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SCANDAL ist eine Street-Punk-Band aus dem Süden Londons, Großbritannien, die 1998 gegründet wurde und ihre Wurzeln in der rumänischen Punkszene hat. SCANDAL wurde schnell zu einer der gefeiertsten Bands des rumänischen Undergrounds, bekannt für ihre Arbeiterklassen-Hymnen und energiegeladenen Live-Shows. Ihre mitsingbaren Refrains, die sich oft um das Punk-Leben, das Trinken und die Kameradschaft drehten, wurden legendär, und die berüchtigte Anti-Polizei-Hymne ,Patrula Suge Pula" wurde zum Schlachtruf für ihre Fans (und die Unterdrückung durch die Regierung und die Bullen). Nach einer sechsjährigen Pause gingen SCANDAL 2016 nach Großbritannien und fanden mit drei der ursprünglichen Mitglieder wieder zusammen. Dort wurden sie schnell in der Szene groß, mit vielen Festivalauftritten (wie Undercover , Obscene Extreme in der Tschechischen Republik, Exit Festival in Serbien oder Rebellion/ Blackpool) sowie der *5 Seconds To Riot Euro-Tour*. Nach mehreren Underground-Veröffentlichungen und ihrem ausverkauften Debüt ,On the Roll" (2018) wurde Sunny Bastards Records auf Scandal aufmerksam und veröffentlichte 4 Songs auf der ,A handful of Punk & Oi Vol.2" Compilation. Nun ist die Zeit reif für ihr neues Album: *Some Still Dance* enthält 14 Tracks, davon 10 Songs auf Englisch und vier auf Rumänisch, darunter vier neu gemasterte ältere Favoriten und der legendären ,Patrula"-Song. Das Album behandelt eine Reihe von Themen, vom Comeback der Band in ,It's A Scandal" über Überwindung von Depressionen in ,Never Give Up" bis hin zu toxischen Freundschaften in ,The End". Der Titelsong ,Some Still Dance" ist eine Hommage an den Punk-Rock und die Freunde, die ihnen durch die Jahre hindurch treu geblieben sind. Erwartet SSongs, die vom Feiern und Spaß haben bis hin zu sozialen Themen wie reichen. Das Album wurde in den Perry Vale Studios in London aufgenommen und ist dem geliebten Produzenten von ,Scandal", Pat Collier (Gründer/Bassist The Vibrators, Produzent für u.a. The Jesus and Mary Chain, X-Ray Spex, Robyn Hitchcock, Soft Boys, UK Subs und Primal Scream), gewidmet, der leider im Sommer 2024 verstorben ist. Schwarzes und mehrfarbiges Vinyl!

SCANDAL ist eine Street-Punk-Band aus dem Süden Londons, Großbritannien, die 1998 gegründet wurde und ihre Wurzeln in der rumänischen Punkszene hat. SCANDAL wurde schnell zu einer der gefeiertsten Bands des rumänischen Undergrounds, bekannt für ihre Arbeiterklassen-Hymnen und energiegeladenen Live-Shows. Ihre mitsingbaren Refrains, die sich oft um das Punk-Leben, das Trinken und die Kameradschaft drehten, wurden legendär, und die berüchtigte Anti-Polizei-Hymne ,Patrula Suge Pula" wurde zum Schlachtruf für ihre Fans (und die Unterdrückung durch die Regierung und die Bullen). Nach einer sechsjährigen Pause gingen SCANDAL 2016 nach Großbritannien und fanden mit drei der ursprünglichen Mitglieder wieder zusammen. Dort wurden sie schnell in der Szene groß, mit vielen Festivalauftritten (wie Undercover , Obscene Extreme in der Tschechischen Republik, Exit Festival in Serbien oder Rebellion/ Blackpool) sowie der *5 Seconds To Riot Euro-Tour*. Nach mehreren Underground-Veröffentlichungen und ihrem ausverkauften Debüt ,On the Roll" (2018) wurde Sunny Bastards Records auf Scandal aufmerksam und veröffentlichte 4 Songs auf der ,A handful of Punk & Oi Vol.2" Compilation. Nun ist die Zeit reif für ihr neues Album: *Some Still Dance* enthält 14 Tracks, davon 10 Songs auf Englisch und vier auf Rumänisch, darunter vier neu gemasterte ältere Favoriten und der legendären ,Patrula"-Song. Das Album behandelt eine Reihe von Themen, vom Comeback der Band in ,It's A Scandal" über Überwindung von Depressionen in ,Never Give Up" bis hin zu toxischen Freundschaften in ,The End". Der Titelsong ,Some Still Dance" ist eine Hommage an den Punk-Rock und die Freunde, die ihnen durch die Jahre hindurch treu geblieben sind. Erwartet SSongs, die vom Feiern und Spaß haben bis hin zu sozialen Themen wie reichen. Das Album wurde in den Perry Vale Studios in London aufgenommen und ist dem geliebten Produzenten von ,Scandal", Pat Collier (Gründer/Bassist The Vibrators, Produzent für u.a. The Jesus and Mary Chain, X-Ray Spex, Robyn Hitchcock, Soft Boys, UK Subs und Primal Scream), gewidmet, der leider im Sommer 2024 verstorben ist. Schwarzes und mehrfarbiges Vinyl!

