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Back with new music for an updated version of their holiday release from
the four-time Grammy Award-winning Australian duo
Added for the new version is bonus track "Do You Hear What I Hear". The album
stems from a concept that originated near the start of the band, as rehearsals for
a Christmas tour sparked the musical imagination of Joel and Luke Smallbone.
Executive produced by Grammy-winning musician and producer Aqualung (Matt
Hales) and orchestrally arranged by Davide Rossi of Coldplay fame, A Drummer
Boy Christmas includes 13 tracks and features two original Christmas songs
entitled "Heavenly Hosts" and an emotionally moving ballad from Joseph's
perspective "A Carol of Joseph. " A Drummer Boy Christmas was produced by
Tedd T. and For King & Country and co-produced by Benjamin Backus.

Born and raised in Lake, Mississippi, a small town east of Jackson, Houser was the son of a musician and took to music himself at an early age. Picking up the guitar before his tenth birthday, he played in bands throughout his adolescence, sharpening his songwriting skills as he attended East Central Community College in Decatur, Mississippi. Prior to his success as an artist, Houser lived as a songwriter, co-writing singles including "Honky Tonk Badonkadonk" by Trace Adkins, "Back That Thing Up" by Justin Moore, and "My Cowboy" by country pop artist Jessie James.

Written and recorded between 1972 and 1982 in Western Oregon, Back to the Woodlands is a previously unreleased, and nearly lost, album made by Ernest Hood during the same era as his near mythical album Neighborhoods . A visionary combination of field recordings, zithers, and synthesizers, Back to the Woodlands offers an unprecedented depth of access to this singular artistic mind. Born into a musical family, Ernest Hood began a promising career as a jazz guitarist during the 1940s, touring internationally with his brother Bill Hood and the saxophonist Charlie Barnet , before contracting polio in his late twenties. The disease left Ernest unable to play the guitar and confined him to a wheelchair for the rest of his life. It also forced him to adapt and innovate around his musical practices in the face of adversity; Hood's value of sound matured with a remarkably democratic and nonhierarchical approach and application. Taking up the zither, a less physically-demanding stringed instrument to the guitar, embarking upon the unprecedented process of incorporating field recordings into his work as early as 1956, and eventually discovering the synthesizer, Hood's music became imbued with optimism and subtle cultural critique. This ethos and technique - refined over the coming decades - would lay the groundwork for a sprawling body of radio work, mail order recordings for homebound listeners, and Neighborhoods , self- issued as a small vinyl edition in 1975. Where Neighborhoods , a nostalgic opus, drawing from a well of collective memory of the 1950s, is defined by traces of human activity, Back to the Woodlands leaves the modern world behind, delving into Hood's love for nature. Only recently discovered in his archives, the album dramatically expands his concept of "musical cinematography," imagistically triggering states of sensory memory from within its zither and synthesizer melodies, intertwined with field recordings made during Hood's extensive travels throughout Oregon. If Neighborhoods is a retreat into the gauzy joys of a romanticized past, Back to the Woodlands is an immersion in the timeless sanctuary of the natural world. A fascinating counterpoint to its predecessor, Back to the Woodlands brings us even closer to Hood's belief in the transportive qualities of sound; that field recordings could serve as a vehicle for the imagination and liberation, particularly for those with similar mobile disabilities as his own. Across the album's twelve compositions, the rippling instrumental harmonics - shifting between abstraction and playful melody - fold so seamlessly into the birdsong, bubbling brooks, and other environmental ambiences, that they often give the impression of having been recording within the landscapes toward which they whisper. Falling somewhere between the immersive calm of healing music and New Age, the creative field recording practices of sound ecologists world building for Folkways, and the jazz infected ambiences during Obscure / Editions EG's highest heights, Back to the Woodlands sculpts an singular proximity of music for its moment; a form of ambient sonic realism that draws the consciousness toward its surroundings as much as within. Working closely with his estate to maintain his original vision, Freedom to Spend has restored and remastered this never before released, lost masterpiece by Ernest Hood from the original tapes. Ernest Hood's Back to the Woodlands will be issued on vinyl, as well as on CD in combination with its contemporary Where the Woods Begin , with new liner notes by Michael Klausman . On behalf of Ernest Hood and Freedom To Spend, a portion of the proceeds from this release will benefit Oregon Wild, an organization dedicated to protecting and restoring Oregon's wildlands, wildlife, and waters as an enduring legacy for future generations.

