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Unsere Resident Evil Vinyl-Serie wird mit dem actiongeladenen Remake von Resident Evil 3 fortgesetzt, in dem Jill Valentine in HD von der furchterregenden Nemesis gejagt wird.
24 Tracks wurden speziell für Vinyl gemastert und auf traditionelle schwarze Heavyweight-Platten gepresst. Diese befinden sich in einer Deluxe-Gatefold-Hülle mit einem Cover-Artwork von Capcom. Unter der Leitung des langjährigen Resident Evil-Mitarbeiters Masami Ueda gehören Kota Suzuki, Takayasu Sodeoka, Azusa Kato, Ryo Koike, Takumi Saito und Saori Maeda zum Kompositionsteam des Spiels. Der Score schwelgt in der unheimlichen, atmosphärischen Spannung, die nur Resident Evil-Titel erzeugen können. Dazu kommen pulsierende Actionszenen, die das Herz höher schlagen lassen, und einige nostalgische Themen aus dem Jahr 1999.

This is the third album by Sound Limited, also known as "Hidden Treasure". This gloss. This depth. Takeshi Inomata's jazz rock has entered a new dimension.

Sound Limited, which was formed at the end of 1969, recorded three albums in quick succession in 1970, as if to reflect Takeshi Inomata's enthusiasm. The third of these albums is New Rock In Europe. This album is composed mainly of songs by European musicians such as The Beatles, Donovan, and Nino Rota. There are many highlights to listen to, such as "Something," which fascinates with Kimio Mizutani's shimmering guitar, and "Barabajagal," which has an exciting tight groove, but I am happy to see a revival of Inomata's original "Mustache," which is part of the group's repertoire. ?Sounds Of Sound L.T.D.? This is the third recording after "Sensational Jazz Vol. 1/2", and this version is glossy and psychedelic as if it concentrates the atmosphere of the entire album. It is a monumental work that makes it known that Jazz Rock by Inomata has entered a new dimension.

text by Yusuke Ogawa (UNIVERSOUNDS / DEEP JAZZ REALITY)

Over 20 years of friendship and Reggie Dokes and Red D are still at it. Their first joint E.P. was released on Red D’s We Play House Recordings label and kicked off the label’s much-lauded U.S. Series. Moving back across the pond we now find Reggie and Bart sharing a release on Reggie’s legendary Psychostasia imprint.

On the A-side Reggie is bringing his trademark sound and taking it deeper than ever. Moody melancholy paired with solid beats and drums to take you into deep house heaven. On the flip Red D brings his Detroit inspiration into deep and swinging techno territory reminding us of Scan 7 and the likes with a vocal that gives a respectful nod to an Underground Resistance classic. Can you get into the sound?

ercury Rev take you on a swan dive into the mystic: a rapture of ballad-dreams and emotional memoir at the crossroads of The Dharma Bums, Pet Sounds and Side Three of Electric Ladyland. A profound, transcendant trip from the psychedelic explorers who brought you Deserter's Songs.
David Fricke In upstate New York, deep in the seam between the Catskills mountains and the Hudson Valley, a richly swelling, spellbound sound emerges, eddying and flowing like the local Esopus Creek, or in the slipstream of the grander Hudson river, carrying the flotsam and jetsam of our hopes, dreams, fears. A sound composed of organic and electronic; guitars, keys, brass, strings, woodwind, drums - and a voice of incantations, tapping streams of consciousness that similarly eddy and flow.
Spiritually, literally, psycho-geographically: where else does Mercury Rev’s ninth album Born Horses spring from? This cascade of gleaming, glistening psych-jazz-folk-baroque-ambient quest that searches its soul but can never truly know the answer? A sound and vision linked to their exalted past whilst quite unlike anything they have created before?
The answer is somewhere between the homes of founder members Jonathan Donahue (the hamlet of Mt Tremper) and Grasshopper (the town of Kingston), in their veins and brains of their now-legendary tapping of musical cosmology, and the vital presence of new permanent member Marion Genser (keys), plus long-term ally Jesse Chandler (keys) and guests Jeff Lipstein (drums), Martin Keith (double bass) and Jim Burgess (trumpet). A place that feeds off the levitating mood of their last album, 2019’s expansive tribute Bobbie Gentry's The Delta Sweete Revisited, and the instrumental psych explorations under the names of Harmony Rockets and Mercury Rev’s Clear Light Ensemble, and the spiritual guidance of avant-garde artist Tony Conrad and Beat poet Robert Creeley, to whom Born Horses is
dedicated.

On their seventh long player The Breaks - their second for Joyful Noise Recordings - SUUNS are lost in limbo. For some artists, being caught in flux may result in songs that are either naive, out of touch or both, simply as a consequence of being cut off from human civilization. But for SUUNS, a band who have grown more than comfortable in the oblique and the intermediate, it actually had the opposite effect. The Breaks marks the Montreal experimental rock outfit's most emotionally resonant and tonally rich collection of music to date. The trio of Ben Shemie, Joseph Yarmush and Liam O' Neill leans more zealously than ever into their pop instincts. Yet remarkably enough, with that same dauntless abandon, SUUNS have mined a more extreme sonic palette this time around, one that stretches far beyond their core fundamentals as a band. The Breaks finds Shemie, O'Neill and Yarmush gleefully experimenting with loops, synths, samples and MIDI-instruments like a post-millennial Tangerine Dream messing with downtempo triphop beats. O' Neill took point in the producer's chair for The Breaks, arranging, structuring and editing many of Shemie and Yarmush's ideas from sporadic rehearsal sessions into Pro Tools, reimagining the songs over and over during a two-year time frame. Forged between countless plane rides, road trips, van tours and text threads, The Breaks became a product of endurance and a lot of trial-and-error. It's a record forged in tight fissions of freedom, where spells of whispered intimacy - like on the stunning ballad "Doreen" - are allowed to branch out into the vast glacial dreamscapes of the album's majestic title track. It captures SUUNS at their most panoramic, curious and exuberant: a constant relay of being adrift and enlightened anew, geared up to eleven. And guess what: the wheels keep on spinning.

Belarusian post-punk / synth pop group Molchat Doma have always exuded the kind of brutalist aesthetic of the architecture that adorns their album art. It's cold, gray, imposing, industrial and yet there are human hearts beating within those foundations. In the wake of their breakthrough success in 2020, the trio endured a polarity of experiences, from the nadir of an uprooted life and forced relocation away from their native Minsk to the apex of headlining massive shows across the world. It was in this headspace that the band settled into their new home of Los Angeles to finish writing their fourth album Belaya Polosa, a testament to change in difficult times, a love letter to the digital pulse of the `90s, and a technicolor reinvention of the band's somber dancefloor anthems. From the opening synth swell and drum machine throb of "Ty Zhe Ne Znaesh' Kto Ya," to the goth / post-punk austerity of "Son", to the swirling electronic textures mixed with reverb-drenched guitar flourishes, expansive space, and yearning vocals of title track "Belaya Polosa" - that suggests Depeche Mode at their most reflective or The Cure at their most downtrodden - to the sultry and seductive "Chernye Cvety"_ a track reminiscent of Duran Duran's early `90s output in its fusion of dreamy guitars and authoritative mechanized beats _ and the interwoven layers of instrumentation, soaring chorus, and melodic sophistication of "Ya Tak Ustal", it's clear that Molchat Doma are operating on another level. Molchat Doma gained following with earlier albums that sound like third-generation bootlegs of banned recordings from the Eastern Bloc made after a few key entries in the Factory Records catalog were smuggled in from the West. Belaya Polosa propels them into a new direction while retaining their cold minimalist delivery they're known for. The basement grime and dirty tape-head sound of their previous work are now making space for digital luster and shimmering production values. And while Molchat Doma's broadened aural spectrum adds a synesthetic power to Belaya Polosa, the mood remains rooted in stark and unflinching self-reflection. Molchat Doma retain the duality of being both cold and feverish in their delivery while pushing their music into expanded territories through an armory of new textures. The trio continue to harness the sound of harrowing beauty thriving under harsh realities.

