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Mechanical Dubbish Bongo Ragazzaccio

Pure Dub techno driven 5 tracker. Hydergine is back on Ranges with a new sonic journey that delves deep into dub techno while infusing it with innovative broken beat structures. The EP showcases the artists signature style in a captivating and refreshing way. Four tracks take the listener on a diverse and evocative journey, ranging from futuristic and dark sci-fi vibes to immersive and emotionally resonant soundscapes, with a rich tapestry of sonic elements that engage the mind and stimulate the senses. Resoe provides a reinterpretation of “Perception” that reveals new layers of complexity and emotion. A captivating exploration that results in a hypnotic and addictive masterpiece, further enriching the overall package.

7” vinyl, mono, direct master tape to vinyl cut, 33rpm



This is the 3rd appearance of Odesa-based Hennadii Boichenko (ex-Indirect) on Muscut, after his contribution as a part of the Indirect band (Ab Pharmacy / Waltz - 2014, Ode To The Sea 7” single, “Sea Songs,” - is a record mixed and tape mastered by Dmytro Nikolaienko. This is also the first episode of a newly started series of analog production chain releases with master reel tape transfer to lathe cut (the label has only been sending digital master files to the record plant before that). This year, Muscut twists from electronic music to instrumental and eclectic ones with more similar releases in the queue - Cukor Bila Smert's recordings from 1990-1993, Nikolaienko's "Meta" (exploration of metallophone on tape loopings), Fleischesmarkt's - disbanded Odesan punk/kraut band from the late 2000s.

Genesis' album Nursery Cryme, released in November 1971, marked a significant moment in the band's evolution and showcased the burgeoning talents of their new drummer and vocalist, Phil Collins, plus guitarist Steve Hackett.

Nursery Cryme saw the band take a more aggressive direction of some songs, with substantially improved drumming. The opening piece, "The Musical Box" combined the band's trademark mix of twelve-string guitars with harsh electric guitars and keyboards. The song, a macabre fairy story set in Victorian Britain, became the inspiration for the album cover, and went on to be a live favorite.

This album played a pivotal role in establishing the band's progressive rock sound and laid the foundation for their future success.

Although Peter Gabriel remained the band's primary vocalist, Collins' distinctive voice began to shine through on tracks like "For Absent Friends" and "Harlequin." Collins' vocals added a new dimension to the band's sound, blending seamlessly with Gabriel's, and hinting at the vocal prowess that would later define his solo career. His emotive and versatile singing style contributed to the album's overall charm.

Nursery Cryme is regarded as a crucial stepping stone in Genesis' discography, and with time, became recognized as a progressive rock classic. The album received acclaim for its adventurous and intricate compositions, combining elements of folk, rock, and classical music. Genesis' signature storytelling lyrics, often filled with surreal and whimsical imagery, captivated listeners and added depth to the music.

Critics praised the band's musicianship, with particular attention to the intricate guitar work of Steve Hackett and the melodic basslines of Mike Rutherford.

All the hallmarks of a top-notch Analogue Productions reissue are here for you to savor: Mastered directly from the original master tape by Chris Bellman at Bernie Grundman Mastering and cut at 45 RPM. Pressed on 180-gram vinyl at Quality Record Pressings, and housed in tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing.

Released in July 1994 by Atlantic Records, Cracked Rear View is Hootie & the Blowfish's most successful album, reaching No. 1 on the Billboard 200 five times during the course of 1995. It was also the best-selling album of 1995 in the United States, selling 7 million copies, and since then has gone on to sell more than 10.2 million copies, making it one of the best-selling albums of all time.

AllMusic's Stephen Thomas Erlewine says Hootie & the Blowfish, on Cracked Rear View, "...deliver the goods, turning out an album of solid, rootsy folk-rock songs that have simple, powerful hooks."

The album played a pivotal role in shaping the career of its lead vocalist, Darius Rucker, who transitioned to country music in the mid-2000s as a solo artist. Cracked Rear View was an instant sensation, with chart-topping hits such as "Hold My Hand," "Let Her Cry," and "Only Wanna Be with You." The album has a distinctive sound, blending rock, pop, and a hint of folk, using Rucker's soulful, raspy baritone as its emotional core, and his heartfelt delivery to win over audiences.

