chance to gasp for air during Makoto's guitar explorations. Around the sixteen minute mark, everything comes to a wailing halt before the band returns to the dirge-like tempo that started the song. This pattern continues for the duration of the piece, until a couple of minutes before the ending, when the group makes a smooth transition to acoustic guitar and processed vocals to cool down.

Clocking in at nearly thirty-five minutes, the length alone may tax some listeners. However, the second track, "Woman From A Hell, "provides relief, which with a running time of six minutes is uncommon in the Acid Mothers canon for its brevity. This one condenses many of the ideas of the title track, and accomplishes much of the same evocation of Sabbath, but with the vocals in a more prominent role. The disc comes full circle, ending with thunderstorm sounds much like theones which started the album. Though the title track could have been shortened and perhaps an additional track included, this album remain some of the group's more accessible releases in some time and should please fans old and new alike.

According to the group's website, Makoto is reviving the Melting Paraiso U.F.O. line-up after a year of recording and touring with the Cosmic Inferno. This is a shame of sorts, since the Cosmic Inferno infused a much-needed vitality to the group that it had lacked since the departure of vocalist Cotton Casino. Yet the reformed Melting Paraiso U.F.O. has the potential to be even better since, if anything, Makoto seems to be the Mother of Reinvention.”

Acid Mothers Temple & The Cosmic Inferno are: Tabata Mitsuru - Bass, Vocal, Maratab - Hiroshi Higashi - Synthesizer, Dancin' King - Shimura Koji - Drums, Latino Cool - Okano Futoshi - Drums, God Speed - Makoto Kawabata - Guitars, Speed Guru

More freaky acid waves from the unknown Lost Trax laboratories. A strong follow up to their previous 'Mind Over Matter' EP on Delsin where they explored a more oldschool 90's electronics feel. Right here it's strictly business with punchy acid lines and timeless pads on 5th Comb Sweep. The Detroit style FM freakiness of Skin Walker and stabby 303 pulses combined with smashing rides on X1 will definitely get crowds moving!

We are back with more songs from Nicolai Zellmani, presenting a selection of 4 previously unreleased tracks from the vaults, retouched and Deejay ready.
Fans of his first EP on Public Possession „Percussion Heaven“ will notice with delight: a similarly tribalistic, warm & spheric approach to Techno on the tracks „Yongheng Forever“ and „Smutt“. Then you have „Nuevo Portamento“ a crazy, harmonius leftfield anthem and „Eternal Loop“ the ultimate song for a late night (early morning) ecstasy experience. Big Tip!