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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.

Over the last couple of decades, Charlie Parr has crisscrossed the world on tour more times than one can count. He also has released over a dozen albums of his songs, acclaimed for their poetic simplicity. Little Sun, his most ambitious album to date, was recorded with Tucker Martine (The Decemberists, Sufjan Stevens, My Morning Jacket) and features Parr augmenting his raw and affecting songs with stunning full-band arrangements. The remarkable backing band here includes Marisa Anderson, Victor Krummenacher, Andrew Borger, and Asher Fulero. Masterfully channeling the philosophical and transcendental qualities of the blues, Parr takes us on a journey through the winding streets of his imagination.

This batch of releases is what Deeper Knowledge Records is really all about - showcasing and making available fantastic music that has been rarefied, but with no correlation to its quality. That is to say, music that we feel is every bit as great as well known, much-loved and canonized classics, but just never reached the ears of as many folks, only due to its unavailability. And the music made by the close-knit foursome of Trevor Byfield and Clive Matthews as artists, and Norman "Fox Fire" Vassell and the late Clinton "Percival" Williams as producers, is just that. Starting in the late '70s and into the early '80s, this foursome cut some of the best and heaviest roots reggae tunes of the era. We will be issuing eight great singles from these folks. Trevor Byfield's "Burning Bush", a classic ode to herb smoking. Originally issued on the Fox Fire imprint, re-presented using the same Fox Fire design as used on the original, which is one of our favorite label designs of all time!

Reissue of the first three 12” in the record series dedicated to musicians who took part in the Greetings festival. It happened in 1987, it was time for Materiali Sonori 10th anniversary, an historic goal for the label/collective born in the small Tuscany village of San Giovanni Valdarno. The small celebration brought to life a box collecting the first 3 Eps of the Greetings from S.G.V. series. The series was intended as symbolic sound postcard, made with various musicians with whom the collective label shared a path, whether small or long. The Durutti Column, The Stockholm Monsters and Blaine R. Reininger (Tuxedomoon) are among the artist who took part to the project, here collected for the very first time. Lantern is pleased to pay tribute to the work of people whose passion, attitude, commitment and genuineness inspired this adventure still true to these days. "Our presence in this small tuscan town is almost casual... physically we were born and grew up here, while our hearts and our minds were travelling to Paris, Berlin, Brussels, New York or London" (Giampiero Bigazzi of Marteriali Sonori , taken from the original inner sleeves notes).

2024 RSD Release

Montreal's finest, Dave Allison, returns with a 2xLP packed with disco-funk party flips, deep atmospheric soundscapes, lounging pool vibes, and captivating deep house journeys for the club. His tracks and EPs have consistently dominated the hype charts, earning acclaim from luminaries and trendsetters worldwide, including Dimitri From Paris, Greg Wilson, Jimpster, Soul Clap, Tensnake, Lovebirds, The Revenge & more. Limited edition 2 x LP Purple Vinyl pressing with exclusive vinyl-only tracks.

The last 3 critically acclaimed PiL albums on cassette for the first time.

Honk driven throb with Thin Lizzy styled melodies overlaying supreme HARD ROCK prowess...
This is HEAVY ROCK for now!!
Spidergawd is Per Borten (guitar, vocals), Kenneth Kapstad (drums), Rolf Martin Snustad (baritone sax) and Bent Sæther (bass). Depending on how well versed you are in Norwegian rock music (or how big the rock you live under is), these names will mean a lot to you, or possibly nothing at all. Whatever the case, with three very strong albums now under its belt, this band has the right to stand on its own merits.
Spidergawd III is, logically enough, Spidergawd's third album, one of a trio - so far - of LPs that seem to appear with alarming regularity at least once a year in between numerous 7's and what feels like constant touring. These guys are on fire, and you can hear it in every song and see it at every concert. A band that is self-confident enough to record their debut album during their fifth-ever rehearsal, and who have since evolved even further and found their voice, which is adventurous, energetic and very immediate.
Since the release of Spidergawd II, the band has toured Europe several times, played Roadburn, Roskilde and the Reeperbahn Festival, and Per finished building his recording studio, which Spidergawd III was then promptly recorded in. Spending more time on the recording of III than they did on its predecessors, Per and Kenneth worked on the songs together in advance, focusing in particular on what Per describes as expanding his guitar vocabulary.
And you can hear it. Still in-your-face rock, this album is a touch more complex, with more depth and even more color. No fear, the band has not sacrificed melody to the god of noodling - the melodies are strong and the songs (still) boogie their asses off. And if the sax at the beginning of The Best Kept Secrets doesn't make you do the same, then there is no help for you.
Crispin Glover Records in cooperation with Stickman Records is proud to present Spidergawd's third album to the world. In finest Spidergawd tradition, the album once again comes on black180 gr vinyl with an absolutely stunning cover and a CD included. Tour to follow, of course!

This Album is a collection of what I call Punk Art Poetry.
Poetry put together like a lyric to tell a certain story or explain a thought on some punk related matter. Some of these stories did actually turn themselves into a song which I released on my Punk Art imprint.

Most of these poems were influenced or inspired a piece of art I was working on.
Hope you like them or can relate to these stories.

Thanks for your indulgence

The Morning Papers Have Given Us the Vapours was made with the black watch bandmates and producers/engineers Rob Campanella (Brian Jonestown Massacre, The Tyde, The Warlocks) and Andy Creighton (The World Record, Parson Red Heads). Ben Eshbach, formerly of The Sugarplastic, arranged the strings. Kesha Rose guests on lead vocals on the second single, Oh Do Shut Up. And the great Lindsay Murray once again lends her beautiful backing vox to a number of tracks.

the black watch songwriter/frontman John Andrew Fredrick wrote the ten songs on this, his Los Angeles-based band's latest album, entirely unselfconsciously, with no set goal in mind other than to revel in the joy of songwriting, and, eventually, the luxury of recording his music with his more-than-accomplished band. The Morning Papers Have Given Us the Vapours, produced separately and together by Rob Campanella and Andy Creighton evinces the black watch's often stunning ability to, as Andy Gill once observed in The Independent, "find chaos in the calm, melody in the miasma."

