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in 2021 Lioba released her first EP "Introspection" and then in retrospective begun work on her album based upon her journey to that point. If life is a movie then Mangolia would be Lioba's soundtrack for her live at that time Lioba set no limits for herself and her producer Nico Klaukien (Elevate Studios) when developing Magnolia. Their fateful meeting in Hamburg in May 2020 enabled them to create a songwriting and production process that could not have been more harmonious.

Ginuwine... The Bachelor is the debut studio album by American R&B artist Ginuwine.

The second major Swing Mob album, it was chiefly produced by Timbaland and originally released October 8, 1996. Features the singles "Pony", "When Doves Cry" and "Holler

For the first time on vinyl since its release in 1997, a classic of the classics where the Supersuckers lead the way and go cowpunk releasing an Americana classic. Remastered in 2023. Featuring guest appearances from none other than Willie Nelson and Kelley Deal.

Bouncing back from the setback of Sacrilecious, the Supersuckers recorded their most ambitious album with Must've Been High. Using their garagey, post-hardcore punk as a launching pad, they delve deeply into country, even recording with Willie Nelson on one cut.

With a timeless sound that blends heavy soul and psych-rock, Monophonics have built a reputation over the past decade as one of the best live bands in the country. Led by singer Kelly Finnigan, the band of has drawn on their colorful history _ both their experiences as veteran touring performers and as individuals growing up in the Bay Area _ to create "It's Only Us," their fourth release since 2012.A reflection of what they see as the current state of the world, the record touches on difficult subjects such as broken relationships, mental health issues, gun violence and power struggles, all with an underlying message of unity, resilience and acceptance. The band's signature style of arrangement has been expanded with top-notch production and creative instrumentation to round out the Monophonics' trademark soul sound, while Finnigan's vocals are more powerful than ever. At times these tracks can feel classic, as familiar as an old song you grew up with, while simultaneously raising questions about the state of music in 2020 and what the future might hold."It's Only Us" is the sound of a group continuing to grow as songwriters, musicians, performers and people _ reflecting on where they've been, and pushing the boundaries of what's possible in the years to come.

Daylight Saving Records will release Blowdry Colossus, the new solo album by Field Music"s Peter Brewis. The record is Peter"s first solo venture since 2008"s The Week That Was and follows collaborative albums with Paul Smith (on 2014"s Frozen By Sight) and Sarah Hayes (on 2019"s You Tell Me). The album was recorded over the last year at the Field Music studio in Sunderland, and features contributions from Peter"s brother David, Sarah Hayes and Peter"s son Alexander.

Planet P Project is Tony Carey's pseudonym for his science-fiction themed progressive rock side venture from his more pop-oriented rock releases. Its first three albums, Planet P, Pink World, and Go Out Dancing, Part I (1931) were released in 1983, 1984, and 2005, respectively, and the first two saw a fair amount of MTV video airplay. Planet P's most well known singles were Why Me?, a sweeping, energetic romp about outer space and isolation, and the downbeat Static. Go Out Dancing, Part I (1931) is the first of a trilogy; part two, titled Go Out Dancing, Part II (Levittown) was released in May 2008 and Go Out Dancing Part III (Out in the Rain) was released in 2011.

Planet P Project is Tony Carey's pseudonym for his science-fiction themed progressive rock side venture from his more pop-oriented rock releases. Its first three albums, Planet P, Pink World, and Go Out Dancing, Part I (1931) were released in 1983, 1984, and 2005, respectively, and the first two saw a fair amount of MTV video airplay. Planet P's most well known singles were Why Me?, a sweeping, energetic romp about outer space and isolation, and the downbeat Static. Go Out Dancing, Part I (1931) is the first of a trilogy; part two, titled Go Out Dancing, Part II (Levittown) was released in May 2008 and Go Out Dancing Part III (Out in the Rain) was released in 2011.

Mike Agent X Clark returns to Third Ear with four new tracks. His first release for the label in six years, after the River People Edits. The quality and variety which is typical of many Detroit releases is very evident here. Is it house? Is it techno? Is it disco? These genre-defining labels don't really come into the minds of many Detroit producers when making tracks, the music they create often seamlessly blends many genres. What is recognisably Detroit is the weight and the swing of these releases; they do not mess around, and Mike Clark is a master of this.

Now on vinyl - limited to 200 copies. Brazilian composer, guitarist and singer Pedro Rosa release his debut album ´Midnight Alvorada". Pedro, who was born in São Paulo in Brazil but has lived in Spain for over 15 years, has a long musical road behind him and soon share his debut album that reveals his most intimate and respectful relationship with music and composition since he was 10 years old. Midnight Alvorada is an invitation to see with someone else's eyes. Above all, to feel with the heart of the other.

The album features a combination of rhythms, such as samba, baião, ijexá, bossa nova and waltz and features the participation of prominent names in Brazilian music, such as Jurandir Santana, Mônica Salmaso, Vanessa Moreno, Zé Luis Nascimento and Ivan acerdote.. "This album was conceived with my songwriting partner Rafael Mourão, who wrote 8 of the 10 songs on the album in partnership with me.

Rafael is an extension of me and vice versa. A bizarre similarity in the way of seeing and feeling the universe " says Pedro. In Midnight Alvorada, Pedro had great support from Jurandir Santana, an instrumentalist, composer and music director residing in Barcelona. "Jurandir, who has been one of those favorite musicians for a long time, and I started to have an increasingly strong friendship. He is an artist who is motivated by the sound. If he likes

Lil Uzi Vert’s long awaited ‘Pink Tape’ album is available now to stream on all platforms. It will be released physically on CD & Vinyl on the 20th October with pre-order going live on the 17th July. ‘Pink Tape’ features the hit singles ‘Just Wanna Rock’, ‘Flooded The Face’ & ‘Endless Fashion (feat. Nicki Minaj)’.

