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Aufgang is back with its 3rd album, “Broad Ways”, slated for release in November 2021

With this 3rd album, the franco-lebanese duo perpetuates its winning alchemy by drawing on the psychic and collective traumas of recent History at the crossroads between European and Middle Eastern cultures.

What more was there to prove for the Aufgang duo since their re-invention of US techno a few years ago through the means of organic instruments like piano + drums, and releases on Infiné & BlueNote/Decca ?

Maybe that they would from now on independently take onto themselves, the full conception and distribution of their body of work, supported by a collective of visual-arts creators, dancers, and emerging talent-incubators (Bi:Pole/Believe/ BigWax/Alter-K)...

“Broad Ways” could be translated as «in many ways» in the sense that there are many ways of seeing the world, and that everything is not binary and that on the contrary, our lives are shaped by the each other’s own paradigms...

In this clever mix of experimental techno, lyrical prowess and melodies in the Arab tradition, can one imagine a future that would solve the world’s current contradictions in a boiling magma so complex of which Edgar Morin would be proud... Following this unique trademark, this art of mixing influences and cultures, along the New York, Paris, Lebanon and now Sydney axis... how far will they go?

According to Pitchfork, AUFGANG “blends piano, drums and electronic music with virtuosity, with one foot in the club and the other in the conservatory.”

Rami KHALIFÉ, composer and pianist, transcends the classical heritage of his years studying at the Juilliard School in NYC and the Middle Eastern origins of his masterful family: his father Marcel KHALIFÉ is a major composer and musician in the Arab world.

The drummer and producer Aymeric WESTRICH has an instinctive DIY approach and infuses his music with his knowledge of urban and electronic cultures, developed with Kery James, Cassius, Phoenix and more recently Lomepal.

Taking their inspiration from multiple artistic movements and currents, from the Disco of the mythical Larry Levan to the poetry of Oum Kalthoum, these two free electrons have created their sound between Paris, Beirut and New York, in reaction to the frenetic energy of big cities, as if in an effort to prevent this energy from corroding their freedom. It’s a unique experience born from the sublime diversity of these two masterful approaches.

Spiritczualic Enhancement Center are a "spectral trance-jazzensemble with a psychedelic-punk methodology", as they define themselves - an eclectic group of 15 musicians, almost a collective, from Germany, Israel, Iran, USA, Turkey, UK, Russia and former Yugoslavia. Landing on Kryptox, with their 4th record (the others were self released) this is musical material the bandrecorded in several sessions in Romania and the Czech Republic, inside a church in Hamburg and while staying with a commune inrural Denmark over the last years.

The Handy Records crew return once again with a stunning EP from none other Mr Bobby Cazanova.

A1 is an absolute gem. Nostalgic, catchy, euphoric and all-round feels. Just what we needed after the 2 year hiatus from nonsense. It’s a speedy emotive number with all the bells and whistles for a great time. Definitely one for the 6AM sunset. Following; the A2 is a sub aquatic bubbler. Low slung bass and rich strings lead this into a deep technical groover. Again Bobby has nailed the feeling of having heard this before but never quite like this. The A3 is something quite special. Acid lines and driving bass make this an absolute heater for the floor.

On the flip we have another fast-paced rhythm. This time capitalising on the darker side of Bobby’s mind. Between pulsating baselines and inquisitive synths there is an emotive and paced production that is sure to get people moving. Rounding off the EP is a darker piece. Glistening pads and pensive arpeggiation make this a slow but sure burner for the dance floor.

Record Kicks drops "Solid Ground", the explosive debut album by US band The Grease Traps, recorded at Kelly Finnigan' Transistor Sounds and mixed by Orgone's Sergio Rios.

Recorded between Kelly Finningn's Transistor Sound in San Francisco and Fifty Filth Studio in Oakland and mixed by Orgone' producer Sergio Rios and Kevin O' Dea, Record Kicks is proud to finally present Solid Ground, the long-awaited debut album by US very finest deep funk & soul outfit The Grease Traps. The album is set for worldwide release on November 5 on vinyl, CD and digital format. The band, based in Oakland, CA, is the latest addition to Milan-based Record Kicks roster. Active since 2002, with a 45 released on well-respected funk/soul label, Colemine Records, now, after six years spent working on the album's recording and mixing, they are ready to present their first full-length release Solid Ground on Record Kicks. The album is anticipated by the two killer funk singles "Bird of Paradise" and "More and More" on limited edition 45 vinyl.

As avid record collectors and fans of that old school analog sound, Solid Ground was recorded straight to 8-track tape on a Tascam 388, which also graces the cover art. Half of the tracks were recorded live at Transistor Sound Studio by soul crooner, Kelly Finnigan, and Ian McDonald where both Kelly and their band, Monophonics, have recorded their last few albums. The other half of the tunes were recorded by Kevin and Aaron at Fifty Filth Studio in Oakland, CA where the band also rehearses and mixed by analog-obsessive Orgone producer Sergio Rios. The album's original tunes draw from the Traps' various soul influences ranging from gritty funk ("Bird of Paradise" and "Hungry") to fuzzed-out psychedelic ("Residue") to sweet lowrider soul ("More and More"). The lyrics by lead singer The Gata also don't shy away from pressing issues of the day such as racism in America ("Roots") and finding hope in a world that seems pitted against you (the JB's style "Solid Ground"). The rare funk covers from the album provide a taste of the raw energy one would experience at a Grease Traps live show. The Traps also supplemented their sound with special guests including the Monophonics horns, background vocals from seasoned Bay Area vocalists, Sally Green and Bryan Dyer, as well as strings organized by Kansas City master viola player, Alyssa Bell.

The seed of The Grease Traps formed back in 2000 when keyboardist, Aaron Julin, answered an ad put out by guitarist, Kevin O'Dea, searching for players who were hip to the rare grooves laid down by Blue Note artists such as Grant Green and Lou Donaldson. They quickly formed Groovement, covering those same artists along with other jazz-funk staples. When their sax player and frontman moved away, they switched gears to form the band, Brown Baggin, getting into the harder funk of the JB's, the Meters, Kool & the Gang, and lesser known acts such as Mickey & the Soul Generation. They also started digging into the rare funk compilations put out by Keb Darge, Jazzman Gerald,and labels like Harmless, Ubiquity, Soul Jazz, and Now-Again. Modern day soul and funk outfits such as Breakestra, the Whitefield Brothers, and the Daptone/Soul Fire crews provided additional inspiration.

In 2005, while still playing with Brown Baggin yet fed up with juggling the schedules of seven band members, Aaron and Kevin put out an ad to find a bassist and drummer to jam with as a quartet. The first two cats to show up were bassist, Goopy Rossi, and drummer, Dave Brick. It was clear from the get-go that this rhythm section had great chemistry. Originally intended as a fun side project, the Traps quickly took priority as Brown Baggin dissolved. Performing as an instrumental quartet for a number of years, they eventually expanded their repertoire to include horns as well as that sharp-dressing soul brother, The Gata, on lead vocals. Over the years, they've shared the stage with acts such as Shuggie Otis, Robert Walter, Durand Jones, Monophonics, Neal Francis, and Jungle Fire.

* Limited edition transparent vinyl repress of the very first Formation Records release from 1991 – DJ SS – The Pyscho EP. This EP kicks off a series of retrospective releases as the label celebrates it’s 30th Anniversary this year.

* Bringing it back to where it all began in 1991, this 6 track EP is a melting pot of all the genre, styles and cultures that collided to give birth to the Rave scene.
* Newly remastered from the original DATS this seminal EP has never sounded so good!
* DJ SS is a powerhouse in British Breakbeat music, having been one of the originators of the Rave scene, and his legendary imprint Formation Records is still going strong to this day releasing cutting edge Drum & Bass and giving a platform to new and established artists alike.

Club / DJ Support
Jay Cunning, Ray Keith, Nookie, El Hornet, Billy Bunter, the Fat Controller, Liquid, Hyper On Experience, Glowkid, Slipmatt, Dj Jedi, Dj Luna-C, Dj Brisk, Jimni Cricket, Bustin, Sc@r, Doughboy, Saiyan, Dave Skywalker, Ponder and many others

The Kniteforce Complete Collection Volume 1 does exactly what it says on the box, giving you the first 20 Kniteforce Vinyl releases, fully remastered, in both Wav and MP3 format. This set of original old skool tracks made in the early 1990s is a package unmissbale to anyone into the original old skool sound, and it features some of the early work from legendary artists such as Dj Force & The Evolution, Luna-C, Cru-l-t, Future Primitive, The Trip, Alk-e-d and more…

Simply calling Curtis Harding a soul man feels reductive. Harding's voice conveys pain, pleasure, longing, tenderness, sadness and strength-a full gamut of emotions. Today his voice takes on an optimistic lilt with his his new album, If Words Were Flowers. If Words Were Flowers is Harding's first new music since 2018, a follow up to his critically acclaimed 'Face Your Fears" album. It features songs like " Hopeful" , where Harding croons with devotion over a classic soul groove, textured with infectious horn playing, background singers and modern psychedelic flourishes. Harding fuels his psychedelic sound with the essence of Soul but isn't bound by it. Instead, his songs convey an eclectic blend of genres leaping from the many musical lives he has lived from following his evangelical Gospel-singing mother on tour around the country as a child to rapping in Atlanta, forming a garage band with The Black Lips' Cole Alexander to singing back-up for Cee Lo Green. Through these experiences he fully embraces life's darkest intricacies and conjures dynamic, addictive melodies.

HIGHLIGHTS: Long-awaited second album by the rising stars of Neo Cumbia and Psychedelic Chicha in Peru, Arequipa's very own Los Chapillacs, featuring the late Lucho Carrillo, lead singer of the legendary band Los Diablos Rojos, Daniel F (Leusemia) and Laurita Pacheco. A mix of many different music genres and styles from Peru and beyond. From the expected cumbia and chicha (with and without the psych element) to Chacalon influences, popular Afroperuvian rhythms and a touch of rock with a certain sense of humor that even welcomes '80s hair metal guitars and a touch of deep ballad vocals... Jungle-tinged electric guitars firing up the party! DESCRIPTION: Long-awaited second album by the rising stars of Neo Cumbia and Psychedelic Chicha in Peru, Arequipa's very own Los Chapillacs. "Lo bueno, lo malo, lo feo y los alaracosos Chapillacs" comprises many different music genres and styles from Peru and beyond. From the expected cumbia and chicha (with and without the psych element) to Chacalon influences, popular Afroperuvian rhythms and a touch of rock with a certain sense of humor that even welcomes '80s hair metal guitars and a touch of deep ballad vocals... A number of guest top artists are featured in this new album: Daniel F from punk band Leusemia; harp virtuoso Laurita Pacheco on 'Cada Noche Me Pierdo'; the late Lucho Carrillo (Cumbia All Star, Los Diablos Rojos) on "Fiesta de Mostros"; and also0 Rony Carbajal (Xdinero) and Arequipa's folk artist Filiberto Barrios. Jungle-tinged electric guitars firing up the party!

Carl Finlow has been a prominent name in UK electro since the mid-90s, releasing music at an astonishing rate under a variety of monikers. Silicon Scally defines his most strictly electro-oriented project, reflective of the Kraftwerk era and the emerging electro-scene, with releases on respected labels such as Cultivated Electronics, CPU and of course 20/20 Vision, with music from a variety of Carl's monikers being amongst the labels earliest releases.

'Crushed' is a sought after album project originally self-released on Finlow's Bandcamp during the 2020 lockdown. We felt the release was to important to be overlooked without a much deserved run of vinyl, so have pressed a limited run of records featuring futuristic electro highlights and the best unreleased cuts.

'Proton Mass' kicks things off with perfectly crafted robotic funk, solid mechanical breaks and mind bending glitches, setting the landscape for a journey into the abyss with Silicon Scally unshakeably at the helm. 'Centronix' follows up with razor-sharp rocking beats, squelchy bass and jarring grooves as if designed for high pace no nonsense club sets from the likes of DJ Stingray or Helena Hauff.

On the flip side 'Axiom' takes us deeper into the void with dark basslines, complex drums and unapologetically disorientating frequencies. A track that makes us question if Finlow has transcend to a future state where he is more machine than man, sending psychoactive messages in the form of killer electro cuts.

'Cascade Lasers' wraps up this epic dose of electro with interstellar energy, driving things home with deep bass wobbles, high octane breaks, wrapped grooves and tormenting yet playful synth licks. Yet another release that has us convinced the late great Andrew Weatherall was indeed correct!

"For quite a number of years now I have been convinced that Mr Finlow is a conduit for musical transmissions beamed from a parallel universe, sometime in the future" - Andrew Weatherall

Left Ear returns where they started, further highlighting the music of the enigmatic Leong Lau. Arguably one of the most unique artists to come out of Malaysia/Australia during the 70’s, Leong migrated to Australia to pursue an education in Engineering. He finished his degree but instead took a different ’career path’, choosing to explore his creativity.

From an early age Leong had been trained in the arts including both Chinese opera and flute. Leong recalls “making flutes out of grass weeds”, as he couldn’t afford a flute. It was this DIY ethos that Leong attached to his lifestyle. He found himself promoting festivals in the infamous town of Nimbin before moving to Sydney where he would record a small body of music with the sessional musicians he was playing with daily in the venues of Sydney’s Circular Quays. Leong’s ‘Late Night Flyer’ was the single to his supposed second album, which was allegedly manufactured but unfortunately a copy of the LP is yet to surface. One thing is for certain, two tracks landed on a 7” and together with a predominantly Chilean backing band known as ‘The East-West Unity Band’ they created two raw latin influenced jazz-rock tracks that stand the test of time.

The A-side a homage to the omnipresent characters that frequented the after-hours jazz clubs Leong performed at. Whereas the B-side is named after his favourite philosopher Herbert Marcuse’s novel ‘One Dimensional Man’, which sees Leong take a more psyched out approach.

High-quality reissue of holy grail 70s Brasil Funk LP, a real Killer record which sounds like nothing else with an incredible combination of tracks mixing Brazilian popular music (MPB), regional Folk, Soul and Funk!

Di Melo's debut album was originally released in 1975 and it's a fusion of genuinely Brazilian rhythms with Funk, Soul and the right amount of psychedelia. Di Melo is one of the main Brazilian Soul Music artists, seen by many as talented and musically creative as his peers Jorge Ben and Tim Maia. Di Melo went missing in action from 1976 to 1997, the year his song "A Vida em Seus Mtodos Diz Calma" was on the collection "Blue Brazil" from Blue Note record label. The word on the streets was that he was dead until 2011, when the documentary called "Di Melo, o Imorrvel" (Di Melo, the immortal) was released. In this 2021 edition the album contains the original 1975 insert with lyrics plus photos from personal family archives and for the first time the full credits with all the name of every single musician who tookpart,among them, Hermeto Pascoal.

