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avigating vibrant influences of Latin-jazz, Tropicália and joyful grooves; multi-instrumentalist, songwriter, singer and producer Inês Loubet presents her utterly gorgeous debut album ‘Senga’. The album covers Inês’ experiences over the past five years, originating in Portugal, travelling through Brazil, before finding home in London.

Previously, Inês co-wrote and performed on Caravela’s album 'Orla' on None More Records, which was praised by the likes of Gilles Peterson and The Line of Best Fit. Her music has been played on Jazz FM, BBC 6 Music, BBC Radio 3, NTS and Soho Radio. A relentless live performer, she’s played alongside Brazilian legends Gilberto Gil & João Bosco, graced the stage of The Royal Albert Hall, Union Chapel, and O2 Shepherds Bush, around UK and international tours.

The album explores a range of profound themes including nature, travel, grief, unconditional love, separation, family dynamics, and the nuanced experience of womanhood in contemporary society. Dedications to the music, philosophy and revolutionary history of samba (‘Sambo Mesmo Sem’), everyday observations of joy (‘Guri’), and motivating generational change for the better (‘Sab Sabim’); glide across romantic harmonies and the Brazilian rhythms at the melodic heart of the album.

“I started writing whilst living in Salvador da Bahia, Brazil, in February 2020”, says Inês. “I was shy and hadn't written fully composed tracks before then. During lockdown I received support from The Arts Council’s DYCP, started making demos, gained confidence and started playing them live”. In October 2022 Inês was presented with the Drake YoLanda award and went to Giant Wafer studio in Wales for three days, before recording the final vocals at her home studio and mixing and mastering in Porto, Portugal.

Inês is joined on the album by a band of close friends. Percussionist and long-time collaborator Jansen Santana from Salvador da Bahia brings the soul of the drums, the tambor. “I always have the Bahia drums present in my mind when I write a new composition. I studied Latin percussion at University and then lived in Salvador absorbing all that heritage and knowledge”. Playing four different stringed instruments on the album, Greg Sanders is a long-time friend and collaborator from London “I met him in a samba band in 2015 and he was the first person I ever showed my songs to and played with”. The band is completed by Ruta Sipola on flute, Jake Burgess on tenor sax, Peu Meurray who recorded a lot of the percussion and lead vocals, and bassist Julio de Castro from Sao Paulo. “I was blown away by his bass playing, his swing and creativity, his ton of experience and professionalism but also his voice - he's an amazing singer and I believe that adds a lot to the magic”.

Inês concludes, “Last year, I had a show in London and I asked everyone in the audience to write down what they felt when they listened to the music. These are some of the things they wrote: wholesome, refreshing, lifted, moving, joyful, happy, nostalgic, warmth, force, goosebumps, emotional, togetherness, transported, rooted”. ‘Senga’ captures all of these feelings and more in a memorable first impression from a highly talented musician.

Dubbed out new version of a Japanese reggae classic from 1982 by UK-based Tokyo Riddim Band. Recorded and mixed by the legendary Prince Fatty in South London, it's a fusion of past and present, East and West.
Three generations of female musicians from Japan come together, blending reggae drums, funky bass, and the smooth City Pop guitar, all magically dubbed-out live on stage. Tokyo Riddim Band is a culture clash phenomenon unlike anything else.

Championed by Gilles Peterson, and featured on NTS, Pitchfork and Bandcamp Daily, the group was born out of Time Capsule’s wildly popular compilation “Tokyo Riddim 1976-1985”. In just a matter of months they have sold out headline shows across London and supported Kyoto Jazz Massive at Jazz Cafe, conjuring a raucous, dubby dancefloor that brings the classic Japanese reggae sound of the ‘70s and ‘80s to life for a new generation.

Led by the inimitable pianist and composer Izumi ‘Mimi’ Kobayashi who featured on the original compilation, Tokyo Riddim Band are set to release a series of 7” singles in the coming months with more live shows planned throughout the summer 2024.

