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"Secret Treaties is the third studio album by American rock band Blue Öyster Cult, released in 197It features the same band members and production team as their previous album Tyranny & Mutation, but also the only BÖC album that does not feature a track with lead vocals sung by guitarist Donald ""Buck Dharma"" Roeser. Lyrics to the lead-off track ""Career of Evil"" were written by future punk poet Patti Smith, a longtime contributor to the band (and, at the time, girlfriend of BÖC keyboardist and rhythm guitarist Allen Lanier). The album spent 14 weeks in the US album charts, peaking at No. 5It was certified Gold by the RIAA. In 1975, a poll of readers of the British magazine Melody Maker voted Secret Treaties the ""Top Rock Album of All Time"". In 2010, Rhapsody called it one of the all-time best ""proto-metal"" albums. Secret Treaties is available on black vinyl and includes an insert."

Secret Treaties by Blue Oyster Cult, released 8 March 2024, includes the following tracks: "Dominance and Submission", "Cagey Cretins", "Flaming Telepaths" and more.

This version of Secret Treaties comes as a 1xLP. This release comes with (a) Insert(s).

The Trip is the first solo album by N'Zeng, better known as Sébastien Blanchon. It has to be said that he hid behind his (hollow) nose to sniff out the right projects (ex Le Peuple de l'Herbe, member of Entourloop). His nose is hollow, but not for the trumpet, and yet it's with this instrument that he started out. And he reinvents it, giving it a subtle place on this musical road trip we call The Trip.
A journey open to all, with no tolls and no filters, apart from the cinematic filter of this lover of original soundtracks and trip hop. Beautiful images flash before our eyes, and in our ears, the smooth voice of Charlotte Savary (Wax Tailor). An album, a very good trip for lovers of Portishead, Gorillaz, and well-felt scratches in the form of controlled skids.
He's making a name for himself as N'Zeng, with his smooth arrangements.

N'Zeng's father played trumpet with his grandfather in the Feurs brass band in the Loire department. When he arrived in Saint Etienne, young Sébastien started out with a cornet à pistons at the Conservatoire. His teacher at the time, Marcel Heyte, had won a prize in Paris at the same time as a certain Maurice André.

His father took lessons in orchestral conducting, accompanying the offspring's budding musical career, which included a course at the Festival de Cuivre in Monastier-sur-Gazeille, where he met the soloists of the Radio France orchestra. A new awareness, a new confidence: off to Lyon, not for a soccer derby, but to "beef up his game". In 1997, he was awarded a gold medal for trumpet by a unanimous jury at the Conservatoire National de Lyon.

Lyon, capital of the Gauls, was the starting point for N'Zeng, who went on to become a member of the group Le Peuple de l'Herbe. 15 years later, with several successful records to his credit, a concert in 2003 at the Transmusicales with Beth Gibbons (Portishead), and a Victoire de la Musique award, it was time for N'Zeng to move on to other things.

Arrival in the City of Light, the place where dreams come true. Nzeng's dreams are not only sonic, but also visual, for Sébastien is not only a friendly presence and a talented musician, but also a cinephile. His knowledge of music theory, acquired during his years at the conservatory, enables him to tackle music for pictures.

He created a soundtrack for the cult film Alien - The 8th Passenger, and worked with musician Rone (collaborating with Baxter Dury) and his bandmates from Le Peuple de l'Herbe, composing 2 tracks for the soundtrack of Virginie Despentes's hard-hitting film "Baise-moi". On the album "Hollywood Hustlers", with the group "Mustang Force", he pays tribute to the soundtracks of Lalo Shiffrin, Ennio Morricone... The album is also well received by the critics. He conducts the arrangements and orchestrations for the Degiheuga Orchestra, and composes the original music for the Hôtel Bellevue dance show, another success!

2019 sees the birth of "The Trip" project. On this record, no masks, but a female voice, that of Charlotte Savary (Wax Taylor), laid on a carpet of strings. With this musical voyage, trip hop takes pride of place, with a balance between the body of the instruments and the mechanics of beatmaking.

