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9Million is a Toronto shoegaze band helmed by the multi instrumentalist, songwriter and producer Matthew Tomasi. Best known for his work with alt pop icons like Ethel Cain and Nicole Dollanganger, Tomasi has gained increased notoriety in recent years for his behind the scenes work as a producer and mix engineer, but he is also a tireless creator and songwriter himself; playing and contributing to the music of countless bands and independent artists. With 6 other members including Ace Mendoza (Lead Guitar, Vocals), Danielle Clark (Vocals), Lia Lepre (Keys), Jamie Fastlane (Bass), Brandon Santi (Drums), and Looch Man (Guitar, Vocals); Tomasi says 9million started out “as a creative outlet for myself to explore new sounds and ideas that I wasn’t touching on with any of my other projects or clients'', but quickly the project took on a collaborative spirit not unlike his hardcore band Friction.

The sound of 9million infuses a shoegaze / alt rock foundation with elements of brooding alternative pop, indie rock, and synthwave - resulting in something that recalls ahead of their time 90s bands like Hum and Failure while connecting that sound from the past to the modern world of post-Lana Del Rey slowcore pop sound that Tomasi traffics in on records like Preacher’s Daughter, Natural Born Losers,
and Married In Mount Airy. Featuring several new original songs and two covers, the mixtape explores more electronic elements and layers of vocal processing that, when paired with the fuzzed out rock sound of Between Us, present an exciting blend of styles the band is pulling from. As a whole, Gush is a loose yet emotionally hefty collection of songs that highlights Tomasi’s distinct approach to shoegaze while also capturing the unique dynamic and possibilities of this band as a whole.

StriIn 2013, Blue Smiley officially formed in Brian Nowell and John Slavin’s rodent-infested North
Philadelphia apartment. With Nowell primarily composing from the hammock he used as a bed, Blue
Smiley created three short recordings within a year, featuring drummers Gracie Clements, Tim
McMonigle, and Joe Veltri. Matt McGraw, drummer and childhood friend of Slavin’s, later joined the
group to galvanize a sound that helped define Philadelphia indie rock of the 2010’s. Blue Smiley’s first
professionally recorded album ok released in 2015, featuring dystopian noise-pop compositions with
fuzzy effects, unique for its focus on groove and precipitous tempo changes. Slavin then relocated to
Austin, TX while close friend and bassist Michael Corso joined Nowell for the next iteration of the
group. True to the Blue Smiley ethos, their next full-length return soon followed, replete with snappy,
short songs that waste no time getting to the point. On return, Nowell’s hushed vocals settle deeper
into the band’s tapestry, like an iridescent thread that catches your eye at just the right moment.
During their last tour, the band introduced a handful of new songs, but never made it to the studio.
While celebrating his upcoming 27th birthday with his parents, Nowell expressed his intentions to put
these tracks together for a third LP. Tragically, Nowell was found unresponsive in his room the
following morning on October 8, 2017, a victim of fentanyl poisoning. In spite of the band’s premature
ending, their legacy is now immortalized with this physical recording.

StriIn 2013, Blue Smiley officially formed in Brian Nowell and John Slavin’s rodent-infested North
Philadelphia apartment. With Nowell primarily composing from the hammock he used as a bed, Blue
Smiley created three short recordings within a year, featuring drummers Gracie Clements, Tim
McMonigle, and Joe Veltri. Matt McGraw, drummer and childhood friend of Slavin’s, later joined the
group to galvanize a sound that helped define Philadelphia indie rock of the 2010’s. Blue Smiley’s first
professionally recorded album ok released in 2015, featuring dystopian noise-pop compositions with
fuzzy effects, unique for its focus on groove and precipitous tempo changes. Slavin then relocated to
Austin, TX while close friend and bassist Michael Corso joined Nowell for the next iteration of the
group. True to the Blue Smiley ethos, their next full-length return soon followed, replete with snappy,
short songs that waste no time getting to the point. On return, Nowell’s hushed vocals settle deeper
into the band’s tapestry, like an iridescent thread that catches your eye at just the right moment.
During their last tour, the band introduced a handful of new songs, but never made it to the studio.
While celebrating his upcoming 27th birthday with his parents, Nowell expressed his intentions to put
these tracks together for a third LP. Tragically, Nowell was found unresponsive in his room the
following morning on October 8, 2017, a victim of fentanyl poisoning. In spite of the band’s premature
ending, their legacy is now immortalized with this physical recording.

In 2013, Blue Smiley officially formed in Brian Nowell and John Slavin’s rodent-infested North Philadelphia apartment. With Nowell primarily composing from the hammock he used as a bed, Blue
Smiley created three short recordings within a year, featuring
rummers Gracie Clements, Tim McMonigle, and Joe Veltri. Matt McGraw, drummer and childhood friend of Slavin’s, later joined the
group to galvanize a sound that helped define Philadelphia indie rock of the 2010’s. Blue Smiley’s first professionally recorded album ok released in 2015, featuring dystopian noise-pop compositions with
fuzzy effects, unique for its focus on groove and precipitous tempo changes. Slavin then relocated to Austin, TX while close friend and bassist Michael Corso joined Nowell for the next iteration of the
group. True to the Blue Smiley ethos, their next full-length return soon followed, replete with snappy, short songs that waste no time getting to the point. On return, Nowell’s hushed vocals settle deeper
into the band’s tapestry, like an iridescent thread that catches your eye at just the right moment.

