Buscar:record case

Mathew takes inspiration from the weirdness of Aldous Harding and Amen Dunes while embracing the songcraft of greats like Neil Young and Jeff Buckley. Due for release on 3rd October 2025 via Tip Top Recordings (Mandrake Handshake, Japanese Television, Pearl & The Oysters), EP 'Full Weight' is a six track offering of emotionally driven, lyrically agile, eccentrically produced indie- rock. Released on limited edition (300) heavyweight white coloured vinyl.

Mathew's journey began with a childhood guitar and quietly grew into a private archive of hundreds of songs, never meant for anyone but himself. After stints with local outfits The Velotones and Violet May, he broke away to carve out his own space, one where every note and word belonged to him. Stepping into the studio with friends and trusted collaborators, he found the freedom and confidence to let the world in. The result is 'Full Weight', a bold new chapter in Mathew's musical story. '5:32' is the natural way to introduce Mathew's gloriously unique voice and songwriting, evoking Sheffield's musical royalty such as Richard Hawley.

As the single artwork depicts, '5:32' was conceived by Mathew "in bed, during COVID, eating cereal and taking my meds. As Thom Yorke once said, 'no one is really a solo artist'". The surging, cathartic anthem 'Weight Of Love' is about a simple case of unrequited love. Mathew says, "In my case, it's a story of my dad leaving. The cover artwork is of me and my brother around the age he left" . Further tracks like 'Lady Luck' lean into a slowburning groove of shimmer and snarl, while the fully exposed 'Creature Of Comfort' is built on skeletal instrumentation. 'Full Weight' captures the duality of refusing to choose between fragility and force. It's music that aches, bleeds, and ultimately triumphs: a testament to the strength in showing your cracks. Mathew J Hall celebrates the EP with a live show on 24th October at Hallamshire Hotel, Sheffield.

Coke Bottle Clear vinyl. Jun 25, 2021 (EST) CD MRG755cd 673855075525 $6.00 Jun 25, 2021 (EST) LP - Black MRG755lp 673855075518 $11.00 Dec 02, 2022 (EST) LP - Coke Bottle Clear MRG755lp-dlx-C1 673855075556 $12.50 TOTAL Quietly Blowing It was written and arranged by Taylor in his home studio_his 8' x 10' sanctuary packed floor to ceiling with books, records, and old guitars_as he watched the chaotic world spin outside his window. "Writing became a daily routine," he explains, "and that was a ballast for me. Having spent so much time on the road over the past ten years, where writing consistently with any kind of flow can be tricky, it felt refreshing. And being in my studio, which is both isolated from and totally connected to the life of my family, felt appropriate for these songs." Between March and June, Taylor wrote and recorded upwards of two dozen songs_in most cases playing all of the instruments himself_before winnowing the collection down and bringing them to the Hiss band. In July, the group of musicians, with Taylor in the production seat, went into Overdub Lane in Durham, NC, for a week, where they recorded Quietly Blowing It as an organic unit honed to a fine edge from their years together on the road. "We all needed to be making that music together," he recalls. "We've all spent so many years traveling all over the world, but in that moment, it felt cathartic to be recording those particular songs with each other in our own small hometown."

US Black Friday 2025 Release. There are very few albums in the psych/punk/hard rock/private presses strata that garner the sort of universal awe and accolades that Fraction’s almighty Moonblood LP does, and even fewer records in the world that could be dubbed ‘Christian Rock’ incur such fierce devotion. Indeed some records just meteorically lift themselves out any genre tag with brilliance and sheer defiance--and Moonblood is surely one of them. Based in LA, Fraction was a ragged collection of working-class musicians--the line-up was ringleader Jim Beach--vocals; Don Swanson--lead guitar, Curt Swanson--drums, Victor Hemme--bass, and Robert Meinel--rhythm guitar. Beach himself describes those early days: “The guys met through various acquaintances that we had in LA. All of us had been in bands before, but were seeking something with more teeth. We had a small studio in an industrial complex in North Hollywood and started practicing sometimes as early as 4:30 AM. We all had day jobs, so we did what we could.”

Amazingly the recording sessions for the album were recorded similarly on the fly, as Beach further states: “The Moonblood recording took place at Whitney’s Studio in Glendale, CA, early in 1971. On a strict budget, these songs were recorded in less than three hours—all of them “one takes.” We played, all 5 of us, simultaneously-- there were no studio effects, no overdubbing or any additional sound effects added. Basically what you hear is considered ‘old school’ recording.”

