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MIZMOR, is a one-man heavy music exploration that began in 2012 as a
way of dealing with the mental and spiritual anguish mastermind A L N
feels as a person
More specifically, the content behind the project is that of the existential - primal
and innate musings about cause, purpose, self, and god. It is the search for light
and truth, or the fact that there is none. It comes from an embittered, burned,
confused, and broken heart. It is the fight for survival when reason and
foundation has turned to nothingness. It is the crashing down of towers of
falsehood and the freedom that comes through a certain kind of grief. Ultimately,
MIZMOR is the manifestation of my long-felt depression, and neither have an end
in sight.
In A.L.N.'s own words behind the new MIZMOR album "Prosaic":
"The idea behind "Prosaic" was to make an intentionally less conceptual, more
slice- of- life record. I wanted to make an album that was less precious and
obsessed-over, more honest and real; less grandiose and more human. I found it
an interesting challenge to find the line between 'you can do better' and 'you're
beating a dead horse.' I tried to make my process more efficient and even fun at
times. I simply wanted to share, but if that meant exacting all-out perfectionism, I
wasn't going to make a record. Right now I'm interested in making less selfindulgent music. The themes are the absurdity/futility/purpose/meaning of work,
mindfulness/ consciousness/ living in the present moment/ shedding illusions,
depression/ acceptance/ contentment. This is the first MIZMOR album without
any content relating to god/atheism. You also won't hear any shrieks."

Joshua Ray Walker announces NEW RECORD “What Is It Even?” - lending his signature alt-country style to iconic pop songs - paying homage to female-identified powerhouse vocalists and their influence on global culture. Launching with his reimagination of Lizzo’s “Cuz I Love You,” Walker pushes himself and his band to respectfully and artfully build a bridge between two seemingly polar styles of music. What Is It Even? Album Rollout 6/2 - “What Is It Even?” Preorder launch & IG1 “Cuz I love You” 7/7 - "Linger" 8/4 - “What Is It Even?” Street Date The catalyst of Joshua Ray Walker’s new album, What Is It Even?, was sparked on the patio of the Tulsa, Oklahoma music venue and dive bar Mercury Lounge, a fitting origin story for any country record. But this is far from an ordinary country record. It was on that Tulsa patio, deep into tour, when Walker and drummer Trey Pendergrass were half joking about what their gospel jump blues version of Whitney Houston’s “I Wanna Dance With Somebody” would sound like, wondering “what if the Blues Brothers covered a Whitney Houston song?” At that point, it was still unclear how the Dallas native would follow up his trio of critically acclaimed, interconnected albums, all of which were packed tight with character-driven songs that put multiple national-tours worth of crowds on the precipice of staining their shirts with either beers or tears, depending on the song. The third of the trio, See You Next Time, led to Walker appearing on The Tonight Show and CBS Saturday Morning, brought with it performances at the Ryman Auditorium in Nashville and Gruene Hall in Texas, landed him on Rolling Stone’s “Best of 2021” list, and prompted SPIN to call him “one of country’s most exciting storytellers.” Those stories about dive bar dwellers running out of last chances made listeners feel a gauntlet of emotions. What Is It Even?, a 10-track covers album consisting of songs made famous by female pop acts, produced with John Pedigo and arranged alongside his touring band of Pendergrass, bassist Billy Bones, and pedal-steel player Adam Kurtz, was born out of wanting to make people feel joy.

Following up the 2020 Sub Pop Singles-Club with a new single on 7" Vinyl
& Digital once again produced by Don Bolles for maximum
Punk Rock /Junk Shop effect.
C&TH is heart-warming rock and roll originally from Boise, Idaho
Oneself, psych rock band, Clarke performing live with a drumstick in hand, guitar
strings under her thumb, vocals that cut right to the point with a Moe Tucker
rhythm laid underneath, with C&TH, she takes basement rock fuzz, pop precision,
molten neo-psych, weirdo gutter punk while singing exception art/psych damage
pop songs.
Since 2013 she has released five albums. Clarke and the Himselfs (Curly
Cassettes, 2013), Clarke and the Himselfs II (HIB, 2014), The Well-Rounded Clarke
and the Himselfs (Scavenger Cult, 2015), Clarke and the Himselfs and Friends
(SC, 2016), In Your Heart you Know She's Clarke and the Himselfs (CC, 2017)
Throughout this time she's been touring nationally and internationally. Daytrotter
and Paste Magazine listed C&TH as #1 for Rock and Roll and #4 for in general for
their best of 2017 list. Pot Sounds LP in 2019 and The One and Only Clarke and
the Himselfs LP in 2022.

With his sophomore full-length album, Born Hot, Chris Farren paired polished, up-beat pop songs with lyrics full of self-examination and insecurity, all while developing a newfound sense of humor when it came to promoting himself. Stereogum called it “a tongue-in-cheek exploration of ideas of confidence and self-loathing," while The Atlantic featured it on their “Best Albums of 2019” list.

On his third full-length album, Doom Singer, Farren injects his latest work with a newfound sense of power and cohesion. Collaborating for the first time with outside drummer Frankie Impastato (Macseal), Farren's songs take on a whole new dimensionality, with Impastato's live drums bringing a fresh spontaneity to the tracks. Doom Singer marks another significant milestone in Farren's career as it is the first time he collaborated with a producer, multi-instrumentalist Melina Duterte (Jay Som, Bachelor, Routine). Her masterful production experience adds a layer of sophistication to Farren's sound, creating a rich and multi- dimensional sonic landscape that takes his music to new heights. With Duterte's keen ear and meticulous attention to detail, the album resonates with a level of clarity and depth that showcases Farren's songwriting and vocal abilities in a whole new light.

Chris Farren’s music has been praised in outlets such as MTV, Stereogum, and The Atlantic, who describes his music as having “bright-eyed hooks, sparkly orchestration, and tight songwriting.” With numerous world tours alongside artists such as Jeff Rosenstock, The Gaslight Anthem, Laura Stevenson, and others, Farren has been building a dedicated following of fans who connect with his introspective lyrics and infectious pop sensibilities.

Mit ihrem neuen Album "König der Idioten" schreien THE IDIOTS nach einer besseren Welt!
Textlich, wie musikalisch, ist "König der Idioten" sicher das bis dato extremste und härteste THE IDIOTS Album.

"Wir leben im Hier und Jetzt und wollen mit unserem neuen Album zum Aufbruch in ein anderes Leben aufrufen. Eine Gemeinschaft, die sich respektiert, füreinander da ist und sich über kleine Dinge erfreut und in der jeder gleich ist, egal welchen Rang er bekleidet oder ob man reich oder arm ist. Reich ist der, der teilen kann und arm ist der, der immer nur sich sieht!", so Sir Hannes.

Ihr Album ist eine sehr explosive Mischung aus Wort, Musik, Energie und Wut geworden, welches ihren Fans und Hörern ein musikalisches Feuerwerk der besonderen Art bietet. Es soll befreien, aufwecken, zum Nachdenken anregen aber natürlich auch Kraft, Freude und Energie verbreiten.
Auf "König der Idioten" verkörpern THE IDIOTS das, was sie fühlen, denken und wofür sie leben!
Jeder Ton, jedes Wort wird von ihnen gelebt, mit Hingabe zelebriert und steckt voller Authentizität.

