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Bill Withers created mellow, downhome-style soul for barely more than a decade before electively retreating from the industry to pursue craftsman interests. Yet over the course of the handful of albums he made for Sussex and CBS, the Appalachian native struck lasting emotional chords in legends ranging from Booker T. Jones to Stephen Stills—not to mention the millions of listeners that fell under the spell of now-standard tracks such as “Lean on Me,” “Use Me,” and “Ain’t No Sunshine.” The antithesis of the sweaty R&B shouter that prowled the edge of stages, Withers dealt in calm and vulnerability. Serving as a template for modern British soul contemporaries like Sam Smith and an extension of the timeless fare explored by Van Morrison, Curtis Mayfield, and Al Green, Bill Withers’ Greatest Hits belongs in every music lover’s library.



Mobile Fidelity’s reissues of the 1981 compilation provide a transparent view of Withers’ relaxing timbre and the subtle grooves underlining his arrangements. Characteristics ranging from the tension of the guitars, funky bends of the bass, whisper-soft coo of the formal strings, airiness of the backing harmonies, and sharpness of the snare drum emerge with utmost clarity and lifelike presence. Always prized for its naked honesty and pure conviction, Withers’ music positively caresses the senses on this LP and SACD, the unadulterated production and beautiful soundscapes revealed anew with each listen. You won’t find a better-sounding roots R&B collection.

We used to enjoy presenting Chapelier Fou's work using the idea of music in the form of a treasure hunt. However, while the phrase in itself it still just as relevant today, we would never have imagined that it would become such an integral part of one of his albums. Or two of his albums to be perfectly exact - Méridiens and Parallèles. Two records with twelve songs each which answer each other back in the form of anagrams. They are like the two sides of the same planet - similar but simultaneously so different. They need to be discovered one after the other taking the time necessary to travel through the sound territories produced by his imagination. The starting point is a sombre night in Uqbar… Chapelier Fou's opening reference to Borgès was obviously not made by chance. He subsequently confided in us the objective of his diptych, namely to combine reality with fiction to question certainties and our relationships with the imaginary sphere. He has continued with his traditional classical-contemporary electronic approach which, although now known to a wide audience, has the advantage of opening up a whole range of possibilities right up to the infinite scale. Moving away from an "État Nain" (Dwarf State) to take refuge on an asteroid...Throughout Méridiens, each composition can be seen as a universe in itself or a specific landscape with its own temporality. Proof of this is the introduction to the chamber music format composed for and performed by only strings which can only be given the date we want to give it. This is "État Nain" in which violins are played like guitars. In some parts we find the spirit of the Penguin Cafe Orchestra and the idea of cheering up classical instruments and not taking everything too seriously. In other parts, we find something close to a mischievous and childish unplugged grunge anthem that could be from the French series Les Shadoks. This mischievous view of things is shown to full effect in Am Scharchtensee. The introduction shows Chapelier Fou's whole classical universe and mastery of orchestration in which "modular" electronics provide a subtle and discreet backdrop. Then, the record suddenly switches to a surrealist dialogue between these classical sounds and modular synthesizers with the flavour of the German pioneers Kluster/Harmonia to name but one example. Timelessness and imaginary places. La vie de cocagne confirms this choice of total freedom. It's traditional music with old sounds, a kind of forgotten bourrée (old French dance) in which electronic sounds disturb the established order and thus reach another musical dimension. Le méridien du Péricarde followed by Désert de Sonora push this idea of a trompe l'oreille and a hall of mirrors even further. The latter track ends almost like a catchy 80s melody and we can no longer find any logical meaning. We let ourselves be carried away by this profusion of madness and are a little amazed by this mastery of sound, composition and space. It sometimes all seems like a succession of conjuring tricks. Chapelier Fou takes not being serious very seriously indeed. The end song Everest trail is the perfect conclusion, a deadpan track in which the primary aspect of a totally classical melody in all its straightness is underpinned by a permanent exchange of electronic tweets which mocks the main musical posture. This impertinence harks back to Pierre Schaeffer who directed the ORTF's very serious experimental department in another era and allowed the development of Jacques Rouxel's series Les Shadoks thus introducing the general public to the notion of concrete music. This is also perhaps why Louis Warynski's stage name is French – because he has opted to use his French musical heritage. Thus the first singles selected from this album, Constantinople with its groovy and jazzy allure and Le Triangle des Bermudes evoke composers like Michel Magne or Michel Colombier both of whom have totally open minds and consider all music to have the same importance, namely that of sound. In absolutely all the tracks that make up Méridiens, you will find at least one detail - a pattern, melody, sometimes a simple sound - that will draw you back to explore it a little more. And the words are carefully weighed for sure. It's quite simple. This is undoubtedly his most hypnotizing and catchy album. Chapelier Fou has become a complete master of his own universe. He draws the start and finish lines himself and no one can follow him in a field that now belongs to him alone. Composed imaginary spheres, illustrated territories...Music is just as meaningful as the more visual arts. Therefore the artwork of Méridiens had to project each of the twelve tracks considered individually and not just the whole album as such. Chapelier Fou therefore asked his old friend the contemporary artist Corentin Grossman to create twelve windows to represent glimpses of the twelve worlds composed for the record. Windows or mirrors when it comes to that? You can never be sure of anything...Space OK. But what about time? The years go by and sometimes we forget that fact. But a simple glance back is often enough to gently touch the time that has passed. It is over 10 years since his first official record and he has been composing, recording and sharing his music for almost 20 years. 20 years is a long time. It makes some people look old while others fall into reassuring but sterile nostalgia. Chapelier Fou, on the other hand, has released his most ambitious project and tried to take a higher view of his discography that was itself nevertheless irreproachable. Although the journey is over we can see Parallèles universes on the horizon. Chapelier Fou has announced 12 additional tracks which are like echoes of the compositions on Méridiens' and will be released on the album Parallèles next spring. They are neither twins nor opposites – they are instead totally original new compositions which go further in exploring a universe which is already richly abundant.

