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Research Records teams up with organist and synthesist E. Bobby G. to release his sophomore album, Bobby Business. Once again, the album is primarily centered around the 1982 Kawai DX900, but it masterfully explores more genres than his debut, Giving You M.O.R.E.

Bobby Business was recorded in 2022 after E. Bobby G. received an eviction notice from his beloved sharehouse of 12 years. After moving out, he stored the organ at his workplace, Bakehouse Studios, where his boss let him use the space overnight to record until the early hours. The remainder of the album was recorded in his old studio space, NGBE.

The first track, "Ha-Ha," is as meditative as it is glittery, with floating sustained chords. "Big Boy" and "Disco Shift" bring back a slightly more polished E. Bobby G. sound—lo-fi library music with bright tones that will appeal to fans of proto-electronic icons like Brian Bennett. Tracks like "Lucky Strike" and "Tropical Dino Ride" are video game music dreams, featuring West Coast lead lines and strutting percussion. The second half of the album explores spaced-out '90s downtempo and dub elements, with a distinctive refinement that hides the fact it was created primarily using the Kawai DX900.

Bobby Business closes with "Lillian," a sonic dedication to the artist's Grandmother, with a more traditional song structure that hints at what Bobby has planned next.

A next salvo of big people dubwise out of the ITAL COUNSELOR stable comes on this, the label’s first foray into the 7” format.

This relick of the legendary Black Brothers 1970s dub plate is perfectly crafted for dropping at the deepest of sound system sessions or right on your home hi-fi for some front room skanking. This is in no small part due to the pedigree of artists who contributed to its creation.

Hughie Izachaar first started in the reggae business as part of obscure UK band, Black Brothers, during the heady days of the late 70s and early 80s. Only known to have recorded two legendary dub plates, the band never committed their music to plastic. A multi-instrumentalist versed in the art of playing the melodica and guitar as well as singing, Izachaar went on to join the band, The Original Rockers, with whom he recorded the underground classic, “Mountain Rock.” Into the 90s and through the 2000s he has been heard across a number of 7”, 10”s, 12”s, and LPs on labels such as Reggae on Top, Jah Warrior, Inner Sanctuary, and King Earthquake.

On this release, he is reunited with the equally esteemed Jah Warrior who was responsible for Hughie’s high water mark showcase, “Can’t Take the Pressure” in 1998. Jah Warrior’s usual hard and strident steppers vibrations are in attendance here.

Uniquely, this 7” represents the first time Hughie and Jah Warrior have been combined with the third ingredient in this musical stew. Another long-time music industry journey man, Gil “Tuff Scout” Cang, augments the sound with additional production and remixing. A veteran of Studio One, Riz Records, and Tuff Scout, not to mention innumerable soul, acid jazz, and pop productions, Gil adds that “little way different” touch that has become a defining character of ITAL COUNSELOR productions.

As the saying goes: If you don’t know, get to know. Neither your ears, your skanking feet, or your soul will be disappointed!

"Bora Rokovic's MPS album, Ultra Native, is one of the most elusive titles in the catalogue and, until now, remained unissued since its original release in 1971. Inzalaco's 'J.B.W.' is a hard-grooving fusion piece with dark minor chords, opening with an almighty drum break – found here in a new all-analogue mastertape edit for this 45 release. 'Soft Hands Had the Rain' features Trunk strutting his stuff on Fender bass, as well as cello overdubs, with Rokovic's brooding improvisations on electric keys."


First vinyl release since 1971 and never before released on 7” single.
AAA Transfers from analogue mastertapes.
Audiophile-grade vinyl – limited-edition pressing of 500 copies.
New artwork authentically recreated on heavyweight gloss sleeves.
Cut at Abbey Road Studios by Grammy award-winning engineer, Sean Magee.

