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Iori Wakasa, one of the leading lights of the Tokyo club scene is set to release his second 12” from his own label, “BOTANICA” which he established to express his own primal sensibilities.

The Concept of the Label:
Tokyo-based DJ/producer, Iori Wakasa launched BOTANICA to assert that his label’s activities in itself is art and a palette for his creative, self-expression. It is also based on 2 main concepts: To integrate the sensibilities of both "nature" and “artificial and human activities" and to “contribute music that presents a scenery from the listener's point of view”.

For Iori, his label is an interface of some sort and is also a symbol of his own personal musical expectations.

Iori produced these 2 new tracks during the recent pandemic when the world was under severe restrictions. While taking into account and focusing on both 'his current outlook' and returning to “the roots of his own production aesthetic', he strived to produce something that would substitute it and as a result, created these two new tracks and the artwork that are presented in the label's second release, 'The Party Is Here EP’.

In this EP, he also attempts to express the sentiment that 'the experience that music provides to people is invaluably infinite' and that 'if you truly want to go out and party, it will happen, then and there!’.

About the tracks:
For the track, ’Bedroom Disco’, Iori tries to express his memories of 'a virtual night of partying’ that he experienced during Covid and created this track while being ‘in a state of wanting to break free from oppression’ and reminiscing about a party in a bedroom at night.

He also wanted to express the idea that no matter what situation or environment you are in, you can go to anywhere you want if you really want to and with that sentiment, he wanted to express a scenerio that transcends it and at the same time, he also wanted to convey his feelings of nostalgia for the past, rebellion against the environment and his feelings of desire.

For this track, Iori did not use any sampled voices or field recordings and created it by layering pure sonic imagery repeatedly folded and desolved which triggered the creation of new developments while imagining the thought that “a party actually begins when you step out” and the swaying of emotions that take place from it.

’Tropica' is a track that Iori produced by heavily mixing a utopian feel that people have inside of them with his own sensuality and is designed to ‘guide you to a tropical seaside', regardless of what the listener may have experienced in the past.
Unlike 'Bedroom Disco', this track uses a variety of samples and envisages "many elements intertwining with each other, working together to create this sound structure”. And it also expresses that equal opportunity exists for anyone who wants to visit an imaginary tropical land as well as the hope that even a brief break of the mind can be created by yourself and those close to you, if one pursues it.

About the artwork:
The cover of this new EP, the concept text 'Is your window open?', and the label's logo was designed by illustrator, HILOSHI SHINOZAKI who also worked on the first release, BOTANICA EP. For over 10 years, he has been a regular visitor of Hawaii, where he tries to cultivate his "true way of life” in his art.

And, artwork for the cover and label design of the EP is complemented by the label design and art direction of the record by hiro, a graphic designer who has been his partner and best friend since the first Botanica EP.
hiro expresses Bedroom Disco track's shifting compositional changes and its complex series of sound waves by creating an intricately multi-layered design that is a perfect representation of the way he sees it.
Also initially inspired by the fluctuations of waves, islands, sun, rays, sky and time, the artwork of Tropica also found inspiration from a drawing that made by Iori’s daughter who drew a picture of a scenery when she listened to the track. So through this design, one of the label’s concept of “the label’s activities is in itself art” was realised via the surprising contribution coming from his own family.

PHASE SHIFTING INDEX is a time capsule record of Jeremy Shaw's vast original artwork that includes audio excerpts, voiceover passages and music composed by There in Spirit and Konrad Black. Shaw's seven-channel video, sound and light installation-that premiered at Centre Pompidou in 2020-uses science fiction, documentary, visual effects and synchronisation to induce an ecstatic experience in narrative temporality. Each video details the belief systems of one of seven fictional subcultural groups spread across time that aspire to induce parallel realities that could redirect the evolution of the human species through embodied forms of ritual, ideology and movement. The vinyl release serves as a gathering of the piece's key audio elements, focussing on their importance to the engineering of the artwork and their stand-alone listening qualities. Side A of the record follows the dramaturgy of the artwork in full-swing, including audio segments from four of its five distinct chapters. Written by long time collaborators Konrad Black and Jeremy Shaw together as There in Spirit, "Cross- Temporal Sync" soundtracks the strobing peak of the installation at the moment when all seven disparate videos fall into a unified choreography in which every person on every screen performs the same ecstatic series of slow-motion movements. The pulsing, hypnotic dirge aligns with the locked choreography in mood and action, caught somewhere between ecstatic trance and somatic takeover. A steady sub line, clipped stabs and a swooping choral gasp harmonise with the dancers movements onscreen while restrained filters open slowly to reveal a submerged melody that builds in intensity towards the chaotic rupture of Black's "Mosh". Here the score breaks into digital shards as heard through analog bodies colliding and pixelating into each other. The dancers eventual dissolution into "Particles" sounds like the field recording of a disembodied neural cosmos. The B-side of the record contains a narrative outline edit of the artwork comprised of music, excerpts and pieces of narration from each video. Listeners can follow along in an accompanying thirty-six page booklet of full-bleed film stills documenting each of the seven groups as they move through the five chapter dramaturgy. Composer Konrad Black's authentically backwards-glancing production and sound design is as disparate as the groups represented on screen. From the bespoke-16mm-tribal-techno of "The Cyclical Culture" and retro-cyber-funk of the "Zero-Ones," to the VHSdark- wave of "The Violet Lux" and skewed vocal/piano minimalism of the "Quantum Modern," each group exists in its own custom-made world out-of-time. The record ends where it began, with the full sequence of "Ramping" playing out as each subcultural world begins to lose control, galvanise, sync, rupture, atomise and scatter throughout the universe, only to loop back into another inevitable beginning. Phase Shifting Index premiered at Centre Pompidou, Paris, in 2020 and has since been exhibited in nine international venues including ARoS, Denmark, MONA, Tasmania, MAC, Montreal and Hamburger Bahnhof, Berlin

Marconi Union, one of the most influential names in contemporary ambient and electronic music, announce their twelfth studio album, The Fear of Never Landing, set for release 6th June via Just Music. The news is paired with the release of first single Eight Miles High Alone, out 20th March on all major streaming platforms.

Known for their ability to craft cinematic, immersive soundscapes that blur the lines between ambient, electronic, and experimental music, the Manchester-based duo once again push the boundaries of sonic exploration. The Fear of Never Landing takes us on a dynamic journey that’s atmospheric, diaphanous and never short of mesmerising. While the new record is certainly infused with a sense of hope, there’s more than a soupçon of anxiety too, as the title suggests.

A 55-minute odyssey presented as one seamless piece divided into nine movements, they transcribe the nexus of modern living into a mostly wordless odyssey. The album encapsulates Marconi Union’s ability to translate the complexities of the human experience into sound, all while maintaining a stunning sense of cohesion.

While the music feels effortless, the creative process was anything but. During the two years it took to complete the album, members Jamie Crossley and Duncan Meadows faced creative struggles that even led them to briefly question the band’s future. A pivotal moment came when they performed a live soundtrack to the 1975 skateboarding film Downhill Motion, rekindling their connection to atmospheric composition. By testing new material live and returning to their roots, Marconi Union redefined their creative process, leading to some of their most emotionally impactful work to date.

