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(Cargo Collective Title) RIYL: Silver Mt Zion, Rachel’s, Grails & Do Make Say Think. 180g LP, custom window-cut letterpress jacket with artworked 300gsm inner + DL. Esmerine presents Everything Was Forever Until It Was No More, its first album in five years, following a celebrated run of Juno Award winning and nominated records throughout the preceding decade. Founded by ex-Godspeed You! Black Emperor percussionist Bruce Cawdron and cellist Rebecca Foon (Saltland, Silver Mt Zion, Set Fire To Flames), the acclaimed instrumental music ensemble and has long embroidered emotive chamber works using threads of post-classical, post-rock, Minimalism, neo-Baroque, jazz, pop and a wide array of folk traditions. Esmerine conjures a distinctive and immediately identifiable sound that consistently defies the trappings of “fusion”, forging emotive cinematic soundtracks under the overriding sonic sensibilities of postpunk grit, Wall-of-Sound, drone and dark ambient. Recorded by longtime co-producer Jace Lasek (The Besnard Lakes), the new album manifestly carries on in this fine tradition. Everything Was Forever Until It Was No More completes Esmerine’s “Anthropocene” triptych: a series of album-length meditations that began in 2015. The album title itself has minor meme status in eco-artistic circles, appropriated from its original context Alex Yurchak’s 2005 book about the collapse of Soviet Russia by several exhibitions and works interrogating artistic production in the age of environmental crisis. (Foon is also well-known for her climate activism as co-founder of Pathway To Paris.) The album grapples with existential tensions between atmosphere and airlessness, seclusion and claustrophobia, forbearance and satiation, scarcity and abundance; it is one of Esmerine’s most restrained and wistful works. Instrumental densities ebb and flow, melding into each other with gauzy timbral warmth, sometimes tracing fleeting tendrils outwards, but always rotating around the saturnine gravitational force of a darkly glowing sonic center. Everything Was Forever Until It Was No More is like a somber forest lit by a closely-orbiting opalescent planet; it could be the alternate score to Von Trier’s Melancholia or Cormac McCarthy’s The Road.Esmerine planted these compositional seeds before pandemic rooted everyone in place, under the auspices of a grant from the Canada Council for the Arts and a 2019 residency at Le Château de Monthelon in France. Lasek then began documenting the band between lockdowns in various stripped-down configurations with spartan remote equipment at the rural Québec homesteads of Cawdron and Foon, culminating in final sessions at Foon’s converted barn in summer/fall 2021, notably with extensive use of the barn’s resonant acoustic piano. Brian Sanderson appears on his fourth Esmerine album since joining in 2012, continuing to expand the ensemble’s ethnomusicological sensibility and melodic sound palette with guitars, ngoni, ekonting, hulusi, and brass horns of all sorts. Everything Was Forever… also signals the full integration of bassist Philippe Charbonneau, who joined Esmerine as a touring member pre-pandemic and plays throughout the new album, along with sound design contributions via synth, tape echo and other processing. Everything Was Forever Until It Was No More features the pandemic collage artwork of Maciek Sczcerbowksi, in a second Esmerine album art collaboration following their Juno award for Album Package of the Year for Lost Voices in 2015.

2022 repress, 45 rpm
incl. download code

Second Woman is a new collaborative project featuring Turk Dietrich of Belong and Joshua Eustis of the renowned Telefon Tel Aviv. As one would imagine, Second Woman is a nonpareil debut of futuristic electronic music fusing the coveted genetics of the duos respective previous endeavors into an alluring new enigma of ASMR-inducing kaleidoscopic dub. Second Woman is a fully realized entity; a well-crafted sound world and a refreshing shared effort which is inspiring in its purity and painstaking in its design.

The opening "100407jd7" wastes no time exhibiting mastery in both sound and structure, contorting the frequency spectrum into a psychoactive mirage with its mutating tectonics and vaporous tone clouds. Cuts like "200601je6" and "700358bc5" are bar-raising examples of veteran craftsmanship and vision, refining and reengineering the blue prints of their early works to create an original and dynamic album. The deliberation and control over every particle is obsessive, but the end results of each individual track unfold with an organic temperament unparalleled in a grid-locked world of DAW shaped musics and rat's-nest modular aleatory. Words fail where essential sonics are concerned, and this vital new creation speaks for itself.

This previously unreleased album by the Horace Tapscott Quintet was unearthed from master tapes in the Flying Dutchman archives. Recorded in 1969 and was intended to be a follow-up album to the classic 'The Giant Is Awakened' which was released that year.

The iconic pianist and composer Horace Tapscott was one of the most unique and important figures in LA’s jazz world. This lost recording was produced by one of the pivotal figures in jazz, Bob Thiele, a leading behind-the-scenes star who worked with many of the greats in jazz, such as Quincy Jones, Duke Ellington, John Coltrane, Della Reese, Shirley Scott, Gil Scott-Heron, the list goes on. His name can be seen gracing, arguably the best, Impulse! releases and those released on his own Flying Dutchman imprint set up in 1969.

Joining Horace for this three-track, deep, heavy, avant-garde session is the same stellar cast featured on 'The Giant Is Awakened'; Arthur Blythe on Alto Sax, Everett Brown Jr on Drums, with David Bryant and Walter Savage Jr. on Bass. Kicking things off we have 'World Peace’, which starts with an almost baroque-esque melody, leading to an eruption in sound, it then ends in the same manner it began. The beautiful 'Your Child' is the jewel in the crown, skirting modal, deep jazz and introducing elements of free jazz. 'For Fats' with its bow bass and piano intro takes you on a journey, dropping into, at times dark, stormy melodies and developing a driving energy as the composition progresses.

After recording this album, Horace was said to be wary of the music industry, so he retreated and distanced himself from this world, recording only for the independent labels UGMAA, Interplay Records, and Nimbus West Records. He set up The Pan-Afrikan People’s Arkestra and reintroduced the pan-African-roots sound back into the heart of jazz. He also developed and promoted the art form through performances and recordings.

Thankfully, this session from these wonderful musical pioneers was preserved and finally has its time to shine.

Featuring brand-new artwork by the illustrious artist/designer/musician Raimund Wong (Total Refreshment / Floating World Pictures)

