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2022 Repress

Trip Recordings follows the huge success of its first three releases with a third double-vinyl album, once more curated by label owner Nina Kraviz and featuring gatefold artwork by in-house artist Tombo. The release draws on contributions from established Trip members Kraviz, Population One and Nikita Zabelin, in addition to new artists added to its expending roster including K-Hand, Philipp Gorbachev, Vladimir Dubyshkin and Roma Zuckerman.As established with the label's first three releases, TRP004 will function as a soundtrack to a scenario and its accompanying artwork from Kraviz and Tombo. The title 'Ivan, Come On! Unlock The Box!' (, ! !) is inspired by the track contributed by Philipp Gorbachev (Comeme/PG Tunes), from which Kraviz has extrapolated a story of a rule-defying Russian maverick who is 'searching for the key to the future'.Set for release in mid-November, TRP004's two twelve-inches orbit around a nucleus of talent drawn from label boss Nina Kraviz's homeland of Russia. In addition to 'I Believe I Can Fly (KLM Delayed Flight Version) - one of her own 'road tracks' produced during the producer's hectic global touring schedule - Kraviz has enlisted a quartet of her countrymen for this latest collection. Philipp Gorbachev contributes his most uncompromisingly techno track yet, while Moscow's Nikita Zabelin follows his label debut on TRP003 ('De Niro Is Concerned') with the sinister minimalism of 'Bells'. In addition, TRP003 marks the label debuts of Vladimir Dubyshkin and Roma Zuckerman, both of whom were recommended to Kraviz by Zabelin. The former - a true outsider, just 17 years of age and based in the remote Russian town of Tambov - follows an early 2015 LP for SUB-AMP Records with the disorienting off-kilter techno of 'Lose Yourself', while the latter marks his first ever release despite years of producing with the unsettling 'Geburt Part 2'.

Completing TRP004 are two defiantly individual international artists: K-HAND makes her Trip debut following a two-decade career that's seen her become on of Detroit's true underground, and relatively unsung, heroes. Her contribution, 'The Box', finds her clipping effortlessly within Trip's aesthetic, with a heady textured acid potboiler. Two more Barcode Population tracks, excavated from a mine of undiscovered Nineties-made rarities, complete the release with furiously paced techno rollers which will remain strictly vinyl-only.

REPRESS

The second LP compendium of Emahoy Tsege Mariam Gebru's early solo piano works, recorded throughout the 1960s - finally available again. Emahoy Tsege Mariam Gebru is a true original - her compositions and unique playing style live somewhere between Erik Satie, Debussy, liturgical music of the Coptic Ethiopian Church, and Ethiopian traditional music. It is some of the most moving piano music you will ever hear! These original compositions, performed by Emahoy Tsege Mariam Gebru herself on solo piano, were originally self-released in Germany in small editions as fundraisers for orphanages, support organizations for widows of war victims, and other philanthropic causes. We are humbled and proud to present this album in collaboration with the EMAHOY TSEGE MARIAM MUSIC PUBLISHER and Foundation, and to assist in continuing her life-long mission of using music as a vessel to care for those who have been abandoned by society, or harmed by strife. Black vinyl LP comes in black inner-sleeves and heavy cardstock jacket with color printing and gold-foil stamping, and song notes by the composer herself. Restored and remastered by Timothy Stollenwerk.

To celebrate the 30th anniversary of ActRaiser, we have remastered the full original soundtrack composed by Yûzô Koshiro, and completed this divine tribute with the Symphonic Suite performed by New Japan BGM Philharmonic Orchestra at Ancient Festival in 2018! An unique chance to rediscover this intemporal classic with this new orchestral arrangement!

ActRaiser's original soundtrack was a true revolution at the time. Yûzô Koshiro's showed a technical prowess using the hardware's full ressources to create a majestuous score that inspired many composers.

Extremely rare, under the radar afro-psychedelic LP from South Africa. This mysterious band was produced by African funk master, composer, guitarist and producer Almon Sandisa Memela, who was active since the mid 1950s, first as a musician and guitar teacher and then also as a producer. He is famous for his 1970s Afro funk works Funky Africa and the very sought after Broken Shoes.

Action features a cool mixture of incipient afro-funk and garage pop/psych, with one of its songs having been compiled on the famous Next Stop... Soweto compilation series that helped ignite the current fever for African music.



RIYL: Ofege, Blo, Aktion, The Apostles, SJOB Movement, Soweto and the likes.



First ever vinyl reissue, reproducing the original sleeve artwork and with remastered sound. 500 copies only.

The fourth venture from Bristol label Comma Traxx re-invites the mighty Matt Wills for his solo venture 'Forget Facts EP'. Three driving and explosive groovers that offer different takes on Wills' stylistic sound. Accompanying the EP with a first time Comma release, we have Ed Hodge and his spin on title track Forget Facts that showcases why this young producer is one to watch out for.

Mit dreißig Jahren aktiven, schändlichen Dienstes unter ihren Gürteln sind NECROPHOBIC unbestrittene Legenden des Death- und Black-Metal-Undergrounds. Die 1989 von Schlagzeuger Joakim Sterner gegründete Band aus Stockholm vertrat von Anfang an eine einzigartige und furchtlose Vision und bestätigte ihr Können 1993 mit dem mittlerweile legendären Debütalbum 'The Nocturnal Silence'. Indem sie den selbstbewussten Dilettantismus und die primitiven Klänge, die viele ihrer Kollegen schätzten, hinter sich ließen, schufen NECROPHOBIC eine kühne und lebendige eigene Identität und zauberten eine dicht melodische, aber unendlich verruchte Version von makaberem Extrem-Metal hervor, die seitdem von unzähligen weniger bekannten Bands nachgeahmt worden ist. Mit 'The Nocturnal Silence' veröffentlichen NECROPHOBIC ihr ursprünglich 1993 erschienenes Debüt-Album neu. Wie die bereits erschienenen Wiederveröffentlichungen 'Hrimthursum' und 'Death To All' wurde auch dieses Album von Dan Swanö im Unisound Studio remastered. Das Album wird als Ltd. CD Jewelcase im Slipcase, 180g LP inkl. LP-Booklet mit einem A2-großen Poster und als digitales Album verfügbar sein.

Wellington, New Zealand four-piece Hans Pucket writes nervy but effortlessly danceable rock songs about feeling bad. Their second full-length album, No Drama, which is out November 4th via Carpark Records, gleefully captures the all-too-common twenty-something anxieties of talking too much and then being unable to find the right words to say. When frontman Oliver Devlin sings, “I’m surfing a constant wave of alarm” on the title track, it’s a compass for the other nine tracks. This is inviting and relatable music for people who, despite their best efforts, feel uncomfortable about themselves, the state of the world, and their place in it.

Both lyrically and sonically, No Drama is a departure for Hans Pucket from their 2018 debut Eczema. “I realized I didn’t want to write any more real heartbreak songs,” says Oliver Devlin. “We were and still are a live band. We're still trying to make music that’s catchy and people can dance to, but also really interesting to us: songs about growing up and finding how you exist in the world.” Songs like “My Brain Is a Vacant Space” with its blistering guitars and ebullient hooks hone in on the feeling that you have nothing to offer while “Bankrupt,” a fuzzed-out punk track, boasts lines like “I don’t know if I’ll always feel like / I don’t know what I’m doing wrong.”

