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In 2021, Will Marsh ditched his music career, packed his bags and headed to New Orleans to pursue an MFA. Pandemic brain had firmly set in, so while Marsh dove into his work with Habitat for Humanity, he also found himself dazed and confused amidst such a turbulent time. Music wasn't at the forefront of his mind_ but it chased him. Let's rewind a bit. Will Marsh started Gold Connections at the College of William and Mary, where longtime friend Will Toledo (Car Seat Headrest) produced and recorded Marsh's debut self-titled EP, released via Fat Possum in 2017. Two EPs followed on EggHunt, 2018's Popular Fiction and 2019's Like A Shadow. This leads us to Fortune, the band's brand new LP, out worldwide on October 25 via New Orleans indie Well Kept Secret. It's a record that sounds like "a conversation between old Virginia and the buzzy psychedelic world of post-COVID New Orleans," according to Marsh. The eleven tracks on Fortune deftly navigate a geographical and spiritual journey: remorse, intoxication, anger, mystery, destruction, and regeneration, delivered with the same approach that NPR hailed as "undeniably catchy" and Sterogum claimed was "an animal of it's own."

Strange Power!, the fifth record from Durham, NC-based songwriter and poet Anne Malin Ringwalt, emerges from the darkest waters of the self into a world remade. Releasing in conjunction with her second book of poetry, What Floods (Inside the Castle, Oct. 2024), Strange Power! overflows with Ringwalt's teeming and sensuous personal symbolry: glowing lilacs and gentle queens, dolphins wild and girls who grew up brave _ T.S. Eliot sung by Cat Power, backed by Mount Eerie. She sings: "I rose up from water." Ringwalt writes and performs with the authority of a lifetime spent harnessing the alchemy of storytelling; her belief in the power of words to heal and transform is palpable in each achingly- delivered lyric. Made amidst profound inner and outer change, Strange Power! also sees Ringwalt taking up the role of self-producer for the first time, mirroring and supporting the record's Orphic quest by gathering contributions from a coterie of friends wielding an electric range of American instruments. Violins, vibraphones, drum machines, electric guitars dappled with spring reverb, wind-blown shells, and a host of other numinous sounds form an unfurling and shadowy world which was then carefully honed during the mixing process (shepherded by Michael Cormier-O'Leary and Lucas Knapp) _ settling the final record in an eerie meridian between spareness and verdancy. The result is a beguiling and darkly blooming realm: the sound of a personal cosmos being remade, piece by piece. Ringwalt is at the height of her spirit as both songwriter-poet and singer, her willowy voice by turns conjuring and keening as she reckons with her deep past and the stories told since. Opening track "The Pines" sets the stage for a record of truly life-long scope: "I was a child, now I hold her / I was asleep for many years." Some songs, like the gorgeous "North Carolina" and "The Saint," were written as early as 2013 but, Ringwalt says, "insisted upon being remembered" as the record took shape; in its final form, they serve as inciting moments of self-discovery before the journey to come. "The Visionary" recalls one of Ringwalt's earliest musical breakthroughs _ her re-rendering of an Emily Brontë poem into a song at age 15 _ and, she says, "`cites' the melody of that song in the context of this new one _ a holding of the past and present and every layer in between/beyond, in utter solitude _ a solitude that reflects certain aspects of abandon as a child and an adult..." This unusually lengthy time-scale lends Strange Power! a deeply moving sense of narrative fullness. Stretches of the record _ particularly the "Judgment Day" ? "River" ? "Lilac Bloom" trifecta that form the black heart of Side 1 _ may recall familiar wanderings of personal underworlds such as Mount Eerie's Lost Wisdom Pt. 2 or Neil Young's Ditch Trilogy. Yet this hollowed landscape is in turn exorcized by the a capella "I Know," in which Ringwalt sings "I won't be gutted by you / For giving and trying to heal / I won't be gutted, I am not a fool / I deserve a love that is new" before the song concludes with a piano passage that recalls hymnal music _ suggesting a faith in life itself to offer new beginnings. Side 2 features some of Ringwalt's most powerfully introspective writing to date, as the songwriter casts off myth after myth in her search for personal transformation. By the final song, "Stories," the energy that has been gathering all throughout the record breaks loose as Ringwalt reflects: "I wrote so many stories, not knowing what the end was." But at this stage in the journey, we know there is no such thing as an ending; if the healing process is never complete, the storyteller's strange power is what finally offers liberation.

Fat Freddy’s Drop hit the ground running with new studio album SLO MO, a bass-heavy blast of redemption and resolution. Described by Fitchie as 'afro rhythmic soul music, an exploration of Black music from Polynesia’, this heady mix creates the undefinable Freddy’s sound. Renowned worldwide for euphoric live shows, the Aotearoa band stepped inside their BAYS studio in Wellington, sunup to sundown, to craft a sixth studio album. SLO MO is the strongest studio representation yet of a Freddy’s live show’, says Chopper Reeds. 'Usually we take the stage to the studio and this time, we're excited about taking our studio creation on to the stage.'
Emerging with nine tunes, SLO MO will drop first on double vinyl, opening the door for the full length album to be experienced as a body of work curated as Freddys intended.
Chopper Reeds continues, 'Towards the latter part of the record, Joe Dukie’s vocal presence becomes quite spectral allowing listeners to inject themselves into the music.
The evocative cover art is by Dan Tippett, Aotearoa New Zealand Artist, who describes the image as ‘an ancient ngahere forest in a Jurassic Aotearoa dreamtime.’

