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The Official “Forever” Versions of Less Than Jake’s first full lenght album, Pezcore and Losing Streak are here! "Losing Streak" comes with reimagined artwork done by the legendary punk artist Chris Shary (Descendents, ALL, Black Flag), this special version celebrates the history of this seminal album, with a fresh new look!

Released via RCA Records - Louis Dunford is a story teller, with stories that need to be told. Born under Bow bells and raised in Islington, Louis' songs are chapters straight out of his lived experiences. Sometime raw, sometimes funny and always honest, the stories are all underpinned by infectious melodic hooks. To date, he’s best known for singles including ‘Lucy,’ ‘The Local’ and ‘The Angel (North London Forever)’—an ode to his hometown, which has been adopted by Arsenal FC fans as their official club anthem. Now comes Louis’ debut album, titled Be Lucky, featuring the above mentioned singles and 11 more tracks - weaving a story of his life and observations so far.

What started as an idea to update mixes turned into an unexpected family collaboration.

Berlin to Lisbon via Cork, Big Town Boy Small City Dreams released in 2018 on Dutch label XXX gets remixed and reimagined for 2024.

Debut record release, K.P. Ring blends a tapestry of lyrics into a hooky club tune with flair.

Cult Producer Bangkok Impact returns to the label and reaches for the Italo stars with a distinctive chugging rendition adding additional vocoder effects along the way.

The iconic Valley of Tears series continues its pivotal role in Soil Records’ journey. This time, NX1, Crystal Geometry, and E-Bony return with electrifying contributions, joined by Parand as the newest member of the family. Four explosive cuts that define raw electronic intensity.

This is a very limited repress of the classic first release on Hectic Records. It comes in glorious white vinyl and has a special edition Hectic Sleeve as well! Lovely Stuff!

Sam Amidon is a singer and multi-instrumentalist (banjo, guitar, fiddle). New album, Salt River finds Amidon reinterpreting and regenerating 10 familiar pieces of music that he has collected together over time, ranging from traditional English shanty Golden Willow Tree to Lou Reed's Big Sky. It was recorded in collaboration with saxophonist and producer Sam Gendel. Sam has released 7 acclaimed albums plus collaborated with The National, Bon Iver, Beth Orton, Marc Ribot & The Blind Boys of Alabama.

Mit Rausch Against the Machine kehren Schmutzki zu ihrer Brutstätte zurück: Die verregneten und mit Licht verklebten Straßen ihrer Stadt, wo sie einst in jenem verschimmelten Bunker die ersten 3 1/2 Akkorde in den feuchten Stahlbeton rotzten. Doch vieles hat sich geändert: Gute Freunde sind fort, die alte Liebe fast vergessen und von den damals grandiosen Nächten nur noch Schemen übrig. Sind wir erwachsen geworden_? Schmutzki stemmen sich mit aller Kraft und diesem Album dagegen! Sie beschwören die alten Geister und reanimieren die Nacht und den guten, alten Wahnsinn. Und plötzlich ist alles wieder da: Der Rausch, die Liebe und die alte Gang, die heute alles in Schutt und Asche legen wird. So wie früher. Aber diesmal für immer!

The Red Vinyl version of Beabadoobee’s third studio album, ‘This Is How Tomorrow Moves’ will be available from One Nation from 14th Feb. This Is How Tomorrow Moves finds Beabadoobee stepping up to a new level in her abilities as a songwriter, crafting arresting melodies and pushing herself to develop and explore new frontiers of vulnerability, both in her storytelling and her relationship with herself.

Produced by legendary producer Rick Rubin and long term collaborator and bandmate Jacob Bugden, Beabadoobee swaps her bedroom for his infamous Shangri-La studio in Malibu to create a deeply self-assured record with a vast sonic scope of rock and pop.

As soon as Martin Circus was born in 1969, the band laid foundations for the French "Pop Musique" genre, deliberately turning its back on both French yéyés and rock'n'roll to better embrace psychedelia and the French language. In 1971, they were a pioneering, innovative group moving as fast as a speeding train, building upon everything they found on the way. However, faced with band members changing often, management issues and music evolution, Martin Circus ended up trying to fit in every style: soul, R&B, glam rock, disco, new wave, 80s mainstream music. To follow their journey is to listen to the world shifting along music charts. Behind the scenes, since the very first days of the band, one man had been pulling all the strings. Manager and artistic director Gérard Hugé used to work for both the band and the label - this has never been good news. What he cared about the most was getting records out, no matter who played on them. In the mid-70s, he registered the Martin Circus name, granting himself full power over the band. Deciding that it no longer had either a lyricist or a composer, he made the remaining musicians embark on a series of American 60s hits adaptations. As a result, they made tons of money : "Marylène" was a huge hit and gave them a new impulse. The Martins adopted a new look by wearing shiny Courrèges-style suits and platform boots, and on stage they performed dance moves choreographed by the eccentric Amadeo. They completely fit into the disco craze which was about to take over. Still, their music blended doo-wop and rockabilly with glam rock and funk music. They eventually hit disco with a soundtrack in the mannerof French disco groups such as Space and Voyage. Effortlessly, they released the epic 14- minute "Disco Circus", a track which was to become a real underground gem. DJ and remixer François Kevorkian then released it on the American Prelude label in a self-edited version, shortened to 7 minutes while retaining all the dazzling passages of the original track. It came to be a hit in the clubs of New York and Chicago, making a lasting impression on everyone who heard it. It got sampled on at least 40 tracks over the following decades and featured in dozens of bootlegs and prestigious compilations - by Laurent Garnier, Carl Craig, Juan Atkins, Joey Negro, The Beatnuts, The Rapture, and by Danny Krivit in the DJ culture film Maestro. As the 80s arrived, Martin Circus once again changed the way they looked and their style. Inspired by Devo and their cold dance music, by Buggles' synthpop and Plastic Bertand's postpunk. Throughout their career full of ups and downs, Martin Circus nonetheless managed to keep up with one stable element: contrary to what they seemed, the musicians never took the easy way out. Their playing and arrangements were consistently flawless and polished, they relentlessly dedicated themselves to playing quality music and this can only compel admiration. As Coco Chanel once said, "Fashion goes out of fashion, style never does."