SCANDAL ist eine Street-Punk-Band aus dem Süden Londons, Großbritannien, die 1998 gegründet wurde und ihre Wurzeln in der rumänischen Punkszene hat. SCANDAL wurde schnell zu einer der gefeiertsten Bands des rumänischen Undergrounds, bekannt für ihre Arbeiterklassen-Hymnen und energiegeladenen Live-Shows. Ihre mitsingbaren Refrains, die sich oft um das Punk-Leben, das Trinken und die Kameradschaft drehten, wurden legendär, und die berüchtigte Anti-Polizei-Hymne ,Patrula Suge Pula" wurde zum Schlachtruf für ihre Fans (und die Unterdrückung durch die Regierung und die Bullen). Nach einer sechsjährigen Pause gingen SCANDAL 2016 nach Großbritannien und fanden mit drei der ursprünglichen Mitglieder wieder zusammen. Dort wurden sie schnell in der Szene groß, mit vielen Festivalauftritten (wie Undercover , Obscene Extreme in der Tschechischen Republik, Exit Festival in Serbien oder Rebellion/ Blackpool) sowie der *5 Seconds To Riot Euro-Tour*. Nach mehreren Underground-Veröffentlichungen und ihrem ausverkauften Debüt ,On the Roll" (2018) wurde Sunny Bastards Records auf Scandal aufmerksam und veröffentlichte 4 Songs auf der ,A handful of Punk & Oi Vol.2" Compilation. Nun ist die Zeit reif für ihr neues Album: *Some Still Dance* enthält 14 Tracks, davon 10 Songs auf Englisch und vier auf Rumänisch, darunter vier neu gemasterte ältere Favoriten und der legendären ,Patrula"-Song. Das Album behandelt eine Reihe von Themen, vom Comeback der Band in ,It's A Scandal" über Überwindung von Depressionen in ,Never Give Up" bis hin zu toxischen Freundschaften in ,The End". Der Titelsong ,Some Still Dance" ist eine Hommage an den Punk-Rock und die Freunde, die ihnen durch die Jahre hindurch treu geblieben sind. Erwartet SSongs, die vom Feiern und Spaß haben bis hin zu sozialen Themen wie reichen. Das Album wurde in den Perry Vale Studios in London aufgenommen und ist dem geliebten Produzenten von ,Scandal", Pat Collier (Gründer/Bassist The Vibrators, Produzent für u.a. The Jesus and Mary Chain, X-Ray Spex, Robyn Hitchcock, Soft Boys, UK Subs und Primal Scream), gewidmet, der leider im Sommer 2024 verstorben ist. Schwarzes und mehrfarbiges Vinyl!

"Waxwork Records is honored to present the release of the Original Motion Picture Soundtrack to George A. Romero’s horror classic, NIGHT OF THE LIVING DEAD. Written, filmed, and released in 1968 by a rag tag group of Pittsburgh based misfits, NIGHT OF THE LIVING DEAD is an American independent horror film that follows the story of seven people trapped in a rural farmhouse that is besieged by a large and growing group of living dead ghouls. The film is regarded as a cult classic by critics, film scholars, and fans and has garnered critical acclaim. The film has been selected by the Library Of Congress for preservation in the National Film Registry and is deemed “culturally, historically, and aesthetically significant”.

