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Muireann Nic Amhlaoibh & Irish Chamber Orchestra have breathed new life into the noble, classical songs of our ancestors with this new album, R is n Reimagined.The sean n s tradition is undergoing a revival During lockdown, award- winning singer Muireann Nic Amhlaoibh's renditions of classic sean n s songs such as An Ch ilfhionn or R is n Dubh introduced a new generation of listeners to these melodically complex and richly ornamented songs. Now Nic Amhlaoibh joins the Irish Chamber Orchestra for R is n
ReImagined, an exciting new project that pairs her peerless vocals with fresh
orchestral arrangements of sean n s songs. Kilkenny Arts Festival and the Irish
Chamber Orchestra have co- commissioned special arrangements from six
leading Irish composers: Cormac McCarthy, Paul Campbell, Linda Buckley, Sam
Perkin, Niamh Varian- Barry and Michael Keeney. Produced by D nal O'Connor,
Roisin ReImagined explores the connections between classical and traditional
music, and reimagines these timeless songs for a new era. These works typically
date from the 16th-19th century, and bear the hallmarks of high art and learning.
In many instances, they bear witness to the artistic culture of Gaelic Ireland,
which was under siege and endangered; the high art of their era. Amongst them
are classics such as R is n Dubh, An Ch ilfhionn, Sl n le M igh & An tSeanbhean
Bhocht. Nic Amhlaoibh's distinct voice and outward- looking approach has
elevated these songs to yet another level through this project, and along with the
Irish Chamber Orchestra and producer D nal O'Connor, she has given a platform
to a tradition that gives a deep insight into the Irish psyche. These sean-n s songs
emerged from a practice that was part of a wider European and international
culture, and this project will resonate with people from every corner of the world.
The new incarnation of these old songs is a beautiful, uplifting sonic journey,
especially for those fortunate enough to experience it live, and is sure to leave an
imprint on the consciousness of the Irish song tradition.

Since starting Babehoven in Portland, Oregon in 2017, Maya Bon has
shown herself to be a gifted heart-on-sleeve songwriter, using music to
peel back the layers of her own experience "sometimes sad, sometimes
surreal, always vividly rendered " to reveal universal emotional truths
hidden in the most intimately personal of details
After a handful of self- released EPs and their label debut on Double Double
Whammy with 2022's "Sunk" EP, Babehoven's first full-length album "Light Moving
Time" is due October 28 2022.
"Light Moving Time" is emblematic of Babehoven's wide range of dynamics, and
each of those sounds are taken further. You can hear the pared-down languor of
"Yellow Has a Pretty Good Reputation", the smoldering guitars of "Demonstrating
Visible Difference of Height", the peculiar charm of "Nastavi, Calliope", and the
soft tenderness of "Sunk". Alternating seamlessly acrossstyles, Circles and
Philadelphia have the wispy ambient calm of a Liz Harris track, I'm On Your Team
falls somewhere between a flowy country song and an 80s power ballad, Marion
contains the plucky indie- folk warmth of Hovvdy, and Stand It and Pockets are
coated with My Bloody Valentine's wobbly shoegaze. But in contrast with those
EPs, these tracks utilize Bon's voice with greater emotional impact than ever
before. Pressed on Bone Color vinyl

First Released in 1998 Superstar's wonderful LP Palm Tree will now be
repressed in Double Gatefold Format with 6 Bonus Tracks

Repressed !

Hot of the heels form his "Omega" album Robert hood delivers 2 killer new tracks. The thundering kick and warehouse style acid line on "Power To Prophet" will add energy to any dancefloor "Clash" is a nod to the old skool Chicago minimal techno sound of producers such as Steve Poindexter.

- 2022 repress / comes in label sleeve -



We launch our rocket number 057 by the expert hands of Tensal, three pieces of direct to the floor operational techno, faster, heavier and darker than the previous outcome by Hector.

On the A-side, the first cut is "Civil Defense", sharp continuous sequences showing up right from the beginning, solid kicks and a memorable break. This one is gone make some damage in sound systems out there.

B1 "Collapse", again starting with no remorse, white noises, distorted textures, heavy sub bass action and hi speed tempos, another to the bone exercise.

B2 is "Bihotxak", solid grooves, percussive panned details, on a linear and tooly arrangement excellent for long mixes and build-ups.

Composed, designed and recorded by Tensal. Mixed by Oscar Mulero.

repress !

One of modern jungle’s most recognisable names, Tim Reaper, returns to Lobster Theremin for another high energy exploration of breakbeat manipulation.

Aqueous roller Whirlpool opens up proceedings before LT family member Coco Bryce’s raucous remix of Give It 2 Me, the blistering Devnull collaboration previously released on Lobster Theremin. On the flip, title track Ecospheres provides a solid slab of jungle techno
and closing track On Repeat rings true as an earworm with it’s hypnotic analog synth lines and sultry vocal.

The Slightly Involved project is a collaboration between Amy Dabbs & Coco Bryce, in which they bring their own styles and techniques to tracks the other artist has recently released. In this first instalment, using tracks released solely via Lobster Theremin and its sub-labels, Amy Dabbs' Girl Like Me and Allure get the full Coco Bryce treatment, and Amy Dabbs takes on Coco's Twenty One Lies and Ma Bae Be Luv.

Coco, renowned for incorporating elaborately edited layers of breaks samples into his sound, serves up a slice of acid jazz in Geezer Like Me, his take on Amy Dabbs' Girl Like Me. Complementing this, is Allude, an edgier jungle version of Amy's track, Allure.

Amy, who codes her own drum patterns from the ground up, delivers us Twenty One Highs, a liquid style take on Coco Bryce's Twenty One Lies, with Ma Bae Be Blonde, her version of Coco's Ma Bae Be Luv, paying homage to the UK’s early rave era.

On Blowback Tricky works with Ed Kowalczyk, the singer with the band Live, Alanis Morissette, the Red Hot Chili Peppers, Ambersunshower, Cindy Lauper and Chris Blackwell's signee Hawkman. The album is full of contrasts and surprises. The excitement and the imagination and the sheer audacity that made the first album 'Maxinquaye' such a ground-breaking record are back. "When I made that first album I had a dream of changing the world," Tricky says. "You realise after a couple of years you aren't going to do that and its all a load of bullshit. Which is OK and you carry on. But now I've got my dream back. Music has stood still or five years and it's time to change it around again.

MONO’s first-ever feature-length motion picture soundtrack. My Story, The Buraku Story is a new feature-length documentary film that explores the discrimination against a group of people – commonly called “the burakumin” who were classed into lowly groups and segregated from the rest of Japanese society. This discrimination is not by race or ethnicity, but rather by place of residence and bloodline, and has existed for centuries – albeit very rarely acknowledged or discussed in Japan. When director Yusaku Mitsuwaka imagined the exemplary score for such a culturally sensitive and significant subject, he idealized MONO to help tell this story through their legendarily cinematic music. Following their recent experiments with electronic textures infused into their trademark dynamic rock compositions, My Story, The Buraku Story finds MONO at their most understated and elegiac. The songs that make up My Story, The Buraku Story are largely built around piano, strings, synths, and choral vocal loops. As one might expect from MONO, the arrangements are masterworks of understated execution with oversized emotional resonance. By far MONO’s most delicate album, it is a fitting document of the band’s first-ever full-length film soundtrack.

ONSLAUGHT FEIERN 40-JÄHRIGES JUBILÄUM!
Bei solch einer langen Bandgeschichte, muss auch rauschend gefeiert werden!
Heute auf dem Geschenketisch: Eine Vinyl-Neuauflage des Albums, von dem gemunkelt wird, es sei vielleicht das beste Onslaught Album jemals: "Sounds of Violence".
Absolut atemberaubendes Album der englischen Top-Thrash-Band, düster und gewalttätig (wie der Titel vermuten lässt), brillante Songs und der atemberaubende Gesang von Sy Keeler unterscheiden Onslaught von anderen Bands des Genres.

Repress incoming...


Soul Flip Edits #14 is surely worth the wait! A different kind of vintage Soul to what you might have come to expect, as the Soul Flip duo deconstruct then lovingly reconstruct The Jam's unreleased but genuinely brilliant early recording(s) of, "A Solid Bond In Your Heart" - a song that was later a hit for The Style Council.

Back to Soul Flip basics on the flip, where The Capitols' more traditionally vintage 1966 R&B stomper "Cool Jerk" gets broken down, stretched out, and freshened up for more modern dance floors. Early support from Craig Charles, The Allergies, Smoove & Hong Kong Ping Pong Club.

It is our distinct pleasure to announce the debut solo effort from Thee Sacred Souls' own Jensine Benitez. Anyone who has had the privilege to catch Thee Sacred Souls live is already well familiar with Jensine. On a nightly basis, when she gracefully steps into the spotlight for one of her solos, her mellifluous voice and commanding stage presence sends the crowd into a frenzy of adoration and unadulterated joy. With this single she enriches that charm with honeyed melodies set to floaty rhythms that are sure to have you bobbing your head with the windows rolled down. "Ilusión de Amor" is a lilting lament sung en español about a forlorn lover whose deep, brooding sadness has left them yearning well beyond any hope of reconciliation. On the flip is "The Spar kle in Your Eyes," a vibey, mid-t empo mover that will have couples crowding dance-floors for decades to come. A stunning two-sider that epitomizes the kind of soul music we dig. Snatch this one up quick, or tears may fall..

While frontman Tom Greenhouse’s off-kilter observations and bizarro anecdotes remain front and centre, this time round the band up their game with a more vigorous sound that keeps pace with Greenhouse’s wholly distinctive lyrical style. Greenhouse continues to revel in telling increasingly surreal short stories, rejoicing in the power of the deadpan one-liner and bedecking his songs with far-flung cultural references. But now the band employ a variety of techniques with improved pro- duction, from the impulsively bashed keyboards and jubilantly repetitive guitar stabs that have be- come their trademark, to flirtations with–heaven forbid!–melody, chord progressions and arrangements which elevate their tried-and-tested blueprint into a more exciting and cohesive whole.

Opener Musicians is the perfect embodiment of this conscious development. Here, Greenhouse re- counts a sarcastic tale of half-truths that see him galavanting around town trying to put a band to- gether. Sonically, it begins with a caustic callback to the group’s first EP Crap Cardboard Pet and its über-minimalist aesthetic. But by the end of the song a joyous festival of afrobeat-inspired in- struments including samba whistles, bongos and saxophones are added to the mix as the front- man, ironically, fails in his mission to recruit more players.

With Get Unjaded, the band have somehow conjured something close to pop, without abandoning the repetition and wit that’s relished by their early fans. I Lost My Head also adopts a jangle-pop sheen with a luscious synth melody, as the frontman ditches the spoken-word for a surly croon (his first known attempt at actual singing!) that provides a welcome breather from the onslaught of dense recantations that are the band’s bread-and-butter.

While the lyrics here are still often humorous and political, Greenhouse has also notably expanded his interests on this album to include a new host of topics. The influence of extraterrestrials, for ex- ample, infiltrates the subject matter frequently. On The UFOs, the mysterious protagonist Blinkus Booth’s isolationist lifestyle is apparently interrupted by the spectres of otherworldly visitors, while closer The Neoprene Ravine feels like an extract from a deep space rock opera. Here, jaunty and angular instruments pile-on as we are fed images of an interstellar Spinal Tap, the titular fictional band “The Neoprene Ravine” who are “the alien equivalent of the Velvet Underground” and include an alien Lou Reed yelping “too busy sucking on my little green ding dong!”.

Meanwhile, Hard Rock Potato is propelled by a vortex of keys and synths, a real noise-pop gem comprised of real guitar chords (!) and rock-orientated riffs. Here the stream-of-consciousness lyrics take shots at the sinister financial industry, and include one of the many top-tier one-liners on the album: “It’s not gambling if you’re wearing a tie (even if you’ve got no trousers on)”.

On Sod’s Toastie, The Cool Greenhouse have pushed their distinctive flavour of post-punk to the point of perfection – their incongruous riffs, alchemical instrumental chemistry, and irreverent spo- ken-word vocals are a delight throughout. Sod’s Toastie is hilarious at times, and at others just hilariously good – a not-so-difficult second album.

