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Rome’s very own Electro-Psych outfit, Big Mountain County, is set to release their third LP ‘Deep Drives’ on November 29th via Sister 9 Recordings. After unveiling their latest EP, ‘Klaus’, at the New Colossus Festival in New York and SXSW in Austin, the band took a year-long studio break, honing and redefining a distinctive sound that bridges primitive Garage Rock and Neopsychedelia with Electroclash, Kraut and Disco. Stay tuned for updates as we’ll reveal more details and the release date in the coming weeks. Big Mountain County was formed in Rome in 2013 after four southern boys, two from the slopes of Mount Etna and two from the Adriatic Coast, came together. They instantly bonded over their mutual love for The Stooges, MC5, The Velvet Underground, and Joe Spencer, leading to the release of a 7-inch record brimming with raw Garage Rock & Roll. This debut propelled them into an exciting tour across Eastern Europe, hitting countries such as Hungary, Serbia, Croatia, and Bosnia-Herzegovina. They soon moved beyond Garage Rock to immerse themselves in the European Neopsychedelic resurgence and spent the following years carving out a reputation in the vibrant continental live scene. They dropped two LPs—Breaking Sound (Gas Vintage Records, 2015) and Somewhere Else (Porto Records, 2020)—along with two live albums. After relentlessly touring across Europe and the UK and opening the Italian tour for the U.S. band Cloud Nothings in 2019, they finally hit the US in 2023, gracing six different venues at SXSW and sharing stages with Osees and Os Mutantes. By the time they returned to Italy, they had secured summer opening slots for the likes of Brian Jonestown Massacre and La Femme. That year’s EP ‘Klaus’ marked a bold new chapter, showcasing a thrilling shift, diving into a more dance-driven and electronic sound. Featuring collaborations with electronic psych producer and LEVITATION DJ in residence Al Lover, along with the distinguished Roman producer Hugo Sanchez, the making of ‘Klaus’ provided the band with a revitalizing spark, steering them into a new musical direction

Band Aid war eine 1984 von Bob Geldof und Midge Ure gegründete Wohltätigkeits-Supergruppe, die Geld
für die Linderung der Hungersnot in Äthiopien sammelte.
Zum Gedenken an 40 Jahre seit der Originalaufnahme des Weihnachtsklassikers ”Do They Know It’s
Christmas?” und um weitere Spenden für den Band Aid Trust zu sammeln, werden am29. November neu
zusammengestellte 1LP- und 1CD-Formate veröffentlicht.
Das Produkt enthält die Originalversion von Do They Know It’s Christmas? aus dem Jahr 1984, die späteren
Versionen Band Aid 20 und Band Aid 30 sowie den 2024 Ultimate Mix - eine brandneue Bearbeitung, in
der die Stimmen der vielen Künstler, die den Song im Laufe der Jahrzehnte aufgenommen haben, gemischt
wurden. Der Mix wurde von Trevor Horn produziert. Zum ersten Mal auf CD und LP wird die 1985
im Wembley-Stadion aufgenommene Live-Aid-Final-Version des Songs auf der Titelliste der ultimativen
Komplettsammlung zu finden sein.
Der brandneue 2024 Ultimate Mix wird von einem neuen Musikvideo begleitet. Ein Kurzfilm, der ebenfalls
veröffentlicht werden soll, ist die Weiterentwicklung des Videos, ein alternatives und erweitertes Stück, das
die Entstehungsgeschichte der Single und ihre Reise über die letzten 40 Jahre vorstellt.

The short but intense initial phase of Jumbo’s career, marked by the release of three albums in 1972/1973, revealed their distinctive approach to Italian progressive rock and rapid artistic growth.

“Vietato ai minori di 18 anni?”, released in 1973, represents the peak of this era, showing the band’s evolution from an English beat-related beginning to a more mature and meaningful work for Italian prog fans.

On the occasion of the 50th anniversary of this masterpiece’s release, Jumbo were invited to the prestigious Prog and Frogs festival, where they performed the entire album live, enriching the experience with interesting explanatory introductions for each track. During the show, Jumbo amazed the audience, displaying the same drive and passion as they used to fifty years ago.

Simply put, a must-have for lovers of Italian progressive rock music! Clear orange vinyl edition with gatefold cover.

