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Black Truffle is thrilled to announce a reissue of Chico Mello and Helinho Brandão’s self-titled release from 1984, the first return to vinyl of this classic of Brazilian experimental music with its original cover art and complete track listing. An under-recognised figure whose work inhabits a singular terrain where radical new music techniques and music theatre meet musica popular brasileira, Mello has lived and worked in Berlin since the late 1980s. A student of Dieter Schnebel, Mello played in the 90s iteration of Arnold Dreyblatt’s Orchestra of Excited Strings alongside compatriot Silvia Ocougne, with whom he produced a radical and hilarious deconstruction of MPB classics on Musica Brasileira De(s)composta (an early and rather atypical release on Edition Wandelweiser).

On this release, his only recording predating his move to Europe, Mello works with the alto saxophonist Helinho Brandão, who appears to be otherwise unknown outside Brazil. The record’s six tracks range from solo saxophone improvisation to densely layered ensemble works bridging minimalism, acoustic sound art and a plaintive melodic sensibility that calls up Edu Lobo or Milton Nascimento. Beginning with a dramatic, dissonant wind and string surge from which emerge ominously pounding piano chords, opener ‘Água’ slowly builds in intensity, a halo of clustered vocal harmonies gradually closing in on Brandão’s squealing sax until the piece opens up to reveal a gorgeous passage of melodic singing. The piano accompaniment reduces to tolling bass notes as the voice begins a repeated incantation, suggesting a ritualistic atmosphere reminiscent of parts of Xenakis’ setting of Oresteia. Dissonant, sawing tremolos on the strings climb to a crescendo before disappearing into the sounds of water being poured and splashed into metal vessels, presented not as a field recording but as a percussive element performed by the ensemble. A child’s voice then appears, singing to piano accompaniment the same melody heard earlier in the piece. After a brief solo alto improvisation from Brandão, working with the guttural pops and fleeting melodic gestures of Braxton or Roscoe Mitchell, the remainder of the first side is dedicated to the leisurely unfolding of ‘Baiando’ over the course of twelve minutes. A trio for Brandão on soprano saxophone, Mello on a very period-appropriate phased nylon string guitar and Edu Dequech on bongos, the performance eases its way hypnotically through subtle variations on a set of rhythmic and melodic patterns, almost derailed at points by Brandão’s wild forays into extended technique but held together by Mello’s droning guitar notes.

The second side opens with another multi-part epic for a larger ensemble, ‘Matraca’, which makes use of strings, electric guitars and a wide range of South American percussion instruments. Rasping violin harmonics hover as drum hits, repeated guitar notes and triangle accompany a slowly descending bass glissando. A sudden change in direction introduces a thrumming, incessantly repeated bowed bass tone, beginning a series of episodes of minimalist phasing and pattern variation, the combinations of electric guitars and orchestral instruments giving the ensemble an ad hoc charm like the early Penguin Café Orchestra but with more percussive drive. Eventually the piece is overrun by a cacophony of the titular matracas (a kind of ratchet/cog rattle). Following a lyrical trio improvisation by Mello, Brandão and Gerson Kornin on bass, the final ‘Danca’ focuses entirely on Mello’s layered acoustic guitars and vocals, using this restricted palette to build up a haunting piece of almost orchestral density, reminiscent of the 70s work of Egberto Gismonti in how it thickens a folkish ambience with harmonic sophistication.

Arriving in a starkly beautiful gatefold sleeve and sounding better than ever in its new remaster, one might call the stunning music contained on Chico Mello/Helinho Brandão ahead of its time. But what (other than some of Mello’s own work) produced in the years since its initial release has really touched the organic fusion of minimalism, free improvisation, radical instrumental technique and popular song achieved here? Forty years after its first release, Chico Mello/Helinho Brandão remains music of the future.

Vinyl Packaging: Full color jacket featuring original artwork by Callum Rooney. Can I Communicate With the Unknown? is the new album from Go By Ocean, moniker of Northern California based singer / songwriter / producer Ryan McCaffrey. Co-produced alongside Tim Bluhm (The Mother Hips) and David Glasebrook, the album features contributions from a wide cast of characters, ranging from the tight knit community of Phil Lesh’s much loved Terrapin Crossroads to the wider West Coast indie-rock scene, including members of The Mother Hips, Sugar Candy Mountain, ALO, Tea Leaf Green, and more. Building upon McCaffrey’s catalog of songs, the new album finds inspiration in the down-to-earth music of 1970’s Marin County, when songwriters like Michael Hurley and Jesse Colin Young lived out in Olema and Point Reyes, the kind of places where songs blow in on the breeze from the Pacific Ocean. Lyrically, the album traces a hero’s journey as the narrator struggles with addiction, eventually finding peace and freedom in a tumultuous world, wrestling with metaphysical and spiritual ideas along the way. Highly anticipated new album from Go By Ocean, co-produced by Tim Bluhm of The Mother Hips. Press coverage includes reviews and features in Austin Town Hall, Glide Magazine, Psychedelic Baby Magazine, and more. UK/EU Publicity handled by Chris Carr & Mal Smith. “...washed with breezy beachy vibes…” - Glide Magazine // “...marries the bright guitar arrangement of The Byrds with an updated indie appeal.” - The Wild Is Calling // “...you can almost feel the hope over the hills waiting for you with open arms.” - Austin Town Hall // “‘...satisfyingly artful and I would venture to guess you’ve never heard anything quite like it.” - Ear To the Ground Music // “We will be spinning the hell out of this record for the rest of the summer.” - Up To Hear Music // “...it’s not hard to imagine some of these songs floating in on the coastal fog, ascending ghosts indeed.” - Psychedelic Baby Magazine

Following last year's ground-breaking return with "The Course of The Inevitable", Lloyd Banks is back with more hunger on this 2nd instalment! Featuring guest appearances by Jadakiss, Dave East, Vado, Conway The Machine, Benny The Butcher and Tony Yayo.

In this musical journey, Banks weaves together a compelling storyline, sharing pieces of his own pain and struggles, inviting listeners to connect with his authenticity. With Method Man's signature lyrical prowess, Cormega's poetic finesse, and the raw energy of 38 Spesh, the album boasts a stellar lineup of features that enhance its impact.



Banks' sharp lyricism and introspective storytelling shine throughout the album, exploring themes of resilience, triumph over adversity, and the complexities of life. Each track serves as a piece of his soul, revealing layers of vulnerability and strength. With the collaborative efforts of his fellow artists, "The Course of the Inevitable 3: Pieces of My Pain" delivers an immersive and powerful listening experience, solidifying Lloyd Banks' position as a master in the rap game and the one and only Punch Line King.

Step into a world where authenticity meets emotional resonance with Maxo's 2018 album, "Smile," produced by the mastermind Lastnamedavid. This release marks the genesis of a new era, a departure from prevailing trends, and an introduction to the genuine artistry of Maxo.

"Smile" is a testament to Maxo's effortless storytelling and emotional delivery, setting a refreshing tone in the contemporary music landscape. Lastnamedavid's soulful production serves as the perfect backdrop, creating a sound that is as real as the content it supports. The album captures a range of emotions, painting a vivid picture of Maxo's journey through the realms of honesty, youthfulness, troubles, and hope.

