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Toronto’s Ducks Ltd. will release their debut EP, Get Bleak on May 21, 2021 via Carpark Records. Composed of friends Evan Lewis, on lead guitar, and Tom Mcgreevy, on vocals and rhythm guitar, the band built a reputation in their hometown for their bright, sinewy, guitar sound while sharing bills with artists like Rolling Blackouts Coastal Fever, Weyes Blood, The Goon Sax and Juan Wauters. They have earned accolades from Pitchfork who praised the band’s “lilting, throwback jangle pop,” and acclaim from outlets like NPR, Paste, NME, Apple Music 1, and more.

The opening track, “Get Bleak” sets a thematic tone for the EP, one of cultural self-awareness and satiric critiques of society’s pressures and the often ridiculous demands – and prices we pay – to exist. Chiming with breezy indie guitar sounds akin to those of Flying Nun and Sarah Records acts, the track, that features a contribution from Laura Hermiston of Twist, pokes fun at the idea that moving from city to city will fix the problems in your life. Following suit is “Gleaming Spires”, a track that zeroes in on the cities we live in and the push-pull relationships that we so often share with them. “Anhedonia”, via it’s tightly-wound rhythm and nostalgia-inked guitars, shifts focus to the times when one is unable to wring any joy out of the things that they find important in life.

Bringing the band’s characteristic restless bounce, thoughtful lyricism and penchant for orchestration, the tracks explore topics like troubled friendships (“It’s Easy”), self-destructive desires (“Oblivion”), and living with decline (“As Big As All Outside”) while maintaining the balance of earnest self-reflection and humor that endeared audiences to the original release.

Full of the unbridled radiance of jangle-pop, the debut EP from Ducks Ltd.’s Get Bleak celebrates their strengths while expanding their thematic and compositional horizons, and providing an intriguing glimpse of what’s to come.

Debut solo album by the Red River Dialect songwriter. Recorded at the Hotel2Tango, Montreal, by Howard Bilerman. Featuring Thor Harris (Swans, Thor & Friends, Shearwater) on drums and Thierry Amar (GYBE!, ASMZ) on bass, with guest appearances from Tom Relleen (RIP) (Tomaga, Melos Kalpa), Catrin Vincent (Another Sky) and Coral Rose (The Silver Field, Red River Dialect).
David has written five critically acclaimed collections of songs under the Red River Dialect name. The last two albums (released by Paradise of Bachelors) achieved a glowing Pitchfork review and a Folk Album of the Month award from the Guardian. Selected press below.
“Folk Album of the Month. Alert, anti-colonialist folk. Songwriter David Morris brings alternate seduction and disquiet on this worldly album steeped in the British landscape... a wide-eyed, curious creature, willingly alert to the world.” – 4/5 The Guardian
“Animated with a new intensity, the Cornwall band’s fifth album may be its most ingenious and immersive mix of folk and rock yet. It’s also Morris’ most compelling set of songs. He invests small sensations with outsize power, finding joy in sensory pleasures as well as in the mystical inquests that music allows. Even as the record is steeped in the long history of British folk music, that balance of the tactile and the spiritual anchors these songs in the present moment.” – Pitchfork
“The most underrated folk-rock band in Britain. The idea of them as a Cornish-born, Buddhist-inclined Waterboys is more potent than ever. Their fifth album of elementally-battered, rueful and rousing folk-rock ... is as stirringly anthemic as they've managed thus far.” – MOJO
“A beguilingly atmospheric record… imagine Steve Gunn transplanted to Kernow.” – Clash
“Gorgeous and moving, anchored by the heft of the physical but reaching for more. The epic spareness, the way it manages to be both still and an enveloping swirl, reminds me most of Talk Talk. There’s a prayerful intensity to the quiet bits, a listening, wondering awe, that makes the rock payoffs more powerful. The album works as a restless, searching, gorgeous whole. Morris and his band have never been better.” – Dusted
“It’s not often that a band comes along and over the course of nine songs both plays to the tradition and stands it on its ear. RRD has taken the challenge of playing with reckless abandon to heart, generating an album that stands on the shoulder of giants showing no fear.” Folk Radio

Monastic Love Songs continues the tradition that David has established over the course of five albums with Red River Dialect: using a song cycle to articulate a relationship with inner and outer landscapes, inspired by the Taoist approach of observing the movement of the heavens in order to understand the cosmos within, and vice versa. The joyful closing track Inner Smile was initially written as a poem of thanks to his Tai Chi teacher Hollis and takes its name from a Taoist practice.
The songs were written during the final weeks of a nine-month retreat at Gampo Abbey, a Buddhist monastery in Nova Scotia where David took ordination as Buddhist monk. The album title is sincere, with a little tongue-in-cheek. The songs mostly explore human relationships within the community, with outliers: Gone Beyond shimmers with cosmic devotion, in Rhododendron a reverie grows from the shadow of a flower. Steadfast concerns the love to be found beyond the urge to like and be liked, when you can’t avoid that difficult person. Leonard Cohen, on his six years living in a monastery:
“You know, there’s a Zen saying: ‘Like pebbles in a bag, the monks polish one another.’
David considers this album to be a follow up to 2015’s Tender Gold and Gentle Blue. The cover of that lp featured an image of him on top of Skellig Michael, in the years before the island was made famous as the home of the Jedi. He considers the visit to that abandoned Celtic monastic site to be one of the influences that stirred up his motivation. Skeleton Key speaks of what was given up to go, and what he was giving up to leave, referencing the Tibetan concept of the ‘bardo of becoming’.
The album came about through a series of fortunate encounters. David’s friend Tom Relleen visited him at the Abbey in May 2019, mentioning a postponed plan to visit the Hotel2Tango. A spark was sown: this studio had long figured in David’s imagination. Many of the releases on Constellation Records, which he had become a die-hard fan of in his teens, were recorded there. Tom contributed some Buchla synthesizer to the opener New Safe, which concerns healing in emptiness and light.
In May David was given permission by the senior monastics to acquire a guitar, which was swiftly baptised as “Malibu Barbie”. Having let the identity of being a songwriter loosen up, not playing an instrument in six months, he was unsure what would happen. In the single hour he was permitted to practice each day, songs began to cascade. The first, Purple Gold, concerns a reacquaintance with first love. David wrote to the Hotel2Tango asking if they had any days available in mid-July?
Engineer and studio co-owner Howard Bilerman replied that they did, and a date was set. Did Howard know any local drummers or bass players who might do a session? He did, too many to choose from, what kind of style? David decided to ask for his ideal: did Thierry from Godspeed ever do sessions? Howard sent him the demos. Thierry was up for it. On the day he went deep into the cover of traditional song Rosemary Lane, his double bass singing on this and on Circus Wagon.
David asked if there were any local drummers he would recommend? Thierry said “many, what style?” David tried his luck again, “two of my favourite drummers are Thor Harris and Jim White.” Thierry said let’s invite them. Thor, having met David a decade earlier, flew from Austin to Montreal for that July day in the studio. Nine months of watching thoughts come and go in meditation helped David recognise this as an opportunity to practice enjoying the day without expectations.
He is, however, grateful that this album came out the way it did, channelling some of what it was like to live those nine months in a monastery overlooking the Gulf of St Lawrence, frozen and flowing.

