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Leicester punk sextet Jools have today released their new single ‘97%’, a provocative track spotlighting the ubiquity of sexual harassment in the lives of women. This comes alongside the band’s announcement of signing to UK indie label Hassle Records (Brutus, The Used, Casey), and the release of an upcoming double A-side 7” single in June.

‘97%’ draws on vocalist Kate Price’s own personal experiences and those of the women in her life. “The point of the song, however, is not to explore my experience as an isolated incident, but instead to force people to confront such commonplace experiences in a manner in which they can’t look away,” Price says. “Everybody knows a woman that has been harassed or assaulted, but nobody seems to know an abuser. That simply doesn’t add up. I want that song to feel uncomfortable because I want everyone who hears it to realise that just because they are not an abuser, that doesn’t mean they aren’t responsible for changing the culture and experiences of every woman. It’s a cry for justice in the world.”

To experience Jools in their most chaotic and unpredictable full flight is, the band were once told, to not know whether you are about to be kicked in the face or kissed on the cheek. Even that, however, feels like an understatement.

At any moment the Jools experience, on stage and on record, can turn on a sixpence from that of unbridled rage at the world to a celebration of the beauty that can still be found hidden in its murky corners. The punk rock of Jools is at once visceral and violent, cathartic and confrontational, and at the next exultant and exhilarating. Jools is duality by design, where contradiction is empowerment harnessed as a force for progress, sonically and societally.

A collective of musicians – Mitch Gordon and Kate Price on vocals, Chris Johnston and Callum Connachie on guitar, Joe Dodd on bass, and Chelsea Wrones on drums – spread between London and Leicester, Jools found each other as much by accident as design in the

earliest days of 2023. Together, they serve as a creative confluence for inspirations that move from the punk and post-punk of The Smiths, Fontaines DC, Iggy Pop, Amyl & The Sniffers and PJ Harvey, through the shoegaze of My Bloody Valentine and Slowdive, and into territories marked metal, rap and pop.

Danny Lee Blackwell"s Night Beats released their self-titled debut album back in 2011 and 2024 sees a long-overdue vinyl reissue hit the racks courtesy of UK label Fuzz Club. An acid-drenched modern garage-rock classic in the Texan thirteenth-floor tradition, the band"s R&B-inspired Western Psychedelic sound on this 12-track set is a reckoning, a shoot-out at dawn, the ear-splitting peel-out that leaves nothing but a cloud of red dust in its wake. Following early releases in the shape of the "H-Bomb" 45 and a split 10" with UFO Club (a collaborative project between Blackwell and The Black Angels" Christian Bland), the "Night Beats" LP was the first full-length introduction to the band and propelled them to the forefront of burgeoning contemporary psych scene in a blaze of scuzzy rock"n"roll release. Heavy touring immediately ensued and hasn"t let up in the years that followed, and the definitive Night Beats hit "Puppet On A String" has since clocked up millions of streams and become the soundtrack to an underground, fuzz-worshipping generation.

Bed Maker's origins date back to summer 2019, when bassist Arthur Noll (Light Beams, Kid Congo Powers) and drummer Vin Novara (The Crownhate Ruin, 1.6 Band), each having played in Alarms & Controls, invited guitarist Jeff Barsky (Insect Factory, Time Is Fire) to collaborate and see what might happen. By autumn, they invited Amanda MacKaye (Desiderata, Routineers) to join them, and the chemistry was immediate. In February 2020 at DC's Rhizome, Bed Maker played their first show and then paused their activities the follow- ing month, as did most people.
Due to the state of the world in 2020 and 2021, they continued writing music through sharing recordings. Mike Schleibaum assisted by assembling home recordings of their individual parts into working demos. This allowed them to keep momentum, and by the time in-person rehearsals resumed, a handful of songs and new ideas were close to fruition. Bed Maker resumed playing shows in November 2022.
Following a self-released digital single ("Miss Dickens") and an EP (Three on the Tree) -- each recorded with Schleibaum and Matt Michel at Viva Studios -- Bed Maker began work on their self-titled LP in May 2023 with Ian MacKaye and Don Zientara at the original Inner Ear Studio in his basement in Arlington, VA, and with Mike Schleibaum at his home studio in Maryland.
That their debut LP even exists is only possible thanks to the support of family and many friends, and also serves as an act of defiance to the horrors of the last four-plus years.

The EP by Bézier "Negative Velocity" sees the Californian artist (now for a few years a Berlin resident) initiate the launch of their new German-based record label "Körperspannung".

