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Much-anticipated debut album from Leeds post-punk power-trio and 6Music favourites Objections. Optimistic Sizing is comprised of ten kitchen-sink dramas, ten miniature worlds to lose yourself in. The key topics are covered: performative royal mourning, ill-suited sexual relationships, coastal gentrification, motormouth bigots and - of course - snogging. Objections formed in the post-lockdown period after drummer Neil and guitarist Joe's former band (and cult favourites) Bilge Pump slowed to an amicable halt. They wanted to continue the musical dialogue they had built up over decades and turned to Claire Adams (Nape Neck, Beards) to start something new and Objections was born. The 3 members have also played in/with: Polaris, Yann Tiersen, HiM, Enablers, Felix and Damo Suzuki (among others). Objections released their debut 7" - BSA Day/Better Luck Next Time on Wrong Speed in 2023 and have recorded two Marc Riley / Gideon Coe BBC 6Music sessions. At Wrong Speed we are not fond of genres, we are here to release music we love not tell you how to file it. But Optimistic Sizing is genuinely post-punk in the literal sense of the term. Objections take the freedom and anyone-can-do-it promise of punk and run somewhere new and adventurous with it, creating a vibrant and living musical language with which to communicate their own unique world view. As a result, Optimistic Sizing is not only a classic debut album but a timeless one. "We like to think we know what we're talking about....believe us when we say, Objections are a band to watch" - Louder Than War

'One Deep River' is Mark's sixth consecutive studio album to be recorded at his British Grove Studios and his first since 2018's 'Down The Road Wherever.' When Covid restrictions eased, Mark reconvened at BG with longtime band members and collaborators such as Guy Fletcher, Danny Cummings, Richard Bennett, Glenn Worf, Jim Cox and others, with the addition of first-time contributor Greg Leisz on pedal and lap steel and acoustic guitar.

Says Mark of the new album, which he co-produced with longtime confidant Fletcher: "It was back to the old-fashioned idea of a band making a record together in the room, which maybe in the more youth-oriented side of the industry has become quite rare, because everyone uses loads of technology. We do too, but what we do is we combine the old and the new. If it works, I use it.

"With these songs, you can see them coming together very quickly, with a band like this. You're in a game where you're making the thing and it's happening whether you like it or not. You could push the pace, but I try and give myself a little bit more breathing room. The fatal thing a lot of the time would be to want to rush everything. Something creative always happens by not panicking."

Of the track 'Ahead Of The Game,' Mark adds: "That all goes back to bands playing live. In some way, I was thinking about Nashville, because when I first went out there, it must have been in the early '80s and all the bands in the bars downtown were playing the hits. And that's fine. What I was trying to say is that's an achievement to actually get to a place where you've got employment, and you've got yourself a gig. I mean, statistically, what are the odds of making it? If you stopped to think about that, you'd hardly take a step further, would you?"

Hit and Run is the second studio album by the British heavy metal band Girlschool, released in 1981. It is their most successful album, having reached No. 5 in the UK Albums Chart. The band appeared on Top of the Pops in 1981, miming to the hit song of the title track. Lead track „C‘mon Let‘s Go“ was featured in the Gemini Award winning 2005 documentary film „Metal: A Headbanger‘s Journey“.

Frequently associated with contemporaries Motörhead, they are the longest-running all-female rock band, still active after more than 40 years. During their career they travelled the world, playing in many rock and metal festivals and co-headlining with or supporting important hard rock and heavy metal bands. They maintain a worldwide cult following, and are an inspiration for many female rock musicians.

Hit and Run is the second studio album by the British heavy metal band Girlschool, released in 1981. It is their most successful album, having reached No. 5 in the UK Albums Chart. The band appeared on Top of the Pops in 1981, miming to the hit song of the title track. Lead track „C‘mon Let‘s Go“ was featured in the Gemini Award winning 2005 documentary film „Metal: A Headbanger‘s Journey“.

Frequently associated with contemporaries Motörhead, they are the longest-running all-female rock band, still active after more than 40 years. During their career they travelled the world, playing in many rock and metal festivals and co-headlining with or supporting important hard rock and heavy metal bands. They maintain a worldwide cult following, and are an inspiration for many female rock musicians.

Falling somewhere between Soulside, Ignition, and The Chocolate Watchband, Vile Cherubs were a short-lived and puzzling band that for a brief window in 1986-88 managed to captivate, confuse, and annoy the D.C. punk scene. Consisting of high school classmates Tim Green, Jesse Quitlsund, and Ben Wides—along with Green’s childhood friend Seth Lorinczi—the Vile Cherubs were more focused on the then-forgotten sounds of ‘60s garage rock and psychedelia than on Minor Threat. Being minors themselves, they likely would’ve remained trapped in the school-dance circuit were it not for Geoff Turner (Gray Matter / 3), who took an interest in the band and recorded their two demos. That first tape caught the ear of d.c. space booker Cynthia Connolly, who despite her initial skepticism paired them with Didjits, Cynics, and other noteworthy bands. Rumors of a potential Dischord album built all through 1987, ending with mysterious suddenness after label co-owner Jeff Nelson dropped in on a rehearsal to find a miasma of LSD, alcohol, feedback, and vomit. Though the band released a posthumous LP in 1988, the original Geoff Turner demos explain why the D.C. scene briefly lost its shit over these teen ne’er-do-wells. Lovingly and exhaustively resuscitated by audio maestro Tim Green from the original multitrack tapes, “Lysergic Lamentations” is the Vile Cherubs at the height of their brief existence.

