Search:sounds of bl

Four years after "The Watchful Eye Of The Stars", Adrian Crowley returns with a new John Parish-produced album "Measure of Joy" to be released on the brand new label Valley of Eyes Records. This is album 10 for Crowley: an achievement number and maybe even a career high, but the music doesn"t bother with that. They are just great songs. Crowley is a songwriter and a poet. Here, also, he is in the company of John Parish, who is always more than a producer. "Measure of Joy" is a nocturnal album. Not in the usual commonplace sense of dark and moody though it can be. The night is present in the sounds that can only be noticed when most things rest. In the lost transmission and the ghost lips that talk on the phone over sleepy jazz.

A beautiful strange beast suddenly spawning at the centre of the Studio Barnhus universe: Here comes Phatness, the mysterious side project of two Stockholm producers with connections to Trensum Tribe, Soft Pace, Otonos and other more or less shadowy institutions of Swedish soundsystem culture.
On their joint debut Fillerkiller, true-school junglist rhythmics scatter around in a glorious haze of sounds sourced from the most unexpected places. Fillerkiller arrives on 12’’ vinyl in early 2025, set to increase the momentum of any pre-, main or after parties in the near and far future.

Soul Rebels / BOB MARLEY AND THE WAILERS

The classic album now returns with new analogue mastering and stunning smoky blue vinyl pressing Originally released in 1970, Soul Rebels marked the first full-length album credited to Bob Marley and The Wailers, establishing it as a cornerstone of the roots reggae movement and a musical monument in the early stages of their career.

This album is a powerful blend of love songs and defiant rebel anthems that captures the essence of the era's burgeoning reggae scene. With its catchy rhythms, revolutionary spirit, and thought-provoking lyrics, this recording stands as a testament to the band's ability to seamlessly merge the themes of love, liberation, and self-awareness.

The title track, ‘Soul Rebels’, has become an anthem for those seeking freedom from societal norms and restrictions, encapsulating the themes of resistance and self-determination that Bob Marley, Peter Tosh, and Bunny Wailer wove into their music. The album also highlights their collaboration with visionary producer Lee ‘Scratch’ Perry, recorded at the renowned Randy’s Studio in Kingston, which became the birthplace of some of the most influential sounds in reggae history.

First concept album by Bob Marley and The Wailers
New analogue mastering restores the 1970 album to its original brilliance
Pressed on smoky blue vinyl Released on the Upsetter label, celebrating the groundbreaking collaboration between Bob Marley and The Wailers and Lee ‘Scratch’ Perry.

Available on Bedroom Isolation Frosted Silver Still Void Crystal Clear vinyl for indies only. Genre: Indie Rock / Electronic. Following his post-hardcore heroics with Indian Summer and Calm, Marc Bianchi unplugged his distortion pedal and switched on the four track. From his boyhood San Mateo, California bedroom, Her Space Holiday explores the bewilderment of young adulthood through a dreamy prozac lens. This expanded 25th anniversary edition of Home Is Where You Hang Yourself includes an extra LP of remixed songs from Duster, Bright Eyes, Micromars, and Mahogany, an elegant tip-on jacket, lyrics, and 20 milligrams of millennial malaise. Ask your doctor if Her Space Holiday is right for you

Available on Bedroom Isolation Frosted Silver Still Void Crystal Clear vinyl for indies only. Genre: Indie Rock / Electronic. Following his post-hardcore heroics with Indian Summer and Calm, Marc Bianchi unplugged his distortion pedal and switched on the four track. From his boyhood San Mateo, California bedroom, Her Space Holiday explores the bewilderment of young adulthood through a dreamy prozac lens. This expanded 25th anniversary edition of Home Is Where You Hang Yourself includes an extra LP of remixed songs from Duster, Bright Eyes, Micromars, and Mahogany, an elegant tip-on jacket, lyrics, and 20 milligrams of millennial malaise. Ask your doctor if Her Space Holiday is right for you

Available on Bedroom Isolation Frosted Silver Still Void Crystal Clear vinyl for indies only. Genre: Indie Rock / Electronic. Following his post-hardcore heroics with Indian Summer and Calm, Marc Bianchi unplugged his distortion pedal and switched on the four track. From his boyhood San Mateo, California bedroom, Her Space Holiday explores the bewilderment of young adulthood through a dreamy prozac lens. This expanded 25th anniversary edition of Home Is Where You Hang Yourself includes an extra LP of remixed songs from Duster, Bright Eyes, Micromars, and Mahogany, an elegant tip-on jacket, lyrics, and 20 milligrams of millennial malaise. Ask your doctor if Her Space Holiday is right for you.

Available on Bedroom Isolation Frosted Silver Still Void Crystal Clear vinyl for indies only. Genre: Indie Rock / Electronic. Following his post-hardcore heroics with Indian Summer and Calm, Marc Bianchi unplugged his distortion pedal and switched on the four track. From his boyhood San Mateo, California bedroom, Her Space Holiday explores the bewilderment of young adulthood through a dreamy prozac lens. This expanded 25th anniversary edition of Home Is Where You Hang Yourself includes an extra LP of remixed songs from Duster, Bright Eyes, Micromars, and Mahogany, an elegant tip-on jacket, lyrics, and 20 milligrams of millennial malaise. Ask your doctor if Her Space Holiday is right for you.