This year marks 25 years since Oasis’ two iconic record breaking live concerts at Knebworth Park in Hertfordshire on the 10th and 11th August 1996. The shows were both the pinnacle of the band’s success and a landmark gathering for a generation of young people. Released alongside the cinema debut of the feature length documentary film of the event, ‘Oasis Knebworth 1996’ is the definitive live recording featuring a setlist packed with stone cold classics album taken from across both nights of the concert, from the opening salvoes of ‘Columbia’ and ‘Acquiesce’, to ‘Champagne Supernova’, ‘Don’t Look Back In Anger’, ‘Live Forever’, an orchestra backed ‘I Am The Walrus’, and ‘Wonderwall’ the first song from the 1990’s to reach over one billion streams on Spotify and universally loved anthem.

SIM CARD HØLDER is not a band. It is the hybrid child of Ian Bruner, Drone Operatør and Gajek. It's procreation date is hard to pin down, but it started 2020 with an Insta chat and one of Ian's piano improvisations recorded in his Colorado living room. From there the album grew in separated covid lockdown wombs at three different locations in Germany. Ian's shadowy instrumentation of light piano and heavily layered and long believed to be dead soundscapes were digested, replanted and grown-over by Drone Operatør's and Gajek's uncompromising and individual sense for song structures and sounds. When finally all body parts were assembled in early 2021 the baby was already fluent in different languages.

Sim Card Hølder grows slowly while meandering through dense and open fields. It switches from calm and dreamy moods to wild fractured outbursts without fragmenting into the arbitrary. A raw spiritual power keeps every part connected and in perfect motion. Each song is a portal into multiple universes that suck you in on thick piano carpets, sharp saxophone spikes and buzzing quadcopter wings, warming insect intestines, blasting raw drums and slow healing winds, screeching synth rhymes, dissonant orchestral tales and floating blue melodies. It's a demanding ride but thoroughly deeply relaxing. The perfect soundtrack to rewind your mind.











k 11: Alone_ (rendered altitude) [feat. Drone Operatør & Ian Bruner]

Shkema's debut EP 'Kronikos' is a double release with four originals and four remixes. The author describes it as 'world news show, where each song represents a different story'. Some of them he has experienced himself, some are hearsay from TV news programs, and some are actually imaginary. Stories are not really related - just like in the news. 'Ispanija' was created during a friend's band rehearsal. Psychedelic vocals sounded interesting in Shkema's headphones while he was watching soundless singers and the muted musicians. The true reason why this track is called 'Ispanija' is still unknown to this day. According to Shkema, 'Ola' is an allegory of Plato's cave. It's a story about prisoners, chained in the cave and the only moving thing they could see was a passing shadow - quite deep, uh? Justin Strauss and Max Pask recently have joined up to form new project Each Other. True dance floor legends delivered bass-busy remix of 'Ispanija'. It could probably be best described as 'juicy distorted badboy from New York you don't want to mess with'. Moscow's finest - Simple Symmetry - joined the pack and went back to the roots. Their remix for 'Ola' is future clubbing classic, four to the floor banger with a drop perfect for pogo.

LP Black Vinyl, DL card. ‘Until We Fossilize’ is the debut album from Marta Del Grandi, an eclectic singer songwriter from Italy. This is an award-winning jazz vocalist set in new territory, crossing borders of genre and style from West Coast ‘60s to ambient exotica, from plaintive Lynchian etherealism to dramatic Morricone scores. Marta gathers influences from near and far to create a unique genre-splicing style who’s now travelling her own unique and unchartered path. Newly signed to Fire Records, this debut is an unravelling of time and distance; a breathtaking journey from mainland Europe to the Far East and back again, delivered as an eerie, soundtrack by a captivating vocalist. A self-produced gem; filled with lush strings and electronic ambience and an eclectic vocal that transcends boundaries. Lead single ‘Amethyst’ takes inspiration by the myth of Amethyst, filled with Greek mythology, touching the wildest manifestation of imagination, it’s the story of a woman who frees herself from the expectations imposed on her by patriarchy. Composed with Indian drummer Tarun Balani, Marta sounds like Sandy Denny backed by Eno on Gamelan with a nod to Sun Ra. ‘Until We Fossilize’ is a lyrically aware set of dramas littered with life-affirming couplets over gorgeous, dramatic turns. “It’s modern and ancestral at the same time.”

