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Grammy-nominated band TRIVIUM — Matt Heafy vocals, guitar, Corey Beaulieu [guitar], Paolo Gregoletto [bass], and Alex Bent [drums] — has announced that it will release its latest tenth album, In The Court of The Dragon, on vinyl on 28th January via longtime label Roadrunner Records. The album will be available on 2LP Transparent Yellow Vinyl. The record was produced and mixed by Josh Wilbur and recorded in the Fall of 2020 at Full Sail University in Orlando.

The album cover is an original oil painting by French artist Mathieu Nozieres (@mathieunozieres on Instagram)

"While the music of In The Court Of The Dragon was taking shape, we knew we needed epic artwork of the type that you might see on the wall of an important museum from a long dead renaissance master," says Heafy. "After extensive research, we found one of the few living artists who is capable of creating artwork like Caravaggio and Gentileschi — painter Mathieu Nozieres. Mathieu took our song title and created an original oil painting on canvas unlike anything we could have ever imagined. It's so staggeringly breathtaking and epic and it looks like what the song and album sounds like."

Bad Suns sound – dreamy '80s pastiche fanked by Stratocasters through
cranked Vox amps, pulsing synths, and palpable rhythmic energy – that
endeared listeners to the band in the frst place, and their fourth LP,
Apocalypse Whenever, uses that musical foundation as the jumping-off
point for their next evolution
Conceived as "the soundtrack to a movie that doesn't yet exist," the 13- track
album, helmed by longtime producer Eric Palmquist (MUTEMATH, Thrice) at his
Palmquist Studios and the band's North Hollywood rehearsal spot, is more
conceptually rigorous than anything they've ever attempted – but no less
compelling or accessible. "We also knew we wanted the album to have a throughline, a story from beginning to end,"frontman Christo Bowman explains, so the
band did what any good directors would: They assembled a mood board, fltering
their neo-noir version of Los Angeles through the dreamlike haziness of author
Haruki Murakami, the futuristic fair of Terminator 2: Judgment Day and Blade
Runner, and the lifted cinematography of Spike Jonze's HER.
These disparate infuences don't just offer Apocalypse Whenever an expanded
palette of sonic choices to color Bad Suns' airtight hooks – they help give the
songs an emotional complexity that works on a multitude of levels depending on
how listeners choose to receive them.

Martin Rude & Jakob Skøtt Duo released 2 albums in 2020: The Discipline of Assent & The Dichotomy of Control. For the third installation in their Stoic opus, they join forces with Tamar Osborn on saxophone & alto flute. Similar to their first 2 albums, Rude & Skøtt improvised a tidal wave of ideas and grooves in the studio of Causa Sui’s Jonas Munk, the perks of which were shipped to the UK for Osborn’s overdubs of echo-drenched sax and wah-flute. An improvisation rippling across time & space, merging a river of constantly in flux head-on improv, as well as making room for floating harmonies and studio-wizardry. Playful, experimental and explorative, the trio ventures into a free wash of exotica drenched in deep modal jazz-vibes - with splashes of something more futuristic and modern. But contrary to what the title suggests, there are also roaring waves of energy, sizzling funky grooves to complement the ambient undercurrent. It’s a record akin to the library & film music of the 60’s and 70’s and an ode to the willful river of experimental moderation. Far in. Bios: Tamar Osborn: Saxophonist, composer and multi-wind instrumentalist is the creative force behind modal jazz ensemble Collocutor (On The Corner Records). She is a long-standing member of the Dele Sosimi Afrobeat Orchestra, performs and collaborates regularly with Sarathy Korwar, Jessica Lauren, Emanative, Ill Considered and DJ Khalab, and is an in-demand session musician. Martin Rude: Multi-string instrumentalist & lead singer in Sun River, as well as stand-in bass player in Causa Sui. Jakob Skøtt: Drummer in Causa Sui with a slew of side projects on El Paraiso, as well as responsible for the label’s visuals.

Cardinal Fuzz are pleased to bring your way The Band Whose Name Is A Symbol – Ensemble 2016. Eight players made up the iteration of the always mutating ensemble cast, who were as follows for this recording - John Westhaver, Nathaniel Hurlow, Bill Guerrero, Jason Vaughan, Dave Reford, Scott Thompson, Mark McIntyre and Eric Larock.

The session for Ensemble went down at their spiritual home of Birdman Sound in Ottawa in August 2016 where what you hear on record was recorded direct from the floor (and mastered/tweaked by Chris Hardman).The whole session (and note this is an edit to fit the constraints of vinyl) - flies by with a reckless, organic abandon, as at times 8 players fly off in different dynamic directions of abstract playing and improvisation with trumpet player Scott Thompson much to the fore and blowing wild.

At times the feel of this recording is like a collision between a 70s album on the German Sky transported to a San Franciscan Ballroom is ’68 as the audience are peaking on ‘Orange Sunshine’ as Ensemble finishes up like a beautiful trip, well taken.

Martina Topley Bird’s new studio album ‘Forever I Wait’, features collaborations and arrangements from Robert Del Naja of Massive Attack, Euan Dickenson, Rich Morel, Christoffer Berg, Benjamin Boeldt and Tiadiad.

'Forever I Wait' is Topley-Bird’s fourth long awaited studio album and her very first self-produced and curated piece of work to date. The album, set for a digital release on September 10th, with a vinyl LP available to pre-order now, captures an extensive journey confronting, exploring, analysing and reflecting on the devastating fragilities of life as it ultimately seeks to make peace with what life is.

A sentient and sensual presence framed Tricky’s trip-hop pioneering white label debut release, Aftermath. Hauntingly unique and immediately recognisable, that voice became the defining timbre of a new music movement. Behind this voice was mysteriously soft-spoken, London-born Martina Topley-Bird, whose exquisite voice came to inspire and infuse other pioneering artists across all genres.

“It’s a trip through different emotional states and frequencies, mostly dark, from insecurity and desire, all the way through to serenity and acceptance with themes that resonate from my young teens all the way through till today. Things that I’ve seen and things I’ve felt and worked through, although sometimes I sense them trying to return”

“Forever I Wait”, as the title alludes, was written and re-written over a long period of time.

“I had to change my way of relating to music and the music industry in order to make the record I wanted to make.…and that took time. And I took the time I needed. I started in London, moved and lived in America for the first time in my life, then briefly moved back to London and finished the record in Spain.”

“After trying to work on a new record for a couple of years, I came to a realisation that in order to move forward I had to separate the concept and vision I had for this record from me as a person. I had to shift my perspective. That was a big personal win and the beginning of “Forever I Wait.”

'Forever I Wait' leans on a multitude of tense sounds, dubby atmospherics and natural instrumentation to demand the listeners attention leading to over two decades of observations, experiences and musical sacrifices. It is a bi-product of the new perspective featuring carefully selected and tailored supporting arrangements from a handful of collaborators including Robert del Naja (Massive Attack), Rich Morel (Deep Dish), Christoffer Berg (Fever Ray) and Benjamin Boeldt (Adventure).

A truthful expression of desire and heartache “Forever I Wait “Is Topley Bird’s most precise and accurate album to date.

“Sunlight to blue … Blue to blackness” - This was one of the more upbeat title suggestions for the very bare, back to basics, reflective album from The Durutti Column. Originally released in June 2008, Sunlight to Blue… was a conscious response to the previous two polished and ‘studio-based’ releases. Here he created some sparse, simply beautiful 'sketches' as he once called them, more reminiscent of his work from the early eighties. Many of the pieces are instrumentals played on his Juan Montero flamenco guitar, and he returns to 'Without Mercy' for the last track 'Grief' whilst reinventing 'Never Known' from LC. Now, for the first time, the LP is available remastered and re-packaged as a gatefold double 12” 180gram vinyl release.

This album also saw the debut of the then talented young pianist and singer, Poppy Morgan, who co-wrote the melancholy Ananda as a duet with what Reilly dryly called 'intrusive guitar'. For the uninitiated, Vini was the first artist signed to Manchester’s influential Factory Records, co-wrote and played on Morrissey’s first solo album ‘Viva Hate’, and was heavily featured in the Manchester music culture film, ’24 Hour Party People’. Vini Reilly has recorded under the name The Durutti Column since 1978 and has a rich portfolio of work, releasing over twenty albums in this time. Ever critical of Vini’s voice, but ever a fierce champion of his talent, the late Tony Wilson would surely appreciate this return of The Durutti Column.

Pure product of the Neapolitan scene, Fabrizio Fattore turns up on Cosmocities Records with his third solo effort. Comprised of two originals on the A-side, and two bespoke revamps from Vince Watson on the flip, this new EP from Fattore draws a direct bridge betwixt the idyllic coastal flow of Italian boogie and straight out pulsating alien disco, sure to keep galaxies bouncing in good order.