Attention space cadets!
Following last year's much lauded Kaliyuga Express debut 'Warriors & Masters', Nolla (Finnish psych/space rockers) & Mike Vest (Maximalist guitar guru, Bong, Blown Out, Drunk In Hell, Artifacts & Uranium, Modoki, Tomoyuki Trio, Mienakunaru etc) combine their visions once again and explore dark futuristic mindscapes.
They set their sights to the looming eons and gaze through an occult lens. Inspired by classic space rock, driving hypnotic krautrock and bleak synth soundscapes.
The ground was laid in improvised Nolla sessions and further ascended with gloomy prophecies and lyrical explorations by Ilkka and Otto. With Ohto’s assertive drums and Teemu's solid guitars the canvas was set for Mike to paint his transcendent multilayered guitars.
Bleak and overbearing sights are explored, but the future holds a speck of hope if you are prepared to embrace the darkness.
For fans of: Hawkwind, Can, Sun Dial, Bevis Frond, Space Rock, Krautrock etc.
Otto Juutilainen - Vocals, Synth, Lyrics, Mix, Mastering, Ilkka Vekka - Bass, Electronics, Lyrics, Art, Mike Vest - Guitar, Teemu Vilmunen - Guitar, Ohto Pallas - Drums
Recorded in Finland & the United Kingdom Winter/Spring 2024

From the off, Sharon Van Etten & The Attachment Theory is sonically different from Van Etten’s previous work. Writing and recording in total collaboration with her band for the first time, Van Etten finds the freedom that comes by letting go. The result of that liberation is an exhilarating new dimension of sound and songwriting. The themes are timeless, classic Sharon – life and living, love and being loved – but the sounds are new, wholly realized and sharp as glass. Reflecting on this new artistic frame of mind, Van Etten muses, “Sometimes it's exciting, sometimes it's scary, sometimes you feel stuck. It's like every day feels a little different – just being at peace with whatever you're feeling and whoever you are and how you relate to people in that moment. If I can just keep a sense of openness while knowing that my feelings change every day, that is all I can do right now. That and try to be the best person I can be while letting other people be who they are and not taking it personally and just being. I'm not there, but I'm trying to be there every day.” Sharon Van Etten & The Attachment Theory is a quantum leap in that direction.- Lol Tolhurst ● Sharon Van Etten returns with a new, self-titled moniker and expansive new sound ● Recorded at The Church Studios in London; produced by Marta Sologni (Bjork, Bon Iver, Animal Collective, Mica Levi, Black Midi + more) ● Extensive press + radio history includes a Sunday Times Culture profile, BBC News interview, Uncut AOTM and extensive 6 Music support. ● Extensive worldwide touring planned throughout 2025. SVE has previously played BBC Proms & Brixton Academy in London.● First vinyl pressing on limited edition “Amber Galaxy” vinyl

From the off, Sharon Van Etten & The Attachment Theory is sonically different from Van Etten’s previous work. Writing and recording in total collaboration with her band for the first time, Van Etten finds the freedom that comes by letting go. The result of that liberation is an exhilarating new dimension of sound and songwriting. The themes are timeless, classic Sharon – life and living, love and being loved – but the sounds are new, wholly realized and sharp as glass. Reflecting on this new artistic frame of mind, Van Etten muses, “Sometimes it's exciting, sometimes it's scary, sometimes you feel stuck. It's like every day feels a little different – just being at peace with whatever you're feeling and whoever you are and how you relate to people in that moment. If I can just keep a sense of openness while knowing that my feelings change every day, that is all I can do right now. That and try to be the best person I can be while letting other people be who they are and not taking it personally and just being. I'm not there, but I'm trying to be there every day.” Sharon Van Etten & The Attachment Theory is a quantum leap in that direction.- Lol Tolhurst ● Sharon Van Etten returns with a new, self-titled moniker and expansive new sound ● Recorded at The Church Studios in London; produced by Marta Sologni (Bjork, Bon Iver, Animal Collective, Mica Levi, Black Midi + more) ● Extensive press + radio history includes a Sunday Times Culture profile, BBC News interview, Uncut AOTM and extensive 6 Music support. ● Extensive worldwide touring planned throughout 2025. SVE has previously played BBC Proms & Brixton Academy in London.● First vinyl pressing on limited edition “Amber Galaxy” vinyl

From the off, Sharon Van Etten & The Attachment Theory is sonically different from Van Etten’s previous work. Writing and recording in total collaboration with her band for the first time, Van Etten finds the freedom that comes by letting go. The result of that liberation is an exhilarating new dimension of sound and songwriting. The themes are timeless, classic Sharon – life and living, love and being loved – but the sounds are new, wholly realized and sharp as glass. Reflecting on this new artistic frame of mind, Van Etten muses, “Sometimes it's exciting, sometimes it's scary, sometimes you feel stuck. It's like every day feels a little different – just being at peace with whatever you're feeling and whoever you are and how you relate to people in that moment. If I can just keep a sense of openness while knowing that my feelings change every day, that is all I can do right now. That and try to be the best person I can be while letting other people be who they are and not taking it personally and just being. I'm not there, but I'm trying to be there every day.” Sharon Van Etten & The Attachment Theory is a quantum leap in that direction.- Lol Tolhurst ● Sharon Van Etten returns with a new, self-titled moniker and expansive new sound ● Recorded at The Church Studios in London; produced by Marta Sologni (Bjork, Bon Iver, Animal Collective, Mica Levi, Black Midi + more) ● Extensive press + radio history includes a Sunday Times Culture profile, BBC News interview, Uncut AOTM and extensive 6 Music support. ● Extensive worldwide touring planned throughout 2025. SVE has previously played BBC Proms & Brixton Academy in London.● First vinyl pressing on limited edition “Amber Galaxy” vinyl

Stuck on common ground is the debut album of the Italian Power Trio hijss. With a mixture of heavy blues influenced riffs and synthesized Krautrock parts hijss tries to create a high dynamic range that will keep your attention at all time. On top of gritty basslines and ferocious drums lie cosmic guitars, tantalizing vocals and arpeggiated electronic drones. All three band members come from a vast musical background. Their common denominator is with out a doubt a punkish attitude. The album was produced by Toni Quiroga and hijss, drums were recorded at Nologo Recording Studio, Laives by "holy barbarian" Fabio Sforza. Engineered, mixed and mastered at accept productions by Toni Quiroga, album cover by Luca Guarino.

Myor Massiv proudly welcomes DJ Europarking to their roster. Returning from his alien abduction to the off-world colonies, he treats us to a full EPs worth of hardcore goodies, further exploring the sounds of the early 90s.

This should be played at high volume!

Collector, seeker and storyteller Charles Bals brings his curatorial finesse to Hamburg"s Bureau B with "Ambientale", a journey into otherworldly sounds from the years 1983 - 2000.

Drifting effortlessly between digital exoticism, mellow fusion, new age groove and library electronics, the pieces range from largely obscure to utterly un-google-able, and coalesce into a stunning soundtrack to tranquil seas, desert sand and starlit skies.