When you’re trying to make it through tough times, you need a little light to find your way. That light blazes brightly on the alchemical second album from Penelope Isles, an album forged amid emotional upheaval and band changes. Setting the uncertainties of twentysomething life to alt-rock and psychedelic songs brimming with life, colour and feeling, ‘Which Way to Happy’ emerges as a luminous victory for Jack and Lily Wolter, the siblings whose bond holds the
band tight at its core.

 Produced by Jack and mixed by US alt-rock legend Dave Fridmann, the result is an intoxicating leap forward for the Brighton-based band, following the calling-card DIY smarts of their 2019 debut, ‘Until the Tide Creeps In’. Sometimes it swoons, sometimes it soars. Sometimes it says it’s OK to not be OK. And sometimes it says it’s OK to look for the way to happy, too. Pitched between fertile coastal metaphors and winged melodies, intimate confessionals and expansive cosmic pop, deep sorrows and serene soul-pop pick-you-ups, it transforms ‘difficult second album’ clichés into a thing of glorious contrasts: a second-album surge of up-close, heartfelt intimacies and expansive, experimental vision.

 Field recordings were made during a stay at a small cottage in Cornwall, where Penelope Isles began work on the album. With romantic heartache already in the air, things swiftly got worse:
lockdown began, claustrophobia kicked in and emotions ran high. As Jack puts it, “We were there for about two or three months. It was a tiny cottage with four of us in and we all went a bit bonkers, and we drank far too much, and it spiralled a bit out of control. There were a lot of emotional evenings and realisations, which I think reflects in the songs.”

 At different points along the way, Jack Sowton and Becky Redford left the Isles. An old friend, multi-instrumentalist Henry Nicholson, stepped in swiftly - “A godsend after a low time,” says Lily. Another friend, Hannah Feenstra, contributed drum parts; now, Joe Taylor is the band’s drummer. After Cornwall, the band redid many of the rhythm tracks, recorded a little in Brighton, then recorded more in Cornwall at their parents’ house. “It was,” says Jack, “a proper
rollercoaster ride.”

 The ride continued with Fridmann, whose recent credits include Isles’ favourites Mogwai’s No 1 album, ‘As the Love Continues’. As Lily puts it, the process of sending Fridmann a mix, receiving it back in the morning and then having five hours to make decisions on it resulted first in stress, then in something sublime. “I love everything he’s touched - MGMT, Mogwai, Mercury Rev. He would turn our mix into this electric, fiery thing. There were some moments that were
initially hard, like on ‘Miss Moon’, where he took out the bass when it gets to the chorus. But now it’s my favourite bit on the record. He made everything so colourful. It’s an intensesounding record - a hot record. It was so refreshing to have that blast of energy from Dave - it’s like he framed our pictures.”

 Away from the confines of the cottage, the Wolters also opened the door to a collaboration with storied composer Fiona Brice, whose credits include John Grant, Lost Horizons and Placebo. A
“big bucket-list tick” for Jack and Lily, the team-up results in glorious arrangements across the album: for Lily, ‘11 11’ stood out. “I was in absolute tears when she sent back the strings for ‘11 11’. It was like, oh my goodness, she’s nailed it.”

 On its release, ‘Until the Tide Creeps In’ received rave reviews from Q, DIY, The Line of Best Fit and many others, while finding champions in Steve Lamacq and Shaun Keaveny. It also become part of a lifeline for music fans during the 2020 lockdown when the band participated in Tim Burgess’s Twitter Listening Party. Meanwhile, extensive touring saw the Isles develop into a formidable live force, with ‘Gnarbone’ emerging as a sure-fire showstopper.

 Now, the Isles have 11 more showstoppers to add to the mix. At the album’s heart, the band’s core traits have never been stronger: the bond between the Wolters, a sensitivity towards complex feelings, a desire to celebrate life in all its facets and an ambitious reach combine to create an album that feels utterly, emphatically present on every front, rich in depth and uplift.

 LP pressed on 180g clear vinyl with A4 print.

Los Angeles post-punkers SHARK TOYS delight with off-kilter clatter of the highest caliber, possessing a jagged beauty that defies the songs shamble-pop brevity. Swell Maps and Television Personalities flavor the proceedings without dominating, with SHARK TOYS retaining their own American-DIY-art-punk identity through their wonderfully constructed and sonically thrilling songs. From Gainesville Florida, UV-TV's debut vinyl offering is a unique hybrid of infectious psyche-punk and dynamic indiepop. C86/Shop Assistants-esque melodies coupled with pounding toms and soaring dark angular post-punk guitar. This is stripped down 3 piece brutal-pop, with smatterings of feedback, counter balanced perfectly by the sweet melodic vocal delivery of Rose Vastola.

The crew of vinyl addicts based in Torino is back with the second episode of Bounce FM Edits series. Watch real dancers go crazy on this two psych-funk gems of the early ’70s, consciously edited by Bounce FM.

Compound X launch new limited edition vinyl label CX BLACK, with four innovative tracks that set an immediately high standard.

Compound X is DAR and DULUM, both progressive and dedicated journeymen, their visions melting psychedelic rock and deconstructed techno to deliver a forward-thinking take on electronica. Their innovative sound first debuted in April 2020 on Distopic Utopia Records, and a live debut is scheduled for Dark Mofo festival in Tasmania, Australia, this June. The act's dynamic range and genuine sound artistry are what set Compound X beyond the status quo, something that’s clearly displayed with this latest release.

The opener 'Sending Me Signals' is dark and thrilling techno. The blistering synths bring fizzing energy to the hammering kicks, while tortured voices add extra layers of eeriness. There is haunting paranoia to the unsettling voices that loop in the background of 'Gone 2 Far.' The drums are again brilliantly brutal, and the whole atmosphere is utterly arresting.

The synths on 'Asexual Orgasm' sound as if fired from a machine gun with caustic textures, scraping hits, and dehumanised vocals add up to a wall of intense techno noise that will disorientate all dance-floors. Finally, 'Ancient Sentient' is a slightly more spacious cut with buzzsaw synths, undulating rhythms, and distorted bass that makes for maximum impact.

After the huge northern hemisphere summer of 2019, filled with amazing events and awesome music, Avalon releases his long awaited second album 'RISE' to great critical acclaim.
Every track a story, every track a magical moment lifting dancefloors to new realms of psychedelia!
Set almost ten years apart from his classic debut album 'Distant Futures', Avalon has since climbed to dizzying heights to become one of the leading and most in-demand artists of the global Psychedelic Trance scene. Chart topping number ones have lined-up one after another between massive collaborations, two remix albums, three collaboration albums (as Killerwatts with Tristan and Future Frequency with Sonic Species) and a gigging schedule that has placed him at every major festival and music loving country possible.
'RISE' shares with us many solo productions, filled with the classic Avalon trademark elements that first garnered him so much success. Twisting and mixing-up his quintessential sounds with the newest and biggest production techniques, plus four amazing collaborations with friends and Psychedelic alumni; Tristan, Dickster, Ajja and Mad Maxx, ensured this album has become a force to be reckoned with!

'RISE' expresses an artist at full potential, utilising all he has learned from a deep dive into psychedelic music and taking things to the next level.

Get ready to Rise!!

We are very proud to now be able to offer this amazing album as a Special Limited Edition double Vinyl.

MUSAR is honoured to revive the electronic-synth legend, MANASYt, with a new five-track EP as part of a three-EP series. 'Reality Defense Department' will be the Bulgarian's first material since 2012, set to release via MUSAR on December 8, 2017.
Petar Tassev aka MANASYt, hails from the twilight zone. Growing up with the blacks swans in the forest of communist Bulgaria, listening to metal and hardcore music then interpreting the moody, roughness together with inspirations from electronic new-wave music to a raw, pure and dark adventure bubbling with madness.
'Reality Defense Department' is a future horror movie soundtrack. The first track 'Memory Imprints' is a pure psychedelic-trip into the mental clinic for clockwork orange droogs. The second track 'Mobile Pharmacy' can be described as what the aliens would listen to while attacking Earth. The last original track 'Orthodox Spanking' is a dark, wayward electro track full of post-punk elements, perfect for a fetish party.
A pair of remixes by Brooklyn's wonder girl 'Via App' with a deep, dark and gothic techno rework for the late dazed hours of the morning and Norwich's kept secret, Wax Stag (an occasional collaborator with Bibio and Clark) that delivers a dreamy, cosmic twist that will linger in your consciousness for a long, long time to come.

Following 12"s from Ricardo Tobar and MANASYt, the third release on Tel Aviv's MUSAR welcomes rising UK star and Super Hexagon label boss, J.Wiltshire. The Laghan Pux EP finds Wiltshire sharing his psychedelic electronic side and brings his versatile skills together, serving up four completely different soundtracks. The gleaming sci-fi gem 'DESklep' opens the EP as a pure melodic IDM track loaded with Cornwall style while the bass-heavy title track 'Laghan Pux' is pumping as a dark & sharp peak-time trippy beast. On the B side, the mysterious Roy of The Ravers, gives you an interpretation of what proper acid sounds like, whereas 'Chained Releases' takes you on a deep and hypnotic adventure into space, full of warm guitar melodies and trancey synths.'Summon Them' closes the EP, an ambient magic piece for a hazy, orange morning where the birds just woke up and the trees singing for the first time to break the day.Early support from: Josh Wink, Danny Daze, Cinnaman, Marcel Dettmann, AME, I:Cube, The Hacker and more...

This is a super-limited strictly 1000 copy one-off only edition pressed on white coloured vinyl of this in-demand Trees Speak classic debut album.
When the band Trees Speak, coming out of nowhere, released an exclusive one-off 100-pressing white label 45, described as CAN/NEU! meets LIQUID LIQUID, it sold out so quickly (in less than 30 min) that Soul Jazz Records decided to release their album almost immediately.
Soul Jazz Records rarely release new music but found the music of TREES SPEAK’s album ‘OHMS’ so stunning and to have so many elements of music that they admired that they felt compelled to release it.
The group Trees Speak are from Tucson, Arizona and create new music that sounds like GERMAN KRAUTROCK meets NO WAVE/POST-PUNK and PSYCH ROCK – music for fans of CLUSTER, TANGERINE DREAM, CAN, NEU!, SILVER APPLES and early KRAFTWERK.
The album ‘OHMS’ sounds at times like a tripped out & moody JOHN CARPENTER/GOBLIN/MORRICONE soundtrack that seamlessly segues into propulsive, ‘motorik’ Krautrock instrumentals loaded with fuzzy, hypnotic mellotron, synths and analogue effects, as well as elements of ART ENSEMBLE free jazz, and all at times reaching a kind of post-rave psychedelia. More recent comparisons would include BEAK and GHOST BOX who draw upon similar themes and styles.
Trees Speak are Daniel Martin Diaz and Damian Diaz plus musicians from the Tucson, Arizona scene such as Giant Sand, XIXA and James Hunter. ‘Trees Speak’ relates to the idea of future technologies storing information and data in Trees and plants – using them as hard drives – and the idea that Trees communicate collectively.

Heavy Psych Sounds Records is really proud to present the Psychedelic-Space split of the century! "The Intergalactic Connection - Exploring The Sideral Remote Hyperspace" it's a split album that came from deep deep space! Here Giöbia meets The Cosmic Dead, two of the best modern space-rock bands you can find. The Italian quartet come with 3 incredible songs, while the Scottish guys deliver a 19 minute long suite. This piece of psychedelic journey is a travel inside the universe, 4 tracks full of heavy psych and space rock riffs that will bring you into a psychedlic vortex with no way out! A must-have for all the space travelers. Fans of Hawkwind, Pink Floyd, UFO and Gong will be more than enthusiastic ...It's a Space Ritual journey!

Half red/half blue Vinyl. Limited to 350 copies. Heavy Psych Sounds Records is really proud to present the Psychedelic-Space split of the century! "The Intergalactic Connection - Exploring The Sideral Remote Hyperspace" it's a split album that came from deep deep space! Here Giöbia meets The Cosmic Dead, two of the best modern space-rock bands you can find. The Italian quartet come with 3 incredible songs, while the Scottish guys deliver a 19 minute long suite. This piece of psychedelic journey is a travel inside the universe, 4 tracks full of heavy psych and space rock riffs that will bring you into a psychedlic vortex with no way out! A must-have for all the space travelers. Fans of Hawkwind, Pink Floyd, UFO and Gong will be more than enthusiastic ...It's a Space Ritual journey!

Domination Campaign was started in Hobart Tasmania in late 2019 by Psycroptic vocalist Jason Peppiatt as a solo studio project. Jason began work in Crawlspace studios in December 2019 with fellow Psycroptic band mate and studio engineer Joe Haley. Once recording began Joe was recruited to also play drums on the album and the duo had their sights set on recording an over the top, heavy, straight down the line, crushing old school death metal album. Nothing fancy or technical just big simple heavy riffs and massive mid paced drum beats. Lyrical topics are loosely based on events of various wars in history. Their debut album ‘Onward to glory’ was completed in July 2020 with all recording, mixing and mastering done by Joe Haley and album art done by Jason Peppiatt

Kulk are a Norfolk two-piece wielding a barrage of sonic density across sludge, noise metal and psych. Jade Squires (drums and synth) and Thom Longdin (vocals and guitar) are distinctive and stark in their execution; a hungry new face of UK heavy music, cultivating acclaim from Metal Hammer, Echoes and Dust, Outline, Anti-Despair Machine, Down The Front Media, with radio plays from IORadio, BBC Introducing Suffolk and Future Radio as well as Steve Lamacq (BBC 6 Music).

Kulk’s sophomore monolith ‘We Spare Nothing’ is a demonstration of their importance within the UK underground and their progression into sharper, harder hitting noise rock. Glacial, pummeling riffs and drum passages give the spine to their stifling atmosphere, a refreshing take on the psych-tinged doom of entities like Sleep, The Melvins and Pigsx7. With their blistering live performances in tow,
‘We Spare Nothing’ will sear it’s mark into the UK scene in 2021.

Trees Speak is an experimental rock band that transcend mainstream influences by incorporating elements of Avant-garde, Neo-psychedelic, Minimalism, art and electronic - along with violin-bowed guitar, Theremin and a glut of effects pedals, and it's an ear-bending rush of lush soundscapes.

