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Earl Sweatshirt and The Alchemist surprised both the music and media landscapes at large with the initial August release VOIR DIRE, which arrived with the exciting lead single, "Sentry" ft. MIKE. As the anticipation for the album in its entirety continued to grow, the second DSP-accessible track, "The Caliphate" materialized alongside the release of its visual, featuring Vince Staples. Today marks the official release of the entire album in its original form and sequence — with two previously unreleased tracks including "Heatcheck," and "Mancala," the latter of which features Vince Staples for his second appearance on the album.

Supporting the album’s release, the duo is trekking an 11-stop tour spanning the month of November featuring Earl Sweatshirt and The Alchemist performing together with support slots from MIKE & Black Noi$e.

The Alchemist initially hinted that they put out a secret album on YouTube under a fake name but four years went by without any fans discovering it. Fast forward to this summer, a new series of clues led fans on a scavenger hunt that unearthed VOIR DIRE, the long-rumored and highly-anticipated album from Earl Sweatshirt and The Alchemist.

Hot Creations recruits Italian duo ItaloBros as the pair deliver three vibrant tracks across their latest EP, ‘Gosadera’

Hailing from Scalea, Italy, ItaloBros have been riding the wave of success, captivating dancefloors worldwide at venues like Ushuaia Ibiza, Motion Bristol, and PM Open Air in Buenos Aires and boasting releases on Circus, Material and Knee Deep In Sound, amongst others. With 2022 seeing the pair team up with Jerëmie for the release of their single 'Attention' on Hot Creations sister label' Hottrax, February now sees the duo step into the limelight as they drop their solo debut EP on the renowned Hot Creations with a trio of blazing tracks across 'Gosadera’.

Already becoming a mainstay in Marco Carola’s sets, ‘Gosadera’ kicks off with an orchestra of vibrant
trumpets and lively bongos layered on top of a relentless, grooving bassline. Next, ‘Story’ takes on their old-school roots, teasing lush piano chords complete with vibrant, punchy drums. Closing out the EP, ‘Amira’ showcases a deeper, sultry vibe with alluring male vocals at the core.

Multi-instrumentalist, producer, and composer Yussef Dayes releases The Yussef Dayes Experience (Live from Malibu), featuring music from his critically acclaimed debut solo album, Black Classical Music. Dayes is joined by his longtime collaborators Rocco Palladino, Venna, Elijah Fox, and Alexander Bourt on the new release, which was originally shared as a live-performance video filmed in the Malibu mountains last year and is available on YouTube.

Musique Infinie is the collaborative project of Manuel Oberholzer a.k.a. Feldermelder and Noémi Büchi.Their album »Earth«, released through the Hallow Ground label, is based on a spontaneously composed live score for Alexander Dovzhenko’s groundbreaking 1930 silent movie »Zemlya« (»Earth«) created for the 24th edition of the VIDEOEX festival for experimental film.

Frequently cited as a masterpiece of early 20th century filmmaking, the movie deals with the collectivisation of Ukraine’s agriculture. The Swiss duo complemented it with atmospherically rich electronic soundscapes that are both deeply immersive and highly evocative. As a stand-alone music release, the two-piece »Earth« album captures the essence of Büchi and Oberholzer’s collaboration that is marked by mutual trust and musical versatility that puts them in a state of »togetherness trance,« as they call it.

Oberholzer has been highly productive as a composer, musician, sound designer, and installation artist in recent years, releasing a slew of solo albums as well as a variety of collaboration records with artists such as Sara Oswald and Julian Sartorius. Büchi has recently debuted as a solo composer and sound artist working with electroacoustic techniques to create a »symphonic maximalism for the end of the world,« as she dubs it.

Both are prolific and versatile artists with a penchant for working conceptually, however their collaboration as Musique Infinie is an improvisational and thus by design an intuitive one.

Their sessions start with an exchange on emotions and thoughts rather than theoretical questions or aesthetic debates. When they get to work—often for several hours—they rarely talk.

They approached »Earth« the same way, improvising freely together and using only a few select samples from the film’s original score in the process. Their open-ended approach is marked by an aesthetic ambivalence that perfectly corresponds with the movie’s own inherent contradictions.

Dovzhenko approached his socio-political subject with poetic imagery and philosophical rigour, juxtaposing notions of traditionality with the depiction of modernity.

Büchi and Oberholzer accordingly work with motives that at o ce seem anthemic and elegiac, working with sounds and musical motives that evoke a sense of familiarity in one moment before transforming into something futuristic and uncanny in the next. Their score for »Zemlya« is not to be understood as a mere interpretation of the movie, but rather a re-narration or even re-negotiation of its aesthetic and emotional qualities under their very own terms. »Earth« is an album that concisely depicts what is at the core of the duo’s musical partnership

Remastered and first worldwide release (previously only limited availability in Iceland) Since first bursting onto the global punk scene in 2018, Icelandic trio GRÓA have thrilled audiences across the world by fully embracing an unruly freedom. Made up of sisters Hrafnhildur Einars Maríudóttir (aka Hrabba, age 22) and Karólína Einars Maríudóttir (aka Karó, age 20) and their childhood friend Fríða Björg Pétursdóttir (also 22), the Reykjavík-bred band merge elements of post-punk and noise-rock and art-pop with absolute abandon, arriving at an explosive yet magnificently arranged sound unlike any other. A local favorite, the Icelandic government has recently been sponsoring worldwide travel to share GRÓA with the rest of the world and in 2023 they have played shows around the world including in UK, Western and Eastern Europe as well as USA dates including Washington DC, Seattle, Chicago and New York City. They have recently recorded an in studio performance at KEXP which will be broadcast worldwide in January 2024 and more worldwide touring is planned for early 2024 to support the vinyl and CD releases. Listing iconoclasts like Sonic Youth, PJ Harvey, and Bikini Kill among their longtime inspirations, the Icelandic punk band GRÓA pursued their experimental impulses with more intensity and confidence on Í Glimmerheimi, matching the album’s shapeshifting sound with a surrealist but emotionally potent form of lyrical storytelling. “It’s about a girl who’s trying to escape the world she’s stuck in—this glitter world that looks so good on the surface, but it’s not where she’s meant to be,” says Karó in discussing the album’s concept. “There’s a song called ‘Jetpackstelpan,’ or ‘Jetpack Girl,’ where she leaves the world on a jetpack and flies away to the moon, and she’s never coming back again.” Opening on the kaleidoscopic rhythms and rowdy call-and-response vocals of “Fullkomið” (“Perfect”), Í Glimmerheimi brings that narrative to frenetic and dazzling life, ultimately closing out on “Skrímslið er að ná þér” (“The monster is getting you”): a serpentine and strangely mesmerizing epic whose swirling textures, otherworldly vocals, and sparse yet complex guitar tones illuminate the immense scope and depth of GRÓA’s artistry.

Mal-One’s new single ‘When The Two 77’s Clashed’ talks about that heady time back in 1977. The year the Rastafarian faith also picked up on a biblical quote that told of an apocalyptic time coming in the year the two 77’s clash in 1977.