During their last tour, the band introduced a handful of new songs, but never made it to the studio. While celebrating his upcoming 27th birthday with his parents, Nowell expressed his intentions to put
these tracks together for a third LP. Tragically, Nowell was found unresponsive in his room the following morning on October 8, 2017, a victim of fentanyl poisoning. In spite of the band’s premature ending, their legacy is now immortalized with this physical recording.

In 2013, Blue Smiley officially formed in Brian Nowell and John Slavin’s rodent-infested North Philadelphia apartment. With Nowell primarily composing from the hammock he used as a bed, Blue
Smiley created three short recordings within a year, featuring
rummers Gracie Clements, Tim McMonigle, and Joe Veltri. Matt McGraw, drummer and childhood friend of Slavin’s, later joined the
group to galvanize a sound that helped define Philadelphia indie rock of the 2010’s. Blue Smiley’s first professionally recorded album ok released in 2015, featuring dystopian noise-pop compositions with
fuzzy effects, unique for its focus on groove and precipitous tempo changes. Slavin then relocated to Austin, TX while close friend and bassist Michael Corso joined Nowell for the next iteration of the
group. True to the Blue Smiley ethos, their next full-length return soon followed, replete with snappy, short songs that waste no time getting to the point. On return, Nowell’s hushed vocals settle deeper
into the band’s tapestry, like an iridescent thread that catches your eye at just the right moment.

During their last tour, the band introduced a handful of new songs, but never made it to the studio. While celebrating his upcoming 27th birthday with his parents, Nowell expressed his intentions to put
these tracks together for a third LP. Tragically, Nowell was found unresponsive in his room the following morning on October 8, 2017, a victim of fentanyl poisoning. In spite of the band’s premature ending, their legacy is now immortalized with this physical recording.

All Over You is a forgotten gem, remastered and presented here for the first time on vinyl, nearly 25 years to do the day after its original release. Recorded raw with a band pulled from the ranks of Austin’s legendary Antone’s Nightclub, this session finds an older, laid-back Lester revisiting his classic Excello sides and distilling them to their essence. The remastered album features a bonus live recording of the Lightning Slim track, “Nothing But The Devil.”. The audio was remastered from original source material and pressed at GZ Vinyl in the Czech Republic. Tasting notes: leather, freshly-oiled gunmetal, boiled crawfish.

In his “Pulse Music” compositions of the mid-1970s, composer John McGuire forged a unique interpretation of European serialism. A student of Karlheinz Stockhausen, Krzysztof Penderecki and Gottfried Michael Koenig, McGuire moved to Cologne, Germany in 1970, where he become associated with the world-leading Studio for Electronic Music at Westdeutscher Rundfunk (WDR) in Cologne. Like Stockhausen, McGuire found his musical imagination both constrained and inspired by the technology that was available to him.

A conversation with sculptor Hans Karl Burgeff led McGuire to think beyond the horizon and into limitless space. For “Vanishing Points” (1985–1988), McGuire used an entirely digital set-up for the first time: a digital sequencer, eight Yamaha DX-7 synthesizers and a Studer 24-track digital tape recorder. The piece was conceived as a “sequel” to the Pulse Music series, but also a step forward from it. Whereas the Pulse Music pieces had employed steady streams of pulses, with Vanishing Points McGuire employed pulse layers that accelerate or decelerate against one another, vastly increasing the resulting rhythmic complexity.

McGuire's exploration of music technology continued in “A Cappella” (1990–1997), written for his wife, the soprano Beth Griffith, known for her recording of Morton Feldman’s “Three Voices” made in 1983. Using samples, he created a four-voice choir of voice samples and arranged them into interacting parts. The composition faced challenges due to the organic nature of the human voice compared to the precision of synthesized sounds. This process involved extensive editing and a negotiation between the "material" and the "original conception". This sort of negotiation applies as much to the composition of a single piece as it does to the work of two decades.

Yearly compilation album RADAR by KEROXEN returns with its fourth volume in the ongoing series of themed based albums showcasing the talents and misfortunes of carefully selected musical projects based or connected with the Canary Islands.

With its first volume released in 2020 aiming to promote and divulge adventurous Island based music, the Keroxen imprint now presents Vol.4 with another showcase of the various insular musical scenes made in the outermost regions – in this case, a very rare incursion outside the Canary Archipelago by way of handpicking friends and colleagues working in the further most regions we can think of. A very special showcase then, featuring the Azores Islands, Reunion Island, Canary Islands and French Guiana - a true connection of likeminded minds whom demonstrate once again that you do not need to be in an western hipster mecca to make interesting work.

The presentation format sticks to its breakable rules, with each artist offering one track per side and the full thing of course wrapped up in Pura Marquez dizzying post-tropical art.

The album opens with the Julee Cruise inspired project Akane by Tenerife’s Carolina Machado where synth arpeggios intertwine organically with her soothing voice, setting the tone for Reunion Island’s Jako Maron and his unique take on local Maloya music by way of electrifying it into a trance like looping beat. Enter French Guyana’s Daryanna Jean unique sound artistry with sampling, cutting and pasting local(?) sounds into a disorientating needle jump glitch fest. Side A eventually closes with a very Azorean take on the very English hauntological sound by borrowing those pastoral melodies and synth riffs of yesterday and transposing it to the remote Sub-Tropical fields of São Miguel island, in the Azores, courtesy of Flipping Candy.