Trees Speak - as much a sound laboratory as a rock and roll band - is the musical venture of acclaimed visual artist and musician Daniel Martin Diaz (formerly of Blind Divine and Crystal Radio). For the debut double-LP Trees Speak is joined by Michael Glidewell (Black Sun Ensemble), Gabriel Sullivan (XIXA, Giant Sand), Connor Gallaher (Myrrors & Cobra Family Picnic), Damian Diaz (Human Error), and Julius Schlosburg (Jeron White Acoustic Trio). The studio itself should also take top billing, because in the tradition of krautrockers Can and Bitches Brew-era Miles Davis, the band takes its winding, incandescent motoric rock and roll improvisations and edits them into coherent compositions using the mixing desk after recording. And that's where the sound lab half of the equation appears. The end result is flowing and droning ambient proto-punk reminiscent of fellow travelers NEU!, Stereolab, - Joshua Levine

Our intention is to create music with an unrehearsed minimalist approach performing simple beats, riffs, and sequences that take one inward. We attempt to create a sonic environment to set one's mind free and to become aware of the nuances of tone, melody, and structure. We organize our recording equipment with the same approach, in a transparent manner. Our recorded performances are never rehearsed. Our belief is that a brilliant rehearsal is a lost opportunity to capture a magical moment. We are chasing the mystery of music and tone. We let the musical performance sculpt its own destiny and create imperfect perfection. Our tool of creation is the anxiety one feels when they are unrehearsed or prepared for a performance. We believe this approach brings us closer to the authentic self. The result is genuine music without an agenda that captures the unfiltered spirit.
- Trees Speak


The music was recorded live in one room with no overdubs or repairs, only using edits to create arrangements. All tracks were written over a 5 day period at Sacred Machine Studio and Dust & Stone Studio.

If one always looks at the sky, he will end up with wings, a wise French man once declared. Halifax, Nova Scotia based musician Jeremy Costello had wings, long before he looked up. Wings of imagination. Brandishing in his head, transforming deep-rooted emotions into poetry and sound. Since 2012 the Canadian self-releases music as Special Costello, a moniker under which he records solo or with local friends like Saxophone player Nick Dourado or guitarist Dave Burns. His lyrics are sincerely woven poetic enunciations that balance between introspective emotions and existential philosophical demands. Lyrics from a spirit that is in love without an object, unconditional, mirroring his very own subconscious inner being. The music reflects his tempers in many colours. Glimpses of Synth-Pop, psychedelic rock nuances, traces of new romantic utopia, infantile Casio minimalism, Shoegaze haze, drama wave: Special Costello blends many styles, uniting all in his very own musing grandeur of pop music.

After an array of digital releases, Berlin based label Marmo Music now publishes the Special Costello touch for the first time physically fabricated on vinyl. Seven songs featuring the longing voice of Jeremy Costello, sometimes in correlation with spoken words and dialogues by noted artists, poets, and scientists. All creations have been recorded by himself between Spring 2017 and winter 2020, using the extrasomatic help of instruments and machines like Farfisa Combo Compact transistor organ, Roland JX3P polyphonic analog synthesizer, Roland D50 linear synthesizer, Roland Rhythm Composer TR-08, Arturia Microbrute monophonic analog synthesizer or a Gibson Thunderbird IV bass guitar. In communication with his sensitive inner blues, they created an atmospheric voyage into the heart of Special Costello, that fulfils Arthur Russel’s sapient declaration: being sad is not a crime! Seven musical paintings full of intimate, vibrant feelings and existential thoughts, veiled in an antidepressant neo new romantic glam. An epic tune like “The Next Day”, in which Costello’s singing links with thought-provoking spoken word samples, sounds like Robert Ashley is meeting Hans-Joachim Roedelius in a psychic séance with Brian Ferry. In comparison, a song like “If Not Depression, Then What?” grooves with a pulsating wave bass figure and an overall gently floating electronic majesty, while Costello’s voice takes deep listeners to an unknown higher ground. On the other hand, a composition like “Unsetting” offers a nonchalant graceful funk drift with reverberant hand claps, minimal guitar strains and a chromatic synth pop grace. Above all the music Costello’s voice cries, screams, whispers, and weeps with a compelling introspective elegancy, that invites to associate intensely with the nonpareil Special Costello touch.

Written, composed, and recorded by Jeremy Costello between 2016 to 2020 in Halifax, Scotch Village and Toronto (Canada).

Instruments used by the artist: Farfisa Combo Compact transistor organ, Roland JX3P Programmable Preset Polyphonic Synthesizer, Roland D50 linear synthesizer, Yamaha DX7 Frequency Modulation/Programmable Algorithm Synthesizer and TX7 FM Expander, Roland Computer Controlled Rhythm Composer TR-08, Arturia Microbrute Analog Synthesizer, Gibson Thunderbird IV bass guitar, MicroKorg Synthesizer/Vocoder, Electro Harmonix Small Stone Phaser, Memory Boy Analog Delay, Alesis Quadraverb, and finally, their voice was recorded using Shure Beta57A and AKG D 330 BT dynamic microphones.

A Svart Mondo release. The original vinyl of “Harvest Time”, the debut album by the Finnish band Elonkorjuu (which means ‘Harvest’ in Finnish), has been the among the most valuable collector’s items in Finnish rock: its average prize in 2021 is over 1200 euros, and even over 2000 euros have been paid for a mint copy. Recorded almost entirely live and originally released in 1972, Elonkorjuu’s “Harvest Time” is a best kept secret for many Scandinavian Prog aficionados. With music inspired by groups like Cream and Free with more progressive and free-jam style, Elonkorjuu is one of the few bands that successfully progressed the whole heavy Blues/Psych Rock style in a way that made them a little unique and ahead of their time. Drawing initially from the schools of bands like Sabbath and Colosseum but expanding on those influences with soulful church organ and cutting guitar from leader Jukka Syrenius, “Harvest Time” is entirely worth it’s reputation as a sought after treasure. A killer album from beginning to end. Heavy guitar work all over and great vocals sung in English,which is rare for a Finnish band of this era.
Finally receiving a worthy reissue from the vinyl obsessives at Svart Records, “Harvest Time” sees the light of day again on gatefold vinyl, including new liner notes. If you have an ear and place in your heart for the shadowy and mysterious world of early heavy progressive rock, then it’s probably “Harvest Time” for you!

The forthcoming latest edition of the popular compilation series featuring long-lost vintage 60s-70s proto-metal and stoner rock singles, Brown Acid: The Thirteenth Trip will be available on Halloween 2021. Check out the first single "Run Run", released in 1970 by Montreal hard rockers Max is available to hear & share via Metal Injection HERE. (And, direct YouTube and Bandcamp)

The Brown Acid series is curated by L.A. label RidingEasy Records and retailer/label Permanent Records. Read interviews with the series curators via Paste Magazine HERE and LA Weekly HERE.

About The Thirteenth Trip:

Max, from Montreal, QC — originally known as Dawn, before Tony Orlando & Dawn forced a name change — kick things off with “Run Run” from their lone 1970 single. It’s a hard-hitting rocker with scale climbing crunching guitars and powerful Bonham-esque drumming. Sadly, the band didn’t last long due to poor management and various other factors, so this is the only surviving document according to guitarist Gerry Markman. And what a document it is, paired with the A-side “The Flying Dutchman.”

You might remember Ralph Williams and the Wright Brothers from their track “Never Again” on Brown Acid: The Tenth Trip. Here they make their return to the series with the A-side of their 1972 Hour Glass Records 45, which sounds like Blue Cheer mangling Roy Orbison’s “Pretty Woman” (that’s right, several years before Van Halen actually did so.) Alas, Ralph and these Wright Brothers soon disappeared from terrestrial airspace.

“Feelin’ Dead” is extremely heavy blues from this also extremely rare 1974 single by Detroit, MI’s Master Danse, which was only released as a promo 45. Think Led Zeppelin’s “Since I’ve Been Loving You” and you’re on the right track. A little dose of Hendrix acid blues and a heartfelt groove, and you’ll wonder why this single never even made it to official release. The unavoidable tell in the lyric, “help me get this damn thing out of my arm” hints at the post-Vietnam heroin epidemic as a potential clue why we never heard more from Master Danse.

Folks, Gary Del Vecchio is “Buzzin’” hard on this one, and from what sounds like an in-studio party of yelps and chatter at the start of the song, it seems that the whole band was in on the festivities. The funky blues riff, reminiscent of Led Zeppelin’s “Heartbreaker” and rollicking rhythmic changes certainly keep the buzz a rollin’.The recording is technically credited as Gary Del Vecchio with Max, though not the same band as the one that kicks off this Trip.

John Kitko’s 1973 heavy psychedelic rager “Indecision” is the only recording known to exist by the mysterious artist. The Twin Record Productions release features a different artist, Tom Poff on the B-side, which is truly a shame, considering the smoldering ashes Kitko leaves of the turntable by song’s end. It starts out more like a late 60s Acid Rock jam before leaping into a blazing double-time gallop, whipped into a frenzy by wailing, neck-pickup guitar squeals and Kitko’s barely audible howls.

Tampa, FL’s Bacchus made their Brown Acid debut way back on the very first Trip with “Carry My Load.” This 1972 B-side, “Hope” is a huge sounding swinging rocker replete with roadhouse piano bolstering the chunky riffs and confident vocals. After relocating to Southern California a few years later, the band morphed into Fortress, an 80s melodic metal act whose Hands In The Till album of Pomp Rock on Atlantic Records still draws chatter today.

Orchid’s “Go Big Red” is perhaps the most garage-y sounding offering here, with loose rhythms and straightforward stop-and-start riffing. Nonetheless, the stomping energy and fried-amp guitar tone make this one a charming skull thwack. The band’s 1973 single on American records, backed with a cover of Johnny Russell and Voni Morrison’s “Act Naturally” (popularized by Buck Owens and the Buckaroos) is their only release, so the world never did see this Orchid fully blossom.

By the title alone of Dry Ice’s “Don’t Munkey with the Funky Skunky” you know you’re in for a good time. The 1974 barnstormer seems aimed to the novelty tunes crowd, with its kooky lyrics and silly-voiced spoken catchphrase break, “peeyew, you’ll be sorry if you do.” But, the Ohio band’s maniacal drumming, crunching guitars and, of course, drug euphemistic lyrics make it a shoo-in for the Brown Acid series of erudite rock’n’roll.

Good Humore’s swaggering 1976 rocker “Detroit” is a slick and smooth paen to the Motor City. It most likely doesn’t predate “Detroit Rock City” by Kiss, also released in 1976, and it has more rock’n’roll swing, but it could fit comfortably alongside the era’s arena anthems. Not much else is known about the one-off release on P.V. Records, but songwriter Mike Moats is noted to also have been a recording engineer in later years and this well produced track sounds like a labor of love.

The forthcoming latest edition of the popular compilation series featuring long-lost vintage 60s-70s proto-metal and stoner rock singles, Brown Acid: The Thirteenth Trip will be available on Halloween 2021. Check out the first single "Run Run", released in 1970 by Montreal hard rockers Max is available to hear & share via Metal Injection HERE. (And, direct YouTube and Bandcamp)

The Brown Acid series is curated by L.A. label RidingEasy Records and retailer/label Permanent Records. Read interviews with the series curators via Paste Magazine HERE and LA Weekly HERE.

About The Thirteenth Trip:

Max, from Montreal, QC — originally known as Dawn, before Tony Orlando & Dawn forced a name change — kick things off with “Run Run” from their lone 1970 single. It’s a hard-hitting rocker with scale climbing crunching guitars and powerful Bonham-esque drumming. Sadly, the band didn’t last long due to poor management and various other factors, so this is the only surviving document according to guitarist Gerry Markman. And what a document it is, paired with the A-side “The Flying Dutchman.”

You might remember Ralph Williams and the Wright Brothers from their track “Never Again” on Brown Acid: The Tenth Trip. Here they make their return to the series with the A-side of their 1972 Hour Glass Records 45, which sounds like Blue Cheer mangling Roy Orbison’s “Pretty Woman” (that’s right, several years before Van Halen actually did so.) Alas, Ralph and these Wright Brothers soon disappeared from terrestrial airspace.

“Feelin’ Dead” is extremely heavy blues from this also extremely rare 1974 single by Detroit, MI’s Master Danse, which was only released as a promo 45. Think Led Zeppelin’s “Since I’ve Been Loving You” and you’re on the right track. A little dose of Hendrix acid blues and a heartfelt groove, and you’ll wonder why this single never even made it to official release. The unavoidable tell in the lyric, “help me get this damn thing out of my arm” hints at the post-Vietnam heroin epidemic as a potential clue why we never heard more from Master Danse.

Folks, Gary Del Vecchio is “Buzzin’” hard on this one, and from what sounds like an in-studio party of yelps and chatter at the start of the song, it seems that the whole band was in on the festivities. The funky blues riff, reminiscent of Led Zeppelin’s “Heartbreaker” and rollicking rhythmic changes certainly keep the buzz a rollin’.The recording is technically credited as Gary Del Vecchio with Max, though not the same band as the one that kicks off this Trip.

John Kitko’s 1973 heavy psychedelic rager “Indecision” is the only recording known to exist by the mysterious artist. The Twin Record Productions release features a different artist, Tom Poff on the B-side, which is truly a shame, considering the smoldering ashes Kitko leaves of the turntable by song’s end. It starts out more like a late 60s Acid Rock jam before leaping into a blazing double-time gallop, whipped into a frenzy by wailing, neck-pickup guitar squeals and Kitko’s barely audible howls.

Tampa, FL’s Bacchus made their Brown Acid debut way back on the very first Trip with “Carry My Load.” This 1972 B-side, “Hope” is a huge sounding swinging rocker replete with roadhouse piano bolstering the chunky riffs and confident vocals. After relocating to Southern California a few years later, the band morphed into Fortress, an 80s melodic metal act whose Hands In The Till album of Pomp Rock on Atlantic Records still draws chatter today.

Orchid’s “Go Big Red” is perhaps the most garage-y sounding offering here, with loose rhythms and straightforward stop-and-start riffing. Nonetheless, the stomping energy and fried-amp guitar tone make this one a charming skull thwack. The band’s 1973 single on American records, backed with a cover of Johnny Russell and Voni Morrison’s “Act Naturally” (popularized by Buck Owens and the Buckaroos) is their only release, so the world never did see this Orchid fully blossom.