Fredrick, who has also published four comedic novels and a book on the early films of Wes Anderson, jovially describes himself as "a recovering Anglophile--one who'll never, one hopes, fully recover." From his home studio in the Angeleno Heights district of L.A., he waxes eloquent about how being branded, as it were, as a too-ardent lover of British music, film, and literature has left him as bemused as has the tag "prolific" that is often affixed to reviews of his work.

"I just don't think it's all that interesting to note that we've made so many records. Looked at one way, it's a sort of deflection from talking about the timbre if not the quality of the individual songs. Though I know it can be intimidating for fans who've just discovered us--a sort of 'My goodness, where do I start with this band that has put out LPs since 1988?' I get it. I do. I picture someone standing at our slot at a bin at a record store becoming overwhelmed at the prospect of picking the 'wrong' title. And then walking away and not picking up anything from us!" Fredrick laughs. "What can you do indeed?"

He started his career as a songwriter as a result of an American Football injury that left him bedridden in the home he grew up in in Santa Barbara, California. The year The Beatles immortal double-album came out at Christmastime he broke his leg so badly that he had to be home-schooled for an entire year. His parents, ex-teachers themselves, refused to let him watch telly for more than an hour a day. He propped a Silvertone acoustic on top of the massive cast that screamed all the way up to his thigh from his toes, and began to write little melodies and lyrics that, doubtless, did not in the least mask his love for the Fabs, The White Album in especial.

And he read and read and read--histories of the American Revolution and Civil War, mostly, and as many Dickens novels as his mum and dad could bring him. "That year," Fredrick observes, "surely made me who I am today. Proof that intensely unfortunate-seeming events can prove most fortunate. As a sport-mad kid, it made me absolutely mental that I was exiled from the activities I loved most and the school teams I played on. What a blessing undisguised that injury was! Not that I'd like to experience anything like it ever again, mind you."

Fredrick can even recall a few of the melodies he wrote as boy ("Utterly trite, of course, completely jejune"); and in a way, The Morning Papers Have Given Us the Vapours showcases a kind of get-back-to-where-you-once-belonged sensibility. "I didn't intend, this time, to make an album per se. I write both songs and fiction in order to find out what happens, to find out what I might want to say," he notes. "Rob often asks me what a particular song is about; and I often reply that I either don't know, or would prefer that others say. Same thing goes for when people ask me where they should start with our discography. I never know what to say. Our LP from 2011, Led Zeppelin Five (remastered in 2021 for its tenth anniversary), has been our best seller, I think--but that may be because some stoned Zepheads thought their gods had perhaps put out a record they'd missed!"

Despite being deadly serious about music-making, TBW's been known to either whimsically or perversely title their albums. Examples: Jiggery-Pokery (an allusion to John Lennon assessing George Martin's productions), After the Gold Room (a pun on the Neil Young classic plus a local eastside L.A. watering hole), Sugarplum Fairy, Sugarplum Fairy (echoing Lennon's famous count-off to A Day in the Life), Fromthing Somethat (a garbled spoonerism/lyric while doing a vocal), Brilliant Failures (the 2020 release that, along with Fromthing Somethat, was named Album of the Year by venerable indie rock magazine The Big Takeover), and the aforementioned LZ5.

For the new LP, the band recruited longtime friends and allies Ben Eshbach (the Emmy-Award-winning frontman of The Sugarplastic) and Lindsay Murray (Gretchens Wheel) to compose and arrange strings and sing heaps of lovely backing vocals, respectively.

And the result? A collection of songs that Fredrick, in his quite-but-not-quite self-deprecatory way, might call another set of brilliant failures. "Every song, every LP we do, is a failure of sorts--no matter how powerful or beautiful or pleasing-to-us it turns out," John concludes. "I have often said that my aim is to write songs as good as anything on The Beatles... and I will never achieve my goal. And thus I'll have to keep at it, keep trying. And chin-chin to that!"

And now your attention's been brought to a band (or you've heard of them or heard a track or two down the years) that has been pegged by The L.A. Weekly as "a national treasure" as well as "the most criminally-neglected indie pop group imaginable."

So here's to the prospect of that ostensible neglect becoming as much of a thing of the past as John Andrew Fredrick's year-long stint in bed.

Reissued for the very first time on vinyl here's Prince Alla's (aka Keith Blake) debut album, under the Ras Allah pseudonym, originally released on Tappa Zukie's Stars Records in 1978. Featuring a who's who of the roots reggae community with top notch contributions from the likes of Sly & Robbie, Earl ‘Chinna’ Smith, Don Drummond Jr., Bingy Bunny (Roots Radics) and more. Recorded at the almighty Black Ark and mixed at Tubby's. Produced and Arranged by Tappa Zukie.

Reissued for the first time on vinyl "Wadada Magic", Suns Of Arqa's majestic second album. The wicked world of Michael Wadada is well represented here: an ever-changing kaleidoscope of tribal dub, early electronics , proto-wave and global beat. Special guests on vocals Prince Far I and Prince Hammer, while on bass the true genius of Lizard from Creation Rebel / Singer & Players



[c] A3 Hasheesh; Percussion – J. J. Slater*; Reeds [Chinese Shawm] – John Scott (13)





[i] B4 The Heat; Performer [Rhythm Section] – The Legendary Lepards; Vocals – Prince Hammer

Reissued for the first time, Maximum Joy's fourth 12", led by their amazing Timmy Thomas rendition and originally released on Garage Records in 1983. Includes an unreleased and restored version of the title track plus three extra live tracks recorded in Germany in 1982.

