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"Circuit" is a recorded document of improvised music and the inaugural release on Pattern Dissection — an independent record label, radio show and concert organiser from Berlin. Dag Magnus’s down-tuned drum set builds the ground for relentless legwork and hectic wrestling, shaking the floor when confronted with Farida’s high string slaps on the bass guitar, which they occasionally swap for droning vibrations and scorching fingerpicking, neither shying away from a heavy riff nor stripped back momentum. Liz’s synth is an idiosyncratic creature of its own, birthing sounds rarely graspable but utterly fascinating, swift in taking turns and always one step ahead of any expectation.

Recorded on July 28th 2020 in Berlin at their second meeting as a band, that was initiated by a live gig six months earlier. All music was improvised and performed in a room with six microphones.

Mixed by Christoph Berg & mastered by Stephan Mathieu. Lacquer cut by Mike Grinser. Pressed at Pallas on 140g vinyl, wrapped in a 350g reverse-printed cardboard sleeve with A6 photo-card inside, including a download code. Artwork by Talita Santos & design by Espacioblanco. Photography by Stefan Lingg.

Expertly utilised in hit series 'Breaking Bad' to soundtrack Walt and Jesse's meth manufacturing, The Peddlers 'On A Clear Day You Can See Forever' is a sumptuous smooth soul journey - full of exquisite organ solos and deep vocal tones.

2019 marks 50 years since it's release and with original copies pushing £40 it's a chance to bag this iconic record at a fraction of the price.

Remastered and reissued on 7 inch with large / dinked centre hole in Epic generic paper sleeve.

Built around the successes of his soundtracks and songs for the movies of Christophe Honoré, Alex Beaupain’s profile in the ‘chanson française’ landscape is quite unique. Beaupain alternates between soundtracks, songs he writes for others (mainly great French actresses) and his own solo albums.
In march 2021, Beaupain paid tribute to the late Serge Gainsbourg for the 30th anniversary of his passing during a special live on air event where he covered in full, with the Radio France Philharmonic Orchestra, Gainsbourg’s penultimate shocking album from 1984 : Love On The Beat.
This experience led him directly in the studio with Saint DX as producer, the French American duet Faux Real singing backing vocals and a full string section to re-record this cult album with a 2021 twist. He had also dreamed of covering that particular album that had so much impact on him, musically and lyrically, when he first discovered it. The 80s funky sound of the record, produced by Billy Rush, was a new start for Gainsbourg and at the time, the lyrics schocked everyone but achieved to avoid any censorship.
“I was 10 when Love On The Beat was released in 1984. Covering the full album was an idea I always kept somewhere in my mind as I was fully aware of the long lasting impact this particular record had on all the teenagers at the time. This collection of songs is far from being the most covered or talked about works form Gainsbourg, but I’ve always had the feeling they were ‘mine’. That everything started there for me and that, one day or the other, I would have to come back to it.” (Alex Beaupain)

Simon Hinter is enjoying the Saturday nights! He’s steadily progessing with his sound and the results are proving him right: Simon just released his second ep on Jimpster’s beloved Freerange label, plus a new releases on Moment Cinethique. And: „wanna make love“ from his first Quintessentials release (QE73) has just been included on the new DJ Kicks (K7) by Disclosure! We dare to say „WOW“! The new „Saturday night ep“ is the finest blend of House, Disco and Techno in the distinctive Simon Hinter way – bassy, raw and funky! Get ready for your saturday night!

HIGHLIGHTS: Objetos Musicais is a collection of 13 sound pieces created by artists from South America and Switzerland, who work in an intermediate zone among the craft of luthiers, visual arts and experimental music. Their works evoke the visionary ideas of Walter Smetak, a Swiss composer who lived in Salvador, Bahia (Brazil) Smetakian spirit tunes in with a new community of contemporary artists, who relate to the work of the so-called "experimental luthiers": artists who build their own instruments, lead them towards radical extended versions or take the exploration towards the building of resonant machines. DESCRIPTION: Objetos Musicais is a collection of 13 sound pieces created by artists from South America and Switzerland, who work in an intermediate zone among the craft of luthiers, visual arts and experimental music. Their works evoke the visionary ideas of Walter Smetak, a Swiss composer who lived in Salvador, Bahia (Brazil). Smetak was a pioneer of musical experimentation in that country and developed, in the 60s and 70s, a musical poetics that was captured in two seminal albums, Smetak (1974) and Interregno (1980), both of which, after being out of print for a long time, have been reissued today, hence the motivation for this tribute. On those two albums, Smetak combined Afro-Brazilian ritual traditions, theosophy, microtonality studies, collective improvisation and the use of unconventional musical instruments, which he called Plasticas Sonoras. Smetak came to build around 150 acoustic instruments, many of which are true sound sculptures of great visual impact. This latter aspect is the most directly evoked one on this album-and it so happens that the Smetakian spirit tunes in with a new community of contemporary artists, who relate to the work of the so-called "experimental luthiers", artists who build their own instruments (Marco Scarassatti, Phillipp Laeng, Maria Anália), lead them towards radical extended versions (Ruben Dhers, Claudio Merlet), develop hybrid projects involving instruments and sound sculpture (Javier Bustos, Alvaro Icaza and Verónica Luyo, Juan Pablo Egúsquiza, Edgardo Rudnitzky) or take the exploration towards the building of resonant machines (Nicole L'Huillier, O Grivo, Zimoun, Cod.Act), without these categories being mutually exclusive, but rather tending to mix, thereby opening up new sonic possibilities. This new community of artists has begun to create a whole new field of research and, in a way, a new discipline, understandable within the context of this new paradigm opened by the maker culture, which has pushed creators and developers from all over the world to conceive alternative-anti-hegemonic and DIY-forms of production. Therefore, this collection allows the artists to evoke Walter Smetak but also to connect his work to this new scene-to which it precedes-a link for this new art that makes its way at some point among the work of experimental luthiers, sound art, experimental music and the DIY ethics. Curated by Luis Alvarado and Chico Dub. Art by René Sánchez. Limited edition of 300 copies on vinyl. This project is part of the experimental music and sound art platform Incidencias Sonoras: COINCIDENCIA, by the Swiss Arts Council Pro Helvetia.

Kingston Jamaica's well known and always forward operating Dancehall creators Equiknoxx in special collaboration with eclectic Twin Cities USA newcomers Feel Free Hi Fi. 4 tracks with 4 dub versions of experimental electronic dancehall.

The records come in double sided silkscreen printed DJ jackets, with Obi Strip style stickers and hand stamped white labels created and printed by Digital Sting.

To many, Equiknoxx needs little introduction. The musical collective of Gavsborg, Time Cow, Shanique Marie, Bobby Black Bird and Kemikal has been operating on an international level for many years now. Their debut, 2016’s Bird Sound Power was met with critical acclaim. Since then Equiknoxx has released two more full length albums, many singles, collaborations and have consistently performed around the globe

During the inception of Feel Free Hi Fi as a Sound System in the Twin Cities, Equiknoxx productions were in heavy rotation. Their distinct approach to Dancehall, Dub and Electronic music felt like a sound that Reed and Maxwell had been waiting to hear for a long time. The initial connection with Time Cow via social media soon turned into a regular correspondence, hang outs in NYC and this musical collaboration.

The record is simple in premise but dynamic in resulting sounds. The record features original rhythm offerings from Gavsborg, Time Cow and Feel Free Hi Fi (in collaboration with W. Statler of Free Music). All rhythms were swapped and dubbed, creating eight tracks in total. A release with a basis in international correspondence and similar interests in sonic exploration, we kept it fun, we kept it simple, but we think the rhythms and the dubs stand up quite nice.

One Instrument welcomes the Australian sound artist and composer Felicity Mangan. Based in Berlin since 2008 she plays her found native Australian wildlife archive and other field recordings exploring the timbre and biorhythm of animal voices and field recordings to create minimal quasi-bioacoustic environments.

For the release on One Instrument the mouth organ is her instrument of choice. Felicity explores the resonance and pitch of the reeds within at the harmonica The Echo Harp of the brand M.Hohner. “Bell Metal Reeds” shows a committed and ambitious composition in each singular tone. The striking attention to detail and commitment to investigating tonal possibility characterizes throughout the whole body of work.