This workmanlike description in no way prepares one for the pure tortured genius the session wrought. Particularly noteworthy is Beach’s vocals—as commonly stated, the spirit of Jim Morrison is conjured in his deep baritone, which gives way to unparalleled pained howls, at times bathed in delay which trails into the abyss. Fascinatingly enough, Beach cites the much punker Love as his fave LA band over the Doors, and also gives influence-nods to proto-everything rockers The Yardbirds and to Dylan, whose dark word tapestries surely inspired Beach’s lyrics (though lines from The Doors’ “L’America” pop up on the LP) Whatever the case, the man clearly has a vision, as even the stark sleeve concept is Beach’s own. Equally as integral to the Fraction sound is lead guitarist Don Swanson—his blown-out fuzz riffs set a template for what is now commonly known as “stoner rock” or “acid punk,” and his solos consist of jagged, wah-wah-ed shards of notes, with his amplifier clearly pushed to the limit.

Beach says: “Don’s guitar was always my driving force and he did everything he could to keep it over the top. You’d never know that (his sound) was coming from an old, broken down Esquire. Don kept it alive!” The other members contributions shouldn’t be underappreciated though-- drummer Curt Swanson keeps things at a constant simmer, and then boils over when the whole band launches into snarling glory. The band and LP as a whole equals something indescribably intense from start to finish—comparisons to the Detroit late 60s high-energy bands like The Stooges and MC5 abound, as well as the sort of late 60s damaged spirit lurking in biker clubs and disgruntled Vietnam vets. The song cycle on side 1 of the LP in particular cuts to the emotional core, with severely charged dark lyrics like “Extend your thumbs and burn the darkness out of her.” Which brings us to the Christian aspect--it often can confuse listeners. The Fraction/Beach world of religion is complex and perhaps a bit pagan/sinister than most---fire and brimstone, temptation, and the truth-seeker being burned by this hell on earth—or perhaps as Beach himself best put it: “Speaking for myself, as a believer, it’s been a progressive experience since my childhood.

I think we’re all basically driven to live more than religion.” The album was pressed in a run of but a few hundred to little attention in the day, but now inferior bootlegs flood the marketplace, and originals of Moonblood command thousands of dollars. So enjoy this all-inclusive reissue, which also features for the first time on vinyl, 3 lost tracks-- like the more acoustic-minded “prisms” and “dawning light,” as well as the proto-metal choogle of “Intercessor’s Blues.”

This summer's epic murder mystery will find its way to your record player! The new film by Chris Columbus
(Harry Potter and the Sorcerer's Stone, Home Alone) has once again been fully scored by composer Thomas Newman.

With titles such as American Beauty and Road to Perdition under his belt, Newman is renowned for his hauntly eerie,
but beautiful style. The beloved film composer matches perfectly with the cozy, yet intriguing
Netflix movie starring Pierce Brosnan (GoldenEye, Mamma Mia! The Movie) and Helen Mirren (The Queen, Excalibur).

The Thursday Murder Club is available as a limited edition on red vinyl.

»Chronotopia« is the second album by composer-performer Elisabeth Klinck. After collaborating closely with artist Oscar Claus to blend her violin playing with electronic soundscapes and field recordings on her 2023 debut Picture a Frame (Hallow Ground), Belgian electroacoustic artist Elisabeth Klinck now turns inward. On Chronotopia, she takes a more song-oriented approach, embracing her voice as a vital counterpart to her violin, intertwining their sounds like threads in a dynamic, multicolored fabric. The record marks an essential turning point in her artistic evolution and opens up a rich internal world. It is a tapestry of sound, emotion, and curiosity spun from—both literally and figuratively—her growing voice.Klinck, who works as a composer and performer in theater, wrote the pieces between tours and recorded the album in the same place as its predecessor, the Spanish Pyrenees. Though the outside world isn’t as explicitly reflected in the recordings as it was the case on »Picture a Frame,« her sophomore album responds to the outside world by capturing both the expansive serenity of the mountains and the frenetic pulse of life on the road. Eschewing her previous, more atmospheric and abstract approach, Klinck creates a landscape that is built on the song and filled with intimacy. Her music feels at once vulnerable and deeply human, balancing the rawness of improvisation with the careful precision of melody-led composition.Klinck describes »Chronotopia« as a playful exploration of time—its fluidity, its constraints, and its influence on how we navigate the world. These notions reverberate through her melodies and lyrics, which dance between moments of shimmering clarity and messy, beautiful chaos. These contrasts are further accentuated by the cunning interplay of voice and violin, which itself reflects the artist’s fascination with duality and transformation. Recorded in both organic and controlled environments, »Chronotopia« blurs the lines between intuition and design. The »time space« into which Klinck invites her audience is a place where sound becomes touch, time bends like light, and every moment carries the thrill of discovery