“We’ve always made atmospheric music but we had started to lose that aspect. Other than some rough ideas, we had no sense of what we were doing anymore, a kind of musical wilderness. Eventually a couple of things fell into place, and it was like, ‘Ah, okay.”
With a foundation to build upon, they went back to basics and decided to take their time going forwards. “We tried out a few new tracks live which gave us the opportunity to see what worked and what didn’t. We've never given ourselves that luxury before.”

The first track to be shared, Eight Miles High Alone, is a mesmerizing sequencer-driven track that builds an immersive, atmospheric soundscape. Its hypnotic pulses and intricate layers evoke a sense of solitude and weightlessness, perfectly capturing the album’s blend of tension and introspection. “Eight Miles High Alone was the first piece that we managed to complete and helped to inform our approach to the rest of the album.”

Formed in Manchester in 2003, their debut album, Under Wires and Searchlights (2003), introduced their signature sound, but it was their 2011 release of Weightless that brought international acclaim. Developed in collaboration with a sound therapist, Weightless was scientifically recognised as “the world’s most relaxing song”, praised for its ability to reduce anxiety and heart rates. With over 900 million streams and widespread coverage across media, the track remains a cultural phenomenon.

Over the years, Marconi Union has continued to evolve, producing critically acclaimed albums such as Signals (2021), Ghost Stations (2016), and Tokyo+ (2017). Their work has been hailed for its emotional resonance and sonic depth, with The Quietus noting their ability to find “beauty in the bleakest places” and The Sunday Times describing them as “amongst today’s most talented musicians.”

Beyond their studio albums, Marconi Union has collaborated with visual artists, provided soundtracks for installations, and remixed notable acts like Max Richter and Vök. Their invitation by Brian Eno to perform at Norway’s Punkt Festival further cemented their reputation as innovators in the ambient music sphere.

With The Fear of Never Landing, Marconi Union once again showcases their unmatched ability to create immersive soundscapes that resonate deeply. The album reaffirms their position as masters of atmosphere and emotional storytelling, making it an essential addition to their storied catalog.

‘You are behind the damn wheel every day and you don’t even know it’ , weightily remarks Powerplant’s band leader Theo Zhykharyev on the reading of his latest single. London-based project signals the return to signature formula of marching drum machines and wailing synthesisers, matured by life experiencing of prolonged touring. ’Car is life, brother. Sometimes you drive it, other times - the car drives you. And, statistically, we’ll all see the airbags go off sooner than later as consequence of choices made by us or onto us, consciously or not.’
Crashing Cars breaks out the gates to the heavy low end driven dance floor. ‘I was listening to a lot of Bladee when I wrote it and needed a similar thick kick to get you moving’, says Theo. Its an emotionally loaded cannon of a track that will keep you in its grip until it has run its course and told its story. Yearning from connection unfulfilled, rings out through the heartbroken and weeping synth and choir lines. The ever-morphing and dynamic bass works in tandem with razor sharp guitars. The instrumentation, through combined ‘no looking back’ forward charge and immediacy, conjure a manic and emotional forward momentum, which rings out in the song’s lyrics. The vocal performance ranges from the trademark Powerplant goblin squeaks, to more mature, tour-hardened singing. On a sonic aesthetic level, Crashing Cars vibrates in a familiar fashion to Powerplant’s biggest hit Dungen. However, this time far less playful and harder hitting. Described as the fallout of “avoiding, chasing and running away”, lyrically it paints a dead end in human relationships concluding it car-crash heading for the scrapyard. The song concludes with a loaded four line spoken word poetry segment, that hangs over the fleeting outro.
The B side of the single, Never Smile, rolls the speed back, but throws in jangly guitar hooks and bouncy bass lines. Zhykharyev’s vocals sit in a lower register, hence are more stoic and melancholic. If this track had to be a day of the week, it would be a calm, introspective Sunday. With lyrics about looking into evil omens, the sky and reading people as ‘not something different’, it paints an ambiguous, but heavy conclusion about the world and its people. It tells a story about circumstantially settling into an identity and playing the assigned part for the convenience of the external world. It’s easier to fit than to stand apart. It's a perfect balance of mid-tempo radio-rock that builds and changes, before exploding into a shaggy guitar solo, only to go into an unexpected ethereal outro and this 7”s crescendo.
‘Both of these songs are kinda old now, sitting at around 4 years old. And although I haven’t changed the lyrics since then, I somehow find new meaning in them as time goes on. Being Ukrainian and going into the fourth year of the full scale Russian invasion back home, the chorus “my death to you - a better price to pay” makes a lot of sense looking at how the world powers are trying to spin the devastation of my people for a quick profit and an easier life for themselves. This single coming out now at this very point in my life feels both profound and very ironic. Life never ends’, summarises Zhykharyev.

Johnny and Robert began work on the album in the first weeks of the pandemic, wanting to make music that sang of those dangerous, disorienting spring days; when birdsong was brighter –– and the sense of bewilderment more powerful –– than any of us had known before. They drew inspiration in part from The Epic of Gilgamesh, the oldest surviving work of world literature; an epic poem from Ancient Mesopotamia that contains the earliest version of the Flood Myth. To Johnny and Robert, Gilgamesh resonated eerily with the present moment –– and it catalysed their song-writing. For Gilgamesh is a story of friendship, love, loss, grief, bad governance and good dreaming; of natural disaster and environmental crisis. It also contains the first recorded act of human destruction of the natural world: when Gilgamesh and Enkidu travel to the Sacred Cedar Wood, slay the guardian spirit of the forest, and cut down the trees with their axes, thereby bringing catastrophe upon themselves. Johnny and Robert wrote the album between March 2020 and February 2021, during a year in which we all wandered unsure of our path, lost in the cedar wood. The songs were composed in large part as a correspondence, through a back-and-forth of notebook pages, voice-recordings and WhatsApp-messages, at a time when lockdowns made meeting in person impossible. The first eight songs were recorded in an off-grid cottage deep in a Hampshire forest, with the sounds of chainsaws felling trees drifting in through the windows along with the birdsong. The result is an album at once urgent and ancient, which fuses poetry, landscape, myth and music into something unique. These are songs that ring with hope, love and sadness –– and one need not know anything about The Epic of Gilgamesh to be touched by them.

This is not the end of a dark alleyway in some US city, this is not the bottom of a platform heel in England, this is not the back corner of some dusty drawer at a record fair in Holland. These are not the places you’ll find rock and roll. This is Quebec: A different sensory perception of rock and roll. A heightened awareness of the highest highs and the lowest lows. This is Belgium with snowmobiles, Catholic Texas, Ugly France. All the crumbling highways, the coldest beers, and the loudest joints. Guitars do different things in Quebec. PUFFER shimmy across the invisible barricade between Montreal and the rest of the world not just as another crop of punks but as the great descendants and inheritors of modern greats like INEPSY’s “Rock and Roll Babylon” and ANNIHILATION TIME's “II.” Loud, brash, unrelenting. You’ll go deaf before you get bored of it.
Self produced, self recorded, and mixed by the band, this is the vanguard of punk that has lived long beyond it’s moments of origin. This pure blast of 1979 by way of the hellish weimar end-times of 2025 never made the necessity of punk rock feel so real.
FFO SLAUGHTER AND THE DOGS, the 222s, THE DISCORDS, MOTORHEAD, INEPSY, AA Restaurant, Montreal pool room, Katacombes, and the eternal flame of punk in La Belle Provence.