For the first time on vinyl the Outsiders demos from the "Calling on Youth" debut album and "One To Infinity" Ep, both released in 1977. Here's Adrian Borland's first band, before he went to form obscure synth-wave project Second Layer and then joining iconic new wave heroes The Sound. The compilation comes with the addition of several early compositions, too. The Outsiders were probably the first post punk band ever, altogether with The Wire.

Pinegrove’s Everything So Far is exactly what its title suggests - an anthology of all of Pinegrove’s output up to the point of their breakout Run For Cover Records full-length, Cardinal. The collection encapsulates their debut LP Meridian, a number of EPs and even some singles like the captivating track Angelina and Cardinal favorite New Friends. Originally available only on cassette with a shorter tracklist. Listening to Everything So Far is a rewarding experience for new and old fans, as the time capsule of a tracklist shows Pinegrove developing a signature sound, maturing and learning with each song.

Norman Connors' 'She's Gone' is a timeless blend of Soul and R&B from his 1981 album, 'Mr C'. 43 years since its initial release, 'She’s Gone' still endures as a masterpiece, showcasing Connors' musical prowess and ability to create unforgettable compositions. Lush arrangements, masterful instrumentation, and heartfelt vocals define the track with Norman Connors seamlessly fusing horns, strings, and rhythm instruments for a rich sonic experience. This 7'' heavyweight vinyl single, presented here exclusively for RSD is the first time this single has been available since 1981 & gives fans old and new the chance to own a slice of this classic, in demand Norman Connors production. remastered, but with slick early 80's aesthetics as was.

2024 RSD Release

What we gonna do right here is go back, way back, back into time…and one of the most sampled refrains in dance music history. A 7 inch double header of two of the biggest records from the Jimmy Castor Bunch, the 1 million plus selling ‘Troglodyte’, flipped with ‘It’s Just Begun’. This funk masterpiece lit up the Bronx in the ‘70’s and was the spark from where Hip Hop caught fire. Get in early and go in hard. Funk, Soul, Hip Hop and dance fans all need this beaut. Original RCA labels and sleeve, all remastered for 2024.

Holy Grail alert! Two stunning sweet soul cuts from New York based quintet, The Village Choir. Blending latin, soul & jazz, two dancefloor swayers of serious class. This super soulful 70’s 7 inch has regularly been changing hands for over £500 on the second hand market & for the first time ever, it has been officially licenced and lovingly reissued on heavyweight 7 inch vinyl for this RSD exclusive release. For the dancers and the romancers!

We have a very special release planned for Record Store Day 2024, marking the 30th anniversary of Patrick Prins seminal Le Voie Le Soleil, we welcome back Solardo with their hands in the air rework of the timeless House classic plus a very special re-flex from the main man himself, Patrick Prins who steps up with a fresh new version completely exclusive to the vinyl package!

This release punctuates the meteoric and exponential rise of Solardo, a UK dance duo that have graced the stages of Glastonbury, Tomorrowland, EDC Las Vegas, Ultra Music Festival Miami, Creamfields, and Parklife.

The track has garnered huge DJ support from the likes of Calvin Harris, Sasha, MistaJam and more and looks to soundtrack many a euphoric dance floor moment.

With a heavy legacy on the original to lean on with Patrick Prins, Solardo’s deftly and authentically handled remix is guaranteed to revitalise this absolute club classic and reintroduce legions of dance music fans, old and new, to the soaring sonics of the original track.


Radio plays on Radio 1 from Danny Howard, Sarah Storie, Pete Tong
Other notable radio plays – Capital FM, Kiss FM, Toolroom Radio, Sirius XM, Data Transmission Radio, Radio 1 Dance Anthems, Radio 1 Party Anthems, Rinse FM, Select Radio, Tomorrowland Radio.

Les400Coups, AKA Akouphen Teknomad & Damage Circuits are back in town !
After several oldschool Teknomad sound system music with Balistik, Full Bass or Haute Tension they deliver 3 collabs of total dancefloor and fun, party time !!!
Akouphen finish the job with an old school dark Hardtek track...

A banger !!!

Thanks to ExpExp for the 400 Coups movie poster remix ^^ and to Vstee FDB for the Visual !

Thanks to Simon The Exchange for the cut !!! BIG ONE !!!

Previously unreleased LP by two former Swell Maps, Epic Soundtracks & Jowe Head from 1981. A classic 12" single, 'Rain Rain Rain' b/w 'Ghost Town' was released by Rough Trade in 1981, but the duo ran oiut of funds to mix the LP, which has now been mixed by Jowe Head from the recently rediscovered original master tapes. Many of these pieces are intense rhythmic pieces, partly influenced by their emerging interest in African music, particularly the Burundi drumming style. They were also excited by some of the No Waqve sounds coming out of New York at the time, such as The Contortions, and Teenage Jesus & The Jerks, as well as the current German records by DAF, SYPH, Holger Czukay .

The last 3 critically acclaimed PiL albums on cassette for the first time… This is PiL first released in 2012, and the first PiL album in 20 years, followed by 2015's What The World Needs Now.... Completed by last years End of World. The cassettes were the last project that legendary PiL manager John Rambo Stevens worked on before his sad passing in December 2023. Released on the band's own PiL Official Limited label

The last 3 critically acclaimed PiL albums on cassette for the first time.