Side B emphatically reinforces the compilation’s original concept that no matter where you are, in this post internet, post everything world, outsider music thrives and keeps raising the invisible bar, true that!

Repress! With all due respect to New York, Los Angeles, Atlanta, and Miami, the epicenter of the rap universe in 2016 just may be Chicago. With young stars ranging from Chief Keef to Chance The Rapper to Lil Bibby to Vic Mensa, the Windy City continues to push the boundaries of hip-hop music and culture.

The latest artist to emerge from this hotbed of talent is Mick Jenkins, a gifted lyricist who has built a strong buzz online with a series of acclaimed mixtapes. Now, one of those collections will be available in physical format for the first time ever, with a limited-edition vinyl pressing of “The Waters” set to hit stores soon. Originally released online in late 2014, “The Water

Musikliebhaber:innen wird nicht entgangen sein: Atlantic Records feiert in diesem Jahr sein 75-jähriges Bestehen. Zu diesem Anlass hat das Label zusammen mit Rhino Entertainment eine umfangreiche Reihe mit 90 Vinyl-Veröffentlichungen auf die Beine gestellt, die im Verlauf dieses Jahres erscheint und die gesamte Geschichte des Unternehmens von den Anfängen bis heute abdeckt.

Freuen kann man sich über ikonische und gefeierte Alben aus praktisch jedem populären Musikgenre, darunter Special Editions und viele Titel, die noch nie auf Vinyl veröffentlicht wurden. Dieses Album erscheint nun als clear Vinyl.

Mick Jenkins, lyrical hip-hop mastermind and Chicago's Finest, returns with the album "The Patience." He chose to title it "The Patience" because it was that patience that he needed to get to the point in his career where he is now.

Waiting to get free from a label that didn't share his vision was very frustrating, especially since he had to consciously hold back his musical gems in order to release them in collaboration with a partner and team that believed in his art and supported him in his vision for his music.

During this time, Mick worked on his upcoming amazing body of work that has evolved into something very special. Mick at times compares himself to a star chef, brewing up lyrics, seasoning each line to perfection. The album is bursting with offbeat rhymes, sophisticated grooves and complex metaphors. On 'The Patience', the artist shows in an impressive way that he is one of the best in his genre.

Features on the album include JID, Freddie Gibbs, Benny The Butcher and Vic Mensa, who are no less eloquent as rappers and round out the record excellently. Also the production, peppered with live instruments and many jazz influences, makes the hip-hop hearts beat faster.

Buckle up and fasten the spaceship seatbelts! The Third Room, the multidisciplinary techno project from the industrial heart of Germany, is about to fire another satellite in the orbit. A stunning various artists series between fierce meteors, bright suns, dark moons and shining comets will continue to define the Essen-based collective's sound vision which is as diverse and timeless as space itself. Convince yourselves of a well-considered, galactical curation that contains quality tracks from talents, locals and longstays.

On the first of four releases, established producers named Beste Hira, Stranger, Alarico and OFF/GRID put out a stunning yet humble peak-time record. Four laser-beaming tunes speak for themselves and mark the beginning of the next chapter in the T3R adventure.

Don't miss to ascend to higher spheres - secure your copy and pre-order one of the limited records now!

©️ 2023 The Third Room
Mastering by Ahmet Sisman (The Third Room Studios)
Artwork by Daniel Bornmann & Elisa Jauch (Duat Agency)

This is the fifth of Nat’s “one-semble” recordings where he plays all the instruments himself.
This album celebrates our collective ancestors, in particular the ones who carried the Music
in their bones and blood and spread it around the Earth, from the earliest times until now.
Music crosses continents and cultures and time itself, and when it speaks of the truth it
transcends musical genealogy, and continues a timeline from the earliest sources up to the
present day. The music in the album is inspired by many things but particularly the master
musicians - John Coltrane, Pharoah Sanders, Cedric Brooks and Count Ossie.

On For Annette, singer-songwriter ronja summons forth a certain unbridgeable void within our existence and the acceptance of the deafening silence that comes with it. Weaving the strands of her previous release something about us with multiple openings towards more abstract territory, this 5-track EP marks her debut under the forward-thinking Unguarded label, astutely situating her music well beyond the confines of the genre.

The opening track “Nothing Makes Me Feel” beckons the listener into a discreet moment amid the early light of dawn, commencing with an up-close acoustic guitar, soon to be graced by ronja’s hushed voice, softly whispering, as if to avoid waking someone near. “Just Once”, with its weeping waltz, is about losing one’s place in the world, about choosing the imaginary over the real. Behind the strummed chords hides a soft dither of sine tones that attempts to fill the gap that cannot be filled, only to transform into quavering distortion ever after. Where language may falter, ronja turns to choral-like instrumental pieces (“Light” & “Grass from Below”), characterized by her distinctive and multi-layered flute arrangements. The absence of words here allows for a sensible stage of introspection, a fleeting and diaphanous pause, forging a passage to a more hopeful outlook. Yet, these pieces are not isolated; hints of fluttering air and cavernous depths are subtly alluded to in the earlier, more song-based tracks. In just under 18 minutes running time, the theme of loss, or the anticipation of its arrival, lingers solemnly before transcending intermediate states in “Almost There”.