Clocking in first is the vibey, otherworldly 'Lyle' - a cross-pollinated ode to the healing power of laid-back, 80s-informed house, bristling with shimmering Casio synthlines and Cuban jazz-friendly pianos and drums. Heliotropic by nature, Fattore's sound sits half-way loungey summer atmospherics and trailblazing post-kosmische jaunts. Then comes 'Island Goddess', casting more of a Sino-Caribbean flavoured spin on the dance floor with its obsessive miss-mash of processed chimes and prismatic webwork of steel pans.

On the B-side dwell two versions of 'Lyle' by true house legend Vince Watson, each of which deliver in their own right. If you’re after a proper classy, straightforward roller, bound to take dancers into a ravishingly deep but rousing trip, then the 'Watson Reshape' fits the bill like a glove, whereas the 'Balearic mix' does exactly what's written on the tin - ushering you into a sense-soothing haven, where keyboard-laden escapism and Afro-style rhythms meet the elegance of muted chamber music.

German multi-instrumentalist and producer, The Micronaut has made a name for himself through his richly textured and enthusiastic compositions. His 2016 album, "Forms" has been described as a true melting pot of sounds and it caught the attention of the electronic music scene with its very playful and original amalgamation of rhythms and samples. Last year, The Micronaut released Olympia (Summer Games) - an album that continued to draw on his elaborate production style as well as on the values of camaraderie and solidarity of the Olympic Games. Continuing on this Olympic journey, the German producer now releases the second part to the project, Winter Games, containing a fresh twelve tracks that capture the essence of winter sports. Winter Games is an eclectic ride, but far from chaotic; transitions are fluid, the momentum uninterrupted and the direction cohesive. Behind the music's energetic flow are sophisticated arrangements and quasi-scientific constructions which crush stylistic boundaries and give birth to a new collage-based genre of music. The music is all the more impressive considering that every sound contained therein is crafted by The Micronaut himself, who has been called a one-man-orchestra for exactly that reason. In the EDM-influenced track Bobsleigh, which contains samples from a DJ describing the state of his own profession, The Micronaut seems to be drawing a line between what he's doing, a true Olympic feat in some regards, to a lot of the lazy productions around today. 'He thinks it's cool to just play with an iPod or a USB stick,' we hear a voice say over a hyper-synthetic beat. It's The Micronaut's critical statement on the superficialness that much of dance music has come down to, "Of course there are exceptions, but unfortunately there are only a few," he notes. At times, Summer Games veers towards techno and at others it seems to be inspired by electro-pop. Towards the end of the album, 'Curling' is a refreshing vocal piece filled with warm chord progressions. "Bernhardt's vocals are really touching, they give warmth to the minimalistic structure of the song," says the Micronaut. The track offers a comforting counterpoint to the high-energy feelings of competitiveness present in the rest of the album with lush pulsating synths and a laid-back groove. "Every time, when I wanted to continue working on "Curling" I was afraid of destroying its very fragile initial structure, but in the end, I think it worked," adds the producer.

Kryptox label member Niklas Wandt comes with his second vinyl release on the German jazz-tronica label. The German DJ, drummer, producer and radio host is by now one of the key figures in everything wild that's coming from Berlin these days: His jazz stuff on Kryptox is just one of his many sonic faces. He is the head of German indie-pop band Neuzeitliche Bodenbeläge as well good friend of Jan Schulte aka Bufiman- and know for several collabos with him. Now Wandt comes up with what could be his most advanced release. A free-jazz album recorded with Swedish saxophonist Otis Sandsjö. And it might sound strange to some, but Berlin is becoming an international center of free improvisation. It makes sense as the city has been the center of techno for years - the music that is extremely formalistic and all about repetition and standardised sounds and grooves. Free jazz is the extreme opposite to that formalistic tool music of the last years.

After more than a year of strengthening our bodies through workout, our poetic endeavors via the discovery of our inner worlds, and also the life of plants and mushrooms, insects, arachnids, birds and wild mammals, after a year and a half that saw us in lockdown, shattered around the planet, after one a and a half year in which we deepened our production skills and also the meaningfulness of our work, Cómeme returns to a new planet with new music.

The beginning is this unique collaboration between Medellín based musician and DJ Julianna, and Matias Aguayo aka “The Don” himself.

In this deep therapeutical exploration of rhythm and sound, these artists established a magical dialogue on distance, leading up to this EP called “Que si el mundo”, roughly translated: “What if the world”.

Between soulful industrial expressions, emotional breakdowns but also discoveries free of any grids and algorithms, Julianna and Aguayo have created a beautiful piece of work, intense as the movements that we had to experience mentally and economically. “Que si el mundo” is state of the art electronic music of today, a work that is both introspective but also extremely open to the outside world and the universe. Compositions reminiscent of Coil, Angelo Badalamenti, Closer Musik, Steve Pointdexter or Mark Broom, shaped this EP that can be considered a short album in its conceptual layout and narrative. Let’s dive into it...

A1. Hiedra
One of the more danceable tunes, ideal for both a sensual warmup or the very late night to the rising sun sensitivity, is polyrhythmical melancholy and hypnotic inevitability, slow dance, deep trance.

A2. Primer Paso
A fat, slick and modern synth sequence, accompanied by heavy drumming and celestial drops that seem to fall onto the body of the listener or dancer, this post EBM stomper is a manifestation of elegant minimalism and reason. As if Liaisons Dangereuses reincarnated in a cloudy forest, to then pause towards the end of the track, with sentimental and gloomy synth chords that open the view towards the horizon.

B1. Que Si El Mundo
The title track keeps up the more melodic approach - somewhere between ambient, avant- garde and late night jazz. Morphing melodies that are both disturbing and soothing at a time encounter smooth free jazz drumming with drums that seem to have travelled from the sixties to today’s world.

B2. Bajo Tierra
This track continues the deep drumming experience that this record means, between laid back rides and intense taikoesque drumming. Distorted dark pads and subterranean choirs build up to a heavy sadness and intensity. Again, a therapeutical track to send those demons fly.

B3. Micelio
A more hopeful conclusion of the EP is “Micelio”. Open chords, soothing and melancholic, spread over profound drum grooves of champed and house. Nothing seems as it was before. A new life has begun.

Looking at Dan Andriano's catalog, one might assume that making new music is old hat for the veteran vocalist, songwriter, bassist and primary member of the beloved Chicago punk outft Alkaline Trio
Decades into his prolifc career, though, Andriano is just as in love with the process as he was in those early days of sweaty clubs and cramped vans.

On Andriano's new Epitaph Records album, Dear Darkness, that unceasing passion is evident on this solo, self- produced project, which follows his 2015 release (as Dan Andriano in the Emergency Room) Party Adjacent, fnds Andriano venturing into deeply personal lyrical territory while also pushing the limits of just what his unclassifable sound can be.

Hailing from Sydney, Australia, prolific producer Cabu (860K Monthly Listeners and more than 90M cumulative streams on Spotify alone) has come a long way; from his successful remix work – from Joe Hurtz's "Stay Lost" edit (37M Spotify-streams) to Big Wild's "Empty Room" flip (20M Spotify-streams) – to his consistently catchy original productions, Cabu's only getting started. He keeps this momentum alive with the EP "So Far To Go", his first to be released by Ta-ku & Jakarta Records' sublabel 823 Records.

823 is a perfect place for Cabu's bouncy, hypnotic grooves and is a return to form for what "Cabu" represents: a driving force in the pursuit of happiness through sound. It's a well-timed collaboration, as Cabu's fanbase has continuously grown over the past few years through features on Australia's Triple J, DJ Complexion's Future Beats Radio, Soundistyle, The South East Grind, Mutual Friends, ThisSongIsSick, Majestic Casual, Soulection Radio, BBC 1xtra, Pilerats, Maison Kitsune and more. To that end, "So Far To Go" features some of the most talented artists to come out of the Pacific continent, such as Milan Ring (95K monthly Spotify listeners) – coined "Australia's R&B Princess" by Apple Music – Brisbane native hit-maker Young Franco (1M+ monthly Spotify listeners), Kamaliza (123K monthly Spotify listeners), NOÉ, Gabby Nacua, Pastel and of course label-head Ta-ku himself.