Mixed by Jimmy Robertson at SNAFU, London, mastered by DenisBlackham.

From the rampaging start of the EP, "Eternal Remorse", not a single note, guttural vocal, or fierce drum hit is out of place. The emerging greek artist Boris Barksdale, portraits the overall feeling of militaristic order encompasses music and vocal samples. The musical equivalent of that image, industrial society's restless march to oblivion rendered as an infinite dance track, as aggressively vibrant as it is alienated.

Jeremy Earl (Woods) and Glenn Donaldson (Skygreen
Leopards, The Reds, Pinks & Purples) met sometime in
the mid-oughts and bonded over a love of tambourines and
DIY sounds. They shared many stages since, and their first
serious collaboration was on the 2011 Woods album Sun &
Shade. Around 2018, Earl was restless in upstate NY and
accepted an invite to record in Donaldson’s studio in an
undisclosed rural coastal town in Northern California. In a
week they emerged with nearly an album’s worth of hazy
folk-rock and psych-pop with touches of more outré lofi
noise. Jeff Moller (The Papercuts) added bass, and they
put the finishing touches on during quarantine. Heaven And
Holy ebbs and flows like coastal fog between songs and
dreamy instrumentals, splitting the difference between The
Clean’s Unknown Country and The Byrds Fifth Dimension.

Available again on vinyl for the first time in seven years, ‘The Fact Facer’ is
now pressed on jaundice vinyl (clear with hi-melt green and yellow).
Holy Sons is Emil Amos, a musician whose chameleonic tendencies and
technical versatility has lead to him becoming an in demand multiinstrumentalist as a founding member of Grails and Lilacs & Champagne, as
well as a member of Om and a hired gun for Jandek, to name a few.
Holy Sons is at the centre of his many musical personalities and is his
longest standing project, acting as an outlet for some of his most personal
and direct songs. In Holy Sons, Amos puts his restless imagination to work
using a variety of inventive home recording methods to turn melodic slowburners into multi-layered, atmospheric missives.
While his methods and prolificacy provide a kinship with Sebadoh, Ariel Pink
and other musicians who have offered countless transmissions from their
bedroom floor, Holy Sons comes from the mind of someone who has
internalized the minutia of 70s rock music and eschews the stereotypical lofi sound for a much deeper and more varied palate.
‘The Fact Facer’, his Thrill Jockey debut, bathes Amos’ thoughtful and even
at times philosophical, songs in Technicolor darkness and reinforces Holy
Sons as his musical centrepiece. The album is a collection of home recorded
atmospheric slow-burners steeped in 70s rock with an experimentalist edge.
The songs on ‘The Fact Facer’ creep up on the listener, their fiercely
addictive melodies unravelling slowly and purposefully. Jumping smoothly
between many facets of Amos’ songwriting, the album does much to
establish him as a talented multi-instrumentalist.
From the lysergic leads of ‘Selfish Thoughts’ to the Danny Kirwan
referencing solos of ‘Transparent Powers’ and the skilful acoustic flourishes
of ‘The Fact Facer’, Amos proves himself as adept and creative a guitarist as
he is a drummer.
It is telling that Amos has built up two Holy Sons bands simultaneously: one
based in Portland and one based in New York. Wherever the wind takes
him, there are musicians willing to pick up their instruments and follow his
lead.
“The most admirable thing about Amos’s songwriting is his willingness to
leave empty space in his songs, even though multiple tracks of vocals and
instruments go into each composition” - Pop Matters
“‘The Fact Facer’ is easily Amos’ most focused offering yet, and a perfect
entry point into a back catalogue that’s sure to have listeners drinking the
Kool-Aid again and again.” - Exclaim

With an Arturo Micro brute synthesizer put through psychedelic effects, Modern Ruins keeps the flame of Andrew Weatherall and Suicide burning through times of isolation and disarray. This Synth Wave/New Wave experience of an album, released on LP on Höga Nord Rekords, sums up 2020 with its dark and cold sound.

The title speaks for itself: “Unemployment Disco Line” reflects the desperation in the sound and the reverb-drenched vocals in the back of the soundscape comes from deep within the Covid hole. Sick, fed up and restless!

Drawing influences from masters like the legends above,Rowland S. Howard, Johan Balance + Peter Christopherson et cetera, this debut album by Modern Ruins sums up four decades of underground club music and no matter how long this pandemic goes on we are in “Nothing Blues” until the dance floors open again.

The three players in Chicago’s Moontype orbited each other for years before they came in phase. Bodies of Water, their debut album for local label Born Yesterday, documents travel, insecurity, friendship, and the titular element—all of which are representative of the band members’ strong connection to place and to one another. “Being rooted in the landscape became important to me while studying geology, which completely changed how I think about the world,” offers songwriter, vocalist and bassist Margaret McCarthy of the album’s central themes. The arrangements themselves feel like open-hearted negotiations; sparse fingerpicking gives way to saturated tube-screaming as naturally as the changing of tides. Over twelve tracks, Moontype revels in the woozy concoction of its many influences, but always lands on punchy hooks, shifting between arrangements both spacious and mystifying without abandoning their conversational warmth.

Conservatory students at Oberlin College’s prestigious music program, each member focused on exploring different sounds. Guitarist Ben Cruz, who came up on classic rock shredding and migrated into jazz performance, admired the indie pop of Fountains of Wayne, the groundbreaking composition work of pianist Vijay Iyer, and the genre-morphing folk of heavy hitters like Neil Young and Joni Mitchell. He played in several projects alongside Emerson Hunton, who’d drummed from age six and entrenched himself in the Twin Cities improvised music scene before even heading to college. Margaret—who grew up outside of Boston playing piano, singing in choirs and writing on guitar—spent her time creating knotty, riot grrrl-and-hyperpop inspired songs for bass and voice, as well as noise soundtracks for art installations. Inspired by artists like Adrianne Lenker and Gillian Welch, she recorded the EP bass tunes at home in an apartment over the town’s optician, releasing it upon graduation. A week later she migrated even farther west to Chicago, where Ben and Emerson had already enmeshed themselves in several projects, from avant garde ensembles to a country group.

Ben was instantly impressed by Margaret’s songs, at once “challenging and unlike anything I had played before.” The duo decided to try performing together, but knew this special music would be even better fortified with drums. Emerson was the obvious choice—as Ben puts it, “He’s our great friend and also the best drummer we know. Who else do you call?” Moontype-as-trio gigged around town, eventually embarking on a first fall tour in Emerson’s Prius. On that trip, they felt the music morph into something living, and the care and trust between them intensified. They decided to put together songs for a record, recorded at the end of 2019 with Jamdek Recording Studio’s Doug Malone, a dependable collaborator whose patient process perfectly captured the magic of their newfound familiarity. While Margaret’s skeletal demos still informed the bulk of Moontype’s full-band debut (some of which are re-recordings of bass tunes cuts), the resulting arrangements are songs reborn and strengthened by the three musicians’ absorption of one another’s ideas.

