Cerca:pu

Borrowing her name from the Andy Griffith Show character, Paris’s Charlène Darling makes off-kilter, shimmering chanson post-punk that connects the dots between the feminist troubadours of Agnès Varda’s L’Une Chante, L’Autre Pas, Thai molam music, the Raincoats and the way Cate Le Bon slides between bucolic melody and clanging post-punk. If her debut album, Saint-Guidon, was one of 2019’s buried treasures, so don't miss the reissue this fall. LS (the Guardian)

Multi-instrumentalist SaiR and MC Puppy Smooth join forces to shape this dancefloor hit! An ode to disco-rap invoiced four decades after his heyday.

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.

raw, speedy punk songs with the edges softened out by bright melodic sensibilities.

4 SONG EP of female fronted crash-pop. Raw, speedy punk songs with the edges softened out by bright melodic sensibilities and faint hints of jangle hiding just beneath the surface RIYL The Shop Assistants, The Primitives, C86 fuzz pop, etc.

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.

LIMITED PRESSING OF 500 COPIES WORLDWIDE.

The La's live 1986-87 manages to capture the band's original ethos and attitude. Side one, contains Liverpool ‘live’ recordings from 1986 when Mike Badger and Lee Mavers shared material and vocal duties. These recordings have a skiffle like quality that flew in the face of the highly produced trends dominating the mid-eighties and can see the band defining & developing it’s sound. Side two, shows a band that had evolved, almost at times garage rock which suited certain songs in a better way, eventually selling out the Marquee Club.

This album in many ways illustrates the true nature of the La's from its original inception to its eventual place in the hearts and minds of music lovers everywhere. Pure magic and history in the making.

Rising UK pop-rock/alternative five-piece Tigress return with their debut
album Pura Vida, following a series of EP releases with UK tastemaker UK
rock label Lab Records.
Bringing to mind the punky, scuzzy, low-frequency rock n roll of Royal Blood
and Slaves, singer Katy Jackson is the UK’s next superstar alt-rock frontwoman
in waiting, following in the footsteps of both YONAKA and VUKOVI.
Tigress’ primary coloured aesthetic and uniquely British sounding rock continues to set the band apart from their contemporaries, and a relentless work
ethic has seen the band set the UK and European touring scene alight, with
plans to perform at SXSW in 2022.
Tigress have already had press and radio coverage from the likes of Kerrang!,
Rock Sound, Alternative Press, Upset Magazine, Total Guitar, The Metro, BBC
Radio 1, BBC Radio 2, BBC Introducing, Radio X, Kerrang! FM, RTE 2XM, Triple
J and Planet Rock.
KEY MARKETING POINTS:
Late Summer/Autumn UK festivals + UK/EU headline tour in October 2021
Previous single ‘Paranoid’ used in marketing promo by Rock and Roll Hall of
Fame
Previous support slots include Green Day @ British Summer Time, Bring Me
The Horizon in mainland EU, and Billy Talent
Other festivals: Download, The Great Escape, Vans Warped Tour UK

Walking through a forest and paying attention to our surroundings revitalizes the senses enough to ease the drive to do something and is calming enough to allow us a moment of peace and tension release. Mindfulness and meditation come naturally when you allow your senses to focus on the slight and subtle changes around you. Take a deep breath of fragrant air, soak in the feeling of the textured ground and enjoy the sights of the slowly shaking treetops in the sky. Touch the moss-green, soft ground carpeting the shaded stones, sense the abrasive bark on the trees and smell the versatile odors of pure nature. Let the stillness around you influence your state of mind and make you forget the constant motion of society. Take a timeout, immerse yourself in the forest, use all of your five senses to experience everything to the fullest and surround yourself with life existing in this environment - you will realize that you are indeed a part of nature. Shinrin Yoku helps to rejuvenate the exhausted body and balances the body and mind. This is a sensory and intimate experience.

Haley Dahl, die seit ihrer Teenagerzeit als Sloppy Jane auftritt, ist neuerdings bei Phoebe Bridgers' Label Saddest Factory Records unter Vertrag. Phoebe und Haley sind schon seit Schulzeiten eng befreundet. Damals war Sloppy Jane eine Teen-Punkband. Die ersten Mitglieder waren Phoebe Bridgers am Bass, Sarah Cath an der Gitarre und Imogen Teasley-Vlautin am Schlagzeug. Heute hat die Band mehr als ein Dutzend Mitglieder und sich in ein Kammerpop-Projekt verwandelt. Für ihr neues Album "Madison" verbrachte Dahl drei Jahre damit, Höhlen zu erkunden, die ihre Vision für das Album einfangen könnten. Ihre Suche führte sie quer durch die USA, wobei sie sich mit der unterschiedlichen Akustik jeder Option beschäftigte, bevor sie bei den Lost World Caverns landete. Das Ergebnis ist ein wunderschönes, persönliches Werk, eine große Geste, ein kraftvolles Statement über obsessive Liebe und über das Hineinwachsen in sich selbst nach einer lebensverändernden Beziehung. Dahl und ihre 21 Bandkollegen nahmen Madison zwei Wochen lang jeden Tag von 15 Uhr bis 8:30 Uhr in den Höhlen auf. Um in die Höhle zu gelangen, mussten sie durch die Rückseite eines Geschenkeladens in einen langen Tunnel eindringen, wo sie über 200 Treppen zum Eingang hinuntergehen mussten. Dahl und Co. bewältigten diesen steilen Weg mit einem Klavier. Die Decke der Lost World Caverns ist riesig hoch und bildet eine perfekte Kuppel. Außerdem herrschte im Inneren eine Luftfeuchtigkeit von 98 Prozent, was sowohl zu einem hervorragenden Klang als auch zu Problemen mit der Stimmung und der Ausrüstung führte. Der Tontechniker Ryan Howe saß mit seinem Mischpult und seinem Computer im Subaru seiner Eltern oberhalb der Höhle und fädelte Kabel durch ein Loch im Boden bis zur Decke der Höhle. Auf dieses Album, das so vollständig realisiert und sorgfältig ausgeführt wurde, hat Dahl lange gewartet und auch als Musikerin viel gelernt: Für Madison lernte sie, wie man für Kammermusikinstrumente schreibt und brachte sich selbst das Klavierspielen bei. Die Platte lässt sich nur schwer kategorisieren. Es ist David Bowie wenn der Song "Crying" von Roy Orbison am Ende von Harmony Korines Film "Gummo" gespielt wird. Es ist My Chemical Romance trifft Sgt. Pepper. Courtney Love und Queen. Es ist ein riesiges, blumiges, samtiges Ding voller Spielzeugpferde und Stalagmiten. Er folgt einer großen Linie: einer großen Geste, die so groß ist, dass sie die ganze Erde bewegt. "I'm glad to live in a world where Haley Dahl wanting to go to a cave to make a record just makes sense. This is already a classic album." - Phoebe Bridgers

One Instrument welcomes the Australian sound artist and composer Felicity Mangan. Based in Berlin since 2008 she plays her found native Australian wildlife archive and other field recordings exploring the timbre and biorhythm of animal voices and field recordings to create minimal quasi-bioacoustic environments.

For the release on One Instrument the mouth organ is her instrument of choice. Felicity explores the resonance and pitch of the reeds within at the harmonica The Echo Harp of the brand M.Hohner. “Bell Metal Reeds” shows a committed and ambitious composition in each singular tone. The striking attention to detail and commitment to investigating tonal possibility characterizes throughout the whole body of work.

As an amateur player, through breath and minimal electronic music composition techniques she composed four beautiful organic ambient pieces within the parameters of the One Instrument concept.
Felicity breaths new life into the harmonica and meditates on a the single instrument where she takes extraordinary sounds out of. The Echo Harp that Felicity used was found on a flea market in Hamburg in February 2020. All tracks were composed during the severe lockdown in the Autumn of 2020 in Berlin.

Felicity Mangan is an Australian sound artist and composer based in Berlin, Germany since 2008. In different situations such as solo performance, collaborative projects with other musicians or installation, Felicity plays her field recording archive exploring timbres and biorhythmic patterns to create quasi-bioacoustic electronic music. Felicity has played in collaborative projects Native Instrument (Shelter Press, Entr’acte) presenting electro-acoustic bug beats with vocalist Stine Janvin.

Felicity has released solo publications on Longform Editions titled Stereo’frog’ic, a play on the word stereophonic – presenting a sound piece, crafted from found recordings of frogs, insects and other ‘vocal’ animals wavering about in a stereo field.

More recently a tape release titled Creepy Crawly on Slovakian label Mappa Editions. With the up and coming release Bell Metal Reeds on One Instrument, November 2021. Felicity has presented projects in many different settings from galleries, gardens, clubs, festivals and online platforms throughout Europe, including National Gallery Denmark, Technosphärenklänge CTM/HKW, Sonic Acts Academy and RIVERSSSOUNDS

Named after the most notorious street gang of Victorian Liverpool,
'The High Rip' formed in 2017. Early gigs and rehearsal rooms were
located in that gang's old stomping ground and the synchronicity
was unavoidable. United by their shared love of post-punk and new
wave artists, their songs combine the high drama of Joy Division and the pop sensibility of XTC.
“This is Rock & Roll revitalised. It's easy to see this is no throw away pop crusade. Things that are
made into song are cared for, not just sang about. Their music is bigger than the band.”
Scene and Heard
"This is a record that sits perfectly between The Damned and Echo & The Bunnymen, The Adverts
and Gang of Four. This is a record everyone needs to listen to, so please go and check out Rule of
Four."
The Last Stop Sounds

The story of six soulmate musicians meeting at the intersection of classical composition, pop, electronic and minimal music begins in 2016 with their celebrated performance at the Cologne Philharmonie. After follow-up performances at the Bundeskunsthalle Bonn as well as the Hamburg Elbphilharmonie, Gregor Schwellenbach, Daniel Brandt, John Kameel Farah, Paul Frick, Erol Sarp and Kai Schuhmacher made a guest appearance at the invitation of Radio Berlin Brandenburg in the iconic Haus des Rundfunks in Berlin's Westend on February 2, 2019. "Live im Haus des Rundfunks" documents the first half of this evening, in which the individual composer-pianists introduced themselves to the audience in solos, duos and trios. This carefully choreographed set served as an electrifying prelude to the grand finale, the 20-minute collective mantra of Steve Reich's 1973 composition Six Pianos, a studio recording of which has already been released on the 2016 record Steve Reich "Six Pianos" – Terry Riley "Keyboard Study #1" (FILM LP/CD 002).