Cinematic & enigmatic, "Ambientale" is a stranger you"ve only just met but can"t stop thinking about.

"Four years in the making, Nikolaienko’s retrogarde take on mid-20th century tape music is a loping, whirling fuzzy felt oscillator odyssey. If Louis and Bebe Barron had been asked to create electronic tonalities for a Czech animation based on EM Forster’s The Machine Stops, the results may have turned out like this. Only, for all its nods to Parmegiani and the BBC Radiophonic Workshop, one can’t quite see this album coming out in 1956 – or even 1976. Something about the slightly off kilter rhythms, the loose feel and wheezing sound effects make this very much a post-Dilla take on Raymond Scott and his successors." - The Wire

"...The album, pitched as “a tribute to early-electronics’ golden era,” takes on a fragmented aesthetic of bleeps, thunks and jolts that secrete the concentrated focus of a fantastical laboratory...” Tiny Mix Tapes

"...The Sounds Of Pseudoscience is a perfect cocktail of space ambient with ice, delicate percussions, under-water rhythms and echoes of Soviet 60s..." Krossfingers

Limited to 50 copies cassettes in Riso printed J-cards

"Four years in the making, Nikolaienko’s retrogarde take on mid-20th century tape music is a loping, whirling fuzzy felt oscillator odyssey. If Louis and Bebe Barron had been asked to create electronic tonalities for a Czech animation based on EM Forster’s The Machine Stops, the results may have turned out like this. Only, for all its nods to Parmegiani and the BBC Radiophonic Workshop, one can’t quite see this album coming out in 1956 – or even 1976. Something about the slightly off kilter rhythms, the loose feel and wheezing sound effects make this very much a post-Dilla take on Raymond Scott and his successors." - The Wire

"...The album, pitched as “a tribute to early-electronics’ golden era,” takes on a fragmented aesthetic of bleeps, thunks and jolts that secrete the concentrated focus of a fantastical laboratory...” Tiny Mix Tapes

"...The Sounds Of Pseudoscience is a perfect cocktail of space ambient with ice, delicate percussions, under-water rhythms and echoes of Soviet 60s..." Krossfingers

Burning Hell was recorded in Detroit, MI in 1959, but not released until 1964. Even then, it was only available in the UK. This 180-gram vinyl pressing marks the first official worldwide single LP release of the album. The album was pressed at QRP in collaboration with Acoustic Sounds and features Hooker solo playing originals and classics. AllMusic writes that on this album Hooker proves himself to be an excellent performer who could have rivaled the Delta bluesmen of any era.

DJ Support: Carlita, Dar Disku, Disco Arabesquo & Moving Still

Melbourne-based producer Rami Imam unveils Safara, the latest release on his own label, Ponda Records, which he founded in 2020 as a platform for his cross-cultural sound explorations. Drawing from the rich traditions of the Middle East, North Africa, and the Mediterranean, Safara is a six-track odyssey of energetic and euphoric house and disco house, deeply rooted in both nostalgia and innovation. Safara is the culmination of Imam's immersion into the golden eras of global music, channelling the soulful rhythms and melodies of Afro-Funk, West African Highlife, Arab Disco, Bollywood, Afro-Cuban Jazz, Libyan Reggae, and Algerian Rai. By blending these timeless influences with a modern, dancefloor-oriented focus, Imam creates a sound that is both steeped in history and refreshingly new.

With a sonic palette that includes iconic synths such as the Juno 106, Super 6, SH 101, Moog Model D, and the 303, Imam weaves the analog warmth of these instruments into lush, modern productions. Piano and strings—his favourite classical instruments—add an organic layer of emotional depth, connecting the pulse of the dancefloor with the timeless elegance of traditional composition.

Safara is more than a collection of tracks; it is a journey across continents and eras, where the pulse of the past meets the driving force of the present. Recorded in Melbourne but influenced by sounds from around the world, Safara invites listeners to traverse vast musical landscapes—from the hypnotic grooves of North African rhythms to the sun-drenched melodies of Mediterranean shores—culminating in a transportive experience that lingers long after the final beat fades.

By balancing the ancient with the futuristic, Imam has crafted a record that feels both comfortingly familiar and daringly innovative. Safara is a testament to the endless possibilities of blending cultures, genres, and eras into something that is not just heard but felt—music for the soul as much as for the dancefloor.

Terra Utopia returns to Emotional Response with a second long-from EP / mini-LP, 10 more tracks that span the ethereal sounds of ambient, atmospheric beats and liquid drum and bass.

Originally intended as a one-off project from French producer Benoit B, Terra Utopia 1 was recorded in 2 weeks while sojourned in an Athens’ Spring. A personal dedication to a specific sound he loved.

Since the original release, a debut LP under his own name followed, before Benoit embarked on his new club orientated project Blu:sh, releasing a series of acclaimed EPs for the likes of esteemed Kalahari Oyster Club and Roza Terenzi’s Step Ball Chain label.

However, the incredibly positive feedback of the first Terra Utopia recordings led to reappraisal and return to the name and here again, a second set of 10 tracks (8 vinyl and 2 digital bonus).

Once more recorded as short pieces – cut loud for DJ play – they interconnect to feelings of intangible expanses, that embracing summer, the warmth, a latent stillness of the azure sea and sky. This invitation, a narrative forever calling, of long days, calm nights, the infinite astral plain in minds eye.

The ambience has progressed, beats crackle and snap, tracks visualise an individuality, names are anointed, with the collaboration with singer dvdv on Shadows Of Memories, a floating, mesmeric highpoint, a dreaming siren.

No fears, the children of the heat embark.

Lucy Sissy Miller is a French/British singer-songwriter, performer and artist based in Paris. On her latest release for Mêtron Records, Pre Country, she renders her own personal take on country music, an ambient and airy ode to her love of Americana. Across 16 tracks, Miller recollects about love-like friendships, breakups, mermaids and missing girl mysteries - the album acting as a movie-like homage to girlhood and desire.

“With this album I really enjoyed blurring the lines between fiction and reality, a bit like what movies are able to do to us. I hide a little bit of personal truth behind each song.”