Deluxe 180gram vinyl edition comes in a foil-embossed and die-cut cardstock jacket with printed inner sleeve and additional 12x12 art cards featuring the collages of Maciek Szczerbowski. All the art interacts with the die-cut jacket framing. Edition of 300. Rooted in a distinct and immediately identifiable sound_with the cello of Rebecca Foon (Saltland, Set Fire To Flames, Thee Silver Mt Zion) and the marimba of ex-Godspeed You! Black Emperor percussionist Bruce Cawdron at its core_Esmerine has long embroidered emotive chamber works using threads of post-classical, post-rock, Minimalism, neo-Baroque, jazz, pop and a wide array of folk traditions. Multi-instrumentalist Brian Sanderson, who joined the group in 2012, has furthered Esmerine's melodic and ethnomusicological sensibility ever since, expanding the ensemble's palette as its third core member with guitars, ngoni, ekonting, hulusi, brass horns of all sorts, and more. Since 2003, six stately and filmic instrumental albums have inscribed compositional landscapes through epigrammatic miniatures, longform multi-movement chronicles, and all manner of evocative musical prosody between. Marked by an inimitably turbid yet tempered pastoralism, alternately lit by dappled dawn and disquieted dusk, Esmerine's musical narratives balance asceticism and romanticism, melancholy and hope, stillness and wanderlust. Esmerine now shares Everything Was Forever Until It Was No More, its seventh full-length album and first in five years. The band surprise-dropped the full album digitally on 06 May 2022, with the CD and Deluxe 180gram LP editions hitting stores on official release date 26 August 2022. Following an acclaimed run of mid-career records on Constellation through the 2010s_the last three of which have all been finalists or winners of Juno Awards for Instrumental Album of the Year and/or Album Packaging of the Year_Esmerine began working on new music at decade's end. Under the auspices of a grant from the Canada Council for the Arts, and a summer 2019 residency at Le Château de Monthelon (an artist commune in France where the band has cherished long-standing spiritual, creative, and personal connections), compositional seeds were planted_and then pandemic rooted everyone in place. In between lockdown waves, at the respective rural Québec homesteads of Cawdron and Foon, longtime co-producer Jace Lasek (The Bernard Lakes) began capturing the band in various stripped-down configurations with spartan remote equipment. More fulsome arrangement and overdub sessions at Foon's converted barn during the summer of 2021 brought the album to full fruition_where a notable increase in the use of acoustic piano also poured forth, with just about every band member having a go. The record also signals the definitive integration of bassist Philippe Charbonneau_having joined Esmerine as a touring member pre-pandemic, he plays throughout the album on upright and electric bass, with turns on piano and synth, as well as sound design contributions via tape echo and other processing. Everything Was Forever Until It Was No More grapples with the existential tensions between atmosphere and airlessness, seclusion and claustrophobia, forbearance and coalescence. In many ways it is one of Esmerine's most restrained records. Only a few passages are driven by full percussion. There is palpably less Sturm and Drang or overt crescendos compared to its recent predecessors. The new album roils with a different sort of dynamic intensity, where instrumental densities ebb and flow within an overtonal centre, melding into each other with gauzy timbral warmth, sometimes tracing fleeting tendrils outwards, but always rotating around a saturnine gravitational force. Everything Was Forever Until It Was No More is like a dark forest lit by a closely-orbiting opalescent planet; it could be the alternate score to Von Trier's Melancholia or Cormac McCarthy's The Road.

Note price increase and cat number change from last time around. In the late 1960s, the American trumpet player and free jazz pioneer Don Cherry (1936-1995) and the Swedish visual artist and designer Moki Cherry (1943-2009) began a collaboration that imagined an alternative space for creative music, most succinctly expressed in Moki's aphorism "the stage is home and home is a stage." By 1972, they had given name to a concept that united Don's music, Moki's art, and their family life in rural Tagårp, Sweden into one holistic entity: Organic Music Theatre. Captured here is the historic first Organic Music Theatre performance from the 1972 Festival de jazz de Chateauvallon in the South of France, mastered from tapes recorded during its original live broadcast on public TV. A life-affirming, multicultural patchwork of borrowed tunes suffused with the hallowed aura of Don's extensive global travels, the performance documents the moment he publicly jettisoned his identity as a jazz musician, and represents the start of his communal "mystical" period, later crystallized in recordings such as Organic Music Society, Relativity Suite, Brown Rice, and the soundtrack for Alejandro Jodorowsky's The Holy Mountain. The musicians in Don Cherry's New Researches, hailing from Brazil, Sweden, France, and the US, converged on Chateauvallon from all over Europe. The five-person band Don and Moki Cherry, Christer Bothén, Gérard "Doudou" Gouirand, and Naná Vasconcelos performed in an outdoor amphitheater and were joined onstage by a dozen adults and children, including Swedish friends who tagged along for the trip and Det Lilla Circus (The Little Circus), a Danish puppet troupe based in Christiania, Copenhagen. The platform was lined with Moki's carpets and her handmade, brightly colored tapestries, depicting Indian scales and bearing the words Organic Music Theatre, dressed the stage. As the musicians played, members of Det Lilla, led by Annie Hedvard, danced, sang, and mounted an improvised puppet show on poles high up in the air. The music in the Chateauvallon concert aspired to a universal language that would bring people together through song. In a fairly unprecedented move, Don abandoned his signature pocket trumpet for the piano and harmonium, thereby liberating his voice as an instrument for shamanic guidance. The show opens with him beckoning the audience to clap their hands and sing the Indian theta "Dha Dhin Na, Dha Tin Na," and the set cycles through uplifting and sacred tunes of Malian, South African, Brazilian, and Native American provenance including pieces that would later appear on Don's albums Organic Music Society and Home Boy (Sister Out) all punctuated by outbursts of possessed glossolalia from the puppeteers. "Relativity Suite, Part 1" notably spotlights Bothén on donso ngoni, a Malian hunter's guitar, prior to Vasconcelos taking an extended solo on berimbau. A vortex of wah-like microtonal rattling, Vasconcelos's masterful demonstration of this single-stringed Brazilian instrument is a harbinger of his work to come as a member, with Don, of the acclaimed group Codona. The sounds of children playing on the ensemble's achingly tender rendition of Jim Pepper's oft-covered beacon of spiritual optimism, "Witchi Tai To," lends the proceedings an especially intimate, domestic glow. Given the context of the star-studded international jazz festival, the concert's laid back, communal vibe feels like an attempt by the Cherrys to show Don's jazz audience that he was moving on. At the same time, however, Don was extending a warmhearted invitation for them to come along for the ride. With liner notes by Magnus Nygren. Track list: 1. Intro: Dha Dhin Na, Dha Tin Na 2. Butterfly Friend 3. Elixir 4. Amazwe 5. Interlude with Puppets 6. Ganesh 7. Elixir Reprise / Witchi Tai To 8. Resa 9. Relativity Suite, Part 1 10. Berimbau Solo 11. Interlude / North Brazilian Ceremonial Hymn 12. Elixir Reprise / Ganesh 13. Ntsikana's Bell / Traditional Melody

Originally released in 1990 ‘Voaria’ was written by Benjamin Nhassavele and produced & arranged by the late Tata Sibeko, the revered South African producer and member of Kabasa. Taken from the LP of the same name ‘Voaria’ was released at a time when early house music was emerging as a key influence in the South African musical landscape, an evolement of the Bubblegum pop sound that had fused disco and boogie with township funk. Characterised by Roland kick drums, Yamaha DX7s and Juno Synthesisers the Kwaito sound is the musical heartbeat of ‘Voaria’.

As well as being in Novidade, Benjamin toured the world extensively as part of Alec Kaholi’s Umoja and ‘Voaria’ is a song about his desire to go back to Maputo, his hometown in Zimbabwe. Featuring Benjamin on lead vocals ‘Voaria’ comes in 2 versions, a main House mix on the A side and the Clubhouse mix on the flip which switches up the arrangement placing more emphasis on the magical groove. The 12” is housed in a full sleeve jacket by Bradley Pinkerton based on the original release design.

Mid-summer, 2021, Waleed quietly released his debut single 'Se Rompen'. The response was anything but, with the track immediately taking hold as a sleeper hit that summer, being played out by the likes of Four Tet, Floating Points, Daphni, DJ Boring, DJ Seinfeld, Tourist and more. With word already spreading, an inclusion in Ben UFO's winter Essential Mix solidified the desire for more from this surprising new producer.

Last month, Waleed announced his signing to City Slang (Caribou, Gold Panda) with a re-release of 'Se Rompen', offering the track on ultra-rare test pressings (50 / sold out already) for the first time.

Today, we announce the pre-order of a white label 12” with “Se Rompen” and his new single “SuenÞos”, limited to 300 units worldwide.

Born in Washington DC to Iraqi/Puerto Rican parents, Waleed works in coding by day. Built around ready-made for the dancefloor kick and chopped vocals, 'Se Rompen' is an ambitious debut that showcases his focus on sound design. Waleed’s meshing of cultures and references gives 'Se Rompen' a unique perspective on dance music. At once melancholic and high energy.

