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PRESSED ON FRUIT PUNCH COLORED VINYL WITH HAND NUMBERED OBILIMITED TO 2000 COPIES

The contemporary realm of hip hop music can be seen as polarized between two sides; mainstream versus underground, industry versus independent, at a base level boiled down to catchy sounds & infective hooks over higher quality lyrical content. These elements don’t need to be mutually exclusive, but these days it’s rare to find an act that can please all sides of the discussion. Clipse are one of the few groups that successfully and consistently caters to both sides of rap’s splintered psyche, simultaneously serving the scene with upbeat bangers that get the club poppin’ & subwoofers rattlin’ while crafting clever quotable compositions deserving of repeated headphone submersions. Though their preceding official albums Lord Willin’ (2002) & Hell Hath No Fury (2006) made bigger splashes commercially, 2009’s Til The Casket Drops is surely no slouch, a gem which deserves to be revisited with fresh ears – good thing Get On Down has given it the proper treatment it deserves with its first-ever vinyl pressing!
Til The Casket Drops was a departure from the duo of Malice & Pusha T’s previous works in that it was their first LP not completely produced by The Neptunes. However, the celebrated team who brought us ‘Grinding’ & ‘Mr. Me Too’ still helmed 8 of the album’s 13 tracks, thus dominating the soundscapes and aesthetic of the album anyway. With the remaining beats handled by Hitmen Sean C & LV (Jay-Z, Big Pun, Ghostface) and Aftermath’s DJ Khalil (Kendrick Lamar, Aloe Blacc, Eminem) clearly Clipse stock hadn’t lowered in the game. While boasting notable vocal features from Kanye West, Pharrell, Cam’ron, Keri Hilson, Yo Gotti & their Re-Up Gang affiliate Ab-Liva, Casket Drops leaves ample space for the core emcee duo of Pusha & Malice to shine in the spotlight, with verses revolving around each other succinctly in-synch and bonded by an exceptional creative rhythm only biological brothers could share.
Clipse have always delighted in dualities, juxtapositions and contradictions, unabashedly celebrating the capitalistic lifestyle and the grind as the kings of ‘coke-rap’, while taking hard looks at society’s mores and those of their own individual journeys. We hear Malice’s eventual transition to No Malice taking form on this album as he found religion, warning others who might follow in his path on ‘Footsteps’: “don’t let my wrongs give you the right of way/ to emulate my past escaping the law’s grasp” while refusing to be pinned down in one lane: “it weights on my conscience and I hate conscious rap”. Meanwhile Pusha T continues his lyrical ascent into the King Push persona with bars like “pompous motherfucker, look what them jewels made me/ I’m only finding comfort in knowing you can’t replace me/ What a thing to say, but what am I to do/ I’m role-playing a conscious nigga and true is true/ Cocaine aside, all of the bloggers behooved/ My critics finally have a verse of mine to jerk off to” decisively on album opener “Freedom”.
Since it dropped, the Clipse have stated that Casket… is their final album together while subsequently alluding to the possibility of an eventual reunion. Only time will tell, but until then it’s time to re-celebrate one of hip hop’s most dynamic duos by hearing Til The Casket Drops in a whole new light with its long-overdue, first time on vinyl pressing via Get On Down featuring all 13 original tracks on wax and cover art by the legendary KAWS! It’s kinda like a big deal…

ONE LEVEL is delighted to announce its latest release, the captivating 'Big Tal's Elements' EP by French DJ/Producer, ALEQS NOTAL.

Following the resounding success of One Level's debut release, the awe-inspiring Afro-futurism of Hagan's 'Forward Focus' EP - a production that ignited a dynamic and fruitful chapter for the London-based artist - the label has been meticulously crafting its return. One Level prides itself on championing quality over quantity, and this ethos is beautifully demonstrated in its second release...

Aleqs Notal, the former scratch champion and consistently evolving producer, joins the label family with a collection of four remarkable tracks. Despite his years of experience, Aleqs admits that he's still in the process of refining his own sound and with 'Big Tal's Elements’, a nickname affectionately bestowed by longtime friend and fellow artist Manaré, his four carefully curated house joints encapsulate a wealth of influences, all beautifully combining to create a modern and innovative soundtrack.

Following his early years of turntable virtuosity, and having embarked on a new creative chapter in the studio, it was 2014 and as a founding member of the innovative ClekClekBoom collective - a group of young French talents who spearheaded a groundbreaking movement that reshaped the Parisian electronic landscape - that saw Notal continue to cultivate his own sound, one rooted in the sounds of Detroit and Chicago. He became a respected DJ on the cities’ club circuit, and has gone on to to feature his music on esteemed labels including Phonogramme, Salon Recordings, Release Sustain and Patrice Scott's Sistrum Recordings.

The EP opens with 'Untwisted Delight', a homage to the timeless sound of the Motor City. A bass-driven DJ tool, pulsating with the resonance of the 808, evoking echoes of Pittman, and igniting a powerful dancefloor energy.

‘Save Ya’ is an ode to determination and self-preservation. A track with its roots deeply embedded in the dancefloor and featuring an archive sound-bank vocal alongside glorious hi-hats, it is a firm favourite of Notals. “I think its from my scratch background. I always work with the hi-hats. For me, when I hear the hats its as though I hear somebody singing." Fully road-tested at Fabric London, Save Ya is now set to rescue many a night.

'Come Get It' channels the spirit of early Chicago house. A fusion of spirited 606 and 808 drum patterns, coupled with the enchanting allure of resounding hi-hats, it offers a heartfelt homage to the revolutionary sounds that defined an era and continue to influence so much of today’s music.

Concluding the EP is 'Hymn Of Passion', a track inspired by Ron Trent's Future Vision imprint. Drawing on a diverse palette of Nigerian percussive elements and samples garnered from past projects, Aleqs weaves a sonic mosaic. Crafted in a single jam session, the track elegantly melds a rhythmic finesse with resonant congas, intertwining with the emotive Rhodes piano, to craft an unforgettable finale.

With a diverse array of influences seamlessly interwoven, Aleqs Notal’s ‘Big Tal's Elements’ EP is a journey through sound that fully captivates the listener.

The live reunion of Bob Dylan and The Band during 1973-74 yielded one of the decade's most celebrated, dynamic, and astonishing tours. Captured on Before the Flood, the results portray the two artists' shared chemistry as well as Dylan's instinctive ability to challenge audiences, his group, and himself via inventive rearrangements of classics that simultaneously ward off nostalgia and renew with meaning. Said by noted critic Robert Christgau to be "at its best, the craziest and strongest rock and roll ever recorded," Before the Flood crackles with intensity, relevance, and unhinged performances.

Arriving at a crucial time for both Dylan and The Band, Before the Flood is the furthest thing possible from a nostalgia trip. It's where Dylan begins his now-trademark feat of turning songs upside-down, taking risks, challenging expectations, and leaving audiences riveted to the edge of their seats in anticipation of what might come next. He sings with unabated passion, the moods spanning bitterness to jubilation. And his willingness to play fast and loose with the music gives way to compelling shifts, under-the-surface textures, complementary intricacies, and a sense of newness and discovery on par with that of an adventurer embracing total freedom.

Before the Flood buries any notion of limits, safeguards, or borders. It is an open map, each song a route begging for exploration without need or concern for exactness or an appointed leader. Collaborative in every sense, it's a portrait of six inimitable musicians feeding off one another, trusting in their past history as they hurdle towards uncharted territory, using soulfulness as a compass and opportunity as their vehicle.