Recorded with the band’s good friend and former tour mate Jonathan Pearce of The Beths at his Auckland studio, No Drama is full of big leaps, immaculate arrangements, and a ton of immediate grooves. “We were very ambitious when we first started recording this,” says bassist Callum Devlin. “Intentionally we left heaps of space in the track so we could add strings and horns. Because we were very measured and quite deliberate with the parts we had. It was a really fun process filling in the gaps.”

No Drama came together over several years and during its creation, the band added multi-instrumentalist Callum Passels, who provided all the horn arrangements on the LP. With Pearce producing, his other Beths bandmates like Benjamin Sinclair added string arrangements while singer Elizabeth Stokes provided backing vocals.

Overall it’s a remarkably eclectic record where the smooth pop of a track like “Kiss the Moon” can coexist perfectly with the Abbey Road freakout of “Some Good News.” “We didn’t want to be afraid of our 15-year-old self's influences,” says Oliver Devlin.” We really wanted to make an album that teenage us would just be amazed by.”

The result is Hans Pucket’s most sparkling and confident collection yet. While it’s danceable and fun, it’s also a thoughtful exploration of anxiety, a call for empathy in a turbulent time, and a relatable reminder that it’s hard to figure things out.

Tape

Wellington, New Zealand four-piece Hans Pucket writes nervy but effortlessly danceable rock songs about feeling bad. Their second full-length album, No Drama, which is out November 4th via Carpark Records, gleefully captures the all-too-common twenty-something anxieties of talking too much and then being unable to find the right words to say. When frontman Oliver Devlin sings, “I’m surfing a constant wave of alarm” on the title track, it’s a compass for the other nine tracks. This is inviting and relatable music for people who, despite their best efforts, feel uncomfortable about themselves, the state of the world, and their place in it.

Both lyrically and sonically, No Drama is a departure for Hans Pucket from their 2018 debut Eczema. “I realized I didn’t want to write any more real heartbreak songs,” says Oliver Devlin. “We were and still are a live band. We're still trying to make music that’s catchy and people can dance to, but also really interesting to us: songs about growing up and finding how you exist in the world.” Songs like “My Brain Is a Vacant Space” with its blistering guitars and ebullient hooks hone in on the feeling that you have nothing to offer while “Bankrupt,” a fuzzed-out punk track, boasts lines like “I don’t know if I’ll always feel like / I don’t know what I’m doing wrong.”

Recorded with the band’s good friend and former tour mate Jonathan Pearce of The Beths at his Auckland studio, No Drama is full of big leaps, immaculate arrangements, and a ton of immediate grooves. “We were very ambitious when we first started recording this,” says bassist Callum Devlin. “Intentionally we left heaps of space in the track so we could add strings and horns. Because we were very measured and quite deliberate with the parts we had. It was a really fun process filling in the gaps.”

No Drama came together over several years and during its creation, the band added multi-instrumentalist Callum Passels, who provided all the horn arrangements on the LP. With Pearce producing, his other Beths bandmates like Benjamin Sinclair added string arrangements while singer Elizabeth Stokes provided backing vocals.

Overall it’s a remarkably eclectic record where the smooth pop of a track like “Kiss the Moon” can coexist perfectly with the Abbey Road freakout of “Some Good News.” “We didn’t want to be afraid of our 15-year-old self's influences,” says Oliver Devlin.” We really wanted to make an album that teenage us would just be amazed by.”

The result is Hans Pucket’s most sparkling and confident collection yet. While it’s danceable and fun, it’s also a thoughtful exploration of anxiety, a call for empathy in a turbulent time, and a relatable reminder that it’s hard to figure things out.

For our next release, we're thrilled to welcome two new artists to the SNF family. Two of the most ubiquitous names in today's UK jungle circuit, it was only a matter of time before the raucous jungle of Tim Reaper and Dwarde found a home in Shall Not Fade's catalogue.

On End Of The Universe EP, the two join forces to flex their creative muscles, together worth more than the sum of their parts. Whilst the title track is easily imagined in a Sherelle set given its strong pulse and hardcore proclivities, the following two are equally suited to home listening as they are, raving. 'Midnight Sun' takes the focus away from the lower ends and puts it on melody and percussive texture, whilst 'Stretchpants' maintains the focus on building atmosphere with sounds reminiscent of Dat Oven's 'Icy Lake'. Finally, DJ Sofa steps up for the remix duties on the last track. This one is pure DnB, strap in.

End Of The Universe EP drops 28th October via Shall Not Fade.

After Mani Festo's last contribution to our techno-oriented Basement Tracks series, a sequel was a no-brainer. It's no exaggeration to say that over the last couple of years the DJ, producer and label boss has become widely recognised as one of the UK's most exciting techno artists, given his easily identifiable sound, each release just as bold and hard-hitting as the last - this one included.

Synkron EP boasts Mani Festo's ability to create raw, industrial electronics which never sacrifice movement nor swing. Each track is crafted with a precise direction, some via industrial electro instrumentals ('Barrier'); others with acidic accents and the introduction of breaks ('Grass Snake') and another with hard techno proclivities ('Synkron'). If this weren't enough, we're stoked to draft in iconic Bristol producer Addison Groove who adds sharp rim shots and spasmodic synths to 'Barrier' to give it even more movement and body.

Synkron EP drops 28th October 2022 via Basement Tracks.

'Transplant Rejection’ is the second in a trilogy of cassette albums released via Muscut in the latter half of 2022. The work of Estonian artist and IDA Radio co-founder Robert Nikolajev, this collection of seven ‘almost’ dark ambient tracks embody the melancholy of autumn whilst hinting at the forthcoming eternal winter. A man with many hats, Nikolajev operates on the fringes of the leftfield house underground for labels such as Incienso, Collect-Call and Sad Fun as well as being one half of the sporadic DIMA DISK act with Ragnar Rahouja. Eschewing the more rhythmic side of his productions for this Muscut tape, Nikolajev taps into the fictional soundtrack atmospheres the label is known for and brings his own brand of wistful, introspective world-building by way of machine harmony to the now Tallinn based imprint.



There’s a lo-fi, grainy quality running throughout the collection, a kind of sepia-toned nostalgia that envelops the listener and disorientates any perception of time or place. Buried vocal fragments sit in the mix on ‘Stifled’ alongside decaying synthesiser drones whilst ‘DDM’ channels an edgy post-rock dirge with its use of sagged bass guitar. Overall, an inspired look into the more ‘at home’ side of this increasingly prolific Estonian artist.