Belarusian post-punk / synth pop group Molchat Doma have always exuded the kind of brutalist aesthetic of the architecture that adorns their album art. It's cold, gray, imposing, industrial and yet there are human hearts beating within those foundations. In the wake of their breakthrough success in 2020, the trio endured a polarity of experiences, from the nadir of an uprooted life and forced relocation away from their native Minsk to the apex of headlining massive shows across the world. It was in this headspace that the band settled into their new home of Los Angeles to finish writing their fourth album Belaya Polosa, a testament to change in difficult times, a love letter to the digital pulse of the `90s, and a technicolor reinvention of the band's somber dancefloor anthems. From the opening synth swell and drum machine throb of "Ty Zhe Ne Znaesh' Kto Ya," to the goth / post-punk austerity of "Son", to the swirling electronic textures mixed with reverb-drenched guitar flourishes, expansive space, and yearning vocals of title track "Belaya Polosa" - that suggests Depeche Mode at their most reflective or The Cure at their most downtrodden - to the sultry and seductive "Chernye Cvety"_ a track reminiscent of Duran Duran's early `90s output in its fusion of dreamy guitars and authoritative mechanized beats _ and the interwoven layers of instrumentation, soaring chorus, and melodic sophistication of "Ya Tak Ustal", it's clear that Molchat Doma are operating on another level. Molchat Doma gained following with earlier albums that sound like third-generation bootlegs of banned recordings from the Eastern Bloc made after a few key entries in the Factory Records catalog were smuggled in from the West. Belaya Polosa propels them into a new direction while retaining their cold minimalist delivery they're known for. The basement grime and dirty tape-head sound of their previous work are now making space for digital luster and shimmering production values. And while Molchat Doma's broadened aural spectrum adds a synesthetic power to Belaya Polosa, the mood remains rooted in stark and unflinching self-reflection. Molchat Doma retain the duality of being both cold and feverish in their delivery while pushing their music into expanded territories through an armory of new textures. The trio continue to harness the sound of harrowing beauty thriving under harsh realities.

Belarusian post-punk / synth pop group Molchat Doma have always exuded the kind of brutalist aesthetic of the architecture that adorns their album art. It's cold, gray, imposing, industrial and yet there are human hearts beating within those foundations. In the wake of their breakthrough success in 2020, the trio endured a polarity of experiences, from the nadir of an uprooted life and forced relocation away from their native Minsk to the apex of headlining massive shows across the world. It was in this headspace that the band settled into their new home of Los Angeles to finish writing their fourth album Belaya Polosa, a testament to change in difficult times, a love letter to the digital pulse of the `90s, and a technicolor reinvention of the band's somber dancefloor anthems. From the opening synth swell and drum machine throb of "Ty Zhe Ne Znaesh' Kto Ya," to the goth / post-punk austerity of "Son", to the swirling electronic textures mixed with reverb-drenched guitar flourishes, expansive space, and yearning vocals of title track "Belaya Polosa" - that suggests Depeche Mode at their most reflective or The Cure at their most downtrodden - to the sultry and seductive "Chernye Cvety"_ a track reminiscent of Duran Duran's early `90s output in its fusion of dreamy guitars and authoritative mechanized beats _ and the interwoven layers of instrumentation, soaring chorus, and melodic sophistication of "Ya Tak Ustal", it's clear that Molchat Doma are operating on another level. Molchat Doma gained following with earlier albums that sound like third-generation bootlegs of banned recordings from the Eastern Bloc made after a few key entries in the Factory Records catalog were smuggled in from the West. Belaya Polosa propels them into a new direction while retaining their cold minimalist delivery they're known for. The basement grime and dirty tape-head sound of their previous work are now making space for digital luster and shimmering production values. And while Molchat Doma's broadened aural spectrum adds a synesthetic power to Belaya Polosa, the mood remains rooted in stark and unflinching self-reflection. Molchat Doma retain the duality of being both cold and feverish in their delivery while pushing their music into expanded territories through an armory of new textures. The trio continue to harness the sound of harrowing beauty thriving under harsh realities.

„Hole Erth“, das achte Studioalbum von Chaz Bear als Toro y Moi, ist der bisher unerwartetste und kühnste Schritt des Genre-Veränderers. Bear taucht kopfüber in Rap-Rock, Soundcloud-Rap und Y2K-Emo ein. Das Album vereint hymnischen Pop-Punk und melancholischen Rap - zwei Genres, die sich heute mehr denn je gegenseitig beeinflussen - und enthält die meisten Features, die jemals auf einem Album von Toro y Moi zu hören waren. Ein Gefühl der Nostalgie schleicht sich in fast jede Toro y Moi-Veröffentlichung, aber Angst ist eine Emotion, die Bear nie absichtlich so erforscht hat, wie er es hier tut. Tracks wie „Tuesday“ kanalisieren ein spezifisches, aber für immer nachvollziehbares Gefühl von pubertärem Unbehagen. Ein verzerrtes Gitarrenriff führt zu einem sich wiederholenden Refrain, der an missverstandene Teenager erinnert, die laut - vielleicht zu laut - singen, während sie mit dem Fahrrad durch amerikanische Vorstädte fahren. Diese Vorahnung ist auch in „HOV“ zu hören, allerdings nicht ohne mit lustigen Zeilen wie „Romance is so cold / My advice? To Bring a coat." zu verblüffen. Bear hat die Energie, ist sich aber bewusst, dass seine Energie nicht ewig hält. In einer Zeit, in der das Internet in immer schnellerem Tempo mehrere Genres miteinander verschmilzt, schafft Bear das seltene Kunststück, mit dem zeitgenössischen alternativen Hörer Schritt zu halten. Das Herz von Toro y Moi ist es, sich ständig zu verändern, sich weiterzuentwickeln und zu experimentieren. Auf „Hole Erth“ fordert Bear sich selbst heraus, umarmt aber auch die unzähligen Klänge und Epochen, die ihn geprägt haben, während er neue Welten zusammenschmettert.

„Hole Erth“, das achte Studioalbum von Chaz Bear als Toro y Moi, ist der bisher unerwartetste und kühnste Schritt des Genre-Veränderers. Bear taucht kopfüber in Rap-Rock, Soundcloud-Rap und Y2K-Emo ein. Das Album vereint hymnischen Pop-Punk und melancholischen Rap - zwei Genres, die sich heute mehr denn je gegenseitig beeinflussen - und enthält die meisten Features, die jemals auf einem Album von Toro y Moi zu hören waren. Ein Gefühl der Nostalgie schleicht sich in fast jede Toro y Moi-Veröffentlichung, aber Angst ist eine Emotion, die Bear nie absichtlich so erforscht hat, wie er es hier tut. Tracks wie „Tuesday“ kanalisieren ein spezifisches, aber für immer nachvollziehbares Gefühl von pubertärem Unbehagen. Ein verzerrtes Gitarrenriff führt zu einem sich wiederholenden Refrain, der an missverstandene Teenager erinnert, die laut - vielleicht zu laut - singen, während sie mit dem Fahrrad durch amerikanische Vorstädte fahren. Diese Vorahnung ist auch in „HOV“ zu hören, allerdings nicht ohne mit lustigen Zeilen wie „Romance is so cold / My advice? To Bring a coat." zu verblüffen. Bear hat die Energie, ist sich aber bewusst, dass seine Energie nicht ewig hält. In einer Zeit, in der das Internet in immer schnellerem Tempo mehrere Genres miteinander verschmilzt, schafft Bear das seltene Kunststück, mit dem zeitgenössischen alternativen Hörer Schritt zu halten. Das Herz von Toro y Moi ist es, sich ständig zu verändern, sich weiterzuentwickeln und zu experimentieren. Auf „Hole Erth“ fordert Bear sich selbst heraus, umarmt aber auch die unzähligen Klänge und Epochen, die ihn geprägt haben, während er neue Welten zusammenschmettert.

