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When we last heard from Bay Area producer DEAD PERRY, he was riding high on the critical success of "The Art Of Re-Animation" album. That album was a re-imagining of legendary Hieroglyphics crew emcee Casual's work from his "Big Head Science" album.

However on the forthcoming "Acoustic Shadows" album, as the title implies things get a bit dark. As he relays "when I made (The Art Of Reanimation) with Cas, I wanted to cater to the specific sound that Hieroglyphics has, but put my spin on it without making it too dark (though there are a couple of dark gems sprinkled throughout). I knew that my next album was going to be a solo LP and I wanted it to be something special. Dark and grimy has always been my style of beat making so I wanted to showcase that with this record."

However, the title also has a double meaning to the producer. "The term Acoustic Shadows comes from a Civil War phenomenon that refers to a sonic blind spot. Due to geographical obstructions disrupting sound waves you could think you are a great distance from the battlefield while you could already be in it. It also refers to my style keeping to the shadows and out of the limelight, when I only appear in photos wearing a mask, it's not because I'm on that post MF Doom craze, it's because I came from graffiti and graffiti artists let their art be their only face to the public."

That style is showcased throughout the forthcoming album, including his choice of collaborators include Casual, Daniel Son, Estee Nack, Al Divino, Raz Fresco, Ill Bill, Goretex, Hus Kingpin, Crimeapple, Planet Asia, Da Flyy Hooligan, Izrell, P-Dirt, J-Spliff and cuts from DJ Eclipse. Concepts also lent itself to the grime including the John Carpenter-esque synth laden "Call Me Snake" track, which inadvertently inspired the emcees. As DEAD PERRY relates "I give the beats a place-holder title until the track is done so this one was 'Die Kurt Russ.' P-Dirt chose to create the concept off the beat title. Crafting that song was a fun experience." It also has a full circle moment as DEAD PERRY and Casual expand their "White Crown" single from their previous project on this release enlisting Planet Asia to drop an additional Afro-Centric verse.

When we last heard from Bay Area producer DEAD PERRY, he was riding high on the critical success of "The Art Of Re-Animation" album. That album was a re-imagining of legendary Hieroglyphics crew emcee Casual's work from his "Big Head Science" album.

However on the forthcoming "Acoustic Shadows" album, as the title implies things get a bit dark. As he relays "when I made (The Art Of Reanimation) with Cas, I wanted to cater to the specific sound that Hieroglyphics has, but put my spin on it without making it too dark (though there are a couple of dark gems sprinkled throughout). I knew that my next album was going to be a solo LP and I wanted it to be something special. Dark and grimy has always been my style of beat making so I wanted to showcase that with this record."

However, the title also has a double meaning to the producer. "The term Acoustic Shadows comes from a Civil War phenomenon that refers to a sonic blind spot. Due to geographical obstructions disrupting sound waves you could think you are a great distance from the battlefield while you could already be in it. It also refers to my style keeping to the shadows and out of the limelight, when I only appear in photos wearing a mask, it's not because I'm on that post MF Doom craze, it's because I came from graffiti and graffiti artists let their art be their only face to the public."

That style is showcased throughout the forthcoming album, including his choice of collaborators include Casual, Daniel Son, Estee Nack, Al Divino, Raz Fresco, Ill Bill, Goretex, Hus Kingpin, Crimeapple, Planet Asia, Da Flyy Hooligan, Izrell, P-Dirt, J-Spliff and cuts from DJ Eclipse. Concepts also lent itself to the grime including the John Carpenter-esque synth laden "Call Me Snake" track, which inadvertently inspired the emcees. As DEAD PERRY relates "I give the beats a place-holder title until the track is done so this one was 'Die Kurt Russ.' P-Dirt chose to create the concept off the beat title. Crafting that song was a fun experience." It also has a full circle moment as DEAD PERRY and Casual expand their "White Crown" single from their previous project on this release enlisting Planet Asia to drop an additional Afro-Centric verse.