Unholy Black Metal from the Holy Land, drenched in Middle-Eastern tones and mystique! An invocation of thousands of years of Darkness! Hailing from the urban Israeli settlement called Ma’ale Adummim in Israel, Arallu is a five-piece Black/Death Metal act that has been around the metal underground for twenty-five years. The band got the name Arallu from the Mesopotamian mythology, as it is the name of the underworld kingdom ruled by the goddess Ereshkigal and the god Nergal, where the dead are judged. Arallu’s music revolves around the traditional ancient Middle Eastern melodies of fellow countrymen Melechesh, the high speed savagery of bands like Angelcorpse and Absu, and the atmospheric feel of legendary acts like before mentioned Melechesh and Absu. In 2019 the band had released the record called “En Olam”, and that opus has solidified Arralu’s already known talent to the underground extreme metal community. “Death Covenant” is the band’s seventh full-length studio offering and the album offers the listeners a very stunning infusion of occult Black Metal music with the ancient Sumerian and Middle Eastern sound. The riffs found in here will satisfy the listeners with its frenzy of melodic tremolo picked riffs that is intertwined with some eerie folk instrumentation. The elements in the guitar department, thrown in with a few folk instruments such as a saz and a darbuka, reveals how the band had successfully stripped metal down to its core and added a personal touch of their own special flair. them and it provides that extra punch and low-end heaviness to the overall outcome of Arallu’s music. It basically lies steadily beneath the guitars as it backs them up with some thick lines that give a more deep feel to the strings and dispenses an ominous atmosphere to the tracks. The drum section also catches the audience’s attention with a variety of destructive pummeling double bass blasting to some Middle Eastern tribal drumming that helps a lot in terms of keeping the atmosphere intact. The record is filled with high-pitched piercing shrieks and screams which create a dark and raw soundscape. These vicious shrieks are sometimes jacked up with some uncanny backing vocals that tie together the brutality of extreme death and Black Metal music to the ancient Middle Eastern scales of the material. “Death Covenant” also parades the band’s strongest production to date in their twenty-five years of existence. Arallu had created a menacing and atmospheric beast in this style of metal with their release of “Death Covenant”. These Israelis had put out a savage album that is hardly comparable to its predecessors.

While frontman Tom Greenhouse’s off-kilter observations and bizarro anecdotes remain front and centre, this time round the band up their game with a more vigorous sound that keeps pace with Greenhouse’s wholly distinctive lyrical style. Greenhouse continues to revel in telling increasingly surreal short stories, rejoicing in the power of the deadpan one-liner and bedecking his songs with far-flung cultural references. But now the band employ a variety of techniques with improved pro- duction, from the impulsively bashed keyboards and jubilantly repetitive guitar stabs that have be- come their trademark, to flirtations with–heaven forbid!–melody, chord progressions and arrangements which elevate their tried-and-tested blueprint into a more exciting and cohesive whole.

Opener Musicians is the perfect embodiment of this conscious development. Here, Greenhouse re- counts a sarcastic tale of half-truths that see him galavanting around town trying to put a band to- gether. Sonically, it begins with a caustic callback to the group’s first EP Crap Cardboard Pet and its über-minimalist aesthetic. But by the end of the song a joyous festival of afrobeat-inspired in- struments including samba whistles, bongos and saxophones are added to the mix as the front- man, ironically, fails in his mission to recruit more players.

With Get Unjaded, the band have somehow conjured something close to pop, without abandoning the repetition and wit that’s relished by their early fans. I Lost My Head also adopts a jangle-pop sheen with a luscious synth melody, as the frontman ditches the spoken-word for a surly croon (his first known attempt at actual singing!) that provides a welcome breather from the onslaught of dense recantations that are the band’s bread-and-butter.

While the lyrics here are still often humorous and political, Greenhouse has also notably expanded his interests on this album to include a new host of topics. The influence of extraterrestrials, for ex- ample, infiltrates the subject matter frequently. On The UFOs, the mysterious protagonist Blinkus Booth’s isolationist lifestyle is apparently interrupted by the spectres of otherworldly visitors, while closer The Neoprene Ravine feels like an extract from a deep space rock opera. Here, jaunty and angular instruments pile-on as we are fed images of an interstellar Spinal Tap, the titular fictional band “The Neoprene Ravine” who are “the alien equivalent of the Velvet Underground” and include an alien Lou Reed yelping “too busy sucking on my little green ding dong!”.

Meanwhile, Hard Rock Potato is propelled by a vortex of keys and synths, a real noise-pop gem comprised of real guitar chords (!) and rock-orientated riffs. Here the stream-of-consciousness lyrics take shots at the sinister financial industry, and include one of the many top-tier one-liners on the album: “It’s not gambling if you’re wearing a tie (even if you’ve got no trousers on)”.

On Sod’s Toastie, The Cool Greenhouse have pushed their distinctive flavour of post-punk to the point of perfection – their incongruous riffs, alchemical instrumental chemistry, and irreverent spo- ken-word vocals are a delight throughout. Sod’s Toastie is hilarious at times, and at others just hilariously good – a not-so-difficult second album.