Well it was definitely a heady year for the punk movement that also coincided with the release of The Clash’s debut album. Mal-One describes the bands rehearsal rooms where they created the songs and whose entrance supplied the cover shot for the album cover itself. A machine gun splatter through the songs on the album and the meanings they reflected to all our lives. Hope you enjoy the ride back in time, an important time that as the lyric of the songs points out… ‘It even says it in the Bible’…..

Danielle Boutet’s P »Pièces« is a mysterious artifact of Quebecois marginalia, self-released in 1985. Moving from languid ennui to high drama, »Pièces« is a dreamy gestalt, an album that borders Chanson, spoken-word, jazz noir, and minimalism, conjured from the chasm between acoustic and electronic realms. »Pièces« allows us a window into the highly intimate songcraft and compositional skill of an artist who longed to linger not in the public eye, but in relation with others and the world around her.

Born in Quebec City, Boutet studied music at the University of Montreal, where she focused on composition and percussion, before becoming involved in Montreal’s feminist and lesbian art scene. Primarily written, performed, and recorded by Boutet, with voice, guitar work, and technical assistance by Sylvie Gagnon, Pièces was created during a paradigm shift in home recording. Originally composed for the piano, Boutet and Gagnon utilized a consumer-friendly Tascam 4-track Portastudio and versatile Yamaha DX-7, alongside guitar, bass, marimba, and the human voice, to expand and contemporize the original composition’s scope.

Inspired by prog rock and British poet and musician Anne Clark, »Pièces« translates Boutet’s influence by moving between sunny, wistful fairytale and dark, wintry dirge. Filled with longing marimba, vertiginous, startling synth pads, and folk guitar, each track on Pièces offers a wholly unique proposition. Some are modal and rife with the ethereal psychological tension of a sci-fi soundtrack, while others are more like entering a smoke-laced lounge, the entertainer embodying seduction.

With the sprechgesang of artists like Serge Gainsbourg, there is an intense intimacy to Boutet’s delivery, sometimes as if she is performing for an audience of one. As one lyric goes, translated to English from French: “Like holograms/ Images from a world/ That inhales souls/ And exudes drama.” Another song contains an excerpt from The Tao of Physics: “The eastern sages specify clearly that they do not identify an ordinary void, but rather, a void having an infinite creative potential.”

To English-language audiences, the album’s title, »Pièces«, might seem to simply refer to the eleven different pieces. The title can also, of course, refer to parts of a larger whole, but Boutet is keen to point out that there is also another meaning: In French, a pièce is a room. On the cover of the original cassette, Boutet is seen sitting on a chair, alone in an empty apartment, a cable snaking at her feet. Listening to »Pièces« is like entering eleven different rooms: whether a study encased in shadow, a greenhouse left to wither in an eternal frost, or a divine nave.

Boutet sold a few dozen copies around Montreal, a scene mostly occupied by the new wave explosion de rigueur, but the inclusion of Pièces in the 1987 issue of Ladyslipper—the North Carolina-based mail order catalog that championed women musicians of all calibers and careers—led to more exposure throughout North America. “In the catalog,” Boutet says, “they included it in the New Age section, but I was, and still am, aware that this album is relatively unclassifiable.”

Boutet would release one more album, titled Musiques Urbaines, before getting pulled in the direction of interdisciplinary art and theory. “Although I never stopped making music, I lost all interest in public diffusion or performance,” Boutet says. Despite her departure from performance and publicly releasing music, she left behind a strange and enthralling document of Montreal’s 1980s feminist fringe, an aural document of the historic moment when self-recorded music and its practical potential became a prismatic reality.

Danielle Boutet’s Pièces arrives February 16, 2024 as part of uncommon¢ (“uncommon sense”), an open-ended, serialized endeavor from Freedom to Spend that provides new meaning for rarefied recordings from music’s outermost fringe.

Lazy Sunday’s first LP “Another Summer” is what bassist KT Austin has called a “90’s nostalgia pop-punk” record about love. The band says, "This record is all about big feelings from the past, present and future. Big firsts, big lasts, and letting go.” Songs like Differentiation and Flutter bust out of the gate with classic pop-punk tempos layered with singers Rani Gupta and B Okabe’s dreamy melodies. The album’s finale, Closer, reveals Lazy Sunday’s ability to play slower, spacier songs and showcases the production work of drummer Jeremy Dunlap.

"Another Summer" by Lazy Sunday includes the following tracks: "Long Con", "You Said", "Peaches", "For An Old Friend" and more.

One of the summer’s anthems, Popular, taken from the HBO series The Idol, features non other than Madonna and for the flip we go back to 2016 and the title track of the multi platinum

LP Starboy featuring French superstars Daft Punk – both tracks killer and intro/outros added with the DJs in mind – this is likely to be a popular one!

If Talk Show’s exhilarating full-length debut, Effigy, feels more like a film than an album, that’s no coincidence. The band crafted the collection to soundtrack to a fictional nightclub. “One of the biggest influences on this record was the intro to the movie Blade, where this character’s being dragged through a meatpacking plant and into the vampire rave,” says frontman Harrison Swann. “There’s so much tension and anticipation and intimidation in that scene. We wanted to create the kind of music we’d play if we were performing in that club, to put ourselves into that scene and see how far we could push it.” With Effigy, Talk Show do more than just push their sound; they completely reinvent it. Produced by Remi Kabaka Jr., of Gorillaz, the record offers up a bold and exhilarating showcase for the band’s dramatic evolution, drawing on everything from The Chemical Brothers and The Prodigy to Nine Inch Nails and The KLF as it taps into a raw, primal sound at the intersection of techno, electronic, industrial, and rock music. The songs are dark and gritty, fueled by blistering guitars and explosive drums, and Swann’s vocals are nothing short of hypnotic, leaning on repetition and restraint to reach for transcendence in the midst of swirling sonic chaos. The result is an immersive, multi-sensory experience, one that conjures up a dark, sweaty warehouse packed with moving bodies all radiating heat and desire, anxiety and release, ecstasy and desperation

Sydney, Australia- Melodic metalcore band BLOOM have announced new album Maybe In Another Life, out 15th February 2023- their first for new label, Pure Noise Records. Alongside the announcement is the release of the title track of the record, Maybe in Another Life. The track speaks to the anxiety that can be buried in fantasy. The lyrics contrast the experience of a sordid existence and the indulgence of what could have been, and what could be. The song moves from a dreaminess desire to a lament on the harshness of reality, the voice in the song is “Lost in the fantasy, Of being anyone but me.” The listener is left with a sense of longing at the climactic moments of the track, with soaring, symphonic instrumentation that fuels the words “ Let me start again, I'll make it count this time, Can I start over? Maybe in another life” "The song speaks to the characters anxieties and their methods of distracting through fantasy." says the band. "The lyrics contrast the experience of a sordid existence and the indulgence of what could have been. The song touches on a desire to lament on the harshness of reality. “Lost in the fantasy of being anyone but me”. The listener is left with a sense of longing at the climactic moments of the song with soaring, symphonic instrumentation that fuels the words “Let me start again, I’ll make it count this time. Can I start over? Maybe in another life”.