Recorded by long-time collaborator and producer Elliot Heinrich at the band’s own Pony Studios in East London, it’s clear that Tempesst spent time developing a sound tailored to the subject matter. Parallels can be drawn from the great alternative writers of the nineties (Stipe, Buckley, Cocker) by way of the storied lineage of the dark narrators (Cohen, Waits, Cave). “My process is mostly reactive, like writing a journal and reflecting on what I watch, read and listen to,” says Lyricist Toma Banjanin, citing “The Myth of Sisyphus” by Albert Camus as an influence of the record. Forbidden Fruit showcases a new sound, shedding their previous Spector-esque production for a modern hi-fi approach. Tempesst maintain a surrealist soundscape with precision, conjuring images of René Magritte: layered sounds within sounds to draw the listener deeper. They lean into chaos, with fuzz-infused, reverb-laden guitars that drone through the record indifferent to harmony, restrained by a swampy rhythm section. Tempesst reach for the bright lights of the expressionist late eighties while descending into the rawness of the early nineties.

Band Aid war eine 1984 von Bob Geldof und Midge Ure gegründete Wohltätigkeits-Supergruppe, die Geld
für die Linderung der Hungersnot in Äthiopien sammelte.
Zum Gedenken an 40 Jahre seit der Originalaufnahme des Weihnachtsklassikers ”Do They Know It’s
Christmas?” und um weitere Spenden für den Band Aid Trust zu sammeln, werden am29. November neu
zusammengestellte 1LP- und 1CD-Formate veröffentlicht.
Das Produkt enthält die Originalversion von Do They Know It’s Christmas? aus dem Jahr 1984, die späteren
Versionen Band Aid 20 und Band Aid 30 sowie den 2024 Ultimate Mix - eine brandneue Bearbeitung, in
der die Stimmen der vielen Künstler, die den Song im Laufe der Jahrzehnte aufgenommen haben, gemischt
wurden. Der Mix wurde von Trevor Horn produziert. Zum ersten Mal auf CD und LP wird die 1985
im Wembley-Stadion aufgenommene Live-Aid-Final-Version des Songs auf der Titelliste der ultimativen
Komplettsammlung zu finden sein.
Der brandneue 2024 Ultimate Mix wird von einem neuen Musikvideo begleitet. Ein Kurzfilm, der ebenfalls
veröffentlicht werden soll, ist die Weiterentwicklung des Videos, ein alternatives und erweitertes Stück, das
die Entstehungsgeschichte der Single und ihre Reise über die letzten 40 Jahre vorstellt.

Rare and obscure dub roots reggae compilation, produced by Clement Bushay in 1975 and released on Chalwa Records in 1978. Arranged by Alton Ellis and mixed by King Tubby. Recorded at King Tubby Studio, Kingston, JA & Chalk Farm, TMC, SWM Studios, UK...Featuring King Tubby, The Cimarons, Dennis Alcapone, Dave Barker, I. Pablo.

Lukas Somers, also known as SOLAK, delves into deep emotions with his new album Atlas, set for release on November 15 via Capitane Records. After his first album Green came out four years ago, Somers embarked on an introspective journey, playing each instrument himself. In 2021, accompanied by Steven Van Gelder and a few musicians, he recorded the album at Ocean Sound Studios in Norway, inspired by the surrounding seascape and perpetual daylight. Somers overcame the challenges of the pandemic by also playing the bass and guitar. After six days of recording and months of post-production, eight tracks were finalized. Atlas stands out with increased vulnerability, while remaining true to the authenticity that defines SOLAK.

Stalwarts of the London music scene The Boom Yeh are at the forefront of redefining British Jazz-Funk with the release of their new album Near-Earth Objects. Featuring a host of musicians that have worked with Jamiroquai, The Brand New Heavies, Incognito, Alice Russell and Leroy Hutson.

Keep Right On
A blistering syncopated jazz-funk assault reminiscent of The Brecker Brother and Tower Of Power. Featuring solos from trombone player Tom White and sax player/horn arranger Ian Bailey, followed by a virtuosic drum solo courtesy of Alessio Barelli.

Chronic Tonic
A smooth jazz-funker with hip-hop undertones, echoing early Prince with a boogie funk outro in the vein of George Duke, propelled by bass player Matteo Grassi.