Filmed and released on a shoestring budget, NIGHT OF THE LIVING DEAD became a smashing success earning over 250 times its budget. The film is a first of its kind and ushered in a new way of writing, directing, and filming horror films. The overused script of romantic, fantastical tales of otherworldly monsters and creatures was completely flipped and tossed aside by visionary George A. Romero. As the film’s writer and director, Romero created a new, obvious threat, and one that is universally recognizable - Our very own neighbors. Due to an unseen force beyond man’s control, the recently deceased arise from the dead in seek of living human victims. These ghouls kill and feast upon the flesh of their victims, and the only way of stopping them is by destroying their brains.

From 2015 to 2018, Waxwork Records worked closely with the remaining members of the independent production company that made NIGHT OF THE LIVING DEAD, Image Ten, to produce a definitive soundtrack album featuring all music from the film. Much of the film’s music was thought to be lost or destroyed but was located in its entirety and faithfully restored and re-mastered for vinyl. This special release of NIGHT OF THE LIVING DEAD features the complete soundtrack, double LP “Black & White Hand Poured” colored vinyl, all new artwork by Robert Sammelin, a booklet featuring never before seen production photos, liner notes by Daniel Kraus (co-author of THE SHAPE OF WATER with Guillermo Del Toro), liner notes by Night Of The Living Dead’s dialogue recorder and sound engineer, Gary Streiner, and deluxe packaging."

Boudica is proud to present their first record of 2024, featuring an artist who holds a special place within the platform - none other than DJ and producer Wallis.
DJ, live-act and former mastering engineer, Wallis speaks for a generation searching for novelty and emotion in the electronic music realm.
Sharp engineering skills coupled with a unique approach to sound design allowed her to develop a trademark sound. Using an array of synthesisers, effects units, and experimental studio techniques, Wallis produces melancholic electronic music rapidly shifting between different patterns and atmospheres.
She tours as a DJ and Live Act around the world, having played large festivals such as DGTL or renowned clubs like Berghain, and will happily play at a large stage one day but at a small intimate sweaty basement the next.
In 2024, she started producing music for fashion shows and debuted that project by creating the music for the entire Natasha Zinko runway show at London Fashion Week February 2024.
The EP's opening track, "Hell is a Girl from Before (Rainy Summer Mix)," introduces a stirring blend of emotions. Starting with an emotional melody, accompanied by synths and a plucked instrument, it swiftly transitions into energetic segments driven by the drums. Vocals emerge, their words almost imperceptible, adding an intimate layer to the experience. The track maintains a steady pace, evoking the ambience of a rainy summer day. This creates a melancholic yet hopeful mood, transporting listeners through a journey of introspection.
As "Protect Me From My Friends" unfolds, it feels like being whisked away to a new dimension, greeted by otherworldly, robotic sounds. The introspective journey of the previous track mutates into raw emotions, driven forward by a relentless bassline. Clear vocals take the forefront, guiding the listener through the sonic landscape, only to be interrupted by the commanding presence of the bassline, which assumes the main character role.

In "Sleeping Pills Are Gone," an atmospheric and gloomy introduction is abruptly interrupted by an acid and hefty bassline that dynamically evolves throughout the track, plunging the listener into an eyes-open dream born of a sleepless night. The vocals echo the track's title, creating a haunting repetition. Wallis strategically grants brief breaks, constructing a powerful crescendo that heightens the experience. These are momentary escapes before immersing the listener once more into the hypnotic trance induced by the solid four-to-the-floor march.
Closing the EP with a striking finale, "Teenage Apocalypse" introduces a clunky melody that encapsulates the signature sound of the record. Characteristic vocals weave throughout, guiding the listener towards the track's crescendo. Driven by a flawless fusion of drums, the song transitions seamlessly into a powerful breakbeat moment, accompanied by yet another impeccable bassline. True to its title, it evokes the intensity of a day of judgment, leaving a lasting impact as the EP draws to a close.
This EP is a testament to Wallis's growth as a producer and her fantastic storytelling ability through sound.
In the artist's words: "Sometimes life takes a weird turn. Angry, confused and dealing with moral: this EP targets the pain and absurdity of attachment and strongly themes Gregg Araki's teenage apocalypse trilogy. The artwork poem plastered on the wall was written by wallis."