Wholly different than the live episodes heard on Bob Dylan Live 1966, The "Royal Albert Hall" Concert, Before the Flood is equally seminal and, from the perspective of witnessing an artist dare not only his audience but himself to break through to a new plane, even better. Utterly astounding.

Sistro (Sistrum) is a kind of percussion instrument that has had several incarnations and names in various cultures since the time of the Sumerians and throughout history has always been associated with religious rituals. It’s from this relationship between music and the transcendent that Nuno Oliveira (Nuno O, Judas Triste, José Pinhal Post-Mortem Experience), Tito Silva (Vasco da Ganza, José Pinhal Post-Mortem Experience) and Rodolfo Oliveira (Oficinas TK) were gradually inspired to create a trio that pays homage to this instrument of ancient times.

The project was born casually and without intentionality throughout several incursions into megalithic monuments in the hills and mountains of northern Portugal, culminating in an unusual two-day session of musical experimentation in Esposende, in September 2019. In this two-day session, codenamed “Arménio Sessions”, the trio explored a sound based on sea soundscapes, electronic beats, electric noises and the strings of na altered guitar. Channeling the strength of the elements and the mystique of the place in the form of a musical experience.

In 2021, Sistro collaborated with Mario Klingemann (aka Quasimondo) who created a music video especially for the band, created using a vintage video mixing board. Then using feedback loops and a process that Klingemann calls “Neural Edit”, which uses an artificial intelligence algorithm to correlate the raw video material with the sound.

After a long period of incubation, the group's first full-length release sees the light of day on the 31th October, 2023, moment in which a sequence of rituals begins to present and celebrate the relationship between music and the transcendent. Sistro's debut album will be released by Favela Discos, having been mixed by Tito Silva and mastered by Pedro Augusto. The photography and graphics are by Oficinas TK.

With J Jazz volume 4, the BBE J Jazz Bullet Train continues its journey traversing the expansive landscape of modern Japanese jazz. Volume 4 is the latest in the universally praised compilation series exploring the best, rarest and most innovative jazz to emerge from the Far East. Please take your seats for a first-class ticket to J Jazz central. This latest station stop off is with the famed Nippon Columbia label, one of the biggest labels in Japan, whose jazz output embraces every possible style imaginable. Focussing on the key years 1968-1981, J Jazz volume 4 sees compilers Tony Higgins and Mike Peden dig even deeper into their record collections and pull-out tracks that span styles ranging from solo to big band, jazz classical interpretations and heavy jazz rock, to febrile post-bop, white hot samba fusion, and modal psychedelic wig-outs. J Jazz volume 4 features icons such as drum master Takeo Moriyama, keyboard magi Hiromasa Suzuki, Fumio Itabashi, and Masahiko Satoh, and guitar wizards Kazumi Watanabe and Kiyoshi Sugimoto, alongside big band maestros and innovators Nobuo Hara and his Sharps and Flats, and Toshiyuki Miyama’s New Herd. Thunderous basslines nestle alongside glistening runs of electric piano, bubbling synths and air-tight drumming as the heavy psychedelic modal blues of Jiro Inagaki flows with the infectious samba grooves of Takashi Mizuhashi featuring Herbie Hancock; Shigeharu Mukai’s fusion funk epics take the music to another level and Mikio Masuda’s driving keyboard rhythms brings the heat to an incendiary dancefloor zone.

This Rough Guide features both the guardians of this musical tradition as well as some of today's key innovators who continue to push the boundaries of the genre. * An album which unlocks the mysterious and intriguing rhythms behind Capoeira * Following on from the success of other Brazilian-themed albums in the Rough Guide LP range * Capoeira combines dance and combat to the distinctive sound of the berimbau and other traditional instruments * Includes tracks by the legendary Grupo Muzenza & Capoeira Nago * A remarkable living-tradition originally developed by enslaved Africans inBrazil at the beginning of the 16th century * A seamless collection of tracks which provides a unique insight into today's vibrant scene * Featuring trailblazing artists who have taken the musical genre into a whole new electronic dimension * The music of Capoeira continues to serve as a major inspiration for Brazilian artists to this day * Music is the driving force behind capoeira which makes it so distinctive and captivating * Half-dance, half-combat, capoeira has become synonymous with the beaches of Brazil.

Paul Anka, born in Canada of Syrian parents in 1941, carved out a
career that’s so far spanned six decades, metamorphosing on the
way from teen heart-throb to seasoned performer. He enjoyed
success both as a singer and a songwriter, penning Put Your Head
On My Shoulder, You Are My Destiny, Diana and Puppy Love
along with the English lyrics to My Way, the signature song of
Frank Sinatra, as well as Tom Jones’ classic She’s A Lady. Enjoy
a touch of ‘Puppy Love’ and more from this master balladeer.

Originally released in 1988 and out-of-print for decades, Martha Splatterhead's Maddest Stories Ever Told is the third full-length album from Seattle's sultans of splatter rock! Many bands influenced by their ferocious style of music have waxed and waned throughout history but The Accused's music has stood the test of time and proves them to be one of the most ripping bands to ever shred the earth!

Recorded during Christmas time 1986 in Holland together with Jon Burr on bass, Ben Riley on drums and Harold Danko on piano, this album will be released only in Japan the following year. It is a rare compilation of mostly standard songs reinterpreted by Chet with his personal decadent, intense and timeless taste.

Anything Can’t Happen is the long-awaited debut album from Dorothea Paas, one of Canada’s most beloved singer-songwriters. For over a decade, Paas has played her unique, prismatic style of folk songcraft for audiences across North America, and lent her talents as a guitarist and vocalist to artists like Jennifer Castle, U.S. Girls and Badge Epoque Ensemble. The songs on this album have been through a near-infinite number of forms – Paas has played them solo and with a full band, electric and acoustic, at house shows and in sold-out venues. they manage to fit inside each context, like water taking the shape of its container.

All of this makes Anything Can’t Happen feel far more mature and complex than a debut album. It’s a statement of purpose, a next step in a decade-long process of artistic growth and evolution, and a bridge between the DIY style of Paas’s previous cassette releases and a more refined studio sensibility. Recorded in studios in Hamilton and Toronto, and mixed by Max Turnbull of Badge Epoque and U.S. Girls and Steve Chahley, these songs bring a diverse range of musical influences into conversation: inflected with the layered reverberations of Grouper, shot through with the piercing harmonies of the Roches, electrified with the searing energy of Sonic Youth. You can hear Neil Young in the grittiness of the title track’s guitar; Joni Mitchell’s Hejira in the album’s lyrics, Fairport Convention in Paas’s voice. The influence of Stevie Wonder - one of Paas’s greatest musical role models - is present too, in the album’s conceptual foundations.

Swindon funk combo Style X and their underground Brit-Funk classic ‘No Secret Affair’ remixed from the original 9-minute session tapes for this double-A sided 12”, featuring back-to-back versions from Sean P. and GE-OLOGY.