Last summer the idea came up that the material of the Chillum Trio live act, which had been matured for years by then, would deserve a release on its own. The concept was to try to reproduce the experience of the live performances as close as possible, so a semi-mixed album was created, on which the seven tracks work separately, but the effect is best when listening to the record in its entirety. The musical world of Random Rituals is crazy dense and colorful, similar to Chillum Trio's previous releases, an exotic mix of contemporary electronics, world music and club sounds;s still, it has a unified character, which is due to the fact that it has grown from a live set that has been constantly developing over the years. Genre-wise, it is characterized by low-tempo, organic desert house, tropical acid drops, deep dub, hypnotic tribal beats and psychedelic episodes. Just like genres, eras and cultures are mixed as well: from the jazz-funk of the 70s, via tribal trance of the 90s to modern deep house, from Peru to Pakistan, from Sudan to Senegal: a real musical journey through space and time.


Géza Szekeres, the heart and soul of Chillum Trio, summed up the essence of the record as follows:
"Random Rituals shows me the paradox that recharges can be planned and ad-hoc at the same time. Rituals are characterized by a predictable scenario, but the effect can also be unexpected, so that events spin without a score. You don't walk into the ritual, but it comes to you, creating the same state that then fills you up."

After a quarter-century hiatus, the legendary jungle artist M-Beat has resurfaced with Mekatune, his newly established label. Mekatune serves as a platform for unveiling not only his extensive back catalog but also fresh, innovative material from himself and other luminaries of the jungle music scene.

This is the limited edition yellow vinyl release of this record, capped at 150 units. Both the white sleeve and the vinyl have been handstamped to give the release an early 90’s recordshop feel.

‘Body’ is an unreleased track that only made it to dubplate back in 1994. A very sought after tune that has gained mythical status over the past 30 years. The flipside is the Tim Reaper remix of the classic M-Beat track ‘Peeni Porni’ and it could be argued that this is one of the best remixes Tim has done.

These will go quick!

Lovers Rock at its finest with a beautiful cover version of Merlyn Brooks' "You'll Never Need Somebody". Originally released in 1981 this release is the work of Reggae heavyweight Geoffrey Chung (who also worked on Dhaima with Phillip Michael Thomas, previously released on MISSYOU). This release features the original 7" version along with a small collection of other new mixes.

On the A side, the Dub Organiser skillfully extends the original 3 minute track into a 7 and a half minute long trip along with a new "Dub" version, respectfully re-mixed from the original multitracks 40 years later.

On the B-side, the mixing console is handed over to a dedicated student of Dub, the Swiss Androo who's clearly no stranger to studio work when it comes to dubby landscapes. Elegantly walking the tightrope between traditional approaches and raw experimentation with 3 new mixes, each with very unique feelings.

“Praying to god whether or not I believe there is one” - PH

Petra Hermanova and Unguarded announce In Death’s Eyes (UGD-009), the debut solo LP under the artist’s own name. This LP features nine tracks utilizing folk and sacred musical technique and instrumentation which drift between song and heavy distorted drones. In a disciplined display of beauty, pain, and astute musicianship, Hermanova brings forth a notable accomplishment of an album. In Death’s Eyes confronts death from start to finish with a rare fervor that leaves one feeling it was utterly necessary for Hermanova to produce - to survive. The transcendent impulse, or the influence of religious music, bears heavily on Hermanova’s compositions in her choir arrangements, but is most apparent in her use of pipe organ, opening the record on Black Glass. Having written organ parts for a significant portion of the record, she sought out the renowned organist Denny Wilke to record with her in the Merseburg Cathedral. Captivated by Wilke's profound skill as a player and knowledge of the Ladegast organ, Hermanova invited him to collaborate on Two Deaths where he delivers an impressive improvisation. While religious music offers spiritual solace from grief, folk speaks to the human and earthly as told by the individual, be they songs of suffering or joy, sin or salvation. To Hermanova, the clean promise of liturgical music is not enough to alleviate the blunt pain of grief. Contrasting the spiritual is the voice of the individual sufferer - the folk musician. For Hermanova, the autoharp embodies this contrast. The autoharp, a familiar sound in Appalachian folk music since its mass production in the late 1800’s, is an affordable instrument designed for the unskilled player. It is the antithesis of the organ which is costly, gargantuan, reserved for skilled players, and quite literally a part of the church. Through In Death’s Eyes the sounds of transcendence blend with the worldly, the tension between them poignantly expressing Hermanova’s struggle for spiritual resolution against the reality of death and loss. Like Hermanova’s lyrics, the artwork, conceptualized by Enes Güç and Evelyn Bencicova, is riddled with symbolism and allusion. We find Hermanova on the cover, digitally rendered. Reclining like an anatomical Venus, her vital organs are exposed, suggesting she is denied a transcendent death and is instead immaculately human. Bearing a sickle, her legs are metallic like armor, both symbols of protection. We see here in this image, as we hear in the nine tracks of IDE, the metaphoric state of someone ravaged by loss, choosing to tear herself open in an attempt to heal. - Reece Cox Petra Hermanova is a musician and visual artist based in Berlin. In 2018, Hermanova began working with the autoharp, which has since become the central pillar of her musical practice. Drawing inspiration from folk, medieval drone, and contemporary textural expressions, as well as Appalachian autoharp music, she creates emotionally driven arrangements accompanied by vocals. In her lyrics, she speaks to the fragility and tenderness of the human condition, religious conceptions of death, and introspective landscapes through narrative and symbolism. Hermanova debuted live at the Berliner Festspiele event The Sun Machine is Coming Down, performed at Trauma Bar und Kino accompanied with her choir, and recently took part in Sorour Darabi’s durational performance From the Throat to the Dawn. Her debut solo album, In Death’s Eyes, is set for release in 2023 on the art platform and label Unguarded. The album, where she wrote for the autoharp, pipe organ, solo voice and choir, features the acclaimed organist Denny Wilke playing the 19th century Ladegast organ of the Merseburg Cathedral. She has toured internationally with previous projects, including extensive sound and visual collaborations with Jon Eirik Boska (Hydropsyche) as well as with her award-winning band Fiordmoss. She was recently announced as a SHAPE+ platform artist.