Influenced by the tones of Laurie Anderson and Imogen Heap, as well as the imagery found in Twin Peaks and Paris, Texas, Pre Country is a rich and explorative record that mixes a wide range of sonic sources. Though very much rooted in folk music, Pre Country is laced with layers of autotune, bringing an other worldly and haunted presence to the work.

“It’s an album about memories and how we stitch up these moments, making them movie-like to make sense of these experiences.”

The record was crafted with notes from journals, poetry, voice memos, transformed and collected sounds and here it carries the many layers of desire, loss and fear that Miller wanted to convey in the songs, communicating an unsteady, explosion of feeling whilst remaining delicate and personal.

Here it is, the sixth chapter in the sonic journey of Mr. Mangiadischi.

Continuing the dance-floor assault, MD006 delivers four tracks, each with a unique story but all with the same aim: to make you move to the rhythm.

• A1 - Mamma
A Balearic groovy deep house nostalgic tribute to the most important person we have in our life. This track blends warm melodies with heartfelt emotions, making it the perfect homage.

• A2 - Genug Vans
Intergalactic soul/post-disco space-tech. A cosmic voyage through pulsating rhythms and celestial sounds, designed to take you on a dancefloor odyssey.

• B1 - Fenel
A very modern interpretation of this '76 Algerian artist's funk/pop/world/country mesmerizing masterpiece. This track merges elements of funk, pop, world, and country in a blend that transcends genres and eras.

• B2
A disco/funk/pop-rap in its most modern and groovy version. Infectious beats and catchy hooks make this track a surefire hit for any set.

Industrial Lies will release ‘New Industry’, the debut EP from Irish artist Poseidon84 on January 31st, 2025.

‘New Industry’ takes influence from early Chicago house and ebm to fashion three killer drum tracks that ooze raw emotion.

It is the second release on Industrial Lies, a sub-label of Irish house and techno imprint First Cut that launched in 2024.

Industrial Lies is dedicated to shining a light on obscure Chicago house, ebm/industrial, electro and adjacent electronic sounds from the past and present.

Lost In Sound Recordings is back with the release of its second record, featuring a captivating EP from the talented DJ and producer Atree. His "Confused in Space" EP takes listeners on a journey through a dynamic blend of powerful house tracks and intricate melodies. The release seamlessly fuses punchy kicks, tight basslines, and organic sounds, creating an energetic and immersive experience for the dancefloor. Get ready for the arrival of LISR002, a release that promises to make a lasting impression.

Dutch electronic music duo Polynation returns to Atomnation with Bloom, a new EP featuring guest appearances from Itai Weissman and Eric Vloeimans.

Polynation has always employed a wide range of gear to make their music, from synths, bass, guitar, and pedals to their unmistakable use of acoustic drums. This time, they have guest musicians Eric Vloeimans on trumpet and Itai Weissman playing saxophone and EWI — a digital wind instrument. The EP is their investigation into the symbiosis between electronically generated sounds and acoustic wind instruments. It finds them playing wind instruments in unconventional ways to mimic the language of a synthesizer and contrasting them with electronic sounds that breathe and feel alive, as if acoustic. "We are particularly interested in the sonic world where the boundaries between electronic and acoustic sounds begin to blur," they explain. They now take that concept one step further on this latest outing.

Bloom is another deep dive into the adventurous sonic alchemy of the continually innovative Polynation.

Filled with aural magic and enchanting musical spells, Sorcerer is true to its name. The third of five albums by Miles Davis’ legendary Second Great Quintet — and the second record in a still-unprecedented string of eight consecutive releases within a four-year period that forever changed the face of jazz — the 1967 effort mesmerizes with instrumental colors, subdued musings, and subtle details. These crucial characteristics blossom with vibrant realism on Mobile Fidelity’s 180g 33RPM SuperVinyl LP.

Sourced from the original master tapes and pressed at Fidelity Record Pressing, this numbered-edition audiophile edition of Sorcerer joins the ranks of other essential Davis records given supreme sonic and packaging treatment by Mobile Fidelity. Longtime listeners will immediately recognize a wealth of information and depth of tonality unavailable on prior versions. The myriad shadings, interwoven textures, and relaxed nuances that tie the post-bop set’s warm compositions together are rendered with utmost realism. Credit goes to MoFi’s engineers as well as the label’s groundbreaking SuperVinyl profile that features the lowest-possible noise floor as well as sublime transparency, dead-quiet surfaces, and superb groove definition.

By any measure, this is a reference reissue. You’ll hear poetic lyricism pouring out of Wayne Shorter’s horn, the breadth and definition of the notes spreading across an enormous soundstage. Never before have drummer Tony Williams’ rim shots ricocheted with such purpose or his light percussive work mirrored that of a feather touching skin. Similarly, Herbie Hancock’s piano runs occupy their own space, where their relationship to the central rhythms and front line becomes clearer.

Prizing inflection and nuance more so than heady solos or uptempo flights, Sorcerer mesmerizes with cerebral properties and cascades of emotional interplay. Such beauty emerges in the mellow ballad “Pee Wee,” an indelible statement of restrained authority and sophisticated expression. The swirling title track unfolds as jazz shadowplay, Hancock, Shorter, and Williams mirroring one another’s moves with guile and purpose. The opening “Prince of Darkness” showcases the ensemble’s reach and communication, every musician going in seemingly different directions yet ending up on the same page.

A lasting example of Davis’ visionary insight, Sorcerer is comprised entirely of pieces written by his band mates. Indeed, save for the closing “Nothing Like You” — a brief tribute to Davis’ eventual wife, who also graces the cover, recorded in 1962 and adorned with vocals from Bob Dorough — the album represents a further maturation and refinement of a quintet that stands as one of the finest in jazz history.

MoFi SuperVinyl
Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analog lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world’s quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are virtually indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label’s engineers hear in the mastering lab.

