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Five groups, one mythical studio - documenting the emergence of a generation!

The initial postulate was simple: five groups, one emblematic studio and 24 hours for each to imagine and record two unreleased tracks with one objective - the will to document a French jazz scene in the midst of renewal.

In these last few years, several innovative currents have shaken up the world of jazz and attracted new fans. They have bubbled up from Los Angeles, impregnated with hip-hop culture (Kamasi Washington, Terrace Martin, Thundercat), or from London, tinged with African rhythms (Nubya Garcia, Kokoroko, Ezra Collective). Meanwhile, in France, a new scene is emerging, carrying with it more of a dancefloor-oriented sound influenced by electronic music - an obvious kinship with the French Touch explosion of the late 90s.

Historically, every movement has been assimilated to a certain neighbourhood, to specific clubs where late at night, young guns stayed up to imagine the jazz of tomorrow - the Cotton Club for the jazz of the 20s, Minton’s Playhouse in Harlem for Be-Bop, the Black Hawk in San Francisco for West Coast jazz, Birdland in New York for Hard-Bop or a lot more recently, the Total Refreshment Centre which has been the playing field for the new London scene.

In Paris too, this new sound is associated with actual venues, places which have allowed these groups to form, create a repertoire and forge an aesthetic - Le Baiser Salé for Monsieur Mâlâ, La Gare/Le Gore for Photon, La Pêche in Montreuil for Ishkero, La Petite Halle for Underground Canopy and also le Duc des Lombards and le 38 Riv’ for Alex Monfort; it’s in a live context that this music will always continue to evolve.

Keeping this “live” spirit, with all its spontaneity, was actually the guiding line for the elaboration of this Studio Pigalle compilation. Each take was recorded in the most organic way possible, bringing all the musicians together in the same room to limit post-production alterations before the final cut was assembled, in just one day, by studio in-house sound engineer, Felix Rémy.

A feeling of urgency permeates a record guided by an artistic production taking care to crystalise the essence of this artistically free-range generation whose childhoods were rocked just as much by Bill Evans and Roy Hargrove as by J Dilla and Jeff Mills. One of the two tracks recorded is geared towards the dancefloor, and the other, more cosmic/ambient gives freer rein to individual interpretation.

There were therefore many possible ways of interpreting these guidelines for the five formations which number among the most distinctive on the current French musical landscape, and the occasion, for some, to rummage through their archives! With Transe (Mbappé) and Da Verdere (Vella), Monsieur

Mâlâ present us with two unreleased tracks issued from the very first rehearsals of the quintet reworked especially for this compilation. “Seen the aesthetic range of this group, it all worked out very naturally in the studio”, recounts keyboardist Nicholas Vella “Recording like they did in the sixties with all the channels live and working with small imperfections was a very interesting task, even when it came to the mix, we had to make do with the takes we had... “

“Our group is very recent, and with this session, in just two tracks, we had the opportunity to present the entirety of our musical universe,” says Photons pianist Gauthier Toux. “All too often, we assimilate this fusion between jazz and dance music to computers and post-production modifications. For “Dessine”, we kept the first take, and we must have recorded just three or four for the other track with more of a techno bent. In one day, we understood that we could play our entire repertoire live, from A to Z”.

“When the Komos label offered me this project, it immediately spoke to me”, remembers Alex Monfort “Straight away, I thought of “Since I Met You”, a track with a nine/four time signature which really is reminiscent of a new- soul groove, but with this extra cosmic vibe! I wrote the words to the chorus and Nina Tonji placed her voice on the track, adding her own verses. For “Tonight”, the up-tempo track, I wanted to head off in more of a hybrid direction inspired by Kaytranada or the Black Radio series by Robert Glasper. A cross-over between jazz and hip-hop which really does represent my world, and I also tried to place vocals centre stage (Emcee Agora)”.

“We truly resonated with the way Antoine Rajon imagined this compilation and the recording session”, confide Warren Dongué and Jérémy Tallon from Underground Canopy. “When arriving in this studio we felt as if we had gone backtothe70s! Inkeepingwiththespiritofthisera,heknewhowtoletus keep our spontaneity, without recording in too many takes, and that’s how we like to work”.

“We managed to adhere to the themes of the compilation without changing our instrumentation, we wanted to remain faithful to the sound of Ishkero on these new compositions and take them somewhere else” – says drummer TaoEhrlich -“Withoutaddinganyelectronics.Thesessionwassupervisedin a truly subtle and benevolent manner. From a human perspective, it was also a wonderful experience”.

Whether turned towards hip-hop, ethnic or electronic music, the artists featured on this Studio Pigalle compilation represent the eclecticism of a new generation in the process of writing the first chapters of its history. Open to experimentation, these artists continue to hold high an immutable love for improvisation and creation in the moment... another definition of the word Jazz!

A thrilling immersion into FM synthesis and a puzzle of MIDI data, the Los Angeles based multi-instrumentalist Gregg Kowalsky returns to Mexican Summer with Eso Es, his sophomore outing for the label and first new music since 2017’s L'Orange L'Orange. Representing a significant creative leap for the veteran composer, Eso Es unfolds as a hypnotic journey into Kowalsky’s inner world, laced with a depth of emotiveness and vulnerability that’s rarely encountered in the electronic music realm. Raised in South Florida and trained at Mills College under Fred Frith and Pauline Oliveros, Kowalsky first came to prominence during the mid-2000s as a member of the thriving experimental music scene in the Bay Area, issuing a series of stunning albums on imprints like Kranky and Root Strata and contributing to a reinvigoration of American made Minimalist and electroacoustic music. In an addition to composing solo works, pieces for large ensembles, film soundtracks, dance performances, and site-specific installations over the past twenty years, during the 2010s Kowalsky concentrated his energies as one half of the critically acclaimed duo Date Palms, performing extensively and releasing three hypnotic albums, including 2011’s Honey Devash on Mexican Summer.

Der Rotterdamer DJ/Produzent Jochem Paap begann 1990 unter dem Pseudonym Speedy J - als Anspielung auf seine DJ-Skills - Techno-Tracks zu kreieren. 1993 erschien sein Debütalbum 'Ginger' mit der Absicht, 'seine Musik aus dem Rave in die Hörumgebung zu Hause zu bringen' (allmusic), was seinen minimalistischen, aber melodischen Produktionsstil einem breiteren Publikum zugänglich machte. Kritiker lobten seine akribische Aufmerksamkeit für das Audiodesign, den geschickten Einsatz von Interludes und eine sorgfältige Balance von Four-to-the-Floor-Grooves mit Ambient-Texturen. 'Ginger' wurde in zahlreichen Retrospektiven von Trendsetter-Magazinen wie Pitchfork, The Wire und FACT als wegweisender Release hervorgehoben. Die 2021 remasterte Reissue kommt im Originaldesign der langjährigen Warp-Begleiter The Designers Republic.

2LP x black LP mit den mit 5 Bonus tracks, different Cover

RUSH! (ARE U COMING) ist die erweiterte Ausgabe des Albums RUSH! von Måneskin, das ursprünglich im Januar 2023 veröffentlicht wurde. Die neue Album-Version enthält 5 neue Songs, darunter die aktuelle Single der Band "Honey (Are U Coming?)", sowie "Valentine", "Off My Face", "The Driver" und "Trastevere". Mit einem brandneuen Cover, das das provokante Original umkehrt, wird das Album in verschiedenen Formaten erhältlich sein.

Cultural power house Jazz Montez is back with the second edition of its compilation series "Jazz Montez Presents". The album comprises nine tracks by artists from around the world: Àbáse, Bokoya, Debmaster, FloFilz, J.Lamotta, Karaba, King Owusu, Liraz, MC Yallah, The New Love Experience, Wolf Müller & Niklas Wandt and Zeitgeist Freedom Energy Exchange. Inspired by the tradition of jazz, they collectively channel the power of music to transcend all borders and push the boundaries of pre-conceived genres. Each track was recorded in the analogue sanctuary Lotte Lindenberg in Frankfurt, Germany, mixed by D&B legend Kabuki and mastered by renowned producer and audio technician Wolfgang Gottlieb. The vinyl cover was designed by artist Clara Sipf and includes a booklet featuring texts by all participating artists as well as a picture story on music as a universal connecting force.

Originally released in 2008, MACHINE 15, celebrates it"s 15th anniversary with a long awaited vinyl repress, remastered for vinyl by Dan Swanö. With an impressive string of releases behind them, nearly two million records sold worldwide and having shared stages with the likes of Blink 182, the Foo Fighters and Queens of the Stone Age, the Orebro based quartet of vocalist/bassist Nikola Sarcevic, guitarists Erik Ohlsson and Mathias Farm and drummer Fredrik Larzon show that they are on top of their game. While upholding the classic Millencolin sound, they chose to diversify, evolve and progress on the new album The explosive result is pop infused punk at its all-time best with driving beats, anthemic choruses and irresistible melodies that prove the band is back to kick ass and take names. For Machine 15, Millencolin re-teamed with producer Lou Giordano (Sugar, Taking Back Sunday, Plain White T"s), who previously worked with the band on 2003"s Home From Home. "We wanted the kind of crisp sound that Lou is notorious for. Plus we have a great chemistry with him," guitarist Erik Ohlsson adds.

Geordie Kieffer doesn’t f**k around. The impish, self-proclaimed “God Father of Agro Pop” writes hard core pop bangers that bark and bite, drawing influence from both his questionable past and the city-wide playground of his L.A. hometown. His sound is something novel: a sexy and comedic dark romp through Pop, Hip-Hop and Electro that dives head first into your brain and just won’t get out.

After the breakout of his first two singles, “Red Line” and “Swinger,” a sold-out headlining tour in Canada, he’s ready to drop his debut album, Just Kill Me Already, a heavy hitting and ferociously playful Alt Pop jamboree of self introspection and bravado. Like a charming outlaw dwelling on the outskirts of pop music, Geordie Kieffer is dangerous and oddly refreshing. His music will no doubt inspire fist fights and flirtation, anger and elation

9Million is a Toronto shoegaze band helmed by the multi instrumentalist, songwriter and producer Matthew Tomasi. Best known for his work with alt pop icons like Ethel Cain and Nicole Dollanganger, Tomasi has gained increased notoriety in recent years for his behind the scenes work as a producer and mix engineer, but he is also a tireless creator and songwriter himself; playing and contributing to the music of countless bands and independent artists. With 6 other members including Ace Mendoza (Lead Guitar, Vocals), Danielle Clark (Vocals), Lia Lepre (Keys), Jamie Fastlane (Bass), Brandon Santi (Drums), and Looch Man (Guitar, Vocals); Tomasi says 9million started out “as a creative outlet for myself to explore new sounds and ideas that I wasn’t touching on with any of my other projects or clients'', but quickly the project took on a collaborative spirit not unlike his hardcore band Friction.

The sound of 9million infuses a shoegaze / alt rock foundation with elements of brooding alternative pop, indie rock, and synthwave - resulting in something that recalls ahead of their time 90s bands like Hum and Failure while connecting that sound from the past to the modern world of post-Lana Del Rey slowcore pop sound that Tomasi traffics in on records like Preacher’s Daughter, Natural Born Losers,
and Married In Mount Airy. Featuring several new original songs and two covers, the mixtape explores more electronic elements and layers of vocal processing that, when paired with the fuzzed out rock sound of Between Us, present an exciting blend of styles the band is pulling from. As a whole, Gush is a loose yet emotionally hefty collection of songs that highlights Tomasi’s distinct approach to shoegaze while also capturing the unique dynamic and possibilities of this band as a whole.

Hailing from Cape Town, tenor saxophonist Winston Mankunku Ngozi (1943-2009) is a venerated
figure in the pantheon of South African jazz. Inspired by Coltrane while rooted in indigenous folklore,
he released the classic album Yakhal’ Inkomo at the outset of his career with the Mankunku Quartet in
1969. Backed by the Cliffs, Alex Express documents Mankunku’s return to the studio in 1975 with a
handful of new and original compositions and his inimitable tone on full display. Shaking off the burden
of Yakhal’ Inkomo, which was heralded as an earnest manifesto for modern South African jazz, the
album is a carefree affair that leans into township grooves with joyful exuberance. In addition to a
collaborative project with Mike Makhalemele entitled The Bull and the Lion, Alex Express is the first of
just two rare snapshots of Mankunku in the 1970s. Disillusioned by the recording industry, it would
take until his resurgence in the 1990s for Mankunku to flesh out his recorded legacy.

Unlike what we might expect, traditional music is not one-size-fits-all. Each song has its own story,
history and characters which the singers must serve, rather than themselves. On his new album, Look
Over The Wall, See The Sky, John Francis Flynn delicately unpicks these traditional songs and
rearranges them with an emotional force that sometimes leaves them unanchored, floating in a surreal
space between the past and the present, the analogue and the digital, between love and tragedy.

StriIn 2013, Blue Smiley officially formed in Brian Nowell and John Slavin’s rodent-infested North
Philadelphia apartment. With Nowell primarily composing from the hammock he used as a bed, Blue
Smiley created three short recordings within a year, featuring drummers Gracie Clements, Tim
McMonigle, and Joe Veltri. Matt McGraw, drummer and childhood friend of Slavin’s, later joined the
group to galvanize a sound that helped define Philadelphia indie rock of the 2010’s. Blue Smiley’s first
professionally recorded album ok released in 2015, featuring dystopian noise-pop compositions with
fuzzy effects, unique for its focus on groove and precipitous tempo changes. Slavin then relocated to
Austin, TX while close friend and bassist Michael Corso joined Nowell for the next iteration of the
group. True to the Blue Smiley ethos, their next full-length return soon followed, replete with snappy,
short songs that waste no time getting to the point. On return, Nowell’s hushed vocals settle deeper
into the band’s tapestry, like an iridescent thread that catches your eye at just the right moment.
During their last tour, the band introduced a handful of new songs, but never made it to the studio.
While celebrating his upcoming 27th birthday with his parents, Nowell expressed his intentions to put
these tracks together for a third LP. Tragically, Nowell was found unresponsive in his room the
following morning on October 8, 2017, a victim of fentanyl poisoning. In spite of the band’s premature
ending, their legacy is now immortalized with this physical recording.