Im Jahr 2016 beginnt die gemeinsame Geschichte der Pianisten Gregor Schwellenbach, Daniel Brandt, John Kameel Farah, Paul Frick, Erol Sarp und Kai Schuhmacher, sechs seelenverwandten Musikern, die sich zu einem Kollektiv an den Schnittstellen von klassischer Komposition, Pop, Elektronik und Minimal Music zusammengefunden haben. Nach gefeierten Auftritten in der Kölner Philharmonie (mit Hauschka, ohne Kai Schumacher), der Bundeskunsthalle Bonn sowie der Hamburger Elbphilharmonie gastierte das Projekt am Abend des 2. Februar 2019 auf Einladung des RBB im geschichtsträchtigen Haus des Rundfunks im Berliner Westend. Die damals entstandene Aufnahme des Konzerts im Großen Sendesaal bildet die Grundlage der nun vorliegenden Veröffentlichung. “Live im Haus des Rundfunks“ dokumentiert den ersten Teil des Abends, innerhalb dessen sich die einzelnen Pianisten solo, im Duo oder Trio, dem Publikum vorstellen. Dieser Part stellte das Vorspiel zum großen Finale dar, dem 20-minütigen, kollektiven Mantra von Steve Reich’s Komposition Six Pianos aus dem Jahr 1973. Eine Studioaufnahme hiervon wurde bereits auf der 2016 auf FILM erschienenen Schallplatte STEVE REICH "SIX PIANOS" - TERRY RILEY "KEYBOARD STUDY #1" (FILM LP/CD 002) veröffentlicht.

Three years after the platinum Effet Miroir (Mirror Effect), Zaz is about to release her fifth album. A record she began making during the spring 2020 lockdown.

After a frenzied decade of sold-out concerts, awards and prestigious collaborations (Quincy Jones, Charles Aznavour), it was after her last world tour which ended in the United States that Zaz refocused herself. For this album, recorded between Provence (Southern France), Brussels and Amsterdam’s area, Zaz worked with Dutch producer REYN (Vanessa Paradis, Stephan Eicher, Benjamin Biolay, Gaëtan Roussel…). “Imagine a world in tune with you”, advises Zaz in the first single. “When you see the state the world is in, it saddens me. What are we going to leave for our children?", asks the artist, who has always held deeply ingrained questions of education and environment. “It's sad, scary. But ‘Imagine’ is a song of hope", she explains, putting things into perspective.

With the release of their new single ‘R&B’, the ever-exciting
English Teacher prove they could be your new favourite band.
 As far as Northern cities go, Leeds probably isn’t the first place
you’d think of as a burgeoning hotbed of fiercely independent
and DIY bands. Often overshadowed by its neighbours further
along the M62, it’s precisely because of this that Leeds’ music
scene is as vehemently independent and self-sufficient as it is.
 The latest band to emerge from the city are four-piece English
Teacher. Keeping Leeds’ longstanding tradition of
uncompromising post-punk alive, the quartet’s latest single
‘R&B’ is three minutes of clattering bass and crisp percussion,
sporadic guitar occasionally punctuating the tension as
frontwoman Lily Fontaine explores ideas of imposter syndrome
and lethargy throughout the creative process.
 Lethargic is one thing ‘R&B’ isn’t, however. Fraught and frantic
perhaps. Imbued with a dry wit and self-awareness certainly,
but no one’s about to level any accusations of indifference at
English Teacher. The band explain, “the song is about the
cyclical, productivity-diminishing paradox of low self-esteem and
imposter syndrome-induced writer’s block that then fuels low
self-esteem and imposter syndrome. It’s also about racial
identity and putting the love that you have to offer a potential
romantic partner back into yourself.”
 Harbouring a cloying sense of paranoia that only increases as
the track progresses, there are elements of bands such as Slint
and Sonic Youth at play. Rather than feel like a ‘90s throwback,
however, ‘R&B’ succeeds feeling not just contemporary but vital.
Providing both a short, sharp gut punch and insight into Leeds’
ever-growing indie scene.
 Recently supported Sports Team on tour.
 Dan Carey is set to produce a forthcoming album and also
plans to release a single on Speedy Wundergound.

Chicago singer, songwriter and pianist Neal Francis is ATO
Records’ newest signing, and today presents his new album, ‘In
Plain Sight’, the follow-up to Francis’s 2019 debut, ‘Changes’, a
New Orleans-R&B-leaning effort that landed on Best Of The
Year lists from the likes of KCRW, KEXP and The Current, and
saw him hailed as “the reincarnation of Allen Toussaint” by BBC
Radio 6.
 After returning home from touring on the back of ‘Changes’,
Francis went through a breakup and found himself living in a
church, where he ended up writing a series of new songs about
honesty and resilience. “I’m owning up to all my problems within
my relationships and my sobriety,” he says. “So much of it is
about coming to the understanding that I continue to suffer
because of those problems. It’s about acknowledging that and
putting it out in the open in order to mitigate the suffering and try
to work on it, instead of trying to hide everything.”
 Francis and his bandmates recorded In Plain Sight entirely on
tape - and mostly in that same church - and the resulting songs
are dreamlike and reflective, anchored in the rock and soul
sound that has led critics to compare him to legends like Allen
Toussaint and Dr. John. ‘In Plain Sight’ was mixed by the
Grammy-winning producer Dave Fridmann (The Flaming Lips,
Tame Impala, MGMT).
 “There are hints of ’70s Brit Rock (including a very visceral
touch of Elton John) as well as New Orleans jazz-funk, gospel
soul, and some lighthearted Randy Newman - and the
amalgamation felt like a time-stamped treasure,” wrote the
Chicago Sun-Times on his recent hometown performance at
Lollapalooza. Early 2022 will see Francis embark on his first
ever UK and European tour.
 LP pressed on Cherry Red vinyl and includes lyric insert with a
deluxe embossed vinyl jacket and custom inner sleeve. (Once
this pressing sells out, a standard black vinyl format -
ATO0577LP - on will become available.)

With another week comes another gem to be let loose into
the world via Nice Swan. This time it’s the turn of Brighton
set Opus Kink, releasing their second offering of the year
in ‘Wild Bill’ / ‘This Train’.
 Having been recorded at the seminal Rockfield Studios in
Wales and produced by Tim Burgess, it’s every bit as
zealous and free as we’d expect and in discussing the
release, the group revealed: “‘This Train’ is a hell-forleather ride through humanity’s self-destructive tendencies
and futile battle against nature, flipping on its head the old
adage that ‘this train is bound for glory’.”
 A spooky intro converts to a fast-paced and frenetic sound
as trumpets and sax blare with feral delight. The single
comes to a screeching crescendo and we’re sonically
transported to what could easily be a pub parlour, perched
on the crimson material of a baby bar stool as beautifully
bedraggled chants echo out. They can’t remember how
they got there but are united in their message: “Don’t lose
yourself to everyone else; Don’t lose yourself to this train.”
 So far, Opus Kink have succeeded in turning listeners on
their head, leaving a simultaneous excitement and
perplexity as the struggle to brandish them with a ‘wemust-define-you’ handle ensues. With an underlying tone
likened to that of a Dickensian tale, they possess the edge
of a brooding petty criminal, the charm of a street urchin
and the philanthropic spirit of any good protagonist.
 The band have a flurry of nationwide gigs scheduled over
the coming months, including two Nice Swan showcases
alongside labelmates Malady, Mandrake Handshake and
Hallan. Taking the studio energy and general raucousness
into consideration, catching them live will be well worth a
look-in.

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!

HIGHLIGHTS: Objetos Musicais is a collection of 13 sound pieces created by artists from South America and Switzerland, who work in an intermediate zone among the craft of luthiers, visual arts and experimental music. Their works evoke the visionary ideas of Walter Smetak, a Swiss composer who lived in Salvador, Bahia (Brazil) Smetakian spirit tunes in with a new community of contemporary artists, who relate to the work of the so-called "experimental luthiers": artists who build their own instruments, lead them towards radical extended versions or take the exploration towards the building of resonant machines. DESCRIPTION: Objetos Musicais is a collection of 13 sound pieces created by artists from South America and Switzerland, who work in an intermediate zone among the craft of luthiers, visual arts and experimental music. Their works evoke the visionary ideas of Walter Smetak, a Swiss composer who lived in Salvador, Bahia (Brazil). Smetak was a pioneer of musical experimentation in that country and developed, in the 60s and 70s, a musical poetics that was captured in two seminal albums, Smetak (1974) and Interregno (1980), both of which, after being out of print for a long time, have been reissued today, hence the motivation for this tribute. On those two albums, Smetak combined Afro-Brazilian ritual traditions, theosophy, microtonality studies, collective improvisation and the use of unconventional musical instruments, which he called Plasticas Sonoras. Smetak came to build around 150 acoustic instruments, many of which are true sound sculptures of great visual impact. This latter aspect is the most directly evoked one on this album-and it so happens that the Smetakian spirit tunes in with a new community of contemporary artists, who relate to the work of the so-called "experimental luthiers", artists who build their own instruments (Marco Scarassatti, Phillipp Laeng, Maria Anália), lead them towards radical extended versions (Ruben Dhers, Claudio Merlet), develop hybrid projects involving instruments and sound sculpture (Javier Bustos, Alvaro Icaza and Verónica Luyo, Juan Pablo Egúsquiza, Edgardo Rudnitzky) or take the exploration towards the building of resonant machines (Nicole L'Huillier, O Grivo, Zimoun, Cod.Act), without these categories being mutually exclusive, but rather tending to mix, thereby opening up new sonic possibilities. This new community of artists has begun to create a whole new field of research and, in a way, a new discipline, understandable within the context of this new paradigm opened by the maker culture, which has pushed creators and developers from all over the world to conceive alternative-anti-hegemonic and DIY-forms of production. Therefore, this collection allows the artists to evoke Walter Smetak but also to connect his work to this new scene-to which it precedes-a link for this new art that makes its way at some point among the work of experimental luthiers, sound art, experimental music and the DIY ethics. Curated by Luis Alvarado and Chico Dub. Art by René Sánchez. Limited edition of 300 copies on vinyl. This project is part of the experimental music and sound art platform Incidencias Sonoras: COINCIDENCIA, by the Swiss Arts Council Pro Helvetia.

"The Tragically Hip announce they will be releasing a special version of their sophomore album, Road Apples 30th Anniversary Deluxe, on Friday, October 15. The album is available in comprehensive physical deluxe CD and Vinyl and Pure Audio blu-ray audio box set editions.
Created to mark the 30th anniversary of the band’s second studio album which became their first record to hit #1, the Road Apples 30th Anniversary Deluxe editions were carefully crafted with input from each living member of the band. The outcome is a deep dive behind the scenes of what made this album one of the most beloved in The Tragically Hip’s vast catalogue. With all tracks completely remastered in 2021 by Ted Jensen at Sterling Sound in Nashville, for the first time, fans will hear music from the band with all the grit, vibrancy, and passion of their original recordings, second only to being in the recording studio with them. The physical box set editions, (CD and Vinyl), of the release will contain special Dolby Atmos, 7.1, 5.1 and binaural mixes by Richard Chycki of Road Apples and 5 cuts from Saskadelphia, ensuring fans have a one-of-a-kind listening experience. Fans and collectors will also appreciate the brand-new artwork for each of the packages within the physical box sets.
The expansive deluxe editions of the release are jam packed with rare and more previously unreleased and never heard before pieces of music chronicling The Tragically Hip’s Road Apples era, including:
• Road Apples, the original album re-mastered in 2021 by Ted Jensen at Sterling Sound in Nashville.
• Saskadelphia, as released earlier this year.
• Live At The Roxy Los Angeles, May 3rd 1991, originally recorded for a Westwood One radio show, often bootlegged and sought after by fans for many years. It has been re-mastered and expanded and includes the rare “Killer Whale Tank” version of New Orleans Is Sinking. This legendary Roxy show is now a double vinyl album. This album is available exclusively in physical product.
• Hoof-Hearted, an album of previously unreleased demos, outtakes, and alternate versions."

