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SLIFT's ILION is a towering work of rock music, a steamrolling record that starts at the highest peak and never lets up. If that sounds overwhelming, trust that this Toulouse trio have you in good hands. Their third full-length feels massive and oceanic, merging the furious intensity of metal and the wigged-out guitar heroics of psych rock with post-rock's epic sense of scale. ILION is the kind of music where you listen to it and think to yourself, "This came from only three people?" It sure did, and SLIFT's utter ferocity is way more than a tempest in a teacup. It reaches outwards for miles and creates new zeniths within unforeseen horizons of rock. SLIFT is made up of brothers Jean and Remí Fossat, and Canek Flores, who first met the brothers Fossat at school. After the band formed in 2016, they quickly made their 2017 debut EP, Space Is the Key, which merged stoner rock's heaviness with the sugar-rush qualities of garage rock. From there, things only got weirder: The trio experimented with faster tempos and bongos(!) on the following year's full-length La Planeté Inexploreé, and in 2019, their KEXP session recorded at the Trans Musicales festival in Rennes became a viral sensation, racking up more than 1.4 million YouTube views. UMMON from 2020 represented SLIFT's pivot towards the celestially crushing confines of psych-metal, marked by Remí's rolling basslines and Flores's relentless skin-pounding. But nothing in their catalog could prepare you for ILION, a huge and melodically dense record that at once recalls Godspeed! You Black Emperor's perpetually uplifting surge, the passionate burn of post-hardcore legends _And You Will Know Us By the Trail of Dead, Led Zep's psychotic blues-rock mysticism, and the psychedelic swirl of Swedish greats Goat.

Immerse yourself in the musical universe of ONE PIECE MOVIES - BEST SELECTION! Enjoy over 70 minutes of music from the One Piece films for the first time on vinyl, taking you on a journey through the adventures of the famous Straw Hat crew.

Fully licensed.

Luffy, a mischievous boy, dreams of becoming the king of the pirates by finding the "One Piece", a fabulous and mysterious treasure. But, inadvertently, Luffy one day swallowed a "magical devil fruit" that turned him into a rubber man. Since then, he is able to contort his elastic body in all directions, but he has lost the ability to swim, the height for a pirate! Over the course of ever more incredible adventures and chance encounters, Luffy will gradually compose his crew and multiply friendships with the peoples he discovers, while facing formidable enemies.

Kohei Tanaka worked on the composition and arrangement of this album.

plastic death - the second album by glass beach - is a follow-up record almost five years in the making. The band's 2019 debut, aptly titled the first glass beach album , has over the years grown a cult fanbase for its unflinching depiction of queer life as mediated through social media, its oversized ambition, and its scrappy yet adventurous production. And while it took some time to arrive, plastic death sounds like the logical expansion of all the things that made their first album so special. Years and years of relentless writing, tinkering demos, cancelled tours and a few lockdowns only strengthen the chaotic core of what makes glass beach' s maximalist approach work so well. Frontperson and primary songwriter J McClendon is joined by lead guitarist Layne Smith, bassist Jonas Newhouse and drummer William White to create something adventurous on each song. Trumpet, trombone, violin, and even marimba dance and bloom alongside the band's own creative and dextrous instrumentation - a stunning, transformative creation that pulls from indie rock, jazz, prog, hardcore, metal, experimental, and beyond. Songs like lead single "the CIA," are examples of the band's ambitious writing. It's a dark, dancy, post-punk/jazz hybrid, a coordinated, breathless braid of synth and saturated guitar. Tension and confusion explode into a brutal modern metal climax to close the track, flickering with glitchy production zaps and razor-sharp stops. The artwork of plastic death is similarly rich with detail, resulting in a bioluminescent, fully-realized double album depicting sprawling scenes where moments of neon brightness shine momentarily in a dark undersea - a metaphor for the moments of optimism and catharsis glass beach provide on these songs. "This album is the Pacific garbage patch: cultural trash strewn together seemingly by accident, standing in stark juxtaposition to each other ," says McClendon. plastic death is a complete, uncompromising, playful work of art; every corner and crevice of the record's 13 tracks, each arrangement and timbre and texture, is alive with intention and possibility.