Louisville, Kentucky-based musician and artist Evan Patterson never planned for JAYE JAYLE to blossom from a stripped-down solo project into the otherworldly, full-band sonic experience that it is today. In the beginning, the songs were short and lighthearted, written on acoustic guitar with no intention of releasing them or even performing them publicly. Time, however, is a fickle thing. `After Alter' is an astounding collection of musical memories and emotional fragments, all drawn together from previous recording sessions and previous lives in order to chart a cathartic creative course into new, unknown territories. At once volatile, gut wrenching and serene; expect the unexpected. Raw remnants and lingering refrains from these pivotal moments are reframed to form a powerful reminder of what Jaye Jayle is and always has been: an unadulterated, unfiltered outlet for the sounds that pour out of Patterson's mind at any given time or place. `After Alter' is a document of the indecipherable, of feeting feelings dragged once again to the surface. Lead single and opening track `Father Fiction', for example, dives headlong into the fables and factious ideologies of organised religion with a hardened gaze and a wry smile as rolling drums and repetitive discordant guitar refrains spiral ever down into the labyrinth of meaning and misinterpretation. Elsewhere, `Fear Is Here' sees Jaye Jayle facing up to day-to-day examples of how terrifying everything around us can become within an instant as the song's truncated blues piano hook is pushed ever further, distorted over time into something strange and hideous whilst the crawling post-hardcore dirge of `A Blackout' serves as a searing critique of the American Dream; a nameless, homeless protagonist worships the alluring glow of billboard ads from their bed in the dirt on the side of the highway. Simultaneously both tracks five and eight though, the arresting `Bloody Me' is Jaye Jayle's dichotic, janiform identity made manifest. Written even before the band's debut album was released, track five's `Bloody Me' is a bolshy, bass-driven punk rock retaliation to dressing up for Halloween because Patterson is always dressed for Halloween. Track eight's `Bloody Me' however, is a tender solo acoustic recording cut straight to wax at Third Man Records in Nashville, mere hours before Patterson saw Bob Dylan perform for the first time. Two sides of the same coin; one ferocious and snarling, the other plaintive and bare but both unapologetically Jaye Jayle. By creatively exorcising these poignant moments, Jaye Jayle have opened themselves to even more inspiration. FOR FANS OF Leonard Cohen fronting Spiritualized, Spacemen 3, JJ Cale, Lungfish, Angels of Light, Young Widows The very limited Help Edition is single colour purple vinyl!

Celebrate two decades of lyrical genius and innovative sound with this 20th anniversary re-press of Eyedea & Abilities' seminal album, E&A. Originally released in 2004, this album is a masterclass in expressive ingenuity and sonic experimentation. Eyedea's profound storytelling and introspective themes resonate deeply, inviting listeners on a journey through the complexities of identity, existence, and the human experience. Paired with DJ Abilities' exceptional production and turntablism, E&A creates a soundscape that is both rich and original, making it a standout in the genre. Critically acclaimed upon its release, E&A garnered praise for its unique blend of styles and thought-provoking lyrics. Tracks like "Now" showcase the technical precision of each artist_with Eyedea's reflective depth complemented by Abilities' infectious rhythms and razor sharp cuts. Together, the pair masterfully blend introspection and energy, making "Now" a powerful anthem for anyone seeking to navigate life's complexities. Meanwhile, "Paradise" is a mesmerizing exploration of the pursuit of happiness and the nuances of human desire. The song balances vulnerability with an impactful message about the human condition, evoking a wide range of emotions and making it both relatable and impactful. E&A stands out as a highlight in the duo's discography, showcasing their unique ability to blend profound lyrical content with inventive production, and solidifying Eyedea & Abilities' place as innovators in the hip-hop genre. A must-have for anyone who appreciates the art of storytelling and the power of music_grab your copy of E&A and join the celebration!

First Word Records is extremely proud to welcome aboard Takuya Kuroda.

A highly-respected trumpeter born in Kobe, Japan, Takuya is a forward-thinking musician that has developed a unique hybrid sound, blending soulful jazz, funk, post-bop, fusion and hip hop music.

After following the footsteps of his trombonist brother playing in big bands, he relocated to New York to study jazz & contemporary music at The New School in Union Square; a course he graduated from in the mid-noughties. It was here that Takuya met vocalist José James, with whom he worked on the 'Blackmagic' and 'No Beginning No End' projects.

Following graduation, Takuya established himself further in the NYC jazz scene, performing with the likes of Akoya Afrobeat and in recent years with DJ Premier's BADDER band (also including acclaimed bass player, Brady Watt). Premier said "The BADDER Band project was put together by my manager, and an agent I've known since the beginning of my Gang Starr career. He said, 'What if you put a band together that revolved around a trumpet player from Japan named Takuya Kuroda? He's got a hip-hop perspective and respect in the jazz field…"

Takuya Kuroda is already incredibly prolific, releasing five albums in the past decade and fortifying a solid reputation in the global jazz scene. 2011 saw the release of Takuya's independently-produced debut album, 'Edge', followed by 'Bitter and High' the following year and 'Six Aces' on P-Vine in 2013. Takuya was signed to the legendary Blue Note Records in 2014 for his album 'Rising Son', as well as appearing on their 2019 cover versions project, 'Blue Note Voyage'. He released his 5th album 'Zigzagger' on Concord in 2016, which also featured Antibalas on a reimagining of the Donald Byrd classic 'Think Twice'.

Late Summer 2020, Takuya Kuroda returns with his sixth album 'Fly Moon Die Soon'.

In his words, "this album is about the irony between the greatness of nature and the beautiful obsceneness of humanity. Melodies and grooves fly back and forth from being spiritual to being vulgar."

It took two years to make this album. In 2018, I decided I just couldn't make albums the same way I had been in the past anymore. As a birthday treat to myself, I booked a studio in Brooklyn for two days, with only myself and an engineer, Todd Carder. I brought along some tracks I'd been building at home to see if we could complete them within that time. We began replacing sounds and adding texture, sampling noises from all over the studio; me sipping coffee, hitting a 26" kick drum, speeding up snares. At the end of the two days we were like "wow, I didn't know we could make tracks this good in this way". This is how the process of the full album started. Everything was based on my beats I made at home, inviting musicians in one by one, adding or replacing parts. I was very careful when developing these tracks; just note by note, part by part. I wanted to make the music effectively from a blend of two different recording methods; one very slickly produced part and one very organic part played by live musicians. I remember mixtapes from when I was kid, and wanted to make an album that wasn't just a bunch of flashy singles, trying to catch people's attention in the first 30 seconds, or full of guest features. Instead, I'm essentially just trying to let the grooves breath."