Sonetos del Amor Oscuro is an ode performed by four enchanted souls who have intertwined their hearts and conjured harmonies and rhythms that wander endlessly among the spellbinding words of a poet from Granada... Federico García Lorca;
He wrung, pushed and vibrated words like tectonic plates, transforming plains into poetic mountain landscapes. He then covered them with a Moorish carpet of snow crystals and had them reflected by the dark locks of hair of a gypsy girl from Albaicín who, with a voice forged in gold and silver, sings her little sister to sleep with a soothing lullaby.

Helena Casella – vocals
Myrddin De Cauter – flamenco guitar
Stijn Kuppens – cello
Stefan Bracaval – flute, bass flute

Helena Casella, the Belgian-Brazilian vocalist with a deep, soft and warm voice, translates her multicultural background and personal thoughts into music in a passionate, soulful and refined way. With her roots in an exceptionally musical family, her music exudes this unique heritage. She effortlessly interweaves genres such as R&B, soul, hip hop and modern jazz, while remaining true to the vibrant sounds of Brazil, an essential part of her roots.
Her debut album was released earlier this year on W.E.R.F. records.

Myrddin De Cauter's music is deeply moving, complex, passionately rhythmic and deeply emotional. He has mastered the compás of flamenco, which gives him the freedom to converse with elements from jazz or classical music. His speed sometimes seems otherworldly, but those who take the time to listen closely to his music will quickly discover an immense world of pure emotion, beauty and tranquillity. After six albums and countless concerts, Myrddin proves that great virtuosos do not necessarily have to come from Spain. At the tender age of eleven, his father taught him to play the clarinet in jazz and gypsy swing style; he became part of the family orchestra and gained his first experiences on stage. A classical melody composed on the guitar prompted him to ask his father to teach him the basics of flamenco guitar. Soon after, Myrddin seemed ready for the real thing and went to Andalusia to learn from Manolo Sanlucar and Gerardo Núñez. This inspired him to compose in his own unique language, deeply rooted in the pure flamenco tradition but enriched by boundless creativity.

Stijn Kuppens is a cellist, composer and producer. In his own genre, which he describes as non-classical cello, he uses the cello in his own unique way. His profound knowledge of the complex history and techniques of the style is clearly audible: Kuppens' mastery of classical music is evident in every note he plays, whether he is performing solo or collaborating with other musicians. His skill as a musician and ambition to explore the boundaries of conventional classical music is evident in his ability to seamlessly blend different genres.

Stefan Bracaval is a classically trained flutist who graduated from the Royal Conservatory of Antwerp. His fascination with the expressive potential of improvisation led him to jazz, where he became a self-taught jazz flutist. Bracaval has collaborated on projects with prominent jazz figures such as Charles Loos, Bert Joris and the Brussels Jazz Orchestra. In addition, he worked as a soloist and arranger with the VRT Radio Choir in 2016. Bracaval leads the Stefan Bracaval QU4RTET, which emphasises the flute as a central jazz instrument and brings new repertoire rooted in jazz traditions.

Live
31/10/2025 – Café Silverio, Gent (BE)
15/01/2026 – Kloosterkapel Diepenbeek (BE)
16/01/2026 – ‘t Ey, Belsele (BE)
17/01/2026 – Sint-Luciakerk (kerkconcerten Merode), Engsbergen (BE)
23/01/2026 – Muziekcentrum Dranouter (BE)

As always - the U JAZZ ME vinyl is numbered to 100 copies and it was pressed on 180g black wax.

Music was composed and produced by Bartosz Weber (guitar, electronica) with creative aid of Michał Fetler (saxophones) & Jacek Prościński (drums).

This Molar record was created in a few stages. First it was substantial to find creative means which would spark the new material. The Polyend Tracker was perfect for that as it is both simple and surprisingly fresh. Only after that I applied my favourite environment and comfortably sat in my digital domain. The next stage was to find kindred spirits who share the same mental and musical sensibility. Michał Fetler and Jacek Prościński seemed to fit like a custom-made rubber glove. It was equally important that they are excellent and experienced musicians as well as good humans. Fetler brought his own sensitivity and ideas, we tried sampling his instruments live which you can hear in quite a few places on this record. We still apply this technique during performances. His contribution is best heard in Berry Teaching, or Stimulating Labourer. In both cases he starts the fun and I enter sampling and answering to his parts. Jacek Prościński fits the bill both in terms of his creative approach and contagious enthusiasm. His style also encouraged me to pick up the guitar and completely change a few parts which led to a more extreme ending in Brav0o (initially it was played on synths and calmly faded out into oblivion). What more is there to do than sit back (or stand up, run, float or fall, whichever you prefer listening to music) and enjoy this selection of audio extravaganza.