StriIn 2013, Blue Smiley officially formed in Brian Nowell and John Slavin’s rodent-infested North
Philadelphia apartment. With Nowell primarily composing from the hammock he used as a bed, Blue
Smiley created three short recordings within a year, featuring drummers Gracie Clements, Tim
McMonigle, and Joe Veltri. Matt McGraw, drummer and childhood friend of Slavin’s, later joined the
group to galvanize a sound that helped define Philadelphia indie rock of the 2010’s. Blue Smiley’s first
professionally recorded album ok released in 2015, featuring dystopian noise-pop compositions with
fuzzy effects, unique for its focus on groove and precipitous tempo changes. Slavin then relocated to
Austin, TX while close friend and bassist Michael Corso joined Nowell for the next iteration of the
group. True to the Blue Smiley ethos, their next full-length return soon followed, replete with snappy,
short songs that waste no time getting to the point. On return, Nowell’s hushed vocals settle deeper
into the band’s tapestry, like an iridescent thread that catches your eye at just the right moment.
During their last tour, the band introduced a handful of new songs, but never made it to the studio.
While celebrating his upcoming 27th birthday with his parents, Nowell expressed his intentions to put
these tracks together for a third LP. Tragically, Nowell was found unresponsive in his room the
following morning on October 8, 2017, a victim of fentanyl poisoning. In spite of the band’s premature
ending, their legacy is now immortalized with this physical recording.

In 2013, Blue Smiley officially formed in Brian Nowell and John Slavin’s rodent-infested North Philadelphia apartment. With Nowell primarily composing from the hammock he used as a bed, Blue
Smiley created three short recordings within a year, featuring
rummers Gracie Clements, Tim McMonigle, and Joe Veltri. Matt McGraw, drummer and childhood friend of Slavin’s, later joined the
group to galvanize a sound that helped define Philadelphia indie rock of the 2010’s. Blue Smiley’s first professionally recorded album ok released in 2015, featuring dystopian noise-pop compositions with
fuzzy effects, unique for its focus on groove and precipitous tempo changes. Slavin then relocated to Austin, TX while close friend and bassist Michael Corso joined Nowell for the next iteration of the
group. True to the Blue Smiley ethos, their next full-length return soon followed, replete with snappy, short songs that waste no time getting to the point. On return, Nowell’s hushed vocals settle deeper
into the band’s tapestry, like an iridescent thread that catches your eye at just the right moment.

During their last tour, the band introduced a handful of new songs, but never made it to the studio. While celebrating his upcoming 27th birthday with his parents, Nowell expressed his intentions to put
these tracks together for a third LP. Tragically, Nowell was found unresponsive in his room the following morning on October 8, 2017, a victim of fentanyl poisoning. In spite of the band’s premature ending, their legacy is now immortalized with this physical recording.

In 2013, Blue Smiley officially formed in Brian Nowell and John Slavin’s rodent-infested North Philadelphia apartment. With Nowell primarily composing from the hammock he used as a bed, Blue
Smiley created three short recordings within a year, featuring
rummers Gracie Clements, Tim McMonigle, and Joe Veltri. Matt McGraw, drummer and childhood friend of Slavin’s, later joined the
group to galvanize a sound that helped define Philadelphia indie rock of the 2010’s. Blue Smiley’s first professionally recorded album ok released in 2015, featuring dystopian noise-pop compositions with
fuzzy effects, unique for its focus on groove and precipitous tempo changes. Slavin then relocated to Austin, TX while close friend and bassist Michael Corso joined Nowell for the next iteration of the
group. True to the Blue Smiley ethos, their next full-length return soon followed, replete with snappy, short songs that waste no time getting to the point. On return, Nowell’s hushed vocals settle deeper
into the band’s tapestry, like an iridescent thread that catches your eye at just the right moment.

During their last tour, the band introduced a handful of new songs, but never made it to the studio. While celebrating his upcoming 27th birthday with his parents, Nowell expressed his intentions to put
these tracks together for a third LP. Tragically, Nowell was found unresponsive in his room the following morning on October 8, 2017, a victim of fentanyl poisoning. In spite of the band’s premature ending, their legacy is now immortalized with this physical recording.

If there’s a secret to time travel, Kool Keith owns the patent. Even a flying DeLorean seems too
conventional for the Bronx legend. He’d more logically orbit throughout the galaxy in a gleaming
chrome spaceship, teaching the stars and aliens new forms of originality. He is too weird to live, too
rare to die, too uniquely ultra-magnetic to be accurately mimicked. Released on Mello Music Group,
Time? Astonishing! is the latest dimensional warp from hip-hop’s premiere astral traveler. His union
with MMG producer L’ Orange finds him exploring uncharted terrain: choppy volcanic rock planets, ice
glacier moons, new surgical procedures, and fresh rappers to toss into the ether. The scalpel remains
eternally sharp. The beats glow with radioactive grit. Hard enough to knock from your car speakers,
cinematic and plutonium-propelled enough to transport you to strange terra firma. Buck Rodgers
movie serials meet boom-bap. And along for the odyssey are a cast of the best underground MC’s of
the last decade: Blu, Open Mike Eagle, Mr. Lif, J-Live, and more. These are space symphonies and
occult odysseys, fuel for wanderers, wonderers, and all the a-likes. Welcome to the new world, even
more sinister and suspenseful than the last one. We live in astonishing times: abstract, absurd, and
indelibly Kool.

We at Real Gone Music have proudly represented Steve Lawrence and Eydie Gorme’s GL label for
over a decade. But now, we are very, very excited to announce that we are working with Steve and
Eydie’s son David Lawrence and his wife Faye to overhaul their entire catalog of recordings, offering
updated annotation and fresh remasterings straight from the original tapes! Last year, we inaugurated
our reissue campaign with their classic 1964 holiday release...and now we are very proud to announce
we are bringing That Holiday Feeling! to vinyl (green vinyl, that is)! You get 12 holiday favorites
including solo Steve (“The Christmas Song,” “Let Me Be the First to Wish You Merry Christmas”), solo
Eydie (“White Christmas,” “What Are You Doing New Years Eve”) and the duo’s trademark duet
renditions (e.g. “Sleigh Ride”). We’ve included a personal note from David Lawrence with liner notes
by Joe Marchese. Even if you already own this Christmas classic, the sound on this new edition—
remastered for vinyl by Eric Boulanger under David’s Lawrence supervision—will indeed spark that
holiday feeling. Limited to 750 copies!

A tech company's "senior spirit guide" finally comes to the defense of the "financially unsuccessful" Vincent van Gogh; wonders of the natural world are reimagined as "muster points for brainstorming innovators"; the "artificial char lines" on fast-food burgers are cited as if signs of the apocalypse. For the better part of three decades, Aesop Rock has used the syntax of the moment to pinpoint the fault lines in that moment's supposedly solid foundation. With his tenth album, Integrated Tech Solutions, Aes wields insidious corporatespeak as a tool to pry that parasitic worldview away from the parts of life that truly matter.



A concept album about an organization offering "lifestyle- and industry-specific applications designed to curate a desired multi-experience," Integrated Tech Solutions picks apart the charlatan language that hears app inventors put themselves on continuums starting with cavemen and continuing through da Vinci. On "Mindful Solutionism," the wheel evolves seamlessly into modern agriculture—and then into atomic bombs, Agent Orange, cigarettes, and surveillance cameras. In a rare moment of transparency, the engineers Aes give voice to sum up this spiral in just a few words: "We cannot be trusted with the stuff that we come up with."



Appropriately, the album sounds like the past and future at once. Largely self-produced, Integrated Tech Solutions catches Aes at his leanest and most innovative, leveraging "Solutionism"'s careening bounce against the wistful "By the River" or the slow creep of "Salt and Pepper Squid." The effect is a record that sounds itself like an organism growing, mutating, hurtling toward profitability-and then destruction. As fans have come to expect, Aes is cuttingly funny and slyly profound at once, whether recounting a childhood restaurant run-in with Mr. T ("100 Feet Tall") or quipping, on "Pigeonome- try," that "white dove is a pigeon-you motherfuckers is bigots." At the same time, Integrated Tech Solutions is working on another parallel project: tracing the sprawl of modernity and cutting directly to its core. "I've been doing laps of the lost worlds," he raps on "All City Nerve Map," sounding at once wearied and reinvigorated. "I can draw a map to the raw nerve."






[f] Kyanite Toothpick [feat. Hanni El Khatib]




[k] Bermuda [feat. Lealani Teano]


[n] Forward Compatibility Engine [feat. Rob Sonic]



[r] Black Snow [feat. Nikki Jean]

Hidden Orchestra is an imagined orchestra created by multi-instrumentalist composer/producer Joe Acheson. The releases feature a wide variety of guest musicians from different musical backgrounds, recorded separately, and combined by Acheson in his studio to create an ‘imaginary orchestra’ that doesn’t really exist.

New full-length album 'To Dream is to Forget' will be released this September on Lone Figures.

In his “Pulse Music” compositions of the mid-1970s, composer John McGuire forged a unique interpretation of European serialism. A student of Karlheinz Stockhausen, Krzysztof Penderecki and Gottfried Michael Koenig, McGuire moved to Cologne, Germany in 1970, where he become associated with the world-leading Studio for Electronic Music at Westdeutscher Rundfunk (WDR) in Cologne. Like Stockhausen, McGuire found his musical imagination both constrained and inspired by the technology that was available to him.

A conversation with sculptor Hans Karl Burgeff led McGuire to think beyond the horizon and into limitless space. For “Vanishing Points” (1985–1988), McGuire used an entirely digital set-up for the first time: a digital sequencer, eight Yamaha DX-7 synthesizers and a Studer 24-track digital tape recorder. The piece was conceived as a “sequel” to the Pulse Music series, but also a step forward from it. Whereas the Pulse Music pieces had employed steady streams of pulses, with Vanishing Points McGuire employed pulse layers that accelerate or decelerate against one another, vastly increasing the resulting rhythmic complexity.

McGuire's exploration of music technology continued in “A Cappella” (1990–1997), written for his wife, the soprano Beth Griffith, known for her recording of Morton Feldman’s “Three Voices” made in 1983. Using samples, he created a four-voice choir of voice samples and arranged them into interacting parts. The composition faced challenges due to the organic nature of the human voice compared to the precision of synthesized sounds. This process involved extensive editing and a negotiation between the "material" and the "original conception". This sort of negotiation applies as much to the composition of a single piece as it does to the work of two decades.

Berlin-based Swedish bassist and producer Petter Eldh returns with a new Koma Saxo album Post Koma, out on We Jazz Records, 10 November. The title Post Koma aptly describes the vibe of this one: The Koma Saxo sound continues its evolution, morphing into a holistic vision of jazz now and soon, where live instrumentation and repurposed sampling lose their boundaries.

Over the course of its three iterations (self-titled debut in 2019, LIVE in 2020, Koma West in 2022) Koma Saxo has sounded at times "liquid" and postproduced, at times raw and direct, at times acoustic and at other times oddly electronic (even while still being made with acoustic instruments). Post Koma is a culmination of this sonic study by Eldh, resulting in a music vision that never second-guesses throwing tasty hooks and everlasting melodies out the window after a mere bite of them. But fear not: there are even more new ideas just around the corner.

Eldh's compositions and ideas merge together in a way that just flows. There are quality musicians in the mix, including Koma Saxo live band members Sofia Jernberg, Jonas Kullhammar, Otis Sandsjö, Mikko Innanen, Maciej Obara and Christian Lillinger, but that's like saying that a cake includes flour and sugar. This music is not about playing, it's essentially about how the music is and how it takes its shape, so you quickly lose track of who did what, and that's all in the benefit of encountering this music as an entity that is constantly challenging itself while moving forward. The musicians are valued contributors, and an integral part of what's here, but this is far from traditional jazz playing where a band sits in a room playing takes after takes of compositions on sheet.

That being said, this is jazz to the fullest. That is, music that understands its past but always moves forward, and is never afraid of taking risks. Petter Eldh uses jazz as a starting point, not the end goal. This gives his music edge and mobility beyond what can be contained on one album. In a way, an album, then, becomes a snapshot of a creative process in constant flux and evolution.

Opening track "Koma" is literally drum & bass. It only consists of those two elements, yet what comes out of it is an open invite, a way of clearing your palette. It would be useless to describe individual tracks beyond that, but there's a strong sense of deliverance to the set. It feels like an ending, and also like a new beginning.

Berlin-based Swedish bassist and producer Petter Eldh returns with a new Koma Saxo album Post Koma, out on We Jazz Records, 10 November. The title Post Koma aptly describes the vibe of this one: The Koma Saxo sound continues its evolution, morphing into a holistic vision of jazz now and soon, where live instrumentation and repurposed sampling lose their boundaries.

Over the course of its three iterations (self-titled debut in 2019, LIVE in 2020, Koma West in 2022) Koma Saxo has sounded at times "liquid" and postproduced, at times raw and direct, at times acoustic and at other times oddly electronic (even while still being made with acoustic instruments). Post Koma is a culmination of this sonic study by Eldh, resulting in a music vision that never second-guesses throwing tasty hooks and everlasting melodies out the window after a mere bite of them. But fear not: there are even more new ideas just around the corner.

Eldh's compositions and ideas merge together in a way that just flows. There are quality musicians in the mix, including Koma Saxo live band members Sofia Jernberg, Jonas Kullhammar, Otis Sandsjö, Mikko Innanen, Maciej Obara and Christian Lillinger, but that's like saying that a cake includes flour and sugar. This music is not about playing, it's essentially about how the music is and how it takes its shape, so you quickly lose track of who did what, and that's all in the benefit of encountering this music as an entity that is constantly challenging itself while moving forward. The musicians are valued contributors, and an integral part of what's here, but this is far from traditional jazz playing where a band sits in a room playing takes after takes of compositions on sheet.