8/10 FULL-PAGE LEAD REVIEW IN UNCUT: “TALENTED ARTISTS SUCH AS ALDOUS HARDING , DELANEY DAVIDSON, IVY ROSSITER AND MARLON WILLIAMS REPRESENT A FRESH COUNTRY-FOLK/AMERICANA MOVEMENT IN AND AROUND CHRISTCHURCH AND DUNEDIN. NADIA REID'S IMPECCABLE DEBUT WILL MAYBE SET A WIDER ORBIT IN MOTION.”
4/5 LEAD REVIEW IN MOJO: “INSPIRED DEBUT BY A YOUNG NEW ZEALAND SINGER-SONGWRITER YOU'LL FEEL YOU'VE KNOWN FOREVER. A WONDERFUL ALBUM"

SUNDAY TIMES DEBUT OF THE WEEK: "SHE RANKS ALONGSIDE LOW AND THE COWBOY JUNKIES FOR DELIVERING SLOW-BURN EMOTION"
"It has all that well-smoked wisdom, that mingling of strength and yearning that seems to charge the work of all my favourite female artists – Laura Marling, The Weather Station, Sharon Van Etten and Tift Merritt, to name but four. Reid is just 23, and since I am loathe to run that “old beyond her years” line, let us simply say that when I hear a young artist making an album as soulful and rich and self-possessed as Listen to Formation, Look for the Signs, I feel so thrilled not only for the existence of that record but for all the music they will make over all the years to come.” THE GUARDIAN PLAYLIST
6MUSIC ALBUM OF THE WEEK
A richness of voice; a depth of emotion; and wise beyond her years; with Listen To Formation, Look For the Signs, 23-year-old New Zealand native Nadia Reid has claimed her place as one of the country’s most evocative and profound young songwriters. Her music traces the sharp mountain peaks, azure coastline, and mirrored images of the land and sky that pinpoint her home country’s vast open landscapes.
Whether nerding about with friends, stunning audiences into silence with her spellbinding live shows or unwinding in the tranquillity of her favourite hometown spot overlooking Port Chalmers’ harbour through her large-rimmed spectacles, Nadia Reid has achieved a gloriously fresh and eloquent new folk sound. “I’ve been in New Zealand my whole life and guess at times I take for granted the serene beauty that I live so closely with,” she says of her music’s majestic affiliation with nature. Mapping out tales of change and loss, whilst drawing inspiration from reading, writing, the human condition, falling in and out of love, death, and birth - it all lends to a superbly balanced album that moves surreptitiously between sparse and fragile melancholia to beautifully brutal lyricism with a philosophical maturity that bellies her years.
Born in Auckland, Nadia’s acoustic roots stem from an upbringing in a musical household where attending folk clubs and festivals were regular occurrences on the family calendar. “I was lucky to witness a lot of live music and theatre performances because my mum was an actress. I was encouraged to learn piano and guitar, and attended a Steiner school where we spent a lot of time in nature, singing songs.” Before long Nadia was listening to The Be Good Tanyas with friend and fellow recording artist Aldous Harding, which spurred her chosen career path. “There was something spiritual about the Tanyas’ records - I vividly remember the goose-bump feelings up my arms, a true connection to the lyrics and vocals,” she recalls. “Aldous was the first person who told me I had a good voice and I thank her for that. I admire her as an artist and writer, and we like to keep up with what each other is up to.”
Creating her own enchanting wonderworld, each of Nadia’s songs explores the elements; truly organic, her vocals ebb, flow and soar but are always ignited with fire from the gut. Her lyrics clearly reference lush landscapes but equally reflect alienation provided by the surrounding Pacific Ocean and mortality of living in such close proximity to Mother Nature’s wrath, as experienced whilst living in Christchurch at the time of 2011’s devastating earthquake. “It shook the city to its core,” Nadia recalls. “I’m sure living through it has shaped my personality and writing. My first EP was recorded just months afterwards, it was a strange time. We were all quite fragile, but I was braver somehow.”
Boldly infusing folk with full flavour, Listen To Formation, Look For The Signs was produced by Ben Edwards, owner of Lyttelton Records in his Sitting Room studios with Nadia’s band consisting bassist Richie Pickard, guitarist Sam Taylor and percussionist Joe McCallum. Whilst 'Reaching Through’s rich but unhurried nature evokes She Hangs Brightly -era Mazzy Star and intricate nuances of Beth Orton are recalled on lead single ‘Call The Days’ which talks of moving to a new town and was the first song penned after Nadia moved from Christchurch to Wellington; spurred on by a “panic attack” and being “worried about making the right choices in life”. Elsewhere ‘Runway’ and ‘Some Are Lucky’ immediately channel Nadia’s love of TBGT’s Jolie Holland and appreciation for New Zealand’s Maori music by Maisey Rika and Anika Moa, plus the inspirational narratives of Kenyan-born Somali poet Warsan Shire.

