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Piotr Kurek’s new album “Smartwoods” is a sprawling root system of tiny melodic phrases that loop and curl around subtly evolving instrumental thickets. The Warsaw-based producer and composer takes his cues from early music, baroque music and experimental jazz, entangling his influences with filigree traces of contemporary computer music and fueling it with sonic vapors from the near future.

Made up of seven distinct segments, the album blurs its acoustic and electronic elements into an illusory hedge of abstract sound. Harp, saxophone, clarinet, double bass, voices and guitar twist into computerized processes and synthesizer chirps, creating an uncanny dreamworld where the real isn’t always what it seems. Each player is entwined with the other to create a living, breathing whole.

Like Kurek’s painterly 2021 album “World Speaks”, “Smartwoods” is also inspired by visual art - particularly the whimsical work of Algerian-French graphic designer Jean Sariano. The album cover features artwork by Polish painter Tomasz Kowalski, whose shapeshifting creatures and miniature stories aptly reflect the music’s wild fantasy. The first manifestation of “Smartwoods” – a live show at Unsound in Kraków in 2022 – featured animations by Italian artist Francesco Marrello, who put together a visual treatment for the single “Harps”.

Music composed, arranged and produced by Piotr Kurek
Anna Pašic - harp
Tomasz Duda - clarinets, saxophone, flute
Wojtek Traczyk - double bass, electric bass
Piotr Kurek - keyboards, MIDI wind controller, electric guitar
Recorded in June and November 2022 by Piotr Kurek, Piotr Zabrodzki (Studio Pasterka) and Tomasz Duda

2023 Repress

CELESTE have been breaking the outer boundaries of heavy music for over fifteen years. When they first evolved from the Lyon hardcore punk scene, they were absolutely brutal and entirely unique, delivering extremity on their own terms that they pushed further and further with each successive album. “We just wanted to get darker and more violent,” says drummer Antoine Royer, until 2017’s Infidèle(s) saw the incorporation of a more melodic streak. Their most focussed record yet, it was tremendously received, critically adored, and backed with the band’s biggest shows to date.

Its follow-up was always going to be something radical. Even by their own inordinately high standards, however, new record Assassine(s) is one hell of a step forward. Even if this album still contains cyclonic walls of guitar, of battering rhythm, and passages of blissful, rushing release. it’s unlike anything the band have ever released; embracing a modern and forward-thinking production, they're just as complex but more direct, diverse and accessible than before. “Our leitmotif here was to open our minds,” says guitarist Sébastien Ducotté. “We made a real effort to think outside of our box.”

During lockdown CELESTE’s members were forced to each write individually. “We each went further into our personal, inner views of what the songs were,” says bassist and vocalist Johan Girardeau. When eventually they began sessions under producer Chris Edrich, it was gruelling. “We ended up exhausted, physically and mentally” says Johan. “There was no break in two weeks. We didn’t see the sun at all during that time. Every night we were so tired that we didn’t enjoy being together as much as we’re used to.” Nevertheless, in the same way the hardships of isolation led to richer and more complex songwriting, it’s that relentlessness that led to the record’s razor-sharp edges.

Above all else, CELESTE are innovators. Whether by pioneering French avant-garde metal when they formed at the turn of the millennium, by making their boldest leaps despite being seven albums deep into their career, or using two years away from live shows to tightly finetune their stagecraft, they refuse at all costs to rest on their laurels. There can be consequences to this instinct – fans of the band’s older work might be thrown off by their constant shifts of pace – but they’re throwing caution to the wind. A bit of backlash “would be a good thing, because it would mean that we’ve really changed,” says Guillaume . “It's not disrespectful, it's just that we never made music to please people, but just to enjoy what we're doing.” In the end, CELESTE are a band so forward-thinking that they can only be judged on the strength of their latest work. And when it comes to a record as bold as Assassine(s), they’ve hit a whole new peak entirely.