There's no getting off track on this well-balanced record, with its silky orchestrations. N'Zeng accompanies us elegantly, with his trusty trumpet as GPS, here used subtly. The album cover is a photograph taken by Sébastien Blanchon's mother, in 1973, a year when Saint Etienne was about to become French champion for the 7th time.

Love Is Yes is the first album by Sander van der Toorn and Dax Niesten, an audio-visual duo de force of the same name.

This heady debut is rooted equally in the worlds of fine art and experimental music. Sound and image meld wonderfully across 10 tracks, with shifting movements of music accompanied by a wealth of paintings and animations.

Niesten's work summons the likes of Philip Guston and Maurice Sendak - with its crestfallen, cartoonish voids and cockle-warming grotesquery. Serenely contorted creatures are rendered on large canvases, and brought to fuzzy, maudlin life through a full-length animation that can be viewed alongside the record.

Musically, the pair cite influences ranging from Vashti Bunyan to Morton Feldman. There is an ornate fragility, smeared by zero gravity focus shifts. Some glimpses suggest a corroded grail of Boards of Canada samples; motorik guitar, whispered messages, euphoric vistas and tangled memories all bathing in atomic glow.

"All Quiet on the Western Front (Im Westen nichts Neues) is a 2022 German epic anti-war film based on the 1929 novel of the same name by Erich Maria Remarque. All Quiet on the Western Front received positive reviews from critics, with praise directed towards its tone and faithfulness to the source material's anti-war message. Set during World War I, it follows the life of an idealistic young German soldier named Paul Bäumer. After enlisting in the German Army with his friends, Bäumer finds himself exposed to the realities of war, shattering his early hopes of becoming a hero as he does his best to survive. The film adds a parallel storyline not found in the book, which follows the armistice negotiations to end the war. All Quiet on the Western Front received a leading 14 nominations at the 76th British Academy Film Awards (winning seven, including Best Film and Best Original Score) and 9 at the 95th Academy Awards, including Best Picture, Best Adapted Screenplay, and Best International Feature, and Best Original Score. The score of All Quiet on the Western Front is available as a limited edition of 1000 individually numbered copies on flaming coloured vinyl. The package includes a 4-page booklet with movie stills."

All Quiet On The Western Front by Volker Bertelmann, released 8 March 2024, includes the following tracks: "Rain & Night ", "Burried & Found", "Ludwig ", "Search Party" and more.

This version of All Quiet On The Western Front comes as a 1xLP. This release comes with (a) Insert(s).

The vinyl is pressed as a flame red disc.

The king of Colombian Bass is back on another low-end adventure!
In the vein of his previous work "Colombian Party", "Sendero" is another homage to the diversity of Colombia’s musical cultures and the artist's all-time favorite genres such as bass music, Hip-Hop and Dancehall. The album was entirely recorded between Bogotá and Sunka’s countryside farm, where the artist has been living for the past few years, growing all kinds of fruits and vegetables, Sunka’s new album “Sendero”, featuring Medellin-based hip-hop and reggae singer Raspapulaman, rising stars La Bembera and Zam El Caribean, Bogotá-based hip-hop and punk singer Jacob DMC, hip-hop maestros Kontent Thug and Santacruz Medina of Kartel Pacifico, is not your typical tropical album.
As accustomed , Sunka delivers a perfect blend of sub frequencies, heavy electronic drums and organic elements. Sweet and sharp at the same time,"Sendero" will make you
whine your waist at home and in the club, and will certainly go heavy on your speakers!

Aquasky are a trio that formed in Bournemouth in 1995, inspired by the likes of LTJ Bukem, DJ Krust and Roni Size. They were signed to Moving Shadow for a three-single deal by the strength of the first two tracks that they made together. But the label had a heavy release schedule back then, so it took 2 years for the 3 releases to come out. During that time though they wrote more music for R&S and Reinforced as well as untold remixes.