Yellow and black splatter

While frontman Tom Greenhouse’s off-kilter observations and bizarro anecdotes remain front and centre, this time round the band up their game with a more vigorous sound that keeps pace with Greenhouse’s wholly distinctive lyrical style. Greenhouse continues to revel in telling increasingly surreal short stories, rejoicing in the power of the deadpan one-liner and bedecking his songs with far-flung cultural references. But now the band employ a variety of techniques with improved pro- duction, from the impulsively bashed keyboards and jubilantly repetitive guitar stabs that have be- come their trademark, to flirtations with–heaven forbid!–melody, chord progressions and arrangements which elevate their tried-and-tested blueprint into a more exciting and cohesive whole.

Opener Musicians is the perfect embodiment of this conscious development. Here, Greenhouse re- counts a sarcastic tale of half-truths that see him galavanting around town trying to put a band to- gether. Sonically, it begins with a caustic callback to the group’s first EP Crap Cardboard Pet and its über-minimalist aesthetic. But by the end of the song a joyous festival of afrobeat-inspired in- struments including samba whistles, bongos and saxophones are added to the mix as the front- man, ironically, fails in his mission to recruit more players.

With Get Unjaded, the band have somehow conjured something close to pop, without abandoning the repetition and wit that’s relished by their early fans. I Lost My Head also adopts a jangle-pop sheen with a luscious synth melody, as the frontman ditches the spoken-word for a surly croon (his first known attempt at actual singing!) that provides a welcome breather from the onslaught of dense recantations that are the band’s bread-and-butter.

While the lyrics here are still often humorous and political, Greenhouse has also notably expanded his interests on this album to include a new host of topics. The influence of extraterrestrials, for ex- ample, infiltrates the subject matter frequently. On The UFOs, the mysterious protagonist Blinkus Booth’s isolationist lifestyle is apparently interrupted by the spectres of otherworldly visitors, while closer The Neoprene Ravine feels like an extract from a deep space rock opera. Here, jaunty and angular instruments pile-on as we are fed images of an interstellar Spinal Tap, the titular fictional band “The Neoprene Ravine” who are “the alien equivalent of the Velvet Underground” and include an alien Lou Reed yelping “too busy sucking on my little green ding dong!”.

Meanwhile, Hard Rock Potato is propelled by a vortex of keys and synths, a real noise-pop gem comprised of real guitar chords (!) and rock-orientated riffs. Here the stream-of-consciousness lyrics take shots at the sinister financial industry, and include one of the many top-tier one-liners on the album: “It’s not gambling if you’re wearing a tie (even if you’ve got no trousers on)”.

On Sod’s Toastie, The Cool Greenhouse have pushed their distinctive flavour of post-punk to the point of perfection – their incongruous riffs, alchemical instrumental chemistry, and irreverent spo- ken-word vocals are a delight throughout. Sod’s Toastie is hilarious at times, and at others just hilariously good – a not-so-difficult second album.

Available from Blank Forms for the first time since its original 1980 release on ALM-Uranoia, New Sense of Hearing documents a collaboration between Takehisa Kosugi and Akio Suzuki, two luminaries of Japanese experimental music in the lineage of Fluxus. Blank Forms's high-quality reissue of the sought-after, long out of print LP, is produced by musician-artist Aki Onda and mastered from the original tapes recorded on April 2, 1979, at Tokyo's Aeolian Hall. Described by Suzuki as the "culmination" of their sound,New Sense of Hearing features the two musicians improvising together in that empty Tokyo theater, Kosugi on vocals, violin, and radio transmitter and Suzuki on the Analapos, his namesake glass harmonica, spring cong, and kikkokikiriki, all apparatuses of his own invention. Suzuki and Kosugi first met at the city's Minami Gallery in 1976 on the occasion of "Sound Objects and Sound Tools," an exhibition of Suzuki's homemade instruments. Two years later, at the Festival d'Automne in Paris, Suzuki invited Kosugi to join him for a suite of performances as part of the exhibition "MA: Espace - Temps au Japon," organized by architect Arata Isozaki and composer-writer Toru Takemitsu. Suzuki and Kosugi performed together at the Musée des Arts Décoratifs, Paris, nearly fifty times, honing their approach to mutual improvisation, before traveling with the exhibition to Stockholm and New York_critic Tom Johnson wrote in the Village Voice that he had "seldom seen two performers so completely tuned in on the same types of sounds, the same performance attitude, the same philosophy, the same sense of what music ought to be."For New Sense of Hearing, the duo reunited in Japan and produced an extraordinary dispatch from their collaboration of arioso violin, echoing vocals and bangs, and metallic twangs. As Johnson observed in 1979, Kosugi and Suzuki are "in a very subtle artistic world where there can be no direct relationships. . . . Only coincidence." Takehisa Kosugi (1938-2018) was a composer, artist, and violinist from Tokyo. In 1960, Kosugi founded Group Ongaku, the country's first improvisational performance collective dedicated to Happenings, with Mieko Shiomi and Yasunao Tone. Four years later, Fluxus leader George Maciunas published Events, an eighteen-piece set of his text compositions. Between 1971 and '74, his band the Taj Mahal Travelers produced four live albums. In 1977, the Merce Cunningham Dance Company invited Kosugi to be their resident musician; from 1995 to 2011 he served as the company's musical director. The Whitney Museum of American Art presented "Takehisa Kosugi: Music Expanded," a two-day retrospective of Kosugi's work, in 2015. Akio Suzuki (b. 1941) was born in Pyongyang, North Korea, to Japanese parents. For the artist-musician's first Fluxus-style work Kaidan ni Mono wo Nageru (Throwing Things at the Stairs), 1963, Suzuki tossed a bucket of miscellaneous objects down a flight of stairs in Nagoya Station and listened to the sounds it produced. During the next decade, he would create original instruments including the Suzuki-type glass harmonica and the echo instrument Analapos. In 1976, Tokyo's Minami gallery hosted his first exhibition, "Akio Suzuki's World: Sound Objects and Sound Tools." For his 1988 performance piece Space in the Sun, Suzuki spent twenty-four hours listening to his surroundings on the meridian line which runs through Amino, Kyoto. Suzuki has performed and exhibited at many venues and music festivals, including Documenta 8 (Germany, 1987), the British Museum (2003), Musée Zadkine (France, 2004), Kunstmuseum Bonn (Germany, 2018), and the Museum of Contemporary Art Tokyo (2019).