Black Hole Superette, the latest album from Aesop Rock, delves into the invisible forces that shape our lives and psyches. It's about the small, often overlooked moments_the everyday experiences that blur the lines between the real and the unreal, waking and sleeping. Aesop's signature gift for transforming the mundane into something dreamlike gives the album a surreal quality, leaving listeners questioning what's truly real as they navigate its vivid, half-remembered imagery. Entirely self-produced, Black Hole Superette is one of Aesop Rock's most technically accomplished works to date. The album's intricate beats and complex structures provide the perfect backdrop for his expansive lyricism, balancing cerebral exploration with emotional depth. From the reflective 'Movie Night' and the eccentric 'Send Help' to the wistful 'Black Plums,' Aesop channels the spirit of a mad scientist, experimenting with sound and concept in ways that defy the ordinary. With a stellar lineup of collaborators that includes Lupe Fiasco, Armand Hammer, Hanni El Khatib, Open Mike Eagle and Homeboy Sandman, Black Hole Superette is dense and kinetic, an album that deftly navigates between complexity and instinct. It's clear this project stands as one of Aesop Rock's most multifaceted and ambitious works yet.

The road is a wrinkled timeline. Uncanny flatness conceals unfolding textures, transparent layers and open tabs. The truck cuts the landscape, tracing the road with a line of mad logic that composites time, space, thought. On “Le Camion de Marguerite Duras,” French duo Jean-Marie Mercimek have returned with a road movie for the blind. Composed and recorded by Marion Molle and Ronan Riou over six years across France and Belgium, this unlikely distillation of microtonal MIDI composition, French B.O., and post-punk chansons brazenly expands the duos’ penchant for lowkey narrative spectacle.

Across “Le Camion,” sounds form a theatrical screen. Our ears are the curtains drawn wide and listening with a look that pans across the shot. No title cards, they cut straight to action. The truck is a camera, zooming and framing the tracks as scenes. Songwriting and sound design blur in a tangle of delicate economy. The balance of mutant music-boxes and dewy miniatures recalls otherworldly hits from Gareth Williams’ Flaming Tunes, Residents, and catchier corners of the Lovely Music catalog. Strange, sure, but this flick is never quite a cartoon. Molle and Riou’s vocals dilate into a cast of very human characters. Voices sing borrowed texts like untrained actors (playing themselves, in fact) stepping into the frame once before disappearing forever. And when they’re gone, you miss them. But here in the truck, it all comes back again under the cyclic spell of repose in perpetual motion. Turn up the radio and appuyez sur le champignon. - Turner Williams Jr.

Pink Floyd at Pompeii - MCMLXXII, the groundbreaking 1972 film directed by Adrian Maben. Digitally re-mastered from the original 35mm footage, with enhanced audio newly mixed by Steven Wilson. Set in the hauntingly beautiful ruins of the ancient Roman Amphitheatre in Pompeii, Italy, this unique film captures Pink Floyd performing an intimate concert with additional rare behind-the-scenes footage of the band beginning work on The Dark Side of the Moon at Abbey Road Studios. The accompanying album release will see the performance presented on vinyl for the first time.

The songwriter Joseph Allred is always prolific, but breaks up their string of solo releases for one of the most orchestrated offerings since the excellent Branches And Trees. Allred’s often monastic guitar works are fleshed out here on Old Time Fantasias, turning them towards ensemble visions of country, Americana, and Appalachia. Album opener, “The Groundhog,” features the distinctive piano of Hans Chew, with bass from Daniel Kimbro and brass from Mikey Allred. Elsewhere the new album features Kelby Clark, Courtney Werner (Magic Tuber String Band), Evan Morgan (Magic Tuber String Band), Lydian Bramblia, and Jack Bird in the mix. “I started recording this album in Spring ‘23, thinking I might be making a mostly solo acoustic album with a couple of duets thrown in for good measure. I met Hans Chew at a Nashville show a few months earlier and sent him a few tracks to see if he wanted to add anything to them. Before long the ‘solo acoustic album’ had given way to what’s probably the most involved and densely orchestrated album I’ve made to date. “I enjoyed following some threads of influence that aren’t as easily discernible in my solo playing—I hear some classic country and psychedelic flourishes, baroque pop glockenspiel and horns, percussion ideas that may be cribbed from Danny Elfman and Tom Waits albums, nods to post-rock-filtered western guitar twang, and a little Cocteau Twins dreaminess. “All in all this was a satisfying record to make. I’m especially grateful to the collaborators for adding their touches and making it a less solipsistic affair than it would have been otherwise. The political climate has changed so much over the last two years that I find it hard to imagine I could make a record with this kind of fantastic mood if I started now. I hope that it can maybe re-enchant those of us who are felling disillusioned.” —Joseph Allred

Lost Tapes Showcase; released on 6th October 2023, was short in the making, when Marcus I visited the Bakery Studio, Manchester for 1 week in June 2017 to voice the album. The album was then lost to the Bakery vaults for a long 6 years! It is a international collaboration with Marcus I hailing from Spain, bringing his lyrics and vocal styles to the UK with additional over-dubs (backing vocals and Kette drum) laid down at Golden Hen Studios in Madrid. Working together before the visit, Marcus I sent Al Breadwinner 4 acoustic guitar demos which he then built into rhythm tracks ready for voicing. The other 2 tracks were preexisting rhythm tracks from the Breadwinners archive that just seemed to fit the lyrics Marcus I had written.

“I did this piano/Rhodes recording, played live, without overdubs. I believe your approach to sound could match very well these tracks….” That’s how Giovanni Di Domenico’s collaboration with Rutger Zuydervelt started, though the first seeds were planted when the duo did a short live improv together in 2019, and Giovanni joining Hydra Ensemble on stage in 2022.

Painting a Picture / Picture a painting is -as the title suggest- an album of two long-form pieces, swapping the working method for each - one takes Giovanni’s recordings and has Rutger processing and adding to it, while the other one started with Rutger creating its foundation (with manipulated sounds of the first piece), and Giovanni building upon it. This resulted in two meandering tracks that are clearly linked, like two sides of the same coin. The cover, a painting of an empty canvas, is made by Christiaan Kuitwaard. A beautiful and ultimately fitting visual addition to this mysterious release.

Front man Austin Getz doesn't blink when asked to sum up Turnover's third full-length, Good Nature. "Learning," he replies. "This whole record is about learning. Opening your eyes to new things, going outside of your comfort zone, and learning to grow into something new."The album's unique blend of musical and spiritual growth is immediately audible on the opening track, "Super Natural," a late-summer idyll of intertwined guitar parts and laidback vocals. Listening to how the leisurely "Nightlight Girl" melts into a more propulsive selection like "Breeze," and the way Good Nature flows together as a seamless whole, it's also evident that the foursome has been paying closer attention to how artists from earlier eras made full-length albums: the range of textures, tempos, and dynamics on Good Nature are infuenced in part by bossa nova, cool jazz, electronic music, and psychedelic grooves. This infux of new infuences and inspiration, navigated by Peripheral Vision producer Will Yip, results in the band's best album to date. Good Nature comes from a place of calm and contentment, nurtured by looking inward.