Hot Tamale
If Jimi Hendrix was stuck in a Mexican traffic jam, it would probably sound like this. An abrasive funk-rock stomper featuring a heavy duty guitar solo from band leader Jon Speedy.

Pocket Rocket
Deep pocket funk in tribute to George Clinton's Parliament-Funkadelic with be-bop infused horn riffs. Featuring solos by Paul Silver on baritone sax and guest keyboard player Carl Hudson on Oberheim synth.

Near-Earth Objects
High energy jazz-fusion exploring the universe of Herbie Hancock and The headhunters with an afrobeat inspired horn outro. Featuring guest keyboard Carl Hudson on Fender Rhodes and synth.

Othership
Bombastic big band jazz-funk with a rare groove flavoured mid section. Composed by band leader/guitarist Jon Speedy as a nod to his father Dave Speedy - a jazz trumpet player and big band leader.

Mind's Eye
Laid back Ibiza chill out mixtape vibes meets Donald Byrd and the Mizell Brothers. Featuring blissful Fender Rhodes and synth by guest keyboard player Carl Hudson.

Possibilities
A slow burner in the spirit of Roy Hargrove's RH Factor and early neo-soul with a gospel flavoured outro.

First time on LP worldwide / New liner notes by Graham Parker / Includes the fan favourites "Blue Horizon," "I'll Never Play Jacksonville Again," and "Socks 'N' Sandals" / Packaged as an LP with bonus 7" single / Remastered for vinyl by the album's original co-producer and engineer, Dave Cook / Graham Parker has been pre-promoting this upcoming LP release from the stage/ Graham Parker's fifteenth studio album, Deepcut to Nowhere, was first released by the independent label Razor & Tie in 2001. Parker recalls, "Within weeks after the release date of Deepcut to Nowhere, I was up early driving from New York State to Boston on what seemed like the most beautiful day in the history of autumn, to rehearse with the Figgs for a festival in Oregon, slated for a few weeks later, followed by a tour to support the album. That day was September 11th, 2001." In the aftermath of the attacks, Parker comments, "The press members I spoke to could barely get past the first track on Deepcut to Nowhere, 'Dark Days,' asking me if I was some kind of 'seer,' or had a mysterious crystal ball. Followed by 'I'll Never Play Jacksonville Again,' the opening salvos of the album seemed to capture imminent trauma, but of course, I was just writing songs." As the 12-song set progresses, Parker's focus expands to include the nostalgic "Blue Horizon" ("as emotionally rich a song as I'll ever write"), a dark-humoured take on the evils of colonialism ("Syphilis and Religion"), and the indignity of wearing socks with sandals. Taken together, Deepcut to Nowhere is among Parker's finest and most varied collections of songs, several of which have gone on to become setlist staples. Deepcut to Nowhere, originally released on CD only, finally makes its worldwide LP debut.

The experimental project Pissoff was founded in the late 60s by multimedia-artist Eberhard Kranemann and some friends who studied together at the Düsseldorf Academy Of Fine Arts. The chaotic, loud and soundwise undisciplined band took part in various events at this location and other places. Due to the intense fluctuation of band-members the performances by Pissoff were characterized by continously changing participants and variations of the involved equipment: cello, violin, clarinet, tenor saxophone, flute, vocals, electric guitar, electric bass guitar, organ and drums. In 1968 Pissoff performed together with Joseph Beuys who was professor of sculpture at the Art Academy at that time. During this incomparable audiovisual interaction Joseph Beuys staged his Hndaktion: in concentrated manner he moved his hands in front of his head while listening and visually reacting to the very loud and abstract staccato-rhythms by Pissoff. The event was recorded by Eberhard Kranemann on a Telefunken mono-tape-recorder and remains the only existing audio-material by Pissoff until today. On that night Eberhard played cello, clarinet and tenor saxophone while the other members added sounds by electric guitar, electric bass and drums. Earliest musical experimentations that can be defined as the origins of the band Kraftwerk already started in 1967 by Eberhard Kranemann and Florian Schneider-Esleben. Sometimes Kranemann invited Florian Schneider-Esleben to join Pissoff.