As an amateur player, through breath and minimal electronic music composition techniques she composed four beautiful organic ambient pieces within the parameters of the One Instrument concept.
Felicity breaths new life into the harmonica and meditates on a the single instrument where she takes extraordinary sounds out of. The Echo Harp that Felicity used was found on a flea market in Hamburg in February 2020. All tracks were composed during the severe lockdown in the Autumn of 2020 in Berlin.

Felicity Mangan is an Australian sound artist and composer based in Berlin, Germany since 2008. In different situations such as solo performance, collaborative projects with other musicians or installation, Felicity plays her field recording archive exploring timbres and biorhythmic patterns to create quasi-bioacoustic electronic music. Felicity has played in collaborative projects Native Instrument (Shelter Press, Entr’acte) presenting electro-acoustic bug beats with vocalist Stine Janvin.

Felicity has released solo publications on Longform Editions titled Stereo’frog’ic, a play on the word stereophonic – presenting a sound piece, crafted from found recordings of frogs, insects and other ‘vocal’ animals wavering about in a stereo field.

More recently a tape release titled Creepy Crawly on Slovakian label Mappa Editions. With the up and coming release Bell Metal Reeds on One Instrument, November 2021. Felicity has presented projects in many different settings from galleries, gardens, clubs, festivals and online platforms throughout Europe, including National Gallery Denmark, Technosphärenklänge CTM/HKW, Sonic Acts Academy and RIVERSSSOUNDS

HIGHLIGHTS: For the first time a sample of the essential work of Mesías Maiguashca, covering a period that goes from 1967 to 1989. This release includes historical pieces of electronic music, such as "El mundo en que vivimos" (1967) or "Ayayayayay"(1971), which are early references for electronic music in Latin America. DESCRIPTION: Mesías Maiguashca is a relevant figure on the map of contemporary avant-garde composers. Born in Ecuador but currently based in Germany, he has been a composer who, since the 60s, would constantly expand his possibilities in fields such as electronic music (where he stands out as a pioneer), mixed works, expanded interdisciplinary pieces and the creation of unconventional instruments, where the encounter between his country of origin's popular folkloric tradition and the new European music has produced a universe of tension, as fascinating as it is startling. Mesías Maiguashca: Música para cinta magnética (+) instrumentos (1967-1989) presents for the first time a sample of the essential work of Maiguashca, covering a period that goes from 1967 to 1989. This is the first of a new collection, a new series of albums that seeks to document the extensive recorded work of Maiguashca, with pieces that date from the mid-60s to the present. This first release is a good introduction to understand the various aesthetic options developed by the artist throughout his career. It includes his historical pieces of electronic music, such as "El mundo en que vivimos" (1967) or "Ayayayayay"(1971), which are early references for electronic music in Latin America, and also mixed pieces, such as "Intensidad y altura" (1979) for six percussionists and magnetic tape, "The wings of perception" (1989) for a string quartet and tape, and "Nemos Orgel" (1989) for organ and magnetic tape. As the critic Fabiano Kueva has pointed out: "During six decades of musical creation, Maiguashca has outlined diverse aesthetic axes, raising questions about the aural experience and generating a sound flow, a permanent oscillation between Latin America and Europe. Therefore, the blend of Western and non-Western concepts, techniques and timbres, the literary references or the historical approach are perceived as a complex gesture that reveals the tensions, the memories, the place of the artist." Mesías Maiguashca studied at the Quito Conservatory, the Eastman School of Music (Rochester, N.Y.), the Di Tella Institute (Buenos Aires) and the Musikhochschule Köln (Cologne). He has made recordings at the WDR music studio (Cologne), Center Européen pour la Recherche Musicale (Metz), the IRCAM (Paris), the Acroe (Grenoble) and the ZKM (Karlsruhe). In 1988, together with Roland Breitenfeld, he founded the K.O.Studio Freiburg, a private initiative for the cultivation of experimental music. He has been living in Freiburg since 1996. Mesías Maiguashca: Música para cinta magnética (+) instrumentos (1967-1989) is released as a double vinyl LP, in a limited edition of 300 copies, including photos and detailed information on the pieces. Liner notes by Mesías Maiguashca and Fabiano Kueva. Mastering: Alberto Cendra at Garden Lab Audio. Desing by Martín Escalante. Project carried out thanks to the Ibermúsicas fund.

Rising UK pop-rock/alternative five-piece Tigress return with their debut
album Pura Vida, following a series of EP releases with UK tastemaker UK
rock label Lab Records.
Bringing to mind the punky, scuzzy, low-frequency rock n roll of Royal Blood
and Slaves, singer Katy Jackson is the UK’s next superstar alt-rock frontwoman
in waiting, following in the footsteps of both YONAKA and VUKOVI.
Tigress’ primary coloured aesthetic and uniquely British sounding rock continues to set the band apart from their contemporaries, and a relentless work
ethic has seen the band set the UK and European touring scene alight, with
plans to perform at SXSW in 2022.
Tigress have already had press and radio coverage from the likes of Kerrang!,
Rock Sound, Alternative Press, Upset Magazine, Total Guitar, The Metro, BBC
Radio 1, BBC Radio 2, BBC Introducing, Radio X, Kerrang! FM, RTE 2XM, Triple
J and Planet Rock.
KEY MARKETING POINTS:
Late Summer/Autumn UK festivals + UK/EU headline tour in October 2021
Previous single ‘Paranoid’ used in marketing promo by Rock and Roll Hall of
Fame
Previous support slots include Green Day @ British Summer Time, Bring Me
The Horizon in mainland EU, and Billy Talent
Other festivals: Download, The Great Escape, Vans Warped Tour UK

We return to Capcom’s classic ‘90s output with this double LP for the Street Fighter Alpha: Warriors’ Dreams soundtrack.

Enter jazz-funk fusion heaven with the upbeat arcade OST of the first title in the Alpha/Zero trilogy,

The composition team includes Isao Abe, Syun Nishigaki, Setsuo Yamamoto, Yuko Takehara, Naoaki Iwami, Naoshi Mizuta, Hiroaki Kondo and Ryoji Yamamoto

All music has been specially mastered for vinyl by Joe Caithness, and tracks will be pressed onto audiophile-quality, black 180g discs.

We’ve once again enlisted the brilliant comic book illustrator Andie Tong to create original sleeve artwork, as he did for the Street Fighter III: The Collection vinyl box set.

LPs come in printed inner sleeves, all housed in a widespined outer sleeve.

The Black Keys release a special tenth anniversary edition of their landmark seventh studio. El Camino (10th Anniversary Deluxe Edition) will be available in several formats including a Super Deluxe edition of five vinyl LPs or four CDs, featuring a remastered version of the original album, a previously unreleased Live in Portland, ME concert recording, a BBC Radio 1 Zane Lowe session from 2012, a 2011 Electro-Vox session, an extensive photo book, a limited-edition poster and lithograph, and a ‘new car scent’ air freshener. A three-LP edition, which includes the remastered album and the live recording, will also be available. The Super Deluxe version will also be available digitally.

El Camino was produced by Danger Mouse and The Black Keys and was recorded in the band’s then-new hometown of Nashville during the spring of 2011. The Black Keys won three awards at the 55th annual GRAMMY Awards for El Camino – Best Rock Performance, Best Rock Song, and Best Rock Album – among other worldwide accolades. In the UK, the band was nominated for a BRIT Award (Best International Group) and an NME Award (Best International Band). The week of release, the band performed on Saturday Night Live, The Colbert Report, and the Late Show with David Letterman, and later that year, went on to perform their first Madison Square Garden show.

Rolling Stone, which featured the band on their cover around the release, hailed El Camino for bringing ‘raw, riffed-out power back to pop’s lexicon,’ and called it ‘the Keys’ grandest pop gesture yet, augmenting dark-hearted fuzz blasts with sleekly sexy choruses and Seventies-glam flair.’ The Guardian said, ‘They sound like a band who think they've made the year's best rock'n'roll album, probably because that's exactly what they've done.’