Possessing lyrics heavily focused on political and social justice, inspired heavily by West Coast gang culture and Islam, Da Lench Mob made waves throughout the hip-hop scene when they first appeared on the track "Rolling With Da Lench Mob", off Ice Cube's famed 1990 solo record AmeriKKKa's Most Wanted. Initially, the titular "Lench Mob" of the track namesake referred to Ice Cube as well as the other participating rappers, but J-Dee, Shorty, and T-Bone would adopt the name for their own in time. Their standout appearance on the Ice Cube track would earn the trio critical interest, (as well as shout-outs on Ice Cube's 1991 follow-up Death Certificate) and generate palpable anticipation for a studio album of their own. Guerillas In Tha Mist, their 1992 debut record, was recorded in the wake of the Rodney King riots, taking its name from infamous comments made during the riots. The record was uncompromising and confrontational in its depictions of urban decay and an unjust system wreaking havoc on an economically disadvantaged Black population. It was starkly realistic (bordering on abrasive) in the content of tracks like the armed revolution-advocating "Freedom Got An A.K.", the kill-your-idols style of "You And Your Heroes", and the anti-pusher anthem "All On My Nut Sac." These harsh manifestos were made all the more smooth via Ice Cube's jazzy G-funk and Bomb Squad-influenced production, which sampled heavily from classic songs by Parliament, Kool & The Gang, The Incredible Bongo Band, and even Vangelis. Cube himself would make guest appearances throughout the record, as well as an appearance by B-Real of Cypress Hill on the track "Ain't Got No Class." Guerillas In Tha Mist was a Billboard success upon its release, reaching #24 on the Billboard 200, and rendering rap radio hits out of its title track and "Freedom Got An A.K.", but Da Lench Mob would fall into obscurity over the years, eventually going their separate ways after creative differences, financial rifts, and the life conviction of rapper J-Dee for suspected murder in 1993. Despite their loss of commercial fortunes, Guerillas In Tha Mist would develop a strong reputation as an unheralded gem among hip-hop heads, and would be considered one of the great lesser-known releases of the era among critics (in 2018 Complex would declare the title track as one of the 100 Best L.A. Rap Songs). Decades after its initial release, and in tribute to the memory of Da Lench Mob member Shorty, who passed in 2019, Get On Down now presents an exclusive LP reissue of Guerillas In Tha Mist, which previously was only released officially on wax in Europe. The LP is pressed on a deluxe Green and Orange Splatter-colored vinyl, and features remastered audio and a painstakingly recreated full color jacket.

Heavyweight Black Vinyl / Original glued prints on Thick Cardboard 700 gram / 2 Separated parts hand-glued / Glossy lamination / PVC outer sleeve / Insert with 10 pages Booklet 30 x 30 cm printed on Gmund Colro Felt Red Purplea d 90 Gram Favini papers with detailed interview between Tony Higgins and Mustafa's family (his sisters and children are all musicians), as well as an insight into the recording of the album with Gregory Bufford, the drummer for the session, lyrics and exclusive pictures.


Colored Vinyl Details:
Heavyweight "A side - B side solid purple + transparent blue" vinyl / Original glued prints on Thick Cardboard 700 gram / 2 Separated parts hand-glued / Glossy lamination / PVC outer sleeve / Insert with 10 pages Booklet 30 x 30 cm printed on Gmund Colro Felt Red Purplea d 90 Gram Favini papers with detailed interview between Tony Higgins and Mustafa's family (his sisters and children are all musicians), as well as an insight into the recording of the album with Gregory Bufford, the drummer for the session, lyrics and exclusive pictures.

Peronnel:
Mustafa Abdul Rahman - Tenor Saxophone, Percussion, Producer
Ahmed Abdullah - Trumpet
Malachi Thompson - Drums
Gregory Bufford - Bass
Richard Radu Williams - Piano
Rafik Abdur Rahim
Tony Smith - Guitar
Larry Banks - Synthesizer
Khalil Abdullah - Congas
Babafumi Akunyon - Percussions
Odell Grier Backing Vocals – Fred Harley, Hilda "Asia" Richbow , Linda Hall

Notes:
In the course of our deep research, we sometimes discover a hidden thread that unites musicians, songwriters, artists, and poets linked by music. Mustafa's 'Polygamy' is no exception. Apart from the music - the main reason we decided to work on this first ever re-press, a jewel at the crossroads between jazz funk, spiritual jazz and proto rap - are the many other things that make Mustafa an intriguing and fascinating character. For starters, he was a childhood friend of the Ayler brothers with whom he played in different formations. He also played with other beloved figures such as Noah Howard and Charles Tyler, on a still unreleased album recorded for Amiri Baraka's Jihad label, and worked with The Legendary Master Brotherhood and Steve Reid. This and much more will be revealed in a detailed interview between Tony Higgins and Mustafa's family (his sisters and children are all musicians), as well as an insight into the recording of the album with Gregory Bufford, the drummer for the session.

‘Insides is a cracking album of shifting ambient moods, riding on the cusp of technology without forgetting emotive credence’ 9/10 FUTURE MUSIC
Originally released in 2009 Insides is Jon’s third solo album and will be made available from the 18th December 2020 on the Just Music label, following on from his first two Just Music albums, Opalescent and Contact Note. It paved the way for both Immunity (his hypnotic breakthrough solo album) and Diamond Mine (his collaboration with King Creosote) which attracted Mercury nominations and for his recently released fifth solo artist album, Singularity.
The epic Light Through The Veins from Insides, which bookends Coldplay’s Viva La Vida album, is always a crowd favourite and is played by Jon as one of the closing tracks at almost all of his venue and festival shows. Small Memory, also from Insides has been streamed almost 57 million times on Spotify alone where Jon has 355, 462 followers and nearly 2 million monthly listeners.
Cited by The New Yorker as “One of the most celebrated electronic musicians of his generation”, electronic artist, producer and composer Jon Hopkins has forged a reputation for music that marries the dance floor to the devotional, and for live performances that are visceral, generous and charged with a rapt, sensuous beauty.
Jon has remixed artists as diverse as Flume, David Lynch, Moderat, Disclosure, Four Tet, Wild Beasts and Purity Ring. Other projects include collaborations with Natasha Khan of Bat For Lashes and Bonobo, as well as productions for London Grammar and Coldplay. His film credits include his Ivor Novello nominated score for the indie sci-fi classic Monsters, The Lovely Bones (scored with Brian Eno and Leo Abrahams), How I Live Now, Uwantme2killhim? and Rob and Vanentyna in Scotland. He also scored the National Theatre Live production of Hamlet and his work has appeared in many films and adverts.
‘Lilting piano and strings give way to industrial glitch with a calculated force, shifting the mood from tranquillity to terror’ 7/10 CLASH
‘Hopkins is a conjurer, an illusionist, symbolically combining imagery and sounds that shouldn’t work together, creating new dimensions of listening’ KRUGER

Scanning Backwards, Phase Fatale’s second full-length album originally released on Berghain’s in-house label Ostgut Ton in 2020 is now reissued via his label BITE on limited edition pink marble vinyl after being long sold out and sought after. Using the connection between weaponized sound and psychological manipulation as a conceptual foundation, Hayden Payne explores the ways in which music – and sub frequencies in particular – are used to influence thinking and to synchronize emotions and behavior: from military technology to sound systems and the physicality and sexuality of queer techno culture.