Horse Lords return with Comradely Objects, an alloy of erudite influences and approaches given frenetic gravity in pursuit of a united musical and political vision. The band's fifth album doesn't document a new utopia, so much as limn a thrilling portrait of revolution underway. Comradely Objects adheres to the essential instrumental sound documented on the previous four albums and four mixtapes by the quartet of Andrew Bernstein (saxophone, percussion, electronics), Max Eilbacher (bass, electronics), Owen Gardner (guitar, electronics), and Sam Haberman (drums). But the album refocuses that sound, pulling the disparate strands of the band's restless musical purview tightly around propulsive, rhythmic grids. Comradely Objects ripples, drones, chugs, and soars with a new abandon and steely control. This transformation came, in part, due to circumstance. Sidelined from touring their early 2020 album The Common Task in a world turned upside down, Horse Lords promptly returned to their Baltimore practice space and began piecing together the music that became Comradely Objects (Bernstein, Eilbacher, and Gardner have since relocated to Germany). Removed from their tried and true method of refining new music on the road, the quartet invested less energy ensuring live playability and more rehearsing and recording. The deliberate writing and tracking process, a rarity since the band's earliest days, led to a collection of pieces that signal a new peak of creativity and musical heft without devolving into studio sprawl or frippery. Comradely Objects reflects familiar elements of Horse Lords' established palette_the mantra-like repetition of minimalism and global traditional musics, complex counterpoint, the subtleties of microtonality, a breadth of timbres and textures drawn from all across the avant-garde_with some standout stylistic innovations. At different moments, the album veers closer to free jazz than anything else in the band's catalog, channels spectral electroacoustic tones, and throbs with unexpected yet felicitous synth. While these new elements are evidence of additional studio time and care, Comradely Objects retains the dizzying obsessive rhythmic energy that galvanizes the best moments of the band. Music for people who like Mdou Moctar, This Heat!, Battles, Ndagga Rhythm Force, Can, Captain Beefheart, Art Ensemble of Chicago, LaMonte Young.

Horse Lords return with Comradely Objects, an alloy of erudite influences and approaches given frenetic gravity in pursuit of a united musical and political vision. The band's fifth album doesn't document a new utopia, so much as limn a thrilling portrait of revolution underway. Comradely Objects adheres to the essential instrumental sound documented on the previous four albums and four mixtapes by the quartet of Andrew Bernstein (saxophone, percussion, electronics), Max Eilbacher (bass, electronics), Owen Gardner (guitar, electronics), and Sam Haberman (drums). But the album refocuses that sound, pulling the disparate strands of the band's restless musical purview tightly around propulsive, rhythmic grids. Comradely Objects ripples, drones, chugs, and soars with a new abandon and steely control. This transformation came, in part, due to circumstance. Sidelined from touring their early 2020 album The Common Task in a world turned upside down, Horse Lords promptly returned to their Baltimore practice space and began piecing together the music that became Comradely Objects (Bernstein, Eilbacher, and Gardner have since relocated to Germany). Removed from their tried and true method of refining new music on the road, the quartet invested less energy ensuring live playability and more rehearsing and recording. The deliberate writing and tracking process, a rarity since the band's earliest days, led to a collection of pieces that signal a new peak of creativity and musical heft without devolving into studio sprawl or frippery. Comradely Objects reflects familiar elements of Horse Lords' established palette_the mantra-like repetition of minimalism and global traditional musics, complex counterpoint, the subtleties of microtonality, a breadth of timbres and textures drawn from all across the avant-garde_with some standout stylistic innovations. At different moments, the album veers closer to free jazz than anything else in the band's catalog, channels spectral electroacoustic tones, and throbs with unexpected yet felicitous synth. While these new elements are evidence of additional studio time and care, Comradely Objects retains the dizzying obsessive rhythmic energy that galvanizes the best moments of the band. Music for people who like Mdou Moctar, This Heat!, Battles, Ndagga Rhythm Force, Can, Captain Beefheart, Art Ensemble of Chicago, LaMonte Young.

Wganda Kenya was ahead of its time, anticipating current contemporary Afro-Latin-funk trends in a prescient way that has inspired a legion of fans across the globe. As part of that legacy, "Africa 5.000" (1975) has a legendary reputation as one of Discos Fuentes' best hard-to-find Afro Caribbean funk records and is a highly prized collector's piece. This LP features several classic dance floor gems as well as some lesser-known nuggets and a non-album bonus cut, plus informative notes. "Africa 5.000" (1975) has a legendary reputation as one of Colombia's best hard-to-find Afro-funk records and is a highly prized collector's piece today. The epic 'La torta' ('The Cake') kicks things off with a lively Colombian interpretation of Haitian compas. The tune is still remembered as a big picó (amplified sound system) hit at the verbenas (outdoor dance parties). 'Fiebre de lepra' ('Leprosy Fever') was also released as a 45 single and is certainly one of Wganda Kenya's wilder tracks. Funky wah-wah guitar, makossa style bass, manic organ, and feverishly insane vocals (from Wilson "Saoko" Manyoma and Joe Arroyo) indicate that Fruko and his pals were having a ball goofing around in the studio. If for no other reason, "Africa 5.000" is sought after for being the album containing Fruko and Javier García's outrageously funky and off-kilter 'Tifit hayed', which has become a tropical dance floor favorite in recent years. Again the "kitchen sink" approach is employed, including massive Latin bass lines, tasty Farfisa organ stabs, a bluesy, jazzy piano solo, and plenty of humorous vocal sound effects (including animal noises and lip burbling). However, it's the stomping break beats and cowbell counterpoint that has kept dance floors busy. Side B leaps out of the speakers with the heavy, strutting 'El caterete', which was the flip side to the 'Fiebre de lepra' single and is based on the 1970 song 'Cateretê' by Brazilian singer/songwriter Marku Ribas. Like its sibling Fuentes studio band Afrosound, Wganda Kenya was ahead of its time, anticipating current contemporary Afro-Latin-funk trends in a prescient way that has inspired a legion of fans across the globe, and this reissue of "Africa 5.000" will only serve to further cement the band's growing reputation amongst today's diggers of tropical psychedelia. First time reissue.

Endlec starts his label "Renegade Methodz" with one of his most powerful & personal EPs.

"Year Of The Kill" is a product of its time, having been written and produced during one of the most challenging and unique periods of the modern age, between March and April of the "lethal" 2020.
When the world was in a state of full lockdown, a moment in history that we, as a generation, forever will remember.

It's a pessimistic piece of work, that, across it's 3 trax, features, dark & melancholic melodies, sitting on top of heavy beatz, with Endlec's signature, dirty texture, and his unique brutal kinetics raising the energy, forcing you to take notice and dance until u release WHATEVER THE FUCK bothers u!
Scream from anger, scream from joy.
Cry from happiness, cry from sadness.
Raise your hands in the air and just let your self go.
Listen to the music, in whatever corner of the world u are, alone, with friends, with your lover or with whoever TF u care about and just feeeel.
BE IN the moment.
And dance, dance, DANCE U MTF!

So, at the end "Year Of The Kill" is a very personal work of art,
It is what it is, and if u like it that's great, if u don't, then fuck off
and try figure what's wrong with your ears!!

WE are who WE are, WE do whatever the fuck WE want,
WE ARE RENEGADES!
AND THOSE ARE OUR METHODZ.
credits

Third time's the charm - here comes the third vinyl release of TDS Records. The label's original artists formed a two-person formation under the name: Z1B2. ZOL and n-2b together wrote three tracks, commemorating their subjective perception of the last years, sublimating life into ambient technodub melodies. All three tacks are examples of sentimental minimalism, with a simple techno groove. The fourth track is a closing remix by krisz deak which delivers a very optimistic vibe that will make your feet move.

