Search:sy

Duane Pitre returns to Imprec with Omniscient Voices, an articulate, intense and emotionally resonant set of five pieces for justly tuned piano and electronics.

Omniscient Voices is a uniquely distinct work that follows Pitre's trilogy of releases which culminated with 2015’s Bayou Electric and included the critically acclaimed Feel Free (2012) and Bridges (2013) albums. Where those albums were rooted in long form pieces, Omniscient Voices is a collection of shorter pieces, offering more harmonic variety than previous works, with a unique sound and feel that is still unmistakably the work of Duane Pitre.

In 2019, after a five year period where Pitre did not focus on outward facing music, but instead on his own personal practice, a small idea in the form of a question came to him: would the combination of his latest computer- and electronic-based experiments, used in conjunction with justly tuned piano, produce interesting results; simply put, would it “work”? Concurrently, Pitre was studying a handful of Morton Feldman scores for their focus on tonal clusters, reading a book on Arvo Pärt’s life and work, and contemplating the pulse-based rhythms of Steve Reich and Phillip Glass.

In 2020, with no intention of making a new album, the composer tried to answer this question. The results would spawn five pieces that would become Omniscient Voices. On this new work, Pitre finds himself giving equal priority to both piano and electronics, utilizing his Max/MSP-based generative network to real-time convert precomposed piano motifs, into data, which is then used to communicate with two polyphonic, microtonal hardware synthesizers whose patches Pitre authored; this process generates the electronic component of the album. Pitre also utilizes controlled improvisation to interact with the piano-reactive electronics in a spontaneous and inspired manner, going back and forth between these two pianistic approaches. In all, this approach creates a “musical feedback loop” of sorts.

Despite Omniscient Voices being the culmination of 15 years of hard work and inspiration, this beautiful album somehow materialized in a natural, intuitive and effortless way (like any artist's best work.)

Artist's statement: “When making the pieces that would become Omniscient Voices, I often viewed the piano as human action, a single note becoming a single gesture that has the potential to change the electronic environment, the electronics becoming the environment surrounding that human in the natural world, who then has the power to change their actions based on their surroundings. All actions have consequences. The interconnectedness of everything. Single actions making waves of change.”

RIYL: Arvo Pärt, Morton Feldman, Steve Reich, Phillip Glass
Mastered and cut by Golden and pressed at RTI for maximum fidelity.

After a life-threatening illness, Dagobert Böhm returns with a collection
of dreamy pieces between folk and jazz
On it, Böhm's sensitive guitar lines are complemented by Fender Rhodes, vintage
synthesizers and discrete electronic beats. Guests like Karl Seglem on
Saxophone, Knut Hem on dobro as well as pedal- steel and percussion virtuoso
Ómar Guðjónsson add further impulses.'Within a Dream' is not supposed to turn
the world of music upside down. It's just supposed to make it a little more
beautiful - more dreamlike, if you will.

Stup Religion' is the second album of the French band Stupeflip,
originally released in 2005
It takes up the formula of the first album by prolonging their universe: bad taste
humour, provocative riffs, and lyrics sometimes absurd at first sight, but which
often have a hidden meaning. The musical genre of the album is unclassifiable,
between rap, rock and French variety, the various characters of the imaginary
universe of the group can be understood as having different musical tastes.
Indeed, the character of Pop Hip is a dissident who wants to make hits and pop
songs, whereas King Ju is a character who seems threatening and who will find
himself more in tracks mixing rap and metal. 'Stup Religion' is an unclassifiable
but stands out as a cult album of French rap of the last 15 years. 2021 edition
with remastered cover and double transparent orange vinyl.

This the debut is being repressed for the first time in a few years. Red Fang is the formation of long time friends and collaborators Bryan Giles (Last of the Juanitas, Party Time), Aaron Beam (Dark Forces, Lachrymator), David Sullivan (Party Time, facedowninshit, Shiny Beast) and John Sherman (Party Time, Bad Wizard, Trumans Water, All Night). Unleashed on New Year's Eve of 2006 in Portland, Oregon, Red Fang stormed out of the gates, introducing a sweaty, seething basement to a new kind of unforgettable fist-pumping, beer-chugging rock music. Since that night, the band has continued with the same intensity, energy, and intimacy to quickly become a touring juggernaut, playing shows all over the US with bands like The Melvins, Big Business, and The Sword, to name just a few. Residing somewhere between Black Flag and Black Sabbath, Red Fang recall a time when rock was more urgent and horrifying. Synthesizing a variety of heavy music influences into their own distinct musical identity, the band easily shifts from barn-burning punk to mid-tempo, hyper-distorted bass destruction all while maintaining a cohesive sound. Red Fang create gigantic rock songs that are easy to listen to (not easy listening, mind you) and qualify the simultaneous usage of both the thinking and the banging head, which are usually mutually exclusive. Their instrumentation is fluid and effortless, and the vocals are delivered melodically and forcefully, with enough rasp and effect saturation to fit nicely within the music. Paired with elemental imagery, the lyrics are immense and satisfying without any pretense.

Pioneering Kansas City, MO emo rock band The Appleseed Cast's 2002 Deep Elm release 'Lost Songs' is now available to pre-order on vinyl via Thirty Something Records. Comprised of material recorded after the band's 1998 debut 'The End Of The Ring Wars' and before 2000's 'Mare Vitalis', 'Lost Songs' displays the transitional phase of the band in between the two albums. Carefully uniting old-school and new-school songwriting styles, 'Lost Songs' combines the bitter emotional release of the band's earliest recordings and the meticulous soundscapes crafted through endless hours of studio time on later recordings. Dynamic song structures, hurricane-force rhythms and ultra-vivid lyrics paint bold portraits of disillusion and heartache, while at other points 'Lost Songs' overflows with swells of symphonics, feedback and electronics. The title joins the already released (and still available) vinyl reissue of the band's long out-of-print 2000 Deep Elm sophomore release 'Mare Vitalis.' Ominous, powerful, and magnetizing like the sea, 'Mare Vitalis' is dreamy and charming, and flows from a tide of moody energy with guitars that sweep around complex, precision rhythms. A masterpiece of timeless inspiration, the record is absolutely stunning.