The compilation of B-sides and bonus tracks from the era of Deep Purple's number one album Now What?! from 2013 will be available in this form as a physical product for the first time. A high-quality 180g purple LP edition – a must-have for every Deep Purple collector!

Seit ihrer Gründung im Jahr 2016 haben die Londoner High Vis ihre Palette an progressivem Hardcore mit Nuancen von Post-Punk, Brit-Pop, Neopsychedelia und sogar Madchester-Groove verfeinert und einen Mittelweg zwischen Hooks und Wut, Melodien und Moshpits gefunden. Sänger Graham Sayle beschreibt ihr drittes Album Guided Tour als eine Achse der konkurrierenden Kräfte: "Es versucht, eine hoffnungsvolle Platte zu sein, während es gleichzeitig wütend macht." Die Band, die von Schlagzeuger Edward 'Ski' Harper, Bassist Jack Muncaster und den Gitarristen Martin MacNamara und Rob Hammaren komplettiert wird, ist tief in der britischen und irischen DIY-Hardcore-Szene verwurzelt und wird von Rastlosigkeit und rechtschaffener Wut gleichermaßen inspiriert. Sayle sagt: "Jeder kratzt sich, jeder arbeitet die ganze Zeit, und die Vorstellung von Entspannung ist es, sich zu ficken und der Realität zu entgehen. Dieses Album ist eine Flucht vor dieser Realität." Von den ersten Sekunden an, in denen eine Kabinentür zuschlägt, ein Auto aufheult und ein sackartiger Rhythmus zum Leben erweckt wird, klingt Guided Tour wie eine Band, die nach neuen Höhen strebt und vor Energie strotzt. Das Ergebnis der mehrwöchigen Aufnahmen in den Holy Mountain Studios in London mit Produzent Jonah Falco und Tontechniker Stanley Gravett fühlt sich dynamisch und einstudiert an, wie Hymnen, die sich durch Schweiß und Wiederholung in das Gedächtnis der Sinne eingebrannt haben. Harper bringt es auf den Punkt: "Wir hatten eine klare Idee, jeder Moment wurde genutzt. Wenn wir 60 sind, können wir uns vielleicht hinsetzen und einen Schlagzeugsound hinbekommen, aber im Moment geht es darum, die Dinge zu erledigen." Die 11 Songs des Albums umfassen das gesamte Spektrum zeitgenössischer Gitarrenmusik, die durch Erfahrung, Kameradschaft und gesellschaftliche Frustrationen geschärft wurde. Von schwungvollem Streetpunk ("Drop Me Out", "Mob DLA") über schrillen Indie-Spott ("Worth The Wait", "Deserve It") bis hin zu Heavy Alt ("Feeling Bless", "Fill The Gap") und shoegazeartigem Spoken Word ("Untethered") - die Chemie der Gruppe verwandelt jeden Stil in ihre einzigartige Intensität. Sayle setzt sich für diese sich entwickelnde Verschmelzung ein: "Jahrelang hatten wir, die wir aus dem Hardcore kamen, ziemlich klare Grenzen - andere Szenen waren getrennte Welten. Jetzt vermischen sich die Dinge immer mehr, wir schöpfen aus verschiedenen Quellen."

Graham Hunt hat die intuitive Fähigkeit, sich seinen eigenen Platz in der langen, verwirrenden Geschichte der amerikanischen Popmusik zu schaffen. Der Songwriter aus Wisconsin hat in den letzten vier Jahren hart an Platten gearbeitet, die zeitlosen Gitarren-Pop mit einem vielschichtigen Produktionsansatz und einem schlauen lyrischen Auge verbindet. Seine Musik verbindet das Surreale mit dem Alltäglichen, das Melodische mit dem Rhythmischen, das Kryptische mit dem Triumphalen - und beweist oft, dass Slacker Verspieltheit und Heartland-Ehrlichkeit sich nicht gegenseitig ausschließen. "Timeless World Forever" - die erste Veröffentlichung von Hunt für Run For Cover - bildet den Abschluss einer beeindruckenden Reihe von Songs und öffnet die Tore für eine neue Phase in der langen, produktiven Karriere des Künstlers. Seit Jahren ist Hunt eine feste Größe in der Indie-Rock-Welt des Mittleren Westens, seit seiner Zeit als Kopf von Midnight Reruns und Auftritten mit Künstlern wie Mike Krol und Disq. 2019 veröffentlichte er sein erstes Soloalbum "Leaving Silver City", aber es war 2022 das Album "If You Knew Would You Believe It?", mit dem er seinen Durchbruch hatte. Das 2023er Album "Try Not To Laugh" folgte schnell, und jetzt nimmt "Timeless World Forever" diese Fäden wieder auf. Die drei Platten sind aus einem Guss: alle entstanden im selben Keller in Madison mit einer Beat-getriebenen Dichte und einer klanglichen Fantasie, die Rap und Rave ebenso zu verdanken ist wie dem Power Pop. Es ist schwer, gleichzeitig nach hinten und nach vorne zu schauen, ohne mit den Rädern in einem schlammigen, zeitlosen Schlamm stecken zu bleiben. "Timeless World Forever" ist der Sound eines eines Lebenskünstlers, der einen höheren Gang einlegt, den Fuß auf das Pedal drückt und den Highway in Angriff nimmt.

180g schwarzes Vinyl

Das 2007er Album der beiden Gitarristen und Sänger erscheint hiermit erstmalig auf Vinyl

Mit Gary Clark Jr, James Cotton, Delbert McClinton, Kim Wilson und Lou Ann Barton

12 Tracks von Jimmy Reed, oder von ihm inspiriert

Jimmie Vaughan ist der ältere Bruder von Stevie Ray Vaughan

Hailed as the “Godfather of electronic music,” Paul Oakenfold is one of the most successful electronic artists of all time, counting more than 110M streams, 5M albums sold worldwide and three GRAMMY nominations.
Oakenfold’s discography includes three full-length studio albums, countless live/compilation albums, singles and remixes, and over 20 DJ mix albums. He has written and produced for major stars like Cher, The Happy Mondays, U2 and Madonna and also counts more than 100 remixes, including ones for The Rolling Stones, Justin Timberlake, Michael Jackson, Britney Spears and Elvis Presley.

He continues to push the envelope via his game-changing projects, including a once-in-a-lifetime DJ set in April 2017 at the top of the base camp of Mt. Everest, commemorating the set with the release ‘Mount Everest: The Base Camp Mix.’ In September 2018, he became the first-ever artist to perform at Stonehenge, a UNESCO World Heritage site, followed by his ‘Sunset at Stonehenge’ mix album (February 2019) capturing the historic DJ set. In March 2019, he performed at the 2019 Special Olympics World Games opening ceremony in Abu Dhabi, in addition to remixing the Games’ official theme song.

