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On January 14th, 2022, Elvis Costello and The Imposters release, ‘The Boy Named If,’ a new album of urgent, immediate songs with bright melodies, guitar solos that sting and a quick step to the rhythm. Costello tell us, ”The full title of this record is 'The Boy Named If (And Other Children’s Stories).’ ‘IF,’ is a nickname for your imaginary friend; your secret self, the one who knows everything you deny, the one you blame for the shattered crockery and the hearts you break, even your own." Produced by Sebastian Krys & Elvis Costello - the album is a collection of thirteen snapshots, “That take us from the last days of a bewildered boyhood to that mortifying moment when you are told to stop acting like a child - which for most men (and perhaps a few gals too) can be any time in the next fifty years," as Costello put it.

Soundtrack to the 2003 Academy Award nominated film. Features songs by My Bloody Valentine, Air, and The Jesus and Mary Chain. On Rolling Stone’ s Greatest Soundtracks of All Time list.

The soundtrack to Oscar winning movie “Juno” is well known for its indie rock theme, featuring artists such as The Kinks, Belle & Sebastian, Sonic Youth, Mott The Hoople, The Velvet Underground and Cat Power amongst others. The soundtrack – which was certified platinum in the US – has not been available on LP since the original pressing in 2007, it will be pressed on neon green vinyl.


[b] a2. My Rollercoaster [Juno Film Version] - By Kimya Dawson







[j] a10. Sleep [Instrumental] - By Kimya Dawson

Sebastian Mullaert (Minilogue, Sonkite) joins Hypnus Records with his debut album with the moniker Wa Wu We.

In the presence of the Sun
the grip of the frost release itself
into a dance of the early morning fog.

Ever moving in uncertainty
within light and shadows
clarity is born as we dissolve.

Indra's Kiss
opens the door
where Colors are the birds

&

the 108 dimensions of green
are dancing like the spider and the snake.

Moon is breathing as
the Spotless mind
and the drowned Sea.

Reflections on the Silent surface
of the morning lake
the one eye sing
a sudden song of Eternity.

Special one Time Limited Edition in Rosé Colour Vinyl.

MARA is the debutalbum of Munich-based jazz group FAZER. The young musicians combine African and Latin rhythms with dubby basslines and melancholic melodies. The unusual lineup with two drummers (Simon Popp, Sebastian Wolfgruber), bass (Martin Brugger), guitar (Paul Brändle) and trumpet (Matthias Lindermayr) leaves an open space for unfettered improvisation. Through the concept of repetition and finely measured dynamics, Fazer create a drawing energy that can be felt directly at their live shows and has been captured perfecty on this record.

Geese are a band that begins and ends in Brooklyn, as a
project between friends to build a home studio out of a
basement.
 Their debut album, ‘Projector’ (from which this single is
taken), is born from the same ambition: make music by
any means necessary. The songs were recorded with
sneakers as mic stands and blankets draped over the
amps, all within the afternoon following a school day, up
until they ran the risk of noise complaints.
 As a result, ‘Projector’ is as much a moment in time as it is
an album. It represents five teenagers whose love of
music touches every part of their lives: their restless
anxiety about their futures, and their pent-up frustration
with their present - a perspective all too familiar in today’s
uncertain world. Perhaps then it only makes sense that the
figure on the album cover was born from a dream:
curiously alien, yet strangely familiar.
 Creative direction by Matt De Jong and Jamie JamesMedina (Fontaines D.C., Arlo Parks, Mura Masa, FKA
Twigs).
 Two sold out London shows at The Windmill and The
Sebright Arms. First time ever playing in the UK.
 7” features ‘Low Era’ on the A side and a never before
heard bonus track called ‘Smoke In Japan’ on the B side.

Geese are a band that begins and ends in Brooklyn, as a
project between friends to build a home studio out of a
basement.
 Their debut album, ‘Projector’ is born from the same
ambition: make music by any means necessary. The
songs were recorded with sneakers as mic stands and
blankets draped over the amps, all within the afternoon
following a school day, up until they ran the risk of noise
complaints.
 As a result, ‘Projector’ is as much a moment in time as it is
an album. It represents five teenagers whose love of
music touches every part of their lives: their restless
anxiety about their futures, and their pent-up frustration
with their present - a perspective all too familiar in today’s
uncertain world. Perhaps then it only makes sense that the
figure on the album cover was born from a dream:
curiously alien, yet strangely familiar.
 Creative direction by Matt De Jong and Jamie JamesMedina (Fontaines D.C., Arlo Parks, Mura Masa, FKA
Twigs).
 Two sold out London shows at The Windmill and The
Sebright Arms. First time ever playing in the UK