These two tracks were written whilst signed to Moving Shadow but were not released at the time as drum and bass was progressing in style and tempo. So, they were put to DAT and forgotten about until 2015 when the band put out a 20 year compilation, finding the tracks on one of their many DAT tapes.

The music will take you right back to the mid-90’s when the music was deep and rolling and there were no hard and fat rules on how to make drum & bass.

This release has a close connection to Vinyl Fanatiks as the label is run by Brent from Aquasky.

Pressed by the mighty Phil ‘The Vinylman’ East on 180g heavyweight vinyl. This release is a bespoke product as no one record is the same. Designed to look like the planet Mars and part of a 4 vinyl Cosmik series.

Keep em rollin’

It all started with a crashed computer and it certainly didn’t end there. »Cinnte le Dia« is the third collaborative album by Hanno Leichtmann and Valerio Tricoli, their first entry into Ni Vu Ni Connu’s duo series that focuses on Berlin’s Echtzeitmusik scene and beyond. Having already released two joint records on the now-defunct Entr'acte label, the two musicians wanted to document a 2018 concert in Berlin, but technology failed them. Undeterred, the sound artist and percussionist and the electroacoustic composer went to the former’s Static Music Studio to record six of the eight tracks on this record straight to tape, with two additional ones being recorded during a performance at Eupen’s Meakusma festival in 2019.

After 2016’s »The Future of Discipline« saw the duo enter the studio for a one-take session with added synth-bass overdubs and 2018’s »La Casa delle Chimere« documented a live gig in Kyiv, »Cinnte le Dia« presents a synthesis of the two approaches. Mixing the album together and adding overdubs—Leichtmann with his synth-bass again, Tricoli with his trusted Revox B77—the duo combined the special energy of their performance in front of a live audience with the intimate atmosphere of a studio session between two exceptional improvisers and composers. The pieces are accordingly marked by their sonic density, but also a rhythmic intricacy that makes the album as a whole negotiate its place in music history between bass-heavy, dubbed-out club music and electroacoustic as well as musique concrète techniques.

Leichtmann worked with a mix of acoustic percussion routed through a modified looper and a granular live sampler as well as electronic drums consisting of three modular sampleplayers, a Syncussion drum synth and a bass drum module. Depending on the current set-up, the two fed this input through Tricoli’s B77 either individually or collectively to further manipulate single elements or the entire sound. What might look complicated on a tech rider sounds intuitive on record: these are two versatile musicians engaging in a play of difference and repetition, acting and reacting to each other in real-time, but also creating additional layers by inserting new elements after the fact. In a very literal way, »Cinnte le Dia« is the duo’s most refined album, yet at the same time a testament to the uncanny energy they unleash during their improvisations. It’s solemn and moody, spontaneous and driving at once. Of course a computer couldn’t handle that.

Nobu welcomes Japanese sound artist Doltz to his Bitta imprint for a full pack of hypnotic techno. Doltz started his musical career in 1998 as a drummer in a hardcore punk band, and had a fateful encounter with DJ Nobu, who shares the same musical roots, when they were billed alongside each other at a party called 'Broad' in Fukuoka-city in the winter of 2022. Impressed by Doltz's live performance, DJ Nobu immediately booked him for his residency party 'reprise' at Womb Tokyo. Set the stage for Doltz's sensational debut in Tokyo. The two hit it off and began exchanging tracks, with DJ Nobu actively playing out Doltz's tracks while touring across the world and receiving a good response. This first EP on Bitta consists of four of such tracks that were tested and proven. Doltz has already released several deeper techno and ambient works under the alias, but his encounter with DJ Nobu has allowed him to show his new potential on trippy and powerful tracks that are more dancefloor-oriented, and he has made rapid progress as an electronic music producer over the past year. More to come.