When we last heard from Bay Area producer DEAD PERRY, he was riding high on the critical success of "The Art Of Re-Animation" album. That album was a re-imagining of legendary Hieroglyphics crew emcee Casual's work from his "Big Head Science" album.

However on the forthcoming "Acoustic Shadows" album, as the title implies things get a bit dark. As he relays "when I made (The Art Of Reanimation) with Cas, I wanted to cater to the specific sound that Hieroglyphics has, but put my spin on it without making it too dark (though there are a couple of dark gems sprinkled throughout). I knew that my next album was going to be a solo LP and I wanted it to be something special. Dark and grimy has always been my style of beat making so I wanted to showcase that with this record."

However, the title also has a double meaning to the producer. "The term Acoustic Shadows comes from a Civil War phenomenon that refers to a sonic blind spot. Due to geographical obstructions disrupting sound waves you could think you are a great distance from the battlefield while you could already be in it. It also refers to my style keeping to the shadows and out of the limelight, when I only appear in photos wearing a mask, it's not because I'm on that post MF Doom craze, it's because I came from graffiti and graffiti artists let their art be their only face to the public."

That style is showcased throughout the forthcoming album, including his choice of collaborators include Casual, Daniel Son, Estee Nack, Al Divino, Raz Fresco, Ill Bill, Goretex, Hus Kingpin, Crimeapple, Planet Asia, Da Flyy Hooligan, Izrell, P-Dirt, J-Spliff and cuts from DJ Eclipse. Concepts also lent itself to the grime including the John Carpenter-esque synth laden "Call Me Snake" track, which inadvertently inspired the emcees. As DEAD PERRY relates "I give the beats a place-holder title until the track is done so this one was 'Die Kurt Russ.' P-Dirt chose to create the concept off the beat title. Crafting that song was a fun experience." It also has a full circle moment as DEAD PERRY and Casual expand their "White Crown" single from their previous project on this release enlisting Planet Asia to drop an additional Afro-Centric verse.

'Trá Pháidín are an Irish nine piece collective from Conamara, Galway, a wild coastal region of West Ireland where Gaeilge remains the first language. The group are currently lighting up Ireland's underground with their joyful noise, a unique and unpredictable blend of traditional Irish folk, post-rock, jazz, and Dadaist absurdity. The glorious album An 424 takes us on a psychogeographical journey along the 424 bus route which follows this remote stretch of coastline, introducing us to the landscapes and the characters who depend on the buses. Expect wild improvisational flights filled with brass, woodwinds, harp and fiddles alongside relentless grooves.

Here's what the band themselves have to say about the album:

Psychogeography is a funny aul term......the effect geography and landscape of a certain area has on the psychology, identity and nature of the local people...........I suppose

Notoriously, Conamara is famous place for psychogeoraphy due to the work of the great Tom Robinson. He walked every coastline in every area contemplating the geography, culture, history, Gaelic language, English language and folklore of the area while he was drawing it's best map with great depth and detail.

Right, so I've given context, a few buzzwords and some interesting names, now it's time for the absurd stuff....

"Bóthar Chois Fharraige" (the R336 and whatever anglicized name they call it) is well known by everyone in the South Conamara Gaeltacht (Gaeltacht is an area where Irish/Gaeilge is the dominant language, there aren't many because we were colonized by the British and our government doesn't care about its own language). The people of Conamara travel this road almost every day by car, by bike, on Peadar Óg's buses or of course, through the medium of the 424 (the bus service provided by Bus Éireann, Ireland's public-private bus company). From Bearna to Carna (maybe sometimes a detour in Casla going as far back as an Cheathrú Rua and/or Leitir Mealláin)

Every passenger is well versed of gorgeous views of the landscape that is on offer on this journey. Included are Cuan na Gaillimhe/Galway Bay, An Bhoirinn/the Burren, na hOileáin Árann/the Arann Islands,Aillte an Mhothair/the Cliffs of Moher, Portach Mhaigh Cuilinn/the bogs of Maigh Cuilinn, Bóthar Loch an Iolra/Eagle lake road, Cuan Casla/Casla Harbour, Cuan an Fhir Mhóir/Greatman's Bay, Cnoc Mordáin/Mordáin hill, Sléibhte Mhám Toirc/the Maamturk Mountains and Na Beanna Beola/the twelve pins. Passengers would also be well used the unique character of the bus. Depending on the day, you will get a unique perspective of the "complicated identity" of the Gaels as the bus travels from the Gaeltacht into anglophone Ireland, or maybe going the other way.