That being said, this is jazz to the fullest. That is, music that understands its past but always moves forward, and is never afraid of taking risks. Petter Eldh uses jazz as a starting point, not the end goal. This gives his music edge and mobility beyond what can be contained on one album. In a way, an album, then, becomes a snapshot of a creative process in constant flux and evolution.

Opening track "Koma" is literally drum & bass. It only consists of those two elements, yet what comes out of it is an open invite, a way of clearing your palette. It would be useless to describe individual tracks beyond that, but there's a strong sense of deliverance to the set. It feels like an ending, and also like a new beginning.

Perth-born, Naarm-based duo Special Feelings, aka Naomi Robinson and Poli-Pearl, are stepping up on Bradley Zero’s Rhythm Section label with their first long player – released on November 10, 2023. Across its 9-tracks, Special Feelings combines the electrically improvisational feel of live performances, with snappy broken beat-esque percussions and house-inspired looping synth hooks. Tapping into the infectious collaborative spirit of Naarm’s jazz community, Special Feelings are joined by a crew of the city’s rising artists.

Early iterations of Special Feelings’ music drew on psychedelic sun-dappled rock, with Naomi playing guitar and singing alongside Poli-Pearl on the drums. Over the years, this has shapeshifted into Naomi on bass and rhythms, with Poli-Pearl helming synths and keys – rooted in the sounds of Perth’s and London’s jazz of the moment, intertwined with Brainfeeder-nodding electronica. Today, Special Feelings’ influences span from the deep grooves of Moodymann to the freewheeling horns of Emma Jean Thackray to the stepping drums of Kaidi Thatham, and beyond.

Both Naomi and Poli-Pearl are self-taught multi- instrumentalists and producers; Naomi got her start playing in high school dream pop bands, before moving to Naarm to immerse herself in its musical communities, and study classical guitar at the University of Melbourne.

A superb progressive Tribecore tune, some good Hardfloor ones.

Yearly compilation album RADAR by KEROXEN returns with its fourth volume in the ongoing series of themed based albums showcasing the talents and misfortunes of carefully selected musical projects based or connected with the Canary Islands.

With its first volume released in 2020 aiming to promote and divulge adventurous Island based music, the Keroxen imprint now presents Vol.4 with another showcase of the various insular musical scenes made in the outermost regions – in this case, a very rare incursion outside the Canary Archipelago by way of handpicking friends and colleagues working in the further most regions we can think of. A very special showcase then, featuring the Azores Islands, Reunion Island, Canary Islands and French Guiana - a true connection of likeminded minds whom demonstrate once again that you do not need to be in an western hipster mecca to make interesting work.

The presentation format sticks to its breakable rules, with each artist offering one track per side and the full thing of course wrapped up in Pura Marquez dizzying post-tropical art.

The album opens with the Julee Cruise inspired project Akane by Tenerife’s Carolina Machado where synth arpeggios intertwine organically with her soothing voice, setting the tone for Reunion Island’s Jako Maron and his unique take on local Maloya music by way of electrifying it into a trance like looping beat. Enter French Guyana’s Daryanna Jean unique sound artistry with sampling, cutting and pasting local(?) sounds into a disorientating needle jump glitch fest. Side A eventually closes with a very Azorean take on the very English hauntological sound by borrowing those pastoral melodies and synth riffs of yesterday and transposing it to the remote Sub-Tropical fields of São Miguel island, in the Azores, courtesy of Flipping Candy.

Side B emphatically reinforces the compilation’s original concept that no matter where you are, in this post internet, post everything world, outsider music thrives and keeps raising the invisible bar, true that!

Repress! With all due respect to New York, Los Angeles, Atlanta, and Miami, the epicenter of the rap universe in 2016 just may be Chicago. With young stars ranging from Chief Keef to Chance The Rapper to Lil Bibby to Vic Mensa, the Windy City continues to push the boundaries of hip-hop music and culture.

The latest artist to emerge from this hotbed of talent is Mick Jenkins, a gifted lyricist who has built a strong buzz online with a series of acclaimed mixtapes. Now, one of those collections will be available in physical format for the first time ever, with a limited-edition vinyl pressing of “The Waters” set to hit stores soon. Originally released online in late 2014, “The Water

Isabelle Adjani ist das, was man eine Ikone des französischen Kinos nennen kann. Mit ihren fünf César-Auszeichnungen (ein beeindruckender Rekord) in der Kategorie "Beste Schauspielerin" für "Possession", "Ein tödlicher Sommer", "Camille Claudel", "La Reine Margot" und "Skirt Day" hat sie keinen Zweifel an ihrem Starstatus gelassen - sowohl in Frankreich als auch international. Die Wartezeit auf ein Album von Isabelle Adjani schien nicht enden zu wollen.

Nach ihrer legendären Reise mit Serge Gainsbourg, die sie vom Grund des Swimmingpools (Adjanis eigene Worte in ihrer ersten musikalischen Veröffentlichung mit der französischen Musiklegende Gainsbourg, Pull marine) zu den Höhen des Ruhms führte, begann sie mit der unglaublichsten Besetzung zu arbeiten, die diese Ära zu bieten hatte - Benjamin Biolay, Etienne Daho, Gaëtan Roussel, Seal, Simon Le Bon, Christophe, Akhenaton, Daniel Darc, Philippe Pascal, David Sylvian, Youssou N'Dour und Peter Murphy. Diese Veröffentlichung ist das Ergebnis von 15 Jahren Sessions und Treffen, bei denen die Zeit einfach keine Rolle mehr spielte.

Das neue Album, das vollständig von Pascal Obispo produziert wurde und bei dem Pascal Obispo und Cécile de Laurentis gemeinsam Regie geführt haben, ist endlich aus seiner Puppe geschlüpft. Isabelle Adjani meldet sich mit ihrem einzigartigen Album "Bande originale" (dt.: "Soundtrack") zurück, das in Form von 12 Duetten ein musikalisches Großereignis für die Festtage sein wird.

Omnivore Recordings Reaching For The Stars:Trios/Duos/Solos mit elf weiteren, bisher unveröffentlichten Aufnahmen.

In den Trios spielen Henry Grimes (Thelonious Monk, McCoy Tyner, Sonny Rollins) und Kalil Madi (Freddie McCoy, Mongo Santamaria - sowie Hasaan's Metaphysics) sechs Titel ein (vier davon erschienen in ihren Studio-Versionen auf The Max Roach Trio Featuring The Legendary Hasaan).

Hinzu kommen drei Songs mit der Sängerin Muriel Gilliam, alias Muriel Winston, und zwei Solo-Porträts des Meisterpianisten. Produziert von der Grammy®-prämierten Produzentin Cheryl Pawelski und dem ASCAP-prämierten Autor Alan Sukoenig, enthält Reaching For The Stars ein neues Essay von Pianist, Komponist und Autor Ethan Iverson. Wie bei den früheren Veröffentlichungen von Omnivore Hasaan Ibn Ali wurde auch diese Sammlung sorgfältig restauriert und von dem mit dem Grammy® ausgezeichneten Toningenieur Michael Graves gemastert.

Diese Sammlung ist ein weiterer Einblick in die bisher ungehörten Aufnahmen von Hasaan Ibn Ali, dessen verschollene Aufnahmen beweisen, dass er nach den Sternen griff und sie alle berührte.

Formed in 1987 in Umeå, Sweden, Meshuggah has been called "one of the ten most important hard and heavy bands" by Rolling Stone and enjoys the respect and admiration of fans and musicians alike. It is impossible to talk about experimental or avant-garde metal without mentioning this truly groundbreaking band: MESHUGGAH mix ultra-complicated rhythmic patterns with massive riffs and aggressive growls, combining death metal, mathcore, thrash and progressive metal to create their unique style. The year 2023 now marks the 25th anniversary of one of the band's first milestones, "Chaosphere".

Originally released on November 9, 1998, Meshuggah's third studio album shows the band toning down some of the thrashier sounds of earlier releases in favor of the more technical, polyrhythmic and groove-oriented sound they would explore on subsequent albums.

The album includes the songs "New Millennium Cyanide Christ", "Corridor of Chameleons" and "Neurotica", among others, which are some of the band's most streamed tracks.

Formed in 1987 in Umeå, Sweden, Meshuggah has been called "one of the ten most important hard and heavy bands" by Rolling Stone and enjoys the respect and admiration of fans and musicians alike. It is impossible to talk about experimental or avant-garde metal without mentioning this truly groundbreaking band: MESHUGGAH mix ultra-complicated rhythmic patterns with massive riffs and aggressive growls, combining death metal, mathcore, thrash and progressive metal to create their unique style. The year 2023 now marks the 25th anniversary of one of the band's first milestones, "Chaosphere".

Originally released on November 9, 1998, Meshuggah's third studio album shows the band toning down some of the thrashier sounds of earlier releases in favor of the more technical, polyrhythmic and groove-oriented sound they would explore on subsequent albums.

The album includes the songs "New Millennium Cyanide Christ", "Corridor of Chameleons" and "Neurotica", among others, which are some of the band's most streamed tracks.

For new beginnings, one must sometimes look into the past. Amb.Caveti has done such thing by inviting producer Martin Abrahamsson to the label under the moniker Deltidseskapism. Originally released in 2004 on Source Records, Martin’s aptly titled ‘Nattmusik’ mimics exactly that - the long drawn out winters of Sweden.

Floating basslines and ethereal high’s leave the imagination to roam, whilst rhythmic clicks and cuts maintain focus on the journey ahead. It’s one for the drive home or late night wander, amidst the icy fog and solitary streetlights.

Mick Jenkins, lyrical hip-hop mastermind and Chicago's Finest, returns with the album "The Patience." He chose to title it "The Patience" because it was that patience that he needed to get to the point in his career where he is now.

Waiting to get free from a label that didn't share his vision was very frustrating, especially since he had to consciously hold back his musical gems in order to release them in collaboration with a partner and team that believed in his art and supported him in his vision for his music.

During this time, Mick worked on his upcoming amazing body of work that has evolved into something very special. Mick at times compares himself to a star chef, brewing up lyrics, seasoning each line to perfection. The album is bursting with offbeat rhymes, sophisticated grooves and complex metaphors. On 'The Patience', the artist shows in an impressive way that he is one of the best in his genre.

Features on the album include JID, Freddie Gibbs, Benny The Butcher and Vic Mensa, who are no less eloquent as rappers and round out the record excellently. Also the production, peppered with live instruments and many jazz influences, makes the hip-hop hearts beat faster.

"Field of Reeds" ist ein dunkles, ehrliches und experimentelles Orchesterwerk, das die Liebe der Band zu Bach, Britten und Stephen Sondheim widerspiegelt. Es markiert eine klangliche Abweichung für die Band und stellt eine weitere kompromisslose Veränderung einer Band dar, die ihresgleichen sucht.

"Field of Reeds" wurde in Zusammenarbeit mit dem Dirigenten André de Ridder arrangiert und wird begleitet vom Basso profundo Adrian Peacock, dem renommierten britischen Jazztrompeter Henry Lowther, dem niederländischen zeitgenössischen Komponisten Michel van der Aa, dem schwedischen Soundtrack-Arrangeur Hans Ek und der portugiesischen Jazzsängerin Elisa Rodrigues. Zur Feier des 10-jährigen Jubiläums enthält diese Ausgabe eine geätzte Seite auf schwarzem Doppelvinyl.

Buckle up and fasten the spaceship seatbelts! The Third Room, the multidisciplinary techno project from the industrial heart of Germany, is about to fire another satellite in the orbit. A stunning various artists series between fierce meteors, bright suns, dark moons and shining comets will continue to define the Essen-based collective's sound vision which is as diverse and timeless as space itself. Convince yourselves of a well-considered, galactical curation that contains quality tracks from talents, locals and longstays.

On the first of four releases, established producers named Beste Hira, Stranger, Alarico and OFF/GRID put out a stunning yet humble peak-time record. Four laser-beaming tunes speak for themselves and mark the beginning of the next chapter in the T3R adventure.

Don't miss to ascend to higher spheres - secure your copy and pre-order one of the limited records now!

©️ 2023 The Third Room
Mastering by Ahmet Sisman (The Third Room Studios)
Artwork by Daniel Bornmann & Elisa Jauch (Duat Agency)

"There could barely be a better figurehead for Belgrade's simmering multi-limbed music scene than Jan Nemeèek" The Quietus `Dissolved', a new album by Serbian synthesist and sound designer Jan Nemeèek, began its life cycle in a studio live room. It unpacks the paradigm of the individualistic act of computer music creation, transporting it into the communal setting of a band, its performers contributing elements ranging from prepared piano to Turkish lyre. The album opens with an unexpected falter, a false start that imbues the album with a sense of vulnerability. It's as if the album itself is finding its footing, mirroring the dissonance of an orchestra tuning. This digital ensemble, an assembly of electronic voices, seems to search for its harmony, its discord, its pitch, its timbre - much like a traditional counterpart would. As it unfolds, `Dissolved' further taps into the raw tonalities of partially defunct digital synthesizers, ranging from early 2000s' attempts at neural networks to precursors of oscillator-laden software synthesizers, in order to build its cloud of suspended tension and alternate histories. Through this clash of wistful piano and biting frost of digital pads with the iridescent hum of tube amps, the album reflects New Age tropes through the prism of metal (machine) music. Hailing from Belgrade, Serbia, Jan Nemeèek has been releasing electronic music since 2005, with a particular focus on ambient and bass-heavy electronic compositions. Nemeèek's music is characterized by his use of a wide range of sound generating tools, including neural networks, analog synthesizers, and granular synthesis. His approach to music production allows his work to unfold with patience, influenced by borderline dub sub-bass movements and heavily based on deconstructed recordings. Jan has released several albums, most notably 2014's Fragmented and later Recurrences. Prior to that, he co-founded the Creative Commons-based net label Norbu. `Dissolved' is set to be released on vinyl and digital on 10th November 2023 via Refractions, a new imprint founded by Nemeèek.

