Buscar:the fin

Another fine release from Holland’s Moving Rhythms. Electro/Acid/Techno.

Groove Armada’s iconic Back To Mine compilation from the Millennium gets a long-awaited re-issue 22 years after its original release. As Groove Armada celebrate 25 years of touring with their final ever world live tour, which includes nine huge dates across the UK, it’s a chance to relive Groove Armada’s eclectic and expert curation.

The album, which was one of the biggest ever selling editions of the Back To Mine Series, will be available on double heavyweight vinyl for the first timers well as a limited collectors edition in Pumpkin orange. This release marks the first of many reissues of iconic Back To Mine titles.

The Groove Armada special edition package features 12 tracks featured on the seminal album in one of the best loved compilation series’. Despite the length in time since its original release, the album remains timeless with an inspired selection ranging from A Tribe Called Quest, Barry White, Tears For Fears to the compilers themselves.

For nearly two decades, Groove Armada have been established as one of the planet's best loved and biggest selling dance acts. As comfortable on the big stages as they are in sweat soaked basements, the boys cross genres and styles with ease. This translates perfectly into their addition of Back To Mine which boldly, yet effortlessly traverses a multitude of sounds that you wouldn’t imagine could be the perfect match. Collectively, the album is colorfully funky, soulful, and incredibly smooth.


From their house to yours, listening pleasure is guaranteed.

· One of the biggest ever selling editions of the Back ToMine series repressed for the first time.

· Groove Armada will be embarking on their final live tour around some of the UK’s most iconic venues in 2022 & several festival appearances.

· Marketing campaign celebrating 25 years of the Back To Mine series and the start of back catalog reissues

· Available on heavyweight double vinyl only, Including collectors coloured orange vinyl edition.

· Features legends such as Barry White, A Tribe Called Quest, Tears For Fears and Groove Armada themselves.

He might be vocalist in bands such as Brighton-based progressive act Diagonal and psychedelic outfit Baron, but when it comes to his solo work Alex Crispin has typically worked in more wordless fields. Last year the songwriter, vocalist and producer released a triptych of ambient albums, consisting of two older albums in 'Idle Worship' and 'Open Submission', as well as new meditative work in 'Resubmergency'. On his new self-titled album, however, Crispin re-emerges from the cavernous soundscapes to – for the first time – put his vocal and song writing stamp on a record under his own name. “I personally find it easier to create more guarded, moody music, but I was at a point where I wanted to embrace a more universal, intimate and open side to what I might say” Crispin says. “Over time I’d got over certain blocks or preoccupations and so wanted to create something accessible and open hearted, which became a big driver for this record.” Pointedly self-titled to reflect the newfound confidence in his song writing away from the collective of a band, the album’s nine tracks are a warm embrace amidst troubled times. Musically there’s nods to everything from tropicalia and Brazilian MPB, to 80’s dusk pop balladeers The Blue Nile and Paul Simon’s explorations into African music. Lyrically aware of the snowballing turbulence that surrounds us, Crispin in reaction tries to see hope and looks around at the relationships and connections in his life that provide him strength. He opens 'Invisible (To Us)' with the words “Before the world did end, there was just one moment when, everybody thought there might be time, to look around again, to laugh to cry to sing.” Elsewhere, 'Listen & Learn' strikes at the heart of other underlying themes of the record, of the rarity of people opening up, taking on new ideas and allowing change. It’s accompanied with a rich, maximal sound palette of flute and sax that play around each other as Crispin’s vocal chips in with gentle encouragement. “One of the main markers on the album that I was aware of from the start, was to let myself express joy and positivity in the music” he says. “I have come to greatly prize the power of accessibility and universality over artistic 'coolness or trend', much in the same way that so often for me, the greatest pieces of art humans make nowadays are things like Pixar movies, with their combination of undeniable human talent and craft, alongside genuinely moving and accessible themes.” Indeed, there is a cinematic feel to much of Crispin’s own music, something brought over from his ambient creations – although his self-titled album possesses a panorama all of its own. Something like 'When I Reach The Ocean' has a hazy, pastoral feel to it like something out of the Canterbury Folk scene; there’s space between the notes though, which in turn pushes the track out to a greater expanse than the comparatively soft-edged and modest sound palette used to create it. Similarly, the likes of 'Effert' revel in the space afforded to them - in the case of the aforementioned in particular, Crispin lets his voice take a back seat and creates an open wash of sound that he allows the guitar to probe and explore within. “In making any music I am definitely conscious of trying to put in only what is effective” Crispin says. “It is so easy to clutter tracks without realising it, just having the ability to add stuff can just become addictive as it’s so easy to do with recording setups now.” The album started coming together at the end of 2020, with Crispin getting most of the songs to a concrete state, before starting recording in May 2021 with Diagonal bandmates Luke Foster (drums) and Daniel Pomlett (Bass), who put down rhythm tracks. Jazz saxophonist Rob Milne then added parts which would become the glue that held the whole organic aesthetic of the album together. There’s no doubt that lockdown played a part in proceedings, with a kind of forced focus resulting in a need for joyful expression. However, Crispin and his partner also suffered a bereavement which led to her travelling for large periods of time. “It was a very intense and difficult time and I think some of the intensity of emotion of that situation coupled with being alone must have inevitably contributed to the work itself” he says. It's perhaps why when even in moments of sheer happiness, such as the 'Sabu’s' breezily euphoric opener, Crispin ponders: “No-one really cares beyond this moment, and even when it's here, it's never here”. It’s the first of several bittersweet moments on the record that give the album its weight. On this new LP, Crispin recognises that sadness doesn’t mean throwing out hope, and that even in moments of joy there’s still a path ahead of you to take.

Back In Stock!

‘Cranes In The Sky,’ was originally written by Beyonce’s baby sister Solange alongside Raphael Saadiq, for her album back in 2016 that was cited by Rolling Stone as one of the most important 500 records of all time. The words exploring a fearless journey inward, pulling up the root of a problem, and the first glimpse of blue sky after the storm has passed.

Fast forward to 2022 - Ross Allen and Andy Thompson’s Foundation Music Productions enlist the expertise of Baltimore club legend, Dj Oji, together with Tracy Hamlin (Pieces Of A Dream), to take Solange’s breakout delivery to the dancefloor. Soulful vocals will heal you, while the mid-tempo moments will mellow the masses, and UK Funky grooves will keep the shuffle moving along way into the early hours. Three remixes come in the form of the ethereal DJ Pope Funkhut Reprise, a signature Joe Goddard groover and the Star One. KDA. Meltdown Dub.

DJ Feedback:

FRANCOIS K
Yes! I played the vocal version the other day again.

KAI ALCE
Dope re-interpretation from Baltimore stalwarts OJI, POPE & Tracy!

GREG WILSON
What's not to like? Love the orig Solange jam!

DANNY KRIVIT
Nice, I like a lot of DJ Oji.

SOUL CLAP/ ELI GOLDSTEIN
Fire right here

DAZ I KUE/ BUGZ IN THE ATTIC
Yea I love this one…cool vibes.

THATMANMONKZ
Oh yeah, love the Solange original, and I’m a big Oji fan! That reprise version might come in very useful for the right set!

TERRY FARLEY/ FAITH
Got to be contender for single of the month with that story x

HOT TODDY
Simply beautiful.

CRAIG SMITH/ 6TH BOROUGH PROJECT
Loved the original of this from Solange a few years back, this is a real nice interpretation of it. Liking the reprise and Dub, handy tools

CHARLES WEBSTER
Nice soulful groover. Like this.

FISH GOO DEEP/ GREG DOWLING
Lovely re imagining of one of my favourite tracks of all time

FRANK BOOKER
Love this package. Reprise mix is the one for me. Very cool!

NICK V/ LA MONA
Thanks a lot I actually prefer the dub version :)

JIMPSTER/ FREERANGE
Killer groove on this and really nice to hear a housed up version of Cranes which is such a stunning song in it’s OG form. Def something I’d like to play out.

FELIX JOY/ SWU.FM
Yes ! I flippin love a good reprise mix and this one is doing it for me. Love the original version by Solange and this is a really great rework!

STEVE PARRY / FOR SASHA
Really Smoove love it.

GROOVE ARMADA/ TOM FINDLAY
THIS IS LOVELY!!

RALPH SESSION/ HALF ASSED RECORDS
Wow the dubstrumental really gives it new life.

QUENTIN HARRIS
I love this package.

GRAME PARK/ THE HACIENDA
This is tremendous

HECTOR ROMERO/ DEF MIX
Good to see this one got picked up. I’ve played this a few times since 2018 but will get it back in rotation. Glad to see this song is getting some traction. I look forward to the unreleased versions.

ANDY BUCHAN
What a sun-dappled slice of beauty! Full support on this, what a gorgeous EP. And those drums are ace, really propulsive.

DANIELLE MOORE/ CRAZY P
Yeah I really like this. I mean I love the original but theres something quite interesting about this. Nice yeah x

MARC MEISNERE/ SOL POWER SOUND
Yes please! Can’t wait to play this one!

STEFANO TUCCI/ HELL YEAH
This is one of the best best vocal of recent times, I love It, the crescendo towards half of the track is nothing but gorgeous!

TREVOR FING/ GRAFITTI KINGS
Love these remixes.

MAX P/ HELL YEAH
Yeah, full pack is what I needed !

HORSE MEAT DISCO/ SEVERINO
Really into this!

SEAN JOHNSTON/ ALFOS
I wouldn't play it, but it's a beautiful piece of work

GRAEME PARK/ THE HACIENDA
I’m gonna enjoy playing this its lovely.

NICK V/ LA MONA
Thanks a lot I actually prefer the dub version :)

TREVOR FUNG/ GRAFITTI KINGS
Love this !!

QUENTIN HARRIS
Being a fan of the Original I love everything about this.

ALAN DIXON/ MIDNIGHT MAGIC
Killer!!!!

DAVE JARVIS/ FAITH
This is amazing! Absolutely love xx

NICK V/ LA MONA
This is a fantastic track!

MAX P/ HELL YEAH
Oh yeaahhhh

RICK GILL/ OUTLAWS YACHT CLUB
Beautiful soulful house. Quality production and top draw vocals.

MICKEY JUKES/ 1BTN
Ooof! Such a strong record to step to but i love this. Classy production, vocals are killer. All round winner!

TOMMY TURBO JAZZ/ JAXX MEDICINE
I was a fan of the OG but I really needed this cut!!

RUSSELL FORMAN/ PIKES/ HARRYS KEBABS
This is great .... I'm writing an article on the Coney Island Boardwalk house parties atm.

JIM LISTER/ 1BTN
Loving the reprise and the dub!I'm a big fan of the Solange original, so it's nice to hear a new angle on it

CHRIS DE BEURRE/ THE EAGLE
Gorgeous vocal! And such a deep production - really like this! Infectious x

DAIRMONT/ ROOM WITH A VIEW
Amazing track. Loving it!

STEVE PARRY/ FOR SASHA
Beautiful super smooth.

LES CROASDAILE/ FREIGHT ISLAND
Tune this, reminds of Southport weekender!

It’s going off and The Chisel are back to cause a bit of bovver. Following a trio of explosive singles, the band finally bring us their debut full-length album, Retaliation, on the London-based punk institution La Vida Es Un Mus. Having formed in early 2020 and featuring a crew of members with long-term associations to the London punk scene, The Chisel quickly secured a reputation as one of the most exciting bands from a pool of contemporaries that includes Chubby & The Gang, Stingray and Big Cheese. Their sound is rooted firmly in Punk but with influences that run across the board to create a distinctive blend of Oi!, anarcho, UK-82 and hardcore. Retaliation is an unmistakably British record that draws a line from 1982 up to the present day, pushing its way into your collection and torching your stereo. Opening with the agitated force of ‘Unlawful Execution’, the tone is firmly set by a song that addresses the brutality of the Met Police (“Tell me what’s the difference between right or wrong / When a copper gets to blast a lad who did nothing wrong”). ‘Come See Me’ is a ferocious ode to camaraderie in the face of mouthy boneheads and bellends. ‘Shit Life Syndrome’ is a poisoned reference to the same cynical phrase used by physicians to describe the effects of people living under poverty and in the grips of substance abuse (“How can you expect people to act nicely, they’ve all been left on the edge of society”). It’s one of many songs influenced by singer Cal’s experiences of growing up in the working-class town of Blackpool. Cal states: “Blackpool as a town is often overlooked or even looked down upon, I wanted to write lyrics which gave the people of my town a voice”. With tunes like these The Chisel show that they’ll never pull any punches. However, beyond the fury and the swagger there’s another side that plays to an additional strength; the ability to write a memorable hook. Songs like ‘Retaliation’, ‘Tooth & Nail’ and ‘Not The Only One’ could be described as modern day anthems (the latter has become a fan favourite since the arrival of their first live shows) and cement their identity as a band not to be defined by their influences. Recorded by Jonah Falco at Total Refreshment Centre, London, March 2021.
Mixed by James Atkinson at the Stationhouse in Leeds. Mastered by Daniel Husayn at North London Bomb Factory. Cover painting by Tara Atefi.

Stockholm post-punk band V**gra Boys (**= "ia" because spam FILTERS) are announcing a new album Cave World due out July 8th via YEAR0001 Produced by past collaborators Pelle Gunnerfeldt (The Hives, The Knife, etc.) and DJ Haydn, the album is inspired by current events, and aims to tear through the insanity and confusion the world currently finds itself in. Like sin- eaters if sins had to be ingested from a very small spoon, V**gra Boys have consumed the utterly incomprehensible chaos of our era and distilled it into the 12 immaculate tracks that make up Cave World.

As 2021’s Welfare Jazz was earning rave reviews from the likes of Pitchfork, NPR, GQ, NME, Stereogum, Fader, and more, Viagra Boys were in the midst of rerecording what would become their followup. After putting together an entire album at the legendary Silence Studio in the town of Koppom, the band decided they could push harder. "We let it marinate for a while and then rerecorded absolutely everything," Murphy explains. S

ome of the music made it through to what would become Cave World, but replacing the lyrics. In that iterative process,
Murphy found himself returning time and again to a misconception with deeper roots: the idea that humanity is moving forward. After watching a video late one evening about a theory that suggests evolution involved trading in some cognitive
abilities for others, Murphy began stewing on the fact that the result was mass shootings and science denial. "I just wrote down, 'Who is the true ape?'" he says.

"People look down at apes as primitive life forms, but we're just this horrible, lazy society killing each other and starting wars, while they’re able to love and feel.
Does that make them the true ape or us?"

Finally the 4th volume of "The Encyclopedia of Civilizations" is here! This time it is not a split LP, but a collaboration. Modular synth maestro M. Geddes Gengras and left-field pop priestess Leyna Noel aka Psychic Reality join forces to compose together their new project inspired by Zoroaster: M.Goddess. An exquisite modern ambient record mixing leftfield, kosmische, new age, dub vibes... Very original and rich compositions with genius arrangements combining spacey synth sequences, dreamy guitars, modular sounds, weird rhythms... Along the lines of Craig Leon, Conrad Schnitzler, or the Mecánica Clásica's contemporary approach to the kosmische masters. "Zoroastrianism is an ancient religion that is still actively practiced today by a small population of people worldwide and has had a massive influence on western culture. Many things that appear to be integral to western thinking (and thus “wholesome”) indeed have their roots in ancient Iran. Dualities such as good and evil, light and dark, heaven and hell—even paradise is an old Persian word. For this project, we are exploring this Zoroaster moment—set in the bread basket of the Iranian plateau, six to seven millennia before the Common Era—that’s like a cross-fade. The fading of goddess worship and the first strains of the patriarchy. Not the -ism of today’s still-living religion, but the moment when this man Zoroaster came along and created a new religion that centred one god instead of the many. Forcing the divine feminine underground, if not fully occulted, obscured and engulfed into the mainstream enough to be forgotten. Goddesses that before had their own dedicated cults were converted into lesser players. We’re reviving those flames too."

For Fans Of: Green Day, The Lillingtons, The Queers, The Copyrights, Ramones, Lookout Records. Playing rare reunion shows in the USA and Europe! This is a limited pressing and will be gone in days! We'll be doing PR, taking out ads, and giving it the full Red Scare push! This record was originally released 15 years ago and we finally got off our ass to do the vinyl in time for some fun reunion shows. Here’s the album description from 2007… Chicago’s Methadones got our attention with their last proper album, Not Economically Viable, which came out on Thick Records in 2004. It was their breakthrough, and anyone who overlooked that LP missed out on the BEST pop punk record of 2004. We then hooked up to release a hilarious party album (21st Century Power Pop Riot) that featured The Methadones with a number of guest vocalists covering Cheap Trick, Costello, and more. Now it’s back to business, and the ‘Dones have a new batch of originals that pick up where they left off with the great Not Economically Viable. It’s called This Won’t Hurt… and they recorded it at the famed Atlas Studios in Chi-Town. The same guys that brought you stuff from The Lawrence Arms and Alkaline Trio have captured The Methadones in all their glory and have them sounding better than ever. Fronted by the venerable Dan Vapid, they have yet another album full of undeniable hits, and on top of all this, they have two tours booked in the near future…hide your beer and chicken wings!