After capturing the attention of audiences, DJs worldwide and the media with the brilliant "Flight Of Sagittarius", Brazilian Diogo Strausz, signed to Parisian label Goutte d'Or Records, presents : Samba From Outer Space This second opus takes us on a journey through time and style, from jazz-funk to dance music and Afrobeat, invoking masters such as Caetano Veloso, Giorgio Moroder or Tony Allen.

"This idea of "Samba From Outer Space" comes from dance music being a universal language beyond electronic but mainly a form of gathering people together in the same frequency." says Diogo. We could summarize everything in "Electronic dance music is nothing but samba from outer space."

Dez Dare ventures further into the void than ever before on his 4th album and the 1st to be released via God Unknown Records, ‘A Billion Goats. A Billion Sparks. Fin.’. On past records Dare has fought beasts and beats alike, waging a fuzz war and tackling the biggest topics the world has to face; Doom scrolling, capitalist demagogues, a passionate dislike of the beach in summer. On this record he leaves the sardonic frustration behind for sarcastic existentialism, zeroing in on the big philosophical questions, and the pedantic shards of nonsense that make up our existence. Piling up the synths, noise boxes and guitar pedals, Dez set about building a soundscape of noise and ideas around the nature of reality, time, and how we interact with them. From the music you would play in your last moments, to the reverse Darwinism of modern society, to arguing with time itself, and very boring people talking at you, all is covered here for the aspiring existentialist. The self-produced Australian has spent over 3 decades producing music, releasing and touring bands, and doing live sound for z-grade metal bands. Growing up in the coastal town of Geelong (Djilang) in Australia, he was introduced to the DIY punk and rock scene at 15 and this community and the ideas rooted in the underground music scene have guided his output and ethics throughout his career. This year Dez will be joining forces with label titans God Unknown (Cassels / Duke Garwood / James Johnston + Steve Gullick / KLÄMP / Oneida / Oneida / Laura Loriga / Monster Magnet / Wellwater Conspiracy Soundgarden + Monster Magnet) and will be producing a deluxe version of the release that will include a 12 page comic illustrated by long time collaborator Mike Keane. Across the drone of noise and washed out guitars of the final track, ‘A Billion Voices Screaming, Hello Void!’, the chant repeats “We all return to where we begun...” which encapsulates the message that Dare delivers. We are all made from the same stardust and we all return to the universe that spat us out, we just need to enjoy the many shards of nonsense on that swift descent into the void...with wizards painted on the side." MAXIMUM ROCKNROLL "Early 90s-inspired take on DEVO punk... high energy sucker punches on your ear." Weirdo Shrine "Sludgey-grungey-fuzzed psychedelic-noiserock... I like the fact that despite all the edgy complexity, catchy songs emerge again and again."

Nils Økland is interested in the journeys and dialogues of music across time and space, a music without national and traditional borders. At the same time, he is also very inspired by local music from many places and often prefers old fiddlers and singers who have a unique personal playing style. The first concert with Nils Økland Band took place in 2014, and since then, they have released the Norwegian Grammy nominated "Kjølvatn" on ECM and "Lysning" on Hubro, which won the award. It has been seven years since their last release. On March 1st, the highly anticipated album "Gjenskinn" (Gleam) is set to be released. The band has been working on the album for a long time, resulting in a genre-defying, cohesive work inspired by influences from around the world. Nils Økland, known for his innovative playing style on the Hardanger fiddle, violin, and viola d'amore, comes from the folk music tradition and is internationally recognized. He has collaborated with major orchestras, composed music for various mediums, and played on albums with notable musicians. Additionally, he is a member of the rock trio Lumen Drones (ECM), their latest release (Umbra) was released on Hubro, and he was a member of the improvisation band 1982 (Hubro), bridging folk, classical, and improvisational music. The Nils Økland Band consists of several of the foremost musicians in Norway: Rolf-Erik Nystrøm (saxophone), Sigbjørn Apeland (organ), Håkon Mørch Stene (percussion), Mats Eilertsen (double bass). These are musicians who, individually, have collaborated with Økland for a long time, but many of them had not played together before Økland formed the band. Rolf Erik Nystrøm has played in the genre-crossing contemporary music trio Poing for several decades, in addition to being a soloist with large orchestras, playing with world and folk musicians, and in various jazz bands. Sigbjørn Apeland has a long history of collaboration with Økland. They play a lot as a duo and have also played in the band 1982 for ten years, along with drummer Øyvind Skarbø. Percussionist Håkon Mørch Stene plays in the contemporary ensemble Asamisimasa and has also released critically acclaimed albums featuring music by Laurence Crane, Gavin Bryars, and Michael Pisaro on Hubro. Mats Eilertsen is the leading jazz bassist of his generation. He has played with a number of prominent jazz musicians such as Tord Gustavsen, Trygve Seim, Bendik Hofseth, and has released several albums under his own name on both Hubro and ECM. The Band - Nils Økland: Hardangerfiddles and violin, Rolf-Erik Nystrøm: Alto and baritone saxophones, Sigbjørn Apeland: Harmonium and Fender Rhodes, Håkon Mørch Stene: Percussion, vibraphone and electronics, Mats Eilertsen: Double bass.