A new album by Medway's premier alt-folk outfit The Singing Loins! Yes indeed. We caught up with Rob Shepherd to find out more about their brilliant new LP Twelve_ Q: "The new album is called Twelve. Could you settle an office debate - is it your 12th album or have you called it that because it has twelve songs on it? (We thought Here On Earth was your 12th but not according to Discogs. Also, our ability to count accurately has diminished over the years!)" A: "A bit of both. Course, there's the 12 songs, but then, depending on how you count, it's also our 12th album (from 91-98, there's the 1st 4 LPs that Damaged Goods collected together on The Complete & Utter - that's a comp though, so we can't count that eh - then there's At The Bridge with Billy, so that's 5_..we can skip Alive In Dunkerque as well cos it's a live album....then there was 2004-13 where we made four more with you, then in 2019 we got back together and made 13 Moon Songs From Merry Hell, released on the Vacilando 68 label...so that's 10_and then we did another record with Billy, The Fighting Temeraire_ so yeah, that makes this one number 12)." Q: "The album has features newly recorded versions of several Loins classics. Was it a difficult decision deciding which back catalogue songs to record?" A: "No, pretty easy - it's basically the 12 songs we enjoy playing the most with the current lineup. Saying that, it's been a bit of a meandering road getting to this point. Since Brod passed away, Arf & me have done few nights of Loins songs - and it's felt good - celebrating the songs we all wrote together - so that started the selection process. Oli, Arf's lad, joined us on percussion and then Rich, who Billy had introduced to us, joined on violin - then Chris came along to play the drums, so Oli switched to guitar - and through all that we were refining the set of songs, and we got a point where we felt that, yeah, we've sort of worked out how to do this (you know, respecting and celebrating our past, without coming on like a tribute band to ourselves), so it made sense to make the album - just to reflect where we'd arrived at....so we went into Jim's Ranscombe Studios and bashed them all out live in a couple of hours....no overdubs, no fussing over mistakes....just sing and play the songs as if it was a gig." Q: "It's been 33 years since the debut Loins' LP - How does it feel to be the elder statemen of Kent's alt-folk scene?" A: "Ha ha, are we? We don't know any other folk bands, alt or not, so it doesn't feel as though we're qualified to be the statesmen of anything! Elder, certainly, but statesmen? Nope." Q: "There's been plenty of gigs recently with more to come around the album's release, including some European dates. For people who've not seen you before what can they expect from a Loins gig?" A: "Yeah, as I said, now that we've worked out how to do this, and as we're having so much fun with it, we thought we'd get out & about. We're off to Serbia immediately after the album's release, so that'll be an adventure - Serbia was always special for us (Aleks, the promotor, took us out there to play seven or eight times in all) and we've stayed in touch over the years, so it'll be lovely to see everyone out there again. As for what can anyone expect when they see us? "Riotous fun filled joy" I've just been told, but best let everyone else be the judge of that!" Q: "The Singing Loins wouldn't have existed of course if it wasn't for Chris Broderick. Chris sadly passed in 2022. What would he have thought about the fact you're carrying on with the band and recording new music?" A: "Yeah_ he'd be happy. In the week before he passed away, he asked Arf & me over, basically to say goodbye and tie up any loose ends. And he told Arf that we should carry the Loins on. So yeah, I think he'd be pleased and proud that we're keeping the songs, and his words, alive."

Admittedly, I'm not a great salesperson when it comes to running our little label. I do my best not to give into hyperbole or build something up too intensely if someone has not heard a new artist yet. I prefer to simply present the music and let the listener decide how they feel about it. However, we live in an age when the "story" put together by publicists, labels, and managers are often the driving force of an artist's ascension into the zeitgeist. And for me, that's always felt rather artificial, even when the narrative is genuine. But every once in a while, a project comes along that takes on a life of its own. And I can say without a doubt that the growth of Pale Jay's reach since we first started working with him has little to do with conjured narratives or clever marketing, but more to do with how the music makes the listener feel. It's that simple. In fact, Jay is so enigmatic and without a narrative that the mere absence of a story has become the story. Who is he? Where is he from? What's next? Some questions are better left unanswered in my opinion, my friend. Including the question, "Why does this music make me feel so much?" You're better off just sitting back, disconnecting, and letting Low End Love Songs by Pale Jay wrap you up. Enjoy and spread the good word. - Terry Cole

"Low End Love Songs", more so than previous releases, is a diary in form of song. I knew I just had to wait for the songs to be ready to be picked, like ripe fruit from a tree. Each tune encapsulates a distinct moment in my life, with music serving as my means of processing complex and sometimes conflicting emotions. In this album, I depart from loop-based song structures towards more intricate and lush compositions. Latin influences permeate the music, adding new layers of rhythms and textures to my soul-music roots. - Pale Jay

Fünf Monate arbeitete David Gilmour in Brighton und London an »Luck And Strange«, dem ersten neuen Longplayer, den er seit neun Jahren veröffentlicht. Die LP wurde von David und Charlie Andrew produziert, den man für seine Zusammenarbeit mit ALT-J und Marika Hackman kennt. Der Großteil der Lyrics stammt von Gilmours Co-Autorin Polly Samson, mit der er schon seit 30 Jahren zusammenarbeitet. Auf dem Album sind acht neue Tracks zu hören, dazu kommt eine Coverversion von Between Two Points (Originalinterpreten: The Montgolfier Brothers), auf der Romany Gilmour Harfe spielt und singt. Auf anderen Songs der LP war Gilmours Tochter für die Backing-Vocals zuständig. Zu den Musikern, die an der Entstehung von »Luck And Strange« beteiligt waren, gehören: Guy Pratt & Tom Herbert am Bass, Adam Betts, Steve Gadd und Steve DiStanislao am Schlagzeug sowie Rob Gentry & Roger Eno an den Keyboards. Für die Streicher- und Chor-Arrangements war Will Gardner verantwortlich. Auf dem Titeltrack, der 2007 während eines Jams in David Gilmours Scheune entstand, ist der verstorbene Pink Floyd Keyboarder Richard Wright zu hören. Das Cover-Foto von Anton Corbijn wurde durch den Text von »Scattered«, dem letzten Song des Albums, inspiriert.

Dream Theater-Keyboarder Jordan Rudess ist kein Unbekannter, wenn es um Experimente geht. Er hat den Ruf, kreative, klangliche und technologische Grenzen gekonnt zu überschreiten. Sein neuestes Werk, das Soloalbum "Permission to Fly", verkörpert dieses Ethos und beschäftigt sich mit der Komplexität der menschlichen Existenz in unserer facettenreichen Welt. Mit Darby Todd (Devin Townsend) am Schlagzeug, That Joe Payne am Gesang, Steve Dadaian an der Gitarre und Bastian Martinez als Gast-Gitarrensolist hat Rudess diesmal eine Kerngruppe von Musikern zusammengestellt, die seine Vision unterstützen und erweitern. "Permission to Fly" ist eine abwechslungsreiche Sammlung, die von ausgefeilten Prog-Kompositionen bis hin zu mitreißenden Balladen reicht. Die Songs erforschen verschiedene Themen - von alltäglichen menschlichen Kämpfen bis hin zu übernatürlichen Phänomenen. Jeder Song ist eine eigenständige Reise, aber in seiner Gesamtheit enthüllt das Album eine musikalische Odyssee durch das breite Spektrum menschlicher Erfahrungen.