Brainwave Research Center returns with their 3rd Electronic music LP. Their DIY approach to creating music has forged a unique sound that is not experimental music, but music born out of experimentations with analog synthesizers. Feel Free is the third installment of their first four part series and captures the feelings and emotions of a summer season.

The A-side begins with a soundtrack to a daydream; imagining the life of a earthworm. Followed by a teeth-grinding drive through the grime of Brooklyn streets in Interceptor iii. Side A finishes out with that summer euphoria that comes from laying in the grass under the sun through dusk and watching the moon rise.

The B-side begins in a startling manner; an attempt to capture the feeling of falling in your dreams. The music continues down a darker path that reminds us of their second LP, Mosaic, with electronic experiments mixed with acoustic elements. The side concludes with two songs that capture the nostalgic feelings of summer.

Feel Free offers you a glimpse into the musings of everyday life for brainwave research center. Recommended if you like analog / digital synthesizers, sequencers, hand-played melodies, simplistic clock-like rhythms

Two fabulous funky tracks originally released on the award winning album Goma-Laca – Afrobrasilidades in 78 rpm which updated Brazilian Music originally recorded on 78's in the 1920s to the 1950s. With musical direction and arrangements by Letieres Leite, the vocal pyrotechnics of Russo Passapusso and Juçara Marçal masterfully accompanied by double bassist Marcos Paiva, Hercules Gomes on piano, Sergio Machado on drums and percussion master Gabi Guedes. Under the direction of Letieres, the group created with the singers arrangements of jazzy tones over Afro-Bahian rhythms, and everything was recorded live at Estúdio Traquitana, in São Paulo.

The version of Cala Menino Boca best known from the version by Joao Donato that's been doing the Dancefloor round since the early Acid Jazz days here gets a funky and rhodes led percussive update and of course the traditional tune "Ogum" gets a soulful jazz run through, folky funk like you've never heard before. This is yet another welcome addition to the Jazz Room canon, watch those dancefloors light up when this wax spins!

"This album is about influence, inspiration, perception & reality. Every song was written in an outside environment, so that I could observe the subjects that would become my subject matter. All too often in Hip Hop, reality is limited to that of the artists own, actual experiences. People Hear What They See is my attempt to liberate the MC from those constraints & allow reality to be penned other than my own. Listening to congressmen & lawyers converse on the steps of the supreme court inspired 'American Greed', Watching a couple argue over the phone in a bar inspired 'Maybes'. By having a visual representation of my subject matter, my hopes are that the listener will see them through the worlds & melodies of my songs."

After more than 1 billion streams, 800k records sold and sold-out world tours, the duo with the mythical cross come back with ONE NIGHT / ALL NIGHT’ starring Tame Impala and ‘GENERATOR’ ‘from their forthcoming fourth album: HYPERDRAMA. The album is set to be released on April 26th 2024, via Ed Banger Records / Because Music.
The official video for ‘One Night All Night’ is available to watch on 24th April and was produced by Phantasm, directed by Anton Tammi in collaboration with Justice. The arresting music video reveals the artwork for the highly anticipated ‘HYPERDRAMA’ album.

After more than 1 billion streams, 800k records sold and sold-out world tours, the duo with the mythical cross come back with ONE NIGHT / ALL NIGHT’ starring Tame Impala and ‘GENERATOR’ ‘from their forthcoming fourth album: HYPERDRAMA. The album is set to be released on April 26th 2024, via Ed Banger Records / Because Music.
The official video for ‘One Night All Night’ is available to watch on 24th April and was produced by Phantasm, directed by Anton Tammi in collaboration with Justice. The arresting music video reveals the artwork for the highly anticipated ‘HYPERDRAMA’ album.

Mutant präsentiert den OST zur Roadmovie-Komödie DRIVE-AWAY DOLLS (2024), Ethan Coens erstem "Solo"-Film (ohne seinen Bruder). Mit einem exzellenten Score des EMMY-preisgekrönten Komponisten Carter Burwell und Songs von Le Tigre über Linda Ronstadt bis Lizzie Mercier Descloux passt er sehr gut in das beeindruckende Erbe der jahrzehntelangen Zusammenarbeit Burwells mit den Coen-Brüdern. Es ist das perfekte Mixtape für diesen Roadtrip, ein bisschen Country, ein bisschen Rock'n'Roll, ein bisschen Disco und ein bisschen Queer. Carter Burwell ergänzt: "Wenn Sie die übliche lesbische Roadtrip-Krimi-Sex-Comedy-Musik erwarten, werden Sie nicht enttäuscht sein."