plastic death - the second album by glass beach - is a follow-up record almost five years in the making. The band's 2019 debut, aptly titled the first glass beach album , has over the years grown a cult fanbase for its unflinching depiction of queer life as mediated through social media, its oversized ambition, and its scrappy yet adventurous production. And while it took some time to arrive, plastic death sounds like the logical expansion of all the things that made their first album so special. Years and years of relentless writing, tinkering demos, cancelled tours and a few lockdowns only strengthen the chaotic core of what makes glass beach' s maximalist approach work so well. Frontperson and primary songwriter J McClendon is joined by lead guitarist Layne Smith, bassist Jonas Newhouse and drummer William White to create something adventurous on each song. Trumpet, trombone, violin, and even marimba dance and bloom alongside the band's own creative and dextrous instrumentation - a stunning, transformative creation that pulls from indie rock, jazz, prog, hardcore, metal, experimental, and beyond. Songs like lead single "the CIA," are examples of the band's ambitious writing. It's a dark, dancy, post-punk/jazz hybrid, a coordinated, breathless braid of synth and saturated guitar. Tension and confusion explode into a brutal modern metal climax to close the track, flickering with glitchy production zaps and razor-sharp stops. The artwork of plastic death is similarly rich with detail, resulting in a bioluminescent, fully-realized double album depicting sprawling scenes where moments of neon brightness shine momentarily in a dark undersea - a metaphor for the moments of optimism and catharsis glass beach provide on these songs. "This album is the Pacific garbage patch: cultural trash strewn together seemingly by accident, standing in stark juxtaposition to each other ," says McClendon. plastic death is a complete, uncompromising, playful work of art; every corner and crevice of the record's 13 tracks, each arrangement and timbre and texture, is alive with intention and possibility.

Jakarta Records is proud to present “Les Grandes Vacances” courtesy of Beirut’s Cosmic Analog Ensemble, aka multi-instrumental phenom Charif Megarbane. The LP is an expansive musical odyssey, one that paints a melodic tapestry woven from an eclectic panorama of sonic tools. Funky beats, dreamy melodies + cinematic flair combine to create an experience that transcends time. From vibrant funky energy to introspective moods and library-inspired tunes, “Les Grandes Vacances” captures the essence of past and present, inviting you to indulge in the perfect balance of “groove-stalgia.” Out January 19, 2024.


Cosmic Analog Ensemble (1.6k Spotify Monthly Listeners – SML), the prolific one-man band helmed by Charif Megarbane (61.5k SML), the staggeringly prolific producer, instrumentalist, and all-around musical mastermind, returns to his “Ensemble” with LP “Les Grandes Vacances.” Megarbane's artistry has garnered widespread recognition, with notable placements in Spotify Editorial Playlists like "Global Groove" (679k) and "Folk Fabrique" (162k), along with coverage from esteemed platforms / publications such as BBC Radio, Bandcamp, The Vinyl Factory, Time Magazine, and Esquire, among others. Building on the success of his debut solo release “Marzipan” in 2023 via Habibi Funk, “Les Grandes Vacances” is a sonic journey that captures the full scope of Megarbane’s sonic habitus. As a composer and producer, Megarbane touts hugely versatile, sometimes volatile musicianship — his 100+ catalogue of projects (including legendary groups like the Cosmic Analog Ensemble, Free Association Syndicate, Monumental Detail, etc.) features a huge domain of sonic direction. Now, Jakarta Records presents a new expansion in the Megarbane sonic universe.

In the enchanting sonic world of “Les Grandes Vacances,” Cosmic Analog Ensemble expertly combines diverse musical elements to craft an immersive experience. From vibrant funky energy to introspective moments and library-inspired compositions, the album's sonic palette is rich and varied. The meticulously designed artwork by Simone Cihlar (known for collabs with Anderson Paak., Tom Misch, Ivan Ave, Tapioca and others) complements the album's thematic depth, enhancing the visual and auditory journey for listeners.