Originally released back in 2007. This edition includes two bonus songs, "Of Unholy Blood" (From the split 7"EP w/ Evil Incarnate) and "To Walk The Path Of Unrighteousness" (From the split 7"EP w/ Adumus). Debut album from Texas' Blaspherian. Allegiance To The Will Of Damnation is pure, unadulterated and sinister death metal. An album that evokes the roots of the genre. Any fan of early-day American and/or European death metal bands, will definitely find something here... Something swampy and suffocating... Something reminiscent of the atmosphere invoked on those first albums by Immolation and Incantation. One outstanding riff after the other, compositions full of high speed thrashing mingled with tormentingly heavy slow doom. The sound is dirty, heavy and dense, massive and thick. It's muddy without the individual instruments being indistinguishable, sludgy without being unlistenable... It would be a disservice to call Allegiance to the Will of Damnation a throwback to the golden days of death metal, because this is no second rate imitative knock-off. This is death metal the way it's meant to be played, heavy, mean and evil! 200 copies on Black Vinyl (Includes insert & sticker) 200 copies on Picture Disc (In black paper PD-sleeve w/ insert & A3 size poster). All copies come with an OBI including a download code.

During the summer of 2020, SACRILEGA burst from the void with their debut EP, Rites of Macabre. Although a brand-new entity, the Californian power-trio features members currently aligned with Rites of Thy Degringolade, Impure Consecration, and Invocation War among others. As such, it was not surprising that that their Impious Death Metal worship was so powerful and punishing this early on. However, SACRILEGA are set to eclipse those not-inconsiderable expectations with their full-length debut, The Arcana Spear. Recorded at Ramona Studio with Charlie Koryn, SACRILEGA's debut album is a veritable firestorm of finessed fury - malice, malevolence, and mesmerizing visions writ large across throttling death metal songwriting both classic and contemporary. Driving that propulsion is underground drum-god Paulus Kressman, whose veritable eight octopus arms create a dizzying, dread-inducing landscape for his bandmates to slay with their razor-wire strings. Their songwriting always pushes forward with a near-bestial pulse that cannot be denied; still, attention is duly paid to detail within riffing and atmosphere alike, elevating The Arcane Spear beyond a mere exercise in ultraviolence. SACRILEGA thus locate that elusive balance between the cunningly precise and rabidly maximal, placing due emphasis on the songwriting itself and allowing the execution to tell the grandiose-yet-doomed tales it so requires. Featuring suitably stark-yet-grandiose artwork courtesy of Artem Grigoryev, SACRILEGA deliver one of death metal's most stunning debuts with The Arcana Spear. Embrace the grand tyranny!

The Deslondes are a five-piece band from New Orleans
The band splits up songwriting and lead vocal duties among its five members,
continuing its democratic ethos and musical versatility. Multiple members have
released solo recordings between their sophomore release, Hurry Home (2016)
and their latest release Ways & Means but throughout the time between albums
the Deslondes continued to build on their inventive take on New Orleans country
and R&B. Ways & Means finds the band leaning on the country-folk of their debut
along with the sometimes- psychedelic, electrified gospel- soul sound of Hurry
Home. The sound will continue to draw comparisons to the country-funkiness of
The Band, Link Wray and others but Ways & Means is the sound of a band that
understands the history of American music, while embracing their own
contemporary approach.
Pitchfork: https://pitchfork/news/the-deslondes-announce-new-album-waysand-means-share-new-song-south-dakota-wild-one-listen/ No Depression: nodepression/refreshed-from-hiatus-the-deslondes-announce-returnwith-ways-means

Debut solo album from the former frontwoman of The Total Bettys. Olive Green colored vinyl, comes with Download Card. Recommend If You Like: Tancred, Adult Mom, Snail Mail, Soccer Mommy Maggie Gently is a San Francisco-based indie songwriter with a fondness for wild schemes and intimate gestures. Her identity as a queer woman is important to her and the community she creates and participates in. Maggie Gently’s music is melody-driven and heartfelt — a big-city indie rock fascination with an unmistakable emo accent. Her songs are about how making decisions for your own mental health can feel like a matter of survival. Peppermint peers around the edges of trauma for a new glimpse at what growth could look like. With songs about eternal questions of commitment and love and the terrifying possibility of being vulnerable and known, this album is about trusting something enough to let yourself get swept away. The nine songs that make up Peppermint reinforce empowering truths that can be hard to internalize or say out loud. As an artist, Maggie finds inspiration in Meg Hayertz’ “Make It, Mean It” tarot-focused guided meditations, lesbian romance novels, and the Enneagram, almost as much as fellow bands like Snail Mail, Lala Lala, and Clairo. “’Steady’ is a sun-kissed ode to rebirth, driven by sweet acoustic melodies and Maggie’s soaring serene harmonies. As steady drums and shimmering synths join the mix for the chorus, the track gains a sense of resolute hope, as if emerging from the dark of winter into the light of spring.”

Available In An Opaque Lavender Colored Vinyl Pressing! Up & Away was a pivotal bridge in Los Angeles Rapper/Producer Kid Ink's career that took him from a successful underground/Indie "blog rapper" and set the table for him to crossover into Rap superstardom. This album included Ink's first real radio hit "Time Of Your Life" in addition to the cult classic "Hell & Back" - the first song Ink received an RIAA Certified plaque for. At the time in 2012, Ink was unproven in his ability to sell records to the masses, mainly surviving off free internet downloads to spread his music around the world. This led to the shaky/unsure record deals on the table, and at that point left Ink and his manager/partner DJ ill Will at a major crossroads. Either self finance, and prove yourself and go back to the table for a deal they believed they deserved... or sign a record deal for peanuts. They decided to put their own money up and the dice landed for them selling 20k albums first week Independently... reaching #2 on the Billboard Rap charts... also, leading to a major label bidding war. Eventually they went on to sign a record deal with RCA that spawned 3 commercial albums ("My Own Lane", "Full Speed", "Summer in The Winter" and over 20 Million singles sold (Show Me, Main Chick, Body Language, Be Real, Promise etc).

Limited to 500 copies worldwide.


Heavy as f-ck and deep as hell, this devastating split album gleefully corrupts and corrodes Dub’s sunshine reflections. Celebrating rhythm & noise in its dank echo chamber, these demolition dub tracks are built from obsessive studies in distortion, overdrive and seriously ruff textures, amongst an absolutely insane amount of sub-bass level.

‘Disintegration Dubs’ is a three way low end collision, between G36 (The Bug aka Kevin Martin/Gorgonn’s rig torturing beat project) and JK Flesh (Justin Broadrick of Godflesh/Jesu etc…). As the album title suggests, this instrumental pile up of floor crawling, sound system crushers, is a clearer sign than ever, that these three producers crave their dub cuts to be mutant and heavyweight, totally damaged and completely atomised. Dub as sonic obliteration

Anyone previously smitten by Techno Animal’s deeply psychedelic face off with Porter Ricks, on the long out of print ’Symbiotics’, or who worshipped Zonal’s recent rhythmic wreckage via Relapse records, will surely gorge greedily on Disintegration Dubs’. Likewise, newbies, who have snapped up this year’s ‘Fire’ by The Bug or ‘New flesh in dub’ by Godflesh, will find endless pleasure within these dread-tech, annihilated dubs and Industrial strength steppas rhythms. Echoes of Basic Channel, early Iration Steppas, Public Image Limited or even Andy Stott can be heard within this collection’s haunted atmospherics and bulldozing rumble. Yet, these three individual producers have obviously found their own recognisably original sound, within these monolithic grooves, and what makes this album so utterly refreshing, is just how well the three disparate sound manipulators complement each other fully, as they collectively set their sights on some shared, relentlessly futuristic sci-fi vision, for a new form of dub.

Obviously, Martin as The Bug, and Broadrick with his colossal dubs of Godflesh and his filthy back catalogue of JK Flesh releases, have both long since subscribed to the genre, aesthetic and fragmentation of Dub. Meanwhile relative newcomer, Gorgonn, is The Bug’s long time, live soundman, and former bandmate with DJ Scotch Egg in Devil Man, as well as having formed Dokkebi Q with Kiki Hitomi (ex-King Midas Sound), so he is no stranger to the art of deviant dubs either…

G36 dropped their appropriately titled debut EP ’Floor Weapons’, in 2018, on PRESSURE, as well as providing the backing riddim for the first ever release from Jamaican MC phenomena Nazamba, with his startling debut, ’Vexed’. Alternately, Justin has previously released seven albums solo, as JK Flesh, that systematically contorted, distorted and completely bastardised techno for labels such as Hospital Productions, Downwards and Speedy J’s Electric Deluxe… (Next year will also see a full JK Flesh album on PRESSURE too…!)

This album is Mastered by Stefan Betke aka POLE, at Scape Mastering.

Always on the hunt for the freshest, most diseased sounds in death metal, BLOOD HARVEST RECORDS is proud to present CADAVERIC FUMES' debut mini-album, Dimensions Obscure. With their split mini-album with Demonic Oath in 2014, CADAVERIC FUMES showed that a French death metal uprising was at hand, and now with Dimensions Obscure, they make good on that bountiful potential. Compared to their earlier work on that split and the preceding demo, here on Dimensions Obscure, CADAVERIC FUMES forego the all-manic/all-the-time morbidity for a highly dynamic and nuanced take on death metal. Granted, flashes of mid '80s insanity and early '90s darkness remain, but a cool confidence is at play here, each passage measured to inflict both maximum cranial damage and spiritual atmosphere. These songs exude a patience and maturity most death metal bands take many albums to accomplish, if at all, and all without compromising the core values of total and utter DEATH METAL. Putting the finishing touch on a swift 'n' compact totality, the production across Dimensions Obscure is as warm and live as it gets, but not once is an ounce of clarity sacrificed. Hear the beginning of something masterful and enter Dimensions Obscure...

Eighteen sacred psychedelic suppositories from the laboratory of mad scientist and scalpel-happy pop mutilator Jean-Pierre Massiera. Includes
the rarest and most sought after fuzz funk, spooked surf and
interplanetary prog from ‘The French Joe Meek’ and all his schizoid splitpersonalities and freakish friends - The Maledictus Sound, Chico
Magnetic Band, Visitors, Human Egg, The Pirhana Sound and Jesus
himself.

 Let Finders Keepers introduce you to some old friends of theirs - Charlie Mike Sierra, Jean-Pierre Areisam, JPM and Co. Erik, The Horrific Child, Jesus, Les Maledictus Sound, Human Egg... This might sound like they’re flicking through the imaginary LP racks in the record shop from ‘A Clockwork Orange’ or perhaps congratulating the runners up in a
Halloween fancy dress competition but for the previously uninitiated you
have just been ordained into the congregation of the many split
personalities of one Mr. Jean-Pierre Bernard Massiera. Bow down to the
nine-headed monster as he mutates and shape-shifts back through time
to his humble beginnings in a Buenos Aires province ravaging and
pillaging the music of the European people for his own twisted
benediction along the way.

 This might, as intended, sound a little bit dramatic but if there is one
single ingredient that gives the eccentric Jean-Pierre Massiera his
distinct flavour it’s a large dollop of drama. Add sprinklings of
schizophrenia, shock, myth and macabre and you are on the way to a Bmovie broth with an acquired taste that has, like all the best cheese,
taken over thirty years to mature to perfection. Like all the best monsters,
his split personality is the key to his infamy and the secret of his blood
sucking success.

 This is why Jean-Pierre Massiera is (un)commonly known for two key
periods in his career which, like a worm, can be split down the middle to
thrive and flourish independently. To cut a long story short, Massiera is,
above all, a lover and purveyor of musique fantastique, and is willing and
able to hijack whichever stylistic vehicle that passes him buy in order to
do feed his lust. In the earlier part of his career he honed his sordid craft
amongst psychedelic circles in Nice and Quebec. From late 1972
onwards he moved to Antibes and started a disco revolution and
became an in demand cosmic record producer. For years, prog rock
obsessives and disco aficionados have wondered if there was two
unrelated freak merchants called Jean-Pierre Massiera but, in this rare
instance, exploito-maniacs from both sides of the cosmic coin are united
by the work of this singular, single-handed monstrous music
manufactory.

 Remastered and available once again on deluxe black vinyl since the
initial Finders Keepers limited edition 2009 pressing

Following the precursor singles of 2021, Formality Jerne-Site’s unveiling is finally cast upon her already-growing fanbase. Trained classically as a composer and completing a masters at the Royal Danish Academy of Fine Arts, Jura introduces a highly-anticipated playground of carefully sculpted characters, plots and lessons - sometimes charming, sometimes nefarious, always absolute and sincere. A fictional land opens its doors and roof to us. A trio of trans kids run amok in rural suburbia. Various sorcerers of the wild future enter the scene on some songs; on others, the mind is cast to sun-drenched drives and journeys of yesteryear. At the heart is a pop sensibility: yearning, reflections, vanity, guesswork, hope. Jura is adamant about practice and precision. Dead seriously she offers, about making music: ‘Nothing should be half-hearted or an accident.’ There’s a maturity and elegance to her compositions, arrangements that - although at first sound seem abstract - lean away from experimental, somehow. She sing-speaks in English, and somehow not typically theatrically for such a play of a record. The theatrics are all real. It’s a fantasy land for sure, but it's based on hard facts. Like academia subdivided into poetry. It’s that weird-ass specificity she mentioned. Opener ‘Someone’s Lifework’ introduces less a choir of voices, than a choir of personalities. The art of storytelling is at the center of the musical expression. A protagonist relinquishes control of chaos that’s bigger than them on a perilous journey on some vessel: they comfort their co-passengers. There’s a sense that the hero - or anti-hero - might be more canny and cunning than the sweetness they first sell to fellow players. 'Is this our getaway chance?’ sings fellow Copenhagener Ydegirl amongst swelling synths and reverb that become so definitely Jerne-Site as the quest continues. The search? For intimacy, perhaps. ‘Same late Age (dIcK bIfFeReNcE)’ imbibes at once, some further disorientation, perhaps a little hallucinatory feeling which may come over the listener. Through a synthesizing of political themes that work across time ‘Same Late Age (dIcK bIfFeReNcE)’ bears reminiscences of the musical expressions of anti-capitalism in the 1980es, although in a new body and context. “I have a feeling that music reconjures societal morals and ideas from the time in which it was written when we press play or hear a live performance. From the moment at a concert when the symphonic orchestra starts tuning in, the time traveling begins. So I imagined how it would be to be trans sitting there playing the first violin, having the job of producing that first tone that all the other musicians around me tune in ona, ” Jura explains. The listener yearns for more; and subsequent tracks deliver. On ‘How Intimate It Gets,’ Jura meditates on the futility of closeness, begging the audience to enter the blood and guts of their own entanglements, the blueprints of focusing entering. Jura sings richly about fingers being lines, pointing or bending, and we’re reminded of their own wicked ways we can’t control. A history of singing in choirs informs the harmony of myriad inner voices heard across the album. At once prophetic and enigmatic, some of the songs rearrange historical events out of pop musical language. The enormously entertaining ‘Pinot-Botticelli Toast to European Users’ conjures scenes of Cold-War world leaders stuck on a cruise in the Transatlantic vacuum, and the protagonist watches a devastating heartbreaker careen on into the picture, led by his own hips on ‘The Lasceaux Associate’. Finally, on title track ‘Formality Jerne-Site’, American English rises to the occasion like a verdict around the narrative of three trans teenagers in rural Colorado: language turns into something sensual and haptic, playing with the snare and sizzle of syllables. The words twist and bend, while the music follows its own synaesthetic logic: “around us pop culture made a vow to a normative desire, drawing in like water color percussion”. Anyines is a site of play and documentation, with a canon so far quite nice. Their future is one that envisions supporting the galaxies their dear friends embody, be it music, performance, video games or beyond. Highlights from their discerning back catalogue include myriad formats: live and digital, plus releases binded to physical artefacts that enhance the live experience such as sculptures and scents. Their history also includes disappearing time-sensitive shadow-tracked material and cross-disciplinary opportunities that reflect deep professionalism and a totally non-schooled semblance of sound and drama. Recent releases include a dance-theatre soundtrack, a traditional shiny pop record, and the acclaimed ML Buch sophomore, Skinned.