Die vier-köpfige Band Porij aus Manchester gehört mit ihrem Alternative-Dance-Sound zu den aufregendsten und spannendsten Newcomern aus UK und durfte bereits Größen wie Coldplay, Metronomy, Friendly Fires und Jungle supporten. Nicht umsonst steht die Band auf „ones to watch“ Listen von u.a. The Guardian, NME und BBC 6. Nun erscheint das Debütalbum 'Teething'. Ein Coming-Of-Age Album, eine Kollision von Indie-Rock und Dance, das organische und elektronische Klänge einzigartig vermischt zu zärtlichen und zugleich transzendenten Songs.

One of the longest-serving and most consistently intriguing artists within the fold of Phantasy, U returns to the label with another two-track trip of sonic mystery and erratic magic, ‘Parade/Watchers’.

Presented on limited-pressing 12” vinyl with a sleeve riso printed by U with London's Error Press.

With the texture and earthy promise of a psychedelic mulch, ‘Parade’ presents a glorious timelapse of acid-inflected minimalism. Unfolding defiantly at nearly fifteen minutes, U’s driving but subtle composition transports from guttural, electronic uncertainty to a wide-eyed denouement in one illusionary transition.

With inverse effect but no less power, ‘Watchers’ unexpectedly drops listeners into a rough wash of digital hardcore, spinning it’s initial warehouse chords into a collage of decay and regrowth, a nephilim-scaled journey and arguably U’s most ambitious production to date.

Hello and welcome to Cult Value, the new album from Manchester-based band Oort Clod, released by Safe Suburban Home in the UK and Repeating Cloud in the US this April. We are very excited to introduce this mercurial and unique collection of songs. The album includes garage stompers such as “#7”, off-kilter indie whining like the title track “Cult Value”, perfect indie pop songs like ‘Car Talk’ and much more. Featuring members of Unpaid Intern, the Hipshakes, Jeuce and the Early Mornings, Oort Clod was originally conceived by songwriter Patrick Glen as a fluid project with shifting members. Over the course of pandemic-era practices above the empty Peer Hat pub (the epicentre of DIY music making in Manchester) the current line-up solidified. In 2021 Oort Clod released a split E.P. with fellow Manchester band Priceless Bodies, pursuing a darker and more experimental sound. The EP received international airplay including BBC6 Music and KSFX. After playing gigs with bands like Porridge Radio, Jeffrey Lewis, and Garden Centre and even more practices above the Peer Hat, Oort Clod have mounted up once more to make Cult Value. The album’s sound is hard to pin down but it is Oort Clod’s most accessible and complete work so far. The band finds common ground in the alternative rock bands of the 1980s and 1990s, the post-punk and indie bands on Flying Nun Records and trashy compilations of post-British Invasion 60s garage gems like Nuggets. All of which come through, warped by Oort Clod’s particular sensibility, on this record made at Delicious Clam studios in Sheffield under the watchful eye of Ed Crisp. You’ll even get their cover of ? &the Mysterians “96 Tears”—rated the best ever cover of the song by the Blanketing Covers podcast, beating Jonathan Richman, Aretha Franklin, the Stranglers and Suicide (this actually exists, honestly). So there you have it the short and sweet lowdown on the new album Cult Value by Oort Clod. We hope you enjoy listening to it as much as they did making it and spread the good word as you see fit. Good luck in your endeavours and take care.

Drummer Kendrick Scott and bassist Alexander Claffy join rising-star Danish pianist RasmusSorensen for the release of a special trio project - BalancingAct- recorded in true jazz spirit in the heart of New York City. Timeless repertoire and intricate originals combine in a piano trio session which captures thetradition of years gone by: three players meeting in a studio to produce music which somehow sounds as if they spent a lifetime together. Sorensenrelocated to New York City in 2018 to pursue his studies at the Manhattan School ofMusic on a full-tuition scholarship and within five years had proved himself as a compellingcreative force, playing alongside some of the scene"s most reputable musicians and performing his original compositions in some of the world"s mostrevered jazz clubs. In line with New York"s fast paced spirit, the session with Claffy and Scott was set up, planned and recorded within a matter of days, with the musicians meeting on the day and spending just three hours together in the studio. It"s something of a rite of passage for pianists to showcase their treatment of classic jazz repertoire;Sorensen choses a selection of Great American Songbook classics and a lesser-knownColtrane number for this, his sophomore album. Alongside a handful of originals, the recording with two veteransof New York"s prestigious scene is a masterclass in energetic, spontaneous, playful and exciting piano trio playing. Effortless groove, rich contemporaryharmony, virtuosic improvisations, dextrous rhythmiccomplexity and intricate arrangements make for an adventurous and thrilling listen; the first meeting of three fearless and experienced masters of their craft. Jazz is no stranger to the concept of passing the baton from one generation to the next, not through loud exclamations and accolades, but by who the greats choose to work with. With Balancing Act, Sorensenhas not only produced a beautiful trio album, but staked his claim - with the help of Scott and Claffy - as one of the ones-to-watch from the new generation of pianists.