“A beautiful euphoric/melancholy fusion of cut-up vocals, soft electronics and two-step beats.” The Guardian

“Highly refreshing, 'Se Rompen' has a rare immediacy, a feeling that it has always been a part of your life." Clash

'No Sub Reino dos Metazoários' is the first and only record by musician and poet Marconi Notaro, out of Pernambuco, Brazil. Originally released independently, however, with the support and distribution of Rozenblit, the 1973 album featuring Lula Cortes, Zé Ramalho and Robertinho de Recife is part of the holy trilogy of "Psicodelia Nordestina" amongst the equally mindblowing Paebiru (1975) and Satwa (1973). For its non-comercial a raw aesthetics, the record became a true rarity among collectors worldwide and one of the most important albums of Brazilian Psychedelia. For years it was known that the master tape of 'No Sub Reino dos Metazoários' had been lost during two floods that wrecked the Rozenblit Studios. Lots of equipment were damaged and plenty of material gone. However what no one expected was that the tapes were kept on the highest shelves in the studio where the water did not reach with the thought of "equipment can be replaced, master tapes are unique". Notaro's daughters inherited and rescued the tape and made it available so that Fatiado Discos could release the first and remastered version from the original tapes since 1973. The lysergic highest moments come with nature elements textures as water and wind mixing together with the unmistaken sound of the Tricórdio Acústico - which is a very unique instrument that Lula Côrtes brought himself from India and then adapted it with the help of a local luthier to the regional sound of the Brazilian northeast. The gatefold designed by Lula Côrtes is portrayed in this release and it also has its inner side designed by Cátia Mezel, apart from an extra insert with unpublished photos of Marconi provided by the musician's family.

Acclaimed composer, artist, and producer Kaitlyn Aurelia Smith returns to Ghostly International with Let’s Turn it Into Sound, her most ambitious, intuitive, and inviting work to date. Though ambient and modern new age circles have embraced Smith’s catalog, Let’s Turn it Into Sound favors a more baroque and robust form of avant-pop. The music bursts with vertiginous vocal harmonies and detailed sound design, forming a truly unique sonic vision.

Acclaimed composer, artist, and producer Kaitlyn Aurelia Smith returns to Ghostly International with Let’s Turn it Into Sound, her most ambitious, intuitive, and inviting work to date. Though ambient and modern new age circles have embraced Smith’s catalog, Let’s Turn it Into Sound favors a more baroque and robust form of avant-pop. The music bursts with vertiginous vocal harmonies and detailed sound design, forming a truly unique sonic vision.

Clear Vinyl
2022 repress, ltd. edition of 300 copies, 45 rpm
incl. download code

Second Woman is a new collaborative project featuring Turk Dietrich of Belong and Joshua Eustis of the renowned Telefon Tel Aviv. As one would imagine, Second Woman is a nonpareil debut of futuristic electronic music fusing the coveted genetics of the duos respective previous endeavors into an alluring new enigma of ASMR-inducing kaleidoscopic dub. Second Woman is a fully realized entity; a well-crafted sound world and a refreshing shared effort which is inspiring in its purity and painstaking in its design.

The opening "100407jd7" wastes no time exhibiting mastery in both sound and structure, contorting the frequency spectrum into a psychoactive mirage with its mutating tectonics and vaporous tone clouds. Cuts like "200601je6" and "700358bc5" are bar-raising examples of veteran craftsmanship and vision, refining and reengineering the blue prints of their early works to create an original and dynamic album. The deliberation and control over every particle is obsessive, but the end results of each individual track unfold with an organic temperament unparalleled in a grid-locked world of DAW shaped musics and rat's-nest modular aleatory. Words fail where essential sonics are concerned, and this vital new creation speaks for itself.

First ever vinyl edition of this one off collaboration between Philippe Poirier (Kat Onoma) and Stefan Schneider (to rococo rot / TAL) which was initiated by La Batie - Festival de Geneve, in 2002. The original recordings of the album took place the same year at Bleibeil Studios, Berlin. Engineered by Bernd Jestram. Restauration and mastering by Detlef Funder at Paraschall, Düsseldorf in 2022.

"19 or 20 years, what difference does it make if the beautiful things in life are able to transport us back to Year Zero - again and again. The moment when this album was created. It is the timeless horizon that motivates the artist. “Dad, what’s the line doing there ?” - a good start for a story. Philippe Poirier and Stefan Schneider recount tales of slow travel, far beyond the known continents.
The adventures of a certain Corto Maltese, mysterious love stories in long forgotten harbours. A love that creates its own time, just like a chess game, an ocean liner or propeller airoplanes. The enthusiasm for cartography which Philippe Poirier and Stefan Schneider share, time and again, similar to dream. The dream of an idea, of exploration, of finding. The first lines of a drawing that become the great painting. The sequences and the words which design a world in its own right. A tremendous reservoir and my old friend knows that there is an ideal companion for every journey. This time Philippe Poirier is a narrator who finds a sound like sand flowing through fingers and who knows how deep each object accompanies each love. Les Choses de la Vie." Detlef Weinrich (tolouse low tax), Paris 2021

Spanish artist Helena Piti continues to establish her artful Argia alias with a mini-album on Atomnation. Across six superb tracks, the formally trained artist brings serenity, musicality and gorgeous melody to her stylishly designed sounds.

Piti has been immersed in music all her life. From a young age, she studied piano and double bass at the conservatory before evolving into the electronic world and quickly making her mark. She has released with the likes of Stil Vor Talent, Sincopat and DUAT while holding down her esteemed residency at Madrid's well-known Mondo Disko and touring places like Watergate and about:blank. This self-taught producer uses music as a way of expressing a wide range of inner feelings and she has plenty lined up for 2022 including this adventurous new release.

The Gamelatron is many things; one could call it a sculpture, a multimodal installation, an instrument, a robot, a feat of engineering, a vision—and it is all of these things. More importantly, though, it is a concept sustained by Aaron Taylor Kuffner, aka Zemi17, whose Gamelatrons are “sound producing kinetic sculptures” designed to create an immersive, visceral experience for the listener. Not a small feat, and yet the ambitions of Zemi17 are absolutely realized in this long-standing project, culminating now in his third release for The Bunker NY: Gamelatron Bidadari.

The Gamelatron Bidadari is not just a name—it is one of seventy-plus musical sculptures that Zemi17 has conceptualized, designed, and fabricated. Therefore, it would be inaccurate to think of this release as simply a series of arrangements composed in a finite period of time. Rather, it’s a window into a project and a process that is much larger than any single album can encapsulate. Gamelatron Bidardi is the culmination of more than a decade of work, and is central to Zemi17’s evolution, not only as a musician but as an artist.

Having studied gamelan for many years in Indonesian villages and at the Institut Seni Indonesia in Yogyakarta, Kuffner is a musician, an artist, technologist, and craftsman. The gongs in his sculptures are co-created with master Indonesian artisans. Each Gamelatron composition is site-responsive, meaning its sounds are composed for the acoustics and intentions of the space it inhabits, whether it’s an art gallery, a wooded landscape, or the inner temple of Burning Man. The Gamelatron does not stand alone: it is in constant co-creation with its physical environment, and in dialogue with gamelan’s long-standing history.