The first single, 'Denshi Lenzi', reinvents the Natural Mystic riddim of the original Japanese production, infusing it with dubbed-out vocals, sirens, and electrifying e-tom sounds, delivering an authentic reggae/dub experience with a distinct UK flair.

New mixtape on Re:Ni & Laksa's Re:Lax imprint from MJK whose three deck sets and b2b's with the likes of Verraco have been joining the dots between grime and techno

Bloom is the 1997 album by Crustation, who were formed by Ian Dark, Stig Manley and Mark Tayler. All three were quiet connected in the fertile Bristol trip hop community - they played in bands with Portishead's Adrian Utley during the Eighties and regularly hung out with Massive Attack and Smith & Mighty. With just one album, their debut full-length record Bloom, Crustation became a legendary secret in the galaxy of trip hop music. The charming female voice of Bronagh Slevin, spacey, dreamy atmospheres, sleepy beats: all we love in downtempo music. The album features artwork co-designed by Stanley Donwood, who has created all the artwork designs for Radiohead with Tom Yorke. For the first time since its original release, Bloom is being reissued and is available as a limited edition of 750 copies on translucent purple coloured vinyl. The vinyl package includes an insert.

Ladies and Gentlemen, meet Jogo Duro, a collaboration between Ilhan Ersahin and some outstanding São Paulo musicians Guizado, Ze Nigro, Samuel Fraga, Chicao & Tony Gordin who also happen to be great friends. These are players who will be familiar to those following the careers of Céu, Otto, Curumin, Tulipa Ruiz and the late, great Gal Costa. This record is the result of the amount of time Ilhan has spent in São Paulo over the last decade due to putting on the Nublu Jazz Fest there every year. With all the contacts, connections and friendships formed over the course of making an annual music festival happen, musical cross-pollination (usually simply referred to as "jams") was inevitable but this time it was decided to do it in a studio with tape rolling rather than on stage, which is certainly a more productive approach than merely talking about it over beers at a local bar! Everything happened fairly spontaneously over three days in the studio, everybody brought songs, ideas and creative energy and before you know it an album was born

Although both Ella Fitzgerald and Louis Armstrong had met and performed together previously, they wouldn't be heard on record together until January 18, 1946, when they waxed a single 78-rpm disc ("You Won't Be Satisfied) for Decca. They went on to record a few more singles together until in 1956 when producer Norman Granz paired the two together between 1956 and 1957 on three albums that were both critically acclaimed and commercial successes - appealing to audiences in and beyond the confines of jazz per se: Ella & Louis, its sequel Ella & Louis Again, and the selection of songs from George Gershwin's opera Porgy & Bess. While Porgy & Bess was recorded with a big band, the first two albums (featured in this release) were made in small group formats with the great Oscar Peterson Trio plus drummers Buddy Rich or Louie Bellson, resulting in some of the most fascinating jazz and popular music ever produced

2024 Repress

“A place between the two of us, the people who are listening, the people who contributed, and the people who inspired us...”

Finally, almost three years after the well-received Orange Wine EP, and three international tours, Okvsho is back with their fourth project “A place between us”. Georg and Christoph Kiss, the two brothers behind Okvsho, are showcasing a project that is more intimate and bolder than ever, offering an insight into their thoughts, feelings, and experiences during the last two years. The unique style Okvsho has become known for in recent years has once again evolved, combining organic and electronic elements with beautiful harmonies and expressive rhythms.

Okvsho's second LP will also be the first full-length project to be released on the newly founded Zurich-based label Current Moves, with which the Okvsho-brothers aim to shape the young European jazz scene they are inspired by and also an established part of.

“A place between us is the first step into a new era for us – We’re very grateful for the

love and support we received during the past six years and we’ll continue to strive for

the better. Thanks for becoming part of our journey.”