Known for his innovative post-punk takes of dance music as featured on EPs for unterton and Ostgut Ton, the Berghain resident draws on his background as both a guitarist and sound engineer to create a heady mix of broken rhythms, noise-, and shoegaze-inflected techno, often at slower tempos. The result is music with space and pace to expand, highlighting the intense rushes of frequencies found in both sonic warfare and functional dance music. Over eight tracks named after a combination of historical and fictional narratives from literature and science fiction, Payne’s rhythmic excursions explore different manifestations of sound as power – specifically within the context of seeing Berghain as an instrument itself. This is also reflected in the album artwork, taken from an early flyer for the SNAX party series and an obvious ode to the fetishization of power dynamics.

In his own words: “All tracks on the album, no matter the style, were tailored to sound a certain way in Berghain – something I figured out through years of dancing in the middle of the floor, DJing as a resident and investigating what frequencies really penetrate the body. This includes speech and high-frequency, brain-penetrating instrumentation and drilling textures that I had not utilized so often before, but which I think also have an effect on thought and memory. It’s especially true in a space where gay and fetish roots combine with music in unexpected ways, almost in a cultish manner. A musical and physical deprogramming and reprogramming, psychic driving and de-patterning, the erasing and replacing of memories.”

Ultimately, Scanning Backwards surveys not only the manipulative properties of electronic music (mantras, loops, subliminal messages) but also how rhythm facilitates both moving and thinking in synchrony; a pulse of coordinated sound- and brainwaves.

Vinyl Only / Sleeve manufactured with 400 mcn Fedrigoni "Shiro Eco" paper / Original unreleased poster with alternative artwork insert with notes by Tony Higgins printed on schedography peach past color paper / PVC outers / original artwork /

Personnel:
Tete Mbambisa - Piano
Basil Coetzee - Tenor Sax and Flute
Zulu Bidi - Bass
Monty Weber - Drums

Notes:
Mbambisa first gained prominence as a pianist in 1961 as a member of the Jazz Giants, this time with Pukwana as saxophonist, bassist Martin Mgijima and drummer Makaya Mtoshoko, setting the sound and shape of a scene that became known as Cape Jazz. Following an introduction from Chris McGregor, Mbambisa formed a band, The Swinging City Six, with saxophonist Ronnie Beer before going on to play at the end of the 1960s in the groups The Soul Jazzmen and Spirits Rejoice with Duku Makasi. As a member of The Soul Jazzmen, Mbambisa recorded the breakthrough album 'Inhlupenko Distress' in 1969 for the City Special label. After a recording hiatus, Mbambisa returned in 1974 with an octet album, 'Tete's Big Sound' released on a newly formed label, As Shams or The Sun, established by South African record store owner and independent producer Rashid Vally. 'Tet's Big Sound' included tracks like 'Unity' and the 'Black Heroes Lamentation', now considered a classic in the South African jazz underground.

The sound that Mbambisa carved in this period was wholly acoustic, and is a style that now is often loosely labelled spiritual jazz, a sound that alludes to deep African textures and rhythms balanced with clear nods to American hard bop and modal jazz, sometimes edging toward free improvisation in echoes of John Coltrane and Pharaoh Sanders. The music is often centred around a fulcrum of trance like vamps with repeated motifs that allow for extended pieces that create a hypnotic effect. This clearly exemplified on Mbambisa's next album, 'Did You Tell Your Mother', released in 1979, once more for The Sun label. (Tony Higgins)

Blue Valentine Vinyl. Sometime in 2005, a lone box of master tapes escaped an estate sale and made its way through a network of collectors, record dealers, and "junkers" into the hands of leading Ohio soul expert Dante Carfagna, who linked them to Columbus, Ohio's mysterious Prix label (See: Eccentric Soul: The Prix Label). A bit of research turned up Prix proprietor George Beter, who identified most of the unlabeled material. All it took was an endless series of phone calls and letters and two fields trips in Columbus. But one complete mystery wended its way onto our final Prix compilation. "You and Me," a simple but irrepressible demo credited only to Penny & the Quarters, was found tacked onto a mixed studio reel. Our survey of every willing lifer left on the Columbus soul scene, including retired DJs, producers, and important local artists, produced not so much as a glimmer of recognition at the name Penny & the Quarters. Though we loved the song from the first play, it may've ended up a bit buried on our original compilation, as #18 of 19 tracks.Four years later, Eccentric Soul: The Prix Label hadn't exactly become a huge seller, although listeners had repeatedly told us that the unfiltered studio demos that fill out the record's back half were true diamonds in the rough. But neither Penny nor her Quarters had appeared to claim credit for their efforts. Then, completely out of left field, we heard from respected screen actor and avowed Numero fan Ryan Gosling that Penny's piercing bit of stripped down doo-wop was being considered for inclusion in Derek Cianfrance's indie-weeper film Blue Valentine. What we didn't know was that "You and Me" had won a major role in what became an indie circuit hit, and that Penny & the Quarters would instantly assume the role of world's most famous unknown doo-wop group.Every week is a slow news week in Columbus, Ohio, and early January 2011 found the city recovering from the thrill of elevating Ted Williams_the formerly homeless guy with the awesome voice for radio_into a national news sensation. But both major daily newspapers in town, as well as the city's alternative weekly, also ran stories about how a lost and unknown Columbus soul group had become the musical centerpiece of a film already garnering Oscar buzz. That mainstream spotlight aimed at Blue Valentine and Penny & the Quarters did the trick: we finally made contact with the widow of Jay Robinson, lead Quarters' singer and songwriter. Robinson, it turned out, had also been the leader of Columbus doo-wop pioneers The Supremes (later known as "The Columbus Supremes," for reasons which should be obvious). Jay Robinson never did give up on the dream of writing a hit record; even so, the posthumous realization of his dream is cold comfort for his widow and daughter. With their blessings, we returned to those estate sale masters and pulled down another neglected track ("You Are Giving Me Some Other Love") from the still-unknown Penny and her now-partly-known Quarters. "You and Me" is a song that could not be suppressed: not when Prix failed to release it; not when Penny & the Quarters were forgotten; not when Numero stuck it at the bitter end of a much overlooked compilation. Its evolution from estate sale trash to silver-screen gold has finally returned it to big-hole 45, where it probably should have lived all along.