From the reflective "Same Hoodie Since ‘05," a sobering exploration of identity and roots, to the anti-romantic ballad "Evelyn," Maxo invites listeners to join him on a personal and introspective journey. "Smile" serves as a reminder, not just to Maxo but to an entire generation, to appreciate every situation, irrespective of the circumstances.

The project features a notable collaboration with Sharp, adding an extra layer of depth to the already rich tapestry of "Smile." As Maxo unfolds his narrative, the synergy between his lyrical prowess and Lastnamedavid's production creates a sound that is not just music but an authentic expression of self.

"Smile" is more than an album; it's a sonic exploration of the human experience, capturing the essence of Maxo's voice and vision. In a world of fleeting trends, Maxo and Lastnamedavid deliver a timeless record that resonates with honesty, making "Smile" a standout release in the musical landscape of 2018.

Houston, TX Legend & Rap Icon Sauce Walka, unleashes his first full length offering of 2024, Saucefather 2. The album is the follow up to his widely celebrated mixtape, The Saucefather, originally released in 2017. With features from Lil Yachty, BossMan Dlow, Wizz Havinn, Peezy, YTB Fatt & more, Sauce has earned his respect in the rap game, consistently proving "he's a force to be reckoned with lyrically" said HotNewHipHop. With cosigns from heavy hitting rap luminaries such as Jay-Z, Drake, J. Cole, Bun B, Conway the Machine and more, it’s clear Sauce Walka’s trajectory is only headed upward. Filled with odes to DJ Screw, Saucefather 2 pays homage to the unique and innovative Houston Chopped & Screwed Hip-Hop culture.

For nearly three decades, WHY? have thrived in subverting expectations. Across seven unpredictable and adventurous studio albums, the band led by Cincinnati songwriter Yoni Wolf has stretched the fringes of psychedelic pop, hip-hop, and electronic music. No matter the genre experiments and thematic departures, their discography is remarkably consistent, anchored by Wolf's disarming lyrical transparency. His writing is provocative, self-lacerating, and always considered, coming from a place of blunt emotional openness. The Well I Fell Into, the eighth full-length from WHY?, is Wolf at his most cohesive and poignant. An autopsy of heartbreak, the album charts the ups and downs of a devastating breakup while trading bitterness for healing. Self-released on Waterlines, Wolf's new label that follows in the footsteps of Anticon, the trailblazing artist-run collective he co-founded, its 14 tracks stand as the band's prettiest and most immediate work yet.

They’ve been labelled everything from pop punk to emo to post-hardcore, but Calling All Captains cover all of that and more on (e)motion sickness, their explosive and expansive new collection. (e)motion sickness marks the culmination of that growth to-date, building atop Calling All Captains’ rock-solid musical base with an even wider array of sonic influence and lyrical prowess, and ultimately, making the essence of what they do rather difficult to describe. Really, you just need to listen for yourself.

140g transparent blue and green galaxy marble vinyl housed in a matte 3mm cardboard sleeve with lyrics insert featuring photography and artwork by Hidrico Rubens. Limited to 300 copies. The creation of ‘Chrysalis’ was a retreat from a seemingly endless string of unfortunate events, a cocoon from which Zanias could weave hope from hopelessness. In each of its eight songs she has engineered unique worlds to express alternate facets of the modern human experience, from burnout and the toxicity of capitalism to processing death and the inherent isolation of personal trauma. Written and recorded between Berlin and the rainforest of Queensland, Australia, the sound design of ‘Chrysalis’ reflects the rich biodiversity of the latter environment, where she drew much of her inspiration. Her voice shifts and morphs into ghostly, alien forms between catchy hooks that plant this album firmly in the ‘pop’ genre, without losing the underground rawness and lyrical depth for which she is known. With her third full-length album, Zanias is expressing her truest form thus far, fusing her seemingly discordant influences into a genre-defying electronic artpop, as dark and evocative as it is ethereal and uplifting. Written and produced by Alison Lewis Bass guitar on ‘Lovelife’ by Laura Bailey Mixed by Ewan Kay Mastered by Alain Paul Photography and artwork by Hidrico Rubens Sigil by Nat Soba Design and layout by Alison Lewis Makeup by Eavan Derbyshire

First reissue since its original release in 2014. Features by Sean Price, Guilty Simpson, Blu with production from DJ Premier, Illmind, Black Milk, Oh No & more.

The collaboration album from Brooklyn MCs Skyzoo and Torae is available once again after its original debut in 2014.

For years, fans of both Skyzoo and Torae asked the two to collaborate on a full-length LP, following the multiple singles they released together over the years. Classics such as the DJ Premier-produced "Get It Done" and "Click," and the !llmind-produced "Barrel Brothers" off Skyzoo's 2010 "Live from the Tape Deck" have been highly anticipated by their followers since 2006. The idea behind "Barrel Brothers" is what the people have asked for and come to know: the two wordsmiths for pure lyricism.

Skyzoo, known for his picturesque storytelling and jazz/orchestral background, and Torae, known for his gritty Coney Island depictions of life with a vintage yet modern lyrical approach, have briefly put their normal fortes to the side and crafted this album with one game plan in mind: lyrical exercise over hard New York City soundscapes. The current resurgence of NYC hip hop is the perfect grounds for two of its premier flag holders to continue doing what they never stopped doing in the first place: representing the city.

Beginning in the 60"s, the small chamber group ensemble became increasingly important in the advancement of jazz, enabling horn players including Sonny Rollins, Joe Henderson, and Ornette Coleman to seek uncharted sonic territories and achieve new levels of freedom without the support of chordal instruments. With a mature, cohesive ensemble sound, the young trio juxtaposes tranquility and space with energy and tenacity across nine original compositions showcasing their stylistic breadth. From the swinging waltz "December" with a melodic contour reminiscent of a jazz standard, the soothing folk-influenced simplicity of "Vent", the intimate lyrical interplay between bass and clarinet in "Duo", to the heavy, propulsive power of the title track, the trio demonstrates fearlessness, listening, and spontaneity in a raw and personal recording that puts each of their distinctive voices in the spotlight. Christian Holm-Svendsen, currently resides in New York, studying for a master of music at Manhattan School of Music. In Denmark he played with, among others, The Danish Radio Big Band, Copenhagen Jazz Orchestra, Odense Jazz Orchestra, Jesper Zeuthen, and Regnfang. Daniel Sommer is an award-winning artist and sought-after drummer on the international jazz scene. Known for crossing the borders of different musical landscapes with a distinctive musical approach, Sommer currently performs with Karmen Roivassepp Quartet, Foyn/Hess/AC/Sommer and recently released the trio album "From Within" with Arild Andersen and Rob Luft on April Records. Mariusz Prasniewski is a Polish double bass player, residing in Copenhagen. A part of the Danish and European jazz scene for more than a decade, the bassist has worked with musicians like Tomasz Dabrowski, Anders Mogensen, and Gilad Hekselman.