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Im Jahr 2022 veröffentlichten Bear's Den ihr hochgelobtes viertes Studioalbum "Blue Hours", das in den UK Album Charts auf Platz 6 landete, sowie den Original-Soundtrack für die Apple TV+ Serie Trying, bei dem sie mit Stars wie Maisie Peters und Jade Bird zusammenarbeiteten. 2023 kehrt das Folk-Pop-Duo Bear's Den zurück, um zwei neue EPs zu veröffentlichen: First Loves und White Magnolias.
Bear's Den wurden 2012 in London gegründet und haben sich mit ihren hymnischen Songs eine treue und internationale Fangemeinde erspielt. Mit vier Studioalben sowie einem gemeinsamen Projekt mit dem Komponisten Paul Frith sind sie seit ihrer Gründung regelmäßig in den Charts in Großbritannien und Europa vertreten. Ihr Debütalbum Islands" wurde für den Ivor Novello Award für den besten musikalischen und lyrischen Song nominiert.
Nach Tourneen durch die ganze Welt, bei denen sie in Theatern, Arenen und auf Festivals spielten, kehrten sie 2019 nach der Veröffentlichung ihres dritten Albums "So That You Might Hear Me" zu ihren Ursprüngen zurück, um eine Tournee durch winzige "Highlands and Islands"-Locations in ganz Schottland zu machen und eine begleitende Dokumentation zu drehen. Die Band ist keine Unbekannte im Bereich der Musikdokumentation und spielte neben Ben Howard, Nathaniel Rateliff und The Staves eine wichtige Rolle in dem preisgekrönten Dokumentarfilm Austin To Boston.

Die 2023er Wiederveröffentlichung des siebten und letzten Studioalbums der New Yorker Metal-Legenden TYPE O NEGATIVE. Als "Dead Again" im Jahr 2007 veröffentlicht wurde, war es das meistverkaufte Album der Band in ihrer Karriere.

Famous Last Words is a fully realised expansion of the dystopian futurism that has captivated audiences since CASISDEAD first announced himself in 2013. Over the past decade, he"s dipped in and out of the shadows, blessing fans with cult hits while maintaining his anonymity, shunning media attention and donning various masks; a rejection of the spotlight that"s helped to create folklore around a rapper who"s widely regarded as one of the UK"s most inventive lyricists. Famous Last Words is as much a sci-fi film as it is a rap record, a labyrinth of vice, crime and faded glamour. The listener steps through a portal into a realm narrated by CASISDEAD, whose command of storytelling drops you right into the underground of a city where he is the main character in a shady network of gangsters, girls and drug deals. However, Famous Last Words isn"t a story of bravado or posturing; much of the album deals in themes of loss, regret and paranoia, a persona constantly self-reflecting amongst the madness that surrounds him. The album features a carefully and idiosyncratically curated roll call of collaborators including Pet Shop Boys" Neil Tennant, Connie Constance, Kamio and Desire. The vocalists are immersed in CASISDEAD"s hallmark 80"s-inspired synthpop soundscapes, aided and abetted by a production cast that includes Stranger Things composer Kyle Dixon and producer, composer and Italians Do It Better label founder Johnny Jewel. Meanwhile, actors Ed Skrein and Emma Rigby"s narrative weaves through the record, amplifying the widescreen, cinematic experience.

This re-issue faithfully replicates the original 1995 Polydor Records UK 2LP release with gatefold sleeve and 12 page booklet and is pressed onto high quality 180g vinyl.

Originally released on Polydor Records in October 1995, All Change reached No 7 in the UK charts, and spawned four Top 20 singles. Cast were formed in 1992 and were something of a scouse supergroup, with leader, guitarist John Power previously bassist in The La's and bassist Peter Wilkinson coming from Shack. Originally a loose conglomerate with various members, Power added guitarist Liam 'Skin' Tyson and drummer Keith O' Neill, and by 1994 Cast were signed to Polydor.

Led by singles Finetime and Alright, Cast's blend of ultra- melodic Merseybeat Britpop proved that they were the right band at the right time. All Change became a runaway success, selling over a million and becoming the fastest-selling debut album in Polydor's history, bolstered by further singles Sandstorm and Walkaway. The catchy, upbeat album closed with the eight- minute epic Two Of A Kind, showing that the band had sufficient skills to take on any Britpop heavyweight.

Discover the second album of the emblematic crew Africanism All Stars led by Bob Sinclar and featuring, among others, Bibi, S.U.M.O, Liquid People and Martin Solveig. Including the hits "Heartbeat", "Wintersong" and "Slave Nation".

Take the 101 north out of Los Angeles, and you'll pass by Agoura Hills, where the core duo of the band Dub Thompson grew up. Whatever you see in that town won't readily prepare you for the music they wrote while there, but you're free to look."Most everyone who's in a group who's our age lives on the Internet," says guitarist Matt Pulos. "The kinds of things that have shaped our band aren't anchored to any one time or place."Pulos and his bandmate, drummer Evan Laffer, are currently both 19 years old, and are putting that line of thought to the test; their musical influences travel from the Midwestern malaise of Big Black and Pere Ubu, to Kraut pioneers Can and Kraftwerk, while bowing to the British belligerence of The Fall and This Heat.Recording the album while living with Foxygen's Jonathan Rado at his rented house in Bloomington, the band had its first taste of a heavy Indiana summer, and all the humidity and insect life that buzzes along with it. "We woke up every day, ate hard-boiled eggs and stood on a porch," says Pulos of the experience.Their first collection of songs slyly unties the shoes of genre and convention, shapeshifts mischievously, and tramples on the promises delivered on the name itself.There are only eight songs on this rangy debut.Intense blasts of hook-filled noise rock ("Hayward!"), rocksteady marionette stomp ("No Time"), hypnotic bouts of doomy poetics ("Epicondyles"), outlandishly sexy groove rock ("Dograces"), and a number of other bite-sized forays into parts unknown are made manifest across 9 Songs. The vibes are strong here. Pulos sings and plays like he's working out long-standing grudges, pulling the most sinewy tones from an acoustic guitar and ripping huge chunks of demon flesh out of his electric. Laffer matches him step for step on the drums, an exacting presence behind the kit who pushes even the band's more placid moments into bouts of tension. Together they succeed in animating their musical ideas to startling, almost unnatural life. Reverb units, keyboards, samples and processing gluing everything together, saturated in the August heat and worn in until they sound second nature, it's like somehow you've been listening to these songs forever.

Cylene II is the new materialization of the collaboration between François J. Bonnet & Stephen O"Malley, initiated in 2018 and continued without interruption since then, taking form in a myriad of contexts ranging from common practice to recording sessions, concerts and tours. Cylene II bears witness to these different contexts, offering a multifaceted sound signature developed on different occasions (artist residencies in La Becque, Switzerland and Modena, Italy, live performance excerpts, a studio session at INA-GRM Studios in Paris). The epic opening track "Four Rays (Anti Divide)" welcomes, for the first time, other musicians - in this case a wind quintet - expanding the duo"s sonic palette without betraying the fundamental component of their music, namely the driving of sonic energy. Elsewhere, Bonnet and O"Malley propel the energy between themselves, extending the singular climate that has characterized their musical development over the past five years. Among their minimal presentation of tones and resonances, as glacial harmonic intersections slowly elevate with massive physicality to an orchestral degree, new refinements become evident: the music"s relationship to silence, and a brightening of the fine metallic edge glowing at its core. For the listener, Cylene II is a sound that reaches from the deep and scales up to the far firmament in its careful motion, drawing emotions viscerally from the chest, giving rise to the suggestibility of the soul. A séance of sorts for all who witness it, whether playing or listening.

Yellow / black marbled vinyl. The Sensitives is a rough-haired mixed race dog of punk, rock'n'roll, SKA and folk! It's been touring around Europe, playing over 300 shows, spreading its musical wild oat resulting in a solid fanbase of people who, to their knockout punk, raises their middle finger to racism and sexism. The band have always kept the energy on a constant high, jumping between different styles and switching between the two singers Martin and Paulina, driven by the never resting Magnus behind the drums! The new album, Patch It Up and Go! is no different! The frustration from no touring during the pandemic and the emotional shock from a year of heavy touring as soon as the restrictions were lifted resulted in a worn out and damaged band coming home to lick their wounds. But they did what they've always done, turned their experiences and battles into songs, patched themselves up to go for it again! The result is the new album, Patch It Up and Go! and it covers topics like sex, mental health, animal rights and the importance of celebrating the good times we have while we have them! All of that in a high tempo with a positive vibe and high intensity, Patch It Up and Go! is the most personal and probably the best album from The Sensitives so far! Feet will be moving, hips will be shaking and throats will be singing!

Lately, if you blink you may miss Goose fly by. Attributing much of their success to a dedicated and exponentially expanding fan base, steady creative output, and a collective commitment to improvement, the band is now universally recognized as a premier musical act nationwide. Dripfield, Goose's forthcoming studio offering, is a tale of introspection, carefully dissecting the details of the journey. Produced and engineered by D. James Goodwin at The ISOKON in Woodstock, NY, Dripfield is the band's first full-length project completed exclusively with an executive producer. Known for his unconventional recording style and eclectic equipment collection, Goodwin guided Goose through an entirely new process of album creation. Undoubtedly the product of multiple sold out concerts and consistent recording and songwriting, Dripfield is anchored by the theme of balance. Fittingly, the project features a mix of unheard originals and re-imagined catalog staples.

Blue Cloud Vinyl. Hailing from Bozeman, MT, Kitchen Dwellers embody the spirit and soul of their home with a sonic palette as expansive as Montana's vistas. The quartet_Shawn Swain Mandolin, Torrin Daniels banjo, Joe Funk [upright bass], and Max Davies [acoustic guitar]_twist bluegrass, folk, and rock through a kaleidoscope of homegrown stories, rich mythology, American west wanderlust, and psychedelic hues. After amassing 5 million-plus streams, selling out shows, and receiving acclaim from Huffington Post, Relix, American Songwriter, and more, the group brings audiences back to Big Sky Country on their third full-length album, Wise River, working with Cory Wong of Vulfpeck as producer.In the end, Kitchen Dwellers share timeless American stories from the heart of one of its greatest treasures."When you listen to Wise River, I hope you hear some of the original qualities that made us who we are, but you also recognize aspects that are new and adventurous," Max leaves off. "I hope you hear what it sounds like when the four of us are at home and have the space to create something together. This album is really how we sound as a band."

teen suicide's first & only proper album, `i will be my own hell because there is a devil inside my body', has been a sought after release for many collectors after it's ultra-limited vinyl release in 2012. Now, Run For Cover Records will be reissuing my own hell, with remastered audio, expanded artwork and 8 never-before-issued bonus tracks. Across the album's 10 songs, the band displays a knack for different sounds and styles. Intimate, keyboard driven tracks like `cop graveyard' and `grim reaper' sit beside more energetic full-band outings like `dead bird skeleton and `give me back to the sky', the latter even adding an evocative viola, piano and choral arrangement to it's chaotic center. It's to the band's credit that their more outré moments feel necessary, not distracting. What becomes clear upon listening to `my own hell' is that beneath the dreamy haze & noisy apathy of teen suicide's recordings exist ernest, extremely well-written pop songs that reflect and express the uncertainty and desperation of reality

LP - 180 Gram Grey Marble Vinyl / Handnumbered Edition limited to 300 Units Prodigious multi-instrumentalist Nate Wood joins the indefatigably creative partnership forged in New York City by Gilad Hekselman and Will Vinson. Urban Myth is a powerful, diverse but unified set of recordings that combines elements of jazz with pop accessibility and the directness and honesty of folk and delivers a new surprise at every turn. The Jazz Mann gave Trio Grande four stars and wrote about them "The sound of three huge individual talents coming together to create something that is even greater than the sum of its parts."

The Madlib Invazion Music Library Series . Entry #5: Dan Hastie and Terin Ector (Orgone) pick up where Piero Umiliani left off with Exotic Grooves and Lush Funk. This is the next up in a series of music library releases, with future volumes produced by DJ Muggs, Karriem Riggins and more. The Madlib Invazion Music Library Series was created by Madlib and Egon to give their creative friends a chance to stretch out and indulge in whatever type of music they wanted. This music was created for easy, one-stop clearance in film and television synchronization usage and for sampling. You can also enjoy these albums in the way that many do with the best of the best vintage library catalogs – listen, ponder, repeat.

"Fast Rate" blends echoes of nostalgia with futuristic innovation, crafting a sonic landscape. In the relentless rush of life's high-speed journey, it invites introspection, courageously urging listeners to delve into the intricate web of contemporary life.
This EP is inspired by deep reflections on the meaning of life in a fast-paced world filled with thoughts and emotions. It symbolizes a futuristic journey, mirroring the human struggle to gain an external perspective in our busy lives. Random Alias prompts users to contemplate their existence, offering a musical experience that transcends mere dance rhythms.
The 5 tracker showcases a wide array of sounds, from aggressive tones to captivating and atmospheric elements unveiling a new face of the label that keeps exploring the interconnection between human and technology.
The A side roars with high bpm and furious rhythms."Keep me high" express the need of escaping ordinary life, seeking something that keeps us "high" and allows to escape and reset.
Following up "Fast Rate" spans a variety of influences, blending the allure of old-school Detroit electro with futuristic sounds achieved through bold experimentation and advanced wave modeling. This fusion results in a diverse and innovative sonic aesthetic, ranging from nostalgic '80s/'90s vibes to experimental dimensions where tones morph and evolve.
"Solo in Space" and "Restless" on the filp side deliver direct, pulsating sounds and rhythms, embracing an impactful electro-techno vision. These tracks merge both worlds, combining the energy and drive of electro with the power and tension typical of techno, resulting in a sonic journey that blurs genre boundaries.
Completing the collection is a digital bonus track, "Galactic Power," which serves as a soulful embodiment of the EP's essence. With its otherworldly alien-style pitched vocals,The track intricately crafts a cosmic palette of bright pulses and ethereal FM synthesis.
This release represents a bold and progressive vision of electro, confirming and solidifying the eclectic direction and the concept of inter genre flexibility. Music can be an ever-evolving form of art, blending elements that transport listeners to distant cosmic realms.
Time shapes people, people shape technology, technology shapes music, music shapes time.