1st single, "Process" featuring Ta-ku & Milan Ring was released on November 3rd. Hypnotically bouncy, with heavenly synth pads, crisp percussive elements combined with the ethereal voices of Ta-ku and Milan harmonically push the sonic envelope to make this track an infallible groovy knockout. As Cabu says, "Process" is "the dream-like state in which you take gratitude in your current situation whilst being hopeful in the future." The track provides a perfect taste of these artistic and creative powerhouses. The stunningly beautiful music video – directed by Sydney based Redscope Films and premiered on The Sound You Need – is the perfect accompaniment.

2nd single, "Sun & Moon" featuring Young Franco & NOÉ is set to be released on December 10th along with an announcement of the EP and pre-order. The song is a contagiously bouncy bop, with the different vocal harmonies and synth chords giving the track an almost prime 00's throwback, it's the perfect year-end anthem to keep dancing and growing through the good and bad.

The album's focus track, "About U" featuring Kamaliza will be released along with the EP release on January 28th, 2022. The song perfectly blends electronic elements within an R&B / Soul aesthetic, and is all about moving forward with intention, from the lyrics to the groove, making you feel tipsy on life.

All singles off the EP will be accompanied with custom visualizers by Perth-based design / creative firm Gesture Systems. The album's single-releases and videos will be promoted in-house via the artist's and the label's social media channels in Germany and Australia.

The 823 label represents the appreciation for the people, ideas and places that inspire and push their protagonists forward. "823 celebrates the simple beauty of everyday life and the people in it that inspire us." (Regan Matthews aka Ta-ku)

2022 re-press, 180g vinyl

A monumental force firmly rooted in the soul canon, Willie Hutch is most notable for recording two of the best Blaxploitation soundtracks, The Mack and Foxy Brown. Yet his legacy is much greater. Outside of Marvin Gaye, Stevie Wonder and Smokey Robinson, Hutch was arguably Motown's top male solo artist of the 70s. Prior to his association with Gordy et al, Hutch crafted his opening statements for RCA, two vital LPs that Be With Records is honoured to present today.His debut, Soul Portrait (1969), is an incredible slice of gritty, Southern-fried soul. Think Stax with a touch of Detroit sparkle. As a whole, the album demonstrates the self-contained act Hutch was, he wrote every tune on the album while also arranging and conducting for it. It features 11 timeless grooves, with a blend of beat ballads and undeniable dancers.
The album's centrepiece is undoubtedly the iconic, brooding minor-key masterpiece "A Love That's Worth Having". The album's most recognisable track, it's a towering ballad drenched in stylish, sliding horns and elevated by its stunning backing vocalists. It was famously sampled by Madlib to augment his soundtrack for Stones Throw's Our Vinyl Weighs A Ton as well as 9th Wonder for the Murs classic "Dreamchaser". Whilst one can understand these iconic beatmakers for leaning on the work of a master, you really need to own the track in its full, unedited glory.
Horn-heavy opener "Ain't Gonna Stop" is a funk-fuelled monster, Hutch's fatback vocal aided by a vicious drum 'n' conga rhythm whilst the bumping uptown soul of "You Can't Miss Something That You Never Had" anticipates the Motown-vibe that Hutch went on to create. Supple guitar licks propel the loping, head-nod breaks of "Good To The Last Drop" whilst "That's What I Call Lovin' You" features gospel piano and plaintive, tender vocal turn. Rounding out Side A, the blazing horns of "You Gotta Try" hints at the Blaxploitation that was to come.Ushering in the flipside, the thundering proto-70s-Motown rhythm of "Let Me Give You The Love You Need" segues neatly into the bouncing Northern Soul favourite "Lucky To Be Loved By You" whilst Hutch's gutbucket guitar stylings are all over the smouldering "Keep On Doin' What You Do". "Your Love Keeps Liftin' Me Higher" is not a rendition of the Jackie Wilson classic, rather, it's a powerhouse original that indicates where Hutch would take his sound on The Mack. Closing the album, the anthemic "Do What You Wanna Do" name-checks contemporary dance fads before instructing the listener to just get up and dance.Brilliantly supported by a heavy roster of studio cats who combined to create a winning combination of horns, strings, and gorgeous female background vocalists, Soul Portrait is as complete a soul album as the decade's very best. Tricky to find for a number of years, this lovingly produced reissue is certainly welcome. Paired with the soaring follow-up, Season For Love, these recordings shine a new light on the early work of a soul legend. Officially licensed and remastered for vinyl by Simon Francis, it has been pressed on audiophile 180g vinyl for the first time and features the original artwork and liner notes.

"We all know what teenagers are like. Bratty little gobshites. Moody shits. Forever toeing the line between cocky arrogance and whiny self-doubt, and to hell with anyone who gets caught in the crossfire. And this old fucker should know; he was really good at all of the above (still keeping on top of the ‘gobshite’ part, you’ll notice). For some reason, the entirety of rock’n’roll is predicated on music made for and about these states of mind - well, I guess if you mix ‘em all together, they can make for one helluva sense of reckless abandon. So it shouldn’t come as a surprise that Melbourne quartet Mr Teenage sound exactly like their name suggests: chaotic, raw, emotionally volatile… and of course they bind all this together with their own brand of heroically melodic garage rock. Produced by Billy Gardener (of Ausmuteants, Smarts, Cereal Killer and god knows how many other vital Aus-punx), this debut EP snarls, spits and swaggers with all the glorious self-belief of a drunken 4am stumble to the petrol station to buy a pack of skins. And the songs are fucking great too. Title track ‘Automatic Love’ expertly showcases the combined sounds of their cited influences (Thin Lizzy, Dictators, Martha Reeves, etc), with frontman Nic Imfeld’s voice at times edging close to the sandpaper soul of their countryman Shogun (ex-Royal Headache). Meanwhile ‘Waste Of Time’ sees him blending their garage licks with Joey Ramone bubblegum, just as ‘The Loser’ fashions a delightfully adolescent chorus of ‘the loser says what?’ from an airy melody that either The Shangri-Las or Del Shannon would be proud of. They wrap things up with another slab of pure punk/pub rock genius called ‘Kids’ that’ll get the hairs on the back of your neck standing on end, as you fight the urge to crank-call your former school teachers and blame the kid who used to take your lunch money. Of course, singing about ‘kids these days’ marks Mr Teenage out as being older than their name suggests, and sure enough their name comes from an old wrestler rather than identifying with an age bracket they’ve outgrown. But with tunes like this… honestly, who gives a fuck what they’re called? This record is perfect." Will Fitzpatrick.

Karma Sutra were an anarcho pacifist band from Luton, Bedfordshire who formed in the early 80’s after the demise of the legendary the Phallic Symbols. Karma Sutra only had one release at the time - an album self released in 1987 called Daydreams of a Production Line Worker which came towards the end of their lifetime. Sealed Records now release the earlier years of demos and compilation tracks on a 15 track round up. Be Cruel with Your Past and all Who Seek to Keep you There includes their first and primitive demo The New Economy Roast from 1983. It’s very basic and has a Bullshit Detector Compilation quality to it. A few years later came the second demo Shoppers Paradise which is the best material Karma Sutra recorded. Six tracks of well produced classic 80’s Anarcho punk with a driving sound. It’s passionate, tuneful and politically aware. How this wasn’t released at the time on vinyl, is a travesty. Also included is two tracks from the Mortarhate Compilations Who? What? Why? When? Where? and We Don't Want Your Fucking Law!. Finally the last three tracks were from the final line up of the band and were recorded with Spon from UK Decay adding more post punk elements to the sound. The LP comes with a 40 page booklet of Lyrics, handouts, fanzine interviews and statements. FFO: OMEGA TRIBE, CRASS, EXIT STANCE, ALTERNATIVE

Iconic Norwegian producer and composer Biosphere follows up his evocative 'Angel's Flight' release with a new album set for release early in 2022. Shortwave Memories is an album inspired by the post-punk electronic music of the late 70's and early 80's, especially the productions of figures like Martin Hannett and Daniel Miller.

"The last few Biosphere albums have all been made using samples and software, but Shortwave Memories is a return to vintage analog hardware from the late 70s and early 80s. Most of these instruments do not have any presets or memory storage, so all the sounds were programmed from scratch. The idea was not so much to make music that sounds like it was written in the same period. It's more like what would happen if I had the chance to use the same instruments, and applied the same meticulous attention to detail as the producers mentioned above."

Presented as a continuous sonic journey, this stunning record unequivocally manifests a world of it's own and already feels like a timeless addition to the rest of the Biosphere catalogue.