London soul star Jordan Mackampa returns with a new album titled Welcome Home, Kid! out 16 February 2024 via AWAL. This new music sees Jordan come back to his love of R&B, soul, funk and gospel with references to Dru Hill and Blackstreet, producing a new sound that nods to his earlier soundcloud works and the nostalgia of his childhood. It's brazen and bold and presents an incredibly assured artist that is no longer afraid to show off their Blackness, queerness, or sexual expression in all their forms. Getting to this place has taken Jordan decades of growth, patience & gruelling lessons to reach this state and now he can stand in his Blackness proudly. This album tells the story of how he got to this place of self-worth and the stories of the varying complex but beautiful perspectives about the Black experience. He is open and honest about sex, intimacy, imposter syndrome and how he navigates healthy love, toxic heartbreak, friendships and forgiveness. The core theme of this record is introspection with Jordan explaining, “This was a big theme for me in writing a lot of these songs because no one else has lived life in my shoes, I really had to take other peoples’ opinions & stories out of the writing and put myself at the forefront of everything. Which in turn, made me put the guitar down more and stand centre stage naked in a way. This new album for me feels even more personal now - I use more self language of “I” over “we” because all of these stories are about me and my life in even more depth than the first record touched upon, whilst covering more bases either through my own first person story telling of something current I’m dealing with or a past situation I’m using music to heal through. The debut was me figuring out shit, this album is me putting the last puzzle piece on the board.”

Limited pastel red LP version! 2022 RZA LP, who reprises his own Bobby Digital Production Persona for this one, produced in association with DJ Scratch. Back in 1998, RZA had already cemented his status as Wu-Tang Clan's man behind the boards, producing the entirety of the group's respective solo albums. But when it came to his own breakout moment, the producer opted to introduce the world to Bobby Digital, a cartoonishly hedonistic mad-rapping alter-ego and grew so fond of the character that he released another album under the moniker before finally delivering 2003's Birth of a Prince as the RZA. Now it seems Bobby Digital is back in the picture and potentially set square up with his host. On Friday, RZA announced a new album, RZA vs. Bobby Digital, with the release of the hard-hitting new single, "Saturday Afternoon Kung Fu Theater." According to a press release, production on the album is handled by DJ Scratch. "Giving Scratch the reins as a producer and me taking the reins as an MC, that's what frees me up creatively and lets me play more with lyrical gags and lyrical flows because I don't have to be focused on everything," the producer noted in a statement. The new single marks the second Bobby Digital drop of the year, following "Pugilism," which was slated to be featured on the long-rumored project, The Cure, but seems to be a part of another upcoming collection of songs under the moniker titled Digital Potions. However, neither of those projects have a firm release date at the moment.

2024 Repress

Get Up! Time to release this beast on 7".

Breakwater’s earth-shattering “Release The Beast” is unquestionably the standout song from their 1980 funk masterpiece LP Splashdown. It also came out as a now-hen’s-teeth-rare 7" in the same year and when it came to putting it out as a 7" again we just had to do it in a miniature version of the Splashdown sleeve. It’s one of the best album cover shoots of all time.

For the b-side, we’ve backed Breakwater’s biggest track with Be With’s favourite: the quietly majestic gem “Let Love In”, another winner from the same LP.

Possessing a sound and a feel that was lightyears ahead of its time, “Release The Beast” is a showcase for Breakwater’s phenomenal power-funk capabilities. The energy is astounding. It rips out of the grooves on a deep funk tip, with speaker-smashing, room-shaking drums competing with distorted funk-rock guitar, bumping bass and space-age synths. But it’s not without its compellingly haunting elements too. What else can we say? It’s a genius piece of music.

And, yes, of course this is the tune Daft Punk sampled for their 2005 track “Robot Rock”. Let’s be blunt, they lifted the Philly act’s funk-rock vamping pretty much wholesale. But to be fair to them we wouldn’t have messed with the perfection of the original either and those Parisians shone a much-needed spotlight on an innovative band from the halcyon period of post-disco funk.

On the flip, “Let Love In” is a smooth, easy glide that demonstrates Breakwater’s superb, sophisticated musicianship. The tight horn section and irresistible bass make for an undeniable groove. However, it also reveals a depth to their lyricism that’s often overlooked. In these dark days, the sentiment of the opening lines is truly one to we should all take to heart:

“It feels good to be friends with everyone, Walk around and the feeling’s in the air, No more hate can’t you see, This is really for me.”

A feel good hit for the summer if ever there was one.

Remastered for this vinyl reissue, we’re delighted to present this modern soul double-sider. Essential in every way.

2023 Repress

Frank Maston’s Tulips is a sample-ready film score to the best 70s movie never made. Originally a super-limited self-release on his Phonoscope label in late 2017, Tulips has already become incredibly sought-after. Be With were introduced to Maston by mutual friends Aquarium Drunkard and it didn’t take long before we decided this modern classic deserved a reissue.

Inspired by the deep-grooving soundtracks of Italian cinema - think Morricone, Umiliani and Alessandroni - Maston conceived the entire Tulips project as a continuation of these revered works. Frank designed the artwork and made two 16mm films to accompany the music: “It wasn’t just the LP… it was kind of a whole vibe I was trying to create. Not really trying to emulate the things that influenced me but more trying to make something that could sit alongside those records on a shelf. I’m still very proud of the project.”

There’s a distinct library music feel too, with wiry organ, spacey keyboards and loping 60s guitar hinting at KPM and DeWolfe. Like the best library music, Tulips creates a cinematic universe through sound alone, evoking moving images in the listener’s technicolour imagination. It turns out that was accidentally on purpose: “I was discovering a lot of library music for the first time… listening to a composer’s entire catalog or finding all this obscure stuff. I wasn’t entirely conscious of the influence until I started making this music and realized I was channeling the vibe. That’s when I began focusing more on weaving melodic themes throughout the record to make it function more like a soundtrack”.

Tulips was recorded between 2015 and 2017 in a small studio in a village called Zwaag in Holland, during downtime from Frank’s touring duties with Jacco Gardner’s band. “Tulips” comes from the title of the very first demo he made in Holland, it was the first thing that came to mind. Makes sense.

Recording in Europe with some very European influences in mind, Frank wanted to eschew any American influences. But we can still feel the studio wizardry of the likes of Brian Wilson and Harry Nilsson in there somewhere. A psychedelic bedroom-pop song-cycle, full of hypnotic hooks and dusty drums, Tulips manages to sound charmingly homemade yet wholly widescreen.