Early 90s' UK club oriented project comprised by "two young lads that made a record", as innocently described by Mark Lloyd, one half of Deep Pearl together with Mark Robertson. Originally released on mysterious private press label called "Big Apple" based in Croydon (South London).

A dancefloor oriented production that seems to transition from earlier acid sounds into more hypnotic early progressive directions, propelled by an established Mediterranean appreciation of its epoch combined with a somewhat naive rawness and energy in the studio, keeping it simple and effective at upper 130's BPM. Clearly the work of someone with veteran status in rave mileage. A-side features dreamy female vocals (courtesy of two other young lads from Germany, at the time, also known as "Air Liquide"), easy to imagine being played over a dusky horizon in Ibiza or an airfield in Suffolk. B-side mix is another peak dancefloor torpedo armed with heavy breakbeat shrapnel, hard to miss - if you know you know - newly re-issued with new artwork channeling Sean Connery memorabilia in acid mode "Hunt for Tie-dye October".

WRWTFWW Records is proud to announce the first ever release of the long-lost original motion picture soundtrack from the 1988 cult horror comedy sensation Ghoulies II by the incomparable Fuzzbee Morse. Digging deep to uncover a true gem of the VHS era, this limited-edition vinyl release (500 copies worldwide) marks history in the making as a piece of film score lore is resurrected from the depths of oblivion. The LP is packed with 39 tracks and features an exclusive artwork by French illustrator Pierre Thyss, as well an obi and composer notes.

The captivating melodies that once played hauntingly in the background of Ghoulies II were long believed to be lost forever. It took over 30 years and Fuzzbee Morse's unwavering determination to dig out the legendary recordings – and restore them for full audio pleasure!
The superb soundscape of Ghoulies II perfectly captures the chilling and wacky essence of the cult movie, as well as its creepy carnival setting. Morse, citing influences such as Bernard Hermann, Frank Zappa, and Igor Stravinsky, flexes his multi-instrumentalist skills, flowing with ease between magical fairground elements (with brilliant use of calliope, tuba, flutes and sparkly sounding synthesizers), dark atmospheres and frightening attacks (tribal percussion, strings, along with dissonant, atonal gongs, bowed cymbals), and goofy moods (bassoon, bass clarinet, glockenspiel, trumpet, clarinet). It’s big cinematic horror movie music with a lighter comedic touch – the 80s live again!

To complete this collector's edition, French illustrator Pierre Thyss (the man behind the WRWTFWW Records logo) lends his (immense) talent to provide awe-inspiring visuals that flawlessly encapsulate the juxtaposition of horror and comedy.

Ghoulies II follows the release of the full uncut soundtrack of Ghoulies (1985) which was released on vinyl for the first time ever by WRWTFWW Records in 2020 alongside soundtracks for other Richard Band-composed, Empire Pictures-produced classics: TerrorVision and Troll. All these 80s horror favorites are still available – complete the collection now!

Planet P Project is Tony Carey's pseudonym for his science-fiction themed progressive rock side venture from his more pop-oriented rock releases. Its first three albums, Planet P, Pink World, and Go Out Dancing, Part I (1931) were released in 1983, 1984, and 2005, respectively, and the first two saw a fair amount of MTV video airplay. Planet P's most well known singles were Why Me?, a sweeping, energetic romp about outer space and isolation, and the downbeat Static. Go Out Dancing, Part I (1931) is the first of a trilogy; part two, titled Go Out Dancing, Part II (Levittown) was released in May 2008 and Go Out Dancing Part III (Out in the Rain) was released in 2011.

A much sought after repress of the Blunted Breaks Vol.1 LP sampler, sold out since release back in 2018 and pressed for the first time on black vinyl. Blunted Breaks Vol.1 was a landmark release for Western Lore, cementing the label as a lead player in the burgeoning jungle revival. An essential contemporary jungle compilation, featuring tracks from Dead Man’s Chest, Coco Bryce, Tim Reaper, Threshold & more.

DJ K-1's (Keith Tucker - AUX88) re-release for modern electro heads Direct Beat Classics label.
1) "K-1 Intro" -Fine metallic percussion and Jeep beats define the groove of this EP's introduction from the year of 1996 featuring Anthony 'Blaktony' Horton (vocals) on this legendary Keith Tucker production. K-1's hauntingly dark strings emerge as you are informed by its mission statement. Mental.

2) "K-1 Agenda" (Instrumental) - Purposely added to enhance variety and balance, this instrumental holds its own. Highlighting his production skill, 'DJ K-1' cuts loose in the minimal groove with traditional Detroit escapism that makes the EP the fine concept it is. Made to dream & jam.

3) "K-1 Agenda" (Vocal Mix) -Written and executed by longtime cohort, 'Blaktony' (AUX88, Alien FM) on vocals. The tune transforms into a classic global jam with android-like vocals planted between the hand-crafted Detroit electronic backdrops. A mainstay in electro bass crates since its release, this track is the description of a man on a mission to jam this world and beyond. Rubbery 'K-1' signature bass lines and strings ride the perfect beat.