Vice Squad are a UK Punk Rock band who’s first single releases included the classic ‘Last Rockers’ 7” in 1981. This was followed by the landmark albums ‘No Cause For Concern’ in the same year and ‘Stand Strong Stand Proud’ in 1982 which were both released on EMI. Since then Vice Squad have delivered short sharp songs with incisive political lyrics and a dash of humour spat out over a thunderous rhythm and machine gun Rock ’n’ Roll guitars. Their latest releases are the EPs 'Born In A War' and 'Ignored To Death V2' taken from the forthcoming album ‘Battle of Britain’ set for release on their own Last Rockers label in May 2020. The band have become 100% DIY since forming Last Rockers Records in 2009. In keeping with the DIY ethic the previous albums were recorded in the band’s own ‘Sci Fidelity’ studio South London and the new album ‘Battle of Britain’ continues this with the band maintaining full artistic control with the benefit of global distribution via Cargo. Their last album ‘ Cardboard Country’ was launched on the back of a very successful Pledge campaign raising funds for the Shelter homeless charity in line with the album title which was inspired by 'Cardboard City', the name given to the settlement of homeless people living in cardboard boxes near London's Waterloo station. Vice Squad is fronted by raucous voiced singer/guitarist Beki Bondage who was famed for being a teenage champion of Animal rights long before the current popularity of veganism. Vice squad’s song ’Humane’ was one of the first ever Animal Rights songs. Beki has been featured on the front cover of a number of influential music tabloids such at Melody Maker, NME, Sounds, Record Mirror and Smash Hits. After a hiatus, Beki formed a new version of Vice Squad in 1997 featuring longstanding members of her post VS outfit The Bombshells and they have released several quality albums of powerful punk songs that have been very well received across the world. Vice Squad are considered one of the most influential punk rock bands of all time, paving the way for other female Punk and Rock singers and influencing male performers such as Dave Grohl of Nirvana and Foo Fighters fame who was introduced to Vice Squad via his sister’s record collection. The first rule of Punk is there are no rules and Vice Squad ably illustrate this with ‘Battle of Britain’. Written, Recorded and Mixed by Beki Bond and Paul Rooney in their home studio. The 13 track album opens with the blistering ‘Ruination’ which cuts through the bullshit of small time promoters and blaggers with consummate swagger and melody while ‘I Dare To Breathe’ is an amphetamine driven anthem to paranoia. ‘When You Were 17’ is almost-tender and tells of first tattoos and under age booze whilst the more chilling ‘Ignored To Death’ rails against isolation and homelessness. The explosive ‘Born In A War’ rages along like a missile ravaging a third world country and warns ‘See how they treat refugees? That’s how they’ll treat you and me’. Elgar’s ‘Nimrod’ reworked with a pulsating industrial bass segues into title track, 'Battle Of Britain' where Beki's vocals soar like a Spitfire over the crunching de-tuned riff and spit fury over the hypocrisy of putting war memorials before people. The dystopian ‘Poverty Face’ hits you with the opening line ‘Disinheriting the meek, slyly killing off the weak’ and is counter balanced by the more upbeat ‘How The Other Half Lives’. ‘No Evil’ is a relentless attack on the normalisation of the suffering and death of billions of animals for the meat industry. Battle of Britain's hard hitting collection of anger and riffage pulls no punches in covering topics from austerity and factory farming to the pernicious influence of the Mainstream Media - ‘Led by lies lambs to the slaughter, tax exiles say who you vote for’. Brexit, fake patriotism and cognitive dissonance all get a good kicking too. The penultimate track, 'You Can’t Fool All Of The People' mixes baritone guitar with violin and Celtic rhythms climaxing in an epic James Bondesque heavy guitar/orchestral blend and breaks every rule in the Punk Police hand book whilst pleading for unity against a rigged political system. ‘Pulling Teeth’ with its ominous riff and hilariously frustrated lyrics ‘Dithering jibbering solid as jam, is it fair I’m both the woman and the man’ closes the album in manic style

Vice Squad are a UK Punk Rock band who’s first single releases included the classic ‘Last Rockers’ 7” in 1981. This was followed by the landmark albums ‘No Cause For Concern’ in the same year and ‘Stand Strong Stand Proud’ in 1982 which were both released on EMI. Since then Vice Squad have delivered short sharp songs with incisive political lyrics and a dash of humour spat out over a thunderous rhythm and machine gun Rock ’n’ Roll guitars. Their latest releases are the EPs 'Born In A War' and 'Ignored To Death V2' taken from the forthcoming album ‘Battle of Britain’ set for release on their own Last Rockers label in May 2020. The band have become 100% DIY since forming Last Rockers Records in 2009. In keeping with the DIY ethic the previous albums were recorded in the band’s own ‘Sci Fidelity’ studio South London and the new album ‘Battle of Britain’ continues this with the band maintaining full artistic control with the benefit of global distribution via Cargo. Their last album ‘ Cardboard Country’ was launched on the back of a very successful Pledge campaign raising funds for the Shelter homeless charity in line with the album title which was inspired by 'Cardboard City', the name given to the settlement of homeless people living in cardboard boxes near London's Waterloo station. Vice Squad is fronted by raucous voiced singer/guitarist Beki Bondage who was famed for being a teenage champion of Animal rights long before the current popularity of veganism. Vice squad’s song ’Humane’ was one of the first ever Animal Rights songs. Beki has been featured on the front cover of a number of influential music tabloids such at Melody Maker, NME, Sounds, Record Mirror and Smash Hits. After a hiatus, Beki formed a new version of Vice Squad in 1997 featuring longstanding members of her post VS outfit The Bombshells and they have released several quality albums of powerful punk songs that have been very well received across the world. Vice Squad are considered one of the most influential punk rock bands of all time, paving the way for other female Punk and Rock singers and influencing male performers such as Dave Grohl of Nirvana and Foo Fighters fame who was introduced to Vice Squad via his sister’s record collection. The first rule of Punk is there are no rules and Vice Squad ably illustrate this with ‘Battle of Britain’. Written, Recorded and Mixed by Beki Bond and Paul Rooney in their home studio. The 13 track album opens with the blistering ‘Ruination’ which cuts through the bullshit of small time promoters and blaggers with consummate swagger and melody while ‘I Dare To Breathe’ is an amphetamine driven anthem to paranoia. ‘When You Were 17’ is almost-tender and tells of first tattoos and under age booze whilst the more chilling ‘Ignored To Death’ rails against isolation and homelessness. The explosive ‘Born In A War’ rages along like a missile ravaging a third world country and warns ‘See how they treat refugees? That’s how they’ll treat you and me’. Elgar’s ‘Nimrod’ reworked with a pulsating industrial bass segues into title track, 'Battle Of Britain' where Beki's vocals soar like a Spitfire over the crunching de-tuned riff and spit fury over the hypocrisy of putting war memorials before people. The dystopian ‘Poverty Face’ hits you with the opening line ‘Disinheriting the meek, slyly killing off the weak’ and is counter balanced by the more upbeat ‘How The Other Half Lives’. ‘No Evil’ is a relentless attack on the normalisation of the suffering and death of billions of animals for the meat industry. Battle of Britain's hard hitting collection of anger and riffage pulls no punches in covering topics from austerity and factory farming to the pernicious influence of the Mainstream Media - ‘Led by lies lambs to the slaughter, tax exiles say who you vote for’. Brexit, fake patriotism and cognitive dissonance all get a good kicking too. The penultimate track, 'You Can’t Fool All Of The People' mixes baritone guitar with violin and Celtic rhythms climaxing in an epic James Bondesque heavy guitar/orchestral blend and breaks every rule in the Punk Police hand book whilst pleading for unity against a rigged political system. ‘Pulling Teeth’ with its ominous riff and hilariously frustrated lyrics ‘Dithering jibbering solid as jam, is it fair I’m both the woman and the man’ closes the album in manic style