This Analogue Productions (Atlantic Series) reissue of Cracked Rear View has the essential elements that make it a standout for your collection. We turned to Ryan K. Smith at Sterling Sound in Nashville for an exemplary cut direct from the master tape. Pressing on 180-gram vinyl is by Quality Record Pressings, and the album is housed in tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing.

Cracked Rear View's emotional depth and Rucker's distinctive voice left an indelible mark on the music industry, making Hootie & the Blowfish's debut album a timeless piece of musical history.

Am 12.04.23 veröffentlicht Unter Schafen Records das Best Of-Album ''Retrospective'' von Sharon Stoned als limit. 2LPVersion bei Unter Schafen Records.

Die experimentelle Lo-Fi-Noise-Rock-Band Sharon Stoned wurde 1995 von Mark Kowarsch und Christopher Uhe direkt nach der Trennung ihrer Band Speed Niggs gegründet. Nach ihrem großartigen Debütalbum „License To Confuse“ und der Tape-EP auf dem Berliner Label City Slang unterschrieben Mark und Krite bei Sony Columbia und veröffentlichten das hochgelobte Doppelalbum „Sample & Hold“, das besondere Gastbeiträge von Künstlern wie Evan Dando enthielt (die Band unterstützte The Lemonheads während ihrer Car Button Cloth Europatour 1996), Lou Barlow, The Notwist, Tom Liwa, Furtips, Gitbox!, Tuesday Weld, Tocotronic und Mitglieder von HP Zinker und Die Goldenen Zitronen.







[g] My Style [feat. The Notwist] (05:11)
[h] Special Plan [feat. Evan Dando] (03:54)

[j] Some [feat. Lou Barlow] (02:40)

[l] Down [feat. Roeland Van Niele] (03:52)
[m] Never Dare To Ask [feat. Dirk Von Lowtzow] (04:00)
[n] Tape [feat. The Notwist] (06:45)
[o] Your Own [feat. Tom Liwa] (03:38)

HIGHLIGHTS We are happy to present here two Tropical versions of massive disco hits that retain all the party spirit of the originals. 'Da Ya Think I'm Sexy' (Rod Stewart) by La Cumbia Moderna de Soledad is a playful mix of the old and the modern that guarantees some dancefloor heat each time the needle hits the surface of the vinyl, and the Machuca Cumbia rendition of Bee Gees 'Stayin' Alive' becomes a dancefloor winner full of hypnotic percussions and guitars. A perfect follow-up to the acclaimed previous singles in our 'Tropical 45s series' that so far has included recordings by the likes of Jimmy Salcedo or Sebastiao Tapajos/Pedro Dos Santos. DESCRIPTION Few melodies have been played so many times on radio, movies or TV commercials as these two compositions from the golden age of mainstream disco music. Top international hits and iconic milestones of an era, both songs are immediately recognizable after just a few chords by almost anyone on this planet. These two compelling tropical versions retain all the party spirit of the originals, guaranteeing some dancefloor heat each time the needle hits the surface of the vinyl. A perfect follow-up to the acclaimed previous singles in our 'Tropical 45s series' that so far has included recordings by the likes of Jimmy Salcedo or Sebastiao Tapajos/Pedro Dos Santos. In the rendition of Rod Stewart's 'Da Ya Think I'm Sexy' we find a playful mix of the old and the modern made by Pedro "Ramayá" Beltrán, signed under his project La Cumbia Moderna de Soledad; a group from Barranquilla, Colombia, that recorded a set of songs that exudes both tradition and innovation. Machuca Cumbia, a Colombian studio band under the direction of "Cachaco" Brando, add some unexpected cumbia arrangements to the Bee Gees 'Stayin' Alive ', resulting a dancefloor winner full of hypnotic percussions and guitars that, at times, even recall other genres such as surf.

DIY tape manoeuvres, sending esoteric dub waves down from the magnetic north.

Straight from the studio in Glasgow. Everything done in-house. Hand stamped body. Printed the covers etc

Weirdo dubs from ambient to drone with experimental electronic cuts that occupy some frighteningly smoked out alleyway between the club and the cemetery. With a sweet spot of obscure but inclusive dub, with the kind of ambient bits that sound like ancient mythology.

2024 Repress

Three emotional years in the making, Be With and Efficient Space finally present Steve Hiett’s Girls In The Grass. Pressed alongside the long awaited reissue of his one-shot masterpiece Down On The Road By The Beach, these ten balearic soul instrumentals are of equal necessity; unrivalled beauty rescued from the fashion photographer-guitarist’s Paris Tapes (1986-1997).

