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Repress!

In the latest of a series of albums that have mirrored the exceptional story of the band itself, Cornershop return with a new album ‘England Is A Garden’ on March 6th 2020 on Ample Play Records. It is an album that strides in an upbeat fashion, to deliver a full listening experience, bringing songs of experience, empire, protest and humour, steeped in the way only Tjinder Singh would come with. Listen to a first taste of the album now, ‘No Rock: Save In Roll’, that is to say that there is not one without the other, that rock, for all its focus on death is the saviour of life. The anvil here is music itself, and a celebration of Tjinder’s birth place - The Black Country, which also gave birth to heavy metal that has gone on to influence the world to dirty rock, whether the streets are lined with pylons or palm trees, the Black Country has allowed us to see things differently. So the sound here goes back to Englands’ Midlands with two thumbs up to the feeling of hearing heavy metal from the back of a stage, as we all ride on and await the female backing vocals of our song to come in.

Helena Casella is a Belgian-Brazilian vocalist with a multicultural background who vocalizes her thoughts in her own passionate, soulful, and tasteful manner. She grew up in an incredibly musical family with strong ties to the broader artistic world. This rich background is clearly audible in her musical approach, where she blends genres such as R&B, soul, hip-hop, and modern jazz without breaking the connection to the vibrant sounds of Brazil, where part of her roots lie. The depth of her soft, warm voice pulls you into her story, floating between the realms of the intimate and the ethereal.

With her debut album 'Pit Of Impressions,' Helena shows that she is an artist from whom we have yet to hear the best.

File under: neo soul, nu jazz, R&B

Sounds like: The Internet, Hiatus Kaiyote, Michi, Solange, Erykah Badu, Charlotte Dos Santos, ...

Das Trio aus Mike Alvord, dem Gitarristen und Mitbegründer der legendären Holy Terror, dem italienischen Schlagzeuger Roby Vitari und Bassist Rick Zaccaro, spielt eine Mischung aus klassischem Thrash mit etlichen Killer-Riffs und inhaltlichem Tiefgang. MindWarsn wurde 2013 gegründet, wobei sich ihr Name natürlich auf das zweite Holy-Terror-Album "Mind Wars" (1988) bezieht, doch das Projekt stellt für den Gitarristen ein neues Kapitel dar. "Ich wollte nicht, dass jemand denkt, dies sei eine Fortsetzung von Holy Terror", stellt er klar. "Ich habe es immer als Anhängsel oder Erweiterung betrachtet, und es ist nur natürlich, dass es in unserer Musik Anklänge an Holy Terror gibt." MindWars haben schon einiges an Aufmerksamkeit mit ihren Shows erregt, darunter Auftritte im Vorprogramm von Raven und Mordred sowie Gigs bei Festivals wie Long Live the Loud (USA), Storm Crusher (Deutschland) oder True Thrash (Japan). Mit "V" blickt die Gruppe zuversichtlich nach vorne. "Ich habe Phasen, in denen mir Riffs und Songs in den Sinn kommen, und arbeite schon an neuen Songs", kündigt Mike an. "Aber jetzt freuen wir uns zunächst einmal, eine neue Label-Partnerschaft eingegangen zu sein, und gehen mit etwas Glück in naher Zukunft auf Tour beziehungsweise spielen auf dem einen oder anderen Festival."

Portland-based ambient architect and far afield sound technician Graintable, aka James Cooke returns with his debut outing on Music To Watch Seeds Grow By and his fourth in the R$N stable; 'Blue Flax'. Following his acclaimed and sold out cassette releases 'Herons', 'Universal Ash' and ‘The Rain In The Trees’ on Ransom Note Records, this new collection sees Cooke delving deeper into the intersection of natural processes and liminal organic electronics.

'Blue Flax', the resilient flowering plant celebrated for its delicate blue blooms and medicinal applications, is native to the Pacific Northwest - the region Cooke calls home. This plant has long grown on the ancestral lands of the Wasco, Klickitat, Warm Springs, Cayuse, and Umatilla tribes. Its connection to this landscape underscores the album’s themes, weaving together ten intricate ambient pieces that reflect the plant's dual nature of part healer, part object of wonder. Recorded during the transitional hours of dawn and dusk in his Portland studio, Cooke’s soundscapes capture both the meditative aspects of watching plants grow and the gradual transformation of organic matter into usable forms. The centrepiece of the album Cerulian FIelds, reminds of the early morning light, those inspiring hours before the rest of the world wakes and the first shoots break through the soil into the new dawn. It’s a beautiful crystallisation of what is Cooke’s most comprehensive collection of meditative compositions to date.

For fans of: Steve Roach, Alessandro Cortini, Suzanne Ciani, Davis Galvin

Early support including: Courtesy, Laurent Garnier, Massimiliano Pagliara, DJ Harvey, Domenic Capello

"Phantom Planet has returned! After a decade plus long hiatus, the band reunited in 2019 and released Devastator in 2020, their first full-length since 2008's Raise The Dead.

Devastator featuring the singles ""Time Moves On,"" ""Only One,"" and ""Balisong."" Pressed on limited edition vinyl in two colors, Yellow and Black, respectively.

Exploring late-night, after-hours meditations on sound; ‘Everything Above The Sky (Astral Travelling with Luke Una)’ is a new compilation by the titular DJ, promoter and enigmatic cultural curator. Off the back of the E Soul Cultura phenomena, this compilation comes at a timely point in Luke’s rich career as he soars the heights of playing all over the world. Avoiding any chance of his sound being pigeonholed, Luke has put together a tracklist of songs and music that have a transcendental feel, after coming off the grid, going back to source, outside the city walls .

Music has long been believed to aid out of body experiences and many of us have searched long and hard for a combination of those elusive ingredients that might alleviate some of the monotony of everyday life, our daily routines and obligations, and those things that seem to block us from the spirit of the universe. In this collection, Luke selects music with all the right ingredients in just the right quantities, allowing the listener to engage in an esoteric journey of enlightenment through sound. Being a prolific collector of music, Luke initially delivered enough tracks to compile several compilations, making the licensing process the biggest effort to date for the label. The music moves softly and slowly, never becoming too intrusive, exemplifying the wonderful elevating properties of simple songs played from the heart.

Luke’s Everything Above The Sky manifesto reads, “Astral Travelling in the meadowlands with acid folk, spiritual jazz, around midnight hocus pocus, cosmic psychedelic soul, magical spellbound whirling swirling love songs, Brazilian ballads of light into machine soul gospel utopia dreaming, Balearic bossa, Outer Space ancient African drum, the breath of trees, escaping the big bad modern world, gathering round winter fires, walking amongst the bracken in Padley Gorge in late summer twilight, overlooking the Hope Valley, escaping ego, detaching and finally letting go amongst the stars with the slowly floating people. It’s beautiful beyond. Everything above the Sky”.