3rd (2014) breakthrough studio album from Southampton-based UK Metalcore leaders.Includes the singles ‘Man On Fire’ and ‘Watcher’.

Scottish Techno wizard Astro joins PIFF Records on their landmark tenth release, with 5 cosmic and groovy belters.

Having recently found success with his own Neptune Discs imprint and regularly performing up and down the country, Astro has firmly established himself as one to watch in the techno sphere.
Opening with the title track, Astro combines a relentless bassline with dubbed-out chords and spacey leads. Echoing space-age soundscapes and futuristic sounds of 70s kosmische musik and 90s techno, Astro makes good on the aesthetic promised by his artist name.

Astro brings down the tempo for the hypnotic Cloned Substance. A mesmerising hat pattern combines with delay-drenched leads and a bouncy bassline to create a track intent on capturing the listener in a state of trance.

Thunderstorm adheres to the tried-and-tested Astro combination of a thick bassline, spacey stabs, and continuously evolving drums. As to be expected, the results are spectacular. Irresistible grooves and rich soundscapes are the order of the day as Astro delivers once again.

A haunting and proggy FM-lead acts as the foundation for Pluto, underpinned by a sub-heavy kick and tranquil chords. The meditative ebb and flow of various elements masterfully expresses the solitude of the track’s namesake.

Planetary Blitz closes the EP as a digital bonus track. Expanding on the spaced-out motifs of the previous track (as reflected in the track title), Astro substitutes chord stabs and warm basslines for a driving blend of punchy kicks and a subtle glittery guitar.

High Roller Records, black vinyl, ltd 350, insert printed on uncoated paper, Mastered by Patrick W. Engel at TEMPLE OF DISHARMONY in October 2023.

Purple Vinyl

High Roller Records, black vinyl, ltd 350, insert printed on uncoated paper, Mastered by Patrick W. Engel at TEMPLE OF DISHARMONY in October 2023.

The YUM YUMS, Europe's ambassadors of power-pop are back with a brandnew album!!! Their sixth full-length is called "Poppin' Up Again" you you can be sure that whenever they have a new album poppin' up, it's gonna be a hit record!!! It's stacked with catchy hi-energy, guitar-driven power-pop songs, complete with sugary multi-layered harmonies and lyrics that seems to be stolen from some 12 year-old girl's diary. Like Joss Hutton once wrote in Bucketfull Of Brains Magazine, "Let's consider the three minute pop-song for a second or two: so simple in it's construction, so inscrutable in it's perfection, so many who have tried and failed! For me the YUM YUMS have been THE band to watch over the past few years, their perfect (yep, it's true) take on the "power-pop" thang is a source of constant pleasure and amuzement". A pretty good description that is, but what more can we say about the undisputed kings of pop? This time they deliver their idea of REAL POWER-POP, where the word power is written in capital letters and fill it up with a perfect dose of classic rock'n'roll. Putting together the essential ingrediences of the music of the RAMONES, the REAL KIDS, the PLIMSOULS, the DEVIL DOGS, the early SWEET and the OHIO EXPRESS, the 6t's and the 7t's, bubblegum, glam and punk, pop and r'n'r, they create their very own YUMMY sound. So, what we're talking about is extremely catchy pop-music with a fat, rockin' guitar sound, well executed vocal-lines, ridin'-on-the-waves drums and a crunchy punk feel to it. It simply makes you feel good!

Following 2021’s Cape Cod Cottage — Eder’s concept album under the guise of Edward Blankman, a retired dentist who wrote elegant jazz in the1970s — on Therapy, Eder drops the alter ego and the drumset (almost entirely) and explores more reverberant sounds with his ensemble of woodwinds. The result is a distinctive take on new-age ambient music subtly interwoven with Eder’s affinity for 20th century classical and jazz. The quest for Therapy came during a period of deep spiritual curiosity. Eder was avidly watching testimonies of near death experience survivors (NDEs), pouring over books of Theosophical artwork and philosophy, and processing experiences of grief, uncertainty and spirituality. Eder wanted to explore the threshold between the spiritual and physical dimensions, and create music that could evoke its shape and texture — a theme further illustrated in the original album artwork and single covers by Adam Rabinowitz. Eder felt he must be on to something when, on a whim, he looked up the tempo of a piece he was calling “137 Riddle.” Turned out to be “the most important number in the world” in theoretical physics, as well as a provocative number in Jewish mysticism. Maintaining his track record of recording the best musicians Eder can find, Therapy features special guests Nailah Hunter (harp), Henry Solomon (saxophone), and Ethan Haman on The Newberry Memorial Organ at Yale University.

"Joe Pernice has been writing for a long time—most of his life, in fact—and has crafted a remarkable catalog that boldly reinterprets and recasts classic American pop. Who Will You Believe may be his most moving and nuanced album yet; it’s certainly his timeliest. “These songs were all written during the same time period,” he says, “and they all seemed to tap into a mood I was in at the time. I go through spells where I’m a certain way for three or four months. I might be more reticent than usual, or more outgoing. With all of my records—and especially with this one—the songs all feel like they belong together, probably because they all arrived during the same stretch of time.”

