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As a duo they embrace both sides of the coin, drums and guitar, chaos and order, male and female, ying and yang, the angel and the devil. They are more than the sum of both counterparts though, making for a maximalist auditory experience. PIKA brings her skills of mystifying performance to the table, all free-drum bluster and vocals veering between shrine maiden and wild spirit. Kawabata's guitar-work moves from a roar to a whisper, a yell to a sob, he's working on the same canvas of extremes. The aim of their unity is to write truly celestial hymns for the outer world and odes of love for the inner cosmic context.
 
No strangers to one another, the pair have not only gigged together with their respective bands but also recorded together, when these two outfits temporarily fused in 2005 to become Acid Mothers Afrirampo (releasing an album of the same name). Two years later they distilled their collaboration, all other players being stripped away to leave the core of Pikacyu's manic drums and pop vocal, and Makoto's schizoid guitar conjurings. In 2011 they spent five weeks touring the US and their first album, 'OM Sweet Home: We Are Shining Stars From Darkside', which was released by the esteemed UK label of all things heavy and brilliant, Riot Season. Last year they spent two weeks touring through Europe whilst writing a new album suffused with the outreaching sound and message of their impulsive live performances. This new album is entitled 'Galaxilympics' and will be released by Upset The Rhythm on August 4th on LP and CD.
'Galaxilympics' is an album of contrasts, so much colour, so much shade! 'Space Sumo' kicks off the record in explosive style. Pikacyu's drums jitter, crash and stumble, but steadfastly refuse to groove. Makoto attacks his guitar, cloaking himself in reverb to produce a wall-of-sound, alternating between melody and noise. 'Funifunikonefuni' follows with it's frenzied take on pop music, bubbling with energy and PIKA's multiple vocal layers. 'I'll Forgive' is chant-like in its devotion to following the tumbling melody line of the song even to absurd and unpredictable dimensions. 'Pika Mako Hall' is a more serene affair, with whispered echoes and guitar drones swirling amongst bursts of rapid sequencer ambience. 'Castle Of Sand' picks up on this more spacious approach with slowly developing programmed electronics, before the title track erupts with gurgling synths, soaring guitar trails and PIKA's most searching vocal yet.
 
The album concludes in reflective manner with the suitably titled 'Sayonownara', a song as much in the present as it is in the act of saying farewell. It's positively elegiac with washes of cymbal and deep acres of guitar drone for the first five minutes before PIKA's drums take things up a gear and into more psychedelic out-rock terrain. This insurgence eventually peaks and the album melts away to silence. PIKACYU-MAKOTO have made an album that takes you on a trip into your very soul before emerging once more at the edge of another galaxy. 'Galaxilympics' is a triumph of opposites united, it enjoys walking out into the unknown, but it's also a portal into the very real world of two musicians who find peace and semblance through their interaction. Hymns and odes to one side, this is a giant album of future-facing song and noise, where better to find harmony enthroned

Das siebte Studioalbum der ehrwürdigen Rock-Institution Titus Andronicus wurde produziert von Titus Andronicus Singer-Songwriter Patrick Stickles und dem preisgekrönten kanadischen Produzenten Howard Bilerman (ARCADE FIRE, LEONARD COHEN, THE WHOLE NINE YARDS) in dessen hotel2tango Aufnahmestudio in Montreal. Mit "The Will To Live" laden Titus Andronicus den Hörer auf eine Reise von der Angst zum Glauben, von der Wut zur Akzeptanz, von der Trauer zur Dankbarkeit ein, immer auf der Suche nach dem mythischen Ideal des ultimativen Rock. In Anlehnung an maximalistische Rock-Epen von "Who's Next" bis "Hysteria" hat die Band ihr bisher reichhaltigstes, dichtestes und härtestes Album geschaffen, das die Weite und den Umfang ihres meist gefeierten Werks erreicht und gleichzeitig ihren ehrgeizigen Angriff effektiver als je zuvor gestaltet. "It may strike some as ironic we had to go to Canada to record our equivalent to "Born In The USA," sagt Stickles, "but the pursuit of Ultimate Rock knows no borders." Titus Andronicus kehrten im November 2021 auf die Bühne zurück, um den Jahrestag ihres bahnbrechenden zweiten Albums "The Monitor" von 2010 zu feiern. Die Tatsache, dass sie dieses Material vor einem ekstatischen Publikum spielten, ließ Stickles entschlossen zurück, ein Album abzuliefern, das dieselben Höhen erreichen würde, wobei sie sich diesmal weniger auf das unbekümmerte Feuer der Jugend verließen, sondern mehr auf die Erfahrung und die Perspektive, zu der eine Band erst mit tausend Shows im Gepäck gelangt. Um diesen Grad an Konzentration und Klarheit zu erreichen, musste Stickles an der Schnittstelle zwischen Triumph und Tragödie stehen. Er schreibt seine neu gefundene häusliche Glückseligkeit und seine unerschütterliche mentale Gesundheit für seine persönliche Stabilität in letzter Zeit ebenso zu wie die Ausdauer der mittlerweile am längsten bestehenden Besetzung von Titus Andronicus - Liam Betson an der Gitarre, R.J. Gordon am Bass und Chris Wilson am Schlagzeug - die alle auf dem 2018er Album "A Productive Cough" und dem 2019er Album "An Obelisk" vertreten sind. Auf der grausameren Seite der Medaille entstand "The Will To Live" zum großen Teil als Versuch, den vorzeitigen Tod von Matt "Money" Miller, dem Gründungs-Keyboarder der Band und Stickles' engstem Cousin, im Jahr 2021 zu verarbeiten. Das Ergebnis erweist sich als Meilenstein für Titus Andronicus, ein ehrgeiziges, nach vorne gerichtetes Werk, das an der Schnittstelle von Triumph und Tragödie steht, angetrieben von neu gefundenem Fokus und Klarheit, und das eine einzigartig begabte Rock'n'Roll-Band auf dem Höhepunkt ihrer kreativen Kräfte zeigt.

Das siebte Studioalbum der ehrwürdigen Rock-Institution Titus Andronicus wurde produziert von Titus Andronicus Singer-Songwriter Patrick Stickles und dem preisgekrönten kanadischen Produzenten Howard Bilerman (ARCADE FIRE, LEONARD COHEN, THE WHOLE NINE YARDS) in dessen hotel2tango Aufnahmestudio in Montreal. Mit "The Will To Live" laden Titus Andronicus den Hörer auf eine Reise von der Angst zum Glauben, von der Wut zur Akzeptanz, von der Trauer zur Dankbarkeit ein, immer auf der Suche nach dem mythischen Ideal des ultimativen Rock. In Anlehnung an maximalistische Rock-Epen von "Who's Next" bis "Hysteria" hat die Band ihr bisher reichhaltigstes, dichtestes und härtestes Album geschaffen, das die Weite und den Umfang ihres meist gefeierten Werks erreicht und gleichzeitig ihren ehrgeizigen Angriff effektiver als je zuvor gestaltet. "It may strike some as ironic we had to go to Canada to record our equivalent to "Born In The USA," sagt Stickles, "but the pursuit of Ultimate Rock knows no borders." Titus Andronicus kehrten im November 2021 auf die Bühne zurück, um den Jahrestag ihres bahnbrechenden zweiten Albums "The Monitor" von 2010 zu feiern. Die Tatsache, dass sie dieses Material vor einem ekstatischen Publikum spielten, ließ Stickles entschlossen zurück, ein Album abzuliefern, das dieselben Höhen erreichen würde, wobei sie sich diesmal weniger auf das unbekümmerte Feuer der Jugend verließen, sondern mehr auf die Erfahrung und die Perspektive, zu der eine Band erst mit tausend Shows im Gepäck gelangt. Um diesen Grad an Konzentration und Klarheit zu erreichen, musste Stickles an der Schnittstelle zwischen Triumph und Tragödie stehen. Er schreibt seine neu gefundene häusliche Glückseligkeit und seine unerschütterliche mentale Gesundheit für seine persönliche Stabilität in letzter Zeit ebenso zu wie die Ausdauer der mittlerweile am längsten bestehenden Besetzung von Titus Andronicus - Liam Betson an der Gitarre, R.J. Gordon am Bass und Chris Wilson am Schlagzeug - die alle auf dem 2018er Album "A Productive Cough" und dem 2019er Album "An Obelisk" vertreten sind. Auf der grausameren Seite der Medaille entstand "The Will To Live" zum großen Teil als Versuch, den vorzeitigen Tod von Matt "Money" Miller, dem Gründungs-Keyboarder der Band und Stickles' engstem Cousin, im Jahr 2021 zu verarbeiten. Das Ergebnis erweist sich als Meilenstein für Titus Andronicus, ein ehrgeiziges, nach vorne gerichtetes Werk, das an der Schnittstelle von Triumph und Tragödie steht, angetrieben von neu gefundenem Fokus und Klarheit, und das eine einzigartig begabte Rock'n'Roll-Band auf dem Höhepunkt ihrer kreativen Kräfte zeigt.