The Mansion were initially a prison group formed by Charles Lorenzo Blakely in 1970 while serving time in the Green Bay Reformatory at Allouez, Wisconsin. The Mansion’s line up included at different times Michael Locke, Stanley Newburn, Carl Anderson, John Crawford, Michael Smith, Larry Moses, Ronald Hardin, Jerome Wagner, Larry Lister, Maurice Payne and Charles himself. One day while rehearsing in the prison chapel, the Mansion attracted the attention of the warden’s wife who happened to be showing some local dignitaries around. Impressed by what she heard the warden’s wife was instrumental in the Mansion being invited to perform for the city’s television station WBAY, where they recording two holiday programs. The warden later gave them permission to perform outside the prison which brought them to the attention of a Milwaukee neighbourhood program adviser by the name of Al Dunlap of the Commando Project One. It was through Dunlap that the Mansion recorded their solitary 45 release in 1974 “The Girl Next Door /Stop! Let Your Heart Be Your Guide” for a local Milwaukee label Gibbs (406). The label’s owner Bill Gibbs held the release back until some of the members of the Mansion were granted their release papers as at that time prisoners were unable to sign any contract agreements while still incarcerated. Although Charles Blakely remained incarcerated, he was later moved to a medium security prison in Fox Lake County, Wisconsin. While there he formed a gospel group, called the ‘Bell Tones’ who’s line up included Charles, Mayweather Lee, Joe Hayes, and Levell Rudd. The formation of this group was seen as major factor in Charles’s rehabilitation which led to his eventual parole in 1976. Once on the outside Charles with former ‘Bell Tone” member Mayweather Lee were joined by Charles (Sonny) Bryant and Jimmy Taylor to form a new ensemble by the name of The “Final Chapter”. As the final Chapter they recorded a solitary release for Marvel Love’s New World Label “Now I Know/Get Down For Your Action” (NW800) during 1980, a brief association that for several reasons was to eventually brake down. Although Jimmy Taylor left to pursue a career as a blues musician the remaining three members of the ‘Final Chapter’ continued to perform until they finally disbanded in 1987. Three previously unissued Final Chapter songs can be found on Soul Junction Various Artists CD compilation “We Got A Sweet Thing going On” Volume II. The Mansion’s Gibbs 45 is now is a highly prized and sort after item amongst Sweet and Group Soul collectors.