First single is the thrilling sonic escapade, “La Ligne Claire,” set to release on November 10th in conjunction with LP pre-order. The track immerses listeners in vintage spy movie ambiance, featuring groovy drums, warm keys, thematic guitars, and strings that create an unforgettable car chase scene. As part of the rollout schedule, this single offers a glimpse into the album's captivating fusion of nostalgia and innovation, promising a musical adventure that lingers and resonates in your ears. Second single, the lush and groovy “Le Dictionnaire des Sentiments,” follows in the sonic footsteps of Serge Gainsbourg (complete with beautifully poignant French lyricism), out December 8th to round out the year. The track jerks the listener towards a more meditative state and expanding, cinematic sound.

Kicking of 2024 will be the absolute funkified single 3 “Maritime Jazz,” out January 5th. The track transports you to a groovy marina where the movement of the sea and boats sways you along a Madlib / Yesterdays New Quintet-esque groove.

Reflecting on his creative process, Megarbane cites a stream of consciousness approach to the Cosmic Analog Ensemble: “It’s a very spontaneous, playful, and diary-like approach and workflow…I trust my instinct because instinct is based on experience.”

Impossible to find in the wild, KPM's Image is exactly that; this record paints extraordinary, hyper-vivid scenes with music, in the way only the library greats can. Originally released in 1974, Image is an absolutely stunning listen from start to finish, and arguably the most wanted KPM grail that's still not been reissued - until now! Just too good…

Worth the price of admission alone, and likely the reason you're all already drooling about this release, the mellow, dramatic beat of "Image", Brian Bennett's opener and title track, is a Jaylib-sampled firecracker. A reflective, scenic underscore which grows to full orchestra and ends as it begins - it's just beautiful. Next up, swoon to "The Little Orphan" by Neil Richardson featuring strings and harp. It's a deeply emotive, sweeping orchestral piece. Just straight gorgeous. It's followed by "Paradise Island", a lush, horizontal Balearic gem courtesy of Gordon Rees and David Gold; it'll send you into a blissful reverie with its elegant strings and gentle drums. From the same pair, "Forbidden Fruit" is, again, string-drenched but the strings are more insistent, stabbing even, and, with drums and Blaxploitation guitars high up in the mix, it's definitely a funkier proposition. "The Enchantress", again a Rees-Gold special, is a slower, groovy, synthy wonder. Closing out the A-Side, "Phenomena" is a mysterious gem, a Gold solo effort set at a breezier tempo with propulsive percussion and head nod, fast-paced breaks with ace keys.

Flip over for "Infinite Expanse", John Scott's dramatic panorama adorned with proud, triumphant horns. Scott's "Static Objects" paints patient, pastoral scenes; there's a serenity and stillness to the proceedings. Next up, Be With favourite John Fiddy delivers shifting shapes and patterns with his wonderful "Metamorphosis", all wah wah, harps, dramatic percussion and strings. It's by turns billowy and blasting. "Cubist Pictures" follows, Neil Richardson's brilliant nebulous, fragmentary piece. Better yet, Richardson's gorgeous, beatless "Analysis" follows, and it's an orchestral beauty featuring cello, harps and woodwind. It's no exaggeration to describe this as transcendental. His "Crystal Ball" presents more static scenes with cello, twinkling percussion and strings, before Steve Gray's fantastically-titled softly-ace "Gliding Through Clouds" closes out this remarkable set.

As with all of our KPM re-issues, the audio for Image comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. And as usual, the sleeve reproduction duties were handed over to Richard Robinson, the current custodian of KPM’s brand identity.