In the newly written liner notes for El Camino (10th Anniversary Deluxe Edition), David Fricke says:

The story of the Black Keys' seventh album, named after an automobile, long out of fashion and featured nowhere in the artwork, begins on a sidewalk in the middle of a blizzard. On the afternoon of January 9, 2011, singer-guitarist Dan Auerbach and drummer Patrick Carney stood on the pavement outside the Bowery Hotel in New York City, saw the weather turning vicious, looked at each other and came to the same decision: They had to get off the road.

The night before, the duo scored another first in a season getting crowded with them: The Black Keys' debut appearance on Saturday Night Live, performing ‘Howlin' for You’ and ‘Tighten Up’, the breakout singles from their latest release, Brothers. Two days earlier, Brothers – the Keys' first Top 5 album, released in May 2010 – became their first Gold record, passing a half-million in sales thanks to heavy FM rotation and a near-year of gigging, now set to run deep into 2011 including a prestige slot at Coachella and victory laps in Europe and Australia.

The Keys "tried to settle down" after cancelling the tour, Carney says. But that didn't last. "I said, 'We should just make another record.' And I asked Dan if we should get Danger Mouse" – the hip-hop and modern-rock producer, real name Brian Burton, who worked on the Keys' 2008 record, Attack & Release, and co-produced ‘Tighten Up’. Auerbach and Carney did not have any new songs, but as the drummer notes, "Most of our records – we don't have material when we start. Brothers was made up in the studio."

In the UK, the record gave the band their first top 10 hit, and in the US it debuted at #2 on the Billboard Top 200. The band was also the #1 most played artist at Alternative and AAA radio formats for 2012 in the US. The album’s first single, ‘Lonely Boy’: reached #1 on the Alternative and AAA charts; it also entered the top 10 at Rock radio. The second single, ‘Gold on the Ceiling’, also reached #1 on Alternative radio and the third single, ‘Little Black Submarines’, reached the top 3 at Alternative radio.

El Camino has been certified Double Platinum in the US; Platinum in the UK, Belgium, France, Ireland, and the Netherlands; Triple Platinum in Australia and New Zealand; Quadruple Platinum in Canada; and Gold in Austria, Denmark, Finland, Italy, Mexico, Norway, Spain, and Switzerland. Of the album’s singles, ‘Lonely Boy’ was certified Double Platinum in the US, nine-times Platinum in Canada, Triple Platinum in Australia, Platinum in New Zealand, and Gold in Denmark and the UK. ‘Gold on the Ceiling’ was certified Platinum in the United States, Australia, and Canada. ‘Little Black Submarines’ was certified Platinum in the United States. The Black Keys also were nominated for an MTV European Music Award in 2012.

Recently, the band announced their World Tour of America. The Black Keys will perform three intimate shows in Oxford, MS, Athens, GA, and St Petersburg, FL, surrounding their September 25 headlining set at Pilgrimage Fest in Tennessee.

The Black Keys recently released their tenth studio album, Delta Kream, which was recorded at Easy Eye Sound studio in Nashville. The album takes its name from William Eggleston’s iconic Mississippi photograph that is on its cover.

Formed in Akron, Ohio in 2001, The Black Keys, who have been called ‘rock royalty’ by the Associated Press and ‘one of the best rock ‘n’ roll bands on the planet’ by Uncut, are guitarist/singer Dan Auerbach and drummer Patrick Carney. Cutting their teeth playing small clubs, the band have gone on to sell out arena tours and have released nine previous studio albums: their debut The Big Come Up (2002), followed by Thickfreakness (2003) and Rubber Factory (2004), along with their releases on Nonesuch Records, Magic Potion (2006), Attack & Release (2008), Brothers (2010), El Camino (2011), Turn Blue (2014) and, most recently, “Let’s Rock” (2019), plus and a tenth anniversary edition of Brothers (2020). The band has won six Grammy Awards and a BRIT and headlined festivals in North America, South America, Mexico, Australia, and Europe.

The Black Keys release a special tenth anniversary edition of their landmark seventh studio. El Camino (10th Anniversary Deluxe Edition) will be available in several formats including a Super Deluxe edition of five vinyl LPs or four CDs, featuring a remastered version of the original album, a previously unreleased Live in Portland, ME concert recording, a BBC Radio 1 Zane Lowe session from 2012, a 2011 Electro-Vox session, an extensive photo book, a limited-edition poster and lithograph, and a ‘new car scent’ air freshener. A three-LP edition, which includes the remastered album and the live recording, will also be available. The Super Deluxe version will also be available digitally.

El Camino was produced by Danger Mouse and The Black Keys and was recorded in the band’s then-new hometown of Nashville during the spring of 2011. The Black Keys won three awards at the 55th annual GRAMMY Awards for El Camino – Best Rock Performance, Best Rock Song, and Best Rock Album – among other worldwide accolades. In the UK, the band was nominated for a BRIT Award (Best International Group) and an NME Award (Best International Band). The week of release, the band performed on Saturday Night Live, The Colbert Report, and the Late Show with David Letterman, and later that year, went on to perform their first Madison Square Garden show.

Rolling Stone, which featured the band on their cover around the release, hailed El Camino for bringing ‘raw, riffed-out power back to pop’s lexicon,’ and called it ‘the Keys’ grandest pop gesture yet, augmenting dark-hearted fuzz blasts with sleekly sexy choruses and Seventies-glam flair.’ The Guardian said, ‘They sound like a band who think they've made the year's best rock'n'roll album, probably because that's exactly what they've done.’

In the newly written liner notes for El Camino (10th Anniversary Deluxe Edition), David Fricke says:

The story of the Black Keys' seventh album, named after an automobile, long out of fashion and featured nowhere in the artwork, begins on a sidewalk in the middle of a blizzard. On the afternoon of January 9, 2011, singer-guitarist Dan Auerbach and drummer Patrick Carney stood on the pavement outside the Bowery Hotel in New York City, saw the weather turning vicious, looked at each other and came to the same decision: They had to get off the road.

The night before, the duo scored another first in a season getting crowded with them: The Black Keys' debut appearance on Saturday Night Live, performing ‘Howlin' for You’ and ‘Tighten Up’, the breakout singles from their latest release, Brothers. Two days earlier, Brothers – the Keys' first Top 5 album, released in May 2010 – became their first Gold record, passing a half-million in sales thanks to heavy FM rotation and a near-year of gigging, now set to run deep into 2011 including a prestige slot at Coachella and victory laps in Europe and Australia.

The Keys "tried to settle down" after cancelling the tour, Carney says. But that didn't last. "I said, 'We should just make another record.' And I asked Dan if we should get Danger Mouse" – the hip-hop and modern-rock producer, real name Brian Burton, who worked on the Keys' 2008 record, Attack & Release, and co-produced ‘Tighten Up’. Auerbach and Carney did not have any new songs, but as the drummer notes, "Most of our records – we don't have material when we start. Brothers was made up in the studio."

In the UK, the record gave the band their first top 10 hit, and in the US it debuted at #2 on the Billboard Top 200. The band was also the #1 most played artist at Alternative and AAA radio formats for 2012 in the US. The album’s first single, ‘Lonely Boy’: reached #1 on the Alternative and AAA charts; it also entered the top 10 at Rock radio. The second single, ‘Gold on the Ceiling’, also reached #1 on Alternative radio and the third single, ‘Little Black Submarines’, reached the top 3 at Alternative radio.

El Camino has been certified Double Platinum in the US; Platinum in the UK, Belgium, France, Ireland, and the Netherlands; Triple Platinum in Australia and New Zealand; Quadruple Platinum in Canada; and Gold in Austria, Denmark, Finland, Italy, Mexico, Norway, Spain, and Switzerland. Of the album’s singles, ‘Lonely Boy’ was certified Double Platinum in the US, nine-times Platinum in Canada, Triple Platinum in Australia, Platinum in New Zealand, and Gold in Denmark and the UK. ‘Gold on the Ceiling’ was certified Platinum in the United States, Australia, and Canada. ‘Little Black Submarines’ was certified Platinum in the United States. The Black Keys also were nominated for an MTV European Music Award in 2012.

Recently, the band announced their World Tour of America. The Black Keys will perform three intimate shows in Oxford, MS, Athens, GA, and St Petersburg, FL, surrounding their September 25 headlining set at Pilgrimage Fest in Tennessee.