4) "The Future I Can See" - K-1's laid back robotic lyrics describe a look into the future paired with thunderous beats and electro bounce. Visionary rocking, Tucker provides the weight to the project that would bare his signature flavor. Hot.

5) "The Future I Can See" (Instrumental) - Focused on an atmosphere of eerie and moody Detroit dark electro, the energetic bass line weaves amongst jamming drums. Imaginative and compelling material made for global dance floors. 100% Electro.

6) "Unreleased track" - A short newly added bonus cut from the original sessions, laced with experimentation in the Motor City Electro sound.

GRAMMY Nominated R&B singer & songwriter Eric Bellinger kicked off 2023 much like he kicked off 2021, with a hit album. For the first time ever, 1-800-HIT-EAZY Line 1 & 2 will be available on vinyl as a double album release. Executive produced by a literal hit maker in Hitmaka, both albums feature Eric's signature crooning voice over rich & silky R&B production. At 14 tracks per album, standout singles from 1-800-HIT-EAZY Line 1 include "Hit Eazy," & "Only You," while 1-800-HIT-EAZY Line 2 includes infectious songs such as "Curious (feat. Cordae & Fabolous)," "Decide," "Obsession (feat, Muni Long) - Remix," & "Sum 2 See (feat. Blxst)." Features across the two albums include Tink, Muni Long, Blxst, Cordae, Fabolous, Rahkay, Kalan.FrFr & Chrishan. Pressed on Aqua & Orchid Smash Vinyl

Rico Friebe is back with the album "Faces Meet" after his recent debut "Word Value" and delivers his personal "deer in the headlight"-moment. What once appeared sparely uncertain and questioning, equalling the fragile try to overcome a state of darkness and forsakenness, now forms into a frenzy of confrontational flashes on "Faces Meet".

Like reflecting on the uncertainties presented on "Word Value", "Faces Meet" reveals some genuinely harrowing findings, creating a wholesome musical moment in time that might never happen like this again.
Besides the uncompromising statements as to find in the opener "Look At Me", refined perceptions in "Nowhere To Run" or "Fifty-One", open-hearted calls in "Do More" and "Let Go", Rico's pivotal confrontation with the irrevocable truth and emotional dissection peaks in his heartbreaking story on "The Best Talk" which marks the crucial lynchpin of the whole album.

Like faces (and therefore people) are constantly meeting everywhere, being faced with the decision how honest and open to meet at all, "Faces Meet" happens to be an even more involved metaphor about surrendering to your true inner self in a mirror-like situation.
Deeply rooted in the seeds of his debut album "Word Value", Rico follows a highly natural and severely plain musical language while implementing new and further ideas and elements throughout his sonic landscape.

"Faces Meet" is an album of insight and self-awareness and the inevitably necessary foundation for his third double LP and magnum opus "Anthems For A Lost Generation" (set to be released in Spring 2024), accelerating a lately unstoppable story into unforeseeable pathways.

Rico Friebe is back with the album "Faces Meet" after his recent debut "Word Value" and delivers his personal "deer in the headlight"-moment. What once appeared sparely uncertain and questioning, equalling the fragile try to overcome a state of darkness and forsakenness, now forms into a frenzy of confrontational flashes on "Faces Meet".

Like reflecting on the uncertainties presented on "Word Value", "Faces Meet" reveals some genuinely harrowing findings, creating a wholesome musical moment in time that might never happen like this again.
Besides the uncompromising statements as to find in the opener "Look At Me", refined perceptions in "Nowhere To Run" or "Fifty-One", open-hearted calls in "Do More" and "Let Go", Rico's pivotal confrontation with the irrevocable truth and emotional dissection peaks in his heartbreaking story on "The Best Talk" which marks the crucial lynchpin of the whole album.

Like faces (and therefore people) are constantly meeting everywhere, being faced with the decision how honest and open to meet at all, "Faces Meet" happens to be an even more involved metaphor about surrendering to your true inner self in a mirror-like situation.
Deeply rooted in the seeds of his debut album "Word Value", Rico follows a highly natural and severely plain musical language while implementing new and further ideas and elements throughout his sonic landscape.

"Faces Meet" is an album of insight and self-awareness and the inevitably necessary foundation for his third double LP and magnum opus "Anthems For A Lost Generation" (set to be released in Spring 2024), accelerating a lately unstoppable story into unforeseeable pathways.

Rico Friebe is back with the album "Faces Meet" after his recent debut "Word Value" and delivers his personal "deer in the headlight"-moment. What once appeared sparely uncertain and questioning, equalling the fragile try to overcome a state of darkness and forsakenness, now forms into a frenzy of confrontational flashes on "Faces Meet".

Like reflecting on the uncertainties presented on "Word Value", "Faces Meet" reveals some genuinely harrowing findings, creating a wholesome musical moment in time that might never happen like this again.
Besides the uncompromising statements as to find in the opener "Look At Me", refined perceptions in "Nowhere To Run" or "Fifty-One", open-hearted calls in "Do More" and "Let Go", Rico's pivotal confrontation with the irrevocable truth and emotional dissection peaks in his heartbreaking story on "The Best Talk" which marks the crucial lynchpin of the whole album.

Like faces (and therefore people) are constantly meeting everywhere, being faced with the decision how honest and open to meet at all, "Faces Meet" happens to be an even more involved metaphor about surrendering to your true inner self in a mirror-like situation.
Deeply rooted in the seeds of his debut album "Word Value", Rico follows a highly natural and severely plain musical language while implementing new and further ideas and elements throughout his sonic landscape.

"Faces Meet" is an album of insight and self-awareness and the inevitably necessary foundation for his third double LP and magnum opus "Anthems For A Lost Generation" (set to be released in Spring 2024), accelerating a lately unstoppable story into unforeseeable pathways.