Geese are a band that begins and ends in Brooklyn, as a
project between friends to build a home studio out of a
basement.
 Their debut album, ‘Projector’ is born from the same
ambition: make music by any means necessary. The
songs were recorded with sneakers as mic stands and
blankets draped over the amps, all within the afternoon
following a school day, up until they ran the risk of noise
complaints.
 As a result, ‘Projector’ is as much a moment in time as it is
an album. It represents five teenagers whose love of
music touches every part of their lives: their restless
anxiety about their futures, and their pent-up frustration
with their present - a perspective all too familiar in today’s
uncertain world. Perhaps then it only makes sense that the
figure on the album cover was born from a dream:
curiously alien, yet strangely familiar.
 Creative direction by Matt De Jong and Jamie JamesMedina (Fontaines D.C., Arlo Parks, Mura Masa, FKA
Twigs).
 Two sold out London shows at The Windmill and The
Sebright Arms. First time ever playing in the UK

With governments finally admitting that UFOs do in fact exist, and humanity attempting to heal from a state of recent crisis, the timing couldn’t be more appropriate for the newest addition to the HYPOCRISY catalog: WORSHIP, due to be released Fall 2021 via Nuclear Blast Records. Aptly titled, the album cover shows a mass of humans reaching up mindlessly to the sky as glowing spaceships shaped like the HYPOCRISY crosses sigil beam down to descend upon earthen civilizations and Mayan temples. Designed by artist Blake Armstrong (Kataklysm, In Flames, Carnifex, etc.), WORSHIP’s artwork speaks to the history of the relationship between humanity and extraterrestrials. “They’re coming back to collect,” explains founder and HYPOCRISY mastermind Peter Tägtgren.
A track entitled CHEMICAL WHORE breaches the subject of pharmaceutical addiction, and those who engineer it. “We are all chemical whores. We regularly consume prescriptions and drugs because we think we need it; we use one pill to heal the damage done by another medicine... it’s a vicious cycle.” Musically, it’s the only song that was written by all 3 core members of the band and translates into a recognizable, mid-tempo HYPOCRISY sound much like ERASER or FRACTURED MILLENIUM. Traveling from Sweden to Russia, the band also shot an official music video for CHEMICAL WHORE.
The DEAD WORLD music was written by Peter Tägtgren’s son, Sebastian. “We actually started to write an album together, something like 11 or 12 songs, but we never put any vocals in there and we just sort of set it aside. Then when I started writing HYPOCRISY I realized I really liked the song… it feels fresh. I think my kid got some new blood in there.” While the song comes equipped with a modern feel, the writing is still old fashioned at its core. Going into detail about the illuminati and black ops government, the lyrics examine how miserable these figureheads and theories can make us. “Call it fantasy, call it sci-fi, there are plenty of conspiracies in the world but I find these ones interesting,” explains Tägtgren.
GREEDY BASTARDS is another track outlined by simplicity and catchiness. Chugging riffs encapsulate a sound that almost verges on the realms of thrash while still keeping its feet firmly planted in the world of death metal. The lyrics touch on the greed and methods of control that we see various governments around the world today; how they manipulate people against one another and abuse the masses.
For Tägtgren, the inspiration to write new HYPOCRISY comes in waves. “I believe we were out on tour for another project and I began to get hungry again. I started spitting out some new riffs and when I had 7-8 songs done, I invited the rest of the guys to join me and contribute, and from there we started putting everything together. We had a break for a few months, continued recording, went back on tour… it never stops. There was a lot of jumping back and forth, and then COVID came and things got really weird.”
Tägtgren was one of the many musically inclined who was forced into sudden isolation upon the onset of COVID 19, only for Tägtgren, this is common practice when creating new songs. “A lot of things in the world stopped, and it was time to finish everything I hadn’t finished.” As usual, all recording and mixing took place at Tägtgren’s home studio in Sweden.
It has been 8 long years since the last record, and HYPOCRISY fans can feel the itch. WORSHIP is 11 tracks of precise, ferocious musicianship. Commonly inspired by the fusion of the modern and the ancient, HYPOCRISY has once more found a way to combine innovative ideas with classic sound in order to deliver something metalheads can enjoyably consume with awe and brutal vigor. HYPOCRISY is Peter Tägtgren (Lead Guitar & Vocals), Mikael Hedlund (Bass Guitar), and Reidar “Horgh” Horghagen (Drums).