Originally exhibited at the Smithsonian Renwick as part of a show entitled, No Spectators: The Art of Burning Man, the Gamelatron Bidadari produces sounds that are delicate yet strong, and deeply hypnotic. Textured chiming creates intricate polyrhythmic patterns that are both complex and simple, or in a word, elegant. On Gamelan Bidadari, Zemi17 refrains from adhering to the strict musical structures; his approach to composition is free flowing.

He says, “I want to evoke what the music tells me it has to offer. It is like following water to its conclusion (or non-conclusion).” The arrangements on this album, written by Zemi17 and performed by the robotic arms of the Gamelatron, leaves the listener feeling enchanted, nourished and enriched.

A sense of the mystical comes through in the tonal quality of the instrument, and is conceptually felt in the sculpture’s name: the Bidadari, which loosely translates to “forest nymph.” The music conjures up natural wonder, and the four sculptures that make up the Gamelatron Bidadari, in fact, resemble trees. They are four independent yet connected entities, each with a large gong situated at their structural base—the sonic “roots” of the sculpture—while smaller gongs branch off of a golden, trunk-like spine. The Gamelatron Bidadari is as physically stunning as it is mesmerizing to the ear. A kind of divinity is invoked through its sound, or a sacred cohesion between past and present, tradition and new form. Meant to be viscerally experienced, the sounds of the Gamelatron call for sublime togetherness. Gamelatron Bidadari is not just an album but the crystallization of Kuffner’s work; it is a condensed yet spacious glimpse into the sonic power of Zemi17’s Gamelatrons, which have already been heard and experienced live by over a million people.

The LP version is limited to 1000 copies, pressed on blue vinyl, in a high grade spot-varnished gatefold sleeve.

700 Bliss is the forward-thinking duo of DJ Haram and Moor Mother. Their first full length for Hyperdub is an album of noise rap that ties together the raw edges of club music and hip hop with punk energy, jazz, house-party catharsis, percussion-heavy analogue sound design, and cheeky skits, ranging from experimental rap tracks with rolling hi hats and lyrical bravado, to poetry set to noise and sound collage.

Moor Mother and DJ Haram started collaborating in 2014 and eventually formed 700 Bliss, a blistering live act in Philly's DIY scene, releasing their 2018 debut, Spa 700 on Halcyon Veil / Don Giovanni Records. Since that time, both artists have grown global followings. Moor Mother is a prolific solo artist and collaborator, writer, and member of Black Quantum Futurism while Haram has been curating and creating radio shows, DJing, and producing (including an EP for Hyperdub in 2019).

‘Nothing To Declare’ is a smart, danceable revelation, a chiseled soundscape of dive bombing bass, piercing bleeps, crunchy distortion, and wavering synth lines. Welcoming in a variety of voices from their extended, cross-genre scene, 700 Bliss also bring along a cast of collaborators, including vocalists Orion Sun, Lawfandah, Ase Manual, and Ali Logout (from the band Special Interest), plus Palestinian producer Muqata'a, and writer M Téllez who delivers a surreal sci fi monologue over a pounding kick drum on ‘More Victories’.

‘Nothing To Declare’ is a deeply layered rewriting of hip hop and electronic music that gives more with each listen. You won't hear another rap album like it in 2022.

Christopher 'Lav' Landin is a master of ambient sounds but it's been a while since we heard from him after 2017's collab with Purl on A Strangely Isolated Place. A New Landscape is a fresh album on Past Inside The Present that comes on limited and transparent orange vinyl. Contained within are a beguiling bunch of tunes with soul stirring pads, gently propulsive rhythms and gorgeous sound designs that call to mind various different references from deepest space to a warm spring day. It is an accomplished album design for mental escape.

PARASITE INC. sound anno 2022 both harder and softer, faster and slower at the same time, more modern and yet again more 80s than ever before! Musical contrasts, which are no novelty with PARASITE INC., because after all, the Swabians surprise since the beginning of their career again and again with their somewhat different interpretation of the Melodic Death Metal genre.
During the pandemic, ten songs were created in the band's own studio under the title "Cyan Night Dreams", which show a consistent musical development towards an even more independent sound garb. The result is a varied album, which comes along harder and more aggressive than the predecessor, but at the same time brings the melodic facets of the band even more to the fore.
From songwriting, to production, to graphic design, the German melodeathers once again developed an overall concept that perfectly reflects the dark mood of the songs. The mixing and mastering was done this time by Aljoscha Sieg and Seb Monzel from

(DIGIPAK)
WW ex-Japan ex-USA 4251981701806

(VINYL)
WW ex-Japan ex-USA 4251981701813

Pitchback Studios (among others Eskimo Callboy, August Burns Red), where already the last studio album, as well as the live concert was refined by their internationally appreciated work in the mastering process. The album was supported by the Initiative Musik as part of the "Neustart-Kultur-Programm".

2LP im Gatefold-Sleeve. 100% recyceltes & zufällig gefärbtes Re-Vinyl. "Black Screen Records, Videocult, Akapura Games und Komponist James Primate freuen sich darauf, euch erneut bei der akustischen Reise durch die seltsame "Rain World" zu begleiten. Nachdem der Soundtrack jahrelang ausverkauft war, wird er nun endlich neu aufgelegt. Dieses Mal auf 100% recyceltem & random-coloured "Re-Vinyl". Die Musik stammt von Videocult-Level-Designer und Komponist James Primate - mit Unterstützung von Lydia Esrig (die andere Hälfte des Chiptune-Duos BRIGHTMATE) und Rain World-Schöpfer Joar Jakobsson.Die Platte erscheint in einem Gatefold-Sleeve mit atemberaubenden Artwork von Allegra "Del" Northern. Zusätzlich enthalten ist ein 12" Kunstdruck mit weiteren Illustrationen von Del.

Samy Ponsar aka War has been a firm favourite and valued member of the Utopia family, so it was only a matter of time until his first solo body of work for them would surface. It also happens to be the first dubstep / 140 bpm offering from the label, completely taking things away from the drum & bass things for a beat.

An ice-cold body of work showcases Sam's impressive and continuously growing dexterity both in the idea and engineering spheres alike. The EP is laden with his well-known style and distinctive approach to writing music. As the artist harnesses room-shaking low end frequencies and bone breaking beats, we're invited on a trip filled with jazz and noir soundscapes between 110 and 140 bpm, served on a solid White 10” with full colour sleeve designed by War himself.

What Plus instruments? The title implies the secondary nature of the tools used to produce the sounds, maybe even of the sounds themselves. The means of making sound are not important, but the sounds themselves are, but even beyond them there is a force, a grumbling. Maybe best represented by the first sound heard on Plus Instruments “Februauri- April 81”, a sound that is more felt than heard. The grumbling persists throughout the album, not in the same sonic way but things gyrate and repeat until they are mineral and not purely auditory. Using toys, drum machines, and other homemade electronics designed by front person Truus de Groot, the band manages to obscure every song into a hard to maintain mix of No Wave drive, New Wave sheen, and dance music groove. Consisting of Truus, Lee Ranaldo and David Linton, the trio smashes the sound of early 80s New York with the equally as progressive European experimentation of the time. Completely without total contemporaries, Plus instruments make music free of bounds from time, labels, and place. Originally released by Kremlin records, run by Sonic Youth’s future manager Carlos Van Hitfje, Domani Sounds proudly presents Febrauri-April 81' featuring brand new liner notes by Hitfje himself.