While recordings unintended for release should often be approached with caution, this is a rare case of unheard material being assembled as an indispensable and coherent piece. Girls In The Grass is something super special. The light and shadow that defines Hiett’s music is arguably more compelling here. It speaks to us in a language that feels profound, yet entirely comforting and familiar.

Girls In The Grass reintroduces Hiett’s languid electric blues boogie, crafted on Saturday afternoons with fellow art director Simon Kentish. Kentish would cook, pour some wine and then utilise his arsenal of technology. He’d dial up a chugging rhythm, together with some ambient pads or keyboard textures, and anchor the weightless gauze of Hiett’s six-stringed touch.

Hiett’s guitar sings with the same clean, crisp tone as Down On The Road, animated by a carefree weekend groove. Unlike his defining album which was boiled under pressure, these subsequent sessions have all the time in the world. The naïve melodies chart a missing link between Vini Reilly’s ventures into electronica and Booker T, sounding like sun-warped takes on wordless, fractured non-hits from his heroes The Beach Boys.

Remastered for public pleasure by Simon Francis, these private moments are adorned with Hiett’s singular photography and feature typically idiosyncratic liner notes from Mikey IQ Jones

Yuval Havkin, also known as Rejoicer, is one of the foremost exponents of downtempo music, inspired by the fusion of jazz and hip-hop. His new album thus draws on his early influences while exploring the world of calm, melodic electronic music that borders on ambient.

This Is Reasonable has a chill-out feel to it, a record filled with melodies and atmospheres that, throughout its eleven tracks, conveys a sense of calm and floating, akin to ambient music. Stripped of the clichés of the genre, the album is built around subtle melodies and rich harmonies from keyboards and synths, which borrow as much from the spirit of jazz as from the inventions of electronica, whilst being supported by a gentle groove. This equilibrium is perfectly captured by Rejoicer's moniker, a term that evokes both the idleness of artificial paradises and a soft, caring form of spirituality.

Musical path
Yuval Havkin was born in Israel in 1985, and grew up in England before returning to his homeland. He began studying classical piano as a child, but was put off by such conservative teaching and turned to hip-hop and beatmaking in his teens. Throughout the 2000s, he learned his skills "on the job", working with musicians he met in Tel Aviv, a local scene that nurtured a sense of community and emulation. Back then, he was particularly impressed by the grooves and electronic inventions of Detroit producer Dabrye, who had a revelatory effect on him, before he discovered legendary musicians Madlib and Jay Dee aka J Dilla, who led him down the path of beatmaking.

Yuval Havkin's music career got off to a more serious start in the late 2000s with the creation of his own label, Raw Tapes, both based in Tel Aviv. Blending jazz, funk and hip hop, whilst still embracing pop influences, the label's productions showcased the richness of the new Israeli scene combining cool, elegance, playfulness, and a degree of research and inventiveness, thanks to the talent of artists and bands such as Duo Brothers, Maya Dunietz, iogi, Nitai Hershkovits, the Buttering Trio and Rejoicer, the artist's most personal project.

In 2018, Rejoicer's warm and engaging sounds caught the attention of the prestigious Los Angeles label Stones Throw, renowned for having signed his idols Madlib and J Dilla, not to mention Aloe Blacc and Peanut Butter Wolf (its founder). Two albums followed, Energy Dreams (2018) and Spiritual Sleaze (2020), both of which demonstrate his instrumental mastery, jazz culture and lush orchestrations. Both albums are on a par with more renown sampling prodigies of the beat scene, and gave him his first international recognition.

Now based between Los Angeles and Savyon, near Tel Aviv, this hyperactive and instinctive artist simultaneously pursues a career as a composer, musician and label owner, member of numerous bands and collective projects (Apifera, PlayDead, collaborations with Jimi Prasad and Avishai Cohen) while also offering his studios and production skills to other artists.

“Fela Kuti meets Aphex Twin”
This new Rejoicer album, which follows three earlier jazz-tinged records, marks a new and more personal musical direction for an artist who previously favored group work and collaborations. Following his meeting with Mathias Duchemin, founder of the Circus Company record label and a keen enthusiast of the new Israeli jazz scene, Yuval chose to delve into a more electronic and sequenced style of music, playing Prophet 6 and 8 synths, a Juno 60, a Minimoog and his Fender Rhodes keyboard, in contrast with the more organic sounds of his previous albums.