The album consists of nine tracks of excellence. The uptempo jazz-funk of 'ABC' and 'Moody' sit alongside soulful jazz cuts like 'Fade' and 'CHANGE', also featuring Corey King on vocals. The title track is a downtempo groove lead by a heavy Moog bassline, whilst 'Do No Why' contains an infectious piano riff throughout. Aside from Takuya's original compositions, he revisits two classics from Ohio Players ('Sweet Sticky Thing' featuring Alina Engibaryan on vocals) and Herbie Hancock ('Tell Me A Bedtime Story') whilst the album closes with the epic 'TKBK'.

Takuya adds "this special cover was inspired by the Golden Moon I saw during a photoshoot in Death Valley with my homie Hiroyuki Seo".

Takuya Kuroda is a truly unique talent, and this album is a realisation of the evolution of his sound.

'Fly Moon Die Soon' is released on Worldwide Award-winning UK label First Word Records on vinyl & digital in September 2020.

Re-Issue

Long-Awaited Reissue of Classic Solo Album by visionary Gong Founder Daevid Allen

The classic Now Is The Happiest Time of Your Life, is being reissued in a beautifully remastered edition. This release, a follow-up to the beloved Good Morning album, captures the whimsical yet profound spirit of Daevid Allen's music, blending his countercultural message with tranquil and organic sounds that evoke the best of his work with Gong.

Originally released in 1977, Now Is The Happiest Time of Your Life invites listeners to join Allen's musical journey alongside his imaginary green hero, Zero, a character familiar to fans of the Gong trilogy. With its lush instrumentation, including the use of tabla, harp, and Allen’s signature glissando guitar, the album creates a peaceful, meditative atmosphere that meanders gracefully across its tracks.

Accompanied by Gilli Smyth and the Spanish group Euterpe, Now Is The Happiest Time of Your Life showcases Daevid Allen’s unique blend of cosmic psychedelia, folk influences, and countercultural sensibilities, all wrapped in a sound that feels both timeless and refreshingly original. This reissue celebrates one of Allen’s finest solo efforts, offering a new generation the chance to experience his visionary artistry.

First-ever reissue on vinyl Remastered audio bringing the warmth and clarity of Allen's sound back to its analog roots Faithful reproduction of the original LP artwork, featuring Daevid Allen's own hand-drawn illustrations and personal notes on the back cover CD digi-sleeve captures the spirit of the original LP and includes collector full-sized poster showcasing Allen’s hand-drawn artwork

VERY VERY LTD DELUXE CLOTH BOUND GATEFOLD SLEEVE RED VINYL EDTION, 2LP W/ DLC! "The first three songs alone are like love at first hearing." - Deluxe 2xLP clothbound sleeve edition of 'Car Button Cloth', featuring Lemonheads classics 'If I Could Talk I'd Tell You' and 'The Outdoor Type'. This reissue includes the original record alongside a whole extra LP of rarities and unreleased cuts, continuing Fire Records in-depth series of reissues from the legendary band. 'Car Button Cloth' is an extraordinary affair of musical and emotional extremes, a soundscape spanning "the most beautiful piano-led mourning in the history of the broken heart" that switches into perky jangle-pop for fleeting moments and contains the ultimate self-deprecating classic 'The Outdoor Type', penned by Smudge cohort Tom Morgan, as well as a cover of the bluegrass standard 'Knoxville Girl' and 'If I Could Talk I'd Tell You' co-written with The Vaselines' Eugene Kelly. All bases are covered. To further unravel where Evan's head was at during the period of its creation, this deluxe double album comes with a record of exquisite and typically eclectic scene setting covers that occupied B-sides and alternative format versions, plus other super rare offcuts, live takes and remixes. A diet of Volcano Suns, Glen Campbell, The Jacobites, The Sir Douglas Quintet and Whitney Houston influenced Evan's thinking and added further colour to an album that remains something of a Dorian Gray-style masterpiece. The first side of extras is rounded off with the never before released 'Arise', originally set for the remake of Great Expectations and later realised as Rancho Santa Fe on solo album 'Baby I'm Bored'. "One of the most distinctive voices of the '90s" The New York Times

Between records like Relentless and Show `Em How, Pentagram have never wanted for self-awareness in terms of album titles. The gauntlet thrown down by Lightning in a Bottle is very much in this tradition. The 10th Pentagram album sees founding frontman and doom figurehead Bobby Liebling leading a new cast of players that includes guitarist/producer Tony Reed (Mos Generator, Big Scenic Nowhere, etc.), drummer Henry Vasquez (Legions of Doom, Saint Vitus, Blood of the Sun, etc.) and bassist Scooter Haslip (Mos Generator, Saltine). It would be hard to overstate the energy the new band brings to songs like "Live Again," "Solve the Puzzle" or "In the Panic Room," but Lightning in a Bottle is unmistakably a Pentagram record, of course in Liebling's unremittingly charismatic performance and the groove conjured to back it. Recorded with Reed at the helm, Lightning in a Bottle recalls the best of what has allowed Pentagram to cast an influence across decades and generations of musicians, bands, and worshippers of Riff, and as just their third studio release in the last 15 years, it's not a moment to neglect as they dig into a cut like "Dull Pain" or "Lady Heroin," the latter of which is a naked reconciliation on the part of Liebling with a lifelong addiction to opiates that's become an inextricable part of the Pentagram story. As he wonders in the lyrics, "Lady Heroin, have I seen the last of you?" it becomes difficult to know whether the separation would be through sobriety or death, and that ambiguity becomes part of what makes the song so striking.