Das Debütalbum der siebenköpfigen Amsterdamer Band Personal Trainer folgt auf die exzellente Debüt-EP 'Gazebo', die dieses Jahr auf dem Tastemaker-Label Holm Front (Walt Disco, Krush Puppies, Sports Team) erschien. Die 10 Tracks auf 'Big Love Blanket' zeigen eine spielerische Vielfalt an Klängen und Einflüssen, die zu einem ganz eigenen Sound zusammenfließen, der als 'rapturously fun' (Ones To Watch), 'incredibly catchy indie-led pop' (Record Of The Day), 'curious and endearing' (Steve Lamacq), 'remarkable' (CLASH) und von Marc Riley (BBC 6 Music) sogar mit LCD Soundsystem verglichen wird. Die erste Singleauskopplung 'Key Of Ego" wurde zum NME 'New Banger', und das zu Recht.

Futurismo are proud to present a deluxe remastered vinyl package of the classic 1980 album: Red Exposure by the uncompromising Chrome.

Arguably considered the San Francisco bands greatest work, Red Exposure, the fourth album to feature core members Damon Edge

and Helios Creed, was the definitive version of Chrome’s idiosyncratic approach to sound: a projected vision of near future dystopia via an undefinable guise of experimental space rock and punk-tinged alien soundscapes. Here, the band simultaneously draw from the otherworldly noises of their past records, whilst pushing their synthesizers forward into, albeit oblique, pop song structures.


Edge’s vocals are structured more like an instrument than a voice, lyrics painting images of humanities future on the edge of total destruction. As Creed’s guitar work multilayersit’s way into a completely different aural spectrum, beautiful yet violent, slashing against rhythmic pulsations, loops and experimentations, to create a sound that even today feels beyond the here and now. This distillation of the bands repertoire seemed to envision a deconstruction of rock ‘n’ roll, aimed to break past the shell of cliché that it would of course eventually come to inhabit. Which is why despite it’s age Red Exposure remains a record that still sounds like the sonic product of a far off civilisation, making this disk of new wave nihilism vital for fans of Space rock, Krautrock, Throbbing Gristle, Cabaret Voltaire and Suicide.

The deluxe remastered version of this out of print 1980 LP is presented here in ltd edition coloured vinyl. It comes packaged in a chromed mirrorboard sleeve, contains a large screen printed poster printed with neon ink featuring unseen photographs of the band, and a bonus track.

Pressed on Red vinyl and presented in gloss laminated gatefold sleeve.
Double album set contains the original LP plus 13 bonus tracks taken from their first four singles and the re-recorded version of In Purgatory which originally appeared on the PINK compilation E.P “It sells or it smells” plus bonus 7” a reproduction colour vinyl copy of McCarthy’s first 7” “In Purgatory”
All three tracks have been remastered from the original master tape and presented in a wraparound sleeve, just like the incredibly rare “Wall Of Salmon” original.
Also Includes
20 page 12x12” full colour booklet containing all the lyrics and packed full with photos, many previously unpublished. Press clippings and other memorabilia. Introduction by Nicky Wire of the Manic Street Preachers and track by track commentary by Malcolm Eden.
8 x 10 Black & White press photo
Reproduction European Tour poster “The Well Of Loneliness” Promo poster McCarthy sticker
By the time McCarthy appeared on the NME’s C86 cassette they had already been playing together for a couple of years and released two excellent singles. Their debut “In Purgatory” and the indie masterpiece “Red Sleeping Beauty” (both included on this release). The following year McCarthy released the brilliant “Frans Hals” before unleashing their debut album “I Am A Wallet”
Now recognised as an indie pop masterpiece it has gone on to achieve cult status, receiving praise from the likes of Nicky Wire (Manic Street Preachers) as one of the most important albums of the 80s. Known by today's indie acolytes as the band that spawned Tim Gane and Leititia Sadier (who of course went on to form Stereolab).
It’s a seamless album reminiscent of the Byrds. Wonderful, if slightly twee, jangly guitars with complex and rarely rhyming lyrics, Malcolm Eden’s strident left wing political views are manifest on I Am A Wallet. Cloaked in pretty guitar and propulsive drums, Eden sets about attacking the pillars of the day, MPs, Prince Charles, Fleet Street, religion, the response to AIDS and on almost every song, capitalism. The horrors and inequalities of the capitalist system are laid bare for all the see. The system which enables some to get rich at the expense of others is reviled and attacked.

Das neue Spoon Remix-Album "Lucifer on the Moon" ist das schwerkraftlose Pendant zu "Lucifer on the Sofa". Das zehnte Album der Band aus Austin wurde von Grund auf überarbeitet und von On-U Sound-Gründer und UK-Dub-Ikone Adrian Sherwood neu interpretiert. "Lucifer on the Moon" nahm zunächst in Form von ein paar Remixen für die Singles des aktuellen Spoon-Albums Gestalt an. Frontmann Britt Daniel gab Sherwood zwei Empfehlungen: "Vermeide Dinge, die auf Band nicht möglich wären" und "Füge hinzu, was immer du möchtest, je weniger modern, desto besser." Die Zusammenarbeit sollte nicht überraschen: Die Dub-inspirierte Produktion zieht sich durch Spoons klassische Tracks, von "Finer Feelings" bis "Inside Out". Sherwood ist ein bewährter Kollaborateur, der bereits mit Lebenslauf Partnerschaften mit bedeutenden Künstlern wie The Fall, Jah Wobble und Mark Stewart enthält. Die ersten Ergebnisse gefielen beiden Parteien und Sherwood wurde beauftragt, an weiteren Songs zu arbeiten - und dann an noch ein paar mehr. "Ich fand Gefallen an der Melodie und den Gedanken, die sie in mir auslöste", erklärt der Produzent. "Es hat sich einfach weiterentwickelt und wir hatten schließlich ein ganzes Album." "Lucifer on the Moon" stellt die Rhythmusspuren des Originals auf den Kopf und baut sie oft komplett neu um. Sherwood lieferte eine umfangreiche zusätzliche Instrumentierung über die erweiterte Familie der On-U-Session-Spieler, einschließlich des Bassisten Doug Wimbish und des Schlagzeugers Keith LeBlanc (beide spielten in den frühen 80er Jahren in der Studioband von Sugarhill Records). Er grub sich tief in die Multitracks des Albums ein und förderte vergessene Details und Elemente zutage, die in den endgültigen Album-Mixen nicht enthalten waren. Das Ergebnis hebt Spoons Signature-Sound in ein fremdes Terrain, vollgepackt mit Echos und grollenden Bässen. "Es war nicht nur eine Sache, bei der man dies und jenes auseinandernimmt, auf dem Raster bleibt und ein Delay hinzufügt", erklärt Daniel. "Er fügte den Tracks so viel mehr an Instrumenten hinzu, dass sie zu komplett anderen Versionen der Songs wurden. Nicht nur Remixe, sondern ergänzende Stücke - quasi ein Spin-Off des Albums." "Lucifer on the Sofa" wurde im Februar 2022 veröffentlicht und ist Spoons bisher rockigstes Album.