Federica Grappasonni aka Mistura Pura is an Italian DJ, composer, singer, vinyl collector and music producer. She started to play and produce music at the age of 19 in Bologna, Italy. Before becoming a DJ she wrote and performed her songs live, either as a duo or with a complete band. In the ‘Acid Jazz’ era she was totally immersed in Bossanova, Jazz-funk and Jazzy Hip Hop music. At the time she wrote poetry and songs, singing melodies that burned in her mind. ‘Ed è…’ is one of the first songs she wrote. While ‘Vamo Vive’ is the result of the mix of more songs connected as part of her repertoire, made as a later piece of her musical puzzle.

At the end of the ‘90s and for the following decade Federica became known in the so called ‘lounge scene’ as a selector with Mistura Pura DJ sets in great demand, she gained residencies in the most beautiful and cool places in Milan, the isle of Panarea, Eolian Islands, and Sicily. Coming into the present day she decided to edit and rework some of her repertoire with both songs being revisited while keeping the original voice she recorded at the time and with the support of the pianist and co-arranger Alberto Napolioni and the flautist Carlo Nicita whom worked very well to define the harmonies of the musical works. After 25 years from that period and during the pandemic, Federica repeatedly told herself as a loop ‘go to live Fede’. It was during a walk on the beach that she remembered capturing a frame of a couple of children building a castle in the sand on the Adriatic sea with all the meaning and poetry that this image portrays; a sense of freedom, innocence and truth. In this sense ‘Vamo Vive’ and ‘Ed è…’ is a gentle scream of hope in a time when humanity was closed and living like prisoners in their own houses.

Movetone Wax is thrilled to unveil its second vinyl release.
"Folly Path EP" showcases the combined talents of Maik Yells and the esteemed house producer Tripmastaz.
After Maik's debut EP, "Rima," he returns to Movetone Wax with two solid and original tracks on the B side.
On the A side, house legend Tripmastaz graces the EP with a mind-bending 9-minute remix, infusing his signature sound and injecting a new dimension of depth and groove into the release.

This record"s origin story is as elusive as Pharoah was about everything Pharoah. It was born out of a misunderstanding between him and the India Navigation producer Bob Cummins, and was recorded at a crossroads in his career with a group of musicians so unlikely that they were never all in the same room again. There was a guitarist who was also a spiritual guru, an organist who would go on to co-write and produce "The Message", and a classically trained pianist - his wife at the time, Bedria Sanders - who played the harmonium despite never having seen one. At times ambient and serene, at others funky and modal, PHAROAH radically departed from his earlier work. It would become one of the artist"s most beloved records and one of the great works of the 20th century. With Pharoah Sanders" blessing, the limited edition embossed version of this 2 LP box set presents the definitive, remastered version of PHAROAH, his seminal record from 1977, along with two previously unreleased live performances of his masterpiece "Harvest Time". This is the first official rerelease of PHAROAH, which has been bootlegged often since its original release in 1977. These exceptional live versions of "Harvest Time" - which Pharoah performed during an intense European tour in the summer of "77 and which are included here for the first time - turn the original, beloved composition on its head. PHAROAH will be released a year after the legendary tenor saxophonists" untimely passing, and two years after the release of what was to become his final album, the widely acclaimed PROMISES, a collaboration between the composer Floating Points and Pharoah Sanders, featuring the London Symphony Orchestra. The first pressing of this limited edition box set comes with an embossed cover and is accompanied by never-before-shared photographs and ephemera, as well as a 24-page booklet featuring rarely seen photographs, interviews with many of the participants, and a conversation with Pharoah himself.

A true surprise success for Paharas Musica, originally written during the end of the pandemic, 'White Isle Memories' captured the loss of not being able to visit the white isle of Ibiza and combines the producer talents of Ridney & Inner Spirit (aka Richard Earnshaw).

A production aimed at the beach bar culture of the island the production duo are joined by multiinstrumentalist, vocalist and loop pedal extraordinaire Michael Sebastian. In it’s original guise the track has racked up well over 1.3 million streams and in that gained the attention of German producer SOMMA (1.7 million monthly listeners), who was keen to grab the stems and deliver a special 2023 remix.