Beginning his career as an original Sheffield house young blood in the mid 1980s, Luke’s move to Manchester and partnership with Justin Crawford saw the birth of Electric Chair, a cornerstone cult night in the UK underground club scene. Then came Electric Elephant, a Croatian festival paying homage to their wild eclecticism from Balearic to Brazilian to É Soul, house, disco and techno. Luke’s much loved, long-running Homoelectric night and more recently Homobloc sell out festival for 10,000 souls has been at the forefront of Manchester’s LGBTQ+ cultural landscape. Luke’s Friday evening show on Worldwide FM captured imaginations and became a cult four-hour must-listen monthly journey for fans all over the world. Today, Luke remains, as ever, at the forefront of a changing milieu, pairing the momentous legacy of Manchester’s 80s and 90s scene with the delivery of what today’s club communities need to get down.

Mother’s Spiritual is the eighth studio album by New York City-born singer, songwriter, and pianist Laura Nyro. The album was originally released at the beginning of 1984, following a year of difficult and expensive recording sessions, and came more than five years after its well-received predecessor, 1978’s Nested. Thanks to a small buzz surrounding Nyro’s return to the spotlight after a period of semi-retirement, Mother’s Spiritual became her last US chart entry, reaching #182 on the Billboard 200.

Musically, the album stands out as the most serene and easygoing of all Nyro’s works, presenting a more maternal tone compared to the wilder and more experimental nature of albums like Eli and the Thirteenth Confession and New York Tendaberry. Thematically, the focus shifts from personal explorations of passion and love to broader societal concerns, such as environmentalism, motherhood, and feminism. Laura Nyro was Inducted into the Songwriters Hall of Fame in 2010 and the Rock and Roll Hall of Fame in 2012.

Denison Witmer returns with a new collection of ten vibrant and pensive folk-pop songs recorded and produced by Sufjan Stevens, his long-time friend and collaborator. Anything At All finds Denison in a suitably reflective mood, mining sublime revelation from an ordinary, domesticated life. Topics like bird watching, carpentry, houseplants, and hiking offer insights into bigger, existential questions about life, death, meaning, and purpose. What are we doing with the precious time we have left on this earth? Whether it's spent making clocks, gathering berries, planting trees, or putting the kids to bed at night, these songs suggest that a life lived with thoughtfulness and care can lead to deeper joy and fulfillment. Recorded sporadically over a period of two years, Anything At All was primarily created at Sufjan's Catskills studio during the pandemic, with additional sessions recorded by Andy Park, in Seattle, WA. Contributors include Stevens and Park as well as Sam Evian, Hannah Cohen, Sean Lane, and Keenan O'Meara, amongst others. The album's musical aesthetic marries Denison's folksy, Mennonite vibe with Sufjan's signature bells and whistles: lush strings and woodwinds, women's choir, and an occasional jazzy saxophone weave their way around Denison's matter-of-fact vocals and acoustic guitar. These are simple folk songs with bursts of awe and wonder.

Stargaze. Watching stars. Watching trees. Watching mountains. Watching boundless void. On a moonless night. Being stars. Being trees. Being mountains. Being boundless void. Being everything. Being nothing. Just this.
Tracks by Michal Wolski

Linking music and literature, building a bridge between the written and the sung – only the greats have managed to do this in the past. Leonard Cohen, Scott Walker, and Patti Smith were just some of the shining stars that Anna B Savage orientated herself towards as a teenager. Born on the anniversary of Bach’s death, the young musician spent her birthday every year in the Green Room of the Royal Albert Hall watching her parents perform compositions by the grand master. That shaped her. Today, thanks to albums such as her debut, “A Common Turn” (2021), and the incredibly sensual art-pop opus “in|FLUX” (2023), the singer-songwriter is one of the truly exceptional talents on the British independent scene. In her music, otherworldly vocals nestle up against chamber orchestral compositions, delicate arrangements rise up and blow away, and the musician’s highly eclectic sound grows song by song into an experience that lingers for days and weeks. Potentially life-changing.
A sense of rootedness is at the heart of Anna B Savage’s third record You and i are Earth, a record that is as much about healing as it is an unbowed sense of curiosity, and, more simply, “a love letter to a man and to Ireland.” Following on from her critically acclaimed records A Common Turn and in|FLUX, You and i are Earth manages to convey a sense of intimacy, while also being open-ended. Gentleness is as radiant a touchstone on the record as earthiness, something that Savage attributes to the place she finds herself at present, both geographically and emotionally. And quite literally the record bears witness to a particular piece of earth - Ireland, and Savage’s relationship to it as her new home. That process is brilliantly rendered on Agnes, a complicated piece of work featuring Anna Mieke that turns on tropes of duality and transformation. It mirrors an unsettling experience that Savage had through meditation, which ultimately ended in an immersive, beautiful feeling, “I felt like I was part of the earth, completely connected to the mycelium network, I felt like I was where I was meant to be.” In many ways, that experience framed the album’s artwork, a photograph taken in some woodlands in Co. Sligo, with Savage looking up at the trees, their fractals reflected in her eyes, mirroring something she had felt in her meditation, bringing us back full circle, and to that sense that we are essentially in unison, or at least striving to be, that “you and I are earth”.

Linking music and literature, building a bridge between the written and the sung – only the greats have managed to do this in the past. Leonard Cohen, Scott Walker, and Patti Smith were just some of the shining stars that Anna B Savage orientated herself towards as a teenager. Born on the anniversary of Bach’s death, the young musician spent her birthday every year in the Green Room of the Royal Albert Hall watching her parents perform compositions by the grand master. That shaped her. Today, thanks to albums such as her debut, “A Common Turn” (2021), and the incredibly sensual art-pop opus “in|FLUX” (2023), the singer-songwriter is one of the truly exceptional talents on the British independent scene. In her music, otherworldly vocals nestle up against chamber orchestral compositions, delicate arrangements rise up and blow away, and the musician’s highly eclectic sound grows song by song into an experience that lingers for days and weeks. Potentially life-changing.
A sense of rootedness is at the heart of Anna B Savage’s third record You and i are Earth, a record that is as much about healing as it is an unbowed sense of curiosity, and, more simply, “a love letter to a man and to Ireland.” Following on from her critically acclaimed records A Common Turn and in|FLUX, You and i are Earth manages to convey a sense of intimacy, while also being open-ended. Gentleness is as radiant a touchstone on the record as earthiness, something that Savage attributes to the place she finds herself at present, both geographically and emotionally. And quite literally the record bears witness to a particular piece of earth - Ireland, and Savage’s relationship to it as her new home. That process is brilliantly rendered on Agnes, a complicated piece of work featuring Anna Mieke that turns on tropes of duality and transformation. It mirrors an unsettling experience that Savage had through meditation, which ultimately ended in an immersive, beautiful feeling, “I felt like I was part of the earth, completely connected to the mycelium network, I felt like I was where I was meant to be.” In many ways, that experience framed the album’s artwork, a photograph taken in some woodlands in Co. Sligo, with Savage looking up at the trees, their fractals reflected in her eyes, mirroring something she had felt in her meditation, bringing us back full circle, and to that sense that we are essentially in unison, or at least striving to be, that “you and I are earth”.