Over the course of her trailblazing career, Charli XCX has earned critical acclaim for her forward-thinking musical output and refreshing entrepreneurial spirit that has seen her carve her own lane on the global pop circuit. A singer, songwriter, video director, documentary maker, radio host and record label boss, Charli’s story is one of an artist continuing to succeed without compromise.

Now in 2020, Charli is already breaking boundaries - this year has seen her first BRIT nomination for British Female Solo Artist, marking a huge moment of validation from a mainstream audience that Charli has built on her own terms. In reaction to the global COVID-19 pandemic of 2020, Charli has proven herself to be one of the most adaptable artists working today; initially providing programs of Instagram live sessions that invited various guests to spark conversation, share insight, or simply entertain fans across the world who are currently practicing social distancing. Charli’s vision then expanded further, leading her to announce ‘how i’m feeling now’ - a new album to be written, recorded and released in 39 days, completely in self-isolation. The creative process was also to push her collaborative stream in a unique way; opening up the recording, writing, artwork, music videos and more to fans for feedback and contribution - she also further inspired her fans’ creativity, allowing them access to song stems to create remixes and greenscreen footage to be edited using their own imagination.

‘how i’m feeling now’ has given further spotlight to Charli’s status as one of the most adaptable, exciting pop artists working today, and through it’s uniquely collaborative approach, provided a shared space for those who listen to feel safe enough to express themselves however they wish at a time when they need it most.

Rival Sons play Rock N Roll in its purest form without apology or pretence. Beyond sharing stages with everyone from Black Sabbath, The Rolling Stones, AC/DC to Guns N Roses, they’ve ignited television shows such as The Late Late Show with James Corden & BBC2 Later Live with Jools Holland. Along the way, they’ve architected a critically acclaimed back catalogue that has earned them multiple GRAMMYâ nominations and 100s of million of streams. 2024 marks the 10th anniversary of the 3rd studio album ‘Great Western Valkyrie’. Originally released in June 2014, this album propelled Rival Sons to Rock N Roll royalty featuring the fan favourites ‘Electric Man, ‘Open My Eyes’ & ‘Good Things’ . It became the first Rival Sons album to achieve Top 20 status in the UK Album charts (peaking at #14). This very special anniversary edition includes the original 2 bonus tracks from the album’s 2014 Tour CD-Edition, first time on vinyl. Jay Buchanan’s voice is stunningly soulful whilst Scott Holiday’s signature guitars riffs,licks and solos elevate the sonic landscape that Rival Sons create to another level.

Anything goes, everything is OK,’ is New Cool Collective’s free and easy creed. These eight jazz players are continually reinventing themselves, finding new inspiration and inspiring others. Brilliant as ever under a new spotlight, New Cool Collective excels on their 25th album Everything is OK, released by Dox Records this autumn on 25 October 2024.

Earlier this year, the band celebrated its thirtieth anniversary with a pocket-sized ode to their prolific past: 30 Years Live. Having played and partied, the group turned their attention to the future: what next for an ensemble that thrives on musical experiment and collaboration? Where to now? Which way to go to rekindle that creative spark and foster that flame?

New Cool Collective has met the challenge head-on, determined to surprise their audience, and themselves too. They spent a little time reflecting, considering suggestions, weighing up options – eight creative artists exploring, coalescing. Soon their ideas gelled into something special. They laid down a series of tracks that both build on the band’s thirty-year history and feed on a newfound freedom to simply be New Cool Collective. Everything is OK embodies that sense of a group which knows how to surpass expectations, to make music from the heart, to go back to their roots, back to the essence of those early years.

Anything goes, everything is okay on a record that features extensive brass arrangements and orchestral elements. There’s something magnificent about those seductively intimate tracks, something way beyond the traditional orchestral big band sound. New Cool love to experiment with alternative production techniques, developing the final mix themselves to create a unique, unmistakably recognizable sound – however surprising or unusual the music, you know you’re listening to New Cool Collective – like you’re there and the band is playing just for you.

Everything is OK is brimming with ideas, surprise and humour. The music is contemplative, yet it also leads straight to the dance floor: it gets you moving – body and soul. This is music for the intellect, to take you out of your comfort zone and to show you subtly, ironically: is everything really ok?