Adding to the package Ridney’s sunset reprise from his Café Mambo Ibiza DJ sets and Inner Sprits own incredible 2023 remix.

DJ Support:

Mark Knight (support on Kiss FM), Purple Disco Machine, Mousse T, Ken Fan (Café Del Mar), Ryan McDermott (Café Mambo Resident), Hector Romero, Des Mitchell (Radio One Mallorca), Mr V, Lenny Fontana, Loeca, Jazzy M, Dario D’Attis, Danny Rampling, Chad Jackson, Brandon Block, Booker T, Black Legend, David Dunne, Graham Sahara, Lizzie Curious, Martyn the Hat.5

One In A Million is the second studio album by Aaliyah. First released in 1996 by Blackground Records, the album features production from a variety of producers including Timbaland, Missy Elliot, Carl-So-Lowe, J. Dibbs, Jermaine Dupri, Kay Gee, Vincent Herbert, Rodney Jenkins, Craig King, Darren Lighty and Darryl Simmons. With countless accolades, One In A Million remains as one of the most influential albums in Hip-Hop & R&B and proved to be a major breakthrough in Aaliyah's career. Welcome to the new world of funk.

Toronto-based producer and DJ Ciel is renowned for a style of dancefloor material that’s as heady as it is visceral. The Xi’an-born artist’s ascendant profile has seen her cutting- edge and club-ready EPs released on UK labels Peach Discs and Coastal Haze, as well as Stateside imprints Spectral Sound and Mister Saturday Night.

As a member of the renowned collective Discwoman and the creator of femme-forward party Work in Progress Ciel’s thoughtful narratives are clear, running in parallel to the perception-altering sounds that are consistently woven deeply into her wide-ranging sets, beloved mixes and inventive collaborations. Now the Parallel Minds label co- founder is crystallising her imaginative and omnivorous sound with her !K7 Records debut, ORLANDO.

Written during her emergence from an uncharacteristic bout of writers’ block, the three original tracks of Orlando chart a return to the musical self, spurred along by a cinephile’s embrace of film, a love of classic literature, and a curiosity for the oddest corners of popular culture. “SCENES FROM A MARRIAGE” might share a name with the episodic series, but is rather a nuanced critique of the modern rite of union, moving through structured chapters, and mirroring the un-static nature of longtime love.Inspired by Virginia Woolf’s radical novel, and its superphysical protagonist, “ORLANDO” considers the cult literary figure who lived from the renaissance to the modern age, and embodies both sides of the sex binary.

The thrown sounds and aural illusions of “EL CALIFA” create the effect of a beckoning, beguiling psychedelic experience. To complete the EP, Ali Berger, Ciel’s recent collaborator on the Jacktone Records’ release Damn Skippy! repurposes the mind-bending flourishes of “El Califa” into a noodly and spacious deep house production, replete with pillowy, gauzy pads.

One of Death Metal's biggest bands, DYING FETUS return with their highly anticipated new album, Make Them Beg For Death. Recorded in Baltimore with longtime producer Steve Wright and mixed by Mark Lewis (Cannibal Corpse), Make Them Beg For Death contains every DYING FETUS hallmark. The veteran Death Metal band’s ninth album is fast, intense, and brimming with unstoppable grooves. Monstrous riffs, blast beats, unstoppable hooks, and earth-moving grooves define their catalog. “We put our own twist on Death Metal,” explains co-vocalist/guitarist John Gallagher. “We were like most bands, starting in the garage, drinking beer, having a little fun on the weekend, finding the right amps through trial and error. We blended aspects of bands we liked – Suffocation, Obituary, Deicide, and Cannibal Corpse, among others; the dual vocal approach of Carcass – and made them our own. ‘Let’s make it moshy, let’s make it slammy.’” Make Them Beg For Death delivers savage beatdowns equally designed to pulverize and mesmerize. “It follows on from where Wrong One To Fuck With left off,” drummer Trey Williams promises. “We don’t need to participate in the technical death metal arms race. We’ve got the big guns, and we’ve proven that. It’s all about pointing them in the right direction, so to speak.” To the men of DYING FETUS, the mission is straightforward. “The philosophy is the same now as it was when the band started,” Gallagher confirms. “To write catchy riffs and to make it memorable. Whatever style of music you’re doing, make it something people want to hear repeatedly.”