Eugene Lamont Johnson a.k.a E Lamont Johnson or Lamont Johnson holds the distinction of being the first internationally recognized fretless bassist in R&B music. Born April 20th 1955 in Highland Park, Michigan. Lamont rose to prominence as a session musician on Gloster Williams &The King Vision’s 1977 gospel album project “Together” (Gospel Roots -5005). In the same year Lamont featured as part of the celebrated Detroit based band Brainstorm their best-selling 1977 album “Stormin’” for Tabu Records. Brainstorm was initially formed during 1975 by bandleader and saxophonist Charles ‘Chuck’ Overton, and included lead vocalist Belita Woods, Lamont Johnson on Fretless bass, Renell Gonsalves on drums, Trenita ‘Treaty’ Womack on percussion, flute and backing vocals, Bob Ross (a.k.a Professor RJ Ross) on keyboards, Gerald ‘Jerry’ Kent on guitar, Jeryl Bright on trombone and ‘Leaping’ Larry Sims on trumpet and flugelhorn. The album was recorded during 1976 and released the following year. It contained the disco hit “Loving Is Really My Game” the popular “Wake Up And Be Somebody” and the radio hit “This Must Be Heaven” a beautifully crafted ballad featuring the lead vocals of Lamont which still receives continued airplay to this day. Lamont did not feature on the band’s two subsequent album projects “Journey To The Light” (Tabu 35327) in 1978 and “Funky Entertainment” (Tabu 35749) in 1979.

The year1978 was to prove to be one of the most prolific of Lamont’s recording career, playing bass on three studio albums. Firstly, on Hamilton Bohannon’s “On My Way” (Mercury SRM-i-3710), Jimmy McKee’s “First Time Out” (Champion- 8083N5) and Keith Barrows “Physical Attraction” (Columbia JC-35597) albums respectively. The final project of that year would be Lamont’s own album project “Music Of The Sun” (Tabu-35455) featuring Lamont on both bass guitar and vocals, the album also spawned two lead 45’s “Sister Fine/Yours Truly, Discreetly” and “Hey Girl/Differently”.

During 1979 Lamont would feature as a guest bassist on a further two studio album projects, firstly the self-titled debut album of fellow Detroit musicians Chapter 8 (Ariola 50056) followed by another self-titled album “Nightflyte” (Ariola 50060) who’s line-up included Howard Johnson prior to him embarking on a solo career. During 1980 Lamont began work on a second solo album for Tabu. Two lead 45 singles were recorded “Rock You Baby/Something More” (Tabu ZS9-5521) followed by the album’s title song “Rhumba” backed with the modern soul favourite “Masta Luva” (ZS9-5525) for whatever reason CBS/Tabu decided to shelve the remainder of the project. Later recording projects to feature Lamont instrumental talents were Was Not Was ‘s “Tell Me I’m Dreaming and Robert Lowe’s “Double Dip” jazz funk album. Later solo CD album projects from Lamont, “This Must Be Heaven” arrived in 2004 and “Amore’ Dance” in 2001 both on his own Allee Records Label. From the mid 70’s through to the present day, Lamont has been a notable electric bass instructor in the Detroit area and beyond. As well as the previously mentioned projects, Lamont and many of his prot’eg’es work can be found on many other world renown artists recording projects the most notable being, Earth Wind & Fire, The Dramatics, Anita Baker, Lady Gaga, Alicia Keys, Phyllis Hyman, Beyonce, Howard Johnson, David T. Walker, Aretha Franklyn, Stevie Wonder, Herbie Hancock, George Duke, The Temptations, The Winans amongst others.

Fast forward to the present and Soul Junction have licensed two previously unissued dance orientated Lamont Johnson produced compositions for this 45sinlge release with more to come. Under the project/artists name of “Lamont Johnson & Eugene” the recordings feature several different local Detroit musicians and vocalists. The a-side is a male vocally led early 90’s mid-tempo feel good dance number. While the b-side in contrast is a more synthesized bass driven 80’s female dancer which should appeal to the Boogie crowd,

Enjoy.

Das südafrikanische Duo CONSTELLATIA taucht mit seinem eleganten und düsteren neuen Album „Magisterial Romance“ existentiell in die menschliche Natur ein - mit überlebensgroßen romantischen Kompositionen und gefühlvollen Ambiente, das ein Album erschafft, das ebenso kraftvoll und schön wie verletzlich und verheerend ist.

Das südafrikanische Duo CONSTELLATIA taucht mit seinem eleganten und düsteren neuen Album „Magisterial Romance“ existentiell in die menschliche Natur ein - mit überlebensgroßen romantischen Kompositionen und gefühlvollen Ambiente, das ein Album erschafft, das ebenso kraftvoll und schön wie verletzlich und verheerend ist.

Written and recorded between 1972 and 1982 in Western Oregon, Back to the Woodlands is a previously unreleased, and nearly lost, album made by Ernest Hood during the same era as his near mythical album Neighborhoods . A visionary combination of field recordings, zithers, and synthesizers, Back to the Woodlands offers an unprecedented depth of access to this singular artistic mind. Born into a musical family, Ernest Hood began a promising career as a jazz guitarist during the 1940s, touring internationally with his brother Bill Hood and the saxophonist Charlie Barnet , before contracting polio in his late twenties. The disease left Ernest unable to play the guitar and confined him to a wheelchair for the rest of his life. It also forced him to adapt and innovate around his musical practices in the face of adversity; Hood's value of sound matured with a remarkably democratic and nonhierarchical approach and application. Taking up the zither, a less physically-demanding stringed instrument to the guitar, embarking upon the unprecedented process of incorporating field recordings into his work as early as 1956, and eventually discovering the synthesizer, Hood's music became imbued with optimism and subtle cultural critique. This ethos and technique - refined over the coming decades - would lay the groundwork for a sprawling body of radio work, mail order recordings for homebound listeners, and Neighborhoods , self- issued as a small vinyl edition in 1975. Where Neighborhoods , a nostalgic opus, drawing from a well of collective memory of the 1950s, is defined by traces of human activity, Back to the Woodlands leaves the modern world behind, delving into Hood's love for nature. Only recently discovered in his archives, the album dramatically expands his concept of "musical cinematography," imagistically triggering states of sensory memory from within its zither and synthesizer melodies, intertwined with field recordings made during Hood's extensive travels throughout Oregon. If Neighborhoods is a retreat into the gauzy joys of a romanticized past, Back to the Woodlands is an immersion in the timeless sanctuary of the natural world. A fascinating counterpoint to its predecessor, Back to the Woodlands brings us even closer to Hood's belief in the transportive qualities of sound; that field recordings could serve as a vehicle for the imagination and liberation, particularly for those with similar mobile disabilities as his own. Across the album's twelve compositions, the rippling instrumental harmonics - shifting between abstraction and playful melody - fold so seamlessly into the birdsong, bubbling brooks, and other environmental ambiences, that they often give the impression of having been recording within the landscapes toward which they whisper. Falling somewhere between the immersive calm of healing music and New Age, the creative field recording practices of sound ecologists world building for Folkways, and the jazz infected ambiences during Obscure / Editions EG's highest heights, Back to the Woodlands sculpts an singular proximity of music for its moment; a form of ambient sonic realism that draws the consciousness toward its surroundings as much as within. Working closely with his estate to maintain his original vision, Freedom to Spend has restored and remastered this never before released, lost masterpiece by Ernest Hood from the original tapes. Ernest Hood's Back to the Woodlands will be issued on vinyl, as well as on CD in combination with its contemporary Where the Woods Begin , with new liner notes by Michael Klausman . On behalf of Ernest Hood and Freedom To Spend, a portion of the proceeds from this release will benefit Oregon Wild, an organization dedicated to protecting and restoring Oregon's wildlands, wildlife, and waters as an enduring legacy for future generations.

White Vinyl

Dwarves frontman Blag Dahlia returns as roots music savior Ralph Champagne. Exploring various Americana genres, Blag proves that.

Saft's X series signs up accomplished French house artist Pablo Valentino for a new EP that features Patchworks and includes a remix from Seb Wildblood. Valentino hails from East France but his work has made a global impact. He runs FACES Records and is A&R for the cult MCDE Recordings. Next to that he DJs around Europe and has produced both solo and as part of collectives such as Creative Swing Alliance and Hipster Wonkaz for labels like MCDE, Eureka and Room With A View.

Atmospheric opener "Look Deeper" is a rough and steamy deep house cut for cosy basements. The drums are raw and alive, the lead synth is haunting, and the keys bring a jazz feel while vocal coos add some serious soul. French jazz, soul and deep house artist Patchworks guests on "X Rousse", a freewheeling jam with loose-limbed drums and funky chords. It channels the spirit of Moodymann and is sure to bring heat to any party. The final original is "Bagaco"; a bubbly and percussive number underpinned by warm bass stabs. The dynamic groove never rests and raw claps amp up the energy throughout.

Seb Wildblood is a driving force in the South London scene thanks to running Church, All My Thoughts and Coastal Haze. From house to downtempo, leftfield to techno, he has a broad stylistic range that always looks forwards. His remix is a celebratory broken beat workout. It's all about big stabs, soulful smeared chords and cutting loose on the dance floor without a care in the world. Once again, The Saft X

Oxygeno writes a new chapter with Vertigo, moving into a more angry mood. The EP kicks off with Thirty Against One, with a heart-wrenching bassline, distorted drums and a tense atmosphere. Norbak pays tribute to the original, carefully using the stems and getting a powerful and direct remix.

Side A continues with Vertigo, a suffocating and anxious track, rising and becoming more and more tense as the track progresses. On side B we find False Mirages, a hypnotic, distorted and direct track for the dancefloor. Positive Centre, with a sound design mastery, remodelled the track into heavy industrial vibes.

Finally, we also deliver a digital bonus track, Metamorphosis, ending the EP in a more atmospheric and hypnotic mood, providing a safe place for you to come down.

dreamcastmoe is the recording project of singer, songwriter, producer, and DJ Davon Bryant, a lifelong resident of Washington, DC. His music moves freely between moods and modes, hypnotic, romantic, traversing electronic, R&B, funk, soul, and hip-hop... Resident Advisor dubs it "soulful, cross-genre dance music." This ability to adapt and finesse, to twist in different directions while staying true and coherent in vision, can be traced to his home city and its complex cultural history. "Most Black kids in DC don't ever get to this point," he says. "This is what I am making this music for, in the DC tradition of soul and empathy and love that is rooted in this city. My music is for real people dealing with shit every day." A versatile, modern artist and collaborator, dreamcastmoe has thrived in the underground since his first uploads to Soundcloud and Bandcamp in 2017 and subsequent releases with labels like People's Potential Unlimited, Trading Places, and In Real Life Music. Bryant's laid-back personality, emotional honesty, and infectious energy shine through his work and how he talks about it, as Crack Magazine notes in their 2021 Rising feature: "a steady combination of confidence, creativity, and calmness." He grew up playing drums in church; he's worked dead-end jobs, had ups and downs, even sold off all his gear one time, but never stopped reinvesting in himself. He is quick to praise his co-producers, rattle off influences _ the visual feel of NBA 2K, the comedic timing of Bernie Mac, the savvy legacy of Duke Ellington, for starters _ and credit resourceful DC breakouts like Ankhlejohn that showed him the roadmap. His voice, a steady instrument, seemingly connects it all, capable of slow falsetto flow, swaggering talk-rap, and outright croon. His storytelling style is choppy yet fluid, like a mixtape, which is how Bryant sees Sound Is Like Water, his debut on Ghostly's International's freeform label, Spectral Sound. The two-part project culminates as a full-length LP release in November 2022. The first side, released as Part I, opens on the blurred beats of "El Dorado," which dreamcastmoe dedicates to his journey. It's a head-nodder, an off-kilter earworm co-produced by Max D (Future Times, RVNG Intl, etc.), with Bryant harmonizing hooks with synth jabs and a pitched-down presence. "Complicated" is the slow jam, delivered smoothly from a Saturday night crossroads. dreamcastmoe is contemplative and committed... gliding and locking ad-libs into skittering rhythms courtesy of co-producer Zackary Dawson _ but also willing to let something go, "acknowledging that everything in life IS NOT easy." "RU Ready" takes off from the jump as a tribute, challenge, and promise to his partner and his city ("The times you sat with me when I needed you the most / Told me the things that I needed to see / Young black man, really trying to be what I can be / And I'm really from DC). In its potent two-plus minutes, the sonics (co-produced by ZDBT) press the message, all cymbal crashes, breakbeats, and serrated synth lines. "Cloudy Weather, Wear Boots" is a blitzing dance-punk track made in collaboration with Jordan GCZ on Bryant's first trip to Amsterdam. The album's flipside opens on "Much More," the first of two synth-and-beat ballads co-produced by ZDBT. Later on "Long Songz," he claims, "I'm not writing love songs no more," prioritizing the vibe with "all my day ones." He calls it "a cry for more normal moments. Everything doesn't have to be a fantasy love story, more time spent getting to the money, growing, and making a way." He saves two of his most propulsive cuts for the finale, co-produced by Sami, co-founder of DC dance label 1432 R. As their titles suggest, "Take A Moment" and "Make Ya Mind" operate as anthems for movement, with Bryant free-flowing commands above wildly-styled percussion. Per Bryant, the latter is both "wake & bake jam" and a "dance floor bomb." His parting line: "Action / You got to show me action / Reaction." The world of dreamcastmoe straddles virtual reality and the realness of DC, images both imagined and lived-in. Bryant has a knack for unexpected melodies but what makes his music so exciting is his capacity to defy the expectations of genre and image. A fluid ingenuity and vulnerability bottled by Sound Is Like Water, and this is just the beginning.