Old School gabber sound !

Part Two of Steve O'Sullivan's 'Dimensions' album series featuring collaborations with Steve Rachmad, Mark Broom, Markus Suckut, Vince Watson, Exos, Soela, Derek Carr, Conforce and Prince Morella.

The Cool Feedback Quartet’s music is quite similar to a philharmonic orchestra manipulating new material:
feedback, or in other words, the unexpected beauty of sound when it is let loose. Becoming its master so as to make the
best use of it, like a new instrument, the guitar pick up plays again on request. Harmonizing sounds like a string section
gone wild would, like light piercing through ether, tearing up the background and taking us for good to unknown territory.
The bandleader, Grégoire Garrigues, who first got the idea of the concept and got the ball to roll, is a well-known and
respected French guitarist.

Part Three of Steve O'Sullivan's 'Dimensions' album series featuring collaborations with Ricardo Villalobos, Dana Ruh , Thomas Melchior and Soela.

Radiation Deluxe Series present a reissue of The Shangri-Las's 65!, originally released in 1965. The queens of Queens, The Shangri-Las formed in 1963 in Cambria Heights. Made up of two sets of sisters from Andrew Jackson High School, the Shangri-Las hooked up with producer George "Shadow" Morton in 1964 and signed to Lieber & Stoller's legendary Red Bird Records label. Featuring song writing credits from the Brill Building's dynamic duo of Jeff Berry and Ellie Greenwich, as well as future Band member Levon Helm, Ike Turner, and more, this is the group's second LP, and is pure NYC girl-group perfection. An absolutely essential for any fan of 1960s American pop music. 180 gram vinyl.

Every once in a while, a band emerges ready to take on the world. Sweden's own Knights Of The Realm bring the thunder and deliver the goods (pun intended). From the first note of the intro, to the last on the outro, they deliver their own lovingly crafted blend of classic 80's metal. Knights Of The Real is many years of heavy metal experience combined into a pure vicious heavy metal machine. Larry "The Hammer" Shield (Lars Sköld) has toured the globe and recorded with legendary band Tiamat for as long as he can remember, and is without a shadow of a doubt the band's backbone. Megalomagnus (Magnus Henriksson) has been making history with his band Eclipse since the end of the 90's and is a bonafide guitar hero, who's both capable of some heavy duty riffage as well as delivering gorgeous melodies. Mean Machine (Marcus Von Boisman) has been working in the shadows of metal for many years, and played with Swedish bands Windupdeads and Stormen. And as far as the Mean Machine goes, well, the name says it all! He delivers the soaring rock vocals we all love, with attitude and feeling. The love for classic heavy metal is the driving force behind this band. The aim from the beginning was to write heavy metal hits that should, or could, have been on the albums they grew up listening to. When the songwriting process began, it was like opening Pandora's box. The overall feeling was that those songs were calling out to be written and to be played, and the band's collective ideas, dreams and experiences merged into something new, something that can hopefully lure a new generation of rockers into that metal club we all love. Knights of the Realm is a Swedish heavy metal band, and their aim is to spread their music to as many metal heads as possible, all the while having a blast doing it. They are getting ready to go on a crusade, and to take their true place on the metal throne as Knights Of The Realm.

Breakneck audio level destruction from Quarantine on their first full length release. The demo was a glimmer of perfected USHC pastiche but “Agony” pushes the limits of aggression to some kind of land speed no man’s land where UNITED MUTATION, GUDON, and “MY AMERICA” (FU’s) are firing live ammunition into each other’s boomboxes in a bid for hardcore punk long play supremacy. Instant classic from a group of utterly blue chip musicians on the label that can’t be beat. (Jonah Falco)

LTD. COLORED VINYL

Somewhere Between: Mutant Pop, Electronic Minimalism & Shadow Sounds of Japan 1980–1988 hovers vibe–wise between two distinct poles within Light In The Attic’s acclaimed Japan Archival Series—Kankyō Ongaku: Japanese Ambient, Environmental & New Age Music 1980–1990 and Pacific Breeze: Japanese City Pop, AOR & Boogie 1976–1986. All three albums showcase recordings produced during Japan’s soaring bubble economy of the 1980s, an era in which aesthetic visions and consumerism merged. Music echoed the nation’s prosperity and with financial abundance came the luxury to dream.

Sonically, Somewhere Between mines the midpoint between Kankyō Ongaku’s sparkling atmospherics and Pacific Breeze’s metropolitan boogie. The compilation encompasses ambient pop, underground electronics, liminal minimalism and shadow sounds—all descriptors emphasizing the hazy nature of the nebula. Out–of–focus rhythms wear ethereal accoutrements, ballads are shrouded in static, and angular drums snake skyward on transcendent tones. From the Avant–minimalism of Mkwaju Ensemble and Yoshio Ojima, to the leftfield techno-pop of Mishio Ogawa and Noriko Miyamoto (featuring members of YMO), and highlights from the groundbreaking Osaka underground label Vanity Records, these are blurry constellations defying collective categorization.