The Black Keys recently released their tenth studio album, Delta Kream, which was recorded at Easy Eye Sound studio in Nashville. The album takes its name from William Eggleston’s iconic Mississippi photograph that is on its cover.

Formed in Akron, Ohio in 2001, The Black Keys, who have been called ‘rock royalty’ by the Associated Press and ‘one of the best rock ‘n’ roll bands on the planet’ by Uncut, are guitarist/singer Dan Auerbach and drummer Patrick Carney. Cutting their teeth playing small clubs, the band have gone on to sell out arena tours and have released nine previous studio albums: their debut The Big Come Up (2002), followed by Thickfreakness (2003) and Rubber Factory (2004), along with their releases on Nonesuch Records, Magic Potion (2006), Attack & Release (2008), Brothers (2010), El Camino (2011), Turn Blue (2014) and, most recently, “Let’s Rock” (2019), plus and a tenth anniversary edition of Brothers (2020). The band has won six Grammy Awards and a BRIT and headlined festivals in North America, South America, Mexico, Australia, and Europe.

This double album is a new collaboration between long-time Umor Rex artists Andreas Gerth (one half of Driftmachine) and Carl Oesterhelt (11 Pieces for Synthesizer). Both developed their shared musical cosmos during their time with the now defunct Tied +Tickled Trio. Oesterhelt is also known for his solo compositions for orchestras and for collaborations with Johannes Enders and Hans-Joachim Irmler of Faust.

As futurism seems inherent to electronic music, the backward-looking view is alien to its nature – consequently, a dialectical struggle between these principles is rarely expressed with the means of electronics. Especially today, its essence as a medium of progress stands in opposition to a sceptical position. By reconnecting us with history, The Aporias of Futurism seeks to define a critical location, that stands in opposition to the postmodern concept of interpretation, deconstruction and reformulation and the belief in progress that goes with it.

The working method for the album Andreas and Carl followed was the usual musique-concrète-technique – cut/assemble/edit/process pre-recorded sounds – but instead of deconstructing the concrete noises into an abstract sound entity, they followed a different path: the organic interweaving of orchestral structures with the electronically processed noise layers into a composition in the sense of classical modernism at the beginning of the 20th century.

Carl started with sketches recorded via a broken CD player, processed through a ring modulator, which sounded like old electronic music from the 1950s. To interact with these fragments Andreas recorded and processed a plethora of everyday noises, atmospheres, tonal fragments from the modular, industrial and shortwave radio noise, percussion in the form of door slamming, falling metal sheets, ball tracks, and so on. So, while they still played within the futuristic discipline, the reference to the past is actually unmistakable. One can hear it in the tonality of the contrasting orchestral passages, in the sound character of the processed samples and the sonic electronic layers. But it is precisely here, where a narrative tension develops. Theses and antitheses, extreme (unresolved) opposites, contrasts… essentially inner contradictions, or expressed in another word aporias… … but there is another factor at play here, something that plays a subordinate, almost ostracized role in the post-modern context: beauty (albeit the beauty of ruins) – beauty, the only refuge of the pessimist.

In the course of the process, a wide range of motifs and ideas emerged from the fog of memory. Free associations of concepts, books and authors from a wide period of time, such as Milton's Paradise Lost, William Blake, Robert Graves, ancient Rome, as well as Borges and Juan Rulfo. This flood of images is also incorporated on the album cover as a "free interpretation" of cultural objects and their relations in time.

The overarching motif of a sceptical rejection of the idea of Futurism is illustrated by a quote from Emile M. Cioran, the writer who most closely embodies the common spirit of the work presented here.

"But here comes the strangest thing: the Futurist idolizes becoming only until he has enforced that order for which he fought; then the ideal conclusion of time becomes apparent to him, the ‘always’ of utopia, which concludes and crowns the historical process. The conception of the Golden Age of Paradise par excellence, thus grips believers and unbelievers alike. But between the original paradise of the religions and the eschatological of the utopia there is the whole distance that separates a nostalgia from a hope, a repentance from a delusion, an achieved from an unrealized completion."

All music composed by Andreas Gerth and Carl Oesterhelt between Berlin and Munich, Germany in 2021. Produced and mixed by Andreas Gerth in Berlin. Mastered by John Tejada in Sherman Oaks, USA. Artwork by Daniel Castrejón in Mexico City.

"The Tragically Hip announce they will be releasing a special version of their sophomore album, Road Apples 30th Anniversary Deluxe, on Friday, October 15. The album is available in comprehensive physical deluxe CD and Vinyl and Pure Audio blu-ray audio box set editions.
Created to mark the 30th anniversary of the band’s second studio album which became their first record to hit #1, the Road Apples 30th Anniversary Deluxe editions were carefully crafted with input from each living member of the band. The outcome is a deep dive behind the scenes of what made this album one of the most beloved in The Tragically Hip’s vast catalogue. With all tracks completely remastered in 2021 by Ted Jensen at Sterling Sound in Nashville, for the first time, fans will hear music from the band with all the grit, vibrancy, and passion of their original recordings, second only to being in the recording studio with them. The physical box set editions, (CD and Vinyl), of the release will contain special Dolby Atmos, 7.1, 5.1 and binaural mixes by Richard Chycki of Road Apples and 5 cuts from Saskadelphia, ensuring fans have a one-of-a-kind listening experience. Fans and collectors will also appreciate the brand-new artwork for each of the packages within the physical box sets.
The expansive deluxe editions of the release are jam packed with rare and more previously unreleased and never heard before pieces of music chronicling The Tragically Hip’s Road Apples era, including:
• Road Apples, the original album re-mastered in 2021 by Ted Jensen at Sterling Sound in Nashville.
• Saskadelphia, as released earlier this year.
• Live At The Roxy Los Angeles, May 3rd 1991, originally recorded for a Westwood One radio show, often bootlegged and sought after by fans for many years. It has been re-mastered and expanded and includes the rare “Killer Whale Tank” version of New Orleans Is Sinking. This legendary Roxy show is now a double vinyl album. This album is available exclusively in physical product.
• Hoof-Hearted, an album of previously unreleased demos, outtakes, and alternate versions."

"With over 20 years of experience and six studio albums under their belts, Hungarian Black/Pagan Metal outfit BORNHOLM are no longer strangers to the scene! Now, the four-piece is ready to present their exciting Napalm Records debut and releases their brand-new studio album, Apotheosis. Apotheosis not only showcases BORNHOLM’s tonal development, but also goes back to the origins of the band’s history and the heavy, often almost doomy influences mixed with indispensable atmospherically dark and raw flavor. Accompanied by sinister sacral sounds of historic proportions and a hypnotizing, incantatory chant, intro track ""I Divine"" heralds the dark ride to nowhere. It is precisely in the void between Pagan and Black Metal that the sound finds its home, with tracks like “Spiritual Warfare” and “Black Shining Cloaks” - including its sinister, atmospheric intro “The Key to the Shaft of the Abyss”- representing the mellowness and extremes of the band. The almost melodic borrowings and acoustic guitar inserts in combination with the pure rawness of “To the Fallen” and the hammering fast attacks of the track “I am War God” highlight the band’s variety and sonic progression. The title track “Apotheosis” is a slow, howling homage mixing aggressive, shrieking vocals and melodiously grim anecdotes. Album closer “Enthronement” closes the metaphorical and musical bracket and provides the 52-minute piece with a venerable, instrumental conclusion. On Apotheosis, the band has built a flowing, epochal sound concept that combines explosive guitar/bass lines with thunder-fast drums, spiced with choral elements and leading into a heavy blend, which BORNHOLM present successfully in all kinds of variations from track 1 to 11.

LIMITED PRESSING OF 500 COPIES WORLDWIDE.

The La's live 1986-87 manages to capture the band's original ethos and attitude. Side one, contains Liverpool ‘live’ recordings from 1986 when Mike Badger and Lee Mavers shared material and vocal duties. These recordings have a skiffle like quality that flew in the face of the highly produced trends dominating the mid-eighties and can see the band defining & developing it’s sound. Side two, shows a band that had evolved, almost at times garage rock which suited certain songs in a better way, eventually selling out the Marquee Club.