I was sent an unfinished version of Dose Your Dreams so that I might contribute string parts. I couldn’t stop listening to the rough mixes I received. A friend asked me how the record was. I replied, “My God, Fucked Up have made their Screamadelica.” And psych-rock-groove it is. The drums mixed wide, propensity for drones, for delay pedal, for repetition, groove. The politics and aesthetics of hardcore married to an “open format” approach to genre. Elements of doo-wop, krautrock, groove, digital hardcore. “None of Your Business Man” opens the album in familiar enough territory, a sax assisted exit from an office space. But things get psychedelic very quickly. By the time the title track arrives, Mike Haliechuk is whispering, wah pedals are in full effect, and we’re wearing oversized t-shirts and pinwheeling. “Accelerate,” the lyrical centrepiece of the album, storms in like Boredoms on a bullet train and dissolves into a digital nightmare. The album closer, “Joy Stops Time,” finds Fucked Up at their most Düsseldorfian, nearly eight minutes of blissful motorik. At the center of it all is Damian Abraham’s scream a man chained, a man tortured, a true protagonist. The effect is one of an epic, every chapter attempting its own narrative devices, its own genre hybridization and it works, it works so insanely well. The drama unfolds like a miniature world of many parts being explored, a map being illuminated, location by location. As with David Comes to Life, there is a story here. David who once came to life is now indentured to a desk job. David meets the elderly Joyce who closes his eyes, opens his mind, and sends him on a spiritual journey. David embarks on his own metaphysical odyssey. He sees a stage adaptation of his own life. He speaks to an angel in a lightbulb. He sees an infinite series of universes as simulations within simulations. Meanwhile, Lloyd Joyce’s lover was sent, decades ago, by Joyce on the same odyssey, but was lost in the void. Lloyd seeks to be found and reunited with his lover. Where will David end up? Will Joyce and Lloyd be reunited? Dose Your Dreams meaning: treat your dreams as you would a dream, allow yourself to be lost within them, allow them to open your heart and your mind, enjoy them as you would a drug. Reach out for my hand and pull me close. Owen Pallett.

Following a ten-year hiatus, multi-instrumentalists Rafael Anton Irisarri and Benoît Pioulard return with »How to Color a Thousand Mistakes«, their third LP together as Orcas. Building on the electronic minimalism of »Orcas« (2012) and the Twin Peaks-inspired haze of »Yearling« (2014), the duo have expanded their sound and vision into a full-spectrum ensemble.

In the time since their last major collaboration, Irisarri and Pioulard have done plenty on their own, while also traversing significant life changes: relocation from Seattle to New York, separation and divorce, illness, hospitalizations, and the loss of siblings, parents, and friends. Yet from these tribulations, they gleaned inspiration to reconstruct their lives, creating music with new collaborators and partners. Recorded in a variety of studios and cities including Brooklyn, Cambridge, Oxford, Seattle, and upstate New York, the resulting album, under the tutelage of UK producer James Brown (Arctic Monkeys, Kevin Shields, Nine Inch Nails), is a patiently-crafted beast, equally inspired by impressionism, British new wave, and dream pop.

With Irisarri’s guidance and Brown’s encouragement, Pioulard brings his velvety voice to its harmonized peak on songs like »Wrong Way to Fall« and the Durutti Column-indebted »Fare«. Where his most recent solo albums for Morr Music (»Sylva« and »Eidetic«) navigated foggy forests of ambient pop and stacked tape loops, here his characteristic blur shifts into focus with a unique degree of clarity and confidence. »How fare against balance do I / Navigate my errors?«, Pioulard sings in a heartbreaking tenor, echoing the album’s broader themes of introspection, grief, loss, trial and trauma.

Lead single, »Riptide«, is a summary of Pioulard’s life changes and personal upheavals in the past decade, »flitting eastward toward a yen deep in the past« and learning to glide through the tumult of ocean waves, as a metaphor for the punches one takes in pursuit of grace. Its towering, key-changing midsection arrives with the monumental drumming of Slowdive’s Simon Scott, a long-time friend and cohort who appears on most songs in the set. Scott’s quintessentially English, jazzier approach offers a balance of force and restraint as the backdrop for Irisarri’s majestic guitars, analog synth lines, and Martin Heyne’s Fender Rhodes counterpoints.

Second single, »Next Life«, began as a sketch by Scott, and reached its final form in the hands of Pioulard and Irisarri, at a point that each had endured major concurrent losses, finding a commonality in the need to gaze over the horizon while acknowledging the unavoidable bittersweetness of letting go – not only of people, but of routines, places, and expectations. It’s one of Orcas’ most nuanced pieces, with a mid-tempo, sunset glow that unfolds into a sparkling, slide-guitar finale as it disappears in the rear view.

On third-act highlight, »Bruise«, Scott is doubled on the drum kit by MONO’s Dahm Majuri Cipolla, whose Liebezeit-influenced metronomy anchors a nimble bass groove from Andrew Tasselmyer (of Hotel Neon), and some of the album's most syncopated, spaced-out interplay, courtesy of Puerto Rican guitar player Orlando Méndez (a childhood friend of Irisarri’s). Originally a droney, fingerpicked guitar demo, »Bruise« is the most storied composition here, having gone through almost a dozen versions and lyrical edits, with Brown distilling hours of improvised performances into the final arrangement.

Throughout »How to Color a Thousand Mistakes«, Irisarri uses his deep well of production experience to paint the stereo field with meticulously designed textures, exemplified on the slow burn of »Heaven’s Despite« and the heady rush of »Swells«. As a mixing and mastering engineer with Black Knoll, he has built a client list that reads as a who’s-who of modern, forward-thinking composition, including Temporary Residence, All Saints Records, and Ghostly International, among many others.

As with previous collaborations, Irisarri and Pioulard bring disparate styles and specialties to the table, but with an interpersonal dynamic that transcends friendship into brotherhood, their open-minded workflow and mutual respect are evident at every turn. »How to Color a Thousand Mistakes« brims with tight, complex art rock songwriting, masterful production, and sonic versatility, informed by a plethora of genres and tonal hues. The title might promise answers, but the gravitational center of the album is the dawning realization that, as you reckon with the infinite whims of the cosmos, there could be none.

Lava La Rue’s long awaited debut album STARFACE is an epic Sci-Fi inspired adventure that at its lyrical core is concerned about what makes us human. Exploring various genre influences from funk, to dance, to alt rock, and featuring collaborations from Cuco, Audrey Nuna, tendai, and more, Lava La Rue has marked their arrival, with their eyes set on world domination.

Lava La Rue’s long awaited debut album STARFACE is an epic Sci-Fi inspired adventure that at its lyrical core is concerned about what makes us human. Exploring various genre influences from funk, to dance, to alt rock, and featuring collaborations from Cuco, Audrey Nuna, tendai, and more, Lava La Rue has marked their arrival, with their eyes set on world domination.

LRK are excited to announce their next full album release LRKLP-08

'ALL I EVER WONDER' By Johnny Burgos

Available on LP/CD/DIGITAL

Singer, songwriter, and producer Johnny Burgos converges with veteran soul producer, Jeremy Page, (Kendra Morris, Czarface, MF Doom) to offer their first joint album together titled, 'All I Ever Wonder.' The album is a vividly vulnerable and honest effort by Burgos, lyrically and vocally, supported effortlessly by Page's masterful production. The pairing of the two seems meant to be, with a sound steeped in retro soul techniques, the album is equal parts novelty and nostalgia, equalling a timelessness that speaks to the humanity in all of us. All I Ever Wonder will be released on Vinyl, CD and all digital platforms on Friday, JUNE 28th, 2024 via UK-based Soul label LRK Records.