In a single six-month stretch he was left reeling from the deaths of three close friends, including David Berman, poet and songwriter for Silver Jews and Purple Mountains, and Gary Stewart, the Rhino Records co-founder and tireless Pernice Brothers supporter since their first album in 1998. “That was such a bad patch when David and Gary both took their own lives. And my cousin Joe Harvard, who started Fort Apache Studios in Boston and was like a brother to me—he died, too. It was such a tough year. I was thinking about them a lot and watching how divided America had become. I was doing my best to try and take nothing for granted.

”

Pernice has been releasing albums for over 25 years. And with age comes a greater patience and an immense appreciation for the act of creation. Who Will You Believe showcases a beautiful balance between such sadness and moments of solemnity with warm humor and camaraderie."

“..we are witnessing, first-hand, the evolution of a phenomenal new pop star…” – Ones To Watch Der US-Singer-Songwriter Conan Gray veröffentlicht am 05. April sein mit Spannung erwartetes, drittes Album „FOUND HEAVEN“. In nur wenigen Jahren hat der Texaner mit irisch-japanischen Wurzeln es geschafft, sich zu einem der aufregendsten neuen Stimmen der Popwelt zu entwickeln. Sein Hit „Maniac“ wurde vom Billboard und Forbes Magazin zu den „50 Best Songs Of 2020 (So Far)“ ernannt, das Debütalbum „Kid Krow“ als eines der „Best Albums Of 2020 (So Far)“. „Kid Krow“ erreichte Platz 5 der US Billboard-Charts, das zweite Album „Superache“ erreichte die Top 10 der Albumcharts in u.a. USA, UK und Niederlande. Sein neues Album „FOUND HEAVEN” beinhaltet die Singles „Never Ending Song“, „Winner“, „Killing Me“ und „Lonely Dancfers“.

Two talents with careers spanning varying eras, yet artists positioned at the heart of Italy’s current house landscape, Alex Neri and Mennie are adding to their rich solo discographies with a series of selected works in partnership with one another. Tuscany’s Neri, co-owner of the iconic nightlife institution Tenax and label boss at Wildflower Records, stands as one of the legendary Italian names from the past 30 years, holding residencies at the likes of Pikes in Ibiza while releasing a long list of classic records since the early 90s under numerous aliases, including Kamasutra alongside Marco Baroni. A familiar name to FUSE fans, having released material via sister imprints LOCUS and INFUSE, Mennie has seen his career flourish of late, regularly touring Europe’s key venues while also holding a residency at the legendary Tenax. Here, the two build on their recent joint studio projects with a debut on FUSE for the third edition of the label’s collaborative X Series, unveiling a quartet of impactful house cuts in heavy rotation for label head honcho Siragusa.

Taking a deep dive amongst swirling synths and cosmic interludes, ‘Reality’ opens proceedings with a trippy and punchy lead cut as the duo introduce slick groove-laden drum arrangements to get things moving, while ‘Find Me’ keeps the pressure on with bumping low-ends, shuffling hats and a menacing yet captivating bass groove sure to keep dancers moving in lockstep. On the b-side, ‘Rockets’ brings luminous melodies amongst breaks-influenced percussion for a playful and dynamic production, before ‘Watch Me’ rounds things out with another all-action affair as acid-dipped and kinetically charged closer made for big moments.

HoneyLuv impresses on her Crosstown Rebels debut with ‘Right Spot’, accompanied by remixes from house heavyweights Dennis Ferrer and Byron The Aquarius Unveiling her first solo production of 2024, the DJ Mag North America ‘Best Breakthrough Producer’ 2023 winner showcases a deeper side to her growing sound, backed by a pair of unorthodox remixes from two of house music’s favourite names.

One of the most hotly-tipped artists within the current house landscape, it’s safe to say Cleveland-born, London-based DJ/producer HoneyLuv arrived in 2023 and hasn’t looked back since. Riding high following a whirlwind twelve months, featuring as one of Radio 1’s Future Stars, Tomorrowland’s ‘20 of 2023’, and as a DJ Mag North America cover star, plus being selected as one of Beatport’s ‘Beatport Next: Class of 2023’ and most recently as one of Spotify’s ‘Mint Artists To Watch’, her 2024 account opens with a big label debut as she heads to Damian Lazarus’ iconic Crosstown Rebel for the first time. Paying homage to the rich house history of Chicago, she unveils her latest single, ‘Right Spot’ - joined by a double-dose all-star remix cast in the form of house icons Dennis Ferrer and Byron The Aquarius, two individuals who need little introduction.

Groove-laden and rich, harnessed by the alluring vocal at the heart of the production, ‘Right Spot’ is an excellently crafted trip through varying shades of house music as slick percussion and vibrant leads accent hazy textures to offer up a future-focused cut with nods to the past.

Dennis Ferrer’s interpretation sees the NYC icon switch things up as he veers towards the after-hours with a bubbly, stripped-back take that leans on colourful stabs, sweeping melodies and off-kilter drum shots. To close, Alabama’s finest, Byron The Aquarius’ remix ups the tempo and launches right into the action as tunnelling grooves and skippy hats take hold for an energy-charged ride.