Dreamy opener “Swans” is an exquisite soul instrumental and recalls the soft-psych of Koushik, which Be With loves of course. Tropicalia influences abound in the cool and breezy “New Danger” and the KPM-references are loud and proud on the lush organ pop of “Old Habits”. Fast-paced “Chase Theme No. 1” manages to be both tense and laid back, decorated by acid-drenched spaghetti Western guitars. The glorious Gainsbourg-esque melancholia of “Infinite Bliss” is all gauzy flutes and happy-sad vocalizing and the title is almost perfect: it’s bliss, no question; *if only* it went on forever. Side A closes with “Evening”, a subtle bossa nova beat thing. Gorgeous.

Side B opens with the heat-shimmer guitars of “Rain Dance”, evoking an unreleased Byrds or Buffalo Springfield backing track. Yes, it’s that good. “Sure Thing” is music to accompany an elevator ride you never want to end, but in a good way! The ornate “Garçon Manqué” is as beautiful as the instrumentals on Pet Sounds (think “Let’s Go Away For A While”) and the wistful “Turning In” starts like a stroll in the park before Maston introduces a scorched-Earth guitar solo that would startle if it wasn’t so pitch-perfect. “Chase Theme No. 2” is a briefer, more keening counterpart to what we hear on side A. The head-nod bass-drums-keys funk of “Hues” rounds out this staggeringly assured set; still opening each phrase with a plaintive strum, but using vibrato and heavy reverb to accent the electric organ melody. Sublime.

All these top drawer musical references might sound like just more of the usual release notes hyperbole, but there’s a reason that this still-young LP already changes hands for big money. It really is that good. Of course that first pressing didn’t hang around for long and Frank’s regularly been asked about a re-press pretty much ever since.

Re-issuing Tulips on Be With made sense to Frank “because the record would fit in so well with the catalogue”. Having already delved into the archives of KPM and Themes, and beginning to do the same with Coloursound and Selected Sounds, the collaboration “just makes sense and seems inevitable”. We agree.

Frank wasn’t sure a record of instrumentals with obscure soundtrack references would be an easy sell when it was originally released, and was surprised when Tulips turned out to be exactly what some people wanted to hear. We reckon its timeless beauty ensures that it’ll *always* have an audience.

The record was originally cut to be played at 45rpm, a technical quirk that grants the home listener the opportunity to go deeper, for longer. Played at 33rpm, the more languid unfurling of the tracks proves just as wonderful a trip. As a psilocybin-soaked case study from Aquarium Drunkard back in January of 2019 describes, some of the songs sound as if they were intended to be heard that way. The slower speed allowing the listener to step inside and perhaps even “crack the code” of the music’s meaning.

Mastered for this vinyl reissue by Simon Francis and featuring alternative burnt orange artwork from Maston himself, this Be With pressing is limited to just 500 copies. Hypnagogic it may be, but please don’t sleep.

2023 Repress

Maston’s Darkland is a breezy collection of the material from the Tulips sessions that didn’t make it on to the original LP. Originally a digital-only release for those in the know in the autumn of 2018, after re-issuing Tulips in 2020 it made too much sense for Be With to give Darkland a vinyl release.

Like Tulips, Darkland was recorded mostly in Hoorn, in the Netherlands, between 2015-2017 during downtime from Frank’s touring duties with Jacco Gardner’s band. Bits were also done in Los Angeles on some extended trips back home.

The collection plays like an alternate view of Maston’s instant modern classic Tulips; a companion piece to the LP proper with similar mixture of shorter themes and more full length tracks. As Frank Maston explains: “I think Darkland is the shadow of Tulips in a way… what it might’ve been in a different universe. But the heart of Tulips beats in these songs as well and they evoke the same memories and feelings for me. I see my process playing out across these songs - lots of experimentation and trying out new techniques and sounds and just sort of going for it.”

Frank goes on: “It was all from the same pool of material, like 30+ ideas. I was making a lot of little demos… some would be more fleshed out and become songs and others would just be a cool riff and not go anywhere. When I started trying to form it all into an LP I went through all the sessions and ideas and collected the ones I thought were the most fleshed out and cohesive together as a whole. There were a fair amount of songs that were finished and in hindsight really should have been on Tulips (like what would’ve been the title track). And the rest of these songs are either very early versions of tunes that ended up on Tulips or some cool ideas that just ended up being dead ends. It definitely shows how wide my net was in the beginning before I narrowed the record down stylistically.”

Darkland opens with its ornate 39 second title-track before striding into “Tulips”, that full-length title-track that never was. It’s a real head-nod, percussive-rich electric piano stunner that would’ve been a comfortable standout on the album proper. But now this “downlifting” gem is given ample room to shine on this record.

The funky organ-led bass and drums workout “Immaculate Conception” will keep your neck gently snapping while MPC fiends go reaching for their sampler. And that’s gospel. “Love Theme No 3” cuts a breathtakingly stylish vibra-slapped swathe through the middle of the opening side before we’re startled by the pronounced bass and twinkling percussion of “The Owl In Daylight”. Charming digi-drums underpin the wonky synth (quiet-)banger “Innovative Patterns” which has a lovely melodic switch-up in the final third before the tempo (and hairs on your neck) rise on the faintly creepy yet imminently groovy “Osiris”. The gorgeously soft-focus “Groove Experiment No 3” closes out the first half in slow-mo wonderment.

The lushly melancholic “Raincloud” ushers in side B before the emotionally-stirring “Phonic” taps at the door, coming on like the long lost sister to Pet Sounds’ “Let’s Go Away For A While”. Next up, the swooning beauty “Love Theme No 2” keenly sways in front of you, growing ever more insistent and hypnotic. The too-short “Italian Summer” conjures the same flirtatious imagery as the title hints at whilst “Endless” is a fascinating “piano-pella” alternative version to “Rain Dance” from Tulips. “Wonder Theme” has a nostalgic, exotic 60s swing and album closer “Willow” is a hushed, campfire folk gem. The gently circular strumming is just magical.

Speaking to Aquarium Drunkard back in 2019 about the sessions that became Tulips, Frank noted: “I was really surprised by the lack of sunlight during my first winter in Holland, so I would call it Darkland which then became the name of the first demo I wrote during that time. It was also the working title of the record when I first started writing. Some are full songs that didn’t make the cut (including what would have been the title track), some are just ideas that I never finished.”

Whilst we were working on Darkland’s vinyl release Frank explained more specifically about the music that didn’t make it on to Tulips: “When I was putting together the tracklisting for Tulips I was already thinking that whatever didn’t make it onto the LP would be cool to release eventually somehow. The response to Tulips has been so passionate over the years that it’s nice to be able to offer another piece of that world. And for me personally it’s amazing to have more of my work out there in the world. Most common bit of feedback was that many of these songs should have been on Tulips. The odd friend says it’s much better than Tulips.”

Just like Tulips before it, Simon Francis’s vinyl mastering for Darkland has been cut at 45rpm so you can trip out to this as well at a woozy 33 1/3. The artwork too has been designed by Frank himself as a literal visual continuation of the Tulips cover.

We couldn’t possibly say whether Darkland is better than Tulips, and luckily we don’t have to decide.