In den letzten 10 Jahren hat das britische Alt-Pop-Duo HONNE unglaubliche Höhen erreicht - seit ihren ersten bescheidenen Aufnahmesessions in East
London haben sie mehr als drei Milliarden Streams erreicht und mehr als 200.000 Tickets für Headline-Shows auf der ganzen Welt verkauft. Es ist eine
Geschichte des Wachstums, der Reife und der Verwandtschaft.
Auf ihrem bezaubernden neuen Album - dem spielerisch betitelten OUCH - sind James Hatcher und Andy Clutterbuck bereit, sich wieder auf ihr
Fundament zu besinnen und die Art von melodischem Überschwang und herzzerreißendem Songwriting zu verwirklichen, die nur HONNE bieten
können. Das Ergebnis ist ein tadellos detailliertes und wunderbar mitreißendes Album, das von den tiefgreifenden Veränderungen in ihrem eigenen
Leben geprägt ist. Es folgt einer Erzählung, die mit einem Teenagerschwarm beginnt und mit der Verantwortung des Familienlebens endet.
Von der Hip-Hop-Produktion der frühen 90er über den glatten Pop des 21. Jahrhunderts bis hin zu Balladen - OUCH zeugt von der frenetischen
Kreativität, die nur HONNE hervorzaubern können, denn sie haben jeden einzelnen Aspekt dieses Projekts selbst geschrieben, aufgenommen und
produziert.

Mutant, in partnership with WaterTower Music, are proud to present the premiere physical media release of Tom Holkenborg’s explosive score to George Miller’s latest wasteland epic FURIOSA: A MAD MAX SAGA. Tom Holkenborg’s collaborations with the legendary George Miller Mad Max: Fury Road, Three Thousand Years of Longing have produced some of the most unique and powerful film music of the last decade. With FURIOSA, he takes the sonic landscape he created with the last film and shifts into higher gear. The loudest revving-engine of a score you’ve ever heard, absolutely pulsating with ferocity and white-knuckle tension.

"My collaboration with the incredible George Miller began over a decade ago with our work on Mad Max: Fury Road, a project that marked a pivotal moment in my career as a film composer." says Holkenborg. "Returning to this world to score the odyssey of Furiosa, an epic tale of survival, resilience and revenge has been just as eye-opening and gratifying. Furiosa: A Mad Max Saga is a testament to the vision of a singular film maker, whose pursuit of excellence always inspires me to push my creative limits."

Pressed on 2x 140 gram eco vinyl, with liner notes by composer Tom Holkenborg and housed in a tri-fold sleeve designed by Mutant co-founder Mo Shafeek.

Thandii (aka Jessica Berry, Graham Godfrey) first made waves with their debut album A Beat To Make It Better in 2023. The album gained somewhat cult critical acclaim long after it’s release, with listeners luxuriating in the unusual sound collaged from offcuts of Soul, Lo-fi Hiphop & Psych. Thandii’s world comes bolstered by collaborations with esteemed artists such as Michael Kiwanuka, Inflo, SAULT, Joy Crookes, Jordan Rakei, and Little Simz. The duo’s sophomore offering comes in the form of two companion albums Dream With You & Come As You. The two albums make up a single conceptual statement celebrating dissonance, contradiction, polarity and opposition.

The pair believe that binary thinking has a lot to answer for in today’s world and is often used to divide us as a people. ‘We wanted to explore what it felt like to hold disparate notions in both hands whilst making the music. Starting with the title tracks, we explored the idea of unashamedly being your authentic self in every moment - this is admirable for those that can live their life in an uncompromising way. In contrast to that idea, we explored those moments where we perhaps wished we were more than our reality - a dreamed up, imagined self’. It’s no surprise that duality is central to what Thandii is all about with the pair co-writing, co-recording & co-producing from their seaside studio HaloHalo in Margate, Kent.

The albums each have a distinct flavour of their own. Dream With You is built on cassette-tape-driven lofi beats, art-pop melodies and soulful piano breaks. Whilst Come As You explores more experimental song-form that wouldn’t seem out of place on Tender Buttons - Broadcast or Dots And Loops - Stereolab. Jessica’s voice is the transcendent, ethereal form that shapeshifts between the realms of the two statements; dancing playfully through falsetto harmonies, confessional spoken word, detuned alter egos and haunting choirs.

Thandii (aka Jessica Berry, Graham Godfrey) first made waves with their debut album A Beat To Make It Better in 2023. The album gained somewhat cult critical acclaim long after its release, with listeners luxuriating in the unusual sound collaged from offcuts of Soul, Lo-fi Hiphop & Psych. Thandii’s world comes bolstered by collaborations with esteemed artists such as Michael Kiwanuka, Inflo, SAULT, Joy Crookes, Jordan Rakei, and Little Simz. The duo’s sophomore offering comes in the form of two companion albums Dream With You & Come As You. The two albums make up a single conceptual statement celebrating dissonance, contradiction, polarity and opposition.

The pair believe that binary thinking has a lot to answer for in today’s world and is often used to divide us as a people. ‘We wanted to explore what it felt like to hold disparate notions in both hands whilst making the music. Starting with the title tracks, we explored the idea of unashamedly being your authentic self in every moment - this is admirable for those that can live their life in an uncompromising way. In contrast to that idea, we explored those moments where we perhaps wished we were more than our reality - a dreamed up, imagined self’. It’s no surprise that duality is central to what Thandii is all about with the pair co-writing, co-recording & co-producing from their seaside studio HaloHalo in Margate, Kent.

The albums each have a distinct flavour of their own. Dream With You is built on cassette-tape-driven lofi beats, art-pop melodies and soulful piano breaks. Whilst Come As You explores more experimental song-form that wouldn’t seem out of place on Tender Buttons - Broadcast or Dots And Loops - Stereolab. Jessica’s voice is the transcendent, ethereal form that shapeshifts between the realms of the two statements; dancing playfully through falsetto harmonies, confessional spoken word, detuned alter egos and haunting choirs. Key collaborators on the albums include bass player Jonathan Harvey and pianist Steve Pringle, both members of Margate’s burgeoning Arts scene. Thandii escaped London nearly a decade ago, their sights set on creating a means for prolific expression, without the distractions that the city can bring. The albums find them in an exploratory stage, throwing paint at the canvas with joyful abandon, gifting themselves permission for uncensored expression. The LPs muse on relationships - romantic, platonic & familial - community, self-worth, self love, healing and boundaries, at times from differing perspectives. This contrast of opinion makes for rich listening throughout a vast emotional landscape

Isik Kural returns with Moon in Gemini, a luminous scrapbook of slow-flowing narratives couched in intuitive and symbolic storytelling. Bending a playful take on environmental music to the folk song form, Isik's vocals coo atop pastoral field notes, airy chamber instrumentation and archival recordings culled from a curious musical life. A tender pastiche coalesces across the suite of Moon in Gemini's fourteen pieces, and Isik invites the listener to daydream as-deep-as-possible. "The songs on Moon in Gemini don't mind being slower or taking their time to reach the listener," says Isik, who wanted the title to speak to the album's dreamy, liminal nature. "I enjoyed how the phrase could be used to describe an object, a time or a place simultaneously," he explains. Similarly and subsequently, these songs contain a multiplicity of sonic artifacts, moments and spaces that span Isik's rich musical career to date. With the bulk of the album realized between Amasya, Turkey and Isik's current home in Glasgow, in both domestic and studio recording environments, additional tracks unearthed from his personal recording archive lend their lush patina. The record emerged as a fertile space to reimagine a handful of previously unreleased songs and unfinished ideas spanning the past fifteen years of his life and work, including streetside sounds documented while growing up in Turkey and recordings made while studying music engineering in Miami, Helsinki and Glasgow. Looking to the more recent past, Isik found himself wanting to build upon some of the methodologies and textures explored on his 2022 album in february, seeking a newly intimate, vocal-forward sound. He points to the track "film festival" from that album as a door through which to enter Moon in Gemini, where sample-based arrangements are presented in the context of asymmetrical "build ups and progressions" and ambience and vocals intertwine. Inspired in part by listening to iconic, if not sometimes misunderstood, singers such as Nina Simone, Aldous Harding and Ed Droste of Grizzly Bear, Isik aimed to carve out a new space for his voice on Moon in Gemini, experimenting with novel recording and mixing techniques. Captured at his aunt's farmhouse in Amasya during an extended three week recording session, we find Isik's vocal high in the mix, front-and-center and on newly expressive terms. As a songwriter, Isik is an intuitive and playful lyricist who allows his deep love of literature to flow through his off-kilter texts. Here, echoes of Silvina Ocampo's poem "Dialogues of the Silence" reverberate from the margins of "Most Beautiful Imaginary Dialogues". Likewise, Elliott Smith and Virgina Astley shapeshift through "Behind the Flowerpots," some lines of which were based on misheard lyrics from Smith's "Stickman" and Astley's "Some Small Hope." Attuned to the magic of happy coincidences, other unexpected "themes and connections between tracks flourished" during the recording process, resulting in some songs being more "thematically and lyrically connected to each other compared to previous records." The duos "Prelude" and "Interlude" as well as "Grown One Iota" and "After a Rain" explore connected stories, while "Almost a Ghost" and "Behind the Flowerpots" serendipitously emerged out of a conversation with Stephanie "Spefy" Roxanne Ward, whose balmy vocals heard highlighting in february return and call out to Isik's in sweet dialogue. Plumbing these new potentials of structure and songwriting, Isik also developed a taste for an expanded sonic palette, one enriched by the lulling undertones of live woodwinds and strings. The resulting collaborations with flutist Tenzin Stephen, harpist Kirstin McCarlie and clarinet player Giulia Tamborino envelop the record in an altogether "dreamier sound," swaying pastel and awash in lunar light. Moon in Gemini, brimming with natural imagery and lullaby-inflected tones, tunes into states of being where the wonder filled sound of everyday is heard and felt, perfectly imperfect in its poetry; where the invisible steps forward; where dauntless ghosts wait around every corner and play enriches the soul; where bird song fills sun-soaked afternoons and carries us on its wings into each enchanted evening. Isik Kural's Moon in Gemini will be released on vinyl, Japanese import CD, and digital editions on September 6, 2024. On behalf of Isik and RVNG, a portion of the proceeds from this release will benefit Mor Çaty Women's Shelter Foundation, whose social work at their solidarity centers and shelters supports women building lives unhindered by gender-based discrimination and male violence under free and equal conditions.