Bogotá’s UNIDAD IDEOLÓGICA sound is pure high intensity hardcore. The eight songs on their debut 12” clock in below 15 minutes and not a single second is wasted. Their sound is very bass and drum driven, full of breakneck, pummelling relentless beats which do not rest for a second, setting a claustrophobic atmosphere for the noise to grow. Feedback ladden guitars at times verge on BM, which brings RAW POWER, EXECUTE, GISM and DISARM to mind, creating the perfect background for a raging vocalist full of venom to sing about fear, control, technology, and the rampant neoliberalism destroying their land and literally killing as we speak. UNIDAD IDEOLÓGICA was conceived at Bogotá’s Rat Trap, then recorded at Epia Estudios by Santiago Gonzalez during Colombia’s strict lockdown and curfews earlier this year. Finally it was mastered by Will Killingsworth at Dead Air Studios.The design was undertaken by Darcy Cabrera with the photographic help of Isabel O’Toole.

Mondo, in conjunction with Back Lot Music, are proud to present the final chapter of the Jurassic saga: Michael Giacchino’s score to JURASSIC WORLD DOMINION.

Giacchino started his early career at Disney Interactive Division where he had the opportunity to write music for video games. After moving to DreamWorks Interactive, he was asked to score the temp track for the video game adaptation of The Lost World: Jurassic Park. Subsequently, franchise creator Steven Spielberg hired him as the game’s composer and it became the first PlayStation game to have a live orchestral score, recorded with members of the Seattle Symphony. Now, 25 years later, Giacchino comes full circle with this soundtrack to the epic conclusion of the Jurassic era, recorded with 87 orchestra members and 30 choir members at Abbey Road Studios in London. Fans can expect Giacchino’s usual tongue-in-cheek track titles that highlight the action of the score cues.

Mondo has released all Jurassic World franchise series albums on vinyl to date, so complete the trilogy with the Jurassic World Dominion release. Custom artwork was designed by artist Justin Erickson of Phantom City Creative. The package will include liner notes from Jurassic World architect and director of Dominion, Colin Trevorrow, and pressed onto 180-gram webstore exclusive color vinyl.

Composed by Michael Giacchino
Artwork by Phantom City Creative
Manufactured in Czech Republic

A luminary of anthemic and melodic-driven techno, Enrico Sangiuliano’s path to the upper echelon of dance music has been a rapid, yet authentic one. Taking us on his newest exploration into the world of sound design and story-telling, the Emilia-native unveils the first chapter in a series of opuses under his time-limited NINETOZERO record label. The highly-anticipated countdown of releases begins today with number 9; the 4-track “Silence” EP - out now across all streaming platforms.

The extended-player opens with the reserved ‘inner mix’ of “Silence”; a cinematic masterpiece that challenges the format and flow of techno cuts and instead, radiates a measured and reflective spirit. Bright, twinkling synthwork ebbs and flows between its crisp percussion and distorted bassline, creating a push and pull effect that allows each element its moment in the spotlight. The second offering, “Future Dust”, is teased with the sound of a ticking clock that morphs effortlessly into a strong percussive line, commanded by the raw hollow sensibilities of its kick. The distinct ticking returns to welcome in the break, bringing with it a hypercharged melodic sequence and pitch-bending rave stabs. The components soon flurry together in preparation for the monumental drop, which is succeeded by an unrelenting peak-time worthy drive to the finish.

“New Expression Of Love” is the next to play; a quirky cut with plenty of intrigue and unpredictable twists and turns. Laced with offbeat synth hits that ooze a nostalgic timbre, the tune’s intro airs a subtle swing groove. As it reaches its all-important core, we’re cloaked in an intoxicating melody that serves as pure rapture for the ears, and will no doubt satiate the modern audience’s craving for euphoric sequences. Entering the break, Enrico flares his experimental capabilities, providing us with a moment of break-beat bliss that’s fuelled by acid goodness. A ‘vocal mix’ of “Silence” rounds out the EP with the distinct mantra, ‘we live in silence’, whilst its modular ‘beeps’ signal a countdown clock in reference to the project’s embedded concept of time.

Championing music on a deeper conceptual level, Enrico’s NINETOZERO output is a reflection of his tenacious appetite for evolution and refinement. Producing with a level of finesse well beyond his years, his artistic vibrancy has ensured quick elevation to the top, all the while maintaining a sound that is discernibly his own. Now standing as one of the circuit’s most cherished visionaries, and with an unrivalled back catalogue of Beatport No.1’s to his name, the contemporary sound designer’s first and forthcoming bodies of work under the NINETOZERO umbrella are further proof of his impending rise to dance music royalty.

Rebecca Goldberg wrote TROIS CENT TROIS as an auditory postcard with musings from a late-summer road trip across France in 2021. On TCT Rebecca sonically guides us through the emotion of new adventure and the risks involved during a time of global uncertainty.

The first single, TROIT CENT TROIS, is a play of the French way to say Detroit and 3-0-3. Like Rebecca's previous work on Detroit Underground, acid is the EP’s predominant sound. The next stop, A2 track Le Détroits, is an acidic metaphor for the celestial beauty of the French countryside. Face A ends with The Perception of our Power, a Ghettotech cut that's full of Detroit-funky/beloved-in-Paris bounce.

Flip to Face B and bathe in the acid arpeggiation of the lead-off track Paradoxe du Plaisir (Pleasure Paradox in English), referring to the practical difficulties encountered in the pursuit of pleasure. The destination B2 track, What It Means (To Start Over in a Ruined World), waxes poetic on the explanation with throbbing percussion and call and response rhythms.

According to Viktor Frankl in Man's Search for Meaning, "Happiness cannot be pursued; it must ensued and it only does so as the unintended side effect of one's personal dedication to a cause greater than oneself or as the by-product of one's surrender to a person other than oneself."

TROIS CENT TROIS was featured on Bandcamp’s “New and Notable” releases list and was highly regarded in The Wire magazine.

For the vinyl release, Rebecca designed a minimal black and white package with slanted black text reminiscent of France's directional local road signs. The vinyl is limited to 303 copies and each one is hand-signed and numbered.

A match made in heaven and hell, since forming in the cradle of Europe Athens, back in 2012, dark synth duo Selofan have paved their own perditious way, reinventing the modern Darkwave scene throughout the continent and worldwide with their prolific creativity and work ethic over the past decade. Through varied experimental synth-scapes conjured with keen ears for sound design, production, and theatrical aesthetics, Selofan rest not on the laurels of just creating highly danceable coldwave infused music, but with together with Joanna Pavlidou's haunting vocals, and Dimitris Pavlidis' throbbing bass guitar, and modular synth compositions, the pair conjure whole other worlds and narratives throughout each album and music video they create. Thus far the Selofan have released 5 studio albums, issued through their own legendary label they curate themselves: Fabrika Records. Through their Fabrika family, Selofan have championed such acts as Lebanon Hanover, and She Past Away, aiding these bands in becoming two of the most popular Darkwave acts worldwide. Drab Majesty even cameoed in a She Past Away video while being hosted by Selofan during one of the band's frequent stays in Athens, and Kaelan Mikla, a handpicked favorite of The Cure, were first championed by Selofan, through the release of the Icelandic Trio's self-titled debut in 2016. In the Spring of 2020, Selofan released the video for the hopelessly plaintive "There Must Be Somebody", the first single from their forthcoming sixth studio album Partners In Hell, the follow-up to 2018's widely popular Vitrioli LP. "There Must be Somebody" is a discordant composition, mimicking the startled song of birds after a disturbance in a wooded enclave on a mountainside, while a magick ritual unfolds. The album itself opens with "Grey Gardens", a menagerie of morose melodies setting a sombre tone for the rest of a bleak record whose sound design and dreamscapes evoke the best sounds of British and German post-punk of the 80s. "Almost Nothing" is a brooding bell-driven track with a dark and pirouetting melody that is the perfect soundtrack to a figurine twirling in a music box. The German language "Nichts" means No, and this song is both sinister and cinematic with sighing keys, shuddering drum machines, and German lyrics sung with sorrowful conviction. "Zusamen", is a word often asked if you are together, or separate, is a dark ballad whose shadowy keys weave a nightmarish delirium, evoking the soundscapes of a lullaby sung in a haunted dollhouse. "4am" is a restless rhythm, whose soft percussive melody tosses and turns alongside subtle bass and string accents overlaid with despondent vocals. "Happy Consumers" sounds like the swirling of a finger drawn upon the edge of crystalline glass, with vocals and drum machines coming emanating from an adjacent room with echoing acoustics, collectively evoking the sound like lingers when the somnambulist wakes from his dream. "Absolutely Absent" hums onward like a phantom train ride that is a one-way ticket to madness, and with the next track "Metalic Isolation" the locomotive beats gather more steam, propelled forward with anachronistic melody. The album closes with "Auf Dein Haut", which translates as on your skin, and the song is both tactile and tenebrous with sensuously dark synth textures amidst howling German vocals that take flight like witches during a sabbat. Partner's In Hell was mixed and produced by Serafim Tsotsonis, and mastered by Doruk Ozturkcan. Genre: Alternative / Post-Punk / Cold Wave