On Bodies of Water, Margaret’s soothing, unadorned alto is often peppered by the gliding, eerie harmonies of her bandmates. “We love the act of singing together,” explains Ben, who describes it as “connecting and grounding and wholesome.” The push-pull search for common ground characterizes the instrumentals as well. Round basslines occupy higher octaves, trading space with guitars chugging in lower registers, and all the while drums break apart and glue back together in idiosyncratic grooves that never lose the pocket. Of the complicated rhythms that sometimes result: “Any mathy moments are based on how the lyrics fall naturally, which feels like it frees us up from having to stay in one time signature,” says Emerson. “Rhythmic elements never feel like they’re being added in, more like they’re already there and we just float on through.”

Touring’s restlessness informed these songs, but so did the DIY scene that welcomed Moontype to Chicago—including, according to Margaret, the “wild harmonies” of Ohmme, the “deadpan explanatory rock” of Ratboys, and the “luxe math rock pattern music” of The Knees. Working at beloved venue Sleeping Village inspired Margaret’s observational vignettes; “We are sitting at the desk and you are mixing all the bands,” she reports in the middle of the dextrous folk hammer-ons of “3 Weeks,” gently admitting, “I am trying to have fun and I am trying to get paid” in a world of bikes, trucks, and velvet. “About You,” a robust power-popper written about a post-gig romp around Richmond with artist Bebé Machete, opens with a Phair-ian quip: “Looking at you with my fuck me eyes / Do you wanna get inside of mine?” Meanwhile, the spectre of lost camaraderie looms over “Ferry,” an atmospheric and anthemic standout that questions, “If I’m not your best friend / then who am I to anyone?” Alongside water, this preoccupation with friendship is a focal concern lyrically, but the palpable love between Moontype’s players is essential in communicating that desire for connection, and all three members are dedicated to exploring sound and meaning organically and together. Care and generosity are at the core of Moontype, and Bodies of Water is a clever album full of insightful music, as cosily enveloping as it is incisively honest.

The shadow that Gary Bartz casts over the last six decades of progressive Black music, and his continued dedication to same, makes him a logical and very welcome contributor to the Jazz Is Dead label. An alto saxophonist steeped in the history and tradition of his instrument who is also restlessly experimental and not prone to purism of any kind, he enjoys both the respect and admiration of his peers and the hero worship of several generations after him - including Adrian Younge and Ali Shaheed Muhammad, which inevitably led to Gary Bartz JID 006. A look at his body of work reveals dalliances with bebop, hard bop, free jazz, spiritual jazz, soul jazz, jazz-funk, fusion and acid jazz, all while resolutely remaining unmistakably Gary Bartz. There's early work with Eric Dolphy and McCoy Tyner in Charles Mingus' Jazz Workshop, work with Max Roach and Abbey Lincoln, a stint in Art Blakey's Jazz Messengers, and also one with Miles. There's his groundbreaking and highly influential Ntu Troop albums of the early '70s and his jazz-funk work including two classic albums with the Mizell Brothers, one of which supplied A Tribe Called Quest with a sample that was smooth like butter. And while on the subject of samples, the Bartz catalog has provided hip-hop and other genres with a rich source of them, and artists who have gone to his well when producing beats also include Black Sheep, Jurassic 5, Casual, RPM, Warren G, Photek, Statik Selektah, Chi-Ali, 3rd Bass, Showbiz, ZTrip, Young Disciples, and many others.

Who is Harvey Couture? Some say he’s a survivor of French pop music’s sun-soaked synth-pop era of the early 1980s, others that he’s a more suave and stylish Serge Gainsbourg for the nu-Balearic era. There were even rumours circulating that he’s a musical mobster from the Cote D’Azure: a shadowy member of the mafia who deals in synths, drum machines and fretless bass guitars rather than guns, money and drugs. In truth, not even Leng Records knows much about the man behind the moniker, though his vividly kaleidoscopic, retro-futurist debut album, Scellé En Cristal, does offer a number of crafty clues. Whether listeners will make the necessary deductions to solve the mystery remains to be seen; regardless, it’s the music that matters, and on that score Scellé En Cristal simply cannot be faulted.

Rich in humid, afternoon-bright musical delights, the set sees our publicity-shy hero mix and mangle a multitude of musical influences – think proto-Balearic European synth-pop, Prince style purple funk, immersive ambient, early INXS style synth-rock, the electronic end of zouk and much more besides – with constantly colourful and imaginative results. Couture is most at home adding his variously seductive, sexy and sleazy vocals to bubbly, upbeat and mid-tempo numbers that combine delay-laden drum machine beats with surging synths, fluid bass, stylish guitars, lashings of leftfield pop nouse and plenty of tongue-in-cheek Gallic flair.

For proof, check the throbbing, off-kilter alien-funk throb of ‘Les Portes De La Perception’, the bustling, percussion-laden cheeriness of ‘Crème Solaire’ and the loose-limbed, toe-tapping brilliance of ‘Je Nes Peux Pas’, where chiming, steel pan style melodies and pots-and-pans percussion hits jostle for position with sliding fretless bass notes and flash-fried guitars. Check to ‘Passion’, a swaggering slab of bustling electrofunk/synth-rock fusion rich in ‘Rockit’-style scratches and restless synth-bass. The influence of languid, sunset-ready European pop records of the 1980s – those cuts that would later become sought-after amongst dusty-fingered collectors of Mediterranean music – is another recurring feature of Couture’s cultured but joyous debut album. It can be heard amongst the drowsy guitars, yawning bass and tumbling lead lines of ‘Look Within’, the pleasingly laidback ‘Invincible Line’, the elastic bass, fluorescent synth sounds and stuttering machine drums of ‘Marche’.

Yet Couture is no one-trick pony. Horizontal and loved-up moments of a more downtempo hue can be found scattered across the album, with the enveloping ambient awe of ‘Les Portes’ – all swelling chords, gentle melodies and atmospheric field recordings – and slowly unfurling ‘Whale Song’ both lingering long in the memory. Harvey Couture may not be ready to step out of the shadows just yet, but his music most certainly is. We have a feeling that Scellé En Cristal is just the start of the mystery monsieur’s musical journey.

Playing 45 RPM... This not uptempo... this is SPEEDCORE, with some indutrial, some ultra speedcore at flashcore frontier... The whole thing it total industrial. Full of doubble tempo games.
A full out ep !

restless

Columbia Records release the eighth studio album from Grammy Award winning, multi platinum selling US rockers. An 11 track song album which includes the current single 'The Bandit'. Black vinyl double LP and standard CD. Radio support across R1, R2, Absolute, Virgin, Radio X, ILR network with playlists, ad campaign and interviews/sessions. Video plays across MTV/Vevo/Tik Tok. Digital campaign. Ads, features, interviews and reviews across all press. Online/social media activity. TV promo to follow. Poster campaign and database mailout. TV ad campaign.