Formidable psychic warriors, channelers of the mystic and proponents of a spiritual quest that transcends this realm, Goat remain a band shrouded in mystery. Travelling from their inscrutable origins in the Swedish village of Korpilombo across the stages and festivals of the world in the last decade, this band has created their incendiary music entirely according to their own co-ordinates. With all this in mind, the casual observer might have guessed from its title that 'Requiem', their beatific and melancholic album of 2016, was to be their last. Yet the ancestral spirits summoned by their art are always restless. Thus the eternal cycles of rebirth have triumphantly produced 'Oh Death' - a ceremonial conflagration as powerful as any this band has made. Invigorated by forces we can only guess at the origins of, 'Oh Death' is a party to which all are welcome. Blithely waving away easy classification, these heat-hazed serenades are just as comfortable in the headspace of vicious '70s funk as they are in zesty ZE records post-punk. Folk-haunted incantations and free jazz skronk here find common ground, buoyed by relentless forward motion and raucous energy. Yet all of the above is locked into a delirious gnostic groove that threatens to throw the whole shebang spiralling into orbit. 'Oh Death' is driven by a supernatural charge that unifies, invigorates and transcends borders, whether geographical, musical, or between this world and the next. In the hands of these sages and soothsayers, this is just the beginning. Goat Is 'Oh Death', Long Live Goat!

Auf ihrem Sony Classical Doppel-Album Two Steps From Hell: Live - An Epic Music Experience definieren Two Steps From Hell - aka Thomas Bergersen und Nick Phoenix - die Schöpfer des "epischen Sounds", ihre fantastische Musik mit dem Odessa Opera Orchester, Chor und Rockband neu. Das Album enthält über zwei Stunden Musik und 28 der bekanntesten Titel der Gruppe, die im Rahmen ihrer erfolgreichen Europa-Konzerte im Sommer 2022 neu-arrangiert und aufgenommen wurden. Genre-Hits wie "Heart of Courage", "Victory", "Star Sky", "Protectors of the Earth" oder "Strength Of A Thousand Men" verbinden die in Kalifornien ansässigen Komponisten und Produzenten Thomas Bergersen und Nick Phoenix - die Masterminds hinter Two Steps From Hell - zu episch-akustischen Klangwelten zwischen Klassik, Filmmusik und Rock. Bei ihren Aufnahmen wurden die Multiinstrumentalisten von einer Reihe herausragender Solist*Innen begleitet wie Esther Abrami (Violine), Skye Emanuel (Gitarre), Elaine Correa (Keyboards), Saulius Petreikis (Windwoods) oder Greg Ellis (Drums) und den Sängerinnen Merethe Solvedt, Úyanga Bold und Kamila Nývltová. Two Steps From Hell sind eine der weltweit erfolgreichsten Produzenten für epische Musik und gehören zu den Vorreitern des "epischen Sounds". Seit ihrer Gründung im Jahr 2006 haben Thomas Bergersen und Nick Phoenix diverse Filmtrailer für Blockbuster (Avengers, X-Men, Star Trek, Harry Potter, Indiana Jones), Fernsehserien (Doctor Who, Breaking Bad, The Walking Dead) und Videospiele (Mass Effect, Resident Evil, League of Legends, Kill Zone) vertont. Ihr Song "Heart of Courage" leitete die Spiele der Fußball-EM 2012 und das Finale der Olympischen Spiele 2012 in London ein. Die Musik, die Thomas Bergersen und Nick Phoenix für Film, Fernsehen und Videospiele produzierten, löste euphorische Reaktionen bei den Zuhörern aus und sie begannen ganze Alben aufzunehmen und ihre Musik bei Musikportalen selbst zu veröffentlichen. Two Steps From Hell, ein Internet-Phänomen, war geboren und eine treue internationale Fan-Base sorgte für über fünf Milliarden Streams auf YouTube und anderen Plattformen, vier Platin-Alben, zwei Nummer 1 Alben in den Billboard Classical Charts ("Battlecry" und "Unleashed") und insgesamt 10 Platzierungen in den Top 10 der Billboard Classical Albums Charts.

For their fourth release, Selected Works are reissuing the classic South African record from the legendary Beaters, Lost Memories. Fusing R&B, Funk and Soul this collection of tight instrumentals was initially released on CBS in the late 60s. This band would later morph into the legendary South African outfit Harari. Psychedelic soul masterpiece on the CBS LAB imprint. First ever reissue only from Selected Works. Deluxe vinyl repress based on the original CBS pressing with all original artwork in Tip On Covers. Fully licensed and remastered.

Hailing from Brighton, InTechnicolour are a riffy, groovy, rock band with a knack for creating a colourful song or two. Formed in 2015 through a want to play loud music through slightly broken amps, the basis of the band was created. Comprised of members from the likes of Delta Sleep, LUO and Broker the five-piece are a fully-formed band of technically gifted musicians, cutting loose and playing music that’s about as far removed from their day jobs as it’s possible to get – and they are doing it better than a good portion of their contemporaries. Landing somewhere between the slack desert-groove of Kyuss and Karma to Burn, the band combine deeply satisfying riffs with a dynamic vocal style, which calls to mind the sounds of Baroness, Gojira and Mastodon.

Deron Miller gives his life to the riff. Unrestrained by industry expectations and genre limitations, the boundlessly prolific guitarist and voice behind multiple beloved projects is best known as the founder, frontman, and songwriter in CKY. His authentic and effortlessly hooky heavy rock obsession returns with 96 BITTER BEINGS. Reinvigorated and ready to rumble all over again, Miller roars back with the same reverence for riffage that made underground hits out of CKY anthems like “Flesh Into Gear,” “Escape from Hellview,” and “Disengage the Simulator” from 1998 till 2011.

The familiar warmth, feel, groove, and unapologetic honesty which drove the song “96 Quite Bitter Beings” to 54 million streams (on Spotify alone) permeates the pair of albums unleashed by 96BB.

A successful crowdfunding campaign saw Miller, guitarist Kenneth Hunter, bassist Shaun Luera and Shaun’s brother, drummer Tim, conjure up 2018’s Camp Pain in limited release. North American and European touring followed, wrapping up shortly before the COVID-19 shutdowns.

“After CKY and a short break, I decided to continue, without changing the sound,” Miller explains. “Because that’s what I do. It’s what I love to do and what people say I do well. All of the guys who got in the band with me are great musicians. And each of them is hungry. They have priorities and ambitions about being in a rock band, no matter the grim state of pop music out there. If we can bring rock and metal back to the mainstream, in some way, that’s the dream.”