Daft Punk's 'ALIVE 2007' set, which won 2 Grammy Awards in 2009 (Best Electronic Album and Best Electronic Single categories) and was previously only available on CD and digital, will be released for the first time as a double vinyl with a triple gatefold sleeve.

Derived from their live performance at Bercy on 14 June 2007, this album was originally published the same year on November 19th. Through this amazing live experience, Daft Punk manipulated and reworked their established material, transposing and deconstructing the structures of their studio tracks.

A limited edition of 'ALIVE 2007' will be released at the same time, in a special box including the album on 2 solid white vinyls, plus a vinyl bonus (Side A: the show's encore (human after all / together / one more time (reprise) / music sounds better with you) /Side B : 'ALIVE 2007' pyramid logo etched), a 52 pages book (pictures taken during the shows), a slipmat and a download card.

'ALIVE 1997' is also being reissued separately. Recorded in 1997 in Birmingham during their first European tour, a few months after the release of 'Homework', this first live testimony was released in 2001. 45 minutes of non-stop live mixing, featuring the band's first standard tracks (Da Funk, Rollin' & Scratchin'...) along with those techno-electronic explosions unique to Daft Punk!

Several things happened before a warm day when I met the four members of Frankie Cosmos in a Brooklyn studio to begin making their album. Greta Kline spent a few years living with her family and writing a mere 100 songs, turning her empathy anywhere from the navel to the moon, rendering it all warm, close and reflexively humorous. In music, everyone loves a teen sensation, but Kline has never been more fascinating than now, a decade into being one of the most prolific songwriters of her generation. She's lodged in my mind amongst authors, other observational alchemists like Rachel Cusk or Sheila Heti, but she's funnier, which is a charm endemic to musicians. Meanwhile Frankie Cosmos, a rare, dwindling democratic entity called a band, had been on pandemic hiatus with no idea if they'd continue. In the openness of that uncertainty they met up, planning to hang out and play music together for the first time in nearly 500 days. There, whittling down the multitude of music to work with, they created Inner World Peace, a collection of Greta's songs changed and sculpted by their time together. While Kline's musical taste at the time was leaning toward aughts indie rock she'd loved as a teenager, keyboardist Lauren Martin and drummer Luke Pyenson cite "droning, meditation, repetition, clarity and intentionality," as well as "'70s folk and pop" as a reference for how they approached their parts. Bassist/guitarist Alex Bailey says that at the time he referred to it as their "ambient" or "psych" album. Somewhere between those textural elements and Kline's penchant for concise pop, Inner World Peace finds its balance. The first order of business upon setting up camp in Brooklyn's Figure 8 studios was to project giant colorful slides the band had made for each track. Co-producing with Nate Mendelsohn, my Shitty Hits Recording partner, we aimed for FC's aesthetic idiosyncrasies to shine. The mood board for "Magnetic Personality" has a neon green and black checkerboard, a screen capture of the game Street Fighter with "K.O." in fat red letters, and a cover of Mad Magazine that says "Spy Vs. Spy! The Top Secret Files." On tracks like "F.O.O.F." (Freak Out On Friday), "Fragments" and "Aftershook," the group are at their most psychedelic and playful, interjecting fuzz solos, bits of percussion, and other sonically adventurous ear candy. An internal logic strengthens everything, and in their proggiest moments, Frankie Cosmos are simply a one-take band who don't miss. When on Inner World Peace they sound wildly, freshly different, it may just be that they're coming deeper into their own. Inner World Peace excels in passing on the emotions it holds. When in the towering "Empty Head" Kline sings of wanting to let thoughts slide away, her voice is buoyed on a bed of synths and harmonium as tranquility abounds. When her thoughts become hurried and full of desire, so does the band, and she leaps from word to word as if unable to contain them all. As a group, they carry it all deftly, and with constant regard for Kline's point of view. Says Greta, "To me, the album is about perception. It's about the question of "who am I?" and whether or not the answer matters. It's about quantum time, the possibilities of invisible worlds. The album is about finding myself floating in a new context. A teenager again, living with my parents. An adult, choosing to live with my family in an act of love. Time propelled us forward, aged us, and also froze. If you don't leave the house, who are you to the world? Can you take the person you discover there out with you?" - Katie Von Schleicher

Several things happened before a warm day when I met the four members of Frankie Cosmos in a Brooklyn studio to begin making their album. Greta Kline spent a few years living with her family and writing a mere 100 songs, turning her empathy anywhere from the navel to the moon, rendering it all warm, close and reflexively humorous. In music, everyone loves a teen sensation, but Kline has never been more fascinating than now, a decade into being one of the most prolific songwriters of her generation. She's lodged in my mind amongst authors, other observational alchemists like Rachel Cusk or Sheila Heti, but she's funnier, which is a charm endemic to musicians. Meanwhile Frankie Cosmos, a rare, dwindling democratic entity called a band, had been on pandemic hiatus with no idea if they'd continue. In the openness of that uncertainty they met up, planning to hang out and play music together for the first time in nearly 500 days. There, whittling down the multitude of music to work with, they created Inner World Peace, a collection of Greta's songs changed and sculpted by their time together. While Kline's musical taste at the time was leaning toward aughts indie rock she'd loved as a teenager, keyboardist Lauren Martin and drummer Luke Pyenson cite "droning, meditation, repetition, clarity and intentionality," as well as "'70s folk and pop" as a reference for how they approached their parts. Bassist/guitarist Alex Bailey says that at the time he referred to it as their "ambient" or "psych" album. Somewhere between those textural elements and Kline's penchant for concise pop, Inner World Peace finds its balance. The first order of business upon setting up camp in Brooklyn's Figure 8 studios was to project giant colorful slides the band had made for each track. Co-producing with Nate Mendelsohn, my Shitty Hits Recording partner, we aimed for FC's aesthetic idiosyncrasies to shine. The mood board for "Magnetic Personality" has a neon green and black checkerboard, a screen capture of the game Street Fighter with "K.O." in fat red letters, and a cover of Mad Magazine that says "Spy Vs. Spy! The Top Secret Files." On tracks like "F.O.O.F." (Freak Out On Friday), "Fragments" and "Aftershook," the group are at their most psychedelic and playful, interjecting fuzz solos, bits of percussion, and other sonically adventurous ear candy. An internal logic strengthens everything, and in their proggiest moments, Frankie Cosmos are simply a one-take band who don't miss. When on Inner World Peace they sound wildly, freshly different, it may just be that they're coming deeper into their own. Inner World Peace excels in passing on the emotions it holds. When in the towering "Empty Head" Kline sings of wanting to let thoughts slide away, her voice is buoyed on a bed of synths and harmonium as tranquility abounds. When her thoughts become hurried and full of desire, so does the band, and she leaps from word to word as if unable to contain them all. As a group, they carry it all deftly, and with constant regard for Kline's point of view. Says Greta, "To me, the album is about perception. It's about the question of "who am I?" and whether or not the answer matters. It's about quantum time, the possibilities of invisible worlds. The album is about finding myself floating in a new context. A teenager again, living with my parents. An adult, choosing to live with my family in an act of love. Time propelled us forward, aged us, and also froze. If you don't leave the house, who are you to the world? Can you take the person you discover there out with you?" - Katie Von Schleicher

Having already played to 40,000 fans this year in their native Ireland, The Coronas release their new single If You Let Me, and their highly anticipated new album Time Stopped, the follow-up to 2020’s intl breakthrough and critically acclaimed True Love Waits. Prior to the release of the Time Stopped album on the 7th October, the band will embark on a 25 date European, North American and Australian tour. The tour culminates in a 4 night run at the Olympia Theatre with the final show expected to be the band’s 60th consecutive sell-out show at the prestigious Dublin venue. Known for high energy live performances and audience singalongs, it’s not surprising that The Coronas were named #1 Live Act of the Year in Ireland’s Hot Press 2022 Readers' Poll.

Lead singer Danny O’Reilly explains the origins of the new single:

“If You Let Me” is a subtle declaration of support - lyrically it’s our answer to the Jackson 5’s ‘I’ll Be There’. When you see that someone you care about is going through a tough time and even though you know that you should wait until they ask for your advice or help, you can’t stop yourself from telling them how you feel about their situation.

Produced by long-time collaborator George Murphy (Mumford & Sons, The Specials, Ellie Goulding) and mixed by Grammy award winning Peter Katis (The National), sonically If You Let Me is a joyous, catchy, indie-rock jaunt that really shows The Coronas at their radio friendly, foot-tapping best.