This is a topic you could write a PhD about (and maybe someone already has). But, if you are someone who grew up or lives in this region, you have a particular understanding at this stage of how complicated Gaelic psyche is and the kind of spectrum of identity along bóthar Choise Fharraige. With the landscape in mind, this bus journey is a great meditation of the various topics of life.

‘Bhfuil tionchar ag an mbus ar nádúr na ndaoine?
Nó an bhfuil tionchar ag na daoine ar nádúr an bhus?'

'Does the bus effect the nature of the people?
Or do the people affect the nature of the bus?'

Le gach dea-ghuí,
TP.

(translated from Gaeilge by Peadar-Tom Mercier)'

Perc & Passarella Death Squad's cult classic 'Temperature's Rising' returns for a special 15th anniversary release with an updated 2025 mix of the track from Perc himself.
Since its original release on French label In Fine back in 2010and it's re-release on Perc Trax in 2016 the track has continued to grow across multiple vinyl pressings and now boasts over 1.5 million streams across all digital platforms.
'Temperature's Rising' never needed a big remix package or tobe transformed into some trend chasing hard techno banger, but Perc's 2025 remix subtly modernises the track, raising its tempo and giving it the extra dance floor muscle that fans of the original mix have been asking for.
Perc is the only person he would trust to retouch a track that means so much to him and Passarella Death Squad and he displays a deftness of touch on this reworking, keeping the mysterious atmosphere of the original mix whilst making it perfect for today's DJs and dance floors.
Temperature's Rising 2025 will be released on magenta transparent colored vinyl with new artwork by Danny Passarella, which builds upon the visual aesthetic of the 2016 Perc Trax release.

"So the bad news is, in a fit of pique, I asked Chat GPT (nicely) to compose a one-sheet for the new Shit and Shine double album, Mannheim HBF. The even worse news (yes, even worse than resorting to such tactics) is that the resulting biography is halfway passable and on some levels, superior to the sort of thing being published by what’s left of our weekly coupon-shoppers. But for fuck’s sake my friends, Craig Clouse did not get to where he is today today by settling for halfway passable and neither should you. That Shit and Shine’s discography is vast and dizzying is already well established; what’s not nearly as established are these recordings being specifically dizzying. I don’t know if there’s anyone else in modern music as skilled in waltzing around the periphery of so many disparate idioms ('noise', being one of the least prominent this time around) and somehow, against all odds, tying ‘em together in the most intricate of knots. And who doesn’t love knots? We all have our favorite ways to experience music that’s all-engulfing, but whether your preferred method is thru a stadium sized sound system or ear buds affixed as you’ve leapt off the tallest building in Bastrop, TX (the Jerry Fay Wilhelm Center for the Performing Arts, since you asked), not for the first time, Shit and Shine is entirely appropriate in either instance, possibly every instance. There are moments where I think this is a club record. The Friars Club, however. Far be it from me to provide guidelines for how and when you take in Mannheim HBF. 'No interruptions', 'no distractions' are merely suggestions on the label’s part, though we cannot be held responsible for what happens if you ignore ‘em. Thank you."