Maryland Death/Sludge reapers, YATRA, were born in 2018. The trio of Dana Helmuth on guitar and vocals, Maria Geisbert on bass, and Sean Lafferty on drums came out incredibly heavy with their first full length Death Ritual (grimoire rec) in 2019. With much critical acclaim, and followed with extensive touring of America and Europe, including many festivals, they proved themselves to be a relentless live touring band. In 2020 YATRA followed with their second full length, the more aggressive and heavier sounding, Blood Of The Night, also greeted overwhelming positive press and touring to follow until covid restrictions began. Not ones to remain idle or take a pause, in spite of touring restrictions, YATRA used their time to write and record another 2020 album, All Is Lost, bringing in more elements of their death metal roots and drenched in blackened intensity. YATRA have signed with Prosthetic Records, and will release a new full length in summer 2022, to be followed with extensive touring of America and Europe, crushing as many stages and festivals as possible. YATRA’s intense live performance is not to be missed.

From minimalistic murmurings to swarming walls of sound... 113 is an experimental ambient(electronic)/drone(rock) project from The Netherlands. One can liken the Tilburg-based trio Drone Assembly as much to an ongoing science expedition as a musical project. Standing over an impressive assortment of instruments and gear, the members coalesce until becoming - in their own words - a ‘living organism’; synths, looping stations, effect pedals are combined with organic percussion, acoustic instruments and vocals in a probing, conversational way.

Indeed, each performance by Drone Assembly is a completely unique sensory experience. Over the five years since the project’s beginnings, Drone Assembly have performed in all kinds of unusual settings. And in doing so, they defy conventional hierarchies between performer and listener. Each show comes from a level of improvisation, Drone Assembly use the impressive collection of sounds and textures at their fingertips with utmost care and conviction. The result is music that ebbs and flows along the emotional beat of the moment, veering from soft mellow passages, hypnotic swells to resonant walls of noise.

Vinyl release, hand numbered with an unique silk screen printed cover, including insert, download code (also to an exclusive live video of the first four tracks) and sticker.

A surreal mosaic of eerie chant processionals, tape-rot trickery, and panicked oud madness. These are sonic forgeries of atavistic heritages, recorded by analog means using esoteric techniques."" They have been known by many names: The Givers of Illness; The Bandylegged Riders of the Ill-Promised Sun, etc_ Honed and expanded through their travels, Ak'chamel's singular sound comprising desert-scorched psychedelia, post-apocalyptic shamanism, and bizarre ritual folk is as unique as the physical theater of their otherworldly live performances.

Sardinia-based heavy psych and power stoner
rockers Bentrees’ sound is a vibrant mix of fuzzy
power blues and hard rock influences, drawing
from the 70’s and wrapped in the glory of 90’s and
early 2000’s stoner rock.
 Bentrees create a wild ride of addictive and heavy
riffage into psychedelic wonderlands. They have
been continuously looking for an authentic and
genuine formula, often represented by
introspective lyrics - a reference to their homeland
and connection with nature.
 Following the band’s 2017-debut, ‘Psychollage’,
and countless live shows with acts such as
Yawning Man, Black Rainbows, The Cosmic Dead
and The Spacelords, Bentrees are now ready with
their new opus, ‘Two Of Swords’.
 For fans of Lowrider, Celestial Season, Atomic
Vulture, Kyuss, Nebula, Spirit Caravan, Monster
Magnet, Acrimony, King Buffalo.
 LP pressed on blue vinyl.