Hawksmoor’s new album ‘Oneironautic’ on Soul Jazz Records follows on from last year’s critically acclaimed ‘Telepathic Heights’, as well as a re-release of his album ‘Saturnalia’ on the Library of the Occult label earlier this year.
James McKeown, AKA Hawksmoor, continues his fascination with the sounds and sensibilities of 70s/80s German electronic groups – think early CLUSTER, HARMONIA, CAN, NEU!, HANS-JOACHIM ROEDELIUS and MICHAEL ROTHER.
On this new album ‘Oneironautic’, he successfully combines these pulsating ripples of Germanic electronica with a number of decidedly English references: the soaring, hypnotic and pastoral qualities of BRIAN ENO, circa ‘Another Green World’; the long, sustained lines of ROBERT FRIPP’S FRIPPERTONICS; and the poetic feel of early DURUTTI COLUMN.
McKeown combines all of these elements while also remaining with one foot firmly in the British melodic hauntological modular synth aesthetic of hauntology – Ghost Box, Mount Vernon Arts Lab, Focus Group et al.
Once again using strictly modular synths, electronic drum rhythms, and guitars, Hawksmoor has created an electronic landscaped music world that is both new and old, immediately identifiable and yet utterly unique.

LP - 180 Gram Vinyl Alex Rossi`s third solo album `Buenos Aires Sessions' , is a vibrant and soulful exploration of funky jazz, recorded in May 2023. He came upon the Harmonica in his childhood when passing a harmonica factory. The young musician developed his own technique by profiting of his basic musical knowledge, technical information given at the factory and by his musical experiments. Since then, he is traveling the world, giving courses and performing on stages with great names of the Blues circuit like Buddy Guy, Magic Slim, Koko Taylor, Smokin' Joe Kubek, Tutu Jones, Lucky Peterson, Texas Slim, Sam Meyers, Robert Ealey, and John Primer, Jeff Healey, the saxophonist Joshua Redman.

LP - 180 Gram Vinyl Alex Rossi`s third solo album `Buenos Aires Sessions' , is a vibrant and soulful exploration of funky jazz, recorded in May 2023. He came upon the Harmonica in his childhood when passing a harmonica factory. The young musician developed his own technique by profiting of his basic musical knowledge, technical information given at the factory and by his musical experiments. Since then, he is traveling the world, giving courses and performing on stages with great names of the Blues circuit like Buddy Guy, Magic Slim, Koko Taylor, Smokin' Joe Kubek, Tutu Jones, Lucky Peterson, Texas Slim, Sam Meyers, Robert Ealey, and John Primer, Jeff Healey, the saxophonist Joshua Redman.

Spiral In A Straight Line ist das sechste Studioalbum der beliebten Post-Hardcore-Band Touché Amoré.
Produziert von Ross Robinson (Korn, Glassjaw, Slipknot) und mit Features von Lou Barlow und Julien
Baker.
Leadsänger Jeremy Bolm sagt, dies sei eine „Platte über Vorwärtsbewegung, während alles um einen herum
destabilisiert wird.“

Spiral In A Straight Line ist das sechste Studioalbum der beliebten Post-Hardcore-Band Touché Amoré.
Produziert von Ross Robinson (Korn, Glassjaw, Slipknot) und mit Features von Lou Barlow und Julien
Baker.
Leadsänger Jeremy Bolm sagt, dies sei eine „Platte über Vorwärtsbewegung, während alles um einen herum
destabilisiert wird.“

First time on vinyl for David Sylvian’s 29-track career-spanning compilation from 2000.
Features key songs from Japan and Rain Tree Crow, as well as David’s Virgin Records solo years.
Also includes key collaborations with Ryuichi Sakamoto, Robert Fripp and Alesini & Andreoni.
Alongside the remixes of “Ghosts” and “Bamboo Houses”, the album features tracks such as the beautiful ‘Ride’ from the ‘Secrets of the Beehive’ sessions, two dobro pieces written with Bill Frizell and “Cover Me with Flowers” from the ‘Dead Bees On A Cake’ sessions, plus the classic “Some Kind of Fool’ taken from Japan’s sessions for ‘Gentleman Take Polaroids’.