FP030F pressed in half black half purple vinyl 500 copies hand-numbered. FP030G pressed in black with red splatter vinyl 500 copies hand-numbered. A match made in heaven and hell, since forming in the cradle of Europe Athens, back in 2012, dark synth duo Selofan have paved their own perditious way, reinventing the modern Darkwave scene throughout the continent and worldwide with their prolific creativity and work ethic over the past decade. Through varied experimental synth-scapes conjured with keen ears for sound design, production, and theatrical aesthetics, Selofan rest not on the laurels of just creating highly danceable coldwave infused music, but with together with Joanna Pavlidou's haunting vocals, and Dimitris Pavlidis' throbbing bass guitar, and modular synth compositions, the pair conjure whole other worlds and narratives throughout each album and music video they create. Thus far the Selofan have released 5 studio albums, issued through their own legendary label they curate themselves: Fabrika Records. Through their Fabrika family, Selofan have championed such acts as Lebanon Hanover, and She Past Away, aiding these bands in becoming two of the most popular Darkwave acts worldwide. Drab Majesty even cameoed in a She Past Away video while being hosted by Selofan during one of the band's frequent stays in Athens, and Kaelan Mikla, a handpicked favorite of The Cure, were first championed by Selofan, through the release of the Icelandic Trio's self-titled debut in 2016. In the Spring of 2020, Selofan released the video for the hopelessly plaintive "There Must Be Somebody", the first single from their forthcoming sixth studio album Partners In Hell, the follow-up to 2018's widely popular Vitrioli LP. "There Must be Somebody" is a discordant composition, mimicking the startled song of birds after a disturbance in a wooded enclave on a mountainside, while a magick ritual unfolds. The album itself opens with "Grey Gardens", a menagerie of morose melodies setting a sombre tone for the rest of a bleak record whose sound design and dreamscapes evoke the best sounds of British and German post-punk of the 80s. "Almost Nothing" is a brooding bell-driven track with a dark and pirouetting melody that is the perfect soundtrack to a figurine twirling in a music box. The German language "Nichts" means No, and this song is both sinister and cinematic with sighing keys, shuddering drum machines, and German lyrics sung with sorrowful conviction. "Zusamen", is a word often asked if you are together, or separate, is a dark ballad whose shadowy keys weave a nightmarish delirium, evoking the soundscapes of a lullaby sung in a haunted dollhouse. "4am" is a restless rhythm, whose soft percussive melody tosses and turns alongside subtle bass and string accents overlaid with despondent vocals. "Happy Consumers" sounds like the swirling of a finger drawn upon the edge of crystalline glass, with vocals and drum machines coming emanating from an adjacent room with echoing acoustics, collectively evoking the sound like lingers when the somnambulist wakes from his dream. "Absolutely Absent" hums onward like a phantom train ride that is a one-way ticket to madness, and with the next track "Metalic Isolation" the locomotive beats gather more steam, propelled forward with anachronistic melody. The album closes with "Auf Dein Haut", which translates as on your skin, and the song is both tactile and tenebrous with sensuously dark synth textures amidst howling German vocals that take flight like witches during a sabbat. Partner's In Hell was mixed and produced by Serafim Tsotsonis, and mastered by Doruk Ozturkcan.

Ibiza Global Radio is a global reference point for electronic music in the world. Born in Ibiza, for Ibiza and for the rest of the world. A unique sound in an unusual style and excellent “music selection criteria” make Ibiza Global Radio a staple in the genre, so much so that it has a loyal audience of more than 18 million unique monthly listeners worldwide.

Ibiza Global World, a virtual, physical and multimedia platform where radio, TV, events and social media allow the World to experience the White Island, its love and freedom, 12 months a year.

Thanks to this first LP, the label "IBIZA GLOBAL RECORS" is
born. This LP is designed in a unique and exclusive package with 6
tracks with a new electronic sound, created by 6 Great Artists for Clubbing, available for now only in physical format LP and the exclusive worldwide is controlled by "Self Distribuzione S.r.l."

From July 30-31, the project will be presented at the mega event IBIZA GLOBAL FESTIVAL which will be attended by Top DJs like “Luciano” or “Nic Fanciulli” or “Jose Maria Ramon” (Artistic Director of Ibiza Global Radio) and many other Top Djs from all over the World with an expected attendance of over 40 thousand people on one of the most beautiful beaches of Ibiza !!!! Stay tuned

Ibiza Global Radio is a global reference point for electronic music in the world. Born in Ibiza, for Ibiza and for the rest of the world. A unique sound in an unusual style and excellent “music selection criteria” make Ibiza Global Radio a staple in the genre, so much so that it has a loyal audience of more than 18 million unique monthly listeners worldwide.

Ibiza Global World, a virtual, physical and multimedia platform where radio, TV, events and social media allow the World to experience the White Island, its love and freedom, 12 months a year.

Thanks to this first LP, the label "IBIZA GLOBAL RECORS" is
born. This LP is designed in a unique and exclusive package with 6
tracks with a new electronic sound, created by 6 Great Artists for Clubbing, available for now only in physical format LP and the exclusive worldwide is controlled by "Self Distribuzione S.r.l."

From July 30-31, the project will be presented at the mega event IBIZA GLOBAL FESTIVAL which will be attended by Top DJs like “Luciano” or “Nic Fanciulli” or “Jose Maria Ramon” (Artistic Director of Ibiza Global Radio) and many other Top Djs from all over the World with an expected attendance of over 40 thousand people on one of the most beautiful beaches of Ibiza !!!! Stay tuned

Utter presents the second full-length album by enigmatic duo Vādin - a collaboration between sound artists and performers Christian Duka and Lucie Štepánková (aka Avsluta). “Black Tortoise” is a voyage accompanied by the uncanny, the shadow-dwelling specters and arcane symbolism derived from ancient Chinese astronomy.

“Astrologia” opens the album with an eerie torrent of droning voices and glassy, percussive interventions, leading into the patiently unfolding opening of the “The Presence” with it’s ominous narrative riding the swelling, thunderous rhythms culminating in swarms of hallucinatory chaos. The doom of “Calliope” follows, infused with cavernous, beastly vocalisations which lure the listener into “The Furnace”, a drowsy kaleidoscope of rhythms weaved together with Štepánková’s mother-tongue narration. And further on still, into the make-believe world conjured up by the buzzing and swarming objects overheard on “Plateau”.