"""Riding SCORCHING hot on the heels of their recent self-titled debut, fans could be forgiven for expecting more of the same from Champyun Clouds’ second long player of
2021. A hodgepodge of cutting-room-floor-fodder and experiments that would’ve been b-sides or Japan-exclusive CD bonus tracks in those halcyon days of physical formats’ golden ages is not what we’re getting. Let’s save those for a deluxe anniversary reissue
one day. Nah - sheer, unabashed creativity fuels this album; and weirdly enough, they’ve managed to branch out in interesting ways while also creating an album that is more immediate and banger-centric. Although Nail’s eclectic psych-lounge tendencies and
Asa’s irreverent poetry and broad Nottingham lilt remain the key touchstones of CC’s sound, opener “Check For Silt”s rough drum’n’bass beats offer an immediate and clear sonic progression for the Nottingham duo. The LP ultimately plays a bit like a haunted
jukebox in outer space - with elements of dub, britpop, early house, trippy, blissed-out sunshine pop (reminiscent of mid-90s His Name Is Alive at their most Beach Boys-aping), William Orbit-esque 90s psych-pop electronica, distorted glam rock shuffles and
garage-y funk. There’s a particularly great moment of sequencing at the end of the first half where I got lulled into a state of near-euphoria with the Air-like “The Flowered Crown” before getting slapped ‘round the face by “I’m Not Right For You”, which sounds
like Nile Rogers producing a demo for Sheila & B. Devotion, except he recorded it at the bottom of a well. Sophomore slump? Never heard of him, mate."""

This set is a straight remastered reissue, cover art and all, of 1975's Al Green's Greatest Hits LP, which collected his ten biggest singles. Nothing beats Al Green when it's time to sip your Courvoisier on your white pleather couch, be it alone or with that special someone... Ten classic tracks from 1975. Try it. Satisfaction guaranteed..

Finally! "Hidden In Eternity" and "Eraser III" are put to the perfect format and classed up nicely by some of the finest design work Ryan Tong has ever done. Taking the path of 2018's bulldozing "What Do You Stand For?" LP, S.H.I.T. cranked out 2 perfect tracks of hyped-up hardcore bombfall with the signature snarl that you've come to know and love. Perfect music. Written and performed by S.H.I.T. Recorded by Dylan Frankland at Palace Studios. Mixing and additional recording by Jonah Falco. Mastered by Arthur Rizk. Artwork by Ryan Tong. European version available through La Vida Es Un Mus. North American version available through Iron Lung Records.

As the 21st century was born, so Kreator underwent what was nothing less than a seismic creative rebirth. By this time, the iconic German band had released nine studio albums in the 1980s and '90s, which had established them as one of the most important metal names of these decades.In the first period, they had helped to shape and pioneer the thrash scene through such releases as 'Pleasure To Kill' (1986), 'Terrible Certainty' ('87) and 'Extreme Aggression' ('89). During the following decade, the band had opened up exciting horizons of experimentation on albums like 'Coma Of Souls' (1990), 'Renewal' ('92) and 'Endorama' ('99).
Now, though, it was time to move into a fresh era, as vocalist/guitarist Mille Petrozza explains.
“During the 1990s, we were definitely experimenting with what the band were doing. But (drummer) Ventor and I decided that for this album – our first of the new millennium – we wanted to go back to the sort of sound that we had at the start of Kreator. In other words, to get back to the reason why we began the band in the first place.”

There was also new guitarist introduced, as Sami Yli-Sirniö (who had made his reputation with Finnish band Waltari) took over from Tommy Vetterli. The latter (also known as Tommy T. Baron) had joined in 1996 and played on the 'Oucast' (1997) and 'Endorama' albums.

The producer for this album was Andy Sneap, who was now making a name for himself as one of the pre-eminent masters of this art in the modern metal world.“I had known and liked Andy since the days he had been the guitarist in Sabbat, as they were signed to Noise Records as Kreator were on that label. He was our first choice to work on this new project. I liked what he'd done for Testament on their album 'The Gathering' (released in 1999). He had given them a sound they'd never had before, and that really was what we were after. It was natural and organic, and also very modern. I remember phoning him at his Backstage Studios in England (Ripley in Derbyshire). And Warrel Dane, the vocalist in Nevermore, answered. Andy was producing their new album at the time ('Dead Heart In A Dead World', 2000). And when I heard this, again I was very impressed. So, I was delighted when he agreed to produce the new Kreator album.”

The album title came from something Petrozza had read. “In a book I came across a comment that John F. Kennedy said (in 1962). This was: "Those who make peaceful revolution impossible will make violent revolution inevitable”. I thought 'Violent Revolution' would make a good title for an album. So, I kept it in my mind for this record. I think 'Violent Revolution' is a title that makes a real impact.”

One interesting aspect of the track listing was that the 52 second instrumental 'The Patriarch' actually came after the opening song 'Reconquering The Throne'. Fans might have been expected that it would have opened the album. But for Petrozza, there was a logical reason for this not to happen. “We really wanted to lead off with a thrashing track, to show everyone what we were now doing musically. After 'Endorama', it was important that everyone should recognise this was a new era for Kreator.”

'Violent Revolution' is without question an excellent album. While in some ways it does hark back to the glories of the band's earlier days, nonetheless it does not sound at all nostalgic. The performances and production values are very much part of the contemporary era, and the strength of the compositions themselves are of the highest values. Rising to the challenge offered by a new generation of ambitious metal bands, Kreator proved they were far from being a spent force. Unlike so many of their peers, here was a band who still had so much creativity to offer, and were also clearly excited themselves by what they were doing. And when you hear the band themselves enjoying the entire process, then you know this is a bona fide revitalisation.

Home Stories is Hainbach’s fourth release on Seil Records. It displays an uncompromising approach to sonic world building and explorative ambient music.

The majority of Home Stories was recorded in the Black Forest, the artist’s old home, but the album is far from a reflection on the past. It is about the changes this area has seen and more importantly, about transformation in general. As humans have always been changing the landscapes - for better or worse - Hainbach takes a tentative listen to what can be found in taking the well-known and changing it to the uncanny.

Thus the piano, that often serves as a compositional root sound and familiar element changes over the course of the tracks, is abstracted, re-synthesized, shaped into abstract forms and relocated to physically impossible places. The premise of this album is that transformation is possible. It frees the known to dare into the unknown.

Based out of Berlin, Germany, electro-acoustic music composer and performer Hainbach creates shifting audio landscapes, using esoteric synthesizers, nuclear test equipment, magnetic tape and a collection of idiophones. Hainbach has become known for his immersive live shows and an unique sound that is both abstract yet very much a corporal experience. Otherworldly and intimate, raw and heartfelt. On his wildly popular YouTube channel, Hainbach shares his love for experimental music techniques and his passion for forgotten machines with a wide audience. Inspiring over one hundred thousand each week to explore synthesis, electronics - and to leave beaten paths.

Tape

Home Stories is Hainbach’s fourth release on Seil Records. It displays an uncompromising approach to sonic world building and explorative ambient music.

The majority of Home Stories was recorded in the Black Forest, the artist’s old home, but the album is far from a reflection on the past. It is about the changes this area has seen and more importantly, about transformation in general. As humans have always been changing the landscapes - for better or worse - Hainbach takes a tentative listen to what can be found in taking the well-known and changing it to the uncanny.

Thus the piano, that often serves as a compositional root sound and familiar element changes over the course of the tracks, is abstracted, re-synthesized, shaped into abstract forms and relocated to physically impossible places. The premise of this album is that transformation is possible. It frees the known to dare into the unknown.

Based out of Berlin, Germany, electro-acoustic music composer and performer Hainbach creates shifting audio landscapes, using esoteric synthesizers, nuclear test equipment, magnetic tape and a collection of idiophones. Hainbach has become known for his immersive live shows and an unique sound that is both abstract yet very much a corporal experience. Otherworldly and intimate, raw and heartfelt. On his wildly popular YouTube channel, Hainbach shares his love for experimental music techniques and his passion for forgotten machines with a wide audience. Inspiring over one hundred thousand each week to explore synthesis, electronics - and to leave beaten paths.

Miles Kane is back with brand new album 'Change the Show', set for release on 21st January 2022 via BMG.
Following a chance “no frills session” with psych-rock duo Sunglasses For Jaws at the band’s Hackney studio, Miles’ fourth solo album ‘Change the Show’ really began to take shape. “I saw myself in their energy, but also their taste and their knowledge of music,” Miles explains. “It was the first time I’d felt old!”
Opening with the honest soft croon of ‘Tears are Falling’, the album is a joyous ride from start to finish and features a surprising, but spectacular appearance from Grammy-nominated singer Corinne Bailey Rae for a duet on ‘Nothing’s Ever Gonna Be Good Enough’. ‘Don’t Let It Get You Down’, the first track released from the record, is Miles Kane at his very best: energetic, infectious and full of swagger, the track opening with a sample from fellow Wirral alumnus Paul O’Grady. It's an album that best represents Miles himself: charmingly authentic, and like nothing else you'll hear in pop music today.
“This album was born out of an intense period of self-reflection; having all this unexpected time on my hands,” Miles said of the last 18 months. “I wrote songs about big highs, big lows, daydreams, true friends and deep feelings. I learnt to let the future unfold of its own accord, while staying true to myself and that has led to what feels to me like a really uplifting album!”
A record for fans both new and old, ‘Change the Show’ is the Miles Kane album we’ve all been waiting for. The apotheosis of his previous works, incorporating those classic rock and glam influences, but focusing more closely on Motown, soul, and Fifties R&B.