While a few tracks on this new album may sound like a laid-back version of some of the Warp label's early electronic classics by Aphex Twin or Boards of Canada, Yuval Havkin claims to have also been inspired by the great Fela Kuti, particularly in his search for harmonies between bass, keyboards and percussion, and by his elder trumpet-playing friend Avishai Cohen, a musician he particularly admires.

Beyond these various influences, This Is Reasonable is an album of compelling and bewitching melodies. The moods, peacefulness and sheer beauty of This Is Reasonable are, indeed, quite paradoxical, in stark contrast to the country's tragedies (the title explicitly refers to recent political disputes in Israel) and the war currently raging less than a hundred miles from his studio. A paradox fully embraced by the artist, who views his music as a response to the violence of our times.

Shelly y Nueva Generación was a cult Spanish soul and garage band that left an indelible mark on the late 1960s music scene. Their rare 45s, now classic DJ spins in the mod/psych 60s scene, boast a funky Le Beat Bespoke style freakbeat sound. Three singles were released on Philips between 1968-69, including their stunning take on Nonato Buzar's 'Vesti Azul' and the outstanding original 'I'm Just a Fool', as featured on Ivan Zulueta's cult film "Un, Dos, Tres, Al Escondite Inglés". This long-awaited release unveils their complete discography plus many unreleased recordings unearthed from lost tapes now seeing the light of day for the first time! It comes with a 8-page booklet with extensive notes and rare photos of the artists. This compilation stands as both a celebration of the band's legacy and a rediscovery of the timeless allure that made Shelly y Nueva Generación an enduring force in the annals of Spanish music history.

Stone Temple Pilots roared on to the scene in 1992 with their raucous debut Core. A breakout success, the album peaked at No. 3 on the Billboard 200 chart, dominated radio waves with hits like "Sex Type Thing" and "Wicked Garden," and has been certified 8x platinum by the RIAA. The band also took home the 1994 Grammy Award for Best Hard Rock Performance for their smash single "Plush."

Although it faced initial criticisms for being derivative of other grunge bands, such as Pearl Jam and Alice in Chains, time has gained Core recognition as a classic of the 1990s alternative rock era and remains a pivotal album in the Stone Temple Pilot's discography. Critics praised the band's musicianship, Scott Weiland's charismatic vocals, and the album's songwriting.

Core showcases a diverse range of musical styles, blending elements of alternative rock, grunge, hard rock, and even psychedelic influences. The band's sound is characterized by powerful guitar riffs and a melodic bassline.

The album strikes a balance between heavy, grunge-infused tracks and more introspective, melodic compositions. Songs such as "Sex Type Thing" and "Wicked Garden" exemplify the band's heavier, hard rock side, while tracks like "Plush" and "Creep" showcase their ability to craft emotionally charged, radio-friendly ballads. The album's eclectic mix of styles contributed to its widespread appeal and longevity in the alternative rock scene.

The top-notch Analogue Productions reissue earmarks are all here: Mastered directly from the original master tape by Ryan K. Smith at Sterling Sound and cut at 45 RPM. Pressed on 180-gram vinyl at Quality Record Pressings, and housed in tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing.

Nia Archives is the star at the forefront of the latest era of jungle. Since her emergence in 2020, her collagist soundscapes have helped bring the sound to a new generation of clubgoers (though fair warning: don’t call her a “revivalist” – she’s the first to point out that the scene never went away). So when it comes to talk of the 24-year-old producer, DJ, singer and songwriter’s much-anticipated debut album, the odds are you’re thinking of a full-length record of weightless jungle tracks with basslines so intense they’ll leave your ears ringing.

But the reality of the Bradford-born, Leeds-raised artist’s first ever album – while very much replete with that exquisite jungle sound she does so well – is also doing something a little different. On the thrilling and freeing Silence Is Loud, Nia Archives is looking to make music for beyond the rave. As she explains: “I think music can be experienced in different ways, and there’s different kinds of music for different scenarios. Say you’re at a festival listening to music with thousands of other people, that can feel really uniting. But then you might listen to an album on your own in the bus, or in a taxi; and this project is definitely more a record to sit and listen to than a collection of club tracks.” Nia is intent that Silence Is Loud is taken in as a full body of work of something “more song-focussed, putting interesting sounds on jungle.” It means that this is a record which finds gloomy Britpop, warm Motown, soaring indie, a love for Kings of Leon’s Aha Shake Heartbreak, skittering IDM, Madchester, classic rock, old skool hardcore and more, woven and fused into her ragga and junglist tapestry, all layered with feeling, imbued with her songwriterly lyricism about loneliness, relationships, family, navigating her 20s, and the intense potential power of silence.