This Is The Kit is the project of Kate Stables, born in England and based in Paris. They first gained notice due to heavy radio play on BBC 6 - and have twice had LPs named to 6 Music’s Album Of The Year lists. Later they gained more notice as a hand-picked opening act for The National, Iron & Wine, Jose Gonzalez, Sharon Van Etten and Alexi Murdoch - musicians who share a similar independent streak and warm-hearted approach to creating modern yet timeless music. In North America, they are regulars on US Triple A radio stations like KEXP, indie folk festival line-ups, and tastemaking platforms such as NPR’s Tiny Desk Concert.  In the years since ‘Wriggle Out the Restless’ was released in 2010, This Is The Kit have continued to gain momentum. Their 2015 follow-up album, ‘Bashed Out’, was made with The National’s Aaron Dessner (producer for Taylor Swift, Ed Sheeran, Mumford & Sons). Stables then sang on The National’s 2019 album/film ‘I Am Easy To Find’ and became a touring member on subsequent live dates. Finally, in 2020, ‘Bashed Out’’s title track became a streaming hit after an impactful needle drop in a key episode of Netflix’s ‘Sex Education’ series.  Currently signed to the iconic Rough Trade label, they’ve found success on both sides of the Atlantic. New album ‘Careful Of Your Keepers’ was released in June 2023 and is being supported by tours in the UK, Europe and North America.  For fans of Bonnie “Prince” Billy, Beth Orton, Sharon van Etten, Bon Iver, Father John Misty, Joni Mitchell, Sam Amidon, Anais Mitchell.  This is the first time ‘Wriggle Out the Restless’ has been widely available on vinyl. Released here on Clear Orange coloured vinyl.  The band have huge international ‘tastemaker’ visibility thanks to glowing coverage by Uncut, The Guardian, Q Magazine and the BBC

As an important agent of Gothenburg’s underground scene, Dan Johansson has been a member of several experimental harsh noise projects such as Sewer Election, and lo-fi indie folk bands like Enhet För Fri Musik and Amateur Hour. Ordeal is his latest solo output, and might as well be ashes stuck in the blast furnace's edges of his last longing career. Not by means of summing up genres or as a culmination of his musical development, but as a profound music piece weaved in his own household.

With not much more than a synthesizer, Vätterns Pärla is built by trembling, dissonant drones stained in feedback and reverberation, thickly textured by the no-fi quality of the recording, depicting a menacing atmosphere congested with heavy fumes. In Johansson's words, Ordeal "takes inspiration from the early 80’s albums of Maurizio Bianchi, filtered through a Gothenburgian no-fi bleakness. It’s an album for inner voyage, childhood memories, and places that now lost purpose and meaning”.

There's certainly intimacy and nostalgia, yet a claustrophobic, hypnotic ambiance wraps it all up in a contained and narrow space. Emphasis is put on texture rather than on detail, on color rather than on progression, on suspense rather than on conclusion. Tension varies stiffly, sometimes a drone layer dismantles and the mood seems to filter, but ragged edges are never polished. We can feel the walls and the air, which although tarnished, can be breathed in somehow. It's as if waking up in a dark room and having to recognize it with our ears and tact, testing its dimensions and its surface. The stillness in the chamber is like the stillness between gasps of storms.

Without visible stars, an enclosed share of night sky hides a heavy load of industrial debris underwater. These remnants are maybe the pearl regarding the album's title. It all can seem like a dream, a grim mechanical soundscape deafened by hefty, yet sporadic winds. Soil strives to make something grow, but sprouting is kept suspended, held by a dismal presentiment. Long shadows on the ground prove that darkness is about to befall. And as these shadows stretch, almost about to break up in a loud strike, the noise turns white.

Morikawa Seiichirou, vocals, bass
Yamagiwa Hideki, electric & classical guitar
Takahashi Ikuro, drums & percussion

je prie pour que la goutte ne tombe pas
(I pray that the drop does not fall) is the first international release by Japanese trio Chi To Shizuku. While they have released five albums and a 7” in Japan, their spectral, haunted rock songs haven’t yet reached a much wider audience overseas. With this album, then, a live recording taken at Koenji HIGH, Suginami, Tokyo on 23rd November 2021, the unique, quartz-like character of Chi To Shizuku’s music is writ large, the bleak bliss of their songs carved onto twelve-inch vinyl.
Perhaps the best-known member of Chi To Shizuku, at least for audiences with an ear turned to Japanese psychedelia, is drummer Takahashi Ikuro, known for his membership of almost every group worth a damn from that scene – Fushitsusha, Nagisa Ni Te, Ché-SHIZU, Kousokuya, High Rise, Maher Shalal Hash Baz, LSD March, the list goes on. But the core of Chi To Shizuku’s music is the collaboration between vocalist, bassist and lyricist Morikawa Seiichirou, and guitarist and arranger Yamagiwa Hideki. Morikawa is a member of long-running punk/goth group Z.O.A., and has also played with YBO , Zzzoo, and as collaborator with Takeshi and Atsuo of Boris in A/N; he’s also recently been performing with Mitsuru Tabata. Yamagiwa’s history takes in stints with Katsurei and Cock C’ Nell, and he also recently guested with la scene 裸身.

All this contextual information does relatively little, though, to prepare you for the unique vibration of Chi To Shizuku’s lustrous songs. They shimmer in the same half-light, perhaps, as Shizuka and the quieter moments of LSD March, sharing a similar poise and classicism, and there’s a tenderness and wracked poetry to Morikawa’s voice that reminds of the emotional intensities both of traditional Japanese folk, and of British folk music: on “Musuu No Nemuri No Naka De Kumo Wo Tukamu”, the combination of his singing, backed with gorgeously plangent guitar, reminds of no-one so much as it does The Pentangle or Spriguns Of Tolgus. Chi To Shizuku’s love for the ballad as form gifts their music an archaic, sometimes arcane resonance, and from what you can hear on this album, it’s clear they’re in love with graceful melancholy.

But this is not a folk album, by any means; it just shivers with the same eternal spirit. There are also hints of prog rock, and you can catch some passages of scratchy, distended free rock, on the extended spirit invocation of “Nanhito Hanhito”. je prie pour que la goutte ne tombe pas is an extraordinary album, a melancholy surprise, that reminds dedicated listeners of the seemingly bottomless well of great music to be found via the Japanese underground in its many forms. Perhaps Michel Henritzi says it best, though, in his liner notes, when he writes, “Chi To Shizuku’s music reminds us that our life is a dream that lasts only a season, and that oblivion will follow.”

Recorded at Koenji High Suginami, Tokyo, 23 November 2021
Mix & Mastering: Taku Unami, photography : Noriko Akiyama
Liner notes by Jon Dale Printed by Alan Sherry

Recital presents the first full-length vinyl LP by sound artist Asha Sheshadri. Whiplash combines elements of sound poetry, diary-like narrations, and delicate incidental music. Sheshadri has crafted a unique and marvelous album.

Asha Sheshadri is a visual artist and musician, who “meditates on meaning, context, and impermanence” (Joshua Kim). Moves freely between video, writing, sound, and photography. Her forms flow together to create unpredictable observations of the overlooked, while documenting personal and political networks within our collective, imperfect memory.

“This record is an alternate approach to the autobiographical ‘confessional’ – I wanted to stitch together some pivotal sketches in self-understanding and forgiveness. While their designs may seem affectively disparate, they are in fact quite interrelated. My intention (as with past recordings) is to task the listener with tracing the contours of the narrative (or lack thereof). Each track contains sound from video work, excerpts from writers I admire, ethnographic methods, recovered and recycled voice/text memos, photographs from personal and public archives, and research-driven fictions. These sources expand and collapse into each other, only to reveal the eponymous "whiplash". To me, the feeling of "whiplash" is the collision of: a refracted ambivalence towards what was once real, the endless cycle of reckoning with wherever "home" has taken place, the fraught process of anchoring one’s self in the wake of slow-release trauma, and how (if even possible) to translate all of this into artwork.” –Asha Sheshadri, 2023

“Place is security, space is freedom: we are attached to the one and long for the other. There is no place like home.” –Yi Fu Tuan, Space and Place: The Perspective of Experience.

All tracks arranged & recorded by Asha Sheshadri; in bedrooms, living rooms, libraries, bars, airplanes, backyards and parks across North America.
Mastered by Sean McCann.

Blackfoxy is a jazz-funk group originating from Villeneuve La Garenne in the Parisian region. The group was formed in 2011 at the initiative of Kalid Bazi and Klaus Blasquiz (the singer of the legendary group Magma with Christian Vander, Jannick Top, etc.). They are notably known for the hits "Talk About Peace" (featuring Nina Attal, MB14, and Princess Erika), dedicated to the victims of the Bataclan attacks in 2015, as well as their performance on France 4 with 50 drummers on the Michael Jackson song "Don"t Stop" & "Til You Get Enough" One of their most notable features is their ability to innovate by skillfully and uniquely incorporating elements from "Blaxploitation" film music and African, Cuban, and Caribbean musical traditions into their funk, characterized by a high-quality brass section and arrangements borrowed from both 70s and 80s Funk. Blackfoxy"s music also stands out due to the complementarity of its two singers, Klaus Blasquiz (baritone and tenor, he sings over 5 octaves!) and Sista Wyndyz. Lastly, since the attacks of 2015, Blackfoxy has been involved in the movement (sponsored, among others, by Manu Katché) to promote the values of peace through music in popular neighborhoods and rural areas in France and elsewhere.

Oslo-based sludge-metal power trio SAVER are back with a vengeance. The band's new album `From Ember And Rust' channels the bare-knuckle ferocity of their 2019 full-length debut, `They Came With Sunlight', alongside a formidable command of dynamic, texture and sonic space that belies the relative youth of the project. Having erupted into the Norwegian metal scene without warning, SAVER is the result of heavy veterans Ole Ulvik Rokseth, Markus Stole and Ole Christian Helstad combining their years of experience into one three-headed beast, hellbent on pushing the boundaries of what the band is collectively capable of. Restless by nature, SAVER are constantly refining and reinventing their sound. The band's debut record was followed by two wildly creative collaborations which saw the trio marry their signature ferocity with some unlikely creative bedfellows in order to test new depths. `Emerald', 2021's full-length release, paired SAVER's calculated minimalism with the frenetic, percussive energy of Belgian post-metal collective Psychonaut whilst last year's `Split EP' saw SAVER and Norwegian folk singer/songwriter Frodekal reinterpret a song from each other's back catalogue with hauntingly spectacular results. With this revelatory experience still ringing in their ears, `From Ember And Rust' bears all of SAVER's heavy hallmarks alongside a newfound sense of dynamic anticipation and organic progression, which ties the seven tracks together as a significant body of work in the band's ascendant trajectory. As well as sharing their years of experience making the heaviest music they can, SAVER also share a passion for the unmistakable soundscapes of classic science-fiction. Already a key component of SAVER's distinctive sound; Rokseth's otherworldly, cinematic synth work is given centre stage on `From Ember And Rust' as the band boldly embark on a new journey together. As their first non-collaborative release in four years, `From Ember And Rust' could be interpreted as the band returning to the safety of their roots. However, SAVER are more determined than ever to keep pushing their sound into uncharted territory as the world they find themselves in continues to turn.

Shatter And Fall - mächtiger Melodic Death Metal in all seinen finstersten Nuancen

Die aufstrebende US-amerikanische Melodic Death Metal Band HINAYANA veröffentlicht am 10. November 2023 ihr zweites Studioalbum Shatter and Fall via Napalm Records. Das Werk besticht mit beeindruckendem Songwriting und den namhaften Feature-Gästen Vincent Jackson Jones (Aether Realm) und Tuomas Saukkonen (Wolfheart). Produziert von Frontmann Casey Hurd und Kevin Butler, wurde Shatter and Fall von Dan Swanö in seinem Unisound-Studio gemastert.

Wie keine zweiten lassen die Texaner moderne Elemente in ihren Melodic Death Metal einfließen womit sie sich von Genregrößen wie Insomnium, Amorphis und Swallow the Sun abheben und ihrem markanten Sound ein frisches Alleinstellungsmerkmal verleihen. Nach der Veröffentlichung der ersten Demo EP sicherte sich die 2014 gegründete Band mit dem Debütalbum Order Divine (2018) einen festen Platz in der Metal Szene und zog zugleich die Aufmerksamkeit von Napalm Records auf sich. Es folgte die Veröffentlichung der Labeldebüt-EP Death Of The Cosmic (2020), mit der HINAYANA der Pandemie strotzten.

Nun sind sie bereit ihre elf neuen Songs diesen Herbst auf der großen Europa Tour mit ihren Labelkollegen von Wolfheart und Before The Dawn zu präsentieren.

Der 8-fache Grammy Gewinner Chris Stapleton veröffentlicht sein fünftes Studioalbum „Higher“. Mit seinen ersten drei Studioalben hat der talentierte US-amerikanische Künstler mehr als 8 Millionen Tonträger verkauft, darunter sein Debütalbum „Traveller“, welches sich bis heute 4 Millionen Mal verkauft hat. „Higher“ wurde von dem renommierten Produzenten Dave Cobb (unter Anderem Lady Gaga und viele mehr), Morgane Stapleton und Chris Stapleton produziert und in Nashville aufgenommen. Der mit zahlreichen Gold- und Platinauszeichnungen geehrte Künstler präsentiert seine außergewöhnliche Stimme und seine musikalische Vielseitigkeit in 14 neuen Songs, welche verschiedene Genre umfassen.