This album in many ways illustrates the true nature of the La's from its original inception to its eventual place in the hearts and minds of music lovers everywhere. Pure magic and history in the making.

We return to Capcom’s classic ’90s output with this double LP for the Street Fighter Alpha 2 arcade soundtrack.

The composition team includes Syun Nishigaki, Setsuo Yamamoto, and Tatsuro Suzuki

All music has been specially mastered for vinyl by Joe Caithness, and tracks will be pressed onto audiophile-quality, heavyweight 180g discs.

We’ve once again enlisted the brilliant comic book illustrator Andie Tong to create original sleeve artwork, as he did for the Street Fighter III: The Collection vinyl box set.

LPs come in printed inner sleeves, all housed in a widespined outer sleeve.

clear red vinyl / incl. poster

The fourth release (ZC-ELEC004) of the Electro Acid Series has arrived. With "Lightsplitter", you can expect four dancefloor fillers that also provide truly captivating listening experiences. Created by The Human Behind Pluto, Johnfaustus and VSO who's passion for electro, acid and IDM meet on this high-quality release.

About the artists:
Human Behind Pluto: Born somewhere else, raised liked a human... using synthesizers, some hardware some not to express something hard to grasp... Eclectic mixes between IDM, Braindance, Electronica and Ambient is a good guess of what it would sound like if you join the ride...

Johnfaustus: Piano lesson in the 80's, rocking the guitar in the 90's, pacing free party since the end of the millennium (followed by a hardware addiction), johnfaustus is still making noise. Versatile producer, he navigates from dub to death metal with of course some mental acidcore in between.

VSO: VSO, aka Vasco Oliveira, based in Porto, started his journey in electronic music around 2017. Since then, he has been experimenting with acid, electro, IDM, breakbeat and ambient.

Human Behind Pluto - Lightsplitter
the Human Behind Pluto delivers an excellent up-tempo electro track with 'Lightsplitter' Superb atmospheres are driven by subtly distorted beats and a razor-sharp arrangement that manages to split light to be projected into the mind's eye. A truly captivating track that enchants instantly!

johnfaustus - Red Sonjia
With 'Red Sonjia' John Faustus tells a dark and ominous tale voiced by analog synths and mesmerizing vocals. A hypnotizing 303 line tops of this high-quality sonic adventure, where Sonjia manages just fine without Conan.

VSO - Sinking
With 'Sinking', VSO has created a beautiful and all-encompassing electro adventure. The hard-hitting beats won't stop you from sinking in the sonic pool filled with melancholy and acidic creatures.

VSO - Complacency
'Complacency' by VSO is an offbeat electro killer accompanied by 303 basslines and distant electrofied voxes. Don't get too comfortable balancing between the beautiful contrast of the intense beats and the dream state vibe because complacency is on the lurk.

High-quality reissue of holy grail 70s Brasil Funk LP, a real Killer record which sounds like nothing else with an incredible combination of tracks mixing Brazilian popular music (MPB), regional Folk, Soul and Funk!

Di Melo's debut album was originally released in 1975 and it's a fusion of genuinely Brazilian rhythms with Funk, Soul and the right amount of psychedelia. Di Melo is one of the main Brazilian Soul Music artists, seen by many as talented and musically creative as his peers Jorge Ben and Tim Maia. Di Melo went missing in action from 1976 to 1997, the year his song "A Vida em Seus Mtodos Diz Calma" was on the collection "Blue Brazil" from Blue Note record label. The word on the streets was that he was dead until 2011, when the documentary called "Di Melo, o Imorrvel" (Di Melo, the immortal) was released. In this 2021 edition the album contains the original 1975 insert with lyrics plus photos from personal family archives and for the first time the full credits with all the name of every single musician who tookpart,among them, Hermeto Pascoal.

Clint Mansell's incredible synth score to Ben
Wheatley’s ‘In The Earth’.
 The score is pressed on 180g black vinyl and
housed in a deluxe spined sleeve with double
sided printed insert and digital download card.
 For the score, Mansell actually captured the sound
of singing plants via the PlantWave MIDI Sprout
machine, in keeping with the vegetal themes of the
film.
 “It’s big, ominous, sometimes beautiful and often
eerie - think Blade Runner or ‘Annihilation’ - not to
mention unsettling at times,” says Clint. “Paranoia,
isolation, anxiety, synths, plants... something for
everyone!”
 ‘In The Earth’ was made by Ben Wheatley during
lockdown and was one of the most talked about
films of Sundance Film Festival. As the world
searches for a cure to a devastating virus, a
scientist and a park scout venture deep into the
woods. As night falls, their journey becomes a
terrifying voyage through the heart of darkness as
the forest comes to life around them.
 Press - Features in Brooklyn Vegan, Empire, The
Guardian, The Quietus, Dead Central.

[a] Mycorrhiza [60-250 Hz]




[f] Mycorrhiza [250-500 Hz]


[i] Mycorrhiza [2-4 Hz]

Chicago singer, songwriter and pianist Neal Francis is ATO
Records’ newest signing, and today presents his new album, ‘In
Plain Sight’, the follow-up to Francis’s 2019 debut, ‘Changes’, a
New Orleans-R&B-leaning effort that landed on Best Of The
Year lists from the likes of KCRW, KEXP and The Current, and
saw him hailed as “the reincarnation of Allen Toussaint” by BBC
Radio 6.
 After returning home from touring on the back of ‘Changes’,
Francis went through a breakup and found himself living in a
church, where he ended up writing a series of new songs about
honesty and resilience. “I’m owning up to all my problems within
my relationships and my sobriety,” he says. “So much of it is
about coming to the understanding that I continue to suffer
because of those problems. It’s about acknowledging that and
putting it out in the open in order to mitigate the suffering and try
to work on it, instead of trying to hide everything.”
 Francis and his bandmates recorded In Plain Sight entirely on
tape - and mostly in that same church - and the resulting songs
are dreamlike and reflective, anchored in the rock and soul
sound that has led critics to compare him to legends like Allen
Toussaint and Dr. John. ‘In Plain Sight’ was mixed by the
Grammy-winning producer Dave Fridmann (The Flaming Lips,
Tame Impala, MGMT).
 “There are hints of ’70s Brit Rock (including a very visceral
touch of Elton John) as well as New Orleans jazz-funk, gospel
soul, and some lighthearted Randy Newman - and the
amalgamation felt like a time-stamped treasure,” wrote the
Chicago Sun-Times on his recent hometown performance at
Lollapalooza. Early 2022 will see Francis embark on his first
ever UK and European tour.
 LP pressed on Cherry Red vinyl and includes lyric insert with a
deluxe embossed vinyl jacket and custom inner sleeve. (Once
this pressing sells out, a standard black vinyl format -
ATO0577LP - on will become available.)

With another week comes another gem to be let loose into
the world via Nice Swan. This time it’s the turn of Brighton
set Opus Kink, releasing their second offering of the year
in ‘Wild Bill’ / ‘This Train’.
 Having been recorded at the seminal Rockfield Studios in
Wales and produced by Tim Burgess, it’s every bit as
zealous and free as we’d expect and in discussing the
release, the group revealed: “‘This Train’ is a hell-forleather ride through humanity’s self-destructive tendencies
and futile battle against nature, flipping on its head the old
adage that ‘this train is bound for glory’.”
 A spooky intro converts to a fast-paced and frenetic sound
as trumpets and sax blare with feral delight. The single
comes to a screeching crescendo and we’re sonically
transported to what could easily be a pub parlour, perched
on the crimson material of a baby bar stool as beautifully
bedraggled chants echo out. They can’t remember how
they got there but are united in their message: “Don’t lose
yourself to everyone else; Don’t lose yourself to this train.”
 So far, Opus Kink have succeeded in turning listeners on
their head, leaving a simultaneous excitement and
perplexity as the struggle to brandish them with a ‘wemust-define-you’ handle ensues. With an underlying tone
likened to that of a Dickensian tale, they possess the edge
of a brooding petty criminal, the charm of a street urchin
and the philanthropic spirit of any good protagonist.
 The band have a flurry of nationwide gigs scheduled over
the coming months, including two Nice Swan showcases
alongside labelmates Malady, Mandrake Handshake and
Hallan. Taking the studio energy and general raucousness
into consideration, catching them live will be well worth a
look-in.

