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Heralding 2023 from way out west, Monde UFO land on Quindi with a distinctive album of dream pop vignettes and outer rim punk exotica.
Hailing from the same Californian heat haze as recent Quindi signings Bondo, Monde UFO have manifested in the past four years through a series of DIY releases including their 2021 album 7171 and last year's set of Fugazi covers, 4 Songs. The loose fit project centres around the singing, playing and songwriting of Ray Monde and Kris Chau and features Kern Haug on drums. The resulting sound arrives as a resourceful analog of plush 60s pop captured through the modest means of a truly independent musical endeavour.
The sound rendered on Vandalized Statue touches on dubby atmospherics, the lilting breeze of bossa nova and the introverted muse of US indie rock, but the end result is a natural, cohesive whole centered around the songwriting. Imagine the girl from Ipanema sat toking in a comfortable spot in the corner of the dive bar while someone weaves her a tall tale or two, and you might be somewhere in the right direction. The stories in the lyrics unfurl as meandering narratives taking you through everyday exchanges and far-fetched, cosmic scenarios alike. At every turn the cosy musicality gives everything a relatable, homespun charm, even as the mixing desk becomes a mess and the lo-fi FX crash into each other.
The album will be fronted by three singles which reflect the wide reach of Monde UFO's sound. 'Visions of Fatima' is one of the more melancholic pieces on the album, fronted by laconic organ and centring on cracked vocals with an off key charm that indirectly evokes Jeffrey Lee Pierce. 'Government Employee' is a sun-kissed trip of low-key lounge surrealism, bizarro storytelling and shuffling exotica splendour which broadly defines the woozy mood of Vandalized Statue. 'Garden Of Agony' is a more delicate but no less dreamy piece matching electric tremolo with acoustic fingerpicking balladry which hides its considerable depths behind a seemingly simple arrangement.
At once intimate and projected into the cosmos, Monde UFO add to the particular path Quindi is taking through hidden corners of independent music with a romantic, restless spirit.

Kristian Matsson has never remained in one place for very long. Having spent much of the last decade touring around the world as The Tallest Man on Earth, Matsson has captivated audiences using, as The New York Times describes, “every inch of his long guitar cord to
roam the stage: darting around, crouching, stretching, hip-twitching, perching briefly and jittering away…Mr. Matsson is a guitar-slinger rooted in folk, and his songs are troubadour ballads at heart.”

Now, Matsson returns as The Tallest Man on Earth with Henry St., his sixth studio album following 2012’s There’s No Leaving Now, full of “vivid imagery, clever turns-of-phrase, and devastating, world-weary observations” (Under The Radar) and 2015’s Dark Bird Is A
Home, his “most personal record… surreal and dreamlike” (Pitchfork). Henry St. notably marks the first time he recorded an album in a band setting. “My entire career I’ve been a DIY person––mostly fueled by the feeling that I didn’t know what I was doing, so I’d just do everything myself.”

But now, longing for the energy that’s only released when creating
together with others, Matsson invited his friends to come and play.
Nick Sanborn (of Sylvan Esso) produced Henry St., which includes contributions from Ryan Gustafson (of The Dead Tongues) on guitar, lap steel and ukulele, TJ Maiani on drums, CJ Camerieri (of Bon Iver) on trumpet and French horn, Phil Cook on piano and organ, Rob
Moose (of Bon Iver, yMusic) on strings and Adam Schatz on saxophone.

Tape
"And we"re coming out of dreams / And we"re coming back to dreams" is the first thing you hear Bill say as you remake your acquaintance on YTILAER. Right out the gate, he"s standing in two places at once: meeting up with old friends behind the scenes and encountering them on the record, finding himself coming round the bend and then again as someone else on down the line. Like the character actor he played on Gold Record, writing stories about other people, telling jokes about everyone, and in singing them, becoming the songs. "You do what you"ve got to do / To see the picture" Bill"s got a full band sound going on this one, with him and Matt Kinsey on guitars, Emmett Kelly on bass and backing vocals, Sarah Ann Phillips on B3, piano and backing vocals and Jim White on drums. Jim and Matt sing on one song, too, and some other singers come in, too. Bill plays some synth here and there, and Carl Smith drifts in and out of the picture with his contra alto clarinet, as do Mike St. Clair and Derek Phelps on brass. Somehow in between them all, you might think you hear the distant sound of a steel guitar. And you might - but you might not, too. In this company, Bill continues his journey, tunneling underneath the weathered exterior of what seems to be and into the more nuanced life everything takes on in the dark. With Bill"s voice making the extraordinary leaps and bounds that measure the lives of the songs, the band follow him through passages that seem to invent themselves; other times playing with deeply soulful grooves and/or desperate intensity, as these moments come and go. There"s nothing they can"t do. "I wrote this song in five and forever / I"m writing it right now" Bill sings on "Natural Information" - an admission of the everyday alchemy he"s forever trafficking in. Time passes, triangulating the encounters that went into any one record with two out of any three others, all of it made flesh, new constitution, in our stereo speakers. If every album is its own life, it stands to reason that they"re invariably passing in the night. Cascading images flowing from the stream of consciousness. Turning like pages from the journal, unspeakably personal, then suddenly become tall tales, like a book pulled off the shelf, completely unbound. Headlines flow through. Mirror images, mirthful ones. Bill"s lyrics strain at the lines on the page, not content to separate the printing of the fact from the myth or be confined to ink on paper. They want to fly free. And they do. "I realize now that dreams are real" On YTILAER"s inner sleeve, alongside his lyrics, Bill celebrates the "exhilaration and dread" of cover artist Paul Ryan"s paintings. Paul"s another one met up with again down the road, his indelible cover imagery on Apocalypse and Dream River now an axis of meaning in the Callahanian world - and in the bright colors found in these new images, a parallel to Bill"s recognitions here. "A breath of exquisite air as we come up from drowning", sounds like the desired hope for those hearing the songs of YTILAER.

Kristian Matsson has never remained in one place for very long. Having spent much of the last decade touring around the world as The Tallest Man on Earth, Matsson has captivated audiences using, as The New York Times describes, “every inch of his long guitar cord to
roam the stage: darting around, crouching, stretching, hip-twitching, perching briefly and jittering away…Mr. Matsson is a guitar-slinger rooted in folk, and his songs are troubadour ballads at heart.”

Now, Matsson returns as The Tallest Man on Earth with Henry St., his sixth studio album following 2012’s There’s No Leaving Now, full of “vivid imagery, clever turns-of-phrase, and devastating, world-weary observations” (Under The Radar) and 2015’s Dark Bird Is A
Home, his “most personal record… surreal and dreamlike” (Pitchfork). Henry St. notably marks the first time he recorded an album in a band setting. “My entire career I’ve been a DIY person––mostly fueled by the feeling that I didn’t know what I was doing, so I’d just do everything myself.”

But now, longing for the energy that’s only released when creating
together with others, Matsson invited his friends to come and play.
Nick Sanborn (of Sylvan Esso) produced Henry St., which includes contributions from Ryan Gustafson (of The Dead Tongues) on guitar, lap steel and ukulele, TJ Maiani on drums, CJ Camerieri (of Bon Iver) on trumpet and French horn, Phil Cook on piano and organ, Rob
Moose (of Bon Iver, yMusic) on strings and Adam Schatz on saxophone.

With nothing more than a Gibson Les Paul slung over his shoulder, a warm amp turned all the way up, and a hot microphone on and ready, Jared James Nichols churns out the kind of rock that rips, roars and rolls without filter or apology. The Wisconsin-born and Nashville-based singer, songwriter and guitarist delivers a one-two punch of gritty vocals straight from the gut and incendiary fret fireworks. After earning widespread acclaim from the likes of American Songwriter, Guitar, Guitar World, Relix and more, tallying millions of streams, and packing houses at countless shows, he showcases every side of himself on his 2023 self-titled third full-length offering.