Black Truffle is pleased to announce the first vinyl reissue of Trancedance, a wild slice of Swedish Afro-fusion from Christer Bothén, originally released in 1984. A major figure in Swedish jazz and improvised music since the 1970s, often heard on bass clarinet and tenor sax, Bothen studied doso n’koni (the large six-stringed ‘hunter’s harp’ of the Wasulu) in Mali in 1971-2 before turning to the guinbri (the three-stringed lute of the Gnawa/Gnauoua) in Marakesh later in the decade. In between, he performed extensively with Don Cherry during his Organic Music Society period and taught Cherry the doso n’koni. In the later 70s and 80s he worked with the most important figures in the distinctive Swedish jazz-rock-world fusion scene, joining Archimedes Badkar for their African-influenced Tre and participating in Bengt Berger’s legendary Bitter Funeral Beer Band. Many of the musicians who played on the Bitter Funeral Beer Band’s ECM LP (including Berger on drums, Anita Livstrand on voice and percussion and Tord Bengstsson on piano, violin and guitar) joined Bothén for one of the sessions that produced Trancedance, the first release under his own name, dedicated to his compositions. The other session introduced his seven-piece group Bolon Bata, heard on the second track of each side. The title track opens the album with the rubbery buzzing strings of the doso n’goni playing a hypnotic ten beat pattern, soon joined by bass and piano before the entire nine-piece group kicks in with a rollicking Afro-jazz workout, Berger’s drums driving an intricate, winding melodic line played by the horns with Mattias Helden’s cello throwing in pizzicato slides and smears. Bothén then takes centre stage on tenor sax, soloing with a wide, vibrating tone and moving seamlessly from soaring melodies to guttural stutters. After a return to the composed horn lines and a solo from Elsie Petrén on alto sax, the piece builds to an ecstatic conclusion of yelping voices and handclaps, gradually simmering down to return to the solo doso n’koni where it began.

The hypnotic sounds of the hunter’s harp carries over to ‘Mimouna’, where it is joined by Bothen’s overdubbed guinbri. The piece develops into a haunting whispered and sung invocation, gradually building momentum until the organic textures of strings, voices, and hand percussion are ruptured by Lennart Söderlund’s distorted guitar, which brings an unmistakable touch of 1984 to the otherwise timeless sound. Joined by chicken scratch guitar and increasingly dominated by the insistent clang of three of Bolon Bata’s members on karqab (a kind of cast-iron castanet), the grove develops frenetically.

The B side opens with the multi-part epic ‘9+10 Moving Pictures for the Ear’, at over 16 minutes the record’s longest piece. Though Bothen is heard only on horns on this piece, the hypnotic repeating bass line carries on the first side’s link to African musical traditions. Using an expanded 16-piece ensemble, the music balances untethered improvisation with carefully arranged passages of knotty ensemble playing that at points suggest Mingus, Moacir Santos or some of the ambitious post-free work being done in the same years by figures like David Murray or Henry Threadgill. The piece ends with a triumphant passage of looping unison melody reminiscent of the Scandinavian folk explorations of Arbete och Fritid (whose Kjell Westling is heard on bass clarinet and soprano sax here). The sound of Bjorn Lundqvist’s fretless bass introduces the odd left turn made by the record’s final track, a spaced-out expedition into bluesy horn lines and distant guitar atmospherics set to a semi-reggae beat, perfumed by the core Bolon Bata group and bearing the appropriate title of ‘The Horizon Stroller’. A must for fans of the Swedish scene around groups like Arbete och Fritid and Archimedes Badkar, as well as any listener who has been seduced by Louis Moholo’s Spirits Rejoice!, The Brotherhood of Breath, or, more recently, the guinbri grooves of Natural Information Society, Trancedance is a lost classic ripe for rediscovery.