Rob Mazurek graces the Keroxen Records waves with a genre defying album of field recordings, modular electronics, trumpet harmonies and spirit call chants.

An unstoppable force since his first recordings in the early 90’s Rob Mazurek has been at the forefront of experimen-tation and adventurous improvised music for most of the last 4 decades. The American composer, cornetist, and visual artist has been developing his own style of improvisational music with a myriad of collaborators, too many to list but amongst them true giants of the 20th and 21st century music cannon like Bill Dixon, Pharoah Sanders, Jeff Parker, Roscoe Mitchell, Yusef Lateef and Naná Vasconcelos amongst many many others.

Nestor’s Nest is yet another addition to Mazurek’s mammoth catalogue of cosmic unity, coming like a spur of the moment whilst staying at Nestor and Pura’s house in Tenerife during the Keroxen Festival edition of 2023. Dead time doesn’t exist for the American cornetist and whilst hanging at the organisers house Mazurek decided to record and interact with his colourful tropical surroundings. Mangos, Papayas and Star Fruits all make an appearance here as does the quietness of an idyllic garden juxtaposed with Mazurek's stormy interferences, unleashing his modular synths and other acoustic paraphernalia into an ecstatic mix of pure celestial energy. As he beautifully states on the albums back cover:

Fruit from the trees of life, Stop All War. Stop the Killing, Open the senses, Breath. Listen . Feel!

Rob Mazurek: Modular Synths, Moog Sub 37, PolyEvolver, Trumpets, Voice, Bells, flutes

Made from field recordings in and around the Keroxen Tanque and the House of Nestor and Pura in Tenerife, Canary Islands.

Final mix at Marfa Experimental Studio, Marfa Texas
Mastered by Daniel Baez
Cover photo by RM

Zum 10. Jubiläum erscheint am 21. Oktober das Album „good kid, m.A.A.d city“ von Kendrick Lamar erneut.

Das Album enthält Gastauftritte von Drake, Dr. Dre, Jay Rock, Anna Wise und MC Eiht und erzählt die Geschichte von Lamars Erfahrungen als Teenager in den drogenverseuchten Straßen und dem Bandenleben seiner Heimatstadt Compton. Das Album wurde 2014 für vier Grammys nominiert, darunter für das Album des Jahres. Zudem enthält „good kid, m.A.A.d city“ die erfolgreichen Singles ”The Recipe”, ”Swimming Pools (Drank)”, ”Backseat Freestyle”, ”Poetic Justice” und ”Bitch, Don’t Kill My Vibe”.

Das Album ist als 1CD und 2LP auf 180g gepresst erhältlich.

Celebrated French, New York-based pianist Romain Collin is thrilled to announce the release of his highly anticipated solo pianoalbum, "Dust." The album, showcases Collin's exceptional talent and unique approach tostorytelling through music."Dust" is a testament to Collin's obsession with the expressive power of a single note. Drawing on his deep love of songwriters such as Bob Dylan, Paul Simon, Joni Mitchell, Björk, and Sting, Collin infuses each piece with the warmth and intimacy of theupright piano. The album features a collection of original compositions and carefully selected covers, distilled into a bare-bonessolo approach that creates a cohesive and comforting mood."I have always been fascinated by how much story can be conveyed through a single note," says Collin. "This album reflects my journey of exploring the purity of expression and the raw, luminous sound that solo piano can offer. It's about balancing beautyand emotion, and I hope listeners can find solace and connection in these pieces."

The genius of Lord Kitchener has been the mainstay of our series. In this volume devoted to his post-war London recordings, Kitch plays his many roles with signature aplomb and poised subtlety. First there is the hooligan chantwell, up for anything in the hurly-burly of carnival proper; and then the casual reporter, firing off postcards to Trinidad about taxis, flashy booze, fast women and football in Manchester, with homesickness and grievance nestled just behind the optimism, pride and tentative senses of belonging. There is the bearer of news from home, in detailed accounts of murders, tales of stupid local coppers, and reminiscences about food and particular mango trees; the political thinker, considering racism and Africa; and the diarist, with his vivid tales of infidelity, and disclosure of the break-up of his marriage, and his desire to get away. One foot in the UK, the other in Trinidad; but the man himself somewhere in-between. Kitch In The Jungle, nobody around. A ‘diasporic explorer’; a key twentieth-century witness, alongside such hallowed figures as Samuel Selvon and Edward Kamau Braithwaite. Though in frustration Kitch would sometimes take over double-bass duties himself, the musicianship of Rupert Nurse, Fitzroy Coleman and co is top-notch. The original glorious sound is down to Denys Preston, recording for Melodisc, often at Abbey Road Studios (where we transferred and restored the 78s compiled here). Presented in a lovely gatefold sleeve, with a full-size booklet containing superb, specially-commissioned sleevenotes by Kitch biographer Anthony Joseph, and fabulous, previously-unseen photographs.

Denovali presents the new album of the prestigious Swedish pianist and composer Matti Bye. Matti is well-known for his regular performances at various silent film festivals and screenings worldwide, where you can see him perform solo and with artists such as Lau Nau. Bye has been involved in several collaborations, including Hydras Dream, where he recorded and released an album with Anna von Hausswolff. Additionally, Matti is recognized for his scores in projects like ”Young Royals," ”Tove," „The Hundred-Year-Old Man Who Climbed Out of the Window and Disappeared,“ and "A Traves de tu Mirada” among many others.