Hell 2 is not the first album from Austin’s Blank Hellscape, but it’s certainly the most fully-realized. OK, at least it’s the LONGEST. The three-piece nightmare band knocked around the claustrophobic end of the house show circuit for a longish spell but right around pre-‘dermic times, the trio of Ethan Billips, Max Deems and Andrew Nogay morphed into a multi-dimensional synapse-snapper with little regard for genre nor their own self-preservation. On that front, Hell 2 was echelons in the making; it would not be an exaggeration to say the writing / recording / editing process was arduous and lengthy enough it nearly took Blank Hellscape out of the game for good. But before you declare, “better luck next time”, strap yourself in to your favorite listening chair / apparatus and bask in this sprawling double album, to these ears, an uncanny musical & lyrical representation of the confusing, scary and thoroughly oppressive state we currently find ourselves in (not specifically Texas, but yes, Texas, too). I could not be more proud to dub this their long-awaited MAGNUM OPUS, and not simply because doing so will totally fuck shit up for whoever puts out their next album.

Once regarded as an up-and-comer to watch, it’s fair to say that the past eighteen months have seen Dutch DJ/producer and live artist Locklead establish himself as one of the most in-demand artists emerging onto the global house stage. From his collaborative ‘Across Boundaries’ with close friend Chris Stussy to music via Dungeon Meat, Pilot, and Up The Stuss, the Utrecht-based talent has set his stall and is showing no signs of slowing. Adding to a first outing on sister label LOCUS two years ago, April welcomes a big debut appearance on FUSE as head honcho Enzo Siragusa invites him to the label for the first time to release his latest EP, ‘Kemickal Affairs’.
Opening the record, A1 ‘Zero’s Delight’ is a funk-fulled and spacey ride armed with resonant chords and swirling leads, while ‘State of Peace’ is a blissful ride through rich yet driving house spheres and showcases the second of two heavily requested anthems that have been go-to records for the likes of Stussy and Siragusa over recent months. The flip sees title cut ‘Kemickal Affairs’ open the b-side with authority, as bumping kicks and slinking grooves go to work beneath swirling synth lines and hazy tones, before wrapping things up with more modulated goodness and off-kilter vocal snippets on the chunky and trippy ‘Morning Krew’ - expect this to come out to play in those weird and wonky early-hours afters!

DJ Feedback:

Laurent Garnier - Very cool Ep

Jamie Jones (Hot Creations / Paradise) - Feeling this.

Joseph Capriati (REDIMENSION) - nice, will try soon. thanks !

Seth Troxler (Circoloco / Lost Souls Of Saturn) - lov

Paul Woolford / Special Request - State Of Peace is a killer house record, lovely chords and groove, thanks!!

Stacey Pullen (Blackflag Recordings / Transmat) - COOL THANKS!

Chris Stussy (Up The Stuss) - already on heavy rotation for the last couple of months, absolute heat!!

Rossi. (HOMEGROWN. / NO ART / LOCUS) - Immense music :)

LA's Elbow Grease label takes a sharp left turn from dance floor-finessing singles to their first full-length
release via the elusive yet illustrious band KAMM, who return in extra fine form for their third and
presumably final album offering, following the sudden tragic death of core member Alland Byallo last
year. Surviving bandmates Marc Barrite aka Dave Aju, Kenneth Scott, and Marc Smith chose the
inspirational higher ground, finishing off what they had begun with Byallo prior to his passing, resulting in
this sublime musical love letter of an LP.
In keeping with the band’s broad influence canon, we are treated to a blend of sonic flavors from
across the genre spectrum with Barrite and Byallo’s jazz upbringings ringing true at the center, then
branching out through golden era hip-hop feels, phased-out psych funk, warm smokey soul, and of
course generous helpings of intricate electronic layers and innovative treatments, as all band members
have become notorious for in their respective solo bodies of work.
While highly personal by nature, including otherworldly cover art based on Byallo's last paintings, the
musical content contained on the album is also widely universal - from opener “Crystalline Dreams”
serpentine tones turned slo-mo funk bomb, to the triptych Bossa boom-bap of “No Deal”, the timely
political calls of uptempo jazz burner “Your Honor”, the intimate upright-led tribute tales of “Angels
Flight”, to the sleek electro rhythm changes of mid-set breather “How Long?”, a deeply felt take on our
mobile-reliant fate in “S.I.M.”, the expansively expressive depth of “Coordinates”, then closing it out with
the title track featuring a grand finale chorus of Byallo’s best friends and fam from around the world
joining in the “Let The Light In” chant, with as much uplifting intention as possible to capture on record.
A loving collective embrace and very welcome reminder to help lighten these darker days