Introducing Wishy, a brand new band from celebrated Indiana songwriters Kevin Krauter and Nina Pitchkites. Wishy came to life as a musical partnership between the two Indianapolis musicians when Pitchkites moved back home from Philadelphia in 2021. The two bonded over their love for 90s alternative bands like The Sundays and My Bloody Valentine and soon began crafting their own brand of swirling pop-rock with an introspective, grungy flair. By day Krauter works as a music teacher, giving drum and guitar lessons to students, while Pitchkites is a seamstress by trade and often makes embroidered merch for the band. While Krauter spent the better part of the last decade cementing his place as a torchbearer of Midwestern dream pop with 2018's Toss Up and 2020's Full Hand, Pitchkites delved into her own indie electro-pop project Push Pop, writing songs like "Spinning" that would later be reworked for Wishy. To round out the live band, Pitchkites and Krauter enlisted guitarist Dimitri Morris, bassist Mitch Collins, and drummer Conner Host. Across two trips to Los Angeles in late 2022 and early 2023, Krauter and Pitchkites linked up with friend and producer Ben Lumsdaine, who had some spare time between Durand Jones tours to record the pair's newly written songs. The result of their fruitful time in sunny California is the aptly named Paradise, a breezy and melodic EP that puts on full display the songwriter's musical fluency. Tastefully blending shoegaze, dreampop, and alt-rock into a heavenly haze, Wishy delivers a strong 5-song introduction that's dense with melodic earworms and stirring sentiment. Wishy's debut single for new label home Winspear, the driving and distorted "Donut," showcases Pitchkites' hypnotic vocal and Krauter's melancholic wash of guitars. Written after a period when Pitchkites was driving on a spare, "Donut" laments the cynical capitalism of Midwest living and the reliance on a car to get around. Of the song Pitchkites says "When you've got the possibility of the open road plus the limitations of your shitty car-and you're stuck driving on a donut spare tire- it's a Catch 22." Throughout Paradise, the band laments on American loneliness and idealism as it relates to our everyday lives. Across the EP's five tracks, Pitchkites and Krauter trade bittersweet reflections on love and self actualization over vast, scrappy guitar chords. The whole thing feels equally indebted to early aughts alt-rock and '90s jangle pop. Wishy's music is cathartic, yet underlined by a subtle brooding energy-sitting nicely alongside the work of their contemporaries like Momma or Tanukichan, both of whom Wishy will have shared the stage with. Wishy will be touring this Fall supporting Tanukichan, and the band will make their first festival appearance at LEVITATION in Austin, TX. After that, they have their eyes set on finishing their debut album, slated for release via Winspear in 2024

'Can Live in Keele 1977' ist die neueste Veröffentlichung in einer Reihe von Live-Alben, die aus den Tresoren von Spoon Records und aus Fanaufnahmen ausgegraben und dann von Gründungsmitglied Irmin Schmidt und Produzent/Ingenieur René Tinner sorgfältig zusammengestellt wurden.

Live in Keele 1977 ist ein dynamisches Dokument der Spätzeit von Can. Die im März 1977 aufgenommene Kernbesetzung bestehend aus Irmin Schmidt, Jaki Liebezeit, Michael Karoli und Holger Czukay wird durch Rosko Gee (Traffic) am Bass ergänzt. Gees kürzliche Ergänzung des Line-Ups bedeutete, dass Holger Czukay von seinen Bassaufgaben entbunden wurde, um „Waveform Radio und Spec“ zu spielen. Sounds“, die sich hier als jenseitige Klänge, Samples und das manifestieren, was ein Rezensent einer späteren Show als „Mondgespräch mit einem weißen Kontinentaltelefon“ beschrieb.
Das neue Album ist die letzte Veröffentlichung in der aktuellen Reihe von Live-Dokumenten, die 1975 mit „Can Live in Stuttgart“ starteten (Uncuts Reissues of the Year, Platz 2 in MOJOs Reissues of the Year, Platz 7 in The Wire's Archive Reissues of the Year und mehr). ), gefolgt von „Can Live in Cuxhaven 1976“ (das erneut eine große Rolle in den Neuauflagen des Jahres spielte); „Can Live in Brighton 1975“ („Pure Dynamit… Keep They Coming“ – MOJO); „Can Live in Paris 1973“, das erste der Reihe mit dem verstorbenen Damo Suzuki („eine lebhafte Hommage an eine der besten Improvisationsgruppen des Rock“ – Financial Times), und „Can live in Aston 1977“ (The Quietus's Reissue of the Week – „ Es ist zweifellos Musik zur Erweiterung des Geistes, aber sie dehnt das Gehirn auf eine Weise, die einzigartig bleibt – „Can waren schon immer Anbieter von Inner-Space-Rock, und jede Reise ins Unbekannte war so anders wie ihre Shows“).

The Hippo Sound System is a collective formed in 2018 by Bristol UK’s notorious ‘samba junglist’ DJ Hiphoppapotamus. "Origins" is their long-awaited debut album!

Touring the festival scene across the UK and Europe their explosive live performances have earned them a well trusted reputation for blowing up dancefloors, moving feet and uplifting souls! Their tracks have been featured on BBC Radio 1, BBC Radio 1Xtra, BBC Radio 6 by Jeremiah Asiamiah, Don Letts and Craig Charles. Don Letts also included their track “Into The Jungle” on his “Best of 2020” round up. Fusing their favourite elements of world music and sound system culture, they explore new possibilities between musical cultures, fusing ancestral rhythms with modern dance music.