Matti Bye's third album, "Capri Clouds", moves through the element of the air and further into space. A lone piano sounds, echoes - sometimes like a waltz. We have the sound of the wind with us and the sound of the sea below us as we fly, and above we hear the stars and planets spinning. A piano from the past, as if Satie met space - as if Spiritualized and Satie talked to each other across timeand space.These songs go straight to the heart and to the senses, and create images in your head. Stories from your own memory bank, as well as new visions – music to lean into, meditatively and hopefully longing. But there is also an undertone of something dark and desolate. Musically, Matti Bye moves within the realm of neo-classicism, but he is also approaching romanticism. References to composers suchas Schubert and Beethoven are to be found here, as well as to post-romantic bands such as Kraftwerk and The Cure. In this third album of a trilogy – the first was "Bethanien", the second "The Forgotten Land" – Bye continues his musical journey. Here we encounter a brighter and lighter production. Anders af Klintberg has brought "Capri Clouds" up from the underworld and the dreamscape, towards clouds and skies.

In 2016, the Walter Anderson Museum of Art and Luther Dickinson (North Mississippi All-Stars) set out to interpret the breathtaking Community Center Murals of American Regionalist, Walter Inglis Anderson through music - This venture followed in the footsteps of the adventurous artist who once wrote "all movement is to invisible music although few people hear it" Dickinson teamed up with John Medeski, Johnny Vidacovich and Dominic Davis to create these improvisational soundscapes on the spot - The result is a gorgeous tableau of sonic expression worthy of Anderson's iconic murals.

Trumpeter, bandleader and composer Matthew Halsall announces landmark new album "An Ever Changing View", an expansive, immaculately conceived project which presents Halsall"s signature blend of jazz, electronica, global and spiritual jazz influences.

The last couple of years have seen a renaissance for West Coast singer-songwriters. LA-based youngsters such as Drugdealer and Sylvie have attracted considerable attention releasing warm and mellow records tonally reminiscent of the early 70s. Most fans of this new/old sound are unaware of Bart Davenport's early explorations in the same sonic territory. His now 20-year-old "Game Preserve"album should gain an appreciative new audience with its first ever vinyl release.

In the year 2000, Bay Area troubadour Bart Davenport and several other musicians were recruited by a major tech corporation in Seattle to work on an algorithm-based music matching/search engine. It was what looked like the beginning of a promising career. After a year, however, the project was shelved. Bart and his colleagues were laid off with a healthy severance package... on the 12th of September, 2001. Not only had the musician's life changed, so had the world. Rather than blow the money on a holiday or new car, Bart knew he had to make a record. A proper album that meant something.

Back in Oakland, he entered Wally Sound Studios with former Kinetics bandmate Jon Erickson at the controls, and a swathe of talented local musicians. "With Game Preserve," Bart explains, "Jon and I really wanted to knock it out of the park. I wanted to utilize people from my old bands like Loved Ones drummer John Kent. I also invited my newer indie-pop friends from Call & Response, and a young Nedelle Torrisi. Harmony singing by The Moore Brothers was an essential ingredient on Game Preserve as well."

Both Erickson and Davenport fondly recall growing up in households where the music of The Carpenters, Joni Mitchell and The Eagles soundtracked their young lives. By the early 00s they were ready to reconnect with what is often referred to as the "Laurel Canyon" sound. "I'd buy used tapes at garage sales and play them in the car. "Ladies Of The Canyon" by Joni and Jackson Browne's first album were both in heavy rotation. Jon Erickson was getting deeper into the Steely-Mac-Doobie yacht-rock sound in earnest. A certain amount of childhood nostalgia led a lot of us back to that part of the 70s. I'd flirted with classic soft-rock on my first album, but that record was pretty scattered esthetically. I wanted my next one to be more focused. Jon and I made some ground rules: no electric guitars (except on 'Bar-Code Trees'). No synths. Most importantly, all the songs have an air-tight, super dead, close mic'd drum sound. Putting these sorts of limitations on the sessions will give your record a specific quality. In the case of "Game Preserve"it's mostly about tight drums, acoustic instruments and analog production. We used a 24-track, two-inch tape machine for tracking, then ran the mixes through an analog board straight to a 1/4 inch master tape."

While the album's sonic palette may be firmly planted in 1970, Davenport's songwriting covers a sizable landscape of moods and reflections. From the quasi-flamenco intro of 'Sweetest Game' to the somber Wurlitzer of 'Nowhere Left To Go', to the 12-string shimmer of 'Intertwine', "Game Preserve" tells a story of young love, lost innocence and redemption, crossing borders and oceans along the way.

Released in 2003 on family-run Oakland label Antenna Farm, the ultra-analog sounding "Game Preserve" was only made available on digital formats, including CD. Copies were later pressed by labels in Germany and Spain; the latter being one country the album actually did well in, establishing Bart Davenport with a small but loyal fanbase he still enjoys today. Two European tours as support for Kings of Convenience also helped gain a foothold on the continent. Back in the US, however, Davenport and his sophomore album remained quite obscure.

Limited promotion meant it did little, but for the music lovers that heard it, the album undoubtedly remains a classic of the era, deserving far more. Twenty years on, it now finally receives its vinyl debut. "I personally think it holds up well," says Bart of the album two decades later. "The idea was to make something that could be an homage to late 60s/early 70s West Coast pop but hopefully timeless as well. Years on, I hear it as just that. It was a colorful and brief period of my life that felt at times like it could last forever. I discovered the joy of working in a proper studio with a perfect cast of characters. I'm still very close with all these people and still play music with many of them."

New and soulful songs by the Swedish composer and drummer Martina Almgren. With lyrics from Rabindranath Tagore's poems that touch on love, longing and belonging, they move in a chamber jazz oriental landscape characterized by the thoughtfulness and fragrance of a starry night. In collaboration with oud player Ahmad al Khatib, singer Karin Burman, bass guitarist Owe Almgren, trombonist Niclas Rydh and sound designer Åke

Flat Duo Jets: White Trees 2024 Remaster Fronted by the late Dex Romweber. The duo’s fourth album was the first album of all original material. Produced by Caleb Southern, White Trees is a Jets’ masterpiece that proved that Romweber could diversify his band’s material without losing his recklessness and urgency.

Dex passed away earlier this year on February 16th and this reissue is dedicated to his memory and legacy. Jack White from the White Stripes has called Dex and the Flat Duo Jets a major influence when starting out. White declared that seeing the Jets for the first time “opened up a whole new inspiration for me about the guitar.” And he was downright effusive in the 2006 cult-classic Romweber documentary ""Two Headed Cow"", calling Romweber “a huge influence on my music… one of the best-kept secrets of the rock & roll underground.” In 2009, White recorded a seven-inch with Romweber, and in 2011 he reissued the Jets’ long-out-of-print 1991 album Go Go Harlem Baby on his Third Man Records imprint.