By the title alone of Dry Ice’s “Don’t Munkey with the Funky Skunky” you know you’re in for a good time. The 1974 barnstormer seems aimed to the novelty tunes crowd, with its kooky lyrics and silly-voiced spoken catchphrase break, “peeyew, you’ll be sorry if you do.” But, the Ohio band’s maniacal drumming, crunching guitars and, of course, drug euphemistic lyrics make it a shoo-in for the Brown Acid series of erudite rock’n’roll.

Good Humore’s swaggering 1976 rocker “Detroit” is a slick and smooth paen to the Motor City. It most likely doesn’t predate “Detroit Rock City” by Kiss, also released in 1976, and it has more rock’n’roll swing, but it could fit comfortably alongside the era’s arena anthems. Not much else is known about the one-off release on P.V. Records, but songwriter Mike Moats is noted to also have been a recording engineer in later years and this well produced track sounds like a labor of love.

On “First Flight REDUX,” Dave Harrington takes a scalpel to the multi-tracks of "First Flight" (LP/DL, Algorithm Free) remixing the raw material into something else entirely.

Originally recorded live at Nublu, September 20, 2019, "First Flight" documents the first and (thus far) only meeting of Chris Forsyth, Dave Harrington, Ryan Jewell, and Spencer Zahn as part of Forsyth's residency at the club that month.

Harrington's dub, created in his Los Angeles studio uses the original tracks improvised live by the group and incorporates loops and samples plus a variety of additional keys and synths, bass guitar, percussion, congas, pedal steel, bamboo flute, the Turkish stringed instrument cümbüş, and the North African double reed instrument ghaita, all played by Harrington himself.

While the light of the original performance recognizably shines through the canopy of new sounds in certain places, “First Flight REDUX” is radically reconstructed into something totally NEW. It’s very much its own album, related to and derived from “First Flight,” yes, but venturing into areas unforeseen in the original document, suggesting some kind of a party with “Live/Evil” blasting on one set of speakers,“Midnite Vultures” on another, and a Turkish psych band jamming in between.

Cardinal Fuzz and Feeding Tube Records are at long last ecstatic to bring to you for your listening pleasure “Nudity - Is God’s Creation” 2xLP . A retrospective release of recordings dating from 2005 to 2010 of orgasmic interstellar mayhem . Reissued and for the first time available domestically in the USA

In 2004, a commune named NUDITY, formed by four travellers from the astral plane, appeared in Olympia, Washington. The founding members were Dave HARVEY (guitar) and Jon Quitty QUITTNER (bass - though Josh Haynes of the mighty guitar fuzz scorchers Feral Ohms plays bass on the majority of the tracks featured here), both of whom were former guitarists of Tight Bros From Way Back When and Eryn ROSS (drums) from Growling, A couple of self-distributed Cdrs and a 12” on Discourage were a visual akin to coloured liquid sloshing around on a transparency machine and were a pure drip feed for psych /kraut and Jap Rock fiends around the world as Julian Cope and Terrascope raved about them. Alas for whatever reason no full length LP arrived from the original line up - something that at last has been rectified as now all these tracks have been brought together (along with some unreleased gems and a couple of live bonus download tracks). The sonic ear candy contained within the 4 sides of vinyl presented here go From Detroit fuzz blazing face melters to acid trippin' head swirling raga’s via The Flower Travelin’ Band and Hawkwind. Nudity were the masters and for those that missed out the first time this double album was released - Don't make the same mistake a second time.

Terrascope gushed about Nudity - "This is seriously fucking good; one of those quite literally extra-ordinary LPs that come along every once in a while which you just know instinctively are going to be dug out and played, sniffed and caressed for years"

Dublin’s Glimmerman impresses with his debut release on First Second Label. 3 subbed-up modern club weapons b/w a remix from the on-form Sputnik One.

Step Mode gets stuck in, pairing twitching junglisms with a feverish techno dancehall pulse. Proper awe-inspired club music for the now. Oxygen Sum is up next, layering submerged sound design with a heaving broken beat-ed thud. A slippery aquatic stepper.

Cutlass is on the flip, an absolute no-nonsense Dubstep wobbler in the finest modern style. Expect rewinds on this one. Our curtain call is with fellow Dubliner Sputnik One, as he remixes Step Mode in his exquisitely supple psychedelic sub-tech style.

Clear Vinyl

Side A begins with Veil of Secrecy, its darkness bubbling up from the depths of a strong bass groove, loaded with rich textures and quirky shifts. Psyk offers his hypnotic trademark on the remix, a stripped down feeling with skillful changes to provoke the mind.

Side B begins with Deep State, its intensity gripping immediately due to its lavish percussion, off-kilter leads and unrelenting rolling bass driving the masterly arrangement. The Fourth Branch marches an eerie minimalism into bass oblivion with an abundance of lush atmosphere and well timed changes.

We recognize that now is a difficult time in society across the globe and especially to our dance music community where the impact is still unknown, however because of this, we believe it is more important than ever to share a common bond and a love for techno.

Hidden proves again its strength in consistency and quality with another hard-hitting four-track EP by label boss, Deepak Sharma.

The release is tough, gritty, dark and reflective of both the times we live and the artist involved: Deepak Sharma's heavy, rolling and sobering originals are paired with a somber, powerful remix with subtle movements by Psyk.

Heavy psych power trio Charles Moothart, Ty Segall and Chad Ubovich hit the stage for the first time together in five years bringing a full set spanning their entire discography, and new album, III! Recorded at Zebulon in Los Angeles, CA. In Oct 2020 the band released their first album in 5 years, III, scorching the earth with pure primitive rock and roll mastery captured by the sonic guru Steve Albini. It’s a record that is meant to be heard and experienced live, and their Levitation Sessions set is the smoldering slab of heavy psych we’ve all been waiting for, recorded at Zebulon in Los Angeles, CA. Director Joshua Erkman alongside sound engineers Matthew Littlejohn and Mike Kriebel, capture FUZZ’s intense energy backdropped by electric artwork from artist Tatiana Kartomten. “We wanted to create something that felt like more than just a replacement for seeing us live. This is the first time we had played songs from III in the context of a set, and we found new footing on some of the old songs. This led us down avenues we hadn’t seen in rehearsal. To find ourselves in the space right in between ‘lost’ and ‘found’ (aka live) was both alarming and electrifying after having been away from it for so long.” -FUZZ

Einen schönen Fang hat das Chicagoer Label Trouble In Mind vor Kurzem mit DUMMY gemacht: Das Quintett aus Los Angeles verblüfft auf seinem Debüt ,Mandatory Enjoyment" mit einem derart ausgereiften Noise-Pop-Entwurf, das man kaum glauben mag, dass es sich hier um ein Erstlingswerk handelt. Nach gerade einmal zwei veröffentlichten EPs aus dem letzten Jahr, haben DUMMY ihren mit einem wundervollen Groove ausgestatteten Sound auf ,Mandatory Enjoyment" sichtlich gefunden und bis zur Perfektion destilliert. Das spielfreudige Debüt kombiniert geschickt Einflüsse aus Krautrock, Dream-Pop, Ambient, Psychedelic und Shoegaze zu einem Soundgebräu, das sowohl avantgardistisch als auch immer noch genug im Pop verwurzelt ist. Songs wie "Daffodils" und "Fissured Ceramics" zeichnen sich durch unerbittlich treibende Energie und reichlich psychedelischen Lärm aus. An anderer Stelle gleicht Dummy die Aggression mit meditativen Synthesizerlandschaften aus, die sich auf Sounddesign und Studioexperimente konzentrieren, wie bei dem motorischen "X-Static Blanket". Das Herzstück "H.V.A.C." und der letzte Track des Albums, "Atonal Poem", versuchen schließlich, diese beiden Pole miteinander zu verbinden und bieten mehrteilige Reisen durch unbekanntes Klangterritorium. Im Gegensatz zu der glückseligen Instrumentierung untersuchen Dummys sardonische Texte die Last des modernen Lebens, den Konsumismus, den Zusammenbruch der Umwelt, die Entfremdung und andere Ängste, die aus dem Leben in diesem absurden Moment der Geschichte entstehen. Innenarchitektur, Meeresverschmutzung, die Psychologie kommerzieller Architektur und Atomtests sind Themen, die aufgegriffen werden. Die rastlose Kreativität von Dummy treibt die Band immer weiter voran, sie fordern sich selbst ständig heraus und treiben ihren Sound in aufregende und erheiternde Bereiche. Dies ist - wie der Albumtitel schon sagt - "Mandatory Enjoyment". ENG Los Angeles band Dummy refuses to slow down. After releasing two cassette EP's in 2020 (on Popwig and Born Yesterday respectively), Dummy's debut full-length album arrives via Chicago's Trouble in Mind Records. Employing pummeling guitars and celestial ambience within the same breath, the band folds a myriad of reference points into their drone-pop style. Influence from '60s melodicism and '90s UK noise pop can be found woven in with inspiration from spiritual jazz, Japanese new age, and Italian minimalism. Dummy dodges the brooding, dark, dramatic tropes of contemporary "artistic" music often found in punk, experimental, and electronic, instead insisting on joyous and euphoric sonic palettes. They refuse to be artistically stagnant, continuously shifting their approach to writing across 12 tracks. Shaped by performances around Los Angeles in 2019, songs like "Daffodils" and "Fissured Ceramics" feature relentless driving energy and ample psychedelic noise. Elsewhere, Dummy counterbalances the aggression with meditative synthscapes focused on sound design and studio experimentation, like on the motorik "X-Static Blanket". Finally, centerpiece "H.V.A.C." and the album's final track, "Atonal Poem", seek to synthesize these two poles, offering multi-part journeys through uncharted sonic territory. In contrast to blissed-out instrumentation, Dummy's sardonic lyricism examines "the burden of modern life, consumerism, environmental collapse, alienation, and other anxieties born out of living in this absurd moment in history". Interior design, marine pollution, the psychology of commercial architecture, and nuclear testing are all featured subjects. Dummy's restless creativity keeps them moving ever-forward, continuously challenging themselves and pushing their sound into exciting and exhilarating places. This is - as the album title suggests - "Mandatory Enjoyment".

Einen schönen Fang hat das Chicagoer Label Trouble In Mind vor Kurzem mit DUMMY gemacht: Das Quintett aus Los Angeles verblüfft auf seinem Debüt ,Mandatory Enjoyment" mit einem derart ausgereiften Noise-Pop-Entwurf, das man kaum glauben mag, dass es sich hier um ein Erstlingswerk handelt. Nach gerade einmal zwei veröffentlichten EPs aus dem letzten Jahr, haben DUMMY ihren mit einem wundervollen Groove ausgestatteten Sound auf ,Mandatory Enjoyment" sichtlich gefunden und bis zur Perfektion destilliert. Das spielfreudige Debüt kombiniert geschickt Einflüsse aus Krautrock, Dream-Pop, Ambient, Psychedelic und Shoegaze zu einem Soundgebräu, das sowohl avantgardistisch als auch immer noch genug im Pop verwurzelt ist. Songs wie "Daffodils" und "Fissured Ceramics" zeichnen sich durch unerbittlich treibende Energie und reichlich psychedelischen Lärm aus. An anderer Stelle gleicht Dummy die Aggression mit meditativen Synthesizerlandschaften aus, die sich auf Sounddesign und Studioexperimente konzentrieren, wie bei dem motorischen "X-Static Blanket". Das Herzstück "H.V.A.C." und der letzte Track des Albums, "Atonal Poem", versuchen schließlich, diese beiden Pole miteinander zu verbinden und bieten mehrteilige Reisen durch unbekanntes Klangterritorium. Im Gegensatz zu der glückseligen Instrumentierung untersuchen Dummys sardonische Texte die Last des modernen Lebens, den Konsumismus, den Zusammenbruch der Umwelt, die Entfremdung und andere Ängste, die aus dem Leben in diesem absurden Moment der Geschichte entstehen. Innenarchitektur, Meeresverschmutzung, die Psychologie kommerzieller Architektur und Atomtests sind Themen, die aufgegriffen werden. Die rastlose Kreativität von Dummy treibt die Band immer weiter voran, sie fordern sich selbst ständig heraus und treiben ihren Sound in aufregende und erheiternde Bereiche. Dies ist - wie der Albumtitel schon sagt - "Mandatory Enjoyment". ENG Los Angeles band Dummy refuses to slow down. After releasing two cassette EP's in 2020 (on Popwig and Born Yesterday respectively), Dummy's debut full-length album arrives via Chicago's Trouble in Mind Records. Employing pummeling guitars and celestial ambience within the same breath, the band folds a myriad of reference points into their drone-pop style. Influence from '60s melodicism and '90s UK noise pop can be found woven in with inspiration from spiritual jazz, Japanese new age, and Italian minimalism. Dummy dodges the brooding, dark, dramatic tropes of contemporary "artistic" music often found in punk, experimental, and electronic, instead insisting on joyous and euphoric sonic palettes. They refuse to be artistically stagnant, continuously shifting their approach to writing across 12 tracks. Shaped by performances around Los Angeles in 2019, songs like "Daffodils" and "Fissured Ceramics" feature relentless driving energy and ample psychedelic noise. Elsewhere, Dummy counterbalances the aggression with meditative synthscapes focused on sound design and studio experimentation, like on the motorik "X-Static Blanket". Finally, centerpiece "H.V.A.C." and the album's final track, "Atonal Poem", seek to synthesize these two poles, offering multi-part journeys through uncharted sonic territory. In contrast to blissed-out instrumentation, Dummy's sardonic lyricism examines "the burden of modern life, consumerism, environmental collapse, alienation, and other anxieties born out of living in this absurd moment in history". Interior design, marine pollution, the psychology of commercial architecture, and nuclear testing are all featured subjects. Dummy's restless creativity keeps them moving ever-forward, continuously challenging themselves and pushing their sound into exciting and exhilarating places. This is - as the album title suggests - "Mandatory Enjoyment".

Written, programmed, recorded and produced throughout 2019/20 by Ed Wynne in ‘Blue Bubble Studios’ by the sea, this exploratory and diverse musical adventure comprises seven new tracks spanning 45 minutes.

Inspired by the Scottish hills, valleys and beaches surrounding his studio, Wynne feels that lockdown in a strange kind of way has provided ‘Space For The Earth’ to breathe for a while and for people to rediscover its resonant healing frequency. ‘This is space music for people from the Earth to enjoy’.

Ozrics’ synth player Silas Neptune and drummer Bal zs Szende join forces again with Wynne on the album which also features special guest appearances from former members synth player Joie Hinton, drummer Nick Van Gelder, flautist Champignon and percussionist Paul Hankin. Psychedelic voyager Gracerooms also contributes additional synth layers.