Das lebenslange Armdrücken zwischen Kopf und Herz steht im Mittelpunkt von Faith Crisis Pt 1, dem dritten Album der Emo-Indie-Rocker Middle Kids aus Sydney. Die neuen Songs legen die schmerzhaften, frustrierenden und chaotischen Teile des logischen Puzzles dar, das das Leben jeden Tag von uns verlangt. Produziert von Jonathan Gilmore (The 1975, Beabadoobee), bringen Hannah Joy, Tim Fitz und Harry Day meisterhaft Emotionen des Überwältigtseins zum Ausdruck, die den Hörer von den ersten Takten an fesseln. Das Trio greift erneut auf das Wesentliche des Indie-Rock zurück (Gitarre, Bass, Schlagzeug) und hebt seine Songs mit euphorischen Gesangsdarbietungen, einer mitreißenden Produktion und unvergleichlichen Pop-Sensibilität hervor.

Das lebenslange Armdrücken zwischen Kopf und Herz steht im Mittelpunkt von Faith Crisis Pt 1, dem dritten Album der Emo-Indie-Rocker Middle Kids aus Sydney. Die neuen Songs legen die schmerzhaften, frustrierenden und chaotischen Teile des logischen Puzzles dar, das das Leben jeden Tag von uns verlangt. Produziert von Jonathan Gilmore (The 1975, Beabadoobee), bringen Hannah Joy, Tim Fitz und Harry Day meisterhaft Emotionen des Überwältigtseins zum Ausdruck, die den Hörer von den ersten Takten an fesseln. Das Trio greift erneut auf das Wesentliche des Indie-Rock zurück (Gitarre, Bass, Schlagzeug) und hebt seine Songs mit euphorischen Gesangsdarbietungen, einer mitreißenden Produktion und unvergleichlichen Pop-Sensibilität hervor.

Der britische Superstar Paloma Faith schlägt ein neues Kapitel in der Karriere auf und meldet sich mit einem neuen Song "How You Leave A Man" zurück. Mit der ersten Singleauskopplung "How You Leave A Man", die von Selbstermächtigung und dem Finde seines eigenen Glücks handelt, kündet die Sängerin gleichzeitig die Veröffentlichung ihres sechsten Studioalbums "The Glorification of Sadness" für den 16. Februar 2023 an. Für das kommende Werk arbeitete Paloma Faith mit dem preisgekrönten Produzenten und Komponisten Martin Wave und den Co-Autoren JKash, Andrew Wells, Ellie King und Charlie Puth zusammen.

The music of Atlanta trio Omni has always swung fast and hit hard. And Souvenir, their fourth album and second for Sub Pop, packs their biggest punch yet. Inactive during the majority of the pandemic-the longest downtime in their history-they approached this recording with lots of pent-up energy. Guitarist Frankie Broyles, singer/bassist Philip Frobos, and drummer Chris Yonker converted their creative fuel into sharp, driving songs that land immediately, sporting chopping riffs, staccato beats, and wiry melodies. Why does Souvenir sound so sharp? Because each track is a compact unit that stands on its own, reflecting the time and place in which it was created. That's why Omni called the album Souvenir: it's a collection of audio objects, a stash of musical miniatures. Think of it as a family photo album, a binder of rare playing cards, a shoebox holding precious gems. Take "Plastic Pyramid," the first song Omni wrote after coming out of lockdown. Filled with twists and turns, it's a journey unto itself, charged by clanging chords, spinning rhythm, and Frobos trading lines with Izzy Glaudini of Automatic, with whom Omni toured with last fall. (Glaudini sings on two other Souvenir tracks, the first guest vocalist the band has collaborated with). Or take opener "Exacto," a slicing web of intertwined guitar and bass. Its razor-fine notes and syncopated beats perfectly match pointillist Frobos lyrics such as "Exacto, de facto, concise, quite right"-a line that could well be an Omni mantra. The precision and clarity of Souvenir comes from some new Omni developments. For one, this is their first album with Yonker as their full-time drummer, and his forceful playing adds exclamation points to every pointed moment on Souvenir. In addition, the trio worked with Atlanta-based engineer Kristofer Sampson for the first time. Sampson pushed the band to a higher degree of power, with Frobos's vocals more upfront in his pulsing mix and the rest of the music leaping out of the speakers. You might notice that Frobos' singing is a bit more emotional and even nostalgic this time around. In crafting his vocals, he was inspired by the early college radio rock of formative favorites like REM, the Cure, and Big Audio Dynamite-the kind of bands whose melodies could have been top 40 hits in an alternative universe. The lyrics on Souvenir are also by turns funny, absurd, and even cryptic. A wry humor has always coursed through Omni's songs, and this time, it comes in shades of both dark and light. In "Granite Kiss," an "astronomical" love story concludes with the hope that "we can decay together," while in "PG," a romantic walk in the park includes a rose-colored mugging. Immediacy rushes throughout every moment of Souvenir, making it the band's most powerful album to date. Omni has truly crafted a musical keepsake-a set of songs that you'll want to keep close, an aural memento you'll cherish for the rest of time.

WRWTFWW Records is happy to announce the first-ever physical release of Louisiana-based composer and producer Jammin’ Sam Miller’s full HD re-creation/restoration of the beloved Super Metroid video game soundtrack. The limited biovinyl double LP is packed with 27 tracks and features an exclusive artwork by French illustrator Pierre Thyss, as well as an obi strip.

Composed by Kenji Yamamoto and Minako Hamano, the soundtrack for 1994 SNES exploration / action-adventure / sci-fi / alien video game Super Metroid has always been a fan-favorite. A true masterclass in music storytelling, it beautifully evokes the epic and eerie adventure of the game’s protagonist Samus Aran with superb use of atmospheric sounds, space-operatic arrangements, rumbling bass, oppressive techno-futurist moods, tribal drums, and airy synth themes, admirably balancing the ominous feel of a dark menace and contemplative, even soothing, ambient soundscapes.

Jammin' Sam Miller assiduously recreated the soundtrack note by note, by finding the original equipment used to create it, translating the MIDI into a modern studio context, adding in keyboard samples, and re-mixing and re-mastering the whole score. He explains: "This was made possible by locating the original instrument samples from workstation keyboards and drum machines before they were put into the game and rebuilding the soundtrack from the ground up, applying some modern mixing techniques along the way to lift the veil of 16bit compression and create an updated listening experience."

Super Metroid is pressed on biovinyl, a sustainable alternative to traditional vinyl. Biovinyl replaces petroleum in S-PVC by recycling used cooking oil or industrial waste gases, resulting in 100% CO2 savings in bio-based S-PVC production. Furthermore, it is 100% recyclable and reusable, embracing the circular economy ideology.

All tracks licensed from Makkum Records | Produced and mixed by remix artists | Mastering by Detlef Funder, Paraschall Studios Düsseldorf | Artwork by Darko Kujundžic

It's the kind of project that brings the old mad scientist cliché out for an airing, "It's insane, but it just might work." The insanity in this case being a motley cast that features Andy Moor (The Ex, Amsterdam), Desmond Denker (Cologne), Phanton (Cologne), Yürke (Düsseldorf), Dubby King Knarf (Knarf Rellöm, Hamburg), Istari Lasterfahrer (Hamburg), Begritty (Cologne) laying down their versions of tracks from the demento-a-go-go-electro-pop-rock-mono-mind known as Zea.