These tracks also exist in a space of transition when the major label grip on the Japanese recording market began to give way to the escalation of independents. Thanks to the idyllic economic climate and innovations in domestically–manufactured music gear, creators on the edges were empowered to focus on satisfying their artistic visions in the open headspace of home studios. While labels like Warner Music and Nippon Columbia explored new sounds through traditional channels, it was possible for Vanity, Balcony and other indie labels, not to mention self–released artists like Ojima and Naoki Asai, to publish their work via affordable media such as cassettes, 7" vinyl, and flexi–discs.

Expertly curated by Yosuke Kitazawa and Mark “Frosty” McNeill (dublab), Somewhere Between is a collection of music, much of it released for the first time outside Japan, that is bound more by energetic vibration than shared history, genre or scene. They are the sounds of transition and searching—a celebration of the freedom found in floating.

Note: The track “Days Man” by Yoshio Ojima is only available on the LP and Cassette versions.

The Handy Records crew return once again with a stunning EP from none other Mr Bobby Cazanova.

A1 is an absolute gem. Nostalgic, catchy, euphoric and all-round feels. Just what we needed after the 2 year hiatus from nonsense. It’s a speedy emotive number with all the bells and whistles for a great time. Definitely one for the 6AM sunset. Following; the A2 is a sub aquatic bubbler. Low slung bass and rich strings lead this into a deep technical groover. Again Bobby has nailed the feeling of having heard this before but never quite like this. The A3 is something quite special. Acid lines and driving bass make this an absolute heater for the floor.

On the flip we have another fast-paced rhythm. This time capitalising on the darker side of Bobby’s mind. Between pulsating baselines and inquisitive synths there is an emotive and paced production that is sure to get people moving. Rounding off the EP is a darker piece. Glistening pads and pensive arpeggiation make this a slow but sure burner for the dance floor.

The Kniteforce Complete Collection Volume 4 does exactly what it says on the box, giving you the full Kniteforce Vinyl releases of the tracks from KF61-KF80, fully remastered, in both Wav and MP3 format. These tracks have NEVER been released on the digital stores, and until now have never been avaialbel in any digital format. All the tracks here are from the beginning of the new vinyl era, and as such feature some of the names that have made themselves in recent years, such as Mannik, Nicky Allen and Shadowplay, not to mention tracks from old skool masters such as Hyper-On Experience, Billy Bunter and The Fat Controller, right beside Kniteforce’s legendary roster of Dj Ham, Dj Force & The Evolution, Luna-C, Alk-e-d and many more…

Club / DJ Support
Jay Cunning, Ray Keith, Nookie, El Hornet, Billy Bunter, the Fat Controller, Liquid, Hyper On Experience, Glowkid, Slipmatt, Dj Jedi, Dj Luna-C, Dj Brisk, Jimni Cricket, Bustin, Sc@r, Doughboy, Saiyan, Dave Skywalker, Ponder and many others

Over the course of two EPs, two singles and a stripped-back
live album, Puma Blue has established himself as one of the
UK’s most vital new talents, quietly amassing over 50 million
streams in the process and selling out shows from London to LA
and Paris to Tokyo.
 His long-awaited debut album, ‘In Praise Of Shadows’, was a
delirious dreamland of soulful vocals, D'Angelo-ish guitars and
muted electronic beats. Its fourteen tracks are a contemplation
on “the balance of light and dark, the painful things you have to
heal from or accept, that bring you through to a better place,”
says the 25-year-old Puma Blue, real name Jacob Allen. “It's
about finding light in darkness and realizing that it’s what got me
here today.”
 Described by NME as “a brief moment of relief for those lost in
the darkness,” the album found his storytelling at its most
honest and vulnerable to date whilst his production reached
new heights, retaining its characteristic bedroom intimacy. Yet
for all the intimacy of his ‘voicemail-ballads’ on record, his songs
carry a different resonance in a live setting; a mix of
improvisation, in-the-moment escapism and the collective
power of an audience taking his music to new heights.
 ‘In Praise Of Shadows: B-Sides & Live Versions’ features
rarities and live recordings, mostly taken from rehearsals in
early 2021. With limited opportunities for people to hear the
album in a live setting thus far, this represents an intimate first
glimpse at the magic unique to the full band arrangements.
 This edition is completed by two new bedroom studio
recordings with new single ‘All I Need’ (a Radiohead cover)
perfectly extending the album’s small hours spirit, the raw
emotion of Puma Blue’s voice growing in tandem with the scale
of the initially skeletal production, and the previously unreleased
‘Postcard From Toyko’ exploring loneliness with brutal honesty
and a sparse acoustic atmosphere.
 Crystal clear LP in a deluxe clear PVC sleeve.