"Wir leben im Hier und Jetzt und wollen mit unserem neuen Album zum Aufbruch in ein anderes Leben aufrufen. Eine Gemeinschaft, die sich respektiert, füreinander da ist und sich über kleine Dinge erfreut und in der jeder gleich ist, egal welchen Rang er bekleidet oder ob man reich oder arm ist. Reich ist der, der teilen kann und arm ist der, der immer nur sich sieht!", so Sir Hannes.

Ihr Album ist eine sehr explosive Mischung aus Wort, Musik, Energie und Wut geworden, welches ihren Fans und Hörern ein musikalisches Feuerwerk der besonderen Art bietet. Es soll befreien, aufwecken, zum Nachdenken anregen aber natürlich auch Kraft, Freude und Energie verbreiten.
Auf "König der Idioten" verkörpern THE IDIOTS das, was sie fühlen, denken und wofür sie leben!
Jeder Ton, jedes Wort wird von ihnen gelebt, mit Hingabe zelebriert und steckt voller Authentizität.

Purer Dreck und Zerstörung! Tumulation ist die perfekte Death/Doom Metal Band mit Conjureth Mitgliedern! Seht, die unheilige Kraft von
Tumulation, den kalifornischen Death/Doom-Lieferanten, die eine massive Wand aus heruntergestimmtem Dreck hervorbringen.

Die Umarmung des sumpfigen Death/Doom Metal der frühen 90er Jahre, verströmt "Haunted Funeral Creations" eine bösartige Aura von Aggression und Wut und durchtränkt jede Pore mit dieser infernalischen Atmosphäre.Mit einer unerschütterlichen Hingabe an den Death/Doom Metal der alten Schule bleibt der erstklassige, ranzige und gnadenlose Sound von Tumulation unglaublich abwechslungsreich, ohne jemals in Belanglosigkeit oder Langeweile zu versinken.

Nach einem Instrumenten- und Rollentausch gründeten die Mitglieder von Conjureth im Jahr 2021 Tumulation, um sich neuen
musikalischen Ideen zu widmen. Sie entwickelten einen neuen Songwriting-Prozess, der sich auf den sumpfigen Doom/Death-Sound der frühen 90er Jahre konzentriert.Die beiden Demos von Tumulation wurden sowohl von den Medien als auch von den Fans gelobt und brachten die voll ausgebildeten Veteranen der extremen Musikszene zum Vorschein.

With a sonic palette coated in majestic melodies, luscious sound design, and masterful mixdowns, drum & bass duo GLXY have been creating some of the highest calibre liquid drum and bass since their emergence in 2015. Raising the levels once again with their latest body of work, Shogun Audio proudly presents the 'Fear, Ego' EP, a six-track, stripped-back masterpiece that sees Jon & Tom combine a handful of idyllic productions with collaborations with Lenzman, Halogenix, and Zoe Kypri.

Hot off the back of their 'By Design' EP, this latest project sees the duo further cement their beguiling signature sound whilst venturing into new spaces that encapsulate their ability to continuously keep things fresh year after year. Emitting sumptuous amounts of soul, sonic serenity, and superb sampling, the 'Fear, Ego' EP effortlessly wanders across moods in the most brilliant of fashions.

Whether you're listening to groove-laden sounds of 'Unconditional', their first collaboration with Halogenix, the dark and techy sounds of '3C Roller', or Lenzman's vibrant remix of 'New Soul', this EP is packed full of flavours that will appeal to fans across the drum & bass spectrum.

Pablo Bozzi inaugurates his new label, Second Sight, with the various artists 'Unknown Prospect'.

The title says it all: boundless and vast, Second Sight's intent is to promote the talents of innovative producers who defy genres in the pursuit of their own idyllic aesthetic.

“Insomnia” is the third solo album from Italian jazz beat maestro Koralle for Melting Pot Music. Without exaggeration, it can be described as the most mature and advanced piece of work by the beatmaker and producer from Bologna. On “Insomnia” Koralle invites some of his favourite artists and musical peers to collaborate and exchange sounds, ideas, beats, melodies and lyrics. The guest list includes fellow producers & musicians FloFilz, Pachakuti, Figub Brazlevic, Kuranes, Phoniks and Brous One as well as rappers and singers Kid Abstrakt, KeepVibeNear, Ryshon Jones.

All tracks produced and mixed by Koralle. Recorded at Godblesscomputers Studio, Bologna (Italy). Mastered by Roe Beardie. Artwork by Giulia Dall'Ara. Layout by Chicken George.

Ursprünglich 1995 veröffentlicht, ist SPANNERS das zweite Album von The Black Dog und ihr erstes für Warp Records. Im Jahr 2017 feierte es Pitchfork als eines der '50 besten IDM-Alben aller Zeiten', das nun erstmals seit der Originalpressung 1995 wieder auf Vinyl erscheint. Nach SPANNERS ging das ursprüngliche Trio Ed Handley, Andy Turner und Ken Downie getrennte Wege - Handley und Turner gründeten Plaid, während Downie den Namen The Black Dog zunächst allein und später mit der Unterstützung der Brüder Martin und Richard Dust weiterführte. Die Reissue besteht aus exakten Repliken der Originalausgaben, das Album wurde von Beau Thomas @ Ten Eight Seven Mastering für klassisch-schwarzes Vinyl neu geschnitten.

OVERVIEW: Ever since they arrived on the Norwegian indie scene at age 17, the Oslo-based four-piece Veps has released a steady stream of jaw droppingly mature, indie pop gems. Now, as they are all in their final teenage year, Veps announces their debut album Oslo Park for July 21st release on Kanine Records. Continuing to dish out indie pop bangers with a carefree, DIY attitude, Oslo Park is Veps at their most dynamic. Produced by fellow Norwegian Matias Tellez (Girl in Red, Sondre Lerche), Oslo Park is an emotional, fun ride through adolescence. Feisty rocker “His Brother” evokes the spirit of the alternative rock scene of the early 1990s, before the minor key gem “Crawl” breaks your heart with its honest depiction of teenage heartbreak. The gorgeous ballads “Ballerina (Norah)” and “To the Bedwetters” are both, in their unique way, an instant emotional time capsule to the melancholy and vulnerable aspects of being young and searching for your identity. If their EP, Open the Door, was described by the band as a “love letter to our teenage years,” this album, raw, emotional, beautiful and melodic, is more of a goodbye, perhaps.