This release is a reissue of his classic soundtrack album for the 2001 Joel Silver produced Swordfish starring Hugh Jackman, John Travolta, Halle Berry & Don Chedle. It contains tracks specially commissioned for the film written by Paul & film composer Christopher Young, plus his remix versions of N*E*R*D – Lapdance, Afrika Bambaataa - Planet Rock, Muse - New Born, plus tracks from Lemon Jelly + Dope Smugglerz, Jan Johnston.

The original release has sold over 100k units to date & the vinyl is now selling upwards of £300 on Discogs. This 2025 triple vinyl reissue has been remastered at Metropolis Studios + will be pressed on green coloured vinyl & coincides with the 4k UHD limited edition 25th anniversary Blu Ray release.

As part of the Acoustic Sounds series, three of Diana Krall’s most beloved albums will be reissued on vinyl throughout the year, with the first, her dazzling Grammy-winning 2001 album, The Look of Love, to bow May 31st. The record boasts such standouts as “S’ Wonderful”, “Cry Me A River”, and her bewitching take on the Burt Bacharach-penned title track. Krall’s 1999 album — celebrating its 25th anniversary this year — When I Look In Your Eyes, will follow July 5th with her 1996 LP, All For You: A Dedication To The Nat King Cole Trio, to come September 27th. The two-time Grammy-winning album, which was also nominated for Album of the Year, When I Look In Your Eyes, features Krall and her excellent ensemble performing a sultry set of updated standards, including highlights like “Let’s Fall In Love”, “I’ve Got You Under My Skin” and “Let’s Face The Music and Dance”. All For You: A Dedication To The Nat King Cole Trio is a superb salute to the mighty Nat King Cole Trio with Krall putting her unique spin on 12 of Cole’s classic cuts like “Frim Fram Sauce”, “Boulevard of Broken Dreams”, “You Call It Madness” and “Hit That Jive Jack”. The albums will be mastered by Bernie Grundman from the original tapes and pressed on 2-LP black vinyl.

Given Massive Attack's background, it was almost inevitable that they'd release a dub overhaul of one of their albums at one point. That time came in 1995, when British sound system legend Mad Professor - responsible for some of the greatest UK-made dub records of all time - put his distinctive twist on Protection. 21 years on, the set still sounds sublime: a radical translation that frequently bares only a passing resemblance to the Bristol band's original. It's packed with highlights, from the spaced-out, dub-house rework of "Spying Glass" ("I Spy"), to the ricocheting percussion hits and twinkling pianos of "Weather Storm (Cool Monsoon)", and creepy, delay-laden string surges of "Eternal Feedback (Sly)".

Give bread and circuses to Brazilians in 1968, and they"ll turn it into an anthem. Under the yoke of a monstrous dictatorship, this foundational album of the tropicalist movement forever changed the way music was thought of and made. Looking for bossa nova and bolero? Fine, but they added Batman, macumba, yé-yé, and psychedelic rock. With an album cover inspired by Sgt. Pepper"s, Caetano Veloso, Gilberto Gil, Gal Costa, Tom Zé, Nara Leao, Torquato Neto, Capinam, Os Mutantes, and their brilliant arranger Rogério Duprat etched their names into history.

Give bread and circuses to Brazilians in 1968, and they"ll turn it into an anthem. Under the yoke of a monstrous dictatorship, this foundational album of the tropicalist movement forever changed the way music was thought of and made. Looking for bossa nova and bolero? Fine, but they added Batman, macumba, yé-yé, and psychedelic rock. With an album cover inspired by Sgt. Pepper"s, Caetano Veloso, Gilberto Gil, Gal Costa, Tom Zé, Nara Leao, Torquato Neto, Capinam, Os Mutantes, and their brilliant arranger Rogério Duprat etched their names into history.

Included are all 9 tracks from the two titles that have been highly acclaimed and talked about overseas.
This is an analog vinyl record pressed in Japan by Memory-Tech, the developer of high-quality CDs and UHQCDs, on 180g heavy vinyl.

Analog vinyl featuring all 9 cover and original songs from the 2024 album “Beyond The Window ~Mado no Mukou ni~” and the 2021 album “Another Answer”
by Kanae Izutsu, a singer who boasts strong popularity among music fans and audiophiles.
The two titles, which were ranked No. 1 on the domestic distribution site rankings and also ranked high on overseas distribution and streaming sites, were cut
by Katsutoshi Kitamura (MIXER'S LAB), one of the best cutting engineers, and by Memory-Tech, the company that developed UHQCD, a high-quality sound
quality CD. The 180g weight vinyl is made by analog pressing, which is also concerned about the sound quality. Please enjoy Izutsu's unique worldview, which
has both strength and fragility, and is clothed in lingering sound and space, on the analog disc as well.

LIMITED VINYL COMES IN CARDBOARD SLEEVE WITH BOOKLET!
OSTRANENIE is a collection of digitally manipulated, impressionistic piano miniatures — each named after blockbuster films and TV series. Improvised late at night as a reaction against passive media consumption, these pieces function as both homage and critique, navigating the space between classical impressionism and contemporary digital manipulation. They don’t just deconstruct traditional piano expression; they interrogate the emotional stakes of sound in an era where immersion culture flattens meaning and algorithmic logic erodes agency.

The album’s title references the Russian formalist Viktor Shklovsky’s concept of “ostranenie” (ɐstrɐˈnjenjɪj, estrangement/defamiliarization), a term he introduced in the early 1920s to describe art’s role in resisting the indifference of habitual perception.

“And so, held accountable for nothing, life fades into nothingness. Automation eats away at things, at clothes, at furniture, at our wives, and at our fear of war.”
—Viktor Shklovsky, Theory of Prose (1925)

Shklovsky saw art as a way to break through the anesthetizing effects of routine, stripping away the layers of habit that dull our senses. By making the familiar strange, art reclaims perception from the mechanical and the automatic. His argument wasn’t just a theoretical exercise — it was a response to a world rapidly consumed by industrialization, war machines, and the alienation of a technologically dominated modern life. In this context, he positioned artistic technique as something autonomous, distinct from mere social criticism or psychological reflection. Art seeks to remove “...the crust that the world of things deposits on our senses, with routine’s unending murder of the real.” Ben Ehrenreich on Serena Vitale’s Making Strange (The Nation, 2013)

This tension—between revolutionary/artistic and industrial technologies—defined the 20th century, and it continues to resonate today. The mechanization and automation that fueled the First World War’s devastation, alongside the social and economic turbulence of the 1920s, became central to the era’s self-conception. But just as technology was a source of alienation, it was also positioned as an agent of radical change. As the shock of modernity disrupted the human condition, it also became the driving force behind an ideological utopia — one that ultimately deformed into political totalitarianism — a paradox that remains unresolved.

OSTRANENIE plays within this contradiction. The music shifts seamlessly between an uncanny black MIDI dismantling of traditional piano virtuosity and moments of raw, fragile intimacy. The result is a work that resists automatic anonymity while questioning what it means to create in an era where the technological mediation of sound — and experience itself — is unavoidable: Art in the age of its technological constructedness.