2023 Repress!

A stunning follow-up to his late 2018 release. Mostly recorded live at the Apollo Hotel Amsterdam in 1991. This is a compilation of the ''Apollo Hotel CD box'', that Ronald made himself, for family and friends.. BIG tip!

Some words from the label:

From 1986 until 1992, Ronald had a residency in the lounge of Amsterdam’s Apollo Hotel. He would play there 5 days a week, for 5 hours a day. In 1991, throughout several sessions, he recorded himself on a cassette recorder. The recordings were ranging from re-interpreted cover versions to multiple own compositions.

The Apollo was particularly known for its sophisticated and elegant crowd. Guests would come to meet in the lounge to talk business, or end the day with a drink at the bar - dancing was never an option.

Listening to the album, one must wonder how some of this music would go hand in hand with a place like that. It seems Ronald gets lost in music and returns in unequally balanced patterns. Lounge sounds meet drum computer rhythms, punchy baselines, distorted space noises, reoccurring clarinet interludes and improvised piano solos.

Back then, just as now, Ronald never liked to be the center of attention. He simply tried to interact with the surrounding as a provider of the mood - as he explains himself.

Instruments
Live: Grand Piano, Yamaha QX1 Sequencer, 2x Yamaha TX7 Tone Generator, Drumtraks Sequential Circuits, Clarinet, Voice
Added at home: Yamaha DX7 Sounds, Roland R-8
Space Train: Kurzweil Piano, Yamaha DX7, Roland R-8, Soprano Sax, Voice

Recorded live at the Apollo Hotel Amsterdam in 1991, except 'Space train', which was recorded in Ronald’s living room.

All instruments played and arranged by Ronald Langestraat.
All tracks written an composed by Ronald Langestraat, except 'Lowdown' which was written by David Paich & Boz Scaggs, 'Give and take' which was written by Michael Shrieve, Tom Coster & Carlos Santana and 'Orpheus' which was written by David Sylvian.

First time on Vinyl, presented in Gatefold Sleeve on Double LP. Originally released in 2015 and carefully forged between 2011 and 2014, "De Aeris In Sublunaria Influxu" showcases a magically crafted alchemical wedding between these two titans of drone ambient. The 2LP features an exclusive bonus track. Troum navigates through cavernous, subterranean spaces where cyclical sounds reverberate towards impressive crescendos of icy noise, luminous drones and dramatic, guitar-driven ghostly melodies. Their truly unique soundscapes shine in a perfect symbiotic movement with the Swedish dark ambient maestro Peter Andersson. Engulfed in a hauntingly beautiful kaleidoscope of grey-ish melancholia, raison d’être comfortably walks deeply into Troum’s vast territory, delivering his very own trademark of eerie tones, ominous sacral ambience and crystal clear constructions. Airy lush enigmatic atmospheres live together with dark breathing, reverberant transformative drones. Rich and gorgeously layered.
All sounds assembled and recorded by raison d'être (Peter Andersson) and Troum (Stefan Knappe, Martin Gitschel) between 2011-2014. All sounds processed, manipulated and structured by Peter Andersson 2011-2014. K-14 level mastering by Peter Andersson 2014. Artwork by Ritxi Ostáriz.

2LP Vinyl Edition of 300 copies, Gatefold Sleeve, Matt Lamination, Black Paper Innersleeves. 8 Tracks. Running Time 76:28

The long awaited official reissue of ‘She Wants’, one of the first UK Street Soul singles originally released in 1985 by The NM Band.

The NM Band was an alias for UK Lovers Rock band Natural Mystic, responsible for a number of hits in the late 70’s and early 80’s most notably ‘Runaway Love’ and ‘Groove Rocking’. They released a string of acclaimed reggae LPs and toured extensively throughout the UK, but by 1985 wanted to try something away from their trademark roots reggae sound. Influenced by the availability of affordable hardware the band set about fusing Reggae and Soul using an Akai Drum machine, Yamaha DX7 and Roland sound module. ‘She Wants’ is one of the forebearers of UK Street Soul, raw machine drums paired with an incredibly soulful vocal from Ashley Sommers. The band created their own imprint ‘Mixdown’ to release the single, but it slipped under the radar, despite strong radio play from Choice FM and the then pirate station Kiss. The 12” is backed with Dub Version ‘She Wants’ (More).

A 140gram pressing in 3mm spine black disco sleeve with metallic sticker designed by Bradley Pinkerton.

For Fans of Horror, Halloween, and Haunted Attractions! Shadow’s Symphony creator Grant Smoker has loved everything to do with Halloween since he was a kid and always wanted to be able to contribute or be a part of Halloween in some way. Hearing music at Haunted Attractions inspired him to start writing and recording. He writes this instrumental music with haunted attractions, films, and gaming in mind. Since 2014 Shadow's Symphony has been played in haunts around the world. Each album that he writes has a different theme, which means different instrumentation as well as style that pertain to the theme of the album. There's a bit of everything from melancholy piano to full blown dark orchestral strings and creepy ambient synth over the course of an album. For this release, The House in the Mist was written using unpolished instruments and synthesizers to match the "look and feel" of old silent films. It was his first album written in 2011 and is still a popular choice for haunted attractions. This is a fist in a multi part series from Shadow’s Symphony