After spending the past 20 years in the studio, on concert stages all over the world and at the literal top of the charts, All-American Rejects co-founder Tyson Ritter didn’t start Now More Than Ever in 2018 with the expectation it would turn into a real band – but a real band is very much what it has become. In tandem with veteran musicians/songwriters/producers Scott Chesak (All-American Rejects, Panic! At the Disco, Weezer) and Izzy Fontaine (Taking Back Sunday, Tegan & Sara, Glassjaw), Ritter has begun a meaningful and exciting new chapter in his music career with Now More Than Ever’s debut album Creatrix, which will be released March 17, 2023, by Thirty Tigers. Now More Than Ever shimmers with that spirit of freedom, its nine tracks gracefully surfing the peaks of the past four decades of pop and rock. These are the kinds of songs that used to be on the radio and certainly still should be today – the ones that make you dance, shake your ass and forget about everything else for a while. Now More Than Ever is here to help make sure the pillars of pop and rock will never fall, and they’re prepared to go down believing. “This is our little monolith,” Ritter says. “It might be six feet tall amongst giants, but it’s pure. And it’s truth for us. It’s saccharine as fuck, and I love it.”

Talla 2XLC is celebrating his forthcoming birthday with the annual
spectacular Technoclub event along with faithful friends such as DJ
Dag, Woody van Eyden, Andreas_Kraemer, Sven Wittekind, Ulli
Brenner ,LXD and Bluefire amongst others. While during his career
has faced many obstacles and unfortunate situations, he manage to
stay ahead of his game by gaining the respect and admiration of his
fans and DJ colleagues. His career is a bright example of an artist
that fight against all odds and work ultra-hard to be always at the top
of download shops charts with his single releases and at the top of
the physical sales charts with his long lasting Mixed CD compilation
Technoclub that in 2023 celebrates its 25th year anniversary. Well
known for his ability to provide brilliant remakes of huge trance
classics on his label Technoclub Retro while on That’s Trance service
original solo tracks or collaborations with brilliant singers such as
Christina Novelli and fellow DJs like Ronski Speed or Ralphie B. Last
year he established his psy-trance label Dreamscape with remixes
by his psy-trance alter ego Zyrus 7. Talla 2XLC is not just a pioneer
in techno and trance music scene but also a frequently booked DJ
performing on the most iconic festivals and club events such as Nature One, Mayday, Airbeat One and many more as he knows excellently to entertain his crowds with memorable DJ sets . Talla 2XLC embraces social media with active accounts in the most of them with hundreds of followers.

During the pandemic lockdowns he conquered twitch with
his very successful live DJ sets receiving donations and support from
his global fan base. What is more Talla 2XLC is taking part in wide
variety of documentaries narrating his contribution in the development and growth of electronic music culture. He is co-founder of MOMEM - Museum Of Modern Electronic Music in Frankfurt that any electronic music follower should visit to learn about the history of our culture.

For his 2023 Birthday he has a huge surprise to all his vinyl lovers.
He is going to release his BDay Bash EP that will include two massive
tracks already released digitally under his techno moniker RRAW on
Technoclub Pure. The two massive mainstage techno friendly anthems Wonderful Dayz and The Promised Land. Both tracks have been fans favorites and have been road-tested extensively by Talla 2XLC and many other well-known artists worldwide. Banging mainstage techno basslines, slamming kicks, haunting dark moody atmospheres, acid touches and strong euphoric breakdowns followed by massive hands in the air dark climaxes, turn both tracks into must have for any vinyl lover who wishes to embrace Talla 2XLC techno moniker RRAW. Wish Talla 2XLC happy birthday by purchasing his Bday Bash EP with hi latest techno alias RRAW out on ZYX Music.

"And we"re coming out of dreams / And we"re coming back to dreams" is the first thing you hear Bill say as you remake your acquaintance on YTILAER. Right out the gate, he"s standing in two places at once: meeting up with old friends behind the scenes and encountering them on the record, finding himself coming round the bend and then again as someone else on down the line. Like the character actor he played on Gold Record, writing stories about other people, telling jokes about everyone, and in singing them, becoming the songs. "You do what you"ve got to do / To see the picture" Bill"s got a full band sound going on this one, with him and Matt Kinsey on guitars, Emmett Kelly on bass and backing vocals, Sarah Ann Phillips on B3, piano and backing vocals and Jim White on drums. Jim and Matt sing on one song, too, and some other singers come in, too. Bill plays some synth here and there, and Carl Smith drifts in and out of the picture with his contra alto clarinet, as do Mike St. Clair and Derek Phelps on brass. Somehow in between them all, you might think you hear the distant sound of a steel guitar. And you might - but you might not, too. In this company, Bill continues his journey, tunneling underneath the weathered exterior of what seems to be and into the more nuanced life everything takes on in the dark. With Bill"s voice making the extraordinary leaps and bounds that measure the lives of the songs, the band follow him through passages that seem to invent themselves; other times playing with deeply soulful grooves and/or desperate intensity, as these moments come and go. There"s nothing they can"t do. "I wrote this song in five and forever / I"m writing it right now" Bill sings on "Natural Information" - an admission of the everyday alchemy he"s forever trafficking in. Time passes, triangulating the encounters that went into any one record with two out of any three others, all of it made flesh, new constitution, in our stereo speakers. If every album is its own life, it stands to reason that they"re invariably passing in the night. Cascading images flowing from the stream of consciousness. Turning like pages from the journal, unspeakably personal, then suddenly become tall tales, like a book pulled off the shelf, completely unbound. Headlines flow through. Mirror images, mirthful ones. Bill"s lyrics strain at the lines on the page, not content to separate the printing of the fact from the myth or be confined to ink on paper. They want to fly free. And they do. "I realize now that dreams are real" On YTILAER"s inner sleeve, alongside his lyrics, Bill celebrates the "exhilaration and dread" of cover artist Paul Ryan"s paintings. Paul"s another one met up with again down the road, his indelible cover imagery on Apocalypse and Dream River now an axis of meaning in the Callahanian world - and in the bright colors found in these new images, a parallel to Bill"s recognitions here. "A breath of exquisite air as we come up from drowning", sounds like the desired hope for those hearing the songs of YTILAER.

I Can Only Be Me ist das jüngste Kapitel einer
unvergleichlichen posthumen Karriere und ein
bahnbrechendes neues Album in Zusammenarbeit mit
dem London Symphony Orchestra. Eva Cassidys
Original-Gesangspartien wurden isoliert und von neuen
Arrangements begleitet, die von dem Oscar-nominierten
Christopher Willis und dem Grammy-Gewinner William
Ross geschrieben wurden. Durch den Einsatz neuester
Technologien im Bereich des maschinellen Lernens wurde
die bestehende Gesangsstimme sorgfältig restauriert und
verbessert, um ein bisher nicht gekanntes Maß an
Klarheit und Tiefe zu erreichen. Das Ergebnis ist ein
gefühlvolles, atmosphärisches Album, vertraut und doch
anders, mit üppigen Klanglandschaften, die den
unverfälschten Gesang begleiten.