Johnny - "Jeremy and I have been ships passing in the night for years now. However, our first official collaboration was a 2021 remix of my song The Grey, which featured his long-time co-collaborator Kendra Morris. From the get-go, the musical chemistry was strong, so we took a shot at writing some original tunes. Since then, we've locked in on a creative groove and churned out a bunch of material. As we learned how to complement each other's musical strengths, the project took on more form and purpose, exploring heavier subject matter and expanding its range of genres. I'm pretty sure that's what makes this project so fun for us, and possibly what the early gatekeepers and listeners resonated with most. Neither of us expected such a reception to the music, which only made us more excited to hone in with more intention towards a goal. This also allowed me to bring more raw ideas to the table and have the confidence in Jeremy to hear the potential, then work his magic to extrapolate on my foundation. The teamwork in this effort was inspiring as we listened and referred to each other in every step of the process, and had a crew of killer musicians on deck for when we needed the extra feels on some joints.

We worked really hard on this record and hope it reconnects our listeners to being human in a visceral way. It's accessible, honest, and soulful because I wanted it to speak to anyone who still wants music to relate to. Music to help you through the valleys, to celebrate the peaks, and handle everything in between. It's a journey of the soul that explores ego, insecurity, love, loss, survival, enlightenment and trusting the process. It's truly 'All I Ever Wonder.' "

"All I Ever Wonder" will have its digital release through LRK Records on all platforms on Friday, JUNE 28th, 2024.

Johnny Burgos is a Brooklyn - born singer, songwriter, producer & engineer. His brand of future-soul embodies a raw uncompromising sound revealing beauty from pain, hope from despair, and the will to keep fighting. Especially influenced by his uncle and world-class percussionist, Andre Martinez, Johnny grew a fascination with the percussive rhythms of salsa and soul music, eventually manifesting into a devoted passion for Hip Hop production using an Akai MPC. With influences from Michael Jackson, OutKast, J Dilla, Lauryn Hill and D'Angelo, Johnny's music draws upon the core principles of R&B, while encompassing elements of Hip Hop, Funk, Pop, Salsa and Reggae.

Johnny has collaborated with DJ Skizz, for Mobb Deep & M.O.P., Marco Polo, Frans Mernick, Liza Colby (The Gold Setting) and led his band Bridge City Hustle, with whom he toured nationally.

As a solo artist Johnny debuted with back-to-back brand endorsements from French's Mustard and Samsung US, using them as a platform to launch his 2018 EP 'Love Through it All.' His debut album 'Gone Into The Grey' was released to critical acclaim in March of 2021 and has since been added to multiple editorial playlists by Spotify, Apple Music and Tidal, creating exponential growth. In 2022, Burgos' song 'Wild About You' was heard as the soundtrack to Neiman Marcus' "It's Your Moment" global streaming campaign. Johnny's currently amid promoting his latest album, The Tangent Tape, performing with his band The Butter, recording new collaborations and preparing his upcoming LP with Jeremy Page & LRK Records.

credits

releases June 28, 2024

2024 Repress

Innercity Griots, the second album from Freestyle Fellowship, is perhaps *the* essential West Coast left-field rap album of the early ’90s. Released in 1993 on 4th & Broadway, it’s a towering, progressive hip-hop masterpiece that expanded rap’s boundaries through lyrical elevation and production innovation. Their talent was ahead of everybody else by light years. This is pure b-boy jazz.

The original single vinyl LP is now hideously scarce, and of course the sound suffers from not being officially released as a double. This Be With re-issue fixes both problems, and for completeness also includes “Pure Thought” from the CD version of the album. This incredible display of imaginative hip-hop sounds better than ever.

Freestyle Fellowship were some of the earliest technically dazzling rappers to come out of California. Mikah 9, P.E.A.C.E., Aceyalone and Self Jupiter - along with DJ Kiilu - forged their famed lyrical dexterity in the ultra-competitive crucible of the Good Life Cafe. Founded in Leimert Park, South Central LA in December 1989, this earthy health-food store and cafe was where the city’s finest microphone fiends would gather to showcase their freestyle skills at the Thursday night open-mic.

Innercity Griots has been described as the Rosetta Stone for rap styles. The group’s dense, vibrant wordplay and enviable interplay quickly earned the attention and respect of the city’s hip-hop underground. Frenetically trading acrobatic rhymes with agility and grace, the Fellowship used their voices as instruments like true virtuosos, spraying improvised raps like a Coltrane sax solo.

With the bulk of the album’s production handled by The Earthquake Brothers, and Bambawar, Daddy-O, and Edman taking over for some of the tracks, Innercity Griots dances between organic and programmed music, largely forgoing sampling and instead built around live jazz jams. The likes of Freddie Hubbard’s “Red Clay” and Miles Davis’s “Black Comedy” were used more as templates for house band The Underground Railroad Band to spiral out from. As Pitchfork noted in their recent 9.0 review of this classic album, “Freestyle Fellowship embodied the style and spirit of jazz on a molecular level. They shared the effortless cool and tough countenance of the great bebop players from the ’50s without verging into jazz-rap parody. Their innate jazziness felt tangible and hard-earned”.

The unusual approach to the music was matched by the Fellowship’s lyrics. Eschewing the tired rap tropes of the time, this multifaceted album instead explores their ruminations on greed and homelessness, weed, sex, survival, insecurity and tribalism.

Remastered by Simon Francis for double vinyl and cut by Pete Norman, we hope this long-overdue re-issue of Innercity Griots satisfies the legions of fans that have since been bewitched by the majesty of this record. It should also introduce some new listeners to yet another overlooked classic.

Emerging from the shadows and plumes of smoke, Chicago, IL ensemble HUNTSMEN are set to make their return in 2024 with their third album, The Dry Land, set to be released via Prosthetic Records on June 7. On their first full-length in four years, HUNTSMEN’s The Dry Land traverses the liminal space between the living and the dead by lifting the veil of the abyss itself. Born of suffering and hardship, The Dry Land unifies the dark and light that resides in all of us through allegories of purgatorial strife and human spirit. Following the release of their sophomore full-length, Mandala of Fear, in 2020 and The Dying Pines EP in 2022 HUNTSMEN’s intervening years between studio albums were marked with devastatingly contrasting highs and lows. Whilst their body of studio work continued to garner acclaim from fans and critics alike, chronic illness would become a recurring uphill battle for the ensemble. As these jarring mixed fortunes reached their apex towards the end of 2022, the band reached towards each other outside of their craft as old friends. Taking stock of four years of tribulations led to a reevaluation of what it is to be creatives and, in turn, ushered in a collective rebirth. Writing sessions saw a number of artistic firsts for HUNTSMEN, most notably with the first full collaborative inclusion of vocalist Aimee Bueno-Knipe. The creative process soon saw HUNTSMEN adding more black metal influences into their Americana and folk tinged doom, evidenced most overtly on tracks such as This, Our Gospel and lead single In Time, All Things. Elsewhere, HUNTSMEN’s knack for finely crafted and richly layered melodies offer moments of resplendence on the slow burning Lean Times and closer The Herbsight. Mirroring the circumstances and environment that led to its creation, The Dry Land’s pacing is one rooted in the art of rise and fall dynamics both musically and lyrically. Tales of escaping religious violence, malevolent apparitions and death incarnate all play key roles throughout the album’s narrative thread. HUNTSMEN treat each tale as both exorcism and exaltation, adding a pervasively unsettling quality to The Dry Land that is sure to stick long after the runtime is over. The Dry Land was recorded and mixed by Pete Grossmann at Bricktop Studios before being placed in the hands of Brad Boatright for mastering, with the resulting sound adding a towering grandiosity to the album whilst simultaneously highlighting HUNTSMEN’s newfound corrosive qualities. The Dry Land’s striking cover art was created by Derek Setzer, depicting an immolating dancer in high contrast black and white amongst rusted gold. Through the fire, HUNTSMEN find themselves reborn on The Dry Land.