Colin McCann, Brian Gossman, and Eric Fiscus periodically return to the grid from the remote mountains of Northern California to document their evo/involution as Vulture Feather. Touring the states throughout much of 2024, they brought the sharpened machine back to Tim Green's Louder Studios to capture their second album, It Will Be Like Now. In literary terms, the record is a work of man versus nature, except man and nature are both secret identities of a third, unnamed thing. Tears and the ocean and death are the main characters, and the initiated may get the sense that these too, belong to the absolute. It all ultimately resolves as a terrifying and beautiful love story. Sonically speaking, It Will Be Like Now reports from a place where PiL and Jah Wobble never parted ways, where Johnny Marr righted the ship, where songs only need one part: the good part. The heads will know McCann and Gossman from their time in the prehistoric Don Martin Three (recently re-issued catalog by Numero Group) and later, Wilderness (Jagjaguwar). While prior efforts are beside the point, this is undeniably the sound of people who have been making music together for 25+ years. Glistening as much as howling, the guitar and vocals function as duet, delivering The Only Story Ever Told over a concise and thunderous rhythm section. It's the sound emulating from everywhere, all the time, through thick carpets of clouds, reverberating off canyon walls, through troubled waters, and finally to your devices, your ears, your heart, if you choose to hear it.

A maelstrom of music and metaphysics, a crushing conduit for connection, contemplation and catharsis; ritualistic sludge-metal juggernauts Pothamus return to this plane of existence with new album `Abur', the highly anticipated spiritual successor to their colossal debut, `Raya'. The search for meaning stands central as a pillar of belief in the enigmatic world of Pothamus. Whilst blending eastern philosophy and western esotericism into a unique ontology, the band stay true to the fundamentals of music: sounds, instruments and bodies coming together just as they too drift away. To experience Pothamus is to open yourself to an immersive, out-of-body experience that transcends the ordinary and delves deep into the profound. `Abur', Pothamus' sophomore full-length is an odyssey of truly epic proportions. As well as honing their already formidable live sound in the intervening years, the band have widened their musical palette in order to explore a truly original take on heavy music that steers them ever further away from well-trodden post-metal paths. On `Abur' the Pothamus' signature ritualistic sound is elevated by the glacial sounds of the Surpeti, an drone instrument originating from the Indian subcontinent traditionally used for mantra singing, whilst drummer Van Hulle adds his voice in harmony with guitarist Coussens' to create an astounding richness and depth. Capturing Pothamus at their creative zenith was musical contemporary and close friend Chiaran Verheyden (Psychonaut, Hippotraktor) who recorded, mixed and mastered `Abur'. A 44-minute pilgrimage through nature, animism and the depths of the human soul, `Abur' is Pothamus' answer to the big, existential questions that keep us all awake at night. Titanic, all-consuming heaviness is met with ethereal, airy beauty as the band contemplates the interconnectedness of all things, creating a singular sonic universe balanced perfectly between cosmic creation and absolute destruction. FOR FANS OF: Amenra, Heilung, Om, Wardruna, Briqueville, The Black Heart Rebellion 3-panel gatefold CD + 28 pages booklet, gatefold LP + 28 pages booklet

Ivory coloured vinyl! A maelstrom of music and metaphysics, a crushing conduit for connection, contemplation and catharsis; ritualistic sludge-metal juggernauts Pothamus return to this plane of existence with new album `Abur', the highly anticipated spiritual successor to their colossal debut, `Raya'. The search for meaning stands central as a pillar of belief in the enigmatic world of Pothamus. Whilst blending eastern philosophy and western esotericism into a unique ontology, the band stay true to the fundamentals of music: sounds, instruments and bodies coming together just as they too drift away. To experience Pothamus is to open yourself to an immersive, out-of-body experience that transcends the ordinary and delves deep into the profound. `Abur', Pothamus' sophomore full-length is an odyssey of truly epic proportions. As well as honing their already formidable live sound in the intervening years, the band have widened their musical palette in order to explore a truly original take on heavy music that steers them ever further away from well-trodden post-metal paths. On `Abur' the Pothamus' signature ritualistic sound is elevated by the glacial sounds of the Surpeti, an drone instrument originating from the Indian subcontinent traditionally used for mantra singing, whilst drummer Van Hulle adds his voice in harmony with guitarist Coussens' to create an astounding richness and depth. Capturing Pothamus at their creative zenith was musical contemporary and close friend Chiaran Verheyden (Psychonaut, Hippotraktor) who recorded, mixed and mastered `Abur'. A 44-minute pilgrimage through nature, animism and the depths of the human soul, `Abur' is Pothamus' answer to the big, existential questions that keep us all awake at night. Titanic, all-consuming heaviness is met with ethereal, airy beauty as the band contemplates the interconnectedness of all things, creating a singular sonic universe balanced perfectly between cosmic creation and absolute destruction. FOR FANS OF: Amenra, Heilung, Om, Wardruna, Briqueville, The Black Heart Rebellion 3-panel gatefold CD + 28 pages booklet, gatefold LP + 28 pages booklet

Generally regarded as the first true 'new age' record, Steve Halpern's 1975 private press LP has long been in demand by collectors. In particular, the very first pressing of the album included an extraordinary long-form jazz funk track called 'Something for Every Body Suite' that was removed from subsequent versions. Eating Standing is proud to reissue Halpern's classic long-lost original version of the album, officially licensed from Halpern himself that includes this heavy groove-laden masterpiece. This is the very first ever full reissue of the first press album with full reproduction of the artwork. Original copies cost over $700 (assuming you can even find one) but now this incredible landmark album is available once more to enjoy. "Reissued for the very first time since 1975 in its original format and track listing, a legendary album that is considered a game-changer in music. Steve Halpern's landmark album 'Christening For Listening (A Soundtrack For Every Body)' is considered by many to be a crucial and defining album that pointed the way ahead. Predating the ambient/experimental work of Brian Eno, Steve Hillage and even Mort Garson's 'Plantasia', Steve Halpern's 'Christening For Listening' was the first album to explore what became known as 'new age' or ambient music, exploring the effect of tones and rhythms on the human body and mind as well as plants and other organisms. Originally issued as a private pressing in 1975, the very first issue of this album had an extraordinary extended jazz funk track on the B side, a DJ/Samplers delight – DJ Gaslamp Killer is a huge fan. This track, 'Something For Every Body Suite', was never included on any of the subsequent represses making the very first pressing incredibly rare and almost impossible to find. It's reissued here for the very first time, with full repro of the original artwork plus a Q&A by Tony Higgins with Steven Halpern himself.

Originally released and sold on their fall 2009 US tour, Flower-Corsano Duo’s “The Chocolate Cities” stands as one of the group's most spirited releases. Recorded live in Cambridge, England and Geneva, Switzerland these recordings capture the power and energy being harnessed by the duo at a time of frequent touring, just after the release of their monumental double-LP “The Four Aims.” Michael Flower is perhaps best known for his work in Vibracathedral Orchestra, along with a slew of other bands, collaborations, and solo work. Meanwhile, Chris Corsano is well known as one of the premier drummers of modern times, and a frequent collaborator of Joe McPhee, Bill Orcutt, Bill Nace, Paul Flaherty, and many more. As a duo Flower and Corsano present an endlessly shifting and transforming sound, meshing elements of free jazz, drone, and ecstatic psychedelia into something all its own. While Corsano guides with his nimble and dynamic drumming, Flower plays amplified Japan Banjo (also known as a Shahi Baaja) providing melody, lead, and drone, often simultaneously. Gripping even in its quietest passages, thoughtful even in its most unrestrained crescendos, “The Chocolate Cities” documents a duo at the height of their collective prowess. Saved from the obscurity of its original CDr format and presented for the first time on vinyl with stunning new artwork by Chris Corsano, “The Chocolate Cities” stands as testament to the power of two magnificent players even 15 years on.