Echolocation is the debut album by Pamela Z, the pioneering Bay Area intermedia composer and performance artist. Written and recorded over three years, and self-released and distributed on cassette in 1988, Echolocation is genre-defying document of Z’s earliest experiments with live voice and delay, and the impetus of an artist’s three decade search for sounds yet unfelt.

Born and raised in Buffalo, New York, Z traded one snowy backdrop for another to attend the University of Colorado in Boulder at the tail end of the 70s, where she pursued a degree in music while taking local gigs covering Joni Mitchell and Malvina Reynolds b-sides on an acoustic guitar. While a host at KGNU, Z discovered a vast world of avant-garde music in the community radio station’s library, and was inspired to create towards, and alongside, the fringe sounds she pulled from the stacks and broadcast. This revelation intersected with a new era of accessible and affordable instruments and home recording technology, and a diversifying community of artists self-releasing music on cassette and finding an audience through underground publications.

Z moved again to San Francisco in 1984, legally changed her last name, and furthered her practice of vocal processing in live environments. A city simultaneously nurturing and stratifying the free spirit of the two decades prior, Z assumed an immediate role in the Bay Area’s interdisciplinary performance art scene, and began curating Z Programs, her own concert and event series.

Almost 25 years after its last pressing on vinyl, this all-time classic finally get´s is reissue on 2x180 gram vinyl. Including 9 bonus tracks from the bands unleased demos in ’88 and ’91, the extensive oral history of the making of Blind as well as additional artwork and sketches this is the ultimate Corrosion of Conformity collector´s item.

The American frontier: where burning skies meet sandblasted mesas. Where lost highways stretch into darkness and undisturbed deserts speak a language as ominous as it is otherworldly. This is the tableau of SPIRITWORLD. SPIRITWORLD is also the aural vision quest of Stu Folsom, a Las Vegas native who has taken the intensity of that blasted desert heat and given it voice, howling through the Slayer-like chug of his band’s Century Media debut, Pagan Rhythms. It was that purity of Folsom’s vision that immediately won SPIRITWORLD international acclaim on the limited 2020 self-release of Pagan Rhythms. Even the likes of Exodus/Slayer guitarist Gary Holt and Former Sepultura/current Soulfly leader Max Cavalera raved about the album on social media. Stu and SPIRITWORLD had staked their claim like firebrands and outlaws coming off the deadlands to shoot, ride and speak their truth. Pagan Rhythms is available as Ltd. 180g black Vinyl + CD and Art Print. This Vinyl-Edition features an alternative cover artwork which will be only available for the 1st pressing. Furthermore, the debut-album of SPIRITWORLD is available as Ltd.

"With over 20 years of experience and six studio albums under their belts, Hungarian Black/Pagan Metal outfit BORNHOLM are no longer strangers to the scene! Now, the four-piece is ready to present their exciting Napalm Records debut and releases their brand-new studio album, Apotheosis. Apotheosis not only showcases BORNHOLM’s tonal development, but also goes back to the origins of the band’s history and the heavy, often almost doomy influences mixed with indispensable atmospherically dark and raw flavor. Accompanied by sinister sacral sounds of historic proportions and a hypnotizing, incantatory chant, intro track ""I Divine"" heralds the dark ride to nowhere. It is precisely in the void between Pagan and Black Metal that the sound finds its home, with tracks like “Spiritual Warfare” and “Black Shining Cloaks” - including its sinister, atmospheric intro “The Key to the Shaft of the Abyss”- representing the mellowness and extremes of the band. The almost melodic borrowings and acoustic guitar inserts in combination with the pure rawness of “To the Fallen” and the hammering fast attacks of the track “I am War God” highlight the band’s variety and sonic progression. The title track “Apotheosis” is a slow, howling homage mixing aggressive, shrieking vocals and melodiously grim anecdotes. Album closer “Enthronement” closes the metaphorical and musical bracket and provides the 52-minute piece with a venerable, instrumental conclusion. On Apotheosis, the band has built a flowing, epochal sound concept that combines explosive guitar/bass lines with thunder-fast drums, spiced with choral elements and leading into a heavy blend, which BORNHOLM present successfully in all kinds of variations from track 1 to 11.

Following the release of acoustic EP Letters To Our Former Selves – Acoustic late last year, Youth Fountain is excited to be back at it with new single “Peace Offering" “This track was written in the perspective of knowing you could never truly love or be loved by anyone before being comfortable with who you are as a person,” shares Tyler Zanon “No matter what positive aspects can come out of a relationship - if the foundation isn’t there of having that bare minimum of self love, things inevitably tend to tarnish.” As Youth Fountain prepares to move forward, the future perfectly mirrors the past. What began as a solo project by guitarist/vocalist Tyler Zanon in 2013 under the name Bedroom Talk eventually blossomed into a full-blown band by 2017, with the Vancouver-based Youth Fountain (then a duo) proudly announcing their presence with the debut single “ Grinding Teeth ” and a pair of Pure Noise Records releases that expertly toed the line between pop-punk fervor and more reflective emo moments.

CREATIVE CONTEXT ON SINGLE 1 - “Misery’s A Muse"
"I had a demo of a song Billy put together that he had no home for but decided to share with
me to get my thoughts on it. I happened to be in the studio with another band and took
advantage of some of the time I had blocked out to track vocals to this song idea for kicks.
What's interesting is the demo vocals is what made the cut on what would ultimately
become "Misery's A Muse". At this time there was no band, expectation or particular sound
we were going for. It's a snapshot of us accidentally becoming a band so we could have an
excuse to write more songs. It feels good to finally have an opportunity to share some of
these early workings, and lay the ground work for what we are doing next“ – Rick

CREATIVE CONTEXT ON SINGLE 2 - “Wedlock Waltz"
"Once the tone was set with the first demo, we pushed ourselves to make the most blistering
track we could with "Wedlock Waltz". I remember throwing three mics on my drums and
grinding a series of blast beats in odd meters to start the song. Brian (Sullivan) and I would
sit in my basement studio and pass the guitar back and forth until the we found the riff. We
wanted to keep it high energy and dissonant. Looking back I feel like this is the song that
really paved the way for where we were heading creatively." – Billy

BBE Music celebrates the centenary of recorded Ghana Highlife music with a double album reissue of two rare 80s LPs recorded by the late Atakora Manu, AFRO HIGHLIFE and OMINTIMINIM. Born in Toase, Ghana, a proud Asante, Atakoras musical talent made itself clear from an early age. But it wasn’t until his late teens that he put that talent to use as a performer, first founding the legendary Princess Trio from 1961 till 1963 with drummer Togas and multi-instrumentalist Elder Osei Bonsu. After a spell from 1963 till 1966 as guitarist with the United Ghana Farmers’ Council Drama Troupe, Manu teamed up with Moses Kweku Oppong to form the legendary Kakaiku No. 2 Band, producing a string of national hit singles over the following three or four years. There followed a three year break from music until fate struck: Atakora found a job in 1973 as Recording Studio Attendant- and later recording engineer- at Ambassador Recording Studios in Kumasi, at that time the country’s largest independent label. On seeing his musical talents behind the studio desk, it wasn’t long before the boss suggested to Manu that he get back to making music himself, an opportunity that he was quick to take up- as will be more than apparent from the hardcore, rootsy Highlife and palmwine selections reissued here. As well as long-time associates Togas and Elder Bonsei, local Kumasi legends CK Mensah, Amoako Agyeman, Agyei Kyeremanteng (of the famous Keyeremanteng All Stars) , and Atta Fofie lent a hand from time to time, along with a handful of other seasoned Ambassador studio session players. THE MUSIC A unique selling point here is the mix of vintage, rootsy ‘palmwine’ blues-style guitar Highlife with quirky keyboard electronics, a sound well-established today but revolutionary in the comparatively conservative world of 70s and 80s Highlife. This comes across beautifully in Dada and Cape Coast Cousin, the latter toasting off guitar licks with bubbling wah wah organ. We find a similar juxtaposition in Asante Kotoko, a shout-out to Kumasi’s champion soccer team, which also features some sweet ‘village’ drumming, and in Meka A Ensa..

Night Divine is a series of hymns covered by Brian Fallon. This is a project he's been wanting to create for a long time, inspired by his time singing in the church choir as a child: “These are some of the very first sounds I remember hearing as a child. My mother used to sing these hymns everywhere she went. I felt it was time for me to join in.” He finally got the opportunity to make the intimate record during lockdown, with background vocals by his mother. The lead singer of beloved heartland-punk band The Gaslight Anthem, Brian Fallon stepped away from that sound and into a more soulful singer/songwriter territory on his third solo album, Local Honey. Produced by Grammy-award winning producer Peter Katis (The National, Frightened Rabbit, Death Cab for Cutie), the album debuted at #1 Americana/Folk Album Sales, #2 Current Rock Albums, #3 Americana/Folk Albums, and #9 LP Vinyl Sales. It was largely praised as one of his best works, with Rolling Stone saying “Local Honey is as warm and comforting as its title, full of hooks and narratives that draw you in” (Best Country & Americana Albums of 2020) and Kerrang saying “No matter what side of the genre he sets his mind to, Brian always delivers the goods” (Best Albums of 2020).