Das Trio "Last Bolt Ceremony" spielte sich mit einer gelungenen Mischung aus Grunge, Stoner- und Punkrock in den letzten zwei Jahren einmal quer durch die Republik, um erste Aufmerksamkeit auf sich zu lenken und konnte über überzeigende Auftritte erfolgreich Fans gewinnen. Das nun mit Spannung erwarteten Debütalbum von LAST BOLT CEREMONY: "Neuzeit" erscheint Ende November 2024 via Paranoia Productions Braucht es noch eine neue Stoner-Band, wo doch jede Woche hunderttausende neue Songs auf Portalen wie Spotify veröffentlicht werden? Aus Sicht der drei von LBC ist die Antwort ein klares "Ja", auch wenn sie genau wissen, dass sie die Musik nicht neu erfunden haben. Doch bereits mit ihrer ersten selbst-vertriebenen Demo-EP und dem Drang, ihre Songs live in die Welt zu tragen, erspielten sich Last Bolt Ceremony auf diversen Festivals wie Stoned From the Underground, Motorville und Choppermania in kürzester Zeit eine erste treue Fangemeinde. Das nun erscheinende erste Studioalbum "Neuzeit" beschreibt den neuen Hafen der drei, die schon in Bands wie Daily Thompson, Addicted to Machines, Dan Dryers und den Diabolic Tigerqueens gespielt haben. Über mehrere Wochen von Jens Kriegel (Addicted to Machines) produziert und von Tony Reed (Mos Generator, Pentagram) gemastert, verbindet das Album die Vielfalt von Natur und Industriekultur (Punkrock und Stonerrock) optimal und stellt somit auch für Last Bolt Ceremony eine Verbindung von alter und neuer Zeit dar. Das Cover-Artwork, das von Ex-Daily-Thompson-Schlagzeuger Matze zusammen mit der Band entworfen wurde, verdeutlicht diese Vielfalt von Alt und Neu des Kosmos' der Band optimal. Mit "Neuzeit" verbinden die drei Westfalen ihre abwechslungsreiche Reise in eine neue Gitarrenära mit einer guten Prise Hitpotential, bereit für den nächsten Schritt. Erhältlich in klarem Vinyl oder CD sowie limitiert auch als rote Vinyl-LP!

During the ‘Bad With Names’ promo campaign, Liam Shortall produced 108 new demo ideas for corto.alto, a process not focused on perfection, but rather with the aim to produce as many ideas as possible and deepen his individual writing and production style. Early 2024, he had 108 ideas in a folder - not fully composed tracks that would be placed well on a standard 12 track album, but not throw away ideas either. He decided to dedicate the following 4 months to finish 30 of these tracks; recording some of his favourite musicians in his home studio and remotely. The goal wasn’t to make a perfectly clean and polished album, but to get these ideas out into the world and explore new grooves, sound design worlds and composition ideas Each track has its own single artwork created from photos that Liam took on tour over the last year. The process of making these artworks was very similar to the music: create something from the material you have without doubting yourself - focusing on the creative process rather than the perfect end results.

The sophomore studio album from rapper and singer Doja Cat, with the singles “Juicy,” “Rules” and “Say So,” plus guest appearances from Smino, Gucci Mane and Tyga.

Ihren Durchbruch hatte Doja Cat 2014 mit dem Track "So High" aus ihrer 1. EP "Purrr!", 2018 hat sie mit ihrem «crazy» Video zu "Mooo" mehr als 65 Millionen Views generiert. Ihr neues Album "Hot Pink" enthält unter anderem die Hits "Juicy" ft Tyga und "Say So". Gut 500 Millionen Mal wurde «Say So» weltweit gestreamt und katapultierte die aus Kalifornien stammende Rapperin, Sängerin und Songwriterin Doja Cat auf die Bildfläche des Mainstream Musikzirkus. Nachdem die von 70er Disco Musik inspirierte Nummer auf TikTok massiv durchgestartet ist, hat sie auch die Charts erobert. "Say So" hat in der Schweiz die Top 20 der Single- und Airplay-Charts geknackt. Der Longplayer "Hot Pink" erscheint jetzt auf Vinyl.