The incendiary proto hard rock and ambitious epic journeys this album delivers are all the more uncanny and devastating when you realize Gary Del Vecchio was a mere 16 years old when the title track Buzzin was unleashed! Even more astonishing is how far he travelled over the next five years, documented in this brilliant selection of nine tracks from the classic daze of early 1970s underground rock. Ohio was a hotbed for hard rock at the time with bands like the James Gang, Glass Harp, Poobah, Left End, Damnation Of Adam Blessing… what you get here matches the style any of those bands laid down. Gary's music grabs you immediately and grows over time. Grabber and Grower… best of both worlds style! It makes sense that Gary later owned a recording studio, right out of the gate he was laser focussed on all the aspects involved in making music that stands the test of time. The guitar action is incredible, shards of sound flying free yet hitting the bullseye continuously, vocals confident with none of the macho posturing that ages poorly in much early hard rock. These tracks are all vividly recorded and meticulously mixed in a way that balances fiery performance and intelligent structure to maximum effect. The bass and drumming here are phenomenally inventive and propulsive, the several players involved across the album nail it in their support of Gary's vision. This is rock music born in the 'anything is possible' life affirming energy of the late '60s right on time with where the most enduring artists of the early '70s took it. Had he scored the major label deal he pursued with labels like Mercury or London at the time I am confident we'd be hearing his music on classic rock radio today! The music on this album is both uncompromising and accessible. In particular, the two long tracks Wasted King and Starman have all the moves needed to grab fans of Pink Floyd, Led Zeppelin and the likes by the throat and brain in the extended progressive epic department! RidingEasy Records sets a high bar when it comes to unleashing the best vintage hard rock you never heard… take my tip people, the ride this one takes you on is definitely an 11 on a scale of 1 to 10… Gary Del Vecchio really knows how to do it!

Reissue of early Japanese house outing by Junichi Soma, Shuji Wada and Katsuya Sayo. Comes with insert with liner notes.

All musical movements require a spark to set them alight; in the case of Japanese house music, that spark was provided by the forward-thinking resident DJs of The Bank in Roppongi, Tokyo. In 1989, to celebrate the ground-breaking club’s first birthday, the venue released a 12” EP featuring first-time productions from three of its DJs, Junichi Soma, Shuji Wada and Strong Katsuya AKS Katsuya Sayo.

Widely considered to be one of the first ever EP of house music produced in Japan, 1st Unit was never officially released. Instead, 500 of the 1000 copies pressed were given away at The Bank’s first birthday party, with the rest initially being sold not in local record stores, but rather the venue’s own in-house shop. Three decades on, the 12” is finally set to get its first worldwide release via Rush Hour’s Store JPN Series.

The record has its roots in The Bank’s willingness to give its ever-changing roster of DJs a free hand to play what they liked – at the time a rarity in Tokyo nightclubs, whose musical offerings usually revolved around strictly defined playlists. At The Bank in 1989, it was not only common to hear European body music and the kind of post-disco New York productions associated with Larry Levan’s sets at the Paradise Garage, but also acid house – something not offered at the time by other clubs in the city.

This cutting-edge blend of sounds, combined with the venue’s unique decor (it was modeled on the inside of a London bank, complete with a cashier’s window to take entrance fees), made The Bank a go-to spot for young party-goers, celebrities and forward-thinking Japanese musicians (Ryuichi Sakamoto was reportedly a weekly visitor).

When it came to celebrating the club’s birthday by cutting a unique record, it made sense for The Bank’s owners to turn to three of their most exciting resident DJs, who were assisted by Heigo Tani and Jun Ebi. The collective name, 1st Unit, was chosen to reflect the fact that all three resident DJs were debutants with no previous studio experience.

As this reissue proves, the music remains timeless, magical, and authentic to the sound of American house productions of the period – albeit with occasional twists,. Katsuya Sano’s EP opener, ‘I Need Love’, sounds like a twist on Larry Heard productions of the period – all jacking TR-909 drums, undulating analogue bass, dreamy JUNO synthesizer chords and evocative vocal samples.

The influence of Chicago acid house is also evident on Junichi Souma’s ‘Ubnormal Life’, whose unusual title contains what he says was an intentional misspelling. Driven forwards by restless drum machine handclaps, sweet chords and rising and falling melodic motifs, the track is an energetic and uplifting treat.

Perhaps the most influential of the three tracks at the time – within Japan at least – was Shuji Wada’s similarly misspelled ‘Endless Load’. Deeper and more melodic with a more expansive arrangement, the track’s combination of marimba-style lead lines, tribal drum patterns, dreamy chords and jazz-funk influenced bass offered a loose blueprint for the more successful and better-known Japanese deep house tracks that followed.

Big Crown Records is proud to present Brainstory’s sophomore full-length album Sounds Good.

Based in L.A. but hailing from the Inland Empire's own Rialto, California, two-thirds of Brainstory, Kevin and Tony Martin are brothers by blood, while Eric Hagstrom is a brother through their music and long term friendship. Since they started the band they have constantly faced situations that forced them to rise to the occasion. They got signed to Big Crown Records, they stepped up their game. COVID happened, they learned to record themselves. They started touring a ton sharing the stage with the likes of Lady Wray and they got their live show super tight. All of this time spent grinding and growing has certainly paid off. The path to take their art to the next level is clearer than ever, and once again, they are here for it. If there is one thing that is abundantly clear on Sounds Good, it’s that Brainstory has leveled up.

Part of this evolution is undoubtedly attributed to having access to and working constantly in their own studio in Long Beach. Another major factor is that their brotherhood has expanded. "I've been playing music with my brother all my life and now with Eric for a long time," Tony tells us. "Leon, though, is like another brother I've just met."