For the first time ever, the only full-length album by Spanish soul and garage legends Z-66 is being reissued. Z-66's signature blend of powerful soul, psychedelia, and pop-clearly influenced by bands like The Move, Stones, Vanilla Fudge, and Blood, Sweat & Tears delivers a bold, modern sound that remains fresh and compelling. Unlike other Spanish bands of the time, Los Z-66 enjoyed unique conditions that allowed their sound to stand out as one of the most advanced on the local scene in the late 1960s. As was the case with many other groups, their repertoire for entertaining discotheques had to include the hits of the moment and was not always open to the songs of the most daring international bands, which was the sound that most stimulated the musicians. In the case of Los Z-66, being based in Mallorca meant they had privileged access to hard to-find records, imported by foreign tourists, and to a much more modern atmosphere than in other parts of the country. Songs in Italian and French soon gave way to English hits by the Animals, the Stones, and the Beatles. But it was the offer received from Mike Jeffries, manager of Jimi Hendrix, the Animals, and others, to serve as the house band at the newly opened club Sgt. Pepper's that allowed the group to raise their live performances to a level rarely seen in these parts... They even soon incorporated the distorted sound of fuzz into their guitar when they received a fuzz face pedal as a gift from Jimi Hendrix himself, who was invited to play at the club's opening! Their excellent blend of stunning soul, psychedelia, and pop became their hallmark, not only in the band's concerts but also in the handful of singles and EPs they released on the Regal label. We are now re-releasing for the first time their only full-length album, originally published in 1969, which is actually a compilation of songs previously released in 45 rpm format, complete with two bonus tracks not included on the original LP plus a booklet with liner notes and rare photos.

,Sad Sappy Sucker" (oder mit dem ganzen Titel auf dem Cover ,Sad Sappy Sucker Chokin on a Mouthful of Lost Thoughts") ist ein Compilation-Album von Modest Mouse aus dem Jahr 2001. Ursprünglich sollte ,Sad Sappy Sucker" 1994 das Debütalbum von Modest Mouse werden, wurde dann aber für ein paar Jahre auf Eis gelegt, bis es schließlich 2001 nach dem Erfolg von ,The Moon & Antarctica", dem dritten Album der Band, rausgebracht wurde. Einige Songs wurden in den Dub Narcotic Studios in Olympia, Washington, von Beat Happening-Frontmann Calvin Johnson aufgenommen. Das Album wurde offiziell von Johnsons Label K Records veröffentlicht und enthält neun zusätzliche Titel, die zur ursprünglichen Trackliste hinzugefügt wurden. Die ersten 15 Titel bilden das ursprüngliche Album "Sad Sappy Sucker". Die Titel 16 bis 24 stammen aus dem Anrufbeantworter von Isaac Brock, der einen ,Call to Dial a Song"-Dienst eingerichtet hatte. (Quelle: Wikipedia)

he next instalment from Soulfuric Recordings is the first edition of “The Sound Of Soulfuric Volume 1” taken from the vaults are four unearthed gems spanning two classics, two exclusives, and long-awaited vinyl debuts from house music specialists such as Hardsoul feat Ron Carroll, Urban Blues Project, The Thompson Project & Crackazat and Art Of Tones.

Stepping up first is Hardsoul featuring the legendary Ron Carroll with “Back Together” (Main Classic Mix) a track that should be found in every soulful house DJ’s set, with Ron’s alluring vocals this one is definitely made to keep the dancers moving and in case of dancefloor emergencies reach for this record.

Up next is Urban Blues Project featuring Bobby Pruitt “We Are One” (Art of Tones Extended Remix) which is being brought out for the first time on vinyl, the original mix was first released in 2001 and the now the Art Of Tones Remix has breathed new life into it making it a must have for anyone who is a fan of the original.

Flipping over to the B side, Urban Blues Project return once again with Love Don’t Live (The U.B.P. Classic Club Mix) with Michael Procter. A Soulfuric classic that has been championed time and time again, first released in 1996 and now being revived almost 20 years later on fresh wax.