VEMOD sind alles andere als eine Durchschnittsband. Die Norweger existieren vielmehr in musikalischen und lyrischen Grenzbereichen. Das zweite Album des Trios, "The Deepening", ist aus demselben tonalen Granit gemeißelt, aus dem schon der Vorgänger "Venter på stormene" vor über einem Jahrzehnt geschlagen wurde. Das klangliche Grundgestein lagert im Ort Namsos, wo VEMOD um die Jahrhundertwende vom damals 12-jährigen Jan Even Åsli als lebenslanges Projekt aus musikalischer Leidenschaft ins Leben gerufen wurden. Die nächstgelegene Großstadt ist Trondheim, wo die eigenwillige lokale Nidrosian Black Metal Szene, die sich auf den ursprünglichen Namen der Stadt bezieht, die ersten musikalischen Bezugspunkte für VEMOD lieferte - wie das erste Demo "Kringom fjell og skog" (2004) eindeutig belegt.
Als die Norweger sieben Jahre später mit dem Track "Moestæ Qverelæ" auf einer Split-Single sowie dem Demo "Vinterilden" im Jahr 2011 erneut auftauchten, hatten sie sich signifikant verändert. Das Trio hatte Elemente verstärkt, die schon zuvor vorhanden waren: Eine Prise Erhabenheit, die an frühe IN THE WOODS... erinnert, ein Schuss Melancholie und eine Messerspitze introvertierter Kontemplation inmitten einer breiten Palette emotionaler und dunkelfarbiger Klangbilder. VEMODs musikalischer Wandel findet Parallelen in der Entwicklung der französischen Brüder im Geiste, ALCEST, obwohl es in beide Richtungen keinen direkten Einfluss gab. Im Nachhinein können die Norweger als Vorreiter für aktuell so populäre Stile wie Blackgaze und Post-Black Metal gelten, obwohl sie sich beides nie auf ihre Fahne geschrieben haben. Mit ihrem Debütalbum "Venter på stormene" öffneten VEMOD im Jahr 2012 ihre Musik für neue Orte: Auf einen denkwürdigen Auftritt beim renommierten Beyond the Gates Festival in Bergen im Jahr 2013 folgte die legendäre Show im Vigeland Mausoleum beim Osloer Inferno Festival, die ein Jahr später VEMODs exzellenten Ruf sogar jenseits des Atlantiks zementierte.
"The Deepening" kommt nun mit einer veränderten Produktion daher, die ein neues Klangbild erzeugt, ohne sich von den Wurzeln der Band zu lösen. Auch stilistisch beschreiten die Norweger neue Wege, indem sie ihrem Sound weitere Elemente hinzufügen. Die lyrischen Themen, die sich durch "The Deepening" ziehen, erzählen von Veränderung, Vergänglichkeit, Transformation und Wachstum. "The Deepening" will die Möglichkeit bieten, lang gehegte Überzeugungen und tröstliche Illusionen zu überwinden. Wahrheit kann schmerzen. Und eine Wahrheit ist, dass an der Wegkreuzung, die VEMODs zweites Album erreicht hat, ein vertieftes Verständnis ihrer musikalischen Welt wartet.

VEMOD sind alles andere als eine Durchschnittsband. Die Norweger existieren vielmehr in musikalischen und lyrischen Grenzbereichen. Das zweite Album des Trios, "The Deepening", ist aus demselben tonalen Granit gemeißelt, aus dem schon der Vorgänger "Venter på stormene" vor über einem Jahrzehnt geschlagen wurde. Das klangliche Grundgestein lagert im Ort Namsos, wo VEMOD um die Jahrhundertwende vom damals 12-jährigen Jan Even Åsli als lebenslanges Projekt aus musikalischer Leidenschaft ins Leben gerufen wurden. Die nächstgelegene Großstadt ist Trondheim, wo die eigenwillige lokale Nidrosian Black Metal Szene, die sich auf den ursprünglichen Namen der Stadt bezieht, die ersten musikalischen Bezugspunkte für VEMOD lieferte - wie das erste Demo "Kringom fjell og skog" (2004) eindeutig belegt.
Als die Norweger sieben Jahre später mit dem Track "Moestæ Qverelæ" auf einer Split-Single sowie dem Demo "Vinterilden" im Jahr 2011 erneut auftauchten, hatten sie sich signifikant verändert. Das Trio hatte Elemente verstärkt, die schon zuvor vorhanden waren: Eine Prise Erhabenheit, die an frühe IN THE WOODS... erinnert, ein Schuss Melancholie und eine Messerspitze introvertierter Kontemplation inmitten einer breiten Palette emotionaler und dunkelfarbiger Klangbilder. VEMODs musikalischer Wandel findet Parallelen in der Entwicklung der französischen Brüder im Geiste, ALCEST, obwohl es in beide Richtungen keinen direkten Einfluss gab. Im Nachhinein können die Norweger als Vorreiter für aktuell so populäre Stile wie Blackgaze und Post-Black Metal gelten, obwohl sie sich beides nie auf ihre Fahne geschrieben haben. Mit ihrem Debütalbum "Venter på stormene" öffneten VEMOD im Jahr 2012 ihre Musik für neue Orte: Auf einen denkwürdigen Auftritt beim renommierten Beyond the Gates Festival in Bergen im Jahr 2013 folgte die legendäre Show im Vigeland Mausoleum beim Osloer Inferno Festival, die ein Jahr später VEMODs exzellenten Ruf sogar jenseits des Atlantiks zementierte.
"The Deepening" kommt nun mit einer veränderten Produktion daher, die ein neues Klangbild erzeugt, ohne sich von den Wurzeln der Band zu lösen. Auch stilistisch beschreiten die Norweger neue Wege, indem sie ihrem Sound weitere Elemente hinzufügen. Die lyrischen Themen, die sich durch "The Deepening" ziehen, erzählen von Veränderung, Vergänglichkeit, Transformation und Wachstum. "The Deepening" will die Möglichkeit bieten, lang gehegte Überzeugungen und tröstliche Illusionen zu überwinden. Wahrheit kann schmerzen. Und eine Wahrheit ist, dass an der Wegkreuzung, die VEMODs zweites Album erreicht hat, ein vertieftes Verständnis ihrer musikalischen Welt wartet.