2023 was a whirlwind year for Oracle Sisters. The trio—Julia Johansen, Chris Willatt, and Lewis Lazar—followed the release of their debut album Hydranism with a globe-spanning tour that captivated fans and critics alike. From the highways between Knoxville and Nashville to sold-out clubs in rain-soaked Seattle, and festival stages across the UK, they logged countless hours on the road. Their journey was a tapestry of exhaustion and exhilaration, falling apart, brawls and disputes, love and acceptance. By the year’s end, just two days before Christmas, they found themselves in Tokyo, reflecting on the fleeting nature of time and the fragments of inspiration gathered along the way. It was there the seeds for their next album, Divinations, began to sprout. Composing as a true trio for the first time, Oracle Sisters pieced together sketches formed during stolen moments on tour. These fragments coalesced into Divinations, an album shaped by the band’s nomadic existence. The recording sessions spanned cozy Parisian studios, a barn in northern France, and the storied Valentine Studios in Los Angeles. Their creative process embraced experimentation—swapping primary instruments, playing with toy drum machines, and crafting melodies on quirky tools like the OP-1 and a baby Casio keyboard. This spirit of discovery lent the album a sense of spontaneity and wonder. At its core, Divinations channels mysticism and timeless storytelling. The band’s songwriting draws on diverse influences, from the surrealist poetry of Baudelaire and Rimbaud to the introspective philosophies of Carl Jung. Musically, echoes of Talking Heads, Air, and Leonard Cohen resonate throughout the album and tracks like “Riverside” delve into existential questions— “How far are you going? Is it more than money can buy?” Elsewhere on the album “Marseille,” born in the city that gave the song its name, kicks off as a trance with lyrics that play between the sincere and desperate self-help affirmations, we give ourselves while trying to find a bridge between our individual lives and a universal feeling. Lead-single “Alouette” is Oracle Sisters at their most direct; propelled by a driving bassline and exuberant strings, the track summons the sound of 80’s, 90’s, and early 2000’s rock n roll as they sing about “getting out of dodge, finding a pirate ship and sailing home.” Inspired by the book Caliban and the Witch, “Blue Left Hand” is a lyrical tapestry weaving together history, philosophy, and cultural critique. The lyrics, “It’s in the harbor of every page / It’s in the corner of the playwright’s stage / And every player and every fake / And every witch that we burned at the stake,” reflect on the forces that shaped the capitalist society we know today. Across Divinations’ 11 tracks it’s not only geographic boundaries that were crossed but also the boundaries of time and circumstance. While their work may not consciously reflect specific worldly events, they seek to embrace the universal and offer a space for healing. “Good music would make sense to a farmer in 17th century France as it would to a pastry chef in Slovenia in the 21st century,” shares Lazar. “It’s not written for any temporal powers that be. It’s about expressing our common humanity and taking it from there.” This intuitive approach fuels Oracle Sisters creative process - whether composing in a frozen French farmhouse or performing live with an ever-expanding lineup of collaborators, the band remains committed to exploring the unknown. Through Divinations, they hope to leave listeners feeling transcendent, levitating on waves of intuition and discovery.

It’s written in the Agreement Terms. There’s no getting out alive in Life. And yet, mankind keeps striving for eternal life; through art, through power, through cryogenics, through singularity. In that misguided quest against the inevitable, we all fall into the category of lost travellers. No one is exempt. In that understanding, Confucius MC and producer Bastien Keb offer no misgivings about the destination on the somber “Time Will Come”: Time will come for all of us / try to take your time.

Songs For Lost Travellers is a collaborative album by Con and Bastien Keb that merges unexplored pathways between rap, folk, and jazz into a spiritual triumvirate. Each genre is a balancing force within the record. The result is an album unlike either artist have made previously, possibly unlike any record in existence. Songs For Lost Travellers opens with bedtime stories and fairytales. Both “Tell Me Lies” and “Fairytale” present the creature comforts that trick us into forgetting the truth. Con’s first words spoken are “tell me lies ‘til I swear I can’t remember” over Keb’s lo-fi plucking that feels like it was lifted from a handheld recorder capturing a nursery mobile above a crib. Third track “Time Will Come” resets the album after acknowledging on “Fairytale” there’s “no nourishment in half-truths / no sustenance in eating lies.”

Honest and direct, Con and Keb imbue Songs For Lost Travellers with knowledge and truth from their lived experiences. There is grief hidden in the notes, an inherent sadness that is balanced with an awareness that grief is a protest against the social machinery of remaining numb. The record lingers in a meditative state, unafraid of restlessness and embracing solitude, with the expectation that peace is just as imminent as death.

The production contains a complimentary authenticity. Neither Con nor Keb bothered much with the professional studio in making Songs For Lost Travellers. Instead they opted for the raw state of their home recordings and first takes, matching the intimacy of being alone and reflective in their creative energies. Room static on “Tell Me Lies” makes it feel like you’ve entered their apartments. The immediacy continues on “Gutters,” as Keb plays guitar while watching the tele and Con hums along to the vocal melody in search of the proper pocket for his verse. Someone snaps their finger to mark a cue, but the snap never returns to the mix to keep time.

More drawn to Keb’s recent folk recordings on the Songs For Lilla EP than his funk roots circa Dinking In The Shadows of Zizou or the cinematic soul of The Killing of Eugene Peeps, Con leaned into the spacial freedom he heard in Keb’s lo-fi production cobbled from field recordings and voice notes. Both artists placed their families into the tableau. Con wrote “Little Man” for his son, hoping to add a positive contribution to the canon of parental rap songs. Later, his son appears at the end of “Paramount” to deliver a passage from Kahlil Gibran’s The Prophet. Keb secretly recorded his mum playing saxophone and sampled his cousin playing sax as well. The result is a near-drumless album (save for “Toulouse” and light tapping on “It Would Speak”) in which Keb’s raw production (plus a few sessions with Kofi Flexxx) gave Con a liminal zone, unencumbered by beats per minute, to craft melodies that turn his philosophical rhymes into mantras.

Perhaps there’s a message in the presence of family? It would be one of many. Con and Keb’s reflective, somber approach to Songs For Lost Travellers does not wallow in the mire. Music is action and it’s taking them through a portal to the other side of grief. We are welcome to join (which is also in the fine print of the Agreement Terms), but first there’s a password in the final song, a single request to answer: Tell me what you care about.