The album ebbs and flows through blissed-out soundscapes featuring incendiary guitar solos, space grooves and ambient atmospheres. Wynne plays his recently revived Ibanez Jem, a new 8-string guitar, all kinds of synths and bass. Van Gelder uses the original snare he played on the first six cassette albums and early live Ozric performances. One tune features Champignon playing kaval, a traditional wooden Balkan flute.

The album artwork was inspired directly by these seven tracks and realised by arboreal artist Kitty (Twisty-Trees) with help from Ed and cosmic artist Ivy.

One of the most influential bands to emerge from the UK’s festival scene, Ozric Tentacles formed during the solstice at Stonehenge Free Festival 1983 going on to become psychedelic staples at Glastonbury and other festivals. The creative vision of multi-instrumentalist Ed Wynne, the Ozrics’ uniquely trippy soundscapes connect fans of progressive rock, psychedelia and dance music culture.
‘Space For The Earth’ represents the next harmonic step in the unfolding Ozric
journey.

Limited edition of 500. Vinyl edition includes tracks not available on digital and streaming formats

Grup Ses, Istanbul based veteran beatmaker returns to Souk after 2 years with first fully instrumental album since 2011's sought after 'Beats and Pieces from Turkish Psychedelia'.

Grup Ses project dates back to 2007 which at the time focused on v/vm style edits and breakcore infused mash ups. Starting from 2008 Grup Ses started to build a version of Stones Throw & Brainfeeder influenced beatmaking mixed with a touch of humour. A blend including all kinds of local recorded material like records, tapes, radio broadcasts etc., which became the building blocks of signature Grup Ses sound.

'Beats from the vaults' is a showcase of beatmaking aesthetics Grup Ses visited between 2008 and 2021. Including various cuts available only on soundcloud plus unheard material compiled just for this album.

The Wicker Man soundtrack has achieved huge cult status over the years, it has certainly proved to be a major influence on neofolk and psychedelic folk artists ever since the film first appeared in cinemas in 1973.

The soundtrack’s songs were performed by the band Magnet. The band was assembled by musician Gary Carpenter (the film's associate musical director) to perform songs composed by

New York songwriter Paul Giovanni. Giovanni had always planned to release the songs recorded for his soundtrack, firmly believing them to be worthy of existing as an album in their own right.

Of course, this never happened, mostly due to the film’s troubled past, and consequently all of the existing soundtrack albums that have been previously released have included extra incidental music from the film.

So, this edition is the final word in the long history of this influential soundtrack, the songs recorded with Paul Giovanni by Magnet are presented here as an album,

just as Giovanni himself intended. This definitive version of The Wicker Man has only previously been available as a special edition released in 2013 to celebrate the

40th Anniversary of the release of the film. For that release Silva Screen commissioned artist Richey Beckett to create a brand new image for the cover of a one-off pressing on vinyl,

and that edition is long sold out and has become sought after.

This newly put together Silva Screen release features new artwork, extended notes, a gatefold sleeve and is pressed on yellow vinyl.

A little more than 2 years ago, labelhead honchos Paul & Dave released their "Nobody is Anywhere EP" on their own imprint Dynamic Reflection. It was a statement about the status quo in the techno scene back then, where many artists didn't know which way to go. Ironically enough, the contrary is very true as we speak.

The "Anybody is Nowhere EP" responds to their previous work and reflects the uncomfortable time we are currently living in, driven by uncertainty. Even though these are not the happiest thoughts, the track titles show that there is hope left. "Emergence" is a very seductive but psychedelic trip towards "Discharge", which feels like Abstract Division discharges themselves completely. The last track, "Polarise" points out the current divided society, which sets some doubtful thoughts about the future.

Scandinavian rebel and Northern Electronics patron Anthony Linell provides his interpretation of the track "Emergence" and delivers a distinctive remix as only he can.

Close your eyes and dive deep into the rabbit hole with us.

Parquet Courts’ thought-provoking rock is dancing
to a new tune. ‘Sympathy For Life’ finds the
Brooklyn band at both their most instinctive and
electronic, spinning their bewitching, psychedelic
storytelling into fresh territory, yet maintaining their
unique identity.
Built largely from improvised jams, inspired by
New York clubs, Primal Scream and Pink Floyd
and produced in league with Rodaidh McDonald
(The xx, Hot Chip, David Byrne), ‘Sympathy For
Life’ was always destined to be dancey. Unlike its
globally adored predecessor, 2018’s ‘Wide
Awake!’, the focus fell on grooves rather than
rhythm.
“‘Wide Awake!’ was a record you could put on at a
party,” says co-frontman Austin Brown. “‘Sympathy
For Life’ is influenced by the party itself.
Historically, some amazing rock records been
made from mingling in dance music culture - from
‘Talking Heads’ to ‘Screamadelica’. Our goal was
to bring that into our own music.”
Deluxe LP features tipped on gatefold sleeve with
a glued-in six page booklet.

Parquet Courts’ thought-provoking rock is dancing
to a new tune. ‘Sympathy For Life’ finds the
Brooklyn band at both their most instinctive and
electronic, spinning their bewitching, psychedelic
storytelling into fresh territory, yet maintaining their
unique identity.
Built largely from improvised jams, inspired by
New York clubs, Primal Scream and Pink Floyd
and produced in league with Rodaidh McDonald
(The xx, Hot Chip, David Byrne), ‘Sympathy For
Life’ was always destined to be dancey. Unlike its
globally adored predecessor, 2018’s ‘Wide
Awake!’, the focus fell on grooves rather than
rhythm.
“‘Wide Awake!’ was a record you could put on at a
party,” says co-frontman Austin Brown. “‘Sympathy
For Life’ is influenced by the party itself.
Historically, some amazing rock records been
made from mingling in dance music culture - from
‘Talking Heads’ to ‘Screamadelica’. Our goal was
to bring that into our own music.”
Deluxe LP features tipped on gatefold sleeve with
a glued-in six page booklet.

Grey Marbled Vinyl

VARIÁT is the new experimental metal one-man band of Ukrainian artist Dmytro Fedorenko. Through dissonant noise poetry, corrosive synthesis, and subtle seeds of interiority and folk song, VARIÁT creates a sound world of austere urban psychedelia, invoking themes of primitivism and mysticism within the volatile currents of a contemporary digital era.

Conceived in 2020 as a provocative creative outlet, VARIÁT is founded on ideas of transgression, reinvention, and liberation, the consequence of observing prescribed artistic boundaries and pursuing new depths of aesthetic freedom. The project began as an exploration of new recording techniques: metallic materials used as percussion and channelled through blown amps, toms played with a hammer, drilled cymbals, raw, dimensional textures produced from found objects.

For the project’s debut album ‘I Can See Everything From Here’ a library of recordings rooted in musique concrète initiated countless sessions of seismic, discordant guitar noise and overloaded detonations of low end. Synthesizers calibrated and treated to sound like traditional instrumentation, rhythms of deluge and disarray. Compositions constructed with an intent to preserve their original modality; the chaotic spark of their inception.

The artwork created for ‘I Can See Everything From Here’ is an aquarelle (watercolour) painting, an ink-based projection which mirrors the sound of the album with dense, fragmentary shades of black and extensive tendrils of detail. A microcosmic depiction of the graphic power that defines ‘I Can See Everything From Here’.

Die Erstauflage der LP erscheint auf umweltfreundlichen recyceltem Vinyl in "Mystery Colour"! Mehr als drei Jahre nach dem Release ihres gefeierten letzten Albums "Floating Features" und einer wunderbaren Soloplatte von Sängerin Shana Cleveland meldet sich die US-amerikanische Indie-Rockband LA LUZ zurück. Auf dem selbstbetitelten vierten Longplayer des Trios aus Los Angeles tauschen Shana Cleveland (Gitarre + Songwriting), Lena Simon (Bass) und Alice Sandahl (Tasten) ihren ausgelassen Surf-Noir-Sound gegen ein erdverbundeneres Songwriting mit psychedelischem Einschlag aus. Inspiriert von Clevelands Umzug ins ländliche Nordkalifornien spiegeln Tracks wie die bereits veröffentlichten Vorab-Single "In The Country" oder "Here On Earth" die neu entfachte Landlust der Bandmitglieder wieder. Das Album wurde im Linear Labs Studio in Los Angeles aufgenommen und von Adrian Younge (Kendrick Lamar, Talib Kweli, Jay-Z) produziert, der den Songs ein wunderbares warmes wie psychedelisches Soundbild verpasst hat.

Over nearly 20 years, Howlin Rain may have become the quintessential independent American rock ’n roll band: a steam-spitting Hydra of cranked guitars, kicking asphalt dust through a kaleidoscoping travelogue of desert motels and dives, volleying forth transmissions of sci-fi poetry from the blacktop veins of this cracked and aching country.

Now, in America 2021, capping these strangest and sorest of times, the band returns with The Dharma Wheel, a six-track, 52-minute dive into a joyous fantasy realm of exaggerated present.

“I wanted The Dharma Wheel to be a portal from our everyday world, the one from which you stand on hard ground and hold the album in your hands and peer into the artwork, and into another universe,” says songwriter, guitarist and vocalist, Ethan Miller. “You enter into that universe with your eyes and ears and mind and take a ride through free-form meditation on these ideas — from big, fundamental concepts about our existence right down to the grease that rolls down the arm of a pulp novel killer as he eats a gas station hot dog in an old Dodge in an alleyway.”

Lyrically, Miller has completed his evolution into a mushroom-plucking Whitman of the West, singing outlandish tales in a topographic blend of Humbead’s Revised Map of the World and an inverted U.S. where downtrodden bodhisattvas roam the back streets and moonless country roads.

“Down in Florida swamps, run by nature’s law, standing in the water, Eden gone. Two men loading rifles, beasts making time, they shot a boy from an orange tree and watched the colored birds take flight, watch the colors as they soar and dive.” — ‘Under the Wheels.’

The band, Jeff McElroy (bass, backing vocals), Justin Smith (drums/percussion, backing vocals) and Dan Cervantes (guitar, backing vocals), again sounds hardwired into Miller’s vision, building tracks that swagger and sway in response to his verse. Lending a hand this time around is the legendary Scarlet Rivera (Bob Dylan’s Rolling Thunder Revue) on violin, and the endlessly inventive Adam MacDougall (Chris Robinson Brotherhood, Circles Around the Sun) on keys.

Songs were shaped via the blast furnace of endless gigs, then recorded often mere hours after the band slipped the stage.

“The captured sonic fact about this record is that it’s the sound of a band that rehearsed this material a lot and put a ton of work into its construction and was on the road a lot and recorded on days off in the tour schedule,” Miller says. “In some cases we were on stage on Saturday night playing these songs at quarter-to-2 in the morning and by Noon the next day we were sipping coffee in the studio playing them for the machine.”

Rivera’s violin is the first sound heard as the album dawns on the instrumental “Prelude.” Soon, the band joins, twirling the theme into a psychedelicized awakening. “Don’t Let the Tears” brings the boogie, with MacDougall’s madcap synth work and wah-wah guitars showering 70’s glitter upon a parquet dance floor of the mind. “Under the Wheels” and “Rotoscope” center the album with taut, compositional epics populated by murdering drifters and fuzz pedal explosions. The blue hour comedown of “Annabelle” meditates upon the weariness of lost love, with Rivera again amping the heartache via her violin strings.

“In the evening the trains go by, and shake the dust from dirty walls, sometimes I feel like a spider in an old mason jar, who threatens only convex light from down the hall. I’ve been lost to the world since the photos of the black hole, landed on my desktop screaming, perhaps the all and nothing all-in-one is just too much to take, for particles and matter that never found their way.” — ‘Annabelle’

The record closes with the 16-minute title track, a multi-movement suite which cycles from Crazy Horse-meets-Traffic jams through colossal, mass-moving funk stomp, eventually cresting and washing into a sing-along gospel lament.

The Dharma Wheel is an album of great depth, and one steeped in good vibes: a rich, glistening world of the ultra-vivid. As illustrated in Arik Roper’s cover art, the grand dharmachakra has been set in motion, churning off the California coast.

“We were trying to build a world big enough that the imagination won’t go soft on you after just a few listens and where our love for this music, and music in general — along with a good dose of audacity — create a magic carpet ride through the world of The Dharma Wheel,” Miller continues. “In pursuing that I think we also managed to make a record that has a lot of joy in it: the joy of playing music, the joy of experiencing music, the joy of storytelling and poetry, the kind of singular joy and extended ecstatic moment that only a real ‘band’ can express in just that way.”

And it’s this joy, this exuberance and dedication to the lines of cosmic expression — all centered in the exalted art of the everyday — that constructs the heart of the record. At its core, The Dharma Wheel is the triumph of a working band, a transmission from a never-paused before arriving for our strange, bruised, spectacular now.”

Over nearly 20 years, Howlin Rain may have become the quintessential independent American rock ’n roll band: a steam-spitting Hydra of cranked guitars, kicking asphalt dust through a kaleidoscoping travelogue of desert motels and dives, volleying forth transmissions of sci-fi poetry from the blacktop veins of this cracked and aching country.

Now, in America 2021, capping these strangest and sorest of times, the band returns with The Dharma Wheel, a six-track, 52-minute dive into a joyous fantasy realm of exaggerated present.

“I wanted The Dharma Wheel to be a portal from our everyday world, the one from which you stand on hard ground and hold the album in your hands and peer into the artwork, and into another universe,” says songwriter, guitarist and vocalist, Ethan Miller. “You enter into that universe with your eyes and ears and mind and take a ride through free-form meditation on these ideas — from big, fundamental concepts about our existence right down to the grease that rolls down the arm of a pulp novel killer as he eats a gas station hot dog in an old Dodge in an alleyway.”

Lyrically, Miller has completed his evolution into a mushroom-plucking Whitman of the West, singing outlandish tales in a topographic blend of Humbead’s Revised Map of the World and an inverted U.S. where downtrodden bodhisattvas roam the back streets and moonless country roads.

“Down in Florida swamps, run by nature’s law, standing in the water, Eden gone. Two men loading rifles, beasts making time, they shot a boy from an orange tree and watched the colored birds take flight, watch the colors as they soar and dive.” — ‘Under the Wheels.’

The band, Jeff McElroy (bass, backing vocals), Justin Smith (drums/percussion, backing vocals) and Dan Cervantes (guitar, backing vocals), again sounds hardwired into Miller’s vision, building tracks that swagger and sway in response to his verse. Lending a hand this time around is the legendary Scarlet Rivera (Bob Dylan’s Rolling Thunder Revue) on violin, and the endlessly inventive Adam MacDougall (Chris Robinson Brotherhood, Circles Around the Sun) on keys.