For 'Negative Velocity', Bézier collaborated with Bay Area drummer and avant-garde musician Dave Easlick taking live recordings of him on a drum kit warping and wrapping his pieces into curves and ellipses to project mappings outward into the atmosphere. From Easlick's source material Bézier generates a technological, multi-dimensional landscape through mental manipulation of sound waves bending the fabric of time and space. For both the title track and on the b-side 'Diabolical Embroidery' the lattice work here involved sampling and resampling every puncture from Easlick to atomize, pressurise, polish and disintegrate into fine particulate matter while reassembling parts back together fortifying the sonic tapestry further.

'Deep Sea State' is an exercise showcasing the raw form of Easlick's drumming but laced with an adamantium frame. Melodies from Bézier's musical training past haunt the entire interlude.

Black Truffle is thrilled to present the first vinyl reissue of David Rosenboom’s unique Future Travel, originally released on the short-lived Detroit label Street Records in 1981 and here presented in an expanded edition with an additional LP of wild, previously unheard live and studio material from the same period.

Future Travel emerged from the confluence of two important streams in Rosenboom’s work at this time. First, his exploration of ‘propositional music’, defined as ‘complete cognitive models of music’ that start from the radical question, ‘What is music?’ In this case, the music belongs to the universe of Rosenboom’s In the Beginning (1978-1981), in which proportional relationships determine the material available to the composer in all musical parameters (harmonic relationships, melodic shapes, rhythmic subdivisions, dynamics, and so on). Second, the work documents a key moment in Rosenboom’s long collaboration with synthesizer pioneer Don Buchla. Having played a role in developing concepts for some of the modules of the Buchla 300 Series Electric Music Box (an innovative analogue modular system controlled by micro-processors), Rosenboom went on to write the software for Buchla’s hybrid analogue-digital keyboard synthesiser, the Touché, the instrument heard most prominently here.

In a way that no purely analogue synthesizer could, the 300 Series and Touché allowed Rosenboom to work with the In the Beginning algorithms in real time, the synthesizers becoming ‘intelligent instruments’ that actively collaborate with the performer. Developing the open structures of the electronic pieces from In the Beginning, Future Travel explored the possibilities of simply ‘playing the system’, recording live at Francis Ford Coppola’s Zoetrope studio in San Francisco. Working from loose sketches, Rosenboom added acoustic instruments to the electronic sounds and, on some pieces, the processed voice of Jacqueline Humbert. Like Rosenboom’s collaboration with Humbert on the abstracted synth-chanson of Daytime Viewing, this music set out deliberately to challenge the ‘stratified and illusorily coagulated identities in the musical culture of the time,’ refusing distinctions between ‘serious’ and popular music. But where Daytime Viewing achieves this in part through genre references, Future Travel is bracingly sui generis, existing in a unique universe where radical formalisation à la Xenakis spontaneously gives rise to expressive jazz harmonies and old-timey folk melodies.

The crystalline quality of many of the Touché sounds gives Future Travel a sparkling, immediately enticing surface, its layers of shifting ostinato patterns pulsating outside conventional meter, rippling like waves on the surface of water. On opener ‘Station Oaxaca’, ping-ponging synth arpeggios and hand percussion accompany a sentimental violin melody, abruptly overtaken by layered keyboard runs, before the entry of tinkling marimba-like sounds reframe the scene as sci-fi Martin Denny exotica. ‘Time Arroyo’ begins as an austere study in staccato synth sounds in multiple overlapping tempi, reminiscent of Ligeti’s famous ‘clock’ rhythmic effects. Before long, it opens up into a melodic passage with the gentle heroism of classic Roedelius, which proves to be only a brief interlude before the layers of rhythmically distinct synthesiser patterns begin to build and accelerate into an increasingly dense cacophony. The wildest twists and turns are saved for the epic closer ‘Nova Wind’, where the arrangement focuses on Rosenboom’s virtuoso piano playing, perfectly embodying the project’s radical disregard of stylistic orthodoxies as he moves from hyperactive pointillistic flurries to a kind of space-age gospel.

At several points throughout the record, the distinctive voice of Jacqueline Humbert is heard reading passages from the text component of In the Beginning, a dialogue between The Double (an embodiment of humanity’s timeless desire to replicate itself in spiritual and technological copies) and two Spirit Characters. Fittingly, as all are conceived as embodiments of a future form of techno-human collective consciousness, distinctions between the three characters are not immediately evident in Humbert’s delivery, just as the music blurs the boundaries between intelligent computing and human spontaneity. Adorned with a striking retro-futurist cover (and here accompanied by extensive new liner notes and archival images), Future Travel is a time capsule of radical imaginings at the birth of our digital age, reminding us of utopian possibilities of which our own present seems so often to fall short.