Freddie Gibbs and Madlib release their new album, Bandana, via Keep Cool/RCA Records and MadlibInvazion/ESGN. The album includes previous releases "Flat Tummy Tea," "Crime Pays," and "Giannis" featuring Anderson. Paak. The album is the pair's follow up to their 2014 critically-acclaimed debut Piñata, and includes additional features from Pusha T, Killer Mike, YasiinBey, and Black Thought.

The duo's seamless collaboration juxtaposes two giant talents: Madlib,the prolific producer with a record collection spanning all genres and eras, an adept sampler, peer to the late J Dilla (his collaborator on Champion Sound and his musical soulmate), foil for DOOM, hip hop's Charlie Parker, with whom he created the landmark album Madvillainy. Freddie Gibbs, the gravel-voiced braggadocios rapper, a vocal athlete, a star-on-the-rise knocked off course who refused to give up and has since offered some of the most compelling rap music in the past ten years.



On Piñata, Madlib offered Gibbs, then a gritty street rapper from Gary, Indiana, a chance to expand his captivating storytelling, giving him the dramatic backgrounds for his brutally-honest, soul-scraping lyrics. As a pair, Freddie and Madlib exude a natural chemistry and craft an alchemical music, appealing to everyone on the hip-hop spectrum.



Freddie Gibbs and Madlib are also set to play a string of shows in the U.S. and Europe this summer, which kicked off earlier this week with a sold-out, two-night residency at The Roxy in Los Angeles. They're set to play at MoMa PS1's Warm Up series in New York, Paredes De Coura Festival in Portugal, and Made in America in Philadelphia later this summer before heading off to Europe again in the Fall. Additional dates to follow soon.

Wewantsounds continues its extensive Meiko Kaji reissue program - in partnership with Teichiku Records and Kaji herself - with the release of Yadokari, her third album from 1973. This marks the first time the album has been reissued on vinyl, featuring its original artwork and newly remastered audio. Renowned for her iconic 1970s films (Lady Snowblood, the Stray Cat Rock series) and admired by Quentin Tarantino, Meiko Kaji also released a string of outstanding albums on Teichiku, blending Japanese pop with cinematic grooves. Yadokari, is reissued here with its original deluxe gatefold sleeve andOBI plus a two-page insert featuring new liner notes by Hashim Kotaro Bharoocha. As a special bonus, this edition includes a 7" EP single featuring Shura No Hana, famously featured on the Kill Bill soundtrack.

It's been a long time between drinks for German band Bambi Davidson. "Brunswick", their first outing on Claremont 56, is their first recorded output for 15 years.
It's something of a triumphant return, too. Last time we heard
from them, back in 2000, they were a 'post minimal rock'
duo comprising of guitarist/vocalist Robin van Velzen and
drummer Hans Christian Fuss. A decade and a half of live
improvisation and a multitude of collaborations later, they
return as a Balearic rock four-piece. The band's newest
members, former Mountaineer man Frank Mollena and Sofia
Fuss, were asked to join following a particularly successful
series of live collaborations and improvisational jams.
"Brunswick", the first track from their soon-to-be-released sophomore set, is particularly special. It´s a 13-minute shuffle
through Balearic post-rock territory, with Van Velzen's weary,
emotional vocals riding a wave of vibrant colours, backwards
Hazy, intoxicating and evocative, it sounds like a horizontal
anthem in the making.
One sided, hand numbered, limited to 500

First-time vinyl reissue of cult UK dance classic.