Songs were shaped via the blast furnace of endless gigs, then recorded often mere hours after the band slipped the stage.

“The captured sonic fact about this record is that it’s the sound of a band that rehearsed this material a lot and put a ton of work into its construction and was on the road a lot and recorded on days off in the tour schedule,” Miller says. “In some cases we were on stage on Saturday night playing these songs at quarter-to-2 in the morning and by Noon the next day we were sipping coffee in the studio playing them for the machine.”

Rivera’s violin is the first sound heard as the album dawns on the instrumental “Prelude.” Soon, the band joins, twirling the theme into a psychedelicized awakening. “Don’t Let the Tears” brings the boogie, with MacDougall’s madcap synth work and wah-wah guitars showering 70’s glitter upon a parquet dance floor of the mind. “Under the Wheels” and “Rotoscope” center the album with taut, compositional epics populated by murdering drifters and fuzz pedal explosions. The blue hour comedown of “Annabelle” meditates upon the weariness of lost love, with Rivera again amping the heartache via her violin strings.

“In the evening the trains go by, and shake the dust from dirty walls, sometimes I feel like a spider in an old mason jar, who threatens only convex light from down the hall. I’ve been lost to the world since the photos of the black hole, landed on my desktop screaming, perhaps the all and nothing all-in-one is just too much to take, for particles and matter that never found their way.” — ‘Annabelle’

The record closes with the 16-minute title track, a multi-movement suite which cycles from Crazy Horse-meets-Traffic jams through colossal, mass-moving funk stomp, eventually cresting and washing into a sing-along gospel lament.

The Dharma Wheel is an album of great depth, and one steeped in good vibes: a rich, glistening world of the ultra-vivid. As illustrated in Arik Roper’s cover art, the grand dharmachakra has been set in motion, churning off the California coast.

“We were trying to build a world big enough that the imagination won’t go soft on you after just a few listens and where our love for this music, and music in general — along with a good dose of audacity — create a magic carpet ride through the world of The Dharma Wheel,” Miller continues. “In pursuing that I think we also managed to make a record that has a lot of joy in it: the joy of playing music, the joy of experiencing music, the joy of storytelling and poetry, the kind of singular joy and extended ecstatic moment that only a real ‘band’ can express in just that way.”

And it’s this joy, this exuberance and dedication to the lines of cosmic expression — all centered in the exalted art of the everyday — that constructs the heart of the record. At its core, The Dharma Wheel is the triumph of a working band, a transmission from a never-paused before arriving for our strange, bruised, spectacular now.”

On Now Where Were We, The Exbats hit the ground running like
a dystopian garage rock version of the Shangri-Las, or like
a message to the future from the pre-Velvet Underground doowop
wannabe Lou Reed. The album rings bright, like a beacon
in the wilderness: eminently, effortlessly catchy, and loaded
with buoyant choruses that rank alongside the best chart-toppers
launched by the Brill Building or Phil Spector’s Wall of Sound.
Kenny McClain and his daughter, vocalist and drummer
Inez McClain, formed the nucleus of the Exbats over a decade
ago, when Inez was just 10 years old; today, Bobby Carlson
rounds out the group on bass. Despite their remote location in
Bisbee, Arizona, just eleven miles north of the U.S.-Mexican
border, the group quickly racked up accolades citing a wealth of
influences that run from cartoon quintet the Archies to punk rock
originators the Avengers, and from the so-sweet-it-hurts 1910
Fruitgum Company to Los Angeles antiheroes the Weirdos.
Truthfully, The Exbats embrace a wider swath of musical styles,
incorporating blue-eyed soul, tongue-in-cheek country, Brit
pop, psych, and R&B into their sound.
The McClains describe this album as “more ambitious” than
its predecessors. They tooled ninety minutes northeast to Tucson
to record, per usual, with Matt Rendon at Midtown Island Studios.
Months later, the Exbats emerged with an album imbued
with harmoniously cautious optimism—the musical equivalent
but psychological antithesis to the Brian Wilson-Tony Asher
masterpiece “I Just Wasn’t Made For These Times.” While Wilson
was looking for “a place to fit in,” The Exbats have found
sanctuary via the brilliant “Ghost In The Record Store,” which
is “for all of us who need the joy of a little bit of plastic making
lots of noise.” Like the best records to croon along with, Now
Where Were We is captivatingly simple, yet hardly simplistic.
The Exbats are singing from their hearts—and they aren’t afraid
to bare their souls.

Tape

OPERANT – TRAUMKöRPER LP IOD050 500 vinyl on Purple crystal transparent w/ insert, 100 CS and CD.As an outfit that has existed on the fringes of the club scene, Operant continues their willingness to break genre taboos and expectations with their debut LP, Traumkörper, exhibiting a hybrid vision of electronic and organic elements that gives rise to a sound self-described as somewhere between extra-terrestrial black-metal, singularity-sludge, proto-psy-trance, anime noise-core techno and auto-tuned trap-folk. These disparate methodologies are bound together by the conceptual elements that operate at the core of Operant’s thematic universe: the transcendence and destruction of the body, consciousness melding with machines and the manufacturing of new realities. As a blueprint to new forms, Traumkörper sets a path both disorienting and euphoric. Over the course of 11 tracks the Berlin based duo and operators of record label, Instruments Of Discipline, Luna Vassarotti (IT) and August Skipper (AUS) birth their dream-body, an unsettling soundtrack for the strangeness of our times. credits All songs written and mixed by OPERANT All songs mastered by Alain Paul Artwork Photography by Michael Italia Artwork by OPERANT

This is the follow up to Kero Hero Bonito’s 7” ‘Flamingo’ release from November last year.


Kero Kero Bonito are a London-based experimental pop trio, comprised of bilingual Anglo-Japanese singer Sarah and producers Gus and Jamie. Having previously made college radio indie (Time 'n' Place, #1 NACC 2018) and viral Casio megahits ("Flamingo", "I'd Rather Sleep"), the six track Civilisation mini-album compiles the "lost world junk pop" of the band's Civilisation I and Civilisation II EPs.

Civilisation was inspired by the art pop lineage of artists like Kate Bush, David Sylvian and Peter Gabriel, with a sonic palette informed by Warp's Artificial Intelligence series, homemade New Age music and early digital synth experiments. It was created entirely with dusty old musical hardware and uses both ancient musical tropes (pentatonic scales, minimalist repetition) and contemporary songwriting techniques to summon an out-of-time atmosphere that spans the past, present and future simultaneously. The songs tackle widescreen themes like psychological warfare (on the mystical polyrhythmic funk of "Battle Lines"), ancient mythology (on the energetic, melancholy synth-pop of "The Princess and the Clock") and the resurrection of the dead (on "Well Rested", the record's 7-minute psychedelic house closer).

Looks like we are hittin’ a milestone here. A little background has to be provided though, in order everyone to fully understand why it took us that long to put out this Album, which was already
announced at the dawn of 2020. The ELECTRIFIED project started almost 2 (TWO) years ago, with the first vocal takes recorded a few days ahead of Cannonball Weekender in November 2019. Everything seemed fine and in good working order so the release date was
planned and announced for june 2020. All self financed, self conceived and self realised in that style that’s a point of distinction of our small group of labels. Then the CVD damn thing kicked in. “So What?” some of you would be very entitled to ask. And,
believe me, I’d be on the very same
#sowhat lines as you, only that each member of our team reacted to the shitstorm in his very different and individual way. While folks all over the world were confined home
setting up new ventures, creating new labels and dedicating themselves to something productive not to get psychologically annihilated by the media induced fear, our project was totally disrupted instead. It took the first wave to fade away to gather our stuff
together and movin’ the production forward. Anyway, whatever the reasons, the album came ready and mixed by march 2021. So here we are. Further than the two acclaimed singles
“Break Free” and “Sitting On Top Of The World”, the tracklist includes 6 completely new songs, a smashing cover of
Massive Attack’s “Unfinished Sympathy” and the rearrangement of the two classics
“There Are No Winners” and “Mother Got A Way”. The style goes from modern funk experimentation to a more classic soul and a groovy electronic ender foreseeing the future of this beautiful music.

Nanocluster Vol 1. is an album with some serious pedigree. It sees Immersion (aka Malka Spigel and Colin Newman of influential groups Minimal Compact and Wire respectively) collaborating with some of the finest left field artists of our era: Tarwater, Laetitia Sadier, Ulrich Schnauss and Scanner. The project was born out of a Brighton based club night, also called Nanocluster, run by Spigel and Newman alongside writer, broadcaster and DJ Graham Duff, and promoter Andy Rossiter. The club features a range of influential and cutting edge music acts. But the unique aspect of the evenings is that each show climaxes with a one off collaboration between Immersion and the headliners. The songs having been written and recorded in the studio in just three days prior to the performance - or one day in the case of Schnauss. "It could have just been a series of performances." Says Newman.? "But the fact that we had built the tracks in the studio for the performances means we had these recordings." Says Spigel. The recordings have since been developed with Immersion heading up pro- duction duties. The result is a beautiful and unique album.? "I think the really interesting thing is how different everybody is," says Spigel. "Both as people and creatively." - Immersion and Tarwater: The German duo of Ronald Lippok and Bernd Jestram have created an impressive body of work. Yet their involvement with Immersion has opened out their sound, creating a more panoramic soundscape. The opening instrumental 'Ripples' is a gentle breathe of optimism, all purring tones and sun dazzled synths. Meanwhile, 'Mrs. Wood' is a dubby psychedelic shuffle, Lippok's vocal cool and assured over a fat bass line and skybound eastern melodics. It feels like a more spacious take on the Tarwater of albums such as 'Suns, Animals and Atoms'. The four musicians' 3rd collaboration is Nanocluster's most pop moment: with a heartfelt yet unsentimental lyric unfurling over feline rhythms, 'All You Cat Lovers' is a feel-good anthem for cat lovers everywhere. - Immersion and Laetitia Sadier: An original and distinctive presence in contemporary music, Sadier made her name with the inimitable Stereolab, but she's also created several impressive solo works. The instrumental 'Unclustered' sees Sadier's spidery guitar weaving through Immersion's lush web of synths drones. The following 'Uncensored' has a subtle melodic tug with a classic Spigel guitar line underpinning Sadier's sweet yet worldly wise vocal. 'Riding the Wave' is another feel good song, swapping between Newman's plaintive vocal, and Spigel's vocal and Sadier's backing vocals. With its uplifting chorus: 'Things have a way of working out' 'Riding The Wave' feels like it might be the sound of the summer we've all been waiting for. - Immersion & Ulrich Schnauss: A highly respected solo artist, as well as being a member of Tangerine Dream, Schnauss' skill with electronics is legendary. The opening 'Remember Those Days On The Road' skips along on a rimshot rhythm with Spigel's honeyed vocal telling a tale of life on tour. Yet it is far removed from such usual fare. This feels vulnerable and flecked with melancholy. 'Skylarks' opens with a lattice of arpeggios before a gently nag- ging guitar enters and everything takes a turn for the sublime. 'So Much Green' is everything you'd hope a collaboration between Newman, Spigel and Schnauss could be. A constantly spiralling urban-kosmisch, with Spigel's plangent bass anchoring the celestial sounds. The addition of her wordless backing vocals and recordings of real birdsong only serve to elevate the mood further. - Immersion & Scanner: Scanner - aka Robin Rimbaud - is one of the most prolific and diverse artists currently working in contemporary music. Spigel and Newman have of course collaborated extensively with Rimbaud before: alongside Max Franken in the art-pop group Githead. But this is something very different. Their opening piece together: 'Cataliz' is the album's moodiest moment. With its serpentine synth drones it sounds like the soundtrack to a mysterious thriller. The rich pulsing 'Metrosphere' recalls Immersion's early work whilst adding another layer of grainy uncertainty. The closing 'The Mundane and the Profound' opens with a "Rimbaud scanned" recording of an irritated flight attendant but this is eventually subsumed by a simple yet emotive piano figure: a gentle and touching end to a unique collection of songs. Nanocluster Vol.1 is a testament to a remarkable synergy between a diverse assembly of strongly individual talents. The fact that it not only succeeds, but excels should be cause for celebration.

Bosconi welcomes Cosimo D'Amicis aka Cixxx J with his first EP on the tuscany's finest imprint.
The artist explains here the essential meaning of the release with his own words:
"Music gives people the gift of connection by making people mirror into each other. Here the recipe is simple: feed your sequencers all the feelings, and let them become grooves you can dance to. These four psycho-synthetic streams are deeply rooted in italo disco classics, and filtered through that whole culture that originated in Chicago and Detroit and that keeps un-becoming. All the ingredients are carefully selected to bring you to another dimension, because there is no such thing as glorious as love at first BITE"

Ever since the release of their acclaimed debut EP P'eau (2018) these Mechelen-based musicians have been honing their craft in songwriting and production, building a new home studio to record future material while also expanding from a three-piece to a five-piece ensemble. By adding singer/percussionist Stefan De Graef (Psychonaut) and guitarist/singer Sander Rom (L'Itch) to their ranks, HIPPOTRAKTOR have become a more versatile outfit able to employ a broader palette of sounds, taking the band's earlier instrumental prog metal sound to new heights. Taking notes from the best moments in contemporary progressive and post metal, HIPPOTRAKTOR capture the awe-inspiring power of nature_from the delicacy of the first falling leaf to the massive cosmic energy of the sun. By combining the big, catchy riffs and the rhythmical prowess of Gojira with the relentless but equally groove-loaded complexity of Meshuggah, Meridian delivers an overwhelming experience of sound, presenting the listener with sentiments that are recognisable, but with an intensity that seems larger-than-life. "Meridian finds its origin in everyday moods, taken out of context and morphed into a stylised version that re- flects the dreamer in me," explains main songwriter and guitarist Chiaran Verheyden. "It tells the story of someone who's lost in a world too massive to comprehend, and seeks answers in places where none can be found. Meridian was written as an attempt to distillate what I felt but couldn't put into words." As the main vocalist in the group, finding these words was the job of Stefan De Graef, who carried over his fascination for philosophy and religion from his other band Psychonaut. "Meridian tells the story of a solitary wanderer on the Earth in the absence of other beings," explains Stefan. "Without anyone to share knowledge and history with, the protagonist is forced to create his own truths and stories about the nature of life, consciousness and the universe. The protagonist begins to personify and deify his surroundings, assigning sentience to the trees, the mountains, the wind, the waters etc. for they are his only companions in this desolate world." Essentially, Meridian is an exploration of the evolutionary theory of naturism, which was put forth by German scholar Max Mu"ller in the 19th century, and which argues that religion finds its origin in the deification of the forces of nature by early human beings. By juxtaposing this sociological theory with seven tracks that unfailingly conjure images of the earth, sea and sky, HIPPOTRAKTOR have created an analogy that enlarges the imaginative quality of their music to (literally) epic proportions. Combining the best of prog, groove and post-metal, Meridian comprises an incredible ride for fans of soaring hooks, technical riffing and earth-shattering breakdowns. Limited bluegreen-grey single colour vinyl edition, gatefold! FOR FANS OF Meshuggah, Periphery, Cloudkicker, Intronaut, Animals As Leaders, Gojira, Skyharbor, Psychonaut

After a first volume released in September 2020 on Hard Fist, Argentinian Balam comes with “Chants of Pachamama (Part. 2)”, including a remix by Matias Aguayo.