Storage units hold possessions on pause from the outside world, objects capable of reconnecting us to a time or place. Hana Vu (born in 2000s California) grew up with her family making regular use of public storage spaces in Los Angeles, moving every few years, leaving a mix of the sacred and the mundane to sit inside concrete and steel. The 20-year-old musician sees the art of making and releasing songs in a similar sense: “these public expressions of thoughts, feelings, baggage, experiences that accumulate every year and fill little units such as ‘albums.’” She lived next to one of these buildings when she started writing her full-length Ghostly International debut, Public Storage, and its towering presence lends a metaphor to a record that sounds far bigger than the bedroom it came from.

Vu’s relationship with music began when she picked up a guitar her dad had lying around and taught herself to play. She’d wake up every day and listen to LA’s ALT 98.7, home to ‘90s and ‘00s alternative rock; later in high school, she found the local DIY scene. She remembers, “A lot of my peer musicians were surf rock/punk type bands and so I tried to fit into that when I was gigging around. But what I was listening to at that time St. Vincent, Sufjan Stevens was very different from what I performed.” Ultimately she’d do her own thing, keeping a journal of bedroom pop ex-periments on Bandcamp, including a low-key Willow Smith collaboration and covers of The Cure and Phil Collins. She caught the ear of Gorilla vs. Bear, who released Vu’s self-produced debut EP in 2018 on their Luminelle Recordings imprint, followed by a double EP the next year.

Public Storage builds on the sound of Vu’s early work underscoring her strengths as a songwriter with a deeper sense of luster, sophistication, and urgency. She calls it “very invasive and intense sounding music,” refreshingly out of step with contemporary trends; this is music to engage with rather than lean back to. For the first time, she welcomes a co-producer, Jackson Phillips (Day Wave), who helps Vu create a vast, grainy, multifaceted world to stretch into vocally, her distinct contralto drifting freely between evocative low-lit ruminations and soulful, skyward bursts.

Storage units hold possessions on pause from the outside world, objects capable of reconnecting us to a time or place. Hana Vu (born in 2000s California) grew up with her family making regular use of public storage spaces in Los Angeles, moving every few years, leaving a mix of the sacred and the mundane to sit inside concrete and steel. The 20-year-old musician sees the art of making and releasing songs in a similar sense: “these public expressions of thoughts, feelings, baggage, experiences that accumulate every year and fill little units such as ‘albums.’” She lived next to one of these buildings when she started writing her full-length Ghostly International debut, Public Storage, and its towering presence lends a metaphor to a record that sounds far bigger than the bedroom it came from.

Vu’s relationship with music began when she picked up a guitar her dad had lying around and taught herself to play. She’d wake up every day and listen to LA’s ALT 98.7, home to ‘90s and ‘00s alternative rock; later in high school, she found the local DIY scene. She remembers, “A lot of my peer musicians were surf rock/punk type bands and so I tried to fit into that when I was gigging around. But what I was listening to at that time St. Vincent, Sufjan Stevens was very different from what I performed.” Ultimately she’d do her own thing, keeping a journal of bedroom pop ex-periments on Bandcamp, including a low-key Willow Smith collaboration and covers of The Cure and Phil Collins. She caught the ear of Gorilla vs. Bear, who released Vu’s self-produced debut EP in 2018 on their Luminelle Recordings imprint, followed by a double EP the next year.

Public Storage builds on the sound of Vu’s early work underscoring her strengths as a songwriter with a deeper sense of luster, sophistication, and urgency. She calls it “very invasive and intense sounding music,” refreshingly out of step with contemporary trends; this is music to engage with rather than lean back to. For the first time, she welcomes a co-producer, Jackson Phillips (Day Wave), who helps Vu create a vast, grainy, multifaceted world to stretch into vocally, her distinct contralto drifting freely between evocative low-lit ruminations and soulful, skyward bursts.

• Within a year of her ground-breaking Double-Album “Bad Girls”, Donna Summer left
Casablanca Records to become the first Artist signed to the new Geffen Records label.
• The fourth album released for the label was 1987’s “ALL SYSTEMS GO”, was recorded in both Los
Angeles and Munich and was predominantly produced by long-term Giorgio Moroder
collaborator and movie soundtrack composer, Harold Faltermeyer, giving the album a slightly
harder-edged, FM-radio friendly sound with a heavier R&B influence.
• Out of the two further tracks recorded for the album, ‘Dinner With Gershwin’, which was
produced by Richard Perry and written by Brenda Russell, gave the album that desired FMradio sound, with the single becoming a worldwide hit reaching #13 in the UK singles chart.
Other singles include ‘Only The Fool Survives’, a duet with Starship’s lead-singer Mickey Thomas
and the album’s title track ‘All Systems Go’.
• This special edition revisits the original album on 180g Orange Colour vinyl.

• Within a year of her ground-breaking Double-Album “Bad Girls”, Donna Summer left Casablanca Records
to become the first Artist signed to the new Geffen Records label.
• The third album released for the label was 1984’s “CATS WITHOUT CLAWS”, which was produced by
Michael Omartian, who followed-up his production duties on “She Works Hard For The Money” by giving
the album a mid-80s dance/pop themed sound. The album includes the singles ‘Supernatural Love’, ‘There
Goes My Baby’ and ‘Eyes’.
• “CATS WITHOUT CLAWS” reached the Top 30 in several countries across Europe, also becoming a Top 40
album in the USA and Japan.
• Michael Omartian’s production credits include albums with Michael Bolton, Peter Cetera, Christopher
Cross, Amy Grant, Whitney Houston, The Jacksons, and Rod Stewart. Alongside Quincy Jones, he coproduced USA For Africa’s 1985 No. 1 hit, "We Are the World".
• Donna won a Grammy Award for Best Inspirational Performance for the album’s final track, ‘Forgive Me’.
• This special edition revisits the original album on 180g Pink Colour vinyl.

Carwyn Ellis from Cardiff/Wales is a singer, songwriter, composer, arranger, multi-instrumentalist and record producer. He fronts Colorama, formed the Welsh folk group Bendith and hosts a regular themed radio show on Soho Radio. In 2019, Ellis embarked on the first project under his own name, Carwyn Ellis & Rio 18. Sung in Welsh and recorded mainly in Rio de Janeiro, the album, "Joia!" was nominated for the Welsh Music Prize and followed by "Mas" in early 2020. The new album "Yn Rio" is a collection of new songs recorded in Cardiff together with The BBC National Orchestra Of Wales.

In 2017 Carwyn Ellis joined the touring line-up of The Pretenders. For Ellis, a record collector and fan of Brazilian music, the opportunity to tour South America would present opportunities he couldn't have possibly imagined when he accepted Chrissie Hynde's invitation. "The first place we went to was Rio and by the time I met Chrissie for breakfast the day after our gig, I already had a bag of albums I'd just bought. I'm sitting with her and she says, 'You should meet my mates, and do something in Welsh with them! Nobody's done a Welsh language album with Brazilian musicians?"

In 2018, when Alexandre Kassin, a leading light in that Brazilian scene announced a show in London, Hynde suggested that they see it. "I met him afterwards," Ellis recalls, "and we hit it off straight away." Within weeks, Ellis was on a plane to Rio with songs that would form the basis of the first album. This creative purple patch extended into another album released early in 2021 with Carwyn working once again with Kassin plus long-time friend Shawn Lee. The songs on "Mas" drew on the environmental threats that face both Wales and South America, spidering out around the central theme of water ("rains, no rain, droughts, rising seas and flooded valleys for corporate gain. We're screwed without it and screwed if there's too much").

With "Mas" recorded but weeks away from release, Ellis received a call from Gareth Iwan Jones, head producer of BBC Radio Cymru, offering a third album to be performed in March 2021. Ellis started to reflect upon the life-changing events triggered by his South American adventures. The Welsh word 'hiraeth' which describes the longing that Welsh people feel when they're far from home, was something that he was now beginning to feel for Rio de Janeiro: "'Yn Rio' is based around a day in Rio," he explains. "The events of 2020 influenced the record inasmuch as I wanted it to be a complete antidote to what was going on. If you couldn't go on holiday in real life, you could at least put this record on."