“[White Trees] by North Carolina’s Jets is a tarnished neo-rockabilly gem. Dexter Romweber’s battered honk is the perfect voice to wrap around these twisted tales about Charlie Dick (Patsy Cline’s hubby), UFOs, and dining with Van Gogh. It’s as if the ”Eraserhead” soundtrack were recorded at Sun Studios and sent to Weekly World News for editing.”- Entertainment Weekly Arguably the busy Duo’s most accomplished set, ‘93s handily diversified White Trees jumbled stylistically antiquated originals in a cohesively dignified manner. -Beermelodies"

Here we have the third LP by the excellent Guy Hamper Trio, featuring James Taylor on Hamond organ, and Guy Hamper on guitar (sometimes called Childish) and what a first-class LP this is! 'Instrument of Evil' in particular has a very eerie vibe. We asked the man himself what was the inspiration for it? G.H. The track is the sequel to '7% Solution', which featured on the last Guy Hamper Trio LP (with Thee Headcoats standing in as rhythm section). A 7% Solution being the amount of morphine Dr Watson administered to Sherlock Holmes. For 'Instrument of Evil' I took Sherlock Holmes' later designation of his syringe as "an Instrument of Evil". This is originally a quote from the bible- "Wicked men do at times reject God's purpose for the state, transforming the good of civil government into an instrument of evil." Point of interest: Morphine addiction happens to tie in with another aspect of the song. In the section that nods to Elmer Bernstein's main title theme to the film of the book The Man With the Golden Arm, in which the main character is also a morphine addict. Another ingredient - we added six-string bass to that section in tribute to Jet Harris - he formerly of top group The Shadows, who recorded a great version of Bernstein's classic. To top it all off the record sleeve references the fine graphics of the great Saul Bass. The track also features contributions from Tom Morley (trumpet) and Anna Jordanous (sax) . Both Were a pleasure to work with. My job at the wheel is to basically make a playground and let Jamie, Anna and Tom loose in it with very little direction, apart from pointing out the swings and location of the roundabout. I told Tom "you're a Spanish trumpeter stood on a hill in Spain." For Anna, I think we said "go low and nasty." Other titles are taken from early poetry chapbooks I made in my youth. 'The First Creature is Jealousy' and 'Dog Jaw Woman' being examples. The title 'Incense Rising From a Censer' comes from Dostoevsky's The Brothers Karamazov, a book I really recommend. Prayer rises to God on the smoke of the incense burning in the censer. I imagine this track being some kind of antidote to 'Instrument of Evil'. They are all excellent tracks. I imagine film companies will be queuing up to use many of them.

Ramkot is a wrecking ball from Ghent, Belgium, playing powerful yet danceable rock music. After two EP’s and building a reputation as one of the most exciting live bands around, the spring of 2023 sees the release of debut album In Between Borderlines, a razor-sharp 25-minute uppercut aiming for both head and hips. They tour extensively, playing a hefty 100 shows in just one year: from steamy venues and sun-drenched festival stages (Pinkpop, Down The Rabbit Hole) to even opening for Metallica in Amsterdam. For their sophomore album, instead of producing it themselves again, Ramkot enlist producer Alain Johannes (QOTSA, Eagles of Death Metal, Them Crooked Vultures), who invites them to the Joshua Tree desert. For three weeks, Ramkot reside in the legendary Rancho De La Luna studio, famous for QOTSA frontman Josh Homme’s The Desert Sessions. ‘We pulled out all the stops, not pushing our foot down on the accelerator all the time, which allows the music to breathe more. There’ll be a couple of softer songs the fans will not be expecting from us.’ But rest assured, every single note still sounds very much like Ramkot. The band will only play a handful of shows this year, including 2000 Trees (UK), Sziget (H), Pukkelpop and Lowlands.

Freestyle Records drop another UK boogie 12" rarity from Eddie Capone's Treatment, this time the previously white label-only "Only You Know What I Like" from 1985. Limited to 300 copies worldwide.

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A mainstay of the UK's reggae, soul, funk & rock circuits since the early 1970s, Eddie Capone has played with a diverse and revered collection of acts; Chairmen of the Board, The Foundations, Black Velvet, The Elgins, Arthur Brown's Kingdom Come, Arthur Lee's Love, Billy Preston and Edwin Starr to name but a few. Eddie was also part of short-lived group Casablanca, with David Costa & Barry Clarke of early 70's folk-rockers Trees, signed to Elton John's Rocket Record Company.

Eddie founded the Treatment band in the early 1980s bringing in a revolving cast of singers and players, and created the Treatment Records imprint out of his own Black Rock studio in South East London in 1982. Releasing a string of singles - with efforts from Eddie Capone's Treatment, a side-project with singer Beryl Marsden as Salt & Pepper, and a single from Norwegian group Wave - Treatment Records then followed this up in 1985 with the 12" release of "I Won't Give You Up" with Diane Jones brought in on vocal duties. This received solid support amongst DJs and radio at the time, and was quickly followed with this solid slice of white label-only UK boogie-funk that has since become a favoured deep cut on the selectors circuit.

Treatment Records continued through the 1980s through to early 1990s releasing Eddie's music, both as a solo artist and as part of collaborative side-projects, and Eddie has continued to write, perform and produce music from his home studio right through to the present day. As a committed community figure & activist in South East London, Eddie has since 2014 re-started Treatment Records under the name of 3G Treatment - bringing together three generations of people from the local area to ensure young artists & musicians have access to the expertise and experience of their elders for support and encourage successful careers in the industry.

Water ripples all around, and echoing sounds stretch out into a shady sub aquatic habitat. Its dark corners slowly burst into view as cresting noises reveal fresh caverns teeming with liquid life. This is Sueños acuáticos, the latest sonic exploration from Lamina, a musical project by French artist, Clarice Calvo-Pinsolle. Built from years of carefully gathered field recordings, the album constructs immersive, detailed soundscapes where watery environments, caves, and forests intertwine with digital manipulations.

Rooted in the myth of the ‘Lamina’, a creature from Basque folklore, the project blends this oral tradition with technology to build a geological myth. The Lamina’s world—a nocturnal ecosystem of water and stone—serves as the foundation for the album’s sound design. Lamina reshapes these natural recordings into something new: stretching, pitching, and layering them to build intricate sound environments that feel simultaneously organic and synthetic. “I transform these sounds much like I would sculpt in ceramics,” explains Calvo-Pinsolle, “by adding, removing material, and imagining landscapes.

Drawing from hydrofeminist and posthuman ideas, particularly those in Astrida Neimanis’ Bodies of Water, the album treats sound like water—shifting, flowing, connecting, and buoying life. Tracks flow into one another without clear boundaries, much like the natural currents they represent. The result is a continuous listening experience, inviting deep focus on texture above melody.