More Than Ten Years Since He First Emerged On Skull Disco, Appleblim Presents His Debut Album. The Label He Co-founded With Shackleton Was The First The World Heard Of His Productions, But Laurie Osborne's Innate Relationship With Electronic Music Culture Reaches Back Much Further Than Those Groundbreaking Early Days Of Dubstep. Early Days Spent Soaking Up Hardcore, Jungle, Techno And Plenty More Besides Were Fundamental Foundations From Which To Spring Into The Then-unknown Realms Of Sub-low Half-step Club Music. At That Time Fwd>> And Dmz Were The Church For This Ritualistic Sound, And Appleblim Was A Regular Fixture At Both.

As Dubstep Matured, Magnified, Mutated And Meandered, So Appleblim Moved Beyond Skull Disco To Explore Different Avenues Of Expression In The New Many- Layered Club Music Landscape. His Own Apple Pips Imprint Was A Natural Vessel On Which To Explore The Emergent Fusions Of Hardcore-derived Sounds And The Us-born House, Techno And Electro, While Labels Such As Aus Music Equally Provided A Home For His Work (often Alongside Komonazmuk). Meanwhile Long-standing Collaborations With Alec Storey (al Tourettes / Second Storey) Finally Manifested In The Hyper-modern Mind-twist Of Also, Captured As An Album On Legendary Rave Label R&s.

More Recently It's Been Possible To Hear Appleblim Delve Into Electro-acoustic And Ambient Production Alongside Bassweight Sounds On Tempa, One Of The Original Bastions Of Dubstep Culture. As The Existing Boundaries Between Genres, Cultures, Eras And Scenes Continue To Dissolve, On His Debut Album Appleblim Offers Up A Fresh Approach That Brings Some Of The Foundational Sound Ethics Of Rave Culture Into A Modern Framework.

Hardcore Breaks Are Still A Regular Sound Source In Contemporary Club Tracks, But On Life In A Laser It's Instantly Apparent That Appleblim Has Moved Beyond Choosing Popular Drum Samples To Truly Tap Into The Elusive Feeling Engendered By The Music Of The Era. It's A Tricky Feat To Manage, But In The Pie-eyed Chords Of ignite', The Subby 808 Tom Basslines On nci' Or The Mr. Fingers Synth Flex On manta Key' The Sonic Finish Sports The Same Understated Grit And Grime That Made Those Early Records So Timeless. There's Still Space For Modernism, Not Least On Snaking 2-step Killer i Think We'll Let The Gas Sort This One Out', But It's Offset By A Layer Of Dust, Not To Mention An Inherent Moodiness That Can't Be Faked.