In 2022, 96 BITTER BEINGS unleash the long-awaited Synergy Restored, 11 songs of relentless power and vibe. Four-on-the-floor, fuzzy and visceral, proper rock n’ roll made by an actual band, rather than a bunch of overprocessed samples and otherwise stale shenanigans. Songs like “Vaudeville’s Revenge,” “90 Car Pile-Up,” and “Wish Me Dead” offer vivid reminders of the truth-telling prowess of guitars, bass, and drums. Miller is on fire, weaponizing the same knack for memorable musical epiphanies behind projects like Foreign Objects, World Under Blood, and CKY.
Miller co-founded Foreign Objects and later Camp Kill Yourself (a name born of his love of VHS slasher classics) in West Chester, Pennsylvania, in the ‘90s. Written by Miller, 1999’s Volume 1 appealed to metalheads, skaters, stoners, and punks. The album led to a stint on Warped Tour and a deal with Island Def Jam Music Group, which issued Infiltrate•Destroy•Rebuild• in 2002. Axl Rose chose CKY to support the ill-fated Chinese Democracy tour, and they also played with Metallica.
An Answer Can Be Found followed in 2005, producing the Billboard Mainstream Rock Top 40 single “Familiar Realm.” Extensive touring with Avenged Sevenfold and the like-minded Clutch followed. Carver City, in 2009, would prove to be Miller’s last album with the group he created and led. Across the four albums, Miller indulged his love of everything from ‘80s thrash metal to doom, as CKY blended high-octane ruckus with occasional bursts of Moog synths and cinematic storytelling.
Miller never stopped creating, with a handful of full albums written and released, a foray into horror movies, and parenting three children with his wife, scream queen actress Felissa Rose. Like Galactic Prey, the most recent Foreign Objects album, the 96BB records were recorded and produced by Miller and Hunter at Manifest Productions. Camp Pain was explicitly made for diehard fans who supported the creation of both albums through 96BB’s Indiegogo campaign. Synergy Restored was always intended for wider release, which it sees now via Nuclear Blast.
“I want my work taken seriously. I thank God every day that I was never overexposed, or even exposed enough commercially, to where I’m resigned to a specific moment,” Miller says. “I would rather have my self-respect, the respect of the audience, and a dedicated cult following.”

“Every time I go out, I see Nirvana, Metallica, and Misfits t-shirts. These kids may not know the music, but at least they are displaying a visual interest,” he adds. “Corporations spend millions of dollars promoting certain styles of music, but history proves that true rock will always sneak in.”

Aggressive Blackened Death Metal with hooks and technical finesse that invokes the Ancient Gods! Aurora Borealis has been around for years (going back to as far as 1994! and it has mostly self-released their albums. Underground fanatics might remember the band reaching out to promote its music on forums back in the day and tracking its progress, each album was a large improvement over the earlier ones. And through time Aurora Borealis had great drummers ranked in its line-ups: Tony Laureano, Derek Roddy and Tim Yeung, which indicates the quality and level we talk about here. Aurora Borealis plays Black/Death Metal, remaining gritty not unlike Angelcorpse, but being more dynamic comparatively. It has got unique themes and the album artworks represent that. As the band name suggests, they are indicative of the Aurora Borealis phenomenon although the band has progressed to involve sci-fi imagery not far removed from Nocturnus, where artworks are concerned. Musically, the band remains true to its original Black/Death sound but it’s doing it with far more potential and competency than the others. The band’s definitely got a solid US death metal sense, it is not flirting too much with the European style of melody-infused death metal as it may appear. One will be surprised to find it so hard-hitting and gravelly and yet be rife with some of the most driven and enthusiastic activity. It is not solely focused on being technical (which in a way it is) but it is varied and it is catchy. Floridian Death Metal bands have much in common with the way Aurora Borealis structures its songs and there is the ever-present Morbid Angel influence, infected with some early Malevolent Creation rabidity. This is what makes death metal so good, few could contest with that. It’s got Death Metal in its genes, but Aurora Borealis takes the vitriol from Black Metal especially in the vocal department and gives the music an edge that is hard to miss. Here there is that special spice, that sizzling quality that comes from the rasps, adding a certain Thrashiness to it as well. The hooks make this album special, because writing good songs can be safely left in the hands of founding member Ron Vento.

Following the release of acoustic EP Letters To Our Former Selves – Acoustic late last year, Youth Fountain is excited to be back at it with new single “Peace Offering" “This track was written in the perspective of knowing you could never truly love or be loved by anyone before being comfortable with who you are as a person,” shares Tyler Zanon “No matter what positive aspects can come out of a relationship - if the foundation isn’t there of having that bare minimum of self love, things inevitably tend to tarnish.” As Youth Fountain prepares to move forward, the future perfectly mirrors the past. What began as a solo project by guitarist/vocalist Tyler Zanon in 2013 under the name Bedroom Talk eventually blossomed into a full-blown band by 2017, with the Vancouver-based Youth Fountain (then a duo) proudly announcing their presence with the debut single “ Grinding Teeth ” and a pair of Pure Noise Records releases that expertly toed the line between pop-punk fervor and more reflective emo moments. Alternative Press hailed the band’s 2019 debut full-length, Letters To Our Former Selves , as one of the year’s very best, dubbing it the “ perfect blend of emo-tinged punk to soundtrack reflecting on every single life decision you’ve ever made ,” while North American tours with the likes of Free Throw, Can’tSwim, and Chris Farren cemented Youth Fountain’s sweat-soaked sound as something best experienced live – all while dodging a few stray elbows and overzealous crowd-surfers. Now once again, Zanon finds himself as a solo artist following the departure of co-vocalist Cody Muraro in mid-2020 – but this time, he’s exactly where he wants to be. Youth Fountain’s new release, Letters To Our Former Selves – Acoustic EP, re-introduces Zanon’s project to the world, reimagining fan favorite aterial from the 2019 LP of the same name.

New solo album from Seth Avett of the Avett Brothers (his first in 5 years), featuring songs written by lauded folk singer Greg Brown, whose songs have also been performed and recorded by Joan Baez, Willie Nelson, Lucinda Williams, Carlos Santana, Ani DiFranco, Gillian Welch, Mary Chapin Carpenter, and more. For those who may need reminding, Greg Brown is the ultimate songwriter's songwriter. Over a forty-plus-year career, he's occupied the same rarefied air as Loudon Wainwright III and John Prine - a keen-eyed poet and diarist of the human condition. And he's done it mostly on his own. “This is a man who put forty records out because he had to,” Avett says. “He made his own record label. He played the coffee shops, the bars, the little theaters. He built it. He's a world-class artist who did it all under the radar, which is just mind-blowing to me.” As Avett's new solo record makes clear, this collection is an expression of admiration and gratitude for one of his heroes. But it's also a reflection of his own artistry and ability as an interpreter. Though Brown's songs have been a part of his listening diet for decades, Avett gained a more profound appreciation once he put his own voice behind them. And though on the surface it's a covers record, it dovetails seamlessly with the most recent Avett Brothers album The Third Gleam and Seth's solo outing IV, which find him in equally stripped-down settings exploring the light and shadows of his own personal stories.