Fat Freddy’s Drop hit the ground running with new studio album SLO MO, a bass-heavy blast of redemption and resolution. Described by Fitchie as 'afro rhythmic soul music, an exploration of Black music from Polynesia’, this heady mix creates the undefinable Freddy’s sound. Renowned worldwide for euphoric live shows, the Aotearoa band stepped inside their BAYS studio in Wellington, sunup to sundown, to craft a sixth studio album. SLO MO is the strongest studio representation yet of a Freddy’s live show’, says Chopper Reeds. 'Usually we take the stage to the studio and this time, we're excited about taking our studio creation on to the stage.'
Emerging with nine tunes, SLO MO will drop first on double vinyl, opening the door for the full length album to be experienced as a body of work curated as Freddys intended.
Chopper Reeds continues, 'Towards the latter part of the record, Joe Dukie’s vocal presence becomes quite spectral allowing listeners to inject themselves into the music.
The evocative cover art is by Dan Tippett, Aotearoa New Zealand Artist, who describes the image as ‘an ancient ngahere forest in a Jurassic Aotearoa dreamtime.’

DJ MAG:
"Spanning 10 tracks, 'The Fifth Chakra (Ambient Space Tea)' explores sound system culture, covering one of the British-Jamaican artist's biggest influences. The record is largely beatless and focuses on the power of sub-bass and other electronics, moving away from the percussive house energy of much of his past material."


909Originals:
"The largely ambient album is a departure from the thumping beats that Mr G has become famous for, but it also displays his personal, emotional side - tracks like Constant, Solar Eclipse NYC and The 5th Chakra encapsulate an artist allowing himself the freedom to roam through his influences."


Resident Advisor:
"Never did I think I'd get to a meditative place and learn restraint,' he said. "This is the album I've always wanted to make, never thinking I could. Also, after loving others' bass-heavy albums, it's a joy to put my own into the mix. But I always remember my thing is weight and tone in whatever I take on. Especially in this flat, compressed world."

8 cuts of minimalist electronic bliss

"Dark Entries calls on Philadelphia experimental duo The Ghostwriters to resurrect their 1981 LP of minimalist mayhem, Objects In Mirrors Are Closer Than They Appear.

The late Buchla maestro Charles Cohen and multi-instrumentalist Jeff Cain joined up in 1971 to craft electroacoustic chaos as Anomali, later renaming themselves The Ghostwriters. Their collaborations with choreographers and visual media artists led to their singular style, straddling improvisation and composition, the oneiric and the immediate.

1981 saw the release of their debut album, Objects In Mirrors Are Closer Than They Appear, a whirling, messy, telepathic slipstream cascading across an imaginary landscape. Recorded in Don Buchla’s childhood home, Objects offers 8 cuts of minimalist electronic bliss, equal parts icy and quirky, with standout cuts including the grooving havoc of “Fix it in the Mix” and the otherworldly hymn “Moon Chant.” These angular pearls will be cherished by fans of John Bender, Ceramic Hello, and all strains of outsider 80s electronics.

Objects In Mirrors Are Closer Than They Appear has been freshly remastered and includes an insert with photos and liner notes. Proceeds from the album will be donated to SOSA (Safe from Online Sex Abuse), a nonprofit that combats online child sex abuse and trafficking"

When the Beat Konducta and his trusty alter ego link up for the sequel, another southern California blunt cruise ensues. The Adventures Of Lord Quas consists of a slow ride through the deepest corners of the crate, leaving no genre unearthed until it claims space in the haze of one’s imagination. It’s business as unusual: Madlib funnels his most twisted impulses and comedic sensibilities into a sonic slacker flck complete with good dope, bottom-shelf liquor, and a penchant for gazing mouth agape into the great unknown. But he knows Lord Quas like a good needle on wax, and they casually strut through the loops, much ado about frontin’. (Not like fake shit ain’t a big deal, but it ain’t a big enough deal.) This record captures Madlib and his id at their most frantic, indulgent, and often confusing; they trade neatness for chaos, continuity for collage in a barrage of the finest sounds this side of the B-side. It’s hip-hop that takes every visible risk, often striking gold and proving how in control the Loop Digga truly is. Don’t hit it too hard, your other selves might pay you a visit.

Love Is A Flame In The Dark is the debut album by experimental songwriter Karl D’Silva. A raw labour of love, a towering spire of twisted steel, tenderness and becoming, it’s a body of songs that belies the virtuoso talents of an artist whose reputation has been built on collaborating with various avant garde underground luminaries. Self-recorded at home in Rotherham and pulsing with the conviction of a true believer, these songs burst out of their self-consciousness to meet life head on, bristling with energy, 10 glimpses of the human spirit in the darkness.
Recorded throughout 2021 - 2023 and mixed in Leeds with engineer Ross Halden, D’Silva has constructed a Pop language for himself. Mutated songs that owe a small debt to the post-Industrial music of Cabaret Voltaire, Nine Inch Nails and Coil, they’re nonetheless powered by a vigorous tenderness, earnestness and D’Silva’s knack for melody. Each song is meticulously sound-designed, using synthesised sounds created from scratch married with D’Silva’s virtuoso playing on saxophone and guitar. The songs on Love Is A Flame In The Dark are unabashed, earnest love letters to living, requiems for a world fading away and small gestures of solidarity in the face of entropy.
Until now, D’Silva’s fingerprints could be found on live dates with Thurston Moore, Oren Ambarchi, Hardcore pioneers Siege and Rian Treanor as well as recordings by previous groups Trumpets Of Death and Drunk In Hell. Primarily associated with the alto saxophone in his improvisation work, Love Is A Flame In The Dark features a dizzying array of instrumentation, all played by D’Silva. D’Silva’s current membership of the group Vanishing may be a good touchstone for the dense, sonically thrilling world-building on the album but the most
striking instrument, perhaps, is D’Silva’s voice. With a soulful, rasping timbre resulting from prolonged intubation as a new-born, his vocal is both fearless and tender. On the soaring, electronic body mover Wild Kiss, thundering percussion is in service to Karl’s voice full of desire, arching up into a flayed falsetto. It’s a trick repeated on Flowers Start To Cry, where it’s deployed against the backdrop of layers of ripping alto and thudding drum programming that recall Nine Inch Nails’ visceral production, if they were covering a Prince hit. These songs capture the essence of 2024’s Karl D’Silva music; pure physicality
breaking down to reveal a shining, compassionate vulnerability.
The full breadth of Karl D’Silva’s instrumental prowess is in evidence from the off. On The Outside imagines blooming out of personal apocalypse with a soundscape of synth, saxophone worthy of any late 60s Free Jazz blower and crushing sound design. Entropy is planet-sized synth pop, Nowhere Left To Run uses midi-string orchestration to tell a story of light emerging from the dark. It’s a theme picked up
throughout the album: The Butcher is a political parable, the narrator holding power to account with grotesque, brutal imagery. It’s on a track
like Real Life that the true message emerges, however. D’Silva is peering through the layers of artifice, struggle and the fog of daily
living to find a life full of energy, connection and light. Each song here is a route into this light, out of the darkness.