Rounding off Volume 1 The Thompson Project & Crackazat featuring Gary L with “Messin’ With My Mind” (Crackazat Extended Remix) this has also never been on vinyl before, released earlier this year this soulful house banger got the touch-up from Bristol’s finest Crackazat who adds his touch to the Florida duo’s offering.

House heads can come together once again and seize the opportunity to get their hands on this outstanding EP.

For the ninth installment of the _NRV series, Romania’s Cosmjn delivers The Music Behind EP — four hypnotic cuts that showcase his trademark swing and subtle intensity. Cosmjn is a name most in the minimal circuit perk up just seeing on the sleeve. He runs the Radial imprint together with LIZZ — who appeared on _NRV006, in case you missed that. “Doom Alarm” sets the tone with driving percussion and a shadowy groove, while “Dirty Wob” leans into gritty bass pressure and late-night warehouse energy. On the flip, “Nancy Byoss” pushes forward with a heavy, propulsive workout built for maximum floor impact, before “The Music Behind” closes the record with a spacious, dynamic trip that stretches into the after-hours. A versatile EP, primed for the booth and the bag alike.

Domino Records haben mit Upchuck eine rohe Punk-Wucht aus Atlanta unter Vertrag genommen. Die fünfköpfige Band um Sängerin KT entstand 2018 aus der lokalen Skater:innen-Szene – laut, wild und kompromisslos.

Mit „Plastic“ legen sie nun ihre erste Single beim neuen Label vor: ein wütender, knapp zweiminütiger Ritt durch schrammelnde Gitarren und aufgeladene Vocals. Produziert wurde der Track von Ty Segall, gemastert von Heba Kadry und visuell in Szene gesetzt von Ian Cone. Inhaltlich dreht sich alles um den verzweifelten Versuch, in einer künstlichen Welt echte Verbindungen zu finden.
Der Rolling Stone brachte ihren Sound nach einem SXSW-Gig auf den Punkt: „Everything explodes.“

‘Icon’ is an overused word when it comes to describing singers and musicians, but when it comes to Nina Simone there are few artists that the word describes more accurately. The ‘High Priestess Of Soul’ is surely one of the most iconic singers of the 20th century, and one whose fame and acclaim stretches far beyond conventional black American music circles. 

Nina Simone has featured on Ace and Kent CDs before but this is the first time she’s had one all to herself. “Let It All Out” is the first and only Nina Simone collection to draw repertoire from every label she recorded for between the late 1950s to the late 1970s. 

Not a traditional ‘Best Of’ or ‘Greatest Hits’ package (although the performances included here ARE among her very best, and do include most of her Greatest Hits!) it is a singles collection that presents Nina Simone’s soul and R&B-slanted 45s in chronological order. Invariably they are the definitive versions of the songs, whether she recorded the original versions or not. 

As well as almost all of her American pop and R&B chart hits from 1960 onwards, “Let It All Out” also contains all of Simone’s UK chart hits from the same period – several of which were more successful here than they were back home, including both versions of her biggest British hit ‘Ain’t Got No; I Got Life’, a UK #2 that did not chart at all in the US as was the case with the belated UK Top 5 hit ‘My Baby Just Cares For Me’ which also made no chart impression on its home turf…

Carefully curated and concisely annotated, “Let It All Out” lets the listener in to two dozen of Nina Simone’s most celebrated singles. There have been many compilations of her works since she passed away 20+ years ago, but none that gets to the heart – and soul – of her catalogue in quite so direct a manner as this one does. 

The most inspiring bands are the ones that can create a world around themselves that is about far more than just the music. The artwork, lyrics, sounds and ethos all merge together perfectly to create its own universe, a secret club. The Lovely Eggs are one such band. And against all the odds, 2025 sees them celebrate their 20th anniversary as a band! Stubbornly and heroically independent, The Lovely Eggs have forged their own path and have achieved mainstream success without ever compromising their DIY ethics. Released on their own label Egg Records, with eye watering artwork by Casey Raymond and hand packed in a black plastic bin bag on neon toxic slime green vinyl, this is yet another collectible release from a band who care as much about the art and ideas in their records as they do about the sound. "We had all these spare songs after we released our last album Eggsistentialism and we didn't really know what to do with them," explained Holly. "They just didn't seem to fit in with the vibe of Eggsistentialism but we'd recorded them and wanted to get them out there." "They're kind of a sketchbook of songs," added David. "They're not polished or laboured over but we thought it would be interesting to release them. It's why we called the record Bin Juice. These were songs we had thrown away. But hopefully people like going through bins collecting trash."