Having stepped into fourth year of existence the factory of Depth.Request manufactures an article in form of an EP titled "Night Wounds Time" produced by British-born underground scene veteran Mahk Rumbae under the guise Antechamber, which - in slight contrast to his arguably better known alias Codex Empire - he ostensibly reserves for a more dysfunctional brand of electronic music intended as much for frantic terpsichorean participation as for contemplating the inevitable under the gloom of moonless nights. In line with offbeat nature of sounds presented, the release gives a subtle nod to Tod Phillips' literary work "A Humument", borrowing its name and
track titles from the lines within the idiosyncratic book.

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.

“Under the Haramia Tapes veil, Laurine Frost wriggles his way through dub infected, smoke-laden horizons bending and stretching time mischievously while peering through his mask. The saga continues no differently than any of Frost's other elusive outings, genre defiant as ever, we get a glimpse of what allegedly is an unreadable and luminous future.

Following his complex concept driven offerings, on ‘Daydreaming’ we are treated to a set of groovy and hypnotic vignettes flowing ever so fluidly between beat, rhythm, and harmony. Surgically layered, yet expertly stripped back, these bedtime ragers are crafted for those waking moments where the body becomes the mind.”

Ali Safi

This is a super-limited strictly 1000 copy one-off only edition pressed on white coloured vinyl of this in-demand Trees Speak classic debut album.
When the band Trees Speak, coming out of nowhere, released an exclusive one-off 100-pressing white label 45, described as CAN/NEU! meets LIQUID LIQUID, it sold out so quickly (in less than 30 min) that Soul Jazz Records decided to release their album almost immediately.
Soul Jazz Records rarely release new music but found the music of TREES SPEAK’s album ‘OHMS’ so stunning and to have so many elements of music that they admired that they felt compelled to release it.
The group Trees Speak are from Tucson, Arizona and create new music that sounds like GERMAN KRAUTROCK meets NO WAVE/POST-PUNK and PSYCH ROCK – music for fans of CLUSTER, TANGERINE DREAM, CAN, NEU!, SILVER APPLES and early KRAFTWERK.
The album ‘OHMS’ sounds at times like a tripped out & moody JOHN CARPENTER/GOBLIN/MORRICONE soundtrack that seamlessly segues into propulsive, ‘motorik’ Krautrock instrumentals loaded with fuzzy, hypnotic mellotron, synths and analogue effects, as well as elements of ART ENSEMBLE free jazz, and all at times reaching a kind of post-rave psychedelia. More recent comparisons would include BEAK and GHOST BOX who draw upon similar themes and styles.
Trees Speak are Daniel Martin Diaz and Damian Diaz plus musicians from the Tucson, Arizona scene such as Giant Sand, XIXA and James Hunter. ‘Trees Speak’ relates to the idea of future technologies storing information and data in Trees and plants – using them as hard drives – and the idea that Trees communicate collectively.

Trees Speak is an experimental rock band that transcend mainstream influences by incorporating elements of Avant-garde, Neo-psychedelic, Minimalism, art and electronic - along with violin-bowed guitar, Theremin and a glut of effects pedals, and it's an ear-bending rush of lush soundscapes.

Trees Speak - as much a sound laboratory as a rock and roll band - is the musical venture of acclaimed visual artist and musician Daniel Martin Diaz (formerly of Blind Divine and Crystal Radio). For the debut double-LP Trees Speak is joined by Michael Glidewell (Black Sun Ensemble), Gabriel Sullivan (XIXA, Giant Sand), Connor Gallaher (Myrrors & Cobra Family Picnic), Damian Diaz (Human Error), and Julius Schlosburg (Jeron White Acoustic Trio). The studio itself should also take top billing, because in the tradition of krautrockers Can and Bitches Brew-era Miles Davis, the band takes its winding, incandescent motoric rock and roll improvisations and edits them into coherent compositions using the mixing desk after recording. And that's where the sound lab half of the equation appears. The end result is flowing and droning ambient proto-punk reminiscent of fellow travelers NEU!, Stereolab, - Joshua Levine

Our intention is to create music with an unrehearsed minimalist approach performing simple beats, riffs, and sequences that take one inward. We attempt to create a sonic environment to set one's mind free and to become aware of the nuances of tone, melody, and structure. We organize our recording equipment with the same approach, in a transparent manner. Our recorded performances are never rehearsed. Our belief is that a brilliant rehearsal is a lost opportunity to capture a magical moment. We are chasing the mystery of music and tone. We let the musical performance sculpt its own destiny and create imperfect perfection. Our tool of creation is the anxiety one feels when they are unrehearsed or prepared for a performance. We believe this approach brings us closer to the authentic self. The result is genuine music without an agenda that captures the unfiltered spirit.
- Trees Speak


The music was recorded live in one room with no overdubs or repairs, only using edits to create arrangements. All tracks were written over a 5 day period at Sacred Machine Studio and Dust & Stone Studio.

Teenage Fanclub have announced details of the vinyl reissues of two more of their classic albums - Man Made and Shadows.

Released on Friday 14th December 2018 through Republic of Music, they will be packaged in faithful re-productions of the original vinyl artwork and available on heavyweight 180g single vinyl.