The architects of soul are back with “Big Time Lover”, a 12-track vinyl LP album with highlights from this year’s “Soul On The Real Side #15” CD collection Tracks here are the building blocks of modern soul with a play list of mid-tempo Northern and Crossover Soul – classics and rarities.
It's brought to you from the West Midlands – the stomping ground of Real Side Records founder member Mr Tee.
The LP is packed with modern soul gems all culled from the incredible Captipl Reords soul legacy. They need little introduction to the UK rare soul scene, but here is a snapshot of a few highlights.
Our show opens care of the million-selling group Cornelious Brothers & Sister Rose from Dania Beach, Florida. They shot to fame in 1971 with their hit “Treat Her Like A Lady” and the follow-up “Too Late To Turn Back Now”, both certified gold discs. Here we feature the title track of their 1973 album Big Time Lover.
Trk. 2, “The Game Is Over”, is by the short lived California girl group Brown Sugar featuring the one-hit-wonder Phyllis Nelson. The legendary Tavares Brothers perform trk. 3 while George Soule leads the way on trk. 4 with his #35 R&B hit “Get Involved”. Bettye Swann from Shreveport, Louisiana, delivers a heartrending performance on “My Heart Is Closed...” (trk. 5), her debut recording for Capitol in 1968.
The album closes with the fabulous C. M. Lord “Oh Mama
(Your Daughter’s A Woman Tonight)”

Satoshi Suzuki (鈴木慧) described his musical practice perfectly on the OBI strip of his 1987 privately pressed LP - Tokyo Contemporary! consisting of 40% Jazz, 30% Soul, 20% Brazil, and 10% Kayokyoku - a musical mixture not too far off from what is now referred to as City Pop.

However, this archival compilation of Satoshi Suzuki's works presents a perspective of the City Pop sound not from affluent 1980s Japanese bubble economy-era studios and highly paid studio musicians, but from a one-person band making the most of the instruments in their home studio, inspired by musical traditions from around the world.

With notes of city pop, AOR, jazz, soul, bossa, and kayōkyoku - Satoshi Suzuki's intimately recorded pop songs are charming and full of wit, with a seasonal and poetic approach to these musical forms using only a drum machine and an array of digital synthesizers. Sounding a little like Pacific Breeze played on a Casio keyboard and drum machine, Uku Kuut soundtracking a SEGA video game, or the wonderful lo-fi works of Suzuki’s lo-fi homemade pop & jazz contemporaries Ronald Langestraat, Lewis, and Joe Tossini — though most of all, SUZUKI's works show a new and singular perspective of the bubble-era city pop of the Showa period.

Distant Travel Companion (​遠​い​旅​の​同​行​者​) introduces Suzuki's musical works to a wide audience for the first time, featuring remastered songs originally released over three privately pressed LPs from the 1980s, as well as a previously unheard CD from 1993. The original works were released in an impossibly limited edition of 100 copies each - printed and assembled on printing equipment at Suzuki’s company office and scarcely distributed, recording these songs at his home studio in his free time. The compilation's design and accompanying OBI and liner notes are a direct homage to the original releases.

Satoshi SUZUKI is a Japanese keyboardist, singer, songwriter, and music arranger. He is also an author of literature and winner of the "Shin-nihon-bungaku" (New Japanese Literature) Award. He was born in 1958 in Tokyo, Japan.

Swingrowers (pronounced Swing Growers) released their second album REMOTE on 14th August 2014. Since then, it has been streamed over 13 million times on Spotify, while the official music videos for the two main singles have notched up over 10 million YouTube views. Now the album is being released on wax for the first time as we approach its 10th anniversary.

This is a highly desirable LIMITED EDITION pressing on WHITE VINYL with a free download card enclosed.

REMOTE itself is a revelation. It stood the test of time because it's one of very few complete and fully-realised Electro Swing albums that seamlessly blend 20's and 30's influences (violin, gypsy jazz guitar, saxophones, swing music) with polished contemporary production. Here superb musicianship meets great song-writing meets a unique modern sound. Plus jazz-inflected vocals.

It's the sound of a young band (and indeed an up-start young genre) maturing rapidly and would pave the way for the brilliant albums that followed and indeed for the on-going popularity of the genre.

It will be a sought-after release for fans who have bought the more recent two albums on vinyl, and by fans of other vintage influenced swing artists like Caravan Palace or Parov Stelar.

As the warehouse-rave season approaches, it’s perfect timing for Shadow Child & Mark Archer to make their collaborative debut on Food Music with a special release that includes 2 vinyl only exclusives that saw a digital release on DJ Haus’ Dance Trax label earlier in 2023. Adding to these is a brand new slice of big-room Techno in the form of ‘Chinwah (Big DJs)’, which will no doubt be pounding its way out of the worlds cooler parties in the coming months with a controversial spoken-word message to boot.

DJ Support:

Horse Meat Disco, Doc Scott, Josh Wink, Pangaea, Joyce Muniz, Benjamin Damage, KE (Kid Enigma), Yung Singh, Anja Schneider (Club Room), Pinch, Tom Findlay (Groove Armada), Elle Clark, Joshua James, Monty Luke, Adam Beyer, Otik, Tom Ravenscroft, Nightwave + Martyn Bootyspoon, Violet, TEED, Addison Groove, Mad Miran, Emerald, Dusky

Big Love label boss Seamus Haji commits four of the label’s pristine releases to wax for the fourth edition of ‘A Touch Of Love’, opening up the compilation himself with ‘Wish’, made with Full Intention’s Michael Gray and featuring vocals from current Chic singer-songwriter Audrey Martells.

This collaboration of legends is followed by another from Mark Lower & Fleur De Mur, this time with the fiery nu-disco track ‘Burn For Love’ before one half of NiCe7, FrescoEdits continues to develop his uplifting, loop-based sound with the disco-inspired ‘Get Free’. Closing out this eclectic release of Big Love favourites, London-based duo Saison and their motivational collaboration with Kameelah Waheed, ‘Be Yourself’.