2024 Repress!

Limited 10 year anniversary repress. In May 2014, Icelandic producer Yagya released his fifth album, Sleepygirls, across three slabs of vinyl on Dutch label Delsin. It's a deep, spacious and dubbed out affair that stays locked at a pleasingly sedentary tempo throughout. Since 2002 the definitive member of the Thule Musik collective has been crafting lush electronic albums under his Yagya alias and always manages to find pure bliss and beauty and his simple, nature inspired soundscapes. "I wanted to create an album that's atmospheric, repetitive, and easy to listen to over and over again," says the man himself. "Something that works well in the background (e.g. when concentrating on work), as well as up close in a big sound system. I also wanted to learn how to make my music sound better than before, since I'm a huge sound-nerd, so that was a part of the goal for me personally." The album is a fine fusion of tropes from Yagya's earlier albums, features jazz instrumentalists that improvise beautiful melodies over monotonic, almost drone-like, techno beats and also uses live recordings of Japanese vocals, saxophone and guitar to counter the repetitiveness of the rhythms. Right from the rolling bliss of the opener, you're suspended in a womb like pillow of sound that is soft, warm and serenely beautiful. As tracks roll on, the pace stays the same but themes vary from upright and summery to more elongated and insular. This is natural, organic dub that is a delight and a pleasure to listen to. The vinyl versions of each track have been specially mixed with random LFOs, sonic quirks and unique fingerprints making them the subtly different to the CD version, but overall this is a brain soothing and mind melting album that can soundtrack lazy days, long summer afternoons and warm winter evenings in equal style.

2024 Repress

Adana Twins return to Watergate Records with a magnificent three-tracker that begs for a summer dancefloor (but the tracks are that good, they’ll be played for a while to come).

Since their label debut in 2017 with ‘Flower of Cane’, Adana Twins have become firm favourites of the Oberbaumbrücke crew. From handling mix duties on ‘Watergate 25’ to holding down regular gigs at the club prior to 2020, the Hamburg duo always deliver.

‘The Curve’ is their first release on WG since 2019’s cracking remixes of Josh Wink’s ‘Higher State of Consciousness’. The title track is a big bouncy electro cut packed with plenty of groove. A super fun
production sure to bring a smile to your face. ‘Cyrus’ belongs in a motion picture and is epic in composition. It traverses cyborg breaks before moving into a retro key-laden riff, all the while driven by a
powerful ‘Silence / Violence’ vocal. This was made for a big festival moment. ‘Alone’ is the emotional final.

At first propelled by an ‘80s synth and airy pads before a shimmering lead takes control and pushes the track into celestial terrain.

For Twice Infinity’s second solo release, the London and Geneva-based DJ and producer GFX – one of the most active newcomers of the past years – makes his vinyl debut with the aptly named Vibing The Groove EP. His three original tracks span a wide array of playful, groovy, punching and driving techno that perfectly showcase GFX’s musical vision for the near future and mark a preliminary goal in his search for a unique musical expression since his release debut in 2020.

The B-side accompanies two remixes by equally exciting members of the next generation of producers; while the approach by Cuban techno activist Hioll is more to the point and made straight up for peak time sets, Manchester-based trance wunderkind Faster Horses explores his not so well know passion for funky and stepping contemporary techno.

Deluxe 180g vinyl. Art Edition LP includes set of six 12”x12” art cards.