Das legendäre ukrainische Black-Metal-Projekt Drudkh läutet mit seinem brandneuen Werk "All Belong to the Night" die kalte Dunkelheit und den verführerischen Verfall des Herbstes ein. Obwohl das Album nur vier Songs umfasst, wütet es über 45 Minuten lang und liefert einen epischen Strudel aus grandiosen Melodien, verheerender Aggression und den kalten, atmosphärischen Passagen, die Drudkhs unverwechselbaren Sound ausmachen. Für Fans von SAOR, MGLA, FUATH, WOLVES IN THE THRONE ROOM, PANOPTICON. Artwork von Edward Novikov.

Cult French duo Principles of Geometry is back after an 8 years hiatus with a 26 tracks love letter to IDM & electronica, ABCDEFGHIJKLMNOPQRSTUVWXYZ.

A construct on the language which composes their musical lexicon, a sonic grammar which has been their common thread through 5 albums now.

This album is inspired by classic albums such as Artificial Intelligence on Warp Records, Braindance on Rephlex and was teased online this summer with singles "Cmd Ctrl" and “Hummerican”.

On the cusp of their 30th year with British indie Warp Records, Plaid return with a joyous new studio album, Feorm Falorx. From their playful early releases in the late 80's until now, they have explored diverse musical styles and embraced new methods of synthesis whilst maintaining a musical thread that spins back through the early Hip Hop scene of their youth and beyond to the sounds of the late 60s and 70s that inspired it.

Plaid have toured extensively and collaborated widely over the years, writing for and performing with sonic researchers, percussion groups, solo artists and orchestras, most recently for the BBC Concert Orchestra. They have written for computer games and scored several feature films, one of which, Tekkon Kinkreet, was awarded the Japan Academy Prize for Animation of the Year.

This eleventh studio album finds our duo, Ed Handley and Andy Turner, recreating a recent performance at the Feorm Festival, an intergalactic festival held on the planet Falorx. In order to survive the Falorxian atmosphere they were converted into light so the traditional recording devices they'd taken on 'The Campbell' were not functional. Fortunately, having consulted Earth's Space Agency, it was deemed safe to recreate the performance back in their London studio. Extensive testing of the resulting recordings have established a level of thought contamination deemed, “perfectly acceptable.”

Feorm Falorx will be released Universally on 11-11-22

Welcome to ‘STR4TASFEAR, Bluey and Gilles’ second STR4TA album released.

A collection of songs, melodies, grooves and sounds that sit perfectly in the brand new music world it’s part of. Gilles and Bluey are both men who emerged into the Brit funk world. They were both part of this truly thrilling chapter in the story of homegrown music; which manifests itself here in a sumptuous mixture of twanging basslines, spacey synth melodies, clicking beats and wispy, ethereal voices.

And for this new set, they’ve got a few like-minded souls along to join the party. Multi-talented Neo-soul Godfather Omar, and celebrated vocalist, Valerie Etienne, both represent Brit funk’s first bounce. Also welcomed in to the fold is musical polymath, Emma-Jean Thackray, Brighton duo Anushka and Floridian trumpeter/vocalist Theo Croker. ‘STR4TASFEAR’ is Gilles and Bluey’s wide-open window into a timeless, wonderful world of Brit funk (Words by Mark Webster, 2022).

STR4TA has received a rapturous reception, with standout tracks ‘We Like It’ achieving over 1 million streams on Spotify and ‘Rhythm In Your Mind’ exceeding 12 weeks on Jazz FM’s playlist. They have been heavily supported by BBC 6Music, The Guardian, Wax Poetics, The Vinyl Factory, CLASH, Télérama (FR), Radio Nova (FR), Rolling Stones Italy & Japan. Most recent singles “When You Call Me” & “Night Flight”, taken from the upcoming album, has already received support from Rampage (BBC 1Xtra), Jamz Supernova (BBC 6 Music), Deb Grant (Jazz FM) plus NTS, Mi-Soul, Solar Radio, KCRW (US), KEXP (US), Concrete Islands, CRACK Magazine, and Nu-Funk (Spotify).

Welcome to ‘STR4TASFEAR, Bluey and Gilles’ second STR4TA album released.

A collection of songs, melodies, grooves and sounds that sit perfectly in the brand new music world it’s part of. Gilles and Bluey are both men who emerged into the Brit funk world. They were both part of this truly thrilling chapter in the story of homegrown music; which manifests itself here in a sumptuous mixture of twanging basslines, spacey synth melodies, clicking beats and wispy, ethereal voices.

And for this new set, they’ve got a few like-minded souls along to join the party. Multi-talented Neo-soul Godfather Omar, and celebrated vocalist, Valerie Etienne, both represent Brit funk’s first bounce. Also welcomed in to the fold is musical polymath, Emma-Jean Thackray, Brighton duo Anushka and Floridian trumpeter/vocalist Theo Croker. ‘STR4TASFEAR’ is Gilles and Bluey’s wide-open window into a timeless, wonderful world of Brit funk (Words by Mark Webster, 2022).

STR4TA has received a rapturous reception, with standout tracks ‘We Like It’ achieving over 1 million streams on Spotify and ‘Rhythm In Your Mind’ exceeding 12 weeks on Jazz FM’s playlist. They have been heavily supported by BBC 6Music, The Guardian, Wax Poetics, The Vinyl Factory, CLASH, Télérama (FR), Radio Nova (FR), Rolling Stones Italy & Japan. Most recent singles “When You Call Me” & “Night Flight”, taken from the upcoming album, has already received support from Rampage (BBC 1Xtra), Jamz Supernova (BBC 6 Music), Deb Grant (Jazz FM) plus NTS, Mi-Soul, Solar Radio, KCRW (US), KEXP (US), Concrete Islands, CRACK Magazine, and Nu-Funk (Spotify).

Following the success of Aesop Rock's most recent solo album, Spirit World Field Guide, he returns to deliver the instrumental version of those interdimensional adventures. Aesop has long been celebrated for his talents as a lyricist, but he has continually grown and evolved as a producer as well. While the original Spirit World Field Guide was packed with insightful chapters of firsthand know-how into the terrain, wildlife, and social customs of our parallel universe, the Spirit World Field Guide Instrumentals not only set the tone but also provide the roadmap for you to take your own journey. Welcome to the Spirit World. Explore with intention. "He's never before been such a commanding presence behind the boards. The beats here are the best of his career, full of torque and life." - Pitchfork "The strongest collection of beats he's ever produced." - Passion of the Weiss Official instrumentals from Aesop Rock's critically acclaimed album, Spirit World Field Guide, available for the first time. Album produced entirely by Aesop Rock, except for "Sleeper Car" produced by Hanni El Khatib. Additional album instrumentation provided by Grimace Federation and Hanni El Khatib Vinyl packaging includes 12" matte gatefold jacket, printed record sleeves, and one each of transparent cloudy effect green/blue double-vinyl, plus free digital download card. Album artwork illustrated by renowned artist Justin "Coro" Kaufman

Black Truffle is pleased to announce Uri Katzenstein’s Audio Works, produced in collaboration with Holon’s Centre for Digital Art. Spanning sculptural installation, performance, video art, and many other media, Katzenstein’s absurdist, poetic, and often hilarious work made extensive use of sound and music. This, however, is the first release dedicated to the artist’s audio work, collecting 28 tracks produced between the early 1980s and 2017. Compiled from dozens of hours of recordings left uncatalogued (and in some instances unheard) at the artist’s death in 2018, these four sides are a treasure trove, offering a captivating glimpse into a uniquely uninhibited creative practice. Predominantly recorded alone, with some contributions from regular collaborators such as Ohad Fishof on the later pieces, many of these tracks stem from Katzenstein’s time living in New York in the 1980s. Feeding on the cross-pollination of post-punk energy, radical art practice, and new media possibilities that characterised the New York scene at this time, many of Katzenstein’s recordings squeeze multilayered vocal experimentation into synth-based miniatures with a distinctively pop twist, their forms ruptured with anarchic bursts of free-form electronics, sounds from self-built instruments, and field-recorded snatches of the outside world. Katzenstein’s electronic production calls up touchstones of skewed 80s art pop like Laurie Anderson, Ambitious Lovers, and Scritti Politti, but imbued with DIY directness and economy of means. The arrangements of synths, percussion, and noise elements are invigoratingly raw and, at times, almost austerely minimal. On ‘Intermission’, thick distorted chords accompany a wandering portamento melody, inhabiting the wayward carnival space of Roedelius’ most unhinged efforts. Many of the tracks centre on Katzenstein’s multi-tracked vocal performances, often moving between multiple languages, (most commonly English, German, French, and Hebrew). A bewildering range of vocal approaches are present on these pieces, from sweet wordless harmonies to hammed-up growls and monastic recitations. On ‘Skin O. Daayba – Complex Habits no. 3’, improvised resonance singing against a backdrop of echoing electronics and radio snatches. ‘Half Monk Half Herring’ layers multi-lingual syllabic fragments, crossing sound poetry techniques with melodic invention in a way rarely heard outside of Caetano Veloso’s Araçá Azul. On ‘Attempt to Raise Hell’, Katzenstein’s distorted voice spits out streams of alliterative nonsense (‘the hemlock of Henry, he was a hermit…purple pumpkin pulsates to pops’), while on the hilarious ‘Eric’, Katzenstein appears to instruct a small boy simultaneously in basic French and German conversation. On ‘Chicken’, vocal harmonies accompany the pecking and clucking of the titular fowl. Moving from bent, outsider synth pop to snatches of Jo Jones-esque automated instrumental clang and absurdist linguistic experiments, these are far more than footnotes to an artist’s gallery works. Accompanied by extensive, beautifully written liner notes by Roee Rosen and the little information that exists on the individual tracks, Katzenstein’s Audio Works inhabits an outer fringe of DIY pop and sonic experiment reminiscent of Pascal Comelade or Die Welttraumforscher, where accessible forms convey radical interrogations of song, word, and sound.

Born and raised in Lake, Mississippi, a small town east of Jackson, Houser was the son of a musician and took to music himself at an early age. Picking up the guitar before his tenth birthday, he played in bands throughout his adolescence, sharpening his songwriting skills as he attended East Central Community College in Decatur, Mississippi. Prior to his success as an artist, Houser lived as a songwriter, co-writing singles including "Honky Tonk Badonkadonk" by Trace Adkins, "Back That Thing Up" by Justin Moore, and "My Cowboy" by country pop artist Jessie James.

purple marbled vinyl

Faces Of Bass head honcho Coco Bryce once again dons his DJ Y moniker, delivering two slices of four to the floor sorcery.

Cheech Wizard is straight-for-the-throat hardcore acid, which wouldn't have sounded out of place at a turn-of-the-century squat party in a deserted warehouse in Rotterdam.

On Junk Waffle he opts for a more rave-centric jungle techno vibe: stabs galore, deep subs, pounding kick drums and a solid dose of Amens.

Myor proudly welcome DJ Sofa to their ever expanding roster of talent. A swiftly rising star within contemporary jungle, her tracks have already found their way into the sets of scene stalwards like Double O, Sully and Tim Reaper.

On her first offering for Myor Massiv she delivers two choice cuts of melodic, beautifully crafted, uptempo dancefloor business.