The Leeds jazz scene is the gift that keeps on giving. From the dub-leaning ambience of Submotion Orchestra through to the afro-jazz fusion of Nubiyan Twist and TC & The Groove Family, a multi-generational lineage has emerged. Adding yet another page to the eclectic story of jazz from the city, emerging punk-jazz upstarts Plantfood announce the imminent arrival of their debut album ‘Carnivores’ on Friday 4th October via Bridge The Gap.

Consisting of JJ Petrie (percussion), Ruben Maric (keyboards), Joe van der Meulen (tenor saxophone), Woolley (baritone saxophone), Finn Hamilton (drums) and Woody Hayden (bass), Plantfood began in the throes of lockdown, during which all the members lived together. The group spent day after day sharing their eclectic music tastes, ranging from the electronic punk of The Prodigy and art-rock of Black Country New Road, through to the jazz dance of Steam Down and The Comet Is Coming. Taking these influences, they crafted their own sound, but without live shows, their only audience was the plants in their rehearsal room:

“We called the band Plantfood because we were writing and rehearsing in one of our bedrooms which was full of house plants. The plants kind of became our only audience, so it was like the music was food for the plants.”

The band’s debut album ‘Carnivores’, plays on this theme, referring to the plants as carnivores for consuming the bands music, whilst also reflecting the apocalyptic palette of sounds and chaos found within the record. However, mirroring the dynamism of a Plantfood live show, the album is anything but one-dimensional. The group expertly balance moments of serenity and vulnerability with cataclysmic urgency, all brought together under the guidance of producer David Haynes (TC & The Groove Family, Nubiyan Twist). The group share:

“The album’s moments of vulnerability and hope are intended as the depiction of a return-to- earth theme (circle of life, growth and decay), reflecting that the cycle of nature is not simply destructive.”

The project’s lead single ‘Y.U.S.’ drew praise from tastemakers including Jamz Supernova on BBC Radio 6, with the track featuring the talents of UK-Palestinian MC Yung Yusuf, a serial collaborator who also appears on album closer ‘Monstera’. Both tracks channel Plantfood’s explosive live energy into a blend of afro-latin rhythms and broken grooves, with the distinctive blend of tenor and baritone saxophone weaving in and out of grime-leaning, poetic exchanges with Yusuf.

Elsewhere, the second single from the project ‘Birdgang Pt. II’ is a fresh take on the band’s contemporary jazz sound, blending jazz, Balkan folk and Moroccan rhythms with a punk edge. The album’s title track resets the balance, soothing the soul through a swirling approach to spiritual jazz that wouldn’t be amiss amongst the Gondwana Records catalogue.

Nuclear's seventh studio release brings something different to the table. Three new rabid songs and three covers songs are going to be way too much brutality for you to easily process. Beware; this new album will transport you to the early 90s and will not let you go until it ends. Thick sounding guitars, insanely fast drumming and non-stop deafening screams are the key ingredients for the perfect storm: VIOLENT DNA.
Not to be missed songs: "Violent DNA" and "Psychological Infanticide", are just a hint of this short but effective aggression from this south American quintet. Even without listening to it, you'll be caught by just looking at the graphic and gruesome cover art.
Without a doubt, VIOLENT DNA will become a MUST for all metalheads in 2024.
This is something we cannot change: This is our Violent DNA.
Sound Like: Early Sepultura, Vomitory, Sodom, Exodus, Obituary, Slayer and Napalm Death.

Gold/schwarz/weiß Colour in Colour Vinyl mit Splatter. Limitiert auf 350 Exemplare. Nach dem ersten selbstbetitelten Langspieler von 2020 und einer auch durch die Covid-Pandemie erschwerten Phase des Haderns und der Findung, des Zusammenwachsens und Besinnung liegt nun - vier Jahre nach dem selbstproduzierten und in Eigenregie veröffentlichten Erstlings - das zweite, auf dem Krefelder Label ,Tonzonen Records` erscheinende Album ,Willow" vor, welches auch dieses Mal von Mitgliedern der Band aufgenommen und gemischt und durch ihr Idol Eroc zu einer vor Kraft, Atmosphäre und Selbstbewusstsein strotzenden "Produktion auf Weltniveau" weiterverarbeitet wurde. Die acht Songs vereinen die Einflüsse der fünf Bandmitglieder zu einer ausgewogenen Mischung: jeder Song steht für sich und zusammen ergeben sie doch ein Ganzes, was sinnbildlich verdeutlicht, wie sehr die letzten vier Jahre die einzelnen Individuen zu einer Einheit geformt haben. War der selbsbetitelte Erstling noch Blues- und Stoner-lastig, so sind auf ,Willow" die Einflüsse zahlreicher und die Spannungsbögen größer. Natürlich bleibt die Band ihrem Grundsound treu - Trotzdem treten neue Klangfarben zutage: Seattle in den 90er Jahren hat seinen Einfluss hinterlassen, schwedischer Schweinerock blitzt hier und da durch. Und auch das ein oder andere, mehrstimmige Gesangsarrangement scheint man aus den großen Stadion Rock Hymnen der 80s zu kennen. Das Ergebnis erscheint selbstverständlich nicht als billige Kopie, sondern als klare Hommage an die vielfältigen Einflüsse der Band.