Sein Album „Higher“ ist digital, als CD und auf Doppel-Vinyl erhältlich

Mit „Es war einmal…“ beginnen märchenhafte Geschichten, die von fantastischen Welten und von mutigen Helden erzählen. Es sind Geschichten, die uns seit Jahrtausenden begleiten und deren Ursprünge in der Fantasie des Menschen liegen. Passend zu diesem Leitmotiv hat Oliver Satyr für das FAUN-Album „Märchen & Mythen“ einen wunderschönen einführenden Prolog ersonnen, der von keinem Geringeren als Otto Mellies gesprochen wurde, also dem Schauspieler, der seine Stimme schon dem Zauberer Saruman im Film „Herr der Ringe“ verlieh.

FAUN hat sich mit „Märchen & Mythen“ von der Welt der heimischen Märchen inspirieren lassen, sie weben uns ein musikalisches Kunstwerk in dem - wie meist in Märchen - die Traumwelt und Realität immer wieder spielend miteinander verbunden sind. Wer sich mit dem Pagan-Folk - der von FAUN erfunden wurde - auseinandersetzt, erkennt sofort das Leitmotiv der mythischen Naturverbundenheit, das sich zu jeder Zeit in der Musik und den Texten der Gruppe wiederfindet.

Dass dies gerade in Zeiten der exzessiven und ökonomisch motivierten Ausbeutung und Zerstörung der Natur und der resultierenden Klimakrise eine durchaus politische Dimension besitzt, sei hier nur am Rande erwähnt. Nun endlich kommt das Album auf coloured Vinyl raus. Auf einer hochwertigen 180g LP und einem 4 seitigen Booklet in Vinyl-Größe - limitiert auf 1.000 Units

Up wurde 1998 veröffentlicht und ist das elfte Studioalbum von R.E.M.

Das Album, das die Singles ”Daysleeper”, ”Lotus”, ”Suspicion” und ”At My Most Beautiful” enthält, ist von elektronischer Musik inspiriert und nutzt eine breite Palette von Instrumenten, um eine verträumte Poplandschaft zu schaffen, die nachdenklich und stimmungsvoll ist.

Diese erweiterte Deluxe-Edition zum 25-jährigen Jubiläum bietet außerdem ein komplettes, bisher unveröffentlichtes Live-Set vom Auftritt der Band in der 90er Jahre HitTV-Serie Party of Five. Es war das erste Album der Band ohne Schlagzeuger Bill Berry. Das Album war von elektronischer Musik beeinflusst, und Stipe erklärte, dass mehrere Songs das ”religiös-spirituelle versus wissenschaftlich-technisch-moderne Zeitalter” thematisieren.

Es erreichte Platz 3 der Billboard 200 und Platz 1 der deutschen Charts.

Oslo-based sludge-metal power trio SAVER are back with a vengeance. The band's new album `From Ember And Rust' channels the bare-knuckle ferocity of their 2019 full-length debut, `They Came With Sunlight', alongside a formidable command of dynamic, texture and sonic space that belies the relative youth of the project. Having erupted into the Norwegian metal scene without warning, SAVER is the result of heavy veterans Ole Ulvik Rokseth, Markus Stole and Ole Christian Helstad combining their years of experience into one three-headed beast, hellbent on pushing the boundaries of what the band is collectively capable of. Restless by nature, SAVER are constantly refining and reinventing their sound. The band's debut record was followed by two wildly creative collaborations which saw the trio marry their signature ferocity with some unlikely creative bedfellows in order to test new depths. `Emerald', 2021's full-length release, paired SAVER's calculated minimalism with the frenetic, percussive energy of Belgian post-metal collective Psychonaut whilst last year's `Split EP' saw SAVER and Norwegian folk singer/songwriter Frodekal reinterpret a song from each other's back catalogue with hauntingly spectacular results. With this revelatory experience still ringing in their ears, `From Ember And Rust' bears all of SAVER's heavy hallmarks alongside a newfound sense of dynamic anticipation and organic progression, which ties the seven tracks together as a significant body of work in the band's ascendant trajectory. As well as sharing their years of experience making the heaviest music they can, SAVER also share a passion for the unmistakable soundscapes of classic science-fiction. Already a key component of SAVER's distinctive sound; Rokseth's otherworldly, cinematic synth work is given centre stage on `From Ember And Rust' as the band boldly embark on a new journey together. As their first non-collaborative release in four years, `From Ember And Rust' could be interpreted as the band returning to the safety of their roots. However, SAVER are more determined than ever to keep pushing their sound into uncharted territory as the world they find themselves in continues to turn.

Started in the Winter of 2021 and completed in early 2023, “Lights Out On The Shore” is a 12 song cycle written and performed by Scott Reeder, drummer of the band FU MANCHU. Having treaded many stages and studios over the past 22 years laying the foundation for the titans of “fuzz-wah” rock over 5 studio releases and playing live with artists as varied as Orianthi and Social Distortion, Scott has stretched into a melodic heavy and lyrically dense area of songwriting, rich in harmony and memorable riffs. Collaborating with Grammy winning producer/engineer Ryan Mall (Dropkick Murphys, Old Crow Medicine Show/Gaslight Anthem), Reeder played all the instruments on the album and sings all vocals. Fu Manchu bandmate, Bob Balch, contributes lead guitars on all tracks except “Everything But Right” and the album closer, “As She Drifts,” which feature contributions from Mitchell Townsend (Matt Costa/Jack Johnson).

This limited edition 500 unit LP run is pressed on blue/black splatter and includes a full color insert featuring photos taken by Reeder himself. All tracks were mastered specifically for this vinyl release

*LTD BLUE VINYL* Having cut her teeth as part of dream pop band Snakadaktal then as half of Two People, Melbourne’s Phoebe Go solo break out has seen her discover her own voice and potential, a process that has been both daunting and liberating for her. Her self-released debut, the Player EP, opened the world to Phoebe’s vulnerable, sincere and gut-wrenchingly honest songwriting; posing questions about her career, relationships and existence, yet still emerging with heartfelt hope for the future. A word-of-mouth success when released late last year, the likes of NME, Notion, Wonderland, triple j Unearthed, Double J and Under The Radar have already sung her praises. Having just wowed audiences at The Great Escape, her Player EP is finally getting the vinyl release outside Australia it deserves, being released by tastemaker label Dalliance Recordings (Gia Margaret, HighSchool, Francis of Delirium, lilo). Formats Available: Limited edition (300) 12” Blue Vinyl with a lyric sheet and an exclusive track ('To Love Me Now’).

Singer-songwriter Thom Morecroft releases his sophomore album, “Waiting For Leo.” Drawing inspiration from the rich songwriting style of 1970s folk-rock and infusing it with the distinctive aesthetic lens of Glasgow’s C86 scene, Morecroft delivers a captivating lo-fi experience that pays homage to the past while carving its own unique path. Think Crosby, Stills, Nash & Young meets the infectious energy of Teenage Fanclub’s “Bandwagonesque.” During the pandemic-induced lockdowns of 2020 and beyond, Thom embarked on a remarkable creative journey, offering his Patreon subscribers a new digital album every month. It is within these prolific collections that the songs for “Waiting For Leo” were born. With an abundance of time and the freedom to explore his creative impulses, Morecroft crafted a collection of songs that are reflective, philosophical, and deeply personal. Some look towards the future with hope, others reminisce about the past, while some capture the essence of the present moment, and a few wander into realms of pure fantasy. As Thom navigated the challenge of selecting the final tracklist, he honed and refined each composition, adding production elements and creating a cohesive sonic tapestry. “Waiting For Leo” is an album that manages to strike a delicate balance, emanating a sense of contentment and carefree spirit while simultaneously delving into themes of family, alcoholism, grief, and loss. The introspective nature of these songs, born out of a period devoid of external stimulation, allows listeners to embark on a thought-provoking journey alongside Morecroft. Reflecting on the album’s title, Thom shares, “The album is called ‘Waiting for Leo’ because the songs were written and recorded during the period before my partner and I discovered we were expecting our son. There is also the famous Samuel Beckett play called ‘Waiting for Godot,’ which I must confess I have never seen. Is it good?” “Waiting For Leo” stands as a testament to Thom Morecroft’s artistic growth and showcases his ability to merge captivating songwriting with a distinct sonic aesthetic. As listeners immerse themselves in the intimate world he has created, they will discover a tapestry of emotions that resonate deeply.

A collection of structured piano improvisations and their surrounding sonic environments, an album in four parts: Songs From a Distant Summer | From November For Snow | Together Recorded between 2011-2013, the album was never intended to be a direct response to the seasons. The coincidence of the recordings having been made at points within the seasons was only pointed out at a later date by a friend. Alongside wishing to avoid any parallels or associations being drawn with Vivaldi’s masterpiece, the title - “The Seasons Are Not Four” - a line from a poem by Syrian poet Adonis , appeared to fit perfectly - recognising our relationship to time but also alluding to the impossibility of truly categorising it. Due to label arrangements and complications the majority of these recordings have remained unreleased for a decade. One notable exception being the piece “I Promise”, that went on to amass in excess of 24 million streams - an unfathomable prospect for a piano-less pianist recording a reunion between himself and a piano at a point of not having played one for several months. The Seasons Are Not Four serves as a sonic record of real-time responses to the character of a piano, to transient states of being and to disparate, fleeting moments in time - some will hear Summer in Winter, others- Autumn in Spring; distant conversation beyond the sounds of a hesitant human shuffling fingers against wooden keys, the ticking of a grandfather clock or the song of birds outside masking passing traffic. - ‘The Seasons Are Not Four, a week is not seven days, a year is more than it is, and less’ Adonis

LP SHIPPING ONLY / CD DELAYED “This is definitely the most honest and mature record Deathchant has ever made.” That’s Deathchant vocalist and guitarist T.J. Lemieux talking about the band’s third and latest album, Thrones. Think of it as not just the follow-up to 2021’s Waste, but the other side of the coin. “While Waste and our self-titled album touched on similar themes, they were sort of from a problem standpoint,” he explains. “Thrones is full of reflection, self-realization, and solutions for moving forward and conquering those problems.” Which isn’t to say that Deathchant have gone soft. Far from it, dude. In fact, Thrones just might be their heaviest record thus far. The band’s seamless swirl of classic rock guitar harmonies, syrupy sludge, blues boogie and psych bombast has reached a thrilling new apex as Lemieux spins high-powered tales of reckoning from beyond the wall of sanity. Thematically, Lemieux and his bandmates—bassist George Camacho, guitarist Doug Stuckey and drummer Joe Herzog—peel back the veneer of self-delusion to expose the fork in the road. “Thrones is meant to represent things that rule you, things you worship, things you rely on or think you need,” Lemieux says. “Sometimes those things make you feel in control, safe, on top of the world like you're in power—which over time often proves untrue.” Witness lead single “Mirror”: Kicking off with gleaming Lizzy-isms, the song rumbles into a thick groove overlaid with lysergic fireworks that conjure the shaggy European movers of decades past. “‘Mirror’ is the key to the whole Thrones theme,” Lemieux explains. “It’s about looking inward to realize what's ruling you, what's consuming you, and how delusional you've been about those things. Your sense of self is so damn important, and fully facing your truths is not an easy thing to do. It’s admitting that you’ve intentionally dulled and quieted your mind to distract, avoid and run from yourself, from memory, from loss and truth. At some point, you have to face that shit.” The languid and dreamy “Mother Mary” is also crucial to Thrones’ trajectory. “If the album was a book, ‘Mirror’ would be the first chapter and ‘Mother Mary’ would be the last chapter, though they’re not the first and last track for sonic reasons,” Lemieux explains. “‘Mirror’ is saying, ‘I’m looking inward because some things need to change,’ while ‘Mother Mary’ is saying, ‘Okay, things are fucked and have gone way too far but now we have this understanding—and acknowledging things is key to overcoming.’” Thrones was recorded live in a cabin in the remote mountain community of Frazier Park, CA, with trusty engineer Steve Schroeder (a.k.a. Schroeds). “We moved in for a week, rehearsed a bit and went for it,” Lemieux says. “Each tune got three or so takes, but we nailed ‘Mother Mary’ and ‘Canyon’ right away.” Overdubs were done at the cabin, Schroeder’s Studio 3, and Lemieux’s place. The album was produced by Lemieux and Schroeder. “Overall, it’s a pretty dark record,” Lemieux says. “It's serious and leans into heavy themes, sometimes using metaphor and imagery to soften those blows, but sometimes it hits direct. It’s positive, though—and cathartic. Forever riding on the line of total insanity and flirting with mental degradation. It’s our most realized and ambitious record to date.”