Vor zwanzig Jahren veröffentlichte Matt Elliott (auch Third Eye Foundation) Drinking Songs, den ersten Teil einer bedeutenden Trilogie düsterer Folk-Alben mit acht Songs, die bis heute die meistgehörten auf Streaming-Plattformen sind und von den Fans des aus Bristol stammenden Musikers hoch gelobt werden. Drinking Songs ist eine tiefgründige Erkundung des menschlichen Zustands und eine Reise durch die unzugänglichsten Ecken der Seele. Zur Feier des 20-jährigen Jubiläums des ikonischen Werks präsentiert Matt Elliott nun Drinking Songs Live 20 Years On, eine Sammlung alternativer Versionen, die er als Trio live aufgenommen hat.Was Matt Elliott auszeichnet, ist seine Fähigkeit, verschiedene Stile miteinander zu verschmelzen, indem er kammermusikalischen Folk mit osteuropäischer Kabarettmusik mischt und gleichzeitig seinen Hintergrund in der elektronischen Musik, insbesondere seine Beherrschung von Sampling und Effekten, in den Dienst des Songs stellt. Nach mehreren hundert Konzerten in ganz Europa und sieben Alben präsentiert Matt Elliott nun Drinking Songs Live 20 Years On und lässt dieses bahnbrechende Album wieder aufleben. Aufgenommen im L'Autre Canal in Nancy, wo der Engländer seit einigen Jahren lebt, enthält dieses Album bisher unveröffentlichte Trio-Versionen, mit Musikern, die ihn regelmäßig auf der Bühne begleiten: Anne-Elisabeth de Cologne (Kontrabass) und Barbara Dang (Klavier). Jeder, der ihn schon einmal solo oder mit diesem Trio erlebt hat, weiß, wie gerne Matt Elliott auf die Stücke von Drinking Songs zurückgegriffen hat. Diese Zusammenarbeit geht über die Studioversion hinaus und fängt die rohen Emotionen eines Matt Elliott ein, der mit 50 Jahren auf dem Höhepunkt seiner Kunst zu sein scheint. Unabhängig davon, ob man die Studioversionen kennt oder nicht, muss man vom ersten Track an gefesselt sein, einer Verflechtung, einer Überlagerung der ersten beiden Tracks des Originalalbums: ,CF Bundy / Trying to Explain". Siebzehn Minuten, größtenteils instrumental, wunderbar zu Tränen rührend, vor Milz und Absinth triefend. Indem er seinen Drinking Songs zwanzig Jahre später neues Leben einhaucht, hat Matt Elliott uns ein kostbares Geschenk gemacht: die Möglichkeit, Drinking Songs zum ersten Mal wieder zu hören. Erhältlich als 2LP sowie CD!

4LP Vinyl-Box oder Doppel-CD-Set!