Leon Michels, Big Crown's co-owner, produced this record and applied his unmistakable golden touch in crucial ways. The other member of the extended Brainstory brotherhood whose contributions were essential to the album, is studio engineer legend Jens Jungkurth who controls the tones and textures of the music. "That's what you're hearing, our connection, the fun moments, the little details," Kevin describes. "This record isn't half what it is without them—and it made us want to match that effort," and match that effort they did. Album opener "Nobody But You" is an uplifting, dance ­oor burner, that shows off a new side of Brainstory's range. Drummer Eric Hagstrom’s crushing back beat lays the foundation for an inspirational feel good banger that manages to take the uncomfortable truth that “nobody will save you but you” and turn it into pure blissful motivation. "Peach Optimo" is a laid back half time tune that blends the bounce of Down South Hip-Hop with California G funk and Jazz. They once again show off their B said ballad talents with "Gift Of Life" but this time taking the genre to a new place with lyrics about existentialism and a track that is drop dead gorgeous, haunting, and profound all at once. "NyNy" is an homage to Kev and Tony's recently deceased grandfather while "Too Yung" is a show stopping, deeply personal, stripped down number about being introduced to

alcohol at a young age. They put another hit on the boards with "Hanging On," a Latin / Psychedelic Soul inspired banger featuring Claire Cottrill on background vocals while "XFaded” addresses the all too common vicious cycle of smoking and drinking too much over a trippy shuf­e.

"It's been four years since our last full length record, and with everything that's happened since, it's like we've been catching up to ourselves." That's one way to describe change: catching up to oneself. Each member of Brainstory has gone through shifts, both personally and musically, and all of that threads through Sounds Good. It's easy to say that the music industry can be short on lasting, genuine relationships. However, for Brainstory, from day one it's been about standing by each other, for each other. Their friendship started the group. Track listing:

As a professional sound engineer by day, Colin Dunkerley aka Lapsed Pacifist, spends much of his time traveling and rarely gets to focus on producing his own music. Despite high praise from those who have become familiar with his work over the years, Colin’s previous productions have mainly consisted of shares with friends and DJs in smaller circles through his ‘Negative Neutron’ alias.

Colin envisaged a more pronounced and darker ambient style to emerge one day, but struggled to dedicate the time. ‘Hypatia’ came to life over an extended and fragmented period, with field recordings and loops of audio created on the go, later processed through his modular setup. In the autumn of 2022, Colin spent time collating and listening to these many fragments and field recordings, making notes in a book as he wandered around cold, unfamiliar places with headphones on, trying to shape disparate starting points into something thematically connected.

The title of Lapsed Pacifist’s debut album, ‘Hypatia’ is a reference to one of the many fantastical descriptions of imaginary places by Marco Polo in the book, Invisible Cities. Written as a dialogue between Mongol emperor Kublai Khan and Marco Polo, the book became the inspiration and a clear parallel for how Hypatia came to be and what it means to Colin today.

Attaching music to a place and time can become a very powerful and long-lasting memory. Across its eight tracks, Hypatia depicts fragmented glimpses of color and textures –a scrapbook of senses– traversing the optimistic first steps; the first smell of cold air; cityscapes burnt into your head; and the many emotions from exploring new places that stick with you longer than any photograph ever could.

“The experience of moving between places so frequently can be fascinating but also dislocating and often quite lonely. I have so many small stories about places I’ve been, but I often think they aren’t necessarily real reflections of anywhere, no more real than anything Invisible Cities author Calvino dreamt up”. - Lapsed Pacifist.

Hypatia is available on Transparent Copper smoke 12” + digital, mastered by Rafael Anton Irisarri and featuring artwork by Noah M / Keep Adding.

How do you follow up a work described in the Independent on Sunday as “the best debut album since Marquee Moon”? That’s the question facing singer-songwriter John Canning Yates, twenty years on from the critically acclaimed ‘The First Album’ by his band Ella Guru.
‘The Quiet Portraits’ will appeal to anyone who loves the beautiful melodic soundscapes woven by Brian Wilson, Burt Bacharach, and Tom Waits, while Yates’s unique vocals evoke the emotional fragility and compelling narrative of Neil Young, Paul Buchanan, Mark Linkous and Elliott Smith.
Mastered by Jason Mitchell (PJ Harvey, Robert Forster), and featuring guest contributions from pedal steel maestro BJ Cole and friend and multi-instrumentalist Andy Frizell (Kevin Ayers, Wizards of Twiddly), those dedicated followers of Ella Guru who stayed the path will find their patience very well rewarded. ‘The Quiet Portraits’ is a remarkable achievement from an unassuming, yet hugely talented artist.

It’s a welcome relief amid the rapidly changing musical landscape to find that all that has changed in John’s world is the number of musicians around him. The beautiful storytelling, the art of finding those magical musical moments that will remain with you for years to come: all of that has survived the passing of time intact.
Happiest with headphones on, working alone in the small hours from his Liverpool home, Yates has created another masterpiece.
He explains: “In the wee small hours, with loved ones safely asleep and the busy day done, there comes a hush. Within it, you can breathe and listen. Listen for the infinite possibilities. From those possibilities emerged these portraits. I have sought to find those precious moments: of love and peace in turbulent times, of truth and hope for calmer days ahead. I hope you find them too.”
Entitled ‘The Quiet Portraits,’ the new solo album from John Canning Yates tells tales of people and places, of time, family, history, belonging, forgetting and remembering.

Factor City kicks off its third decade in full swing, led by Undo solo and accompanied by its usual partners Casiowaves and Vicknoise.

It all began in 2003 when Undo & Vicknoise laid the foundation for the label with "Noctámbula," and over the years, they continued to collaborate closely, managing the label and producing "hits" such as "Orca" or "Happy Monday." From 2011 onward, following an amicable parting, Undo began to run the label solo while maintaining the same spirit and distinctive sound of the Barcelona-based label, always at the forefront of dance music produced in Spain.