After a nine year hiatus SUN AND SAIL CLUB are back and they've come back swinging! This album is more aggressive than the previous album, as if that was even possible. Same line-up as before featuring Scott Reeder (FU MANCHU/SMILE) on drums, Scott Reeder (KYUSS/THE OBSESSED/FIREBALL MINISTRY) on bass, Bob Balch (FU MANCHU/SLOWER/BIG SCENIC NOWHERE/YAWNING BALCH) on guitar and Tony Adolescent (THE ADOLESCENTS) on vocals. The album starts with a mellow jazz guitar piece and then proceeds to rip your face off until the end of the album, which closes with another solo jazz guitar piece. "Shipwrecked" is their strongest album yet. Fully realized and to the point. Fast and dissonant. "This album is a compilation of riffs collected over a nine year period. Most of the songs were written last year but some of them have been floating around for a while. There is a general sense of unease throughout. I wanted to make an album that went one step further than "The Great White Dope." The songs are faster and more intense at times. It's basically the soundtrack of me beating the shit out of my guitar. Then you factor in Scott Reeder on drums, Scott Reeder on bass and Tony Adolescent on vocals and you've got something more than I could have imagined by myself. This album is raw and pummeling. If you're a glutton for punishment this might be your desert Island record." - Bob Balch Recorded at Jim Monroe's The Racket Room, Casa De Balch, and Scott Reeder's The Sanctuary

Red vinyl, limited to 300 copies. After a nine year hiatus SUN AND SAIL CLUB are back and they've come back swinging! This album is more aggressive than the previous album, as if that was even possible. Same line-up as before featuring Scott Reeder (FU MANCHU/SMILE) on drums, Scott Reeder (KYUSS/THE OBSESSED/FIREBALL MINISTRY) on bass, Bob Balch (FU MANCHU/SLOWER/BIG SCENIC NOWHERE/YAWNING BALCH) on guitar and Tony Adolescent (THE ADOLESCENTS) on vocals. The album starts with a mellow jazz guitar piece and then proceeds to rip your face off until the end of the album, which closes with another solo jazz guitar piece. "Shipwrecked" is their strongest album yet. Fully realized and to the point. Fast and dissonant. "This album is a compilation of riffs collected over a nine year period. Most of the songs were written last year but some of them have been floating around for a while. There is a general sense of unease throughout. I wanted to make an album that went one step further than "The Great White Dope." The songs are faster and more intense at times. It's basically the soundtrack of me beating the shit out of my guitar. Then you factor in Scott Reeder on drums, Scott Reeder on bass and Tony Adolescent on vocals and you've got something more than I could have imagined by myself. This album is raw and pummeling. If you're a glutton for punishment this might be your desert Island record." - Bob Balch Recorded at Jim Monroe's The Racket Room, Casa De Balch, and Scott Reeder's The Sanctuary

“Christmas is constant,” says Ben Folds. “Allowing you to take stock of what’s different, to understand who you are and all the ways you’ve grown and changed.” That notion lies at the heart of Folds’ brilliantly titled new holiday collection, Sleigher. Built on an eclectic mix of originals and reimagined classics, the album examines thepassage of time through the lens of Christmas, reflecting on memory, loss, and longing as it explores the variety of ways the yuletide season marks the chapters of our lives. The songs are playful here, full of humor and cheer, but they’re also laced with an inescapable sense of melancholy, a looming darkness that always seems to hover around the periphery of those late December nights. Folds’ performances, meanwhile, flirt with the standards while stretching the boundaries of tradition, at times offering up flashes of Vince Guaraldi and Burt Bacharach while still remaining true to Folds’ singularly virtuosic brand of off-kilter indie pop. The result is not so much a Ben Folds Christmas record as it is a Ben Folds record set at Christmas, a meditation on the inexorable turning of the calendar and our ever changing selves as observed at the most wonderful—and challenging—time of the year.

"“Tenalach - The relationship with the land, the sky, the water and the deep connection that allows you to hear the earth sing and be one with nature”

Following on from their many mutual remixes and first collaborative EP “Pleamar” (Wonderwheel Recordings 2020) Chancha Via Circuito y El Búho return with a new EP “Tenalach"" which sees the duo enter new territories and soundscapes. This mysterious, atmospheric and melancholic EP is like the soundtrack to a videogame that takes place in a strange and wonderful parallel universe.

Imagine Zelda set in the jungles and mountains of Latin America.

Croaking frogs sit next to driving snares on the genre-defying Sapo Cururú, birds float above strobing synths on Oropéndola while Sumay’s epic synth lines melt into Chancha’s trademark percussions on Sumay. Opener El Samurai is perhaps the closest to the pair’s well-known folktronic sound, marrying cowbells with bowing violins and its animal-esque synth line.

While the BPM may have risen, this is neither ‘downtempo’ nor ‘umtempo’ and an EP that cannot easily be pigeon-holed - it is fresh and original. It also reflects a darker side to the pair’s music, a sub-conscious reflection of a changing world, holding in each song a constant tension and the desire to escape to new realities where the connection between humans and nature is blurred and equal."

Andrew Choi doesn’t claim to have all of the answers when it comes to talking about work in America. But if anyone is uniquely well positioned to raise questions, it’s him. Over the course of two decades, the Midwest-born, New York-based singer-songwriter—who performs under the name St. Lenox—has been a musician, a clothing store employee, an underpaid graduate student and scholar, and a salaried corporate attorney. This tremendous amount of experience is channeled into Andrew’s latest album.

Teen Jesus and the Jean Teasers are a powerhouse, celebrated for their raw emotion and incisive social observations. Their talent has earned them nominations for Best Independent Punk Album or EP at the AIR Awards, Emerging Songwriter of the Year and Song of the Year at the APRA Awards, along with nods from the J Awards and Rolling Stone Awards. Recognised as Spotify's RADAR Artist, their rising global influence is undeniable. Following their award winning 2022 EP, Pretty Good For A Girl Band, their debut album I Love You charted at number 6 on the ARIA Albums Chart, marking a significant milestone.