The follow-up to Kee Avil's acclaimed 2022 debut Crease: "A stunning debut" (The Quietus); "A whiplash style of uninhibited exploration" (The Wire); "Kee Avil's debut is a force" (Foxy Digitalis); "A work of Frankensteinian wonder" (Electronic Sound); "A tightly coiled, finely wrought vision of avant-pop" (Exclaim); "A debut of fiendish creativity" (Bandcamp Album Of The Day / Albums Of The Year) Kee Avil's music is both adventurous and intimate, intellectually challenging and emotionally resonant. The Montréal guitarist and producer's 2022 debut LP Crease garnered plaudits from outlets like The Wire, The Quietus, Mojo and Foxy Digitalis, picking up a Canadian Juno Award nomination and Bandcamp Album Of The Day and Albums Of The Year along the way. Its intricate construction, unnerving atmospheres, and knife-edge take on avant-pop prompted comparisons to early PJ Harvey, This Heat, and Gazelle Twin. A remix EP with work by claire rousay, Ami Dang, Cecile Believe, and Pelada brought collaborative perspectives to four Crease tracks, offering new pathways within those songs. With Spine, Kee Avil strips back her heavily textured compositions, opening up a much rawer sound. She calls it folk… and while traditionalists might scoff, this is urgent music that reflects the precarity of modern life, as well as the jarring mixture of electronic and real-world interactions that have become the fabric of our day-to-day experiences. There's a hypnotic post-punk somnambulance to it all, using the repetition and fracturing of melodic phrases interwoven with delicate electronics to create curious and persistent hooks. While not a concept album, themes of time's passage, remembrance, and decay crop up across multiple tracks. Each track intentionally only has four elements - guitar, electronics, and two other instruments, with Kee's voice and guitar pushed to the front. Within this minimalist framework, the juxtaposition of beauty and discomfort that is key to the Kee Avil sound stands out in skin-prickling relief. "We're shaped by many versions of ourselves," says Avil. "I was looking back at these versions of myself and what could have been, what didn't end up being and what did end up being, and going back like that through time. Seeing the future, the past." Spine was written in Kee Avil's home studio after a lapse in writing while touring Crease and working on other projects. She is a well-known and respected member of the Montréal experimental scene, and formerly ran Concrete Sound Studio with Zach Scholes, who continues to work with her as a producer on Spine. Compared to the three years that went into making her debut, Spine emerged in a matter of months - a process that may also be a factor in its intensity and sharpness: "This record was much harder, like it was really discovering everything from scratch." In her desire to not simply replicate or extend the sound of Crease, she felt she had to rip up the rule book, write in a different way, and pare back songs against her usual instincts. Sometimes, when we work against our ingrained habits, we get to the core of who we really are. Spine is an exercise in that process. Without over-intellectualizing or being didactic, it hits immediately and emotionally, especially if you are a person who has spent much time in the process of self-examination. Kee's voice hisses, whispers, and chants; her guitar bends and rings; electronics skitter and crackle; violin creaks like a door in the wind. There is something so evocative about the atmospheres she creates that it's easy to overlay one's own feelings onto her work, but to do that wholly would be to overlook one of the most important things about Spine: Kee Avil's clear and thoughtful vision. This isn't just the next step forward in her artistic trajectory; it's a stunner of a record that stands on its own, a bracing and thrilling listen that has much to reveal about the contradictions inherent in being human. - jj skolnik

Who said rock'n'roll is dead?! Maybe Dr Frankenstein's made a rock 'n' roll monster cuz it sure seems alive to me. We introduce to you the debut LP of MARTIN SAVAGE AND THE JIGGERZ! All three gentlemen in this power trio have a solid background in the rock 'n' roll business which we won't bore you with here. The band has already released a slew of solid 7" records which we won't bore you with here either. Get on the internet ya lazy sods! Anyway, back to this here album: recorded by Ed Deegan at the esteemed Gizzard Recording Studio up in Fish Island, East London, on magnetic tape it delivers 12 solid senders of pure heart-on-the-sleeve rock 'n' roll action! From the blastin' drumroll of opener 'Between the Lines', a staple in the band's live set, via punk ballad anthem 'Down the Line' leading up to another live favourite called 'Boomerang'. There are covers of should-have-been-legends with bad-ass names like the Backstabbers or the Stripes. There are songs about shitty jobs, troublesome relationships, life on the high and life on the low. It's got everything you need really. Whether ya dig Boston 1976, Medway 1986 or Memphis 1996 there's something for you here. You can call it punk, pub rock, garage, glam or any other label you like but we just call it good ole rock 'n' roll. Hope ya dig!