A record born of insurmountable joy and simultaneous profound loss; World Maker marks a time of great change for Psychonaut, both personally and musically, as the band burn away the philosophical narrative complexities of previous offerings with a searing, panoramic clarity that implores us to savour the beauty of the now as a means of leaving a legacy for the future. The traditional, three-piece line up of Belgian, psychedelic post-metal collective Psychonaut has long belied the compositional prowess, captivating narrative depth and crushing live presence of a band now operating at the forefront of forward-thinking, contemporary heavy music. Having sent a shockwave through the post-metal and prog scenes with their three times repressed Pelagic Records debut Unfold The God Man in 2020 before following it up with the transformative metaphysical complexities of 2022's Violate Consensus Reality, Psychonaut have played prestigious Belgian open-air festivals like Alcatraz, Rock Herk and Boomtown Festival as well as boutique events such as Soulcrusher, Roadburn Redux and A Colossal Weekend whilst sharing stages across Europe with the likes of Amenra, Brutus and Pelagic labelmates The Ocean and PG.Lost. The seed of World Maker took shape just as the campaign for Violate Consensus Reality came to a close, with the news that guitarist/vocalist Stefan De Graef was to become a father. This tilting of life's axis led De Graef, like most fathers-to-be, to re-assess what was really important. As such, the music he was inspired to write felt free of the band's previous philosophical and spiritual foundations and instead took the form of life lessons for his unborn son, a legacy of love in case something were ever to happen. This hopeful euphoria shines keenly throughout World Maker as an uncharacteristically optimistic warmth; from the reverberating Rhodes organ on the titular opening track and the meandering, free-jazz inspired guitar solo that introduces `Everything Else is Just The Weather' to elements of world music, electronica and the otherworldly voice of Dutch multi-instrumentalist and old friend Anthe Huybrechts (Anthe/Helion Creek) most notably on tracks like `Origins' which also features tabla, a pair of indian hand drums, as its propulsive heartbeat. Whilst Psychonaut's giant riffs, punishing polyrhythms and guttural vocal rage are more resplendent than ever, there is a wider dynamic spectrum to World Maker that sees the band proudly exploring their more delicate, intimate extremes as well as their most aggressive and abrasive. Not long after the birth of De Graef's son came the devastating news that both his own father and Psychonaut bassist/vocalist Thomas Michiels' father had been diagnosed with advanced cancers. Living day-to-day and torn between joy and grief, the band found themselves shedding the grand scope and world-shattering agenda of Violate Consensus Reality to focus on the here and now. Lead single `Endless Currents', the first full track on the album, explodes in a barrage of staccato guitar tapping but mellows to let the powerful, newly pared back lyrics ring out as a call to embrace the flow and follow joy. The song's final few words `Lead the way. / Soar. / Everlong.' double as both a greeting and a goodbye as the trio build their formidable post-metal might to a thunderous breaking point. Similarly, the pulsing, propellant `Stargazer', named so for De Graef's son being born in stargazer position, pairs delicate guitar motifs and folk-inflected optimism with huge and sprawling breakdowns as some of the band's most genre-pushing work to date; asking difficult but important questions of what happens next. It is `And You Came With Searing Light' though that most immediately exemplifies Psychonaut's redirected ambition on World Maker, as euphoria collides with blinding fury. The first track written for the album, `_Searing Light' is easily the most complex and initially wouldn't sound out of place on Violate Consensus Reality. Originally meant to be the new album's opening track; the decision to defer its impact, not to mention its compositional and dynamic gravity, speaks of a fundamental change to the band's very core. The words "Discover the world with wide eyes" recurring throughout speak as much to those having lost a part of their world as they do to those seeing it for the first time. Amidst such turbulent times, the band found strength and support within their Post-Metal community. The album was recorded and produced by the band alongside their longtime collaborator and close friend Chiaran Verheyden (Hippotraktor) with help and advice from Psychonaut's live engineer Victor, who will no doubt make this album sound just as awesome on stage. Even the artwork for World Maker was a family affair, being designed by close friend Sam Coussens of Belgian cosmic sludge metallers Pothamus. In the face of life's soaring highs and desolate lows, World Maker is direct and brave without sacrificing any of Psychonaut's raw power, creative innovation or inimitable musical depth. Where their previous full-length offerings have charted grand introspective courses through time and space, World Maker is breathtaking in its uncompromising clarity: a father singing to his newborn son as a son bids his own father farewell. FOR FANS OF Mastodon, Russian Circles, Tool, Gojira, The Ocean, Pelican, Hypno5e, Cult Of Luna, Amenra