The stage is set for an almighty celebration as Groove Armada approach a huge milestone and mark the anniversary with a return to the road. New music plays a key part of the GA25 celebrations, with the duo recruiting some of today’s leading underground artists to remix their most iconic tracks, packed into a box set celebrating an award winning career that has seen them produce an impressive, record-breaking body of work.

25 years on from their debut, Groove Armada have become one of the most influential and successful dance acts of the 21st century, a position they have maintained, proving to be an influential force in the UK and globally. Over two decades of prolific productions and tireless touring they’ve proved that it’s possible to daringly explore a multitude of sounds while achieving critical and commercial success.

From huge outdoor performances to intimate parties, travelling the world, delivering their diverse dance floor-focused sound to raucous crowds on every continent, the duo have done it all. Despite their extensive list of achievements, there’s still plenty of motivation to have another huge party and go the extra mile to make GA25 one to remember, for fans new and old.

Limited Clear Green Vinyl! Bobby Oroza and Cold Diamond & Mink treat us to the instrumental version of their latest album Get On The Otherside. Bobby Oroza put his desire for the profound on wax with his sophomore album Get On The Otherside. Musically, he updated the formula we were introduced to on the first record. But lyrically, songs are bravely rooted in the more complicated, ubiquitous inner tangles of life like self-examination and coming to terms with the vastness of the human experience. This limited edition pressing is a chance to enjoy the musicianship and production prowess of the crew without the lyrics giving it a whole other level if vibe to take in.

`Astro-Darien' is a 26-minute sonic fiction about the break-up of Britain, narrated by synthetic Scottish voices and framed as an eponymous video game. It is the second release on Hyperdub sub-label Flatlines; a dark green 10" in triple gatefold sleeve, with artwork by Kode9's long-time collaborators Lawrence Lek and Optigram, presented as a limited edition of 500 copies. From a Caledonian heart of darkness to a supernova Scotia? The documentary fiction spirals between the role of the catastrophic Darien Scheme in the late 17th century in the founding of the UK, when Scotland failed to colonise part of present-day Panama, and the contemporary disintegration of the Union. In a somewhat wild extrapolation of the race to become the Scotland's first vertical satellite launch station currently playing out between Sutherland Space Port and the Shetland Space Centre, independence is speculatively framed as an exercise of escapology, a jailbreak and exodus to an orbital space habitat, with all the risks and dangers that entails. The loose plot follows a game designer from the fictional `Trancestar North' company who, in attempting to lift the dark spell cast by Darien, models a counter-future by ingesting cosmism, the history of racial capitalism and the demise of Empire into T-Divine, the geopolitics simulator of the game engine. She follows the Brexit algorithm as it runs to its logical conclusion. Initially conceived as an audio essay for diffusion on François Bayle's 50-speaker Acousmonium for INA-GRM in Paris in March 2020, but subsequently postponed by the pandemic, `Astro-Darien' first surfaced as a three-screen A/V installation on the dance floor of Corsica Studios in June 2021, finally reaching the Acousmonium the following October. In July 2022, an instrumental rhythmic version entitled `Escapology' was released on Hyperdub. A live A/V set relating to the `Astro-Darien' game universe will debut at Unsound Festival in October 2022.

Human Remains follows Creatures of the Deep and Black Sarabande as the final installment of a trilogy of piano based recordings by Robert Haigh for Unseen Worlds. The trilogy marks the end of the late era of solo albums by Haigh before he steps away from music production. The title, Human Remains, was initially based on a painting of the same name by Haigh that is suggestive of an ancient structure resolute in the wake of overwhelming forces. As a metaphor for our current times, it could be interpreted as human frailty in the face of nature's unyielding dominion. Conversely, it could represent the persistence of human spirit and resourcefulness in the midst of catastrophe and upheaval. The album opens with 'Beginner's Mind' - a semi-improvised motif develops into an impressionistic refrain. This is followed by "Twilight Flowers" and "Waltz On Treated Wire" - intimate, monochrome piano portraits. Later tracks such as "Lost Albion" and "Signs Of Life" build on skeletal piano motifs with subtle electronic washes, textures and field sounds. The album ends with the elegiac "On Terminus Hill" where a stately piano refrain explores a series of sparse harmonic variations evoking a sense of closure.

Available from Blank Forms for the first time since its original 1980 release on ALM-Uranoia, New Sense of Hearing documents a collaboration between Takehisa Kosugi and Akio Suzuki, two luminaries of Japanese experimental music in the lineage of Fluxus. Blank Forms's high-quality reissue of the sought-after, long out of print LP, is produced by musician-artist Aki Onda and mastered from the original tapes recorded on April 2, 1979, at Tokyo's Aeolian Hall. Described by Suzuki as the "culmination" of their sound,New Sense of Hearing features the two musicians improvising together in that empty Tokyo theater, Kosugi on vocals, violin, and radio transmitter and Suzuki on the Analapos, his namesake glass harmonica, spring cong, and kikkokikiriki, all apparatuses of his own invention. Suzuki and Kosugi first met at the city's Minami Gallery in 1976 on the occasion of "Sound Objects and Sound Tools," an exhibition of Suzuki's homemade instruments. Two years later, at the Festival d'Automne in Paris, Suzuki invited Kosugi to join him for a suite of performances as part of the exhibition "MA: Espace - Temps au Japon," organized by architect Arata Isozaki and composer-writer Toru Takemitsu. Suzuki and Kosugi performed together at the Musée des Arts Décoratifs, Paris, nearly fifty times, honing their approach to mutual improvisation, before traveling with the exhibition to Stockholm and New York_critic Tom Johnson wrote in the Village Voice that he had "seldom seen two performers so completely tuned in on the same types of sounds, the same performance attitude, the same philosophy, the same sense of what music ought to be."For New Sense of Hearing, the duo reunited in Japan and produced an extraordinary dispatch from their collaboration of arioso violin, echoing vocals and bangs, and metallic twangs. As Johnson observed in 1979, Kosugi and Suzuki are "in a very subtle artistic world where there can be no direct relationships. . . . Only coincidence." Takehisa Kosugi (1938-2018) was a composer, artist, and violinist from Tokyo. In 1960, Kosugi founded Group Ongaku, the country's first improvisational performance collective dedicated to Happenings, with Mieko Shiomi and Yasunao Tone. Four years later, Fluxus leader George Maciunas published Events, an eighteen-piece set of his text compositions. Between 1971 and '74, his band the Taj Mahal Travelers produced four live albums. In 1977, the Merce Cunningham Dance Company invited Kosugi to be their resident musician; from 1995 to 2011 he served as the company's musical director. The Whitney Museum of American Art presented "Takehisa Kosugi: Music Expanded," a two-day retrospective of Kosugi's work, in 2015. Akio Suzuki (b. 1941) was born in Pyongyang, North Korea, to Japanese parents. For the artist-musician's first Fluxus-style work Kaidan ni Mono wo Nageru (Throwing Things at the Stairs), 1963, Suzuki tossed a bucket of miscellaneous objects down a flight of stairs in Nagoya Station and listened to the sounds it produced. During the next decade, he would create original instruments including the Suzuki-type glass harmonica and the echo instrument Analapos. In 1976, Tokyo's Minami gallery hosted his first exhibition, "Akio Suzuki's World: Sound Objects and Sound Tools." For his 1988 performance piece Space in the Sun, Suzuki spent twenty-four hours listening to his surroundings on the meridian line which runs through Amino, Kyoto. Suzuki has performed and exhibited at many venues and music festivals, including Documenta 8 (Germany, 1987), the British Museum (2003), Musée Zadkine (France, 2004), Kunstmuseum Bonn (Germany, 2018), and the Museum of Contemporary Art Tokyo (2019).

Das neue Jeb Loy Nichols-Album besteht aus zwölf düsteren, aber wunderschönen Stücken, bei denen der langjährige Freund und Produzent Adrian Sherwood seinen charakteristischen Dub-Ansatz gegen sorgfältig zurückgenommene Arrangements eintauscht. Akustikgitarre und Jebs Stimme werden umrahmt von subtilen Bläsersätzen, Cello und Perkussion sowie Keyboardbeiträgen von Martin Duffy (Primal Scream, Felt). Politisch aufgeladene Coverversionen ('I Hate The Capitalist System', 'Deportees') stehen neben eher introspektivem Material, darunter einige der besten Songs, die Nichols bisher geschrieben hat. Adrian Sherwood fügt hinzu: 'Dies ist Jebs 'Great American Songbook', er ist im Laufe der Jahre ein großartiger Sänger und Songwriter geworden. Es ist ein wunderschönes Werk, das an unsere gemeinsame Liebe zu dem Miracle-Album erinnert, das ich mit Bim Sherman gemacht habe. Ich bin wirklich stolz auf diese Platte und sie ist ein passender Nachfolger von Long Time Traveller.'

A wise character once reminded her to tread the heavy ground with light feet. After a whirlwind two years since moving back to Hong Kong and starting from scratch, Xiaolin has re-emerged from the depths of her studio stronger than ever with a second EP - her first vinyl release to date.

Inspired by the Tower card from the Tarot, Tower Moment EP is a cosmic journey through four stages of healing: darkness, acceptance, transformation and freedom.

The record begins with “Dark Night” (of the Soul), followed by the gentle comfort of “Safe With Me”, a nostalgic electro ballad. On Side B: a chuggy tune layered with textures and samples, “Lemuria”, transports listeners to a surreal land of self-discovery, while Blue Hour completes the experience with his anthemic “Elevator” remix.

With her signature mix of 909 kicks and 808 breaks blended with acid bass lines, subtle percussion and ethereal melodies, Xiaolin’s organic approach to techno and electro showcases her colourful palette and sensitivity as a musician, along with a love for jazz and warm synth sounds from the early 90’s era.

Black Vinyl

Endlich können die Millionen Fans von "Stranger Things" ihre Leidenschaft für ihre Lieblingsserie durch den Kauf von physischen Produkten (vor allem LPs, aber auch CDs und sogar Kassetten, eine Anspielung auf die 80er Jahre als zentrales Thema der Serie) zum Ausdruck bringen! Noch mehr als in den vorherigen Staffeln spielt die Musik eine wichtige Rolle in der Erzählung, insbesondere das Kate-Bush-Phänomen "Running up that hill", das natürlich im Soundtrack enthalten ist, sowie "Pass The Dutchie" von Musical Youth und "You Spin Me Round" von Dead or Alive, die in den ersten Episoden sehr auffällig waren. Supererwartetes Kultprodukt: Vorbestellungsstart am 1. Juli, wenn die zweite Hälfte von Staffel 4 startet. Enfin les millions de fans de "Stranger Things" vont pouvoir matérialiser leur passion pour leur série préférée en achetant en physique (surtout le LP, mais aussi le CD et même la cassette, clin d'oeil aux 80's thème central de la série) ! Plus encore que pour les saisons précédentes la musique joue un role prépondérant dans la narration avec en particulier le phénomène Kate Bush « Running up that hill » évidemment présent sur la BOF ainsi que Pass The Dutchie de Musical Youth, You Spin Me Round de Dead or Alive très remarqués dans les premiers épisodes. Produit culte super attendu : lancement de précommande à ne pas manquer pour le 1er juillet, date de lancement de la 2e partie de la saison 4.

Ursprünglich 2006 auf YtseJam Records veröffentlicht, enthält 'Old Bridge, New Jersey (1996)' eine komplette Show von Dream Theaters kurzer 'Escape from the Studio'-Tour, die vor der Veröffentlichung ihres 1997er Albums 'Falling Into Infinity' stattfand. Sie enthält frühe Versionen von Tracks, die auf dem Album landen sollten, darunter 'Peruvian Skies', 'Lines in the Sand' & 'Burning My Soul', sowie einige Stücke aus der 'A Change Of Seasons'-Suite. Die neueste Ergänzung zu den Lost Not Forgotten Archives ist als Special Edition 2CD Digipak, Gatefold 180g 3LP+2CD & als Digitales Album erhältlich.

Das sechste Album von Jamiroquai aus dem Jahr 2005, "Dynamite", ist ein weiterer Schritt in Richtung Disco-Funk der 70er Jahre, der mit einigen modernen Elektroklängen aktualisiert wurde. Mit den Hits "Dynamite", "(Don't) Give Hate A Chance". Schwarzes Doppelvinyl, Gatefold-Cover.6eme album de Jamiroquai sorti en 2005, "Dynamite" creuse encore le sillon du disco-funk 70's en le réactualisant avec quelques sonorités électro efficaces et de bon gout. Avec les tubes "Dynamite", "(Don't) Give Hate A Chance". Double vinyle noir, pochette gatefold.