Recorded at British Grove and Abbey Road studios, Daphne Guinness’s fourth
album, Sleep, is unlike anything Guinness has produced before. Contemplative, self-
reflective, and personal, it represents her most beguiling body of work to-date; a
sleek sophisticated experience enhanced by an array of esoteric creative touches,
complementing its dancefloor rush.

Mixed by Ricky Damian, known for his work with Lady Gaga, Adele, Georgia Smith,
Dua Lipa, her creative connections include long standing collaborator Malcolm
Doherty and Tony Visconti (who scored the album’s strings).

The album’s scale is further amplified by collaborators, including Guy Pratt (Madonna, Michael Jackson) and Rob Shirakbari (Burt Bacharach, Dionne Warwick), plus a 34-piece string section.

The scope of her associations extends far beyond the core album. Daphne collaborated with Nick Knight of SHOWStudio for the video to early single ‘Hip Neck Spine’, and with the iconic filmmaker and photographer, David LaChapelle for the current single ‘Volcano’.

DRIVETRAIN
“That Detroit”
Pure electro, unfiltered and unrelenting. From the subs to the
robotic, it’s all Detroit.
“Destination”
Intelligently spirited techno, manufactured with the aggressive
punch to command body movement.

JANI HO
“Ripple In Time”
The evolution of minimal, hypnotic syncopation, precisely
characterized with tireless charisma.
“Violent Delay”
Applied science fearlessly melding an irrefutable symphonic
hook with unyielding oscillation .

Mighty Vertebrate is the International Anthem debut from Anna Butterss. The Adelaide born bassist / composer has been a first call for LA tour and studio work since relocating there in 2014 – racking up credits with notables across the experimental, jazz, and pop worlds alike – but their most notable contributions to the burgeoning LA scene have been as a member of both Jeff Parker’s ETA IVtet and rising proto-trance supergroup SML, who Pitchfork says “represents the thrilling next phase of a vibrant L.A. community.”

“I had just gotten off of a bunch of touring at the end of 2022 and just wanted to write music,” says Butterss. “The best way for me to do that, I’ve found, is to set myself a discreet and focused task."

I’m going to make a song where the bass doesn’t function in the role of a bass.
I’m going to work on this for an hour and then I’m going to stop.
I’m going to make a song that uses groups of three-bar phrasing.
I want to sample something and make it into a song.
I’m going to start with a drum machine.

The music itself reflects that structure beautifully, with the material being tightly
composed and melodically realized by Butterss well in advance of production concerns. Here they reconvene a group of trusted longtime collaborators to bring their compositions to fruition: Ben Lumsdaine (drums, guitar, production), Josh Johnson (sax), and Gregory Uhlmann (guitar), plus a smoking guest appearance from Jeff Parker. The breadth and scope of the results might have been difficult to achieve otherwise. From the Robbie-Shakespeare-in-groove-mode intro to the album opener “Bishop” to the spacious cinematic doom of “Seeing You”, there is a lot to wrangle into one cohesive concept. On Mighty Vertebrate, Butterss and crew do just that.

London-based rising star Sans Soucis (they/them) shares their debut album ‘Circumnavigating Georgia’. Circumnavigating Georgia sees the writer and producer Sans Soucis take us through their coming of age and the reclamation of their identity, tearing apart systemic patriarchy and anti-blackness that's impacted their life. Each track on the album is set to introduce the audience to a new sonic palette, influenced by both the music and personal experiences from Sans Soucis' teenage and early adulthood. Born out of a desire to reconnect with the uninhibited joyfulness and authenticity of childhood, Sans Soucis’ music is a radical act of reclamation. Free from the constraints of genre and with a wide gamut of sonic touchstones – from the effervescent electronics of Little Dragon, Solange Knowles’s alt-R&B, the emotional edge of Joni Mitchell and the robust pop melodies of Rihanna – Sans Soucis’s world is one overflowing with vibrant musical textures pertinent lyrics and refreshing dose of hopefulness.