Blue Vinyl

Das GRAMMY-nominierte Trio PVA veröffentlicht ihr mit Spannung erwartetes Debütalbum, „BLUSH“ Mitte Oktober auf Ninja Tune. Das Album der Südlondoner Band, das kurz nach ihrer 2020 beim Ninja Tune-Sublabel Big Dada (u.a. Yaya Bey, Young Fathers oder Diplo) veröffentlichten EP, „Toner“, erscheint, verbindet den Pulsschlag elektronischer Musik mit der rohen Energie eines lebensbejahenden Konzerts und offenbart mehr über das Trio, als sie bisher je preisgegeben haben. Die elf mitreißenden Tracks der Gruppe, bestehend aus Ella Harris und Josh Baxter (die sich Leadgesang sowie Synthesizer-, Gitarren- und Produktionsarbeit teilen) sowie Schlagzeuger und Perkussionist Louis Satchell, basieren auf einer Formel aus Acid, Disco, knallenden Synthesizern, der Befreiung des Dancefloors und kathartischem Spoken Word-Post-Punk.

PVA begann, als Harris und Baxter 2018 begannen, gemeinsam etwas zu machen, das sie als „Country-Friend-Techno“ bezeichneten. Ihre erste Show, eine Nacht namens „Narcissistic Exhibitionism“ im The Five Bells Pub in New Cross, fand nur zwei Wochen nach ihrem Kennenlernen statt. Der Abend wurde von Harris kuratiert und bot im Obergeschoss Malerei, Bildhauerei und Fotografie, während im Erdgeschoss Bands auftraten. Sie buchte PVA als Headliner. Einer ihrer ersten Songs, „Divine Intervention“, entstand, als Harris ihrer neuen Bandkollegin ihre Träume diktierte. Auf ihrem Debütalbum nehmen PVA die gleiche Energie aus der Live-Szene mit, während sie gleichzeitig eine ganzheitliche Welt voller Textur und Herz aufbauen. „BLUSH“ ist reich an schwergewichtigen Industrial-Beats, zerklüftetem Punk-Spirit und Momenten stiller Kontemplation durch Harris' poetische Lyrics. Das Album rennt unermüdlich vorwärts und verbindet Einflüsse wie Portishead, PC Music, Laurie Anderson und das kultige Rave-Pop-Duo The Pom-Poms mit Leichtigkeit. „BLUSH“ wurde während der verschiedenen Lockdowns geschrieben, eine Leidenszeit für eine Band, die es eigentlich gewohnt ist, die Grenzen ihres Sounds live auf der Bühne auszuloten. Diese Einschränkungen machten PVA aber nicht zu schaffen. Wenn überhaupt, fühlten sie sich durch die erzwungene Distanz in ihrem Songwriting gestärkt. Harris schrieb Gedichte und lernte, Musik zu produzieren, Baxter arbeitete mit anderen Künstler*innen als Produzent, und Satchell setzte sein Musikstudium an der City University fort und studierte unter anderem alte afrikanische Polyrhythmen.

What Are People For? make the perfect kind of dystopic dance music for our times. Born from a collaboration between artist Anna McCarthy and musician/producer Manuela Rzytki, the band could be the illicit lovechild of Tom Tom Club and Throbbing Gristle, displaying the ideal balance of hip shaking vibes and dark provocative content.

On their collaborative debut, McCarthy and Rzytki share songwriting duties. The album was produced by Rzytki herself. They are joined by Paulina Nolte on backing vocals and Tom Wu on drums, while Keith Tenniswood mastered the record.

The whole project stems from a publication and exhibition by McCarthy laying the foundations for the content and lyrics of the album, which is humorous, poetic and political. As a lyricist, McCarthy uses her storytelling ability to explore anxieties and desires, digging into free surreal word associations reminiscent of Su Tissues’ tongue in cheek experiments with Suburban Lawns, but also explosive and gripping like a Kae Tempest rap.
Rzytki’s precise sonic palette and talent at penning structured bangers perfectly complement McCarthy’s playful and subversive language manipulations. Rzytki's beats are rooted in old school Hiphop loop principles and an authentic love for the analog. Her use of an array of synthesizers and other "real" instruments adds to WAPF's depth, soul and sincerity.

The album opens with a joyful anthem, full of energy and melodic hooks. The audience is confronted with the quintessential titular question What Are People For? and told that they are just a mere disposable commodity. Throughout the album, lyrical themes revolve around underground aspects of society, violence, political ideologies, sexuality and mysticism. The content is deep but the album is as danceable as it is biting.

73, with its drum machine hysteria and hypnotic synth basses is a a text collage written on the 73 bus through London, consisting of situations and conversation snippets encountered along the way. Drones indulges in the narrator’s paranoia as they feel they are being watched by cigarette machines, whilst the haunting choir is half spoken, half sung, ending on the orgasmic chanting of the word “mummy”. Nursery Rhyme brings more soothing incantations. There is definitely an affinity for fairytales, albeit adult ones and especially the anarchistic ones such as The Moomins, who were a consistent influence on the band. The artwork for the record, created by McCarthy, is a beautiful children's book-style painting of the group in a forest, seemingly about to engage in a magical encounter to which we are invited.

WAPF? have absorbed and digested a variety of influences. Trip hop, Punk and Techno are rubbing shoulders on Party Time. 1977 was coined “Summer of Hate” in the UK and unsurprisingly in WAPF?’s Summer of War, ethereal singing alternates with a powerful marching Garage/Grime chorus reminiscent of street protests and UK culture.

Mz. Lazy starts like an invitation to meditation and references Gertrude Stein’s book Ida in which she develops the idea that publicity is a new religion and people are now famous for being famous. Repressed anger explodes into violence and freedom at the end of the song as our heroine eventually grabs an axe to destroy her oppressors.
Fantasize, on its part, is raw, sexual and liberating while the closing track Bring Back the Dirt is a welcome hymn into a world that is becoming more and more sanitised.

While exploring deep subject matters throughout their album, WAPF? manage to remain satirical, exciting and funny. Each and everyone of their songs have a cathartic quality.

The visual identity of the band is intrinsic to their appeal. Live, they are eccentric, wild and unapologetic, wearing see-through costumes, bright miniskirts and intricate headpieces while delivering their songs with sharp intensity. Their performances radiate queer sexiness and transcend B52's thrift store aesthetics, creating a space for collective dreaming.

WAPF? is a rare combination of contemporary punk energy, irresistible groove, absurdist dry humour and astounding depth of field. They have the mighty power to create a party with their music and soon you will find yourself lifting your arms as if controlled by an external force, to chant: WAPF? WAPF? WAPF?

– Marie Merlet (Malphino, Little Trouble Girls, London)

Up The Bracket arrived like a raging bull in a tired post-Britpop china shop and introduced the world to The Libertines, a new gang of London bohemians, whose ragged tunes, red military tunics, opiated poetry and "live now pay never" lifestyle came to define the millennial angst of the early noughties. At the heart of the band is the blood bond bromance between the ramshackle Music Hall Jagger/Richards, Peter Doherty and Carl Barat, ably assisted by the rock solid rhythm twins John Hassall and Gary Powell. Any bookie worth his salt would have given you short odds on this quartet surviving more than a month or two, given the teetering on the brink lifestyle they chose to lead, but here we are two decades later and our Byronic heroes, though older and wiser, are still fighting the good fight and making music every bit as vital as their debut. The belief, talent and fervour that Doherty spoke of in their earliest manifesto has stood them in good stead. Up The Bracket, justly considered one of the greatest albums of the noughties, was originally released on October 21st 2002 by Rough Trade Records. The album, a heady stew of indie rock, skiffle, blues, dub and English bucolic pop, was a huge shot in the arm to a largely redundant music scene and helped to inspire the rebirth of guitar music, going on to influence countless artists who followed in its wake. Up The Bracket, which was produced by Mick Jones of The Clash, takes you on a wondrously poetic journey into the band"s mythical world and their fevered dreams of Albion, a land of squalid glamour, liberty, equality, fraternity, gin palaces and chip shops. Quite simply Pete, Carl, Gary and John created a hugely compelling timeless British rock"n"roll classic debut as relevant now as it was upon its release.

Following their eponymous debut in 2007, Exploding Head is A Place To Bury Strangers’ most notable record, garnering the New York noise rock outfit critical praise and a cult fanbase. Lead by Oliver Ackermann, the band had a simple goal for ‘their first proper studio album’; “to create the craziest, most fucked-up recording ever."