Enjoy The Ride Records in conjunction with Back Lot Music proudly present a limited-edition vinyl pressing of Graeme Revell's Bride of Chucky Original Motion Picture Score. Composed and Conducted by Graeme Revell and Performed by The Hollywood Studio Symphony, Bride of Chucky is the fourth film in the Child's Play franchise, and where we begin to see a bit of a shift - Andy is out, and Tiffany (portrayed by Jennifer Tilly) is in, along with comedic elements added to the horror film.

LP is Now-Again Reserve Edition gatefold jacket. Hand-numbered edition of 1000. 145 gram vinyl - OBI strip and resealable 'Japanese-style' plastic sleeve. Includes Download card for WAV files of the album and bonus tracks from solo releases from Nyoni and his Born Free band. Contains booklet that presents an overview of the Zamrock scene, Nyoni's story, and the confluence of the Zimbabwean and Zambian rock scenes in the 70s. // CD is the first ever anthology of Zamrock musician Mike Nyoni's funky, psych-rock and folkloric 1970s recordings spread over 2 CDs. The latest release in Now-Again's deluxe Reserve Edition series: the first ever anthology of Zamrock musician Mike Nyoni's funky, psych-rock and folkloric 1970s recordings. Zambian guitarist and singer/songwriter Mike Nyoni's music is Zamrock only because he came of age during the country's rock revolution. His preferred wah-wah to fuzz guitar, James Brown to Jimi Hendrix. His 70s recordings - often politically charged, and ranging from despondent to exuberant - are amongst the funkiest on the African continent. He was also one of the only Zamrock musicians to see his music contemporaneously issued in Europe. This anthology collates works from his three 70s LPs - his first, with the Born Free band, and his two solo albums Kawalala and I Can't Understand You - and presents a singular Zambian musician on par with celebrated artists Rikki Ililonga, Keith Mlevhu and Paul Ngozi. The package also features an extensive, photo-filled booklet contains an overview of the Zamrock scene and Nyoni's story. LP Tracklisting - A-Side: Born Free - 'My Own Thing

Critically acclaimed, influential alt metal lifers earthtone9 return.

In Resonance Nexus, released via Candlelight/Spinefarm finds the band in fiery form. Their first new material in a decade sees the band not only harking back to their angular, chaotic, and ferocious roots but injecting an energy, urgency, and intensity beyond anything the band has released before.

The vitality of the songs is palpable, earthtone9 have both retained the essence of their musical identity, and channelled and distilled what they love about heavy music. In Resonance Nexus is a love letter to metal, a soundtrack imbued with persistence, love, pain and loss, determination and community.

Produced by Lewis Johns (Employed To Serve, Svalbard, Ithaca, Modern Error), In Resonance Nexus is a remarkable blend of stellar songwriting, crushing riffs and soaring melodies.

Critically acclaimed, influential alt metal lifers earthtone9 return.

In Resonance Nexus, released via Candlelight/Spinefarm finds the band in fiery form. Their first new material in a decade sees the band not only harking back to their angular, chaotic, and ferocious roots but injecting an energy, urgency, and intensity beyond anything the band has released before.

The vitality of the songs is palpable, earthtone9 have both retained the essence of their musical identity, and channelled and distilled what they love about heavy music. In Resonance Nexus is a love letter to metal, a soundtrack imbued with persistence, love, pain and loss, determination and community.

Produced by Lewis Johns (Employed To Serve, Svalbard, Ithaca, Modern Error), In Resonance Nexus is a remarkable blend of stellar songwriting, crushing riffs and soaring melodies.

Since their inception in Tromso in 2017, the Norwegian (dark) indie (punk)rock band Heave Blood & Die has been hailed by national radio as one of the most exciting new bands, played big festivals like Oya, Roskilde, Reeperbahn and SXSW, and toured with Kvelertak. “Burnout Codes” is their fourth full-album, and is dedicated to their former bass-player Eivind Andre Imingen. On their new record you still hear their typical ‘cold and hypnotic apocalypse sounds’, but ‘more emotional, energetic, varied and colourful’ now; a mix of atmospheric ’80s darkwave, indie (post/punk-)rock and electronic krautrock!