For fans of Tall Heights, Sufjan Stevens, & Indie Folk! Steadily building their artistic style and audience for the past seven years, New Jersey based alternative folk band Cold Weather Company carries a diverse sound, rich with harmonies and instrumental builds. The band combines the various writing approaches and influences of its three members, Brian Curry, Jeff Petescia, and Steve Shimchick, to create unique arrangements with intricate layering. Over the past few years, the band has earned over eight million cross-platform digital streams and supported acts such as Tall Heights, Jamestown Revival, and Juke Ross. On their fourth full-length album, Coalescence, Cold Weather Company continues to expand their acoustic-forward, alternative folk sound into new territory. With delicate additions of synths and electronic instruments, as well as a broadened palette of horns, percussion, strings, and harmonies, "Coalescence" explores each song down to its smallest sonic niche. Conceptually, the album revolves around growth by highlighting our capacity to better ourselves and our connections through introspection and reflection. Often occurring cyclically, especially in nature, the idea of growth also inspired the release process for the album which will be split into three parts, each representing a different conceptual facet. "With their spot on songwriting and boisterous melodies, Cold Weather Company is set to follow in the alt-folk leaning sounds of Avett Brothers, Ben Howard George Ezra

It’s likely that Dave East was both ready and willing to lock in for a full-length Harry Fraud produced album well before he heard Fraud’s work with Jim Jones (The Fraud Department) and Benny the Butcher (The Plugs I Met 2). But it’s just as likely that the synergy and flawless execution of those projects couldn’t have hurt East’s inclination. Fraud shows up for East on HOFFA the same way he did for Jones and Benny, finding a sturdy balance between moody synth lines, obscure rock samples, and ’90s-hip-hop drum patterns to act as an idyllic backdrop for East’s hand-to-hand street-life memories, basketball references, and straight-faced acknowledgment of the way drugs have affected his own family. Fellow barsmiths Jim Jones, G Herbo, Benny the Butcher, and Curren$y round out the features, but longtime Dave East fans might be most excited to hear a new verse from Kiing Shooter, the Queens-hailing Dave East associate who passed away in 2020 following complications from COVID-19.

Foot are: Don Fleming, Jim Dunbar and Thurston Moore - vintage analogue synthesizers. This album has been Remodelled by Tim Newman and his associates from the Track 'Early Foot', which originally appeared on the God Bless Records CD 'foot' in 1998, recorded as part of the Canal Street Series at Jimbo's Pad, NYC in the early days of Nemocore, winter 1996. Liberated from the traditional constraints of time signature and key signature and fixed changes. Where sound responds to music. Tracklist Side 1 01. Late Foot (23.03) Side 2 01. Foot Resource 1 (4.04) 02. Foot Resource 5 (3.00) 03. Foot Resource 2 (2.37) 04. Foot Resource 4 (8.51) A Remodelled Fucked Up Instant Mayhem Production Side 1: Remix and additional production by Tim Newman and Whitehall Rec Side 2: Remix and additional production by Tim Newman, Whitehall Rec and Remote

Transparent Red Single Colour Vinyl Edition! YEAR OF NO LIGHT`s lengthy, sprawling compositions of towering walls of guitars and sombre synths irradiate a sense of dire solemnity and spiritual gravity, and couldn't be a more fitting soundtrack for such grim medieval scenarios. But there is also the element of absolution, regeneration, elevation, transcendence in the face of death. Consolamentum is dense, rich and lush and yet somehow feels starved and deprived. With debut album Nord (2006) and sophomore release Ausserwelt (2010), the band made themselves a name in the European avant-metal scene. Extensive tours of Europe, North America and Russia in 2013 and 2014, including two appearances at Roadburn festival, Hellfest and a spectacular performance in a 17th Century fortress in the Carpathian mountains introduced them to a broader and quickly growing international audience. The cinematic scope of their music implies that YEAR OF NO LIGHT are a group of artists that pay a great deal of attention to their visual representation, from the classy album artworks and merch designs to the carefully designed lighting design of their live show. With their seminal 3rd album Tocsin, released in 2013, YEAR OF NO LIGHT reached the peak of their career thus far - a logical decision that Consolamentum was made with the same team again: recorded and mixed by Cyrille Gachet at Cryogene in Begles / Bordeaux, mastered by Alan Douches at West West Side. "We wanted this album to sound as organic and analog as possible", comments the band. "All tracks were recorded live. The goal was to have the most natural, warm and clean takes possible, to give volume to the dynamics of the songs. We aimed to have a production with a singular personality." Consolamentum is huge, poignant, frightening, sublime, smothering and cathartic - and, much like its predecessor, "audacious, memorable and supremely confident." (Decibel magazine).

Minimal Wave presents an exquisite 7" EP release by Martin Lloyd entitled "L'Amant Electronique". Martin is mainly known for his Oppenheimer Analysis (Minimal Wave) and Analysis (Survival Records) projects, yet through the years he recorded over two dozen tracks on his own, most of which never saw the light of day. The four selected tracks were recorded between 1980 and 1984 in his own "Feedback Studios" in Battersea , London. Martin Lloyd delivers vocals via the vocoder and carefully layers synth melodies which range from upbeat and danceable, to what could be the soundtrack to a 1981 post-apocalyptic science fiction film. The record is pressed on white vinyl with a heavy black jacket (spot gloss) and is limited to 999 hand-numbered copies.