Hannah Mohan’s new album is a first in more ways than one. Time Is a Walnut is the first solo release from the Western Massachusetts singer and songwriter, after nearly a decade fronting indie-pop band And the Kids. The album also comes amid the longest stretch Mohan has spent in one place since she left home at 16 to hop freight trains and hitchhike across North America.

Making music has been at the center of Mohan’s life ever since, even as other circumstances have changed—sometimes radically. A long-term relationship crumbled in 2019. Then the pandemic arrived, bringing an end to her band. After writing a batch of new songs taking stock of her situation, Mohan asked Alex Toth of Rubblebucket and Tōth to produce them, the latest installment of a longtime friendship and occasional creative collaboration.

Although Time Is a Walnut is a breakup album, don’t go in expecting tearjerkers. Mohan draws from a richer palette here, with themes of messy eroticism on the sultry “Soaked,” altered consciousness on the buzzy rocker “Heaven and Drugs,"" and navigating personal hells with Lady Lamb on “Hell.” Throughout, the songs showcase Mohan’s powerful voice, prismatic melodicism and distinctive lyrical sensibility as she processes major events in her life.

ntroducing the third volume of the legendary collaboration series, "Trillstatik," by dynamic duo Bun B & Statik Selektah. Recorded live in New York City on December 20th 2023, this album encapsulates the essence of hip-hop's raw vitality and timeless appeal.

In this new installment, Bun B's unmistakable Southern swagger intertwines seamlessly with Statik Selektah's masterful production, creating an explosive fusion of gritty beats and poignant lyricism.

"Trillstatik 3" carries the traditional star-studded lineup of guest appearances, and joining Bun B and Statik Selektah on this volume are luminaries of the rap game, including the lyrical juggernauts Benny The Butcher, Method Man, Boldy James, Rome Streetz, Lord Sko, CJ Fly, Smoke DZA, Termanology, Lukah, and countless others.

With Bun B and Statik Selektah at the helm, "Trillstatik 3" leaves yet another indelible mark on the rap landscape and solidify its place as a timeless classic in the annals of hip-hop history.

The 6th Full Length studio album from South African Death Metal Bulldozers VULVODYNIA is upon us! As the first album featuring Lwandile Prusent on vocals (previously on guitar), 'ENTABENI' harks back to the band's earlier brutal roots, with lyrical concepts themed on African folklore, with a huge production from Christian Donaldson (Cryptopsy, Ingested, Despised Icon) and artwork by Shindy Reehal (Viscera, The Zenith Passage, Bound in Fear).

The inaugural chapter of a two-part epic. Get ready for an eclectic and unique modern twist fusion of proto- EBM, New Beat, Electro, Rave Breaks and early UK house, weaving together a tapestry of diverse influences. Experience the raw energy pulsating through potent basslines, driving each track forward with unstoppable force.

Meanwhile, deep and thought-provoking lyrical voice samples captivate the mind, inviting listeners to ponder existential questions and explore the depths of consciousness and creating innovative soundscapes leaving an indelible mark on the listener’s psyche. Presented in ONE-OFF truly limited edition of 300 copies lacquered pressed on 180 gr. high quality solid MAGENTA vinyl. All tracks have been specially mastered for vinyl by Daniel Hallhuber at Young and Cold Studios (Germany).

Cleveland death metal legends-in-waiting 200 Stab Wounds have returned with Manual Manic Procedures, a superlative sophomore effort that follows 2021’s Slave to the Scalpel, their tour de force debut. The new album is a brutal slab of old school death metal with a contemporary edge. Not for the faint-hearted, Manual Manic Procedures may well be the album that puts classic gore-themed ferocity back into the metal community’s collective consciousness. The band's debut, "Slave to the Scalpel" saw 200 Stab Wounds insinuate themselves into the minds of extreme metal fans, leading to praise from Pitchfork for their “unpretentious brilliance, pitch-black sense of humor” and an “aesthetic that’s built around a chugging, groovy riff that stomps down a path of destruction.” Manual Manic Procedures sees the band upping the ante both musically and lyrically. Ultimately, for 200 Stab Wounds, it’s all about creating art that they enjoy. “I know that if we like it, our fans will like it,” says Buhl. “That's really all that matters to us. And if we keep touring, it's just gonna get bigger and bigger. Then everyone's happy, far as I'm concerned.” The songs on Manual Manic Procedures are not safe for work – perhaps unsafe most anywhere. But that’s its dark charm in a world where even heavy music can play it too safely. 200 Stab Wounds have crafted Manual Manic Procedures for themselves and like-minded brethren: thrill-seekers, carnage cravers, horror fans, and aficionados of the most extreme metal. Above all, 200SW created a future death metal classic.

Cleveland death metal legends-in-waiting 200 Stab Wounds have returned with Manual Manic Procedures, a superlative sophomore effort that follows 2021’s Slave to the Scalpel, their tour de force debut. The new album is a brutal slab of old school death metal with a contemporary edge. Not for the faint-hearted, Manual Manic Procedures may well be the album that puts classic gore-themed ferocity back into the metal community’s collective consciousness. The band's debut, "Slave to the Scalpel" saw 200 Stab Wounds insinuate themselves into the minds of extreme metal fans, leading to praise from Pitchfork for their “unpretentious brilliance, pitch-black sense of humor” and an “aesthetic that’s built around a chugging, groovy riff that stomps down a path of destruction.” Manual Manic Procedures sees the band upping the ante both musically and lyrically. Ultimately, for 200 Stab Wounds, it’s all about creating art that they enjoy. “I know that if we like it, our fans will like it,” says Buhl. “That's really all that matters to us. And if we keep touring, it's just gonna get bigger and bigger. Then everyone's happy, far as I'm concerned.” The songs on Manual Manic Procedures are not safe for work – perhaps unsafe most anywhere. But that’s its dark charm in a world where even heavy music can play it too safely. 200 Stab Wounds have crafted Manual Manic Procedures for themselves and like-minded brethren: thrill-seekers, carnage cravers, horror fans, and aficionados of the most extreme metal. Above all, 200SW created a future death metal classic.

Everybody's still talking about the good ol 'days! A rough and rugged collection of ol' dirty classics that have inspired swarms of killer beats. A head nod to the sounds of Shaolin, the twelve chambers of Shanghai'd Soul have moved lyrical chefs and production geniuses alike to compose some of their most ominous hip-hop. Gods and Earths a like will appreciate the raw funk and smoother-than-a-Lexus soul that come to gether like Voltron on this special compilation. As sampled b y J. Cole, The Game, Cappadonna, The Avalanches, Kanye West, Hudson Mohawke, Anderson.Paak, Loyle Corner, Meek Mill, T.I., Quavo, Danny Brown, and hundreds more.