How could we resist the spasmodic schizoid psychedelic menace of that devilish Dutch juggernaut called Zea. This bastardised twelve inch slab of wax has Zea sonically re-assessed, dissected and twisted in side out. And it had to happen, it had to be made.

"Standing up I forgot what came to mind when I was lying on the kitchen floor. Standing up I forgot what came to mind, something I tried to remember before." It's the punky pop intro of the song 'Staande ben ik vergeten wat ik dacht toen ik lag', the Dutch translation of the first sentence of the song that provided the title for this collection of remixes. Zea, a.k.a. Arnold de Boer, a musician who skips sitting down, who either jumps or lies on the floor fumbling with a dictaphone trying to remember the ideas that just came to mind jumping around from the couch straight into the kitchen, trying to write the next song while cooking spicy food that makes his head explode. It's all inthere, everyone is in there; shrinking people, growing people, dead people. And all "Sub specie ludens" (from the perspective of human play).

Die New Wave Of British Heavy Metal Band Apocalypse aus London wurde um 1980 von Gitarrist Steve Grainger gegründet. Die Band ging aus zwei Bands im Norden Londons hervor. Phaze und Stone Lady. Ursprünglich verließen Nick Brent, Dave (MEX) Higgen (Stone Lady) und Marc und Steve Grainger (Phaze) Mex die Band, um eine andere Richtung einzuschlagen und das Octave Studio und die PA Company in Nordlondon zu gründen. Dave Robertson stieß dazu und Apocalypse wurden gegründet. Ironischerweise war es Dave (Mex) Higgen, der die Band APOCALYPSE nannte. Es dauerte zwei Jahre, bis die Band ihre einzige Single "Stormchild" für Gate Records veröffentlichte. Nach kleineren personellen Problemen mit einer anderen Band gleichen Namens änderte die Band ihren Namen in Omega und nahm die Nummer "Blood Sacrifice" für die eher obskure "Metal Warriors"-Compilation von Ebony auf (erschienen 1983). "The Prophet" wurde ursprünglich 1985 auf Rock Machine (im Grunde eine Unterabteilung des Punk-Labels Razor Records) veröffentlicht. Die Besetzung bestand aus Dave Robertson (Bass, Gesang), Nick Brent (Gitarren, Gesang), Steve Grainger (Leadgitarren, Keyboards, Gesang) und Graham Roberts (Schlagzeug). Die High Roller Wiederveröffentlichung des Albums kommt mit neuem, hochwertigem Cover-Artwork. Die CD-Ausgabe enthält unveröffentlichte Demoaufnahmen von "Summertime", "Heat of the Night", "Abandon Hope", "Blood Sacrifice" und "The Child" als exklusives Bonusmaterial.

Die New Wave Of British Heavy Metal Band Apocalypse aus London wurde um 1980 von Gitarrist Steve Grainger gegründet. Die Band ging aus zwei Bands im Norden Londons hervor. Phaze und Stone Lady. Ursprünglich verließen Nick Brent, Dave (MEX) Higgen (Stone Lady) und Marc und Steve Grainger (Phaze) Mex die Band, um eine andere Richtung einzuschlagen und das Octave Studio und die PA Company in Nordlondon zu gründen. Dave Robertson stieß dazu und Apocalypse wurden gegründet. Ironischerweise war es Dave (Mex) Higgen, der die Band APOCALYPSE nannte. Es dauerte zwei Jahre, bis die Band ihre einzige Single "Stormchild" für Gate Records veröffentlichte. Nach kleineren personellen Problemen mit einer anderen Band gleichen Namens änderte die Band ihren Namen in Omega und nahm die Nummer "Blood Sacrifice" für die eher obskure "Metal Warriors"-Compilation von Ebony auf (erschienen 1983). "The Prophet" wurde ursprünglich 1985 auf Rock Machine (im Grunde eine Unterabteilung des Punk-Labels Razor Records) veröffentlicht. Die Besetzung bestand aus Dave Robertson (Bass, Gesang), Nick Brent (Gitarren, Gesang), Steve Grainger (Leadgitarren, Keyboards, Gesang) und Graham Roberts (Schlagzeug). Die High Roller Wiederveröffentlichung des Albums kommt mit neuem, hochwertigem Cover-Artwork. Die CD-Ausgabe enthält unveröffentlichte Demoaufnahmen von "Summertime", "Heat of the Night", "Abandon Hope", "Blood Sacrifice" und "The Child" als exklusives Bonusmaterial.

The brand new EP "Wellental" by Extrawelt on Traum is herewith reveled to the fans. Their new 3 track vinyl 12" gives a nod to the mayhem and urgency of techno all finely tuned. Straightforward in its brilliance and simplicity, yet carefully measured with a maturity that speaks the language of Extrawelt´s minimalism.

We attest: a unique techno track for the dance-floor on the a side, a trippy track on b1 and a very musical one as B2.

What happens within these 3 tracks is nothing short of alchemy, traversing all sorts of grounds without ever losing the plot. It’s due to the duo’s keen grasp of sound design—they always exchange ideas, on an expansive set of hardware, so no matter what tunnel they’re traveling down head-first, the sounds are always pristine, filled with unexpected details.

The EP opens with the title track "Wellental" which translates as "wave trough". Wave trough valley refers in particular to the points of maximum negative deflection in a traveling wave. In contrast, the points of maximum positive deflection are called wave crests. Musically this converts in a way that, although the title track "Wellental" has a lot of forceful steady forward motion and zig zag sequences cutting into it, it also has that "hanging time" feeling that adds unpredictability and tension to the track. You can defiantly sense that Detroit theme in a post Detroit interpretation here.

The flip-side starts with "Unter Wasser" which is illustrated by urgent uptempo beats that can push it on the dance floor and dreamy, surreal soundscapes on the other hand that account for that great under water feel. The track sounds a bit like the "Deep End" film soundtrack from CAN in that respect.

The B2 track is called "Samtstrand" and there is a reason for this since the track is very gentle and brushes over a surface with velvet hands but in contrast to that, the Extrawelt beats are kicking out the jams here! So this song has a twin drive going!

Days of the New (the Green album) is the second self-titled studio album from Days of the New, originally released in 1999 and written, performed and produced by Travis Meeks. After the first album, the band broke-up and with only Matt Taul on board from the past, lead bandmember Travis Meeks surrounded himself with a sea of musicians, including a young pre-Pussycat Dolls Nicole Scherzinger for background vocals and even drew in an orchestra. Influential Rolling Stone's review called the album "a progress report from an artist in the midst of a head-spinning transition". The first single "Enemy" charted #10 in the US Alternative Airplay chart, #10 in the Mainstream Rock Tracks and the second single "Weapon & The Wound charted #10 in the Mainstream Rock Tracks. Days of the New (the Green album) celebrates its 25th anniversary and is available on vinyl for the first time. This 2LP includes an insert.