Die zweifach Grammy-nominierte Band Rival Sons veröffentlicht eine remasterte Version ihres 2012er Albums Head Down auf ihrem eigenen Label Sacred Tongue Records.

Das von der Kritik hochgelobte dritte Album der Band wurde von vielen als Meilenstein gefeiert und erhielt Auszeichnungen aus aller Welt. Head Down enthält die Hit-Single und den Fan-Favoriten Keep On Swinging sowie die poppigen Retro-Tanznummern Until The Sun Comes und Wild Animal. Head Down ist ein Album, das die Vielseitigkeit von Rival Sons unter Beweis stellt. Es enthält auch die klassische Ballade über Tod und Verlust (Jordan) und Manifest Destiny Parts 1 & 2, ein epischer, wuchtiger Room Shaker über Verrat und Rache der amerikanischen Ureinwohner.

Released on the band’s own Golden Chariot Records label comes this lovingly rendered reissue of ‘The Decline of British Sea Power’, the band’s debut album, originally released in June 2003 to huge critical acclaim and available now on coloured vinyl for the first time.

Over the course of their 5 studio LPs and three award winning film soundtracks, British Sea Power have become a true British institution: Top 10, Mercury nominated LP, 3 UK silver discs and renowned for their astonishing live shows in unique and unlikely locations – National History Museum, Great Wall of China, Cutty Sark, Cern Hadron Collider, Chelsea Flower show, down a Cornish mine, up in the hills in the highest pub in England, Jodrell Bank and at the John Betjeman centenary with Nick Cave, Barry Humphries, Ronnie Corbet and Prince Charles – as well as hundreds of more traditional sell out tours and festivals around the world.

Barro Music Label reaches its tenth reference with a tremendous EP in which the protagonist (even of the cover) is Nöle, the label's boss. In Electro Bloody Music, the popular DJ and producer from Pamplona delivers four original tracks accompanied by a fantastic remix by Delectro. The renowned Colombian producer, active since 2006, has released on some of the best international labels and with his 80s EBM, electro and techno influences, he is the ideal person to accompany the label boss on such an important release. As for Nöle, after the success of Mendekua, his previous work released in 2022, he does what he is the best at: dark and frenetic techno with EBM flavor, like the one he played during his long residency at Stardust and does now at Lasociación.

On the A-side of Electro Blood Music we find three originals, the first two could be included in the category of Techno Body Music while the third is more purely techno. The EP starts with BuruHilketa, a dark track with a certain experimental atmosphere endowed with an incisive synth line and disturbing vocal samples that accompany us during most of the composition. Shaktale, shares some of the atmosphere of the first track, as it also includes vocal samples and a eerie synthesizer melody quite catchy. It has quite a complex rhythm and an extremely careful production that we recommend listening with headphones to appreciate in detail. Cementerio caliente is powerufl techno track, with hypnotic synths and an acid touch and tremendously forceful. With this kick drum, you could definitely demolish a house!

On the B-side we find another original track titled Noisebuilder and the remix by Delectro. Noisebuilder, with its fat and aquatic basses starts off more techno but, little by little, it also includes EBM details. The track lives up to its name and the noise builds, little by little, layer by layer while the intensity keeps growing. With a hard-hitting beat, spiced in the background by synthesizers that help to create an atmosphere, it is one of the clearest bangers of the EP. Delectro delivers a remix a little more forceful and darker, a bombshell of pure Techno Body Music that closes this magnificent EP.