Die-cut sleeve. In the fall of 2013 Bry Webb was putting the finishing touches on his second album Free Will. Released on May 20th 2014, Bry, with his newly assembled band The Providers, spent the following few years traversing North America playing clubs, festivals and storied stages such as Toronto’s Massey Hall. Nothing new for an artist who had spent the aughts in a constant state of motion with Constantines, a band who on average had performed one of every three nights on a stage somewhere in the world. In fact, running in parallel to Bry’s solo touring schedule was a reunion with his former Constantines’ bandmates to once again present their incendiary live show and celebrate the 11th anniversary reissue of the band’s Shine A Light. It is what happened as the decade wound down that seemed out of character for an artist who had spent close to 20 years immersed in the studio and on the stage: the music stopped altogether. Bry explains his feelings at that time, “I lost the musical plot about 5 years ago and stopped playing music entirely, sold instruments and recording equipment, and committed myself to the idea that I was absolutely done”. Webb dedicated himself to his ongoing work in community radio, months turned to years and musical life seemed to be all but gone from view. Now in an unexpected turnaround 10 years on from the recording of his last studio album, there is not only a return to the stage for Bry but also a new record. Primarily composed in a season of upheaval, Run With Me contains some of Bry’s rawest sentiments. Fresh and painfully present there is an immediacy one can hear as emotional walls collapse in real time. Bry explains the context of the album’s creation: “In early 2023 my personal life exploded. In the process of dealing with that, I started writing music again and started recording at home. Advised that I needed to figure out how to ask for, and accept, help from other people, I sent early recordings of songs to friends from twenty-five years of music making - many folks I hadn’t connected with in years - and asked if they’d contribute anything to the songs. People came through in ways that overwhelmed me to the point that I cried when I wrote out the list of players for the liner notes. I felt incredibly cared for. From Andy Magoffin, who recorded the first Constantines album in 1999, to members of the Cons, to my nieces Addy and Ella playing drums, and a doppler recording of my daughter’s heartbeat, the record is a document of my creative life, and the people who made it possible to make music again.” If the cover of Run With Me looks familiar, it is with full intent. The album’s technicolor marbling and die cut text serve to signal the inclusion of the album in a trilogy started with Bry’s first record Provider. Just as that album starts with the track Asa, this new one introduces itself with the instrumental Webb. The trilogy is now completed with his daughter's first, middle and last names represented as the first tracks on each of the three albums. While the LP’s package signals its place in the collection, and tracks such as Older Than The Dirt and What I Do revisit their predecessor’s familiar sonic starkness, Run With Me is the outlier of the trio. A number of new tracks forego the quietude of Provider and Free Will, clearly recalling the rallying rhythms of Constantines’ anthems. Thunder Bay (instrumental backing courtesy of The Harbourcoats circa 2009), with its insistent kick drum and wall of electrics, support one of Webb’s most indelible melodies, and the not so subtly psychedelic Modern Mind reveal an expansion of Webb’s palette. Perhaps the furthest afield is the contextual centerpiece of the album, Goodbye, where we not only hear a joyful voice that lay dormant for years, but hear it reclaim its power. Backed by Constantines’ Will Kidman, Doug MacGregor and Dallas Wehrle, Bry belts out “I’m through with all the rage, now watch the light pour out of me.” As with all of Bry’s work, Run With Me’s lyrics take their time to settle in. Songs of self-examination, reconfigured love ballads, and songs for those who work to help others. Songs of singing abound. It’s there in Older Than The Dirt’s second verse: "Logic to the last intention, logic in the way we kept holding on forever, singing as the floor- was swept”, ten thousand birds sing a warning song in Thunder Bay and again in Goodbye’s telling of a cathartic return to one’s true self with its celebration of those “Who sing - sing all joy - all joy of language, in a single word”. Joining Bry in singing Run With Me’s songs of “death, transition and hope,” are kindred spirits Jennifer Castle, Julie Doiron, Daniel Romano and Steph Yates. All of these singers elevate the album’s healing sentiments and help express the album’s central plea; a prayer of sorts wrapped in the traditional Scottish Gaelic melody of She Is Here’s second verse: “Let the sun rise in the morning and any witness bring. Let all the blooming cosmos teach us to sing”.

While this may be the first release on Sheffield's Central Processing Unit from Global Goon, the one known to friends and family as Johnny Hawk brings a whole heap of experience to the Nanoclusters mini-LP.

Hawk started dropping Global Goon records on the legendary Rephlex Records back in the 1990s. The project's subsequent releases have taken in imprints as esteemed as WéMè and Balkan. Factor in a whole host of other aliases which have delivered missives via the likes of Planet Mu, and you know even before you press play on this witty, wily record that you're dealing with a master at work here.

The confidence with which Global Goon approaches Nanoclusters shines through in Hawk taking much of the mini-album at midtempo. Cuts like 'Khroxic Mould', 'Metallik' and 'Syntheseers' sound like Bochum Welt heading down a dark alleyway. The former in particular is a seasick lope, the tuned synths lurching around like sailors on deck in a storm as bass ebbs and flows underneath the mix.

The influence of Kraftwerk comes through prominently at times here, particularly in the way 'Calcula' and 'Digit Six' play pensive, slightly sombre synth chords off some simple but effective forward motion in the drum programming. That is not to say that Nanoclusters is not full of invention, though. None of the productions are overly flash, but this approach allows the little details to shine through more clearly, from cleverly panned hi-hats to hissing synth counter-melodies which flit in and out of the mix. Enthralling and packed full of ear candy, they're further evidence that Nanoclusters is the work of an expert craftsman.

While the pulse of Nanoclusters remains relatively steady throughout, it's still a rather lively record. Plenty of these tracks will get the dancefloor moving if deployed correctly - though whether they're heard at home or in the dance, it's the attention to detail which makes them stand out.

'Snapterisk' is as perfect an example of machine-funk as you're likely to find - the drum programming is razor-sharp but rubbery with bongos, the bass a lithe burble, and those wobbly stabs of keys that put a bit of wiggle in the beat? Delightful stuff. Elsewhere the ever-looping arpeggio of 'Metro Esc' has hints of Frankie Knuckles' house classic 'Your Love', though an array of interesting sonic nuggets - snippets of vocal, radar-like bloops, a gently insistent low-end pulse - soften the track's clubbier elements with a pillowy sheen. And Hawk throws us a curveball right at the end of Nanoclusters, tapping back into that old Rephlex sound for the fizzy, braindancing 'Metal Glass'.

Global Goon doesn't need to show off on Nanoclusters - from brilliantly slick machine-funk to Kraftwerkian reveries, the CPU debutant lets the music do the talking here. It makes for a confident and vivacious mini-LP, one which wears its expertise lightly.

RIYL: Cardopusher, Bochum Welt, Cygnus, D'Arcangelo

How does one express the bone-chilling loneliness of having lost the love of his or her mate, even as the relationship continues in the present tense? We would venture to say that “Element Of Love”, the inaugural 45 on S’plat Records, and the record debut of vocalist Gervis Myles, pretty well answers the question. The song and the performances elevate this record well beyond many efforts which seem to get lost in the mannerisms of soul, but ultimately miss the point. Gervis Myles tears into the song, which has the feeling of a scorching King Records hard soul lament from, say, 1960. He moans, shouts, unleashes falsetto outbursts, and hits ever more impossibly high non-falsetto notes as the song goes on. Bootsy Collins commented: “Y’all takin’ me back while moving forward. I love the way you funkin’ with me!” The band, which we call “Suite Crude Revue”, consists in this instance of Andrew Spadofora on saxophone, whose solo work on the record contributes considerably to its searing intensity, John Paul Simons (upright bass), Bryan Rogers (piano), Dave Schoepke (drums) and Daniel Zelonky on guitar. The B side, “I’m Thirsty,” is a rhythm and blues stomp about drinking away “woman problems.” Standout piano work from Rogers and a blistering solo by Spadafora, in addition to the raw vocal performance, make one want to …. drink! Written, arranged, and produced by Daniel Zelonky (aka Low Res).

Bristol’s four-piece outfit Quade's debut album.

The first single ‘Of The Source’ will be released 4th October, alongside the album announce.
‘Of The Source’ opens in familiar territory for Quade, with distant drones and searching violin, before breaking down into perhaps the album’s most experimental track.

‘Nacre’ is the culmination of three years of work from the band, the blueprints of their songwriting and sound firmly established in the sprawling, haunting and yet hopeful record. Traipsing between gothic expansiveness and cosmic psychedelia, the record cannot be pinned down into one recognisable place. By the album’s close, the listener may be left wondering whether it was all a memory or a dream.

The recording and production of the record was collaborative, with the band drawing upon the services of Jack Ogbourne and Larry ‘Bruce’ McCarthy - two divergent pillars of Bristol’s music community - for engineering and mixing respectively.