What does it mean to be a traveler in a fixed place? An adventurer in
domestic space? A troubadour in a confined microcosm, or a
constellation of microcosms—that is, a microcosmos? These are the
questions Nashville musician, songwriter, and published poet Lou Turner
(aka Lauren Turner, Styrofoam Winos) was reflecting on as she wrote her
luminous third solo album, Microcosmos
She says of the cosmic country record, "Musically, these songs are mostly in the
country/folk vein of the 70s songwriter but lyrically they're challenging some of
those tropes or totally subverting them altogether, talking about commitment and
love—the small microcosmic things that make up the fabric of everything."
With her warm and welcoming voice and nylon- stringed acoustic guitar
foregrounded over sparse yet playful arrangements, Microcosmos is a meditation
on what it means to privilege cultivation over consumption and to ponder larger
realities from within the shell of the fixed reality of a home. The reward is the
adventure to be found in stillness and observation, the discovery of the
otherworldly in earthly matter, the revelations of groundedness. Turner generously
offers up these wonders to the listener, sharing hers, and inviting us to find our
own.

"Abhorrent Abomination', der Name des Debüt-Openers der Deather Autophagy, bedeutet frei übersetzt "abscheuliche Abscheulichkeit". Ein ziemlich zutreffender Begriff für ihre Musik, doch rein im positiven Sinne. Die Growls von Andy Swarthout sind stets etwas im Hintergrund verankert und sorgen somit für eine etwas surreale Atmosphäre. Die Gitarristen Justin Yaquinto und Kevin Miller hauen neben Doom-angehauchten Düster-Riffs auch ziemlich groovige, fast schon an Pantera erinnerte Rhythmen raus ('Beneath The Moss, Between The Roots'). Auf einer Spielzeit von rund 33 Minuten kommt daher wenig Langeweile auf. Im Titel-Track entscheiden sich die Herren aus dem amerikanischen Oregon für ein langsam schlürfendes Outro, welches durch seine Behäbigkeit an Brutalität gewinnt - die Kirsche auf der Torte sind die Slayer-Soli gen Ende des Songs. Die runde und kraftvolle Produktion von Billy Anderson (unter anderem Sleep, Neurosis, Eyehategod) sorgt für ein angenehm deftiges Sound-Erlebnis..." (Metal Hammer)

"Nach nur einem Demo heizen die Portland-Deather AUTOPHAGY mit ihrem Debüt "Bacteriophage" mächtig ein. Das Quartett spielt düsteren Death Metal, der extrem basslastig aus den Boxen dröhnt und tempomäßig zwischen Geholze, Uffta-Rhythmen und doomigem Geschrote hin und her pendelt. Die pechschwarzen, Lava-artigen Arrangements erinnern an Bands wie Incantation, Portal oder Immolation. Wenn´s abgeht und das Tempo etwas flotter wird, scheppert es in alter Carcass-Manier. AUTOPHAGY liefern mit "Bacteriophage" ein solides Debütalbum ab, das man als Fan genannter Bands durchaus mal anchecken sollte." (Rock Hard)
Weitere Formate

Eigentlich kaum zu glauben, dass es bis heute kein Weihnachtsalbum des unvergessenen Louis Armstrong
gab, schließlich hat er einige der romantischsten, witzigsten und swingendsten Weihnachtssongs aller Zeiten
aufgenommen. Diesem Missstand hat sich jetzt das Jazzlabel Verve angenommen:
„Louis Wishes You A Cool Yule“ ist die erste Louis-Armstrong-Weihnachtsplatte überhaupt und präsentiert seine Weihnachtstracks erstmals als zusammenhängendes Gesamtwerk. Die Zusammenstellung enthält
sechs Decca-Singles aus den 1950er Jahren, zwei Duette mit seinen Lieblingspartnerinnen Ella Fitzgerald
und Velma Middleton, und den monumentalen Evergreen „What a Wonderful World“, der längst auch zu
einer Art Hoffnungshymne geworden ist, die zum Geist des Weihnachtsfestes passt.
Als besonderes Geschenk an Satchmo-Fans enthält das Album eine bisher unveröffentlichte Aufnahme
von Louis’ berührender Lesung von Samuel Clement Moores Gedicht „A Visit from St. Nicholas“ (auch
bekannt als „The Night Before Christmas“), für die Pianist Sullivan Fortner, eine Jazz-Ikone aus New
Orleans, eine wunderschöne musikalische Untermalung liefert.

Born in the heartland of Melbourne suburb Fitzroy, Steady Weather (comprised of scene stalwarts Ben Grayson and Tamil Rogeon) bring to light organic dance music from Melbourne"s rich neo-soul and jazz community.

Ltd Edition White Vinyl, DL card.

Debut from genre-defying producer, Yosa Peit. Laurie Anderson meets Bjork; Prince overlapped with Arthur Russell and the hum of Blue Velvet, with jarred and splintered ambient production reminiscent of Aphex Twin. ‘Phyton’ gets a special expanded edition via Fire Records, featuring unreleased tracks; ‘Tyrann’, a live version of the haunting album track ‘Serpentine’ and end of the night lament, ‘Rise’. ‘Phyton’ is a conundrum with its own humour and beauty amid the electronica soundtracking; it’s a record that’s defied genre categories when first released on Tax Free Records two years ago. Yosa’s ascension from singer to producer is now complete. “In my head I was making a movie,” Yosa told No Wave magazine, “I dreamed up a Coen Brothers’ movie scene for a few tracks.” The result is a haunting, provocative sound; a soundscape where songs merge and splinter, a trip that’s never predictable.

"The production is super fresh" Holly Herndon. // “Warped lo-fi meets glitchy electronica and pop” The Vinyl Factory //

Download extras: 1. Serpentine (Live Bonus) 2. Rise (Bonus)

‘Astro-Darien’ is a 26-minute sonic fiction about the break-up of Britain, narrated by synthetic Scottish voices and framed as an eponymous video game.

It is the second release on Hyperdub sub-label Flatlines; a dark green 10” in triple gatefold sleeve, with artwork by Kode9’s long-time collaborators Lawrence Lek and Optigram, presented as a limited edition of 500 copies. From a Caledonian heart of darkness to a supernova Scotia? The documentary fiction spirals between the role of the catastrophic Darien Scheme in the late 17th century in the founding of the UK, when Scotland failed to colonise part of present-day Panama, and the contemporary disintegration of the Union. In a somewhat wild extrapolation of the race to become the Scotland’s first vertical satellite launch station currently playing out between Sutherland Space Port and the Shetland Space Centre, independence is speculatively framed as an exercise of escapology, a jailbreak and exodus to an orbital space habitat, with all the risks and dangers that entails.The loose plot follows a game designer from the fictional ‘Trancestar North' company who, in attempting to lift the dark spell cast by Darien, models a counter-future by ingesting cosmism, the history of racial capitalism and the demise of Empire into T-Divine, the geopolitics simulator of the game engine. She follows the Brexit algorithm as it runs to its logical conclusion.Initially conceived as an audio essay for diffusion on François Bayle’s 50-speaker Acousmonium for INA-GRM in Paris in March 2020, but subsequently postponed by the pandemic, ‘Astro-Darien’ first surfaced as a three-screen A/V installation on the dance floor of Corsica Studios in June 2021, finally reaching the Acousmonium the following October. In July 2022, an instrumental rhythmic version entitled ‘Escapology’ was released on Hyperdub. A live A/V set relating to the ‘Astro-Darien’ game universe will debut at Unsound Festival in October 2022.

Having torn up raves for well over a decade, the Detroit duo Rickers and Ted Krisko AKA Ataxia present their debut longplayer ‘Out Of Step’. Featuring guest spots from close peers DJ Minx, Andrés and Mr Joshooa, they twist house, techno, electro, breakbeat and rave into revitalized new shapes; embellished with a touch of soul, funk and hip hop. With backgrounds in hardcore and punk, Ataxia’s debut is suffused with that energy, attitude, and approach; this is raw, lean and unashamedly no-nonsense dance floor tackle that goes straight for the jugular. Heavily analogue, the album experiments with tape saturation, which harks back to the duo’s formative years in bands, recording demos to cassettes. These straight-up, in-the-red tracks give preference to overdriven drum machines, rather than generic polished sheen, but conversely, it’s all deceptively well-crafted too; ‘Out Of Step’ is a standout record that’s big in character, bringing to mind the renegade spirit of Underground Resistance, and the bombastic brilliance of The Prodigy and Chemical Brothers.

Defiantly optimistic despite the state of the world, a “life is good” vocal sample meets minor chords sliding over 808 hats on the exemplary house/techno pumper ‘Detroit Gospel’, before a lighter moment on the album, but no less impactful with its hefty low-end thump, is ‘Pine Island’ featuring Motor City hero Andrés. Together they cook up a Motown-inspired house cut awash with horn swells and backup singers, bouncing to wide swung funk bass, in classic 313 style. ‘Language’ turns the club on its head – busting out one of the most distinct basslines in recent times, and bristling with buzzy, undulating chords, whilst ‘Maxia’ features influential Detroit royalty DJ Minx. Inspired by her classic ‘A Walk In The Park’, with a fat distorted kick and stealthy bass groove, this is low-slung, stripped-back, heads-down coolness. The high-tech funk of ‘Spit In Your Percolator’, is laser-guided in its efficiency, with a strobe-like, increasingly intensifying energy, peppered with clever, tripped up vocal chops. With the next cut, conveyor belt noises and fast churning low-end gives way to a dubbed-out breakdown, on the deep breakbeat roller ‘98 Degrees’. Charged with a blistering, rave intensity, ‘Number Streets’, is a futuristic distorted techno workout that booms through the subs, whilst ‘The Formulator’ mixes filtered snippets, abstract synth noises and melodic bleeps with a bassline echoing Paperclip People’s ‘The Floor’. Closer to the UK definition of hardcore, combining 4/4 and breakbeat, ‘The Pusher’ evokes the spirit of late 80s orbital raves, adding a natty keys solo, and deadly bass used sparingly, for even deadlier effect. ‘Feels Like’ sees Rickers and Ted team up their studiomate and fellow TV Lounge resident and club booker, Mister Joshooa. Inspired by Photek but also almost UKG in style, this breakbeat session is stamped with MJ’s signature chopped vocals and intricate rhythmic interplay. The bubbling, wobbly loose swing of ‘WM’ is constructed around a classic chopped-up MTV cribs sample, with a filtered vocal creating a far out psychedelic effect – all of which is propelled apace by a huge bruising LFO. The LP concludes in fine style with ‘Dance The Bridge’, where bouncy beats and wigged-out keys meet bright, gently uplifting synth chords that bring a clear-skied mood; ending the record as it began, on an optimistic note.

‘Out Of Step’ marks another chapter in the ongoing relationship between Life and Death co-founder DJ Tennis and Ataxia. Their connection goes back to the earliest days of the label, where they played gigs together on some of Tennis’ initial visits to Detroit. It’s a friendship that’s blossomed organically over the last decade through their shared love of punk and hardcore, and led to the fruition of one of Ataxia’s most compelling projects to date. Labels to release Ataxia’s output include legendary Detroit techno imprints Planet E and KMS, plus the seminal American house label Nervous Records. Their catalogue also includes music for Visionquest, Leftroom, 20/20 Vision and Seth Troxler’s Play It Say It.

500 Copies only on 180gm Heavyweight Classic black vinyl. Colour sleeve with printed disco bag/inner sleeve. Andy Crofts rounds up his Colorama artists on Volume 1 of this uber cool and eclectic compilation. The brainchild of Andy Crofts from the Paul Weller band the Colorama record label was set up initially as a vehicle to release records from Andy's own band The Moons but always with the ambition to champion the art of the songwriter and build an eclectic roster of like minded bands and musicians. Building on the critically acclaimed 'Pocket Melodies' from The Moons came the album 'Love & Chemicals' from Teenage Waitress and a new addition to Colorama Bristol DJ & Promoter John Britton joining Andy in the search for artists to join this burgeoning boutique label. The search culminated in the album you are now reading about 'THIS IS COLORAMA! VOL. 1' a collection of tracks from The Moons, Teenage Waitress, Sunzoom, Bliss Williams, Tiny Dyno, Duvet Daze, Pale Sabres, Wilderman, Chris Watson, Robi Mitch, Eloise, The Lunar Towers, Reid Anderson, Andy Crofts & Le SuperHomard which offers a diverse melting pot of genres with a common theme, to deliver memorable verses, hooks and choruses.