Stix Records, a sub-label of Favorite Recordings, proudly presents Push Push, the new album by acclaimed producer
Taggy Matcher aka Bruno "Patchworks" Hovart (Voilaaa, Mr President, The Dynamics, Uptown Funk Empire,
Metropolitan Jazz Affair, Da Break, …). After the success of his previous LP Singasong, Taggy Matcher returns with 8
tracks exploring his wide range of Reggae & Dub influences, each time magnified by a fine crew of vocal guests as LMK,
Birdy Nixon, Alexandra Charry, Hawa, John Milk & Elodie Rama. With a great sense of authenticity, they all bring their own
touch to Taggy Matcher's compositions and covers. Always faithful to its inspirations, brilliantly produced, Push Push is
your new invitation to follow the Lion to Zion.
The album starts with "Push Push", a title already released last year as a vinyl single 7", in collaboration with rising
singer LMK, who you may know from her successful previous reworks on Taggy's last album ("No Love Allowed", "My
Man"). Sharing the same love for the early 80's Digital Rub A Rub productions, lyrics are about street harassment of
women… with a pinch of humor!
On "Little Things", Taggy invites old mate Birdy Nixon for a cover of an early rocksteady classic by Hemsley Morris.
With the vintage bounce we love combined with modern sounds and productions, the song is all about tenderness and
simplicity.
"Volvere Mañana", the song has this very cumbia hip move with the participation of gifted singer Alexandra Charry
from Cali in Colombia, where they both composed the song. Then, Taggy invited Boris Pokora to play the "gaita" local flute
to give the song its proper Colombian Caribbean coast flavor.
The album continues with "Two Dimes" featuring longtime collaborator Hawa (from Mr President to Mr Day and other
numerous projects). This shaky disco reggae rockers is all about getting ready for the party… but with two dimes only!
"Q Fashion" is a song full of wittiness and self-mockery wrote during the first Covid-19 lockdown. Parisian Soul singer
John Milk was stuck in Paris while Bruno was in Lyon. On this minimalistic digital reggae tune, they give the ingredients to
perfect your next quarantine outfit.
Discoish reggae tune "Get Enough" featuring Birdy Nixon has a simple and successful recipe: just mix a big dose of
Lovers with the same amount of Rockers and you've got this 100% soulful song.
On "Suit and Tie", Taggy and John Milk go Pop with this version of Justin Timberlake, that fits perfectly with John's
tender and mellow style.
Finally, Elodie Rama with Taggy Matcher pay tribute to Erykah Badu and her legacy to the Soul music scene at the end
of the nineties. The mood is jazzy, mellow and warm, with a tiny Lee Scratch Perry early 70's vaporous vibes.

Dark and yet still luminous, the new album of The Buttshakers, Arcadia remains true to
the spirit of soul : hope out of struggle, light out of fear; even when the cracks expose the
darkest side of humanity, soul music has always given us the assurance that out of this
chaos, a better day will come. A philosophy on which they built their discography and their
stage presence; founding principles that the group has always been faithful to: to awaken
the listener, to ignite the fire, to bring the dance.

Atomnation's 90th release is to be an album from long time associate David Douglas. He first appeared on the label in 2012 and now Escapism is a triumphant return across 10 tracks of deeply melodic and melancholic electronic music, with artwork by Menno Fokma.

David is a consistently high quality and prolific producer who has put out key albums like Moon Observations and Spectators Of The Universe, as well as vital EPs such as Mountain Pink and Royal Horticultural Society. He is an accomplished video editor who also edits documentaries while at the same time being an all encompassing producer. David finds inspiration in the majesty of the cosmos and the grandeur of nature and manages to capture the essence of that in his music.

This is an album that finds a perfect balance between heady underground sounds and more catchy pop tracks - an accomplished and adventurous album that takes you on an emotional ride through the ups and downs of everyday life, all with a delicate musical touch.

Recorded direct to acetate - all live, no overdubs - ‘Capitol Cuts - Live from Studio A’ captures a powerful moment in time.
After months of cancelled shows Black Pumas went to Los Angeles and laid down eight explosive tracks at the famed Capitol Studios.
The recording brims with pent up energy, nearly bursting through the grooves on the expansive and mind-blowing seven minute rendition of ‘Colors’. A few weeks later the song would receive a Grammy
nomination for Record Of The Year. Red vinyl LP in throwback jacket with centre hole.

We now have a superb new remix which has a very different feel to the original version thanks to Mac McRaw’s expertise in using his weapon of choice, the Emu SP1200 famed for that authentic much prized 12-bit grit. Plus, the original LP version now available on the recurringly popular 7” format.

Fellow Vinyl Veteran and regular AE designer Mr Krum has beautifully recreated the feel of early 90’s Electra Records sleeve artwork as to a nod to Grand Puba’s debut solo recordings, having already been a member of 2 sterling Hip Hop groups – Brand Nubian and prior to that Masters Of Ceremony.

Produced off the back of a profoundly inspiring trip to his homeland last year, Luigi Madonna crafts the pin-sharp ‘Italian Shocks’ EP. The Amsterdam-based artist is a key Drumcode contributor, who runs the label off the back of last year’s well-received collaborative EP ‘Mad World’ with Roberto Capuano.

The title track is brain-spangling, industrial and brilliant, characterised by a suspenseful narrative, which is typical of Madonna’s creativity in the studio. ‘This is the Future’ is crisp and rolling, an intelligent tool for every set. ‘Enveloping Times’ is punchy and hypnotic, an immense transcendental belter ready to be unleashed this summer. ‘Interfrequencies’ is an exhilarating rush to the head, as a killer bass synth and piston-like drums for a rave-ready finish.

On 19th August at 2PM BST, Ed Sheeran will announce his brand new album ‘=’ alongside an album pre-order. 14 tracks in length, the album will be released on 29th October 2021.

Ed Sheeran is an era-defining artist. Through his fusion of thought-provoking songwriting, universal pop and multi-genre influence, his rich tapestry is not only perfectly suited to his audience but it’s something that transcends generations.

Since surfacing on the UK circuit in 2010 with his ‘No.5 Collaborations Project’ – an eight-track EP featuring his favourite grime artists of the time – the Suffolk-raised recording artist has resonated with fans across the world through his peerless songcraft and versatility. And now, with four UK No.1 albums to his name – ‘+’ (2011), ‘x’ (2014), ‘÷’ (2017) and ‘No.6 Collaborations Project’ (2019) – he has sold over 55 million albums and 160 million singles across the world.

Most notably, Ed’s 2017 blockbuster release, ‘÷’ (Divide), saw Ed reign supreme as one of the most in-demand pop stars on the planet – a feat he has continued to sustain ever since. Crowned as the fastest-selling album, ever, by a male artist in the UK, the chart-shattering album housed a swarm of singles including ‘Castle on the Hill’, ‘Perfect’ and ‘Shape of You’, with the latter becoming Spotify’s most-streamed song of the last decade.

But it’s not just his recorded music that’s seen the former Glastonbury headliner become one of the sought-after artists of the 21st century either. Possessing a mystical ability to turn 90,000 capacity venues into the pub back-rooms that he first started playing in, Ed made history in 2015 after becoming the first-ever artist to play Wembley Stadium solo - without a band and with just his guitar and loop pedal - over three, consecutive sold out nights. Move forward to the summer of 2019 and Ed would re-enter history books after the completion of his mammoth two-year Divide tour, which would officially become the most-attended tour of all time after it culminated with special homecoming shows in Ipswich, Suffolk.

Ed Sheeran - who was awarded an MBE for his services to music and charity in 2017 - is the proud recipient of 1 x IFPI Award (best-selling global artist of 2017); 4 x Grammys; 4 x Ivor Novello’s; 6 x BRIT Awards (including two consecutive wins for ‘Global Success’ in 2018 and 2019); 7 x Billboard Awards + more.

At the end of 2019, Sheeran was presented with the Official Chart Company’s first-ever ‘No.1 Artist of the Decade’ award following a host of accomplishments in his native UK including the most No.1’s across the UK’s Official Singles and Albums chart from the years 2010-2019.

With sunshine, blue skies and good times on the horizon, Toolroom is ready to usher in the summer in a huge way with the brand new summer hit from Siege – ‘Reach Out’. Making his return to the label, Siege is back with a record that promises to steal the spotlight and your all-time favourite tune. Big favourite of Carl Cox, Alan Fitzpatrick and Adam Beyer, Siege has firmly planted his foot in the scene having released a selection of quality records already this year like, ‘Give It Up’ with Mark Knight, a collab with Eli Brown and a killer remix of Green Velvet and Technasia’s hit ‘Suga’.

Flawlessly proving just why he is one of the most exciting artists and producers out there in Dance Music right now, Siege flexes his talents on ‘Reach Out’. One of his best releases yet, Siege has reworked classic George Duke’s classic 1983 hit ‘Reach Out’ into the feel-good dance track of the summer. The track itself is pure ecstasy, from the sublime vocals and chorus melodies to the solid instrumentation of the record itself. Siege manages to retain every single drop of the feel-good magic that resonated throughout the original, reinvigorating the sound for the clubs of 2021.

The single also features a killer remix from Michael Gray and Dr Packer who bring their signature style and sound to the record, emphasising the Disco elements to a whole new level and an exclusive VIP edit from Siege himself. This is a euphoria laced Disco House record through and through, ‘Reach Out’ is a sure fire summer hit, classic in the making who has brought the infectiously catchy classic record back to life in a completely fresh and new way.

Carwyn Ellis from Cardiff/Wales is a singer, songwriter, composer, arranger, multi-instrumentalist and record producer. He fronts Colorama, formed the Welsh folk group Bendith and hosts a regular themed radio show on Soho Radio. In 2019, Ellis embarked on the first project under his own name, Carwyn Ellis & Rio 18. Sung in Welsh and recorded mainly in Rio de Janeiro, the album, "Joia!" was nominated for the Welsh Music Prize and followed by "Mas" in early 2020. The new album "Yn Rio" is a collection of new songs recorded in Cardiff together with The BBC National Orchestra Of Wales.

In 2017 Carwyn Ellis joined the touring line-up of The Pretenders. For Ellis, a record collector and fan of Brazilian music, the opportunity to tour South America would present opportunities he couldn't have possibly imagined when he accepted Chrissie Hynde's invitation. "The first place we went to was Rio and by the time I met Chrissie for breakfast the day after our gig, I already had a bag of albums I'd just bought. I'm sitting with her and she says, 'You should meet my mates, and do something in Welsh with them! Nobody's done a Welsh language album with Brazilian musicians?"

In 2018, when Alexandre Kassin, a leading light in that Brazilian scene announced a show in London, Hynde suggested that they see it. "I met him afterwards," Ellis recalls, "and we hit it off straight away." Within weeks, Ellis was on a plane to Rio with songs that would form the basis of the first album. This creative purple patch extended into another album released early in 2021 with Carwyn working once again with Kassin plus long-time friend Shawn Lee. The songs on "Mas" drew on the environmental threats that face both Wales and South America, spidering out around the central theme of water ("rains, no rain, droughts, rising seas and flooded valleys for corporate gain. We're screwed without it and screwed if there's too much").

With "Mas" recorded but weeks away from release, Ellis received a call from Gareth Iwan Jones, head producer of BBC Radio Cymru, offering a third album to be performed in March 2021. Ellis started to reflect upon the life-changing events triggered by his South American adventures. The Welsh word 'hiraeth' which describes the longing that Welsh people feel when they're far from home, was something that he was now beginning to feel for Rio de Janeiro: "'Yn Rio' is based around a day in Rio," he explains. "The events of 2020 influenced the record inasmuch as I wanted it to be a complete antidote to what was going on. If you couldn't go on holiday in real life, you could at least put this record on."