Perth-based artist hub 823, led by the extraordinary producer / creator Ta-ku joins forces with Berlin's Jakarta Records for the release of Godblesscomputers's fourth full-length LP, "Faded Views." The LP melds bright electronic flourishes with laidback synth-driven backdrops, weaving tapestries of mellow folktronica and groovy jazz harmony with continuous sonic intrigue that will keep you grooving into a tropical disposition. Paying homage to his musical moniker, the Bologna-based producer makes timely metallic interjections amidst lush, effortlessly groovy soundscapes. Explore a world of found, recycled, and synthesized sound on "Faded Views" out everywhere September 8.

Bologna-based producer, DJ, and sound collector Godblesscomputers (122k Spotify listeners) has returned with the release of his fourth full-length record, "Faded Views." Godblesscomputers's latest LP "The Island" (2020, La Tempesta Dischi) earned him placement on Spotify playlists like "Brain Flood" and "Coffee Club." Since then, his appearance on Willie Peyote's track "La colpa al vento" landed GBC on "Best of Indie Italia 2022." On "Faded Views," it was Godblesscomputers's creative project to explore the sonic potentials of his direct environment, picking up recordings and threads of inspiration from the most commonplace occurrences. A sonic scavenger, Godblesscomputers explored the expanses of his-both digital and physical-soundscapes. "Faded Views" does the work of crafting a unified, yet complex compilation of the noises that mark the experience of being digital natives in ever-expanding dimensions.

Godblesscomputers's use of musique concrète and found-sound composition melds curiously with his undeniable electronic and techno acumen. Superimposing metallic electronica onto esoteric sound bytes creates the occasion for complex sound collage. "Faded Views" marks a decade since the genesis of the Godblesscomputers project; the entire LP testifies to how time warps perception and sound. Godblesscomputers's music seems to decorate time, both commemorating the moments passed with mind-melting sonic collages and looking forward to the infinitudes of the future with frenetic electronic experimentation.

Themes of impermanence and transience-hence "Faded Views"-pervade the record. Godblesscomputers blurs time as each track seeps into the next in what feels like a seamless transition. He makes these swift passages in genre as well-the record opens on "Colors" with a rich horn section which frictionlessly becomes a lo-fi dance groove. It is this melding of the analog and the electronic that makes sense of his found approach to beat-making: Godblesscomputers marries the found and the synthesized; the creator and the created; the past and the future. The process of sonic dissection and recomposition that drives much of Godblesscomputers's creative process yields not only assertive breakdowns and animated dance tracks, but also complex tapestries of sound that keep the listener ever-intrigued-piano, saxophone, and modular synthesis all find a natural home on tracks like "Hello." In an apt description, the producer's work has been described as "sounding like wood, metal, and microchip."

Godblesscomputers's artistic objective lies in blurring definitive lines, constantly shifting perspectives, genres, and origins of inspiration. On "Faded Views," this design cultivates a folktronica record that truly evades definition.

Feelgood lead single "Mirrors" is out June 30th and features a rich meld of warbling layers, mixing upbeat dance music with complex instrumentation. Stream second single, "Above the Lake," for a mellow summer cut on July 21. Finally, the effortlessly groovy third single "You Feel Me" captures a genre-warping foray into folktronica. Listen to "You Feel Me" on August 11.

All LP artwork and stunning single visualizers were single-handedly put together by multi-disciplinary designer Michael Norman. "Faded Views" will be available everywhere physically and digitally on September 8, 2023. Be sure to listen for focus track "Hello" that captures the vast scope of Godblesscomputers's musical prowess. Find the LP, CD, and digital release on 823's and Jakarta Records's Bandcamp and local record stores.