On August 16, Toronto-based musician and producer David Psutka aka ACT! (fka Egyptrixx / Anamai / Ceramic TL) will release his latest project ‘Face to Face, Day by Day’ for his own Halocline Trance imprint.

This is is Psutka’s third album proper as ACT! following the release of the “sonic mixtape” ‘Universalist’ in 2018 and the augmented reality soundtrack ‘Grey Matter AR’ in 2021; a series of Snapchat filters created by artist Karen Vanderborght and soundtracked by ACT! which explored the poetic and existential potential of AR and social media.

“Aesthetic accidents in the periphery of the ‘work’ can be the message. In 2018, at an Egyptrixx concert at Bagni Misteriosi de Teatro Franco Parenti - a gorgeous, sprawling outdoor pool theatre in Milan - I had a clarifying moment. Gigs around then had mostly been in pummelling, dark music venues, so I wasn't prepared for this expansive space (and the thoughtful work of the organisers who had layered sheets of plastic film on the pool to parallel eco-materialist themes from a previous album). It was the midday soundcheck that struck me most - brittle digital sounds from the set echoed off the colonial Milanese facades and ricocheted down the Via Carlo Botta, pinging off buildings in the distance and clashing with the noise of traffic, tourists and whatever else. It was a strange, collisionist moment, and a reminder that my essential approach to music is, above all, a preoccupation with the materiality of sound. 

Everything on Face to Face, Day by Day began as an improvisation. Openness to accidents and the emotional complexity that comes from centering them in composition has become important to my work, and helps the music go beyond the possibility of what is playable, imaginable. I also wanted to channel adventurous solo pop records of the 1970’s and 80’s, like Yasuaki Shimizu, Jon + Vangelis and Stevie Wonder. These came from an interesting era in commercial music as studio production techniques became increasingly formalised as compositional devices, like AMS RMX16 percussion sounds and early digital stereo effects. 

Like many musicians, I’ve been travelling and performing less since the pandemic and as a result, have wanted studio sessions to feel more collaborative and improvisational. There were great writing and recording sessions for this album. Vox, synth, sax and guitar jams - much of what ended up on the record isn’t edited much, if at all. I jammed a sm57 into Colin Fisher’s sax bell and created feedback loops using various preamps and distortion units. The clunky sounds were sampled and used as percussion elements. I also had a great synth jam session with Jeremy Greenspan at Barton Building Studio in Hamilton, which was recorded by filmmaker Liz Adler. 

I’ve had a few months to sit with this album and see clear throughlines connecting it to previous projects. There are aspects of the experiential and structuralist sound design ideas from the EGYPTRIXX records; and also some arrangement tricks borrowed from ANAMAI - specifically, the use of interruptionist sound events. Perhaps most of all, it feels connected to the Ceramic TL + Ipek Gorgun record ‘Perfect Lung’ and its splattered take on musical complexity. “ (David Psutka)

In addition to ACT!, Psutka has released music with numerous projects including Anamai, Egyptrixx and Ceramic TL, he has collaborated widely with artists such as Junior Boys, Ipek Gorgun, and Kuedo as well as Jessy Lanza (2016) and an official remix for Massive Attack’s ‘Hymn of the Big Wheel (2012). The contributions on this album, from Robin Dann and Ben Gunning, reflect the deeply collaborative nature of the Halocline Trance label and the Toronto creative scene more broadly.

Many of Psutka’s releases have received critical acclaim from media outlets such as Pitchfork, Exclaim, The Quietus and Resident Advisor. As a live performer, he has toured extensively including performing at Sonar Festival, Roskilde, Mutek, MOMA PS1 Warm-UP and CTM Festival. He’s also presented sound installations at various institutions such as Galeria Civica Commune di Modena, and Art Gallery of Ontario (AGO).

In 2015, Psutka launched Halocline Trance as a home for his various sound projects, events and collaborations. Now a creative collective and label, it has grown to include a diverse array of artists including Casey MQ, Xuan Ye, Myst Milano, Colin Fisher and others. The label is described as “genre-agnostic” and conceptually open, supporting work across a wide spectrum of creative fields including soundtrack recording, AR design and traditional artist albums. Their impeccable roster also includes, theorist/improviser Eldritch Priest, and AR/VR artist Karen Vanderborght. In recent years, Halocline Trance has established itself as a platform that facilitates many of Canada’s most exciting creative music projects. Many of the releases have received critical acclaim from outlets including Pitchfork, Exclaim, Bandcamp and Resident Advisor.

Onimikìg Algonquin: (n. an.)- thunder Timothy Archambault's unaccompanied flute pieces for this album have been inspired by Indigenous brontomancy (divination by thunder). Each piece highlights a different extended flute technique metaphorically related to types of thunder sounds: claps, peals, rolls, rumbles, inversions, and CG (cloud-to-ground). An important document of new music meets contemporary musicological research via Stephen O'Malley of SUNN O)))'s Ideologic Organ. The Indigenous flute used in this recording is made of cedar respective to the traditional woods used by the Kichesipirini and other tribes who live along the Ottawa & Saint Lawrence Rivers. To the Algonquin the flute (Pibigwan) is the wind maker or essence of the wind. Unlike other tribal nations whom the majority used the flute as a courting instrument, the Algonquin generally utilized the flute for more contemplative singular usage to mimic the sounds of nature or as a signaling device during times of conflict. When love songs were required, they were usually more plaintive in character expressing sadness, loneliness, or concerning the departure of a lover. The album intro begins with the shaking of a necklace of otter penis bone, fish spine, bear claw, elk teeth and deer hide, gifted from Algonquin Elder Ajawajawesi. It is meant to focus the listener's attention before the flute pieces begin. The warble or multi-phonic oscillation prevalent in all the pieces traditionally represented the "throat rattling" vocalization of the tonic note, sometimes known as the horizon of which the melody floats from. Due to the repetition of multi-phonic oscillation the performer will breathe erratically creating an altered state correlating with similar traditional ceremonial practices.