Joe Sutkowski (Dirt Buyer)'s new album is a documentation of making it to the other side. Sutkowski grew up in New Jersey, and although he lives in Brooklyn now, he remains " an emo kid at heart ," garnering inspiration from bands like My Chemical Romance and Muse, the latter of whose theatrical, dramatic performances inspired the band's own vocal-forward, soaring takes. Initially working together as a duo while Sutkowski and Ruben Radlauer (Model/Actriz) were at school in Berklee, the band's self-titled 2019 debut album was recorded on an IPhone in their practice room on just drums and guitar, and the quietly striking, nuanced stylings earned them accolades far beyond the " fake record label " the two made up to originally release their music. The band's new album, Dirt Buyer II , was recorded in February 2020, and represents a foray into heavier material that marks a deeper shift for the band. Now working as a trio, Sutkowski is flanked by Tristan Allen on bass and Mike Costa on drums, a fellow Berklee grad who cut his teeth playing in bands across Boston including past collaborations with Sutkowski. Half-recorded while the band was on tour with Surf Curse, the record finds Sutkowski reaching out for places, people and beliefs to ground him. Throughout the album he attempts to wrap his head around the idea of fate and how you can brush up against other people and then leave them behind. The songs themselves play with this concept of light and dark intertwined. Oscillating between urgency and cathartic release and more stripped-back elegies, Sutkowski faces the reality that while the people he'd rather forget can still live on through music, he is able to move on at the same time. Half-recorded in his mother and uncle's upstate house where he turned the living room into a studio, he contemplates the beauty and disaster around him - all refracted through visceral visual imagery of how the physical earth meets the unknown to converge in something greater than ourselves. " This is all a living chronicle of all I want to do, which is feel good and be happy ," he admits. " I'm a completely different person now - a better version of myself ." Processing the past, Sutkowksi has emerged with newfound belief, fully intact and with a new path forward to the future.

Joe Sutkowski (Dirt Buyer)'s new album is a documentation of making it to the other side. Sutkowski grew up in New Jersey, and although he lives in Brooklyn now, he remains " an emo kid at heart ," garnering inspiration from bands like My Chemical Romance and Muse, the latter of whose theatrical, dramatic performances inspired the band's own vocal-forward, soaring takes. Initially working together as a duo while Sutkowski and Ruben Radlauer (Model/Actriz) were at school in Berklee, the band's self-titled 2019 debut album was recorded on an IPhone in their practice room on just drums and guitar, and the quietly striking, nuanced stylings earned them accolades far beyond the " fake record label " the two made up to originally release their music. The band's new album, Dirt Buyer II , was recorded in February 2020, and represents a foray into heavier material that marks a deeper shift for the band. Now working as a trio, Sutkowski is flanked by Tristan Allen on bass and Mike Costa on drums, a fellow Berklee grad who cut his teeth playing in bands across Boston including past collaborations with Sutkowski. Half-recorded while the band was on tour with Surf Curse, the record finds Sutkowski reaching out for places, people and beliefs to ground him. Throughout the album he attempts to wrap his head around the idea of fate and how you can brush up against other people and then leave them behind. The songs themselves play with this concept of light and dark intertwined. Oscillating between urgency and cathartic release and more stripped-back elegies, Sutkowski faces the reality that while the people he'd rather forget can still live on through music, he is able to move on at the same time. Half-recorded in his mother and uncle's upstate house where he turned the living room into a studio, he contemplates the beauty and disaster around him - all refracted through visceral visual imagery of how the physical earth meets the unknown to converge in something greater than ourselves. " This is all a living chronicle of all I want to do, which is feel good and be happy ," he admits. " I'm a completely different person now - a better version of myself ." Processing the past, Sutkowksi has emerged with newfound belief, fully intact and with a new path forward to the future.

Restrictions is the third studio album by American hard rock band Cactus and was released in 1971. The band featured members from Vanilla Fudge, Mitch Ryder and the Detroit Wheels, and the Amboy Dukes.

As expected of these kinds of musicians; the record is packed with big guitars, big sing-alongs, and a bass-and- drum combo that could knock out windows. The album tracks “Token Chokin’”, “Evil”, “Alaska” and “Sweet 16” were all released as singles. It also features some heavy blues-rock originals, with a cover of the Howlin’ Wolf blues standard “Evil”.

Restrictions is available as a limited edition of 1000 individually numbered copies on green coloured vinyl.

Dead Times is Lee Buford (The Body, Sightless Pit, Manslaughter 777) and Steven Vallot (Muslin). The duo originally began working together in 2008 while living together in Providence DIY space The Sickle, and releasing the early records from The Body and The Assembly of Light Choir on their short-lived Aum War label. They quickly achieved cult status with just two limited releases. Those releases have become highly coveted rarities for The Body fans and those familiar with the world of Providence, Rhode Island"s legendary DIY scene, which gave rise to artists like Lightning Bolt and Black Dice. Emerging over a decade later, Dead Times connects the threads of the untethered extremes of their origins to the mastery of production, composition, and structure each member has cultivated in their time apart. On their debut self-titled full-length, Dead Times present a kind of mesmeric dread, a world of desperate beauty wrapped in sonic venom. Buford and Vallot each bring wells of experience and new skill to Dead Times since their days living together in dilapidated warehouses. The duo"s shared history remains an essential element to their chemistry, but each has sharpened their craft to harness that raw creativity into music that is fearless, poignant and undeniably unique. A band"s band, but not for long. Dead Times, the duo"s first album, is staggering in its ambitions and exquisite in its execution. Lee Buford is known for his prolific work in acts including The Body, Sightless Pit, Everyone Asked About You, and more, alongside numerous collaborations with the likes of Full Of Hell, BIG|BRAVE, Thou, OAA, and Siege Engine. Steven Vallot is known for his collaborative work both musically, and artistically, with artists such as Krieg, The Body, Whitehorse, and Drew McDowall.

Limited to 300 copies, this 2x12" double vinyl VA is the third physical release of the industrial techno label, Askorn Records. Including 8 tracks ranging from dark and tortured slow beats to hard and industrial techno bangers, this release brings together 9 producers from Belgium, UK, Poland, Australia and France: Twan, Dahryl, Mickey Nox, Tripped, 14anger, Draugr, Hel.IV, Ogmah and Hatelove.