Cosmopolitanism is creeping into the bedroom studios of producers worldwide. Romanski is another agent evolving transcultural hybrids, which blend from retained folkways to modern aged club grooves. A mixture of electronic beats in a rigid machine order and handmade organic moments woven together to form an eclectic sound. With a bit of drama, the hamburg based dj & producer Romanski, invites you on a diverse journey with his unique vision of club music. Balearic groove patterns accompanied by repetitive bongo motives & dimmed synth themes flow along the 4 tracks (2 of them featured on 7" vinyl) of this EP. The title track "Karma Calling" is a passionate homage to Mulatu Astatke, "Tagh Tagh" is surrounded by an iranian children’s song, "Gaugin" features a tahitian vocoder line about the french painter and on "Ants" Romanski reflects on lyrics that came to him when resident at a sanatorium years ago. Romanski is using his custom sound range & tools to express his downbeat grooves in this well balanced release. Hide below or turn around the umbrella with devotion and delight.

Crossroads explores the mysterious terrains of contemporary deep minimal techno with the Feral's distinct and inimitable tribal sound.

Early support from Abstract Division, Brando Lupi, Svreca, Cassegrain, and Ness to name a few.

yellow marbled vinyl / full colour sleeve / incl. dl code

"Whirlpool-Gedanken" is the next 4 track EP by Schwefelgelb. A dedication to precise, sharp and punchy drums and percussion, embedded in a floating structure of synth sequences. A sound that recalls the explosive expression of Industrial Techno as well as the smooth progression of Detroit Techno at the same time. NPLX004 comes on 140 g colored vinyl including a download code and will be released 11th of November. The digital version contains a bonus remix by Ospiel. Presale starts 7th of October.

Schwefelgelb is a Techno duo from Berlin mostly known for their strikingly energetic live performance, which brought them into clubs and festivals all around the globe. Previous releases on n-PLEX, aufnahme+wiedergabe, Fleisch Records and Minimal Wave Records' imprint Cititrax have been supported by acclaimed DJs (Adam X, Amelie Lens, Ellen Allien, Helena Hauff, Jasss, Jensen Interceptor, Phase Fatale, Randomer, Rebekah, Regis, Samuel Kerridge, Silent Servant, SPFDJ, The Hacker, Tommy Four Seven, Veronica Vasicka, VTSS and more).

Blue Vinyl

Throughout his productive career, Carl Oesterhelt has proven to be an artist who finds it easy to move between musical genres and concepts. Much of his work has been within classical and chamber music, but he has also scored museum exhibitions and he is sometimes part of The Notwist crew as an angular figure on the Munich scene.

In Umor Rex we have been lucky enough to publish an array of Oesterhelt's universes. In Eleven Pieces for Synthesizer (Umor Rex 2019) we heard his kosmische side, where the connections with Harmonia or Klaus Schulze were amalgamated with ecclesiastical organ pieces and intense semi-automatic rhythms. A deeply melodic, fresh album. Pure syntax of the modern synthesizer. Further, in The Aporias of Futurism (Umor Rex 2021), in collaboration with Andreas Gerth (Driftmachine, Tied & Tickled Trio), Oesterhelt showed what is perhaps his darkest side —a work full of nuances within concrete music and midnight atmospheres. As deep and cerebral an album as it is surprising and catatonic.

Yet it seems that Carl Oesterhelt has another ace up his sleeve. Now he surprises us with The Dualistic Principle, a fantastic album full of weird but charming electronic melodies, rhythms that push the body to movement, sometimes syncopated and abstract, others permanent and fluid. In this work, Oesterhelt invited Johan Simons to give voice to the lyrics. The Dualistic Principle is a sort of rendition of a philosophical review or a nostalgic memory of the glamorous years. There is also underlying humor in the Post / Space-pop / Munich-disc assortment. The Dualistic Principle is the score to an imaginary film of contemporary hedonism.

All music & lyrics by Carl Oesterhelt. Voice by Johan Simons. Additional strings played by the Ensemble für synkretische Musik. Recorded in Munich & Bochum, Germany. Mastered by John Tejada in Sherman Oaks, USA. Artwork by Daniel Castrejón in Mexico City.

The album is an eighty-seven-piece work for electric
guitars, orchestra, choir and electronics. Featuring the
Metropolis Ensemble conducted by Andrew Cyr , the
Brooklyn Youth Chorus conducted by Dianne Berkun
Menaker, and chamber choir The Crossing conducted by
Donald Nally, Telekinesis is the first studio recording of
the work. The Guardian calls it ?a superpower-themed
symphony ? a titanic composition.'

After his latest ‘Youth EP’ that experimented with spacious vocal chops and whimsical soundscapes, Nocow returns with a relentless flurry of blows on the heavily computerized ‘Magnit EP’ released on npm. Featuring gloriously broken melodies and hard-hitting rhythm, Nocow explores the darker, more formulaic side to his sound. Brooding acid-infused synths shimmer across the four tracks, morphing between moods as the EP progresses. ‘Magnit S’ kicks off the EP with scattered bass hits, driving dark techno arpeggios, and a hint of footwork-esque percussion. The intense atmosphere is a relatively new direction for Nocow, straying from his more meticulous, introverted beats prior. ‘Kali’ incorporates warbled synth with a more subdued rhythm, playing with a modular sound and distant echoes of robotic vocals. This fragmented track is more akin to his 2018 sound of the Voda/Vozduh/Zemlya trilogy as the kinetics of sound play a strongly defined role in the overall sonics. ‘Sputnik’ commences with a blistering arpeggio of bit-crushed synth and chimes. The rocket-propelled pacing creates a frantic, yet ultimately controlled piece, worthy of a place in a club 300 years from now. Yet, after the frenzy comes the calm. The closing track ‘Extasy’ grinds the EP to a kaleidoscopic halt. Vocoder passages drift across the dense soundscape as Nocow transports you to an other-world, filled with spacey percussion. This closer is a well-deserved return to solid ground, following the perpetual trio of dark, yet utterly compelling techno pieces. Once again, Nocow exhibits his multi-faceted approach to electronic music that truly sets him apart.

The 6th release in the 'Foundations' series of classic House curated by DJ Spinna and Kai Alce, Sandee's 1988 masterpiece Notice Me joins seminal tunes from Ralph Rosario, Dreamer G, Cajmere, Chip E & K-Joy and Tyree Cooper to complement this amazing selection of hugely significant and killer heritage tracks. Written by Robert Clivilles and co-produced with David Cole (C+C Music Factory), the pedigree of Notice Me is seriously enhanced by the vocals of Latina singer and original member of the vocal group Exposè, Sandeé (Sandra Casañas) and the sound editing of long time Clivilles & Coles collaborator, the producer and percussionist Luis Rivera. Bass heavy and featuring a drum break that inspired so many great House cuts Notice Me was picked up by DJs of the calibre of Frankie Knuckles and Roman Ricardo on release in 1988. Notice Me became a dancefloor favourite at legendary clubs such as Tunnel and Palladium in New York City and the Riviera in Chicago , subsequently reaching number 9 in the Billboard Dance Charts in 1989. Tragically both Sandeé and David Cole died at far too early ages (46 and 32 respectively) but their places in the pantheon of House music history are assured as the vocalist and the co-producer of Notice Me. Indeed it is an era defining track and definitely a must have in your vinyl collection. A word about the Foundation Series from its curators: Kai:“Well my interest in 7”s is new. I have been a collector of 12”s all my life, House & Disco. Being inspired by JRocc after playing one of Discogs’ Crate Diggers events, my initial focus was on finding House 7”s which proved to be harder than I thought… Most were not available in 7” format & the popular ones that existed were quite rare. So now me and Spinna are trying to fill some of those empty spaces.” Spinna:“45 DJing has become a new excitement among vinyl DJs, but although endlessly repressed on other formats, a few classic house titles have simply never been pressed on 7” vinyl. We ran our ’45 wish list past BBE and the rest is history. When creating the edits we tried to imagine we worked for the original record label and were cutting the ‘radio edit’. The aim: to keep the heart of the track intact while reducing the length to fit the format.”

AMRA, the collaborative project between Paul Purgas (Emptyset) and artist and filmmaker Imran Perretta, continue their excavations into syncretic mythologies, diasporic echoes and ancient rhythmic talas. hills/demons ruminates on spectral landscapes whilst bringing together a wider group of collaborators, forming a collection of dense percussive polyrhythms alongside sitar improvisations from British-Pakistani multi-instrumentalist Nabihah Iqbal and guest vocals from Bangladeshi singer Sohini Alam. Developed for a performance with the London based commissioning platform Artnight, the release expands on AMRA's exploration of archival traces and the struggles that marked South Asia's partition, summoning alternative histories and the echo of ancestral voices.

OVERVIEW: Following both a global pandemic and an acclaimed, landmark debut album, inimitable Irish Alt-Folk act Junior Brother returns today with details of his
new album The Great Irish Famine, and a new single titled “No Snitch”. The album follows his much lauded 2019 Pull The Right Rope and is out 2nd September via multidisciplinary Irish label Strange Brew.

The Great Irish Famine leaps boldly forward into an exciting new chapter, and into a shaken new world - staggeringly profound, brutally beautiful in its epic sweep. The lead single “No Snitch” - which is released digitally with a 7” release to follow – is an intoxicating first taste of this new material. A track of towering, bruised catharsis, Kealy’s emotive and powerful vocals fluctuate across the tracks temperamental instrumentation which is both at once tumultuous and calming. The single is also accompanied by a dark and surreal new video

Speaking about the themes across the album Kealy further explains, "I was very conscious to bring each element of the debut into this follow-up, but dramatically dig ten times deeper and stretch ten times further down into each avenue”. “No Snitch" soars amidst darkly comic self-reflection ("This Is My Body"), anxious reflexes on modern living ("No Country For Young Men"), and the painful role the past plays in a nation's present ("King Jessup's Nine Trials").

Extremely limited edition 7” vinyl pressing of Red Rum Club’s infectious new singles Vanilla and The River.

After recently kicking up a dusty, desert-pop storm on their US tour, Liverpool’s funk-infused, brass-driven rock sextet are offering their new wave of American fans a chance to take home a slice of Scouse swagger in the form of a super limited two-track 7” record.

Armed with unapologetically catchy melodies and oozing with an instantly likeable charm, the band have captured the true essence of their personalities on these two new singles. ‘Vanilla’ takes a vicious side-swipe at mundanity and provides the perfect antidote to “vannilla” living with its infectious hook, vibrant brass melody and brooding vocal delivery. Meanwhile, unreleased track ‘The River’ sees the band delve into their emotive side and produce an uplifting and heartwarming song that radiates a feel-good party atmosphere that will make you forget all your troubles in an instant.

Never afraid to wear their hearts on their sleeve, Red Rum Club have distilled the rock and roll flair, endearing lyrical honesty and hip-shaking musical energy of their wide-ranging discography into two tracks that epitomise them as a band. After releasing three albums in as many years, the group have truly refined their unique sound, combining the authentic grit of their native northern England with an eclectic, groove-laden funk sensibility and this exclusive new 7” is the perfect way to sample that concoction in its truest form.

Strut present the first ever compilation of Balka Sound, bringing together their influential 1980s recordings, Hailing from Congo-Brazzaville and led by revered vocalist and ngonfi player, Nkibi “Lusialala” Albert, Balka Sound created their own unique musical world, re-imagining traditional Congolese Balka rhythms with electric guitars, electric bass and drums, alongside the traditional 5-string ngonfi.

Nkibi Albert had risen to fame in 1972 with his solo hit ‘Ah Lusialala’ and Balka Sound was created to bring the sound of Balka, a folk style from the Beembe people, to modern life and an international audience. With its roots in slavery and colonialism rumba was dominating the music scene in Congo while the philosophy of Balka Sound was to find its inspiration directly in local country life, to associate the modern and the traditional and to revive folk traditions that were dying. Founder member Henri Nsika Nkaya explains, “it was intended to be an update, a unification and an internationalisation of Congolese cultures.”