Wendell Harrison was born in Detroit in 1942 where he began formal jazz studies for piano, clarinet and tenor saxophone. At 14, while still in high school, Harrison started performing & recording professionally with artists such as Marvin Gaye, Grant Green, Sun Ra, Hank Crawford … and many others.
In 1971, Harrison began teaching music at Metro Arts (a multi-arts complex for youth) where he also connected with Marcus Belgrave, Harold McKinney and Phil Ranelin…soon after they formed the (now legendary) Afro-centric TRIBE record label and artist collective. TRIBE used the Metro Arts complex as a vehicle to convey a growing black political consciousness. Wendell Harrison also published the very popular TRIBE magazine, a publication dedicated to local and national social and political issues, as well as featuring artistic contributions such as poetry and visual pieces.
In 1978 Harrison and McKinney co-founded REBIRTH, a non-profit jazz performance and education organization, in which many notable jazz artists have participated. Around the same time Wendell Harrison also created the WENHA record label and publishing company, which released many of his (now classic) recordings as well as those of other artists, such as Phil Ranelin, Doug Hammond and Reggie Fields (The Real ShooBeeDoo).
In the early 1990s, Wendell Harrison was awarded the title of “Jazz Master” by Arts Midwest. This distinction led Harrison to collaborate with fellow honorees and gave him the chance to tour throughout the United States, Middle East and Africa. Even to this day Wendell Harrison's recordings for the TRIBE, WENHA and REBIRTH labels have a large worldwide fanbase.
It is on WENHA that Harrison released the opus: DREAMS OF A LOVE SUPREME (1980), which we are presenting you today.
DREAMS OF A LOVE SUPREME is a monster album that features an all-star line-up that includes Phil Ranelin (Freddie Hubbard, Solomon Burke, Mulatu Astakte) on trombone, Harold McKinney (Tribe) on Keyboards and Roy Brooks (Yusef Lateef, Chet Baker, Mingus) on percussion. Although you can hear the 80ies creeping in with a smoother sound, more synths, and disco/R&B vocals… this remains a very spiritual (and soulful) jazz record. The record’s an irresistible blend of soul jazz combined with funky electric instrumentation…a groovy sound which is very much of its time, yet overtly timeless and as relevant today as it was back when it was initially released.
Tidal Waves Music now proudly presents the first ever vinyl reissue of ‘Dreams of A Love Supreme’ since its release in 1980. This official reissue is now available as a deluxe 180g vinyl edition (limited to 500 copies) and comes with an unreleased bonus track.

Soul music changes just like the weather. Different styles, rhythms and dances have been emerging over the years, making the genre so exciting and assorted. For almost a decade, in the post-disco era, synths and drum machines ruled the day, but by the mid 90s a group of new artists were turning their attention to the golden age of soul music.
One of those names was Adriana Evans, whose debut album from 1996 surprised soul fans around the world. Adriana boasts a solid musical background and this can be heard on the record. Her mom was the jazz singer Mary Stallings and she was also the goddaughter of Pharoah Sanders, so she has been surrounded by music since childhood.
Both choices here are taken from that outstanding album. "Looking For Your Love" is a beautiful mid-tempo tune which could have been recorded by The Emotions or Phyllis Hyman. On the reverse, "I'll Be There" is a sublime piano and flute-led ballad in the vein of Minnie Ripperton.

When Roberto Carlos Lange, the musician known
as Helado Negro, began writing ‘Far In’
immediately following the release of his acclaimed
2019 ‘This is How You Smile’, he could not have
predicted that we would soon need to learn how to
stay at home and be the stars of our domestic
dancefloors with intimate and online communities.
The titular pair in ‘Gemini and Leo’ stay indoors to
discover each other anew with music recalling
Lange’s youth growing up in South Florida
listening to 80s club songs, and their return
sampled in 90s hip-hop.
Visions past and future meet in a euphoria of
uptempo drums, Jen Wasner’s (Flock of Dimes)
funky bassline, and Opal Hoyt’s (Zenizen) galactic
swirl of warm and steely synths and bright backing
vocals.
What was a prophesying rehearsal for the
musician will, we can hope, soon be our fresh
start, a choice to bring that energy home, or go out
to meet it.

After the international success of Thunderbirds, Gerry and Sylvia Anderson turned their attention to a deadly threat from Mars. Seeking revenge for an attack on their home planet,

the Mysterons plot to use their powers to bring Earth to its knees.

Across 32 episodes broadcast during 1967 – 1968, the series is remarkable for moving away from the more caricatured puppets of previous shows –

they have more realistic body proportions and the storylines are much more violent and darker in tone. Something reflected in the music which has a

more militaristic feel to it although, as always, composer Gray offers up occasional lighter tracks to break up the mood.

The opening narration of each episode sums it up –

"The Mysterons: sworn enemies of Earth. Possessing the ability to recreate an exact likeness of an object or person. But first, they must destroy...

Leading the fight, one man fate has made indestructible. His name: Captain Scarlet."

The Captain Scarlet LP will be sixth album in the series which includes UFO, Supercar, Thunderbirds, Fireball XL5 and Space: 1999.

*Limited edition of 200 copies, heavy weight vinyl, comes with poster* fmvee joins Queeste with who do u love?, an EP of fractious songs recorded over a tumultuous four-month period in Los Angeles. Having debuted in 2018 with a set of club contortions touching on jungle and 2-step, the US artist returns with a work of intense self-reflection. Lived experiences are transmuted into an amorphous bricolage of pummelling kicks, synthetic textures, and diaristic details, what they describe as an act of "remembrance." Working and living in LA, the "grind" alongside "aspirational partying," and the confrontation of depression during an intense relationship, informs the EP on levels both sonic and thematic. The slippery rhythm and melodic stabs of 'the way you see yourself' embodies a state of flux, also recalling the early experiments of the LA beat scene. Distant jazz drumming fills its peaceful coda before 'everythingUneverKnewUwanted' introduces an echo lifted directly from the artist's life: a trickling courtyard fountain. This first phase of the release finds resolution with 'thewayothersseeyou,' a conceptual mirror to its start, and one which carries a notable shift in tone; gleaming percussion has given way to ominous synths. Despite the EP's personal nature, collaboration is crucial. 'Seed Perfuming (LoLo v665)' is an fmvee original transformed into a cascading breakbeat by New York producer and engineer Loric Sih AKA LoLo, an ecstatic yet familiar form nestled amidst otherwise bruising encounters. 'sobbing' follows, a digital-age ballad of original lyrics exploring dependency: emotional, physical, and otherwise. It's a poignant conclusion to an appropriately hallucinogenic collection, an intoxicating chemistry of love and loneliness co

The sixth release on Phoq U Phonogrammen, the sordid and rash U-TRAX sublabel, may be from its least known artist, but it is our personal favorite Phoq U release. The style can perhaps best be described as acid funk. Though the drums and bass lines generally are rather tight, all tracks have these quirky synth lines that give them a rather funky, dark 'cyborg feel'.
Lynx is Reyer Caderius van Veen - and he didn't chose that name himself. Reyer is from Groningen, the mayor city in the most northern region of The Netherlands. It's a vibrant student town, with lots of music going on.