Deluxe Edition, Double LP, Gatefold, alternative Cover. Comes with three bonus tracks. Between records like Relentless and Show `Em How, Pentagram have never wanted for self-awareness in terms of album titles. The gauntlet thrown down by Lightning in a Bottle is very much in this tradition. The 10th Pentagram album sees founding frontman and doom figurehead Bobby Liebling leading a new cast of players that includes guitarist/producer Tony Reed (Mos Generator, Big Scenic Nowhere, etc.), drummer Henry Vasquez (Legions of Doom, Saint Vitus, Blood of the Sun, etc.) and bassist Scooter Haslip (Mos Generator, Saltine). It would be hard to overstate the energy the new band brings to songs like "Live Again," "Solve the Puzzle" or "In the Panic Room," but Lightning in a Bottle is unmistakably a Pentagram record, of course in Liebling's unremittingly charismatic performance and the groove conjured to back it. Recorded with Reed at the helm, Lightning in a Bottle recalls the best of what has allowed Pentagram to cast an influence across decades and generations of musicians, bands, and worshippers of Riff, and as just their third studio release in the last 15 years, it's not a moment to neglect as they dig into a cut like "Dull Pain" or "Lady Heroin," the latter of which is a naked reconciliation on the part of Liebling with a lifelong addiction to opiates that's become an inextricable part of the Pentagram story. As he wonders in the lyrics, "Lady Heroin, have I seen the last of you?" it becomes difficult to know whether the separation would be through sobriety or death, and that ambiguity becomes part of what makes the song so striking.

Aqua Blue Vinyl, limited to 500 copies. Between records like Relentless and Show `Em How, Pentagram have never wanted for self-awareness in terms of album titles. The gauntlet thrown down by Lightning in a Bottle is very much in this tradition. The 10th Pentagram album sees founding frontman and doom figurehead Bobby Liebling leading a new cast of players that includes guitarist/producer Tony Reed (Mos Generator, Big Scenic Nowhere, etc.), drummer Henry Vasquez (Legions of Doom, Saint Vitus, Blood of the Sun, etc.) and bassist Scooter Haslip (Mos Generator, Saltine). It would be hard to overstate the energy the new band brings to songs like "Live Again," "Solve the Puzzle" or "In the Panic Room," but Lightning in a Bottle is unmistakably a Pentagram record, of course in Liebling's unremittingly charismatic performance and the groove conjured to back it. Recorded with Reed at the helm, Lightning in a Bottle recalls the best of what has allowed Pentagram to cast an influence across decades and generations of musicians, bands, and worshippers of Riff, and as just their third studio release in the last 15 years, it's not a moment to neglect as they dig into a cut like "Dull Pain" or "Lady Heroin," the latter of which is a naked reconciliation on the part of Liebling with a lifelong addiction to opiates that's become an inextricable part of the Pentagram story. As he wonders in the lyrics, "Lady Heroin, have I seen the last of you?" it becomes difficult to know whether the separation would be through sobriety or death, and that ambiguity becomes part of what makes the song so striking.

Deep purple vinyl, limited to 500 copies. Between records like Relentless and Show `Em How, Pentagram have never wanted for self-awareness in terms of album titles. The gauntlet thrown down by Lightning in a Bottle is very much in this tradition. The 10th Pentagram album sees founding frontman and doom figurehead Bobby Liebling leading a new cast of players that includes guitarist/producer Tony Reed (Mos Generator, Big Scenic Nowhere, etc.), drummer Henry Vasquez (Legions of Doom, Saint Vitus, Blood of the Sun, etc.) and bassist Scooter Haslip (Mos Generator, Saltine). It would be hard to overstate the energy the new band brings to songs like "Live Again," "Solve the Puzzle" or "In the Panic Room," but Lightning in a Bottle is unmistakably a Pentagram record, of course in Liebling's unremittingly charismatic performance and the groove conjured to back it. Recorded with Reed at the helm, Lightning in a Bottle recalls the best of what has allowed Pentagram to cast an influence across decades and generations of musicians, bands, and worshippers of Riff, and as just their third studio release in the last 15 years, it's not a moment to neglect as they dig into a cut like "Dull Pain" or "Lady Heroin," the latter of which is a naked reconciliation on the part of Liebling with a lifelong addiction to opiates that's become an inextricable part of the Pentagram story. As he wonders in the lyrics, "Lady Heroin, have I seen the last of you?" it becomes difficult to know whether the separation would be through sobriety or death, and that ambiguity becomes part of what makes the song so striking.

Deluxe Edition, 2LP, Gatefold, alternative Cover. Plus three bonus tracks. Between records like Relentless and Show `Em How, Pentagram have never wanted for self-awareness in terms of album titles. The gauntlet thrown down by Lightning in a Bottle is very much in this tradition. The 10th Pentagram album sees founding frontman and doom figurehead Bobby Liebling leading a new cast of players that includes guitarist/producer Tony Reed (Mos Generator, Big Scenic Nowhere, etc.), drummer Henry Vasquez (Legions of Doom, Saint Vitus, Blood of the Sun, etc.) and bassist Scooter Haslip (Mos Generator, Saltine). It would be hard to overstate the energy the new band brings to songs like "Live Again," "Solve the Puzzle" or "In the Panic Room," but Lightning in a Bottle is unmistakably a Pentagram record, of course in Liebling's unremittingly charismatic performance and the groove conjured to back it. Recorded with Reed at the helm, Lightning in a Bottle recalls the best of what has allowed Pentagram to cast an influence across decades and generations of musicians, bands, and worshippers of Riff, and as just their third studio release in the last 15 years, it's not a moment to neglect as they dig into a cut like "Dull Pain" or "Lady Heroin," the latter of which is a naked reconciliation on the part of Liebling with a lifelong addiction to opiates that's become an inextricable part of the Pentagram story. As he wonders in the lyrics, "Lady Heroin, have I seen the last of you?" it becomes difficult to know whether the separation would be through sobriety or death, and that ambiguity becomes part of what makes the song so striking.