Everybody's still talking about the good ol 'days! A rough and rugged collection of ol' dirty classics that have inspired swarms of killer beats. A head nod to the sounds of Shaolin, the twelve chambers of Shanghai'd Soul have moved lyrical chefs and production geniuses alike to compose some of their most ominous hip-hop. Gods and Earths a like will appreciate the raw funk and smoother-than-a-Lexus soul that come to gether like Voltron on this special compilation. As sampled b y J. Cole, The Game, Cappadonna, The Avalanches, Kanye West, Hudson Mohawke, Anderson.Paak, Loyle Corner, Meek Mill, T.I., Quavo, Danny Brown, and hundreds more.

Fresh underground talent straight out of Liverpool from certified herbalist Sticky Dub. The MC/Producer cooks up his own special blend of Broken Beat, UKG, Dub and Hip Hop, as styles collide to unique effect. His Northern roots man, rudebwoy energy is processed through an electronic, inner city engine, resulting in some of the most exciting club ready cuts we've heard this side of the Mersey. Melodic dub baselines rub with skipping dancefloor beats, all laced with Sticky's bouncing Scouse drawl, and lyrical insight, on his quest to understand nature and rhythm. And like Sticky says, if you want to keep the spiritual equilibrium of the world in check, then 'never give weapons to a man who can't dance"....

A Gilles Peterson-approved deep jazz-rap classic.

2024 first time vinyl release, 140g double vinyl, remastered audio with restored artwork.

Limited and Non-Returnable.

Holy grail hip-hop alert! Superstar Quamallah's Invisible Man was never released on wax so, to celebrate the 15th anniversary of this astounding record, we present the first ever vinyl edition. A stunning record which gained accolades upon its initial release, such as a prominent feature on Gilles Peterson's renowned Best Of 2009 show, it's one of the most essential jazz rap albums of all time.

Deep jazz rap on that mellow-melodic tip, Invisible Man is an unforgettable album with nothing but dope beats and dope bars. There's a strong chance this album has passed you by but we truly believe it to be a lost hip-hop masterpiece. It supremely captures the essence of a golden age classic without being slavish to the past. No, this ain't some facile throwback rap. It's a fresh and deeply soulful, original album shot through straight from the heart. Perfect to chill to, Invisible Man is profoundly jazz-oriented and captures with simplicity and sincerity the essence of hip-hop circa 1983-1994. It sounds like vibing with your nearest, dearest and oldest friends on a long hot summer night as the tantalising thought that anything is possible fills the air. You know what, we can just call this "magic hour rap" and we think you'll know what we mean. It's just beautiful. Just Listen.

Brooklyn-born, California-based emcee, DJ, and producer Superstar Quamallah was active in the West Coast underground scene throughout the 90s and recorded extensively with such revered names as Defari and Tajai. His parents were some serious artistic heavyweights, too; his father was soul organist Big John Patton, a giant in the jazz world known for his releases on Blue Note whilst his mother was an active designer. However, he remains relatively unknown. Invisible Man, named ostensibly after the classic Ralph Ellison novel, could also refer to how he is viewed by the public at large. With close affiliations to the Hieroglyphics, Dilated Peoples and Likwit crew, his debut EP "Don't Call Me John" arrived in 1999 on ABB Records, after which he took a sabbatical from recording which included graduate school, travelling, teaching at Inglewood High and eventually a professorship of African Studies at Berkeley.

With a laidback flow and deep, relaxing presence on the mic, Superstar Quamallah is equal parts Big Daddy Kane, Rakim and Guru. Invisible Man is refined, soulful, feel-good hip-hop of the old school. Its wise, spiritual and literate sound, combined with the summertime vibes projected by the smooth beats and the nostalgia-inducing samples and vocal scratches, created jazzy boom-bap rap reminiscent of prime De La Soul, A Tribe Called Quest and Gang Starr.

Irresistibly bouncing opener "You Need Knowledge" loops sparkling pianos, horns and a nagging whistle refrain with scratched vocal refrains from Slick Rick, Mobb Deep and Guru. The super-smooth head-nod classic "88 Soul" also utilises a beautifully swelling piano line and dusty breaks whilst Quamé reminisces about his childhood in NYC. Deeply moving, the silky, sultry "Black Shakespeare" is built around an elegant piano loop and goes hard on the superman lover tip whilst "For My People...It's Spiritual" is transcendental rap in conversation with Rakim and older gods. The "Moment Of Truth"-sampling "Lonely At The Top" is striking for its undiluted boom-bap stylings and the staccato flute-hop of "Just Listen" is riddled with soulful refinement. The deeply-affecting, wistful-yet-triumphant bells and horn-drenched single "California Dreamin'" is top-tier rap of unimpeachable quality. What a flow!

Another highlight is the rich melodic piano-rap of "Purity", a beautiful ode to the foundations of rap and those keeping the culture authentically alive. Beautifully played instruments and spiritual jazz samples elevate the deep thinking present on "Kunta Kente" whilst the darker jazz-tinged battle-rap of "93 Shit" goes super hard both in a lyrical sense and with its no-holds drum punches. The breezy Rhodes and string loops that serve as the sonic backdrop to the slinky jazz rap of "We Got Plots" are just gorgeous as our hero evokes Common's "I Used To Love H.E.R." with a head-spinning tale of crime, deception and double crossing. And some twist! "Do Win-Dis" has a tense crime-funk backing and rolling beats which complement Quamé's flow perfectly before the record is rounded out by the tough yet jazzy brilliance of rap confessional "Hope She Remembers Me". Just sensational.

Upon its original release, Quamallah himself declared: "My favorite time period for Hip Hop music was definitely between 1983 and 1994 with 1988 and 1993 being two years that standout as extremely impressive years musically and culturally. The fashion, slang, movies, TV shows and vibe during those years was incredible. While totally submerged in the feelings and music of that entire time period, I went to work on Invisible Man and I am excited for people to hear the result! It is an album that I would want to hear from some of my favorite artists of the past and present today. This is not a RETRO trip for me; this is me at my best lyrically and spiritually using the accessories of the 80s and 90s to fuel me. I am a 88 soul as the song states!"

This album goes deep. It goes all in. When Invisible Man first came out it had a real hold on us here at Be With HQ. We couldn't stop listening to it. We'd venture to say it's one of the top 25 rap records of the 2000s. In the years since its release, it has remained a criminally underrated record, an increasingly hidden gem. We sincerely hope this first time double LP release will go some way to correct this.

It's been mastered for vinyl by Simon Francis, cut by Cicely Balston and pressed at Record Industry. Finally available on the format it should always have been on, it must never be rendered invisible again.