When it comes to wild men of rock, they didn’t come any wilder than Newcastle’s Animals and their larger-than-life frontman Eric Burdon. His distinctive rasp was instrumental in taking the group to the top of the transatlantic charts; 1964’s ‘House Of The Rising Sun’ . followed by ‘I’m Crying’, and covers of Nina Simone’s ‘Don’t Let Me Be Misunderstood’, Sam Cooke’s ‘Bring It On Home To Me’, and Mann & Weil’s ‘We Gotta Get Out Of This Place’.

Despite splitting from his four bandmates in late 1966 and relocating to the USA, Eric retained the group name and put together a different line-up. These New Animals, turned in some searing Acid-Rock in the shape of ‘Spill The Wine’ and ‘San Franciscan Nights’, the latter a paean to Burdon’s adopted home that made the Top Ten Charts on both sides of the Atlantic.

Latest project from Swervedriver front-man Adam Franklin. Working under the name Bolts of Melody Adam, along with main contributor Locklsey Taylor from Sianspheric, have created an atmospheric masterpiece with Film Noir, an album that features additional guitar work from none other than the legendary J Mascis! Film Noir by Bolts Of Melody, released 19 January 2024, includes the following tracks: "The Village Sleeps ", "Vibratube ", "Cops Raid Easys ", "The Isle is Full of Noises" and more. This version of Film Noir comes as a 1xLP. The vinyl is pressed as a transparent, cloudy disc.

After a decade-long hiatus, Bristol-based shoegaze ensemble, The Fauns, have reemerged from their secret bunker with eagerly anticipated third album, 'How Lost' set for release Jan 19th, 2024 via Invada.

The Fauns’ journey began in 2007, self-releasing their eponymous debut album in 2009, followed by the 2013 release of "Lights." These two works garnered warm acclaim from both critics and fervent shoegaze-loving fanbase alike - arriving into an atmosphere rekindled by the return of My Bloody Valentine.

This latest album bridges The Fauns' transformation from their earlier incarnation to their current evolution. The tracks traverse a spectrum of styles, ranging from intricate, guitar-driven sci-fi fantasies to industrial-tinged new wave compositions. The hallmark shoegaze elements are now stretched over gritty pulsating electro beats.

Moreover, the album marks a shift in lyrical themes and attitude. Poignant tracks coexist with narratives of vodka-infused nights in dimly lit clubs, reflecting a departure from introspection. "This album is less about the melancholy associated with the genre and more about getting our audience dancing.”

ASA

Arturo Lanz Saverio Evangelista AtomTM

are the last three futurists on earth.

»Radial« is the result of a vivid creative merge between Esplendor Geométrico and AtomTM. A transparent diamond formed by a heavy implosion. Its underlying massive mechanics are covered by a crystal surface made to cut reality in half. Just one letter short of “radical”, this album is no less than exactly that – an orgy of powerful, blunt repetition and hyperbolic simplicity, a profound evocation of nothingness and its surroundings.