The Land of the Snow is a project and a state of mind of Joel Gilardini (baritone guitars, electronics, and drums programming), backed up on drums by Jacopo Pierazzuoli (Obake, Morkobot, and Deneb) TLOTS is devoted to massive, metal-oriented soundscapes: a constantly evolving sludgy mix of doom and post metal (often seasoned with noise and dub elements), which often takes its inspiration from alpine landscapes and Tibetan traditions The new album "As Within, So Without" (2023, Subsound Records) is about what's inside us, how we interact with the outside, and vice versa. Everything we do and experience through our thoughts, our skin, and our actions, constantly infuence our inner selves and our surroundings. It's a constant exchange and confrontation that drives our lives and pushes us to widen our horizons with each step we take. "As Within, So Without" was conceived together with Jacopo Pierazzuoli (drums), Eraldo Bernocchi (mix and additional guitars), and Petulia Mattioli (artwork). Joel is an experimental guitarist and sound designer, based in Zurich (Switzerland). Beside TLOTS, he is also known for his ambient- drone works (released on labels like ZeroK, Unexplained Sounds Group and Endtitles) and is a member of the noise-industrial combos Mulo Muto (with Attila Folklor, CH) and Psychic Drones (with Kazuyuki Kishino, JP)

The Land of the Snow is a project and a state of mind of Joel Gilardini (baritone guitars, electronics, and drums programming), backed up on drums by Jacopo Pierazzuoli (Obake, Morkobot, and Deneb) TLOTS is devoted to massive, metal-oriented soundscapes: a constantly evolving sludgy mix of doom and post metal (often seasoned with noise and dub elements), which often takes its inspiration from alpine landscapes and Tibetan traditions The new album "As Within, So Without" (2023, Subsound Records) is about what's inside us, how we interact with the outside, and vice versa. Everything we do and experience through our thoughts, our skin, and our actions, constantly infuence our inner selves and our surroundings. It's a constant exchange and confrontation that drives our lives and pushes us to widen our horizons with each step we take. "As Within, So Without" was conceived together with Jacopo Pierazzuoli (drums), Eraldo Bernocchi (mix and additional guitars), and Petulia Mattioli (artwork). Joel is an experimental guitarist and sound designer, based in Zurich (Switzerland). Beside TLOTS, he is also known for his ambient- drone works (released on labels like ZeroK, Unexplained Sounds Group and Endtitles) and is a member of the noise-industrial combos Mulo Muto (with Attila Folklor, CH) and Psychic Drones (with Kazuyuki Kishino, JP)

"Following the superb initial two volumes, Emerald City Nights: Live at the Penthouse Vol.3, captures spectacular 1966-68 performances by the master pianist’s trio at the Penthouse in Seattle. Also available as a 2-CD set and download.
Package includes reflections by Ahmad Jamal himself, interviews with fellow pianists Les McCann, Emmet Cohen, Monty Alexander, and Joe Alterman, and essays by producer Zev Feldman and journalist Eugene Holley, Jr., among others. The extensive booklet features rare photos by Don Bronstein, Chuck Stewart, and more.
Producer and music sleuth Zev Feldman’s label, Jazz Detective, a division of the newly created Deep Digs Music Group, releases the third and final volume of the Ahmad Jamal sets: Emerald City Nights: Live at the Penthouse (1966-68), featuring previously unreleased performances by master pianist Ahmad Jamal.
The 2-LP set will be issued on 180-gram vinyl transferred from the original tapes and mastered by the legendary Bernie Grundman. The music will also be available as a 2-CD set and download. The package has been produced by Feldman and supervised by Ahmad Jamal himself shortly before his passing away in April of 2023."

Mount Maxwell returns with another full-length journey into memory, melody, and geography - this time roaming beyond the BC environs of his previous records into a stranger, less knowable country. While still woozily nostalgic in the vein of Only Children and The People’s Forest, this outing feels more exploratory and wide ranging in scope, with a denser mixture of influences at play. The somnambulistic drift of Sea of Milk sets the stage with a series of wavering synth pulses that push us languidly toward land, eventually setting us down on the sands of Maze Crete, where a shadowy latticework of hand drums, flutes and synths await. From there we ascend to the aptly named Sky Eye, a rolling mixture of acoustic beats and analog string machines that gives us our first bird’s eye view of the album’s landscape. A Long Road pushes the acoustic instrumentation further, with shimmering tambourine marking time for a collection of hand drums and shakers, while Ages summons up an occult-like dream of glacial arpeggios and whispering synths. Slow Moves and Tree Motion float effortlessly along on beds of lazy congas and woodblocks before finally giving way to the title track - a heady juggernaut of distorted synths and trundling rhythms that propels us through the album’s second half like a locomotive through darkening hills. Drawing the record to a close, the gently repeating keyboard phrase of Mist blooms unexpectedly into a rainbow of human voices before evaporating into the oceanic swells of Hi Traveller. And there Littlefolk leaves us as it found us; adrift in a rolling sea.

• 180 GRAM AUDIOPHILE VINYL
• SOUNDTRACK FROM THE BRAND NEW NETFLIX
ORIGINAL THRILLER MINI TV-SERIES LIEBES KIND (DEAR CHILD)
• SCORE BY THE OSCAR-WINNING COMPOSER
GUSTAVO SANTAOLALLA (BABEL, THE LAST OF US) & JUAN LUQUI (THE LAST OF US, FINCH)
• LIMITED EDITION ON CRYSTAL CLEAR VINYL



Liebes Kind is the 2023 Netflix psycho-thriller series, based on the novel of the same title by Romy Hausmann. The story follows a mysterious woman’s escape from her harrowing captivity, which points investigators toward the dark truth behind an unsolved disappearance

13 years earlier. Liebes Kind starts where traditional thrillers end with redemption, but the true extent of this nightmare is revealed with the arrival of Lena’s parents at the hospital the same night.



The series is accompanied by a captivating score by the critically acclaimed duo Gustavo Santaolalla and Juan Luqui. The two released their Original Soundtrack this September with the help of Robert Messinger and Sergio Chiappetta. The globally renowned multi- instrumentalist, composer, and producer Santaolalla is also known for his Academy Award-winning scores for Babel and Brokeback Mountain, as well as the legacy score of The Last Of Us.

Despite all the dark elements of the series, the two composers were able to also capture the fragility of the characters. The Original Soundtrack for Liebes Kind is available as a limited edition on crystal clear vinyl.

Released in 1996, Le Onde "The Waves" was the first solo piano album released by Ludovico Einaudi. The incredible work featured the following quote from the man himself. "If it were a story it would be set on the seafront of a long beach. A beach without beginning and without end. The story of a man who walks along this shore and perhaps never meets anyone. His gaze lingers occasionally to look at some object or fragment brought from the sea. The footprints of a crab or a solitary seagull. I always take the sand, the sky, some clouds, the sea. Only the waves change, always the same and different, smaller. larger. Shorter. Longer." Now released on Blue Vinyl for the very first time.

Released in 1996, Le Onde "The Waves" was the first solo piano album released by Ludovico Einaudi. The incredible work featured the following quote from the man himself. "If it were a story it would be set on the seafront of a long beach. A beach without beginning and without end. The story of a man who walks along this shore and perhaps never meets anyone. His gaze lingers occasionally to look at some object or fragment brought from the sea. The footprints of a crab or a solitary seagull. I always take the sand, the sky, some clouds, the sea. Only the waves change, always the same and different, smaller. larger. Shorter. Longer." Now released on Blue Vinyl for the very first time.

Sowohl 2021 als auch 2022 schlossen die Veröffentlichungen von Dream Unending und Worm das Jahr bei 20 Buck Spin ab. Im Jahr 2023 erscheinen die beiden dem Untergang geweihten Titanen nun gemeinsam auf einer überragenden Veröffentlichung der kosmischen Dualität, "Starpath", um den Jahresend-Hattrick zu komplettieren.