This time Balam focuses on the experience around the ritual of magic plants that is practiced in the deep South-American rainforest. By mixing modular synth, stromping basslines, haunting vocals and real played percussions produced in his studio “Submarea” in Buenos AIres, he recreates a psychedelic trip from beginning to end.

The opening track “Yagé” is the name for a magic plant that can be found in many places in South America. With a tight djembe, the magician comes with his chants for starting the ceremony just before the bass bursts for a pagan dance. An irresistible lead synth takes the climax higher until the break where the magician enters the void and the psychedelic trip begins.

“El Curandero” – the chaman who leads the ritual – is the second tune of a frenetic organic and modular percussion bass driven dance stomper. Blazing synthesizers create a state of confusion and hallucinations when “el curandero” chants his icaros. The djembes and shakers move behind the heavy bassline while analog ding and dongs go crazy all over.

The second last track “Golfo”, just before the remix, is an instrumental tune, the end of the experience: heavy synthetic percussion, modular ambient sounds, a modal marimba and a very present djembe jamming until it fades in the analog night.

The closing track is a great reinterpretation of “Wakax” from “Chants of Pachamama (Part 1)” by the legend Matias Aguayo. A dark and heavy bass mixed with a tricky use of lots of the original elements makes you wanna twerk all night long.

Static Tensions is the fourth studio album by the American band Kylesa, released in 2009. The artwork and layout was created by John Dyer Baizley of the band Baroness. Static Tensions is a sludge metal album. On the album, Kylesa features a three singer- and two drummer-lineup, which distinguishes the band from all the others. On the album there's a lot of downtuned guitars and different singing styles such as shouting, crooning or croaked singing styles, along with elements from stoner rock, sludge rock, psych-rock and alternative rock.

First-time limited-edition reissue of this mega super-crazy rare US hard
rock/metal heavy psych private press LP from 1981, Limited deluxe
edition of 499 copies.
Includes an insert with line notes and photos. Golden Dragon were a wild Filipino-American quartet from the Bay Area lead by Freddy Mabuhay. The album
is filled with heavy blazing psyched out metallic rock, blistering guitar solos
loaded with fuzz and wah, heavy riffs and stoned vocals.
Freddy was the bass player in the legendary band Dakila who had a fantastic album out on Epic in 1972. Later in 1978, after playing the Diamond Head Crater
Festival in Hawaii, Freddy formed his own group; Golden Dragon.
In 1981 he and his band; consisting of his brother and two musicians from the
legendary Bay Area punk band VKTMS, recorded the amazing Golden Dragon
album. The album was only pressed in a few copies to be sent out as a demo to
secure a record deal. Unfortunately, the deal never happened, and the album
stayed unreleased and pretty much unobtainable for all these years.
The short lived, but lethal, Golden Dragon band performed live at the legendary venue Mabuhay Gardens, aka The Fab Mab, in San Francisco. Sadly, Freddy
passed away shortly thereafter, and the mighty Golden Dragon’s music stayed
obscure growing to mythical status among hard rock and psych rock aficionados. Subliminal Sounds has now put together this release in cooperation with
the surviving musicians. It’s finally time for the world to experience the mighty
sound of Golden Dragon!

‘The record is inspired by the idea of humanity’s ever-increasing entanglement with technology and artificial intelligence, balancing fears and moral concerns with the possibilities of evolution’s next phase’

A new Soccer96 album is a chance for Danalogue (Dan Leavers) and Betamax (Maxwell Hallett) to return to something of a spiritual creative home. Between them, the keyboardist and drummer have become synonymous with the thriving London jazz scene and, in their mind-bending incarnation as the astral synths-and-drums pairing, they’ve traversed stylistic worlds. Over nearly a decade, the duo have metamorphosed from a DIY outfit whose rough-edged recordings hit with a punk spirit, to cosmic dreamers that use sound to travel the reaches of the mind.

First single Dopamine features Nuha Ruby Ra on vocals who sings from the perspective of human and machine throughout the track. This concept overlaps with the music seamlessly, forming a meeting point between technological and human exploration.

Dialogues between the band and Nuha crystallised a shared vision of a future where humans and artificial intelligence are entangled in a codependent relationship based on the giving and receiving of pleasure hormones, the robots only source of dopamine is to receive it from humans, and the humans’ ability to unleash the monsters of the worst of human emotion.

Danalogue and Nuha sing together ‘It’s a Long Way down’ .. the feeling of jumping from the cliff of our current state as humans and ‘free-falling’ into the unknown of robot-human intertwining. By the outro they are pleading with each other over their dopamine co-dependency, in terms of both giving and receiving the hit. "Dependency leads to free-falling integration, a moment of freefall into robotic consciousness. Humans and machines are locked in a dance of addiction." explains Betamax.

Soccer96 has always been a vessel for Danalogue and Betamax to find clear water from their multitude of other collaborations, their most notable being as two-thirds of The Comet Is Coming alongside Shabaka Hutchings. Danalogue’s other recent production credits include Snapped Ankles and Calabashed, whilst Betamax has been making music with Champagne Dub and Coma World.

“Through collaborating with various artists and developing our own sonic language, it feels like we have created a sound of our own,” says Danalogue. “Now we think less literally and take more liberties to not necessarily sound like a duo. It’s more like a production team that can be augmented or stripped back depending on what the music calls for.”

Dopamine, though, sees the pair back together once again, incubating their findings of the past two years and moving Soccer96 into new territories. The record is maybe darker in some senses than what they’ve put out before; it’s inspired by the idea of transhumanism and humanity’s ever-increasing entanglement with technology and artificial intelligence It balances fears and moral concerns with the possibilities of evolution’s next phase. “The LP title Dopamine refers to the type of neurotransmitter associated with pleasure, that enables technology to hack into our minds and control us, creating addiction, dependency,” Betamax explains.

Dopamine began life as a sonic reaction to the graphic novels of ‘Moebius’ Jean Giraud. The duo then started swapping reel-to-reel tape ideas through each other’s letterboxes in lockdown, before eventually convening in the studio and displaying one of the revered French artist’s images in the middle of the studio for inspiration.

“All musical decisions would centre around this image,” Betamax says. “It was a depiction of a cosmic traveller gazing across a desert at a sort of crystal city. If the music was resonating with the image then we knew we were on the right path. We are both glad there is a lot of emotional warmth underpinning the whole thing. We are trying to connect with the human essence at all times.”

Kylesa is an American heavy metal band that was formed in Savannah, Georgia. Their music incorporates experimentalism with heavy riffs, drop-tuned guitars and elements of psychedelic rock. The group was established in 2001 by the former members of Damad, with the addition of guitar player Laura Pleasants who is from North Carolina. The band has since undergone line up changes; the remaining original members are Phillip Cope and Laura Pleasants. In 2006, the band added two drummers (Carl McGinley of Unpersons, from Savannah, and Jeff Porter). Eric Hernandez (of Capsule, from Miami) joined in 2008 to replace Porter. The dual drum tracks are often panned strongly to the right and left.

To Walk a Middle Course is the second studio album by American band Kylesa, released in 2005. The album incorporates elements of sludge metal, alternative metal and stoner rock. To Walk A Middle Course features a variety of metal and non-metal influences, including doom metal, stoner rock, punk rock and gothic rock.

“The noisiest pop music on the planet” - Pitchfork Austin, TX’s cult noise rock trio CHERUBS return with their new EP, SLO BLO 4 FRNZ & SXY. A follow up to their critically acclaimed Immaculada High (2019), the new EP capitalizes on the musical frenzy and shining moments of the latest full length, resulting in another dose of the legendary band's take on punk infused noise rock. Lead track "A Pair of Pear Tarts" explodes out of the speakers - Kevin Whitley's vocals are at the forefront once again, backed by absolutely raucous drumming and whirry, fuzzed out bass and guitars. "Lazy Snakes" continues this momentum; the trademark psychedelic qualities of CHERUBS heaviness are at the forefront as drums rinse and repeat as the song builds and builds. Elsewhere on the EP, Immaculada High standout "Sooey Pig" is converted into an acoustic anthem, giving the track new dynamics and heights. For Fans Of: The Melvins, Metz, Queens of the Stone Age, Unsane, Butthole Surfers

Reinvigorated and revitalized, REAPING ASMODEIA are back and set to leave their mark on 2021 with their third full length, Darkened Infinity - due for release via Prosthetic Records on October 15. The Minneapolis, Minnesota three-piece present twelve tracks of rhythmically acerbic modern technical death metal and thematically dauntless songwriting, weaving together a conceptual story of transcendence, consciousness and humanity’s ongoing struggle with the psychological self. Darkened Infinity sees REAPING ASMODEIA capitalize on a growing reverence within extreme metal circles for their off-kilter time signature changes and complex songwriting, thanks in no small part to Alexander Kelly (guitars) and Daniel Koppy (drums)’s blistering sonic camaraderie that make the foundations of the band’s assault. Replete with an inhumanly savage vocal performance across Darkened Infinity’s runtime from Steven Lane, the trio shine on apocalyptic album highlights False Awakening, Oneironautic Oblivion and Simulacra. Produced and engineered by the band themselves in Minneapolis before being mixed and mastered by Zack Ohren (Machine Head, All Shall Perish, Carnifex) at Castle Ultimate and Sharkbite Studios, Darkened Infinity’s intricate lead melodies unfurl with a menacing clarity when set against the album’s more abrasive tones.

Moondust For My Diamond’ is the second album by
Hayden Thorpe, released on Domino Recordings.
 In contrast to ‘Diviner’, a critically acclaimed album
steeped in solitude and fragility, ‘Moondust For My
Diamond’ moves into a more natural visual and sonic
palette. Hayden is interested in, he says, “the meeting
point between science and religion, the grand struggle for
reality that shapes so much of our time.” Thorpe has made
an album that is galvanizing, reassuring, elegant and
seductive: it oozes Big Cosmic Energy.
 The pastoral evolution of last year’s ‘Aerial Songs’ EP
hinted at an expanding palette that reflected Thorpe’s
return to The Lake District, the natural environment he
grew up surrounded by. These additional influences seep
into ‘Moondust For My Diamond’, along with Hayden’s
involvement with Wavepaths, a pioneering project
integrating music into psychedelic therapy, plus ‘hybrid’
gigs and breath workshops with pioneering breath
practitioner Richie Bostock. It’s those surrenders,
experiments and collaborations that make this such an
enticing, sensory, soul-expanding album

LP pressed exclusively for National Album Day 2021 on gold vinyl in
single-pocket jacket with custom dust sleeve and digital download
coupon.
 Through ‘Titanic Rising’, Weyes Blood, aka Natalie Mering, has
designed her own universe to soulfully navigate life’s mysteries.
Manoeuvring through a space time continuum, she plays the role of
melodic, sometimes melancholic, anthropologist.
 Tellingly, Mering classifies ‘Titanic Rising’ - written and recorded during
the first half of 2018, after three albums and years of touring - as The
Kinks meeting WWII or Bob Seger meets Enya. The latter captures the
album’s wilful expansiveness (“You can tell there’s not a guy pulling the
strings in Enya’s studio,” she notes, admiringly). The former relays her
imperative to connect with listeners. “The clarity of Bob Seger is
unmistakable. I’m a big fan of conversational songwriting,” she adds. “I
just try to do that in a way that uses abstract imagery as well.”
 The Weyes Blood frontwoman grew up singing in gospel and madrigal
choirs. (Listen closely to ‘Titanic Rising’ and you’ll also hear the jazz of
Hoagy Carmichael mingle with the artful mysticism of Alejandro
Jodorowsky and the monomyth of scholar Joseph Campbell.)
‘Something To Believe’, a confessional that makes judicious use of the
slide guitar, touches on that cosmological upbringing. “Belief is
something all humans need. Shared myths are part of our psychology
and survival,” she says. “Now we have a weird mishmash of capitalism
and movies and science. There have been moments where I felt very
existential and lost.”
 As a kid, she filled that void with ‘Titanic’. (Yes, the movie.) “It was
engineered for little girls and had its own mythology,” she explains.
Mering also noticed that the blockbuster romance actually offered a story
about loss born of man’s hubris. “It’s so symbolic that The Titanic would
crash into an iceberg, and now that iceberg is melting, sinking
civilization.” Today, this hubris also extends to the relentless adoption of
technology, at the expense of both happiness and attention spans.
 But Weyes Blood isn’t one to stew. Her observations play out in an
ethereal saunter: far more meditative than cynical. To Mering, listening
and thinking are concurrent experiences. “There are complicated
influences mixed in with more relatable nostalgic melodies,” she says.
“In my mind my music feels so big, a true production. I’m not a huge,
popular artist, but I feel like one when I’m in the studio. But it’s never
taking away from the music. I’m just making a bigger space for myself.”