SUPERB NEW ALBUM BY STRAWBS. FEATURING DAVID
COUSINS, BLUE WEAVER AND JOHN FORD.
• RADIO COVERAGE, REVIEWS IN NATIONAL PRESS, CLASSIC
ROCK, UNCUT, MOJO, RECORD COLLECTOR AND PROG
MAGAZINES PLUS WEBSITES AND FANZINES.
Vinyl LP edition of ‘The Magic Of It All’ by Strawbs,
recorded in Cape Town and featuring David Cousins, Blue
Weaver, and John Ford from classic 1970s line up joined by
some of the finest musicians and singers in South Africa.
Strawbs were high in the charts with ‘Grave New World’ and
‘Bursting At The Seams’ 50 years ago which coincided with a pivotal
moment in the struggle for freedom in South Africa, when students
and workers launched a new wave of resistance against so-called
“resettlement”. The resistance in South Africa identified with
Strawbs songs, especially ‘Part Of The Union’, ‘Lay Down’, and
‘New World’.
Recognising this, South Africa documentary maker, Niel van
Deventer, approached David Cousins with the idea of producing a
documentary about Strawbs and the band’s influence around the
world. Niel wanted to film while new songs were being recorded in
a Cape Town studio. David Cousins came up with a bunch of his
finest songs; Blue Weaver flew over to produce the sessions and cowrite some of the material, while John Ford joined in with his
contribution to the songs from New York.
Featuring brand-new songs recorded at the Academy Of Sound
Engineering in Cape Town, with engineer Peter Pearlson worked
with Paul Simon when he was recording South African musicians for
the ‘Graceland’ album. The South African musicians on this album
include Mauritz Lotz, Schalk Joubert, Kevin Gibson, Byron
Abrahams, Simangele Mashazi, Marzia Barry and Luna Paige.
Cathryn Craig and Nicole Tee joined the singers from the UK. The
documentary The Magic Of It All will be released later this year.

This July the esteemed scribe, proper DJ, and discreetly deft twiddler Bill Brewster, drops the latest instalment in his ‘After Dark’ series, for Late Night Tales.

A throbbing, louche and leisurely affair, groove is very much at the heart of this freestyle selection, a vibe which Bill de- scribes as “a basement, a red light and a sound system. Or, as the Beastie’s once rapped, slow and low, that is the tempo”.

There’s Hawaiian drum machine bossa balearica from Island Band, percussive afro post punk from Czech jazz singer Jana Koubkova, and breathy-bubbling-dubwise-slap-bass-soul from Debbe& The Code.

There’s also sultry deep house mood music from Lanowa, infectious bouncy jazz funk breaks from Canada High, and Nail’s life affirming re-edit of singer songwriter Gilbert O Sullivan’s electro pop gem ‘So What’.

Bill’s own studio skills are present and correct too, featuring an undulating bassy version of country troubadour Jeb Loy Nichols, reworked along Alex Tepper under their Hotel Motel moniker, and a chugged-up squelchy disco take on Khruang- bin, this time paired with Raj Gupta, as Mang Dynasty.

Chock full of exclusives, tracks are either completely brand new, or available digitally for the first time, whilst others are wallet-rinsing rarities if purchased elsewhere. Whichever way you slice it though, every tune is a highlight, working equally well as standalone nuggets, or within Bill’s fluidly cohesive mix.

Whether he’s taking the roof off a club with his unique selec- tion of deep and tough house music, enchanting a backroom with a genre-bending set of disco, Balearic, rock and hip hop or playing chillout music in a bay in Croatia, Bill Brewster is the man for all occasions.

In a former life, Bill was a punk rocker, a chef and also the co-editor of football magazine When Saturday Comes but has been a record nerd all of his life. He began DJing in the 1980s, but came into his own in the early 1990s, particularly during a two-year stint in New York running DMC’s office, where nights at the Sound Factory and hanging out with Danny Tenaglia gave him the musical grounding you can still hear in his music today.

Bill was also one of the founding residents at Fabric in London, a position he held for five years. There are few still playing regularly today that have his dedication, eclecticism and encyclopedic knowledge of music.

His parallel life is as a writer, and with his long-term part- ner-in-crime Frank Broughton, they have written four books together, including the acclaimed ‘Last Night A DJ Saved My Life’ (latest edition published last July), ‘How To DJ (Prop- erly)’ and ‘The Record Players’.

He has been working in the industry’s fringes for over 40 years including the running of various labels from Twisted UK and Forensic in the ’90s to Disco Sucks and Anorak in the noughties.

He is one of NTS radio’s new residents for 2023 and his ‘Low Life Loves You’ show is available on the first Tuesday of every month.

A white ship sailing in a sea of blackness, Codeine’s swan song arrived in 1994 amid grunge’s ascension to alt radio’s godhead status.
John Engle’s guitar alternates between crystalline and sludge, and Stephen Immerwhar’s distorted bass floats on top of punishing drums from newcomer Doug Scharin (Rex, June of 44), resulting in nine perfect meditations on the loneliness and uncertainty of early adulthood.

A white ship sailing in a sea of blackness, Codeine’s swan song arrived in 1994 amid grunge’s ascension to alt radio’s godhead status.
John Engle’s guitar alternates between crystalline and sludge, and Stephen Immerwhar’s distorted bass floats on top of punishing drums from newcomer Doug Scharin (Rex, June of 44), resulting in nine perfect meditations on the loneliness and uncertainty of early adulthood.

Yasushi Ide, the Japanese Street Music Icon Unleashed "Cosmic Suite 2" in a Revolutionary Blend of Genres.

Yasushi Ide, the revered figure in Japanese street music, has recently unveiled his latest musical opus titled "Cosmic Suite 2," a rebel music masterpiece that pushes the boundaries of musical genres.

This groundbreaking album features collaborations with esteemed pioneers including Afrika Bambaataa, Don Letts, Josh Millan, Jeff Mills, DJ Krush, Tony Allen, and more. By transcending the limitations of time, genre, and even mortality, Ide has crafted a truly unique and eclectic street music experience unlike anything seen before.
Notably, Ide enlisted the expertise of Grammy-winning sound engineer Steven Stanley to embark on the reconstruction of "Cosmic Suite 2" using his renowned dub mix techniques. The outcome of this collaboration is the birth of "Dr. Steven Stanley Meets Yasushi Ide - Cosmic Disco Dub," a mesmerizing rendition that showcases the genius of both artists.

Hailing from Jamaica, Steven Stanley is a highly regarded sound engineer and producer whose illustrious career spans several decades, primarily in the realms of reggae, dub, and rock music. Having worked with acclaimed acts such as Talking Heads, Black Uhuru, and Tom Tom Club, Stanley has solidified his status as a living legend within the industry. His contributions to Tom Tom Club's "Genius of Love" and his Grammy-winning work on Black Uhuru's "Anthem" further exemplify his unparalleled expertise. Additionally, Stanley has collaborated with notable artists including Grace Jones and B-52's.

In "Dr. Steven Stanley Meets Yasushi Ide - Cosmic Disco Dub," Stanley expertly integrates elements from the original "Cosmic Suite 2" tracks, employing his unique dubbing techniques to enhance the sonic experience. Through the addition of his signature dubby reverb and other distinctive sound manipulations, Stanley elevates the album to an entirely new dimension.
"The Battle" Transformed into an Enchanting Disco Dub Experience, Infused with Stanley's Horn Section Effects for a smoky ambience.

In the mesmerizing track "Galactic Beats," the legendary Afrobeat pioneer Tony Allen's powerful drums take center stage. Skillfully applying his dub effects, Stanley adds vibrant layers and new dimensions to the composition, further enhancing its sonic palette.
Another standout is the dub version of "LAVA," featuring acclaimed Japanese singer UA. The track, which was already a fan favorite in its original form, undergoes a remarkable transformation in this dub rendition, further accentuating its appeal.