On August 26th Gwilym Gold releases his third album, Blue Garden, on SA Recordings. Alongside the record we are pitching the beautiful Blue Garden. Gwilym began playing improvised music as a pianist and may be fondly remembered as the singer and keyboardist in psychedelic pop trio Golden Silvers but has since worked widely as a soloist. 2012 saw the release of his high-concept solo piece Tender Metal which was composed and released using Bronze; a new music technology which Gold created with producer Lexxx alongside Mick Grierson. Using Bronze, a song is enabled to rebuild itself on each playback from the musical seeds and ground sown by the writer. Music composed with Bronze is not restricted to just one playback possibility, it is a dynamic, ever-transforming representation of itself where the artist builds a new model as part of each song’s writing process. Gwilym has since collaborated with artists such as Arca, Jai Paul, Philippe Parreno and Nicolas Becker, introducing them to this new technology. One of the hopes for Bronze is that it brings some of the characteristics of performance back into previously inert musical documents, and alongside his work with Bronze, Gwilym has maintained a wide performance practice. Performing recently alongside musicians such as Dave Okumu, Tom Skinner and Lucinda Chua and collaborating with artists Eddie Peake and Holly Blakey. His two recent collections of songs, A Paradise and Sky Blue Room, stem from this, the second being recorded almost entirely live in three days alongside Okumu and drummer Dan See. Blue Garden is Gwilym’s first collection written and recorded entirely in solitude and he hoped to unburden the process of anything beyond the most primary elements. Setting up a sort of hybrid harp in a small isolated room, the aim was to let the songs flow out unadorned and record them as they were. The only addition to the album is the accompanying sound of rivers and birdsong by sound recordist and founding member of Cabaret Voltaire, Chris Watson. Gwilym started to play the new album alongside Watson’s recording ‘The Drinking Boy’ which led him to reach out to Watson. Gwilym explains “I played it to a friend once I had recorded it with Chris’ field recordings, they said it almost sounded like the quarantine birds, there was a feeling of it being a little sanctuary”. The songs on Blue Garden were written during a bittersweet time, where Gold was experiencing moments of love, loss and rebirth. The album is a loose and abstract exploration of love in all its forms, how familial, platonic and romantic love are all intertwined.

The Microphones, Bon Iver, Lomelda, Vegyn, Hovvdy, Dijon. “Lemon Cream” vinyl is for Indies Only. Follow up to 2019’s critically acclaimed ‘bunny’. Sam Hall’s new album as ghost orchard, ‘rainbow music’, is a collage of patience and meditation. It’s filled with nuances as quietly imperceptible as the seasons, or the profound movement of time, where one day looking back you realize your whole spirit has shifted. Where 2019’s critically revered ‘bunny’ was a love letter to a romantic relationship, ‘rainbow music’ documents the culmination of Hall’s first personal experience with loss in several forms. At the end of 2020, his longterm childhood pet passed away, and with it the last continuing threads of familiarity between being a kid and adulthood. Still based in the Grand Rapids, Michigan town he’d grown up in, the static ease of familiar living seemed to be coming apart at the seams, as friends moved on to bigger cities, relationships shapeshifted and in a short period of time, another kitten he’d adopted passed away prematurely, leaving Hall to question the trajectory in which he himself was headed. Like “songs in the key of life,” the title ‘rainbow music’ refers to the myriad of colors and qualities within Hall that are refracted throughout. It’s a symbolization of hope and the aftermath, the flickering light at the end of the tunnel (or “when a rainbow shows up after a big storm”). “Wish I could have fun anymore,” Hall ruminates on “dancing”, as well as confessing he “wish he made more upbeat bangers.” But reality packs more of a punch, and this collection of songs sees him finally be at peace with the current state of affairs. Relatable to anyone who has contemplated what it means to settle down, or even just catch your breath in an era where anguish is commonplace, the release of ‘rainbow music’ is a happy ending in its own right, a marker of survival that remains close to the bone. // Ghost Orchard’s “bunny” is a blushing, beatific beat. - The FADER // Fluttering and transportive, a swirl of beats and plucky guitar and strings that feels like a cocoon. - Stereogum // Hip-hop inflected, stream-of-consciousness confessionals that’ll have you swooning in the lazy summer sunlight. – Paste // Track listing: 01. Rest 02. Jessamine 03. Cursive 04. Maisy 05. Cut 06. soot 07. memory storage 08. Dancing 09. bruise 10. sweet song 11. comfort (rainbow)

The Microphones, Bon Iver, Lomelda, Vegyn, Hovvdy, Dijon. “Lemon Cream” vinyl is for Indies Only. Follow up to 2019’s critically acclaimed ‘bunny’. Sam Hall’s new album as ghost orchard, ‘rainbow music’, is a collage of patience and meditation. It’s filled with nuances as quietly imperceptible as the seasons, or the profound movement of time, where one day looking back you realize your whole spirit has shifted. Where 2019’s critically revered ‘bunny’ was a love letter to a romantic relationship, ‘rainbow music’ documents the culmination of Hall’s first personal experience with loss in several forms. At the end of 2020, his longterm childhood pet passed away, and with it the last continuing threads of familiarity between being a kid and adulthood. Still based in the Grand Rapids, Michigan town he’d grown up in, the static ease of familiar living seemed to be coming apart at the seams, as friends moved on to bigger cities, relationships shapeshifted and in a short period of time, another kitten he’d adopted passed away prematurely, leaving Hall to question the trajectory in which he himself was headed. Like “songs in the key of life,” the title ‘rainbow music’ refers to the myriad of colors and qualities within Hall that are refracted throughout. It’s a symbolization of hope and the aftermath, the flickering light at the end of the tunnel (or “when a rainbow shows up after a big storm”). “Wish I could have fun anymore,” Hall ruminates on “dancing”, as well as confessing he “wish he made more upbeat bangers.” But reality packs more of a punch, and this collection of songs sees him finally be at peace with the current state of affairs. Relatable to anyone who has contemplated what it means to settle down, or even just catch your breath in an era where anguish is commonplace, the release of ‘rainbow music’ is a happy ending in its own right, a marker of survival that remains close to the bone. // Ghost Orchard’s “bunny” is a blushing, beatific beat. - The FADER // Fluttering and transportive, a swirl of beats and plucky guitar and strings that feels like a cocoon. - Stereogum // Hip-hop inflected, stream-of-consciousness confessionals that’ll have you swooning in the lazy summer sunlight. – Paste // Track listing: 01. Rest 02. Jessamine 03. Cursive 04. Maisy 05. Cut 06. soot 07. memory storage 08. Dancing 09. bruise 10. sweet song 11. comfort (rainbow)

The Microphones, Bon Iver, Lomelda, Vegyn, Hovvdy, Dijon. “Lemon Cream” vinyl is for Indies Only. Follow up to 2019’s critically acclaimed ‘bunny’. Sam Hall’s new album as ghost orchard, ‘rainbow music’, is a collage of patience and meditation. It’s filled with nuances as quietly imperceptible as the seasons, or the profound movement of time, where one day looking back you realize your whole spirit has shifted. Where 2019’s critically revered ‘bunny’ was a love letter to a romantic relationship, ‘rainbow music’ documents the culmination of Hall’s first personal experience with loss in several forms. At the end of 2020, his longterm childhood pet passed away, and with it the last continuing threads of familiarity between being a kid and adulthood. Still based in the Grand Rapids, Michigan town he’d grown up in, the static ease of familiar living seemed to be coming apart at the seams, as friends moved on to bigger cities, relationships shapeshifted and in a short period of time, another kitten he’d adopted passed away prematurely, leaving Hall to question the trajectory in which he himself was headed. Like “songs in the key of life,” the title ‘rainbow music’ refers to the myriad of colors and qualities within Hall that are refracted throughout. It’s a symbolization of hope and the aftermath, the flickering light at the end of the tunnel (or “when a rainbow shows up after a big storm”). “Wish I could have fun anymore,” Hall ruminates on “dancing”, as well as confessing he “wish he made more upbeat bangers.” But reality packs more of a punch, and this collection of songs sees him finally be at peace with the current state of affairs. Relatable to anyone who has contemplated what it means to settle down, or even just catch your breath in an era where anguish is commonplace, the release of ‘rainbow music’ is a happy ending in its own right, a marker of survival that remains close to the bone. // Ghost Orchard’s “bunny” is a blushing, beatific beat. - The FADER // Fluttering and transportive, a swirl of beats and plucky guitar and strings that feels like a cocoon. - Stereogum // Hip-hop inflected, stream-of-consciousness confessionals that’ll have you swooning in the lazy summer sunlight. – Paste // Track listing: 01. Rest 02. Jessamine 03. Cursive 04. Maisy 05. Cut 06. soot 07. memory storage 08. Dancing 09. bruise 10. sweet song 11. comfort (rainbow)