If you find the time, please come and stay a while in abracadabra’s beautiful neighbourhood; a magically wonky wonderland where strangers leave as friends to a block party soundtrack as eclectic as it is infectious. The California duo’s album shapes & colors is a dazzling collage of psych-fuelled synthscapes and contemporary Baroque-pop of anti-capitalist movements and escapism, precisely pieced around their own working lives in a blue-collar town.
In the heart of Oakland’s industrial Jingletown above a former auto-repair shop in what was once a mechanics’ break room where poker rounds ensued, Hannah Skelton (Vocals, Synthesizers) and Chris Niles, (Bass, Synthesizers) constructed the angular 80s-tinged anthems (think John Hughes montages to Talking Heads) of their new album, to positively offset the pandemic’s amplification of dysfunctional society. “It reflects our current reality: a huge mess that is systematically broken but isn’t entirely lost,” Hannah tells. “We’re inviting listeners to conjure up every drop of hope and willpower left inside them, pour that into the giant vat of anger and frustration bubbling inside us all, and with this potion collectively enact the necessary change to bring love and light into this dark space.”
When Covid forced Hannah from her salon in San Francisco to become a backyard mobile hairdresser, what she saw inspired them both and the lyrical foundations for their new record. “I’d drive to mansions and people would complain about how hard the pandemic had been next to their swimming pool and tennis courts.” First meeting after the album’s co-producer Jason Kick (Mild High Club, Sonny and the Sunsets) recruited the pair for a Halloween band covering Eurythmics’ art-rock debut ‘In The Garden,’ the pair hit it off and shapes & colors is a product of the years that followed. It combines Chris’ own rhythmic demos following years on the road touring and opening for Amon Tobin, Matthew Dear and Generationals in Maus Haus with Hannah’s lyrical musings honed from project Cassiopeia, so even when topics are as heavy as the beats, they’re met with luminously positive arrangements of hope and warmth.
The by-product of a psychedelic New Year’s Eve escaping a monotonous 2020 reality, the title track itself captures fireworks over East Oakland as viewed from the pair’s couch whilst listening to Mort Garson’s Plantasia for 6 hours straight. The daydream collage of ‘inyo county’ is “a little souvenir taking me back into the bottled-up essence of a slow lazy morning, waking up in bed far from home,” Hannah tells recalling those enforced stay-at-home days. “It fell out of me because I was craving that blissful flavour.” Meanwhile ‘dawn of the age of aquarius’s new parallel reality evolved from a happy accident when their demos had reset to a drone which Jason reworked into a Laurie Anderson-esque breathy vocoder effect. Even bloops and beeps from a forgotten recording session at the Vintage Synthesizer Museum in Emeryville can be heard, where the pair used Mini Moog, Fairlight EMI and ARP 2600 to arrange their sound into shapes whilst distortion and dirt from mixing on 1979 Neve 5313 Console added to the recordings’ color.
Casting a brighter rainbow still, in all its pastel-hued glory, Hannah, also illustrated a self-portrait of the band for the album artwork. “It reflects our makeshift recording studio to encapsulate all aspects of that time and space,” she shares of their abode where, over an intense two-week period and fuelled by the aroma of fermenting vino from the winery below, their single chord, bass and drum-heavy, groove-first momentum took them on an unexpected journey whilst the next-door couple would fire pizzas in their yard and a grandfather across the road would sweep the street clean. “We’d drink coffee and start the day, consistently working, without interruption,” Chris tells of finding their flow. “The loft is a cool space with skylights, tall ceilings and no shared walls so we could be as loud as we wanted to be.”
Just as well. Diving into decades of electronica and crunchy sound effects, field recordings and animal sounds, blended with an infectious Latin influence, shapes & colors is bolstered by live percussionists Greg Poneris (drums), K. Dylan Edrich (Vocals, Percussion: congas, bongos, chimes, cow bells and wood blocks, tone drum and tri-tone whistle) and Tom Smith (Guitar, Synthesizers, Vocals).
NIMBY crews grab those earplugs now. abracadabra is your new noisy neighbour, and there’s no turning this party down.

Canto Ostinato is the new volume of classical minimalism from musician and producer Erik Hall. Written for four pianos in 1979 by Dutch composer Simeon ten Holt, the piece is freshly framed as an intimate, hour-long solo performance consisting of multitracked grand pianos, electric piano, and organ. Modern yet warm, ethereal yet tangible, Hall's Canto Ostinato expertly bridges a revered piece of meditative concert repertoire with a tactile and highly personal studio setting. Chicago-born and Michigan-based, Erik Hall is known as a multi-instrumental pillar for the groups NOMO, Wild Belle, and his own songwriting moniker In Tall Buildings. He has composed music for feature films, and as a producer/engineer he has shaped records for Natalie Bergman and Western Vinyl labelmates Lean Year. In a 2020 creative pivot, he chose to reinvent composer Steve Reich's monumental contemporary classical masterpiece Music for 18 Musicians as a solo undertaking, applying the piece's score to the familiar keyboards, guitars, and synthesizers in his studio. "At the time I think I was working through my identity as a musician and an artist," Hall explains, "and on a level there was some sort of exorcism of a long held pop spirit." The album was celebrated for being "freshly thrilling" and "legible in history but assertive of the moment" (Pitchfork) and "beguiling, meditational, and magical" (Electronic Sound). It won the 2021 Libera Award for Best Classical Record, and it quickly joined the canon of the piece's quintessential recordings. "There is a pseudo-meditational benefit to working on a longform piece that's built on repetition," Hall says. "Every stage- from internalizing the music, to executing the performance, to editing and mixing the record- requires deep and sustained presence of mind. I've always been drawn to a hallucinatory combination of harmony and repetition, and I found the entire process addictive." An apt second chapter, Canto Ostinato is inherently vast, and its score gives great creative license to the performer. Comprising 106 sections, complete freedom is given to repeat each one as many or as few times as desired. Additional leeway is given with regard to dynamics, articulation, and even instrumentation. On the heels of his previous, rather maximal arrangement, Hall chose to limit this album's palette to three foundational keyboards of his studio: a 1962 Hammond M-101 organ, a 1978 Rhodes Mark I electric piano, and his family-heirloom 1910 Steinway grand piano. "This particular piece brought the added challenge of rekindling my dexterity as a pianist, something I haven't maintained in earnest since I was a teenager," he admits. The ensuing five-note rhythmic motif- the piece's primary building block- is steady and workmanlike, forgoing virtuosic flare for depth, texture, and resonance, and eventually giving way to the stunning gratification of a gorgeously lyrical left turn. As with Music for 18 Musicians, Hall employed no loops nor quantization nor any programmed or sequenced instruments of any kind. Every part was performed live in a room and captured with microphones, one at a time, each informed by, and reacting to the last. In this way the record breathes with interplay and an organic humanity, complete with flaws, noise, and the faint sound of turning pages. The recording quality is nonetheless toneful and saturated, characteristic of Hall's production style and straying from the usual transparency of classical albums by using gear with tubes, transformers, and various stages of compression in the signal path. Always there is unmistakable realism and the feeling of being present in the room, sitting among the keys, hammers, and tines. Ten Holt said: "Time, patience and discipline are the prerequisites for making a genetic code productive." His landmark composition provides Hall once again with a wondrous space in which to reverently embody this sentiment and deftly convey the elegant beauty of this music.

Hollie Kenniff's second LP for Western Vinyl, We All Have Places That We Miss, is a gallery of cloudlike synths, seraphic strings, and humming guitars, all coaxed into cohesion by Hollie's own wordless singing. The album's 2021 precursor, The Quiet Drift, landed on Bandcamp's Best Ambient list alongside the description "Drawing on the deep tones of drone, dream pop harmonies, and new age's bright tranquility, Kenniff evokes the forests, lakes and rivers of her past and present surroundings with a zen patience." Here on Places_ she strides even further into reminiscence, seeking and commemorating the fondly tragic ache of half-remembered locales lost to time: A grandparent's dim living room from an ambiguous decade; a lonely clearing beside a trail we can't remember if we walked or just dreamt; the calming light of a movie that aired years before we were born though our feelings insist we were there with the characters. We All Have Places That We Miss transmutes such glimmers into a palpable sonic kingdom that can be revisited at will, recalling the pedal-board ambience of Windy & Carl, Adam Wiltzie, and Liz Harris.

This land runs through Katherine Paul’s blood. And it called to her. In dreams she saw the river, her ancestors, and her home. When the land calls, you listen. And KP found herself far from her ancestral lands during a time of collective trauma, when the world was wounded and in need of healing. In 2020 she made the journey from Portland back to the Skagit River, back to the cedar
trees that stand tall and shrouded in fog, back to the tide flats and the mountains, back to Swinomish.

It is a powerful thing to return to our ancestral lands and often times the journey is not easy. Like the salmon through the currents, like the tide as it crawls to shore this is a story of return. It is the call and response. It is the outstretched arms of the people who came before, welcoming her home. The Land, The Water, The Sky is a celebration of lineage and strength. Even in its deepest moments of loneliness and grief, of frustration over a world wrought with colonial violence and pain, the songs remind us that if we slow down, if we listen to the waves and the wind through the trees, we will remember to breathe.

There is a throughline of story in every song, a remembrance of knowledge and teachings, a gratitude of wisdom passed down and carried. There is a reimagining of Sedna who was offered to the sea, and a beautiful rumination on sacrifice and humanity, and what it means to hold the stories that work to teach us something.

Chord progressions born out of moments of sadness and solitude transform into the islands that sit blue along the horizon. The Salish Sea curves along her homelands, and when the singer is close to this water she is reminded of her grandmother, how she looked out at these same islands, and she’s held by spirit and memory.

The Land, The Water, The Sky rises and falls, in darkness and in light, but even in its most melancholy moments it is never despairing. That is the beauty of returning home. When you stand on ancestral lands it is impossible to be alone. You feel the arms and hands that hold you up, unwilling to let you fall into sorrow or abandonment. In her songs Katherine Paul has channeled that feeling of being held. In every note she has written a love letter to indigenous strength and healing.