Guillaume Leroux Aka Lunatic Asylum Is One Of The Most Revered Electronic Music Producers From France. He Has Been Producing For Over 25 Years On Labels Like Fnac, Sony Music, Polygram And Lots More. His Incredible Style Of Techno Has Made Him A Highy Respected Figure For Many Of Todays Techno Producers. This 4 Tracker Came Out In The 90's And Sold Out Soon After. Copies Have Been Changing Hands For High Prices On Internet Marketplaces. Now Is Your Chance To Grab A Mint Copy For A Fraction Of The Cost Or The Original.

EACH COPY Personally SIGNED BY LEN FAKI

Len Faki has always been a defining character of the techno underground. His unique approach to DJing, the consistent work as a producer and the quality output of his label Figure has all shaped the current environment.
Starting out as a clubber in the 90's, his inspirations have always reached back to the first encounters with electronic music, when new worlds opened and everything seemed possible.

While these experiences have always influenced Faki's productions and used to be released under many different aliases back in the day, they have been waiting since to be made into a proper album under the Len Faki moniker.

After quickly climbing to the top of the international DJ circuit, busy touring schedules never quite allowed for it. Finally faced with the opportunity of a long overdue creative break, Faki decided tackle the life-time venture with the necessary dedication and focus.

Excited about the new project, he also took the time and energy needed to expand his production methods. Finding new techniques allowed him to truly bring all his different influences to the surface. The process was one of following his own heart, occasionally challenging and surprising himself. Naturally the result emerged as two parallel experiences, which are now presented across two discs. Both still carry all the signature features of Faki's style but with added layers of depth and detail. There's that special contrast of dark and heady grooves, paired with dreamy melodies that transport the listener to places beyond the mind. But we also see all strains of his previous work being incorporated, mixed and molded into something new altogether.

While the first disc focuses on the kind of techno, which Faki has been brought up by and given back to for so many years of his life, the second is more loose and experimental, with forays into house, ambient and broken beats - the sounds he has always kept very passionate about.

It creates two distinct experiences, showcasing the entire breadth of Faki's cosmos. Where some ideas stay straight and kick hard, like the neon bleep opener Tor 8 or joyfully booming Astra, others take the newfound freedom to inspire a wistful broken beat ballad such as Hymn (In the Name of Fantasy) or the soulfully subdued Drum & Bass closer Voices.
Many songs even exist as pairings, with their respective counterpart on the other disc. For example, the duo of Shri Yantra/Yantra, where similar soundscapes have been looked through different lenses, making for a more straight-laced or shuffled rhythm. Also noteworthy are Faki's appearance as a veritable house producer on Hymn (In the Name of Freedom) as well as the inclusion of two very personal pieces:
The Halide tracks were made in remembrance of Faki's late mother, who passed away during the final production stage of the EP. These delicate tracks capture the intense sadness Faki was feeling at the time and helped him to process his grief and eventually to finish off the album.

By doing so Faki has given us a complete artistic statement, one that proves him to be as curious and driven now as ever, taking his sound to all-new realms.

For over two decades Jonathan Katsav has used his Crave project to fray rap at its fringes, using Memphis and Houston's low-and-slow legacy to inform sounds that have as much in common with Merzbow as they do Tommy Wright III. Working under a variety of different monikers such as Lieu Noir, Sniper Bait and Soul Collector, the French producer is most prolific as Crave, and "Inner War Delirium" is a substantial and broadly cinematic addition to his canon. Katsav approaches each track as if it's a scene from a movie, using real life experiences to explore separate characters and contrasting emotions. Using different narrators and disparate vocal styles, he navigates grim, blown-out landscapes, driving neon drenched trap synths and horror choirs against overdriven kicks and waterlogged industrial atmospheres. Mangled field recordings, squealing static and gurgling synthesized bass opens 'PHYLLIS', goading the cautious with serrated, carnival synths and cacophonous vocals that sway lugubriously between rap and grindcore. The relationship between dark and light, death and rebirth, is at the heart of "Inner War Delirium", rippling through every track's oozing amalgamation of inebriated hip-hop and buzzsaw noise. Katsav's sounds are an attempt to subject us to the physicality of his own life's puzzle, and he cuts them into vignettes like a director. On the album's final track, listeners are swiped from in front of the speakers and bundled into the trunk of a car, rain rattling on the metal and the album playing on in the distance. It's a way for the producer to turn the camera back on the audience and ask them to consider their own complicated reality - it's Crave's story, but everyone's a part of it.