Produced by Heidecker, Drew Erickson, Eric D. Johnson and Mac DeMarco, High School sees Heidecker emerging as an increasingly playful and poignant story teller, infusing childhood tales with new gravity. In conjunction, he announces Tim Heidecker Live! Featuring Tim Heidecker and The Very Good Band, his first two-act tour of comedy and music. Since 2016, Tim Heidecker has chronicled the annals of adulthood on a series of supreme singer-songwriter albums. The crushing devastation of divorce and the existential malaise of middle-age, the minutiae of home ownership and the ritual of family vacation, child rearing and global warming: Heidecker has handled it all with humor and heart. But, there’s one pivotal lodestar of human development he has yet to mine that’s right, High School. First single “Buddy” is a composite of a few woebegone friends, which finds Heidecker reminiscing on the familiar tragedy of the adolescent stoner, manifesting the destiny of undiagnosed depression and parents who didn’t care much. The song itself is a jangly delight, but it’s hard not to mourn for “Buddy,” then re-count whatever blessings you may have. After initial and fruitful sessions with Jonathan Rado, Heidecker started recording tunes with DeMarco and Erickson, who had also worked on 2020’s collaboration with Weyes Blood, Fear of Death. At DeMarco’s studio, they added drum machines and synths and sidewinding solos to Heidecker’s big strummed chords. Johnson (Bonny Light Horseman, Fruit Bats) helped Heidecker finesse the tunes even more, making the music as rich as the feelings. Kurt Vile contributed to one song, as well. Through all those sessions, it slowly became clear: Heidecker was writing not only about the adventures and misadventures of life as a Pennsylvania teen in the early ’90s, but also how it felt to lose a juvenile sense of mystery and possibility as an adult. He was writing about high school and, really, the way it helped shape everything else. Back at Pennsylvania’s Allentown Central Catholic High School, Heidecker dreamed of making it with one of his many rock bands — Time and Other Things, Shaggy’s Beltbuckle, and (incredibly) The Pulsating Libidos. Two years shy of his graduating class’ 30th anniversary, Heidecker admits he had little of substance to say when he was 17, like all but the rarest of precocious minds. In college, though, he found the friends with whom he built his comedy career, largely apart from music and without much thought for his time back at Central Catholic. He was focused on his future. It is fitting, then, that as Heidecker has become such a delightful singer-songwriter and collaborator, he returns to the first scene of his time as a musician. Maybe he’s right — he didn’t have anything to say or sing about life back then. But across the earnest and amusing High School, he finds plenty to say about those weird and wonderful and ordinary times.

Imperfect Stranger is the pseudonym of Glasgow based soundtrack composer and producer Kenny Inglis. “Everything Wrong is Right” is his debut solo album for Castles in Space.
Born in 1975, Kenny didn't listen to much music, unless it was the opening credits to a TV show or a film score that had caught his ear. "I loved the pre-title music on a lot of those 80's U.S. TV shows. From the family orientated stuff like The A-Team, to darker dramas such as The Equalizer. My mother would let me stay up to watch the opening sequence of the latter then send me to bed because the story would be too heavy for a kid. That left me with this hanging sense of ambiguity as to what would happen in that hour after the titles came up.”
Exposure to a work colleague’s tiny project studio in a kitchen cupboard was a lightbulb moment for him and the experience of utilising music technology as a way of writing and producing entire tracks stirred a wave of determination to chase a career in music using the opportunities that technology could offer. Kenny figured the best way to move forward was to start a small project studio and learn his craft as a recording engineer. "It was a bit of a shock to the system. I literally had no idea how to work any of the equipment. Kenny focused on learning as much about the craft as he could whilst winging his way through recording and mixing everyone from the likes of singer/songwriters to bands, to voiceovers artists and anything in between. "Eventually, I stopped writing the music I thought people would want to hear, and started writing the music I wanted to make. I didn't come from a music loving background, but I was always obsessed by the way music and film would interact - how music brings this atmosphere and tone to even the most mundane visual stuff. I wanted to capture that. I wanted to grab some of that ambiguity I felt from the TV shows of my childhood and make it into a project of some sort". That project was Spylab. A dark, downtempo project with a cinematic edge. The initial demo consisted of three tracks, with the melancholic 'This Utopia' leading the playlist.
"At the time you did demos on normal cassette tapes. I remember having this endless battle with the bias control to try and get the best sound I could on these little tapes. Ten went in the post one Monday morning, and the following Monday there were three offers from three different labels. Studio K7 were interested in a singles deal, as was Flying Rhino in London. But then there was an offer from a Chicago based label by the name of Guidance Recordings. They wanted an album, and were offering a $15,000 advance. It wasn't a difficult decision to make"
Writing and recording Spylab 'This Utopia' began in 1999. The album took a whole year to produce. The album was to catch the attention of Mary Anne Hobbs at Radio One. At the time Mary Anne was presenting The Breezeblock - a late Sunday night show with an eclectic playlist of alternative electronic music. Picking out the album's title track 'This Utopia', Mary Anne would go on to play it no less than 8 weeks in a row. A request for Spylab to DJ on the show was to follow. "I had never DJ'd before. I think I had a week to figure out how to do that and put a playlist together. I'm not entirely sure how I pulled that off.” In March 2001 the Spylab album was finally released to a hoard of excellent reviews. A North American live tour would follow. From the launch party in Los Angeles, to a sell out show at SXSW in Austin. "I then started a new project under the name Cinephile. It had some of the core elements of the Spylab sound but it was deeper, more cinematic.” Kenny received news that a track from the previous project Spylab had been requested by HBO for the first episode of a new TV drama called Six Feet Under. This was to become a major turning point in Kenny's career. The Spylab track 'Celluloid Hypnotic' dropped during a poignant party scene of the first Six Feet Under episode. Within a couple of days Kenny was getting requests for music from other music supervisors. "It was a chain reaction. The Six Feet Under sync was like the tip of an iceberg. One day I called CBS in America and they put me on to the CSI music supervisor and I managed to get on a call with him. I sent the Cinephile stuff out and within a few months I got this fax through from CBS - a quote request for one of the tracks for a potential use on CSI. It changed my life."
The tone and style of Kenny's music sat perfectly with the CSI score requirements. So much so he found himself part of a pool of incidental writers who worked on all three aspects of the franchise - CSI, CSI: NY, and CSI: Miami. This would continue until 2013, when the last of the series would come to an end.
"I was juggling a bunch of stuff for those ten years. Writing material for CSI, whilst releasing new Cinephile stuff and playing live. As Cinephile continued to gather pace, one of the tracks from Kenny's efforts on CSI was chosen for the Hollywood trailer for the Samuel L. Jackson film 'Lakeview Terrace'. Further trailers would follow, from Gangster Squad to Dead Man Down, Spike Lee's Undisputed Truth, to Fifty Shades Freed.
At the same time, Kenny picked up his first factual commissions in the UK, and this too would be the beginning of a regular run of fully scoring factuals and documentaries. By 2021, six of these had won BAFTAs. He also would find himself soundtracking adverts for the likes of Nike, Audi, and American AirlinesIn early 2020, Kenny made a return to focusing on his own music under the pseudonym Imperfect Stranger. A tweet from Colin Morrison from Castles In Space regarding a charity compilation album 'The Isolation Tapes' caught his eye. Kenny had made a start on his debut album as Imperfect Stranger and submitted the track 'Hymn To The Sun' (which would become the lead track on the album). Further discussions ensued, and the album found a home on CiS. "I had been doing TV and film stuff for almost ten years. It paid the bills and was as close to a 'real job' as I'd had, but I yearned to get back to writing for myself, so doing an album for Castles in Space was a joy.
“The music I write is like a diary. There's an authentic narrative to everything i do. I don't write tracks for the sake of writing. I write tracks to diarise and process the stuff that I've lived through, and the experiences that have come along with the passing years. That's what makes me tick. It's a very public and vulnerable way of expressing myself. If people want to know the real me, all they have to do is listen."

Born Don McCarlos,he processes one of reggae's most distinctive voices.
His vocal mannerisms being instantly recognisable over a tune ,yet he remains one of Jamaica's best kept secrets.
We look back to some of his finest moments that set the tone for his popularity that was to follow in the Dancehall period of Reggae.
He began his musical career in 1973,when alongside Garth Dennis and Derrick Ducky Simpson he formed one of Reggaes foremost groups Black Uhuru.
He then joined Wailing Souls before going solo under his shorter name Don Carlos
We find this set hard to beat as most of his classis are represented here and hope you find some magic as we have unearthing and compiling these lost treasures...Respect

Experimental and improvisational psychedelic rock, for fans of White Heaven, Les Rallizes Denudes, Headroom, Düngen, Heron Oblivion, Comets On Fire, The Renderers, Bardo Pond. Mountain Movers arguably are the perfect band for all the true "heads" out there. The New Haven quartet have been at it for 15 years, and the "newest" lineup (now at it for well over a decade; vocalist/guitarist Dan Greene, bassist Rick Omonte, guitarist Kryssi Battalene and drummer Ross Menze) have firmly grasped what it takes to fry brains; achingly beautiful melodies buoyed by a life raft of white-hot guitar scree and mind-melting feedback. "World What World" is the band's eighth album and third for Trouble In Mind Records. "World What World" is the newest chapter of the group's continued explorations and efforts to refine their sound. The lyrics of "World What World"s songs all imply a protagonist on a quest; the title itself is an implied query with no question mark; is it a question, or a statement?. The one-two punch of opener "I Wanna See The Sun" and "Final Sunset" lay out what's in store; Crazy Horse-inspired sandpaper melodies sit comfortably next to improvised, PSF-influenced six-string ragers. The group performs together effortlessly and telepathically, subverting the loud/quiet/loud dynamic that has saturated independent music since the late-Eighties. The loud parts and quiet parts are like waves; indistinguishable from each other, creating a fluid dynamism and intensity that swallows the listener up in its current, sweeping it toward oblivion. Hyperbole, you say? Watch out for midway through "Then The Moon" when the tune's lilting waltz pivots into a casually blistering solo by Battalene before fading into the melancholic "Haunted Eyes" - beckoning you with a mournful sidelong glance. Side Two opens with "Staggering With A Lantern", an elegant, lumbering instrumental improvisation again showcasing the synergistic shredding of the group's guitarists. The sticky lyrical hooks and sideways jangle of "Way Back To The World" and "The Last City"s midnight-hour, mellow singe come next, before concluding "World What World"s journey with "Flock of Swans". The song is the perfect closer and culmination of the album's mission statement. The subjects that populate Greene's songs and visual imagery augment his elegiac lyrics, awash in magical realism and fantastic symbolism; knights, fighters, dragons, masks. Poetic missives are launched from the heart straight into the neural pathways, guided by the rhythm section's otherworldly chemistry and Battalene's masterful control over her instrument. Mountain Movers have been at it too long to care about acclaim. They do it because the music calls out to them, and they let it carry them away.

When the whole world collapses around you, sometimes the only thing you can do is stomp it all loose. Erin Anne's second album, the gleaming, electrified Do Your Worst, charts that uninhibited romp through disaster. Written amid the rubble of personal grief and professional disappointment, later exacerbated by the devastation of a global pandemic, the record deepens Erin's venture into the blur between human and machine, adding a new roster of digital instruments to the mix. Drawing on dark, glossy '80s synthpop as well as the unabashed bombast of bands like The Killers, the L.A.-based songwriter deploys a cyborg persona to articulate a feeling of displacement from the world as a queer artist struggling to survive the machinations of late capitalism. With bright, interweaving synthesizers and ripples of Auto-Tuned vocals, Do Your Worst poses a dare to the world: Whatever you have in store, I'll take it standing.

Erin began writing her second album not long after adding a MIDI keyboard and vocal processing hardware to her home studio setup. While exploring her new gear, she found that she could work in the same vein as the artists and producers she loved the most. Do Your Worst takes inspiration from the music of Patrick Cowley, the disco and hi-NRG producer best known for working alongside Sylvester. Erin was taken by Cowley's use of vocoder on the 1982 album Mind Warp, where his distorted vocals create a queer, mutant subjectivity. That album rang out against the cataclysm of the AIDS epidemic; Erin found resonance in Cowley's music during the present-day pandemic. "I have found the most catharsis and the most safety in listening to the music of people in really, really horrific circumstances making something lasting and profoundly beautiful," she says.

Throughout Do Your Worst, which was mixed by Sarah Tudzin of Illuminati Hotties, songs like "Typhoid Mary" and "Florida" reckon with loss, despair, and abjection. "This Hungry Body" sears through pandemic-era touch starvation, while "Mirror Mirror" attends to the noxious but necessary funhouse of social media. On the playful, guitar-driven “Eve Polastri’s Last Two Brain Cells Have a Debate,” Erin uses the spy thriller TV show Killing Eve to explore queer codependency and masochism. Among these fraught subjects, Erin Anne finds opportunities for release. She stages internal conflict on a scale so massive that its details start to become clear; if they don't resolve, they at least become palpable.

"I’m very much a maximalist when it comes to production. I like vast landscapes. I like a stratosphere and a core -- I want the bass to be beneath the floor," Erin says. "This record is, in a lot of ways, a collection of some of the first moments that I was technologically able to achieve accurate renderings of how I hear my own emotional world."

Tape

Charlemagne Palestine (born Charles Martin ni 1947 in Brooklyn, New York) wrote intense, ritualistic music in the 1970s, intended by the composer to rub against audiences' expectations of what is beautiful and meaningful in music. A composer-performer, he always performed his own works as soloist. His earliest works were compositions for carillon and electronic drones, and he is best known for his intensely performed piano works. He also performs as a vocalist. Palestine's performance style is ritualistic; he generally surrounds himself (and his piano) with stuffed animals, smokes large numbers of kretek (Indonesian clove cigarettes) and drinks cognac.

Oren Ambarchi (born 1969 in Australia) is a composer and multi-instrumentalist with longstanding interests in transcending conventional instrumental approaches. His work focuses mainly on the exploration of the guitar, "re-routing the instrument into a zone of alien abstraction where it's no longer easily identifiable as itself. Instead, it's a laboratory for extended sonic investigation". (The Wire, UK).

Oren Ambarchi's works are hesitant and tense extended songforms located in the cracks between several schools: modern electronics and processing; laminal improvisation and minimalism; hushed, pensive songwriting; the deceptive simplicity and temporal suspensions of composers such as Morton Feldman and Alvin Lucier; and the physicality of rock music, slowed down and stripped back to its bare bones, abstracted and replaced with pure signal.

From the late 90's his experiments in guitar abstraction and extended technique have led to a more personal and unique sound-world incorporating a broader palette of instruments and sensibilities. On releases such as Grapes From The Estate and In The Pendulum's Embrace Ambarchi has employed glass harmonica, strings, bells, piano, drums and percussion, creating fragile textures as light as air which tenuously coexist with the deep, wall-shaking bass tones derived from his guitar.

Ambarchi works with simple constructs and parameters; exploring one idea over an extended duration and patiently teasing every nuance and implication from each texture; the phenomena of sum and difference tones; carefully tended arrangements that unravel gently; unprepossessing melodies that slowly work their way through various permutations; resulting in an otherworldly, cumulative impact of patiently unfolding compositions.

Ambarchi has performed and recorded with a diverse array of artists such as Fennesz, Otomo Yoshihide, Pimmon, Keiji Haino, John Zorn, Rizili, Voice Crack, Jim O'Rourke, Keith Rowe, Phill Niblock, Dave Grohl, Gunter Muller, Evan Parker, z'ev, Toshimaru Nakamura, Peter Rehberg, Merzbow, Kassel Jaeger, Anthony Pateras, Crys Cole, Giuseppe Ielasi, Judith Hamann, Sunn 0))), James Rushford, Stephen O'Malley and many more.

For 10 years together with Robbie Avenaim, Ambarchi was the co-organiser of the What Is Music? festival, Australia's premier annual showcase of local and international experimental music. Ambarchi now curates the Maximum Arousal series at The Toff In Town in Melbourne and has recently co-produced an Australian television series on experimental music called Subsonics. Ambarchi co-curated the sound program for the 2008 Yokohama Triennale. Ambarchi has released numerous recordings for international labels such as Touch, Southern Lord, Table Of The Elements and Tzadik.

Belgian drummer Eric Thielemans is one of the most idiosyncratic figures in Belgian music, someone who not only demonstrates that special musicians always seek out (and find) their own place, but above all that they always remain students of the art of questioning and listening. No musician better illustrates the difference between playing music and playing with music than percussionist Eric Thielemans. He gets to the heart of the matter with an at times extremely minimalist approach, but on the other hand he frequently relies on a range of objects beyond the regular drum kit: a drum placed on its side, a bicycle wheel with a bow, hands and the body.

Tape

Charlemagne Palestine (born Charles Martin ni 1947 in Brooklyn, New York) wrote intense, ritualistic music in the 1970s, intended by the composer to rub against audiences' expectations of what is beautiful and meaningful in music. A composer-performer, he always performed his own works as soloist. His earliest works were compositions for carillon and electronic drones, and he is best known for his intensely performed piano works. He also performs as a vocalist. Palestine's performance style is ritualistic; he generally surrounds himself (and his piano) with stuffed animals, smokes large numbers of kretek (Indonesian clove cigarettes) and drinks cognac.

Oren Ambarchi (born 1969 in Australia) is a composer and multi-instrumentalist with longstanding interests in transcending conventional instrumental approaches. His work focuses mainly on the exploration of the guitar, "re-routing the instrument into a zone of alien abstraction where it's no longer easily identifiable as itself. Instead, it's a laboratory for extended sonic investigation". (The Wire, UK).

Oren Ambarchi's works are hesitant and tense extended songforms located in the cracks between several schools: modern electronics and processing; laminal improvisation and minimalism; hushed, pensive songwriting; the deceptive simplicity and temporal suspensions of composers such as Morton Feldman and Alvin Lucier; and the physicality of rock music, slowed down and stripped back to its bare bones, abstracted and replaced with pure signal.

From the late 90's his experiments in guitar abstraction and extended technique have led to a more personal and unique sound-world incorporating a broader palette of instruments and sensibilities. On releases such as Grapes From The Estate and In The Pendulum's Embrace Ambarchi has employed glass harmonica, strings, bells, piano, drums and percussion, creating fragile textures as light as air which tenuously coexist with the deep, wall-shaking bass tones derived from his guitar.