First ever box set from one of the most thrilling bands of the Twentieth
Century.
 Deluxe 7” singles box set featuring the phenomenal original run of singles
with two bonus singles exclusive to this set. Seven 7” singles housed inside
a lift-off lid box with a booklet featuring an essay by Clinton Heylin,
reminisces from Thurston Moore, Henry Rollins, Mark Lanegan X and Dan
Stuart, rare photographs and flyers, new exclusive issue of the ‘Fire of Love’
fanzine, Ruby Records postcard and a ‘Gun’ button badge.
 If ever there was a band seemingly determined to come from nowhere and
go straight back there, it was The Gun Club. Jeffrey Lee Pierce’s search and
destroy combo was spawned by the LA punk scene in 1979. Two years later
their first LP, the incendiary ‘Fire Of Love’, was spewed out by Slash
Records, a matter of months after the punk zine Pierce wrote for, and the
label named itself after, breathed its last. ‘Fire Of Love’ was one of the 80’s
genuinely shape-shifting US debuts, igniting post-punk depth and minting
genres including blues, psychobilly and Americana.
 Jeffrey Lee Pierce was an extraordinary character. Learning to play guitar at
the age of 10, he quickly immersed himself firstly in reggae and later the
Delta Blues, particularly works by Tommy Johnson and Robert Johnson. By
1976, he had become obsessed with Blondie, going on to become President
of the West Coast Blondie Fan Club. It was Jeffrey Lee Pierce who
suggested to the band they cover ‘Hanging On The Telephone’. The Blondie
connection would later resurface in 1982 when Chris Stein signed and
produced The Gun Club for his Animal Records label. In 1996 after releasing
seven studio albums, 37-year-old Jeffrey Lee Pierce sadly passed away
following a stroke. What he left behind is a legacy of work that has had a
prolific effect on some of the most distinguished rock acts of the past 20+
years, these include Nick Cave & The Bad Seeds, Sonic Youth, The White
Stripes, Mark Lanegan, Primal Scream and The Black Keys.
 “Jeffrey was a human tornado. Yet during the most turbulent points in his life,
he was able to tap what seemed to be a limitless supply of astonishingly
beautiful music. Even now, songs like ‘Flowing’ and ‘Desire’ catch me up.
The immense power that passed through Jeffrey, like an electrical current,
informed his amazing body of work. That level of unrelenting heat and
incandescence is simply not survivable. I wouldn’t wish it on anyone.” -
Henry Rollins (April 2021)
 Six 7” singles reprinted with original artwork. Additional ‘Miami Demos’ 7”
exclusive to this box set. All singles remastered especially for these vinyl
editions.

Cardinal Fuzz / Acid Test are proud to present to you the debut LP from Black Holes Are Cannibals – ‘Surfacer’.

Formed around the uber talent of Chris Jude Watson (founder of ‘Snakes Don’t Belong In Alaska’) who in BHAC found a band to take his vision to the outer most limits. BHAC are a collective with a varying line and each time they record all the music is improvised as they let their collective and innate abilities guide them, but what does bind them are the touchstones of Drone and Minimalism that runs through the music they create or just plain HEAVY. Call them Drone Metal or Psychedelic it matters not as the music created is an immersive, all consuming and thought-provoking transcendental listening experience that awaits those brave enough to take the ride with BHAC.

‘Surfacer’ was recorded at First Avenue Studios in Newcastle by the band using a TASCAM DR40 and is the embodiment of pent-up emotions gathered and endured during lockdown as they zap out every ounce of feeling and anguish into this recording.

‘Surfacer’ is not an album for the faint of heart with 2 long tracks of transcendence that will challenge and push you to lose yourself in the sonic experience of the timbre / vibrations of droning instruments and throat vocalisations as BHAC weave together mesmerizing waves of sonic texture.

‘Surfacer’ draws influence from bands like Neptunian Maximalism, Qujaku, Neurosis and the visual work of Andrei Tarkovsky, Kenneth Anger and Larisa Shepitko which influence the energy and darker sounds of the music while still taking influence from more traditional psychedelic sounds and experimental places like Taj Mahal Travellers, Suzuki Junzo, Pauline Oliveros, Vahvistusharha, and Tōru Takemitsu aurally and visual energies from occult works like Jodorowsky's 'Holy Mountain', Helena Blavatsky and Hilma Af Klint's Alterpieces 1-3.

As Terence McKenna might have said – BHAC are best experienced when listened to in complete solitude in a dark room while you are doing nothing else. To experience this album to the fullest, you must not have any distractions. Just sit down, relax, plug in, and let this album take you up into outer space.

‘Surfacer’ is pressed on Heavy Black Vinyl and presented in a 350gsm Outer Sleeve with artwork that perfectly matches the music drawn by James Watts (Inspiration coming to James from an article on beaked whales being "more surfacer than diver" before we had that jam and thats what inspired his drawing of an abstract beaked whale skull for the cover).

"With a unique trademark sound that is instantly recognizable even through a massive block of ice, Finnish melodic power metal overlords Sonata Arctica never fail to enthrall their audience with captivating hymns of Nordic splendor and magic. Graced by the aurora borealis, they’ve released ten studio albums thus far, taking us into their world since the majestic tunes of their long-fabled debut, “Ecliptica.” Now, however, the band is about to start a whole new chapter. Aptly titled “Acoustic Adventures – Volume One,” Sonata Arctica carefully strip their sound of all things metal only to reveal precious, stunningly beautiful acoustic songs that still capture the heart, spirit and very essence of this band. After Sonata Arctica hit the road in 2016 to premiere their marvelously crafted acoustic set to a stunned audience and then again in 2019, the idea was born to immortalize these intimate, pure, and heartfelt renditions of their iconic catalog on two acoustic albums, the second of which will follow in close succession. “The fans truly seemed to enjoy this side of the band quite much so there was clearly a demand to record these versions of our music.” Having said that, such a release was only a matter of time, anyway: At the very heart of every Sonata Arctica song lies a sublime melody, wreathed in melancholy. “We originally planned to record these songs in Los Angeles at a friends’ studio but since most of our touring seized we decided to do the recordings a bit sooner,” remembers Henrik “Henkka” Klingenberg. “Acoustic Adventures – Volume One” was recorded during summer 2020, with mixing and mastering following suite. Even though the songwriting material is so strong in this band -- you could hear it played on a triangle or a saxophone and still get goosebumps -- some songs proved to be trickier than others. “Not all of the stuff we tried worked out which is why some songs were not recorded,” Henkka says. “Luckily we have quite a large collection to choose from so there’s really no shortage of material.” It’s no exaggeration. The band has over one-hundred songs to choose from, which is a rather fortunate situation. What’s typically Sonata Arctica about all this is that they not only replaced electric with acoustic guitars. Instead, they didn’t shy away from writing whole new arrangements. “Thus, a lot of the songs sound quite different from the original versions.” Starting with the songs they already performed during the “Acoustic Adventures” tours, they added some personal favorites or gems to the mix after that and recorded the whole bunch live! Opening with the mesmerizing “The Rest Of The Sun Belongs To Me” and going via the banjo and organ infused (!) “A Little Less Understanding” to the heartbreaking ballad “Tonight I Dance Alone,” it becomes clear that Sonata Arctica have found solace and a home in these tender versions. One song especially proved to be a challenge for Henkka. “‘Wolf & Raven’ was quite the thing to play on acoustic piano,” he laughs, “but the whole session was a big challenge for everyone. On top of doing it all live, we also didn’t use a click track or metronome so you had to be really alert and make sure the songs stayed in tempo. I think ‘For The Sake Of Revenge’ is still is my favorite. It turned out really special and so different from the original. We also didn’t play the acoustic version live so nobody has heard it.” Yet, he means. The next acoustic tour is around the corner. Singles & Videos: 03.12 „The Rest Of The Sun Belongs To Me“ Sigle & Lyric Video 14.01 „For The Sake Of Revenge“ Single & Video // Focus Track"