Moon Diagrams – the solo project of Deerhunter co-founder and drummer Moses Archuleta – returns with a second album, Cemetery Classics, on June 21. The 12-track album is a co-release between Sonic Cathedral (in the UK and Europe) and Angus Andrew from Liars’ new label No Gold (in the US and the ROW) and was mixed by James Ford. It features guests including Anastasia Coope, Patrick Flegel (Cindy Lee) and Josh Diamond (Gang Gang Dance). It’s Moses’ first new music since 2019’s Trappy Bats mini-album and the follow-up to 2017’s acclaimed debut Lifetime of Love and everything seems a bit more extreme – from the Basinski-esque degradation of ‘Neptune’ to the Faustian industrial noise of ‘Listen To Me’ via Art of Noise-style postmodern pop (the first single ‘Very Much My Promise to You’), Daft Punk bangers (‘Fifteen Shows at One Time’), trip-hop, shoegaze, Jan Hammer, Depeche Mode, late Leonard Cohen and more. “It’s about finding out your arms are too short to box with god,” says Moses of the emotional force that courses through Cemetery Classics. “It’s the inverse of a desert island disc – a graveyard disc. Songs to take into the afterlife.”

Reissue of late-’80s release by lovably manly Australian punk rock trio! Sometime in the winter of 1989-90, I wandered into New York City’s Midnight Records, a store famous for its deep catalog of ’60s garage and psychedelic music, as well as a strong selection of classic punk rock and a cantankerous French owner with ridiculous hair. On this visit, instead of hearing a puny French bootleg of The Standells or the Seeds, as I opened the door I was enveloped in the massive opening chords to the first song on the Cosmic Psychos’ then-new album Go the Hack. “She’s a lost cause / She’s a lost, lost cause!” blasted into the air at maximum volume. In a perfect cinematic moment, the drums announced my entry, the bass dictated my walk, the air became thick with guitar fuzz and wah-wah, and snarled vocals described perfectly a girl’s descent into a cause which was lost. Instead of record shopping, I felt like I’d stepped into a biker movie and was motoring down a long, straight Outback road on a Harley. This was my introduction to the Cosmic Psychos, and I was hooked. I loved that a band could be so powerful, sound so big and unapologetically simple, and incorporate so much of what I loved about music—well, basically the attitudes and sounds of The Stooges and Ramones: setting up songs with a good title or idea, matching it with a massive riff, then running it out with squeals of wah-wah and manly disregard for cleverness or adornment. And they called themselves the Cosmic Psychos! They obviously had no regard for “makin’ it” in those days, when an alternative rock band at least had a chance to sell some records. I was an instant fan. Earlier records proved to be the same formula with even less refinement, and that was definitely a good thing. These were lovably manly Aussies singing about what they knew best: farm equipment, lusting after Elle Macpherson, wishing they were in Van Halen (for the ladies), drinking at the pub, and even more drinking at the pub. Trivia question: In what indie rock song does the lead singer bellow “I love my tractor!”? Answer: None! No scarves or looking like Stevie Nicks straight out of the hairstylist’s for these fellows. They were the real deal before the deal was dealt. And they couldn’t care less. The Psychos enjoyed a long run through the ’80s and ’90s on such Australian labels as What Goes On, Mr Spaceman, Survival and Rattlesnake, as well as American stalwarts Sub Pop and Amphetamine Reptile. Many bands from that era no longer seem vital today, lost in a murk of crisp drums, loud guitars, flannel shirts and shallow aspirations. These first Cosmic Psychos releases are as timeless and necessary as ever—still a bullshit bulldozer, a blurry loud night at the bar, a rollicking time hanging with the guys. The time has come for a new generation to be uplifted by these initial blasts from the Cosmic Psychos. Goner is proud to partner with Melbourne’s esteemed Aarght! Records to bring these platters of primal perfection back into a world that definitely needs them. — Eric Friedl, Oblivians / Goner Records 40th Anniversary tour about to hit UK / EU! Go the Hack!! Essential!!

Another brutal label has seen the light

UK/NL reeds player, composer and producer Finn Peters presents his new 10", Red, Green and Blue; The three track EP of Nu Jazz/Broken Beats is being released on the artist's own Mantella Records imprint and sees a return to solo recording (after a decade hiatus) for the award winning Jazz maverick, beloved of Gilles Peterson and fans of cosmic jazz.

Influences include Compass Point Records, Africa Bambaata, Yusef Lateef and Walter Gibbons. It is heavy sounding with MPC3000 and SP 12 drum breaks, heavy African and Brazilian percussion, ethereal flute choirs and analogue synths a plenty.