It's not hyperbole to state that Touché Amoré's third album Is Survived By is the band's most pivotal album. Released 10 years ago on September 24th, 2013 via Deathwish Inc., Is Survived By tackles the complicated nature of leaving a lasting legacy and the uncertainty that surrounds that; ultimately resulting in a record about learning to find the validation and love within one’s self. Produced by the legendary Brad Wood (Sunny Day Real Estate, Liz Phair, mewithoutYou), the recording sessions were a lesson in growth for the Los Angeles quintet - vocalist Jeremy Bolm, guitarists Nick Steinhardt and Clayton Stevens, bassist Tyler Kirby, and drummer Elliot Babin - as the band transformed from a group of individuals who play hardcore songs to the established headlining act that Touché Amoré is today. Is Survived By received critical acclaim from the likes of Pitchfork, The A.V. Club, The Needle Drop, and more - resulting in the album being 13th highest rated album of 2013 per Metacritic. It was also the band's first record to chart on the U.S. Billboard 200, peaking at 85. But most importantly, Is Survived By is beloved by fans new and old.

“Recorded over just three days, with little more than two takes making up each tune, the album is an exercise in the immediate, capturing both Kilbey and his accompanying musicians performing tracks while they’re still fresh. The result is one of the most pure records you’ll find anywhere. From the opening notes of “Poppy Byron”, it’s apparent that Kilbey has delivered something transcendental; something that only someone with a musical dexterity and vision like he can provide. Serving as a musical kaleidoscope of sorts, the album switches genres frequently, shifting between the mandolin-driven sweetness of “Josephine”, the ’60s-inspired psychedelia of “Woman Number Nine”, and the hazy, dream-like nature of “Lillian in Cerulean Blue”. Meanwhile, the lyrics stay true to the concept of the title, with each track focusing on a feminine subject, whether it be via lyrics about Mary Shelley watching SBS in Mandarin on “Poppy Byron”, the story of evil witch “Doris McAllister”, or “Birdeen”, which, a press release notes, focuses on a greedy lorikeet with a sweet tooth. As Kilbey himself notes, Eleven Women is far from perfect record by any means, but in much the same way that even iconic renaissance painting have notable flaws, therein lies the beauty of this.” Tyler Jenke, Rolling Stone Australia A 01 Poppy Byron 02 Woman Number 9 03 Josephine 04 Sheba Chiba 05 Birdeen 06 Lillian In Cerulean Blue B 07 Queen Of Spades 08 Baby Poe 09 Doris McAllister 10 Where Gloria Meets Rachel 11 Think Of You (for Jessie Bellette)

Soliton maximizes the compact format by further illuminating lesser-traveled paths. Contemplation and exploration weave harmoniously through five mysterious tracks. Influenced by a wide range of styles and sounds, such as Japanese ambient, the muted dissonance of Pharoah Sanders, and the chilly dub of the Scape catalog, Soliton evokes visions of lonely night drives punctuated by bright moments of bliss. The Calque EP from January 2023 saw them pursuing the minimal electronic side of their work even further. The opening track, "Kottbusser Tor,” showcases a conspicuous absence of the processed guitars that characterize most of their work, and instead explores sequenced filters, tape delays and analog synth patterns for eight minutes. On "Ammosel", they dive directly into dubby soundscapes, with crackling electronics and deep basslines, while "Kiyosumi" and "Fade Into Air" pay a visit to more familiar ambient territory. A darker undercurrent pervades on this EP, but one that goes particularly well with the coldest of seasons and its frosty air. The duo, consisting of Jason Kolb (Michigan, US) and Jonas Munk (Denmark) started working together in 2006, sending each other tracks across the Atlantic, eventually resulting in a full-length release on Felte in 2012. What started out as a side project to their respective main projects (Auburn Lull and Manual) have slowly become the main activity for both artists, now with a total of four full-lengths under their belt. Their music has also evolved and matured over the years, reaching a level of perfection that’s only granted producers who've been in the game for decades. Billow Observatory have by now established themselves as purveyors of highly refined ambient music and the Soliton EP sees them elegantly blend new and old, electronic and organic, into a gently drifting, enveloping whole. “.. mind drenching sunrises, glittering constellations, and sailing clouds, richly furnishing the familiar sense of hovering over vast natural orders that you're also inside. – Pitchfork // “So the world it inhabits is essentially that one between states, simulating a quietly vibrant ecology of sub-aquatic bass rumbles, washed out expanses of mid-range swirl and keening top end whose elusive colours seem to fade and coruscate in the low light. Lovely