OVERVIEW: DUB TREES is one of Youth’s most revered dub projects, it helped define the Liquid Sound Design sound that fans around the world hold dear. This project is the third in a triptych of albums Youth has made with a specific Celtic / Hindu fusion. Starting out with the classic Celtic Cross ‘Hicksville’ 20 years ago, featuring the mythical Simon Posford (Shpongle) through to ‘East of the River Ganges’ (ft Klaus Shultz / Tangerine Dream amongst many others) in 2004 followed by the last piece of this mystical puzzle ‘Celtic Vedic’ ,released on compact disc only in 2016 , which charts the journey of the Celt from Northern India to Snowdonia. The idea stems from Youth’s firm belief that there is a strong correlation between Celtic and Vedic cultures and their Northern Indian roots. Youth has assembled a host of collaborators to weave their labrynthine magic on ‘Celtic Vedic’: Jah Wobble (PiL) on bass, Matt Black/Coldcut (Ninja Tunes) on warped soundscaping duties, Galician Celtic pipe and flute player Daniel Romar, Bollywood contemporary Indian singer Shridevi Keshavan and Elfic Circle. It features many field recordings made by Youth on his various Indian odysseys and is all harnessed together with cutting-edge electronica that the Liquid Sound Design team pioneered 20 years ago. The team today are still pioneering new directions within ‘Downtempo Electronica Music’ and beats that create 3 dimensional landscapes for the helioscopic imagination to explore and psychoactive maps for the inner astronaut in all of us. ‘Celtic Vedic’ promises unchartered bass annihilation and heliotropic soundscapes, pounding basslines overlayed on 3D holographic beats and wrestles with serpentine melodies and psychedelic textures.

This is a release that has been on the back burner for a few years now. Discussions started a while ago but so many distractions happened in-between (plus we released the excelled Amen Brother EP by EQ as well which distracted things for a while). But we got there and by god, we know how much this EP is loved by you guys... so super happy to have finally got it over the line.

This is a proper piece of grail... EQ and the amazing Mastersafe. They only released one record together, this one, back in 1994. Though trainspotters, anoraks and fans alike will be stoked to know that they actually made quite a few tunes together back then that were never released (though a few made it to dubplates)... and EQ has found all the DAT's, so keep on eye on Vinyl Fanatiks during 2025 for further treats by this duo!

Carrying on from recent archival releases from masters of Indian classical tradition such as Kamalesh Maitra and the Dagar Brothers, Black Truffle is pleased to present a previously unheard recording of a concert by Pakistani vocalist Salamat Ali Khan. Born to a musician family in Hoshiarpur in the northwestern state of Punjab, Khan moved with his family to Lahore in Pakistan after the 1947 partition of India, becoming a child musical prodigy. Khan was a master of the kyhal form of Hindustani classical vocal music, a style integrating influences from Middle Eastern musical traditions that gives the singer a great deal of improvisational freedom. Travelling widely across the globe from the 1960s until his death in 2001, Khan approached ragas performed in the kyhal style as expressive forums for risk-taking improvisation, enlivened by ceaseless ornamental invention.

This remarkable recording was captured by Michael Hönig (of krautrock legends Agitation Free) in concert at Berlin’s Neue Nationalgalerie as part of the MetaMusik festival in 1974 (which also featured Nico, Tangerine Dream, and Roberto Laneri’s Prima Materia, among many others). Khan, who is also heard accompanying himself on a specially tuned alpine zither (in place of the traditional swarmandal, an Indian style of zither), is joined by Shaukat Hussein Khan on tabla and Hussein Bux Khan on harmonium. The lack of a familiar underlying tanpura drone gives this performance a weightless, floating quality, with all three of the musicians playing masterfully with the interaction between silence and the pulse propelling each section of the raag.

As Khan explains in his opening remarks, this performance of the rainy season Raag Megh is divided into three parts, each with its own tempo and rhythmic scheme (tala). The opening vilambit, in a twelve-beat tala, stretches out for over twenty minutes, lingering for a long time in a space of meditative calm, Khan lightly strumming the zither while exploring the lower end of his range in languorously extended notes. Virtuoso tabla interjections at first barely state the tempo, and the interplay between musicians is so spacious that we hear scraps of audience noise and the squeak of the harmonium’s mechanism in between the notes. Gradually picking up rhythmic definition and melodic complexity, after around fifteen minutes the music builds dramatically, with Khan letting out emotive yelps and swooping scalar shapes ranging across his full vocal range. This flows seamlessly into the following jhaptal, at a faster tempo in ten beats, which then makes way for the concluding teental, very fast in sixteen beats, which becomes a frantic improvisational exchange of daring rhythmic disruptions from the tabla, flowing harmonium melodies, and a stunning variety of vocal approaches from Khan, ranging from rapid-fire staccato consonants to guttural growls.

Accompanied by stunning black and white concert photographs, the LP also contains a moving and entertaining recollection from acclaimed German musicologist Peter Pannke, looking back on his experience assisting Khan and his musicians in Berlin at the Metamusik festival (including a mouth-watering description of a feast cooked by the maestro himself). As Pannke describes in his account of attending the concert, the beauty and spiritual intensity of this music leaves the listener speechless.

Germany's iconic deep funk collective digs into a new soundscape: "A Higher Frequency" was recorded with a nine-piece live to tape at legendary MPS studio in the Black Forest, adding an airy, jazzy flavour to their trademark raw and breaks-heavy funk. Ten tracks full of spiritual grooves, soulful themes, loose funkiness and organic interplay, captured with state-of-the-art 1960s gear in a super-vibey room - but the title A Higher Frequency is not just about the pristine analogue sound quality of the recording, it is also a reference to a trancendant wavelength where minds meet and music connects.

Together with long-time friends and collaborators Daniel Kimaz on flute and Guillame Métenier, who worked his magic on the studio's historic Bösendörfer grand piano and Hammond organ, the group spent a week in the Black Forest, with full focus on the mission to capture the live energy and togetherness of the ensemble.

The result is an album bursting with positive energy and power, rooted in a universal funk groove with excursions into many colourful branches like outernational, cinematic, soulful jazz, psychedelic & disco.

The common thread is a propulsive, driving-forward feel: "Open The Gate" welcomes us with hard-hitting breakbeats and dramatic crime brass, followed by the cool groovin' piano-led soul jazz of "Get Loose", while "Spinning" takes us on a ride through cinematic horn choruses and folky-psych flute and guitars. "Back And Better" is Nichola Richards' time to shine, laying her sweet vocals over the sparse hiphop-infused soul beat to tell a comeback story. "Sweet Company" is a lighthearted uptempo tune inspired by TV and library themes of the 1960s. The swampy groove of "Sparks Of Joy" best reflects the fun of the band playing together and "Phantom Power" combines a trademark Mocambo breakin' theme with an unusual instrument, an electric phin from Thailand – a nod to the many so-called "world music jazz" recordings that the MPS studio gave birth to. On "Can't Stop This Fire", soul singer Carlton Jumel Smith from New York City takes over the mic as a special guest and brings the house down with a heavy funk delivery. "When We Roll" builds another highlight where bouncy drums play off disco-jazz horn themes and finally, the gospel-flavoured cine-soul epic "Homebound" drives it all home.