In the 90s, Reyer participated in a techno-foundation, together with Thee J. Johanz (Ballyhoo Records) and Johan Sagel, who released a 12" as Jo-I on U-TRAX in 1995. Together with Johan, Reyer also formed a band called L.A.P. 01 (Live Acid Performance), which released a 12", a 10" and a remix on Jan Liefhebber's Highland Beats and a track on Ballyhoo Records (BALL 100).
Harsh starts off with some terribly hard and high tones, that sound like a nuclear plant is going to melt down. The ferocious bassdrum and grunting acid bass line add to the uncomfortable mood.
What makes us really happy is Sex On Jupiter. It's a rushed track that completely opens up around the 1:20 mark with a desolate, yet funky sawtooth 303 bassline.

On the flipside, Changes brings a nice pumping rhythm combined with a rolling bassline with all sorts of disturbing sounds on top.
The EP closes off with another highlight of darkness: Dark Mission. The track has a lovely flow, but really starts to space you out as soon as a hoarse sounding pulsating synth spreads it wings across the deliciously bubbling 303.
To be short: this is an uncomfortable record, and we love it!

Original release date: August 1996.

The second release in January to celebrate the 25th anniversary of Frank de Groodts career as a recording artist is a re-press of his legendary Sonar Bases 4 10 double 12 . Exactly 21 years ago, in January 1997, Frank elevated to electro stardom with this astonishing combination of dark electronica and electro beats.

Frank at the time lived just outside the city of Amersfoort, which is where he was born and lives again these days, some 30 minutes northwest of Utrecht. His first ever release in January 1994 was a techno EP on U-TRAX, as Pieces of a Pensive State of Mind. Later that year, he released his first 12"-es on Djax records as The Optic Crux, and he continued to keep making up artists names in the following 25 years, like Fastgraph and The Operator. He is also one half of the live outfit Random XS (together with DJ Zero One), collaborated with Arno Peeters (a.k.a. Spasms) as Urban Electro and with Detroit's Dennis Richardson as Ultradyne. And that s not even all of his alter egos.

The sound of these eight unique tracks called for a new moniker back in the nineties: Sonar Base (ironically misspelled on the original release as Sonar Bass). All track on this re-press have been remastered for maximum impact. The double vinyl goodness kicks off with Earth Probe, that very subtly creeps towards us, before it kicks in with a rather obese bassdrum. As if Frank wanted to ease his listeners into his then new sound, this track basically is in techno/acid style, but has the slower tempo that characterizes the rest of the electro tracks of this release.

Immediately following, is the unrivaled beauty of Welcome To Sonar Base #4, a track that slowly builds up before it takes us on a deep space journey at two thirds. The 11 minute Sonar Base #5 has been a DJ favorite for 21 years, reaching out to both electro and techno lovers, while Sonar Base #6 is the type of ultra-pure electro that really puts your woofers to the test.

Arrival At Dwell Probe is another one of our favorites, with superfine beats, desolate voice samples and deep and moody synths. Very musical, truly a top piece that will leave you totally unprepared for Blunted. This track has the rolling type of hiphop-style beats that mix well with LL Cool J's Mama Said Knock You Out, but of course has the space-station atmosphere that makes it unmistakably a Sonar Base track.

The fast pace and merciless beats of Intergalactic Anecdote rush us to the finale: Sonar Base #10, a worthy closing track, with deep bassdrum patterns and melancholic strings that also please fans of broken beats. It stops and goes and keeps demanding your attention, making you wanting to go back again to the first track disc and start your Sonar Base trip all over again.

The third release on U-TRAX in 1993 was also a third debut, this time by Natasja Hagemeier and Jeroen Brandjes. Early in their career, they used several artist names, but became most commonly known as The Connection Machine. With their debut mini-album The Dream Tec Album they more or less described their style: dreamy techno. It became an instant Dutch techno classic and U-TRAX is proud and delighted to offer a fully remastered re-release, including three never before released bonus tracks (one of which is digital-only).

Natasja and Jeroen resided in Utrecht back in the 90s. In 1991 they assembled all their ideas and recorded the track "24 Hours" with DJ Paradize. Soon after this experience, they started to buy their own gear, all strictly MIDI (which wasn't too obvious in those days). In their early recording years, they had three producer-names (Syndrome, The Connection Machine and Bitch&Bites), that were all collected under the The Utroid Machine Missions umbrella, which was used for their debut on U-TRAX.

All tracks on The Dream Tec Album are The Connection Machine's earliest works, from the 1991/1992 years.

"An Overflow of the Mind" is a beautiful, dreamy track with almost divine sounds and strange voice-samples that serves perfectly as an introduction to their entire repertoire.

Their first production was "24 Hours", and what a brilliant one it is! A well-known jazz-musician talks about a "24 hour party going on", on top of a sinister and trancey rug, woven of sampled sounds from pioneers in electronic music and nailed down to the floor with a deep pounding bassdrum. At the time they made this track, 141 bpm was unbelievably fast...

"Evilish Cosmos" is all about a very sad and personal emotion, so everything we say about it will be absolutely wrong. Just listen to the meandering piano line, distorted voice samples - and feel it.

The first bonus track on this release is "Recognized Pain", which was intended to be part of the original The Dream Tec Album. It had appeared on the Phuture Classical Section C cassette in 1993, on the famous Drome Tapes label that formed the roots of U-TRAX. It truly is an amazing track: pure sonic terror with haunting rhythms, psychedelic synth lines and shards of voice samples that make the listener feel slightly uncomfortable.

"X_Manray" is many electronic music lover's favorite track. It is sooo deep that it is hard not to get hypnotized by it. Warm strings are coupled with deep beats that show up and disappear every now and then. Could serve perfectly to start off any DJ's set, as long as she or he has the guts.

Though "Braindrain" is probably the most danceable track on this album, it is carefully designed to tease the listener. Everything in this track drops in too late and every tone, melody or loop last exactly a few bars too long. Designed as a DJ-teaser and so it is.

The second bonus track, "Cafe d'Anvers", is another previously unreleased work, of which unfortunately no master recording was saved. All that is left, as far as we know, was an old VHS Hifi tape from the U-TRAX Archives. And that is where this bonus track was taken from. Mastering engineer Thee J Johanz managed to restore the quality of the recording somewhat, while at the same time maintaining its dark, clubby sound, a tribute to the famous club of the track's name in Antwerp, Belgium.