The band have also selected rarities, favourites and tracks previously unavailable on vinyl to include on a 7' with each album. These 7' singles will each feature two tracks and will only be available with the initial pressing of each album.

Additionally, the band are about to embark on a series of very special three-night runs of shows in Glasgow, Manchester, Birmingham and London where they will be playing songs from different eras on each night, these will include songs never previously performed live by the band. Very limited tickets remain for two shows only in Glasgow and Birmingham.

Teenage Fanclub have announced details of the vinyl reissues of two more of their classic albums - Man Made and Shadows.

Released on Friday 14th December 2018 through Republic of Music, they will be packaged in faithful re-productions of the original vinyl artwork and available on heavyweight 180g single vinyl.

The band have also selected rarities, favourites and tracks previously unavailable on vinyl to include on a 7' with each album. These 7' singles will each feature two tracks and will only be available with the initial pressing of each album.

Additionally, the band are about to embark on a series of very special three night runs of shows in Glasgow, Manchester, Birmingham and London where they will be playing songs from different eras on each night, these will include songs never previously performed live by the band. Very limited tickets remain for two shows only in Glasgow and Birmingham.

With a decade between releases, VILDHJARTA remain as inscrutable and as close to anonymity as a band can be. VILDHJARTA's down-tuned, staccato riffs and pulverizing grooves are the sound of music stripped to its essence. Yet, the Swedish collective’s long-awaited album, måsstaden under vatten, is far more than a recitation of djent values. Clocking in at 80 minutes, it thematically picks up where the dark Swedish fable of 2011’s Måsstaden left off and delivers on the promise that record hinted at. Tracks like the recently released “när de du älskar kommer tillbaka från de döda” (“When the Ones You Love Return From the Dead.”) suggest a newfound subtlety and sophistication amidst the bombast and beauty in the breakdown.
Since dropping a minute of new live music in 2016, the band's focus has almost entirely been on the new album with drummer and now noted producer, Buster Odeholm (Born of Osiris, Shadow of Intent, Humanity’s Last Breath) heavily involved in the production, mixing and mastering of the music. Visual artist Rickard Westman, who did art for VILDHJARTA's debut as well as their Thousands of Evils EP in 2013, has also returned to the equation to reprise his disturbing visual iconography. Says the band: “Art happens when art happens.”
The sound of music is rarely this challenging, unforgettable and worth the wait.

A Svart Mondo release. The original vinyl of “Harvest Time”, the debut album by the Finnish band Elonkorjuu (which means ‘Harvest’ in Finnish), has been the among the most valuable collector’s items in Finnish rock: its average prize in 2021 is over 1200 euros, and even over 2000 euros have been paid for a mint copy. Recorded almost entirely live and originally released in 1972, Elonkorjuu’s “Harvest Time” is a best kept secret for many Scandinavian Prog aficionados. With music inspired by groups like Cream and Free with more progressive and free-jam style, Elonkorjuu is one of the few bands that successfully progressed the whole heavy Blues/Psych Rock style in a way that made them a little unique and ahead of their time. Drawing initially from the schools of bands like Sabbath and Colosseum but expanding on those influences with soulful church organ and cutting guitar from leader Jukka Syrenius, “Harvest Time” is entirely worth it’s reputation as a sought after treasure. A killer album from beginning to end. Heavy guitar work all over and great vocals sung in English,which is rare for a Finnish band of this era.
Finally receiving a worthy reissue from the vinyl obsessives at Svart Records, “Harvest Time” sees the light of day again on gatefold vinyl, including new liner notes. If you have an ear and place in your heart for the shadowy and mysterious world of early heavy progressive rock, then it’s probably “Harvest Time” for you!

Hannah Zhalih Mickunas is a multidisciplinary artist currently living on the Northern California coast. After a first album recorded for eilean rec. in 2018, she comes back 3 years later on LAAPS with her second LP, "They Call".

All songs, voices and instruments by Hannah Zhalih Mickunas. Recorded between 2013 and 2021.

Beats/electronic by:
Michael J Collins on "Shadows from the sky", "Water", "Blue Dust"
Jake Holmen on "Like a Wave", "Seventeen", "Trouble"

Beth Navah co-wrote "Visions of Clay" and "Crying like a Lamp"

Wasted Cathedral is the solo project of Saskatoon-based musician Christopher Laramee (Shooting Guns, The Switching Yard, and The Radiation Flowers). This new album is the latest in an impressive line of releases that have explored a variety of sounds, from ambient drone and electronic disco to experimental chaos and downtempo electronica. I'm Gonna Love You 'Til The End Of Time is made up of seven songs and is undoubtedly influenced by the starkness of the Canadian Prairie and long Saskatchewanian nights. It serves well as a soundtrack to the setting of any number of listening experiences, particularly when experienced with headphones. No matter the direction Laramee has chosen to guide Wasted Cathedral, the result has always been intriguing and captivating. I'm Gonna Love You 'Til The End Of Time is certainly no exception.