The first single "Olá!", incorporating Jorge Ben's spirit in the chorus and rhythmic breakdown, manages to sound languorous and euphoric. "Cariad, Cariad" was a Portuguese folk poem brought to Ellis' attention by Sonya from Quarteto em Cy and arranged by Christiaan Oyens. "Tristwch 20" is a nod to "Foot and Mouth 68" by Gorkys Zygotic Mynci from "The Blue Trees", 'one of the most beautiful albums of all time', while "Ynys Aur" is named after a 1929 book by Welsh missionary J. Luther Thomas written on returning from his travels to Papua New Guinea. With Kassin unable to participate, Ellis thanks him by translating his "A Paisagem Morta" to create "Y Bywyd Llonyd". For Carwyn Ellis "Yn Rio" is an extraordinary memorial to extraordinary times."There are some days so idyllic you just want tobe able to jump back into them at the touch of a button. That's what I was searching for when I was writing these songs."

ATIC Records proudly presents ‘Electric Union’, the all-new album from Niko.

Produced by Aim. Limited edition vinyl release of 200 units. Gloss laminated, 420g heavy card outer sleeve. Matt black poly-lined inner. Transparent / purple splatter wax. Shrink-wrapped. File under : Electronic, Synth, Dance, Chill

Soopasoul is a legendary name inthe UK funk scene. Originally known as a producer in electronic music circles, Danny Soopasoul stuck gold one day, putting together a band to record in a session where everything was played in live and loops and plug-ins were dropped in favour of real instruments and talented players. The final piece in the puzzle was realised when he stumbled upon on a local horn section so steeped in tradition and quality that it was immediately obvious they would bring the final magical ingredient to the table. Once they were brought in, the instant classic LP 'Twin Stix' was born.

Pleas for 7"vinyl singles from this revered album have been a constant since it's release. However calls for the album to make it's debut on vinyl too have gone unheard until now. This floor-shuffling, hip-swaying, jazz funk party monster is packed with funky beats and some seriously hefty signature brass action. Add the sassy vocals from ladies like Dionne Charles (Record Kicks /Tru Thoughts) and Sitzka, and you're guaranteed to discover that this gem of an album will be enjoyed for the foreseeable future.

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.

Stilleben Records is very happy to release their third EP with Kuldaboli from Reykjavik. I got an email from him and he said.. ''Hey Luke.. I found a USB with some old tracks on it. I think these are the first tracks I have ever made. Have a listen..'' And we did. Blown away by the real and pure sound Stilleben represent... Enjoy... Because these songs almost ended up in the trash can..! ITS MORE FUN TO COMPUTE

Tracks by Metacomplex, Dibu-Z, Vertical Dimension, KAN3DA, Patronen and Johan Inkinen. The Time Capsule project, also known as 808 Box, is a project created by Fundamental Records. The six boxes released in recent years include 56 records with over 300 tracks from artists from every corner of the world. Some warehouse copies have surfaced of the 5th 808 Box, and these will be available individually. These are new copies in perfect condition, with the original sleeves printed with the classic Roland TR-808.

Tracks by The Hacker, Darren J. Horgan, Digitek, Dvsnme, DJ Di'jital, Kind Human Being and Noise&Noise. The Time Capsule project, also known as 808 Box, is a project created by Fundamental Records. The six boxes released in recent years include 56 records with over 300 tracks from artists from every corner of the world. Some warehouse copies have surfaced of the 5th 808 Box, and these will be available individually. These are new copies in perfect condition, with the original sleeves printed with the classic Roland TR-808.

Tracks by Max Durante, Teslasonic, Kerg, Kitbuilders, Bolz Bolz and Negocius Man. The Time Capsule project, also known as 808 Box, is a project created by Fundamental Records. The six boxes released in recent years include 56 records with over 300 tracks from artists from every corner of the world. Some warehouse copies have surfaced of the 5th 808 Box, and these will be available individually. These are new copies in perfect condition, with the original sleeves printed with the classic Roland TR-808.

“ When I started working on the piece in March of 2020, I had only decided to record it in the way I wanted to. The coronavirus was spreading globally, and the situation was gradually changing into something very serious. With no gigs scheduled and hardly seeing anyone, I felt as if my spirit was in a slightly deeper place than usual during the production. I sat down in front of my equipment as if I were dropping a fishing line into a quiet lake. I kept feeling that something new was lurking beneath the water surface. I was trying to catch that something that seemed to be just out of reach, that floated in and out of sight like a speck of smoke. “ ＿Referenced from: Afterword of 7FO「Ran - Bouten」

2021 brings a new album by Osaka electronic musician / producer 7FO. This work is a departure from the recent global ambient / new age approach, and the unique sound aesthetic created using only hardware equipment is a new frontier of 7FO or a return to his origin. "Ran - Bouten" is a new electronic music album with a poetic sensibility using machines.Discovered by overseas labels such as RVNG intl., Bokeh Versions, and Metron-and with the release that followed EM Records in his hometown Osaka, it's like his personal folk craft that was once quietly played at his own pace. Music has reached listeners around the world. In recent years, he has been touring from a famous performance with Tapes at the Belgian "Meakusma Festival 2019" to a Japan-Korea tour. "Ran - Bouten" was born as a result of facing the sound alone without being asked by anyone to cool down the heat when the steaming and intense experience had settled down. Inside the cool electronic sound like a water bath, you can feel the maker's heart sending hot blood.Peep into the condensed universe of a home-recorded miniature world that looks like an independent production of unknown age. He was alone in a dark room, making full use of KAWAI's 1990 digital and FM synthesizers , tracing the shape of nature and resonating the micro and macro sound worlds. The Rhythm and melody that continues to the Paradise Pure Land, which floats in a dreamy atmosphere, is the true value of 7FO even without his guitar play.Mastering by Makoto Oshiro, which supports everything from home listening to club sound systems. Hiroaki Hidaka designed the jacket to make the image of the sound appear cool and friendly everywhere.

Pilgrimage of the Soul is the 11th studio album in the 22-year career of Japanese experimental rock legends, MONO. Recorded and mixed - cautiously, anxiously, yet optimistically - during the height of the COVID- 19 pandemic in the summer of 2020, Pilgrimage of the Soul is aptly named as it not only represents the peaks and valleys where MONO are now as they enter their thirddecade, but also charts their long, steady journey to this time and place. Continuing the subtle but profound creative progression in the MONO canon that began with Nowhere Now Here (2019), Pilgrimage of the Soul is the most dynamic MONO album to date (and that's saying a lot). But where MONO's foundation was built on the well-established interplay of whisper quiet and devastatingly loud, Pilgrimage of the Soul crafts its magic with mesmerizing new electronic instrumentation and textures, and - perhaps most notably - faster tempos that are clearly influenced by disco and techno. It all galvanizes as the most unexpected MONO album to date - replete with surprises and as awash in splendor as anything this band has ever done. MONO began in Japan at the end of the 20th Century as a young band equally inspired by thepioneers of moody experimental rock (My Bloody Valentine, Mogwai) and iconic Classicalcomposers (Beethoven, Morricone) who came be fore them. They have evolved into one of the most inspiring and influential experimental rock bands in their own right. It is only fitting that their evolution has come at the glacial, methodical pace that their patient music demands. MONO is a band who puts serious value in nuance, and offers signi ficant rewards for the wait. "glacial, metallic, all-consuming post-rock" - Stereogum ,Stunning, eloquent, emotionally gut-busting" - Pop Matters "it's the kind of album that's best played start to finish (and best played loudly), and that can truly suck you in and transport you to another world if you do so." - Brooklyn Vegan

Hier kommt das zweite Album der "Schnöselpunks" Wiener Zucker. Mit Hilfe von Paul Gallister als Produzent wurde ein weiterer Schritt in Richtung Headliner Konzert im Happel Oval gemacht. Üppig gezuckert sind in Österreich nicht nur Mehlspeisen. Auch Menschen und deren Sprache triefen bittersüß aus dem Schmelztiegel glorreich vergangener Tage. Eliten feiern fröhliche Urständ. Den Moment zu leben, heißt für einen Kahlenberger gepflegt auf das morgen zu defäkieren. Ob nun subtile Reichenkritik oder genußvolles Eintauchen in die Leichtigkeit des Seins der Upper-Class. Auch das zweite Kahlenberg Album wird diese Frage nicht erschöpfend beantworten. Zu vielschichtig bricht das Licht der einzelnen Zeilen. Der Wiener Zucker ganz offensichtlich aus purem Kristall.

Lily Konigsberg, Mitglied der beliebten Art-Rock-Band Palberta, lässt auf die Zusammenstellung ihrer frühen Solo-Aufnahmen mit dem Titel "The Best of Lily Konigsberg Right Now", die hauptsächlich aus Bandcamp- und Soundcloud-Veröffentlichungen stammen, nun ihr erstes richtiges Album folgen. Der Titel "Lily We Need To Talk Now" stammt aus einem Text, den sie vom Produzenten des Albums, Nate Amos von der Band Water From Your Eyes, erhalten hat. "Lily We Need To Talk Now" ist eine charakteristische, eklektische Sammlung von Popsongs, die in manchen Momenten an die gitarrengetriebene, punkige Atmosphäre ihrer Arbeit mit Palberta, an Dinge wie Sheryl Crow aus der Mitte der Achtziger und sogar an The Cure angelehnten Post-Punk erinnert. Ein Album, an dem Konigsberg seit 2016 langsam gearbeitet hat, indem sie die Songs im Laufe der Jahre überarbeitet und neu aufgenommen hat. Die elf Tracks umfassende Sammlung ist ihr erstes richtiges Album und durchweg eingängig, wie viele ihrer poppigen und klaren Indie-Rock-Songs, die sie in den letzten Jahren zu einer festen Größe im New Yorker Underground gemacht haben. Ihre Stimme dreht und wendet sich und umspielt ihre cleveren Wortspiele auf neue Art und Weise; es gibt Anklänge an Power-Pop, Pop-Punk und Downtempo-Introspektion, alles gespickt mit augenzwinkernden Ostereiern des Humors. Sie wird von vielen ihrer langjährigen Mitarbeiter unterstützt: Andrea Schavelli, mit der sie 2017 die Split-Scheibe "Good Time Now" veröffentlichte; Matt Norman, mit dem sie seit Jahren im Avant-Pop-Duo Lily And Horn Horse zusammenarbeitet; Paco Cathcart von The Cradle, der ihre 2020er EP "It's Just Like All The Clouds" produzierte; und Nina Ryser, mit der sie im gefeierten Art-Punk-Trio Palberta spielt. Aber es ist ihre Zusammenarbeit mit Amos, die die bemerkenswertesten Neuerungen mit sich bringt.