A crackling fire is burning under the bridge. BANG! the brow hits against the steel drum, Hey! I only bowed down! BOING! The elbow jabs into the door of an abandoned ragtop, To lash the laces! CRACK! the knee strikes the rusty trash can, Of my brand new black sneakers! RASP! YAWP! SCREEECH! The gang rabbles on the dancefloor. Metallic sounds blaze out of the speakers. A rustle, a chatter, a rattle, a flapper. Cops troop in gazing in wonder while converting into liquid coppers. A warm kicking bass sets in. A voice from down below. Though, right next to your ear. The floor is demanding a sacrifice. Jog your head, swing your hip. Wave your hands, and shake a leg: Tighten up, and then let go, for this Dance aboulic! Producer and DJ Dave DK with his new »Chicama« EP on Pampa. Three kicking, bumping tracks for all day and all of the night. Euphoric percussive floorkillers with a hint towards an alluring gloominess.

“Can’t Slow Down“ was originally released in 2009, 15 years after Foreigner’s previous studio album. It marked the Melodic Rock comeback of the year; praised by fans and critics alike. “It was our first studio album with the new lineup and I think it has a tremendous amount of energy in it“, says founding member and lead guitarist Mick Jones. “The title just seemed to sum up the way we were feeling at the time. It captured the fact that Foreigner had become a powerful live band and was ready to take on the world again. I’m happy to say that it drew the attention of Foreigner fans, old and new, and went on to become a chart album in several countries.“ CD1 includes the complete studio album, produced by Mick Jones & Marti Frederiksen (Aerosmith, Ozzy Osbourne, Mötley Crüe) and featuring the song ‘Fool For You Anyway‘, produced by the acclaimed Grammy Award-winning producer Mark Ronson. Exclusive to this 2CD Deluxe Digipak Edition is the second CD „B-Sides And Extra Tracks“ which includes a carefully selected set of Foreigner’s biggest hits as well as beloved fan favourites – all recorded in energetic live versions of which some will be released the first time on CD. This collection istopped of by an exclusive Radio Edit of “Can’t Slow Down“’slead single ‘In Pieces‘. CD2 will also become available as a Strictly Limited Heavyweight Double LP Edition on transparent orange vinyl.

UK born, LA based producer and singer/songwriter Somni preps for his third full length album "Gravity", filled with unique and melodic songwriting, headnod-inducing rhythms, and swirling electronic production.

ANTI- Records is honored to share a never-before-heard album by Mark Linkous of Sparklehorse titled Bird Machine. Originally recorded in 2010 and mixed by Mark Hamilton (who also worked on It"s A Wonderful Life), Mark"s brother Matt notes "great care has been taken to archive and preserve Mark"s music.

We are very thankful for Mark and the beauty he brought to this world." Sparklehorse was an American indie rock band formed by singer-songwriter and multi-instrumentalist Mark Linkous in the mid-1990s.

Born on September 9, 1962, in Arlington, Virginia, Linkous began playing music as a teenager. Described as an artist who "compelled listeners to heed the beauty of darkness" by Pitchfork, Sparklehorse released many influential records, including the renowned albumsn Vivadixiesubmarinetransmissionplot and Good Morning Spider in the "90s, It"s A Wonderful Life and Dreamt for Light Years in the Belly of a Mountain in the early aughts, and a collaborative album Dark Night of the Soul released in 2010.

Throughout his career Mark collaborated with thought provoking artists like Vic Chesnutt, Daniel Johnston, Tom Waits, Danger Mouse, and David Lynch.