Laramee describes Wasted Cathedral as incidental music, improvised soundscapes created in passing moments, like musical snapshots. This makes perfect sense, considering the likes of Sarah Davachi, Peter Kember, Terry Riley, and Augustus Pablo inform Laramee's approach to composition, as well as tone-setting and mood. According to Laramee, this collection of songs is a continuation of his previous work, albeit in a more stripped down fashion.

Wasted Cathedral is recommended for listeners of Flying Saucer Attack, DJ Shadow, Spectrum/Sonic Boom, Spiritualized, and Portishead.

Sweat drops on naked skin, gloss high upon the white blue sky. Take me to the top, white wash seashore break on the rock. Seduction mainstream leftfield of the Balearic dream. No shadowseater, boardwalk sunfeeler

Non-binary artist and producer peachlyfe emerges from the high-speed, forward-thinking Copenhagen Techno scene; known for their energetic approach to production coupled with an affiliation for peculiar rhythms and a desire to explore the outer reaches of dance music.

‘Creeper’ sets the standard; unveiling as a fast-paced, itchy and foreboding blend of highly charged kickdrums, rolling hats and sticky, palpitating synths. Nene H, a dynamic producer with strong ties to the Danish capital through her residency at one of the cites most loved parties ‘Endurance’, is on hand to remix- turning in a late-night tale that moves amidst the shadows.

The low-slung groove of ‘Trashman’ is as hypnotic as they come; the type of mind-bending composition that leaves you questioning what exactly just happened, bringing the A-side to a gripping close.

Industrial and brooding, ‘Burst’ opens the B-side with a bang, followed by ‘Elemental Friend’, a trance-leaning cut, blended with percussion that strikes down like metallic fists.

"How that time has gone, vanished beneath night’s cover, just as if it never had been! The wall, wondrous high, decorated with snake-likenesses, stands now over traces of the beloved company. The ash-spears’ might has borne the earls away—weapons greedy for slaughter, Fate the mighty; and storms beat on the stone walls, snow, the herald of winter, falling thick binds the earth when darkness comes and the night-shadow falls, sends harsh hailstones from the north in hatred of men.



All earth’s kingdom is wretched, the world beneath the skies is changed by the work of the fates. Here wealth is fleeting, here friend is fleeting, here man is fleeting, here woman is fleeting—all this earthly habitation shall be emptied."



— Exeter Book (1072)

PAURA explores the horror repertoire from the precious CAM Sugar archives taking us on a hypnotic journey into the labyrinths of fear, through the different variations that Italian horror took on from the esoteric and supernatural to the slasher films of the early 1970s; to reinterpretations of Romantic literature and gothic fiction to the splatter films of the ‘80s; and from witchcraft to metropolitan horror. This is not a real “best of” but an eclectic menu full of mysterious voices, childlike lullabies, sweet melodies, obsessive music boxes, obstinate harpsichords, crazy distortions and threatening synthesizers, conceived as a succession of sequences, as if a film edit. The new collection includes some of the most creative music ever written and strives to do justice not only to some of the best known composers in this genre, but also to many great unsung composers: From celebrated composers like Ennio Morricone, Riz Ortolani & Stelvio Cipriani to long-forgotten personalities who fed the industrial backbone of Italian cinema such as Daniele Patucchi, Marcelo Giombini & Berto Pisano. The collection includes 6 previously unreleased tracks plus 3 tracks released on vinyl for the first time and 5 tracks available commercially for the first time (originally released only as a limited promo item).

Parquet Courts’ thought-provoking rock is dancing
to a new tune. ‘Sympathy For Life’ finds the
Brooklyn band at both their most instinctive and
electronic, spinning their bewitching, psychedelic
storytelling into fresh territory, yet maintaining their
unique identity.
Built largely from improvised jams, inspired by
New York clubs, Primal Scream and Pink Floyd
and produced in league with Rodaidh McDonald
(The xx, Hot Chip, David Byrne), ‘Sympathy For
Life’ was always destined to be dancey. Unlike its
globally adored predecessor, 2018’s ‘Wide
Awake!’, the focus fell on grooves rather than
rhythm.
“‘Wide Awake!’ was a record you could put on at a
party,” says co-frontman Austin Brown. “‘Sympathy
For Life’ is influenced by the party itself.
Historically, some amazing rock records been
made from mingling in dance music culture - from
‘Talking Heads’ to ‘Screamadelica’. Our goal was
to bring that into our own music.”
Deluxe LP features tipped on gatefold sleeve with
a glued-in six page booklet.