The vinyl record comes in a limited first edition in hand-made tip-on sleeve.

K U T E get rambling on through the perpetual fog and herald a spectacular mould-melting sound on their forthcoming album 'Intrigue/Fatigue'

After breaking out of Glasgow's live circuit and releasing a critically acclaimed demo tape, the band of dissenters is ready to break the unsuspecting public. Never Sleep are proud to present a landmark moment in the Glasgow hardcore scene. The modus operandi of 'Intrigue/Fatigue' is as political as it is social, a fusion of post rock, art, hardcore, punk, and performance. It’s their first for the Berlin label (founded by Gabber Eleganza) following the elusive demos that circulated Glasgow's underbelly.

Ahead of the release K U T E brought their fervorous live show around the UK and beyond leading to award nominations in Scotland for 'Best Live Act' supporting bands like Militarie Gun, Angel Du$t, The Serfs to name a few. The band also played at Outbreak and .core festivals

The band member's Amy, Kenni, Fletch and Matty have been performing as K U T E for just over a year. Amy's frontwoman reputation has already garnered huge attention and her lyrics honesty, social awareness and humility has also made waves as a true new voice in music.

The result is a mesmerizing powerhouse of a debut, where they have found a singularity where hardcore meets Battles, or Godspeed goes full windmilling in the basement.

Playing singles 'For You', 'One More For The Walk' and 'Intrigue/Fatigue' have been released in the lead up to the record and have been making big waves at BBC6 with support from members of Mogwai. The band's technical yet gargantuan sound has crossed over into the public spectrum and led to a whole wave of new fandom.

They have shared their self produced videos for Singles ‘For You’ & ‘One More For The Walk’ as well as a 2 song live session ‘LIVE AT THE LAWBURN’

The band are embarking on their first UK Tour in 2025 supporting ‘Fentanyl’ in June and a slew of UK & EU dates

"As one of the biggest albums of the ‘80s, Foreign Affair showcased Tina Turner at her very best, further cementing her position as The Queen of Rock ‘n Roll. Celebrated in this 2LP white vinyl edition (33rpm), it includes the original album fully remastered for the first time.

Foreign Affair was Tina’s third studio album since her dramatic global resurgence, following the monumental success of Private Dancer (1984) and Break Every Rule (1986), as well as her lead role in Mad Max Beyond Thunderdome in 1985. It went on to be a multi-platinum record across the world, including UK, Germany, Switzerland, Canada, Australia and many more. The biggest track to come from the album was the 80s anthem, “The Best.” The track continues to transcend generations, with one of the most recognisable choruses in music history. On top of The Best, the album is complimented by several Tina favourites, such as Steamy Windows, I Don’t Wanna Lose You and the title track Foreign Affair."

Best known for being the front - man of legendary US Hard Rock band ANGEL, Frank Dimino is now leading his own solo project and debuts with a fine Melodic Hard Rock album aptly titled Old Habits Die Hard. ANGEL is a band that was discovered (similarly to VAN HALEN) by KISS bass player Gene Simmons, who got them signed to Casablanca Records. With that label ANGEL released 5 critically acclaimed studio and one live album in the second half of the 70’s. After the band’s demise, Dimino went on to work with UFO’s Paul Raymond and worked as singer for Soundtracks, scoring a Platinum
album for the inclusion of his Cycle V song “Seduce Me Tonight” on the “Flashdance” soundtrack. While Frank is undoubtedly the brainchild of DIMINO, the new album sees him collaborate with some heavyweights of the Vegas music scene, which is where he currently resides. Under the production of Paul Crook (MEAT LOAF), DIMINO sees the participation – among others – of Oz Fox (STRYPER), Eddie Ojeda (TWISTED SISTER), Rickey Medlocke(BLACKFOOT, LYNYRD SKYNYRD), Jeff Labansky (ARMORED SAINT), and former ANGEL bandmates Punky Meadows(on guitar) and Barry Brandt (co-writing with Frank the song” Even Now”). Old Habits Die Hard has reached its 10th Anniversary and is being re- issued with the bonus acoustic track “Even Now”

U.K. progressive post-rock supergroup Crippled Black Phoenix is a musical collective that has featured nearly 30 members in it's rotating roster. The constant driving force is multi- instrumentalist Justin Greaves (Electric Wizard, Iron Monkey Se Delan), who formed the band in 2004 with Mogwai bassist Dominic Aitchison. Creating what they describe as "endtime ballads" to signify both the slightly macabre nature of their songs & the unusual blend of styles as the final evolution in music. The band have made live shows a focus by performing in unusual venues across the world as well as using Victorian-era instruments in tandem with more modern instruments, often involving more than a dozen members onstage. In 2006, Crippled Black Phoenix released their first album, 'A Love Of Shared Disasters', followed in 2009 by 'The Resurrectionists' & 'Night Raider', but it was their fourth album released in 2010 on Invada Records - 'I, Vigilante' - an album of uncompromising soundscapes that garnered the band & album widespread critical acclaim within the media worldwide. On 'I, Vigilante', CBP create songs that feel both sky-crackingly epic & intimate at the same time. "We Forgotten Who We Are" is an 11 minute thundering storm which powers through sections of head-nodding chugging guitars to a sunrise of happy melody & back, "Fantastic Justice" is a staggering display of songwriting, with twists & turns that make the band sound like a mini orchestra - horns, strings, crashes & swoons with Greaves the dark conductor. The spoken-word opening to "Bastogne Blues" is perfectly evocative for a genuinely troubled song, CBP's command of bleakness is at it's strongest here; cinematic doesn't come close to describing the song's emotional resonance. When 'I, Vigilante' threatens to disintegrate into a black hole of misery, a faithfully screaming version of Journey's "Of A Lifetime" shows a sense of humour & some sweet guitar tones. This edition of 'I, Vigilante' is presented on black vinyl LP & is the first time the album has been released on single vinyl

A timeless rock & roll band for the modern world, The Prescriptions sharpen their sound with Time Apart. Produced by Ben Tanner (Alabama Shakes) and Brendan Benson (The Raconteurs), the album funnels a half-century of American and British influences including taut power pop, explorative indie rock, jangling heartland hooks, and New Wave nuances into something sharp and singular. The result is a warm, widescreen follow-up to The Prescriptions' 2019 debut, Hollywood Gold, its songs balanced halfway between classic craftsmanship and progressive exploration. Fiery and forward-looking, Time Apart explores both sides of the pop/rock divide. It's a 21st century album rooted in everything that made the classic stuff so compelling sharp songwriting, ringing refrains, percussive stomp, and guitars that chime one minute and churn the next. Time Apart is an album for the heart, head, and hips. The Prescriptions have been never been shy about nodding to the hook-driven rockers who came before them, but here, they carry those influences into uncharted territory, uncovering something that's truly theirs along the way. It was time together that created Time Apart, and The Prescriptions have never defined their ambition or abilities so clearly before. Tracklist: 1 April Blossoms 2 Long Past Tonight 3 Love is Red 4 I Get Lost 5 Compartmentalize 6 Fire Moon 7 On Satellite 8 Not The Issue 9 I Might Try 10 Baby Be Nice 11 Camp Hill