The vast sonic palette on Silence Is Loud comes down to Nia’s broad array of influences through her life. With her Jamaican heritage, Nia remembers hearing jungle as a child via her nana, as well as at Bradford Carnival, where she was drawn to the soundsystem culture, dancing carefree on the floats in the parade. The first album she ever bought was Rihanna’s debut, Music of the Sun, and she also went to Pentecostal church back then, and was obsessed with gospel. Aged 16, she moved to Manchester, where she didn’t really know anybody: and so, her solution to meeting people was going out. “Partying was a huge part of my life,” she says, “They used to do little freestyle cyphers at the house parties and I would join in – that’s kind of how I got into singing.” She had found music boring at school, but in meeting all these new people she became interested in making her own music as a hobby. “I was making boom-bap kind of stuff which I didn’t really like in the end,” she laughs, “My lyrics are quite deep, so on a hip-hop beat it all sounds really depressing. I wanted people to dance to my music.” And so she began experimenting with faster tempos alongside that melancholy songwriting, teaching herself how to make beats on Logic: “It’s all been a lot of trial and error, really.”

Nia went to study music in London, and was also interested in visual art, making collages and VHS: “Before the music, I was trying to make a visual archive of my life and the people around me,” she explains, “And then my music was like my diary, and a sonic archive, as well.” Hence, she paired the word “archives” with her middle name, Nia. To this day, in her spare time she’s working on pulling together a documentary on the global nature of the jungle scene.

Back on those first two EPs, Headz Gone West (2021) and Forbidden Feelingz (2022), she honed that junglist sound, painting it with new flecks of colour and vibrance. It was only after she started releasing work that she realised pursuing music could be a viable life path for her. The decision has been paying off ever since. Nia Archives placed third in the prestigious BBC Sound Poll for 2023, alongside garnering a nomination for the Brit Awards’ Rising Star prize, plus wins at the DJ Mag, NME, the MOBOs and Artist and Manager Awards. She has also toured the world – be it North America, Europe or Asia – and even opened a show in London as part of a little something called Beyoncé’s Renaissance World Tour. She’s renowned as a party-starter in her own right, too, with takeovers at Glastonbury, Warehouse Project and her own Bad Gyalz day event. She’s done official remixes for the likes of Jorja Smith, had a huge summer hit with her Yeah Yeah Yeahs rework ‘Off Wiv Ya Headz’, and worked with brands like Corteiz, Nike, Flannels, Burberry, FIFA and Apple. In just three years, it’s fair to say that Nia Archives has become a need-to-know name in dance music.

But Nia is not interested in being one fixed thing. Building on the terrain from her third EP, Sunrise Bang Ur Head Against Tha Wall, the universe of Silence Is Loud is not totally unfamiliar territory; but it’s still emblematic of a bolder scope than we’ve heard from the artist before. Working with Ethan P. Flynn (the songwriter and producer known for his work with FKA twigs and David Byrne), the resulting record is an impressive feat of deftly-sculpted textures; sometimes big and euphoric, like the wobbly, lusty bass of ‘Forbidden Feelingz’, or elsewhere notably gentle and quiet – see: the gorgeous, surprisingly drumless ‘Silence Is Loud (Reprise)’, a heartfelt number that sits somewhere in the school of Adele. “I really sharpened my songwriting skill on this project,” Nia says, “I was really intentional about what I was writing about, and I really loved co-producing with Ethan. His process is so different to anyone I’ve worked with before, and he’s got a kind of DIY set-up like me.” Flynn’s flat overlooks the Barbican, adding that unquantifiable futurist urban quality that the area holds to the music. The pair enjoyed the collaborative process so much that the album was done within three and a half months.