The first single "Olá!", incorporating Jorge Ben's spirit in the chorus and rhythmic breakdown, manages to sound languorous and euphoric. "Cariad, Cariad" was a Portuguese folk poem brought to Ellis' attention by Sonya from Quarteto em Cy and arranged by Christiaan Oyens. "Tristwch 20" is a nod to "Foot and Mouth 68" by Gorkys Zygotic Mynci from "The Blue Trees", 'one of the most beautiful albums of all time', while "Ynys Aur" is named after a 1929 book by Welsh missionary J. Luther Thomas written on returning from his travels to Papua New Guinea. With Kassin unable to participate, Ellis thanks him by translating his "A Paisagem Morta" to create "Y Bywyd Llonyd". For Carwyn Ellis "Yn Rio" is an extraordinary memorial to extraordinary times."There are some days so idyllic you just want tobe able to jump back into them at the touch of a button. That's what I was searching for when I was writing these songs."

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

When Aesop Rock debuted in the late 90s with Music For Earthworms and Appleseed, Blockhead was also a part of the process, not only as a producer, but also helping coordinate sales of the CDRs to hungry Hip Hop fans. Blockhead and Aesop continued to collaborate, creating an impressive list of songs along the way, including two of Aesop's most popular songs to date; "Daylight" and "None Shall Pass". In recent years, Blockhead has contributed production, as well as remixes, to many of Aesop's solo releases and group projects, and Aesop has made a handful of guest features on Blockhead's solo projects, but in all that time, Aesop and Block had never done a full album together, until Garbology!

Garbology came together over the course of the pandemic, and encapsulates the soundtrack of current times. As Aesop explains, "Garbology is defined as the study of the material discarded by a society to learn what it reveals about social or cultural patterns. I find a lot of parallels between that and the idea of picking up the pieces after a loss or period of intense unrest, and seeing what’s really there. Furthermore - the idea of digging through old, often neglected music from another time — with an ear tuned for taking in that data in a different way than your average listener — is exactly what Blockhead does."

Following the success of the full Garbology album, it's only right to offer the instrumentals for further examination and repurposing efforts. Dive into the Garbology Instrumentals and see what you find.

Blue light. No heat. A glacial wall of denser-than-dense sound. Dallas Texas’ FROZEN SOUL lives up to their name as the sound of death metal at its most cold and classic. Riff after slow, grinding riff, there’s no mistaking the themes of isolation and suffering that permeate the quintet’s massive sonic missives. “The feeling I’m getting from playing in FROZEN SOUL is powerful in a way I wasn’t getting from other bands I’ve played in before”, says frontman Chad Green. “The sound. The lyrics. Even the logo itself has a harshness to it that just feels powerful and cold. Add to that the depression of dealing with real life and the venomous people that can inhabit it and the vibe of the band just makes sense.”
FROZEN SOUL’s brand of straightforward, in-your-face death metal is a gasp of fresh air in a genre that’s stretched the very limits of technicality. Fully formed in 2018, the quintet has rapidly made a name for itself and churned the underground with a sound that evokes the old school sound of bands like Obituary, Mortician and Bolt Thrower. That reverence for death metal’s roots was apparent from Frozen Soul’s initial four-song Encased In Ice demo (which includes a cover of Mortician’s “Witch’s Coven”) that was released in early 2019 on California’s cave dwelling, knuckle dragging, Maggot Stomp Records.

Farewell covers a lot of ground across the span of its 26 songs and two-hour run time. Yet every moment is a reminder of why Minus the Bear were such an experiential live band. They were always pushing forward, evolving their sound, and finding new ways to balance brainy musicianship, pop worship, meditative sentimentality, and adrenalized fervor into their own signature concoction. Further bolstered by the mix of Matt Bayles and master job by Ed Brooks at Resonant Mastering, the album sounds like a fully immersive live experience. + RECORDED DURING MINUS THE BEAR'S 2018 FAREWELL TOUR + 2021 MARKS THE 20TH ANNIVERSARY OF THE FORMATION OF MINUS THE BEAR + MIXED BY MATT BAYLES (SOUNDGARDEN, PEARL JAM, MASTODON, THE SWORD) + MASTERED BY ED BROOKS AT RESONANT MASTERING (R.E.M., DEATH CAB FOR CUTIE, FLEET FOXES) + FIRST AND ONLY OFFICIAL LIVE RELEASE FROM MINUS THE BEAR + RETAIL EXCLUSIVE VARIANT ON CUSTOM OPAQUE GREY VINYL LIMITED TO 1,900 COPIES + 3xLP PACKAGE COMES IN TRIPLE GATEFOLD SLEEVE WITH SPOT INKS + 3xLP PACkAGE INCLUDES PRINTED INNER SLEEVES WITH METALLIC SPOT INKS + 3xLP INCLUDES A DOWNLOAD COUPON

A continuous search for sounds and delicate balances between different elements. A fusion of frequencies, rhythms, harmonies and many other details to recreate real images, esoteric scenarios and mystical settings, where the spirit surrenders to an ethereal freedom, without forgetting the fundamental power of the sacred.

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

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

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


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

Transmission incoming…
Alien sound waves have been bouncing off the side of our ship.
We’ve managed to capture some of them on plastic.
They seem to appear suddenly out of the vacuum.
Projected by planets
Beamed through stars
Reflected off debris
Hanging in space like dust motes

Witch egg is a improvised set of songs by John Dwyer, Nick Murray, Brad Caulkins, Greg Coates & Tom Dolas.
Another fired expedition out in the wilds.
Recorded and mixed at Stu-Stu-Studio by John Dwyer
This one is a burner designed optimally for your eco-pod sound system.
When you’ve left the world behind, you will need a soundtrack while you lay in dream stasis
This is it

Diving into the archives of Alter Ego - the Italian experimental ensemble of Manuel Zurria, Paolo Ravaglia, Aldo Campagnari, Francesco Dillon, Oscar Pizzo, and Eugenio Vatta - Die Schachtel is thrilled to present Microwaves, a never before released body of recordings of works composed by Atli Ingólfsson, Giovanni Verrando, Yan Maresz, and Riccardo Nova, made with Pan Sonic (Mika Vainio and Ilpo Vaisanen) in 2005. Resting at the outer reaches of avant-garde chamber and electronic music, the LP’s blistering structures, tones, and textures - plowing forward with frenetic energy - remain radical and ahead of their time, more than 15 years after they were first laid to tape.

A modular chamber ensemble with a pointedly anti-academic approach to music, over the course of its activities - running roughly between 1990 and 2010 - Alter Ego developed a devoted following among some of the most forward thinking voices in experimental music, all the while collaborating widely with artists spanning a vast range of practices and disciplines, including Robin Rimbaud, Philip Jeck, Matmos, Gavin Bryars, Andrew Hooker, William Basinski, David Moss, Alvin Curran, Terry Riley, and near countless number of others.

Alter Ego’s diverse activities can be understood as interventions with the disposition toward formality within contemporary chamber music, often pairing themselves with artists working well beyond their own context as a means to develop highly original interpretations of a specific composer’s work. In 2004, this process led them to instigate a collaboration Pan Sonic, the Finnish duo of Mika Vainio and Ilpo Vaisanen, pioneers of a remarkably distinct form of rhythmic, experimental electronic music, and regarded by many as one of the most visionary and irreverent projects working in the field during the '90s and 2000s.

Initially conceived with Fausto Romitelli in 2004 before being sidelined by the composer’s untimely passing the following year, Microwaves acts, in part, a remembrance in sound, featuring four works by some of his closest friends, the composers Atli Ingólfsson, Giovanni Verrando, Yan Maresz, and Riccardo Nova. Each composition, Ingólfsson’s Snap, Verrando’s Harmonic Domains #3, Maresz’s Link, and Nova’s Thirteen13x8@Terror Generating Deity, have roots in a pallet of samples and fragments drawn by each composer from existing works by Pan Sonic. Upon completion, these compositions then entered into a collaborative process between Mika Vainio and Ilpo Vaisanen (Pan Sonic) and Alter Ego (Manuel Zurria, Paolo Ravaglia, Aldo Campagnari, Francesco Dillon, Oscar Pizzo, and Eugenio Vatta), and were performed collectively by both groups during an extensive tour that year.