HEAVENLY ALBUMS TO BE RE-ISSUED ON VINYL - STARTING WITH ‘HEAVENLY vs SATAN’. Heavenly released four albums in the early 1990s. Skep Wax Records are going to re-issue all four of them over a two year period. Classic black vinyl. The albums will include a 7” booklet with lyrics and new sleeve notes by the members of the band. Heavenly were one of the pioneers of indiepop. Formed from the smouldering ashes of Talulah Gosh, they took all that energy and attitude and used it to fuel catchy, infectious pop melodies. The influence of 60s girl groups was never far from the surface. This was girl-pop, but with the girls in control. Loved by many but derided as ‘twee’ by some, Heavenly ignored the increasingly macho environment of the contemporary UK scene and forged a separate path, along with other bands on the Sarah Records label. Later, having co-released their albums on K Records in Olympia, Heavenly toured the US, hooking up with bands in the embryonic riot grrrl scene. Heavenly’s quiet feminism became louder and more articulate, and the hostility of the UK music press became irrelevant. Heavenly came to an abrupt and tragic end when drummer Mathew Fletcher took his own life in 1996. After a year’s hiatus, the group reformed as the short-lived Marine Research, before going their separate ways musically. Amelia Fletcher and Rob Pursey currently play in The Catenary Wires and Swansea Sound. Peter Momtchiloff plays in Would-Be-Goods and Tufthunter. HEAVENLY vs SATAN – THE FIRST LP. Recorded in the Oxfordshire countryside, the first Heavenly album was a bid to make a pure pop record. The punk noise of Talulah Gosh had exploded and expired. Amelia had had a go at making a disco hit (‘Can You Keep A Secret’, subsequently released on Fierce Recordings), which was fun, but wasn’t going to trouble the charts. Unbothered by critical or popular reactions, the new band decided to immerse themselves in the creation of a sweet, tuneful pop record. It’s true that the punk influences aren’t hard to discern (Mathew’s favourite band was The Ramones), but it’s Pete’s elegant guitar and Amelia’s melodies and multi-layered harmonies that win out on these recordings. The eight-track album was released as CD, LP and cassette by Sarah Records. Subsequent versions included a Danceteria LP and cassette (France), a Quattro CD (Japan) and a CD by K Records (US). These versions included various additional tracks from early 7” releases. The Skep Wax re-issue of ‘Heavenly vs Satan’ includes Heavenly’s first two Sarah Records singles – ‘I Fell In Love Last Night/Over And Over’ and ‘Our Love Is Heavenly/Wrap My Arms Around Him’. The vinyl reissue of second album ‘Le Jardin de Heavenly’ will follow in early summer 2023. ‘The Decline and Fall of Heavenly’ and ‘Operation Heavenly’ will arrive in 2024. Tracklisting 1 Cool Guitar Boy 2 Boyfriend Stays The Same 3 Lemonhead Boy 4 Shallow 5 Wish Me Gone 6 Don’t Be Fooled 7 It’s You 8 Stop Before You Say It 9 I Fell In Love Last Night 10 Over And Over 11 Our Love Is Heavenly 12 Wrap My Arms Around Him

First Time On Black vinyl. A lot has happened to the Magic Castles since this was released in April 2021 this release took over a year to be manufactured, the band have toured with the Brian Jonestown Massacre & the Warlocks in the USA in 2022 & the the track “Lost Dimension” was used in the HBO series “Succession” so not a bad 2022 for the band. Sun Reign is the band’s fourth release on Anton Newcombe's label ‘A’ Recordings Ltd. Ironically similar to BJM, the Magic Castles have been plagued by lineup changes over the years. In November of 2019, tragedy struck and Edmonds was seriously injured in a car accident that required hospitalization and surgery. Friends started a Go Fund Me that raised over $20k USD for the uninsured musician’s hospital bills, showing an incredible outpouring of love and support for him and his family. Fortunately, Edmonds has made a complete recovery from his injuries and has bounced back remarkably well. In early 2020, Edmonds managed to finish the remaining work on the album “Sun Reign”, including a previously unreleased song, “Surmise'' penned by guitarist Jermiah Doering, and a rare cover of a moody 1966 garage rock song “Ode to the Wind” by Danny and the Counts. Edmonds also began working with a booking agency, planning a return tour to Europe with the band to support the new album. Unfortunately, it was not to be. Due to the global pandemic crisis of Covid-19, the album was delayed until 2021, and the promising tour was cancelled. In May of 2020, Minneapolis police killed George Floyd two blocks from Edmonds’ home, which incited riots across the country. The protests led to the burning of Minneapolis, where a long time music venue and many other buildings were lost. Edmonds’ studio was not destroyed although many nearby buildings were. Edmonds is a known supporter of Black Lives Matter Tracklisting:- 1) Sunburst , 2) Lost Dimension , 3) Ode to the Wind , 4) Asuras , 5) World of Time , 6) Valley of Nysa , 7) Magna Mater , 8) Surmise , 9) Gates of the Sun , 10 ) Relax Your Mind