White vinyl w/ pink splatter, limited to 500 copies. New Orleans death grind/hardcore group BRAT are the latest addition to the Prosthetic Records roster. Formed in 2021, BRAT deals out blastbeats, bass-laden breakdowns and old school death metal and New York hardcore inspired riffs. Through the melding of their influences the four-piece's sound stands out from the more sludge orientated sounds that the Crescent City is known for, catching the attention of the Los Angeles label in the process. Speaking on the singing announcement, BRAT comments: "We're thrilled to be part of a label that's put out so many quintessential metal albums of the last 25 years. It's an honor to have the opportunity to contribute to that list. Let's rock." "Upon completion of our record we felt Social Grace, the title track, really encompassed a broad snapshot stylistically of the album at large. The song is an environmental commentary on the effects of the wealthy on the state of our planet and further ties to the greater theme of our album that explores the various plights of mankind. In tandem with the single is our music video that draws inspiration from classic murder mysteries and depicts the ugly realities behind the pomp and circumstance of the aristocracy." BRAT's self described yassified look shirks more traditional metal imagery in favor of a pink-pilled Y2K aesthetic, with plenty of nods to their favorite femme pop icons. As the band sets their sights on making strides in the heavy metal and hardcore world, BRAT's end goal is to "put bimboviolence and barbiegrind on the map". Through a consistent live presence that includes touring alongside NOLA legends EYEHATEGOD, Ringworm, labelmates ACxDC, fellow grindsters in No/Mas and contemporaries in Maul and Morbid Visions, BRAT has garnered praise from the likes of Revolver, Metal Injection, Metal Sucks and many more as a new band to watch.

Two and a half years after their acclaimed last release 'Less Is Endless', De Beren Gieren ("The Bear Vultures") have finished their seventh full album. What Eludes Us is an ode to what escapes us and what we consciously want to look away from.

For this new full album, the band left aside the unimaginable beauty of the Norwegian fjords and crawled into a dusty recording studio in Bergen harbour. They did so with the celebrated and mysterious producer Jørgen Træen (a.o. Jaga Jazzist), who silently watched over the imperfections andinterference as a guiding force behind the adept playing of the electro-acoustic jazz trio.

The result turns out to be compelling music with deceptive rhythms, clear melodies and uninhibited electronics in a way that also managed to surprise them themselves. With De Beren Gieren, it is clear that there is still gold to be struck from the classic jazz piano format. Instead of changing direction, the band resolutely chooses to dig deeper.

The Left Side is the latest body of work from the Iggy Pop-endorsed teens since the release of their acclaimed second EP We Aren’t Getting Out But Tonight We Might in summer 2022. With Saul at the creative helm, The Left Side is a mature and cerebral body of work with Saul once again writing and producing the entire EP (with co-production by Ali Chant (Yard Act, Katy J Pearson, Dry Cleaning) on ‘Conman’ and ‘ITSA’). Written in Saul’s bedroom, the EP is a retrospective insight into the young band’s journey so far as they tie up their teenage years.

A coming of age saga, the EP acts as a vehicle for Saul to dive into the psyche behind emotional evolution, and to unpack the complexities of maturity and the ability to say goodbye to the past. These themes present themselves not only in the songs, but right down to the title of the EP itself - which refers to the fact that the left side of the brain is responsible for comprehension.

Summarising the EP, Saul says: “It’s the closest we have been to knowing what picture we want to paint. It’s another window into the musical space we wish to explore, yet I think we’re closer to having our sound. I think the project signifies the end of a section in our lives, moving out from the haze of the moment and reflecting on our teenage years and all its chaos with more understanding.”

L’objectif have drawn instant acclaim across their two EPs to date with support coming from key tastemakers at 6 Music (where previous single ‘Feeling Down’ was daytime playlisted after being premiered by the station’s Steve Lamacq) such as Amy Lamé, Tom Robinson, and of course Iggy Pop, BBC Radio 1’s Jack Saunders (who made the band his Next Wave featured artist and featured

‘Burn Me Out’ and ‘Do It Again’ as Daily Delivery) and Gemma Bradley, Radio X’s John Kennedy, Apple Music 1’s Matt Wilkinson, and Australian national broadcaster triple j. The effervescent young band have already received ‘ones to watch’ tips from national media outlets NME (First On), The Line Of Best Fit (On The Rise), The Observer (One to watch), The Sunday Times Culture (Breaking Act), and more.

In our 20th celebration year we welcome back Loz Goddard! It’s been quite a while since we last saw him on our label. With his standout debut collab release with Harry Wolfman in 2016 he has developed a unique mix of electronica, deep soundscapes and lush organic Deep House on labels such as “Oath”, “Razor N Tape”, “Church”, “Outplay” and “Apparel Music”. Now he finally returns with a mini album that features beautiful crafted ambient and electronica cuts paired with three upbeat tracks that will for sure shake the dance floors in and outdoors this summer! Enjoy!