The accompanying tour saw them sell out iconic venues like 170 Russell in Melbourne, the Metro Theatre in Sydney, and The Triffid in Brisbane. They capped off the year supporting the Foo Fighters at AAMI Park in Melbourne and launched into 2024 by supporting The Vaccines across the EU/UK. I Love You showcases the bands growth, with each member contributing to songwriting. It stands as a definitive statement of their sound—joy, rage, and euphoria, delivered with precision and heart. Teen Jesus and the Jean Teasers continue to make waves, solidifying their place in the music industry.

Untenable is the sophomore full-length by Washington, D.C.’s Bad Moves. On this record, the band has leaned into the outer edges of their influences, expanding their power-pop umbrella to include hints of folk, garage rock, and ’90s “indie” while still keeping the hooks tuneful and sticky. Lyrically, the band explores the myriad anxieties of modern living -- from heady questions of self-definition and identity to day-to-day matters, like labor precarity, climate change, social media, automation and the surveillance state."

Reissued on Bloodshot Records & pressed on Sunshine Yellow vinyl!

Fear of Death is a Serious Album about Serious Topics – a doomed future, abandoning life in the city, and the inevitability of death. It’s Heidecker’s biggest sounding and most fleshed out album yet featuring an all star band comprised of Weyes Blood’s Natalie Mering (vocals and piano), Drew Erickson (Jonathan Wilson, Dawes), The Lemon Twigs’ Brian and Michael D’Addario, Jonathan Rado, and string arrangements by Spacebomb’s Trey Pollard (Foxygen, Bedouine, The Waterboys, Natalie Prass).

“strikingly timeless and authentic rock music, helmed by an underground Renaissance man” - Exclaim!

Neue limitierte Pink-in-Green/Colour-in-Colour Vinylauflage von "Sweet Tooth" (2022), dem dritten Album der kalifornischen Emo-Band Mom Jeans., aufgenommen in den Barber Shop Studios in New Jersey mit Produzent Brett Romnes (The Front Bottoms, Oso Oso, Dogleg). Die Band spricht von einem echten, umfassenden Studioerlebnis, das sie befähigte, ohne jegliche Abstriche ein bisher unerreichtes Maß an Feinschliff zu erreichen. Tyler Povanda (Save Face) und Kory Gregory (Prince Daddy & The Hyena) steuerten Vocals bei.

In what feels almost like an annual autumn tradition now, we’re mighty excited to announce the next release on our label, “Candor“ by Hett.

Working with friends has an especially rewarding quality which is why we’re particularly happy for Hett to join the AWK label family. Having known about his excellent production skills for a while, we were quite eager to unearth this hidden gem. It took a moment to put together but everyone’s patience paid off and we can proudly present you this beautiful 5 track record.

The Wearside raised and Berlin based artist provides the perfect formula for a club ready yet emotively aware package, making it hard to believe that this is only his debut EP. A work of music that embodies the refreshing candor of a forward thinking attitude whilst also giving a respectful nod to the past.

AWK 006, “Candor“ by Hett will be out on October 24th 2024. We hope you enjoy it as much as we do!

UK supergroup Flock return with their anticipated sophomore album "Flock II". Comprising an exceptional line-up featuring Bex Burch (fresh from her debut solo album on International Anthem), Sarathy Korwar, Tamar Osborn (Collocutor, Dele Sosimi, Unknown To Known), Danalogue (The Comet Is Coming / Soccer96) and Al MacSween (Kefaya), the new recordings showcase Flock"s ability to push the boundaries of the composition process and craft unique tracks based on their collective spirit.

Die Band, welche Alternative Country zum Durchbruch verhalf, ist zurück! 1983 begann Lone Justice in den Clubs von Los Angeles zu spielen und machte sich schnell einen Namen. 1984 bereits wurde man von Geffen Records unter Vertrag genommen, 1985 erschien das selbstbetitelte Debütalbum, mittlerweile ein Klassiker der Rockgeschichte mit geradezu ikonischem Cover. Die LA Times kürte es zum "Album des Jahres". Sie spielten Konzerte mit U2, Tom Petty & The Heartbreakers und Willie Nelson. Doch bereits nach dem zweiten Album löste sich die Band früh in 1987 auf, Sängerin Maria McKee und auch die Instrumentalisten begannen ihre Solokarrieren. Nun hat die Band 38 Jahre später ein neues, drittes Album fertiggestellt, mit zum größten Teil inspirierten Interpretationen von Fremdmaterial und Tradtionals, auf dem alle ursprünglichen Mitglieder des Debütalbums noch zu hören sind: Maria McKee, Ryan Hedgecock, Marvin Etzioni und auch der mittlerweile verstorbene Don Heffington. Zu den zusätzlichen Gästen gehören die Streicherarrangeurin Tammy Rogers, der Multihornist David Ralicke, Greg Leisz an der Steel-Gitarre und Benmont Tench am Klavier. Das Eröffnungsstück "You Possess Me" stellt Sängerin McKee in den Mittelpunkt, nur unterstützt von einem Streicher- und Mandolinenquartett. "Rattlesnake Mama" war einst ein dröhnendes elektrisches Stück in ihrem Live-Set von 1983 - diese Version ist jedoch rein akustisch mit Hedgecock an Harp und Tammy Rogers an der Fiddle. Später kreischen sie durch eine juvenile, atemberaubende Coverversion von 'Teenage Kicks' (der 1978er Single von The Undertones). Die Energie hält mit spürbarer Begeisterung für die Musik an und lässt Viva Lone Justice zu einem unerwarteten, inspirierenden Comeback werden. Lass den zweiten Frühling von Lone Justice auch dein Herz berühren, auch deine Scheune mit Folk, Rock, Country & Americana abbrennen.