`Astro-Darien' is a 26-minute sonic fiction about the break-up of Britain, narrated by synthetic Scottish voices and framed as an eponymous video game. It is the second release on Hyperdub sub-label Flatlines; a dark green 10" in triple gatefold sleeve, with artwork by Kode9's long-time collaborators Lawrence Lek and Optigram, presented as a limited edition of 500 copies. From a Caledonian heart of darkness to a supernova Scotia? The documentary fiction spirals between the role of the catastrophic Darien Scheme in the late 17th century in the founding of the UK, when Scotland failed to colonise part of present-day Panama, and the contemporary disintegration of the Union. In a somewhat wild extrapolation of the race to become the Scotland's first vertical satellite launch station currently playing out between Sutherland Space Port and the Shetland Space Centre, independence is speculatively framed as an exercise of escapology, a jailbreak and exodus to an orbital space habitat, with all the risks and dangers that entails. The loose plot follows a game designer from the fictional `Trancestar North' company who, in attempting to lift the dark spell cast by Darien, models a counter-future by ingesting cosmism, the history of racial capitalism and the demise of Empire into T-Divine, the geopolitics simulator of the game engine. She follows the Brexit algorithm as it runs to its logical conclusion. Initially conceived as an audio essay for diffusion on François Bayle's 50-speaker Acousmonium for INA-GRM in Paris in March 2020, but subsequently postponed by the pandemic, `Astro-Darien' first surfaced as a three-screen A/V installation on the dance floor of Corsica Studios in June 2021, finally reaching the Acousmonium the following October. In July 2022, an instrumental rhythmic version entitled `Escapology' was released on Hyperdub. A live A/V set relating to the `Astro-Darien' game universe will debut at Unsound Festival in October 2022.

‘Astro-Darien’ is a 26-minute sonic fiction about the break-up of Britain, narrated by synthetic Scottish voices and framed as an eponymous video game.

It is the second release on Hyperdub sub-label Flatlines; a dark green 10” in triple gatefold sleeve, with artwork by Kode9’s long-time collaborators Lawrence Lek and Optigram, presented as a limited edition of 500 copies. From a Caledonian heart of darkness to a supernova Scotia? The documentary fiction spirals between the role of the catastrophic Darien Scheme in the late 17th century in the founding of the UK, when Scotland failed to colonise part of present-day Panama, and the contemporary disintegration of the Union. In a somewhat wild extrapolation of the race to become the Scotland’s first vertical satellite launch station currently playing out between Sutherland Space Port and the Shetland Space Centre, independence is speculatively framed as an exercise of escapology, a jailbreak and exodus to an orbital space habitat, with all the risks and dangers that entails.The loose plot follows a game designer from the fictional ‘Trancestar North' company who, in attempting to lift the dark spell cast by Darien, models a counter-future by ingesting cosmism, the history of racial capitalism and the demise of Empire into T-Divine, the geopolitics simulator of the game engine. She follows the Brexit algorithm as it runs to its logical conclusion.Initially conceived as an audio essay for diffusion on François Bayle’s 50-speaker Acousmonium for INA-GRM in Paris in March 2020, but subsequently postponed by the pandemic, ‘Astro-Darien’ first surfaced as a three-screen A/V installation on the dance floor of Corsica Studios in June 2021, finally reaching the Acousmonium the following October. In July 2022, an instrumental rhythmic version entitled ‘Escapology’ was released on Hyperdub. A live A/V set relating to the ‘Astro-Darien’ game universe will debut at Unsound Festival in October 2022.

“The Long Meadows is the endless stream never getting to the sea, through the lens of a couple in love unable to buy a home. It's the Now and the Past both melding into one cry of confusion, unanswered and forever in pursuit, “locked out of the next life”.

Following both a global pandemic and an acclaimed, landmark debut album, inimitable Irish Alt-Folk act Junior Brother returns today with details of his new album The Great Irish Famine, and a new single titled “No Snitch”. The album follows his much lauded 2019 Pull The Right Rope and is out 2nd September via multidisciplinary Irish label Strange Brew.

The Great Irish Famine leaps boldly forward into an exciting new chapter, and into a shaken new world - staggeringly profound, brutally beautiful in its epic sweep.

Speaking about the themes across the album Kealy further explains, "I was very conscious to bring each element of the debut into this follow-up, but dramatically dig ten times deeper and stretch ten times further down into each avenue”. “No Snitch" soars amidst darkly comic self-reflection ("This Is My Body"), anxious reflexes on modern living ("No Country For Young Men"), and the painful role the past plays in a nation's present ("King Jessup's Nine Trials").

Both startlingly dynamic and profoundly accomplished, The Great Irish Famine reflects fall-out of trauma both personal and universal, national, and international, minor, and mountainous, historic, and contemporary - all uncompromisingly conveyed through the magnetic, emotionally potent vision of a one-of-a-kind artist at the top of his game.