"With a unique trademark sound that is instantly recognizable even through a massive block of ice, Finnish melodic power metal overlords Sonata Arctica never fail to enthrall their audience with captivating hymns of Nordic splendor and magic. Graced by the aurora borealis, they’ve released ten studio albums thus far, taking us into their world since the majestic tunes of their long-fabled debut, “Ecliptica.” Now, however, the band is about to start a whole new chapter. Aptly titled “Acoustic Adventures – Volume One,” Sonata Arctica carefully strip their sound of all things metal only to reveal precious, stunningly beautiful acoustic songs that still capture the heart, spirit and very essence of this band. After Sonata Arctica hit the road in 2016 to premiere their marvelously crafted acoustic set to a stunned audience and then again in 2019, the idea was born to immortalize these intimate, pure, and heartfelt renditions of their iconic catalog on two acoustic albums, the second of which will follow in close succession. “The fans truly seemed to enjoy this side of the band quite much so there was clearly a demand to record these versions of our music.” Having said that, such a release was only a matter of time, anyway: At the very heart of every Sonata Arctica song lies a sublime melody, wreathed in melancholy. “We originally planned to record these songs in Los Angeles at a friends’ studio but since most of our touring seized we decided to do the recordings a bit sooner,” remembers Henrik “Henkka” Klingenberg. “Acoustic Adventures – Volume One” was recorded during summer 2020, with mixing and mastering following suite. Even though the songwriting material is so strong in this band -- you could hear it played on a triangle or a saxophone and still get goosebumps -- some songs proved to be trickier than others. “Not all of the stuff we tried worked out which is why some songs were not recorded,” Henkka says. “Luckily we have quite a large collection to choose from so there’s really no shortage of material.” It’s no exaggeration. The band has over one-hundred songs to choose from, which is a rather fortunate situation. What’s typically Sonata Arctica about all this is that they not only replaced electric with acoustic guitars. Instead, they didn’t shy away from writing whole new arrangements. “Thus, a lot of the songs sound quite different from the original versions.” Starting with the songs they already performed during the “Acoustic Adventures” tours, they added some personal favorites or gems to the mix after that and recorded the whole bunch live! Opening with the mesmerizing “The Rest Of The Sun Belongs To Me” and going via the banjo and organ infused (!) “A Little Less Understanding” to the heartbreaking ballad “Tonight I Dance Alone,” it becomes clear that Sonata Arctica have found solace and a home in these tender versions. One song especially proved to be a challenge for Henkka. “‘Wolf & Raven’ was quite the thing to play on acoustic piano,” he laughs, “but the whole session was a big challenge for everyone. On top of doing it all live, we also didn’t use a click track or metronome so you had to be really alert and make sure the songs stayed in tempo. I think ‘For The Sake Of Revenge’ is still is my favorite. It turned out really special and so different from the original. We also didn’t play the acoustic version live so nobody has heard it.” Yet, he means. The next acoustic tour is around the corner. Singles & Videos: 03.12 „The Rest Of The Sun Belongs To Me“ Sigle & Lyric Video 14.01 „For The Sake Of Revenge“ Single & Video // Focus Track"

"With a unique trademark sound that is instantly recognizable even through a massive block of ice, Finnish melodic power metal overlords Sonata Arctica never fail to enthrall their audience with captivating hymns of Nordic splendor and magic. Graced by the aurora borealis, they’ve released ten studio albums thus far, taking us into their world since the majestic tunes of their long-fabled debut, “Ecliptica.” Now, however, the band is about to start a whole new chapter. Aptly titled “Acoustic Adventures – Volume One,” Sonata Arctica carefully strip their sound of all things metal only to reveal precious, stunningly beautiful acoustic songs that still capture the heart, spirit and very essence of this band. After Sonata Arctica hit the road in 2016 to premiere their marvelously crafted acoustic set to a stunned audience and then again in 2019, the idea was born to immortalize these intimate, pure, and heartfelt renditions of their iconic catalog on two acoustic albums, the second of which will follow in close succession. “The fans truly seemed to enjoy this side of the band quite much so there was clearly a demand to record these versions of our music.” Having said that, such a release was only a matter of time, anyway: At the very heart of every Sonata Arctica song lies a sublime melody, wreathed in melancholy. “We originally planned to record these songs in Los Angeles at a friends’ studio but since most of our touring seized we decided to do the recordings a bit sooner,” remembers Henrik “Henkka” Klingenberg. “Acoustic Adventures – Volume One” was recorded during summer 2020, with mixing and mastering following suite. Even though the songwriting material is so strong in this band -- you could hear it played on a triangle or a saxophone and still get goosebumps -- some songs proved to be trickier than others. “Not all of the stuff we tried worked out which is why some songs were not recorded,” Henkka says. “Luckily we have quite a large collection to choose from so there’s really no shortage of material.” It’s no exaggeration. The band has over one-hundred songs to choose from, which is a rather fortunate situation. What’s typically Sonata Arctica about all this is that they not only replaced electric with acoustic guitars. Instead, they didn’t shy away from writing whole new arrangements. “Thus, a lot of the songs sound quite different from the original versions.” Starting with the songs they already performed during the “Acoustic Adventures” tours, they added some personal favorites or gems to the mix after that and recorded the whole bunch live! Opening with the mesmerizing “The Rest Of The Sun Belongs To Me” and going via the banjo and organ infused (!) “A Little Less Understanding” to the heartbreaking ballad “Tonight I Dance Alone,” it becomes clear that Sonata Arctica have found solace and a home in these tender versions. One song especially proved to be a challenge for Henkka. “‘Wolf & Raven’ was quite the thing to play on acoustic piano,” he laughs, “but the whole session was a big challenge for everyone. On top of doing it all live, we also didn’t use a click track or metronome so you had to be really alert and make sure the songs stayed in tempo. I think ‘For The Sake Of Revenge’ is still is my favorite. It turned out really special and so different from the original. We also didn’t play the acoustic version live so nobody has heard it.” Yet, he means. The next acoustic tour is around the corner. Singles & Videos: 03.12 „The Rest Of The Sun Belongs To Me“ Sigle & Lyric Video 14.01 „For The Sake Of Revenge“ Single & Video // Focus Track"

Over the last twenty years Comeback Kid have been hailed as one of the major counterparts when it has come to shaping and pioneering both the Canadian and international modern punk and hardcore sound and scene alike.
After having released their first demo in 2002, before quickly drawing the attention of Facedown Records for the release of their debut, Turn It Around, the last twenty-one years have seen the band produce some of the most acclaimed records within the genre. Signing to Victory Records (Thursday, Refused) for 2005’s career defining records, Wake The Dead and Broadcasting, the five piece have undoubtedly over the years been able to balance a DIY ethos and dependability, with that of a humanitarian ethos, and genre defining musicianship which has broken down the boundaries of hardcore, and transcended the genre onto a global stage. With a back catalogue that would produce some of the most seismic and influential anthems to transverse across both punk and hardcore, 2017’s signing to Nuclear Blast Records (Hatebreed, Madball, Slayer) saw the release of powerhouse heavy hitter, Outsider.
Arguably noted as a record and turning point in both sound and the band’s career, this release would be a definitive moment in pioneering a new path of which an entire generation of new artists within the genre would follow, thus solidifying Comeback Kid next to the likes of NOFX, Terror, and Converge as both major headliners, and forefathers to set the course for what it means to be one of the most adverse punk bands of the 21st century. “We’re a hardcore band, but we don’t feel like we belong to any particular sect of that,” states Neufeld alongside band members, Jeremy Hiebert (guitar), Stu Ross (guitar), Chase Brenneman (bass), and Loren Legare (drums). “We don’t want to be limited in any sense and prefer to work on our own terms.”
Now one of the most volatile leaders within the global heavy music community and continuing to break down boundaries and champion new territories, Comeback Kid’s seventh studio album, Heavy Steps is solidifying the band’s revolutionary status.
Returning to their roots, literally, by recording in Winnipeg and co-producing with John Paul Peters (Cancer Bats, Propagandhi) as well as collaboration with prominent mixer Will Putney (Knocked Loose, Every Time I Die, Four Year Strong), Heavy Steps is no longer a prerequisite to realizing Comeback Kid’s influence on modern punk, but a delivery of pure anthemic chaos, sheer speed and force. It is a statement of intent. “It’s about hitting the ground running, not knowing when or where the ground could break from underneath you.” summarizes Neufeld. “It's heavy steps on thin ice. Heavy steps on hollow ground.”