In 2012, Snarky Puppy booked their first European tour through Facebook posts, begging people to help find a bar they could play in. Years later, on November 14th, 2019, Snarky Puppy recorded their sold-out show from the iconic Royal Albert Hall in London, which will be their first official live release in almost 4 years. Featuring an extended line-up of 15 out of their 18 regular members, the record includes many tracks from their recent studio album, "Immigrance." "Live at the Royal Albert Hall" captures an interesting mix of new and old songs, illustrating their musical and artistic progression over the years. This record will be released digitally, along with a double CD and triple colored vinyl (band webstore only).

Audiophile 180g Vinyl-Reissue des zweiten Studioalbums "Goodbye Jumbo" (1990) der britischen Rockband World Party. Mit dem Singles "Way Down Now" und "Put The Message In The Box".

25 Sekunden Zeit zum Luftholen gönnen einem LYGO ganz am Anfang ihres neuen Albums, bevor "Schockstarre" losbricht, danach bleibt nicht mehr viel Zeit zum Atmen. Für 42 Minuten reißt "Lygophobie", das dritte Album des Bonner Trios, das inzwischen komplett in Köln lebt, mit. Aber es hätte ganz anders kommen können: Mit ihrer letzten Tour im September 2019 verkünden sie eine Pause auf unbestimmte Zeit - nicht etwa, weil sie sich auflösen wollen, nein, einfach um die letzten Jahre mal wirken zu lassen und Platz zu schaffen für den ganzen Kram, für den man sonst neben der Band kaum Zeit hat. Drummer Daniel nutzt die Auszeit, um sich ausgiebig mit Musikproduktion zu beschäftigen und ermöglicht es LYGO so, selbst Musik im Proberaum aufzunehmen. Neue Songs und Texte entstehen schneller denn je, denn im Jahr 2020 gibt es plötzlich wenig anderes zu tun, als zu schreiben. Die Songs des Albums entstehen letztendlich alle in einem 16qm großen Proberaum und werden auch dort aufgenommen. Wer schonmal einen LYGO-Song gehört hat, wird sich auf "Lygophobie" schnell zurecht finden. Hier muss auch nichts neu erfunden werden. Das Magische an Punkrock ist und bleibt doch, dass man auch mit nur einer Gitarre, Bass, Schlagzeug und klugen Texten diese große, komplexe Welt ein bisschen verständlicher machen kann. Wenn auch nur für drei Minuten am Stück. Doch natürlich haben LYGO seit "Schwerkraft" von 2018 auch Neues ausprobiert. In "Kommentarspalte" vertonen sie YouTube-Comments von Schlafgestörten und wagen Midtempo, in "Ufer" gibts endlich ein Gitarrensolo, "13 Stunden Schlaf" wird von einem Klavier eröffnet. "Lygophobie", das ist nicht etwa ein verunglücktes Wortspiel über die Angst vor sich selbst als Band. Es ist ein Begriff, über den LYGO zufällig stolperten: Es ist die übermäßige Angst vor der Dunkelheit. Und obwohl sich die Dunkelheit in all ihren Facetten durch das ganze Album zieht, ist "Lygophobie" alles andere als eine pessimistische Platte. Sie beschreibt eher den Weg zurück ins Licht, wie ihn auch die Artworks zum Album visualisieren. Das ist Punkrock, der so nonchalant zwischen AZ und Clubbühne reinknallt, dass man sich endlich wieder dran erinnert, warum einem diese Musik die Welt bedeutet. Die LP kommt mit schwarzem180 Gramm Vinyl, Gatefold Klappcover aus schwerem Coverkarton. Außerdem liegt der LP ein Download Code bei.

ASESINO (Spanish for "assassin" or "murderer") is an American deathgrind supergroup and a side project of Fear Factory guitarist Dino Cazares. The band has featured members of Brujeria, Fear Factory, Sepultura, Sadistic Intent, Possessed, Ministry, and Static-X. ASESINO sometimes play Slayer covers live, most notably "Angel of Death" and "Raining Blood". As with Brujeria, the lyrics are sung entirely in Spanish and with the same subject matter of death, violence and perversion. Guitarist Asesino describes the band as "the new Brujeria." Asesino also has the tendency of making satirical comments during the show, and when playing Brujeria songs, change the original lyrics to something more fitting. ASESINO made a guest appearance as a group of Mexican doctors in episode 57 of ‘Metalocalypse' on 'Adult Swim'. ASESINO : ‘Cristo Satanico’ is the band most incisive, uncompromisingly horrific piece of work, now available with plenty of Exclusive studio and live bonus tracks. The band has been working on a new album for a 2022 release date.

First ever vinyl edition of "Zeder" soundtrack, one of the best Italian thriller/horror movies ever!



The music composer is Riz Ortolani ("Mondo Cane" and "Cannibal Holocaust" stand out among his many works), here collaborating with director Pupi Avati for the second time: this soundtrack expertly blends electronic and symphonic music, the latter here consisting mainly of an orchestral string section often repetitive, hypnotic and insistent, that reflects the arrogance of the protagonist in continuing his research, no matter what the consequences could be. There is no shortage of funk-filled brighter themes and requiems, suspended songs full of tension and sudden vibe changes, melancholic melodies and eerie soundscapes.



"Zeder" is today a cult movie, released in theaters in 1983, at a time when hardly anyone dared to shoot anything that had to do with zombies. Pupi Avati went against the tide then, giving life to an atmospheric horror film set in a sunny Italian Romagna Riviera - a typical destination for cheerful summer holidays - which tells the discovery of ancient experiments by researcher Paolo Zeder on a special 'K terrain' that allow those buried there to return from beyond. Avati's stylistic approach, in which tension and fear arise from simply narrated situations instead of full-blooded scenes with a strong visual impact, finds here a perfect match with Maestro Riz Ortolani's score.

Long before John Brannon of Negative Approach cemented himself as a USHC icon, you
would hear rumblings about his pre-NA glam group, STATIC. Only a handful of people were
lucky/brave enough to see them live. Scenesters spoke of a tape but never seemed to have
one. Their most well-remembered song, Toothpaste and Pills, allegedly featured smashing
beer bottles against John’s mom’s basement wall as a percussion instrument. Could this be
real?

Fast forward to 2020 and a few months into the covid-19 lockdown, Brannon came across a
bunch of tapes he dug out of a box in his Mom’s closet - STATIC “DEMOS ‘78”, STATIC
“LIVE AT GROSSE POINTE SOUTH H.S.”, STATIC “LIVE AT PLEWA HALL”. Holy shit! The
legend is true! And best of all, STATIC rule!

John Brannon grew up in Grosse Pointe Park just a few blocks from the Detroit border. John
was always into music, but as soon as he heard T-Rex, The Stooges and Alice Cooper, he
was obsessed (and still is) and had to start a band to channel his obsessions. With the help
of neighborhood kid and collaborator Billy Daniels and a local drummer simply known as
“Red”, STATIC was born.

Before Negative Approach changed the face of punk and hardcore, before Laughing Hyenas
scared the world silly and blew everyone else off the stage and before Easy Action started
melting minds all over the world, there was STATIC. STATIC was real. STATIC was real as
shit.

Third Man Records is beyond ecstatic to be providing this long-missing piece of the
American Underground Music puzzle. We worked closely with John Brannon and Warren
Defever, one of Third Man Mastering’s resident wizards, to put together this essential
collection of demos and live recordings.

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.

Zenith Volt/ zēneTH vōlt: 1.Galaxy driven woke melodies for your thoughts and drive 2. Ethereal calibration against gravity burdened life

On TIMEKEEPER, Zenith Volt says: I am so inspired by the thought that at this very moment in time, our heels are stepping out of a past to be left forever in exchange for an unwritten future. The album TIMEKEEPER holds an amalgam of this heaviness and hope throughout. Each instrument, melody, and message has a self-reflective undertone. Speak from the heart, embrace the strange, and keep a clear head. While the past and future are overall inspirational waypoints, they are specifically stylistic ones as well. Timekeeper has a heavy retro/futuristic synthesizer tone and feel. Arpeggiating pulse and forward motion stitch each track together forging ahead through time itself.

Pulling sounds from retro and futuristic palates, Zenith Volt constructs an ethereal reality, attuned to the openness, enormity and unpredictability of the expanding universe; and the unknown that ever lies ahead.

Repress

Assembler Code - We've Felt This One Coming For A Minute Now. After An Unstoppable Run Of Releases Along Side Jensen Interceptor On Labels Such As Cultivated Electronics, Private Persons & Boysnoize Records, Ac Is Finally Flying Solo With This 4 Track Electro Assault Masterpiece 'mental Escape'.

Plugging Into The Title Track 'mental Escape', It's A Rugged Machine Driven Work Out Through Idm & Industrial Landscapes Formulated To Present His Vision Of Futuristic Electro Whilst Still Providing All The Nostalgic Rother & Drexcyian Nods We All Love.

Now That The Tone Has Been Set, 'simulant' Follows Suit. Entering The Celestial Sphere Via Some Haunting Sci-fi Strings, We're Slapped In The Face With Slamming Percussion Followed By A Relentless Acidic Modulated Baseline That Takes Us From One Planet To The Next At Light Speed.

The Journey Wouldn't Be Complete With Out His Old Partner In Crime Jensen Interceptor Coming On Board For A Ride. 'type 2' Is A Classic Case Of Past Meets Present. Scrapyard Industrial Groove Ready To Split Speakers At Your Next Warehouse Party Married With A Selection Of Classic Alpha Sounds To Keep All The Purists In Check.

The Thunder Continues To The Very End. If You're A Tape Saturation Fiend Begging For Your Next 808 Crack Hit, Prepare To Have Your Back Bent In Half With Euphoria As Soon As 'hal's Machine Tool' Is Injected Into Your Ears. In Short, 4 Minutes & 44 Seconds Of Hard Nasty Robotic Electro Booty Sweat.

The War On Drugs first studio album in four years, ‘I Don’t Live Here Anymore’. Over the last 15 years, The War on Drugs have steadily emerged as one of this century’s great rock and roll synthesists, removing the gaps between the underground and the mainstream, between the obtuse and the anthemic, making records that wrestle a fractured past into a unified and engrossing present. The War On Drugs have never done that as well as they do with their fifth studio album, ‘I Don’t Live Here Anymore’, an uncommon rock album about one of our most common but daunting processes—resilience in the face of despair.



Just a month after The War On Drugs’ ‘A Deeper Understanding’ received the 2018 Grammy for Best Rock Album, the core of Granduciel, bassist Dave Hartley, and multi-instrumentalist Anthony LaMarca retreated to upstate New York to jam and cut new demos, working outside of the predetermined roles each member plays in the live setting. These sessions proved highly productive, turning out early versions of some of the most immediate songs on ‘I Don’t Live Here Anymore’. It was the start of a dozen-plus session odyssey that spanned three years and seven studios, including some of rock’s greatest sonic workshops like Electric Lady in New York and Los Angeles’ Sound City. Band leader Adam Granduciel and trusted co-producer/engineer Shawn Everett spent untold hours peeling back every piece of these songs and rebuilding them.