Da beide Bands in den vergangenen zwei Jahren ein Hauptwerk nach dem anderen veröffentlicht haben, sind sie in der Fantasie der Fans untrennbar miteinander verbunden. Und obwohl sie musikalisch kaum weiter voneinander entfernt sein könnten, gibt es doch viele Gemeinsamkeiten in den Grundpfeilern. Und so beenden Dream Unending und Worm einmal mehr den 20 Buck Spin-Veröffentlichungsplan für das Jahr, dieses Mal zusammen.

Die neuesten Tracks von Dream Unending, "So Many Chances" und "If Not Now When", führen die Goth-/Post-Punk-Elemente, die in den früheren Veröffentlichungen vorhanden waren, logisch weiter und bauen auf ausgedehnte Gitarrenpassagen, nachdenklich-schweren Riffs und Justin DeTores donnerndem Gebrüll. Phil Swanson, der auf "Song of Salvation" als Gastsänger auftrat, kehrt hier wieder zurück. Diese beiden ausgedehnten Stücke stellen die bisher am besten ausgefeilte Inkarnation dessen dar, wohin Derrick Vella und Justin DeTore das Schiff steuern.

Worm, wie sie mittlerweile genannt werden, sind nach wie vor ein sich ständig wandelndes Gebilde aus purer, virtuoser Schwärze. "Ravensblood" bietet vampirischen Black Metal mit eisigen Keyboards und unheimlichen Friedhofsmelodien. Das schaurig-atmosphärische 'Midwinter Tears' beschwört eine schneebedeckte Gothic-Stimmung herauf, und das abschließende 'Sea of Sorrow' bringt das nekromantische Geschredder von Lead-Gitarrist Wroth Septentrion über Phantom Slaughter's eigenwilligem Black Doom und unsterblich spukenden Gruftbeschwörungen zum Ausdruck.

Zwei Bands, zwei einzigartige Ansätze, ein abgrundtiefes Lichtspektrum von strahlender, leidenschaftlicher Schöpfung bis hin zur abgrundtiefen Dunkelheit des Vergessens. Dream Unending und Worm präsentieren jeweils über 20 Minuten neuer Musik, die speziell für die gemeinsame Veröffentlichung von "Starpath" geschaffen wurde.

- Unglaubliche Split-Veröffentlichung zwischen zwei der größten neuen Namen im Underground-Metal.
- Jede Band bietet mehr als 20 Minuten neuer Musik, die speziell für diese Veröffentlichung geschaffen wurde.
- Die Vinyl-Edition enthält ein großes Poster
- Cover-Artwork von Mark Riddick, der für "Starpath" sein erstes Gemälde seit Jahrzehnten geschaffen hat
- FFO: Anathema, Evoken, Tiamat, Opeth, Trouble / (frühe) Katatonia, Abigor, Thorns of the Carrion, Christian Death, Limbonic Art, King Diamond, Death, Emperor, Obtained Enslavement

Sowohl 2021 als auch 2022 schlossen die Veröffentlichungen von Dream Unending und Worm das Jahr bei 20 Buck Spin ab. Im Jahr 2023 erscheinen die beiden dem Untergang geweihten Titanen nun gemeinsam auf einer überragenden Veröffentlichung der kosmischen Dualität, "Starpath", um den Jahresend-Hattrick zu komplettieren.

Da beide Bands in den vergangenen zwei Jahren ein Hauptwerk nach dem anderen veröffentlicht haben, sind sie in der Fantasie der Fans untrennbar miteinander verbunden. Und obwohl sie musikalisch kaum weiter voneinander entfernt sein könnten, gibt es doch viele Gemeinsamkeiten in den Grundpfeilern. Und so beenden Dream Unending und Worm einmal mehr den 20 Buck Spin-Veröffentlichungsplan für das Jahr, dieses Mal zusammen.

Die neuesten Tracks von Dream Unending, "So Many Chances" und "If Not Now When", führen die Goth-/Post-Punk-Elemente, die in den früheren Veröffentlichungen vorhanden waren, logisch weiter und bauen auf ausgedehnte Gitarrenpassagen, nachdenklich-schweren Riffs und Justin DeTores donnerndem Gebrüll. Phil Swanson, der auf "Song of Salvation" als Gastsänger auftrat, kehrt hier wieder zurück. Diese beiden ausgedehnten Stücke stellen die bisher am besten ausgefeilte Inkarnation dessen dar, wohin Derrick Vella und Justin DeTore das Schiff steuern.

Worm, wie sie mittlerweile genannt werden, sind nach wie vor ein sich ständig wandelndes Gebilde aus purer, virtuoser Schwärze. "Ravensblood" bietet vampirischen Black Metal mit eisigen Keyboards und unheimlichen Friedhofsmelodien. Das schaurig-atmosphärische 'Midwinter Tears' beschwört eine schneebedeckte Gothic-Stimmung herauf, und das abschließende 'Sea of Sorrow' bringt das nekromantische Geschredder von Lead-Gitarrist Wroth Septentrion über Phantom Slaughter's eigenwilligem Black Doom und unsterblich spukenden Gruftbeschwörungen zum Ausdruck.

Zwei Bands, zwei einzigartige Ansätze, ein abgrundtiefes Lichtspektrum von strahlender, leidenschaftlicher Schöpfung bis hin zur abgrundtiefen Dunkelheit des Vergessens. Dream Unending und Worm präsentieren jeweils über 20 Minuten neuer Musik, die speziell für die gemeinsame Veröffentlichung von "Starpath" geschaffen wurde.

- Unglaubliche Split-Veröffentlichung zwischen zwei der größten neuen Namen im Underground-Metal.
- Jede Band bietet mehr als 20 Minuten neuer Musik, die speziell für diese Veröffentlichung geschaffen wurde.
- Die Vinyl-Edition enthält ein großes Poster
- Cover-Artwork von Mark Riddick, der für "Starpath" sein erstes Gemälde seit Jahrzehnten geschaffen hat
- FFO: Anathema, Evoken, Tiamat, Opeth, Trouble / (frühe) Katatonia, Abigor, Thorns of the Carrion, Christian Death, Limbonic Art, King Diamond, Death, Emperor, Obtained Enslavement

Sowohl 2021 als auch 2022 schlossen die Veröffentlichungen von Dream Unending und Worm das Jahr bei 20 Buck Spin ab. Im Jahr 2023 erscheinen die beiden dem Untergang geweihten Titanen nun gemeinsam auf einer überragenden Veröffentlichung der kosmischen Dualität, "Starpath", um den Jahresend-Hattrick zu komplettieren.

Da beide Bands in den vergangenen zwei Jahren ein Hauptwerk nach dem anderen veröffentlicht haben, sind sie in der Fantasie der Fans untrennbar miteinander verbunden. Und obwohl sie musikalisch kaum weiter voneinander entfernt sein könnten, gibt es doch viele Gemeinsamkeiten in den Grundpfeilern. Und so beenden Dream Unending und Worm einmal mehr den 20 Buck Spin-Veröffentlichungsplan für das Jahr, dieses Mal zusammen.

Die neuesten Tracks von Dream Unending, "So Many Chances" und "If Not Now When", führen die Goth-/Post-Punk-Elemente, die in den früheren Veröffentlichungen vorhanden waren, logisch weiter und bauen auf ausgedehnte Gitarrenpassagen, nachdenklich-schweren Riffs und Justin DeTores donnerndem Gebrüll. Phil Swanson, der auf "Song of Salvation" als Gastsänger auftrat, kehrt hier wieder zurück. Diese beiden ausgedehnten Stücke stellen die bisher am besten ausgefeilte Inkarnation dessen dar, wohin Derrick Vella und Justin DeTore das Schiff steuern.