Percussive rhythms and heavy bass drive this vibe train as this Hippo and his percussionist/production partner, Munki, draw influence from all over, Including Afro/Latin/world music, Jazz, Hip Hop, House, Breaks, Dub, Drum and Bass & Jungle for their productions. The result? A uniquely high energy and psychedelic global bass sound – complete with the flair of live musicians and the exciting builds and drops of bass music! Passionate about collaboration with both their recordings and performances, they often call upon guest features from artists such as K.O.G, Franz Von, Simo Lagnawi (Electric Jalaba), MC Spyda, Dr Syntax and many more.

With almost no tempo untouched from 70-180BPM, they’re an extremely eclectic and versatile band that can customise sets for most stages and occasions.

“Music is my forever cove,” writes Portland, Oregon’s Luke Wyland of the ideas that give shape to Kuma Cove, his latest album under his own name. Though named after a real place on the Oregon coast, Kuma Cove casts its gaze far beyond the sightseer’s line of vision. Recorded live in the studio and blurring obvious lines between computer-based composition and electro-acoustic instrumentation, it is an album about flow, borders, transitory states, and shelter. Composed of discontinuous ripples and repetitions (“I’m forever searching for a better descriptor than looping, which feels too simple and flattened by overuse,” Wyland says), shaped into richly emotive arcs, and informed by his experience as a person who stutters, it is also an album about identity, self-expression, and the energies that sluice through and across what we perceive as linear time—like floodwaters seeking an exit, like streams running into the sea.

Artist’s Statement:
I made this record while spending significant time in the woods by the Sandy River in Corbett, Oregon,
where I've had my studio for the last five years. It is a diary of spontaneous live recordings edited to highlight the moments of clarity that emerge from long-form improvisations. These compositions express a slowing internal rhythm. An unwinding. A somatic recalibration as I enter middle age. A newly empowered vulnerability.

Here are the internalized cadences of my stutter, flowing freely from my fingers. The musicality of my disfluency is revealed in its frictions, elongations, and foreshortenings. Disruptions in linear time, where the bubbling cadences of my stutter find unexpected pathways, reveal the elasticity of the present moment. This is my idiosyncratic language, shaped and inspired by my disability. Subliminally mirroring internal processes, neural firings, cognitive entanglements...

The title, Kuma Cove, refers to a beloved cove on the coast of Oregon my wife and I return to yearly. There has always been something so magnetic about coves. The way they cradle one from the overwhelming enormity of the ocean beyond, muting a primordial fear. I experience these improvisations as ecosystems I'm able to inhabit for stretches of time, embodying the particular rhythms and sensorial textures within each. Music is my forever cove. Everything you hear is created live in Ableton on a setup I've been honing for 15 years. I celebrate MIDI and computer music as an extension of self and strive to make it as expressive as any analog instrument. I was a visual artist for the first half of my life and quickly adapted those skills to composing and producing on a computer. The transition felt natural within the landscape of DAW's interfaces, especially as a synesthete. Ableton and its community of Max creators continue to surprise me with its expansiveness.

I'm forever searching for a better descriptor than looping, which feels too simple and flattened by overuse. I envision sonic loops as tangled masses of time, three-dimensional knots spinning on tilted axes, or overlapping wreaths refracting out a myriad of colors. My practice is continually refocusing my ear to what is revealed in the repetitions, searching for the fingerprint of each. I find it incredible how technology lets us manipulate time like this. Nothing on this record is quantized or locked to a universal bpm. Experiencing numerous tempos at once feels important. Recordings as mirrors. Freedom from expected (conversational) flow as we hold time for each other.
-Luke Wyland, August 2024

Artist Bio:
Luke Wyland is an interdisciplinary artist, composer, and performer based in Portland, OR (USA). Wyland has been releasing critically acclaimed records for the past 20 years in the groups AU and Methods Body, as LWW, and under his own name, working with such labels as New Amsterdam, Beacon Sound, Balmat, The Leaf Label, and Aagoo Records. As a person who stutters, Wyland’s approach to music is informed by his idiosyncratic relationship with language. Wyland believes deeply in the cathartic power of live performance as a means for collective healing. Through an interdisciplinary art practice that focuses on improvisation, somatic embodiment, bespoke tuning systems, the cadences of disfluent speech, and time manipulation technologies, he’s collaborated with choreographers, high-school choirs, filmmakers, sound designers, and renowned musicians such as John Niekrasz, Holland Andrews, Colin Stetson, and Abraham Gomez-Delgado. He’s also the co-creator of the “It’s A Fucking Miracle” dance class with Tahni Holt.
Wyland has toured nationally and internationally and performed at the Whitney Museum, Ecstatic Music Festival, Issue Project Room, PICA’s Time-Based Arts Festival, End of the Road Festival, and Les Nuits Botanique, among others.