Recorded at their Death By Audio studios in New York and released on Mute Records, the album was critically praised for its explorative sound, taking inspiration from shoegaze icons such as Jesus & Mary Chain and My Bloody Valentine. Pitchfork described the album as “frustrated aggression, lacerating feedback… saturated with slender indie-pop melody."

The album has now been digitally remastered by Oliver Ackermann and is presented in three formats; Deluxe 2LP (Band Website & Tour D2C Exclusive), 2CD Deluxe & 1LP Standard. This 1LP 140g Transparent Red Vinyl is housed in Standard Sleeve and features exclusive sleeve notes by music journalist Tris McCall.

‘Stumpwork’ is the follow-up to 2021’s ‘New Long Leg’. The
South London-based group’s first studio album, recorded in
just two weeks with producer John Parish at the iconic
Rockfield Studios, became a huge critical and commercial
success reaching #4 in the UK Album Charts and featuring in
Best Of 2021 polls across the board. Buoyed by its success,
Nick Buxton (drums), Tom Dowse (guitar), Lewis Maynard
(bass) and Florence Shaw (vocals) returned to rural Wales in
late 2021, partnering once more with Parish and engineer
Joe Jones. Working from a position of trust in the same
studio and with the same team, imposter syndrome and
anxiety was replaced by a fresh freedom and openness to
explore beyond an already rangy sonic palette, a newfound
confidence in their creative vision. A longer period in the
studio afforded the time to experiment, improvise, play,
sharpen their table tennis skills.
‘Stumpwork’ was inspired by a plethora of events, concepts,
and political debacles, be they represented in the icy mess of
ambient elements reflecting a certain existential despair, or
the surprising warmth in celebrating the lives of loved ones
lost through the previous year. Surrealist lyrics are as ever at
the forefront - but there is a sensitivity now to the themes of
family, money, politics, self-deprecation, and sensuality.
Furious alt-rock anthems combine across the record with
jangle pop and ambient noise, demonstrating the wealth of
influences the band feed off and their deep musicality. With
the pressure of their debut album behind them, Dry Cleaning
have crafted an ambitious and deeply rewarding new work
that marks them out as one of the most intelligent and
exciting acts to come out of the UK.
LP pressed on white vinyl.

‘Stumpwork’ is the follow-up to 2021’s ‘New Long Leg’. The
South London-based group’s first studio album, recorded in
just two weeks with producer John Parish at the iconic
Rockfield Studios, became a huge critical and commercial
success reaching #4 in the UK Album Charts and featuring in
Best Of 2021 polls across the board. Buoyed by its success,
Nick Buxton (drums), Tom Dowse (guitar), Lewis Maynard
(bass) and Florence Shaw (vocals) returned to rural Wales in
late 2021, partnering once more with Parish and engineer
Joe Jones. Working from a position of trust in the same
studio and with the same team, imposter syndrome and
anxiety was replaced by a fresh freedom and openness to
explore beyond an already rangy sonic palette, a newfound
confidence in their creative vision. A longer period in the
studio afforded the time to experiment, improvise, play,
sharpen their table tennis skills.
‘Stumpwork’ was inspired by a plethora of events, concepts,
and political debacles, be they represented in the icy mess of
ambient elements reflecting a certain existential despair, or
the surprising warmth in celebrating the lives of loved ones
lost through the previous year. Surrealist lyrics are as ever at
the forefront - but there is a sensitivity now to the themes of
family, money, politics, self-deprecation, and sensuality.
Furious alt-rock anthems combine across the record with
jangle pop and ambient noise, demonstrating the wealth of
influences the band feed off and their deep musicality. With
the pressure of their debut album behind them, Dry Cleaning
have crafted an ambitious and deeply rewarding new work
that marks them out as one of the most intelligent and
exciting acts to come out of the UK.
LP pressed on white vinyl.

'Razen is the collective consciousness of core members Brecht Ameel and Kim Delcour, who since 2010 have realized themselves through virtuoistic and highly expressive improvisations with lesser-heard instruments. Experimenting with repetition of tones through controlled breathing and phrasing, Razen arrive at a synesthetic playground of auditory textures and colorful imagery.

The ensemble is carefully orchestrated for every occasion with the intent and desire to escape to environments unbeknownst to them, taking shelter in the fleeting ego-dissolving moments that arise, whether divine or disturbing. While the formula of instrumentation and like-minded peers may appear mundane on paper, it’s Brecht and Kim’s outlook and imagination beyond musical references that’s the immeasurable catalyst to their peculiar pursuits. Conversations about paintings, books, or films ultimately manifest themselves into live performances or album recordings - with the philosophy of embracing playfulness and exploration through the lens of a child’s eye.

Only six collaborators have been invited to their inner circle to date. This is mainly attributed to the rarity of finding spiritual counterparts that are seeking freedom outside the confines of written musical scores. Trading notes and rhythms for strokes and color, the band embodies emotive and meditative drones that demand a deep listening state. Joined by Will Guthrie and Paul Garriau, Razen venture into their vision of Arcadia through Regression, proudly presented by Marionette. On this album, Brecht Ameel turns to his trusty prepared harmonium and celesta, while Kim Delcour controls air and breath on various wind and reed instruments. Featuring Will Guthrie on tuned and melodic percussion (timpani, glockenspiel, marimba, vibraphone), the recordings have a distinct flow and fluid movement when compared to some of Razen’s previous works where rhythm is taking a backseat. Hurdy-gurdy specialist, Paul Garriau, plays accompanying melodies and drones on Moon, Aether and Nebula.

The album's earthly elements deal with survival, timelessness, and simplicity; such as the life affirming rewards of finding refuge and the wonders of observing the interstellar. The unearthly elements pitch this narrative into the realm of mythology and superstition, in the hopes of trying to understand our primeval universe and thrive in the unknown. Regression also addresses Razen’s fascination with inhospitable places and how to adapt to the sorrows that come with this sort of brutalism. The resulting destination is a mind and time bending zone - one that can be reached by riding sound waves that transcend the past, future, and present.'

Written and recorded in the midst of a dizzying stretch in which nearly everything about the way the band lived and worked was turned on its head, Motel Radio's "The Garden" is indeed a work of relentless hope. The songs are profoundly vulnerable here, and the performances are warm and breezy, calling to mind everything from Andy Shauf and Cass McCombs to Beck and Tame Impala with an easygoing demeanor that belies the deep emotional work underpinning them. Motel Radio generated early buzz in their adopted hometown of New Orleans on the strength of their 2015 debut EP, Days & Nights, which helped land them dates with the likes of Kurt Vile and Drive-By Truckers in addition to festival slots at Firefly, Jazz Fest, and more. The band followed it up with the similarly well-received Desert Surf Films in 2016 and their first full-length, Siesta Del Sol, in 2019, touring the country on a seemingly endless loop as they built up their devoted following one night at a time. Since then, the band had set a goal of becoming more self-sufficient and learning to record on their own, and when it came time to cut The Garden, they dove in headfirst, cutting half the collection in an old fishing camp south of New Orleans with the help of engineer Ross Farbe (Video Age, Esther Rose) and the other half fully remotely while engineering themselves. "There was this real creative freedom that came with working remotely and learning how to run the sessions on our own," explains co-lead singer Ian Wellman. "Synths, samples, beats, plug-ins; suddenly these whole new worlds of sound were at our fingertips and the possibilities were limitless." That creative liberation is easy to hear on The Garden, which opens with the mesmerizing "Wise." Like much of the album, it's a gentle meditation on finding joy and fulfillment, on spreading love and positivity. "I've gotta open my eyes," co-lead singer Winston Triolo sings over dreamy guitars and a hypnotic digital drum loop. "I only get one life, well now how can I live it wise?" The airy "Outta Sight" celebrates the simple pleasures of letting go and being present, while the washed-out "Sweet Daze" revels in the warmth of human connection, and propulsive "Happiness Pie" looks for ways to share the comfort and contentment that comes with self-acceptance. On The Garden, they've realized there's no sweeter garden than the one you grow yourself.

This is a document of a band that does not exist anymore. They once appeared at the Sonic Transmissions festival in Austin, TX, and left behind this live recording. It rips. There will be no further activities for this group and they are not available for interviews.

DOUBLE LP ORANGE VINYL

A deluxe, remastered, 20 year anniversary edition of the Heads’ third album proper, the under-rated gem in their canon that is “Under Sided”.

Originally released in 2002 on the Sweet Nothing label (SNLP/CD 11), Under Sided was recorded in 2001 at WhiteHouse Studios in Weston Super Mare, with Martin Nichols engineering. The band had previously recorded tracks for Mans Ruin 10” at these studios (also famous for Ripcord, Heresy, Slowdive, Hardskin, Decadence Within, Icehouse.. amongst many others!).