From its founding in the late 14th century, the kingdom of Buganda has been celebrated through sound and nurtured a rich musical tradition in its royal court. Coming from across the kingdom, musicians would take turns in the palace to sound drums, xylophones, flutes, lyres, and more to praise and honour the existence of the kingship. In recent years however, the tradition has been more difficult to maintain, especially since 1966 where there was a violent attack on the palace that abruptly abolished the kingdom and during which royal musicians fled or were killed. And while the kingdom was re-established in 1993 as a cultural institution, many of the remaining musicians had since chosen to sideline their skills to deal with the issues of their day to day lives, the practice of the royal tradition waning in popularity, especially with younger listeners and players. But all is not lost. Scattered across the kingdom, a motivated team of older veterans and attentive young players are still keeping the tradition alive. Offering a transversal glimpse into the past and the present, "Buganda Royal Music Revival" collects recordings made in between the late 1940s and 1966 illustrating the older generation's skills, and presents them alongside recent recordings featuring old and young musicians who still carry on this musical tradition, some even performing for the current king, Muwenda Mutebi II. The later were made during the shooting of the 2019 documentary "Buganda Royal Music Revival" that presents through a film what this album conveys through sounds: a packed dive into a century-old tradition. The music displayed here is diverse and vibrant, presenting a variety of styles and highlighting instruments that illustrate the depth and sophistication that stemmed from the royal court experience of Buganda. As a starter, the album opens with 'Mujaguzo'. Often translated as 'The Drums of the Kingship', the mujaguzo is a crucial ensemble for the cultural tradition, made from drums collected by the kingdom throughout its long history and numbering around 100 drums (historical records suggest there were at some point over 300). They are the vitality of the kingship packaged into sound. From here, we're introduced deeper to an array of instruments and textures, like the buzzing Bugandan lyre (endongo) by contemporary royal player Albert Bisaso Ssempeke, the resonant akadinda xylophone with its 21 large wooden keys, Temutewo Mukasa's restless praise sung with his harp (ennanga), the hand-made gourd trumpet (amakondere), the entenga "drum-chime" and its core set of 12 drums tuned like the amadinda xylophone, or the tightly intertwined melodies of the flutes ensemble (abalere). With the music, the hissing and swishing sounds of old tapes reminds at times the listener of the long process, from the original recording to its archival digitization, that allows the talent of past musicians to still vibrate nowadays. This rousing selection of music and moods is a unique and all too rare exploration of sounds that celebrates the common history of generations of musicians, and the question remains open as to how this rich cultural tradition will shape and be shaped by the upcoming Bugandan future, and what engagement it will trigger among audiences within, but also beyond, the kingdom of Buganda.

Stadsbilder ("City Images") is the first collaborative album between Swedish musicians Jakob Lindhagen and Dag Rosenqvist. The composers have both made names for themselves within the contemporary music scene - Jakob as an award-winning film composer with solo music streamed in the millions on digital platforms, and Dag as a highly prolific musician and sound artist,
having over 50 releases over the last 15 years in a vast array of constellations, both solo works and as part of the duo From The Mouth Of The Sun, as well as film composing and music for dance performances. The music on Stadsbilder intertwines layers of organic and electronic sounds, with minimal piano melodies meeting vintage synthesizers, found sounds,harmonium, banjo, kantele, Fender Rhodes and saxophone, as well as cello (played by Sebastian Selke of CEEYS).

New album of Québecois performer Bernardino Femminielli after several releases on Mind Records or Desire Records. Produced by Dominic Vanchesteing (Marie Davidson, Jef Barbara, Chocolat, Bernardino Femminielli...). A synth-pop/chanson act in between Sebastien Tellier, Serge Gainsbourg and lust.

Bernardino Femminielli, a lucid and tempestuous entertainer, abandons his performance and his leather clothes to take on the role of a triple agent in a sentimental mise en abyme, far from the tumultuous moral, political and philosophical conflicts. By turns storyteller, voyeur and actor of this tragedy in six acts, it is his word against that of another.

The other is Brad Cerini.
Lulled by the variety of his Italy, this unaware student of Vannier, Lai and Musy projects Femminielli into the heart of the torments of a high school girl in love and betrayed.