Now, in 2024, in a "digital” world where fewer and fewer things can be touched with our fingers and where 100,000 songs are uploaded to Spotify every day, Factor City is charting a different course and starts a new decade on the dance floors by returning to vinyl releases and persisting in their low key and relaxed approach, releasing few and carefully curated records from their artists each year.

“Ciudad Futura” opens with "Good Times," a track by Undo that radiates joy and positivity. An euphoric ride through landscapes of analog synthesizers and drum machines. The second track on side A is signed by Undo & Vicknoise, who hadn't produced together in 15 years. And we hope they won't take as long to get back in the studio together after hearing the fantastic track "Electric Rainbow." A delightful slice of electro-disco. The B side is signed by the recent combo of Undo and Casiowaves. The first track, "Secret Worlds," follows in the wake of their recent releases on Factor City and Melodize with that winning combination of retro 80s and 90s synths with vocoders and a more contemporary production. Closing out the record is "Astralia," a vibrant "power synth pop" anthem adorned with FM synths and acid-tinged melodies. Thanks for listening!

On the outskirts of Bratislava, in the pulsating shadows of a refinery's burning chimneys, on the plot of a family house, there stood a small shack. Initially, it housed trials in domestic mushroom growing. Later, after a makeshift acoustic touch-up - lining the walls with old cardboard egg cartons - it became a shelter for music. Sensitive, evocative, nostalgic, lo-fi music by a man named Cadillac Face.

Today we would probably use the term 'safe space', but back then it was (in Cadillac's words) kutica, a cubbyhole. He hid there from a world that ached. Here, Cadillac secretly smoked, sang, and composed. And tried not to go crazy from anxiety. He wrote music unlike anything during his time.

Here, he struggled. With sound (unable to adjust it to his liking), with instruments (which he couldn't bring himself to play), with the world (with which, understandably, he was at odds).

Cadillac Face was a man who didn't belong here.

He wrote and sang in English (in a post-socialist and early-capitalist Slovakia, when command of English was no matter of course); he also wrote in Slovak (blogs and diaries, which, due to a stream-of-consciousness and surrealist style, were as incomprehensible as they were immersive and intimate); gave advice to teenagers (to their quasi-banal questions on talking forums about relationships, life and adolescence, where they were often met with ridicule and mockery); he composed electronic and noise music (at a time when no one had a clue what the abbreviation DAW meant).

This Cadillac's compilation album is not aiming to compete with/replicate Noizy Days - a compilation of Cadillac's contributions to the project Noize Konspiracy. Underground compilations circulated through a local proto-social network. Borderline music without rules - open but often inaccessible. There, Cadillac contributed mostly with experimental-electronic compositions. Noizy Days was compiled by Ďuro Ďurček, one of the initiators of Noize Konspiracy. Both Ďuro and Cadillac have been dead for years.

Songs For The Trees is a selection from Cadillac's songwriting. The most intimate of his intimate recordings. Cadillac at his most fragile, brittle, and quiet. The most romantic, the most tormented, the most painful and direct of his songs I know.

Cadillac became an anthropomorphic grotesque tree. Neither broadleaf nor conifer. Or perhaps it's a candle slowly incinerating – bored, sad, playing the guitar. A tragicomedy. Sometimes it kindles what it doesn't mean to, and it can't put itself out. Or can it?

New Jackson marks his long awaited follow-up to 2017’s From Night To Night with its successor OOPS!... POP for long-time collaborators Permanent Vacation. A concise triumph in techno pop, its 9 tracks elevate his signature electronic sounds into anthemic new heights.
David Kitt is a prolific sonic polymath who’s enjoyed a colourful career making whatever he likes.
While releasing music under a vast array of aliases and collaborations for close to two and a half decades, New Jackson has remained his irregular home since 2011 for when ‘at one with the machines’. It offers a kaleidoscopic window into his love of dance music, and on his debut album under the alias From Night To Night (released in 2017 on Dublin’s All City label) he unfurled his singular vision; a dilated suite of nocturnal soul coaxed from his beloved electronic equipment with songwriter’s nous, sonically etched as blunted whispers coalesced from the dusky billows of Dublin bay. Further EPs and singles followed, alongside a beloved live show he toured globally, plus detours with his critically-lauded Garies duo (with Lumigraph) and a David Kitt solo album.
In the time since his New Jackson debut, he’s slowly distilled his studio methodology to help mine the true core of his musical self. Within this experimentation, he has stumbled upon the bounty that is OOPS!... POP, his most direct and euphoric body of work to date. Recorded across the span of five years and three different countries, Kitt has managed to transform his beloved alias into a leaner beast, tightening the screws around arrangements and songwriting to inspire an album sonically effortless in demeanour and spontaneously playful in structure and form. Aided by a stacked cast of collaborators including Rita Lynn, Donnacha Costello, Riche “Jape” Egan, Yenkee, Kean Kavanagh, Margie Jean Lewis, Meg Cronin and Fehdah, it bears the hallmarks of the studio albums of yesteryear in its dynamism and gratification while drawing on his rich bouquet of influences across a century of recorded music.
Opener SI SI SI lulls you in with its smothered vocoder’d croons and patient groove, BURNT DEEP next yields a surprising deep house turn, lit gently with casual hedonism. LIKE rewires the playbook entirely, shuffling along its minimal 80’s boogie groove with a cheeky grin, before lead single OUT OF REACH further mines the golden pastures with its glorious stuttering techno power-pop fit with that anthemic chorus. DAY IN SHOCK digi-dubs around the wonderful vocal turn of Fehdah in purest heads-down manner, then THE OK HOLE and STROBE both descend the psychedelic wormhole of anaesthetised breaks and electro with its entranced dancefloor gaze. I WANNA BE ADORED, the Madchester anthem from The Stone Roses, is then surprisingly reimagined as a lost kraut-pop robo sung classic while WITH THE NIGHT AT OUR FEET is our climactic conclusion, a mechanised symphony of dual proportions; a humane core of angelic harmonies chugging along in electro rhythm before soaring strings take us on our way.
New Jackson’s oeuvre, indeed David Kitt’s musical world, is vast; OOPS!... POP then might just be his opus across it all, a towering achievement of soaring catharsis in melody and song that soundtracks the most direct transmissions from his heart to yours