Black vinyl 180g made only in 100 numbered copies.

This record is different. It is different from what might be expected of Jan Emil Mlynarski by those who know him, from sold-out shows and platinum albums of his bands – Jazz Band Młynarski – Masecki and Warsaw Dance Combo, as an old-timer, curator and reenactor of pre-World War II Warsaw's plush dancehalls and backyards folklore. Quite likely they may not recognize him until the last song, when he removes his shaman mask and bows down: Yeah, that's really me, folks, your good ol' Jan Emil, the entertainer. They might not have even known that he ever played drums because in his flagship bands, clad in a white tux in the former or in a Peaky Blinder hat in the latter, he sings and plays mandolin banjo. In fact, Młynarski has been a drummer for a lot longer than a singer. He stands clear of the jazz mainstream but is active on the progressive scene. A record he contributed to, trumpeter Tomasz Dąbrowski's 2022 release The Individual Beings, was recognized by Downbeat magazine as "excellent" and awarded the highest rating of five stars.

However, this is the first instrumental record to bear his name. As an album by a drummer, it stands out from other records, especially as it features drums as the principal content rather than the performance by a band with a drummer as the leader. It's all about drums, there is neither an articulate melody – because the melodies that are there are only micro-linesencased in ostinato modules – nor is harmony as an intentional chord progression – because whatever harmony-wise there is, is rather a product of the counterpoint of overlapping voices. All sounds other than the drums make only a riverbed through which runs a raging stream of rhythms. And indeed, this record took off just with this stream. At first all the drums were recorded live onto an analog tape, all at once, without overdubs or editing. After that, synthesizer riffs were added, and the record was ultimately assembled on tape without the use of computers or complex postproduction, which sets it apart from most releases today.

Młynarski the drummer acknowledges that he follows the trail beaten by Art Blakey, Max Roach, Roy Haynes, and Billy Higgins, but he walks it in his own strides. He treats the jazz drumming with specific reversed engineering by decompiling the jazz drum kit originally compiled by the pioneer jazz drummers from an array of instruments that had made their way from a jungle to New Orleans, first to Congo Square and then to street brass bands.

This takes him back to the jungle, his drums don't sound like jazz drums, the snare is rare, and the hi-hat and ride aren't there at all. Instead, there are drums and bells from Nigeria, Ghana, Burkina Faso, and Côte d'Ivoire. He doesn't sound like a jazz drummer either, but like a gang of drummers, each playing their own rhythm, and it's hard to believe that all this is the work of one man.

Not only his drumware comes from the jungle, but also the software – his approach to rhythm and time. Its essence is polyrhythm and ostinato. The polyrhythmic matters were unveiled to Młynarski and Piotr Zabrodzki, his creative partner in many projects and co-composer/producer of this album, by the legendary eccentric veteran-drummer Władysław Jagiełło, who introduced them, aged thirteen, to his concept and practice of "17 Latino rhythms at once". Ostinato, an obstinate repetition of a phrase or rhythm, "arrests" time, turning its linear course into cyclical in-place rotations. This is specific not only to African music but also to cultural music of other regions and differs from Western artistic music in that it does not "run" to fulfil an aesthetic intention but "stays" to provide the framework for recurrent routines of communal proceedings.

So, this record is different. And, if you are different too, this is the record for you.

200 COPIES MARBLE COLOURED VINYL Jailcell Recipes: Perhaps the last untold chapter in the story of the rapidly-detonating, late 80’s UK Hardcore scene. Often overlooked in favour of their contemporaries, this re-mastered/re-modelled retrospective collection of songs finally puts the record straight, giving them the recognition they deserve. It showcases the band’s importance within that scene and throws light on their unique standpoint and their growth over a 4 year period. This release is not intended as a discography, rather a selected ‘strongest hand’ from between the years 1988 to 1992. It features the definitive line up of Robbie Reid (vocals), Jamie Owen (guitar), Dave Arnold (bass) and Ian Barwick (drums). It's a game of two halves; the faster, straight ahead hardcore stylings make up Side One (practically the entire first album recorded in 1988), whilst the more melodic, mid-tempo material completes the set on the flipside - Robbie's unmistakable vocals being the constant throughout that makes it all work, he provided the band with a unique identity. Side Two closes with previously unreleased studio tracks from 1992 - virtually unheard until now, we believe these final three tracks to be amongst their best. The songs now sound as the band intended all the way back in 1988. Largely down to a relentless run of gigs back in their heyday, Jailcell Recipes gained a strong reputation for being an exciting and energetic ‘live’ hardcore band, playing with Bad Brains, All, Gorilla Biscuits and including tours with Youth Of Today (1989), Green Day (1991), Naked Raygun (1988). It’s the 35th Anniversary of the release of their debut album “Energy In An Empty Tank World” and after all these years, we finally have the recorded output to match the ‘live’ performance!