A1: Twan & Dahryl - Ammunition
Pure industrial techno banger. 142bpm bomb full of fast rolling drums and screaming synths, this collaboration between
Belgium based artist TWAN and Dahryl from United Kingdom, is a furious dancefloor destroyer.

A2: Mickey Nox - Switching Horsepower
Classic industrial hammer by Mickey Nox from Australia. A crazy 4-4 techno track with his famous stomping kick, strange FX sounds, chopped with some glitchy voices. Sounds like an unstoppable engine.

B1: Tripped - Fat Load
Tripped demonstrates the perfect mix between hardcore and techno into this track, using his famous and indescribable style. Industrial hardcore and destroyed 909 gabber kickdrums, scary synths, amen breaks and terror atmosphere.

B2: 14anger - Bachman
Heavily distorted bass-line, overdrived kickdrum, an acid break and some electrical noises: Bachman is the latest 14anger
banging track. This raw industrial techno track definitely brings some oldschool rave vibes to this project.

C1: Draugr - Discipline
A dark and groovy track by Draugr. He brings his famous threatening atmospheres, spooky bass and catchy drums on
this one. Crunchy kickdrum, radar noises and a perfectly chosen speech about order and discipline.

C2: Hel.IV - Brave & Thick
Hard, dark and punchy as usual, let's introduce Hel.IV from Paris. Deep and hard kickdrum with catchy drums patterns
surrounded by a screaming distorted vocal sample, and an epic and menacing synth.

D1: Ogmah - No Feelings, Pure Wrath
New harsh and scary bomb by Askorn's founder, Ogmah. A slashing and industrial beast with some shrill highs drums,
creaky and industrial FX sounds, and a long break with scary vocals about sins.

D2: Hatelove - Snakebyte
A slow and dark track with a deep as hell atmosphere, produced by the one and only Hatelove from Poland. Full of filters
automations, psycho and spooky noises, banging drums and crazy sound design. Angering af.

The artwork is an engraving by the artist Daniel Girault from Brittany in France. This is the result of a dark and disturbing
abstract design engraved on a hard metal surface, made by cutting grooves into it with differents sharp tools. After being
drowned into an acid bath, this metal plate is finally pressed with black ink on a thick paper sheet.

"Ruiner" the new full-length LP from time-honored US black metal entity
KRIEG will see its release on Oct 13
"Ruiner" is the first full- length from the cult US black metal force since 2014's
"Transient" and is a despondent expression that captures the classic KRIEG
complexion which has solidified KRIEG as a vanguard and pioneer of US black
metal.
Even though "Ruiner" is the first KRIEG full-length album in nine years, KRIEG has
continued to remain active leading up to its long-awaited release through various
splits, collabs and EPs. This all culminated in that moment for "Ruiner" to
ultimately manifest itself.
"Ruiner" is unrepentant and remorseless black metal in the reflective manner
KRIEG and mastermind N. Jameson have always been known for. Most-notably
that of the savage and unhinged aura present in the triarchy of classic KRIEG
works, namely "Destruction Ritual" (2001), "The Black House" (2004), and "Blue
Miasma" (2006) while maintaining that harsh, sorrowful and cold- blooded
melancholic aura

For the last 15 years, Allah-Las have alchemically melded surf rock
washes with folk rock jangle and rock, building up their lauded music
podcast, Reverberation Radio, and record label, Calico Discos, in the
process - But a lot has changed since Matthew Correia (drums/vocals),
Spencer Dunham (bass, guitar, vocals), Miles Michaud (guitar, organ,
vocals), and Pedrum Siadatian (guitar, synth, vocals) first bonded over
psych rock vinyl in the back room at Amoeba Records in the late aughts
Zuma 85 signals the start of a new era for Allah- Las, and finds the band
reinventing itself in defiance of the algorithmic categorization and robotic sterility.
Recorded in the midst of the shift from the Old World to whatever branch of
reality we're on now, it's a return, too: The album will be released October 13th on
their own label, Calico Discos, in partnership with Innovative Leisure, which
released early defining statements like Allah- Las (2012) and Worship The Sun
(2014)

The Undisputed Kings of Garage Rock! **Timely repress of their classic singles compilation on 2 CDs or 3 LPs with new gatefold sleeve! – please note unavoidable price hike! A retrospective compilation of singles released on a multitude of different labels throughout the 90′s. Featured tracks are ‘(We Hate The Fuckin’) NME’ ‘My Dear Watson’ & ‘Every Bit Of Me’. A fitting tribute to one of the greatest bands ever. Thee Headcoats were mainly Billy Childish (Git/Vox) Bruce Brand (Drums) and Johnny Johnson (bass), they formed in 1989 after Billy’s previous band Thee Mighty Caesers gave up the ghost. By 1992 they had already released something like 6 albums and 15 singles one of which was catalogue number Damgood1, a split single with Thee Headcoatees. During the ’90′s I must have seen them 60 times, I even went over to Japan with them in 1993. There was something really natural about them, no bullshit. We did the ‘We hate The Fuckin’ NME’ single after journalist Johnny Cigarettes walked out of their gig in Archway after insisting that he should get in for free as he was from the NME and then reviewing Thee Headcoatees by saying there were no girls in the band (he'd left before they came onstage!!). Lots more releases followed including the great ‘In Tweed We Trust’ album. Thee Headcoats carried on touring and releasing records in every corner of the world until mid 2000 when they called it a day