A timeless rock & roll band for the modern world, The Prescriptions sharpen their sound with Time Apart. Produced by Ben Tanner (Alabama Shakes) and Brendan Benson (The Raconteurs), the album funnels a half-century of American and British influences including taut power pop, explorative indie rock, jangling heartland hooks, and New Wave nuances into something sharp and singular. The result is a warm, widescreen follow-up to The Prescriptions' 2019 debut, Hollywood Gold, its songs balanced halfway between classic craftsmanship and progressive exploration. Fiery and forward-looking, Time Apart explores both sides of the pop/rock divide. It's a 21st century album rooted in everything that made the classic stuff so compelling sharp songwriting, ringing refrains, percussive stomp, and guitars that chime one minute and churn the next. Time Apart is an album for the heart, head, and hips. The Prescriptions have been never been shy about nodding to the hook-driven rockers who came before them, but here, they carry those influences into uncharted territory, uncovering something that's truly theirs along the way. It was time together that created Time Apart, and The Prescriptions have never defined their ambition or abilities so clearly before. Tracklist: 1 April Blossoms 2 Long Past Tonight 3 Love is Red 4 I Get Lost 5 Compartmentalize 6 Fire Moon 7 On Satellite 8 Not The Issue 9 I Might Try 10 Baby Be Nice 11 Camp Hill

"U.S. Maple's first album, before they fell all apart on """"Sang Phat Editor"""". This is the album that """"rocks"""". Disjointed machinations, poppy locksteps and jarring sideways excursions all leading down a path to nowhere's-ville. Engineered by Jim O'Rourke with a cold. Pressed on Muleta Maroon Colored Vinyl LP includes a vinyl-only bonus track plus a Two-Sided Footlong OBI and Lyric Sheet.

In high school, the members of U.S. Maple never said a word to anyone. And although this had disastrous results (stolen shoes, constant de-pantsing, gum in the hair, etc...), a fire was burning inside each one of them.

A beginning was struck in Chicago, early in 1995. The four met near the corner of Grand and Western Avenues to devise a working method for reorganizing rock and roll, keeping what was felt to be it’s most important core elements.

The mumblings are slick. The melodies are souped-up and soured. The drums are spastic bursts of laughter, rocket fuel and confetti. It is fronted by a singer who reminds one or the other of Kevin Costner's stoner bro. A 7” single and a version of AC/DC’s Sin City are the first to be recorded.

U.S. Maple’s debut full-length, “Long Hair In Three Stages” was recorded late in 1995 with Jim O'Rourke at Solid Sound Studios in Hoffman Estates, Illinois. This was Jim's first legitimate recording session with a rock and roll band. The album receives critical acclaim. Soon thereafter, U.S. Maple find themselves flying coach to Deutschland for a European tour. The extensive six-week tour spans 12 countries and includes a Peel Session for the BBC's John Peel Show. More history is made.

""""Long Hair In Three Stages"""" goes on to be ranked #85 on the Alternative Press “90 Greatest Albums of the '90s” list. We all know better."

Madlib Invazion reissues Madlib’s collaboration with legendary Brazilian drummer Ivan “Mamao” Conti, propellant for lauded jazz fusion archetypes Azymuth. 5000 pressed for worldwide. Debuts on Black Friday. First released in 2008 on CD by the US based Mochilla imprint with vinyl being issued only in Europe on the Kindered Sprits label. Both formats are out of print with vinyl unavailble since its initial run. Alternate cover artwork, photography by B+. When Madlib went to Brazil in 2002 with Mochilla to participate in the production of Brasilintime his one mission was to meet Ivan “Mamao” Conti the drummer of the legendary trio Azymuth. Madlib had made an Azymuth tribute record he wanted to play for him. On a rainy night in Rio Mamao and Madlib went in the studio. Several hours later the rhythm tracks that make up Sujinho were laid and the process began. Featuring the music of Madlib, Mamao, Edu Lobo, Chico Buarque de Hollanda, Luiz Eca, Baden Powell, Vinicius De Moraes, Marcos Valle, Joao Donato, Dom Um Romao, Airto Moreira and even George Duke… and with guest vocals by Thalma De Freitas — Jackson Conti is a unique and classic record. Filled with the angularity and edge of a Madlib production and underwritten by the polyrhythmics of Mamao — Sujinho takes Brazilian music into places it has never been, bringing oft forgotten classics like Upa Neguinho to 21st century ears.

On her debut album, Lucy Gooch stays true to her electronic foundations, while incorporating more acoustic instrumentation and digging deeper into her folk roots through songwriting. But at the heart of Lucy's music is her rapturous vocal, with which she has experimented more than ever over the course of her first full-length. Many of the pieces on 'Desert Window' started out as vocal improvisations from which she pulled a narrative. Taking cues from the incantatory chanting found in middle English poetry such as 'The Names of the Hare', as well as the prescient imagery in contemporary works like 'The Hearing Trumpet' by Leonora Carrington (1974). "To a larger extent, this became an experiment in placing my voice in a more narrative way, while remaining oblique," Gooch explains. While her previous work could be compared to drawn-out landscapes punctuated with moments of romance and radiance, this album feels grounded in materiality and the everyday. Gooch's voice is at times strident, while elsewhere restrained and broken. "I lost connection to my voice and then had to rediscover it, which was exhilarating. There were these bursts of energy where I'd be messing around and occasionally stumble upon something". There are hushed melodies and exhausted squalls, creating dissonance and space. The result is an atmospheric balance between Kate Bush and Cocteau Twins harmonies, Vangelis major chords, and a juxtaposition of folk ambience reminiscent of the offset madrigals of The Third Ear Band and Italian cult film composers Goblin. It is a complex and elegant album, an all-consuming series of songs that reach into jazz, electronica and classical song construction.

On her debut album, Lucy Gooch stays true to her electronic foundations, while incorporating more acoustic instrumentation and digging deeper into her folk roots through songwriting. But at the heart of Lucy's music is her rapturous vocal, with which she has experimented more than ever over the course of her first full-length. Many of the pieces on 'Desert Window' started out as vocal improvisations from which she pulled a narrative. Taking cues from the incantatory chanting found in middle English poetry such as 'The Names of the Hare', as well as the prescient imagery in contemporary works like 'The Hearing Trumpet' by Leonora Carrington (1974). "To a larger extent, this became an experiment in placing my voice in a more narrative way, while remaining oblique," Gooch explains. While her previous work could be compared to drawn-out landscapes punctuated with moments of romance and radiance, this album feels grounded in materiality and the everyday. Gooch's voice is at times strident, while elsewhere restrained and broken. "I lost connection to my voice and then had to rediscover it, which was exhilarating. There were these bursts of energy where I'd be messing around and occasionally stumble upon something". There are hushed melodies and exhausted squalls, creating dissonance and space. The result is an atmospheric balance between Kate Bush and Cocteau Twins harmonies, Vangelis major chords, and a juxtaposition of folk ambience reminiscent of the offset madrigals of The Third Ear Band and Italian cult film composers Goblin. It is a complex and elegant album, an all-consuming series of songs that reach into jazz, electronica and classical song construction.