Admirers of the dreamgaze band Roomer, which made waves in and around the Berlin music scene this past year, might detect faint resemblances. Nonetheless, ronja—a pivotal presence in said band—unveils a distinct effort here, striking subdued but enticing tones, a foreshadowing of what is yet to come from this luminary artist. – Luka Aron

25th anniversary of this criminally under-appreciated compilation of Brazilian pop music (New! More! Better!), so we're putting it on vinyl for the first time.

It's been 10 years since we at Luaka Bop released our first compilation of Brazilian music. Beleza Tropical. It sold extremely well, 350,000 and still going strong, but alot has happened since then. This collection reflects the impact and energy of a new generation who rather than seeking to overturn or discredit the work of ist predecessors, wants to build on it, add to it, and continue absorbing greater and more contemporary influences.

This re-issue faithfully replicates the original 1995 Polydor Records UK 2LP release with gatefold sleeve and 12 page booklet and is pressed onto high quality 180g vinyl.

Originally released on Polydor Records in October 1995, All Change reached No 7 in the UK charts, and spawned four Top 20 singles. Cast were formed in 1992 and were something of a scouse supergroup, with leader, guitarist John Power previously bassist in The La's and bassist Peter Wilkinson coming from Shack. Originally a loose conglomerate with various members, Power added guitarist Liam 'Skin' Tyson and drummer Keith O' Neill, and by 1994 Cast were signed to Polydor.

Led by singles Finetime and Alright, Cast's blend of ultra- melodic Merseybeat Britpop proved that they were the right band at the right time. All Change became a runaway success, selling over a million and becoming the fastest-selling debut album in Polydor's history, bolstered by further singles Sandstorm and Walkaway. The catchy, upbeat album closed with the eight- minute epic Two Of A Kind, showing that the band had sufficient skills to take on any Britpop heavyweight.

Cylene II is the new materialization of the collaboration between François J. Bonnet & Stephen O"Malley, initiated in 2018 and continued without interruption since then, taking form in a myriad of contexts ranging from common practice to recording sessions, concerts and tours. Cylene II bears witness to these different contexts, offering a multifaceted sound signature developed on different occasions (artist residencies in La Becque, Switzerland and Modena, Italy, live performance excerpts, a studio session at INA-GRM Studios in Paris). The epic opening track "Four Rays (Anti Divide)" welcomes, for the first time, other musicians - in this case a wind quintet - expanding the duo"s sonic palette without betraying the fundamental component of their music, namely the driving of sonic energy. Elsewhere, Bonnet and O"Malley propel the energy between themselves, extending the singular climate that has characterized their musical development over the past five years. Among their minimal presentation of tones and resonances, as glacial harmonic intersections slowly elevate with massive physicality to an orchestral degree, new refinements become evident: the music"s relationship to silence, and a brightening of the fine metallic edge glowing at its core. For the listener, Cylene II is a sound that reaches from the deep and scales up to the far firmament in its careful motion, drawing emotions viscerally from the chest, giving rise to the suggestibility of the soul. A séance of sorts for all who witness it, whether playing or listening.

Yellow / black marbled vinyl. The Sensitives is a rough-haired mixed race dog of punk, rock'n'roll, SKA and folk! It's been touring around Europe, playing over 300 shows, spreading its musical wild oat resulting in a solid fanbase of people who, to their knockout punk, raises their middle finger to racism and sexism. The band have always kept the energy on a constant high, jumping between different styles and switching between the two singers Martin and Paulina, driven by the never resting Magnus behind the drums! The new album, Patch It Up and Go! is no different! The frustration from no touring during the pandemic and the emotional shock from a year of heavy touring as soon as the restrictions were lifted resulted in a worn out and damaged band coming home to lick their wounds. But they did what they've always done, turned their experiences and battles into songs, patched themselves up to go for it again! The result is the new album, Patch It Up and Go! and it covers topics like sex, mental health, animal rights and the importance of celebrating the good times we have while we have them! All of that in a high tempo with a positive vibe and high intensity, Patch It Up and Go! is the most personal and probably the best album from The Sensitives so far! Feet will be moving, hips will be shaking and throats will be singing!

Blue Cloud Vinyl. Hailing from Bozeman, MT, Kitchen Dwellers embody the spirit and soul of their home with a sonic palette as expansive as Montana's vistas. The quartet_Shawn Swain Mandolin, Torrin Daniels banjo, Joe Funk [upright bass], and Max Davies [acoustic guitar]_twist bluegrass, folk, and rock through a kaleidoscope of homegrown stories, rich mythology, American west wanderlust, and psychedelic hues. After amassing 5 million-plus streams, selling out shows, and receiving acclaim from Huffington Post, Relix, American Songwriter, and more, the group brings audiences back to Big Sky Country on their third full-length album, Wise River, working with Cory Wong of Vulfpeck as producer.In the end, Kitchen Dwellers share timeless American stories from the heart of one of its greatest treasures."When you listen to Wise River, I hope you hear some of the original qualities that made us who we are, but you also recognize aspects that are new and adventurous," Max leaves off. "I hope you hear what it sounds like when the four of us are at home and have the space to create something together. This album is really how we sound as a band."

teen suicide's first & only proper album, `i will be my own hell because there is a devil inside my body', has been a sought after release for many collectors after it's ultra-limited vinyl release in 2012. Now, Run For Cover Records will be reissuing my own hell, with remastered audio, expanded artwork and 8 never-before-issued bonus tracks. Across the album's 10 songs, the band displays a knack for different sounds and styles. Intimate, keyboard driven tracks like `cop graveyard' and `grim reaper' sit beside more energetic full-band outings like `dead bird skeleton and `give me back to the sky', the latter even adding an evocative viola, piano and choral arrangement to it's chaotic center. It's to the band's credit that their more outré moments feel necessary, not distracting. What becomes clear upon listening to `my own hell' is that beneath the dreamy haze & noisy apathy of teen suicide's recordings exist ernest, extremely well-written pop songs that reflect and express the uncertainty and desperation of reality