Ambarchi works with simple constructs and parameters; exploring one idea over an extended duration and patiently teasing every nuance and implication from each texture; the phenomena of sum and difference tones; carefully tended arrangements that unravel gently; unprepossessing melodies that slowly work their way through various permutations; resulting in an otherworldly, cumulative impact of patiently unfolding compositions.

Ambarchi has performed and recorded with a diverse array of artists such as Fennesz, Otomo Yoshihide, Pimmon, Keiji Haino, John Zorn, Rizili, Voice Crack, Jim O'Rourke, Keith Rowe, Phill Niblock, Dave Grohl, Gunter Muller, Evan Parker, z'ev, Toshimaru Nakamura, Peter Rehberg, Merzbow, Kassel Jaeger, Anthony Pateras, Crys Cole, Giuseppe Ielasi, Judith Hamann, Sunn 0))), James Rushford, Stephen O'Malley and many more.

For 10 years together with Robbie Avenaim, Ambarchi was the co-organiser of the What Is Music? festival, Australia's premier annual showcase of local and international experimental music. Ambarchi now curates the Maximum Arousal series at The Toff In Town in Melbourne and has recently co-produced an Australian television series on experimental music called Subsonics. Ambarchi co-curated the sound program for the 2008 Yokohama Triennale. Ambarchi has released numerous recordings for international labels such as Touch, Southern Lord, Table Of The Elements and Tzadik.

Belgian drummer Eric Thielemans is one of the most idiosyncratic figures in Belgian music, someone who not only demonstrates that special musicians always seek out (and find) their own place, but above all that they always remain students of the art of questioning and listening. No musician better illustrates the difference between playing music and playing with music than percussionist Eric Thielemans. He gets to the heart of the matter with an at times extremely minimalist approach, but on the other hand he frequently relies on a range of objects beyond the regular drum kit: a drum placed on its side, a bicycle wheel with a bow, hands and the body.

The Logic of Chaos is the latest release of Elisa Batti for the label One Instrument that gathers music composed over a period of 3 years. Fascinated by the idea of developing pieces with strict and limiting guidelines, the confined environment gave her the possibility to explore and expand the creativity and the freedom of composing. Each single piece has a specific story and is recorded with a different instrument.

“Asa” is produced together with Sebastian Josef Brunnlechner while composing the sound design for an installation. The piece comprises repetitions of a few simple loops layered and arranged over a carpet of long notes played with a bow. The bow has been intentionally played slowly in order to obtain as many overtones as possible. The short pizzicato melodies consist in small and simple repeated loops that appear and disappear dissolving with the other sounds. The intention behind this track is to let the beautiful sound of the instrument speak for itself evoking a dreamy atmosphere.

“Slow Fall” sees the collaboration with the pianist Marko Ivic and has an improvised approach. While Ivic was playing the piano Elisa Batti was processing the sounds on the fly. The piece is based on a minimalistic procedure, where continual loops create a scenographic effect.

“Taiga” includes different patches of the Moog Mother-32 and is an emotive landscape where sounds rise and disappear again, leaving space to thoughts and images.

The EP ends with “Ecstatic” created with the Korg Minilogue. It was part of a commissioned dance piece that afterwards has been readapted for the release. The final outcome sees a more complex and erratic behaviour.

Elisa Batti’s work induces a state where time stands still whilst simultaneously being in motion. Her sound palette is broad and expresses a high artistic achievement.

Obscura label head Fedele makes his long awaited return to the imprint for new EP ‘The Awake, Pt.1’, backed by remixes from Extrawelt and Midnight Operator aka Mathew Jonson and Nathan Jonson. Fedele’s penchant for synthesizer techniques and drum machines has caught the ear of global tastemakers, with projects released on the likes of Turbo, Afterlife, and Ellum receiving support from the likes of Maceo Plex, Tiga, Tale of Us, Dixon, John Digweed, Miss Kittin, and DJ Stingray. With sights set towards summer peak, the Italian returns to his Obscura Music imprint with his latest work, The Awake, Pt. 1.

Riot Dance leads the line with crisp kicks on a heady rise to set the groove before an analog-tinged synth line claims the hook. Acidic tones & ethereal stabs offer a generous dose of psychedelia, while the gritty groove ensures the cut’s ability to ignite dance floors. Modular Madness harnesses ominous flavors and a driving bassline that ebbs & flows to keep minds melting. The melodies open into swirling synthetics, with revolving reverberations and rich soundscapes capturing the ear from start to finish.

Storied German duo Extrawelt arrive on remix duty, taking the reins on ‘Riot Dance’ to twist a low- slung groover. They bring the bassline into the foreground, keeping a delightful vibe alive and welcoming a touch of light to the dark underbelly of the original, before diving back into the deep as the track unfolds. Obscura regular Mathew Jonson connects with a producer he knows well – his brother Nathan. Together, they remix ‘Modular Madness’ under their alias Midnight Operator. Picking up the pace, they maintain the acid-laced grit from the original arrangement, while adding serene melodies to the high-end. A balanced rework from two seasoned veterans.

Naomi Alligator is fed up. She’s sick of trying to make relationships work that have already run their course, and tired of sitting in a wintry apartment waiting for her life to kick into gear. On »Double Knot«, the modern folk singer/songwriter from Virginia attempts to unwind her life from all that is holding her back. In a way, it’s a coming-of-age record about shedding what no longer serves you and, ultimately, finding something like deliverance.

On the opening track, “Seasick,” Naomi Alligator is already in the midst of a sort of awakening. Right off the bat, she sings, “I don’t know what’s happened to me / It’s like I turned 16 / It’s like I grew to be 6-feet tall.” This is the announcement of a wide-eyed artist coming out of hibernation and into their own. Still, Naomi’s vocals ache with guilt and longing, belying the track’s playful catchiness. Longing for what? Maybe attention from a crush, but mostly a sunnier place to call home.

Naomi Alligator began writing Double Knot while living in Philadelphia during the height of the pandemic and the deterioration of a longterm romance. “I scream: How’d the hell I end up here? / I’m 1-inch tall, it’s crystal clear,” she chants on “Neighborhood Freak,” returning to height and size as an emotional barometer. When asked though, Naomi rejects the notion that Double Knot is a breakup album, or autobiographical at all. Moreso, she says, it’s a personal reckoning in which, “the minute before you make a big decision, you tally up the reasons why you don’t want to do what you’re doing anymore.”

That desire to turn the page expands to the production of the album as well. Naomi Alligator generally houses her narratives in beds of minimal, home-tracked instrumentation—influenced by the stripped-down poeticism of Joan Baez and Liz Phair’s Girly-Sound tapes. Double Knot finds Naomi continuing to hone the winning combination of guitar and banjo she established on 2021’s Concession Stand Girl EP. For Double Knot though, Naomi wanted a fuller, more dynamic sound: more instruments, more harmonies, more layering, more, more, more. Inspired by the impressionistic melodies of Animal Collective and MGMT, Naomi peppers in computer-generated synths throughout the album, most notably on the song “Burn Out.” These electronic flourishes augment the more grounding string instruments, arriving somewhere more ethereal than Naomi’s earlier work while still maintaining her warm songwriting.

If anything, Double Knot is a reminder that you can always pack up your bags, try something new, and change your life. As for Naomi Alligator herself? She moved west, to California.

Joe Rainey is a Pow Wow singer. On his debut album Niineta he demonstrates his command of the Pow Wow style, descending from Indigenous singing that's been heard across the waters of what is now called Minnesota for centuries. Depending on the song, his voice can celebrate or console, welcome or intimidate, wake you up or lull your babies to sleep. Each note conveys a clear message, no matter the inflection: We're still here. We were here before you were, and we never left. On Niineta, Rainey finds himself in between cultures, collaborating with producer Andrew Broder, who brought his turntablist sensibility to the project. The two of them met backstage at Justin Vernon's hometown Eaux Claires music festival before crossing paths more through the 37d03d collective, and both contributed to the last Bon Iver album before partnering up. "At first I didn't know what I could add," Broder says. "I came to understand everything is rooted in the drum-even the songs on our record that have no drum." Each song started with Broder's beats, the two of them experimenting with various sounds and tempos before orchestrating and recontextualizing the ancient sounds in strange, new in-between places, also pulling from Rainey's vast sample folder of pow wow recordings, layering in slices of his life. Niineta is a short version of the Ojibwe term meaning, "just me," and Rainey is using the term only in the sense that he's taking sole responsibility for the music. He is protective of Pow Wow culture-once outlawed by the US government and maintained in secret-while trying to figure out where he fits and how he can be creative with it. "These are my creations, but they're pow wow songs, and our language is sacred," he says. Rainey suggests conceptualizing the album as him working the door at a Pow Wow after party. "If I'm answering that door, I want to say, hey, yeah, come on in. But there's fucking tons of us in here. It ain't just me."

Clear vinyl LP edition of 500 copies. Vacant Gardens is Glenn Donaldson (of The Reds, Pinks and Purples and a hundred others) and Jem Fanvu, collaborating on music and with the latter responsible for vocals and lyrics. The project began with the idea of combining heavy fuzz and slow-mo drum machine beats with Fanvu's gentle almost trad-folk style vocals. Almost all of Donaldson's otherworldly sounds are achieved through layers of guitar fuzz and copious delay, while Fanvu offers an ideal counterpoint, taking the listener on a celestial melancholy trip with her opaque poetry and melodies. So inspired were the duo by this blend of styles, they immediately recorded at least two albums of material, Under the Bloom and Obscene, released in quick succession in 2020 and 2021 in swiftly-disappearing micro editions on the secretive Tall Texan label. With those records close-to-impossible to find at an affordable price, Tough Love are now reissuing both LPs. From Reds Pinks and Purples' Glenn Donaldson, Vacant Gardens is an interstellar recording project that combines celestial, shimmering guitar on the verge of breaking like a massive, emotive wave and an ethereal vocal style from Jem Fanvu (visual artist, Minor Ghost Band also, plus collaborating with Tune-Yards, Cavity Fangs and many more) recalling Hope Sandoval or Liz Fraser that sails in its wake. Simply put, this is some of biggest, heart-tugging guitar music you'll hear in recent times. Sold out at once debut Under The Bloom, is followed now a continuation and development of the group's sound on Obscene: a frayed tapestry of Slowdiving, Flying Saucer Attack guitar noise wall married with an angelic vocal from Fanvu that glitters in counterpoint to the stringed distortion like Hope Sandoval or, in the way it shines bright in the fog, like Jonsi's surfing the surging waves of emotion in early Sigur Ros. Originally released in February on digital formats, Obscene gets a vinyl press and is sounding massive. Vacant Gardens' music suggests oceanic feelings, a hazy intergalactic consicousness that burbles beneath the surface of everything while also touching the visceral points in the human heart that makes groups like Galaxie 500, Yo La Tengo so timeless.

Greek genius Christos Chondropoulos’ stunning debut for The Death of Rave finally lands on vinyl - an incredibly imaginative masterwork rich with quartertone melody and meticulously chiselled production, shaped into a future-folk songbook that deeply expands on his wonders for 12th Isle and The Wormhole. Highly recommended if yr into Paul DeMarinis, Rashad Becker, Ryuichi Sakamoto, Kara-Lis Coverdale's 'Aftertouches', Jonathan Bepler’s soundtracks for Matthew Barney, Black Sabbath or Aphex Twin. Floors us every time!

Continuing Christos’ singular fascination with, and reappraisal of, Ancient Greek modes, ’Relics’ further excavates the deeptime topography of Greek music prior to the ban of “oriental” or 1/4 tone microtonal modes nearly 100 years ago.

Clandestine, euphoric, hyperreal and otherworldly; it takes shape as faintly familiar forms of new age folk, avant-techno and metal musicks, but with an alien appeal that treats the past almost like another planet, never mind a foreign land. Christos studiously raids the past for lost treasure, navigating his tuned instincts as an improvising percussionist, and lover of non-Western composition, to create a uniquely absorbing soundworld that resembles an AI’s dreams after ingesting encyclopaedia entries on thousands of years of Greece prior to 1936. In the process, the album acutely questions his and our relationship to the past, and what has become lost in translation with reliance on prelaid templates and the “wisdom” of elders.

Bursting to life with the iridescent arps and new age AI chorale of ‘First Love Fereter’, and concluding with bone-clacking raverie of ‘Jungle X’, the album offers a stunning advance of the themes and aesthetics in Christos' previous records, from the self-released free jazz of ‘Fingerpainting’ (2013) to 2021’s 12th Isle released ‘Athenian Primitivism.’

Thanks to meticulous detailing, ‘Relics’ allows a finer play of textured light and almost tangible - yet entirely generated - voices into his music: most strikingly on the sublime songcraft of ‘Regret’ and ‘I Dream Of You’, while the likes of ‘Asham’ are bathed in deeply uncanny atmosphere, and his percussive proprioceptions are most heightened in the delirious battery of ‘War Horns’ and ‘Sacrifice’, with ‘Cyber Crust’ calling up demonic, cthonic pagan spirits resembling Black Sabbath undergoing regression therapy.

Third pressing on transparent pink vinyl. At the 2018 edition of Roadburn Festival - a congregation of all things obscure, heavy and experimental in Tilburg, the Netherlands - two generations of Japanese Krautrock genius took to the stage for a live collaboration that was just as hypnotic as it was inevitable. The artists in question were Tokyo's Minami Deutsch and the legendary ex-Can frontman Damo Suzuki. With Minami Deutsch's heady metronomic jams providing the backdrop on which Suzuki was left free to deliver his distinct improvised vocals, the Live At Roadburn LP is challenging, raw and, at times, totally alien. Divided into three parts, from start to finish the LP is consumed by an unrelenting motorik rhythm section that never lets loose for a second. At the flick of a switch, intricate guitars veer from hypnotic and meditative to skewed psychedelic freak-outs drenched in fuzz. Where Minami Deutsch's playing is sharp and meticulous, Suzuki's stream-of-consciousness ramblings steer the music into whatever direction he sees fit. The result is equal parts disorientating, sporadic and totally all-consuming - the only thing keeping you grounded being that distorted and seemingly-endless 4/4 drive. Repetition. Minimalism. Improvisation. Transcendence. That was the ideology of seminal Krautrock pioneers Can, whose 1970-1973 work with Damo Suzuki at the helm unleashed something in music that would change it forever. Some 45 years since Can's final record with Suzuki - the inimitable Future Days - and the spirit of that era still lives on. Not least because ever since then Suzuki has embarked on an endless one-man tour, traveling around the world and taking to the stage backed by countless different bands. Crossing paths at Roadburn, Suzuki's ensuing performance with Tokyo via Berlin-based group Minami Deutsch is now available to relive on wax.

“Rohkea rokan syö", or to loosely translate this Finnish saying: “Fortune Favours The Brave”. Truly, none have been braver than Blind Channel. Focusing intently on their mission to take their brand of infectiously ferocious nu-metal outside of Finland’s linguistic restrictions this bravery is engrained within. “It took me eight years to become an overnight success”, this line, buried away in Blind Channel’s fourth album Lifestyles Of The Sick & Dangerous is where their uncompromising journey finds its continuation. Furiously fighting their way into the worldwide mainstream, the six-piece have always been embracing their influences, from nu-metal iconoclasts to pop and hip-hop behemoths, it’s all a part of Blind Channel’s DNA. That’s the key to their draw, they’re only interested in sticking true to themselves while studiously searching for the keys to unlock the doors of success. Blind Channel knew that they had something to process. Not only the "modern-day misery” plaguing the world, as Joel puts it, but also proving that they could deliver more than the crowd-pleasing anthem of ‘Dark Side’. Lifestyles Of The Sick & Dangerous is a lashing, brutal, bravado and swagger filled, sincere depiction of their lives, backed by their trademark unforgiving “violent pop music”. As well as a winking homage to the Good Charlotte track Lifestyles of the Rich & Famous, it’s most importantly a righteous statement of intent. That this is only the beginning.

"At the end of 2021, POWERWOLF – the most successful German metal band to date – fascinated with a streaming event of unprecedented dimensions. Those who thought they had seen everything in the live sector were instantly proven wrong with unmatched audio production and visuals that can only be described as simply breathtaking. This summer, on July 8, 2022, this new benchmark for music streaming events will finally be available to view any time you crave. THE MONUMENTAL MASS - A CINEMATIC METAL EVENT will be unleashed on DVD, BluRay and many other physical formats! POWERWOLF have stood at the peak of superlative, epic metal moments for years, but what they present with this streaming event surpasses anything seen before. After months of detailed work, a story was crafted and presented in several chapters based on the stunning music and elaborately staged cinematic scenes. All show effects, actors and stage settings work hand in hand with each other and bring the medium of live music to a level never seen before. From battles with clergy to stories of nuns, monks and burning angels, cinematic images immediately capture the viewer. Each song has its own stunning set designed and is perfectly staged - the production and size alone are unparalleled. One live premiere of a POWERWOLF classic follows the next, one after another – all with impressively produced sound design.

Repress back in soon, now on black vinyl. Genre: Rock-Alternative; Dreampop, Indiepop, Lo-fi. RIYL: Jesus and Mary Chain, Galaxie 500, Belle and Sebastian, Sarah Records.