Introducing "The Sevens” - A Sonic Revelation from A Place To Bury Strangers Prepare to embark on a transcendent auditory journey with "The Sevens” a series of four 7-inch vinyl records that unveil a treasure trove of previously unreleased tracks from A Place To Bury Strangers' critically acclaimed 6th album, "See Through You."

Renowned for their visceral sonic assault and immersive live performances, A Place To Bury Strangers has cemented the end-all-be-all space for over-the-top post-punk / shoegaze destruction. With this special vinyl collection, the band invites listeners to delve deeper into their sonic universe, exploring uncharted territories and hidden gems. Don't Turn The Radio/This Is All For You is the third release coming April 19.

"When looking back at the recordings that were done around the time of See Through You there were a bunch of great tracks that just captured life back then and really had something incredible going on. Even though they are a bit raw and a bit personal, I thought it would be a mistake if they didn't come out. I thought it would be best to go back to my roots and put out a series of 7"s the way A Place To Bury Strangers started. That strange weird format where the tracks each speak for themselves, no album context to muddy the water. These tracks are such a contrast to the way I am feeling now and the current songs we've been working on so slip back into this moment in time.” says APTBS’ Oliver Ackermann.

It takes a certain special kind of band to make a perfect indie-pop song, and Kindsight are exactly that kind of band. The Danish four-piece have mastered the craft of distilling their artistic identity into sweet and scrappy songs, every note and detail carefully tailored so it all falls into place, for music that wakes warm memories and shines with daydreams about tomorrow. Kindsight (Nina Hyldgaard Rasmussen, Søren Svensson, Anders Prip and Johannes Jacobsen) announced themselves properly in 2022 with their debut LP Swedish Punk, and promptly headed out on the road to introduce that record to the world, setting off for shows including slots at SXSW and Roskilde Festival’s emerging talent stage. Always unwilling to rest on their laurels, the band have kept moving forward, and are now back with a new album, No Shame No Fame, out on Rama Lama Records this April.

"No Shame No Fame" by Kindsight includes the following tracks: "Love You Baby All the Time", "Killing Eye", "Terracotta Team Song", "Easter and the Boys" and more.

Seafood Sam is a futuristic artifact. If that description might sound confusing at first, it matches the eclectic dualities found in true originals. With his effortless cool and timeless style, the North Long Beach native defies convention and exact comparison. He's a virtuosic rapper, a stop-you-in-your tracks singer, and a symphonic producer. Welcome to the lavish life of a laid-back transcontinental man of mystery, rolling in old school Cadillacs, eating caviar with a blade in his pocket, and making plays in vintage Pelle Pelle gear. A blaxploitation icon for the Instagram age, blessed with the bars of a `90s legend and 23rd century swagger. Seafood Sam is a true hero of modernity. On his full-length album debut for up-and-coming label drink sum wtr (Kari Faux, Deem Spencer, Aja Monet) debut, Standing on Giant Shoulders, Sam splits the difference between Snoop Dogg and D' Angelo, Curren$y and David Ruffin. The songs reveal a forward-thinking sensibility rooted in ancestral soul. He creates spiritual hymns for the streets that tap into universal ideals and irrepressible groove. In an era plagued by short-term thinking, his ambitions reveal a crate-digging depth of music history and a meticulous ear for detail. The giant shoulders in the album's title refer to James Brown, Bobby Brown, and Miles Davis - the holy trinity who inspired Sam's process. From the Godfather of Soul, Sam took a perfectionist's rigor and focus. The example of Bobby Brown lent an unshakeable confidence and self-belief. While the constant artistic left turns of the trumpeter that birthed Ccool offered an aspirational archetype. The story starts in the glory days of Long Beach hip-hop. As a young child, the G-Funk era soundtracked rides in Sam's father's car. Some of his earliest memories are trying to memorize Snoop's verse on "Nuthin' But a "G" Thang." Beyond gangsta rap, the LBC has historically doubled as a capital of lowrider soul and carwash oldies. At any intersection, you could hear Dogg Food or Brenton Wood, Warren G or Barbara Lynn. This too was absorbed via osmosis. It also just so happened that the art of performance was always in Sam's blood. So at family functions, he and his sister supplied entertainment by singing karaoke renditions of The Isley Brothers. While his Harlem Shake remains a thing of local lore. Long Beach is a culturally diverse mecca of skate parks and gang life, street fashion and tricky dance moves. This is the place that raised Sam on a diet of Wu-Tang and Nelly Furtado, Lil Bow Wow and Allen Iverson. He was the middle ground between his two older brothers: one who gangbanged, the other who graduated with a master's degree from UC-Santa Barbara. But it wasn't until the end of high school that Sam started to take rap seriously. Alongside long-time collaborators like Huey Briss and Reaper Mook, Sam's name began to make waves on the northside of the city, but he was partially distracted by a modeling career that paid the bills and took him all to way to walk in Paris' fashion week. The first turning point arrived with 2018's "Ramsey," a self-produced, slick-talk anthem with over 10,000,000 streams across all platforms. With each subsequent release, Sam showcased his peerless consistency, building buzz both online and in the city streets. Spin hailed his "smooth and unhurried cadences and understated lyricism_ that sounds like nothing else in Long Beach." Clash raved about Sam's "evolution as an artist, cruising through nostalgic production with slick, witty rhymes." The culmination arrives with Standing on Giant Shoulders. It's the evidence of a master, a young sensei in the model of Quincy Jones. All rhymes, singing, production, and arrangements were handled by Sam - with an assist from his close Long Beach kinsman Tom Kendall from the group Soular System. It's hard-edged and lyrical enough for disciples of Larry June and Roc Marciano, but orchestral and melodic enough for fans of Anderson .Paak and H.E.R.