Als Baby Woodrose 2016 eine Pause einlegte, änderte Frontmann und Songwriter Lorenzo Woodrose seinen Namen in seinen richtigen Namen Uffe Lorenzen. Er wechselte auch in seine Muttersprache Dänisch und veröffentlichte von 2017 bis 2021 drei Soloalben. Danach gründete er ein neues Power-Trio mit seinen alten Freunden Palle Demant am Bass und Jens Eyde am Schlagzeug. Die neue Band nannte sich Lydsyn und veröffentlichte 2022 ihr selbstbetiteltes Debütalbum. Jetzt schreiben wir das Jahr 2024 und die Band ist bereit, ihr zweites Album mit dem Titel ,Hojspændt" (was man mit Hochspannung übersetzen könnte) zu veröffentlichen, und das ist sicherlich ein passender Titel. Das Album wurde im berühmten Sweet Silence Studio in Kopenhagen von dem legendären Produzenten Flemming Rasmussen aufgenommen, der sich vor allem durch seine Arbeit an den Alben ,Ride The Lightning" und ,Master Of Puppets" von Metallica einen Namen gemacht hat.Lydsyn hat sich dem analogen Hörerlebnis verschrieben. Keine Backing Tracks, Auto-Tune oder Pro-Tools und ,all der Scheiß", wie die Band es ausdrücken würde. Abgesehen von ein paar Overdubs wurden die 10 Songs live im Studio aufgenommen und das merkt man auch an der dynamischen Performance. Die Songs auf ,Hojspændt" sind noch härter als die auf dem Debütalbum, und der Hardrock-Aspekt wurde aufgedreht, während die psychedelische Seite zurückgedreht wurde. Unter all dem Gepolter haben die Songs aber auch eine eingängige Seite, die sich schon nach wenigen Durchläufen im Gehirn festsetzt. Für Fans von Monster Magnet, QOTSA, Wolfmother ,Hojspændt" wird am 25. Oktober auf Vinyl und digitalen Plattformen veröffentlicht. ,Musik Er Nummer 1" wird als erste digitale Single am 6. September veröffentlicht, begleitet von einem Live-Video, das bei zwei ausverkauften Shows im Loppen in Kopenhagen im April dieses Jahres aufgenommen wurde.

Demos and unreleased songs from Wand"s salad days, the time of the immortal Ganglion Reef. Available for download since 2017, this album"s at last firmly sunk into vinyl grooves that realize its fullest potential in a listener"s ears. These light, fizzy versions have distinctive gleaming magic energies all of their own and they fly thrillingly through the air. Catch a wave through beautifully-abandoned space on your turntable eternal!

Motherland is an electrified open letter to our dying planet. Having released a past solo EP in 2019, Motherland remains Lia"s first full-length offering. A longform listen of both heartbreak and help and healing. Seeing debilitation in its many forms and making art amidst the continued struggle. Her heavy lyrical content swirls through synth flutters and hard-hitting drums, making for a captivating contrast. Dystopian and dreamy. Ambient layers and atmospheric backdrops with piano ballads, downtempo electronica, and drum and bass. The influences of James Blake and Frou Frou ooze through these tracks. Think Låpsley, FKA Twigs, Kllo, Caroline Polachek.

Das neue Soloalbum der einen Hälfte des Duos WILDBIRDS & PEACEDRUMS, MARIAM THE BELIEVER, vermittelt uns richtig zu Atmen (und genau Zuzuhören)! Es gibt einen Hauch von Jazz, einen Hauch von Soul, die Empfänglichkeit und den Zauber spiritueller Musik und den großen Reichtum der Improvisation. Der Sound auf "Breathing Techniques" ist dicht und doch atmosphärisch, eine musikalische Landschaft, die sich im Laufe der Musik durch subtile Progressionen, Wiederholungen und manchmal scheinbar sporadische Arrangements entfaltet. Ein Setting, das an ein modernisiertes klassisches Kammerorchester erinnert, mit Mariams Gesang an der Spitze. Das Album lässt Einflüsse von Frauen in der Musik der Vergangenheit und der Gegenwart anklingen. Es gibt einen Hauch von ALICE COLTRANEs zurückhaltenden spirituellen Aufnahmen, den rhythmischen Improvisationen VON MEREDITH MONK, der Leichtigkeit von STINA NORDENSTAM und den erforschenden stimmlichen Qualitäten von SHEILA CHANDRA und GAL COSTA. Das neue Album folgt auf die beiden von der Kritik hochgelobten Vorgängeralben von MARIAM THE BELIEVER: "Love Everything" von 2017 und das Debütalbum "Blood Donation" von 2013.

Das epische Power Metal-Highlight des Jahres 2010 in der längst überfälligen Vinyl-Neuauflage! Mit der Hymne "We Are Pirates" gelang der Band um Sänger Seeb Levermann seinerzeit der Durchbruch.
"Easton Hope" kommt nun erstmals als 2-Picture LP (limitiert auf 500 Einheiten), auf der alle Details des aufwendigen Andreas Marschall-Artworks perfekt darstellt sind; sowie als Clear White 2-Vinyl (limitiert auf 500 Einheiten).