Nervous Records, the iconic label synonymous with the rise of house from the streets of New York City, will mark 30 years in the music industry by releasing the celebratory compilation LP ‘Nervous Records: 30 Years’ on October 1st (Part 1) and October 15th (Part 2).

Featuring original mixes of the label’s biggest tracks, plus remixes by some of its most celebrated acts, ‘Nervous Records: 30 Years’ is both a celebration of the past and of the future. Featuring a who’s who of electronic dance music, the long player sees names including Louie Vega, David Morales Darius Syrossian, Tensnake, Monki, Franky Rizardo, Danny Howard and more take on iconic Nervous cuts: ‘You Make Me Feel Mighty Real’, ‘Treat Me Right’, ‘Future Groove’, ‘Feel Like Singing’, ‘Get Up Everybody’, ‘Break You’, ‘Hot’, ‘End This Hate’, ‘Unspeakable Joy’, ‘Can Ya Tell Me’, ‘Jerk It’, ‘The Anthem’, ‘It Makes A Difference’, ‘Learn 2 Luv’ and ‘Don’t You Ever Give Up’.

The album marks one of the most enduring, extraordinary legacies to grace America’s illustrious music history, not just in electronica but far beyond. Founded in 1991 by Michael and his father Sam Weiss, and recognizable immediately by its distinctive character logo, the label grew rapidly, in no small part due to Michael Weiss’ practically unmatched passion for discovering new music.

“Louie Vega and Kenny Dope woke me at 4am on Tuesday night, Wednesday morning from their studio telling me they had something really different that I needed to hear,” Michael recollects. “I asked if they could play it over the phone. They said if I wanted to hear it I had to come to the studio. So of course I got myself up, got dressed and went there. That “really different track” ended up being ‘The Nervous Track’, a tune that became our signature release and was also highly instrumental in the emergency of London’s ‘Broken Beat’ movement.”

The label’s willingness to take chances on fresh sounds and innovative concepts rising up from the melting pot sidewalks of NYC ensured a body of work that has become a living musical history of the city. House cuts ‘Unspeakable Joy’ and ‘Nitelife’ (Kim English), ‘Get Up (Everybody)’ (Byron Stingily) and ‘Feel Like Singing’ (Sandy B) bump up against hip-hop anthems like ‘Who Got Da Props’ (Black Moon) and “Bucktown” (Smif-n-Wessun) and reggae cut ‘Take It Easy’ (Mad Lion); soulful flows from Mood II Swing (Kim English ‘Learn 2 Luv’, Loni Clark “Rushing”), Armand Van Helden (‘The Anthem’) and Nuyorican Soul (‘Mind Fluid’) sit alongside seminal techno singles like Winx’ ‘Don’t Laugh’. The young artists and producers who joined the Nervous Records’ family have gone on to become some of the most hallowed and celebrated dance acts of all time: Louie Vega, Kenny Dope, David Morales, Tony Humphries, Roger Sanchez, Armand Van Helden, Kerri Chandler, Kim English, Byron Stingily, Josh Wink, to name just a handful.

“We did a release with Josh Wink under his Winx alias entitled ‘Nervous Build-Up’,” Michael said. “It did well and it was obvious how talented Josh was. Subsequent to that release I was pretty persistent in asking him to continue to play me his new demos. During one phone conversation he said, “Mike I’m gonna play you something over the phone but don’t laugh when you hear it.” That demo ended up being ‘Don’t Laugh’, which became one of our biggest international hits and still to this day is one of America’s earliest and most impactful techno hits.”

As much a celebration of the label’s future as it is of their past, Nervous Records: 30 Years is but a marker in the imprints’ history, a clear sign of where they’ve been and also where they’re going. With 30 years behind them, the label’s determination to unearth new raw diamonds in the rough is as unwavering as ever.

“I’ve always been one to look at what others are doing (the industry at large) and think, “ok, are they doing this specific thing for a reason, or doing it because everyone else is doing the same thing” and make my decision based on that,” says Nervous Records’ General Manager Andrew Salsano. “In an age where data metrics and analytics reign supreme, I remain steadfast that they should be complementary to your decision and not the sole indicator to make one. So many songs today are written with 15 second hooks in mind for social media, and while there’s nothing wrong with that business model you will always be chasing the wave instead of carving out your own path and identity.

“My primary focus for the sound of the label has and will continue to revolve around signing good songs and music that has the ability to react at the street level first. The best results come from artists that are firstly given a bit of local love that grows into a global impact. Fresh ideas that express child-like curiosity and artists showing vulnerability in their music are also something I look for, artists and producers that are not making music with certain markets in mind, but rather their own style and signature that is unique but able to straddle the fine line of underground and overground.”

Still as raw, as underground and as finely tuned to the dance floor as they ever have been, perhaps the secret to the success - and the longevity - of Nervous Records has something to do with that hard, dogged, no-holds-barred NYC edge that runs through the veins of the label. With the next generation of producers rising from the clubs of New York, one thing is certain; Nervous Records will be there to find them, nurture them and bring them to the world at large, over the next decade and beyond.

Die 2007 gegründete deutsche Heavy-Metal-Formation KISSIN DYNAMITE hat sich mehr als nur einen
Namen in der Szene gemacht: Mit sechs Studioalben und diversen Chart Erfolgen (#7 in den GERAlbumcharts mit dem 2018er Full-Length Ecstasy) etablierte die Band ihren Trademark-Stil - geprägt
von modernen Sounds, wuchtigen Hymnen und eingängigen Hooks, gepaart mit 80er-Jahre-StadionrockAttitüde und einem außergewöhnlichen Look. Nun steht die Kombo in den Startlöchern bereit, ihr Napalm
Records-Debüt Not The End Of The Road zu veröffentlichen und mit 12 kraftvollen Tracks den Weg des
Metal im Jahr 2022 zu ebnen.
Produziert, aufgenommen und gemischt wurde das neue Studioalbum von Sänger Hannes Braun selbst, der
auch schon mit Bands wie SANTIANO, THE KELLY FAMILY oder BEYOND THE BLACK gearbeitet hat.
Das Mastering übernahm Jacob Hansen in den Hansen Studios, der Grammy Award nominierte Produzent
ist bekannt für seine Arbeit mit Bands wie VOLBEAT und vielen mehr.

Jung, wütend und mit einem klaren politischen Statement gegen Rassismus, Sexismus und Homophobie im
Gepäck - SETYØURSAILS nehmen bei Weitem kein Blatt vor den Mund. Die Newcomer aus Köln spielen
kompromisslosen und dennoch melodischen (Post) Hardcore gewürzt mit signifikanten Metalcore-Parts und
überzeugen sowohl Live, als auch auf Platte.
Nun steht die Band mit ihrem zweiten Album und Napalm Debüt Nightfall in den Startlöchern, das
am 21.01.2022 veröffentlicht wird. Bereits der Intro-Track “Ghosts”, featuring Annisokay-Fronter Rudi
Schwarzer, zeigt schnell in welchem musikalischen Fahrwasser die Band unterwegs ist: Schwirrende Gitarrenlinien, mischen sich mit beinah elektronischen Einflüssen und formen die imposante Rückmeldung
von SETYØURSAILS, die ihre musikalische Vielfältigkeit unter Beweis stellen. Die Mischung aus Metal-,
Death- und klassischen Hardcore Elementen zieht sich durch die komplette Scheibe und lässt dabei aber
auch immer wieder Platz für Überraschungen, ohne den typischen Trademark zu verlieren.
SETYØURSAILS sind aber auch stets für Überraschungen zu haben. Gemeinsam mit Mike Perez von No
Braggings Rights covern sie „Shallow” (aus dem Film “Star Is Born”) von Lady Gaga und Bradley Cooper
und verleihen der Ballade ihren persönlichen Touch, womit sie erneut ihre musikalische Vielfältigkeit beweisen.
Auf insgesamt 13 Tracks stellen SETYØURSAILS vor allem eines klar: Sie sind mehr als bereit die Szene
zu erobern!

First released by Britain’s then foremost folk label, Transatlantic Records in 1970, Storyteller’s first album is a forgotten gem of Psychedelic Folk Prog Rock. Warm and silky production courtesy of Andrew Bown and Peter Frampton, fabulous dual vocals and a wistful arrangement of top-drawer UK Folk Prog, make Storyteller a diamond worth digging into. Around 1969, after being a part of the band The Other Two on Decca Records, working with people like Chuck Berry, Duane Eddy and Jerry Lee Lewis, and touring with Chuck Berry and The Animals, Caroline Attard joined a new band that was being formed; Storyteller. A quintet who followed their own inclination, ignoring current fashions and just doing what seemed to come naturally, Storyteller is a crate-digger’s delight. Up there with Fairport Convention, Jefferson Airplane and Steeleye Span, Storyteller were steeped in folklore tales such as on ‘Ballad Of The Three Laps’, bringing the true spirit of folk alive in their own unique way. With songs written primarily by Roger Moon, and Terry Durham as muse of inspiration with his paintings and wonderful Yorkshire stories, Storyteller’s debut has the authentic and honest vibe of the real McCoy. No longer confined to being coveted by collectors and those in the know, this lush remastered reissue via Svart Records comes on gatefold vinyl with updated liner notes and interview. If you treasure Folk, Prog and Psychedelic Rock, make sure this is a tale you don’t miss out on!