We, the label, asked Ben Wallers (ex-Country Teasers) to write a press release for his new album. "Press Release And Give Me The Disc as Peter said to Murphy said to Daniel said to Ash said to J said to the drummer subs please check name was it Martyn Atkins? No... scratch that please Roger, there's nothing funny about not knowing all the members of Bauhaus. Announcing the new album by The Rebel, yay! Wow! Fucking hell, great! How long is it this time? Oh it's getting on for the optimal 45 mins. Fit on side of a D90 but go bit wobbly near end of SA90. I am listening to my copy on vinyl record, it's much better than tape. That's the intro. Once upon a time there was a man/boy a sort of immature Peter's Pan type pan-pipe type who COULDNT WOULDNT grow up a bit like Keith Richards and who er where was i? The Vagina Museum is very near Maureen Paley's art gallery where if you hurry you can see some INCREDIBLY GOOD paintings/art. Anyway once upon a time it was february 2021 if that's last year or 2020 if it was the one before that, i've lost count, honestly this Covid thing is SO confusing isn't it? Anyway. Ducking fomestic crisis as usual reached boiling point again and i fucked off didn't i, did a runner, off to Turkey wiv a lih-ooh bih-uh ragarahn me ed, first of all 2 weeks on George's spare mattress, then 2 weeks in Merlin's magical tower, then a week in a fucking EasyJet Hotel with no windows, then at last my new exile retreat, Congreve Ho. Meanwhile Dad got me a new recording device the size of a VHS tape, the Tascam D-POO 8 S-E-X multitrack. Quality, oscar mike golf!! Urine for a surprise Listener/s! Ural b sayin "Y could ont he ov get 1 of these B4?" Well! Paid off the fuckin mortgage, didden Eye listenerz. Paid the fucking mortgage of. Dad said "Lets get you a reward Son! Anything name it!" Well i said ... can you fix it for me to touch Britney's hat? The one she wore for the Milkshake video. Great album. Recorded it in exile, from where i write this press release and give me the tape Kevin Haskins." And he did. Tracklist: 1. Nemo To Self 2. I’m Wok Inner Gdn.C 3. A Cretian Build-Up 4. Lays A Seamless Transition 5. A Bottle Of Timotei Hair-Shampoo 6. Long Way Off 7. Teulleodd Hapys (Dave 1) 8. I Aint Gonna Lie To Ya 1 9. Bisgeden Am Swper Eto (Dave 4) 10. Put Your Fucking Glasses On So You Can Fucking See 11. Happy Families (Dave 3) 12. Pyfgosycfs 2/Aquafauna 13. Dave Two Ukraine Nil 14. Nemo Self 2

Issued by Leo Fegin's visionary record label in 1993, this refreshed and revised reissue collection of Hungarian composer Tibor Szemző's chamber pieces with spoken text – composed at 1980s for the legendary GROUP 180 – is unlike anything else of its kind.

No one has survived life. Everyone has died from it so far. Man must realize that He is responsible for His own life and fate and must insist upon this responsibility beyond all limits. And since Man has dissociated Himself from the sphere of irrationality, He has no way of getting in touch with death, or of establishing control over it. How we achieve the final result is merely of secondary importance. If the vision is clear to everyone, there is no need at all to look back. In a time of complete mental disturbance, only one chance remains to us: crystal-clear thinking. This leads us back to total mental disturbance, which everyone has died from so far. (Pavel Havliček – Miklós Erdély – Tibor Hajas)

Text and Music | Language and Speech | Sound and Music

The common basis of the three works by Tibor Szemző heard on this album is the inalienable relationship to text – as an a priori principle. Text and music: the formal attributes of significance, intentions, and levels of meaning inherent in verbal communication as it is transformed into audible code. Language and speech: the structural level of communication, where it becomes purposeful expression, acoustic statements of variable modality. Vocalization as sublimation. Sound and music: By becoming an auditory signal, communication is deprived of its sense and reduced to musical articulation and abstraction.

Skullbase Fracture: Shards of reality – senseless, disconnected fragments of recorded “living speech” – simultaneously disintegrate and merge to create meaning through the musical process, while it is degraded and stylized to represent a single layer of the ambient noise one would hear in a hospitality setting.

Optimistic Lecture: The theses – like a practical, everyday user’s manual to cognitive tendencies and aims as they apply to the entirety of existence – convey their meaning through simplified rhythmic speech, galvanized into commands. As a counterpoint to recited prayers, they comprise a uniform soundscape.

The Sex Appeal of Death: The head-on simplicity of communication creates such extremely reductive musical interrelations that they cannibalize themselves in a necessary and inevitable fashion. And, in this manner, the text as well

In 1968, the future composer of "The Things of Life" (Les Choses de la Vie) seriously considered becoming a director. He wrote and shot "Florence", a short film influenced by the New Wave and composed its soundtrack, under the benevolent eye of Vladimir Cosma. The first spectators of the film are unanimous: failing to have seen a visionary cinematographic opus, they have discovered a real movie musician. From this first attempt, Philippe Sarde imposes his melodic talent on the picture and initiates his sense of counterpoint. This founding soundtrack, however, remained in the boxes for more than 50 years, before finding a place of choice on the B side of our album.

To open the ball, we offer you another forgotten score: the almost unused score of Loulou, Maurice Pialat’s cult classic. In 1980, the naturalist director planned to use original music to accompany the wanderings of his sublime love duo, played by Gérard Depardieu and Isabelle Huppert. He commissioned a bare, impressionistic score from Philippe Sarde, then changed his mind and kept only a


timid end credits. The meeting between the two giants of French cinema did however take place, as evidenced by the first side of this beautiful lp.