In 1979, during a festival organised by the Centre Culturel Français, the band won a recording deal to release their first album: Le 1er son du Balka, Lusialala et ses amis, recorded in just one take. Their success led to a second LP, Tu Kine Balka, recorded in Kinshasa in 1982. A third album in 1984, Afro Musik Creation, featured a more modern studio production sound. Their songs drew from traditional folk tales and parables, life lessons and the damage caused by rural exodus to the cities. By 1985, Balka Sound were working full-time with residencies at Chez Tantine Clara in Brazzaville, a well-known tourist venue, and the Frantel Cosmos Hotel.

In 1991, political tensions were rising in the country; civil disobedience and threats of a military coup were followed by a civil war from 1993 to 1994. The band eventually regrouped and were invited to perform in 1996 at the Palais des Congrès for the Fête National. Unfortunately, on the first day of new fighting in 1997, Balka Sound’s studio was looted and the band were forced to finally disperse.

This first compilation of the band’s music is curated and annotated by Makila Nsika Nkaya in conjunction with Balka Sound and has been fully remastered by The Carvery.

A muffled cry into the technological darkness, Contemporary Movement slid into the world right as the MP3 was seeping out of college dorms. A 39-minute drift into the void, drenched in Cold War-era reverb and then submerged in four track hiss for good measure. Duster constructed a Brutalist masterpiece on the outskirts of a suburban mall, as if to say, “We were here.”

“Music for dark spaces and closed eyelids, deeply psychedelic but without sprawl, ambient music with a serrated edge of punk.”—The Ringer

“Warm, fuzzed-out sounds that hit home like a tight, melancholic embrace from your favorite person.”—Vice

A muffled cry into the technological darkness, Contemporary Movement slid into the world right as the MP3 was seeping out of college dorms. A 39-minute drift into the void, drenched in Cold War-era reverb and then submerged in four track hiss for good measure. Duster constructed a Brutalist masterpiece on the outskirts of a suburban mall, as if to say, “We were here.”

“Music for dark spaces and closed eyelids, deeply psychedelic but without sprawl, ambient music with a serrated edge of punk.”—The Ringer

“Warm, fuzzed-out sounds that hit home like a tight, melancholic embrace from your favorite person.”—Vice

Best listened to from inside the womb, Duster’s 1998’s debut Stratosphere simultaneously capped off and reinvented the slow core’s first wave. A four track dreamscape that will wake the neighbors and then lull them back to sleep. Hazy, arpeggiated guitars layer over a deliberate drummer with no real place to be, as semi-inaudible vocals warn of millennial malaise and subtly encourage the listener to “rock out, rock out, rock out, rock out.

“Music for dark spaces and closed eyelids, deeply psychedelic but without sprawl, ambient music with a serrated edge of punk.”—The Ringer

“Warm, fuzzed-out sounds that hit home like a tight, melancholic embrace from your favorite person.”—Vice

Written and recorded between 1972 and 1982 in Western Oregon, Back to the Woodlands is a previously unreleased, and nearly lost, album made by Ernest Hood during the same era as his near mythical album Neighborhoods. A visionary combination of field recordings, zithers, and synthesizers, Back to the Woodlands offers an unprecedented depth of access to this singular artistic mind.

Born into a musical family, Ernest Hood began a promising career as a jazz guitarist during the 1940s, touring internationally with his brother Bill Hood and the saxophonist Charlie Barnet, before contracting polio in his late twenties. The disease left Ernest unable to play the guitar and confined him to a wheelchair for the rest of his life. It also forced him to adapt and innovate around his musical practices in the face of adversity; Hood’s value of sound matured with a remarkably democratic and nonhierarchical approach and application.

Taking up the zither, a less physically-demanding stringed instrument to the guitar, embarking upon the unprecedented process of incorporating field recordings into his work as early as 1956, and eventually discovering the synthesizer, Hood’s music became imbued with optimism and subtle cultural critique. This ethos and technique - refined over the coming decades - would lay the groundwork for a sprawling body of radio work, mail order recordings for homebound listeners, and Neighborhoods, self-issued as a small vinyl edition in 1975.

Where Neighborhoods, a nostalgic opus, drawing from a well of collective memory of the 1950s, is defined by traces of human activity, Back to the Woodlands leaves the modern world behind, delving into Hood’s love for nature. Only recently discovered in his archives, the album dramatically expands his concept of “musical cinematography,” imagistically triggering states of sensory memory from within its zither and synthesizer melodies, intertwined with field recordings made during Hood’s extensive travels throughout Oregon. If Neighborhoods is a retreat into the gauzy joys of a romanticized past, Back to the Woodlands is an immersion in the timeless sanctuary of the natural world.

Since its formation in 2010, the Melt Trio has become one of the world's most innovative guitar trios in contemporary jazz. And way beyond. Stylistically speaking: If you like Tortoise, Khruangbin, but also Philip Catherine, Bad Plus or Marc Ribot, you can already look forward to one of the outstanding albums in November of this crisis-ridden year.

On their countless concerts and tours all over the world, the three Berliners have refined their special style more and more and show an even stronger will to create in details. Their combination of acoustic and electronic sounds seems more subtle and at the same time more powerful than ever, specific influences from jazz and classical modernism to post- and prog rock can at best be made out dimly, because the music simply sounds like Melt Trio. It is and remains a guitar trio that does without any comparison. "Melt is neither Nirvana on jazz, nor Bill Frisell Trio in rock, nor Massacre in ambient. Melt is Melt, unique, individual, gripping and moving," it was once said elsewhere.

In 1968, the future composer of "The Things of Life" (Les Choses de la Vie) seriously considered becoming a director. He wrote and shot "Florence", a short film influenced by the New Wave and composed its soundtrack, under the benevolent eye of Vladimir Cosma. The first spectators of the film are unanimous: failing to have seen a visionary cinematographic opus, they have discovered a real movie musician. From this first attempt, Philippe Sarde imposes his melodic talent on the picture and initiates his sense of counterpoint. This founding soundtrack, however, remained in the boxes for more than 50 years, before finding a place of choice on the B side of our album.

To open the ball, we offer you another forgotten score: the almost unused score of Loulou, Maurice Pialat’s cult classic. In 1980, the naturalist director planned to use original music to accompany the wanderings of his sublime love duo, played by Gérard Depardieu and Isabelle Huppert. He commissioned a bare, impressionistic score from Philippe Sarde, then changed his mind and kept only a


timid end credits. The meeting between the two giants of French cinema did however take place, as evidenced by the first side of this beautiful lp.

Phoxjaw return with their second studio album ‘notverynicecream’, to be released November 11th via Hassle Records.

Written mostly in various states of lockdown, the album addresses themes of depression, addiction, nihilism, nostalgia and suffering, served in a sugary cone. The most eclectic and schizophrenic Phoxjaw release to date, combining progressive and punishing sonics, with hyper glossy pop influences whilst still retaining the organic noisey elements that Phoxjaw have made a signature.

Phoxjaw return with their second studio album ‘notverynicecream’, to be released November 11th via Hassle Records.

Written mostly in various states of lockdown, the album addresses themes of depression, addiction, nihilism, nostalgia and suffering, served in a sugary cone. The most eclectic and schizophrenic Phoxjaw release to date, combining progressive and punishing sonics, with hyper glossy pop influences whilst still retaining the organic noisey elements that Phoxjaw have made a signature.

Texas born, Swindon bred, South Londoner Rainn Byrns is no stranger to the independent music press having enjoyed coverage in The Line Of Best Fit, DIY Mag, Dork, So Young, Hard of Hearing and The Guardian for his recent singles and Country Living EP. With the build up to his debut album New In Town, BBC 6Music’s Steve Lamacq, Amazing Radio and Radio X’s new music guru John Kennedy have all been playing tracks from it (+ John Kennedy has invited Rainn on to his X-Posure show for a session and interview during the week of release). Rainn’s innate talent for writing from the heart with total honesty shines bright on the album through a collection of indie lo-fi future classics, jam-packed with melodies and a tasteful bedroom-pop sensibility. Tinges of Americana, inspired by his early years growing up in Texas can be heard throughout, and combined with Rainn’s on the nose lyrical delivery, make this an exciting debut long player from an artist brimming with talent and potential. Further support from 6Music, Radio X & Amazing Radio

Für Fans von: Absu, Melechesh, Moonspell, Rotting Christ, Nile.
Unheiliger Black Metal aus dem Heiligen Land, durchtränkt von nahöstlichen Klängen und Mystik! Eine Beschwörung der Jahrtausende alten
Finsternis!
Die fünfköpfige Black/Death-Metal-Band Arallu stammt aus der israelischen Siedlung Ma'ale Adummim in Israel und ist seit fünfundzwanzig
Jahren im Metal-Underground unterwegs.
Der Name Arallu stammt aus der mesopotamischen Mythologie und bezeichnet das Reich der Unterwelt, das von der Göttin Ereshkigal und dem
Gott Nergal regiert wird und in dem die Toten gerichtet werden. Die Musik von Arallu dreht sich um die traditionellen, altorientalischen Melodien
der Landsleute Melechesh, die Hochgeschwindigkeits-Wildheit von Bands wie Angelcorpse und Absu, und dem atmosphärischen Gefühl legendärer Acts wie den zuvor erwähnten Melechesh und Absu.
Im Jahr 2019 hat die Band das Album "En Olam" veröffentlicht, und dieses Werk hat Arralus bereits bekanntes Talent in der Underground-Extrem-Metal-Gemeinde gefestigt. "Death Covenant" ist das siebte Full-Length-Studioalbum der Band und bietet dem Hörer eine atemberaubende
Mischung aus okkultem Black Metal und alten sumerischen und nahöstlichen Klängen. Die Riffs, die hier zu finden sind, werden die Hörer mit
ihrer Raserei von melodischen Tremolo-Riffs, die mit einigen unheimlichen Folk-Instrumenten verwoben sind, zufriedenstellen. Die Elemente in
der Gitarrenabteilung, die mit einigen Folkinstrumenten wie einer Saz und einer Darbuka vermischt sind, zeigen, wie die Band den Metal erfolgreich auf seinen Kern reduziert und das verleiht dem Gesamtergebnis von Arallus Musik einen zusätzlichen Punch und eine gewisse Schwere im
unteren Bereich. Er liegt im Grunde genommen gleichmäßig unter den Gitarren und unterstützt sie mit einigen dicken Linien, die den Streichern
ein tieferes Gefühl verleihen und den Tracks eine bedrohliche Atmosphäre verleihen. Auch die Schlagzeugsektion fesselt die Aufmerksamkeit des
Publikums mit einer Vielzahl von zerstörerisch stampfenden Kontrabässen bis hin zu orientalischem Tribal-Drumming, das viel dazu beiträgt, dass
die Atmosphäre intakt zu halten. Die Platte ist voll von hohen, durchdringenden Schreien und Kreischen, die eine dunkle und raue Klanglandschaft schaffen. Diese bösartigen Schreie werden manchmal mit unheimlichen Backing Vocals, die die Brutalität extremer Death- und Black-Metal-Musik mit den alten nahöstlichen Skalen des Materials verbinden. "Death Covenant" zeigt auch die bisher stärkste Produktion der Band in den
fünfundzwanzig Jahren ihres Bestehens.
Mit "Death Covenant" haben Arallu ein bedrohliches und atmosphärisches Biest in diesem Metal-Stil geschaffen. Die Israelis haben ein grausames
Album vorgelegt, das kaum mit seinen Vorgängern vergleichbar ist.

King Gizzard & The Lizard Wizard veröffentlichen ihre 2LP ”Changes”. ”Es ist nicht unbedingt unsere
komplexeste Platte, aber über jedes kleine Stück und jeden Sound, den man hört, wurde viel nachgedacht”,
erklärt Frontman Mackenzie. In der Tat hat sich das Album über fünf ideenreiche Jahre hinweg entwickelt.
Ursprünglich als fünfter Release der Albumreihe im Jahr 2017 gedacht, ist es nun das fünfte Album, das
King Gizzard im Jahr 2022 veröffentlichen wird.
Gute Dinge kommen zu denen, die warten - und das großartige „Changes“ ist jede der 2.628.000 Minuten
wert, die King Gizzard darin investiert haben. Durchtränkt von den warmen Klängen 70er Jahre R’n’B und
geleitet von einfachen, doch facettenreichen Akkordwechseln, ist ihr fünftes Album des Jahres 2022 ein
leuchtendes Soft-Pop-Wunder.