The purest a band can aim for is to present their milieu as a time capsule from the morning of. April Magazine deals deep in the hypnagogic charm of their surroundings. Since the 2018 release of “Shirley Don’t” a sneaky classic that first turned ears outside their SF Bay Area home the band has stirred out a handful of cryptic indie pop recordings nestled in warm aerosol hiss and scrappy hand-drawn cover art. Music that glints in the far back of an urban daydream where guitars could be bells, bells could be voices, and voices hardly find use in words. If The Ceiling Were A Kite is a document of things losing definition and time gone slack. The songs on If The Ceiling Were A Kite were recorded over a span of about two years, after Peter, Mike and Kati started playing together around a four track cassette player in Peter’s bedroom. Other kindred spirits like Julia Waves, Ian Collins, Anthony Comstock OBC, Zach Vito, and eventually David Diaz joined in on some of the recordings and live shows adding to the collective ‘whatever works’ ethos of April Magazine. April Magazine is Peter Hurley, Katiana Mashikian, Mike Ramos, David Diaz.

"Animist Pools" was released July 1, 2016 in a cassette limited edition on Human Pitch records. Originally released as "Hippies Wearing Muzzles", pseudonym of Lee Evans. "A shifting center in a stream of rippling analog tones, the music of Hippies Wearing Muzzles is orchestrated to transfix, echoing sounds heard in nature with modular synthesizers and the powerful element of chance. Evoking the Fourth World Music of Jon Hassel or the kosmische innovations of Cluster, Animist Pools marks its composer, Lee Evans’ first full-length release for Human Pitch. Accompanied its popping, glyphic art design and video, the project’s hypnotic aptitude is heightened to full-effect. Citing his background in painting as a chief influence on his musical approach and thought process, Evans composes with a strong sense of space––each sound an event in a slowly expanding landscape, zooming out to reveal a world of scale in which depth and contrast take precedent over rhythm and melody. Embracing the generative compositional nature of working with the modular synthesizer, Evans himself is the final filter through which all sounds pass. The boundary between programmed repetition and human choice is subtle, but detectable, highlighting Evans’ careful, nuanced guidance of his auto-compositions. The result is ultimately an improvised structure––a living, breathing, musical creature, acting on a mixture of impulse and memory. Animist Pools is a functional body of music for everyday human applications, with the implied invitation to tune out and back in at one’s discretion. The cleanly organized musical space of Animist Pools encourages a tidying up of the mind. On a psychoacoustic level it is one, breathing life into the dusty corners of one’s headspace. Animist Pools is an immersive, meditative, and therapeutic experience."

Hot Creations welcome back Fabio Neural and DJ Fronter who join forces once again for their second release on the label titled Ding Dong. Following on from their success with the first release, the eagerly anticipated second drops in May.

The title track opens proceedings, plunging straight into a heavy 4x4 beat, creating a stripped back, minimalistic base, expertly layered with finely chopped vocals. Foghorn like sounds and sharp percussion bring the piece together, resulting in a raw, industrial experience. Shocked follows, encapsulating the Hot Creations sound in true style, packed full of energy. Riveting bass lines paired with fanfare-esque melodies lay at the forefront of the track, transporting the listener to a bustling, colourful dancefloor.

Fabio Neural threw himself into the music industry at an early age. His productions have seen him release on Steve Lawler's Viva Music and feature in Pete Tong’s 500th Essential Mix. His eclectic DJ sets have enabled him to share the stage with heavyweights such as Carl Cox, Richie Hawtin and Adam Beyer. Colombian native DJ Fronter has become one of the greatest promises to come out of South America with releases being supported the likes of Paco Osuna, DJ Sneak and Matthias Tanzmann.

North London-by-way-of-Suffolk soundsmith Gerry Read delivers his first release for Circus Company with the Lean on Something EP. After countless examples of his bold production moves on many of our brother and sister labels including Herbert’s Accidental Jr to more recently on Koze’s Pampa Records, Read has always displayed a kindred spirit mindset to ours in his adventurous musical angles, and we are very happy to present this particular set of rock-solid and uniquely diverse pieces.
The title track “Lean on Something” starts things off in fine and classic Read form, with knocking found-sound percussion, fizzing textures and slick use of chopped and disorienting vocal sample
bits, as the track layers unfold into a whimsical and wondrous melodic stargazing anthem. “Wooer at the Well” then follows and picks up the tempo with those fly live acoustic drum lines that gives
Gerry’s tracks that special beyond-electronic feeling, while once again the deft layering of such a rich sound palette builds and builds giving other mavericks like Four Tet a sincere run for their money. The mood then brilliantly shifts on the next track “Paramol”, where Read treats us to an almost Robotnik-era Italo sprinkling amidst his otherwise forward-thinking club floor-filling tendencies, with an amazing array of synth sections and an arrangement that should satisfy even the neo-purists out there amongst us. Finally, “Risotto” wraps up the proceedings with a warm, jazzy bouncer reminiscent of both Read’s as well as our own catalog’s charming early offerings, and a kind of landing-at-home-base sensation with smoky cubist funk feelings and an equal parts rough-yet-undeniably cool effervescent groove.

Led by vocalist/multi-instrumentalist Simi Sohota, Healing Potpourri specialize in effervescent guitar pop that incorporates elements of ‘70s soft rock, chamber pop, lounge, and more, to create songs that are all but guaranteed to leave the listener in a better mood. But on the San Franciscobased band’s sophomore LP, Paradise, the group offers more than just sonic escapism. Written and recorded over the past two tumultuous years, Paradise finds Sohota and company processing the often overwhelming deluge of stress, frustration, and despair that’s become a part of modern life—but rather than be completely deflated, the band have created some of their most vibrant and instantly appealing music to date. The result is eleven hopeful songs that seek to imagine a better world and strive to make it a reality, while still taking the time to appreciate the moments of brightness that can shine through in hard times.

Lee X-plode is one of our artists from Vinyl Fanatiks who released an EP back in 1992 that was HUGE! Over the years this self-funded white label grew in popularity, with copies fetching over £200. He joined the family in 2020 when we re-released this monster, selling out instantly.

Lee is back on the hardcore hustle once again, bringing his 3rd EP onto Amen Brother, this time incorporating a more melodic piano vibe into his raw to the core 91 hardcore sounds. You will find yourself raising your hands in the breakdowns before going straight into the pumping 4/4 breakbeat roll outs. Music to move to!

Repress

Identified Patient drops another calamitous record on Pinkman - 4 dungenous slowbeat cuts, brimming with energy, emotion and attitude. The EP kicks off with Geen Syndroom where jaded, murky melodies go in tandem with sexy bass lines and an obliterating broken drum beat. Thereafter, Nog Steeds High Van De Lak progressively evokes feelings of desolation and melancholia, while carrying an aggressive punch and irresistible groove. Do the flip to find two more ferocious productions in Ver Verwijderd Van Vermoeid and Haar Glans Altijd Strak. The former grips you firmly with bubbling acid and machine gun snares on the backdrop of violent kicks. The latter ends the voyage entrancingly with hypnotic synth lines, whiplash-snares and rattlesnake-hats.

Princess Diana of Wales, by London-based Australian Laila Sakini, is A Colourful Storm's latest and most curious project. Someone, no one, a notion, a feeling... Sakini offers clues but no simple answers. Vocal-led pieces 'Still Beach' and 'Fragments of Blue' are brittle and intoxicating, contemplating recklessness and unfulfillment of a past life: "Watching the future wash away / Giving it up to have this day". She studies closeness and, incredulous of the feelings that emerge, wonders if detachment is impermanent. She catalogues these emotions as a series of memories, colours and images. 'Evaporate', sedated and hushed, is a secret confession and ode to resolution, albeit, fatally, only a temporary one: "Take some form / Later on when I can do this / When we can do this / Together".

Behind the album is a stage of dubwise disorientations evoking in-between states of the everyday. 'Swing' and 'Closer' are woozy and dreamlike, their voices summoning ghosts of fortunes past while 'Exhaust' finds an aperture in our protagonist's daydream. A perilous foreshadowing of the incantatory 'Choir Chant', whose spell pacifies her inquisition, submerging both self and feeling into the deep blue sea. RIYL: Grouper, Kali Malone, Drew McDowall.

American rock band King’s X combines progressive metal, funk and soul with vocal arrangements influenced by gospel, blues and British Invasion rock groups. Recurring themes are their struggles with religion and self-acceptance. During their major label career with Megaforce Records, King’s X secured opening slots for bands like Cheap Trick, Iron Maiden, AC/DC, Scorpions, Pearl Jam and Mötley Crüe.

In 1990 they released their third studio album Faith Hope Love, which charted #85 on the Billboard Top 200 Album Chart. The featured single “It’s Love” peaked on the Billboard Singles Chart at #6. On the tracks “Mr. Wilson” and “Faith Hope Love” you’ll hear the Galactic Cowboys who provided backing vocals.

Night School is proud and excited to team up with Frankie Rose to reissue her much loved interpretation of The Cure’s masterpiece Seventeen Seconds for Record Store Day 2021. Pressed on Dark Red Transparent Vinyl with new, artist approved artwork, Frankie Rose’s Seventeen Seconds is the art of the cover album done right. "Since I already think it's a perfect record, I tried not to reinterpret too much and stick to similar sounds as the original, but with a twist.” Dark Red Transparent Vinyl Pressing of 600.

2022 repress

The thirds and final part of the N.T.A. triptych by Versalife! Nothing less then another amazing ep with 4 tracks that are like the night. Dark, sinister and intense! Electro/techno tracks as we like'em!

We are proud to finally unleash this fresh package of dnb goodness from long-time label affiliate HLZ. Four brilliantly inspired tracks, each one specifically crafted around the Integral ethos epitomising futuristic funk and bass ridden with soul. So intricately deep and packed with his clinical signature punch; this release showcases the versatility of HLZ’s quality productions which always guarantee superb dancefloor measure.

UNHERZ haben ihr mittlerweile 9. Studioalbum während der Coronazeit geschrieben, welche bei so manchem Bandmitglied Spuren hinterlassen hat.

So geht es auf "Sinnkrise" um die Aufarbeitung tiefer Rückschläge, den Umgang mit der persönlichen Lebenskrise sowie - und das ist das Wichtigste - der Erkenntnis, dass Aufgeben keine Option ist.
Das Leben schlägt manchmal knallhart zu und es gibt diese Momente, in denen man feststellt, dass man eigentlich nicht mehr kann und aufgeben will. Doch wenn man diese Krise überwunden hat, sieht man umso mehr, wie schön das Leben doch ist.
Das Album soll vermitteln, dass Krisen zum Leben dazugehören; es soll aber auch in diesen beschissenen Zeiten Kraft geben. Denn wie heißt es im Song "Ich falle" so schön: "Selbst im größten Dreck kann eine Pflanze gedeihen!"
Als Gastmusiker sind Richard Jung (ex-The Busters), Jessica Conte (Glanzmomente) sowie Jean Bormann (Rage) mit von der Partie.

Lo-fi Beats is a fine and elegant new collection made for a cosy trip in music. Relax with a jazzy sound.

Roscoe is a road dog - The 14-year-old Boston Terrier has been there for
the whole ride of Mapache, Clay Finch and Sam Blasucci's band, which
has grown from being the casual project of two longtime buds to one of
the most formidable cosmic-folk acts around
"Roscoe's been through a lot of shit," says Blasucci, the dog's formal owner. "He's
been all around the country, come on tour a little bit." With some bemused pride,
Finch points out that, for a few years, he and Blasucci bunked together in a room
in the Echo Park neighborhood of Los Angeles that was just big enough to fit two
twin beds. "It was the two of us and the dog," he laughs. Naturally, Roscoe has
found himself the subject of a good handful of Mapache songs in the past - and
on Roscoe's Dream, the band's upcoming third LP of originals, he takes center
stage.

Kevin Le Gendre, journalist, presenter, author, fell in love with Finnish
music following his many visits to the rich musical festivals of that
country, so it seemed a logical step to compile an album of the best
Finnish music for his long-running, occasional series of albums based on
the radio show that he presented some years ago
. 'Fresh from Finland' joins critically acclaimed collections of contemporary Jazz,
French music and fusion sounds. It's a powerful selection of music rooted in jazz
but from a number of different genres, often, as the best music is,
uncategorisable.

'Hallival' is the long awaited debut album from Leeds based folk singer
and songwriter Iona Lane, Having found herself fascinated by folklore
and folk stories from across the UK 'Hallival' is inspired by natural
landscapes, scientific discoveries, equality, human relationships and the
supernatural, all tied together by a strong sense of place and a love for
being in wild places - creating something truly special.The name 'Hallival'
is taken after one of the mountains on the Isle of Rum, which inspired the
writing for the opening track 'Western Tidal Swell'
Karine Polwart and Julie Fowlis, amongst others, selected 'Western Tidal Swell' to
win Feis Rois'/NatureScots' In Tune With Nature competition in 2020.With Andy
Bell on production, Iona and her band ventured to Watercolour Music (Ardgour,
Highlands) for a week of recording in April 2020. The studio was chosen due to
it's stunning location - every day the team woke up to herds of deers guarding the
studio, ever changing weather and phenomenal views over to Ben Nevis 'Hallival'.
The lead single from the album 'Humankind', featuring Jenny Sturgeon on
backing vocals, was written from the depths of the Lake District in Wasdale just
before the first lockdown. Being the closing track on the album, it reflects on how
important humans are to each other and the kindness that we can bring
particularly whilst feeling isolated, a feeling that we all know too well after the
past couple of years.
'Schiehallion' was written after discovering the Schiehallion Experiment that was
carried out in 1774. During the experiment scientists from the Royal Society used
the shape and location of Schiehallion to calculate the mass of the Earth for the
first time. After a summer of calculations on the hill, the scientists and locals had
a party in a nearby bothy. The fiddler got so drunk that they burnt their violin and
the bothy to the ground. 'Schiehallion' features Lauren MacColl on fiddle and
Rachel Newton on harp.
Stemmed from being read 'Stone Girl Bone Girl, The Life of Mary Anning' by
Laurence Ann Holt as a child, Iona's song 'Mary Anning' focuses on the life of the
groundbreaking paleontologist who lived and worked in Lyme Regis in the 1800s.
Mary made vast contributions to the scientific world, however, due to her being a
woman she was unable to present her findings and would often end up selling
them to her male colleagues. Up until very recently Mary Anning has had little
credit for her work.
Having studied under the tuition of Nancy Kerr, Jim Moray and Stuart McCallum,
Iona has been praised throughout the scene for her delicate yet powerful vocals,
which have captivated audiences up and down the country.
Iona was chosen by Karine Polwart to receive the Taran Guitars Young Players
Bursary 2020. Since receiving the bursary luthier Rory Dowling, of Taran Guitars,
has designed and built a bespoke instrument for Iona's music.

As the daughter of a blues musician, Chastity Brown was born with an
innate ability to channel complex circumstances into beautiful, uplifting
songs
But after surviving the isolation of the early pandemic and witnessing the global
racial reckoning that manifested itself in the riots mere blocks from her South
Minneapolis home, even she is surprised to hear the way her new album 'Sing To
The Walls' turned out. "It's a love album, in a way I didn't plan on," Chastity says.
Like so many artists who endured the uncertainty of the 2020 lockdown,
Chastity's instinct was to turn inward, at first out of self- preservation, and then
because the new songs kept coming and coming. Since finishing her last album,
2017's 'Silhouette Of Sirens', she estimates she's written nearly 100 new songs,
10 of which found their way onto 'Sing To The Walls'. Produced by Brady Blades,
'Sing To The Walls' is a sonically expansive album; it mines the roots of
Americana, folk, and soul music, but Chastity's stories are delivered in a style that
feels remarkably timely, modern, and forward-thinking. "I celebrate the emotional
richness in the tradition, but in my music I've committed myself to moving
forward and reflecting the experiences of those overlooked by tradition."
Chastity Brown has been praised by NPR, CMT, American Songwriter, the London
Times, Paste Magazine, and The Independent, among many others, and appeared
on the U.K.'s Later… with Jools Holland. She tours nationally and internationally,
having shared the stage and supported artists such as the Indigo Girls, Ani Di
Franco, Andrea Gibson, Jayhawks, The National, and Micheal Kiwanuka.

Bliss is undoubtley the heaviest and darkest album to date by Tungsten
The typical ingredients that define the music of Tungsten are still there while new
grounds and territories are being explored musically. The hooklines are stronger
and more dynamic than on previous albums. The lyrics are darker but they still
ocus on things common man might relate to in one way or another.
Mike Andersson says; "It all came naturally. Creating and recording this album
ruly put us in a feel of bliss. Nick & Karl who wrote the music have really showed
heir skills and musical talents on Bliss with new musical ideas but still based in
he genre that we established in the band in from the beginning".
All songs were recorded the same way as the previous albums at Harm Studios,
Trelleborg (Sweden). Nick Johansson once again took care of the mixing,
mastering and production duties. Karl Johansson says: "We really hope that Bliss
will reach out to an even broader fanbase than before. So much pain, sweat and
ove have been put into this album. We are truly excited to introduce Bliss to the
world". Anders Johansson agrees; "Yes, this album might be one of the hardest
or me to record. Nick is close to a perfectionist at the production helm so if I can
find something that has been good about the pandemic it might be the fact I
could spend so many more hours in the drum studio just to practise and develop
my technique".