"Dream Affected Dream" is one of the most recent productions on this album. It was recorded with CNN playing live on top of it. At this exact moment, CNN was having an interview with David Koresh, the leader of the infamous Branch Davidians sect from Waco, Texas, while they were under siege by an armed police force. Natasja and Jeroen were just ready to record Dream Affected Dream, and spontaneously decided to mix in the audio from CNN. Not very long after that, the cult members set fire to themselves. A very strange and oddly funky track, that also serves as a time-document.

The final track is another bonus track. Like Cafe d'Anvers, "Voight-Kampff" is taken from on old U-TRAX VHS Hifi tape and masterfully mastered into a lovely relaxed dreamtech piece. Very suitable to start the Sunday after a long night of clubbing. This track is available for free to buyers of the complete digital album only.

Original release date: July 1993.

Habibi Funk presents a selection of works by Algerian-born, Amazigh artist Majid Soula. Majid’s music blends the best of Arab-disco, highlife and groovy funk into something wholly unique.

Born in Kabylie, Algeria - a place that remains fundamental to his career - Majid Soula is a self-made musician, artist and producer. With no formal music education, Majid’s tenacity has led to a career that is still blossoming. His synths, driving drums, guitar & strong lyrics make a unique sound. A strong proponent for the rights of the Amazigh, he has a band that to this day plays shows, most linked to cultural events of the Amazigh diaspora in France, as well as in Belgium, Russia the UK and Sweden. He was part of a new wave of widely popular and successful Kabyle artists in the 1980s, such as Ait Menguellet, Lounès Matoub, Takfarinas, Idir and many more.

Habibi Funk as a label is dedicated to re-releasing music from “The Arab World”, but this release shows how reductive this term can be, as the countries from North Africa and West Asia being summarized under this term include a vast number of languages and identities. Obviously, headlines sometimes come with limited space, and one can’t avoid using terms that paint a half-finished picture. That being the case, however, we are even more happy that Majid Soula liked our idea to work on a release of a selection of his music with us. The tracks here are incredible and need to be introduced to a new generation of listeners.

For Majid Soula music is more than just entertainment. He considers himself an activist through music, and foremost a “chanteur engagé”, as he says of himself: „I take my inspiration from the daily life of my people and I share all their aspirations, mainly the official recognition of Tamazight as a language, culture and identity.”

He still works on new music in his small home studio in Belleville and occasionally plays concerts for the Amazigh community of the city.
We sincerely hope that for you reading this and listening to Majid’s album, his music will have the same revelatory feeling it had on us, and that this will be part of a momentum that will allow Majid to keep on working, playing, and sharing his message for many years to come.

Marshall McLuhan’s famous edict ‘the medium is the message’ has never been more apt than with regard to modern remix culture. Although the idea of the remix goes way back to the Jamaican dub pioneers and New York disco remixers of the 1970s, the form didn’t truly come into its own until the acid house explosion of the 1980s, when remixers’ credentials often subsumed — and sometimes surpassed — the original source material. Some, among them our lost friend Andrew Weatherall, used remixing as a springboard into multiple other directions, and became auteurs in their own right.

Forged in the white-hot heat of post-acid house Britain, these Heavenly remixes are perfectly weighted with respect and irreverence, the remixer in each case carefully chosen to add heft to the song (as on Al Breadwinner’s dubwise reworking of Mattiel’s ’Guns of Brixton’— the pairing more a game of chess than a best-of-three arm wrestle).

Although Heavenly was founded in the wake of huge upheavals in electronic music, it was still imbued with its own curious parallel life. I’ve always thought of Heavenly as one of the UK’s alt-pop labels; a place where brilliant pop bands live and record, if the general public would only realise. Some of them have ended up in the real, actual charts (Saint Etienne, Doves), but that’s missing the point about Heavenly, who are, like Factory and Fast Product before them, pop music’s conscience.

There is no sense of order to this compilation and we make no apologies. It’s the Heavenly way. Think of it as a present from Loki, the Norse god of mischief. You’ll find a smattering of older tracks: album openers Saint Etienne are taken on a Poseidon Adventure with Underworld, who inject ‘Cool Kids of Death’ with typically manic energy. Elsewhere, ’90s Brum duo Mother add dancefloor pzazz to Espiritu’s innate glamour on an all-funked-up reworking of ‘Los Americanos’, and Mark Lusardi’s remix of Moonflowers’ ‘Get Higher’ is an early Heavenly classic.

On ‘Terracotta Warrior’, a perfect, psyched-out, Mancunian union is created betwixt Jimi Goodwin and Andy Votel, whilst Goodwin cohort Simon Aldred, in his Cherry Ghost guise, receives a proper Tamla-Motowning from Richard Norris (aka Time & Space Machine) on an inspired cover of Cece Peniston’s glam-house hit, ‘Finally’.

There are several of Heavenly’s current darlings here too. One of the most exciting young British prospects, Yorkshire’s Working Men’s Club, effectively remix themselves, as Minsky Rock — WMC’s Syd Minsky-Sargeant and producer Ross Orton — cleave ‘X’ into a riotous industrial racket. Jagwar Ma’s Jono Ma takes the Kraftwerkian leitmotif on ‘Automatic’ and drives the Australian jazz-funkers Mildlife down an electro-convulsive psychedelic tunnel (thankfully no-one was harmed during the making of this remix); Sheffield’s DJ Parrot and Jarvis Cocker deliver one of the outstanding remixes of 2018, turning Baxter Dury’s ‘Miami’ into a lovelorn minor opera; and, making its first appearance on vinyl, David Holmes’ Unloved project is taken on a panoramic Welsh waltz thanks to Gwenno.


There may well be no rhyme, nor reason, to how these compilations have been put together, beyond the fact that they are assembled with love, an innate understanding of the power of great pop music, and a skilled marriage of song and remixer — but does one really need anything more than that for an album to make sense? I’d suggest not.