"Outer Space" Transcends Time and Genre with a Dream Collaboration Between the Late Legendary Reggae Drummer Style Scott and Japan's Turntablist Extraordinaire, DJ Krush. While the original track exudes a stoic and deep cosmic dub essence, Stanley ingeniously reimagines it as a nostalgic old-school dancehall masterpiece.

"Sumimasen" is a track that exemplifies Stanley's mastery, where the unique Japanese word "Sumimasen" (meaning "I'm sorry") is transformed into a psychedelic and deeply immersive dub journey. The track features captivating echoes on the vocals and twisted synth elements, transporting listeners to a cosmic realm of sonic exploration.
Furthermore, it is crucial to highlight "Hear, There, and Beyond," a collaboration between Yasushi Ide, Kan Takagi, the pioneering figure of Japanese hip-hop, and RECK, the bassist from the legendary punk rock band FRICTION. This reconstructed version takes the original track to unprecedented heights. With a remarkable shift to tribal drums in the midst of the song, the energy intensifies, resulting in a wild and exhilarating musical experience.
The reconstruction of this album evokes memories of Mad Professor's "No Protection," a renowned dub reconstruction of Massive Attack's work that remains an enduring masterpiece in the genre. With its exceptional craftsmanship and artistic vision, "Dr. Steven Stanley Meets Yasushi Ide - Cosmic Disco Dub" has the potential to be regarded as another timeless dub reconstruction masterpiece, solidifying its place in music history.

In an era defined by futility, isolation, and precarity, it can be difficult to envision a utopia. But on Skeleten’s thrilling, immersive debut album, Under Utopia, the Sydney musician dares to imagine new ways of being that are not characterized by doom or despair. Across eleven tracks of free-flowing, transcendent, and often euphoric electronic music, Skeleten praises the power of comradery and community; while dreaming of a future that is joyously boundless. 



Skeleten, real name Russell Fitzgibbon, has always been fascinated by the ideas of utopias. He’s thought a lot about how the concept has shifted and morphed throughout history, and how the goal post for a utopia is always moving further and further away. “We're more familiar with the idea of a dystopia in the modern world - that's more close to our consciousness. I think on this album I wanted to explore the importance of imaging and embodying a new world.”

Written before and during the pandemic, the album was born out of a desire to connect with others and to shake the mantle of introspection that had been placed on his previous works. From the opening notes of the otherworldly album opener “Generator”, it's clear that this record prioritises immediate pleasures without forgoing intimacy. The lyrics are also more explicit, reaching outward with inviting choruses and mantra-like melodies. “I think the album came out of the experience of feeling this great desire to reconnect and dreaming of the power of community,” says the musician.

This is especially present in lead single ‘Sharing The Fire’, a song that crackles with optimism. A sprawling dance track with pulsating synths and Fitzgibbon’s gentle, warm vocals, the song is about futures that are full of brightness and bliss. As the artist repeats in the song’s chorus: “for all that you know, summer could be around the corner.” The song is about an “almost frustrated desire to connect with more people and feel that sense of community through shared goals.” The accompanying video clip, shot on 35mm, is similarly invested in ideas of companionship and gathering. Shot in a clinical, drab office space, friends and revelers fill the space with warmth and energy.

Elsewhere, this invocation of paradise is infused in the stripped-back, singular title track “Under Utopia”. The song was significant to Fitzgibbon, as it allowed him to gather all his thoughts and ideas about his new music under one message. “It’s something I wrote when I had this collection of songs and wanted to give it a single voice, which was about seeing the world entirely new, full of hope and beauty, and all of us underneath pushing it upwards.” 

An antidote for gloom presented in Under Utopia is the transformative power of love. There’s “Heart Full Of Tenderness”, a woozy, languorous love song, awash with cloudy vocals and glistening synths; the truncated beats and hypnotic pleading of “Territory Day” and “Right Here It’s Only Love” which explores the icier and ambient side of R’n’B.


Another hallmark that characterizes Under Utopia is Fitzgibbon’s airy and spacious mix, which gives his songs room to sprawl out and simmer; as well as allowing his calming baritone to come to the fore. This is notable in the contemplative, synth-laden “Colour Room”, the funk-tinged “Walking On Your Name,” the previously released “No Drones in the Afterlife,” and the beloved early single “Mirrored,” which speaks of finding yourself through a connection to those around you.

Fitzgibbon has been enmeshed in the Sydney music scene for years. Skeleten emerged out of a need to experiment and make music without worrying about the outcome. “It was just me making music that felt right, and very much focusing on this kind of meditative aspect of exploring without any goal,” says Fitzgibbon. But as the project has evolved, the artist has gained clarity on what he hopes his music will achieve: bringing people together, and creating an atmosphere of elation. Or as Fitzgibbon puts it on Under Utopia’s hallucinatory album closer “We’re gonna get everything we need in the world.”

The follow up to the band’s celebrated 2020 release Fish Pond Fish and Darlingside’s fourth LP marks a subtle but remarkable departure for the Boston-based quartet NPR once described as “exquisitely arranged, literary minded, baroque folk- pop.” While the album retains much of the lushness and sophistication of Extralife (2018) and Fish Pond Fish, the band’s latest work highlights the individuality of the four songwriters in a way that adds a fitting element of reinvention to an album that captures brilliantly the quality of the moment in which it was made. Grappling with change both personal and universal, with quandaries domestic and existential, Everything Is Alive is an album about loss and the struggle for a semblance of redemption; themes of grief, distance and hope permeate an album filled with vivid imagery and lyrical creativity. Comprised of Don Mitchell, Auyon Mukharji, Harris Paseltiner and David Senft, four likeminded multi-instrumentalists who first met at Williams College in 2009, Darlingside’s career has been defined by the elegance of their compositions and the remarkable unity of their four voices. Their talent for harmony and melodic world-building is part of what garnered praise from outlets like NPR, Rolling Stone and The New Yorker, and what has created demand worldwide for their extraordinary live performances. Becoming beautifully unindividualized has, in other words, worked very well for Darlingside in the past. With a vigor and discipline more common to graduate-level writing workshops than to indie rock, Darlingside have, over the years, experimented with all manners of idiosyncratic methods for elevating and upholding a truly democratic process of songwriting—processes that include multiple rounds of group writing and recording exercises—all with the aim of escaping the trap that bands with multiple songwriters often fall into: the ruse of ego-driven infighting and artistic incoherence. Everything Is Alive is Darlingside taking a risk. Nudged by the limitations created by pandemic isolation, as well as through other more voluntary catalysts, the album, which was produced and recorded by the band and mixed by Tucker Martine (My Morning Jacket, Sufjan Stevens, Iron and Wine), foregrounds in a sustained and heretofore untried way the individual voices of each member.