The mouse slips out of the shadow of the palaces and embraces her fate with a gunshot. Iris embarks on a hellish journey, assumes her excesses of politeness and turns an unexpected encounter into a grandiose event.

An introspective and/or schizophrenic tale that polarises a toxic, vital desire, carried by a flowery music that frees the artist from her principles.

Femminielli plays "an assumed, sincere role, a more serious posture and a more serious tone, but also an emotional distance in the face of this painting of manners. I had to act for her and him.


Directed by Dominic Vanchesteing (Marie Davidson, Jef Barbara, Chocolat, Bernardino Femminielli...), Dans les yeux d'Iris is the first release of the Parisian label Corps Double.

In divided times, the power of music is undeniable. When that music is ferociously original and defiantly uplifting, the impact is even greater. Formed in Paris, December 2014, by Dublin-born singer/guitarist Gary Kelly and Parisian guitarist Steven Andre, MOLYBARON have swiftly become one of the most talked-about bands in the modern metal scene. With a sound that encompasses everything from state-of-the-art tech-grooves and anthemic metal to multi-layered atmospherics and giant, muscular hard rock riffs beyond, the band’s eccentric flair always sets them apart from the rest. From the infectious aggression and giant hooks of opener “Animals”, to the thunderous denouement of crushing closer “Ordinary Madness”, The Mutiny once again affirms MOLYBARON’s idiosyncratic identity and irresistible charms. As Metal Hammer UK put it: “Diverse and satisfying, The Mutiny is a banger!” The album was also declared Album of the Month in Rock Hard magazine. Kelly’s songwriting has hit new heights of ingenuity, and the ensemble performances of comrades Steven Andre (guitar), Sebastien de Saint-Angel (bass) and Camille Greneron (drums) are never less than precise, potent and bursting with personality. Right now, these fearless artisans are in a field of one, evoking the visionary fervour of bands like System Of A Down, Muse, Pain Of Salvation and Rush, while never sounding remotely like any of them. The Mutiny will be re-released by InsideOut Music/ Sony Music Entertainment and is available as 180g black Vinyl + 2page Insert, Ltd. CD Digipak and Digital Album.

For years fans have been eagerly waiting for the release of ‘The Awesome Album’ by Pawnee, Indiana rock band Mouse Rat.
The band is fronted by Parks and Recreation Shoeshine Department Employee Andy Dwyer (Chris Pratt), who has led many local acts through the years such as Angelsnack, Everything Rhymes With Orange, Department of Homeland Obscurity, Just The Tip and Scarecrow Boat, among others.
The hits are all here: “5,000 Candles In The Wind,” “The Pit,” “Two Birds Holding Hands,” “Catch Your Dream (feat. Duke Silver)” and two additional tracks by the Scott Tanner (Jeff Tweedy)-fronted band Land Ho!. ‘The Awesome Album’ is sure to satisfy the millions of Mouse Rat fans across the globe. The Awesome Album features music from the Universal Television original series Parks and Recreation.

A Fantastic Woman (Spanish: Una mujer fantástica) is a 2017 drama film directed by Sebastián Lelio and written by Lelio and Gonzalo Maza. It was selected as the Chilean entry for the Best Foreign Language Film where it won in the 90th Academy Awards. The film is about Marina, a transgender woman who works as a waitress and moonlights as a nightclub singer, is bowled over by the death of her older boyfriend. It premiered at the 67th Berlin International Film Festival in 2017 where it won the Silver Bear for Best Screenplay and the Teddy Award, an award given to films with a LGBT theme.

Matthew Herbert is an award-winning composer, artist, producer and writer. He has had work commissioned by the Royal Opera House, the BBC and has remixed iconic artists such as Quincy Jones, Ennio Morricone and been a longtime collaborator of Bjork’s, but he is best known for working with sound, turning ordinary or so-called found sound in to electronic music.

This is a limited edition contains of 1000 individually numbered copies on transparent pink coloured vinyl. The LP package contains an insert with notes from director Sebastián Lelio.

Through his dedication to the Los Angeles grassroots projects that gave so much stability and focus to many younger musicians, artists and the community, Horace Tapscott became a neighbourhood hero at a time when the world wanted his presence. He stayed in Los Angeles and focused instead on building a community, rarely giving interviews and instead focusing on passing on the message from his mentors. He shaped a unique sound with his arkestra and community minded musicians. It was a close-knit family that emanated a sound that was deep and unique, flowing with a creative spirit that definitely comes through on this album.