H- side is etched
The American cable-television industry exploded in the 1980s, pushing broadcasts of diverse programming and emissions of low-laying cultures into homes. Community stations piggybacked on the digital developments of the time, extending their existence through telephony and broadcast a iliates. For those growing up in this time, in locations such as New York City, the localized communications beamed into their homes exposed them to an impressionable array of disparate sounds and visions.
Move into the 1990s and New York was filled to the brim of emergent cultures drawing from this ebullition of communication. From Rammellzee’s shapeshifting to the late Judy Russell and Frank and Karen Mendez’s Nu Groove imprint fusing reggae, poetry and house, nascent ideas emanated from the city walls, from within stores such as Sonic Groove store and on VHS releases such as Stakker’s The Evil Acid Baron Show, a legendary technicolor psychedelic trip along the wildest frontiers of acid house. As scenes expanded and identities developed, such individuals weather the events of the visceral now, expressing themselves right into an unpredictable future.
Function’s long career has seen him uncover a vast range of sonic identities, a mainstay through house, techno and industrial with collaborations with the likes of Regis, Damon Wild alongside his highly influential Infrastructure imprint. With influences deeply tied to pop art, rave and gay scenes, and early memories of block-parties emitting Kraftwerk and Strafe, he found himself seeking out the undercover illegal nights of the 90s on a quest of sexual unearthing, mixing the ever-yearning escapology mission of disco with the influential DJ sets of Jeff Mills.
For his new album Existenz, he marks a clear step away from the corporeal techno of his recent releases. Pivoting around themes of religion, sexuality, trauma and healing, it is a work expansive and celebratory, a clear liberation from a deeply internalized past. Formed from a collection of recordings made in a period from late 2016 to mid 2019, Existenz takes the form of a creative outburst in reaction to a number of traumas - recent, childhood and throughout Function’s life. Life partner Stefanie Parnow assisted the production process in its entirety, providing inspiration, spiritual healing and featuring vocal contributions.
Cosmic synths soar and swoop in ‘Pleasure Discipline’ through towering stacks of rhythm that stutter and creak to a halt before rebooting, a firm robotic response to human intervention. ‘Zahlensender’ reflects a spatial tetris of urban life, as digitalization set within an XYZ matrix confronts the sprawling city. Constant arpeggiated meditations echo synaptic transmissions, e ecting a dissolution of boundaries. ’The Approach’ recalls the unification of the self, a state of delirium non-subjective and smooth, as all connections and functions give way to simple intensities of feeling, crossing the threshold into spirituality. ’Golden Dawn’, featuring Stefanie Parnow, marks a further elevation of dubbed-out euphoria, as once more positive rays emerge. His ode to the effortless short-trip urban navigation 'Kurzstrecke' finds Function in motion, upfront and bold, snapshots of conversation and flickers of light. 'Ertrinken' finds metallic bass jabs swamping snipped synthetic voices, with hidden stores of emotion set as a nod to the history of vocoders as a tool for encrypted military communication. House icon Robert Owens features on 'Growth Cycle' and 'Be', entrenching a celebratory atmosphere over Function's clubwise leanings. Closing track 'Downtown 161' reflects the unmistakeable filtered and squashed interjections of television, and sampled dance vocals - a sound for the curious, dreamers and dancers.
With Existenz, Function reveals an essential body of work, spread over 4LP - thought experiments on the role of identity and spirituality after a lifetime of upheaval and trauma. Leading up until the release date, Function will undertake an album promo tour with select dates - A/V shows at Berlin Atonal and Rural festival in Japan, and three dates as part of his Bassiani residency.

UK label Wisdom Teeth closes out 2021 with a synchronised double drop from label heads Facta and K-LONE.

K-LONE’s Zissou follows on from where his 2019 EP Sine Language left off, bringing together the four corners of his broad yet coherent style. The title track is a ruthlessly efficient Baltimore club tool driven by duelling vocal chops and rolling sub-heavy kicks. Next up, Airtight is bustling and bright, with a winding bossa melody rolling out on top of a wildly syncopated percussive groove. On the flip, K-LONE continues his exploration of UK garage and proto-dubstep styles with Deluxe - a warping, hi-tek 2-step banger that reimagines the early Tempa sound with a newly refurbed hi- spec gloss. To close, Softie contrasts vast dubtechno chords with a bone-dry woodblock beat and nimble microhouse edits.

The fourth and final instalment of Hospital Records' popular VA EP series is upon us 'Future Symptoms Vol. 4' rounds off the 2021 release streak with four fresh cuts with some of the most exciting acts emerging to the forefront of drum & bass.

This time around expect a full spectrum showcase from Dutta, Viridity, Son, Hallow and xia - the sounds of the next generation. Rounding off the final edition of their widely loved Future Symptoms EP series,

Hospital Records have proudly shone a light on and nurtured some of the scene's most prosperous talents. With an array of artists throughout the series spanning the likes of Mozey, Winslow, Disrupta, Nia Archives, Stay-C, Mr Joseph and imo-Lu, keep an eye out for what Hospital have got in store for 2022...

Lee Gamble completes his ‘Flush Real Pharynx 2019-2021’ album cycle with ‘A Million Pieces Of You’, the third EP of a triptych written in a time when the subjective experience of overload came to a halt, giving way to an overbearing sense of loss, burnout and a desperate need for hope. These seven tracks feel more reflective, more human than the two preceeding EPs; the serpentine dopplers and seductive supercar engines of ‘In A Paraventral Scale’, and imploding motion sculptures of ‘Exhaust’. A deepfake of Lee’s voice appears from the chaotic slow-mo crash of ‘Balloon Lossy’, timidly telling of “garbled… good news”. The uncanny spectre of deep fakes, AI and deep learning models give way to the melancholic loneliness of the solo piano in ‘Empty Middle Seat’. Then glimmering, golden pads on ‘Hyperpassive’ slowly crawl into the hopeful, bright arpeggiations of ‘Balloon Copy’. ‘A Million Pieces Of You’ is a ride through a part-synthetic, part-modelled, part-imitation, part-taught, part-human, part1hopeful, part-reflective and paradoxically affirmative space – an involuntarily fitting finale to an album originally conceived in a world different to the one we now inhabit.

A sublime techno reissue from the vaults of one of London's leading electronic labels of the last 25 years, remastered and re-presented for 2022!

Originally released in 1994 on Mr.C's cult UK house and techno label Plink-Plonk and composed and performed by Laggy Panteli and Zeno Messis (aka Megalon) in their London studio, 'Pandora's Box' is a truly unique record. Sleek, futuristic, fathoms deep and wholly original, the music contained on these 2 discs sounds as modern and as vital as it did on it's arrival all of those years ago.

Exploring a deeper vein of electronic music, Megalon craft their own sonic landscapes that are undoubtedly inspired by all forms of cerebral electronic music. Ambient, Detroit techno, electro, European electronics and of course the duo's experiences in London's early acid house and rave scene all filter through their lens to bring something brand new to the table. The arrangement, sound design and mix on the album is outstanding, lending a totally visionary and modern feel to the tracks that continues to echo today.