"Across eleven cinematic tracks — each a melodic treasure and short film — Dienel probes: What does freedom look like when rooted in presence, not escape? “Joy, especially queer joy, is revolutionary,” they muse. “Even in the face of everything else, I wanted to show that happiness is still possible — and necessary.”
The record was brought to life with an impressive ensemble of collaborators: producer Adam Schatz (Japanese Breakfast, Neko Case), bassist Spencer Zahn, guitarists Carly Bond (Meernaa) and meg duffy (Hand Habits), drummer Max Jaffe, mixing engineer Jake Aron (Solange, Snail Mail), and mastering engineer Heba Kadry (Björk, Sade). Breaking from their usual DIY approach, Dienel embraced the power of the collective — an experiment in trust, connection, and openness.
Tonally influenced by My Own Private Idaho and widescreen pop, such as Born in the U.S.A., My Heart Is An Outlaw is a warm-hearted exploration. Can we love fully without being domesticated? Can we resist cultural scripts by choosing presence and community over self-erasure? As they put it, “The heart has a mind of its own…It’s the thing holding you back that you have to set free on your own time, in your own way.”
From the early days of White Hinterland to the lush orchestral pop of her solo work, Dienel has consistently bent and challenged the boundaries of independent music. My Heart Is An Outlaw continues that legacy — an unapologetic, joyous declaration of queer love and creative agency."

Green Day’s classic ‘Dookie’ is now available on limited edition Raspberry Vinyl.

Domino Records haben mit Upchuck eine rohe Punk-Wucht aus Atlanta unter Vertrag genommen. Die fünfköpfige Band um Sängerin KT entstand 2018 aus der lokalen Skater:innen-Szene – laut, wild und kompromisslos.

Mit „Plastic“ legen sie nun ihre erste Single beim neuen Label vor: ein wütender, knapp zweiminütiger Ritt durch schrammelnde Gitarren und aufgeladene Vocals. Produziert wurde der Track von Ty Segall, gemastert von Heba Kadry und visuell in Szene gesetzt von Ian Cone. Inhaltlich dreht sich alles um den verzweifelten Versuch, in einer künstlichen Welt echte Verbindungen zu finden.
Der Rolling Stone brachte ihren Sound nach einem SXSW-Gig auf den Punkt: „Everything explodes.“

[a] a1. Tired
[b] a2. Plastic
[c] a3. New Case
[d] a4. Fried
[e] a5. Homenaje
[f] a6. Kept Inside

[h] b2. Un Momento


[k] b5. Lost One
[l] b6. Slow Down

The Alien Dub Orchestra is ragtag collective of Bavarian musicians, featuring members of The Notwist and G.Rag y los hermanos Patchekos. The cohort formed around the idea of performing the standards of the fabled Breadminster Songbook, aka the back-catalogue of lone dubman Elijah Minnelli. Minnelli is known for constructing wheezy, forlorn odes to his hometown, both as highly sought-after self-released 7" singles, and a critically-acclaimed debut album, ‘Perpetual Musket’ for FatCat Records, lauded by the likes of The Guardian, The Wire, and The Quietus. ‘The Alien Dub Orchestra: Plays the Breadminster Songbook’ finds group covering Minnelli’s cumbia-infused dub reggae with full band, playing an eclectic array of instruments including: guiro, accordion, melodica, sousaphone, trumpet and assorted percussion.

The tale begins in 2022, when Minnelli was invited to lend his unique dubbing style to a pair of remixes for The Notwist, and what followed was an ever-flourishing relationship between the Breadminster native and the wider Munich scene. The seeds of the Alien Dub Orchestra were sown during a support gig for The Notwist, where assorted musicians joined Minnelli for a encore, reinterpreting one of his dub remixes across woodwind, brass and assorted percussion.

“The idea of real, competent professionals playing something you’ve muddled together on a computer in a damp basement is quite overwhelming,” reflects Minnelli on the process, “hearing them interpret and improve these melodies is a real joy and privilege.”

Despite the non-traditional origins of the source material, the inherent musicality of Minnelli’s songwriting shines through across his releases, and this creative kinship is what attracted the Orchestra to reimagining his work. The first live collaboration led to recording sessions and further gigs, with the Orchestra building a full set of Minnelli’s music.

The resulting album puts forward the strongest case yet of the shared musical throughline between the acts, where cumbia, dub and folk sensibilities coalesce to something all together unique. The tracks are wrought new, with melodies fleshed out and broader instrumentation expanding the sonic possibilities of the compositions. The tactility of the tracks is perhaps best demonstrated on the gorgeous ‘Vine and Fig Tree’, with it’s layed vocals and expressive bassline returning as a cavorting sousaphone line. Elsewhere, fan favourite ‘SLATS’ sounds as if it was simply written to be performed this way.