Biography by Blake Gillespie
credits

„Life has never been easy, so keep moving“ is the opening line of Making moves, the title song of SANTROFI‘s new album. Four years ago their celebrated debut ‚Alewa‘ introduced this 8 piece Highlife collective powerhouse from Accra to the world.

After five solid years on the road, SANTROFI is now ready to release some fresh material. co-produced and mixed by four-time Grammy Award winner Jerry Boys (REM, Ali Farka Toure, Buena Vista Social Club, Orchestra Baobab, Kronos Quartet). The band has continued an intense tour schedule, with 2024 seeing their first shows in the USA as well as a Japan tour of with 13 sold out shows 2024. where.

Making moves is both a celebration of SANTROFI’s roots and a leap into the future of Highlife. The opening track Amina is a Ghanaian childhood game turned Highlife Funk. It draws from the past, pushing it into the future. The title song Making moves sees Santrofi team up with the current booming Afrobeatscene in Ghana: It features Ghanas Newcomers Kofi Jamar and Arathejay. The song talks about trying to survive on the sometimes crazy streets of Accra without loosing your mind. Su nkwa sees Santrofi celebrating their love for typical Sikji Highlife music. And the nostalgic No money, no honey sums up yet another common truth from the streets of Accra. From the opening Highlife funk of Amina to the Ghanaian-childhood-game-turned- boogie-banger Gyae me how, this record will get you dancing.

Led by producer-bassist Kojo Ofori, SANTROFI unites 8 of Accra’s most gifted musicians with a passion for both vintage highlife grooves and a hip hop sensibility. Members of the band have played with leading Ghanaian artists including Ebo Taylor, Pat Thomas, Ambolley, AK Yeboah and highlife pioneer AB Crentsil with whom they recorded just before he passed away - watch out for that!

SANTROFI have shared stage and studio with rising stars of Ghana’s vibrant urban music scene such as Kidi, Yaw Tog, Black Sherif, AratheJay and even Nigerian superstar Wizkid (who has made Accra his second home). The upcoming album sees the band teaming up with some of the most exciting talents in Ghana‘s such as AratheJay and Kofi Jamar.

If you think it is impossible to play a funk groove (or even drill) over a pulsing Highlife clave: SANTROFI will prove you wrong. Listen to the phrasing of SANTROFI‘s horn section, hear the Highlife clave running through every bar of their music. Santrofi are pushing Ghanas Highlifegrooves into the future without loosing its sweet soul. And don’t forget to come and see them Making moves live in your city.

Repress!

Just six months after her huge Rave On Time EP, Charlotte de Witte is back on her own KNTXT label with another standout release featuring three thrilling new tracks.

Despite the global pandemic, Charlotte did not let up in 2020. Her label continued to serve up techno from the cutting edge, she held down various high profile streams during lockdown and also got voted as the World's Number 1 DJ by DJ Mag's Alternative Top 100 poll. After picking up the Best Producer title at the Red Bull Elektropedia Awards, her Selected EP picked up the silver medal in the Best EP category and she was awarded bronze in the Artist of the Year category. She ended the year with a spectacular set on the virtual Main Stage of Tomorrowland on New Year’s Eve and now races out of the blocks with yet another vital EP.

Says Charlotte, "I've always been fascinated by the high adrenaline racing world. Rapid movements, living in the moment, racing through life, eyes on the future. As far as concepts go for an EP, this is one of my favourite ones so far."

That plays out across the electrifying tracks, starting with ‘Doppler,' a heavyweight techno weapon with shuffling drums and urgent alarm like synths shooting over the bulky groove. It's one to keep you on edge as the strobes flash on a vast dance floor. 'RPM' ups the ante further with blistering acid lines flashing about the mix. Rooted drums roll on in unrelenting fashion and a lead synth takes you down a deep, dark rabbit hole. 'Formula' then rounds out in urgent fashion with the sound of revving engines, hammering hits and haunting melodic loops all making for a vast and vital wall of techno sound.

With this arresting and powerful new EP, Charlotte de Witte once again remains in techno's pole position.

Oceanside Countryside is the latest of Neil Young’s great “lost” albums to be released as part of his Analog Original Series (AOS). The album was recorded from May to December 1977, preceding the release of Comes A Time in 1978. The two albums share the same country/folk sound, and three songs (“Goin’ Back,” “Human Highway” and “Field of Opportunity”) appear on both albums.

The vinyl release of Oceanside Countryside includes some tracks that are on the CD of the same name in Neil Young’s Archives Vol. III. However, this track list is how Oceanside Countryside was originally planned to be released and finally will be made available on vinyl for the first time ever. Recorded on tape, these are the original mixes done at the time of recording.

As Young states, “This analog original album, recorded in 1977, was unreleased at the time. These songs are the original mixes done at the time of the recordings. I sang the vocals and played the instruments on Oceanside, in Florida at Triad studios and Malibu, at Indigo studio. I sang the vocals and recorded with my great band of friends at Crazy Mama’s in Nashville on Countryside. I hope you enjoy this treasure of an Analog Original recording as much as I do.”

The Velveteers bring a visceral energy to their explosive sophomore album, A Million Knives. The album is a blistering rock anthem infused with melodic indie songwriting. With GRAMMY Award-winning producer Dan Auerbach at the helm, the Boulder, CO trio encapsulates the raw, forceful, and profoundly heavy energy of their live performances and laser-focuses a spotlight on tightly crafted songs as they carve out their own distinctive niche. Driving The Velveteers is the commanding presence of frontwoman Demi Demitro, a no-bullshit, five-foot-something spitfire with thunderous guitar riffs and soaring vocals, backed by the incendiary duo of Baby Pottersmith and Johnny Fig on drums. The band's signature dual drum setup creates a thunderous foundation that propels their gritty, dynamic garage rock sound. On A Million Knives, this setup melds seamlessly with a more modern indie rock influence-the attitude of Wolf Alice, the colossal sound of Queens of the Stone Age, and the singular lyrical voice of Hole. The Velveteers have built a dedicated following through relentless touring and electrifying performances, sharing stages with renowned acts such as Smashing Pumpkins, The Black Keys, Greta Van Fleet, Guns N' Roses, and Des Rocs. With A Million Knives, The Velveteers offer a compelling testament to their rising stardom, a rock 'n' roll album as beautiful as it is terrifying.