Distinct and free-standing, while operating as a seamless whole, the four works encountered across the album’s two sides - built from the sounds of flute, clarinet, violin, cello, piano, electronics, and further treatments - present an engrossing intersection between electronic and acoustic sound that diverges from most standing conceptions of electroacoustic music. Each composer’s carefully rendered structures rise and fall within the startling, conversant interplay between the two groups, finding perfect balance - between the frenetic and restrained - in what can only be regarded as one of the most striking and singularly unique expressions of contemporary chamber music realized during the 2000s.

Vast in scope, visionary in concept and artistry, and sonically engrossing, Die Schachtel is thrilled to present these never before heard recordings from the archives of Alter Ego. Microwaves is available on black vinyl, in a limited edition of 350 copies.

Diving into the archives of Alter Ego - the experimental ensemble of Manuel Zurria, Paolo Ravaglia, Aldo Campagnari, Francesco Dillon, Oscar Pizzo, Fulvia Ricevuto, and Eugenio Vatta - Die Schachtel is thrilled to present Pranam - A(Round) Giacinto Scelsi, a never before released body of recordings interpreting the works of the legendary Italian composer Giacinto Scelsi, made with Matmos (Martin Schmidt and Drew Daniel) in 2005. Resting at the outer reaches of avant-garde chamber and electronic music - moving at a glacial pace of tightly wound energy - Pranam’s two sides radically rethink the terms electroacoustic music in ways that still feel radically ahead of their time, more than 15 years after they were first laid to tape.

A modular chamber ensemble with a pointedly anti-academic approach to music, over the course of its activities - running roughly between 1990 and 2010 - Alter Ego developed a devoted following among some of the most forward thinking voices in experimental music, all the while collaborating widely with artists spanning a vast range of practices and disciplines, including Robin Rimbaud, Philip Jeck, Pan Sonic, Matmos, Gavin Bryars, Andrew Hooker, William Basinski, David Moss, Alvin Curran, Terry Riley, and near countless number of others.

Alter Ego’s diverse activities can be understood as interventions with the disposition toward formality within contemporary chamber music, often pairing themselves with artists working well beyond their own context as a means to develop highly original interpretations of a specific composer’s work. In 2005, this process led them to invite Matmos, the American duo of Drew Daniel, Martin Schmidt - acclaimed for a body of visionary albums at the vanguard of electronic process and sampling - to collaborate on a series of interpretations of works by the legendary Italian composer Giacinto Scelsi.

Realized in collaboration with The Fondazione Isabella Scelsi, which holds Giacinto Scelsi’s archives, and performed at the Festival Roma Europa and the Festival Aeterforum during May of 2005, the album’s four works - Estratti dal Quartetto per archi n.3 (1963), Ko-Lho (1966), Riti: I Funerali di Carlo Magno A.D. 814 (1976), Aitsi (1974) - shift the boundaries of 20th Century chamber music toward markedly new and contemporary terms, incorporating everything from the sounds of the Revox tape machine that Scelsi used to record his own improvisations and processed electronics, to the plastic trumpets used by fans during football matches.

From intertwining, shifting lone-tones that render startling resonances and dissonances, to passages guided by a vast pallet of electronics and flurries of acoustic sounds, joined as a single ensemble, across the two sides of Pranam, Alter Ego and Matmos infuse these four works by Scelsi with humor and playfulness, while retaining all the urgency and rigour with which they were initially composed.

Delicate and meditative, while tightly wound and brooding, Pranam brings the works of Giacinto Scelsi to life in ways that almost no group ever has. Riveting and immersive from start to finish, Die Schachtel is thrilled to present these never before heard recordings from the archives of Alter Ego. Pranam is available on black vinyl, in a limited edition of 350 copies.

Heavy Psych Sounds Records is really proud to present the Psychedelic-Space split of the century! "The Intergalactic Connection - Exploring The Sideral Remote Hyperspace" it's a split album that came from deep deep space! Here Giöbia meets The Cosmic Dead, two of the best modern space-rock bands you can find. The Italian quartet come with 3 incredible songs, while the Scottish guys deliver a 19 minute long suite. This piece of psychedelic journey is a travel inside the universe, 4 tracks full of heavy psych and space rock riffs that will bring you into a psychedlic vortex with no way out! A must-have for all the space travelers. Fans of Hawkwind, Pink Floyd, UFO and Gong will be more than enthusiastic ...It's a Space Ritual journey!

Half red/half blue Vinyl. Limited to 350 copies. Heavy Psych Sounds Records is really proud to present the Psychedelic-Space split of the century! "The Intergalactic Connection - Exploring The Sideral Remote Hyperspace" it's a split album that came from deep deep space! Here Giöbia meets The Cosmic Dead, two of the best modern space-rock bands you can find. The Italian quartet come with 3 incredible songs, while the Scottish guys deliver a 19 minute long suite. This piece of psychedelic journey is a travel inside the universe, 4 tracks full of heavy psych and space rock riffs that will bring you into a psychedlic vortex with no way out! A must-have for all the space travelers. Fans of Hawkwind, Pink Floyd, UFO and Gong will be more than enthusiastic ...It's a Space Ritual journey!

FEATURING REWORKINGS BY YANN TIERSEN, BILL RYDER-JONES, MALIBU, ELUVIUM and
PETER GREGSON.
140g black vinyl with lacquers cut by Alchemy, printed inner sleeve, limited to 500 copies.
Michael Price has announced a new album, The Hope of Better Weather - part reissue, part reworks - due out onThe Control Room on 15 October 2021.
The new album takes his 2012 EP, The Hope of Better Weather, originally recorded by Price alone in a room with a
piano improvising, and brings it fully to life with the addition of a series of reworkings by Yann Tiersen, Bill
Ryder-Jones, Malibu, Peter Gregson and Eluvium.
He explains, “I wasn't trying to control what anybody else was doing. Everybody that joined in with the project gives
their own little piece of freedom. I was really interested in what freedom we all give ourselves, as well as being
fascinated to see what a little germ of an idea can mean to somebody else.”
Listen to Yann Tiersen’s rework of ‘The Anatomy of Clouds’: LINK
Listen to the original version of ‘The Anatomy of Clouds’: LINK
The five pieces, alongside these new reworkings capture a stark beauty, tenderness and delicacy in their tone. But
they are also wind-like in their shifting, expansive and elemental essence - capturing an exploration of the natural
world. “Nearly 10 years ago when I recorded these improvisations, I felt like I was missing the natural world - things
like the weather, the beach at Scarborough and all those kinds of visceral things.”
When Price revisited the work in recent months - at a time when many of us found ourselves more aware of the
natural world - he reconnected with it in a way that looks to connect with his next artistic steps. “You start off with
listening to 10 year old piano recordings and then you go through the reinterpretations of people looking at that
material now through their own lens. The fixation with weather, coastlines and with people connected with nature, is
really strong all the way through this project. Coming out the other side of it, it's kind of like a Northern weather feeling
- coming out with your collar turned up with a hat on, a bit drizzly and shit outside, but with a kind of determination
that is the route forward.”
Most musicians, if they are lucky, will master one craft or field within their career. For Michael Price, he’s managed
three, with his music spanning across piano, orchestral and soundtrack work. The soundtrack work - for TV shows
such as Sherlock, Dracula, and Unforgotten, and films such as Eternal Beauty, Cheerful Weather and Just Jim - has
seen Price win an Emmy, as well as receive countless nominations (including a BAFTA nomination). His work as a
solo artist takes the form of beautiful improvised piano works, such as Diary (2017), or via lush, grand, hyper-detailed
orchestral work, as heard on critically acclaimed releases via Erased Tapes such as Entanglement (2015) and Tender
Symmetry (2018). His latest release, The Hope of Better Weather, is rooted in the piano world but also exists as a
bridge crossing into new terrain..
The process of putting together the release has been an emboldening and liberating one for Price, and he finds
himself feeling buoyant about the possibilities of what lies ahead – which includes a new solo orchestral album. “It is
super freeing and liberating,” he says. “There's these little green shoots of a freedom emerging.”