One of the most memorable sessions occurred in May 2019 at Electro-Vox, in which the band’s entire line-up — rounded out by keyboardist Robbie Bennett, drummer Charlie Hall, and saxophonist Jon Natchez — convened to record the affecting album opener “Living Proof.” Typically, Granduciel assembles The War On Drugs records from reams of overdubs, like a kind of rock ‘n’ roll jigsaw puzzle. But for “Living Proof,” the track came together in real time, as the musicians drew on their chemistry as a live unit to summon some extemporaneous magic. The immediacy of the performance was appropriate for one of the most personal songs Granduciel has ever written.



The War On Drugs’ particular combination of intricacy and imagination animates the 10 songs of ‘I Don’t Live Here Anymore’, buttressing the feelings of Granduciel’s personal odyssey. It’s an expression of rock ’n’ roll’s power to translate our own experience into songs we can share and words that direct our gaze toward the possibility of what is to come.

Houndstooth präsentiert das zweite Album der Berliner Produzentin Lotic aka J'Kerian Morgan aus Houston, Texas, die als Mitglied des Berliner Janus-Kollektivs bekannt wurde, zwei Vulnurica-Remixes für Björk produzierte und 2018 ihr Debütwerk 'Power' auf TriAngle Records veröffentlichte. 'Water' ist eine zärtliche Meditation über Verlust und die Lebenskraft der Liebe. Die Stücke drehen sich um einen 808 Subbass, wobei Vibrationen und Brummen anstelle von Klarheit und Trennung treten. Die Drums werden zu einer pudrigen Wärme aufgeweicht, jedes Kapitel entfaltet sich wie ein symphonisches Klanggedicht. Einfühlsame Schilderungen von Liebesbeziehungen zu anderen und zum eigenen Ich, zu Herkunft und Identität, werden durch atemberaubende neue Ausdrucksformen ekstatischer Stimmen geprägt.

Overkill are an American thrash metal band, formed in 1980 in New Jersey. They are often called 'the Motörhead of thrash metal', based on their unique playing style, which was influenced by punk rock and the new wave of British heavy metal. They were also one of the first thrash metal bands to sign to a major label (having signed to Atlantic Records in 1986), and rose to fame as part of the genre's movement of the mid-to-late 1980s, along with the 'big four' (Metallica, Megadeth, Slayer and Anthrax) as well as Exodus and Testament. Overkill achieved their first mainstream success with their second studio album and Atlantic debut, Taking Over (1987) which acclaimed global praise & chart success. The band's next five studio albums were also on Atlantic —Under the Influence (1988), The Years of Decay (1989), Horrorscope (1991), I Hear Black (1993) and W.F.O. (1994) and were also successful on a global scale, making them one of the most successful East Coast thrash metal bands. Overkill now have nineteen studio albums under their belt and continue to tour the world to huge audiences still to this day.

Two-time GRAMMY-nominated guitarist and blues-rock titan Joe Bonamassa returns with a brand new studio album, 'Time Clocks', which will be released on October 15, 2021 via Provogue/Mascot Label Group. 'Time Clocks' is his 15th solo studio album and fifth in a row of all original material and sees him at his most ambitious and diverse yet as he continues to redefine and push the barriers of blues-rock. On the ten songs of 'Time Clocks' Joe mixes in a new progressive rock flavor. The artwork of 'Time Clocks' is by legendary graphic designer Hugh Syme (Rush, Aerosmith, Megadeth, Dream Theater, Flying Colors).

Two-time GRAMMY-nominated guitarist and blues-rock titan Joe Bonamassa returns with a brand new studio album, 'Time Clocks', which will be released on October 15, 2021 via Provogue/Mascot Label Group. 'Time Clocks' is his 15th solo studio album and fifth in a row of all original material and sees him at his most ambitious and diverse yet as he continues to redefine and push the barriers of blues-rock. On the ten songs of 'Time Clocks' Joe mixes in a new progressive rock flavor. The artwork of 'Time Clocks' is by legendary graphic designer Hugh Syme (Rush, Aerosmith, Megadeth, Dream Theater, Flying Colors).

LIMITED RED VINYL.

“I think my music provides space for me to say the things I can’t always say in real life.” says Virginia native songwriter and multi-media artist Corrinne James. “That’s what I love about songwriting—There’s room in music for all of the conversations that can’t exist in reality.”

While studying New Media and Cinematography at the University of Virginia, James created a secret Bandcamp under the alias Naomi Alligator, and began uploading her intimate home recordings online. Inspired by the sparse and confessional qualities of Liz Phair’s early portastudio recordings, James decided to create her own musical journal to share and process personal anecdotes.

Her modern folk production and poetic songwriting links the sounds of classic folk artists like Joan Baez and Steeleye Span to a 21st century context. James wrestles with guilt, purpose, and jealousy through vivid narratives in the songs that make up her vast self-releases. This fall, five years since her first upload and over a dozen releases later, James will share her new four-track EP, Concession Stand Girl, while making her debut on Carpark.

On the title track for Concession Stand Girl that opens the EP, James sings the inner monologue of an unappreciated ticket-taker at a high school football game. James plucks a sparkly banjo and sings details of the concession stand girl’s relationship to each of the spectators who must go through her to enter the game. “Although seemingly insignificant, the concession stand girl must interact with each spectator as they enter the football game. Despite being unable to physically see the game, inside of her head she narrates her relationship to the people at the game.” The track “Anywhere Else” sits in contrast to the rest of the EP, being the only song where James plays guitar instead of banjo.

The last song written for the EP, “Anywhere Else” describes the tense emotions that come from comparing yourself to others in the eyes of your partner. “The protagonist is convincing herself, as well as her partner, that she could leave at any moment. She doesn’t want to be taken for granted anymore.” “Big Blue World” is a touching closer to the EP, where James sings about finding her way back to the place that feels most like home. James examines the fleeting nature of ambition and asks what really creates the feeling of contentment. Describing the song’s lyrics James says, “You can achieve everything you want, but sometimes it doesn’t feel like anything compared to just feeling at home and feeling who you are deep down.”

Welcome to the world of Spöön Fazer!

This lost cold wave artist self-released a sought after 7” single in 1980 - Music 2 Dance 2 - and a 12” EP Sunset on Illuminated Records in 1982. In 2008 German label Anna Logue released an EP of unreleased songs that quickly sold out. Spöön featured on Cherry Reds Close To The Noise Floor compilation (2016) examining innovative U.K. electronica released between 1975 and 1984.

The music on these releases showcase Spöön's unique style that blended together art rock, drum machines, guitar, bass, washes of synthesisers and a compelling vocal style.
Spöön Fazer took to the stage over 30 times between 1980 and 1982 at venues ranging from the famous New Romantic haunt the Blitz Club to the Mind, Body and Spirit Festival at Olympia. He either appeared solo singing to pre-recorded music or with his backing band the In-Sect.

OM Swagger brings you a collection of material collated from Spööns personal tape archive. As well as tracks like Do Different Dances and Beat Dance Drumming that appeared on those hard to find recordings, we serve up unreleased tracks recorded between 1980 and 1982. Songs like Fall In Love With The East, Dancing In London, Samurai Dancing Party, Wish, Chan and Birthday show a more commercial side that never made it onto vinyl. These tracks are on a par with music released at the time by artists like Blancmange and John Foxx.

Aptly named Alternative Regression Therapy this 17-track compilation gives an insight into the lost world of Spöön Fazer detailing a career that started on a drum stool for punk band Whippets From Nowhere to a one-man crusade to enrich the cosmos with electronic music! Tracks like Michael, Row The Boat Ashore show that with the right backing Spöön might have
Continued over…
even hit the charts. Spöön even turned down the opportunity to become the drummer for the Thompson Twins just before they hit the big time.

It’s time to fall in love with Spöön Fazer.

Richard Ashcroft is set to release the new album ‘Acoustic Hymns Vol. 1’ on October 29th via RPA / BMG. The album features twelve newly recorded acoustic versions of classic songs from his back catalogue spanning both his solo career and his time with The Verve.



ABOUT



After lockdown was lifted, Richard decided to start the project as a way to reunite the community around him, bringing a selection of great musicians and old friends back together again. As the project took shape, they discovered just how varied their new approaches could be. Some of the arrangements proved to be timeless and remained similar to the originals, with years of experience and a new found passion that saw Richard’s vocals express a fresh empathy within their lyrics. Meanwhile, other songs took on a new shape in this stripped-back set-up.



The rebirth of the iconic ‘Bittersweet Symphony’ was an emotional moment for Richard. It felt particularly poignant re-recording a song that he had written almost twenty-five years ago, especially as it's now officially his composition after Mick Jagger and Keith Richards relinquished their writing credits to him.

Another big moment comes with the new version of ‘C’Mon People (We’re Making It Now)’, a duet with Richard’s old friend Liam Gallagher. The pair have often talked about recording or performing the song together since it was first released in 2000, and now it’s finally happened - the sheer energy and delight that they shared during the session is palpable as the new recording beams with a joyous feeling of optimism.



‘Velvet Morning’ is another track that has been transformed. The vocals on the original version, as featured on The Verve’s classic ‘Urban Hymns’, were sung via a megaphone that Richard had purchased from a car boot sale the day before the recording session. Now Richard’s vocal really shines as it unleashes the song’s full magnitude.



The biggest surprise on ‘Acoustic Hymns Vol. 1’ is the inclusion of ‘This Thing Called Life’, a song which Ashcroft has rarely played live. It was originally recorded with No I.D. in the USA as a highlight of his soul-tinged RPA & The United Nations Of Sound project. Now taken back to basics, the new arrangement reveals a song that feels perfectly at home alongside Richard’s most highly regarded work.



Produced by Richard with regular collaborator Chris Potter, the album features his regular live band boosted by some special collaborators. Wil Malone provides the string arrangements, which were recorded at Abbey Road Studios. In addition, Chuck Leavell (The Rolling Stones, The Allman Brothers) performs piano, Roddy Bloomfield leads the brass section, and Steve Wyreman (Leon Bridges, Vic Mensa) contributes acoustic guitar and backing vocals.