Perhaps this is why Silence Is Loud maintains an exuberant immediacy while still being sleek and spacious, interspersed with flourishes of metallic beats, lush melody and topped with her sugary but powerful vocal, floating over it all. There is an intimacy to the record, perhaps in part due to Nia writing most of her lyrics while sitting in bed in her flat in Bow (once a bedroom producer, always a bedroom producer). You can hear it on the refrain for lead single ‘Crowded Roomz’, which finds rippling guitar lines cutting taut through the beats as Nia refrains: “I feel so lonely crowded rooms.” The song is an examination of life on tour, constantly surrounded by people, but not necessarily those she can be herself around; more than that, the track is exemplary in the category of sad bangers.

Silence Is Loud often finds itself in that push and pull between melancholy and euphoria. There’s a celebration of her unconditional love for her younger brother (the title track), a rumination of an evening with an Irish boy she met by Temple Bar (‘Cards On The Table), or a letter to herself on the light and airy ‘Unfinished Business’, even coming to terms with a lover having a past they haven’t quite processed yet (“nobody comes with a clean slate”). The latter was recorded the week after a music festival, and accordingly captures Nia’s vocal in its not quite healed, husky state.

Nia’s work is always a snapshot of where she’s at when she’s making it. This might not be the debut album you were expecting, but that’s what makes Silence Is Loud so special. Nia Archives has learned the rules of her sound, and is unafraid to break them, pushing jungle and herself into new, unchartered territories that, in turn, go some way to map the history of the greats of British dance music. More than that, it plants her firmly in that lineage.

Two brothers, surname Summers. Das Londoner Rap-Duo Summers Sons kehrt mit einem neuen Sound und einer neuen Vision zurück. “Still Nothing Still” ist weit entfernt von dem geliebten Jazz-Rap, für den die Gruppe bekannt ist. Der Jazz-Einfluss ist zwar immer noch vorhanden, aber klanglich und textlich spielen Turt & Slim in einer ganz eigenen Liga.

Slim verleiht seinen Beats einen elektronischeren, trip-hoppigen Vibe. Turt trägt seine Raps mit einer neuer Dringlichkeit und Zuversicht vor. Seit bei ihm 2021 Epilepsie festgestellt wurde, nahm die Diagnose einen großen Einfluss auf sein Leben und seine Kunst. Als Rapper hat Turt schon immer sein Herz auf der Zunge getragen, aber noch nie so ehrlich, poetisch, verletzlich, wütend und scharf wie auf “Still Nothing Still“.

Seit 2018 haben Summers Sons vier Alben (“Undertones“, “Uhuru“, “The Rain“, “Nostalgia“) und eine Reihe von hochkarätigen Kollabos mit Künstlern wie C.Tappin, Twit One, The Silhouettes Project und Koralle veröffentlicht. Nicht zu vergessen Slims Beat-Tape für KO-OP. Sie tourten mit Children of Zeus, spielten Shows mit FloFilz und Melodiesinfonie und sind Teil von The Silhouettes Project.

Im Jahr 2023 veröffentlichte Turt das Album “The Questions“ zusammen mit Twit One & C.Tappin, die sich 2020 als Syrup formierten, während Slim das Albumprojekt “Cerulean“ mit Benaddict und Ella Mae Suref veröffentlichte. Turt war zudem auf zwei Singles für The Silhouettes Project zu höhren zusammen mit Nix Northwest und Frankie Stew & Harvey Gunn.

Diane Birch emerges as a formidable American singer-songwriter and pianist, boasting a repertoire of critically lauded releases spanning a rich decade-long career. With an eclectic array of musical influences stemming from a globe-trotting childhood - ranging from her humble beginnings as a preacher's daughter in Zimbabwe and South Africa to her transformative years as a gothic teen immersed in the vibrant cultural underbelly of Portland, Oregon. Her discovery while living in London via Myspace led to a record deal in New York, where she then spent the next few years.

Diane's journey is as diverse as her sound. Her profound experiences have culminated in a unique musical blend, characterized by her stint performing soulful covers and original pieces in the swanky lounges of the Beverly Hills elite. Receiving widespread attention with her debut album "Bible Belt" and her follow-up projects "Speak A Little Louder" and "Nous", these works not only cemented her position in the international music scene but also earned her accolades and respect from esteemed peers including Prince, Daryl Hall, Mark Ronson, Dave Stewart, Questlove, Elvis Costello, Bryan Ferry and Stevie Wonder.