Lamina is exploring the potential of the field recording as a compositional tool. Natural sounds, like trickling water or wind through trees, are processed out of recognition—or cliché. A sense of weightless immersion takes hold as Lamins’a music unfolds, and listeners float freely and choose their own adventure in the Lamina’s home. Less a set of songs than its own evolving environment, Sueños acuáticos (‘Aquatic Dreams’ in English) is a meticulously constructed work in which we can freely float.

Uncomon tribe sound, quiet melodious, with Kputsh... you might have heard some violin/tekno is some parties ? here it is on Vinyl !!! that's something...

The whole EP brings loads of percussives ideas and fresh spirit... the whole thing is quiet sweet, and not crazy-hardcore style....

With a last track electro Punk ! A Fuck Keta anthem ^^ that all Ketakore guys will love... if they understand French language ^^

Here we go with the 9th release of Gabberhead Records

Exploring late-night, after-hours meditations on sound; ‘Everything Above The Sky (Astral Travelling with Luke Una)’ is a new compilation by the titular DJ, promoter and enigmatic cultural curator. Off the back of the E Soul Cultura phenomena, this compilation comes at a timely point in Luke’s rich career as he soars the heights of playing all over the world. Avoiding any chance of his sound being pigeonholed, Luke has put together a tracklist of songs and music that have a transcendental feel, after coming off the grid, going back to source, outside the city walls .

Music has long been believed to aid out of body experiences and many of us have searched long and hard for a combination of those elusive ingredients that might alleviate some of the monotony of everyday life, our daily routines and obligations, and those things that seem to block us from the spirit of the universe. In this collection, Luke selects music with all the right ingredients in just the right quantities, allowing the listener to engage in an esoteric journey of enlightenment through sound. Being a prolific collector of music, Luke initially delivered enough tracks to compile several compilations, making the licensing process the biggest effort to date for the label. The music moves softly and slowly, never becoming too intrusive, exemplifying the wonderful elevating properties of simple songs played from the heart.

Luke’s Everything Above The Sky manifesto reads, “Astral Travelling in the meadowlands with acid folk, spiritual jazz, around midnight hocus pocus, cosmic psychedelic soul, magical spellbound whirling swirling love songs, Brazilian ballads of light into machine soul gospel utopia dreaming, Balearic bossa, Outer Space ancient African drum, the breath of trees, escaping the big bad modern world, gathering round winter fires, walking amongst the bracken in Padley Gorge in late summer twilight, overlooking the Hope Valley, escaping ego, detaching and finally letting go amongst the stars with the slowly floating people. It’s beautiful beyond. Everything above the Sky”.

Beginning his career as an original Sheffield house young blood in the mid 1980s, Luke’s move to Manchester and partnership with Justin Crawford saw the birth of Electric Chair, a cornerstone cult night in the UK underground club scene. Then came Electric Elephant, a Croatian festival paying homage to their wild eclecticism from Balearic to Brazilian to É Soul, house, disco and techno. Luke’s much loved, long-running Homoelectric night and more recently Homobloc sell out festival for 10,000 souls has been at the forefront of Manchester’s LGBTQ+ cultural landscape. Luke’s Friday evening show on Worldwide FM captured imaginations and became a cult four-hour must-listen monthly journey for fans all over the world. Today, Luke remains, as ever, at the forefront of a changing milieu, pairing the momentous legacy of Manchester’s 80s and 90s scene with the delivery of what today’s club communities need to get down.

Following releases on Sähkö Recordings and The Trilogy Tapes, "Fever of the World" is the Soda Gong debut by Memotone, the nom de plume of UK-based multi-instrumentalist Will Yates. As a collection, it is both intimate and expansive, like the feeling of gathering one's thoughts before setting off on a long journey or committing to an irrevocable course of action. Throughout, Yates' talents as both player and sound designer are on full display, as are the sonic signatures that have come to characterize the Memotone catalog: low-lit, ECM-inflected noir; evasive and evolving loop-based accretions; and mellifluous mosaics of keys, guitar, reeds, and percussion. It is patient and focused music, built around production techniques and compositional ideas that have been perfected both in studio and in live performance over a period of several years. "Catherine, On Fire" sets the scene, one of two languid, longform selections, and develops slowly from a spare, harmonic-laden guitar loop into a bed of rippling textural ambience and woozy clarinet filigree. Later, "The Bus" and "When the Bakery Has What You Want and It's Cheap" conjure images of rain-streaked windows, fanciful baked confections, and grey skies broken finally by sunlight. Warm, generous, and comfortable in its own skin, this is music that reminds us that when it feels easy to resign ourselves to world weariness, we should pause for a moment and listen to the rustle of the leaves. The wind knows not to linger.

***BACK IN STOCK ON ORANGE CREAM VINYL!!!

On Fire is widely recognized as the canonic pinnacle of Galaxie 500's career. The artwork conveys this, with a low-angle shot of the band, looking up towards an amber sky. This record marked the realization of their signature sound. Nowhere is it clearer than on the album opener, "Blue Thunder," the closest a song can come to waves crashing on a beach in song form. Lyrically inconsequential, with a chorus composed entirely of "la"s, the track's power lies in a systematic build and break of intensity that reaches a Spector-like climax. It is the quintessential Galaxie 500 song, encapsulating all that was great about the band. With the Boston trio once again utilizing the bizarre genius of producer Mark Kramer, On Fire sounds like anything but. The guitars are warm blankets enwrapping Dean Wareham's vocals, percolated by the open percussion of Damon Krukowski and anchored by the emotion-laden bass of Naomi Yang. Songs like "Snowstorm," "Strange," and "Decomposing Trees" have an endless quality, without beginnings or ends, but rather frozen somewhere on a spectrum of melancholy. For the first time since its original pressing, On Fire is available again on vinyl. Cut by vinyl ace Kevin Gray from a remaster by Kramer and Alan Douches, the album sounds more vibrant than ever, and Galaxie 500 exists again as one of the most enrapturing and glorious bands to emerge from the underground in the past 25 years.

10 brand new songs mixed and mastered by Jack Endino (Nirvana, Soundgarden, Mudhoney, L7, Screaming Trees, Zeke...). Having past 28 years since the last long play (Fuzz Godz, 1996, a Kent Steedman production) and after the rebirthing of the band and come-back from the vaults of oblivion, La Secta take the right decision to record ten brand new songs now with the hand of Jack Endino (Nirvana, Soundgarden, Mudhoney, L7, Screaming Trees, Zeke...) behind the mixes and masterization, from his Seattle studio, not able to come to Spain due personal health issues. This fourth Long Play takes intense power, giving the sound another stratospheric dimension after Mr. Endino treatment. Ten songs surfing from psych rock and dark psychedelia through the Aussie Rock and raw folk to ranking psych jungle and the darker Stooges with some groovy garage, grunge and surround psychedelic elements. For fans of psych rock, dark psychedelia, aussie rock, raw folk, groovy garage, grunge...