In his own words, here are some insights on the influences and production process of these six pieces:

The release is named after a night in the White Hotel in Salford watching Skee Mask. At the time I had a bunch of unfinished ambient ideas as a result of making “Balloon Tree Road” (out on Oath). There were a lot of ideas I still loved that didn’t get finished for that release, so I set about finishing them late 2022 & early 2023 with the view to releasing an EP or ‘mini album’ that was again angled a bit more towards home-listening.

The more upbeat tracks are newer jams that I created in 2023. I wanted to include a few club-ready tracks on the record as well, so the release appeals to DJ’s as well as home listeners. I approached the production much like my past two records on Oath, with lots of live drum elements, some sampling and a mixing approach which keeps everything sound warm and organic. It’s rough round the edges - as has been the case with my productions of late - and offers a nice contrast to my DJ sets and radio shows at the moment, in which I am playing mostly Deep/Progressive House, Breaks & Techno. There’s some influence on the title track from the Deep & Lo-Fi House sound of artists like Baltra & Mall Grab, and I have taken influence from all the breaks I’ve been playing in DJ sets for ‘How’s This for a Vague Song Title’.

All tracks mastered by Salz Mastering in Cologne. Photography & Art by Break 3000.

Zuerst war da Howlin 'Wolf, dann Jimi Hendrix, jetzt hat die Welt Lord Bishop!" - und dieser legt mit "Tear Down The Empire" sein bislang bestes Werk vor. Für die Produktion hat sich Lord Bishop Rocks gleich zwei schwergewichtige Stromgitarrenexperten ins Boot geholt: Gemeinsam mit dem Godfather of Grunge Jack Endino (Nirvana, Soundgarden u.a.) und dem deutschen Producer-Geheimtipp Andy Schmidt (u.a. Disillusion) ist ein Album entstanden, das den Blues-, Punk- und Hardrock- Spirit der amerikanisch-deutschen Band in einen zeitlosen, rohen und energiegeladenen Sound übersetzt, vor dem Frontmann Lord Bishops sprühendes Charisma so gut zur Geltung kommt, wie noch nie zuvor. In knapp drei Jahrzehnten mit tausenden Performances rund um den Globus ist Lord Bishop Rocks zu einer Institution geworden. In den Adern des 2 Meter Riesen aus der Bronx fließt purer Rock'n'Roll. Genau wie sein Äußeres ist Lord Bishops Auftritt auf der Bühne groß, kraftvoll, unnachahmlich, entschlossen und einfach unvergesslich. "Wow, it was like watching Jimi Hendrix on steroids. Great and powerful live show and a one of kind performer" (Lemmy Kilmister / Motörhead); "Blues is his soul, and I heard the ghosts of Howlin Wolf when he sang. Lord Bishop is an authentic bloke" (Eric Burdon / The Animals);"If James Brown and Jimi Hendrix had a love child, he would be Lord Bishop. Truly outstanding, great songs, cool guitar and funky riffs. It was a pleasure to have him support my tour" (Ian Paice / Schlagzeuger von Deep Purple). Seine Karriere begann Lord Bishop mit einem Umzug ins wilde Nachwende- Ostdeutschland. Straight ahead aus der amerikanischen Heimat ins Ungewisse, das Durchbeißen gegen alle widrigen Umstände war ihm ohnehin buchstäblich in die Wiege gelegt. In Dresden begann er seine musikalische Mission, den handgemachten Rock um die Welt und ins nächste Jahrtausend zu tragen.

Aural architect Skygaze follows his 2022 ‘Astral Trip EP’ for Flumo Recordings, offering an advanced fusion of house, broken boogie, and future jazz, with five brand new reinterpretations from the extended Flumo family.

Skygaze’s diverse sound, breaking down barriers between house and techno, broken beat, jazz, ambient, hip hop, jungle, and even esoteric IDM, has been showcased across a growing catalogue of releases across Guayaba records, Riverette, Flumo and Thirty Three Circular, and remixes for Ed is Dead and Contours & Yadava; earning the producer support from the likes of Mr. Scruff, Simbad, k15, Bandcamp’s Andrew Jervis, and Gilles Peterson.

Feted singer, musician and producer Alysha Joy, rising producer Divorce From New York, ones-to-watch, Footnote and Karmasound, and Skygaze himself under his Jailed Jamie guise, joined by Lorenzo Soria, put a new spin on ‘Astral Trip’, whilst staying true to the originals’ spirit.

The multi-talented Allysha Joy, of 30/70 Collective & LCSM fame, remixes ‘’Night Heat’’, enhancing the groove with broken beats and her undeniable first-rate vocals.

Jailed Jamie & Lorenzo Soria, reshape ‘’Gimme Five’’ with rough synths and jacking bassline driven “Think” beats.

Divorce From New York boosts the tempo and infuses ‘’Wagwan’’ with Latin rhythms, perfectly balanced by high-energy synth lines.

Italian producers, Footnote and SofaTalk, delve deeper into ‘’Minor Mood’’, adding softer, retro-infused sound structures in a broken boogie mould.