Days of the New (II) by Days Of The New, released 16 February 2024, includes the following tracks: "Enemy", "Skeleton Key", "Bring Yourself" and more.

This version of Days of the New (II) comes as a 2xLP. This release comes with (a) Insert(s).

Ponte Del Diavolo schlägt die Brücke zwischen zwei getrennten Welten. Schließlich ist die Band nach der echten "Teufelsbrücke" benannt, einer steilen Straße, die die Bauern im Mittelalter auf ihrem Weg nach Italien überqueren mussten.
Obwohl die fünf Mitglieder von Ponte Del Diavolo aus einer freundschaftlichen Jamsession hervorgegangen sind, bildeten sie bereits ein ziemlich eklektisches Gespann, als sie sich im Winter 2020 in Turin, der kultivierten italienischen Metropole, offiziell zusammenfanden. Während die meisten Metal-Bands von einem Gitarrenduo angeführt werden, kommen die Italiener mit zwei Bassisten als Basis. Ihr Debütalbum "Fire Blades from the Tomb" verbindet klassischen, kultigen Doom Metal mit modernen Einflüssen aus Post-Punk und Dark Wave. Die Leadsingle und der Eröffnungstrack "Demone" wird von einer tiefschwarzen Bassline gepeitscht. Man könnte Erba del Diavolo leicht mit Siouxsie Soux verwechseln, so cool wechselt sie zwischen hektischem Sprechgesang und düsteren, verführerischenm Raunen. Lassen Sie sich von Ponte Del Diavolo in die dunklen Künste Italiens entführen.

Die legendären Schweizer Industrial-Black-Metaller SAMAEL veröffentlichen ihr Live-Album Passage - Live, am 16. Februar 2024 über Napalm Records!
Aufgenommen während eines ausverkauften Konzerts in Krakau am letzten Tag der europäischen Etappe der Passage 25th Anniversary Tour, lässt
Passage - Live das bahnbrechende 1996er Album in neuem Glanz erstrahlen. "Dieses Album ist eine Feier eines Albums, das einen Meilenstein in
unserer Geschichte darstellt. Das Album, das uns zu der Band gemacht hat, die wir heute sind“, sagt die Band selbst.
Es war das erste Mal, dass das Album komplett und in voller Länge Live gespielt wurde. Die Songs sind die gleichen geblieben, aber eingefangen in der
Dringlichkeit einer Live-Umgebung, erscheinen sie rauer und schwerer als auf dem originalen Album – ein Vierteljahrhundert nach Veröffentlichung
ist Passage jetzt eindringlich wie nie zu hören. Dabei ist Passage - Live die erste offizielle Aufnahme mit der aktuellen Besetzung der Band. Die neuen
Mitglieder Drop und Ales, die beide Fans des Albums waren, bevor sie der Band beitraten, verleihen der Musik eine neue Energie.
Passage - Live ist das Zeugnis eines Albums, das eine ganze Generation von Metal-Fans geprägt hat, als SAMAEL sich in Richtung eines industrielleren
Sounds bewegte, sich von ihren Wurzeln im Black Metal entfernte und gleichzeitig die Band einem breiteren internationalen Publikum zugänglich
machte. Passage hat den Test der Zeit bestanden und ist heute noch genauso frisch wie bei Erscheinen. Mit Passage - Live erweisen SAMAEL einem
der wichtigsten Alben in der Geschichte der Band die Ehre und lassen es in einem nie zuvor auf Platte gehörten Gewand erstrahlen!

In den letzten vier Jahrzehnten hat Béla Fleck immer wieder neue Wege beschritten, die noch kein Banjospieler zuvor gegangen ist - eine musikalische
Reise, die ihm 16 Grammys in neun verschiedenen Bereichen eingebracht hat, darunter Country, Pop, Jazz, Instrumentalmusik, Klassik und
Weltmusik.
Sein neuestes Projekt ist nicht anders und dennoch völlig originell, denn Fleck erweitert und erforscht George Gershwins Rhapsody in Blue, indem er
dem legendären Komponisten huldigt und gleichzeitig einen amerikanischen Klassiker pünktlich zu seinem hundertjährigen Jubiläum neu definiert.
Wie seine bahnbrechenden Projekte zuvor wurde auch Rhapsody in Blue durch Flecks Mischung aus Inspiration, Unerschrockenheit, Disziplin und
Respekt vor dem Ausgangsmaterial von einer bahnbrechenden Idee zum Erfolg geführt. In diesem Fall wurde der Samen in seiner Kindheit in New
York City gepflanzt, als er George Gershwins Rhapsody in Blue zum ersten Mal hörte. Seine Liebe zu diesem Stück wuchs im Laufe der Jahre, obwohl
er erst vor kurzem, während der Pandemie, mit der Bearbeitung der Musik begann.
Zufälligerweise fällt die Veröffentlichung des Albums am 12. Februar 2024 mit dem 100. Jahrestag der Uraufführung von Rhapsody in Blue zusammen.

Purple Clear Vinyl

Take part in the sound of Bogota's eclectic cumbia scene that permeates the ritual sonido of this new 7" Vinyl by Conjunto Media Luna, out now on Little Beat More!

Enter the labyrinth that transcends the danceable and psychedelic, guided by the Colombian accordion and ecstatic percussion of their slow-pitched beat.

The 7" includes 2 songs taken from the debut album "Noches de media luna", with the iconic "Conjunto Media Luna" and "Perdi´ mis temores" featuring colombian rappers N. Harden & Mismo Perro!

Credits:
Prod. by Conjunto Media Luna
Artwork by Michael Boulton


Made with by Little Beat More 2024

Endlich wieder ein Lebenszeichen der legendären Indie-Rock-Band Grandaddy aus Kalifornien. Im Februar 2024 wird ihr brandneues Studioalbum „Blu
Wav“ via Dangerbird Records erscheinen. Kürzlich feierten Grandaddy ihr Schaffen mit einer Reihe von Wiederveröffentlichungen zum 20-jährigen
Bestehen, darunter das hochgelobte Sumday Twunny-Boxset, das von Pitchfork als „Best New Reissue“ ausgezeichnet wurde. Auf Wunsch der Familie
seines Freundes und Psychedelic-Pop-Kollegen Mark Linkous steuerte Lytle auch Gesang zu einem posthumen Sparklehorse-Album bei. Grandaddy
haben fünf offizielle LPs veröffentlicht, zuletzt 2017 das Album „Last Place“. Zu den Mitgliedern von Grandaddy gehören Jason Lytle, Aaron Burtch,
Jim Fairchild, Tim Dryden und der 2017 verstorbene Kevin Garcia.