Einige Größen der florierenden Post-Punk- und Hardcore-Szene, Gitarrist Frank Iero (My Chemical Romance), Gitarrist Travis Stever (Coheed and Cambria), Sänger Anthony Green (Circa Survive), Bassist
Tim Payne (Thursday) und Schlagzeuger Tucker Rule (Thursday/Yellowcard) haben sich zusammengetan
und L.S. DUNES gegründet
Die neue Band wird ihr Debütalbum Past Lives am 11.11.22 über Fantasy Records veröffentlichen.
Losgelöst von den Erwartungen und der Ästhetik ihrer bereits erfolgreichen Karrieren, kombinieren L.S.
DUNES ihre hymnischen Songs mit einer Menge Punk-Energie zu einem Sound, der mit nichts vergleichbar ist, was es bisher gab. Vom fesselnden, dramatischen Opener ”2022” über den knackigen, treibenden
Ohrwurm ”Like Forever” bis hin zum stampfenden, ausladenden ”Permanent Rebellion” und dem abschließenden, ”Sleep Cult” ist ”Past Lives” ein emotionaler und mitreißender Ritt.

Where the Crawdads Sing (Dt.: Der Gesang der Flusskrebse) ein mit Spannung erwarteter neuer amerikanischer Krimi-Drama-Film, der auf dem gleichnamigen Bestseller von Delia Owens basiert. Regie führt Olivia
Newman nach einem Drehbuch von Lucy Alibar, produziert wird er von Reese Witherspoon. In den Hauptrollen spielen Daisy Edgar-Jones, Taylor John Smith, Harris Dickinson, Michael Hyatt, Sterling Macer, Jr.
und David Strathairn.
Der Soundtrack, der auch die neue Single ”Carolina” von Taylor Swift enthält, wurde von dem mit
dem Academy Award ausgezeichneten Filmkomponisten Mychael Danna komponiert, der für seine stimmungsvolle Verschmelzung nicht-westlicher Traditionen mit orchestraler und elektronischer Musik bekannt
ist. Er komponierte die transkulturell inspirierte Filmmusik für ”Life of Pi”, die 2013 mit dem Oscar und
dem Golden Globe ausgezeichnet wurde, sowie Filmmusik für Oscar-prämierte und Oscar-nominierte Filme
wie ”Exotica”, ”Moneyball”, ”Capote”, ”Little Miss Sunshine”, ”500 Days of Summer” und viele mehr.

Sinnlich und hypnotisch, pendelnd zwischen minimalistischen und melodischen Tracks kommt die vierte
Veröffentlichung aus der “Morricone Segreto”-Serie vom Label CAM Sugar daher: die erstmals komplette
Veröffentlichung von Morricones psychedelisch-erotischer Musik zum Filmdrama „Quando L’amore È Sensualità“ (When Love is Lust, 1973), eines der vielen Meisterwerke des legendären Italieners.
Einige Titel waren bereits auf Compilations zu hören und haben Kultstatus bei Morricone-Fans, hier ist
erstmals der ungekürzte Soundtrack mit 11 bislang unveröffentlichten Tracks zu hören, frisch von den
analogen Originalbändern remastert.

The latest full-length from Larkin Poe, Blood Harmony is a whole-hearted invitation into a world they know intimately, a Southern landscape so precisely conjured you can feel the sticky humidity of the warm summer air. In bringing their homeland to such rich and dazzling life, Georgia-bred multi-instrumentalist sisters Rebecca and Megan Lovell fortify their storytelling with a rock and blues-heavy sound that hits right in the heart, at turns stormy and sorrowful and wildly exhilarating.

Bubbling up from the psychedelic tar pits of L.A., Frankie and the Witch Fingers have been a constant source of primordial groove for the better part of the last decade. Formed and incubated in Bloomington, IN before moving west to scrap with Los Angeles’ garage rock rabble, the band evolved from cavern-clawed echo merchants to architects of prog-infected psych epics that evoke a shift in reality. After a stretch on Chicago/LA flagship Permanent Records the band landed at yet another fabled enclave of garage and psychedelia - Brooklyn’s Greenway Records, now working in tandem with psych powerhouse LEVITATION and their label The Reverberation Appreciation Society, the groups latest effort is dually supported by a RAS / Greenway co-release. After years of searching for the specific alchemy that would tear open the cosmos, they found the formula with the addition of Shaughnessy Starr on drums in the summer of 2018. They began a new cycle and tripped into tip-on double gatefold territory, flesh-ing out their lysergic impulses into a monolith of sound that closes in from all sides. The band reached new levels of grandiosity and utilized every minute to manifest their psych-soul Sabbath in four dimensions, spilling psychic blood on a populace ready and eagerly waiting. Yet, as expansive, inventive, and immersive as any studio album might be, the band is born for the stage. As their live prowess caught the ears of some legends in their own right, the band practically lived on the road last year with stints opening for Oh Sees, Cheap Trick and ZZ Top. Along the way the constant pulpit of the stage would form ZAM into a transformative experience while plotting their next permutation of space and time. That transformation, Monsters Eating People Eating Monsters... (repeated infinitely,) rises like a Phoenix from the road tar, van exhaust, and ozone crackle of amps in heat. Once off the road it was recorded in just five blistering days. Though, while the tour may have hammered the album into shape and brought about a wind of change, those changes stretched to the band itself as well. In the wake of the tour the band’s longtime bassist Alex Bulli made his exit, with the majority of bass parts on the album being written and played by multi-instrumental magician Josh Menashe with occasional pitch in from songwriter Dylan Sizemore. Stripped to their core the band has created their most ambitious work to date, an album that takes the turbulence of ZAM and crafts it into a beast more insidious and singular than anything in their catalog. Moving forward, the band has taken on new blood. Completing their lineup, Nikki Pickle (of Death Valley Girls) will join them working the new album out roadside on bass. A new horizon of Frankie and the Witch Fingers draws near and we’re all set to follow them into the unknown.

'Songs From Planet Earth' is Deux Furieuses' third full length album, the second with Xtra Mile Recordings. Written and recorded during the last two turbulent years, Songs From Planet Earth is a beating heart signal out from this world as we fall spinning into a vortex of pandemic, isolation, avoidable deaths, political corruption, personal mourning and ultimately survival. The album documents the journey from the city to the countryside like refugees in search of sanctuary. 'Bring Down The Government' jumps on the fuzz box to demand a reckoning for all the lives. Deux Furieuses are currently members of Brix Smith (from The Fall) band, playing guitar and drums. They are touring across the UK supporting PiL throughout June; Kendal Calling, Loud Women Festival appearances and further headline and support shows in November and December.

2010 release from the New York Hardcore outfit. With a career spanning 20 years and hundreds of thousands of albums sold worldwide, Based On A True Story adds an exhilarating new chapter to the Sick Of It All legend. Doubtlessly the band's hardest hitting effort to date, Based On A True Story easily meets the high quality of its predecessor and offers tons of soon-to-be-classic Hardcore hymns like 'Dominated', 'Long As She's Standing', 'The Divide' and 'Lowest Common Denominator. It features the most catchy and powerful material the band has ever written. The album was recorded with Tue Madsen, this time at Starstruck Studios in Copenhagen, Denmark, resulting in a massive metallic heaviness.

Fangst never announced their arrival – without a warning they were just there, and so was the demand for their music. The band’s hook-laden songs were quickly embraced by audience and press alike. Suddenly there was a new challenger to the throne of Norwegian “mother tongue rock”. Fangst appeared with a bang – releasing four singles in quick succession in 2021. Seeing the band live, it’s easy to be seduced by the four band members and their magnetic stage presence. Now they’re ready with their debut album on Jansen Records. But this is hardly a musical debut for the guys who make up this four-headed beast. All members of Fangst come with heaps of musical experience, and the bare mention of their other bands – Death By Unga Bunga, Honningbarna and Hvitmalt Gjerde – will awake fond memories in every concert goer who’s ever encountered those bands. Fangst’s debut full-length will be out in the fall of 2022, and if captivating Norwegian lyricism or very, ehm…rocking rock (or even both!) is your bag, then you’ll get your fill here. The band’ sound is a result of their diverse musical backgrounds and combines to create beautiful rock music – sporadically dangerous and at times plain cute.

Unholy Black Metal from the Holy Land, drenched in Middle-Eastern tones and mystique! An invocation of thousands of years of Darkness! Hailing from the urban Israeli settlement called Ma’ale Adummim in Israel, Arallu is a five-piece Black/Death Metal act that has been around the metal underground for twenty-five years. The band got the name Arallu from the Mesopotamian mythology, as it is the name of the underworld kingdom ruled by the goddess Ereshkigal and the god Nergal, where the dead are judged. Arallu’s music revolves around the traditional ancient Middle Eastern melodies of fellow countrymen Melechesh, the high speed savagery of bands like Angelcorpse and Absu, and the atmospheric feel of legendary acts like before mentioned Melechesh and Absu. In 2019 the band had released the record called “En Olam”, and that opus has solidified Arralu’s already known talent to the underground extreme metal community. “Death Covenant” is the band’s seventh full-length studio offering and the album offers the listeners a very stunning infusion of occult Black Metal music with the ancient Sumerian and Middle Eastern sound. The riffs found in here will satisfy the listeners with its frenzy of melodic tremolo picked riffs that is intertwined with some eerie folk instrumentation. The elements in the guitar department, thrown in with a few folk instruments such as a saz and a darbuka, reveals how the band had successfully stripped metal down to its core and added a personal touch of their own special flair. them and it provides that extra punch and low-end heaviness to the overall outcome of Arallu’s music. It basically lies steadily beneath the guitars as it backs them up with some thick lines that give a more deep feel to the strings and dispenses an ominous atmosphere to the tracks. The drum section also catches the audience’s attention with a variety of destructive pummeling double bass blasting to some Middle Eastern tribal drumming that helps a lot in terms of keeping the atmosphere intact. The record is filled with high-pitched piercing shrieks and screams which create a dark and raw soundscape. These vicious shrieks are sometimes jacked up with some uncanny backing vocals that tie together the brutality of extreme death and Black Metal music to the ancient Middle Eastern scales of the material. “Death Covenant” also parades the band’s strongest production to date in their twenty-five years of existence. Arallu had created a menacing and atmospheric beast in this style of metal with their release of “Death Covenant”. These Israelis had put out a savage album that is hardly comparable to its predecessors.

Her Shadow offers dreamy pop music with moonlight melodies, heavenly hooks and Lynchian twists. The ethereal soundscapes come to life in a dream noir universe oozing with catchy choruses, Morricone motifs and vintage sounds interweave with state of the art production. The birth of Her Shadow was inevitable. Old friends, guitarist-songwriter Tomi Henttunen (Royal Lips) and keyboardist-lyricist (Kuolemanlaakso) had a versatile but very different background in making music but a shared obsession with Twin Peaks and Lana Del Rey. The original idea in 2016 was to combine the best of both worlds, and spice up the mix with film noir and dream-like elements – to make music that they love, but had never done before. They recruited the enigmatic singer Anna Carolina (Royal Lips), drummer extraordinaire Toni Ronkainen (Kuolemanlaakso) and producer-engineer Jaani Peuhu (Swallow the Sun, Lord of the Lost etc.), and recorded a four-song demo. They instantly got signed to Svart Records, and started working on their debut album. After five long years of hard work, it is finally ready to be released upon the world. As they say, good things come to those who wait: The Ghost Love Chronicles will be released on November 11, 2022. The album was produced by musical and visual mastermind Henttunen, mixed by Sampsa Väätäinen (Ismo Alanko, Neøv etc.) and mastered by Jaime Gomez Arellano (Ghost, Paradise Lost, Opeth etc.). The songs range from the mellow Motown mood of Fifth Season to the modern pop banger Kinda Love You, from the Morricone-inspired Vigilante to the nightmarish haunted house thriller What Hides in the Dark and from eerie playfulness of White Lane to ghoulishly beautiful Devil Inside. It remains to see, if The Ghost Love Chronicles will grow into a hit album or a cult classic, but it sure has the potential for both. Slip into something comfortable, open the doors of your perception and enter realm of Her Shadow. HER SHADOW Anna Carolina – lead vocals Tomi Henttunen – guitar, bass, keyboards Markus Laakso – keyboards, backing vocals Toni Ronkainen – drums and percussion Harri Hyvönen – live bass Otto Daavitsainen – live guitar