Frequent collaborators V Don & Ransom team up yet again to bring you their new album Chaos Is My Ladder 2 - this time tapping in with Griselda’s Conway The Machine. Ransom and Conway each bring their A-game, lacing each of the 10 tracks with their signature bars and flawless lyricism. V Don sets the scene with his gritty production that will leave you nodding your head to each beat. Lloyd Banks rounds out the new drop as the sole feature and does not disappoint. This album is already being heralded as an Album of the Year contender, and after one listen you will know why

Elephant9 begründeten ihren Ruf als Live-Powerhouse schon lange vor ihrem Albumdebüt im Jahr 2008 und haben seitdem sechs weitere Studioalben sowie die beiden Doppel-Live-Alben Psychedelic Backfire I und II im Jahr 2019 veröffentlicht, letzteres mit Gastgitarrist Reine Fiske, dessen Lieblingsgitarrist zufällig Terje Rypdal ist. Da beide Alben vergriffen sind, ist Catching Fire eine höchst willkommene Ergänzung ihrer Diskografie. Aufgenommen bei einem bemerkenswerten Konzert von 2017 in Oslo - Rypdal würde in diesem Jahr 70 Jahre alt werden. Catching Fire hat Gemeinsamkeiten mit klassischen Live-Alben von Mahavishnu Orchestra, ELP und King Crimson, vor allem, was das Energieniveau und den Sinn für ungezügelte Intensität angeht. Dennoch gibt es auch ruhige Passagen, vor allem im 22-minütigen Opener, in dem sich Rypdal mit einigen typischen, gletschermelodischen Linien vorstellt. Rypdal ist die ganze Zeit über Feuer und Flamme für Lead-Action, heftige Rhythmusarbeit und abstrakte Akrobatik aus seinem Werkzeugkasten.Terje Rypdals Hauptwerk ist bei ECM erschienen, zunächst als Mitglied des Jan Garbarek Quartetts (Afric Pepperbird, 1970) und mit seinem ersten Soloalbum Terje Rypdal (1971), das bis zu Conspiracy (2020) insgesamt etwa 30 Veröffentlichungen umfasst.Ståle und Terje teilen ein gemeinsames musikalisches Verständnis, das daher rührt, dass Ståle seit fast 30 Jahren die ,rechte Hand" des Gitarristen ist, sowohl im Studio als auch auf der Bühne. Torstein und Nikolai sind die solideste aller Rhythmusgruppen, ein gut geölter Motor, der Finesse und Kraft vereint. Ståle Storlokken - Hammond, Rhodes, Mellotron Nikolai Hængsle - Electric bass Torstein Lofthus - Drums Terje Rypdal - Electric guitar.

A new double LP compilation, Melt Away, cataloging late-"90s rarities and outtakes from a creative apex in the band"s career, and released together on vinyl for the first time. Of these, album highlight "The Trail", originally recorded for the 1997 compilation What"s Up Matador, dissolves six minutes into a moment. Blink once and you"ll miss it. Blink twice and the wallpaper might begin to move. Pre-order "Melt Away".

Mit seiner nunmehr 10. Platte für Exile On Mainstream (die 'Suiciety' Single und das Trialogos-Album "Stroh zu Gold" einfach mal mitgezählt) braucht Conny wohl weder eine Einführung, noch eine oberflächliche Bejubelung. "Troubadour" würde das auch nicht gerecht, denn selten hat man den in Deutschland und Italien lebenden Künstler so reduziert, deep und nahbar erlebt. Die Platte ist eine Hinwendung zu seinen Wurzeln als Solokünstler, der mit spärlicher Instrumentierung und bedingungsloser Ehrlichkeit ganze Kathedralen mit Emotionen füllen kann. Nach eher experimentellen Ausflügen auf "Wahn und Sinn", seinem vielbeachteten deutschsprachigen Album aus 2023 und dem eher opulent instrumentierten "Doom Folk" von 2019 ist "Troubadour" nun wieder ein reines Singer/Songwriter-Album geworden. Eine Gitarre, eine Stimme - mehr braucht es nicht. Conny beschreibt es selbst wie folgt: "Meine Idee war, ein Album zu machen, das den minimalistischen Ansatz von Raw Love Songs und Black Happy aufgreift, aber zugleich das widerspiegelt, was ich heute erlebe. Konzerte sind für mich immer das Herz meiner Musik, deshalb wollte ich Stücke schreiben, die ich jederzeit und überall spielen kann - in Clubs, auf Festivals oder unterwegs, unter den geringsten Anforderungen. Ich hatte eine Platte im Kopf, die Raum zum Atmen und Zuhören bietet, damit man die Details der erzählten Bilder erkennen kann." Für Fans von Townes Van Zandt, Leonard Cohen, Elliott Smith

The Wild Classical Music Ensemble is a Belgian experimental rock band formed in 2007 by artists with mental disability within the social-artistic non-profit organisation Wit.h in Kortrijk. Their unique sound is a blend of punk/rock riffs, fanatical rhythms and soaring flutes and fiery synths, over which gravitate multiple, multilingual voices that scratch harshly as much as they comfort. There's something very Belgian about this harshness and noisiness. We often think of compadre Arno, from the TC Matic era. During the Covid crisis, the disabled members of the Wild Classical Music Ensemble were undoubtedly subjected more than others to the harsh conditions of confinement, alone in their rooms. Damien Magnette was still able to visit them with sound equipment. This was one of their all-too-few windows onto the world. Forbidden to meet, let alone play together, the members of Wild were nevertheless able to compose songs in tandem with Damien. The tracks were then sent to musician friends - Fabrice Gilbert, Ava Carrère, Wim Opbrouck, Shht, Arthur Satàn, Nathan Roche and Julien ZLDR - who added their artistic touch. Jean Lamoot and Carl Roosens joined the adventure, one as mixer, the other as video director. It's a result of the conditions under which it was created, this is the band's most highly-produced album, and perhaps its most accessible: frankly rock, with a great deal of freedom in production, and sometimes with a certain pop allure. Jean Lamoot's contribution to the mix had a lot to do with it. In addition, the forced slowdown allowed us to devote much more time and attention to writing the lyrics. Leader Damien Magnette says: "For over a year, we were all confined. But what about when you're a mentally handicapped person? Well, it's very different from you and me... We have the right to choose, the luxury of deciding for ourselves what rules we want to follow or not. We have free will. They don't. This series of confined songs is dedicated to all the people who have gone through this crisis, deprived of their free will. We send them our thoughts, hugs and kisses full of true love! The songs respond to a deep desire to look out for each other in adversity (the so obvious "Comment ça va?" by Johan Geenens and Wim Opbrouck, or "Waarom ben je boos" by Sébastien Faidherbe with Wim Decoene, the latter full of empathy). A sense of loneliness is logically present on the album ("Dat is mijn verdriet" by Linh Pham, a very real, very concrete and particularly touching poem, or "Loneliness", whose text was improvised by Wim), if not an understandable rage ("Je ne veux pas" and "My Frustrations"). It worth noting that on "On reste heureux", Sébastien Faidherbe composed all the parts in one go, with an optimism that stands out from the anger expressed in his other songs. Let's make no mistake: none of this is really over. All these emotions, suffering, pain and hope, speak to us far beyond this grim story of covid.