Worm, wie sie mittlerweile genannt werden, sind nach wie vor ein sich ständig wandelndes Gebilde aus purer, virtuoser Schwärze. "Ravensblood" bietet vampirischen Black Metal mit eisigen Keyboards und unheimlichen Friedhofsmelodien. Das schaurig-atmosphärische 'Midwinter Tears' beschwört eine schneebedeckte Gothic-Stimmung herauf, und das abschließende 'Sea of Sorrow' bringt das nekromantische Geschredder von Lead-Gitarrist Wroth Septentrion über Phantom Slaughter's eigenwilligem Black Doom und unsterblich spukenden Gruftbeschwörungen zum Ausdruck.

Zwei Bands, zwei einzigartige Ansätze, ein abgrundtiefes Lichtspektrum von strahlender, leidenschaftlicher Schöpfung bis hin zur abgrundtiefen Dunkelheit des Vergessens. Dream Unending und Worm präsentieren jeweils über 20 Minuten neuer Musik, die speziell für die gemeinsame Veröffentlichung von "Starpath" geschaffen wurde.

- Unglaubliche Split-Veröffentlichung zwischen zwei der größten neuen Namen im Underground-Metal.
- Jede Band bietet mehr als 20 Minuten neuer Musik, die speziell für diese Veröffentlichung geschaffen wurde.
- Die Vinyl-Edition enthält ein großes Poster
- Cover-Artwork von Mark Riddick, der für "Starpath" sein erstes Gemälde seit Jahrzehnten geschaffen hat
- FFO: Anathema, Evoken, Tiamat, Opeth, Trouble / (frühe) Katatonia, Abigor, Thorns of the Carrion, Christian Death, Limbonic Art, King Diamond, Death, Emperor, Obtained Enslavement

Experimental rock quintet from Los Angeles for fans of Unwound, Duster, Slint, and Lowercase. Mixed and engineered by Tim Green at Louder Studios (Unwound, Melvins, Jawbreaker). Live appearances with Flenser labelmates, Have a Nice Life, Chat Pile, Midwife, and tour dates planned throughout 2023. Since its formation in 2018 by like-minded Calarts students Alex Kent (guitar, vocals), April Gerloff (bass), and Sylvie Simmons (guitar), as well as the recent addition of Clint Dodson (percussionist), Los Angeles-based quartet Sprain has honed its signature flavor of experimentalism to a razor-fine point. Gradually moving from twisting conventions in its early works of minimalist slowcore to now transcending the confines of genre altogether, Sprain's evolution over the past several years has encouraged the band to embrace a sound true to its muse. With its latest record, The Lamb As Effigy or Three Hundred And Fifty XOXOXOS For A Spark Union With My Darling Divine, the band has translated this intent into an ambitious work that pairs its resplendent scale with uncompromising honesty towards the band's artistic and conceptual essences. The most extraordinary of art isn't created without its fair share of trials, of which Sprain faced numerous during the recording process of The Lamb As Effigy, with the sum and circumstances of them nearly sealing the album's fate in limbo. With obstacles including session reschedulings as a result of a line-up change and a major studio electrical failure at the last possible moment, a mixing process that demanded the organization of several years of material across four separate studios, and the recording of the actual songs pushing the members of Sprain to their own physical limits, there were several times where the band considered scrapping the whole thing altogether. But Sprain persevered, applying the knowledge and willpower derived from those struggles to get The Lamb As Effigy across the finish line. Clocking in at nearly two hours, The Lamb As Effigy resembles an aural parallel to the human experience itself, with all the glorious beauty, crushing brutality, and unexplainable chaos that comes with it intact. Explosions of earth-sundering guitars, angelic keys, swirling strings, and bursts of improvised electronic noise coalesce to weave a visceral yet unique sonic tapestry bearing hints of no-wave, sound collage, 20th-century avant-garde, and free jazz. Spanning bellowing howls, emphatic spoken word, and nuanced croons, Alex Kent's dynamic vocal delivery adds texture to these eight meditations on otherwise immaterial topics and the meaning or the lack thereof they embody.

2LP with poster + iron-on print, gatefold sleeve. On their 2015 self titled debut EP, Hällas lay the foundation of the saga bearing the same name as the protagonist crusader as well as the band themselves, which later grew into a trilogy composed of the two last songs on the aforementioned EP and the two following albums Excerpts from a Future Past and Conundrum. To celebrate the completion of the trilogy the band decided to do a one-off show in front of a seated audience at Cirkus, a classic venue in Stockholm. Due to worldwide restrictions the show had to be replanned and postponed several times until it finally happened on April 10th 2022. After more than two years on hiatus and with the exception of a minor festival gig the year before, this was the band's first performance during that whole period, and it was by far the longest set to date in the band's entire career. All first three releases of the band were to be performed from back to back divided into two acts. Act I consisted of Hällas and Excerpts from a Future Past while Conundrum and two songs from their newly released album Isle of Wisdom were performed in Act II. For the first time people were able to experience these new songs live. Some of the older songs such as Insomnia and Tale of a Tyrant had not been performed for several years. Strider and Blinded by the Emerald Mist had never even been played live before. So Hällas fans from all over the world attending the show were in for an unforgettable evening. With this record you get a slice of that pie in the comfort of your own living room. So please have a seat and enjoy this time capsule, as it is a very good representation of how this band sounded live back then.

2LP with poster + iron-on print, gatefold sleeve. On their 2015 self titled debut EP, Hällas lay the foundation of the saga bearing the same name as the protagonist crusader as well as the band themselves, which later grew into a trilogy composed of the two last songs on the aforementioned EP and the two following albums Excerpts from a Future Past and Conundrum. To celebrate the completion of the trilogy the band decided to do a one-off show in front of a seated audience at Cirkus, a classic venue in Stockholm. Due to worldwide restrictions the show had to be replanned and postponed several times until it finally happened on April 10th 2022. After more than two years on hiatus and with the exception of a minor festival gig the year before, this was the band's first performance during that whole period, and it was by far the longest set to date in the band's entire career. All first three releases of the band were to be performed from back to back divided into two acts. Act I consisted of Hällas and Excerpts from a Future Past while Conundrum and two songs from their newly released album Isle of Wisdom were performed in Act II. For the first time people were able to experience these new songs live. Some of the older songs such as Insomnia and Tale of a Tyrant had not been performed for several years. Strider and Blinded by the Emerald Mist had never even been played live before. So Hällas fans from all over the world attending the show were in for an unforgettable evening. With this record you get a slice of that pie in the comfort of your own living room. So please have a seat and enjoy this time capsule, as it is a very good representation of how this band sounded live back then.

Limited to 500 copies ww. Independent heavyweights Spearmint return this year to follow-up 2021's highly acclaimed 'Holland Park', with the superb new album 'This Candle Is For You'. Spearmint have been making great records for a couple of decades now: this will be their tenth album proper. Still the same line-up: Shirley Lee (singing, guitar), Simon Calnan (singing, keyboards), James Parsons (guitar, bass) and Ronan Larvor (drums). This album will be the 60th release on their own hitBACK label. Missed out so far? The new album provides the perfect place to start! The dizzying multiverse of an album covers a wide array of themes, including the search for a missing sister, the ways we remember lost loved ones, Prince's encounters with Joni Mitchell, the story of John Gavin, the James Bond star who never got to make a film, late-night drinking in Soho, the joys of B-movies & video nasties, changing attitudes to mental health, the plight and wonder of older cats, the reaction to the death of Sarah Everard, and the afterlife. Re-united with producer Rhodri Marsden (Scritti Politti), the band feel that this record is their best yet. Singer Shirley explains "We started off just wanting to make an album that would stand alongside our last one 'Holland Park', but it ended up surprising us - we love it!"