Available on limited vinyl and digital formats. A special fold-out pamphlet is included with physical copies.

Spoken word by Lucie Štepánková. Mixed at SAE Institute by Christian Duka and mastered by Rashad Becker at Clunk. Transferred and cut by Helmut Erler at D&M.

Artwork designed by Marco Maldarella.

Dutch pioneer Sp@sms returns to U-TRAX with 'From A 20th Century Box' LP, backed with remixes from Bloody Mary and Cosmic Force

On 'From the 20th Century Box' Arno Peeters, aka Sp@sms, returns to U-TRAX with his debut full-length album. Showcasing years of sonic exploration stemming from his time in various groups including Random XS and Voltage Control amongst others, the LP also draws from his experience studying and teaching music at the Centre for Electronic Music as well as his work in project-based sound design.

Filled to the brim with pulsating arpeggios, crunchy drums and dark, moody atmospheres, the LP is marked by a retro yet timeless feel. Inbetween its snaking, squelchy synth lines and old school electro grooves Sp@sms masterfully incorporates playful textures and elements from found recordings and unused projects, resulting in a vastly versatile and experimental album fusing all things techno, acid and EBM.

An expert lesson in sound design and composition taught by one of the Netherlands' most trusted and experienced artists, the LP also contains remixes from Dame Music's Bloody Mary and Utrecht electro stalwart Cosmic Force and arrives via heavyweight, colored double vinyl, digital, CD and cassette mediums.

As is typical for a U-TRAX release, each physical version has its own set of tracks. The vinyl and CD versions also come with a in-depth interview with Arno Peeters, as well as extensive background notes for each track (on the album's inner sleeves and a 24 page booklet, respectively).

We have two versions (two different covers) - black vinyl or multicolor, limited, hand nubered (111 copies) vinyl.

Two years after the well-received compilation "Nebula," Himalaya Collective (probably the largest team of beatmakers in Poland) returns with another release. This time the Himalayan section of 24 producers (and some exceptional guests from outside the collective) will take us on a journey into the skies. On "Latawce" (which means "Kites" in English), we will hear 24 tracks with one goal in mind - to allow a maximum two-minute flight. The premiere (not accidentally) will take place on the 1st day of summer.

The sound of each Kite has been colored thanks to the excellent mastering done by Eprom. The album's vinyl version was made in two options and with two different covers. @Eloprzemi is responsible for the design of the classic version, and the cover of the limited surprise vinyl was designed by Gbur. The limited edition is hand-numbered (111 copies), and the surprise is worth emphasizing the different colors of each vinyl! Crazy Action! Great album! The perfect soundtrack for the summer holidays 2022!

WRWTFWW Records is very happy to announce the official vinyl reissue of the highly sought-after Haruomi Hosono-produced Interior self-titled debut, originally released in 1982 on legendary label Yen Records. The LP comes in a heavy 350gsm sleeve.

Interior is Daisuke Hinata, Eiki Nonaka, Mitsuru Sawamura, and Tsukasa Betto. Their classic 1982 debut, produced by Yellow Magic Orchestra's Haruomi Hosono, is one of a kind - a very rare breed of feel-good ambient music blending instrumental synth-pop, soft electronic minimalism, and cozy sound design in the most heartwarming ways. It evokes the intimate pleasures of daydreaming in a hotel lobby, holding hands in a museum, or napping by the pool. It depicts the urban landscape as a caring environment, where simplicity and repetition is mind soothing and smile inducing.

Interior takes you into an alternate reality, where nostalgic modernism makes the present time feel like the fondest memories.

The unique sound of Interior caught the attention of William Ackerman and Anne Robinson who re-released the album in 1985 on their famed label Windham Hill Records (with a slightly different tracklisting) and then proceeded to put out their follow-up, Design, in 1987. After that, members of the group continued their careers separately, Daisuke Hinata notably recording an overlooked but absolutely amazing solo album, Tarzanland, in 1988.

Yellow Vinyl

Following his late 2021 LP „Obi Thine Xi“, this extensive remix EP leads the last Rico Puestel album into its final conclusion, serving up substantial interpretations by Tom Wax, BOWMN and two further monikers from Rico Puestel himself! As if this wasn't enough, the highly anticipated, formerly unnamed and allegedly lost track „OTX“ is in on it too.

On the A-side, Tom Wax delivers his stronghold and contemporary Techno design of „ID“ while Rico Puestel hauls out the big analogue guns and „classical“ approach as „Modern Minimals Sound Research“ on the remix of „Voluptuous Antics Enter The Hemisphere“, reinterpreting his own work from another perspective.

Side AA brings you BOWMN with his forceful and psychedelic interpreation of „Modest“ before Rico Puestel comes in another time as „Tetzlaff“ and turns in the 80s-inspired earworm remix of „Thine“.

Last but not least, „OTX“ happens to be the concluding track of this record that people have been waiting and asking for since 2020 – finally delivered!

The wait is over: Arch Enemy are back with the follow up to 2017’s ‘Will To Power’, and they have never sounded hungrier. Delivering a collection of the tightest, most streamlined, and, more importantly extreme metal, ‘Deceivers’ is comprised of 11 tracks that will have their fan base salivating. Every track is ruthlessly catchy and mercilessly violent, and with the likes of ‘Deceiver, Deceiver’, ‘House Of Mirrors’, ‘Handshake With Hell’ or ‘Poisoned Arrow’ the Swedish quintet have never sounded better. Released on July 29th, 2022, it is available in 4 formats, all of which offer something special for the fans. First, there is the hand-numbered Ltd. Deluxe 2LP + CD Artbook which includes a multicolored vinyl (each design is unique), zoetrope/picture vinyl, CD, two bonus tracks, art print and a 36-page LP-sized booklet with liner-notes. The similarly exclusive Ltd. Deluxe CD Box Set includes a special edition CD “PocketPac” (eco-friendly packaging), two bonus tracks, a 32-page DIN A5 booklet (with liner-notes), tote bag and metal pin. Then there is the limited black and colored LP that comes with an 8-page booklet and Obi-Strip, and finally the special edition CD that also comes with a “PocketPac” (eco-friendly packaging) and a 16-page booklet.

The wait is over: Arch Enemy are back with the follow up to 2017’s ‘Will To Power’, and they have never sounded hungrier. Delivering a collection of the tightest, most streamlined, and, more importantly extreme metal, ‘Deceivers’ is comprised of 11 tracks that will have their fan base salivating. Every track is ruthlessly catchy and mercilessly violent, and with the likes of ‘Deceiver, Deceiver’, ‘House Of Mirrors’, ‘Handshake With Hell’ or ‘Poisoned Arrow’ the Swedish quintet have never sounded better. Released on July 29th, 2022, it is available in 4 formats, all of which offer something special for the fans. First, there is the hand-numbered Ltd. Deluxe 2LP + CD Artbook which includes a multicolored vinyl (each design is unique), zoetrope/picture vinyl, CD, two bonus tracks, art print and a 36-page LP-sized booklet with liner-notes. The similarly exclusive Ltd. Deluxe CD Box Set includes a special edition CD “PocketPac” (eco-friendly packaging), two bonus tracks, a 32-page DIN A5 booklet (with liner-notes), tote bag and metal pin. Then there is the limited black and colored LP that comes with an 8-page booklet and Obi-Strip, and finally the special edition CD that also comes with a “PocketPac” (eco-friendly packaging) and a 16-page booklet.