There is a joy present here, a fierce blissfulness that comes with walking the trails along the river, feeling the sand and th stones beneath her feet. It is the pride and the certainty that comes with knowing her ancestors walked along the same land, dipped their hands into the water, and ran their fingertips along the same bark of cedar trees.

This is a story of hope, as it details the joy of returning. Katherine Paul’s journey home wasn’t made alone, and the songs are crowded with loved ones and relatives, like a really good party. And as the songs walk us through the land it is important we hover over the images and the beauty, the moments that mark this album as site specific. The power of this land is woven throughout, telling the story of narrow waterways, brush strokes, salmon stinta, and above all healing.

Let it take you. Move through the story and see the land through her eyes, because it is a gift, a welcomed sʔabadəb.*

*The word “gift” in Lushootseed, the language of the Coast Salish people“

Die mit Platin ausgezeichneten Band Pierce The Veil - Gitarrist/Sänger Vic Fuentes, Gitarrist Tony Perry und Bassist Jaime Preciado veröffentlichen ihr neues Album ”The Jaws of Life” am 10. Februar 2023 über ihr langjähriges Label Fearless Records/Concord.
Pierce The Veil sind in ihrem Genre zu einer Legende geworden - und das zu Recht. Ihre Rückkehr wurde mit Begeisterung aufgenommen und die erste Single ”Pass the Nirvana” wurde seit ihrer Veröffentlichung im September über 13 Millionen Mal gestreamt.
Sie haben in den USA zweimal die Spitze der Billboard Top Rock Albums, Alternative Albums und Hard Rock Albums Charts erreicht - zuerst mit Collide With the Sky (2012) und dem Nachfolger Misadventures (2016). Ein Jahrzehnt nach seiner Veröffentlichung schoss das bereits mit Platin ausgezeichnete ”King for a Day” auf Platz 1 der Billboard Hard Rock Streaming Charts, angetrieben durch den viralen Hashtag #KingForADay auf TikTok.

Was The Jaws of Life als Ganzes angeht, sagt Fuentes: ”Dieses Album hat uns wirklich näher zusammengebracht, als wir es je waren. Es war extrem schwierig für uns, so lange von der Straße weg und getrennt zu sein. ... In The Jaws of Life geht es darum, wie das Leben seine Zähne in dich schlagen und versuchen kann, dich zu verschlingen. Die ganze Negativität in der Welt und in deinem Kopf kann eine bösartige Sache sein. Wir sind extrem dankbar für diese Platte, unsere Fans und die Möglichkeit, wieder live Musik zu machen.”

Since 2006, Pierce The Veil have unassumingly yet consistently climbed their way into the hearts of millions worldwide via an unshakable devotion to making honest and hypnotic hard rock. The San Diego band — Vic Fuentes (vocals, guitar), Tony Perry (guitar), and Jaime Preciado (bass) — released A Flair for the Dramatic 2007 and Selfish Machines 2010, the latter of which camped out at No. 1 on the Billboard Heatseekers Chart. They have steadily built a dedicated and diehard fanbase through touring and by nurturing an honest connection. PTV truly established themselves with 2012's Collide With the Sky, which spawned their first RIAA Platinum-certified single with "King for a Day." They followed with Misadventures in 2016, which charted at No. 4 on the Billboard Top 200 and notched No. 1s on multiple charts, including Top Alternative Albums, Top Hard Rock Albums, Top Independent Albums, and Top Rock Albums. In between sold-out tours all over the globe and a headlining stint on 2015's Warped Tour Main Stage, the musicians garnered five Alternative Press Music Awards (including "Album of the Year" for Misadventures), two Kerrang! Awards, and a Revolver Golden Gods Award. They've graced the covers of Alternative Press, Kerrang!, Rock Sound, and more — multiple times. Elsewhere, their digital and streaming footprint is nothing short of staggering. They've tallied over 1.5 billion global streams and almost 370 million YouTube views — proving that growth is a constant for them. Ultimately, Pierce The Veil, who've earned multiple gold and platinum certifications, remain one of the most beloved bands of their generation and they show absolutely no signs of slowing down as they march into a new decade ready to share the most important music of their career.

EMA’s Woozy label returns with Sha Ru’s Match My Sway EP; a powerful club record that sits proudly in the canon of modern protest music. Dubstep-influenced electronics meet spoken word on the continued struggle of oppressed nations’ fight for liberation. Comes with a slamming Walton remix, with all artist profits going towards the Kyiv Angels and Repair Together charities in Ukraine.

Sha Ru are a New York-via-Berlin based duo renowned for their deft mix of spoken word and club electronics, gaining notoriety thanks to their exhilarating productions and renowned live, hybrid and DJ sets. Having spent most of their time based between two different countries, the covid pandemic unexpectedly united the band in Belarus and subsequently Ukraine for an extended period of time. They quickly found themselves immersed in each country’s respective electronic music scene, building strong relationships within each community. It quickly became apparent that both countries were actively fighting for their future freedom, and the duo felt compelled by the unity they experienced in this to respond with music. This resulted in Match My Sway, a record chronicling resistance both lyrically and sonically that found a suitable home on EMA’s impressively futurist-leaning Woozy imprint.

The EP opens with Temporary Iteration, a fierce steppers track with plummeting subs that chronicles a moment of transition into clarity by focusing on the ‘now’; staying true to your belief by moving directly towards your goal together. Not Fluctuating ups the sonic ante with hefty kicks, drill snares and potent throbbing bass, while the vocals describe the feeling of ultimate resistance in the name of seeking the truth.

Side B enters with Synced Energies, acting as the EP’s thrilling climax. Percolating synths pogo around a 2-step beat providing chest-gripping catharsis. Lyrics repeat a mantra of unity, refuting divisions. Tectonic and Ilian Tape affiliate Walton sees us out with the intense stuttering rave mechanics of his Not Fluctuating remix, a modern techno monster that deserves to be enjoyed on a 10ft tall rig; a complimentary take on a powerful original.

The last flight – we have arrived! Fasten your seatbelt and buckle up – Denn die erfolgreichste Dance- & Trance-Compilation unseres Planeten setzt einmalig zu ihrem letzten Landeanflug an.

Anlässlich des 100. Jubiläums erscheint die beliebte Produktreihe als galaktische Sonderausgabe und Fans dürfen sich neben der 3CD und dem eAlbum auf eine streng limitierte Fan-Box mit 3CD, galaktischem Comic-Poster, Fan-Socken und Schlüsselanhänger freuen. Damit aber noch nicht genug: Diese letzte Ausgabe unserer FUTURE TRANCE erscheint am 25.11.2022 zudem exklusiv als 4LP inkl. Comic-Poster!
Echte Fans werden zudem bei der besonderen Optik ein Flashback erleben – das erste Mal seit der Landung der FUTURE TRANCE Vol. 60 erlebt die Reihe wieder ein Alien-Revival und erscheint in außerirdischem Design.

Die FUTURE TRANCE 100 besticht durch ein randvolles Aufgebot mit den größten Stars der Szene und ihren aktuellen Bangern. Ein letztes Mal zünden wir die Trance-Booster - mit dabei sind z.B. Scooter,
Pulsedriver, Armin van Buuren, Rocco und und und. Abgerundet wird dieser Senkrechtstarter mit einem exklusiven FUTURE TRANCE UNITED Mix „The last flight – we have arrived!“ Hier ist Gänsehaut vorprogrammiert!

Heralding the release of Memoirs of Hi-Tech Jazz, the forthcoming album by Detroit-born-and-based artist, Waajeed, the 12” features further examinations of the track’s motifs by the vaunted Detroit collective, Underground Resistance, Zambian producer SHE Spells Doom, and a special reimagining by Waajeed himself featuring live drums.

Alongside the LP version the three remixes further explore the links between Techno and Jazz, styles both founded on African traditions that make commentary on the present but are always oriented to potential hereafter.

On the People Mover Remix, Waajeed enlists the talents of Zo!, Tall Black Guy, Michele Manzo, and more to explore one extreme of the track’s musical heritage. Syncopated drums, driven by a full and bright snare drum, firmly place this version in the sphere of contemporary Jazz emanating from Detroit and cities across the US.

Coming from an album inspired by revolutionary efforts against oppression in Detroit and in Black locales around the world it is entirely fitting that Underground Resistance should provide their take on Motor City Madness. UR’s Mike Banks follows the lead of the original’s melange of genres. By thickening the bassline, peppering the mix with extra brass from the Mad Brass Horn Section, and adding strings courtesy of Six Mile Strings, UR further explore the dynamic intersection of music, history, and geography.