Nach der Veröffentlichung ihres Debütalbums "Stay Alive" (2020) und der "At War With The Silverfish" EP (2021) meldet sich die Emmy-nominierte
Künstlerin, Autorin, Musikerin, Aktivistin und Against Me! Gründerin/Songwriterin Laura Jane Grace mit Hole In My Head zurück - ihrem
wunderschönen neuen Album mit elf Titeln, die ihre unbestreitbare Kraft als Songwriterin und Geschichtenerzählerin unter Beweis stellen.
Das Album enthält die persönlichsten und emotional ergreifendsten Songs ihrer Karriere - schlichte Meisterwerke wie "Dysphoria Hoodie" gepaart
mit glühend verzerrten Hymnen wie "Hole In My Head" und "Birds Talk Too", Tracks, die die Aufmerksamkeit des Hörers mit einer Unmittelbarkeit
und Dringlichkeit einfordern, wie sie Grace noch nie zuvor geschrieben hat.

Nach der Veröffentlichung ihres Debütalbums "Stay Alive" (2020) und der "At War With The Silverfish" EP (2021) meldet sich die Emmy-nominierte
Künstlerin, Autorin, Musikerin, Aktivistin und Against Me! Gründerin/Songwriterin Laura Jane Grace mit Hole In My Head zurück - ihrem
wunderschönen neuen Album mit elf Titeln, die ihre unbestreitbare Kraft als Songwriterin und Geschichtenerzählerin unter Beweis stellen.
Das Album enthält die persönlichsten und emotional ergreifendsten Songs ihrer Karriere - schlichte Meisterwerke wie "Dysphoria Hoodie" gepaart
mit glühend verzerrten Hymnen wie "Hole In My Head" und "Birds Talk Too", Tracks, die die Aufmerksamkeit des Hörers mit einer Unmittelbarkeit
und Dringlichkeit einfordern, wie sie Grace noch nie zuvor geschrieben hat.

PET NEEDS sind eine vierköpfige Punk-Melodic-Rock-Band aus Colchester, die in den wenigen Jahren, die sie bei Xtra Mile sind, die ganze Welt bereist
hat. Ihre letzten beiden Alben, die in den letzten 18 Monaten veröffentlicht wurden, haben dazu beigetragen, die Band zu den aufsteigenden Stars zu
machen, die sie heute sind.
Sie tourten mit Frank Turner, Flogging Molly und Skinny Lister durch Europa, begleiteten Frank Turner auf der 50 States in 50 Days USA-Tour,
unterstützten Bouncing Souls, The Hives. The Lottery Winners und absolvierten ihre eigenen Headline-Touren durch Großbritannien.
Der Umgang mit dem Nebeneinander von schnellem Leben und den ruhigeren Zeiten zu Hause ist das zentrale Thema ihres dritten Albums
Intermittent Fast Living". Es ist das lebendige Porträt einer Band, die auf der Achterbahn des Rock'n'Roll-Lebens fährt und nur für den Bruchteil einer
Sekunde anhält, um den Moment festzuhalten. Aufgenommen in den Vada Studios mit George Perks (Enter Shikari, Skindred) und gemastert von
Frank Arkwright in der Abbey Road.

PET NEEDS sind eine vierköpfige Punk-Melodic-Rock-Band aus Colchester, die in den wenigen Jahren, die sie bei Xtra Mile sind, die ganze Welt bereist
hat. Ihre letzten beiden Alben, die in den letzten 18 Monaten veröffentlicht wurden, haben dazu beigetragen, die Band zu den aufsteigenden Stars zu
machen, die sie heute sind.
Sie tourten mit Frank Turner, Flogging Molly und Skinny Lister durch Europa, begleiteten Frank Turner auf der 50 States in 50 Days USA-Tour,
unterstützten Bouncing Souls, The Hives. The Lottery Winners und absolvierten ihre eigenen Headline-Touren durch Großbritannien.
Der Umgang mit dem Nebeneinander von schnellem Leben und den ruhigeren Zeiten zu Hause ist das zentrale Thema ihres dritten Albums
Intermittent Fast Living". Es ist das lebendige Porträt einer Band, die auf der Achterbahn des Rock'n'Roll-Lebens fährt und nur für den Bruchteil einer
Sekunde anhält, um den Moment festzuhalten. Aufgenommen in den Vada Studios mit George Perks (Enter Shikari, Skindred) und gemastert von
Frank Arkwright in der Abbey Road.

lim. to 250 Copies ww!

"The world is rich, the world is colorful. So why not show it in all its complex diversity and contrasts? Why, when you go in one direction, do you have to follow it further and can't just go in all directions at once? These are all questions that Berlin-based Turkish singer Basak Yavuz may have asked herself when she began recording her new album "Raum 610."

Basak Yavuz doesn't take much time to get down to business. Right away in the opener "Promised Lands," different stylistic elements like jazz, rock, funk and hip-hop chase each other as if it were a matter of life and death. The message is unmistakable: this is about energy. The energy of the big city. Crowds on the sidewalk, congested streets, noise from construction sites, cyclists and drivers yelling at each other, barking dogs, screaming children, shattering glass, a new surprise around every corner. Basak Yavuz does not hide, but picks up the tempo of the Moloch and makes it her own pulse with all its fractures and border crossings. She is not afraid to overload her songs, but confidently juggles the explosiveness of creative oversaturation." (Wolf Kampmann)

Treten Sie mit Tamás Kátais visionärem Projekt in das Reich des Avantgarde-Metal ein: Thy Catafalque. Seit über zwei Jahrzehnten leistet Thy Catafalque meisterhaft Pionierarbeit im Bereich der extremen Metal-Musik. Jetzt wird das bahnbrechende Album Sublunar Tragedies, das den Beginn dieser musikalischen Reise markierte, auf dem Label Season of Mist wiedergeboren. Ursprünglich wurde dieses avantgardistische Meisterwerk im September 1999 der Weltöffentlichkeit vorgestellt und dient als Grundlage für das Vermächtnis von Thy Catafalque. Versetze dich in das Jahr 1999 - als die Welt eine neue Perspektive auf den Metal kennenlernte. Thy Catafalque tauchten auf und boten eine einzigartige Mischung aus harschen Black-Metal-Klängen und detaillierten Synthesizer-Überlagerungen, die eine Symphonie hervorbrachte, die sich über die Konventionen der damaligen Zeit hinwegsetzte. Heute steht Sublunar Tragedies als ein Relikt von Kátais fortwährendem künstlerischen Schaffen und ist bereit, das Publikum durch seine Wiederveröffentlichung auf Season of Mist erneut zu fesseln.

He did some time at the highly respected Juilliard Music School as a composition major in modern and avant- garde music, but don't hold that against him. He reinvented the rules as to what makes a perfect pop song, and inspired countless musicians during the formative years of punk rock, new wave, and whatever- comes- next. (Rule #1 = 'no- rules'). So here we are. Some things never change. Blink. Everything is different. Blink. Paul is still doing what he was meant to do, and his life's work is better than ever. You've got a future classic album in your hands with 'Stand Back And Take A Good Look'. And a beautiful earworm it is.

"Stand Back and Take a Good Look" by Paul Collins includes the following tracks: "In Another World", "Will You Come Through?", "Under The Spanish Sun", "How Will I Know?" and more.