To further instill the cylindrical nature of these collaborations, the entire second half of the album is made up of dub versions of the Orchestra’s renditions. For these dubs, Minnelli is joined by Raimund Wong, who had caught his ear with his ambitious live sets, a daisy chain of tape machines and FX pedals. Again, despite their differing creative processes, the two bonded over a shared love of dub music. Each dub was a one-take, with Minnelli riding the faders and Wong’s filters and FX supplying a sound that doesn’t seek to imitate dub, so much as it tries to be it’s own chaotic self. The droning, psychedelic hypnosis of ‘Pundit Dub’ stretches the material to a whole new realm that feels outside of anything else Minnelli has produced before, an ode to the benefits of recycling sound if ever there was one. The whole second half is a perfect closing note to an album that is undoubtedly a love letter to folk tradition, dub ideology and, most importantly, the joy of uninhibited collaboration.

​Elijah Minnelli - voc, guiro, percussion
Philip Gross - accordion, melodica
Theresa Loibl - clarinet, melodica
Cico Beck - electronics, keyboards
Sascha Schwegeler - congas, steel drum, percussion
Micha Acher - sousaphone, trumpet
Markus Acher - drums, voc
Dub mixes performed live by Elijah Minnelli & Raimund Wong at Breadminster County Council Studios

First time reissue of this French cold-wave / minimal-synth treasure.



November 1981 – In the heart of autumn, we set off in two cars along the Nationale 1 (!) to reach Choisy-le-Roi, where a 16-track studio was waiting for us—a place where, over the course of a weekend, we would finally be able to carve our own grooves into vinyl. We were quite nervous, as Guerre Froide had already been around for a year and a half. Our elders in Kas Product had already released two EPs—one with four tracks, the other with three—in 1980, even though they’d started only a few months before us. Admittedly, there wasn’t really a sense of urgency—some of us came from the punk movement, where the prevailing mood was still very much No Future, even if we’d long since stopped believing in it... And yet others had truly lost everything, like those from the generation before us. The reasons, ironically, were often the same: heroin and/or love—hard drugs, in both cases.

Speaking of which, I had a terrible stomach ache—due to nerves or some form of tension—which forced us to make a pit stop in the Oise region so I could rush to the toilet of a local café. That same stomach discomfort would hit me again once we arrived at the studio—whose name, incidentally, I’ve since forgotten...

We had gotten there thanks to the generous initiative of a friend, Sylvain S., known as “Perlin” (what a phonetic coincidence!?), who had specifically created the Stechak Products label to produce our record. Stechak because it was consistent with his earlier association called Tchernoziom, and Products as a plural tribute to the trailblazers from Nancy.

Guerre Froide originally consisted of four members: Fabrice Fruchart on guitar-synth (Korg MS-20), Patrick Mallet on bass, and Gilbert Deffais, known as “Bébert”, on Korg drum machine. At the time, I was already singing in a rock/post-punk band called Stress, and that’s how Guerre Froide picked up the bad habit of rehearsing in the same basement in Amiens as Stress. Within a month or two, we had half a dozen songs. We then had the opportunity to record a 4-track demo with a friend from Radio France Picardie, and to perform in October at a festival held at the Amiens municipal circus. Then came the now-legendary concert on November 11 at B.J.’s Club. After that, we self-produced and released 50 completely DIY copies of a cassette titled Cicatrice. A few concerts later—after Jean-Michel Bailleux had joined us on bass and Patrick had switched to guitar, which felt more natural to him—and with more concrete plans starting to take shape, we had to find a new rehearsal space and start renting a room.

Then came the moment when Fabrice told us he was leaving to go study in Lille... After the June 19, 1981 concert, which was naturally dubbed “Farewell to 2F,” Marie-José, Bébert’s wife, offered to take over on synth.

That’s when Perlin, who was a close friend of the Deffais couple and a great fan of our music, offered to fully finance the production of a 4-track 12-inch EP—covering the studio time, mastering, pressing, and artwork. What up-and-coming band would have turned that down? An improvised contract was signed with each member of Guerre Froide. The first step was choosing which four songs we would record. Berlin 81 was an obvious pick, having already become the group’s flagship track. We wanted to avoid reusing songs from Cicatrice, so the focus shifted to new material—some written before, some after Fabrice’s departure. Ersatz, for example, was his composition, but Mauve and Peine Perdue, which were also selected, were both written by Patrick.