Back in the day, when he was the drummer for Poni Hoax, Vincent Taeger would sing in French whatever came to his mind backstage after concerts, just for fun, to amuse his friend the late Nicolas Ker. Since then, time has flown by, undoubtedly bringing its share of ups and downs. Nonetheless, today, this artist with a long career is finally releasing his debut album as a singer, OK Crooner. It's indeed an album for a singer, but also one for a musician. For this part, Taeger doesn't come alone; he brings along the Jazz Kamasutra, a sexy sextet that knows how to play everything and will later accompany him on stage. To get to this point, Vincent Taeger had to stop playing around with big names like Air, Damon Albarn, Justice, Lenny Kravitz, Skepta, Tony Allen, Oumou Sangaré, Jeff Mills, Archie Shepp, Sampa the Great, Andrea Laszlo de Simone... More than half of the major artists with whom he once collaborated, contributing to their albums or simply laying down a drum, bass, or any other heavy instrument line. Before OK Crooner, he also transformed into Tiger Tigre. This roaring alias was used for a first solo album, instrumental and so deep that one might have thought the ghost of François de Roubaix had taken shape. But that was before, before this exceptional musician decided to dive into the vast ocean of French variety to give a sequel, a culmination to this project. During COVID, Vincent Taeger started frantically listening to Souchon, Chamfort, Gotainer, and Christophe. Inspired by his elders, while not renouncing his attachment to the meticulous arrangements reminiscent of Alain Goraguer's soundtracks, he picked up a pen to jot down snippets of songs to accompany his increasingly sophisticated compositions. And the worst part is that he enjoyed it! Coming from rap, he has a knack for punchlines. Throughout the album, he delivers just as many harsh or soft words as good ones, alternating between risqué humor, Gaulish wit, and poetry. Partially recorded at Studio Ferber, but mainly at home with his partner, known by the alias La Plongée, who co-produced the album for the occasion, OK Crooner is a key album in Vincent Taeger's discography. Besides being the one where he finally unveils his voice to the public, without pretense as it is prominently featured and minimally, if at all, retouched, Taeger also offers music that suits him perfectly. Sharp yet accessible, jazz, pop, baroque, classical, modern, and resolutely marked by Tony Allen's legacy, which he daringly mixes with Beethoven in the Fifth Symphony. His alter ego, Vincent Taurelle, with whom he has produced many albums, took care of mixing this one.

Free jazz poetry by a spry, 85 year old Joe McPhee, adapting his renowned improvised practice to words - juxtaposed with Mats Gustafson’s sparing brass and electric gestures. It’s an utterly timeless and transfixing salvo, another shiny notch for Smalltown Supersound’s Le Jazz Non Series.

As a common ligature to the OG free jazz scene of ‘60s NYC, with formative binds to its European offshoots and the experimental avant garde, Joe McPhee is a true force of nature who has represented jazz at its freest over a remarkable lifetime. In duo with Swedish free jazz and noise standard bearer Mats Gustafson, he upends expectations with an astonishingly vivid and upfront example of his enduring contribution to freely improvised music. In 11 parts he variously reflects on everything from the neon sleaze and scuzz of NYC to contemporary US politicians and laugh out loud imitations of his previous sparring partners such as Peter Brötzmann, with a head-slapping immediacy that leaves you reeling, spellbound.

McPhee’s flow of rare, organic cadence, ranging from urgent to contemplative and dreamlike, is blessed with a unique turn-of-phrase that surely mirrors his decades of instrumental work. Gustafsson, meanwhile, dextrously takes up the mantle with a multi-instrumental spectrum of sounds, leaving McPhee unbound and able to float and sting on the mic. There’s obvious wisdom in his perceptively penetrative observations, as derived from a rich cultural life well spent, but also a playful naivety and levity in his ability to veer from almost melodic speech to explosive aggression and a knowing, bathetic wit. It’s perhaps hard to believe that McPhee only started incorporating and performing spoken word in his work in the past ten years, a half century since his declaration of “What Time Is It‽” announced his arrival on a legendary debut ‘Nation Time’ (1971), ushering in one of free jazz’s most singular characters in the process.

Oscillating between discordant reflections on life as a touring musician, set to Gustafsson’s skronk and culminating in a snort-worthy imitation of Peter Brötzmann’s gruff German accent, on ‘Short Pieces’ or the glowering growl and noise exhortations of ‘Guitar’, he evokes a more sweetly consonant calm in ‘When I Grow Up’ and eerie threat of ‘The Dreams Book’, and viscerality of ‘Disco Death’, where Gustafson’s tonal versatility comes into hugely mutable play, whilst McPhee’s extraordinary, unaffected voice is a constant. It’s perhaps McPhee’s balance of cool measuredness and wellspring of barbed energies that allows us, at least, to get the most out of this one; not stifling with mannered or manicured enunciation that can trigger certain icks; keeping close to the nature of spoken word in a way that avoids cliche and becomes inherently critical of it within his purposeful, non-hesitant clarity and unflinching approach.

Rock im Park 2001 is a live festival recording from Nuremberg, Germany. The festival performance of Limp Bizkit is praised as CHAOTIC FRENZIED-HIGH ENERGY. DJ Lethal functions as the sound designer shaping their sound on this recording. According to Lethal, “I try and bring new sounds, not just the regular chirping scratching sounds. It’s all different stuff that you haven’t heard before”. In the UK it was released as a CD & DVD while the video was solely released as a DVD in the United States. It has NEVER been released on vinyl.

THIS DELUXE PACKAGE INCLUDES AN OBI SIDE STRIP, SINGLE ALBUM JACKET, TWO PRINTED INNER SLEEVES, NEW RECORD LABELS AND SPECIALTY COLOR VINYL.

John Patitucci stands as a towering figure in the global jazz scene, renowned for his groundbreaking contributions to modern jazzfusion and beyond. His bold new album, Spirit Fall, marks an exciting new phase in his career as a leader, featuring his trio withthe extraordinary Brian Blade and Chris Potter, and stands as one of the most significant new signings to Edition Records.Patitucci’s exceptional versatility across acoustic and electric bass has set a new standard in contemporary music, influencinggenerations of bassists worldwide. Collaborating with icons like Chick Corea, Wayne Shorter, and Herbie Hancock, his work hasdefined the sound of jazz for decades, particularly his role in Corea’s Elektric Band, which helped shape jazz fusion’s evolution. Amultiple Grammy Award-winner, his virtuosity and ability to span genres have made him a vital force in jazz.His past solo works, including Line by Line and Songs, Stories and Spirituals, have already showcased his profound ability toblend jazz, classical, funk, and world music. Spirit Fall continues this tradition, bringing a fresh perspective to his ever-evolvingartistry while reaffirming his position as one of the most creative forces in contemporary jazz.