* Debut LP from NYC Garage Rockers * Produced by Nick Zinner from Yeah Yeah Yeahs! Miranda and The Beat are a Rock and Roll band, with all that the term might entail. Drawing from the traditional rock music, as performed by the likes of The Dirt Bombs, The B-52's, MC5, and Ronnie Spector, Miranda and The Beat operate from a clear eyed appreciation of the greats and a healthy, barn-burning disregard for tropes or traditionalist limitations. Garage, soul, punk, classic rock_ pick your poison; the band has plenty to spare. Arriving in New York City in 2018, the band have, through songwriting and performance, proved themselves to be both an essential spark and spearhead to a scene of new blood rockers bringing a much needed renewal of energy to the New York City (garage, rock, whatever) scene. Originally a duo of 21 year old guitarist/vocalist Miranda Zipse and 21 year old drummer Kim "The Beat" Sollecito, the pair quickly added a full band of Kate Gutwald on bass and Dylan Fernadez on organ and soon became known for their tireless, wheel-on-fire live sets driven by Miranda's captivating stage presence, vocal prowess, and her pyrotechnic (but never indulgent!), melodically slashing guitar work. Their live reputation (and a reputation for being neither pushovers nor scumbags) led to collaborations with such childhood idols as The Mystery Lights and Nick Zinner of the Yeah Yeah Yeahs. Soon there was the release of their 7" single Such A Fool, on Jack White's Third Man Records and an extensive North American tour supporting The King Khan and BBQ show. One pandemic later, between days/nights spent sweating out piss, vinegar, and trackloads of tears in the studio, and a rigorous, borderline ridiculous, rehearsal schedule, Miranda and The Beat are, at this juncture, practically monstrous in both sound and vision, and ready to meet the world.

Texas born guitarist Melvin Sparks is one of the godfathers of Acid Jazz. He first came to prominence in the bands of Jack McDuff and Lou Donaldson, providing an essential element in their funky groove-based classics of the late 60s. He then became part of the Prestige Records funk team, under the tutelage of producer Bob Porter. He made his debut LP “Sparks”, for the label in 1970, alongside Idris Muhammad, Leon Spencer and Houston Person. Two further exciting albums appeared on the label with “Spark Plug” and “Akilah” and over a dozen side-man appearances.

When Porter left to set up Eastbound Records in Detroit - as part of Westbound Records - Sparks followed, recording his label debut "Texas Twister” in 1973. The following year, after Porter left, he recorded the album that became “’75” with some of the label’s top session players, including members of Funkadelic and vocalist Jimmy D Scott, who sang on ‘I Got To Have You’ and ‘If You Want My Love’. The nine tracks featured a slicker sound, that mirrored the contemporary soul jazz of the time and included club classics like 'Get Ya Some' and 'Get Down With The Get Down’.

Sparks began recording one more album for the label which languished in the vaults for decades and then mostly concentrated on session work before he was rediscovered by the acid jazz scene in the late 80s, and was brought over to Europe to tour as part of the BGP All-Stars and this late revival saw him record five further albums.

This is the first vinyl reissue of this album since 1975.

The year is 1989. Techno’s second generation has begun to permeate the globe leading a young Carl Craig to a tiny village in the countryside of Belgium. It is here, undistracted and determined to break out, that Craig encounters one of the country’s only drum machines, an Alesis controlled midi-808. In a single session he composes and mixes a handful of records that are still to this day regarded as some of his most raw and explosive contributions to the fabric of electronic music history.

Carl revisits this fateful chapter through the lens of a famed cut from his Psyche alias ‘From Beyond’, with a ‘C2 2023 Mix’ and remixes from Seth Troxler, Ataxia and Admn, out July 14 on Planet E Communications.

The Psyche alias, known for early Transmat releases like ‘Crackdown’ and ‘Elements’, embodied a stripped back, less sample based yin attitude to the yang of Carl’s more aggressive 69 and sample-forward BFC and Paperclip People identities. ‘From Beyond’, first released in 1990 via the ‘Crackdown’ 12” on Transmat, offers an eerie glimpse into the simplistic production that came through Carl’s mastery of the 808 and the sonic value of restricting himself to this movement defining tool.

This new ‘From Beyond’ package sees Carl lift and bend the original in his ‘C2 2023 Mix’ alongside a package of remixes from artists near to the hearts of Detroit and the Planet E fold. Seth Troxler brings a subdued acid tinge to the package, while label regular Ataxia pays homage to the source material with a renewed percussive energy, followed by a soulful rework by Admn.

Whether it be through the 30 year repertoire of his seminal Planet E, his Party / After-Party sound and light installation now on display at Los Angeles’ MOCA, or his continuous work as a champion of Black-led creativity, the Carl Craig mission remains the same: to always rep Detroit and be the realest mutha f***a alive.

The Waterboys’ ninth studio album is made available on vinyl for the first time, in limited edition ‘sunrise’ yellow. Originally released in 2007, ‘Book Of Lightning’ was mostly recorded at the former Island Studios in West London. Alongside Mike Scott and Steve Wickham, the album features contributions from pianist Richard Naiff, keyboard mystic Thighpaulsaandra, guitar ace Leo Abrahams and two killer drummers, Jeremy Stacey and Brady Blade. Selections include the understated country rock epic She Tried To Hold Me, the beautiful Sustain, recorded with members of Canadian band Great Aunt Ida, and two songs written for but not recorded during the classic Fisherman's Blues album sessions: Everybody Takes A Tumble and The Man With The Wind At His Heels. Reviewing the album in The Guardian, Dave Simpson said that Scott's songs, “feel like they have been handed to him from a crack in the clouds”. The vinyl format is 180g Sunrise yellow coloured vinyl. The CD format is packaged in a jewelcase with 16 page booklet.

A masterful funky jazz album by one of the godfathers of acid jazz. Produced by Bob Porter, “Texas Twister” was a continuation of Sparks’ sought-after work at Prestige. The Texas-born guitarist had joined Bob Weinstock’s label at Porter’s request in 1970 after several years working with the likes of Jack McDuff, Lou Donaldson and Reuben Wilson. At Prestige, he recorded three albums as a leader and over a dozen as a session player, showing himself to be a wizard at playing funky licks and energised solos.

When Porter left to set up Eastbound Records in Detroit - as a branch of Westbound Records - Sparks followed, recording "Texas Twister” in 1973 as his label debut. The incredible rhythm section of Idris Muhammad (drums), Sonny Phillips (electric piano), Caesar Frazier (organ) and Wilbur Bascombe (bass) make this album a sure-fire funk bomb. On the front-line, a hard hitting horn section that includes Cecil Bridgewater (tenor sax) and John Faddis (trumpet) are a perfect foil for Sparks. The album includes the monster acid jazz club cut 'Whip! Whop!' and the frenetic 'Texas Twister', as well as a beautiful rendition of the Four Tops’ 'Ain't No Woman (Like The One I Got)’.

After Porter left Eastbound, Sparks recorded the more soul-based “’75” and began to record another album that languished in the vaults for decades. He then mostly concentrated on session work before he was rediscovered by the acid jazz scene in the late 80s, when he was brought over to Europe to tour as part of the BGP All-Stars. This late revival saw him record five further albums of funky blues-drenched jazz funk.

Ace Records now offer you the first-ever UK reissue of this album, that should take pride of place in anyone’s collection of 70s jazz funk.