Color-In-Color Transp. Yellow / Pink Neon Splatter Black Vinyl Limited to 150 copies. Between records like Relentless and Show `Em How, Pentagram have never wanted for self-awareness in terms of album titles. The gauntlet thrown down by Lightning in a Bottle is very much in this tradition. The 10th Pentagram album sees founding frontman and doom figurehead Bobby Liebling leading a new cast of players that includes guitarist/producer Tony Reed (Mos Generator, Big Scenic Nowhere, etc.), drummer Henry Vasquez (Legions of Doom, Saint Vitus, Blood of the Sun, etc.) and bassist Scooter Haslip (Mos Generator, Saltine). It would be hard to overstate the energy the new band brings to songs like "Live Again," "Solve the Puzzle" or "In the Panic Room," but Lightning in a Bottle is unmistakably a Pentagram record, of course in Liebling's unremittingly charismatic performance and the groove conjured to back it. Recorded with Reed at the helm, Lightning in a Bottle recalls the best of what has allowed Pentagram to cast an influence across decades and generations of musicians, bands, and worshippers of Riff, and as just their third studio release in the last 15 years, it's not a moment to neglect as they dig into a cut like "Dull Pain" or "Lady Heroin," the latter of which is a naked reconciliation on the part of Liebling with a lifelong addiction to opiates that's become an inextricable part of the Pentagram story. As he wonders in the lyrics, "Lady Heroin, have I seen the last of you?" it becomes difficult to know whether the separation would be through sobriety or death, and that ambiguity becomes part of what makes the song so striking.

Tempat Angker (haunted place) is a Halloween mixtape compiled by music researcher and artist Luigi Monteanni, aka Neurotica Exotica.

To celebrate a second year of fieldwork research in West Java and to bring together the longing for All Hallows’ Eve partying with the archipelago’s richness in local and historical horror folklore tropes, figures, characters and stories, Artetetra’s co-founder cuts up 120 minutes of soundtracks, sound effects and dialogues from the glorious and extensive Indonesian horror movies tradition counting more than 700 titles.

Hear it from speculative horror and sci-fi filmmaker Riar Rizaldi (whole essay in the tape’s leaflet):

“The popularity of cinematic media during the New Order era led to the unprecedented development of more rapid and large-scale production methods. ⁤⁤Genre films, particularly horror and fantasy, emerged as some of the most prolific outputs, with hundreds being produced annually. ⁤⁤The filmmaking process was accelerated, and post-production ᅳ especially sound design ᅳ was completed as swiftly as possible. ⁤⁤Notably, veteran composer and musician Gatot Sudarto, who had worked extensively on drama films in the 1970s, became a regular contributor to studios producing horror and fantasy films in the following decade ᅳ although composer Embie C. Noer was also active during this period, his focus was more on action “sword and sandals” films. ⁤⁤Gatot’s influence in the music departments of these films was significant, helping to create an authentic soundscape. ⁤He adapted many of the compositional techniques used in European horror films (mostly the usage of harpsichord) at the time, blending them with the bass synths characteristic of American horror, while incorporating local and regional instruments to tailor the sound to Indonesian audiences.”

By sampling excerpts from 43 movies spanning the ages from the early seventies to the two thousand and tens, mostly trying to portrait the sound influence of the vintage horror era made popular by the “queen of horror”, actress Suzzanna, Tempat Angker throws you into decades of experimentation in conjuring the sound of Indonesian terror. Unearthly screams, bombastic fights, bamboo music, eighties synthy extravaganza, ominous sound effects, sexy dangdut, evilish pitched vocals, gamelan, eerie laughters from beyond and even calls to prayer fill the air in the spooky month!

Some things take a long time. And some things are meant to last. But how you know that, or learn how to find out, that’s a more intangible thing. That’s A Shaw Deal – intangible. A communal meeting place for two old friends and their different musics. A Shaw Deal is the first album by Geologist and DS. They go back a long ways – back before Highlife, before Shaw joined White Magic – back to the early childhood of Animal Collective. Basically, Doug Shaw touched down in NYC around 2003, and he and Brian Weitz have been friends ever since.

“DS” first released his own music under the moniker “Highlife” on the album “Best Bless” EP, in 2010. Listeners were lifted by the sound – a vital new transmission imbued by the popular African guitar music, British folk-pop, desert blues and the ritual spirit energy that Doug had been evoking in White Magic with Mira Billotte. And really, if you knew Doug, this incredible alchemy was just one of the amazing ways he could come through on the guitar.

A couple years back, Doug was posting bits of his playing on Instagram, and Brian found them to be a much-needed escape from reality – he’d just let them loop for stretches of time, get lost in there, and emerge with recharged energies. They were such perfect mini-encapsulations of Doug’s fantastic spirit. Brian was inspired. Eventually, he ran them through his modular system, editing and tweaking and looping as he went, creating new shapes and juxtapositions, instinctively rewiring Doug’s original sounds to extend the feeling of peace they’d given him. Once it was all together, it would make a cool birthday present to regift to Doug! And once the gift was given, it was sounding like an album too…

From start to finish, A Shaw Deal taps into DS’s guitar playing and the vibe of his expression, drawing out meditative waves in new forms while exploring the worlds within them. Geologist and DS collaborate in a manner that’s brought comfort and release to them both. A Shaw Deal leaves no doubt, as it radiates further into the world and beyond – it will bring a new range of views and feels to everyone who listens in.

Blackest Ever Black presents Sleep Heavy, the debut album of broken-hearted, downtempo R&B/street-soul and supremely atmospheric, introspective electronics from Jabu: a trio comprised of vocalist/lyricists Alex Rendall and Jasmine Butt, and producer Amos Childs.The group was born out of Bristol's Young Echo collective: an ecosystem unto itself which has birthed and nurtured a number of other notable soundsystem-rooted projects and artists to date including Kahn & Neek, Sam Kidel, Ishan Sound, Ossia, Asda, chester giles (the title Sleep Heavy comes from a giles poem) and Killing Sound (Childs with Kidel and Vessel).

Pinkman is proud to present the debut album of darkwave artist Skelesys. Across nine evocative tracks, "Fading Echoes" navigates the tension between nostalgia and self-discovery, weaving together a moody blend of synth-pop, post-punk, and goth influences. The result is an atmospheric exploration of memory, heartache, and resilience--a soundtrack for those moments when the past refuses to stay buried, and the future feels uncertain. From the cold, creeping synths to the mournful guitar lines that echo like distant whispers, Fading Echoes immerses the listener in a soundscape where shadows and light coexist. The album has a distinct cinematic quality, evoking the smoky allure of neon-lit cityscapes and rain-slicked streets, where every track feels like a chapter in a film noir tale of introspection and escape. There's a sense of longing that runs through the album, a desire to hold onto something beautiful, even as it slips through your fingers.