In 1961 he founded the Pan-African Peoples Arkestra, which aimed to preserve, develop and publicise African-American music through the ever-growing family that emanated within many of the deprived areas of Los Angeles. Through his subsequent collaboration with Bruce Albach, a producer and founder of Nimbus West Records, they sought to document the importance of this music alongside many artists who were energetically linked to the ethos and understanding which came from the collective dialogue.

Here the composer leads four extensive arrangements through his 16 piece orchestra, featuring many of the Nimbus West artists including Adele Sebastian, Jesse Sharps and Linda Hill. The music weaves the sound of afro-futuristic music through changing tempos and a relentless dynamic expressive sound that is complex and beguiling with a deep spiritual sound throughout all four tracks.

The ceremonial ‘Peyete Song no. III’ is a great swirling evocative piece from the large collective, with amazing solos from especially Horace Tapscott who seems to find a sound from the piano that is from another dimension. The arrangement airs an important message of a people and their rituals.

Horace Tapscott gives Cal Massey’s composition ‘Nakatini Suite’ a splendid futuristic big band interpretation. The composition had been earlier illuminated by both Lee Morgan on his ‘Lee-Way’ album and John Coltrane on his ‘Believer’ album titled ‘Nakatini Serenade’. Through the more expansive soundscape, the interpretation allows for some great interplay between saxophonist Jesse Sharps and drummer Everett Brown Jr. with the whole orchestra led by Horace Tapscott capturing the essence of Cal Massey’s message.

Vocalist Adele Sebastian opens up the free probing arrangement ‘Quagmire Manor at 5am’ composition with a similar delivery as with her ‘Day Dream’ from the classic ‘Desert Fairy Princess’ album before the music takes off onto the mothership adding a sense of what time and space within the manner was about amongst many great musicians and artists. Their journey and moments encapsulated within the music.

There are certain albums you hear something new every time you revisit the music and this is one of those albums. An important part of Afro-American history; the politics and art which surrounded the album. If you get a chance check out the film ‘Horace Tapscott, Musical Griot’, by filmmaker Barbara McCullough, or buy the book ‘Songs Of The Unsung’: The Musical & Social Journey of Horace Tapscott’. Mark Jones/UK Vibe

Alexander Winkelmann, der höflichste Punk von Germany, singt vom fast normalen Leben. Wir haben es offensichtlich mit Aufbruch und Verzweiflung zu tun, mit alten Sehnsüchten und neuer Zufriedenheit, mit dem Guten und dem Schrecklichen, und mit dem Yolofanten (»Yolofant«).

Was tut man, wenn man alles tun kann? Und was passiert, wenn alles stillsteht? Treibend und schrammelig, gaga und melancholisch. Die Neunziger, die Nuller, die Zweitausendzwanziger. Punk, Pop, Indie-Rock. Winkelmanns Debütalbum, »Danke der Nachfrage«, ist Wohnzimmer-selfmade und dennoch brillant produziert (in Marzahn – von Balayage, also Garagen Uwe und Sebastian Gieck). Das Album, das von mehreren Videos begleitet wird, ist durchsetzt von Hits, aber auch meta und formbewusst — ein eigentlich unmöglicher musikalischer Stunt.

Die getriebene Stimme der Winkelmann-Figur wirkt regelrecht manisch, sie ist der offensive Ausdruck einer Person, der es sehr, sehr gut geht, die aber auch sehr, sehr traurig ist. Winkelmann glaubt an die vereinende Kraft des Tempelhofer Flugfelds (»Flugfeld«), er läuft alleine auf einer unbefahrenen Autobahn (»Autobahn«) und hat Dinge gesehen, die schon längst wieder verschwunden sind (»Dinge«). Er möchte mit seinem Wohnraum zum Wohnraum des geliebten Menschen fliegen (»Lockdown«), er möchte Pizza mit ganz viel scharfem Öl benässen, und wird die Weihnachtsfeier des Jahres 2019 (»Weihnachtsfeier«) wohl nie vergessen.

Zehn exzentrisch-sensible Hymnen über das doch eigentlich schöne Leben, intim nah am Berliner Alltag.

Km 4.5’s first voyage of sound navigates the airwaves as a compilation of unique tracks from pioneering producers created uniquely for Km 4.5. Hailing from all over the globe, each has touched the sands of Papaya Playa Project, the birthplace of Km 4.5; each track is their own aural experience of Tulum. Traverse their singular realms of sound manifested into music through their time in this utopia in the first compilation inaugurating Km 4.5.