Recorded in an abandoned water tank in rural northwest Colorado and inspired by Muriel Rukeyser’s circa-1935 poem of the same name, violinist Leslee Smucker explores the range and saturation of intense natural reverb on Breathing Landscape. The artist pushes her instrument to the limit –by turns percussive, sweeping, and scraping– and, on several tracks, utilizes her own voice as well, resulting in an album that combines breathtaking beauty and visceral texture. Leaning into the meditative quality being present in one moment can provide, this is music you can feel on your skin, calling out from our decomposing modernity into the indifferent sky above. Conjuring deep time but captured in one day, the album is simultaneously immediate and vaporous, primeval-sounding yet unapologetically modern. When you travel out of the mountains down into the rangelands of what we know today as western Colorado, the horizon opens up to reveal an ancient and scarred land. Cell phone coverage is spotty at best and towns are sparse. Time escapes our efforts to contain it and is instead etched into the hot, dry canyons. Approaching The Tank, outside the settlement of Rangely, oil pumps work ceaselessly on the other side of the gravel road, extracting a grim future. Inside The Tank it is 20 degrees warmer than outside, a zone of strange harmonics, exchanges of sound and stillness, and explorations of landscapes both exterior and interior. In what she describes as a "sauna of sound", Smucker "was transported by the reverberation to another realm. Birds and trucks passed outside, while the wind was an integral part to the sound making

Limited Transparent Blue vinyl. “Pop” is a tag that’s been assigned to Minus the Bear throughout their career. It’s been used to set a distinction between the unique brand of complex indie rock they introduced on their first EP, and the more angular and aggravated sounds of their previous bands Botch, Kill Sadie, and Sharks Keep Moving. It’s also a tag that was thrown around frequently in the wake of their streamlined fourth album, OMNI. And it’s a descriptor that immediately comes to mind within the first few seconds of their classic second formal EP, They Make Beer Commercials Like This. Beer Commercials is the evolutionary step between Minus The Bear’s first two landmark albums, Highly Refined Pirates and Menos El Oso. Opening track “Fine + 2 Points” remains one of the band’s strongest opening tracks in their discography, charging out of the gates with a syncopated stomp that comes across as a more agitated take on Kylie Minogue’s “Can’t Get You Outta My Head.” If Minus The Bear were looking to make pop music without any of its major-scale bubblegum trappings, they nailed it here. The band follows it with “Let’s Play Clowns” and “Dog Park”—nods to Highly Refined Pirates’ formula of frenetic clean guitar work, bombastic choruses, and Jake Snider’s lyrics of detached romantic nostalgia. These tracks may represent Minus the Bear’s original trademark version of pop but on songs like “I’m Totally Not Down With Rob’s Alien,” the band eschews its restless energy for atmosphere and dynamics, creating a sound that’s inspired more than a handful of contemporary melodic post-rock bands. By the time the band belts out “Pony Up!” the listener has watched the three-year sonic transition between Minus the Bear’s first two full-lengths transpire within under half an hour, with their earlier math rock predilections yielding to the tightly wound club-banging pedalboard trickery that defined their sophomore album. Even if Beer Commercials doesn’t fit within your definition of pop music, the unorthodox energetic charm of this relatively low-profile release serves as an exciting reminder of why Minus the Bear became one of the most important and influential indie rock bands of the new century