Certain to become a staple of countless Christmas and Holiday music
collections for many years to come, More The Merrier, the 8-song holiday
EP from pop artist and songwriter Sarah Reeves featuring the song,
"Winter Wonderland (feat
Clark Beckham)" will fit perfectly alongside Bing and Nat and the Vince Guaraldi
Trio. Listeners are sure to experience all of the sounds and feelings the holidays
have to offer or remind us of, from the lighthearted, jazzy fireside moments to the
sacred. More The Merrier was produced and arranged by Ben Schofield and Mark
Campbell. Sarah signed her first record deal at age 18. For more than a decade, in
addition to pursuing her own artistry, she has dedicated a vast portion of her
career to writing songs for other artists and TV and film. Her music has appeared
in Disney Plus and National Geographic's six- part original series " Welcome To
Earth," starring Will Smith; Disney's Raya and the Last Dragon international trailer;
promos for "American Idol " and UFC; and on television series across major
networks like ABC, NBC, CBS, FOX and Netflix, among others. " Winter
Wonderland is one of the first songs I play every year at the beginning of the
Christmas season, "shares Reeves. " It is simple, classic and I was so excited to
record my own version. I asked my friend who is an incredible artist named Clark
Beckham to join me on this song. He was the perfect addition. I hope this song
brings a magical feeling of warmth and nostalgia this Christmas."
Reeves has also been featured on tracks by high-profile DJs, including Gatt so,
Laidback Luke, Justice Skolnik, R3HAB, and Armin Van Buuren. Having amassed
more than 65 million career on-demand streams, the Curb | Word Entertainment
artist has garnered 26 million Pandora lifetime streams and over 37.5 million
YouTube views to date.

'Songs From Planet Earth' is Deux Furieuses' third full length album, the second with Xtra Mile Recordings. Written and recorded during the last two turbulent years, Songs From Planet Earth is a beating heart signal out from this world as we fall spinning into a vortex of pandemic, isolation, avoidable deaths, political corruption, personal mourning and ultimately survival. The album documents the journey from the city to the countryside like refugees in search of sanctuary. 'Bring Down The Government' jumps on the fuzz box to demand a reckoning for all the lives. Deux Furieuses are currently members of Brix Smith (from The Fall) band, playing guitar and drums. They are touring across the UK supporting PiL throughout June; Kendal Calling, Loud Women Festival appearances and further headline and support shows in November and December.

OVERVIEW: Following both a global pandemic and an acclaimed, landmark debut album, inimitable Irish Alt-Folk act Junior Brother returns today with details of his
new album The Great Irish Famine, and a new single titled “No Snitch”. The album follows his much lauded 2019 Pull The Right Rope and is out 2nd September via multidisciplinary Irish label Strange Brew.

The Great Irish Famine leaps boldly forward into an exciting new chapter, and into a shaken new world - staggeringly profound, brutally beautiful in its epic sweep. The lead single “No Snitch” - which is released digitally with a 7” release to follow – is an intoxicating first taste of this new material. A track of towering, bruised catharsis, Kealy’s emotive and powerful vocals fluctuate across the tracks temperamental instrumentation which is both at once tumultuous and calming. The single is also accompanied by a dark and surreal new video

Speaking about the themes across the album Kealy further explains, "I was very conscious to bring each element of the debut into this follow-up, but dramatically dig ten times deeper and stretch ten times further down into each avenue”. “No Snitch" soars amidst darkly comic self-reflection ("This Is My Body"), anxious reflexes on modern living ("No Country For Young Men"), and the painful role the past plays in a nation's present ("King Jessup's Nine Trials").

With thirty years of active, nefarious service under their bulletbelts, NECROPHOBIC are undisputed legends of the death and black metal underground. Formed in 1989 by drummer Joakim Sterner, the Stockholm blackhearts propagated a singular and fearless vision from the very start, confirming their prowess with now legendary debut album The Nocturnal Silence in 1993. Eschewing the self-conscious amateurism and primitive sonics that many of their peers held dear, NECROPHOBIC established a bold and vivid identity of their own, conjuring a densely melodic but endlessly wicked take on macabre extreme metal that countless lesser bands have since emulated. With “Hrimthursum”, the 5th full-length album, NECROPHOBIC already injected its blasphemous attack metal with melody and atmospherics, not to mention a great attention to instrumental detail, in the first place when the album was released in 2006. The Swedish black death metal legends are re-releasing this full-length record as first out of nine upcoming re-issues in total. The album will be available as Ltd. CD Jewelcase in slipcase, Gatefold LP & Poster and Digital album. A must have for every black and death metal maniac out there!