Debut release from David J (Bauhaus, Love And Rockets), Victor DeLorenzo (Violent Femmes) and multi-instrumentalist Darwin Meiners Recorded worldwide during the pandemic Available January 21, 2022 on CD and Digital with LP coming later in 2022 Iconic and foundational bands in the history of alternative music certainly include Bauhaus, Love And Rockets, and Violent Femmes. San Francisco born artist Darwin Meiners was a fan of all three. A chance meeting 13 years ago with David J (Bauhaus, Love & Rockets) grew into a friendship, and Darwin not only became a bandmate, but David J’s manager. After reaching out to Victor DeLorenzo through e-mail, Darwin met the Violent Femmes drummer after the Femmes’ Coachella set in 2013. Soon after the three collaborated on Darwin’s 2014 release Souvenir. As the pandemic took hold, Darwin was looking for a new project to occupy the lock-down time and approached Victor, who was keen to proceed and suggested that David join as well. The musical trust established between these three was immediate and Night Crickets were born. Within weeks a global process was initiated between them, the recordings eventually forming the album, A Free Society. To say this is something of a dream come true for music fans would be entirely accurate. (The band’s name came from one of many Zoom meetings between the three members. After addressing various pressing musical issues the conversation rambled somewhat and turned to the subject of David Lynch, with David J telling an anecdote which was told to him by Lynch’s sound designer, John Neff. Lynch had asked Neff to obtain a field recording of crickets chirping at night for inclusion in Mulholland Drive. When Neff played him the tape, the director immediately recognized the sound that the insects make when it is light which is apparently a little different to their nocturnal chirp. “No! No! No! These are day crickets, John! I want my night crickets!” Victor, Darwin, and David then shared a look of mutual realization and instantly agreed that the project now had a name!) In Night Crickets’ own words: Night Crickets, a long distance groove affair conducted during the drawn out days of lockdown and beyond.

Living In Clip (25th Anniversary Edition) Newly remastered for vinyl + cd in deluxe packaging. This landmark double album by Ani DiFranco, features her trio from 1995-1996 with Andy Stochansky (drums) and Sara Lee (bass). Twenty-five years later the album is recognized as a point of entry that radically expanded DiFranco’s audience, and a historically important testament to the relationship between Ani as a live performer and the devoted community she created with her fans. If there was ever a record to help you pull through until the next time the Folksinger makes her way to your town, Living In Clip is the one. Affectionately named after the state of stage amps about to blow out, the record is constructed like a show complete with the onstage humor and antics we love. The culmination of years of studio work and constant touring, Living In Clip is a tour in itself: nearly two-dozen venues provide the atmosphere for over two hours of music complete with intermission and encore. Recorded straight from the soundboard on an 8 track ADAT, digital videotape and mixed by Ani and Andrew Gilchrist – Living In Clip is conceptually designed to preserve the authenticity and pulse of a live show. There are jazzy folkalicious renditions of "Letter to A John," "Fire Door," "Diner" and "Anticipate." Amusing and sweet snippets are interwoven throughout the songs and sometimes during them - "Out of Habit" harbors a little cinematic glimpse into Ani's first days in New York City. This dynamic collection also offers The Buffalo Philharmonic Orchestra playing on "Both Hands" and "Amazing Grace" at a hockey arena as well as a phenomenal version of "Shy," that was nominated for a Grammy for Best Rock Vocal Performance – Female (or whatever). Living In Clip is also considered one of Rolling Stone Magazine's essential albums of the 90's. Living In Clip includes a beautiful photo gallery that contains pictures of the sparkling faces, questionable attire and unique persons behind the road show.

Tortoise has spent nearly 30 years making music that defies description. While the Chicago-based instrumental quintet has nodded to dub, rock, jazz, electronica, and minimalism throughout its revered and influential discography, the resulting sounds have always been distinctly, even stubbornly, their own. There is a always the pervasive element of group play, or ensemble?mindedness, as opposed to emphasis on a virtuoso soloist or frontman, despite the fact Tortoise is composed of members who could each easily have taken center stage in another group. In their debut, Tortoise is composed of Douglas McCombs, John Herndon, Dan Bitney, John McEntire, and Bundy K. Brown. This self-titled, incorporates many musical styles and influences, but no one style alone is sufficient to fully describe the distinct sound they craft. This unique blending of styles caused them to be recognized as the leaders of a new musical movement. Tortoise utilize the recording studio, not only to put their music to wax, but in a way that their recording process becomes a compostional tool described at times as the "sixth member", thus creating a boundless parameter in which to create and manipulate music. Tortoise's self-titled debut was originally released in 1994. This re-issue is re-mastered by Roger Seibel at SAE Mastering, in jacket with art insert, both designed by Sam Prekop as well as a free download card. 2022 version is available on limited edition white with hi-melt black vinyl

Lasse Marhaug is one of those characters that operates at the nexus of so much stuff that’s important to us here - working as a producer (over the last couple of years alone he’s helped shape albums by Jenny Hval, Kelly Lee Owens, Okkyung Lee, Hillary Woods etc etc), a mastering engineer (far too many releases to mention), a prolific sleeve designer (likewise), publisher (his occasional Personal Best magazine is still going strong) and, perhaps most importantly - a recording artist in his own right. ‘Context’ is his most substantial release in years - a crushing assembly of bone-dry/darkside drone/machine malfunctions that’s bursting with a visceral, throbbing, mass of feeling. If yr into anything on the spectrum from Mika Vainio to Grouper to Kevin Drumm or Deathprod - this one’s as good as it gets

Over almost three decades of activity, Marhaug has carved out notoriety as a solo performer, a prolific collaborator (working with everyone from Sunn O))) to Jim O'Rourke) and as a busy producer, who's notched up credits on some of the most striking-sounding albums of the last few years. This new album was created as a swan song for the infamous Oslo studio that he's inhabited for 17 years, prior to his move back to the Arctic Circle where he originally came from. Recorded over a 14-month period and painstakingly edited from hours upon hours of material, it might just be the most impressive, moving record we’ve heard from him so far.

The interplay between piercing softness and deafening noise is the key to "Context", displaying a philosophy Marhaug has been exploring for years. Few other artists are able to balance chaos and harmony with such ease; Marhaug does it without grandstanding, it's music that sounds as simultaneously beautiful and as daunting as the Arctic landscape he's returning to. At any moment a sound can be alluring or treacherous, like the frozen sun reflecting on a snowy mountaintop. Marhaug's deftness with rhythm and bass emerges on 'Context 3', as he pairs Vainio-esque low-end pulses with crumpled noise and widescreen tones; as disquieting music-box chimes absorbed into the blasted soundscape on 'Context 5', while we're thrust into the freezing cold on 'Context 6', subjected to punctuating gusts of white noise and trapped string loops.

Trust it’s a rare and near-mythical beast, conjuring vast, treacherous soundscapes illuminated with pangs of sentiment that naturally weave strands of his non-musical practice in their psychosensual lustre and gritty attrition. As he steps into a new phase of his career, we're left with a concluding chapter that stands as a summation and open-ended post-credits reveal.

Ghetto Supastar is a song by American rapper Pras, but is also the name of this new 12" from 207737 on the Detroit Techno Records label. It embodies a new sound coming from the celebrated Motor City that draws on everything which went before and adds new perspective, emotion and sound designs. 'Stella' is a lithe and soulful cut with minimal drums and a cosmic atmosphere, while 'Tribal Dance' brings brighter chords and more playful patterns over raw-ass drums. There is plenty of Omar-S's rough hewn drum work in 'Apply Pressure' and elsewhere '8 Mile Boogie' brings a Mediterranean Balearic vibe to the D in superb fashion. An intriguing EP for sure.