2023 repress of the OTOROKU re-issue of the legendary English free improvisation LP 'The Topography of The Lungs' by Evan Parker, Derek Bailey and Han Bennink. This was Evan Parker’s first recording as a "leader" and was the first release on Incus, the label Parker founded with guitarist Derek Bailey and drummer Tony Oxley. This re-issue has been produced from an original vinyl pressing from Evan's archives - carefully transcribed and restored by Andreas LUPO Lubich at Calyx in Berlin and features the original liner notes from Parker along with updated notes penned in 2014. "To talk further of the music we play is difficult. It’s criteria for success exist, but are elusive and indefinable beyond the intuitive level. We operate without rules (pre-composed material) or well-defined code of behaviour (fixed tempi, tonalities, serial structures etc.), and yet are able to distinguish success from failure." - From Evan Parker’s original liner notes (1970). This pressing of The Topography of The Lungs comes in a limited edition of 500 copies.

The old is dying and the new cannot be born; in this interregnum a great
variety of morbid symptoms appear"
-Antonio Gramsci, Prison Notebooks.

Iskandr's latest offering "Spiritus Sylvestris" appears to be a radical
statement in both content and form Signifying a departure from the black metal roots of the project, the psychedelic folk doom of the new album builds upon the directions of where both "Vergezicht" and "Glas" were already moving towards.

"Spiritus Sylvestris" is cinematic in scope: majestic and threatening in its aura of sublime grandeur. The Latin title translates to "spirit of the wild" and also refers to the early modern alchemical name for carbon dioxide - when the spirit of the wilderness is released into the
aether through the burning of wood and charcoal. The songs tell impressionistic stories of natural elements personified; when powerful spirits that linger in the earth are stirred, those elemental forces will be forced to haunt our world.

In an era of irreversible damage to our planet and anthropogenic climate change, Iskandr aims to offer funeral dirges for the world that we have already lost.

"Spiritus Sylvestris" embraces a limitless approach to translate this vision into musical form. Employing musical elements from a broad array of genres; easily moving between the martial stomp of early Laibach and the ethereal melodics of Dead Can Dance.

Recorded and mixed by the legendary Pieter Kloos (The Devil's
Blood, Motorpsycho) at The Void Studio in Eindhoven, the new Iskandr record has broadened the scope and sound of the project beyond any confines, resulting in the most open soundscapes from Iskandr to date. The heavy baritone guitar riffs that form the backbone of the record provide a pitch-black canvas in which huge percussive rhythms and psychedelic layers of Hammond organ, Mellotron as well
as subtle acoustics move in and out of focus. If this world is at an end it deserves a requiem for that what is lost.

With their profound take on electronic music, Animistic Beliefs have steadily solidified their spot in the global underground. Influenced by cultural concepts such as ancestry, animism and mythology, as well as the languages of political techno, punk, bubbling and IDM, Linh Luu and Marvin Lalihatu consistently translate their visions into sensitive productions as well as high-octane live performances. On MERDEKA, the artists explore and embrace their cultural heritage in all of its pride, pain and complexity. It symbolizes Animistic Beliefs' breaking free, coming to terms with their changing selves and letting go of external expectations. The record rethinks childhood memories, confronts the generational trauma left by (post-)colonialism, and re-connects Linh and Marvin â?? respectively of Vietnamese-Chinese and Dutch-Moluccan descent â?? with their formative cultures. MERDEKA marks their first step in an overall departure from western club music. For its layered sound, Animistic Beliefs once again draw from the past, present and future of global club music, creating a sonic space where fast techno, warped breakbeats and ambient soundscapes make way for the augmented influence of (Southeast Asian) tribal music. The record incorporates Indonesian scales and recordings of the Tahuri (a wind instrument made out of a conch shell), Totobuang (Gamelan-like gongs) and Tifa drums, known as â??the Moluccan heartbeatâ??. In true Animistic Beliefs fashion, MERDEKA will set fire to sweltering clubs and (sleepless) dreams. Yet, for the artists, it is essential to amplify the stories that spark that flame and keep it burning. The release of MERDEKA follows CACHE/SPIRIT, their ongoing collaboration with visual artist Jeisson Drenth, which extensively explores the artistsâ?? intersectional identities. As such, the latest album is the next step within a bigger, introspective investigation. More unapologetic than ever, MERDEKA embodies a turning point on Animistic Beliefsâ?? ongoing journey towards self-acceptance â?? fuelled by the sound of urgency.