Eleventh album consisting of eleven songs, Pink Air, by Elysian Fields, cult New York band led by Jennifer Charles and Oren Bloedow, was released in September 2018. Recorded in the mountains around Woodstock, Pink Air was finalized in Thomas Bartlett's studio (The National, Sufjan Stevens) in Manhattan. A single rock wave unites the tracks with its cavernous reverberation, as if shrouded in the darkness of a night club or pinned to the shadow of a modern nightmare. Pink Air is a post-apocalyptic rock'n roll getaway. The album tackles themes as varied as the ecological threat, the regime of a potential narcissist dictator, white supremacy, censorship, the erasure of history, the social drama of families ... as well as meditations on time, friendship, loss, death. Despite the biting tone, the words never sound too heavy, lightened by many touches of humor. Jennifer Charles's vocals are at their highest, infusing each song with its legendary languid charisma, in a lyrical breath whose spellbinding power has remained intact. By portraying the landscape of the present day with her precise, often caustic lyrics, Jennifer sets her special veil on the intimate, the spiritual, brushing her characters, friends and lovers, in a pure novelist style. All against a background of fear of our time, of its social and political drifts. With Elysian Fields, the angelic singer and her acolytes have always been carried by the highest currents of the sky. For Pink Air, they fold their wings, land on the ground, and roam the scorched lands of America, animated by the rock'n roll spirit of the animal. The feathers turned into so many spiky hairs

House of Harm are proud to announce the forthcoming release of their new album Playground, out December 1st, 2023. The new record builds and expands upon the three-piece’s enthralling shadow-pop sound, a mix of midnight atmospherics, 90s era jangle pop, and contagious synth drenched hooks that further elevate the transcendent vocals of lead singer Michael Rocheford. Rounded out by Cooper Leardi (guitar / synths) and Tyler Kershaw (guitar / synth), House of Harm have amassed an impressive following as something of a best kept secret among their growing fanbase, leading to sold out shows on both coasts by the power of word of mouth alone. The band members have been drawn to music for as long as any of them can remember, and the drive to be around like-minded artists and make their own noise drew them all to Boston after high school. There they all quickly enmeshed themselves, playing in other bands before meeting each other. Ever since, House of Harm have been quietly making a name for themselves among music fans with darker pop persuasions via a steady stream of releases in single, ep and album form. That attention to detail and workmanlike approach at the expense of chasing instant gratification seems to be paying dividends after years of steady effort. The journey of their new album Playground saw House of Harm stay true to that ethos. The band painstakingly narrowed the record down to an efficient 10 tracks that they felt made the most sense, both standing on their own as well as fitting into an LP that built a cohesive world for the listener to get lost in. The album’s name also reflects the experimentation and happy accidents that came about during the writing and recording process. On “The Face of Grace” they set out to explore different dynamics by writing a song entirely without drums, but couldn't help themselves from putting emphasis on the song’s 6/8 waltz time signature. “Two Kinds” is another first for House Of Harm in that it’s predominantly driven by acoustic guitar. That aforementioned vulnerability shows up in other areas of the songwriting process as well with “Two Kinds”, one of their most revealing songs to date from a lyrical standpoint, written from a place of reflection and weakness and tackling feelings uneasy to be put on display for public consumption. Taken as a whole, the end result is an album representing a collection of the band’s most raw and expressive songs yet.

Kate Nash’s new album ‘9 Sad Symphonies’ is her first signed to the legendary Kill Rock Stars label. The album was produced and mixed by Grammy winning Danish producer Frederik Thaae (K Flay, Jada, Crown The Empire). Marking a new chapter in Kate’s illustrious career, the album’s lyrical scope is both deeply personal and achingly relatable, whilst its orchestral arrangements and melodies draw from Kate’s experience in the world of musical theatre.

Kate Nash is a BRIT Award-winning singer-songwriter, musician and actress known for her fearless approach to music and unapologetic storytelling. A platinum selling artist with a career spanning over a decade, she has garnered critical acclaim for her chart-topping hits and electrifying live performances. From her debut album Made of Bricks to her latest releases, Kate’s artistry continues to resonate with audiences and has earned her a dedicated fanbase. She also captivated audiences as Rhonda in Netflix’s Emmy-nominated GLOW."

Pål Waaktaar-Savoy has explained that much of the atmosphere and the lyrical themes of Savoy’s seventh album “Under” are drawn from his move with his fellow songwriter and wife Lauren Savoy to Los Angeles, where they found themselves surrounded by loneliness.

Waaktaar-Savoy is one of the most prolific and impressive songwriters of the twentieth century and beyond, and having been working at the very top of the music industry for as long as he has, it is no surprise that the record is well-crafted. The production is good, with careful arrangements and instrumentation. Every instrument’s voice is given room and there is space in the mix. Only occasionally does this slip over into over-production, as with the treated strings on the opening track “Lonely Surfer” or the treatment of Lauren’s vocals, which sound overly processed.

It is also true that the record exhibits a fair measure of melancholy. The chords and melody lines are dark in places, and there is a hint of sadness in the lyrics, many of which have a retrospective quality, describing moments in the past. However, beyond this, the understated feel of the record is just that – understated. Many of songs feel a few RPM too slow and the delivery of the vocal lines too underplayed to give them any emotional authority. At times, it also seems like the arrangement has to step in to bolster the songwriting or lyrics, by filling space with strings or brass, or the counterpoint of the instrumentation on “Camden Palace Chronicles” which distracts from some fairly mediocre words. It is important to emphasise that this is a joint songwriting exercise for Pål and Lauren, so we should not compare the output to the work of a-ha, but still, the themes lean in the direction of suburban banality, far from Pål’s more oblique or allegorical writing.

There are other moments of real quality beyond the production and arrangement. The title track has an excellent Bowie-esque chorus (and there are echoes of his work and sound throughout, along with Beatles and Beck), “The Life and Times of a Wannabe” has some first-rate guitar work on it, edgy riffs and some good textures. Likewise, “Coming Down”, which also exemplifies Frode Unneland’s drumming on the record, which is generally prominent in the mix, and with good reason, as it carries the record along well.

9 tracks (+ 2 instrumental intermissions) released today by Overdrive records , filling a recording silence that lasted 12 years, thus rekindling that electric fire that has sculpted the sound of the band over the years, made of dynamic connections between bass and drums, and piercing and emotional guitars. FROM FIRE I SAVE THE FLAME delivers us a series of even more fluid and lyrical songs, a tense and inspired composition, vibrant with a renewed energy that feeds on opposites: tension and release, melody and dissonance, heart and brain. And for the occasion the trio wanted DON ZIENTARA at the mixer to best capture this new state of form. Who better than the sound engineer of Fugazi and many Dischord bands could make the sound of THREE SECOND KISS so vivid!

9 tracks (+ 2 instrumental intermissions) released today by Overdrive records , filling a recording silence that lasted 12 years, thus rekindling that electric fire that has sculpted the sound of the band over the years, made of dynamic connections between bass and drums, and piercing and emotional guitars. FROM FIRE I SAVE THE FLAME delivers us a series of even more fluid and lyrical songs, a tense and inspired composition, vibrant with a renewed energy that feeds on opposites: tension and release, melody and dissonance, heart and brain. And for the occasion the trio wanted DON ZIENTARA at the mixer to best capture this new state of form. Who better than the sound engineer of Fugazi and many Dischord bands could make the sound of THREE SECOND KISS so vivid!

9 tracks (+ 2 instrumental intermissions) released today by Overdrive records , filling a recording silence that lasted 12 years, thus rekindling that electric fire that has sculpted the sound of the band over the years, made of dynamic connections between bass and drums, and piercing and emotional guitars. FROM FIRE I SAVE THE FLAME delivers us a series of even more fluid and lyrical songs, a tense and inspired composition, vibrant with a renewed energy that feeds on opposites: tension and release, melody and dissonance, heart and brain. And for the occasion the trio wanted DON ZIENTARA at the mixer to best capture this new state of form. Who better than the sound engineer of Fugazi and many Dischord bands could make the sound of THREE SECOND KISS so vivid!