This Fine Balance Of Rave Romanticism And Future-minded Approaches Binds Together In A Cohesive Conceptual Statement. First And Foremost It's Appleblim's Personal Reflection On The Music That Has Moved Him On Countless Dancefloors Since His First Flirtations With Soundsystem Culture. At The Same Time The Canny Influx Of Modern Ideas Into The Soundworld Of The 90s Genuinely Results In A New Proposition, Making For A Perfect Fit On The Modern-day 'ardcore Fetishists Label Of Choice, Sneaker Social Club. Many May Claim To Draw On Old-skool Influences In Their Modern Trax, But Take One Listen To flows From Within' And You'll Feel The Same Time-slipping Surge Of Future-shock As The Ravers At Lost, Dreamscape, The Dungeons, Clink Street, Blue Note And All Those Other Iconic Spots.

“Though seeing they do not see, though hearing they do not hear or understand.”

NYC-based producer/visual artist Nathaniel Young returns with the sophomore 12” under their techno-focused alias, Guilt Attendant. “A Flower Wilts Under The Heat Of The Son” is cut from the same cloth as 2020’s “Suburban Scum” where Young delves into overtly religious motifs and ideological critique of their cult-like upbringing. Here, though, Young challenges themself and the listener to seek hope and resolve rather than hatred and contempt.

Considering its sometimes-monolithic sound palette, the timeless sub-genre of dub techno has long stood as a versatile vehicle for exploring and expressing a wide range of emotions. From mourning those we’ve lost, to somber reflection, to hope and celebration–all united by warmth, soul, and perhaps most importantly, groove. This versatility has underpinned Young’s affinity for the dub techno framework, and this collection of tracks is the culmination of material that they’ve long aspired to manifest. Atop this foundation, Young explores the place of acceptance and understanding that they’ve ultimately had to reach in relation to their religious upbringing and the inherent dualities that plague dogmatic religious circles and our beloved dance-floor communities alike.

“A Flower Wilts Under The Heat Of The Son” places a heavy emphasis on groove and swing while attempting to stretch the limits of classic dub techno tropes. Through creative melodic layering, swung low-end, and syncopation, these tracks hope to offer a fresh take on the sound while remaining solely devoted to the dancefloor.

Through their design work for Dais Records and Hospital Productions, Young had the pleasure of crossing paths with the recently departed Juan Mendez (Silent Servant), who graciously contributed a striking, cacophonous, and noise-laden remix. Given Mendez’s expansive and diverse body of work, as well as his own affinity for dub techno, Juan’s contribution could not be more harmonious. A singular talent and an extremely kind, generous soul, Juan will be dearly missed.

Rest in peace Juan Mendez, 1977-2024

Pissed Jeans has never been a band that goes halfway-they're known for their feral vocals, biting lyrics, buzzsaw guitars, and unhinged live shows, and their sixth album, Half-Divorced is no exception. These songs skewer the tension between youthful optimism and the sobering realities of adulthood, and when viewed through frontman Matt Korvette's scowl, everything takes on a level of violent absurdity. Pissed Jeans' notorious acerbic sense of humor remains sharper than ever as they dismember some of the joys that contemporary adult life has to offer, from helicopter parents to stolen catalytic converters to being $62,000 in debt. On "Seatbelt Alarm Silencer," Korvette growls, "Call it a death drive but that ain't fair / Drive implies I'm headed somewhere." Korvette, Brad Fry (guitar), Randy Huth (bass), and Sean McGuinness (drums) weren't in any rush to finish Half-Divorced, which was recorded by Don Godwin at Tonal Park in Takoma Park, Maryland. "We're not the kind of band that bangs out a new record every two years," Korvette said. "Pissed Jeans is truly like an art project for us, which is what makes it so fun." This lack of restraint rages within the songs that unexpectedly veer into classic hardcore punk territory-often coming in at under two minutes long and erupting like the "butane tank explosion" Korvette sings about in "Junktime." In the last song, "Moving On," Korvette sneers, "Cheesing into my camera phone / Pretending that I'm not alone / Life's the first thing that we all postpone." One gets the sense that Pissed Jeans refuses to "postpone" life in quite the same way-life, like art, is something that happens now, not later. - Chelsea Hodson