The Madlib Invazion Music Library Series . Entry #5: Dan Hastie and Terin Ector (Orgone) pick up where Piero Umiliani left off with Exotic Grooves and Lush Funk. This is the next up in a series of music library releases, with future volumes produced by DJ Muggs, Karriem Riggins and more. The Madlib Invazion Music Library Series was created by Madlib and Egon to give their creative friends a chance to stretch out and indulge in whatever type of music they wanted. This music was created for easy, one-stop clearance in film and television synchronization usage and for sampling. You can also enjoy these albums in the way that many do with the best of the best vintage library catalogs – listen, ponder, repeat.

Polluted Inheritance were a Dutch technical death
metal band, formed in 1992 with nods to bands
such as Atheist, Death, Hellwitch and Pestilence.
 ‘Ecocide’ was their debut album from 1993 and
‘Betrayed’ was their second full-length album,
originally released in 1996 by the legendary DSFA
Records label.
 Both albums are now available on vinyl for the very
first time, on Dark Hell Marbled coloured vinyl or
classic black wax.
Tracklisting
‘Betrayed’
Forgotten Cause
Mental Connection
Elimination
Betrayed

Polluted Inheritance were a Dutch technical death
metal band, formed in 1992 with nods to bands
such as Atheist, Death, Hellwitch and Pestilence.
 ‘Ecocide’ was their debut album from 1993 and
‘Betrayed’ was their second full-length album,
originally released in 1996 by the legendary DSFA
Records label.
 Both albums are now available on vinyl for the very
first time, on Dark Hell Marbled coloured vinyl or
classic black wax.
Tracklisting
‘Betrayed’
Forgotten Cause
Mental Connection
Elimination
Betrayed

Polluted Inheritance were a Dutch technical death metal band, formed in 1992 with nods to bands such as Atheist, Death, Hellwitch and Pestilence.  ‘Ecocide’ was their debut album from 1993 and ‘Betrayed’ was their second full-length album, originally released in 1996 by the legendary DSFA Records label.  Both albums are now available on vinyl for the very first time, on Dark Hell Marbled coloured vinyl or classic black wax

Polluted Inheritance were a Dutch technical death metal band, formed in 1992 with nods to bands such as Atheist, Death, Hellwitch and Pestilence.  ‘Ecocide’ was their debut album from 1993 and ‘Betrayed’ was their second full-length album, originally released in 1996 by the legendary DSFA Records label.  Both albums are now available on vinyl for the very first time, on Dark Hell Marbled coloured vinyl or classic black wax

This Is The Kit is the project of Kate Stables, born in England and based in Paris. They first gained notice due to heavy radio play on BBC 6 - and have twice had LPs named to 6 Music’s Album Of The Year lists. Later they gained more notice as a hand-picked opening act for The National, Iron & Wine, Jose Gonzalez, Sharon Van Etten and Alexi Murdoch - musicians who share a similar independent streak and warm-hearted approach to creating modern yet timeless music. In North America, they are regulars on US Triple A radio stations like KEXP, indie folk festival line-ups, and tastemaking platforms such as NPR’s Tiny Desk Concert.  In the years since ‘Wriggle Out the Restless’ was released in 2010, This Is The Kit have continued to gain momentum. Their 2015 follow-up album, ‘Bashed Out’, was made with The National’s Aaron Dessner (producer for Taylor Swift, Ed Sheeran, Mumford & Sons). Stables then sang on The National’s 2019 album/film ‘I Am Easy To Find’ and became a touring member on subsequent live dates. Finally, in 2020, ‘Bashed Out’’s title track became a streaming hit after an impactful needle drop in a key episode of Netflix’s ‘Sex Education’ series.  Currently signed to the iconic Rough Trade label, they’ve found success on both sides of the Atlantic. New album ‘Careful Of Your Keepers’ was released in June 2023 and is being supported by tours in the UK, Europe and North America.  For fans of Bonnie “Prince” Billy, Beth Orton, Sharon van Etten, Bon Iver, Father John Misty, Joni Mitchell, Sam Amidon, Anais Mitchell.  This is the first time ‘Wriggle Out the Restless’ has been widely available on vinyl. Released here on Clear Orange coloured vinyl.  The band have huge international ‘tastemaker’ visibility thanks to glowing coverage by Uncut, The Guardian, Q Magazine and the BBC