Barcelona’s Karmasound explores the ruminating nature of ‘’City Cathedratics’’ and its counterbalance between broken beat and house.

The diverse but complementary set of remixes is sure to move bodies on sophisticated dance-floors this year and shed further light not only Skygaze’s production but also his talent for melody and song-writing. A feather in his and Flumo’s bow.

DJ Support:

Ashley Beedle (Back To The World Records)

Bolam (Lobster Theremin)

Crazy P (Hot Toddy / 2020 Vision)

Dan Curtin (Mobilee)

Fouk (Heist / Toy Tonics)

Joshua James (XOYO, Glorias, Rinse)

Laurent Garnier (F Communications)

Severino / Horse Meat Disco (Strut / !K7 Records)

Speaking Minds (Circoloco, Italy)

Die aus Andorra stammende Progressive/Melodic Death Metal-Band PERSEFONE, bekannt für intensiven Klangwelten und technisches Können, setzt neue Maßstäbe im modernen Extreme Progressive Metal.

Seit ihrer Gründung in 2001 veröffentlichte das Sechstett fünf Studioalben, von denen jedes einzelne den musikalischen Weitblick der Band unter Beweis stellt: hohe technische Qualität, ausgefeilte Melodien und mitreißende sowie anspruchsvolle Riffs. Die Band tourte weltweit mit namhaften Acts wie Obituary oder Leprous und stand auf den Bühnen des Wacken Open Air, den Metal Days, Brutal Assault, ProgPower und 70.000 Tons of Metal.

Nun erscheint das neueste Werk metanoia am 04.02.22 via Napalm Records! Nach der Zusammenarbeit mit Produzenten wie Jens Bogren (At The Gates, Haken, The Ocean), Logan Mader (Gojira, Periphery, Once Human) und Jacob Hansen (Volbeat, Amaranthe, Epica) wurde das neueste Werk metanoia von David Castillo abgemischt, der bereits mit Genre-Größen wie Leprous, Soen und Opeth gearbeitet hat, und von Tony Lindgren (Enslaved, Ihsahn, Sepultura) gemastert.

metanoia ist eine atmosphärische und düstere Reise durch dichte Soundwelten. Die Band überschreitet Genregrenzen mit Leichtigkeit und erschafft ihren eigenen Kosmos, der den Hörer mit abwechslungsreichem Songwriting und technischer Präzision in seinen Bann zieht und so PERSEFONEs würdigen Platz im Genre
des Extreme Progressive Metal unter Beweis stellt!

Beside Trawbreaga Bay, in Co Donegal, on the north coast of Ireland, in an old schoolhouse, with a suitcase full of hired recording gear, Oisin Leech strums gently on an acoustic guitar and watches the tide pull the water away from the ancient inlet - The thickness of Oisin's voice soothes the room as the sound waves bounce around in the land where his ancestors still live and still wander - With a musical history that led Leech from the street punk bands of yesteryear through an ongoing stint with folk duo The Lost Brothers, he found himself for the first time working on songs to sing alone. In his mind, the songs became imagined vignette films playing behind closed, guitar eyes. After writing nearly 40 new songs in this fashion, Leech wrote "October Sun" which would become the foundation for his debut solo record, Cold Sea.

Cold Sea was produced by guitarist/songwriter Steve Gunn. Leech dreamt of making the record in Donegal Ireland, a county significant to him because it is the home of his ancestors. Pitching this idea to Gunn sparked the first of several serendipities circling the Cold Sea sessions - Gunn had always wanted to visit Donegal to connect with his own familial roots in the region.

Cold Sea is perhaps most notable for its tremendous warmth. Each song was recorded in a few takes and adorned gently with synthesizers and guitar from Gunn. Several songs feature contributions on the upright bass by Bob Dylan band stalwart Tony Garnier. M. Ward plays guitar on October Sun and there are strings by Roisin McGrory and bouzouki by the legendary Donal Lunny throughout. It is a friendship record but even at its most collaborative, Cold Sea remains centered around the humble acoustic guitar and wool blanket vocals of Leech.

His unorthodox approach adds a touch of playfulness to the Mozart & Gershwin pieces performed while upholding Corea's obvious reverence for their music. His joyous fusion sets the tone for the musicians and the audience, creating a truly captivating and boundary- pushing experience. The recording captures the essence of Corea's musical vision, his appreciation for classical traditions, and his undeniable genius as a performer and improviser.

It stands as a testament to his lasting influence and his eternal quest to push the boundaries of music. Through his work as a composer and a performer, he sought to bridge the gap between genres, embracing the universality and enduring power of classical music.

Corea realized this ambition fully during this live performance as was eager to release the recording as an album that would inspire jazz and classical music lovers equally.

High Roller Records, reissue 2024, black vinyl, ltd 300, lyric sheet, remastered by Patrick W. Engel at Temple of Disharmony

High Roller Records, reissue 2024, transparent deep purple vinyl, ltd 200, lyric sheet, remastered by Patrick W. Engel at Temple of Disharmony