Pissed Jeans has never been a band that goes halfway-they're known for their feral vocals, biting lyrics, buzzsaw guitars, and unhinged live shows, and their sixth album, Half-Divorced is no exception. These songs skewer the tension between youthful optimism and the sobering realities of adulthood, and when viewed through frontman Matt Korvette's scowl, everything takes on a level of violent absurdity. Pissed Jeans' notorious acerbic sense of humor remains sharper than ever as they dismember some of the joys that contemporary adult life has to offer, from helicopter parents to stolen catalytic converters to being $62,000 in debt. On "Seatbelt Alarm Silencer," Korvette growls, "Call it a death drive but that ain't fair / Drive implies I'm headed somewhere." Korvette, Brad Fry (guitar), Randy Huth (bass), and Sean McGuinness (drums) weren't in any rush to finish Half-Divorced, which was recorded by Don Godwin at Tonal Park in Takoma Park, Maryland. "We're not the kind of band that bangs out a new record every two years," Korvette said. "Pissed Jeans is truly like an art project for us, which is what makes it so fun." This lack of restraint rages within the songs that unexpectedly veer into classic hardcore punk territory-often coming in at under two minutes long and erupting like the "butane tank explosion" Korvette sings about in "Junktime." In the last song, "Moving On," Korvette sneers, "Cheesing into my camera phone / Pretending that I'm not alone / Life's the first thing that we all postpone." One gets the sense that Pissed Jeans refuses to "postpone" life in quite the same way-life, like art, is something that happens now, not later. - Chelsea Hodson

Soft Walls is the solo recording project of Dan Reeves, who has spent his entire adult life kicking around in the dust of the UK's underground music scenes. Cutting his teeth in the South West's post-hardcore scene; centred around Exeter's The Cavern club, before moving to the South East and forming his own record label; Faux Discx, and the propulsive post-punk band: Brighton via London's Cold Pumas. Projects have come and gone over the years, but Reeves' Soft Walls has remained, an outlet for whatever musical whim takes his fancy.

'True Love' is Soft Walls' 4th album. Written and recorded at home, during breaks in work. During the aftermath of you-know-what.

For this album Dan leaned heavily in to his guitar playing, searching for those purest moments of true emotion and connection. Aiming to strike an instant blow. "Emotional guitar music. But not Emo." The result of falling in love with an instrument again and playing for the joy of it, much like he did as a teenager. Just older, wiser(?) and certainly more world-weary / teary-eyed.

Thematically, 'True Love' revels in stating its love for everything that is dear to Reeves. Odes to marriage, romance, unconditional love, parenthood and creativity pierce through the record's down-swings that tackle existential crisis and the feeling of falling in to depression. Each song attempts to encapsulate a vivid feeling, be it positive or negative. It's all part of a life worth living.

Although recorded at home, this album marks a leap in to digital mid-fidelity for Soft Walls, embracing a wider, richer sound beyond the tape hiss of earlier releases. That same spirt is still in the mix, but is presented wide-eyed and caffeinated in to clarity. Elevated by the input of a handful of collaborators contributing to the performances and helping to shape it sonically, 'True Love' ends up being the truest version of Soft Walls committed to (digital) tape thus far.

Donovan’s Original
A Gift From a Flower to a Garden made for a few firsts: the first double LP of Donovan’s
career, one of the first box sets in pop and, most importantly for Donovan himself; the first
pop album for the children of tomorrow.

He resolved to make A Gift From a Flower to a Garden an album of two halves. The first,
Wear Your Love Like Heaven, was intended for his own generation as they started to think
about the kind of world they wanted to leave behind. The second, For Little Ones, was for
the children they had or would have in the years to come. The result was a kaleidoscopic
folk-jazz suite on the power of love, imbued with all the romance and mystery of an Arthur
Rackham illustration for an ancient English fairy tale. The songs, remarkably adventurous
given Donovan was a globally famous singer at his commercial height, combined the
influences he had amassed so far.