Greg Wilson returns to Running Back with another special project.
Forty years on from the release of the groundbreaking ‘Street Sounds UK Electro’ LP, ‘Real Time’ (two versions of which opened the separate sides of the album), finally gets a 12” release. Despite its prominence on ‘UK Electro’, it was the only inclusion not to be issued on 12” back in 1984.
Zer-o, like Syncbeat and Forevereaction, were the same trio – Manchester musicians, Martin Jackson and Andy Connell, and DJ Greg Wilson, making his first foray into record production. They also teamed up with rappers, Kermit and Fiddz, for the Broken Glass
track, ‘Style Of The Street’, one of the early UK hip hop releases. Fictional production and songwriting credits were added by Street Sounds to suggest a thriving British electro scene, the music having blown-up in New York during ‘82/’83, with the ‘Street Sounds Electro’
series, launched in October ’83, documenting these developments and unlocking a significant youth market who’d religiously collect these compilations.
Featured here is a Greg Wilson edit of ‘Real Time’, the ‘retrospective dub’ (the ‘UK Electro opener, which was in fact the original demo version of the track), and a Gerd Janson bonus beats edit. Flip it over and you’ll find a pair of 2024 reworks – the retrospective
dub, and the more downtempo introspective dub – courtesy of Greg and Ché Wilson, whose recent collaborations have included remixes for Gabriels and Confidence Man.

Insanely good almost completely unreleased Jazz funk LP from Roland Haynes Jr. (They released just a single 45 included here from the tapes). Think undiscovered James Mason, and you'll be half way there, even by our high standards, this LP is HUGE.

Until now, that 1983 single has been the sole material trace of both band and artist. But like many dedicated musicians who follow their own path outside of the music industry, Haynes understood his musical worth, and the quality of his band. He had documented his work at key moments, laying down carefully worked out studio sessions and recording packed-out live gigs. The recordings that we present here are drawn from Haynes' personal archive of studio recordings that were for the most part unreleased.

The new album from Tears For Fears, Songs For A Nervous Planet, features four new studio tracks plus live recordings of Tears For Fears on tour and at their best. The album features live performances of hit songs like “Shout”, “Head Over Heels”, “Everybody Wants To Rule The World”, “Mad World” & more. Spanning all eras of the band from The Hurting to The Tipping Point and beyond, this record takes you on the incomparable sonic journey that is a Tears For Fears live show and their career to date.

The new album from Tears For Fears, Songs For A Nervous Planet, features four new studio tracks plus live recordings of Tears For Fears on tour and at their best. The album features live performances of hit songs like “Shout”, “Head Over Heels”, “Everybody Wants To Rule The World”, “Mad World” & more. Spanning all eras of the band from The Hurting to The Tipping Point and beyond, this record takes you on the incomparable sonic journey that is a Tears For Fears live show and their career to date.

Charlie Parker had a complicated relationship with his hometown of Kansas City, MO owing both to its history of racial segregation and to his strong ties to his family and friends there. This new set of rare recordings dating from 1941–1951 — most of them never having been heard before and some never even having been known to exist — chronicle Bird’s evolution from a blossoming soloist with the Jay McShann Band into a brilliant improviser who dominated the jazz landscape for decades to come. In addition to two unreleased 78s with the McShann band, this set offers two sets of private recordings (at the home of Bird’s friend Phil Baxter and at Vic Damon’s studio) made with local musicians and a very relaxed-sounding Parker who has the room to really stretch out and show us the shape of jazz that was to come in his wake.

Atemberaubend, wie die zierliche Pianistin konzentriert Ton an Ton setzt, den zarten Klängen ausreichend
Raum und Zeit lässt. Souverän webt Gary Peacock seine Basslinien ein, und Paul Motian schafft jenseits
aller Beats einigende Strukturen. So gerät Amaryllis zu einem beeindruckenden Manifest musikalischer
Freiheiten: In blindem Verstehen entfaltet sich ein mild changierendes Feuerwerk brillanter Ideen, die bei
aller Ernsthaftigkeit doch herrlich unbeschwert erklingen. – Sven Thielmann, Stereoplay
Mit Amaryllis folgte die Rückkehr jenes großartigen amerikanischen Jazz-Trios, das 1997 mit Nothing Ever
Was, Anyway in Spitzenpositionen zahlreicher internationaler Jazz-Polls geführt worden war. Das Material
auf dem Album ist abwechselnd nachdenklich, berührend, ausgelassen und spannungsgeladen. Einige der
Stücke sind wohlbekannt – fast schon Klassiker des neuen Jazz –, darunter Crispells ”Rounds”, Peacocks
”Requiem” und ”December Wings“, Motians ”Conception Vessel”. Es gibt auch eine Reihe von inspirierten
frei improvisierten Balladen. Marilyn Crispell, die Bandleaderin, meint: ”Die Kommunikation ist profund
und von seltener Raffnesse.,” und die Interaktion zwischen den Musikern ist tatsächlich außergewöhnlich.
Das Magazin The Wire nannte die Gruppe in seiner Besprechung zum Album von 2001 „sicherlich eines
der großen Klaviertrios von heute.“ Amaryllis erscheint mit dieser Luminessence Reissue erstmals auf LP
und wird in einem 2-LP Tip-on Klappcover präsentiert.