The Sushitech label turned 15 years old in 2020 and to celebrate this milestone Yossi Amoyal has put together the Fluere compilation across four discs, plus this extended fifth part, titled Fatum. Juan Atkins' remix of 'Someone' by Killer Loop takes up residence on the A-side of this three tracker, all swirling, warm pads and spiralling filters, the percussion almost leaning towards disco with its syncopated handclaps, although the overall effect is as shiny and futuristic as you would expect from this Detroit legend. Flip it over for Terry Brookes' 'Breaking Cycles', a calm spoken word narration providing a meditational mantra to accompany the chugging house foundations, full of gentle tease. 'Limits of Likeness' by MSL completes the package with restless electro machinations and shifting clouds of synth floating across its horizon. Sheer bliss all round.

Wyvern Lingo are ready to reveal another taste of their highly-anticipated second album ‘Awake You Lie’, in the shape of record opener ‘Only Love, Only Light’. “This album is so much about us comforting each other. It’s about being in your late-twenties, when all the pieces are starting to settle into place and you worry whether or not you’ve made the right moves” - Wyvern Lingo, October 2020. ‘Awake You Lie’ will be released on Friday 26th February. Recorded in JRS studios in Berlin pre-COVID, with the final tweaks managed in lockdown Ireland, ‘Awake You Lie’ comes almost two years to the day after their widely acclaimed, Choice Music Prize-nominated, debut album. The tracks released thus far, accompanied by videos filmed in both Berlin and Bray, show a band brimming with confidence in their sound, relaxed in their environment, but still ready to ask hard questions about their place in the world. To describe Wyvern Lingo as ‘tight-knit’ wouldn’t even cover it - they have long debunked the myth that you can’t choose your family. After all, the band was formed in Bray in a teenage world of self-discovery, soundtracked by the 60's/70's music of their parents, and the 90's/00's R'n'B of their childhood. If anything, the band - Caoimhe Barry, Karen Cowley and Saoirse Duane - are closer than ever two years on from their first album, a steely, us-against-the-world determination that has its roots in their origin story. If the self-titled first album caught the band on the cusp of transitioning from folky songstresses to R’n’B/alt-pop influenced players, then ‘Awake You Lie’ sees Wyvern Lingo fully immersed in who they are as a band - superb musicians and supernatural harmonisers with a gimlet eye to spear the ever shifting mores of modern relationships, both intimate and platonic. The album title - ‘Awake You Lie’ - is taken from a line in the new song ‘Aurora’, the phones-aloft, showstopper that closes side 1 of the record. The band add: “A recurring image during this album writing process was light, the lack thereof, and wanting to see things more clearly, for ourselves and others. We called the album "Awake You Lie" because it evokes an image of night-time when someone should be sleeping but can’t, due to restlessness or worry..

Just before the end of the year 2020, a mere 12 months, after the release of their celebrated record “No Treasure But Hope”, Tindersticks surprised everyone with mentioning a new album to be released in 2021.

Stuart Staples was already nurturing seeds for a different kind of Tindersticks album before lockdown halted their tour in early 2020, singer. If 2019’s “No Treasure but Hope” saw the band rediscovering themselves as a unit, the follow-up reconfigures that unit so that everything familiar about Tindersticks sounds fresh again. “Distractions” is an album of subtle realignments and connections from a restless, intuitive band: rich in texture and atmosphere, it lives between its open spaces and details, always finding new ways to connect with a song.

If it’s an album that resists easy summation, at least one thing is clear: though it isn’t untouched by the lockdown, “Distractions” is not ‘a lockdown album’. As Staples says, “I think the confinement provided an opportunity for something that was already happening. It is definitely a part of the album, but not a reaction to it.”

For Rhye’s Michael Milosh, the home is the center of creativity and community. It transcends conventional understandings of walls, stairs and hardwood floors. A culmination of a wayfarer’s journey, the home is a balm for a restless spirit — a place to simply be.

For much of his life, the Canadian singer, songwriter and multi-instrumentalist has wandered, decamping in Toronto, Montreal, Thailand, the Netherlands, Germany and Los Angeles at varying times. Since the meteoric rise of Rhye’s 2013 debut Woman, he’s mostly lived on the road—playing between 50 and one hundred shows a year. But over the last couple of years something changed. On the heels of some major life changes, including a new relationship, Milosh yearned for a more permanent space. “It's this idea of creating a safe place that's not just conducive to creativity, but one that’s truly an anchor point from which to make art and be creative,” he says.

That longing was fulfilled in August of 2019 when Milosh and his partner Genevieve happened upon the perfect place in Topanga. It had been on and off the market for two years as the owner sought the perfect buyer, one who would carry on its creative tradition. “She did this ceremony somewhere on the property where she was trying to call in the right people, and apparently we came the next day,” Milosh explained. “The right kind of home presented itself to us, and we presented ourselves to it. It was like a union between us and the home.”

Written throughout 2019 and early 2020, recorded at Milosh’s home studio, United Recording Studios and Revival at The Complex, and mixed by Alan Moulder (Nine Inch Nails, Interpol, My Bloody Valentine, U2, The Killers), Home is familiar in its synthesis of propulsive beats, orchestral flourishes, piano ruminations and sultry, gender-nonconforming vocals, but never have they sounded more cohesive or alive.

“I'm always trying to always accomplish musical goals that are connected to the way I listened to and interact with music as a child,” Milosh says. The sentiment also underscores a broader, less obvious, but no less important theme echoed through his new record: No matter where life takes us, we can always go home.

Discodelic presents the second release in this series of exclusive 45 RPM records. From the Caribbean coast of Costa Rica, province of Limón, the town of Cahuita, we present you with the incredible BOCARACÁ!

Bocaracá is without a doubt a gem from Caribbean Central America, bridging a spectacular concoction of Psychedelia with Afro Latin rhythms. Created by Isidor Asch and Luis Jákamo, two restless "limonenses", who were on the path of discovering their Latin musical roots since childhood, while also experimenting with soul and Rock in their own compositions. Together and on their own, they have written a big chunk of the history of Soul in Costa Rica with their subsequent outstanding groups: Marfil, Grupo Stop, and Manantial.

This limited edition is part of a project that has been in the making for several years. This is a labor of love and respect for the music of this singular band. Four “maes” who were known as “the only hippies in Limón” in their hometown.

This reissue includes historic material that was originally recorded between 1973 and 1974 in Audio Centro, a recording facility in San José. It’s a priceless and important document, a window to what was happening with music in the largely abandoned and forgotten province of Limón, where a musical revolution was cooking in the early ’70s, and where Bocaracá was the cornerstone.

Get to know the full story of Bocaracá in the special liner notes included in the release, prepared with love for all of you, featuring band anecdotes and photos.

Every now and then an artist comes along who makes you remember why you started listening to albums in the first place: Aaron Lee Tasjan is that artist. With his wrecked cool, off-centre charm and restless creative dazzle, he makes music with conviction that has its roots in rock’s murky past, armed with an arsenal of songs that spill over with humour, intelligence, irony and, at times, prophecy.
An obsessive creative, Aaron Lee Tasjan writes pop songs with a twist, a little overdriven and far too honest at times. He updates the idea of androgyny but dispels the emotional and social ambiguity with lyrics that reflect his own geographic and artistic wanderings.
Tasjan! Tasjan! Tasjan!’ is 11 songs. The man who began the album is not the same man who completed it, transformed both by the experiences that inspired the songs and by crafting them. This is not anxious music for anxious times but rather music as an antidote for anxious times. It is the sound of the future arriving.
Gatefold vinyl

10th Anniversary reissue of Cloud Nothings acclaimed and beloved debut album.
Clear w/ Opaque Light Blue Marble LP - Uncoated Jacket with Spot UV Gloss on Cover Photo, w/ download card.