SHE Spells Doom closes the remix package with his second release on Tresor after his contribution to 2021’s Tresor30 compilation. The Zambian artist trims Motor City Madness down to the bones of the brass section and infuses them with a gqom beat, simultaneously referring to Jazz and Techno’s deepest roots in Africa, as well as suggesting where they might be headed in the future.

PUBLISHED: 6TH OCTOBER 2022

Léonore Boulanger studied drama, experimental jazz improvisation and Persian music in Paris. Her music reflects her wide interest in African folk and in composers such as George Crumb, Teiji Ito, Harry Partch and singer Meredith Monk. For their fifth album, "Un lièvre était un très cher baiser " Léonore Boulanger & Jean-Daniel Botta with percussionist Laurent Sériès compose and decompose a set of fragments of the outsider art poetry of Ernst Herbeck from Gugging center in Austria. Small formats for the movement, singed in german as in a Kindergarten Krautrock: imaginary folk, music boxes, r'n'b medievalism, motets and futuristic madrigals set up like hopscotches, Byzantine mathematics. UK Tour Dates: Oct 20th CANTERBURY Free Range Oct 21st BIRMINGHAM The Edge (with Judy Brush) Oct 22nd HAY-ON-WYE The Old Electric Shop Oct 23rd LONDON (Léo) Cafe Oto Oct 24th LONDON (Howie) Kennington Cafe Oct 26th MANCHESTER Talleyrand Oct 27th SHIPLEY Triangle Oct 28th NEWCASTLE Cumberland Arms (with Nev Clay) Oct 29th EDINBURGH Settlements Project Oct 30th LIVERPOOL Invisible Wind Factory.

'Transplant Rejection’ is the second in a trilogy of cassette albums released via Muscut in the latter half of 2022. The work of Estonian artist and IDA Radio co-founder Robert Nikolajev, this collection of seven ‘almost’ dark ambient tracks embody the melancholy of autumn whilst hinting at the forthcoming eternal winter. A man with many hats, Nikolajev operates on the fringes of the leftfield house underground for labels such as Incienso, Collect-Call and Sad Fun as well as being one half of the sporadic DIMA DISK act with Ragnar Rahouja. Eschewing the more rhythmic side of his productions for this Muscut tape, Nikolajev taps into the fictional soundtrack atmospheres the label is known for and brings his own brand of wistful, introspective world-building by way of machine harmony to the now Tallinn based imprint.



There’s a lo-fi, grainy quality running throughout the collection, a kind of sepia-toned nostalgia that envelops the listener and disorientates any perception of time or place. Buried vocal fragments sit in the mix on ‘Stifled’ alongside decaying synthesiser drones whilst ‘DDM’ channels an edgy post-rock dirge with its use of sagged bass guitar. Overall, an inspired look into the more ‘at home’ side of this increasingly prolific Estonian artist.

The Dangerous Summer signed their first record deal as high school seniors and quickly established themselves among the alt-rock world’s elite. Passionate delivery, confessional authenticity, and deeply resonant musical storytelling define their sound. The band writes hooks that serve as soundtracks for important life moments for a diverse group of listeners spread across the globe. The audience is more family than a fanbase. The community feeling is apparent at every gig, from Slam Dunk to Riot Fest, from touring with State Champs to headlining shows. Reach for the Sun is the record that “shot them into the pop-punk pantheon” (Kerrang!). Powered by unshakeable, enduring alt-rock anthems, the Ellicott City, Maryland band’s debut album made them heroes of the Warped Tour world, all while they carved their own unique path. 2011’s War Paint was a sophomore-slump-smashing follow-up. Grantland likened the “tall and wide” riffs of 2013’s Golden Record to The Hold Steady and U2. (“Catholic Girls” even earned The Danger Summer praise from the famously discerning Pitchfork.) Alternative Press saluted The Dangerous Summer as a group that stayed true to their sound, praising the songs on their 2018 self-titled comeback album as equal parts charismatic and addictive. 2019’s Mother Nature conjured an emotional storm, with an uplifting bent. Underoath’s Aaron Gillespie appeared on the 2020 EP, All That Is Left Of The Blue Sky. Produced by Will Beasley (Turnstile, Asking Alexandria), 2022’s Coming Home ushers in a new era for TDS. The Dangerous Summer never sacrificed their unique, diverse sonic identity, one that appeals to fans of everything from Kings Of Leon and Coldplay to Jimmy Eat World and Bright Eyes. Coming Home is a triumphant summary of what The Dangerous Summer is all about, past, present, and future.

Emotional Rescue reaches its 100th reissue in its 10th year with a landmark, a collection of previously unreleased songs from Brenda Ray. Encouraged and cajoled since the label's inception, Brenda Ray's (Kenny) music has gone from cult curio to cult status in that time, as her mix of DIY/post punk, dub reggae, jazz and pop transcends reached admiring audiences.

Following the completion of Naafi Sandwich in 1985 and the subsequent recordings as Brenda And The Beach Balls - the sought after Volume 1 LP in 1986 and three singles on Siren/Virgin in 1987/88 - her releases might of stopped for almost two decades but she never stopped recording.

The 10 songs show not only continuous activity in her North-West home studio, but to be consistently creative, moving forward and relevant. Hip-Hop, Street Soul and House all feature alongside Brenda's unmistakeable Be-Pop-Dub-Pop song writing. Working as always with partner Gerry Kenny aka Sir Freddie Viadukt, plus a cohort of friends joining across the sphere.

Starting with 'Universal Purpose', poet and friend Eugene Lange delivers a lanquid breakbeat-dub sermon on struggle and love, as Brenda's vocals accompany. 'Spirit's So High' captures House music's dawning optimism to perfection, a swirling, uplifting 4.30 minutes as you'll ever hear. The doo-wop shuffle of 'MMMMoon Warp' experiments with Coldcut-lite sampledlica cut ups, alongside Brenda's unmistakable breathing-singing delivery, before 'Love's The Most' and 'Hope' are classic Ray love sentimental paeans, backed with latter day Balearic musicality.

Eugene Lange returns with the rap attack of 'Dancehall Exocet'. A conscious poetic stream over "Minister of Noise" industrial beats with backing and counter from Brenda, shows the breadth she was exploring at this time. Crude synth bass and chiming 4/4 percussion follow on 'This Was No Dream' with soft, humming vocals encapsulating some proto-house romantic escapism, before Eastern influences mix with flute, strings, bells and a doo-wop skiffle on the aptly named 'Tequila Sam'.

The album closes with a nod to what's gone before, in 'Return Of The Theme From A Tall Dark Stranger', an update on her "Volume 1" classic, all is replayed, overlayed and "mad"-mixed, Brenda's studio mastery shining through. An acoustic return of 'Love's The Most' bring the album to completion, but this is by no means the end but hopefully, the start of more undiscovered and discovered mini-masterpieces from Brenda Ray and friends to see the light of day.

• Celebrating 40 years since the game-changing “For Dancers Only” LP, KENT 001, “For Dancers Forty” revisits the Los Angeles labels that have given us so much.

• Like KENT 001, the collection represents the broad church of the Biharis’ recordings and features soul stompers, rhythm & blues busters, girly grooves and heavenly harmony.

• Most tracks are new to Kent LPs and there’s a brand new 1966 soul recording from 50s Modern R&B artists Aaron Collins & the Teen Queens. Long-time Kent favourites Jackie Day, Z.Z. Hill and Johnny Copeland are included with some of their underplayed tracks – for Copeland it’s the first vinyl outing for his dancer ‘I Was Born To Love You’. As ever on our rare soul scene, it’s the lesser-known artists who we revel in and there are stunning tracks from the Simms Twins, the Marvellos, the Intentions and the in-demand (due to the Kent 45 being deleted) ‘I Got Love’ by the Other Brothers.

• Tommy Youngblood’s LP track ‘Tobacco Road North’ has been a sleeper, eventually being picked up by hip hop samplers for its atmospheric musical qualities – and we at last give its proper accreditation after decades of misinformation. Little Joe Hinton’s ‘Tired Of Walkin’’ is now looked on as an R&B dance classic, despite its poor sales on release.

• The Sweethearts adorn our cover with a recently discovered colour photo from the archives of Modern’s head engineer Bill Lazerus. Apart from their bouncy ‘This Couldn’t Be Me’, they provided backing for many of the stable’s 60s recordings.