For the reissue, the original recordings were remastered for vinyl and CD by long time Heads Masterer (!) Shawn Joseph. The resultant 8 tracks, spread over 4 sides of vinyl are some of the best music the Heads have recorded, after a bit of a hiatus following their 2000 US tour / Peel session (included in the boxset / on the 2CD version here), the band regrouped and worked out the tracks for the album, relentless rehearsing for the recording. Very few shows happened in that 2001-2002 timeframe.. band members were busy, earning a living, getting on with life, but they still had some riffs/songs there.

Upon release in 2002 the album got great reviews in the press, from Kerrang and MOJO to the Sunday Times, all helping the Bristol fourpiece confirm their cult status, which has continued to current times..

The remastered album is being reissued as a 4LP + 2CD boxset. The extra 2LP features their Peel session from 2000, as well as a couple of compilation tracks (For Mad Men Only / Born To Go), and some unreleased demo versions, as well as 2 exclusive to this set CDS that feature nearly 150 minutes of Live recordings (mastered, but RAW!) from their gigs on the Thekla in Bristol and rehearsal room tapes in 2001 and 2002.
The boxset will also have a special slip-mat, stickers, and a 24 page booklet of photos /writings, including recollections by each band member, and others including Stewart Lee.

Under Sided is a pounding sike-nightmare that shows the Heads at the peak of their powers, there’s a flow throughout the album of melding psychedelic noise rock to unrelentin rhythms and creating a bad trip for all listening.. open battering-ram “Dissonaut” is a staple in their live shows to this day… even the gentle sooth of “Energy” is enveloped by a white noise fury.. the intensity of some of the tracks: the terror inducing “Bedminster” or “False Heavy” (a tour worn riffmonger from 2000) or the Magnet-esque “Heavy Sea”, showed the band as ferocious as any of the insurgent “stoner” genre of that time.

They were never going to make their living out of touring, record sales… as Hugo mentions in his notes for the booklet, “.. we had less boundaries and felt we could experiment more and not worry about commerciality…” but they were able to make this album.

A deluxe, remastered, 20 year anniversary edition of the Heads’ third album proper, the under-rated gem in their canon that is “Under Sided”.

Originally released in 2002 on the Sweet Nothing label (SNLP/CD 11), Under Sided was recorded in 2001 at WhiteHouse Studios in Weston Super Mare, with Martin Nichols engineering. The band had previously recorded tracks for Mans Ruin 10” at these studios (also famous for Ripcord, Heresy, Slowdive, Hardskin, Decadence Within, Icehouse.. amongst many others!).

For the reissue, the original recordings were remastered for vinyl and CD by long time Heads Masterer (!) Shawn Joseph. The resultant 8 tracks, spread over 4 sides of vinyl are some of the best music the Heads have recorded, after a bit of a hiatus following their 2000 US tour / Peel session (included in the boxset / on the 2CD version here), the band regrouped and worked out the tracks for the album, relentless rehearsing for the recording. Very few shows happened in that 2001-2002 timeframe.. band members were busy, earning a living, getting on with life, but they still had some riffs/songs there.

Upon release in 2002 the album got great reviews in the press, from Kerrang and MOJO to the Sunday Times, all helping the Bristol fourpiece confirm their cult status, which has continued to current times..

The remastered album is being reissued as a 4LP + 2CD boxset. The extra 2LP features their Peel session from 2000, as well as a couple of compilation tracks (For Mad Men Only / Born To Go), and some unreleased demo versions, as well as 2 exclusive to this set CDS that feature nearly 150 minutes of Live recordings (mastered, but RAW!) from their gigs on the Thekla in Bristol and rehearsal room tapes in 2001 and 2002.
The boxset will also have a special slip-mat, stickers, and a 24 page booklet of photos /writings, including recollections by each band member, and others including Stewart Lee.

Under Sided is a pounding sike-nightmare that shows the Heads at the peak of their powers, there’s a flow throughout the album of melding psychedelic noise rock to unrelentin rhythms and creating a bad trip for all listening.. open battering-ram “Dissonaut” is a staple in their live shows to this day… even the gentle sooth of “Energy” is enveloped by a white noise fury.. the intensity of some of the tracks: the terror inducing “Bedminster” or “False Heavy” (a tour worn riffmonger from 2000) or the Magnet-esque “Heavy Sea”, showed the band as ferocious as any of the insurgent “stoner” genre of that time.

They were never going to make their living out of touring, record sales… as Hugo mentions in his notes for the booklet, “.. we had less boundaries and felt we could experiment more and not worry about commerciality…” but they were able to make this album.

A deluxe, remastered, 20 year anniversary edition of the Heads’ third album proper, the under-rated gem in their canon that is “Under Sided”.

Originally released in 2002 on the Sweet Nothing label (SNLP/CD 11), Under Sided was recorded in 2001 at WhiteHouse Studios in Weston Super Mare, with Martin Nichols engineering. The band had previously recorded tracks for Mans Ruin 10” at these studios (also famous for Ripcord, Heresy, Slowdive, Hardskin, Decadence Within, Icehouse.. amongst many others!).

For the reissue, the original recordings were remastered for vinyl and CD by long time Heads Masterer (!) Shawn Joseph. The resultant 8 tracks, spread over 4 sides of vinyl are some of the best music the Heads have recorded, after a bit of a hiatus following their 2000 US tour / Peel session (included in the boxset / on the 2CD version here), the band regrouped and worked out the tracks for the album, relentless rehearsing for the recording. Very few shows happened in that 2001-2002 timeframe.. band members were busy, earning a living, getting on with life, but they still had some riffs/songs there.

Upon release in 2002 the album got great reviews in the press, from Kerrang and MOJO to the Sunday Times, all helping the Bristol fourpiece confirm their cult status, which has continued to current times..

The remastered album is being reissued as a 4LP + 2CD boxset. The extra 2LP features their Peel session from 2000, as well as a couple of compilation tracks (For Mad Men Only / Born To Go), and some unreleased demo versions, as well as 2 exclusive to this set CDS that feature nearly 150 minutes of Live recordings (mastered, but RAW!) from their gigs on the Thekla in Bristol and rehearsal room tapes in 2001 and 2002.
The boxset will also have a special slip-mat, stickers, and a 24 page booklet of photos /writings, including recollections by each band member, and others including Stewart Lee.

Under Sided is a pounding sike-nightmare that shows the Heads at the peak of their powers, there’s a flow throughout the album of melding psychedelic noise rock to unrelentin rhythms and creating a bad trip for all listening.. open battering-ram “Dissonaut” is a staple in their live shows to this day… even the gentle sooth of “Energy” is enveloped by a white noise fury.. the intensity of some of the tracks: the terror inducing “Bedminster” or “False Heavy” (a tour worn riffmonger from 2000) or the Magnet-esque “Heavy Sea”, showed the band as ferocious as any of the insurgent “stoner” genre of that time.

They were never going to make their living out of touring, record sales… as Hugo mentions in his notes for the booklet, “.. we had less boundaries and felt we could experiment more and not worry about commerciality…” but they were able to make this album.

Limited Edition of 1500 copies. Includes a show flyer for the performance. Pressed on green colored vinyl. In the spring and summer of 1999, Satan's Pilgrims were awaiting the release of their self-titled fifth album. During that time, an in-store performance was recorded live at Jackpot Records on June 13, 1999 onto a mono cassette recorder. Since they were promoting a new album which was yet to be released, none of those songs had been performed in front of a live audience before. Both Jackpot Records and Satan's Pilgrims agreed that this lo-fi boombox recording should be released as is and sonically unaltered, since it really captures what it was like to be standing a few feet in front of the band vibrating the entire block. What could be more "Record Store Day" than an album recorded IN a record store? Mastered by Black Belt Mastering (The Germs, Green Day, Pearl Jam). Tracks: 1. Badge of Honor (cut) 2. Theme from the Arturan 3. Fra Diavolo 4. Tears and Gears 5. Casbah 6. All Day Party (All Night Party) 7. Mutha Fuzz 8. Frankenstomp 9. Super Stock 10. Black Marquis 11. Chi Chi 12. Jungle Room

The longest-tenured Irish punk band is undoubtedly Stiff Little Fingers –
who have been bashing and thrashing since 1977
And the vinyl, “Live at Rockpalast 1980”, shows that the band remained a vital live
band (and also, stayed true to their roots) throughout the ‘80s, despite a five-year
hiatus smack dab in the middle of the decade. Singer/guitarist Jake Burns has
been the band’s leader since their inception – with bassist Ali McMordie standing
right alongside Jake most of the time – which saw Stiff Little Fingers being a part
of the first- wave of Euro punk bands, which included the lofty likes of the Sex
Pistols, the Clash, and the Damned, the Buzzcocks, the Jam, etc. And in the
process, Stiff Little Fingers issued such classic punk LP’s as “Inflammable
Material”, “Nobody’s Heroes” and “Go for It” plus the punk anthems “Alternative
Ulster", “Suspect Device” and “At the Edge”. Jake Burns still remembers: "The
place was packed and the audience were with us from the first note. They were
wonderful, singing and bouncing along. It really felt like a "home game" to use a
football analogy. I thought we played really well too, apart from a slight timing
mistake during "Back to Front", a new song we were still learning. (See if you can
spot my giving Jim the "look of death" at that point! LOL!)."