NoCorner and Stone King proudly presents the first official collaboration between Ossia and Andy Mac. Both are fresh off a series of high-profile releases and projects - Ossia with recent releases on Berceuse Heroique and Blackest Ever Black, and Andy with his new Deep Street label and the 2nd Diving Bird 12 that just came through on Idle Hands.

Featuring three tracks written & recorded between 2015 and 2017, the record sees Andy & Ossia's mutual love for Jamaican and African rhythms, dusty records and a tape-saturated approach to guide a fresh, dubwise production process involving a battered old Roland Sampler and Ossia's infamous half-broken analogue Trident Mixing desk.

A Side Soup Riddim serves itself up as a hybrid slab of dancehall, dub and perhaps even the looser stylings of house - a fresh twist with an eternally-universal emphasis on space, and the movement within it. On the flip, Cado leans even further into negative space, allowing a gorgeous piece of samplism to drive the rhythm all the way to its conclusion in the blink of an eye, with the soft insistence of the percussion playing with the listener's sense of time. This feeling intensifies in the final track, Linguine Loop. A shapeshifting low-frequency hum underpins a hypnotic melodic loop that develops, delays and distorts into a dizzying crescendo of feedback and noise. The final minutes serve as a final reflection on what came before as the melody slowly re-filters into the mix as a ghostly, half-there form of itself, drawing the reductive conclusion to this EP, a triple version excursion of far-away sounds.

Edition of 300, six times (at least) hand-stamped, in kraft sleeve.
Mastered and cut by Lewis at Stardelta.

GER Als Night Beats erschafft der in Texas geborene und in LA lebende Künstler Danny Lee Blackwell Musik, wie man ein Puzzle zusammensetzen könnte. Der psychedelische Autorenfilmer aus dem Westen baut sein Werk aus einem Moment, einer Initialzündung, auf, die bestimmte Kriterien erfüllen muss: Sie muss ihm Gänsehaut bereiten. Wenn dieses Gefühl eintritt, verfolgt Blackwell die Idee unermüdlich, bis er einen neuen Song hat; wenn nicht, geht er zum nächsten Moment über, immer auf der Suche nach dem perfekten Molekül eines Songs. Auf seinem sechsten Night Beats-Album "Rajan" zeigt sich der Songwriter von seiner besten Seite und erschafft Werke, die mit fesselnden Melodien und hypnotischen Rhythmen glänzen, aber auch durch subtile handwerkliche Entscheidungen unterstrichen werden, die nur nach unzähligen Stunden im Studio erreicht werden können. Blackwell erschafft ein Werk, das irgendwo zwischen Spaghetti-Western-Filmmusik und Psych-Pop-Opus angesiedelt ist, ein karrierebestimmendes Album, das viel über Danny Lee Blackwells künstlerische Philosophie verrät und gleichzeitig den so wichtigen Hauch des Geheimnisvollen bewahrt. Exklusiv für den Indie-Handel, todesrote LP, handnummeriert mit Poster und DLC.


ENG As Night Beats, Texas-born, LA-based artist Danny Lee Blackwell creates music like one might assemble a puzzle. The Western psychedelic auteur builds his work from one moment, an initial spark, that must fit a certain criteria: it must give him goosebumps. If that sensation arrives, Blackwell will pursue the idea relentlessly until he has a new song; if not, he moves onto the next moment, constantly looking for the perfect molecule of a song. On his sixth Night Beats album, 'Rajan', the songwriter is at his strongest, creating works that shine with captivating melodies and hypnotic rhythms, but are underscored by subtle choices of craftsmanship that can only be achieved after countless hours in the studio. Blackwell creates a work that lands somewhere between Spaghetti Western film score and psych-pop opus, a career-defining album that reveals much about Danny Lee Blackwell's artistic philosophy while keeping that ever crucial air of mystery intact. Indies only LP on 180g 'Dying Red Giant' coloured vinyl, limited to 350 hand-numbered copies, fold-out art poster, download card included.

"First solo record from Bethany after a 10+ year stint fronting Best Coast. Produced by Butch Walker (Taylor Swift, Jewel, Panic! At The Disco, Weezer, Andrew McMahon). Co-writes with Ruston Kelly, Madi Diaz, Suzy Shinn, Morgan Nagler (Bleached, The Breeders, Jenny Lewis), among others. Press support from: DIY, Dork, HERO, record Collector, Guardian, Upset, Line of Best Fit, NME, Fader, Clash, Stereoboard.
“Natural Disaster was born out of a bit of an identity crisis. I was feeling really stagnant both in my life and in my creativity - the world around me was seemingly falling apart - and I felt like I had two choices; give up entirely or challenge myself to push through and see what was on the other side. This record is the story of a personal journey, one that led me to finding a new side of myself that I didn’t even know was there. It is a snapshot of what it’s like to allow yourself to soften, to take down some of your walls, and really lean into the magic of life.”"

Decoder & Jay York debut their vinyl label "Toca" with their first collaborative EP "Idols". Timelessness, minimalism, and the duo's cultural roots are themes at the forefront of this release.

Through these ideas, they seek to prioritize the quality over the quantity, and put forth more experimental shades of techno on the label.

To Whom It May Concern: introducing here Yogg's groundbreaking release, a fusion of experimental techno, broken beats, bass and IDM music.

Renowned and talented, Tel-Aviv artist Yogg is set to captivate electronic music enthusiasts worldwide with the highly anticipated release of his latest work, showing through 4 tracks an unmatched ability to create intricaqte soundscapes, a meticulous attention to every detail and an innovative blend of styles that pushes the boundaries of sonic exploration, promising a mind-bending auditory experience.

This release will be unveiled on the esteemed 30D Records' sub-label ExoPlanets, in both, vinyl (strictly limited edition) and digital format.

Originally released in 1957 Mal Waldron’s Mal/2 album features some of jazz music’s biggest names. Joining Mal Waldron (piano) are John Coltrane (tenor sax), Idrees Sulieman (trumpet) and Ed Thigpen (drums) amongst others. This new edition of the album is released as part of the Original Jazz Classics Series and is pressed on 180-gram vinyl at RTI with all-analogue mastering from the original tapes by Kevin Gray at Cohearent Audio and presented in a Tip-On Jacket.

Ced Gee & Kool Keith, both members of the legendary Ultramagnetic MC's, regroup for a new Ultramagnetic MC's record. The resurgence of classic Hip hop moves strong into 2022 with new release from Ultramagnetic MC's "Kool Keith x Ced Gee." Arising from the Boogie Down Bronx in the mid-'80s as a far-flung hip hop trio with a heap of new ideas to try out, Ultramagnetics Kool Keith, Ced Gee, and DJ Moe Love occupy something of a singular place in the old-school pantheon. Combining funk-heavy tracks with jeep-rocking beats and obscure lyrical references, Ultramagnetic MCs have a list of firsts to their credit: the first rap group to employ a sampler as an instrument, the first to feature extensive use of live instrumentation, the first to feature a former psychiatric patient (Kool Keith) on the mic. Early singles like "Something Else" and "Space Groove" were block-party staples and created waves in the underground, eventually landing the group on the disco-dominated Next Plateau label, where they released their underappreciated debut. The following years found the group shuffling from label to label, releasing albums on Mercury and Wild Pitch before splitting to pursue various projects. This special event will feature Kool Keith and Ced Gee performing classic Ultramagnetic MCs songs and sharing stories and history about the making of their iconoclastic catalogue.