• You Have “Only”, “Also” and “Forever” – make space for “Forty”

Set for release on 28th October, the deluxe edition of Lady Blackbird’s debut album ‘Black Acid Soul’ comes with a staggering 11 additional songs, encompassing brand new material such as stunning single ‘Feel It Comin’ and remixes commissioned by the likes of electronic, jazz, funk luminaries Emma-Jean Thackray, Colleen 'Cosmo' Murphy and Greg Foat.

Originally released in 2021, ‘Black Acid Soul’ received enormous critical acclaim; The Sunday Times named her their Breaking Act, stating that she “brings a singing voice of extraordinary nuance and immaculate phrasing to a selection of covers/reworkings and pindrop originals” in a 4* review. The Guardian awarded the album a 5* review, remarking that Blackbird “finds her calling with an extraordinary collection of songs and performances that burn deep into you”.

Stephan Mathieu's FrequencyLib was originally released in 2001 on Mille Plateaux's Ritornell sublabel. A quintessential document of the late 1990s/early 2000s Pismo PowerBook era of digitally manipulated audio, FrequencyLib is an adept meditation on the entropic possibilities inherent in popular music. Included with this reissue is the complementary Sad Mac Studies EP - first issued in a run of 100 on Robert Meijer's boutique En/Of label. Exploring similar themes/processes as FrequencyLib, Sad Mac Studies reimagines and deconstructs the sonic world of Sesame Street.

The Perth-based psychedelic rock n roll machine rip through a full platter of their high-speed tunes, shot in two locations and heralding their new LP, Night Gnomes. Crunchy riffage, addictive melodies and no-holds barred psychedelia is on tap. Get it at the link below! "Thank you Levitation for getting us out the house! Absolute pleasure to be asked to collaborate on something together. There’s a brilliant story involving an angry local and a bulldozer if you’re won-dering why the location changes, but for the minutes we were filming it was magical. Gnomes till we die! Thanks to Jelly, Tay, Jared, Dima, & the McEwan crew for helping us put this together, love you all." – PPC

'Back In Business Again', the long-anticipated new record from blues-rock
eccentrics The Hooten Hallers, is a fever-dream of thoroughly American
rock and roll from the fertile musical heartland of Missouri, USA
On this ten track thrill-ride, The Hooten Hallers inhale a wealth of roots and rock
influences — blues, soul, punk, even New Orleans jazz — and spit forth a highvoltage, swinging rumpus that defies what you thought you knew about rock and
roll. Bubbling beneath the rip- roaring surface are all- original songs of outsider
Americana delight, from tall tales about near-mythological characters to a eulogy
commemorating the demise of 15 years worth of tour vans to heartfelt blues and
well beyond. John Randall's infernal howl and frenzied guitar swirls into a
demon's brew with Andy Rehm's otherworldly falsetto screams and unbridled
drumming. Kellie Everett drives the unorthodox low end with the rich tones of her
rumbling baritone and bass saxophones, rounding out the band's sound and
placing it firmly in a class of its own.
Produced by Dominic Davis (Jack White, Greensky Bluegrass), 'Back In Business
Again' takes a match to The Hooten Hallers' fuse and explodes the renegade
power trio to the edge of madness and back again, one vigorous, swinging,
perfectly peculiar song at a time.

The Generation Of Danger is a concept album about a genius scientist
who gets fed up with being swept under the rug
After the multi- billion- dollar corporation that employs him takes credit for his
latest, award-winning invention, he snaps and retaliates against them by forcing
them to take part in the greatest experiment the world of science has ever seen.

Mit 11 Tracks aus ihrem Debüt-Album “The Overload“ bringen die Anchor Award Gewinner YARD ACT
ihren mit Zynismus gespickten, unnachahmlichen Humor und ihr musikalisches Geschick vollends zum Ausdruck.
Angeführt von James Smith (Gesang) und Ryan Needham (Bass) hat die mittlerweile vierköpfige britische
Post-Punk-Groove-Band, die durch Sam Shjipstone (Gitarre) und Jay Russell (Schlagzeug) komplettiert
wird, einen Sound entwickelt, der unweigerlich auf ihren Geburtsort Leeds, West Yorkshire verweist und
doch Beobachtungen aus allen Bereichen des modernen britischen Lebens miteinander verbindet. Durchdrungen ist ihre Musik von scharfem, satirischem Spoken-Word-Humor.

-Long-awaited fourth solo effort by one of today's most talented Brazilian artists and the follow up to the now classic Early Bird album.
-Entirely written and recorded at the Ilha Do Corvo studio in Belo Horizonte, Minas Gerais, Brazil.
-180g heavy vinyl pressing, reverse board print, comes with lyrics and their English translation.

"I imagine this record to be just like a flea market, an ensemble of nostalgia, a collage of memories, of dreams, ideas, sounds, words, feelings, places, eras and styles. A unique sonic sound space that I've been trying to create for my own music. This is also a record about getting old, about the uneasiness of life, but also about how to embrace it and enjoy the ride. About taking a trip to a place and a time that we have never been to, but that we long for. " - Leonardo Marques

A multi-talented musician, singer songwriter and record producer full of tales to tell, Leonardo Marques has released three solo records – Dia e Noite no Mesmo Céu in 2012, Curvas, Lados, Linhas Tortas, Sujas e Discretas in 2015, and Early Bird in 2018. All of Leonardo's solo albums have been released in Japan by Disk Union and the latest one, Early Bird, has also been released worldwide on vinyl format by 180g x Disk Union.

Leonardo was the guitar player of Diesel (later called Udora), one of the main alternative rock bands in Brazil in the early 2000's. The band was on the main line up of the Rock in Rio III Festival, playing for over 250,000 people as an opening act for the Red Hot Chili Peppers, Silverchair, and Deftones. Leonardo then moved to Los Angeles with the band and signed a record deal with Clive Davis (J Records / RCA) and worked with Matt Wallace (Maroon 5, Faith No More), Gavin Macklop (Goo Goo Dolls, Toad the Wet Sprocket), Camus (David Byrne, Arto Lindsay), Bob Marlette (Black Sabbath, Tracy Chapman, Alice Cooper), and 16-time Grammy Award winner Thom Russo (Michael Jackson, Audioslave, Johnny Cash, Maná).

Back to Brazil a few years later, Leonardo launched his Ilha do Corvo recording studio in Belo Horizonte, Minas Gerais, Brazil. The studio is equipped with vintage instruments and gear from various decades which creates a unique sonic landscape and sound signature in each record it produces.

With Flea Market Music, Leonardo Marques presents his long-awaited fourth solo effort and the follow up to the now classic Early Bird album, with a majestic and unique musical trip into nostalgia, dreamy textures and lo-fi flavors, entirely written and recorded at his Ilha Do Corvo studio. This is essential Brazilian contemporary music at its best!

Breathing Tornados is the third studio album by Australian musician Ben Lee, released in 1998. It peaked at number 13 on the ARIA Albums Chart and has sold in excess of gold sales.

Breathing Tornados distinguished itself from Lee’s previous albums for its expanded instrumentation, hip hop inspired beats and its pop polish, which came with the help of producer Ed Buller (Psychedelic Furs).

The album features contemplative but catchy songs like ‘Nothing Much Happens’ (inspired by an early morning conversation with Evan Dando) and ‘Tornados’, as well as the emotional bitterness of ‘Cigarettes Will Kill You’ which came in at Number 2 in the Australian 1998 Triple J Hottest 100.