TVAM announces ‘Costasol’, his new EP for Invada Records. The 10” EP is pressed on translucent blue vinyl, and housed in a reverse board, spined sleeve.  TVAM returns to the sun lounger to deliver a horizontal view from the pool of self-reflection. Joe Oxley, aka TVAM, offers, “‘Costasol’ began life as two atmospheric interludes that I wrote for my last album, ‘High Art Lite’. Over time these ideas took on a life of their own and demanded that I take another look at them. I slowly began putting the pieces together and ended up with a track which became much more than the sum of its parts.” The resultant ‘Costasol’ is a song about longing, loss and regret wrapped-up in heatwave bass and shimmering guitars, all perfectly enhanced by Mona’s dreamlike vocal.  TVAM self-released his much-acclaimed debut, ‘Psychic Data’, in the Autumn of 2018. Something of a cult-classic, the album joined the dots between Suicide’s deconstructed rock ’n’ roll, Boards of Canada’s irresistible nostalgia and My Bloody Valentine’s infinite noise. ‘High Art Lite’, released in October 2022, took a different tilt to its predecessor by emphasising the immediate and the personal. The colours were blown-out and the brightness was cranked up.  It’s in this world where TVAM’s new ‘Costasol’ EP exists. Full of colour and noise, with a vibrant, distorted palette. Though the title track may find a home at some poolside retreat, the subsequent tracks return to TVAM’s claustrophobic realm. ‘Ephemerol’ evokes its own mutant groove, part ‘Midnite Vultures’ Beck, part ‘Pretty Hate Machine’ Nine Inch Nails, with ‘Heart Attack’ and ‘VHF’ rounding off this bold, bright, brief encounter.  Radio - BBC 6 Music Lauren Laverne, New Music Fix, Emily Pilbeam, Amazing Radio B-List.  Tourdates - October 22 SWN Festival Cardiff, November 11 Hebden Bridge Trades Club, 18 What Music? Liverpool.

22D Music presents a soundtrack for the series Marie-Antoinette: First Steps at Court. The album contains the original music for the series composed by Guillaume Roussel.

The 8-part series Marie-Antoinette: First Steps at Court is created by Deborah Davis and stars Emilia Schüle, Louis Cunningham, Jack Archer, Jasmine Blackborow, James Purefoy, Gaia Weiss, Marthe Keller and Crystal Shepherd.

The series begins with the departure of Maria Theresa of Austria's daughter for France, where she is to marry the future Louis XVI. It's 1770, she's only 14 and still menstruating, but she already has to 'give' an heir to her husband, who is a year older than she is.

Marie-Antoinette's first steps at Versailles are painful, and at the start of the series almost resemble a psychological horror film that captures all the cruelty and misogyny of the court at the time.... ( - Canal+ - )

Started in the Winter of 2021 and completed in early 2023, “Lights Out On The Shore” is a 12 song cycle written and performed by Scott Reeder, drummer of the band FU MANCHU. Having treaded many stages and studios over the past 22 years laying the foundation for the titans of “fuzz-wah” rock over 5 studio releases and playing live with artists as varied as Orianthi and Social Distortion, Scott has stretched into a melodic heavy and lyrically dense area of songwriting, rich in harmony and memorable riffs. Collaborating with Grammy winning producer/engineer Ryan Mall (Dropkick Murphys, Old Crow Medicine Show/Gaslight Anthem), Reeder played all the instruments on the album and sings all vocals. Fu Manchu bandmate, Bob Balch, contributes lead guitars on all tracks except “Everything But Right” and the album closer, “As She Drifts,” which feature contributions from Mitchell Townsend (Matt Costa/Jack Johnson).

This limited edition 500 unit LP run is pressed on blue/black splatter and includes a full color insert featuring photos taken by Reeder himself. All tracks were mastered specifically for this vinyl release

Singer-songwriter Thom Morecroft releases his sophomore album, “Waiting For Leo.” Drawing inspiration from the rich songwriting style of 1970s folk-rock and infusing it with the distinctive aesthetic lens of Glasgow’s C86 scene, Morecroft delivers a captivating lo-fi experience that pays homage to the past while carving its own unique path. Think Crosby, Stills, Nash & Young meets the infectious energy of Teenage Fanclub’s “Bandwagonesque.” During the pandemic-induced lockdowns of 2020 and beyond, Thom embarked on a remarkable creative journey, offering his Patreon subscribers a new digital album every month. It is within these prolific collections that the songs for “Waiting For Leo” were born. With an abundance of time and the freedom to explore his creative impulses, Morecroft crafted a collection of songs that are reflective, philosophical, and deeply personal. Some look towards the future with hope, others reminisce about the past, while some capture the essence of the present moment, and a few wander into realms of pure fantasy. As Thom navigated the challenge of selecting the final tracklist, he honed and refined each composition, adding production elements and creating a cohesive sonic tapestry. “Waiting For Leo” is an album that manages to strike a delicate balance, emanating a sense of contentment and carefree spirit while simultaneously delving into themes of family, alcoholism, grief, and loss. The introspective nature of these songs, born out of a period devoid of external stimulation, allows listeners to embark on a thought-provoking journey alongside Morecroft. Reflecting on the album’s title, Thom shares, “The album is called ‘Waiting for Leo’ because the songs were written and recorded during the period before my partner and I discovered we were expecting our son. There is also the famous Samuel Beckett play called ‘Waiting for Godot,’ which I must confess I have never seen. Is it good?” “Waiting For Leo” stands as a testament to Thom Morecroft’s artistic growth and showcases his ability to merge captivating songwriting with a distinct sonic aesthetic. As listeners immerse themselves in the intimate world he has created, they will discover a tapestry of emotions that resonate deeply.