Returning with her latest work, "Flying On Abraham", Diane presents a meticulously crafted collection of original compositions. This album is a heartfelt homage to her vast and varied musical roots, weaving together the rich tapestry of 70s AM radio, soul, jazz, classic rock, 80s/90s pop and R&B. Despite the eclectic mix, Diane's sound remains distinctly her own - her voice a blend of raw emotion and refined grace, echoing the legacy of iconic artists like Carole King, Carly Simon and Rickie Lee Jones, yet standing out with an authenticity and individuality that is unmistakably Diane Birch. Produced by renowned English musician Paul Stacey, known for his work with Noel Gallagher and the Black Crowes, "Flying On Abraham" was recorded in the UK, backed by an impressive lineup of musicians. This album is not just a collection of songs but a narrative of her artistic journey, offering a window into the soul of a woman who has traversed continents and musical genres to create something truly extraordinary.

With "Flying On Abraham", Diane Birch reaffirms her status as a musical virtuoso, continuing to enchant audiences worldwide with her evocative lyrics. It represents Diane's enduring vision of "making American music with an English sensibility."

"When I moved to Minnesota from Pittsburgh in 1994 all I brought with me was a big duffle bag and an acoustic guitar. I was 19. In that bag was a Radio Shack cassette recorder. I spent that time writing and filling up a tape with new songs. A few years later I earned enough money from my restaurant jobs to buy an old reel-to-reel 4-track recorder and some other instruments which allowed me to slightly expand my production ideas. More songs kept flowing and I made my self-titled album adding drums and bass. Over the next few years, as things grew, those sparse cassette songs fell on the back burner until 2002 when I decided to re-record a bunch of them at a higher quality. To keep with their original vision, I asked engineer Tom Garneau if he could record me playing them live in his living room. We left the production minimal and rough which I think serves these particular songs well. No overdubs. Just solo acoustic guitar and vocals. I called the album Simple Life. It was originally just a limited release. Until now. I hope you enjoy it."

Experimental metal trio LOCRIAN are a prophetic voice of decline and a pioneering force in the world of metal. LOCRIAN’s sonic tapestry weaves elements of black metal, ambient, and experimental music, creating a genre-defying experience that pushes the boundaries of conventional metal norms. Their new album “End Terrain” set for release on April 05, is the proper follow-up to 2015’s “Infinite Dissolution” (Relapse Records) and continues in the vein of LOCRIAN’s distinguishable sonic blueprint brought forth from said release along with such albums as the Relapse Records released “Return To Annihilation” and “The Clearing/The Final Epoch”. 2022 saw the return of LOCRIAN making their return on their Profound Lore debut “New Catastrophism” which saw the trio explore and return back to the more experimental side of their roots.

“End Terrain” is the group’s most direct and concise work to date. More complex and layered than anything in the prolific trio’s catalog, “End Terrain” is a concept album exposing a vision of a future earth consumed by waste. An apocalyptic landscape, inhabited by a generation who despise their parentage and a dying breed fully aware of the wasteland they have left. Mountains of trash and an uninhabitable planet, endless and dead. End Terrain is about inertia and regret, about the future and a mirror to the present, about mourning and extinction.

A seamless and harrowing blend of experimental, post-rock, and post-metal, “End Terrain” is the perfect manifestation of modern, forward-thinking experimental music pushed to a maximalist conclusion.

In the ever-evolving realm of extreme music, LOCRIAN stands as a testament to the power of artistic exploration. Their geographical spread mirrors the expansive sonic landscapes they traverse, cementing their status as trailblazers in the avant-garde metal scene.

"Locrian are a many-tendriled beast. The formerly Chicago-based trio, having released a myriad of albums ranging from abstract guitar noise to krautrock-and-drone-informed metal, are poised to release their first "song-based" album since 2015's Infinite Dissolution (compared to 2022's New Catastrophism–an improvisation-guided, full-band drone and noise album). End Terrain is a high-concept, intense album, telling a very pers

"Veneer of Tolerance Remixes" is the nine-headed rebirth of KR3 Records' Chapter 07, signed by JK Flesh, an icon revered within the UK's alternative music realm for a trailblazing three-decade career.
Each track of this double-vinyl project unveils a unique reinterpretation, birthing a bespoke tapestry of techno music, a dark sorrowful ode to the genre's diverse landscape.
Traversing realms of power electronics, noise, breakbeat, industrial, gabber, and ambient drone, the 9 tunes are sculpting an evolution within the techno genre.