Borrowed Tongue is the debut solo album by Korean singer-songwriter Minhwi Lee. It’s a mysterious, strangely compelling thing, an album of rare poetry, and remarkably self-assured. Originally released in November 2016, the album made waves, winning best folk album of 2016 at the 14th Korean Music Awards. Its eight songs, written and predominantly arranged by Lee, don’t reveal their secrets easily, or at first blush; rather, they take their time slowly to unfurl in her listeners’ worlds. There are hints of other music here, from time to time: the intimacy of Stina Nordenstam, perhaps; the gauzy haze of Hope Sandoval, on the blissed-out pop of “Broken Mirror”; there are touches of acid-folk, and ECM jazz, and a slyly filmic approach to songwriting and arrangement that makes every song fit perfectly into the album’s arc.

Lee arrived at her solo music through a complex, circuitous route. After studying musicology in Seoul, she learned her trade, film scoring, in New York and Paris. She also studied classical music, blowing off steam in a wild punk duo, Mukimukimanmansu, who released one album, 2012, on Korean indie label Beatball. Subsequently, Lee has been refining her music, focusing both on her solo songs, and on writing for television series and films; she’s written scores for films by such directors as Sangmoon Lee, Jeongwon Kam, and Wanmin Lee. She also plays in the jazz outfit Cubed, and recently joined doom metal group Gawthrop on bass.

Since its release in 2016, Borrowed Tongue has slowly bewitched listeners with its idiosyncratic arrangements and evocative songwriting. It’s an album that hints at plenty, but refuses to make grand statements, something Lee seems intent to pursue: in correspondence, she’s very clear that she wants these songs to enact a kind of transmutation, to be adopted into the listeners’ lives and exist within their own imaginings. She does, however, offer a few hints to what propels these mercurial songs, explaining, “this album is about a person who again opens their mouth, which was once shut. The album deals with what it means to speak: things that are known but not said, things that should be said but are not, things that cannot be said but nonetheless are.”

This may well explain the curious mood of Borrowed Tongue, the multiple ‘voices’ that inhabit the album; Lee’s singing voice is pliable and mutable, approaching each song as its own diorama and ensuring the song is sung with just the right tone. The arrangements Lee conjures for her songs are all in service to narrative and melody; they appear to her alongside the composition, which is surely why everything here fits together so beautifully. From there, Lee approaches her songs carefully, in deference to their ‘need to be sung’ a certain way. There isn’t a moment wasted: everything on Borrowed Tongue is as it needs to be, whether a melancholy folk song taking to the air, or a psychedelic reverie dreamed into being. It’s a beautiful, poised and confident debut.

Pinchy & friends is delighted to present the latest offering from Kaifeng-born and raised, Vancouver-based musician Yu Su.

In her first major release of original music since 2021’s acclaimed “Yellow River Blue” LP, Yu Su says elements for the EP began to form during time spent in the deserts of Ojai, California and the fertile coastal areas around her home in British Columbia. Of the new release, Yu Su says the ideas are thanks to “the objects around (colors, reflections of light, wood burning in the fireplace, and material rhyme with the sounds in the room) the desert and valley plants, the ground where citrus grows, and the flood a rainstorm created.” She notes that “the golden earth is the changing point of the matter, earth centers, stabilizes, and conserves, nurtures, and seeks to draw all things together with itself.”

Likewise, the four varied pieces of the EP match four very different landscapes: Earth-of-water (Wet/Cold Earth) Earth-of-Fire (Arid/Hot Earth) Earth-of-Metal (Dry/Hard Earth) Earth-of-Wood (Loose-Fertile/Warm Earth).

Additional guitar and bass were provided by Scott Johnson Gailey and Aiden Ayers - who also play in Yu Su’s live band.

The vinyl release comes on 180g vinyl in a full-colour sleeve by Seoul based Lobde Kim, with OBI STRIP.

indian green vinyl 2022 repress

City Of Light is the sixth solo album by American composer Bill Laswell, released on July 29, 1997. While it may appear an anachronism in his catalog, fans of Bill Laswell will find City Of Light an extension of ideas he has explored throughout his career. His strong interest in Eastern music and religion resulted in this 1997 collaboration with Janet Rienstra. Part sacred, spoken word, part meditative soundscape, City Of Light takes as its inspiration the holy region of Banaras, India. Said to belong to Shiva, Banaras also contains the Ganges river: a place sought by Hindus for their cremation. Surrounding the texts is some of the most compelling music this genre has produced featuring Trilok Gurtu on tablas, Coil (Peter Christopherson & John Balance) on electronic, Tetsu Inoue at sound collages and Lori Carson at vocals.

After the release of "3.3 magnitude" and the remixes of the single "1.3 HDG" unveiled last February, H3 Records continues its musical exploration between rap and electronic music with a new release, "Music 4 Tesla".

This time, rapper Kaba joins forces with producer Hyas and unveils a slender and festive 6-track track, true to the label's identity.

Hyas started producing music in 2017 and released his first projects completely independently. Today, he has more than twenty releases on labels such as 99CTS and Casa Voyager. The Lyon native, resident of Le Sucre and Rinse FM, has a string of dates and festivals in France and abroad and founded his own label Bardouin Music in 2020.

For his part, Kaba has released three singles this year, including two featuring Karmen (formerly Tortoz) and Samy Ceezy, and a 10-track "Long Story Short", a joint project with the young beatmaker Keno.

The connection between the two artists was very natural: the rapper's ambitions and Hyas' influences complemented each other and led to a first draft of tracks, convincing enough to form the basis of a joint project. With influences from UK Garage, Acid House, Ghetto House and 2step, "Music 4 Tesla" is a high-flying, catchy, danceable, warm and sunny project. Throughout the tracks, Kaba borrows incisive old school flows (like on "4daMob") but also "DMV" (overlap flows where the phrases overlap like on "Original G") and enriches the musical universe of the project, which carries in it this fever of H3 Records' sounds.

Between pervasive house influences and bouncy bass, borrowed from funk sounds, "Music 4 Tesla" depicts throughout its 20 minutes a captivating gradation of festive ambiences, and proves again that the marriage of rap and house is definitely made to last.

Hitler Bad, Vandals Good ist das bahnbrechende Album von The Vandals auf dem Punkrock-Label Nitro Records. Die kalifornische Band veröffentlichte 1998 ihr bisher kommerziell erfolgreichstes Album, das die Single My Girlfriend’s Dead”, die Fan-Favoriten Idea for a Movie” und People That Are Going To Hell” sowie eine Coverversion von So Long, Farewell” enthält. Zum 25-jährigen Jubiläum ab dem 21.07 als limitierte blaue 1LP verfügbar.

LP includes Poster.