THE UK DOOM LEGENDS PERFORMING TRACKS FROM THEIR CLASSIC
DEBUT ALBUM LIVE IN BRADFORD, 1989
Creators, pioneers & purveyors of the whole Gothic Doom Metal scene which
subsequently came to prominence in the early 90's, Britain's Paradise Lost rose
from humble Northern roots to become one of the UK's leading artists in the
metal genre throughout the decade & beyond, remaining as relevant & revered as
ever to this day after a career spanning over three decades. The band's first two
albums were released on Peaceville, in the shape of 1990's influential deathly
debut 'Lost Paradise', followed up by the more atmosphere- focussed genre
classic, 'Gothic' in 1991.
'Live Death' features a band still in their formative years, with an early showcase
of their raw potential from Bradford Queens Hall, 1989, in their home county of
West Yorkshire, England. From an era of what was still an evolving & blossoming
extreme metal scene, Paradise Lost already displayed an advanced maturity to
their compositions & a developing style of their own, as the quintet perform a set
containing tracks featured on their debut album, the masterpiece of death metal
that is 'Lost Paradise', with tracks such as 'Frozen Illusion' & 'Rotting Misery'.
This edition of 'Live Death' is presented on black vinyl, featuring the original cover
art.

October 18, 1987 was a very special day for the two brothers - and star
jazz musicians - Michael Brecker and Randy Brecker
For years both had conquered the stages of the world together with their band
The Brecker Brothers and earned the reputation of being among the world's
leading jazz musicians on their instruments, the saxophone and the trumpet. On
that evening in the legendary Hamburg factory, both were on stage together for
the first time, each with their own band. 'Live at Fabrik Hamburg 1987' features
the top- class ensemble: Randy Brecker (trumpet), Bob Berg (saxophone), David
Kikoski (piano), Joey Baron (drums) and for the first time at the beginning of his
career Dieter Ilg (bass).
The other recording that features: Michael Brecker (saxophone), Mike Stern
(guitar) Jeff Andrews (bass), Adam Nussbaum (drums) & Joey Calderazzo (keys)
is available on a separate LP2. You will find both concerts together on the 2CD
set.
Quite simply historic concerts at a historic venue.
Randy Brecker writes about it: "These concerts were many years ago, and we
both were on long Euro tours of one nighters, so I think we both tried to put on the
best show we could, to outdo the other (in a good way!) Amazing to me how at
that point in time we were on different paths, I'd had that band with Berg, Kikoski,
Ilg and Joey Baron, for a while, acoustic, more "straight ahead" as we say, while
Mike was on uncharted territory with a new band...this might have been their first
Euro tour so the competition was on, at one of our favourite places to play:
'Fabrik' in Hamburg!...So let the games begin!"

In January 2011 Sam Prekop, Archer Prewitt, John McEntire, and Eric Claridge reconvened at Chicago"s Soma Electronic Music Studios to record their latest release The Moonlight Butterfly. This thirty three minute mini-album finds the band deliverying much more long form and cinematic pieces. The new songs lean upon the band"s more experimental tendencies, taking time to stretch the forms and in someways the new material relates to the way the band re-interpretes some of their songs live. With the band making a shorter than usual record they were allowed to take more chances and ended up with a release that leans a bit more towards the instrumental. Rather than having the vocals be the sole focal point the shifts in emphasis to other instruments facilitated a more open approach. The song "Weekend" from Car Alarm was kind of an unwitting blueprint for some of the new material. Especially the new song "Inn Keeping" where a synthesizer pattern became the armature for the song, a constant to play with and against. "Inn Keeping" is also quite a breakthrough for the band, sounding unlike anything they have done before and breaking the 10 minute mark.

Siena Root – Swedish root rock experience!.Siena Root came to life in
Stockholm and is today considered one of the pioneering Swedish bands
in root rock music
They persistently pulled through with releasing their first album on vinyl back in
2004, long before the retro trend had people carrying down their old turntables
from the attic. The quest to bring out the beauty of analogue music production to
the listeners continued. The live act came to be an uncompromising show, using
all the heavy vintage equipment that most bands lack the strength and passion to
carry along. Even a full-size multi-track tape recorder was brought on tour during
the recording of the live album. The immense dedication to do it all the way is
what made Siena Root stand out from the bunch.With a vast discography and a
reputation of being an extraordinary live act, Siena Root is now releasing their
seventh album. Driven by their passion for experiments with analog music
production they went deep into the Swedish forest, where musical inspiration can
only be distracted by the scent of magnetic tape. The result was as always; heavy
drum grooves, solid bass riffs, screaming guitar/organ dogfights and powerhouse
vocals. All working together in a classic, yet playful and dynamic interaction. But
there's more to it. This album was made as much for listening as for feeling,
thinking and dreaming. A dream of lasting peace…

Steeleye Span are amongst the biggest and most commercially
successful folk-rock bands
Their career, spanning over 50 years, has seen them achieve 4 Top 40 albums and
2 Top 20 singles as well as countless sold out live shows. Through an
everchanging line up, their popularity has continued to this day.
This 2LP release is the first time this album has appeared on vinyl and is released
on red vinyl.
The concert is taken from the 12CD box set covering the band's Chrysalis albums
from 1972 to 1983 and marks the first time that this concert was released.
It features the band at the height of their powers playing to a sold out audience at
London’s Rainbow Theatre in November 1974 in support of the “Now We Are Six”
album release.
Included are many Steeleye classics such as the top 20 single “Gaudete” and
“Thomas the Rhymer”. The band undertake a 7 date UK tour starting October 4th.

With "To the Westcoast / My Fate (Revisited)" by Ara Pacis we are proud to officially release two of the most exciting AOR tracks hailing from Germany.

Ara Pacis, a group from the island Föhr in the North Sea, was originally founded in 1971. Initially influenced by blues and classic rock by The Rolling Stones, The Who, and the like, they were also inspired by bands such as Steely Dan as well as the German/British group Lake. However, Ara Pacis created a style of their own when their privately pressed and self-distributed "To the Westcoast" LP was released in 1979. The songs were mainly characterized by two-part guitar riffs by Töns Brautlecht-Deppe and Wolfgang Schiffner, who also were the core songwriters of the band.

The freshly remastered single starts with the title track "To the Westcoast". Due to its sunny and yacht-y vibe it is easily amongst the best and most authentic tunes out of the "Westcoast rock" genre recorded in Germany. With family connections in California, lead singer Töns Brautlecht-Deppe was able to create and capture the feeling of the Pacific sea shore just perfectly.

The single is backed with a revised studio version of "My Fate". Here, lead singer Töns Brautlecht tells his story about getting into playing guitar as a young boy. The track is also featured on the album but the version we present on the 7" vinyl is an unreleased, even quite funky and more powerful take. It was recorded in 1981 at the Rüssl studio in Hamburg where Brautlecht had just started to work as an engineer.

As the "To the Westcoast" LP was released during a time when styles like New Wave, Synth Pop and Punk became popular in Germany and the interest in organic and soulful rock declined, Ara Pacis' debut remained relatively unnoticed until today and even the Krautrock collector's scene does not seem to be fully aware of this hard to find gem yet of which only 1000 copies were originally pressed. The band is still kept in good memory by their fans as a quite legendary live act and although they officially split in 1982, the group still served their fan base with revival concerts in 1990 and 2002 plus a website with full band story and lots of images from the early days.

We hope this single sheds new light on this great band. It is limited to 350 copies and released in a beautiful picture sleeve which shows the original LP artwork.

Drift, their fifth studio album sees PIANOS BECOME THE TEETH taking
another sonic step forward to craft a musical statement that truly
transcends genres
For the recording of Drift, the band took it back to basics, starting at a familyowned cabin in the woods of Virginia, that they transformed into an analog
recording studio. The band lived together, recorded together and ate dinners
together where they would listen to the day's recordings, talk about them and pull
them apart and reworking them, creating what may be their finest album to date.
Per front man Kyle Durfey, "Something that we really took away from this
experience was just the connection we had together. We produced the record
ourselves with our longtime friend/ collaborator/ engineer Kevin Bernsten who
recorded our first two records." The recordings that the band created using
innovative recording techniques, recording 100% analog are sonically transportive
and certain to mystify and inspire generations of recording artists. All the echoes
were made with old echoplexes and tape delay, which made for a really organic
record. With Bersten's help the band was able to take some of the weirder and
more ambitious ideas they had and turned them into reality making this a
fantastic album for immersive headphone listening.