BASIC is a mind-meld between Chris Forsyth, his frequent running partner (and formidable 6-string thinker) Nick Millevoi, and Mikel Patrick Avery (Natural Information Society). "This Is BASIC", their debut album, is a complex and entrancing instrumental LP recasting forgotten scraps of guitar history into a moving mosaic of strings, skins and electronics. Taking inspiration (and their name) from the 1984 Robert Quine/Fred Maher album ("Basic"), Forsyth and Millevoi got together for a run of low-key jam sessions using an Alesis drum machine for rhythm tracks and forging a collaborative language from angular polyrhythms, pulsing baritone-guitar lines, and shimmering chorus-pedal washes (another stylistic nod, this time to the glistening post-punk of the Durutti Column and numerous 4AD bands). Avery was soon enlisted on drum kit_a setup that quickly morphed into a single drum, bell, and a bespoke electronics rig of his own creation. The trio quickly flowered into an improvisational swirl of disorienting electronics, hypnotic throb, and dense flanged-guitar harmonics: three unique voices spinning a complex conversation of textures and rhythms.

** INITIAL 400 LPs CONTAIN A BONUS 7" SINGLE **

MOVEMENTS Vol.12 – A bag full of rare rhythm & blues, mod-jazz, and mid 70s funk.

Side A starts with rhythm & blues from the 1960s. Most of the tracks were pulled from hopelessly obscure 7" singles. The only names of which some of you might be familiar with are most likely Mat Mathews and Lu Elliott. However, both original 45 RPM singles are pretty hard to find these days, especially in playable condition.

Side B is all about deepfunk this time. "Hipper Snapper " is a prime example of that genre. Some say its groove is reminiscent of Charles Wright's "Express Yourself. Agreed! The Villagers are responsible for the first 'aha' moment. Their (previously unreleased!) version of "Funky Broadway" would have certainly astounded even Dyke & The Blazers. Representing Germany on this volume: The Rippers, also called the "Offenburg Beatles"! Back in the USA, John Fogerty has probably never heard of this heavy school-funk cover of "Proud Mary". Drum breaks galore!

Side C begins with another German contribution. Saxophonist Gus Brendel delivers a mod-jazz belter of the highest order as do The Hornets. Definitely sure-shots for any dance floors! High time for 'aha' moment #2. Many bands have tried their hands on a cover version of the Nat Adderley jazz classic, incl. vibraphone player Bret Breitinger! The perfect choice to finish this side is Downtown Trio's smooth and groovy cover of Gershwin's "Summertime ".

Side D is reserved for proper 1970s funk. ONYX's "Break It Loose " has become a certified Rare Groove classic. Here you can enjoy it for the first time with the blessing of the band! Glenn Doughty and his Baltimore Colts Shake and Bake Band of the 70's is the first musical group consisting of former NFL All-Pro players that Tramp Records has partnered with in its history! Watch out, "Shake and Bake " will be re-released on a good old 45 RPM single, too!

Those of you who have been enjoying the detective work of the people behind the label over the past 21 years know that the Movements series can be easily considered as the flagship compilation series on Tramp. So, after having listened to the entire selection of this brand new volume we sincerely hope that we will have achieved our aim to surprise, delight, and enlighten you once again!

Key selling points:

- initial 400 LPs contain a bonus 7" of a SUPERRARE funk 45

- incl. full album download code
- deluxe double-gatefold LP with detailed liner notes & unseen photographs

- ALL but three songs appear on CD, LP & digital for the very first-time

Quirky and very engaging singer-songwriter from London; mentored by John Lee Hooker and Benny Gallagher and with ten albums to her credit, this pianist, singer and flamenco guitarist defies categorisation, but has thus far succeeded in gaining new fans from appearances at Glastonbury, The Jazz Café and the 100 Club, and at music festivals in the USA, Greece, Romania and Germany. With lyrics sometimes witty, sometimes poignant and always reflective, this is music for anyone who’d rather hear the singer than the electronics.

Mutant, in proud partnership with Back Lot Music, are proud to present the premiere physical release of Dominic Lewis’ score to THE FALL GUY.

The Fall Guy is our favourite kind of movie - it's a love story not only between the film’s two leads but also a love letter to the cinema. Its also a love letter to the people who risk their lives to tell us stories. That it's scored like a stadium rock anthem also helps.

Dominic Lewis has produced a soundtrack that makes you want to stand up and cheer in the theater and blast at full volume at home.

It is pressed on 2x 140-gram Black vinyl and features liner notes by the film’s director, David Leitch, and composer, Dominic Lewis.

Ltd Edition - 200 copies**

Canadian-currently-residing-in-Berlin and multi intstrumentalist Aidan Baker teamed up with Dutch demolition duo Dead Neanderthals late 2023 to work on the collaborative album entitled Cast Down and Hunted.

Cast Down and Hunted is an abstract affair. Angular and dark, droney and lush. Two lengthy tracks, Subterfuge and Paranoia, each fill one side of the LP, which will be released by the Dutch label Moving Furniture Records.
The artwork was made by Steven Kenny and the album layout was done by Rutger Zuydervelt (Machinefabriek).

The album was mixed and mastered by Marlon Wolterink at White Noise Studio.

ABOUT AIDEN BAKER
Aidan Baker is a classically-trained multi-instrumentalist focusing on the electric guitar as his primary instrument. Using prepared and alternate methods of playing the guitar, along with various electronic effects, Baker creates music which generally falls within the ambient/experimental genre but draws on influences from post-rock, shoegaze, electronica, neo-classical, and jazz.
A highly prolific artist, Baker has released numerous recorded works, both solo and with various group projects—most notably his dreamsludge duo, Nadja—and including collaborations with Tim Hecker, Carla Bozulich, Jussi Lehtisalo, and Andrea Belfi, among others—on such independent labels as Karlrecords, Gizeh Records, Important Records, and his own imprint, Broken Spine Productions. A frequent live performer, Baker has toured extensively around the world, including appearances at such international festivals as FIMAV, SXSW, Incubate, Unsound, Roadburn, and Mutek.
Originally from Toronto, Canada, Baker currently resides in Berlin, Germany.

ABOUT DEAD NEANDERTHALS
Dead Neanderthals have spent more than a decade putting together an eclectic and envious back catalogue that spans multiple genres – from free-jazz to grindcore to doom drone by way of psychedelia – and continuously throwing curve balls that defy expectations. You never know what you’ll get, but you know it’ll be heavy.


ABOUT MOVING FURNITURE RECORDS
Moving Furniture Records is a label based in Amsterdam, The Netherlands specialized in releasing experimental electronic music, run by Sietse van Erve, started in October 2008. We are mostly interested in drones, minimalist, microtonal and field-recordings music.
Moving Furniture Records has released music by both renowned, musicians such as Richard Chartier, BJNilsen, Jos Smolders, Gareth Davis & Merzbow and Machinefabriek, as (young) new talent such as Gagi Petrovic, Fani Konstantinidou, and Ryan van Haesendonck.
Aside from the regular releases Moving Furniture Records has two special series: Eliane Tapes: music inspired by and dedicated to the work of Éliane Radigue. Contemporary Series: contemporary music written for acoustic and electro-acoustic ensembles and solo artists.
Moving Furniture Records also organizes concerts in various venues in Amsterdam. For all our releases and more information

Label boss Ste Roberts makes his debut on his imprint Private Parts, and he has invited his favorite Dutch duo the Young Adults along for the ride. X-Change Of Parts Vol 1 brings one original track from each artist, and then remixed by each other. Kicking off the EP with the quirky and twisted minimal throbber of Brain Freeze. Fun and ideal to wig out any dancefloor in those early hours. Young Adults with a perfect remix, maintaining all the fun for a heads down shuffle. A cheeky toast-apella to round of the A. On The flip, you have Young Adults ramping up the tempo, and delivering some incredibly funky tech. This sounds like it could be 20 years old, timeless stuff. Rounding off the EP Ste Roberts twists things up with a pulsating bass heavy Electro remix.