See You At The Maypole, the sixth full-length album in Half Waif"s prolific catalog, is a recognition of personal sadness, and a call to ecstatic togetherness. It"s gathering the colors of our spirit, in all its shades, and making something intricate and remarkable. The ceremonial folk dance performed around a maypole is filled with fauna and flora, with ribbons woven into complex braids incapable of unraveling; these dances are survivals of ancient ritual, honoring the living trees, and the return of Spring and fertility. These patterns -- this dance -- cannot be completed alone, and so, Half Waif welcomes others to join her, a collective of bleeding color. "We are so much stronger for the colorful experiences we go through," she says. "That"s where we find our humanity and find each other." While the seclusion of grief feels infinite, Rose brought the songs to her trusted friend and longtime collaborator of the past decade, Zubin Hensler. The pair worked away from others for Mythopoetics, carefully crafting each note and flourish themselves but something else was needed for See You At The Maypole. To that end, Hensler and Rose welcomed a wealth of players and friends into the world of the record: Jason Burger and Zack Levine on drums and percussion; Josh Marre (Blue Ranger) on guitar; Hannah Epperson and Elena Moon Park on violin; Kristina Teuschler on clarinet; Willem de Koch on trombone; Rebecca El-Saleh on harp; and Spencer Zahn on upright bass. Andrew Sarlo (Big Thief, Bon Iver) lent his deft mixing skills to many of the tracks, including lead single "Figurine." "This wasn"t just my story, I wanted to say. It was every story of loss-the loss of a life, the loss of a dream, the loss of trust and hope and faith. A story of finding a way back again," Rose explains. "My own avenue back to the land of the living was through my relationships with people and with the natural world. It only seemed right that these songs would invite those people in to build the very heart of the sound."

Aesthetically, Ed Schrader’s Music Beat hates to tread water. At the same time, the Baltimore-based two-piece of vocalist Ed Schrader and bassist Devlin Rice won’t force their songs to fit a preconceived style. “The next album’s always gotta be different from the last one. We’re different people from record to record. So, writing authentically to ourselves will always bring our work to a place that we haven’t been to yet,” Rice said. Schrader added, “We’re terrified of turning into AC/DC. We never want to be married to one scene or time or sound. We want to be the Boba Fett of bands! Constantly altering the way in which we make records has been pretty key in that process.”
For Orchestra Hits, the band’s latest, that alteration was welcoming longtime musical comrade Dylan Going into the fold as a co-writer and co-producer. A songwriter in his own right, a guitar sideman for ESMB on their last two tours, and a collaborator with Rice in the noise riffage band Mandate, Going had both a unique vision and an intimate familiarity with the ESMB vibe.
“Dylan came to every show we’ve ever played in New York—no matter how weird it was,” Schrader said. “He’d be standing there ready to move an amp or feed us barbecued cactus after the gig and toss on some Golden Girls so we could decompress. It felt like family as soon as we began working, but I honestly had no idea how damn good he was at tossing out these hooks.”
According to Schrader, the songs “just poured out of us” over the course of a highly caffeinated three-day weekend in a tiny room in Devlin’s house while his cat, Sandy Goose, screamed continually. “It was like three kids hiding from the world to get into some lovely mischief,” they said. The lack of external pressure in the process gives Orchestra Hits an almost paradoxical vibe. For all of the album’s layers, that mix live and sequenced instruments, it never loses the raw energy of a small handful of friends in the same room plugging in, cranking up, and playing until they pass out.
Lyrically, the album finds Schrader, now 45, meditating on experiences in their youth to make sense of the present moment. “We are not into the garden,” Schrader wails on the relentless “Roman Candle,” a song about the sad debacle of Woodstock ’99, and a direct response to Joni Mitchell’s “Woodstock,” a utopian ode to hippie idealism. A 19-year-old Schrader, having snuck into Woodstock ’99 through a hole in the fence, was there the night members of the crowd used candles intended for a vigil for victims of the Columbine High School massacre to set fires all over the grounds. Even before the fires, Schrader remembered feeling disconnected from the music, the nostalgic cash grab, and the meatheads in the crowd. After watching a press tower collapse, they boarded a random shuttle bus and were dropped off near a Denny’s. “It was a far cry from the Garden of Eden,” Schrader said. “That experience defined what I didn’t want to be a part of, and yet America is more like Woodstock ’99 than ever.”
With percolating synthesizer arpeggios, and climbing bass grooves, “IDKS” is the album’s dance-floor slapper. “’IDKS’ is a funny one,” Schrader said. “We already had a pretty satisfying suite of songs when Dylan was packing up to head back to New York, but he missed the train because of a freak snowstorm. Realizing he’d be stuck in town another day, he says to me, ‘Here’s this other weird thing I have.’ It was ‘IDKS.’ The hooks were so good I felt like Homer Simpson at a free donut convention. I just dove right in, and we cranked that baby out in like 20 minutes.”
Lyrically, “IDKS” is a letter from the true self to public-facing self. “It’s an angry song,” Schrader said. “Because the public-facing self is always looking for an easy escape, but it forces the true self into a cage. I honestly thought my lyrics were corny and was about to change them, but Dylan was digging it just the way it was. So that’s what you hear.”
With the soaring “Daylight Commander,” the band went against all of their musty-basement-bred instincts. “I went full High School Musical with the vocals,” Schrader said. “At first it felt almost embarrassing, but I remember reading somewhere that Bowie recommended always floating a little bit above your comfort zone, and that’s what we did here.” The song is part exercise in absurdity and part pop Trojan horse. “If ever we had a ‘Shiny Happy People’ moment, I guess this is it,” Schrader said.