At the time of this performance Miles Davis was on his final lap but he was still utterly unique. Stalking the stage in futuristic Issey
Miyake couture, his red lacquered trumpet poised for action. Kenny Garrett's searing alto sax and Foley's 'lead bass' share solo
duties but the rhythm section take the honours here. Miles was renowned for his determination to keep moving forwards and in this
band Ricky 'Sugarfoot' Wellman's go-go beat and Darryl 'The Munch' Jones' high energy playing drive the music forwards
relentlessly. No other band has ever sounded like this. In 1987 Miles was still playing funk and rock the be-bop way.
Performed on 25th July, 1987 at Yomiuri Land Open Theatre East, Tokyo, Japan and broadcast by NHK-FM. A 2LP set pressed on
180g Black Vinyl and presented in a gatefold sleeve sealed with Japanese obi strip. With extensive liner notes and archival photos.
Miles Davis - trumpet, keyboards; Kenny Garrett - alto saxophone, flute; Foley (Joseph McCreary, Jr.) - lead bass; Adam Holzman -
keyboards; Robert Irving III - keyboards; Darryl Jones - bass; Ricky Wellman - drums; Mino Cinelu - percussion.

To confuse parts for the whole is inevitable with Palm. Drummer Hugo Stanley, bassist Gerasimos Livitsanos and guitarists/vocalists/high school sweethearts Eve Alpert and Kasra Kurt started making music together as teenagers, and spent much of their twenties in the kind of proximity unusual for adults, outside of touring bands and the International Space Station. For a number of years the band consumed the lives of its members to a point of exhaustion: “To be honest I think we got a little burnt out. There were times where it wasn’t clear if we’d make another record,” says Alpert. It was only after multiple freak injuries followed by a pandemic, forced a pause - from touring but also from writing, rehearsing, even seeing each other- that the four were able to regroup and see a way forward again.



On their latest effort, Nicks and Grazes, Palm embrace discordance to dazzling effect. “We wanted to reconcile two potentially opposing aesthetics,” Kurt says. “To capture the spontaneous, free energy of our live shows while integrating elements from the traditionally gridded palette of electronic music.” In order to avoid what Kurt refers to as “Palm goes electro,” the musicians spent years educating themselves on the ins and outs of production by learning Ableton while also experimenting with “the percussive, textural, and gestural potential” of their instruments. To this end, the band continued the age-old tradition of instrument-preparation, augmenting guitars with drumsticks, metal rods and, at the suggestion of Charles Bullen (This Heat, Lifetones), coiling rubber-coated gardening wire around the strings. The unruliness of the prepared guitar on songs like “Mirror Mirror” and “Eager Copy” contrasts with the steadfast reproducibility of the album’s electronic elements.



While Palm cite Japanese pop music, dub, and footwork as influences on this album’s sonic palette, they found themselves returning time and again to the artists who inspired them to start the group over a decade ago. “When we were first starting out as a band, we bonded over an appreciation of heavy, aggressive, noisy music,” Alpert reflects. “We wrote parts that were just straight-up metal.” Kurt adds, “I found myself rediscovering and re–falling in love with the visceral, jagged quality of guitars in the music of Glenn Branca, The Fall, Beefheart, and Sonic Youth, all important early Palm influences.” Returning to the fundamentals gave Palm a strong foundation upon which they could experiment freely, resulting in their most ambitious and revelatory album to date.

The French neo big band celebrates its 10th anniversary with a live
concert broadcasted live on the French radio station France Musique.
The genesis of this one is an ode to the explorers who went to visit "the
ends of the world", the North and the South poles
Between icebergs, extreme cold, icy waters, infinite landscapes, clear skies and
current and crazy expeditions as led by Jean-Louis Etienne with Océan Polaire.
POLAR STAR embodies the visual and soundtrack of these crazy epics: a music
that is at the same time intimate, fragile and epic, and sometimes abyssal to
escape in a dreamlike exploration movie.
It is an "awareness" album, taking care of the extreme beauty of the world, but
also a message full of hope: to be amazed and to continue to be. POLAR STAR
reveals a new breath, at the same time powerful, sensitive and luminous. It is an
epic whirlwind that immerses us into the depths of a progressive jazz with rock,
electro, and sometimes pop fragments.
"We love what amazed us and we protect what we love" Jean-Yves Cousteau

In the kitchen of the Byron Bay home of Winston McCall stands a
refrigerator, adorned on one side by a quote from Tom Waits: "I want
beautiful melodies telling me terrible things."This, the PARKWAY DRIVE
vocalist says, is a pretty good summation of himself
It holds true, too, as one of the guiding principles behind Darker Still, the seventh
full- length album to be born of this picturesque and serene corner of northeastern NSW, Australia, and the defining musical statement to date from one of
modern metal's most revered bands.Darker Still, McCall says, is the vision he and
his bandmates – guitarists Jeff Ling and Luke Kilpatrick, bassist Jia O'Connor
and drummer Ben Gordon – have held in their mind's eye since a misfit group of
friends first convened in their parents' basements and backyards in 2003. The
journey to reach this moment has seen Parkway evolve from metal underdogs to
festival- headlining behemoth, off the back of close to 20 gruelling years, six
critically and commercially acclaimed studio albums (all of which achieving Gold
status in their home nation), three documentaries, one live album, and many,
many thousands of shows.
While Darker Still remains irrefutably PARKWAY DRIVE, it finds the band sonically
standing shoulder to shoulder with rock and metal's greats – Metallica, Pantera,
Machine Head, Guns N' Roses – as much as it does their metalcore
contemporaries. "I wanted a classic guitar tone for this record," explains Ling, who
credits much of his inspiration to the connection his riffs have with a crowd in a
live setting.
Emerging from the darkness of the past few years, this is the true face of
PARKWAY DRIVE: redefined and resolute, focused in mind and defiant in spirit.

In 1978 five of America's finest jazz musicians, Michael Brecker, Mike Manieri, Don Grolnick, Eddie Gomez and Steve Gadd, decided
to take a break from their lucrative session careers and do the thing they loved best. The result was Steps, an acoustic jazz
supergroup in the time of fusion supergroups. Now legendary the ensemble offered melodic jazz with cutting edge solos and a
rhythm section like no other. For this performance they were joined by the astonishing Japanese guitarist Kazumi Watanabe.
Already a well-known figure at home and soon to be touring under his own name and guesting with The Brecker Brothers band and
Jaco Pastorius’ Word of Mouth ensemble.
Performed at Yubin Chokin Hall in Tokyo on December 6th 1980, broadcast by NHK-FM. Pressed on 180g Black Vinyl and presented
in a gatefold sleeve sealed with Japanese obi strip. With extensive liner notes and archival photos.
Michael Brecker - tenor sax; Don Grolnick - piano; Mike Mainieri - vibes; Eddie Gomez - bass; Steve Gadd - drums; Special guest
Kazumi Watanabe - guitar.

Four time GRAMMY-award winning, fusion-influenced jazz band Snarky Puppy has built a loyal following with their adventurous blend of jazz, rock and funk based around a heavy touring schedule and live-in-studio video content. A rotating roster of some of the most talented musicians and multi-instrumentalists makes for a truly unique sound within the jazz fusion world. Their new live-in-studio audio and visual album, Empire Central, is a love letter to Dallas, representing Snarky Puppy returning to their funk, gospel roots.

Within the panorama and filmic landscapes that open up from the music, stories and fragments of stories are told, about people, the spaces they occupy, their closeness and the distance that lies between them. Written and recorded over 3 years in London, Switzerland and in an ancient barn not far from their Midland’s roots, founding members Simon and Justin Jones who form the core of ‘And Also ­The Trees’ with maverick drummer Paul Hill are joined for the first time by Grant Gordon on bass guitar and Colin Ozanne on clarinet. ­Their inclusion brings a twist to this band’s subtle yet intriguing evolution. ‘And Also ­The Trees’ have been performing live and creatively developing since they formed in rural Worcestershire at the beginning of the post punk era in 1980. Other than a period in their early years when they attracted attention from John Peel, the British music press and Th­e Cure with whom they worked and supported on tours, they have operated mainly under the radar of the media and music industry as a whole, drawing inspiration from the dark underbelly of the British countryside and touring each of their 14 albums across Europe and as far afield as the USA and Japan. It follows their 2016 release ‘Born Into ­The Waves’ an album that many considered to be their most accomplished. A rare accolade for a band of such longevity. AATT will be playing shows Summer and Autumn 2022 with a tour in Spring 2023. Tracklisting: 1. In A Bed In Yugoslavia 2. Beyond Action And Reaction 3. The Seven Skies 4. Th­e Girl Who Walks The City 5. Th­e Book Burners 6. Across The Divide 7. Another Town Another Face 8. Last Of The Larkspurs 9. The Bone Carver 10. Sun Of Kashiva

"They push everything right to the brink and then pull back at precisely the right moment" - Pitchfork

"'Growing Up Pains (Unni's Song) gives a tantalising glimpse of where their future could lie. Matching lucid pop elements to daring innovation, ALASKALASKA allow the song to become a portal to their own potential." - Clash

"It’s impossible to walk away without the repeated promise 'I won’t let you down' in 'Growing Up Pains' stuck in your head – and it’s a mantra we should all be following as we as a species continue to fight for our future." - Beats Per Minute

ALASKALASKA announce their superb new album, Still Life, arriving October 14th on Marathon Artists (Lava La Rue, Courtney Barnett, Pond).