LP SHIPPING ONLY / CD DELAYED “This is definitely the most honest and mature record Deathchant has ever made.” That’s Deathchant vocalist and guitarist T.J. Lemieux talking about the band’s third and latest album, Thrones. Think of it as not just the follow-up to 2021’s Waste, but the other side of the coin. “While Waste and our self-titled album touched on similar themes, they were sort of from a problem standpoint,” he explains. “Thrones is full of reflection, self-realization, and solutions for moving forward and conquering those problems.” Which isn’t to say that Deathchant have gone soft. Far from it, dude. In fact, Thrones just might be their heaviest record thus far. The band’s seamless swirl of classic rock guitar harmonies, syrupy sludge, blues boogie and psych bombast has reached a thrilling new apex as Lemieux spins high-powered tales of reckoning from beyond the wall of sanity. Thematically, Lemieux and his bandmates—bassist George Camacho, guitarist Doug Stuckey and drummer Joe Herzog—peel back the veneer of self-delusion to expose the fork in the road. “Thrones is meant to represent things that rule you, things you worship, things you rely on or think you need,” Lemieux says. “Sometimes those things make you feel in control, safe, on top of the world like you're in power—which over time often proves untrue.” Witness lead single “Mirror”: Kicking off with gleaming Lizzy-isms, the song rumbles into a thick groove overlaid with lysergic fireworks that conjure the shaggy European movers of decades past. “‘Mirror’ is the key to the whole Thrones theme,” Lemieux explains. “It’s about looking inward to realize what's ruling you, what's consuming you, and how delusional you've been about those things. Your sense of self is so damn important, and fully facing your truths is not an easy thing to do. It’s admitting that you’ve intentionally dulled and quieted your mind to distract, avoid and run from yourself, from memory, from loss and truth. At some point, you have to face that shit.” The languid and dreamy “Mother Mary” is also crucial to Thrones’ trajectory. “If the album was a book, ‘Mirror’ would be the first chapter and ‘Mother Mary’ would be the last chapter, though they’re not the first and last track for sonic reasons,” Lemieux explains. “‘Mirror’ is saying, ‘I’m looking inward because some things need to change,’ while ‘Mother Mary’ is saying, ‘Okay, things are fucked and have gone way too far but now we have this understanding—and acknowledging things is key to overcoming.’” Thrones was recorded live in a cabin in the remote mountain community of Frazier Park, CA, with trusty engineer Steve Schroeder (a.k.a. Schroeds). “We moved in for a week, rehearsed a bit and went for it,” Lemieux says. “Each tune got three or so takes, but we nailed ‘Mother Mary’ and ‘Canyon’ right away.” Overdubs were done at the cabin, Schroeder’s Studio 3, and Lemieux’s place. The album was produced by Lemieux and Schroeder. “Overall, it’s a pretty dark record,” Lemieux says. “It's serious and leans into heavy themes, sometimes using metaphor and imagery to soften those blows, but sometimes it hits direct. It’s positive, though—and cathartic. Forever riding on the line of total insanity and flirting with mental degradation. It’s our most realized and ambitious record to date.”

New Zealand indie trifecta Mermaidens, are set to make a resounding splash in the music scene yet again with the announcement of their fourth self-titled album and release of the project's first single ‘I like to be alone’. The trio, comprising of Gussie Larkin (guitar/vocals), Lily West (bass/vocals), and Abe Hollingsworth (drums), has been on an impressive journey of musical excellence, boasting three critically acclaimed albums, international tours, and a slew of accolades to their name. With a sound that is both bold and adventurous, Mermaidens' music is a testament to their unwavering creativity and relentless work ethic. Their upcoming self-titled album, a product of the band's tireless efforts between 2019 - 2022, promises to be a captivating sonic journey, delving into themes of self-awareness, introspection, long-term love, and even channelling political anger and frustration. Recorded mainly at Surgery Studios in Wellington, with the engineering prowess of Lee Prebble and produced by Samuel Flynn-Scott of The Phoenix Foundation fame, the album also saw the band stepping up their production game with Gussie and Lily working their magic with Protools in their DIY home studios, showcasing their growth and versatility as artists. “Working with Sam has really been a round-trip in our creativity,” as Lily explains, “we grew up listening to Sam’s early records and here we are getting the inside scoop on how to make that kind of magic. Listening to Pegasus today still transports me to a time when I listened to music on a Walkman. In the best possible way - sometimes it felt like we’d added an evil genius to the mix, we’d be working on a song and he’d come in like a mad scientist with fresh ideas to try.” To give fans a taste of the upcoming album's brilliance, Mermaidens have released new single 'I like to be alone.' The song has been part of the band's live repertoire for a while and explores the fulfilling contentment of being alone and the struggle to convey this sentiment to a partner. Its relatable lyrics capture the essence of cherishing solitude while navigating the complexities of human connections. Gussie's candid and honest approach to self-discovery is complemented by the song's, Michel Gondry inspired video, as Gussie explains: “The giant jean pocket and denim world were created by Hannah Webster, a textile designer and illustrator based in Wellington. Hannah took all the wild ideas for props and made them come true! I’m still in awe of how she managed to sew a 6x6 metre backdrop for the denim world out of whatever scraps she could find. The video captures our playfulness and sense of humour, and is a hint of what’s to come for the rest of the music videos. I love the way the story wraps up with the three of us together, literally playing “in the pocket”. Mermaidens' self-titled album will be released on Friday 3 November 2023 and is available for pre-order now. UK listeners will be able to pick up an exclusive Rough Trade vinyl pressing in transparent red, along with an A3 poster and jumbo bumper sticker. Having released their last two albums through iconic local label Flying Nun, Mermaidens will be released independently. Creative control is an important pillar for the band, who are hands on in every facet of their projects. Mermaidens gather their community close via their hugely popular multi-city boutique festival Mermgrown, hosting peers including Womb, Hans Pucket, Vera Ellen (Girl Friday) and Kōtiro from 2021 onwards. They've been invited to share the stage with Death Cab For Cutie, Sleater-Kinney, Gang of Four, Parquet Courts, Lorde and The Veils, and have toured extensively in Europe, the UK, and Australia.