Taking direction from both the cinematic song stylings of sardonic yet
unfettered troubadours like Randy Newman, Brian Wilson, and Harry
Nilsson and the "visual scoring" of indie pop song placement in 21stcentury films, Best Move's music suggests the sound of a decade of
winding, disparate avenues finally convening in a perfect center
The Sacramento-based trio is composed of Kris Anaya, Joseph Davancens, and
Fernando Olivia. Anaya, a talented songwriter with a penchant for wry, offbeat
guitar-based folk-pop songs, and Davancens, who holds higher education degrees
in avant- garde composition and jazz double bass, formed the electronic act
Doombird together in 2016, but in 2019 the pair gravitated back to what they
consider more natural inclinations: organic instruments, earnest songwriting, and
a more true-to-themselves direction. Adding Oliva, Best Move was born. Many of
Best Move's songs maintain an intentionally similar sonic feel. Guitars strum and
piano twinkles while a layer of manipulated or synthesized instruments spread a
hazy overtone on top of it all, and steady yet minimal drums keep things moving.
Lyrically, the standards prevail - love, loss, friendship, searching for purpose - but
the themes bubble under the surface of a sea of metaphor, leaving the listener to
decipher the message in their own way. Anaya calls the sound a "thank you to the
past," and while a warm, familiar tone echoes throughout the band's universe,
something unmistakably modern remains.

Overcome is a new Dave Douglas recording, alongside vocalists Fay
Victor and Camila Meza, trombonist Ryan Keberle, bassist Jorge Roeder,
and drummer Rudy Royston, who banded together over a period of
months to create a new album of songs
A statement of purpose, an acknowledgement of forebears, and an exhortation to
activism, Overcome involves the six musicians in an emotional and powerful
statement of human engagement towards justice: Racial justice. Climate justice.
Voting justice. Gender justice. The project began with a reimagining of the Civil
Rights anthem, "We Shall Overcome," featuring Victor and Meza each singing a
verse before joining for arousing final verse. As Douglas began working on the
originals for the album, this unique communal vocal interplay became a key
element of three more pieces: "Overcome" and "When We Are Together Again" are
both inspired by the challenges of pandemic isolation; "Good Trouble" celebrates
activist John Lewis. Victor takes the spotlight on "Peace" as she voices poignant
poetry from Langston Hughes. And the free- spirited Royston original
"Perspective" brings a nice balance to the proceedings. This is spirited communal
music on a mission. Released direct- to- fan previously, the LP is available
worldwide for the very first time. Pressed on 180 gram black vinyl.

The name says it all! “Lost in Paris Blue Band” is the unique result of a
spontaneous, 3-day studio session of exceptional musicians in Paris
Among them are Robben Ford - exceptional blues and jazz guitarist, who had for
instance accompanied Miles Davis; Ron “Bumblefoot” Thal - well- known for his
astonishing solo career as well as having replaced Slash in Guns N’ Roses as well
as Paul Personne – multi-awarded French bluesman – and many others.
This album contains 13 cover versions of blues, folk and rock masterpieces, such
as ‘One Good Man’ (Janis Joplin), ‘Trouble No More’ (Muddy Waters) and
‘Watching The River Flow’ (Bob Dylan). Following the album’s success in 2016
and the fantastic critical reception, Lost In Paris Blues Band is coming to record
players around the world as a 180g 2LP Gatefold Edition on finest black vinyl.

Sciahri and Desroi team up for the next non series release.

A collection of brilliant modern electronica scores inspired by the Bedfordshire countryside by Jodey Kendrick. Some of the historical landmarks in this historic UK midlands county, several dating back from before the 9th century, are the sceneries for this collection of eerie soundscapes punctuated by clangy metallic beats and brutal bass. Alienating old landscapes clashing with rapidly changing modern technologies is the playground for Jodey Kendrick's musical adventures.

Lisbon’s Larry Quest joins the Pleasure of Love crew with an impressive sonic journey of all things house, balearic, and tribal.

After releases on Delusions of Grandeur and Log Records, Quest delivers his most refined EP yet, harnessing his knack for live/analog synthesis & soulful, hypnotic grooves.

'Blue Tide' leads off the EP with a wave of pads and deep sax soulfulness before giving way to a bubbly, modular groove. 'Hold Function' finds LQ exploring a tribal, almost trance-y take on Detroit techno/house foundation. And on the title track the producer eases into a throwback mid-90s house vibe with bursts of M1 organ and Rhodes stabs.

It started with a night out at New York’s Sound Factory - and turned into an obsession, Inner City main man Kevin “Reese” Saunderson and his then manager, Neil Rushton, were at the NY uber house club when The Pressure by The Sounds Of Blackness got its’ debut World play, with the ecstatic response from the crowd meaning it was spun three times in a row.

Nobody was more knocked out than Kevin who vowed there and then to come up with a Detroit answer, much to the delight of Soul mad Rushton, co-owner of the Network label.

The idea of The Reese Project was quickly turned into House Heaven reality as Kevin recruited Detroit vocalist diva Rachel Kapp to record the anthemic Direct Me & The Colour Of Love as the first two singles.

Network made the group a main priority, coming with a whole slew of remixes to complement the original USA mixes on the subsequent album. Three of the most loved Network remixes are on this wonderful timeless 12.

The Dave Lee Joey Negro mix from 1991 is rated by many as one of Network’s finest moments, and maybe Lee’s finest ever “remixed with extra production” epics.
Rushton remembers meeting Lee to collect the remix, and instantly phoning Saunderson proclaiming “you won’t believe this”.

Underground Resistance’s Mike Banks added his magic to the 1991 original mixes of “The Colour Of Love” and the results were so overwhelming great that the idea of subsequent remixes was daunting.but the classic 1994 Network remix by The Playboys flew the flag for U.K. House.

C.J, Mackintosh set the production standards for U.K. Soul filled House and his 1993 remix of “So Deep” - sung by La’Trece - is a gem to be cherished forever and a day.

Network’s passionate crusade to crossover The Reese Project from House Music superstars to Pop success came tantalising close but never quite happened. But the Network remixes are a glorious legacy of House Music’s golden age and three of the very finest are remastered here and presented on one glorious 12.

Reese Project - Songs Not Slogans.

Basic Rhythm returns to his Jungle roots for his final release with Planet Mu. Harking back to the golden era of the mid 90s, but with a contemporary slant, Basic Rhythm hands in three dance floor killers, with a remix from the grim reaper himself, Loxy. The titular track, Cool Down The Dance, opens with a jittery fragmented drum pattern and wooshing stereo effects, lending a slightly disorienting feel to the intro before the well known vocal refrain leads into a monster amen drop. Deep subs, amen breaks and steely stabs roll out this dance floor banger. This is followed up with an absolute behemoth of a track. Horse Mout’ utilises an infamous vocal sample in a fresh way, building upon the intro with waves of dubwise effects before launching into a devastating onslaught. With support from scene stalwarts DJ Storm and Flight this one has been smashing up dance floors! The third track is a remix of Cool Down The Dance by Loxy, bringing his inimitable cool production style to the fore, stripping away the amen layers to reveal something for the darker corners of the dance. One for the head noders and the eyes down crew. The final track, Satta, is a nod to the dub of Augustus Pablo, King Tubby, and On U Sound. A slow boiling minimal intro that drops into the extreme minimalism of just a kick drum and sub bass line belies the swagger of the eventual drop. Swinging drums in an almost military pattern tumble and stagger around the core line of kick drum and sub bass, lending this an almost drunken air.

Repress!

Leeward, released in 1978 on Union record, is the second album by tenor and soprano saxophonist Mabumi Yamaguchi. Here the quartet comprises of Ikuo Sakurai on bass, Hideo Sekine on drums and Ichiro Doi on piano and electric piano.

Leeward opens with “Dawn” a long and slow piece led by a Fender Rhodes played in flanger mode, on which Mabumi Yamaguchi expresses a certain melancholy, which we also find on “Dewdrop”, a duet piece with Ichiro Doi at the piano. The rhythm picks up on “Distant thunder”, a kind of jazz-funk samba in which Mabumi Yamaguchi lets each of his musicians take a long chorus before ending by taking up the haunting theme of this superb piece.
The beautiful “Leeward” closes the album in a slightly more traditional but equally mastered style. It is not known if the cover of this album contributed to its lack of success when it was released, but it is almost impossible today to find an original pressing of this record.

It should be noted that Mabumi Yamaguchi is still active and that he continues to release records and perform in concert in Tokyo (dates to be found on his website mabumi).

"Insane and heavy beats by the og don Pixelord featuring great remixes by an all-star line-up comprising Dj Ride, Dj Pound, Starkey and Dranq!

Like a lightning bolt in the middle of a dark sea, PIXELORD has returned once again from the frozen lands to shock and disquiet the tides of Futuristic Bass Music. Perhaps the best thing about Russian electronic music godfather Alexey Devyanin's PIXELORD project returning to SATURATE! for this "Demonslayer" release is not simply the exciting and hard-hitting beats contained within, but the simple fact that it shall be offered on delicious, glorious VINYL. An artifact for all time, perhaps to be found in future wastelands by those who would consider this "Demonslayer" to be the VanHelsing (or perhaps Trevor Belmont) of the 21st century bass music scene.

The last decade has seen PIXELORD riding the wave of forward-thinking bass music, and always staying at the crest, and 2020 is no different. "Doomguy" comes tearing straight in with menacing, distorted synth weaponry, assaulting with ballistic beats (even some nods to Junglism) until finally bestowing some glittering melody atop the fray, showing that not only is Alexey an elder-statesman of the genre, he's still the eager bass monster that explores his own depths. The depths are again evident in "Pain Elemental" where the vibe is established immediately, and only delves deeper into the slightly-detuned bass signals and ominous creeping atmosphere. The melodic elements are no longer here to sooth, they are newly charged laser beams that sear the flesh, scorching the eardrums.

This foreboding, demon-dispatching vibe is indeed present throughout this entire release, as you enter the "Bonus Stage" of this deadly game, where the aggression does not abate, and the bass plays backseat to the synth bell sonic geometry on display. The drums especially feel the wrath of PIXELORD on this track, where some impossibly tortured tambourines take a beating, and the chopping and relentless reorganization of the rhythm keeps you churning with intensity. The title track brings the "wild style", even though the drums are less frantic, the bass frequencies and laser blasts from our protagonist, the ever-ready "Demonslayer", are sure to dismantle any submissive subwoofer in range.

"BFG" rounds out this collection in a disheveled fashion, dishing out low frequency divebombs and squelches, whilst otherworldly transmissions from synth realms afar come leaping in trying to assert their dominance, only to be eaten alive by daemonic bass and telluric currents of seismic drum activity. An utterly destructive end to this tale… BUT WAIT, IT GETS WORSE! We have here on hand SATURATE! stalwarts DJ Ride, DJ Pound, DRANQ and big daddy STARKEY on remix duty, who all take the tracks down their own rabbit holes to parts unknown, with equal aplomb. The result is equal in intensity and aggression, but the textures by which this is conveyed are wholly transformed and re-imagined skillfully.

All this on one slab of gorgeous VINYL. No demon shall stand a chance against PIXELORD's battalion of beats and bass."

After two UK #1 albums, 2 million album sales and an array of international acclaim, you might’ve thought you knew what to expect from Royal Blood. Those preconceptions were shattered when they released ‘Trouble’s Coming’ last summer. Hitting a melting pot of fiery rock riffs and danceable beats, they delivered something fresh, unexpected and yet entirely in tune with what they’d forged their reputation with.
The reaction was phenomenal, with highlights including 20 million streams, a premiere as Annie Mac’s Hottest Record and a run on Radio 1’s A-list and earned alternative radio support and media attention across the globe. In short, Royal Blood are primed to be bigger than ever before. That feat is set to be realised when they release their eagerly anticipated third album ‘Typhoons’ on April 30th via Warner Records.
When Mike Kerr and Ben Thatcher sat down to talk about making a new album, they knew what they wanted to achieve. It involved a conscious return to their roots, back when they had made music that was influenced by Daft Punk, Justice, and Philippe Zdar of Cassius. It also called for a similar back-to-basics approach to what had made their self-titled debut album so thrilling, visceral and original.
“We sort of stumbled on this sound, and it was immediately fun to play,” recalls Kerr. “That’s what sparked the creativity on the new album, the chasing of that feeling. It’s weird, though - if you think back to ‘Figure it Out’, it kind of contains the embryo of this album. We realised that we didn’t have to completely destroy what we’d created so far; we just had to shift it, change it. On paper, it’s a small reinvention. But when you hear it, it sounds so fresh.”

Those traits pulsate throughout the new single and title track. Kerr’s spiralling bass riff casts an hypnotic allure as it grows in intensity, while his vocals switch at will between a raw rock roar and a soulful falsetto. It’s underpinned by Thatcher’s thundering beats, his taut rhythms infused with groove-laden hi-hats.



After setting the tone with ‘Trouble’s Coming’, the album opens in breathless, take-no-prisoners style with the fierce metallic grooves of ‘Who Needs Friends’ hitting an early visceral peak. Royal Blood further reference their fresh array of influences by deploying vocodered vocals on ‘Million & One’ before dynamically switching between the biggest contrasts of their sound with ‘Limbo’. Already a fan favourite having been a regular during the duo’s 2019 shows, ‘Boilermaker’ lives up to its reputation and is more than matched by ‘Mad Visions’, which evokes a hyper-aggressive Prince. It ends with a final surprise in the shape of the stark piano ballad ‘All We Have Is Now’, a vulnerable and revealing reminder to live in the moment.

That song’s unguarded sentiments gives the album a redemptive finale. Whether directly or allusively, the album focuses on exploring the flipside of success that they’ve experienced. It comes from the realisation that success is much more complicated than it seems and that having the time to regain perspective is a precious commodity which becomes ever more elusive. The situation called for reflection and change, which Kerr addressed in Las Vegas. He downed an espresso martini and declared it to be his last drink, and soon discovered that his new-found sobriety would have a positive impact upon his creativity and life as a whole.

That new approach manifested itself in the duo’s decision to produce the majority of ‘Typhoons’ themselves. ‘Boilermaker’ was produced by Queens of the Stone Age frontman Josh Homme, the two bands having first connected when Royal Blood supported them on a huge North American tour. Meanwhile, the multiple Grammy Award winner Paul Epworth produced ‘Who Needs Friends’ and contributed additional production to ‘Trouble’s Coming’.

MOVEMENTS Vol.11 – A bag full of rare rhythm & blues, mod-jazz, soul, and mid 70s funk.

Side A starts with rhythm & blues and jazz from the 1960s. The first three tracks were pulled from hopelessly obscure 7" singles. Macy & Company are responsible for the first 'aha' moment. Their version of "Sixteen Tons" would have certainly astouned even Tennessee Ernie Ford. A truely fantastic version indeed! "Snatchin' It Back" completes the first side with a furious bigband jazz cut.

Side B is all about mod-jazz. "Undun" is just like "Big Boy" a sure-shot for any dancefloor. Rare Groove DJs will have a lot of fun spinning these tunes in a club. Admittedly, the next one is a strange cut. "See How You Are" was recorded on a whim when they two composers were spontaneously pulled into a studio. High time for 'aha' effect #2. Many bands have tried their hands on a cover version of the Lee Morgan jazz classic, one of them being Mr. Palumbo. Listen closely to Dianne Elliott's contribution as it is a highlight for sure despite the fact von Frau Elliott.

Side C begins with 'aha' effect #3 and a fantastic cover version of Gerald Wilson's "Viva Tirado". "Blue Jamaica", is the second track on Movements 11 were a vibraphone is the lead instrument. "Bawana Jinde" is a wild, wailing blast of percussive instrumental explosion while "The Creeper" is the perfect choice to finish this side.

Side D is reserved for proper 1970s funk. The flip side of Reunion's sole 45rpm single was included on a previous Tramp compilation album. "A Brighter Day" has not been compiled yet. "Real Life", "Syrene" and "Breezy" are all prime examples how mid 70s funk has to sound . A dream for B-Boys and B-Girls.

Those of you who have been enjoying the detective work of the people behind the label over the past 18 years know that the Movements series can be easily considered as the flagship compilation series on Tramp. So, after having listened to the entire selection of this brand new volume we sincerely hope that we will have achieved our aim to surprise, delight, and enlighten you once again!

‘An Awesome Wave’ is finally back in stock on vinyl as the band celebrate the 10th anniversary of this classic debut record. Described by The Guardian in their Albums Of The Year coverage as “Remarkable and Rewarding:, ‘An Awesome Wave’ won the band the Mercury Music Prize and an Ivor Novello award, the album has since gone platinum in the UK and continues to receive critical acclaim. This album saw the start of a remarkable trajectory for the band who became one of the most successful British bands of the millennium. alt-J have now sold in excess of two million albums and their songs have been streamed over two and a half billion times. Their follow up album This Is All Yours was a UK number 1, GRAMMY and BRIT Award-nominated album. Released in 2017, album number 3 RELAXER flew straight into the top 10 of the UK album chart ahead of a summer of major international shows-including a headline show at London’s O2 Arena; and headline performances at numerous festivals and became their second album to be nominated for the Mercury Prize. 2022 saw the release of their 4th album The Dream which reached top 3 in the Uk and was one of the best reviewed records of 2022.