2LP black vinyl in a gatefold sleeve, polylined inners and download code. 2 x CD in 6 panel digifile sleeve.
When Darren Hayman made his debut in 1997 with the acclaimed indie band Hefner his lyrical remit was the broken hearted. His early songs told the story of the lonesome and lost, and broken dreams of love on the back streets of London. After Hefner, Hayman’s palette grew to include a unique take on place and memory. In the early 2000s he wrote a trilogy of albums around the history of Essex. In 2012 he made an instrumental album describing the tranquillity of Lidos. In 2016 Darren was awarded ‘Hardest Working Musician’ by the Association of Independent Music for his epic project on Thankful Villages, the 55 villages that survived the Great War with no casualties. His most recent record, 12 Astronauts, tells the personal story of the only men to have walked on the Moon. Darren is continually obsessed with the idea of what songs can be, and the stories they can tell. As he explains, “With projects like Thankful Villages, I became interested in what a record could be, using field recordings, interviews and songs to make sound collages. I wanted to return to the stricter art of song writing and try and make the twelve best compositions I could. I wanted to make useful songs, words that could be comfort, not just thoughts that would depress.” // "bold and unique" The Sunday Times // "Its delicately observed song cycle unfolds like a novella or short film, with tracks that might seem slight in isloation gaining resonance in situ." Q // “Bugbears is a rich and warming curio, and there’s something quietly noble about Hayman dragging the thoughts of these long-dead writers back into the light.” Mojo // “uniquely intimate and very satisfying” - BBC // “Hayman has hit a creative purple patch… a treat”. Mojo

The first new album in over a decade from world-renowned singer-songwriter, Nina Nastasia. Produced by Steve Albini. Riderless Horse is my first solo record, and it’s the first record my former partner, Kennan Gudjonsson, didn’t produce. I haven’t made an album since 2010. I decided to stop pursuing music several years after my sixth record, Outlaster, because of unhappiness, overwhelming chaos, mental illness, and my tragically dysfunctional relationship with Kennan. Creating music had always been a positive outlet during difficult times, but eventually it became a source of absolute misery. Riderless Horse documents the grief, but it also marks moments of empowerment and a real happiness in discovering my own capability. Steve Albini produced this record with me, and Greg Norman assisted. It was exactly the right environment to work on this record. We all had meals together, cried, laughed, and told stories. It was perfect. It made me realize how much I love writing, playing and recording music. Terrible things happen. These were some terrible things. So, what to do – learn something valuable, connect with people, move the fuck out of that apartment, remember the humor, find the humour, tell the truth, and make a record. I made a record.

Finnish electronic maestro, Turunen's previous solo ventures without his Morphology cohort are rare. The last time was a track for AC Records in 2013 (which was remastered earlier this year for Bandcamp), but appearances have also cropped up on Abstract Forms, Muhk and Bliq in previous years.

Originally produced in 1998 for exclusive use in his own Logical Progression sets , Blame comes with two unreleased tracks from the golden era of Drum and Bass. Taken from the original DAT and lovingly remastered by Simon Davey at The Exchange this release consists of 'Whirlpool' which was a feature of Blame's sets with DRS and Conrad and In My Dreams is a powerful sonic Amen-break workout with atmospherics to take you on a journey of the mind. Both tracks have been highly sought after for many years and they now make their debut on the wax to the delight of vinyl lovers and collectors.

Italo-House classic “Tumbe” released in 1992 on Irma Records with Murk edits is here again with new fresh remixes.
Cesare Collina aka Tito Valdez and Umberto Damiani join forces 30 years ago to make “The big nowhere” version; with percussions played by Cesare, tropical voices and trancy pads.

On the remixes duties we have legendary Riviera hero Ricky Montanari, Dirty grooves master LTJ and the young House head Hill.
Ricky found an unreleased remix jam of “Tumbe” he did in the 90s with his classic Riviera Traxx groove which doesn’t need any presentation.

LTJ made a slow version with his unique beat, accompanied by atmospheric pads, lovely electric guitar riff and classic Rhodes.
Hill made a Paradise mix with dreamy Pianos, funky bassline and old school strings which goes to close this record in the best way.

Detach Recordings is proud to present their third EP, 'In Order To See' by Nekyia. Following releases on re:st, UVB-76 and Voidance Records, the Italian producer further explores his introspective sound, joining the dots between experimental psychedelia, dark ambient and post-drum&bass. Opening with the heavy, drone-driven 'Meta' and 'Leave Your Flesh Behind', the pace soon quickens with 'Breaches', a driving 170bpm collaboration with Books (re:st, Detuned Transmissions). The pressure increases on the B-side with a fierce remix by Sam KDC (Auxiliary, Samurai, Sublunar). The EP closes with 'Form Constants', a 2017 dub unavailable until now.

Rolando Simmons - a revered name in certain acidic circles - joins Utter for the 'Human Remains' EP, a wildly inventive 8-track adventure that deftly dabbles in rave, IDM, Techno and beyond in classic RS style. The project is the creative brainchild of Mattias Östling, who has been on a prolific production streak since the late 2000s, firstly under the name Trackermatte before settling into work under his current moniker.

This particular release is a missing puzzle-piece of sorts, compiled and sequenced by Utter's Alex Egan from a self-released digital collection titled 'Human Touch' which initially surfaced on Bandcamp during the producer's golden 2016 'Walk On Strawberries' and 'World Building' era.

'Human Touch' was a curious selection of unmastered oddities - the first Östling made using audio signal processing environment Cecilia5 - which remained largely overlooked due to its digital limbo. The tracklist itself shifted, with bonus tracks appearing then disappearing. While the excellent Dutch label 030303 cherry-picked the original version of the title track for a 2019 2xLP of the same name, the rest of the material remained frustratingly unavailable on vinyl and elsewhere, including the elusive bonus track which prompted Egan to reach out to Östling in the first place, the stunning 'sq1_mc4_iloveu03a_149unedit'.

That track is firmly at the core of this new EP, under its new title 'Nueva Traditional', as well as the alternative CV Beszállás edit of 'Human Touch'. They are surrounded by every other un-pilfered gem that originally appeared alongside them - however briefly - with all material freshly mastered and cut by Anne Taegert at D&M. The artwork and large fold-out poster (included with the 12") were designed by the Timpani Mystique Agency.

No stone left unturned!

w/ Nikki Nair & Davis Galvin Remixes

Respected and prolific North American artists, Ciel and Ali Berger, come together for their first official collaboration. The three original tracks are bouncy, ebullient, fun, warm, and effervescent. The 2 remixes from Nikki Nair and Davis Galvin, are wholly unique stompers. This is truly a star-studded EP featuring the next generation of North American legends.