Release note: El Garaje de Frank

We are delighted to bring you the follow up to the successful 'The Bristol Punk Explosion (1977-1979) album released in November 2023 - a twelve-track compilation entitled 'The Bristol Punk Explosion Vol 2 (1977-1981).'The sleeve notes are written by Tim Williams author of the 1977 Loaded Fanzine. Tim talks about the transition from Soul to Punk, the demise of Prog Rock and the fashion culture that sat seamlessly alongside the music. There are three previously unreleased tracks never before available on vinyl. The Cortinas were the first. They played the Roxy Club, released two singles on Mark Perry and Miles Copeland's Step Forward label, graced the front cover of Sniffin' Glue and recorded a Peel Session. Taking their cue, bands like Social Security (the first band on Heartbeat Records), The Pigs (whose 'Youthanasia' single was released by Miles Copeland's New Bristol Records), The Media, 48 Hours and Private Dicks gave Bristol one of the strongest provincial early punk scenes. The area of Barton Hill gave us The X-Certs, who by 1978 could already pull audiences of five hundred into Trinity Hall. Though we did not realise it at the time, they effectively bridged the gap between the late 70s Bristol scene and what our American cousins like to term the UK82 bands. In time bands from the suburbs of Bristol started to appear on the scene, Misdemeanor (who were managed by the late Dennis Sheehan U2's tour manager for thirty plus years), Apartment from Downend (whose photo adorns the front cover) and Noiz Boiz from Weston Super Mare, the seaside town just down the road. This compilation is designed to give all fans of Punk a snapshot of what Bristol Punk was all about during that period. We close side Two of the album with The X-Certs Clash infused /reggae single 'Together' and follow it with one of Bristol finest Roots reggae bands Talisman and their single 'Wicked Dem'. The punky/reggae party had truly started as we move into the 80's Bristol Stylee! Bristol Boys Make More Noise!

When Eastward was first announced back in 2018, it was heralded for its pixelated prowess and quirky sense of style. In the three years leading up to its release, the hype train continued to gather steam as more and more was unveiled. Upon launch, it became clear that Eastward was about so much more than just style. It had substance, too. A modern celebration of early '90s video games, Pixpil's Eastward delivers a poignant yet hopeful post-apocalyptic story set in a delightfully dark world. It's a story of tribulation and triumph for a small indie studio and offers a thought-provoking exploration of societal constructs whilst also providing some warm-hearted and good-humoured fun. Eastward's iconic art style is complemented perfectly by its incredible original soundtrack composed by Joel Corelitz. In celebration of Eastward's recently launched and highly anticipated Octopia DLC, Black Screen Records and Lost In Cult Records have teamed up to bring you an exclusive opportunity to secure a series of beautiful Eastward OST items.

When Eastward was first announced back in 2018, it was heralded for its pixelated prowess and quirky sense of style. In the three years leading up to its release, the hype train continued to gather steam as more and more was unveiled. Upon launch, it became clear that Eastward was about so much more than just style. It had substance, too. A modern celebration of early '90s video games, Pixpil's Eastward delivers a poignant yet hopeful post-apocalyptic story set in a delightfully dark world. It's a story of tribulation and triumph for a small indie studio and offers a thought-provoking exploration of societal constructs whilst also providing some warm-hearted and good-humoured fun. Eastward's iconic art style is complemented perfectly by its incredible original soundtrack composed by Joel Corelitz. In celebration of Eastward's recently launched and highly anticipated Octopia DLC, Black Screen Records and Lost In Cult Records have teamed up to bring you an exclusive opportunity to secure a series of beautiful Eastward OST items.

In 2009, American metalcore band Atreyu released their fifth studio album Congregation of the Damned. For this album, the band returned to their "heavy hardcore" roots, following 2007's Lead Sails Paper Anchor, while also wanting to "move forward", which resulted in a more melodic approach. It was produced by Bob Marlette (Ozzy Osbourne, Airbourne) and mixed by Rich Costey (The Mars Volta, System of a Down).

Three tracks were released as singles: “Storm To Pass”, “Lonely”, and “Gallows”. The album debuted at #18 on the Billboard 200, selling 26.000 copies in its first week of release.

Congregation of the Damned is available as a limited edition of 1500 individually numbered copies on gold coloured vinyl, housed in a gatefold sleeve and includes an insert. This vinyl edition features the original artwork for the first time.