One of the cult acts of the heyday of London clubland in the early 1990s, the Ballistic Brothers consisted of later-X-Press 2 members Ashley, Rocky and Diesel, alongside David Hill and Uschi Clansen. After the success of underground smash ‘Blacker’ and ‘vs. Eccentric Afros Vol. 1’, The Ballistic Brothers returned with the second volume of their sampledelic good times with ‘Vol. 2’. The group came armed with years of dance floor expertise, and record making acumen, and delivered a further 8 tracks of good time funky grooves.

The opener ‘Delancey Street…The Theme’ paid tribute to their Camden-based record label and was an immediate anthem, while ‘Goodvibes…Goodnight’ was an irresistible mash-up. Elsewhere are jazz, funk, reggae influences and images of the streets of New York.

A vital snapshot of a very unique place in time, specially remastered for this Acid Jazz release, set in a spined sleeve for the first time, with a beautiful expansion of the original artwork

On the occasion of the 40th anniversary of its original release, this limited edition Black vinyl is reissued in an exclusive version, created using the Original Master Tape to ensure an authentic and faithful sound to the original recording. The high-quality mastering process ensures optimal sound performance, enhancing every detail of the production, from the depth of the bass to the clarity of the highs. Pressed on 180g Black vinyl, this product is marked with the SIAE trademark to guarantee authenticity and has been carefully crafted to provide a flawless listening experience.

This limited edition also includes an autographed photo from the band, making it even more personal and collectible.

This limited edition, available in a limited run of only 250 copies, is designed for true collectors and enthusiasts. Each copy of the 40th Anniversary Limited Edition Black Vinyl pays tribute to an album highly appreciated by Italo-Dance music lovers.

Originally released in 1985, the album challenged the conventions of the time with an alternative and innovative sound, standing out in the Italo Disco scene. The album received international praise, especially from the most demanding audiophiles, for its pioneering production and ability to distinguish itself from mainstream sounds. The remastering process from the Original Master preserves the authenticity of the original sound, delivering superior quality.

With the included removable OBI, this special edition gains an additional distinctive touch, completing its design and reinforcing its status as a cult item. Don’t miss the opportunity to own this unique vinyl, perfect for those who appreciate authentic music and wish to enrich their collection with a rare and valuable piece.

"10th Anniversary Edition Ghostface Killah, legendary Wu-Tang Clan member, invites you to rediscover the cinematic brilliance of 36 Seasons, his tenth studio album and unforgettable concept masterpiece.
Originally released ten years ago, this album tells the compelling story of Tony Starks as he returns to Staten Island after nine years, seeking a peaceful life but nding anything but. 36 Seasons is a testament to Ghostface’s storytelling genius and raw lyrical power.
To honor its 10th anniversary, 36 Seasons is being reissued in a range of special formats packed with exclusive bonuses. Fans can look forward to three vinyl editions, including a Deluxe Double Vinyl featuring all original tracks alongside instrumental versions."

"10th Anniversary Edition Ghostface Killah, legendary Wu-Tang Clan member, invites you to rediscover the cinematic brilliance of 36 Seasons, his tenth studio album and unforgettable concept masterpiece.
Originally released ten years ago, this album tells the compelling story of Tony Starks as he returns to Staten Island after nine years, seeking a peaceful life but nding anything but. 36 Seasons is a testament to Ghostface’s storytelling genius and raw lyrical power.
To honor its 10th anniversary, 36 Seasons is being reissued in a range of special formats packed with exclusive bonuses. Fans can look forward to three vinyl editions, including a Deluxe Double Vinyl featuring all original tracks alongside instrumental versions."

"10th Anniversary Edition Ghostface Killah, legendary Wu-Tang Clan member, invites you to rediscover the cinematic brilliance of 36 Seasons, his tenth studio album and unforgettable concept masterpiece.
Originally released ten years ago, this album tells the compelling story of Tony Starks as he returns to Staten Island after nine years, seeking a peaceful life but nding anything but. 36 Seasons is a testament to Ghostface’s storytelling genius and raw lyrical power.
To honor its 10th anniversary, 36 Seasons is being reissued in a range of special formats packed with exclusive bonuses. Fans can look forward to three vinyl editions, including a Deluxe Double Vinyl featuring all original tracks alongside instrumental versions."