‘Complex and dangerously catchy, lyrically sophisticated and provocative, noisy and somehow serene… Yankee Hotel Foxtrot… is simply a masterpiece.’ – Pitchfork, 10/10, April 2002

‘The looped chaos and plangent melodies... effectively heralded the birth of a new band, as Jeff Tweedy overhauled his compositional modus operandi. So tender was the emotional core of songs like ‘Jesus, Etc.’ that the record became wrapped up in America’s post-9/11 cultural discourse... Yankee Hotel Foxtrot embedded Wilco’s great American songwriter status.’
– Mojo

‘It's as if the Flying Burrito Brothers suddenly decided to cover Pavement songs. There is a gentle, rootsy beauty here that Wilco has buried in a box of vulnerability and covered with a handful of dirt.’ – New York Times

‘Born out of turmoil, Wilco’s fourth album was a stone-cold classic.’ – Uncut

Nonesuch releases seven special editions of Wilco’s landmark 2002 album Yankee Hotel Foxtrot. The now-classic record has been remastered and will be available as part of each set. The Super Deluxe version comprises eleven vinyl LPs and one CD – including demos, drafts, and instrumentals, charting the making of Yankee Hotel Foxtrot – plus a live 2002 concert recording and a September 2001 radio performance and interview. That box set includes eighty-two previously unreleased music tracks as well as a new book featuring an interview with singer/songwriter/guitarist Jeff Tweedy, drummer Glenn Kotche, and Jim O’Rourke, who mixed the acclaimed 2002 album; an in-depth essay by journalist/author Bob Mehr; and previously unseen photos of the band making the album in their Chicago studio, The Loft. For the Yankee Hotel Foxtrot recording, Wilco was Jeff Tweedy, John Stirratt, Leroy Bach, Glenn Kotche, and Jay Bennett with Craig Christiansen, Ken Coomer, Jessy Greene, Fred Lonberg-Holm, and Jim O’Rourke.

A live version of ‘Reservations’ from a legendary concert contained on Snoozin’ at The Pageant – Live 7/23/02 at The Pageant, St. Louis, MO – a recording that is part of the Super Deluxe LP and CD sets as well as the Deluxe LP and digital sets – is now available. A limited-edition vinyl 7” with versions of ‘I’m the Man Who Loves You’ and ‘War on War’, from the Super Deluxe box set, is available now from wilcostore.

Wilco marked the anniversary of Yankee Hotel Foxtrot – which was released commercially on April 23, 2002, after a circuitous and storied gestation, including a period of streaming for free on the band’s website – with a performance of the album’s ‘Poor Places’ on April 18’s Late Show with Stephen Colbert, which may be seen here. The band is currently performing Yankee Hotel Foxtrot in its entirety (plus a mix of concert favourites and rarities) in two limited runs at New York City’s United Palace and Chicago’s Auditorium Theatre. The Chicago show on April 23 will be available as a live stream here.

Yankee Hotel Foxtrot was widely acclaimed as one of 2002’s best albums, appearing in year-end lists of Mojo, NME, Q, Rolling Stone, and Uncut, among many others. Yankee Hotel Foxtrot also was featured in multiple decade-end lists, with Rolling Stone naming it #3 Album of the 2000s, as well as many Greatest Albums of All Time lists, including in the NME.

Among Yankee’s inspirations was a recording Tweedy bought at Tower Records in the late 1990s, The Conet Project: Recordings of Shortwave Numbers Stations. As Bob Mehr points out in his new album note, the record got “deep under Tweedy’s skin.” Tweedy said in his 2017 memoir, Let’s Go (So We Can Get Back), “It was as fascinating to me as anything being made by actual musicians using actual instruments… I wanted to know why it was so hypnotic to me. Why could I listen to hours of this stuff, even though I had no clue what any of them were saying. That question became the foundation for Yankee Hotel Foxtrot… the way people communicated or ultimately failed to communicate.” The album takes its title from a haunting recording of a woman repeating those words that is included in The Conet Project; that recording is sampled in the penultimate song on Yankee Hotel Foxtrot, ‘Poor Places’.

“Conceptually, Tweedy had decided to focus on a big idea for the next album: the state of America. His lyrics – often distilled from scribbled pages of free verse or poetry – became a form of inquiry,” Mehr continues. Tweedy said, in 2004, “I wanted to write about the stuff right in front of my eyes, microscopically looking at America and asking questions about each little thing… How can there be all these good things and things that I love about America, alongside all of these things that I’m ashamed of? And that was an internal question, too; I think I felt that way about myself.”

Mehr says, “Exploring those questions, while weaving in strands of Eastern philosophy and bits of autobiography – Yankee lyrics would be loaded with the pained imagery of someone suffering from migraines and mental health issues – Tweedy would conjure a deep examination of both country and self.”

Describing the uncanny, strangely prescient feeling of the album, which Wilco began offering as a free stream on its website in 2001, Mehr notes: “In the wake of 9/11, Yankee Hotel Foxtrot would be burdened with unintended meaning. The disc had originally been scheduled for a September 11 release. Its cover – a Sam Jones-shot image of Chicago’s twin Marina Towers angled in looming fashion – bore an eerie resemblance to the felled World Trade Center towers. And the songs – with titles like ‘Ashes of American Flags’ and ‘War on War,’ and lyrics about how ‘tall buildings shake, sad voices escape’ – took on a terrible new resonance.”

Yankee Hotel Foxtrot was the first Wilco release on Nonesuch Records following the band’s infamous split with Reprise (both labels are part of Warner Music Group). It was also the first release featuring the line-up of drummer Glenn Kotche and multi-instrumentalist Leroy Bach joining founding members Jeff Tweedy and John Stirratt. The 2002 Sam Jones film I Am Trying to Break Your Heart documented the fraught recording and mixing process, personnel changes, and label issues.

The relationship with Nonesuch would last nearly a decade and include three more studio albums – the Grammy Award-winning A ghost is born, Sky Blue Sky, and Wilco (the album) – along with a live album and a live DVD, plus reissues of earlier records, before Wilco began its own label, dBpm. The band’s current lineup of Jeff Tweedy, John Stirratt, Glenn Kotche, Mikael Jorgensen, Patrick Sansone, and Nels Cline has been together for nearly twenty years.

‘Complex and dangerously catchy, lyrically sophisticated and provocative, noisy and somehow serene… Yankee Hotel Foxtrot… is simply a masterpiece.’ – Pitchfork, 10/10, April 2002

‘The looped chaos and plangent melodies... effectively heralded the birth of a new band, as Jeff Tweedy overhauled his compositional modus operandi. So tender was the emotional core of songs like ‘Jesus, Etc.’ that the record became wrapped up in America’s post-9/11 cultural discourse... Yankee Hotel Foxtrot embedded Wilco’s great American songwriter status.’
– Mojo

‘It's as if the Flying Burrito Brothers suddenly decided to cover Pavement songs. There is a gentle, rootsy beauty here that Wilco has buried in a box of vulnerability and covered with a handful of dirt.’ – New York Times

‘Born out of turmoil, Wilco’s fourth album was a stone-cold classic.’ – Uncut

Nonesuch releases seven special editions of Wilco’s landmark 2002 album Yankee Hotel Foxtrot. The now-classic record has been remastered and will be available as part of each set. The Super Deluxe version comprises eleven vinyl LPs and one CD – including demos, drafts, and instrumentals, charting the making of Yankee Hotel Foxtrot – plus a live 2002 concert recording and a September 2001 radio performance and interview. That box set includes eighty-two previously unreleased music tracks as well as a new book featuring an interview with singer/songwriter/guitarist Jeff Tweedy, drummer Glenn Kotche, and Jim O’Rourke, who mixed the acclaimed 2002 album; an in-depth essay by journalist/author Bob Mehr; and previously unseen photos of the band making the album in their Chicago studio, The Loft. For the Yankee Hotel Foxtrot recording, Wilco was Jeff Tweedy, John Stirratt, Leroy Bach, Glenn Kotche, and Jay Bennett with Craig Christiansen, Ken Coomer, Jessy Greene, Fred Lonberg-Holm, and Jim O’Rourke.

A live version of ‘Reservations’ from a legendary concert contained on Snoozin’ at The Pageant – Live 7/23/02 at The Pageant, St. Louis, MO – a recording that is part of the Super Deluxe LP and CD sets as well as the Deluxe LP and digital sets – is now available. A limited-edition vinyl 7” with versions of ‘I’m the Man Who Loves You’ and ‘War on War’, from the Super Deluxe box set, is available now from wilcostore.

Wilco marked the anniversary of Yankee Hotel Foxtrot – which was released commercially on April 23, 2002, after a circuitous and storied gestation, including a period of streaming for free on the band’s website – with a performance of the album’s ‘Poor Places’ on April 18’s Late Show with Stephen Colbert, which may be seen here. The band is currently performing Yankee Hotel Foxtrot in its entirety (plus a mix of concert favourites and rarities) in two limited runs at New York City’s United Palace and Chicago’s Auditorium Theatre. The Chicago show on April 23 will be available as a live stream here.