There is something about A Gift From a Flower to a Garden that could never be repeated,
though. It is such an innocent evocation of the childlike imagination, so redolent of its time,
yet set apart from it too. All these years later, the peaceful qualities of this pioneering,
enchanting, deeply unusual album feel more valuable than ever.

The state51 Box Set
With authenticity core to the project, The state51 Conspiracy engaged one of the UK’s
leading experts in box set design, Daniel Mason at Something Else, to painstakingly recreate
the box, records and accompanying ephemera. The first challenge was to find the deep blue
leatherette paper the original box set was covered in; a problem since it was no longer in
production. “I knew people who had stacks of it, gathering dust on top shelves, so I bought it
up wherever I could find it,” says Mason. Then came the reproduction of 12 loose leaf lyric
sheets on fine art watercolour paper, each of them featuring a watermark and a fairytale-like
illustration by Donovan’s artist friends Sheena McCall and Mick Taylor. Where, though, to
find the same paper stock? “I found out that it was made at a paper mill in North Wales
called Abbey Mills. Unfortunately the mill dissolved in the early 70s and very little of the
paper remained. However enough paper remained to allow us to produce the numbered
certificate also signed by Donovan that sits within the box.”

Then to the iconic cover image. Donovan and Jimi Hendrix’s personal photographer Karl
Ferris, used infra-red film to achieve the psychedelic effect on the cover, but the original
negatives couldn’t be found. Mason then used digital technology to ramp up the colour levels
on a reproduction from an original copy of the album while allowing it to remain a little bit
faded, as it would be after half a century. The same labour of love and care has gone into
producing all elements of the box; from the rebuilding of the famous front cover font to the
hand-numbered and signed certificate; letterpress printed on the original paper stock of the
1968 UK release lyric sheets.

To cap it all off the original mono master tapes were waiting safely in the EMI Donovan
Archive and transferred from tape to digital by Abbey Road Studios where new lacquers
were cut, ensuring Donovan's favoured mono version of the album would be presented both
physically (and digitally for the very first time) in striking audiophile quality. The final touch to

Each vinyl copy includes a download code for the release plus 2 digital bonus tracks.

RedBox is the second record in the colored BOX series by Elad Magdasi.

This release is red by all means, with a combination of dark synths and playful notes, Elad mixes his favorite styles while keeping the mood tooly and dancefloor oriented.

All the tracks are named by their position on the record, similar to the oldskool way, focusing on the music alone.
All RedBox tracks were produced at the same time, on the same wave of inspiration, they compliment each other though being completely different.

Front Left Love.

The Glass Hours are American songwriters Brad Armstrong and Megan Barbera. Their music blurs between Sunday afternoon country-folk and the Golden Age of the 1970s. With the exception of Sue Westcott on fiddle (Chet Atkins, Tom Jones), the album was written, performed, recorded and produced by Brad and Megan in Brad's home studio in Red Hook, New York.

Like much of the work they've done in their respective solo careers, the new album dances between this and that, drinking from the same wells as Gram Parsons and Emmylou Harris, Tom Waits and Lucinda Williams. The songs go where they want to go; Brad and Megan simply try to stay out of the way. Although it is nearly impossible, in this new world of niche artistry, not to pick a genre camp and pitch a tent, The Glass Hours seem intent on trying. Yet, there is a thread that ties the whole thing together: the constant tension and tapestry of their voices harmonizing. Every song on 'The Glass Hours' was written with the idea of this harmony and interaction, point and counterpoint. Two voices trying to come together as one.

Top-Zusammenstellung von Tracks aus den Original-Soundtracks aller vier Staffeln der Netflix-Serie 'Sex Education', komponiert vom preisgekrönten RTS-Komponisten Oli Julian. Limitierte Auflage auf Baby-Pink-farbigem Vinyl.