"2024 marks the 40th anniversary of Bruce Springsteen's 'Born In The U.S.A.' Although it would become his biggest selling album with seven top 10 singles on the Billboard Hot 100, Luther Dickinson of North Mississippi Allstars says ""any of those songs could be played with acoustic guitar alone and still be great."" Taking this idea as its premise, 'Dead Man's Town: A Tribute to Born in the U.S.A' strips the album's twelve indelible originals to the core, with contributions from Jason Isbell & Amanda Shires, Low, Nicole Atkins, Justin Townes Earle, Blitzen Trapper, Joe Pug, Trampled by Turtles, and more. Rolling Stone premiered Jason Isbell and Amanda Shires' Dave Cobb-produced cover of ""Born I n The U.S.A,"" saying these artists are ""reimagining 'Born in the U.S.A. with a reduced approach more influenced by that of the acoustic, ""Nebraska.""

Isbell says of his cover, """"Born In The U.S.A."" is one of my favorites because so many people have seemingly misunderstood the lyrical content and the song's overall tone. When you listen to the demo, the dark, minor key arrangement makes it clear that this is not strictly a song of celebration. We wanted to stay true to that version."" Amanda Shires adds, ""I love that the song paints a picture of struggle in the face of the American dream, and the irony in the chorus is delivered with such force that it nearly transcends irony altogether."""

The new album ”ICON” by Sweden’s Liar Thief Bandit is something else. After 200 shows and numerous landmark anthems, everything has led up to the fourth full-length album that truly lives up to its name. ”ICON” is a staple and instant classic on the rock scene, blending everything you would ever wish for in a melodic rock record. The raw and pure elements are caught on tape in a live setting to capture the true essence of the band, the melodies are added with clinical precision. The heartfelt lyrics set the tone to deliver a melancholic and insightful message. From the first intense second to the last, you’ll be overwhelmed with a dynamic soundscape rarely witnessed in this genre. Every element serves its purpose musically as well as lyrically. The listener should be prepared for an 11 track long journey through exceptional audible environments, dark passages and hopeful awakenings. ”ICON” is recorded, produced and mixed at Studio Sickan in Malmö by the multiple award-winning Joakim Lindberg who has worked with The Dahmers, Terrible Feelings, Nightmen, Black River Delta, Solen, Arre! Arre! among many others. ICON is released by The Sign Records on May 24, 2024. The album is released on black vinyl, transparent orange vinyl, and digitally. For fans of: The Hellacopters, Turbonegro, Kiss, Danko Jones, Foo Fighters, Thin Lizzy

The new album ”ICON” by Sweden’s Liar Thief Bandit is something else. After 200 shows and numerous landmark anthems, everything has led up to the fourth full-length album that truly lives up to its name. ”ICON” is a staple and instant classic on the rock scene, blending everything you would ever wish for in a melodic rock record. The raw and pure elements are caught on tape in a live setting to capture the true essence of the band, the melodies are added with clinical precision. The heartfelt lyrics set the tone to deliver a melancholic and insightful message. From the first intense second to the last, you’ll be overwhelmed with a dynamic soundscape rarely witnessed in this genre. Every element serves its purpose musically as well as lyrically. The listener should be prepared for an 11 track long journey through exceptional audible environments, dark passages and hopeful awakenings. ”ICON” is recorded, produced and mixed at Studio Sickan in Malmö by the multiple award-winning Joakim Lindberg who has worked with The Dahmers, Terrible Feelings, Nightmen, Black River Delta, Solen, Arre! Arre! among many others. ICON is released by The Sign Records on May 24, 2024. The album is released on black vinyl, transparent orange vinyl, and digitally. For fans of: The Hellacopters, Turbonegro, Kiss, Danko Jones, Foo Fighters, Thin Lizzy

IMPERA finds Ghost transported literally hundreds of years forward from the 14th century Europe Black Plague era of its previous album, 2018’s Best Rock Album GRAMMY nominee Prequelle. The result is the most ambitious and lyrically incisive entry in the Ghost canon: Over the course of IMPERA’s 12-song cycle, empires rise and fall, would-be messiahs ply their hype (financial and spiritual alike), prophecies are foretold as the skies fill with celestial bodies divine and man-made… All in all, the most current and topical Ghost subject matter to date is set against a hypnotic and darkly colorful melodic backdrop making IMPERA a listen like no other — yet unmistakably, quintessentially Ghost. New repress on a limited edition colourway.

"Marv Won is a Detroit musical alchemist – a street poet laureate entrenched in the battle rap scene, as well as a cinematic world class producer as capable of channeling Dr. Dre as Donald Goines. Marv breaks new ground with his first Mello Music Group album “I’m Fine, Thanks For Asking” - a soul-baring endeavor, that weaves tales of struggle and triumph, drawing inspiration from his storied life in the Motor City.

As one of the most esteemed battle rappers, Marv Won brings a lyrical ferocity to his unapologetically raw and heartfelt rhymes. This album collaboration with Mello Music Group marks a pivotal moment in his career, showcasing a seamless fusion of his word play and production. The album, featuring collaborations with Quelle Chris, Elzhi, Freeway, Rapper Big Pooh of Little Brother and more, cements Marv Won's status in the rap game. Marv Won's storytelling transcends mere verses, painting vivid portraits of life in the D. Over ten self-produced tracks Marv showcases his ability behind the boards with tracks that blend epic orchestration and Joe Louis drums that hit like Tommy Hearns."

San Francisco psych-pop legend announces new album, “La Fleur” out June 7th, 2024. Between outside musical projects, pushing past 50 years old and becoming a father for the first time, San Francisco psych-pop legend Kelley Stoltz has spent the past two years steadily writing and recording his 18th album, “La Fleur”. The dazzling 12 song collection will be released in June by Agitated in Europe/UK and Dandy Boy Records in the USA. “La Fleur'' finds Stoltz once again playing nearly all of the instruments on the album- though a new friendship with pop guru Jason Falkner has led to Falkner appearing on two songs, “Hide In A Song” and “Make Believer” respectively. There’s the requisite 60’s meets 80’s pop rock confections that Stoltz favors with a new focus on out front vocals and perhaps a bit shinier production. Pandemic era blues, politics and fatherhood are lyrical touchstones throughout. The album’s first single “Reni’s Car” is the jangle rock lead single based on an actual event of Kelley riding around Manchester in the Stone Roses drummer's car. The accompanying music video was shot (partially) on location. “About Time” marries Twin Peaks synths to Fleetwood Mac and Avalon era Roxy Music in a cautionary tale to Stoltz's young daughter. “Human Events” puts revolutionary prose to a Moody Blues strum that floats off into Osees territory …and do I hear a nod to Gershwin in there? During the 2010’s Kelley played live as a sideman with Rodriguez and Echo & the Bunnymen, as the 2020’s dawned he was invited to support Pavement on their big reunion tour. He’s also been heard playing drums live with Robyn Hitchcock as well as adding sitar to Hitchcock's last two albums. In 2022, Stoltz was championed with a live appearance on Marc Riley’s BBC6 show. As producer, he has recorded the new album by Brigid Dawson formerly of the Ohsees. In my ears, Stoltz rarely does any wrong, and these comparisons are only just that little fruit to get you curious- he is still one of a kind. An under the radar hero to a few, and still after all these great songs, deserving of more. Climb on the bandwagon - as ever it’s quite pleasing here. - GEORGE CLOUD San Francisco, CA 2024