For fans of Mt. Eerie and Wolves In The Throne Room. Experimental, highly idiosyncratic take on black metal from Oakland California / Olympia Washington two piece. Recorded, mixed and mastered by Nicholas Wilbur (The Microphones, Have A Nice Life, Planning For Burial). Previous releases with on cult DIY label An Out Recordings. 2018 split release with Thou. Ragana is a duo whose members alternate duties on drums, guitar, and vocals to produce some of the most unique and affecting dark music in metal today. The two-piece came together in 2011 in the DIY punk scene of Olympia, WA and are now based in Olympia and Oakland, CA. In their time together so far, Ragana have self-released five albums and teamed up with genre-favourite Thou for a split release in 2018. The following year, Ragana released their heralded We Know That The Heavens Are Empty EP and have quietly been working on new music ever since. The band signed with The Flenser in late 2022 and now present their forthcoming debut album for the label, Desolation's Flower. On Desolation's Flower, Ragana draws upon a number of influences from the flora and fauna of their Pacific Northwest origins to the darkly nostalgic folk of Mt. Eerie and, yes, their Olympian forebears Wolves In The Throne Room, synthesising them into an experimental, highly idiosyncratic take on black metal. Held together by an intense focus on raw emotion and haunting atmospherics, Ragana shifts seamlessly from tender, mesmerising vocal harmonies to piercing, heart-ripping screams and back again, yielding music that is heavy, beautiful and punishing all at once. Written over the past few tumultuous years, Desolation's Flower is the band's most devastating effort to date, containing seven incantations of loss, rage, pain and hope. Expertly engineered by the masterful Nicholas Wilbur at the Unknown Studio in Anacortes, Washington (Planning For Burial, drowse, Divide and Dissolve, Have a Nice Life), the album serves as the culmination of the past decade plus of the band's ethos and execution.

For fans of Mt. Eerie and Wolves In The Throne Room. Experimental, highly idiosyncratic take on black metal from Oakland California / Olympia Washington two piece. Recorded, mixed and mastered by Nicholas Wilbur (The Microphones, Have A Nice Life, Planning For Burial). Previous releases with on cult DIY label An Out Recordings. 2018 split release with Thou. Ragana is a duo whose members alternate duties on drums, guitar, and vocals to produce some of the most unique and affecting dark music in metal today. The two-piece came together in 2011 in the DIY punk scene of Olympia, WA and are now based in Olympia and Oakland, CA. In their time together so far, Ragana have self-released five albums and teamed up with genre-favourite Thou for a split release in 2018. The following year, Ragana released their heralded We Know That The Heavens Are Empty EP and have quietly been working on new music ever since. The band signed with The Flenser in late 2022 and now present their forthcoming debut album for the label, Desolation's Flower. On Desolation's Flower, Ragana draws upon a number of influences from the flora and fauna of their Pacific Northwest origins to the darkly nostalgic folk of Mt. Eerie and, yes, their Olympian forebears Wolves In The Throne Room, synthesising them into an experimental, highly idiosyncratic take on black metal. Held together by an intense focus on raw emotion and haunting atmospherics, Ragana shifts seamlessly from tender, mesmerising vocal harmonies to piercing, heart-ripping screams and back again, yielding music that is heavy, beautiful and punishing all at once. Written over the past few tumultuous years, Desolation's Flower is the band's most devastating effort to date, containing seven incantations of loss, rage, pain and hope. Expertly engineered by the masterful Nicholas Wilbur at the Unknown Studio in Anacortes, Washington (Planning For Burial, drowse, Divide and Dissolve, Have a Nice Life), the album serves as the culmination of the past decade plus of the band's ethos and execution.

'Elephantasia' is a glorious folk opus from 1972, long lost and attaining a legendary reputation for its candour and creativity, from the late Bangor-born singer/songwriter Dave Evans. Finally, the LP sees the light of day again via Earth Recordings, it is a true gem from the vaults of British folk history. For fans of Nick Drake, Bill Fay and Davy Graham - with a touch of Michael Chapman, Bert Jansch and Fahey for good measure. Dave Evans' story is like a Pinter play; he sailed the seas in the merchant navy, was taught guitar in a brief interlude by the "mythical" Morocco John, wound up sharing a room with Steve Tilston in 1963 when they attended Loughborough Art College and ran the local folk club, while learning to make stringed instruments, the art of wine making and ceramics. Over the next year, Dave got a domestic 2-track reel-to-reel tape recorder and experimented with its two speeds to produce the tracks 'Elephantasia' and 'Lady Portia'. He pulled in members of local prog band Squidd, including latter day Hawkwind member Steve Swindells on keyboards, John Merritt on bass and Rodney Matthews on drums, who also designed the 'Elephantasia' album cover, and went on to become a renowned fantasy artist. 'Elephantasia' the album was originally released in 1972, fully exposing Dave's finger picking style, lilting vocal and his dalliance with the tape manipulation. It sold around 2000 copies and over the years became a talked about rarity, deemed too progressive for folk, too folk for the new prog heads. In best plot-thickening style, Dave tried two more releases and then disappeared. The scant sleeve notes recounted the songs' creation, featuring tales of experimentation in sound inspired by elephants, old memories recounted with all of the unpleasant bits edited out, storylines for escapists, the residents of St Agnes Park, broken beauty queens and a fat feline. It's an eclectic but beautifully fluent narrative from a finger picking maestro with a warm and engaging vocal style that wowed Peel and Whispering Bob back in the day. Dave Evans sadly died in April 2021. Earth Recordings is proud to reissue 'Elephantasia' for the first time in over 50 years, in collaboration with his estate and original Village Thing producer Ian A. Anderson. "Cult status guaranteed." Uncut. Classic Black Vinyl, DL card. CD Digisleeve.

C"mon Tigre, the innovative music collective known for their genre-blending compositions, releases their highly anticipated fourth album Habitat. Drawing inspiration from the concept of an ecosystem where various forms of life, both animal and vegetal, thrive and coexist, the album takes listeners on a sonic journey through the intricate and ever-evolving nature"s theater. C"mon Tigre"s ability to blend inï¬éuences from distant corners of the world enriches their music and visual imagery. The album is deeply inï¬éuenced by rhythms coming from Brazilian tradition, the backbone is rooted in samba, forro, through instruments and tempos that come from this cultural magnificence. However, it retains the African jazz, electronic, and mixed inï¬éuences that have characterized the project thus far. Connecting the dots, the result is a richly layered and genre-defying soundscape. The record boasts a stellar lineup of collaborations. Among these are Seun Kuti, heir to the legacy of the legendary Fela Kuti, whose afrobeat roots infuse the album with a potent and infectious energy. The record also features Xenia Franca, a dynamic Brazilian artist hailing from Sao Paulo, Arto Lindsay, recognized as a pivotal figure in the world of experimental music, Giovanni Truppi and the Californian collective Drumetrics which featured on C"mon tigre"s records since their debut in 2014.