"Stronger Than Pride" erschien 1988, drei Jahre nach "Promise". Dieses dritte Album markiert mit den Titeln "Promise" und "Nothing can come between us" eine groovigere Richtung. "Stronger Than Pride" wurde erneut mit mehreren Platin-Alben ausgezeichnet und bestätigte Sades Status als sicherer Wert in der internationalen Musikwelt. Gemastert mit halber Geschwindigkeit von den Original-Mastern in den Abbey Road Studios. Das Mastering mit halber Geschwindigkeit erzeugt einen außergewöhnlich klaren Klang, der die Dynamik der Originalmischungen bewahrt. 180G Vinyl. Die Originalcover wurden einschließlich der Papierqualität und Druckmethoden reproduziert.

The music released as Amulet (or The Amulet Edition) is Peter "Sleazy" Christopherson's semi-secret testament. Originally available in exceedingly limited quantities at live shows and via direct mail-order in 2008 as a hand-assembled 4 miniCDR set housed in a circular Thai Amulet case and never properly distributed, the material finally receives the wider re-release on vinyl and CD it so richly deserves.

Only the second and sadly already the final release in his post-Coil solo guise as The Threshold Houseboys Choir "Amulet" sees Christopherson in a more playful mood than ever, don't be fooled by reviews calling this suite of songs "incomplete" or "working stage", these are rough little diamonds, often imbued with a bittersweet melancholy joy, unsurprisingly reminiscent of some of the final Coil offerings, but additionally steeped in exotica, inspired by his new East Asian home and the ghostly voices of his digitally generated choir ("a vocalist that wouldn't crash", as he would say). At times these tracks sound like a warmer, less analytically complex counterpart to the work he created simultaneously with CoH's Ivan Pavlov in the celebrated Soisong project.

Bonus tracks feature rare earlier THBC compilation tracks and a few previously unreleased exclusive sketches. Let's be perfectly clear though, "Amulet" is not some half-finished cutting-room floor left-overs, it's a genuine but very little heard fully fledged album released by Christopherson with some of the tracks performed live on his last ever tour, the unforgettable intimate Evenings with Uncle Sleaz.

The Infinite Fog edition, presented as a 3LP in a triple heavy Gatefold sleeve and a 2CD Digipak, both including a poster of Peter Christopherson in his infamous Cruella Deville coat has been respectfully and expertly remastered by grammy-nominated Jessica Thompson. Artwork by Oleg Galay overseen and with additional guidance from "our man in Thailand" Peter Jenx.

Available on ltd edition transparent purple vinyl.

We are delighted to bring you Alber Jupiters incredible 2nd album ‘Puis vient la nuit”!! 

Founded in Rennes in 2017, instrumental bass-drums two-piece ALBER JUPITER draw inspiration from Berlin’s 70s krautrock scene and Godspeed You! Black Emperor’s hallucinatory post-rock to craft a unique soundscape. Their motorik rhythm wanders between plaintive delays and intergalactic reverbs. Magic happens immediately! 

Following the release of their stunning debut album We Are All Floating In Space’, the band took advantage of the forced covid break tocompose and record a second album which sees them pursuing their psychedelic exploration. A looper, a few pedals and the journey becomes limitless! The bass morphs into guitars, trippy violins, screams, ethereal or distorted layers. The synths are also part of the adventure, completing the already rich sonic spectrum and propelling the band into new territories. 

Recorded in 1968 and intended as a tribute to her late husband, Alice Coltrane is supported in her first solo outing by Pharoah Sanders, Jimmy Garrison and Rashied Ali — all members of John Coltrane’s last quintet. While initial reviews to the album were lukewarm upon release, looking at it in the context of her larger body of work, A Monastic Trio serves as a delightful foreshadowing of what was to come.

This Verve By Request title is pressed on 180-gram vinyl at Third Man in Detroit.

When a story sees its own ending. ATOMS shows the Hamburg grown friends and instrumentalists taking a steep descent into the unmarked. Crushed arpeggios, hand layered drums and the afterthought of a nightly piano allude to an early dawn still at midnight. All six tracks are ultimately cast towards loss, since Charly Schöppner, the trio's rhythmic enigma, passed before the record was finished in 2023. But they do this unwillingly, each alone, and they materialise the persistence of beauty in different shapes and thoughts left behind. All happened through an uplift of time in a simple space, as the record was made in Schöppner's garrage, being the trio's artistic refuge at that time. A friend taking you close. – Konstantin Bessonov