The compositions of Miłosz Kędra (b. 2001) explore synthetic sound, electroacoustic music, and self-built acoustic instruments, seeking diverse timbres, tunings, and textures. His main field of work is the pipe organ. Through minimalist motifs, he has transported the instrument’s sound beyond the church space by synthetically processing its tones. He is currently pursuing a Master’s degree in New Media Music at the Academy of Music in Poznań and recently completed a Bachelor’s degree in Electroacoustic Composition, during which he built his own pipe organ from scavenged pipes.

~ Liner notes ~

Miłosz Kędra - "their internal diapasons"

The pipes that Miłosz Kędra used to craft his own organ emulator have lived many lives. They come from churches scattered across Greater Poland—some trimmed for a more presentable façade, others left to gather dust in parish houses until, stripped of purpose, they were cast away. Their first voices have faded, their inner resonance unsettled, yet with patience, one can teach them to sound again—to sing in their altered state, to be gently coaxed out of silence.

Audiomancy—the conjuring of lost sounds—is the word that lingers when I try to grasp the lore crystallizing with Kędra’s second album.

The resolve with which the musician and composer has inhabited his self-built instrument recalls Witold Szalonek and his search for “unexploited properties of wind instruments in classical music.” Szalonek sought to map these hidden voices into a system of multiphonics, revealing over 160 on the oboe alone by 1968. Some sound eerily alike, yet emerge through distinct gestures—“a particular breath, a precise choreography of levers and apertures, the seamless fusion of the two.”

The splitting of a single note into its spectral fragments—allowing a melodic instrument to speak in two, three, even four voices at once—enabled Szalonek to bend the rigid structures of Western music. "their internal diapasons" follows a similar path: an aesthetic bypass through which Kędra taps into the sacred gravity of the church organ, only to reveal it as a domesticated echo of something far older—the primal theater of transformation. To listen closely to an instrument is to learn its flaws, to turn its imperfections into a new way of speaking.

Each of the nine compositions on "their Internal diapasons" is an invitation—to approach the material world with the intent of letting it speak beyond expectation. An instrument that is at once a sculpture, a performance, and a manifesto of voicing the discarded suggests that its creator—following the path of Didier Eribon (Returning to Reims)—might take as his motto, a principle of asceticism, Sartre’s words: “What matters is not what is made of us, but what we ourselves make of what is made of us.”

Filip Szałasek

Rocket Recordings’ new Black Hole Series is a place where the unorthodox, otherworldly and esoteric can flourish, and there could be no more fitting first release for it than the most powerful metaphysical travelogue yet from Moundabout. Journeying still further into and beyond the landscapes from which this duo have unearthed inspiration, ‘Goat Skull Table’ is a transmission to give flight to spectral visions and include trance-states in abundance.The vibrations and manifestations of the duo of Paddy Shine(GNOD) and Phil Langero (Los Langeros, Damp Howl, Bisect) has always resonated within a very specific sense of place, transcending linear narratives and astral planes in a quest to unite timeless spirits with inner space. This third release for Rocket Recordings sees them colluding with
the landscape of their surroundings, transcending linear narratives and astral planes in a quest to unite timeless spirits with inner space.The title track marks a focal point here; a Shamanic rite on which Langero’s charismatically charged mantras collude with an audial landscape somewhere on the map between the abstract spell-casting of Nurse With Wound and the druidic gnosticism of Julian Cope. This is Moundabout at their darkest and most ritualistic. Elsewhere, the hypnotic repetition of the twin ten-minute extrapolations ‘Blood On My Blanket’ and ‘Wagon’, and the potent incantatory chants of ‘Am I Not’ and ‘Brave New World’ glow with a rugged and
charged dynamism redolent of the Swedish Psychedelia of Träd, Gräs & Stenar, uniting a minimal aesthetic with maximal impact.
Dauntless, feverish, and reaching new heights of primal intensity ’Goat Skull Table’ is a formidable field guide to the earthen and other