The band is John Dwyer (synths, vocals), Heather Lockie (viola), Thomas Dolas (synths), Andres Renteria (hand percussion), Brad Caulkins (tenor saxophone), Kyp Malone (synths) and Archie Carey (bassoon). The singers are YoshimiO (Boredoms, OOIOO), Albert Wolski (EXEK), Gracie Jackson (GracieHorse), Ciriza (Artist Extraordinaire), Kyp Malone (Bent Arcana, TV On The Radio, Rain Machine etc.), Brigid Dawson (Thee Oh Sees, The Mothers Network), AZITA (Scissor Girls, Bride of NONO, AZITA). For fans of Steve Roach, Eno, Syrinx, Howard Shore, Current 93, Terry Riley, Tangerine Dream and a proper sage scrub. “An experiment in symphonic improvisation paired with synthesizerscapes. Strings, reeds, synths and hand percussion all blend sweetly into an odd landscape indeed. The final touch was to bring aboard some singers I have loved over the years. I’m so pleased they were all willing to participate and I’m very tickled by the plane we navigate. Once YoshimiO agreed to be on board I knew we were going to be OK. Recorded and mixed at my home studio (Stu-Stu-Studio in Los Angeles) and remotely, this one was a slow burn to see the light of day. And here it is in its final crystal form. Celebrating the spaces between ritual, habit and ceremony. And all the parallels between. The line is blurred. This is occult adjacent strain of sound. At home in daily ritual, contemplation and meditation.” - John Dwyer

New Zealand indie trifecta Mermaidens, are set to make a resounding splash in the music scene yet again with the announcement of their fourth self-titled album and release of the project's first single ‘I like to be alone’. The trio, comprising of Gussie Larkin (guitar/vocals), Lily West (bass/vocals), and Abe Hollingsworth (drums), has been on an impressive journey of musical excellence, boasting three critically acclaimed albums, international tours, and a slew of accolades to their name. With a sound that is both bold and adventurous, Mermaidens' music is a testament to their unwavering creativity and relentless work ethic. Their upcoming self-titled album, a product of the band's tireless efforts between 2019 - 2022, promises to be a captivating sonic journey, delving into themes of self-awareness, introspection, long-term love, and even channelling political anger and frustration. Recorded mainly at Surgery Studios in Wellington, with the engineering prowess of Lee Prebble and produced by Samuel Flynn-Scott of The Phoenix Foundation fame, the album also saw the band stepping up their production game with Gussie and Lily working their magic with Protools in their DIY home studios, showcasing their growth and versatility as artists. “Working with Sam has really been a round-trip in our creativity,” as Lily explains, “we grew up listening to Sam’s early records and here we are getting the inside scoop on how to make that kind of magic. Listening to Pegasus today still transports me to a time when I listened to music on a Walkman. In the best possible way - sometimes it felt like we’d added an evil genius to the mix, we’d be working on a song and he’d come in like a mad scientist with fresh ideas to try.” To give fans a taste of the upcoming album's brilliance, Mermaidens have released new single 'I like to be alone.' The song has been part of the band's live repertoire for a while and explores the fulfilling contentment of being alone and the struggle to convey this sentiment to a partner. Its relatable lyrics capture the essence of cherishing solitude while navigating the complexities of human connections. Gussie's candid and honest approach to self-discovery is complemented by the song's, Michel Gondry inspired video, as Gussie explains: “The giant jean pocket and denim world were created by Hannah Webster, a textile designer and illustrator based in Wellington. Hannah took all the wild ideas for props and made them come true! I’m still in awe of how she managed to sew a 6x6 metre backdrop for the denim world out of whatever scraps she could find. The video captures our playfulness and sense of humour, and is a hint of what’s to come for the rest of the music videos. I love the way the story wraps up with the three of us together, literally playing “in the pocket”. Mermaidens' self-titled album will be released on Friday 3 November 2023 and is available for pre-order now. UK listeners will be able to pick up an exclusive Rough Trade vinyl pressing in transparent red, along with an A3 poster and jumbo bumper sticker. Having released their last two albums through iconic local label Flying Nun, Mermaidens will be released independently. Creative control is an important pillar for the band, who are hands on in every facet of their projects. Mermaidens gather their community close via their hugely popular multi-city boutique festival Mermgrown, hosting peers including Womb, Hans Pucket, Vera Ellen (Girl Friday) and Kōtiro from 2021 onwards. They've been invited to share the stage with Death Cab For Cutie, Sleater-Kinney, Gang of Four, Parquet Courts, Lorde and The Veils, and have toured extensively in Europe, the UK, and Australia.

The Moon Also Rises gathers songs that Johnny and Robert have written together since finishing their first joint album, Lost In The Cedar Wood (2021). At its heart are the oldest themes of all: death and renewal, darkness and light. The first five tracks are songs of burial, shadows and memory, while the final four are songs of awakening, light and love. The album turns around a central song, ‘The Sun Also Rises’, which stands with a foot in both dark and light. * Johnny Flynn's sixth album, and the second co-written with his friend Robert Macfarlane. Out 10th November 2023 on Transgressive * Gathers songs that Johnny and Robert have written together since finishing their first joint album, Lost In The Cedar Wood (2021). At its heart are the oldest themes of all: death and renewal, darkness and light. The first five tracks are songs of burial, shadows and memory, while the final four are songs of awakening, light and love. The album turns around a central song, 'The Sun Also Rises', which stands with a foot in both dark and light * Fuses poetry, story, landscape, history, nature and myth into a series of rich, strange songlines that criss-cross time and place, joining winter to spring, ancient to present and birth to death. As the Sun sets, so the Moon rises as its echo; as one light dies, another, altogether different light is born * Partly recorded in an old Methodist chapel -now the home of Johnny and Rob's friends, Cosmo and Flora Sheldrake * Produced by Charlie Andrew (Alt-J, Marika Hackman)

Jord (Swedish for “Earth”) performs Swedish Atmospheric Black Metal with ear-catching melodies. For fans of Enslaved, Vintersorg and Borknagar! Jord is an atmospheric Black Metal band with Blackgaze and post rock influences founded in 2020 as a one-man project by Jurg. Based in Sweden the inspiration came from northern nature, folk lore, mysticism, a man’s relation to this part of the earth and bands like Alcest, Enslaved, Anathema and Russian Circles. Two albums were released by Northern Silence Productions, “Sol” in 2021 and “Måne” 2022. Jord transformed into a trio in late 2022 and the new demo songs got attention from Hammerheart Records. A few months later a full studio recording of the third album ”Tundra”, in this new band setting, was done. “Tundra” tells the stories about ancient gods, dark and terrifying beings from Swedish folk lore mixed with modern day power struggles. There is a sand grain of truth to every story however old it may be. Jord uses these old mythologies to give a hint about today’s problems with authorities, mind control and delusions. But most importantly on how the elite will break and fall when they have pushed us too far.

Hark! Joel Paterson returns to your holiday turntable with "The More The Merrier" (Hi-Fi Christmas Guitar Vol. 2). The guitar wizard from Chicago slides down your chimney once again with this latest program of instrumental gems. Recorded in lifelike "holiday-phonic" high fidelity, these 14 selections are a study in artistry and sound. "The More The Merrier" is a companion piece to the perennial fan-favorite, "Hi-Fi Christmas Guitar". No mere sequel, this new album will soon join its predecessor as an integral part of your holiday gatherings for years to come. This is music to please guitarists, carolers, and hi-fi enthusiasts alike. Limited "Ruby Red" colored vinyl.

Svart Records are proud to present the vinyl debut of the album '8 Convulsions' (1994) by Crisis (NYC, USA) "I am really glad that Svart are re-releasing 8 Convulsions, so more people can rediscover this wonderful and intriguing heavy music." Michel 'Away' Langevin, Voivod Remastered and repackaged with the vinyl format in mind, the package comes with a large booklet full of lyrics and exclusive photos. This is the first time an album from the NYC cult band's oeuvre is pressed on vinyl. There will also be a CD edition of the remaster. Hailing from the mean streets of NYC in the year 1993, Crisis was a band that defied classification from the very start. During a time when heavy music was dominated by a mostly male presence, founders Afzaal Deen and original drummer Fred Waring envisioned a female-fronted band to run against the grain and destroy expectations. Seeking out a singer with a singular sound and presence, and found their match in groundbreaking vocalist and avant-visual artist Karyn Crisis. Soon after, a newspaper ad for a bass player was answered by Gia Chuan Wang and the original unit was formed. During their first rehearsal, Karyn became so enmeshed and driven by the music that she inadvertently destroyed a microphone stand and threw herself to the floor in an outpouring of unmitigated expression. This was barely a hint at the intensity she would soon bring to the stage and studio. Karyn’s guttural growls and angelic melodic notes meshed perfectly with the mixture of grinding guitar, pounding rhythm and deep bass tones. The underground music scene would now begin to experience the dynamic intensity of this burgeoning powerhouse band in full force. Crisis signed to Too Damn Hype records and released their debut album '8 Convulsions', now being reissued to mark its 30th anniversary. In a time where inclusivity is more crucial than ever, Crisis remains a band as diverse and distinct as the city from which they originally hailed. “The United Nations of Rock” as they’ve been called, continue to break boundaries and crush antiquated archetypes with their unprecedented sound and vision. "One of the most captivating bands I’ve ever experienced in New York City in the early 90s. They had a very unique sound where you couldn’t categorize them though they had elements of metal, punk with a very dark experimental approach, which gave them their unique sound. Just raw and relentless energy." Roy Mayorga, Ministry/Soulfly/Nausea etc 8 Convulsions is available on Svart exclusive blue/red marble vinyl, limited transparent yellow vinyl, classic black vinyl, and CD. Release date October 20th.

Svart Records are proud to present the vinyl debut of the album '8 Convulsions' (1994) by Crisis (NYC, USA) "I am really glad that Svart are re-releasing 8 Convulsions, so more people can rediscover this wonderful and intriguing heavy music." Michel 'Away' Langevin, Voivod Remastered and repackaged with the vinyl format in mind, the package comes with a large booklet full of lyrics and exclusive photos. This is the first time an album from the NYC cult band's oeuvre is pressed on vinyl. There will also be a CD edition of the remaster. Hailing from the mean streets of NYC in the year 1993, Crisis was a band that defied classification from the very start. During a time when heavy music was dominated by a mostly male presence, founders Afzaal Deen and original drummer Fred Waring envisioned a female-fronted band to run against the grain and destroy expectations. Seeking out a singer with a singular sound and presence, and found their match in groundbreaking vocalist and avant-visual artist Karyn Crisis. Soon after, a newspaper ad for a bass player was answered by Gia Chuan Wang and the original unit was formed. During their first rehearsal, Karyn became so enmeshed and driven by the music that she inadvertently destroyed a microphone stand and threw herself to the floor in an outpouring of unmitigated expression. This was barely a hint at the intensity she would soon bring to the stage and studio. Karyn’s guttural growls and angelic melodic notes meshed perfectly with the mixture of grinding guitar, pounding rhythm and deep bass tones. The underground music scene would now begin to experience the dynamic intensity of this burgeoning powerhouse band in full force. Crisis signed to Too Damn Hype records and released their debut album '8 Convulsions', now being reissued to mark its 30th anniversary. In a time where inclusivity is more crucial than ever, Crisis remains a band as diverse and distinct as the city from which they originally hailed. “The United Nations of Rock” as they’ve been called, continue to break boundaries and crush antiquated archetypes with their unprecedented sound and vision. "One of the most captivating bands I’ve ever experienced in New York City in the early 90s. They had a very unique sound where you couldn’t categorize them though they had elements of metal, punk with a very dark experimental approach, which gave them their unique sound. Just raw and relentless energy." Roy Mayorga, Ministry/Soulfly/Nausea etc 8 Convulsions is available on Svart exclusive blue/red marble vinyl, limited transparent yellow vinyl, classic black vinyl, and CD. Release date October 20th.

Transverse is the second studio album release from Colorado based metal band Messiahvore. It draws its sound from the vibes of 90's iconic bands like Helmet and Prong whilst peppering in the essence of stoner metal, death metal and a little bit of doom. The album has gained positive reviews from those amongst the metal scene, both critics and fans alike, being described as the sophomore record that "shatters expectations"

For over a decade, Dean Johnson’s rustic tenor and simply strummed acoustic guitar have been perking up ears around the Pacific Northwest and beyond. Johnson has gradually built a devoted fan base — strictly through live performances and word of mouth — singing existential cowboy waltzes, ballads about wishing one could find a way out of heaven, honest confessionals, and other heartbreakers from a unique perspective. The phrase “hidden gem” would seem appropriate here, but it’s a misnomer when talking about Dean Johnson. He shines bright, in plain sight, and it was only a matter of time before people stopped to take a look. Dean’s gentle and passionate approach to songwriting has inspired many, and his work provides the listener the opportunity to believe once more that a song can be more than the sum of its parts. If you catch even a phrase of his melodies or the sobering tone of his voice, it waltzes its way into your heart like a letter written, signed, sealed, and delivered just for you. His debut album 'Nothing for Me, Please' (Mama Bird Recording Co.) was recorded at Mashed Potato Records in New Orleans with the help of Sam Gelband and Charlie Meyer, Dean’s bandmates in The Sons of Rainier; as well as Mashed Potato regulars Sam Doores (The Deslondes), Duff Thompson and Steph Green. The record is a hazy, relaxed daydream – anthems for those who know the sweetness and coldness of quiet moments, the power and the pain of love. Whether you’ve been waiting patiently these many for Dean to release these songs, or you’re just now coming across his work for the first time, the name Dean Johnson, much like his songs, won’t soon leave your mind.

Semisonic - eine der meist unterschätzten Alternative-Rock-Bands der Jahrtausendwende meldet sich nach über 20 Jahren mit einem bemerkenswerten neuen Album zurück.

Die Songs balancieren hier auf einem schmalen Grat zwischen roher Energie und zarter Schönheit, sie finden die Balance zwischen der Kraft des Power-Pop und der Intimität des Akustik-Sounds. Bassist John Munson und Schlagzeuger Jacob Slichter haben ihre Leistungen fein abgestimmt, um Wilsons helle, beschwingte Melodien mit einem Hauch von Melancholie und Dunkelheit zu durchdringen, die ständig am Rand lauern.

Während es für eine Band wie Semisonic leicht gewesen wäre, in Nostalgie zu schwelgen, blickt 'Little Bit Of Sun' stattdessen mit Wertschätzung in die Vergangenheit, anstatt sich nach ihr zu sehnen.

Es verbindet eine tiefe Dankbarkeit für die bisherige Reise mit einer ansteckenden Vorfreude auf alles, was noch kommen wird

With this reissue, Verve By Request celebrates the 20th anniversary of this landmark, genre-busting album, conceived, led, and produced by trumpeter Roy Hargrove, who considered it a tribute to his childhood love of hip hop. Featuring a 10-piece band, special guests include D’Angelo, Q-Tip, Erykah Badu and Anthony Hamilton. This Verve By Request title is pressed on 180-gram vinyl at Third Man in Detroit.