The Moon Also Rises gathers songs that Johnny and Robert have written together since finishing their first joint album, Lost In The Cedar Wood (2021). At its heart are the oldest themes of all: death and renewal, darkness and light. The first five tracks are songs of burial, shadows and memory, while the final four are songs of awakening, light and love. The album turns around a central song, ‘The Sun Also Rises’, which stands with a foot in both dark and light. * Johnny Flynn's sixth album, and the second co-written with his friend Robert Macfarlane. Out 10th November 2023 on Transgressive * Gathers songs that Johnny and Robert have written together since finishing their first joint album, Lost In The Cedar Wood (2021). At its heart are the oldest themes of all: death and renewal, darkness and light. The first five tracks are songs of burial, shadows and memory, while the final four are songs of awakening, light and love. The album turns around a central song, 'The Sun Also Rises', which stands with a foot in both dark and light * Fuses poetry, story, landscape, history, nature and myth into a series of rich, strange songlines that criss-cross time and place, joining winter to spring, ancient to present and birth to death. As the Sun sets, so the Moon rises as its echo; as one light dies, another, altogether different light is born * Partly recorded in an old Methodist chapel -now the home of Johnny and Rob's friends, Cosmo and Flora Sheldrake * Produced by Charlie Andrew (Alt-J, Marika Hackman)

"Lost" album from Todd Snider, featuring previously unreleased songs, recordings, and versions. Sometimes an artist makes a record, then decides not to release it. Neil Young and Prince are two artists who famously did that multiple times. Todd Snider is another artist who has done it, putting three albums on the shelf in a career now spanning three decades. While Snider may not be as well known as Young or Prince, he is just as committed to his art, and his decisions to shelve those three records were artistic ones. But now Snider has decided to take one of those albums off the shelf. Sixteen years after it was recorded, Crank It, We’re Doomed will finally get its release via Aimless Records.

Live in Brooklyn was recorded at the iconic Brooklyn Bowl in New York on December 22nd 2022 at Matisyahu’s annual Festival of Light. The release features live versions of his hits such as “One Day” and “King Without A Crown”. As well as cover tracks, written by his son Laivy, that they perform together. The first single, “One Day” will be released on June 2nd. The album will be released on June 30th, which is Matisyahu’s birthday. This show was also recorded visually. We will have individual clips of each track to post to socials ahead of the release. This release also takes place at the end of a 15 stop tour, and one week prior to his opening slot for 311 at Red Rocks.

The words "Wolde Senayet" are scrawled in silver ink across a black-and-white image of Peter Tosh on the cover of Best Of 1978 - 1987. these words are an honorific Rastafarian title meaning "Son of Thunder", which does this collection justice. The 14-track compilation is seamless in their quality and are more than representative of Tosh's vision - one that has been adopted and reworked in all sorts of reggae subgenres since his death.

Listen to classics like "Bush Doctor," "Mystic Man," "Oh Bumbo Klaat," "The Day the Dollar Die," and ofcourse the single version of "(You Gotta Walk And) Don't Look Back" with Rolling Stones frontman Mick Jagger.

Best Of 1978 - 1987 is available on vinyl for the first time as a limited edition of 2000 individually numbered copies on silver coloured vinyl. This 2LP is housed in a gatefold sleeve, including a 4-page photo booklet.

Semisonic - eine der meist unterschätzten Alternative-Rock-Bands der Jahrtausendwende meldet sich nach über 20 Jahren mit einem bemerkenswerten neuen Album zurück.

Die Songs balancieren hier auf einem schmalen Grat zwischen roher Energie und zarter Schönheit, sie finden die Balance zwischen der Kraft des Power-Pop und der Intimität des Akustik-Sounds. Bassist John Munson und Schlagzeuger Jacob Slichter haben ihre Leistungen fein abgestimmt, um Wilsons helle, beschwingte Melodien mit einem Hauch von Melancholie und Dunkelheit zu durchdringen, die ständig am Rand lauern.

Während es für eine Band wie Semisonic leicht gewesen wäre, in Nostalgie zu schwelgen, blickt 'Little Bit Of Sun' stattdessen mit Wertschätzung in die Vergangenheit, anstatt sich nach ihr zu sehnen.

Es verbindet eine tiefe Dankbarkeit für die bisherige Reise mit einer ansteckenden Vorfreude auf alles, was noch kommen wird

The soundtrack features orchestral, big band, rock, and hip-hop compositions, the score was recorded at Abbey Road and Air Studios and evokes both the intensity and the sardonic humor found within the main themes of the film. Speaking of the music, Nicholas Britell says, “When I first began working with Adam McKay on the score for VICE, Adam’s initial instinct was that the score should have a symphonic scope to match the size of the story we were telling. Over the course of more than one year of composing, I wrote a score which utilizes a full symphony orchestra, while also exploring the sounds of big band jazz, rock, and hip-hop. There is a subtle – and at times not-so-subtle – dissonance in the music which weaves in and out of the themes, harmonies, and textures. This idea of dissonance became a central element within the nature of the score.”