While Mark recorded in various studios, collaborating with other musicians and producers, he did much of his work in his home studio, Static King, often playing and recording everything on his own. He was "very much kind of a working-class guy with a very poetic sensibility, who was drawn to artists like himself, who worked in isolation," said NPR Fresh Air"s Ken Tucker.

ANTI- Records is honored to share a never-before-heard album by Mark Linkous of Sparklehorse titled Bird Machine. Originally recorded in 2010 and mixed by Mark Hamilton (who also worked on It"s A Wonderful Life), Mark"s brother Matt notes "great care has been taken to archive and preserve Mark"s music.

We are very thankful for Mark and the beauty he brought to this world." Sparklehorse was an American indie rock band formed by singer-songwriter and multi-instrumentalist Mark Linkous in the mid-1990s.

Born on September 9, 1962, in Arlington, Virginia, Linkous began playing music as a teenager. Described as an artist who "compelled listeners to heed the beauty of darkness" by Pitchfork, Sparklehorse released many influential records, including the renowned albumsn Vivadixiesubmarinetransmissionplot and Good Morning Spider in the "90s, It"s A Wonderful Life and Dreamt for Light Years in the Belly of a Mountain in the early aughts, and a collaborative album Dark Night of the Soul released in 2010.

Throughout his career Mark collaborated with thought provoking artists like Vic Chesnutt, Daniel Johnston, Tom Waits, Danger Mouse, and David Lynch.

While Mark recorded in various studios, collaborating with other musicians and producers, he did much of his work in his home studio, Static King, often playing and recording everything on his own. He was "very much kind of a working-class guy with a very poetic sensibility, who was drawn to artists like himself, who worked in isolation," said NPR Fresh Air"s Ken Tucker.

Available only n Germany!

ANTI- Records is honored to share a never-before-heard album by Mark Linkous of Sparklehorse titled Bird Machine. Originally recorded in 2010 and mixed by Mark Hamilton (who also worked on It"s A Wonderful Life), Mark"s brother Matt notes "great care has been taken to archive and preserve Mark"s music.

We are very thankful for Mark and the beauty he brought to this world." Sparklehorse was an American indie rock band formed by singer-songwriter and multi-instrumentalist Mark Linkous in the mid-1990s.

Born on September 9, 1962, in Arlington, Virginia, Linkous began playing music as a teenager. Described as an artist who "compelled listeners to heed the beauty of darkness" by Pitchfork, Sparklehorse released many influential records, including the renowned albumsn Vivadixiesubmarinetransmissionplot and Good Morning Spider in the "90s, It"s A Wonderful Life and Dreamt for Light Years in the Belly of a Mountain in the early aughts, and a collaborative album Dark Night of the Soul released in 2010.

Throughout his career Mark collaborated with thought provoking artists like Vic Chesnutt, Daniel Johnston, Tom Waits, Danger Mouse, and David Lynch.

While Mark recorded in various studios, collaborating with other musicians and producers, he did much of his work in his home studio, Static King, often playing and recording everything on his own. He was "very much kind of a working-class guy with a very poetic sensibility, who was drawn to artists like himself, who worked in isolation," said NPR Fresh Air"s Ken Tucker.

Moving to England for its second release, Rant & Rave Records presents a proper EP from South Wales-based producer JoeFarr, known for his dancefloor jams on labels such as: 'SLAM', 'Arts', and his most recent success with 2019's epic 12" 'Death Becomes Us'. On the a-side 'In This Anger', which JoeFarr has written with Louisahhh, an anxiously dark, slowly developing atmosphere menaces behind a slow rolling, broken beat for maximum effect. This is punctuated by dark, slightly distorted female vocals with sporadic lyrics subtly encouraging its dance floors to move.. and think. Signature hard and bouncy grooves with infectious in-yer-face techno riffs dominate the rest of the EP with tracks 'Laced Up', 'You Can See Me' and 'You will See Me (Hardcore)', effortlessly weaving in and out of the pulsating groove with an interesting palette of machine sounding synths and heavily processed vocals.