Vor zwanzig Jahren veröffentlichte Matt Elliott (auch Third Eye Foundation) Drinking Songs, den ersten Teil einer bedeutenden Trilogie düsterer Folk-Alben mit acht Songs, die bis heute die meistgehörten auf Streaming-Plattformen sind und von den Fans des aus Bristol stammenden Musikers hoch gelobt werden. Drinking Songs ist eine tiefgründige Erkundung des menschlichen Zustands und eine Reise durch die unzugänglichsten Ecken der Seele. Zur Feier des 20-jährigen Jubiläums des ikonischen Werks präsentiert Matt Elliott nun Drinking Songs Live 20 Years On, eine Sammlung alternativer Versionen, die er als Trio live aufgenommen hat.Was Matt Elliott auszeichnet, ist seine Fähigkeit, verschiedene Stile miteinander zu verschmelzen, indem er kammermusikalischen Folk mit osteuropäischer Kabarettmusik mischt und gleichzeitig seinen Hintergrund in der elektronischen Musik, insbesondere seine Beherrschung von Sampling und Effekten, in den Dienst des Songs stellt. Nach mehreren hundert Konzerten in ganz Europa und sieben Alben präsentiert Matt Elliott nun Drinking Songs Live 20 Years On und lässt dieses bahnbrechende Album wieder aufleben. Aufgenommen im L'Autre Canal in Nancy, wo der Engländer seit einigen Jahren lebt, enthält dieses Album bisher unveröffentlichte Trio-Versionen, mit Musikern, die ihn regelmäßig auf der Bühne begleiten: Anne-Elisabeth de Cologne (Kontrabass) und Barbara Dang (Klavier). Jeder, der ihn schon einmal solo oder mit diesem Trio erlebt hat, weiß, wie gerne Matt Elliott auf die Stücke von Drinking Songs zurückgegriffen hat. Diese Zusammenarbeit geht über die Studioversion hinaus und fängt die rohen Emotionen eines Matt Elliott ein, der mit 50 Jahren auf dem Höhepunkt seiner Kunst zu sein scheint. Unabhängig davon, ob man die Studioversionen kennt oder nicht, muss man vom ersten Track an gefesselt sein, einer Verflechtung, einer Überlagerung der ersten beiden Tracks des Originalalbums: ,CF Bundy / Trying to Explain". Siebzehn Minuten, größtenteils instrumental, wunderbar zu Tränen rührend, vor Milz und Absinth triefend. Indem er seinen Drinking Songs zwanzig Jahre später neues Leben einhaucht, hat Matt Elliott uns ein kostbares Geschenk gemacht: die Möglichkeit, Drinking Songs zum ersten Mal wieder zu hören.

Das Trio "Last Bolt Ceremony" spielte sich mit einer gelungenen Mischung aus Grunge, Stoner- und Punkrock in den letzten zwei Jahren einmal quer durch die Republik, um erste Aufmerksamkeit auf sich zu lenken und konnte über überzeigende Auftritte erfolgreich Fans gewinnen.

Das nun mit Spannung erwarteten Debütalbum von LAST BOLT CEREMONY: "Neuzeit" erscheint Ende November 2024 via Paranoia Productions Braucht es noch eine neue Stoner-Band, wo doch jede Woche hunderttausende neue Songs auf Portalen wie Spotify veröffentlicht werden? Aus Sicht der drei von LBC ist die Antwort ein klares "Ja", auch wenn sie genau wissen, dass sie die Musik nicht neu erfunden haben. Doch bereits mit ihrer ersten selbst-vertriebenen Demo-EP und dem Drang, ihre Songs live in die Welt zu tragen, erspielten sich Last Bolt Ceremony auf diversen Festivals wie Stoned From the Underground, Motorville und Choppermania in kürzester Zeit eine erste treue Fangemeinde. Das nun erscheinende erste Studioalbum "Neuzeit" beschreibt den neuen Hafen der drei, die schon in Bands wie Daily Thompson, Addicted to Machines, Dan Dryers und den Diabolic Tigerqueens gespielt haben. Über mehrere Wochen von Jens Kriegel (Addicted to Machines) produziert und von Tony Reed (Mos Generator, Pentagram) gemastert, verbindet das Album die Vielfalt von Natur und Industriekultur (Punkrock und Stonerrock) optimal und stellt somit auch für Last Bolt Ceremony eine Verbindung von alter und neuer Zeit dar. Das Cover-Artwork, das von Ex-Daily-Thompson-Schlagzeuger Matze zusammen mit der Band entworfen wurde, verdeutlicht diese Vielfalt von Alt und Neu des Kosmos' der Band optimal. Mit "Neuzeit" verbinden die drei Westfalen ihre abwechslungsreiche Reise in eine neue Gitarrenära mit einer guten Prise Hitpotential, bereit für den nächsten Schritt.