A lot has been said and repeated about the interiority of this club music - how the joyful tremor of the "Raingurl" refrain holds hands with such soft and doubtful verses. How special it is that house music so of New York can contain storytelling cultivated so far away. That repetition is born of people all over the world going out, and staying in, with this music as a compass; songs that define so many late night hangs for crews of friends, singalongs in DJ booths, contemplative 5am walks home from the club. What can get lost in that repetition, in the shifting canonization of these recordings as symbols of any one scene or moment, is what was behind the pair of round glasses reflecting so tirelessly outwards. Yaeji, an exceptional friend only at the very beginning of finding her path as a cross-disciplinary artist and collaborator. Yaeji wrote this music while going out nearly every night of the week to DJ and support her own NYC community of friends at their turns behind the decks. These tracks originated from explorations in dancefloor anonymity, growing from seeds planted by sharing her first musical experiments online.

Basically, it's become common knowledge that Saturate is all about some heavy bass music on that hip-hop tip and Zeke Beats' Pay Attention release is easily one of their finest ones yet. Every track has a sinister punch to it and it all ultimately sounds like the most epic video game music ever to come out of the ghetto. Zeke Beats clearly didn't hold back in any way, as this is easily some of the wildest, most high energy bass music we've heard. The low end is hot and heavy, the synthwork is wacky and in your face, and the arrangement is spot on; there's always a lot happening, but not one element ever sounds out of place. The flip side is featuring the one and only Subp Yao.
Deep, dirty, Grimey and glitchy and insane beats, this will take your brain for a spin and turn your legs to jelly it will make your jaw drop, then smash it clean off. The work that's been put into this is second to none!

Opening with a nice Electro dancefloor tune, the EP then brings a superb Techno acid base, that rare style melting soft but solid kick to non-extrem acid loops...
The flip open on a superb Techno tune turning Acid... A real Trisomie 21 feeling there... BIG !
Last tune is a discret basslined enchanting tune.

Finally all this is very sober, perfect for vinyl DJS, it sounds like an evidence and still never existed before.

A MUST HAVE reviewing the Paris Techno producers !... & pressed at excellent Vinyl De Paris !

Printed Sleeve & Inner sleeve Sealed.

ANZOLA is a recording artist whose loop-based neo-psychedelic music incorporates elements of Instrumental Hip Hop, Electronic, Jazz and Latin influences. The multi-instrumentalist creates a groove-heavy and laid back landscape utilizing samplers, classic synths, drum machines and live instrumentation. His new EP Caracas finds him in a reflective mood, looking back at his youth spent growing up in the city of Caracas, and his experience immigrating to Canada. Entirely self-produced, these six tracks transport us into ANZOLA's kaleidoscopic vision of his youth: a world of heat and haze, colour and texture, of lazy afternoons and late-night dances, languid jungles and chaotic streets. All created instrumentally utilizing drum machines, bass, synths, electric pianos and samplers. "I've always been better at communicating through chords and rhythm than with words. On this record, I followed my feelings and memories to return home."

Minru is the project of Caroline Blomqvist, a Swedish musician based in Berlin. Woven from light and shadow, the interplay of her folk and indie-rock blend appears from a personal space of finding life after death. On her debut LP »Liminality« she paints melody in soft tones, whispering secrets to navigate feelings of loss.

Built around winding layers of acoustic guitar, piano, and strings, Minru is a surprisingly uplifting and stirring testament to Blomqvist’s own suffering from the passing of someone close to her. Returning to Berlin from Sweden feelings of grief, confusion, and pain travelled with her, and these emotions prompted the journey both of and within the album, heard as a dreamlike actualisation of wandering lost between them. "I read that Carl Jung used the word "»Liminality«” to describe the psychological process of transitioning. I instantly felt seen; it reflected my own experience and the feelings I carried whilst making the album – a sense of the old certainties being gone, but the new not being quite there yet,” she says.

Defined as "the threshold separating one space from another" »Liminality« moves between feeling the ground beneath your feet fall away, fighting through the darkness and the doubt, and the emerging shades of hope and light as you painstakingly make peace with mortality and find yourself as a person again. "I am happy to have encapsulated this moment of time in sound," Blomqvist says, "it will always be there as a memory."

Flourishing from a preferred position of solitude, »Liminality« sees Blomqvist’s vision radiate with intensity from her home-based studio in Neukölln - a small, 2-room apartment with squeaky old wooden floors. Capturing the intimacy of the space, she recorded vocals and synth on gear partly borrowed from friends (to swiftly reunite it with its owners), and the songs flow with a stream of consciousness as feelings become entwined with melody. Time-restraint drew the process to a natural close, preventing Blomqvist from losing herself to experimentation. “Maybe I would have been stuck in »Liminality«, trying out sounds forever,” she suggests of the way ‘Into the well’s instrumental swims into a warm stream of synth pads. "It’s the cosiest moment on the album,” she says, “Cosy is a feeling I always strive for in life."

Finished and self-produced at a Berlin-Lichtenberg recording studio alongside musical friends (Povel Widestrand, Tobias Blessing, Sunniva Lilian Shaw Of-Tordarroch, Marlene Becher and Liv Solveig Wagner), the result is beautifully detailed and rich like the folk of her Swedish roots. First picking up a guitar as a kid and becoming obsessed with it, she would skip school to spend extra hours mastering the instrument, grappling to perfect the ‘Stairway to Heaven’ intro. “As a child I was fascinated by my dad’s acoustic guitars around the house and would hit the strings to make them sound,” she recalls. After attending music high school in Gothenburg and playing in bands during her teens, Blomqvist later moved to Germany. As well as enjoying walks at Tempelhofer Feld and coffee at Leuchtstoff café, she performed with Tuvaband, Adna, and Tara Nome Doyle and played in Berlin venues Loophole and Schokoladen, where music became her world. With the passing of time she felt a growing urge to find an outlet for her own songs; Minru was the answer along with her first »Yearnings« EP.

Now writing whenever she returns to Sweden, within the calm and stillness of her family’s mountainside cabin, her skilfully constructed arrangements summon the comforting atmosphere of home. “I hope listeners will feel inspired to slow down a bit, create, draw, cook something. Just be in the moment that is now.” »Liminality« is the kind of record that rewards attention. Give this album your time, it will give you its soul.

After having released solo albums on Western Vinyl and Preservation, Domes presents the first entirely instrumental work of the California based multi-instrumentalist Heather Woods Broderick.

Domes is a collection of meditative pieces based around the cello. While not being her primary instrument, the cello holds a very special place for the artist. Throughout the past 2 years, Heather often felt the need to find moments of respite in response to the chaotic and turbulent times we all faced in that period. Her days started or ended with the cello. A single melody initiated a process in which new elements were gradually added to the initial loop until the sounds filled her up. This process and the instrumental nature of these pieces opened the path for self-reflection and enabled her to express emotions outside the world of words or lyrics:

“The cyclical nature of the loop combined with the sound feeling like it’s surrounding me feels serene and safe. My hope is that listeners experience this as well.” - Heather Woods Broderick

Domes is a documentation of that period and offers 7 pieces which to the artist feels like dense masses – strong grounding sounds that can hold weight or be used to disperse weight - in an emotional sense. The album title, Domes, reflects this idea as domes are made out of triangles – the strongest shapes in the physical world. Coincidentally, there are 7 different triangles. As such, the pieces on Domes each reflect a different triangle, a different strongest shape which offers the listener a solid basis to find rest and calmness.

Heather Woods Broderick is a composer, songwriter, and multi-instrumentalist. Growing up in a family of musicians, music took root in Heather’s life at a very young age. Evenings spent singing along to her parents folk music collection began to shape her sense of song as a child. After many years of classical piano training, she began to expand her musical toolkit by learning to play guitar, cello, and flute among others. Deeply influenced by rich tapestries of the natural world, she excels at crafting sonic landscapes that reflect both lushness and intimacy. Heather has released three solo albums to date, and over the years has recorded and toured extensively around the world with a multitude of artists including Sharon Van Etten, Efterklang, Alela Diane, Horse Feathers, Damien Jurado, Lisa Hannigan, Laura Gibson, and more.

"2022 marks a year of celebration for Roxy Music. Throughout the year, each of their eight studio albums, all heralded as modern classics, will be reissued as special anniversary editions with a new half-speed cut, revised artwork and a deluxe gloss laminated finish. In addition, Roxy Music will tour for the first time in more than a decade to mark the 50th year since their groundbreaking debut album.

In May 1980 Flesh and Blood gave Roxy Music their second No’1 UK Album and peaked at No’35 in the US Billboard chart. The album was preceded by the single “Over You”, a No. 5 UK hit that also provided the band with a rare US chart entry at No’ 80. Two more hit singles followed: “Oh Yeah” (UK No’5) and “Same Old Scene” (UK No’12). Flesh and Blood also included two cover versions: The Byrds’ “Eight Miles High” and Wilson Pickett’s “In the Midnight Hour”. The albums artwork was envisaged and designed by iconic British artist Peter Saville. Each Roxy Music album has been Re-Issued with a fresh Half-Speed cut by Miles Showell at Abbey Road Studios. London. To reflect the audio, all eight of the Roxy Music studio albums have had their artwork revised and with a gloss laminated finish so that each album is not just a record it’s a piece of art."

"The letter X marks the spot, crosses over, literally with a cross. It’s the former, the ex-. The ex-lover known simply as “an ex”. Ex- is the latin prefix meaning “out”. Exterior, an exit. Extraordinary. Excellent. It’s exciting. Generation X. X-files. X is the unknown. X is Extreme“

Extreme is Molly Nilsson’s tenth studio album. Recorded in 2019 and throughout the 2020 global pandemic at home in Berlin, Extreme is a departure for Nilsson, an explosion of angry love. It’s an album of anthems for the jilted generation, soaked with joy and offering solace, bristling with distorted, Metal guitars and planet-sized choruses that bring light to the dark centre of the galaxy. It’s an album of the times, by the times and for the people. It’s a record about power. About how to fight it, how to take it and how to share it.

Absolute Power explodes with massive guitars, double kick beats and the instantly iconic line “It’s me versus the black hole at the centre of the galaxy.” Nilsson’s performance itself portrays absolute power in its confidence but the song is a call-to-arms, an entreaty to grasp the here and now, to take the power back. It’s Nilsson pacing the ring and we’re instantly in her corner. Earth Girls takes familiar Molly Nilsson themes - female empowerment and subverting the patriarchy - but casually throws in one of the choruses of her career. “Women have no place in this world” she sings, but it’s the world that isn’t good enough. Stadium-sized but still warmly hazy, Earth Girls has its fists in the air, glorifying in harmony, almost ecstatic in its feeling good. Nilsson’s Springsteen-level conviction and righteousness bleeds through the speaker cones, the cognitive dissonance between the song’s cadences and angry lyrics redolent of Bruce in his prime. Female empowerment isn’t always an angry energy on Extreme, however. On Fearless Like A Child, Nilsson’s anthem to the female body and women’s sovereignty of it, she croons over a mid-80s blue-eyed Soul groove. It sets a nocturnal scene as the narrator surveys her past and her surroundings. Before we’re fully submerged in a dreamlike, Steve McQueen-era Prefab Sprout poem to learning from your mistakes the song erupts into one of those lines only Molly Nilsson can get away with: “I love my womb, come inside I feel so alive” she fervently sings. Against the backdrop of ever-encroaching, conservative rulings on women’s reproductive rights in places like Texas, it’s simultaneously angry and full of love.

Every song on Extreme is a gleaming gem in a pouch of jewels. On Kids Today, Nilsson is the voice of wisdom, archly commenting on the eternal struggle between youth and authority. Wisdom infuses Sweet Smell Of Success with a transcendent love that forgives the narrator’s shortcomings and celebrates the moment, it’s a letter to the author from the author that asks “what is success” and concludes that this is it, this song, this moment. It’s a rare moment of simple reflection that is generous in its insight to Nilsson’s inner life. “Success” is a tool of power and we don’t need it… We need power tools and there are moments on Extreme where it feels like Nilsson is showing us how to find them. It's an open conversation through out Extreme. She’s a warm, comforting presence through out the album and specially on these songs of encouragement, songs perhaps sang to a younger Molly Nilsson or, really, to whomever needs to hear them. “They’ll praise your efforts, they’ll call you slurs a rebel, a master, an amateur / Merely with your own existence, you already offer your resistance.” On Avoid Heaven she’s even more direct, pleading with us to avoid concepts of purity and to embrace the glorious, ebullient, emotional mess we’re often in as a method of upending the power structures who need things to be perfect.

They Will Pay brings back the big, distorted power chords in the form of a agit-punk, pop slammer. Of course, when Molly Nilsson does punk pop we get the catchiest chorus this side of The Bangles or The Nerves. It’s rendered in an off the cuff, throwaway manner that is just perfect in its roughness. However, it’s on Pompeii that Nilsson delivers the album’s epic, emotional heartbreaker. Like 1995 on Nilsson’s album Zenith, or Days Of Dust on Twenty Twenty, the lyrics of Pompeii are heavy with a transcendent sadness, an aching poetry that cuts to the truth of the heart like the best Leonard Cohen lines, though here delivered with an uplifting, life-affirming love. It contains the most personal moments of Extreme, a song lit by the dying embers of romance. Yet it’s here where the alchemy at the base of all Nilsson’s best work is found. Turning small nuggets of personal truth into big, generous universal moments that invite everyone to cry, to love and to fight the power. In an album of jewels, it might be the shining star.

Molly Nilsson’s biggest, boldest and most vital album to date, Extreme is about power. Against the love of power and for the power of love.

Tiptoe between the toadstools of Liverpool’s city parks, and amongst the foliage you might find a Strawberry Guy, contemplating his next chord-progression. Composing hi-fi symphonies from within his humble abode, the Welsh-born songwriter is ready to share the fruits of his labour with debut album Sun Outside My Window. A timeless vista of ethereal balladry looking towards 19th Century musical maestros and works of art, it brings new meaning to the term ‘Modern Classic’ and is the most optimistic of lockdown records yet.
“It’s about seeing the simple things in life and them making you happy,” tells Alex Stephens, the Guy behind the Strawberry. “I remember this day when I was really down… looking out the window, the sun beaming in was beautiful, it made me want to go outside – it was simple but made me so happy in that instance.”
A one-man impressionist, painting majestic soundscapes, Strawberry Guy blends truthful lyrics with lush arrangements to conjure new emotive worlds. Inspired by composers of the Romantic period, or Debussy, Ravel, and other classical artists of the 1800s, his wonderland moves like a Monet painting where arpeggios dance between meadows of dazzling dynamics and dramatic key changes. As former keyboard player of The Orielles and Trudy and The Romance, the light through his floor to ceiling windows has caused a dramatic Greenhouse Effect and now ripening on solo terms, his innocent uploads of ‘Without You’ and ‘F-Song’ comfort 2 million Spotify listeners a month. ‘Mrs Magic’ has received 40 million streams, landing at #13 in its chart and countless fan-created videos have appeared on YouTube. “Throughout history composers have tried to capture emotion, painting their own impressionist pictures with musical brush strokes… I guess I’m just trying to do the same and people enjoy that,” he suggests modestly.
Named by musical friends Her’s after his impeccable taste in milkshakes, Strawberry Guy upturns ‘bedroom artist’ perception, as each idea is crafted into a widescreen wonder where vocals tag-team instrumentals and countermelodies flourish within the Georgian walls of his Liverpool flat’s small space. “I want it to sound like I’ve squeezed an 80-piece orchestra into my room, and for listeners to wonder how all those strings got there,” he says. “Working on the 4-part harmonies, the orchestra became real; I began believing in myself.”
Imitating nature’s effect on emotion, like 70s songwriters, or the fantastical soundtracks accompanying vibrant scenes in the Japanese animated Studio Ghibli films and video games, landscape is brought to the fore. Monet’s picturesque Meadow at Giverny features as the album’s accompanying artwork – perhaps a reminder of the rural Welsh countryside views through his childhood home’s window; “I was inspired by how calm and peaceful the image felt. Its painted lines show real-life scenes in a magical way, which to me reflects my music.”
Just as the first Strawberry Guy EP Taking My Time To Be offered a slowing down for the soul, Sun Outside My Window is musically unhurried, written and recorded over 2 years. “Recording as a lone berry meant I could run with my emotions in the moment and deliver something true; it would have been an entirely different album had it been recorded in a studio,” he says.
Modern Classic? Only time will tell. For now this Guy’s happy-sad world is here to get the juices flowing and with, pandemic permitting, a US tour in 2022, life looks a whole lot sweeter. Until then, take it slow, be at one with the wilderness and remember, when life gives you lemons, swap them for Strawberries.

Rome’s own disco wizard L.U.C.A. aka Francesco De Bellis is back for his second LP Terra, hot on the heels of his Venus 12” EP earlier this year. In this far-reaching album, the Edizioni Mondo founder explores the deteriorating relationship between Man and Nature, and the dire consequences. The album is split into two themes - part one is Consacrazione (Consecration) and side two is Coscienza (Conscience) - as L.U.C.A. charts a trip through mankind’s psychic universe, and imagines worlds beyond our physical dimension.