It’s been 10 years since the release of Turning On, Cloud Nothings’ debut album. Singer-songwriter Dylan Baldi was just 18 years old when he began recording the album, creating each track in his parents’ basement in Cleveland, Ohio. Over one winter, Baldi produced an album of taut, lo-fi guitar-pop songs, playing each instrument himself. His music gained traction in the increasingly popular music blog circuit, allowing Baldi to book his first shows in new places, like New York City. He gathered a band together to play live, and Cloud Nothings were on their way.

The band has accomplished a great deal since Turning On, signing to Carpark Records, releasing seven albums, and headlining numerous international tours. Yet, their debut isn’t dusted over in the band’s history. Turning On still remains the stripped-back core of Cloud Nothings style: raw and grungy, filled with catchy earworms that are surprisingly pop. The album carries all the stored potential of someone ready to venture off into the world, a feeling that bursts with energy even 10 years later.

All the tracks on Turning On are eruptive and restless, its lo-fi quality embodying the desperate need to record an idea by any means necessary. Songs like “Hey Cool Kid” encapsulate Baldi’s talent for churning, hook-filled guitar. The vocals on songs like “Can’t Stay Awake” are distorted, with scattered lyrics that echo the angst of a teenage diary. As a whole, the album delivers dissonance and edge, without sacrificing the authentic romanticism of someone who is on the verge of something big and doesn’t know it yet.

Recorded in 2011 in a dusty, beloved barn, ‘Even Your Drums Will Die’ is a time machine, a real one, to a moment packed thick with Richard Swift’s singular, crackling liveliness. Where Swift’s studio recordings are marked by texture, tone and mood, ‘Even Your Drums Will Die’ puts a spotlight on Swift’s voice, his lyrics and his songwriting.
Running through all of Swift’s tunes is a certain agitation - a fidgetiness, a restlessness. It’s clearer than ever now, over two years after Swift’s passing, that he used his music to let a little pressure out of his tire. ‘A Song for Milton Feher’ nods to all this, its namesake coming from the professional dancer and director who taught his students to release their “habits of tension.” The song feels like a skeleton key to Swift’s oeuvre, a clear look into the wild wheels spinning inside his big old artist noggin.
On the flipside is ‘Lady Luck’. The classic. The revived ghost of a lost 45 that never existed, or maybe always did, but that only Richard Swift could make real.
If you know these songs, you will find them set alight here. If you don’t, ‘Even Your Drums Will Die’ is an incomparable snapshot of both art and artist. It is a genie, a real one, let loose from the lamp with Richard Swift’s explosive energy, imagination and mischief.
Recorded Live at Pickathon, 2011.
Swift was a celebrated recording artist, collaborator (The Black Keys, The Shins, the Arcs) and producer (Nathaniel Rateliff, Kevin Morby, Guster, Pretenders).

Mit der BLUE NOTE CLASSIC VINYL SERIE wird die Reihe preiswerter Blue-Note-LPs fortgesetzt! Die audiophile TONE POET SERIE von Blue Note ist ein großer Erfolg, aber richtigerweise will das Label seinen Fans nicht nur diese entsprechend hochpreisigen Spezialitäten bieten. Daher wird ab sofortzusätzlich die BLUE NOTE CLASSIC VINYL SERIE die großen Klassiker des Labels zu einem guten Preis und nicht limitiert veröffentlichen. Die bei Optimal gefertigten 180g- Pressungen sorgen auch hier für eine sehr gute Qualität.

Flaming Tunes' sole release is perhaps the finest elegy to the '80s home recording ethos that you've never heard. Originally released in 1985 on cassette (with individually hand-colored covers), this self-titled album grew out of the collaboration between childhood friends Gareth Williams and Mary Currie.

Williams is best known as a member of English art-rock band This Heat. After leaving the group in the early '80s, he travelled to India where he studied classical Kathakali dance – an experience that would profoundly shape the music of Flaming Tunes.

In an old Victorian house in South London, the duo recorded during the day while Currie's young son attended school and Williams conducted tape treatments at night. They were joined by various guests including This Heat guitarist Charles Bullen as well as long-term collaborators Martin Harrison and Rick Wilson.

Using whatever instruments they had on hand (clarinet, piano, bells, etc.), Flaming Tunes create lo-fi melodies around simple arrangements, oblique rhythms and densely layered natural sounds. The results are a mesmeric collage of instrumental daydreams and sideways pop songs, floating into one another in a hazy confluence of late '60s Canterbury psych-folk and early Residents experimentation.

All of these beguiling elements converge in a personal manner, quietly insistent in listeners' ears like the blood pulsing in one's veins on a warm summer day.

As they were working their asses off on their respective projects last year, these two lads came together to deliver a not so formal four-handed introductive dance record. The purpose is crystal clear : one record capturing through three maximalists club tracks, both their obsession for digressive New Beat, Rave-infused House and in the background, dirty breakbeats bumping into thick Emo pads of Italo Disco or some leftfield Post Punk music. Those two were too young to experience the post-Disco big bang which occurred between 88 to 94, but they manage to embrace the spirit and twist it without any shame. Far from contemplating the European dance legacy, they bend it to create a second merciless big bang, right to the face. By that way, they offer you, happy raving people, these three restless pieces that are 200% coherent on their holy belief of a « Maximal Dance » aesthetic.

Connected to the Occulto LP, this 7-inch single by Sorgini features two alternative versions of

'Telecinesi' (Telekinesis), a dark, nocturnal tune with a supernatural, macabre flavour, fuelled by solid drum breaks, percussions and restless synths harmonies.

On the flip side you've got a drums and synths only version, which sounds even more spectral and abstract than the original mix. Ideal for beatmakers looking for the perfect sample.

From their early days hosting parties in Oxford through to the huge success of their two-part ‘Everything Not Saved Will Be Lost’ album, Foals have consistently explored their interest in dance and electronica. Now the band chart the most essential remixes from their career so far as they share the new remix package ‘Collected Reworks Vol 1’.

The tracks featured on ‘Collected Reworks’, are a compilation from an eclectic range of artists who have uncovered new angles to Foals’ discography. It includes one of their earliest remixes, from Ewan Pearson who blends Balearic bliss into ‘Olympic Airways’, as well as Solumun’s huge version of ‘Late Night’, which has been viewed over 50 million times at YouTube. Another standout moment is Hot Chip’s inventive interpretation of ‘My Number’.

‘Collected Reworks Vol. 1’ has been launched with Hot Since 82’s brand new remix of ‘Into The Surf’. The tech house producer / DJ behind ‘Buggin’’ and ‘Restless’ subverts the track from its original desolate beauty into something fresh and invigorating. The relentless driving beat maximises its energy throughout its eight minute duration, while its progressive leanings are given some unexpected throwback flavour with ‘80s style sax.