200 COPIES MARBLE COLOURED VINYL Jailcell Recipes: Perhaps the last untold chapter in the story of the rapidly-detonating, late 80’s UK Hardcore scene. Often overlooked in favour of their contemporaries, this re-mastered/re-modelled retrospective collection of songs finally puts the record straight, giving them the recognition they deserve. It showcases the band’s importance within that scene and throws light on their unique standpoint and their growth over a 4 year period. This release is not intended as a discography, rather a selected ‘strongest hand’ from between the years 1988 to 1992. It features the definitive line up of Robbie Reid (vocals), Jamie Owen (guitar), Dave Arnold (bass) and Ian Barwick (drums). It's a game of two halves; the faster, straight ahead hardcore stylings make up Side One (practically the entire first album recorded in 1988), whilst the more melodic, mid-tempo material completes the set on the flipside - Robbie's unmistakable vocals being the constant throughout that makes it all work, he provided the band with a unique identity. Side Two closes with previously unreleased studio tracks from 1992 - virtually unheard until now, we believe these final three tracks to be amongst their best. The songs now sound as the band intended all the way back in 1988. Largely down to a relentless run of gigs back in their heyday, Jailcell Recipes gained a strong reputation for being an exciting and energetic ‘live’ hardcore band, playing with Bad Brains, All, Gorilla Biscuits and including tours with Youth Of Today (1989), Green Day (1991), Naked Raygun (1988). It’s the 35th Anniversary of the release of their debut album “Energy In An Empty Tank World” and after all these years, we finally have the recorded output to match the ‘live’ performance!

New Heavy Hitters album on 180g Double LP vinyl. Blue chip ensemble casting, winging improvisations that are solidly rooted in the blues, original compositions that add much to the ever-expanding repertoire of the modern jazz canon!

These are the components that you look for in ANY recording and they're all available in abundance on That's What's Up by the Heavy Hitters.

For the first time two single records of Baksey Cham Krong - the first Cambodian guitar band - are officially being reissued in an identical version. Between surf music and ballad, these two records released in 1963 and 1964 are an invitation to rediscover the effervescent Khmer musical scene of the 1960s.

The early 1960s are often described as the “golden age” of Cambodia, with a flourishing economy and a strong cultural development. As the country had just won its independence, the King Norodom Sihanouk - who had been a singer himself (see below) - encouraged dynamism and creativity in all aspects of cultural life.

In 1959, in the midst of this artistic turmoil, Mol Kamach and his brothers created a band: the Baksey Cham Krong (also spelled Bakseis Cham Krung) named after a temple of the Angkor site. The teenagers were influenced by the latest hits they had listened on the radio. For the music, Kagnol got his inspiration from the rock n’ roll of the Ventures and the Shadows while Kamach took over the vocal techniques of crooners such as Paul Anka. The lyrics were either in French (as for the song Ne penser qu’à toi) or in Khmer. The song Pleine Lune became a hit and revealed Kagnol’s musical genius at playing guitar and Kamach’s delicate voice. From their beginnings on the capital’s high school stages to their first broadcasts on national radio, the success of the Baksey Cham Krong was very quick. At the end of the decade the band already split, the brothers getting back to activities that conformed more with their parents’ expectations.

A few years later, in April 1975, the arrival of the Khmer Rouge in Phnom Penh put an end to this musical development and started the darkest era of Cambodia’s contemporary history. A quarter of the population was killed in the Khmer Rouge genocide and the majority of artists and intellectuals were exterminated in a sordid will to wipe out any form of culture in the country. Films and music were banned, movie tapes and vinyls were destroyed. Mol Kamach and Mol Kagnol luckily managed to flee the country: one now lives in France, the other in the USA. Both still continue to make music nowadays.

Bearing witness to the past history, the reissue of these two single records of Baksey Cham Krong brings back to us the Cambodian musical scene of the 1960s.