Recorded in 2014, Mid-City Island is the first ever project to be released from Moses Sumney. Moses recorded the entire EP from his apartment in Mid-City, Los Angeles straight to cassette on a four-track recorder that TV on the Radio's Dave Sitek lent him. To mark the 10 year anniversary of Mid-City Island, Moses kept good on a promise he made to himself all those years ago, broke and starting out - that he would press it to vinyl in a decade. Reflecting back on that period, Moses says "Mid-City, Los Angeles was more of a concept than a place. Seemingly nobody had ever heard of it, and yet it was the geographic center of the city. Living there felt analogous to my disposition as a 'rising' Angeleno - highly visible and invisible at the same time. I sat on my bedroom floor and wrote 'Plastic.' Throughout his 10-year career, Moses Sumney has consistently evaded definition as an act of duty: technicolor self-directed videos and monochrome clothes; Art Rock and Black Classical; blowing into Fashion Weeks from a small town in North Carolina; seemingly infinite collaborators, but one staggering voice. Consistent across the worlds of music, fashion, and film is his assertion that the undefinable still exists and dwelling in it is an act of resistance.

"It's Love" war das erste von drei Alben von The Softies zwischen 1995 und 2000. Herzschmerz, Sehnsucht und ultimative Finesse wird zu Ultra-Pop, dem man sich nicht entziehen kann. Rose Melberg (Tiger Trap, Gaze, Go Sailor) und Jen Sbragia (All Girl Summer Fun Band) kreieren mit zwei Gitarren und zwei Stimmen Songs, die sich tief in dein Herz und deine Seele bohren - und die du nicht mehr loslassen willst. Die Musik von The Softies hat eine Kraft, die nicht nachlässt, und die Songs brechen über einen herein, pure Schönheit. Der hier enthaltene Song ,This House" wurde von Lil Peep für seinen Song ,Ghost Boy" gesampelt. Das Cover von "It's Love" wurde von dem weltberühmten Comiczeichner Adrian Tomine gestaltet.

Mit deutschen Texten und einem vielfältigen Mix aus Genres der härteren Musik sind Consvmer. einzigartig in ihrer Szene und liefern nun ihr neues Album “Seelenfrieden” ab. Die Wurzeln der Band reichen bis in ihre Grundschulzeit zurück, als die drei Gründungsmitglieder Daniel Fischer, Dennis Fischer und Dennis Ackermann ihre Leidenschaft für die Musik entdeckt haben. Sie bildeten Consvmer. in 2019 und in 2022 stoß Fabian Schuhmacher als Bassist dazu. Ihre gemeinsame Geschichte prägte den Musikstil von Consvmer., eine Mischung aus Progressive Meta, Beatdown und Metalcore. Die Band ist extrem gesellschaftskritisch und scheut sich nicht davor, auch die dunkelsten, unangenehmsten Themen in ihren Texten zu anzusprechen. Diese Band kennt keine Grenzen und ihre unvergleichbare Kreativität wird nicht nur in ihrer Musik, sondern auch in ihren eigens produzierten Musikvideos und Grafiken reflektiert. Mit ihrem sozialkritischen Bewusstsein und musikalischen Experimentierfreudigkeit haben Consvmer. sich trotz deutscher Texte auch international einen festen Platz in der Metal Szene erarbeitet. Aufgrund ihrer einmaligen Kombination aus eindringlichen Rhythmen, provokativen Themen und kreativer Unabhängigkeit ziehen Consvmer. nicht nur durch ihre Musik Aufmerksamkeit auf sich, sondern auch durch ihre Haltung und deren Ausdruck.

Ace hat den Teppich ausgerollt, als es um die Neuauflage der Deluxe-Vinyl-Edition von The Seeds' gleichnamigem Debüt (HIQLP 129) sowie 'A Web Of Sound' (HIQLP 135) ging. Beide Alben enthalten nicht nur die Original Tracklistings, sondern auch eine zusätzliche LP mit Outtakes, alternativen Versionen und anderen Juwelen. -Ace freut sich nun, eine 2-LP-Deluxe-Edition des klassischen dritten Albums 'Future', anbieten zu können. Diese LP erschien ursprünglich 1967. Die erste LP präsentiert das Original-Stereo-Master von mit Titeln wie 'Out Of The Question', 'A Thousand Shadows' und 'Travel With Your Mind'. Die zweite LP enthält Bonustracks, alternative Takes und Mixe, die zeigen, dass der klassische Rock'n'Roll-Sound von Seeds unter den Overdubs genauso stark geblieben ist wie eh und je. 'Future' wird in einem dicken Hochglanz-Foldout geliefert und enthält außerdem ein achtseitiges, reich illustriertes Booklet mit Anmerkungen von Alec Palao.

Vor drei Jahren gelang Sara Bareilles mit dem Lied "Love Song" einer der Hits des Jahres. Monatelang hielt sich das Stück in den Single- und Airplay-Charts. Die Bilanz: Top 5 der US- und UK-Charts, Platz 13 in Deutschland, Doppelplatin in den USA. Das dazugehörige Album "Little Voice" wurde mit Gold ausgezeichnet. Es folgten zahlreiche Tourneen quer durch die Welt, u.a. mit Mika, Paolo Nutini und Maroon5.

Im Oktober 2010 hat Sara Bareilles ihr zweites Album "Kaleidoscope Heart" in den USA veröffentlicht und ist damit direkt auf Platz 1 der Billboard Charts eingestiegen. Mittlerweile hat sich das Album in den USA knapp 250.000 Mal verkauft und die erste Single-Auskopplung "King of Anything" hat bereits Gold-Status und wurde für einen Grammy nominiert.

Am 11. Februar 2011 erscheint das großartige Album "Kaleidoscope Heart" mit 2 Bonus-Tracks nun endlich auch in Deutschland, rechtzeitig zu ihrer Deutschlandtour zusammen mit Maroon 5.

Der von Neal Avron (Fall Out Boy u.a.) produzierte Longplayer vereint kraftvolle, soulige Popsongs mit intelligenten Texten und Arrangements und überzeugt nicht zuletzt durch Sara Bareilles' abwechslungsreiche Stimme auf ganzer Linie.

Limited Opaque Green Vinyl. Anthony "Ant" Davis is a distinguished hip-hop producer, one-half of the renowned duo Atmosphere, and a founding member of independent record label Rhymesayers Entertainment. His decades-long career of beat-making has also included works for MF DOOM, Brother Ali, Murs, Rav, Sage Francis and a dozen others. Raised in a military family, his nomadic upbringing exposed him to many diverse influences and, coupled with his father's love for collecting records, laid the groundwork for his deep appreciation for all sorts of music. Ant's latest endeavor, Collection of Sounds, is a four-volume series of instrumental works showcasing the breadth and depth of his musical expertise. The Collection of Sounds series offers a window into Ant's creative journey, reflecting his evolution as an artist over the years. Drawing from a vast vault of unreleased material, he's exhumed cross sections of his catalog with surgical precision, organizing songs by sound rather than mere chronology. Volume 1 is at times so intimate as to border on claustrophobia, like the creeping "Bar One" or the haunted twinkling of "I Was Always A Collector" while other tracks are expansive enough to fill entire venues, like the forebodingly airy "4-Track Beyond Beat 1996." Many of the beats on Collection of Sounds: Volume 1 have pockets that are practically begging for rappers to explore. When he first pondered releasing an instrumental series, Ant figured he might want to make the songs more intricate than the ones gave to his rapper collaborators, filling up the space in the mix that would normally be given over to their vocals. "But then it would be jazz, right?" he says with a loud laugh. "And I'm not that." Fitting, as Collection of Sounds is not about forgetting who you are-it's about remembering, reconfiguring and reimagining, all at once; a testament to Ant's artistic integrity.

Quill was a Boston-based rock band that had national exposure when they played the Woodstock festival in August of 1969.

The quintet got together in 1967 and played New England and New York over the next few years, getting

some positive regional press for their combination of high- wattage rock with elements of psychedelia and jazz,

and what would later be identified as performance art. Most of the songwriting was handled by John and Dan Cole,

who tended to deliver fairly complex pieces that lent themselves to elaborate performances, sometimes involving some heavy audience participation as well.