When Sacred Bones first began their Mort Garson reissue project in 2019 with a proper reissue of Plantasia, the Garson-naissance began in earnest. Soon after, you could hear Mort Garson and his Moogs bubbling up on TV shows, documentaries, podcasts, hip-hop tracks, or anywhere else, the man a cultural phenomenon once more.

Like a perennial that returns with each new spring, the Mort Garson archives have brought to bear yet another awe-inspiring bloom.

Journey to the Moon and Beyond finds even more new facets to the man's sound. There's the soundtrack to the 1974 blaxploitation film Black Eye (starring Fred Williamson) alongside some newly unearthed music for advertising. Just as regal is "Zoos of the World," where Garson soundtracks the wild, preening, slumbering animals from a 1970 National Geographic special of the same name.

The mind reels at just what project would have yielded a scintillating title like "Western Dragon," but these three selections were found on tapes in the archive with no further information. The crown jewel of the set is no doubt Garson's soundtrack to the live broadcast of the 1969 Apollo 11 moon landing, as first heard on CBS News. That's one small step for man, one giant leap for Moogkind. But for decades, this audio was presumed lost, the only trace of it appearing to be from an old YouTube clip. Thankfully, diligent audio archivist Andy Zax came across a copy of the master tape while going through the massive Rod McKuen archive.

So now we get to hear it in all its glory. Across six minutes, Garson conjures broad fantasias, whirring mooncraft sounds, zero-gravity squelches, and twinkling études. It showcases Mort's many moods: sweet, exploratory, whimsical, a little bit corny, weaving it all together in a glorious whole.

Maybe at the time it scanned as crass and opportunistic for Garson to apply his keyboards to subjects like astrological signs, the occult, hippiedom, houseplants, or the moon landing. But more than most other electronic music pioneers of his ilk, Garson foresaw the integration of such electronics into our daily lives, how they would allow us to engage with the world.

LP includes Poster.

When Sacred Bones first began their Mort Garson reissue project in 2019 with a proper reissue of Plantasia, the Garson-naissance began in earnest. Soon after, you could hear Mort Garson and his Moogs bubbling up on TV shows, documentaries, podcasts, hip-hop tracks, or anywhere else, the man a cultural phenomenon once more.

Like a perennial that returns with each new spring, the Mort Garson archives have brought to bear yet another awe-inspiring bloom.

Journey to the Moon and Beyond finds even more new facets to the man's sound. There's the soundtrack to the 1974 blaxploitation film Black Eye (starring Fred Williamson) alongside some newly unearthed music for advertising. Just as regal is "Zoos of the World," where Garson soundtracks the wild, preening, slumbering animals from a 1970 National Geographic special of the same name.

The mind reels at just what project would have yielded a scintillating title like "Western Dragon," but these three selections were found on tapes in the archive with no further information. The crown jewel of the set is no doubt Garson's soundtrack to the live broadcast of the 1969 Apollo 11 moon landing, as first heard on CBS News. That's one small step for man, one giant leap for Moogkind. But for decades, this audio was presumed lost, the only trace of it appearing to be from an old YouTube clip. Thankfully, diligent audio archivist Andy Zax came across a copy of the master tape while going through the massive Rod McKuen archive.

So now we get to hear it in all its glory. Across six minutes, Garson conjures broad fantasias, whirring mooncraft sounds, zero-gravity squelches, and twinkling études. It showcases Mort's many moods: sweet, exploratory, whimsical, a little bit corny, weaving it all together in a glorious whole.

Maybe at the time it scanned as crass and opportunistic for Garson to apply his keyboards to subjects like astrological signs, the occult, hippiedom, houseplants, or the moon landing. But more than most other electronic music pioneers of his ilk, Garson foresaw the integration of such electronics into our daily lives, how they would allow us to engage with the world.

As the void stares back at me, I am consumed by the waves of this new sonic transmission. ESP's Goblin Synth reigns supreme, guiding me into the darkest corners of my mind, as the Galaxian remix shatters my being into a thousand pieces. This release is a frenzied piece of IDM, braindance, and DnB, fueled by a chemical fury that leaves my mind in a state of pure ecstasy. The relentless pace and shifting soundscapes of the A-side are the perfect conduit for the raw power of the Galaxian remix, taking me beyond the limits of what I thought was possible.

On the B-side, I am treated to a liquid dnb homage that is no less relentless in its pursuit of sonic intensity. Here, the rhythms are more organic, more fluid, but no less potent in their ability. This is music that demands a total surrender of the self.

The insidious rhythms of ESP's Goblin Synth seize my consciousness like a viral agent, rendering my being porous and open to the twitching, glitching transmissions emanating from the depths of the machine. With each stuttering break and howling, modulated synth line, I am hurled headlong into a world of ravenous, cybernetic abandon - a blackened, dystopian horizon of shattered glass and flickering neon.

As my mind is hijacked by the rushing currents of amphetamine psychosis, I realize that this is no mere exercise in genre or form, but an all-out assault on the very fabric of reality itself. The sonic textures here are hyper-real, beyond the grasp of normal human perception - this is the sound of the post-human, the sound of the inhuman, the sound of a future that is rapidly bearing down upon me, whether I am ready or not.

And yet, amidst the chaos and decay, there is a kind of perverse beauty at work - a beauty that can only be glimpsed through the shattered glass of my own shattered subjectivity. With each burst of static and each crunching bassline, I am hurled deeper into a vortex of metallic, crystalline wonder, a realm of pure, unadulterated sound that is as terrifying as it is sublime.

Throughout 2022, The Wedding Present’s ‘24 Songs’ series saw the legendary indie band release two new tracks a month as double A sided 7”s, ultimately creating a much-sought-after box set. David Gedge has now re-curated full-length versions of all twenty-four tracks for a new compilation album that will also comprise five bonus recordings including one featuring The Wedding Present’s first guitarist, Peter Solowka.

‘24 Songs’ was a doff of the cap to The Wedding Present’s ‘Hit Parade’ project of 30 years previous. That series proved to be a real milestone for the band with them becoming only the second-ever artist to achieve twelve Official UK Top 40 hits in a calendar year – at the time something that only Elvis had achieved!

David Gedge says: “When it came to compiling the ‘24 Songs’ album, I decided not to sequence the tracks in chronological order. With six sides of vinyl, you have six ‘beginnings’ and six ‘ends’ to play with, and I felt that the opportunity to build some kind of a musical journey was too good to miss! Listening back to this collection, I have to say that I genuinely believe that, for this project, The Wedding Present have recorded some of the best tracks in our history. I loved releasing the singles, but it’s satisfying to have them all rounded up together.”

“The idea of releasing another collection of twenty-four tracks did initially seem quite daunting,” admits David Gedge in the deluxe-CD sleeve notes but, with Jon Stewart (also of Sleeper) having joined the band at the end of 2019 and their subsequent writing partnership flourishing, he began to feel confident that they would be able to produce a year’s worth of music. And, with one of the UK’s most influential independent record labels by their side in Clue, a key partner to EMI North who will be distributing the record - there was no looking back.




























[xa] 27. Jump In, The Water’s Fine [Japanese Edit]
[xb] 28. We All Came From The Sea [Utah Saints Remix]