Yankee Hotel Foxtrot was widely acclaimed as one of 2002’s best albums, appearing in year-end lists of Mojo, NME, Q, Rolling Stone, and Uncut, among many others. Yankee Hotel Foxtrot also was featured in multiple decade-end lists, with Rolling Stone naming it #3 Album of the 2000s, as well as many Greatest Albums of All Time lists, including in the NME.

Among Yankee’s inspirations was a recording Tweedy bought at Tower Records in the late 1990s, The Conet Project: Recordings of Shortwave Numbers Stations. As Bob Mehr points out in his new album note, the record got “deep under Tweedy’s skin.” Tweedy said in his 2017 memoir, Let’s Go (So We Can Get Back), “It was as fascinating to me as anything being made by actual musicians using actual instruments… I wanted to know why it was so hypnotic to me. Why could I listen to hours of this stuff, even though I had no clue what any of them were saying. That question became the foundation for Yankee Hotel Foxtrot… the way people communicated or ultimately failed to communicate.” The album takes its title from a haunting recording of a woman repeating those words that is included in The Conet Project; that recording is sampled in the penultimate song on Yankee Hotel Foxtrot, ‘Poor Places’.

“Conceptually, Tweedy had decided to focus on a big idea for the next album: the state of America. His lyrics – often distilled from scribbled pages of free verse or poetry – became a form of inquiry,” Mehr continues. Tweedy said, in 2004, “I wanted to write about the stuff right in front of my eyes, microscopically looking at America and asking questions about each little thing… How can there be all these good things and things that I love about America, alongside all of these things that I’m ashamed of? And that was an internal question, too; I think I felt that way about myself.”

Mehr says, “Exploring those questions, while weaving in strands of Eastern philosophy and bits of autobiography – Yankee lyrics would be loaded with the pained imagery of someone suffering from migraines and mental health issues – Tweedy would conjure a deep examination of both country and self.”

Describing the uncanny, strangely prescient feeling of the album, which Wilco began offering as a free stream on its website in 2001, Mehr notes: “In the wake of 9/11, Yankee Hotel Foxtrot would be burdened with unintended meaning. The disc had originally been scheduled for a September 11 release. Its cover – a Sam Jones-shot image of Chicago’s twin Marina Towers angled in looming fashion – bore an eerie resemblance to the felled World Trade Center towers. And the songs – with titles like ‘Ashes of American Flags’ and ‘War on War,’ and lyrics about how ‘tall buildings shake, sad voices escape’ – took on a terrible new resonance.”

Yankee Hotel Foxtrot was the first Wilco release on Nonesuch Records following the band’s infamous split with Reprise (both labels are part of Warner Music Group). It was also the first release featuring the line-up of drummer Glenn Kotche and multi-instrumentalist Leroy Bach joining founding members Jeff Tweedy and John Stirratt. The 2002 Sam Jones film I Am Trying to Break Your Heart documented the fraught recording and mixing process, personnel changes, and label issues.

The relationship with Nonesuch would last nearly a decade and include three more studio albums – the Grammy Award-winning A ghost is born, Sky Blue Sky, and Wilco (the album) – along with a live album and a live DVD, plus reissues of earlier records, before Wilco began its own label, dBpm. The band’s current lineup of Jeff Tweedy, John Stirratt, Glenn Kotche, Mikael Jorgensen, Patrick Sansone, and Nels Cline has been together for nearly twenty years.


DISC 5: HERE COMES EVERYBODY – BUILDING YANKEE HOTEL FOXTROT (PART 2)
Side I: (TRAIN)
1. Radio Cure (Here Comes Everybody Version) *
2. War on War (Here Comes Everybody Version) *
3. Venus Stopped the Train (Here Comes Everybody Version) * #
4. I'm the Man Who Loves You (Here Comes Everybody Version) *
5. The Good Part (Here Comes Everybody Version) * #
Side J: (KETTLE)
1. Pot Kettle Black (Here Comes Everybody Version) *
2. Ashes of American Flags (Here Comes Everybody Version) *
3. Poor Places (Here Comes Everybody Version) *
4. Shakin' Sugar (Here Comes Everybody Version) *
5. Reservations (Here Comes Everybody Version) *

DISC 6: HERE COMES EVERYBODY – BUILDING YANKEE HOTEL FOXTROT (PART 2) / THE UNIFIED THEORY OF EVERYTHING – BUILDING YANKEE HOTEL FOXTROT (PART 3)
Side K: (ESCAPE)
1. Cars Can't Escape (Here Comes Everybody Version) * #
2. A Magazine Called Sunset (The Unified Theory of Everything Version) ** #
3. Remember to Remember (Hummingbird) The Unified Theory of Everything Version ** #
4. I Am Trying to Break Your Heart (The Unified Theory of Everything Version) ** #
Side L: (WAR)
1. Kamera (The Unified Theory of Everything Version) ** #
2. Radio Cure (The Unified Theory of Everything Version) ** #
3. War on War (The Unified Theory of Everything Version) ** #
4. Jesus, Etc. (The Unified Theory of Everything Version) ** #

DISC 7: THE UNIFIED THEORY OF EVERYTHING – BUILDING YANKEE HOTEL FOXTROT (PART 3) / LONELY IN THE DEEP END – DEMOS, DRAFTS, ETC.
Side M: (DRUMMER)
1. Ashes of American Flags (Stravinsky Mix) ** #
2. Heavy Metal Drummer (The Unified Theory of Everything Version) ** #
3. I'm The Man Who Loves You (The Unified Theory of Everything Version) **
4. Pot Kettle Black (The Unified Theory of Everything Version) ** #
5. Poor Places (The Unified Theory of Everything Version) ** #
Side N: (RESERVATIONS)
1. Reservations (The Unified Theory of Everything Version) ** #
2. Love Will (Let You Down) Lonely in the Deep End Version *
3. Lost Poem Demo (Lonely in the Deep End Version) *
4. I’m The Only One Who Lets Her Down (Lonely in the Deep End Version) *
5. Has Anybody Seen My Pencil? (Lonely in the Deep End Version) *














[l] E1. Anniversary (Nothing Up My Sleeve) [American Aquarium Version] *









[v] G2. Not for the Season (Laminated Cat) [American Aquarium Version] *


[y] H2. Not for the Season (Laminated Cat) [Here Comes Everybody Version] * #





[xe] K3. Remember to Remember (Hummingbird) [The Unified Theory of Everything Version] ** #











[xq] N2. Love Will (Let You Down) [Lonely in the Deep End Version] *

picnic follow up their self-titled debut album with ‘creaky little branch’.

A love for early 00's electronica guides the listener as it sits somewhere between familiarity and the unknown. However, this isn’t an exercise in nostalgia, instead foreground for the here and now.

With contributions from Alejandra & Aeron, el2, Kindtree, Nico Callaghan, samb_rules, Craig Tattersall (The Humble Bee, Hood, The Boats, etc.), Theodore Cale Schafer and Ultrafog.

12 October 2022 will mark the 150th anniversary of Ralph Vaughan Williams’ birth

- A concentration of absolute masterpieces by the best-known British symphonist!
- Ideal performance by his compatriots BBC SO under the baton of Sir Andrew Davis with the participation of Tasmin Little.
- A must-have!

“Sir Andrew lives and breathes this music as to the manner born and takes his beloved BBC SO on a moving journey from shadowy darkness to blazing light. With sumptuous sound this is easily the best "modern" version in the catalogue.”

Kinks ist das Debütalbum der englischen Rockband The Kinks aus dem Jahr 1964. Dieses kultige Album ist eine perfekte Mischung aus Bluesrock, Rockabilly und dem klassischen Merseybeat der 1960er Jahre, der sich mit R&B, Skiffle, Rock und Ähnlichem vermischt. Wenn Sie auf der Suche nach dem Sound der British Invasion sind,
ist Kinks der perfekte Einstieg. Das Album wurde im Oktober 1964 aufgenommen. Die Coverversion von "Long Tall Sally" stürmte die Charts und gilt als die erste Single der Kinks überhaupt. Der zweite Erfolg der Band auf diesem Album ist die äußerst beliebte und meistverkaufte Sommer-Single "You Really Got Me". Die knackigen,
verzerrten Gitarrenriffs, das flirrende Solo, der stampfende
Uptempo-Beat und die aufsteigenden Harmonien definierten ein ganzes Genre. Dieses Album ist das erste Kapitel einer der ikonischsten Bands der Welt und ein Muss für jede Fansammlung