Vanish is Julia Reidy’s yearning, fat debut for Editions Mego. Since 2019, Julia’s bubbling 12-string guitar work - sighing streams of crystal plucks drawn closer or echoing on - has moored a tactile, ever-lusher sound. On ‘Guitar’, the Australian, Berlin-based musician melts down sharp synths; electric fuzz and flex; uncanny found sounds; and autotuned voice and harmonica in a heady, overpowering potion.

Reidy’s music sweeps you up. It’s restless, always travelling on. Lonesome tones into machine chorales into hesitant hum. The LP’s side-long cuts sway between scenes but are always rooted: Julia’s guitar and vocal lines seem mapped to the natural ebb and flow of breath and thought, they lull you as they push through vast and secret spaces.

Vanish completes a trio of releases begun with last year’s ‘brace, brace’ (Slip) and ‘In Real Life’ (Black Truffle). The delicious unease, the anxious burning of the preceding volumes has settled, becoming more wide-eyed and resolute. For all its poise, the album’s sense of build - electric licks rasping into glistening synths, punctured by distant kicks - feels freshest. When 'Oh Boy'’s smudged whistle comes, it has fought its way out of the thickets, and hits like heartbreak.

Mysterious and masked techno talent Paul Villard unveils more of his musical weaponry on the Lone Romantic label this August.

Nothing is known about this artist but from the fact that, “strange and unusual superhuman powers and abilities” came to him after a “gamma accident.” He has released on Blind Allies and Applied Research, remixed Carl Finlow and is a producer with a cinematic electro sound.

Futuristic opener 'Side Effects’ is a bumping electro cut with a stuttering drum pattern and squelchy synth funk from another planet. ‘Submarine Limousine’ keeps up the cyborg styles with a crisp electro groove that is run through by sci-fi vocals and effects, while ’Fluid Dynamics’ is all watery synth droplets and fractured vocals panning about the mix. Taught bass stabs keep you on your toes and make for an otherwordly robot disco vibe.

The second half of this well-crafted EP starts with the glowing pads and creepy atmospheres of
‘Bioluminescence’, a classic Drexcyian electro jam that charges hard and deep into the cosmos. ‘Neon Death’ is an explosion of coruscated synth lines and bumping bass, tripped out machine sounds and warped electro-techno before closer ‘C.A.R.R.I.O.N.’ zones you out with intense ambient pads and modulated synths that are restless and paranoid.

With this majestic EP, Paul Villard paints and vivid picture of some distant interplanetary world.

Triangulating a slinky signal to a square mile off the Swan River, Glowing Pin bring us ‘Pentagon Palette’, a master blast of frequency adjusted house, swamp stomp and chakra charmers from Australian newcomer Jonus Eric.

Though opening brace ‘The Cult’ and ‘Collect’ made first contact back in 2014, a loose connection between Perth and Hamburg hindered progress before ‘Mirrors’, ‘Emulator’ and ‘Waterfall’ walked across the web in 2019 to round out a dope debut release from this house auteur. Specialising in mind altering sound design and melodic flair, Jonus generates a neon swamp on ‘The Cult’, serving up a psychoactive roller caked in radioactive fuzz and insectile fizz. Thick bass swells and circular marimba make for a hypnotic rhythm, while a shapeshifting vocal and moody keyboard riff drag us back towards terra firma. The paradisiac refrain of ‘Collect’ soon sounds out through the jungle with a euphoric haze,

its sub-tickling bass and acid gurgle riding hyperactive drum programming as the track warps in the humidity. Soaked in serotonin and brisk at 137 BPM, ‘Mirrors’ burns off the mist to offer an airy update on the French Touch template. Though frazzled circuitry and dislocated vox serve this one with a twist, the chiming pianos and bouncy beat are still best enjoyed in a Golf GTI in the summertime. Jonus reaches for the lasers via the restless rhythm and rave sirens of ‘Emulator’, a fresh take on the funky house of the late nineties updated with unexpected breaks, squealing feedback and treated vocals usually found on a Four Set banger.

Next it’s off to the chillout room for ‘Waterfalls’, a fourth-world tone poem describing crystal caves, undiscovered wildlife and a holographic waterfall. Ditching the doof, and letting those colours tesselate, Jonus offers a +2 bump to your mana, before the post punk bassline, growling EBM vocal and off key organs of ‘YR Mind’ combine for a confrontational bonus track, only available in digital format.

When Joakim aka Cray76 moved back from NYC to Paris in 2019, he knew he wouldn't have access to a studio for a little while. And although he welcomed that forced pause in making music, he felt the need to take at least one piece of gear with him in his suitcase. It was the legendary Roland TB303, one of the simplest and quirkest synth ever made and maybe the one that had the most important influence on electronic music since the mid 80s. Having recorded a few beats on his Roland TR808 before he packed his studio in Brooklyn to be shipped back to France, Joakim decided to make a record only using those 2 machines, an « exercice de style » that is a tribute to 30 years+ of acid house and techno and a way to make tools that he could use in his DJ sets. It goes deep, it goes hypnotic, it goes rough, many flavors of acid are packed in this 808+303=1111 12inch.

in a trio of records by Andrew Wasylyk which unearth and reshape the landscape of Eastern Scotland as shimmering and inventive instrumental music.

Where Themes for Buildings and Spaces (2017) toured the architecture and industry of Dundee, evoking a place caught between decay and regrowth, the Scottish Album of the Year Award shortlisted The Paralian (2019) explored the littoral exchanges between sea and shore on the North Sea coastline.! !

Fugitive Light And Themes Of Consolation carries a trace of this arc on a return upriver, drifting back inland along the River Tay's inner estuary: a record of the low light on winter fields, empty suburban streets at dawn, the deep clear waters of the quarry excavated to build the city.

Ten songs circling landscapes for meaning, channelling half-heard melodies and misremembered memories; caught somewhere between settling down and setting out towards the shining levels of the estuary and beyond.! ! The record is threaded with the influences of people, place and musical lineages – David Axelrod, John Barry, Virginia Astley, Mark Hollis, Alice Coltrane – yet as with all of Andrew's solo work it has a deft, clear voice all of its own. Recorded between Summer 2019 and January 2020, Fugitive Light…

displays his talent as a multi-instrumentalist and composer: all hushed drum grooves, rolling waves of plucked acoustic guitar, cascading upright piano, Bob James-inspired Fender Rhodes, rippling clàrsach harp, and ECM-worthy electric guitar motifs. As on The Paralian, string arrangements are by fellow Tayside musician Pete Harvey, known for his work with King Creosote, Modern Studies and The National Theatre of Scotland.! !

Black Truffle is very proud to present Peaks by Australian cellist Judith Hamann, her debut release of electro-acoustic music. Known mostly for her live performance work with composers including Sarah Hennies, Yvette Janine Jackson, Alvin Lucier, Tashi Wada, and La Monte Young, here she steps away from the cello, moving into an intimate dreamscape woven from recordings gathered over years of itinerant touring.

Peaks is a work in two distinct parts, crossfading between different landscapes and apertures; from rooftop to church, from stasis to flares of momentary romanticism. Peaks considers summits as being both above and below, reframing the idea of apex from a more intimate perspective. Hamann considers how our domestic and personal geographies might form their own apogees, meridians, or nadirs.