Richard Ashcroft recently announced details of four special shows, each billed as “An acoustic evening of his classic songs.” After quickly selling out two nights at London’s Palladium, he subsequently added two bigger shows at the Royal Albert Hall and the M&S Bank Arena in Liverpool to fulfill huge public demand for tickets. He will play:

Farewell covers a lot of ground across the span of its 26 songs and two-hour run time. Yet every moment is a reminder of why Minus the Bear were such an experiential live band. They were always pushing forward, evolving their sound, and finding new ways to balance brainy musicianship, pop worship, meditative sentimentality, and adrenalized fervor into their own signature concoction. Further bolstered by the mix of Matt Bayles and master job by Ed Brooks at Resonant Mastering, the album sounds like a fully immersive live experience. + RECORDED DURING MINUS THE BEAR'S 2018 FAREWELL TOUR + 2021 MARKS THE 20TH ANNIVERSARY OF THE FORMATION OF MINUS THE BEAR + MIXED BY MATT BAYLES (SOUNDGARDEN, PEARL JAM, MASTODON, THE SWORD) + MASTERED BY ED BROOKS AT RESONANT MASTERING (R.E.M., DEATH CAB FOR CUTIE, FLEET FOXES) + FIRST AND ONLY OFFICIAL LIVE RELEASE FROM MINUS THE BEAR + RETAIL EXCLUSIVE VARIANT ON CUSTOM OPAQUE GREY VINYL LIMITED TO 1,900 COPIES + 3xLP PACKAGE COMES IN TRIPLE GATEFOLD SLEEVE WITH SPOT INKS + 3xLP PACkAGE INCLUDES PRINTED INNER SLEEVES WITH METALLIC SPOT INKS + 3xLP INCLUDES A DOWNLOAD COUPON

The beast is back in black! And it‘s ready to crush the known boundaries of melodic metal!

Beast In Black, the international battalion of ground-breaking melodic metallers, is ready to blow your mind with their third album ominously titled ‘Dark Connection‘.
If you're into melodic and atmospheric heavy metal with an insanely catchy twist, this is the album you're looking for. There's no other creature like this walking the earth. None other bears these sharp edged riffs or piercing choruses. Not with these epic sci-fi, fantasy and cyberpunk stories to tell. Beast In Black is a wholly unique form of heavy metal evolution.
Dark Connection is an album which gathers all the elements from past, present and future of Beast In Black leader, Anton Kabanen. The raw melodic energy of early Battle Beast remains, but now Beast In Black are crafting their own sound within the genre thanks to the utilisation of wildly melodic guitars and multilayered synthezisers.

Remember the glory days of 80's metal? When you could spend hours and hours staring at the cover art of a heavy metal album as you start to discover what all the lyrics are about? Beast In Black is right there with you.Dark Connection is a deeply intricate heavy metal record. As you start to invest time into the songs, you’ll realise that there's something interesting happening at every layer, from the music to the cover art and also the lyrics. It's all tied up into one, to ensure the ultimate audio-visual metal experience.
”It's not a concept album in the traditional sense, but there are a few ongoing themes on the album. One of them might be familiar for fans of Beast-albums from even earlier than Beast In Black”, Anton teases.

”What if I told you that we're back in the world of cyberpunk? Indeed, there are tracks like Highway to Mars and Moonlight Rendezvous, which will let you into the cyberpunk worlds of the Armitage III anime-series and even some Blade Runner themes. In that sense we're back into the themes of the early Battle Beast albums.”
”Cyberpunk is all over the place on Dark Connection. You will feel it in the mood of the album, it's right there in the cover art and we have even carefully prepared a huge music video for you which is visually pure cyberpunk.”
Anton also gives his praises to insanely talented Beast in Black singer Yannis Papadopoulos, who delivers the best vocal performance of his career on Dark Connection.
”It's always a privilege to work with Yannis. He‘s one of those rare singers who can do anything! If he hasn't tried out something before, he figures out the perfect technique to do it in no time.He is a very physical and dedicated singer. He is ready to try 30 different takes on a song if he feels like that's what a perfect result requires. He doesn't just do one or two takes. He does as many as it takes!”
Thirteen songs, a mountain of irresistible melodies and influences from the retro roots of music to a plethora of futuristic themes and atmospheres. Every single song from Dark Connection could be a single. Beast in Black could create a music video for every last track. That's just how much dedication and passion has been immortalised in these songs.

All these moments on Dark Connection won't be lost in time, like tears in rain. Beast is Black has created a lifetime heavy metal exprience. Are you ready to face this eternal beast?

The beast is back in black! And it‘s ready to crush the known boundaries of melodic metal!

Beast In Black, the international battalion of ground-breaking melodic metallers, is ready to blow your mind with their third album ominously titled ‘Dark Connection‘.
If you're into melodic and atmospheric heavy metal with an insanely catchy twist, this is the album you're looking for. There's no other creature like this walking the earth. None other bears these sharp edged riffs or piercing choruses. Not with these epic sci-fi, fantasy and cyberpunk stories to tell. Beast In Black is a wholly unique form of heavy metal evolution.
Dark Connection is an album which gathers all the elements from past, present and future of Beast In Black leader, Anton Kabanen. The raw melodic energy of early Battle Beast remains, but now Beast In Black are crafting their own sound within the genre thanks to the utilisation of wildly melodic guitars and multilayered synthezisers.

Remember the glory days of 80's metal? When you could spend hours and hours staring at the cover art of a heavy metal album as you start to discover what all the lyrics are about? Beast In Black is right there with you.Dark Connection is a deeply intricate heavy metal record. As you start to invest time into the songs, you’ll realise that there's something interesting happening at every layer, from the music to the cover art and also the lyrics. It's all tied up into one, to ensure the ultimate audio-visual metal experience.
”It's not a concept album in the traditional sense, but there are a few ongoing themes on the album. One of them might be familiar for fans of Beast-albums from even earlier than Beast In Black”, Anton teases.

”What if I told you that we're back in the world of cyberpunk? Indeed, there are tracks like Highway to Mars and Moonlight Rendezvous, which will let you into the cyberpunk worlds of the Armitage III anime-series and even some Blade Runner themes. In that sense we're back into the themes of the early Battle Beast albums.”
”Cyberpunk is all over the place on Dark Connection. You will feel it in the mood of the album, it's right there in the cover art and we have even carefully prepared a huge music video for you which is visually pure cyberpunk.”
Anton also gives his praises to insanely talented Beast in Black singer Yannis Papadopoulos, who delivers the best vocal performance of his career on Dark Connection.
”It's always a privilege to work with Yannis. He‘s one of those rare singers who can do anything! If he hasn't tried out something before, he figures out the perfect technique to do it in no time.He is a very physical and dedicated singer. He is ready to try 30 different takes on a song if he feels like that's what a perfect result requires. He doesn't just do one or two takes. He does as many as it takes!”
Thirteen songs, a mountain of irresistible melodies and influences from the retro roots of music to a plethora of futuristic themes and atmospheres. Every single song from Dark Connection could be a single. Beast in Black could create a music video for every last track. That's just how much dedication and passion has been immortalised in these songs.

All these moments on Dark Connection won't be lost in time, like tears in rain. Beast is Black has created a lifetime heavy metal exprience. Are you ready to face this eternal beast?

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.

With their highly acclaimed 2016-debut album
‘Hipster Fister’, French heavy stoner rock & roll
band Goatfather (from Lyon) quickly took the
heavy rock scene by storm and shared the stages
with acts like Stoned Jesus, Mars Red Sky and
Planet Of Zeus, to name just a few.
 Their filthy blend of high voltage southern rock,
groovy heavy metal and powerful stoner rock takes
you on a wild ride, and Goatfather’s new album will
show no signs of slowing down on that trip.
 For fans of High On Fire, Spiritual Beggars, Down,
Witchcraft, Orange Goblin.

With ‘Harmonizer’, his first album in two years, Ty Segall glides
smoothly into unexpected territory, right where he likes to find
himself. Responding to the challenge his new songs gave him: a
synth-tastic production redesign, Ty kicks back with bottom-heavy
creativity, dialling up a wealth of guitar and keyboard settings to do
the deed.
 ‘Harmonizer’ is a glossy, barely-precedented sound for him, and
truth, it enraptures the ear - but in Ty’s hands, the sound is also a
tool that allows him to cut through dense undergrowth, making for
some of his cleanest songs and starkest ideas to date.
‘Harmonizer’’s production model couches tightly-controlled beats
in thick keyboard textures, with direct-input guitar signal whining
and buzzing purposefully from left to right.
 The Freedom Band appear all over the record, but often one at a
time, their contributions leaving a distinctive footprint on the
proceedings wherever they appear. Operating in this airtight
environment with an eye towards precision, feel, and explosive
mass, Ty’s crafted a formidable listening encounter - and once you
get between the lines, the need to know more grows more
compelling with every song.
 The first recording to be released from Ty’s just-completed
Harmonizer Studios, ‘Harmonizer’ benefits from a collaboration
with Cooper Crain, who co-produced the album with Ty. The Venn
diagram of these guys unites them in DIY/punk dyed-in-thewooldom; Ty’s propers you know, but Cooper’s own unique
journey in rhythm, minimalism and DIY (as heard on his
productions with CAVE, Bitchin Bajas and Jackie Lynn) mines the
depths around Ty’s peerless vocal attack and aid in the latest
chapter of his never-ending search for unfathomably corrosive
guitar sounds.
 Bursting with transcendent energy, ‘Harmonizer’ is an extension of
the classic style of ‘Emotional Mugger’ and ‘Sleeper’, revisiting the
lonely days and loathsome nights of the alienated, grown-upwrong soul, to make it all right in the end.

With ‘Harmonizer’, his first album in two years, Ty Segall glides
smoothly into unexpected territory, right where he likes to find
himself. Responding to the challenge his new songs gave him: a
synth-tastic production redesign, Ty kicks back with bottom-heavy
creativity, dialling up a wealth of guitar and keyboard settings to do
the deed.
 ‘Harmonizer’ is a glossy, barely-precedented sound for him, and
truth, it enraptures the ear - but in Ty’s hands, the sound is also a
tool that allows him to cut through dense undergrowth, making for
some of his cleanest songs and starkest ideas to date.
‘Harmonizer’’s production model couches tightly-controlled beats
in thick keyboard textures, with direct-input guitar signal whining
and buzzing purposefully from left to right.
 The Freedom Band appear all over the record, but often one at a
time, their contributions leaving a distinctive footprint on the
proceedings wherever they appear. Operating in this airtight
environment with an eye towards precision, feel, and explosive
mass, Ty’s crafted a formidable listening encounter - and once you
get between the lines, the need to know more grows more
compelling with every song.
 The first recording to be released from Ty’s just-completed
Harmonizer Studios, ‘Harmonizer’ benefits from a collaboration
with Cooper Crain, who co-produced the album with Ty. The Venn
diagram of these guys unites them in DIY/punk dyed-in-thewooldom; Ty’s propers you know, but Cooper’s own unique
journey in rhythm, minimalism and DIY (as heard on his
productions with CAVE, Bitchin Bajas and Jackie Lynn) mines the
depths around Ty’s peerless vocal attack and aid in the latest
chapter of his never-ending search for unfathomably corrosive
guitar sounds.
 Bursting with transcendent energy, ‘Harmonizer’ is an extension of
the classic style of ‘Emotional Mugger’ and ‘Sleeper’, revisiting the
lonely days and loathsome nights of the alienated, grown-upwrong soul, to make it all right in the end.