Excellent robotic electro(nix) as Pan-Am Tracks welcomes DVS NME and Krypton 81 with this ambitious project that pays homage to German Electro producer Das Muster. Both artists set the tone with intricate rhythms and analogue warmth. Pulsating basslines and shimmering synths intertwine, creating a vibrant, futuristic soundscape. This dynamic interplay between the two artists continues throughout the album, as DVS NME and Krypton 81 counterpoint each others explorations into the sound. A sonic trip that will surely resonate with fans of the genre.

The sophomore effort from Gray/Smith refines their petroleum-based, hard-lullaby sound with a decidedly dusty precision. To call this pair's brand of country-rock détournement "cosmic" would be too breezy: L. Gray and Rob Smith prefer to stare into sunken depths, channeling their recondite affections for lay-by mauve zones and red-dirt guitar wanderings. Formed in the outer-edges of Kings and Richmond counties circa 2020, Gray/Smith is something of an East-Coast involution. L. Gray (guitar and vocals) and Rob Smith (drums, guitar and vocals) are both trusty veterans of "band's bands" like Pigeons (Soft Abuse), No-Neck Blues Band (Revenant, Locust), Rhyton (Thrill Jockey), and The Suntanama (Drag City), freewheeling groups known for mining from polyglot sources: rough-hewn folk and the spiritual avant-garde, bargain-bin hard rock and and collector's-choice psychedelia alike. On their first, self-released LP Gray/Smith, serendipitously recorded at Gary's Electric at the top of 2021, the pair trained their assured chops onto the great American song-form, honing a murky but tight approach that variously cribs "urban cowboy" and finger-picked primitivism. A string of cryptic appearances soon followed, including a short-lived residency at a now-shuttered vodka dive; a micro-tour with Coloradan songstress Josephine Foster; and a series of backyard and barroom gigs sharing stages with compatriots like Stella Kola, Blues Ambush, Samara Lubelski, and Wednesday Knudsen. Heels in the Aisle is the slipshod, burnt-out, mid-'70s unter-prog comedown to their debut's backwoods, bushy-tailed, early-'70s, country-rock meanderings_expect more unrestrained riffs, artful studio wizardry, and worn-down introspection. Joining the ranks of bloodshot-eyed, blues-rock medleys à la Canned Heat's "Parthenogenesis" and Grand Funk's "Into The Sun," "The SDSPS" is the nearly side-length opening cut, an expanded song-cycle condensing and riffing on the themes of their debut. "Help Me" ventriloquizes Pomona College outlaw Kris Kristofferson's slow-roaring ballad of libidinal woe. On the flip side, "Verrazano Tile" and the title track pay heed to lower bays of Staten Island, while their arrangement of the traditional Zimbabwean tune "Guabi Guabi" is a bright Dead/Feat-like jaunt with blissed-out wah-wah pay-off. "Gaslight Boulevard" is lean, mean, and eight-beers-in space rock, and the closing track "Kekule's Ring" is a slack-jawed, wistful crash back down to earth. All this, packaged in a luxe, expertly-printed sleeve photographed by downtown artist Lary 7 and designed by Eric Wrenn (Sophie's Oil of Every Pearl's Un-Insides).

Robin Tasi is launching a new label with the mission of serving as a platform for all nerds and geeks, specifically catering to individuals who are passionate about
immersing themselves in music and fully embracing their own interests and enthusiasms.