Vinyl Only / Original artwork / Black Vinyl / 400 mcn paper / 30x30 cm insert with notes by Tony Higgins and graphic elaboration printed on 250 gram G.F. Smith Colorplan / PVC outers


Personnel:
Jorge Ruiz Lopez – Double Bass
Roberto Fernandez Trumpet
Leandro "Gato" Barbieri - Tenor Sax
Ruben Lopez Furst – Piano
Pichi Mazzei - Drums

Notes:
Jorge López Ruiz is one of most versatile of musical talents to emerge from Argentina. As a bass player, composer, performer and arranger he has worked across many genres including jazz, pop as well as stage productions and feature films.

BA Jazz was originally released in 1961 on Vik Records as the debut album from Lopez Ruiz featuring a mix of covers and original material. Alongside Ruiz Lopez are Roberto Fernandez on trumpet, Ruben Lopez Furst on piano, Pichi Mazzei on drums and a young musician called Leandro Barbieri on tenor sax. Leandro became better known at Gato Barbieri, who went on to build an international reputation working with Charlie Hayden, Don Cherry, Dollar Brand and Carla Bley and recording for Impulse! Records, Flying Dutchman and A&M Records.
The BA Jazz album has been a rarity for years and original pressings attract huge amounts from collectors. It's rarity is matched by the fantastic music contained with its grooves. It's a genuinely important record in the development of jazz in South America. (Tony Higgins)

Berlin based label "Matasuna Records" kicks off the new year 2025 with a soulful 7inch featuring songs by Barcelona's "The Blaxound" and singer "John Vermont". Their common love for vintage soul from the 60s and 70s brought them together for this project to compose and record classic soul sung in Spanish. This 45 shows that the concept worked out wonderfully: Spanish Soul at its best, sounding authentic and contemporary at the same time!

Matasuna Records, known for its reissues of musical treasures from the past, also has an eye for exciting new discoveries in contemporary music. With "The Blaxound & John Vermont" the label has once again found an interesting project for soulful & contemporary music that fits perfectly into the label's sound spectrum and will appeal to lovers of authentic soul music.

The two songs "No Es Por Ti" and "Qué Más Te Da?" from their recently released album will be released for the first time as a 7-inch vinyl single on Matasuna Records. The instrumentation and the lovely harmonies are the ideal basis for John Vermont, who with his versatile voice, sometimes powerful, sometimes smooth - but always soulful - can fully develop his vocal spectrum and fill the songs with his presence. Instrumental and vocal arrangements are beautifully balanced and harmonious. Beatific!

Artist info


"The Blaxound" is a Barcelona-based music project with deep ties to the city's Funk and Soul sceney. The project started in 2003 under the direction of musician, songwriter and producer "Marta Roman". The Blaxound has released four studio albums between 2007 and 2024 on different labels.

Years ago, Marta focused on the idea of recording a classic soul album sung in Spanish, respecting as much as possible the original production and sound of the late 60s and early 70s. Luckily, she met singer "Ivan Espejo" aka "John Vermont", which was the turning point and led to the full vocal album "Déjalo Ir" released on "Love Soul Productions" in 2024.

All songs were composed, recorded and produced by Marta Roman in her own studio, Black Flamingo Recordings, in Barcelona, Spain.

Like a passenger riding shotgun on a road trip, The Villagers Companion offers its own unique perspective and story to tell. Featuring tracks recorded alongside last year’s acclaimed villagers, TVC captures the miles between the start and destination—the faded gas station pit stops, the plastic saint statue stuck to the dashboard for safe travels or luck. It embodies the essence of the journey without the burden of driving—the experience of the ride itself.

The album takes us through the heart of Califone’s magic: reverb-drenched piano chords, electronic whirs, and layers of experimental noise. Guided by Tim Rutili’s abstract, fragmented lyrics—both strange and familiar—delivered through his warm, well-worn vocals, it creates an experience as evocative as it is haunting. Often passing through what seem to be the spaces between radio frequencies, the stations never meant to be heard. Crackles of static, feedback loops, and fleeting signals bloom into meditative moments, with each sound given space to breathe, unravel, and shimmer in slow decay. The result resonates deeply, transforming what might be noise into something profound, hypnotic, and totally immersive.

As with villagers, Rutili and company continue to explore what it means to get lost while surrounded by modern technology. Like a ghost in a machine or a whispered prayer stuck in a telephone line, Califone adds soul—be it damned or saved. And they do so with the kind of transformative magic granted perhaps only to artists a quarter of a century into their craft. The kind that turns a photograph into a tableau, or any darkened space with a microphone into a makeshift confessional. A song into a hymn, and a hymn into a soundtrack to a life.

Like a passenger riding shotgun on a road trip, The Villagers Companion offers its own unique perspective and story to tell. Featuring tracks recorded alongside last year’s acclaimed villagers, TVC captures the miles between the start and destination—the faded gas station pit stops, the plastic saint statue stuck to the dashboard for safe travels or luck. It embodies the essence of the journey without the burden of driving—the experience of the ride itself.

The album takes us through the heart of Califone’s magic: reverb-drenched piano chords, electronic whirs, and layers of experimental noise. Guided by Tim Rutili’s abstract, fragmented lyrics—both strange and familiar—delivered through his warm, well-worn vocals, it creates an experience as evocative as it is haunting. Often passing through what seem to be the spaces between radio frequencies, the stations never meant to be heard. Crackles of static, feedback loops, and fleeting signals bloom into meditative moments, with each sound given space to breathe, unravel, and shimmer in slow decay. The result resonates deeply, transforming what might be noise into something profound, hypnotic, and totally immersive.

As with villagers, Rutili and company continue to explore what it means to get lost while surrounded by modern technology. Like a ghost in a machine or a whispered prayer stuck in a telephone line, Califone adds soul—be it damned or saved. And they do so with the kind of transformative magic granted perhaps only to artists a quarter of a century into their craft. The kind that turns a photograph into a tableau, or any darkened space with a microphone into a makeshift confessional. A song into a hymn, and a hymn into a soundtrack to a life.

Legendary Welsh stoner rock / doom metal band Acrimony is triumphantly re-releasing their monumental debut-album “Hymns To The Stone”. This sonic masterpiece was originally released in 1994; it combined bone-crushing riffs, psychedelic overtones and a visceral connection to both 1970s hard rock and the emerging sludge and doom scenes of the ‘90s. The album - with the 2019 mix and mastering by James Plotkin - was already included in the long sold out vinyl box set “The Chronicles Of Wode”, but never as a stand-alone re-release. “Hymns To The Stone” has a gigantic cult classic status and it’s often admired as a defining release in the stoner rock and doom metal scenes. Over three decades this album has built ad devoted fanbase. As one of the pioneering stoner rock bands in the UK with their raw, riff-heavy sound and deep love for the psychedelic and the smoking weed culture, Acrimony set a standard that influenced countless bands in the genre. “Hymns To The Stone” reminds fans old and new why Acrimony remains a cornerstone of heavy music. Don’t miss your chance to relive - or discover for the first time - the transcendental power of Acrimony’s debut-album! Vinyl.