Ltd. to 500 colored copies worldwide. The band's first album from 1993, lovingly remastered by Johannes Scheibenreif. A classic of German progressive rock. The band's only English-language album. In 1973 the band signed a contract with Brain Records and Jochen Petersen (later keyboarder with Randy Pie) produced their debut album "Banished Bridge" at the Chameleon Studios in Hamburg. The album was recorded completely without electric guitars, the centerpiece being the 17-minute title track "Banished Bridge". The music is slightly fragile, flowing, almost lyrical. The floating synthesizer and keyboard passages are reminiscent of the early works of Pink Floyd and Genesis. A debut album that already showed where the band would later go. "Banished Bridge" remained Novalis' only English-language record, but for many it is still considered a classic of German progressive rock.

Marina and the Diamonds is an award winning platinum selling artist. She has three top 10 albums including Gold certified The Family Jewels and her second studio album Electra Heart which debuted at No.1 on the UK’s official charts. In celebration of 10 years since the original release of Electra Heart, Electra Heart (Platinum Blonde Edition) will be released on magenta vinyl on the 23rd September 2022. This special edition features additional tracks as previously heard on alternate releases of the album.

Featuring the hit single ‘Primadonna,’ as well as TikTok sensation ‘Bubblegum Bitch’ which had a massive revival with TikTok in 2021. The album will also include two tracks, ‘Electra Heart’ and ‘E.V.O.L’ that have never previously been released physically.

Sweet Nectar Tapes is proud to present the label’s first LP: »Fool or Genious« by G. S. Ruessler. Nine hardsoft cuts combining stubborn grooves and naïve melodies form an uncompromisingly honest album. Pursuing a genuinely straight-to-the-point approach, the tracks were recorded live from desk without any overdubbing. This record marks the departure point of G. S. Ruessler’s explorations in the sonic realm.

Pleasure you can’t measure!

Direct follow up to OKC noise rock band’s 2022’s breakthrough album God’s Country. Mixed by Benjamin Green (Uniform, Portrayal of Guilt, Drab Majesty). Mastered by Matt Coloton (The Rolling Stones, Blur, Nick Cave, Sunn O)). Full US tour in 2024, EU early 2025, with more dates to come. Like the towering mounds of toxic waste from which it gets its namesake, the music of Oklahoma City noise rock quartet Chat Pile is a suffocating, grotesque embodiment of the existential anguish that has defined the 21st Century. It figures that a band with this abrasive, unrelenting, and outlandish of a sound has stuck as strong of a chord as it has. Dread has replaced the American dream, and Chat Pile’s music is a poignant reminder of that shift—a portrait of an American rock band molded by a society defined by its cold and cruel power systems. Though very much on-brand with Chat Pile’s signature flavor of cacophonous, sludgy noise rock, the band’s shift to a global thematic focus on Cool World not only compliments the broader experimentations it employs with their songwriting but also how they dissect the album’s core theme of violence. Melded into the band’s twisted foundational sound are traces of other eclectic genre stylings, with examples of gazy, goth-tinged dirges to abrasive yet anthemic alt/indie-esque hooks and off-kilter metal grooves only scratching the surface of what can be heard in the album’s ten tracks. Besides stylistically stretching the boundaries of the Chat Pile sound, Cool World is also the band’s first record to have someone else handle mixing duties, with Ben Greenberg (Uniform) capturing and further amplifying the quartet’s unmistakably outsider and folk-art edge. While Chat Pile’s debut album was plenty disturbing with its B-movie-inspired interpretation of a “real American horror story”, what the band depicts on Cool World is unsettling not just from its visceral noise rock onslaught, but from depicting how all sorts of atrocities are pretty much standard parts of modern existence. In film terms, think something like a Criterion arthouse film by way of schlocky grindhouse splatterfest: undeniably gratuitous and thrilling in the moment but leaving a looming dread in the back of one’s mind for how close the horrors depicted mirror reality.