Assembled in 2019 while an artist in residence in Krems, Austria, Peaks begins with Hamann’s more familiar cello but soon unravels into resonant electronic interiors; Southern California nightscapes heard through windows, San Francisco bathroom fans, snatches of recordings of friends, hand organs, and engines. signal/centinela draws primarily on recordings from Hamann’s time living in San Diego, and carries with it a certain sense of nostalgia in the sense of homesickness, longing, and displacement of distance and time. Side B is composed from recordings gathered on a different continent, Europe, weaving piano with recordings of sleep, breath, church organ, and the act of climbing. under/over emerges as it recedes, overlapping moments of arrival to create another kind of ‘spire’ in the sense of spir (breath). Peaks, with its omission of any recordings from Hamann’s home of Australia, hints at how the very construction of home itself, might be restless, untethered, changeable, and malleable.

On Peaks, Hamann interrogates tropes of ambient concrète musics, intentionally pivoting formally around material which teeters on the edge of cliche. This exploration asks whether familiar frames of harmony, field recordings and narrative trajectories can excavate new territories, or be ruptured. Peaks untangles a very personal sense of tension between beauty and shame in experimental music: treating lushness and harmony as possessing potentially muscular musical properties that might wrestle with or construct senses of belonging and home.

Demon Records presents four new vinyl reissues from English post-punk group the Sound. Whilst the Sound may never have matched the commercial success of their peers, the group are frequently hailed as one of the greatest bands of the 1980s and have a cult following to
this day. Following on from their critically acclaimed Shock Of Daylight EP, the Sound returned to the studio to record their fourth full length studio album Heads And Hearts. Includes the singles
‘One Thousand Reasons’, ‘Temperature Drop’ and ‘Under You’.
Pressed on 140g clear vinyl for the first time, with replica artwork including a printed inner sleeve.

Re-Release

Black Truffle is honoured to present the premier recordings of two recent works by legendary American experimental composer Alvin Lucier. A friend and contemporary of pioneers like Robert Ashley, David Behrman, Gordon Mumma, and Christian Wolff, Lucier has been crafting elegant explorations of the behavior of sound in physical space since the 1960s. Lucier is perhaps best known for I Am Sitting in a Room (1970), in which he repeatedly re-recorded his own speaking voice being played back into a room until the room's resonant frequencies entirely obscure the spoken text. Beginning in the early 1970s, he has written a remarkable catalogue of instrumental works that focus on phenomena produced by the interference between closely tuned pitches, such as audible beating, often using pure electronic tones produced by oscillators in combination with single instruments.

Demonstrating the restless creative drive of an artist now in his 80s, the two recent works presented here both feature the electric guitar, an instrument Lucier has just recently begun to explore. In Criss-Cross, Lucier's first composition for electric guitars, two guitarists using e-bows sweep slowly up and down a single semitone, beginning at opposite ends of the pitch range. The piece is a model of simplicity, exemplifying Lucier's desire not to 'compose' in the conventional sense, but rather to eliminate everything that 'distracts from the acoustical unfolding of the idea'. In this immaculately controlled performance of Criss-Cross by Oren Ambarchi and Stephen O'Malley, (for whom the piece was written in 2013), a seemingly simple idea creates a rich array of sonic effects - not simply beating patterns, which gradually slow down as the two tones reach unison and accelerate as they move further apart, but also the remarkable phenomenon of sound waves spinning in elliptical patterns through space between the two guitar amps.

In the comparatively lush Hanover, Lucier draws inspiration from the beautiful photograph that provides the LP with its cover, an image of the Dartmouth Jazz Band taken in 1918 featuring Lucier's father on violin. Using the instrumentation present in the photograph, Lucier creates an unearthly sound world of sliding tones from violin, alto and tenor saxophones, piano, vibraphone (bowed) and three electric guitars (which take the place of the banjos present in the photograph). Waves of slow glissandi create thick, complex beating patterns, gently punctuated by repeated single notes from the piano. The result is a piece that, like much of Lucier's instrumental music, is simultaneously both unperturbably calm and constantly in motion.
Stunning LP design by Stephen O'Malley including an inner sleeve with a portrait of Alvin Lucier by Kris Serafin.
Criss-Cross' recorded at Studios Ina GRM, Paris by Francois Bonnet and mixed by Alvin Lucier. Hanover' recorded in Zurich and mixed by Alvin Lucier.
Mastered and cut by Rashad Becker at D&M Belin.
Criss-Cross' recorded at Studios Ina GRM, Paris by Francois Bonnet and mixed by Alvin Lucier. Hanover' recorded in Zurich and mixed by Alvin Lucier.
Mastered and cut by Rashad Becker at D&M Berlin.

Startisha introduces Naeem as a restlessly creative artist with an impressionistic, genre-bending album. As a complete work, Startisha exemplifies artistic daring and emotional intelligence while exploring new ideas and sounds, and philosophically excavating the artist's histories. Startisha may be loaded with impressive collaborations and left-field sounds, but don't get it twisted_this music comes straight from Naeem's heart, representing the journey he's taken to get to this point as well as what lies in the future for him. Baltimore-hailing Naeem Juwan has spent much of the last decade stretching his creative legs in a variety of ways: he's hit the road with artists ranging from the Avalanches and Bon Iver to Big Red Machine and Mouse on Mars, took part in a 37d03d residency in Berlin, and was selected as the music resident in 2019 for New York's Pioneer Works space. Through it all, he's been building the songs that make up Startisha, a record a half-decade in the making that featured Juwan pulling from creative circles all across the U.S. to craft a truly unique document of sound. After studio sessions in Philadelphia and New York, Juwan decamped to Minneapolis and holed up in Justin Vernon's home studio, where Startisha continued to come together with contributions from Vernon, Ryan Olson (Gayngs, Polica), Swamp Dogg, Velvet Negroni, Francis and the Lights, and regular collaborators Amanda Blank and Micah James.

Khruangbin has always been multilingual, weaving far-flung musical languages like East Asian surf-rock, Persian funk, and Jamaican dub into mellifluous harmony. But on its third album, it's finally speaking out loud. Mordechai features vocals prominently on nearly every song, a first for the mostly instrumental band. It's a shift that rewards the risk, reorienting Khruangbin's transportive sound toward a new sense of emotional directness, without losing the spirit of nomadic wandering that's always defined it. And it all started with them coming home. By the summer of 2019, the Houston group_bassist Laura Lee Ochoa, guitarist Mark Speer, drummer DJ Johnson_had been on tour for nearly three-and-ahalf years, playing to audiences across North and South America, Europe, and southeast Asia behind its acclaimed albums The Universe Smiles Upon You and Con Todo El Mundo. They returned to their farmhouse studio in Burton, Texas, ready to begin work on their third album. But they were also determined to slow down, to take their time and luxuriate in building something together. Musically, the band's ever-restless ear saw it pulling reference points from Pakistan, Korea, and West Africa, incorporating strains of Indian chanting boxes and Congolese syncopated guitar. But more than anything, the album became a celebration of Houston, the eclectic city that had nurtured them, and a cultural nexus where you can check out country and zydeco, trap rap, or avant-garde opera on any given night. In those years away from home, Khruangbin's members often felt like they were swimming underwater, unsure of where they were going, or why they were going there. But Mordechai leads them gently back to the surface, allowing them to take a breath, look around, and find itself again. It is a snapshot taken along a larger journey_a moment all the more beautiful for its impermanence. And it's a memory to revisit again and again, speaking to us now more clearly than ever.