'Pandora's Box' is a record that has existed within the shadows for many years, with a hardcore cult following. The kind of record that one might hear deep into the early hours, at the hands of a seasoned selector or an 'insider' who has the knowledge. It is redolent of a time when innovation, ideas and imagination trumped the run of the mill and the homogenous, which goes a long way in explaining what makes this record so exciting some 25+ years later.

A totally essential mid 90's UK techno and electronic classic, as much a treat for the mind as for the body.

Reissued in full conjunction with the artists and remastered by Curvepusher from DAT and original source materials. Redesigned by Atelier Superplus and distributed worldwide by Above Board distribution, 2022.

Peggy Gou's Gudu Records proudly presents 'Jack's Jive' - a long overdue re-release of a legendary lost South African record from 1987. Out of print for years and never available digitally, 'Jack's Jive' is the stuff of legend: a bold, bright synthesizer-led cut that has been demanding Discogs prices upwards of £150 and both referenced and ripped off by contemporary artists since. Re-mastered for 2021 and cut to vinyl for the first time in decades, it's backed with two remixes by DMX Krew.

Fontela Games is proud to launch its very first boardgame Mascara…
Presented on a vinyl gatefold 7 inch sleeve, Mascara is a mystery game for 2 players.

The game soundtrack comes courtesy of Timothy J Fairplay (Asphodells, Dungeon Module) and contains 2 exclusive tracks. The prolific British producer presents 2 deft synth workouts recorded in a seedy studio in Tottenham.

The sleeve contains the board, instructions, one insert and a 7" record.
Numbered and limited edition of 150 copies.

A crazy full DSP release !
Mental oldschool hardtek... by accident !
Hypnotik envoutationg music !

The debut album from the iconic American tattoo artist, TV Star, beauty entrepreneur, author, fashion designer, Kat Von D is a pastiche of shapeshifting analog synths, post-punk dreamscapes, gothic hues, and shy pop magnetism !

Enlisting prestigious guests such as Bauhaus legend Peter Murphy, Kat Von D’s brilliant debut encompasses classic gothic influences from Depeche Mode to the Sisters Of Mercy executed with a modern sound that echoes the likes of Cold Cave or I Love You But I’ve Chosen The Darkness.

A digital only companion piece to the album has just surfaced and enlists remixes from Scratch Massive, Cold Cave or Gunship, and Kat Von D will embark on a headline tour all over Europe in May 2022.

Rare and highly sought after in its original format, Os Brazoes self-titled album was originally released on RGE Discos in 1969. It is a psychedelic masterpiece that fuses samba, r'n'b and rock 'n' roll influences using fuzz guitars, synths, percussion, lush vocals and effects.

Os Brazoes formed in Rio de Janeiro in the late 1960's. They backed Gal Costa during her Tropicalia period, yet apparently never recorded in the studio with her. Miguel de Deus, the bands front man, recorded the highly sought after 'Black Soul Brothers' LP in 1977, which became an important record in the 'Black Rio' movement. Mr Bongo released the title track from that LP, on the 'Brazilian Beats: Brooklyn' compilation in 2006 and recently as part of their Brazil 45's re-issue series.

'Os Brazoes' features covers of Gilberto Gil's 'Pega a Voga, Cabeludo' and Jorge Ben and Toquinho's 'Carolina, Carol Bela'


The Mr Bongo LP reissue is manufactured in Japan, presented in a super high quality card sleeve with replica original artwork. The CD is presented in a 4-page digi-pack.

Proximity is a 12-track album of richly textured and 100% analog electronic music that will appeal to fans of Daniel Avery, Telefon Tel Aviv, Jon Hopkins or Rival Consoles.

Whilst this is the debut release from DEFSET - the producer has spent many years experimenting with electronic music & equipment and the album demonstrates a mastery in using modular synthesizers and outboard gear to create a pallet of evolving melodies over syncopated, glitched out rhythms - resulting in a deeply accomplished sonic blend of immersive techno and atmospheric electronic music.

A mind-melting remix from Panorama Bar and Ostgut Ton royalty Steffi is due to surface very soon, and the equally entrancing debut album is still available on double clear vinyl !

The debut recording from Grammy-nominated vocalist Theo Bleckmann and electronic musician & producer Joseph Branciforte. Vocal loops of hushed beauty framed by artificially synthesized tones, deep subharmonic oscillations, and gently layered sheets of noise, with a shared musical language drawing upon ambient, choral, microsound, and free improvisation.

The first volume in an ongoing collaboration between composers Kenneth Kirschner and Joseph Branciforte, From the Machine explores the application of software-based compositional techniques i including algorithmic processes, generative systems, and indeterminacy to the creation of new music for acoustic instruments.

Tough Love have partnered with West Coast imprint Mt St Mtn for the release of Free Advice, the instant slowcore/dreampop classic by San Fran four piece, Cindy. The full album is available to stream/download now, while a highly limited transparent vinyl pressing will be released on 20th November. Limited to just 250 copies, this pressing follows the long sold-out edition of 100 released earlier in the year and which was previously only available in the US. Free Advice offers a somber-yet-uplifting take on sobered dream pop. Imagine if Galaxie 500’s On Fire didn’t have a guitar solo or if The Trinity Session was stripped of its folk & blues roots; it’s just pure mood. Like sitting in a half-empty movie theater that’s playing Alphaville or Wild Strawberries and watching patron’s heads briefly illuminated from the screen; Free Advice (and all of the Cindy output) transfers you to these momentary worlds. Cindy is Karina Gill on guitar/vocals, Aaron Diko on synth/keys, Simon Phillips on Drums/Percussion, and Jesse Jackson on Bass/Keys + Simon and Jesse on backing vocals. The songs on Free Advice are these moments in mood: Phillips & Jackson’s rhythms create the foundation, while Diko’s keys rise and fall. Gill’s guitar rattles, vocals brood, and lyrics create these narratives that depict observers, not necessarily wronged rather, cautious and investigative of the world around them

The debut album from the iconic American tattoo artist, TV Star, beauty entrepreneur, author, fashion designer, Kat Von D is a pastiche of shapeshifting analog synths, post-punk dreamscapes, gothic hues, and shy pop magnetism !

Enlisting prestigious guests such as Bauhaus legend Peter Murphy, Kat Von D’s brilliant debut encompasses classic gothic influences from Depeche Mode to the Sisters Of Mercy executed with a modern sound that echoes the likes of Cold Cave or I Love You But I’ve Chosen The Darkness.

A digital only companion piece to the album has just surfaced and enlists remixes from Scratch Massive, Cold Cave or Gunship, and Kat Von D will embark on a headline tour all over Europe in May 2022.