Repress of Still House Plants’ second LP FAST EDIT on frosted clear vinyl with microtene inners. Cultivated over the course of 2019, the album switches the combativeness of previous releases for bare intimacy. FAST EDIT is a palette of qualities and curdled headspaces. Now living far apart and coming together only for intense periods of shows and touring, the band have come to rely on an archive of mp3s (quick recall overtakes stable long-term memory). Written on mobile phones, dictaphones, and laptops, FAST EDIT cuts rehearsals and schemas with tight, raucous tracks. This is most tenderly at play on ‘Shy Song’ – a cut'n’chase piece, in which all sounds are ghosts of another. ‘PredikateD’ is a phone on the ground: the voice is air, the guitar and drums meld with the plywood and sand-bag structure, the seams exposed.

PM Warson returns with the new album "A Little More Time". Having established himself as "one of the leading lights on the modern-day R&B scene" (Shindig! magazine UK), his third long-player represents an expansion of his mid-century vision. Less a departure, more an arrival, the album moves beyond the R&B revivalism of his previous work, taking in a breadth of styles and moods within its distinctly '60s sonics.

Recorded at Lightship 95, London's floating analogue studio, the 10 original tracks combine the direct feel of live performance, alongside a developed songwriting and production approach. The album is led by the second single (following "Right Here, Last night") and title track "A Little More Time" setting the tone with a dose of sweeping vintage pop and uptown soul. "For this record I wanted to channel the sound I'd developed playing live with a band, while at the same time further exploring my songwriting. I allowed my wider influences to permeate a bit more and placed the vocal and lyric more forward in the songs" PM Warson says.

PM Warson is a UK musician, songwriter and producer. He emerged in 2021 with the album "True Story", after a series of DIY vinyl releases. Breakout single "(Don't) Hold Me Down" surfaced initially among soul collectors (with the original release clocking in at over $200 on collector sites), before finding a wider audience on European radio and streaming platforms.

With touring opportunities limited due to the ongoing pandemic travel restrictions, he turned his attention to a quick-fire follow-up. The lean, brooding "Dig Deep Repeat" was released in May 2022, led by the single "Leaving Here". Extensive tour and festival dates throughout Europe followed, where he gained a reputation as an impressive live act, performing alongside the likes of Cedric Burnside, Robert Finley, Nick Waterhouse and GA20.

After a run of dates in France, and an appearance at the legendary 100 Club in London, he set about working on new music during 2023. Having released the single "Right Here, Last Night" as a 7inch vinyl on his own Acid Jazz-distributed FYND marque, he teams up again with Légère Recordings for his third album, the expansive "A Little More Time".

Black Truffle is thrilled to present a Song for two Mothers / Occam IX the first ever solo release from Laetitia Sonami. Born in France in 1957, Sonami studied with Éliane Radigue in Paris before moving to California in 1978 to study electronic music at Mills College, going on to make important innovations in the field of live electronics interfaces and multi-media performance. Sonami is perhaps most closely associated with one of her inventions, the Lady’s Glove, an arm-length tailored glove fitted with movement sensors allowing the performer fluidly to control digital sound parameters and processing, as well as motors, lights and video playback. Having performed with the Lady’s Glove for 25 years, Sonami retired it in 2016, turning her attention to the interface/instrument heard and pictured here, the Spring Sprye.

In Sonami’s own description, “The Spring Spyre is composed of three thin springs that are attached to reverb tank pickups, mounted on a metal ring. The audio generated when the springs are touched, rubbed or struck is analyzed in Max/MSP. The extracted features are then used to train machine learning models in Wekinator and Rapidmax and control the audio synthesis in real time. We never actually hear the springs.” After decades of aversion to documenting her work on recordings, a Song for two Mothers / Occam IX treats listeners to two side-long performances with the Spring Spyre: the very first piece developed for the instrument and the most recent, the two contrasting remarkably in sound palette, energy and form. A Song for two Mothers (2023) spins an intricate web of rippling synthetic burbles, rapid sweeps and fizzing textures. Performed in real time with the sensitive and partly uncontrollable Spring Sprye ("a bit tyrannical," Sonami calls it), the music is delicate yet chaotic. Abrupt gestures hover against a backdrop of silence, "devoid of spatial or temporal direction". After several minutes, the sound-world becomes metallic and percussive, tapping and ticking in pointillistic flurries before a wavering harmonic cloud emerges, sprinkled with resonant drips and pops.


Occam IX is a radically different proposition. At the outset of Sonami’s exploration of the Spring Sprye, she asked her former teacher Éliane Radigue to compose a piece for it—and her: like all of Radigue’s work since she ceased working with analogue electronics at the beginning of the 21st century, Occam IX is written not only for an instrument but also for a particular performer. These scores are developed verbally, through meetings and conversations between performer and composer; each is grounded in an image (usually kept from listeners, to avoid influencing their experience); all magnify the subtlest acoustic phenomena and require great commitment and patience from the performer. Sonami’s is one of the few Occam pieces to make use of electronics, bringing it closer to Radigue’s famous longform pieces for ARP 2500. Beginning from a rumbling low tone, the listener is gradually immersed in slowly lapping waves of synthetic tones, eventually thinning out into delicate bell-like pings against a background of white noise, reminiscent of one of the most beautiful sections of Kyema from the Trilogie de la Morte.


Accompanied by notes from Sonami, her longtime collaborator Paul DeMarinis, and Radigue, and illustrated with scores, photographs and images of the Spring Spyre, a Song for two Mothers / Occam IX is an essential document celebrating an under-recognised pioneer of electronic music and performance.

Repress on Limited Crystal Clear Vinyl and Black Vinyl to coincide with new album ‘Daylight’ release

The album was recorded at the top of an East London tower block, mixed in a beach hut on Camber Sands and gilded by Bollywood strings is already setting its sights hide and wide, but when the sound and vision encompasses panoramic electronic soul laced with a viscerally personal reaction to the mad times we’re living through, we’re in the presence of something special

Our two British protagonists are Sean Dickson, a former indie star who reinvented himself as an electronic adventurist - musician, DJ, producer – whose last album Ft. featured a stellar line-up of guest vocalists, including Yoko Ono, Fred Schneider (B- 52’s), Alan Vega, Crystal Waters (fronting ‘Testify’, which topped the US Billboard dance chart) and David McAlmont - the last, a thrilling singing sensation with an illustrious history, from indie-soul pioneers Thieves and the legendary McAlmont & Butler to purer soul and jazz recordings and a striking collaboration with minimalist composer Michael Nyman.

Ever wondered what music would sound like if it was ripped from the space directly preceding sleep? The tracks within this album are your gateway to discovery. These recordings, which were laid down especially for the USA radio stations WFMU and WGXC, will melt your speakers and your mind. Released on the ever excellent Feeding Tube Records (USA) & Cardinal Fuzz (UK). BHAJAN BHOY (aka Ajay Saggar) symbolises boundless creative freedom in all the music he has produced to date. This LP is no exception to that rule….in fact, this album showcases an even wider spectrum of sounds and ideas than could ever be imagined. From heavy lysergic guitar excursions, to dub inflected guitar pedal pop, to nu-age minimalism, to electronic experimentalism….all the terms and descriptions in the world don’t do justice to the originality that lies within. When USA radio station WFMU asked Ajay to contribute tracks to a session for the show “Feelings” (co-hosted by Michele and Creamo Coyl), he turned in 5 tracks that received tremendous feedback from around the world on the station’s live chatline when broadcast. In addition, a session for WGXC further showcased the songwriting talent of Ajay. The ensuing 3 week tour of the USA cemented BHAJAN BHOY’s status as one of the most innovative musicians around. This LP marks another giant leap forward in BHAJAN BHOY’s musical development. He’s brimming with ideas and the imagination runs wild. This music is for the listeners who want to follow a path of discovery and be mesmerised and blown away by what they hear. Be sure to be one of the listening party. Presented in a high gloss outer sleeve with 2 sided insert.