Features Unreleased Studio Sessions, Alternate Versions, Live Recordings, Rarities, And 36-Page Book With New Photos & An Extensive Conversation Between Joni & Cameron Crowe

Sourced From Original Stereo Reels, Nagra Film Recordings, Multi-track Tapes, Radio Airchecks & Cassette Tapes

Throughout the latter half of the seventies, Joni continued to creatively break ground with her fearless and fluid exploration of jazz. Rather than tread the same path, she challenged and reinvented her style with a folk fusion like no other. Ascending to an unrivaled sonic peak, this innovative sound took shape across the gold-certified HEJIRA 1976, the gold-certified double-LP DON JUAN’S RECKLESS DAUGHTER [1977], her collaboration with Charles Mingus entitled MINGUS [1979], and live album SHADOWS AND LIGHT [1980]. Channeling the thrill and excitement of these records, she delves even further into this season on JONI MITCHELL ARCHIVES, VOL. 4: THE ASYLUM YEARS (1976-1980), due October 4th.

Available as a 6CD, 4LP (featuring Joni's personal favorites from the 6CD set), and digitally, this comprehensive and essential set spans one of the most prolific periods of her storied career. It boasts powerful live tracks from her time in Bob Dylan’s Rolling Thunder Revue during 1975 and 1976 Tour of the United States. It pulls back the curtain on the music by showcasing early recordings and alternate takes from the respective sessions for HEJIRA, DON JUAN’S RECKLESS DAUGHTER, and MINGUS. It covers the Bread & Roses Festival as well as the Anti-Nuclear Rally. Finally, VOL. 4 chronicles her 1979 tour, even showcasing two tracks from that year’s Tour Rehearsals. Not to mention, it showcases her versatility and adaptability, housing collaborations with everyone from Herbie Hancock and Jaco Pastorious to Wayne Shorter and Pat Metheny.

Vol. 4 culls the previously-unissued material from original stereo reels, cassette tapes, CD-Rs, and even a radio broadcast. Newly mixed tracks came from multi-track tapes, while a handful of hi-res digital tracks have been sourced from the Bob Dylan Archives.

Each version includes a book with never-before-seen photos and liner notes comprising a deep dive discussion between Mitchell and longtime friend Cameron Crowe. As part of their candid conversation, she shares intimate anecdotes, memories, and stories from that five-year creative run.

Her tracks have been played and recommended by Iggy Pop, Mary Anne Hobbs and Nine Inch Nails. ZAMILSKA, one of the most original artists on the European electronic scene, announces a new album, "United Kingdom Of Anxiety" – out October 4.
Combining the rawness of techno and the trance-like nature of world music, industrial sound and a fine blend of trip-hop, the Polish producer created a dystopian, post-apocalyptic,
fascinating vision of a collapsing world. "United Kingdom Of Anxiety" begins with a sonic assault. The breaks and powerful bass in "Phantom" awaken from hypnotic slumber, numbness caused by the daily hustle, serve as a reminder that to survive in an unfriendly world, concentration, willpower and perseverance are essential. This is the beginning of a journey through "United Kingdom Of Anxiety" - the new album by Zamilska, a sensitive outsider.

"I’m here to ruin you again," announces a voice in "Mummy," while the crescendo of beats and noise in "Better Off" further amplifies the tension. It's hard to find peace when hell lurks just around the corner. Is it the horror of civilization or perhaps cosmic dread? The answer depends on the listener's sensitivity.
The much-needed balance and coolness are brought by huskie vocals - that is Ola Myszor - an incredibly talented young artist who appears in several tracks on the album. Besides huskie, there are other guests on "UKOA": Natalia Przybysz, who, with a robotic voice, delivers a manifesto of indomitable, proud solitude in "Persist" and Lukasz Pach, the charismatic frontman of the grindcore band Hostia. His growling is heard in the intense, uncompromising "No Gods," which was presented by Iggy Pop on his BBC6 Music radioshow.

The sonic spectrum is also filled with anonymous voices: echoes of quarrels, media messages, sounds of war clamor, monologues - looped, accelerated, manic, psychotic, but also a wistful singing coming from the depths, from afar. The metaphysical horror of Lovecraft on one hand, and the sober, no less gloomy diagnosis of George Orwell on the other, constantly correspond here.
This entire album is a story about society as a whole and the contemporary, dystopian world, which is inevitably heading towards war. The track "1984" clearly defines the inspiration for the artist's post-apocalyptic vision. A distorted radio signal, alarm siren and gabba/techno beats driving into the head like nails serve as an expression of the fear and anger born in a world of impending totalitarianism.