" Ashley McBryde’s #1 UK Country album - The Devil I Know will be released on vinyl on the 10th November.
-Ashley will be touring the UK in January and will be appearing on various UK TV and radio shows
-The Devil I Know is Ashley’s fourth studio album, it features lead single ‘Light On in the Kitchen’. The album was produced by Jay Joyce and all tracks were co-written by Ashley. "

Available on 140-Gram, black vinyl, this release of Without A Net has been newly mastered by GRAMMY® Award-winning engineer David Glasser, produced for release by the Dead’s Audio Archivist and Legacy Manager, David Lemieux. Without A Net is the eighth live album from the band

In 2021 Nijs and Smolders started a series of free improvisations. Each came from a different background (see bio’s) and wanted to explore musical horizons that they were not used to. As a next step they decided to record an album of composed tracks. The experimental platform shifted from long improv sessions to composition and structure, with the work of Delaere as a source of inspiration. The material of his work, the unevenness, the detail of pigments clashing, superimposing on the canvas served as a metaphor and inspiration for sonic canvases that they constructed.

The result has become a record full of surprises. Rhythm, drone, dynamics, timbre, notes, tones, all have been thrown in the tumble dryer and during the process many times led the two musicians towards an outcome they couldn’t have possibly foreseen. But here we are. Our own experience is that the music works best when it’s played loud. Crank up the level of your amp and dive into these 35 minutes of colorful sounds.

Lady Wray released her Piece Of Me album. A deeply personal record that takes on the good and the bad in life from deception and abuse to the joys of motherhood and long awaited professional triumph. The accolades the album has received since its release speak volumes. From performing on The Stephen Colbert Show to selling out multiple US tours to cleaning up in the best of 2022 lists to crushing an NPR Tiny Desk on the 1 year anniversary of the album, Piece Of Me continues to prove itself a timeless classic. In March of 2023, Lady Wray had Ghostface Killah join her on the "Piece Of Me" remix and had Pete Rock lend his legendary remixing skills to "Joy & Pain". Now it's a Big Crown family affair as Les Imprimés lends his production prowess to a remix for "Come On In" and Surprise Chef take the warm weather anthem "Under The Sun" and give it their unorthodox Jazz / Funk treatment. Both of these remixes put brand new energy on the originals that will hold us over while Lady Wray is finishing her new album with El Michels Affair.

A side is from Mr Rêve, a tune orginally produced on his own label with the hand of Will Apocalypse... legendary track.... With its crazy outro... ambient hidden second tune.

After this full side of emotion comes the Venin 6Tem 01 B-side : Ash is the Ash... a dark tune with a long clap call intro, really good as a DJ tool... and then the tune opens on a banging downtempo Industrial new-wave feeling...

Both tunes are 130/140 BPM and both are bloody weapons to play... One side per track with a Simon The Exchange cut... You ask me if it sounds good ?

A devil project really...

ENJOY !

Moraes has an uncanny ability and acute gaze for building warm and endearing stories and characters in the old school tradition of Robert Artl and his "aguafuertes". His songs, both powerful and melancholic, are felt portraits of people who have crossed his path at various times in his life. 'Hogar' is his third album as a solo artist, and it includes a variety of genres: ballads and candombe, blues and milonga, like a mix between Bob Dylan and Tom Waits with Eduardo Mateo and Alfredo Zitarrosa. In 'Hogar', Santiago Moraes reaffirms the identity that he had previously explored in his previous works, but now it is revitalized by the participation of the musicians from Transeúntes, as well as several guests from both banks of the river, such as the Nautilus band and Uruguayan guest musicians that give the final touch to a more than interesting production. Hogar is made up of nine songs in which Moraes returns to his lyrical debt to Javier Martínez (in Los Espiritus he had quoted Manal in "Perro viejo", one of the best songs of his career) and manages to mix it with popular sounds that look towards Uruguay, the land of his parents.

In 2013 Tristan dreamt George Harrison and Tom Petty were on motorcycles circling one of those huge roundabouts in Canberra. Their long hair was blowing as they sang "You Can't Hide in Time". The Small Intestines play spare room rock'n'roll with a penchant for three-piece harmonies. They formed in Melbourne, Australia in 2016 while Matt and Rob were taking some downtime from Chook Race and Tristan was on the tail-end of his solo project, Peach Happening. Their debut album 'Hide in Time' will be released on September 29, 2023. For fans of The Go-Betweens and The Bats and any genuine big-hearted knockabout indie jangle with sweet singalong group vocals and simple pared-down arrangements. Tristan Peach - guitar, vocals - Matt Liveriadis - drums, vocals - Rob Remedios - bass, vocals

Reggie Soul real name Reginald Stone is just one of many illusive recording artists who had a very limited recording career for a handful of small independent Chicago labels then disappeared into obscurity, Reggie reputedly left Chicago in the mid 1970’s for the lone star state of Texas never to be seen or heard from again!

Reggie’s recording legacy is the sum total of 3, 45 singles two of which he recorded under the supervision of respected Chicago songwriter and producer Clarence Johnson., firstly the funk outing “I Got Jody” backed with the soulful “I Feel So Bad” for Red Balloon Records, “I Feel So Bad” was composed by Lee Sain who recorded his own version under the title of “Baby Don’t Leave Me” for the Broach label. Reggie Soul’s “I Got Jody” also came out as a B-side on Nation Time Records, the A-side was a version of the James Brown song “Soul Walkin’ but this side was credited under the mis-credited artist name of Reggie Smith?

Finally, Reggie’s third release “My World Of Ecstasy/Mighty Good Loving” was released on the Scott Brothers own Capri Records label in 1968. Both sides of the 45 were written by Reggie with Charles and Walter Scott, arrangements were provided by John Jackson and Bill McFarland who provided the horn section to many of the Scott’s future productions. The Scott Brothers of which there were several (all musicians) had begun their own careers during the late 1950’s recording under the group name of The Masquerades on the Formal label. Often referred to as The Scott Brothers Orchestra with Howard Sephus Scott at the head of their growing musical dynasty they formed their own company Capri Productions circa 1968, their initial recording productions were Fred Johnson (Shi-Lush Records) and the aforementioned Reggie Soul & The Soul Swingers. The Scott’s were also the house band in one of Chicago’s Southside’s most popular night clubs ‘The Bonanza Lounge on 7641, South Halsted. The Scott’s often used the Bonanza as a source of finding future artists for their labels, such as The Soul Majestics, Judson Moore, Bobby Jones & Duke Turner amongst others, they even recorded a live performance on The Bonanza Lounges’ resident comedian Randolph Browner which gained a release on the Shi-Lush label.

“My World Of Ecstasy” like several Capri 45 releases were heavily imported into the UK, often sold in soul packs before finding favour with aficionados of the Crossover Scene in the late 1980’s with it’s popularity still remaining high to the present day.

Soul Junction through their licensing deal with Scot-Tees Publishing would like to present the first release of their Capri Records series.

Flora Yin Wong’s ravishing interiority finds lucid expression on an absorbing second album for Modern Love, manifesting her instrumental storytelling in a syncretic bind of supernatural themes with hyperrealist, concrète sound design.

Through ten parts, Flora crystallises the ennui that followed an uncanny, disorienting trip to East and Southeast Asia. “On an unexpected stopover in Hong Kong after five years away, my friends took me to a Bazi reader one night - something I was curious about, but much of a ritual for them - ” Flora recalls. “My father told me that when I was born, he had obtained an auspicious reading that since stayed like a guiding talisman with me. It was almost past midnight but people were still lined up, rather shaken and visibly upset, to see the old man. He had kind eyes and asked me why I was there and I said I was at a crossroads. He asked me my time and date of birth, and told me to pick one of his four little white canary birds as a vessel for divination.”

This was the final stretch of an ultimately aimless few months across the continent, including a 20 year overdue return with her father to his adoptive family in his hometown Kuala Lumpur - for many reasons, ended up as a strange and uncanny trip. She spent solitude in a haunted house during the quiet snowfall of Kyoto, where she might have offended some spirit... and nights in mountain temples with South Korean monks, and an equally strange feeling return to the Island of the Gods.

“It culminated in what felt like a final disillusionment with Asia - sudden deaths and a breakdown in beliefs - somewhere I never really have or will be able to connect with. The process of the reading summoned a final blow to my gut - an overwhelming sense of rootlessness, and understanding that all there is is emptiness and entropy. No birth-divined protection, just a measurement of the night sky based off nothing and everything.”

Heavy with a sense of nightmarish dissociation and grief, Flora read about Giuseppe Tartini’s ‘Violin Sonata in G Minor’, aka the Devil’s Trill Sonata, a notoriously tricky c.18th composition which attempted to transcribe music heard in a dream, which the composer felt he could never fully bring into reality. It’s this soporific motif that binds and underpins ’Cold Reading’, finding Flora chasing the dragon of fleeting fantasy through passages of etched melancholy, pinched with hypnagogic jerks that linger in the memory.

From her use of the ‘Devil’s Trill’ Sonata in ‘All My Dreams are Nightmares’ through evocations of subtropical humidity in the Bryn Jones-esque, resonant hand-played percussion of ‘Konna’ and ‘Banjar’, to a breathtaking dreampop denouement ‘Nectar Dripping’ and the Enya-like lush of ‘Beautiful Crisis’, Flora blooms her ideas with an openended ambiguity so often missing from so called Ambient music, ushering the listener into a soundworld that disturbs and displaces, just as much as it calms.

I want to introduce this work ‘Halos of Perception’ to you in the way Lisa introduced me to it, through the sharing of experiences.

Lisa and I met for a walk near South Yarra station to talk about this work, when inclement weather made it too wet to visit the tunnels. Moving almost seamlessly from a world of leisurewear, infinite milk alternatives and blaring neons to stretches of green by the water that brimmed with sounds and life, we saw a few people climbing the Burnley bouldering wall, butterflies suspended in the hot wind and lots of plants I wish I knew the names of. Overhead the cars rumbled like a ceaseless animal as we talked about hidden ecosystems, imagined spaces and networks of care.

Stemming from a serendipitous encounter with an original Cave Clan member that led to many underground adventures, this work explores the worlds that exist outside of our perceptions. By the river, I leafed through a selection of tunnel photos Lisa had printed off at Officeworks, revealing alien textures, tunnels that stretch on into abysses of their own, underground flowing streams. Light is sparse and delicate, something reflected by the flickering and wavering in Lisa’s piano compositions.

As we walked, we noticed the ways in which infrastructure is often designed to keep people out—cut doors into fencing and clipped wires show an active and ongoing defiance of this. We spoke about how her Cave Clan friend used to go down to this painted room and read in solitude, using candles for light. The way sound exists underground, encased in these hollow cement tunnels, a painted room with its own deep hum. How people used to hold underground shows, how there were rules for safety (no exploring after rain, never alone) that was shared with each other. This warmth and absorption of other’s experiences is present in Lisa’s work—it’s immersive, like wading in water.

We paused on the walk to eat berries and talk about how The Caretaker creates transitory worlds with recorded sound, how this technology captures memory, and the exploratory pursuits of Pauline Oliveros’ Deep Listening Band. These citations of memory and deep listening inform Lisa’s use of analogue and classical instruments, playback artefacts and acoustic feedback in her own world-building. When speaking about ‘Halos of Perception’, she describes it as a fascination with timbre and acoustic artefacts.

Ideas of networks and enmeshment are felt deeply in Lisa’s compositions, motifs overlaid over each other evoking the image of many hands interlinking playfully, tenderly, softly. The way her compositions delve into refraction and echo makes me think about the tunnels and the way they splinter off into many possibilities. Manipulated textures reminiscent of the chalky, earthy, moss air that perfumes the tunnels’ subterranean air. Tactile details that gesture towards close attention, verging on obsession.

This work is also about imagining ecosystems of potential. Lisa shared with me that during this project, she has been reimagining subterranean networks in dreams, thinking about oral traditions, and the way water moves—from the sky to the earth, through the ground, connecting all these spheres. Realised in collaboration with hyperreal video artist Tristan Jalleh, Lisa’s dream landscape melds waterfalls, leaks, flower graffiti, and hidden messages lit up by imagined light sources with existing subterranean networks. There’s a real sense of wonder in this world she has built, how the city can reveal itself to you with some patience and care, how the city and its secrets can find its way into your dreams.

— Panda Wong

You're on a tough desert trek and you come upon an oasis -- with water, lush green, and a diverse group
of fellow wanderers eager to welcome you in. It's a dance party. And the LA- based DJ Markarian,
proprietor of Take 5 Music, is there to spin records ideal for this life- affirming setting. Welcome to Oasis
Lounge Vol. II, a joyous mix of music.

For fans of Dokken, Motley Crue, and 80’s Hard Rock! Red Reign is comprised of singer/guitarist Carlton “Bubba” McMichael, guitarist Stevie Shred, bassist Larry Moore, and drummer Sammy Lee. Bridging the sounds of yesterday and today, the band has issued a pair of hard-hitting yet melodic releases thus far, 2021’s self-titled EP and now 2023’s full-length Don’t Look Back, both of which have been overseen by Grammy Award-nominated multi-platinum producer David Ivory (Halestorm). The title track, “Don’t Look Back” is a standout track and features guitar legend George Lynch (Dokken, Lynch Mob). Other standout tracks are “Here I Am” and opener “No Peace No Love”. Having already shared the stage with the likes of Dokken, Extreme, Jackyl, Lita Ford and Tesla, Red Reign looks forward to spreading the word further with live shows in support of ‘Don’t Look Back.’ They are a live band, with energy that is fed off the crowd and makes every show exciting and new. Red Reign is booked in and around their native Richmond, VA and expanding tour dates throughout 2023