'Still Life' finds writers and producers Lucinda Duarte-Holman and Fraser Rieley embrace a more free-form electronica, giving a taste of what's to come with this fantastic new record produced by Jas Shaw (of Simian Mobile Disco)–full of digital sounds, drum machine and synth melodies cunningly sat beside rich, organic, acoustic instrumentation, it's a looping tug of war between existential dread and everyday simple pleasures.

Listen to / watch the video for 'Still Life' (shot by Jacek Zmarz) here: https://youtu.be/TL7s6QJ3ANc

Four seasons of dawn chorus, panoramically framed by fruit trees and more analog synths than can comfortably fit in a cow shed-come-recording studio...the scene is set for the recording of ALASKALASKA’s second album Still Life. Ordinarily located in South East London, writers and producers Fraser Rieley and Lucinda Duarte-Holman were eager to get out of the city. Taking advantage of this rustic countryside scene, they were able to capture something uniquely their own.

Following their debut album in 2019, they resurface into a new era embracing all the things that first put the band on the map, attracting the likes of Tame Impala, Hot Chip, Porches and Nilüfer Yanya for tour support slots. For Rieley and Duarte-Holman, writing began in 2019, pre-lockdown-era, although the subsequent alone together/together alone time added a new spin on ALASKALASKA's process of experimentation and fine-tuning. The band now push their foundational ideas further and explore the freedom of playing with new sounds. Duarte-Holman explains, “...with everything going on at the time, the restrictions led us to try working in a new way. The limitations were different, but meant we were able to adventure into a more electronic soundscape that we're really looking forward to expressing live."

The ‘Still Life’ LP has been pressed on recycled black vinyl to reduce the carbon intensity of the finished product.

For Fans Of : The Black Keys, Otis Rush, J.B. Lenoir, The Ramones, Hound Dog Taylor, Christone Kingfish Ingram, Magic Sam. GA-20 clearly is on to something big. It’s a movement, a new traditional blues revival. The dynamic, throwback blues trio are disciples of the place where traditional blues, country and rock ‘n’ roll intersect. “We make records that we would want to listen to,” says guitarist Matt Stubbs. “It’s our take on the song-based traditional electric blues we love.” Stubbs, guitarist / vocalist Pat Faherty, and drummer Tim Carman have been at the forefront of this traditional blues revival since they first formed in 2018. It’s no wonder they skyrocketed to the top of the Billboard Blues Chart. According to Stubbs, “Since we started the band we’ve focused on the story, the melody, and on creating a mood. Playing live as much as we do, we’re finding more and more that people are discovering how cool it all is. Traditional country, soul and funk music have all had these massive recent revivals, but traditional blues so far has not.” With their new Colemine album, Crackdown, and an intensive tour schedule, that’s all about to change. On Crackdown, GA-20’s third full-length release, the band creates an unvarnished, ramshackle blues that is at once traditional and refreshingly modern. Expanding on their previous releases (2019’s Lonely Soul and 2021’s Try It…You Might Like It! GA-20 Does Hound Dog Taylor) GA-20 finds inspiration on the edges of the genre, where early electric blues first converged with country and rock ‘n’ roll. The album’s nine original songs include the loping, Louisiana-flavored Dry Run, the dirty, and bare-bones Easy On The Eyes and the melodic, garage-tinged Fairweather Friend. With tight, propulsive performances and a brevity and punk energy reminiscent of The Ramones, Crackdown is rowdy and fun, filled with instantly memorable, and well-crafted songs. Tracks: 1. Fairweather Friend 2. Dry Run 3. Easy On The Eyes 4. Crackdown 5.Just Because 6. By My Lonesome 7. I Let Someone In 8. Double Gettin' 9. Gone For Good 10. Fairweather Friend (Final Goodbye)

Wildly creative free-form songwriter Rachael Dadd is set to release
her brand new studio album, ‘Kaleidoscope’, via Memphis Industries.
The album follows 2019’s ‘Flux’, which was released to much
acclaim, and was the album she was touring when the pandemic
struck. Like so many people disconnected from their communities and
struggling through the lockdowns, Rachael Dadd turned inwards,
seeking escape through music and connection through songwriting,
and her hope is that when people listen to ‘Kaleidoscope’, “they will
feel held and find space to breathe, grieve and celebrate.”
“This album is a lot more honest and personal than ‘Flux’” she shares,
“but I feel the songs are universal as they are largely rooted in truth
and love. If I had to pick a favourite album it would be this one
because of the magical rekindling of human connection when me and
my band got back in a room together again. All that magic went into
these songs.”
Co-produced “intuitively, boldly, and playfully” by Rachael and Rob
Pemberton (The Staves, Emily Barker, Maja Lena), ‘Kaleidoscope’
includes musical collaborators such as Maja Lena (Low Chimes),
longtime collaborator Emma Gatrill (Willy Mason), Alex Heane (bass),
Charlotte West (synths), Alex Garden (strings) and ‘Flux’ producer
Marcus Hamblett (Villagers, James Holden, The Staves), giving the
record “just the right colour combination, just the right pattern of
shapes, plenty of space where needed and finally landing in a sound
world that feels fresh and open and true,” reflects Rachael.
Japanese aesthetics absorbed from her time spent living there are
subconsciously woven into Rachael’s songs. “I first stepped foot in
Tokyo in 2008, sparked by the adventure of such a rich and different
culture and later on I lived on a small island and experienced an
appealing and balanced way of life: the aesthetics, the art and the
traditions,” she recalls. “There was a lot of caring for each other, a lot
of gentleness, and a lot of simple living in harmony with nature. Japan
left its cultural mark on me and is now part of my inner world and I’m
sure this comes out with the words and music I write.”
“But overall,” Rachael explains, “this is an album of homecoming and
reconnecting to my own truth, to my community here, to the earthy
land that I love and to the sky that I know.”

Hailing from Asheville, North Carolina, Town Mountain is the sum of all its
vast and intricate influences — this bastion of alt-country rebellion and
honky-tonk attitude pushed through the hardscrabble Southern
Appalachian lens of its origin
With their latest album, Lines in the Levee, Town Mountain creates a collage of
sound and scope within the same template of freedom found in the round-robin
fashion of the musical institution that is The Band — a solidarity also found in the
incendiary live shows Town Mountain is now revered for from coast-to-coast, this
devil-may-care gang of strings and swagger.Recorded at Ronnie's Place (part of
the Sound Stage Studios) on Music Row in the heart of Nashville, Lines in the
Levee is a bona fide workshop in the seamless blend of Americana, country,
bluegrass and folk roots — this crossroads of deep influences and cultivated
visions each member of Town Mountain brings to the table.

Fifth Anniversary reissue of William The
Conqueror’s debut album, ‘Proud Disturber of the
Peace’, featuring all-new mixes by Joseph Lorge
(Hiss Golden Messenger, Blake Mills, Phoebe
Bridgers et al) and new artwork by Australian
design studio Headjam.
The album includes fan favourites ‘Tend to the
Thorns’, ‘Cold Ontario’ and ‘Sunny is the Style’,
delivered with bluesy, alt-rock swagger and wry,
cerebral lyrics that find the band in the same lane
as Built to Spill, Spoon and Pavement.
Tourdates - October 12 Southampton Joiners, 13
Tunbridge Wells Forum, 14 Cambridge Portland Arms, 16
Liverpool Jimmy’s, 17 Manchester Night & Day, 18
Glasgow Attic, 19 Todmorden The Golden Lion, 20 Stoke
Sugarmill, 21 Sunderland Pop Records, 22 Scunthorpe
Café Indie, 23 London The Lexington, 25 Ashford The
Glass House, 26 Bristol Thekla, 28 Falmouth The Cornish
Bank.