Rage Queen Delilah Bon is a force to be reckoned with blending elements of hip-hop, nu-metal, and riot grrrl ethos into her signature "Brat Punk" style. Her music serves as a fierce anthem for marginalized communities, particularly women, non-binary and the LGBTQ+ community. Her performance at the 2023 Glastonbury festival garnered acclaim from Kerrang!, who hailed her as a ‘standout voice in the rise of bold and bratty heavy music’. This recognition secured her a coveted spot on Kerrang!'s 'Sound of 2024' artist list and further recognition as ‘New Noise’ artist in Metal Hammer magazine and full feature in Clash Magazine. 2024 promises to be a monumental year for Delilah Bon, with a series of highly successful single and video releases to date and her highly anticipated album ‘Evil, hate Filled Female’ due for release in September. She’s also playing a host of Summer festivals including Download, Glastonbury, 2000 Trees and several European festivals including Rock For People in Czech Republic and Metropolis Festival in the Netherlands, with more to be announced! Her singles from the upcoming album, “Maverick” and "Finally See Me” have received widespread support from BBC Radio 1 and Kerrang! Radio, earning coveted spots as Track of the Week’ on Alyx Holcombe’s BBC Radio 1 Introducing Rock Show, ‘Future Flavour’ on Nels Hylton’s BBC Radio 1 Future Alternatives and ‘Track of the week’ on Kerrang! New Noise with Hope Lynes. She’s also had major editorial support from Spotify, Apple Music, Deezer and Amazon Music, including her 3rd Misfits 2.0 playlist Cover artist. Delilah Bon's international appeal was further solidified by her support slot on US artist Scene Queen's UK tour in 2023 and performances at sold-out arena shows in France earlier this year supporting French band Shaka Ponk. Notably, she made National television appearances on Le Late Show and Taratata TV in France, showcasing her magnetic stage presence to a global audience. With her bold persona, genre-defying sound, and unwavering commitment to amplifying marginalized voices, Delilah Bon continues to cement her status as a trailblazer in the music industry.

Der Samen für ELEPHANT TREE wurde im Jahr 2013 irgendwo in Londons modrigen Seitengassen in einem Proberaum gepflanzt. Dort wuchsen aus dem Bass von Jack Townley und Sam Harts Schlagzeug die ersten Töne des späteren "Attack of the Altaica" Demos hervor. Damit war der Song geradezu prädestiniert zum Eröffnungsstück der neuen Raritätensammlung "Handful of Ten". Die ansteckende Mischung aus warmem, zerschmelzendem Gitarren-Fuzz und hochfliegenden Gesangsharmonien des Demos führte schnell zu einem Plattenvertrag und bereits im September 2014 erschien das erste Album "Theia". Das Debütalbum wurde von Kritikern und Fans gleichermaßen hervorragend aufgenommen und dieser Meilenstein wird nun als Anniversary Edition neu aufgelegt. Eine Fülle von seltenen Fotos, Liner-Notes und Texten polieren das Artwork frisch auf. Die hart arbeitenden Engländer ruhten sich keineswegs auf ihren Lorbeeren aus, sondern legten im Jahr 2015 mit dem selbstbetitelten zweiten Langspieler "Elephant Tree" erfolgreich nach. Dagegen scheiterte ELEPHANT TREEs Versuch, mit einem Label näher der Heimat zu arbeiten, ohne eigenes Verschulden, an Problemen des neuen Partners. Dadurch erhielt das hoch gelobte "Habits" aus dem Jahr 2020 nicht die nötige anhaltende Unterstützung. ELEPHANT TREE veröffentlichen das gesuchte dritte Album zum zehnjährigen neu über Magnetic Eye, womit es endlich wieder verfügbar wird. Mit "Handful of Ten" blicken ELEPHANT TREE auf zehn aufregende Jahre zurück, die sie mit großartigen Stücken aus ihrem Archiv sowie neuen Tracks feiern. Langjährige Anhänger dürfen sich ebenso wie neue Freunde auf den einzigartigen melodischen Doom der Engländer freuen: nur Thriller, keine Filler!

COEO back on Toy Tonics! The German duo has been part of Toy Tonics since day one. Now they celebrate their return to Toy Tonics with an outstanding EP full of timeless, contemporary house music that also marks their 10th contribution to the label after their first release on the imprint 10 years ago. Their house vibes have been defining the sound of the Toy Tonics label for many years and still now they regularly play the Toy Tonics events around the world. (The Toy Tonics Jams).

On this new EP one more time the boys dive deep into the Italo & Piano House world- getting more electronic than ever. This EP is 100% in the vibe of now. With great piano chord drops that make everybody scream on the dance floor, with horn and synth melodies that you can sing along after you heard them one time only and with classic house beats that are THE sound of today.

The main title “Nostalgia” is inspired by and a tribute to all the intimate and ecstatic moments they were able to share over the years with music lovers on festivals and in clubs around the world. While the piano house theme on the A1 brings you in that festive mood of your last summer festival you have been to with your closest friends, the second track of the EP „Breeze“ takes it on a higher energetic level and combines a funky bass guitar with progressive house elements. Remember that special moment when you were attending your first full moon party in that far away country after you have finished school? That gentle wind blowing through the trees? „Breeze“ could be the soundtrack of that adventure.

On the B side Italo house influenced „Meet me at the cascades“ captivates through an hypnotic approach and unfolds dreamy synth pads and arpeggios to take you on a imaginary journey to your favourite retreat, a place you feel safe.

The EP features 3 original tracks and also a remix by COEO friends Stump Valley. The former Dekmantel artists who now joined Toy Tonics. Stump Valley btw are Francesco and Aleksei. Aleksei also works under the name of Brian de Palma and will release a solo album soon on Peggy Gou’s label Gudu. Stump Valley‘s remix of „Nostalgia“ rounds up the EP with its stand out piano solo and marks the perfect end to an EP that is meant to stay in your head just like all those intense memories which life in general evokes.

Rising UK label Human Worth proudly present TORPOR's third full length album Abscission. A fine tapestry of sludge metal, lumbering doom riffs, forward thinking post-rock dynamics, cerebral drone passages, ambient textures and stark spoken poetry. Recorded by producer Wayne Adams (whose credits include Wallowing, Green Lung, Possessor and more), 'Abscission' is a paean to earth shattering tones, subtle detailed textures, immersive sound design and most importantly... ABSOLUTELY CRUSHING HEAVINESS. For their third album, TORPOR were compelled to withdraw into the bleak and elemental vistas of rural Wales, embracing isolation and solitude in order to craft this autumnal sonic landscape. The trio brought producer and frequent collaborator Wayne Adams (Petbrick, Big Lad) out of his London city studio to work at Giant Wafer Studios.

TORPOR's excursions into the wilderness can really be felt across these lengthy songs. Bludgeoning riffs show a new found density and weight reminiscent of gallant trees standing tall amongst battering wind and rain. All of this sonic magnitude has been finely captured by Adams, with the final master by James Plotkin (Khanate) completing this all-encompassing experience – quite fittingly the trio were also invited to showcase the album in full at the 2023 Roadburn Festival, on the day that Khanate headlined! Abscission is the sound of Torpor fully realising their visceral and cinematic vision, turning an unflinching gaze towards the unrealised lives we all carry with us. Human Worth have pressed a limited edition of environmentally conscious Eco-Mix Vinyl in a stunning packaged designed by Jack Burley, featuring a 12" foldout insert, with 10% of all proceeds donated to charity Second Step – a leading mental health charity in Bristol and the South West.