MARKING 25 YEARS, THE CLASSIC FOURTH ALBUM FROM THE UK MASTERS OF EMOTIONAL PROGRESSIVE ROCK & METAL, PRESENTED ON LIMITED MARBLE VINYL Anathema formed in Liverpool in 1990, initially under the name of Pagan Angel & grew from a heavy doom/death metal style act into a more progressive & melodic group, blending rock elements with strong atmospherics inspired by classic acts such as Pink Floyd & Radiohead. The band signed with Peaceville Records after recording the 'All Faith Is Lost' demo in 1991 & is known for being part of the hallowed Peaceville doom metal trinity in the early 1990's (alongside fellow UK bands Paradise Lost & My Dying Bride), with some highly influential releases in the early part of their long, esteemed career. Released in 1998, 'Alternative 4', Anathema's fourth studio album, quickly became the band's best- selling & most highly regarded release to date. Containing evocative atmospheric passages & emotional Rock anthems, 'Alternative 4' represented a giant progression from the band's previous work & hinted at the massive changes to come. Displaying a more mature sound than the band's earlier recordings, this is the album that gave birth to the more conceptual approach, which the band took further on such albums as a 'A Fine Day To Exit', 'A Natural Disaster' & beyond, leading up to some of their most revered work under the Kscope label. This edition of 'Alternative 4' marks 25 years since release & features the album presented on limited marble-effect vinyl.

A captivating work of impressionistic memories, observations and intimate confessions, Ebony wrote her debut self-titled solo album while coming into prominence as an in-demand portrait photographer within New Zealand’s contemporary literature and independent music scenes. The release comes five years after her alt-country band, Eb & Sparrow, amicably parted ways in 2018.

Recorded on vintage analog studio gear and mastered to tape, EBONY LAMB finds Runga and Nielson placing Ebony’s distinct, fragile-but-firm voice within a cinematic confluence of jazz, folk, psychedelia, alt-country and ambient pop. Written over the last five years while coming to terms with the realities of a changing world, themes of gratitude, loss, acceptance and aspiration run through the album like a river, especially in the nocturnal groove of ‘My Daughter My Sister My Son’ and ‘Brother Get Me Home’.

From the album’s opening notes, Ebony expresses herself in non-judgmental terms, singing with a raw tenderness that draws listeners into her reflections on friendship (‘Drive Me Around’), the complexity and contradictions of success (‘Successful Feelings’), and connections in seemingly hopeless moments (‘Come, Put A Record On’). Yet while her songs can feel like she’s sitting just across from you, Runga and Nielson’s production imbues them with an expansive sensibility. Spare, vivid and moving,

EBONY LAMB is an album that captures a defining artistic leap from a talented artist coming into her own. Singing to herself and the listener, she implores us to continue reaching forward without losing sight of what we have and the elements of our lives that truly matter.

The rising Tamil-Swiss artist Priya Ragu is set to release her long-awaited debut album ‘SANTHOSAM’ on October 20th.



‘SANTHOSAM’ (the Tamil word for ‘happiness’) is a standout dynamic album which takes her raguwavy sound – simmering R&B, masterful pop hooks, earthy soulful vocals, dance beats, and the warm tabla rhythms, and spiralling melodics of Tamil music – to even more adventurous heights. Defined by Priya’s contagiously positive spirit, it pulsates with gorgeously varied musical textures and urgent political themes. Once again crafted in collaboration with her brother and producer Japhna Gold, it’s an album that originates from Priya’s quest for self-discovery.



‘SANTHOSAM’ opens with ‘Ammama’s Note’, which features a voice recording in which Priya’s grandmothers is questioning why she isn’t married. Like many young South Asian women, Priya felt like she wanted to achieve much more before she settled down, regardless of other people’s preconceptions of what direction her life should take. That ability to write one’s own destiny continues the euphoric ‘School Me Like That’, set to a rumbling tambla beat and breezy synths. More universal issues are explored in the blazing anger of ‘Black Goose’, which was written in the wake of the murder of George Floyd and the Black Lives Matter protests, and ‘Let Me Breathe (Reprise)’, a spiritual call for freedom, emancipation, and peace.



Elsewhere, the record brims with highlight-after-highlight, taking in everything from the dancefloor disco energy of ‘One Way Ticket’ to ‘Power’ which features a rousing string arrangement that was written by Indian composer Bala and recorded with an orchestra in Budapest. It closes with ‘Mani Osai’, a song which continues a yearly family tradition in which Priya, Japhna and their father write a song together. Never intended to be a Priya Ragu track, it nonetheless felt like the perfect way to close the album – especially as the concluding “santhosam” chant conveys the meaning of the word with life-affirming zest.

Kalipo prepares to launch his new album Happy Little Accidents, which counts with twelve electro-focused tracks as well as the participation of feature artists Rampue, Ira Atari, Oberst & Buchner and subkutan. Iconic 80s painter and TV host, Bob Ross is celebrated for his thirty-minute landscapes, recognizably soothing voice as well as the 'happy little quotes' he imprinted on pop culture. One of Ross' most memorable turns of phrase, "We don't make mistakes; we just have happy accidents," went on to encourage thousands worldwide. And not just painters. "For me, this album was about letting the songs develop very quickly and not evaluating them too much, or trying to avoid mistakes," says German electronic music producer, Kalipo (Jakob Häglsperger) who named his latest release Happy Little Accidents after Ross' signature phrase. "Bob Ross really impressed me as a child, he was always so accessible to everyone and demonstrated how easy it was for anyone to work creatively," says Kalipo, who translated Ross' fast and instinctive wet-on-wet painting technique to music-making on Happy Little Accidents. The 12 tracks that make up PART I and PART II of the album are a celebration of the method - sometimes it's a floaty journey with tinkering sounds, at other times dark fast beats create the core of the music, but there's always a sense of intuition and heart driving Kalipo's productions.