Los Angeles based artist Evan Caminiti returns with the follow up to 2017’s Toxic City Music.

Living in the wrong timeline, dreaming of possible utopias; Varispeed Hydra beams in like a collection of broken transmissions, terrestrial sounds melting into the abstract and rising again as vaporous specters. Three years in the making, Hydra was recorded utilizing a variety of electroacoustic processes and honed in live performances ranging from the sound art setting of NYC’s Issue Project Room to the future-club environment of DOMMUNE in Tokyo. While thematically following Toxic City Music, it moves past that album’s emphasis on superfund sites and the proverbial rat race to turn an ear towards more rural environs.

With a focus on some of the sounds we stand to lose if we continue on our current trajectory of ecological destruction, birds, insects, and water are most often found among the glowing synthesizers and warped electric guitar that comprise the album’s melodic and rhythmic core. Connecting a thread between musique concrete and dub, these sounds are atomized and diffused before being woven together with a sense of urgency, a colorful and restless haze. Phasing percussion and blurred melodies are wrapped in a fog as they tumble and glitch, occupying a space where ominous rumblings and bucolic bliss blur together. An offering of cautious optimism in the age of anxiety.

Written and produced by Evan Caminiti, featuring electronics by Lisa McGee.
Mastered by Rafael Anton Irisarri at Black Knoll Studios.
Artwork by Michael Vallera and Zane Morris.
Vinyl cut at Dubplates and Mastering Berlin.

Russia's Nocow refuses to mourn the failed experiment of human contact on his Turbo debut EP, delivering cathartic anthems alongside giant warehouse jams you are free to call "deep" and "cavernous" with full knowledge of the risks involved. ??

On lead track "Never Leave Me," the Saint Petersburg-based creator of "Cloud Techno" runs emotive vocals through a hazmat filter and into the emo-globin contained within your fluorescent-green blood cells. Meanwhile, after-hours love-weapons "Back On," "Avalon," and "Soder" each take different routes to activating the phantom arousal mechanisms of your soul. Finally, some people have been calling closer "Starfall" a "magical ticket to Vocal Sample Heaven" and "a timeless all-inclusive ravecation from the cares of this workaday world." While we would never choose to word it that way, we concede that both descriptions are generally pretty accurate.??

In these times of social isolation and uncertainty, we remind you that it's vital your Restless Heart Syndrome not turn into Reckless Heart Syndrome. Instead of frequenting illicit "Droplet Transmission Parties," why not peep the vast network of Landline Raves we've been hearing about via our vast network of peeper-drones? Also, please try to keep in mind that all of this is simply selection pressure forcing you to evolve new and viable ways of connecting with the hottest singles in your area. So stay inside for now and stay inside our hearts forever.

Stag-O-Lee präsentiert hier Teil 5 und 6 der usserst erfolgreichen Trashcan Records Serie, die sich obskuren und vergessenen Vinyl Schätzen aus den 50er und frühen 60er Jahren widmet. Die originalen 45er stammen aus der stattlichen Sammlung von Fedor, einem Sammler und Jäger aus Amsterdam, der sich in den letzten 25 Jahren durch tausende von Kisten mit Gebrauchtvinyl auf Flohmärkten der holländischen Metropole wühlte. Die Veröffentlichungen sind thematisch gegliedert - Vol. 5: Cha Cha compiliert 12 Tracks mit "an all-female beatnik extravaganza: the first vinyl compilation of its kind! From the bohemian misfit girl with her goateed boyfriend to the espresso sipping art school chick reading Kerouac..." . Vol. 6: The Natives Are Restless bietet 5 Tunes mit einem Dschungel-Thema auf der A-Seite und 5 luftige Exotica-Träume auf der B-Seite. Alle 24 Tracks sind "previously uncomped" und finden erstmals ihren Weg auf Großvinyl!!!

Stag-O-Lee präsentiert hier Teil 5 und 6 der usserst erfolgreichen Trashcan Records Serie, die sich obskuren und vergessenen Vinyl Schätzen aus den 50er und frühen 60er Jahren widmet. Die originalen 45er stammen aus der stattlichen Sammlung von Fedor, einem Sammler und Jäger aus Amsterdam, der sich in den letzten 25 Jahren durch tausende von Kisten mit Gebrauchtvinyl auf Flohmärkten der holländischen Metropole wühlte. Die Veröffentlichungen sind thematisch gegliedert - Vol. 5: Cha Cha compiliert 12 Tracks mit "an all-female beatnik extravaganza: the first vinyl compilation of its kind! From the bohemian misfit girl with her goateed boyfriend to the espresso sipping art school chick reading Kerouac..." . Vol. 6: The Natives Are Restless bietet 5 Tunes mit einem Dschungel-Thema auf der A-Seite und 5 luftige Exotica-Träume auf der B-Seite. Alle 24 Tracks sind "previously uncomped" und finden erstmals ihren Weg auf Großvinyl!!

In October 2018 DJ Rocca and Almunia member Leo Ceccanti joined forces to deliver “Rhythm Collision”, a three-track EP of jangling, sun-kissed grooves, psychedelic dub disco and Afro-Cosmic flavours on Really Swing. 18 months on, one of that set’s standout cuts has been given a new lease of life courtesy of fellow Italian producer Alessandro Pasini AKA Deep 88. Since making his debut a decade ago, Pasini has earned a reputation as one of house music’s understated heroes – an artist whose hardware driven, retro-futurist take on deep house tends towards the timeless, melodic and atmospheric. With a deep love of turn-of-the-90s dream house, Larry Heard productions and sun-baked chords, his dancefloor-focused productions have often been called Balearic.

It’s perhaps fitting then that his reworks of Rocca and Cecanti’s “Ever Changing Bubbles” are as Balearic as they come. His “Balearic Mix” sets the tone, with Pasini layering trippy, dubbed-out and ear-catching elements – Ceccanti’s eyes-closed electric guitar solos, jangling acoustic guitar chords, warm dub disco bass, echoing spoken word samples, fluttering flute solos, drowsy organ motifs and the pair’s delay-heavy vocals – atop a crunchy, head-nodding, live style beat. While it deviates from the duo’s original version, it inhabits a similar sonic space – albeit in a more dancefloor-friendly way. Pasini excels himself on the accompanying “Balearic Dub”, stripping the cut back to its raw essentials – drums, metronomic bass –while toughening up the percussion and adding delay-laden instrumental snippets. It’s warm, woozy and otherworldly, with echoing voices, tactile musical motifs and restless delay trails combining to create a suitably hazy and intoxicating mood. By the time the touchy-feely flute and acoustic guitars begin to dance across the sound space, you’ll be lost in the groove and too happy to notice.