Quantum´s upcoming album, "Down the Mountainside", contains eight very elaborate and intense compositions, spanning 45 minutes of music that shimmers in acoustic soundscapes one minute to explode into spastic grooves in the next. The lyrical themes deal with humans alter egos - or masks - that people in our society rely on in order to get by with their everyday lives, and how these affect them psychologically and eventually lead them towards a breaking point. There is also commentary on how this behavior affects the general attitude in the society we live in. Overall, with "Down the Mountainside", Quantum has created a timeless progressive rock album, which feels both fresh and innovative, which will appeal to old prog diggers as well as listeners of the more modern school.
The album features guitar solos from the brilliant Richard Henshall and Tom MacLean from the band Haken.

Quantum´s upcoming album, "Down the Mountainside", contains eight very elaborate and intense compositions, spanning 45 minutes of music that shimmers in acoustic soundscapes one minute to explode into spastic grooves in the next. The lyrical themes deal with humans alter egos - or masks - that people in our society rely on in order to get by with their everyday lives, and how these affect them psychologically and eventually lead them towards a breaking point. There is also commentary on how this behavior affects the general attitude in the society we live in. Overall, with "Down the Mountainside", Quantum has created a timeless progressive rock album, which feels both fresh and innovative, which will appeal to old prog diggers as well as listeners of the more modern school.
The album features guitar solos from the brilliant Richard Henshall and Tom MacLean from the band Haken.

Sounds Good ist ein Album, das, vereinfacht ausgedrückt, seinem Namen alle Ehre macht. Die aktuelle Single Hanging On folgt auf den Bombast-Track Nobody But You und Gift of Life mit Kevins Delfonics-artigem Gesang, der die Bandbreite der menschlichen Erfahrung thematisiert. Kevin und Tony Martin sind Brüder, Eric ist ihr Bruderund langjähriger Freund durch die Musik. Während die anfängliche Verbindung der Band auf der berauschenden Mischung aus Jazz-Performance-fokussierter Musikschule und der Plackerei lokaler Auftritte gründet, wurde ihre Bindung durch unzählige Stunden auf Tour und die Produktion von zwei Studioalben gestärkt – 2019 das Debütalbum Buck und 2021 die EP Ripe. "Being on the road, doing our own tours, and backing incredible people like Lady Wray, has sharpened our skills and really revved us up for this record", sagt Kevin."It's been four years since our last full length record, and with everything that's happened since, it's like we've been catching up to ourselves." Das ist eine Möglichkeit, Veränderungen zu beschreiben: sich selbst einzuholen. Jedes Mitglied von Brainstory hat Veränderungen durchgemacht, sowohl persönlich als auch musikalisch, und all das zieht sich durch diese Platte. Der Weg zur Weiterentwicklung ihrer Musik ist klarer denn je zuvor. Wenn es eine Sache gibt, die auf diesem Album überdeutlich wird, dann ist es, dass Brainstory sich entwickelt haben. Ein Teil ihrer Entwicklung ist zweifellos darauf zurückzuführen, dass sie ihr eigenes Studio in Long Beach haben und dort ständig arbeiten. Ein weiterer wichtiger Faktor ist, dass sich ihre Gemeinschaft erweitert hat. "I've been playing music with my brother all my life and now with Eric for a long time", erzählt uns Tony. "Leon, though, is like another brother I've just met." Aus der Freundschaft ist die Band entstanden, und jetzt trägt die erweiterte Gemeinschaft dazu bei, sie weiter voranzutreiben. Die Sterne stehen günstig, dass sie mit diesem neuen Album einen großen und wohlverdienten Schritt machen, und das hört man ihrer Musik an – music that just Sounds Good.

At the time, Sizzla was part of Phillip Burrel's XTerminator stable, touring with Luciano and other roots&culture new wave artists. Sizzla is prolific, even by Jamaican standards. Since 1995, he has released over 30 albums and probably over 400 singles. With such an output, fans often complain about the mediocrity of many of them, but Sizzla always manages to surprise listeners with a quality album after a few mediocre ones.

Recorded during her time with Belle and Sebastian, this was Isobel Campbell’s second The Gentle Waves album. It features Stuart Murdoch, Stevie Jackson, Chris Geddes, Richard Colburn and Mick Cooke from Belle and Sebastian, as well as Jonny Quinn from Snow Patrol and Eugene Kelly of The Vaselines.

The album features arrangements by the Scottish Bafta-winning, neo-classical composer PaulLeonard-Morgan, who has scored several movies and TV series (Fellow Travelers, The Pigeon Tunnel), and works in collaboration with Philip Glass.

The album was recorded in Glasgow at CaVa Studios during late 1999/early 2000 and the atmospheric retro video for ‘Falling From Grace’, set in a hair salon, was directed by Isobel. The standout tune, ‘Falling From Grace’ has featured in several ad campaigns (Ozdilek) and movies (Pumpkin, Swimfan). The song ‘Pretty Things’ has also appeared in ad campaigns and movies (Pringle, All The Days Before Tomorrow).