Ground-breaking artist Yves Tumor continues to unlock the
perception of reality with a psychedelically bent off-kilter
rock offering, ‘The Asymptotical World EP’.
 The boundary smashing six song EP is the next era from
the pop auteur and first release from Yves Tumor following
the critically acclaimed 2020 album ‘Heaven To A Tortured
Mind’.
 Yves Tumor continues to manipulate the genre terrain by
challenging mainstream music constraints further and
shifting the boundaries of contemporary art and culture in
a boundlessly visceral and authentic sonic signature.
 Triple 7” box set in printed sleeves, packed in rigid
slipcase box with spot gloss varnish to cover. Credits insert
printed on semi opaque paper. Digital download card
insert.
 12” in paper inner in printed outer sleeve. Digital download
card insert.
 “Nobody better represents the changing face and sound of
what a ‘rock star’ is today than Yves Tumor.” - The FADER
 “Yves Tumor, the ineffable and audacious experimentalist,
once again brandishes a reverence for Prince on ‘Jackie’,
another venture into magisterial rock that clings to
devastating grandeur.” - The New York Times
 “Tumor proves that sifting through the detritus of love can
be as electrifying as the experience itself.” - Pitchfork

Ground-breaking artist Yves Tumor continues to unlock the
perception of reality with a psychedelically bent off-kilter
rock offering, ‘The Asymptotical World EP’.
 The boundary smashing six song EP is the next era from
the pop auteur and first release from Yves Tumor following
the critically acclaimed 2020 album ‘Heaven To A Tortured
Mind’.
 Yves Tumor continues to manipulate the genre terrain by
challenging mainstream music constraints further and
shifting the boundaries of contemporary art and culture in
a boundlessly visceral and authentic sonic signature.
 Triple 7” box set in printed sleeves, packed in rigid
slipcase box with spot gloss varnish to cover. Credits insert
printed on semi opaque paper. Digital download card
insert.
 12” in paper inner in printed outer sleeve. Digital download
card insert.
 “Nobody better represents the changing face and sound of
what a ‘rock star’ is today than Yves Tumor.” - The FADER
 “Yves Tumor, the ineffable and audacious experimentalist,
once again brandishes a reverence for Prince on ‘Jackie’,
another venture into magisterial rock that clings to
devastating grandeur.” - The New York Times
 “Tumor proves that sifting through the detritus of love can
be as electrifying as the experience itself.” - Pitchfork

Bad Bad Hats are an indie rock trio from Minneapolis, Minnesota.
Known for bringing a joyful, exuberant presence to their live shows, touring
with The Beths, Margaret Glaspy, The Front Bottoms, Hippo Campus, and
Third Eye Blind, the group took specific care to bring their fun-loving spirit
to their third LP, Walkman.
Kerry (guitar/vocals), Chris (bass), and Con (drums) let their collective hair
down on Walkman, bringing raucous and explosive riffs alongside witty lyrics.
Though you might not notice from their indie rock exterior, Bad Bad Hats draws
a heavy influence from classic pop songwriting that shines through in their
hooky choruses and strong melodic sensibilities.
For this release the band set out to push their capabilities as a trio. Subtle
changes in process helped the band achieve this goal, such as shifting Chris
from a wider multi-instrumental role to allow him to prioritize his bass playing, having Kerry record the bulk of the guitars instead. ‘You can hear all of our
musical voices a lot better on this record.’
A carefully crafted studio sound brings the record to life, injecting it with an
energetic voice that is unique to Bad Bad Hats. Walkman is the group’s fourth
time working with producer Brett Bullion, including their previous two LPs, Psychic Reader and Lightning Round, and the Wide Right EP.
Bullion and the band use the studio as an instrument, resulting in their most
polished work to date.

The 2nd tasty release in our series ‘The Swedish Hard Rock Underground - A
Smorgasbord of Heavy Sounds!’ with the best, but previously unknown and
undocumented jaw dropping Swedish hard rock/heavy psych bands from the
totally stoned 1970s.
Let us introduce you to the tale of this unique heavy band from southern Sweden. The fierce dudes that earned the moniker: ‘Northern Europe’s most violent band!’ from their wild live shows.
The band recorded and released two private press singles in 1975 and 1976 respectively. Both were done in micro pressings of 100 copies each making them
very rare and sought after. We follow the band from their first incarnation as a
killer heavy power trio and then expanding in to a massive 5-piece powerhouse
and until the military draft put an end to their teenage hard rock dreams

Stolen Body are super stoked to announce the addition of French Psych/World rockers Gondhawa to our ever evolving roster.

Gondhawa is a musical laboratory - a fusion between Fela Kuti’s groove and Hendrix’s electricness.
Formed in 2018 in Angers (France) by Idriss (vocals and guitar), Clément (drums) and Paul (bass), the band explores different styles with a boundless energy. Inspired by French sci-fi literature, they invented a language. Outcomes Gondhawii, a fusion of sounds from all over the world and others as yet unidentified. With this new language the whole mind immerses into a delicious trance where we cross odd rhythms, quarter-tone riffs, oriental groove and electric explosions as well as stringed instruments from other countries. (n'goni, sanxian, microtonal guitar)

Gondhawa release their first album, “Kâampäla”. Six powerful and eclectic tracks dipped in stoner, afrobeat and progressive rock. Six tracks linking convoluted rhythms and inventive riffs.

Through the micro-tonal groove of Raba Dishka, the Afrobeat Stoner power of Käampâla, or the softness of Djoliko, a beautiful ballad lulled by the melancholy of acoustic strings from around the world, Gondhawa delivers the soundtrack of an interstellar road movie. An electric tornado with an abundance of rhythms and textures.

British producer Patrick Tipler spent his formative years immersed in psychedelia as a bassist and guitarist in various bands and groups. The arrival of synthesizers –along with his move to Bristol– radically changed his vision of sound and impacted on his musical direction with the force of an asteroid. This shockwave subsequently saw the birth of Delay Grounds.

After releasing the outstanding 'Onomatopoeia' Pressure Dome, 2020 and 'Upcycling' Tropopause, 2021, Delay Grounds’ output has made it clear for all to see that Tipler’s sound design skills are second to none, and with just two releases to his name he has already transformed himself into an artist to watch very closely.

Today Patrick joins the Lapsus crew to present 'Genus', a five track EP that he says "is my most personal release to date, something I've always carried inside and wanted to produce, but had never managed to articulate before". On 'Genus', Delay Grounds preserves the essence of his sound but takes things a step further, with a form ofmaximalist electronica, sprouting powerful torrents of high-pitched and ruff-as-rock avant-techno, glitches and mutant sound elements, combined with sweet and delicate melodies in the purest IDM style. Polishing is provided by sound engineer Nick Earle, with whom Patrick has recorded and remarkably treated a kit of "deconstructed drums" especially for the occasion.

‘Genus’ is 30 minutes of astral travelling, an experience perhaps analogous to what we would feel if we opened a vault, containing music from a lost civilization.

7 piece instrumental soul group from Melbourne, Australia featuring members from Karate Boogaloo, Surprise Chef and Saskwatch.
Produced by Henry Jenkins (Karate Boogaloo, Mo'Ju), the recording mind behind Surprise Chef and Karate Boogaloo, Waiting Room moves deftly through moments of fuzzed-out psychedelia, dusty deep soul backbeat and incendiary minor key funk.

After a first album released in 2019 on the labels Stereophonk (France) and P-Vine Records (Japan), The Selenites Band are back with a new recording, Behind The Mask.
The Selenites Band is a French music group created in 2018 around the artist and musician Obi Riddim. Drawing the sources of its music from the Ethiopian music of “Swinging Addis”, Ethio-jazz, but also rock, Afro-jazz or psychedelic grooves.
After playing the “classics” of Mulatu Astatke or Girma Bèyènè, the band offers us nine new songs. Original compositions where we find the melodies and rhythms of the Ethiopian music of “Swinging Addis” mixed with their kraütrock influences, psychedelic music and afro jazz. An atmosphere of trance on bewitching Ethiopian scales, tracks that invite you to travel and explore.
Recorded during the pandemic, between two confinements and successive curfews, in a vital impetus, this album sounds like the big need to create.

New album by french producer Joakim on his label Tigersushi. Through 16 tracks, he explores a world of sounds that blur the line between the natural and the artificial, a psychedelic journey on a modern Noah's Ark, back to his roots in IDM, Classical music, avant-garde Pop and Ambient.

Multi-instrumentalist, vocalist, producer, and songwriter Jordan Rakei is back with his fourth studio album

What We Call Life is Jordan Rakei’s most vulnerable and intimate album to date. Its lyrics concern the lessons that the New Zealand-born, Australia-raised, and London-based artist learned about himself during therapy, a journey that began two years ago when he started reading about the ‘positive psychology’ movement. Rakei, already a practitioner of meditation and mindfulness, was curious about the potential of using therapy for further self-discovery. During the process, he began to learn more about his behaviour patterns and anxieties, and addressed his long-standing irrational phobia of birds – a fear often associated with the unpredictable and the unknown, and something explored in the album’s creative direction and visuals.

“As we worked through it, it made me realise I would love to talk about the different lessons I learned from therapy in my music: about my early childhood, my relationship with my parents and siblings, becoming independent in London, being in a new marriage, understanding how my marriage compares to the relationship my parents had” Rakei says.

Black vinyl LP, printed inner sleeve, fully artworked outer sleeve with obi. Includes double-sided lyric poster and MP3 download code. Artwork by Justin Tyler Close.

Multi-instrumentalist, vocalist, producer, and songwriter Jordan Rakei is back with his fourth studio album

What We Call Life is Jordan Rakei’s most vulnerable and intimate album to date. Its lyrics concern the lessons that the New Zealand-born, Australia-raised, and London-based artist learned about himself during therapy, a journey that began two years ago when he started reading about the ‘positive psychology’ movement. Rakei, already a practitioner of meditation and mindfulness, was curious about the potential of using therapy for further self-discovery. During the process, he began to learn more about his behaviour patterns and anxieties, and addressed his long-standing irrational phobia of birds – a fear often associated with the unpredictable and the unknown, and something explored in the album’s creative direction and visuals.

“As we worked through it, it made me realise I would love to talk about the different lessons I learned from therapy in my music: about my early childhood, my relationship with my parents and siblings, becoming independent in London, being in a new marriage, understanding how my marriage compares to the relationship my parents had” Rakei says.

Translucent pistachio green vinyl LP, printed inner sleeve, fully artworked outer sleeve with obi. Includes double-sided lyric poster and MP3 download code. Artwork by Justin Tyler Close.

We're heading deep into the bowels of the cosmic basements with our latest vinyl release which is headed up by those 2 lovely souls from Leeds, PBR Streetgang.

From rocking it all over the globe to releasing a plethora of absolute yesmate bangers & a long player too, we're pretty thrilled that they have joined our family of music makers with their double A side E.P. 'Transpennine Express'.
GCP gets the party started and instantly takes you to 4am at Barbarellas Discotheque with stacks of throbbing-ness & pumping, laser reaching vibes whilst the boys take you down a wormhole of electronic music pleasure.

Condor jumps ships from Barbarellas & hot foots it over to Berlin to sweat it out in basement with only a smoke machine for company and tons of ravers. Pulsating synth surfs across a chubby bass with some slick as heck cosmic stabs making this a multitude of all that is good in proper dance music.

If the originals are on the dance floor then we made sure to go full on weirded-out on the remixes and crikey they don't disappoint!
ELLES totally flips the script on GCP and turns in a hazy, broken beat style electro groover with a full vocal giving it the sound of a lost track by A Certain Ratio.

Psychederek takes the 'make sure to go really wonky!' advice we gave when sending the parts to Condor and matches ELLES with his full on acid tinged psych wig-out rework. The beat sure is broken, the bass guitar punches, the old school piano thumps and the whole thing sounds like an amazing Andrew Weatherall remix from the mid 90's you never knew existed.

Something for everyone.from clubs to shebeens to after parties & beyond...

In the beginning, there was chaos_ A while later in the Heavens, where angels reigned, there was once held a great symposium, a glorious feast. Everyone was happy and having a great time, until Lucifer, fairest and mightiest of all the angels, brought in suspicious and strange substances, offering them freely with both hands for everyone to take. All were fooled by the Ancient Serpent, starting to misbehave and act in contradiction to the Heavenly Laws. The Almighty God, enraged upon learning about the mutiny, threw everyone down on earth to suffer eternally in hunger, ugliness and desperation. Vulnerable now to each and every temptation, they are ready to perpetuate Good and Evil, while building their new earthly Kingdom in any way they can. Angelic chants, Demon's screams, witches dancing and woeful mortal suffering are recounted in this album's songs, embellished with mesmerising hymns and sharp riffs. Chaos is always close and all that remains is the human revolution against the forces of evil. "Battlefields of Satan's servants, witch-hunt for our ways, face off reality and eat TV today. Lucifer, Forever Grey". - Bill Politis - "The Unknown Secretary" comes to further unsettle the turbulent waves of music and burn its own mark in history. Today, five years after its original release, Heavy Psych Sounds reissues this retro gem, serving it once again straight into your record case.

"Produced by Jonathan Wilson (Conor Oberst, Roger Waters, Father John Misty) and recorded at Nashville’s Sound Emporium Studios, Renewal solidifies Strings’ position as a singular artist—one who honors the history of the music that inspires him, while continually pushing it forward. With the record’s sixteen tracks, Strings shares a more personal and honest perspective through his songwriting, while incorporating his wide range of influences with elements of bluegrass, classic rock, metal, psychedelic music and more.
Reflecting on the album, Strings shares, “A lot of people call us a bluegrass band and I don’t even know if that’s what we are anymore. You’ve got to let the song do its thing. So that’s what I try to do—write songs and let them come out however they do. I listen to it now and it’s emotional. I’ve always doubted myself, and I still do, but this album makes me think, ‘Hey, you’re doing all right, kid. You just need to keep going.’”"

Due for release October 8th on Fuzz Club Records, 'Ungrateful Heart' is the fourth album from Milan-based group The Gluts. Whilst their previous releases traded in an explosive psychedelic noise-rock, 'Ungrateful Heart' sees the Italian four-piece hone in a more post-punk-indebted sound. Although no less abrasive and confrontational in its utlising of ear-piercing feedback and hard-hitting riffs, the band say that the songs here primarily take cues from the likes of Fugazi, Gang of Four, the PiL-Pistols canon and the Campana brothers' long adoration of Italian and American hardcore punk. The album arrives off the back of 2019's 'Dengue Fever Hypnotic Trip' LP and tours and festival dates around the UK, Europe and South Africa. Laid down over a tireless week living side by side and working in the studio around the clock, The Gluts - comprised of Claudia Cesana (bass/vocals), Dario Bassi (drums) and Nicolò and Marco Campana (vocals/synths and guitar, respectively) - recorded 'Ungrateful Heart' with Dutch producer and close collaborator Bob de Wit (A Place To Bury Strangers, Gnod, The Sonics). On the sessions, the intensity of which is mirrored in the fierce uncompromising attitude of the music itself, the band said: "Bob's contribution to this album was essential. He pushed us beyond our limits. It was difficult, we can't hide it, but it really was worth it." Although the album is still shot through with moments of lacerating noise-rock ('Mashilla' and 'Eat Acid See God'), songs like 'Love Me Do Again' and 'Bye Bye Boy' deal in a timeless hedonistic punk sound. Elsewhere, the politically charged 'Breath' and 'FYBBD' see The Gluts turn their sonic belligerence towards fascists and systemic racial violence to rallying effect. Standard LP is on Ultra-clear vinyl, standard sleeve