The opening composition Cities is an uptempo number that slowly comes into focus, as dreamy drum machines emerge from the urban bustle, before settling into a soulful groove as keyboard, upright bass and guitar figures dance across bright percussion. As it builds up a head of steam, the piece gives way to an ambient, tribal breakdown, which is also echoed in the following song, Drum Talk. This second tune sets up in a fourth world dreamscape of drums, synths, and abstracted echo effects, and is peppered with word fragments from the bush of ghosts. By the time we’ve reached the third track, Congiunzione sounds like travelling at singularity speed, beaming in from a future where human consciousness and gaia can finally dance on a cosmic plain.

Part two of Terra details how revelation of the spirit can guide the mind, as Time Spirals rises out of a drum motif with a nod to classic ragas, as a disembodied voice asks questions on the nature of corporeality. The sound design is just as front and centre as the sitar and fretless bass, and the song gives way to a richly-layered soup that sounds like the vast space between atoms. It’s this shift from composition to ambience that is the dynamic core of Terra, giving L.U.C.A. plenty of space to showcase his next-level audio and arranging skills. Midway through part two, Giallo Assoluto begins with reverb tails and choral voices before expanding in brightness and texture until the audio field is practically levitating your hi-fi speakers, vibrating them with drones, twinkling keys and shards of digital noise. The closing composition Ritorno al Domani is a perfect balance of optimism and mystery. Tension and release collapse in on themselves as waves of ambient pads crescendo and then break over stretched-out sonic turbulence, before reversed synths bring the listener to a closing door, and the end of the journey.

It’s a mind-expanding musical exploration of other worlds and parallel universes which are surely all around us, and in many ways serve to remind us of the marvel that is our own planet.

The roots of Naima Bock’s music are far reaching. Born in
Glastonbury to a Brazilian father and a Greek mother, Naima spent
her early childhood in Brazil before eventually returning to England
and various homes in South East London. This heritage combines
with more recent pursuits in Naima’s music. From the Brazilian
standards that the family listened to while driving to the beach, to the
European folk traditions she tapped into on her own, and the pursuits
that interest her today - studies in archaeology, work as a gardener,
and walking the world’s great trails - Naima’s music draws from
family, the earth and music handed down through generations.
 Naima’s debut album, ‘Giant Palm’, is undoubtedly infused with the
Brazilian music of her youth and regular family visits. She found
inspiration in “the percussion, the melodies, chords - and particularly
the poetic juxtaposition of tragedy and beauty held within the lyrics.”
 By the age of 15, Naima was embedded in the music scene of SouthEast London, eventually forming Goat Girl with school friends and
touring the world. After six years playing bass in Goat Girl, Naima left
the band to try something new. She set up a gardening company and
started a degree at University College London in archaeology
because, as she jokes, “I liked being near the ground.” During this
time, she wrote music, played guitar, learned violin, worked with evershifting South-London collective Broadside Hacks, and met producer
and arranger Joel Burton through Memorials of Distinction labelhead
Josh Cohen. Joel’s burgeoning interest in Western classical music,
global folk music, and experience in large scale arrangement and
orchestration informed the collaborative process that eventually
culminated in ‘Giant Palm’.
 Recorded with the help of over 30 musicians (including Josh Cohen
on synth / electronics) by Dan Carey of Speedy Wunderground at his
studio space in Streatham, South-East London, and engineered by
Syd Kemp, the songs on ‘Giant Palm’ represent a snapshot of a
specific feeling, of brief moments in Naima’s life that make up a larger
whole.
 The expansive yet delicate arrangements highlight Naima’s love for
the collectivist values of traditional folk music, in which songs belong
to everyone, and singing can take on countless forms without the
need to exactly replicate something. “All the other representations
that I’d had of singing felt so unattainable,” she recalls. ‘Giant Palm’
finds Naima bucking these expectations to let her unique voice and
sense of communal creativity flourish.

“I’ve been playing since I was 11 years old,” says Charlie Gabriel, the most
senior member of the legendary Preservation Hall Band. “I never did anything in
my life but play music. I’ve been blessed with that gift that God gave me, and I’ve
tried to nurse it the best way I knew how.”
 While he’s faced plenty of challenges nursing that gift for more than 78 years,
none likely rank with last winter’s passing of his brother and last living sibling,
Leonard, lost to COVID-19. For the first time ever, Gabriel put down his horn,
filling his days and weeks instead with dark reflection, a stubborn despondency
broken now and then by regular chess matches in the studio kitchen of Hall
leader Ben Jaffe, working overtime to bring his friend some light.
 One such afternoon also included Joshua Starkman, sitting off in a corner
playing his guitar and half-watching the chess from a distance. When Charlie
returned the next day, he brought his saxophone. “I was just inspired to try it, to
play again. It had been a long time, and a guitar makes me feel free. I do love the
sound of a piano, but it takes up a lot of a space, keeps me kind of boxed in.”
That day was to be the first session for ‘Eighty Nine’, almost entirely the work of
Gabriel, Jaffe and Starkman, recorded mostly right there, in the kitchen, by Matt
Aguiluz.
 Charlie Gabriel’s first professional gig dates to 1943, sitting in for his father in
New Orleans’ Eureka Brass Band. As a teenager living in Detroit, Charlie played
with Lionel Hampton, whose band then included a young Charles Mingus, later
spending nine years with a group led by Cab Calloway drummer J.C. Heard.
While he’s also fronted a bebop quintet, played and/or toured with Ella
Fitzgerald, Tony Bennet, Aretha Franklin and many more, this is the first time his
name appears on the front of a record, as a bandleader.
 Since 2006, Gabriel has been a member of the Preservation Hall Jazz Band,
featuring prominently on ‘That’s It, So It Is’, and ‘Tuba to Cuba’. ‘Eighty Nine’ was
different, and not simply due to a smaller ensemble. “We had no particular plan,
or any particular insight on what we were gonna do. But we were enjoying what
we were doing, jamming, having a musical conversation,” Charlie says, further
musing, “Musical conversations cancel out complications.”
 The album includes six standards and three newer pieces on which Gabriel is a
writer: ‘Yellow Moon’, ‘The Darker It Gets’ and ‘I Get Jealous’. The record also
marks Charlie’s return to his first instrument, clarinet, on many of the tracks. “The
clarinet is the mother of the saxophone,” he says. “I started playing clarinet early
in life, and this taught me the saxophone.”
 Finally, ‘Eighty Nine’ includes three tracks of Charlie singing. “I always sung, but
it wasn’t my forte to become a singer,” he says. “The truth is, people often
develop a real relationship with a song once they hear the words. Sometimes I
enjoy singing them.”
 First pressing on translucent gold Loser Edition coloured vinyl

The wiggy wanderings of Oog Bogo wind up on the same island of lost joys all at once, manufacturing a virtual jukebox of singles and side flips that won’t unplug, and just keeps reeling and raging on instead. A bright metallurgy of guitar pop, psych, post-punk and apocalypse disco embosses the sleek, multicoloured flash of ‘Plastic’.

 Oog Bogo are a four-piece rock band from Los Angeles and their new album is ‘Plastic’, an electrifying set of songs and sounds that just don’t stop, working like a machine that makes joy and endless flips and repetitions, whether in front of the turntable or out in the real world.
 In the past several years, Oog Bogo dropped two records that previewed this explosion in wildly divergent ways: 2019’s ‘Oogbogo’ EP, with wigged-out production, its contorted fun house mirror images pulling punk, psych and new wave in and out of focus in a chaotic procession of mutant tunes. 2021’s ‘EP2’ radiates a starkly different vibe, as chilled-out guitar-pop tunes conjure a flowing medley of plaintive echoes and atmospheres in a mellow mist of hiss.

 Kevin Boog recorded these records in a largely hermetic state: at home on 4-track, playing all the parts, slowly drawing out the sounds. The songs for ‘Plastic’ were demoed this way too, as a starting point for a group interpretation - but when, for obvious reasons, logistics prevented everyone from getting in the same room to even rehearse, the planned recording session at Ty Segall’s Harmonizer Studios took on a different shape.

 Starting off with only drummer Thomas Alvarez (Audacity) to accompany him, Kevin
realized that any obstacles to getting the record made were also opportunities, for
something else that was also right to happen. Rather than reach for the design of the
demos, he kept himself in the present moment, approaching every passage as fluidly
as possible, playing what he needed to play, staying open to what he needed to
know. It didn’t hurt that the laptop with all his songs crashed right after he walked into
the studio! There was no way possible but forward.
 The direction was right on with the guys at Harmonizer - Ty Segall’s sense of
imagination made him the ideal production counterpart to walk together with Kevin
into this world, psyched to experiment and ready to get weird at any time. Ty and
engineer Matt Littlejohn met all requests and requirements in the form of sounds, with
gear and approaches that amazed and delighted, and an eternally ebullient spirit.
 As this was Oog Bogo’s first time recording away from home, Kevin was a kid in a
candy store - where the store owner turns out to be a Wonka-esque philanthropist.
As band members Mike Kreibel (Dirty & His Fists) and Shelby Jacobson (Shannon
Lay) joined the session, there was a synchronicity and community with everyone
involved, finding an unexpected road to realizing the songs, with all the colours and
hues they added making everything pop that much harder.
 Fluidity was key: ‘Plastic’’s tunes depict a polymorphic cast of characters. As in life,
they leap avidly from style to style; from pretty psych rock to new wave apocalypse
disco and harsh post punk bleakness, sometimes in a verse and a half. Corkscrewing
over and over like a riff-driven space-coaster, morphing in and out of each
successive moment with increasing momentum and gravity, ‘Plastic’ defines and
redefines Oog Bogo, with sweet tunes, barely-controlled intensity and sharp
production moves - a killer first album and an equally killer evolving state of mind.

The wiggy wanderings of Oog Bogo wind up on the same island of lost joys all at once, manufacturing a virtual jukebox of singles and side flips that won’t unplug, and just keeps reeling and raging on instead. A bright metallurgy of guitar pop, psych, post-punk and apocalypse disco embosses the sleek, multicoloured flash of ‘Plastic’.

 Oog Bogo are a four-piece rock band from Los Angeles and their new album is ‘Plastic’, an electrifying set of songs and sounds that just don’t stop, working like a machine that makes joy and endless flips and repetitions, whether in front of the turntable or out in the real world.
 In the past several years, Oog Bogo dropped two records that previewed this explosion in wildly divergent ways: 2019’s ‘Oogbogo’ EP, with wigged-out production, its contorted fun house mirror images pulling punk, psych and new wave in and out of focus in a chaotic procession of mutant tunes. 2021’s ‘EP2’ radiates a starkly different vibe, as chilled-out guitar-pop tunes conjure a flowing medley of plaintive echoes and atmospheres in a mellow mist of hiss.

 Kevin Boog recorded these records in a largely hermetic state: at home on 4-track, playing all the parts, slowly drawing out the sounds. The songs for ‘Plastic’ were demoed this way too, as a starting point for a group interpretation - but when, for obvious reasons, logistics prevented everyone from getting in the same room to even rehearse, the planned recording session at Ty Segall’s Harmonizer Studios took on a different shape.

 Starting off with only drummer Thomas Alvarez (Audacity) to accompany him, Kevin
realized that any obstacles to getting the record made were also opportunities, for
something else that was also right to happen. Rather than reach for the design of the
demos, he kept himself in the present moment, approaching every passage as fluidly
as possible, playing what he needed to play, staying open to what he needed to
know. It didn’t hurt that the laptop with all his songs crashed right after he walked into
the studio! There was no way possible but forward.
 The direction was right on with the guys at Harmonizer - Ty Segall’s sense of
imagination made him the ideal production counterpart to walk together with Kevin
into this world, psyched to experiment and ready to get weird at any time. Ty and
engineer Matt Littlejohn met all requests and requirements in the form of sounds, with
gear and approaches that amazed and delighted, and an eternally ebullient spirit.
 As this was Oog Bogo’s first time recording away from home, Kevin was a kid in a
candy store - where the store owner turns out to be a Wonka-esque philanthropist.
As band members Mike Kreibel (Dirty & His Fists) and Shelby Jacobson (Shannon
Lay) joined the session, there was a synchronicity and community with everyone
involved, finding an unexpected road to realizing the songs, with all the colours and
hues they added making everything pop that much harder.
 Fluidity was key: ‘Plastic’’s tunes depict a polymorphic cast of characters. As in life,
they leap avidly from style to style; from pretty psych rock to new wave apocalypse
disco and harsh post punk bleakness, sometimes in a verse and a half. Corkscrewing
over and over like a riff-driven space-coaster, morphing in and out of each
successive moment with increasing momentum and gravity, ‘Plastic’ defines and
redefines Oog Bogo, with sweet tunes, barely-controlled intensity and sharp
production moves - a killer first album and an equally killer evolving state of mind.

When words trail off at the beginning of claire rousay’s »everything perfect is already here«, ornate instrumentation is waiting to fill a void left by the breakdown of language. Yet it becomes clear as we trace rousay’s collaged sonic pathway that breakdown, of meaning and also of melody, is also a place to rest. everything perfect… is made up of two extended compositions that cycle between familiarity and unknowing. There are seemingly infinite ways to feel in response to these pieces of music, which shift tone across their languid duration, earnest like a familiar song but unbound from the emotional didacticisms of lyrical voice and pop form.

rousay builds a fluid landscape around the acoustic contributions of Alex Cunningham (violin), Mari Maurice (electronics and violin), Marilu Donovan (harp), and Theodore Cale Schafer (piano), whose respective melodies weave gently in and out, sometimes steady, sometimes aching, sometimes receding altogether in deference to less overtly musical sounds. That is, percussive texture in the form of unvarnished samples and field recordings: the rattle and rustle and the stops and starts of life unfurling, voices sharing memories nearly out of reach, doors closing, wind against a microphone. Everything comes from somewhere in particular, possessing the veneer of the diaristic, but sound’s provenance is secondary here and so these details become tangled and fused. On this release I hear such details not as individual ornaments or stories but the collective architecture of the greater composition. It’s an architecture that is not quite formed and thus full of openings out to the world unfolding.

“The world unfolding,” that’s a kind way of saying change, movement, loss, transformation. Things rousay here indexes, not without shards of desire or pain, still somehow what I hear is coarse peace in the in-between. These two pieces sweep you away and then bring you to earth, but which is which, anyway? Where am I now? What is different outside of me? What is different inside of me? Um. I think. everything is perfect is already here, like the answers to these questions, is loose and beautiful in surprising ways.

The music guides a certain experience of the world around. In claire’s music there is this marriage—not just a pairing or juxtaposition but an interrelationship, an eventual confusion—of song/texture, narrative/abstraction, figure/ground. Everything comes from somewhere in particular but not just the voices, the field recordings, the what is being said or meant, what matters is the where you are now. There are so many ways of anchoring oneself in the present, some have to do with fantasy or storytelling and some with accepting what is.

These two compositions find peace between these modes. They sweep you away and then bring you to earth, but which is which, anyway? Their mode of feeling is inquisitive. Where am I now? What has changed outside of me? What has changed inside of me? The music, like the answers to these questions, is loose and beautiful in surprising ways.

“Oberst and company have eectively crafted a searing punk fueled half-hour funeral march for both small-town life and the days when you were more likely to hear the words mom and pop than multinational corporation. At the record's core, there is a sense of great disillusionment with watching the cold, calculated displacement of human interaction and community while the world tries to fill the void with money and chain stores.” - Tiny Mix Tapes

“Desaparecidos is like nding gold when you're looking for silver.” - Exclaim!

2022 nds us releasing the 20th Anniversary Edition of Desaparecidos' Read Music/Speak Spanish into a world in which the dread and disenfranchisement detailed throughout the album feel as pertinent today as they did then. The characters and settings may have changed, but the startling narrative has not.

In late 2001, Conor Oberst, Denver Dalley, Landon Hedges, Ian McElroy, and Matt Baum spent a week at Presto! Recording Studio in Lincoln, NE recording a punk album. That debut album, released in the post-9/11 fog of early 2002, screamed out observational commentary on urban development, the sacrice of human value for the dollar bill, and the new American Dream in a way that felt distinctly out of sync with the hyper-patriotic atmosphere of peak G.W. Bush-era America.

Can it really be just be over a year since Yard Act
exploded into the national consciousness with their
debut EP ‘Dark Days’, released via their own Zen
FC imprint? Yard Act have gone on to be one of
2022’s defining artists with the release of their
debut album ‘The Overload’, and their rise has
been as entertaining as it has been meteoric. And
as well as touring the world and smashing sales
records, they’ve still found time to continue Zen
FC, releasing acclaimed 7”s from Baba Ali and
Benefits.
 Being the budding record industry moguls that they
are, they couldn’t bear to see the ‘Dark Days’ EP
languishing out of print. So they commandeered a
Danish pressing plant and rudely shoved their way
to the front of the queue, picked a new colour
(silver in honour of ‘The Overload’ finishing second
in the Album Charts) and rushed through a repress
in time for the summer. And while they were at it,
they sorted out a run on the format of the future –
the noble cassette.
 So there you have it: while you’re thinking about
putting ‘The Overload’ at the top of your albums of
2022, you can enjoy the EP of 2021 all over again.