HIFILOFI SCIFIWIFI is the debut solo album from Gale P, best known as the co -founder, guitarist and occasional singer of acoustic-indie stalwarts Turin Brakes.

Born in Tehran, based in Brixton, Gale Paridjanian was raised in the multicultural melting pot of South London in a family home full of musical instruments. He picked up a guitar at a young age and launched himself onto his musical arc.
A lockdown break from touring provided the space to explore fresh creative directions, inspirations and collaborations. Gale brought all these into his home studio to stitch together into a compelling set of personal songs; “I’d go around London looking for inspiration, bring it back to my garden shed and create freely, attempting to turn into sound what I’d seen that day - a painting, a fight, a story overheard. But sometimes I’m just trying to make music I want to hear, like a home-made Shazam playlist.”
Everything is tied together by Gales’ authentically lo-fi production, intimate vocals and sultry acoustic guitar, floating across dreamily trashy beats and subtle offbeat electronics.

»Infuso Giallo aka Philipp Carbotta originally hails from rural Western Germany, first cut his teeth in the music scene of nearby Cologne and conducts a host of activities in Berlin for a couple of years now – co-running the label Kame House, designing graphics and producing and playing leftfield electronic music. His debut LP Ocular Soda presents an intersection of these activities – self-released, self-designed and of course self-produced. Even before the first synth chords and reverse atmospheres of the two-part opener 'Every Waking Hour' tickle the ear, it is the eye that is drawn to the bright, cut-out style cover art – itself made up of two eyes on the front and what seem to be their rough shapes or discarded counterparts on the back.
To stay within that metaphor, Infuso Giallo's music is indeed of a reflective and calm nature, taking cues from Berlin School, library and New Age musics from roughly the 1970s to the 1990s – steadily repeating and slowly evolving ostinatos, lush digital pads, quirky filtered toplines and electronic percussion that mostly eschews four-four monotony in favor of much more subtle syncopations. Balearic bomb 'The Big Rip' with its big drums and acid bass turns the energy level up a notch while retaining the somnambulistic, lingering quality that makes Ocular Soda such a coherent listening experience – music on the sheath of waking and dreaming, both worlds and their inherent logics freely bleeding into each other. There are moments of great expanse, such as in 'Mole Gaze' – I couldn't help but see myself hovering somewhere in mid-air while the music unfolds as if on a great deserted plane below me. Maybe this is what it sounds like once the mole leaves his tunnels and takes in the sound of the world overground. 'Hello World', indeed, in its multitude of information to eye and ear, in its gently overwhelming quality. The title track 'Ocular Soda' closes the proceedings with a whimsical nod to 1970s botany-centered library music, its brooding chord sequence and sweet lead lines gradually fading in the distance. A fitting ending to an impressive LP of highly evocative, at times sombre and at times blissfully naive pieces that leave me yearning for more.«

Written, recorded & produced by Infuso Giallo in 2020 & 2021 in Berlin. Mixed by Philipp Janzen & Sebastian Blume at Dumbo Studios, Cologne. Mastered by Sam Irl in Vienna. Design by Infuso Giallo.

Boy Harsher’s latest release, ‘The Runner (Original Soundtrack)’, is an exorcism.

Augustus Muller and Jae Matthews’ fifth release entitled ‘The Runner (Original Soundtrack)’ is not a traditional album. Rather, it is the soundtrack to a short film, also entitled ‘The Runner’. The film, written, produced, and directed by the duo, is a searching horror film, attached to a meta-style “documentary” about Boy Harsher’s recording process. The album includes several distinct components: cinematic arrangements, vocal features, and of course classic Boy Harsher dark pop.

Both the album and short film will be released in January 2022.

Last year, in the midst of the obvious chaos (the global pandemic), but additionally with Jae’s MS diagnosis, Augustus started working on moody, cinematic sketches. It was uncertain what these pieces would become, other than catharsis. In Jae’s period of convalescence, she kept thinking about this sinister character: a woman running through the woods. Together, they developed this idea further into a film. They were unable to tour, a drastic (and isolating) shift in their career, and making ‘club music’ did not feel right. But there was so much they needed to get out. The next Boy Harsher release would be a reconciliation of this time. The album processes feelings of universal anxiety and the confrontation of at home illness. A necessary expulsion during a time of unrest.

The album opens with “Tower”. The only track on ‘The Runner (Original Soundtrack)’ that Boy Harsher has previously played live, but never recorded. The song is an incantation, with its pulsing synth and Jae’s begging vocals. A spell about desire and impending destruction. Jae asks 'But are you honest? Do you trust? You trust in me?' Questions answered by her desperate yells. It starts both the film and the soundtrack with a heavy presence.

Two songs on ‘The Runner (Original Soundtrack)’ feature vocalists other than Jae Matthews. He allows a distinct sound for both vocalists and really leans into the possibility of divergent genres. “Machina”, is a HI-NRG homage, performed by Mariana Saldaña of Boan, and “Autonomy” a new wave tribute, performed by Cooper B. Handy of Lucy. Augustus Muller fully embraces the soundtrack ethos, by creating fictional ‘bands’ to generate additional content.

‘The Runner (Original Soundtrack)’ is exactly what’s in the name: a soundtrack. At first the shape of the release was nebulous - yet once realized the album is dynamic. It serves as the story of the running figure and her musical accompaniment. Those expecting a traditional release will be surprised, but not disappointed.

Martina Topley Bird’s new studio album ‘Forever I Wait’, features collaborations and arrangements from Robert Del Naja of Massive Attack, Euan Dickenson, Rich Morel, Christoffer Berg, Benjamin Boeldt and Tiadiad.

'Forever I Wait' is Topley-Bird’s fourth long awaited studio album and her very first self-produced and curated piece of work to date. The album, set for a digital release on September 10th, with a vinyl LP available to pre-order now, captures an extensive journey confronting, exploring, analysing and reflecting on the devastating fragilities of life as it ultimately seeks to make peace with what life is.

A sentient and sensual presence framed Tricky’s trip-hop pioneering white label debut release, Aftermath. Hauntingly unique and immediately recognisable, that voice became the defining timbre of a new music movement. Behind this voice was mysteriously soft-spoken, London-born Martina Topley-Bird, whose exquisite voice came to inspire and infuse other pioneering artists across all genres.

“It’s a trip through different emotional states and frequencies, mostly dark, from insecurity and desire, all the way through to serenity and acceptance with themes that resonate from my young teens all the way through till today. Things that I’ve seen and things I’ve felt and worked through, although sometimes I sense them trying to return”

“Forever I Wait”, as the title alludes, was written and re-written over a long period of time.

“I had to change my way of relating to music and the music industry in order to make the record I wanted to make.…and that took time. And I took the time I needed. I started in London, moved and lived in America for the first time in my life, then briefly moved back to London and finished the record in Spain.”

“After trying to work on a new record for a couple of years, I came to a realisation that in order to move forward I had to separate the concept and vision I had for this record from me as a person. I had to shift my perspective. That was a big personal win and the beginning of “Forever I Wait.”

'Forever I Wait' leans on a multitude of tense sounds, dubby atmospherics and natural instrumentation to demand the listeners attention leading to over two decades of observations, experiences and musical sacrifices. It is a bi-product of the new perspective featuring carefully selected and tailored supporting arrangements from a handful of collaborators including Robert del Naja (Massive Attack), Rich Morel (Deep Dish), Christoffer Berg (Fever Ray) and Benjamin Boeldt (Adventure).

A truthful expression of desire and heartache “Forever I Wait “Is Topley Bird’s most precise and accurate album to date.

With the release of SOUL FOOD 3, KOGNITIF exquisitely completes the SOUL FOOD trilogy and invites you for this feast he started 7 years ago.

Your host is generous and consistent: Punch for starters, chill for the main course and groovy cake for dessert, all of which sprinkled with Electro vibes, Hip-Hop beats, soul and blues. The basics of any healthy diet.

Chef's special suggestion ?

...Have some more Good Mood !