Parquet Courts’ thought-provoking rock is dancing
to a new tune. ‘Sympathy For Life’ finds the
Brooklyn band at both their most instinctive and
electronic, spinning their bewitching, psychedelic
storytelling into fresh territory, yet maintaining their
unique identity.
Built largely from improvised jams, inspired by
New York clubs, Primal Scream and Pink Floyd
and produced in league with Rodaidh McDonald
(The xx, Hot Chip, David Byrne), ‘Sympathy For
Life’ was always destined to be dancey. Unlike its
globally adored predecessor, 2018’s ‘Wide
Awake!’, the focus fell on grooves rather than
rhythm.
“‘Wide Awake!’ was a record you could put on at a
party,” says co-frontman Austin Brown. “‘Sympathy
For Life’ is influenced by the party itself.
Historically, some amazing rock records been
made from mingling in dance music culture - from
‘Talking Heads’ to ‘Screamadelica’. Our goal was
to bring that into our own music.”
Deluxe LP features tipped on gatefold sleeve with
a glued-in six page booklet.

Coloured Vinyl

New Zealand based, Australian Composer Micah Templeton-Wolfe has been creating music as Stray Theories for over 15 years now. Crafting cinematic ambient for personal listening and film.
Limited edition clear copper LP plus download card.
n5MD is proud to announce his 4th full-length and second with the label: This Light. This Light takes Templeton-Wolfe's amalgam of modern classical, ambient, and post-rock and sheds ample focus on each aqueous element.
It's cinematic yet tranquil, with loads of melancholia—each work cascading to emotive heights. This Light is equal parts majesty, confidence, sincerity, and sympathy. So aptly named, the album can be seen as Templeton-Wolfe's shining light in the Stray Theories catalog.

Hailing from the United States, Haunt began as the work of modern
renaissance man Trevor William Church.
Son of Montrose / Sammy Hagar solo bassist Bill “The Electric” Church, the
California native came to prominence as the vocalist/guitarist of doom-lords
Beastmaker, who’ve released two critically acclaimed albums on Rise Above.
As Haunt, Church went solo and created a bewitching brew of classic, turn-ofthe-’80s heavy metal, drawing deeply from the momentous NWOBHM movement. He proved just how proficient and powerful his vision is with Haunt’s
2017 debut EP, ‘Luminous Eyes’, which was originally self-released but then
picked up for physical release by Shadow Kingdom not long after.
Fans and critics all agreed, and quickly: Haunt is heavy metal heaven, and
Church’s brilliance has only just begun

Clive Nolan is a British musician, composer and producer who has played a prominent role in the recent development of progressive and symphonic rock. He has been a regular keyboard player in bands such as Pendragon, Arena, Shadowland, Strangers on a Train and Caamora. He is the lyricist and composer of numerous rock albums and musicals, including the Arena catalogue, a monumental rock opera "She" and two Victorian inspired Steampunk musicals, "Alchemy" and "King's Ransom". 'Song of the Wildlands' by Clive Nolan's is a secular oratorio with elements of rock, progressive rock, folk and classical music. The story is based on one of the oldest English poems "Beowulf", which is an account of life and heroic deeds by the mighty warrior protecting the land from the vicious monsters. The album was recorded during the 2020 pandemic and features vocalists and instrumentalists from the UK and Norway playing a variety of rock and Nordic folk instruments, as well as a 200-voice choir recorded distantly by singers from all over the world singing in Old English (Anglo-Saxon). 'Song of the Wildlands' is the biggest music venture from Clive Nolan so far.

Greetings Earth-o-nauts.

The worm has (re) turned! And this time the Regal Worm (Jarrod Gosling of I Monster, Cobalt Chapel) is tackling The Hideous Goblink.
An album painstakingly created by one solitary man ensconced in his darkened, tiny sky parlour of awe, wonder, and heaps of dusty old gear.

Regal Worm’s mission is putting a ‘ggressive’ back into progressive. Getting grubby with the ghosts of the old gods.
The Hideous Goblink reveals a distinct sense of urgency, expressing abstract musings on the shadow cast by our colonial history, nationalism,
terrifying overlords, and what the future might hold for the ever shrinking third tone from the sun.

The fourth Regal Worm offering draws on a number of fresh musical influences; be it space rock, cosmic funk, sludge, fusion, choirs, electronics or pop.

Reinvigorated and revitalized, REAPING ASMODEIA are back and set to leave their mark on 2021 with their third full length, Darkened Infinity - due for release via Prosthetic Records on October 15. The Minneapolis, Minnesota three-piece present twelve tracks of rhythmically acerbic modern technical death metal and thematically dauntless songwriting, weaving together a conceptual story of transcendence, consciousness and humanity’s ongoing struggle with the psychological self. Darkened Infinity sees REAPING ASMODEIA capitalize on a growing reverence within extreme metal circles for their off-kilter time signature changes and complex songwriting, thanks in no small part to Alexander Kelly (guitars) and Daniel Koppy (drums)’s blistering sonic camaraderie that make the foundations of the band’s assault. Replete with an inhumanly savage vocal performance across Darkened Infinity’s runtime from Steven Lane, the trio shine on apocalyptic album highlights False Awakening, Oneironautic Oblivion and Simulacra. Produced and engineered by the band themselves in Minneapolis before being mixed and mastered by Zack Ohren (Machine Head, All Shall Perish, Carnifex) at Castle Ultimate and Sharkbite Studios, Darkened Infinity’s intricate lead melodies unfurl with a menacing clarity when set against the album’s more abrasive tones.